Bill Cunliffe jazz piano; arranging; Fullerton Jazz Orchestra, Fullerton Big Band and combo director
Rodolfo Zuñiga* jazz studies, jazz percussion, and music techology; Fullerton Chamber Jazz Ensemble director
PIANO, ORGAN, PIANO PEDAGOGY
Bill Cunliffe jazz piano
Alison Edwards* piano, piano pedagogy, class piano
Dr. Robert Watson piano
MUSIC EDUCATION, TEACHER TRAINING, AND TEACHING CREDENTIAL
Dr. Christopher Peterson choral
Dr. Gregory X. Whitmore* instrumental
MUSIC IN GENERAL EDUCATION
Dr. John Koegel*
Dr. Katherine Reed
MUSIC HISTORY AND LITERATURE
Dr. Vivianne Asturizaga musicology
Dr. John Koegel* musicology
Dr. Katherine Reed musicology
STRINGS
Kimo Furumoto Director of Orchestra Studies and University Symphony Orchestra conductor
Bongshin Ko cello
Dr. Ernest Salem* violin
THEORY AND COMPOSITION
Dr. Hesam Abedini composition, theory
Dr. Pamela Madsen composition, theory
Dr. Ken Walicki* composition, theory
VOCAL, CHORAL, AND OPERA
Dr. Robert Istad* Director of Choral Studies and University Singers conductor
Dr. Kerry Jennings* Director of Opera
Dr. Christopher Peterson CSUF Concert Choir and Singing Titans conductor
Dr. Joni Y. Prado* voice, academic voice courses
Dr. Bri’Ann Wright general education
WOODWINDS, BRASS, AND PERCUSSION
Dr. Dustin Barr Director of Wind Band Studies, University Wind Symphony, University Band
Jean Ferrandis* flute
Sycil Mathai* trumpet
Ken McGrath* percussion
Dr. Gregory X. Whitmore
University Symphonic Winds conductor
Michael Yoshimi* clarinet
STAFF
Michael August Production Manager
Eric Dries Music Librarian
Gretchen Estes-Parker Office Coordinator
Will Lemley Audio Technician
Jeff Lewis Audio Engineer
Chris Searight Musical Instrument Services
Paul Shirts Administrative Assistant
Elizabeth Williams Business Manager
* Denotes area coordinator
Welcome to the spring 2026 events season at Cal State Fullerton’s College of the Arts. We have been hard at work in every classroom, practice room, and studio across campus preparing to share new sounds and bold creativity with all of you. We are thrilled you are here.
Our students and their success form the core of our purpose in the College of the Arts but unlike their counterparts in other colleges, their paths are not solely formed through classroom learning; they are revealed in the moments when talent meets opportunity. Like when a dancer attends an intensive, or when a musician travels abroad on tour, or an actor or artist is mentored – this is where promise is transformed into possibility. The Dean’s Fund for Excellence gives students access to meaningful experiences like these and many more, including masterclasses, research opportunities, materials, and professional conferences. You can help ensure creativity isn’t limited by circumstance. Consider a gift of any amount to the Dean’s Fund for Excellence today.
This spring semester is brimming with performances and exhibitions for all to enjoy –some that will make you laugh and others that will make you think. In the School of Music, Sibarg Ensemble, featuring our own Hessam Abedini, explores the musical intersections of Iranian music and jazz on February 20. In April, Benjamin Britten’s comic opera “Albert Herring” follows the shy, virtuous title character as he rebels against his prudish upbringing. Join us in the Little Theatre beginning March 5 for the musical “Once Upon a Mattress” – an uproarious sendup of Hans Christian Anderson’s fairytale, “The Princess and the Pea.” If you’re craving something completely different, Eugène Ionesco’s “Rhinoceros” opens March 19 to hold a mirror to the absurdity of mob mentality and the struggle to maintain individuality in the face of mass hysteria. And in late spring, our dancers and choreographers return to demonstrate their inimitable power and grace in “Spring Dance Theatre.”
Across the walkway from where you’re seated are the College of the Arts Galleries. You can still catch exhibitions from Soo Kim and Carol Caroompas until May, or stop by the galleries on Wednesdays for our bi-weekly Student Galleries opening receptions. They are always full of energy, and you might even find student artwork to purchase and take home!
