The University of Montana School of Fine Arts Department of Music presents

The 2005 Society of Composers, Inc. Region VIII Conference I Society of Composers, Inc.

October 27--29

Music Recital Hall The University of Montana Missoula A Welcoming Message From Your Host...

It is, indeed, a pleasure to welcome you to the 2005 Society of Composers, Inc. Region VIII Conference. The University of Montana Department of Music takes great delight in hosting this assemblage of composers from across the country.

For me, during the organization of the conference, simple, but central questions continually presented themselves: "Why do we, supposedly rational human beings, regularly repair to our personal, secluded space in search of our music, stare at a blank piece of real or imaginary manuscript paper for hours at a time, scratch at it a bit, and try it again the next day, and the next, until we decide it's finished?" "How do we start?" "How do we end?" "Who really cares?"

Edward Elgar, in a half-hearted response to a question regarding inspiration, said, "Music is in the air all around us. You just have to reach out and take as much as you want."

(Would that it were so simple a proposition!)

In our time, musical sound is such an every-minute-of-every-day experience that, for some, even a live concert is not unlike watching television, or going to the cinema (Where's the popcorn?); for some it has become Satie's "wallpaper music." But, who are we, and what is it we, as contemporary composers, wish to share with each other and the listening public? What is it in the 21 ''Century?

I, along with my colleagues, Christopher Hahn, Charles Nichols, and James Randall, invite one and all to the search.

Patrick C. Williams, host SCI Region VIII Conference Patrick Williams Patrick C. Williams, a member of the music faculty at The University of Montana­ Missoula since 1975, teaches composition, theory, aural perception, and 16th- and 18th-century counterpoint. He is composer-in-residence and coordinator of the theory/composition area. He received his education at Eastern Michigan University and Eastman School of Music. His teachers have included Samuel Adler, Eugene Kurtz and Anthony Iannaccone. For 18 years, Professor Williams maintained an active teaching and performing schedule as bass-baritone on the voice faculty, singing regularly as soloist in numerous works for chamber ensembles, and oratorios with regional orchestras. Two sets of songs were written for and dedicated to him by American composer and publisher, William Presser. In 1977 he founded the UM Renaissance Ensemble, a choral group specializing in music from the 16th Century, and in 2001, he created the UM Women's Chorus, an ensemble performing music from a full range of musical periods and styles. He received the 1991 Distinguished Faculty Award for the School of Fine Arts. Professor Williams' catalogue of compositions includes numerous works for vocalists, instrumentalists, choirs of every kind, chamber ensembles, wind ensemble, string orchestra and full orchestra. His most recent work includes: A Welshman's Fancy, fore-flat trumpet and strings; two works for wind ensemble: Diversion, and The Pooka; A Celtic Crossing, for Intermediate and Junior High School bands; and Songs and Dances from the Mountain, for solo guitar. As a sidelight to his work in contemporary composition, the composer takes great delight in writing 16th- and 18th-century-style motets, anthems, inventions and fugues as both teaching and performance pieces. A member of the American Society of Composers, Authors and Publishers, and the Society of Composers, Incorporated, Professor Williams serves on the SCI National Council, and regularly adjudicates state and national composition contests. He has publications with Colla Voce and Warner/Chappell Music, Inc.

Jesse Wright-FitzGerald Active as a composer, performer, and educator, Jesse Wright-FitzGerald has had his music performed throughout the United States. Mr. Wright-FitzGerald recently received his master's degree in composition from Syracuse University, where he studied with Daniel S. Godfrey, and Andrew Waggoner. He is currently pursuing his Doctorate in composition at the University of Southern California, Thornton school of music. Mr. Wright-FitzGerald has received numerous awards, including the New York Federation of Music's 2004 Brian M. Israel Prize, and the 2004 "music in the schools" commission from the Syracuse Society for New Music. He attended both the 2004 Bowdoin International Music Festival and the Aspen Music Festival and School, where he studied with George Crumb and Syd Hodkinson respectively. His works have been performed by numerous groups and individuals, including the Cassatt and Degas string quartets, the Buffalo Philharmonic Orchestra, the Syracuse Society for New Music, and the Syracuse University New Music Ensemble. University of Southern California (BM), with William Albright, Samuel Adler, , , and Joseph Schwantner, among others. At present, he is co-chair of the Society of Composers Incorporated, Region IV. His compositions have been featured throughout the United States and internationally, including in France, Czech, Ukraine, Canada, Japan, and . He has received honors from ASCAP, BMI, DownBeat Magazine, NACUSA, the National Federation of Music Clubs and such awards as the Brian M. Israel Prize, England's Kathryn Thomas Flute Competition, the Lee Ettelson Composer's Award, and the Music From China International Competition. Recently, he was nominated for the American Academy of Arts and Letters composition award. His music will appear on recordings released by Albany/Capstone, CRS, NACUSA, and ERM, and have been published by World­ Wide-Music. He has had two works recorded by the Kiev Philharmonic and another by the Chinese National Film Orchestra. His recent projects include several different orchestral commissions, works for wind ensemble and percussion ensemble, music for a Chinese mini-series, and Taiwanese TV jingles.

Kevin Waters Kevin Waters S.J. holds undergraduate and graduate degrees in classics, philosophy, music, and theology. He was awarded a doctorate in music composition from the in 1969; he studied composition with John Verrall, Roy Harris and Bruno Bartolozzi. Currently he is Dean Emeritus of the College of Arts and Sciences, , and is professor of both Philosophy and Music at that university. He served for some time as West Coast music critic for the New York journal, America. He has composed two operas, four works for orchestra, a number of pieces for small ensemble, as well as several choral settings in large form. The Symphony, Kronos Quartet, Emerald City Brass Quintet, and Colorado State University Orchestra have performed some of these works and others have been premiered in San Francisco, Guadalajara and Rome. His opera Dear Ignatius, Dear Isabel, commissioned by Loyola College of Maryland and produced in Baltimore for the school's one hundred and twenty fifth anniversary, was later produced in Seattle and New Orleans. KSPS-TV, Spokane, telecast the opera in 1989 during its fourth production. In 2002, the celebrated Nevsky String Quartet of St. Petersburg, Russia, made a recording of String Quartet (1969), which was premiered several years ago in Seattle by the Kronos Quartet. Edith Stein, a second opera, is currently under consideration for performances in Poland by Cracow Opera. In Dulci Jubilo, a set of variations for concert band, received its premiere by Gonzaga University's Wind Ensemble and has been published by Pocono Mountain Music Publishing. Pocono also publishes Under a Soft Rain, a fantasy for Brass Quintet. An organ concerto, Waumandee Township, was premiered in Spokane during the Regional Convention of the American Guild of Organists in July, 1999. His Ave Verum was part of a program of Northwest Composers performed last June during the Regional Convention of the American Guild of Organists in Billings. Kevin Waters has been a member of the Oregon Province of the Qesuits) since August, 1951. composition with Samuel Adler and Aaron Jay Kernis. He enjoys teaching music, and spent the summer of 2005 teaching guitar and coaching rock bands at Camp Ballibay, a fine and performing arts camp for teenagers in Pennsylvania. He hopes to teach composition professionally while continuing to pursue performances of his music.

Charles Nichols Composer, violinist, and computer music researcher, Charles Nichols is an Assistant Professor at the University of Montana. While studying at the Eastman School of Music, Yale University, and Stanford University, his principal composition teachers were Samuel Adler, Martin Bresnick, Jacob Druckman, Brian Ferneyhough, and Jonathan Harvey. He has presented his compositions at national and international festivals, such as the Pan Music Festival, Spring in Havana, June in Buffalo, and the Bang on a Can Institute, and his research at conferences, such as ICMC, SEAMUS, NIME, DAFx, and SIGGRAPH, has published articles in journals, such as Open Sound and Leonardo Music Journal, and performs on acoustic, electric, and MIDI violins. His piece, Posture, was recently awarded a Mention in the Bourges International Electroacoustic Music Competition.

