Friday, July 31, 2020

Guest Blogger: A Conductor’s Self-Reflection by Gloria Wan


My name is Gloria. My parents bravely emigrated from Hong Kong to Canada over 40 years ago, making me proudly Chinese-Canadian. Additionally, I’m a conductor, educator, singer, instrumentalist, and Candy Crush enthusiast (Still? Yep). I’ve had my heart set on choir since my first encounter with a cluster chord in Grade 9, and an equally-large passion for contemporary, jazz, and pop music. Over the past decade and a half, I’ve had the immense privilege of learning, working, teaching, performing, and living in four provinces and states and two countries. By singing in a choir, I have experienced (and continue to do so) many makings of humanity which may otherwise be difficult to understand or approach without music.


However, I am beginning to evaluate the ways in which the choral education system is biased and how much of it is really rooted in colonialism. When you think of some of the world’s so-called “greatest choral conductors,” how many of them are North American or European, and how many represent other regions or nationalities? Do most of those individuals fall under the first category? Why is this the case when the innately human tradition of singing has existed in all regions for centuries? 


Addressing issues and systemic biases within an artform which we care so deeply about may be difficult to approach at first, but is absolutely essential in an effort to end traumatic and otherwise preventable experiences for our singers. To start, the dismantling of any biased system in which we are a part begins with self-reflection. In the months and years to come, I’m keen to find ways to uplift the voices in choral music which may not have received the proper recognition, dignity, and understanding that they deserve—especially those in Canada. 


Recently, I became an administrator on @choirisracist, an Instagram platform dedicated to sharing anonymous personal stories of biases, racism, sexism, and microaggressions within the world of choral music, rehearsal, and performance. Inspired by other similar pages in related fields bearing the “______ is Racist” moniker, this platform has proven to be a necessary space for releasing past traumas, injustices, and other painful memories which contributors have been holding onto for years without a proper outlet; it is NOT a form of entertainment or “delivering the tea.” These stories exist as anonymous public statements, often facilitating a much-needed conversation and re-examination of our own practices as educators and choral musicians. 


“So you’re a conductor, and you help run a platform called “Choir is Racist”?” Yes. Although it was initially inspired by the “______ is Racist” network, these profiles all receive submissions of deep-seated issues that exist beyond the scope of racism. Again, the idea of “decolonizing” any educational space or making any curriculum more “anti-racist” must begin with the person administering it—or in our case, the person at the podium. In this self-reflection as a conductor, I admit I have been careless with my choices on some days — whether that be with word choice in rehearsal, programming, or other similar decisions. Working on the team of @choirisracist is not only a way to practise this self-reflection constantly, but to help bring the greater choral community one step closer to facing these issues and fostering an anti-racist, anti-sexist culture. We know that change can be good and hope that it can come sooner if we start having these conversations out in the open with our mentors, students, colleagues, and audiences. 


As we affirm these experiences from musicians around the world, I can’t help but to notice similarities coming up not only across posts, but many that are much too reminiscent of some of my own choral experiences as well. We will look at a handful of anonymous public submissions (view all posts on Instagram at @choirisracist if you feel inclined), and the biases present. I have included a few guiding questions which arose in my own self-reflection towards decolonizing our spaces.






Conductors often use imagery in rehearsal to describe or invoke a particular sound within an ensemble. You’ll hear phrases like, “Can I hear it brighter/darker/more crisp”, or even “picture a school of fish swimming in the water on a warm day at the beach.” Descriptive language can be effective when rehearsing to help singers mentally frame a piece and awaken musical contrast. However, it’s our job not to present any implied biases or stereotypes that most often do more harm than good.

  • What is the sound I am trying to describe, and are there any other less offensive ways or means I can utilize for sharing the musical idea I am teaching to my students? 

  • What is the perceived undertone in using words like “sass,” “spice,” and “gang signs” in rehearsal, and are they appropriate? 

    • Again, what is the sound to be achieved, and is the use of those particular words the best way to reach those goals?



Some of us may be able to recall a rehearsal scenario in which the conductor says something like, “Hey everyone, let’s end on a good note. Let’s sing (name of spiritual/folk song/other cultural piece)”. Of course, we assume the conductor has good intentions with this. However, this music is too often not given the adequate rehearsal time which it deserves in comparison to time spent on other (typically Western or European) repertoire. 