Whether you’re returning to our venues or here for the first time, we are so excited to present another season to you. Thank you for joining us.
Sincerely,
Arnold Holland, EdD Dean, College of the Arts
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CSUF New Music Series presents
This year the New Music Series celebrates “The Space Between”—between genre, gender, form, instrumentation, venue, and medium. We launch the series with a concert of Approaches and Departures, featuring Molly Pease, vocalist and composer, with extraordinary CSUF alumni pianist David Bergstedt premiering a new work by faculty composer Pamela Madsen. The season includes a tribute to founding guest composer-Deep Listener Pauline Oliveros.
The genre and time period spanning season features ModernMedieval vocal trio; pianist Inna Faliks; Brightwork newmusic “Ring of Fire” Quartet for the End of Time ensemble; Sarah Cahill, pianist, in celebration of Terry Riley’s 90th birthday with CSUF New Music Ensemble; Nicholas Isherwood, bassbaritone, in an experimental concert of The Electric Voice; and Sibarg Ensemble, directed by our new faculty composer Hesam Abedini, exploring intercultural music as wide as Persian music, jazz, and free improvisation.
Dr. Pamela Madsen, director
Dr. Hesam Abedini, assistant director
Dr. Eric Dries, new music ensemble director
Dr. Ken Walicki, composers forum director
PROGRAM
Missile Threat (2026) ................................................................................ Martin Daske for male singer and fixed media
I kept the voice you left behind Eda Er for voice, video and electronics
Burning Meditation (2026) ......................................................................... Atau Tanaka
Luminosity: Madrigal of Sorrow (2026) ............................................... Pamela Madsen for voice, video and electronics
Eraclito
Daniele Zamboni
Harry’s Bar (2026) Arturo Fuentes for solo voice and electronics Prologue to The Old Man and the Sea – An Existential Triptych
She bought a Chihuahua ......................................................................... Miller Puckett
“The Electric Voice:” Roundtable Presentation/Discussion with Martin Daske, Eda Er, Arturo Fuentes, Pamela Madsen, Miller Puckette, Atau Tanaka, Daniele Zamboni
Dr. Hesam Abedini, moderator 6:00pm • Room 254
Workshop, Masterclass with Art of Song Seminar and CSUF New Music Ensemble 7:30pm • Room 119
PROGRAM NOTES
Missile Threat (2026)
MARTIN DASKE
Text: Martin Daske
Just another piece of music. Somehow based on an “objet trouvé”–a russian “missile alert announcement” from 2023. The piece is written for Nicholas Isherwood.
Martin Daske, born in Berlin in 1962. Studied composition with Christian Wolff and Boguslaw Schaeffer. In addition to his “normal” compositional work, Daske developed a form of threedimensional notation (“Folianten”) and, in 2010, another (“Notensetzen”). Numerous radio plays and other radio works, sound installations, theatre and film music. Since 1989, one of the two artistic directors of the concert series “Unerhörte Musik” (Unheard Music) in Berlin. Since 1993, Daske has run his own production studio: tribord studio. Various CD releases and awards. www.tribordstudio.de
fragile afterimages: echoes that hover, distort, and return like ghosts in the air. The video traces shadows, reflections, and light—fragments of a world seen through memory.
At first, everything feels sincere. The voice carries grief. The echoes seem tender. The listener is invited into what appears to be a private recollection. Gradually, small fractures emerge.
Words repeat, shift, and misalign. The electronics no longer behave as memory, but as something unstable. Breath, water, and reversed sounds begin to surface. The visuals narrow, revealing fragments of an ordinary, domestic scene.
By the end, what seemed like remembrance reveals itself as something else entirely.
The piece is not about nostalgia, but about the mind’s final act of invention — how meaning is constructed in the instant when the body fails. In the seconds before death, memory becomes illusion, poetry becomes reflex, and the voice clings to coherence even as breath disappears.
I Kept the Voice You Left
Behind for voice, electronics, and video
EDA ER
This piece unfolds as an intimate act of remembering.
