Tag Archives: music

FAQs About PUC Music

Leave a reply

By Becky St. Clair

So you’re thinking PUC is the place for you (we think so, too, for the record), and you’ve always really enjoyed music, but you’re not sure what that will look like in college. Good news: We’ve got you covered. Here are answers to a few of the most common questions we get about music at PUC. The bottom line is that we have a place for you–guaranteed–and you’ll be at home here. Promise.

What music ensembles does PUC have?
So glad you asked! Our four regular ensembles are Orchestra, Wind Ensemble, Chorale, and Vox Pro Musica (select touring choir). Additionally, the PUC’s String Quartet is pulled from Orchestra members, and they perform off-campus and tour at various times during the school year, sometimes with VPM. 

Do I have to be a music major to be in an ensemble?
Absolutely not! We welcome anyone who wants to participate in collaborative music-making, and we enjoy hosting diverse groups as a result. Not only do we have non-majors playing with us, but we have several community members and occasionally some local professional musicians as well. It’s a wonderful way to connect with people you may not otherwise meet.

Can I be in more than one ensemble?
Of course! None of our ensembles meet at the same time, so as long as the rehearsals fit into your class and work schedule, we encourage you to participate in as many groups as you’d like.

Do I have to audition?
Yes…and no. Wind Ensemble and Chorale require no audition to enroll, you simply register and show up (that last part is very, very important). Orchestra does not require a traditional audition, but our director does like to hear everyone who wants to be in the group, just to get an idea of where they’re at musically when they’re joining for the first time. Vox Pro Musica requires an audition to join.

I’m a nursing major and my schedule can be tricky. Can I still be part of an ensemble?
Absolutely. We have many nursing majors amongst our ensemble ranks, and we totally understand the schedule challenge. We’ll do our best to ensure you can fulfill your clinical duties and still participate in as many rehearsals and performances as possible.

Can I take lessons?
Yes! Music majors are, of course, required to do so, but anyone is welcome to take private lessons to enhance their educational experience. We offer individual lessons on a quarterly basis in a variety of instruments–just ask us!

If joining an ensemble pushes me into overload status, do I have to pay the overload fee?
Nope! Students who go into overload as a result of joining an ensemble (or two or three) get their overload fees waived. All you have to do is talk to the music office manager.

Do I have to be a music major to use the practice rooms?
Not at all! There are several practice rooms in Paulin Hall that are open whenever the building is open, and they are available to anyone, regardless of their major or whether they’re in a PUC ensemble. If you happen to be a piano major, we have some reserved practice rooms with grand pianos you’ll need a key to get access to.

What degrees can I get as a music major?
Great question! We have five options for our music majors to choose from:

  • Bachelor of Science in Music
  • Bachelor of Science in Music: Composition Emphasis
  • Bachelor of Science in Music: Pre-Teacher Training Emphasis
  • Bachelor of Science in Music: Performance
  • Associate of Science in Music

Can I be a double major?
Yes! In fact, many of our students are double majors, often coupling music with a science discipline. Talk to your advisor about this possibility, or make an appointment to talk with the chair of the department of music.

I’m interested in teaching music; is there a way to get experience with that before I graduate?
Yes, there is! Paulin Center for the Arts is a community music program run from the department of music office, and we frequently hire college students as student teachers in this program. (Yes, for pay!) Mention your interest to the department chair or the music office manager to get the conversation going.

Are there any jobs for students in the department of music?
There are always jobs available in the department. From ensemble assistants who help set up and tear down for concerts, to music librarians who organize scores and sheet music, to recording managers who record concerts and process the recordings, to office assistants who work with the office manager, there are plenty of options. Check in at the music office to see what’s available when you get here. Want to be ahead of the game? Email music@puc.edu and ask about possible jobs for next school year. (Pro tip: We love students who get ahead of the game!)

What about scholarships? Are there any specific to music?
Oooh, we knew this question would come up! The answer is yes, we do have scholarships available. Most are awarded during spring quarter for application the following fall, and are based on leadership, academic diligence, and involvement, but there is also one for ensemble members. The Campus Impact Scholarship is a renewable quarterly scholarship awarded each quarter you participate in any of the four major ensembles or String Quartet, for up to $1,000 per year. 

Okay, be honest: How good are the music teachers at PUC?
This is such an easy question, because the answer is a loud and emphatic “VERY.” Our instructors have:

  • Toured with Yo-Yo Ma
  • Been concertmaster at Carnegie Hall
  • Conducted professional symphonies
  • Studied at high-caliber schools such as The Juilliard School, San Francisco Conservatory of Music, Indiana University, University of Michigan, and others
  • Won international awards
  • Traveled around the world as soloist, concertmaster, chamber musician, and masterclass instructor

And the best part? Every single one of them cares deeply and personally about each and every student who walks through our doors. They’ll get to know you and will treat you like family even before you arrive–and it’s a forever thing. Once a part of the PUC music community, always a part of the PUC music community. 

We look forward to having you here at PUC, and would be thrilled to have you as part of the department of music–whether that means becoming a music major, joining an ensemble, taking a composition or world music class, or all of the above. 
Still have questions? Give us a shout: 707-965-6201 or music@puc.edu.

Caitlyn Koester

How Music Practice Habits Can Enhance Your Entire Life

Leave a reply

By Caitlyn Koester, PUC instructor in piano and harpsichord

With the start of every new year comes anticipation for what’s to come, and the spark of inspiration to fortify, streamline, and enhance one’s personal potential. The annual New Year’s Resolution is the perfect opportunity for us as musicians to apply these principles to our practice routine. The great thing is that the principles behind each of these music-specific tips apply to anyone in any field or area of study. 

I find myself constantly reconsidering and rejiggering my own process and methods in order to continue to improve, and over the years have found some favorite tips and tricks. Here are a few I share time and again with my students, and frequently reintroduce to myself.

