UPCOMING EVENTS
OCTOBER
2024
THE UNIVERSITY OF TEXAS AT SAN ANTONIO COLLEGE OF LIBERAL AND FINE ARTS SCHOOL OF MUSIC PRESENTS:
University of Texas at San Antonio Symphonic Band
John Zarco
P R O G R A M: “Musical Portraits”
An Epic Fanfare, from “Three Fanfares” (2003)
Julie Giroux (b. 1961)
From the Delta (1945)
William Grant Still I. Work Song (1895-1978) II. Spritual III. Dance
Ash (2018)
Magnolia Star (2012)
On Parade (1914/2020)
Bayou Breakdown (2004)
Sunday , October 20, 2024 3: 00 pm UTSA Music Recital Hal l
Jennifer Jolley (b. 1981)
Steve Danyew (b. 1983)
Amanda Aldridge (1866-1956) ed. Kaitlin Bove
Brant Karrick (b. 1960)
Flute/Piccolo
Charlie Hofheins
University of Texas at San Antonio Symphonic Band
MDST Nursing (Round Rock, TX)
Marissa Knopf
Music Education (San Antonio, TX)
Kylie Nix
Music Education (Bastrop, TX)
Jordan Rodriguez
Music Education (Brownsville, TX)
Abigail Valadez
Music Education (Mission, TX)
Oboe
Samuel Coleman
Computer Science (San Antonio, TX)
August Naranjo
Music Education (Kingsville, TX)
Hannah Pais
Music Education (San Antonio, TX)
Bassoon
Matheo Botello
Computer Science (Roma, TX)
Clarinet
Abigail Barcenas
Computer Science (Cibolo, TX)
Cianna Escamilla
Music Education (Pflugerville, TX)
Jaden Hernandez
Music Composition (San Antonio, TX)
Ethan Mendiola
Music Education (Helotes, TX)
Isabella Miranda
Music Education (Austin, TX)
Maria Pitts
Actuarial Science (Leander, TX)
Kayla Santos
Music Education (Crane, TX)
Bass Clarinet
Ethan Aguilar
Music Performance (San Antonio, TX)
Jose Gomez
Music Performance (Lytle, TX)
Alto Saxophone
Rachel Blakeney
Music Education (Harker Heights, TX)
Esaú Hernandez
Music Education (Cedar Creek, TX)
Tenor Saxophone
Richard Ytuarte
Music Education (Converse, TX)
Baritone Saxophone
Isaiah Rodriguez
Music Education (San Marcos, TX)
Horn
James Gonzales
Music Education (San Antonio, TX)
Francis Maille
Music Education (San Antonio, TX)
Eloisa Payne
Music Education (New Braunfels, TX)
Myrna Ramirez
Music Education (Lufkin, TX)
Trumpet
Kenedy Cardenas
Music Education (San Antonio, TX)
Xavier Contreras
Music Education (San Antonio, TX)
Madeline Garcia
Music Education (Midland, TX)
Joseph Middleton
Music Education (Yoakum, TX)
Normandy Morzynski
Physics (Montgomery, TX)
Samuel Spencer
Music Education (Boerne, TX)
Daniel Vazquez
Music Education (Los Angeles, CA)
Trombone
Michael Dominguez
Music Education (San Antonio, TX)
Todd Lewis
Music Education (San Antonio, TX)
Jayden Zunker-Trevino
Music Education (Austin, TX)
Bass Trombone
Nathaniel Duarte
Computer Engineering (Austin, TX)
Euphonium
Finley Farrar
Music Education (San Antonio, TX)
Michael Hernandez
Music Education (Kyle, TX)
T uba
Frankie Rodriguez
Music Education (San Antonio, TX)
Michael Rodriguez
M.Acy., Accounting (Del Rio, TX)
Jayson Summer
Music Composition (San Antonio TX)
Percussion
Antonio Bravo
Music Performance (San Antonio, TX)
Erin Faehnle
Music Education (Marble Falls, TX)
Gabriel Leal
Music Marketing (San Antonio, TX)
Nicolas Morales
Music Education (Laredo, TX)
Lio Palacios
Music Education (Corpus Christi, TX)
Ivan Ventura
Music Education (Laredo, TX)
Piano
Ethan Aguilar
Music Composition (Helotes, TX)
Assisting Musicians
Jared Worman, bassoon
Demtric Williams, double bass
Band Staff
Jordan Rodriguez, music librarian
Jared Worman, music librarian
Francis Maille, manager
Joseph Middleton, manager
Hannah Pais, manager
Maria Pitts, manager
Isaiah Rodriguez, manager
Roster is listed alphabetically to emphasize the important contribution made by each musician.
