i p p i s s i s s i M n r e h s t e u i t o i S v i f t o c A y t l i a s r r ents o e s e h v r i C p n The U THE SOUTHE
RN CHORAL
PfrOoSTCARDS m AMERICA E
Greetings to our friends in South Korea; For over 110 years, The University of Southern Mississippi has helped students personally, professionally, and academically be successful in an array of academic and professional programs. Having achieved the distinction of being one of only 130 universities across the United States to be classified as having the highest academic research success (Carnegie I – Highest Research), our institution emphasizes the acquisition of knowledge, skills and experiences from over 150 areas of study. We are particularly proud of our rich history and storied legacy in the arts; our dynamic and passionate faculty give hope to a bright and promising future for our talented student musicians, actors, and artists, while distinguishing the university as one of the premiere public universities for the arts in the Southern United States. The Choral program brings particular distinction to The University, recognized over the last 20 years with invitations to perform at national and international conferences, festivals, and concert halls under the direction of the preeminent Maestro Gregory Fuller and his associates. We are thrilled, once again, to share our wonderful student musicians with such an esteemed international audience. Sincerely, Steven R. Moser Provost and Senior Vice President for Academic Affairs Professor of Music
The University of Southern Mississippi Choral Activities presents
The Southern Chorale South Korea Tour
Gregory Fuller, conductor Joshua Cook & T. Andrew Trautman, assistants 7:00 pm, Sunday, January 19, 2020 Brookhaven United Methodist Church with Copiah-Lincoln Community College Concert Choir and The Ambassadors Bobby Helms, conductor
7:30 pm, Tuesday, January 21, 2020 St. Michael Catholic Church, Biloxi with Bowling Green State University Collegiate Chorale Richard Lee Schnipke, conductor
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February 17-20, 2020 appearances at the
2020 Jeju International Choir Festival & Symposium Jeju Island, South Korea
8:00 pm, Friday, February 21, 2020 Suwon Jeil Church Part of the Evening Service Seoul, South Korea
5:00 pm, Saturday, February 22, 2020 Pyoungchon Arts Hall Anyang City Children’s Chorus Project Anyang City, South Korea
7:30 pm, Sunday, March 1, 2020 Bay Street Presbyterian Church, Hattiesburg Tour Home Concert
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I. American Composers i thank You God for most this amazing day (2000)
Eric Whitacre
i thank You God for most this amazing day: for the leaping greenly spirits of trees and a blue true dream of sky; and for everything which is natural which is infinite which is yes (i who have died am alive again today, and this is the sun’s birthday; this is the birthday of life and of love and wings: and of the gay great happening illimitably earth) how should tasting touching hearing seeing breathing any —lifted from the no of all nothing— human merely being doubt unimaginable You? (now the ears of my ears awake and now the eyes of my eyes are opened)
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America, the New World (2013)
Samuel A. Ward/Antonin Dvořák (1848-1903/1841-1904) arranged by Benjamin Harlan
O beautiful for spacious skies, for amber waves of grain. For purple mountain majesty, above the fruited plain! America! America! God shed His grace on thee. And crown thy good with brotherhood, from sea to shining sea! Cum laude ego canto (2019)
Richard Burchard
Cum laude ego canto With praise I will sing Tristatur aliquis vestrum oret Are any among you grieving? You should pray. Aequo animo est psallat? Is anyone joyful? You should sing songs of praise. James 5:13
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Quid ergo est? Orabo spiritu, orabo et mente; psallam spiritu psallam et mente. as A dmi
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What am I to do? I will pray with my spirit, I will pray with my mind also; I will sing praise with my spirit and with my mind.
1 Corinthians 14:15
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i thank You God for most this amazing day (2018) Pamela Fuller, piano
Dan Forrest
II. Protest Pairing from the Cold War Era Raua Needmine (Curse Upon Iron) (1972) Veljo Tormis (1930-2017) Ohoi sinda, rauda raiska! Ohoi cursed, evil iron! rauda raiska, rähka kurja, Ohoi evil, cursed iron! liha sööja luu pureja, Flesh consuming, bone devouring, vere süütuma valaja! spilling blood, devouring virtue! Kust said kurja, kange’eksi Whither comes your cruel cunning, üleliia ülbe’eksi? haughtiness so overbearing? Hurjuh sinda, rauda raiska! Tean ma sündi sua sõgeda, arvan algust su õela!
Fie upon you, evil iron! Your beginnings reek of malice. You have risen from villainy.
Käisid kolme ilmaneitsit, taeva tütarta tulista, lüpsid maale rindasida, soo pääle piimasida.
