Cristian Grases
 
Cristian Grases (b. 1973) joined the USC Thornton faculty in the Fall 2010 semester and is currently a professor of choral music, conductor of the USC Thornton Concert Choir, and Vice-Dean for the Classical Division. Born in Venezuela, he earned degrees from the Simón Bolívar University (MM) in Caracas, Venezuela, and the University of Miami (DMA). He has previously served as interim director of choral activities at Central Washington University; assistant professor in choral music at California State University, Los Angeles; and national coordinator of choirs for EL SISTEMA under Maestro José Antonio Abreu. He also served as conductor for the Women’s Chamber Ensemble of the University of Miami, was the assistant conductor of the Miami Symphony Orchestra under Maestro Eduardo Marturet, and the conductor of the Young Musician’s Orchestra. Additionally, he is an award-winning conductor and composer, and has been commissioned to write for several prestigious organizations such as the Piedmont Children’s Chorus, the Santa Fe Desert Chorale, the Golden Bridge Choir, the ORA Singers, and the Los Angeles Master Chorale.
 
-Cristian Grases
 
 
Eric Whitacre
 
Eric Whitacre (b.1970) is a Grammy Award-winning composer and conductor from the United States. Whitacre is a graduate of The Juilliard School, where he studied with John Corigliano and David Diamond. He was the Visiting Composer at Pembroke College, Cambridge University (UK), an Ambassador for the Royal College of Music (London), and the very first Artist in Residence with the Los Angeles Master Chorale from 2016-2018. Whitacre has written for various accomplished and prestigious musical ensembles, including the London Symphony Orchestra and Chorus, the Los Angeles Master Chorale, Chanticleer, Julian Lloyd Webber and the Philharmonia Orchestra, the Tallis Scholars, the King’s Singers, Dallas Winds, the Berlin Rundfunkchor, and the Minnesota Orchestra.
 
 
Florence Price
 
Florence Bea(trice) Price (Arkansas,1887) began learning music from her mother at an early age and was accepted into the New England Conservatory (Boston), where she completed two diplomas in 1906. Price’s compositions for piano make up some 216 of Price’s total surviving output of 458 works – about 47%, more than any other single category, followed next by songs and arrangements of spirituals. Her Cotton Dance won honorable mention in the Rodman Wanamaker Composition Competition for Composers of the Negro Race in 1931; her Piano Sonata in B Minor and Fantasie nègre won prizes in the same competition in 1932; and her Piano Concerto in One Movement was performed three times in 1933-34.
 
Florence Price’s style began to change in the late 1930s, more overtly embracing modernist idioms in addition to the Afro-Romantic ones that characterized her earlier works – but the piano remained her constant musical companion to the end, with lyrical gems such as the Three Roses and Your Hands in Mine and evocative masterworks such as Clouds, Scenes in Tin Can Alley, and her final major suite, Snapshots, rounding out the compositional products of her lifelong love of the instrument. She died of a cerebral hemorrhage in 1953, leaving behind a handful of published works and hundreds of unpublished ones that are only now beginning to become known.
 
-Michael J. Cooper
 
 
Allison Girvan
 
Allison Girvan (b. 1967), the arranger, skillfully transformed Sara Bareilles’ intricate multi-track recording into SATB voices. Based in Canada, Allison is a professional singer, arranger, and the esteemed director of Corazon, a Canadian choir. Her musical journey includes being a featured soloist in numerous recordings and performances alongside esteemed groups such as Musica Intima, Elektra Women’s Choir, The Vancouver Chamber Choir, the CBC Vancouver Orchestra, and the Vancouver Symphony Orchestra. In addition to her vocal contributions in studio sessions for radio, TV, and feature films, Allison actively engages in the Canadian music scene as a conductor, educator, and arranger.
 
-Han-Ah Park
 
 
Klo Garoute
 
Klo Vivienne Garoute is a voice teacher, singer, conductor, and composer/producer with specializations in choral music and audio production technologies. She carries a B.M. in Electronic Production & Design from Berklee College of Music and studied in the M.M. program in Choral Music at University of Southern California. She has devoted much of her time to directing chamber choirs and vocal groups, studying voice pedagogy and research, and producing original work for various ensembles. Her most recent conducting appointments include positions at Boston Choral Ensemble and Boston Children’s Chorus. She currently serves as a gender-affirming voice teacher and lives in Minneapolis, Minnesota.
 
