Wintlirop Vniversi.ty College of Visu.:.: and Performing Arts DEPARTMENT OF MUSIC

SOC':IETY OF COMPOSERS

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Society of Cornposers Inc.

www.societyofcomposers.org

Tfiursday, 1Vovem6er 11 - Saturday, :Novem6er 13, 2004 Winthrop Vniversity Conservatory ofYl.fusic ~ck,Jfi{{ Sou t:h Carofina Society of Composers Inc. 2004 Region IV Conference

Schedule at a Glance:

Thursday, November 11

4:00 p.m. Lecture: Alternative Impulse presents

Dr. Hubert S. Howe: Barnes Recital Hall

8:00 p.m. Concert: Barnes Recital Hall

Friday, November 12

10:00 a.m. Concert: Barnes Recital Hall

1 :00 p.m. Paper Session: Barnes Recital Hall

3:00 p.m. Concert: Barnes Recital Hall

8:00 p.m. Concert: Barnes Recital Hall

Saturday, November 13

10:00 a.m. Concert: Barnes Recital Hall

1 :00 p.m. Paper Session: Barnes Recital Hall

3:00 p.m. Concert: Barnes Recital Hall

( 6:00 p.m. Members Banquet and Keynote Address: Baruch Room, Joynes Hall 8:00 p.m. Concert: Byrnes Auditorium Dear Colleagues:

On behalf of the faculty, staff, and students of the Department of Music at Winthrop University, I would extend a cordial welcome to the attendees of the 2004 Society of Composers Region IV Conference. We are indeed excited about hosting our first event for your organization.

The task of organizing a conference of this type is monumental. I want to express my deep appreciation to Dr. Ronald Parks, Assistant Professor of Music, for his efforts in bringing this conference to the Winthrop campus, and his tireless work in the organization of every aspect of the event. Dr. Parks serves as Director of the Computer Music Laboratories for our department, and teaches composition, music technology, and music theory. Additionally, Dr. Parks has works tirelessly to ensure that our equipment and facilities in the music labs support our programs. We have just recently converted the main Computer Music Lab to accommodate smart-classroom technology, and will soon add the Barnes Recital Hall to that list. This has all been made possible through the generous financial support of our college and university administration and staff. We are also proud that Dr. Parks was recently awarded a Composer's Residency under the auspices of the prestigious Aaron Copland Awards.

We are also extremely pleased and proud that some very exciting compositions are being presented and premiered at the conference, and that some of our faculty and students will be involved in those performances, some of these along side many guest performers. This is a wonderful opportunity for our own students and faculty, as well as for the entire Winthrop community and beyond, to hear original works and to be able to interact with the composers of those works.

I am delighted that you have joined us for this weekend, and hope that your conference is enjoyable, enlightening, and fulfilling.

Donald M. Rogers, Ph.D., Chair Department of Music Winthrop University 129 Conservatory of Music Rock Hill, South Carolina 29733-0001

Telephone: 803.323.2255 Fax: 803.323.2343 E-mail: [email protected] Welcome to Winthrop University and the 2004 Society of Composers Inc. Region IV Conference. We hope that you enjoy your visit. Thank you for sharing your music and scholarship with the Winthrop extended family and regional music enthusiasts. Thank you for taking time from your busy schedules to attend our conference.

Many people have worked very hard to make this conference a reality and we truly appreciate the time and talents they have contributed in support of our art. This event would not be possible without the untiring and generous efforts of the performers, ensemble directors, support staff, and composers that have made this conference a reality. We could not do it without you, thank you.

We would also like to acknowledge and thank the administration at Winthrop University for helping us to create this opportunity. Our Department Chair, Dr. Donald M. Rogers remains a strong advocate for new music and he has stood firmly behind our efforts to bring this conference to Winthrop University. Dr. Andrew Svedlow, Dean of the College of Visual and Performing Arts, has worked tirelessly to create an atmosphere and culture within the college that nurtures creative activity and encourages faculty and students to support and advocate their professions. Dr. Anthony J. DiGiorgio, President of Winthrop University, has exhibited sincere and concrete support for our efforts to update our facilities and resources. Thanks to his guidance and oversight, we continue to enhance our capacity to contribute to our professional organizations and community. We are fortunate to enjoy this level of support from Winthrop University and we truly appreciate all that has been done to help us provide this opportunity to our students, our colleagues, and you, the conference participants.

Enjoy your stay. Thank you for allowing our faculty, staff, students, and the regional community to hear your music and to celebrate your accomplishments.

Ronald Keith Parks, Assistant Professor of Composition, Music Technology, and Theory ~t~ Bruce Thompson, Professor of Theory and Composition Thursday, November 11, 2004

8:00 p.m. Concert: Barnes Recital Hall _

Nimbus Moments Lothar A. Kreck Gerald Berthiaume, piano

Inventions for Flute and Piano Harry Bulow Harry Bulow, flute Ellen Bulow, piano

Toccata: Act of War Larry Barnes Zinorl Brofiola, piano

Absence of Joy Samuel J. Hamm, Jr. Chan Ji Kim and Ilka Vasconcelos Araujo, piano

Harmonic Fantasy Hubert S. Howe, Jr. ~ digital media ·~~~~~ 1r ~~ r,,J1r ~

Friday, November 12, 2004

10:00 a.m. Concert: Barnes Recital Hall

Mixed Messages Michael Pounds digital media

Piano Piece Craig Bove Janice Bradner, piano

International: Bridge: Peace Scott Brickman digital media

'X. THEN BLESS THE MOTHS Amir Zaheri ' \ Nan Kemberling, cello Friday, November 12, 2004

8:00 p.m. Concert : Barnes Recital Hall

Missa Brevis Christopher M. Wicks Winthrop University Chamber Singers Katherine Kinsey, director

The Raven Amy Dunker Amy Dunker, trumpet

for leaving Daniel A. Weymouth digital media

Intermission

ball peen hammer James Paul Sain Cynthia Sain, flute

Triptych After Radiohead David Kim-Boyle digital media

Tell no more of Enchanted Days Mark Engebretson Red Clay Sa ~ c ophone Quartet

Saturday, November 13, 2004

10:00 a.m. Concert: Barnes Recital Hall

Among Vanished Aviators Paul Elwood Winthrop University Chamber Singers Katherine Kinsey, director

Conversation 2 Mike McFerron Jennifer Hughes-vibraphone

Celluloid Brian Bice digital media

A Short Letter from a Small Place Rodney Waschka II Mike Gyra, text Rodney Waschka II , performer Friday, November 12, 2004

1 :00 p.m. Paper Session: Barnes Recital Hall

Structuring timbre in an octatonic context: The Fourth Symphony of Bohus/av Martinu

Hubert Ho

Two Settings of Johan Ludwig Runeberg

Ulf Grahn

Frida~November12,2004

3:00 p.m. Concert: Barnes Recital Hall

Star Gazer Hsiao-Lan Wang Jill O/Neill, flute

Homages David Heinick Denise Harding, piano

Perelandra Samuel Pellman video and sound

Cuyahoga River Paul Osterfield Jill O'Neill, alto flute

Ev'ry Creature Michael Ramsey digital media Saturday, November 13, 2004

1 :00 p.m. Paper Session: Barnes Recital Hall

Sensor $election in Design of Alternate Interfaces and Controllers

Samuel J. Hamm, Jr.

