May 1, 2024
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
Welcome to the Spring 2024 Performing Arts Season at Cal State Fullerton’s College of the Arts. Whether you are a first-time or long-time patron, a friend, or parent to one of our exceptional students, thank you for joining us. Your support makes all the difference to their success.
I am pleased to present another semester of programming powered by the incredible gifts of our Art, Dance, Music, and Theatre students. This spring, the School of Music starts the season with a trio of concerts February 16–18 by artists-in-residence Talich Quartet; faculty artist Damon Zick and his Quarteto Nuevo featuring fellow faculty artist Bill Cunliffe; and University Symphony Orchestra. In May, University Symphony Orchestra and Symphonic Chorus will close the concert season with a performance of Mozart’s emotionally charged “Requiem.” Begovich Gallery presents the Begovich Visual Arts Lecture Series with visiting artists’ talks throughout the semester, including multidisciplinary artist Hings Lim on February 22, whose work will also be exhibited at Grand Central Art Center. The Department of Theatre and Dance begins their season in March with “Marisol,” a darkly comedic fantasy where the title character must find hope in a post-apocalyptic Brooklyn where angels are taking up arms and coffee is extinct. Hilarious, multiple Tony award-winning modern musical send-up “Urinetown” closes the theatre season just as CSUF’s dancers and choreographers take to the stage for “Spring Dance Theatre.”
When our students demonstrate their talents on stage and in the studio, their creative energy is undeniable, but the sacrifice and struggle it took to get there is often less perceptible. We can’t see the hours spent creating, the days of rehearsals, and the years of practice. For many students, the sparks of innovation and artistry that drove them to pursue the arts are often diminished by the high cost of an education. The Dean’s Fund for Excellence provides support for students in need through scholarships, artist residencies, and other financial assistance, ensuring them the opportunity to thrive in the arts. If you believe in their sparks of brilliance, please consider a donation of any amount to the Dean’s Fund for Excellence.
Thank you again for joining us this season and for championing the arts in higher education. I hope to see you at one of the college’s many performances and events this spring.
Sincerely,
Arnold Holland, EdD Dean, College of the Arts
SCAN THIS QR DONATE TODAY TO THE DEAN’S FUND FOR EXCELLENCE
PROGRAM
Approaches and Departures (1995) (from Four Meditations)...................
Pauline Oliveros
My Heart is in the Highlands (2000) Arvo Pärt arr. Lucas Edwards
Buffalo Jam (1982)...................................................................................
Stay On It (1973) .......................................................................................
Dr. Robert (1966) ........................................................ John Lennon and Paul McCartney arr.
Pauline Oliveros
Julius Eastman
Emerson Kimble
PROGRAM NOTES
Approaches and Departures (1995) (from Four Meditations) PAULINE OLIVEROS
Each of the four Meditations for Orchestra has been performed in versions for voices or smaller instrumental ensembles. There is no conventional notation used. The score consists of recipe-like instructions which are the same for each player. Each performer is responsible for their own part within the guidelines given. Since there is no written part to watch, all the performers’ attention can be given to sound and invention. Each meditation has a specific focus.
In Approaches and Departures, each player carries a specific pitch which is expressed or implied. Each player invents musical approaches and departures to their specific pitch.
The score contains the following text to be chanted or sung using neighboring tones to emphasize selected words
Who Night and the owl’s calling. While sleeping in the guest room the guest arrives.
Dreaming I Am Dreaming I am inside the places that I am Always knowing more than after or before.
