“Tuba”
 
“Tuba” is a South African (Xitsonga) folksong arranged by Michael Barrett. In Barrett’s words, “The work gives reference to the dove that brought Noah an olive branch during the great flood—representing that the worst is over. This work is believed to have originated during the difficult Apartheid years and was performed as a a peaceful protest song. There is, however, no scholarly evidence to substantiate these claims.” Structurally, Barrett has arranged the piece in a call and response formate. The work begins with a soloist, and is followed each time by the response of the full ensemble.
 
 
“Ezekiel Saw the Wheel”
 
“Ezekiel Saw the Wheel” is a modern spiritual arrangement by Betty Jackson King. Originally composed for the Chicago Umbrian Glee Club, there is little information regarding the circumstances of this work. The spiritual is arranged for four lower voices, a cappella, featuring multiple moments dynamic and rhythmic contrast. In the piece, King frequently passes the original melody between the voices, giving each section a moment to sing the melody while the other sections continue the driving rhythmic accompaniment.
 
 
Anima Christi sanctifica me, S. 46
 
Anima Christi sanctifica me, S. 46 is a sacred composition for lower voices and keyboard accompaniment by Franz Liszt. Completed during his service to Grand Duke Charles Alexander, Liszt’s composition is a setting of the Latin prayer to the Soul of Christ. Throughout the work, Liszt uses a cappella unisons that drive to moments of simple and chromatic harmony, with occasional support from the keyboard. In these moments, the text is frequently asking God for assistance and intervention including, “sanctify me, save me, wash me, and strengthen me.” This treatment of the text continues throughout the composition, ultimately ending with the final melody in unison and accompanied fully by the keyboard.
 
 
Salmo 150
 
Salmo 150 is a brief composition, by Brazilian composer Ernani Aguiar. Originally completed in 1975, Aguiar’s piece has become one of the most well-known and frequently performed works in his catalog. Written in a fast 12/8 time signature, the biblical text calls for individuals to praise God with their instruments and voices. Throughout the work, Aguiar uses the complex rhythms, shifting time signatures, and migrating tonal centers to mimic the sounds of the instruments with the choir.
 
 
Which is the Properest Day to Sing?
 
Which is the Properest Day to Sing? was written in 1763 by English composer Thomas Arne. Upon completing the work, Arne entered his piece in a composition competition and won a prize medal for the work. This brief piece is a Glee for four equal voices, chronicling the issue of finding the best day to sing. The text conveys that one single day should not be named, but rather every day is the best day to sing.
 
 
“Greenback Dollar”
 
“Greenback Dollar” is one of the most famous and frequently performed songs in the Kingston Trio’s catalog. The song chronicles the story of a man who travels far and wide, with few cares in the world except to keep making music. The song chronicle’s the man’s childhood, adolescence and older adulthood, all commenting on what he needs to do to grow up and how that should influence the songs and music he makes. The work was originally written by Hoyt Axton and Ken Ramsey, but was made famous by the folk group The Kingston Trio, who accompany themselves on the guitar.
 
 
“Vrličko Kolo”
Traditional Croatian Folk Song
arr. Zonimir Ljevaković
 
“Vrličko Kolo” is a traditional Croatian dance song named for its origin, the Dalmatian region’s town of Vrlika. The kolo is a circle dance found throughout the Balkans, often performed at celebrations and community gatherings. This song is characterized by its marching, stately rhythm and robust vocalism, sung in unison or simple harmony. Croatian kolo songs are often performed a cappella, using call-and-response. The melodies tend to be modal, and the vocal production raw and rustic. The dance itself involves intricate footwork and synchronized movements, symbolizing dedication and unity. Tonight’s arrangement was made by Zonimir Ljevaković for Ensemble Lado of Croatia.
 
 
Sunāō (सुनाऔ)
Reena Esmail
 
Reena Esmail is a contemporary Indian American composer known for blending Western and Indian classical music traditions. In her three-song set, Sunāō, Esmail employs modal harmony, fluid melodic lines inspired by Indian classical ragas, and rhythmic devices that recall Hindustani tala. The piece invites singers and listeners into a meditative space, while imitative structures lend the improvisatory element present in Indian classical music. Esmail has described her work as an attempt to “create a space for multiple musical cultures to coexist authentically” (Esmail, Reena. “Sunāō.” Program Notes from the Composer, 2020).
 
