usc thornton tour

USC Thornton Chamber Virtuosi

Chamber ensemble.

Sunday Concert

In-Person Sold Out. Livestream Tickets Available. / Online / In-Person

Claudio Monteverdi (1567 - 1643) L’Orfeo, SV 318, Act II: Possente Spirto

Krzysztof Penderecki (1933 - 2020) Ciaccona for violin and viola

Jeffrey Mumford (b. 1955) four dances for Boris for solo piano

Zoltan Kodaly (1882-1967) Duo for violin and cello, Op. 7 I. Allegro serioso, non troppo

Errollyn Wallen (b. 1958) Five Postcards for violin and viola III. Intense IV. Soulful V. Vigorous

Intermission

Florence Price (1887-1953) Piano Quintet in A minor I. Allegro non troppo II. Andante con moto III. Juba IV. Scherzo

The USC Thornton Chamber Virtuosi , the premier chamber music ensemble of the University of Southern California Thornton School of Music, features USC students and emerging professional artists Evan Llafet, violin and tenor, Nico Valencia , viola, and Cameron Akioka , piano, performing alongside faculty members Lina Bahn , violin, and Seth Parker Woods , cello. Steeped in the distinguished history of artistic and innovative excellence at USC Thornton, this touring ensemble provides valuable experience for emerging artists to perform ambituous programs of new works and beloved chamber repertoire alongside established musicians.

Their exemplary program at the Phillips includes Florence Price’s Piano Quintet in A minor, Krzysztof Penderecki’s Ciaccona for violin and viola, Jeffrey Mumford’s four dances for Boris for solo piano, Zoltán Kodály’s Duo for violin and cello, and Errollyn Wallen’s Five Postcards for violin and viola.

This event will be broadcast live from the Music Room on April 21 at 4pm. To reserve a ticket, follow the link above to register. All registered ticket holders will receive a link directing them to a livestream webpage where the performance can be accessed. Ticket holders will be able to watch this performance “On Demand” for 48 hours following the broadcast time.

About Seth Parker Woods

Hailed by  The Guardian  as “a cellist of power and grace” who possesses “mature artistry and willingness to go to the brink,” GRAMMY-nominated cellist Seth Parker Woods has established his reputation as a versatile artist and innovator across multiple genres. His projects delve deep into our cultural fabric, reimagining traditional works and commissioning new ones to propel classical music into the future, inspiring  The New York Times  to write, “Woods is an artist rooted in classical music, but whose cello is a vehicle that takes him, and his concertgoers, on wide-ranging journeys.” He is a recipient of the 2022 Chamber Music America Michael Jaffee Visionary Award. In the 2022-2023 season, Woods premieres a new version of his evening-length, multimedia tour de force Difficult Grace at 92Y, UCLA, and Chicago’s Harris Theater; curates and performs a program honoring the centennial of composer George Walker at The Phillips Collection in Washington D.C.; premieres Freida Abtan’s  My Heart is a River,  commissioned by the Seattle Symphony; and performs a world premiere by Anna Thorvaldsdottir at Carnegie Hall as part of Claire Chase’s Density Series. The Great Northern Festival in Minneapolis will present Woods in his critically acclaimed performance installation, Iced Bodies, in which Woods, in a wetsuit, plays an obsidian ice cello. Woods is also a member of celebrated new music ensemble Wild Up, with whom he is nominated for a 2023 Grammy Award .  Recital appearances this season include concerts with pianist Andrew Rosenblum at Dumbarton Oaks in D.C., Boston's Isabella Gardner Museum, and The Wallis Annenberg Center in Beverly Hills, and a return to his former home Brussels for a solo recital at Das Haus. He also tours to Washington Performing Arts, Krannert Center, Stanford Live, California Center for the Arts, Count Basie Center for the Arts, Auburn University, and Emory University with the Chad Lawson Trio. In addition, Woods will hold residencies at Montclair State University and Oberlin Conservatory. The season will also see the release of a new solo album on Cedille Records and the soundtrack of the PBS documentary The U.S. and the Holocaust – a film by Ken Burns, Lynn Novick, and Sarah Botstein – to which Woods contributed. In addition to solo performances, he has appeared with the ICTUS Ensemble (Brussels, BE), Ensemble L’Arsenale (IT), zone Experimental (CH), Basel Sinfonietta (CH), Ensemble LPR, Orchestra of St. Luke’s, the Atlanta and Seattle Symphonies, and in chamber music with violinist Hilary Hahn and pianist Andreas Haefliger. A fierce advocate for contemporary arts, Woods has collaborated and worked with a wide range of artists ranging from the likes of Louis Andriessen, Elliott Carter, Heinz Holliger, G. F. Haas, Helmut Lachenmann, Klaus Lang, and Peter Eötvos to Peter Gabriel, Sting, Lou Reed, Dame Shirley Bassey, and Rachael Yamagata to such visual artists as Ron Athey, Vanessa Beecroft, Jack Early, Adam Pendleton, and Aldo Tambellini. In the 2021-2022 season, he premiered concertos by Rebecca Saunders and Tyshawn Sorey. In recent years, Woods has appeared in concert at the Royal Albert Hall – BBC Proms, Aspen Music Festival, Ojai Festival, Snape Maltings Festival, the Ghent Festival, Washington Performing Arts, Strathmore, Musée d’art Moderne et Contemporain, Le Poisson Rougel, Cafe OTO, Huddersfield Contemporary Music Festival, Klang Festival-Durham, INTER/ actions Symposium, ICMC-SMS Conference (Athens, GR), NIME-London, Sound and Body Festival, Instalakcje Festival, Virginia Tech, La Salle College (Singapore), and FINDARS (Malaysia), amongst others. Recent awards include a DCASE artist grant, Earle Brown/ Morton Feldman Foundation Grant, McGill University-CIRMMT/IDMIL Visiting Researcher Residency, Centre Intermondes Artist Residency, Francis Chagrin Award, Concours [Re]connaissance-Premiere Prix, and the Paul Sacher Stiftung Research Scholarship. His debut solo album,  asinglewordisnotenough  (Confront Recordings-London), has garnered great acclaim since its release in November 2016 and has been profiled in  The New York Times, Chicago Tribune, LA Times, and The Guardian,  among others. In April 2023, Woods releases the world premiere recording of Difficult Grace on Cedille Records. He was nominated for a 2023 Grammy Award for Best Orchestral Performance as a soloist in Wild Up’s recording,  Julius Eastman Vol. 2: Joy Boy  on New Amsterdam Records (2022). Woods recently joined the faculty of the Thornton School of Music at The University of Southern California as Assistant Professor of Practice - Cello and Chamber Music. He previously served on the faculties of the University at Buffalo, University of Chicago, Dartmouth College, and the Chicago Academy of the Arts and as Artist in Residence at the University of Miami’s Frost School of Music and Northwestern University - Center for New Music. Woods holds degrees from Brooklyn College, Musik Akademie der Stadt Basel, and a PhD from the University of Huddersfield. In the 2020-21 season, he was an Artist in Residence with the Kaufman Music Center, and from 2018-2020 he served as Artist in Residence with Seattle Symphony and Creative Consultant for the interactive concert hall, Octave 9: Raisbeck Music Center. Seth Parker Woods is a Pirastro Artist and endorses Pirastro Perpetual Strings worldwide.