From above the earth appeared fiery maidens in the heavens, laden heavily with milk, spilling it upon the marshes.
Üks see lüpsis musta piima, sest sai rauda pehme’eda; teine valgeta valasi, sellest tehtud teraksed, kolmas see veripunasta, sellest malmi ilma tulnud. Ohoi sinda, rauda raiska, Rauda raiska, rähka kurja! Ei sa siis veel suuri olnud, ei veel suuri, ei veel uhke, kui sind soossa solguteldi, veldelassa väntsuteldi. Hurjuh sinda, rauda raiska! Tean ma sündi sua sõgeda, arvan algust su õela! Susi jooksis soda mööda, karu kõmberdas rabassa, soo tõusis soe jalusta, raba karu käpa alta. Kasvid raudased orased,
Black, the liquid from one maiden, turning into ductile iron. White milk flowing from the other, tempered steel from this arising. From the third, a crimson liquid, cursed, rusty ore created.
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Ohoi cursed, evil iron! Ohoi evil, cursed iron! Then you were not high and mighty, not so mighty, not so haughty, when you slumbered in the swampland, when you suffered in the marshes. Fie upon you, evil iron! Your beginnings reek of malice. You have risen from villainy. Then a wolf came running hither, bear rambling over yonder. Footprints stirring in the swampland, traces from the swamp arising, giving rise to iron seedlings,
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in the shadows of the wolf prints, in the traces of the bear tracks.
Ohoi rauda, laukalapsi, rabarooste, pehme piima Kes su küll vihale käskis, kes pani pahale tööle?
Ohoi wretched child of bogland, born of rust and milk of maidens! Tell me who made you so angry! Who set you to evil doings?
Surma sõitis soda mööda, taudi talveteeda mööda, leidis soost terakse taime, raua rooste laukaalta.
Death came riding through the marshes, plague along the wintry byways, till they found the iron seedlings resting in the lowly swampland.
Nii kõneles suuri surma, taudi tappaja tähendas: mäe alla männikussa, põllulla küla päralla, talu aitade tagana: siin saab surma sepipada, siia ahju ma asetan, siia tõstan lõõsad laiad,
Then great death began to utter, killer plague began intoning, in a pine grove on a hillside, in a field behind the village, Far beyond the farmer’s granges. Here will be the fateful forging! Here a furnace I will fashion, mighty, fanning bellows anchor!
hakkan rauda keetamaie, raua roostet lõõtsumaie, rauda tampima tigedaks.
Here I’ll set the iron boiling! Blast the rusty ore to flaming! Pound the iron full of fury!
Rauda, vaene mees, värises, jo värises, jo võbises, kuulis kui tule mimeda, tule kurja kutsumista. Ohoi sinda, rauda raiska! Ei sa siis veel suuri olnud, ei veel suuri, ei veel uhke, kui sa ääsilla ägasid, vingusid vasara alla. Taat see ahjulta ärises, hallipardi vommi päälta: C The Southern
horale
Rauda rasvana venikse, ila kombel valgunekse, veerdes alla ääsiilta, voolates valutulesta.
Iron quaked and iron quivered, quaked and quivered, tossed and trembled, when he heard the call for fire, heard the iron’s angry summons. Ohoi cursed, evil iron! Then you were not high and mighty, not so mighty, not so haughty! Moaning in the blazing furnace, whining under beating anvils. Droned the old man on the oven groaned the greybeard from the furnace: “Iron stretches out like tallow, dripping down like oozing spittle, flowing from the blazing furnace, seeping from the scalding fire.
Veel sa rauda pehmekene, mis ka sind karastatakse, terakseksi tehtanekse?
Yet the iron, soft and gentle, must be toughened, must be tempered, turned into steel defiant.
Toodi ussilta ilada, musta malta mürgikesta. Ei see raud kuri olekski,
Get the spittle from a serpent! Bring the venom from a viper! Iron would not harbor evil,
ilma usside ilata, mao musta mürkideta. Taat see ahjulta ärises, hallipardi vommi päälta:
if it had no serpent spittle had no murky viper venom.” Droned the old man on the oven groaned the greybeard from the furnace
Varja nüüd vägeva Looja, kaitse kaunike Jumala,
“Shelter us, Supreme Creator! Grant us safety, God Almighty,
Uued ajad. Uued jumalad. Kahurid, lennukid, Tankid, kuulipildujad.
Changing eras, modern deities. Cannons, airplanes, tanks, armed warfare, Cannons, tanks, airplanes
et ei kaoks see mees koguni hoopis tükkis ema lapsi, Uus raud ja teras, uhiuued, targad, täpsed, vägevad tapjad, automaatsete sihtimisseadmetega tuumalaengut kandvad, tõrjerelvadele kättesaamatud raketid.
