Talk:Richard Bunger Evans

April 2023 updates per Richard B. Evans notes to me

On 2/14/2023 Richard B. Evans created a Word document on Mac Office containing the edits that he wished to be published to Wikipedia.

The document was titled Wikipedia Complete Feb 14, 2023 REVISION 002 and the author was Richard B. Evans in the metadata.

The edits made by me are based entirely on notes prepared by Mr. Evans for removal or inclusion to his Biography. Composer2112 (talk) 19:20, 11 April 2023 (UTC)

Anybody is free to make edits here whether or not they are holding on to an unpublished document written by Evans himself. But everyone is also required to conform to Wikipedia's content policies and style guidelines. I'll keep an eye on the new changes and see if there are any concerns. Binksternet (talk) 19:34, 11 April 2023 (UTC)

Here are my observations:

• Too many aliases listed in the first sentence, names that are not surprising or unusual. It's enough to list the main two.
• This sentence is not supported: "His compositions and musicals have been performed widely in the U.S. and in Europe."
• This sentence is not supported by a WP:SECONDARY source making an explicit connection: "Many students in this program entered the field professionally, including Marcus Ryle and Sig Knapstad." LinkedIn is not suitable as a citation.
• Discogs.com fails WP:USERG and cannot be cited. Binksternet (talk) 02:03, 12 April 2023 (UTC)

Thank you for the observations -

Regarding the many aliases provided by Mr. Evans - he is published under all of those aliases, therefore he believes his Wikipedia entry should include all the names and aliases his many works have been published under by various publishing firms. His name was Richard Bunger before he changed it to R.B. Evans. See Mr. Evans website bio for additional information https://www.richardbevans.com/Biography.html

Mr. Evans affirms that "His compositions and musicals have been performed widely in the U.S. and in Europe." and he wishes for his biography to be stated in this way. While there is no definitive list of all the performances of works by Mr. Evans, he attests that his works have been performed throughout the U.S. and Europe - see https://www.richardbevans.com/RichardBungerEvans_music.html for additional details at bottom of page.

In regards to "Many students in this program entered the field professionally, including Marcus Ryle and Sig Knapstad." Mr. Evans wishes to note the quality of the graduates that CSUDH EM&R produceed, such as Mr. Ryle and Mr. Knapstad.

As founder of the EM&R program Mr. Evans believes these two notable graduates should be highlighted, demonstrate his (and EM&R's) impact on in the field of Electronic Music.

The LinkedIn record is the only online professional record for Mr. Ryle, however there are interviews of Mr. Ryle at https://www.namm.org/library/oral-history/marcus-ryle as well as https://www.discogs.com/artist/422706-Marcus-Ryle and https://www.kvraudio.com/interviews/building-the-ultimate-oberheim-an-interview-with-marcus-ryle-57310. Mr. Knapstad's publishing is noted at https://www.discogs.com/artist/4250392-Sigmund-Knapstad and entrepreneurship is evident in his LinkedIn profile:

Senior Account Executive-Western U.S., Studio Network Solutions

Previous: Chief Technology Officer at ALT Systems, "Powered by Cutting Edge Workflows" – a Media Systems Integrator providing technology solutions, professional services, and support to content creators nationwide.  With offices in Los Angeles, San Francisco, and NYC, our clients include some of the most recognizable brands in media and entertainment, Fortune 500 corporations, as well as world-class sports organizations.

As an influential adviser tasked with driving the company’s technology vision, I bring significant technical subject matter expertise, proven communication skills, and the ability to attract, retain and motivate top technical talent.  I’m passionate about making the complex appear simple.

My B.A. in Electronic Music and Recording Engineering positioned me to work in the Los Angeles and Hollywood recording scene.  I was fortunate to work with several industry icons …..eventually becoming the Northwest Sales Manager for Digidesign (now Avid).  After becoming the top sales revenue producer, I co-founded Cutting Edge. Initially based in San Francisco, but expanding with an office in Burbank, Cutting Edge merged with ALT Systems to become one of the top media and entertainment value-added resellers in the country.

