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• Cover Design: John Berton and John Miller, graduate students in the Computer Graphics Program in the Department of Art Education at OSU. The image was produced by creating three-dimensional objects based on a section of the score for The Perfect Stranger by Frank Zappa. Berton and Miller used techniques developed at the Computer Graphics Research Group at OSU and at Cranston/ Csuri Productions, Inc. to overlay additional objects with textured surfaces based on the original background image. - - - - - THE AMERICAN SOCIETY OF UNIVERSITY COMPOSERS NINETEENTH ANNUAL FESTIVAL CONFERENCE

THE OHIO STA TE UNIVERSITY COLLEGE OF THE ARTS SCHOOL OF MUSIC COLUMBUS, OHIO

APRIL 4-8 I 1984 THE AMERICAN SOCIETY OF UNIVERSITY COMPOSERS NINETEENTH ANNUAL FESTIVAL CONFERENCE

Gregory Proctor Thomas Wells CONFERENCE Co-CHAIRMEN

Helen Brown David Butler Gregory Proctor Thomas Wells EXECUTIVE COMMITTEE

Andrew Broekema Helen Brown David Butler Cindy Bylander David Meeker Gregory Proctor Rocky Reuter Dean Roush Thomas Wells Cheryl Wierman Neal Yocom PLANNING COMMITTEE

Helen Brown David Butler David Garcia Henry Panion p APERS AND PRESENTATIONS Ann Blombach Cindy Bylander LOCAL ARRANGEMENTS Eric Lewandowski Robert Hare Richard Payne FINANCIAL ADVISORS Rocky Reuter CONCERT COORDINATOR Neal Yocom TECHNICAL COORDINATOR Dean Roush In Sook Choi COMPOSER/PERFORMER LIAISON Susan Jenkins PUBLICITY COORDINATOR Henry Panion FAWCETT CENTER COORDINATOR Brian Gaber TRANSPORTATION COORDINATOR Cheryl Wierman HOSPITALITY EVENTS AND TRADE SHOW COORDINATOR Evelyn Conti Yvonne Saylor BOOKKEEPING Helen Meers SECRETARY This Conference is made possible through the support of the following organizations:

College of the Arts, The Ohio State University School of Music, The Ohio State University Office of Research and Graduate Studies, The Ohio State University Office of Minority Affairs, The Ohio State University Development Fund, The Ohio State University National Endowment for the Arts Ohio Arts Council Ohio Humanities Council Greater Columbus Arts Council

& Ohio Arts Council The American Society of University Composers American Society of Composers, Authors, and Publishers Broadcast Music, Incorporated The Columbus Foundation The Gerlach Foundation Eugene C. D'Angelo, Jr. Phi Kappa Phi Meet the Composer with support from the National Endowment for the Arts, American Telephone and Telegraph Company, American Society of Composers, Authors, and Publishers, Avon Products Foundation, Bristol Meyers Company, Broadcast Music, Inc., Equitable Life Assurance Company of the United States, Grace Foundation, Metropolitan Life Foundation, NL Industries Foundation, Inc., The Martha Baird Rockefeller Foundation for Music, The Helena Rubenstein Foundation, Warner Communications, and Xerox Corporation. Central Ohio Composers Alliance James Strauss, Stanton's Sheet Music The Venetian Restaurant The Columbus Symphony Orchestra Mus-i-Col, John Hull The Hyatt Regency Columbus Greater Columbus Convention and Visitors Bureau Dear ASUC Member, It is with great pleasure that I join our College of the Arts and School of Music in welcoming you to The Ohio State University. We are proud to host the Nineteenth Annual Festival Conference of the American Society of University Composers. Support of contemporary arts is absolutely necessary if we are to continue to progress as a culture. An important musical event such as this is certain to have a positive impact on both the University and sur­ rounding communities. The concerts, panels, and paper presentations form a program that promises to be exciting and challenging. I hope that you will enjoy your visit to our Columbus campus, and wish you a most successful Festival Conference. Edward H. Jennings, President, The Ohio State University

Dear ASUC Member: We value guests on our campus. You bring to us a perspective that is important to our role in the music profession, but more importantly your energies help to give us new insights for our instructional pro­ grams. We are glad that you are here. It is our hope that this year's conference will provide a new vitality to the music composition profes­ sion. Performances are an opportunity to hear what the creative spirits hear, and we cherish the events of the conference as they elevate the music creator to a position of prominence. The experimentation of the composer is balanced by the successes of the performers. Hopefully, the conclusion of the conference will stengthen our collective resolve to do more. We welcome you to our campus. Enjoy our resources, our faculty and students, and especially our hospitality. Andrew J. Broekema, Dean, College of the Arts

It is a privilege for The Ohio State University to host the national conference of The American Soci­ ety of University Composers. The program is an exciting one, requiring many hours of dedication and imagination on the part of the local committee. I hope that when you leave our campus you will have been challenged both musically and academically. David L. Meeker, Director, School of Music 8:30-10:30 ANALOG AND DIGITAL SOUND SYNTHESIS PAPERS Room 10 David Keane (Queen's University), Moderator James T. Talley (OSU), Chair A GRAPHIC APPROACH TO COMPUTER MUSIC SOFTWARE Monroe Couper Kingsborough Community College AVANT-GARDE SOUND-ON-FILM TECHNIQUES OF THE 1930's: RELATIONSHIPS TO ELECTRONIC MUSIC Richard James Bowling Green State University ALGORITHMIC COMPOSITION IN APL AND MPL Gary Nelson Oberlin College 9:15-10:30 ANALYSIS SYMPOSIUM AH THE TEACHING OF STRAVINSKY'S SURGE, AQUILO FROM CANT/CUM SACRUM Elliott Schwartz (Bowdoin College), Richmond Browne University of Michigan Moderator Howard Cinnamon William P. Dougherty (OSU), University of Michigan Chair Gregory Proctor The Ohio State University 10:45-12:00 PLENARY SESSION AH Richard Hervig, Chairman Elliott Schwartz, Chairman-elect ASUC National Council Frank Zappa Keynote Speaker

12:15-1:00 LECTURE-RECITAL AH THE SONG CYCLE AS ENTITY: BRITTEN'S WINTER WORDS

Douglas Anderson (OSU), Chair Arthur Komar University of Cincinnati David Adams, Tenor University of Cincinnati 1:15-2:30 CONCERT Weigel Hall Auditorium RELACHE The Ensemble for Contemporary Music Philadelphia, Pennsylvania

Joseph Franklin, Executive Director Tina Davidson, Associate Director Romulus Franceschini, Chief Advisor The Black Page Frank Zappa Paramell VI Stephen Montague Lanterns and Candlelight Barney Childs Wind Symphony Daniel Goode FIVE MINUTE PAUSE Palindromes II Paul Epstein The Well, Parts II and III Pauline Oliveros The Black Page Frank Zappa Barbara Noska, voice Charles Forbes, cello Laurel Wykoff, flutes Florence Ierardi, percussion Wesley Hall, clarinets Robert Zollman, percussion Marshall Taylor, saxophones Guy Klucevsek, accordion Steven Marcucci, saxophones John Dulik, piano Pauline Oliveros, Accordion (Guest Artist) 2:45-5:00 CONCERT Weigel Hall Auditorium

Reflections II George Heussenstamm Cathy Callis, piano Levitation Gary White The Ohio State University Flute Choir Overda' Page, Director Drawings Sydney Hodkinson Calvin Bolton, Cary Dachtyl, Susan Martin, percussion Music for Piano, Number 5 Jonathan Kramer Frank Weinstock, piano The University of Cincinnati Layers John Melby Neal Yocom, technician Jaltarang Alex Lubet The Ohio State University Composers Workshop Ensemble

INTERMISSION Im Silberwald Yehuda Yannay John Allen, trombone Yehuda Yannay, glass harmonica Neal Yocom, technician

Music for Chief Joseph Greg Steinke Greg Steinke, oboe John Allen, Louis Bourgeois, Jeff Henderson, Joseph Ouchi, trombones

Piano Sonata Number 3 Henry Martin Frank Weinstock, piano

As Fast as a Rag Norman Dinerstein Frank Weinstock, piano

Pentecost Don Freund Donna Williams, soprano; Marcia Strom, flute Tom Goodrich, viola; Mark Nicholas, piano John Allen, trombone; Susan Martin, percussion Howard Meeker, conductor 8:00 P.M. URBAN 15 - PAULINE OLIVEROS - JERRY HUNT CONCERT Weigel Hall Auditorium El Senor de los T emblores J. George Cisneros Breaking Down the Motion J. George Cisneros Wings of Peace J. George Cisneros Urban 15 San Antonio, Texas David Calderon, percussion Gerard Villanueva, percussion Sandy Dunn, percussion, dance Catherine Cisneros, electronics, dance, sets David Davies, percussion, voice Oscar De Los Santos, production technician George Cisneros, percussion, artistic director

INTERMISSION

Rattlesnake Mountain Pauline Oliveros The Seventh Mansion Pauline Oliveros Pauline Oliveros accordion, electronics INTERMISSION Ground: Haramand Plane Jerry Hunt Jerry Hunt actor, live electronics An Alarming Situation Michael Schell Michael Schell, Neal Yocom, technicians The Ohio State University Composers Workshop Ensemble l It is with great pleasure that we welcome all participants to this ASUC Festival Conference. We have reduced the number of works performed from that of previous conferences and have increased the number of papers, panels and lecture-demonstrations with the goal of designing a more tractable pro­ gram. Selection of compositions was difficult, with over 1000 scores submitted. Our goal was to design programs that represent a broad range of styles and to encourage composers whose works have not been heard at ASUC Festival Conferences in the past. We are especially indebted to our colleagues at OSU, especially the members of the ASUC student chapter and other graduate and undergraduate students who have invested their talent and time to make this event possible. Gregory Proctor, Thomas Wells, Conference Co-Chairmen

As the new chairman of the American Society of University Composers, I am delighted to welcome you to the Nineteenth Annual ASUC National Conference. The Ohio State University, with its outstanding programs in such areas as sound synthesis, the study of musical perception, and twentieth century analysis, provides a unique focus for our conference, and the additional presence of composer Frank Zap­ pa - whom we welcome as our special guest - will be especially stimulating and thought-provoking. The events planned for the next few days at The Ohio State University - including visits by the Col­ umbus Symphony Orchestra, Columbus Pro Musica, the performance of sixty-five works by ASUC member composers and more than forty papers and panel discussions on a variety of topics - promise to make this one of the ASUC's most exciting conferences. We appreciate the cooperation of The Ohio State University School of Music - and we offer very special thanks to Thomas Wells, Gregory Proctor, Helen Brown, and David Butler of the ASUC/OSU steering committee - for making it all possible! On the occasion of the 1984 National Conference, we want to extend our special appreciation to outgo­ ing national chairman Richard Hervig. We all know him as one of the country's most distinguished (and, judging from the universal admiration of his students, most effective!) composition teachers, a major in­ fluence behind the founding of the Center for New Music at the University of Iowa, and a man who has devoted his professional life - as composer, administrator and teacher - to the furtherance of contem­ p9rary American music. His tenure as ASUC national chairman has been marked by increased vitality at our organization's regional levels, and important national conferences in Cincinnati, Seattle and Baton Rouge. Thanks very much for a job well done! Elliott Schwartz, Chairman-elect, ASUC National Conference. CONFERENCE Coffee available between morning Papers, lecture-demonstrations, panels, and and between afternoon sessions. registration are in the Fawcett Center. AH-Assembly Hall WEDNESDAY, APRIL 4 THURSDAY, APRIL 5 1:00-9:00 REGISTRATION 8:00-5:00 REGISTRATION 3:00-5:00 MEETINGS: National Council and 8:15-9:00 LECTURE-RECITAL AH Executive Committee. TBA "OH MY EARS AND WHISKERS" M. Udow and N. Udow 5:00-6:00 No-host cocktail party Rm.10 8:30-10:30 PAPERS Rm. 4 8:15 CONCERT: Columbus Pro Musica Minimalism: Cultural and Historical Chamber Orchestra Perspectives 8:30-10:30 PAPERS Rm. 10 Analog and Digital Sound Synthesis 9:00-5:00 TRADE SHOW Rms. 1, 2, 3 9:15-10:30 ANALYSIS SYMPOSIUM AH The Teaching of Stravinsky's Surge Aquila 10:45-12:00 PLENARY SESSION AH Frank Zappa, Keynote Speaker 12:15-1:00 LECTURE-RECITAL AH Britten's Winter Words Komar, Adams 1:15-2:30 CONCERT: Re lac he 2:45-5:00 CONCERT 8:00 CONCERT: Urban 15, Pauline Oliveros, Jerry Hunt 10:30-12:00 RECEPTION, OSU FACULTY CLUB CONCERT: ELECTRONIC MUSIC AT MIRROR LAKE TIME PLAN All concerts are in Weigel Hall unless otherwise specified.

FRIDA y I APRIL 6 SATURDAY, APRIL 7 8:00-5:00 REGISTRATION 8:00-5:00 REGISTRATION 8:15-9:45 PAPERS Rm. 10 8:30-9:30 BUSINESS MEETING Rm.10 American Music I 9:00-5:00 TRADE SHOW Rms. l, 2, 3 8:30-9:45 PANEL Rm. 4 9:45-11:45 PAPERS Rm.4 Professional Services for Composers Nontonal Pitch Organization 9:00-5:00 TRADE SHOW Rms. 1, 2, 3 9:45-11:45 PAPERS Rm. 10 10:00-11:45 PANEL Rm. 4 Music Perception Research and the Composer Computer Music on Both Sides of the Atlantic 12:00-1:00 LUNCHEON MEETING Venetian Restaurant 10:00-12:00 PANEL Rm. 10 Executive Committee and National Council Graduate Programs in Composition 1:15-5:00 CONCERT 1:15-2:45 CONCERT 5:15 CONCERT: Cranston Center 3:00-3:45 LECTURE-RECITAL Electronic Music Plus Hello Dolly Transfigured 8:30 CONCERT: London, Smith THE COLUMBUS SYMPHONY ORCHESTRA 4:15 CONCERT 10:00-12:00 GALA RECEPTION Rms. C, D 5:45-7:45 COCKTAILS AND BANQUET: Hyatt Regency Columbus SUND A y I APRIL 8 8:30 CONCERT: OSU Wind Ensemble and Choral Organizations 9:00-9:30 COFFEE Rm.10 9:30-11:30 PAPERS Rm.1 American Music II 10:00-11:30 PANEL Rm.4 Time and Music WEDNESDAY, APRIL 4

1:00-9:00 P .M. REGISTRATION Registration Desk, Fawcett Center

3:00-5:00 MEETING, ASUC NATIONAL COUNCIL TBA-Fawcett Center AND EXECUTIVE COMMITTEE

5:00-6:00 COCKTAILS (No-host) Room 10

7:30-8:00 P.M. PRE-CONCERT TALK Weigel Auditorium Thomas Heck (OSU), Moderator 8:15 P.M. CHAMBER ORCHESTRA CONCERT

Pro Musica Chamber Orchestra of Columbus Timothy Russell, Music Director Garden Robert Erickson Elena Bergen, violin Spring Road Bruce Reiprich Marajean Marvin, soprano Naval Aviation in Art? Frank Zappa

INTERMISSION Naval Aviation in Art? Frank Zappa Art Deco David Noon THURSDAY, APRIL 5 8:15-9:00 A.M. LECTURE-RECITAL AH "OH MY EARS AND WHISKERS" Rocky Reuter (OSU), by Chair EQUILIBRIUM Michael Udow, Percussionist Nancy Udow, Dancer University of Michigan 8:30-10:30 PAPERS Room 4 MINIMALISM: CULTURAL AND HISTORICAL PERSPECTIVES Cathy Callis (Capital University), Moderator Cheryl Wierman (OSU), Chair MINIMALISM HAS ALWAYS BEEN HERE Daniel Goode Rutgers University REDUNDANCY EFFECTS IN MUSICAL PROCESSES GENERA TED BY COMPUTER William Matthews Bates College PATTERN STRUCTURE AND PROCESS IN STEVE REICH'S PIANO PHASE Paul Epstein Temple University THE INFLUENCE OF AMERICAN MINIMALISM IN EUROPE Stephen Montague London, England 7:45-8:15 P .M. PRE-CONCERT TALK Weigel Hall Auditorium 8:30 CONCERT Weigel Hall Auditorium OSU Wind Ensemble and Concert Band with OSU Chorale and Symphonic Choir Craig Kirchhoff, Director of Bands; Conductor Maurice Casey, Director of Choral Organizations Edwin London, Guest Conductor

Fanfare for Elizabeth Allen Bonde Tarr Dexter Morrill

Soundings David Liptak

INTERMISSION

Of Skin and Metal Garth Drozin

Brian Gaber, Terry Everson, Kevin T. Dines, Charles Gates, trumpets Neal Yocom, technician

Psalm of These Days V Edwin London Edwin London, Conductor 4:15 CONCERT T rombonehenge Charles Hoag The Ohio State University Trombone Choir Joseph Duchi, director

B. B. Wolf: An Apologia John Deak

Paul Robinson, contrabass

Variations Arlene Zallman

Mark Lieb, clarinet Ruth Stroud, violin Mark Nicholas, piano

Tesserae VIII Brian Fennelley

John Sampen, alto saxophone Bowling Green State University Five Ceremonial Masks Ruth Lomon

Rosemary Platt, piano

5:45-7:45 COCKTAILS AND BANQUET Hyatt Regency Columbus 1:15-2:45 CONCERT Weigel Hall Auditorium

Quintet John Harbison The Lyric Wind Quintet Overda Page, flute John Norton, clarinet William Baker, oboe Robert Cochran, bassoon Charles Waddell, horn Landscapes Joseph Baber The Ohio State University Cello Ensemble Marajean Marvin, soprano William Conable, director Go Gentle Ann Silsbee Carmen Cool, Karen Barnick, John Yount, oboes Liquid Gold Mary Jeanne van Appledorn James Hill, alto saxophone Cathy Callis, piano Portraits #2 John Downey Thea King, clarinet Bob Thompson, bassoon The University of Wisconsin-Milwaukee Ninnananna Edward Miller Sylvia Hummel, soprano Ann Roush, Dean Roush, harps

3:00-3:45 HELLO DOLLY TRANSFIGURED LECTURE-RECITAL Edwin London Howie Smith Cleveland State University 10:00-11:45 COMPUTERMUSICONBOTHSIDESOFTHEATLANTIC PANEL Room4 Gary Kendall Monroe Couper (Northwestern University), Kingsborough Community College Moderator William Hartmann Michigan State University James T. Talley (OSU), Bo Tom}yn Chair Yamaha International David Wessel IRCAM, Paris

10:00-12:00 GRADUATE PROGRAMS IN COMPOSITION: PANEL RoomlO PEDAGOGICAL RESPONSIBILITIES Sydney Hodkinson Richmond Browne (Eastman School of Music), University of Michigan Moderator Cleve Scott Ball State University James Marshall Peter Ware (Whitman College), Kent, Ohio Chair Pauline Oliveros, respondent Mt. Tremper, New York FRIDAY, APRIL 6 8:15-9:45 AMERICAN MUSIC I: STYLES AND TECHNIQUES PAPERS Room 10 Stephen Montague (London, England), Moderator Anthony Kosar (OSU), Chair CONLON NANCARROW'S STUDIES FOR PLAYER PIANO James Greeson University of Arkansas TWELVE-TONE STRUCTURES IN THE MUSIC OF ELLIOTT CARTER Andrew Mead University of Michigan COMPOSITIONAL TECHNIQUES IN PAULINE OLIVEROS'S SONIC MED ITA TIO NS Heidi Von Gunden University of Illinois 8:30-9:45 PROFESSIONAL SERVICES FOR COMPOSERS PANEL Room4 Joel Chadabe Nancy Clark (SUNY Albany), American Music Center Moderator John Duffy Meet the Composer Maria Annoni (OSU), Chair Margaret Jory American Society of Composers, Authors, and Publishers Barbara Petersen Broadcast Music, Incorporated 10:30-12:00 P .M. RECEPTION (cash bar) OSU Faculty Club