Moon Swallow Sun Bee
Moon swallow in my hair
Sun bee buzzing
Moon buzzing swallows my hair
Sun be
Le Voyage
Faire un voyage dans le rève—
être le rève—
rèver d’être—
être le voyage voyager être
Moon Chant
Be who you are
Be who You Are I am who I am I am who I am I am who you Are
Sun be
Composer Pauline Oliveros was born in Houston, Texas and has taught at Mills College, the University of California, San Diego, Oberlin, and Rensselaer Polytechnic Institute. Since the 1960s she has influenced American music profoundly through her work with improvisation, meditation, electronic music, myth and ritual. She is the founder of “Deep
Listening,” which comes from her childhood fascination with sounds and from her works in concert music with composition, improvisation and electro-acoustics. Oliveros describes Deep Listening as a way of listening in every possible way to everything possible to hear no matter what you are doing. John Cage said, “Through Pauline Oliveros and Deep Listening I now know what harmony is. It’s about the pleasure of making music.” In the last few years, there have been major releases of Oliveros’ works in both recording and in score form; in 2012, Important Records released a 12-CD box set of Oliveros’ works, Reverberations: Tape & Electronic Music 1961- 1970, and late in 2013, Oliveros published an anthology of her text scores. In November 2014 the New Music Ensemble gave the world premiere of Oliveros’ work Sound Listening, which was commissioned by the ensemble.
My Heart is in the Highlands (2000) ARVO
PÄRT, ARR. LUCAS EDWARDS
Originally scored for countertenor and organ, this arrangement features two voices with the ensemble. A poem by Scottish poet Robert Burns has been conveyed in the contertenor part in syllabic singing on a single note. The static vocal part has been compensated for with a fairly dynamic organ part, which shows each note of the vocal part in a new harmonious colouration. This version of the work is arranged by
CSUF New Music Ensemble member, Lucas Edwards.
“My heart’s in the Highlands, my heart is not here, My heart’s in the Highlands, a-chasing the deer; Chasing the wilddeer, and following the roe, My heart’s in the Highlands, wherever I go”
Arvo Pärt (1935-) is an Estonian composer who developed a style based on the slow modulation of sounds such as those produced by bells and pure voice tones, a technique reminiscent of the medieval NotreDame school and the sacred music of Eastern Orthodox.
Buffalo Jam PAULINE OLIVEROS
February 15, 1982 Amtrak to Buffalo, New York
Buffalo Jam guidelines for performances are as follows: Mode G A B C C# D E F# G
1. Fast stepwise motion always present for at least one player. Groups of three to five notes weaving around a centering tone in patterns
PROGRAM NOTES
and permutations. Occasionally more compass or notes. Like a fast moving stream. Rushing, dwindling, but ceaseless. Most always hearing the other players. Sometimes leading, sometimes lagging. Dynamically generally play lightly, smoothly, quietly but intensely. Work for transparency.
2. Sometimes make hard accents, like rushing water hitting or smacking a rock. Listen for others’ accents. Sometimes an accent riff will develop as a group pattern. Play with it. Keep it going. Let it go.
3. Pedal tones always present. Join them, blend with them. Articulate them as rhythmic riffs, or as dynamic shapes.
4. Silence unless no one else is playing.
5. The dynamic level should be soft generally, but with intense dynamic development as players weave in and out of the four given possibilities.
6. When appropriate, players should be distributed throughout the space. Where possible, players should turn and move slowly, directing their sounds to different parts of the space.
Stay On It (1973)
JULIUS EASTMAN
Stay On It, composed in 1973, has become perhaps Eastman’s most popular work… Owing to structured improvisation and varying possibilities of instrumentation, no two performances are alike, and the work is credited as one of the first to use pop tonal progressions and free improvisation in an “art” context. Eastman’s program note for Stay On It consists of the following poem:
Com’ on now baby, stay on it. Change this thread on which we move From invisible to hardly tangible.
With you movin and groovin on it, Making me feel fine as wine, I don’t have to find the MEANING, Because you will have filled in his most invisible and intangible Majesty’s place; But only if you stay on it. You Dig Although his majesty does stay with it, He can’t stay on it. (Does that move you?)
Ties that move and brek, Disappear, and return again, are not ties that stay on it. They are sometimy bonds. These bonds cause Screens like the Edge of Night, with Ivory sno liquid to appear.
