Greetings and welcome to the final performance of our ambitious American Perspectives season. What a year it has been! From a firm grounding in masterworks by Mozart, Beethoven and Brahms, we have stretched ourselves through new styles (like Mary Lou Williams’ jazz suite featuring the Aaron Diehl Trio), new languages (John Adams’ rollicking minimalism comes to mind) and the just plain new (our recent Julia Wolfe residency for Her Story, representing a landmark achievement for our program). Tonight we finish our celebration of American Perspectives with a program of Americana that has something for everyone.
“When the people sing, the soul of the nation stirs.” – John F. Kennedy
PROGRAM
THE UNIVERSITY OF SOUTHERN MISSISSIPPI COLLEGE OF ARTS AND SCIENCES SCHOOL OF MUSIC
present
Ground of White
The University of Southern Mississippi Symphony Orchestra Gregory Wolynec, music director
Thursday, May 7, 2026 - 7:30 p.m. Main Street Baptist Church
John Stafford Smith (1750-1836)
orchestrated Luigi Zaninelli (b. 1932) The Star-Spangled Banner (1814)
Randall Thompson (1899-1984)
Frostiana (1959)
I. The Road Not Taken
II. The Pasture
III. Come In
IV. The Telephone
V. A Girl’s Garden
VI. Stopping by Woods on a Snowy Evening
VII. Choose Something Like a Star
Traditional arranged Mack Wilberg (b. 1955) Cindy (1959)
Hattiesburg Choral Union Gregory Fuller, conductor
Intermission
Aaron Copland (1900-1990)
Symphony No. 3 (1946)
I. Molto moderato, with simple expression
II. Allegro molto
III. Andantino quasi allegretto
IV. Molto deliberato [fanfare] – allegro risoluto
This program is presented in part by a generous grant from Partners for the Arts.
CONDUCTOR’S NOTES
Last summer, I was introduced to Luigi Zaninelli’s stirring setting of our national anthem by the arranger himself by way of a version for band. I was delighted to learn that it was also available for orchestra with optional chorus and knew immediately that it needed to open this program. Luigi is a Southern Miss legend, and for those of you who don’t know this setting, you are in for a wonderful surprise.
Two years into this new venture in Hattiesburg, I consider myself so fortunate to work with amazing students, in a supportive environment, and with world-class colleagues. In late November of 2024, I sat in this very church for a dress rehearsal of our orchestra with the Hattiesburg Choral Union. I was dumbstruck with the quality of singing I was listening to. I am sure the Hattiesburg community knows what a treasure they have with the direction and artistry provided by Greg Fuller and the whole choral area. While the Holiday Choral Spectacular is a beloved tradition that I look forward to continuing for years to come, I am also incredibly excited about a series of collaborations we are cooking up for you over the next two seasons and beyond.
Randall Thompson subtitles Frostiana as “Seven country songs by Robert Frost.” Thompson’s direct musical language is eminently approachable and a perfect match for this poetry. Written for the bicentennial of Amherst, Massachusetts (a town I grew up about two hours from with strong family connections), Thompson was tasked to write for a chorus that rehearsed the men and women separately. His solution, only write for the full choir in three songs and only have them sing together in two of them. It is touching, nuanced and as American as apple pie.
Cindy is also steeped in American history. A popular folksong of unknown origin (though surely Southern!), the setting on this evening’s program gets the full Mack Wilberg treatment. The acclaimed conductor of the Mormon Tabernacle Choir is a leading voice in all things choral in our country. Large orchestra, interesting rhythms, unexpected plot twists – I think you’ll love it.
Aaron Copland is frequently referred to as the “Dean” of American composers. Over the span of about 10 years commencing in the late 1930s, he created many of the most beloved works ever written by an American. His music defines an American sound that fit hand in hand with the optimism found at the end of World War II. Works such as Appalachian Spring and Lincoln Portrait, incorporated traditional American melodies, while Rodeo and Billy the Kid painted the picture of an American west that inspired millions. But as I have been explaining to the orchestra, we also must keep in mind that Copland grew up in Brooklyn surrounded by concrete, steel and glass. For all the beauty and majesty to be found in this populist decade, there is a sharper edge that can be found in scores of works from before and after.
Symphony No. 3 was written between 1944 and 1946 under a commission from the Boston Symphony Orchestra and their constant champion of new music, conductor Serge Koussevetsky. One of Copland’s most popular works, 1942’s Fanfare for the Common Man, is borrowed from extensively throughout. Small fragments of this melody can be
found in each of the movements, which point to its eventual appearance in the closing movement. While the work serves as a summary of his great Americana period, we also hear the shadow of war that is cast across its pages.