Some of my other passions include: National level race car driver and multi-championship winning kart driver, including winning Stars-of-Tomorrow.  I’ve also been a piano player since the first grade and am still performing with my band as well as recording in my personal studio. I’m currently finishing a rock opera due to debut in the not-too-distant future.

I understand the concern for UserG content. Please advise the best way to include a secondary source for these two professionals that Mr. Evans wishes to have included as there are no formal biographies published of these two men.

We appreciate your edits, and hope you will consider the extra Alias's as well as the "widely performed" statement as these are true in fact. Composer2112 (talk) 19:17, 20 April 2023 (UTC)

I am not moved by the fact that Richard greatly wishes to make changes to this article. Wikipedia is supposed to be a summary of published sources, and I don't see published sources supporting the assertions that Richard influenced Marcus Ryle or Sig Knapstad. We don't have a third party author or Ryle himself saying he was influenced by Richard. Same with Knapstad. Nor do we have third party observers saying that Richard's "compositions and musicals have been performed widely" in the world. (What is "widely" intended to mean in this context? Richard is not a popular composer. His music is performed far less than many other composers. It would be hyperbolic to claim wide performance.) Apparently, Richard considers his Wikpedia page to be something he can mold himself, in the same manner as his own website.

My advice to Richard is to convince a journalist to compose and publish an in-depth piece about his career, which we can then cite. Binksternet (talk) 20:59, 20 April 2023 (UTC)