Conductor
John Zarco is Director of Instrumental Ensembles and Associate Professor of Music at the University of Texas at San Antonio. His responsibilities include conducting the UTSA Symphonic Band and University Band, in addition to teaching graduate and undergraduate courses in conducting, wind literature, and music education.
Prior to his appointment at UTSA, Dr. Zarco served as Director of Bands at Millersville University in Pennsylvania and as a public school instrumental music teacher at Saratoga High School, in Saratoga, California. He received a D.M.A. in conducting from the University of Minnesota as well as B.M. (music education) and M.M. (conducting) degrees from California State University, Sacramento. Dr. Zarco has been awarded honorary memberships in the national organizations of Pi Kappa Lambda, Sigma Alpha Iota, Kappa Kappa Psi, Tau Beta Sigma, and Phi Mu Alpha Sinfonia. His book, Rehearsing the Band, Volume 3 is published by Meredith Music Publications and is distributed by Hal Leonard.
Special thanks to the following for their ongoing support and dedication to the UTSA Bands:
Dr. Tracy Cowden, Director, School of Music
Dr. Stacey Davis, Associate Director, School of Music
Dr. Kasandra Keeling, Associate Director, School of Music
Naomy Ybarra, Administrative Services Officer 1
Steven Hill, Administrative Associate
Jared Davis, Senior Events Manager
Joey Berrios, Marketing Coordinator
Rico Gomez, Music Program Specialist, UTSA Bands
Prof. Ron Ellis, Director of Bands
Prof. Hector Garcia, Assistant Director of Athletic Bands
Prof. Sherry Rubins and Prof. Paul Millette, Percussion Area Faculty
Dr. Rachel Woolf and Dr. Oswaldo Zapata, Woodwind and Brass Area Coordinators
Prof. Troy Peters, Director of Orchestras
Dr. Yoojin Muhn, Director of Choral Activities
Dr. Jordan Boyd, Assistant Director of Choral Activities
UTSA School of Music Faculty
Jordan Rodriguez and Jared Worman, School of Music Librarians
UTSA Bands Managers
Follow Us!
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Instagram: @UTSABands
Facebook: UTSA Bands
Website: colfa.utsa.edu/music/
Facebook: UTSA School of Music
Instagram: @UTSAmusic
Twitter: @UTSAmusic
Program Notes
Compiled and Edited by John
Zarco
Julie Giroux received her formal education at Louisiana State University and Boston University. She also studied composition with John Williams, Bill Conti, and Jerry Goldsmith. Giroux is an extremely well-rounded composer, writing works for symphony orchestra (including chorus), chamber ensembles, wind ensembles, soloists, brass/woodwind quintets and many other formats. Giroux is a three-time Emmy Award nominee and in 1992 won an Emmy Award in the category of Outstanding Individual Achievement in Music Direction. She is a member of the American Bandmasters Association (ABA), the American Society of Composers, Authors, and Publishers (ASCAP), and an honorary brother of the Omicron Chapter of Kappa Kappa Psi at West Virginia University. She was initiated into the fraternity on April 2, 2005.
