UNL Campus Bands Sunday May 7, 2023

Fond Memories of the Past, Bright Hope for the Future

Overture in B Flat

Overture in B Flat by Caesar Giovannini is a spirited composition, written in contemporary (1966) manner and in one tempo throughout. The opening sounds are those of energetic brass fanfares answered by legato woodwind passages. This is followed by a brief development section ending in transitional material which leads to the first thematic statement. The brass have the melody here with woodwinds providing the rhythmic element. Next, the same melodic lines (slightly altered) appear in the woodwinds, with the brass providing the rhythm. It is full ensemble here. Now the low woodwinds state a thought which, by repetition and addition of other instruments in higher registers, ends by leading to a sonorous theme of noble character. Following this, the brass fanfares and woodwind passages first heard at the beginning of the overture are restated, this time taking us into the coda. The piece ends brilliantly with full ensemble.--taken from score notes

Caesar Giovannini graduated from Lane Tech High School in Chicago, Ill., in 1943 and joined the U.S. Navy later that year where he was soloist with the Navy Band in Washington, D.C. Giovannini resumed his studies at the Chicago Conservatory after his release from the Navy in 1946, and he graduated with an MM degree in composition in 1948. He joined the National Broadcasting Co. Staff Orchestra as a pianist in 1949, appearing as a soloist in various radio and television shows. During the years 1956 and 1957, he was the music director of the Kukla, Fran and Ollie television show, after which he joined the American Broadcasting Co. Staff Orchestra in 1958.

Giovannini moved to Los Angeles in 1959 and worked as a free-lance pianist and composer for motion picture and television films and continued to produce works for concert band. Many of his works were composed in a more-or-less "1960s pop-rock style," but he created several more serious works for band as well, such as Fanfare, Chorale and Fugue, Jubilance, and Symphony in One Movement. His most popular piece was Overture in B-flat. Many works from his catalogue continue to appear on state and national festival lists. He retired to Arizona in the 1990s but returned to the Chicago area in 2007 to be closer to his family and friends. Caesar Giovannini completed his final composition, Honor and Glory, in 2015. This 27-piece orchestration was dedicated to and performed and recorded by the U.S. Navy Band.

Home

Jim Daughter's Home was commissioned by Shelly Boulden in loving memory of her beloved husband George R. Boulden, III. The piece is based on Gustav Mahler's Adagietto from Symphony No. 5. In the words of the composer, "I was asked by George's wife, Shelly, to write a piece honoring George and his life. George loved the Adagietto from Mahler's Fifth Symphony, and I used that as the basis for this piece. Shelly also requested that I include parts of My Old Kentucky Home as George was a native Kentuckian ad loved the melody. My Old Kentucky Home is also played at all University of Kentucky home football and basketball games. Having been the director of the "Wildcat" Marching Band for many years, he had conducted this hundreds of times. You will hear quotes of My Old Kentucky Home throughout. George was a trombone player, and I thought it appropriate to place the largest or these quotes in the solo trombone. Other snippets of the tune appear in the vibraphone and alto saxophone parts. You will hear a repeated G as a triplet throughout the piece. G, being George's initial, represents him. You will hear this in the keyboards and trombone. This serves as a reminder that he is always here."--taken from score notes

Today's performance of Home will be a Nebraska premiere.

Dr. Jim Daughters is the Director of Bands at Southeast Missouri State University and was previously the Associate Director of Bands and Music Education Coordinator at Arkansas Tech University. Jim also serves as the Conductor and Artistic Director of the Cincinnati Wind Band, Cincinnati’s professional wind ensemble. Prior to his appointment at SEMO, Jim enjoyed a successful 15-year career as a band director in Kentucky. Daughters has also been an adjunct faculty member and conductor of the Cincinnati Junior Youth Wind Ensemble at the University of Cincinnati College-Conservatory of Music, and he was interim Director of Bands at Xavier University. He holds graduate degrees from the University of Kentucky and was a student of Richard Clary and Cody Birdwell.

Dr. Daughters has served as a guest conductor, clinician, and adjudicator with middle school, high school, and university bands, regional honor bands and marching contests, and he has presented clinics and demonstrations at The Midwest Clinic and several state music conferences. He has published articles on band pedagogy and march performance practice in music journals and is a past committee chair of the National Band Association Repertoire Committee.