I was a freshman in college when I first heard this symphony. As fate would have it, it was just a few months before Copland would pass. I remember being absolutely captivated by the sound of the opening. A soaring melody based on large intervals (think notes that are far apart on a piano keyboard and, therefore, difficult to sing) with simple chords to accompany epitomize Copland’s language. The first movement builds in tempo and volume, featuring explosive sounds from the low voices. This is music that seems unsure whether we should celebrate or be concerned. After a dramatic peak, it recedes to a delicate close that reminds us of where we began. I think this is a perfect introduction to Copland’s music and an interesting exploration of America’s mindset from a challenging moment in history.
The second movement pays tribute to the ambitious scherzo that became popular as the third movement of symphonies in Beethoven’s time. It is also very reminiscent of the composer’s western-influenced ballet scores. The brass get quite the workout in the fanfare-inspired opening and closing sections. Solo woodwinds and strings provide a delicate contrast in the middles section that some authors call a “western waltz.” A famous example of this can be found as the third movement in Copland’s score to Rodeo. Some of the transitions have very difficult rhythms for all of us to manage together.
The third movement starts with a melody that reminds us a bit of the opening movement, but which now sounds quite ominous. The maturity that our young string players must bring to this task is considerable. Eventually the tension is broken by a gorgeous flute line that ushers in a section inspired by dance. It can be difficult to hear, but Copland spends considerable effort creating variations of the flute’s melody that remind me of the famous Shaker variations in Appalachian Spring. Our goal is to make this charming, and as I say often to our orchestra – nothing is more difficult in music than charming.
The third movement ends as it began, and final string chords bring a sense of peace. Without interruption, the last movement begins with a soft and beautiful statement of the famous fanfare melody in the flutes. This gives way to full force brass and percussion statements that have small but consequential changes in the harmonies. From here, the orchestra is put through a series of serious challenges. Scurrying lines in the strings and woodwinds, difficult rhythms, again, inspired by dance, and violent explosions all appear. It is difficult to know whether we are shouting for joy or crying in anguish. I sense the composer expressing the end of a great war as both triumphant and tragic. As we enter the closing stretch, delicate lines appear in the woodwinds and are picked up by the harps and keyboard instruments. This ushers in a glorious ending that is among the loudest in the entire symphonic repertoire. Big, bold, American – the perfect perspective to end our season.
Lyrics to Frostiana by Robert Frost
The Road Not Taken
Two roads diverged in a yellow wood And sorry I could not travel both And be one traveler, long I stood And looked down one as far as I could To where it bent in the undergrowth;
Then took the other, as just as fair, And having perhaps the better claim, Because it was grassy and wanted wear; Though as for that the passing there Had worn them really about the same,
And both that morning equally lay In leaves no step had trodden black. Oh, I kept the first for another day! Yet knowing how way leads on to way, I doubted if I should ever come back.
I shall be telling this with a sigh Somewhere ages and ages hence: Two roads diverged in a wood, and I — I took the one less traveled by, And that has made all the difference.
The Pasture
I’m going out to clean the pasture spring; I’ll only stop to rake the leaves away (And wait to watch the water clear, I may):
I sha’n’t be gone long.—You come too.
I’m going out to fetch the little calf That’s standing by the mother. It’s so young It totters when she licks it with her tongue.
I sha’n’t be gone long.—You come too.
Come In
As I came to the edge of the woods, Thrush music—hark! Now if it was dusk outside, Inside it was dark.
Too dark in the woods for a bird
By sleight of wing
To better its perch for the night, Though it still could sing.
The last of the light of the sun That had died in the west Still lived for one song more In a thrush’s breast.
Far in the pillared dark Thrush music went— Almost like a call to come in To the dark and lament.
But no, I was out for stars; I would not come in. I meant not even if asked; And I hadn’t been.
The Telephone
‘When I was just as far as I could walk From here today, There was an hour
All still
When leaning with my head against a flower I heard you talk.
Don’t say I didn’t, for I heard you say— You spoke from that flower on the window sill—
Do you remember what it was you said?’
‘First tell me what it was you thought you heard.’
‘Having found the flower and driven a bee away,
I leaned my head, And holding by the stalk, I listened and I thought I caught the word— What was it? Did you call me by my name?
Or did you say— Someone said “Come”— I heard it as I bowed.’
‘I may have thought as much, but not aloud.’
‘Well, so I came.’
A Girl’s Garden
A neighbor of mine in the village
Likes to tell how one spring
When she was a girl on the farm, she did A childlike thing.
One day she asked her father
To give her a garden plot
To plant and tend and reap herself, And he said, ‘Why not?’
