WEBVTT 00:00:00.000 --> 00:00:06.000 Music. 00:00:06.000 --> 00:00:17.000 Welcome to the 2015 Mario and Alma Pastega Faculty Awards Ceremony. I'm Stephen Scheck, provost and vice president and academic affairs. 00:00:17.000 --> 00:00:20.000 And I'm delighted to serve as the 00:00:20.000 --> 00:00:26.000 host for today's program and this is our 37th year 00:00:26.000 --> 00:00:33.000 for awarding the Pastega award for scholarship and the 30th year for awarding it in teaching. 00:00:33.000 --> 00:00:39.000 And we have two very outstanding faculty colleagues to recognize today. 00:00:40.000 --> 00:00:44.000 Over all of this time 00:00:44.000 --> 00:00:48.000 and definitely since I've come here for the last ten years 00:00:48.000 --> 00:00:52.000 the Pastega name has truly been an organic component of our university. 00:00:52.000 --> 00:00:58.000 And associated with commitment to students and commitment to outstanding 00:00:58.000 --> 00:00:60.000 scholarship and teaching in our faculty. 00:01:00.000 --> 00:01:09.000 And we do appreciate the influence that the Pastega name has had with us and the continued financial support that Ken and Gary 00:01:09.000 --> 00:01:16.000 son's of Mario and Alma have provided to continue these scholarships for faculty, these awards. 00:01:16.000 --> 00:01:21.000 And also in keeping with tradition it's always great to have a member of the Pastega family 00:01:21.000 --> 00:01:30.000 here and whether it's by blood relation or by emotional relation and for many of you I know you recognize Tovace Spencer 00:01:30.000 --> 00:01:34.000 over here, Mario's long time assistant. 00:01:34.000 --> 00:01:38.000 And who always participates in our function so we appreciate you coming out. 00:01:38.000 --> 00:01:45.000 Applause. 00:01:45.000 --> 00:01:53.000 Two of our colleagues in recognition of the exemplary work that they contribute and provide to 00:01:53.000 --> 00:01:56.000 Western Oregon University and to our students here. 00:01:56.000 --> 00:01:60.000 The respected division chairs will be introducing our award winners 00:02:00.000 --> 00:02:07.000 and at this time I'd like to invite Dean Sue Monahan to the podium to take over this part of the program. 00:02:07.000 --> 00:02:10.000 So I am so pleased to be here with you today. 00:02:10.000 --> 00:02:15.000 Celebrating this year's Pastega Award winners for teaching and scholarship. 00:02:15.000 --> 00:02:20.000 And I thank you all for being here and sharing in this occasion. 00:02:20.000 --> 00:02:27.000 To me one of the distinctive and wonderful elements of the Pastega Awards is the way that we invite the recipients 00:02:27.000 --> 00:02:32.000 to share with us about their work and what it means to them. 00:02:32.000 --> 00:02:38.000 And so I am really looking forward to the talks that both Kevin and Maureen will be giving today. 00:02:38.000 --> 00:02:45.000 It's not often enough that we bring together such a diverse set of faculty, staff, students, and community members 00:02:45.000 --> 00:02:49.000 to hear about the exemplary work of our faculty. 00:02:49.000 --> 00:02:56.000 I'm going to leave it to the division chairs of creative arts and social science to formally introduce our winners. 00:02:56.000 --> 00:02:61.000 But I will simply note that I was delighted when I learned who the recipients were. 00:03:01.000 --> 00:03:05.000 Each of them Maureen Dolan for teaching and Kevin Walczyk for scholarship 00:03:05.000 --> 00:03:09.000 have made important and distinctive contributions 00:03:09.000 --> 00:03:13.000 To the university and also to the communities that they're in. 00:03:13.000 --> 00:03:21.000 And it also delighted me that these awards also reflect this institutions strengths in creative arts and in music. 00:03:21.000 --> 00:03:26.000 And also in the social sciences and in the area of community outreach. 00:03:26.000 --> 00:03:35.000 It is now my pleasure to introduce Dr. Mark Henkles who is chair of social science who also has the honor of introducing Dr. Dolan. 00:03:35.000 --> 00:03:40.000 Thank you and welcome. I believe Maureen's biography is 00:03:40.000 --> 00:03:48.000 out there in all kinds of places so I'm not going to talk about Maureen except for go Badgers I guess because she's like Wisconsin all the way through. 00:03:48.000 --> 00:03:56.000 What I want to talk about a little bit is about my observations of her as a teacher. We talk about this all the time. 00:03:56.000 --> 00:03:60.000 And here's my take on it. 00:04:00.000 --> 00:04:05.000 These days a lot of time you think about higher education we're sort of 00:04:05.000 --> 00:04:12.000 taught or we're instilled with the notation there's sort of a factory model we need to meet because we got to meet our 00:04:12.000 --> 00:04:16.000 outcomes to meet economic needs and we got 00:04:16.000 --> 00:04:21.000 so you know we tend to hire people we kind of say what do we need to reach certain outcomes? 00:04:21.000 --> 00:04:25.000 And we hire those people and they fit into the assembly line and we turn out our 00:04:25.000 --> 00:04:28.000 students that hopefully meet those economic needs and 00:04:28.000 --> 00:04:30.000 they all get jobs and everything's good. 00:04:30.000 --> 00:04:37.000 And when there's bad times we sort of squeeze for efficiency and we try to do the type that fits into the model. 00:04:37.000 --> 00:04:41.000 But that's not really how real higher education works I don't think. 00:04:41.000 --> 00:04:47.000 I mean it can be instrumental certainty but in practice 00:04:47.000 --> 00:04:52.000 and certainly in Maureen's case you have a whole other thing going on. 00:04:52.000 --> 00:04:64.000 You've got a situation where you hire a person with a hypothesis, you say yeah we think we need someone to teach gender studies, we got a few holes we need to fill in the sociology department. 00:05:04.000 --> 00:05:07.000 And you bring them in and they start to grow. 00:05:07.000 --> 00:05:12.000 I mean they're already growing in lots of other ways but they start to grow, they start to find niches. 00:05:12.000 --> 00:05:16.000 It's really more of an ecological kind of model if you get a really good proff in there. 00:05:16.000 --> 00:05:20.000 Because they see opportunities and they naturally grow into them. 00:05:20.000 --> 00:05:22.000 And they naturally keep expanding and moving. 00:05:22.000 --> 00:05:29.000 And typically, if they're really good they don't do what you expected they do so much more. 00:05:29.000 --> 00:05:31.000 That's Maureen's story and that's the way Maureen approaches it. 00:05:31.000 --> 00:05:37.000 And I think if you look at the list of winners in this, none of them are doing exactly what they're hired to do. 00:05:37.000 --> 00:05:44.000 They're doing what their professionalism and their passion has gotten them to do, has driven them towards. 00:05:44.000 --> 00:05:48.000 But, there's a few things I was thinking about to get into a little more detail about that. 00:05:48.000 --> 00:05:57.000 I was at a conference a few weeks ago and I saw a former student and he came up and said 00:06:01.000 --> 00:06:07.000 And he goes, "You got any tips?" Jeez, I don't have any tips. 00:06:08.000 --> 00:06:13.000 But I was thinking about that when I was thinking of Maureen winning this and I thought what would you draw from 00:06:13.000 --> 00:06:19.000 my knowledge of Maureen and from her experience and I could come up with three things that I think really 00:06:19.000 --> 00:06:22.000 really I think speak to at least 00:06:22.000 --> 00:06:26.000 some great tips for someone in social science but I which I think are very broadly applicable. 00:06:26.000 --> 00:06:28.000 And that she embodies. 00:06:28.000 --> 00:06:31.000 The first is exploration. 00:06:31.000 --> 00:06:36.000 Maureen's life has been one of tremendously great exploration. 00:06:36.000 --> 00:06:42.000 She is the Forest Gump of Leftist Latin American Movements. 00:06:42.000 --> 00:06:48.000 Chile early 70's, Nicaragua early 80's, you don't even need to go passed that but 00:06:48.000 --> 00:06:55.000 she does she goes to Argentina, she goes across the whole hemisphere. 00:06:55.000 --> 00:06:57.000 And she engages in it domestically. 00:06:57.000 --> 00:06:64.000 So you know you have that and that exploration does at least a couple things for those students. 00:07:04.000 --> 00:07:08.000 There's the content to it, I mean she knows a lot of stuff. 00:07:08.000 --> 00:07:14.000 And she can give personal insights on tremendously important social movements. 00:07:14.000 --> 00:07:21.000 And all kinds of cultural issues because she's been deeply involved in them. So there's the content piece. 00:07:21.000 --> 00:07:28.000 But also she brings that sense of exploration and instills it in her students. 00:07:28.000 --> 00:07:33.000 So one of my advisees, little did I know it really popped into my office and said 00:07:33.000 --> 00:07:41.000 well I'm going to Argentina, I'm going to study women and juvenile's in the corrections system. 00:07:41.000 --> 00:07:46.000 Really? I didn't even need to ask, definitely Maureen's work. 00:07:46.000 --> 00:07:49.000 And so she not only is teaching stuff 00:07:49.000 --> 00:07:54.000 but she's also, she has this sense and she can put it into other people. 00:07:54.000 --> 00:07:56.000 You know what, you should go explore. 00:07:56.000 --> 00:07:63.000 And here's a possibility, she gives that first little nudge, pushes in that first direction, and then go that way. 00:08:03.000 --> 00:08:07.000 The second thing I kind of get from Maureen as a teacher 00:08:08.000 --> 00:08:10.000 is sort of an inverted lesson. 00:08:10.000 --> 00:08:15.000 A lot of times the criticism that comes particularly against old guys like me 00:08:15.000 --> 00:08:22.000 is like "Aww they're teaching like you were taught." It's still the 1970's and you stand up in front of the class and you 00:08:22.000 --> 00:08:24.000 talk like you always did 00:08:24.000 --> 00:08:28.000 after you dust off your notes of course. 00:08:28.000 --> 00:08:30.000 That's a fallacy I think first of all. 00:08:30.000 --> 00:08:36.000 Secondly, I think there could be some merit, once in a while we do have something to say, but most importantly in Maureen's case 00:08:36.000 --> 00:08:38.000 it's simply not true. 00:08:38.000 --> 00:08:45.000 When she started her education she instantly was involved in getting out in the streets. 00:08:45.000 --> 00:08:52.000 She was in Latin America actually working with the public in public theater, in other kind of educational events 00:08:52.000 --> 00:08:57.000 as an undergraduate and through her whole life it has been a total life of engagement in the public. 00:08:57.000 --> 00:08:62.000 With students, as a student, as a collaborator as a researcher. 00:09:02.000 --> 00:09:12.000 And, you know that's that's just really inspirational and it was really in a way it was a little before its time although not so much in sociology but in other fields. 00:09:12.000 --> 00:09:17.000 But this notion of teaching as you get taught 00:09:17.000 --> 00:09:20.000 in her case is truly a great of great merit. 00:09:20.000 --> 00:09:28.000 And so I think it's useful for all of us to look back and say well you know there are elements that you certainly want to continue. 00:09:28.000 --> 00:09:32.000 Definitely for her the lesson is social 00:09:32.000 --> 00:09:37.000 social learning comes through social action. And she has lived that and embodies that. 00:09:37.000 --> 00:09:40.000 The last thing I want to say about her that I've observed 00:09:40.000 --> 00:09:46.000 from many conversations is learning to a large degree is an inside out process. 