Giroux’s work, An Epic Fanfare , comes from a group of works called Three Fanfares. This specific piece is the first of the three, scored for full band. The second is also scored for full band, while the final fanfare is scored for brass and percussion. It is a brief, yet intense, and rousing piece, with big, open chords, powerful melody lines, and striking percussion, and the listener can expect to feel moved by its intensity.
[Program note from windrep.org]
Long known as the "Dean of African-American Composers," as well as one of America's foremost composers, William Grant Still was an African-American classical composer who wrote more than 150 compositions. When Still was only a few months old, his father died and his mother took him to Little Rock, Arkansas, where she taught English His started his musical education began there, with violin lessons from a private teacher. He was later inspired from the Red Seal operatic recordings bought for him by his stepfather.
He then attended Wilberforce University, founded as an African-American school, in Ohio. He conducted the university band, learned to play various instruments and started to compose and to do orchestrations. He also studied with Friedrich Lehmann at the Oberlin Conservatory of Music on scholarship. He later studied with George Chadwick at the New England Conservatory again on scholarship, and then with the ultra-modern composer, Edgard Varese. Still initially composed in the modernist style but later merged musical aspects of his African-American heritage with traditional European classical forms to form a unique style. Still received numerous awards and honors in his lifetime, including several honorary degrees from prestigious universities.
Still's first work for band was an arrangement of Old California, which was performed by the renowned Goldman Band many times in the early 1940s. In response to Goldman's request for original music for band and a commission from the Leeds Music Corporation, Still composed From the Delta in 1945. It was premiered by the Goldman Band in 1947, and quickly received many performances around the country. With melodies that could pass as actual folk songs, a variety of color, texture and sound, and music that evokes in a direct way the titles of the movements, From the Delta is an important work in the history of the concert band.
[Program note from windrep.org
Jennifer Jolley is a composer and sound artist influenced by urban environments and nostalgia. Her work draws toward subjects that are political and even provocative. Jolley’s works have been performed by ensembles worldwide. She has received commissions from the National Endowment for the Arts, the MidAmerican Center for Contemporary Music, the Left Coast Chamber Ensemble, Quince Ensemble, and many others. She has been composer-in-residence at multiple institutions and promotes composer advocacy through her articles for NewMusicBox & I CARE IF YOU LISTEN. Also, she is on the Executive Council of the Institute for Composer Diversity and the New Music USA Program Council.
Jolley received degrees from the University of Cincinnati College-Conservatory of Music and the University of Southern California’s Thornton School of Music. She is now an Assistant Professor of Music Theory and Composition at CUNY Lehman College, and she has been a composition faculty member at Interlochen Arts Camp since 2015. She previously held positions at Texas Tech University and Ohio Wesleyan University.
Of her piece, Ash , Jolley writes:
I never saw snowfall as a child growing up in Southern California; it was more a phenomenon that I saw in cartoons or read in children’s books.
I did, however, witness my first ash-fall when I was in elementary school. I looked up into the clouded sky and saw specks of ash falling from it. Excited but puzzled, I looked to my elementary school teacher during recess and held out my hand. “Oh, that’s ash from the wildfires,” she said. At that time, I couldn’t comprehend how an enormous forest fire could create a small flurry of ash-flakes.
Now I have the ominous understanding that something so magical and beautiful comes from something so powerful and destructive.
[Program note from windrep.org and the composer]
Steve Danyew is the recipient of numerous national and international awards for his work, and his compositions have been performed throughout the world in venues such as the Sydney Opera House, the Kennedy Center, Carnegie Hall, and the steps of the US Capitol. Danyew’s recent work Into the Silent Land was named the winner of the 2019 Walter Beeler Memorial Composition Prize. Danyew received a B.M., Pi Kappa Lambda from the Frost School of Music at the University of Miami and holds an M.M. in Composition and Certificate in Arts Leadership from the Eastman School of Music. Additionally, Danyew has served as a Composer Fellow at the Yale Summer Music School with Martin Bresnick, and as a Composer Fellow at the Composers Conference in Wellesley, MA with Mario Davidovsky.