Martin Rokeach Martin Rokeach (b. 1953) earned music degrees from San Francisco State University and his Ph. D. in music composition and theory from Michigan State University. His music has been performed throughout the United States, Europe and Australia, and has received honors in eleven national competitions, including first prize in the Chicago Ensemble's "Discover America" competition and the Cygnus Ensemble competition in New York. His works have been published by Roncorp, ALRY, Fallen Leaf and Go Fish Music, and recorded by Albany, North/South, Furious Artists, Capstone and CRS records. He teaches at Saint Mary's College of California, and is one of the founders and artistic directors of San Francisco's contemporary music concert series, Composers, Inc.

George Tanner George Tanner was born in 1979 in Uniontown, PA. He entered the composition program at West Virginia University under the instruction of Dr. John Beall in 1997. Upon graduating he then continued his study of composition at Bowling Green State University with Drs. Marilyn Shrude and Burton Beerman. While completing his degree, George became a part-time faculty member at BGSU teaching theory and composition courses. George currently lives in Staten Island, NY and remains an active composer and arranger.

Michael Timpson Michael Sidney Timpson is an Assistant Professor at University of South Florida, where he teaches composition and electronic music. Previously, he taught at the , the , and at Rhodes College in Memphis. He studied at the University of Michigan (DMA), the Eastman School of Music (MA) and the SCI/ASCAP Student Composer Commission, ISCM/League of Composers Competition, International Festival of Women Composers Composition Prize, the Hong Kong Chou Scholarship, the Joyce Dutka Arts Foundation, the "Music Taipei" award, the Fresh Ink Orchestral Composition Competition, the Margaret Blackburn Competition, NACUSA, the Taiwan Environmental Protection Bureau Music Contest, the Taiwan Provincial Music Competition, the Taiwan National Songwriting Prize, a Taiwan International Community Radio grant, and the Taiwan International Young Composers Competition. She received degrees from the University of Michigan (D.M.A. Composition), Ohio University (M.M. Composition/M.A. Film Scoring), and Soochow University in Taipei (B.F.A. Theory and Composition.) Her teachers included William Albright, William Bolcom, Yien-Chung Huang, Yien Lu, Mark Phillips, Bright and Loong-Hsing Wen. She has previously taught at Johnson County Community College, Washburn University, Rhodes College, and the University of Michigan, and is currently on the faculty of the University of South Florida.

John Marvin John Marvin has pursued professional work in both music and the mathematical sciences and for most of his life has been active in both careers at the same time. During his ten years at The Evergreen State College he began to attract the attention of important professional performers. Among them were Julie Ann Giacobassi of the San Francisco Symphony, who premiered his Five Pieces for English Horn and Piano and who persuaded her colleagues in the symphony to premiere his Octet for Winds, and Carolyn Hove of the Los Angeles Philharmonic, who recorded the Five Pieces. His Music from the Night, for two oboes and English horn, was commissioned by Ms. Giacobassi and Zach Hall and premiered at Davies Symphony Hall in April 2000; Giacobassi has recorded this work and the Five Pieces on the Fish Creek Music label. Vocal music by John Marvin includes Journeys, for soprano, horn and piano (to texts by Walt Whitman), Ophelie, for soprano solo, choir and piano (text by Rimbaud), and Ophelia is Mad, based on Hamlet, Act IV Scene 5, for soprano and pre-recorded accompaniment. In 2002 clarinetist Frank Renk and the Wind Ensemble of the California State University Stanislaus premiered his Triptych, for solo clarinet, winds and percussion, and his new work, Tapes try, was performed in March 2004 at Davies Hall, San Francisco. Marvin's Quintet for Woodwinds, completed August 2003, is dedicated to and commissioned by the Blair Woodwind Quintet-it was premiered at Vanderbilt U niversity, November 2003. He was the guest composer for the Composers' Showcase 2005 at the University of Montana at which his new work, Three Songs for Soprano and Orchestra, was premiered.

Alexander Miller Alex Miller is currently pursuing a master's degree at the Eastman School of Music, where he studies composition with Robert Morris, as well as guitar with Nicholas Goluses. He completed his undergraduate degrees in composition and guitar performance in 2004 at the University of Colorado at Boulder, and, the year before, spent a summer at the Bowdoin International Music Festival, where he studied (cello) in the USA (Washington/Idaho Symphony 1971-1997), Austria (Krems 3 times) and in Germany (Munich 2 times). His efforts in composition go back to 1953. All of today's compositions are the culmination of efforts that began in 1983. Kreck's music first combined the traditional music elements of his early European roots with North American jazz elements so imbedded in the culture of his chosen country, sometimes called Third Stream Music. Later he based his music on a moderate free tonality, then back to more traditional tonality and also to live electronic. He makes extensive use of folksong elements that he believes are rich sources of music and also of other poetic material. His compositions embrace orchestral works, including piano concerto, art songs, with and without accompaniment, solo piano and organ works and cello/piano and timpani/pianos works. He is a member of the Society of Composers, the American Music Center and the Internet Cello Society. His compositions have been performed by the Maui Symphony Orchestra, the Eugene Symphony Orchestra, the Society of Composers Conferences (regions, VIII, IV, VI and at the National Conference), the Dennison University New Music Festival (2004), in Munich (Germany): the Munich Society of New Music Festival (2004) and in San Francisco at a public piano/ organ recital. Two Premiers will be performed in October of 2005: in Munich and at Montana State University.

Alexander LaFollett Alexander LaFollett is a composer and theorist, currently completing his Master of Music in Composition degree, in addition to serving as a Graduate Teaching Assistant at Central Washington University in Ellensburg, Washington. His primary instructors of composition have included Tomas Svoboda, Arnold Friedman, Kevin Walczyk, Mark Polishook, and Eric Flesher. LaFollett has composed approximately rwo-dozen works for a variety of ensembles and instrumentation. His Asymmetrical Dances, Op. 5, for oboe, bassoon, violin, xylophone and piano, won the Oregon Symphony Conti Connection competition in May 2004. LaFollett is currently in the process of writing a book, Heptatonic Modality, which will examine the nature of the heptatonic modes within the rwelve-tone equal-tempered system.

Chihchun Chi-sun Lee Chihchun Chi-sun Lee is originally from Kaohsiung, Taiwan and now resides in Tampa, Florida. She has spent many years as composer-in residence with Taiwan's premiere traditional Chinese instrument group, Chai Found Music Workshop. Her music has had numerous performances and broadcasts worldwide in Australia, Austria, Bulgaria, Canada, Croatia, the Czech Republic, France, Germany, Hawaii, the Netherlands, the Philippines, Poland, Singapore, Taiwan, Costa Rica, Ukraine, and around the continental United States. Her works appear on CDs from the Albany/Capstone label, ERMedia's Masterworks, NACUSA, and Celebrity Music Pte. Ltd. in Singapore and has been published by World-Wide-Music. Recently, she won the International Brandenburg Symphony prize, in which she will write a new work for this orchestra in 2006. She has received numerous honors; these include the Harvard Fromm Fellowship, Taiwan National Culture and Arts Foundation commission, the Who Among American Teachers. In 2001, Selkirk was designated as: "One of the 100 Best Communities for Music Education in America." The Selkirk music program was featured on Morning Edition and All Things Considered for National Public Radio. As a composer, his work Lindisfarne Ground (piano and unpitched bells) was selected for performance at the Society of Composers Region VI Conference, University of Texas, San Antonio in February, 2005. His children's piano piece entitled Kinderstiick Nach Webern: Laughing Man received its premiere during March in San Francisco. Johnson has been invited to present his original research on and his unique approach to the music of Anton Webern (1883 - 1945) a number of times. In particular, he emphasizes how Webern's music may be heard and understood without resorting to "incomprehensible theoretical languages." He has presented at: Regional and National Conferences for The Society of Composers, Inc; National Conference for the Christian Fellowship of Art Music Composers; Southwest Contemporary Music Festival and Conference; Whitworth College (Spokane, WA), where he delivers the annual Hans Moldenhauer Memorial Lecture.