00:09:46.000 --> 00:09:51.000 Students have stuff in them and as instructors 00:09:51.000 --> 00:09:54.000 we're not forcing knowledge in, it doesn't work. 00:09:54.000 --> 00:09:60.000 We are drawing them out towards the knowledge and she does this in at least two ways. 00:10:00.000 --> 00:10:08.000 One way you see it is she will find within students 00:10:08.000 --> 00:10:15.000 what their biases are or just how they think about these core issues, particularly if you look at for example gender, race, relations. 00:10:16.000 --> 00:10:20.000 She knows within every person there's a bunch of hypotheses about these things. 00:10:20.000 --> 00:10:25.000 Or operating principles or assumptions or what beliefs. 00:10:25.000 --> 00:10:31.000 And when she teaches students, what she does is she sort of forces them to pull these pieces out 00:10:31.000 --> 00:10:36.000 put them on the table in the daylight, and look at what they really look like. 00:10:36.000 --> 00:10:39.000 You learn by testing your hypotheses. 00:10:39.000 --> 00:10:47.000 She forces the students to see the ones that they're carrying within her, within themselves, and put them out their in front of them. 00:10:47.000 --> 00:10:53.000 That's a heck of a lot better way to learn than just trying to show them statistic tables on economic disparities. 00:10:53.000 --> 00:10:55.000 And she's very effective at it. 00:10:55.000 --> 00:10:61.000 The second thing she does, that she pulls from what's inside of people is she operates on the principle that 00:11:01.000 --> 00:11:08.000 many if not most, if not all people have a sense of community and need a sense of connection. 00:11:08.000 --> 00:11:13.000 And she cultivates that and she pushes people towards things. 00:11:13.000 --> 00:11:17.000 Sometimes quite subtly and sometimes I think a little bit more right out front. 00:11:17.000 --> 00:11:24.000 But she tells them that their sense of connection or their desire for connections to their home 00:11:24.000 --> 00:11:28.000 communities or to other communities or to expand their communities are things that are not 00:11:28.000 --> 00:11:33.000 secondary to your understanding of the world or secondary to your purpose at college. 00:11:33.000 --> 00:11:36.000 Instead, they're just a natural part of who you are. 00:11:36.000 --> 00:11:46.000 And what she's really training isn't sociology majors, she's training people who are going to go out and understand the world and transform the world as they see fit. 00:11:46.000 --> 00:11:50.000 And it begins with the best understanding as possible of your community. 00:11:50.000 --> 00:11:54.000 And she certainty has done that so effectively. 00:11:54.000 --> 00:11:61.000 So to conclude I just have to say if higher ed is a factory 00:12:01.000 --> 00:12:04.000 and it makes widgets 00:12:04.000 --> 00:12:07.000 Maureen and I would be sitting by the coffee thing all the time. 00:12:07.000 --> 00:12:14.000 And then I would go home and I'd be watching T.V. and I'd look out the window and I'd see the lights on in the factory and I'd put on my binoculars 00:12:14.000 --> 00:12:16.000 and I'd look out there and go what the heck's going on at the factory? 00:12:16.000 --> 00:12:24.000 There would be Maureen late at night tinkering with another widget, find a way to fit it in just a little better than the previous widget. 00:12:24.000 --> 00:12:26.000 Because she just never stops. 00:12:26.000 --> 00:12:29.000 Anyway I bring to you Maureen Dolan. 00:12:29.000 --> 00:12:31.000 Applause. 00:12:31.000 --> 00:12:38.000 So, as you can see the title of my talk today, "Critical Public and Engaged Sociology in the Practice of Social Justice" 00:12:38.000 --> 00:12:42.000 And I'm going to be talking about the Latino mentor program 00:12:42.000 --> 00:12:49.000 Which I developed at Western, particularly looking at local and global perspectives 00:12:49.000 --> 00:12:54.000 So this is quite a lengthy title, and so I will be explaining this as we go along 00:12:54.000 --> 00:12:59.000 So, but in 1996, which is almost 20 years ago 00:12:59.000 --> 00:12:64.000 In teaching as part of my Latino Studies course which I was teaching at the time 00:13:04.000 --> 00:13:08.000 I addressed with my students the problem of the high dropout rate 00:13:08.000 --> 00:13:12.000 that latino high school students experience in the U.S. 00:13:12.000 --> 00:13:22.000 The text that I was using at the time was "Latino High School Graduation" by Romo and Falbo 00:13:22.000 --> 00:13:28.000 And it was focused on the Mexican American experience in Texas 00:13:28.000 --> 00:13:37.000 And it argues that while certainly a lack of resources available to lower income Latino students is important in addressing the dropout rate 00:13:37.000 --> 00:13:48.000 It is equally true that creating significant factors creating barriers to high school completion are embedded in the structure of the high school itself. 00:13:48.000 --> 00:13:57.000 Now, this was an important argument and bold argument because back in 1996 the typical way that 00:13:57.000 --> 00:13:69.000 The latino dropout issue was understood was basically blaming the victim, blaming the student, and you saw a lot of information and a lot of analysis about dropout characteristics 00:14:09.000 --> 00:14:17.000 So with this text and others like it represented a paradigm shift in shifting from blaming the victim 00:14:17.000 --> 00:14:23.000 And really focusing attention on the structure of the high schools themselves, particularly high schools 00:14:23.000 --> 00:14:32.000 And drew attention particularly to these issues, and I emphasize the culture of low expectations 00:14:32.000 --> 00:14:40.000 This lack of inclusion of families in school programs, and the fact that latino culture was not valued 00:14:40.000 --> 00:14:50.000 Not in its language and its culture, but seen rather as a barrier to social mobility as opposed to 00:14:50.000 --> 00:14:56.000 Linking it as a positive factor in the process of mobility itself 00:14:56.000 --> 00:14:64.000 Now much of my talk today is actually a story of the building of the program, but it is also a story of the understanding 00:15:04.000 --> 00:15:10.000 of the valuing of latino culture and the significance for that understanding 00:15:10.000 --> 00:15:20.000 in social mobility and success in the completion of high school education, and in general 00:15:20.000 --> 00:15:26.000 so again this is a bold statement and 00:15:26.000 --> 00:15:32.000 This was actually the argument that pushed me and my students out of the classroom 00:15:32.000 --> 00:15:37.000 Because we thought that, we, we looked at this and we felt that 00:15:37.000 --> 00:15:44.000 If we could provide encouragement and information for latino high school students in our community 00:15:44.000 --> 00:15:48.000 That a college degree was a reality for them, a realistic goal 00:15:48.000 --> 00:15:52.000 We could not only contribute to lowering the dropout rate 00:15:52.000 --> 00:15:56.000 Lowering the dropout rate, we would also 00:15:56.000 --> 00:15:63.000 Increase their participation in higher education, and all that that signifies in terms of increase of income and opportunities 00:16:03.000 --> 00:16:14.000 Thus, we looked at this opportunity to address the culture of low expectations 00:16:14.000 --> 00:16:23.000 Include families in our project, and create and participate in a positive valuing of latino culture itself 00:16:23.000 --> 00:16:33.000 So what was our resource in terms of providing and implementing these policies of social recommendations in the text? 00:16:33.000 --> 00:16:43.000 What we had was the fact that we were in college and that the students themselves were successful in establishing 00:16:43.000 --> 00:16:46.000 And gaining a college education 00:16:46.000 --> 00:16:56.000 So if you look at the acquisition of college degree you'd see that the Latinos are at the very bottom of the achievement ladder 00:16:56.000 --> 00:16:64.000 You can see the different disparities in the gaps, etc. it was improving, but it seems like it would be a very good place to start 00:17:04.000 --> 00:17:09.000 So, what I did was, we wrote a 00:17:09.000 --> 00:17:17.000 An academic program, so I decided to call this, this is going to be a course, and then I included the Latino students 00:17:17.000 --> 00:17:22.000 In my...created this program for the Latino students, and we went to McKay High School 00:17:22.000 --> 00:17:30.000 Now, McKay High School, and you can see the different components of the academic program, so, we went to McKay High School 00:17:30.000 --> 00:17:34.000 And because McKay High School, at that time I had a contact there 00:17:34.000 --> 00:17:44.000 And the principal was a Mexican-American educator from California, I believe he was the first Mexican-American principal in Salem 00:17:44.000 --> 00:17:52.000 I don't know if he was the first in the state, but he was open to the idea and he said, "sure" 00:17:52.000 --> 00:17:59.000 Let's try it out, so in the very first meeting, again this was 19 years ago, I go into McKay 00:17:59.000 --> 00:17:64.000 And I met with about 35 students in the library 00:18:04.000 --> 00:18:10.000 And I remember out of the 35 students when I asked, and they of course were selected by the school 00:18:10.000 --> 00:18:16.000 As being interested in higher ed 00:18:16.000 --> 00:18:20.000 When I asked, "How many of you would like to go to college?", "How many of you are thinking about college?" 00:18:20.000 --> 00:18:26.000 Two students raised their hands out of 35, even in a self selected group, two students raised their hands 00:18:26.000 --> 00:18:38.000 They happen to be the two Arredondo brothers and actually it was a finger and a half. I remember they were kind of you know hiding behind each other. 