10:30-12:00 MUSIC AT MIRROR LAKEt Adjacent to OSU Faculty Club

Machupichu J. George Cisneros

Dedication Clang Donald Andrus

Larry Austin

Parentheses John Jeffrey Gibbens

At Daggers Drawn Robin Heifetz

As it grew dark ... Paul Lansky tin the event of inclement weather, Machupichu will not be performed and the other works will be performed in the Faculty Club String Trio in Three Movements Glenn Gass Michael Butch, violin Tim Mika, viola Scott Michal, cello

lrreveries from Sappho Elizabeth Vercoe Judy Reuter, soprano Rosemary Platt, piano

Beneath the Horizon Priscilla Mclean Jim Akins, tuba Neal Yocom, technician

Trio No.1 Dinos Constantinides Gail Stadelman, violin Karen Ball, cello Thomas Wells, piano

The Laments of Orpheus and Narcissus Steven Paxton (with a Ritornello signifying the passage to death/immortality through the medium of water)

The Ensemble for New Music, Miami University, Oxford, Ohio William Bausano, baritone Joseph Hickey, percussion Sandra Seefeld, flute Michael Engberg, electronics Robert Thomas, piano C. James Sheppard, conductor The Night Rainbow Peter Ware John Norton, clarinet Ed Adelson, viola Mark Nicholas, piano

Music for Violin and Piano John White Michael Davis, violin Rosemary Platt, piano

Matin Richard Festinger Sally Radell, Tracy Blustein, dancers and choreographers Neal Yocom, technician

PRESENT A TI ON ASUC/SESAC STUDENT COMPOSITION AWARD Herbert Johnson, Vice-President, SESAC Elliott Schwartz, Chairman-elect, ASUC National Council Glenn Gass, first-prize winner David Kowalski, seconc:!-prize winner

INTERMISSION 12:00-1:00 LUNCHEON MEETING, The Venetian Restaurant ASUC National Council and Executive Committee

1:15-5:00 CONCERT Weigel Hall Auditorium

The Search Ernesto Pellegrini The Ball State University New Music Ensemble Cleve Scott, Conductor

Fat Piece Bruce Taub Cary Dachtyl, Brian Dodd, timpani

Moments Musicaux Martin Brody Mark Nicholas, piano Neal Yocom, technician

Broken Images Gerald Chenoweth Ed Adelson, viola William Conable, cello 9:45-11:45 PAPERS Room 10 MUSIC PERCEPTION RESEARCH AND THE COMPOSER William Poland (OSU), Moderator Mark Rush (OSU), Chair

MUSICAL PITCH PERCEPTION: TOWARD A MORE COMPLETE MODEL William Hartmann Michigan State University

SOUND AND SPACE SYNTHESIS RESEARCH Gary Kendall and William Martens Northwestern University

PERFORMANCE SPACE, RITUAL, AND ILLUSION Elliott Schwartz Bowdoin College

PERCEPTUALLY BASED AIDS TO COMPOSITION David Wessel IR CAM 9:45-11:45 PAPERS Room 4 NONTONAL PITCH ORGANIZATION: PERCEPTION AND PEDAGOGY Robert Morris (Eastman School of Music), Moderator E. Michael Harrington (OSU), Chair

STRUCTUAL CHARACTERISTICS OF HARMONIC AREAS DEFINED BY PITCH-CLASS SETS James Bennighof University of Iowa COMPOSITIONAL EXPERIMENTS WITH PITCH SETS - A CREATIVE PEDAGOGY Thomas Clark North Texas State University

HEARING AGGREGATES: LINEAR ARTICULATION OF THE SET as Linear Articulator Bruce Samet Cranbury, New Jersey

- - - -- SATURDAY, APRIL 7

8:00-8:30 A .M. COFFEE Room 10

8:30-9:30 BUSINESS MEETING Room 10 Richard Hervig, Chairman ASUC National Council Elliott Schwartz, Chairman-elect ASUC National Council Reynold Weidenaar, Acting Chairman ASUC Executive Committee Gerald Warfield, General Manager ASUC Sonata for Violin and Piano Ellen Z willich Michael Davis, violin Rosemary Platt, piano

Pulse Reed Holmes Tracey Blustein, M. Kathleen Christmas, Carolyn Burns, Amie Dowling, Lisa Goldberg, Laura Hickock, Laurel Lockridge, dancers Tracey Blustein, choreographer

5:15 ELECTRONIC MUSIC PLusr Cranston Center

Due to limited seating capacity, admission is by ticket only. Tickets are available to registrants at the Fawcett Center registration desk at no charge, on a first-come, first-served basis.

Night Flame Ritual Reynold Weidenaar F. Gerard Errante, clarinet

For Clarinet and Tape Martin Wesley-Smith F. Gerard Errante, clarinet

tThis concert is dedicated to the memory of Peter Tod Lewis Echo, in Amber C. James Sheppard prelude, Apparition 1 (counterpoint) interlude prelude, Apparition 2 (organ point) postlude C. James Sheppard, electronic valve instrument, digital delay, electonic tape Litball Charles Csuri

Follow Me Softly Joel Chadabe

Q Gary Nelson Mary Nelson, flute On the Beach at Fontana James Wagoner Judy Reuter, soprano

The Hidden Agenda Susan Amkraut

Probably the Wind John Berton Sonorisma Cleve Scott Fredrick Miller, cello

Playback system for the Cranston Center Concert is furnished through the kindness of Cleve Scott, Director, Electronic Systems for Music Synthesis at Ball State University, M uncie, Indiana

7:30-8:00 PRE-CONCERT TALK Weigel Hall Auditorium 8:30 P.M. CONCERTt Weigel Hall Auditorium The Columbus Symphony Orchestra Christian Badea, Music Director Intrusus Mark Phillips

Liturgy Nancy Laird Chancel Triple Play William Kraft

INTE~MISSION PRESENTATION Of LIFE MEMBERSHIP IN ASUC TO MR. }OHN DUFFY Richard Hervig, Chairman ASUC National Council Elliott Schwartz, Chairman-elect ASUC National Council Ensemblance Peter Child Transparent Things Steven Stucky The Perfect Stranger Frank Zappa 10:00-12:00 P.M. GALA RECEPTION Fawcett Center Rooms C, D lThis concert is dedicated to the memory of Norman Dinerstein tThis premiere performance of Nancy Chance's wprk is made possible by the ASCAP/ Nissim Award SUNDAY, APRIL 8

9:00-9:30 A.M. COFFEE Room 10

9:30-11:30 AMERICAN MUSIC II: RETROSPECTIVES PAPERS Room 1 Leo Kraft (City University of New York), Moderator Susan Jenkins (OSU), Chair

THE AMERICAN COMPOSER AS AUTHOR Marshall Bialosky ' '• California State University, Dominguez Hills THE SIXTIES: BONANZA OF CHORAL MUSIC Dorothy E. Drennan · University of Miami ------

SILENCE AFTER CAGE Michael Hicks The University of Illinois

ROGER SESSIONS AS A TEACHER Andrea Olmstead The Boston Conservatory

10:00-11:30 TIME AND MUSIC PANEL Room4 Laurel Fay (OSU), Moderator Barney Childs D. Manuel Garcia (OSU), University of Redlands Chair

David Epstein Massachusetts Institute of Technology

Jonathan Kramer University of Cincinnati ASUC 1 84 Program Errata

The ASUC Nineteenth Annual Festival Conference acknowledges the support of The Ohio State University Jewish Foundation. John Hetrick (OSU) serves as Conference Recording Technician. · Laurel Fay (OSU) and Charles Atkinson (OSU) serve as participants in the Pre-Concert Talks.

THURSDAY 8:30-10:30 a.m. ANALOG AND DIGITAL SOUND SYNTHESIS Room 10 Thomas Wells (OSU), Moderator 2:45 p.m. CONCERT QUINTET by John Harbison performed by the Lyric Wind Quintet (OSU), begins the concert. MUSIC FOR CHIEF JOSEPH and DRAWINGS by Sydney Hodkinson will be exchanged in the concert order.

8:00 p.m. CONCERT by URBAN 15 David Calderon will not be present. Dallas Mayer serves as . technician.

FRIDAY 10-12 noon GRADUATE PROGRAMS IN COMPOSITION Room 10 Richard Hervig (University of Iowa) , Moderator 1:15 p.m. CONCERT VARIATIONS by Arlene Zallman will replace QUINTET by John Harbison. LEVITATION by Gary White will replace GO GENTLE by Ann Silsbee.

4:15 p.m. CONCERT TROMBONEHENGE by Charles Hoag Timothy Muffitt, conductor B. B. WOLF: AN APOLOGIA by John Deak Paul Robinson, double bass GO GENTLE by Ann Silsbee will replace VARIATIONS by Arlene Zallman.

8:30 CONCERT Performers for TARR are erroneously listed under OF SKIN AND METAL.

TABLE 0 F CONTENTS

Abstracts of papers and panels 2

Abstracts of lecture-recitals • 16

Program notes . 18

Biographies of participants 41

Ensembles and organizations 62 ABSTRACTS

Papers and Panels

MINIMAL ISM: CULTURAL ANO HISTORICAL PERSPECTIVES Thursday, April 5 8: 30-10: 30 AM

MINIMALISM HAS ALWAYS BEEN HERE Daniel Goode Rutgers University The definition of minimalism can be considered to include much of world music and portions of early Western music, as well as the music commonly considered minimalis­ tic. The definition hinges on the concepts of process and information. Audience involvement is a special characteristic shared by some Western minimalism and some world musics. By contrast, Western art music from the classic period to our own is best described under the rubric "collage-of-processes." From within the Western art-music tradition, certain composers' works seem to presage aspects of minimalism, even to influence it. Finally, minimalism presents the possibility of a cultural development far more radical than did serialism, which may be why it has evoked"such a torrent of abuse from the establishment.

REDUNDANCY EFFECTS IN MuSICAL PROCESSES GENERATED BY CoMf'UTER William Matthews Bates College Stemming from the author's hypothesis about redundancy effects in human perception and short-term memory, experiments were conducted to see if subjects react to osti­ nati in ways that indicate perceptual invariables. The implications for composi­ tional strategy will be discussed, and examples will be played.

PATTERN STRUCTURE AND PROCESS IN STEVE REICH'S Piano .Phase Paul Epstein Temple University Piano Phase is an example of a musical process that, once defined, is allowed to run its course without further intervention on the part of the composer. The musical material of the piece will be examined in relation to the phasing process employed to animate it. Stages in the process will be isolated in order to look at such things as the emergence of resultant (composite) structures and their effects on the degree of recognizability of the original pattern. Emphasis will be placed on questions raised by the perception of discontinuous events within the continuous process.

2 THE INFLUENCE OF AMERICAN MINIMALISM IN EUROPE Stephen Montague London, England Europeans have traditionally considered themselves the source of Western culture; their former colonies, the importers. In the twentieth century these roles have begun to change. Over the past decade and a half, one of the USA's most important musical exports has been a so-called "minimal i.sm." Terry Riley, Steve Reich, and Philip Glass toured Europe in the early 1970's, and their uniLouis Andriessen, Simon Bainbridge, and others have neatly combined the American import with their own rich c ultural heri­ tage.

I I

I 3 - - ~ ANALOG ANO 0 I GIT AL 5oUNO SYNTHESIS

Thursday, April 5 8: 30-lO: 30 AM

A GRAPHIC APPROACH TO Ca-1PUTER MJs1c SoFTWARE Monroe Couper Kingsborough Community College This presentation will describe the UPIC, a graphically controlled computer music system developed by Iannis Xenakis and located at the Centre d'ditudes de mathJma­ tique et automatique musicales in Paris. The UPIC is unique both in conception and operation and is of great potential interest to non-technically minded composers interested in computer music. The UPIC system offers some significant advantages to computer music softwar~ direct and intuitive control of the musical score, direct control of the dynamic envelopes of sounds, and extreme ease of operation. Disad­ vantages include idiosyncracies of conception and lack of timbral control. The presentation wil 1 include a description of the equipment, its operation, recorded examples, and comparisons with other computer music systems.

AVANT-GARDE SouNO-ON-FILM TECHNIQUES OF THE 1930's: RELATIONSHIPS TO ELECTRONIC MJs1c Richard James Bowling Green State University The technology of recording sound on photographic film for motion picture sound tracks was perfected in 1930. Composers were quick to realize. the creative as well as practical potential of this advance, developing techniques for sound manipulation and synthesis· that bear striking resemblance to those of later tape music. Com­ posers found they could literally take a picture of a sound, study it, alter it, cut up the sound track film, and then use manipulation and splicing techniques now commonly associated with magnetic tape. Their efforts to synthesize sound by draw­ ing sound-generating patterns on blank film were perhaps most provocative. The author will explain and demonstrate the various sound-on-film techniques and explore their place in our understanding of the advent of electronic music.

ALGORITHMIC CCMPOSITION IN APL ANO MPL Gary Nelson Oberlin Conservatory of Music APL ("A Programming Language" invented by Kenneth E. Iverson) and MPL ("Musical Program Library" written by Gary Nelson) have served as the principal user interface in Oberlin's Computer Music Studio since 1975. APL is an intuitive and interactive language for defining procedures and data structures. MPL is a set of procedures written in APL to facilitate communication between the composer and programs for sound synthesis, musical analysis, and score graphics. A summary of the most sa­ lient features of APL and MPL will occupy the first half of this presentation.

4 APL and MPL have been userl to produce a series of pieces entitled Phase Structures. The compositional goal in these works was to maintain a stylistic unity by dictating microstructure of pitch and rhythm with directed graphs, while creating dramatic gesture and directed motion with time-varying functions that c ontrol parameters such as dynamics, spatial location, tempo, density, and timbre on a macrostructural level. A second set of pieces cal led Webs is concerned with the translation of multidimensional graphic objects into the musical domain. During this presentation, the generative procedures for these works will he illustrated with the aid of sonic and graphic examples.

s f'wAL YS I S SYMPOS I U'1

Thursday, April S 9: 15-10: 30 AM

THE TEACHING OF STRAVINSKY'S "SuRGE, AoUILO" FROM Canticum Sacrum Richmond Browne University of Michigan The tonal implications of Stravinsky's row should be learned aurel l y (through 1 is­ tening and singing) and then extended to c omprehension of the tonal structure of the piece. The concepts of nested invariance and permutation can become aurally clear to the student i n directed exercises, some of which will be demonstrated. Howard Cinnamon University of Michigan This study is focused on the way concordances between subsets of the twelve-tone row and elements of the diatonic sets around A-flat and A are employed to produce a quasi-tonal syntax. The A-flat to (motion, which forms the basi s of tonal organi­ zation in the movement, is expressed on various structural levels. The discussion will detail ways in which "serial" procedures are adapted toward "tonal" ends. The presentation will conclude with an examination of the various ways in which row statements intersect and what these intersections tell us about Stravinsky's compo­ sitional methods. An illustration will be offered to suggest how we may best incorporate this information into our analyses.

6 !'>Mm I CAN Mus I c I: STYLES ANO TECHNIQUES

Friday, April 6 8: 15-9: 45 AM

CoNLON NANCARROW'S Studies for Player Piano James Greeson University of Arkansas While living in virtual seclusion in Mexico City, Conlon Nancarrow has composed forty-six Studies for Player Piano, which exhibit extraordinary rhythmic and propor­ tional sophistication. The earlier studies, largely constructed intuitively, con­ tain distinct jazz influences. Studies l4-19 are strict canons with 1 ines in dif­ ferent temporal ratios. In a third group, canonically related parts accelerate or decelerate at gradual and carefully controlled rates of change. The most recent studies explore irrational temporal relationships between parts, as exemplified by Study 33, subtitled ''Canon /'2/2." The author will examine four of the studies as representatives of these stylistic features and give an overview of Nancarrow's entire output. lie will further illus­ trate the influence of Nancarrow's Rhythm Study Number 1 (published in 1951 in the New Music Edition) on the compositions of Elliott Carter, particularly the latter's String Quartet Number 1.

TWELVE-TONE STRUCTURE IN THE Music OF ELLIOTT CARTER Andrew Mead University of Michigan By con ventiona 1 definitions, Elliott Carter's music is not twelve-tone. However, by redefining the twelve-tone system so that pitch-cl ass order does not imply order in time, it is possible to find many significant developments of serialism since Schoenberg's music. This proves to be a useful tool for analyzing Carter's music, especial 1 y those works containing "twelve-tone chords," which are in fact ref eren­ tial orderings of the twe 1 ve pitch classes, manifested in space. llexachordal combi­ natorial ity, trichordal generation, combinatorial arrays, segmental and non-segmen­ tal partitioning, and order-position invariance are some of the concepts derived from twelve-tone theory that can be used effectively to illuminate the structure of this highly original music. Examples of these devices are illustrated in passages from Carter's Piano Concerto, String Quartet Number 3, A S ymphony of Three Orclies­ tras, and Night Fantasies.

Cc.MPOSITIONAL TECHNIQUES IN PAULINE 0LIVEROS'S Sonic Meditations Heidi Von Gumlen University of Illinois Always in the forefront of new music, Pauline Oliveros has continual] y experimented with compositional techniques. Her musical style has evolved from work with group improvisation, explorations of electronic tape de lay processes, and provocative theatrical use of visual and aural materials. By the early 1970's, all of these influences merged to form a compositional technique cal led "sonic meditation."

7 Jn 1972, Smith Music published a collection of twenty-four pieces by Oliveros enti­ tled Sonic Meditations, which can be performed by musicians and non-musicians alike. lier later meditations, such as The Witness (1979) and Tashi Gomang (1981), can only be performed by virtuoso performers. All of these meditations show how her unique compositional techniques emerged from her earlier mu s ical experiences and were further influenced by her understanding of the breathing and attentional skills used in karate. (Oliveros began studying karate in 1972 and was awarded her black belt in 1981.) This paper is a survey of Oliveros's music, demonstrating the evolution of her compositional techniques. Both sonic and notated musical examples will be used.

8 NaN-TONAL PITCH ORGANIZATION: PERCEPTION ANO PEDAGOGY

Saturday, April 7 9:45-11:45 AM

SrnucTURAL CHARACTER I ST I cs OF HARl"ON I c MEAS DEFINED BY PITCH-CLASS SETS James Bennighof University of Iowa A harmonic area defined by pitch-class set consists of a complete collection of sets of the same set-type; that is, equivalent by transposition or inversion. Composi­ tion using these areas can take advantage of relationships on three levels: 1) between pitch classes, 2) between sets, and 3) between harmonic areas. Graph/theoretical depictions clarify relationships on each level: 1) two pitch classes within an area may be closely related to one another if they occur together in one or more sets in the area (a "consonant" relationship); pitch classes may be more distantly related if they occur in different sets that share one or more common pitch classes; 2) al 1 sets within an area are re 1 a ted by their id en ti cal interval content; moreover, sets within an area may be related to various degrees by sharing one or more common pitch classes; 3) harmonic areas consisting of sets of the same cardinal number may be structural 1 y unique or re lated in pairs by structura 1 isomor­ phism (different areas that are structurally isomorphic provide the opportunity to compose parallel passages with aurally contrasting materfal). Finally, different areas may be related to various degrees based on relationships between the set types of the areas; these relationships include those discussed in recent studies of interval-content similarity and inclusion properties.

c;a..,POSITIONAL EXPERIMENTS WITH P1 fCH SETS~ A CREATIVE PEDAGOGY . Thomas Clark North Texas State University Pitch and interval structures in the "atonal" realm, beyond diatonic/triadic tonal­ ity, present a wealth of possibilities for a young composer to explore. There is a need for conceptual tools to make the exploration of this wider tonal world as rational and systematic as that of traditional. harmony. Pitch sets offer such a concept, as well as serving as useful mechanisms for exploring and understanding many qualities of tonal order. The advantages in a pitch set approach are noted, and basic terms and procedures are defined, with examples and simple tables offered for student use. Then, three sample "recipes" are given for directed compositional experiments using pitch sets in different ways. Broad features of syntax are pre­ scribed, and aural/intuitive choices are suggested for building compositionally useful pitch patterns.