About Lina Bahn

Lina Bahn is a violinist who has a keen interest in collaborative and innovative repertoire, and has been called “brilliant” and “lyrical” by the Washington Post. Her most recent publication of  Mean Fiddle Summer  on the Naxos Label was hailed by the ClevelandClassical.com, “From start to finish, the violinist demonstrates her adroit technical facility, kaleidoscope of colors, and consummate musical taste.”

As a committed educator, she was on the faculty at the University of Colorado-Boulder from 2008-2015, and has taught masterclasses and lessons throughout the world, including those at the Yong Siew Toh Conservatory in Singapore, the Sydney Conservatory, Hong Kong University, Renmin University in Beijing, The Glenn Gould School at the Royal Conservatory of Music, among others.  She was on the faculty of the Sierra Summer Academy of Music from 2001-2013, the Institute of the Palazzo Rucellai in Florence, Italy, Green Mountain Chamber Music Summer Festival, the Borromeo Music Festival, the Mostly Modern Festival, and the Atlantic Music Festival. Currently, she teaches at the Thornton School of Music at the University of Southern California in Los Angeles.

Intrigued by the relationship between art and social context, Bahn is one of four founding members of MoVE (Modern Violin Ensemble modernviolinensemble.org). MoVE is an innovative quartet of four violinists, committed to commissioning music and starting a canon of repertoire for this relatively unknown instrumentation. Along with MoVE, she has collaborated with cellist Matt Haimovitz to produce a program dedicated to ocean/water awareness at the National Gallery of Art.

Lina Bahn was a member of the award-winning Corigliano Quartet, which held prestigious residency posts at The Juilliard School, Indiana University and Dickinson College, as well as on summer faculty at Madeline Island Chamber Music Festival, Marrowstone, Canandaigua Chamber Festival, and the Chicago Suzuki Institute. The quartet’s performances have brought them to such venues as The Library of Congress, Alice Tully Hall, Ravinia Festival, Corcoran Gallery, Phillips Collection, Carnegie Hall, and the Library of Congress, and earned them the ASCAP/CMA Award for Adventurous Programming. In 2007, their Naxos Records recording of quartets by John Corigliano and Jefferson Friedman was selected by The New Yorker magazine as one of the year’s “Best 10 Recordings.” The Corigliano Quartet was lauded by the  Strad Magazine  for their “abundant commitment and mastery”, and praised as “musicians who seem to say ‘listen to this!'” by the New York Times. They have been broadcast on NPR’s  Performance Today ,  All Things Considered , and  Backstage Pass,  Chicago’s WFMT’s  Live From Studio One,  and can be heard on the Albany, CRI, Naxos, and Bayer Labels.

Chamber music performances have included recitals and concerts in festivals such as the Oregon Bach Festival, the Costa Rican International Chamber Festival, the Sierra Summer Festival, the Grand Canyon Music Festival, the Garth Newel Music Series, and the  Festival de Música de Cámara de San Miguel de Allende,  and Music on the Hill in Rhode Island.  In the spring of 2010, she was on tour with the Takacs Quartet, performing at Carnegie Hall, the Southbank Centre, Concertgebouw, and the Mariinsky Theater.  From 1992-1994 she toured extensively throughout Chile with the Bahn-Mahave-Browne piano trio as a recipient of national grants to teach and perform.  In 2005, their piano trio was selected to perform for the president of Chile and the King of Indonesia, in Kuala Lumpuur. 

In Washington, D.C., Lina Bahn was the Executive Director and violinist with the VERGE Ensemble for fourteen years, while it was the resident ensemble of the Corcoran Gallery of Art. The VERGE Ensemble performed in Paris, New York, Cleveland, at the  Livewire Festival  (UMBC) and  Third Practice Festival  (Richmond), University of Virginia, and was the resident ensemble for the  June in Buffalo Festival  in 2009.  They have performed at Le Poisson Rouge, The Issue Project Room, and the National Museum of American Indians.  She is was a member of the National Gallery New Music Ensemble of the Smithsonian in 2010, which gave its inaugural performance in the East Wing, performing works of Xenakis, Antosca, and a premiere by Roger Reynolds. The National Gallery Ensemble participated in the  2012 Washington D.C. John Cage Centennial Festival , with performances at the East Wing, the NGA Auditorium, and at the Maison Française of the French Embassy.  These included premieres of composers Christian Wolff, Beat Furrer, Robert Ashley, and George Lewis.

As a soloist, she has made appearances with the Chicago Chamber Orchestra, The Chicago Symphony Orchestra,  La Orquesta Sinfonica de la Serena  (Chile), and the Malaysian National Symphony Orchestra, the Fort Collins Symphony, and Pro Musica Colorado Chamber Orchestra. Solo recitals include those at the Phillips Collection, The Stone, Issue Project Room, and at The Corcoran Gallery of Art.  She has commissioned numerous new and arranged works including those by Benjamin Broening, Ken Ueno, Dan Visconti, Jeffrey Mumford, Adam Silverman, Steve Antosca, Keith Fitch, Daniel Wohl, Pamela Z, Morton Subotnick, Daniel Kellogg, among others.  

Lina Bahn studied with Dorothy DeLay at the Juilliard School for her undergraduate degree. She completed her Masters degree as the recipient of the Jane Bryant Fellowship Award under the tutelage of Paul Kantor.  Her Doctorate in Music is from Indiana University, where she was an Associate Instructor and studied with Miriam Fried and Paul Biss. Her early training in Chicago started with Lillian Schaber and she finished her high school years under the guidance of Roland and Almita Vamos.   

Watch & Listen

Upcoming concerts.

Undergraduate Degrees

Graduate degrees.

• Courses of Instruction    

Master’s student Klara Krklec in front of The Theatre at Ace Hotel in downtown Los Angeles. Photo by Ben Gibbs/USC.

