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
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
Dr. Bri’Ann Wright general education
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
Gretchen Estes-Parker Office Coordinator
Will Lemley Audio Technician
Jeff Lewis Audio Engineer
Chris Searight Musical Instrument Services
Paul Shirts Administrative Assistant
Elizabeth Williams Business Manager
* denotes Area Coordinator
Welcome to the College of the Arts 2024–2025 season – our first in three years where performing and visual arts programming will take place on one cohesive arts campus following the completion of the Visual Arts Modernization Project. We are thrilled you have joined us! As our visitors, you are part of our extended family of patrons, parents, friends, and fellow Titans, and we strive to reflect your stories and experiences in the programming we present.
To us, community engagement is more than just opening the doors of our performance and exhibition spaces and inviting you in; it’s about creating a space for dialogue through the work we share. This season, we are proud to bring you a slate of exhibitions, concerts, and performances that not only reflect our humanity but also have the power to transform how we see ourselves and others. In Theatre, “The Prom” opens the season with a joyful celebration of love and acceptance that follows teen Emma Nolan and her quest to attend the prom after she is disinvited for being gay. Will Emma get the prom she deserves? Next, Begovich Gallery presents four exhibitions to celebrate the public opening of Building G on November 2, including “Vitae: A New Generation” featuring CSUF visual arts alumni whose work explores self-discovery and issues of social justice. The following week, the Fullerton Jazz Orchestra and University Symphony Orchestra, along with guest artists Mariachi Divas de Cindy Shea, perform in “Fullerton Pops!” Our award-winning choreographers and dancers take the stage in December for “Fall Dance Theatre,” a powerfully moving collection of performances in a variety of dance styles. And don’t forget everyone’s holiday concert favorite, “Deck the Hall at Cal State Fullerton!” on December 14 and 15.
With the completion of the Visual Arts complex this past summer, we are one of the largest comprehensive colleges of the arts in the CSU system. The complex boasts digitally enhanced classrooms, a green screen lab for film and animation, an expanded photography studio, four art galleries, and several indoor and outdoor spaces to encourage cross-disciplinary exploration. But with the distinction of being a large college of the arts comes great need, and many of our students face personal and financial challenges that prevent them continuing their education. The Dean’s Fund for Excellence provides our students with funding for immersive, off- and on-campus experiences that contribute to their academic success, including CSU Summer Arts, conferences, and study abroad programs. Your support is not just appreciated; it is vital. If the arts and their continued importance in higher education are essential to you, please consider a gift of any amount to the Dean’s Fund today.
I thank you for joining us and for championing the arts in our community. Your support means the world to me and to our students. When you return, I invite you to visit the Visual Arts complex to see what’s new and to check out the galleries in Building G, across from Clayes Performing Arts Center and open late on select performance nights beginning in November. I hope to see you there!
Sincerely,
Arnold Holland, EdD Dean, College of the Arts
PROGRAM
Masks and Machines (2015) ............................................................ Paul Dooley (b. 1983)
Percy Grainger (1882-1961) arr. Robert Jager Emma Johnson Miranda, graduate student conductor
Concerto for Four Percussion Soloists ...................................... William Kraft (1923-2022) and Symphonic Wind Ensemble (1964/1995) III. Cadenza e Variazioni
Andrew Alvidrez, Wilson Le, Sal Montaño, and Joshua Zepeda, percussion quartet
Paul Dooley is one of the most prolific and performed composers in America today. His path has embraced not only his Western Classical heritage, but also a cross-cultural range of contemporary music, dance, art, technology and the interactions between the human and natural worlds. Dooley is a recipient of both the Sousa/ABA/Ostwald Award and the William D. Revelli Prize.
In 2013 Dooley joined the music faculty at the University of Michigan. He created and directs the Performing Arts Technology department’s annual Computer Music Showcase. He also co-directed the Midwest Composers Symposium and was coordinator of the “ONCE. MORE.” festival, a celebration of the 50 year anniversary of the ONCE Festival of Contemporary Music.