This is why baby cakes, I’m ringing you up In order to relay this song message So that you can get the feelin’, O sweet boy Because without the movin and the groovin,
The carin and the sharin, The reelin and the feelin, I mean really.
Instrumentation is open, although traditionally voice(s), piano, and mallet percussion have been a part of most performances.The ‘chordal’ part (Main Theme) may be played by the piano and/or mallet percussion. Alternatively, players of singleline instruments may choose to play one of the lines in the Main Theme that falls in a register that is comfortable and will lend itself to balance within the ensemble. Players may choose to play and repeat the layered cells at their own discretion.It is possible to move between the chordal and layered elements, but the Themes must be repeated throughout each section by at least one player. Each element (Theme, Cells) may be repeated ad lib. Cues to move to each next section may be visual, or a pre-determined musical cue.The piece may begin with the poem [included in the performance scores]. Optionally, the players may choose to improvise using materials from the main body of the composition.
Julius Eastman (1940-1990) was a composer, conductor, singer, pianist, and choreographer. A singular figure in New York City’s downtown scene of the 1970s and 80s, he also performed at Lincoln Center with Pierre Boulez and the New York Philharmonic, and recorded music by Arthur Russell, Morton Feldman, Peter Maxwell Davies, and Meredith Monk. “What I am trying to achieve is to be what I am to the fullest,” he said in 1976. “Black to the fullest, a musician to the fullest, a homosexual to the fullest.” His work is associated with musical minimalism. He was among the first composers to combine minimalist processes with elements of pop music, and involve experimental methods of extending and modifying music in creating what he called “organic music.”
Doctor Robert (1966)
JOHN LENNON AND PAUL MCCARTNEY, ARR. EMERSON KIMBLE
Doctor Robert, a song by the Beatles, was released on the Revolver album in 1966. According to musicologist Walter Everett, the lyrics to Doctor Robert “contained the most overt drug references of any published Beatles song” up to 1966, and he adds that in their recording of the song, the band “found musical ways to portray the doctor as a saint.” The character is in keeping with the idea of a “Dr. Feelgood,” a physician who prescribed drugs such as amphetamines under the guise of legitimate medical practice. In this version, Emerson Kimble has arranged the work for the CSUF New Music Ensemble.
CSUF New Music Ensemble, under the direction of Pamela Madsen and Eric Dries focuses on the instruction in the techniques of contemporary concert music, and preparation of performances of contemporary instrumental, vocal, improvisational and electroacoustic music literature from the Twentieth and Twenty-First Centuries. We study and perform a wide range of repertoire from the contemporary period: from, experimental, atonal, to extended tonal, minimalism, post-minimalism, post-modernism to multi-media collaboration, film music, deep listening and improvisational forms to explore both the repertoire and performance practice in New Music. As part of the New Music Series we work with guest composers, performers and perform with contemporary New Music Ensembles. Chosen by Los Angeles Audience Choice Award as the Best New Music Ensemble in 2022, we have worked with guest ensembles Los Angeles based Brightwork newmusic, Stacey Fraser, HEX Vocal Ensemble and guest artists Jean Ferrandis, and Dominique Williencourt last season.. This season we will work with guest artists: Hub newmusic, Brightwork new music, loadbang, Nicholas Isherwood, Galan Trio and Hex Vocal Ensemble.