  • What are these feelings of “fun” and “goodness” that I am trying to pass to my choristers through the singing of this music, when oftentimes the original makeup of it was rooted in deep oppression and suffering -- the very opposite of those feelings? 

  • Time in a choral rehearsal is far too often allocated to teaching diction in pieces by composers like Schnittke, Bach, or Monteverdi, as an example. 

    • In what way(s) can we structure our rehearsals to make more time to educate not only ourselves and students sufficiently about non-Western repertoire, but to respect its cultural roots without degrading them in the name of a “good time”?


Black voices matter, Black composers matter, and it is only fair that non-Western classical music be dedicated sufficient time and respect not only to be pronounced correctly, but truly understood correctly. 




Without a doubt, The Aeolians of Oakwood University (dir. Dr. Jason Max Ferdinand) captured all our hearts at ACDA 2019, with a diverse concert program showcasing their absolute musicality on every level; the Aeolians were even nicknamed “the choir that broke ACDA.”  However, their caliber as one of the top—if not the very top—choirs in the world existed long before their appearance at this conference. 


It was clear, however, that some participants were surprised when the Aeolians executed a Bach motet movement with brilliancy. There is an inherent problem when Black choral music and Black musicians are not viewed in the same light as Western music and Western musicians, and when Black musicians are stereotyped to excel only at Black music. Even with this great imbalance, and in situations with limited resources, Black musicians are often more adept at performing Eurocentric Western music.

  • To these folks, why is the sheer thought of Black competency surprising, and how is this perspective rooted in colonialism? 

  • When commenting on the Aeolians’ performance at the conference, what is the meaning of separating Bach from the rest of their repertoire? 




Since adolescence, I’ve been incredibly insecure with all aspects of my voice from speaking, singing—reading out loud.I was either asked to sing high completely in head voice, or my voice was always much too low. To be honest, some of my most favourite memories in choir have been from singing at pitch with the tenors and baritones. Later on in academia, I noticed that the only repertoire written for the so-called “low female voice” mostly came either from Baroque composers like Vivaldi and Bach, or from channels outside of Western classical repertoire like jazz, pop, or rock. What it comes down to is that the voice does not have a gender, provided that a singer is shown how the voice functions healthily in order to avoid any possible vocal injury. 

  • In what ways can I remove designation of gender from my pedagogical practices for a more human-centred approach? What are some ways through which I can start implementing this right now (for example, using “lower voices” and “upper voices”)?

  • How can I break down these barriers and societal constructs to provide experiences/opportunities (ex. solos, flexible voice parts, etc) for the students who are in front of me, regardless of the gender written on the music?


… 


We may not get it right the first time, or even ever fully get there, but if we don’t start re-evaluating now and checking our own ideologies and privileges, the same destructive biases will transfer to our students and perpetuate this harmful cycle. If we consciously turn ourselves away from the deep-seated issues which we know exist within our own house, can we ever truly begin healing from generational trauma and unfairness? Generational trauma has no business in the choral space or any environment for that matter; it has been time for this, and we might as well take this opportunity away from the physical rehearsal space to begin this much-needed work on our own.


Moving forward, @choirisracist will remain open as a platform for submissions in our hope that these stories do not repeat themselves and that they will remain as pieces for all musicians in self-reflection to each continuously “do better.” If we don’t, we risk committing a great disservice to our students and community as educators.


“Don’t cancel the year that woke us up.” 

- Original author unknown, 2020


… 


Originally from Vancouver, BC, Gloria Wan is a first-year Doctor of Music student in Choral Conducting at the University of Alberta under the tutelage of Dr. Timothy Shantz, and is active as a conductor, singer, educator, and instrumentalist. Most recently, Ms. Wan was the Choral Music Director at Swift Current Comprehensive High School in Saskatchewan, additionally teaching English Language Arts, Psychology, and Arts Education. Her principal conducting study has been under the guidance of Drs. James Jordan and Joe Miller. Ms. Wan has taught music within various contexts and age levels, including elementary, middle, and high school. She has served as Assistant Conductor for Westminster Schola Cantorum, Alberta Youth Choir, Princeton GirlChoir and other ensembles, along with performing with and assisting a number of other vocal groups in the US and Canada. Ms. Wan has been a session presenter and poster presenter at the International Symposium on Singing and Song and Podium 2018, respectively. As a performer in various genres, she has appeared alongside esteemed ensembles such as the New York Philharmonic, Philadelphia Orchestra, National Youth Choir of Canada, and at venues such as the Forbidden City Concert Hall, the American Choral Directors Association National Convention, and two seasons at Spoleto Festival USA, amongst others. As an instrumentalist, Ms. Wan is in demand on guitar and percussion. Along with djembe on the single Peace Song, she can be heard on Westminster Choir’s album Martin: Mass for Double Choir. She has studied voice and piano privately, and holds Kod├íly Level III certification. Ms. Wan holds bachelor’s degrees in music and secondary education from the University of Alberta, and a master’s degree in choral conducting from Westminster Choir College.