Recent works include Northern Nights (2017), an EDM-inspired electronic percussion concerto for Lisa Pegher and the Lansing Symphony, Mondrian’s Studio (2019), for horn and wind ensemble, for Adam Unsworth and the University of Michigan Symphony Band, Manifestos (2019) for the universities of the Big 12 Conference, and The Conductor’s Spellbook (2016), an educational, interactive, and entertaining work for young audiences, which has received more than 100 performances since its 2016 premiere, originally commissioned by the Naples Philharmonic.
Dooley is a frequent guest of professional orchestras, university and high school wind ensembles and festivals in the United States and around the world. His music has been performed by, among others, the Nashville Symphony, Detroit Symphony, Singapore Symphony, “The President’s Own” United States Marine Band, the United States Navy Band, the United States Army Band “Pershing’s Own.”
Born in Santa Rosa, California in 1983, Dooley began his musical life
listening to Beethoven, Bruce Hornsby, Nirvana and Rush. At the age of 13, Dooley began a long mentorship with singer, songwriter, improvisor and gifted counselor Gary “Doc” Collins. In high school Dooley also studied composition with Charles Sepos, before earning bachelor degrees in mathematics and music composition at the University of Southern California (2002-2007) with Frank Ticheli and Stephen Hartke, and a master and doctorate degree at the University of Michigan (2007-2013) with Michael Daugherty, Bright Sheng and Evan Chambers.
On Masks and Machines, the composer writes:
Masks and Machines was commissioned by a consortium of wind bands organized by Timothy Shade in honor of Gary Green’s retirement from the Frost School of Music at the University of Miami. Masks and Machines is inspired by the early twentieth-century works of Bauhaus artist Oskar Schlemmer, and the Neoclassical music of Igor Stravinsky.
Blithe Bells PERCY GRAINGER
Percy Aldridge Grainger was an Australian pianist, lecturer, and prolific composer who wrote or arranged over 1200 works. He was born in a suburb of Melbourne, and his father was a wellknown architect. He adored his mother, Rose, who managed his activities as a child prodigy on the piano. After divorcing his father, Rose took young Percy to live and study piano and composition in Germany. They moved to London between 1901 and 1914, where he met and became close friends with the Norwegian composer Edvard Grieg.
PROGRAM NOTES
Grieg’s love for his own national music inspired Grainger to study English folk music. Grainger moved to the United States in 1914 and spent the rest of his life composing and experimenting with new forms of instruments, rhythmic notation, and tonal systems.
Grainger was first introduced to the music of Bach as a young piano student. His interest in Bach’s music intensified after studying with pianist Ferruccio Busoni in Berlin during the summer of 1903. Busoni was known for his Bach transcriptions, and in Grainger’s studies he developed a greater appreciation for Bach’s aesthetic compositional practices. Bach’s reworking of material in multiple settings provided the impetus for Grainger’s compositional values. Grainger stated, “Now Bach, for instance, wrote certain chorale preludes in four or five different ways, for manuals, with pedals, and without pedals. In the case of some of the cantatas, he provided alternatives in a similar fashion. He also arranged works for either violins or pianos— and yet, what could be more unlike than the tone quality of the piano and the violin? Sometimes, in fact, we find that a work sounds much better in an arrangement than in its original form. Very often a composer is driven into making use of a certain instrumental medium for practical reasons. He soars out of the medium, and sometimes in his imagination conceives a whole group of sounds of which that particular medium is really incapable.” Grainger’s career focused on adapting existing pieces and folk songs, many with various instrumentations. To Grainger, an adaptation or reimagination of a work held equal value to the original.
Blithe Bells is a “free ramble” on J.S. Bach’s familiar tune Sheep May Safely Graze and is part of Grainger’s “Chosen Gem” series of old music settings. Grainger was passionate in his admiration for Bach, yet this treatment is pure Grainger, sounding as if the great master has been processed by his admirer with dashes of composers ranging from
Mahler to Gershwin added for spice. The use of keyboards, harps, and percussion was revolutionary at the time of its writing and reminds us of Grainger’s unconventional explorations in the pursuit of his ideal sound.
