KENT STATE UNIVERSITY SCHOOL OF MUSIC

1982 REGION V CONFERENCE AMERICAN SOCIETY OF UNIVERSITY COMPOSERS

Conference Planning Committee: James Waters, Chairman Thomas Janson Frank Wiley

The Conference is supported by grants from the Bascom Little Fund, the Kent State University Research Council, the Kent State University Graduate Student Council, and the Kent State University School of Music.

The Committee would like to express publicly their appreciation of the support of their colleagues at Kent State University, the Cleveland Institute of Music, the University of Akron, the Cleveland Museum of Art, Oberlin College, the Ohio State University, Bowling Green State University, and Youngstown State University. Without their dedication and enthusiasm this conference would not be possible.

* * *

On behalf of the faculty and students in the School of Music, it is my pleasure to welcome members of the American Society of University Composers to Kent State University.

As a participant in several regional and national meetings I am familiar with the work of ASUC. I hope that this meeting continues the tradition of excellence that is the trademark of the Society. Best wishes for a rewarding and enjoyable conference.

Walter Watson Director School of Music

THE AMERICAN SOCIETY OF UNIVERSITY COMPOSERS is a professional organization of composers and other musicians interested in contemporary American music. The Society seeks to promote an exchange of information between its members by means of local and national meetings, to obtain extensive representation of its members through concerts and publications, and to further the common interests of its members with respect to the various levels of government, higher education, and the general public.

Locally, the Society is organized into Regions, within which activities include meetings, lectures, discussions, per­ formances, and exchanges of music and ideas take place. The overall policy of the Society is formulated by the National Council which consists of the chairmen of the eight ASUC Regions. The legal and operational functioning of the Society is the responsibility of the Executive Committee, which consists of nine members chosen, in consultation, by the National Council. KENT STATE UNIVERSITY SCHOOL OF MUSIC

AMERICAN SOCIETY OF UNIVERSITY COMPOSERS Region V Conference, November 5-7, 1982

CONFERENCE SCHEDULE

Friday, November 5 6:30 p.m. Registration. C.F.W. Ludwig Recital Hall. 8:00 p.m. CONCERT I. Reconnaissance. C.F.W. Ludwig Recital Hall. Following the concert, reception at the Kent Student Center, Room 206.

Saturday, November 6 8:30 a.m. Registration, coffee and doughnuts. Room E-112. 9:00 a.m. Business meeting. Room E-112. 9:30 a.m. Papers by Heidi von Gunden and Gary Nelson. Room E-112. 11:00 a.m. CONCERT II. C.F .W. Ludwig Recital Hall. 2:00 p.m. CONCERT III. C.F.W. Ludwig Recital Hall. 4:00 p.m. Paper by Richard Hervig. Room E-112. 8:00 p.m. CONCERT IV. C.F.W. Ludwig Recital Hall. Following the concert, reception at the home of James Waters, 2004 Brookview Drive. Transportation will be available.

Sunday, November 7 11:00 a.m. CONCERT V. F. Gerrard Errante, clarinet. C.F.W. Ludwig Recital Hall. KENT STATE UNIVERSITY

AMERICAN SOCIETY OF UNIVERSITY COMPOSERS Region V Conference, November 5-7, 1982

CONCERT I

Friday, November 5, 1982, 8:00 p.m. C.F.W. Ludwig Recital Hall RECONNAISSANCE Guest Artists: Mary Feinsinger, soprano Terry Sawchuk, trumpet

PROGRAM

Frank Wiley For Alexander Calder (1982)* Kent State University clarinet, trumpet, harp, violin and cello I. Colors II. Stabiles III. Mobiles Frank Wiley, conductor

Daniel Asia Sand II (1978) Oberlin College soprano, two flutes, clarinet, two percussion, two pianos texts by Gary Snyder Mary Feinsinger, soprano Daniel Asia, conductor

