2021 Kammerchor Spring Concert

Home , Ernani, Psalm 150 (Bruckner), Rajaton

I SpringBelieve Kammerchor Concert LIVE STREAMING SUNDAY, MARCH 28, 2021 | 3:30PM THE CHAPEL OF CHRIST TRIUMPHANT DR. ALEXA DOEBELE, director KAMMERCHOR

“IProgram Believe” to be selected from the following:

I Believe This Is Jesus Spiritual, arr. Undine Smith Moore (1904-1989)

Initially trained as a classical pianist, Undine Smith Moore later turned to composition and became known as the “Dean of Black Women Composers.” Her early compositions were composed exclusively in the Western classical tradition, but after 1953 she not only began composing more, she also increasingly incorporated aspects of African-American music traditions. She saw “black folk music and Bach as true influences” on her compositions. “I Believe This Is Jesus” is one of her arrangements of African-American spirituals for choir, her preferred musical medium. This spiritual is not only a statement of faith, but also an invitation to others to “come and see” Jesus.

Here I Am Ariel Quintana (b. 1965) Shelby Decker, piano

Ariel Quintana is an Argentinian composer who received his musical training both in Argentina and in the United States. He now lives and works in California as a composer, but also as the choir director at First Presbyterian Church of Hollywood and as director of choral activities at La Sierra University. “Here I Am,” a setting of Isaiah 58:6-9 for choir and piano, was commissioned by the Irvine United Congregational Church. The piece begins with a declamatory quasi-recitative that depicts the starkness of the hungry and op- pressed. Verse 8, “Then your light will break forth like the dawn,” then becomes a recurring theme set with lush chords and a full-sounding accompaniment. The piece closes again with a quasi-recitative, but this time with the reassurance that God will be with us. Jesu dulcis memoria Ludwig van Beethoven (1770--1827) Abigail Wegner, Hannah Engwall, Benjamin Brenckle, and Samuel Boehlke, solo quartet

Kammerchor is singing “Jesu dulcis memoria” in commemoration of the 250th anniversary of Ludwig van Beethoven’s birth this past December. Even so, “Jesu dulcis memoria” is only attributed to Beethoven; its first appearance was in the English volume Motets for the Year (1850), but it is not listed in the catalog of Beethoven’s works. If Beethoven did indeed compose this piece, it likely would have been composed early in his career, based on the motet’s relative simplicity as compared with Beethoven’s later works. The “Jesu dulcis memoria” text is attributed to Saint Bernard of Clairvaux and was intended to be sung for the Feast of the Holy Name of Jesus.

The sweet memory of Jesus giving true joy to the heart: But more than honey and all things is His sweet presence. Nothing more delightful is sung, nothing more pleasing is heard, Nothing sweeter is thought, than Jesus, Son of God. O Jesus, hope of the penitent, how gracious you are to those who ask! How good to those who seek you! But what are you to those who find? No tongue may tell, no letter express: He who has experience of it can believe what it is to love Jesus. O Jesus, may you be our joy, you who are our future reward: May our glory be in you throughout all eternity. Amen.

~ Traditional Latin

Salmo 150 Ernani Aguiar (b. 1949)

Ernani Aguiar is a Brazilian composer, choral conductor, and musicologist who is currently a professor at the Federal University of Rio de Janeiro. “Salmo 150” (1993) is probably his best-known choral work. This piece exemplifies his compositional style, which is frequently very rhythmic and includes rapid articulation of text. While “Salmo 150” is generally conceived in a more traditional style, elements of Brazilian folk music can be heard, such as the nearly omnipresent “la la la” to imitate strumming guitars.

Praise the Lord in his sacred places, Praise him in the firmament of his power. Praise him for his mighty acts, Praise him according to his excellent greatness. Praise him with the sound of the trumpet, Praise him with the psaltery and the harp. Praise him with the timbrel and the dance, Praise him with strings and pipes. Praise him with high-sounding cymbals, Praise him with cymbals of joy. Let everything that has breath praise the Lord!