The Society of Composers Web Resources; An Overview

Mike McFerron

Saturday, November 13, 2004

3:00 p.m. Concert: Barnes Recital Hall

Geometry Ill : Presentiment of Light/Fantasy on "John?" Eric Simonson Eric Simonson, piano

Ma mere Robert Fleisher Elizabeth Morrow, cello

Hollow Ground II Tom Lopez Lorraine C. Gorrell, voice Alison G. Cook, dancer

Resonances J. Ryan Garber Radically Disparate Segment Accretion Descending Scheme Transformation Unrelenting Metrical Interferences J. Ryan Garber, piano

Air, Earth Joseph Waters Joel Bluestone, percussion Saturday, November 13, 2004

8:00 p.m. Concert: Byrnes Auditorium

Wasteland David Hatt David Hatt, organ

Testify Chihchun Lee David Hatt, organ Moods, Grooves & Attitudes Michael Sidney Timpson ("A Hatt Trick") for organ (1997-8) I. Gangsta' (1997) II. Luminous Cylindricals (1998) 1. Vicissitudes 2. Techno Mesa-Morph David Hatt, organ

Intermission

Like a Chinese Waterfall Chin-Chin Chen

Jacob's Ladder Paul Richards Winthrop University Wind Symphony Lorrie Crochet, conductor r------

Program Notes

Absence of Joy, for piano four-hands and computer, was composed in memory of my mother, Joy. She was only 51 years old when she passed away in October 1999 from a rare lung disease called interstitial pulmonary fibrosis, a condition which causes the lungs to harden until they can no longer function. Her loss has left an irreparable hole in my life. Shortly after her death, her closest friend had a dream in which my mother told her, "The numbers are 18, 17, 1, and 9. Make sure my son gets them ." As a result, the pitches E­ flat, D, B-flat, and G-flat form the foundation of this work. (My mom never studied set theory, thus to her reasoning the numbering would appropriately start at A, not C.) In addition to live signal processing, pre-recorded sounds produced the computer are derived from my mother's favorite music. Hamm, Jr. Air, Earth - These are movements of an evening length work, in four movements, each exploring one of the essential elements: Earth, Air, Fire, Water. World Premier: May 13- 15 &22-24, 2004 -with Tere Mathern Dance &Joel Bluestone, percussion . Choreography by Tere Mathern. Air: In 3 sections, attacca: • Birds Circling in Sunlight : marimba &electronics: a study of birds in flight. The marimba assumes the rhythms and gestures of wing movement, adapting to changes in wind direction, speed, turning and banking. The electronics provide complex aerial environment: blasts of wind, flocks of birds. • Voices in Wind: vibraphone, crotales and live electronics: the small winds of whispering voices in the mind, internal and external worlds are confused and blended, hallucinogenic • Immensity of Constellations in the Night Sky: timpani, tam tam, glock, crotales: an invocation of the immensity, grandeur and terror of the constellations and the night sky. The electronics are performed live, with 204 "hits" inside the movement. Earth: sounds of the earth: heavy, dense, humid: insects, horses, rain, & Shamanic trance rhythms derived from hip hop turned inside out, expanded, contracted, inverted &counterpointed . Waters Among Vanished Aviators (2001/2002} is composed for two-channel recording and live five-string banjo and voice. The piece was premiered at the 2001 Cold Alternativa Festival of New American Music in Moscow, Russia. Sound sources are drawn from a recording of air-to-ground flight transmissions and from samples of the five-string banjo manipulated in MAX/MSP and edited in Protools. "O Death," an American folk tune, makes an appearance approximately half-way through the composition. The title is in homage to my father, Harold C. Elwood, who worked for Cessna Aircraft for thirty years. Elwood The program note for A Short Letter from a Small Place is contained within in the piece. Waschka ball peen hammer - a tool meant to coax raw metal into desired shapes approximating a musical instrument. The musical instrument then can be used to beat the hapless listener into musical submission by its metallurgical induced force. The flute, often thought as a gentile and civilized instrument of historic reason, is utilized in this work as a sonic weapon. Bleeding may be a result ... or perhaps liberation . Be very cautious - listen with due care (and do not operate heavy machinery while under the influence).Sain bazss 1.2 is an ongoing idea wh ich first began in the fa ll of 2002. Parts 1 &2, which you will hear at this performance, were created at the Hiller Computer Music Studios using a variety of sound processing and editing tools. The piece contains recordings of double bass and voice by various artists who were given the instruction to improvise around the theme of the word bass/base. Some of the samples were manipulated by means of spectral analysis/resynthesis/filtering, while others were granulated using standard time stretching techniques. All of the sounds were then spatialized using the software Max/MSP and assembled in Pro Tools. Thanks to Mike Basinski, Chris Fritton, Mark Karwan, and Leif Nicklas for lending their unique talents to the piece. Masteller