INTERMISSION

Frederick Fox Sonaspheres I (1980) Indiana University flute, clarinet, trumpet, trombone, two percussion, piano, violin, viola, cello Larry Baker, conductor

Leslie Bassett Concerto da Camera (1982) University of Michigan solo trumpet with flute, clarinet, percussion, piano, violin, viola, cello Terry Sawchuk, trumpet Larry Baker, conductor

*first performance

This concert is presented with the support of the Bascom Little Fund, the Kent State University Graduate Student Senate, and the Kent State University School of Music. RECONNAISSANCE 11021 East Boulevard Cleveland, Ohio 44106

Eugene O'Brien, Director William Hilyard, Manager Larry Baker, conductor

Timothy Lane, flute Jan Vinci, flute Lorraine Haddad, clarinet Robert Hill, clarinet Christine Dolce, trumpet James DeSano, trombone Alice Giles, harp Anita Pontremoli, piano Robert Dubbs, piano John Kinzie, percussion Bruce Golden, percussion Terri Hilyard, violin Gino Raffaelli, violin Lucien Joel, viola Thomas Mansbacher, violoncello

Founded late in 1978 by composers Donald Erb, Eugene O'Brien, and violinist Terri Hilyard, Reconnaissance is Ohio's only independent, professional new music ensemble. In addition to its annual four-concert series which it has presented in Cleveland since 1980, Reconnaissance has also performed on college campuses in Ohio, Kentucky, Tennessee, Pennsylvania and New York. Since 1979 the ensemble has performed more than 70 different works in public concert, 50 of which have been by American composers, and 14 of which have been world premieres. Reconnaissance's performance of Eugene O'Brien's Embarking for Cythera has been recently released by CRI Records.

CONFERENCE PROGRAM CONTINUED

Business meeting and paper session

Saturday, November 6, 1982 Room E-112

8:30 a.m. Registration, coffee and doughnuts. 9:00 a.m. Business meeting. 9:30 a.m. Heidi von Gunden: "An Analysis of Ben Johnston's Sonnets of Desolation" 10:00 a.m. Gary Nelson: "Algorhythmic Composition" 4:00 p.m. Richard Hervig: "Music of the Left: Blitzstein's The Cradle Will Rock" KENT ST ATE UNIVERSITY

AMERICAN SOCIETY OF UNIVERSITY COMPOSERS Region V Conference

CONCERT II

Saturday, November 6, 1982, 11:00 a.m. C.F.W. Ludwig Recital Hall

Gary Nelson Cycles ( 1980) Oberlin College Gary Nelson, synthesizer

Halim El-Dabh Tonography (1980) Kent State University Laura Bistok, clarinet Kent State University

Robert Rollin Sonata for cello and piano (1968) Youngstown State University I. Allegro ma non troppo Michael Gelfand, cello Roman Rudnytsky, piano Youngstown State University

INTERMISSION

Daniel Adams Echogenesis University of Illinois University of Akron Percussion Ensemble Larry Snider, Director

Thomas Wells Recitative and Aria (1979) The Ohio State University

James Hill, saxophone Thomas Wells, piano The Ohio State University

Roger Briggs ... at the Still Point ... (1981) St. Mary's College Notre Dame, Indiana Julie Neithamer, flute Diana Zsarnay, viola Christopher Morgan Loy, piano Cleveland Institute of Music Contemporary Music Ensemble Larry Baker, Director KENT ST ATE UNIVERSITY

AMERICAN SOCIETY OF UNIVERSITY COMPOSERS Region V Conference

CONCERT Ill

Saturday, November 6, 1982, 2:00 p.m. C.F.W. Ludwig Recital Hall

John Rinehart Two Pieces for piano and synthesized sound (1981) Oberlin College Nightscape Motions John Rinehart, piano

James Sheppard Cat Dreams of Flying (1980) Miami University George Pope, flute The University of Akron