Jim's 275+ arrangements and transcriptions have been performed by a variety of artists and ensembles, including performances by world-renowned trumpeter, Arturo Sandoval. In 2019, Daughters transcribed the landmark timpani solo, Planet Damnation, by award-winning composer, John Psathas. The piece was given its premiere by Kae Reed Hashimoto and the Fillmore Wind Band at WindFest in Cincinnati Music Hall. Dr. Daughters has written and arranged music for some of the nation’s elite high school marching bands, with bands and show designs winning several circuit and state championships, in addition to medaling at Bands of America Regional and Grand National Championships.

Miniature Suite

In 1945 Lutoslawski made a setting of twelve Folk Melodies for piano. Conceived as simple pedagogical pieces for young pianists, these concise arrangements of Polish folk songs and dances are clearly patterned after similar Hungarian pieces by Bela Bartok, the last four settings comprise the present transcription for band, Miniature Suite. All four dances are from Silesia, an industrial region located mainly in southwestern Poland. An attempt has been made to maintain the integrity of the original settings, while taking advantage of the variety of colors found in the modern concert band. --Kenneth Singleton

Witold Lutoslawski was perhaps the most famous Polish composer of the 20th century. He created numerous and challenging works for orchestra, chorus, voice, and solo instruments. Lutoslawski studied music in Warsaw, survived capture by the Nazis during World War II, and became a leading musical figure in post-war Europe. His early works were influenced by Polish folk music and the compositional style of Hungarian composer, Bela Bartok. He later embraced aleatoric techniques (which make use of chance and indeterminacy), and most of his best known works utilize at least some of these elements.

Pieces of Glass

Inspired by the minimalism of composer, Philip Glass, Pieces of Glass is a dynamic work for young band that takes listeners on a journey through delicate staccato iterations and sweeping lyrical passages, and powerful chordal punches.--taken from score notes

Leslie Gilreath is the Director of Bands at Summerville High School in Summerville, South Carolina. Summerville Concert Ensembles have been featured at SCMEA and NAfME Southern Division Conferences. Leslie is a native of Anderson, South Carolina and a graduate of Furman University where he majored in Music Theory and studied conducting and orchestration with Jay Bocook. He studied composition with Michale Hennagin and Carolyn Bremer at the University of Oklahoma. He has been recipient of Citations of Excellence and Citations of Merit for Marching Excellence from the National Band Association and is in demand as a composer and arranger.

To Right Our Wrongs

To Right Our Wrongs aims to reflect on the complex, mult-faceted impact that privilege has on the American experience, and on the way that disparities of privilege play a role in both the fight for and prevention of social and systemic equality and equity. There is an extensive history of vast systemic violence and injustice towards women, people of color, members of the LGBTQ+ community, and other minority groups in the United States. Those who are not a part of these communities and, thus, have not experienced these communities' discrimination are privileged, if they know about the injustices of our country, it is most likely because they have learned from others. But members of these communities must both learn and live with these injustices. This complex role that privilege plays in the systemic discrimination of our country led me to the guiding questions of this work: What does it mean to work against the wrongdoings of our country's past and present? How can privilege be utilized for good? As those who hold privilege, what does it mean to right our wrongs? --Harrison J. Collins

Harrison J. Collins began composing at the young age of fourteen. Since then, he has made a name for himself across the United States as a skilled composer. He combines his musical studies in academic settings with years of self-teaching and a strong intuition to write music that challenges and connects to performers and listeners alike. He is a winner of numerous composition competitions, including the Sinta Quartet Composition Competition, the Dallas Winds Fanfare Competition, the National Young Composers Challenge, the Austin Symphony Orchestra's Texas Young Composers Competition, and multiple Fifteen Minutes of Fame competitions held by Vox Novus - including one in which his work was selected for performance by the acclaimed West Point Band.

Epinicion

Somewhat aleatoric in nature, Epinicion represents an ancient song of victory sung at the conclusion of a triumphant battle. The Greeks would sing the song as they walked through the battlefield sorting the wounded from the dead.--Wind Repertory Project

Times were changing. The social revolution of the 1960s spilled into the ‘70s with decade-old commotion, unrest, uncertainty, and experimentation. The “Me Generation” of the ‘70s would be defined by a rejection of the old, and search for the new. During the ‘60s some pioneering composers and conductors sought to redefine what band music would be — rejection of the old, and search for the new. These mavericks initiated change that would transform the body of literature made available for the concert band. A high school band director from Minnesota, John Paulson, was affected by their cause. Epinicion would become one such composition that redefined band music.