Deborah Kavasch Deborah Kavasch, composer, soprano, and specialist in extended vocal techniques, has received grants and residencies in composition and performance and was a 1987 Fulbright Senior Scholar to Stockholm. She has had works commissioned and performed in North America, Europe, and the United Kingdom and has appeared in concert in major international music centers and festivals. Her compositional output features much solo and solo vocal chamber music as well as choral works and instrumental solo, chamber and large ensemble compositions. She frequently presents on new music and women in music conferences and festivals, has premiered many new works, and has been described as a "multifaceted, multi-timbral vocalist" with "articulate radiance" (Los Angeles Times) and "astonishing range and agility" (Cleveland Plain Dealer) who "blew off the balcony ... thrilling" Qournal SEAMUS), "exuberant" (San Francisco Classical Voice). Kavasch is affiliated with BMI, published by Edition Reimers of Stockholm, and recorded on Lovely Records, Composers Recordings, Inc., Cambria Recordings, and TNC Classical. Her most recent CDs of original works, The Dark Side of the Muse, and Fables & Fantasies, have been released under the Troppe/Note Classical label(www.tncmusic.net). Kavasch holds degrees in German and Music from Bowling Green State University, Ohio, and the Ph.D. in Music from the University of California at San Diego, where she studied with internationally acclaimed composers Robert Erickson, Pauline Oliveros, Roger Reynolds and Bernard Rands. She is Professor of Music Theory/Composition and Voice at California State University, Stanislaus.

Lothar Kreck The composer grew up and lived in Germany, in several European and Asian countries and since 1960 in the United States. In addition, extensive travels have given him the chance to experience many cultures that are now expressed in his music. He did not undertake studies in composition, but rather absorbed music by playing in orchestras Jeffrey Jacob Described by the Warsaw Music Journal as "unquestionably one of the greatest performers of 20th-century music," and the New York Times as "an artist of intense concentration and conviction," Jeffrey Jacob received his education from the Juilliard School (Master of Music) and the Peabody Conservatory (Doctorate) and counts as his principal teachers, Mieczyslaw Munz, Carlo Zecchi, and Leon Fleisher. Since his debut with the London Philharmonic in Royal Festival Hall, he has appeared as piano soloist with over 20 orchestras internationally including the Moscow, St. Petersburg, Seattle, Portland, Indianapolis, Charleston, Sao Paulo and Brazil National Symphonies, the Silesian, Moravian, North Czech, and Royal Queenstown Philharmonics. A noted proponent of contemporary music, he has performed the world premieres of works written for him by George Crumb, Vincent Persichetti, Gunther Schuller, Samuel Adler, Francis Routh, and many others. He has performed solo recitals in London, Dublin, Glasgow, Berlin, , Munich, Moscow, St. Petersburg, Prague, Warsaw, Bucharest, Milan, Madrid, Helsinki, Rio de Janeiro, Sao Paulo, Havana, Beijing, Hong Kong, Taipei, Tokyo, Sydney, Auckland, Toronto, Ottawa, and throughout the U.S. Mr. Jacob has recorded over 50 works for solo piano and piano and orchestra including his critically acclaimed series of CD's of the complete piano music of Samuel Barber and George Crumb and major works of Bela Bartok. Fanfare Magazine recently devoted a feature article to his series of CD's for New Ariel Recordings entitled "Contemporary American Eclectic Music for the Piano." Additionally, he has made radio recordings for Radio Warsaw, Radio Prague, and Brazil National Radio, as well as a series of recordings of American music for the BBC. As a composer, he has written three symphonies, three piano concertos, and numerous works for piano and chamber ensemble. Raymond Leppard and the Indianapolis Symphony premiered his Symphony: Winter Lightning. The Moscow and St. Petersburg Symphonies premiered respectively his Piano Concertos I and 2 with the composer as soloist. The Gregg Smith Singers premiered his Sleeping at Last for mixed chorus and solo cello. Mr. Jacob's Persistence of Memory was premiered by the Cleveland Chamber Symphony at the 1999 College Music Society National Convention, and was selected by the Charles Ives Center for American Music for a performance by the Charleston Symphony at the 2002 Charleston Spoleto Festival. Other works have been premiered and recorded by the Orquesta de Baja California, the Chamber Orchestra of the Rhein, the North Czech Philharmonic, the Cavani Quartet and sopranos Mary Nessinger and Laurel Thomas. Two CD's of Mr. Jacob's orchestral music have been released by Centaur Records and Vienna Modern Masters, and recordings of individual works appear on several labels including Albany, Opus One, and New Ariel. Currently Artist-in­ Residence at Saint Mary's College, Notre Dame, Indiana, he received the 2002 Artist of the Year Award from the International New Music Consortium at New York University for his work as composer, pianist and educator.

Donivan Johnson received his Master of Arts in Composition from California State University, Northridge. He serves as the only K-12 music instructor for the Selkirk School District (lone, WA). For his dedication to students, Johnson is listed in Who's Jianjun He A native Chinese, Jianjun He received his B.A. in violin performance from Northwestern National University, M.A. in music theory from The Arts Academy of China, and D.M.A. in composition from West Virginia University. His compositions, numbering over fifty for various media, are enjoying growing success in Asia and the United States. ln addition to his musical creation, he has published several research papers dealing with music theory, compositional technique, ethnomusicology, and music education. Dr. He is currently on the faculty of Casper College (Casper Wyoming) teaching Music Theory, Composition, and Music Technology. He was a former faculty member at Ningxia University (Yinchuan, China), West Virginia University, Slippery Rock University (PA), and Stephen F Austin State University (TX).

Beryl Lee Heuermann Beryl Lee Heuermann, composer and singer/actor, specializes in extended vocal techniques and experimental theater. She holds degrees in composition from New England Conservatory, the Yale School of Music, and State University of New York at Stony Brook, where she studied composition with Daria Semegen, Sheila Silver, Daniel Weymouth, Jacob Druckman, Betsy Jolas, and Lukas Foss. She has studied North Indian and African vocal music, performed American and Brazilian jazz, and was a Visiting Scholar at Stanford University's Center for Computer Research in Music and Acoustics. Ms. Heuermann is co-founder, along with her husband Charles Nichols, of the duo Painted Carp, premiering interactive computer music for processed voice and MIDI violin. Most recently, she collaborated with choreographer Amy Ragsdale, composing and performing for the Montana Transport Dance Company. Ms. Heuermann teaches in Missoula, Montana where she currently lives with her husband and son.