9 HEARING AGGREGATES: LINEAR ARTICULATION OF THE SET AS LINEAR ARTICULATOR Bruce Samet Cranbury, New Jersey This presentation is drawn from the pr!liminarx section of a monograph on the structural functions of aggregates in compositions representing technical and his­ torical "noda 1 points" a long the gamut of aggregate-based twelve-tone practice. The goal of the present pa~er is to show that discrete twelve-tone collections ·can be perceptible, functionally significant elements of musica 1 progressions. The discus­ sion employs examples by Ernst Krenek that apparently are conceptually "clean" with regard to the projection of their constituent set statements; that is, examples in which the composer, by all evidence, was in no way concerned with this matter. The .articulation of the individual set statements has nonetheless turned out to be a critical determinant of audible structure in these cases, indicating the potential structural power that might be found in a more conscious use of such a resource.

10 Music PERCEPTION RESEARCH AND THE Ca1POSER

Saturday, April 7 9:45-11:45 AM

fv\JSICAL PITCH PERCEPTION: TOWARD A MJRE C0"1PLETE MJDEL Wi.lliam Hart mann Michigan State University The perception of musical pitch is a complex neural process comprising several elements that have been identified by psychoacousticians. The peripheral auditory system performs a spectral analysis of the sound wave such that different frequency ranges excite distinct neural channels. A subsequent process regroups the analyzed components to form auditory images of one or more acoustical sources. Concomi- . tantly, the pitch of each image is computed from both timing and spectral informa­ tion a vai lab le in the original analysis channels. The 1 at ter process has been of dominating interest in psychoacoustics for the past century and has motivated con­ siderable physio logica 1 work on the auditory system. An alternative and more cogni­ tive approach to pitch perception emphasizes the structural role that pitches play within a melodic or harmonic context and attempts to systematize and quantify pitch relationships by hierarchic or geometric models. It is interesting to ask whether the psychoacoustical approach and the cognitive approach are similarly valid, if they can coexist, and indeed, whether they can be unified.

SJt!ND AND SPACE SYNTHESIS RESEARCH Gary Kendall and William Martens Northwestern University Many twentieth-century composers have utilized "space" as an aspect of their compo­ sitions. Considering the prevalent awareness of the spatial aspect of music, it is important that we get beyond notions of space that derive from the visual world and that we examine the phenomenon of space from an auditory per spec ti v e. Research into auditory space perception at Northwestern University has led us to some new hypo­ theses about "sound space" and its perceptual dimensions-especially what we are labeling "spatia 1 texture."

PERFORMANCE SPACE, RITUAL, AND ILLUSION Elliott Schwartz Bowdoin College The author· presents a preliminary study of factors common to every musical perfor­ mance~physical space, architecture, the visual impact of instruments, the ritualis­ tic behavior of perf armers and listeners, and the resultant sense of "il 1 usion"-and the degree to which these may (however indirectly) influence compositional decisions.

ll PERCEPTUALLY BASED AIDS TO Ccf.1POSITION David Wessel Tnstitut de recherche et coordination acoustique/musique Paris, France Perceptu;ill y based tools developed to aid a composer in the design and evaluation of his/her m;iterial are proposed. The first, ESQUISSE, provides assistance in the composition of KlanRfarben melodies. The essential representation in ESQUISSE is a timbr e space based on perceived relations among time-variant spectra. With this system one can obtain considerable control over the melodic organization of se­ quences in which timbre changes on a note-to-note basis. The second aid involves a collection of programs that attempt to simulate various perceptual processes for pitch and rhythm. These tools have proven useful in the selection of functional inharmonic spectra and in the specification of the rhythmic fine structure required for e ff ec ti ve phrasing.

12 iiMERICAN M.Js1c I I: RETROSPECTIVES

Sunday, April 8 9:30-11:30 AM

THE iiMER I CAN Ca-1POSER AS AUTHOR Marshall Bialosky California State University at Dominguez Hills The writings of Roger Sessions, Elliott Carter; Aaron Copland, John Cage, Virgil Thomson, and Steve Reich will be examined toil luminate similarities and differences between their musical and 1 iterary works, and to compare these elder statesmen of American music with their younger contemporary. The author will consider the role of the composer as a musical philosopher, as listener, and as guide to his/her own work and that of others.

THE S1xT1Es: BoNANZA OF CHORAL M.Js1c Dorothy E. Drennan Miami, Florida The decade 1960-1970 was one of experimentation and expansion for choral music, mainly as the result of a number of instrumental composers who produced choral works that broadened the spectrum of vocal timbres. Vocal performers were challenged by indeterminate rhythmic and pitch relationships, fragmentation of text, bands of sound, layered sound, unfolding sonorities, and non-melodic vocal production. Inno­ vative elements in some of the major choral compositions of the sixties and the incorporation or adaptation of these elements in the music of subsequent composers will be discussed, supplemented by musica 1 excerpts.

SILENCE AFTER CAGE Michael Hicks University of Illinois There are two broad classical concepts of silence: intervening and framing. Both depend on the assumption of silence as a real phenomenon-sound l essness. 4 '33" is the pivotal work in John Cage's turn from the classical concept of silence to that of silence as a philosophy. Cage's silence is not a phenomenon but an attitude toward human action, a quasi-religious negation of will. This silence is the deci­ sion of an artist, not the experience of an audience. Compositional silence after Cage manifests itself in: 1) various indeterminacies of notation-letting others speak for the composer, vicariously; 2) process music-within a limited vocabulary, out-talking language (cf. Stein and Beckett); and 3) quotation and stylistic synthe­ sis of old music-liturgical silence, deference to superiors.

13 ROGER SESSIONS AS A TEACHER Andrea Olmstead Boston Conservatory The author explores the influence of Roger Sessions as a teacher of composition at Princeton University for thirty - three years, at the University of California at Berkeley and at the Juilliard School for sixteen years. The presentation, based on six years of interviews with the composer, traces the history of Sessions's career as a teacher; quotations from the interviews recount his own views about the subject of teaching composition. Interviews were held with many students whose views of the impact of Sessions's teaching constitute the substance of the paper. Composers (listed in the order that they studied with Sessions) include: Lehman Engel, Miriam Gideon, David Diamond, Edward T. Cone, Carter Harmon, Milton Babbitt, Vivian Fine, Dika Newlin, Mark Schubart, Leon Kirchner, Eric Salzman, Jerome Rosen, William Mayer, Harold Schiffman, Paul Turok, Donald Martino, David Lewin, Joan Eaton, and John Harbison. Finally , the paper confronts the image of Sessions, promoted in the popular press, as the university composer, dictating how music should be written from the "Ivory Tower." The responses of those who studied with him explode this myth. Taken together, Sessions's own views, his students' recollections, and his journalistic image present a clear picture of the true impact of Sessions' s teaching.

14 PANEL DISCUSSION

Sunday, April 8 10: 00-11: 30 AM

TIME AND M.Js1c Barney Childs University of Redlands David Epstein Massachusetts Institute of Technology Jonathan Kramer University of Cincinnati The study of time in music has grown considerably in recent years, thanks in part to the publications of the three panelists. In this panel they will turn their atten­ tion to the question of proportion-the relative lengths of sections, relative tempo ratios, etc. They wil 1 consider a variety of music-contemporary, tonal, and non­ Western.

15 Leclure-Recltals

l ECTURE -REC I r Ill

Thursday, April 5 8: 15-9:00 AM

"OH MY EARS AND WHISKERS" BY EOUILIBRIUM Michael Udow, percussionist Nancy Udow, da.ncer University of Michigan This performance represents a new investigation into the area of interdisciplinary co-composition. "Oh My E:ars and Whiskers• is the collaboration of Michael Udow as composer and percussionist, and Nancy Udow as choreographer and dancer.

LECTURE-RECITAL

Thursday, April 5 12: 15-1: 00 PM

THE ~NG CYCLE AS ENT I TY: BENJAMl_N BRITTEN'S Winter Words Arthur Komar, pianist David Adams, tenor University of Cincinnati Winter Words is a collection of settings of various texts by Thomas Hardy. In this lecture-recital, the presenter will attempt to show how Britten's eight musical settings cohere to form a musical entity. Excerpts from individual songs wi 11 be performed throughout the lecture; the entire cycle wi 11 be presented to conclude the program.

16 LECTURE-RECITAL

Friday, April 6 3:00-3:45 PM

Hello Dolly TRANSFIGURED Edwin London Howie Smith Cleveland State University Depending on context, whether historical, musical, rhetorical, political, metaphysi­ cal, theanthropic, or what have you, there are, from various vantage points, appar­ ent gradations, sma 11 to large, which characterize a continuum between two musical processes, composition and improvisation. The prototypical American popular musical comedy song is generally considered to be a formulated and structured compositional entity, or at least, discretely identifi­ able as a closed entity within a larger work. Traditionally, this popular song is transportable from its natural habitat in the theatre to other locales as a vehicle for improvisation; in many instances its use as improvisational source obscures, through an overload of new trappings, its original identity until that visage fades from view-replaced by new shapes, rationalized by new i ntentions. This lecture will apply traditional analytic and descriptive techniques as well as other suggestions to such a song, llello Dolly. It will attempt to validate its existence and trace its history through progressive, multifarious stages of metamor­ phosis as effected by compositional and improvisational development. If the lecture sheds light on similarities or differences between composition and improvisation, it will have succeeded. If the lecture somewhat conceals the bounda­ ries between composition and improvisation, it wil 1 have succeeded.

17 PROGRAM NOTES

CHAMBER ORCHESTRA CoNCERT

Wednesday, April 4 8: 15 PM

SPRING ROAD Bruce Reiprich Pitch relationships within the first movement, 'toing Home," are generated by the ubiquitous presence of three unordered tetrachords. Since each tetrachord is asso­ ciated with a particular idea of the text in the manner of a leitmotif, an abstract dialogue between the soprano and orchestra unf.olds subtly and, perhaps at times, subliminally . The second movement, "Conch," is a freely treated variation form. A succession of four different pitch-sets, each initially associated with one of the first four sentences of text, serves as "theme~ The six variations that follow without pause use transpositions and reorderings of the original pitch-set presentation and at times develop gestures originally associated with the "theme." Furthermore, re­ frains of this villanelle are highlighted by a corresponding musical return of gesture and untransposed pitch-set. In Spring Road, one is expected to perceive an emotional conflict and progression from the alienation, Cinderella- co lo red cynicism and resignation of "Going Home" to the gentleness and quiet serenity of "Conch." But when paired with "Going Home," does "Conch" ultimately address resolution-or regression?

NAVAL AVIATION IN ART7 Frank Zappa Naval Aviation in Art 1 was recently given its world premiere in Paris under the direction of Pierre Boulez. This is the work's American premiere.

ART DECO David Noon Art Deco reflects, after the passage of over half a century, the great exposition des Arts Decoratifs et Industriels in Paris in 1925. The international exposition was a perfect expression of the extravagances of Paris during the 1920's. Marked by its opulence and exclusiveness, Art Deco embraced every area of the decorative arts including furniture, jewelry, painting, graphics, bookbinding, glass, and ceramics. Art Deco musical! y il 1 uminates different aspects of the great Paris exposition in 1925. The first movement, "Pont Alexandre III," refers to the m"lin entry point of the exposition grounds proper. That bridge crosses the Seine River and led directly to the international fair grounds. "Rags," the second movement, alludes to the i mportance and popularity of ragtime in the 1920's, music heard in the salons, halls, and restaurants of the exposition. The third movement, "Lalique," is an homage to the master Art Deco g.lassmaker Rene Lalique, whose work was featured at the exposition. The fina 1 movement. "M bira" (a native African instrument al so known as the African thumb piano), indicates the influence of African art on the general style of Art Deco. Art Deco was completed in the Summer of 1982, while the composer resided in Aspen, Colorado. The score is marked: in memoriam Igor Stravinsky and celebrates the hundredth anniversary of that composer's birth.

18 CoNcrnT: RELACHE

Thursday, April 5 1:15-2:30 PM

PARAMELL VI Stephen Montague Paramell VI is the last work in a ser1es of "paramells" al l of which expl.ore certain coloristic possibilities of notes running in parallel motion. The pianis t is the soloist, and the other three instruments play "inside" the piano sound to co l. o r i t-­ rather untraditional in that the flute, clarinet, and cello are never al lowed s o lo status, but contribute only textures, not really accompaniment. Stylistically it stems from the American minimalist t radition of Riley , Re i c h, and Glass, but it is different from them. As the composer Phillip Corn e r comm e n te d after hearing it in New York, ''It's kind of 'Romantic minimal.'." I wou l.d a gn:!e. The work was commissioned by the British Ensemble, Option Band, with funds provided by the Arts Counci 1 of Great Britain, and it was composed at the Mac Dowel 1 Co l on.y in April 1981. It is dedicated to Sue Nye.

LANTERNS AND CANDLELIGHT Barney Chil ds

This work was composed in 1975 and is a setting of fragments of Orlando Gibbons's "The Cries of London." The vocalist is instructed to accompFtny the marimba through­ out, at times articulating the text as if "singing to one's self," and at other times, in a "quiet bluesy style~

WIND SYWHONY Daniel Goode Wind Symphony is made up of a pulse and a set of nine rhythmic motives for which pitches and entrances are chosen ad libitum by the performers according to guide­ lines given in the score. The duration, dynamics, and manner of ending are decided by the ensemble. The piece was originally composed for the Wind Band, which was founded by Charlie Morrow and myself. It was premiered on the Staten Island Ferry as part of its Diamond Jubilee Celebration in 1980. With the addition of strings and percussion, it has been performed in New Haven by Sheep's Clo thing, in Budapest by Group 180, and recently in Philadelphia by Rellche.

PAL I NDROMES 2 Paul Eps t ein Palindromes 2: Version for Saxophones and Percussion ( l 983) was writ ten for Steve Marcucci and Marshall Taylor, and is being performed here for the first t i me. The piece derives entirely from a single twelve- beat melodic pattern that, as the title suggests, reads the same forwards and backwards. The pattern is combined with itself at various canonic distances and subjected to procedures designed to produce new composite figures. A version of Palindromes 2 for string quartet has been completed, and a large-scale electronic version is being planned as part of a piece by the ZeroMov ing dance company.

19 rH[ Wt:LL, PARrS 11 MID 111 Pauline Oliveros The Wel I, a work in progrr>ss with rl:rnr:er Deborah l!ny, is an improvisational piece. Part 11, "!'he Wr>l l ," ccrnsists nf the keywords: Match, Merge, Support, Soar, Listen; its pitch material is con(inecl to an artificial scale (C, D-flat, E-flat, F, G-flat, A-flat, A). Part III, "The Cent l e," con,.ists of a two measure rhythm and its pitch material (E, F, G, A, B- flat, C, D) is de rived from the Locrian scale. The instru­ mentation is totally open. The work was developed by the composer and the ensemble at the Yellow Springs Institute for Contemporary Studies and the Arts as part of the Contemporary Music Workshop cluring the summer of 1983. The Well is a tribute to every present moment. Inspired partially by the ancient Chinese Book of Changes or l Ching, The Wel.l explores the depth and spontaneity born of emptiness--the stillness found even in an explosion.

20 CoNcrnT

Thursday, April 5 2: 45-5: 00 PM

REFLECT IONS I I George lleussenstamm Reflections II, commissioned by Frank Burke through the Coleman Chamber Music Asso­ ciation, the work represents a fairly pronounced swing to a style in which tonal implicat ; ons are frequently present. Although a twelve-tone row operates freely throughout much of this largely meditative piece for so lo piano, the vertica 1 ele­ ment is heavily laden with free chromatic harmony, in which the end results were reached through purely aura 1 considerations. Tone repetition and c hord forms l 1nked by common pitch are prominent features. There is only one movement; the sections interconnect with one another without pause. The work was completed in July of 1983. Today's performance is its premiere.

LEVITATION Gary White Levitation for six or any multiple of six flutes is one of a group of pieces for like instruments which White has composed in recent years. The title refers to a sense of weightlessness or defiance of gravity inherent in an ensemble of treble instruments. In Levitation, there is an alternation between a slow and a fast tempo with an acceleration in the rate of change during the work to a point where there is a change of tempo after only one second. The work then closes with a coda in the s 1 ower tempo.

Music FOR PIANO, NlX'1BER 5 Jonathan Kramer This work, like most of my music since 1972, is based on a single mode, in this case having only six notes. The other six notes of the chromatic scale never appear. This restriction makes the music somewhat hypnotic, a quality enhanced by tuning the piano in meantone temperament whenever possible. I am intrigued by the experience of motion in stasis. What I mean by this apparent paradox is that the piece changes very slowly in a structural and harmonic sense (since using only half of the available notes all but precludes harmonic contrast), despite the often rapid motion of notes and rhythms on the surface. Patterns of fast notes and rhythms gradually emerge and are slowly replaced by a freer, more rhapsodic, yet decidedly slower music. The earlier sections are governed by care­ ful 1 y worked out processes of repetition and gradual change; as the music becomes freer, the processes give way to more intuitively conceived music, which allows for the one thing process music does not admit: dramatic surprise. Music for Piano, Number 5 was premiered by Frank Weinstock at the University of Cincinnati on 21 October 1980. He has recorded the work on Orion Records ORS-81406.

21 LAYERS John Mel by Layers was composed in l981 on commission from the Venice Biennale and was first performed in September of that year at the Biennale at the Licea Benedetto Harcello in Venice. The composition was realized at the University of Padua, with subsequent proccesing at the University of South Florida's SYCOM complex, using the Music 360 language for digital sound synthesis. The work is base d on the principles of layered structure first elaborated by the Viennese theorist Heinrich Schenker. Layers was one of the winning compositions in the 1982 International Electroacoustic Music Awards in Bourges, France.

JAL TARANG Alex Lubet Jal ta rang is a rigorous! y contra 1 led improvisation for any number of pitched percus­ sive instruments, based on a twelve-tone row, and using Indonesian-inspired tech­ niques of heterophony.

IM Si LBERWALD Yehuda Yannay Im Silberwald (In the Silver Forest) originates in the tranquility of a beautiful forest that surrounded our place of residence last fall. The German forest-now in the process of slow death by air pollution-represents not only nature, but a vast sense of history and myth. It is the forest of the Freischi.itze and the Wagnerian legends, the scene of cruel battles and executions of the victims of Nazism. Im Silberwald is a meditation on the forest and its mythical aura, its disturbi ng beauty of the present and the bleak future its faces. The piece is built in twenty connected sections based on ten harmonica! 1 y significant "focus notes" embel 1 ished by other notes and played against a continuous drone on a D. The material on the tape contains four simple figures derived from a complex D chord. The "focus notes" are derived from a scale of ratios based on the Farey Sequence of increasing magni­ tude fractions. The tuned glass is controlled by the performer to produce small variations of timbre and intensity. I owe the title and inspiration to my wife Marie who created a series of luminous pastel drawings on the same subject.

Music FOR CHIEF JOSEPH Greg Steinke Husic for C/iief Joseph grows out of an increasing fascination with and study of Northwest Native Americans. Having ref re shed my memory of Chief Joseph in recent reading, I felt I must compose a piece to .honor the memory of a noble and great American. As I recalled visits to White Bird Canyon and the Lolo Pass, and thought of his unfulfilled wish to return to his beloved Wallowa Valley, the metaphor of an oboe as Chief Joseph and a trombone "orchestra" as his milieu occured to me. Thus, this commentary metaphorical 1 y represents Chief Joseph cal 1 ing out to a world not yet ready to accept or understand a people who are native to the land--a call which echoes to us today. Can we now not only hear, but also listen?

PIANO SoNATA NUMBER 3 Henry Martin The idea for Piano Sonata Number 3 occurred to me shortly after the 1979 premiere of my Piano Sonata Number 2. It was then that I abandoned my previous compositional style and began to work in a different way, mergin-g my interests in jazz and concert music. Piano Sonata Number 3 is the first large- scale piece written in my newer s tyle.

22 The two movements of my thir d piano sonata evolved from two or three ear lier v er­ sions. Over the course of several years, I gradually transforme d t hese predecessors i n to the first movement, t he "Fantasia," and the second movement, the "Allegro." The ''Fantasia" is rhapsodic, freely jumping from theme to theme, with references to the blues and modern jazz. The jazz-like elements are far l ess evident in the "Allegro," which features a propulsive, intense rhythm instead. Piano Sonata Number J is a difficult work requiring a pianist who enjoys performing contemporary music, who can convey the feeling of mo1lern jazz and blues, and who has a brilliant technique, strength, and dexterity. Such a performer is Frank Weinstock. He has also premiered both my Piano Sonata Num/Jer 2 and my four .J azz Scenes. Piano Sonata Number 3 is dedicated to him.