Celluloid (2003) - The sounds in this piece and their organization were created entirely on the Kyma Sound Design Environment. All of the sound material is derived from a single sound source: cellophane. This piece is simply a process of transforming dry, short sounds into reverberant, longer sounds.This piece was created in the Future Music Oregon Studios, Jeffrey Stole!, director, at the University of Oregon in 2003. This is the 41h performance of Celluloid. Celluloid has also been performed at the Future Music Oregon Concert on March 8, 2003 , the Electronic Music Midwest Festival on October 31, 2003 and the 2nd Annual Festival of Contemporary Music in Oakland, CA on July 23, 2004. Bice Conversation 2 for solo vibraphone is the second in a series of short pieces for solo instruments. These works represent how, at times, I deal with personal, professional, and compositional problems . As I search for answers, I generally have a series of conversations with myself, where I try to argue two opposing answers. Slowly, I begin to reconcile these differences until I reach the conclusion. Conversation 2 begins by stating two opposing points of view that, in the end, more or less reconcile. McFerron Cuyahoga River - Growing up in Northeast Ohio, I spent much time by the mighty Cuyahoga (meaning "crooked river"). My family spent many summer afternoons walking the nature trails by the waterfall at the Gorge, a Summit County park. Although I did not have the Cuyahoga in mind as I was composing the work, I titled the composition after its completion as a tribute to the waterway that gave my family relaxation . The Cuyahoga River became infamous as the river in Cleveland that caught on fire in 1969, although that was not the first time. Since then, the river and the city of Cleveland have been cleaned up and have undergone a Renaissance. The river now is a positive tourist attraction, from the Good Time boat tours to restaurants and stores at the Flats. Cuyahoga River is written for flutist Deanna Hahn . Osterfield for leaving - is a short excerpt from a 40-minute multi-media dance work entitled "Our Mothers," a collaboration between Amy Yopp-Sullivan (director/choreographer), Bill Ryan (composer) and Dan Weymouth . The piece uses three short passages from an interview with one of the dancer's mothers which seem to capture the central themes of the larger work: bread-making, flight, and mothering. These sentences are the sole material used in for leaving and are manipulated in various ways to respond to both the sound and the content of the spoken text. I was also attempting to capture the cadence of some of the dance gestures (especially the rocking motion that takes over) as well as the sense of launching, of letting go and of loss that are central to parenting . Weymouth Geometry Ill: Presentiment of LighUFantasy on "John?" is the third in a projected series of works for acoustical instruments and computer generated sounds. The first part of the title alludes to the composer's interest in harmonies that expand and contract according to a fixed ratio with respect to focal pitches in the harmonies. These ratios are applied to temporal relationships as well, so that the computer generated sounds are often heard as "resonances" of the gestural activity in the live instrumental part. The other part of the title is a reference to a sought after feeling in the work, and the source of the synthetic sound material (a digital sampling of the composer's own voice saying "John?"). Simonson Harmonic Fantasy is based upon very rich sounds, all consisting of 32 harmonic partials, which extend five octaves above the fundamental (except on high tones, where the partials exceed the limits of human hearing). The harmonics are introduced one at a time in an irregular series that emphasizes the harmony of the context in which the tone appears at the beginning of the series, followed by a transposition of the series, and finally by the remaining partials. Following the introduction of the individual partials, the tones undergo either vibrato or glissando in precisely controlled ways. Vibrato is applied to the partials in an individual, out-of-sync fashion at a subsonic speed that is seven octaves below the fundamental (thus, middle C would be about 2 Hz). The partials of glissandos are also delayed by a distinct amount and move individually to the corresponding partial in a new tone. This creates the effect of the sound dissembling before your ears, only to re­ coalesce into a new tone. In the second section of the piece, these tones create a three­ part melodic context, but in the later sections where these are used, the tones move up a minor third and back to the original tone over the context of the tone's duration. The piece is in six sections, beginning with a thin texture of trichords and building by accretion to more complicated harmonies and textures. Each new harmony is formed by adding one tone to the chord from the previous section, until a hexachordal texture is reached. The piece grows dynamically in a manner similar to Ravel's Bolero, reaching a huge climax in the fifth section. The concluding sixth section extrapolates three-note chords from this passage into a new structure and concludes softly. Harmonic Fantasy was commissioned by Winthrop University in Rock Hill, South Carolina. It was sketched while I visited Singapore in October, 2003 but not produced until I returned home. It was synthesized using the csound program and is 12 minutes and 13 seconds long. Howe, Jr. Hollow Ground II was composed in Austin, Texas (1996). Written for soprano voice and prerecorded sound, this work has been performed with dance choreographed by Yacov Sharir. It contains various acoustic instruments lying around my apartment at the time: shakers, rattles, rain sticks, finger cymbals, computers, and so on. Despite the addition of a vocalist, Hollow Ground II does not have any text; the vocalist never sings a word-her sounds are syllabic, which, when combined with physical gestures during performance, create a strong ritualistic quality. Lopez Homages is a special piece for me, because it's my thank-you note to the four men who were my piano teachers: Peter Carpenter was my teacher during my middle school years, and also the energetic choral director at Allentown's Dieruff high school, where he was known to all as Mr. C. His piece features the note C repeated a la Terry Riley throughout, while the surrounding music moves through increasingly distant diatonic sets; when it reaches D-flat major, the piece moves to the upper register and alludes to the lovely Alma Mater that Mr. Carpenter wrote for the high school. Wilbur Hollman was my teacher during my high school years, and a long-time member of the music faculty at Cedar Crest College; "Scherzino" attempts to capture his unfailing ebullience and good humor. The last piece I studied with Dr. Hollman was the Chopin B-minor Scherzo, aspects of which inform the "Scherzino" (the middle section is an out-and-out rip-off). At the Eastman School of Music, I studied for five years with Barry Snyder; "Veloce" requires the kind of soft, facile technique which I associate with his playing (but not with mine). My first teacher was my father, George Heinick, who not only gave me a solid early foundation, but shared his enthusiasm for earlier styles of American popular music. His "Flickering Phantom" assumes a straightforward ragtime style that, I hope, also captures some of my dad's sense of humor. Heinick

