CAL STATE FULLERTON UNIVERSITY WIND SYMPHONY
DUSTIN BARR, CONDUCTOR
College Band Directors National Association
Western/Northwestern Division Conference
Friday, March 29, 2024, 7:30 pm
Las Vegas Academy of the Arts
CAL STATE FULLERTON
SYLVIA A. ALVA
President, California State University, Fullerton
AMIR H. DABIRIAN
Provost and VP for Academic Affairs
ARNOLD HOLLAND, EDD
Dean, College of the Arts
CSUF SCHOOL OF MUSIC
DR. RANDALL GOLDBERG
Director, School of Music
KIMO FURUMOTO
Assistant Director, School of Music
BONGSHIN KO
Assistant Director, School of Music
SCHOOL OF MUSIC FULL-TIME FACULTY AND STAFF
Faculty
Conducting
Kimo Furumoto – instrumental
Dr. Robert Istad – choral
Dr. Dustin Barr – instrumental
Jazz and Commercial Music
Bill Cunliffe* – jazz piano; arranging; Fullerton Jazz Orchestra, Fullerton Big Band and combo director
Rodolfo Zuñiga – jazz studies, jazz percussion, and music techology; Fullerton Chamber Jazz Ensemble director
Piano, Organ, Piano Pedagogy
Ning An – piano
Bill Cunliffe – jazz piano
Alison Edwards* – piano, piano pedagogy, class piano
Myong-Joo Lee – piano
Dr. Robert Watson – piano
Music Education, Teacher Training, and Teaching Credential
Dr. Christopher Peterson – choral
Dr. Gregory X. Whitmore* – instrumental
Music in General Education
Dr. John Koegel*
Dr. Katherine Reed
Music History and LIterature
Dr. Vivianne Asturizaga – musicology
Dr. John Koegel* – musicology
Dr. Katherine Powers – musicology
Dr. Katherine Reed – musicology
Strings
Kimo Furumoto – Director of Orchestra Studies and University Symphony Orchestra conductor
Bongshin Ko – cello
Dr. Ernest Salem* – violin
Theory and Composition
Dr. Pamela Madsen – composition, theory
Dr. Ken Walicki* – composition, theory
Vocal, Choral, and Opera
Dr. Robert Istad – Director of Choral Studies and University Singers conductor
Dr. Kerry Jennings* – Director of Opera
Dr. Christopher Peterson – CSUF Concert Choir and Singing Titans conductor
Dr. Joni Y. Prado voice, academic voice courses
Woodwinds, Brass, and Percussion
Dr. Dustin Barr – Director of Wind Band Studies, University Wind Symphony, University Band
Jean Ferrandis – flute
Sycil Mathai* – trumpet
Dr. Gregory X. Whitmore
University Symphonic Winds conductor
Staff
Michael August – Production Manager
Eric Dries – Music Librarian
William Lemley – Audio Technician
Jeff Lewis – Audio Engineer
Chris Searight – Music Instrumental Services
Paul Shirts – Administrative Assistant
Elizabeth Williams – Business Manager
* denotes Area Coordinator
facebook.com/CSUFMusic instagram.com/CSUFMusic soundcloud.com/csufmusic music.fullerton.edu
A WELCOME FROM DR. RANDALL GOLDBERG | DIRECTOR
Greetings to all our colleagues at the College Band Directors National Association, Western/Northwestern Division Conference! Band music holds an essential place in every community, and I wish to thank the CBDNA for all the excellent work you do to promote this tradition throughout the United States and express my gratitude for giving our students the opportunity to perform at this year’s meeting.