  1. Keep a practice journal. As when we were in elementary school and our first music teachers wrote down our assignments, it is useful to have a plan of attack when you sit down to play. For adults, the practice journal provides personal accountability, and the opportunity for both planning and reflection pre- and post-practice. At the end of my time at the instrument I like to take note of what specifically I need to look at tomorrow (down to the measure), and which practice methods I would like to apply to these sections. I also like to look forward to concerts and projects I have approaching in order to plan appropriately and learn my music in an organized fashion. 

Non-music application: Use this method for your lab projects, workout sessions, studying for exams, rehearsing speeches, etc.

  1. Schedule your practice time. As with anything important in our life, it is imperative that we prioritize the activity by dedicating real time on a regular basis. When I block out time to practice in my smartphone’s calendar, I find myself honoring the commitment as I would with any other priority. Plan ahead, block out those hours on your calendar, and check your daily practice off your to-do list!

Non-music application: Schedule solid time for working on an essay, reviewing lab notes, making sure to grab breakfast, calling your mom, spending time outside, etc.

  1. Become an early bird. All too recent are my memories of practicing at Juilliard until midnight… Although this seemed like the perfect solution to fitting in more hours during my busy graduate degree, I now realize that much of my time at the instrument was at less than 100 percent efficiency, energy, and creativity. When we practice in the morning–and better yet, make it the first cognitive activity we engage in upon waking–our mind and our physical alignment are fresh and ready for the task. At this time, we are not weighed down by a day full of conversation, work, physical activity, and distraction. Take this a step further and make practicing the last thing you do before winding down for the evening and the first thing you do upon waking, and you’ll be reinforcing your practice efforts on the daily.

Non-music application: Practice getting up earlier in the morning to finish your assignments, rather than staying up late to cram them in. When studying for an exam, try studying in the evening, going to bed at a reasonable hour, and then rising early to study more, reinforcing what you’re reviewing.

  1. Visual Manifestation. Practice is not only the act of physically playing your instrument. Be sure to visualize yourself performing in preparation for recitals and concerts, whether sitting in the practice room at the instrument or at home with music in hand. Envisioning the atmosphere, what you’ll smell, the temperature, your attire, the time of day, and how you’ll begin are all helpful for your mental preparation and focus. Take this a step further to enhance your expression of a piece of music before you begin playing by envisioning where the music might transport you. What does the place or scene look like / smell like / taste like / feel like? 

Non-music application: Imagine the end result of the final project you’re starting. What message do you want to convey with what you’ve created? When you’re presenting, what will the room look like / smell like / taste like / feel like? Envision your success from the very beginning and it will give you a definite end goal that feels (and is!) attainable.

“PUC Is Home to Me”

Leave a reply

Alumnus returns for music and education

by Becky St. Clair

Malek Sheen graduated from PUC in 2019 with degrees in English and Spanish. Though it was his intention to return and earn his master’s in education, the pandemic convinced him to wait a year. When he came back to PUC in the fall of 2021, he enrolled in both the education and music programs.

“I chose my areas of study based both on what I could give to others, and what would make me the best version of myself,” he says. “I wanted to be a well-rounded person, and I wanted marketable skills that I could use to give back to the world. PUC was the best choice for me in that regard.”

Sheen, who was not raised Adventist, was born in Los Angeles, and lived with his mom and grandpa. He attended public high school, and after his sophomore year his mom could see he needed a change. She told him he could choose to go to the Army and Navy Academy or he could attend Monterey Bay Academy. Sheen chose the latter, and as a result, was introduced to Pacific Union College.

“Knowing what I know now, I see that God’s hand was in that move,” Sheen says. 

Despite never having access to a piano growing up, Sheen’s grandfather was a pianist and had a small keyboard he let him use. Sheen was determined to learn the instrument, and has now been playing for eight years. Upon arrival at PUC, Sheen signed up for piano lessons, and though he eventually decided to work toward an associate’s degree in music, he wasn’t able to finish while working on his first two degrees. So, when he returned for his master’s, he was determined to also complete a music degree.

“Once I get my credentials I should be able to teach English, Spanish and music in public school, private school, or abroad,” Sheen says. “But there’s a lot of room still for God to show me my path, and I’m open to wherever he leads.”

Though he knows he could have gone elsewhere to get his master’s degree, Sheen says it was never a question that he would return to PUC.

“PUC has been home to me, and I’m tethered here,” he explains. “I grew up attending public school and it was so easy to get lost in the crowd there. But here, it’s possible to be someone. There are so many opportunities to grow as a person, not just academically, but spiritually, as well.”

Sheen says he’s learned a lot at PUC, but when asked to name one thing he’s learned that will really stick with him, he responds without hesitation: “God.” 

His college roommate was a friend from MBA, and Sheen says his roommate gave him space to question things, and opened the door for him to explore who God is. 

“He did it without trying,” Sheen adds. “He wasn’t trying to push Christianity on me; it was just who he was, and honestly, that made it an even stronger pull toward God. It just felt natural. I can thank PUC for giving me many opportunities to develop myself, but none, in my opinion, are as valuable as giving me the chance to learn to walk with God. That’s something I’ll take with me for the rest of my life.”

For more information about music at PUC, visit puc.edu/music.

Photo by Kael Bloom on Unsplash

Coming Back to Life: Preparing for music-making in the fall

Leave a reply

By Becky St. Clair

We’re all tired of talking about the pandemic, but…it’s here to stay for a while, and we can’t ignore it. What we can do, however, is focus on coming out the other side of it all, physically, mentally, and spiritually intact. 

Over the last 17 months or so, it’s likely your lifestyle and habits have changed significantly. Whether that means dropping or discovering a hobby, picking up or conquering bad habits, sleeping different hours, or developing a hatred of all things Zoom and an appreciation for well-stocked grocery stores, it’s likely life looks quite different for you in August 2021 than it did in March 2020. 