A man speaks softly, as if confiding in himself. He recalls a voice he once loved—or believes he loved—holding onto its sound as one might hold onto a final trace of presence. The electronics do not function as digital effects, but as
Eda Er is a composer, multimedia artist, and vocalist from Istanbul, based in the San Francisco Bay Area. Her work weaves storytelling, sound, and visual media to explore identity, belonging, trauma, and cultural heritage. Blending electronic and classical composition with traditional Turkish art and new media, she creates immersive interdisciplinary experiences.
Her music has been performed by ensembles such as the Antwerp Symphony Orchestra, Ensemble
PROGRAM NOTES
Multilatérale, MusikFabrik, and Hermes Ensemble, and featured at Gaudeamus Festival, Festival Mixtur, and IKSV. She is co-founder of the artist collective Klank. ist and released her debut album Esse with Simon Sieger on Elektramusic.
A Ph.D. candidate in Music Composition at UC Berkeley with a Designated Emphasis in New Media, her research centers on Fluid Narratives, a project transforming the Turkish marbling art of Ebru into sonic and performative notation. More: www.fluidnarratives.com / www. edaer.me
Burning Meditation (2026)
ATAU TANAKA
Burning Meditation for baritone and electronics sets the Japanese beat poet, Kazuko Shiaraishi’s poem, Moeru Meiso, in Japanese and English. It puts the human voice in dialogue with generative AI sound synthesis where the singer’s body sculpts the neural synthesis of his own vocal shadow. Commissioned by Nicholas Isherwood for his Electric Voice series, the electronic part is based on an AI model of Isherwood’s own voice, culled from recordings spanning his career. The soloist thus is author of his own dataset. Instead of appropriating or deep faking, the interaction between the live voice of the singer and his own data model creates a dialogue with his double, deepening an exploration of his voice and reinforcing his sonic identity. Musical articulations of the body are sensed and mapped to impinge on the abstract latent space between encoding of the live voice and model inference, distorting this vocal identity to create alien voices of his own making. This reflects Shiraishi’s surreal, unexpectedly intense meditative space. This work was realised with support from the AHRC-DFG Technologies of Touch project. Neural synthesis
is based on the rave algorithm from IRCAM, with data processing carried out at Goldsmiths School of Computing, and touch interfaces from UdK Berlin Wearable Computing Lab.
Atau Tanaka (b. 1963 Tokyo) studied electronic music with Ivan Tcherepnin at Harvard University where he met John Cage during his Norton Lectures. Tanaka went on to study computer music with John Chowning at CCRMA Stanford. His solo work has been presented at Ars Electronica, ZKM, IRCAM, WOMAD, Sónar. He has received commissions for instrumental music from pianists Sarah Nicolls and Tricia Dawn Williams, bass baritone Nicholas Isherwood, as well as Art Zoyd Studios to create works for Ensemble Musique Nouvelles and Eklekto Geneva Percussion ensemble. His work in the Japanese avant-garde scene has been captured in the electronic music documentary, Modulations by Iara Lee, and exhibited at the San Francisco Museum of Modern Art and Musikinstrumenten-Museum Berlin. He has recorded releases on Superpang, SubRosa, Touch/Ash, and NX Records. He is co-director of the Centre for Sound, Technology & Culture at Goldsmiths University of London and is editor of the Sonics Series on Goldsmiths Press.
PROGRAM NOTES
Luminosity: Madrigal of Sorrow (2026) for voice, video and electronics
PAMELA MADSEN
Luminosity: Madrigal of Sorrow is from Luminosity: The Passions of Marie Curie my multimedia opera that delves into themes of discovery, spiritualism, and the quest for the invisible. Through projected images and videos by Quintan Ana Wikswo, the opera explores the life and groundbreaking achievements of Nobel Prize-winning chemist Marie Curie. It chronicles her early 20th-century quest to overcome the darkness of disease through the discovery of radium and radioactivity— an achievement that ultimately led to her own tragic demise due to prolonged exposure to radiation.
Madrigal of Sorrow is from the opera’s Séance Scene, where Pierre Curie engages in a séance to engage in questions of life beyond death. The electronics in this piece reference my earlier work, Pierre’s Dissertation on Crystals, premiered by Nicholas Isherwood, incorporating sounds of piezoelectricity from crystals, ominous Geiger counters, and excerpts from my string quartet A Prayer for the Year of the Insane and The Fire Sermon with HEX Ensemble.