-Klor Garoute
 
 
Kristopher Fulton
 
Kristopher Fulton (b. 1978), a renowned Canadian composer, is known for his innovative compositions inspired by film, video games, and comic books. Specializing in vocal works, his recent choir piece, The Twilight Cities, based on the graphic novels by François Schuiten and Benoît Peeters, has garnered acclaim. Featured on his latest a cappella album performed by the Vancouver Cantata Singers, it serves as a highlight during his three-year term as their composer-in-residence.
 
Fulton’s concert pieces are regularly featured on CBC Radio and CBC Music, and his music extends to independent films, with two selections at the Cannes Film Festival. Additionally, his compositions grace the stage at the Vancouver International Dance Festival. Based in Vancouver, Fulton draws inspiration from his wife and daughter as he continues to captivate audiences with his innovative musical approach.
 
-Han-Ah Park
 
 
Felix Mendelssohn
 
German composer, Felix Mendelssohn (1809–1847), was a prominent composer of the early-19th century who only lived to the age of 38. Mendelssohn’s compositions were known to be quite conservative compared to his contemporaries such as Franz Liszt (1811–1886) or Richard Wagner (1813–1883) who were known for their virtuosic works of epic proportions. Mendelssohn found tremendous influence and passion for the music of J.S. Bach (1685–1750), becoming a leader in a movement of appreciation for early music. Throughout his career, Mendelssohn spent his time as a composer, pianist, conductor, and teacher. His oeuvre contains solo piano works, oratorios, chamber music, and symphonies. Some notable works by Mendelssohn include Elijah (1846), Italian Symphony (1833), and Verleigh uns Freiden (1831).
 
-Ryann Anderson
 
 
Zanaida Robles
 
Dr. Zanaida Stewart Robles (b. 1979) is an award-winning Black American female composer, vocalist, and teacher. She holds a Doctor of Musical Arts degree from the USC Thornton School of Music, a Master of Music degree from CSU Northridge, a Bachelor of Music degree from CSU Long Beach, and she is a graduate of the Los Angeles County High School for the Arts. She is a fierce advocate for diversity and inclusion in music education and performance. Authentic interpersonal connection and relationship-building are core principles of her teaching and performance methods. Born, raised, and educated in Southern California on the occupied lands of the Gabrielino-Tongva people, she is in demand as a composer, vocalist, clinician and adjudicator for competitions, festivals, and conferences related to choral and solo vocal music. Dr. Robles’s original music has been performed by professional ensembles, community choirs, educational institutions, churches, and individuals world wide. Her works are published by Stewart Robles Music, Music Spoke, E.B. Marks Music, Pavane Publishing, and Stainer and Bell. Her compositional style can be described as energized, soulful, contrapuntal, harmonically colorful, rhythmically driven, heavily modal, occasionally with African elements and touches of progressive rock.
 
-Ann Chen

Canto de Pilón
Cristian Grases
 
Canto de Pilón is a melody that my father used to sing to my brothers and I. We loved singing it in canon together, and revealed the harmonies that the juxtaposed melody produced. It is a traditional song from Venezuela performed by women grinding corn on a large hollow trunk (called pilón) to make corn dough with which they made many different traditional dishes. This work is laborious, and is usually shared between two or three people grinding at the same pilón. Given that only one wooden mallet can fit in the pilón at a time, they had to coordinate their movement, which they usually do by singing together. I wrote this arrangement with those two main ideas in mind. The structure of the song is essentially canonic with some added material which includes onomatopoeic sounds of corn being squashed by a large wooden mallet. Additionally, I added some body motion and body percussion to both represent the act of grinding as well as to enhance the rhythmic properties of the song.
 
-Cristian Grases
 
 
Sing Gently
Eric Whitacre
 
As the pioneer of Virtual Choirs, Whitacre began with Virtual Choir 1: Lux Aurumque in 2010 which featured 185 singers from 12 countries. As a response to the COVID-19 pandemic lockdown, Sing Gently was written in 2010 for Virtual Choir 6, which featured over 17,000 singers from 129 countries. In the description of the composition, the publisher commented, “The soft texture ebbs and flows in beautifully crafted phrases that set the simple text designed to give some small measure of comfort to those who need it. Perhaps it might suggest a way of living with one another that is compassionate, gentle, and kind.”
 