The word sunāō literally translates as “listen,” but is closer in meaning to “tell me” or “sing for me.” It is the act of engaging someone in a sonic experience by listening to others, of sharing and hearing sounds that are meaningful to us. Each song is designed to teach linguistic concepts of Hindi, musical concepts of Hindustani music, and to remind us to approach new ideas from a place of curiosity instead of judgment. “Aao” beckons us to share our musical traditions with one another, exploring changing open vowels. “Khattar Pattar” uses a distinctive style of Hindi/Urdu onomatopoeia to describe how we sometimes let our thoughts run out of control. (reenaesmail.com, accessed 3/21/2025)
 
 
Wonderland
Andrea Ramsey
 
With over 150 compositions, award-winning composer Andrea Rasmey (b. 1977) has become an internationally recognized figure in the world of choral music. Dr. Andrea Ramsey has held positions at Ohio State University and the University of Colorado Boulder as a composer, conductor, scholar, and music educator. Ramsey believes strongly in the development and creation of new music. She is also passionate about providing a sense of community and rich opportunities for self-discovery through music. Dr. Ramsey has written a multitude of works for SA, TB, and mixed choirs. Some notable works include: Twainsong, At the Spring Dawn and Wonderland.
 
Wonderland is a setting of 6 miniatures under 5 minutes in duration with quotes from Lewis Carroll’s beloved Alice in Wonderland. Commissioned by Seattle Women’s Chorus for SSAA and piano, the quirky phrases spoken by several characters in the story include: 1) If everybody minded their own business, the world would go around a great deal faster than it does. 2) Who in the world am I? Ah, that’s the great question. 3) How doth the little crocodile improve his shining tail, and pour the waters of the Nile on every golden scale! How cheerfully he seems to grin, how neatly spreads his claws. And welcome little fishes in with gently smiling jaws! 4) If you drink too much from a bottle marked “poison” it is certain to disagree with you sooner or later. 5) I don’t know the meaning of half those long words, and what’s more, I don’t believe you do either! 6) Everybody has won! And all must have prizes!
 
 
Vier Gesänge, Op. 17
Johannes Brahms
 
Johannes Brahms (1833–1897) was a German composer and pianist, lauded as one of the greatest figures of 19th-century music. Born in Hamburg, he rose to prominence with the devoted support of Robert and Clara Schumann, eventually settling in Vienna, where he composed much of his mature work. Brahms’s music is noted for its marriage of Classical form with Romantic expression, exemplified in his symphonies, concertos, chamber music, and Ein deutsches Requiem. He remained a lifelong bachelor and died in Vienna. (Musgrave, Michael. “Brahms, Johannes.” Grove Music Online, accessed February 9, 2025).
 
Brahms’ Vier Gesänge (Four Songs), Op. 17, composed in 1860, is a set of choral pieces written for female voices, two horns, and harp. These songs stand out in his choral repertoire for their unique instrumentation and evocative text settings. The poetry is drawn from folk and Romantic sources, including works by Shakespeare and traditional German folk poetry. The use of horns in this work is particularly notable, as they lend a pastoral quality that enhances and lends warmth to the music’s mood. Brahms’ appreciation for folk traditions and his intricate choral writing both shine in this set.
 
The three songs of the set that we are presenting tonight are:
1. “Es tönt ein voller Harfenklang”: A song in celebration of the mythical allure of the harp.
2. “Lied von Shakespeare”: A setting of the sad song Feste the clown sings in Shakespeare’s play, Twelfth Night.
3. “Der Gärtner”: A buoyant, burbling song portraying a gardener’s devotion to his noble lady, filled with playful musicality yet bittersweet words.
 
 
“Hark, I Hear the Harps Eternal”
arr. Mark Hayes
 
“Hark I Hear the Harps Eternal” is a traditional American colonial song, originally called “Invitation”. This could be found in a shape note hymn and tune book by William Walker called Southern Harmony, published in 1835. Shape note singing was a notation practice for teaching and easy reading in schools and churches in the 1800s. The distinguishing feature of this application was the use of four separate note shapes to indicate the pitch rather than using the common 7-note solfege. Southern Harmony contains over 330 shape-note songs and was one of the most popular tunebooks in America at the time.
 
Revived in the late 20th century, Alice Parker’s arrangement of “Invitation” gave this tune radical fame overnight. Written for the Robert Shaw Chorale, this traditional tune quickly found immense fame in the choral community and will remain a standard song in the canon for many years to come. Mark Hayes (b. 1953), internationally renowned arranger and conductor, sets this iconic tune for SSAA and piano four hands.
 