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so that mankind will not perish future children be protected New steel and iron, transformed into precise, evil, powerful killers armed with automated guiding devices, armed with nuclear warheads useless against all defenses
Looja loodusta elusta, Jumala alustatusta.
from destruction, from extinction, ever part of God’s creation”
Noad, odad, kirved, taprid, saablid, lingud, tomahawked, bumerangid, ammud, nooled, kivid, kaikad, küüned, hambad, liiv ja sool, tuhk ja tõrv, napalm ja süsi.
Knives, spears, axes, halberds, sabres, slings, tomahawks, boomerangs, bows and arrows, rocks and clubs, claws and teeth, sand and salt, dust and tar, napalm and coal.
Uus ja kõige kaasaegsem tehnika, elektroonika viimane sõna,
Innovations, far-reaching, technical, electronic, ultimate…
valmis liikuma igasse punkti, kõrvalekaldumatult sihti tabama,
Ready to fly in any direction, stay undeflected, striking target forcefully.
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Annihilate, knocking out of action, Obliterate, render hopelessly impotent, render hopelessly impotent,
tapma raua, terase, tapma raua, terase, kroomi, titaani, uraani, plutooniumi, ja palude teiste elementidega.
Killing, killing, with steel and iron! Killing, steel and iron, chromium, titanium, uranium, plutonium and multitudes of elements.
Ohoi sinda, rauda kurja, mõõka sõja, sünnitaja, rauda rähka, kulda kilpi, sina teras, nurja tõugu!
Ohoi cursed, evil iron! Sword, begetter of all warfare! Golden guardian of the swamp ore, steel that’s kith and kin to evil.
Hurjuh sinda, rauda raiska! Oleme ühesta soosta, ühest seemnest me siginud, sina maasta, mina maasta, musta mulda me mõlemad, ühe maa pääl me elame, ühe maa sees kokku saame, maad meil küllalt siis mõlemal.
What’s Goin’ On (1971)
Fie upon you, evil iron! You and I are from the same seed, From the same earth we have sprouted. From the same good soil we harken, you and I, we share this planet, bound to share the Earth together, Earth that will us all recover, Earth enough for all, forever.
Marvin Gaye, Renaldo Benson, & Al Cleveland arranged by Jonathan Rodgers T. Andrew Trautman, cajón
Mother, mother, there’s too many of you crying. Brother, brother, brother, there’s far too many of you dying. You know we’ve got to find a way, to bring some loving here today. Father, father, we don’t need to escalate. You see, war is not the answer, for only love can conquer hate. You know we’ve got to find a way, to bring some loving here today. The
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Picking sides with picket signs, don’t come to me with brutality. Talk to me, so you can see, oh, what’s goin’ on? Mother, mother, everybody thinks we’re wrong, oh, but who are they to judge us, just because our belief might be stronger than theirs? Oh, you know we’ve got to find a way, to bring some understanding here today. Picket lines and picket signs, don’t punish me with brutality. Come on, talk to me, So you can see, what’s goin’ on?
III. Traditional Spirituals Wade in de Water
Traditional Spiritual arranged by Allen Koepke (1939-2012) Wade in de water, children, God is gonna trouble de water. River Jordan chills the body and not de soul. If you get there before I do, just tell my friends I’m a-comin’, too.
Little Innocent Lamb (2019)
Traditional Spiritual arranged by Stacey V. Gibbs
Lamb, little innocent Lamb, I’m a gonna serve Him ‘til I die. Hypocrite, hypocrite, tell me what he’d do? He’ll talk abou’ me… and he’ll talk abou’ you. Satan’s got a slippery, slippery shoe, if you don’ mind… he’s gonna slip it on you.
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Ain’t no dyin’ over dere, in dat heavenly lan’ Dere’ll be joy, sweet joy.
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Take one brick from Satan’s wall. Satan’s wall is gonna tumble an’ fall, I’m gonna serve Him ‘til I die, oh, innocent lamb!
IV. Songs for Parting Mu Süda, Ärka Üles Mu süda, ärka üles, ja kiida Loojat lauldes. kes kõik hääd meile annab ja muret ikka kannab. Su heldus jäägu mulle, mu süda templiks sulle; su sõna mind siin toitku teed taeva poole näitku.
Wake up, my heart, and sing, and praise God with a song. Him who gives us all good things and carries us through all troubles. Let our kindness stay with me, and let my heart be Your temple; Let Your word feed me and show me the way to Heaven.