Ching-Chu Hu Born in Iowa City, Hu's music has been performed in the United States, England, Germany, Russia, Austria, China, Taiwan, and Australia. Recent honors have included composer-in-residence at the 2002 Piccolo Spoleto Festival, guest composer at the American Music Week Festival in Bulgaria, and performed at the Alternativa Festival (Center "DOM") in Moscow. Hu has been a composition fellow at the Aspen and Bowdoin Music Festivals, the Banff Centre for the Arts, and Yaddo. Hu was recently selected by ERM Media for their "Masterworks of the New Era" CD series (Vol. 4), which includes a Kiev Philharmonic recording of his orchestral work, In Frozen Distance. His violin and piano work, Passions, was released on the CD "Finnegan's Wake" by Albany Records. He is active as a pianist and conductor, and wrote the scores for several short award-winning films. Recently he received a commission from Granville (Ohio) Bicentennial Committee to write a series of compositions for a yearlong celebration December 2004-2005, including A Matter of Love for choir and orchestra with text by poet David Baker. He is currently the Bayley-Bowen Fellow and Assistant Professor of Composition at Denison University in Ohio. Kingdom, the Russian Federation, Austria, the Czech Republic and Hungary. His commissions have funding from the National Endowment for the Arts, the Omaha Symphony, the Indiana Arts Commission, The Indiana Repertory Theatre, Dance Kaleidoscope, Music Teachers National Association, the Wyoming State Arts Board, the Indianapolis Youth Symphony, Kappa Kappa Psi/Tau Beta Sigma as well as many private commissions. In 2003 the Butler University Department of Dance commissioned an evening-length ballet from him, "The Willow Maiden," which was premiered at Clowes Hall in April of that year. A recording of electronic and electro­ acoustic music entitled "Sidewalk Music" is available on Capstone Records. Scores and other performance materials can be obtained from MMB Music or Mad Italian Bros. Ink Publishing. Frank began his musical studies in Hamilton, Montana, singing, playing piano, guitar and double bass. His interest in composition began through participation with a number of rock bands, one of which, Graffiti, toured the western United States and the Far East in 1986-1987. He attended Concordia College in Moorhead, Minnesota, the University of Colorado, and Butler University, studying with Michael Schelle, Daniel Breedon, Luiz Gonzalez, and James Day. Most recently he has studied with Dominick Argento, Alex Lu bet, Lloyd Ultan, and Judith Lang Zaimont at the University of Minnesota in Minneapolis, where he completed his Ph.D. in 1998. Frank currently teaches as an associate professor of composition, theory and electronic music at Butler University in Indianapolis, Indiana. He is member of the Society for Electro-Acoustic Music in the U.S., the American Composers Forum, the American Music Center, The Society of Composers Inc., and the Christian Fellowship of Art Music Composers. In addition to musical interests, he pursues his creative muse through painting, poetry, cooking, home brewing, paleontology, theology, philosophy, and basketball. He is very fortunate to be married to mezzo-soprano Mitzi Westra.

Jacob Gotlib Jacob Gotlib is a senior Technology in Music and Related Arts (TIMARA) major at Oberlin College, where he studies primarily with Tom Lopez and Gary Lee Nelson. He has written works for solo instruments, chamber ensembles, electronics, video, and installation pieces. His music has been performed across the U .S. by groups such as West of Ten O'Clock and the California EAR Unit. Outside of school, he plays with the band Ayin, who have released two albums and have toured nationally.

David Hatt David Hatt is the Assistant Cathedral Organist at St. Mary's Cathedral in San Francisco. He also accompanies the San Francisco Lyric Chorus, conducted by Robert Gurney, in the presentation of major choral works. His works have been published by Darcey Press, Augsburg Publishing Company, and Wayne Leupold Editions. In November of 2004 David was asked to present the Opening Concert of the 4 Th National Conference of the College Music Society, held in San Francisco. The result was praised by all the composers involved, and it was the first time in the history of the Society that the performer chose to play every work submitted by the review committee. of several composition fellowships, awards and residencies. Many of his electro-acoustic compositions have enjoyed numerous performances both in Europe and the United States. In addition to his electro-acoustic works, his compositions include chamber music, orchestral works, concertos and solo pieces.

Stephen Chatman, Keynote Speaker Stephen Chatman, Professor and Head, Composition Division at The University of British Columbia, Vancouver since 1976, is the first Canadian ever short-listed in the BBC Masterprize international competition (2001, 'Tara's Dream" for orchestra). Chatman is recognized internationally as a composer of choral, orchestral, and piano music. His approximately sixty choral works, widely performed and published by Highgate Press (ECS Publishing, Boston), Boosey & Hawkes (New York) earthsongs (Corvallis, Oregon), Jaymar (London, Ontario), Waterloo (Waterloo, Ontario), and Gordon V. Thompson (Toronto), have sold more than 250,000 printed copies. Recorded works include two choral collections performed by the Vancouver Chamber Choir, "Due North" (Centredisc) and "Due West" (CBC Records), an orchestral collection, "Proud Music of the Storm" (Centrediscs), and instrumental recordings on C.R.I., CBC Records, Globe, Crystal, Skylark, Arsis, and Frederick Harris Music Celebration Series. His orchestral works, commissioned by the Vancouver, Toronto, Edmonton, Windsor, and Madison symphonies and the CBC Radio Orchestra, and published by Highgate Press (ECS Publishing) and Theodore Presser (Bryn Mawr, Pennsylvania), have been performed and recorded by the B.B.C. Symphony Orchestra, Berlin Radio Orchestra, Manitoba Chamber Orchestra, Sydney, Seoul, San Francisco, St. Louis, Detroit, Dallas, New World, Quebec, Calgary, Winnipeg, Regina, Saskatoon, P.E.l., and New Foundland symphonies. In 1988-89, Chatman became British Columbia's first 'composer in residence', composing several works for Vancouver's Music in the Morning concert series, June Goldsmith, director. He was 'composer in residence' with the National Youth Orchestra of Canada in 2004. In 2003, Chatman was one of three Canadian composers to visit Beijing and Shanghai in the "First Exchange of Canadian and Chinese Composers", sponsored by the Chinese Musicians' Association (CMA) and the Consulate General of the People's Republic of China in Vancouver. In 2004, he was the first composer ever awarded the Dorothy Somerset Award for Performance and Development in the Visual and Creative Arts from the University of British Columbia. Chatman has received many commissions through the Canada Council, the C.B.C., the B.C. Arts Council, and the U.S. National Endowment for the Arts. The only North American to have won three consecutive BMI Awards to Student Composers, Inc. (New York) prizes (1974,'7 5,'76), Chatman has also received a Charles Ives Scholarship from the American Academy of Arts and Letters, a M.B. Rockefeller Fund Grant, and a U.S. Fulbright Grant for study with at the Hochschule fur Musik in Cologne.

Frank Felice A composer of many styles and genre, Frank Felice's works have been performed extensively in the U.S. as well as garnering performances in Japan, the United BIOGRAPHIES

Charles Argersinger After completing a Ph.D. at the University of Minnesota in 1979 with Dominick Argento, Charles Argersinger went on to teach at California State University, DePaul University, and at Washington State University where he is presently Coordinator of Composition and Theory. Currently he serves on the national council of the Society of Composers Inc. (SCI) as the Co-Chair of the Pacific Northwest region. Among his awards is the 1995 United Nations first prize for a brass fanfare for the 50th anniversary of the U .N. His Concerto for Piano and Chamber Orchestra was recorded by members of the Chicago Symphony Orchestra and the Contemporary Chamber Players of the University of Chicago. It was premiered by the Alabama Symphony Orchestra in 1992, and has been performed subsequently by the Memphis Symphony Orchestra, the Kansas City Symphony Orchestra, the Contra Costa Chamber Orchestra in Oakland, and the LSU Contemporary Music Festival Orchestra. He was the 1997 Composer of the Year for the Washington State Music Teachers' Association, and winner of the 1997 Composer Fellowship for the Idaho Commission on the Arts. He took second place in the Tampa Bay Composers' Forum Excellence in Chamber Music Composition Competition for 2002, and first prize in the M.A.C.R.O. International Composition Competition 2002-2003. He was commissioned by the Prime Minister of Thailand to write a nonet entitled Seven Degrees of Freedom (for combined woodwind quintet and string quartet) for the "All-Nations Ensemble" of Southeast Asia. The premiere took place in Bangkok, October 5, 2003. Most recently, he spent the month of April 2005 in residence at Yaddo composing his second piano concerto.