In the School of Music at CSU Fullerton, we daily and collectively engage our creative humanity through our work as performers, composers, researchers, and teachers. Together we collaborate, inspire, discover, reflect, mentor, innovate, and create. Our faculty (21 full-time and 50 part-time) include Grammy winners, recipients of NEA grants, internationally acclaimed performers, composers, pedagogues, recording artists, and researchers. The School of Music offers all of its (nearly 350) music majors a range of musical experiences— wind symphony and symphonic band; opera, concert choirs, and jazz choruses; orchestra and chamber music, jazz big bands and combos, Latin jazz, new music ensemble, and all sorts of innovative diverse mixed ensembles. Among our ensembles’ recent accomplishments are tours to Europe, Asia, and Australia, world premieres, and first prizes in national festivals. This summer, our University Singers will be the first American choir to perform in Rwanda. And, today, our University Wind Symphony performs at the CBDNA Western/Northwestern Division Conference.
The School of Music strives to serve each individual student through their educational path. Degree programs include Bachelor of Arts degrees in music education, theory and music history, and Bachelor of Music degrees in performance, piano pedagogy, and composition, as well as Master of Music degrees in performance and composition, and Master of Arts degrees in music education, piano pedagogy, and music history and literature. Our Artist Diploma, a postbaccalaureate music performance study, is unique among the California State Universities.
The wind band tradition flourishes at CSUF: the University Wind Symphony, under the direction of Dr. Dustin Barr, performed at the 2019 College Band Directors National Association National Conference and the 2023 California All-State Music Education Conference, and our University Symphonic Winds were featured at the 2016 CBDNA Western/Northwestern Division Conference. The band program complements our thriving music education curriculum, which has mentored top educators in the state, including a 2023 California Teacher of the Year (CA, Dept. of Education). We are excited to share our music with you today, and I look forward to seeing the band tradition continue to thrive in the western states.
Sincerely,
Dr. Randall Goldberg Director, School of Music
CAL STATE FULLERTON UNIVERSITY WIND SYMPHONY
DUSTIN BARR, CONDUCTOR
College Band Directors National Association Western/Northwestern Division Conference
Friday, March 29, 2024, 7:30 pm
Las Vegas Academy of the Arts PROGRAM
La Silla (2023).........................................................................
Consortium Premiere Performance
Juan Pablo Contreras (b.1987)
Luminance (2023)
Consortium Premiere Performance
apricity (2023)................................................................................
I. if you suddenly and unexpectedly feel joy
II. joy is not made to be a crumb
Consortium Premiere Performance
Shuying Li (b.1989)
Hilary Purrington (b.1990)
Deciduous (2022)
Morning Star (1997)......................................................................
Viet Cuong (b.1990)
David Maslanka (1943-2017)
LA SILLA |
Juan Pablo Contreras
Juan Pablo Contreras (b. 1987, Guadalajara, Mexico) is a Latin GRAMMY®-nominated composer who combines Western classical and Mexican folk music in a single soundscape. His works have been performed by forty major orchestras around the world, including the National Symphony Orchestra (USA), the Extremadura Orchestra (Spain), the Jalisco Philharmonic (Mexico), the Córdoba Symphony (Argentina), the Medellín Philharmonic (Colombia), and the Simón Bolívar Symphony Orchestra of Venezuela. He is the winner of the 2023 Vilcek Prize for Creative Promise in Music and is celebrated as the first Mexican-born composer to sign a record deal with Universal Music, serve as Sound Investment Composer with Los Angeles Chamber Orchestra, and win the BMI William Schuman Prize.
Recently, Los Angeles Chamber Orchestra premiered his orchestral work Lucha Libre!, a musical battle between good and evil, featuring six soloists wearing luchador masks. Contreras also recently premiered MeChicano, a co-commission by Las Vegas Philharmonic, California Symphony, Louisiana Philharmonic, Tucson Symphony, Fresno Philharmonic, and Richmond Symphony, created in partnership with New Music USA’s Amplifying Voices Program. His orchestral music will be performed by the State of Mexico, Guanajuato, and Mineria orchestras in Mexico; the Phoenix Symphony and Berkeley Symphony. Contreras’ new arrangement of Mariachitlán, for wind ensemble, will be played by 20 wind bands in the United States.