Since its founding in 1884, the USC Thornton School of Music has become the center of higher education in music in the western United States and is among the top schools of music in the nation. Situated in the heart of the vital musical life of Los Angeles, USC Thornton brings together a distinguished faculty and gifted students from around the world. It is in this wonderfully diverse cultural milieu that students are offered instruction in virtually all professional and scholarly branches of music, including instrumental and vocal performance, jazz, popular music performance, music production, early music, composition, screen scoring, music industry, musicology, music teaching and learning, arts leadership, pedagogy, choral and sacred music, conducting and opera. In addition to its major programs, USC Thornton also offers a wide array of music minors and general interest courses for students majoring in other disciplines.

The USC Thornton Symphony, Chamber Choir, Concert Choir, Opera, Wind Ensemble, Popular Music Ensembles, Songwriter Showcases, Jazz Orchestra, Contemporary Music Ensemble, Early Music Ensemble and a wide variety of large and small choral and instrumental ensembles offer students a broad performing experience. More than 500 formal and informal concerts and recitals are presented on campus each year and the school regularly presents eminent visiting artists and scholars in master classes, workshops, lectures, seminars and in performance.

Los Angeles is the home of numerous musical organizations whose performances contribute immeasurably to the cultural life of the region, and is also the home of the nation’s major recording, radio, film and television industries. All offer abundant opportunities to the serious young music professional.

Music Student Affairs

The Music Complex 200 (213) 740-4721 Email: [email protected] Associate Dean: Phillip Placenti

Music Admission

The Music Complex 200 (213) 740-8986 Email: [email protected] Associate Dean: Phillip Placenti

Arts Leadership

Music Faculty Building 402 (213) 740-1895 Director:  Kenneth Foster

Choral Music

Music Faculty Building 416 (213) 821-5756 Chair:  Cristian Grases

Classical Guitar

Ramo Hall of Music 112 (213) 740-7702 Chair:  Scott Tennant

Composition

Music Faculty Building 308 (213) 740-7416 Chair: Donald Crockett

Music Faculty Building 308 (213) 740-7416 Chair: Larry Livingston

Jazz Studies

The Music Complex 118 (213) 740-3119 Chair: Bob Mintzer

Keyboard Collaborative Arts

Ramo Hall of Music 112 (213) 740-7703 Director: Alan Smith

Keyboard Studies

Ramo Hall of Music 112 (213) 740-7703 Chair: Alan Smith

Music Faculty Building 308 (213) 740-7416 Chair: Bruce Brown

Music Teaching and Learning

Music Faculty Building 402 (213) 740-6935 Chair:  Beatriz Ilari

Music Industry

The Music Complex 118 (213) 740-3224 Email: [email protected] Chair:  Michael Garcia

Music Technology

The Music Complex 118 (213) 740-3224 Chair: Richard Schmunk

Ramo Hall of Music 112 (213) 740-7703 Director: Ladd Thomas

Popular Music Performance

The Music Complex 118 (213) 740-3244 Chair: Patrice Rushen

Screen Scoring

The Music Complex 118 (213) 821-4192 Email: [email protected] Director: Daniel Carlin

Ramo Hall of Music 112 (213) 740-7702 Chair: Ralph Kirshbaum

Studio Guitar

The Music Complex 118 (213) 740-3224 Chair:  Nick Stoubis

Ramo Hall of Music 112 (213) 740-7704 Chair: Lisa Sylvester

Winds and Percussion

Music Faculty Building 308 (213) 740-7416 Chair:  Joel Timm

All departments may be reached by writing to:

USC Thornton School of Music Music Faculty Building Los Angeles, CA 90089-0851 FAX: (213) 740-3217 email: [email protected] music.usc.edu

Administration

Robert A. Cutietta, DEd, Dean

Daniel Carlin, MM,  Vice Dean, Division of Contemporary Music

Lucinda Carver, DMA, Vice Dean, Division of Classical Performance Studies

Joanna Demers, PhD*, Vice Dean, Division of Scholarly and Professional Studies

Jeffrey de Caen, MBA, Associate Dean for Operations

Donald Crockett, PhD, Associate Dean for Faculty Affairs

A. Phoenix Delgado, DMA, Associate Dean for Advancement

Brian Head, MM, Associate Dean for Academic Affairs

Susan Miltner Lopez, MBA, Associate Dean for Administration and Finance

Phillip Placenti, EdD, Associate Dean for Admission and Student Affairs

Robert Mann Chair in Strings and Chamber Music: Glenn Dicterow, BA

Bowen H. “Buzz” McCoy and Barbara M. McCoy Endowed Chair in Jazz at the Flora L. Thornton School of Music, Honoring President Steven B. Sample, 10th President of the University of Southern California: Bob Mintzer, BA*

Gregor Piatigorsky Chair in Violoncello: Ralph Kirshbaum, BA

H. Robert Reynolds Chair in Wind Conducting: H. Robert Reynolds, MM

Judge Widney Professor of Music:  Midori Goto, MA*

Judge Widney Professor of Music:  Michael Tilson Thomas

Judge Widney Professor of Poetry and Public Culture: Dana Gioia, MA, MBA

Professors: Arthur C. Bartner, EdD*; Bruce Brown, PhD*; Ken Cazan, BFA*; Terry Cravens, DMA*; Donald Crockett, PhD*; Robert A. Cutietta, DEd; Joanna Demers, PhD*; Glenn Dicterow, BA; Kevin Fitz-Gerald, Art. Dipl; Stewart Gordon, DMA*; Jeffrey Kahane, MA; Ralph Kirshbaum, BA; Larry Livingston, MM; Ronald McCurdy, PhD; Richard McIlvery, MM; Bob Mintzer, BA*; Tim Page, BA; Alan Pasqua, BM*; Daniel Pollack, MS*; Frank Potenza, MM*; Jo-Michael Scheibe, DMA*; Alan Smith, DMA*; Richard Smith, MM; John Thomas, MM; Frank Ticheli, DMA*

Associate Professors: Yehuda Gilad, Dipl*; Adam Gilbert, PhD; Rod Gilfry, MM; Cristian Grases, DMA; Elizabeth Hynes, BM; Beatriz Ilari, PhD; David Moore, BM; Andrew Norman, Art Dipl

Assistant Professors: Ted Hearne, MM; Nate Sloan, PhD; Scott Spencer, PhD; Lisa Vest, PhD*; Nina Young, DMA

Professors of Practice: Bernadene Blaha, MM; Daniel Carlin, MM; Lucinda Carver, DMA*; Peter Erskine; Kenneth Foster, MA; Mark Goldstein, JD; Brian Head, MM*; Lynn Helding, MM; Veronika Krausas, DMA; Richard Schmunk, DMA*; Nick Strimple, DMA; Scott Tennant, MM; Joel Timm, DMA; James Walker, BME*

