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Samuel Magrill, D.M.A.
Samuel Magrill, D.M.A., is coordinator of Graduate Studies, professor of Music and a Composer-in-Residence in the School of Music at the University of Central Oklahoma, where he has taught music theory and composition since 1988. Previously, he taught at the University of Wyoming and California State University, Long Beach. He obtained his Bachelor of Music in Composition from Oberlin Conservatory and his Master of Music and Doctor of Musical Arts degrees in Composition from the University of Illinois, Champaign-Urbana.
Magrill has written more than one hundred compositions for a variety of instruments, from solo piano and chamber music to choir, wind ensemble and symphony orchestra. His works have been performed throughout the United States and abroad and at many regional and national conferences including the Society of Composers, Inc, the National Flute Association, the North American Saxophone Alliance and the College Music Society. His CDs include electro-acoustic music ("The Electric Collection"), his four operas, wind symphony compositions (“Oklahoma Bandscapes”), and collections of music for cello and other instruments. He has received numerous awards and commissions, including ones from the National Endowment for the Arts, the American Music Center, the Mid-America Arts Alliance, the Illinois Arts Council, ASCAP (American Society of Composers, Authors and Publishers), the Oklahoma Music Teachers’ Association, the American Composers' Forum’s Continental Harmony Program and faculty research grants and merit credit awards from the University of Central Oklahoma. In the spring of 2000, he was inducted into SAI as an Arts Associate and won the AAUP-UCO Distinguished Creativity Award. Other memberships include ASCAP, Phi Kappa Phi and Pi Kappa Lambda. Dr. Magrill is also an active collaborative pianist.
His interest in World Music led him to collaborate with M.V. Narasimhachari. Together they produced two volumes of The Music of India: An Introduction (1996-2003). His work with Indian music came to fruition when he presented his “East-West Duo” for violin, cello and mridangam in a concert of his music in Chennai, India on January 1, 2005.
Recent compositions and performances include “Cello Dance”, performed by Linda Jennings, cello and Chindarat Charoenwongse, piano, on their Thailand tour (June 2013), “The Winding Way”, performed at the V Festival Internacional de Musica de Campina Grande in Brazil by the UCO Concert Chorale, Karl Nelson, D.M.A., director (July 2014), and “Stone Poems”, performed by Natalie Syring, flute and the composer at the piano, at the National Flute Association Conference in Chicago (August 2014). “Five Bagatelles” (2018), for flute, violin, cello and piano was performed 4/17/18 by Mira Magrill, flute; Gregory Lee, violin; Jonathan Ruck, cello; Samuel Magrill, piano, at Saint Paul’s Cathedral, Oklahoma City on a brightmusic concert entitled “Old and New."
Research, Published Work, and Scholarly Activities
Five Bagatelles, for flute, violin, cello and piano, written for Mira Magrill, flute, Gregory Lee, violin, Jon Ruck, cello, and Samuel Magrill, piano, for the brightmusic concert series (2018). (11’)
Tango Marimbito, for marimba quintet, adapted from Tango Cellito (2002) written for the UCO Percussion Consort, David Hardman, director (2017) (5')
Concerto fantastique, for solo flute and chamber orchestra, written for Mira Magrill and the Chelsea Symphony (2016-17). (16’)
Fiddle Tune for solo cello, written especially for Kirsten Underwood (2011-15). (20’)
Ba-rock Cello Quartet for cello quartet, written for the UCO Cello Ensemble, Dr. Tess Remy-Schumacher, director (2014). (7’30)
The Winding Way, a liturgical setting for SATB Choir, written especially for the UCO Concert Chorale, Dr. Karl Nelson, director (2014). (6’)
Rhapsody for Two for alto saxophone and marimba, written especially for Keith Talley and David Bessinger (2013). (14’30”)
Cello Dance for cello and piano, written especially for Linda Jennings, cello and Chindarat Charoenwongse, piano (2012). (11’)