Epinicion is an intense composition and is unsettling music; it is music that came forth in response to the societal afflictions of the Vietnam War. Epinicion is music that seems to suspend time; indeed, often there is no indicated tempo indicated in the score. Epinicion is haunting music; the title is taken from the ancient Greek word meaning a song of victory in time of war. Epinicion is disparate music; the divisiveness of the Vietnam War during the 1960s and ‘70s remains no less provocative in debate today. Epinicion is lonely, destitute, and alienating music. Just like in the other arts, in the 1970s band music takes a decidedly new direction.

There was a tremendous output of new music for band in this decade of art music for the sake of art. But much of this music was received as being impersonal, selfish, and distancing. Audiences were alienated by this new music. This new style of band music might very well have been genuine, heartfelt, and profound. Performers, conductors, and audiences might readily accept that this new music was, indeed, artistic. But to many, it seemed that composers did not care if anyone was listening. For it was during the ‘70s that audiences literally walked out of many a band concert. It seemed as though most people were not interested in hearing this new, art music for wind ensemble. Audiences at wind ensemble concerts often asked, “Was that supposed to be music?”--Lawrence Stoffel

John Paulson received a Master of Arts in Music Education from the Eastman School of Music and a Bachelor of Science in Music Education from the University of Minnesota. The creator of SmartMusic, Paulson was founder and CEO of MakeMusic Inc., the company that develops and markets Finale and SmartMusic. In addition to serving on the Global Economic Summit of the Music Products Industry and a International Association of Music Merchants, the Wenger Corporation, the Saint Paul Chamber Orchestra and the American Composers Forum, he was in Eastman’s Kaufman Advisors Group and in 2002 he received the Golden Clef Award from the Berklee College of Music in recognition of his lifetime commitment to music education. He is active as a music clinician, adjudicator and guest conductor.

Kirkpatrick Fanfare

Commissioned by Central Missouri State University for the dedication of the James C. Kirkpatrick Library in March 1999, this work has a definite Irish flavor, including a strain of Danny Boy. the "Fanfare" features driving rhythms and exciting brass figures, making this dramatic work sure to please both performers and audiences alike.--taken from score notes

Andrew Boysen earned his Doctor of Musical Arts degree in wind conducting at the Eastman School of Music, where he served as conductor of the Eastman Wind Orchestra and assistant conductor of the Eastman Wind Ensemble. He received his Master of Music degree in wind conducting from Northwestern University in 1993 and his Bachelor of Music degree in music education and music composition from the University of Iowa in 1991.

Boysen is presently a full professor in the music department at the University of New Hampshire, where he conducts the wind symphony and teaches conducting, composition and orchestration.

Dr. Boysen also maintains an active schedule as a composer, receiving commissions from the Herbert Hoover Presidential Library, the Cedar Rapids Metropolitan Orchestra Festival, the Iowa All-State Band, the Rhode Island All-State Band, the Nebraska State Bandmasters Association, and many university and high school concert bands across the United States. Boysen won the International Horn Society Composition Contest in 2000, the University of Iowa Honors Composition Prize in 1991 and has twice won the Claude T. Smith Memorial Band Composition Contest, in 1991 for I Am and in 1994 for Ovations. Boysen has several published works for band, orchestra, clarinet and piano, and brass choir.

Sea Songs

Written in 1923 for the following year’s Wembley Exhibition, Sea Songs is a march medley of three well-known sea shanties: Princess Royal, Admiral Benbow, and Portsmouth. Written in typical march form with a trio, it was published simultaneously for brass band and wind band, and was later transcribed by the composer for symphony orchestra. It should be noted that Sea Songs was originally intended to be the final movement of Vaughan Williams’s Folk Song Suite.--Wind Repertory Project

Ralph Vaughan Williams was an English composer of symphonies, chamber music, opera, choral music, and film scores. He was also a collector of English folk music and song: this activity both influenced his editorial approach to the English Hymnal, beginning in 1904, in which he included many folk song arrangements set as hymn tunes, and also influenced several of his own original compositions.

Vaughan Williams spent most of his life in London. He studied the viola, piano and organ, and he wanted to compose, but his family discouraged him from an orchestral career. He graduated from Trinity College, Cambridge, and studied composition at the Royal College of Music, as well as organ and piano with several teachers, Although he also studied abroad with Max Bruch and Maurice Ravel, his style remained individual and English. He was appointed organist at Lambeth, and his interest in English folk music dates from his stay there. He became good friends with Gustav Holst, and they often shared their works in progress with each other. His work on the English Hymnal greatly influenced his musical career.

