------'-!"

un1vers1• • ofiow

society of composers, inc. 28th National Conference

music theory midwest 6th Annual Conference.

april 5-8, 1995 The University of Iowa School of Music

center for new music David K Compper, Director

is proud to host a joint meeting of the Ben Johnston & Judith Zaimont, guest composers Glenn Watkins, keynote speaker

Kronos Quartet society of composers, inc. Duquesne Contemporary Ensemble 28th national conference David Stock, director David K. Gompper, host Northwestern University Contemporary Music Ensemble and the Don Owens, director Furman University Newma Ensemble music theory midwest Mark Ki lstofte, director 6th annual conference with guest artists Thomas Christensen, host Derek Berme l, clarinet Pamela Decker, organ Ron George, percussion Kevin James, trombone Dimitris Mari nos, mandolin Cheryl Marshall, soprano Linda Maxey, percussion Todd Seelye, guitar Taimur Sullivan, saxophone Christopher Teves, guitar Gary Verkade, organ James Wilson, violoncello

april 5-8, 1995 iowa city, iowa The SCI National Conference was sponsored by ·The University of Iowa, School of Music Center for New Music David K. Gompper, director Ching-chu Hu, research assistant ·National Endowment for the Arts, Special Projects ·Arts Midwest members and friends in partnership with the National Endowment for the Arts ·Meet the Composer, with support from ASCAP, Dayton-Hudson Foundation, Metropolitan Life Foundation, and the National Endowment for the Arts. ·ASCAP, with many than ks to Frances Richard ·Aaron Copland Fund, through the American Music Center and the ·Society of Composers, Inc.

SCI National Conference Committee David K. GOMPPER, host

Ching-ch u HU, Ralph KENDRICK David MAKI, Steven WILLARD

MTMW Program Committee Severine NEFF, chair (University of Cincinnati), Candace BROWER (Northwestern Un iversity), Robert SNARRENBERG (Washington University in St. Loui s), Michael CHERLIN (Un iversity of Minnesota). Many thanks also to Daniel JACOBSON (University of North Dakota) for pinch-hitting as secretary of the society, and to Donna PARSONS for her editorial help with this booklet.

Acknowledgments Thanks to the composition students and facu lty who labored over the score selection process (l 000+), especially Ching-chu HU, Ralph KENDRICK and David MAKI, for working endless hours since last September on the enorm ous task of organizing this event; to David NELSON, Director of the School of Music, for his loyal, trusting, and financial support; to Kirk COREY and Lawrence FRITIS for their help with the electronics; to Lowell CROSS and Theresa LEONARD for their assistance in recording all concerts; to Wally CHAPPELL and Judy HURTIG as laison with the Kronos Quartet and Brent Michael Davids; to Matt GREENWELL for his invaluable help, as well as designing the program cover and poster; to Mona SHAW and Barb KREIMAN for their help in creating the call-fo r-scores flyer; to Chee-Swen CHENG and Eun-Hee SHIN for assisting with this program booklet; and finally to Gina McGEE for grant application assistance.

NATIONAL ENDOWMENT FOR~THE ARTS MIDWEST ARTS

page 2 Table of Contents

Acknowledgments 2 Conference Schedule at a glance 4 School of Music map (floor plan) 5 Schedule of Events 6-7 Concert Programs Concert I 8 Concert II 9 Concert Ill 10 Concert IV 11 Concert V 12 Concert VI 13 Concert VII 14 Concert VIII 15 Concert IX 16 Concert X 17 Concert XI 18 Concert XII 19 Concert XI II 20 Papers, Panels and Workshops 22-23 Abstracts SCI Session I: The Vocal Mystique 24 MTMW Session I: Text and Narrative 24 MTMW Session II : Mathematics and Analysis 25 MTMW Session Ill: Sightsinging Methods 25 SCI Session 11: New Frontiers for Composers 26 SCI Session Ill: No Changes ...lmprovisation in New Music 26 MTMW Session IV: Computers in the Classroom 27 MTMW Session V: Theoretical Modeling 27 SCI Session IV: Women and Minorities 28 Joint SCl/ MTMW Panel Discussion 29 SCI Session VI: New Percussion Resources 29 MTMW Session VI: Twentieth-Century Analysis 29 MTMW Session VII: Rhythm : Conceptions and Applications 30 Biographies and Program Notes Composers 32-59 Performers 60-68 Society of Composers and Music Theory Midwest Executive Boards/ National Council 68 Index of Participants 69-71 Ensemble Personnel 71-72 Publishers 72

page3 Conference Schedule at a glance

Wednesday Thursday Friday Saturday time SCI MTMW SCI MTMW SCI MTMW SCI MTMW ir:0.0Ar..m1.__

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5:30 Banquet faoo

6:30 , 1

Reception

KEY: ~=concert W=workshop P=paper / panel session HA=Hancher Auditorium C=Clapp Recital Hall Y=Voxman Hall HH=Harper Hall page 4 Clapp Recital Hall Entrance School of Music First Floor Plan / 1( f l ~ t

Iowa Memorial Union Clapp ltecit.al. Iowa House IMU River Room

Hancher Auditorium

School of Music Main Entrance park ing lot entrance _t__ _l._I _

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page 5 Schedule of Events

Wednesday, April 5 8:00 p.m. SCI Concert I - University of Iowa Choirs and Orchestra Hancher Aud itorium featuring the music of Patterson and Szymanowski

Thursday, April 6 8:00 a.m. Registration - coffee and pastries Clapp Lobby 9:00 SCI Workshop Session I - Cheryl Marshall, soprano Voxma n Hall 9:00 MTMW Session I - Text and Narrative Room 1077 papers by Santore, Naff, Boone and Eckert l 0:15 SCI Concert 11 Clapp Recital Hall featuring the music of Burt, Eckardt, Kuehn, Lefkowitz, Jenni~ Taub, Tenreiro and Zaimont l :30 p.m. MTMW Session II - Mathematics and Analysis Roo m 1077 papers by Montague, Fritts and Code l :30 SCI Concert Ill Clapp Recital Hall featuring the music of Bermel, Decker, Fennelly, van der Slice and Worley 3:00 SCI Concert IV - Words and Music Harper Hall featuring the music and poetry of University of Iowa Writers' Workshop poets and School of Music composers 4:00 MTMW Session Ill - Sightsinging Methods Room 1077 papers by Hoffman, Pelto, White and Rogers 4:30 SCI Membership Meeting and Dinner Mill Restaurant 8:00 SCI Concert V - Duquesne Contemporary Ensemble Clapp Recital Hall David Stock, director featuring the music of Daugherty, Godfrey, Hamilton, Phillips and Vali 9:30 Reception Cla pp Lobby

Friday, April 7 8:00 a.m. Registration - coffee and pastries Clapp Lobby 8:00 SCI Session II - New Frontiers for Composers Ha rper Hall Part I: Composition and the Internet with panelists Ure, Corey and Weidenaar Part II: Desktop Multimedia: A New Platform for Musical Expression and Education with Hinkle-Turner, Ure, Mahin, Weidenaar and Huntley 9:00 SCI Workshop Session Ill - Kevin James, trombone Voxman Hall 10:00 MTMW Session IV - Computers in the Classroom Room 1077 papers by Cossaboom, Fruehwald and Akins 10:15 SCI Concert VI Clapp Recital Hall featuring the music of Barry, Epstein, Phan, Schultz, Verkade, Wells and Zaimont 12:00 p.m. SCI Executive Committee/ National Council Business Lunch 12:00 MTMW Executive Board Lunch page 6 1 :30 SCI Concert VII - Northwestern New Music Ensemble Clapp Recital Hall Don Owens, director featuring the music of Huang, Misurell-Mitchell, Schwendinger, Svyerud and Yim 1:30 MTMW Session V - Theoretical Modeling Room 1077 papers by McGee, Cuciurean, Benoit and Clifford 3:00 SCI Session IV - Women and Minorites Committee Room 1027 Proposals and Discussions, with Parenti, presenter 4:00 SCI Workshop Session V - Kronos Quartet with Brent Michael Davids Clapp Lobby 4:00 SCI Concert VIII Harper Hall featuring the music of Gabel, Hoag, Luo, Twomey Vayo, Wilson and Zahler 4:30 MTMW Business Meeting Room 1027 7:00 SCI Concert IX - University of Iowa Symphony Band Clapp Recital Hall featuring the music of Brouwer, Callagher, 5. Jones, Rands and Thomas 7:00 Joint SCl/MTMW Session Room 1077 panel discussion "Theorists and Composers in the University" with McLean and Steinke, Peles and Neumeyer 9:00 SCI Concert X - University of Iowa ensembles Clapp Recital Hall featuring the music of Blackburn, Johnston, D. Jones, Nichols and Young 10:15 Reception Clapp Lobby

Saturday, April 8 8:00 a.m. Registration - coffee and pastries Clapp Lobby 9:00 SCI Workshop Session VI - Ron George and Ben Johnston Voxman Hall 9:00 MTMW Session VI - Twentieth-Centu ry Analysis Room 1077 papers by Lai, Rao, Uno and Alpern 10: 15 SCI Concert XI Harper Hall featuring the music of Chambers, Corey, Frazin, First, French, Hass, Satterwhite and Smoot 12:00 p.m. lunch Clapp Lobby 1: 00 Joint Keynote - Glenn Watkins, University of Michigan Clapp Recital Hall "The Composer, the Musicologist and the Culture Wars " Introductory remarks by David Nelson, Director, School of Music 2:00 MTMW Session VII - Rhythm: Conceptions and Applications Room 1077 papers by Samarotto, Pearsall, Flint, Ciacchi 2:30 SCI Concert XI I Clapp Recital Hall featuring the music ofAlbright , Fritts, Kilstofte, Lombardo and Montague 4:00 SCI Workshop Session VII - Kronos Quartet and Ben Johnston Harper Hall 5:30 Joint SCl/MTMW Banquet IMU River Room 8:00 SCI Concert XIII - Kronos Quartet Hancher Auditorium 10:00 Kronos audience questions Hancher Stage 10:30 Reception \Hancher Loft

page 7 Concert I

Wednesday, April 5, 1995 8:00 p.m., Hancher Auditorium

Combined University of Iowa Choirs and University Orchestra

program

Stabat Mater Karol SZYMANOWSKI Marcia Roberts, soprano Katherine Eberle, contralto Steven Swanson, baritone

-intermission-

Mass of the Sea Paul PATTERSON Jennifer White, soprano Kyle Ketelsen, bass

William Hatcher, conductor

pages Concert II

Thursday, April 6, 1995 10:15 a.m ., Clapp Recital Hall

program

Miniature VI David LEFKOWITZ Christine M. Bellomy - clarinet

Cancion de Luz Alfonso TENREIRO Lisa Hearne - soprano Mark Weiger - oboe Lisa Dondlinger - violin Michelle Bennett - viola Emily Gosma - violoncello David Gompper - conductor flux Jason ECKARDT Laura Koenig - flute Hsien-Liang Lien - violoncello

Per Elysios D. Martin JENNI Mark Weiger - oboe William Preucil - viola Kristin Thelander - horn D. Martin Jenni - harpsichord Michael Geary - crotale

- intermission - Recitative/Tracing Warren BURT Gary Verkade - organ

Between the Lynes Mikel KUEHN Kimberly Helton - flute Carey H. Bostian II - violoncello Robert Fu ller - piano

Doubles Judith ZAIMONT Mark Weiger - oboe Daniel Shapiro - piano

Lady Mondegreen' s Dances Bruce TAUB Marcia Fuller - flute Marla Feeney - clarinet Daniel Hung - violin Dean Bachus - violoncello Tony Oliver - percussion Jennifer Maxwell - piano David Gompper - conductor

page 9 Concert Ill

Thursday, April 6, 1995 1:30 p.m., Clapp Recital Hall

program

Nightsong and Ostinato Dances Pamela DECKER

Pamela Decker - organ

Theme and Absurdities Derek BERMEL Derek Bermel - clarinet

Solo for Trombone John van der SLICE

D. Paul Pollard - trombone

Incarcerating Raven Daniel WORLEY

Derek Bermel - clarinet Shawn Kirchner - piano

Brass Quintet Brian FENNELLY

Old Capitol Brass Quintet Michael Flynt - trumpet Jason Plosch - trumpet Marina Miller - horn Denson Paul Pollard - trombone Chris Radanovic - tuba

page 70 Concert IV Thursday, April 6, 1995 3:00 p.m., Harper Hall a concert of collaborations between composers from the School of Music and poets from the University of Iowa Writers' Workshop

Radical Symmetry John ALLEMEIER Gylchris Sprauve - tenor Frank MONTRESOR & Mary QUADE David Maki - piano Sonnetl7 Geoffrey ROYALL Jennifer Royall - soprano Hillary GARDNER Noriko Kataoka - violoncello Vigilant Chee-Swen CHENG Barbara Buddin - mezzo-soprano Michael Jay McCLURE Thomas Dostal - vibraphone Faith Ching-Chu HU Drew Poling - baritone Jonathan GOURLAY Carey H. Bostian II - violoncello

-intermission-

Duet Ralph KENDRICK Drew Poling & Rob Hoyt - baritones John BEER & Ben MOSHER

Coffin Eric GRAHAM Nancy Hagen - soprano Michael Jay McCLURE Cliff Hall - electronic guitar Scott Daub - wind controller John Rosenberg - electric viola Eric Grahan - electric bass Commerce David MAKI Jeffrey Pappas - tenor James SCHULTZ Carey H. Bostian II - violoncello Xakax John ALLEMEIER two-channel tape Katherine SWIGGART

Fuzzie Steven WILLARD Erin McMahon - alto Rachel ZUCKER Steven Willard - guitar Kristine Shultis - oboe Michael Geary - vibraphone Robert Hadesack - clarinet Charlotte Bright - piano Veronica Ricks - horn Marit Hervig - viola Chris Radanovic - tuba Eugene Dowdy - conductor

page 11 ConcertV Thursday, April 6, 1995 8:00 p.m .. Clapp Recital Hall

Duquesne University Contemporary Ensemble David Stock, director

program

Kinetikos Bruce HAMILTON

Two Pieces in Chiaroscuro Daniel GODFREY

Dead Elvis Michael DAUGHERTY Krassimir Ivanov - bassoon

-intermission-

Shadow Dancing Mark PHILLIPS

Persian Folksongs (set #10) Reza VALi Vivica Genaux - mezzo-soprano

The Duquesne Contemporary Ensemble is a flexible ensemble of 15-20 musicians dedicated to studying and performing the music of our time. In just a few years, the ensemble has established itself as a presence on the contemporary music scene with performances at Heinz Hall, Carnegie Music Hall, and the Fulton Theater, as well as on Duquesne's campus. Just as a student orchestra might be modeled on a professional symphony orchestra, the Duquesne Contemporary Ensemble has been modeled on The Pittsburgh New Music Ensemble, a resident ensemble of Duquesne University. The student ensemble shares its repertoire with the professionals, often giving second performances of works premiered by The Pittsburgh New Music Ensemble. page 72 Concert VI

Friday, April 7, 1995 10:15 a.m., Clapp Recital Hall

program

Banana Trumpet Games P.Q.PHAN Pamela Decker - organ

Duo David BARRY Julie Hobbs - flute Carl Collins - clarinet

Into Darkness Thomas WELLS computer-generated tape

Parable: A Tale of Abram and Isaac Judith ZAIMONT Kantorei William Hatcher, director Emily Truckenbrod, soprano; Jeffrey Pappas, tenor Drew Poling, baritone; Albert Gammon, reader; Delbert Disselhorst, organ

-intermission-

Dragons in the Sky Mark SCHULTZ

Patrick Hughes - horn Mark Dorr - percussion

Heterophonies Gary VER KADE Carey H. Bostian II - violoncello Gary Verkade - organ Variations for Wind Quintet Paul EPSTEIN

Kimberly Helton - flute Kira Wharton - oboe Christine M. Bellomy - clarinet Darren Robbins - horn Eric Ring - bassoon

KANTOREI - Founded in 1973, The University of Iowa Kantorei is the School of Music's premiere cho ra l ensemble. Consisting of forty singers, se lected by stringent auditions, they ably represent the best ofThe University of Iowa. Most members are grad uate students earning their Master or Doctorate degrees in choral conducting and voice. In 1990, Kantorei was honored to present a concert tour in the Soviet Un ion. The tour was high lighted by four perfor­ mances of the Mozart Requiem, two with the Leningrad Philharmonic Orchestra and two with the Estonia State Symphony. Fu rth er a cappella concerts were given in Moscow, Leningrad, Stavropol, Tal lin, Tartu, and Helsinki.

page 73 Concert VII

Friday, April 7, 1995 1:30 p.m., Clapp Recital Hall

Northwestern University Contemporary Music Ensemble Don Owens, conductor David Searle, graduate assistant conductor

program

Cantus lnterruptus Janice MISURELL-MITCHELL

Yellow Land Joan HUANG

David Searle, conductor

Fable Laura Elise SCHWENDINGER I. II. Ill.

-intermission-

Moments of Rising Mist Jay Alan YIM

Five Pieces for Chamber Orchestra Stephen SYVERUD I. Moderato II. Puittosto Allegro Ill. Allegro IV Tranquil-Adagio Rubato V Allegro

The Northwestern University Contemporary Music Ensemble (NUCME) was created in 1965, under the leadersh ip of M. William Karl ins, and has performed new music since. Several different members of the Composition faculty have served as di rector, including Stephen Syverud, Robert Moran, and Peter Gena. In 1983, the School of Music reorganized NUCME under the Depart­ ments of Composition and Conducting. At that time, Don Owens was appointed Director and Principal Conductor, roles he continues to serve today. The charge of the Contemporary Music Ensemble remains the same as at its inception, namely to act as the prima ry cha mber ensemble within the School. NUCME has performed over l 00 world premieres. Under the direction of Mr. Owens, the group is committed to performing standard 20th century repertory, sco res whose "ink is still not dry," includi ng new works by student composers. NUCME is in constant demand for performances within the Chicago area and the Midwest.

page 14 Concert VI 11

Friday, April 7, 1995 4:00 p.m., Harper Hall

program

The Mosquito Jing Jing LUO Erin Gee - piano

Cornices, Architraves, and Friezes George Balch WILSON

James Wilson - violoncello

Chansons d'Eluard Gerald GABEL

Katherine Eberle - mezzo soprano Rene Lecuona - piano

With Mallets of Forethought Charles HOAG

Linda Maxey - marimba

-intermission-

lmpromtos* Michael TWOMEY

Kristin Thelander - horn Diana Gannett - double bass Uriel Tsachor - piano

Recollections Noel ZAHLER

Todd Seelye - guitar

Border Crossing DavidVAYO

Tony Oliver, Michael Geary, James Romig, Edwin Hill - percussion

* =premiere

page 75 Concert IX Friday, April 7, 1995 7:00 p.m., Clapp Recital Hall

program Randall Hall Songs Stephen JONES I. II. Cheryl Marshall - soprano Michele Mindt - clarinet Daniel Hung - violin Richard Gloss - piano

The Inventions of Summer ( 1995) * Augusta THOMAS based on a text by Mary Oliver** I. Roses II. Sleeping in the Forest Ill. Milkweed Scott McCoy - tenor * =premiere Hsien-Liang Lien - violoncello *·~ u se d with permi ss ion Stephen Havens - piano

Tolling the Spirits Margaret BROUWER

Iowa Brass Quintet David Greenhoe - trumpet Barbara Deur - trumpet Kristin Thelander - horn John Hill - trombone Robert Yeats - tuba

-intermission-

The Persistence of Memory Jack GALLAGHER

Ceremonial for symphonic band Bernard RANDS

University of Iowa Symphony Band Myron Welch, director

The Iowa Brass Quintet was founded in the early 1950s and has been widely acclaimed for its artistry in the performance of the finest brass chamber music from the Renaissance to the most contemporary twentieth-century compositions. The quintet has appeared in concerts and clinics at schools, universities and civic concert series throughout the United States where their diverse programming has been well received by extremely varied audiences. The Iowa Brass Quintet has made four recordings including Sounding Brass (University of Iowa Press) and William Mayer's Quintet (CRI Records) which was listed by Saturday Review as" Best of the Year."

The University of Iowa Bands - Originally organized as a 13-piece cornet band in 1880, over 500 students at The University of Iowa now participate in one of eight university bands. The 71-member Symphony Band is the foremost wind and percussion ensemble. Others include the Concert Band, University Band and Chamber Wind Ensemble. page 76 Concert X

Friday, April 7, 1995 9:00 p.m., Clapp Recital Hall

program

P.P.S. Philip BLACKBURN Gary Verkade - organ

The Light Fantastic Jeff NICHOLS The Center for New Music Linda Pereksta - flute Christine Bellomy, Michael Rowlett, Michele Mindt - clarinets Michael Geary - marimba Robert Fuller - piano Deborah Dakin - viola David K. Gompper - conductor

-intermission-

Sleep and Waking Ben JOHNSTON University of Iowa Percussion Ensemble Tom Davis, director Ron George - guest percussionist Lee Ferguson, Michael Geary, Tony Oliver, Nick Petrella, James Romig

Manzanita Miss David JONES

Winter Echoes Charles R. YOUNG

Johnson County Landmark John Rapson - director

As a major ensemble in the UI School of Music jazz program, the Johnson County Landmark is devoted to the performance of original compositions by jau masters. Its current repertory includes the music of Ellington, Strayhorn, and Dameron among others. Under the name Johnson Couty Landmark, the ensemble has been performing at the UI since the 1960s. The group has traveled to jazz festivals in the United States and Europe, picking up awards on both sides of the Atlantic.

page 77 Concert XI Saturday, April 8, 1995 10:15 a.m., Harper Hall

program

Tango and Dance Richard SMOOT Christopher Teves - guitar

Fantasy Jeffrey HASS Clifford Panton - violin Rene Lecuona - piano

Dream Pedlary Howard FRAZIN Scott McCoy - tenor Thomas Stirling - violin

Time Considered as a Helix of Semi-Precious Stones Marc SATTERWHITE Elayna Duitman - violin Marla Feeney- clarinet Daniel Shapiro - piano

-intermission-

Three Vignettes Kirk COREY Taimur Sullivan - saxophone

Black Sun C. P. FIRST Leopold La Fosse - violin Rene Lecuona - piano

Deep Flowers Evan CHAMBERS Derek Bermel - clarinet

Equinox Tania FRENCH University of Iowa Graduate String Quartet Stephen Sims - violin I Eugene Dowdy - violin II Janse Van Arnam - viola Carey H. Bostian II - violoncello page 78 Concert XII Saturday, April 8, 1995 2:30 p.m ., Cla pp Recital Hall

program

Flights of Fancy: Ballet for Organ William ALBRIGHT I: Curtain Raiser V: Ragtime Lul labye for Fred and Louise's Wedding to Karen Mcfarlane on an important birthday II: Valse triste VI: Shimmy to the memory of Gretchen Finney for Philip Brunelle 111: Tango fantastico VII: Hymn for Hector Olivera and Michael Lorimer to the memory of my mother IV: Pas de deux VIII: Alla marcia to the memory of Leonard Raver and George Cree to the American Guild of Organists

Pamela Decker, organist

Tetraktys Lawrence FRITTS computer-generated tape

-intermission-

Wild Nights Stephen MONTAGUE Cheryl Marsha ll -soprano Michael Rowlett - clarinet Michelle Bennett - viola Richard Gloss - piano

Contrasti a due Robert LOMBARDO Dimitris Mari nos - mandolin Michael Geary - marimba

Love Lost Mark KILSTOFTE Furman University Newma Ensemb le Mark Ki lstofte - director

page 79 Concert XI 11 Saturday, April 8, 1995 8:00 p.m., Hancher Auditori um

Kronos Quartet

David Harrington, violin John Sherba, violin Hank Dutt, viola Joan Jeanrenaud, cello

program

Tunpao Nenangpe (Turtle People) (1994) Brent Michael DAVIDS Brent Michael Davids, special guest

Good Medicine from Salome Dances for Peace (1985-86) Terry RILEY

Fragment (1994) Elliott CARTER

Synchrony ( 1995) Louis HARDIN (Moondog)

Barstow: Eight Hitchhikers' Inscriptions Harry PARTCH from a Highway Railing at Barstow, California (1941 / arr. 1994) (arr. Ben JOHNSTON) Ben Johnston, special guest

-intermission-

Song of Twenty Shadows ( 1994) Ken BENSHOOF

John's Book of Alleged Dances ( 1994) John ADAMS

please remain in the auditorium for a post-concert discussion with the Kronos Quartet

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page 2 1 Papers, Panels and Workshops

Thursday, April 6 9:00-11 :00 am SCI Workshop Session I -The Vocal Mystique Cheryl Marshall, soprano Voxman Hall

9:00-12:00 pm MTMW Session I - Text and Narrative Room 1077 Robert Snarrenberg, Washington University in St. Louis, chair "Attitudes Toward Female Sexuality and the Tonal Structure of Hindemith's Sancta Susanna," Jonathan C. Santore, Plymouth State College "An Analysis of Cadence Formation in the 'Introduction' of Roger Sessions's Cantata, When Lilacs Last in the Dooryard Bloom'd," William P. Pfaff, Somerville, Massachusetts "A Musical Analysis of the Fundamental Content of American English Speech and Conversation," Benjamin Boone, Asheville, North Carolina. "Visions and Revisions: Dallapiccola's Concerto per la notte di Natale del/'anno 7956," Michael Eckert, University of Iowa

1:30-3:45 pm MTMW Session II - Mathematics and Analysis Room 1077 Michael Cher/in, University of Minnesota, chair "Mathematics and Aesthetics in the Music of Xenakis," Eugene Montague, University of Pennsylvania "The Group Structure of Babbitt's Three Compositions for Piano," Larry Fritts, DePaul University "Microtonal Serial ism in Ben Johnston's Diversion," David Loberg Code, Western Michigan University

4:00-5:00 pm MTMW Session Ill - Sightsinging Methods Room 1077 Robert liero!f, College-Conservatory of Music, University of Cincinnati, chair "A Beat-Oriented System of Rhythmic 'Solfege,"' Richard Hoffman, William Pelto, John White, Ithaca College 'The Jersild Approach: A Sightsinging Method from Denmark," Michael Rogers, University of Oklahoma

Friday, April 7 8:00-10:00 am SCI Session II - New Frontiers for Composers Harper Hall I. "Composition and the Internet" James Ure, panel moderator; Kirk Corey, James Ure, Reynold Weidenaar, participants II. "Desktop Multimedia: A New Platform for Musical Expression and Education" Elizabeth Hinkle-Turner, chair; Joan Huntley, Second Look Computing, The University of Iowa James Ure, Bruce Mahin - Radford University and Reynold Weidenaar

9:00-10:00 am SCI Workshop Session Ill - No Changes ... Improvisation in New Music Voxman Hall Kevin James, trombone

10:00-12:00 pm MTMW Session IV - Computers in the Classroom Room 1077 Timothy Koozin, University of North Dakota, chair "Computers and Multi-Media in the Music Theory Classroom," Sterling Cossaboom, Robert Fruehwald, Southeast Missouri State University "Using the Guido Eartraining Curriculum Editor," John Akins, Evangel College

12:00 pm SCI Executive Committee/National Council Business Lunch

12:00 pm MTMW Executive Board Lunch page 22 1 :30-4:30 pm MTMW Session V - Theoretical Modeling Room 1077 Robert Cook, University of Chicago, chair "Knowledge-based Simulation: A Tool for Investigating Theoretical Positions," Deron L. McGee, University of Kansas at Lawrence "Toward a Theory of Sound Color in Electro-Acoustic Music," John Cuciurean, State University of New York at Buffalo "The Composite Fundamental Structure and its Manifestation in Three Songs by Schubert," John Benoit, Simpson College "Auditory Streaming and Belongingness: Criteria for Contour Segmentation in Webern's Op. 9, No. 6," Robert Clifford, Tucson, Arizona

3:00-3:45 pm SCI Session IV - Women and Minorities Committee Room 1027 "Composing the Music School : Proposals for a Feminist Composition Curriculum," Susan Parenti, moderator

4:00-5:00 pm SCI Workshop Session V - Kronos Quartet and Brent Michael Davids Clapp Lobby

4:30-5:15 pm MTMW Business Meeting Room 1027

7:00-8:30 pm Joint SCI/MTMW: Panel Discussion 'Theorists and Composers in the University" Thomas Christensen, The University of Iowa, moderator With composers Barton Mclean, Petersburgh, New York and Greg Steinke, Ball State University (President, SCI); and theorists Stephen Peles, Washington University in St. Louis and David Neumeyer, Indiana University (President, MTMW) Room 1077

Saturday, April 8 9:00-10:00 am SCI Workshop Session VI - Ron George, percussion and Ben Johnston Voxman Hall "New Percussion Resources for the Composer and Performer: The American Gamelan"

9:00-12:00 pm MTMW Session VI - Twentieth-Century Analysis Room 1077 Severine Neff, College-Conservatory of Music, University of Cincinnati, chair "Modal Formations and Transformations in the First Movement of Chou Wen -chung's Metaphors," Eric Lai, Baylor University "Wedging Motion, Registral Space, and Clarity in Ruth Crawford's String Quartet 793 7, Movement II," Nancy Yunyhwa Rao, University of Michigan "Formal Process and Discontinuity in Louis Andriessen's De Staat ( 1972-6)," Yayoi Uno, University of Colorado at Boulder "Aggregation, Assassination, and An Act of God: The Impact of the Murder of Archduke Ferdinand Upon Webern's Op. 7, No. 3," Wayne Alpern, New York, New York

1 :00-2:00 pm Joint Keynote: Glenn Watkins, University of Michigan Clapp Recital Hall "The Composer, the Musicologist and the Culture Wars" Introductory remarks by David Nelson, Director, University of Iowa School of Music

2:00-5:00 pm MTMW Session VII - Rhythm : Conceptions and Applications Room 1077 Candace Brower, Northwestern University, chair 'Temporal Disjunction in Beethoven's Op. 109, First Movement," Frank Samarotto, College-Conservatory of Music, University of Cincinnati "Rhythm Equivalence-Classes: A New Approach to the Analysis of Rhythm in Schoenberg's Early Nontonal Music," Edward R. Pearsall, Madison, Wisconsin "Sieves, Sets, and Temporal Constructs in lannis Xenakis's Psappha," Ellen Rennie Flint, Wilkes University "Rhythm As A Generator of Cohesion in Monteverdi's Romanesca Ohime dov'e ii mio ben," Linda Ciacchi, University of Alabama

4:00-5:00 pm SCI Workshop Session VII - Kronos Quartet and Ben Johnston Harper Hall 5:30-7:30 pm Joint SCI and MTMW Banquet IMU River Room page 23 way in which referential sonorities are employed in th e ABSTRACTS construction of phrases, periods and sections. The effec­ tiveness of a particular cadence at any one of th ese levels SCI Workshop Session I: Cheryl Marshall is a function of expectation, rhythmic impulse, linear events, and the use of referential harmonic structures. The The Vocal Mystique: resultant network of phrase and cadence procedures is How to write effectively and creatively for the voice designed to produce a musical stru cture that is responsive from a performer's perspective. to the demands of the text while providing an anacrusis to the downbeat of the second movement. The possibilities and limitations of each vocal fach or timbre classification will be discussed, in addition to sug­ gestions on how to set text with regards to range and trouble­ "A Musical Analysis of the Fundamental Content of some consonants and vowels. If time permits, a demonstra­ American English Speech and Conversation" tion of extended vocal techniques such as multi-phonics, Benjamin Boone, Asheville, North Carolina overtone focusing, circular breathing and vocal fry will be presented. This interdisciplinary study, drawing from the fields of music, psychology, parapsychology, linguistics, acoustic phonetics and neurology represents the first MTMW Session I: Text and Narrative: thorough attempt to analyze the fundamenta l frequency content of American English speech from a musica l "Attitudes Toward Female Sexuality and the Tonal perspective. While the inherent musicality of American Structure of Hindemith's Sancta Susanna" English speech's pitch fluctuations may seem obvious to many musicians, no scientific study has, to date, confi rmed Jonathan C. Santore, Plymouth State College their intuitive perceptions. This scholarly void is due, in large part, to technological limitations that have on ly Many opera directors and commentators continue recently been overcome, to the interdisciplinary nature of to view Hindemith's 1921 one-act opera as a straightfor­ such a study and to the pervasive view in the linguistic ward if shocking tale of sexual hysteria among repressed and acoustic phonetic communities that the fundamental celibates. This paper proposes a more complex interpreta­ frequency content of spoken American English, a non-tone tion of the opera's libretto as a study of the battle be­ language, is not a "distinct feature." tween female sexuality and celibacy inspired by religious Examples of American English monologue and fervor. It also examines ways in which Hindemith's setting dialogue were taken from recordings of early jazz and of the libretto, particularly his choice of tonal centers, blues performers and contemporary talk shows. Th ese reveals his attitude toward the sexuality/ celibacy ques­ recordings we re first transcribed into micro-tona l musical tion, and discusses ways in which Hindemith's musical notation and then fed into a computer for a non-subjec­ expression of these attitudes affords him a unique means tive analysis utilizing the Fast Fourier Transform (FFT) of tonal organization in the opera, one which clearly tracks system of spectral analysis. This latter analysis showed the the dramatic curve of the libretto. aural transcription to be extremely accurate.