Genius for baritone, clarinet and piano, a setting of a poem by Mark Twain, written especially for Rob Glaubitz, baritone, Dawn Lindblade, clarinet and Sallie Pollack, piano (2012). (6’)
Let’s Duet for clarinet and string bass, written especially for Dawn Lindblade, clarinet and Michael Geib, string bass (2012) (5’)
BVP Trio for bassoon, viola and piano, written for the inauguration of Don Betz as the 20th President of the University of Central Oklahoma (2012) (5’)
Stone Poems (2011-13) for flute and piano, written especially for Natalie Syring (20’)
Whole Flute Canon Quartet (2010) for flute choir, written for Emily Butterfield and her junior high school flute camp at the University of Central Oklahoma (8’)
Fanfare for a Broncho Band, written for the UCO Wind Symphony, Brian Lamb, conductor, for the reopening of Mitchell Hall (2009). (3’) (on CD)
Fanfare Duet, for two French horns, for Ted Honea and Genevieve Craig (2009). (5’)
Brightsuite Trio, for clarinet, violin and cello, written for Chad Burrow, clarinet, Gregory Lee, violin and Jon Ruck, cello, for the brightmusic concert series (2008).(17’)
Song of Hope, a setting of parts of Psalm 71 for soprano and organ, written especially for Dr. Barbara Streets and Richard Jobe (2008). (6’)
Serenade, for flute choir, written especially for Natalie Syring and the Oklahoma Celebration Flute Choir for their performance at the 2008 National Flute Association Convention in Kansas City, Missouri (2008). (17’)
A Prayer for Peace, a liturgical setting for SATB Choir, written especially for the UCO Concert Chorale, Dr. Karl Nelson, director, for their summer Italy tour (2008).(3’)
Song of the Seasons, for soprano, clarinet, cello and piano, a setting of a group sestina by Daniel Ling, Talia Magrill, Bailey Schreier, Michelle Quindara and Kendra Farve (2008). (10’)
Bagatelle, for solo flute, written for my daughter Mira (2007). (7’)
Tango Flauto, for flute quartet, written for the Vivace Flute Quartet (2006). (6')
Comfort Food, for percussion ensemble, written for the UCO Percussion Consort, David Hardman, director (2006). (9')
Whitman Songs, for baritone and piano, written for Kevin Eckard, baritone (2004)(18 ').
Hommage à Brahms, for clarinet, cello and piano, written for Dr. Ron Howell, clarinet, and Dr. Tess Remy-Schumacher, cello (2004).(7 ')
Summer Song, written especially for the Oklahoma Youth Orchestra, Dr, John Clinton, conductor, for their European tour (2004).(7 ')
East West Duo, for violin, cello and mridangam, written for Sandhya Srinath, carnatic violinist and Dr. Tess Remy-Schumacher, western cellist (2004). (15 ') (on CD)
Tango Bandango, for wind ensemble (also called Tango!), commissioned by Dr. Brian Lamb, director of the UCO Wind Ensemble for performance at the Society of Composers, Inc. 2004 National Conference and the College Band Directors’ National Association 2004 Southwestern Division Conference (2004).(7 ') (on CD)
Prince George's, The Gorgeous County, a song with a text by Nathan Bala written in raga mayamalavagoula and adi thala in the style of the music of southern India, commissioned by Jayamangala School of Music and Dance for "Music Transcends," a one-day international conference on carnatic music (2003). (8 ')
Shalom, for cello ensemble, written for the UCO Cello Ensemble, Tess Remy-Schumacher, director; for performance at the Society of Composers, Inc. 2004 National Conference (2003). (5 ')(on CD)
Love Song Ending with a Line by Horace, for choir, flute, clarinet and cello, a setting of Andrea Hollander Budy's poem of the same name (2003). (3 ')
In Which Being Here Together is Enough, for choir, flute, clarinet and cello, a setting of Andrea Hollander Budy's poem of the same name (2003). (3 ')
Seventeen, for choir, flute, clarinet, cello and bassoon; text by Talia Magrill (2003). (3 ')
A Wedding Braid, for solo violoncello, written for Dr. Tess Remy-Schumacher (2003).(5 ') (on CD)
Three Americans for orchestra, based on paintings by Robert Henri, Childe Hassam and Thomas Moran, commissioned by Dr. Ralph Morris, Director of the University of Central Oklahoma Symphony Orchestra (2002)(15 ')
For a New Day for Wind Ensemble, commissioned by Lynn Ann Feroli, director of the Edmond Memorial High School Wind Ensemble (2002)(8') (on CD)