Bain Murray Four Songs of Janet Lewis (1981) Cleveland State University I. Cradle Song II. Meadow Turf III. A Farewell IV. The April Hill Noriko Fujii, soprano Karel Paukert, organ Cleveland Museum of Art

INTERMISSION

Burton Beerman Night Calls Bowling Green State University for clarinet, dancer and taped voices poems by John Gracen Brown Burton Beerman, clarinet Celeste Beerman, dancer

Edward Miller Playing the Odds (1980) Oberlin College eleven brass and stereo tape The Oberlin Brass Guild trumpet horn trombone Ted Griswold Tom Sherwood Edward Basha Steven Westley Jim Chlebak Alan Durning Dan Tepper Peter Silberman Duane Smith John Steinberg Bill Baxter Byron Pearson, conductor KENT STATE UNIVERSITY AMERICAN SOCIETY OF UNIVERSITY COMPOSERS Region V Conference CONCERT IV Saturday, November 6, 1982, 8:00 p.m. C.F.W. Ludwig Recital hall Robert Lombardo Cantabile Roosevelt University Warren DeFren, oboe John Gavin, vibraphone Kent State University Michael Schelle Swanwhite Jordan College of Music Prayer Butler University Roses Midsummer Child Beautiful Discipline Peace Carol Klohn, soprano Joseph Packales, piano Kent State University Rudolph Bubalo Valence VI (1981) Cleveland State University I. II . III. Kent State University New Music Ensemble Philip Messner, clarinet Jane Riegel, cello David Denton, trombone Kristine West, piano Frank Wiley, conductor

INTERMISSION Michael Kurek Five Songs University of Michigan As the hart panteth When I remember Thee As for man, his days are as grass A word fitly spoken Who hath ascended into heaven Paula Schall, soprano Jean Ellsworth, piano Kent State University Jam es Chaudoir Cithaerias Esmeralda Ohio University Raymond DeMattia, flute Kent State University Larry Baker Childness (1979) Cleveland Institute of Music I. Dance, Monster, to my soft music II. An Almost Child III. Dance IV. Lullaby Kent State University New Music Ensemble Karen Burlingame, soprano Lisa Parella, cello Patricia Gallucci, clarinet Robin Beecher, harp Lori Schenck, clarinet Chris Chalfant, piano Frank Wiley, conductor KENT ST ATE UNIVERSITY

AMERICAN SOCIETY OF UNIVERSITY COMPOSERS Region V Conference

CONCERT V

Sunday, November 7, 11:00 a.m. C. F.W. Ludwig Recital Hall

F. GERARD ERRANTE, clarinet

assisted by Burton Beerman, electronics Celeste Beerman, dancer

William 0 . Smith Solo (1980) clarinet and digital delay

Max Lifchitz Yellow Ribbons No. 6 (1982) Columbia University unaccompanied clarinet

Burton Beerman Sensations (1969) Bowling Green State University clarinet and electronic tape

Stephen Montague The Eyes of Ambush (1973) (realization by F. Gerrard Errante) didgeridoo, folk flute, clarinet and digital delay

INTERMISSION

Reynold W eidenaar Love of Line, of Light and Shadow: New York The Brooklyn Bridge (1982) clarinet, color video and electronic sounds

Donald Jenni Musica della Primavera (1974) University of Iowa unaccompanied clarinet

Marilyn Shrude Drifting over a Red Place (1982) Bowling Green State University (Dorothy Linden, visuals) clarinet, delay system, slides, and dancer