International: Bridge: Peace was written both for the 2004 Spring in Havana Festival and in celebration of the 125th anniversary of the University of Maine at Fort Kent. Fort Kent is on the U.S. - Canadian border, and is separated by a bridge from Clair, New Brunswick, Canada. I wanted this composition to be a symbolic reflection of my community - one in which borders and boundaries are blurred (as in the spoken and sung text, the MIDI and sampled sounds) and diverse inhabitants coexist cooperatively (as in the multilingual recitations of a peace poem from the Old Testament). Brickman The Inventions for Flute and Piano was composed in 197 4 and revised in 2004. It is a set of variations on an opening five-note figure. The opening intervals of a minor second, major or minor thirds and the major seventh dominate the texture of the entire work. The work consists of four major sections: adagio, allegro, adagio and allegro. The idea of the inventions came about after the composer heard the Inventions for Viola and Piano by Henri Lazaro!, the composer's former teacher. Bulow Jacob's Ladder portrays the vision or dream had by Jacob in the desert of a ladder reaching from the earth to heaven, with a host of angels climbing in both directions. The work aims to capture some of the awe and ecstasy, fear and elation evoked by this image. Primary musical materials in the piece are ascending and descending scalar (stepwise) figures and symmetrical, cyclic (eternal) harmonic progressions. Jacob's Ladder was commissioned in 2003 by a consortium of 12 college and high school wind programs. Richards Like a Chinese Waterfall (2002, revised 2003, for symphonic wind ensemble) is based on an excerpt, the complete presentation of which can be found in mm. 113-124, provided by Kevin Austin, professor of Concordia University, Montreal, Canada. "The idea behind Chinese Waterfall was a single melody treated as if it were a duet," said Austin. Like a Chinese Waterfall was carried out by variation of the first theme, and addition or modification of colors of the second theme (Austin's excerpt). Austin's music was kept almost intact throughout the entire piece . Chen __ J Ma mere might be considered a cellist's fantasy-reconstruction of Debussy's La mer, the middle movement of which serves as the eau de source of this new solo work; (a couple of other well-known orchestral works also make cameo appearances) . Ma mere is dedicated to my mother Doris, a bona fide Aquarius who has always loved being near (and in) the water. It was commissioned by Elizabeth Morrow, whose performance today is the premiere. Fleisher My a cappella Missa Brevis sets the four movements of the traditional Ordinary of the Mass, other than the Credo. The musical language is characterized by pandiatonicism and some mild dissonance within a modal framework. This piece was premiered on 27 June of this year at the Jihlava Choral Festival in the Czech Republic, by the Slovakian Luscinia Youth Choir Opava. Wicks Mixed Messages is a remixed version of a much longer composition entitled Messages. The original composition was inspired by a collection of reel-to-reel tapes recorded by my late father when I was a small child. As the piece took shape, it became an exploration of the sounds of technology and the ways in which technology affects our various forms of communication. On another level, the piece is about my father, whose love of music and technology was certainly influential in my own choice of careers. Some of the source recordings are from the World Soundscape Project Tape Library at Simon Fraser University (Canada). The piece was begun at the University of Birmingham (England) and completed in the Music Engineering Technology studios at Ball State University (Indiana). Pounds Moods, Grooves, &Attitudes combines two compositions, bravely taken on by David Hatt, (thus the dedicated subtitle.) My compositional output focuses on what I call "my three spheres of influence." The first is contemporary classical art music, with its elements of harmony, texture, rhythm, counterpoint, development, etc. The second is American music, especially jazz and funk; these are styles of music I grew up playing as a baritone saxophonist. The third is related to my lifelong interest in world music, especially that of Asian origin. Gangsta as the title suggests, certainly references my American musical passions. Hip-Hop ostinati are coupled with Be-Boppish lines in a polyrhythmic and highly chromatic atmosphere. Although there is not much allusion to Asian music in this movement, contrasting central moments of stillness foreshadow those elements to come. Vicissitudes pits my three spheres against each other. Initially, these three sources are exposed linearly in contrasting sections; over time, they evolve into a combined collage. The highpoint of this movement is a grand heterophony (where different variations of a single melody are played simultaneously;) this is actually my play on the tradition of great fugues that appear at the climax of many organ works. Techno Mesa-Morph smashes all the influences together at once. With an underlining Brazilian samba groove, flowing Middle Eastern-like lines float in a context of a modern harmonic spectrum. This composition represents the random-access and multicultural context of contemporary life in the U.S. Timpson Perelandra is inspired by the C. S. Lewis book of that title, in which he vividly describes the colors, aromas, and other sensations of the seas, floating islands, and mountain meadows of an Eden-like planet Venus. To weave the rich and intricate textures in the piece, a MAX patch is employed to "listen" to the patterns the composer has played at the beginning. Subsequently, the computer creates variations, based on second-order Markov probabilities of these patterns, thus providing a background for newer patterns created by the composer. By the end, the MAX patch is responsible for nearly every element in the texture, as if the composer is being assisted by unseen companions. Most of the pitch patterns in the piece are based on an equal-tempered scale that divides a just major third into 11 equal steps. The sounds were synthesized by a Kurzweil K2500RS with patches designed by the composer and based primarily on wave shaping techniques. The video component of this work was created by Lauren Koss, a young video artist from Clinton, New York. Pellman Piano Music has at its core the principle of cycle and how cycles can be expanded , contracted , overlapped and interrupted. The principle of cycle (be it a pitch cycle or rhythm/time cycle) is applied to the development of all of the elements that define the piece. The resulting combinations and re-combinations of altered material suggest the method of constant variation within which recurrences of materials define the structure . Expansion/contraction of the cycles distinguishes the "breathing" quality that characterizes the work. Bove The Raven is a musical re-telling of Edgar Allan Poe's poem, The Raven. The work uses portions of the text to create the atmosphere and intent of the poem without utilizing the work in its entirety. The text is encapsulated in extended trumpet sounds including air through the horn, Vick Firth Jazz Rake (Brushes) used on the bell and pipe of the instrument, half valve and other techniques. The work also makes use of improvisation. Duration: ca. 6:00 Dunker Resonances was commissioned by the Tennessee Music Teachers Association and premiered at that organization's 2003 meeting in Nashville. The three movements bear titles that describe the compositional process at work in each. The first movement, Radically Disparate Segment Accretion, is made up of five contrasting segments that are added to each other, than subtracted from each other, more or less. Descending Scheme Transformation is based on a simple descending theme that is heard virtually through the entire movement in one form or another. The final movement, Unrelenting Metrical Interferences, is thus titled because of the extensive use of syncopation . Garber

Star Gazer (2003) for flute and computer explores the serene quality of the flute in an extended tonal style. The approach to this composition is an attempt to achieve pitch organization without applying traditional tonal system. The pitch B serves as the center of the material, which creates gravity to the movements. If listening without noticing these 'background theories', one can still enjoy this piece of music as it breathes through different phrases of timbres and articulations. The role of computer in this piece is to aid to the sounds of the flute without covering it. Star Gazer was premiered by flutist Cecilia Hamilton on the 2003 Electric La Tex Electroacoustic Music Festival and has been invited to perform on the 2004 GAMMA UT Music Conference and 2004 Electronic Music Midwest Festival. Duration: 7irn44 i. Wang Tell no more of Enchanted Days was written for the Vienna Saxophone Quartet. It is in four movements, and the form (or dramatic curve) of the entire piece is inspired by James Joyce's Portrait of the Artist as a Young Man. I was fascinated by the way Joyce developed his use of language in a manner that parallels the evolution of the main character, Stephen Dedalus. I was also attracted to Joyce's overall sense of drama, with tension heightening to a cataclysmic climax, which is followed by a long denouement. The title of the saxophone quartet is taken from a line of the poem Stephen composes, which reads in part: Are you not weary of ardent ways, Lure of the fallen seraphim? Tell no more of enchanted days. Engebretson

TESTIFY! This organ piece was written in 1997 in Ann Arbor, Michigan, as a commission by the organist Jimmie Abbington. As its title suggests, TESTIFY! is inspired by his musical direction and performances in a Detroit Baptist Church . In the form of a fantasia, this eclectic work not only uses African-American gospel sources, but also draws from my own experience in both European and Taiwanese church music. I am blessed that David Hatt has given a "rebirth" to this challenging composition. Lee