Cyrillus Kreek (1889-1962)
n The Souther
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Prayer of St. Patrick (2006)
Ross C. Bernhardt
Christ be with me, Christ within me. Christ before me, Christ behind me. Christ above me, Christ below me. Christ when I lie down, Christ when I arise. I arise today through God’s power to pilot me. God’s might to uphold me, God’s wisdom to guide me. Christ in the heart of everyone who thinks of me. Christ in the mouth of everyone who speaks of me. Christ in every eye that sees me. Christ in every ear that hears me. Christ be with me, Christ within me.
Program Notes Tren t
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The American Composers section starts and ends with two settings of “i thank You God for most this amazing day.” This joins together one of America’s most famous 20th-century poets, e. e. cummings, and two prolific 21st-century composers, Eric Whitacre and Dan Forrest. Benjamin Harlan set “America, the New World” for The Southern Chorale when they toured in Hungary and Romania in 2013. It brings together the familiar sounds of Dvořák’s Symphony No. 9 in E minor (From the New World) and the classic American tune, “America, the Beautiful.” Dvořák became very interested in Native American Music and African American Spirituals while head of the National Conservatory (New York City) and was inspired by these genres while writing the “New World Symphony.” Richard Burchard has set “Cum laude ego canto” for The Southern Chorale to perform in South Korea at the 2020 Jeju International Choir Festival and in Mobile, Alabama at the 2020 American Choral Directors Association Southern Region Conference. Collaboration with Burchard began with the premiere of his “The Seven Last Words” in 2016. His writing offers brilliant treatment of the Latin text with beautiful layering of melodic interest.
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Highlighting this program is our Protest Pairing from the Cold War Era. The recent death of Veljo Tormis inspired the programming of his iconic piece, “Raua Needmine-Curse Upon Iron,” to commemorate his life. The Southern Chorale had done a Carnegie Hall premiere of the famous work in 2005 at a Hurricane Katrina Relief Concert. Tõnu Kõrvits, an Estonian colleague and friend of Choral Activities at Southern Miss, helped facilitate a meeting between Tormis and several students in Tallinn in 2014. It is evident that a subtext is often embedded in the music of Tormis, reflecting the dissatisfaction of Estonians regarding continued Soviet occupation in the mid-20th century. “Raua Needmine” is performance art expressing protest and a bleak picture. While choral music is often boxed in by performers and audiences to stay in conventional harmonic structures with satisfying consonance and predictable cadence, this piece intentionally pushes an audience to allow a wider range of expression. The choir is asked by the composer at times to be “sinister,” “trembling,” “in fright,” and “in fear of death.” The audience should feel the tension and agitation. Listeners will hear the sirens and the screams.
“Raua Needmine” was a jubilee gift for the Tallinn Chamber Choir. It became popular throughout Europe, and was the basis of a TV-film. It has been asserted that the ostinato gives the work magic and suggestive power. Devices derived from traditional folklore have been united with the expressive means of contemporary choral technique. Tormis’ protest against the destructive powers of iron is especially effective because of the primeval nature of the work. If people refuse to listen to the voice of reason and ethics, the evil hidden in iron will turn against man through man himself. In several of his works, Tormis reminded his contemporaries of everlasting moral values from the distant past. He is suggesting that when people become alienated from primeval truths, it finally ends in disaster. Considering the hundreds of years that Estonia was occupied by other nations and rulers, the necessity for this piece is possibly derived from the desire to preserve the continuity of sovereign cultures. Paired with the Tormis, we have American popular music from Detroit. Southern Miss alumnus, Jonathan Rodgers, was commissioned to set the iconic “What’s Going On” (Marvin Gaye) for double choir. Rodgers’ arrangements of classic Rock & Roll have become a regularly anticipated challenge and reward for Southern Miss students. Marvin Gaye’s original hit was met with skepticism and resistance from Berry Gordy, Jr. at the Motown label, as it did not fit the normal themes set out by the owner. Considered a strong political statement, the lyrics of the song are a response to violence and brutality. One of the song’s writers, Renaldo “Obie” Benson of the Four Tops, was inspired when he witnessed a protest in Berkeley, California on May 15, 1969. Benson had just arrived with the tour bus and saw a group of activists protesting against the Vietnam War. Benson was shocked to witness violence marring the gathering, which was later known as “Bloody Thursday.”