00:18:38.000 --> 00:18:48.000 And so I thought, if I have two people out of 35 that were bold enough to say yes they wanted to go to college, I said, "you're mine" this is it 00:18:48.000 --> 00:18:53.000 And because it was important to have students buying into it 00:18:53.000 --> 00:18:57.000 Well this was the beginning of the program, and of course as you know 00:18:57.000 --> 00:18:67.000 Jaime Arredondo is again part of the WOU community, today he is a member of the WOU board of trustees, so, I always tell Jaime, "Jaime is now our boss." 00:19:07.000 --> 00:19:17.000 This was again 19 years ago, and I'm proud to say the program has continued to grow, it has different directions 00:19:17.000 --> 00:19:24.000 We're just as strong, and doing just as many interesting things as we did in this past, you know, 19 years ago 00:19:24.000 --> 00:19:28.000 So, that's all very exciting 00:19:28.000 --> 00:19:36.000 But also as I was looking at the necessity as we were working with the Latino population 00:19:36.000 --> 00:19:42.000 In Salem at the time, I thought it was important to to do some more research into the community 00:19:42.000 --> 00:19:47.000 And, So I actually now think of 00:19:47.000 --> 00:19:52.000 The Mexican community the Mexican-American Community in Oregon as part of this 00:19:52.000 --> 00:19:56.000 Part of the Oregon trail, sort of the Mexican branch 00:19:56.000 --> 00:19:64.000 Of the Oregon trail where we see a large migration from Mexico to Oregon 00:20:04.000 --> 00:20:09.000 As part of a small grant that I had I went to that state of Michoa?can 00:20:09.000 --> 00:20:14.000 And with trying to map out how 00:20:14.000 --> 00:20:19.000 Salem, particularly Salem where we were working at the time 00:20:19.000 --> 00:20:25.000 Salem and Mexico have very defined transnational linkages 00:20:25.000 --> 00:20:32.000 So I went to three town that I located in Michoacan 00:20:32.000 --> 00:20:41.000 Las Arquillas, so is anyone here..any of my Latino students from Las Arquillas, Las Ranas, or.. 00:20:41.000 --> 00:20:47.000 Or Lake Patzcuaro 00:20:47.000 --> 00:20:53.000 These are the primary sending cities from Michoacan into Salem 00:20:53.000 --> 00:20:59.000 So, this is of course the map of Mexico 00:20:59.000 --> 00:20:64.000 And, so I visited the towns, collected oral histories 00:21:04.000 --> 00:21:13.000 And, low a and behold, so if you don't know Michoacan well, oh, and I should have a pointer here. 00:21:13.000 --> 00:21:17.000 So in any case the towns that the students are from are not on this map 00:21:17.000 --> 00:21:22.000 Even this is a very detailed map, they are not from any of these towns 00:21:22.000 --> 00:21:30.000 So Las Ranas, where Jaime is from, is any one here from Las Ranas, any of you guys...see, yes, Marisol is from Las Ranas 00:21:30.000 --> 00:21:34.000 It's waaaay, oh *unintelligible Spanish*, as they say in Spanish 00:21:34.000 --> 00:21:40.000 Far into the interior, you can't get on a bus and get there, it's very far on the inside 00:21:40.000 --> 00:21:53.000 And, so anyway, these are the towns, and Patzcuaro is also the area of, the main area where the indigenous population is from, the Purepecha 00:21:53.000 --> 00:21:63.000 And so, but the story I wanted to tell about this is, so I went to all of these towns and when I got to one of the towns up there in the north called Las Ranas 00:22:03.000 --> 00:22:09.000 People I was staying with, I said, "well, do you by any chance know the Arredondo family?" They said, "Sure we'll take you there." 00:22:09.000 --> 00:22:14.000 So, sure well we'll take you, you know it's a small town 00:22:14.000 --> 00:22:21.000 So, one day I end up on the door step of, it turns out it's Jaime's grandma and his uncle 00:22:21.000 --> 00:22:27.000 Knock on the door, yes, and so "I'm here from Salem" *laughter* 00:22:27.000 --> 00:22:37.000 I think I may be the only person that's actually gone to all of these towns, other than I think there's a journalist from the Statesman Journal, but I don't think she went to tall the towns I did 00:22:37.000 --> 00:22:41.000 But anyway they were stunned absolutely stunned 00:22:41.000 --> 00:22:51.000 And so Jaime was saying, "My grandmother said that you visited", so she thought it was very cool, she was very impressed 00:22:51.000 --> 00:22:55.000 That someone had come from Salem you know to visit the family, etc 00:22:55.000 --> 00:22:59.000 So, In any case I just wanted to share that with you 00:22:59.000 --> 00:22:67.000 But it's important also I think to have...and in the processes to gain some information about the basic population structure 00:23:07.000 --> 00:23:11.000 Of, in particular the Mexican-American population in Oregon 00:23:11.000 --> 00:23:21.000 And if you'll note, particularly here say K-12 enrollment, this is from 2011 estimates, 20% 00:23:21.000 --> 00:23:30.000 And particularly down here at the bottom you see where again Marion County Hispanic growth rate went from 8% in 1990. 00:23:34.000 --> 00:23:39.000 So those I think are some basic numbers that are important for us to know 00:23:39.000 --> 00:23:45.000 All Latino and those of us in education, Latino enrollment by district from high to low 00:23:45.000 --> 00:23:50.000 Actually, Salem-Keizer has the largest enrollment of Latinos in the state 00:23:50.000 --> 00:23:54.000 Unless, lets see, it might be similar if you combined Beaverton, Portland, and Hillsboro 00:23:54.000 --> 00:23:61.000 But, Salem Keizer has the largest and Woodburn of course has the largest percentage of Latino students 00:24:01.000 --> 00:24:14.000 and that's important I'll be making some comments about the success that Woodburn has had actually in the implementation in those guidelines that I was explaining from that text. 00:24:14.000 --> 00:24:26.000 Ok, so quickly, my philosophy of education, critical, public and engaged, and Mark you really, I really would have thought you were reading all of my, yes you really did understand my project. 00:24:26.000 --> 00:24:36.000 I think of critical, critical theory actually comes from as term used by the Frankfurt School in an essay by Max Horkheimer 00:24:36.000 --> 00:24:48.000 and critical, this is referring only to the critique of inequality and injustice in the larger society, but also points to the issue of changing that. 00:24:48.000 --> 00:24:57.000 So, its more than describing, but also calls for the change of those equalities. And as applies to critical pedagogy, um, 00:24:57.000 --> 00:24:65.000 of course critical pedagogy inspired by the Paulo Freire text, "Pedagogy of The Oppressed" 00:25:05.000 --> 00:25:16.000 and as you read here that the idea is then that education needs to be committed to social justice, isn't neutral and develops a model. 00:25:16.000 --> 00:25:31.000 Now, this is a picture of, I actually participated in several Freire literacy programs and that is, uh, actually the way the way the literacy program works. Does anyone speak Portuguese here? 00:25:32.000 --> 00:25:40.000 So this is what he would teach literacy, which seems like a pretty straight forward teaching literacy. But he was so successful, so not only was his . 00:25:40.000 --> 00:25:51.000 work or his policies, or his statement about social justice, etc. He was also incredibly successful, so he gained his fame because he was able to 00:25:52.000 --> 00:25:58.000 teach 300 sugar cane workers to read and write in 45 days. 00:25:58.000 --> 00:25:67.000 I mean it was just-he was successful in this project, and um, as I've said, I've participated in these and this is exactly what they would do. 00:26:08.000 --> 00:26:13.000 Not only would they teach the reading and the writing because Spanish and Portuguese is very phonetic, 00:26:13.000 --> 00:26:24.000 But, it would be the words they would choose and the way that Freire would be able to identify the issues that were important to the population he was serving. 00:26:24.000 --> 00:26:34.000 So, uh, my Portuguese, I used to speak Portuguese better than I do know, but so, in any case. so what this word is, in Spanish it would be El Pueblo, the people. 00:26:34.000 --> 00:26:43.000 And the whole idea would be that he would incorporate the education into the conditions of the, 00:26:43.000 --> 00:26:55.000 in this case, the poor rural workers in Brazil and in the process of bringing 00:26:56.000 --> 00:26:65.000 um, uh, emphasizing a political consciousness about issues of injustice that this was then the successful basis of his model. 00:27:05.000 --> 00:27:16.000 So, in any case, I really- this is what it looked like, this is the way he started. So, he became, of course now he is very, 00:27:16.000 --> 00:27:29.000 um, he has a lot of, his work has a global reach in different areas. I wanted to also emphasize he also stresses a non hierarchical relationship between teacher and student. 00:27:29.000 --> 00:27:45.000 And this I think also applies as the remarks I made a the beginning, in terms of the need to respect Latino culture and language and identity as the process of education 00:27:45.000 --> 00:27:54.000 and in the process of social mobility. To not see Latino culture and language again as somehow a barrier 00:27:54.000 --> 00:27:60.000 to social mobility but part of the incorporation and the respect as part of the process 00:28:00.000 --> 00:28:09.000 in the mobility itself is bringing success to the student. So okay let's see. 00:28:09.000 --> 00:28:22.000 So valuing Latino culture and not seeing it as a deficit. Now that may seem obvious to all of you but this is highly debated in the literature and in the culture. 00:28:22.000 --> 00:28:32.000 Okay so Michael Burawoy in 2004 then brings public sociology and sort of popularizes it, he was the president of ASA. 00:28:32.000 --> 00:28:40.000 So I'm going to make fun of Michael Burawoy, with whom I studied at Wisconsin and with whom I admire and I believe in this. 00:28:40.000 --> 00:28:48.000 Sociology sort of became mainstream in 2004 where as I will be talking about Latin American sociologists this was 00:28:48.000 --> 00:28:58.000 public sociology was mainstream 30, 50, 60 years ago so in any case this is a joke I'm making fun with Michael Burawoy. 00:28:58.000 --> 00:28:67.000 I'm glad that he's enlightened and has discovered public sociology but I think this is a case where Latin Americans were far ahead. 00:29:08.000 --> 00:29:11.000 But since he's not here I can make fun of him. 00:29:11.000 --> 00:29:21.000 Okay and then engaged sociology is really to me another extension of public sociology 00:29:21.000 --> 00:29:28.000 and I really think it's also an application of Freire's model of action. 00:29:28.000 --> 00:29:40.000 Of seeing what he calls *Spanish name* which is actually easier to say in Spanish than it is to say in English, which I can never quite say in English. 00:29:40.000 --> 00:29:47.000 The word is in Portuguese. 00:29:47.000 --> 00:29:53.000 Which in any case it is easier in Portuguese and Spanish than it is in English. 00:29:53.000 --> 00:29:65.000 But the idea is to bring it's a level of consciousness that also is a call to action, so it's the dual element and I think that's very, I think that really works in our understanding. 00:30:05.000 --> 00:30:16.000 And so I was fortunate enough to receive a scholarship, a rotary international scholarship to Chile and 00:30:16.000 --> 00:30:24.000 for those of you who don't know where Chile is there it is, it's the end of the world to the south. 00:30:24.000 --> 00:30:32.000 Santiago and I'll be talking about different areas. And so as I arrived in Chile I found that 00:30:32.000 --> 00:30:41.000 enrolling in The School of Sociology, I was lucky that there were many actually 00:30:41.000 --> 00:30:49.000 there were many exiled Brazilian scholars, sociology scholars who were teaching in Chile at the time. 00:30:49.000 --> 00:30:71.000 So Teotonio Dos Santos was a major theorist in dependency theory. He worked with Gunther Frank in Brazil and they all actually were exiled after the military take over in Brazil. 00:31:11.000 --> 00:31:14.000 They came to Chile as exiles. 00:31:14.000 --> 00:31:26.000 Dos Santos also was imprisoned by the military coup in Chile and experienced a second exile actually 00:31:26.000 --> 00:31:28.000 and went to Mexico as a second exile. 00:31:28.000 --> 00:31:39.000 So again this is my little comment here. He was too critical, too public, and too engaged and was imprisoned in many countries and exiled in several. 00:31:39.000 --> 00:31:45.000 So but then I was also lucky that I was part of the Friere literacy program. 00:31:45.000 --> 00:31:55.000 That was still in at this time in Latin America. I think Chile was the first country that Friere's program was implemented in after Brazil. 00:31:55.000 --> 00:31:66.000 And so I participated in one in southern rural Chile and in the urban centers. 00:32:06.000 --> 00:32:14.000 And in the urban poor, I don't like to use the word slum, but in the urban poor areas of Santiago, 00:32:14.000 --> 00:32:21.000 myself as a north American participating in this kind of program, this isn't usually where it's easy for 00:32:21.000 --> 00:32:29.000 Americans to go, to participate in these, to understand these social relations in these particular areas. 