Tom Johnson Scene for Clarinet and Tape (1969; rev. 1980) New York (adapted by F. Gerrard Errante) F. GERARD ERRANTE, a native of New York City, holds a Doctor of Musical Arts degree in Clarinet Performance from The University of Michigan. He has studied with leading American clarinetists Leon Russianoff, William Stubbins, and Robert Marcellus as well as Walter Boeykens of the Brussels National Radio Orchestra in Belgium. He has recorded for the CR! label and for many national radio stations including BBC in England, BRT in Belgium, A VRO and NCRV in the Netherlands, ORTF in France, ABC in Australia, and Radio New Zealand. Dr. Errante's Souvenirs de Nice was included in the performance for which he won second prize in the International Gaudeamus Competition for Interpreters of Contemporary Music in 1976. Recent compositions are Musing (1981) for clarinet and delay system, and Chrysalis (1982) for clarinet, live electronics and pre-recorded tape. Currently, Dr. Errante is a Professor of Music at Norfolk State University in Norfolk, Virginia and co-director of the Norfolk Chamber Consort. As an internationally acclaimed recitalist, Dr. Errante has performed extensively throughout America, Europe, Australia, New Zealand, and the South Pacific. In 1979, he was invited to Australia where he served as Artist-in-Residence at the New South Wales State Conservatorium of Music in Sydney. DANIEL ADAMS is currently working on a D.M.A. at the University of Illinois. He holds a Master of Music from the University of Miami and a Bachelor of Music from Louisiana State University_ His composition teachers include Dinos Constantinides, Dennis Kam, Salvatore Martirano and Morgan Powell. Echogenesis is based on polyrhythmic structures which simultaneously divide each beat into 3, 4, 5 and 6 equal parts. The origin of the title is twofold: fragments of the structures are repeated, fading and often becoming temporally distorted. Ordered intervallic structures are present in both definitely and indefinitely pitched instrumental lines. LARRY BAKER is the conductor of Reconnaissance and a member of the faculty of the Cleveland Institute of Music. Compositional studies have been with Spencer Norton and Donald Erb. Childness was written on a commission from the Cleveland Fortnightly Musical Club. The first and third movements are based on a painting by Paul Klee, Dance Monster to my soft music. The second movement comes from a line in Archibald MacLeish's J.B .. ... an almost child ... The final movement originated from a term many midwestern farmers use to refer to a moth, or any insect which is attracted to a flame, a candlefly. BURTON BEERMAN's Night Calls was composed as dialogues between the clarinet and dancer with vocal refrains. The clarinet purposely plays away from the audience to provide greater focus for the dancer. The text for the vocal refrains on the tape concerns itself with the content of silence, and the final silence implies not only the end of the piece but the end. Sensations exploits many of the less common resources which have been developed in the past two decades: measured vibrato and trills, flutter-tongue, lip glissandi, resonance fingering and multiphonics. ROGER BRIGGS, a native of Florence, Alabama, received his Ph.D. from the Eastman School. His teachers in composition include Donald Freund, Warren Benson, Samuel Adler and Joseph Schwantner. He is currently Assistant Professor at Saint Mary's College in Notre Dame, Indiana. At the Still Point was written at the MacDowell Colony during the summer of 1981. The work is essentially an original theme with six variations. RUDOLPH BUBALO is Professor of Composition and Director of the Electronic Music Studio at Cleveland State University. He has received the music award of the Cleveland Arts Prize, grants from the Bascom Little Fund and Cleveland State University, and has participated in a Rockefeller Foundation grant for mixed media. He is a former president of the Cleveland Composers Guild. JAMES CHAUDOIR received the D.M.A. from the University of Maryland and holds degrees from Louisiana State University. His teachers include Lawrence Moss, Dinos Constantinides, Kenneth Klaus and James Drew. He is presently on the faculty at Ohio University, where he directs the new music ensemble. Cithaerias esmeralda is a species of butterfly found in the forests of Brazil and Peru. When the butterfly is in flight it gives the impression of a flower petal blowing in the wind. HALIM EL-DABH, Egyptian-born composer, is professor of music at Kent State University. His