For many of us who are musicians, this change in lifestyle likely includes a dramatic decrease in the amount of playing or singing we do on a regular basis. Which means that when we talk about “getting back in shape,” we’re not talking about those pounds that mysteriously appeared over the last year and a half and obviously had nothing to do with the vast number of baked goods and stress snacks we were consuming. (#denial)

When we as musicians talk about “getting back in shape” we’re talking chops. For brass and woodwind players this is the embouchure and breath control; for string players, guitarists, and pianists it’s calluses and muscle memory; for vocalists it’s the vocal cords and breath control; for percussionists it’s the forearm muscles, hand-eye coordination, and accuracy. And after a year and a half of not using them, these skills and abilities likely need a bit of a tune-up.

Here’s the good news: 

  1. It’s totally doable to get yourself back in shape in time for fall quarter ensembles and lessons; and
  2. If you haven’t been involved with music yet at PUC, now’s the time to join, because everyone is in the same boat, and music is the life preserver.

So, without further ado, here’s some sage advice and tips from the music faculty at PUC.

Don’t practice. Get together with friends and just play or sing. Do duets or quartets. Play woodwind and brass quintets. Play or sing with an organist or pianist. After all the isolation, playing with friends is a joy. And don’t worry if your ensemble is made up of odd instruments. A flute can play a violin part (and vice-versa). Clarinets, tenor saxes, and trumpets are interchangeable. Lots of music today even has parts in multiple keys so the instrumentation is very flexible. Have some fun and make some music.

Schedule yourself as the special music in church (and then take the music to a retirement home or a hospital or a place where people need to hear some music). Don’t pick anything too hard or too long, just something that you might enjoy playing. A few rehearsals, a performance, and you’ve made a lot of peoples’ lives brighter with your talent, and gotten your fingers and face back in shape. Hey, do this more than once! People want to hear you.

Commit to playing/singing for only 10 minutes several times a week. If things are going well and you want to spend more time, great! But 10 minutes begins to get your muscles back into shape. Your playing/singing muscles are likely out of shape, and just like an athlete, take time to rebuild them so you play/sing without injuring them.

Play with curiosity rather than expectation. Celebrate what still works and give yourself grace for what doesn’t. It may have been a long time since you played or sang. That means the control you used to have with your instrument/voice may not be as accessible as it used to be. It will come back!

Review the basics. Simple scales, hymns, and long notes can be used to remind and re-engage your muscles/embouchure/vocal chords in good habits of intonation, articulation, and control. 

Find a rhythm book or other music book and practice reading the rhythms on a single note. This will make it easier when you start sight reading again. 

And here are some thoughts for once we’re back together in September:

Manage expectations. We must remind ourselves that the instrument is rusty and like going back to exercising after a break, the voice is going to respond similarly. It will take time to get back to our previous level regarding breath, tone, volume control, etc.

Make it about socializing–rebuilding connections and trust. These are two elements that have been in short supply over the last year and a half. Provide plenty of time to socialize and get acquainted or reacquainted. 

Have reasonable goals in terms of skill development and musical artistry. Start with things that can be mastered and grow from there.

Celebrate the ability to make music together again. It is a privilege that others may not fully grasp. 

Give yourself and others time and space to share what you’ve missed and what you hope to gain and revitalize. 

Many of us have really, truly suffered from not being able to be with one another and make music while actually in the same room. It will take time and care for each other to get back into the swing of things, but regardless of how long it has been, celebrate the journey and privilege of making music. Treat it as a gift and give yourself grace. We cannot wait to see you in September!

For information about the department of music, including how to be part of an ensemble (spoiler: it’s easy, and there’s scholarship money involved!), contact us at music@puc.edu or 707-965-6201.

Photo by Kael Bloom on Unsplash

Meant to Be: An Interview with a Music and Business Double Major

Leave a reply

by Becky St. Clair

Sophie Jalomo is a senior music and business major from Fresno who didn’t end up quite where she expected. She is our choral librarian, creating and keeping order amongst the shelves and shelves of choir music, and plans to graduate in spring 2022. We are thrilled to have her in our department for another year, and were so glad she shared her experiences and thoughts with us.

Why did you choose PUC? 

Each of my siblings went to the same university for college, and because of this, the school wanted to make us their poster children. I felt like I was being pushed to go there, and decided that was not the reason that I should go to any particular school. So I began searching for peace about which school to attend. Even after meeting with a counselor in financial aid, not knowing how I was going to pay my tuition, I had complete peace about choosing PUC. That’s why I’m here–because God gave me the peace that I was meant to be here.​​

You started out a business major. What drew you to music? 

The first class I took with the music department was group voice class with Dr. Anderson. I have always loved singing, but I felt handicapped when it came to music, so I wanted to learn more. A good friend of mine told me that I should try out for choir, but I was really scared to. Then Dr. A asked me to audition, and after some work, I joined Chorale and Vox Pro Musica (VPM). I was hooked. It quickly became a passion, and I couldn’t stay away! I still wanted to learn more about music, so I began poking around and asking questions. I loved how passionate everyone in the department was, so I asked Dr. A and some students about double majoring and if they thought it was the right choice. I then talked to my advisors about double majoring and how that would affect my getting a job after graduation. Everyone was saying the same thing: That it would be the best choice I could make for myself. Over a year later, I know I made the right decision.

Before PUC, you didn’t have a lot of experience with music performance. What inspired you to join an ensemble? 

I always wanted to join a choir. I sang a little at my church, but it was basically five people trying to sing to a recording track. PUC Chorale was my first real choir. If my friend and Dr. Anderson hadn’t encouraged me to join, I would have been too afraid to join. Actually, my freshman year I auditioned for VPM. I was told that I had a good voice, but I was a soprano and she needed altos. I didn’t like that answer, so I decided to become an alto! Shortly after that I got a cold and lost my head voice, so I could only sing in my chest voice, and I became the next alto in VMP.