Full details of edits requested by R.B Evans - from MS Word document by his hand

Full details of edits requested by R.B Evans

Please make the following corrections to my Wikipedia entry. Thank you. Richard B. Evans NOTE 1. • Existing material is printed in black or blue; • New material is printed in red. NOTE 2. • Material crossed through is to be deleted. NOTE 3. •  The names of persons and things with already-existing footnotes in the REFERENCES section at the end of the article are printed in Blue, underlined. NOTE 4. The names of person or things that are to be explained by REFERENCES below are printed in Blue, Black, or Red, and underlined, and followed by their related footnote/REFERENCE as described next in Note 5: NOTE 5. All new footnotes that are to be placed in the REFERENCES section at the end of the article are printed in <Green Type, underlined, italicized, and bracketed> OR in <Purple Type underlined, italicized, and bracketed> – and are to appear as numbered REFERENCES in the REFERENCES section following the article. ------------------------- Richard Bunger Evans, also known as Richard B. Evans, Richard Evans, and Richard Bunger, (born 1942) is an American composer and pianist who worked with John Cage and subsequently wrote "the classic book on John Cage,"[1] The Well-Prepared Piano. Evans has composed and performed music for opera and musical theatre, piano, art songs, prepared piano, choral music, string orchestra and chamber music. Evans He continues to compose and perform in these various genres, and is especially respected as an accompanist to as a collaborator with singers. During his 17-year career as a music professor, Evans was named one of two statewide Outstanding Professors of 1981–1982 in the 23-campus California State University system. His compositions and musicals have been performed widely in the U.S. and in Europe. Early career Evans was born in Allentown, Pennsylvania and, enrolling Enrolling as Richard Bunger, Evans studied at Lafayette College and Oberlin College where he obtained a B.Mus. in 1964. Evans continued at the University of Illinois and earned a master's degree in music in 1966. He studied further at the University of Kentucky. During his post-graduate studies, he taught at Queens University of Charlotte in North Carolina. One of his students in North Carolina was composer Betty Rose Wishart < https://en.wikipedia.org/wiki/Betty_Rose_Wishart>. In 1968 Evans accepted a position at Oberlin Conservatory to teach music theory. A year later, Evans moved to Los Angeles, California to work as a jazz pianist. In 1970 he took accepted a professorship at California State University, Dominguez Hills (CSUDH). Here he founded and directed the Electronic Music & Recording Program (EM&R), an interdisciplinary degree program between the departments of music, electronics, physics, and media. Many students in this program entered the field professionally, including Marcus Ryle < https://www.linkedin.com/in/marcus- ryle?original_referer=https%3A%2F%2Fwww.google.com%2F> and Sig Knapstad < As the first of its type, on the West Coast, the program became a prototype for many such programs subsequently offered across the country. Evans was named Outstanding Professor 1981-1982 of the entire 23-campus California State University system.[2] Also at CSUDH, Evans wrote the music and helped write the lyric for the school's alma mater.[3] Prepared piano While teaching at Queens University, College, Bunger became very interested in the techniques and performance of prepared piano, encountering John Cage in 1967. Evans studied Cage's early manuscripts and became expert enough that Cage asked him to edit some for publication, and to record performances of them. One such effort was a 1980 recording project at Capitol Records that eventually resulted in the Richard Bunger CD Four Walls, but it was not released to the public until after 1985 when Cage allowed it to be made available; Cage had long considered these expressive pieces unrepresentative of his most influential avant-garde work.