Fanfare for Peace I, II and III for six trumpets, written for James L. Klages, director of the University of Central Oklahoma Trumpet Ensemble (2000-02). (10’)
Tango Cellito, for cello ensemble, viola ensemble, string quartet, flute quartet or chamber orchestra, written for the UCO Cello Ensemble, Dr. Tess Remy-Schumacher, director (2002) (5')(on CD)
Remy 2002, for cello and piano, for Dr. Tess Remy-Schumacher (2001). (17’)(on CD)
Totally Solo, for solo bassoon, for Dr. Lori Wooden (2001). (7’)
American Quartet, a quodlibet of American patriotic songs for cello ensemble, for the UCO Cello Ensemble (2001). (5’)(on CD)
Island of the Dew of God for violin and piano, for Dr. Hong Zhu (2001). (7’)
Sacred Suite, for soprano and cello, based on Hebrew liturgical texts and Bach’s Solo Violoncello Suite in G Major, for Pamela Richman and Dr. Tess Remy-Schumacher (2001). (20’) (on CD)
Song of Shalom, for soprano and cello, based on Hebrew liturgical texts, for Pamela Richman and Dr. Tess Remy-Schumacher (2001). (12’)(on CD)
Odyssey Etude for flute and piano, for the 2001 National Flute Association Convention (2001). (5’)
Tango Guitello for cello and guitar, for Dr. Tess Remy-Schumacher and Stefan Grasse (2001). (10’)(on CD)
Odyssey, for two flutes and wind ensemble, commissioned by Andy Heitz, Director of the Edmond Central Middle School Eighth Grade Band (2001). (on CD) (8’)
Double Concerto for two cellos and string orchestra, for Dr. Tess Remy-Schumacher (2000-01)(18’) (on CD)
Cello Rag Rag, for cello ensemble and soprano, for the UCO Cello Ensemble with texts in English, German, Hebrew, Japanese and Italian (2000-1). (11’) (on CD)
Circe’s Palace, an opera based on a portion of Nathaniel Hawthorne’s Tanglewood Tales, commissioned for UCO’s 2000-01 opera season (2000). (60’)
Showdown on Two Street, an opera with a libretto by the composer, adapted from Stephan Crane’s The Bride Comes to Yellow Sky, with a soliloquy from William Shakespeare’s Twelfth Night (Italian translation by Ronald M. Manning) (1999). Commissioned through the American Composers’ Forum as part of the Continental Harmony program. Sponsored by the Edmond Historical Society and Museum. (on CD)(60’)
The “Edmond” March, for band, commissioned by Andy Heitz, Director of the Edmond Central Middle School Eighth Grade Band (1999). (on CD) (5’)
Let the Festivities Begin! for orchestra, commissioned by Dr. Ralph Morris, Director of the University of Central Oklahoma Symphony Orchestra (1999). (12’)
“Tess” Variations for solo violoncello, for Dr. Tess Remy-Schumacher (1998). (on CD) (10’)
Paradise of Children, an opera based on a portion of Nathaniel Hawthorne’s A Wonder Book, commissioned for UCO’s 1998-99 opera season (1998). (on CD)(60’)
The Gorgon’s Head, an opera based on a portion of Nathaniel Hawthorne’s A Wonder Book, commissioned for UCO’s 1997-98 opera season (1997). (on CD)(50’)
Swans in the Blue, for flute, clarinet and piano, written for my daughter Mira (1997). (7’)
Hong’s Song for solo violin, written for Dr. Hong Zhu (1997). (7’)
Festive Fanfare for wind ensemble, commissioned by Dr. Ron Howell, Director of the University of Central Oklahoma Wind Ensemble (1997). (8’) (on CD)
A Suite of Bagatelles for tape, written for the SEAMUS 1997 National Conference (1996). (on CD) (4’)
Goblin Market for choir and piano, a setting of part of Christina Rossetti’s poem “Goblin Market,” commissioned by Dr. Lon Dehnert, director of the UCO Concert Chorale (1996). (7’)
Ya Hachoo Cheteari Chashki Chaiya (I Want Four Cups of Tea), a song written for the students at the Sicalini Museum Graeco-Latinum, in Moscow, Russia (1995). (2’)
May the One, a liturgical setting for choir and viola, commissioned by Rabbi David Packman of Temple B’Nai Israel, Oklahoma City, for the Temple B’Nai Israel Choir(1995). (2”)
Interpolations for string quintet, commissioned by Larry Moore, conductor of the Putnam City North String Quintet (1995). (12’)
Sampler ’94, for tape, written for the SCREAM 1994 Festival (1994). (on CD) (8’)
Music for Hamlet, a play by Shakespeare, written for half-track stereo tape for the UCO production, commissioned by Roberta Sloan, director (1994).