In casting about for a corner
He thought of an idle bit Of walled-off ground where a shop had stood, And he said, ‘Just it.’
And he said, ‘That ought to make you
An ideal one-girl farm, And give you a chance to put some strength
On your slim-jim arm.’
It was not enough of a garden, Her father said, to plough; So she had to work it all by hand, But she don’t mind now.
She wheeled the dung in the wheelbarrow
Along a stretch of road; But she always ran away and left Her not-nice load,
And hid from anyone passing. And then she begged the seed. She says she thinks she planted one Of all things but weed.
A hill each of potatoes, Radishes, lettuce, peas, Tomatoes, beets, beans, pumpkins, corn And even fruit trees.
And yes, she has long mistrusted That a cider apple tree In bearing there today is hers, Or at least may be.
Her crop was a miscellany When all was said and done, A little bit of everything, A great deal of none.
Now when she sees in the village How village things go, Just when it seems to come in right, She says, ‘I know!
‘It’s as when I was a farmer—’ Oh, never by way of advice! And she never sins by telling the tale To the same person twice.
Stopping By Woods on a Snowy Evening
Whose woods these are I think I know. His house is in the village though; He will not see me stopping here To watch his woods fill up with snow.
My little horse must think it queer
To stop without a farmhouse near Between the woods and frozen lake
The darkest evening of the year.
He gives his harness bells a shake To ask if there is some mistake. The only other sound’s the sweep Of easy wind and downy flake.
The woods are lovely, dark and deep, But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep.
Choose Something Like a Star
O Star (the fairest one in sight), We grant your loftiness the right To some obscurity of cloud— It will not do to say of night, Since dark is what brings out your light. Some mystery becomes the proud. But to be wholly taciturn In your reserve is not allowed. Say something to us we can learn By heart and when alone repeat. Say something! And it says, ‘I burn.’ But say with what degree of heat. Talk Fahrenheit, talk Centigrade. Use language we can comprehend. Tell us what elements you blend. It gives us strangely little aid, But does tell something in the end. And steadfast as Keats’ Eremite, Not even stooping from its sphere, It asks a little of us here. It asks of us a certain height, So when at times the mob is swayed To carry praise or blame too far, We may choose something like a star To stay our minds on and be staid.
STRINGS
Dr. Borislava Iltcheva, violin
Dr. Hsiaopei Lee, viola
Dr. Alexander Russakovsky, cello
Dr. Marcos Machado, bass
Dr. Nicholas Ciraldo, guitar
WOODWINDS
Dr. Danilo Mezzadri, flute
Dr. Pablo Hernandez, oboe
Dr. Jackie McIlwain, clarinet
Dr. Kim Woolly, bassoon
Dr. Dannel Espinoza, saxophone
BRASS
Dr. Rob Detjen, horn
Dr. T.J. Tesh, trumpet
Dr. Ben McIlwain, trombone
Dr. Richard Perry, tuba
PERCUSSION
Dr. John Wooton, percussion
PIANO
Dr. Michael Bunchman, piano
Dr. Ellen Elder, piano
Dr. Hongzuo Guo, staff pianist
Dr. Elizabeth Moak, piano
Zhaolei Xie, staff pianist
ORCHESTRAL ACTIVITIES
Dr. Gregory Wolynec
CHORAL ACTIVITIES
Dr. Gregory Fuller
Dr. Jonathan Kilgore
VOICE
Dr. Kimberley Davis