Stacey Barelos Stacey Barelos is a pianist and composer. As a pianist, she is the winner of the Greek Women's University Club Competition in Chicago, the Beethoven Competition in the Univeristy of Wisconsin-Madison and a finalist in the Neale-Silva competition of Wisconsin Public Radio. She frequently concertizes around the midwest including a recent performance of "Red Buddha," a dance/piano collaboration of new piano works with Peggy Choy, choreographer and a concert of modern piano works at Millkin University in Decatur, IL. As a composer, Ms. Barelos' works have been performed around the U.S. as well as in Russia and Italy. Stacey Barelos is currently a DMA student in piano and composition at the Universtiy of Wisconsin-Madison. She holds degrees in music and history from Bowling Green State University in Ohio and Luther College in Iowa. She hopes you get to go outside today.

Brian Bevelander Composer/pianist Brian Bevelander was born in Boston, Massachusetts, and received his education at the New England Conservatory of Music, Hartt College, Boston University, and West Virginia University (D.M.A.). His principal composition teachers include Thomas Canning at West Virginia University and Hugo Norden at Boston University. Besides teaching at Heidelberg College in Ohio, he has been the recipient LECTURE ABSTRACTS

The Expansion of Heptatonic Modality: Theory and Analysis ...... Alexander LaFollett This lecture will explore the nature of heptatonic (7-tone) modes within the twelve-tone equal-tempered system, primarily focusing on those outside the church mode system. Such modes have been known since the time of the ancient Greeks, and are mentioned in the 154 7 treatise by Heinrich Glarean, Dodecachordon. They also have been utilized by a number of composers since the middle of the Nineteenth Century, including Bizet, Verdi, Debussy, Bartok, and Milhaud, and even found their way into various popular idioms, as well as music for film, television, and video and computer games. The lecture will cover the historical aspects, theoretical tenets and harmonic analysis techniques of heptatonic modal music, in addition to the development of new universal nomenclature, and an examination of the status of modal theory in university­ level music theory courses and their related texts.

Webern circa 2005 ...... Donivan Johnson Since 1990, entirely new perspectives, attitudes and ways of listening to the music of Anton Webern have been published in English. Such important works as:

The Twelve-Note Music of Anton Webern, Kathryn Bailey (1991) Webern and the Lyric Impulse, Anne C. Shreffler (1994) Webern Studies, Bailey, ed. (1996) The Life of Webern, Bailey (1998) The Aronal Music of Anron Webern, Allen Forte (1998) Webern and the Transformation of Nature, Julian Johnson (1999) have deeply impacted, challenged and, thankfully, changed the post-war Darmstadt Cologne Die Reihe Perspectives Of New Music pseudo-scientific mathematical analytical set-theoretic jargon and shibboleth-laden world-view of "St. Anton" (Stravinsky's ironic phrase). It was in 1945 that Webern was shot and killed by an American sentry of the occupation. The purpose of this jubilee paper is to: (1) very briefly share excerpts from the body of work listed above - all based on "revisiting" Webern's original sketches now located in The Paul Sacher Institute; (2) provide "brief' examples from Webern's music that may foster a much more artistic manner of how we are to listen to, perform and understand his music as music - and not as an artifact (corpse) to be used as grist (specimen) for the academic mill and the training of future composers. 6. Reflection (from This Was A Poet) This was a Poet - It is That Distills amazing sense From ordinary Meanings - And Attar so immense

Songs and Dances from the Mountain ...... Patrick Williams Songs and Dances from the Mountain Book II, for solo guitar, is a set of images or scenes drawn from personal time spent climbing a real mountain while searching for the metaphorical "mountain top." Quiet and meditative during the initial "climb", the composition ranges in emotional expression, meeting obstacles head on, sometimes side-stepping, slipping, resting, taking in the air. The descent is energetic, but cautious at first, then gravity takes hold. The piece ends the climb in an introspective state of well-being.

Me'Jer's Point ...... Gregory Yasinitsky Meyer's Point for flute and piano was composed late October and early November of 1995 and is dedicated to flutist Ann Marie Yasinitsky. The composition was inspired by a visit during the summer of 1995 to Meyer's Point which is part of a generous gift donated to Washington State University by the late Dr. Edward R. Meyer. The 90-acre site includes woods, pastures, a farmhouse built in the 1930s and the long shoreline on Henderson Inlet in Olympia, WA. Meyer's Point is in one movement with four distinct sections. The work begins with an ethereal, ensemble statement followed by a cadenza for flute which leads to a slow, heartfelt, mournful passage. This is followed by a lively, canonic, contrapuntal exchange between flute and piano and finally, a return of the opening music, but in a heavier, more mysterious setting, which leads inexorably to a climactic ending. Some of the passages in Meyer's Point were inspired by the quiet majestic quality of the site as well as the mist and fog which often surrounds the property. The music also attempts to capture the experience of traveling from east to west to reach Meyer's Point and perhaps most importantly, hopes to express something of the legacy of Dr. Meyer. series over highly dissonant chords. Additionally included is a video of the natural environment surrounding Dickinson's home in Amherst, Massachusetts.

1. Imagining (from This Was A Poet) This was a Poet· It is That Distills amazing sense From ordinary Meanings - And Attar so immense

2. My Cocoon Tightens My Cocoon tightens - Colors tease · I'm feeling for the Air· A dim capacity for Wings Demeans the Dress I wear -

A power of Butterfly must be · The Aptitude to fly Meadows of Majesty implies And easy Sweeps of Sky -

So I must baffle at the Hint And cipher at the Sign And make much blunder, if at last I take the clue divine -

3. I Felt A Funeral I felt a Funeral, in my Brain, And Mourners to and fro Kept treading - treading · till it seemed T hat Sense was breaking through -

And when they all were seated, A Service, like a Drum - Kept beating· beating - till I thought My Mind was going numb -

And then I heard them lift a Box And creak across my Soul With those same Boots of Lead, again. ..

5. Come slowly· Eden! lips unused to Thee - Bashful - sip thy Jessamines · As the fainting Bee -

Reaching late his flower, Ro und her chamber hums· Counts his nectars - Enters - and is lost in Balms. Ceaselessly musing, venturing, throwing, seeking the spheres to connect them, Till the bridge you will need be form'd, till the ductile anchor hold, Till the gossamer thread you fling catch somewhere, 0 my soul

II. The Runner On a flat road runs the well-train'd runner. He is lean and sinewy with muscular legs He is thinly clothed, he leans forward as he runs, With lightly closed fists and arms paritially rais'd

lll. The Last Invocation At the last, tenderly, From the walls of the powerful fortress' d house, From the clasp of the knitted locks, from the keep of the well-closed doors, Let me be wafted.

Let me glide noiselessly forth; With the key of softness unlock the locks-with a whisper, Set ope the doors 0 soul.

Tenderly-be not impatient, (Strong is your hold 0 mortal flesh, Strong is your hold 0 love.)