Associate Professors of Practice:  Lina Bahn, DM*; Rotem Gilbert, DMA*; Trudy Green, MA; Susan Helfter, DMA*; William Kanengiser, MM*; Sharon Lavery, MM; Yura Lee, Art Dipl; Kevin Lyman, BS; Brent McMunn, MM; Karen Parks, MM; Antoinette Perry, MM; Stephen Pierce, DMA; Christopher Sampson, MM; Tram Sparks, DMA; Nick Stoubis, MM; Lisa Sylvester, DMA

Assistant Professors of Practice: Jeffrey Allen, BA; Thomas Michael Allen, MM; Russell Ferrante, Dipl; Sean Friar, PhD; Michael Garcia, BA; Jason Goldman, MM; Sean Holt, MA*; Timothy Kobza, MM; Judy Lewis, EDD; Brian Malouf, BA; Sean Nye, PhD; Patrice Rushen, BA; Michael Smith, BA; Mark Weiser, MM

Lecturers and Senior Lecturers (Full-time):  David Arnay, MM; William Biersach, BA; Charles Gutierrez, AA; William Kennedy; Andrew Leff, JD; Timo Preece, MS/MA; Christopher Roze, DMA; Aaron Serfaty, BFA; Stephen Trovato, BS

Adjunct Professors: Jeff Brabec; Todd Brabec; Martin Chalifour; Pam Frank; Vincent Mendoza; Howard Nelson; Norman Pearson; H. Robert Reynolds; Cherry Rhodes; Pepe Romero; Carl St. Clair; James Self; Jo Ann Turovsky; Allan Vogel; Peter Webster; Richard Wolf

Adjunct Associate Professors:  James Babor; Margaret Batjer; Karen Dreyfus; Judith Farmer; David Howard; Joseph Pereira; Andrew Shulman; Bing Wang

Adjunct Assistant Professors:  Adriana Balic; Jon Burlingame; Neal Desby; Susan Feldman; Bruce Forman; Parmer Fuller; Thomas Hooten; Paul Jackson Jr.; Adam Kofler; Jennifer Marotta; Leah Morrison; Darek Oleszkiewicz; Robert Sheppard; Andrea Stolpe; Robert Young

Adjunct Instructors: Andy Abad; Helane Anderson; Pete Anthony; Michael Arrom; Steve Becknell; Bobby Borg; Jae Deal; Snehal Desai; Sean Dougall; Sara Gazarek; Peter Golub; Kathleen Grace; Tim Greiving; Jeremy Gruber; David Herrin; Joel High; Ben Hong; Alphonso Johnson; Lyndia Johnson; Michael Kaminsky; Jennifer Kampani; Laura Karpman; Patrick Kirst; Marion Kuszyk; Edwin Livingston; Ginny Luke; Andrew Martin; Mary Mattei; Jessica Maxfield; Roy McCurdy; Loren Medina; Jazmin Morales; Shawn Mouser; Sung-Hwa Park; David Poe; John Schmidt; Garry Schyman; Lawrence Shragge; Michael Stever; Douglas Tornquist; Vivian Wang; Lindsay Wolfington; Vincent Womack

Lecturers (Part-time): Angela Blasi; Lot Demeyer; Jeremy Frank; Rakefet Hak; Paul Hodgins; Charles Koster; Eric Pham; Troy Quinn; Jason Yoshida

Distinguished Professor Emeritus of Composition: Stephen Hartke, PhD*; Morten Lauridsen, DMA*

Emeritus Professors: William Dehning, DMA*; Gary Glaze, MM*; James Hopkins, PhD*; Frederick Lesemann, DMA*; Thom Mason, DMA*; Donald McInnes, MM; Cynthia Munzer, BM*; John Perry, MM; William A. Schaefer, MA; Margaret Schaper, MM*; Alice Schoenfeld*; Bryan Simms, PhD*; Ladd Thomas, DMA; William Thomson, PhD; Nancy Woods, MM

Emeritus Associate Professor of Practice:  Kenneth Lopez, BA

Emeritus Senior Lecturer: Patrick Kelley, BM

*Recipient of university-wide or school teaching award.

Degree Programs

The Thornton School of Music offers professional and academic degrees at the bachelor’s, master’s and doctoral levels. These degrees are summarized below.

Bachelor of Music: Students working toward this professional degree have a wide choice of specializations: choral music, composition, music industry, instrumental performance, jazz studies, popular music performance, music production and vocal arts. Students can take either a single major program or double majors in several combinations such as piano and composition, string, or percussion instrument. The two majors must be offered by different departments but lead to the same degree (for example, Bachelor of Music). Double majors consisting of two majors in the same department are not permitted. The degree is granted by the Thornton School of Music.

Bachelor of Arts: These degrees are designed for students with a strong music background who wish to combine professional music training with substantial study in other disciplines.

Bachelor of Science: Offered by the Thornton School of Music in the specialized area of music industry.

Minors in Music: Eight different minors in music are offered, each approaching the discipline from a unique perspective and with a distinct curriculum: Jazz Studies, Musical Studies (Performance), Musical Theatre, Music Industry, Music Production, Music Recording, Popular Music Studies and Songwriting.

Master of Music: This is a professional degree that represents proficiency in one area of musical practice and relevant knowledge in musical literature, performance and technique. It requires a minimum of 30 graduate units, of which 15 must be at the 500 level or higher. Students complete a thesis, recital(s) or other capstone project as part of the degree requirements. The degree can be earned in choral music, composition, jazz studies, keyboard collaborative arts, guitar, organ, piano, voice or instrumental performance, teaching and learning, or sacred music. The degree is granted by the Thornton School of Music.

Master of Arts: This degree, offered through the Graduate School in conjunction with the Thornton School of Music, stresses music history or early music performance, with emphasis on scholarly research.

Master of Science: Two degrees are offered in Arts Leadership and Music Industry.

Doctor of Musical Arts: This is a professional degree that represents the highest level of expertise in a major field of musical practice and competence in several additional areas. Students may specialize in choral music, composition, jazz studies, vocal or instrumental performance, sacred music, or teaching and learning.

Doctor of Philosophy: Conferred by the Graduate School, this is an academic degree in the field of historical musicology. A substantial background in music, research and languages is required.

Entrance to the Degree Programs

Admission to a degree program is granted through USC’s admission process, described in the Admission section of this catalogue. Supplementary materials are also required for students seeking admission to the Thornton School of Music, which are described online at music.usc.edu .

Applicants to a program within the school are screened by appropriate faculty selection committees that hold auditions, interviews and examine supporting materials. Letters of acceptance are issued by the USC Office of Admission.

A performance audition is required of applicants to most degree and certificate programs in the Thornton School of Music. Detailed information regarding audition requirements for specific Thornton programs is available online at music.usc.edu .