PENTECOST Don Freund Pentecost creates a sonic carnival, a neo-rnedieval celebration of the corning of the Holy Ghost. A panoply of styles parades through the piece, mixing tunes and tex­ tures inspired by by the Ars Anti qua with more contemporary sounds; pitting dark, unearth! y moans against the brightness and bril l .iance of the Spirit. The Latin text is drawn from the traditional Sequence, Hymn, and Mass Propers for the Feast of Pentecost, somewhat broken up and sensationalized.

23 CONCERT: lJRBAN 15, PAULINE Q IVEROS. JERRY HUNT

Thursday, April 5 8: 00-10: 30 PM

EL SENoR DE LOS TEMBLORES J. George Cisneros "Beneath our feet the mo 1 ten mass never sleeps, as a continuous rotation sets the substance of this planet into swirls, spirals, and leaps that turn Plains into Mountains and castles into rubble. From the dust you give us strength to arise And topsoil to plant again the Land, Your land Beneath our feet " (Aguas Ca lientes , Peru) This work is a ritualistic portrait of underground upheavals and molten restless­ ness. Scored for suspended bass drum or gongs, or both, the work stems from studies in pre-Columbian mythology on the conflict and warfare among the elements during the creation of the world.

BREAKING 0owN THE MOTION J. George Cisneros This work is an outgrowth of the 1983-84 Sonic Activities Workshops in which the Urban 15 Ensemble explored rhythmic patterns in motion, mallets, and speech. Based on a simple two-to-three relationship, the piece creates a language flexible enough to change from performance to performance.

WINGS OF PEACE J. George Cisneros This is the first movement from the suite, 11usic as a Second Language. It is an interpretation of Javanese court music as applied to Western instruments and cul­ ture. Here, as there, we intend this activity as a gift to aid the 1 istener and the performer in finding inner calm.

RATTLESNAKE MJUNTAIN Pauline Oliveros Rattlesnake 11ountain is the Native American name for gently rounded Mount Tremper of the Catskills. Rattlesnake Mountain was composed in May 1982. The piece records Oliveros's responses while watching the shape of the mountain and the effects of breezes bl owing through the meadows and forest be! ow.

THE SEVENTH MANS ION Pauline 01 iv eras "In this mansion everything is different. Our good God now desires to remove the scales from the eyes of the soul, so that it may see and understand something of the favour which he is granting it, although he is doing this in a strange manner." (Interior Castle: The Complete Works of St. Theresa)

24 GROUND: HARAMANO PLANE Jerry Hunt Ground is a system of conventions for performance using variable mixtures of me­ chanical and electronic components. Each working is an array from a "still-core" set: John Dee's angelic tablet structures produced through the skrying actions of Edward Kelly. The procedural continuant is an action floor! of theatri.cal-mimetic exercise and manipulation mechanisms in an object field, using various arrangements of artifact arrays and audio-video components. Haramand Plane is a procedure for generation and transformation of musical material by recording characteristic histories and allowing these histories to accumulate in context-defined relations. The material consists of a history of musical components (L965-83). The "reflex" variant is produced as a performance by using an adaptively controlled electronic signal memory.

AN ALARMING SITUATION Michael Sc he 11 "I wear three watches to tell me what time it is at my 'home' office, so that I can al 1 them by long distance telephone. One is set for the time of day in the place to which I am going, and one is set temporarily for the locality in which I happen to be." (Buckminster Fuller, Operating Manual for Spaceship Earth) An Alarming Situation (Homage to Buckminster Fuller 1895-1983) consists of two parts: The Performance and The Purgation.

25 Music AT MIRROR LAKE

Thursday, April 5 lO:J0-12:00 PM

DEDICATION CLANG Donald Andrus Dedication Clang was the first faculty composition realized on the Synclavier II that was acquired with the new music building at California State University in Long Beach. It was composed for the Dedication Day of the University Music Center, April 25, 1982. The Synclavier II at Long Beach is driven by a sixteen-bit Able-60 Computer, and has a thirty- two- voice capability with flexible diskette storage capacity of up to 10000 notes per sequence. Timbres found on the several diskettes provided may be modified by the composer. Dedication Clang primari ly uses bell, percussion, and voice t im­ bres from just one of these diskettes. The composition was realized using the "real-time" program, and was later transferred into the SCRIPT program for modifica­ tions and editing.

SrARS* Larry Austin The idea for composing Stars* grew out of my fascination with the symbolic pattern­ ing by the anc ients of eighty of the eighty-eight constellations seen in the North­ ern and Souther n heavens. I devised a system to derive melodic sequences and unique timbral qualities from each constellation. In Stars*, exactly 1,917 unique "star­ timbres" il 1 uminate a continuous! y evolving "star- drone" to create my fanciful and , I feel, musical heavens. Stars* is computer music both in the way its compositional elements are formed and in its digital synthesis of sound: in the first instance, the tempo-skewing of rand om 1 y generated parameters of star-timbres; in the second, the gener at ion of sound complexes with the Synclavier II digital synthesizer. Stars• was completed i n April, 1982, at the Center for Experi mental Music and Intermedia at North Texas State University and premiered at the 1982 International Computer Music Conference in Venice, Italy.

PARENTHESES John Jeffreys Gi bbens Parentheses is a composition for digitally-synthesized sound realized with the Music 360 language. It was realized in 1983 at the Digital Computing Laboratory and the laboratory of the Departmnet of Speech and Hearing Science at the Universit y of 111 inois, Urbana-Champaign. Particular thanks are due .to Mark Joseph for the con­ versions and John Melby for his time and assistance. Thanks go as well to James Beauchamp, Scott Wyatt, and Ben Johnston for advice and support. Parentheses cal ls for as many as twelve computer instruments belonging to four instrument types as well as two types of reverberation. Both twelve-tone and twenty-four-tone equal temperament are employed. The basic structural device is the repetition of entire phrase groups. In the course of the piece, this is taken in several senses, including literal repetition, palindromes with and without the addition of unmirrored elements, and repetitions with changed instrumentation and/or tempo relationships. The use of these recurring secti ons as frames for nonrecurring sections, and vice versa, produces shifts of emphasis which suggest the title, Parentheses.

26 AT DAGGERS DRAWN Robin Heifetz

At Daggers Drawn for computer WAS realized in the summer of 1981 at the Centre for Experimental Music of The lie brew University of Jerusalem, [srael.

As IT GREW DARK Paul Lansky As it grew dark is a musical dramatization of one side of a very serious conversa­ tion that takes place i.n chapter twenty-five of Charlotte Bronte'"' famous novel, Jane Eyre. Here, while preparing to tell Mr. Rochester of her meeting with his monstrous first wife, Jane describes two dreams she had earlier during that dark and stormy night. The piece attempts to capture a classical dramatic experience in which the listener, not being the one to whom Jane is speaking, is put in the position of overhearing, or listening obliquely to, the conversation, and thus to the music. While this is common to theater and opera, I hope that the absence of most conventions associated with those media will help to ldghlight this sense in a new and interesting musical manner. The piece consists largely of computer reprocessing of a single reading of the text by the actress Hannah MacKay. A variety of filtering techniques was used to musi­ cally color the text in different ways. "Sound effects" were created using classi­ cal computer-synthesis techniques. The synthesis was done on Princeton University's IBM 3081 computer, and conversion back and forth between rea 1-wor ld sound and num­ bers on a PDP ll/34a in the Winham Laboratory, also at Princeton. The work was commissioned by the Koussevitsky Music Foundation in The Library of Congress, and is dedicated to the memory of Serge and Natalie Koussevitsky.

27 ------

VJNCERT

Fri.day, April 6 I: 15-2: L1S PM

LllNDSCAPES Joseph Baber Landscapes for soprano and nine cellos was completed early in 1977, and was the first work written after the production of Saber's comic opera, Rumpel.stiltskin, in January of that year. The text is taken from five early imagist poems by T.S. Eliot. The accompaniment textures vary from section to section. Sometimes the solo cello is accompanied by two groups of solo cellos; sometimes the ensemble divides into three groups of three. In number four, the nine instruments are used independent! y, and harmonics are exploited. Particularly noteworthy are the bird sounds which Eliot incorporates into the text of number five: "sweet, sweet, sweet." It is said that Eliot did not approve of musical setting of his poems. In the case of Land­ scapes, however, the temptation is almost too great to resist. liOUIO GoLO Mary Jeanne van Appl edorn Liquid Gold, a virtuosic composition exploiting the altissimo range of the E-flat alto saxophone, was written in 1982 for Senior Chief Musician, Dale Underwood, saxophonist of the U.S. Navy band. The composition had its premiere during the Seventh World Saxophone Congress, July 10, 1982 at Nuremberg, Germany with Dale Underwood and Ron Chiles, official pianist of the Navy Band. Liquid Gol.d was written with three performance options, 1) as an unaccompanied solo; 2) as a solo with prepared tape (the piano part, recorded by the composer, is available from the publisher); and 3) as a solo with live piano accompaniment. The writing for the saxophone at times includes non-pitched sounds, three-pitch multi phonics, quarter-tones, and timbral changes. The piano part, much of it exe­ cuted inside the instrument with various types of hardware, includes delicate string harmonics and glissandi, non-pitched sounds, explosive percussion-like passages, and short passages played on the keys. Liquid Gal d and another work by van Appledorn, Matrices for E-flat alto saxophone and piano, are published by Dorn Publications, Inc., P.O. Box 704, Islington, Massachusetts 02090.

PoRTRA 1TS #2 John Downey Portraits 112 for clarinet and bassoon was the result of a commission for a "bassoon piece" by Robert Thompson. The choice of clarinet and ·bassoon was the composer's own. Stimulated by the capability of each instrument to blend with one another while still retaining each ones individuality, plus the wide range and multiple color characteristics of each of them, led to this work in free form. It was premiered in London's Wigmore Hall in May, 1983 with Thea King, clarinet, and Robert Thompson, bassoon.

28 CoNCERT

Friday, April 6 4: 15-5: 45 PM

TRCMBONEHENGE Charles Hoag Trombonehenge is an obeisance in hass to the great prehistoric edifice, Stonehenge. Thirty trombones surround the audi.ence in a broken circle symbolic of the Larsen Circle as it is now. The piece was written for the University of Kansas Trombone Ensemble, Stephen C. Anderson, Director.

8.8. \\bLF: AN APOLOGIA John Deak B.B. Wolf was written in collaboration with Richard Hartshorne and based on a text supplied by Hartshorne. Deak and Hartshorne had, at one time, taken a philosophy course together and eventually decided to write about something that had been a pet issue for years. Deak's success with this music can be attributed in large part to the often humorous or theatrical approach he takes to his material, making each performance more a than purely musical experience.

VARIATIONS Arlene Zallman These are not variations on a theme in the classical sense. Rather, this is a work in sections each of which comments retrodictively on the previous sections. There are interludes between the sections which are variational in the same way. Varia­ tions is not thought of as a chamber piece for three individual instruments, but as a work for one instrument with several distinctive voices. The gestures and tex­ tures are meant to be Romantic. Romantic clich~s are used the way one might use the diminution figures typical of the Classical era.

TESSARAE V 111 Brian Fennell ey Tessarae VIII for solo alto saxophone was written in 1980 at the request of David Pituch, an American saxophonist living in Europe. It is the eighth in a series of virtuosic works for various solo instruments all with the title Tessarae, which refers to the mosaic patterns in the music. The work is in two parts. The first, "Rhapsodie," is a free fantasy based on a single twelve-note chord. The second part, "Polyphonie," alternates sections that are polyphonic in the usual sense of multiple pitch, registral, durational, and/or dynamic strands with sections that contrast coloristic devices, including multiphonics.

29 FIVE CEREM'.)NIAL MASKS Ruth Loman Five CeremtJnial Hasks ( 1980) was inspired by five Navajo masks used in the Yeibichai Night Chant ceremonies. In the night chant ceremony, the ineffable world of the Navajo is made visible and audible through ritual. It is primarily a healing ceremony nnd calls for the participation of singers who chant or sing continuously, impersonators of divinities, initiates, and dancers. The use of sandpainting com­ pletes the Navajo microcosm. "Changing Woman," who represents the changing seasons, is a movement of rapid mood changes and contains the elements of the following four movements. "Dancer" (Mask II) and "Clown" (Mask IV) are structured architecturally. ''Dancer" has a filtering of each chord cluster which underscores the strident rhythmic features. "Clown," cavorting and ranting, is an important figure in American Indian ceremonials, pro­ viding a balance to the solemn gods. In contrast to the tight geometric design of Masks II and IV, "Spirit" leaves the performer much freedom . This movement has unusual piano sonorities and timbres created inside the piano. "Talking Power," the subject of Mask V, is the tutelary spirit of the night chant. He is Changing Woman's grandfather, dignified and eloquent.

30 CoNCERT: OSJ WIND ENSEMBLE AND CHOIRS

Friday, April 6 8:30 PM

FANFARE FOR [LIZABETH Allen Bonde Fanfare for el izabeth, for six trumpets and optiona 1 timpnni, was writ ten for the inauguration of Elizabeth Topham Kennan, President of Mount llol yoke Col 1ege, and premiered by the University of Massachusetts Brass Choir, Max Culpepper, conductor, on October 7, 1978. Fant are for el izabeth is published by Schaffner Publishing Company, Merchant v il 1 e, New Je r'ley.

TARR Dexter Morril 1 Tarr was composed during the Spring of 1982 on a commi.ssion from the Edward Tarr brass ensemble. The tape was generated at the Colgate University Computer Music Studio, using the PDP-10 computer and a digital to analog converter built by Joseph Zingheim. The work has two sets of historical references which serve to explain the compositional material. Much of the trumpet music is taken from the trumpet reper­ toire, as a glorification of that instrument's great tradition in Western music. The tape has numerous references to other pieces composed at the Colgate Studio over the past ten years. Tarr was the final work converted through the PDP-10 system, which was replaced by a new machine in June 1982. This wonderful instrument served hundreds of musicians and researchers in much the same way that thp great trumpeters have served mankind for centuries. The work is dedicated to that Machine of Loving Grace (PDP-10 Serial No. 154). The performers for Tarr are erroneously 1 isted in the program under Garth Droziri's Of Skin and Metal.

SouNDINGS David Liptak Soundings is a single-movement work for large wind ens em bl e.. It was commissioned by and is dedicated to Stanley De Rusha and was written for performance by the Michigan State University Wind Symphony under his direction. Composed during the years 1980 thro~gh 1982, the final draft of the composition was completed in the late summer of 1982 in upstate New York near the western shore of Lake Champlain. The first performance was given by Stanley De Rusha and the MSU Wind Symphony on. March 9, 1983, at the Wharton Center for the Performing Arts in East Lansing, Michigan. The instrumentation of Soundings consists of forty-five separate parts that include a full complement of woodwind and brass instruments, contrabass, piano, and four percussion parts. The percussion parts make use of a wide variety of instruments, including mallet-keyboard instruments, and, in addition to their more more usual coloristic contribution, are integral to the melodic and harmonic context of the work. The piano part is treated as a mQmber of the percussion group, but also as a bridge between these instruments and the single line melodic instruments in the woodwind and brass groups. It is often the piano's role to reinforce melodic and harmonic material through doubling or elaboration.

31 Or SKIN ANO METAL Garth Drozin Of Skin and Metal ( 1980) was composed at the request of the French Horn section of the 1980 Cornel l University Wind Ensemble (CUWE), who recorded it for the CUWE Record Series in 1981. It is dedicated to Professor Maurice Stith, the Cornell University Bond Director. Of Skin and Metal is a fanfare of sorts in A- B-A form, the middle segment comprising an imitative scherzo in paired instrumental voicings. The intervallic construction of the piece derives wholly from the timpani tuning~ D, A-flat, E- flat, and A (low to high). The means and ~xtremes form perfect fifths, the first and last pairs make up tritones, and the odd and even pairings sound minor ninths. The rhythmic struc­ ture of the work consists of the displaying, contrasting, and camouflaging of a series of regular three- and four-note cells. At times one is accented in syncopa­ tion to have it taken for the other, thus allowing one time and tempo system to elide with or mask another. The brass generally oppose the percussion. Of Skin and Metal is scored for and usually played by eight brass and two percus­ sion. This evening's performance features an augmented brass section, marking the first presentation departing from the norm.

32 CrnCERT

Saturday, April 7 1: 15-5:00 PM

THE SEARCH Ernesto Pellegrini Sometimes an artistic effort takes over from its creator, independently developing, moving into areas far away from those which its creator had originally intended. The poem The Search is such a work. It began as a nineteen-year-old writer's simple attempt to recapture the magic of a seacoast scene she came upon one day in late autumn. The day was crisp; the sun was brilliant. And the figures in the poem were actual 1 y there--the strange compel ling empty wreck of an old boat, moored not far from shore and the moss-covered log sitting in the mud at the water's edge. Conti­ nuity and drama in the scene were provided by the restless motion of the tide and wind. Gradually the writer realized that the scene held more truth than the reality of the physical, the obvious. On the surface, bright and uninvolved, it was in reality a harsh scene, one full of not easily recognized complexitjes and difficulties, much as life often is. The deserted ugly boat was an ugly skeleton, a disembodied spirit, incessantly moved Op and down by the water's motion, much as is a person without purpose pulled up and down by the vicissitudes of life. The boat in the poem becomes a symbol of the unfulfilled person, one desparately seeking something which will give meaning to his life. He questions life, begs to be given the spiritual antidote for his emptiness, his uneasy pain, his malaise. Passionately he searches for a sense of purpose, for meaning (in the poem "a soul"). lie despairs, for he feels life is quickly passing, and he is yet without the answers he seeks. There is so much around him in life that is negative. There is cynicism (represented by the jaded sneering "dragon log" which long ago has given in to t he elements). There is death and negation (things over come by 1 ife, things "sit ting i.n fossil ed death in stillness sitting"). Around him he sees much that is ugly, grotesque, and offen­ sive. There is much to discourage the searcher. He almost gives in to all of this, for he is only half alive, half hopeful: lie is "Death-Life." Frnst.rnted, yet still seeking, he fails to realize what life demands--that he must give of himself in order to find what he seeks, in order to make the emptiness ("the Death") go away. "Come, I wait," he begs. It is an impassioned plea. In an attempt to convey this emotion-charged plea in his music, the composer has ful 1 y exploited the atmosphere and the symbols of the poem. The vocal 1 ine clearly represents an attempt to demonstrate the affinity the composer felt with the lyri­ cism of the text. However, it is in the instrumental parts where he most clearly manages to express the passion of the words by projecting them through a melange of various textura 1 musical incidents.

FAT PIECE Bruce Taub Fat Piece was written in 1975. It is in three movements and lasts about twelve minutes. It has been performed many times at various uni versi.ties around the coun­ try and in Canada, and is published by Music for Percussion, Inc. in Fort Lauder­ dale, Florida. I am especially happy to have this performance at OSU since it will be the first time that I have been able to attend a performance.

33 The rhythms and durations are determined by a numerical sequence that is derived from the pitch matP.rial. The number seven and the pitches F-sharp and Care · impor­ tant factors in the organization of the piece. The title is suggestive of the shape of the instruments, not necessarily of the shape of the performers.

MCMEMTS Mus 1CAIJX Martin Brody The dramntic impetus in Moments Musicaux is provided by integrating and contrasting the piano and tape sound sources. Sections in which the two parts seem relatively compatible alternate with sections whose gestural and phrasing interactions between piano and tape are more competitive. In the final sections the compatibility of piano and tape is resolved within a context which suggests that the piano has al ways been the dominant force. Globally, and within individual sections, the focal pitch class shifts from C-sharp to D and back to C-sharp. The focal pitch is contested in transitional passages where the combativeness between the piano and tape parts is greatest. Moments Musicaux was realized at the MIT Experimental Music Studio. In its ges­ tures, pacing, and conception of the relationship between tape and piano sonorities, Moments Musicaux owes a great deal to Mario Davidovsky's Synchronisms Number 6.