Strange Jazz for tape, written for the SCREAM 1993 Festival (1993). (on CD) (5’)
Oklahoma Goulash for tape, written for the SCREAM 1992 Festival (1992). (on CD) (5’) Divergences for Band, commissioned by Dr. Ron Howell, Director of the UCO Wind Ensemble for performance at a CBDNA Convention (1992). (5’) (on CD)
The Green Monkeys for tape, written for the SCREAM 1991 Festival (1991).(on CD)(7’)
Vignettes, eight songs for soprano and piano on poems of Donald E. Hines, commissioned jointly by OMTA and MTNA for the 1991 OMTA state convention (1991). (15’)
secondhandmusic for tape, written for the SCREAM 1990 Festival (1990). (on CD) (7’)
Strands of Time for tape, written for the SCREAM 1990 Festival (1990). (on CD) (7’)
Ambiances for tape, written for the SCREAM 1989 Festival (1989). (on CD) (20’)
Deep Fork Variations for piano solo, commissioned by the New Plains Review (1989). (12’)
Children’s Voices for tape, written for the SCREAM 1988 Festival (1988). (on CD) (7’)
Music for Mira for orchestra, commissioned by Roger Hickman, conductor of the California State University, Long Beach Symphony (1987-88). (16’)
Tuba Talk for tuba and piano, commissioned by Andrew Beard, tubist (1987-88). (8’)
Flutations for amplified flute and tape, written for the SCREAM 1987 Festival (1987).(on CD) (10’)
Sketches for oboe and piano (1986). (7’)
In Contra for trumpet and tape, written for the SCREAM 1986 Festival (1986). (on CD)(9’)
Reflections, four songs for soprano and piano (1986). (10’)
Talea for Talia for handbell choir, commissioned by Ardis Freeman, director of the California State University, Long Beach Handbell Choir (1986). (5’)
A Collection of Clichés for flute/piccolo, oboe, clarinet, French horn, bass and piano (1984-85).“It’ll never work! (That’s impossible)” (1984) for the Anacrusis Ensemble at the University of Wyoming, Laramie and “It’s not my fault! (Don’t blame me if…)” (1985) for Anacrusis West at California State University, Long Beach. (7’)
Tape Studies (1983-4) for half-track stereo tape (1983-84). (on CD) (14’)
Interminglings for string quartet, supported by an Illinois Arts Council grant (1984). (16’)
More Music for Caucasian Chalk Circle, a play by Bertolt Brecht, for flute, violin, percussion and piano for the University of Illinois, Champaign-Urbana production, (1983).
Distant Relations for chamber ensemble, submitted in partial fulfillment of the requirements for the Doctor of Musical Arts in composition (1979-82). (18’)
Variations Toward a Theme for piano, supported by an Illinois Arts Council grant (1981).(6’)
Dao Song, a phonemic text setting for chorus, partially supported by a National Endowment for the Arts Composer/Librettist Fellowship (1978-81). (8”)
Music for The Good Person of Setzuan, a play by Bertolt Brecht, written for cabaret ensemble for the University of Illinois, Champaign-Urbana production (1980).
Piano Pieces (1978-79). (9’)
Dichotomous Catenations for trumpet, clarinet, violin and mandolin (1978). (8’)
Trombonic Excursion for solo trombone (1977). (5’)
Hornswoggled for five French horns and bass (1977). (6’)
Premonition for oboe, trombone, two French horns, violin, two celli and bass (1976). (10’)
Sins of My Youth for alto saxophone, trombone, viola, English horn and tuba (1975). (7’)
Euston for voice, alto saxophone and cello (1975). (7’)
Effigy for Strings for fifteen violins, six violas, five celli and four basses (1975). (15’)
Digital Motion, computer-generated sound (1974). (3’)
Music for Caucasian Chalk Circle, a play by Brecht, for the Oberlin production(1974).
