CSU’S MIDDLE SCHOOL OUTREACH ENSEMBLE … CONCERT HALL / UNIVERSITY CENTER FOR THE ARTS C u l t u...
Transcript of CSU’S MIDDLE SCHOOL OUTREACH ENSEMBLE … CONCERT HALL / UNIVERSITY CENTER FOR THE ARTS C u l t u...
G R I F F I N C O N C E R T H A L L / U N I V E R S I T Y C E N T E R F O R T H E A R T S
Cul tur
e of Rhythm
R h y t h m o f C u lt ur e
C S U ’ S M I D D L E S C H O O L O U T R E A C H E N S E M B L E ( M S O E ) P R E S E N T S
E R I K J O H N S O N , P R O G R A M D I R E C TO R
STUDENT CONDUCTORS: R a m B a n d : S e b a s t i a n A d a m s , O r e n Lo g a n , M i k a y l a B a k e r, Ka t h y Wa g n e r
G r e e n B a n d : Ka t r i n a H e d r i c k , S t e p h a n i e L a n e , J a m e s A c k e r m a n , S a m P o s tO r c h e s t ra : S a r a h C h i c o i n e , A n d r i a H a l l , Lo n i O b l u d a , Ke l a n R o o n e y
ORCHESTRA: 6 P.M.
Opening Remarks / Dr. Erik Johnson
Celtic Roots / Kenneth BairdConductor: Andria Hall
Student Speaker: Josh Greiner
Dragon’s Ballad (world premiere) / Thomas LackConductor: Sarah Chicoine
Student Speakers: Alex Lopez and Herman Chavez
Japanese Folk Fantasy / James CurnowConductor: Loni Obluda
Student Speaker: Sarah Chicoine
Jötnar (world premiere) / Kelan Rooney Conductor: Kelan Rooney
GREEN BAND: 7 P.M.
Opening Remarks / Dr. Erik Johnson
Rihla (world premiere) / Peter HirschhornConductor: Sam Post
Student Speaker: Stephanie Lane
Danza de España / Carol Brittin ChambersConductor: Katrina Hedrick
Student Speakers: Ellie Jensen and Zoe Boiarsky
Cairn (world premiere) / Eric LagergrenConductor: Stephanie Lane
Student Speaker: Caleb Smith
Ironheart / Randall D. StandridgeConductor: James Ackerman
CSU'S MIDDLE SCHOOL OUTREACH ENSEMBLES
RHYTHM OF CULTURE, CULTURE OF RHYTHMAPRIL 22, 2017 / GRIFFIN CONCERT HALL RAM BAND: 8 P.M.
Opening Remarks / Dr. Erik Johnson
Into the Arctic / Brian BalmagesConductor: Kathy Wagner
Student Speaker: Oren Logan
Self and Self Again (world premiere) / Tyler AdamthwaiteConductor: Oren Logan
Student Speakers: Mark Kaes and Olivia Becker
An Omni-Colored Sky (world premiere) / Kevin OlsonConductor: Mikayla Baker
Student Speaker: Kathy Wagner
Danço do Pandeiro (world premiere) / Tim SanchezConductor: Sebastian Adams
SOCIAL JUSTICE STATEMENT:
The goal of our annual social justice theme is to continue our growth in understanding of equality
in the cornucopia of cultures present in our daily lives. Through music performance, each season
of MSOE explores a different facet of how music reflects our lived experience and helps us to
expand our worldview and the lives of others. The year’s theme, Rhythm of Culture - Culture of
Rhythm, is a palindrome that reflects both the dynamic variance and commonalities between
cultures and rhythm. Rhythm of Culture can be interpreted as referring to the patterns and flow
found within a specific culture such as school, extracurricular activities, family, friends, geographic
region, heritage, generations, civil discourse, and careers. Culture of Rhythm could be seen as
referring to the culture created within rhythm and flow — music, dance, love, pulse, and energy
focused towards a shared goal. For this year’s program, students learned music from diverse
cultures all over the world, representing past traditions and present transformations. Some of the
compositions performed are published works from established composers in the music industry,
and others have been commissioned works for Colorado State University Composition Students.