 
Tunggare
Stephen Leek
 
Stephen Leek, born in Sydney in 1959, has left an indelible mark on the landscape of Australian choral music for over four decades. His compositions, deeply rooted in his Australian heritage, are characterized by vibrant rhythms and harmonies that capture the essence of the land. His seminal work, Tunggare, commissioned for the 1997 ASME National Conference, exemplifies his profound connection to his roots and his innovative approach to composition. Inspired by the Aboriginal word for “voice” or “to sing,” Tunggare serves as a tribute to Australia’s rich choral tradition, celebrating the unity found in collective harmony. Its simplicity and audience engagement, with repetitive melodies and the use of the word “Tunggare,” make it a standout piece in Leek’s repertoire, showcasing his ability to craft accessible yet evocative music.
Beyond his compositional prowess, Leek’s influence extends through his roles as an educator and conductor. Having studied composition and cello performance at the Canberra School of Music, he has imparted his knowledge and passion for music to students at esteemed institutions like the Queensland Conservatorium Griffith University. Through workshops and residencies, he has mentored countless aspiring musicians, shaping the next generation of choral enthusiasts. Leek’s impact transcends borders, with his music resonating on international stages and earning him accolades such as the Robert Edler International Choral Prize. His dedication to choral music, coupled with his unwavering commitment to artistic excellence, continues to inspire and enrich the global musical community, ensuring his legacy endures for years to come.
 
-Kayla Kim
 
 
Thumbnail Sketches of a Day in the Life of a Washerwoman
Florence Price
 
Today’s world offers scant occasion to think about the washerwoman, but the need for clean clothing is probably as old as humanity itself. Much of Florence Price’s world depended on the washerwoman or laundress to meet this need. In a world in which the overwhelming majority of women were only allowed to hold service jobs for men and the overwhelming majority of Blacks were only able to work as domestic servants for Whites, Black washerwomen were figures both ubiquitous and tragic, disdained despite the essential nature of the work they did and the pride they took in doing it well. In the South they did this in slavery until the end of the Civil War, but even after Emancipation they did it under the punishing financial oppression of Jim Crow economics. In the north the situation was little better: the hours were long and the pay, although notoriously low, was used either to supplement the family income or, more commonly, to support the family entirely, since northern Blacks in many areas were barred from pursuing trades by segregated trade-union policies.
 
-Michael J. Cooper
 
 
Kaleidoscope Heart
Sara Bareilles
arr. Allison Girvan
 
Kaleidoscope Heart stands as the third studio album from the American singer-songwriter, Sara Bareilles (b. 1979). Reflecting on the title, Bareilles is quoted as saying, “I love the imagery of those words, and they’re really representative of how I envision my heart. It’s a colorful, yet fragmented, ever-changing sum of all the bits and pieces that make it up. A kaleidoscope is the tool that helps make sense of the mess. Or at least makes it nice to look at…the idea behind Kaleidoscope Heart is that we’re all sort of in pieces and broken bits on the inside, but somehow, when you look through them, you still see something beautiful and magical.”
 
-Han-Ah Park
 
 
Waves
Klo Garoute
 
This piece is a brief reflection on the unpreventable and constant nature of change. Part of its writing was inspired by the following quote made by music artist and DJ Daedelus made in 2023 on a radio show hosted by Dublab:
 
“I find it so interesting that we sometimes determine chaos as an arbiter rather than just a modifier, rather than just like the wind that blows around us. Somehow chaos is unboring or difficult— it’s the easiest thing, it’s a constant. Entropy is always happening; creation is also somewhere in the mix. If we surrender to that, we don’t have control, if we’re just buffeted by great waves as a constant? Somehow the thing that was always there comes true.”
-Daedelus, Entropy Sessions (12.09.23)
 
-Klo Garoute
 
 
Water Fountain
Merrill Garbus
arr. Kristopher Fulton
 
Water Fountain was premiered at the National ACDA Conference in Kansas City by Carrie Tennant and the Vancouver Youth Choir in 2019. This arrangement captures the essence of Tune-Yards’ popular hit, blending the diverse elements of drought politics, dance hall dub, and youthful energy. The result is a composition that seamlessly combines order and chaos, offering a unique and captivating musical experience.
 
-Han-Ah Park
 
 
Verleih uns Freiden
Felix Mendelssohn
 
Verleih uns Freiden was composed by Mendelssohn using words by Martin Luther, renowned German theologian and writer of hymns. Inspired by a Lutheran hymn-setting of the text, the composer orchestrated a chorale cantata with strings, winds, and chorus (with optional organ accompaniment). Mendelssohn stated, “I intend to set the little song Verleih uns Freiden as a canon with cello and bass.” In the middle section of this movement, Mendelssohn’s composition of the chorale-style writing has become the staple melody associated with this text. Interestingly, Mendelssohn begins the work with canonic ideas in the accompaniment, as well as imitative vocal lines as well. This libretto is a confident and humble prayer of peace to God for His provision and mighty hand of protection.
 