"An Analysis of Cadence Formation in the 'Introduc­ "Visions and Revisions: Dallapiccola's Concerto per tion' of Roger Sessions's Cantata, When Lilacs Last la notte di Natale dell' anno 1956" in the Dooryard Bloom'd" Michael Eckert, The University of Iowa William P. Pfaff, Somerville, Massachusetts The genesis of Luigi Dallapiccola's Concerto per la The paper examines the procedures used to notte di Natale dell' anno 7956 can be traced from early secure cadence and to differentiate the relative strengths sketches and drafts to the unpublished first-version score of these articulations in the opening movement of (October 1957), thence through short-score revisions for Sessions's cantata. the published version ( 1958). After a presentation of the harmonic resources Movements I, Ill, and V are instrumental; nos. 11 employed in the movement, the discussion centers on the and IV are vocal settings of lauda verses by Jaco pone da page 24 Todi . Early sketches show the priority of the vocal concep­ Ben Johnston's Diversion (1979), a divertimento tion in the genesis of the climax of movement 11, and of for eleven instruments, is a unique amalgamation of the original beginning of movement IV. microtonal and serial techniques. The pitch structure of Hidden text-painting occurs in the Concerto: the the piece is governed by a combinatorial twelve-tone row note g-flat is linked to the poem of the Primo Inna, and in in which the second hexachord is a retrograde inversion of the Secondo Inna Dallapiccola portrays the line "Amor, the first. However, the row is not equal-tempered, but in amor, tu se' cerchio rotondo" (''Love, love, you are a round extended just intonation: circle") graphically in the score. C Bb7 G D FJ. E A+ G#i+ B F#+ D#l C#+.

MTMW Session II: Diversion uses an 11-limit just intonation, which Mathematics and Analysis: means that it is based upon the intervals found up through the eleventh partial of the harmonic series. Each consecutive row is related to the previous one either by a "Mathematics and Aesthetics in the Music of common tone or a low-number interval ratio (e.g., 4:3, a Xenakis" perfect fourth). Within a row, each trichord is framed by Eugene Montague, The University of Pennsylvania the interval of a perfect fifth (3:2) or a major second (9 :8), and trichords within the same hexachord are joined by a lannis Xenakis is commonly perceived as a perfect fifth. Overall, the piece is divided into twenty-one composer who writes according to strict mathematical sections, delineated by differences in instrumentation, row procedures and logical operations; almost all of the use (including trichordal reordering), meter, rhythm, scholarly literature on his work, including many of dynamics, and articulation. Xenakis's own writings, tends to support this view. This paper takes issue with this picture, arguing with the aid of MTMW Session Ill: Sightsinging Methods: an analysis of the piano piece Herma that a purely mathematical approach cannot give a satisfactory account "A Beat-Oriented System of Rhythmic 'Solfege"', of either the music's composition or its perception . Richard Hoffman, William Pelto, John White, Moving beyond this argument, an alternative understand­ ing of Xenakis's music is discussed, one that is based upon Ithaca College his aesthetic ideas. It is argued that these ideas, which have largely been ignored by commentators, can provide Instructors of courses in music theory and aural the basis for a richer and more subtle view of Xenakis's skills face new challenges in teaching rhythmic skills. Not position in contemporary music. only do music students need more remedial attention, but the level of rhythmic complexity at which they are ex­ "The Group Structure of Babbitt's Three Composi­ pected to function continues to rise . Teachers oftheory, tions for Piano" therefore, need pedagogic techniques that not only teach elementary concepts and skills, but also provide a strong Larry Fritts, DePaul University foundation for professional musicians who will practice their art well into the next century. In order to address This paper shows that twelve-tone operations these concerns, we suggest that an effective rhythm form a mathematical structure called a group and how pedagogy should promote accuracy and musicality in Milton Babbitt realizes this structure in his ground­ performance, require and reflect understanding of rhyth­ breaking twelve-tone work, Three Compositions for Piano. mic/ metric structures, facilitate aural identification of A sub-group of these operations, mathematically known as rhythmic patterns and meters, provide precise and consis­ a Klein 4-group, is shown to generate the trichordal tent language for the discussion of temporal phenomena, structure of the row as well as the work's rhythmic series. and accommodate various musical styles. It is also argued that Babbitt consciously uses the Klein 4- group to create a network of twelve-tone operations that is We propose a system of rhythmic "solfege" that hierarchically generated by the actions of the 4-group on addresses these goals. The system features two related sets of syllables, one for simple meter (subdivision= "ta­ itself. ka-di-mi") and one for compound (subdivision= "ta-va-ki­ di-da-ma"), that correspond to attack points within each "Microtonal Serialism in Ben Johnston's Diversion" beat of a meter. Based fundamentally on aurally per- David Loberg Code, Western Michigan University page 25 ceived rhythmic patterns, the syllables transfer among about themselves and samples of their work. This sug­ meters, division types, and complex combinations of the gests a new kind of publishing and distribution that two. Thus, the system promotes rhythmic fluency in aural, should be explored . Composers should learn what this visual, and written contexts in traditional and nontradi­ medium has to offer, and how to utilize this resource to tional styles. It has proven effective in several years of support their creative work and related activities. classroom application. Part II: "Desktop Multimedia: A New Platform for "The Jersild Approach: Musical Expression and Education" A Sightsinging Method from Denmark" Elizabeth Hinkle-Turner, chair Joan Huntley, Second Look Computing, The University of Iowa, Michael Rogers, The University of Oklahoma Bruce Mahin, Radford University, James Ure, Reynold Weidenaar.

This paper will present the pedagogical method As advanced communications and technical and specific exercises for tonal sightsinging known as the materials become increasingly available and affordable, "Jersild Approach", named after the contemporary Danish creative individuals have begun to develop such resources composer Jorgen Jersild, who first developed his method in to project their artistic ideas and visions to their col­ the 1950s. This approach represents an unusually leagues, students and other audiences. 11 Desktop multi­ powerful, detailed, and systematic version of the "scale­ media 11 allow us a relatively inexpensive and easy way to degree function" methodology that is favored by many compose 11 interactive 11 audio and video experiences, and teachers. Although it is virtually unknown in the United also enable educators to develop digital demonstrations States, it is used in many of the world's most prestigious and simulations of complex information for their classes. foreign conservatories. Examples of past musical experiments utilizing The core of his teaching technique revolves this technology include Morton Subotnik's All My Hum­ around a set of tetrachord patterns (4-note scalar exer­ mingbirds Have Alibis (1991-92) and Peter Gabriel's cises), whose shifting whole- and half-step dispositions are Xp!ora I ( 1993 ). These works seek to actively engage the used to evoke a variety of tonal orientations and contexts. audience member in the creative decision-making process. Along with these short melodic "motifs", a set of ten Software available on the Macintosh and PC platforms resolution and tendency-tone patterns are used to allows composers to make creative experimentation enculturate tonal bearings by representing basic location accessible for users to explore at their own pace and in points or "moves" within a key. their own way. This offers a potential for collaborative communication analogous to that of a conductor and an SCI Session II: New Frontiers for Composers orchestra. This panel will introduce composers to some of Part I: "Composition and the Internet" the enormous opportunities available both professionally James Ure, panel moderator and pedagogically through desktop multimedia. Kirk Corey, University of Iowa, James Ure, Reynold Weidenaar

The recent explosion of activity on the Internet has SCI Workshop Session Ill: brought a host of new resources within easy access to No Changes ... lmprovisation in New Music individuals throughout the world. These tools are being Kevin James, trombone utilized by composers in a variety of ways. Composers participate in mail lists, download programs and files, and For the first time since the baroque era, compos­ access massive databases. These are resources for MIDI & ers and performers alike are once again expected to be not synthesis tools, digital recording & editing software, and just familiar with, but fluent in the practice of improvisa­ interactive programs. Discussion of these topics will tion. Whether we are speaking of a short segment of include a summary of relevant discussion lists, important rhythmic ambiguity in the 11 Lau des 11 of Jan Bach, graphi­ FTP sites, ways of accessing search tools, and the use of cally notated background materials in the first symphony the Internet to share information and organize events. of John Corigliano, or an entire dance sequence of free The growth in the World-Wide-Web (WWW) improvisation in Leroy Jenkins opera 11 A Mother ofThree suggests a new kind of multimedia activity which has not Sons, 11 improvisation is a technique that is essential to the yet been fully defined or realized. The possibility exists for next wave of new music. composers to create web documents with information In this lecture/recital, it will be my intention to page 26 demonstrate (in two compositions) the use of improvisa­ examples, 2) an analysis of an electro-acoustic composi­ tion as it relates both to composer and performer. In the tion, and 3) the creation and performance of a comp lex, first piece, "All( most) Alone, 11 the music is completely multi-layered African ensemble piece. notated for the performer with the exception of an open­ ended improvisational 11 caccia" located in the center. In "Using the Guido Eartraining Curriculum Editor" this example it is the obligation of the performer to have a John Akins, Evangel College fluid grasp of unusual scale patterns and rhythmic ideas in such a manner as to allow him or her to "take the ball and The primary purpose of th is paper will be to serve run with it 11 while coherently commenting on what has as a practical guide to teachers of ear training who are already passed in the piece and preparing the audience using the University of Delawa re GUIDO music learning for what is yet to come. In the second piece, 11 Good program. It specifically addresses teachers who would like Friday," the music is notated for the soloist in a skeleton­ to make use of the Instructor Utility for editing the dri ll ized form for much of the first movement, and is not units or creating new units, but have found themselves notated at all for the percussion accompanist. In this case either a bit timid or just too busy to digest adequately the the performer is constantly required to illuminate and manual's information. My presentation will give a concise magnify what the composer is presenting while the overview of the organization and functions of the Curricu­ accompanist must remain ever sensitive to what the lum Editor, give some helpful hints, including some quirks soloist is doing. In addition, the audience is required to avoid, as well as outlining in a few steps successful to participate in an improvisational manner, further procedures gleaned from five years of experience. In accentuating the pull between the structured and the addition, I shall share a method of effectively enlarging unstructured. In the second movement, there is an the capacity of the program beyond its inherent limita­ improvisational cadenza in which the performer has tions-specifically, by enhancing the number of "work slots" the opportunity to provide a bridge between the available through attaching very simple DOS program­ movements. In each example, the musical experi­ ming. The session will close with a brief demonstration of ence-one clearly defined and notated by the com­ the creation of a new Melodies Unit with restrictive atonal poser-is heightened by the sponteneity and the patterns. creativity of the performer. MTMW Session V: Theoretical Modeling: MTMW Session IV: Computers in the Classroom: "Knowledge-Based Simulation: A Tool for Investi­ gating Theoretical Positions" "Computers and Multi-Media in the Music Theory Deron L. McGee, The University of Kansas at Lawrence Classroom" Sterling Cossaboom, Robert Fruehwald, Developments in the field of artificial intel ligence provide tools for investigating how people acquire, store, Southeast Missouri State University and employ knowledge. These developments facilitate the concept of knowledge-based programming, referring to The teaching of music theory is changing. We are computer programs that encode and utilize human no longer only teaching common practice harmony and knowledge to solve problems. Such knowledge is usually counterpoint using a few Bach chorales, inventions, and stored in the fo rm of rules that are used by the computer fugues. The old tools of music theory pedagogy (the to logically deduce solutions to a problem, thereby textbook, the blank manuscript page, and the piano) will resembling human reasoning. Knowledge-based programs soon yield to computers and multi-media technology. are not new, but a lack of sophisticated computer pro­ This paper will discuss and demonstrate the gramming languages on microcomputer platforms have utilization of computer and multi-media technology in limited their use in music research until recently. classroom instruction using a Macintosh Quadra 660A V Knowledge-based programs have the potential to with interval CD-ROM, HyperCard, Finale, a digital increase our understanding of, and perhaps reshape ou r scanner, and Audio Media. For the purposes of this paper thinking about certain theories and the music they applications of computer technology will be directed attempt to explain. The process of constructing a knowl­ primarily toward instruction in music theory and will edge-based simulation of a music theory provides a include a demonstration of 1) a data base of musical page 27 powerful tool for investigating and criticizing that theory. that the two-voice Ursatz constitutes the fundamental It is not unusual for theories to give an appearance of structure of all well-wrought tonal compositions. Many of completeness and logical consistency. Their weaknesses the Lieder of Franz Schubert, however, resist reconciliation may not be apparent until someone attempts to put them to the three traditional forms of the Ursatz. Their primary to a crucial test, to draw firm inferences from them, or to structures are better accommodated by a three-voice build a model based upon them. Generating a computer contrapuntal model which I term the composite funda­ simulation frequently reveals flaws by highlighting mental structure. Its three voices are composed of a linear inconsistencies or a lack of complete specificity in the descent from scale-degree 3, a linear ascent from 5, and a theory. By studying the output generated by such a bass arpeggiation. In this paper, I shall discuss the simulation, combined with the information learned theoretical viability of this alternative model of fundamen­ through the process of constructing the system, we have a tal structure and consider its manifestation in three songs foundation for criticizing and perhaps reformulating the by Franz Schubert-An Sylvia, D. 891, Tduschung, D. 911 I theory. 19, and Die Jagers Liebeslied, D. 909.

"Toward a Theory of Sound Color in "Auditory Streaming and Belongingness: Electro-Acoustic Music" Criteria for Contour Segmentation John Cuciurean, in Webern's Op. 9, No. 6" State University of New York at Buffalo Robert Clifford, Tucson, Arizona Anton Webern's Six Bagatelles for String Quartet This paper will contribute to the small but are composed in the aphoristic style typical of his works growing body of analytic research on electro-acoustic from this period-their texture is sparse and fragmented . music by investigating Milton Babbitt's claim that "What Consequently, the identification of convincing melodic led most of the composers to the electronic domain contour segments is sometimes difficult. Too often the originally [was] the whole rhythmic question-rhythm in listener (and the analyst) is confronted with an array of every sense of the aspect." The rhythmic organization of seemingly disconnected sound events. However, by timbral elements in serial electro-acoustic music composed utilizing the Gestalt grouping principle of belongingness, during the 1960s and 1970s serves as an essential this dilemma can be addressed . This principle is most structural feature. The uncovering of this organizational often associated with the perception of visual stimuli and procedure yields a deeper understanding of the complex states that a common border between two percepts must textures that this music typically exhibits. Through belong to one or the other. In the analogous musical detailed analyses of several short sections from Babbitt's situation (where, for instance, a well-formed contour Reflections (1974) for piano and tape and Mario segment occurs concurrently with a grouping of unrelated Davidovsky's Synchronisms No. 6 (1970) for piano and tones), various auditory streams are formed by our tape, this paper investigates: first, the rhythmic relation­ perception, and they compete for the tones to be included ships between pitch, timbre, register, dynamics; secondly, in them. Therefore, tones can be said to "belong" to a the relative rate of change of these sound color param­ specific segment. In this paper I explore the concepts of eters; and thirdly, the relationship between the electronic belongingness and auditory streaming and the ways in timbral rhythm and musical form. When the analytic which they can be utilized as heuristics for contour observations are categorized according to general timbral segmentation. By applying this principle to Webern's Op. characteristics, the correlation between sound color and 9, No. 6, ambiguous passages within the "pointillistic" definition of musical structure can be further developed . texture can be segmented into discrete contour segments. My paper concludes with a discussion of how these Once this segmentation is accomplished, a detailed examples suggest a beginning for a general theory of structural organization is revealed . sound color in electro-acoustic music. SCI Session IV - Women and Minorities: Com­ "The Composite Fundamental Structure and its posing the Music School: Proposals for a Manifestation in Three Songs by Schubert" Feminist Composition Curriculum John Benoit, Simpson College Susan Parenti, University of Illinois, C-U

One of the central tenets of Schenkerian theory is I propose to discuss the relation of feminist ideas page 28 to the teaching of music composition in the context of the This workshop will demonstrate the tuning and academic environment. How do the voices of women construction of the American Gamelan that composers can composers fit in to contemporary composition depart­ use for their own creation. There will be a performance of ments? What is the function of the women composer to Ron George's The Floating Bubble, followed by a hands-on social concerns? Finally, how might we move from our performance by members of the audience. critique to a positive program of action? MTMW Session VI: Joint SCl/MTMW Panel Discussion: Twentieth-Century Analysis: Theorists and Composers in the University "Modal Formations and Transformations in the First Traditionally, subjects related to music theory and Movement of Chou Wen-chung's Metaphors" analysis were taught in most music departments, conser­ Eric Lai, Baylor University vatories and colleges by composers, not music theorists. Indeed, the profession of music theorist is a relatively Western art music in the twentieth century has recent entry into academia. Yet within the past two manifested an unprecedented mixture of cultural influ­ decades or so, music theory has enjoyed remarkable ences. In addition to musical styles that were cultivated in growth--particularly in North America, but increasingly Europe, composers have resorted to non-Western cultures in Europe as well. A large number of professional music for the expansion of musical vocabu lary and redefinition theorists entering academia have taken over pedagogical of compositional aesthetic. My paper examines the responsibilities historically assumed by composers. The application of Chinese metaphysical principles in the fi rst result of this shift has often been a confusion of--and movement of Chou Wen-chung's Metaphors (1960). sometimes tension between--academic roles. Based upon the composer's sketches, I will discuss the The invited participants of our panel--two derivation of the eight modes, which form the pitch basis composers and two theorists (including the two presidents of the composition, from the eight trigrams Yi Jing ("Book of our respective societies)--will take advantage of our of Changes"). This includes the motivic bases of yin and joint meeting to reflect upon some of the consequences of yang, the modal representations of the eight trigrams this change in the work place, and to consider together (trilinear arrangements of yin / yang symbols), and modal the future of music training in the university. Among the pairing. Pitch-class set terminology is invoked to illumi­ questions we want to raise and discuss are: To what nate modal transformations and motivic interactions from extent has the entry of professional music theory changed the surface to deeper levels. Superpositions and juxtaposi­ the role of the University composer? What have been the tions of modes and their relation to hexagram formation s consequences of this to the undergraduate curriculum? reveal Chou's concern for invariance structure. The And finally, what constructive new ways can theorists and analytical findings lead us to a better understanding of composers work together, especially given the increased how traditional Chinese concepts and materials function budget constraints facing most colleges and universities in Chinese music, how they combine with twentieth­ today? Each panelist will speak for about ten minutes, century Western techniques, and, within a broader context, addressing some of these questions, whereupon we will how they contri bute to the real ization of what Chou cal ls open up the floor for a lively and hopefully constructive re-merger-the confluence of musical cultures in the dialogue. formation of a new style.

SCI Workshop Session VI: "Wedging Motion, Registral Space, and Clarity in New Percussion Resources for the Composer Ruth Crawford's String Quartet 7937, mvt. 11" and Performer: The American Gamelan Nancy Yunhwa Rao, The University of Michigan Ron George, percussionist and Ben Johnston, composer Ruth Crawford's String Quartet 793 7 has ha d an with Lee Ferguson, Michael Geary, Karla Kehoe, important influence upon contemporary composers. El liott Scott Krohn, Mike Masengaub, Tony Oliver and Carter, for one, has documented the influence of the third Jake Romig, U/ Percussion Ensemble movement on his own music. Recent analytic studies of the string quartet have provided va luable insight into the unique use of serial technique, melodic structure, dynam-

page 29 ics, registral space, etc. Also, biographical information on Anton Webern's famous assertion that as the life of and musical influences on Crawford are begin­ early as 1911 "he had the feel ing, 'when all twelve notes ning to emerge. One area that has received less attention, have gone by, the piece is over"' suggests that he may though, is the individual role these various techniques have anticipated the serial concept of aggregation before play. Schoenberg. Unique among Webern's works, the 1910 In this paper, I will discuss the competing roles of composition of Op. 713 appears to support such a serial technique, "dissonant counterpoint," and gestures conclusion: it actually unfolds a single aggregate and ends concerning registral space in the second movement of precisely once all twelve pitch classes are heard. String Quartet 7937. This movement illustrates interaction Th is paper explores the remarkable history of Op. of pitch structure of the motives, wedging motion in both 713, and examines how and.why it came to em body a the melody and the overall structure, and the use of single aggregate. As a result of the assassination of registral space. The manner in which one compositiona l Archduke Ferdinand in Sarajevo in 1914, Universa l approach seems to take priority over the other may well suspended its imminent publication of Op. 7 under an "Act indicate Crawford's reliance on a strategy of clarity. of God" condition in its publishing agreement. Prior analyses of Op. 713 by Allen Forte, David Lewin, and "Formal Process and Discontinuity in Louis others have all addressed the 1922 post-war publicati on. Andriessen's Based on new research at the Webern archives in Switzer­ De Staat (1972-6)" land, analytic comparison between the published score and Webern's original 1914 manuscript reveals that he Yayoi Uno, The University of Colorado at Boulder made critical revisions in 1922. These revisions are scrutinized from a set-theoretical perspective and a new This paper examines issues of formal process and analytic model for assessing aggregational unfolding in a discontinuity in De Staat for female voices and chamber non-serial atonal work. The resu lt shows that un like the ensemble, written in 1976 by the contemporary Dutch revised version, the original consisted of two aggregate composer, Louis Andriessen . Concepts presented by cycles rather than one. Op. 713 only became a un i­ Jonathan Kramer in The Time of Music have provided an aggregationa l piece through revision in 1922, long after important framework in my analytical approach to this Webern's aggregational feeli ng of 1911. Based upon this work. In this paper, I explore the issues of temporality in analysis, questions are raised as to the credibility of De Staat specifically by examining: 1) the interdepen­ Webern's famous remark, his anticipation of Schoen berg's dence of musical parameters in generating different levels serial thought, and possible reaso ns for his curious revision of form al discontinuity; 2) the interplay of linear and of the atonal work to embody a single aggregate yea rs nonlinear musical factors in weighting the formal balance after it was composed. of th is work. Consideration will also be given to the evaluation of Kramer's categories of temporality, i. e. moment form, MTMW Session VII: Rhythm: multiply-directed time, and how the formal conception of Conceptions and Applications the work fails to fit into any of those categories. Wh ile De Staat presents a stylistic amalgamation in its blending of "Temporal Disjunction in Beethoven's minimalist language with Stravinskian techniques of Op. 109, First Movement," "block" juxtaposition and stratification of musical mate­ Frank Samarotto, rial, it transcends these stylistic norms in its bold experi­ College-Conservatory of Music, University of Cincinnati mentation with stasis and formal discontinuities. Various aspects of temporality in this work may be compared to those of Stravinsky's works to show the similarities and This paper introduces a new analytical tool, which differences in the manifestation of linearity and I call temporal disjunction, to the arsenal of Schen kerian nonlinearity as well as formal balance. techniques of analyzing rhythm. Like most analytical approaches, Schenkerian theory tends to emphasize coherence and continuity over conflict and discontinuity. "Aggregation, Assassination, and An Act of God: Yet disruptions to the even flow oftime can be a fu nda­ The Impact of the Murder of Archduke Ferdinand mental element of the music of many composers, Upon Webern's Op. 7, No. 3" Beethoven prominently among th em. Wayne Alpern, Of course it is commonplace to speak of disjunct The Graduate Center, City University of New York page 30 rhythms where any greatly differing durational values structure of temporal organization. appear in succession. The concept of temporal disjunction The outside-time structures used in composing generalizes this still further: it assumes that musical time Psappha (1975), a work for solo percussion, were gener­ (as opposed to chronological time) is continually created ated using elementary sieves based on the Sieve of not just by durational values but also by pitch, texture, Erastosthenes. Initial in-time ordering was accompl ished dynamics articulation, and any other factor that might be with the aid of complex sieves in the form of logical deemed musical. (algebraic) expressions and self-generating cycles through Points of temporal disjunction have the potential a group structure. The resultant polyrhythmic construc­ to become fissures in musical time, places where temporal tions were then subjected to direct manipulations by the continuity and musical discourse can break apart and composer to produce "arborescences", or branchings", of create underlying ambiguities in voice-leading and the in-time structures. temporal structure. These issues are explored in the fantasia-like first movement of Beethoven's Op. 109. "Rhythm as a Generator of Cohesion in Monteverdi's Romanesca "Ohime dov'e ii mio ben", "Rhythm Equivalence-Classes: A New Approach to Linda Ciacchi, The University of Alabama the Analysis of Rhythm in Schoenberg's Early Nontonal Music", "Ohime dov'e ii mio ben" is the only piece Claudio Edward R. Pearsall, Madison, Wisconsin Monteverdi composed on the Romanesca, a Renaissance ostinato that combines a melodic descent comprised of Equivalence-class approaches to analysis have scale-degrees 5-4-3-2, 5-4-3-2-1 with a tetrachorda l bass yielded many fruitful insights regarding pitch and contour comprised of scale-degrees 3-7-1-5, 3-7-1-5-1 . The linear in musical contexts. In this paper I adopt an equivalence­ motion of the Romanesca makes it congenial to theorists class approach to rhythm in order to produce a mechanism favoring a Schenkerian approach, such as David Gag ne in for analyzing rhythm in music and also to provide an his article "Monteverdi's Ohime dov'e ii mio ben and the exhaustive, but limited, list of rhythms to be employed as Romanesca" (Music Forum 6/ 1 [1987], 61-91 ). Gag ne a compositional resource. Analyses of two early nontonal demonstrates that Schenker's principle of interruption, works by Schoenberg-the twelve-tone theme from the found in all four sections of the work, acts as a unifyi ng Variations for Orchestra, Op. 31 and the Minuet from the device for the entire composition; however, pitch organiza­ Suite for Piano, Op. 25- reveal that rhythms in these tion is not the sole agent of long-range cohesion in this pieces stem from one or two rhythm classes and their piece. Rather, Monteverdi's development of rhythm into subsets. In addition, the analysis of Op. 25 shows how balanced, archlike schemes of intensification and relax­ rhythm-class motives emerge not only at the beat level, ation contributes forcefully to the cohesiveness Gagne but at deeper levels as well. Theses analyses suggest that ascribes to pitch events alone. rhythm in the early nontonal pieces is as highly structured My paper amplifies Gagne's study with an as its pitch component. analysis that uncovers the rhythm ic process operating within each section and throughout the work as a who le. "Sieves, Sets, and Temporal Constructs in lannis The process is generated by such diverse parameters as Xenakis's Psappha", surface rhythm , distance of imitation, and pacing of text. Ellen Rennie Flint, Wilkes University Also of consequence in this Romanesca are the disparate alignment of vocal phrases and bass tetrachords, the relationsh ip of poetic and rhythm ic structures, and the In the course of defining his theories of formal­ formal correspondences between sections, all of which ized music, lannis Xenakis distinguished outside-time and contribute significantly to the long-range cohesion of t he in-time structures. Outside-time structures represent an piece. aggregate of sonic characteristics that admit quantitative expression and which may, therefore, be given a totally ordered structure but which, themselves, do not inherently imply any specific temporal arrangement. The ordering of these materials into a coherent entity, the in-time struc­ ture, remains a function of time and results from the mapping of the outside-time structures onto an abstract