works include Clytemnestra, a dance opera for Martha Graham, and Lucifer, a ballet for Rudolf Nureyev. The title Tonography was coined by the composer from the words choreography and tone. The solo clarinet must deal with body-object sounds, indicated by a set of symbols, conventional clarinet tones plus multiphonics, and sounds realized in the surrounding space. The composer indicates that movement-gesture is a process that helps shape the tone. TOM JOHNSON is a New York-based composer who writes musical criticism for the Village Voice. Scene for Clarinet and Tape was adapted by Gerard Errante from a work for piano and tape. MICHAEL KUREK is a doctoral student at the University of Michigan, where he is a student of Leslie Bassett. He was a guest composer at Indiana State University's Contemporary Music Festival, and has received awards from BMI and the Fargo-Moorehead Symphony Orchestra, among others. Five Songs is a set of miniatures for soprano and piano on texts from the Psalms and Proverbs. MAX LIFCHITZ is a graduate of the Juilliard School and Harvard University. His compositions have been performed throughout the United States, Latin America and Europe. He was awarded first prize in the 1976 Gaudeamus Competition. He has been on the faculty of Columbia University since 1977. Yellow Ribbons No. 6 is part of a series of compositions honoring the former American hostages in Iran. The work explores the extreme registers and the polyphonic capabilities of the clarinet. ROBERT LOMBARDO's most recent compositions include Tango on the Moon, an anti-nuke opera, Down the Rapids ofSleep for soprano, cello and two percussion, and a solo piece for alto flute. He is composer-in-residence at Chicago Musical College of Roosevelt University_ EDWARD J. MILLER is on the faculty at Oberlin College. Playing the Odds is the most ambitious of several compositions which use a series of odd numbers as a basis on all architectonic levels, hence the title. The tape was generated by using a Music Program Library developed by Gary Nelson and a frequency modulation orchestra, both on Oberlin's Sigma 9 computer. The title of STEPHEN MONTAGUE's The Eyes of Ambush is taken from a poem entitled Mouth ofAnger, by the Spanish poet Miguel Hernandez. The score, which consists of eighteen chords, must be realized by the performer while he makes use of a tape delay system. Gerard Errant's realization was done while in Australia, so it includes an aboriginal drone instrument, the didgeridoo, along with a Thai folk flute in addition to the clarinet. A principal feature of the work is the chords that are realized with multiple sonorities on the clarinet. BAIN MURRAY is Professor of Music at Cleveland State University. A native Chicagoan, he studied with Herbert Elwell, Walter Piston and Nadia Boulanger. His awards include the Cleveland Fine Arts Prize, the Medal of Distinction from the Polish Composers Union, and two Harvard prizes. Four Lyrics of Janet Lewis was commissioned by Noriko Fujii and Karel Paukert for the 19th International Organ Festival of Magadino, Switzerland. The poems, by the composer's cousin, the California poet-novelist Janet Lewis, deal with birth, love, death and the afterlife. Noriko Fujii teaches voice at Cleveland State University and has an active career as an interpreter of new music. Karel Paukert is Curator of Musical Arts at the Cleveland Museum of Art, and has organized numerous festivals, including the biennial AKI Festival of New Music. GARY NELSON's Cycles was conceived for the Oberlin Hybrid Synthesizer, which is a four-voice electronic musical instrument which is played under the control of a microprocessor. Modules within the (mostly) analog synthesizer receive commands from the computer which determine the control values, patching, and, thereby, the sonic characteristics of the instrument. The title of the work reveals part of the compositional method. Individual parametric choices (pitch, duration, dynamics, spectral content) are determined by cyclic number series. These series are produced by altering the uniform random number generator of the microcomputer to produce less uniform but musically more pleasing sequences. JOHN RINEHART's earliest studies included work in composition with Donald Erb and baccalaureate study at Kent State University with Hugh Glauser and Harold Miles. He is on the faculty at Oberlin Conservatory, and is co-founder of the contemporary music series Res Musica. in Baltimore. Speaking of Motions and Nightscape, composer-author Richard Bunger remarked, "These are