He joined the Royal Army Medical Corps in France during World War I. From the 1920s onward, he was in increasing demand as a composer and conductor. He composed simple pieces and grand orchestral works and is considered the outstanding composer of his generation in England. According to Hubert J. Foss in The Heritage of Music, “In Vaughan Williams we hear the historic speech of the English people. What he gives us in music is the language of the breakfast table. It is also the language that Shakespeare wrote.”

October

October is my favorite month. Something about the crisp autumn air and the subtle change in light always make me a little sentimental, and as I started to sketch I felt that same quiet beauty in the writing. The simple, pastoral melodies and subsequent harmonies are inspired by the great English romantics (Vaughan Williams and Elgar) as I felt that this style was also perfectly suited to capture the natural and pastoral soul of the season. I'm quite happy with the end result, especially because I feel there just isn't enough lush, beautiful music written for winds.

October was commissioned by the Nebraska Wind Consortium, Brian Anderson, Consortium Chairman. October was premiered on May 14th, 2000, and is dedicated to Brian Anderson, the man who brought it all together.--Eric Whitacre

Eric Whitacre's first musical experience was singing in his college choir. Though he was unable to read music at the time, Whitacre began his full musical education at the University of Nevada, Las Vegas, eventually taking a bachelor's degree in music composition. He wrote his first concert work, Go, Lovely, Rose, at the age of 21. Eric went on to the Juilliard School, earning his Master of Music degree and studying with John Corigliano and David Diamond. At the age of 23 he completed his first piece for wind orchestra, Ghost Train, and his popular wind piece Godzilla Eats Las Vegas stems from this period. He graduated in 1997 and moved to Los Angeles to become a full-time professional composer.

Many of Whitacre's works have entered the standard choral and symphonic repertories. His works Water Night, Cloudburst, Sleep, Lux Aurumque and A Boy and a Girl are among the most popular choral works of the last decade, and his Ghost Train, Godzilla Eats Las Vegas, and October have achieved success in the symphonic wind community. As a conductor, Whitacre has appeared with hundreds of professional and educational ensembles throughout the world. He has conducted concerts of his choral and symphonic music in Japan, Australia, China, Singapore, South America and much of Europe, as well as dozens of American universities and colleges. Online, Whitacre's massed choral music has reached a worldwide audience. Whitacre's 2007 musical Paradise Lost: Shadows and Wings, combining trance, ambient and techno electronica with choral, cinematic, and operatic traditions, won the ASCAP Harold Arlen award and the Richard Rodgers Award for most promising musical theater composer.

Whitacre's virtual choir projects began in 2009 with Sleep and Lux Aurumque. In virtual choirs, singers record and upload their individual videos from all over the world. The videos are then synchronized and combined into one single performance to create the virtual choir. Though 2020, six virtual choirs have been formed, the last featuring more than 17,000 singers.

The Hill We Climb

In the Spring of 2022, the UNL Campus Bands established a commissioning project involving the UNL Composition Studio. The project was led by UNL Band Teaching Assistant, Trevor Frost and UNL Professor of Composition, Dr. Gregory Simon. From the field of entries submitted by members of the studio, John Kosch's, The Hill We Climb was selected for performance by the Jack R. Snider Concert Band. Today's performance is a world premiere.

When troubling feelings spiral out of control, The Hill We Climb assures us that we are never powerless. No matter how anxious or hopeless we become, we are capable of amazing accomplishments with the help of others. The Hill We Climb uses several modes of F melodic minor, expanding students' ears beyond the diatonic modes and providing a useful application for melodic minor scales. The entire piece expands on motives of the initial theme, including a recurring syncopated groove that introduces students to asymmetric rhythms.--John Kosch

John Kosch is a composer and arranger currently working in Lincoln, Nebraska. His compositions fuse pop melodies and jazz chords with the intricate rhythms and textures of concert music. Kosch has received several honors for his compositions, including: The Herb Alpert Young Jazz Composer Award, a Student Downbeat Award, first place in the NAfME Young Composers Competition, a merit award from the Tribeca New Music Young Composer Competition, and an honorable mention from Austin Classical Guitar. He is a three-time semifinalist for the American Prize, and his works have been selected for performances at regional and national Society of Composers conferences, as well as the Brevard Music Festival, Charlotte New Music Festival, and the Cortona Sessions for New Music. He currently teaches applied composition at Concordia University in Seward, Nebraska.