ORCHESTRA PROGRAM NOTES CELTIC ROOTS
Kenneth Baird is a composer of concert and solo/ensemble music for wind, string, and keyboard performers, with a special emphasis on music for young performers. Baird holds Bachelor of Music Education and Bachelor of Music Performance degrees from the University of Tulsa and a Master of Science in Fine and Performing Arts from Southern Oregon State College. Celtic Roots is a piece arranged for string orchestra. This piece features two traditional jigs: “Father O’ Flynn” and “The Gobby O.” A jig is a lively folk dance in compound meter, most often associated with Scotland and Ireland. “The Gobby O” is a traditional Scottish dance tune in A-dorian that was made popular in Ireland, England, and New England. This tune was used as Thomas Jefferson’s campaign song and was published as “Jefferson and Liberty” in 1843. These familiar tunes are sure to make you want to dance!
DRAGON’S BALLAD (world premiere)
Thomas W. Lack (b. 1995) is a composer of commercial, electronic, and experimental music, with a rich performance background in clarinet and percussion dating back to elementary school. Growing up with parents well-versed in various musical styles, Lack is deeply rooted in a strong musical foundation, and began his work in composition writing chamber and electronic music in high school. Lack later shifted his focus primarily towards music for film and media, collaborating on short films and documentaries.
My peers and I often criticize popular musical styles for being overly simplistic. Many styles, in-cluding every form of EDM, utilize only simple harmony and repetitive rhythm, which makes them an easy target for criticism. I wanted to create a track that fused both the traditional and new-age Drum ‘n’ Bass styles (specifically Jungle and Liquid styles) with orchestral scoring, a combination that worked well due to the similarity of string instruments to analog pad synthesizers. It is likely that none of the musicians who play this piece will play another like it, and I hope their experience of playing it is as educational as my experience writing it. The title, Dragon’s Ballad (following the acronym of the genre), is meant to loosely suggest the image of a majestic behemoth soaring through the sky at breakneck speeds; beyond that, it is meant to quite simply inspire movement in the minds of all those who listen.
JAPANESE FOLK FANTASY
In the piece, Japanese Folk Fantasy, by James Curnow, three folk tunes are featured within a larger medley: Sakura, Sakura [Cherry Blossoms], Hotaru Koi [Come Firefly], and Mizuguruma [Water Wheel]. Each piece allows for the main melodies to be passed from section to section, as if to mimic various human voices carrying the songs from person to person. The soothing beauty of Sakura, Sakura transforms into the fast-paced, fleeting rhythms of Hotaru Koi, which ends with the driving force of water in Mizuguruma. These pieces enabled our musicians to become aware of how differing harmonies, rhythms, and articulations are used within Japanese folk songs and culture.
sakura sakuranoyama mo sato momi-watasu kagirikasumi ka kumo kaasahi ni niousakura sakurahana zakarisakura sakurayayoi no sora wami-watasu kagirikasumi ka kumo kanioi zo izuruizaya izayamini yukan
Cherry blossoms, cherry blossoms,In fields, mountains and villagesAs far as the eye can see.Is it mist, or clouds?Fragrant in the morning sun.Cherry blossoms, cherry blossoms,Flowers in full bloom.Cherry blossoms, cherry blossoms,Across the spring sky,As far as the eye can see.Is it mist, or clouds?Fragrant in the air.Come now, come now,Let's go and see them!
Ho, ho, fireflies, comeThe water up there is bitter [contaminated]The water here is sweet [pure]Ho, ho, fireflies, comeHo, ho, come through the mountain pathThe fathers of the fireflies are rich That is why their bottoms glow[their light is brighter]In the day behind the dews of the leaves [they hide]During the night, pon, pon, a high lantern [they shine bright as a lantern]If you fly to the sky[The] swallows would take youPlease go and look at the light of a paper lamp
Ho Ho Hotaru koi Acchino Mizu wa Nigaizo Kocchino Mizu wa AmaizoHo Ho Hotaru koi Ho Ho Yamamichi koiHotaru no Otosan Kanemochi da Doride Oshiriga Pikapika daHiruma wa Kusaba no Tsuyu no Kage Yoruwa Ponpon TakajochinTenjiku Agari Shitareba Tsunbakuro ni Sarawareba
“Background information of songs we sing” by Ms. Satoko Hayashi on japaneseinstitute.jimdo.com
“Mizuguruma” (The Water Wheel)
Kawa no hiw no mizugurma.“Gitchon, gitchon” mawa ru.Minna iso ide futari zu re,Nokoreba oni yo.Ichi, ni san!