“Hark, I hear the harps eternal, ringing on the farther shore, as I near those swollen waters with their deep and solemn roar. Hallelujah, praise the Lamb! Hallelujah, glory to the great I AM!”
 
 
“Niška Banja”
Romani/Serbian folksong
arr. Nick Page
 
Nick Page (b. 1952) is a Boston-based composer, conductor and author who is best known for his song leading. In the 1980’s he was a conductor with the Emmy Award winning Chicago Children’s Choir. Since 1990, he has led Boston’s Mystic Chorale and guest conducted around the world including at three of the four Carnegie Halls (Pittsburgh, New York, and Scotland). His choral works have premiered everywhere from Lincoln Center to humble school cafitoriums. He is the author of three books and has close to one hundred published choral pieces. (nickmusic.com)
 
“Niška Banja” refers to the famous spa town of Niš, in Serbia. The song’s lyrics convey a sense of joyous hedonism, camaraderie, and festivity. Like much of Balkan folk music, it is characterized by so-called asymmetric rhythm and lively melodies. The piece’s 9/8 time signature is rendered as a lightly-padded four-beat pattern (1+ 2+ 3+ 4+a). Page’s arrangement pays homage to the spirit of the original song with its parallel vocal harmonies, drones, and rhythmic vitality, evoking the rollicking Romani musical tradition, while underpinning it with a more Western classical piano treatment that helps corral the whole party into the concert hall. This is celebratory dance music and is often played at wedding receptions. Balkan folks would not consider it asymmetrical or odd in meter—it’s as natural over there as a simple duple or triple meter.
 
 
“Stand in That River”
Moira Smiley
 
Moira Smiley is an American composer, singer, and folk musician whose works often incorporate elements of Appalachian, gospel, and global folk traditions. Stand in That River is one of her most well-known choral pieces, written in a style that blends folk harmonies with a powerful, uplifting message. The song serves as both a metaphor and a call to resilience, encouraging singers and listeners to “stand in that river,” a symbol of time, change, and renewal. Smiley’s composition has a timeless, swung groove, and uplifting lyrics that inspire perseverance. Smiley has spoken about how Stand in That River was inspired by her travels and experiences with different singing traditions. “I wanted to write something that could feel like an old song,” she explains, “something that gives people the feeling of standing in the current of life, letting it flow through them” (Smiley, Moira. “Composer’s Notes on Stand in That River.” Moira Smiley Music, 2015).
 
 
“Habanera” from Carmen
Georges Bizet
 
Georges Bizet’s opera, Carmen, was originally premiered in 1875 at the Opéra-Comique. The opera chronicles the story of a Gypsy woman, Carmen, as she seduces and then abandons a soldier, Don José, for the famous Escamillo, a toreador. “Habanera” is Carmen’s first aria in the opera, and the moment where she is introduced. In the piece, Carmen sings about love and feigns her innocence, with accompaniment from the orchestra and onstage chorus. The piece is written in D minor, with moments of major, and built around a descending chromatic scale. Additionally, Bizet’s famous “Habanera” rhythm was adapted from a preexisting habanera, El Arreglito, by Yradier.
 
Set in Seville, Carmen tells the story of a fiery and independent Romani woman whose relationships with stalwart soldier Don José and flashy bullfighter Escamillo lead to passion and tragedy. In the “Habanera,” Carmen warns that love is fickle and wild, comparing it to a rebellious bird that cannot be tamed. The score of this aria was adapted from the habanera “El Arreglito ou la Promesse de mariage,” which Bizet first believed to be an anonymous folk song, but which was composed by the Spanish musician Sebastián Iradier and first published in 1863. Bizet later added a note about Iradier’s composition in the first edition of Carmen’s vocal score. Although most of the French libretto of the complete opera was written by Meilhac and Halévy, the words of the “Habanera” scene are by Bizet himself. The aria and chorus received several rewrites before he and Célestine Galli-Marié (the first Carmen) were satisfied with it. Friedrich Nietzsche, who was a fan of this opera, commented that the “Habanera” was “ironically provocative,” presenting a vision of “Eros as conceived by the ancients, playfully alluring, mischievously demoniacal.” (Klein, John W. Nietzsche and Bizet. The Musical Quarterly, October 1925, Vol. 11, No. 4, pp. 482-505).

“Tuba”
 
Tuba emurini tuba
 
-English translation-
 
Look at the dove on the tree!
 
 
“Ezekiel Saw the Wheel”
 
Ezekiel saw the wheel,
way up in the middle of the air.
Little wheel run by faith,
Big wheel run by the grace of God.
Wheel in a wheel way in the middle of the air.
 