BROKEN IMAGES Gerald Chenoweth "What are the roots that clutch, what branches grow Out of this stony rubbish? Son of Man, You cannot say, or guess, for you know only A heap of broken images, where the sun beats, And the dead tree gives no shelter, the cricket no relief, And the dry stone no sound of water." (T.S. Eliot, THE WASTE LAND)

THE NIGHT RAINBOW Peter Ware The Night Rainbow is a fantasy/variation that was inspired by the moonbow at Cumber­ land Falls in Kentucky. The moonbow occurs when the full moon shines on the rising mist from the waterfall. It looks like an elusive white rainbow that fades easily into the mist. Symbolically the theme of The Night Rainbow is vague and the varia­ tions often elide or overlap one another creating at times a counterpoint of the themes, each w:i,th its own music. The work uses enharmonic scales, modes, and artificial scal~s. At the premiere the three-year-old daughter of the violist thought the Night Rainbow was in the piano. Interested by her statement, J: find myself still looking. The Night Rainbow was commissioned by and dedicated to Robby Gunstream who premiered i t in Chicago with his trio.

34 Mus I c FOR v I OL IN MID p I ANO John White Music for Violin and Piano was written in the Spring of 1982 for the Oriana Trio. The piece uses controlled i mprovisat ion. The composer hl'ls furnished fairly non­ specific instructions to loosely control the elements of sound--texture, timbre, and dynamics. Pitch is control led insofar as eac h player is restricted to first or second classification intervals although the specific pitch classes are unrestric­ ted, while the rhythm is almost entirely improvised. The improvisation occurs near the end of the third movement, "Monologue~ The ending of each movement is 1 inked to the beginning of the next by means of the pitches in the violin part. In some cases this is very obvious, as i.n the transi­ tion from the second movement to the third, but sometimes it is found only i n an intervallic relationship. This is the first performance of i'lusic for Viol in and Piano.

MATIN Richard Festinger Mat in was realized at the Stanford Univ er sit y Center for Computer Research in Music and Aeons ti cs.

STRING TR 10 G l~nn Gass The String Trio, in three movements, was written for the Scott Chamber Pl.ayers of Indianapolis, during the Summer and Fall of 1983. Constant textural variation and the recurrence of previously heard material, in new contexts and with new meaning, create the basic motion of the work. On a large level the trio contrasts the pull toward intensity and the desire for absolute calmness, a tension reflected in the juxtaposition of harshly chromatic material against material of a more lyrical and diatonic nature. These extremes confront and transform each other throughout the work. The first movement, "With Motion," is the most expansive of the trio, presenting and exp~oring the basic ideas of the piece through continually changing melody, accompa­ niment, and contrapuntal textures. The second movement, "Almost Still," is a calm hiatus in the piece, and signals a fundamental change of attitude and direction. In the final movement, "From a Cloud," the musical materials of the first movement return, though now seen through and thoroughly transformed by the memory of the second movement.

BENEATH THE f-lc:RIZON Priscilla McLean Beneath the Horizon combines four tubas (performed by Melvyn Poore, England, and Steven Bryant, U.S.A.) with an ensemble of actual whale voices and slides.

TRIO No. 1 Dinos Constantinides Trio No. I was premiered in New Orleans by the Festival Arts Trio ln 1967. It was performed in many colleges and universities the same ye;u. It is loosely a twelve­ tone piece.

35 THE LAMENTS OF ORPHEUS ANO NARCISSUS Steven Paxton In July of 1982 a written announcement invited all interested compcsers to enter a chamber music contest focusing on the theme of narcissism. The competition was sponsored by the World as Mirror Conference on Narcissism held in June of 1983 at Miami University (Ohio). In March of 1983 scores were submitted to the distin­ guished composer and teacher Leslie Bassett for judging. Two compositions were given awards-Without and Within by Denise Ondishko and The Laments of Orpheus and Narcissus by Steven Paxton. Laments is continuous in effect while having an overall syllDTietrical structure: an unaccompanied recitation opens and essential 1 y closes the music. Within the frame of the recitations are two laments relating to the mythical images of Orpheus and Narcissus. As a transition between each lament and recitation, there is a ritor­ nello. Finally, an electronic collage is played after the concluding recitation.

:i:>NATA FOR VIOL IN AND PIANO Ell en Zwil ich Sonata for Violin and Piano (Sonata in Three Movements) was written for my late husband, violinist Joseph Zwi lich, who premiered it on a tour of European capitals. Writing for the violin has always held special meaning for me (it is my own instru­ ment), but this composition grew out of my feelings for Joseph as well as £ rom my particular fondness for the wonderfully dramatic and expressive powers of the vio­ lin. It is cast in three movements, of which the first is the most complex, with contrast between lyrical and vigorous material, and contrast between relatively free, recita­ ti v e-1 ike mate ri a 1 (cu 1 minat in g in a cadenza for the v io 1 in) and the otherwise strict tempi. The second movement is slow and lyrical; the third movement short, fast, and rhythmically propulsive.

PuLSE Reed Holmes Pulse ( 1982) is a "pat tern" composition exhibiting a gradual, but continual 1 y shift­ in'g, perspective on a single idea. Structurally, the piece is a set of free varia­ tions on a seven-note pattern gradually revealed at the beginning. After the ini­ tial statement, the pattern is repeated almost continually and is subjected to a process of transformation. An opposition is es ta bl ished between the pulsation of the pattern and a sustained-note idea. Each variation is based on a similar process in which the activity of the pattern is consumed by the sustained-note idea . The process in each variation transforms the pattern so that it emerges in a new guise at the beginning of each new variation. Finally, the subject arches back to its original shape.

36 ELECTRONIC M.Js IC Pt.. US

Saturday, April 7 S: 15 PM

NIGHT FLAME RITUAL Reyno Id Weidenaar Night flame Ritual explores the dynamics of ri tunl-i.ts rhythms ancl feelings, its oscillation between the concrete world and other worlds. Lt is not designed to depict a literal or narrative ceremony. Rather, it offers scenes '1nd sounds with fluctuating contrasts and interplay in perspectl ve, movement, motion, texture, and representation. These juxtapositions evoke a heightened resonance of uni'luely musical fee lings and forms that can spring from ritual. The score, to whi.ch the visuals were fitted, is in ternary form wi.t.h a cod:J. It ls made up of sections based on the ribonacci. number series, which forms a string of ratios culminating in the golden mean. The music supports the images, but it is not subsumed. It is al lowed to retain to some degree its own identity as an abstract analogue of emotion in time. The sights and sounds thus travel a parallel flight, loosely connected, spiraling around each other in undulations of density and intensity.

FOR CLARINET AND TAPE Martin Wesley-Smith For Clarinet and Tape was written for r. Gerard Errante while he was serving as Artist-in-Residence at the New South Wales State Conservatorium of Music in Sydney during the summer of 1983. The electronic portion of the composition was realized on a rairlight CMI. An MXR Delay System II is also used in this performance to process live clarinet sound. This eleven-minute work is written in a driving, jazz­ like sty le, rel iev eel by a contrasting, quasi-improvisatory section. The composition also exists in other versions, one for marimba and tape and another as a complete.Ly electronic piece.

ECHO, IN f>MBER C. James Sheppard In classical mythology, Echo was a mountain nymph who was denied the power of human speech except to utter the last syllable of overheard words and phrases. She fell in love with Narcissus who spurned her affectation, after which, according to one account, she pined away until only her singing voice remained. Amber is a resin in which objects are sometimes trapped and preserved. It is also one of the first substances in which the ancients noticed the !JUality of elec­ tricity--the ability to attract light bodies when rubbed. Imagine the spirit of Echo being attracted to electric instruments.

FOLL OW ME '.iJFTL Y Joe 1 Chadabe Follow He Softly is an improvisational composition for a computer/synthesizer system and melody instrument, percussionist, and/or dancers. The issue central to the composition is that of who follows whom. As in most improvisations, leadership changes continually and the music develops conversationally, as the result of an exchange of ideas between participants. The computer/synthesizer system is, in effect, an intelligent instrument. It has its own ideas, and reacts to other per formers while causing them to react.

37 Q Gary Nelson Q is a structured improvisation in which the flutist (with a score containing pitches only) interacts with a four-voice, computer-driven synthesizer. Interface is via pitch-to-v·ol tage converter. With gate and voltage information the synthe­ sj zer can "know'' when the flutist is playing and modify its behavior to create the impression of intelligent chamber music playing. The flutist, in turn, responds by ear to the electronic sounils. The result is a closed loop of cued events. Q is the first of a group of pieces I plan to realize with this procedure.

THE HIDDEN AGENDA Susan Amkraut The animation depicts a series of transformations through which a set of unordered elements are organized into increasingly complex dynamic structural schemes, finall y emerging as a unified whole. The transformations are performed continuously and effortless! y, as if the elements were motivated by some "hidden agenda." The motion is controlled by special purpose programs in which objects are warped to mathematical 1 y defined free-form curves and surfaces. The dynamics of motion and shape interpolation employ periodic repetition based on polyrhythmic relationships.

PROBABLY THE W1 NO John Berton Probably the Wind was conceived as a synthetic construction of .sounds and images. The images are composed of three-dimensional objects which have been layered over each other in a series. This construction parallels the multi-track construction of the music. The objects were created, rendered, and layered using the facilities of the Computer Graphics Research Group of The Ohio State University. The music was composed and created at the Sound Synthesis Studios of the School of Music of OSU. This project was completed in partial fulfillment of a Master of Arts degree in Art Education at OSU.

38 CoNCERT: THE CoLUMBUS SYMPHONY ORCHESTRA

Saturday, April 7 8:30 PM

INTRUSUS Mark Phillips Intrusus, a work in three movements, derives its title from the Latin origin of our word "intrusion," which describes one of the important dramatic devices of this composition~sudden explosions of sound intruding into previously tranquil passages. The brief, frenetic opening movement is expository with very Little development or transitional material. Emphasis is on the juxtaposition of disparate timbral, textural, and registral elements. In contrast, the slow second movement evolves gradual 1 y, but constant! y, through the cons is tent u·se of gestures in which pitches are introduced one at a time until a complex chord is achieved. /\ brief flute cadenza connects the second movement to the culminati ve third movement, which is formally more complex than its predecessors. Three distinct sections plus a coda are defined by a fast-slow-fast-slow tempo scheme. After the explosive intensity of the first section has subsided, the solo oboe introduces a four-note "signal motive" that becomed increasingly important as the movement progresses, culminating in a climactic full-orchestral unison statement at the end of the third section. The coda is a gradual unravelling of this climax as the movement dissolves into silence.

LITURGY Nancy Laird Chance Liturgy is, in a sense, an outgrowth of an earlier work, Ritual Sounds, for brass and percussion, in which an exploration of the traditionally ritualistic nature of brass music led to the use of a sort of pseudo Gregorian chant. In Liturgy, I attempt to construct a fluctuating sound space within which to float this liturgical material in various forms. I conceive of the space as being enclosed within the sound of the strings at the extreme high and low ends of their range, and as being perceived through a vei 1 of percussion sound. The space is supported and also articulated by great vertica 1 columns of repeated sound, around which it moves in constant pulsation. As the work progresses, the lit urgica 1 material, al 1 of which is related, emerges more and more clearly from the enclosing sound space, and is manipulated and developed for its own sake by quite traditional and abstract means.

ENSEMBLANCE Peter Child Ensemblance is a work in one movement scored for flute (doubling alto flute), clarinet, violin, viola, cello, piano, percussion, and tape. The tape was realized ·at the MIT Experimental Music Studio using the MUSIC L 1 language for computer synthesis. The computer's capacity to imitate natural sounds is put to work promi­ nently in this piece: similarities between taped and instrtunental timbres constitute one of the principal means whereby the live and the mechanical elements of the ensemble are unified. Although it aims to achieve a cumulative, overarching shape, the piece divides into several contrasting sections. The tape is intermittently rather than continuously active, and computer entrances generally articulate major sectional boundaries: a beginning, an ending, or a transition between sections. fn the beginning of the piece, pitched material emerges only gradually from percussive sounds; toward the end, a closely woven tapestry of instrumental and electronic timbres forms a back­ drop for a dramatic piano solo. Connecting these harmonically static areas, the middle sections are more directional, de ve lopmenta 1, and polyphonic in character.

39 ln a couple of spots the famous "Sacre" chord is cited, a gesture of homage that was prompted in part hy the fact that Ensemblance was scheduled to be premiere d during the Boston Musica Viva's Stravinsky centennial celebration.

TRANSPARENT THINGS Steven Stucky f have 1 ong felt drawn to the wonderful Russian-American novelist Vladimir Nabokov. f\s a reader I love his mirror-like style, his sly deceits, his rich textures of allusion and illusion. As a composer I am in close sympathy with his views of art: that style and substance are inseparable, and style is everything; that a work of art must enchant, creating its own world, with its own logic, its own conventions, its own coincidences; that real art is recognizable solely by the tingle it creates in the spine. When Nabokov died in July 1977, I decided to write something in his memory , and I borrowed the title of his 1972 novel Transparent Things because I liked the sound of it and because it matched, in a certain way, the kind of bright, clear sound I wanted the music to have. Sketches for this work, which was originally intended for wind ensemble, lay unused until 1980, when the Lawrence University Symphony Orches­ tra asked me to write them a new piece. I conducted the first performance at Lawrence in May 1980.

THE PERFECT STRANGER Frank Zappa The Perfect Stranger had its world premiere recently in Paris under the direction of Pierre Boulez. This is the work's American premiere.

40 BIOGRAPHIES

SuSAN AMKRAUT is a graduate student in art education and a member of the Computer Graphics Research Group at The Ohio State University. She has degrees in fine arts and computer and information sciences. Amkraut's artistic interests within the field of computer graphics include non­ representational and surreal art, algorithmically composed art, and perceptual il 1 usions that may be created through the modification of display algorithms.

MARY JEANNE VAN APPLEDORN is Professor and Chairman of Music Composition and Theory at Texas Tech University. She is founder and chairman of the Annual Symposium of Contemporary Music. She studied with Bernard Rogers and Alan llovhaness. Among van Appledorn's honors are the Premier Prix of the World Carillon Federation, four ASCAP Standard Awards, Texas Composers Guild Award for her composition Matrices, and two Virginia College Band Directors Nationa 1 Association Awards. She has been inducted into the Hall of Fame of Texas Composers and selected as one of the three most outstanding Texas Women Composers. Van Appledorn's works are published by Carl Fischer, Oxford University Press, Galaxy, Dorn, and Association Bourguignonne Culturelle/Federation Hondiale de Car­ illon. Her music is recorded by Opus One, Golden Crest, Century, and Northeastern.

[))NALD ANDRUS is on the faculty of California State University in Long Beach, where he was Coordinator of Electronic Music for fourteen years. He studied composition with John Verral 1, Kenneth Gaburo, and Gordon Binkerd, and acoustics and electronic music with Lejaren Hiller. Andrus received a Fulbright grant to attend the Institut v oar Sona Logte in Utrecht, The Netherlands, and a Summer Grant to study· the analog Moog and Buch la systems and the processing of musique concrete. His recent works include Space Dust With Bird?, Unders

LARRY AUSTIN is Professor of Music at North Texas State University, where he is Co­ Director of the Center for Experimental Music and In termed la. He studied with Violet Archer, Darius Milhaud, and Andrew Imbrie. Austin has been active as a composer, performer, and conductor. In l9o6, he co­ founded the avant-garde anthology Source, publishing and editing the first eight issues. Austin has received numerous composing fellowships, grants, commissions, and awards. His widely performed works are recorded on Columbia, Advance, Source, Irida, and Folkways labels, and published by Peer International, MJO Music, Composer/Per­ former/Edition, and the American Composers Alliance.

JoSEPH BABER is Composer-in-Residence at the University of Kentucky, and Principal Violist with the Lexington Philharmonic. His teachers of composition include Renee Longy, John LaMontaine, Mario Castelnuovo-Tedesco, and Howard Hanson. Baber has also performed as Principal Violist with the Tokyo Philharmonic, the Illinois String Quartet, the Rochester Philharmonic, and the Aspen Festival Orchestra.

41 f\ahPr's keen interPst in drama led to his 1968 collaboration with celebrated nov­ f'li.st .John Gardner on his first opera, Frankenstein, and on subsequent works in­ cluding Rumpelst.i ltskin ( 1968). lie is completing his third opera, Samson and the Witc/1, bnsed on Gardner's libretto. lt is scheduled for production by the Minnesota Opera this fall. 13nber has received prizes and commissions from numerous orchestras and colleges, including the California Cello Club Prize in 1974 for his Unaccompanied Sonata for ·~·el lo.

JAMES 8ENNIGHOF is a Doctoral Candidate at the University of Iowa. His teachers include W.T. Atcherson, Richard Hervig, and William Hibbard. Bennighof's paper on melodic variation in the motets of John Dunstable was delivered at the 1982 Society for Music Theory meeting at Ann Arbor.

JOHN BERTON is a graduate student in the Department of Art Education at The Ohio State University. His work focuses primarily on the fusion of synthetic images with synthetic sounds. lie began working with digital images in 1982 after exploring analog video synthesis within the Department of Photography and Cinema at OSU. Berton's undergraduate degree is in Communications and Mass Media from Denison University in 1977. He is now employed as a commercial computer artist by Cranston/Csuri Productions of Columbus, Ohio.

MARSHALL Bl AL OS KY is on the faculty of California State University at Dominguez Hills. He studied with Lionel Nowak and Luigi Dal lapiccola. Bialosky was National Chairman of ASUC from 1974-77, and is now President of the National Association of Composers/USA.

ALLEN EloNOE is Professor of Music at Mount Holyoke College. He studied composition with Robert Hall Lewis and George Thaddeus Jones, and piano with Amos Allen and William Masselos. Bonde's works have been performed and broadcast throughout the world. An accom­ plished pianist, he has performed his own works as well as more than one hundred chamber and vocal works in public recitals, including a critically acclaimed Carnegie Recital Ha 11 concert with violist Raymond Montoni. Bonde has received numerous awards, including a Festival Casals Scholarship and a Yale Graduate Fellowship. In 1976, he was appointed a Fellow at the Salzburg Seminar in American Studies. An active member of various professional organiza­ tions, he is Co-chairman of ASUC Region I, and a member of the National Council of ASUC.

MARTIN BRODY is Assistant Professor of Music at Wellesley College. He studied with Robert Morris, Lewis Spratlan, Seymour Shifrin, Donald Wheelock, and Yehudi Wyner. Brody works in both acoustical and electronic media. He has written numerous works for di verse ensembles, and has published articles on contemporary music.

RICHM)NO BROWNE is Professor of Music Theory at the University of Michigan. He studied composition with H. Owen Reed, Richard Donovan, David Kraehenbuhl, and Quincy Porter, and theory with Howard Boatwright.

42 Browne has been the recipient of BMt awar•ls cis wel I PIS Fulbri.ght and Yale-Morse grants. lie is a charter member of the Society for Music Theory, and is Member-at­ Large for Music Theory of The College Music Society.

NANCY LAIRD CHANCE is a free-lance composer living in New York City. She studied theory and composition with Otto Luening and Vladimir Ussachevsky, and piano with Lilias McKinnon and Wi 11 iam R. Smith. Chance's works have been performed by The Philadelphia Orchestra, The Group for Contemporary Music, The League-ISCM, The New Music Consort, The Da Capo Chamber Players, The Contemporary Music Forum of Washington, D.C .. Rel ache of Philadelphia, The New Times Concerts in Baton Rouge, the Florida State University Festival of New Music, and ASUC National and Regional Conferences. Chance has twice been first prize winner of ASCAP's Rudolph Nissim Prize for Orches­ tral Composition: for Liturgy in 1982 and for Oddysseus in 1984. She has received two fellowships from the National Endowment for the Arts and two residence fellow­ ships and a Norlin/MacDowell Fellowship from the MacDowell Colony. lier music has been recorded on Opus One Records, and her works are handled by Theodore Presser, G. Schirmer, and Seesaw Music.

GERALD E. CHENOWETH, composer and conductor, is Associate Professor of Music at the Mason Gross School of the Arts of Rutgers University. Chenoweth has received fellowships from Rutgers College, the Composers Conference, and the MacDowell Colony. His works for varied ensembles have been performed throughout the United States, Europe, and parts of Asia. His composition l:andles was recorded by Lucy She L ton and the Twentieth Century Consort (Smithsonian). Ano­ ther work, Three Musics for Piano Solo, is soon to be released by CRI. His music is a vai lab le from the American Composers Al 1 iance.