[4] Evans wrote The Well-Prepared Piano in 1973,[5] a treatise on piano techniques for new music composition and performance with illustrations drawn by the author. Cage wrote the foreword to the book, which has been repeatedly referred to by avant-garde pianists as a "the classic" in the field,[1][6][7] and which was later published in Japanese by Zen-On Music Ltd. As well in 1973, Evans performed and recorded a concert of avant garde solo piano pieces at Oberlin, including works by Cage, Henri Lazarof, Barney Childs and Charles Ives[8] that was released on an LP by Avant Records <https://www.discogs.com/artist/624405-Richard-Bunger>. Using manuscript fragments and notes, Evans reconstructed Cage's 1939 incidental music for Jean Cocteau's Marriage At The Eiffel Tower. Evans toured extensively in the 1970s and early 1980s, exclusively performing and promoting music by 20th century American composers, from Charles Ives to Cage and beyond, always including lectures on the physical well-being of the piano in regards to challenging and to protect against potentially harmful avant-garde performance techniques.[9] The Bungerack In 1973, Evans devised a way for pianists to hold their music view their scores while performing pieces that require the removal of the piano's traditional music stand. Evans called his invention the "Bungerack".[10] Evans also invented a notational scheme system called "Musiglyph", for unconventional piano compositions notating unconventional instrumental and vocal techniques.[11][12] Evans was invited to join Nicolas Slonimsky <https://en.wikipedia.org/wiki/Nicolas_Slonimsky>, Dane Rudhyar <https://en.wikipedia.org/wiki/Dane_Rudhyar> and others at the April 1973 music convocation called "The Expanded Ear", which culminated in the Six-Acre Jam, a piece in which 60 musicians played at various positions among the trees on a mountain slope.[13] In May 1973, Evans performed live in the radio studio for Charles Amirkhanian's Other Minds radio program; Evans played compositions from Cage, Henry Cowell, Harold Budd, and E. T. Paull, and a recording of his piano and tape interpretation of a Morton Subotnick piece.[14] Concert pianist Throughout the 1970s and early 1980s, Evans toured in North America and Europe in support of music by 20th century American composers. His concerts took him to college and university campuses from Maine to San Diego, from Toronto to Florida, as well as to Paris, Berlin, London, and Oslo, and many venues between. He performed concerti as piano soloist with the Ensemble instrumental de musique-contemporaine de Paris, < https://www.discogs.com/artist/379513- Ensemble-Instrumental-de-Musique-Contemporaine> the Denver Symphony, Berkeley Symphony, National Symphony, and the Baltimore Symphony, with whom he recorded, for Columbia Masterworks, AKWAN, a concerto he had commissioned with his grant from the Martha Baird Rockefeller Fund for Music <https://snaccooperative.org/ark:/99166/w6dk2380 from Black composer Olly Wilson < https://www.muziekweb.nl/en/Link/U00002744525/CLASSICAL/Akwan>. In 1980 he recorded a complete album of prepared piano pieces Prepared Piano: The First 40 Years for the Musical Heritage Society < https://en.wikipedia.org/wiki/Musical_Heritage_Society>. In 1982 a chronic illness forced him to leave the field of music.[15] For his final public concert Evans performed Cage’s FOUR WALLS <https://www.discogs.com/master/119757-John-Cage-Richard-Bunger- Jay-Clayton-Four-Walls> in Minneapolis-St.Paul during a Festival celebrating John Cage’s 70th birthday. In 1991, he returned to music, but in more traditional genres such as musical theatre, opera and oratorio rather than in avant garde styles.[16] Composer Early Compositions While accompanying vocal students as an undergraduate at Oberlin, Evans was smitten with art songs < https://en.wikipedia.org/wiki/Art_song>, and began composing in that genre. His love of vocal music grew into compositions for choirs and vocal ensembles, including JIUTA, settings of classic Haiku for female “speech choir” with vocal solo, guitar, small drum, and recorder or shakuhachi, that has been performed in the U.S. and Europe. His several compositions for prepared piano, including Three Bolts out of the Blues, were published by Highgate Press < https://books.google.com/books/about/Three_bolts_out_of_the_blues.html?id=IK47AQAAIAAJ> . While on concert tour, he recorded his compositions for piano and electronics for the BBC, Radio Oslo, ORTF, and Radio Free Europe. Compositions After 1990 In 1990 Evans returned to music and added “Evans” as his surname. He began to compose in more traditional genres such as musical theatre, opera, pop songs, and oratorio rather than in avant-garde styles.