Graduate Record Examinations

Scores from the general test of the Graduate Record Examinations (GRE) are required for application and admission to the Master of Arts, Doctor of Philosophy and certain Master of Music and Doctor of Musical Arts degrees. (The music subject test is not required.) Test scores on the GRE that are more than five years old at the time of application are not accepted.

Placement Tests

Undergraduate transfer students who have had formal study in any of the following areas must take the appropriate placement examination prior to their first registration: aural skills, theory, music history, conducting, analysis, orchestration and performance. The results of these examinations determine placement in appropriate sequential courses.

Admission to Graduate Standing

All students entering a graduate-level degree program (MA, MM, DMA, PhD) at USC Thornton, who have not previously completed a degree at USC Thornton, must take a series of entrance exams in core music subjects. These exams are called Music Graduate Entrance Exams (MGEEs). Information regarding which exams are required for specific majors is available from the Thornton Student Affairs office.

MGEEs are administered during the week prior to the first week of classes each fall and spring semester. Entering students must take all required exams at the scheduled exam time prior to the beginning of their first semester in the program. If any given exam is not passed on the first attempt, that exam can be retaken at the scheduled exam time prior to the beginning of the second semester in the program. If the exam is not passed on the second attempt, the corresponding review course must be successfully completed with a grade of B minus or better before the beginning of the third semester in the program. No MGEE can be attempted after the second semester in the program, regardless of whether the exam has previously been attempted. If students complete any MGEE after their second semester in the program, the score earned on said exam will be invalid. Failure to fulfill all MGEE requirements by the beginning of the third semester – either through exams or review courses – may delay permission to fulfill degree requirements such as recitals, comprehensive or qualifying examinations, thesis projects, and dissertations, and may also have a negative impact on financial aid eligibility.

If a student is not able to take an exam at the scheduled exam time, the exam administrator may choose to administer a similar exam at another scheduled time during the first week of the semester. This alternate exam time will be arranged in rare cases and at the sole discretion of the exam administrator.

Test of English as a Foreign Language (TOEFL) or International English Language Testing System (IELTS)

The Thornton School of Music adheres to the USC Admission policies regarding TOEFL and IELTS scores. With some exceptions, international applicants from non-English-speaking countries are required to submit these scores by the application deadline. Test scores that are more than two years old at the time of application are not accepted. For any applicant whose first language is not English, regardless of educational background or immigration status, the Thornton School may require as a condition of admission that she or he take the International Student English (ISE) exam, administered by the USC American Language Institute, as well as complete any English language course work that may be prescribed from the results of that exam.

Advanced Standing Credit for Music Courses Taken at Accredited Institutions

Music courses completed with satisfactory grades at a regionally accredited institution of higher education may be acceptable for transfer. A review of transcripts and course syllabi will be required in order to determine transferability of course work. The Thornton School may also require a student to take a placement test (at no cost) to determine the extent of his or her knowledge in a given area of musical study before a final determination is made regarding transferability of course work.

Advanced Standing Credit for Music Courses Not Taken at Accredited Institutions

Music courses completed at an institution that is not regionally accredited will generally not be transferable. In exceptional cases, the Thornton School may consider petitions for transfer credit for these courses. The petition review process will include evaluation of transcripts with letter grades, course syllabi for each course for which transfer credit is being requested, and examples of work completed for a grade in those courses. Additional information may also be required in order for the Thornton School to complete a full transfer credit evaluation.

Curriculum Requirements

The curriculum requirements for each major are listed under each degree. The USC course classification and numbering system is explained in the Registration    section of this catalogue. In addition, music courses sometimes carry the following abbreviations: CD = Conducting; CG = Classical Guitar; HC = Harpsichord; OR = Organ; P = Piano; SG = Studio Guitar; VA = Viola; VC = Voice Coaching; VO = Voice.

Change of Curriculum

To change from one curriculum to another, a student must apply and be approved for the new curriculum by the appropriate department chair and declare the intent to change curriculum through his or her academic adviser in the Thornton School.

Non-Degree Programs

Students who have highly specialized interests that may not be met through degree programs may apply for admission to one of the following non-degree programs.

Artist Diploma Program

This program is designed for young artists of exceptional ability and musical sensitivity who plan careers as solo performers. The Artist Diploma Program provides young artists the opportunity to devote their full time to concentrated study and practice for the duration of their assigned programs. This program typically requires two to three consecutive years of study for completion.

Graduate Certificate in Arts Leadership

The graduate program in arts leadership is a two-semester certificate program for artists, arts administrators and cultural workers of all types to develop the skills necessary to become successful leaders in the arts and arts organizations in a rapidly changing and radically altered contemporary world.

Graduate Certificate Program in Performance

This two-year graduate-level program is designed for students who have completed their undergraduate education in music, or its equivalent, and intend to concentrate their energies on the full-time development of their discipline.

Honor Society

Pi kappa lambda.

Pi Kappa Lambda is a national honor society established in 1918 for the promotion and recognition of scholarship and performance in music. Students of the Thornton School of Music are eligible for election to Eta chapter at the University of Southern California, established in 1923, according to guidelines established by the board of the Eta chapter.

Minors in Music

Minor in performing arts studies.

The minor in performing arts provides an interdisciplinary inquiry into the nature and aesthetics of the performing arts. It combines the disciplines of cinematic arts, dance, music and theatre. The minor is a unique course of study that looks at how the performing arts contribute to a culturally literate society. See the USC School of Dramatic Arts    section of this catalogue.

Admission-Audition Requirements

Applicants to graduate programs in the Thornton School of Music must fulfill all music admission requirements described at usc.edu/music , in addition to fulfilling all USC graduate admission requirements. See Thornton School of Music Degree Programs and Entrance to the Degree Programs sections of this catalogue for further information.

Bachelor’s Degree

• •  Choral Music (BA)*
• •  Choral Music (BM)
• •  Composition (BM)
• •  Jazz Studies (BM)
• •  Music (BA)*
• •  Music Industry (BM)
• •  Music Industry (BS)
• •  Music Production (BM)
• •  Performance (Classical Guitar) (BM)
• •  Performance (Flute), (Oboe), (Clarinet), (Bassoon), (Saxophone), (French Horn), (Trumpet), (Trombone), (Tuba) or (Percussion) (BM)
• •  Performance (Organ) (BM)
• •  Performance (Piano) (BM)
• •  Performance (Popular Music) (BM)
• •  Performance (Studio Guitar) (BM)
• •  Performance (Violin), (Viola), (Violoncello), (Double Bass) or (Harp) (BM)
• •  Performance (Vocal Arts) (BM)
• •  Jazz Studies Minor
• •  Music Industry Minor
• •  Music Production Minor
• •  Music Recording Minor
• •  Musical Studies Minor
• •  Musical Theatre Minor
• •  Popular Music Studies Minor
• •  Songwriting Minor
• •  Artist Diploma Program