~ Psalm 150 (sung in Latin) II. Miserere mei Gregorio Allegri (1582-1652) Charlotte Rosenthal, Esther Engwall, Madeline Hoxworth, and Luke Hahn, solo quartet

The Allegri Miserere mei is one of the most infamous pieces in all of choral music. Gregorio Allegri was a Roman Cath- olic priest and composer assigned to sing in the choir of the Sistine Chapel. Many of his compositions were written in the same early Baroque style as his contemporaries, but his motet settings (of which Miserere mei was one) were composed in a more antiquated style similar to that of the esteemed Italian master of counterpoint Giovanni Pierluigi da Palestrina. This piece sets the entirety of Psalm 51 (we will be singing only excerpts today) and was intended for performance during Holy Week at the Vatican. The structure is very repetitive and relatively simple. Each section of the piece, nearly always setting one entire verse of the psalm, is sung by one of three groups of performing forces: a five-part full choir, a line of monophonic chant, and a quartet of soloists. This quartet includes a soprano singing a high C, which is part of why the Allegri Miserere mei is so infamous. Its infamy also stems from how the piece came to be known outside of the Vatican. According to legend, the piece was intended to be kept within the confines of the Vatican, with the threat of excommunication if anyone were to make or circulate copies of the score. A teenaged Wolf- gang Amadeus Mozart, however, upon hearing the piece while visiting Rome in 1770, was able to transcribe the piece from memory. His copy was subsequently published in England and distributed widely.

Have mercy on me, God, according to your great mercy. And according to the multitude of your mercies, remove my offenses. Wash me completely of my wickedness, and cleanse me from my sin. Cast me not from your presence, and do not take your Holy Spirit from me. Give me the joy of your salvation, and establish your free spirit within me. Then I shall teach your ways to the wicked, and sinners shall be converted to you. Deliver me from blood-guiltiness, O God, God of my health: And my tongue shall sing of your righteousness. Lord, open my lips, and my mouth shall declare your praise. For you desire no sacrifice, or else I would give it to you: You do not delight in burnt offerings. The sacrifice of God is a troubled spirit: A broken and contrite heart, God, you will not despise. Be favorable and gracious to Zion; build the walls of Jerusalem. Therefore accept the sacrifice of righteousness, with oblations and burnt offerings: They shall offer bulls upon your altar.

~ Psalm 51: 1-2, 11-19

15 Minute Intermission

III.

Arise, Shine, for Thy Light Has Come Kenneth Jennings (1925-2015)

Kenneth Jennings was known primarily as a conductor, having succeeded F. Melius Christiansen and Olaf C. Christian- sen as the director of the St. Olaf Choir, and he remained as Director Emeritus from his retirement in 1990 until his death. During his time on the faculty at St. Olaf College and as a visiting professor at Gustavus Adolphus College and the University of Arizona, Jennings mentored many of the most outstanding choral conductors currently in the field, including his successor, Dr. Anton Armstrong. As a composer, Jennings wrote several pieces, mostly for advanced choirs. He was known for sensitively depicting the meaning of a text, as he did in his setting of Isaiah 60:1-3, “Arise, Shine, for Thy Light Has Come.” The opening and closing fanfare depicts the coming of God’s glory, while the more sedate middle section portrays the darkness being overcome. Even When He Is Silent Kim André Arnesen (b. 1980)

Kim André Arnesen is currently one of the most frequently performed classical composers from his home country of Norway. He has focused on writing choral music, and choirs from all over the world have performed his compositions. “Even When He Is Silent,” commissioned in 2011 by the St. Olaf Festival in Trondheim, Norway, is one of his most popular works. The lyrics are taken from an inscription found on a wall at a concentration camp after World War II. Arnesen says about the text, “Imagining what that person went through makes the words so powerful. As I read them, it was a Credo — when everything is dark and difficult in life you might wonder where God is, or if God is there at all. This is about keeping faith in God, love, and hope. I think of the sun as a metaphor for hope. Even without thinking of metaphors, the text has a deep meaning. Even if people take away your freedom, your friends, the people you love — they can- not take God away from you.”

Hail, Gladdening Light Charles Wood (1866-1926)

Irishman Charles Wood was part of the first class of students admitted to the Royal College of Music, and while there he studied composition with both Charles V. Stanford and Hubert Parry. After his graduation and further studies, he was later appointed as a faculty member at the Royal College of Music, where he taught composition to Herbert Howells, among others. He is known primarily for his compositions for the Anglican church; “Hail, Gladdening Light” (1919) is one of his best-known anthems. This anthem sets an English translation by John Keble of the third century Greek hymn Phos Hilaron. Wood set this text for a cappella double choir: two separate SATB groups singing antiphonally. Most of the writing is homophonic, but Wood uses polyphony in the middle section to great effect in order to depict “the lights around us” shining.