page 37 Pas de deux is in two parts: the first a Composer's lament based on the imitation of falling drops of water, and the second a Biographies and Program Notes rich harmonic essay in a post-roman­ tic/ minimal style. The Ragtime Lullabye reminds Austrian Radio Orchestra, the Buffalo us of how closely the ragtime texture is Philharmonic, the Bergen Symphony, the related to body movement (for St. Paul Chamber Orchestra, and the example, the cakewalk). Like any good American Composers Orchestra. piece of boudoir music, it has a brief Albright is presently Professor of section of strip-tease before it eventu- Music Composition at the University of a Ily falls asleep. Brahms, perhaps Michigan. In 1973, he was honored with because of his famous Lui la bye, is a a Distinguished Service Award from that constant specter. With its pop/ jazz institution, and in 1990, he received a orientation, Shimmy would sound best Faculty Recognition Award. He is on a Hammond (the piece has drawbar currently completing an opera, The Magic suggestions!), and Hymn honors City, a commission from the University's American folk music. The Alla marcia School of Music. Albright has pursued has a 'fantastic' introduction-a sort of William ALBRIGHT (b. 1944, research in live electronic music and is slide into hell with quotes from four Gary, Indiana), composer and performer, Associate Director of the University's previous movements-before it settles has concertized widely in Europe, Canada Electronic Music Studio. into a Sousa-inspired march. The trio and the United States, specializing in Albright's organ works are section cries out for college "fight­ concerts of recent music for organ. available on Gothic, CRI, Arkay, Titanic song" words, such as, for the first line, Although he has premiered over thirty and Nonesuch recordings. A contract ''I'm A-0.K., I'm A.G .O." The remainder new works written by American and with Music Masters/Musical Heritage awaits treatment by one or more European composers, he is also highly Society has produced five piano record­ inspired and sympathetic lyricists. regarded as an interpreter of classic piano ings, among them the music of James P. The entire work was commis­ ragtime and early jazz styles, such as the Johnson, Albright's own rag compositions, sioned by the American Guild of Harlem stride and boogie-woogie. and the 1990 release of the complete Organists for the Biennial National As a composer, he is well-known rags of Scott Joplin. Albright also Convention in Atlanta and was for his keyboard works, though he has appears as performer or composer on premiered at the Fox Theater on July 2, produced works for every medium, several Advance, Capstone, Cambria, Crystal, 1992 by organist Hector Olivera. of which involve electronic, visual and Titanic, Opus One, Gasparo and five other theatrical elements. He has been the CRI releases. His compositions are recipient of many commissions and published principally by C.F. Peters, with awards, among them the Queen Marie­ Elkan-Vogel (Presser), Jobert (Presser), Jose Prize, an award from the American Universal, Dorn, Mel Bay and E.G. Marks Academy of Arts and Letters, two representing several other works. Fulbright and two Guggenheim Fellow­ ships, the Symphonic Composition Award Flights of Fancy: Ballet for Organ is of Niagara University, two National a suite of eight dances, which, like a Endowment for the Arts Grants, two ballet, can tell a story, though imagi­ Koussevitzky Composition Awards, and a nary in this case. The dedications, Koussevitzky Foundation Commission . In alternating memorials and playful 1979, he held the post Composer-in­ honoraria, could be thought of as Residence at the American Academy in integral to the action . Rome; in the same year, his composition The overall structure is a John ALLEMEIER (b. 1970) has Stipendium peccati was selected as the symmetrical balance of key relations received a BM in guitar performance from United States entry for the International and dance types. F Major is the key of Augustana College and a MM in Compo­ Society of Contemporary Music Festival. the opening overture (Curtain Raiser) sition from Northwestern University. He Major orchestras which have performed and is the predominant key of the has studied with Michael Pisaro, M. Albright wo rks have included the entire cycle. There follow two relatively William Karlins and Barbara Monk Syracuse Symphony, the Detroit Sym­ literal dance movements, Va/se triste Feldman . John is currently pursuing his phony (an opening work for their 1990 with its melancholy chromatics, and Ph .D. at the University of Iowa and is a subscription series season in Orchestra Tango fantastico, a dark journey in student of David Gompper. Hall), the Budapest Philharmonic, the many ways appropriate to the genre. page 32 Derek BERMEL (b. 1967, New eight-bar chunks, growing steadily in York City) received his B.A. from Yale ridiculousness. University, and is currently a second year doctoral student in composition at the University of Michigan, studying with William Balcom. He has studied composi­ tion with William Albright, Michael Tenzer, and Jan Radzynski, clarinet with Ben Armato, Keith Wilson and Fred Ormand. He has also studied composi­ David L. BARRY (b. 1947), tion and ethnomusicology in Jerusalem studied composition with Herbert with Andre Hajdu, and West African Bielawa, Richard Festinger, Henry xylophone music in Ghana and Burkina Onderdonk, and Wayne Peterson. He has Faso. written for standard instrumental He has received commissions combinations, electronic media, and from the Albany Symphony (Dogs of environmental installations. Recent Desire), the New York Youth Symphony works include a chamber symphony and a (First Music 11 ), William Albright, Harry string quartet. He holds an M.A. in Sargous and Anton Nel, Timothy Jones, Composition from San Francisco State Kamran Ince, MCP and Keiko Abe, and Philip BLACKBURN started University. the University of Michigan Chamber composing at the age of 16, writing Choir. He is also a finalist for this year's experimental works for mixed ensembles Duo for Flute and Clarinet ( 1988) Young Concert Artists Composer's and working with a simple electronic tape premiered on November 3, 1993 at the Commission. He has been awarded a studio. He studied privately with American Music Week Festival at Javits Fellowship, an N.E.H. grant, Banff Anthony Milner and Bryan Kelly of the Dominican College, San Rafael, and Bowdoin Summer Festival Fellow­ Royal College of Music in London . He California with flautist Bonnie Lockett ships, Dorat and Horowitz Fellowships for was a cofou nder of the Oxford com posers' and clarinetist Steven Bergman. The composition study in Israel, the Earl V. collective Soundpoo/ and developed a work is in two movements, termed Moore Award from the University of number of improvised, notated and "dialogues." In the first dialogue, each Michigan, and the National Jewish electronic works which were performed in instrument presents a theme which Congress Prize. His work Oust Dances Oxford and London. He began studies in soon begins to merge with the other. ( 1993-94) for orchestra was chosen for experimental music, cognitive studies, The second movement is thematically a the American Composers' Orchestra New phenomenology, linguistics, and theatre synthesis from the beginning and Music Reading Session in June 1994. with Kenneth Gaburo in San Diego in presents its dichotomy in terms of the As a clarinetist Bermel has 1979. counterpoint. The intervallic content of played recitals of contemporary music Subsequently he attended the piece (juxtapositions of unordered internationally, prompting The New York Cambridge University where he organized trichords mimicking traditional Times to hail him as "a truly exceptional the weekly New Music Workshops and arpeggii) is meant to suggest a talent." He has performed as soloist with studied with Robin Holloway. Works at succession of moods, from facetious to the Goldman Band at Lincoln center, on this time included AIR: Air, Canary, New earnest. The structural elements of the WQXR radio (Copland Concerto}, with the Ground for Clarinet and Piano (scheduled piece (ostinati, tremoli, textural and University of Michigan Symphony for CD release) and Come o'er the Burn, altered tuning effects) form in the Orchestra (Balcom Concerto}, and he Bessy for choir, which have received composer's mind a sub-dialogue posing regularly performs recitals of contempo­ numerous performances in the U.S. and choices, such as active versus static, rary music at Saint Peter's Church/ Europe. disjunct versus lyrical, or even what Citicorp in New York City. He is published Blackburn is also a papermaker, sounds may be counted as musical in Clarinet magazine. woodworker and designer of experimental tones. musical instruments. He continues to Theme and Absurdities is a spoof on work with the medium of tape and all those lovable, yet undeniably organize non-exclusive, participatory annoying, theme and variations pieces performance events which explore the based on some aria. A whole bunch of notion of composition as meditation. In these were written for clarinet between his work with choreographers, about 1850 and 1930, and they make videographers, and visual artists, great encore pieces. This one is a Blackburn interrogates the nature of particularly nightmarish tribute to the collaboration: the dissolution of the genre. The variations are served up in artists' independent roles, a complete page 33 sharing of each other's domain. Tolling The Spirits was begun during a stay at the Bellagio Center. Inspired by P.P.S. - As he learned that his composi­ the local bells heard ringing in the tion teacher Goffredo Petrassi lay village of Bellagio and from various dying, Kenneth Gaburo recorded a other villages across the lake and down letter to send to him. In it Kenneth the valley, I began with the movement recounts (in Italian, his mother tongue) entitled Lago di Como. In this move­ the last few decades of his own life and ment, the pitch and rhythmic relation­ introduces two works which were to ships between these various bells are accompany the letter: Antiphony VIII explored, as well as finding ways to (Revolution) for Percussion and Tape, 1m1tate the colors of the bells by and Antiphony IX (A Dot), for Orches­ exploiting the overtones of the brass. tra, Children, and Tape. The letter was The aura of spirits seemed to Margaret BROUWER, never sent because news of Petrassi's permeate the mountain, the ruins of an Composer in Residence with the Roanoke death arrived first. P.PS. [Post-Post ancient fortress on the precipice over Symphony Orchestra, is Founder and Scriptum] is my addendum to the latter the lake and the 17th century Villa Director of the annual new music festival of his life for Gary Verkade to play for where I lived . Perhaps inspired by this Sonok/ect. Her competition successes ' Kenneth, our teacher. It incorporates influence, or by the historical land of have included San Francisco's Lee vocalizations made during the last Renaissance music, Monks' Canon Ettelson competition (1987), the week of his life; a tribute to the "pain became a five-voice strict canon, with Carmichael Competition (1988), Interna­ piece" he so wanted to write. two voices in augmentation, which tional Women's Brass Conference evolves through tonal and non-tonal Co.mposition Competition ( 1993), and the Synopsis harmonies. It culminates in a stretto Phi Mu Alpha Sinfonia's New Music Sad to hear that Petrassi can no longer before. the final coda . On some days Premier Winner ( 1991 ). She has been read or write, Kenneth often thinks of when 1t seemed that pollution hung invited for residencies at the Rockefeller his Tanglewood orchestral perfor­ like fog over this incredibly beautiful Found.ation's Bellagio Center ( 1994), the mance. At the University of Illinois, he valley, I could imagine spirit bells V1rg1n1a Center for the Creative Arts founded the New Music Choral ringing as they do in Polluted Land­ (1990} and the Charles Ives Center for Ensemble to begin investigating the scape. American Music, among others. Perform­ voice and music as language. His first ers of Brouwer's works have included the wife became insane and in 1968 he Saint Louis Symphony, Roanoke Sym­ went to UCSD; his eventual resigna­ phony, Juilliard Symphony, Bay Area tion led to many problems, but he stuck Philharmonic, Dale Warland Singers, 20th to his principles. Century Consort, Contemporary Music He moved to the Anzo Borrego Forum, and the Chestnut Brass Company. desert, started Lingua Press and A rec1p1ent of grants from the Virginia studied ecological systems. In 1982 his Commission for the Arts, the Indiana Arts friend Peter Lewis died, so he moved to Commission, Meet the Composer, and the University of Iowa Experimental Margaret Fairbank Jory Copying Funds, Studios against his better judgment. among others, Brouwer has been He again found more institutional commissioned to write works for such corruption and resigned again. He ensembles as the Roanoke Symphony, the plans to start a big new alternative Sylvia and Danny Kaye Playhouse, Phi Mu school for cognitive studies (chaos, Alpha Sinfonia, and Ellen Rose, Dallas holism, political, phenomenological ... ). Warren BURT attended the State Symphony Principal Violist. He introduces Antiphony IX (a dot is no University of New York, Albany and the Various works of hers are mere thing) for Orchestra, Children and University of California, San Diego before recorded on the Crystal, Centaur, and Tape (its desert-like stasis and random moving to Australia in 1975. In Australia Opus One labels, and are published by q.ualities) and Antiphony VIII (Revolu­ he has worked in academia (La Trobe MMB Music, Inc. and the American t1on), a psychodrama for Percussionist University; Sydney Conservatorium· Composers Alliance. As well as having and Tape on the theme of nuclear war. Victorian College of the Arts; professional orchestral experience as a Austr~lian He apologizes for his rusty Italian and Center for Art and Technology), educa­ violinist in Dallas and Fort Worth sends all good wishes. In a postscript tion, radio (free-lance and commissioned Brouwer is presently Composer i~ he mentions thatAntiphony VIII will be productions for Australian Broadcasting Residence and Associate Professor of broadcast on Radio Italia. Corpo.rat1on and Public Broadcasting composition at Washington and Lee Assoc1at1on of Australia), and as a University. composer, film maker, video artist, and page 34 community arts organizer. His works have The recording of Pentagony was State University. His principal composi­ been performed and shown in the USA, fed into a Pitch-to-MIDI converte r, and tion teachers include William Albright, Australia, Europe and Japan and he has the pitches and rhythms of Kenneth's Leslie Bassett, Nicholas Thorne, and had several fellowships from the Austra lia reading we re then read and turned into Marilyn Shrude, with studies in electronic Council and been artist in residence with a sequences of pitches and rhythms the music with George Wilson and Burton a number of organizations, such as the computer could understand. Five Beerman. Commonwealth Scientific Industrial words or phrases from the tape (which He has been awarded a Charles Research Organization; the Los Angeles are also sampled and analyzed with Ives Scholarship from the America n based art-science think-tank International Fast Fourier Transform software. Th is Academy and Institute of Arts and Synergy Institute; and the Broadcast gave me the harmonic spectra of those Letters, a special commendation in the Music Department of ABC Radio, words as Kenneth spoke them. I used 1993 Vien na Modern Masters Orchestra l Melbourne. those spectra to determine the tim bres Recording Competition, fellowships from His work with electronic and of the electronic tones the tape used. the University of Michigan School of computer music is recognized internation­ The tape part has these electronic Music and Rackham Graduate School, ally, including 1989 performances atArs timbres playing the exact rhythms of and in 1991 , was twice awarded first Electronica, Linz and Steirischer Herbst, Kenneth's voice. The organ is slightly prize in the Cincinnati Symphony Graz, Austria . His video work has been out of sync with the tape, playi ng National Young Composers' Competition . selected for a number of local and quantized speech rhythms. After som e His work has also been recently recog­ international exhibitions. In 1991 and initial chords (also derived from the nized by the international Luigi Russo lo 1992 he received Composer's Fellowships harmonic ana lysis of his speaking competition, NACUSA, and the Tampa from the Performing Arts Board of the voice), the organ and the tape double Bay Composers Forum. His composition Australia Council for his work in computer the single melodic line produced by the Rothko-Tobey Continuum fo r saxophone music, and performed his music and reading, a kind of recitative made by and tape has been recorded by James sound installations in Australia, Europe, tracing, where the fused timbres of Umble, and will be released on a com pact and the USA. His book, Writings from a organ and ta pe are reminiscent, but disk on the Cambria label th is spring. Scarlet Aardvark, 15 Articles on Music not imitative of, the timbres of and Art, 1981 -93, was published in 1993 Kenneth's voice. Deep Flowers - Robert Bly has sa id: by Frog Peak Music, USA. Currently, he is This piece was written between "You can't appropriate the deep flowers the McKnight Visiting Composer Fellow January and April 1994 at my home of other cu ltures," and I believe him. with the Minnesota Composers Forum . studio in St. Ki lda, Melbourne, with Nevertheless, listening to the music of funds provided by the Performing Arts cultures in wh ich we were not ra ised Recitative/Tracing (On Guns and Board of the Australia Council. changes us. My experiences with Cock Fighting) for Organ and Tape Indonesian music have often left me was written as a memorial to Kenneth amazed by the beauty that exists Gaburo at the request of Organist and beyo nd our own conventions; I find composer Gary Verkade. For me, myself yearn ing to participate with my Kenneth's work-linguistic, sonic, social, own composer's voice in the energy of electronic, and political-is essential. the music, not to imitate or approp ri­ His 1987 recording of his linguistic ate, but simply to reflect in my own composition Pentagony (On Guns and singing some of the ways that listen ing Cock Fighting) which was made by the has changed me. Australian Broadcasting Corporation, is Hence, this piece shows the one of the most moving do cu men ts of influence of the sound and texture of him I know. The quality of his voice as Sudanese katjapi/ suling music. The he performs his heart-rending text is work was originally for alto saxophone, extremely moving. I wanted to make a Evan K. CHAMBERS (b. 1963, and was com missioned by Su san Cook, piece as a memorial to Kenneth that Alexandria, Louisiana) is Assistant who premiered it at the World Saxo­ used his "scatter" technique, where the Professor of Composition and Director of phone Congress in Pesaro, Ita ly in residue of a physical process is used to Electronic Music Studios at the Un iversity 1992; the solo clarinet version was produce all the aspects of a composi­ of Michigan, Ann Arbor. An active done in 1995 for Derek Bermel. tion. For this piece, I decided to use the traditional Irish fi ddler as well as a ABC recording of Pentagony as the composer, he graduated with highest Chee-Swen CHENG (b. 1969, "scatter." Now that Kenneth is no honors from the University of Michigan, Malaysia) has been a recipient of the longer with us, the only physical where he received a Doctor of Musical University of Iowa Honors Composition memories we have of him are record­ Arts and Master of Music in Composition. Award and the ASCAP Raymond Hubbell ings, and the most intimate of those He also holds a Bachelor of Music in Award. He is a member of the Pi Ka ppa are recordings of his voice. Viola Performance from Bowling Green Lambda Music Honor Society, and is page35 published by Peer Music (New York) featured at Bang on a Ca n, Aspen, reveals an array of titles drawn from Tanglewood, the Grand Tetons, Warsaw contemporary American culture, such as Autumn, an d Holland Festiva ls. In the Sing Sing: J. Edgar Hoover (for the past decade, Daugherty has received Kronos Quartet and tape), Desi fo r numerous awa rds for his music includi ng Symphonic Wind s and Conga Soloist (a recognition from the America n Academy Latin big band t ri bute to Ricky Ricardo and Institute of Arts and Letters, fellow­ from "I Love Lucy" for Symphonic Winds), ships from the National End owment for Dead Elvis (for Boston Musica Viva), Elvis the Arts, and a Friedheim Kennedy Center Everywhere (for the Kronos Qu artet and Award. Recent commissions include three Elvis impersonators), and the Motor City for symphonic brass and two currently working towa rd a MA degree in Superman inspired five-movement, forty­ percussion for the Detroit Chamber Composition, studying with D. Martin minute Metropolis Symphony wh ich was Wind s, a new wo rk from the Bath Festival Jenn i. recently performed by the Baltimore for the London based Sm ith String Symphony Orchestra under the baton of Quartet, a piano concerto entitled The David Zinman at Carnegie Hall. Tomb of Liberace for the Lond on These co mpositions from the Sinfonietta, and Jackie 0 for the Houston last five years reflect a diverse musical Grand Opera. Under the baton of David background. As a young man Daugherty Zinman, the Baltimore Symphony was active as a jazz, rock and funk Orchestra will record Daug herty's keyboardist and studied classi cal pia no. Metropolis Symphony in 1995. At North Texas State University he composed his first orchestral work while Dead Elvis (1993) was comm issioned studying with com poser James Sellars, by the Boston Musica Viva and Ch uck and played piano in the big bands. Ullery, pri ncipal bassoon ist of the St. Daugherty then spent a yea r as a Paul Chamber Orchestra. It is more Fulbright Fellow composing computer than a co incidence that Dead Elvis is music at Boulez's IRCAM in Pa ris, bega n scored for the same instru mentation as performing live synthesizer concerts of his Stravinsky's Histoire du Soldat (1918) Kirk COREY (b. 1962, Illinois) is the own music with classic silent film, and in which a sold ier sells his violin, and Electronic Systems Administrator for the collaborated with jazz arranger Gi l Evans his soul, to the devil for a mag ic boo k. School of Music at the University of Iowa. in New York. He received a doctorate in In Dead Elvis, the bassoon is Elvis (or His electronic and acoustic compositions music composition in 1986 from Ya le perha ps an Elvis impersonator). Does have been performed and broadcast University, studying in New Haven from this rock star sell out his Southern fo lk throughout North and South America, 1980-82 with composers Earle Brown, authenticity to the sophisticated Europe and Austra lia. Ongoing research Jacob Druckman, Bernard Rand s, and professionalism of Hollywood movies, interests include com puter music Roger Reynolds, an d from 1982-84 in Colonel Parker, and Las Vegas, in order applications and Internet music resources. Hamburg, Germany with Gyorgy Ligeti. to attain great wealth and fame? Kirk is coeditor of the SCI Newsletter and After teaching composition at Oberl in Dead Elvis goes far beyond this moderator of the aIgo-comp (algorithmic Conservatory from 1986-91, Daugherty romantic Fa ustian scenario. For me, composition) e-mail list. joined the faculty at the Unive rsity of the two clashi ng Elvis images (the hip, Michigan where he is currently Associate beautifu l, genius, thin, rock-and-roll Three Vignettes was composed duri ng Professor of Composition. Elvis versus the vulgar, cheesy, fat, the great flood of 1993. It was created stoned, Las Vegas Elvis) serve as a using algorithms (written in the Turbo Stu rm and Orang compositiona l Basic language) for the generation of algorithm. the pitch and rhythm material for both Further, my use of Dies lrae as the saxophone and tape and for the the pri ncipal musical theme of Dead generation of the timbres used on the Elvis sign ifies yet another aspect to the tape. The composition was written for Elvis myth: some people believe Elvis is and premiered byTaimur Sullivan. dead wh ile others believe he is al ive and well in Ka lamazoo. Perha ps the Michael DAUGHERTY (b. question is not whether Elvis is alive or dead, but why does the phenomenon 1954, Cedar Rapids, IA). Composers have Michael Daug herty's music has been of Elvis endure beyo nd the grave of frequently found musical inspiration in performed throug hout America and Graceland? folklore, fables and historical figures, and abroad. His compositions have been a look at Michael Daugherty's catalogue page 36 Dead Elvis is a unique and distinct it is not a set of independent move­ Variations for Wind Quintet is musical response to the mythical ments. The sections flow like a dream derived entirely from a single seven­ universe of Elvis Presley. Elvis, for sequence in which one surreal dream beat pattern in four voices. The pattern worse or better, is part of American grows out of another, but the indi­ is subjected to a series of transforma­ culture, history and mythology. If you vidual sections are nonetheless unified tions, and these are combined in a want to understand America and all its and developed with ostinato figures variety of canonic relationships. In the riddles, sooner or later you're going to and subtly related motives which course of the piece, every combination have to deal with (Dead) Elvis. transform and evolve as they weave of instruments, from solo to quintet, is into new rhythmic patterns and non­ heard . tonal harmonic progressions. The harmonic language is based on non­ tonal modes having nine or ten notes per octave-modes based on flamenco patterns. Among the dance rhythms are habanera (with tresil/o), charrada, bolero, and tarantella.