[16] For the 1991 Grove Play entitled Tyburn Fair, Evans worked with a libretto from Bohemian Donald L. Winks to compose the oratorio fully-staged musical performed in July at the Bohemian Grove.[17] Evans wrote the music for his next Grove Play in 2007 to a libretto by Mark Cleary: Leprechaun.[18] Over the course of 30 years Evans composed eleven musicals for fully-staged productions at the Bohemian Grove, with bookwriters-lyricists Richard Dehmel, Richard Haile, John McEndy, Howard Ervin, and, most recently, Tom Cooke. In May–June 1994, Evans was the musical director for A New York Romance, a one-woman performance piece set in New York City, sung and acted by Mary Setrakian.[19] In 2000, Evans released the CD MIDAS & MARIGOLD, A Family Opera < https://www.allmusic.com/album/midas-marigold-mw0000314110>, with music by Evans and book and lyrics by 'vid Buttaro and Squire Fridell <https://en.wikipedia.org/wiki/Squire_Fridell>. In November 2004, Evans took part in a collaborative composition and performance work called "Raw Impressions Musical Theater #1", with eight other composers.[20] In 1995 Evans composed and recorded the music for the two-hour opera an oratorio based on the poetic works of William Butler Yeats, Maude Gonne, and Padraic Pearse: The Rising, An Irish Allegory.[21] Musicals In 2000, Evans moved to New York City and was selected for membership in the BMI Lehman Engel Musical Theatre Workshop < https://www.bmi.com/theatre_workshop>. In 2001, Evans wrote the music for a performance of Evans composed the score for Thorstein Veblen's The Theory of the Leisure Class to a libretto by Charles Leipart, that was presented by the National Alliance for Musical Theatre < https://namt.org/> in New York City in 2002, and recreated as a vaudeville production by Stages 2006 in Chicago < https://www.theatreinchicago.com/playdetail.php?playID=948 >, and staged at Kansas City Ballet.[22] This musical was rewritten by the authors, retitled as "The Price of Everything" and produced during 2010 by the 6th Street Playhouse < https://6thstreetplayhouse.com/ > in Santa Rosa, California, directed by Nancy Prebilich. In the BMI Workshop, Evans began his musical partnership with bookwriter-lyricist Kate Hancock < https://www.amazon.com/Windswept-Novel-Kate-Hancock/dp/0865349983>. Their first collaboration resulted in THE PLAYBOY OF THE WESTERN WORLD, An Irish Dancing and Singing Musical based on J.M. Synge’s famous 1907 comedy < https://www.richardbevans.com/Playboy-of-the-Western-World.html >. After a staged reading there, the Chicago Sun Times wrote "...This show deserves a thriving future. Along with its ready-made tragicomic story and marvelous characters, it comes with a lovely lyrical score that ver y skillfully blends traditional Irish melodies and a Broadway sound." (NOTE: how can we find the date this review was published? – to make a footnote here... Caption would have been “Chicago's Stages Festivals of New Musicals”) (THIS PARAGRAPH MOVED AND EDITED BELOW: Evans’ other musicals as composer include The Playboy of Balyduff, An Irish Musical Comedy, with lyrics by Kate Hancock and book by Hancock and Evans, based on the 1907 Irish comedy by John Millington Synge; MIDLIFE! The Users’ Guide, a musical review with lyrics by Frank Evans and additional lyrics by R. Evans; and "The Golden Touch, A Family Musical," with book and lyrics by Maryrose Wood, commissioned by the International Institute of Vocal Arts and first produced in the Theatre at Riverside Church (NYC). (THIS PARAGRAPH MOVED AND EDITED BELOW, DATE CHANGED TO 2006:  In 2009 Evans was commissioned by the West Bay Opera to create "Enchanted April, A Lyrical New Musical," based on the 1922 novel The Enchanted April by Elizabeth von Arnim. Evans in turn commissioned Charles Leipart to write the book and lyrics. The initial Industry Presentations of Enchanted April, directed by Annette Jolles, were produced at the Chelsea Studios in NYC in March 2010, and starred Rebecca Luker, Jill Paice, Robert Petkoff, and George Dvorsky. In November 2004, Evans took part in a collaborative composition and performance work called "Raw Impressions Musical Theater #1", with eight other composers.