IV.

Modimo Traditional Sesotho/isiZulu, arr. Michael Barrett (b. 1983) Elizabeth Bredman, djembe

“Modimo” is a traditional South African song of praise and celebration. Arranger Michael Barrett is the director of choral activities at the University of Pretoria, and he prepared this arrangement for his choir, the Tuks Camerata.

God, we praise you. Everything is created by you. He took away my burden.

~ Traditional Sesotho and isiZulu I am the great sun Jussi Chydenius (b. 1972)

Finnish composer Jussi Chydenius is perhaps best known as the bass, composer, and arranger for the a cappella sextet Rajaton. His compositions frequently fuse traditional choral sounds with pop and jazz idi- oms. “I am the great sun” sets a 1957 poem by Charles Causley that was inspired by an inscription found on a crucifix in Normandy dating back to 1632. The text is a series of “I” statements that outline how we have turned against God through our sinful ways. Chydenius’s musical setting of the text is rather minimal, with a lot of repetition, perhaps with the intention to drive the point home.

Hosanna to the Son of David Orlando Gibbons (1583-1625)

Orlando Gibbons was appointed as a Gentleman of the Chapel Royal, the finest professional choir in En- gland, at the age of 21, and he continued in this position until his death. As he matured, he became known as one of the best organists in England and emerged as one of its leading composers. As a Gentle- man of the Chapel Royal, Gibbons knew full well what they were capable of singing, and as such, he composed many of his anthems with extremely intricate counterpoint. “Hosanna to the Son of David,” setting Matthew 21:9 for six-part choir, is an example of one of these contrapuntal anthems.

15 Minute Intermission

Saul Egil Hovland (1924-2013) Luke Hahn, narrator Hannah Engwall, organ

Norwegian organist and composer Egil Hovland did not settle on one single compositional style, but in- stead used multiple compositional techniques in his works. Even just within Saul (1972), a setting of Acts 9:1-5 for narrator, choir, and organ, he used multiple twentieth century compositional techniques. At various points one can hear aleatory (randomized elements of performance), canon, bitonality (two tonal centers used simultaneously), and serialism (also known as twelve-tone composition).

VI.

Have You Not Heard? Jocelyn Hagen (b. 1980)

A native of Minneapolis, Minnesota, Jocelyn Hagen now makes a full-time living as a composer. She has focused her compositional efforts primarily on vocal music, but she is particularly interested in multimedia presentations. “Have You Not Heard?” was commissioned by Madison Avenue Presbyterian Church in New York City. Hagen sets the familiar text from Isaiah 40:28-31 with fanfare-like declamations using a “Scot- tish snap” rhythm interspersed between more contrapuntal sections. Christe, adoramus te Claudio Monteverdi (1567-1643)

Claudio Monteverdi is an important figure in music history, as he was one of the most crucial bridges between the Renaissance compositional style and the new Baroque style. At the pinnacle of his career, he served as maestro di cappella at St. Mark’s Basilica in Venice, where he was in a position to influence the next generation of composers, both as their teacher and by example through mounting performances of his works. He composed primarily vocal works, both secular and sacred, including what is credited as the first opera, as well as the monumental esproV della Beata Vergine of 1610. Christe, adoramus te was composed in 1620, but not published until 1650, after Monteverdi had died. This short motet sets the antiphon from the Good Friday liturgy in the early Baroque style.

Christ, we worship you, and we bless you, For by your holy cross you have redeemed the world. Lord, have mercy on us.

~ Traditional Latin

Christus factus est Anton Bruckner (1824-1896)

Anton Bruckner, an Austrian composer, was a member of the St. Cecilia Society, a European organization founded to revitalize music in the church and to renew an interest in the compositional characteristics of the great sacred choral repertoire from the Renaissance. Bruckner wrote symphonies, Masses, and motets, of which Christus factus est (1884) is an example. This piece demonstrates the ideals of the St. Cecilia Society through Bruckner’s use of counterpoint, but yet this piece shows a definite influence of a late nineteenth century writing style through the use of frequent chromaticism, unusual modulations, and dynamic extremes.

Christ was made obedient for us even unto death, Even death on the cross. Therefore God has exalted Him And given Him a name, which is above every name.