Master’s Degree

• •  Arts Leadership (MS)
• •  Choral Music (MM)
• •  Community Music (MM)
• •  Composition (MM)
• •  Conducting (MM)
• •  Contemporary Teaching Practice (MM)
• •  Early Music Performance Emphasis (MA)
• •  Jazz Studies (MM)
• •  Music History and Literature Emphasis (MA)
• •  Music Industry (MS)
• •  Performance (Classical Guitar) (MM)
• •  Performance (Flute), (Oboe), (Clarinet), (Bassoon), (Saxophone), (French Horn), (Trumpet), (Trombone), (Tuba) or (Percussion) (MM)
• •  Performance (Keyboard Collaborative Arts) (MM)
• •  Performance (Organ) (MM)
• •  Performance (Piano) (MM)
• •  Performance (Studio Guitar) (MM)
• •  Performance (Violin), (Viola), (Violoncello), (Double Bass) or (Harp) (MM)
• •  Performance (Vocal Arts) (MM)
• •  Sacred Music (MM)
• •  Screen Scoring (MM)
• •  Teaching and Learning (MM)

Graduate Certificate

• •  Arts Leadership Graduate Certificate
• •  Performance Graduate Certificate

Doctoral Degree

• •  Choral Music (DMA)
• •  Composition (DMA)
• •  Jazz Studies (DMA)
• •  Music, Historical Musicology Emphasis, (PhD)
• •  Performance - Organ, Percussion or Winds (DMA)
• •  Performance - Violin, Viola, Violoncello, Double Bass or Harp (DMA)
• •  Performance - Vocal Arts (DMA)
• •  Performance — Classical Guitar (DMA)
• •  Performance — Early Music (DMA)
• •  Performance — Keyboard Collaborative Arts (DMA)
• •  Performance — Piano (DMA)
• •  Performance — Studio Guitar (DMA)
• •  Sacred Music (DMA)
• •  Teaching and Learning (DMA)
• •  ARTL 310 Music and Dance In Paris Salon Culture
• •  ARTL 490x Directed Research
• •  ARTL 499 Special Topics
• •  ARTL 500 Arts Leadership and Arts Entrepreneurship
• •  ARTL 501 Executive Leadership in the Arts
• •  ARTL 502 Issues in the Arts and the Contemporary World
• •  ARTL 503 Arts Organizations: Innovation and New Models
• •  ARTL 504 Arts and the Community: Current Practice and New Visions
• •  ARTL 510 Arts Leadership Practicum
• •  ARTL 512 Essentials of Orchestra Management
• •  ARTL 520 Arts Leadership Intensive
• •  ARTL 590 Directed Research
• •  ARTL 599 Special Topics
• •  ARTL 790 Research
• •  MPEM 201 Individual Instruction
• •  MPEM 301 Individual Instruction
• •  MPEM 390 Special Problems
• •  MPEM 450 Collegium Workshop
• •  MPEM 490x Directed Research
• •  MPEM 499 Special Topics
• •  MPEM 501 Individual Instruction
• •  MPEM 553 Individual Instruction
• •  MPEM 554 Graduate Certificate Performance
• •  MPEM 590 Directed Research
• •  MPEM 599 Special Topics
• •  MPEM 650 Collegium Directing
• •  MPEM 653 Performance
• •  MPEM 754 Artist Diploma Performance
• •  MPEM 790 Research
• •  MPGU 101x Non-Major Beginning Individual Instruction
• •  MPGU 120a Beginning Pop/Rock Guitar
• •  MPGU 120b Beginning Pop/Rock Guitar
• •  MPGU 120c Beginning Pop/Rock Guitar
• •  MPGU 120d Beginning Pop/Rock Guitar
• •  MPGU 121 Intensive Beginning Pop/Rock Guitar
• •  MPGU 125 Beginning Fingerstyle/Chord Guitar
• •  MPGU 126 Easy Fingerstyle Beatles
• •  MPGU 145 Guitar Proficiency for the Pop Guitarist
• •  MPGU 150 Functional Skills for the Popular Guitarist
• •  MPGU 153 Individual Instruction
• •  MPGU 158 Guitarists in the U.S.
• •  MPGU 159 Functional Skills for Studio Guitarists I
• •  MPGU 160a Functional Skills for the Jazz Guitarist
• •  MPGU 160b Functional Skills for the Jazz Guitarist
• •  MPGU 253 Individual Instruction
• •  MPGU 257 Classical Guitar Performance Class
• •  MPGU 258 Functional Skills for Studio Guitarists I
• •  MPGU 259 Functional Skills for Classical Guitarists I
• •  MPGU 260 Improvising and Arranging for Jazz Guitar
• •  MPGU 300x Non-Major Individual Instruction
• •  MPGU 301 Individual Instruction
• •  MPGU 335 Jazz Guitar Master Class
• •  MPGU 353 Individual Instruction
• •  MPGU 357 Advanced Classical Guitar Techniques
• •  MPGU 358 Performance Practices for Studio Guitarists
• •  MPGU 390 Special Problems
• •  MPGU 415 Studio Guitar Pedagogy
• •  MPGU 416 Evolution of the Guitar in the United States
• •  MPGU 417 Classical Guitar Pedagogy
• •  MPGU 420 Guitar Styles
• •  MPGU 426 Classical Guitar History and Literature
• •  MPGU 427 Advanced Topics in Classical Guitar History and Literature
• •  MPGU 428a Improvisation and Arranging for Guitarists
• •  MPGU 428b Improvisation and Arranging for Guitarists
• •  MPGU 453 Individual Instruction
• •  MPGU 457 Classical Guitar Performance Class
• •  MPGU 458 Current Electric Guitar Styles
• •  MPGU 459 Functional Skills for Classical Guitarists II
• •  MPGU 460 Advanced Improvising and Arranging for Jazz Guitar
• •  MPGU 462 Recording and Producing Techniques for the Guitarist
• •  MPGU 490x Directed Research
• •  MPGU 499 Special Topics
• •  MPGU 501 Individual Instruction
• •  MPGU 553 Individual Instruction
• •  MPGU 554 Graduate Certificate Performance
• •  MPGU 557 Advanced Classical Guitar Performance Class
• •  MPGU 558 Advanced Studio Guitar Performance Class
• •  MPGU 590 Directed Research
• •  MPGU 599 Special Topics
• •  MPGU 653 Performance
• •  MPGU 754 Artist Diploma Performance
• •  MPGU 790 Research
• •  MPKS 150a Beginning Piano
• •  MPKS 150b Beginning Piano
• •  MPKS 150c Beginning Piano
• •  MPKS 150d Beginning Piano
• •  MPKS 153 Individual Instruction
• •  MPKS 160a Functional Skills for Keyboard Majors I
• •  MPKS 160b Functional Skills for Keyboard Majors I
• •  MPKS 170a Introduction to Piano Repertoire and Performance
• •  MPKS 170b Introduction to Piano Repertoire and Performance
• •  MPKS 228 Four-Hand Keyboard Repertoire
• •  MPKS 250a Keyboard Instruction I
• •  MPKS 250b Keyboard Instruction I
• •  MPKS 253 Individual Instruction
• •  MPKS 260a Functional Skills for Keyboard Majors II
• •  MPKS 260b Functional Skills for Keyboard Majors II
• •  MPKS 300x Non-Major Individual Instruction
• •  MPKS 301 Individual Instruction
• •  MPKS 350a Keyboard Instruction II

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Trojans rock out with some of the biggest names in music.