PETER CHILD is an Assistant Professor of Music at Brandeis University. He studied with Arthur Berger, Martin Boykan, Seymour Shifrin, and Jacob Druckman. Child's compositions have won awards from Tanglewood, The New England Conservatory, League-ISCM, WGBll Radio, and the East and West Artists. He has received Massa­ chusetts Arts Counci 1 "New Works" commissions from the Boston Musica Viva, the MIT Experimental Music Studio, and The New England Conservatory Contemporary Ensemble. His most recent work is a chamber opera, a setting of Samuel Beckett's Embers. premiered by Alea III tn March 1984.

BARNEY CHI LOS is Professor of Composition and Music Literature at the University of Redlands. Self-taught as a composer until his late twenties, his subsequent teach­ ers include Leonard Ratner, Carlos Chavez, Aaron Cop land, and Elliott Carter. Childs is known not only as a composer and authority on contemporary music theory, but also as a poet. His dissertation on text-setting in the Elizabethan Madrigal was ·influenced by his years of teaching English literature. Childs is Co-Editor of the University of California's New fnstrumentation series; he has published articles in Perspectives of New Music. lie serves on the National Advisory l)oard of The American Composers Alliance. lie has twice been on the Na­ tional Council of ASUC and has been on the ASUC Executive Committee.

43 How/\RD CINN/\MON Is a Doctoral Candidate at the University of Michigan. He has s tudied theory with SRul Novack and Richmond Browne, and composition with Wil 1 iam Al bright and George Balch Wilson. Cinnamon has published articles on the music of Bach, Lis z t, and Schoenberg in Jn The ory Only.

J. GEORGE CI SNEROS. musician, artist, and educator, is Director of the Creative Music Workshop , a community percussion and electronic ensemble of San Antonio. lie studied composition with Thomas Wells, and percussion with George Frock and Dav i d Wul iger. His compositions range from ensemble pieces for primitive instrumentation to environmental sound sculptures employing electronic devices. Cisneros's recognitions include commissions from Arte-Arts for a score for the theater production Plaza San Ouil mas as a part of Festival Calderon's Third Interna­ tional Drama Festival (1983), from 24th Street Experiment for a score for the drama Fragments (l 983), and from the Mexican- Amer i can Cultural Center for music for Madre del Sol, a multi-media theater piece (1981-82). Cisneros received a 1981 National Endowment for the Arts Fellowship in Conceptual Art/Experimental Genres. He was Composer-in-Residence at La Escuela Superior de Musi ca y Danza in Monterrey, Mexic o ( 1982), and ESAA Artist-i.n-Residence in Robs­ town, Texas, sponsored through the United States Office of Education and the Texas Comm ission on the Arts, 1978- 80. He was part icipant i n 1983 in the Part ners of t he Americas cultural exchange program between Texas and Peru.

THCM/\S CL/\RK is Associ.ate Professor of Composition and Music Theory at North Texas State University where he specializes in analysis of modern music and contemporary notational technique. He studied with Leslie Bassett, George Balch Wilson, and Wal lace Berry. Clark is Performance Director of NTSU's Center for Experimental Music and Inter­ media.

DINOS CoNSTANTINIDES i.s Coordinator of the Composition Department at Louisiana State University, Director of the LSU New Music Ensemble, Director of New Times (a new music organization), Chairman of the LSU Festival of Contemporary Music, and Con­ certmaster and Associate Conductor of the Baton Rouge Symphony. Constantinides is the recipient of numerous grants, commissions, and awards, in­ cluding eight ASCAP standard Awards, a grant from the Foundation of the Greek Government grants, two LSU research grants, and the LSU Foundation Distinguished Faculty Award. Constantinides's works have been performed by the American Symphony Orchestra, New Orleans and Baton Rouge Symphonies, the Atlanta Community Orchestra, the State Or­ ch es tr a of Athens, the Symphony of Salonika, and the Athens Radio Symphony, among others. His music has been widely performed and broadcast in the United States and Europe. His one-act opera, Intimations, was the winner of the 1981 Brooklyn College Chamber Opera Composition Contest. His works are recorded by Orion Master Recordings and are published in the United States, Greece, and Mexico.

44 MONROE CouPER is Adjunct Professor at Kingsborough College, City University of New York, and Administrative Director for Musical Elements, a New York City-based new music ensemble. He studied with Ralph Shapey, Shulamit Ron, and Ctmrles Dodge, and with Peter Maxwell Davies under a fellowship at the Dflrtington Summer Music School. Couper received the CAPS Grant from the New York State Council for the Arts in 1983, and fellowships to the MacDowell Colony and The Composers Conference in 1979 and 1980.

CHARLES A. CSURI is Executive Vice President of Cranston/Csuri Productions and Professor of Art Education and Computer and Information Science at The Ohio State University. Csuri's research in computer graphics has been supported by the National Science Foundation for the past sixteen years. He has also received grants from the Air Force Office for Scientific Research and from the Department of the Navy. lie re­ ceived a Distinguished Senior Research Award from OSU in 1983. Csuri is on the editorial board of the fF.:EE Journal of t.:omput:er Graphics and Appli­ cations, and the editorial advisory board of NCGA. Cranston/Csuri Productions has produced Animation for ABC News, NBC Sports, "The Body Machine" (twenty-four televi­ sion programs developed by Goldcrest Films to be released world-wide in 1984), and CBS Superbowl XVIII.

JoN DEAK is Associate Principal Bassist with the New York Philharmonic Orchestra. He also performs on solo recitfll tours and as a member of several contemporary music ensembles. He appears frequently on university programs as a performer and as a speaker on contemporary music. Deak has encouraged the composition of works for the bass by organizing an interna­ tional composition contest, sponsored by the International Society of Bassists. This contest has resulted in some two hundred new works, several of which have been recorded. Deak's own works have been performed on four continents in places ranging from formal concert halls to wharfside bars. lie has received commissions f~om some of the world's renowned artists and ensembles, including Julius Baker, the New York Philharmonic, Speculum Musicae, and Thom;rn Stacy. II recording of two of his chamber works, Musical Tales, is available on the Opus One label.

NoRMAN DINERSTEIN was, at the time of his death in 1982, Dean of the College­ Conserv atory of Music of the University of Cincinnati. His teachers include Witol d Lutoslawski, Gunther Schuller, Aaron Cop land, Lukas Foss, Roger Sessions, Mil ton Babbitt, Boris Blacher, Edward T. Cone, Gardner Read, Joseph Rufer, and Arnold Franchetti. Dinerstein's numerous honors include ASCllP Awards, three NRtiona l Endowment for the Arts grants, the Wassili Leps Award from Brown University, several Ohio Arts Council grants, first prize in the University of Rhode Island choral competition, the Koussev itsky Tanglewood Prize, the Raphael Saga Lyn Award for orchestral music, the Celia Buck Award, the Margaret Lee Crofts Scholarship at Tanglewood, the Inter­ American Music Competition Award, and several grants from the University of Cincin­ nati. In 1980, he was named Alumnus of the Year by Hartt College. His piece, Zal men, or The Madness of God, for solo violin, was one of only three American works performed at the 1980 festival of the ISCM, held in Israel.

45 Devoted to service, Dinerstein was Music Director for the congregation Adath Israel of Cincinnati, consultant and grants panelist for the Ohio Arts Council, and a member of the boards of trustees of the Cincinnati Symphony Orchestra, the Cincin­ nati Composers Guild, the Cincinnati Opera, the Cincinnati Ballet Company, and the School for the Creative and Performing Arts. He was Co-Director of the Sixteenth Annual Festival-Conference of the ASUC, held in 1981 in Cincinnati.

JOHN COwNEY is Professor of Theory and Composition at the University of Wisconsin - Milwaukee and Director of the Wisconsin Contemporary M~sic Forum. lie studied with Darius Milhaud, Nadia Boulanger, Olivier Messaien, Arthur Honegger, Vittorio Rieti, Leon Stein, and Rudolf Ganz. Downey's awards include two grants from the National Endowment for the Arts, two Fulbright Fellowships, a Fulbright Research Scholar Award, and a Ford Foundation grant. He was honored by the Frech government in 1980 as 1._,'he valier de 1 '0rdre des Arts et Lettres. His Edge of Space for bassoon and orchestra was recently recorded by the London Symphony Orchestra on the Musical Heritage label. Other recordings are on the Gasparo, CRI, Orion, and Chandos labels. His scores are published primarily by Theodore Presser in the United States and by Les Editions Francaises de Musique in France.

COROTHY DRENNAN is a free-lance composer living in Miami. She studied with Clifton Williams. She has been active in the study of music of the 1960' s.

GARTH OROZ IN recently returned from Brazil where he was the Fulbright Senior Lec­ tu rer-V isi ting Professor of Composition at the National School of Music of the Federal University of Rio de Janeiro . .He is pursuing his doctorate at Cornell University. He studied with William P. Latham and Karel Husa. Drozin's varied capabilities are reflected in his having taught composition at the State University of New York at Binghamton, as well as gymnastics at North Texas State University. He has done post-graduate work in Spanish and Portuguese litera­ ture and in computer science. Drozin has appeared as composer or conductor by invitation at many of the major contemporary music festivals of Europe, the United States, and South America. His music, internationally performed and broadcast, is recorded on the Cornel 1 Uni­ versity Wind Ensemble and Stith labels, and is published by Transcontinental Music and HKS Multimedia Productions.

JOHN DuFFY is President and Director of Meet the Composer and a free-lance composer for films, theater, and the ABC, NBC, and NET television networks. He recently completed the score for the documentary series 'tivilization and the Jews" produced by WNET for national broadcast on public television in 1984. Before coming to Meet the Composer, Duffy was Music Director for the American Shakespeare Festival. He has composed over one hundred theater scores and music dramas for numerous organizations. He won a 1980 Emmy Award for the score of "A Talent for Life," an NBC-TV Special, and a 1980 Laurel Leaf Award from the American Composers Alliance for distinguished service to contemporary music.

46 DAV ID EPSTEIN is Professor of Music at the Massachusetts Insti.tut.e of Technology. He studied composition and theory with Mil ton Babbitt, Arthur Berger, Irving Fine, Darius Milhaud, and Roger Sessions, and conducting with Max Rudolf, Jzler Solomon, and George Szell. An authority on the subject of time and tempo proportions, Epstein has received grants from the Fromm, Ford, and Rockefel 1 er Foundations. He has also received the Massachusetts Arts and Humanities Foundation Fellowship, the Arthur Shepherd Award, sever al ASCAP Awards, and the Deutsche Forschungsgemeinschaft Research Grant. lie has had commissions from the New York State Council for the Arts and from the Boston Symphony Young People's Concerts. Epstein has served as guest conductor with the Orchestre de la Suisse Romande, the Royal Philharmonic Orchestra, the Jerusalem Orchestra, the Bamberger Sym­ phoniker, Wiener TonkUnstler Orchester, Czech Radio Orchestra, and the Nouvel Orchestre Philharmonique, among others. His theoretical publications include the book, Beyond Orpheus (MIT Press), and numerous articles in professional journals, principally concerned with structural coherence and unity in classic-romantic music and with time structure in music.

PAUL EPSTEIN is Associate Professor of Music at Temp le University. lie studied with Seymour Shifrin, Harold Shapero, and in Italy with Luciano Berio under a Fulbright Fellowship. Epstein served as editor of The Painted Bride Quarterly from l975 to 1982. In addition to chamber and vocal music, Epstein's compositions include works for theater and dance. He was an associate of the New York environmental theater ensemble, The Performance Group, and since 1975 has been composer and music director for the ZeroMoving dance company of Philadelphia.

BRIAN FENNELLY is Professor of Music at New York University and Director of the Washington Square Contemporary Music Seri es. He is Past President of the League­ ISCM and Vice President of the American Composers Al 1 iance. Fennelly's music has won awards from the Koussevitsky Foundation, the Guggenhiem Foundation, the Martha Baird Rockefel 1 er Fund, and the N;iU.onal Endowment for the Arts, among others. He composes in both electronic and acoustic media. His Scin­ tilla Prisca for cello and piano was one of three American works performed at the 1980 ISCM World Music Days in Israel. Many of Fennelly's compositions have been recorded. His orchestral fantasy, In Wilderness is the Preservation of the World, with his Sonata Ser ia for piano, won a "Recording of Special Merit" rating from Stereo Review.

RI CHARD FEST INGER is a free-lance composer 1 iv ing in New Hampshire. Ile studied with Andrew Imbrie. He has worked at the Center for Computer Research in Music and Acoustics at Stanford University.

47 WNALO FHEUNO ls Coordinator of the Composition Div is ion at Memphis State U11i v er­ sit y. lie is fou11der a11d Coordinator of Memphis State's annual New Music Festival. Freund has received two grnnts from the National Endowment for the Arts, five ASCAP awards, and commissions from various universities, ensembles, soloists, and arts organizations. lie won the 1979 Washington International String Quartet Competition, was a winner in the 1976 League-lSC'M International Piano Music Competition, and a semifinalist in the 1983 Friedheim Awards. Freund was Chairman of the Fifteenth Annual ASUC Festival Conference in 1980 at Memphis State.

GLENN GASS is a Doctoral Candidate at Indiana University where he has worked princi­ pally with John Eaton. His former teachers include Fred Fox, Malcolm Peyton, Donald White, Michael Czajkowski, and Lee Hyl "· Gass is al so a Visiting Lecturer teaching the history of rock music at IU and at the Indiana University-Purdue University extension campus in Indianapolis. Gass's article, "Aspects of Time and Rhythm in Elliott Carter's Second String Quar­ tet" was published in Indiana Theory Review. He has had numerous performances of his works in the United States and was a featured composer on WGBH's "Meet the Composer" program in Boston. His Five Movements for Alto Saxophone (1979) is pub­ lished by the Indiana Music Center and was presented at the 1980 National Saxophone Alliance Conference.

JoHN JEFFREY GIBBENS is a Doctoral Candidate at the University of Illinois. His principal composition teachers are James Ming and Ben Johnston. He studied aes­ thetics and composition with Erhard Karkoschka, and electronic and computer music with Scott Wyatt and John Melby. In addition to current composition projects in both digitally synthesized tape and chamber ensemble, Gibbens is working on an article assessing the evidence for Debussy's impact on Ives, and on an analysis of Ben Johnston's Sonata for Hicrotonal Piano.

MICHAEL G 1RARO is a Doctoral Candidate in computer and information science and a member of the Computer Graphics Research Group at The Ohio State University. He has degrees in mathematics and computer and information science. Girard's research interests include the design of interactive programming environ­ ments for animation, computational geometry, robotics, and artificial intelligence.

DANI EL GoooE teaches as the Mason Gross School of the Arts of Rutgers University where he is Director of the Electronic Music Studio. He studied with Henry Cowell, Otto Luening, Pauline Oliveros, and Kenneth Gaburo. Goode is a clarinetist as well as composer. He plays with the Gamelan Son of Lion. He has recorded for Folkways and Opus One Recordings, and his music has been pub­ lished by Presser. Goode's music is widely performed, both in America and Europe. He has received a commission from the New Jersey State Council on the Arts, a grant for composition from the National Endowment for the Arts, and several grants from Meet the Composer.

48. JAMES GREESON is coorrlinator of Music Theory and Composi.tion Bt The University of Arkansas. He studied with Vladimir Ussachev sky, Ramiro Cortes, and Les Thi.nnnig. Greeson's awards include first prize in the 1978 Missouri Compos it ion Competition, and first prize in the l979 Forum for Composers Competition. His works are pub­ lished by Seesaw, Car, and Willis Music. He is an authority on the music of Conlon Nancarrow.

WI LL IAM M. HARTMANN is Professor of Physics at Michigan State University. His interest in music has led to the formation of a course at MSU ml led "The Science of Sound," which applies the physics of sound production and psychoacoustics to percep­ tion. Hartmann is a consulting editor of the journal Husic Perr:eption. He has contributed to Manfred Cl yne's Husic, 11 ind and Brain. Ile is B Fellow of the Acoustical Society of America and Chairman of its Technical Committee on Musical Acoustics. lie has served as a consultant to IRCAM in Paris.

Ros 1N HE 1FETZ has been Director of The Centre for F.xperimenta I Music, Department of Musicology of the Hebrew university of Jerusalem since his emigration to Israel in l980.

GEORGE HEUSSENSTAMM is on the Music Theory faculties of Californi.a State University at Los Angeles and California State University at Northridge, and Manager of the Coleman Chamber Music Association of Pasadena. Heussenstamm is the winner of numerous national and international composition compe­ titions. He is National Vice-President of NACUSA, and a member of ASCAP, ISCM, and the Western Alliance of Arts Administrators. Among Heussenstamm's recent achievements was the premiere of his Brass Quintet Number 5, written on a Fellowship-Grant from the National Endowment for the Arts, and performed by the Empire Brass Quintet on the opening concert of the Coleman Series for l983-84.

MICHAEL HICKS is a Doctoral Candidate at The University of Illinois. He studied with Ben Johnston, Thomas Fredrickson, and John Mel by. Hicks has published papers in DialoRue. Sunstone, Brigham Young University Studies. Pers pee ti ves of New Husic, and a forthcoming commemorative volume on Wagner.

CHARLES HoAG is Professor of Music Theory and Composition and Chairman of the Symposium of Contemporary Music at the University of Kansas. I~ is also Conductor of the Lawrence Symphony Orchestra and former Conductor of the Lawrence Chamber Players. In addition to composing and conducting, Hoag is an accomplished bassist, having appeared with the Peninsula Music Festival, the Oklahoma City Symphony, and the New Orleans Philharmonic. Hoag is the recipient of a 1983 Consortium Commissioning grant from the National Endowment for the Arts and has received ASCAP awards since l980. Recent works include Inventions on the Summer Solstice. commissioned by the Verdehr Trio, and Trombonehenge for thirty trombones and gongs, published by Theodore Presser.

49 REED HOLMES is AssisLtnt Profeqsor of Theory and Composition and Director of t h e El ectronic Music Studio "t the Uni versity of Texas at San Antonio. His principal compo81.tion tenche rs were !Jnvirl Vnn Vactor, Allen Johnson, Kenneth Jacobs, and Barton McLean. In addition to compo8irtR, llolmcs ls an expert on the music of Luciano Berio and on analytic me thods and tPchniques for twentieth-century music. He has received awards from the Per c u5sive Arts Society, the Luigi Russolo International Competition i n Electroacoustic Music, and ASCAP. llol mes' s compositions have been per formed at the Bow 1 i ng Green New Music Festival, the International Co mputer Music Conference, Electronic Music Plus Festival, Festival de Music Antica y C.:ontemporanea in Parma, Italy, ASUC National Conferences, the Memphis State University New Music Festival, and the Jersey City State College Electronic Music Festival. His works have recorded on Folkways and Advance .labels a nd a re pub! ished by Dorn Publications. His latest recording is MOIRE, released in 1983 .

JERRY HUNT is on the faculty of the University of Texas at Dallas where he teaches Visual Art and Electronic Graphics. He studied piano with Wilma Schaffer Austin, Silvio Scionti, Paul van Katwijk, and Stev fan Bardas, and composition with Samuel Adler. Hunt has been in the forefront of artistic experimentation in Texas since 1963, when he became co-founder of the Audio/Visual Studio Ensemble, one of the first coopera­ tive electronic music studios in the South. Since then, he has collaborated with various video artists to create works for PBS's "Video Visionaries," NCET, and CBS's "Arts and Man" series. He is also co-founder of the Video Research Center in Dallas. Hunt has been the recipient of numerous grants and fellowships . He has recently given successful concerts at The Kitchen in New York, which have attracted attention to experimental achievements in the Southwest. Hunt's Music is recorded on the Ocean and Irida labels.

RICHARD S. JAMES is Assistant Professor of Music History and Literature at Bowling Green State University where he has received three Faculty Research Grants. He studied with Glenn Watkins at the University of Michigan. James is a recorder player and musicologist. His research areas include twentieth­ century American music, most notably the activities of the Ann Arbor ONCE group, and the origins of electronic music. He is a contributor to the New Grove's Dictionary of Music and Musicians.