~ Philippians 2:8-9 (sung in Latin)

All That Hath Life and Breath, Praise Ye the Lord! René Clausen (b. 1953) Giovanna Greco, soprano

Composer René Clausen, recently retired Professor of Music at Concordia College in Moorhead, Minnesota, and director of The Concordia Choir, has become one of the foremost composers of choral music in late twentieth and early twenty-first centuries. “All That Hath Life and Breath Praise Ye the Lord!” (1981) sets an adaptation of Psalms 96 and 22. The exuberant recurring refrain alternates among a slower section sung by a soloist, a quotation of the hymn tune LOBE DEN HERREN, and fragments of the refrain sung randomly. AboutKAMMERCHOR Kammerchor (German for “chamber choir”) was founded by Dr. Kenneth T. Kosche as a small vocal group selected from concurrent membership in the Concordia Chorale. In 1981 it became established as Con- cordia’s touring choir, and the Concordia Chorale became the chapel choir. Tours subsequently have taken Kammerchor virtually all over the continental USA, several times to Canada, and overseas to locations as varied as Brazil, Great Britain, China, Taiwan, Italy, the Czech Republic, and Slovakia. Kammerchor has pro- vided recorded music for broadcasts of The Lutheran Hour, the radio ministry of the International Lutheran Laymen’s League, and for Worship for Shut-Ins. Membership in Kammerchor is not limited to music majors, but includes students with a range of majors and minors. Kammerchor sings a wide variety of choral literature from the Renaissance to the present, including concert pieces, anthems, spirituals, and hymns.

“Like” Concordia University Wisconsin Kammerchor on Facebook to receive updates on Kammerchor events. MEET THE DIRECTOR Alexa Doebele, conductor, is associate professor of music and director of choral activities at Concordia Uni- versity Wisconsin, where she conducts Kammerchor, Selah, and the Chapel Choir, in addition to teaching courses in music education and parish music. She is in her twelfth year on the CUW faculty, having taught pre- viously at the University of Wyoming, the University of Colorado, and Front Range Community College. She is a frequent clinician, adjudicator, and guest conductor, and she was a 2016 semi-finalist and a 2018 finalist for The American Prize in Conducting (college/university chorus division). Dr. Doebele is active as an editor of choral music, with editions published by Alliance Music Press and Colla Voce Music. She is a ten-year veteran of K-12 music education, most recently at Iver C. Ranum High School in Denver, Colorado. Prior to her arrival in Wisconsin, Dr. Doebele served as the Director of Music at Holy Cross Lutheran Church in Wheat Ridge, Colora- do. She is also active as both a solo and choral singer, having appeared with the Milwaukee Chamber Choir, Vox Antiqua, the Milwaukee Choral Artists, the Colorado Conductors’ Chorus, the Ars Nova Singers, St. Mar- tin’s Chamber Choir, the Boulder Chorale, the Littleton Chorale, and the Colorado Symphony Chorus. She holds a bachelor’s degree (double major in vocal performance and German language and literature) from Washington University in St. Louis and completed her Master of Music Education and Doctor of Musical Arts degrees at the University of Colorado. KAMMERCHOR * Section Leaders & Librarian SOPRANOSPersonnel SHELBY DECKER* Mequon, Wisconsin Music KATY FLEMING Hartland, Wisconsin Interior Design GIOVANNA GRECO Milwaukee, Wisconsin Music JERIKA HEROUX Gillett, Wisconsin Early Chilhood/Special Education ANNA KRAFFT West Bend, Wisconsin K-12 Spanish Education CHARLOTTE ROSENTHAL * & West Allis, Wisconsin Music CLAIRE SEIFFERLEIN Landisville, Pennsylvania Nursing ABIGAIL WEGNER Butternut, Wisconsin Music Therapy ALTOS DELANEY BREIT Kewaskum, Wisconsin Justice & Public Policy ESTHER ENGWALL St. Petersburg, Florida Classical Education HANNAH ENGWALL * St. Petersburg, Florida Parish Music MADELINE HOXWORTH Hartford, Wisconsin Hospitality & Entertainment Management TRINITY KELLY Green Bay, Wisconsin Secondary Art Education ELIZABETH PAUL Hsinchu, Taiwan Classical Education ABBY POPP St. Peters, Missouri Music Therapy SAVANNAH ROSS West Bend, Wisconsin Director of Church Ministries OLIVIA ZIMMERMANN St. Charles, Illinois Communication Sciences & Disorders BECCA ZOBEL Waunakee, Wisconsin Early Childhood/Elementary Ed. TENORS BENJAMIN BRENCKLE Kewaskum, Wisconsin Communication TURNER FRAZIER Fort Wayne, Indiana Computer Science JEREMY GAETH Jackson, Wisconsin Business Management HUNTER KINNISON* Dieterich, Illinois Parish Music RYAN KROONBLAWD Eagan, Minnesota Christian Thought JOHN ROBERTSON * Random Lake, Wisconsin Business Management BASSES SAMUEL BOEHLKE Mequon, Wisconsin Mass Communication SAMUEL GADE East Dundee, Illinois Business LUKE HAHN Waupun, Wisconsin Theological Languages ISAAC HEDSTROM Lakefield, Minnesota Pre-Seminary Studies AIDAN RICHARD O’DONNELL* Oconomowoc, Wisconsin Lutheran Elementary Education ZACHARY ROEGLIN Florissant, Missouri K-12 Music Education ANDREW SEAR* Dubuque, Iowa Psychology HEAR US AT HOME!