00:32:29.000 --> 00:32:35.000 And so here you see the urban poverty in Latin America is very severe. 00:32:36.000 --> 00:32:46.000 So in urban slum, urban poor area. And then of course in southern Chile then this is in the town of Curarruhue. 00:32:46.000 --> 00:32:55.000 Which is in southern Chile and so I was there implementing a Freire program. 00:32:55.000 --> 00:32:60.000 I feel that much of the story is from moving from country to country implementing Freire's programs. 00:33:00.000 --> 00:33:13.000 And then what happens when the rural poor, the urban people are introduced into a program like Freire's literacy program. 00:33:13.000 --> 00:33:22.000 That was also calling for liberation and participation etc. What is the response of the programs that aid the people in Chile? 00:33:22.000 --> 00:33:31.000 A military dictatorship then overthrew the indie government that was implementing 00:33:31.000 --> 00:33:34.000 these kinds of models and was in favor of trying to ending poverty. 00:33:34.000 --> 00:33:44.000 And so by this time I had formed my Chilean family and felt that it was really no longer really possible to live in Chile. 00:33:44.000 --> 00:33:50.000 And so I went to Nicaragua. 00:33:50.000 --> 00:33:60.000 Personally, still more Freire programs for implementing in the country side and I worked as part of the ministry of agriculture. 00:34:00.000 --> 00:34:04.000 With the Wisconsin Land Tenure program. 00:34:04.000 --> 00:34:15.000 Continued working, it was one of the things I did. I also worked in the literacy program. It might sound like a contradiction working for the ministry of agriculture 00:34:15.000 --> 00:34:23.000 implementing urban programs but not part of the rural implementation of that itself. I worked in literacy programs in the city. 00:34:24.000 --> 00:34:31.000 So what was happening in the rural area is again we see the same response to governments that implement programs that are 00:34:31.000 --> 00:34:38.000 trying to alleviate the situation of the poor and then we see a contra invasion 00:34:38.000 --> 00:34:45.000 by U.S. led counterforce, contra forces and they came in over the 00:34:45.000 --> 00:34:48.000 northern borders from Honduras. 00:34:48.000 --> 00:34:55.000 You can see from Honduras into Nicaragua, they came over those borders. And the first victims, the first people who were killed, and this isn't often 00:34:55.000 --> 00:34:61.000 well understood in the U.S. but the first people who died in the contra invasion were those literacy workers. 00:35:01.000 --> 00:35:04.000 Most of them were young students etc. 00:35:04.000 --> 00:35:15.000 So again as I said, it sounds like a story, right? So I'm working in a literacy program, the military invades, what do you do? 00:35:15.000 --> 00:35:20.000 What do you do? You go to graduate school. 00:35:20.000 --> 00:35:30.000 So I returned to graduate school after, again it became very difficult. 00:35:30.000 --> 00:35:37.000 And again I just wanted to emphasize this really is my own background and emphasis in coming to understand this 00:35:37.000 --> 00:35:41.000 philosophy of education as I've described. 00:35:41.000 --> 00:35:48.000 So okay then the programs that we're looking at. So I just want to briefly and quickly go through these programs. 00:35:48.000 --> 00:35:58.000 And you can read them they are local and international. And we have some students who are current and former participants in the program. 00:35:58.000 --> 00:35:70.000 And they go from high schools, correctional institutions. We have a new program at the Willamette Heritage Museum developing cultural ambassadors. 00:36:10.000 --> 00:36:25.000 We developed an LGBT international community program, also study abroad program in Rosario where students participate with incarcerated populations, plus 00:36:25.000 --> 00:36:34.000 international exchange with the criminal justice program and the Rosario law school. So I'm just going to quickly go through these. 00:36:34.000 --> 00:36:42.000 And the focus has also, so back in 1996 there was no Upward Bound, there was no Avid 00:36:42.000 --> 00:36:49.000 there was no money really, none of the federal money in the programs that exist today didn't exist. 00:36:49.000 --> 00:36:61.000 We were myself and the students, this was our contribution to changing the Latino drop out rate and encouraging college participation. 00:37:01.000 --> 00:37:13.000 Now there are programs and so the students today then work through those programs though we also now go to alternative schools, we go to the programs in alternative schools. 00:37:13.000 --> 00:37:18.000 We're also now at Barbara Roberts. We work with at risk students in the freshman sophomore program. 00:37:18.000 --> 00:37:28.000 Here is a alternative teacher at Barbara Roberts with a mentor and you'll notice the wolf, the Western banner in the back. I did not put that there, they had it. 00:37:28.000 --> 00:37:38.000 I think that their assistant, the assistant to this teacher is actually a WOU graduate. And then we see Chris Solario. 00:37:38.000 --> 00:37:48.000 Whose a sociology student. He's with the literacy program and works with freshman sophomore reintegration. He's very enthusiastic, they love him. 00:37:48.000 --> 00:37:55.000 They keep calling me up and saying, "We want more mentors, we want more like Chris." 00:37:55.000 --> 00:37:60.000 I'm not kidding. Then we have Elizabeth whose here today. 00:38:00.000 --> 00:38:04.000 At the alternative program they also have a teen parent program. 00:38:04.000 --> 00:38:14.000 And Elizabeth and Sandra have worked in the Teen Parent program. What I really want to emphasize here with the alternative programs 00:38:14.000 --> 00:38:23.000 is that in the alternative programs there is a tendency to only emphasize the completion of high school. 00:38:23.000 --> 00:38:31.000 And so the role of the Latino mentors, when we go into the alternative programs is to emphasize the importance that college is still a possibility. 00:38:31.000 --> 00:38:35.000 A possibility for these students who are in these alternative programs. 00:38:35.000 --> 00:38:42.000 And so I remember for instance when students when into the teen program, there's no banners, there's no publicity, there's no focus 00:38:42.000 --> 00:38:50.000 on having the teen mother's also think of college as an alternative for them. So that's what our Latino mentors do, they go in 00:38:50.000 --> 00:38:58.000 and always trying to lift the expectations, sort of build on the programs that already exist 00:38:58.000 --> 00:38:60.000 and create greater expectations. So I have 00:39:00.000 --> 00:39:08.000 the alternative schools are really close to my heart and I really think this is an important task that our students do. 00:39:08.000 --> 00:39:15.000 We also go into the GAP which is a Juvenile Detention, it's the lower level of adjudication. 00:39:15.000 --> 00:39:22.000 And this has been a very popular program with our students they work directly with incarcerated youth. 00:39:22.000 --> 00:39:28.000 They also learn what is called dialectical behavioral therapy or DBT. 00:39:28.000 --> 00:39:32.000 They are trained in treatment programs directly by the staff. 00:39:32.000 --> 00:39:42.000 which I don't think is even offered at a masters level this kind of direct training that they're able to obtain. 00:39:42.000 --> 00:39:55.000 What is interesting I've also now called this the second generation of employment. So most of the staff are former 00:39:55.000 --> 00:39:63.000 One was a former sociology student and many of them are former mentors. So we're looking at a second generation of mentors who are now 00:40:04.000 --> 00:40:06.000 educating other mentors etc. 00:40:06.000 --> 00:40:11.000 So the good news is it's good for jobs, it's good for employment. 00:40:11.000 --> 00:40:17.000 So it's been very productive in that way. So let's see... 00:40:17.000 --> 00:40:25.000 Oh I'm particularly proud of the project at the Oregon State Penitentiary that we participate in called Los Hermanos. 00:40:25.000 --> 00:40:32.000 Which is a youth crime prevention. this is organized by the inmates 00:40:32.000 --> 00:40:41.000 A group of social workers actually bring in high school students from around the state. 00:40:41.000 --> 00:40:47.000 And one of my students Gil Bedolla who also isn't here I thought he was going to come. 00:40:47.000 --> 00:40:62.000 What we do is the mentors actually play a role between the inmates and the high school students. And Gil actually, one of our mentors, changed the program of delivery. 00:41:02.000 --> 00:41:10.000 by he basically intervenes and says, well if the inmates say don't do this 00:41:10.000 --> 00:41:20.000 Gil was actually able to create a context in which our college students, our WOU students, then say well this is the negative message but the positive message is that you can go to college. 00:41:20.000 --> 00:41:31.000 So again students, youth who are very much at risk, no one else is telling these kids that they can go to college but this becomes a real important process. 00:41:31.000 --> 00:41:41.000 Students who gain experience in this project have been highly employed. So Gil of course right now is working as 00:41:41.000 --> 00:41:45.000 at south Salem at the south Salem Keizer 00:41:45.000 --> 00:41:55.000 High School as a special program instructional assistant. So I see this as transferrable skills from the GAP and OSP. 00:41:55.000 --> 00:41:62.000 And it was his skill and experience that enabled him to also 00:42:02.000 --> 00:42:04.000 get his job at south Salem. 00:42:04.000 --> 00:42:13.000 So, in any case I think this also speaks well. This is one of our Latino mentors on the left. 00:42:13.000 --> 00:42:16.000 This is an inmate known as Gypsy. 00:42:16.000 --> 00:42:20.000 It's very rare that you would be able to get this kind of footage. 00:42:20.000 --> 00:42:30.000 But the inmates themselves are filming and one of the students who also works with me has been filming and is training the inmates 00:42:30.000 --> 00:42:38.000 in filmmaking and video editing which is also very unusual. 00:42:38.000 --> 00:42:44.000 And then let's see, then finally we have the Willamette Heritage Museum 00:42:44.000 --> 00:42:48.000 and this is a new program in connection with the 00:42:48.000 --> 00:42:54.000 with the Salem city counsel and the goal is to create Latino 00:42:54.000 --> 00:42:58.000 friendly environment in the museums of Salem. 00:42:58.000 --> 00:42:65.000 And we're trying to do this by working with the Spanish department 00:43:10.000 --> 00:43:17.000 And so we're working in a collaboration, which they've been translating materials and then 00:43:17.000 --> 00:43:20.000 my student Rocio 00:43:20.000 --> 00:43:24.000 has been training as a cultural ambassador, what I call a cultural ambassador. 00:43:24.000 --> 00:43:34.000 Essentially what it is is she is a bilingual bicultural docent. She is the first one at the museum. There are no other bicultural 00:43:34.000 --> 00:43:37.000 docents in the city of Salem. 00:43:37.000 --> 00:43:44.000 And she's done this great job so here she's receiving a Latino family into the museum. 00:43:44.000 --> 00:43:48.000 This isn't a common occurrence. 