Pamela Madsen and Eric Dries, directors
Jessica Harabedian, soprano
Lucas Edwards, baritone
Owen Wells, clarinet and bass clarinet
Jason Callaghan, trumpet
Emerson Kimble, trumpet and electric bass
Jessica Lewis, cello
Ivan Parga-Renteria, guitar
Manuel Laverde, keyboard
Aydin Luna, piano
Wilson Le, percussion
CSUF NEW MUSIC ENSEMBLE
ABOUT THE DIRECTORS
Pamela Madsen
Pamela Madsen is a composer, performer, theorist, writer and curator of new music. From massive immersive concertlength projects, solo works, chamber music to multi-media opera collaborations her work focuses on issues of social change, exploration of image, music, text and the environment. With a Ph.D. in Music Composition from UCSD, studies with Brian Ferneyhough, Mellon Foundation Doctoral Research Award in theory at Yale University, Post- Doctoral research in Music Technology at IRCAM, Paris, and Deep Listening Certificate with Pauline Oliveros, her creative projects and research focuses on the evolution of compositional thought, improvisation, electronic music, and women in music. Madsen’s works have been commissioned and premiered worldwide by such artists as Los Angeles Percussion Quartet, Brightwork newmusic, ModernMedieval, Moscow Contemporary Music Ensemble, Tony Arnold, Nicholas Isherwood, Stacey Fraser, Claire Chase, Jane Rigler, Anne LaBerge, Brian Walsh, Lisa Moore, Vicki Ray, Aron Kallay, Bugallo-Williams Piano Duo, Ashley Bathgate, Trio Solisti, New York New Music Ensemble, Either/Or, yesaroun’ duo, California Ear Unit, Verdehr Trio, Zeitgeist, JACK, Ethel, Lyris, Formalist and Arditti string quartets with multi- media collaborations with visual artists Quintan Ana Wikswo, Camille Seaman, Jimena Sarno and Judy Chicago.
Major concert-length projects include Madsen’s Opera America and National Endowment for the Arts Funded Opera: Why Women Went West, National Endowment for the Arts and New Music USA supported Oratorio for the Earth; Luminous Etudes: Visions of the Black Madonna of Montserrat; Luminosity: Passions of Marie Curie multi-media opera; Melting Away: Gravity for orchestra, with Arctic photographer Camille Seaman; We are All Sibyls-Envisioning the Future Project multi-media opera installation with visual artist Judy Chicago. Selected as Huntington Library Mellon Research Fellow, Alpert Award Panelist, Creative Capital artist “on the radar” with awards from Opera America, National Endowment for the Arts, New Music USA, Meet the Composer, American Scandinavian Foundation, artist residency fellowships at MacDowell Colony, UCross, Wyoming, Women’s International Studies Center, New Mexico, Wurlitzer Foundation Award, with international Russia/Siberia Concert tour, featured composer at Pulsar Festival, Denmark, she is a frequent guest artist at festivals and universities worldwide. She is Director of the Annual New Music Festival, InterArts Collaborative Projects at Cal State Fullerton where she is Professor of Music Composition, Music Theory and Director of the New Music Ensemble.
Eric Dries
Eric Dries is a pianist, improviser, composer and educator who explores the innovative fields between traditional jazz, free improvisation, and contemporary classical music. His work explores a wide range of stylistic practices from jazz and contemporary music worlds in diverse performance situations. Dries is interested in expanding experimental ideas while honoring the fundamental tenets of the jazz tradition. His solo piano performances reinterpret and invigorate the tradition of jazz standards with a foundation of rhythmic experimentation and harmonic and melodic expansion. Dries has performed and recorded with some of the top studio and freelance musicians in southern California where he is in high demand at high profile performance venues, and jazz festivals. Dries early notated compositional works explore virtuosic solo instrumental experimentation and unusually orchestrated chamber ensemble combinations. His current compositional work combines the rigor of compositional technique with improvised frameworks of traditional jazz and experimentalism of new music to create systems of group dynamics that encourage performer-composer collaboration and new sonic exploration in each performance. He holds a Ph.D. in Composition and M.A. in Music Theory from University of California San Diego, where he studied with Rand Steiger, George Lewis, Anthony Davis, Roger Reynolds and Brian Ferneyhough, with post-doctoral studies and research in Music Technology at IRCAM. He studied jazz improvisation and composition with bassist Richard Davis and saxophonist Les Thimmig at University of Wisconsin Madison where he received his BM in Music Composition, studying with Stephen Dembski. Dries currently is a Lecturer in Music composition, theory, jazz, and music technology at California State University Fullerton School of Music.