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These compositions were conceived within a year of each other (1971 and 1972) in different parts of the world. Though vastly different, these pieces have a bond to each other and to recollections of the Vietnam conflict and the Cold War. Pairing an octatonic European fine art piece with a sophisticated choral setting of Motown brings sharp genre diversity to the program. Traditional Spirituals - “Wade in de Water” is associated with songs of the Underground Railroad. The phrase “God is gonna trouble the water” indicates that healing power has been delivered to the water, making someone whole if they stepped in ( John 5:4). The setting of “Little Innocent Lamb,” has only one performance by the Atlanta Master Chorale preceding this program. The Southern Chorale is grateful to composer Stacey Gibbs for giving us this new manuscript. Songs for Parting - “Mu Süda, Ärka Üles” by Cyrillus Kreek, is a beautiful strophic setting that is voiced for one part treble, and four parts in the bass clef. Kreek, sometimes known as the “Father of Estonian Music,” systematically collected the sacred folk music of Estonia in the mid-20th century. It has become an important legacy to modern musicians in that country. The “Prayer of St. Patrick” was written by Ross Bernhardt in 2006 for the Lambuth University Choirs in Jackson, Tennessee. Ross Bernhardt, longtime colleague of Dr. Fuller, allowed The Southern Chorale to perform it soon after the premiere in 2006. Over the last 12 years, it has become a signature piece for the ensemble. It is now published in the Gregory Fuller Choral Series at Colla Voce Music in Indianapolis. Both pieces offer a parting blessing.
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The Southern Chorale *Denotes South Korea Tour Choir
Soprano I Kathlyn Arcemont* BME, Choral Madison, Mississippi
Savannah Baucum*
Jodi Bullock*
Alto II Sylvalia Brown
Lauren D. Clark*
Robyn Chancey*
MM, Music Theory Carriere, Mississippi
BME, Choral Denver, Colorado
BM, Vocal Performance Pearl, Mississippi
DMA, Choral Conducting Lake Clarke Shores, Florida
BA, Marketing Long Beach, Mississippi
Olivia Dunn*
Sarah Bush*
Bailee Green*
Hannah Craig*
Elizabeth Fisher*
BME, Choral Ocean Springs, Mississippi
Haley Chapman*
BME, Choral Gautier, Mississippi
BA, Public Relations Long Beach, Mississippi
Sarah Hamman*
Elizabeth Dunn*
MM, Choral Conducting Coral Springs, Florida
MM, Choral Conducting Jacksonville, Florida
MM, Choral Conducting Connellsville, Pennsyvania
Kathern Glydewell*
BME, Instrumental Crestview, Florida
BME, Choral Biloxi, Mississippi
Tatiana Clark*
BME, Choral Long Beach, Mississippi
Renatta Lafargue* BA, Voice New Orleans, Louisiana
BS, Special Education Long Beach, Mississippi
Kama Koehn*
Anna Marie Hunter*
Cammie Moree
Heather Lynn Klayman*
Rohini Malkani*
Brooke Vandergriff*
Kayla Tweedy*
Laurel Lukes*
Danielle Nash*
Caroline Womack*
Lauren Roosa-Wise
BA, Voice Ocean Springs, Mississippi
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BME, Choral Petal, Mississippi
Alto I Amanda Brandon
BME, Choral Decatur, Mississippi
MM, Choral Conducting Crestview, Florida
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Soprano II Alexandra Bounds*
BA, Voice Ocean Springs, Mississippi BME, Choral Long Beach, Mississippi
MM, Choral Conducting Mobile, Alabama
BS, Child Development Olive Branch, Mississippi BM, Vocal Performance Spanish Fort, Alabama
BME, Choral Sumrall, Mississippi BME, Choral Petal, Mississippi
BME, Choral Pensacola, Florida
Emily Elchos*
BME, Choral Palm Coast, Florida
BA, English Long Beach, Mississippi
Erin Nolan*
BME, Choral/Instrumental Pace, Florida
Shay Umphenour* BA, Psychology Long Beach, Mississippi
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Tenor I Russell Blackburn* MM, Choral Conducting Birmingham, Alabama
Tenor II Patrick Berry*
MM, Choral Conducting Danvers, Massachusetts
Bass I Mark Kyle Atteberry* DMA, Choral Conducting Norman, Oklahoma
BME, Choral/BM, Voice Jackson, Mississippi
Andre Brooks*
Edison Brown, III
James W. Beland, VI
Daniel Buchanan*
BS, Criminal Justice Memphis, Tennessee
Emmanuel Carney*
BME, Choral/Instrumental Ripley, Tennessee
Tyrese Frazier*
BME, Choral Clinton, Mississippi
Matthew Brown*
MM, Vocal Performance Jacksonville, Florida
Ave Hanson
BME, Choral Long Beach, Mississippi
Aubry Benefield Joseph Dunn
Holton Johnson*
BME, Instrumental Crestview, Florida
Nathaniel Lyon*
Allen Holifield*
Wesley Hodges*
T. Andrew Trautman*
Hunter King
DMA, Choral Conducting Myrtle Beach, South Carolina
BME, Choral Picayune, Mississippi
David T. Walker*
Reagan Milliet*
BA, Voice Laurel, Mississippi
BS, Microbiology Long Beach, Mississippi
Joshua Cook*
DMA, Choral Conducting Bainbridge, Georgia