GARY KENDALL is Associate Professor of Music Composition and Theory at Northwestern University where he is Director of the Computer Music Studio. He studied with Thomas Wells and Gregory Proctor. Kendal 1 's article, ''Composing from a Geometric Mode 1: Five-Leaf Rose," appeared in 1;omputer Music Journal. His research in sound localization led to the pub! ication of "The Simulation of Three-Dimensional Localization Cues for Headphone Listening" in the Proceedings of the 1981 Computer Music Conference.

ARTHUR KOMAR is Chairman of the Division of Composition, History, and Theory at the University of Cincinnati. His t eachers i nclude Ernst Oster, Milton Babbitt , a nd Godfrey Winham. Komar is the author of A Theory of Suspensions and Music and Human experience. He is the editor of Schumann's "Dichterl iebe'~ in the Norton Critical Scores Edition.

50 Wt LL 1AM KRAFT is Composer-j n-Residence for- the Los Angeles Phil harmonic and Director of its performing arm for contemporary music, The New Music Group. He has also been that orchestra's Principal Timpanist and Assistant Conductor. His principal in­ structors in composition include Jack Beeson, Seth Bingham, llenry Brant, Henry Cowell, Erich llertzmann, Paul Henry Lang, Otto Luening, and Vladimir Ussachev sky. He studied percussion with Morris Goldenburg and timpani with Saul Goodman. During his early years in Los Angeles, Kraft organized and directed the Los Angeles Percussion Ensemble. As percussion soloist, he performed the American premieres of Stockhausen's Zykl us and Boulez's Le Harteau sans l1aitr·e1 he recorded L'Histoire du Soldat under Stravinsky's direction. He served as the musical director and chief advisor for the Young Musicians Foundation Debut Orchestra of Los Angeles. His in­ volvement in music education ranges from youth and in-school concerts to visiting lectureships in composition at such institutions as the University of Southern Cali­ fornia, California Institute of the Arts, and the Banff Centre for the Performing Arts. As a composer, Kraft has a long string of achievements. His awards and commissions include two Guggenheim Fellowships, two Ford Foundation commissions, a fellowship from the Huntingdon Hartford Foundation, and grants from the Rockefeller Foundation and the National Endowment for the Arts. lie was Resident Scholar at the Rockefeller Center for Creative Studies at Bellagio, Italy, in 1973. Kraft's compositions are performed by major orchestras all over the world. His Concerto for Four Percussion Soloists and Orchestra ( 1961.), premiered by Zubin Mehta and the Los Angeles Philharmonic, received three nominations for Pulitzer Prize for 1965. Other works receiving Pulitzer Prize nominations are his i,'ontextures: Riots - Decade '60 (1968) and his Piano Concerto. Almost two dozen of his works have been premiered, performed, or recorded by the Los Angeles Philharmonic. Kraft is also active in the entertainment merlia, composing scores for major motion pictures and television. His works are recorded on the Crystal, Delos, Golden Crest, London, Louisville, Orion, and Townhall labels. He is a member of the NEA Music Panel and the ASCAP Board of Review.

JoNATHAN KRAMER is Professor of Composition and Theory at the University of Cincin­ nati where he is also Director of Electronic Music. His teachers include Karlheinz Stockhausen, Roger Sessions, Leon Kirchner, Andrew Imbrie, and Joseph Kerman. For seven years he was Director of Undergraduate Composition at Yale University. Kramer has had numerous articles on the subject of musical time published in various journals. He serves as Program Annotator and New Music Advisor for the Cincinnati Symphony Orchestra. lie is producer, author, and host of the weekly radio series "Symphony Preview." Kramer was one of three winners of the l983 International Rostrum of Composers, USA, and one of three American composers whose works were performed at the l980 World Music Days, ISCM, in Israel. His new orchestral work, 11nments In and Out of Time, was premiered in Cincinnati and at Carnegie Hall in February, 1984, and was broad­ cast throughout Europe.

SL PAUL LANSKY is on the faculty of Princeton llni versity. His teachers include George Perle cind Milton B

DAVID LIPTAK teaches composition and theory at the University of Illinois where he is pianist for, and Director of, the Contemporary Chamber Players. His teachers of composition include Samuel Adler, Warren Benson, Eugene Kurtz, and Joseph Schwantner. Sever al of his compositions are published, and he has received first performances of works in Carnegie Recital 1~11 and Wigmore Hall within the past four years.

RUTH LCMON is a free-lance composer living in Cambridge, Massachusetts, with fre­ quent sojourns in New Mexico. She studied with Francis Judd Cooke and Witold Lutoslawski. Many of Lomon's compositions have been stimulated by the Southwest and her long­ standing interest in North American Indian ways. Her pieces encompass a variety of instrumental ensembles. Her awards include fellowships from the MacDowell Colony, Yaddo, the Helene Wurlitzer Institute, Taos, New Mexico, the Federation of Music Clubs, and Meet the Composer. She has received commissions from the National Women's Studies Association, Music Teachers National Association, and the Toronto Sesquicentennial Contemporary Music Festival. Lemon's music has been recorded on the Coronet, Arch, and Capriccio labels. Her works are published by Arsis Press of Washington, D.C.

EDWIN LONDON. composer and conductor, is Chairman of the Department of Music of the Cleveland State University. Previously, he was Chairman of Composition a nd Theory at the University of Illinois. He studied horn with Martin Morris and Gunther Schuller; composition with Luigi Dallapiccola, P~ . Clapp, Phillip Bezanson, and Darius Milhaud; and conducting with Jonel Perlea, Maurice Kessler, and Izler Solomon. For four years he was Chairman of ASUC. London's music has been widely performed. He has been honored by numerous commis­ sions from schools such as Amherst, Bowdoin, and MIT, and from performers such as Stuart Dempster. He has been a Guggenheim and Mac Dowel 1 Colony Fellow and has received grants from the National Endowment for the Arts, ASCAP, the American Music Center, and the Ford Foundation. In recent months he has received the annual Cleveland Arts Prize in Music from the Women's City Club and a $3,000 composition fellowship from the Ohio Arts Council.

52 London is interested 1.n al 1 types of music, including the jazz he played as a member of Oscar Pettiford's orchestra in 1956-57. His work has often been concerned with. language, literature, and myth. llis Psalm of These Days III was a winner of the League/ISCM composers competition in 1979. In 1980 the Lake George Opera Festival presented scenes from his opera The Death of Lincoln. [n l981 his theater piece f'fetap/Jysical Vegas was presented in Milwaukee and Cleveland by its commissioning body, the Musical Theatre Ensemble of the University of Wisconsin - Milwaukee. His works can be heard Oil the DGG, Advance, Ubres, and CRI labels. lli.s work as a conductor has been recorded by CRI, New World, Advance, Orion, and Ubres. His scores have been published by Associated Music, C.F. Peters, European-Amerlcan Music, Alexander Broude, Gun-Mar, Agape, Jerona Music, Walton Music, New Valley Music Press, Bowdoin College, MJQ Pub Ushers, and Jensen Music.

ALEX LUBET teaches at the University of Minnesota.

WILLIAM MARTENS is a Doctoral Candidate in Psychology and is Research Coordinator of Computer Music at Northwestern University. Martens's auditory perception research at Northwestern has involved timbre perception and spatia 1 localization. He teaches the Psychology of Music course there.

HENRY MARTIN is a free-lance composer, arranger, and teacher living in New York City. He has composed for a variety of instrumental combinations, but primarily for piano and chamber ensemble. The author of numerous articles on music theory, Martin has just completed Enjoying Jazz, a book Oil the appreciation and theory of jazz, shortly to be released by Longman, Inc.

WILLIAM MATTHEWS is on the faculty of Bates College in Lewiston, Maine. His teachers include Richard llerv ig, Walter Aschaffenburg, Jacob Druckman, and Gottfried Michael Koenig. Matthews has received three BM! Student Composer Awards, the ASCAP Fellowship, and two ACA recording awards. An ASUC recording including his music is forthcoming.

PRISCILLA McLEAN is a free-lance composer living in Petersburg, New York. She tours extensively with her husband, Barton McLean, as the McLean Mix, specializing in concerts using live electronic music with other instruments. Acknowledged as one of America's important women composers, McLean has had an active role at the Graz, Gaudeamus, and Zagreb European music festivals and the Inter­ American Music Festival, among many others. Her works are widely heard in interna­ tional radio broadcasts, and are recorded on the CRI, Folkways, Orion, Advance, and Louisville Orchestra 1st Edition 1 abel s.

ANDREW MEAD is Assistant Professor at the University of Michigan. He has studied with Mil ton Babbitt and Richard Swift. Mead's publications include papers on Babbitt in f'fusic Theory Spectrum and f'fusical Quarterl Y• on Elliott Carter in Perspectives of New f'fusic, and on pitch-class theory in in Theory Only.

5J J OHN MELBY i s a member of the Composition / Theory faculty of the Unviersity of I Llinois, currently on leave while on a Guggenheim Fellowship. His composition teachers include Vi.ncent Persichetti, llenry Weinberg, George Crumb, Peter Westerganrd, J.K. Randnll, and Milton Babbitt. Me lby is well - known for his compositions for computer-synthesized tape, both alone a nd in combination with 1 iv e performers. He has won many awards, including First Prize in the l 979 Internationa 1 Electroacoustic Music Awards, Bourges, France, and grants from the National Endowment for the Arts and the Martha Baird Rockefeller Fund for Music. STEPHEN MoNTAGUE is a free-lance composer and pianist living in London. His teach­ ers include Marshall Barnes, Herbert Brun, Wolf Rosenberg, David Behrman, Carlisle Floyd, and John Boda. He was the recipient of a Fulbright Fellowship for study in Warsaw ( 1972-74). He has received awards and commissions from the National Endow­ me nt for the Arts, the British Council, the Hinrichsen Foundation, R. Vaughn­ Williams Trust, Arts Council Composer Bursary Award--Britain, the Gulbenkian Founda­ tion-Lisbon, Pro Musica Nova--Bremen, Greater London Arts Association, and The Academy of the London Orchestra. Montague was a founding member of the Electro-Acoustic Music Association of Great Britain, and is in charge of their monthly London concerts. He has written articles f or several international music j ournal s , and is a cont ributor to the New Gro v e 's Dictionary of Music and Musicians. As a pianist, Montague has premiered over thirty works, and recorded extensively for European radio. He was recently guest soloist with the chamber ensemble, L'Itin~raire, at the Pompidou Centre in Paris. llis compositional interests are equally divided between electronic and acoustic media. He has just completed a large multi-media work at IPEM/Belgian Radio elec~ tronic music studio in Ghent. His new orchestral work has been choreographed for the Royal Ballet in London. A recording of his works will be available shortly on the Lovely Music label, New York• .

DEXTER MORRILL is Professor of Music and Director o·f the Computer Music Studio at Colgate University. He studied composition with Wil 1 ian Skelton, Leonard Ratner, and Robert Palmer. Morrill's computer music compositions have received numerous performances in the United States, Canada, Great Britain, Australia, France, and Austria. He was Guest Musical Researcher at IRCAM in 1980, and has spent a part of his time doing research on the analysis and synthesis of trumpet tones. His compositions are available on Golden Crest, Musical Heritage, and Redwood labels.

GARY NELSON is an Associate Professor at the Oberlin College Conservatory of Music, and Director of the Technology in Music and Related Arts program. He has taught at Purdue University and Bowling Green State University, and has been a guest lecturer and consultant at Bell Laboratories, IRCAM, EMS-Stockholm, the Center for Music Research at Florida State University, and the Univ er sit y of Melbourne. Although most of Nelson's compositions are for tape alone, his output includes works for acoustic media. He has recently become involved with microcomputer-based sys­ tems for real-time composition.

54 DAVID NCX)N teaches composition Ht the MHnhHttan School. of Music where he is also Chairman of the Music History Department. lie has taught at Northwestern University and was composer-in-residence at the Wurlitzer Foundation in Taos, New Mexico, in 1976 . Noon is the recipient of many awards, including those from BMI, ASCAP, and the National Endowment for the Arts , and a Fulbright Fellowship for study in Poland. His works have been played throughout the United States and Europe, and are pub.- 1 ished by Carl Fischer.

PAULINE OLIVEROS, a native of Houston, Texas, c urrently lives in Mount Tremper, New York, where she works independently as a composer, l ecturer, writer, and consul ­ tant. Oliveros was a charter member of the Mus ic Faculty at the University of California at San Diego where she taught composition and experimental studies and was director of the Center for Music Experiment and Related Research. 01 iv eros was a founding member of the San Francisco Tape Center where she pioneered work in electronic music during the l960's. As the first director of the Tape Music Center at Mills College in Oakland, California she continued her work in electronic music and interarts theater pieces. During the 1970's Oliveros's works changed direction: her interest in attentional and meditational practices resulted in a body of works cal led Sonic Meditations. During the last few years, she has become increasingly active as an accordionist performing, solo and in ensemble, her own music as well as the music of others. lier most recent book, Software for People, is an anthology of her writings that trace her philosophical and artistic development from l96J to 1980.

ANDREA OLMSTEAD taught music history at the Juilliard School from 1972 to 1980 , and now heads the Department of Music History at Boston Conservatory. She studied with Gustave Reese, George Perle, and Irving Kolodin. Olmstead is the author of numerous articles in Perspectives of New Husic, T empo. Current Husicology, and Musical America. She has done program notes for "Live from Lincoln Center" on National Public Radio, and music criticism for fliRh Fidelity/Hu­ sical America and the Rome Daily American. In 1980, Olmstead was awarded the Sinfonia Foundation of Mu Alpha Phi Fraternity Research Grant in American Music for her work on Roger Sessions.

STEVEN PAXTON is Assistant Professor of Compositi.on at Texas Tech Uni versity, and Director of The New Music Ensemble and the Studio for Experimental and Electronic Music there. He studied with William Latham, Merrill Ellis, Mary Jeanne van Appledorn, and Ronald Pellegrino. Paxton has presented seminars on new and experimental music to ci vie groups, commu­ nity organizations, and public school students. His commitment to new, alternative art experiences is further represented by his post as Director of the Leading Edge Music Series at Texas Tech and as Musical Director for Lubbock's Young Actor's Workshop. Paxton's music has been presented at national conferences sponsored by ASUC, The College Music Society, and the Charles Ives Center for American Mu s ic.

55 8AR£l /\R/\ A. PE TER SEN ls c1n11ciRer 'Jf Concert Rcsecirch for llroaclcast Musi c, [nc. (BM!). She has taught music histor y at Ne w York Unive rsity and has worked as an e ditor for Broude Brothers Limite d. Peterse n's book, Ton unrf Wort: Th e Li eder of Richard Strauss, was published in 1980 by UM[ Research Press; it wi ll appear in a German edition in 1985. Other of her writings include JJMI brochures on Miriam Gideon, Elliott Schwartz, and Bernard Rands. Petersen lectures on the music of Strauss and Wagner and gives seminars to compo sition students on performance rights.

MARK PH 1LL1 PS is a Visiting Instructor of Composition at Indiana University. He studied with Thomas Canning, Fred Fox, John Eaton, and Bernhard Heiden. Phillips has received the ASCAP Raymond Hubbell Award (1983) , fellowships from the Indiana University School of Music, and several composition contest prizes. He has written works for both acoustic and electronic instruments. Recent performances include his Summer-Soft, played by the Icelandic Orchestra, and Suite for unaccom­ panied cello, played at the 1983 ASUC Region V Conference.

GREGORY PROCTOR is Associate Professor of Music at The Ohio State University and Co­ Di rector of the Sound Synthesis Studios there. He studied theory with Carl Schachter, Felix Salzer, George Perle, Godfrey Winham , and Milton Babbitt, and composition with Peter Pindar Stearns. In addition to his research in digital sound synthesis, Proctor is developing a theory of harmonic generation that draws parallels between methods of harmonic-field generation from pitch-class sets in pre-tonal, tonal, and post-tonal music. He has made several recent presentations on the harmonic system of Skryabin and is working on an article on the subject.

BRUCE REIPRICH is on the faculty of Wilkes College in Pennsylvania where he teaches music theory and composition and directs the contemporary music ensemble.

BRUCE SAMET is the author of Hearing Aggregates, a study of the projection of aggregates as determinants of audible progression in twelve-tone music. He studied with Mi 1 ton Babbitt, J .K. Randal 1, and Peter Westergaard. Samet is working on two large aggregate-based piano pieces, Dome and Variations.

M 1CHAEL ScHEL L is a graduate student at the University of Iowa studying with Richard Hervig and Kenneth Gaburo. As an undergraduate at the University of Southern Cali­ fornia, he was a Research Assistant in Psychophysiology. Schell is involved in live electronic music, computer music, and bio-music (in connection with psychology). He is working on a piece for video, dance, and live electronics, and a theater piece, a mixed-media installation.

ELLIOTT ScHWARTZ is professor of Music and Chairman of the Music Department at Bowdoin College. He has held visiting lectureships or extended residencies at universities in the United States and Great Britain. He is a mem her of the Advi­ sory Council of the College Music Society, National Vice-President of the American Music Center, and National Chairman of ASUC.

56 Schwar'tz's compositions have been performPd by the Tndi a nnpolis, Cincinnati, and Portland Symphonies, the Minnesota Orchestrn, Kansas City nnd New Orleans Phil­ harmonics, the St. Paul Chamber Orchestrci, nnd cit mRjor f estiv<1ls throughout the United States and Europe. Ills honors inc I. ude thrPe grants from the Nationa 1 Endow­ ment for the Arts, an NEA Consortium c ommission, a Roc kefell e r Foundat.i on residency at Bellagio, Italy, and the Gaudeamus Pri.ze from the Netherlands. Many of his works are published and recorded. Schwartz is active as a writer on musical subjects. His books inc.lude an intro­ ductory appreciation text, Music: WRys of Listening, and El ectronic 1'1usic: A Lis­ tener's Guide. He is co-editor of the anthology Contempo rnry Composers on Contem­ porary Music. and the author of reviews and articles for various journals. As pianist, composer, and narrator, he has presented four radio programs on c ontem­ porary American music for the BBC, and has lectured on Ameri. can mus i c a t Oxford and the Roya 1 College of Music.

CLEVE SCOTT is Chairman of the Division of Music Composit i on and Theory at Ball State University where he al so serves as Director of Elec tronic Systems for Music Synthesis. He studied with Stanworth Beckler, Robert Tyndall, Richard Hervig, and Robert Schallenberg. Scott's primary area of research is the development of compositional software based on Musical Program Library (MPL). He is now working on a piece for tape and o boe using MPL.

C. JAMES SHEPPARD is a member of the music faculty of Miami University (Ohio) where he teaches composition and electronic music. He co-directs the Ensemble for New Music at Miami, is a member of the Oxford Brass Quintet, and performs as soloist on the Electronic Valve Instrument. Sheppard's first musical training was in trumpet performance. He studied composi­ tion with Phil 1 ip Bezanson, Richard Hervig, and Donald Martin Jenni. At the Univ er­ sity of Iowa, he was a Composing and Performing Fellow with the Center for New Music under William Hibbard. Sheppard's activities include the organization of the "World as Mirror" composition competition, with performances of the winning music at the National Conference on Narcissism held in June, 1983, at Miami University. In the summer of 1983, he was recipient of an Individual Artist Fellowship from the Ohio Arts Council.

HCNllE SMITH is a composer, performer, and teacher. He has been a faculty member of the National Jazz Clinics since 1971. Since 1977, he has been a member of Sonor, a San Diego new music chamber orchestra directed by Bernard Rands. He has t a ught at the University of Illinois, Northern Illinois University, and at the Ne w South Wales State Conserv atorium (Australia). Smith recieved a Fulbright grant in 1973 to set up the first jazz program at the tertiary level in Australia. He has performed widely in Europe, Australia, and the Soviet Union. Two virtuoso works have been written for him: Pressure Points f o r Solo Al to Saxophone and Orchestra by Edwin London, and Doublets II for alto saxo­ phone and tape by Martin Wesley-Smith. Smith has an extensive list of compositions to his cre dit inc luding numerous commi s­ sioned works for university and high school jazz ensembl e s, over two dozen of which have been published. He has recorded both as performer and composer.