USC students drum up experience in the pop and rock music world before they even graduate.

It’s not every music school that has music industry veterans as professors and students on tour with rock legends. But at the USC Thornton School of Music , opportunities abound, thanks to its deep connections to the music business and its renowned programs in popular music, jazz and the music industry. These are just a few of the highlights:

Rocked Out with a Guitar Legend Trumpeter Ethan Chilton, a junior; saxophonist Nathan Collins, a senior; and trombonist Steven Robinson ’18 toured with music legend John Fogerty this summer. The trio, all part of USC Thornton’s Jazz Studies program, were invited to play 30 shows with Fogerty, who is a Trojan parent.

Learned about the Festival Circuit Trojans dreaming of creating the next sold-out music festival have been learning the ins and outs of event production from industry pioneer Kevin Lyman , the man behind the Vans Warped Tour, North America’s longest-running music festival. Lyman joined the USC faculty this fall.

Saw the Life of an A-List Manager Trudy Green has managed the careers of The Rolling Stones, Michael Jackson, Aerosmith, Lauryn Hill and more. Considered one of the most successful music managers in entertainment, the new USC Thornton professor leads students into the exclusive world of professional music management and touring.

Performed on the Biggest Jazz Stage Pianist Luca Mendoza and bassist Logan Kane, both jazz studies majors, shared the stage with celebrated saxophonist David Binney this summer at the Montreal Jazz Festival, the largest jazz festival in the world.

Jammed in the U.S. and Abroad Thumpasaurus , a funk band that formed at USC, toured the United Kingdom and California this summer. The group features senior Logan Kane on bass. Recent grads include keyboardist Paul Cornish ’18, saxophonist Henry Solomon ’18, guitarist and singer Lucas Tamaren ’16 and drummer Henry Was ’16.

Related Articles

Jazz innovator named usc thornton artist-in-residence, ‘defining courage’ event spotlights the uplifting yet tragic story of wwii nisei soldiers, ‘the mount rushmore of improv’: wayne brady teaches masterclass to usc theater students.

USC Thornton Opera Program  

The USC Thornton School of Music Opera Program is one of America’s premier training grounds for singing-actors, opera coaches and collaborative keyboard artists – a program where youth and experience meet in a vibrant urban setting to create provocative productions of classic and modern masterpieces.

In addition to studying under Music Director Brent McMunn and Resident Stage Director Ken Cazan, opera program participants work with nationally and internationally recognized artists and designers. The USC Thornton School  Vocal Arts Department  also brings in distinguished opera industry professionals each semester to conduct seminars and master classes.

The opera program has access to all  USC Thornton School of Music facilities  as well as the USC School of Dramatic Arts’ premiere venue Bing Theatre.

The University of Southern California is known for its active and socially conscious student body, and the USC Thornton School is no different. The Chamber Opera of USC is a student run group that brings undergraduate and graduate students together to produce newly composed as well as traditional chamber opera. Also, the USC Thornton School has an extensive community outreach program that hires students to teach music to elementary through high school aged children.

Auditions  for the opera program take place the first week of the fall semester. Admission to the USC Thornton School is handled through the  USC Thornton Admissions Office .

840 W 34th St, Los Angeles, CA 90089, USA

[email protected]

213-740-6451

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Auburn four-star commit carde smith, an offensive lineman, is offered by usc, share this article.

Carde Smith, a four-star offensive lineman from Williamson High School in Mobile (Alabama), committed to Auburn last month but was officially offered by USC this week.

Smith had this to say about the Tigers program: “Auburn feels like home.”

“Me and coach Thornton ( offensive line coach Jake Thornton ) have a real good relationship. I have been on Auburn’s trail since June of last year and they have everything I want and more.”

Florida State, Miami, Mississippi State and Tennessee were the top offers for Smith, who stands at 6-foot-6 and 300 pounds. USC thinks it has a chance to change Smith’s mind and is making a real effort in this recruitment despite Smith’s public comments, which convey the sense that he is solidly in Auburn’s camp.

Smith checks in as the No. 216 player in the nation and No. 15 in the state of Alabama  according to 247Sports . ESPN ranks him among the top 30 offensive tackles in the class of 2024 and as part of their ESPN 300.

Smith is a strong commit to Auburn and I don’t see him flipping anywhere, but stranger things have happened in the world of recruiting in 2024.

After a great talk with @Coach_Henson I am blessed to announce an offer from @uscfb @williamson_high @AC_BIG12AU @coachdstanley @adamgorney @Jeff_XOS @samspiegs @HallTechSports1 @helmet2helmt251 @recruitmeu @MikeRoach247 @cpetagna247 @JesseReSimonton @ScoutFball pic.twitter.com/b31l3lu0Vs — Carde “Smitty” Smith (@Carde_Smith5) May 15, 2024

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New Bacewicz: On Record and On Stage

• Author By Kevin Allen
• Publication date May 15, 2024
• Categories: Bacewicz , Discography , May 2024 , Performances

by Marek Zebrowski

The San Francisco Symphony Orchestra presented two concerts last weekend that opened with Overture for Orchestra , a brief and brilliant 1943 composition by Grażyna Bacewicz (1909-1969). Bacewicz—a virtuoso violinist and excellent pianist—showed her very best neo-classical side in this compact, six-minute-long work. Effective and challenging string writing coupled with bright woodwinds and brass passages dominate most of the Allegro movement. The frenetic pace of layered orchestral ostinatos vanish only temporarily in a short central episode marked Andante , where calmer pacing and longer woodwind lines predominate.

This curtain-raising opener provided an excellent introduction to the rest of the SFSO program, conducted on this occasion by Gemma New —the artistic advisor of the New Zealand Symphony and music director of Canada’s Hamilton Philharmonic Orchestra. Pablo Ferr ández was soloist in Edward Elgar’s Cello Concerto and Felix Mendelssohn’s Symphony No. 3 “Scottish” rounded off the program. The concerts were held at San Francisco’s Davies Symphony Hall on Friday, May 10 and Sunday, May 12.