As the séance scene unfolds, Pierre becomes increasingly unhinged, envisioning Marie mourning his death. His descent is expressed through his singing of Baudelaire’s Madrigal of Sorrow, accompanied by a recording of my aria Polonium, performed by Tony Arnold (soprano) and Thomas Rosenkranz (pianist). This work captures the profound emotional and intellectual struggles of Marie and Pierre Curie, intertwining themes of discovery, loss, and the human pursuit of the unknown. www.pamelamadsenmusic.com
A Madrigal of Sorrow
Charles Baudelaire
What do I care though you be wise? Be sad, be beautiful; your tears But add one more charm to your eyes, As streams to valleys where they rise; And fairer every flower appears After the storm. I love you most When joy has fled your brow downcast; When your heart is in horror lost, And o’er your present like a ghost Floats the dark shadow of the past.
I love you when the teardrop flows, Hot as blood, from your large eye; When I would hush you to repose Your heavy pain breaks forth and grows Into a loud and tortured cry.
Pamela Madsen is a composer, performer, theorist, librettist and curator of new music. From massive immersive concert-length projects, solo works, chamber music to multimedia opera collaborations her work focuses on issues of social change, exploration of image, music, text and the environment. With a Ph.D. in Music Composition from UCSD, studies with Brian Ferneyhough, Mellon Foundation Doctoral Research Award in theory at Yale University, Post-Doctoral research in Music Technology at IRCAM, Paris, and Deep Listening Certificate with Pauline Oliveros, her creative projects and research focuses on the evolution of compositional thought, improvisation, electronic music, and women in music. Her works have been commissioned and premiered world-wide by such artists as
PROGRAM NOTES
Brightwork newmusic, HEX, Nicholas Isherwood, Claire Chase, Jane Rigler, Anne LaBerge, Ashley Bathgate, Lisa Moore, Kathy Supove, Loadbang, Galan Trio, JACK, Ethel, Lyris, Formalist and Arditti string quartets with multi-media collaborations with artists Quintan Ana Wikswo, Camille Seaman, Jimena Sarno and Judy Chicago. Major concert-length projects include her Opera America and National Endowment for the Arts Funded multi-media Opera: Why Women Went West, National Endowment for the Arts and New Music USA supported Oratorio for the Earth. Selected as Huntington Library Mellon Research Fellow, Alpert Award Panelist, Creative Capital artist “on the radar,” American Scandinavian Foundation Fellow, artist residency fellowships at the Copland House, MacDowell, UCross, Wyoming, Women’s International Studies Center, New Mexico, Wurlitzer Foundation Award, she is Director of Cal State Fullerton New Music Series where she is Professor of Music Composition. www.pamelamadsenmusic.com
Eraclito
DANIELE ZAMBONI
“Eraclito” expresses a radical opposition to the philosophical principles of the secularist empiricism of AngloSaxon origin that dominates today, and consequently also on the fraudulent concept of artiTicial intelligence, which stands as the highest expression of that culture. Texts are the central element of the composition. “Abundance of experience does not teach intuition; Those who seek gold, indeed, dig much earth and Tind but little.” And again: “None among all whose voices I’ve heeded have ventured to this realization: wisdom stands apart from all things.” Finally: “One is the wisdom: to know the principle, as it governs all things through all things.” The rapture of freedom remains the foundation of struggle, of resistance, and of revolution.
Daniele Zamboni (1980) was born and lives in Bologna, Italy. He has always sought what different cultures share in common, exploring with his voice Gregorian chant, Indian Carnatic music, Qur’anic chant, Torah chant, Byzantine chant, and the griot singing of Burkina Faso. In these traditions, he has paid particular attention to the ways in which meaning is conveyed through the relationship between words and the emotions they evoke. He is convinced that an impetuous irruption of meaning and shared sense into aesthetics is indispensable for an ontological renewal of his compositional praxis. For this reason, his works always carry a political dimension, and his preferred performative space is the street.
Harry’s
Bar (2026)
Prologue to The Old Man and the Sea–An Existential Triptych
ARTURO FUENTES
“Harry’s Bar” is the opening scenic gesture of The Old Man and the Sea – An Existential Triptych, a project conceived and directed by Arturo Fuentes, inspired by the work and the figure of Ernest Hemingway.