Come Slowly Eden ...... Beryl Lee Heuermann Come Slowly Eden is a dramatic song cycle based on the poetry of Emily Dickinson. It is an homage to both Dickinson and the creative process. I use Dickinson's poetry to explore the idea of the artist's development, creative process, and deepening of self, through her exquisite artistry of poetic expression. The piece has three singers (this version two), all representing Dickinson and different facets of her psyche, that emerge from her varied poems. A coloratura soprano represents the young, more innocent and hopeful Emily. A mezzo-soprano represents the darker side of Emily, who wrestles with God over such issues as the intolerant religious views and narrow life choices open to women of her time. The third singer is a spinto-soprano, representing Emily, the poet, who fully embraced and accepted her life choice, vision, and power as a poet. She scrutinizes and explores the world with relentless honesty and from all possible angles. Ultimately, life transformation comes from acceptance of herself as a poet. One element of the piece is the bowed piano. A piano is bowed by looping sanded and rosined fishing line around a piano string and slowly pulling on the line while holding down the sustain pedal. The resultant sound is rich with harmonic overtones and embodies both ethereal and delicate qualities which convey the essence of my interpretation of Dickinson's poetry. It also captures the seeming paradox of Dickinson's ability to simultaneously express the utmost simplicity and complexity of life. To create this paradoxical quality I combine the pure sound of the bowed piano with complex harmonies by superimposing tonal chords derived from the overtone 2 WITCH: Fillet of a fenny snake, In the caldron boil and bake; Eye of newt, and toe of frog, Wool of bat, and tongue of dog, Adder's fork, and blind-worm's sting, Lizard's leg, and howlet's wing, - For a charm of powerful trouble, Like a hell-broth boil and bubble. ALL: Double, double toil and trouble; Fire, bum; and, caldron, bubble. 3WITCH: Scale of dragon, tooth of wolf, Witches' mummy, maw and gulf Of the ravin'd salt-sea shark, Root of hemlock digg'd i' the dark, Liver of blaspheming Jew, Gall of goat, and slips of yew Sliver'd in the moon's eclipse, Nose of Turk; and Tartar's lips, Finger of birth-strangl'd babe, Ditch-delivr'd by a drab, - Make the gruel thick and slab: Add thereto a tiger's chaudron, For the ingredients of our caldron. ALL: Double, double toil and trouble; Fire, bum; and, caldron, bubble. 2 WITCH: Cool it with a baboon's blood, Then the charm is firm and good.

Journeys ...... J ohn Marvin Journeys is a song cycle for soprano, horn and piano on three poems by Walt Whitman. A Noiseless Patient Spider and T he Last Invocation-the texts for the first and final songs- I read as concerned with the journeys of the soul through time, space and existence in search of meaning and release. But Whitman seems ambivalent about the life of the spirit, and inevitably is drawn back to his joy in the human condition and his love of the earthly. At least this is a tension that I perceive in these texts, and motivates the inclusion of The Runner in the cycle. Thus, the three pieces together create a musical 'arch' form with The Runner functioning as a brief and lively scherzo between the two meditative movements.

I. A Noiseless Patient Spider A noiseless patient spider, I mark'd where on a little promontory it stood isolated, Mark'd how to explore the vacant vast surrounding, It launch'd forth filament, filament, filament, out of itself, Ever unreeling them, ever tirelessly speeding them.

And you 0 my soul where you stand, Surrounded, detached, in measureless oceans of space, A Night Time Rain, for flute, 11iolin, cello, tape and lighting ...... Richard Zarou

I hear the sound of rain on tin Sweep the dust from my roof, Wash me clean of my sins The sky weeps for me to live again.

-Annie Keithline

CONCERT IV

Burning the Veil ...... }esse Wright-FitzGerald For me, Burning the Veil represents (in very general musical terms) the effort that we all undertake, in one form or another, to push past the veil that clouds our sight, in hopes of understanding the divine. Whether overtly religious or not, I believe that we are all attempting (if only subconsciously) to understand diviniry, and more importantly, to draw nearer to it. Constrained as we are, both by our limited humaniry, as well as by the prosaic concerns of our times, the veil that clouds our eyes can be thick indeed. Thick, but not impenetrable. The struggle to part the veil shapes our lives, from alpha to omega. I will not attach specific musical passages to particular facets within these general concepts, as it is my hope that the listener will not need fantastic referential images in order to enjoy the piece. Nevertheless, these thoughts and images were in my mind as this work took shape, and as such have informed the scope, language, and trajectory of the piece. Let these images shape your experience of the piece as you will.

Double, Double ...... Deborah Kavasch Double, Double, by Deborah Kavasch, is a setting of the witches' scene from Act IV, Scene 1 of Shakespeare's Macbeth, for three unaccompanied sopranos. It was commissioned by the Noh Oratorio Sociery of San Francisco and premiered in 1987 by Anna Carol Dudley, Judith Hubbell and Deborah Kavasch. Recorded by the composer, who multitracked all three parts, Double Double appears on the TNC Recordings solo compact disc, Music of Deborah Kavasch: The Dark Side of the Muse.

1 WITCH: Thrice the brinded cat hath mew'd. 2 WITCH: Thrice; and once the hedgepig whin'd. 3WITCH: Harpier cries: - ' tis time, 'tis time. 1 WITCH: Round about the caldron go; In the poison'd entrails throw. - Toad, that under the cold stone, Days and nights hast thirty-one Swelter'd venom sleeping got, Boil thou first i' the charmed pot! ALL: Double, Double toil and trouble; Fire, burn; and, caldron, bubble. Solo violin transition Variation Three: Oelicatamente; espressivo Variation Four: Semplice, with growing intensity Variation Five: Agitato Variation Six: Con Spirito Theme Coda: Oelicatamente

Phobia ...... Stacey Barelos This set was written in 2003 as something that could travel with me as a composer and performer. The pieces started out as sort of a joke, but after discussing the idea with several psychologists as well as people who had experienced severe phobias, I decided to rethink my work. In short, I'm trying to have it both ways: the humor and the seriousness. Each piece represents a different aspect of the phobia, albeit the encounter with the fear, the development of the fear or the nature of the fear itself. Enjoy!

CONCERT III

Synthecisms No. 5 ...... Brian Bevelander Synthecisms No. 5 is the fifth piece in a series of electro/acoustic compositions written between the years 1987 and 1996. The majority of the pieces in the set feature a prominent solo instrumental part along with live electronics and or pre-recorded tape. The pre-recorded tape part for Synthecisms No. 5 was realized at the Heidelberg College electronic studio in the fall of 1995. The score was completed during a residency at the Yaddo Foundation in Saratoga Springs, New York in March, 1996. The piece was premiered by the composer at the Society for Electro/acoustic Music (SEAMUS) national conference at Birmingham/Southern College in Birmingham, Alabama in April, 1996. Synthecisms No. 5 was recorded in Macintosh Theater at the University of Michigan and released on the Equilibrium label in the fall of 2001.

Filaments ...... Jacob Gotlib Two strands-the acoustic and the electronic- struggle to unite throughout Filaments. They briefly achieve their goal midway through the piece, only to dissolve again and find themselves longing to reconnect. All the electronic sounds in this work are derived from manipulated flute samples.

Strata 3: The Air Inside Our Heads ...... Charles Nichols The Air Inside Our Heads was originally composed as music for one scene of an interactive videoconferenced multimedia collaboration between six universities, an interplay entitled Loose Minds in the Box, that included acting, dancing, performance art, animation, virtual reality, and computer-music performance, streamed between six performance spaces through the AccessGrid. The piece explores the idea of resonant and reverberant space, processing an electric violin with octave doubling, delay, pitch shifting, and flanging, in interactive programming realized with MaxMSP. The Bird on the Tree ...... George Tanner The Bird on the Tree was composed during the month of November and was meant to depict a cold, wintry mood.

Glaciers Red: Vistas Veiled ...... Ching-Chu Hu Summer 2003, Banff. As fires spread out of control in Alberta, roads to Banff close. The Canadian Rockies hide behind dense gray smoke. Yet, up in the Columbia Icefield of Jasper National Park, old snow-coaches continue to bring people up to the Athabasca Glacier, which is melting every year and whose water flows into the Pacific, Atlantic, and Arctic Oceans. A mining company literally decapitates Sulphur Mountain for its raw materials. I have come here to do a residency at the Leighton Studios at Banff Centre for the Arts, and I am awe-struck by the beaury of the Canadian Rockies as well as the destructive force of man and nature. Some days, the skies are cerulean blue; other days bring a shroud of smoke and large gray snowflakes of ash. I can still recall the burning smell in the air and the feeling that the fires are at once nearby and far away. Coincidentally, Banff loses power at the same time the eastern part of North America is experiencing a massive blackout. All the while, the animals remain calm, tame, and only ten feet from my window. Glaciers Red: Vistas Veiled represents my various sensory experiences that summer as man and nature collided and obscured my view. "lcefield in August" is the first of three movements.