Jason ECKARDT (b . 1971) is the co-director and cofounder of the En­ semble 21 contemporary music group in New York City. Eckardt's works have been Pamela DECKER has performed commissioned and performed in both extensively since the age of thirteen as Europe and America by the Gaudeamus both recitalist and accompanist. She has Foundation, Speculum Musicae, Ensemble appeared as soloist and continua organist lntermodulaci6, and the Centre de la at Davies Hall in San Francisco, and has Voix. His music has been heard at the given recitals in the United States, International Bart6k Festival, Fondation Canada and in Europe. She has been a Royaumont's Voix Nouvelles series, and featured recitalist at many important the May in Miami Young Composers conferences and festivals, including the Festival; upcoming performances have AGO National Convention. been scheduled by New Millennium and Decker holds the OMA degree in Paul EPSTEIN (b. 1938, Boston), the CYGNUS Ensemble . Nominated to music from Stanford University where her Professor of Music Theory at Temple the American Academy of Arts and studies included organ, composition, University, is a graduate of Brandeis Letters, he is the recipient of two ASCAP piano, and harpsichord. For the 1980-81 University and the University of California Annual Awards and a residency at the academic year she was awarded a at Berkeley. He studied privately with Atlantic Center for the Arts. Among the Fulbright Grant for study in organ and Luciano Berio on a Fulbright grant to Italy composers with whom Eckardt has composition at the Musikhochschule in 1962-63. His Chamber Music: Three studied are Milton Babbitt, Mario Lubeck in West Germany. Songs from Home, on poems ofToby Davidovsky, James Dillon, Brian Decker has released two Olson, is part of the compact disk, Ferneyhough, Jonathan Harvey, and Jeff compact disc recordings on the Arkay "RELACHE: On Edge," on Mode Records. Nichols. label : Toccata and Pamela Decker The Leper's Helix, with a text by Robert Performs. She is Music Director at St. Coover, was commissioned by Relache In Flux, I was seeking to capture fluid John's Episcopal Church in Plymouth, under a grant from Chamber Music gestural motion. The musical surfaces, Michigan. America. In April, 1994, The Temple however, are not always smooth; the University Opera Theater gave the metaphorical water occasionally Nightsong and Ostinato Dances premiere performances of Epstein's becomes fiercely turbulent. Like liquid (1992) was composed forthe 1992 chamber opera, Dorit, with libretto by passing over a series of variegated and National Convention of the American Toby Olson. Articles and scores by Paul elaborate landscapes, the melding, Guild of Organists in Atlanta. The Epstein have appeared in such journals as separation, and reconnection of piece received its premiere performance The Musical Quarterly, The Drama Review, materials provides detailed pathways at the opening recital of that conven­ and Arts in Society. In October, 1994, he through a swiftly transforming musical tion, given by the composer. The work cochaired, with Jan Krzywicki, the SCI­ terrain. is made up of a lyrical, meditative Region Ill Conference atTemple Univer­ The harmony of the work, based "song" followed by three multisectional sity. on a 24 pitch-class octave, is deter­ dances. The entire piece is continuous; mined by the gestural complexion of

page 37 local surfaces. Degrees to which the Premieres in 1995 include Proud Music National Ph ilharmonic (1992), CBS texture is homophonic or polyphonic for chorus, organ and brass (Union recording artist Dimitris Marinos (1991 ), dictates the pitch operation: initiations College bicentennial commission) and Christine Rutledge of the Un iversity of of events both between the instru­ Locking Horns (Brass Quintet No. 2, a Notre Dame (1993), Davis Brooks of the ments and independently either Meet the Composer/Reader's Digest New York Chamber Symphony and Mostly interlock pitch collections or set them commission). Mozart Festival Orchestra at Lincoln against each other. Similarly, the Center (1990). rhythmic complexity of a passage may Written in 1987 for the Saturday Brass His music has been performed also serve to define harmonic strate­ Quintet, Brass Quintet is a virtuosic recently on the concert stage in Austria, gies. ensemble piece in four connected Germany, Greece, Lithuania, Korea, I wanted the moments of sections: 1) Farbefunk, a jazzy unison Switzerland, Ireland, New York, Los highest structural tension to be the line, constantly shifting in timbre; 2) Angeles, Ph iladelphia, San Francisco, and simplest. In contrast to my previous Kontrapunkt, which explores all Chicago. His wo rks have been featured compositions, the two climaxes are the possible trio combinations of the four by Raimundas Kati Ius and Larisa Lobkova most texturally stagnant sections of the instrumental types of the brass quintet; at the duo's American debut at Carnegie piece. It is therefore through a process 3) Kldngefunk, the slow movement Hall. Also at Carnegie Hall, his composi­ of decomposition that these moments wherein the melody of Farbefunk tion Tantrum was featured by CBS find their salience. This concept of becomes a "cantus firm us;" cadenzas recording artist Dimitris Marinos. instability by means of deconstruction lead to 4) Farbepunkt, a kind of Recently he was invited by the Lithuanian has fascinated me in recent work. canonic perpetual motion punctuated Composers' Union to appear as the guest I am greatly indebted to flutist by points of color. A chorale within this artist at the Gaida Baltic Music Festival Tara O'Connor for her assistance while final section is also based on the where he delivered lectures and attended composing this piece. "cantus firmus." The section titles a concert devoted exclusively to his reflect both the fun in writing the wo rk chamber works. His saxophone quartet as well as the "funk," in addition to the Mosaics will appear on the fourth CD notion of pun embedded in the music recording of the Vienna Saxopho ne itself. Brass Quintet was recently Quartet who commissioned the piece. included on tour by the Meridian Arts Mr. First is the Artistic Di rector Ensemble. of the Chicago 20th Century Music Ensemble. C. P. FIRST received his doctorate in composition from Northwestern Unive r­ Black Sun, for violin and pi ano, sity where he currently teaches composi­ employs a continuously descend ing tion. His music is published by MMB chromatic line over the entire work at Music, AE Editions (Austria), and the the background level of the piece. This NACUSA Graph ic Series. His works have line is presented ostensibly in the received numerous awards and prizes repeated note patterns that permeate including the International Society for the foreg ro und of the work which Contemporary Music (ISCM) Competition simila rly exploits descending ch romatic Brian FENNELLY (b. 1937, in 1989 and 1992, the Fourth Annua l pitch co llections. Accordingl y, the detai l and la rge-scale pitch structure of Kingston, NY) is Professor of Music in the International Spectri Sonori Competition the piece coincide in structural design. Faculty of Arts and Science at New York (finalist), first prize in the 12th Annua l The work was commissioned by Davis University. He has received numerous National Association of Compose rs, U.S.A. Brooks of the New York Chamber awards, commissions and fellowships, competition, ASCAP awards in 1990 and Symphony and Mostly Mozart Orches­ including those from the Louisville 1994, and first prizes in the Padrone­ tra and was awarded first prize in the Orchestra competition, the NEA, Kantscheidt and William T. Faricy 12th Annual National Association of Koussevitsky Foundation, Guggenheim competitions. His works are recorded on Composers, U.S.A. Competition in Foundation, and prizes in the Richmond Capstone Records. He has received 1990. International Festival of Music competi­ commissions from the Lark String Quartet tion (for Brass Quintet), International (1994), the Vienna Saxophone Quartet Trumpet Guild (for Corollary Ill), and the ( 1993), the University of Chicago Howard FRAZIN began his Goffredo Petrassi Symphonic Competition Chamber Orchestra (1992), Russian formal music training at the New England (for A Sprig ofAndomeda) . CD recordings pianist and winner of the 1989 Pila r Conservatory in 1984, and subsequently of his music include Fantasy Variations on Bayona International Competition in received a MM degree in Composition the Louisville Orchestra label and five Spain and the AM.SA World Piano from the University of Minnesota. Mr. symphonic and chamber works on the Competition-Petras Geniusas ( 1994), Frazin was a fel lowship composer at t he New World label, released in 1994. Raimundas Katilus of the Lithuanian Bowdoin Summer Music Festival, and has page 38 tion fellows selected to participate in the And whi le at first we feel exhilarated Center for Compositional Studies at the by this energy, we find that it inte nsi­ Aspen Festival where she studied with fies, taking on an unnatural life of its Pulitzer Prize win ning composer Bernard own. We are quite relieved then whe n, Rands. The following summer she with a great virtuosic flourish, it attended the Aldeburgh and Dartington consumes itself. The penultimate Music Festivals in England after which movement unfolds its graceful phrases she moved to London for two and a half in an effortless act of love. Th is is years. music which speaks to those who French's numerous commissions would surrender sorrow, frustration and have come from such diverse sources as all attachment to the material world the "Music in Deerfield" concert series in man kind has erected. It elicits in the Massachusetts, Bard College in New York, listener a sense of the infinite peace lyric soprano Carol Chickering, Frank and eternal beauty which resi des in the Taplin (the former President of the music of the spheres. Metropolitan Opera, the Cleveland The fina l movement bu rsts fo rth participated in the Aspen Music Festival, Orchestra and the Vice Chairman of with an exuberance informed of great and the Composers/Conductors Institute Lincoln Center), the Schbnwasser joy and exultation. The music has now at the University of South Carolina. His Kinderchor in Germany and the Haslop/ been transformed by its passage Amid a Crowd ofStars, for chamber Sanders Duo (violin/ guitar). through the purifying processes of orchestra and baritone was recognized by Her string quartet Equinox awareness and surrender. As we listen the Boston Globe as one of Boston's Best received its world premiere by the we are infused with an exquisite New Works in 1993. He is currently a Angeles String Quartet in New York in lightness of being. The composer was member ofThe Composers in Red April, 1993. June 1993 featured the inspired to name this quartet Equinox Sneakers, and is on the Theory/ Composi­ world premiere of Awakening Dance for due to its allusion to the Divine Order tion faculty of the Longy School of Music, two violas, comm issioned for the XX\ which sustai ns all creation. the Powers Music School and the Suzuki International Viola Congress. In 1994/ School of Newton. 95 French's works Equinox, Elegy, and Passing Parade are receiving numerous performances by several ensembles in North America. French's music has been broadcast on radio stations throughout North America, Europe, Russia and in Australia.

The string quartet has long been regarded as both the most challeng ing and, when negotiated successfully, Lawrence FRlnS (b. 1952, most rewarding of ensembles for Richland, WA) studied with Shulam it Ra n, instrumental composers. Equinox is John Eaton, and Ralph Shapey at the not only a work which satisfies the University of Ch icago where he is compositional subtleties of this idiom completing his Ph.D. in composition . His but also gives vo ice to music of depth, music has been performed in Ch icago by Tania Gabrielle FRENCH (b. beauty and joy. The first movement the Contempo ra ry Chamber Players, the 1963, Alexandria, Virginia) is a magna begins quietly and, through a descend­ New Music En sem ble, Flash in the Pan, cum laude graduate of Amherst College ing four note motif, establishes a mood New Music DePau l, and New Music in Massachusetts. At the source of her of great sad ness. Gradually the pace of Chicago. His electronic works have been blossoming career is her thesis composi ­ the music quickens leading to a highly broadcast in the US and Europe. He tion Dread, a setting of eight American charged climax full of angst and recently presented a paper at a nationa l poems for mixed chorus, soloists, classical passion before falling away into the conference of the American Mathemati­ guitar and chamber orchestra for which music of the beginning, now seemingly cal Society on algebraic structures in she conducted the premiere in 1984. This cleansed of the sorrowfulness which music. He taught composition and work met with such overwhelming attended it previ ously. electronic music last fall at the University success that it was repeated in a specially The second movement, a fast, of Iowa and is currently on the facu lty of scheduled performance and resulted in whirling dervish in 5/ 8 meter, captures DePaul Un iversity. five commissions. In the summer of in its driving energy the incessant 1985, Tania was one of twelve composi- demands of late twentieth century life.

page39 Tetraktys is a computer-realized Council, and a fellowships at the and participated in master classes with electronic concerto for synthesized MacDowell Colony. He was composer-in­ Aaron Copland and George Crumb. vibraphone and orchestra, the sounds residence with the 1985 New Hampshire of which were generated entirely by FM Music Festival and has been director and synthesis in the University of Chicago co-director of the festival's Composers' Computer Music Studio. The structure Conference since 1986. Gabel has been of work may be subdivided several a guest composer/ lecturer at the ways: the deployment of two tuning University of Keele in England, Queen's systems, based on 15- and 20-note University in Belfast, Northern Ireland, equal-tempered scales, suggests a 2- the University of Southern Maine, part structure; the vibraphone­ Western Illinois University, Memphis State orchestra-vibraphone arrangement of University and the University ofTexas, performing forces implies a 3-part arch Arlington. His music has been performed form ; and background voice-leading in Europe and Japan and throughout the sketches a 4-part registral structure. US and is published by Seesaw Music The ratios of these subdivisions to each Corporation. other and the whole is described by a Besides compositional activities quasi-religious ancient Greek symbol Gabel is also coeditor of extempore, a known as the Tetraktys of the Decad . musical/ theoretical journal which Mr. Gallagher has received Considered sacred by Pythagoras and addresses issues of concern to composers awards, grants, and fellowships for his followers, the Tetraktys embodied and theorists. He has directed numerous composition from The Charles Ives Center their belief that music, mat hematics, instrumental and choral groups in spirited for American Music, the 1990 Barlow and the universe are one. performances of trad itiona I and contem­ International Composition Competition, porary repertoire including many the Yaddo Corporation, Meet the premiere performances. He has pub­ Composer, the Atlantic Center for the lished articles in extempore and Revue Arts, among others. His Symphony in One Musicale. Having received his Ph.D. Movement: Threnody has been recorded from the University of California, San by the Koszalin Philharmonic Orchestra Diego, he has taught at the Music and on Vienna Modern Masters CD 3028 and Arts Institute of San Francisco, California Berceuse by the Polish Radio and TV State University, Los Angeles, Dartmouth Orchestra of Krakow for VMM CD 3030. College and is currently Associate Other works are published or recorded by Professor of Music at Texas Christian Lawson -Gould, Ludwig Music, The Brass University where he teaches theory, Press, Queen City Publications, Manduca composition, electroacoustic and Music Publications, Musical Heritage computer music, directs the school's Society, Pantheon Music International Festival of Contemporary Music, is and Cornell University Wind Ensemble Gerald GABEL is a composer founder and director of the Upchurch Recordings. He has received commissions whose works reflect his interests in the Studio for Electro-Acoustic Music (USEM) from the Air Force Band of Flight, the and the department's computer lab, and morphology and function of musical Wooster Symphony Orchestra , the has organized the TCU Electronic Arts texture, timbre, new means of integrating Heritage Chamber Players, the Kenyon Ensemble and the TCU New Music tonal and non-tonal inflections, and new College Chamber Singers, the Cornell means of contrapuntal orientation. He Ensemble. He is also a Regional Co­ University Wind Ensemble (2), and the studied primarily with Roger Reynolds, Chairman for the Texas Composer's Wooster Scot Symphonic Band. Bernard Rands, Pauline Oliveros, Peter Forum . His compositions have been Michaelides and Robert Erickson. His performed at Alice Tully Hall, Merkin Hall, works have been recognized by grants Jack GALLAGHER (b. 1947 in the Kennedy Center Terrace Theater, from the National Endowment for the Forest Hills, NY) is Professor of Music at Carnegie Recital Hall, the Lincoln Center Arts, American Society of Composers, The College of Wooster in Ohio. He Library, the Eastman Theater, Piccolo Spoleto, over the National Public Radio Authors and Publishers {1987-94), The received the B.A. degree cum laude from Network and WQXR in New York, WNIB in New England Foundation for the Arts Hofstra University, where he studied with with support from Meet the Composer, Elie Siegmeister, and received MFA and Chicago, WCLV in Cleve land and at educational institutions throughout the The American Music Center with support DMA degrees in composition from Cornell from the Martha Baird Rockefeller Fund, University, where his teachers included United States. Performers have included The LeShay Foundation, Texas Composers Robert Palmer and Burrill Phillips. He has the Cleveland Chamber Symphony, Eastman Wind Ensembl e, Gregg Smith Forum, Community Arts of San Diego held fellowships for seminars with Karel with support from the California Arts Husa, Thea Musgrave and Ned Rorem Singers, the Indiana University New Music page 40 Ensemble, the Spoleto Festival Brass sions, and his music has been played by settings in the U.S. and in Germany. He Quintet, the Heritage Chamber Players, orchestras and chamber ensembles received the 1.U. Dean's Prize for Compo­ the Albany Pro Musica, the New throughout the U.S., in addition to sition of Chamber Music in 1993 and was Amsterdam Singers, the Air Force Band of performances in Europe and Latin recently awarded a commission from Flight, and many others. He is listed in America . Godfrey's works have been Morehead State University. the 1994-95 International Who's Who in recorded recently on GM and CRI Music. compact disks, and he is coauthor of Music Since 1945, published in 1993 by The Persistence of Memory (In Schirmer Books. Memoriam: Brian Israel) was commissioned by the Cornell University Each of the Two Scenes in Chiar­ Wind Ensemble, Marice Stith, Director, oscuro, in its own way, plays out a for the 20th Annual Festival of scenario where color, shading, and Contemporary Music at Cornell contrast-brights and darks-are as University. The work was given its first important as motives, gestures or complete performance 30 April, 1989 harmony; hence chiaroscuro, a term at Cornell University by the Cornell generally applied to drawing and Wind Ensemble under the direction of woodcut prints in which imagery is the composer. defined as much by color, and the Brian M. Israel (1951 -1986) shading of light and dark, as by line. taught composition and theory at Syracuse University from 1975 until his death from leukemia in 1986. Despite Kinetikos is a one movement work his tragic death at the age of 35, he characterized by an underlying left more than 85 works. rhythmic energy and sense of forward Intended as an elegiac and motion. The piece is a set of develop­ personal reminiscence of the composer, ing variations in which music is The Persistence of Memory is a one­ continuously reshaped, mixed with new movement work whose five sections material, and presented in various endeavor to depict: 1) a quiet, reflec­ textual and timbral settings. In the tive opening; 2) a persistent and Eric GRAHAM (b. 1967, Ml) is penultimate section fragments of obsessively repetitive ostinato derived active as a composer and bassist. His motivic material are thrown together, from the opening; 3) cathartic rage and work has received recognition from creating a musical whirlwind wh ich denial; 4) reluctant but peaceful ASCAP and the Peabody Institute. As a propels the piece into a final, pro­ acceptance; 5) an abbreviated return of performer and composer of electron ic longed frenzy. the opening elegiac material. media, he has provided music for the The Persistence of Memory {In NEA-funded "Windows" exhibition, and Memoriam: Brian Israel) was awarded Charles HOAG is a professor of Out North Theater's Under 30 exhibition. music theory and composition at the an Honorable Mention in the 1990 Graham is currently pursuing an MFA in Barlow International Competition. It University of Kansas and conductor of the composition at The University of Iowa, Lawrence Symphony Orchestra. He was was selected as one of three national and is instructor of music technology at finalist in the 1994 Symposium XIX for born in Chicago and raised in Davenport, Kirkwood Community College in Cedar New Band Music sponsored by the Iowa. Wh ile serving in the army he was Rapids, IA Virginia Chapter of the College Band principal bassist with the Seventh Army Directors National Association, where it Symphony Orchestra and had his music was presented by the Virginia Intercol­ Bruce HAMILTON (b. 1966) played by that orchestra in France, legiate Band under the direction of the holds a Master's Degree in Composition Germany and Greece. He then played for composer. and a Bachelor's Degree in Percussion two seasons with the New Orleans Performance with a Performer's Certificate Philharmon ic, Alexander Hilsberg, conductor. His Ph.D. in music composi­ Daniel S. GODFREY received from Indiana University, where he is currently pursuing a Doctoral Degree in tion is from the University of Iowa. graduate degrees in composition from Composition. He has studied with Claude Yale University and the University of Iowa. Baker, Harvey Sol lberger, and Frederick His music has been performed in many of Currently a professor at the Syracuse Fox. His works have been performed by the far corners of the world includ ing University School of Music, he also served the University of North Texas New Music India, Sri Lanka, Portugal, Turkey, recently as visiting composition faculty at Australia, Japan, as well as throughout the Eastman School of Music. He has Ensemble, the South Florida New Music Alliance, and in numerous university Europe, the United States and Canada. received a variety of awards and commis- page 47 Computer Music (CECM). He previously with a concentration in composition, in taught on the faculties of Rutgers 1992. There he studied composition with University and the Interlachen Center for Jonathan Berger and Michael Tenzer and the Arts. His compositions have been conducting with Alasdair Neale. He also premiered by the Louisville Orchestra and resurrected the Branford Chamber Concordia Chamber Orchestra, and have Orchestra, serving as its music director had performances at Lincoln Center, and during his senior year. After graduation, at national conferences of SCI, SEAMUS, he studied composition in Frei burg, and the College Music Society. His Germany with Johannes Scholl horn. He is orchestral works have won several currently pursuing a MA in composition national competitions and are published with David K. Gompper and a MFA in by MMB Music Publishers, St. Louis. conducting with James Dixon at the Having studied composition with University of Iowa. He was awarded the Frederick Fox, Donald Erb, and Robert Henry and Parker Pelzer Fellowship Award Moevs, he received a doctorate in for Composition in April 1994. Recent composition in 1989. Mr. Hass recently commissions include Chi (solo flute) for won the 1994 National Band Association Betty Bang's 1994 summer tour of China, Hoag' s Inventions on the Summer Solstice Competition with Lost in the Funhouse, a and A Flash of Magenta (orchestra) for is available on compact disc from work for symphonic band with electronic City High School Symphony Orchestra, Leonarda Records. He has received tape. which will be premiered on April 17, grants from the National Endowment for 1995. the Arts and the National Endowment for Fantasy for Violin and Piano was the Humanities. His music has been written for the 1991 New Music published by G. Schirmer, Theodore Festival at Washington State University Presser, Neil A Kjos and others. and dedicated to fellow composer (and brother-in-law) Charles Argersinger. With Mallets Aforethought - The The work sets out from the very long name for this piece is longer than beginning to be a cadenza-like flurry of the piece itself-A Perpetual Motion to virtuosic lines, making equal technical be played with Mallets Aforethought. demands on both players. Though the That says it all. It was written for piece is quite traditional in its use of concert marimbist Linda Maxey, who arch form, sectionalization, and tempo, wanted a challenging work which many of the techniques used are less would display her virtuosic two-mallet traditional-the players are called upon technique . She is now in the second to coordinate unusual rhythmic year of performing this work around patterns, color lyrical lines with rapidly the country on all of her Columbia repeated notes and tremolos, and Artist concerts. make sudden changes in mood . Joan HUANG grew up and received her early music education with her parents in Shanghai, China. During her teenage years, unfortunately, she could not escape the miserable experi­ ences of the disastrous cultural revolu­ tion. Under the political pressure, she was sent to a farm to accept "reeduca­ tion" and to do heavy manual labor for three years. During the time on the farm, she had the opportunity to learn the authentic Chinese traditional music from local farmers. After the cultural revolution, Jeffrey HASS (b. 1953, New York) Huang was among the top 1% of all the is currently Assistant Professor of qualified applicants at the time of the Composition at Indiana University, reopening of the Shanghai Conservatory Bloomington, where he serves as the Ching-chu HU (b. 1969, Iowa City, of Music following the tumultuous Director of the Center for Electronic and IA) received his B.A. from Yale University, cultural revolution that shackled ten precious years of talented musicians. She page 42 obtained both B.A. and M.A. degrees You" (mountain song) from Shan-bei is described as "gentle, singing, from the Conservatory. (near Xi-an) region. The original spacious, haunted by the pitches B-flat, In 1986 she came to the United mountain song is only a four pitch B-natural (B, Has the Germans call States to continue her education at the mode but it rises and falls,-very them). It reflects, modestly, lessons University of California at Los Angeles. melodious. My idea is to let the learnt from two beloved masters: She became very interested in the fusion instrument "sing" this unsophisticated, Franc;:ois Couperin - a broadly travers­ of Chinese traditional musical language straightforward and simple tune under ing rondeau , to be played 'tres with Western contemporary composi­ the cloak of relatively complex tendrement, sans lenteur' - and William tional techniques. In 1991, she received sonorities. Hibbard himself, who, over two her Ph.D. and was the only finalist for the This sextet presents several colleg ial decades, shared many position of assistant professor in Compo­ epitomes of Ch inese people's life. In discoveries." The title's reference to the sition at the University of California at order to let audiences feel the strong abode of the blessed recalls (for the Irvine. flavor of Chinese rural life, the pictures composer) both Couperin's Aptheose As a composer, Huang has had are portrayed by incorporating the de Lulli and Catullus's powerful elegy commissions and performances from distinctive style of the Chinese musical on the death of his brother: outstanding organizations and perform­ language such as a chain of ornamen­ ers. In 1994 she had a commission from tations whi rling around a single tone, Through many lands, across the seas, I've Los Angeles Philharmonic to write a piece bending pitches in a exaggerative come to perform these brotherly rites, for 'The 1994 UK/ LA Festival." In 1991, manner, various glissandi, etc. just as you and I did, once, for our her chamber piece Yellow Land was parents: ave atque vale. performed to great acclaim by the Aspen Contemporary Music Ensemble in Aspen . In the same year she was a visiting composer participating in the Contempo­ rary Music Concert Series by the National Repertory Orchestra at Keystone, Colorado. In 1992, the pianist Gloria Cheng commissioned Huang a work for her concert at Weill Recital Hall (Carnegie Hall) in February 1993. Pipa Journey has D. Martin JENNI (b. 1937) received critical acclaim at both the New currently head of composition and theory Ben JOHNSTON (1926, Maco n, York performance and those in California. in the School of Music, holds a doctorate Georgia) holds degrees from Will iam and In 1993, her string quartet Yang-guan in composition from Stanford University Mary College, Cincinnati Conservatory of Songs, premiered by the Ying Quartet, and an AM. in medieval studies from the Music and Mi lls College. He joined the gained a great success during the University of Ch icago. Since joining the faculty of the University of Illinois in Tanglewood Contemporary Music Week. Iowa faculty in 1968 he has composed 1951 , and cu rrently serves as Professor of Early this year she was one of the seven several works for the Center for New Composition and Theory. Among his guest composers to attend the New Music Music (R-Music Asphodel, Cucumber works which have been widely perfo rmed Festival "New Directions in Asian­ Music, Per Elysios), the University are Knocking Piece for piano interior and American Music," held at the University of Symphony Orchestra (Eulalia 's Rounds) , two percussio nists, String Quartet No. 2 California at Santa Barbara, where her and members of the faculty (Musica and Duo for flute and string bass, new piece Two Poems from Ancient China del!'Autunno for Delbert Disselhorst, recorded by Bertram and Nancy Turetzky was premiered. Recently, The Legend of Musica de//'Estate for William Hibbard, (Advance FGR-1) and by John Fonville Chang-e won the first prize of Long Hill May for Betty Mather, and Thomas Fredrickson (CRI 405). His "Marimolin's 7th Annual Composition Nightmusic for Eldon Obrecht, Canto and Quintet for Croups was commissi oned by Contest''. Presently, she is writing a new The Opalion for Rene Lecuona, Bal/fall for Eleazar de Carvalho, former conductor of piece for the Pittsburgh New Music Steven Schick, etc.). He founded and the St. Louis Symphony and wa s pre­ Ensemble. directs a chant choir called the Cantores. miered by that orchestra in 1967. The Swingle Singers commissioned his Ci-Cit Yellow Land was premiered by the Per Elysios: Wm. H. in memoriam Satie, reco rded by Kenneth Gaburo and Aspen Contemporary Ensemble in honors the memory of William Hibba rd, the New Music Choral Ensemble (Ars 1991. It expresses my deep love for the musical director (since its founding in Nova - Ars Antiq ua AN-1005 ). His opera magnificent landscapes in China and 1966) of the Center for New Music at Carmi/la was commissioned in 1970 by extols the valiant and industrious spirit The University of Iowa, who died in the ETC Company of La Mama of New of Chinese people. April 1989. The work received its first York and recorded by them on Vangu ard The overall structure is in performance at Iowa in April of 1990. (VSD-79322). His Sonata for Microtonal variation form based on a "Shin Tian In notes for that performance, the work Piano was recorded by Robert Miller (New

page43 World Records, NW203). His String second the eight through the sixteenth State Arts Commission . His music is Quartet No. 4 was recorded by the Fine overtone partials alternate with the published by Edition Musicales Combres Arts Quartet, who commissioned the work inversion of these. In the third (Paris), C. Alan Publications (Greensboro), (Gasparo, G5205). movement the combination of all these and Frank E. Warren Music Service (West Among the honors he has pitches is heard for the first time. The Newton, MA). He is recorded on Cata­ received are a Guggenheim Fellowship rhythmic structure is also based upon lyst/BMC and Contemporary Record (1959), a grant from the National Council the proportions 4:5:6:7. Society. on the Arts and the Humanities (1966), The mirror-like pitch structure and Associate Membership in the suggested to me the ancient alchemi­ Manzanita Miss originally began life University of Illinois Center for Advanced cal formula, "As above, so below." In as a composition for jazz nonet (3 Study (1966). In 1968 the Smithsonian life there are life oriented forces and saxes, trumpet, trombone, and rhythm Institution awarded him two commis­ death oriented ones. Only in the section), composed in 1988. My idea sions: for a film score and for a sound juxtaposing and balancing of these for the opening of the tune was a kind environment. In 1983 he retired from forces can the opposites be reconciled. of cross between a merengue rhythm teaching at the University of Illinois in The title Sleep and Waking refers to and a Mardi Gras horn section . The order to devote full time to composition, these opposed forces. first section (in F major) involves a four­ and in 1987 moved his residence from This work has been recorded on tiered buildup: a) 2 alto saxes and l Urbana, Illinois to Rocky Mount, North CD, Music for and by Ron George, and tenor sax (melody); b) 2 trombones, l Carolina . will be released this summer by 0.0. tenor sax and 1 bari sa x (bass line); c) In May of 1988 the Kronos Disc. bass, drums and percussion; and d) 3 Quartet presented a program of his trumpets, l trombone, piano and compositions at Kennedy Center in guitar (chords). Washington, D.C. String Quartets 2, 4, Following a piano solo over a and 8 made up the program, the last a ten-bar montuno vamp, there is a "B" world premiere. The Kronos's Nonesuch section; actually a transition to the bari recording of his Amazing Crace (String sax solo (G minor). The background to Quartet No. 4) has been outstandingly this solo (a trio of trumpet, tenor sax successful. and trombone) is a minor-key version of In May of 1990 the University the opening riff. This passage, in turn, of Illinois awarded him an honorary explodes into a full-blown salsa romp doctorate of music. (G major) which leads into a halftime blues section. The blues section, whose (b. 1958, Sleep and Waking - When Ron David P. JONES melodic ideas are distinct from those of George approached me to compose a Stockton, California) is currently on the the latin section, passes through percussion work for him, he offered to faculty of Eastern Washington University several keys: A major for the first design and build instruments capable while completing his DM in Composition chorus, C major for the tenor sax solo of being tuned as I would like, and sent from Indiana University. He also holds an and interlude, and Eb major for the me recordings of his own work. I liked MM in composition from New England trumpet solo. This is followed by a best the American Gamel an, so we Conservatory and a BM from the return to straight eighth notes; not the decided to work together on a gamelan University of Washington. His principal fast meringue of the opening but a composition. composition teachers have been Eugene halftime latin boogaloo feel. I wanted to do a work that O'Brien, Malcolm Peyton, William After a trombone solo over a would reflect the Partch-like dichotomy Bergsma and William 0. Smith. Mr. C7 I D7 bitonal progression the double­ of atonality and utonality, so I decided Jones' music has been widely performed time meringue returns with a slightly to base the tuning on the fourth in the U.S. by the St. Paul Chamber varied reprise of the opening. The through the sixteenth partials of the Orchestra, the Seattle Symphony, the New differences are in the key (C major), the overtone series of A and the exact England Conservatory Symphony, the presence of the drums and bass in the mirror of this. Tuned pipes, tuned Eastman Trombone Choir, the Boston first layer, and the add ition of a cross­ gongs, tuned drums and tuned cymbals Trombone Quartet, Zephyr, Marimolin and rhythm riff for muted trumpets and would be joined with timpani and many other ensembles. trombones. This is followed by a vamp assorted random-pitched instruments. He has received awards from section similar to the figure used There would be a solo part with five the International Horn Society, the behind the piano solo earlier in the supporting parts. There are three International Trombone Association, the piece. After 8 insistent repetitions of movements. In the first a scale International Association for the Promo­ the basic clave rhythm , there is an open consisting of the fourth through the tion of the Saxophone, the Abraham Frost drum/ percussion free-for-all. This eighth partials of the overtones and Prize in Composition, New Music for leads into a restatement of the original their inversion was employed. In the Young Ensembles, and the Washington "B" section followed by a bravura coda: page44 one final, unison statement of the these songs and their performance by where he stud ied with Warren Gouch. opening riff in G minor. The big band soprano Cheryl Marshall have been a Currently, he is pursuing an MA in version of Manzanita Miss was long time in coming. Utah poet Composition at the University of Iowa composed during the summer of 1990 Randall Hall first sent me a book of his and studies with David Gomppe r. and premiered in January 1994 by the poems in 1987, and I was immediately Indiana University Jazz Ensemble under attracted to The Taciturn Phylactery the direction of David Baker. and Skeletons of Some Magnificence. sketched portions of the first song in 1991 but did not finish the setting. Then, in 1993 the new music ensemble Continuum performed at BYU with Ms. Marshall. I arranged to have them premiere the songs during their visit, but did not finish them on time. Impressed with her performance, we invited Ms. Marshall to return the next year to perform and do master classes with our composers and vocalists. I was certain that I would at last hear Mark KILSTOFTE is a graduate her perform these songs, but a pressing of St. Olaf College and the University of commission deadline again prevented Michigan where he served as assistant me from completing my setting of the conductor of the Contemporary Di rec­ poems. The son gs were eventually tions Ensemble. His compositions have finished and, after submitting them to earned recogn ition from ASCAP, the Stephen JONES is a native of David Gompper, I was surprised and American Academy and Institute of Arts Utah and teaches composition and theory delighted to learn that he had coinci­ and Letters, and the National Orchestral at Brigham Young University. Previously dentally engaged Ms. Marshall to Association. He currently teaches at he taught at the University of Cincinnati's perform them tonight. The first song Furman Unive rs ity in Greenville, South College-Conservatory of Music, where in was premiered at the Ernest Bloch Carolina. 1989 he earned a doctoral degree in Music Festiva l in Oregon last summer. composition. His studies included work Tonight marks the first performance of Furman/Newma Ensemble - The with Bernard Rands, Joseph Schwantner the second song. newly formed Newma Ensemble is t he and Jonathan Kramer. Jones' works in The Taciturn Phylactery makes resident contemporary music group at both acoustic and electronic media have reference to the New Testament Furman Un iversity, a private, coeduca­ been heard throughout the United States. passage which indicates that God tional, libera l arts college founded in His work The Image of the Singing Air, notices even the fall of a sparrow. A 1826 and located in Greenvi lle, South commissioned by the Cincinnati Chamber phylactery is a small leather box worn Carolina. The ensemble is but one of Orchestra through a grant from the by Jewish men during prayer contain­ many with in the University's Depart­ Barlow Endowment for Music Composi­ ing slips inscribed with scriptural ment of Music which dedicates itself tion, has been performed by the passages. It serves as a reminder that both to the richness of the liberal arts Fairbanks Symphony and by the Cleve­ the wearer is bound to the laws of God. experience and to the pursuit of the land Chamber Symphony at the 1993 SCI highest artistic endeavors. National Conference. Jones currently has commissions for a Concerto for Violin and Lovelost, based on seven interior Wind Orchestra for the Southern Method­ fragments of Whitman's poem Out of ist University Wind Ensemble and an the Cradle Endlessly Rocking, portrays a orchestral work for the 1995 Utah Arts desperate search and a growing Festival, which will be premiered by the awareness and acceptance of loss. Of Utah Symphony. He is the recipient of an particular note are the backdrop of Ohio Arts Council Individual Artist waves in second fragment, the primal Fellowship, a Utah Arts Council Artist urgency of the centerpiece, and the Grant, and won first place in the 1990 frantic birdcalls preceding the conclu­ Composers Guild Composition Contest. sion, all framed within a flickering He resides in Orem, Utah with his wife constellation of sounds. The work's Wendy and their two children. Ralph KENDRICK (b. 1972, NE) completion was made possible through completed his BA degree in Composition support from the Knight Foundation. Randall Hall Songs - The creation of from Northeast Missouri State University,

page45 piano strings serves as a means for the Kippur prayer. "Kapporot" and listener to hear the initiation of each "Kippur" both come from a similar root section : one pluck for trios and two for meaning "atonement;" in mood, then, duos. this piece is a mixture ofvirtuosic exuberance and penitence.