About his work, Magnolia Star , Danyew provides the following program note:
When I was playing saxophone in my middle school jazz band, we started every rehearsal the same way – with an improvisation exercise that our director created. This experience was my introduction to the blues scale, and I have long wanted to write a piece inspired by this group of pitches.
In Magnolia Star, I explore various ways to use these pitches in harmonies, melodies, and timbres, creating a diverse set of ideas that will go beyond sounds that we typically associate with the blues scale. I didn’t want to create a “blues” piece, but rather a piece in my own musical voice that uses and pays homage to the blues scale. Nearly all of the pitches used in Magnolia Star fit into the concert C blues scale. It is interesting to note that embedded within the C blues scale are both a C minor triad, an Eb minor triad, and an Eb major triad. I explore the alternation of these tonal areas right from the start of the piece and continue to employ them in different ways throughout the entire work.
Another influence was trains and the American railroad. The railroad not only provides some intriguing sonic ideas, with driving rhythms and train-like sonorities, but it was also an integral part of the growth of jazz and blues in America. In the late 19th century, the Illinois Central Railroad constructed rail lines that stretched from New Orleans and the “Delta South” all the way north to Chicago.
Many southern musicians traveled north via the railroad, bringing “delta blues” and other idioms to northern parts of the country. The railroad was also the inspiration for countless blues songs by a wide variety of artists. Simply put, the railroad was crucial to the dissemination of jazz and blues in the early 20th century.
Magnolia Star was an Illinois Central train that ran from New Orleans to Chicago with the famous Panama Limited in the mid 20th century.
[Program note from windrep.org and the composer] wuw
Amanda Aldridge was a British opera singer, teacher and composer, writing under the pseudonym of Montague Ring. She was the third child of African American Shakespearian actor Ira Frederick Aldridge and his second wife, the Swedish Amanda Brandt. Aldridge studied voice under Jenny Lind and Sir George Henschel at the Royal College of Music in London, and harmony and counterpoint with Frederick Bridge and Francis Edward Gladstone.
After completing her studies, Aldridge worked as a concert singer, piano accompanist, and voice teacher. A throat condition ended her concert appearances, and she turned to teaching and published about thirty songs between the years 1907 and 1925 in a romantic parlour style, as well as instrumental music in other styles. Her notable students included Roland Hayes, Lawrence Benjamin Brown, Marian Anderson, and Paul Robeson. All of her published music was known under the name of Montague Ring. Under this pseudonym, she gained recognition for her many voice and piano pieces. She composed love songs, suites, sambas and light orchestral pieces, working in a popular style that was infused with multiple genres.
On Parade is an English “quick step” march featuring a typical first and second strain, trio, and an unusual secondary trio area that modulates the piece to a third tonal area. The 2020 edition being performed today resolves several practical and stylistic issues with the available (original) 1914 Boosey & Hawkes score-less parts that can be found through the U.S. Library of Congress or IMSLP
[Program note from windrep.org]
wuw
Brant Karrick received degrees from the University of Louisville (B.M.E.), Western Kentucky University (M.A.), and Louisiana State University (Ph.D.). He studied trumpet with Leon Rapier, music education with Cornelia Yarborough, and conducting with Frank Wickes. Karrick’s primary composition teachers were David Livingston, Steve Beck, and Cecil Karrick. Karrick began his career as a public school teacher in 1984 at Beechwood School in Fort Mitchell, Kentucky. In 1986, he returned to his alma mater, Bowling Green (KY) High School, as the Director of Instrumental Music. His concert bands received superior ratings at regional and state concert festivals every year of his five-year tenure there, and in 1988 his marching band was named Class AA State Champion. In 2003, Karrick joined the faculty of Northern Kentucky University as director of bands, a post he held until his retirement in 2022.