Toccata for Band

Frank Erickson's Toccata for Band has been extremely popular among high school and college bands ever since it was first published. Essentially two ideas are expressed in the Allegro non troppo and Andante con moto sections. The first, featuring the trumpets and clarinets, is quick and rhythmic; the second, featuring a horn solo, is slow and lyrical.--Wind Repertory Project

Frank William Erickson was an American composer, conductor, arranger, educator and author.

Erickson began studying piano at the age of eight, trumpet at ten, and wrote his first band composition when he was in high school. He received his Mus.B. in 1950 and his Mus.M. in 1951, both from the University of Southern California. Before entering college he studied privately with Mario Castelnuovo-Tedesco, and with Halsey Stevens and Clarence Sawhill after enrolling at USC.

He served with the United States Army Air Force from 1942-1946, and wrote arrangements for army bands during that time. After the war ended he worked in Los Angeles as a trumpet player and jazz arranger.

Erickson was a composer, conductor, arranger, and author of books on band method. He also lectured at the University of California at Los Angeles (1958) and was professor of music at San Jose State University. For a number of years he worked for a music publishing company, and later began his own company.

He was a life member of the National Band Association, elected to the Academy of Wind and Percussion Arts in 1986, and a member of ASCAP (American Society of Composers, Authors and Publishers), Phi Mu Alpha Sinfonia, Pi Kappa Lambda, Phi Beta Mu, and the American Bandmasters Association.

Albanian Dance

This exciting setting of the well-known Albanian tune Shota captures the festive mood of a village dance. Incorporating the common folk-dance rhythm of long-long-short, this lively piece is scored in cut-time and has a 3 + 3 + 2 eighth-note pattern throughout. The work includes memorable melodies and interesting rhythms and effects, such as trombone glissandos and horn rips.

Eastern Europe has had a long tradition of brass bands, some of which include clarinets and, since the twentieth century, saxophones. Although the instruments now commonly used by concert bands look and sound somewhat different than some of the instruments used by Eastern European bands, this setting of the popular Albanian tune Shota seeks to re-create the festive mood of a raucous village dance, where just such a folk band would have provided the music. Present throughout the piece is the rhythmic pattern of long-long-short, which is a very common folk dance rhythm in many cultures.

This piece is based on part of the finale of the accordion concerto AccorDances, which was written for accordion virtuosos Mark Stillman. The present version was commissioned by Jane Church and the East Lansing High School Concert Band.--taken from score notes

Shelley Hanson received her Ph.D. in performance, music theory, and music literature from Michigan State University, and has conducted university orchestras and wind ensembles as a faculty member of several universities. She is also on the artistic staff of the Minnesota Youth Symphonies.

Shelley Hanson’s compositions have been performed on every continent except Antarctica. As a conductor, record producer, and clarinetist, she has performed as a soloist with many ensembles: the Minnesota Orchestra, the Milwaukee Symphony, the North Carolina Symphony, the Las Vegas Philharmonic, the St. Paul Chamber Orchestra, and the U.S. Air Force Band, among others.

Also a conductor, record producer, and clarinetist, she and her band, Klezmer and All That Jazz, have performed her Concerto for Klezmer Band and Orchestra with the Minnesota Orchestra, Milwaukee Symphony, North Carolina Symphony, St. Paul Chamber Orchestra, and many other groups. Klezmer and All That Jazz recorded traditional and her original music for the award-winning audio book version of the classic Yiddish folk tale The Dybbuk.

The UNL Campus Bands

The Campus Band is the university's largest concert band. Its select mission is to provide a high quality performance venue for musicians representing a wide array of musical backgrounds and major fields of study within the university. The objectives of the Campus Band are to provide an opportunity for instrumentalists of diverse abilities and interests an opportunity to perform quality literature, and to hone their technical and musical skills through the rehearsal process; to provide a laboratory environment for music education students to gain vital performance experience on secondary instruments; to encourage members of the university's athletic bands to maintain a high level of musical activity throughout the year; and to serve as a resource for music educators and aspiring teachers through the study and performance of high quality repertoire appropriate for developing ensembles.

The Campus Band rehearses and performs in the spring semester only. The two sections of Campus Band rehearse one night a week, either on Tuesdays or on Thursdays, from 6:30 to 8:20. Membership in the Campus Band is open to any member of the university community, and music majors as well as non-majors are encouraged to join. There is no audition required.