Have an idea or perspective you wish to share for this decolonizing choir series? Let me know at this link.

Thursday, July 23, 2020

Guest Blogger: Who’s Behind “Decolonizing the Choral Classroom”? by Kiernan M. Steiner



In a recent Instagram post, I shared some questions that I have been considering for the past couple of years, and I would like to provide some more background information regarding that initial posting.  First, I must acknowledge my positionality in this conversation.  I am an able-bodied, cisgender woman of mixed race (Filipinx, English, Irish, and German), a transracial adoptee (adopted by a white family), and a third year doctoral student in choral conducting.  I have had the privilege to work with many supportive teachers, professors, and advisors throughout my undergraduate and graduate work, and I am blessed to have friends and family members who have encouraged me along the way.  It is this particularly unique lens, however, that has allowed me to reflect on my experiences from many different perspectives—from places of privilege, as well as marginalization. 

Since the resurgence of the worldwide Black Lives Matter movement, in response to the murder of George Floyd and so many others, educators have been taking inventory on the many ways systemic racism has permeated the education system. Terms, such as “decolonizing” and “unsettling,” have been used by activists and Anti-Racist/Anti-Bias (ABAR) educators to refer to the dismantling of the imperialistic and white supremacist framework which operates within the American education system.  This framework is seen in the traditional whitewashed teaching of the “First Thanksgiving” between the Pilgrims and the Native Americans, the celebration of Christopher Columbus, and the exclusion of ethnic studies in most K-12 school districts.  In music education, white supremacy has not only affected the music that is taught (repertory), which is predominantly Western European and European American art music, but the methods of teaching (pedagogy) that values hierarchical relationships, discipline, rigor, and perfectionism.  These principles are not inherently bad, but, rather, have been used to appropriate and degrade communal music making, oral traditions, popular music, and other non-Western musical traditions for centuries.  It is important to acknowledge how traditions of Western European and European American art music have become “the standard” for comparison, which is inherently racist.

In recent conversations with colleagues and advisors, I have heard a broad spectrum of responses to the ideas of colonialism, imperialism, and white supremacy in choral music.  Mainly, choir directors and conductors want to have a handbook or checklist to ensure their programs move in the “right” direction and away from racist policies.  Unfortunately, there is no one perfect checklist or guide that can “right” all of our “wrongs,” partly, because not everything we do must be thrown out or changed, however, I believe everything we do must be deeply interrogated.  As an educator, my loyalty and responsibility is not to uphold a tradition that was never built for me—a woman of color—but, rather, reimagine how this art form can serve the students that I work with presently, who should not be expected to dim their light to learn, perform, or love choral music.  I believe the work that has to be done must start with each individual educator/director/conductor asking themselves: How have I been complicit with traditional choral practices that disregard and abuse marginalized individuals and voices?  To initiate this self-reflection, here are some questions that help individuals dig deeper into issues concerning auditions, rehearsal techniques/content, and concert attire:

Photo description: Original “Decolonize the Choral Classroom” Instagram post by @decolonizing_kiki.

 
As I continue my studies in higher education, and strive to work in a collegiate/university setting someday, I have to accept that classical music still operates on a hierarchical model and reifies white supremacy.  If I did not recognize this, I would be denying my personal experiences that have greatly shaped my reality as a music student, educator, and scholar-activist.  More often than not, I am still the only woman or woman of color at the table.  At the same time, I am also unlearning racism and identifying ways I have personally benefited from white supremacy.  In continuing this work, my dissertation research will be a more thorough examination of power structures in collegiate choral programs.  If you would like to follow my journey or connect with me, find me on Instagram (@decolonizing_kiki) and check out my website: www.kiernanmsteinermusic.com!