As a double major in both business and music, how do you think the two work together? 

In some ways, they are incompatible, but I think when you apply the collaboration it takes to make music in an ensemble or group, the connections become clear. More than anything, these majors are complementary. I have had to learn completely new ways of studying and practicing, new ways of managing my time. Working with others can be challenging, but in music, it’s required that everyone is on the same page and communicating well to be able to function. That is the thing music and business have most in common.

Tell me about a music course that has really impacted you.

Oh my goodness, where do I even start? I think I would choose my basic conducting class or theory. I have learned that there is so much I do not know, and that there’s so much more to learn. With every new chapter that we study, I am blown away at things I did not know. I used to think conductors would just be able to sight-read a piece and it was fine, but now I understand how much practice and preparation go into being able to direct an ensemble. I am constantly learning something new in my music courses!

How has being part of two very different departments benefitted you? 

The best part is that I get to take a break from different types of learning and questioning. I have felt that much of what I learn as a business major is mostly just logical and easily makes sense to me. With music, it is not like that. There aren’t just definitions, rules, ethics, and people; there is art. In music there is technique and variation, there are fewer black-and-white moments and more creation and personality. But for now, I get to learn the foundations of things in both areas. 

Being a double major in two completely different fields has stretched me in every way. I have learned new study techniques, learned how to apply myself more effectively, and learned how to make new connections. I am much happier having both music and business as a major; it’s nice to know I can be successful as a double major and I am able to study what I am passionate about.

Who in the music department has been instrumental in making you feel at home, and how? 

Honestly, everyone. Everyone was so encouraging in my transition into the music department, that they made me feel it was a joy for them to receive me into their family. My professors have worked so hard to accommodate all of us students so that we can get the classes that we need and they’re always there when we have questions or need help!

What is your career goal? 

My primary goal is to have a career in business. This summer, I will be attending the Business Internship program at Kettering Health Network (KHN) in Ohio. After graduation I plan on working with them for a few years, and then branching off, hopefully, to own my own business! 

Since you’re planning to focus on the business side of things, how do you think studying music will play a part in your future? 

I will always have that joy that comes with being able to produce music and learn more. I love music and I want it to be part of my life forever. I want to carry these abilities that I am learning forward, and while I hope that someday I will be able to work for a music program, I love that I can make music and have understanding no matter where I end up.

Allen

Something to Contribute: Alumna speaks on Black music

Leave a reply

by Becky St. Clair

The history of American music is infused with African influence, and it covers a multitude of genres, styles, artists, and composers. In an article on the Smithsonian Institute website, Steven Lewis says, “Describing the African-American influence on American music in all its glory and variety is an intimidating–if not impossible–task. African-American influences are so fundamental to American music that there would be no American music without them.”

And yet the standard music course at most American colleges and universities rarely, if ever, touches on Black Music.

“I’ve spent my life listening to classic jazz, gospel, spirituals, and oldies, but I didn’t tap into the juggernaut of African-American classical music until I got to PUC,” remembers Christina Allen, 2019 PUC music and visual arts alumna. “When I started looking for recital pieces in my voice lessons, I realized there are so many classically trained African-American composers, lyricists, and artists, and I’d never heard of them.”

Allen has always been a singer; her father, also a singer as well as a trombonist, began teaching her jazz harmonies when she was five years old. She was handed a mic and soloed with her church choir as a young child, too.

“When I got to PUC, though I was focused on film and television, I couldn’t help but find my way over to the music department,” she says with a grin. 

Allen found her way to a practice room and began singing. She was overheard by a professor, who encouraged her to try out for choir, which she did. At first it was just something she was adding to her course lineup for fun, but she quickly realized it was more than that to her. 

“I loved it,” Allen admits. “I knew I had to get a degree in music because I just love it, it’s part of who I am, and I wanted to study it properly.”

During her senior year, as she prepared for her senior recital with Dr. Eve-Anne Wilkes, her voice instructor, Allen knew she wanted to include music by Black composers in her lineup. So she chose a couple of pieces by William Grant Still: “The Breath of a Rose,” with lyrics by Langston Hughes, and “Grief,” music set to a poem by LeRoy V. Grant.

“Still’s music has been instrumental in my journey as an African-American female vocalist,” Allen says. “There’s something really incredible about the storytelling in it. The way he brings together the music just has such a powerful way of emoting stories that are really relevant to our culture. He gets under your skin in a good way, with room for thought and consideration.”

Allen points out that Still was extremely thoughtful about the lyrics of his music and about who he had write them. 

“His music speaks to the experience he and everyone around him was having, and that’s meaningful to me,” Allen adds. “Even with current artists in popular genres, the ones I gravitate toward are those who are using their talent for more than just entertainment. They have something to contribute to the time they’re in.”

Ambassador Status

It isn’t just Still that speaks to Allen; she also proclaims a deep and abiding love for the music of Florence Price, George Walker, Robert Nathaniel, and Margaret Bonds. And though her counterparts at HBCUs (Historically Black Colleges & Universities) studied these and others in every music class they took, Allen points out that at most colleges and universities, you have to search out specific classes about Black or African-American music. 

“It’s just not common literature,” she says with sadness. “There are brilliant composers from every ethnicity and we simply don’t hear about them. If we as a society want to heal in some of these areas in which we’ve been wounded and broken, we have to rethink how we educate. Because education is how we cultivate our values and mindsets and it shapes our perspectives of the world.”

Allen is a classically trained African-American female vocalist. Though there are many others who fit this description around the world, she knows she is still a rarity. And she feels compelled to be an ambassador for her culture–specifically for women of her culture–in classical music.

“It would be an injustice if I didn’t,” she says. “If someone is moved by the fact that the music I sing was made by someone who looks like me, I’ve done what I’m supposed to do. My voice is a gift and I have a responsibility to share that gift. I’m not just singing when I perform; I’m telling the story of African-American music–of classical music–and I want to share that story because if I don’t, I don’t know if anyone else will.”