Concerto for Four Percussion Soloists and Symphonic Wind Ensemble
WILLIAM KRAFT
William Kraft was an American composer, conductor, percussionist, and educator. He received his bachelor’s degree cum laude (1951) and his master’s degree (1954) from Columbia University, where he was awarded two Anton Seidl Fellowships. His principal instructors were Jack Beeson, Seth Bingham, Henry Brant, Henry Cowell, Erich Hertzmann, Paul Henry Lang, Otto Luening and Vladimir Ussachevsky. He received his training in percussion from Morris Goldenberg and in timpani from Saul Goodman, and studied conducting with Rudolph Thomas and Fritz Zweig.
In the summer of 2002, he retired as chairman of the composition department and holder of the Corwin Chair at the University of California, Santa Barbara. From 1981-1985, Kraft was the Los Angeles Philharmonic’s Composer-inResidence. During his residency, he was founder and director of the orchestra’s performing arm for contemporary music, the Philharmonic New Music Group. Kraft had previously been a performing member of the Los Angeles Philharmonic for 26 years – eight years as percussionist, and the last 18 as Principal Timpanist. For three seasons, he was also assistant conductor of the Philharmonic, and, thereafter, made frequent appearances as guest conductor.
During his early years in Los Angeles, Kraft organized and directed the Los Angeles Percussion Ensemble, a group which played a vital part in premieres and recordings of works by such renowned composers as Ginastera, Harrison, Krenek, Stravinsky, Varèse,
PROGRAM NOTES
and many others. As percussion soloist, he performed the American premieres of Stockhausen’s Zyklus and Boulez’s Le Marteau sans Maître, in addition to recording Histoire du soldat under Stravinsky’s direction.
Kraft received numerous commissions and awards, including two Kennedy Center Friedheim Awards; two Guggenheim Fellowships; two Ford Foundation commissions; fellowships from the Huntington Hartford Foundation and the National Endowment for the Arts; the American Academy and Institute of Arts and Letters Music Award; and numerous others. Mr. Kraft’s works have been performed by orchestras throughout the United States and around the world, including in Europe, Japan, Korea, China, Australia, Israel, and the former Soviet Union. In November 1990, Mr. Kraft was inducted into the Hall of Fame of the Percussive Arts Society.
The concerto head tonight is transcribed from the original version for orchestra. Wind instruments, including brass, played a strong part in the orchestra version, so much so that when Erich Leinsdorf performed the work with the Boston Symphony Orchestra, he rearranged the orchestra seating so that the winds were brought forward and the strings pushed back. Therefore, it was quite natural to do a transcription for wind ensemble. The Concerto for Four Percussionists and Orchestra was written in 1964 and premiered March 10, 1966, by Zubin Mehta and the Los Angeles Philharmonic.
The third movement titled Cadenza and Variations and performed in isolation tonight, opens with a brief dialogue between timpani and tuba, after which the timpani plays the cadenza which sets off the 12 variations that follow. The variations are set in pairs wherein each states the variation and then in the succeeding variation the percussion responds.
Beauty Broken NICOLE PIUNNO
Nicole Piunno is a composer who views music as a vehicle for seeing and experiencing the realities of life. Her music often reflects the paradoxes in life and how these seeming opposites are connected as they often weave together. Her harmonic language and use of counterpoint mirrors the complexity of our world by acknowledging light and dark, past and present, beauty and brokenness, confinement and freedom, chaos and order, spiritual and physical, life and death.
Nicole holds a Doctor of Musical Arts degree in composition and a Master of Music degree in theory pedagogy from Michigan State University. Her composition teacher was Ricardo Lorenz. She earned a Master of Music degree in composition at Central Michigan University, studying with David Gillingham. She earned a Bachelor of Music degree in Music Education and her emphasis was on instrumental music. Her music has been performed by “The President’s Own” United States Marine Band, the United States Coast Guard Band, and at many universities and conservatories around the country. Her large ensemble music has also been featured at multiple regional CBDNA conferences, the Midwest Clinic, and numerous all-state concerts.