Triple Sonata ...... Alexander Miller My "Trip le Sonata" was written in the summer of 2003 while studying at the Bowdoin International Music Festival in Brunswick, ME. I mention this because I believe the Beethoven & Brahms rich environment of Bowdoin had an influence on the piece. It does bear a superficial resemblance to the romantic sonata - "superficial" because it does not resemble the meaningful, large scale harmonic motion of a sonata, but follows the structure's archetypal progression of affects as it existed on the surface of the 19th Century works that were performed so regularly at the festival. I thought this justified using "sonata" in the title ("trio sonata" was taken!). Another side to the piece, one which I've not given much credit until recently, is the way the work's pentatonic collections as well as its rapid semi-quavers recall an electric guitar - the instrument I grew up playing. It was an enjoyable piece for me to compose, and I hope you enjoy hearing it tonight.

Six Questions ...... Martin Rokeach Commissioned by the Marrs/Dobrzelewski Duo, Six Questions is written in the form of a theme and six brief variations. The theme, an original Phrygian melody, has a sober, pensive character. Each variation, usually approached without pause, to my ear is like some kind of reaction, or insight, or question prompted by the theme. The specific outline is: Theme: Espressivo Variation One: Misterioso Variation Two: Giocoso Remembrance: Sorrow and Gaiety (1955-2005) ...... Lothar Kreck Sorrow is when the composer thinks back about when, as a very young man, he had to join the army and was wounded by enemy gunfire in World War II; when he lost his home and homeland to the war; when he fled under cover of darkness across the border to start his life anew; when he lost loved ones. Gaiety is what he feels when he remembers finding the partner of his life and when they were blessed with children; when he built a successful and rewarding professional life; and when he mindfully enjoyed life in happiness, peace, and tranquility. Based on these, the composition evokes two distinct moods, one of tragedy and one of joy. They intertwine and decouple in an almost random manner, as they do in life. The years in the title of this music, "1955-2005," reflect how long this composition has been in the making, continuously evolving from a traditional to a New Music version. The composer invites listeners to personalize the experience of this music, remembering the sorrow and the gaiety in their own lives. This work is dedicated to the composer's son, who, as a person in the best years of his life, passed away last year.

TESTIFY! ...... Chihchun Chi-sun Lee This work was written in Ann Arbor, Michigan, as a commission by the organist Jimmie Abbington. As its title suggests, TESTIFY! is inspired by his musical direction and performances in a Detroit Baptist Church. In the form of a fantasia, this eclectic work not only uses African-American gospel sources, but also draws from my own experience in both European and Taiwanese church music.

Gangsta' ...... Michael Timpson Gangsta' represents my lifelong interests and desires to combine the harmonies, structures, and rhythms of Contemporary Concert Music with the styles, colors, and attitudes of Be-Bop and .

CONCERT II

Seven Degrees of Freedom ...... Charles Argersinger Seven Degrees was commissioned by the Prime Minister of Thailand for a recently­ formed group, the All-Nations Ensemble of Southeast Asia. This group consists of one player from each of nine Southeast Asian countries: Laos, Vietnam, Cambodia, Thailand, the Philippines, Malaysia, Indonesia, Myanmar, and Singapore; it is a subset of the Southeast Asian Youth Orchestra and Wind Ensemble. The intermediary who negotiated the commission was Dr. Gene Aitken, Professor Emeritus at the University of Northern Colorado. The commission specified that a nonet be written for combined woodwind quintet and string quartet. The title is a double entendre, referring both to the mathematical concept of the number of degrees of freedom (independent variables) necessary to describe a dynamic musical structure, and secondly to describe the political evolution of the peoples of that region of the globe. The premiere took place in Bangkok on October 5'h, 2003 at the Thailand Cultural Center-CEA. PROGRAM NOTES

CONCERTI

Lines from Shakespeare ...... Kevin Waters Composers through the centuries have associated their works with Shakespeare's poetry. Sometimes those pieces bloomed into overtures or fully developed operas. At other times, Shakespeare provided lyrics for a song devised either in Elizabethan style or a style contemporary to the composer. In my Lines from Shakespeare, I was smitten by the verse The Tender Leaves of Hope from King Henry the Eighth, a late and lesser-known Shakespearean play. I then proceeded in an attempt to convey its feeling through an instrumental form. After completing a draft in piano score, I made the setting for winds heard on this program as well as one for string orchestra. The two outer movements followed, once again using lines of poetry from one of the history plays. Each of the pieces begins with an identical harmonic structure.

" ... a chasing after the wind," ...... Frank Felice In 1992 I had been wrestling with ways to incorporate my Christian faith into my craft, trying to accomplish what Oliver Messiaen and J. S. Bach had been doing for most of their lives. This piece came as a direct result of such a conundrum. Ecclesiastes has always been a fascinating book of the Bible; no commentaries or scholars can quite agree what the whole thing is trying to say, and many Christians and non-Christians alike have tried their hands interpreting it as well. To me it expresses a couple different things: life without God is indeed futile ("everything is meaningless, a chasing after the wind"), and that to pursue a life without God is going to lead to the inevitability of an empty, meaningless life. The piece presents some of the searching that happens, and the futility involved. Time is measured by the chiming of an old grandfather clock, ticking away the hours of an unredeemed life.

Chorale, Prelude and Variations on "Columbus" ...... David Hatt Chorale, Prelude and Variation on Columbus treats an obscure American shape-note hymn, given as the Chorale, with an alternate harmonization as the Prelude, and with a contrapuntal exposition in the Variation. Sudden harmonic shifts propel it along, and the melody eventually emerges in the pedal line. The coda is inspired by the music of Marcel Dupre.

Reminiscence ...... Jianjun He Synthesizing Western compositional techniques with Chinese musical elements, Reminiscence shows the fusion of different cultures and reflects the diversity of today's music. Balancing the accessible melody with idiomatic and innovative flute writing, this little piece arouses the recollections of one's happy and joyful times. Come Slowly Eden, for three sopranos and large ensemble ...... Beryl Lee Heuermann

"Imagining" "My cocoon tightens" "I felt a funeral" "Afterthought" "Come Slowly Eden" "Reflection"

Alison Slade, spinto-soprano Kimberly James, mezzo-soprano James Payne, flute Jaqueline Fallon, alto flute Kevin Berg, English horn/oboe Andy Bratton, trombone Margaret Baldridge, violin I Leif Petersen, violin II Madeline McKelvey, viola Lucas Poe-Kiser, cello Ryan Davis, bass Christopher Hahn, piano (bowed)

"Songs and Dances from the Mountain," for guitar...... Patrick Williams

Luis Millan, guitar

Meyer's Point ...... Gregory Yasinitsky

Ann Marie Yasinitsky, flute Karen Hsiao Savage, piano CONCERT IV Saturday, October 29, 7:30 p.m.

Burning the Veil, for violin, cello, and piano ...... Jesse Wright-FitzGerald

Maxine Ramey, clarinet Margaret Baldridge, violin Christopher Hahn, piano

Double, Double ... , for three sopranos ...... Deborah Kavasch

Beryl Lee Heuermann, soprano Deborah Kavasch, soprano Alison Slade, soprano

Journeys, for soprano, horn, and piano...... John Marvin

Anne Basinski, soprano Kristen George, horn Christopher Hahn, piano

- Intermission- CONCERT III Saturday, October 29, 2:00 p.m.