None Other Lamb

The CUW Music Department is pleased to announce the recent release of two new Kammerchor recordings available for purchase! CDs are available for $10 each, plus $4 for shipping. Sin(g) Boldly is also available for listening on most major streaming services. Please contact Elizabeth Humlie ([email protected]) for information.

Sin(g) Boldly CUW Music Supporters | ACADEMIC YEAR 2020-2021 Help us to continue to provide world-class performances of music at Concordia! If you’d like to support Concordia’s recital series with a tax-deductable gift, you may make your check payable to: CUW Foundation 12800 N. Laske Shore Drive, Mequon, WI 53097-2418 We would like to thank the following for their generous contributions and support:

Mr. and Mrs. Daniel R. Adickes Dr. Jan M. Heinitz Mr. Lyle † and Mrs. Valda † Quant Mr. and Mrs. David Adickes Rev. and Mrs. Robert W. Hill Mr. David Reiland Mr. and Mrs. Steven D. Adickes Ms. Amber L. Hitchcock Mr. Dean Rennicke Ms. Audrey H. Aiken Mr. Randy Hoth Ms. Robyn R. Rathe Ms. Grace Amundson Mr. Aaron Huntley Mr. and Mrs. Eugene E. Rosenthal Mrs. Johanna Anderson Mr. and Mrs. William Hurtienne Mr. Zachary R.J. Roeglin Mr. and Mrs. Brian S. Arndt Mr. David H. Jackson Ms. Lisa Rupnick Rev. and Mrs. Richard Arndt Ms. Susan Jacobsen Mr. and Mrs. Timothy S. Saar Mr. Keith Baumgart Ms. Louis Jeremiassen Mr. Brian Seehafer Mr. Robert Barnhart Ms. Alexia Jifas Mr. John R. Schaerffer Rev. Dr. Victor Bartelt † Mr. and Mrs. Dale Jorgensen Mr. and Mrs. Daryl R. Schaller Ms. Sharon Benninghoff Mr. Ronald O. and Mrs. Kathleen Kabitzke Mr. Koby E. Scheel Mr. and Mrs. Michael L. Betz Mr and Mrs. James W. Kassebaum Ms. Amber Schiessl Mr. Mark E. Bloedow Ms. Patricia G. Kennedy Mr. and Mrs. David J. Schneider Mr. Patick J. Boyer Mrs. Gloria J. Klockziem Ms. Jane Schneider Ms. Jennifer Boyle Dr. Kenneth and Mrs. Rosemary Kosche Mr. and Mrs. Richard Schneider Ms. Lisa M. Bradley Mr. and Mrs. Kurt D. Kolander Ms. Ellen Schneider-Reinhart Mr. Daren Bredman Mr. Mark and Mrs. Connie Komnick Mr. Richard C. and Mrs. Marcella Schmidt Mr. and Mrs. Robert C. Brown Dr. Don W. and Dr. Mary H. Korte, Jr. Ms. Barbra Schuldt Ms. Erica Burke Mr. and Mrs. Wayne H. Kosfeld Mr. Stephen L. Schoeneck Ms. Marla J. Canda Mr. Dale Kramer Ms. Katelyn C. Shields Mr. and Mrs. John L. Cayer Mr. and Mrs. Jeffrey D. Kurbis Mr. and Mrs. Paul Singer Ms. Mary B. Chrisofel Ms. Diane M. Lane Ms. Kristen M. Smith Mr. Robert Cotton † Ms. Janet M. Leffel Mrs. Katherine Stains Van Aarle † Ms. Adrianna Covert Rev. Thomas Lijewski Ms. Rayanna Stamps Mr. Josue Cruz Ms. Nancy A. Lindsay Ms. Vida Stanton Mr. Richard H. Daehnert Ms. Wendelin L. Lockett Mr. and Mrs. Robert