00:43:48.000 --> 00:43:56.000 And here what I also am very proud of Rocio because you'll see 00:43:56.000 --> 00:43:61.000 Rocio on the left, the docent is this gentleman here and so he's listening to Rocio. 00:44:01.000 --> 00:44:04.000 What is so interesting is 00:44:04.000 --> 00:44:13.000 I went to the museum and I said, yes Eduardo Gonzales is also there as a member of the Latino family community. 00:44:13.000 --> 00:44:22.000 And so what I thought was so interesting is when I went to the museum as I said well we're looking for a curriculum that would make 00:44:22.000 --> 00:44:28.000 that would make Oregon history as presented in the museum relevant 00:44:28.000 --> 00:44:32.000 to the Latino community that is not really attending 00:44:32.000 --> 00:44:35.000 the museum, how can we do that? And so all the professionals there said 00:44:35.000 --> 00:44:43.000 we don't know, we haven't done that, who knows how to do that? So how knows how to do that? 00:44:45.000 --> 00:44:52.000 Rocio knows how to do that. She is the one who knows how to do that and she knows how to do that and she does it very well. 00:44:52.000 --> 00:44:58.000 So I said at meetings you know all the high level members of the museum are there, 00:44:58.000 --> 00:44:62.000 and who are we listening to? Who was the expert? Rocio. 00:45:02.000 --> 00:45:07.000 Now it's really it's very exciting and inspiring 00:45:07.000 --> 00:45:15.000 when you see how smart our students are. When you see what an impact they make 00:45:15.000 --> 00:45:26.000 as we connect our students and the educational experience to the larger community and we try to meet needs in the community that are unsolved. 00:45:26.000 --> 00:45:33.000 So we try to identify these problems and we solve them with the participation of our students. 00:45:33.000 --> 00:45:38.000 Emmanuel Macias is with us today. 00:45:38.000 --> 00:45:42.000 Emmanuel was also a WOU graduate in 2013 is that correct? 00:45:42.000 --> 00:45:47.000 And as a Latino mentor he worked at Colonia Amistad 00:45:47.000 --> 00:45:54.000 tutoring, community organization, etc. and then as a result of contacts we have in Argentina 00:45:54.000 --> 00:45:61.000 with the human rights community. I contacted an LGBT community organization 00:46:01.000 --> 00:46:06.000 and said, "Do I have the candidate for you, I have got the student." 00:46:06.000 --> 00:46:16.000 So Emmanuel was the first Oregon student to go and to work with this organization called VOX and you can see all the things that they do. 00:46:16.000 --> 00:46:25.000 And there is Emmanuel working with the LGBT organization. They participated in public rallies. 00:46:25.000 --> 00:46:36.000 You'll see. Here is Emmanuel there you see with his Western Oregon t-shirt over there. This was actually a demonstration about 00:46:36.000 --> 00:46:43.000 a human rights demonstration about the disparage. And so you see the massive participation 00:46:43.000 --> 00:46:49.000 and the participation in the LGBT organization in overall human rights groups. 00:46:49.000 --> 00:46:52.000 And here is Emmanuel at a 00:46:52.000 --> 00:46:60.000 he's representing folks at the city counsel and this is a television representation of him. 00:47:00.000 --> 00:47:08.000 Now and again the sort of the theme is that Emmanuel now works at Willamette University with the Willamette Academy. 00:47:08.000 --> 00:47:11.000 He's an academic support coordinator. 00:47:11.000 --> 00:47:16.000 And supporting underrepresented youth 00:47:16.000 --> 00:47:22.000 who are seeking the goal of higher education. Essentially, we're looking at the same Latino mentor program goals. 00:47:22.000 --> 00:47:31.000 And he's doing very well and very successful in supporting youth. So thank you Emmanuel. 00:47:31.000 --> 00:47:39.000 And then finally in Rosario, Argentina we see through contact 00:47:39.000 --> 00:47:47.000 made through the study abroad program, we made contacts with various legal professionals 00:47:47.000 --> 00:47:53.000 and here this is inside a prison, this is inside the Juvenile detention. These were the people that 00:47:53.000 --> 00:47:60.000 they actually have a mentor program for juvenile's inside the prison. 00:48:00.000 --> 00:48:08.000 And these were the two gentlemen who work there. Notice the Che Guevara, where have you seen a Che Guevara poster inside a prison? 00:48:08.000 --> 00:48:12.000 And in any case that was kind of interesting. 00:48:12.000 --> 00:48:16.000 And they also have a program called 00:48:16.000 --> 00:48:21.000 Pedagogy of Accompanyment which is another version of a Freire program that's adopted to 00:48:21.000 --> 00:48:26.000 mentoring youth who are incarcerated. And so these are the people with whom 00:48:26.000 --> 00:48:35.000 as Mark was mentioning that several of our students went from WOU and were working in this prison. 00:48:35.000 --> 00:48:40.000 And we also had a comparative legal systems 00:48:40.000 --> 00:48:46.000 Conference in which you recognize Dr. Gibbons and myself. 00:48:46.000 --> 00:48:53.000 We have the head of the study abroad program in Rosario. And these other two gentlemen are actually the head of 00:48:53.000 --> 00:48:59.000 district attorney, the head public defender for Rosario. 00:48:59.000 --> 00:48:66.000 And they also came to Western and I think Cathy Hill has a great picture but I don't have that picture. But they also came 00:49:06.000 --> 00:49:14.000 to Western as we were developing these international relations. There's Dr. Gibbons and myself. And another 00:49:14.000 --> 00:49:22.000 lawyer professional working with the prisons. You can see here is a picture, that is inside a juvenile prison. 00:49:22.000 --> 00:49:27.000 that we were just looking at. And this is where our students were working, working with this population. 00:49:27.000 --> 00:49:33.000 I have a whole section prepared on how well Oregon does in terms of 00:49:33.000 --> 00:49:40.000 lowering the drop out rate and promoting higher education for Latinos. So the short story is 00:49:40.000 --> 00:49:52.000 Nationally, Latinos are doing much better. So nationally the Latino drop out rate is going down, college attendance is going up. 00:49:52.000 --> 00:49:60.000 In Oregon, we're not doing that. Our statistics are still very low expect for the city of Woodburn. 00:50:00.000 --> 00:50:10.000 In the city of Woodburn which you can see these statistics. All students are graduating at 87% while 00:50:10.000 --> 00:50:16.000 the statistic for Oregon is 68%, I think we're still at 68 more or less the overall statistic. 00:50:16.000 --> 00:50:24.000 And they graduate Latinos students at an 88% rate and you see all these other 00:50:24.000 --> 00:50:28.000 statistics. What is the policy? 00:50:28.000 --> 00:50:36.000 What is the secret of the Woodburn success? It is exactly the implementation of the model that I presented in the first slide. 00:50:36.000 --> 00:50:40.000 They weren't reading *Spanish names* they weren't sitting in my class. 00:50:40.000 --> 00:50:43.000 They were following this policy from some other origin. 00:50:43.000 --> 00:50:48.000 But in any case, what do they do, and again as listed, tight web of support, 00:50:48.000 --> 00:50:55.000 outreach to students and parents, and creating and I want to really emphasize the full fledge dual language instruction 00:50:55.000 --> 00:50:61.000 beginning in kindergarten that results in 95% of Woodburn students becoming bilingual. 00:51:01.000 --> 00:51:04.000 This is the secret of the Woodburn success. 00:51:04.000 --> 00:51:10.000 It is the implementation of pro Latino, pro cultural model. 00:51:10.000 --> 00:51:20.000 What I think is interesting is that all of these policy recommendations that we're looking at, not only are they and if I may say moral not only are they just, 00:51:20.000 --> 00:51:29.000 not only are they responding to a long injustice and discrimination of the Latino people, by golly do they work. 00:51:29.000 --> 00:51:43.000 This is the way that successful participation by Latino students in high school and then I would say by extension in college this is what's really successful. 00:51:43.000 --> 00:51:47.000 Thank you very much. Applause. 00:51:47.000 --> 00:51:54.000 Scholarly activity in the division of creative arts is sort of an odd interesting wonderful thing. 00:51:54.000 --> 00:51:59.000 It doesn't tend to look like everybody else's scholarly activity. 00:52:00.000 --> 00:52:04.000 Sometimes it does, sometimes it's very traditional, sometimes it's research 00:52:04.000 --> 00:52:11.000 and it's publications and it's presentations, and everybody would recognize that and everybody would know what it is. 00:52:11.000 --> 00:52:19.000 More often than not, scholarly activity in the division of creative arts is a painting or a photograph or 00:52:19.000 --> 00:52:27.000 a piece of dance or a piece of music or something of that nature. And you see our scholarly activity 00:52:27.000 --> 00:52:33.000 hanging in art galleries or being performed on stage. 00:52:33.000 --> 00:52:44.000 Dr. Walczyk scholarly activity I believe falls really firmly very strongly in both camps. 00:52:44.000 --> 00:52:50.000 I might be wrong but this is what I think. Let's see what you think when this is over. 00:52:50.000 --> 00:52:64.000 In his own words, "Each composition nearly all of them commissioned by patrons requires a tremendous amount of research before a single musical note is written." 00:53:04.000 --> 00:53:08.000 Sorry for borrowing your words Dr. Walczyk. 00:53:08.000 --> 00:53:13.000 Only in this manner can a composition exude such unique depth of meaning 00:53:13.000 --> 00:53:20.000 required of the commissioning party and all involved in the presentation and oral reception of the composition. 00:53:20.000 --> 00:53:26.000 More specifically he says and I included this just because I wanted to try saying it. 00:53:32.000 --> 00:53:40.000 to convert alphanumeric materials into musical pitch materials, enabling me to transfer the written word into music 00:53:40.000 --> 00:53:48.000 poems, names, numbers, and all manner of prose are used to bestow a music composition with significant meaning. 00:53:48.000 --> 00:53:54.000 Beyond the notes that creates a greater sense of engagement on the part of the musicians and listeners alike." 00:53:54.000 --> 00:53:60.000 I don't know entirely what that means. I'm hoping to find out. 00:54:00.000 --> 00:54:06.000 But it sounds really cool and the results are wonderful. 00:54:06.000 --> 00:54:15.000 Dr. Walczyk's scholarly activity includes over 100 commissions including projects for orchestra, band, choir, film, 00:54:15.000 --> 00:54:22.000 various chamber assembles and nearly seven commissioned works for jazz assemble. 00:54:22.000 --> 00:54:30.000 His work has been performed over 200 times regionally, nationally, and internationally in recent years. 00:54:30.000 --> 00:54:36.000 His film underscores have been presented in film festivals throughout North America. 00:54:36.000 --> 00:54:46.000 In his time here at Western, he has been invited to serve as resident guest composer at more than 30 conferences, 00:54:46.000 --> 00:54:55.000 universities, high schools, festivals, and major symphony orchestras organizations in the United States, Japan, and the Ukraine. 00:54:55.000 --> 00:54:61.000 His work can be found in 26 different professional commercial recordings 00:55:01.000 --> 00:55:13.000 It can be heard on OPB, it can be heard on NPR, and I guess if you're in the right location at the right time, radio cultura Moscow. 