-Ryann Anderson
 
 
Lift Ev’ry Voice and Sing
music J. Rosamond Johnson
text James Weldon Johnson
arr. Zanaida Robles
 
Lift Ev’ry Voice and Sing is also known as the Black national anthem. The text was written by James Weldon Johnson (1871-1938) in 1900 and set to music by J. Rosamond Johnson (1873-1954) in 1905 as a hymnsong of thanksgiving to express faith and freedom. Dr. Zanaida Robles’s arrangement layers in the voices gradually as the musical tensions build up. “The tension breaks in a cry against injustice, voices reaching a point of disunity that still retains hope for unification as they echo one another. The soloist leads the group into a final statement of truth, freedom, and belonging for all to partake: ‘Lift ev’ry voice!’” (Holley Replogle-Wong).
 
To have a deeper look into the music from Dr. Robles’ perspective, here is a snapshot of the blog post that she wrote on this particular arrangement sourced from her website: “Lift Ev’ry Voice connects me to my roots, honors the present, and points toward the future. Yet it simultaneously connects my people to every other people on this planet, by speaking to our common struggle with brutality and injustice. Mostly, it speaks to the value of EVERY collective human voice that has ever been imprisoned, demoralized, persecuted, and/or murdered. […] THIS is why we proudly refer to this work as the Negro National Anthem – a stirring and timeless anthem for a nation comprised of all nations, written by Negroes – like me.”
 
-Ann Chen
 
 
Kwela Kwela
trad. Sotho & Zulu songs
arr. University of Pretoria Youth Choir
Kwela Kwela is an arrangement of traditional Sotho and Zulu songs crafted by the University of Pretoria Youth Choir. This composition seamlessly merges two South African traditional tunes often performed at weddings.
 
The jubilant expression of Kwela Kwela unfolds within a wedding narrative, playfully questioning the groom about the bride’s whereabouts. Rooted in the rich linguistic tapestry of South Africa, the word kwela, originating from Zulu, holds a dual meaning of “get up.” It serves as both an invitation to dance and a cautionary signal, reminiscent of the penny whistle-playing young men who not only entertained on street corners but also acted as vigilant lookouts in shebeens, warning against police presence during the apartheid era.
 
Inspiration for this arrangement struck the University of Pretoria Youth Choir members as they encountered these traditional songs in their homes and communities. Passed down through the oral tradition of storytelling in African culture, these melodies were brought to a rehearsal, where they discovered a harmonious convergence with the song Mosadi, narrating the tale of a belated bride. The choir, captivated by the kwela rhythms, embarked on an exploration, exchanging and refining catchy rhythms and lyrics, giving birth to a captivating new composition.
 
Mirroring the celebratory ethos of their community, the choir meticulously harmonized the melody, assigning distinct voice parts and choreographing dance steps. In achieving this feat, the University of Pretoria Youth Choir has transformed Kwela Kwela into the quintessential Macarena of South African Choral Music, infusing the piece with both vibrant energy and profound cultural resonance.

Canto de Pilón
 
Pila que pila Maria, pila el maiz.
Hoy, hoy, hoy, hoy pile todo el maiz;
 
Hoy, hoy, hoy, hoy que mama mando a pilar;
Pile yo, pilo Maria y tambien pilo Pilar.
 
-English Translation-
 
Grind and grind, Maria, grind the corn.
Today, today, today, today I ground all the corn;
 
Today, today, today, today, that mom ordered to grind;
I ground, Maria ground, and also Pilar ground.
 
 
Kaleidoscope Heart
 
All the colors
Of the rainbow
Hidden ‘neath my skin.
 
Hearts have colors
Don’t we all know?
Red runs through our veins.
 
Feel the fire burning up
Inspire me with blood
Of blue and green.
 
I have hope
Inside is not a heart
But a kaleidoscope.
 