Allen quickly points out, however, that she and her African-American brothers and sisters are not the only ones who can tell this story. For example, white people are not the only ones allowed to tell the story of Mozart or Bach or Debussy; Allen herself has told their stories and others throughout her musical career.

“We should be able to tell each other’s stories,” she says with feeling. “Anyone of any race, creed, shape, size, color, or whatever should tell whatever story they resonate with and that resonates with them. In telling the story and sharing, it’s a fight for equality. We have importance just like everyone else, and there’s value in that.”

It is, however, a special honor for Allen, as a Black musician, to honor the legacy of those who have gone before her. And it’s not just about singing music; it’s also talking about it.

Sharing Culture

Allen shares a story of chatting with a nurse at a doctor’s appointment. The nurse happened to mention that he’d been to Scotland, going back to his roots. Allen’s immediate response was, “That music is so soulful! I love it!” The nurse was taken aback by her description of Scottish music, surprised that she had not only listened to it, but had thoughtful things to say about it.

“We started talking about music and how it impacts our lives,” Allen recalls. “It turns out he has a radio station and loves music, listening to everything under the sun. I started sharing about composers I love from my own culture that had impacted me and he said he’d play some of them on his station.”

Intrigued and inspired, Allen tuned into the station later and found the nurse had kept his word. He even gave her a shout-out on-air.

“It’s so important that we share each other’s culture,” Allen emphasizes. “All of it shapes each of us, and if we claim to want equality and do away with racism on every level, we need to walk that talk.”

And it starts with education.

“We have to integrate our history courses,” Allen says. “Branching out and offering the history of Black music not just as a separate course, but as part of the history of music we already take.”

She continues by saying that classes shouldn’t just talk about African music in world music courses, but in all of them, and when studying composition, professors should be thoughtful to include a diverse range of cultures and styles. Lectures should Include Black composers and musicians, and ensembles should perform music from all over the world.

“For many–myself included–college is the first time we truly experience classical music,” Allen asserts. “If not for some awesome teachers, I may not have had the experience I did with classical music. There’s something to be said for performing music from people who look like you, and being able to represent your culture. What we’re exposed to matters.”

It’s not just higher education, either, Allen points out; it’s a societal issue as the country tries to play catch-up and heal the brokenness garnered through past mistakes. And every little step forward matters–especially in education.

“What we learn in school shapes our perspective and we can’t make progress if we’re leaving out pieces,” she says. “I was greatly impacted in a positive way by the education I received with my music degree at PUC. I was completely cultivated in unexpected ways, and it’s forever shaped me as a person and as a musician.

“Music is a universal language and it has a special and unique way of helping you understand another culture outside of your own,” Allen concludes. “Understanding is valuable. If we dare to not be angry, and to be gracious and willing to continue the conversation, we’ll move forward.”

Some Black composers to explore, recommended by Allen & department of music faculty:

  • William Grant Still
  • Florence Price
  • George Walker
  • Margaret Bonds
  • Ulysses Simpson Kay
  • Joseph Bologne, Chevalier de Saint-Georges
  • Samuel Coleridge-Taylor
  • Jessie Montgomery

Creating the Perfect Fit: An Interview with a Double Major

Leave a reply

By Becky St. Clair

Natalie Fode is a senior piano and nursing double major who grew up right here in St. Helena. With an Associate’s Degree in music (flute performance) and one in nursing already under her belt, she plans to graduate in June 2021 with her Bachelor’s Degrees in both. Natalie plays flute in the PUC Symphonic Wind Ensemble, and when we’re on-campus in person, she works in the department office managing recordings. She currently lives in Yountville with her husband, Jordan.

Why music?
I’ve always been fascinated with music for as long as I can remember. I have a musical family; my grandfather taught choir at various academies, and my grandmothers were/are both very good pianists. My dad is a great musician too, and plays the bass guitar, and my mom also plays the flute. I think this combination made me interested in music from a young age because music was often in the home in some form or another. I ultimately decided to pursue a music degree because I couldn’t imagine my life without it and I wanted to be better able to share my love of it with others, as well as to grow my composition, piano, and flute performance skills. I hope to someday teach lessons and continue writing music throughout my life.

So it surrounded you for most of your life, but do you recall when you first started really noticing it and exploring it for yourself?
My grandma first taught me the basics of piano when I was about four years old, which first awakened my love and fascination for piano. I don’t know where I got the idea of composing, but I remember playing the lap harp when I was about five or six and creating my own music on it. I also remember going around and making up songs (if you could call them that) about everything that happened in my life when I was little. It turns out each of these early interests developed into something that I now know and love and are all a part of me to this day. 

I ended up becoming extremely interested in composition and songwriting as I got older, writing songs from the time I was about 11 and starting my first choral piece at age 14. I have continued to pursue flute, piano, and composition during my time at PUC. Each of these early musical experiences are still a part of my life today as a college student and they will forever be a part of my musical identity.

How has your experience been pursuing both music and nursing simultaneously?
I would say the biggest challenge for me has been finding the time to stay in a creative headspace while also pursuing nursing, which is a different-type-of-difficult degree. I adore composition and wish that I had the time and creative energy to do it more often. Though it hasn’t always been an easy balancing act, I would say that music has been an oasis for me during the difficult times of the nursing program, which, as much as I love nursing, certainly existed.

Nursing majors have crazy schedules; how did you manage that while also being in a music ensemble?
First of all, I would like to mention that I took the first year and a half of my time at PUC to focus primarily on music and attempting to get into the nursing program. That allowed me to finish a lot of my classes for the AS in music degree, but not all. Once the nursing program began for me, the music department professors worked with my crazy clinical schedules and helped me achieve my goals in both nursing and music; I couldn’t have gotten this far if it wasn’t for their graciousness. 