Turn and turn the water wheel by the riverside.“Gitchon, gitchon,” all day long.Find a partner as quickly as you can.If you don’t find a partner, you’ll be “It.”One, two three!
“In the water mill game a group of children hold hands forming a chain. Two people at the head of the chain make a gate with their hands for the others to pass through, forming a circle as they do so. The movement is regarded as suggestive of the rotation of the water mill.”
Ella Embree, “Japanese Peasant Songs,” in American Folklore Society, Vol. 38 (1944). v
Below are the lyrics of the folk tunes Mr. Curnow used for this medley of Japanese music:
Sakura, Sakura (Cherry Blossoms)
Hotaru Koi (Come Firefly)
JÖTNAR (world premiere)
Kelan Rooney is an educator, composer, and trombonist at Colorado State University, and it is his mission to bring the world together through his two biggest passions: music and education. “I chose to be an educator because I want to make a difference, and this is the best way I can think of doing so. As Nelson Mandela said: ‘ [Education is] the most powerful tool we have to change the world.’” It is Kelan’s dream to use the music he writes as a vessel for peace between all people, cultures, and ideas.
The world of Scandinavian Folklore is vast and full of fantastic creatures and beasts! Of them, the Jötnar (pronounced YOT-nar) are some of the most prominent. Today, you might know them as trolls; but to the ancient peoples of Scandinavia, they were a key part of everyday life! Some were angry and mean to humans, while others provided great wisdom and hospitality. They came in all shapes and sizes! Most of them were hairy with multiple heads, some were the size of humans, some the size of trees, and there are even stories of Jötunn (Singular) that grew to the size of mountains!
These fabled beings have left a lasting impression on Scandinavian culture as we know it today. The Norwegian National Park: Jotunheimen (YO-ten-hi-men) which translates to “Home of the Giants” is named in honor of the mighty Jötnar. There are also a number of Swedish, Danish, and Finnish traditions and places that link their origins back to these fantastical creatures! Jötnar combines both jaunty and haunting folk melodies, percussive sound effects, harmonics, and even frame drums to truly capture the essence of the hidden folk.
VIOLIN ITyler Bage *Alejandro Lopez +Joe AlfanoPerrie BeatonKincaid BradshawRachel Marie ConleyAlthea FisherKristi GarciaMilayo GarnerSawyer HillEsha KapoorSagar KothariMadi RamosAnastasia SprungerLexie Wallen
VIOLIN IIKatherine Smela *Laura Ford +Abraham AmanMegan GardnerReagan GrebenoteinMorgan HarrisonAbby HarrounIsabella HathawayPaola MedranoAyden MiekelEliana MeyerMisty RaeDenali SchmittAlisha WalpoleSammy Davison
VIOLAMia Anderson *Meghan Williams +Dalton BarryKayla DvorakAidan EllisonHailey Williams
CELLOSSarah Keller *Keenan Powell +Tasha BoprayAshtyn BrownNicolas BrownCiarra DemaioThea Gage
CELLOS (CONT.)Colin GrebenoteinErin HayhowAlex LucasTyler McGuireMalerie PrallSara ReplogleAlexandria ShankJack Wilde
BASSAlex BurnsAlex LelandDarius King Avery Rowlett Katie Seelmeyer
ORCHESTRA ENSEMBLE MEMBERS:* Principal / + Assistant Principal
RIHLA (world premiere) Peter Hirschhorn (b.1994) is currently studying percussion performance and music composition at Colorado State University. Some of his most notable teachers include Fred Bowlus, Shilo Stro-man, Dr. James David and Dr. Eric Hollenbeck. In addition to his work at CSU, he is the founder and director of the Windsor High School Winter Percussion Ensemble, as well as a member of the staff for marching band. He also is a founding member of the Northern Colorado Academy for Marching & Percussion (NOCO AMP). As a composer, Peter has written for a number of dif-ferent ensembles since his second year of high school. His compositions have been performed across Colorado, including groups and programs such as the CSU Marching Band, Windsor High School Marching Band, and NOCO AMP.