In the program notes to Bayou Breakdown , Karrick includes the following:
Bayou Breakdown began as an attempt to write a fugue in the style of Johann Sebastian Bach. The main melody is introduced in a four-part fugue scored for woodwinds, followed by a second statement of the fugue by the brass. A brief transition introduces a folk song-like lyrical theme based on a pentatonic scale. Another transition takes the piece to its most dissonant section, evoking a poorly played waltz. The main melody attempts to reappear but is swept away by a progression of descending chromatic chords. After a complete stop, the initial fugue returns featuring solos by the clarinet, bassoon, alto saxophone, oboe, trumpet, and tuba. After a few short trio statements of the main tune, the piece ends with a polyphonic flurry from the full band.
In writing Bayou Breakdown, I hoped to create a piece that would provide musical and technical challenges for performers yet could be immediately enjoyed by the listener, musician and non-musician alike. While the piece was written for my terrific students in the University of Toledo Wind Ensemble, it is dedicated to one of my most influential mentors, Frank Wickes, Director of Bands at Louisiana State University.
[Program note from windrep.org]
Undertow (2008)
University of Texas at San Antonio University Band
Hector Garcia
“Shadows
and Rituals”
John Mackey (b. 1973)
Vesuvius (1999)
Dusk (2008)
Marche Diabolique (2014)
Sunday , October 20 , 202 4 3:0 0 pm UTSA Music Recital Hall
Frank Ticheli (b. 1958)
Steven Bryant (b. 1972)
1975)
Brian Balmages (b.
Lucid Dreams (2024)
Adrian B. Sims (b. 2000)
Person n el
(Personnel roster is listed alphabetically to emphasize the important contribution made by each musician)
Flute
Lane Arguello
Brooklyn De La O
Madison Feiler
Megan Griggs
Elisabeth Kubena
Amy Leonard
Ellie Maclean
Ariana Thompson
Clarinet
Angela Tavira
Jacob Wall
Tarynn Williams
Jo'Lyssa Zamarripa
Gabrielle Gerber, bs. cl.
Saxophone
Omar Acosta
Devin Brown
Daniel Castillo
Kaila Castro
Nicholas Gonzales
Sarah Guia
Parker Murray
Patrick Ozorio-Brace
Joaquin Robles
Quinn Tidwell
John Zuniga
Manuel Flores, t. sax
Anson Kirkland, t. sax
Seth Perez, t. sax
Mikayla Garza, b. sax
Robert Hernandez, b. sax
Trumpet
Nathan Bravo
Alejandro Cerda
Alissa Esper
Connor Harper
Jerry Ibarra
Jacqueline Kolada
Alyssa Mancha
Anthony Mitcham
Kaleb Mulcahy
Caleb Perry
Samuel Quezada
Michael Sidney
Horn
Emmanuel Castillo
Delaney Cook
Andrew Gonzales
Johanna Gutierrez
Abbie Henk
Travis Niccum
Hector Rosas
Matthew Stevens
Marissa Torres
Trombone
Bradley Bolton
Brandin Castillo
Kalen Griffin
Landon Kilpela
Mathew Kuttner
Jasmine Lasiter
Rodrigo Mendez
Jakarri Norsworthy
Meikhi Schwarz
Anthony Liu, bs. Tbn.
Euphonium
Trinity Evans
Jay Gomez
Andrew Kiraly
James McAfee
Angelyca Mejia
Manuel Reyes
Roland Scherer
Tuba
Shea Fierro
Marc Guillen
Andres Hernandez
Abraham Pena
Joshua Sprinkle
Cameron Tait
Percussion
Aleena Bermudez
Trent Fallin
Emma Fasano
Nathan Gallegos
Jacob Herrera
Brenna Kellner
Benjamin Martin
Joaquin Mata
Delylah Medina
Richard Myers
Daniel Walker
Conductor
Hector Garcia , a native of San Antonio, Texas, is currently Assistant Director of Athletic Bands at UTSA and is the conductor of the UTSA University Band as well as the director of the UTSA Athletic Pep Band. In the fall semester, he assists directing the UTSA Spirit of San Antonio Marching Band.