Dr. Taylor Hightower
Dr. Meredith Johnson
Dr. Jonathan Yarrington
MUSIC EDUCATION
Dr. Ashley Allen
Dr. Melody Causby
Dr. Ian Cicco
Dr. Kellie Clark
UNIVERSITY BANDS
Dr. Catherine Rand
Dr. Travis Higa
Dr. Cody Edgerton
JAZZ STUDIES
Larry Panella
MUSIC HISTORY
Dr. Vanessa Tonelli
Dr. Edward Hafer
Dr. Joseph Jones
MUSIC THEORY
Dr. Danny Beard
Dr. Joseph Brumbeloe
Dr. Douglas Rust
DIRECTOR
Dr. Colin McKenzie
ASSOCIATE DIRECTORS
Dr. Joseph Jones
Dr. T.J. Tesh
ASSISTANT TO THE DIRECTOR
Laurie Rinko
FINANCE AND ADMINISTRATION SPECIALIST
Jennifer Knue
ADMINISTRATIVE SPECIALISTS
Sinetta Bolton
Dr. Kevin Ledgewood
ACADEMIC ADVISEMENT
COORDINATOR
Kristin Sheppard
GRADUATE COORDINATOR
Dr. Melody Causby
PR/MARKETING AND EVENT COORDINATOR
Dr. Mike Lopinto
PIANO TECHNICIAN
Carlos Boza
ORCHESTRA PERSONNEL
Violin 1
Kevin Andre Zerrate Aria*
Juan Lincango
Allyson Gomes
Dexter Rodkey
Keyu Zheng
Katarzyna Gwiazda
João Vitor Gonzaga
Amelia Brencick
Paul Armijos Yambay
Christian Onyewuche
Violin 2
Carlos Suarez*
Ethne Killgore
Paulo Victor Alves
Lucas Gonzalez
Sofia Araujo
Paloma Vieira Guillory
Elizabeth Brown
Veronica Morales
Grace Pineda
Katelynn Ferguson
Viola
Rene Espinal Reyna*
Christian Avila
Adelle Paltin Panella
Renata Andrade
Natalia Escobedo
Jordan Wayne
Violoncello
Cristian Sanchez*
Evelin Lopez
Gabriel Barros
Mauricio Unzueta Salas
Vivian Herring
Itzel Orellana
Kassandra Henriquez
Frank Palomino
Bass
Daniel Magalhaes*
Marcus Silva
Matheus Ferreira de Souza
Jose Cuellar
Manuel Jara
JaLaan Dubose
Harp
Kristina Finch*
Tess Fullerton
Flute
Hallie Ward*
David Reyes
Erin Russell
Gracie McDonald
Piccolo
David Reyes
Gracie McDonald
Oboe
Geordie Nabors*
Joshua Strobel
English Horn
Juan Carlos Piedra Carvajal*
Clarinet
Brad Pilcher*
Nicole Johnston
Eb Clarinet
Matt Barron
Bass Clarinet
Cameron Nix
Bassoon
Zachary Howell*
Gabe Flores
Nancy Diaz
Contrabassoon
Osvaldo Redondo Alfaro
* denotes principal players
Horn
Abby Loftin*
Chance Rootes
Gracie Bridges
Eli Wright
Kallie Olivarez
Trumpet
Mariah Atwood*
Rob Smith
Anthony Leggio
Clayton Jacocks*
Kyle Matthees
Trombone
Brandon Domingue*
Belle Tadlock
Alex Handley
Bass Trombone
Jonathan Henneveld
Tuba
Clenon Hartzog*
Timpani
Nathan Wright*
Percussion
Yu Chih Cherry Chen*
Malachi Collins
George Walker
Conner Counts
Piano
Margaleth Espinoza
Fernandez*
Celesta
Erick Diaz Quispe
Sopranos
Sophia Adams
Morgan Anderson
Jilli Grace Asa
Morgan Burroughs
Brynna Carpenter
Tristen Coleman
Jaynie Darby
Danielle Gray
Suzanna Haddox
Aliah Hammack
Rhiannon Harris
Kathryn Hasenkampf
Jo Huff
AnneMarie Jeffers
Paetyn Johnson
Alyssa Kindhart
Bonnie Littlejohn
Leah Lott
Bitsy Browne Miller
Amanda Moreira
Kailey Owen
Amber Ozbun
Marietta Paterson
Lily Purvis
Lila Reed
Avery Smith
Rachael Smith
Zoey Smith
Kennedi Sparkman
Ellie Spencer
Nykenah Stallworth
Hallie Stavinoha
Amelia Sutherland
Allison Tharp
Abigail Thiele
JosEllen Turrentine
Reese Walker
Carlyn White
Grace Wilbourn
Altos
Christine Banes
Emily Beall
Lici Beveridge
Cleo Bourne
Abi Bouzigard
Judith Collins
Nakayla Cornelius
Kaylee Cripple
Jayla Davis
Deja Gatlin
Christine Heath
Bianca Ingraham
Christine King
Lorinda Krhut
Anna Kate Long
Kayla Mason
Jordyn Nellum
Briley Nelson
CHORAL PERSONNEL
Katelynn Langley
Mijan Magar
Patrick Martin Jr.