Rihla, or “Journey”, is a piece based in Middle Eastern Muslim culture. The piece is centered around two main rhythmic motifs, and the Eb double harmonic scale (also known as the Arabic scale). Rhila was written as a small effort to raise awareness of Muslim culture. The piece is pri-marily focused on American Muslims and the “journey” that they are currently undertaking as they try to find their place physically and spiritually in the United States.
DANZA DE ESPAÑA (world premiere) Carol Brittin Chambers is currently on the music faculty at Texas Lutheran University. She lives in San Antonio, Texas, where she is the owner and composer of Aspenwood Music. She also maintains an active performance schedule, including appearances with the Mid-Texas and San Antonio Sym-phonies. Chambers is commissioned each year to compose and arrange works for concert band, marching band, and various other ensembles. She has arranged and orchestrated marching shows for numerous high school bands across the country, as well as the Crossmen Drum Corps.
Danza de España is a lively piece meant to depict a traditional dance from Spain. Written in ¾ time, it utilizes various eighth-note and dotted quarter-note patterns. This is a great piece for introducing the concept of style to younger students, especially with its use of varied articulations and traditional Spanish instruments, such as the castanets. It functions well as a second piece after a march at a concert or festival.
CAIRN (world premiere) Eric Lagergren (b. 1994) grew up in Colorado Springs, Colorado, where he developed a fascination for portraying the world around him through music. This interest has led him to study music composition at Colorado State University under the tutelage of Dr. James David. While at CSU, Eric has focused primarily on writing chamber music and is currently working on a piece for solo trombone, vibraphone, and marimba. Cairn is one of Eric’s first excursions into the realm of large ensemble music.
Notes from the composer about Cairn:I have always found beauty in the most simple of things. A cairn, for example is merely a bunch of rocks stacked on top of one another, and yet it represents anything from a landmark to a memorial. Within this piece, I created a very simple motif that acts as a sort of musical cairn, guiding the listener through various aspects of the Cold War era in an attempt to memorialize such an important time in our country.
GREEN BAND PROGRAM NOTES
IRONHEART Randall Standridge (b.1976) received his Bachelor's of Music Education and Master’s in Music Com-position from Arkansas State University under the teaching of Dr. Tom O’Connor and Dr. Tim Crist. In 2001, he began his tenure as Director of Bands at Harrisburg High School in Harrisburg, Arkansas. He left this post in 2013 to pursue a career as a full-time composer and marching band editor for Grand Mesa Music Publishers.
All artists must call on an inner strength to devote themselves to their craft, and this work was inspired by that strength of will. The sounds of a beating heart, combined with metallic accents in the mallet percussion, brake drum, and China crash cymbal, create a uniquely industrial sound as the melody races through life's obstacles before climaxing in a beautiful, triumphant fanfare.
FLUTELina ArndtCharlotte FrankJohann (Joey) KlammerRyan OwenLily PattersonIsabella RiveraMelinda SanzKendall Whittington
CLARINETJack ChaplainBradley CiurejGarrett LeeBen MacEachranEzekial MillerKadan PischerBailey TracerAbigayle YostSantiago Zimbron
BASS CLARINETRori Ramos-WilsonKK Smith
ALTO SAXOPHONEAndrew ArlinghausGriffin CookCylas SchleeGenaro SosaCylas SchleeOlivia Stern
TENOR SAXOPHONEChloe DixonClara Lindahl
TRUMPETJack BrockhagenTanner HalopoffBryan HansonChad JacobsCrystal KnightGilberto(Junior) GomezTyler PhillipsAdian PottsMicah RuntschCaden Young
HORNThea BeanerKatherine DaleyMik Jaceway
TROMBONEAlex VantellingenBen HoaglungCollins JohnsonRyan ManleySoren OlsenMax PulleySamantha ReisingNolan SparksDylan Luciani
EUPHONIUMJohn Wood
TUBAEllie JensenArwen Lyons
GREEN BAND ENSEMBLE MEMBERS:
INTO THE ARCTIC
Into the Arctic composed by Brian Balmages was inspired by the recent brutal winters involving the polar vortex. Commissioned by the Michigan School band and Orchestra Association District 7, the piece explores the concept of ice, portraying both its beauty and treachery.