Toccata: Act of War was commissioned in 2001 by my colleague Gregory Partain, professor of piano at Transylvania University, and completed in 2002. I have been amazed for many years Partain's technique and innate musicality, and was looking for an opportunity to write for him. The title was affixed before 9/11/01 ; it is a metaphor of the inner conflict in my life that exploded in this work. After the national tragedies, of course, the title has taken on a new meaning. The work is passionate, barbaric, moody and impulsive. Bursting with anger, its pent-up rage is only briefly interrupted with moments of lyricism. The moto perpetuo concept in the toccata genre is present in an obsessive little motive at the outset, to be played "with quiet momentum, in the manner of a stealth missile." Barnes

Triptych After Radiohead was produced in 2003 following a period of reflection on the triptych's of the painter Francis Bacon. All of the sounds heard in the work were derived from various transformations of the Radiohead song "Treefingers" from their 2000 album Kid A. The sounds were analyzed and processed with various custom designed algorithms with the software MAX/MSP(Cycling '74) and mixed to the final recording with Pro Tools (Digidesign). Kim-Boyle Composers Biographical Notes Larry Barnes is active as a composer, pianist, and professor of music theory and composition. He is currently Professor of Music and Bingham Fellow for Excellence in Teaching at Transylvania University in Lexington, Kentucky. His compositions have been performed on festivals and concert series throughout the United States and Europe. His "Solar Winds" won the Cleveland Orchestra Composition Award. His 'Watermarks" was heard at installations at the New Orleans World's Fair and American embassies in Europe. His "Morning Gigue" was recorded by the Slovak Radio Symphony and released on compact disc by MMC Recordings. All of his music since 1986 has been composed on commission for professional performers and organizations such as Marilyn Mason, Arthur Ephross, Skip Gray, Cincinnati Composers' Guild, Kentucky Music Teachers' Association, Sine Nomine Singers, Jefferson Duo, Bizet Trio, Quadrant Ensemble, and many others. He is the recipient of a NEA Composer Fellowship, two Kentucky Arts Council awards, and the Howard Hanson Prize. In November 2003 he recorded his "Dreams of the Anti-city" for contrabass and bowed piano with Bertram Turetzky for Nine Winds Recordings. His music is published by Southern, Brazinmusicanta and SEE-SAW Music Corporations. Barnes has toured Ireland as an Al Smith Award recipient, and has participated in a Council of International Educational Exchange tour of China cities as part of his work with non-Eurocentric music. In June 2004 he was in Costa Rica touring the rainforests and visiting local schools as part of a Kentucky Independent Colleges faculty development program. Brian (Daniel) Bice -(b. Hayward, CA, Oct. 20, 1976). Brian is currently a doctoral student at the University of Oregon under the tutelage of David Crumb and Jeffery Stole!. At the U of 0 he was awarded a Graduate Teaching Fellowship in Music Theory to assist the Music Analysis courses. Brian completed his Master of Music (in composition) May 2002 at Bowling Green State University (Ohio) where his teachers included Burton Beerman, Marilyn Shrude, and Elainie Lillios. He received his Bachelor of Arts in Music from California State University at Hayward in June 1999 where he studied composition with Jeffery Miller and Frank La Rocca. Recently Brian's Glimpses of the Moon for solo violin was performed at the 2004 SCI National Student Conference. His digital audio piece Celluloid was performed at the 2nd Annual Festival of Contemporary Music as well as the 2003 Electronic Music Midwest Festival. His music has been performed at other festivals including the NOW Music Festival in San Francisco and the Oregon Bach Festival. Brian's current projects include a piece for mixed chamber ensemble and a piece for trumpet and Max/MSP. Brian's vocal song, Lines Inscribed Upon a Cup Formed from a Skull, won first prize in the Thirteenth Annual University of Toledo Young Composers Contest in April 2001. The Cleveland Chamber Symphony with Jeff Kurka, bass trombone, performed a movement of Brian's Concerlo for Bass Trombone and Chamber Orchestra in April 2001. Brian is the co-owner and content editor for www.newmusicforum.com Craig Bove - Composer/performer Craig Bove earned his undergraduate degree at Northwestern's School of Music and completed his formal training with a PhD at SUNY Buffalo, studying under such New Music luminaries as Morton Feldman, LeJaren Hiller, Donald Erb, and Bernard Rands. His compositions have been performed throughout the country in both live performances and radio broadcasts. He has served as the conductor of the Middlebury Wind Ensemble and has performed, conducted and presided over concerts of new and standard repertoire including performances at the Weill Recital Hall at Carnegie Hall in New York, the BOCA Art Center in New York, KPFA Radio in San Francisco, and NPR Radio affiliates in New York, Vermont and California. His most recent works have taken as their sources repetition and overlapping of cycles of events at various structural levels as well as applying the model of a perpetually evolving cycle to all aspects of sound. They have been written for orchestra, various combinations of chamber groups, and vocal ensembles. At CPCC, Bove teaches Music theory, Music History, Composition as well as conducts the pit orchestra for Opera Theatre productions. He also serves as chair for the music department. David Kim-Boyle, originally from Australia, is an audio engineer and composer whose work has been featured at various festivals and conferences around the world. An Assistant Professor of Music Technology at the University of Maryland, Baltimore County, he is particularly interested in interactive computer music and other innovative musical applications of technology. Recent presentations of his work have taken place at ICMC2004 (Miami), DAFX2004 (Naples). ICMC2003 (Singapore) and FEMF 2003 (Gainesville) amongst others. His research interests include frequency domain processing applications, convolution reverberation techniques, spatial perception and the artistic integration of video and sound technologies. Also active as a professional audio engineer, his work in this capacity has been released on various labels including EMF, Sunken Gong Records, Mark Custom Records, EMI Australia, and Recurrent. Scott Brickman, (b. 1963, USA), is an Associate Professor of Music and Education and Chair of the Arts and Humanities Division at the University of Maine at Fort Kent. His Instrumental and Electronic compositions have been performed throughout the USA as well as in Brazil, Canada, Cyprus, Portugal, Romania, the U.K. and Yugoslavia, and are recorded on the New Ariel and Capstone labels. Harry Bulow was born in Des Moines, Iowa in 1951. He received his B.A. with distinction in music from San Diego State University (1975), and his M.A. and Ph.D. in music theory and composition from UCLA (1978, 1983). He studied composition and orchestration with Aaron Copland, Peter Mennin, Henri Lazaro!, Roy Travis, David Ward-Steinman and Henry Mancini. His works have received numerous awards including 1'1 Prize at the International