BSBA, International Business Fairhope, Alabama MM, Vocal Performance Laurel, Mississippi
BA, Voice Olive Branch, Mississippi
BM, Vocal Performance Gulfport, Mississippi
BME, Choral/Instrumental Olive Branch, Mississippi BME, Choral Long Beach, Mississippi
Bass II Justin E. Bell*
BME, Instrumental Gulfport, Mississippi
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John W. Mathre*
BM, Vocal Performance Memphis, Tennessee
MM, Choral Conducting/Voice Taylorsville, Kentucky
O’Neil Jones*
Cody Nelson*
MM, Choral Conducting/Voice Montego Bay, Jamaica
BME, Choral Gautier, Mississippi
Harlan Mapp*
Chase Thurber*
MM, Choral Conducting Hattiesburg, Mississippi
BME, Choral Ocean Springs, Mississippi
Cameron Robinson
Nicklaus White
BME, Choral Miramar, Florida
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BA, Voice Augusta, Georgia
The Southern Chorale, the premier vocal ensemble at The University of Southern Mississippi, has a long history of excellence. Membership consists primarily of junior and senior voice majors and graduate students in voice and conducting. The School of Music at Southern Miss is the most comprehensive music program in Mississippi and prides itself in its outstanding performing ensembles. The Southern Chorale has been chosen to appear by blind audition at twelve different conventions over the past thirteen years under the direction of Gregory Fuller, including two national conventions and two regional conventions. In addition to their regular national visibility the Chorale has toured Romania, Hungary, England, France, Austria, the Czech Republic, Mexico, Jamaica, Sweden, and Norway since 2003.
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Gregory Fuller, PhD, Director Jonathan Kilgore, DMA, Associate Director Ashley Allen, PhD, Assistant Professor of Choral Music Education Jennifer Knue, Administrative Assistant Mark Atteberry (Oklahoma), DMA Student Olivia Dunn (Florida), MM Student Patrick Berry (Massachusetts), MM Student Elizabeth Fisher (Florida), MM Student Russell Blackburn (Alabama), MM Student Sarah Hamman (Pennsylvania), MM Student Matt Brown (Florida), MM Student Anna Marie Hunter (Alabama), MM Student Haley Chapman (Florida), MM Student O’Neil Jones ( Jamaica), MM Student Lauren Clark (Florida), DMA Student Harlan Mapp (Mississippi), MM Student Josh Cook (Georgia), DMA Student John Mathre (Kentucky), MM Student T. Andrew Trautman (South Carolina), DMA Student Gregory Fuller is a Professor of Music and the Director of Choral Activities at The University of Southern Mississippi. He conducts The Southern Chorale and the Hattiesburg Choral Union, teaches graduate conducting courses, and supervises candidates in the master’s and doctoral conducting program. Dr. Fuller has hosted more than 90 graduate conductors over 18 years from more than 25 states and countries. Previously, Professor Fuller held conducting appointments at The University of Missouri in Columbia and Briar Cliff University in Sioux City, Iowa. Fuller has appeared as a conductor or clinician in 20 different countries and 30 states. His performance record includes fifteen refereed (blind audition) invitations, including podium appearances at the national conventions of the American Choral Directors Association (ACDA), Music Educators National Conference (MENC), and the National Collegiate Choral Organization (NCCO), along with numerous state and regional convention appearances. Dr. Fuller has organized and executed over 60 tours, including more than 30 international trips to three continents. Included in that travel portfolio are many concert tours, study groups, pilgrimages, and four conducting symposiums for choral graduate students in Estonia, Salt Lake City, Russia, and Sweden. He has served the Mississippi Chapter of ACDA as College and University Chair, Convention Site Coordinator, and President. Dr. Fuller has remained active as a conductor in orchestral and wind settings. To date, he has appeared with professional or university instrumental ensembles on more than 100 occasions. He has also become known as a champion of new extended works. He has conducted national or world premieres of six new extended works in the last decade, including recent performances of Moorland Elegies by Tõnu Kõrvits. Fuller has helped prepare orchestral choruses for more than 40 important performances, including presentations with the St. Louis Symphony, Atlanta Symphony, Mobile Symphony, Pensacola Symphony, Sioux City Symphony, Mississippi Symphony, and the outstanding Orchestras and Wind Ensembles at the University of Missouri and The University of Southern Mississippi. In five seasons as conductor of the Sioux City Municipal Band (formerly the Monahan Post Band), he hosted many successful artists, including internationally acclaimed horn player, Michael Thompson.