While not relating specifically to the polar vortex, the music investigates the legends surrounding the exploration of Antarctica. From mythological animals to secret tunnels documented through-out history but never found, Antarctica is a continent rich with legends. As these stories come to life, the music takes on a restless and increasingly aggressive tone. To best represent the conti-nent, harmonic language constantly walks a fine line between mild dissonance and consonance, striking a balance between the sparkling beauty of ice and the danger it brings.
SELF AND SELF AGAIN (world premiere) T.V. Adamthwaite (b. 1994) is a composer who specializes in a postmodern style which seeks to explore surrealism through sound. This has led him to be inspired not only by music from the 20th century and contemporary periods, but also from the music of the Renaissance. This fusion of ideologies leads to forms in which the audience can find a familiar foothold amongst the complex tonal language employed in much of his writing. He also seeks to explore philosophical thoughts through the use of music from a variety of traditions. These include: Zen Buddhism, Western Ethics, Shinto, Hindu, and Daoism. He has composed for the Colorado State University’s New Music Ensemble, It Could Be Anything, under Dr. Wesley Ferreira, various chamber ensembles of standard and non-standard instrumentation, and the MSOE program led by Dr. Erik Johnson. Mr. Adamthwaite is a graduate of Colorado State University where he received a B.M. in Composition under the direction of Dr. James David.
Self and Self Again integrates the styles of American Postmodernism and Indian Tabla in an approachable way for middle school and early high school ensembles. Through the use of Tabla rhythms and an additive structure, this piece represents the rhythmic propensities of both styles, creating a textual piece that relies on the coordination of the ensemble. Blending styles in this way creates various textures that culminate in a wall of sound in the final cadence of the piece. Euro-pean culture is also represented in the work in the middle section, which is a chorale showcasing the different orchestrational properties of the instruments in the band. Juxtaposing these tradi-tions is a starting point for students to explore the music of cultures they may not be familiar with. Not only does this piece integrate musical styles, but also opens a conversation about Indian philosophies. This work is solely based off of the Bhagavad Gita, a traditional Hindu text in which the main focus, Arjuna, discusses the different forms of Yoga with his charioteer, who happens to be the god Krishna. In this story Krishna anecdotally describes his true form to Arjuna. The two outer sections of this work are representative of these two forms. The first section describes the charioteer that Arjuna knows, the last reconfigures the ideas of the first constructing the unfath-omable sight of Krishnas true form. The title of this piece comes from this reconfiguration of ideas.
AN OMNI-COLORED SKY (world premiere) Kevin Michael Olson is an active Colorado-based composer whose works span the spectrum from experimental art and electronic music to more traditional acoustic chamber and concert music. He was named a Composer Fellow for the CU New Opera Workshop, which premiered
RAM BAND PROGRAM NOTES
his short opera, A Good Man in 2016. He is returning for the 2017 season with a new short op-era based on Stephen King's "The Reach." Recently, Hsing-ay Hsu premiered his piano piece Dichotomiae as part of the Pendulum New Music series. The work is to be performed on Col-orado Public Radio in Spring 2017. Several other works, ranging from concert band pieces to experimental electro-acoustic art pieces, are in progress.
In the tumultuous political and social climate of 2016 and 2017, there appears to be an abun-dance of issues to divide us all: race, gender, religious beliefs, political leanings, level of education, and financial status. We are fed non-stop news and media of verbal and even physical hostilities between groups of people with differing beliefs and agendas. It is all too easy to divide our society into factions of "us" and "them." We shy away from opinions that differ from ours, and focus on those that support what we already believe. We all need to remember that the vast majority of people in the world are fundamentally good. They may have a different lifestyle, culture, opinions, or set of beliefs that yours, but they are simply doing what they believe to be best for their families and communities. Striving to understand and respect these differences is exactly what makes us strong. This piece attempts to express this message within the music. The various families of instruments start out in harmony with each other. However, they diverge into different tonalities that are in opposition. The first instinct is for each group to declare, "We are right!" and insist on not negotiating. However, the two sides eventually come to terms to find a common language, becoming stronger together than they ever had been. May we all be able to do the same.