Hector graduated with a master's degree in instrumental conducting from University of Texas at San Antonio in 2023 under the mentorship of Dr. John Zarco and Ron Ellis. While a graduate student at UTSA, Hector performed with the UTSA Wind Symphony and was a teaching assistant for several undergraduate courses including Conducting I & II, Marching Band Techniques, Wind Symphony, and Symphonic Band.
Prior to attending UTSA, Hector taught brass/woodwind beginning band classes, marching band, concert band, and jazz band at the high school and middle school levels for three years. He received a bachelor's degree in music studies from Texas State University in 2017. Hector’s primary instrument is trumpet and actively performs in local community bands. Hector’s professional affiliations include Texas Music Educators Association and Kappa Kappa Psi. Some of his hobbies include photography, traveling, and doing card tricks for those around him. Fun fact: his favorite food is sushi!
Program Notes
Compiled and Edited by Hector Garcia
Though many of his pieces are extremely virtuosic, Undertow is the first of Mackey’s works written specifically for intermediate band. It was commissioned by the Hill Country Middle School Band and premiered by that ensemble with its conductor, Cheryl Floyd, in May 2008. The work is significantly different than much of Mackey’s output in terms of technical difficulty, but many characteristic elements of his writing are nonetheless present, including biting semitone dissonance within a tonal context, frequent use of mixed meter, heavy percussion effects and, perhaps most importantly to this work, a pervasive ostinato. The metric pattern for the piece is an alternation of 7/8 and 4/4 time, which provides an agitated “out-of-step” pulsation throughout. The energetic opening melody cycles through several repetitions before washing away into a gentle stream of percussive eighth notes. From here, a countermelody emerges that slowly ratchets the energy back up to its original level, where the initial melody returns to round out the explosive conclusion.
[Program note by Jake Wallace]
Mt. Vesuvius , the volcano that destroyed Pompeii in A.D. 79, is an icon of power and energy in this work. Originally I had in mind a wild and passionate dance such as might have been performed at an ancient Roman bacchanalia. During the compositional process, I began to envision something more explosive and fiery. With its driving rhythms, exotic modes, and quotations from the Dies Irae from the medieval Requiem Mass, it became evident that the bacchanalia I was writing could represent a dance from the final days of the doomed city of Pompeii.
[Program note by the composer ]
This simple, chorale-like work captures the reflective calm of dusk, paradoxically illuminated by the fiery hues of sunset. I'm always struck by the dual nature of this experience, as if witnessing an event of epic proportions silently occurring in slow motion. Dusk is intended as a short, passionate evocation of this moment of dramatic stillness. Dusk is part of a threework “night cycle,” continuing with The Marbled Midnight Mile and concluding with First Light.
Dusk was commissioned by the Langley High School Wind Symphony, Andrew Gekoskie, conductor, and was premiered in April 2004 at the MENC National Convention by the commissioning ensemble.
[Program note by composer ] wuw
Those familiar with my music know that I often like to take traditional styles of music and rework them in a completely new way. Such is the case with Marche Diabolique , a piece that borrows elements of the traditional concert march and sets them within a contemporary framework to create a work that can actually function as a march or as a main concert piece.
The work makes extensive use of the tritone it is the first interval in the piece other than unison and is also in the final chord). Surrounding the tritone is an expansive, dark harmonic language. Marked "menacing and deliberate," the music comes across as direct and almost somewhat invasive. The opening rhythm in the clarinets becomes the foundation of the entire work and remains somewhat constant while material around it continuously evolves.