Composers Competition in Trieste, Italy, the "Oscar Espla" Prize from the city of Alicante, Spain, an NEA Composer Fellowship and 23 consecutive awards from the American Society of Composers, Authors, and Publishers. His works have been performed by the Omaha Symphony, Honolulu Symphony, San Antonio Symphony, the Eastman Wind Ensemble, Pittsburgh New Music Ensemble, North/South Consonance and the New England Conservatory Wind Ensemble. His style reveals a fluency in a wide range of musical idioms including jazz, concert, fi lm and sacred music. The major influences in his work include the music of Witold Lutoslawski, Karel Husa, Peter Mennin, Aaron Copland and Henry Mancini. He is Associate Professor of Music at the University of North Carolina at Charlotte where he teaches music theory, composition, and computer applications. Chin-Chin Chen, composer and teacher of composition, electroacoustics, theory, and music technology. Her recent composition interest is in writing a series of solo instrument and ea works , and in composing pieces for Chinese instruments or setting music to ancient Chinese poems. Ms. Chen's electroacoustic works have been recognized in competitions, such as the Concorso lnternazionale Luigi Russolo in Varese, Italy, and Concorso lnternazionale di Composizione Elettronica "Pierre Schaeffer". Her compositions have received performances and broadcasts internationally and throughout the United States. Amy Dunker has degrees from Morningside College (BME-Music Education), the University of South Dakota (MM-Trumpet Performance), Butler University (MM-Composition) and a OMA (Composition) University of Missouri-Kansas City Conservatory of Music. She has studied composition with James Mobberley, Chen Yi, Robert L. Cooper, Michael Schelle, James Aikman and Robert P. Block. Amy' works have been performed at various conference and festival venues throughout the United States, Czech-Republic, Mexico Puerto Rico, the Ukraine and Italy. Her works have been performed by the following musicians and ensembles: Duo Contour (Germany), Kathleen Karr (Louisville Orchestra), Shannon Finney (Kansas City Symphony), Rick Bogard (Dallas Opera Orchestra), the Indianapolis Brass Choir, Ensemble Octandre, Southeastern Ohio Symphony Orchestra, Ovations Youth Orchestra of the Wheeling Symphony, Dubuque Symphony Orchestra and the Note Bene Ensemble. Amy has received three ASCAP Standard Awards and a second place award in the Penfield Wind Band Competition. She has received commissions from the Indianapolis Brass Choir, Butler University Wind Ensemble, the Starr Foundation (Kansas City, MO), the Ovations Youth Orchestra of the Wheeling Symphony Orchestra (Wheeling, WVA), and the Dubuque Symphony Orchestra (Dubuque, IA). Amy's works have received reviews in Flute Talk (November 1998), the Dubuque Telegraph Herald (October, 2002), Saxophone Journal (November/December 2001) and the Society of Composers, Inc., Newsletter (April/May 2000). Amy is a trumpet performing artist exploring the use of extended trumpet techniques, drama and improvisation in contemporary music. Her works have been recorded by Jaime Guiscafre on the NextAGem label. Amy is currently an Assistant Professor of Music at Clarke College where she teaches Composition, Theory, Ear Training, Analytical Techniques and Brass. Paul Elwood · The music of Paul Elwood has been performed at the Cold Alternativa Festival in Moscow, Russia; at the Faro International New Music Festival in Mexico City; and at the American Academy in Rome, where Elwood was the Southern Regional Visiting Composer. Ensembles and performers that have given voice to his music include the Charleston Symphony Orchestra, Tambuco (the Mexican Percussion Quartet). Dinosaur Annex, the Scottish Chamber Orchestra String Quartet, the Seattle Chamber Players, pianist Stephen Drury, pipa-player Min Xiao-Fen, and the Wichita Symphony Orchestra. Elwood is the recipient of a 2001-2002 North Carolina Arts Council Fellowship; winner of the 2000 Sigma Alpha Iota Inter-American Music Awards; and third place in the 2002 Accademia Musicale Pescarese's Third Edition Pierre Schaeffer Computer Music Competition. A 2005 recipient of a residency at the Helene Wurlitzer Foundation of Taos, and has also held fellowships at the Djerassi Artist Residence Program, Ucross Foundation, and the MacDowell Colony. A one-time first-place winner in the Kansas State Bluegrass Banjo Championship, Elwood also performs in the realms of free improvisation and new music. Currently he is an associate professor of music theory and composition at Brevard College in Brevard, North Carolina. Mark Engebretson, Assistant Professor of Composition and Electronic Music at UNCG, has recently undertaken composing a series of high-powered solo works entitled "Energy Drink" and writing music for large ensembles. He lived for five years as a freelance composer and performer in Stockholm and Vienna, earning numerous commissions from official funding organizations. His music has been presented at many festivals, such as Wien Modern (Vienna), Gaida Festival (Vilnius, Lithuania), H6rgiinge Festival (Vienna), Ny Musikk (Bergen, Norway), Indiana State University New Music Festival (Terre Haute, Indiana), the Florida Electroacoustic Music Festival, ISCM Festivals (Tirana, Albania and Baku, Azerbaijan) and World Saxophone Congresses (Pesaro, Italy, Montreal, Canada and Minneapolis, Minnesota). Recent performances include premieres by the Wroclaw (Poland) Philharmonic Orchestra and the State University of New York at Fredonia Wind Ensemble and a presentation by the Jacksonville Symphony. His work "She Sings, She Screams" for alto saxophone and digital media has been performed countless times worldwide, and has been released on three commercial compact disc recordings, two of which are on the innova label. As a performer, he has appeared as a soloist and chamber musician worldwide, and he is a former member of the Vienna Saxophone Quartet. Dr. Engebretson previously taught composition at the University of Florida, music theory at the SUNY Fredonia and 201h-century music history at the Eastman School of Music. He studied at the University of Minnesota (graduating Summa cum Laude), the Conservatoire de Bordeaux (as a Fulbright Scholar), and Northwestern University, where he received the Doctor of Music degree. At Northwestern he studied composition with M. William Karlins, Pauline Oliveros, Marta Ptaszynska, Michael Pisaro, Stephen Syverud and Jay Alan Yim and saxophone with Frederick Hemke. His teachers in France were Michel Fuste-Lambezat and Jean-Marie Londeix. Robert Fleisher is professor and coordinator of music theory and composition at Northern Illinois University (DeKalb). He earned the B.Mus. with honors at the University of Colorado and earned the M.M. and D.M.A. in composition at the University of Illinois, where he studied with Salvatore Martirano, Ben Johnston, and Paul Zonn. Prior to joining the NIU faculty in 1983, he was a visiting lecturer at the University of Illinois and at UCLA. Artist residencies include Yaddo, Millay Colony, Virginia Center, Hambidge Center, Villa Montalvo, and Mishkenot Sha'ananim. His music has been performed in Canada, France, Germany, and throughout the USA; recordings appear on Centaur and Capstone. He has also contributed articles and book reviews to a number of American and foreign