Jaiden McGloster
Jamari McGloster
Bob Mendel
John Meyer
Jack Moeller
Chase Moore
Shervon Moore
Nick Perez
Bailey O’Boyle-Shambra
Luisa Ortega
Connie Payne
Tara Piggott
Lacey Prater
Rebekah Presswood
Ruthie Ramsey
Natalie Raybourn
Kennedy Richardson
Kennedi Robinson
Madeline Russell
Grace Salmon
Rebecca Sanderson
Amiee Schacherer
Ashawndra Simmons
Lauryn Spell
Liz Sudduth
Alvia Walker
Emma Walker
Dakota Westbrook
Kelby Wingo
Jaylah Woodson
Helen Yang
Riley Young
Tenors
Russell Bearden
Noah Brand
Cameron Broome
Parker Burns
Bo Campbell
Reese Carothers
Paul Clark
Paul Dunn
Tanner Green
Caden Keith
Mark Keyl
Jay Koozer
Ty Rogers
Omari Thigpen
Blake Tolbert
Omari “Momo” Walker
Casey Wood
Bass
Asa Aylor
Rodger Banes
Alvon Brown
Mark Castracane
Jaylan Clay
Lucien Coker
Sam Crump
Gavin Davis
Remy Davis
August Duncan
Faizon Ellis
Fhoenix Ellis
Colorado Fultz
Joshua Garmon
Aubrey Glenn
Tyrese Hardy
Bob Heath
Julian Herr
Jerry Johnson
Devin Jones
Hayden Ketchum
Aiden Luttrell
Katon Maurice
Marvin Miller
Sean Murphy
Lucus Orndorff
Jarvis Russell
Blaise Taylor
Justin Thompson
Van Voorhies
ABOUT THE ARTISTS
Gregory Fuller is a professor of music and the director of Choral Activities at The University of Southern Mississippi. He conducts the Southern Chorale and the Hattiesburg Choral Union, teaches graduate conducting courses, and supervises candidates in the master’s and doctoral conducting program. Previously, Professor Fuller held conducting appointments at The University of Missouri in Columbia, Missouri, and Briar Cliff University in Sioux City, Iowa.
Fuller has appeared as a conductor or clinician in many locations around the world. His performance record includes numerous refereed performances, including podium appearances at national conferences of American Choral Directors Association (ACDA), Music Educators National Conference (MENC), and the National Collegiate Choral Organization (NCCO). In addition, Fuller has appeared on many concert series performances and festivals in North America, Central America, Scandinavia, the Baltic States, Western Europe, Japan, Korea, and Russia. He has served the Mississippi Chapter of American Choral Directors Association as college and university chair, convention site coordinator, and president.
Dr. Fuller has remained active as a conductor in orchestral and wind settings. That includes numerous oratorios, orchestral works, and a five-year appointment with the professional Sioux City Municipal Band (formally the Monahan Post Band). He has become known as a champion of new extended works, including many U.S. and world premieres over the last three decades. Important performances include the works of Tõnu Kõrvits, Richard Burchard, and John Cheetham. Other notable performances include engagements on Japanese National Public Television, Estonian Public Radio, and the ordination of Bishop Daniel DiNardo, now Cardinal DiNardo, retired Archbishop of the Galveston-Houston Diocese.
Gregory Wolynec is in his second year as director of Orchestral Activities at The University of Southern Mississippi. He directs the Symphony Orchestra, oversees the graduate program in orchestral conducting, and conducts performances of the Southern Opera and Musical Theatre Company. He is also the founder and music director emeritus of Middle Tennessee’s acclaimed Gateway Chamber Orchestra (GCO), which he directed for 17 years. Wolynec previously served as director of instrumental ensembles at Austin Peay State University (APSU) in Clarksville, Tenn., from 2003-24.
Wolynec has sought to revolutionize the potential of the 21st century orchestra. His unique programming philosophy received national attention with GCO producer Blanton Alspaugh receiving two GRAMMY nominations and a win as Classical Producer of the Year. Ambitious multi-media family concerts have been recognized by the National Endowment for the Arts and the League of American Orchestras. He spearheaded pandemic projects, including the Magical Music & Timeless Tales video series, the YouTube broadcast of the Beethoven @250: Humanity in 2020 concert, and America’s Haydn Festival in May of 2021, featuring performances by GCO, as well as the St. Lawrence String Quartet, pianist Henry Kramer and hosted by Bill McGlaughlin. In 2021, Wolynec also worked with composer Cristina Spinei to successfully launch the first NFT of a musical work commissioned by an American orchestra. This was profiled on NPR’s Marketplace Money. He also oversaw a multi-year project in collaboration with Nashville Ballet to create a new Nutcracker employing the music of Tchaikovsky, Duke Ellington and Vinico Meza. In 2025, Wolynec oversaw the groundbreaking release of recordings of Osvaldo Golijov’s massive La Pasión según San Marcos in audio, video and virtual reality formats.
Wolynec holds a BM in music education and clarinet performance from SUNY Potsdam’s Crane School of Music, as well as the MM and DMA in instrumental conducting from Michigan State University. He was a recipient of a Fulbright Grant to Prague, Czech Republic, where he studied conducting at the Prague Conservatory. There he also worked with the Karlovy Vary Symphony.