Robert LOMBARDO (b . 1932)­ Mediterranean influences thread through the career and compositions of Robert Lombardo. His parents, both Sicilian immigrants to the United States, pre­ served an Italian atmosphere in their David S. LEFKOWITZ (b. Hartford, Connecticut home. Lombardo 1964, New York City) is currently Assis­ earned bachelor's and master's degrees in tant Professor of Music at University of composition from Hartt College of Music Mikel KUEHN, currently an California, Los Angeles. In 1987 he and a Ph.D. in compositio n from the State Associate Lecturer in Music at Indiana received his B.A. cum laude in Music and University of Iowa. Following his University at South Bend and a candidate Philosophy and with Distinction in All appointment to the composition faculty for the Ph.D. in Composition at The Subjects from Cornell University, and was of Roosevelt University in Chicago, Eastman School of Music, holds a Master elected to Phi Beta Kappa. While there Lombardo received a Guggenheim of Arts degree in composition from he began his compositional studies with Fellowship for composition in Florence, Eastman and a Bachelor of Music degree Karel Husa, with whom he studied for two Italy. A nine-month "honeymoon" with in composition from the University of years. He then attended University of his bride and librettist Katherine resulted North Texas. Mr. Kuehn's works have Pennsylvania as an Annenberg Fellow, in an operatic portrayal of 15th-century been performed at several new music where he studied composition with religious reformer, Fra Girolamo conferences and festivals including June George Crumb, primarily, and with Savonarola . Their most recent operatic in Buffalo, New Music and Art from Richard Wernick, receiving his M.A. in collaboration is Johnny Sequel, a compan­ Bowling Green, and numerous SCI 1990. He attended The Eastman School ion piece to Puccini's Gianni Schicchi that regional conferences. In February of of Music as a Sproull Fellow, starting in follow a branch of the Sc hicchi family into 1994, New York City's recently formed 1991, and received his Ph .D. in 1994. He the 20th century and how they have group for contemporary music, Ensemble has studied at Eastman primarily with fared in America . 2 7, premiered Kuehn's Funf Parabeln, for Samuel Adler and Joseph Schwantner. chamber ensemble and voice, at New David Lefkowitz has received Contrasti a due (1991 ), composed for York's Merkin Recital Hall with soprano many honors and awards. His Hommage Dimitris Marinos, include G minor Deborah Norin-Kuehn. In April of 1995, a Husa was performed at the 1993 SCI melodies in the style of Italian folk Cycles for solo piano received its west Convention. During Spring, 1993, he was music. Lombardo juxtaposes these coast premiere in San Diego by the the Meet The Composer Composer-in­ with music diametrically opposed in pianist David Burge. Residence at Honeoye Central School. style and content. Rather than denying the mandolin's folk associations, Between the Lynes, dedicated to my Miniature VI, completed in May, Lombardo finds way to expand upon friend Robert Morris, was composed 1993, is the latest in my series of this role in a modern idiom. His during the spring and summer of 1994. (increasingly mis-titled) pieces for solo compositional challenge rests in the The work contains every possible instruments, and to an extent repre­ reconciliation of these contrasts. combination of instruments throughout sents a culmination of the previous five Originally for solo mandolin, Marinos its course in addition to important pieces. Like those for viola, flute, harp, suggested that the composer create a thematic transformations that occur violin, and marimba (as well as an work with percussion, augmenting the between the instrumental voices. A independent set of three pieces for scoring with marimba. distinct division between legato and 'cello), Miniature VI is an exploration of the unique sonic capabilities of the staccato gestures is also present. Jing Jing LUO (b. Beijing, Ching) solo instrument. All of the pieces are Between the Lynes is divided into six holds a Ph.D . in Composition from SUNY virtuosic in one way or another, none major sections consisting of three trios Stony Brook, and a M.A. in Composition more so than the clarinet piece. The and three duos. The sections are from New England Conservatory. She is material for this work, furthermore, is related to one another proportionally currently teaching at Ashland University, drawn in part from Miniature V with each section being partitioned in Ashland, Ohio. (marimba), my woodwind sextet into yet smaller sections based on the Luo's compositions have been Kapporot, and a traditional Jewish Yorn same proportions. The plucking of the performed internationally in China, Hong page 46 Kong, Tel Aviv, Japan, England, Holland, Her works are performed Germany and the United States. She has throughout the United States and Europe a performance of a symphonic work by and have been featured on the Public the San Francisco Women's Philharmonic, Broadcasting Network, in the New Music and a performance of a choral work by America Festival in Houston, the National the Dale Warland Singers, both scheduled Flute Association Conventions, the for the 1995-1996 season . National Museum for Women in the Arts in Washington, D.C., the Ravinia Festival, Orchestra Hall in Chicago and at Carnegie Hall. Her works, Alone Together, for bass clarinet and double bass, is David MAKI (b. 1966, IL) received recorded on the compact disc, Golden a BM degree in Composition from Petals, produced by Master Musicians Northern Illinois University, where he Collective. Two of her award-winning studied with Jan Bach and Donald pieces for flute will be released on OPUS Walker. He is currently pursuing an MA ONE Recordings later this year. Her works degree in Composition at the University are available through American Compos­ of Iowa and studies with David Gompper. ers Edition and Needham Publishing He has awards from the North Shore Company. Music Teachers Association, and Illinois State Music Teachers Association. As a Cantus lnterruptus is a piece about a pianist, he has toured Finland twice with multi-part melodic idea and its the Amerikan Lau/ajat (Finnish Male interruption by other forms of itself. Luo has served as a panelist for Singers of North America). My use of the word, cantus may be the National Endowment for the Arts. understood as related to the term She has also won many awards and cantus firmus, which according to the honors, including two New York State traditional definition is a fragment of Council on the Arts grants (1985 and chant or a song used as an organizing 1989), one Individual Artist Fellowship element in sacred voca I music of the from the Ohio Arts Council (1994), a Middle Ages and Renaissance. Composition Award from ASCAP (1994), However, in Cantus lnterruptus, there is a joint Ford Foundation and Rockefeller actually no one essential form of the Foundation grant (1983), a Samuel Rosen idea; it changes according to who is Memorial Foundation grant, an Asian playing it and where it appears in the Council on the Arts grant (1984), a Meet piece. The manner in which this occurs the Composer grant ( 1989), a National may at times seem discontinuous: Endowment for the Arts grant, an Award interruption by found objects, by dance from the Jerome Foundation, and a rhythms, by jazzlike phrases. The Southern Arts Federation grant ( 1991 ). cantus may also be disguised in Luo's major teachers include counterpoint, hidden by canon, buried Vincent Persichetti, Chou Wen-Chong, Janice MISURELL­ by texture. Interruption is the least of Bu lent Arel, Daria Semegen, Jacob MITCHELL, composer and flutist, is its worries I Ideally the events in this Druckman, and Bernard Rands. on the faculty of the DePaul University piece will not be heard as interruptions School of Music in Chicago. An active but rather as parts of the same whole. The inspiration for Mosquito comes proponent of new music, she is Co-Artistic Cantus lnterruptus is dedicated to my from the insect itself. The music Director of the contemporary chamber longtime partner and friend, Tom conveys the same sense of the ensemble, CUBE, where she performs as Mitchell. mosquito's persistence, power of flutist and perform a nee artist. She has penetration in a small but very pointed also been President and Vice President of way, and something of the irritability of Stephen MONTAGUE (b. American Women Composers, Midwest, being bitten. The idea of the mosquito 1943, Syracuse, NY) grew up in West and is involved in the creation of provided a starting point for this piece Virginia and Florida. He studied piano, programs and courses about women in from which I freely improvised. Or, one conducting and composition at Florida music. Ms. Misurell-Mitchell received might think of the mosquito as the State University, completing a doctorate degrees from Northwestern University, the dominant of the piece and my own in composition at Ohio State University Peabody Conservatory and Goucher flesh and blood as the tonic. (1972) before going to Warsaw, Poland College. on a Fulbright Fellowship (1972-74). In 1974 he went to England first as a page 47 outburst and sings her words loudly seemed appropriate-but the piece and passionately with full ensemble. since evolved into a concert work in The Dickinsons and my family, which metric dance elements have the Montagues, were founders of the been absorbed into a more elastic small village of Hadley, MA (near rhythmic language. As a guide to Amherst) in 1649. They intermarried listening, it might be helpful to several times, and in one of those consider the nature of the ensemble­ unions Emily Dickinson and I share a for winds (flute and three clarinets), common great, great grandfather, John two percussion instruments (piano and Montague (b. Hadley, MA in 1655). marimba), and a single string instru­ ment which mediates between these two groups (the viola). The piece opens with everyone playing light, staccato attacks, imitating the dry sound of the ma­ composer with Strider Dance Co., then rimba. The viola then enters legato, remained working as a free-lance providing a bridge to a second phrase composer/ pianist, based in London but in which the sustained sounds charac­ travelling worldwide. His compositions teristic of the winds intermingle with have been widely performed, recorded staccato attacks. These textural and broadcast, particularly in Europe and oppositions are mirrored in the North America . As a pianist he has harmony by a contrast between recorded for all the major European radio sonorities built on fifths and thirds and networks, performed at Carnegie Hall, those built on semitones and thirds London's South Bank Centre, the Jeff NICHOLS (b. 1957, grew up in (again, opposites-fifths and Pompidou Centre-Paris, and on numerous Indiana), studied composition, piano and semitones-with a mediator-thirds); international festivals. In 1985, he theory at Juilliard and at Princeton, this produces a kind of play on formed the Montague/ Mead Duo with Indiana and Harvard Universities. His consonance and dissonance that I the pianist Philip Mead, which has toured principal teachers were Milton Babbitt, would hesitate to call tonal, since the Britain, Europe, North America and Claudio Spies, Harvey Sollberger, Earl Kim complex sonorities do not "resolve" into recorded for various radio networks. In and Donald Martino. Nichols is a the simple ones, but that does sublimi­ 1993-94 he was Visiting Guest Professor member and past president of the Griffin nally evoke the rhetoric of tonality. at London's Royal College of Music, and Music Ensemble; he is also on the Board These elements evolve through a series this spring is a visiting professor at the of Directors of the Consortium. His music of episodes, resulting in a form that is University of Texas at Austin. For the has been performed by many new music not directed in a classical sense. This 1995-96 season he will be Composer-in­ ensembles in Boston and New York, and form has an effect like a sequence of Residence with The Orchestra of St. John in festivals in San Francisco, Aspen, loosely connected dramatic scenes Smith Square - London, and in 1997 will Edinburgh and Nam-gu Daegu, South taking place in the same locale and direct a season of American new music Korea. sometimes even relaying the same concerts at London's South Bank Centre. Nichols' music is published by C. events, but in varying kinds of weather F. Peters and A.P.N.M. His awards include and times of day. The title Wild Nights is taken from the a Guggenheim fellowship, a commission The piece was commissioned by first line of Emily Dickinson's poem, from the Fromm Music Foundation, two the Fromm Music Foundation for the Wild Nights - Wild Nights, written in fellowships to the Wellesley Composers ensemble Dinosaur Annex, and lasts about 1861 at the beginning of the Conference, and a first prize in the Boston about ten minutes. American Civil War. ISCM contest. From 1990-94 he was an In this setting of Wild Nights - assistant professor of composition and P.Q. PHAN (b. 1962, Vietnam) Wild Nights the complete poem is sung theory at Columbia University. He is became interested in music while three times, each setting depicting a currently an assistant professor of studying architecture in 1978 and taught different mood and mental state of its composition at Harvard University. himself to play the piano, compose, and author. In the first, the soprano is orchestrate. In 1982, he immigrated to seated as ifthinking these erotic lines The Light Fantastic - First, let me this country and began his formal musical to herself. During the interlude she disclaim any particular significance to training, where he earned his BM from rises, moves slowly toward the piano the title. The first sketches for this work University of Southern California and his and accompanies herself (stroking the were written with the idea of a dance DMA in Composition from the University strings) quietly singing to an imaginary piece in mind, and an abbreviation of of Michigan. lover. Finally she turns in an emotional the phrase "tripping the light fantastic" page 48 The slow, atmospheric first movement explores the intimate, cham ber music aspects of the chamber orchestra genre, with instruments shadowi ng one another in overlapping entrances. A delicate, subdued percussion cade nza leads di rectly into the second move­ ment, a slow, funky dance featu ring rhapsodic solos for clarinet, trom bone, and Engl ish horn that float above the rock-steady bass line. After bu ilding to a brassy climax, the movement slowly unwinds with a long coda-like passage for pizzicato strings and temple blocks. Mark PHILLIPS (b. 1952, The driving, pro pulsive finale took its Phan's music has been per­ Philadelphia) won the 1988 Barlow initial inspiration from Tch ai kovsky, formed throughout the United States and International Competition with his though for ma ny listeners the sh ifting in Europe. His work as a composer of orchestral composition Turning, wh ich has meters, co ntemporary harmon ies, and electronic and acoustic music has been performed by the St. Louis Sym­ layers of parody may disguise its received recognition at many conferences phony Orchestra, the Cleveland Orchestra, origins beyond recognition. Al ong the and conventions. Mr. Phan has received and the NHK Symphony Orchestra of way a prominent percussion solo recalls numerous commissions, and his orchestra l Japan, with Leonard Slatkin conducting, the single reco rded drum solo by music has been performed by many as well as by the Chautauqua Symphony Beatles' drum mer Ringo Starr, on the ensembles throughout the United States. Orchestra, with Uriel Segal conducting. Abbey Road album. Phan has received several ASCAP Recently, the Pittsburgh New Music Standard Awards, Meet the Composer Ensemble performed the premiere of Grants, and residencies at the MacDowell Shadow Dancing, commissioned by the Colony. He has been a guest composer at ensemble. Other awards and distinctions the '94 New Music Festival at U.C. Santa include the 1994 Newly Published Flute Barbara and the '95 Asian Composers' Music Competition, 1990 Delius Ch am­ Forum in Sendai, Japan. ber Music Award, ASCAP Standard At the moment, Mr. Ph an Award s, an ASCAP Raymond Hubbel l focuses in composing music which Award, grants from Meet the Compose r, integrates the musical aesthetics of fellowships from the Ohio Arts Council, Southeast-Asia and the West. He is the Indiana Arts Commission, Ohio currently an Assistant Professor in University and Ind iana University, as well composition at Cleveland State University. as several composition contest prizes. His music has been featu red at Banana Trumpet Games ( 1993) wa s many festivals and conferences in the The music of Bernard RANDS composed for William Albright. The United States. His works have been has established him as a major fi gure composer states: "Vietnamese children performed by the Kansas City Symphony, among his generation of composers. living in the countryside frequently use the San Antonio Symphony Orchestra, Through some eighty works written for a banana or coconut leaves to make and the Columbus Symphony Orchestra, wide range of performance genre, the various kinds of miniature trumpets. among others. originality and distinctive character of his This composition is based on the spirit Mr. Ph illips joined the composi ­ music has emerged-a "plangent lyricism;" of the games played on these instru­ tion faculty at the Ohio University Sch ool a "dramatic intensity;" a "musicality and ments. The children are commonly of Music in the fa ll of 1984. From 1982- clarity of idea" and a "sophisticated and divided into two groups that play 84 he was a Visiting Instructor of elegant tech nica l mastery"- qual ities he interchanging fragments in different Composition at the Indiana Unive rsity developed from his early studies with registers. When available, simple School of Music. He holds a BM deg ree Dallapiccol a, Maderna, and Berio. His percussion instruments are played by a from West Virginia University and both an works (comm issioned by soloists, third group. The result is a magi ca l MM degree and a DM degree from ensembles, and orchestras) are reg ula rly cloud of sounds wit h a clear tone Indi ana University. performed an d broad cast in many center." countries. Shadow Dancing is a three-move­ Since emigrating to the Un ited ment work performed without brea ks. States in 1975, Rands has been honored

page49 by awards from the American Academy of ing music major and Indiana's most The piece is written in a form Arts and Letters, BMI, the Guggenheim prestigious award, the Sweeney Memorial combining elements of both rondo and Foundation, the Koussevitzky Foundation, Scholarship, as well as the Dean's Prize arch: ABACACABA. The central A the National Endowment for the Arts, and for Chamber Music Composition . section also contains a motive from the the Fromm Foundation. His principal teacher in B sections, which adds to the symmetry Rands' recent commissions composition has been John Eaton, and he of the formal construction. This form include a work for the New York Philhar­ has also studied with Eugene O'Brien, seemed to me to convey something of monic; an orchestral work for the new Ramon Zupko, and Earle Brown . He has the idea of a helix: ever spiraling Suntory concert hall in Tokyo; a work for studied double bass with Murray Grodner outward and changing, yet ever the soprano solo, chorus, and orchestra for and Virginia Bodman . same. The first, middle and last A the B.B.C. in London; works for the He was for several years a sections are in a presto tempo (quar­ Cleveland Chamber Symphony, the Group professional orchestral bassist, including ter= 168), while the other sections are for Contemporary Music (New York), and two years as assistant principal in the all in tempos that relate to 168 in the Robert Page Singers (Cleveland); and Mexico City Philharmonic, with whom he "Golden Section" ratios (.618-a ratio an a cappella chorus work commissioned participated in a Grand Prix du Disque­ found in some natural phenomena and jointly by Musica Sacra, the Dale Warland winning series of recordings and toured also much used to determine propor­ Singers, and Chanticleer. the principal concert halls of the United tions in art, architecture, and music). Bernard Rands is currently States and Canada, as well as Mexico. The lengths of the sections are also Professor of Composition at Harvard His experiences in Latin America have determined by Golden Section propor­ University and Composer-in-Residence had a profound impact on his thinking tions with respect to the first A section, with The Philadelphia Orchestra . and his music. which lasts one minute. His compositions have been The pitches in the A sections are performed in diverse venues all over the based on a 144-note "tone helix" United States, as well as in Australia, derived from a traditional 12-tone row Europe and Latin America, and he has matri x. This tone helix is manipulated received many commissions and grants. in various ways in thE;! A sections. The He was a bassist/actor in Tales and music in the other sections was Scales, a professional new music en­ conceived more freely and intuitively. (I semble that introduces children's am indebted to my friend and fellow audiences to contemporary music with composer, J. Mark Scearce, for suggest­ presentations of musical stories written ing a way to generate a helix from a Geoffrey ROYALL (b. 1969) especially for the group. He has taught 12-tone matrix.) double bass and music theory at Indiana received a BM degree in Theory atThe Since I was writing for a virtuoso University, Western Michigan University, Eastman School of Music and studied ensemble, the Verdehr Trio, Time and Lamar University, where he was also Considered as ... makes full use of both composition with Samuel Adler, David the producer and host of a weekly radio Liptak, Christopher Rouse and Michael the technical and ensemble skills of the show devoted to contemporary music. He Ruszczynski. He is currently pursuing a players, while exploring many­ has worked with activist groups con ­ MA degree in composition at the certainly not all-of the sonic possibili­ cerned with Latin American issues, and is University of Iowa and studies with David ties of this wonderful combination of an Amnesty International Freedom Writer. Gompper. Recently, his Variants for B-flat instruments. clarinet was released on CD by Jazziz He is currently on the faculty of the School of Music at the University of Magazine. Louisville. Marc SAnERWHITE (b. Texas), Time Considered as a Helix of Semi­ composer and bassist, began his musical Precious Stones was inspired by one training on the piano, later concentrating of my favorite titles, that of a well­ on the double bass and on composition . known short story by science-fiction His undergraduate degree is in double writer Samuel R. Delaney. I say title bass from Michigan State University, and rather than story, because my piece is his graduate degrees from Indiana not concerned with the story itself (a University are in composition . While at picturesque romance set in the near both universities, he was the recipient of future), although it is a marvelous one. numerous awards, scholarships, and Rather, I have tried only to give the fellowships both for his composing and listener the sense of swirling, dazzling bass playing, including Michigan State's brilliance that the title has always annual prize to the outstanding graduat- conveyed to me. Mark SCHULTZ (b. 1957 Seattle, page 50 Washington), is a free-lance composer Ph.D. from the University of California at the second half of the form, echoed in and coeditor of the music publishing Berkeley, where her principal teacher was the violin. This material takes on more company JOMAR Press in Austin, Texas. Andrew I mbrie. Her other teachers have significance and length as the move­ He has received degrees in Music included John Adams, Olly Wilson, Milton ment progresses, finally supplying the Composition and Theory from The Babbitt and Chi nary Ung. Her honors buildup to the climax. The opening, University of Nebraska at Omaha and The include The Charles Ives Scholarship from climax and coda are all accompanied University of Texas at Austin. Schultz is The American Academy of Arts and by the half note-triplet motive that was an active composer and his music has Letters and The Nicolas Di Lorenzo prize. introduced in movement I, but here, in been performed throughout the United She has been performed by such groups movement II, it takes on a larger role. States, Europe, and Australia. Among his as the New York Camerata, The New The second half of the movement numerous honors are the ASCAP Rudolf Millennium Ensemble and The Marsh begins after the climax. A long melodic Nissim Award, two awards from the Chapel Choir of Boston University, where line played by the violin and taken over International Horn Society, winner of the her commissioned work Seven Choral by the flute, leads back to the clusters Omaha Symphony New Music Prize and Settings was premiered in May 1994. that opened and now end the move­ Composer-in-Residence to the 1994 Her orchestra piece Night Dances was ment. Sarasota Music Festival. Schultz' music is played by the Marin Symphony as part of The last movement, marked recorded on Summit and Centaur labels. their Composer's Forum, and the Women's Fiero! starts with two ideas in juxtapo­ Recent commissions were three new Philharmonic as part of their New Music sition, a short rhythmic motive and a works for the 1994 Sarasota and Fontana Reading session. Her works have also homophonically set, scalar line. This Music Festivals and current commissions been performed at the Aspen, June in leads to a section of dense polyphonic include new works for the Arizona State Buffalo, Bowdoin, and Bloch Festivals. In material containing a tango. The University Horn Choir, the 1995 Interna­ addition she has had residencies at the earlier material injects itself into this tional Clarinet Congress, Summit Brass MacDowell and Millay Colonies and the new texture several times. Out of the and the Pittsburgh New Music Ensemble. Atlantic Center for the Arts. Her current ensuing commotion comes a jazzy projects include a commissioned work for piano solo, into which the instruments Dragons in the Sky (1989), winner of the Theater Chamber Players of Kennedy steadily stick their noses until their the 1990 International Horn Society Center in Washington, D.C. Dr. harmonic scalar idea again takes hold. prize, was conceived as a mini-concerto Schwendinger is on the faculty of the San The material that makes up the for horn, percussion and computer­ Francisco Conservatory of Music where following contrapuntal sections has a generated tape. The inspiration for the she teaches composition, solfege, and new mood, as if metamorphisized by music centers on a battle that takes form and analysis in the Preparatory the jazzy quality of the piano solo. A place in J.R.R. Tolkien's The Silmarillion Program . sparser treatment of the tutti scalar between the kingdoms of the elves and material starts the coda but soon the evil Morgoth. Morgoth, who Fable -The first movement opens with intensifies into a furious climactic eventua lly is vanquished, throws his a long singing upward line in the alto texture, ultimately exploding into winged dragons into the fray with flute. As this line reaches its climax, seeming chaos and finally a low piano thunder, lightning and a storm of fire. the music intensifies into an active crash. A very short instrumental coda The music, composed in a broad ABA contrapuntal texture that is interrupted follows to end the movement. structure, vacillates from free, by terse homophonic tuttis. After the unmetered sections to driving, mea­ last large scale arrival (a half note sured sections. As the work unfolds, triplet .moving downward through the the acoustic and tape elements instruments), an espressivo bass become increasingly combative as each clarinet and cello duet bring us to the of in struments alternatively comes to coda where a shortened echo of the the foreground while the other two main material is heard again. The serve as accompaniment. movement ends as it began with the alto flute in a brief version of its original material, but now moving in a downward contour toward the final quiet tutti chords. The first half of the second movement is a rhapsodic duet between Richard Jordan SMOOT (b. instrumental groupings. The first of Missouri) grew up in Connecticut. He these is the violin and cello, the second attended Ohio Wesleyan University and the alto flute and bass clarinet. The Ohio State University studying Laura Elise Secondary chordal material is supplied composition with Thomas Wells, Gregory SCHWENDINGER received her by the piano and vibraphone and in Proctor and Elliott Schwartz. From 1986 page 57 to 1992, Dr. Smoot served as Associate tape, multimedia pieces and works for yea rs as a member of the Com posers Professor and Composer-in-Residence at standard instrumental/vocal ensembles. Ensemble in New York. He has studied Ohio Northern University (Ada, Ohio), Performances include the Society of composition with Mario Davidovsky, where he designed and directed the Composers National Conference, Society Vladimir Ussachevsky, Jack Beeson, Chou electronic music studio, directed the new for Electro-Acoustic Music, DePaul Wen-chung and Charles Dodge at music ensemble and taught composition University, International Festival of the Columbia University, School of the Arts and classical guitar. Fantastic in the Arts, and the 12th where he received a Doctor of Musical Annual New Music and Art Festival. Arts degree in 1974. Smoot's compositions have been per­ From 1974-76 he served as the formed in the United States, Canada, Five Pieces for Chamber Orchestra Chairman of the Executive Committee of West Germany and Taiwan, and heard on was completed in 1985. Interludes the American Society of University National Public Radio. His work for occur before and after the third piece Composers and from 1977 through the chamber orchestra and tape, Dreams of separating the composition into three present he has been the Editor of the Time, was premiered in April, 1988 by primary sections: the first two pieces, A.S.U.C. Journal of Music Scores. Mr. Timothy Russell and the Pro Musica the third piece, and the final two Taub has taught at the City College of the Chamber Orchestra of Columbus, Ohio. pieces. The interludes are performed City University of New York and at Smoot's fifth orchestral work, Arising for without conductor as short chamber Columbia University. In 1974 he served orchestra, was premiered by the Toledo interruptions consisting of only a few as a Delegate to the International Symphony in 1991. Two of his works for instruments. The first piece begins with Conference on New Musical Notation at guitar have been recorded on CD and are a seven measure introduction exposing the University of Ghent in Belgium and receiving performances, broadcasts and a twelve-tone row which is the basis for was Assistant to the Director of the Index reviews throughout the U.S., Canada and the entire composition. It governs not of New Musical Notation at Lincoln England. only the ordering of the pitches but Center. Mr. Taub has written over fifty also dynamics, attack points, some compositions including pieces for Currently, Dr. Smoot works as a free-lance release points, and occasionally the orchestra, solo instruments, chamber composer in Columbus, Ohio where he is order in which instruments unfold ensemble, tape, computer, the ballet and the owner of Sound Endeavors, a studio within a particular section . The second two operas. His compositions have been dedicated to music instruction and music piece is a palindrome (the second part performed by many contemporary music composition-related services. He is also is a retrograde of all pitches, rhythms, ensembles and at universities throughout the president of the Central Ohio dynamics and instrumentation heard in the United States. His music is published Composers Alliance. the first part). Its counterpart, the by the American Composers Alliance, fourth piece, is a summing up of the Music for Percussion, and C.F. Peters harmonic vocabulary exploited earlier Corporation . He is a member of the in the composition and prepares for the Board of Governors of the American final piece which restates and further Composers Alliance. In 1990 he was develops motivic material heard earlier made a National Arts Associate of Sigma in the work. Alpha Iota. Mr. Taub is currently the Editor in chief for C.F. Peters Corporation, Music Publishers.