Contreras has received commissions from Los Angeles Chamber Orchestra, Jalisco Philharmonic, The Riverside Choir, Carlos Prieto, and the Onix Ensamble. He has won awards including the Presser Music Award, the Jalisco Orchestral Composition Prize, the Brian Israel Prize, the Pi Kappa Lambda Award, the Arturo Márquez Composition Contest, the ASCAP Morton Gould Young Composer Award, the Dutch Harp Composition Contest, the Nicolas Flagello Award, and the Young Artist Fellowship of Mexico’s National Fund for Culture and the Arts. Contreras has also served as Composerin-Residence with Los Angeles Chamber Orchestra, the soundON Festival of Modern Music in San Diego, the Cactus Pear Music Festival in San Antonio, and at the Turtle Bay Music School and Concerts on the Slope in New York.
He holds degrees in composition from the University of Southern California (DMA), the Manhattan School of Music (MM), and the California Institute of the Arts (BFA). His most influential teachers include Richard Danielpour, Daniel Catán, Nils Vigeland,
Andrew Norman, and Donald Crockett. Contreras’ music has been recorded on Universal Music Mexico, Albany Records, Epsa Music, and Urtext Digital Classics. He lives in Los Angeles, and currently teaches orchestration and music theory at the USC Thornton School of Music.
Contreras offers the following remarks about his work on our program:
La Silla (The Saddle) was inspired by a horse racing event in Monterrey, as well as a natural 'saddle' (ridge) in the mountains nearby. A local ranch and this mountain feature share the La Silla name. The work features a bold fanfare and a lyrical theme, under the rhythmic excitement akin to riding on horseback. Originally written for orchestra, this Wind Ensemble version was co-commissioned by a consortium of ten wind bands.
LUMINANCE | Shuying Li
Praised by the Seattle Times as “a real talent” with “skillful orchestral writing, very colorful language and huge waves of sound,” Shuying Li is an award-winning composer who began her musical education in her native China. In her sophomore year at the Shanghai Conservatory of Music, she won a scholarship to continue her undergraduate studies at The Hartt School in Connecticut. She holds doctoral and master’s degrees from the University of Michigan and is a research faculty member at the Shanghai Conservatory of Music. A passionate educator, Shuying has taught and directed the Composition/Music Theory Program at Gonzaga University. She joined the faculty at California State University, Sacramento in Fall 2022.
Shuying Li’s compositions have been performed by Orpheus Chamber Orchestra, Seattle Symphony Orchestra, Boston Modern Orchestra Project, New Jersey Symphony Orchestra, Ningbo Symphony Orchestra (China), Alarm Will Sound Ensemble, American Lyric Theater, Argus Quartet, Four Corners Ensemble, Hartford Opera Theater, Composers Conference Ensemble, Donald Sinta Quartet, Norfolk Contemporary Ensemble, Women’s Wind Ensemble, Orkest de ereprijs (Netherlands), Avanti! Chamber Orchestra (Finland), ICon Arts Ensemble (Romania), Cecilia Quartet (Canada), 15.19. Ensemble (Italy), Ascanio Quartet (Italy), Atlas Ensemble (Netherlands), among others. Shuying has received awards or grants from OPERA America, China National Arts Fund, ASCAP/CBDNA Frederick Fennell Prize, The American Prize, International Antonin Dvorak Composition Competition, New Jersey Composers’ Guild Commission Competition, International Huang Zi Composition Competition, the Michigan Music
Teachers Association Commissioned Composer Competition, Melta International Composition Competition, etc.
A believer that music has the innate power to promote cultural diversity by connecting people through universally human passions and values, Shuying founded the Four Corners Ensemble in 2017. As Artistic Director and Conductor of the ensemble, Shuying’s efforts have led to residencies and performances at Carnegie Hall’s Weill Hall, the Polish Consulate General in New York City, OPERA America, the Shanghai Conservatory of Music, the University of Michigan, The Hartt School, and the Hartford Opera Theater. Shuying also pioneered the Operation Opera Festival in Ann Arbor, Michigan, and continued to build it into an annual festival for composers, vocalists, and pianists to collaborate on new chamber operas and chamber art songs. Four Corners’ debut album, World Map, a series of chamber concertos Shuying composed for the members, has received acclaim published in Gramophone, American Record Guide, Pizzicato, and Take Effect.