C. Steinke Mr. and Mrs. Timothy M. Daley Rev. and Mrs. Kevin Loughran Mr. Ernest S. Stremski Mr. Atul Datta Mr. and Mrs. Chad Luerssen Mr. and Mrs. Adam B. Stillman Mr. and Mrs. Richard T. Dawson Mr. Timothy Maschke Rev. and Mrs. Raymond B. Stolarczyk Mr. and Mrs. Albert P. Degenhardt Ms. Sarah Mayer Mr. Greg Toerpe Mr. and Mrs. Charles DiMarco Ms. Dana McCullough Ms. Peggy J. Thomason Mr. and Mrs. Timothy P. Duchow Mr. Joel Mcdonough Mrs. Carol Timme † Mr. Caleb Duren Ms. Christina Mckinney Ms. Jennifer Tippett Mr. Robert E. Engwall Dr. and Mrs. Louis A. Menchaca Renate Tomesch Ms. Jan Elmendorf Mr. Arnold Meyer † Mr. and Mrs. Warren B. Twietmeyer Ms. Emily Ewert Ms. Barbara Meyer Mrs. Elaine C. Uffenbeck Ms. Claudia A. Franz Mr. Martin Meyer Mr. and Mrs. William A. Uffenbeck Mr. and Mrs. Christopher Frazier Mr. Roland Meyle Ms. Mee Vang Mr. Daniel Feldscher Ms. Heidi Mishler Dr. Bruce W. Wachholz Dr. Thomas Freed Ms. Jane Milller Mr. Kenneth A. Wall Mr. and Mrs. Clair Friday Ms. Kimberly Miller Ms. Constance Wallert Ms. Lisa & Barbara Froemming Dr. and Mrs. Lamar C. Miller Ms. Jeanne M. Walsh Rev. Kenneth Funke Mr. and Mrs. William L. Mullins Ms. Becky Waters Ms. Sharon Gabel Mr. and Mrs. Scott N. Nielsen Mr. Oliver Weidmann † Mrs. Charnetta Gadling-Cole Rev. and Mrs. Lance A. O’Donnell Ms. Jenna Weingart Ms. Stephanie Greenfield Mr. Tanner Olson Ms. Suzanne Westerhold Mr. Ralph Greinke Mr. and Mrs. Edwin D. Parsley Mr. Michael Whidden Ms. Judy Grillo Mr. Robert L. Parson Mr. Gary L. White Ms. Denise S. Hackman Ms. Deb Peck Mrs. Rebecca Williams Mr. Christopher & James Halper Ms. Harriet Pedersen Mr. James Wrangell Ms. LoisMae F. Hannewald † Ms. Cheryl Phelps Mr. Frederick and Mrs. May Ann Yahr Mr. and Mrs. James D. Hassler Ms. Susan Powers Mr. and Mrs. Michael Zachow Mr. Benjamin Hedrick Mr. Aaron Preston Mr. and Mrs. Ronald Ziegler Memorial gifts given to Music in memory of: Rev. William J. Uffenbeck † | Ms. Dorothy Nottleson † | Ms. Virginia Radue † † = deceased CONCORDIA UNIVERSITY WISCONSIN MUSIC DEPARTMENT FACULTY

Mrs. Johanna Anderson | Associate Director of Instrumental Music; Music Department Recruiter

Prof. Mark Bloedow | Assistant Professor of Music | Handbells; Choral Music; Graduate Studies

Dr. Alexa Doebele | Associate Professor of Music | Choral Music; Conducting; Music Education; Graduate Studies

Dr. James Freese | Professor of Music | Director of Parish Music and Graduate Program in Church Music, Organ, Graduate Studies

Prof. Lynn Little | Assistant Professor of Music | Music Theory; Keyboard Skills; Graduate Studies

Dr. Louis A. Menchaca | Professor of Music | Instrumental Music; Conducting; Music Education

APPLIED MUSIC INSTRUCTORS