Oh, some go to church for to sing and shout,
Before six months they all turned out.
If religion was a thing that money could buy,
The rich would live, the poor would die.
Oh, Lordy, way in the middle of the air
where Ezekiel saw the wheel.
 
 
Anima Christi santifica me, S. 46
 
Anima Christi, sanctifica me.
Corpus Christi, salva me.
Sanguis Christi, inebria me.
Aqua lateris Christi, lava me.
Passio Christi, conforta me.
O bone Iesu, exaudi me.
Intra tua vulnera absconde me.
Ne permittas me separari a te.
Ab hoste maligno defende me.
In hora mortis meae voca me.
Et iube me venire ad te,
Ut cum Sanctis tuis laudem te
in saecula saeculorum.
 
Amen.
 
-English translation-
 
Soul of Christ, sanctify me.
Body of Christ, save me.
Blood of Christ, inebriate me.
Water from the side of Christ, wash me.
Passion of Christ, strengthen me.
O good Jesus, hear me.
Within Thy wounds, hide me.
Separated from Thee let me never be.
From the malignant enemy, defend me.
At the hour of death, call me.
To come to Thee, bid me,
That I may praise Thee in the company
Of Thy Saints, for all eternity.
 
Amen.
 
 
Salmo 150
 
Laudate Dominum in sanctis ejus:
Laudate eum in firmamento virtutis ejus.
Laudate eum in virtutibus ejus:
Laudate eum secundum
multitudinem magnitudinis ejus.
Laudate eum in sono tubae:
Laudate eum in psalterio et cithara.
Laudate eum in tympano et choro:
Laudate eum in chordis et organo.
Laudate eum in cymbalis
benesonantibus:
Laudate eum in cymbalis jubilationis:
omnis spiritus laudet Dominum.
 
-English translation-
 
Praise God in his sanctuary;
praise him in his mighty heavens.
Praise him for his acts of power;
praise him for his surpassing
greatness.
Praise him with the sounding of the
trumpet,
praise him with the harp and lyre,
praise him with timbrel and dancing,
praise him with the strings and pipe,
praise him with the clash of cymbals,
praise him with resounding cymbals.
Let everything that has breath praise the
Lord.
Praise the Lord.
 
 
Which is the Properest Day to Sing?
 
Which is the properest day to sing?
Each to be sure ’tis a mighty fine thing!
why should I name but one day?
 
Tell me but yours, I’ll mention my day,
let us but fix on some day.
Saturday, Sunday, Monday, Tuesday,
Wednesday, Thursday, Friday.
 
 
“Greenback Dollar”
 
Some people say I’m a no-‘count
Others say I’m no good
But I’m just a natural-born travelin’ man
Doin’ what I think I should, oh yeah
Doin’ what I think I should
 
And I don’t give a damn about a greenback dollar
Spend it fast as I can
For a wailin’ song and a good guitar
The only things that I understand, poor boy
The only things that I understand
 
When I was a little baby
My mama said, ey son,
Travel where you will and grow to be a man
And sing what must be sung, poor boy
Sing what must be sung
 
Now that I’m a grown man
I’ve traveled here and there
I’ve learned that a bottle of brandy and a song
The only ones who ever care, poor boy
The only ones who ever care
 
 
“Vrličko Kolo”
 
Mi smo rekle zapjevati ode.
Bilo veče’ bilo usred podne.
Pevaj, seko, grlo nam je voljno,
Živilo nam drustvo naokolo.
Mi smo seke skupa vojovale
A za jednim obe tugovale.
 
-English translation-
 
We said we would sing songs.
Be it evening or noon.
Sing, sister, our voices are eager,
Long live the good friends around us.
We fought together, sisters
And we both mourned for the same one.
 
 
Sunāō (सुनाऔ)
 
1.
Aao
Aa-Jaao
Aa-ke dhun sunaao’
Apni avaaz le-aao
Alag andaaz dikhaao
 
2.
Baahar se cheezen aayi—khattar pattar
Zamaane se baatein aayi—chakkar chakkar
Khattar pattar ko peeche choṛ
Dekh chakkar chakkar
bhi ruk gaya shor
 
-English translation-
 
Come
Come on
Come and sing us a tune
Bring your own voice
And show us a different style
 
Things come in from the outside—cling, clang
Chatter comes in from the world/times, spinning.
Leave that cling-clanging behind you
See? The spinning has stopped,
and so has the noise.
 