Self-Reflection Prompts:
      How am I engaging with these concepts of “decolonization” and “unsettling”?
      Do these words bring up a positive or negative reaction?
      What area (pedagogy, curriculum, classroom management, etc.) could I focus on this school year/season to address some of these concerns?
      Who are the leaders in my school/organization that I can turn to for support and guidance?

Here are some more resources for further study:
      How to Be An Anti-Racist by Ibram X. Kendi
      White Fragility by Robin DiAngelo
      Me and White Supremacy by Layla Saad
      13th (documentary) directed by Ava DuVernay


Kiernan M. Steiner is a third year doctoral student in Choral Conducting at Arizona State University, located in Tempe, Arizona. Her research interests are in curriculum inquiry, critical pedagogy theory, liberatory education, and her dissertation is an examination of power structures in collegiate choral programs throughout the United States.  Kiernan’s goal is to break down barriers that have historically limited Black, Indigenous, and People of Color, womxn, the LGBTQIA+ community, individuals with disabilities, and other marginalized communities from having access to choral music education. In addition to her research, Kiernan is the director of the Sol Singers at ASU, teaches courses in beginning choral conducting and vocal/choral pedagogy, and advises an all-female a cappella group, called the Pitchforks.  In recent years, she has presented research on gender studies, women in music, and queer theory in San Francisco, Dublin, and Boston. For more information, go to her website: www.kiernanmsteinermusic.com.

Photo Credit: Jacob Moscovitch

Have an idea or perspective you wish to share for this decolonizing choir series? Let me know at this link.

Monday, July 20, 2020

An Introduction to the decolonizing choir series



Dear Reader,


I am excited to share with you news about an upcoming decolonizing choir series hosted here on The Choir Girl Blog. 


This series is not a guidebook to becoming a decolonized choral professional. Rather, the blog will be a platform to share information and stimulate discussion. There will be a series of posts ranging in content from guest bloggers, interviews, and personal reflections. Reading, questioning, reflecting, writing, and decolonizing is an ongoing process. This series will reflect the same. My hope is to provide an uncensored platform for people in the choral sphere to speak. The stage is for them to use as they wish. 


Posts will be published on a flexible timeline. The first set of posts have been curated by me but I encourage you to submit your article ideas as well. I will approve writers and publish posts as long as there is interest and engagement. 


Sincerely,


The Choir Girl


Feel free to being the process by following the social media accounts below:


@choirisracist

@composingisracist

@operaisracist

@amplifiedopera

@decolonizing_kiki



Monday, March 2, 2020

An Interview with Konomi Kikuchi

 

Japanese Dancer, Konomi Kikuchi, is an understudy dancer for The Beginning of Happiness. She took some time to share her thoughts regarding the rehearsal process so far:

What is some of your background? 

I started training in classical ballet in Japan at the age of three. I graduated from Japan Music High School where I specialized in classical ballet. After that, I was at the Alberta Ballet School in Calgary as a part of their Postgraduate Program. I met a wonderful contemporary teacher at the Alberta Ballet School named Graham McKelvie. I was attracted to the charm of contemporary dance that was different than classical ballet. Now I am learning contemporary dance as an apprentice with Good Women Dance Collective.

Why did you decide to come to Canada?

I was interested in learning ballet outside of Japan. At the time I chose Canada because I auditioned and was accepted to the Alberta Ballet School.

What was the importance of dance for you growing up in Japan?

Without dancing, I would be crazy. Dance is the most important to me. Dance is my favourite thing that makes me happy and sad and gives me a lot of emotions.

What are some things that are similar or different between the dance culture in Edmonton and Japan?

I thought about the differences between Edmonton and Japanese dance. My opinion is that Japanese people are good at fine-tuning the body direction and spacing of dancers lined up with one another. I was surprised at the richness of expression in the Edmonton dance community. There are many artistic and warm people. I am learning the importance of dance in my heart.

Do you have any thoughts on the rehearsal process and how the singers and dancers work together in this show?

I think dancers and singers are connected by breath. Dancers need to breathe in order to dance. Singers also need breathing between creating sounds. I feel that both work because of breath.

What is your favourite song or part in this show?

My favourite song is "How Beautiful” since the first time I heard it. It has a beauty that makes me want to hear it with my eyes closed.

What is the challenge of being an understudy when you are learning all dance parts in the show?