[20] During this time his compositions and musicals were performed in Carnegie Hall, York Theatre < https://yorktheatre.org >, Irish Arts Center <https://irishartscenter.org>, Theatre at Riverside Church <https://trtnyc.org>, Manhattan Theatre Club < https://www.manhattantheatreclub.com>, New York Public Library, Broadway Theatre Institute, Provincetown Playhouse <https://en.wikipedia.org/wiki/Provincetown_Playhouse>, and La MaMa < https://www.lamama.org>. (THIS SENTENCE MOVED AND EDITED BELOW UNDER “Ireland’s Poet-Patriots” WITH FOOTNOTES/REFERENCES: In 1995 Evans composed and recorded the music for the two-hour opera an oratorio based on the poetic works of William Butler Yeats, Maude Gonne, and Padraic Pearse: The Rising, An Irish Allegory.[21] In 2006 Evans was commissioned by the West Bay Opera to create "Enchanted April, A Lyrical New Musical," based on the 1922 novel The Enchanted April by Elizabeth von Arnim. Evans in turn commissioned Charles Leipart to write the book and lyrics. The initial Industry Presentations of EnchantedApril ENCHANTED APRIL, directed by Annette Jolles, were produced at the Chelsea Studios in NYC in March 2010, and starred Rebecca Luker, Jill Paice, Robert Petkoff, and George Dvorsky. ENCHANTED APRIL, The Musical < https://enchantedaprilthemusical.com/> was premiered in 2016 by the Pacific Coast Repertory Theatre, < http://pcrtproductions.org/pcrt_shows/2015-2016-season-announcement/the-world- premiere-of-enchanted-april/>; and workshopped at the Kennedy Center and Arena Stage in D.C., directed by Robert Pullen < https://www.nouveauproductions.com/robert > and sponsored by Adrienne Arsht. It was produced again in 2017 by San Diego State University Graduate Theatre Department <https://ttf.sdsu.edu/programs/program_emphases/mfa-musical-theatre> directed by Stephen Brotebeck <https://ttf.sdsu.edu/faculty/theatre_faculty_profiles/stephen- brotebeck>. On commission from the Cinnabar Theatre in California, Hancock and Evans continued their collaboration to create COMING HOME, A Love Story <https://www.richardbevans.com/so- nice-to-come-home-to.html>. inspired by two plays by James M. Barrie. It was premiered by the Cinnabar in 2011. Evans’ other musicals as composer include: Playboy of Balyduff, An Irish Musical Comedy, with lyrics by Kate Hancock and book by Hancock and Evans, based on the 1907 Irish comedy by John Millington Synge; MIDLIFE! The Users’ Guide, a musical review with lyrics by Frank Evans < https://playbill.com/article/frank-evans-artistic-director-of-manhattan-musical-theatre- lab-dies-at-70 > and music and additional lyrics by R.Evans; “The Golden Touch THE GOLDEN TOUCH, A Family Musical, with book and lyrics by Maryrose Wood < https://www.maryrosewood.com/>, commissioned and produced in NYC by the International Institute of Vocal Arts; and HAMLET’S BIG HOLIDAY, with bookwriter-lyricist Howard Guy Ervin < https://www.richardbevans.com/hamlets-big-holiday.html>. Ireland’s Poet-Patriots In 2016, Evan’s “Irish Oratorio” IRELAND’S POET-PATRIOTS. A Musical Tribute, < https://irelandspoetpatriots.com/washington-dc/> [21] premiered in San Francisco’s Grace Cathedral. Commissioned by Ireland’s Consul General Philip Grant to commemorate the centenary of Ireland’s historic “Easter Rising,” the production, settings of poetic and literary works by William Butler Yeats, Maude Gonne, and Padraic Pearse and others : The Rising, An Irish Allegory features Irish traditional musicians and vocal soloists from the U.S. and Ireland. IRELAND’S POET-PATRIOTS was performed again in 2017 in Washington D.C.’s National Cathedral, produced by the Cathedral and Deborah Wakefield, and conducted by Scott Tucker. Both productions featured musicians Muireann nic Amhlaoibh < https://www.muireann.ie>, Christy O’Leary < https://www.discogs.com/artist/1169069-Christy-OLeary>, Aimée Farrell- Courtney< https://www.aimeefarrellcourtney.com/about/>, and Derek Ryan < https://twoandahalftenors.ie/team/derek> from Ireland, with a 25-voice mixed choir, a chamber orchestra of 28, pipe organ, and piano. The six noted narrators in D.C. included author Chris Matthews <https://www.britannica.com/biography/Chris-Matthews>, publisher Patricia Harty < https://www.irishamerica.com/2011/12/patricia-harty/>, and Ireland’s Ambassador to the U.S. Daniel Mulhall. The live 2-CD recording and libretto is published by Seacastle Music <https://irelandspoetpatriots.com/product/2-cd-set/> New work To celebrate his ninth decade, Evans is composing a series of