Symphony Patrons,
This past fall, we launched a series of ambitious new projects and an annual fundraising campaign to support them. Through the generosity and vision of several donors, we are hard at work “Bringing Mississippi to the World.” This season, our talented musicians already shared the stage with internationally acclaimed jazz pianist, Aaron Diehl, and his trio in a program featuring Mary Lou Williams’ Zodiac Suite. Our livestream programs now feature sound produced by a GRAMMY-winning engineer.
This past Tuesday, the Symphony performed its first performance out of Hattiesburg in several years. We are just getting started. In the months ahead, we will announce plans for new touring and recording activities that will educate our students while celebrating the cultural vitality of our wonderful community.
Please consider joining the USM Foundation’s “Bringing Mississippi to the World” fund with a one-time or multi-year gift. I can think of no better cultural ambassadors for our great state than our gem here in Hattiesburg!
With
gratitude,
Gregory Wolynec, DMA Director of Orchestral Activities
MAIL
$40,000 and above
Mr. and Mrs. Frank D. Montague III
$25,000 to $39,999
Dr. Beverly Dale
$10,000 to $24,999
Dr. and Mrs. Arthur C. Martin
$5,000 to $9,999
Drs. Donald and Catherine Cotton
$2,500 to $4,999
Dr. and Mrs. Richard L. Conville
$1,000 to $2,499
Mr. David C. Carroll
Mrs. Mary J. Cromartie
Mr. and Mrs. Alex Killgore
Mrs. Virginia W. Morris
Mrs. Ardith Wolynec
Lt. Col Jason Hillman THANK YOU TO DONORS
Drs. Gregory and Lisa Wolynec
$500 to $999
Dr. and Mrs. Robert Y. Lochhead
Ms. Vicky A. Ward
$250 to $499
Dr. David M. Cochran Jr.
Up to $249
Dr. and Mrs. Andrew L. Dickson
Mr. and Mrs. Howard A. Fromkin
Dr. and Mrs. Robert F. Heath
MUSIC EDUCATION AT SOUTHERN MISS
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BACHELOR’S Degree IN MUSIC EDUCATION
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usm.edu/music
ENDOWMENTS
When it comes to making a long-term impact on Southern Miss, there are many giving options to choose from besides simply writing a check. To find a charitable gift that best meets your family's goals and supports Southern Miss for years to come, please contact us and join this family that will sustain the Symphony for generations.
CONTACT
Amy Antoinette Batiste
601.266.6114
amy.batiste@usm.edu
BAND/DIXIE DARLING
Dewey W. Camp Scholarship Endowment –Fund 0846
Billie and Homer Sullivan Jr. Pride Scholarship – Fund 1237
Martha and Noobar Odjakjian Memorial Scholarship Endowment – Fund 1250
Margaret and Warren Dunn Pride Scholarship – Fund 1426
Drs. Mark and Martha Stevens and Anna Stevens Swann Pride Endowment – Fund 1463
Barnes-Manning Scholarship Endowment –Fund 1716
Janet Sims Band Scholarship Endowment –Fund 1727
Band Scholarship Endowment – Fund 2482
Kappa Kappa Psi Gamma Chi Chapter Alumni Scholarship Endowment – Fund 2515
Charles and Diane Thomas Endowment in the School of Music – Fund 0511
Anita Joe “Butch” McDonald Endowed Dixie Darling Scholarship – Fund 0667
Carl and Margaret Alesio Dixie Darling Scholarship Endowment – Fund 1421
Kristen Margaret Warren Memorial Scholarship – Fund 1591
Linda Smith Abner Dixie Darling Scholarship Endowment – Fund 2108
Alma Murphy Dixie Darlings Scholarship Endowment – Fund 2155
Sherman and Mildred Hong Percussion Scholarship Endowment – Fund 2419
Pep Band Scholarship Endowment – Fund 2213
CHOIR
Charles and Diane Thomas Choral Tour Endowment – Fund 1465
Steffan Myers Spirit of Southern FFE – Fund 2366
Drs. Mark and Martha Stevens and Anna Stevens Swann Choir Endowment – Fund 1463
CHOIR/VOCAL
Tennessee Ernie Ford Music Scholarship Endowment – Fund 1218
GUITAR
Elmo and Mary Glenn Harrison Guitar Scholarship Endowment – Fund 0931
Pat and Brett McKenzie Music Scholarship Endowment – Fund 2564
JAZZ
M. Ashley DuBoise Scholarship Endowment in Jazz Studies – Fund 0570
Jerald S. and Christine B. Hughes Jazz Studies Scholarship Endowment – Fund 1273