Nursing is, by necessity, a very structured program and so it speaks volumes that the music department has been willing to work around and with that to help me create the perfect fit during my time at PUC. Now, during my two bachelor degrees in nursing and music, the music professors are working with me more than ever due to “core weeks” (weeks one and six each quarter) which are a part of the BS in nursing when I have classes the majority of the day and can’t typically attend normal class periods. They’ve also worked with me through more crazy clinical schedules and have always been so understanding through it all.

I couldn’t be more blessed and grateful with the music department. It’s taken me five years to finish these two degrees, but the incredible experiences, connections, and future opportunities that I’ve gained along the way has made it all worthwhile.

You and Jordan have recorded a few videos performing together; do you have plans to do something more formal with your combined skills? 
Jordan and I both love music. He’s been playing guitar since he was 12 and saxophone since he was nine, and we’ve both been casually singing in choirs and on our own from a young age. We have just recently started exploring who we are as a musical twosome and it’s been a really fun journey. We hope to make it a “thing” in the near future. 

We have a YouTube channel and want to fill it with covers and original songs, and hope to utilize other social media platforms like Instagram, Facebook, and TikTok to share as well. We also want to do concerts both locally and across the U.S. as a ministry, once things are a little less “germy” of course. Ha! This is important to us because we both want to share God’s love and the message of righteousness by faith with as many people as possible. We’d love to combine that message with speaking and music in the form of concerts and social media.

What do you enjoy about being part of the music department?
One of my favorite things about the music department is sitting in the office, working and listening to all of the students and ensembles practicing. It’s so inspiring, makes me smile, and it’s fun to hear people progress in their pieces. I also love the family feel of the department. It’s not huge, and so everyone gets to know everyone and there’s a real sense of closeness there that is quite unique. It feels like a home away from home.

How do music and nursing intersect—at least for you?
Music is inherently therapeutic, and so I definitely feel that my knowledge of music can help me provide my future patients with better care in the hospital. I’ve heard stories of nurses singing or performing for patients per their request and I can see that being something I’d be open to since I’m interested in treating the whole person in their healing process. I see it as a connecting point, regardless of where I am located or what I’m doing; music is something that I’ll carry with me everywhere. 

Likewise, I think that the nursing mentality and my nursing skills are things that can benefit me in many different situations. Nursing has helped me to attack my instrument practicing more systematically which has been helpful for me. I also know that it will come in handy if anyone hurts themselves or has something go physically wrong during a rehearsal or lesson. Both music and nursing are focused on connecting with the whole person you are serving at that moment, and because of this they are interchangeable disciplines in many respects when they are done well.

What is your ultimate career goal?
Well…that’s rather ambiguous at the moment, if I’m honest. I am currently hoping to find a nursing job so that I can begin serving my community in whatever capacity is most needed. Eventually, I would love to work on a labor and delivery unit as I’ve always had a passion for obstetrics. This passion was likely spawned by being an aunt to eight kiddos and watching three of those births at various points throughout my childhood, as well as having a sister who worked as a labor and delivery and postpartum nurse for most of her career. It is possible that I would want to pursue a certified nurse midwife/nurse practitioner degree in the future, but that would be many years down the road, if ever; there are no concrete plans in place for that at this point. 

As far as music goes, from home jam-sessions with my husband and family, to writing my own compositions and songs, to teaching lessons or even potentially leading ensembles at the elementary or high-school level, I see myself using my music degree all the time. I would say that the knowledge I gained during my time in my AS and BS in music degrees is even more valuable to me than the degrees themselves in many respects. I’ve learned so much that I will carry with me throughout my life, and though the degree titles are inherently valuable, the information I gleaned while earning them is invaluable.

If you could offer one piece of advice to incoming first-years at PUC, what would it be?
Embrace the changes that inherently come along with your first year in college and to go for the thing that seems audaciously out-there if it’s something that you truly want to pursue. It’s not too late to switch your declared major, not too late to change your mind in pursuit of the desires of your heart. By all means, be smart about it, but whether it means adding, switching, or dropping a degree, if that’s what you think is best for you – do it! And go all-in. 

Also, don’t wait any longer than you have to, because the sooner you make the switch, the more time your professors and advisors will have to work with you. Have those conversations early on, and bounce ideas off people you trust. I switched at the end of my first year, but there’s no “right way” to do it. It’s never too late to make a change. Don’t let your life decide itself for you–you get to hold the reins. Ask questions. Don’t let things just “happen to you” academically. Take an active role in your course planning, picking a major, and the timing, difficulty, and pace of your quarters.

And then, I would say something that seems almost contrary to my previous advice, but it isn’t: Prioritize your health, both mental and physical. Don’t push yourself too hard, it’s not worth it. Don’t hesitate to reach out when something feels off, and take advantage of the resources that PUC has to offer because no amount of hustle is worth your well-being. I pushed myself so hard and I got through it, but looking back I would advise my younger self to prioritize my health more. You’re a human, not a machine, and it’s important to realize that–and the earlier on, the better. 

Most of all, I want to say: You’ve got this! It’s a long road ahead, but if you find a major and future career that you love, and prioritize your well-being so that you can enjoy the journey and the destination, it will all be worth it.

Caroling the Nativity: Stories & a Playlist from the Department of Music

Leave a reply

By Becky St. Clair

Have you ever watched a movie without a soundtrack? Imagine a silent scene of a forest in the early morning with fog drifting around the trees and an occasional bird or fox or squirrel darting out and then back in. This could be a creepy horror movie, a documentary about ecosystems, a war drama, a Hallmark Christmas film, or something else entirely. Without the soundtrack, it’s hard to know how to feel or what to expect. Music is a powerful and effective way to set the mood of a scene, and no story would be the same without it. 

Christmas has a soundtrack, too, and though it’s different for every person, we all find joy and comfort in the familiar music of the holiday. Yes, some of it is “Santa Baby” or “Linus & Lucy” style, but even some people who aren’t particularly religious will admit that “O, Holy Night” brings tears to their eyes.