Recent or upcoming projects include performances by Orpheus Chamber Orchestra, Boston Modern Orchestra Project, Chelsea Symphony Orchestra, Chamber Music Society of Central Virginia; an opera commissioned by the Shanghai Conservatory of Music with librettist Julian Crouch in development with the Houston Grand Opera supported by OPERA America; an orchestra consortium commission by ten orchestras; and two band consortium commissions including a CBDNA West/Northwest Region “Bridgework” Commission. For more information, please visit http://www.shuyingli. com.
Regarding Luminance, Li writes:
Luminance explores the interplay between light and darkness both musically and thematically. Inspired by the concept of "luminance," this work seeks to evoke a sense of radiance and brilliance through its music.
At its core, Luminance addresses issues relevant to contemporary society. By exploring themes of hope and despair, inclusion and exclusion, and power and powerlessness, the piece seeks to provide a platform for reflection and conversation. Through its use of evocative tonalities and dynamic contrasts, Luminance aims to invite audiences to find strength in moments of darkness and embrace the light within themselves.
“Luminance” was commissioned by a consortium of 42 college bands led by Andy Collinsworth at Sonoma State University and Thomas Seddon at Washburn University.
APRICITY | Hilary Purrington
Hilary Purrington is a living composer of chamber, vocal, and orchestral music. Her work has received recognition from the American Academy of Arts and Letters; the American Society of Composers, Authors, and Publishers (ASCAP); the International Alliance for Women in Music; and the National Federation of Music Clubs (NFMC), among others.
Purrington’s orchestral and chamber works have been performed by many distinguished ensembles, including the Atlanta Symphony Orchestra, American Modern
Ensemble, and the Chicago Harp Quartet. Her orchestral work Likely Pictures in Haphazard Sky, premiered by the Yale Philharmonia, has been read by the Philadelphia and American Composers Orchestras and performed by the Minnesota Orchestra and the Phoenix Symphony, among many others. Recent commissions include new works for the Juilliard Orchestra, New York Youth Symphony, American Composers Orchestra, the Philadelphia Orchestra, and the River Oaks Chamber Orchestra. For the 2018–19 season, Purrington was named the Sioux City Symphony Orchestra's Composer of the Year and served as composer-in-residence for the Musical Chairs Chamber Ensemble. She is a 2020 recipient of an orchestral commission from the League of American Orchestra's Women Composers Readings and Commissions program, supported by the Virginia B. Toulmin Foundation.
Purrington has also composed several works for dance. In 2018, the Albany Symphony commissioned Patterns, a new work for chamber orchestra. Inspired by the life of fashion arbiter Ellen Louise Demorest, the piece featured the Albany Berkshire Ballet with choreography by Mary Talmi. Purrington also participated in Periapsis Music and Dance’s Emerging Artist Residencies and created a new work with choreographer Annalee Traylor, which premiered in May 2019. While attending The Juilliard School, Purrington collaborated with choreographer Stephanie Terasaki to create a new work for brass quartet and dance.
Also an accomplished vocalist, Purrington has developed a reputation as a skilled composer of solo and choral music. Her song For your judicious and pious consideration was premiered by mezzo-soprano Adele Grabowsky on the 2016 NY Phil Biennial’s New Music New Haven concert. In 2015, the Eric Stokes Fund commissioned Purrington to compose a new song cycle about the devastating effects of climate change. The resulting work, A Clarion Call, was premiered at the 2017 Conference for Ecology and Religion hosted by the Yale Divinity School. Recent vocal commissions include new works for the Melodia Women’s Choir of NYC, Yale Glee Club, Young New Yorkers' Chorus, and C4: The Choral Composer/Conductor Collective. She recently completed a new opera for New Camerata Opera, created in collaboration with librettist Hannah McDermott and animation studio Catarata. In 2022, mezzo-soprano Sasha Cooke's album how do i find you, which includes Purrington's art song That Night, received a GRAMMY nomination for Best Classical Solo Vocal Album. Most recently, Purrington's treble choir work Stars like goldfish won the Young New Yorkers' Chorus 2023 Competition for Young Composers.