The UNL Campus Bands are named in honor of 2 past Directors of Bands at the University of Nebraska, Donald A. Lentz and Jack R. Snider

Conductors

Foteini was born in Corfu, Greece. She received her bachelor's degree in music from Ionian University (GR) and a Masters in Orchestra Conducting from Fontys Hogeschool voor de Kunsten (NL) and Conservatoire Royal de Mons (BE). From 2016 until 2020 she was the music director/conductor in Corfu Municipal Wind Band of Thinali and Assistant Orchestra Conductor for Philharmonic Society of Corfu. In 2017-2018 she was assistant orchestra conductor for Thessaloniki City Symphony Orchestra. She has conducted orchestras and wind bands in many European countries (Berlin Symponieta, Orchestra Royal de Liege, Orchestra Royal de Chambre de Wallonie, Athens City Orchestra, Athens Philharmonic, Orchestra de Bauge). In 2020-2022 she did a Masters in Wind Band Conducting in University of Northern Iowa, where she was also Graduate Assistant of Bands. She is currently on the first year of a DMA Degree in Wind Band Conducting and Graduate Teaching Assistant in University of Nebraska, class of Carolyn Barber.

Douglas W. Bush is the Assistant Director of Bands at the University of Nebraska-Lincoln. His responsibilities include visual design for the Cornhusker Marching Band, conducting the campus bands and the Big Red Express, teaching music education courses, supervising student teachers, and assisting with the administration of all university bands.

Bush received his B.M.E. from the University of Kentucky (1981), where he studied visual design with Gordon Henderson and trumpet with Vincent DiMartino, and received his M.M. from the University of Nebraska-Lincoln (2002). Prior to his appointment as assistant director, Bush served as a lecturer in music education. Before joining the faculty at Nebraska, Bush spent 20 years as a high school band director in Kentucky and Ohio. His concert and marching bands received consistent superior ratings, and performed in Cincinnati, Morgantown, Atlanta, Orlando, Nashville, Indianapolis, Washington D.C. and Toronto.

Bush has studied wind conducting with Carolyn Barber, William H. Clarke, Paula Crider, Eugene Migliaro Corporon, James Croft, Larry Rachlef, John Whitwell, Rodney Winther, and Arthur Weisberg. His affiliations include the College Band Directors National Association, Pi Kappa Lambda National Honor Music Society, Kappa Kappa Psi, Phi Mu Alpha Sinfonia, Phi Beta Mu, Nebraska Bandmasters, the Nebraska Music Education Association, the National Association for Music Education, and Central States Judges Association. He is an active clinician, visual designer, consultant and adjudicator throughout the mid-west.

Eric Elker is completing the first year of his Doctor of Musical Arts degree in Wind Band Conducting. Prior to pursuing his doctorate, Eric completed a Bachelor of Science in Music Education at St. Cloud State University and a Master of Music Education at VanderCook College of Music in Chicago. Eric has worked with the Symphonic Band, Wind Ensemble, Campus Bands, Cornhusker Marching Band, and Big Red Express pep band here at UN-L. Eric spent seven years as a band director in Minnesota and Iowa before joining the bands at Nebraska.

Trevor Frost is currently a Graduate Teaching Assistant at the University of Nebraska-Lincoln, where he is working toward a Doctor of Musical Arts degree in Wind Band Conducting with a related area in Composition. His duties at UNL include work with the Ensemble Performance Lab, Symphonic Band, Campus Band, the Big Red Express pep bands, and the Cornhusker Marching Band. Prior to joining the team at UNL, Frost served as the music director at Paul Elementary School in Wakefield, New Hampshire creating a band, chorus, and general music program. He received his Master of Arts in Music: Music Conducting degree from the University of New Hampshire in 2021, and his Bachelor of Music degree in Music Education from the University of New Hampshire in 2016. Frost remains active as a composer receiving commissions from the New Hampshire Youth Band, the University of New Hampshire Wind Symphony, the Keene State Concert Choir, Lebanon High School (NH), and Pittsfield High School (MA). Frost will also be participating in the unusual “Composing in the Wilderness” program this June in Alaska where he will experience the inspiring back country of Lake Clark National Park, and then compose a new band work to be performed around the country led by Composer-Adventurer Stephen Lias.

Acknowledgements

We would like to thank the following individuals for their assistance this semester.