MUSIC
Frank Earl Marsh Scholarship Endowment –Fund 0690
Raymond and Karen Mannoni Music Scholarship Endowment – Fund 0737
Kathryn Swetman Page Scholarship Endowment – Fund 0821
Mabel Ve. Shannon Silver Memorial Scholarship Endowment – Fund 0864
Joe Barry Mullins Scholarship – Fund 0905
Mary Lillian Peters Whitten Music Endowment – Fund 0968
Thad and Gerry Waites Music Scholarship Endowment – Fund 0980
Dr. Nancy O’Neal Tatum Music Scholarship Endowment – Fund 0982
Edna and Dave Perkins Music Faculty Enhancement Endowment – Fund 1261
Lorena Bessey Mangin Music Scholarship Endowment – Fund 1270
Zackery Music Scholarship Endowment –Fund 1750
James O. and Mary Ann Schnur Lower Brass Scholarship – Fund 1278
J. Larry and Linda B. Smith Music Scholarship Endowment – Fund 2063
Jim and Jamie Self Tuba Scholarship Endowment – Fund 2488
Dr. Patricia Ann Sharpe Malone Memorial Scholarship Endowment – Fund 2526
MUSIC EDUCATION
Dr. Jack P. Donovan Memorial Scholarship –Fund 1153
Charles and Carolyn Elliott Endowed Scholarship in Music Education – Fund 1162
Dorothy and Laurance Cunningham Endowment in Music Education – Fund 1167
Mississippi Orchestra Teachers Association/ Sara Dean Music Scholarship Endowment –Fund 1608
Agnes and Joseph “Bud” Hillman Scholarship Endowment – Fund 2127
ORCHESTRA
Edna and Dave Perkins Endowed Scholarship in Strings – Fund 0515
Harry Wells McCraw Violin Scholarship Endowment – Fund 0629
Harold Luce Orchestra Scholarship Endowment – Fund 0659
June Ross Vardaman Violin Chair Orchestra Endowment – Fund 0669
John P. and Ellene C. Moseley Scholarship Endowment – Fund 0966
Hilda and George McGee Endowed Music Scholarship – Fund 0979
Tom and Claire Brantley Trombone Scholarship – Fund 1364
William T. Gower Orchestra Scholarship Endowment – Fund 1499
Thomas D. and Lorraine Smith Ott Wind Scholarship – Fund 1539
Jaime Jiménez Endowed Cellist Scholarship – Fund 1638
Herbert Allen Hart Symphony Percussion Scholarship Endowment – Fund 1765
Allen Hale Southern Mississippi Symphony String Scholarship Endowment – Fund 1766
Jay Dean USM Symphony Woodwind Scholarship Endowment – Fund 1767
Hattiesburg Civic Association Orchestra Scholarship Endowment – Fund 1778
Partners for the Arts Orchestra Scholarship Endowment – Fund 1779
Elizabeth M. Irby Orchestral Chair Scholarship Endowment – Fund 1780
John N. Palmer Foundation Orchestral Scholarship Endowment – Fund 1794
Richard Fabian and Katherine Smith McCarthy Violin Scholarship Endowment –Fund 1799
Hattiesburg Coca-Cola Symphony String Scholarship Endowment – Fund 1818
Orpheus Orchestral Scholarship Endowment – Fund 1869
The University of Southern Mississippi Opera Endowment – Fund 1939
Voice of the Century Centennial Orchestra Scholarship Endowment – Fund 1945
Rebecca Smart Montague Symphony Scholarship Endowment – Fund 1975
Sonya Rebecca Jordan Fox Symphony Orchestra and Opera Endowment – Fund 2099
Jay Dean International Music Scholarship Endowment – Fund 2281
Joe B. Price Horn Scholarship Endowment –Fund 2291
Dr. Toxey M. and Mrs. Virginia Wicke Morris Symphony Orchestra Scholarship Endowment– Fund 2602
PIANO
Dr. Trelles Glenn Case Piano Performance Scholarship Endowment – Fund 2601
Fannie Godbold Ginn Piano Scholarship Endowment – Fund 0584
Melba Ough Ragsdale Memorial Piano Scholarship Endowment – Fund 2073
George Imbragulio Piano Memorial Scholarship Endowment – Fund 2240
PIANO/VOICE
Patricia Graham Gable Endowment in Music – Fund 0517
VOICE
Angela Stevens Wallace Voice Scholarship Endowment – Fund 0697
The University of Southern Mississippi Foundation is a nonprofit organization committed to serving the University community by overseeing fundraising efforts to raise private support for scholarships and other academic needs at Southern Miss. The Foundation manages donor dollars to provide the most advanced educational opportunities available to students, faculty, staff, alumni and friends of Southern Miss.