The piece takes its name from Harry’s Bar, a place frequented by Hemingway during his stays in Venice. Here, it appears not as a historical reference, but as a poetic territory: a threshold between man and sea, between writing and silence, between wakefulness and memory.
PROGRAM NOTES
On stage, Nicholas Isherwood does not portray a character. His voice becomes a habitable space in which multiple identities converge: the old fisherman, the writer, the contemporary man who persists. The electronics function as an organic extension of the voice—breathing with it, eroding it, sustaining it, and leaving it alone when necessary.
The work does not narrate The Old Man and the Sea. It condenses it. It does not describe the struggle; it embodies it.
Asia, and Latin America. His musical training began at the age of eight with the guitar, an instrument that led him to become part of a rock band in his adolescence. He later studied composition in Mexico City, Milan, and Paris, where he earned a PhD in Composition and a Master’s in Philosophy.
She bought a Chihuahua MILLER PUCKETTE
personal
language characterized by the exploration of timbre, silence, the poetics of sound, and scenic possibilities.His music is distinguished by its color and timbral richness, traversing different stylistic periods ranging from structural complexity to minimalism and spectral exploration. Over more than two decades, he has built a diverse catalog of over one hundred works, presented at festivals and theaters across Europe,
The title phrase jumped into my head one day and refuses to jump back out. Perhaps in order to exorcise it, I’ve put this short, nonsensical piece together which Nicholas Isherwood has kindly
Miller Puckette is known as the creator of the Max and Pure Data software environments. He has no formal training as a composer.
Nicholas Isherwood
Nicholas Isherwood has sung in the world’s leading festivals (Salzburg, Aix, Festival d’Automne, Avignon, Almeida, Biennale di Venezia, Holland Festival, Munich Biennale, Wien Modern, Händel Festivals in Göttingen and Halle, Tanglewood, Ravinia, etc.) and opera houses (Royal Opera House, Berlin, Frankfurt, Stuttgart, Amsterdam, Lyon, Châtelet, Théatre des Champs Elysées, Rome, Torino, Genova, La Fenice, La Scala, etc.), working with conductors such as Joel Cohen, William Christie, Peter Eötvös, Gabriele Ferro, Nicholas McGegan, Paul McCreesh, Zubin Mehta, Kent Nagano, Helmuth Rilling, David Robertson, Gennadi Rozhdestvensky, Marco Angius and Arturo Tamayo.
Isherwood has worked closely with composers such as Sylvano Bussotti, Elliott Carter, George Crumb. Hans Werner Henze, Mauricio Kagel, György Kurtág, Steve Lacy, Olivier Messiaen, Giacinto Scelsi and Iannis Xenakis, as well as Pascal Dusapin, Luca Francesconi, Wolfgang Rihm and Francesco Filidei, Vittorio Montalti and Matteo Franceschini. Isherwood collaborated with Karlheinz Stockhausen for 23 years, singing numerous world premieres. He has improvised with Steve Lacy, Joelle Léandre, David Moss and Sainkho Namtchilak. He has made over 65 compact discs for labels such as Erato, Stockhausen Verlag, Naxos and Harmonia Mundi and has appeared in three films for television.
An active pedagogue, Isherwood has taught master classes at schools such as the Paris Conservatoire, Musikhochschule Köln, Salzburg Mozarteum and Conservatorio Giuseppe Verdi and held positions at SUNY Buffalo, Notre Dame, Calarts, the Ecole Normale de Musique and the CNSMD in Lyon.
Isherwood is currently professor of singing and chamber music at the conservatory in Montbéliard. He has published several peer reviewed articles and a book, “The Techniques of Singing” (Bärenreiter, 2012), which will soon appear in a new franco/italian version released by Elara Libri (www.elaralibri.it). (www.elaralibri.it).
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special care has been given to the prepartion of this donor list. Questions or concerns, please contact: Dominic Mumolo | 657-278-7695 Gifts received from July 1, 2023 to December 31, 2024 |
ONTIVEROS SOCIETY
The Ontiveros Society includes individuals who have provided a gift for Cal State Fullerton through their estate plan. We extend our deep appreciation to the following Ontiveros Society members, whose gifts will benefit the students and mission of the College of the Arts.