About her piece, Piunno writes:
I visited the Columbus Museum of Art and met a work titled “Blow Up #1” by Ori Gersht. This work captured my attention and insisted I give it a great amount of thought. Gersht used high-speed photography to capture a moment in time of an arrangement of flowers exploding. In that one short moment Gersht captured a profound truth about this world and the human condition.
PROGRAM NOTES
At first sight the photo looked amazing. It was beautiful and exciting. Yet when I looked closely, I realized it was beauty that was broken. The photo was a visual display of the tension that exists between beauty and violence, or life and death. When I first saw the work, I was attracted to the beauty. Then I saw the violence and wanted to turn away. However, once I accepted both and was able to hold the paradox of these two realities, I was able to see the photograph for what it truly was. A sense of hope emerged as I felt a longing for beauty to be restored.
“Beauty Broken” begins with a chorale in the brass. This chorale leads into a celebratory section that ends in a state of brokenness. Alternating slow and fast sections follow this moment of breaking. These sections incorporate what I call the “Broken Theme”. This theme is intense at times, while it is somber with a sense of longing at other moments. The chorale melody also appears at various times throughout the piece, often in subtle ways. This chorale becomes most apparent at the end as the woodwinds play celebratory flourishes over the brass chorale. Finally, the broken theme returns for one final statement.
Danzón No. 2
ARTURO MARQUEZ
Arturo Márquez was born in Alamos Sonora, Mexico in 1950. He came from a musical family, as his father was a mariachi musician in Mexico and later in Los Angeles. Marquez’s paternal grandfather was a Mexican folk musician in the northern states of Sonora and Chihuahua. During Marquez’s adolescence, his family immigrated to the
United States. They settled in La Puente, a suburb of Los Angeles, where Márquez took lessons on piano, trombone, and violin. He began composing at the age of sixteen and attended the Mexican Music Conservatory in Mexico City.
After his time at the conservatory, Marquez moved to Paris and studied composition with Jacques Casterede. He returned to the United States and attended the California Institute of the Arts in Valencia. There, he obtained his MFA in composition, having studied with Morton Subotnick, Mel Powell, Lucky Mosko, and James Newton. Today, Márquez lives with his family in Mexico City and works at the National University of Mexico, Superior School of Music, and CENIDIM (National Center of Research, Documentation, and Information of Mexican Music).
Márquez has written a series of Danzónes, works based on an elegant Cuban dance that also has become popular in Veracruz, Mexico. Danzón No. 2 was commissioned by the National Autonomous University of Mexico (UNAM) and premiered in 1994 by the Orchestra Filarmonica de la UNAM in Mexico City. The work received international acclaim and propelled the composer into the international spotlight. The composition opens with a suave clarinet solo accompanied by tango-like rhythmic devices. An oboe solo answers the clarinet, prior to the entire ensemble joining in an increasingly intense dance. A soothing middle section, introduced by the piano, features a lush trio for clarinet, English horn, and soprano saxophone that evokes the intimacy of the opening before returning to the primal energy of the main dance theme, after which the work builds to a dramatic, footstomping close.
Oliver Nickel created this transcription for the modern wind band in 2009.