Synthecisms No. 5, for piano and pre-recorded tape ...... Brian Bevelander

Brian Bevelander, piano

Filaments, for flute and electronics ...... Jacob Gotlib

Margaret Schuberg, flute

Strata 3: The Air Inside Our Heads, for electric violin and computer...... Charles Nichols

Charles Nichols, electric violin

A Night Time Rain, for flute, clarinet, violin, viola, cello, tape and lighting ...... Richard Zarou

UM Contemporary Chamber Players Christopher Hahn, director

Kiersten Spetz, flute Hilary Tutor, clarinet Leif Petersen, violin Emily Morrison, viola Fern Glass-Boyd, cello CONCERT II Friday, October 28, 7:30 p.m.

Seven Degrees of Freedom, nonet for woodwinds and brass ...... Charles Argersinger

UM Contemporary Chamber Players Christopher Hahn, director

Kristy Loveridge, flute Kevin Berg, oboe Cassie Keogh, clarinet Kristen George, horn Beth Bennett, bassoon Elizabeth Magnotta, violin Ryan Berkshire, violin Nathan Shuttlesworth, viola James DeHart, cello

The Bird on the Tree, for flute and piano...... George Tanner

James Payne, flute Melissa Bishop, piano

Glaciers Red: Vistas Veiled, for violin and piano ...... Ching-Chu Hu

!: "lcefield in August"

Nathan Shuttlesworth, violin Molly Petrik, piano

- Intermission-

Triple Sonata, for three cellos ...... Alexander Miller

Fern Glass-Boyd, Samantha Deluna, and Erin Lally

Six Questions, for violin and percussion ...... Martin Rokeach

Margaret Baldridge, violin Robert LedBetter, percussion

Phobia, for solo piano ...... Stacey Barelos

Stacey Barelos, piano LECTURE RECITAL Friday, October 28, 2:00 p.m.

Jeffrey Jacob, Pianist

Makrokosmos, Volume 11 ...... George Crumb

Twelve Fantasy-Pieces after the Zodiac, for amplified piano

1. Morning Music (Genesis II) CANCER 2. The Mystic Chord SAGITTARIUS 3. Rain-Death Variations PISCES 4. Twin Suns (Doppelganger aus der Ewigkeit) GEMINI 5. Ghost-Nocturne: for the Druids of Stonehenge VIRGO 6. Gargoyles TAURUS 7. Tora! Tora! Tora! (Cadenza Apocalittica) SCORPIO 8. A Prophecy of Nostradamus AIRES 9. Cosmic Wind LIBRA 10. Voices from "Corona Borealis" AQUARIUS 11. Litany of the Galactic Bells LEO 12. Agnus Dei CAPRICORN CONCERTI Thursday, October 27, 7:30 p.m.

Lines from Shakespeare, for wind ensemble ...... Kevin Waters

1. Imagination Bodies Forth the Forms of Things Unknown (King Lear) 2. The Tender Leaves of Hope (King Henry the Eighth) 3. And on Tomorrow bid Them March Away (King Henry the Fifth)

Gonzaga University Chamber Wind Ensemble Robert Spittal, conductor

Erica Young and Andrea Woods, flutes Matt Habjan and Sam Smith, oboes Angela Wier, Kelly Birch and Elizabeth Miller, clarinets Ross LaCombe and David Bode, saxophones Erin Foster and Stuart Kelly, bassoons

"... a chasing after the wind," for alto flute ...... Frank Felice

Margaret Schuberg, flute Christopher Hahn, piano

Chorale, Prelude and Variations on "Columbus," for organ ...... David Hatt

David Hatt, organ

Reminiscence, for solo flute ...... ] ianjun He

Margaret Schuberg, flute

- Intermission-

Remembrance: Sorrow and Gaiety (1955-2005), for organ ...... Lothar Kreck

David Hatt, organ

TESTIFY!, for organ...... Chihchun Chi-sun Lee

David Hatt, organ

Gangsta', for organ...... Michael Timpson

David Hatt, organ SCHEDULE

MRH* Thursday, October 27 3:00-5:00 Registration (Music Building Foyer)

7:30 Concert l: Works by Frank Felice, David Hatt, Jianjun He, Lothar Kreck, Chihchun Chi-sun Lee, Michael Timpson, and Kevin Waters

Friday, October 28 10:00-11 :00 Keynote Speaker, Dr. Stephen Chatman, University of British Columbia "The Canadian Composer in the 21" Century"

11:00-12:00 "Music In Our Time," an open discussion with guest composers (Music Building 105)

2:00 Lecture Recital, Jeffrey Jacob "George Crumb's Makrokosmos II"

5:30 Banquet (Canyon Room, UC) registered conference guests only

7:30 Concert II: Works by Charles Argersinger, Stacey Barelos, Ching-Chu Hu, Alexander Miller, Martin Rokeach, and George Tanner

Saturday, October 29 2:00 Concert III: Works by Brian Bevelander, Jacob Gotlib, Charles Nichols, and Richard Zarou

3:00 Lecture, Alexander LaFollett (Music Building 218) "The Expansion of Heptatonic Modality: Theory and Analysis"

4:00 Lecture, Donivan Johnson (Music Building 218) "Webern circa 2005"

7:30 Concert IV: Works by Beryl Lee Heuermann, Deborah Kavasch, John Marvin, Patrick Williams, Jesse Wright-FitzGerald and Gregory Yasinitsky

*Unless otherwise noted, all conference events are in the School of Music Recital Hall. Gregory Y asinitsky Gregory W. Yasinitsky, Meyer Distinguished Professor of Music at Washington State University, has a national reputation as a composer, arranger and saxophonist. A recipient of grants and awards from the National Endowment for the Arts, Meet the Composer West, The Commission Project, Artist Trust, Washington State Music Teachers Association (WSMTA) and ASCAP, Yasinitsky over 120 musical works published by Kendor Music, Warner Brothers, Advance Music (Germany), Hal Leonard, Dorn, Walrus, UNC Jazz Press, Daniel Barry Publications, Sound Music Publications and Hoyt Editions which are performed in over 30 countries world-wide. As a saxophonist, he has performed with Sarah Vaughan, Ella Fitzgerald, Ray Charles, Louis Bellson, Stan Getz, Lionel Hampton, Manhattan Transfer, Mel Torme and many others. His compositions and saxophone playing can be heard on recordings released by Soul Note, Palo Alto Records, the Musical Heritage Society, Vienna Modern Masters, Arizona University Recordings, Open Loop Recordings and his own label, Yazz Recordings.

Richard Zarou Richard Zarou is a composer of acoustic and electro-acoustic music. He has earned a Master's degree in composition from Florida State University and a Bachelor's degree from Shenandoah University. During those years Richard had the privilege to study composition with William Averitt, Mark Wingate, Clifton Callender, and Ladislav Kubik. He has also had the opportunity to conduct private meetings with the renown composer Ellen Taaffe Zwilich and masterclasses with Michael Torke and Martin Bresnick. In a short career he has achieved many performances and awards including the winner of New Music @ECU in 2002 for Fragile Wraths and again in 2003 for Upon a Child. Upon a Child has become his most successful piece having also been performed at the famous Kennedy Center in Washington, DC.

Acknowledgements

The conference committee would like to extend special thanks to Dean Shirley Howell, School of Fine Arts, and Dr. Stephen Kalm, Chair in Music, for their generous support of the conference. We would also like to thank Vicki Warp and Janis Davis, Administrative Assistants; UM Printing and Graphics; and Rick Kuschel, recording engineer. Finally, many thanks are due to the performers, both faculty and students, who helped to make this conference a success. D E P A R T M E N T