00:55:13.000 --> 00:55:22.000 He's been involved with composer residencies targeted for young composers and has served as guest composer for 00:55:22.000 --> 00:55:28.000 residents at a number of universities. Students under Dr. Walczyk's tutelage 00:55:28.000 --> 00:55:32.000 have won a wide variety of awards and honors. 00:55:32.000 --> 00:55:40.000 His work is the central subject of three doctoral dissertations and one masters thesis. 00:55:40.000 --> 00:55:48.000 You'd be better served listening to him talk then me talk for the time remaining. I'm going to ceed the floor to Dr. Kevin Walczyk. 00:55:48.000 --> 00:55:50.000 Applause. 00:55:50.000 --> 00:55:62.000 Now to give my thanks, to the Pastega Committee who has to go through a lot of these applications and we all know what committees are like. 00:56:02.000 --> 00:56:08.000 So unless I was the only applicant then you guys probably had a pretty rough time. 00:56:08.000 --> 00:56:17.000 It is indeed an honor to be recognized for this. We have so many incredible faculty members here at Western Oregon University. 00:56:17.000 --> 00:56:25.000 And to be singled out seems a little unfair but I will take it gracefully so thank you. 00:56:25.000 --> 00:56:28.000 Thank you to the Pastega Foundation 00:56:28.000 --> 00:56:40.000 Last time I was here Mario was here so it's a little different not having him here. And just thank you to all my colleagues for their support in what I do. 00:56:40.000 --> 00:56:52.000 Alright you're going to see me dancing back and forth here. I might need your wheelchair later. I don't need that. 00:56:52.000 --> 00:56:61.000 Alright. Twenty one years ago I completed my doctorate in music composition, armed with a wealth of information pertaining to the techniques 00:57:01.000 --> 00:57:09.000 and craft associated with discipline. As a freshly minted barrier of a terminal degree, 00:57:09.000 --> 00:57:17.000 I naturally assumed I possessed all the computational powers in this little box. You know what I mean. 00:57:17.000 --> 00:57:19.000 Laughter. 00:57:19.000 --> 00:57:25.000 All that needed to shape and form and develop my music into genuine expressions of beautiful art. 00:57:25.000 --> 00:57:28.000 In 2005, my tenth year at WOU, 00:57:28.000 --> 00:57:35.000 I invited my primary composition instructor of my graduate school years to serve as guest composer at the WOU composers workshop. 00:57:35.000 --> 00:57:40.000 During her visit, she asked how my composing had changed since graduate school. 00:57:40.000 --> 00:57:46.000 This was not an inquiry I had expected in casual conversation but surprisingly I had an immediate answer for her. 00:57:46.000 --> 00:57:55.000 I had to confess to my composition mentor that my little box didn't have the unlimited processing powers that I mistakingly assumed that a graduate degree would grant. 00:57:55.000 --> 00:57:63.000 I told her that I was introducing more external materials including extra musical materials into my composing process. 00:58:03.000 --> 00:58:08.000 That forced my to be more inventive and more intentional in creating 00:58:08.000 --> 00:58:12.000 music so that the end product, the listening experience, would potentially be more meaningful. 00:58:12.000 --> 00:58:20.000 Over the past twenty years I have increased my use of extra musical materials in my creative process in hopes of providing among other things, 00:58:20.000 --> 00:58:24.000 enhanced listening opportunities, and with your indulgent 00:58:24.000 --> 00:58:26.000 I would like to share a glimpse of that process with you today. 00:58:26.000 --> 00:58:31.000 Scott's already giving you all the answers. 00:58:31.000 --> 00:58:38.000 Musical meaning through absolute or abstract music could be defined as non texted compositions written purely as music. 00:58:38.000 --> 00:58:45.000 And not intended to explicitly represented or illustrate extra musical meaning. It is purely music for music sake. 00:58:45.000 --> 00:58:51.000 Non texted because the addition of lyrics to a musical composition immediately forces the listener to contemplate 00:58:51.000 --> 00:58:55.000 and intended meaning as dictated by the text. 00:58:55.000 --> 00:58:61.000 Let us take a moment to engage in a listening experience of abstract or absolute music 00:59:01.000 --> 00:59:05.000 with the following excerpt and assuming that I have the volume working. 00:59:05.000 --> 00:59:16.000 Music. 00:59:16.000 --> 00:59:28.000 Music. 00:59:28.000 --> 00:59:40.000 Music. 00:59:40.000 --> 00:59:52.000 Music. 00:59:52.000 --> 00:59:54.000 Music. 00:59:54.000 --> 00:59:60.000 Although intense and dramatic this excerpt offers no real compositional insight to help audiences 01:00:00.000 --> 01:00:04.000 engage in a deep listening experience nor is it required. 01:00:04.000 --> 01:00:09.000 The attraction of abstract music is to allow the audience to engage in a piece of music on their own terms, 01:00:09.000 --> 01:00:13.000 not tell them how they are supposed to engage a piece of music. 01:00:13.000 --> 01:00:20.000 I could tell you that the excerpt utilizes symmetrical scales, internal sets, pitch rotations, 01:00:20.000 --> 01:00:28.000 interval cycle, five seven progressions, and developmental procedures based on interval vectors. Big deal. 01:00:28.000 --> 01:00:32.000 Trying to force these abstract concepts on an audience, 01:00:32.000 --> 01:00:38.000 in hopes that they would somehow engage the work on a deeper level, would almost certainly have the opposite intended effect. 01:00:38.000 --> 01:00:45.000 I don't want or necessarily need an astrophysicist perspective when experiencing the beauty of a star filled night. 01:00:45.000 --> 01:00:53.000 Having the laws of physics and chemistry to explain the birth, life, and death of stars, planets, galaxies and other objects in the universe would detract from the moment. 01:00:53.000 --> 01:00:60.000 So too would we leave abstract absolute music to fend for itself in the imaginations of its audience. 01:01:00.000 --> 01:01:05.000 Let us look at the influence of extra musical material, that is source material beyond the realm of music, 01:01:05.000 --> 01:01:09.000 a part from or extra or in addition to music. 01:01:09.000 --> 01:01:14.000 One of the most common techniques is to musically render an extra musical narrative. 01:01:14.000 --> 01:01:17.000 Most commonly referred to as program music. 01:01:17.000 --> 01:01:22.000 The extra musical narrative itself a story, an idea, a character 01:01:22.000 --> 01:01:27.000 might be offered to the audience in the form of program notes or divulged in title itself. 01:01:27.000 --> 01:01:32.000 Inviting a imaginative correlations with the music and thereby creating expanding listening opportunities 01:01:32.000 --> 01:01:36.000 for audiences beyond the purview of abstract or absolute music. 01:01:36.000 --> 01:01:45.000 Well known instrumential examples of narrative music include Copland's Billy the Kid Ballet, Tchaikovsky's Romeo and Juliet, Gershwin's An American in Paris, 01:01:45.000 --> 01:01:50.000 Dukas' the Sorcerer's Apprentice, and Mussorgsky's Night on Bald Mountain. 01:01:50.000 --> 01:01:56.000 In fact the extra musical narrative's of the later two works inspired Disney to create visuals to the narrative music, 01:01:56.000 --> 01:01:60.000 in their 1940's animated movie Fantasia. 01:02:00.000 --> 01:02:04.000 Let us reexamine the music excerpt that you have already experienced 01:02:04.000 --> 01:02:07.000 the Seattle Symphony recording of my work entitled Capriccio. 01:02:07.000 --> 01:02:13.000 Add to the listening equation this time the following extra musical information that may provide you with a different hearing of the work 01:02:13.000 --> 01:02:18.000 and perhaps a more meaningful listening experience. 01:02:18.000 --> 01:02:20.000 Capriccio, the title of this work 01:02:20.000 --> 01:02:28.000 was completed in 1994, marking the 50th anniversary of the allied landings at Normandy, simply referred to as D-Day. 01:02:28.000 --> 01:02:37.000 The works published covered page is a national archives photograph entitled, Ellis T. Landing Vehicles and Cargo, June 1924. 01:02:37.000 --> 01:02:41.000 Furthermore, I have it on good authority that the composer's a World War II buff. 01:02:41.000 --> 01:02:46.000 So placing the work in the context of it's extra musical narrative to D-Day. 01:02:46.000 --> 01:02:51.000 Let us reread the Capriccio excerpt but this time from a new perspective. 01:02:51.000 --> 01:02:60.000 Music. 01:03:00.000 --> 01:03:12.000 Music. 01:03:12.000 --> 01:03:24.000 Music. 01:03:24.000 --> 01:03:36.000 Music. 01:03:36.000 --> 01:03:42.000 Music. 01:03:42.000 --> 01:03:49.000 Adding the brief extra musical narrative to our understanding of the circumstances around which Capriccio was composed helps us to become more engaged in the listening experience 01:03:49.000 --> 01:03:55.000 and contextually equips us to become more readily absorb the dramatic, dissonant, and intense composition techniques employed. 01:03:55.000 --> 01:03:59.000 There is a extra musical reason for why the music is doing what it is doing. 01:03:59.000 --> 01:03:64.000 A reference point from which we can experience listening and a greater engagement, understanding, and meaning 01:04:04.000 --> 01:04:08.000 in the participatory aspect of listening. 01:04:08.000 --> 01:04:11.000 Representative or associative properties 01:04:11.000 --> 01:04:19.000 through the use for example of folk elements or light motifs is another technique composers use to utilize to imbue their works with extra musical meaning. 01:04:19.000 --> 01:04:20.000 For example, 01:04:20.000 --> 01:04:25.000 music. 01:04:25.000 --> 01:04:27.000 What are you laughing at? 01:04:27.000 --> 01:04:29.000 I did not write that. 01:04:29.000 --> 01:04:35.000 Owing to the power that extra musical materials bring to the listening experience, and being a composer who wants the audiences of my music 01:04:35.000 --> 01:04:37.000 to have an engaging listening experience, 01:04:37.000 --> 01:04:42.000 I've looked for ways to expand the application of extra musical resources beyond the narrative. 01:04:42.000 --> 01:04:47.000 Representative and associative processes that have been rather common place for centuries. 01:04:47.000 --> 01:04:53.000 I don't simply want my music to figuratively represent an expression of the extra musical source, 01:04:53.000 --> 01:04:56.000 I want my music to literally become that expression. 01:04:56.000 --> 01:04:64.000 Over the past twenty years, my works have increasingly used a rare technique that I refer to as "extra musical meaning through transformation." 01:05:04.000 --> 01:05:10.000 This is a process in which extra musical expression is converted or transformed literally into a musical expression. 01:05:10.000 --> 01:05:14.000 Equivalent in meaning, but different in expression. 01:05:14.000 --> 01:05:21.000 Let me demonstrate this concept by first reviewing what we've already covered thus far with an excerpt from one of my recent works for wind ensemble. 01:05:21.000 --> 01:05:24.000 In the light of absolute and abstract music. 01:05:24.000 --> 01:05:36.000 Music. 01:05:36.000 --> 01:05:48.000 Music. 01:05:48.000 --> 01:05:59.000 Music. 01:05:59.000 --> 01:05:64.000 The first thing that is heard and subsequently performed through the rest of the excerpt, 01:06:04.000 --> 01:06:07.000 is an application of representative extra musical meaning. 01:06:07.000 --> 01:06:13.000 It represents the protagonist of the piece, Heather, who was musically portrayed 01:06:13.000 --> 01:06:17.000 in this excerpt riding her bike which managed energy. 