Talich Quartet
February 16 • Meng Concert Hall
Quarteto Nuevo
February 17 • Meng Concert Hall
University Symphony Orchestra with Talich Quartet
February 18 • Meng Concert Hall
Brightwork Newmusic
February 22 • Meng Concert Hall
University Symphony Orchestra feat. Joseph Loi, flute
February 25 • Meng Concert Hall
loadbang*
February 27 • Meng Concert Hall
Advanced Vocal Workshop
feat. Michael Schütze, piano
February 29 • Recital Hall
Fabian Ziegler, percussion
March 6 • Meng Concert Hall
Enrico Elisi, piano
March 7 • Meng Concert Hall
Marisol
March 8– 23 • Little Theatre
Fullerton Jazz Orchestra & Fullerton Jazz Chamber Ensemble
March 8 • Meng Concert Hall
Enrico Elisi & Mengyang Pan, duo piano
March 10 • Meng Concert Hall
Alumni Piano Recital
March 14 • Meng Concert Hall
17th Annual Collage Concert
March 16 • Meng Concert Hall
Accidentally on Purpose
March 22– 30 • Hallberg Theatre
University Singers & Concert Choir
March 24 • Meng Concert Hall
Brightwork newmusic*
March 26 • Meng Concert Hall
Minsoo Sohn, piano
March 27 • Meng Concert Hall
Ernest Salem & Hasse Borup, violins
March 28 • Meng Concert Hall
Nicholas Isherwood, bass/baritone*
April 9 • Meng Concert Hall
Gabriel Bianco, guitar
April 10 • Meng Concert Hall
Urinetown the Musical
April 12– 27 • Young Theatre
High School Honor Band & CSUF Wind Chamber Ensembles
April 13 • Meng Concert Hall
CSUF New Music Ensemble & Contemporary Chamber Ensemble
April 17 • Meng Concert Hall
Monteverdi’s The Coronation of Poppea
April 18–21 • Recital Hall
CSUF Symphonic Winds
April 21 • Meng Concert Hall
Fullerton Jazz Chamber Ensemble & Fullerton Latin Ensemble
April 23 • Meng Concert Hall
University Band
May 1 • Meng Concert Hall
Spring Dance Theatre
May 2–11 • Little Theatre
Fullerton Jazz Orchestra
May 3 • Meng Concert Hall
University Wind Symphony
May 4 • Meng Concert Hall
Jazz Singers
May 6 • Meng Concert Hall
Titan Voices & Singing Titans
May 8 • Meng Concert Hall
Symphony Orchestra & Symphonic Chorus Mozart’s “Requiem”
May 11 • Meng Concert Hall
COLLEGE OF THE ARTS • SELECT EVENTS | SPRING 2024 For Studio Series productions, free events, and complete information, visit/call (657) 278-3371 • arts.fullerton.edu/calendar • artstickets.fullerton.edu
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$100,000 - $999,000
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$25,000 - $99,999
Lee Begovich
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Sallie Mitchell Revocable Trust
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$10,000-$24,999
Apple Inc.
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EMC Associates, Ltd
Ellen M. and William A. Groves
Kathleen A. Hein
J. P. Morgan Charitable Giving Fund
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Dr. Kristin K. Stang & Dr.Gordon P. Capp
Jeffrey A. Stang & Lisa
McDaniel Stang
$5,000-$9,999
Boeing North American Fitness Inc.
Steven Caulk
Continuing Life LLC
Morningside of Fullerton
Fidelity Charitable Gift Fund
Anonymous
Friends of Jazz, Inc
Leslie Garman
Dr. Margaret Faulwell Gordon
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DONOR APPLAUSE
Jill Kurti Norman
Norma L. Morris
Bettina Murphy
Dwight Richard Odle Foundation
Orange County Community Foundation
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Schwab Charitable Fund
Barbara Thompson
$1,000-$4,999
John A. Alexander
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Broadway Arts Studio
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CMC
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Anonymous
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Janet L. Smith
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Ernie Sweet
Carolyn & Tom Toby
Fram & Julie Virjee
Verne D. Wagner
Tina L. Walker
Patrick Young
Ruth & Wayne P. Zemke
*deceased
Very special care has been given to the preparation of this donor listing. Please contact Ann Steichen at (657) 278-7124 with questions or concerns.