The two San Francisco concerts—with their “stirring performance” of Bacewicz’s Overture , as reported by one of the PMC’s friends in the Bay Area—provide a good segue for a discussion of some of the recently-issued recordings of Bacewicz’s orchestral music.

Bacewicz On Chandos Records

The new album Bacewicz – Orchestral Works, Vol. 1 ( CHAN 5316 ) includes Bacewicz’s Symphony No. 3 (1952) and Symphony No. 4 (1953), the latter dedicated to Bacewicz’s close friend and a devoted champion, conductor Grzegorz Fitelberg (1879-1953). These two substantial works (about 30 and 25 minutes long, respectively) for a large orchestra are rounded off on this recording by Bacewicz’s Overture , and are performed by the BBC Symphony Orchestra under the baton of Sakari Oramo.

Recorded in February 2023, this disc was released by Chandos last November and elicited much praise in a review published a few months ago under the title “ Bacewicz: Symphonies 3 & 4 album review—Oramo is a passionate advocate ” in The Guardian . After praising Bacewicz for her “elegant neoclassicism” and noting that, “[…] Her handling of the large-scale four-movement forms is wonderfully assured, while the moments of high dissonance suggest that even in the early 1950s she was not prepared to conform to the precepts of Soviet populism as meekly as the authorities might have liked,” the Guardian article ends on the following observation:

Certainly, the drive and conviction behind these performances suggest that Oramo believes passionately in the music’s worth, and the BBCSO revels in its expert orchestration. It all promises well for subsequent installments.

Finally, a slightly less recent entry in Bacewicz’s discography on the Chandos label is the 2022 album Ysaÿe/Enescu/Bacewicz: Works for Strings ( CHAN 5325 ) . It comes courtesy of Maestro John Wilson and Sinfonia of London, who recorded her 1948 Concerto for String Orchestra alongside George Enescu’s Octet for String Orchestra and Eugène Ysaÿe’s Harmonies du soir . Gramophone Magazine noted that Wilson and Sinfonia of London “… get to the heart of Bacewicz at her most strident and neoclassical,” while in his May 10 article in the “Lebrecht Listens” series, published perhaps in conjunction with the San Francisco concert, Norman Lebrecht commented on the recent wave of Bacewicz’s recordings in his article under a noteworthy title: “ Two Releases Beg The Question: Is Grażyna Bacewicz The Next Mieczysław Weinberg? ”

After musing on the complicated pronunciation of Polish names and arguing that after learning how to enunciate “Szymanowski” and “Paderewski,” the challenges of “Weinberg” and “Bacewicz” can be managed by the “non-Polophones,” Lebrecht’s attention turned to the slow movements of Bacewicz’s Symphonies:

[…] the Andante of the Third Symphony and the two Adagios of the Fourth are wonderfully introspective passages, a private zone where Bacewicz expresses dark and disturbing emotions. Alban Berg’s Lulu lurks somewhere in the score, as does Bartok’s “Bluebeard”, but the totality is pure Bacewicz. I cannot imagine why the BBC Symphony don’t perform these in the Proms. 

Moving on to the recording by Sinfonia of London and John Wilson, Lebrecht favorably compares Bacewicz to works by Enescu and Ysaÿe also on this disc by stating:

John Wilson […] has paired Bacewicz’s Concerto for String Orchestra on an album with works by string composers Enescu and Ysaÿe. If I assure you that Bacewicz’s 1948 score comes out by far the most vibrant and vigorous you might start to believe, like me, that Grażyna is a frontline composer who demands to be heard now and forever. Once more, it’s the quiet Andante that grips the attention, but the full 13 minutes is a musical world entire and it’s one you will surely want to explore.

Besides agreeing with Mr. Lebrecht’s conclusions, one might want to add that, in her oeuvre, Bacewicz is undoubtedly the pioneer of Polish neoclassicism. She remains well ahead of Weinberg’s achievements, whose reverence for his close friend and mentor, Dmitri Shostakovich, can be clearly heard and sometimes tends to obscure Weinberg’s own musical personality.

[Sources: sfsymphony.org , slippedisc.com , chandos.net , theguardian.com ]

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USC News: Top Transfer Portal Defensive Lineman Set to Visit Trojans

Jason fray | may 11, 2024.

• USC Trojans

It's no secret that USC needs depth along its defensive line — particularly at tackle.

The Trojans' success in the transfer portal this offseason has been decent. Landing defensive backs Akili Arnold and Kamari Ramsey was significant. Middle 'backer Easton Mascarenas-Arnold also figures to be an impact transfer from the jump.

Outside of Vanderbilt transfer Nate Clifton, landing impact players along the defensive line has been a bit of an issue. With the Trojans striking out on a few targets in recent weeks, Lincoln Riley has reportedly pivoted to another target in the form of Wyoming transfer Gavin Meyer.

The 6-foot-4, 280-pound lineman signed with Wyoming out of high school. Originally from Wisconsin, Meyer played the last four years with the Cowboys.

Former Wyoming defensive tackle Gavin Meyer, a popular late transfer portal entrant, has visits already planned with USC and Cal, his agent @milesjordan40 tells @247Sports . Wisconsin and Illinois are also in the mix for Meyer. https://t.co/vKPIeltvha pic.twitter.com/q9gOdHemep — Matt Zenitz (@mzenitz) May 9, 2024

After playing sparingly the first two years of his career, Meyer has combined for 8.5 TFL and 4.0 sacks from 2022-23. Last season, he registered 26 tackles and 3.5 TFL in 13 games.

According to Matt Zenitz of 247Sports, Meyer will visit USC soon. He's also said to be considering the likes of Cal, Wisconsin, Florida State, and Illinois.

USC did have some luck recently with another former Wyoming DL in Solomon Byrd. Byrd had a combined 18.5 TFL and 10.0 sacks over the last two years once transferring. He was drafted in the 7th round by the Houston Texans in this year's draft.

Meyer likely wouldn't be an impact starter. However, with multiple years of experience, he'd help in giving USC both depth and maturity along its defensive front. Since the Trojans will be competing in the Big Ten, the physicality Meyer brings to the table should pair nicely with the tough, jumbo offensive linemen USC will be facing on a weekly basis.

More USC: How Brenden Rice Sees Himself Stacking Up with Father Jerry

Jason Fray is a proud native of Los Angeles. After graduating from UCLA in 2011, he's written for a number of publications -- including Bleacher Report, FOX Sports, Saturday Down South, and New Arena. In his downtime, he enjoys writing scripts, going to shows, weekly pub trivia with the boys, trying the best hole-in-the-wall food spots around town, and traveling (22 countries & counting). 

Follow jasonfrayLA

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