Loosely following the form of the march, a "trio" section begins at measure 40, where a new melody is introduced at a softer dynamic level. Rhythmic elements from the previous section are carried on, but a new rhythmic idea comes to the forefront (alto sax, measure 46). This idea is also present in the previous section, but becomes more prominent moving forward. What follows is a long, steady build toward measure 72, the "dog fight" section. This bombastic part of the piece is presented as a simple 2-part fugue while the chimes play a melody based on loose variations of the Dies Irae. This leads into the full ensemble playing the main rhythmic idea of the piece in unison before the intensity subsides (yet the unsettling character of the music continues). The final melodic statement is presented in the low reeds, sounding almost like a fading growl before one final spark ignites with the last chord.
Percussion plays an important role throughout the work. In addition to maintaining pulse, the instruments add a lot of color articulation (creating unique timbres that coincide with articulation in the winds). Players on instruments such as crash cymbals, splash cymbal, china cymbal, sand blocks, and ratchet should be extremely aware of the wind sections that play along with them - for example, if a splash cymbal is playing with trumpets, it should sound like the trumpets are articulating with a "splash" of color.
Marche Diabolique was commissioned by the North Carolina Bandmasters Association Eastern District for the 2014 All-District Middle School Symphonic Band.
[Program note from the composer.]
Lucid Dreams depicts waking up in an imaginary dreamscape while being aware that you are fast asleep. This work explores melodic and harmonic ideas that are otherworldly in nature. The five-note melodic idea begins in one key and ends in another a half step lower as if the dreamscape changes with every new idea imagined by the dreamer. These swift key shifts create whimsical harmonies and unpredictable musical patterns. Lucid Dreams walks a careful line between the imaginary and reality; the music is rich, haunting, and exciting all at once.
Lucid Dreams was commissioned by the Muskego High School Bands under the direction of James Beckman and Matt Mueller.
Adrian B. Sims (b. 2000), born in Seattle, Washington, is an accomplished composer, conductor, educator, and trombonist. His music has been performed at prestigious conferences such as The Midwest Band and Orchestra Clinic and at new music reading sessions across the country. His music has also been selected for the Bandworld Top 100 List and many of his works appear on the J.W. Pepper Editors' Choice List. Adrian has also been selected as a winner in multiple composition competitions including the Maryland Music Educators Association Young Composers Project and the MakeMusic Young Composers Contest. He is frequently invited to rehearse, conduct, and lead clinics with bands and orchestras across the United States.
[Program note from the composer]
Acknowledgements
Dr. Tracy Cowden, Director, School of Music
Dr. Stacey Davis, Assistant Director, School of Music
Dr. Kasandra Keeling, Associate Director, School of Music
Prof. Ron Ellis, Director of Bands
Dr. John Zarco, Director of Instrumental Ensembles
Naomy Ybarra, Administrative Services Officer 1
Steven Hill, Administrative Associate
Joey Berrios, Senior Events Manager
Jared Davis, Marketing Coordinator
Mr. Rico Gomez, Music Program Coordinator, UTSA Bands
Prof. Sherry Rubins and Prof. Paul Millette, Percussion Area Faculty
Dr. Rachel Woolf and Dr. Oswaldo Zapata, Woodwind and Brass Area Coordinators
Prof. Troy Peters, Director of Orchestras
Dr. Yoojin Muhn, Director of Choral Activities
Dr. Jordan Boyd, Assistant Director of Choral Activities
UTSA School of Music Faculty
Jordan Rodriguez and Jared Worman, School of Music Librarians
UTSA Band Managers
Upcoming Events
All events are in the UTSA Recital Hall and are free admission
Sunday, October 20, 2024 – Symphonic Band Concert
Tuesday, October 29, 2024 – Wind Symphony Concert
Saturday/Sunday, October 26-27, 2024 – Lyric Theater
Follow UTSA School of Music and UTSA Bands on social media
Website: UTSABands.org
Instagram: @UTSABands
Facebook: UTSA Bands
Website: colfa.utsa.edu/music/
Facebook: UTSA School of Music
Instagram: @UTSAmusic
Twitter: @UTSAmusic
OcTUBAfest presents
Wednesday, Oct 30th
Thursday, Oct 31st
5:00 p.m. | UTSA Recital Hall