In this month’s blog, we’re exploring the story of the Nativity through carols. At the end of the post there is a link to a playlist of all the pieces we review here today, so you can carol your way through the story of Christmas. (Pssst: Feel free to sing along. We won’t judge!)

“Gabriel’s Message” a Basque folk Christmas carol

Originally based on a 13th/14th-century carol called “Angelus ad Virginem,” this carol tells the story of the angel Gabriel visiting Mary to deliver the news that will change her life forever. Though not a well-known or popular carol, it has been recorded by popular artists such as Charlotte Church and Sting. A cheerful and catchy repeating line throughout the song is “Most highly favored lady; gloria!”

“Magnificat” by Johann Sebastian Bach

This lively piece is the only carol that comes straight from the Bible. The text, found in Luke 1:46-55, is titled in scripture as “Mary’s Song.” She has just found out–at 14 years old, mind you–that she’s pregnant, carrying the most important baby the world will ever know, and she has made her way to visit her cousin, who is also expecting an important child. Upon her arrival she bursts into song, proclaiming her adoration of God and her appreciation for what he has done. There are some unexpected political/historical points of significance in Mary’s song, as well. (Read this article for one perspective.) This piece was actually Bach’s first major liturgical composition on a Latin text.

“O Little Town of Bethlehem” by Phillips Brooks & Lewis H. Redner

This carol is, of course, is a poetic commentary on the important place this little town became, all because a specific baby was born there. Brooks spent Christmas 1866 in Bethlehem and was inspired to pen the lyrics known ‘round the Christian world today. The tune was composed by his church organist back home in Boston, though the tune we know in the Adventist Church is not the one they use in England and in many liturgical churches–they use instead an arrangement of an old folk tune put together by Ralph Vaughan Williams called “Forest Green.”

“Jesus, Jesus Rest Your Head” an Appalachian folk carol

This is a piece collected by Kentucky native John Jacob Niles, who began collecting folk songs and composing his own as a teenager in the early 20th century. The tune is beautiful, and it paints the scene of Jesus lying in his manger bed, while also pointing out that many terrible people sleep in “feather beds” so one’s station in life doesn’t matter so much as one’s character. 

“Away in a Manger” by an unknown composer

Though the text has been mis-attributed to Martin Luther, the fact remains that its origins are still relatively unknown; though it has been determined that the carol is most likely American. It depicts the Christ child in the stable on the night he was born, surrounded by what one might typically expect in a stable. Though in America we typically use a tune written by organist and songwriter James R. Murray, in the U.K. the more commonly used tune is “Cradle Song,” composed (interestingly) by a carpenter in Philadelphia by the name of William J. Kirkpatrick.

“While Shepherds Watched Their Flocks by Night” by multiple composers/writers

In the late 17th century, Nahum Tate, a British poet known for his metrical psalms, turned his attention to the story of Christ’s birth in the book of Luke. He wrote a metrical version of the story of the shepherds so it could be sung directly from scripture, and he called it “Song of the Angels at the Nativity of our Blessed Saviour.” Interestingly, a specific tune was not created for it; rather, publications of the text indicated it could be sung to any number of tunes “of common measure.” 

“Hark! The Herald Angels Sing!” by Felix Mendelssohn, William Cummings, & Charles Wesley

Surprise! This wasn’t actually originally a Christmas song at all. Well, okay, that’s kind of a stretch. The tune was originally from one of Mendelssohn’s cantatas and had nothing to do with anything sacred at all–it was actually in honor of the 400th anniversary of the invention of the printing press, and paid homage to Johannes Gutenberg. However, in the mid-19th century, a former choir boy took the tune and put it together with a sacred poem from a collection of Christmas hymns and poems by Charles Wesley, creating the carol we know today. It is now regularly performed in celebration of the visit the angels paid to the shepherds to announce the birth of the Savior.

“The Coventry Carol” a traditional English carol

Dating from the Coventry mystery plays of the 16th century, this carol is one of the most hauntingly beautiful tunes ever written. One interesting thing to note is that it’s in a minor key–a rarity in the collection of familiar carols–but there’s a reason for that. While we all likely recognize the tune, it’s doubtful many have stopped to ponder the meaning of the words. This is likely the only carol honoring the part of the story where Herod loses his mind over being usurped by a baby of lowly birth and orders The Massacre of the Innocents. It is, however, an important part of the story of Jesus’ birth, because his life was spared and God’s plan of salvation marched on.

“The Adoration of the Magi” by Ottorino Respighi

We decided to try something different at this part of the story (other than “We Three Kings”), and opted to introduce our readers to something new. This piece is one of three known as “Trittico Botticelliano,” composed to musically illustrate a triptych of paintings by Sandro Botticelli. There are so many beautiful elements in this piece–the ethereal double-reed instrumentation woven throughout, the incorporation of “O Come, O Come Emmanuel,” the rich support of the strings, the calculated use of percussion–you can clearly imagine the kings making their way to worship the Christ child as you listen.

“Joy the World” by Isaac Watts & Lowell Mason

We end our caroling journey with one based not on the Nativity, but on the second Advent, and taken not from the New Testament, but from Psalms. Published by Watts in 1719, the poem was originally titled, “The Messiah’s Coming and Kingdom,” celebrating the kingly rule of Christ over all of heaven and earth. In 1836, Mason published the poem with a tune he attributed to Handel, but over the last 180-or-so years, no one has been able to figure out exactly which Handel tune he was referring to, though it’s suspected that some bars and lines of melody were inspired by parts of Handel’s “Messiah.” It is a fitting end to our musical Nativity to sing joyfully that the Lord has come. Let Heaven and nature sing!

Check out our playlist of the above carols on Spotify. (It’s free!)