DANÇO DO PANDEIRO (world premiere) Tim Sanchez studies composition under Dr. James David and percussion performance under Dr. Eric Hollenbeck and Shilo Stroman. He is currently a senior at CSU and has been playing pandei-ro for the past two years. He hopes to get other composers and performers interested in this the pandeiro for its role in Brazilian music as well as expanding its use to other styles and genres. This is his first year writing for MSOE and he is very excited to join the performers on stage!
Danço do Pandeiro celebrates many of the ways that the pandeiro is used in Brazilian music. The pandeiro can be grooving and time-keeping as well as expressive and soloistic, so its role switch-es often throughout the piece. The first section is based off of “Batucada,” a style of samba that is fast-paced and heavily percussive. With the percussion section repeating syncopated grooves, the winds and brass play variations on a vibrant theme in a call-and-response fashion. After a percussion section feature and pandeiro solo, the piece turns to a new style, the “Capoeira.” Capoeira is a form of Brazilian martial arts that combines fighting with dance and music. Here, the ensemble is split in half, representing two “capoeiristas” exchanging movements of attack and defense. The rhythms played by the winds and brass are based on “toques,” which are the basic musical lines played by a “berimbau” during a game of capoeira. As the capoeira comes to a close, the band jumps right back into a final statement of the main theme and ends with a bang!
RAM BAND ENSEMBLE MEMBERS:
FLUTEAva FlakeGracie GoochNicole MorineRaegan MosselAubrey SchmidtChloe YoungAntone SuarezNeha Srikanth
OBOEMarrakesli BeanerJack Grindle
CLARINETItalia CaroZach DialRicardo GonzalezLindsey HannaBrittany HoffmanMia KnightPriscilla ValenciaCaleb VandelEslelle VenableElla ZopffEmma Klausner
BASS CLARINETCole BoydPablo Lopez-Maheras
BASSOONNoah MayerShane Underwood
ALTO SAXOPHONEAnnie BlehmMateus GadaletaAndrew HinesPryor MacEachranAden Valdez
TENOR SAXOPHONEBridger FryTyler GuggemosTaylor LucianiLaura Davis
TRUMPETCarrie BabcockIsabel MaloneyLuke MayerMattias MihelichAdian PottsHannes SpillerKadin WelchansAlexander MarshReid BauersfeldMatt RichardsonNicole Fincher
HORNOwen KosterErin Wilson
TROMBONEGregory Del BeneJoaqian Fernandez OdellAimee JohnstonMark KaesBryce MedlynSarah OberlanderSam PatchenAndy VassauxTori Mitchell
EUPHONIUMHannah BeresfordBennett VasquezEthan Carter
TUBAKevin Keil
PERCUSSIONJames BeresfordLuka FinzRhett KayaBrayden LakeAbby MillerNadia NaqviZach NeidhardtLindsey PuevMichaela Ryan
MIDDLE SCHOOL OUTREACH ENSEMBLES 2017 TEACHING ARTISTS
Program Director – Dr. Erik JohnsonCSU Composition Faculty – Dr. James DavidProgram Associate Director – Sebastian AdamsProgram Assistant Director – Katrina HedrickProgram Assistant Director – Loni ObludaUndergraduate Program Director – Oren LoganUndergraduate Program Assistant Director – Stephanie LaneUndergraduate Program Assistant Director – Sarah ChicoineUndergraduate Feedback Coordinator – Kathy WagnerUndergraduate Feedback Coordinator & Carnival Coordinator – Mikayla BakerCarnival Coordinator – Katie OglesbyHigh School Teacher Liaison – Rachel Lana
Program Composers –Tyler Adamthwaite, Peter Hirschhorn, Thomas Lack, Eric Lagergren, Kevin Olsen, Kelan Rooney, Tim Sanchez
Conductors:Ram Band: Sebastian Adams, Oren Logan, Mikayla Baker, Kathy WagnerGreen Band: Katrina Hedrick, Stephanie Lane, James Ackerman, Sam PostOrchestra: Sarah Chicoine, Andria Hall, Loni Obluda, Kelan Rooney,
Feedback Leaders – Mikayla Baker, Same Boies, Sarah Chicoine, Stephanie Lane, Oren Logan, Gavin Milburn, Katie Oglesby, Sam Post, Tasha Reed, Karla Rodgers, Kelan Rooney, Kathy Wagner
Section Coaches
Orchestra:Violin I – Sarah ChicoineViolin II – Lydia OatesViola – Xareny PolancoCello – Joshua Greiner, Co-Lead; Andria HallBass – Zuri Kargbo
High School Teaching Artists