new works reflecting his Celtic heritage. His medley titled “MacIntyre Cottage” < https://www.musicinplace.org/music- videos.html> was recorded remotely during the Covid pandemic by musicians in the U.S., Sweden, and Ireland. Family     Personal life Richard Bunger Evans was born in Allentown, Pennsylvania in 1942 to Dr. Jean Scholler, later a research pharmacologist on the faculty of Stanford University and the University of Texas at Austin, and John Herbert Evans, an entrepreneur in New York City. Richard Evans was adopted by Henry and Minnie Bunger of Fountain Hill, Pennsylvania, in 1944 and attended public schools there until his graduation in 1960, except for his time as a Capitol Page in the U.S. House of Representatives. He began piano at age five, clarinet at seven, and pipe organ at fifteen. Evans has three children from his second marriage: Berklee Sati (b. 1977) an employee of a major foundation, the non-profit NGO International Rivers and a lifelong dancer; Blake Lowrey- Evans (b. 1981), businessman composer, music teacher, and multi-instrumentalist; craft beer- maker, composer, and guitarist; and Beka Lowrey-Evans (b. 1984), a restaurant manager, businesswoman, singer, and yoga practitioner. He is married to Debra Wakefield Evans, a television and film editor whom he met while they were both living and working in New York City. References 1.      American Composers Forum. Member Bio: William C. Harrington. Retrieved on July 1, 2009. 2.      California State University. Outstanding Professor Awards, p. 22. Retrieved on July 1, 2009. 3.     CSUDH CSU News, 1982. Retrieved on July 1, 2009. 4.     DRAM. Don Gillespie, John Cage's 4 Walls. Retrieved on July 1, 2009. 5.     Bunger, Richard. The Well-Prepared Piano, Colorado College Music Press, 1973. 6.     Cambridge Journals. Reviews: Multimedia. Philip Gentry, John Cage: The Works for Piano 7. Brian Brandt, director; Margaret Leng Tan, piano and prepared piano. Mode Records DVD 158, 2006. Retrieved on July 1, 2009. 7.      Music Teachers Association of California, San Diego Chapter. Women In Music: Compositions For Intermediate Level. Retrieved on July 1, 2009. 8.     Discogs. The Perilous Night. Retrieved on July 1, 2009. \ 9.      AMS Newsletter. January 15, 1975. CMS and ASUC Join In February Meeting. Retrieved on July 1, 2009. 10.  Richard B. Evans. Bungerack and manufactured a limited number of these music stands for close friends, including John Cage. Retrieved on July 1, 2009. 11. Bunger, Richard. The Musiglyph Primer, 1973. 12. Bunger, Richard. The Diatonic Staff: A Notational Assessment for Musiglyph, 1974. 13.  Archive.org. Other Minds Archives. The Expanded Ear: Six Acre Jam. San Bernardino National Forest, April 28, 1973. Retrieved on July 1, 2009. 14.  Archive.org. Other Minds Archives. The Well-Prepared Piano by Richard Bunger (May 17, 1973). Retrieved on July 1, 2009. 15.  Kostelanetz, Richard; H. R. Brittain. A Dictionary of the Avant-Gardes, Routledge, 2001, p. 492. ISBN 0-415-93764-7 16. Richard Bunger Evans. Who is Richard Bunger?. Retrieved on July 1, 2009. 17.  Evans, Richard B.; Donald L. Winks; Adrian McNamara; Bohemian Club. Tyburn Fair, Bohemian Club, 1991. 18. Amazon.com. Leprechaun, Bohemian Club, 2007. 19.  Willis, John, ed. (1996). "A New York Romance". John Willis Theatre World 1993-1994 Season Volume 50. Applause Theatre Book Publishers. p. 126. ISBN 1-55783-235-8. Retrieved 2021-05-03. 20. RIMT RIMT #1. Retrieved on July 1, 2009. 21.  Opera America. North American Works Directory. The Rising, An Irish Allegory. Retrieved on July 1, 2009. 22.  Playbill, July 15, 2006. Kenneth Jones, Up to Date in Kansas City: Seven New Musicals Get Readings in Festival July 15 & 22. Retrieved on July 1, 2009. External links ·        CSUDH Digital Collections. Photograph: Professor Bunger with students (early 1980s) ·        CSUDH Digital Collections. Photograph: Professor Bunger receiving award (June 12, 1982) ·        CSUDH Digital Collections. Photograph: Richard Bunger plays piano (early 1980s) ·        CSUDH Digital Collections. Photograph: Professor Bunger at the blackboard (1982) ·        CSUDH Digital Collections. Photograph: Professor Bunger, seated, in group accepting Japanese music (early 1980s) ·        CSUDH Digital Collections. Photograph: Bungerack - faculty invention (1973) Composer2112 (talk) 19:30, 20 April 2023 (UTC)