Jonathan C. Kilgore is Assistant Professor of Music and Associate Director of Choral Activities at The University of Southern Mississippi, where he conducts Concert Choir, Spirit of Southern, The Southern BelleTones, and The Southern Miss Gulf Coast Civic Chorale. Additionally, he teaches courses in Choral Conducting and Choral Literature. Dr. Kilgore comes to Southern Miss after eight years as Director of Choral Activities and Fine Arts Department Chair at the Jackson County Campus of Mississippi Gulf Coast Community College. Prior to his appointment at MGCCC, Dr. Kilgore served as Director of Choral Activities at Jackson Academy in Jackson, MS. For nine years, he served in the Music & Worship Ministry of First Baptist Church with Larry Black. Since leaving Jackson, Dr. Kilgore has taken interim and supply positions at churches in both Mississippi and Alabama. Dr. Kilgore has conducted a variety of ensembles, including concert choirs, show choirs, and vocal jazz and contemporary a cappella ensembles. He has planned and led concert tours to Brazil, Canada, Hawaii, California, and Texas, as well as many trips in the Southeast. In addition, choirs under his leadership have performed in Austria, the Czech Republic, and throughout Italy. Active as an adjudicator and clinician in the southeast, Dr. Kilgore has served as President of the Mississippi Chapter of the American Choral Directors Association, responsible for planning and executing six annual events to further choral music and choral music education in the state. In this position, he also served as the Mississippi representative at all regional and national conferences. Currently, he is serving as the ACDA/MMEA State Conference Site Co-Chair. In addition to his duties with the American Choral Directors Association, Dr. Kilgore maintains membership in the College Music Society, the National Association for Music Education, and the National Collegiate Choral Organization. He holds the Doctor of Musical Arts and the Master of Music in Choral Conducting Performance & Pedagogy from The University of Southern Mississippi and the Bachelor of Science in Music from Millsaps College. Ashley Allen, traveling with the choir to South Korea, joins the USM community from Central Michigan University, where she taught undergraduate and graduate courses in music education, observed student teachers, and served as coordinator for the Music Education Area and liaison to the College of Education. She received her Doctorate in Philosophy from The University of Kansas and her Bachelor’s and Master’s degrees in Music Education from The University of Oklahoma. Other pedagogical training includes Kodály training and certification in levels 1, 2, and 3 at The University of Oklahoma. Prior to transitioning to higher education, Dr. Allen taught secondary choral and general music for grades 6-12 in public schools in central Oklahoma and higher education courses in music education as a graduate assistant for The University of Oklahoma and The University of Kansas. She also served as an intern with the Norman Children’s Chorus and as an assistant director with the Kansas University Youth Chorus.
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SCHOOL OF MUSIC
Laurie Rinko
Student Services
Belinda Taft Finance/HR
Lonnie Young
Piano Technician
VOICE
Kimberley Davis
Kerrin Hightower
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Orchestra/Bands Asst.
Jennifer Knue Choral Asst.
THEORY
Danny Beard
Melody Causby
Mark Malone
Stacey Miles
Michael Bunchman
Ellen Elder
Elizabeth Moak
Lawrence Gwozdz
Galit Kaunitz
HISTORY
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tra Saxophone
Taylor Hightower
Joe Brumbeloe
Chris Goertzen
JAZZ
Oboe
STRING
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Michelle Chandler
WOODWIND
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Camps/Clinics
PIANO
Ashley Allen
Mus
Richard Kravchak
MUSIC EDUCATION
Jay Dean
Interim Director
Jonathan Yarrington
Douglas Rust
Associate Director
Ed Hafer
Larry Panella
Nicholas Ciraldo Guitar
ORCHESTRA
CHOIR
BAND
Michael Miles
Gregory Fuller
Catherine Rand
Director
Jonathan Kilgore
Steven Moser
Yumi Nomoto
Jackie McIlwain Clarinet
Director
Associate Director
Flute
Colin McKenzie Associate Director
Travis Higa
Zhaolei Xie
Danilo Mezzadri
Director
Assistant Director
BRASS
Jacquelyn Adams
Horn
Ben McIlwain Trombone
ands
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Richard Perry
Tuba/Euphonium
Timothy Tesh
Kim Woolly
Trumpet
Bassoon
PERCUSSION Jazz
Hsiaopei Lee
Viola
Marcos Machado
Bass
Stephen Redfield Alexander Russakovsky Violin
Cello
For complete bios and more information, please visit usm.edu/music.