01:06:17.000 --> 01:06:20.000 A second theme enters a Chinese folk song 01:06:20.000 --> 01:06:22.000 which is juxtaposed to Heather's theme 01:06:22.000 --> 01:06:26.000 A third theme enters a legato and lyrical Vietnamese folk song 01:06:26.000 --> 01:06:29.000 which is juxtaposed to both Heather's theme and the Chinese folk song. 01:06:29.000 --> 01:06:36.000 The two folk songs add a relatively simple associative property to the excerpt. 01:06:36.000 --> 01:06:39.000 Music. Here's the bicycle theme. 01:06:39.000 --> 01:06:44.000 Music. And here's Heather's theme. 01:06:44.000 --> 01:06:48.000 Music. 01:06:48.000 --> 01:06:52.000 And Chinese folk song. Music. 01:06:52.000 --> 01:06:56.000 Music. And the Vietnamese folk song. 01:06:56.000 --> 01:06:68.000 Music. 01:07:08.000 --> 01:07:17.000 Music. 01:07:17.000 --> 01:07:20.000 By giving you even more insight into the composition 01:07:20.000 --> 01:07:28.000 I intend to emotionally draw you into the work in hopes of expanding your listening experience to be significantly more meaningful. 01:07:28.000 --> 01:07:33.000 Unfortunately, I know how this unfolds so I'm having a hard time with this. 01:07:33.000 --> 01:07:40.000 First of all Heather's name brings us to my compositional process of providing extra musical mean to transformation. 01:07:40.000 --> 01:07:48.000 A process by which one expression is converted into another that is equivalent in some certain respect but is differently expressed or represented. 01:07:48.000 --> 01:07:51.000 In this specific case I have taken Heather's name, 01:07:51.000 --> 01:07:55.000 and utilized the sphering process to transform the letters of her name into pitch material. 01:07:55.000 --> 01:07:60.000 In this manner, the theme isn't simply just a representation or an association of Heather, 01:08:00.000 --> 01:08:03.000 but transformed musically states her name. 01:08:03.000 --> 01:08:08.000 Thus, Heather is the musical theme and the musical theme is Heather. 01:08:08.000 --> 01:08:14.000 And recall that the rhythmic properties of the theme's accompaniment inform us that Heather is riding her bike. 01:08:14.000 --> 01:08:20.000 Heather and her husband Phil adopted four children, two from China and two from Vietnam. 01:08:20.000 --> 01:08:25.000 This further solidifies the associative properties of the two folk songs in this passage, Heather and her children. 01:08:25.000 --> 01:08:29.000 But there's more to the story that is woven into the fabric of this composition. A tragic one. 01:08:29.000 --> 01:08:37.000 In the summer of 2009, while training for a triathlon, Heather was struck and killed by an automobile. 01:08:37.000 --> 01:08:42.000 The Chinese folk song representing two of Heather's children is titled White Birds. 01:08:42.000 --> 01:08:46.000 Although the lyrics to this folk song are never sung during the performance of this composition, 01:08:46.000 --> 01:08:51.000 they are never the less poignant and meaningful since they seek to the separation of child and parent. 01:08:51.000 --> 01:08:55.000 Here is a rough translation of the folk song, White Birds. 01:08:55.000 --> 01:08:60.000 A folk of white birds takes up a V formation, come meet me after school. 01:09:00.000 --> 01:09:04.000 Remember to come here, where are you going folk of white birds, come home quick. 01:09:04.000 --> 01:09:06.000 Quick, go home quick. 01:09:06.000 --> 01:09:13.000 All flock of white birds take up a V formation. Come meet me after school so we'll go home together. 01:09:13.000 --> 01:09:16.000 Remember to come here I'm not going for a walk. 01:09:16.000 --> 01:09:21.000 White birds flying in all directions, white birds flying in all directions. 01:09:21.000 --> 01:09:25.000 The Vietnamese folk song titled, Oh my beloved stay with me, 01:09:25.000 --> 01:09:30.000 was also selected because of its poignant extra musical meaning because of its separation of parent and child. 01:09:30.000 --> 01:09:32.000 The lyrics read: 01:09:32.000 --> 01:09:35.000 Oh my beloved stay with me do not go home. 01:09:35.000 --> 01:09:37.000 You are leaving and it makes me weep inside. 01:09:37.000 --> 01:09:44.000 And my dress is wet with tears on both sides as if it had rained. Oh my beloved stay with me do not go home. 01:09:44.000 --> 01:09:46.000 I still watch you leaving until I lose sight of you. 01:09:46.000 --> 01:09:52.000 And I am watching water flowing as I am watching a water fern drifting hopelessly. 01:09:52.000 --> 01:09:56.000 Oh my beloved stay with me do not go home. 01:09:56.000 --> 01:09:63.000 The water fern from verse two is a type of plant which grows and lives in the ponds and rivers in Southeast Asia. 01:10:03.000 --> 01:10:06.000 The Vietnamese people talk about watching water flowing 01:10:06.000 --> 01:10:11.000 and watching these plants drifting 01:10:11.000 --> 01:10:17.000 Empowered by the knowledge of each folk songs text, even when they are not explicitly stated in the composition, 01:10:17.000 --> 01:10:21.000 Brings an even greater extra musical meaning to the listener of this work. 01:10:21.000 --> 01:10:25.000 Though these texts speak of separation of parent and child, 01:10:25.000 --> 01:10:29.000 I am allowed to create in this one brief section of the composition 01:10:29.000 --> 01:10:33.000 a musical moment in which Heather is reunited with her children. 01:10:33.000 --> 01:10:35.000 All be it musically. 01:10:35.000 --> 01:10:39.000 This is of course accomplished by allowing Heather's theme through transformation 01:10:39.000 --> 01:10:43.000 and the two folks songs representing her adopted children, 01:10:43.000 --> 01:10:48.000 through representation and association, to coexist in a contrapuntal and harmonic manner 01:10:48.000 --> 01:10:51.000 that music so elegantly offers the listener. 01:10:51.000 --> 01:10:56.000 Armed with this extra musical knowledge, I represent to you a hopefully more 01:10:56.000 --> 01:10:61.000 meaningful and expanded listening opportunity of this excerpt from my work entitled, From Glory to Glory. 01:11:01.000 --> 01:11:04.000 Please note that this recording is conducted by Ray Kramer. 01:11:04.000 --> 01:11:10.000 Director of bands and merits and more importantly Heather's father. 01:11:10.000 --> 01:11:20.000 Music. 01:11:20.000 --> 01:11:32.000 Music. 01:11:32.000 --> 01:11:44.000 Music. 01:11:44.000 --> 01:11:52.000 Music. 01:11:52.000 --> 01:11:55.000 Two years ago, 01:11:55.000 --> 01:11:60.000 I started a collaboration with one of my colleagues Dr. Diane Baxter 01:12:00.000 --> 01:12:04.000 our resident awesome pianist. 01:12:04.000 --> 01:12:08.000 And her sidekick the other awesome pianist Jackie Murley. 01:12:08.000 --> 01:12:15.000 Diane's the tall one. 01:12:15.000 --> 01:12:21.000 And I asked Diane to give me a couple of her favorite poems. She loves poetry. 01:12:21.000 --> 01:12:26.000 And she just happens to be married to a poet so I asked her for some poems including some from her husband Paul. 01:12:26.000 --> 01:12:30.000 And she brought about eight poems to me. 01:12:30.000 --> 01:12:38.000 And all of them were fantastic but one of them really fit the bill for what we needed to do for an upcoming performance. 01:12:38.000 --> 01:12:45.000 And fortunately, it was one of Paul's poems. Paul's here but he doesn't want to read his poem. Paul says: That's why I wrote it. 01:12:45.000 --> 01:12:47.000 Laughter. 01:12:47.000 --> 01:12:55.000 Yeah yeah. And so I would like Diane to come up here and read the poem. I'll put it up here on the wall, I know you guys can read 01:12:56.000 --> 01:12:61.000 but it's part of the extra musical aspect. 01:13:01.000 --> 01:13:08.000 Reading poem. 01:13:08.000 --> 01:13:19.000 Reading poem. 01:13:19.000 --> 01:13:25.000 Reading poem. 01:13:25.000 --> 01:13:28.000 Reading poem. 01:13:28.000 --> 01:13:33.000 Now I know a lot of you don't read music, that's okay you don't need to. 01:13:33.000 --> 01:13:42.000 But what I want to do is just kind of you give you an insight to the way I process these musical 01:13:42.000 --> 01:13:49.000 aspects. So chicken scratches here we are. You wanted to know. 01:13:49.000 --> 01:13:52.000 So what I do is this. I have 01:13:52.000 --> 01:13:56.000 I always put the poem up on my sketch paper here, 01:13:56.000 --> 01:13:61.000 and as Scott said I have a sphering system, it's not that technical. 01:14:01.000 --> 01:14:03.000 Trust me, it's not that technical. 01:14:03.000 --> 01:14:08.000 And so what happens is what you see here in the green 01:14:08.000 --> 01:14:12.000 I have the title of the poem, Goodbye Too Soon. 01:14:12.000 --> 01:14:17.000 And each of these letters have been cyphered into a musical pitch which shows here. 01:14:17.000 --> 01:14:23.000 Now I have three different ways of doing that because it allows me to be more creative and gives me more options. 01:14:23.000 --> 01:14:38.000 And so I've simply labelled these all alpha, beta, gamma, so there's the first cypher the alpha cypher, the beta cypher, and the gamma cyber. And then I have to somehow make music out of this. 01:14:38.000 --> 01:14:45.000 So the green is important because you're going to be following along with the piece and any time I reference 01:14:45.000 --> 01:14:49.000 the title, a Goodbye Too Soon, it will be in green. 01:14:49.000 --> 01:14:56.000 So, I'm going to go out a little bit so you can see the whole sketch paper here. 01:14:56.000 --> 01:14:62.000 All the chicken scratches. So what you're going to see here so this is where I actually start sketching the actual music. 01:15:02.000 --> 01:15:09.000 And anything that's in green and we'll focus in a little closer in a moment here. 01:15:09.000 --> 01:15:23.000 Is music that was derived from these pitch collections. So now I'm going to sneak in a little closer here and try and get to Diane's piano part. Now you'll see here 01:15:24.000 --> 01:15:30.000 a Goodbye Too Soon. 01:15:30.000 --> 01:15:41.000 And basically you'll hear this a recording with Diane playing the piano and her very first entrance is stating the title of the poem. 01:15:41.000 --> 01:15:44.000 And all the harmony behind her in the strings 01:15:44.000 --> 01:15:53.000 are also harmonies that are derived from the pitch collections in green over here which is a Goodbye Too Soon. 01:15:53.000 --> 01:15:62.000 The first line of the text and by the way a Goodbye Too Soon with the exception of being it's title never appears in the body of the poetry itself. 01:16:02.000 --> 01:16:10.000 But as a composer, I can mess with Paul's poem, he didn't know this. Now he does. I'm in trouble, this is for not coming up here and reading your poem. 01:16:10.000 --> 01:16:17.000 So I can bring those materials back, it just makes musical sense because it brings 01:16:17.000 --> 01:16:22.000 motivic material back throughout the performing of the work. 01:16:22.000 --> 01:16:27.000 The first line of the poem is it rained today, so I have that over here. 01:16:28.000 --> 01:16:32.000 This is important that it is in this type of orange color. 01:16:32.000 --> 01:16:35.000 You're going to have to track that later for those of you who don't read music. 01:16:35.000 --> 01:16:42.000 And this is the three cyphers of it rained today. 01:16:42.000 --> 01:16:44.000 Pretty tricky huh? 01:16:44.000 --> 01:16:53.000 Not really. And then in measure sixteen of the work you can actually follow the poem as it works itself out melodically. 