UNIVERSITY WIND SYMPHONY
Piccolo
Daniella Arditti
Joel Charboneau
Flute
Daniella Arditti
Henry Bransdorfer
Joel Charboneau
Crystal Lee
Jeffrey Nguyen
Oboe
Brett Houston
Johnston Nguyen
Stephanie Marquez
Bassoon
Nayalin Guzman
Theresa Harvey
Emma Johnson Miranda
Contrabasson
Elizabeth Low-Atwater
E-Flat Clarinet
Yilin Li
Clarinet
Grigorii Avetisian
Myko Crisostomo
Daniel Hernandez
Yilin Li
James Nguyen
Ryan Nguyen
Manami Ogura
Josiah Sanchez
Dillan Yoon
Bass Clarinet
Ryan Nguyen
Jesus Santiago
Julian Rymar
Saxophone
Lennon Gamez
Joshua Lopez
Kimberly Orozco
Elijah Samuel
Sam Tobilla
Trumpet
Dominick Bonelli
Trevor Cannon
Isaac Montaño
Alex Santiago
Susanna Sun
Isaiah Velasquez
Rudy Xool
Horn
Tod Beckett-Frank
Michael Clausen
Grant Laren
Quintin Toma
Trombone
Andrew Munoz
Matheu Padua
Samuel Song
Bass Trombone
Paul De La Rosa
Euphonium
Carlo Bonelli
Chris Zavala
Tuba
Deandre Barlow
Eduardo Bonilla
Double Bass
Angelina Salcedo
Percussion
Cameron Abrahamson
Andrew Alvidrez
Wilson Le
Salvador Montaño
Galadriel Pokracki
John Sunderman
Joshua Zepeda
Piano Haosen Wang
Celesta
Amelia Thompson
Harp
Brain Noel
Music Librarians
Daniel Hernandez
Emma Johnson Miranda
Johnston Nguyen
Logistics Manager
Daniel Hernandez
ABOUT THE GRADUATE STUDENT CONDUCTORS
Emma Johnson Miranda
Emma Johnson Miranda is a conductor, musician, and educator who was born and raised in Houston, Texas. She is currently a graduate student at California State University-Fullerton, studying instrumental conducting with Dr. Dustin Barr. Along with completing her degree in conducting, she is finishing her teaching credential all while playing bassoon in the University Wind Symphony and the University Symphony Orchestra.
In high school, Emma took advantage of leadership opportunities in her band program and participated in the 2016 TMEA 6A Honor Orchestra and various TMEA Region Honor Bands. As an undergraduate student, Miranda studied conducting with Dr. Shawn Smith and bassoon with Dr. Christian Smith at Brigham Young University. Additionally, she played bassoon in the BYU Wind Symphony–a group that toured to Spain and Portugal in May 2023 and qualified to perform at the 2024 WASBE conference in South Korea. She graduated from BYU in April 2023 with a Music BA and a minor in Family Life. She and her husband, EJ Miranda, currently live in Rancho Cucamonga, CA, where they enjoy spending time at the beach, eating good food, and catching up on their favorite TV shows.
Johnston Nguyen
Johnston Nguyen is a passionate music educator, conductor, and oboist. He is currently a graduate student at California State University, Fullerton, where he studies wind conducting with Dr. Dustin Barr and oboe with Dr. Rong-Huey Liu. He is the inaugural recipient of the Alan V. Stang, PhD Endowed Scholarship for Instrumental Wind Conducting. Prior to graduate studies at CSUF, Nguyen was the Band Director at Palm Desert Charter Middle School in Palm Desert, CA where he taught Marching Band, Wind Ensemble, Jazz Band, Concert Band, Beginning Band, and Music Appreciation. At PDCMS, he led students through numerous festivals, competitions, and community engagement events. In 2020, he presented along with Dr. Marc Dickey on “Demystifying Oboe and Bassoon Octave Keys” at the annual Southern California Band and Orchestra Association Conference.
Johnston completed his Bachelor of Arts in Music Education, also at California State University, Fullerton. As an undergraduate, he played in the Wind Symphony, Symphonic Winds, University Band, Symphony Orchestra, various chamber ensembles and received the Willard and Virginia Dickey Instrumental Music Education Student Teacher Scholarship.
ABOUT THE CONDUCTOR
Dustin Barr
Dustin Barr is the Director of Wind Studies and Associate Professor of Music at California State University, Fullerton, where he leads the university’s comprehensive band program. He conducts the acclaimed 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. A leading pedagogue in the field of conducting, Barr collaborated with theatre director Jerald Schwiebert to integrate performance theory with various movement disciplines, pioneering innovative approaches to conducting instruction. Their co-authored book, Expressive Conducting: Movement and Performance Theory for Conductors (Routledge, 2018), has become an essential resource for conductors worldwide. His work in movement theory has resulted in invitations to present masterclasses and lectures throughout the USA and in Spain. Moreover, his research on Scandinavian chamber wind ensemble music resulted in published editions of Asger Lund Christiansen’s Octet, Op. 43 and Svend Schultz’s Divertimento for Wind Octet.