Pisces for violin, flute, bassoon, bass clarinet, cello and piano (1974). (7’)
Torus for violin, cello and tape (1974). (12’)
Reminiscences for half-track stereo tape (1974). (on CD) (7’)
Nemesis for chamber ensemble (1974). (12’)
Reaction for Brass for two trumpets, two French horns, trombone and tuba (1973-4). (5’)
Story for half-track stereo tape (1973). (on CD) (9’)
Crystal Field Theory: An Abstraction of a Chemical Process, an improvisation for dancers and musicians (1973).
Halibut for two pianos (1973). (7’)
Structure for Percussion (1973). (5’)
Klavierstück (1972). (7’)
Quintet for woodwind quintet (1972). (6’)
Prayer, a liturgical setting for chorus(1971). (2”)
Three Poems of Wallace Stevens for Piano and Mezzo-Soprano (1971). (4’)
Suite for Piano II (1971). (3’)
Movement for Strings(1971). (4’)
Suite for Piano (1971). (4’)
Most compositions are available from LYNN MORSE PUBLISHING
Courses taught: Basic Music Skills (both live and on-line), Music Theory I, Music Theory II, Music Theory III, Aural Skills III, Music Theory IV, Aural Skills IV, 18th Century Counterpoint, Form and Analysis, Structural Analysis, Instrumentation, Analytical Techniques, Advanced Analysis, Studies in Music Theory, led a Central Europe Music Appreciation Study Tour (Berlin, Prague, Vienna, Budapest, Summer, 2016), Composition (all levels, both classes and private lessons), Introduction to Electro-Acoustic Music, Topics in Computer Music, team-taught Composer/Choreographer Workshop, Piano (individual instruction). Accompany recitals and perform chamber music. Taught theory at the Summer Choral Institute at UCO, 1992-2000, 2002, and 2008-2013. Taught theory and accompanied at the summer flute workshop at UCO 2010-17. Accompanied for the Music Theatre Workshop at UCO, 1991 and 1993-1997. Music Director and Conductor for “The Three Penny Opera” (2/95), “The Gondoliers” (2/96), “The Gorgon’s Head” (2/98), “Showdown on Two Street”(6-7/2000) and Circe’s Palace”(2/01). Music Director for “Paradise of Children and the Gremlins Who Stole It” (12/98).
Education and Certifications
Postdoctoral work in piano, electro-acoustic music and computer music, University of Illinois, Champaign-Urbana, 1983-4. Studied with Dean Sanders and Ian Hobson, piano; Scott Wyatt and Carla Scaletti, electro-acoustic music.
Doctor of Musical Arts, Composition, University of Illinois, Champaign-Urbana, 1983.Studied with Herbert Brün, Kenneth Gaburo (La Jolla California), Benjamin Johnston and Edwin London, composition, Hubert Kessler, theory.
Advanced work in vocal accompanying, University of Illinois, Champaign-Urbana, 1980-82. Studied with Eric Dalheim.
Master of Music, Composition, University of Illinois, Champaign-Urbana, 1976. Bachelor of Music, Composition, Oberlin College, Oberlin, Ohio, 1975. Studied with Ramiro Cortes (USC), Joseph Wood and Randolph Coleman, composition; Dadi Mehta, John Perry and Sanford Margolis, piano.
Bachelor of Arts, Chemistry, Oberlin College, Oberlin. Ohio, 1975.
Additional collaborative piano training with Alice and Eleonore Schoenfeld, 1966-81.
Professor of Music at the University of Central Oklahoma, Edmond, Oklahoma, 1988- present. Graduate Coordinator for Music, 2014-present. Assistant Director of the School of Music, 2004-6. Assistant to the Director, 2006-7. Choral Accompanist, 2007-2012. Coordinator of the Theory-Composition Division, 1988- 2005. Composer-in-Residence, 1988-present.
Accompanied Baritone Ian Geller in California concerts annually from 2006-2011.
Accompanied at the Oklahoma Flute Society Flute Fair annually from 1999-present.
Lecturer at California State University, Long Beach, 1985-88. Courses taught: Harmony I and II, Musicianship I and II, Musical Form, Materials of Modern Music, Instrumentation, Studies in Musical Analysis, Studies in Homophonic Music, Studies in Polyphonic Music, Electronic Music Composition, Composition (all levels, both classes and private lessons) and New Music Ensemble, Director (Composer-in-Residence) of the Summer Composers’ Institute, 1986, with guest faculty Benjamin Johnston and Salvatore Martirano, Coordinator of the Southern California Resource for Electro-Acoustic Music (SCREAM) Festival, California State University, Long Beach, 11/8/86 and CSULB representative for the SCREAM Festival at UCLA, 11/7/87. Participant in the 1988 festival at LACMA, the 1989 festival at Cal Arts and the 1990-94 festivals on KPFK-FM, Los Angeles.