journals and is the author of Twenty Israeli Composers: Voices of a Culture, published by the Wayne State University Press. J. Ryan Garber is Assistant Professor of Music at Carson-Newman College where he teaches Composition, Theory, Organ, and Bassoon. A native of Virginia, he received two music degrees from James Madison University and a Doctor of Music degree from The Florida State University. In 2003 Carson-Newman recognized Garber with both its Creativity award and Excellence in Teaching and Leadership award. As a composer, Garber has received awards and recognition from ASCAP , The College Music Society, American Composers Forum, among others. In 2002, the Tennessee Music Teachers Association presented Garber with its "Tennessee Composer of the Year" award that included a commission to compose a new work that was performed at their 2003 Convention in Nashville. He has recently received a grant from the American Music Center Composers Assistance Program to help with the December 2004 premiere of his setting of the Magnificat for chorus, soloists, and orchestra. In May, 2005 , his Concerto for Piano and Orchestra will be premiered in Roanoke, VA. Garber's music is routinely selected for performance at national and regional conferences of the College Music Society, Society of Composers Inc., and the Southeastern Composers League, among others. His compositions have also been well-received by colleges and independent groups such as the Salem Choral Society. In 2001 , his Symphony No. 1 was read and recorded as a part of the American Composers Forum Orchestal Reading Program. Recent performances of Garber's music include Resonances (for piano) at Vanderbilt University, James Madison University, the University of Southern Mississippi , and the University of Central Oklahoma; "Songs for My God" (a song cycle for tenor and piano) at Butler University and the University of Georgia; Te Deum (for chorus , organ, and brass) by the Salem (VA) Choral Society, and Symphony for Winds at the University of Georgia and Arkansas State University (Jonesboro). In his spare time, Garber enjoys organic gardening. Ulf Grahn studied music at the Royal Academy of Music, Stockholm and at the Stockholm City College where his principal composition studies were with Hans Eklund. He holds degrees from Stockholm's Musikpedagogiska Institute and the Catholic University of America. He has also studied Business Administration , Economics and Development Studies at The University of Uppsala, Sweden. In 1973 he founded the Contemporary Music Forum, Washington, D.C. and served as its Program Director until 1984. During 1988-90 he was Artistic and Managing Director of the Music at Lake Siljan Festival, Sweden. Prior to this he was on the faculty of George Washington University and Director of its Electronic Music Studio. Presently he teaches Swedish language and culture at the Foreign Service Institute. · Recent performances include: The Instrumental Opera The Enchanted Forest, Sinfonie no II, Celebration for Marimba , Nocturne for piano trio and Tape, Trombone Unaccompanied?!, Three Dances with Interludes for six percussionist , Conversation for four Percussionists, Nocturne and Scherzo for piano six hands, When Daises Pied and Violets blue, Cicadas for four Marimbas. Mr. Grahn has composed for all media and received numerous prizes, grants, awards and commissions. Seesaw Music Corp, Edition Suecia and Edition Nglani publish his music. His music is available on Opus One, Orion and Caprice Records Samuel J. Hamm, Jr. (b. 1968) is a composer of acoustic, electroacoustic, and mixed-media music within a variety of genres including concert music, theatre, and dance, with a focus upon live­ performance interaction between musicians and technology. His works have been performed at conferences and festivals in the United States, Europe , and South America, and have been selected for radio broadcast in the United States and South America. Sam holds a B.M. in Composition from the University of Alabama (1991 ), studying with Harry Phillips , Fred Goossen , and Marvin Johnson , and a M.M. in Composition from the University of Florida (1995) , studying with John White and Budd Udell. Sam has also studied composition with Cort Lippe at the University of Buffalo. Currently, he is an Adjunct Lecturer in Music Composition and Theory at the University of Florida, where he also a Ph.D. Candidate in Composition under the guidance of Dr. James Paul Sain. Sam also serves as Associate Director of the Florida Electroacoustic Music Festival. Professional affiliations include the American Society of Composers, Authors, and Publishers (ASCAP), Society for Electro-Acoustic Music in the United States (SEAMUS), and Society of Composers, Incorporated (SCI), and the College Music Society (CMS). David Heinick was born in Allentown, Pennsylvania in 1954. At age four, he began piano study with his father; subsequent piano teachers included Peter Carpenter, Wilbur Hollman, and Barry Snyder. He holds degrees from the Eastman School of Music and the Catholic University of America. His composition teachers were Samuel Adler, Wayne Barlow, Warren Benson, Joseph Schwantner, and G. Thaddeus Jones . Heinick is a professor of composition and theory at the Crane School of Music of SUNY-Potsdam, where he has taught since 1989. Before that, he taught for ten years at St. Mary's College of Maryland, and a year previous to that at the University of Maryland-Eastern Shore. His music is published by Seesaw Music, Dorn Publications, Nichols Music, and Kendor Music; it has been performed throughout the United States, and broadcast on National Public Radio and the CBC. His Shakespeare Songs appear on the compact disc Noises, Sounds, and Strange Airs on the Clique Track label, and his Sonata for cello and piano is forthcoming on an Albany Records CD . With Carol Heinick, he has performed extensively playing music for two pianists at one or two pianos. He is also active as a collaborative pianist; he has performed with the Kronos Quartet and the Da Capo Chamber Players, as well as with members of the American Brass Quintet, the Boston Symphony, the Vancouver Symphony, and the St. Louis Symphony, among many others. Hubert Ho - A native of Baton Rouge, LA, Hubert Ho is currently a graduate composition student at the University of California, Berkeley, where he has studied with Olly Wilson, Cindy Cox, John Thaw, Edmund Campion, and Edwin Dugger. He received his B.A. with honors in music and physics at Harvard College where his previous mentors include Mario Davidovsky and Bernard Rands, and he has studied at Louisiana State with Dinos Constantinides. A former Presidential Scholar in the Arts, he is a recent recipient of the Charles Ives Scholarship from the American Academy of Arts and Letters. His music has been performed at such festivals as the Wellesley Composers Conference, the Rencontres de nouvelle musique at Domaine Forget, June in Buffalo, Cincinnati Conservatory's Music 99 and Music 2001, the Aspen School of Music Advanced Master Class Program, and various Society of Composers conferences. He has also held residencies at the Virginia Center for the Creative Arts, the Atlantic Center for the Arts in Florida, the I-Park Artists' Enclave in Connecticut, and the CalState SummerArts Festival. He was a staff composer at the 2003 Eugene O'Neill Puppetry