I am happy to know all the dancers' choreography. It's a very good learning experience because each character has a lot of things that I don't have. I am mainly Alison’s understudy. She is powerful and has energy that is strong and cool! She is a very kind person who teaches me what I do not understand and practices with me. She has everything I need. I am especially learning a lot from her!

I had only danced the choreography before; however, this time, I was very interested because the dancers choreographed the movements and imagined what they would look like only after listening to the songs. This is an absolutely good experience for me.

What do you think of having live music to accompany dance rather than a recorded track?

Everything that is not recorded is fresh music, and the music that emanates from it impresses me. This time, the music of the four wonderful singers gives goosebumps. Music that is played live has something that resonates with human hearts.

Is there anything I missed that you would like to mention?

I am very grateful to be able to participate in all rehearsals as an understudy.
Thank you very much.

Follow Konomi on Instagram @konomi0919

The Beginning of Happiness
Composed by Jane Berry
Choreographed by Good Women Dance Collective
Featuring Jane Berry, Sable Chan, Amy Voyer, Dawn Bailey (FEMME), Ainsley Hillyard, Kate Stashko, Alison Towne, and Rebecca Sadowski (GWDC).

Tickets are available at TIX on the Square. Seating is limited, please book in advance. $25 General, $15 Student/Senior/CADA Members
25% of the house will be held for pay-what-you-will tickets at the door.

Wednesday, February 26, 2020

An Interview with Melissa Morgan



Melissa Morgan’s professional world underwent significant change in 2019. Firstly, she decided to step away from duties with the Prairie Chamber Choir (PCC). The group was at a point where either there would be a major investment of time to continue the non-profit group established or it was time to refocus her energy into other work. Morgan was also teaching full-time at Luther College High School while at the same time she was directing the PCC. “In my mind, I needed to take some time for a work-life balance,” she reflected as she spoke with me over the phone. Morgan’s passion is evident when she speaks about music and education. She continued about the PCC, “In Regina, we didn’t have an SATB conducted choir that specialized in Prairie choral music but I had to make a choice. I decided that I would step away from the choir. Shortly after I knew [I would step away], a terrible thing happened - Dominic Gregorio, the Choral Director at the University of Regina, passed away.”

A heavy silence enters the phone line between Morgan and myself.

The news of Gregorio’s death shocked the Canadian choral community. His passion, advocacy, and presence within the community connected with many people. Morgan notes that the choral community is still trying to process the painful shock of his sudden death. “It was tough at the University here, his students adored him, he adored his students” she shares. Gregorio was always one to lend a helping hand and did for Morgan the week before his passing when he volunteered last minute to help with the Vancouver Chamber Choir concert. 

“When his position came up [at the University of Regina],” Morgan shared , “there was a lot of uncertainty for me when I applied. Yet, I feel it’s a great honour to continue his legacy. Dominic did a lot of wonderful things for the University and the students. Everybody knew and loved him and it is my goal to nurture and continue the attitude of joy and culture of community and that he loved to spread.” revealed Morgan. It is hard to imagine a better individual to continue into Gregorio’s position at the University of Regina other than Morgan. She and the Music Faculty understood that the best way to honour Gregorio was to pick up and move on: “He wouldn’t want everybody moping around. He would want everybody to do their best, to keep moving forward, to keep being as excellent as they can. That’s what we have to do.” There will be a concert in remembrance of Dominic Gregorio on March 8, 2020 and a scholarship established in his name (please see the bottom of this post for more details).


As with any new job, Morgan is experiencing a learning curve in her new position as Director of Choral Music at the University of Regina. This year is dedicated to developing her coursework and conducting the University choirs. One such course is the Introduction to Choral Techniques for primarily Music Education students. It required her to reflect on her own learning practices and how to translate that for her students. Some of these questions were to ask herself: “How do I approach teaching gesture, various beat patterns, what are the students doing with their bodies, and how do our bodies communicate with people in front of you… how do I introduce and teach the things that I have spent the last 25 years of my life trying to figure out?”