 
Water Fountain
 
No water in the water fountain
No side on the sidewalk
If you say Old Molly Hare, whatcha doin’ there?
Nothing much to do when you’re going nowhere
 
Woohaw!
Woohaw!
Gotcha
We’re gonna get the water from your house (your house)
 
No water in the water fountain
No wood in the woodstock
And you say old Molly Hare
Whatcha doin’ there?
Nothing much to do when you’re going nowhere
 
Woohaw!
Woohaw!
Gotcha
We’re gonna get the water from your house (your house)
 
Nothing feels like dying like the drying of my skin and lawn
Why do we just sit here while they watch us wither til we’re gone?
I can’t seem to feel it
I can’t seem to feel it
I can’t seem to feel I’ll kneel
I’ll kneel I’ll kneel the cold steel
 
You will ride the whip
You’ll ride the crack
No use in fighting back
You’ll sledge the hammer if there’s no one else to take the flak
I can’t seem to feel it
I can’t seem to find it
Your fist clenched my neck
We’re neck and neck and neck…
 
No water in the water fountain
No phone in the phone booth
And you say old Molly Hare
Whatcha doin’ there
Jump back, jump back Daddy shot a bear
 
Woohaw!
Woohaw!
Gotcha
We’re gonna get the water from your house (your house)
 
I saved up all my pennies and I gave them to this special guy
When he had enough of them he bought himself a cherry pie
He gave me a dollar
A blood-soaked dollar
I cannot get the spot out but
It’s okay it still works in the store
 
Greasy man come and dig my well
Life without your water is a burning hell
Serve me up with your home-grown rice
Anything make me shit nice
 
Se pou zanmi mwen, se pou zanmi mwen
And the two-pound chicken tastes better with friends
A two-pound chicken tastes better with two
And I know where to find you so
Listen to the words I said
Let it sink into your head
A vertigo round-and-round-and-round
Now I’m in your bed
How did I get ahead?
Whoop!
Thread your fingers through my hair
Fingers through my hair
Give me a dress
Give me a press
I give a thing a caress
Would-ja, would-ja, would-ja
 
Listen to the words I say!
Sound like a floral bouquet
A lyrical round-and-roundandroundandround
Okay
Take a picture it’ll last all day, hey
Your fingers through my hair
Do it ’til you disappear
Gimme your head
Gimme your head
Off with his head!
Hey hey hey hey hey
 
No water in the water fountain
Floral bouquet
A lyrical round-and-roundandroundandround
No side on the sidewalk
Take a picture it’ll last all day, hey
And you say old Molly Hare, Hare
Nothing much to do when you’re going nowhere
 
Woohaw!
Woohaw!
 
We’re gonna get the water from your house, your house
We’re gonna get the water from your house, your house
We’re gonna get the water from your house, your house
We’re gonna get the water from your house, your house
 
 
Verleih uns Freiden
 
Lord, in thy mercy grant us peace
Throughout all generations;
Thou art alone our sword and shield,
Lord who dost guide the nations.
Defend us, O God, we pray to thee.

DEPARTMENT OF CHORAL & SACRED MUSIC FACULTY
 
Tram Sparks, Chair & Associate Professor of Practice
Cristian Grases, Professor
Emily Sung, Assistant Professor of Practice
Suzy Digby, Adjunct Professor
Jennifer Ellis Kampani, Adjunct Instructor in Early Music
Troy Quinn, Part-Time Lecturer in Conducting
 
 
DEPARTMENT OF CHORAL & SACRED MUSIC
GRADUATE TEACHING ASSISTANTS
 
Collin Boothby
Ann Chen
Ali Sandweiss Hodges
Michael Raleigh
Han-Ah Park
Duncan Tuomi
Shijia Ye
 
 
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, 2017.
 
Anonymous, Charles Albers, Victor Apanovitch, Elizabeth Armour & Jonathan Lewis, Kristin & Larry Ball, Jane & Robin Blomquist, John Michael Boyle, Jennifer & Donald Brinegar, Robert E. Brooks, Kellie & Aaron Custino, Dr. Harold A. Daugherty Jr., Elizabeth Molly Flier, Joanne & Nathaniel Fryml, Ada Gates, Carol & Ilan Glasman, Lisa Hane & Hugh Rienhoff, Jazmine Harnishfeger-Brand, Dr. Todd J. Harper & Connie C. Kim, 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, Shou-Ping Liu, 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, Music Celebrations International (LLC), Kimberly & Douglas Nason, Mr. David Noble, Christine Marie Ofiesh, Peter & Masha Plotkin Memorial Foundation, Anthony H. Pasqua, Pawasut Piriyapongrat, 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, 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, Ruth & David Yoder
 
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.