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The University of Southern Mississippi (USM), a destination school for national and international students, delivers a quality education in one of the most affordable college towns in the U.S. (Great Value Colleges, 2014). Here, you will experience Southern hospitality and culture at its best. Only one hour from Mississippi Gulf Coast beaches, the Hattiesburg campus sits on 300 acres and is conveniently located to on- and off-campus housing, shopping, restaurants, and a vibrant, historic downtown area. In addition, we are located in close proximity to several major metropolitan areas (New Orleans, 180 km; Atlanta, 600 km; Dallas, 780 km). nce
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USM is among the top 100 public universities in America (Niche.com), and among the top 100 most affordable (collegeconsensus.com, 2018). Flagship programs include Music and Polymer Science. Scholarships and graduate assistantships are available for graduate students within the School of Music. There are also financial aid possibilities for undergraduate international students with the International Freshman Scholarship ($2,500-Full Tuition) and the International Transfer Scholarship ($2,000 per semester, max 6 semesters). These awards can stack with School of Music Service Awards for undergraduate music majors and non-majors. The estimated annual non-resident tuition and fees is $10,896. The School of Music is dedicated to its longstanding international reputation for musical excellence and is the flagship institution for music in the state of Mississippi. Musical and educational opportunities for professional and artistic growth are provided in a rich and diverse cultural environment. Student musicians work with distinguished faculty members who perform on worldclass stages and teach at international festivals. Our students not only come from many of the 50 U.S. states, but also from 20 countries around the world. The School of Music is accredited by the National Association of Schools of Music.
In Choral Conducting, Southern Miss offers the Master of Music (MM) and the Doctor of Musical Arts (DMA) degrees. Job placement in full-time academic and sacred settings is over 95%. Over the last decade, students have come to Southern Miss for graduate study in choral conducting from nearly 40 different institutions in higher education. Podium time is deemed important for all MM and DMA students and is achieved with multiple ensembles. Additionally, one of our ensembles, The Chamber Singers, is a fully dedicated ensemble for graduate conductors. Music Education at The University of Southern Mississippi leads to certification in all music disciplines found in public and private schools with its Bachelor of Music Education degree (BME). Designed to be completed on campus, online, or as a hybrid, the Master of Music Education (MMEd) is a flexible graduate degree that can be completed in as little as three consecutive semesters. With an optional emphasis area, graduate students can tailor degree requirements to their specific goals and interests. Graduate assistantships are potentially available for on-campus students. For more information, please contact Dr. Ashley Allen, Division Chair of Music Education and Assistant Professor of Choral Music Education, at a.d.allen@usm.edu or +1.601.266.5966.
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Piano and voice programs are designed to provide students with an abundance of opportunities. Students study with very accomplished teachers who are active performers in their field. Graduate students in voice receive opportunities in opera, musical theatre, oratorio, and choral settings. Graduate pianists have the opportunity to study collaborative piano, chamber music, and play in large ensembles. Our DMA collaborative piano program is one of only about 25 programs in the United States of America.
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Assistantships, partial assistantships and service awards/scholarships are available on a competitive basis to students who are accepted to the School of Music. Along with choral conductors, students pursuing the MMEd with a choral emphasis, the MM or DMA in piano or voice or the MM in theory are also considered for awards in Choral Activities. Undergraduate Music Degrees at USM Bachelor of Arts – Music Bachelor of Music – History and Literature Bachelor of Music – Jazz Studies Bachelor of Music – Performance Bachelor of Music Education – Instrumental and Choral Minor in Music Graduate Music Degrees at USM Master of Music – Conducting Master of Music – Performance (Strings, Guitar, Winds, Percussion, Voice, Piano, Collaborative Piano) Master of Music – History and Literature Master of Music – Music Theory Master of Music – Woodwind Performance and Pedagogy Master of Music Education – Traditional Track, Track II – Licensure, Online Doctor of Musical Arts – Conducting Doctor of Musical Arts – Performance (Strings, Guitar, Winds, Percussion, Voice, Piano, Collaborative Piano)
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The School of Music at The University of Southern Mississippi is a family. We live on a friendly and beautiful campus in a vibrant Southern community. Our students and faculty perform and teach on the national and international stage. An education here is affordable and accessible yet priceless to your future. Join us! usm.edu/music
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