Barr’s accomplishments have garnered wide recognition, including being named 2nd place winner of the 2024 American Prize in Conducting. His leadership of the CSUF University Wind Symphony has resulted in prestigious performances at the College Band Directors National Association (CBDNA) conferences at both national (2019) and regional (2024) levels, as well as a headlining performance 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. Under Barr’s direction, the ensemble also received Third Prize in the 2021 American Prize Ernst Bacon Award for the Performance of American Music.
Barr has guest conducted prominent ensembles, including the United States Army Band “Pershing’s Own” and the United States Air Force Band of the Golden West, in addition to numerous collegiate bands across the country. Additionally, he has appeared as guest conductor of leading municipal bands in Valencia and Almería, Spain. He holds a Doctor of Musical Arts in conducting from the University of Michigan, and both Master and Bachelor of Music degrees from California State University, Fullerton. His principal mentors include Michael Haithcock and Mitchell Fennell.
The College of the Arts at Cal State Fullerton is a unique learning environment that encourages artistic expression and individual achievement. We are a hands-on learning lab where immersive academic experiences and opportunities for cross-disciplinary collaboration inspire our 2,700+ student artists, performers, and scholars to reach realize their full potential, shaping the future of the arts locally and globally. This takes exceptional faculty members, state-of-the-art facilities, and support from community members like you.
The Dean’s Fund for Excellence provides resources for College of the Arts students through masterclasses and artists’ residencies; travel to competitions and workshops; and the practical application of industrystandard technology and equipment in the classroom, all of which have a huge impact on the educational experience of our students.
$1,000,000 +
Mr. Bob & Mrs. Terri Niccum
Mr. Stan Mark Ryan ‘75
$500,000 + Mrs. Junko Klaus
$50,000-$100,00
Mr. Ernest R. Sweet*
Mr. Matthew Scarpino & Ms. Karyn Hayter
Sallie Mitchell*
Mrs. Louise P. Shamblen
Johnny Carson Foundation
Mr. Steve & Mrs. Robin Kalota
$25,000 - $49,999
Mr. Darryl Curran
Leo Freedman Foundation
Mrs. Lee C. Begovich
Dr. Ed & Mrs. Sue Sullivan
$10,000-$24,999
Mr. John Aimé & Ms. Robin de la Llata Aimé
Drs. Joseph & Voiza Arnold
Mr. John J. Brennan & Ms. Lucina L. Moses
Ms. Kathleen Hougesen
Mr. Ernest & Mrs. Donna Schroeder
Mr. James & Mrs. Eleanore Monroe
Mrs. Marilyn D. Carlson
$5,000-$9,999
Mr. Richard & Mrs. Susan Dolnick
Mr. Framroze & Mrs. Julie Virjee
Continuing Life LLC
Southern California Arts Council
Ebell Club of Fullerton
DONOR APPLAUSE
Mrs. Harriet Cornyn
Mr. William Cornyn
Ms. Teri Kennady
Dwight Richard Odle Foundation
Swinerton Builders
Morningside of Fullerton
Dr. Margaret Gordon
Dr. Marc Dickey
Mrs. Jill Kurti Norman
Orange County Community Foundation
Mr. Edward & Ms.
MaryLouise Hlavac
Fidelity Charitable Gift Fund
Mrs. Norma Morris
Mrs. Evelyn Francuz
Friends of Jazz, Inc.