Lady Mondegreen' s Dances - A mondegreen is a word that is construed Stephen L. SYVERUD (b. as it is actually heard, not as the 1938, Prince Albert, Saskatchewan) is speaker intends it to be heard. Coined currently Associate Professor ofTheory by Sylvia Wright in 1954 (Harper's), the and Composition at Northwestern word refers to the Scottish ballad 'The University and also director of the Bonny Earl of Murray" and how she Electronic Music Studios in the School of recited it as a child: 'They hae slain the Music. He received the BA & MA degrees Earl Amurray,/And Lady Mondegreen." from San Francisco State University and William Safi re explains that the damsel his Ph .D. from the University of Iowa . bleeding loyally beside the slain Earl Mr. Syverud is the recipient of Bruce J. TAUB (b. 1948, New York was in her romantic imagination and numerous grants, awards and commis­ City) began studying the bassoon at an that the last line was written "and laid sions, which have recently included works early age with David Manchester of the him on the Green." I read about this for Arctic Brass (Norway), the Coisoni Trio Metropolitan Opera Orchestra and just as I was beginnin g work on a piece and several solo performers. His output attended the High School of Music and that was to be a set of three dance-like includes pieces for solo instruments and Art. He was an active performer for many movements for six instruments and page 52 thought that in music mondegreens including those from the New York Youth Aspen Music Festival in Aspen, Colorado occur almost naturally and much of the Symphony, Columbus Pro Musica in July 1995. Her work Vigil, for ce llo and time. The three movements are played Symphony, Caracas Symphony Orchestra chamber orchestra is recorded by The without pause (actually, they overlap) and Simphonietta Caracas. Several Cleveland Chamber Symphony, conducted and the piece is symmetrical. The first commissions have also been funded by by Edwin London on their Sound Encoun­ and third movements are in the same the Venezuelan government and others ters Series. meter and tempo, and also share by private individua ls. CurrentlyTenreiro Upcom ing projects include a musical material. The percussionist divides his time between his Doctoral commission from the Chicago Symp hony plays only the vibraphone in the middle studies at Indiana University and his Orchestra; a Theatrical Oratorio, based movement. The drums are used in the professional work as a Composer. on a Libretto by Leslie Dunton-Downer, first and third movements. for narrato r, quartet of voices, concerti no Canci6n de Luz, set in Spanish, is group and la rge orchestra, comm iss ioned dedicated to my wife Elizabeth. The by The Eastman School of Music, and a poem describes the flame of a candle solo violin work for Katherine Tate. She as a metaphor for God. Present recently completed a piano concerto for throughout the piece is a fast, ascend­ pianist Sara Wolfensohn, the New York ing five-note diatonic motive (1-2-3-4- Chamber Symphony, Gerard Schwarz, 5) that represents the flame-which conductor and The Women's Philhar­ cannot be grasped and always flees, as monic, JoAnn Fa lletta, conductor. A work the poem states. The motive's ascend­ for Trombone-Quartet and Orchestra ing qua lity and subdued dynamic level commissioned by the Las Vegas Sym­ signify the flame's flight from one's phony, Virko Ba ley music director, will be hold, while the diatonic character premiered in 1995 atthe Internationa l symbolizes the purity of the flame. Trombone Convention. Augusta is continuing her work on a large scale composition for an entirely re-seated Alfonso TENREIRO (b. Caracas, orchestra which is divided into eight Venezuela) received his musical training concertina groups and two chamber under the patronage of the Venezuelan orchestras. The composition will be in National Council of Culture at Indiana two movements and has a projected University in Bloomington where he has duration of 40 min utes. studied Composition with Juan Orrego­ Augusta Thomas has rece ived Salas, John Eaton, Donald Erb and prizes and awa rds from ASCAP, BMI, t he Eugene O'Brien. In a very personal National Endowment for the Arts, the musical language, Tenreiro employs American Academy and Institute of Arts techniques proper to the Twentieth and Lette rs, t he Guggenheim Foundation, Century, effectively incorporating the Kate Neal Kin ley Foundation, traditional elements from Classicism and Columbia Un iversity (Beams Prize), the Romanticism, as well as brush strokes of Naumbu rg Foundation, the Barlow folkloric origin. The variety of resources Endowment, a prize in the French used enhance each other and add to the International Competition of Henri richness of the work, carrying it to a very Augusta Read THOMAS (b. Dutilleux, the Ind iana State University high creative perspective. 1964, New York) studied at Northwestern Orchestral Music Prize and the Th ird Tenreiro's compositions are University, Yale University and the Royal Century Award from the Office of being performed and recorded in Academy of Music. She is currently a Copyright Patents. She studied with Venezuela and the United States. His member of the composition faculty at the Jacob Druckman at Yale University, and work Guri was recorded by the Caracas Eastman School of Music. Her work is Alan Stout and Bil l Karl ins at Northwest­ Symphony Orchestra in 1989, and the CD published by Theodore Presser Company. ern University. Ms. Thomas was awarded Tenreiro by Riazuelo, a collection of some Ms. Thomas' chamber opera Ligeia, fellowships from the Bunting Institute of of his symphonic works, was recorded in (Librettist: Lesl ie Dunton-Downer/ based Radcliffe College, the International 1992 also by the Caracas Symphony on a short story by Poe) won the presti­ Rotary Foundation, the Founta inbleau Orchestra. Two additional CDs are to be gious International Orpheus Prize and School of Music, Tanglewood Music released in 1995. Works contained in was performed in Spoleto, Italy (Luca Center, the Gaudeamus Foundation, the these recordings have been awarded by Ronconi, director.) Ligeia, commissioned Wellesley Composers Conference, the ASCAP, Indiana University, Friends and by Rencontres Musicales d'Evian, was Atlantic Center for the Arts, the Aspen Enemies of New Music and Contemporary premiered by Maestro Rostropovich in the Music Festival and June in Bu ffa lo. She Record Society. Tenreiro has received a 1994 Evian Festival. The American was a Junior Fel low at Harvard University number of symphonic commissions premiere of Ligeia will take place at the page 53 between 1991 and 1994. addition to several awards in composition his Ph.D. in music theory and composition Thomas' works have been and performance, Twomey was a former in 1985. Mr. Vali is currently director of performed by the New York Philharmonic, first prize recipient of the SCI student the Computer-Electronic Music Stud io at the Philadelphia Orchestra, the National composers competition. He is currently Carnegie Mellon University. He has Symphony, the Residentie Orkest of the Assistant Professor ofTheory and received numerous honors and comm is­ Hague, the Dallas Symphony, the Composition and Conductor of the sions, includ ing the honor prize of the Rotterdam Philharmonic, the Minnesota University Orchestra at Northern Michi­ Austrian Ministry of Arts and Sciences, Orchestra, the New Jersey Symphony, the gan University. two Andrew W. Mellon Fell owsh ips, Seattle Symphony, the Louisville Orches­ commissions from the Pittsburgh New tra, the Moscow Conservatory Orchestra, Impromptus for the Autumn Music Ensemb le, Kronos Quartet, and the the Cleveland Chamber Symphony, the Voyage was written in 1988. Inspired Northeastern Pen nsylvania Phi lharmonic, Pro Arte Chamber Orchestra, the San by the beautiful simplicity of Haiku as well as grants from the Pennsylvania Francisco Women's Philharmonic, Boston about Autumn, the piece consists of Council on the Arts and the Pittsburgh Civic Orchestra, the Long Beach Sym­ several sections, or impromptus. Board of Publ ic Education. In December phony, the New York Youth Symphony, the Certain motives are used to represent 1991, he was selected by the Pittsburgh Concord Symphony, the Memphis lines in the poetry and other images. Cultural Trust as the Outstanding Symphony, the New York Chamber Thus, the poetry determines the formal Emerging Artist for which he rece ived the Symphony. Other non-orchestral works structure of each impromptu. The Creative Ach ievement Award. Va l i's have been performed by the Kansas music (and poetry) also approach the compositions, which have been per­ Symphonic Band, the Stonybrook notion of what we know and what we formed in the United States, Europe, Contemporary Music Ensemble, the San believe, which may or may not be the South America, and Austral ia, have Francisco Contemporary Chamber Players, same thing. For example, in the 14th received critica l acclaim. His fi rst string the Contemporary Chamber Players at the and 15th centuries, sailors knew the quartet, Pe rsian Folklore, comm issioned University of Illinois, the Debussy Trio, the world was round (by watching an and premiered by the Kronos Quartet, Eroica Trio, the Fischer Duo, Chanticleer, approaching ship in the horizon) but was hailed by t he Los Angeles Times as Laurel Ann Maurer and the Mendelssohn they were taught to believe that it was "urgent, cogent and tautly dramatic." String Quartet. flat. This piece celebrates the spi rit of those individuals (past and present) Folk Songs (Set No. l 0), completed in who "voyage" beyond the boundaries of September 1992, is the tenth set of an what they (and society) believe to be ongoing cycle of Persian folk songs correct. which I have been writing sin ce 1978. The piece consists of four son gs, two of wh ich (songs No. 2 and No. 4) are based on authentic Persian fol k melodies. Songs No. 1 and No. 3 are composed in the style of a fol k song (imag ina ry fo lk song), The third song (Lament) is a funeral dirge written in memory of Olivier Messiaen.

Michael TWOMEY holds degrees from the University of Montana (with high honors), Northwestern University, and the Peabody Conservatory. He began studies at age 11 on violin, cello and piano, made his conducting Reza VALi (b. Ghazvin, Iran) began debut with the Butte Symphony at age his music studies at the Conservatory of 15, was the youngest recipient of a Music in Tehran. In 1972, he went to Montana Arts Council Grant at age 17, Austria and studied music education and and was the winner of the Great Falls composition at the Academy of Music in Symphony Concerto Competition at 19. Vienna. After graduating from the He has studied composition with Donald Academy of Music, he moved to the John VAN DER SLICE is a Johnston, Stephen Syverud, Alan Stout, United States and continued his stud ies Professor ofTheory/ Composition at the Morris Cotel and Justin Del lo Joio. In at the University of Pittsburgh receiving University of Mia mi School of Music. He page 54 cannot be directly placed, another years. He was a former member of the instrument can be heard, one that lies National Cou ncil and Executive Commit­ somewhere between the organ and the tee of the Am erican Society of Un iversity cello. Chromaticism of perception. Composers, and was conference coch air of the 1984 ASUC conference, as well as the 1989 International Computer Music Conference. He is the recipient of grants from the NEA, Ohio, Pennsylvania and Texas Arts Councils, as well as the 1990 Ohio Governor's Award for outsta nding individual artist in the State of Ohio. His works include over a d.ozen works for electroacou stic media, nu mer­ ous chamber music, orchestra music, and concertos. He is currently Professor of Music at The Ohio State University School of Music in Colu mbus, Ohio, where he Steven WILLARD (b. 1970, directs the school's computer music Boston) holds a BM degree in Theory/ facilities, the Sound Synthesis Studios. Composition from the Un iversity of Miami. He is currently pursuing an MA in Into Darkness - The primary sound Glenn WATKINS took his Ph.D. Music Composition and an MFA in poetry source in th is work is an excerpt from from the Eastman School of Music, at the Un iversity of Iowa. Willa rd has Don Carlo Gesualdo's Tenebrae, following which he had a Fulbright to written a work for the Ha rmon ie Chamber recorded by the Hilliard Ensemb le, and London and Oxford. He taught at Winds (Boston) and the NYU Beat Poets used by permission of ECM Records. Southern Illinois University, the University Anniversary Festival. of North Carolina (Chapel Hill), and the The music is dark in mood, befitting the Eastman School prior to joining the text and the style of Gesualdo's voca l faculty at the University of Michigan in setting. 1961. He was coeditor of the complete The 20" excerpt on which the works of Gesualdo ( 1959-1966) and entire work is based was transferred wrote a monograph on the composer directly fro m CD to hard disk using an which was published by Oxford University Audio Digita l Systems AES/ EBU/ SCSI Press in 1973 (2nd ed., 1991) with a interface developed atThe Oh io State Preface by Igor Stravinsky. His later University under a National Endow­ researches have focused on Sigismondo ment for the Arts Centers for New D'lndia, one of Monteverdi's most Music Resources Grant. illustrious contemporaries, and also on The recorded material was the 20th century, including two books: processed using phase-vocoder-based George Balch WILSON, who Soundings: Music in the 20th Century spectral mod ification programs written recently reti red from the University of (Schirmer Books, 1988) and Pyramids at by Christopher Penrose, Eric Lyon, and Michigan, served for over thirty years the Louvre: Music, Culture, and Collage myself-prog rams to perform timbral there as Director of the Electron ic Music from Stravinsky to the Postmodernists interpolation, spectral expansion, Studios and Professor of com position. A (Harvard University Press, 1994). He is compressi on, and inversion. Ti mbral student of Ross Lee Finney, Nad ia the Earl V. Moore Distinguished Professor interpolations were made between Boulanger and Roger Sessions, he has at the University of Michigan. different excerpts of the Gesua ldo been the reci pient of a Fulbrig ht Fellow­ samples, as well as between Gesu aldo ship, the Rome Prize of the America sa mpl es and software-synth esis Academy in Rom e, a Citation and Awa rd (b. 1945, Austi n, Thomas WELLS produced sounds (made using FM, from the National Institute of Arts and Texas) holds the B. Mus. and D.M.A. waveshaping, granular synthesis, and Letters, and the Walter Hinrichsen Award. degrees from the University ofTexas at resonant-fi lter synthesis). The spectral He is the fo under and forme r musica l Austin . His principal teachers include modification techniques were applied, director of "Contemporary Directions," a Kent Kennan, Clifton Williams, Hunter for the most part, successively, in order concert se ries at the U of M devoted to Johnson, and Karlheinz Stockhausen. to achieve a desired timbral richness, new music. His music is published by He is the author of a book on and to distance the materi al somewhat Editions Jobert and C. F. Peters and analog electronic music, The Technique of from the original patterns and inflec­ recorded by CR! and Access. Electronic Music, and has been involved tions of the Gesualdo. with computer music for twenty-five page 56 Cornices, Architraves and Friezes where his primary teachers have been Hong Kong. was written for and dedicated to my William Albright, Leslie Bassett and The composer states: 'The son, James, on the occasion of his Michael Daugherty. original inspiration and the title of graduation from high school in 1983. Moments of Rising Mist derive from a It was first performed by him in June of Incarcerating Raven - The Raven is Chinese scroll painting of a la ndscape that year two weeks after its comple­ the trickster deity of the Native North­ that I saw in the British Museum in tion. To celebrate this special event, Americans of the Northwest, represent­ London, depicting hills sparsely covered and after months of consideration, I ing the chaotic aspect of nature. with vegetation, a body of water, and decided not to try and evolve a work Incarcerating Raven is a musical eddying clouds of mist hovering above comfortably seated within the technical representation of my experience of the its surface. The London version was and stylistic world of the young psycho/spiritual conflicts caused by strictly serial in its construction, but student, but rather to address the ideas extreme rational ism, and its attempt to subsequent reworkings have for the which excited me at the time, knowing deny, destroy or control the chaotic and most part obl iterated any of the that they wou ld likely present as many playful aspects of living. The piece is original mechanics ofthe piece, in challenges to Jim as they seemed to both serious and tongue-in-ch eek. favor of intuitively and perhaps suggest to me. There have been 'archaeolog ical ly' revealing the true numerous composers who have nature of the materials that I beg in produced works for their children . For with. The melodic strands themselves me, this experience was unique, totally are the result of several lines which absorbing and deeply personal. have been compressed/ superimposed to form a sing le entity. Each instrument's co mpound line is then layered, one upon the other, to prod uce the various canonic/heterophonic textures which dominate the work. Harmonic support is provided by a dense web of arpeggiated chords, played by the harp, vibraphone, and piano, almost as a kind of continua group. The intent is to produ ce a kind of kaleidoscopic swirling, semitranspar­ Jay Alan YIM joined the facu lty of ent 'mist' in which any one melodic Northwestern University in January 1989, strand might be the object of the after studying composition and compute r listener's focus." music at the University of California at Santa Barbara, the Royal Academy of Daniel WORLEY's music has Music, Stanford, Tanglewood, Aspen, and been featured in many festivals and Harvard. His music has been performed concerts, including the multi media and broadcast in the USA, Australia, performance Love Out of Context; as part Britain, Bulgaria, Ca nada, Czechoslovakia, of the "Parade of America Music" series; Germany, Holland, Hong Kong and in the 1991 Sonoklect Festival, and the Japan. 1993 and 1994 Mid-West Composers Symposium. His orchestral work, Toward A preliminary version of Moments of Light, took first place in the Blue Ash Rising Mist (now withdrawn), scored Symphony's 1993 Fanfare Composition for clarinet, horn, viola, cello and Competition. Incarcerating Raven, percussion, was fi rst performed in written for clarinetist/composer Derek London in 1981; in 1983 it was Charles Rochester YOUNG essentially recomposed and rescored Bermel, received its New York premiere (b. 1965) has won high praises and for flute, clarinet, percussion, piano, last February. honors for his work both as saxophon ist violin and cello. It underwent a He has received several awards and composer. His work has been substantial revision again in 1984, and and scholarships, including an ASCAP published by Dorn, Little Piper, Encore, after a performance of this version, a schol arship through the University of TAP., Stud io Four, Sintafest, RonCorp and harp part was added in 1986 to Louisville in 1991, the Nelson Keyes recorded by Open Loop, Boston Record ­ complete the work. The piece has been Scholarship for Music Composition in ings, Spirit Wind, Crusade, Resoundi ng performed twice in Boston, as well as at 1991 and 1992, and a Regents Fellow­ Winds and Mark Labels. Dr. Young's sh ip from the University of Michigan, Tanglewood, Buffa lo, Amsterdam, and page 57 music has been performed and/or by the Mark Recording label with the through sections and interludes over broadcasted in Europe, Japan, Central commissioning ensemble performing. and over again; in its wake it creates a America, Canada, and in major halls in progression of events which is enor­ the United States, including Lincoln mously demanding of both performer Center and Carnegie Hall. Major awards and listener. It is a composition include: First prize in the National Flute seemingly rhapsodic in form but that is Association New Publications Competi­ only an illusion. The composition is tion, Second prize in the 1990 Fischoff stratified so that all its simu lta neous International Chamber Music Competi­ relations reach into one and the other, tion, and financial awards from the composi ng the canvas upon which the National Endowment for the Arts, Meet Noel ZAHLER (b. New York City), work is played out. Pitch, rhythm, the Composer, the Minnesota Composers dynamics, mode of attack and timbre studied music composition with Milton Forum, the Presser Foundation, and Arts are all dea lt with through a strict Babbitt, Jack Beeson, Chou Wen-chu ng, Midwest. In addition to premiering counterpoint which preserves the Franco Donatoni and Henry Weinberg. twenty works for the saxophone, Dr. integrity of each part and strengt_hens He has earned degrees from Columbia Young has appeared with the Detroit the connections that form the unrty of University, Princeton University, Symphony Orchestra and served as an the composition. There is nothing in L'Accademia Musicale Chigiana (Siena, assisting musician for Milt Jackson, the composition of recollections that Italy), and CUNY Queens College. His Maureen McGovern, Lou Rawls, Kenny awards and prizes include a NEA has not been part of the compositional Wheeler, and David Samuels. Dr. Young plan. The worlds it visits rhythm ically, Consortium Commission, and a has also written articles for the Saxo­ harmonically, as well as timbrally are Fulbright/Hayes Fellowship to Italy phone Journal and Saxophone Sympo­ all destined excursions of the imagina­ among others. sium magazines. tion. The challenge for the performer is Zahler's composition include a A native of the United States, formid able, "all stop are out," it is a wide range of vocal and instrumental Dr. Young is a graduate of the University tour de force of guitar playing wh ich works as well as electroacoustic and of Michigan, where he was a teaching demands both complete comma nd of multimedia works. His composition are assistant for saxophone virtuoso Donald the instrument and a keen interpretive published by Associated Music Publishers Sinta and a composition student of imagination. This is not an easy work (G. Schirmer, Inc.), APNM music publish­ William Albright and Pulitzer-prize winner for the audience either. One l1sten1ng ers, and American Composers Ed 1t1on. Leslie Bassett, while directing the will not be enough to fully com prehend Recordings of his music: Regions I, Four University of Michigan Jazz Ensemble and the network of relations and emotions Songs of Departure, and Harlequi n are Digital Music Ensemble. Previously, Dr. employed in its composition. Once available on the Opus One record label. Young served as an Instructor of Music again, a keen imagination and the Recordings of his Trio and recollections Theory and Composition at the . ability to let that imagination work can be found on Neuma Recordings lnterlochen Center for the Arts, Director with the music will be the greatest (Harmonia Mundi). of Jazz Studies/ Saxophone at Central asset in listening to reCo/lections. This Noel Zahler is presently Connecticut State University, and Region is the composer's only work fo r solo Professor of Music at Connecticut College, 8 Director of the North America Saxo­ New London, Conn., and Chairman of the guitar. phone Alliance. Department of Music. In addition,_he is Currently, Dr. Young is the Director of the Cummings Electronic and Coordinator of Composition and Music Digital Sound Studio (CEDS), and Co- Theory at the University of Wisconsin­ di rector of the Center for Arts and Stevens Point. He is a member of the Technology at Connecticut College. Resounding Winds Saxophone Quartet and Forza Nova, which is presently reCollections was composed during recording a compact disc of music for the spring and summer of 1992 and saxophone and percussion. was commissioned by the Scottish guitarist Al la n Neave. The title Winter Echoes was commissioned by employs a number of meanings. In one the University of Michigan Jazz sense it is a reminiscence about the Ensemble in 1989 for their 1990 techniques and sounds recalled by the performance at the Montreux Jazz composer from his study of the classical Festival. Since that time, the work has Judith Lang ZAIMONT, guitar between the ages of seven and been performed often by college and international ly- known composer and eighteen. on the other hand, 1t rs a advanced high school ensembles recently appointed professor of composi­ technical study which centers on throughout the nation. Winter Echoes tion at the Un iversity of Minnesota School deriving ha rmonic collections. It moves was released on compact disc in 1989 of Music, is also a pianist, writer and page 58 editor. Zaimont's impressive catalogue of Zaimont is also editor-in-chief of the next choice. more than 80 works includes many prize­ critically acclaimed book series, The "M usica lly, the work is dramatic, winning compositions. Among her Musical Woman: An International with considerable text-painting, and is prestigious awards are a Guggenheim Perspective, in which capacity she has motivica lly tightly knit. Musical Fellowship, Maryland State Arts Council received several awa rds, a recent grant materials th roughout are derived fro m fellowship, Woodrow Wilson Foundation, from the National Endowment for the two sources: a rising and then fall ing Presser Foundation and Debussy Fellow­ Humanities, and the 1993 First Prize in half-step (part of the Angel's command ships, a recent National First Prize for the International musicology awards, the 'Abram, wilt thou rest?'), and a lyrical Orchestra Music, and grants from the Pauline Alderman Prizes. progression associated with the boy National Endowment for the Arts and Isaac. Contrasting with the highly Minnesota Composers Forum. Her works Parable - "An uneasiness has always forceful, narrative choral sections are are published by Galaxy Music/ E. C. surrounded the na rrative of Abram lyric solos fo r Abram and Isaac in Schirmer, Broude Bros., C. F. Peters, Alfred (Abraham) and Isaac-a god command­ accompanied recitative style. Abra m is Publishing Company and others. ing his follower to kill his own son in given music that underlines the Among her commissions are order to prove love for that god. enormity of his quandary. His mood is works for the Connecticut Opera, Wilfred Owen (1893-1918) framed his mercuria l, shifting between the desire American Guild of Organists, Gregg Smith poem in the context of Europe during to reassure his son and the knowledge Singers, Vox Nova Quintet, Baltimore World War I. In Owen's poem, Abram that he must be the agent of his son's Chamber Orchestra, Greenville Symphony, kills Isaac. Li ke the rulers of Europe death. Isaac, initially uneasy, becomes Huntingdon Trio, Baltimore Dance who sent their sons to die in battle, fearful, but in the end encourages his Theatre, Skaneateles Festival, and soloists Abram spares the Ram of Pride and distraught father to strike the blow. In Arleen Auger, David Arnold and several slays his son . Owen 's poem, God is almost an Artists International prizewinners. Her "Owen's poem ends cynically, incidenta l catalyst. It is with men, not music is frequently played in the United first with the death of Isaac and then God, that the source and the resol ution States and abroad. In recent years her 'half the seed of Europe, one by one.' of the tragedy of Abram and Isaac are orchestral works have been programmed Here though, two other texts are found. by the Baltimore (MD), Jacksonville (FL), interwoven with the Owen, offering 'Para ble exists in two original Harrisburg (PA), Women's Philharmonic hope for a different ending: In an echo versions: for vo ices and organ, and for (CA) and Nassau (NY) symphony of the opening scene at the cantata's voices, five strings and harpsichord. orchestras. Her chamber opera has been conclusion (using text taken from the The work was co mmissioned by given at Lincoln Center, and by the medieval Brome mystery play), Abram Florilegiu m th rough a grant from the Eugene (OR) and Connecticut Opera is once again commanded to sacrifice New York State Council on the Arts." companies. Chamber works have been Isaac. The listener is left to ponder the performed by many artists and ensembles at the National Gallery, J. Paul Getty Museum, National Museum of Women in The University of Iowa the Arts, National Academy of Science, at 7995 Words and Music Class Carnegie Hall, Merkin Hall, Lincoln Center and other major auditoriums on Marvin Bell and David Gompper, instructors three continents. Recent CDs include the chamber-vocal From the Great Land, and the dramatic cantata, Parable. Recordings due for release in the current season (Northeastern, Centaur, Leonarda labels) includes solo works for piano and for organ, musi c for voice, string quartet and wind quintet. Zaimont's current commissions include chamber works for Sigma Alpha Iota and the 1993 Artists I nternationa I prizewin­ ner, a second piano trio (commissioned by the University of Alabama), and her Symphony No. l (commissioned by the back row, left to right. Ma ki, Beer, Hu, Quade, McClure, Zucker; Central Wi sconsin Symphony). A former middle row: Willard, Royall, Schultz, Montresor, Allemeier; faculty member of Peabody Conservatory, front row: Mosher, Cheng , Swiggart, Kendrick and Gardner; and Adelphi University (where she not pictured: Graham and Gourlay. chaired the music department), Judith

page 59 Performer Biographies

Dean BACHUS (b. 1973, Bettendorf, IA) is currently working toward his BM degree in Violoncello Performance and a BA de­ gree in Mathematics from the University of Iowa .