01:16:53.000 --> 01:16:63.000 So these three notes, it rained and then comes the upper strings, today is in the cello. 01:17:03.000 --> 01:17:07.000 Meanwhile, Diane is playing a Goodbye Too Soon. 01:17:08.000 --> 01:17:12.000 So I can kind of do whatever I want contrapuntally 01:17:12.000 --> 01:17:17.000 with the words and the text of the prose. 01:17:17.000 --> 01:17:24.000 And allow the actual text and the notes associated with that to become the music. So in other words, 01:17:24.000 --> 01:17:28.000 The poetry has now become the musical expression, it has now become trasnformed 01:17:28.000 --> 01:17:33.000 into a musical expression rather than a literary expression. 01:17:33.000 --> 01:17:36.000 So what I'll do is after I 01:17:36.000 --> 01:17:40.000 reference all these notes I'm sitting at the piano dealing with all of these things. 01:17:40.000 --> 01:17:44.000 I look for the ones that have 01:17:44.000 --> 01:17:50.000 I have to try and underscore the emotional intent of whatever it is I'm doing, whatever extra musical 01:17:50.000 --> 01:17:60.000 aspect that I'm working with. In this case this is a poem about a death so I want this to be a sad piece of music, a very emotional piece of music. 01:18:00.000 --> 01:18:07.000 So I go through these, play them, look for combinations, I'll try to make choral sonorities out of them, and I'll asterisk the ones I really like. 01:18:08.000 --> 01:18:14.000 And what you'll do and we'll probably see this on the next page that I want to look at, 01:18:14.000 --> 01:18:19.000 the way that I'll reference them in my sketches because I'm not brilliant I have to write everything down, 01:18:19.000 --> 01:18:26.000 I'll put a Goodbye Too Soon and I might put the alpha or the beta. And I can use transpositions of these things 01:18:26.000 --> 01:18:35.000 for this piece I think I pretty much stuck to right where its at. Because I have access to all the chromatic pitches 01:18:35.000 --> 01:18:41.000 transformation into pitch material here. So I'm going to go down to page four here don't 01:18:41.000 --> 01:18:44.000 worry about what you're seeing there. 01:18:44.000 --> 01:18:48.000 Purple just means that this is 01:18:48.000 --> 01:18:52.000 the body of the prose, it does not get repeated later in the work. 01:18:52.000 --> 01:18:56.000 So the reason it rained today is different 01:18:56.000 --> 01:18:61.000 than purple is because I bring that back later in the work actually quite a bit throughout the work. 01:19:01.000 --> 01:19:04.000 But the purple stuff just 01:19:04.000 --> 01:19:07.000 stays in its one little section and then I move onto the poetry. 01:19:07.000 --> 01:19:12.000 So here it is again, and it rained a long hard pelting rain and since someone asked about it, 01:19:12.000 --> 01:19:16.000 she's going to ask about this dotted square box I'm sure. 01:19:16.000 --> 01:19:24.000 It's just telling me as I'm looking at this that there's repetition in the poetry therefore there could be melodic repetition that I could need to be aware of 01:19:24.000 --> 01:19:26.000 to bring out in the piece itself. 01:19:26.000 --> 01:19:37.000 So connecting the poetry with the music transformation is something I look for as I do that. So let me go out a little bit. 01:19:37.000 --> 01:19:40.000 So here's a whole section that is devoted to 01:19:40.000 --> 01:19:44.000 this prose right here, and it rained a long hard pelting rain 01:19:44.000 --> 01:19:49.000 and I added the word today. Sorry Paul. 01:19:49.000 --> 01:19:57.000 Just because for musical reasons it allows me to finish off a phrase or again to bring back the word today which might be a 01:19:57.000 --> 01:19:62.000 cordial credential pattern that becomes familiar throughout the work. 01:20:02.000 --> 01:20:08.000 So I take a few liberties with your poetry but I didn't change anything, spelling or anything hopefully. 01:20:08.000 --> 01:20:18.000 So here these four measures right in here it says, I got to scroll over. 01:20:18.000 --> 01:20:25.000 It says and it rained and then there's a little alpha there. So that means that all that material right there 01:20:25.000 --> 01:20:31.000 is generated from the alpha version of and it rained. So these notes right here. 01:20:32.000 --> 01:20:36.000 All of that is used right here. 01:20:36.000 --> 01:20:40.000 And then it continues here's A, which is this A line. 01:20:40.000 --> 01:20:46.000 A long hard pelting so a long, this is all the word long musically. 01:20:46.000 --> 01:20:54.000 Hard, and then it has to go up here, pelting for the first four beats and then rain is on beat five here. 01:20:57.000 --> 01:20:59.000 And then it just continues that way. 01:20:59.000 --> 01:20:64.000 And then again I repeat long hard pelting rain, musically I can do that. 01:21:04.000 --> 01:21:11.000 Paul. Again because it provides repetition and music likes to have reputation. 01:21:11.000 --> 01:21:18.000 So here it is long hard and then it says copy measure 59 which says pelting rain. 01:21:18.000 --> 01:21:20.000 And then I added the word today here. 01:21:20.000 --> 01:21:30.000 Okay? So oh one last thing Paul. So I decided I needed to, I got to get to the bottom here, 01:21:30.000 --> 01:21:32.000 I wanted to 01:21:32.000 --> 01:21:37.000 add Paul's signature to this piece at the end. So I took his name Paul Baxter 01:21:37.000 --> 01:21:41.000 and I cyphered it and wouldn't you know 01:21:41.000 --> 01:21:46.000 he's got every single note of the words A Goodbye Too Soon. 01:21:46.000 --> 01:21:51.000 This work is currently being 01:21:51.000 --> 01:21:56.000 finishing its mixed process and will be mastered soon. It is a recording of 01:21:56.000 --> 01:21:65.000 Diane Baxter on piano and a group of seventeen musicians from the Boston Symphony, The New York Philharmonic, the National Symphony, 01:22:05.000 --> 01:22:09.000 the London Symphony Orchestra, a group of seventeen string players. And she recorded this 01:22:09.000 --> 01:22:12.000 in Boston last October. 01:22:12.000 --> 01:22:16.000 So Diane Baxter and the Parma Chamber Orchestra. 01:22:16.000 --> 01:22:20.000 Music. 01:22:20.000 --> 01:22:32.000 Music. 01:22:32.000 --> 01:22:44.000 Music. 01:22:44.000 --> 01:22:56.000 Music. 01:22:56.000 --> 01:22:60.000 Music. 01:23:00.000 --> 01:23:12.000 Music. 01:23:12.000 --> 01:23:16.000 Music. 01:23:16.000 --> 01:23:28.000 Music. 01:23:28.000 --> 01:23:32.000 Music. 01:23:32.000 --> 01:23:36.000 Music. 01:23:36.000 --> 01:23:40.000 Music 01:23:40.000 --> 01:23:52.000 Music. 01:23:52.000 --> 01:23:64.000 Music. 01:24:04.000 --> 01:24:16.000 Music. 01:24:16.000 --> 01:24:28.000 Music. 01:24:28.000 --> 01:24:32.000 Music. 01:24:32.000 --> 01:24:44.000 Music. 01:24:44.000 --> 01:24:56.000 Music. 01:24:56.000 --> 01:24:68.000 Music. 01:25:08.000 --> 01:25:20.000 Music. 01:25:20.000 --> 01:25:32.000 Music. 01:25:32.000 --> 01:25:44.000 Music. 01:25:44.000 --> 01:25:56.000 Music. 01:25:56.000 --> 01:25:68.000 Music. 01:26:08.000 --> 01:26:20.000 Music. 01:26:20.000 --> 01:26:32.000 Music. 01:26:32.000 --> 01:26:44.000 Music. 01:26:44.000 --> 01:26:56.000 Music. 01:26:56.000 --> 01:26:68.000 Music. 01:27:08.000 --> 01:27:20.000 Music. 01:27:20.000 --> 01:27:32.000 Music. 01:27:32.000 --> 01:27:44.000 Music. 01:27:44.000 --> 01:27:56.000 Music. 01:27:56.000 --> 01:27:68.000 Music. 01:28:08.000 --> 01:28:20.000 Music. 01:28:20.000 --> 01:28:32.000 Music. 01:28:32.000 --> 01:28:44.000 Music. 01:28:44.000 --> 01:28:56.000 Music. 01:28:56.000 --> 01:28:68.000 Music. 01:29:08.000 --> 01:29:20.000 Music. 01:29:20.000 --> 01:29:32.000 Music. 01:29:32.000 --> 01:29:44.000 Music. 01:29:44.000 --> 01:29:56.000 Music. 01:29:56.000 --> 01:29:68.000 Music. 01:30:08.000 --> 01:30:20.000 Music. 01:30:20.000 --> 01:30:32.000 Music. 01:30:32.000 --> 01:30:44.000 Music. 01:30:44.000 --> 01:30:56.000 Music. 01:31:02.000 --> 01:31:04.000 Applause. 01:31:04.000 --> 01:31:08.000 Applause. 01:31:08.000 --> 01:31:14.000 Just a privilege for me to be among our award winners and such 01:31:14.000 --> 01:31:24.000 talent, life experience, and brilliance truly. I've really enjoyed this afternoon. 01:31:24.000 --> 01:31:29.000 Thank you so much. 01:31:29.000 --> 01:31:39.000 I haven't played a musical instrument for fifty years, roughly fifty, but I used to play and I used to read music. 01:31:39.000 --> 01:31:47.000 And I've never seen like a score and variety of instruments, that was always in the conductor's world. 01:31:47.000 --> 01:31:54.000 So it was very interesting to see the music go across and the different pieces placing. So I really enjoyed that thank you. 01:31:54.000 --> 01:31:62.000 Today we are here to celebrate this year's Mario and Alma Pastega 01:32:02.000 --> 01:32:08.000 Excellence Awards for teaching and scholarship. 01:32:08.000 --> 01:32:15.000 And I look back on the last page at past recipients and 01:32:15.000 --> 01:32:24.000 I must say that there's some sadness that I'm up here today because this will be my last year as your president. 01:32:24.000 --> 01:32:28.000 I look back in the year that I came which was 2005. 01:32:28.000 --> 01:32:32.000 And it was April of 2005 and one of the 01:32:32.000 --> 01:32:40.000 really significant events I attended was the Mario and Alma Pastega Award Ceremony. 01:32:40.000 --> 01:32:48.000 Where in 2005, Diane Baxter was awarded the Excellence in Teaching Award. 01:32:48.000 --> 01:32:56.000 And Rob Winningham was awarded the Excellence in Scholarship Award and I remember those very well. 01:32:56.000 --> 01:32:65.000 So my congratulations to Maureen Dolan and Kevin Walczyk 01:33:05.000 --> 01:33:12.000 I really appreciated the presentations today, well deserved honors. 01:33:14.000 --> 01:33:20.000 I really want to also thank the faculty 01:33:20.000 --> 01:33:25.000 awards committee which this year is Tom Bergeron, David Dollinger, and 01:33:25.000 --> 01:33:32.000 Katherine Schmidt who are or were here with us today. 01:33:32.000 --> 01:33:41.000 I want to recall Mario's annual visit here to campus because I remember it very very well. 01:33:41.000 --> 01:33:47.000 He would always say, "Coming to Western is like coming back home." 01:33:47.000 --> 01:33:54.000 And Tove thank you for being here today, Tove Spencer who was the 01:33:54.000 --> 01:33:64.000 Mario's right hand person always and I know the two of you worked so well together. 01:34:04.000 --> 01:34:08.000 I appreciate seeing you today, particularly in his absence. 01:34:08.000 --> 01:34:17.000 So he used to love coming back to Western for sure and there's one quote that 01:34:17.000 --> 01:34:28.000 I love to and have said before I've quoted him before and I want to do it again. To quote Mario our benefactor, 01:34:28.000 --> 01:34:40.000 to this university who has really made this annual occurrence a tradition, part of the culture of Western Oregon University. 01:34:40.000 --> 01:34:44.000 That's the awards for our faculty. 01:34:44.000 --> 01:34:57.000 So to quote Mario about coming home he said, "One hundred years from now it won't matter how much wealth we had or how much prestige. 01:34:57.000 --> 01:34:64.000 But if along our path of life we give a helping hand to fellow human beings it will make a difference." 01:35:04.000 --> 01:35:15.000 And indeed his generosity to Western has made a difference and certainly the generosity of our two award winners today 01:35:15.000 --> 01:35:22.000 and make a difference in the lives of our students. So thank you very much for being here, I'm delighted to be a part of it. 01:35:22.000 --> 01:35:32.000 Applause.