A versatile collaborator, Purrington worked with children’s author Mo Willems to compose an original piece that appeared in the book Because (Hyperion Books for Children, 2019). Illustrated by artist Amber Ren, Because tells the story of a young girl who devotes herself to studying music and grows up to become a professional conductor and composer. The book reached The New York Times’ Best-Seller List and continues to charm and inspire young readers across the world.
Originally from western Massachusetts, Purrington lives and works in New Orleans, Louisiana. She holds degrees from the Yale School of Music, The Juilliard School, and the Shepherd School of Music at Rice University.
Purrington offers the following remarks about her new work for wind band:
apricity is a jubilant and vivid two-movement work for wind ensemble. The title is a now-archaic word that describes the warmth of sunshine during winter. This sensation, which looks ahead to springtime renewal and fairer weather, struck me as a poignant moment of joy and optimism. Taking inspiration from the poem "Don't Hesitate" by Mary Oliver, the movements’ titles—“If you suddenly and unexpectedly feel joy” and “Joy is not made to be a crumb”—expand on this idea of seizing and savoring joys, especially the small and unexpected.
The first movement, “If you suddenly and unexpectedly feel joy,” opens with a clamorous motive that alternates with moments of resonance. A meandering melody, played by the piccolo, emerges during these resonant pauses. While the piccolo’s winding tune develops and reappears throughout the movement, the opening clamorous motive stretches into a defined melody that first appears in a soulful oboe solo. These two melodies—one quick-moving and meandering, and the other lyrical and expressive—alternate and return. At the first movement’s high point, the two melodies coincide: the high woodwinds sing out a lyrical melody in the foreground while the Bb clarinets play the meandering melody in the background. The movement ends with a reference to the work’s fragmented opening music and a final solo exploration of the lyrical melodic material.
The sprightly second movement, “Joy is not made to be a crumb,” opens similarly to the first: a gestural motive alternates with moments of rest and resonance, but the music’s lighthearted character is markedly different from the first movement. This lively motive expands in range and gathers force, eventually tumbling into a peaceful, contemplative passage featuring an emotive trombone solo. An emerging brass chorale swells and develops, eventually bringing the work to a joyful and resolute climax. The final measures recall the movement’s opening materials, now sounding against a shimmering veil of sound.
DECIDUOUS | Viet Cuong
The “alluring” (The New York Times), “arresting” (Gramophone), “irresistible” (San Francisco Chronicle), and “exhilarating” (Chicago Tribune) music of VietnameseAmerican composer Viet Cuong (b. 1990) has been commissioned and performed on six continents by musicians and ensembles such as the New York Philharmonic, Eighth Blackbird, Saint Paul Chamber Orchestra, Sō Percussion, Alarm Will Sound, Atlanta Symphony, Sandbox Percussion, Albany Symphony, PRISM Quartet, and Dallas Winds, among many others. Cuong’s music has been featured in venues such as Carnegie Hall, Lincoln Center, the Kennedy Center, National Gallery of Art, and Library of Congress,
and his works for wind ensemble have amassed several hundreds of performances worldwide, including at Midwest, WASBE, and CBDNA conferences.