A Real Musician: A conversation with trumpet-player Nephtali Marin

Leave a reply

By Lewis Govea

Being willing to participate in music is all you need to be a real musician. Sixth year PUC film student Nephtali “Nephta” Marin takes us on his personal music journey that puts the meaning of being a real musician into perspective.

Currently residing in Roseville, California, Marin claims that music never made a grand entrance into his life but rather was always there.

“I started piano lessons as a kid but stopped after a few years because I got bored,” Marin remarks. “Honestly, I’m not sure why I stopped.”

After his piano journey came to a sudden end, Marin continued his music journey through his school’s band.

“I started playing in band in fourth grade, and while I didn’t have an option whether to join or not, I did get to choose which instrument I wanted to play, so why not choose the loudest?”

The loudest instrument Marin refers to is, of course, the boisterous trumpet. Marin continued with the trumpet through some of high school but then took a break and didn’t play again until after being at PUC for some time.

“I got involved with the PUC music department when Matthew Guevara [a 2020 trumpet graduate] said they needed an 8th trumpet to play the easy part” states Marin, who claims to have been very out of practice at that point and would often play wrong notes. “I call it jazz,” he asserts.

Marin has learned a lot since then, but his favorite piece of advice comes from Asher Raboy, director of PUC’s Symphonic Wind Ensemble and currently the acting chair of the department. Raboy encourages everyone to use what he calls “hairpins,” where every player changes their own dynamics in waves as they see fit, according to their own part.

At the end of the day, Marin loves to participate in making music, and isn’t that all you need to be a real musician? Marin may not be a music major, but Paulin Hall is his home.

“I love the community that the music department has built there and I’m so glad I decided to participate in Symphonic Wind Ensemble even though I might not be the best,” he says. “It’s fun to express myself with music, create new friendships, make new memories, and just have a good time!”

Being a real musician doesn’t have anything to do with how good you are on the piano, or how much theory knowledge you have; being a real musician means enjoying making and listening to music, and Nephtali Marin is a prime example of the purest form of musicianship there is—a person who loves music.

Learn more about PUC’s department of music: puc.edu/music

His Passion, God’s Plan: How one alum followed his calling

Leave a reply

By Becky St. Clair

Darrin Thurber graduated from PUC in 2007 with a degree in music performance on guitar, and a student missionary year in Pohnpei under his belt. He went on to earn a master’s degree in music from San Francisco State University, but ultimately, he felt God calling him in a slightly different direction. Today Darrin is a pastor with a wife and two daughters, and we ran into him again because, after several years in the midwest, Darrin is back in California, taking on a new experience as senior pastor of the Calimesa Church in SoCal. 

Let’s start with an easy one: Why music? 

I’ve always been very passionate about music, and I love performing. I also come from a musical family; my grandfather was a wonderful musician and sang with the King’s Heralds back in the 60s. My dad is a guitarist—he’s the one who taught me to play, actually—who loves to arrange and compose music. I grew up playing for church often, and I enjoyed it so much I would sit on my own at home and just play and sing. When I got to PUC, I wasn’t quite sure what I wanted to do, but I signed up to take a music theory class, and I was hooked from day one. It was so much fun and exactly what I wanted to study. 

So how did you make the jump from music to pastoring?

When I was studying for my master’s, I was the interim worship pastor at the PUC Church for about half a year. That experience changed my life because I discovered I could use my music skills while also serving in a leadership role in the church. I learned a lot about what goes into planning a worship service, including how to collaborate with various entities, people, and groups, and exploring a variety of music styles. It felt perfect to me, but God had other plans. He closed that door and instead called me to Ohio to be a preaching pastor.

What did that look like for you?

Well, I originally went to be a campus ministry director on state college and university campuses for the Ohio Conference. Shortly after I got there, though, I felt God tugging me toward the seminary, so I went. What followed was a one-year stint pastoring a four-church district in rural Ohio before we settled in Mansfield where I served as pastor for five years. A month ago, in June 2020, I followed God’s lead to fill the senior pastor role at the Calimesa Church, and we’re just starting to get settled here.

How do music and pastoral ministry fit together in your life now?

Music is such an important, central part of church worship. Having a background in music has allowed me to be able to dialogue and collaborate with worship leaders and church musicians to plan services, and I’ve also been able to use my passion for music to connect with youth in my churches. Because of my experience being involved in several different ensembles at PUC, and during my time as worship pastor there, I can relate to a lot of people’s church music experiences and preferences, and it helps me as a pastor be able to meet their worship needs in a meaningful way.

How do you feel your overall experience at PUC prepared you for your life after college?

Oh man, PUC prepared me in so many ways. I had numerous opportunities to really grow my leadership skills and grow in my areas of interest—namely, music and sports—in a spiritual environment. Both of these things took a lot of my time in college, but they also taught me work ethic, commitment, and hard work. Both music and being on the basketball team taught me success doesn’t just come magically; I have to put in the time and effort to see results. All of that has benefited my pastoring a lot, as I’ve learned to prepare church services and sermons and help coordinate ministries and outreach programs.

Let’s take that a bit further: How do you feel the spiritual environment at PUC was beneficial?

Practicing these skills in a spiritual context prepared me to continue doing so as a pastor, and showed me that the best way in which to apply my passions and gifts is in a spiritual context. Music, leadership, and working hard toward something mean the most in a spiritual environment where you impact people for the Lord. I developed a lot of spirituality at PUC.

Today, as an adult, a pastor, a husband, and a dad, where or when do you feel closest to God?

The process of writing a sermon and preaching week after week is grueling, but it forces me to really depend on God in a way that’s so unique from other parts of my devotional life. Almost every week I tell God, “I can’t do that again. I have no more ideas. I’m spent.” And every week, without fail, he gives me something. He shows me his word is powerful and that he can use me even though I feel inadequate. The call to preach was never something I’d considered as a career, but the process of studying with God and being in prayer with him week after week are the moments when I feel closest to him. 

Darrin Thurber '07