57 SrEVEN STUCKY teaches composition at Cornell University. lie studied with Richard Willis, Robert Palmer, Burrill Phillips, and Karel llusa. Stucky has been active as a conductor of his own music and as a writer and lecturer about twentieth-century music. His contributions have appeared in Notes, Husical Times, OpP.ra Quarterly. and Husical America. His book Lutoslawski and his Husic ( 198 l) won the ASCAP Deems Taylor Award. Among his honors for composition are the American String Teachers Association Award (1975), the Devora Nadworney Award (1971), the ASCAP Victor Herbert Prize (1974), first prize in the ASUC Student Composers Competition (1975), and grants from the American Council of Learned Soci­ eties, the National Endowment for the Arts, and the National Endowment for the Humanities.

BRUCE TAUB is Editor and Director of the Editorial Department at the C.F. Peters Corporation. He has taught at CUNY and at Columbia University. from 1974-76 he served as Chairman of the Executive Committee of ASUC and he is the Editor of its Journal. He studied composition with Mario Davidovsky, Vladimir Ussachevsky, Jack Beeson, and Chou Wen-chung. Taub's awards include the Marc Brunswick Award in Musical Composition, the Joseph H. Bearns Prize in Music, a BMI Award, and two awar.ds from the National Endowment for the Arts. Taub has written over forty compositions including pieces for solo instruments, chamber ensemble, tape, computer, the ballet, and opera. His compositions have been performed by many contemporary music ensembles in New York and throughout the United States. His music is published in the ASUC Journal, by Music for Percussion, and by C.f. Peters Corporation.

MICHAEL UDCl/i is a percussionist-composer who continues to extend techniques on traditional percussion instruments while performing on new instruments he designs and constructs. Udow has performed as solo percussionist in Europe, Canada, and the United States as a member of the Black Earth Percussion Group, the University of Illinois Contem­ porary Chamber Players, the New Orleans Philharmonic, and the Santa Fe Opera. Udow ha·s been the recipient of the Edgard Varese Scholarship, a BMI Award, and a Fulbright Grant for study at the Experimental Studio in Warsaw, where he wrote "An Acoustical Notation System for Percussively Generated Sounds," the philosophical basis from which his instrumental design concepts emerged.

NANCY lJDON is a dancer-choreographer whose compositions explore detailed rhythms and gestural subtleties in movement. She is al so in vo 1 ved in the interpretation-perfor­ mance of dance from scores composed by others. Udow's technique extends primarily from study of the writing of Mabel Todd as taught by Barbara Clark. The Use of Imagery in Dance Training (Theater Papers, Dartington College, 1978) is her own investigation into anatomical and imagery-based dance technique. Udow has been Instructor of Dance at the University of Rochester and at Dartington College of the Arts, England. Her present interests include the study of sign language and the teaching of dance to the hearing-impaired.

58 HE ID 1 VON GUNDEN is a member of the music focu l ty of the llni versity of l l l inois. She studied with Pauline Oliveros, Robert Erickson, and Roger Reynolds. In addition to her published articles about sonic awareness, Von Gun den has recently published The Husic of Pauline Oliveros (Scarecrow Press), and is working on The Husic of Ben Johnston, also to be published by Scarecrow.

PETER WARE is a free-lance composer living in Kent, Ohio. lie has studied with Krzystof Penderecki, Toru Takemitsu, Roman llaubenstock-Ramati, and Allen Forte. Ware has received numerous grants, commissions, and prizes in composition. He is now finishing Baca: Location No. I, commissioned by the Kitchener Waterloo Sym­ phony/Canadian Chamber Ensemble with a grant from the Ontario Arts Council. Ware developed a lasting attachment to Indi.an lore and locales, manifested in his compositions. His works are published by Acoma Company.

DAVID WESSEL holds the title Responsable Perlagogie at the Institut de rec/1ec·che et coordination acoustique/musique (IRCAM) in Paris where he has taught since its inception in 1977. His for_mal training was in mathematics at the University of Illinois and in psychology at Stanford University. He studied computer music with Lejaren Hiller and John Chowning and is a jazz performer. In his position at IRCAM, Wessel has overseen the production of a considerable body of music and musically oriented research in which computer-based synthesis and compositional technique have played a primary role. Wessel has presented papers at many conferences and is a consulting editor for the journal, Husic Percept ion. lie has contributed articles to The Computer Hosie Jour­ nal, Perception and Psychophysics, The Journal of the Audio Engineering Society, and Diana Deutsch's The Psychology of Husic (1982).

REYNOLD WEIDENAAR, composer and video and film maker, is on the faculty of New York University where he teaches film sound design. He has been editor of Electronic Hu sic Re view, recording engineer for the Cleveland Orchestra, and chief audio engi­ neer and director of the electronic music studios at the Cleveland Institute of Music. Weidenaar composes primarily for electronic media, creating videos and films which are extensions and reflections of music. His music composition honors include First Prize at the Sonavera International Tape Music Competition, Winner of the Interna­ tional Gaudeamus Festival Composers Competition (Holland), and a Composer Fellowship from the National Endowment for the Arts. Recordings of his compositions have been released on the Crystal, Advance, and Capstone labels. Extensive articles on his work have appeared in Videography, Husical America, Video Guide, and in many Japanese publications.

MARTIN WESLEY-SMITH is Lecturer in Electronic Music at the New South Wales Conserva­ torium of music in Sydney, Australia . lie is musical director of Tree, a group dedicated to multi-media performances in outdoor locations, and he gives many con­ certs with his own group, Watt, including performances in Tokyo and Hong Kong.

59 Wesley-Smith's varied output reflects his varied musical tastes and background: he has, for ex:Jmple, pl:Jyed in a populrtr vocal and instrumental trio; written scripts, songs, and musical arrrtngements for radio and television; and appeared with symphony orchestras playing banjo and synthesizer. lie writes many children's songs, often with his wife, scriptwriter Ann North. lie has composed orchestral, chamber, choral, music-theater, electronic, and video works as well as an opera and music for film, rlnnce, and revue. His main interest, however, is in works of audio-visual art ranging from works for tape and transparencies to large-scale environmental events.

GARY C. WHITE is Professor of Music, Head of Composition, and Director of the Electronic Music Studio at Iowa State University. His principal composition teach­ ers were II. Owen Reed and John Pozdro. Among White's prizes and awards are a commission-prize fro!l)othe Symposium of Contem­ porary Music for Brass, a Toon van Balkom Prize in composition, ~ MacDowell Colony Fellowship, the Wabash Prize, the Kendor Music-University of Maryland Prize, and a number of ASCAP Standard Awards. In addition, White has received commissions from the National Endowment for the Arts, the Musical Society of the University of Michigan, the Ames International Orchestra Festival, and the Guild of Carillonneurs in North America.

JoHN WHITE is Coordinator of Theory and Composition at the University of Florida. He also served as Dean of the School of Music of Ithaca College and Chairman of the Music Department at Whitman College. In 1979 his trio, Husic for Oriana. was the first prize winner of the Oriana Trio­ University of Wisconsin, Parkside International Composer's Competition; his new madrigal, The Soft Voice, is the 1984 winner of the American Choral Director's Association choral competition; and his Zodiac is one of fiYe compositions selected for performance at the 1984 Festival of Contemporary Choral Music in America at Bowdoin College. He is working on a new concerto for cello and orchestra. As an active performing cellist, White has played or premiered numerous new works for cello. He is also an author, his most recent book being Guidelines for College Teaching of Husic Theory (Scarecrow). His The Analysis of Husic (Prentice-Hal 1) will be published in a revised and expanded second edition in 1984. His composi­ tions are published by G. Schirmer, Galaxy, and Lawson-Gould.

Yehuda Yannay is on the faculty of the University of Wisconsin-Milwaukee and was guest-artist and visiting professor on a Fulbright grant last year in Stuttgart, Germany. He recently completed a commission for a piece for recorders, guitar, bass clarinet, and small percussion. He is working on a film entitled "Jidyll" and a composition for guitar.

ARLENE ZALLMAN is Associate Professor of Composition and Theory and Chairman of the Music Department of Wellesley College. She studied with Vincent Persichetti, Luigi Dallapiccola, and George Crumb. Zallman has received various awards and prizes including the Marian Fresch! Prize for Vocal Composition, a Fu !bright Fellowship for study in Italy, an award from the National Endowment for the Arts, a Mellon Award, the League/ISCM National Prize for her Songs from Quasimodo, and six MacDowell fellowships. Zallman's Quasimodo songs were recently performed in Carnegie Recital Hall by the ISCM. Her Toccata and Three Preludes for Piano are widely performed, including their Merkin Hall premieres in 1983. She is a member of the advisory board for the ISCM, Boston region.

60 FRANK ZAPPA is a free-lance composer living in Los Angeles. Recognized as an influential force in many musical realms, Zappa, starting in 1964 with his infamous ensemble, The Mothers of Invention, continues to provide refreshing alternatives to a long list of behavioral aberrations afflicting our society as a result of "Corpo­ rate Rock" pollution. Zappa's projects usually begin as self-financed ventures through his company ICA (InterContinental Absurdities). Albums and tapes are released by Barking Pumpkin Records. His works include 203 songs, thirty-two compositions for orchestra and choral groups, four ballets, two feature films, and two te Le vision specials. He is now exploring a new territory: Broadway.

ELLEN TAAFFE ZWILICH is a free-lance composer. She studied composition with Roger Sessions and Elliott Carter, and violin with Richard Burgin and Ivan Galamian. Zwilich is the recipient of numerous prizes and awards, includi.ng the Elizabeth Sprague Coolidge Chamber Music Prize, a gold medal won in the Twenty-sixth Annual International Composition Competition '\;.B. V iot ti" in Venice, Italy, a Guggenheim Fellowship in Composition, and grants from the Martha Baird Rockefeller Fund, the National Endowment for the Arts, the New York State Council on the Arts, and the Norlin Foundation. She is the recipient of the 1983 Pulitzer Prize for music, the first woman ever to receive this coveted award. The composition which earned her this distinction is the Symphony Number 1 (Three Movements for Orchestra). Zwilich's works have been performed here and abroad. Pierre Boulez premiered her Symposium for Orchestra in New York and it was later played by the American Symphony Orchestra under Kazuyoshi Akiyama. The Boston Musi ca Viv a under the di rec ti on of Richard Pittman gave the premieres of both her ,;/Jamber Symphony and Passages. a setting of poems by A.R. Ammons.

61 THE Col.UMBUS SYMPHONY ORCHESTRA was founded in 1951 as a successor to the Columbus Phil harmonic. From a beginning with twenty-eight musicians, the CSO has grown to ninety-seven players and an annual operating budget of $3 million. The orchestra is well on its way to full-time status for all the musicians. The Columbus Symphony is moving into a new era. Its dynamic new Music Director, Christian Badea, plans to accelerate the orchestra's artistic growth and bring to it a national reputation for i nnovation and excel 1 ence.

CHRISTIAN BADEA is Music Director and Conductor of the Columbus Symphony Orchestra and the Music Director of the Spoleto Festival of Two Worlds as well as the Savannah Symphony Orchestra. In recent years, he has conducted London's BBC Symphony , the Netherlands Radio Philharmonic, the Pittsburgh, Atlanta, Detroit, and Milwaukee Symphonies, the Buffalo and Rochester Philharmonics, and the National Symphony of Washington D.C. He has also conducted the English National Opera, the Netherlands Opera, and other important companies.

Bad ea, a native of Romania, is a graduate in viol in and composition from the Bucha­ rest Conservatory of Music. He has also studied in Brussels, Salzburg, and New York at the Juilliard School of Music.

COLUMBUS SYMPHONY ORCHESTRA PERSONNEL

first violins: second violins: violoncellos: Michael Davis George Hardesty William Conable concertmaster principal principal Jonquil Thoms Winifrid Shera Richard Bell assistant Joyce Fishman Susan Durham concertmaster Suzanne D. Schiffel Stephen Busonik James McCullough Julie Snider Marjorie Chan Mina Buchsbaum Deborah Fitzer Scott Michal assistant Jean Blosser Catherine Gerhardt concertmaster Penelope Dunckley Lucinda Breed Swatsler Michael Butch Mary Ellen Huff Judit Ebner Marya Giesy Robert Pf orsich Catherine Wagner Joseph Pasquarello James Konzen David Baumgartner Janet Fisher Robert Gerhardt Jonathan Gerhardt Christopher Durham Cynthia Horn Eliza McGowan Susan Waterbury basses: Barbara Stadelman Russell Gill Ruth Stroud violas: principal Robert Schumitzky Steven Wedell Mervyn Farrar Clare Bell acting principal Drew Campbell Delora Baker Laurel Grant Edward Ferguson Betsy Baumeister Timothy Mika David Jones Mary Farrington Thomas Jordan Marcia Herman Tim Walters Cecilia Goist Moses Carreker Ann Schnapp Suzanne Cupp Marilou Vetter Pamela Spade· Maryalice Sus i J ames Pappas

62 flutes: bassoons: trombones: Randall Hester Betsy Sturdevant Richard Howenstine principal principal principal Phyllis Hester David Shern John Mitchell Barbara Crockett Imre Szekfu Joseph Duchi piccolo Trueman Allison Katherine Jones contra bassoon tuba: James Akins oboes: horns: Stephen Secan Nicholas Perrini timpani: principal principal Christopher Allen Patricia Barry James Frank english horn co-principal percussion: Marilyn Post Brian Bell Jack Jenny Margaret Rivenburg Ted Willis principal Kent Larmee Philip Shipley clarinets: Val Vore Kenneth Grant trumpets: principal Robert Hightshoe harps: Paul Bambach pri.ncipal Katherine Bracy e-flat clarinet Steven Emery principal Lyle Barkhymer co-principal Muriel Gundersheimer bassclarinet Thomas Battenberg Alan Campbell

THE ENSEMBLE FOR NEW MUSIC of Miami University (Ohio) was founded in 1971 by Winford Cummings. It is comprised of faculty members and students who have an interest in the performance of newly composed music. The group has presented programs both local 1 y and national! y, including New York City and Washington D.C. The ensemhle is co-directed by Winford Cummings 3nd C. James Sheppard. Musicians performing at the current ASUC festival/conference are:

William Bausano, baritone Sandra Seefeld, flute Robert Thomas, piano Joseph Hickey, percussion Michael Engberg, electronics technician

MEET THE CoMPOSER was founded in 1974 to promote the music of living American composers, encourage the commissioning of new music, and develop audiences for the music of our time. Meet the Composer awards grants to non-profit organizations that invite composers to participate at programs of their music. Meet the Composer supports the entire spectrum of new music--Concert, Chamber, Choral, Orchestra, Folk/Ethnic, Jazz, Theater, Film, Opera, Dance, Electronic, Experimental , Multimedia. 63 J THE NI SS IM/ KJ:,/'>P AWARD is given to a composer of an orchestral work for fu 11 sym­ phony orchestra (with or without soloists and/or chorus) not previously per formed professionally.

Rudolf Nissim, former head of ASCAP's Foreign Department, left a substantial part of his estate to the ASCAP Foundation, providing for an annual prize to a serious writer member of ASCAP. Dr. Nissim joined the ASCAP staff immediately after he settled in the United States in 1940. He had been Managing Director for seven years of AKM, the Austrian performing rights society. His first accomplishment at ASCAP was the establishment of a Serious Music Department for licensing the performances of works by the Society's symphonic and concert composer members. For nearly four decades thereafter, his dedication to contemporary music and its creators was an inspiration to his colleagues.

The ASCAP/Rudolf Nissim Composers Competition is a fitting memorial to this devoted friend of composers.

THE PRO MUSICA CHAMBER ORCHESTRA of Columbus, now in their fifth season,is a profes­ sional orchestral ensemble of thirty-two carefully selected and highly skilled musicians. The orchestra maintains a six-concert subscription series in Columbus and a three-concert Summer season. Founded in 1979 by General Manager Richard Early and Music Director Timothy Russell, the orchestra gave its debut performance in January of 1980 to critical acclaim. Under Russell's direction, Pro Musica has earned an outstanding reputation for artistic performances and exciting, adventure­ some programming. The Pro Musica Chamber Orchestra has brought national attention to Columbus through its nationwide broadcasts over Parkway's America in Concert, and through winning First Prize in the Urban Orchestra category of the prestigious ASCAP awards (1983).

Til"OTHY RUSSELL is Music Director and co-founder of the Pro Musica Chamber Orchestra of Columbus, and is Assistant Professor of Conducting and Ensembles at the Eastman School of Music and Director of Orchestral Activities at the University of Roches­ ter.

Russel 1 has served as a spokesman for orchestral music on sever al radio programs, and the Pro Musica's concerts have been broadcast nationwide on National Public Radio through America in Concert. He has led symposia that provide an in-depth study of a particular work. In 1983 the symposium entitled "Through Roses: Music Theatre, and Art of the Holocaust" received the Columbus Jewish Foundation's Merit of Achievement Award. Under his direction, Pro Musica won First Prize in the Urban Orchestra category of the ASCAP Awards in 1983.

64 PRO MUSICA CHAMBER ORCHESTRA PERSONNEL first violins: double bass: horns: Millard Taylor Rose Marie Franck Charles Wadrlell concertmaster principal Elena Bergen harp: Kent Larmee associate Jeanne Norton concertmaster trumpets: James Skidmore flutes: Thomas Battenberg Ruth Stroud Overda Page principal Susan Waterbury principal Terry Everson Erika Eckert Katherine Borst Jones trombones: second violins: oboes: Joseph Ouchi Robert Gillespie William Baker principa 1 principal principal John Allen Clare Bell Steven Rosenberg Dan Cornelius tuba: Jane Snyder clarinets: Robert LeBlanc John Norton violas: principal timpani and percussion: Edward Adelson Robert Titus Philip Shipley principal Randall Riffle princi. pal Kari Gunderson bass clarinet Rick Brunetto Ann Schnapp Jack Jenny bassoons: violoncellos: Robert Cochran harpsichord: Lucinda Breed Swatsler principal Gordon Wilson principal Borden Brown Terrence Handler contrabassoon piano: Laura Handler Deborah Emery

piano, celeste, organ: Diane Earle

REL ACHE. the Philadelphia- based ensemble for contemporary music, was founded in 1977 by composer Joseph franklin and trombonist Joseph Showalter. Since then it has evolved into one of the most active new music groups in America and has developed a unique and large repertoire of twentieth-century works with an em~1asis on the more experimental music of our time. In addition to a comprehensive performance schedule throughout Pennsylvania and the Northeastern states, Rel~che appears regularly on National Public Radio, produces concerts by artists and ensembles from throughout the country, provides a management service for several of its individual soloists, and performs in area secondary schools. They record on the Callisto label.

Relliche is a resident ensemble at Drexel University in Philadelphia and at The Yellow Springs Institute for Contemporary Studies and the Arts in Chester Springs, Pennsylvania. Relache has been selected as a resident ensemble at New Music America '84 in Hartford, Connecticut.

65 SESAC is a performing rights organization. Established in 1931, SESAC represents and protects performing rights on behalf of its affiliated composers,. authors, and p11blishers. The ASUC/SESAC Student Composition Award provides a first prize of $500 and a second prize of $300. The prize-winning composers also receive transportation and lodging for attendance at the ASUC National Festival-Conference. Their composi­ tions are considered for publication in the ASUC Journal of Music Scores. Awards are provided by SESAC; the competition is administered by ASUC. The competition is open to students under the age of twenty-rtine who are present or former students of ASUC members or who are student members of ASUC. The judges are drawn from a wide geographic area.

URBAN- 15, for the past few years, has been developing programs in contemporary music performance and education that encourage the creative uses of learning to listen. These programs range from after-school classes in instrument-making for children to music festivals that feature regional and national composers. Their goal is to widen the interest in experimenta l music through quality presentations of non­ traditional forms. The three programs that Urban-15 has developed are: The Creative Music Workshop, an ensemble approach to comprehensive musicianship for the beginner through advanced student, ages 10-16; The Third Coast New Music Project, a series of contemporary music concerts featuring experimental music; The Urban-15 Performance Ensemble, an experimental music ensemble that explore~ spaces and rituals with both traditional and new musical instruments.

The performance of Urban-15 has been made possible through the support of Vice Provost Frank W. Hale, Jr., and the Office of Minority Affairs (OMA). The Center for Experimental Activities in the Arts is grateful to OMA and its staff for its help and cooperation.

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