In his music Cuong enjoys exploring the unexpected and whimsical, and he is often drawn to projects where he can make peculiar combinations and sounds feel enchanting or oddly satisfying. His notable works thus include concerti for tuba and dueling oboes, percussion quartets utilizing wine glasses and sandpaper, and pieces for double reed sextet, cello octet, and solo snare drum. This eclecticism extends to the variety of musical groups he writes for, and he has worked closely with ensembles ranging from middle school bands to Grammy-winning orchestras and chamber ensembles. His wind ensemble works are widely performed, having been programmed by the world’s preeminent wind bands such as the Dallas Winds and military bands including the United States Navy Band, “President’s Own” Marine Band, “Pershing’s Own” Army Band, Army Field Band, Coast Guard Band, and Air Force Band. These works have also been performed by the top wind ensembles at academic institutions such as the University of Texas at Austin, University of Michigan, University of North Texas, Louisiana State University, University of Miami, and Michigan State University. Passionate about bringing all these different facets of the contemporary music community together, his recent works include Vital Sines, a concerto for Eighth Blackbird and the United States Navy Band, and Re(new)al, a concerto for percussion quartet with a variety of ensemble accompaniments.
Cuong is the Pacific Symphony’s current Composer-in-Residence, and from 2020-23 was the California Symphony’s Young American Composer-in-Residence. He has held artist residencies at Copland House, Yaddo, Ucross, the Atlantic Center for the Arts, and at Dumbarton Oaks, where he served as the 2020 Early-Career Musician-in-Residence. His music has been awarded the Barlow Prize, William D. Revelli Prize, Frederick Fennell Prize, Walter Beeler Memorial Prize, Barlow Endowment Commission, ASCAP Morton Gould Composers Award, Theodore Presser Foundation Award, Suzanne and Lee Ettelson Composers Award, Cortona Prize, New York Youth Symphony First Music Commission, and Boston GuitarFest Composition Prize.
Cuong serves as Assistant Professor of Music Composition and Theory the University of Nevada, Las Vegas, where he teaches composition, orchestration, and music theory. He holds degrees in music composition from Princeton University (MFA/PhD), the Curtis Institute of Music (Artist Diploma), and the Peabody Conservatory (BM/MM). His mentors
include Jennifer Higdon, David Serkin Ludwig, Donnacha Dennehy, Steve Mackey, Dan Trueman, Dmitri Tymoczko, Kevin Puts, and Oscar Bettison. During his studies, he held the Daniel W. Dietrich II Composition Fellowship at Curtis, Naumburg and Roger Sessions Fellowships at Princeton, and Evergreen House Foundation scholarship at Peabody, where he was also awarded the Peabody Alumni Award (the Valedictorian honor) and Gustav Klemm Award. A scholarship student at the Aspen, Bowdoin, and Lake Champlain music festivals, Cuong has been a fellow at the Orchestra of St. Luke’s DeGaetano Institute, Minnesota Orchestra Composers Institute, Mizzou International Composers Festival, Eighth Blackbird Creative Lab, Cabrillo Festival’s Young Composer Workshop, Cortona Sessions, and Copland House’s CULTIVATE workshop.
Regarding his 2023 NBA/William D. Revelli Composition Award-winning Deciduous, the composer writes:
For a long time after my father passed away, I felt like I had “lost my leaves.” In the ways that leaves harness light to create energy for trees and plants, I felt like I had so little left to harness creatively. Many days, I feared those leaves would never grow back. After struggling for months to write, I finally found some healing while creating Deciduous. This involved revisiting chord progressions that brought me solace as a child and activating them in textures that I have enjoyed exploring as an adult. The piece cycles through these chord progressions, building to a moment where it’s stripped of everything and must find a way to renew itself. While I continue to struggle with this loss, I have come to understand that healing is not as much of a linear process as it is a cyclical journey, where, without fail, every leafless winter is followed by a spring.
MORNING STAR | David Maslanka
David Maslanka was born in New Bedford, Massachusetts in 1943. He attended the Oberlin College Conservatory where he studied composition with Joseph Wood. He spent a year at the Mozarteum in Salzburg, Austria, and did masters and doctoral study in composition at Michigan State University where his principal teacher was H. Owen Reed.