Violin I – Corban GreenViolin II – Caroline VacanteViola – Laurel LadzinskiCello – Herman Chaves and Lilianna PatrickBass – Zachary Niswender
Green Band:Flute – Sam PostClarinet - Kennedy Malone, Lead; Alex Salek, AssistantSaxophone - James Ackerman
Trumpet – Nicky TisdallHorn – Tasha Reed, Miranda Deblauwe, and Elizabeth MillerTrombone – Sam BoiesEuphonium – Caleb SmithTuba – Kelcie Hartz
High School Teaching Artists
Flute – Dakota BankstonFlute – Hannah ErikssonSaxophone – Zoe BoiarskyHorn – Katelyn WojniakTrombone – Kyle Munholland
Ram Band:Flute – Anna Howell and Liz RichardsonOboe – Olivia MartinClarinet – Katie Oglesby and Brian CelayaSaxophone – Oren LoganBassoon – Mikayla BakerTrumpet – Karla Rodgers, Lead; Kyle Tong, AssistantHorn – Kathy Wagner and Isabel WaterburyTrombone – Kelan RooneyEuphonium – Holly MorrisTuba – Gavin MilburnPercussion – Spencer Kinnison and Chase Hildebrandt
High School Teaching Artists
Clarinet – Olivia BeckerBassoon – Courtney HunterEuphonium – Ethan KnappSaxophone – Kyle Thomas
CSU Middle School Outreach Ensembles Program Overview
Oriented toward a social justice mission, the Middle School Outreach Ensembles (MSOE) is an annual program that aims to cultivate an artistic disposition through music that enables young adults to develop an understanding of how the music-making process can reflect the world around them. Serving students from public, private, and home schools throughout northern Col-orado, the MSOE program provides exciting and in-depth, low-cost extra-curricular music train-ing for over two hundred fifty middle school band and orchestra students and high school juniors and seniors interested in pursuing a career in music education. Over a period of four consecutive months, middle school participants engage in rigorous small and large-group ensemble instruction led by high school participants and over forty CSU music education majors. The time commitment for participants to achieve these goals differs for mid-dle school and high school participants. Middle school participants learn side-by-side with high
school and college students during 2-hour rehearsals on Wednesday evenings and perform in a culminating concert. High school students and CSU music education students also attend two Saturday teacher-training seminars. All events are held at the University Center for the Arts. Cost for middle school participants is $15. All high school and college teaching staff are paid for their teaching work via scholarships and stipends. With generous support from the School of Music, Theatre, and Dance, much of this funding also comes from philanthropic community donations. Related to the social justice mission of the program, new works are commissioned by CSU student composers under the guidance of CSU composition faculty. A rich and exciting learning environment is created as middle school student participants collaborate with conductors, com-posers, and teachers in-training to learn and perform new music that is relevant to the world in which they live. With the assistance of CSU music education faculty, high school participants and CSU music ed-ucation students design, implement, and teach all pedagogical aspects of the program. Tangible outcomes for participants include:
CSU Music Education Students: authentic teaching experience prior to student teaching intern-ships, ability to experiment and try new teaching techniques in a supportive environment, and the ability to learn instructional delivery techniques by engaging in peer teaching and mentorship; High School Students: becoming aware of what is involved in becoming a teacher, exploring potential careers in music education, and for some students, ultimately choosing to pursue a career in music education; Middle School Students: building skills in music performance, evaluation, historical and cultural connection, and music literacy for a wide range of middle school musicians.