Christine M. BELLOMY (b. Pleasant Hope, MO) is earning her MLS and MM in Clarinet Performance at the University of Iowa. As a concert artist, Disselhorst has Michelle BENNEn (b . 1965) is work­ performed in the United States, Canada, ing on her DMA in Viola Performance from and Europe. He has appeared as a recital­ the University of Iowa . She is a member of ist for several regional conventions and for the Quad Cities Symphony, and is an ad­ the National Convention of the American junct teacher at Grinnell College. Guild of Organists in Houston, Texas, in member of the National Board ofDirectors 1989. Tours of Europe have included recit­ Carey H. BOSTIAN II (b. Granville, of the Percussive Arts Society and Past-Presi­ als in Denmark, Germany and France. OH) is the teaching assistant in Cello for dent of the Iowa Chapter of that organiza­ Charles Wendt, and the Orchestral Librar­ tion. Mr. Davis was elected to membership Lisa DONDLINGER (b. 1974) is a jun­ ian at the University of Iowa. He is pursu­ in the American Society of Composers, Au­ ior majoring in Violin Performance at the ing an MFA in Conducting with James thors, and Publishers (ASCAP) in 1968. He University of Iowa. Originally from Des Di xon and a DMA in Cello Performance with has been at the University of Iowa since Moines, she plans to work towards a MM Charles Wendt. He is the 1994-95 Pelzer 1958. Prior to that, he was Instrumental degree after completion of her BM next Fellow in Strings and is active in perform­ Music Director of the National College of May. Lisa has performed in orchestras ing and promoting new music. Education in Evanston, Illinois, a playing around the world, with co nductors such as associate with Chicago Symphony Orches­ Lorin Maazel and Yoal Lavi . She currentl y Charloffe Lyn BRIGHT is working on tra and charter arranger and performer with studies with Allen Ohmes. her BM degree in Piano Performance atthe Dick Schory's Percussion Pops Orchestra. University of Iowa . She grew up in Rapid Mark Alan DORR (b. 1962) is pursu­ City, South Dakota . Barbara DEUR, trumpet, is a member ing a DMA in Percussion Performance and of the Quad Cities Symphony and a nurse Pedagogy at the University of Iowa . He is Barbara BUDDIN (b. 1959) is a mezzo­ at The University of Iowa Hospitals. She a percussion instructor at Grinnell College. soprano working on her DMA in vocal per­ ha s taught trumpet at The University of formance at the University of Iowa. Iowa and has performed widely as a soloist Tom DOSTAL (b . 1970) is a percussion­ and clinician. She has been a member of ist working on his BA in Music Education Carl COLLINS (b. 1971, Moline, IL) is the Cedar Rapids Symphony and principal and Performance at the University of Iowa. working toward his BM in Clarinet Perfor­ trumpetofthe Des Moines Symphony. She mance and a Teaching Certificate from the is a graduate of Drake University. Eugene DOWDY (b. 1960) is a teach­ University of Iowa, where he studies with ing assistant for James Dixon at the Uni­ Maurita Mead. He is currently student­ Delbert DISSELHORST has been a versity of Iowa. He is a candidate for the teaching in the Quad Cities area . member of the UI School of Music faculty DMA degree in orchestral conducting. He since 1970. He holds both bachelors and conducts an intermediate orchestra and Deborah DAKIN (b. 1956) is currently masters degrees in music from the Univer­ teaches violin and chamber music at the working towards a DMA in Viola Perfor­ sity of Illinois, where he graduated as a Interlachen Arts Camp. mance at the University of Iowa. She also Bronze Tablet Scholar. As a recipient of a maintains four kids, two cats, one dog and Fulbright grant in organ, he also studied at Elayna DUITMAN (b . 1976), from deep fantasies of a den house. the Staatliche Hochschule fUr Musik in Sioux Center, IA, is currently attending the Frankfurt, Germany. He earned the Doctor University of Iowa, working on a BM de­ Thomas L. DAVIS is Head of Percus­ of Musical Arts degree from the University gree in Violin Performance. She won the sion Studies in the School of Music at the of Michigan . Concerto competition at the Interlachen University of Iowa and former Director of Arts Camp last summer. the Hawkeye Marching Band. He is a past page 60 Katherine EBERLE has appeared as Duqueque Symphony Orchestra. He per­ in Greensboro, North Carolina . As a cham­ soloist with the Symphony Orchestras of forms in the various orchestral and band ber musician she has performed with the Detroit, Lansing, Muskegon, and Saginaw ensembles at the University. artists of the Guarneri, Emerson, Laurentian (Michigan); and of Atlanta, Macon, and and Stanford Quartets and the Borodin Trio. Rome (Georgia). She has appeared in op­ Michael FLYNT (b. 1967, Muncie, IN} Her frequent solo appearances include era productions atthe Academy of the West, is working on a OMA degree in Trumpet Per­ many contemporary premieres and solo Santa Barbara, California; the Aspen Festi­ formance and Pedagogy at the University improvisations as well as traditional reper­ val Opera Theatre, Aspen, Colorado; and of Iowa, where he studies with David toire. She is recorded on lrida records. the Opera de Lille, France. During the aca ­ Green hoe . demic year she is on the Faculty ofThe Uni­ M ichael GEARY (b. 1960, Mason City, versity of Iowa, and she teaches at Marcia FULLER (b. 1971, Coldwater, IA} is currently a OMA candidate atthe Uni­ Interlachen Arts Camp in Michigan during Ml}, received a BM degree from the Univer­ versity of Iowa, where he previously earned the summer. sity of Evansville, where she performed as degrees in music education and perfor­ a soloist with the University Wind Ensemble mance. Geary has achieved distinction as and as a member of the Evansville Philhar­ a skilled interpreter of contemporary music monic Orchestra . Marcia is currently work­ both as soloist and as a member of the UI ing on a Master of Arts degree in flute per­ Center for New Music. formance at the University of Iowa. Geary is Principal Timpanist in the Des Moines Symphony and the Quad City Robert FULLER received his Ph .D in Symphony. He is also a percussionist in the composition from the University of Iowa in Cedar Rapids Symphony. He has been a 1993, where he studied with Kenneth member of the orchestra atthe Spoleto Fes­ Gaburo and Robert Parades. As a pianist, tivals in Charleston, South Carolina and Fuller has specialized in 20th century mu­ Spoleto, Italy since 1992. Geary served on sic, and since 1990 has been a performer the faculty of Iowa State University for three artist with the Center for New Music. His years and has also taught at the University Her compact disc of songs of current CD on the Music & Arts label (soon of Iowa. Geary has studied with Thomas L. women composers titled From a Women's to be released) includes John Cage's Etudes Davis, Steven Schick and Cloyd Duff, former Perspective was released internationally in Australes, Books 3 & 4, Stefan Wolpe's Piece timpanist of the Cleveland Orchestra . 1993 by Vienna Modern Masters as part of in Two Parts and two of his own works for their Chamber Music Series #2005. Ms. computer-generated sounds. Recently, com­ Erin GEE (b. 1974} is working toward a Eberle made her New York debut at Weill posers Jonathan Middleton, Anne Deane, BM degree in Piano Performance at the Uni­ Recital Hall at Carnegie Hall in 1993. In and Dietrich Eichmann asked Fuller to versity of Iowa, where she studies with Rene addition, she was an invited participant in record a CD of 20th century piano music. Lecuona. a 10-day master class given by Tom Krause sponsored by the 'sHertogenbosch I nterna­ V ivica GENAUX, mezzo-soprano, is a tional Vocal Competition in the Nether­ graduate of Indiana University School of lands. Last year she toured as a Musical Music. She made her professional debut in Ambassador for the United States I nforma­ a leading role as Isabella in L'!ta!iana in tion Agency throughout South America. Algeri with the Florentine Opera in Milwau­ kee. Next season, she will debut with the Marla FEENEY (b. 1968, IL} is currently Washington Opera and Opera Pacific as working on her MA degree in Clarinet Per­ Rosina in II Barbiere de Siviglia, and make formance. She received a BM degree from her European debut in Dresden as Angelina Southern Illinois University at Edwardsvil le. in La Cenerentola. Marla also teaches part-time at Grinnell Col­ lege and Mt. Mercy in Cedar Rapids. She is Diana GANNEn returned to Iowa in Ron GEORGE is an international per­ also an accomp lished vio linist and saxo­ 1992 as Associate Professor of Double Bass forming and recording artist and proud in­ phonist, and sings in various jazz ensembles at the University of Iowa. As both teacher ventor of six major new percussion instru­ throughout Southeastern Iowa. and performer she has had an active ca­ ments: the Ballad Conso le, Loops Console, reer including appointments at Yale Univer­ Mallet Keyboard Console, Super Vibe and Lee FERGUSON (b. 1972, Grinne ll, IA} sity School of Music and the Hartt School most recently, the American Gamelan. Mr. is currently working on a BM in Percussion of Music in Connecticut, the Oberlin Col­ George has composed numerous composi­ Performance at the University of Iowa, lege Conservatory in Ohio, the University tions for these instruments, ranging from where he studies with Thomas Davis. He is of South Florida in Tampa and as the prin­ so lo works to those with prerecorded ac­ also a section percussionist in the cipal double bass at Eastern Music Festival companiments and percussion ensemble.

page 67 Robert HADESBECK (b. 1975, a Visiting Artist in Voice at Cornell College Bettendorf, IA} is working on a BM degree in Mount Vernon, IA. Currently, she is a in Clarinet Performance at the University doctoral student in chora l conducting atthe of Iowa, where he studies with Maurita University of Iowa. Hearne earned a MM Murphy Mead. in voice performance/ pedagogy at Arizona State University.

Kimberly HELTON (b. Salt Lake City, UT} received her BM degree from Brigham Young University and an MM degree from Drake.

She was soloist with the Utah Symphony, Joseph Silverstein, conducting. Helton is currently working on a DMA degree from the University of Iowa. Ron George has performed with the San Diego and Milwaukee Symphony Maril HERVIG received her BM from Orchestras. He holds two Masters of Music Western Illinois and her MA in Viola Perfor­ degrees, one from Indiana University in per­ mance from Arizona State. She currently cussion and the other from UC San Diego William HATCHER has served as Direc­ teaches at the Preucil School of Music and in composition/ theory. He has been tor of Choral Activities at The University of plays viola with the Quad Cities and Cedar awarded an NEA Recording Grant and Iowa since 1988. He directs the graduate Rapids Orchestra. Aaron Copland Fund support to record his choral conducting program, conducts UI compositions as well as those that have Kantorei Singers, University Choir, and is John HILL, trombone, is Professor of Mu­ been written for him, for a solo CD, Music often Music Director of the university op­ sic and Associate Di rector of the School of for and by Ron George (to be released on era productions. Music atThe University of Iowa and princi­ 0 .0. Disc, Inc.). Mr. George has been on He was National President of the pal trombone of the Quad Cities Symphony. the faculty of California Institute of the Arts American Choral Directors Association from He has been a member ofthe United States and the ldyl lwild School of Music and the 1991 to 1993, and was the Convention Air Force Band, the Baltimore Symphony, Arts, and currently teaches at the Los An­ Chairman of the 1991 ACDA National Con­ and the Detroit Symphony, and he has been geles County High School for the Arts. vention. Prior to coming to Iowa, he taught a board member of the International Trom­ at UCLA, California State University Los bone Association. Dr. Hill holds degrees Richard GLOSS (b. 1952, Chicago) Angeles, the University of Washington, and from Wayne State University, Indiana Uni­ studied with Soulima Stravinsky at the Uni­ Pasadena City College. He has a Master of versity, and the University of Kansas. versity of Illinois and Kenneth Amada at Music Degree from the University of Ne­ the U of I, where he received his MFA de­ braska, and did further graduate study at Julie HOBBS (b. 1972, Des Moines, IA}, gree in 1978. He is currently manager of the University of Southern California. a member of SAi, is working on her BM in the Hancher Box Office in Iowa City. Flute Performance from the University of Steve HAVENS (1966, IL} is currently Iowa . Emily GOSMA (b . 1973) is currently working toward a DMA in Piano Perfor­ working on a BA in English and a BM in mance at the University of Iowa. Robert HOYT Ill (b. 1972) is currently Cello Performance at the U of I. She is in working on a BM in vocal performance at her second year with the Quad Cities Sym­ the University of Iowa, and will perform a phony, and will graduate next Spring. tenor role in the Rachmaninoff opera Aleko this Spring. David GREENHOE, Professor of Music at the University of Iowa, plays principal Patrick HUGHES is currently Visiting trumpet with the Quad-Cities Symphony. In Assistant Professor of Horn at Ithaca Col­ the summer season he serves as solo trum­ lege. He is also pursuing a DMA in horn peter with the Lake Placid Sinfonietta, and performance and pedagogy at the Univer­ he performs frequently with the Milwaukee sity of Iowa. Prior to his most recent New Symphony Orchestra. He is a graduate of York relocation, Mr. Hughes was a teach­ the Eastman School of Music and has been ing assistant at the University of Iowa, ad­ a member and soloist of the Eastman Wind junct horn instructor at Coe College in Ce­ Ensemble and the United State Marine Lisa HEARNE is Director of Choirs and dar Rapids, IA and performed with Old Band in Washington, D.C. page 62 Capitol Brass Quintet and the Ceda r Ra p­ formance at the University of Iowa. She fi rst at the University of Iowa as Arti st-Teacher ids Symphony. Mr. Hughes holds a BA in began her cello studies with her father, a of Violin in 1972, he was on the viol in fac­ music theory and composition from St. Olaf cellist with the St. Louis Symphony Orches­ ulty of the University ofTexas at Austin. He College (MN) and a MM in horn perfor­ tra, and later with Dr. Shinichi suzuki in Ja­ has also been a Fulbright Professor in Bra­ mance from the University of Wisconsin­ pan for two yea rs. She has perfo rmed as a zil in 1983 and 1988. La Fosse mai nta ins Madison . soloist with the Talent Education Conce rt an active schedule of solo appearances in Tour throughout the US in 1988, 92 and the U.S., Europe and South America, incl ud­ Daniel HUNG (b. 1970, Taiwan) is work­ 93, and is currently studying on scho larship ing highly accla imed appearances in New ing on a MM in Violin Performance from with Charles Wendt at the University of York, Lond on, Rio de Janeiro, Montivideo the University of Iowa. Iowa. and Washi ngton D.C.

Krassimir J. IYANOY (b. 1967, Shawn KIRCHNER (b. 1970, grew up Pleven, Bulgaria) started his musical train­ in Cedar Falls, IA), won several piano and ing at the age of six playing the piano. Young Artist competitions while in Hig h When he was thirteen, he was accepted into School. His BA degree was granted by the Pleven Sch ool of Music as a bassooni st. Manchester Col lege in Peace Studies. Fur­ He ea rned a BA degree at the Bulgaria n th er studies took him to China, Nica ragu a State Aca demy of Music in 1992 and an and Brazil. He is cu rrently looking towa rd Artist Dipl oma from Duqu esne University graduate work in Choral Conducting at the School of Music in 1994. In 1992, Mr. University of Iowa next year. Ivanov was Principal Bassoon of the Or­ chestra Sinfonica de Ribeirao Preto in Bra­ Laura KOENIG (b. 1965, Sunnyval e, Rene LECUONA (b. 1962, Corni ng, New zil and the Brazili an Festival Orchestra, CA) is currently pu rsuing a DMA and is York) has pe rfo rmed solo and cham be r wh ere he record ed the Vivaldi Concerto for studying with Betty Bang Mather. She re­ music recitals throughout the United States, Bassoon fo r Brazilian State Te levision. He ce ived her MA at University of Californ ia as well as Germa ny, South America, and the has had solo perform ances with the Bulgar­ at San Diego, studying with John Fonville. Ca ribbean . Sh e made her Carneg ie Hall ian State Orchestra and the Duquesne Un i­ She has been a member of the Center fo r debut as a chamber musicia n in 1993. She versity Symphony Orchestra as well as re­ New Music sin ce 1991, performed in the was recently selected to be an Artistic Am­ citals in Pittsburgh, Ribeirao, Preto, Brazil 1992 Darmstadt Ferienkurs and recently re­ bassador for the United States, and gave and Bulgari a. ce ived a resea rch granttothe Bibliotheque co ncerts and master classes in Arg entina, Nationale in Pari s, France. Her most recent Pe ru , Ecuador, and Trinid ad and Toba go honors is to be a proud parent of her three during the summer of 1994. month old daug hter, Madeline. Rene Lecuona received her Doc­ tor of Musica l Arts in Pi ano Performance and Literature from the Eastman Sch ool of Music, where she won the 1990 Conce rto Competition, a doctora l fe ll owship, and a perform er's certifi cate. Dr. Lecuona is an Ass istant Professor of Piano at the Univer­ sity of Iowa, where sh e has an active teach­ ing and performing schedule. Her upcom­ ing engagements in cl ude concerts in Ne­ braska, Mi ssou ri, Texas, and Brazi l.

Kevin JAMES has been active over the Hsien-Liang LIEN (b. 1961, Ta ipei, Tai­ Leopold La FOSSE, has gained inter­ past five yea rs as a soloist, recitalist, and wan), ea rned his B.M. degree from Soochow national recognition fo r his solo appear­ lecturer thro ughout the United States and University in Tai pei. His MM in Education ances in recital and with symphony orches­ Europe. He has been featured with orches­ and Cel lo Performance and Ped agogy was tras. He studied with Emanuel Ondri cek in tras in New York, Milwaukee, Chicago, and granted by Northern Illinois Unive rsity, and Boston, Raphael Bronste in in New Yo rk, and Ita ly, and has been included on recita l se­ he is currently working on a DMA in Cello with Ri chard Burgin in Boston as a scholar­ ries at such New York ve nues as the Sonic Perfo rmance and Ped agogy at the Un iver­ shi p student at the New England Conse r­ Boom Festival at the Miller Theatre, Weill sity of Iowa. vatory of Music. A musician of wide expe­ Recital Hall, St. Peter's at the Citico rp Cen­ ri ences in many performance areas, La Fosse ter and the Noonday Conce rts at Trinity has been the conce rtmaster of five sym ­ Church. phony orchestras: San Antonio, Da ll as, Au s­ Noriko KATAOKA (b. 1976, St. Louis) tin, Aspen Music Festiva l and the National is working on her BM degree in Cello Per- Symphony of Peru. Pri or to his appointment page 63 Century Music Ensemble, the New Music Chicago Festival, Orchestra Hall, the Chi­ cago String Ensemble, and Gaida festival in Vilnius, Lithuania. In addition to his per­ formances in the U.S., he has performed in France, German, the former Soviet Union, Greece, Turkey, and Cyprus.

Dimitris MARINOS has been called "one of the great virtuosos of modern mu­ sic" (Andrius Zara). Critics around the world Recital Hall and she has toured through­ have unanimously praised his technique out the US with the Columbia Artist Com­ and performance style and have described munity Concert Series. Last summer she his concerts as "a phenomenal display of performed at the music festival Figueira de virtuosity" (Respublika) and as "energetic Foz in Portugal. and brilliant" (New Athens). Ethnos news has noted that Mr. Marinos has "redefined Jennifer MAXWELL (b. 1974, Cedar the role of the mandolin from its folk tradi­ Cheryl MARSHALL is a graduate of the Rapids, IA) is earning her BM degree in Pi­ tions to an instrument well-suited to the Juilliard School, who specializes in the rep­ ano and Clarinet at the University of Iowa. contemporary music genre." ertoire of the 20th century. She has per­ At the early age of 23, Mr. formed works by many contemporary lumi­ Marinos established himself as one of the naries including Babbitt, Cage, Crumb, world's leading interpreters of classical Druckman, Hindemith, Schoenberg, Webern mandolin repertoire with his critically ac­ and Wolpe. Ms. Marshall made her New claimed recording on the CBS record label. York debut at Alice Tully Hall in Lincoln Although he frequently performs the mu­ Center performing Babbitt's A Solo Requiem sic of common-practice composers such as with Continuum, a group she performs Vivaldi and Beethoven, he has devoted with regularly. In addition, she has ap­ most of his performing career to contem­ peared with Composer's Forum, the Wash­ porary music. The broad scope of his musi­ ington Square Contemporary Music Series, cal endeavors led to an important artistic the Gui Id of Composers, and has been heard collaboration with Greece's leading com­ on RIAS radio in Berlin, WNYC radio in New poser Nikolas Mamangakis on a 1989 film York, in recital at the Museum of Modern Scoff McCOY, tenor, made his Carnegie score recorded for West German Television. Art and the New York Public Library. Ms. Hall debut singing Stravinsky's Pulcinella Excerpts from the film score have been re­ Marshall has also performed at the Aspen in 1990, followed in the same year by his leased by Milan Recording in France. Music Festival, the American Music Theater Chicago Orchestra Hall debut singing Mes­ Many of the works he has re­ Festival in Philadelphia, the "Words & Mu­ siah-just 2 of the over 60 concert works in corded have been commissioned by Mr. sic" Conference sponsored by the Latin­ his repertoire. He has recently appeared Marinos and have yielded a spectacular American Music Center at Indiana Univer­ as guest soloist with the Honolulu, Colo­ new repertoire of mandolin works by emi­ sity, and at the International Stefan Wolpe rado, Albany, Savannah, Cedar Rapids, Peo­ nent American and European composers. Conference in Toronto. ria and Battle Creek Symphonies, the Illi­ Mr. Marinos appears regularly on the ma­ nois, Wisconsin and Indianapolis Chamber jor concert stages of the United States as a Linda MAXEY received her MA in Orchestras, and the Manhattan Philhar­ soloist and chamber musician. His Carnegie Theory and percussion at The Eastman monic. Hall recital debut this past October featured School of Music, where she studied with Bill In addition to his vocal accom­ a concert of contemporary acoustic and Street. She has been touring for Columbia plishments, McCoy is a pianist, guitarist and electroacoustic works written specifically for Records for the past 13 years, and has re­ conductor. He returned to his alma mater, him. He has appeared as a featured per­ corded a CD entitled Artistry of the Ma­ the University of Iowa, in 1991, where he is former on concert in New York and Los An­ rimba. an Associate Professor and Chairman of the geles sponsored by the National Associa­ She began playing piano at the Voice Department. tion of composers, U.S.A. He has appeared age of 4, the marimba at age 6, and per­ as a solo ist with the University of Chicago formed at Madison Square Garden at age Erin Melonie McMAHON (b. 1975, New Music Ensemble, the Chicago 20th 11. Her NY debut occurred in 1989 at Weill DeWitt, Iowa) is working on a BM in Voice page 64 at the University of Iowa, where she is study­ compositions published. Middle East, Asia, in Australia and through­ ing with Dr. Scott McCoy. out North America . He is a graduate of the Clifford PANTON (b. 1952, New York) Eastman School of Music, former principal Marina MILLER (b. 1973, Fairbanks, is working on a DMA in Violin Performance violist of the Detroit Symphony Orchestra, AK) is working on a BM in Horn Perfor­ at the University of Iowa, and studies with and is now Professor of Viola and member mance and Pedagogy from the University Leopold La Fosse. He has performed with of the Stradivari Quartet at The University of Iowa, where she studies with Kristin the State Symphony of Sao Paulo, Brazil (8 of Iowa . In 1992, he received the annual Thelander. years) and the Orquestra Sinfonica award for Teaching Excellence from the Brasileira in Rio de Janeiro (2 years). Panton University, and was chosen Outstanding Michele MINDT (b. 1972, Goodrich, is a graduate from Boston University in Vio­ Studio Teacher by the Iowa String Teachers ND) is studying clarinet with Maurita Mead lin Performance. Association. at the University of Iowa, where she is work­ He is the recording artist for the ing towards an MM degree in Clarinet Per­ Linda PEREKSTA (b. 1973, Clifton, NJ) method books of the Suzuki Viola School, formance. is currently working towards her BM degree and is the vice-chair of the Board of Direc­ in Flute Performance, where she studies tors of the Suzuki Association of the Ameri­ Tony OLIVER (b. 1969) is finishing work with Betty Bang Mather. cas. on a MA in percussion at the University of Iowa, where he is a Teaching Assistant in Nick PETRELLA (b. 1967) is working on Christopher RADANOVIC (b. 1970, the Percussion Department. He is active as a DMA degree in Percussion Performance PA) is currently working on his DMA in Tuba a performer in numerous ensembles includ­ at the University of Iowa, where he studies Performance at the University of Iowa. ing the Center for New Music and the Quad with Thomas Davis. City Symphony Orchestra. Jason PLOSCH (b. 1973, Clinton, IA) is working on his BM degree in Trumpet Per­ formance at the University of Iowa, and studies with David Green hoe.

Drew POLING (b. 1964, Ottumwa, IA) received a BS from Georgetown University in 1986, and is worki ng on a MA in voca l performance at the University of Iowa. John RAPSON joined the faculty of the UI School of Music as director of jazz stud­ Denson Paul POLLARD (b. 1970, ies in August 1993. A recording artist for LaGrange, GA) began playing the trombone the Sound Aspects and Nine Winds labels, at age 11. In 1993, shortly before complet­ he is a composer and trombonist whose ing a BM in Music Education from Jackson­ work mixes ethnic and experimental ele­ ville State University in Jacksonville, Ala­ ments with more conventional jazz forms. bama, he won the bass trombone chair in Jazz historian Mark Gridley has character­ Don OWENS, Associate Professor of the Cedar Rapids Symphony Orchestra. ized his music as "extending several trends Conducting and Director of the National Currently he is working on a MM in perfor­ that were first demonstrated by Charles High School Music Institute at Northwest­ mance at the University of Iowa. Mingus and George Russell." ern University, received degrees from North His professional career began in Texas State University and the University Los Angeles, where he formed an octet and of Illinois. Before coming to Northwestern performed with some of the leading jazz in 1979, he taught for twelve years at artists for both recording dates and live Evanston Township High School where his performances. He worked with some of the duties included directing band, brass en­ leading jazz artists on the west coast, in­ semb les, and a jazz band, as well as teach­ cluding Bobby Bradford, Vinny Golia, Tim ing music theory, composition and elec­ Berne and Bill Frisell. While he continued tronic music. to record and perform on the jazz circuit, At Northwestern, Mr. Owens is Rapson also taught music theory and com­ Director of the Jazz Ensembles Curriculum, position at Westmont College in Santa Bar­ conductor of the outstanding University bara for ten years. He later taught jazz at Jazz Ensemble and the Contemporary Mu­ Wesleyan University in Connecticut. He sic Ensemble. He is the author of several performed extensively on the east coast, articles dealing with contemporary music William PREUCIL, as viol ist, has per­ including recording sessions with Anthony and composition and has had many of his formed in 25 countries in Europe, the Braxton, Doc Cheatham, David Murray, and

page 65 Julius Hemphill. larlythroughoutthe United States with pro­ began piano studies at the age of six, and Rapson holds a master's degree grams that spotlight the music of our time. made his conducting debut atTanglewood, in music theory and composition from Cali­ He has been the first classical guitarist to Mass. at the age of 16. Two years later he fornia State University, North ridge, anp has be presented by the Eastman School of received a special award atTanglewood for completed course work for a doctorate in Music Kilbourn Recital Series and the Pitts­ outstanding achievement in piano, cham­ Ethnomusicology at Wesleyan University. burgh New Music Ensemble. Recent per­ ber music and conducting. formances include the Village Variation Eric RING (b. 1968) is working on his Series in New York, the June in Buffalo Fes­ BM in Bassoon Performance, and comes tival, and a featured recital for the Interna­ from Cedar Rapids, IA. tional Festival of the Guitar Foundation of America. Highlights ofTodd Seelye's 1994- Veronica RICKS is working on her BM 1995 season include recital appearances degree in Horn Performance at the Univer­ in New York City, Phoenix, Minneapolis, Palo sity of Iowa. She won the Young Artists com ­ Alto and the world premiere of a new ma­ petition in 1995, and the SAi performing jor solo work written for him by the Pulitzer competition in 1994. Prize-winning composer Charles Wuorinen .