LEGACY LIFETIME MEMBERS
Gold Legacy Society - $25,000
Gail and Larry Albert
Becky and Doug Montague
Dr. Steven Moser
Ms. Sandra and Dr. R. Greer Whitacre
Silver Legacy Society - $12,500
Dr. Shannon Campbell
Tammy and Arthur Martin
Pam and Doug Rouse
Bronze Legacy Society - $5,000
Alexander Brady Foundation
Linda Boutwell-Griffith and John Griffith
Jennifer Brannock and Dr. David R. Davies
Dr. Amy Chasteen
Iris Easterling
Erin and Dennis Granberry
Lt. Col. Jason Hillman in honor of Carole Marshall
Amy and Don Hinton
Carole Marshall in memory of John Ivany Marshall
Stace and Andy Mercier
Drs. Stacey and Michael Miles
Ruth and Dr. Lance Nail
Dr. and Mrs. Joe Paul
Eula and Dr. Roderick Posey
Dee and Toddy Tatum in memory of Dr. and Mrs. A.T. Tatum
Becky and Doug Vinzant
ANNUAL MEMBERS
PRESIDENT’S CIRCLE - $5,000+
Cadence Bank
Beverly Dale
GRAND BENEFACTOR - $2,500
Catherine and Donald Cotten
Dr. and Mrs. Chris Winstead
BENEFACTOR - $1,000
Myrle-Marie Bongiovanni
Gwen and Perry Combs
Mo and Dick Conville
Iris Easterling
HCS Trading, LLC
Dr. and Mrs. Lawrence Leader
Jane and Charles Lewis
The Linda Becker Smith Revocable Trust
Dr. Keith and Carolyn McLarnan
Dr. Steven and Anita Murphey
Dr. and Mrs. Tom Puckett
Southern Miss Alumni Association
Mrs. Sandra and Dr. R. Greer Whitacre
PATRON - $500
Dr. Chris and Missy Crenshaw
Drs. Jeremy Deans and Alyson Brink
Allyson Easterwood
Althea and Raoul Jerome
in memory of Dr. Patricia Malone
Lee-Way Financial
Robert Lochhead
John M. and Carolyn Lopinto Sr.
Missy Warren McGee
Mrs. Virginia W. Morris
Kathryn and Robert Morrow
Pinebelt Realty Enterprises, LLC and Mason and Magnolia Real Estate
Kathy and Randy Pope
Rion Snowden Architect, PLLC
Dr. Edward Sayre
Russ Willis
DONOR - $250
Linda and Larry Basden
Mary Glenn and Todd Bradley
Lt. Col. Raylawni Branch
Drs. Marvin and Bitsy Browne Miller
Rachel and Nicholas Ciraldo
Joelle Crook in memory of George T. Crook
Kimberley Davis
Beejee and Andy Dickson
Katherine and Chad Driskell
Kim Gallaspy
Cheryl L. Goggin
Dr. and Mrs. Robert Heath
Rebekah and Jeff Johnson
Richard and Elizabeth Johnson
Dr. Mike Lopinto in honor of Carolyn and John Lopinto
Tammy and Steve Mansfield
Carole Marshall
Maureen K. Martin in honor of Dr. and Mrs.
Aubrey K. Lucas
Cody and Joan McKeller
Dr. Colin and Mandie McKenzie
Becky and Doug Montague
Drs. Suzanna and Andrew Nida
Hal E. Odom
Dr. Derek and Mrs. Stephanie Patton
Denise and Richard Ratcliffe
Mr. and Mrs. William K. Ray
Dr. and Mrs. Douglas M. Rust
Mary and Eric Sumrall
Martha and Tommy Thornton
Debra and Richard Topp
Carey and Sharon Varnado
Sharon Weathersby
CONTRIBUTOR - $150
Anonymous
Dr. Jenna and Mr. Daniel Barton
Dennis Baum
Mitch and Marcia Cochran
Dr. Veronica Dzugan
Barbara Jane Foote
Howard and Liz Fromkin
John and Susan Howell
LuAnn Knight
Lorinda Krhut
Vicki R. Leggett
Milo McCarthy
Bebe McLeod and Bill McLeod in memory of Dr. John A. McLeod III
LTC and Mrs. E. Walker Nordan
Betty and Bob Press
George and Jann Puckett in honor of DeAnna Douglas
Ann and Bill Simmons in honor of Dr. Jay Dean and Dr. Mary Ann Kyle