Assistant Professor of Music at the University of Wyoming, Laramie, 1984-85. Courses taught: Freshman and Sophomore Theory, Performers’ Workshop, Piano (all levels) and Composition (all levels). Additional work included accompanying faculty and student recitals and participating extensively in the school’s cultural outreach program. Also, judged piano and composition competitions for the Music Teachers’ National Association.
Producer and Director of “The Indignant Ear,” a weekly radio show featuring experimental music and interviews with composers, WEFT, Champaign, Illinois, 1983-4.
Teaching Associate in Piano at Unit One (a special program for students interested in the arts who want to design their course of study), University of Illinois, Champaign- Urbana, 1982-4.
Teaching Assistant, School of Music, Theory/Composition Division, University of Illinois, Champaign-Urbana, 1977-79, 1982. Taught ear-training and sight-singing.
Staff Accompanist, School of Music, University of Illinois, Champaign-Urbana, 1981-2. Opera Coach/Accompanist, University of Illinois, Champaign-Urbana, 1980-1.
Accompanist for Eleonore Schoenfeld’s Violoncello Master Classes, Loma Linda University, Riverside, California, 1979, 1980.
Private Teaching, Coaching and Accompanying, 1976-present.
Honors and Awards
Grants and Awards
National Endowment for the Arts, Composer-Librettist Fellowship, 1979.
Illinois Arts Council, Project Completion Grant, 1981.
Illinois Arts Council, Grant for continued advancement in the field of music composition, 1983.
American Society of Composers, Authors and Publishers (ASCAP) Awards, 1988- 2015, 2017-present.
Oklahoma Music Teachers Association Composer Commission, 1991.
Listed in Sigma Alpha Iota Quarterly Pan Pipes, 1989-present.
University of Central Oklahoma Faculty Research Grants, 1993-2005, 2009
University of Central Oklahoma Merit-Credit Awards, 1996-7, 1997-8,1999-2000, 2001-2,2002-3, 2003-4. 2004-5, 2005-6, 2006-7, 2007-8.
Hauptman Research Fellow, College of Liberal Arts, UCO, 1997.
American Music Center’s Margaret Fairbank Jory Copying Assistance Program, 1998. Mid-America Arts Alliance Grant. 1999-2000.
Continental Harmony Grant, 1999-2000.
Edmond Historical Society Historic Preservation Award for “Showdown on Two Street,” 2000.
Faculty Enhancement Center Significant Teaching Achievement Award, 2001-2. Bronze and Blue Award, April 2, 2004.
Prince George’s County Award for composing, arranging and conducting music of India at the “Music Transcends Concert” on May 8, 2004 in Greenbelt, Maryland.
Professional and Community Involvement
American Society of Composers, Authors and Publishers (ASCAP), 1988-present
College Music Society (Member-at-Large, 1992-4, UCO Representative, 1995-2011, (hosted regional conference at UCO, spring, 1999), President of the South Central Region, 1999-2003, Past President, 2003-2005, Composition Board Member for the South Central Region, 2007-11, on the Composition Committee for the 2008 South Central-Southern Super Regional Conference (2007-8), elected Board Member in Composition for the National Organization (January, 2009-December, 2011), coordinated composition programs for the national meetings in 2010 and 2011, Chair of the CMS 2013 Nominating Committee
Oklahoma City Pianists’ Club (President, 1992-4, Parliamentarian, 1994-6, Vice President, 2007-8, President, 2008-2010, Parliamentarian, 2010-12, 2016-8)
Oklahoma Music Theory Roundtable (presented 1990,1997, 2003, hosted 1991,1998) Phi Kappa Phi
Pi Kappa Lambda (helped start the Iota Tau Chapter at UCO, Treasurer, 2005-2012) Sigma Alpha Iota—Arts Associate (2000-present)
Society of Composers, Inc., (hosted regional conference, spring, 1993, Regional Co-Chair of Region VI, 1994-2000, 2004-2007; hosted national conference at UCO, spring, 2004)
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