$1,000-$4,999
Mrs. Marilyn Little
Mr. Allan & Mrs. Janet Bridgford
Dr. George & Mrs. Karen Mast
Mrs. Thelma Mellott
Ms. Karen Bell
Mrs. Judy Atwell
Mr. Stephen Collier & Ms.Joann Driggers
Mr. Paul Coluzzi & Mr. John M. Martelli
Mr. Douglas Stewart
Mr. Nick & Mrs. Dorothy Batinich
Mr. Tom & Mrs. Carolyn Toby
Mrs. Marsha Gallavan
California Community Foundation
Mrs. Martha Shaver
Ms. Susan Hallman
Mr. John A. Alexander
& Mr. Jason Francisco
Mr. James Henriques
Mr. Billy Owens & Mrs. Michelle H. Jordan
Mr. Robert & Mrs. Nancy Rennie
Mr. Robert & Mrs. Roberta Sperry
Mr. John Boos
& Ms. Shanon Fitzpatrick
The Jane Deming Fund
Dr. Leon & Mrs. Annette Gilbert
Ms. Verne Wagner
Dr. Robert & Mrs. Teri Watson
Mr. E. B. & Mrs. Linda Powell
The Presser Foundation
Mr. Norman & Mrs. Sandra Johnson
Dr. Arie & Mrs. Deanna Passchier
Mrs. Marion Brockett
Mr. Juan Lopez
Mr. David Navarro
Mrs. Bettina Murphy
Ms. Jeannie Denholm
Mr. Gregory & Mrs. Shawna Ellis
Mr. William H. Cunliffe, Jr.
Dr. Stephen Rochford, DMA
The Garrabrant Family
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 2, 2023 to September 1, 2024 *deceased
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
MR. BOB & MRS. TERRI NICCUM
DWIGHT RICHARD ODLE*
SHERRY & DR. GORDON PAINE
*deceased
DR. JUNE POLLAK
& MR. GEORGE POLLAK*
DR. STEPHEN M. ROCHFORD
MR. STAN MARK RYAN ‘75
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*
The College of the Arts Proudly Recognizes the 300+ Members of Our VOLUNTEER
SUPPORT
GROUPS
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
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
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
COLLEGE OF THE ARTS • SELECT EVENTS |
Kirsten Yon and Ernest Salem, violins
September 26 • Meng Concert Hall
Hoang Nguyen & Friends: Alumni Piano Recital: September 27 • Meng Concert Hall
Fullerton Jazz Orchestra
October 4 • Meng Concert Hall
University Symphony Orchestra October 5 • Meng Concert Hall
University Wind Symphony October 6 • Meng Concert Hall
The Prom October 10–19 • Little Theatre
University Symphonic Winds
October 12 • Meng Concert Hall
University Singers & Concert Choir
October 20 • Meng Concert Hall
Blood Wedding
October 24–November 19 • Young Theatre
Denis Bouriakov, flute October 26 • Meng Concert Hall
Vitae: A New Generation; Christopher O’Leary: Gravity Well; Michelle Emami: Arcana; and Past Forward (Redux) November 2, 2024 – May 17, 2025 Begovich Gallery
High School Honor Orchestra & CSUF Chamber Ensembles Orchestra
November 2 • Meng Concert Hall
Michael Yoshimi, clarinet
November 8 • Meng Concert Hall
Bent Frequency with CSUF New Music Ensemble
November16 • Meng Concert Hall
Lost Girl
November 7–16 • Hallberg Theatre
CSUF SCHOOL OF MUSIC PRESENTS Fullerton Pops!
feat. Fullerton Jazz Orchestra & University Symphony Orchestra
November 10 • Meng Concert Hall
Opera Scenes
November 15–17 • Recital Hall
Jazz Singers
November 20 • Meng Concert Hall
STAY CONNECTED
arts.fullerton.edu/connect
University Wind Symphony
November 22 • Meng Concert Hall
Cello Choir
November 22 • Recital Hall
Fall Dance Theatre
December 5–14• Little Theatre
University Symphonic Winds
December 7 • Meng Concert Hall
Titan Voices & Singing Titans
December 9 • Meng Concert Hall
CSUF New Music Ensemble & CSUF Contemporary Chamber Music Ensemble
December 11 • CPAC 119
University Band
December 11 • Meng Concert Hall
CSUF SCHOOL OF MUSIC PRESENTS Deck the Hall at Cal State Fullerton!