really excellent and exciting pieces, and the piano 'effects' are well integrated into and justified by the textures." ROBERT ROLLIN has studied composition and literature at Juilliard, City College, Cornell University and Musik Hochschule Hamburg with Mark Brunswick, Robert Palmer, Karel Husa and Gyorgy Ligeti . He has received grants from the National Endowment, American Music Center, Cornell University, Bennington Composers Conference, Li ll y Endowment, the German government, and the Darmstadt Music Festival. Sonata for cello and piano is a three-movement work completed in 1970. The first movement is in a freely treated sonata form , with the unusual feature of the cadenza coinciding with the outset of the recapitulation. MICHAEL SCHELLE received the Ph.D. from the University of Minnesota, and has studied composition with Arnold Franchetti, Paul Fetler, Dominick Argento, Eric Stokes and Elliott Schwartz. His awards include an ASUC prize, first prize in the International Music Festival Competition, Costa Rica, Delius Association Award, and Harvey Gaul Memorial Composition Competition. He is a member of the faculty of Butler University, and Director of the Contemporary Ensemble and the Electronic Music Studio. The text of Swanwhite is selected from letters written to Strindberg by his (earlier) lover. The two were separated (by choice) for most of their lives. JAMES SHEPPARD studied composition at the University of Massachusetts and at the University of Iowa. His teachers include Philip Bezanson, Richard Hervig and Donald Martin Jenni. He is on the faculty at Miami University. His Cats Dream of Flying was recently performed in New York. MARILYN SHRUDE was born in Chicago and received degrees from Alverno College and Northwestern University. Principle composition teachers include Alan Stout, Walter Mays and M. William Karlins. She has been the recipient of several awards, among them the Faricy Award, two grants from the Wyatt Fund, and two Ohio Arts Council grants. She has been a faculty member at Bowling Green State University since 1977 and is co­ founder and director of the university's nationally acclaimed New Music Festival. Drifting Over a Red Place was inspired by the work of the same name by artist Dorothy Linden. It is the composer's first attempt at multi-media, combining the elements of sound, sight and movement into one loosely woven, but highly integrated fabric. The work was commissioned by composer­ clarinetist Burton Beerman and given its premiere by him and dancer Celeste Beerman at the 1982 Spoleto Festival in Charleston. WILLIAM 0. SMITH's Solo was composed at the American Academy in Rome, and explores the echo effects made possible by analog delay. The first movement uses a long sustained delay to produce chords. The second and fourth use a dry delay for canonic effects. The third should sound as if it is played in a large cathedral. The fifth uses half of the clarinet to produce echoed drone notes while the other half plays an unamplified melodic line. REYNOLD WEIDENAAR's Love of Line, of Light and Shadow: the Brooklyn Bridge is a centennial tribute to one of America's most beloved structures. Since its opening in 1883, the Brooklyn Bridge has been regarded as one of the most magnificent monuments of the Age of Optimism. The visual beauty of the bridge is complemented by the massive sonic resonance of its motor traffic. Both are major elements of Love of Line. Location recordings of visuals and sounds were altered by many analog processing devices. Contrasting musical elements are provided by synthesized sounds, as well as in the clarinet part. The latter also serves in roles of homage, serenade and celebration. The work was commissioned by F. Gerard Errante. FRANK WILEY received his Bachelor of Music and Master of Music degrees from the University of North Carolina at Chapel Hill and his Doctor of Musical Arts degree from the Cleveland Institute of Music and Case Western Reserve University. His principal teachers of composition were Donald Erb and Roger Hannay. He is a member of the composition faculty of Kent State University, where he also directs the New Music Ensemble and the Electronic Music Studio. For Alexander Calder was composed for Reconnaissance in 1982. The performance for this conference is the world premiere. The three movements of the composition deal with three major aspects of Calder's work, Colors, Sta biles (a term coined by artist Jean Arp for Calder's "non-mobile" sculptures), and Mobiles (Calder's kinetic sculptures which move in response to air currents).