 
Vier Gesänge, Op. 17
 
1.
Es tönt ein voller Harfenklang
Den Lieb’ und Sehnsucht schwellen,
Er dringt zum Herzen tief und bang
Und läßt das Auge quellen.
 
O rinnet, Tränen, nur herab,
O schlage Herz, mit Beben!
Es sanken Lieb’ und Glück ins Grab,
Verloren ist das Leben!
 
-English translation-
 
1.
The full sound of a harp rings out,
with mounting love and longing,
Deep and aching, it pierces my heart
And causes tears to well up.
 
Flow down my cheeks, O tears,
Pulse and tremble, O heart!
Love and happiness have sunk into the grave,
My life is lost!
 
2.
Come away, come away, death,
And in sad cypress let me be laid;
Fly away, fly away breath;
I am slain by a fair cruel maid.
My shroud of white, stuck all with yew,
O, prepare it!
My part of death, no one so true
Did share it.
 
Not a flower, not a flower sweet
On my black coffin let there be strown;
Not a friend, not a friend greet
My poor corpse, where my bones shall be thrown:
A thousand, thousand sighs to save,
Lay me, O, where
Sad true lover never find my grave,
To weep there!
 
3.
Wohin ich geh’ und schaue,
In Feld und Wald und Tal,
Vom Berg hinab in die Aue;
Viel schöne, hohe Fraue,
Grüß ich dich tausendmal.
 
In meinem Garten find’ ich
Viel’ Blumen, schön und fein,
Viel’ Kränze wohl draus wind’ ich
Und tausend Gedanken bind’ ich
Und Grüße mit darein.
 
-English translation-
 
Wherever I walk and gaze,
Through valley, wood and field,
From mountaintop to meadow:
I, lovely gracious lady,
Greet you a thousand times.
 
I seek out in my garden
Many fine and lovely flowers,
Weaving many garlands,
Binding a thousand thoughts
And greetings with them too.
 
 
“Niška Banja”
 
Niška banja, topla voda
za Nišlije, živa zgoda
Em karavla, em kamaravla
And’o Niši na mekav la.
Nišlike su fine dame
Nešeta ju nikad same
Jek duj, de šuj duj
Ču mi davte čaje ando muj
 
-English translation-
 
The spa in Nish, warm water—
for people from Nish, a lively occasion!
And we’ll laugh, and we’ll make friends,
And not leave it at that.
The ladies of Nish are very nice,
They never need walk anywhere alone.
One two, and two again
Put some tea in my mouth!
 
 
“Stand in That River”
 
I went to the river
But my river was dry
The dust rose up
To a darkened sky
Tell me, where is hope?
Where do the waters run clear?
I do not know my way from here
 
Come, and stand in that river
Current, gentle and slow
Send your troubles down water
Down on that water flow
 
When you stand in that river
Angels sing in your head
Secrets beyond every worry
Dreams beyond every dread
 
Tell me, sister, brother
Where does that river flow?
It flows down to the great water
Where soon my people will go
 
Oh, time passes
Passes on down the stream
Some days are so much sweeter
Some days pass like a dark dream.
 
 
“Habanera” from Carmen
 
Recitative:
Quand je vous aimerai?
Ma foi, je ne sais pas,
Peut-être jamais, peut-être demain…
Mais pas aujourd’hui, c’est certain!
 
Aria:
L’amour est un oiseau rebelle
que nul ne peut apprivoiser,
et c’est bien en vain qu’on l’appelle,
s’il lui convient de refuser.
Rien n’y fait, menace ou prière.
L’un parle bien, l’autre se tait:
Et c’est l’autre que je préfère,
Il n’a rien dit mais il me plaît.
 
L’amour est enfant de Bohème,
il n’a jamais, jamais connu de loi;
si tu ne m’aimes pas, je t’aime:
si je t’aime, prends garde à toi!
 
L’oiseau que tu croyais surprendre
battit de l’aile et s’envola…
l’amour est loin, tu peux l’attendre;
tu ne l’attends plus, il est là!
Tout autour de toi, vite, vite,
il vient, s’en va, puis il revient…
tu crois le tenir, il t’évite,
tu crois l’éviter, il te tient.
 
-English translation-
 
Recitative:
When will I love you?
In faith, I don’t know,
Maybe never, maybe tomorrow…
But not today, that’s for sure!
 
Aria:
Love is a rebellious bird
that nobody can tame,
and you call him quite in vain
if it suits him not to come.
Nothing helps, neither threat nor prayer.
One man talks well, the other’s silent;
it’s the other one that I prefer.
He’s silent but I like that.
 