Participating Schools
Boltz Middle School – Phuong Nguyen and Melissa ClaeysBlevins Middle School – Charlotte Harsha and Brian FloydPreston Middle School – Andrea Hollenbeck and Kristin RangelBill Reed Middle School – Alex Chavez and David SaccardiPrairie Heights Middle School – Andrea Van Hoff and Jane BarbeWellington Middle School – Bill ClearyLoveland Classical Academy – Darren HipCache la Poudre Middle School – Tony GezziKinard Middle School – Mike Perez and Leanne GriffeyLesher Middle School – Meghan Munoz and Loni ObludaRidgeview Classical Academy – Barry Davis and H. CowanSeverance Middle School – Britt ForemanWindsor Middle School – Cory SwansonNew vision Charter School – Ellen DitmerUniversity Middle School – Dana KettlewellUniversity High School – Dana KettlewellLincoln Middle School – Gino PanepintoPolaris Middle School – Mary ClaxtonLiberty Common School – Dave LunnWindsor Charter Academy – Shari Frazee
Webber Middle School – Jana Webster-WheelerColorado Early Colleges Middle School – Helen WestHigh Plains School – Shawna Lemons
Thompson Valley High School – Michael Bowles and Shawn MurphyRocky Mountain High School – Courtney Strauss and Scott SchlupLoveland High School – Kyle Freesen and David SaccardiSkyline High School – Stephanie Texera and Christian HuangFort Collins High School – David Miles and John Hermanson
Thank You!
Thank you to the following people who understand the importance of MSOE:
The parents and students who participate and make this a special programDean Ben Withers
Dr. Dan Goble and the CSU Music FacultyPeter Muller, Valerie Reed, and the UCA Events StaffTonya Malik-Carson and the CLA Development Team
Tom Krebs, Sheryl Highsmith, Heather Bellotti, Jennifer Clary, Mike Solo, and the rest of the School of Music, theatre, and Dance staff
Boomer Music CompanyGuest Teachers: Dana Kettlewell, Eli Cagen, Kyle Freesen, Bill Clearey, Courtney Strauss,
Ray Cramer, Andrea Hollenbeck, Charlie Mathews, Mackenzie Sutphin, Mike Perez, Amber Hodges, Spencer Poston, Dr. Rebecca Phillips, Dan Bell, Andrea Van Hoff,
Danielle Johnson, Jake Johnson, Beth Wells, Steve McNeal, Dave Branson, Bob KreutzDr. James David for mentoring the student composers
...and you! Thank you for attending this concert!
State of Generosity Your gift to the School of Music, Theatre and Dance provides crucial scholarship support, enables the evolution of our programs and performances, and gives our students the opportunity to obtain their education in the one of the region’s most
distinctive facilities for arts students.
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U P C O M I N G P E R F O R M A N C E S
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UNIVERSITY CENTER FOR THE ARTS SEASON SPONSORS
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RALPH OPERA PROGRAM PERFORMANCES
Aria Workshop Concert / FREE May 5, 7:30 p.m. RH, UCA
DANCE PERFORMANCES
Spring Dance Concert April 21, 22, 7:30 p.m. UDT, UCA
Spring Dance Concert April 22, 2 p.m. UDT, UCA
Spring Dance Capstone Concert May 5, 6, 7:30 p.m. UDT, UCA
Spring Dance Capstone Concert May 6, 2 p.m. UDT, UCA
THEATRE PERFORMANCES
Little Shop of Horrors the Musical April 28, 29, May 4, 5, 6, 7:30 p.m. UT, UCA
Little Shop of Horrors the Musical April 30, May 7, 2 p.m. UT, UCA
Rockband Project Concert / FREE May 11, 6:30 p.m. UT, UCA
MUSIC PERFORMANCES
All Choral Concert April 25, 7:30 p.m. GCH, UCA
University Symphony Orchestra Concert April 27, 28, 7:30 p.m. GCH, UCA
Freshman Voice Studio Recital / FREE April 29, 2 p.m. ORH, UCA
World Percussion Ensemble Concert April 30, 4 p.m. GCH, UCA
Concert Band and Concert Orchestra Concert / FREE April 30, 7:30 p.m. GCH, UCA
It Could Be Anything / New Music Ensemble Concert / FREE April 30, 7:30 p.m. ORH, UCA
Violin Studio Recital / FREE May 1, 3, 7:30 p.m. ORH, UCA
Woodwind Area Recital / FREE May 2, 7:30 p.m. ORH, UCA
Symphonic Band Concert May 4, 7:30 p.m. GCH, UCA