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.

Every gift matters. To learn more or make a gift visit uca.colostate.edu/giving or call (970) 491-3558

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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