Maslanka’s music for winds has become especially well-known. Among his more than 150 works are over 50 pieces for wind ensemble, including eight symphonies, seventeen concertos, a Mass, and many concert pieces. His chamber music includes four wind quintets, five saxophone quartets, and many works for solo instrument and piano. In addition, he has written a variety of orchestral and choral pieces.
David Maslanka’s compositions are published by Maslanka Press, Carl Fischer, Kjos Music, Marimba Productions, and OU Percussion Press. They have been recorded on Albany, Reference Recordings, BIS (Sweden), Naxos, Cambria, CRI, Mark, Novisse, AUR, Cafua (Japan), Brain Music (Japan), Barking Dog, and Klavier labels. He served on the faculties of the State University of New York at Geneseo, Sarah Lawrence College, New York University, and Kingsborough Community College of the City University of New York, and was a freelance composer in Missoula, Montana from 1990 until his death in 2017.
Morning Star was commissioned by the Grand Ledge (Michigan) High School Wind Symphony, Michael Kaufman, conductor, and premiered by them in May of 1997. Mike asked me to write a piece for the inauguration of the new concert hall being built at Grand Ledge High. Well, the hall wasn’t finished, and the piece was premiered in the old gym – the gymnauseum as it was called – and we had a good time anyway.
Morning Star was a surprise to me. In planning for the piece I came up with a great many ideas – enough for three or four pieces. When it came time to compose the piece, I suddenly discarded all of that material and went with a little tune that came to mind. The result is a happy piece, a concept which does not usually attach itself to my music.
Morning Star is about beginnings: the dawning of a new day, the opening of a new hall, the beginning of adult life for the young people who premiered the piece, and for those who are playing it now.
Maslanka offered the following remarks about his Morning Star:
ABOUT THE CONDUCTOR
DR. DUSTIN BARR
Dr. Dustin Barr is Director of Wind Studies and Associate Professor of Music at California State University, Fullerton where he actively manages all aspects of the university’s comprehensive band program, conducts the University Wind Symphony and University Band, oversees the graduate wind conducting program, and teaches courses in conducting and music education. Prior experiences include appointments as Assistant Director of Bands at Michigan State University, Director of Bands at Mt. San Antonio College, and Assistant Director of Bands at Esperanza High School in Anaheim, California.
Barr’s research includes working extensively with theatre director Jerald Schwiebert on the melding of performance theory with various movement theories and disciplines to establish innovative pedagogical approaches to teaching conducting. Their coauthored text, Expressive Conducting: Movement and Performance Theory for Conductors, was published by Routledge in 2018. This work has made Barr a highly regarded pedagogue in the field of conducting. He has given numerous masterclasses throughout the USA and in Spain. Furthermore, his research on Scandinavian music for chamber wind ensembles has produced published performance editions of Asger Lund Christiansen’s Octet, op. 43 and Svend Schultz’s Divertimento for Wind Octet.
Barr is a recipient of numerous accolades for his conducting and scholarly work. A signal honor was the CSUF University Wind Symphony’s invitation to perform at the 2019 National Conference of the College Band Directors National Association. The ensemble also recently appeared as the headlining collegiate wind band at the 2023 California All-State Music Education Conference. The University Wind Symphony’s 2022 album Effigy is another noteworthy achievement. This album features the music of composer Brian Baumbusch and was the result of innovative musical practices and remote recording projects undertaken during the Covid-19 pandemic. Barr has been a guest conductor of prominent ensembles like the United States Army Band “Pershing’s Own,” is a winner of the American Prize’s Ernst Bacon Award for the Performance of American Music, a finalist for the American Prize in conducting, a Rackham Merit Fellow at the University of Michigan, and he was recognized as one of the nation’s preeminent young conductors as part of the 2010 National Band Association’s Young Conductor Mentor Project.
Barr holds a Doctor of Musical Arts in conducting from the University of Michigan. He received his Master of Music degree and Bachelor of Music degree from California State University, Fullerton. His principal conducting mentors include Michael Haithcock and Mitchell Fennell.