Daren ROBBINS (b. Waterloo IA) is cur­ rently pursuing a BM degree in Horn from the University of Iowa. James ROMIG (b. 1971) is currently Shapiro has a BM from the Uni­ working on his MA in percussion atthe Uni­ versity of Southern California, and both the versity of Iowa, and is the starting point­ MM and DMA in pian o performance from guard for the NBA's Chicago Bulls. the Peabody Conservatory, where he stud­ ied with Leon Fleisher. He recently received Michael ROWLETI (b. 1972, NJ) re­ the top award in the William Kapell Inter­ cei ved his BA degree in Clarinet Perfor­ national Piano Competition, and has also mance from the University of North Caro­ won the American Pianists Association lina - Chapel Hill, where he studied with Beethoven Fellowship Award, the Joanna Donald Oehler. Michael has performed with Hodges International Piano Competition, the UNC Symphony and the Durham Sym­ the Young Musicians' Foundation Debut phony, North Carolina. He is currently work­ Competition and the International Piano ing on an MA degree in Clarinet Perfor­ An advocate of new music, Mr. Recording Competition. mance and Pedagogy from the University Seelye has premiered many new works. He As a chamber musician he has of Iowa with Maurita Mead. has recorded for Bridge Records, with up­ participated in the Ma rlboro, Tanglewood coming releases on Neuma and Koch In­ and Ravinia festivals. He is a member of Jennifer ROYALL (b . 1971, NY) has ternational. Todd Seelye has given master the Brandeis-Bardin Trio, whose CD is re­ studied singing with Carmen Mehta since classes at many of the country's leading leased on the Harmonia Mundi label. 1989. She graduated Pi Kappa Lambda institutions, including the North Carolina Shapiro joined the faculty of the UI School from Northwestern University School of School of the Arts, Eastman School of Mu­ of Music in 1992. Music with a B.M. in Voice Performance. sic, Cleveland Institute of Music, California During the summer of 1993, she was a Institute of the Arts, and the Boston and Stephen SIMS (b . 1963, Urbana, IL) young artist at the Steans Institute of the San Francisco Conservatories of Music. A teaches at the Preucil School of Music in Ravinia Festival, where she studied song recipient of the DMA in guitar from the Iowa City, as well as at the Cedar Rapids repertoire with several artists, including University of Arizona, he teaches at Grinnell Symphony School of Music. He is currently Martin Katz and David Owen Norris. She College. working on his DMA in Violin Performance has sung in concert throughout the Chicago at the University of Iowa. He recei ved his area in the Mozart Mass in c minor, and Kristine SHULTIS (b. 1966), is work­ BM at the University of Illinois, Urbana­ Exsultate, Jubilate, Handel 's Messiah, and ing on her DMA in Oboe Performance. She Champaign, and his MM from the Cleve­ Vivaldi's Gloria. Ms. Royall will be singing comes from Northern Illinois, and received land Institute of Music. at the Brevard Music Center in North Caro­ her BM at The Eastman School of Music, lina this summer for their 59th festival sea­ and her MM at the University of Colorado, Thomas N. STIRLING (b. 1973, son . She hopes to begin studies for the Boulder. Bloomfield, IA), attended school in the Masters degree this fall. Jennifer is the Davis County School district. He is currently composer's sister. Daniel SHAPIRO, (b. 1963, Los Ange­ a student of Don Haines at the University les) has pursued a multifaceted career in of Iowa, where he is pursuing his BM de­ Todd SEELYE, guitarist, performs regu­ several areas of musical performance. He gree in violin performance as well as a BM page 66 degree in Education. native programming of the classical gu itar's vision stations in the U.S.A., Israel and sev­ richly un ique repertoire. Mr. Teves has been eral countries in Europe. Winner of the Taimur SULLIVAN has won increasing heard as the featured recitalist at the Cin­ Bosendorfer and the Busoni competitions attention as one of this country's rising cinnati Summer Guitar Workshop, the Cin­ and a laureate of the Queen Elisabeth Com­ young classical saxophonists. He has ap­ cinnati Composers Guild New Music Series, petition, Tsachor is a grad uate of the Tel­ peared as soloist with orchestras in Michi­ the George Eastman House Musica les Se­ Aviv Academy and the Juillia rd School gan and Colorado, and has won first prize ries, and as the soloist in Joaquin Rodrigo's where he earned his doctorate. He has re­ in several national competitions including Concierto de Aranjuez with several Ohio corded for the EM I, Musical Heritage Soci­ the 1994 North American Saxophone Alli­ orchestra. Mr. Teves has studied at the ety, PHONIC, EMS, DIVOX and OLYMPIA ance Competition and the Fort Collins Sym­ University of South Carolina, the University labels. These include the Brahms concerti, phony Orchestra Young Artists' Competi­ of Cincinnati College-Conservatory of Mu­ and works by Beethoven, Sch um ann, tion. sic, and The Eastman School of Music. His Bartok, Schn ittke and Britten. primary teachers have included Nicholas Goluses, Clare Cal lahan and Christopher Janse VAN ARNAM (b. 1968, FL) is Berg. pursuing a DMA in Viola Performance and Pedagogy, and teaches Suzuki viola and Kristin THELANDER is Associate Pro­ violin at the Preucil School of Music in Iowa fessor of Music at The University of Iowa, City. She holds BAs in music and business and she performs in both the Iowa Wood­ administration from Furman University in wind Quintet and the Iowa Brass Qu intet. Greenville, SC, and an MM in Viola Perfo r­ During the summer season she is a mem­ mance from Northwestern University. ber of the Britt Festival Orchestra in Oregon. Previously on the music faculty at the Uni­ Kira WHARTON (b. 1971) is working versity of New Mexico, she also performed on a MA in Musicology at the Un iversity of with the New Mexico Brass Quintet and the Iowa, and is a member of the Iowa Double Santa Fe Symphony. She is a member of Reed Ensemble. the Advisory Council of the international Horn Society and has performed at reg iona l An active proponent in the per­ and international horn workshops. Dr. formance of contemporary music, Mr. Thelander is a graduate of St. Olaf College, Sullivan has been a featured artist at new the University of Mi nnesota, and the Uni­ music venues in Illinois, Iowa, Michigan, versity of Wisconsin. New York, Ohio and Pennsylvania, and he will be presented in his New York debut re­ cital during the 1995-96 concert season. In the past four years he has premiered 16 works, l 0 of which have been dedicated to him. In addition, Mr. Sullivan's 1991 solo recording for the Minnesota Composers' Forum has been broadcast internationally.

Mark WEIGER has performed in thirty­ eight states, Canada, England, and France in the last six years, presented two Carneg ie Hall recita ls, been a finalist in nine inter­ national competitions, and was the Second Uriel TSACHOR -Since his Lincoln cen­ Prize wi nner in the Lu carelli International ter debut with the New York City Symphony, Solo Oboe Competition. Mr. Weiger has also pianist Uriel Tsachor has appeared in solo presented so lo perfo rmances in Vienna, and chamber recitals in New York, Chicago, Rome, and Spoleto. Tel-Aviv, Brussels, Vienna, Paris and Lond on. For the past seven years, Mr. He has performed with the Israel Phi lhar­ Weiger has been the principa l oboist with monic Orchestra at the invitation of Zubin the Kansas City Chamber Orchestra . Cur­ Metha and has played with numerous Eu ­ rentl y, he is the Principal oboist with the Christopher TEVES is an energetic and ropean and American orchestras. He also Illinois Symphony Orchestra and Chamber communicative performer who seeks to toured Taiwan as recitalist. Tsachor has Orchestra and the Virginia Cham ber Or­ educate and delight audiences with imagi- recorded ma ny programs for radio and tele- chestra. Previously on the facu lty at the page 67 University of Missouri at Ka nsas City, M r. Notre Dame in Montrea l. Mr. Wil son grad u- SCI National Council We iger holds the post of Assistant Profe s- ated from the University of Michiga n with (1994-95) sor at the University of Iowa. the School of Music's highest honor, was twice selected to perform the Piatigorsky Seminar for Cellists, and has recorded on Greg Steinke, Chairman Myron WELCH is Professor of Music and the Delos label and Access Records. He is Ball State University Director of Bands atThe University of Iowa ' currently on the music facu lty at the Uni- Elliott Schwartz, Past Chairman where is co nducts the Symphony Band an d versity of Richmond , Virginia, and is the son Chamber Wind En sem bl e, an d teaches Bowdoin College of the com poser. courses in instrumenta l methods and co n Elizabeth Vercoe ducting. He also coordinat es the low a William Matthews Robert YEATS is Associate Professor of Honor Ba nd and the All-State Music Camp Bates College ( 1) Music at The Un iversity of Iowa and was Max Lifchitz princi pal tuba with the Cedar Rapids Sym- SU NY/Albany (2) phony Orchestra fo r 19 yea rs. He has ap- pea red as a soloist and member of the brass Samuel Pellman section of many professional bands, arches- Hamilton Co llege (2) tras, and qui ntets on the East Coast as well Stephen Stace as the Midwest. He is a graduate of Ithaca Pennsylva nia State Un iversity, College and Th e University of Iowa. Un iversity Park (3) Bruce Mahin SCI Executive Committee Radford University (3) {1994-95) Dennis Kam University of Miam i (4) Reynold Weidenaar, Chairman John D. White William Paterson College Un iversity of Florida, Gainesville (4) Kirk Corey, Editor of Newsletter James Chaudoir Dr. We lch is Vice-President of the America n The University of Iowa University of Wisconsin, Oshkosh (5) Bandmasters Association, and holds mem­ David Gompper, Editor of Newsletter Michael Schelle bership in the College Ba nd Directors Na­ The University of Iowa Butler University (5) tional Association (Past-President, North Bruce J. Taub, James Mobberley Centra l Division), Nationa l Band Associa­ University of Missouri, Kansas City (6) tion and Music Educators National Confe r­ Editor ofJournal of Music Scores Samuel Magrill ence. C. F. Peters Corpo ration Richard Brooks, Producer of CD Series University of Central Oklahoma (6) Nassau Community College Byron Yasui Michael Zajonc, Un iversity of Hawaii, Honolu lu (7) Submissions Coordinator Marshall Bialosky Phillip Rehfeldt, California State Un iversity, Dominguez Hills (7) Associate Member Representative University of Red lands Charles Argersinger Dennis Kam, Washington State Un iversity (8) Co-Chair, Student Chapters Cindy Cox University of California, Berkeley (8) Un iversity of Miami Deborah Kavasch, Kate W aring Europe (9) Co-Chair, Student Chapters Ca liforni a State University, Sta nislaus Music Theory MidWest James WILSON (b. 1965, Ann Arbor, David Vayo, Membership Chair Ml) is known to aud iences t hroughout Illinois Wesleyan University David Neumeyer, president North America and Eu rope as ce llist of the Fred Glesser, Indiana Un iversity critica lly acclaimed Sh anghai String Qua r­ Editor of Monograph Series Daniel Jacobson, acting secretary tet. His numerous performances with the Miami, Florid a University of North Dakota quartet include appeara nce s at The Ke nnedy Center, in Washington D.C., New Gerald Warfield, General Manager John Schaffer, treasurer Yo rk's Avery Fi scher Hall and Metropolitan Martin Gonzalez, Executive Secretary Un iversity of Wisconsin Museum of Art, and the Cathedra le de page 68 Index of Participants

Akins, John Friday, 1O :OOam Dowdy, Eugene (French) Saturday, l 0: l Sa m Albright, William Saturday, 2:30pm (Wi llard) Thursday, 3:00pm Allemeier, John Thursday, 3:00pm Duitman, Elayna (Satterwhite) Saturda y, l 0:1Sam Alpern, Wayne Saturday, 9:00am Duquesne Contemporary Ensemble Thursda y, 8:00pm Bachus, Dean (Taub) Thursday, 10:1 Sam Eberle, Katherine (Gabel) Friday, 4:00pm Barry, David L. Friday, 10: l 5am Eckardt, Jason Thursday, l0:15a m Beer, John (Kendrick) Thursday, 3:00pm Eckert, Michael Thursday, 9a m Bellomy, Christine (Epstein) Friday, 10:1 5am Epstein, Paul Frid ay, 10:1S am (Lefkowitz) Thursday, 10: l Sam Feeney, Marla (Satterwhite) Saturday, l 0: l Sa m (Nichols) Friday, 9:00pm (Taub) Thursday, 10:1S am Bennett, Michelle (Montague) Saturday, 2:30pm Fennelly, Brian Thursday, 1:3 0pm (Tenreiro) Thursday, 10:15am Ferguson, Lee (George) Saturday, 9:00am Benoit, John Friday, 1:30pm (Johnston) Friday, 9:00pm Bermel, Derek (Bermel) Thursday, 1:30 pm First, C. P. Saturday, 10: l Sam (Chambers) Saturday, 10:15am Flint, Ellen Ren nie Satu rday, 2:00pm (Worley) Thursday, 1:30pm Flynt, Michael (Fennelly) Thursday, l :30pm Blackburn, Philip Friday, 9:00pm Frazin, Howard Saturday, 10:1Sam Boone, Benjamin Thu rsday, 9am French, Tania Ga brielle Saturday, 10:1 Sam Bostian, Carey (French) Saturday, 10:15am Fritts, Lawrence Thursday, l :30pm (Hu) Thursday, 3:00pm Saturday, 2:30pm (Kuehn) Thursday, 10:15am Fruehwald, Robert Friday, 1O :OOam (Maki) Thursday, 3:00pm Fuller, Marcia (Taub) Thursday, 10:1 Sam (Verkade) Friday, 9:00pm Fuller, Robert (Kuehn) Thursday, 10: 15am Bright Charlotte (Willard) Thursday, 3:00pm (Nichols) Friday, 9:00pm Brouwer, Margaret Friday, 7:00pm Furman U. Newma Ensemble Saturday, 2:3 0 pm Brower, Candace Saturday, 2:00pm Gabel, Gerald Friday, 4:00pm Buddin, Barbara (Cheng) Thursday, 3:00pm Gallagher, Jack Friday, 7:00pm Burt, Warren Thursday, 10:15am Gammon, Albert (Zaimont) Friday, 10:1Sam Chambers, Evan K. Saturday, 10:1Sam Gannett, Diana (Twomey) Friday, 4:00pm Cheng, Ch ee-Swen Thursday, 3:00pm Gardner, Hiillary (Royall) Thursday, 3:00pm Cherlin, Michael Thursday, 1: 30pm Geary, Michael (George) Saturday, 9:00am Christensen, Thomas Friday, 7:00pm (Jenni) Thursday, l 0: l Sam Ciacchi, Linda Saturday, 2:00pm (Johnston) Frida y, 9:00pm Clifford, Robert Friday, 1:30pm (Lomardo) Saturday, 2:30pm Code, David Loberg Thursday, 1:30pm (Nichols) Friday, 9:00pm Collins, Carl (Barry) Friday, 10: l Sam (Vayo) Friday, 4:00pm Cook, Robert Friday, 1: 30pm (Willard) Thursday, 3:00pm Corey, Kirk Friday, 8:00am Gee, Erin (Luo) Friday, 4:00pm Saturday, l0:15am George, Ron Saturday, 9:00am Cossaboom, Sterling Friday, lO:OOa m Gloss, Richard (Jones, S.) Frida y, 7:00pm Cuciurean, John Friday, l :30pm (Montague) Saturday, 2:30pm Dakin, Deborah (Nichols) Friday, 9:00pm Godfrey, Daniel S. Thursda y, 8:00pm Daub, Scott (Graham) Thursday, 3:00pm Gompper, David (Nichols) Frid ay, 9:00 pm Daugherty, Michael Thursday, 8:00pm (Taub) Thursday, 10: 1Sa m Davids, Brent Michael Friday, 4:00pm (Tenriero) Thursday, 10:1 Sam Saturday, 8:00pm Gosma, Emily (Tenreiro) Thursday, 10:1 Sa m Decker, Pamela (Allbright) Saturday, 2:30pm Gourlay, Jonathan (Hu) Thursd ay, 3:00pm (Decker) Thursday, l :30pm Graham, Eric (Graham) Thursda y, 3:00pm (Phan) Friday, 10:15am Greenhoe, David (Brouwer) Friday, 7:00pm Deur, Barbara (Brouwer) Friday, 7:00pm Hadesack, Robert (Willard) Thursday, 3:00pm Disselhorst, Delbert (Zaimont) Friday, 10:15am Hall, Cliff (Gra ham) Thursday, 3:00pm Dondlinger, Lisa (Tenreiro) Thursday, 10:15am Hamilton, Bruce Thursday, 8:00pm Dorr, Mark (Schultz) Friday, 10:15am Hass, Jeffrey Saturday, l0:15am Dostal, Thomas (Cheng) Thursday, 3:00pm Hatcher, William (Zaimont) Friday, l 0: l 5a m

page 69 Havens, Steve (Thomas) Friday, 7:00pm Masengarb, Mike (George) Saturday, 9:00am Hearne, Lisa (Tenreiro) Thursday, 10:1Sam Maxey, Linda (Hoag) Friday, 4:00pm Helton, Kimberly (Epstein) Friday, 10:1Sam Maxwell, Jennifer (Taub) Thursday, 10:1 Sam (Kuehn) Thursday, 10: l Sam McClure, Michael Jay (Cheng) Thursday, 3:00pm Hervig, Marit (Willard) Thursday, 3:00pm (Graham) Thursday, 3:00pm Hill, Edwin (Vayo) Friday, 4:00pm McCoy, Scott (Frazin) Saturday, 10:1 Sam Hill, John (Brouwer) Friday, 7:00pm (Thomas) Friday, 7:00pm Hinkle-Turner, Elizabeth Friday, 9:00am McGee, Deron L. Friday, 1:30pm Hoag, Charles Friday, 4:00pm Mclean, Barton Friday, 7:00pm Hobbs, Julie (Barry) Friday, 10: l Sam McMahon, Eri n (Willard) Thursday, 3:00pm Hoffman, Richard Thursday, 4:00pm Miller, Marina (Fennelly) Thursd ay, 1:30pm Hoyt, Rob (Kendrick) Thursday, 3:00pm Mindt, Michele (Jones, S.) Friday, 7:00pm Hu, Ching-chu Thursday, 3:00pm (Nichols) Friday, 9:00pm Huang, Joan Friday, 1:3 0pm Misurell-Mitchell, Janice Friday, 1:30pm Hughes, Patrick (Schultz) Friday, 10: l Sam Montague, Eugene Thursd ay, 1:30pm Hung, Daniel (Jones, S.) Friday, 7:00pm Montague, Stephen Satu rday, 2:30pm (Taub) Thursday, 10:1 Sam Montresor, Frank (Allemeier) Thursday, 3:00pm Huntley, Joan Friday, 9:00am Mosher, Ben (Kendrick) Thu rsday, 3:00pm Iowa Brass Quintet (Brower) Friday, 7:00pm Neff, Severine Saturday, 9:00am James, Kevin Friday, 9:00am Neumeyer, David Friday, 7:00pm Jenni, D. Martin Thursday, 10:1Sam Nichols, Jeff Friday, 9:00pm Johnston, Ben Friday, 9:00pm Northwestern U Contemporary Music Ensemble Friday, 1: 30pm Saturday, 9:00am Old Capitol Brass Quintet (Fennelly) Thursday, 1: 30pm Saturday, 4:00pm Oliver, Tony (George) Satu rday, 9:00am Saturday, 8:00pm (Johnston) Friday, 9:00pm Jones, David P. Friday, 9:00pm (Taub) Thursday, 10:1 Sam Jones, Stephen Friday, 7:00pm (Vayo) Friday, 4:00pm Kantorei (Zaimont) Friday, 10:1Sam Owens, Don Friday, 1:30pm Kataoka, Noriko (Royall) Thursday, 3:00pm Panton, Clifford (Hass) Saturday, 10:1 Sam Kehoe, Karla (George) Saturday, 9:00am Pappas, Jeffrey (Maki) Thursday, 3:00pm Kendrick, Ralph Thursday, 3:00pm Pearsall, Edward R. Saturday, 2:00pm Kilstofte, Mark Saturday, 2:30pm Peles, Stephen Friday, 7:00pm Kirchner, Shawn (Worley) Thursday, 1:30pm Pelto, William Thursday, 4:00pm Koenig, Laura (Eckardt) Thursday, 10:1Sam Pereksta, Linda (Nichols) Friday, 9:00pm Koozin, Timothy Friday, 1O :OOam Perenti, Susan Friday, 3:00pm Krohn, Scott (George) Saturday, 9:00am Petrella, Nick (Johnston) Fri day, 9:00pm Kronos Quartet Friday, 4:00pm Pfaff, Will iam P. Thursday, 9:00am Saturday, 4:00pm Phan, P. Q. Friday, 10:1 Sam Saturday, 8:00pm Phillips, Mark Thursday, 8:00pm Kuehn, Mikel Thursday, 10:15am Plosch, Jason (Fennelly) Thursday, 1:3 0pm LaFosse, Leopold (First) Saturday, 10:15am Poling, Drew (Hu) Thursday, 3:00pm Lai, Eric Saturday, 9:00am (Kendrick) Thursday, 3:00pm Lecuona, Rene (First) Saturday, 10:1Sam Pollard, Den son Paul (Fennelly) Thursday, 1:30pm (Gabel) Friday, 4:00pm (Va n der Slice) Thursday, 1:30pm (Hass) Saturday, 10: l Sam Preucil, Willam (Jenni) Thursday, 10:1 Sam Lefkowitz, David S. Thursday, 10:15am Quade, Ma ry (Allemeier) Th ursday, 3:00pm Lien, Hsien-Llang (Thom as) Friday, 7:00pm Randanovic, Christopher (Fennelly) Thursday, 1:30pm (Eckardt) Thursday, 10:1 Sam (Willard) Thursday, 3:00pm Lombardo, Robert Saturday, 2:30pm Rands, Bernard Friday, 7:00pm Luo, Jing Jing Friday, 4:00pm Rao, Nancy Yunyhwa Saturday, 9:00am Mahin, Bruce Friday, 9:00am Rapson, John (Jones, D.) Friday, 9:00pm Maki, David (Allemeier) Thursday, 3:00pm (Young) Frid ay, 9:00pm Thursday, 3:00pm Ring, Eric (Epstein) Frid ay, 10:1 Sam Marinos, Dimitris (Lomardo) Saturday, 2:30pm Ricks, Veronica (Willard) Thursday, 3:00pm Marshall, Cheryl (Jones, S.) Friday, 7:00pm Robbins, Daren (Epstein) Friday, 10:1Sam (Montague) Saturday, 2:30pm Rogers, Michael Thursday, 4:00pm Thursday, 9:00am Romig, James (George) Saturday, 9:00am page 70 (Johnston) Friday, 9:00pm (Zaimont) Thursday, 10:1 Sam (Vayo) Friday, 4:00pm Welch, Myron (Gallagher) Friday, 7:00pm Rosenberg, John (Graham) Thursday, 3:00pm (Rands) Friday, 7:00pm Rowlett, Michael (Montague) Saturday, 2:30pm Wells, Thomas Friday, 10:1 Sam (Nichols) Friday, 9:00pm Wharton, Kira (Epstein) Friday, 10:1 Sam Royall, Geoffrey Thursday, 3:00pm White, John Thursday, 4:00pm Royall, Jennifer (Royall) Thursday, 3:00pm Willard, Steven (Willard) Thursday, 3:00pm Samarotto, Frank Saturday, 2:00pm Wilson, George Balch Friday, 4:00pm Santore, Jonathan C. Thursday, 9am Wilson, James (Wilson) Friday, 4:00pm Satterwhite, Marc Saturday, 10:1 Sam Worley, Daniel Thursday, l :30pm Schultz, James (Maki) Thursday, 3:00pm Yeats, Robert (Brower) Friday, 7:00pm Schultz, Mark Friday, 10:1Sam Yim, Jay Alan Friday, l :30pm Schwendinger, Laura Elise Friday, l :30pm Young, Charles Rochester Friday, 9:00pm Seelye, Todd (Zahler) Friday, 4:00pm Zahler, Noel Friday, 4:00pm Shapiro, Daniel (Satterwhite) Saturday, 10:1Sam Zaimont, Judith Lang Thursday, 10:1 Sam (Zaimont) Thursday, 10:1 Sam Friday, 10:1 Sam Shultis, Kristine (Willard) Thursday, 3:00pm Zierolf, Robert Thursday, 4:00pm Sims, Steve (French) Saturday, lO:lSam Zucker, Rachel (Willard) Thursday, 3:00pm Smoot, Richard Jordan Saturday, lO:lSam Snarrenberg, Robert Thursday, 9am Johnson County Landmark Sprauve, Gylchris (Allemeier) Thursday, 3:00pm John Rapson, director Steinke, Greg Friday, 7:00pm Saxophones Trombones Stirling, Thomas (Frazin) Saturday, lO:lSam Scott Dart David Claney Stock, David Thursday, 8:00pm Marla Feeney Mike McMann Sullivan, Taimur (Corey) Saturday, 10:1Sam Rene Recinos Tom Nelson Swiggart, Katherine (Allemeier) Thursday, 3:00pm Joe Ritland James Sherlock Syverud, Stephen L. Friday, l :30pm Sue Tomala Taub, Bruce J. Thursday, lO:lSam Horns Tenreiro, Alfonso Thursday, lO:lSam Trumpets Marina Miller Teves, Christopher (Smoot) Saturday, 10: l Sam Louis Hanzlik Ann Sonnleitner Thelander, Kristin (Brower) Friday, 7:00pm Michael Kaplan (Jenni) Thursday, 10: l Sam Chris McGee Rhythm Section (Twomey) Friday, 4:00pm Jason Plosch Rafael Dos Santos, piano Thomas, Augusta Read Friday, 7:00pm Patrick Williams, bass Tsachor, Uriel (Twomey) Friday, 4:00pm Tom Dostal, vibes Twomey, Michael Friday, 4:00pm Eric Thompson, drums UI Center for New Music (Nichols) Friday, 9:00pm (Taub) Thursday, l 0:1 Sam Kantorei (Tenreiro) Thursday, 10:1 Sam William Hatcher, director UI Symphony Band Friday, 7:00pm Soprano Tenor UI Graduate String Quartet Saturday, 10:1Sam Carrie Chappel David Batter UI Johnson Country Landmark Friday, 9:00pm Rebecca Cox David Bunton UI Percussion Ensemble (George) Saturday, 9:00am LeAnne Foust John Des Marias (Johnston) Friday, 9:00pm Erin Lytle Steven Emge Uno, Yayoi Saturday, 9:00am Laruie Quicker Gerald Gray Ure, James Friday, 8:00am Emily Truckenbrod Jeffrey Pappas Vali, Reza Thursday, 8:00pm Marie von Behren Gylchris Sprauve Van Arnam, Janse (French) Saturday, 10:1Sam Van der Slice, John Thursday, l :30pm Alto Bass Vayo, David Friday, 4:00pm Janet Bergman Darwynn Carter Verkade, Gary (Blackburn) Friday, 9:00pm Cheryl Fraracci John Ector (Burt) Thursday, 10:1Sam Elizabeth Marty Kyle Ketelsen (Verkade) Friday, lO:lSam Ketherine Pracht Drew Poling Watkins, Glenn Saturday, l :OOpm Ketheri ne Prey Fred Slocum Weidenaar, Reynold Friday, 8:00am Amy Riesenberg John Thomasson Weiger, Mark (Jenni) Thursday, l 0: l Sam Lisa White Jonathon Thull (Tenreiro) Thursday, 10:1 Sam

page 77 University of Iowa Northwestern University Symphony Band Contemporary Music Ensemble Myron Welch, director Don Owens, director Piccolo Baritone Saxophone Flute/Piccolo Piano Gail Gavin Dan Engling Darin lshimatsu Simone Bley Patrick Murphy Cara Chowning Flute Cornet Linda Pereksta Erin Van Houzen Oboe Celeste Julie Hobbs Jason Plosch Valarie DeMay Cara Chowning Sarah Holstein Jamie Kent Jama Flater Clarinet/Bass Clarinet Harp Trumpet Vickie Gotcher Kari Gardner Oboe Louis Hanzlik Carrie Neff Kristine Shultis Violin Jenifer Reick French Horn Alto Saxophone Daniel Csoka Abigail Pack Steve Mann Julie Hahn Bassoon Marina Miller Ricardo Selva Marcia Gensen Daren Robbins Viola Mick Phipps Kate Levy Trumpet Michael Lawson Ann Sonnleitner Jay Cohen Eb Clarinet Violoncello Michelle Lippert Trombone Percussion Jun ko Fujiwara Paul Pollard Neil Cameron Britt Laura Lasecki Clarinet Mike McMann Jeffrey McCray Christine Bellomy John Lebitsch Rob Gehrke Graduate Assistant Michael Rowlett Angie Zator David Searle Rob Hadesbeck Euphonium Michele Mindt Dan Potts Duquesne University Megan Romer Contemporary Ensemble Katie Mondy Tuba David Stock, director Chris Radanovic Flute Violin Bass Clarinet Karla Kvam Stephen Shepherd Jeff Cook Percussion Amy Fisher Nick Petrel la Mariaelena Pirez Michelle Kruggel Lee Ferguson Viola Contrabass Clarinet Eric Kaberle Oboe Evelyn Browne Karla Kehoe Lenny Young David Sinclair Mike Masengarb Alto Saxophone Bassoon Violoncello Shelly Bayles Piano/Celeste Krassimir Ivanov Stephen Ehrlich Wendy Ganske Jennifer Maxwell Petia Kassarova Horn Tenor Saxophone Shelia Snyder Double Bass Bill Ford Stiliana Nikolova Trumpet Lisa Buhler Piano Furman University Michael Brozick Henry Doktorski Newma Ensemble Mark Kilstofte, conductor Trombone Harp Julian Ayers Elizabeth Keadle Eleanor Boda, flute/a/to flute Robert Chesebro, clarinet/bass clarinet Tuba Percussion Perry J. Gatch Gayle Chesebro, horn Paul Perret Darren Humbert John Beckford, percussion Personnel Manager Daniel Warco, percussion Karla Kvam Anita Burroughs-Price, harp Laura Beauchamp, piano Publishers Daniel Boda, violin C. F. Peters Leslie Nash, violoncello Paris New Music Review Bruce Schoonmaker, baritone Penguin Publishers page 72