ANONYMOUS
JOHN ALEXANDER
LEE & DR. NICHOLAS A.* BEGOVICH
MARC R. DICKEY
JOANN DRIGGERS
BETTY EVERETT
CAROL J. GEISBAUER & JOHN* GEISBAUER
SOPHIA & CHARLES GRAY
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GRETCHEN KANNE
DR. BURTON L. KARSON
ANNE L. KRUZIC*
LOREEN & JOHN LOFTUS
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DR. SALLIE MITCHELL*
ELEANORE P. & JAMES L. MONROE
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We Proudly Recognize Our VOLUNTEER
SUPPORT GROUPS
ART ALLIANCE promotes excellence and enjoyment in the visual arts, and their fundraising efforts contribute to student scholarship, gallery exhibitions, opening receptions and sculpture acquisition on campus.
Website arts.fullerton.edu/aa
MUSIC ASSOCIATES maintains a tradition of active involvement and community support and raises scholarship funds for School of Music students through annual fundraising events and membership dues.
MORE INFORMATION Dominic Mumolo, Senior Director | dmumolo@fullerton.edu
shape the future of the arts
The College of the Arts at Cal State Fullerton is one of the largest comprehensive arts campuses in the CSU system. We proudly serve as an academic institution of regional focus with national impact that combines rigorous arts training with cross-disciplinary exploration to encourage the artistic expression and individual achievement of thousands of students throughout the arts every day.
Our students’ success increasingly depends on the support of our community. More of our students are facing significant challenges to their ability to continue their education. Be part of the solution! We invite you to support the Dean’s Fund for Excellence. Help provide students with the education, the tools, and the opportunities to succeed both on campus and off.
Empower our students to become the successful creative professionals our economy so desperately needs! Consider making a gift of any amount to the Dean’s Fund for Excellence today.
CSUF COLLEGE OF THE ARTS •
Carole Caroompas: Mytstical Unions Through May 2
COTA Galleries (Atrium Gallery)
Soo Kim: Charlie sings in the quietest voice Through May 16
COTA Galleries (Begovich Gallery)
Sarah Cahill, piano*
March 18, 2026, at 8 PM
Meng Concert Hall
Rhinoceros
March 19–28, 2026
Young Theatre
University Singers & Concert Choir
March 21, 2026, at 8 PM
Meng Concert Hall
Paul Galbraith, guitar
March 22, 2026, at 8 PM
Meng Concert Hall
Fullerton Jazz Chamber Ensemble feat. Ralph Alessi Quartet
March 24, 2026, at 8 PM
Meng Concert Hall
Talich Quartet
March 27, 2026, at 8 PM
Meng Concert Hall
Fullerton Jazz Orchestra feat. Joe La Barbera, drums
March 28, 2026, at 8 PM
Meng Concert Hall
University Symphony Orchestra with Talich Quartet
March 29, 2026, at 3 PM
Meng Concert Hall
Nicholas Isherwood, bass/baritone*
April 7, 2026, at 8 PM
Meng Concert Hall
X-out
April 9–18, 2026
Hallberg Theatre
High School Honor Band & CSUF Wind Chamber Ensembles
April 11, 2026, at 8 PM
Meng Concert Hall
Albert Herring
April 10–12, 2026
Recital Hall
CSU Brass Exchange: CSUF/SDSU
April 20, 2026, at 8 PM
Meng Concert Hall
Fullerton Jazz Chamber Ensemble & Fullerton Latin Ensemble
April 21, 2026, at 8 PM
Meng Concert Hall
Cello Choir
April 22, 2026, at 6 PM
Recital Hall
Woodwind Chamber Recital
April 24, 2026, at 8 PM
Meng Concert Hall
University Symphonic Winds & University Wind Symphony
April 26, 2026, at 8 PM
Meng Concert Hall
Mariachi Titans
April 28 at 8 PM
Meng Concert Hall
University Band
April 29, 2026, at 8 PM
Meng Concert Hall
Spring Dance Theatre
April 30 – May 9, 2026
Little Theatre
Fullerton Jazz Orchestra feat. Dave Binney, saxophone
