Dr. Gayla Bauer Blaisdell, Associate Professor of Voice and Opera, joined the faculty of Central Washington University in 2008 and became the Vocal Area Coordinator two years later in 2010. She has a vibrant studio of aspiring singers and directs the nationally award-winning CWU Opera Ensemble. In addition to teaching Dr. Blaisdell has sung in many major New York City venues including Carnegie Hall, Weill Recital Hall, Merkin Hall, and Symphony Space, among others. Dr. Blaisdell has appeared multiple times at Benaroya Hall in Seattle as a soloist and performs regularly with regional orchestras in the Pacific Northwest. Dr. Blaisdell often appears with the CWU ensembles to premiere contemporary works and collaborates with colleagues from CWU and around the country in recitals. Along with opera, concert and recital appearances, Dr. Blaisdell is highly sought after as a clinician and adjudicator. Dr. Blaisdell holds a Ph.D in Vocal Performance from New York University. She has established herself as a scholar in feminist theory and opera presenting her work at national and regional venues since the completion of her dissertation in the field. She holds a Graduate Diploma in Opera and a Masters Degree in Vocal Performance from New England Conservatory and a Bachelors Degree in Voice and a Bachelors Degree in Music Education from the Eastman School of Music. Dr. Blaisdell also trained at the Steans Institute at Ravinia, Tanglewood, Opera North, the International Institute of Vocal Arts in Italy and Dorian Opera Theater. Dr. Elaine M. Ross joined the music theory faculty at Ohio University in the Fall of 2013. Prior to this appointment, Dr. Ross served as the chair of music theory at the Colburn Conservatory in Los Angeles, CA and as the coordinator of music theory/composition at Central Washington University where she administered all aspects of the theory curriculum for 350 majors, maintained a composition studio of 10-12 students, and served as a collaborative pianist for numerous faculty, guest artist, and student performances. She has collaborated with such artists as Toby Oft, principal trombone of the Boston Symphony, world renowned clarinetist Fred Ormand, and internationally acclaimed hornist Frank Lloyd, to name a few. Dr. Ross’ research interests include both the creative aspect of composition and theory pedagogy including instructional approaches, the comparison of teaching results for perfect/absolute pitch vs. non-perfect pitch musicians, and the compilation of several pedagogical workbooks. Dr. Ross has also served on the faculty at the University of Minnesota-Morris, University of Michigan-Flint, and Interlochen Arts Academy. As a composer, she is published by Southern Music Company, Sisra Press, and Triplo Press and has had numerous works selected for performances at Society of Composers, Inc. (SCI), College Music Society (CMS), and National Association for Music Education (NAFME) conferences. Notable recent compositions include: Canyons for woodwind quintet – premiered at CWU’s presidential inauguration concert in 2009 and winner of the Sinfonia National Woodwind Quintet Composition Competition in May of 2009; Neon Fanfare for trumpet ensemble, commissioned by the CWU trumpet club and selected for performance at both the National Trumpet Conference in 2010 and the International Trumpet Guild Conference in 2011; The Presence for choir, selected for performance on the Opus 7 All Northwest Composer’s Concert in Seattle in 2011; and Moonstruck for Percussion Ensemble, performed at the 2013 SCI National Conference and the 2012 Northwest Percussion Conference. In addition, Wildfire for Symphonic Winds reached the quarterfinal round in the Coups de Vent International Wind Orchestra competition and was performed in 2008 in Lille, France. A complete catalogue of Dr. Ross’ works can be found at www.elainemross.com. NOTES Four Emily Dickinson Poems (2014) feature the poetry of one of America’s favorite poets. Emily Dickinson (1820-1886) was born in Amherst, Massachusetts. Not only is her poetry a staple of American literature, but her poems have been set by a large number of composers and are now staples of vocal recital literature. The texts often deal with immortality and death, but many can also be interpreted in a very whimsical/sarcastic manner. Four poems were selected to set that had already been set by four well-known composers of art song including Aaron Copland, John Duke, Ricky Ian Gordon, and Lee Hoiby. Without listening or looking at the settings, these songs were composed and then compared to the other settings. Four Emily Dickinson Poems can serve as an independent set or can be performed as a compare and contrast set with the other setting by different composers. Will the Wind Whisper? (2000) for soprano and piano is based on an original poem. The wind represents your conscience or inner voice. The piece reflects different characters and personalities using mystical whole-tone sonorities, major sonorities with extended harmonies, and tri-tone and secundal relationships. The opening exhibits much tone painting through pianistic flourishes. The middle section is energetic through the use of changing meters that correspond to the movement of the text. The work has an accessible tessitura and, even though the tempo is quick in the middle section, the abundant amount of text can be enunciated adequately within the shape of the phrases. Inspired by a visit to the World Trade Center in New York City, Only Then Can We Smile (2008) is intended as a memorial to those lost in the tragic events of September 11th, 2001 and to all those lost in similar tragic events. The piece evokes a wide range of emotions from sorrowful and dark; commemorating; anger and rage; to a feeling of hope and reflection at the conclusion. The text is also an original poem by the composer. Erotic Spirits by Stephen Paulus (1949 – 2014) is a rich and expressive set of eight songs using texts about love, longing and lust taken from The Song of Songs, Sappho, Tzu Yeh dating from as early as the 4thcentury. The song cycle was originally written for Soprano and Orchestra and was commissioned by the Augusta Symphony Orchestra for its premiere with Deborah Voigt in 2004. The soprano and piano version heard in this recording is Paulus’ original reduction from the orchestral score.