**Gifts received from July 1, 2022 through November 1, 2023
ONTIVEROS SOCIETY
The Ontiveros Society includes individuals who have provided a gift for Cal State Fullerton through their estate plan. We extend our deep appreciation to the following Ontiveros Society members, whose gifts will benefit the students and mission of the College of the Arts:
ANONYMOUS
JOHN ALEXANDER
LEE & DR. NICHOLAS A.* BEGOVICH
GAIL & MICHAEL COCHRAN
MARC R. DICKEY
JOANN DRIGGERS
BETTY EVERETT
CAROL J. GEISBAUER
& JOHN* GEISBAUER
SOPHIA & CHARLES GRAY
MARYLOUISE & ED HLAVAC
GRETCHEN KANNE
DR. BURTON L. KARSON
ANNE L. KRUZIC*
LOREEN & JOHN LOFTUS
ALAN A. MANNASON*
WILLIAM J. MCGARVEY*
DR. SALLIE MITCHELL*
ELEANORE P. & JAMES L. MONROE
LYNN & ROBERT MYERS
DWIGHT RICHARD ODLE*
SHERRY & DR. GORDON PAINE
DR. JUNE POLLAK & MR. GEORGE POLLAK*
DR. STEPHEN M. ROCHFORD
MARY K. & WILLIAM SAMPSON
LORENA SIKORSKI
DOUGLAS G. STEWART
ANDREA J. & JEFFREY E. SWARD
RICHARD J. TAYLOR
VERNE WAGNER
RICHARD WULFF
DR. JAMES D. & DOTTIE YOUNG*
*deceased
The College of the Arts Proudly Recognizes the 300+ Members of Our VOLUNTEER
SUPPORT GROUPS
ART ALLIANCE: Art Alliance promotes excellence and enjoyment in the visual arts, and their fundraising efforts contribute to student scholarship, gallery exhibitions, opening receptions and sculpture acquisition on campus.
SPECIAL SUPPORT AND EVENT UNDERWRITING
Fay Colmar
John DeLoof
Joann Driggers & Steve Collier
Loraine Walkington
ALLIANCE FOR THE PERFORMING ARTS: The Alliance for the Performing Arts (formerly MAMM) benefits performing arts students through underwriting visiting artists; special theatre, dance, and music performances; and other unique experiences for members.
SPECIAL SUPPORT AND EVENT UNDERWRITING
Judy Atwell
Drs. Voiza & Joe Arnold
Dr. Margaret Faulwell Gordon
Susan Hallman
Norma Morris
Richard Odle Estate
Kerry & John Phelps
Jeanie Stockwell
Verne Wagner
MUSIC ASSOCIATES: Music Associates maintains a tradition of active involvement and community support, and raises scholarship funds for School of Music students through annual fundraising events and membership dues.
SPECIAL SUPPORT AND EVENT UNDERWRITING
Marilyn Carlson
Evelyn K. Francuz
Sandy & Norm Johnson
Marti & Bill Kurschat
Karen & George Mast
Thelma & Earl Mellott
Bettina Murphy
Grace & Ujinobu Niwa
Kerry & John Phelps
Mary & Jerry Reinhart
Ann & Thad Sandford
Dodo V. Standring
Carolyn & Tom Toby
John Van Wey
MORE INFORMATION: Haley Sanford • 657-278-2663
There are many ways to support the College of the Arts, the School of Music, Department of Theatre and Dance, and Department of Visual Arts
GET INVOLVED GIVING.FULLERTON.EDU
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