As a fellow woman of colour, I was very eager to hear Morgan’s thoughts on being a Black woman in a prominent Faculty position within the area of choral conducting. Morgan shares her family history to provide context, “I grew up here in Regina. My mom was a single mom, my dad passed away when I was four. My mom raised my sister and I. When my dad passed, my aunts and my grandmother came to help her because she was pregnant with my sister at the time. I grew up with my family being one of a handful of Black families living in Regina, Saskatchewan. In elementary school, my sister and I were oftentimes the only two Black kids in the building. In high school, it was me and one other girl, we were the two Black students in our grade. Throughout my university days there weren't a lot of Black students on campus and less in music. It was very sparse. I never had any Black teachers.” It is clear that Morgan speaks with an awareness of how others may have a certain perception of who she is because of her skin colour but this doesn’t impact her daily life. “I am a Black woman. I identify as that and I know I represent the community. But I find my character, how I treat people, my work ethic, the way I interact with others, that is number one. Second is being as knowledgeable as I can about my job,” she shares. She recounts a tale from her first years of teaching in a high school: 

“I had just finished my Masters in choral conducting and I ended up teaching a full-load of English. I got to school the first day, I was setting up in the classroom, a student walked in, I didn’t see the student. I was getting ready at my desk, and I heard, “What!?!?! they are hiring Black people now!?!?!,” Morgan looked up to see a Black, female student continue, “I never had a Black teacher ever!” She was like, “what is going on here?” She ended up in my class. We could talk about various things and she felt like she could relate to me. That really awoke me - brought an awareness to me that diversity matters. I’ve always been the only Black person in the classroom or at a teacher’s meeting. That’s just who I am, that’s my life. I’ve experienced racism but it doesn’t get the better of me. What I’m happy to see is that now there are teachers of colour in the classroom.”

Morgan notes that there are probably only a handful of Black female conductors in Canada working at the university level and that there is work to do to get women of colour into these positions. She also shares how fortunate she has been to have strong, female mentors during her education such as Victoria Meredith who was her Masters supervisor at the University of Western Ontario and her Doctorate mentor, Hilary Apfelstadt who was at the University of Toronto. Morgan elaborates, “my race was never an issue. Those seeds of limitations were never placed on me. I always believed I could do it because everybody always told me I could.” Her influences of strong women extend beyond her academic mentors as she notes the importance of her colleagues at Luther College High School, her mother, sister, aunts and grandmother in her upbringing as well. It is evident that Morgan will also continue this role of support in the lives of her students and singers.

“We’re all here for each other. That’s why we’re on this earth. I’m here for you, you’re here for me. However we interact or don’t interact, whatever you do has affected what I do. We’re all on this earth for each other. How can we interact with others to make this a better place? Forget what you look like, or what you’re wearing, what language you speak,” she shares with fervour. While 2019 was a year of change, Morgan speaks with a wisdom that recognizes that embracing the discomfort of change is the only way to move forward.



Dr. Melissa Morgan is a choral conductor, educator and performer. Currently, she directs the choral program at the University of Regina where she also teaches courses in choral conducting and vocal diction. She is frequently asked to appear as a clinician, adjudicator and guest conductor throughout Canada.  
Dr. Morgan holds a Doctorate of Music Performance in Choral Conducting from the University of Toronto, a Master of Music Performance in Choral Conducting from the University of Western Ontario, a Bachelor of Arts and a Bachelor of Music Education from the University of Regina. She is also an Associate of the Toronto Royal Conservatory of Music (ARCT) in piano, voice, and flute. Throughout her education she has had the privilege of studying with exemplary teachers. She is grateful to have worked under the supervision of Dr. Hilary Apfelstadt, Dr. Victoria Meredith, Kathryn Laurin, and Diana Woolrich. In October 2017, Dr. Morgan was named as one of CBC Saskatchewan's Future 40 under 40 recipients.

Dominic Gregorio Scholarship:

A proud Filipino-Canadian, Dominic Gregorio was born and raised in Guelph, Ontario, completed a Bachelor of Arts degree in Music at the University of Guelph, a triple major Master of Music Degree (Voice, Choral Conducting, Music History) at the Temple University in Philadelphia, and a Doctor of Musical Arts Degree at the University of Southern California in Los Angeles, earning the prestigious medal, The Order of Arete in 2012. Dominic was Director of Choral Activities and an Associate Professor in the Department of Music at the University of Regina, and had a tremendous impact on campus and in the community. He was generous with his time and passionate about sharing his gift of music with the community.

If anyone would like to donate to the scholarship please contact: the University of Regina Development Office and ask for Luanne Drake, Luanne.Drake@uregina.ca306-337-2450

Ella Gregorio and Irene Gregorio, Dominic’s mother and sister, and friends of Dominic Gregorio have established the Dominic Gregorio Entrance Award and Dominic Gregorio Award in memory of Dominic.