CAL STATE FULLERTON UNIVERSITY WIND SYMPHONY
DUSTIN BARR, CONDUCTOR
FLUTE/PICCOLO
DANIELLA ARDITTI
BM Performance San Diego, CA
ANTHONY ALCAIN
Artist Diploma Las Vegas, NV
JOEL CHARBONEAU
BM Performance La Habra, CA
CRYSTAL LEE
MM Performance Los Angeles, CA
OBOE
ISSAC CHYUN
MM Performance La Palma, CA
LUKE DODSON
BA Music Education Semi Valley, CA
JOHNSTON NGUYEN
MM Wind Conducting Anaheim, CA
CLARINET
GRIGORII AVETISIAN
MM Performance SaintPetersburg,Russia
RODNEY BORG
Business Administration San Diego, CA
DANIEL HERNANDEZ
BM Performance Salinas, CA
JAMES NGUYEN
BM Performance Anaheim, CA
MANAMI OGURA
BM Performance Tokyo, Japan
JOSIAH SANCHEZ
BM Performance Whittier, CA
TOMOYA SANO
BM Performance San Diego, CA
BASS CLARINET MONSERRAT RODRIGUEZ
BA Music Education Los Angeles, CA
BASSOON
THERESA HARVEY^
BA Music Education Fullerton, CA
EMMA JOHNSON MIRANDA
MM Wind Conducting Katy, TX
SAXOPHONE
JULIO EMMANUEL HERNANDEZ
BM Performance & BS
Computer Engineering Santa Ana, CA
JOSHUA EMANUEL LOPEZ
BM Performance Monterey Park, CA
KIMBERLY OROZCO
BM Performance Desert Hot Springs, CA
SAM TOBILLA
BM Performance Eastvale, CA
COLIN WARD
MM Performance Whittier, CA
TRUMPET
TREVOR CANNON
BM Performance Hesperia, CA
CHRISTIAN PEREZ
BA Music Education Whittier, CA
ALEX SANTIAGO
BM Performance Hesperia CA
TAYLOR SHIRLEY
BA Music Education Fullerton, CA
SUSANNA SUN
BM Performance
Arroyo Grande, CA
HORN ALEXANDER DELPERDANG
BM Performance Redondo Beach, CA
JEFFREY GUMPERTZ^
MM Performance
Running Springs, CA
GRANT LAREN
BM Performance Oceanside, CA
TIMOTHY MOY^
MM Performance Torrance, CA
TROMBONE
ZAK BREWER
BA Music Education Glendora, CA
BRYAN MELCHOR DELGADO
BM Performance Los Angeles, CA
ASHLEY KOCOUR
BM Performance
Palm Desert, CA
BASS TROMBONE
CARLO BONELLI
BM Performance Norwalk, CA
EUPHONIUM
DYLAN BARNUM
BM Performance Perris, CA
CHRIS ZAVALA
BA Music Education Santa Ana, CA
TUBA
EDDIE BONILLA
BM Performance Lomita, CA
CODY KLEINHANS
BM Performance Long Beach, CA
MIGUEL JIMENEZ MALDONADO
BA Music Education Anaheim, CA
PERCUSSION ANDREW ALVIDREZ
BM Performance Pomona, CA
WILSON LE
BM Composition Garden Grove, CA
SALVADOR MONTAÑO JR.
BM Performance Hesperia, CA
GALADRIEL POKRACKI
BM Composition Tustin, CA
JESUS SANTAMARIA
BA Music Education Santa Ana, CA
JOHN SUNDERMAN
BA Music–Liberal Arts El Monte, CA
JACOB WETZEL
BA Music Education Burbank, CA
PIANO
HAOSEN WANG
BM Performance China
MUSI LIBRARIAN/ ENSEMBLE MANAGERS
DANIEL CASTELLANOS
MM Wind Conducting Fontana, CA
EMMA JOHNSON MIRANDA
MM Wind Conducting Katy, TX
JOHNSTON NGUYEN
MM Wind Conducting Anaheim, CA
^ alumnus