Love is a vagabond child,
it has never, ever, known a law;
love me not, then I love you;
if I love you, you’d best watch out!
 
The bird you thought you had caught
beat its wings and flew away…
love stays away, you wait and wait;
when least expected, there it is!
All around you, swift, so swift,
it comes, it goes and then returns…
you think you hold it fast, it flees
you think you’re free, it holds you fast.

FLORA L. THORNTON ADMINISTRATION
 
Jason King, Dean
Susan M. Lopez, Associate Dean for Administration & Finance
Jeffrey de Caen, Associate Dean for Operations
Joanna Demers, Associate Dean for Faculty Affairs
Brian Head, Associate Dean of Academic Affairs
Phillip Placenti, Associate Dean for Admission & Student Affairs
Ronald C. McCurdy, Associate Dean for Culture, Community, & Impact
Rotem Gilbert, Vice Dean, Division of Research & Scholarly Studies
William Kanengiser, Interim Vice Dean, Division of Classical Performance & Composition
Sean Holt, Vice Dean, Division of Contemporary Music
Job Springer, Doctoral Advisor, Thornton Student Affairs
Viet Bui, Director of Student Affairs
Heather Pio Roda, Head of Production & Events
Tori Nagle, Senior Production Coordinator
Woody Gatewood, Choral & Sacred Music Administrative Coordinator
 
DEPARTMENT OF CHORAL & SACRED MUSIC FACULTY
 
Tram Sparks, Chair & Professor of Practice
Cristian Grases, Professor
Emily Sung, Assistant Professor of Practice
Jennifer Kampani, Adjunct Instructor in Early Music
Troy Quinn, Part-Time Lecturer in Conducting
 
DEPARTMENT OF CHORAL & SACRED MUSIC DONORS
 
We are grateful to the following individuals who have made contributions to the USC Thornton Department of Choral & Sacred Music since July 1, 2018.
 
Anonymous, Charles Albers, Victor Apanovitch, Elizabeth Armour & Jonathan Lewis, Kristin & Larry Ball, Andrea Barrocak, Jane & Robin Blomquist, John Michael Boyle, Jennifer & Donald Brinegar, Ellen Brock and Lawrence Kaptein, Robert E. Brooks, Kellie & Aaron Custino, Dr. Harold A. Daugherty Jr., Sean Daughtery, Elizabeth Molly Flier, Joanne & Nathaniel Fryml, Ada Gates, Carol & Ilan Glasman, Lisa Hane & Hugh Rienhoff, Lisa H. Harrington, Kathleen Hartley, Tamara & Mark Hatwan, Dr. Carl W. Haywood, Dr. Stephanie Henry, Margaret P. & Guilbert C. Hentschke, Barbara A. & Wayne Hirabayashi, Nancy & James Holland, Alvin Hughes, Debora Lee Huffman, Dr. Buddy Oscar James, Young Lee-Ko & Seungseop Ko, Dr. Yewon Lee & Daniel Lee, L’Etoile Apparel, Dr. Iris Sue Levine & Lesili Beard, Hazel & James Lord, Dr. Marguerite Marsh, Joan Mattei, Dr. Stanley R. McDaniel, Patricia & John McIntyre, Dr. Donald B. & Mary C. Miller, ​​Ann F. Mohrbacher, Shirley & John G. Morgan, Kimberley & Douglas Nason, Mr. David Noble, Christine Marie Ofiesh, Peter & Masha Plotkin Memorial Foundation, Anthony H. Pasqua, Thomas B. Ringland, Kenneth D. Sanson Jr. Estate, Rose F. Sapia, Margaret & Christopher Saranec, Virginia Sato & Raymond Bates, Mary & Jo-Michael Scheibe, Nicole D. Singer, Virginia & Thomas Somerville, Christian D. Stendel, Toni & Nick Strimple, The Donald & Alice Noble Foundation, Town & Gown of USC, Carla Tardio and Patrick O’Grady, Raymond Thompson, Leslie J. & Jeffrey B. Unger, Barbara & James Harold Vail, Emily Kuo Vong, Ken White & Allison White, Gregory Wait, John P. Wiscombe, Pamela & Donald (“Jeff”) Wright, Janice Lynn Wyma, Zena & Steve Yamamoto, Xu & Young Foundation
 
Please contact the USC Thornton Office of Advancement at music.advancement@usc.edu or (213) 740-6474 if you would like more information on how to contribute to the USC Thornton Department of Choral & Sacred Music.