Conference, writing incidental music for puppet theater pieces . The works were subsequently performed at groups' national conventions. He is an enthusiastic new music pianist as well, having performed with the groups Earplay (S.F.) and the Berkeley Contemporary Chamber Players (Berkeley). Hubert Howe Hubert Howe was educated at Princeton University, where he studied with J. K. Randall, Godfrey Winham and Milton Babbitt, and from which he received the A.B., M.F.A. and Ph.D. degrees. He was one of the first researchers in computer music, and became Professor of Music and Director of the Electronic Music studios at Queens College of the City University of New York. He also taught at the Juilliard School for 20 years. In 1988_89 he held the Endowed Chair in Music at the University of Alabama in Tuscaloosa. From 1989 to 1998 and 2001 to 2002 he was Director of the Aaron Copland School of Music at Queens College of the City University of New York. He has been a member of the American Composers Alliance since 1974 and was elected President in 2002 . He also served as President of the U.S. section of the League of Composers/International Society for Contemporary Music from 1970 until 1979, in which capacity he directed the first ISCM World Music Days ever held outside of Europe. Recordings of his computer music ("Overtone Music," CPS-8678, and "Filtered Music ," CPS-8719) have been released by Capstone Records. Chan Ji Kim , a native of Korea, earned her BA at E-Wha Women's University in Seoul , Korea and her MA at New York University, where she studied composition with Dr. Ron Mazurek and Dr. Dinu Ghezzo. Her music has been released on CD's and has aired on KBS radio in Korea. Her piece for flute and tape was performed at the World Music Days in Romania in 1999. Chan Ji Kim was commissioned by NYU Dance Department where she composed a work for the Millennium 2000 Concert. Her chamber pieces and multimedia pieces were performed at the Summer Music Festival in Florence and Assisi, Italy in 2000, 2001 and 2002, INMC 2003 concert series in Romania, SAi (Sigma Alpha Iota) Women Composer's Showcase , Southeastern Composers Symposium and Seoul New Music Society in Seoul, Korea. Her orchestra piece , SAN (The Mountain) premiere at Bucharest Orchestra in Romania on October 2004. She is the 1999/2000 recipient for best composer of INMC (International New Music Consortium). Her electroacoustic music has been performed at FEMF (Florida Electroacoustic Music Festival) and many dance concerts and chamber music concerts in New York , Europe and Korea. Currently she is a teaching assistant in the PhD music composition program , at the University of Florida, where she is studying with Dr. James Sain, Dr. Paul Koonce, and Dr. Paul Richards. Lothar A. Kreck - Kreck's music first combined the traditional music elements of his early European roots with North American jazz elements so imbedded in the culture of his chosen country, sometime called Third Stream Music. Later he bases his music on a moderate free tonality, then back to more traditional tonality and also to live electronic. He makes extensive use of folk song elements that he believes are the richest sources of music anywhere and other poetic material. Kreck's compositions embrace orchestral works, including piano concerto, art songs with and without accompaniment, sole piano and organ woks, cello /piano and timpani/pianos (2 compositions). He is a member of the Society of Composers, the American Music Center and the Internet Cello Society. His compositions have been performed by the Maui Symphony Orchestra, the Eugene Symphony Orchestra, at the Society of Composers Conferences (regions VIII, IV, VI), at the Dennison University New Music Festival (2004) , in Munich (Germany) at the Munich Society of New Music Festival (2004) and in San Francisco at a public piano/organ recital. Chihchun Chi-sun Lee is originally from Kaohsiung, Taiwan. She is a faculty member of the University of South Florida, where she teaches courses in music theory and literature. She received degrees from the University of Michigan (D.M.A. Composition), Ohio University (M.M. Composition/MA Film Scoring), and Soochow University in Taipei (B.F.A. Theory and Composition.) Her teachers included William Albright, William Balcom, Yien-Chung Huang, Yien Lu , Mark Phillips, Bright Sheng and Loong-Hsing Wen. She has received numerous honors; these include the Harvard Fromm Fellowship , Taiwan National Culture and Arts Foundation commission, the SCl/ASCAP Student Composer Commission, ISCM/League of Composers Competition, the Margaret Blackburn Competition , the Hong Kong Chou Scholarship, the Joyce Dutka Arts Foundation, the "Music Taipei" award, NACUSA, the Taiwan Environmental Protection Bureau Music Contest, the Taiwan Provincial Music Competition, the Taiwan National Songwriting Prize, a Taiwan International Community Radio grant, and the Taiwan International Young Composers Competition. She is composer-in residence with Taiwan's premiere traditional Chinese instrument group, China Found Music Workshop. Her music has had numerous performances and broadcasts worldwide in Australia, Austria, Bulgaria, Canada, Croatia, the Czech Republic, France, Germany, Hawaii, the Netherlands, the Philippines , Poland, Singapore, Taiwan, Costa Rica, Ukraine, and around the continental United States. She has previously taught at Johnson County Community College , Washburn University, Rhodes College, and the University of Michigan. Her works appear on CDs from the Albany/Capstone label, ERMedia's Masterworks, and Celebrity Music Pte. Ltd. in Singapore. Her music has been published by World-Wide-Music. This year she is completing commissions for the Duquesne University New Music Ensemble in Pittsburgh and the Calliope Women's Chorus in St. Paul. Her music ties into her firm pride and commitment in the independence of Taiwan. Tom Lopez teaches at the Oberlin College Conservatory of Music; Assistant Professor of Computer Music and Digital Arts. He is also the Director of the Computer Music Program at The Walden School. Tom has received awards from the National Endowment for the Arts, the Aaron Copland Fund , the Mid-America Arts Alliance, the Knight Foundation, the Disney Foundation, Meet the Composer, ASCAP , and a Fulbright Fellowship as composer-in-residence at the Centre International de Recherche Musical in Nice, France. He has appeared at festivals and conferences around the world as a guest lecturer and composer. Mike McFerron is an assistant professor of music and composer-in-residence at Lewis University in the Chicago area. He received a doctor of musical arts in composition from the Conservatory of Music at the University of Missouri-Kansas City in 2000. He has been on the faculty of UMKC and the Kansas City Kansas Community College, and has served as resident composer at the Chamber Music Conference of the East/Composers' Forum in Bennington, Vt. Mcferron is founder and co­ director of Electronic Music Midwest, a festival of etectroacoustic music (formerly "Electronic Music at Lewis'), and he hosted the Kansas City Festival of Electronic Music (2000). Mcferron has won the Lousiville Orchestra Composition Competition (2002) and was a recipient of the Chicago Symphony Orchestra's "First Hearing" Program (2001 ). He was chosen the winner of the Cantus commissioning/residency program. Mcferron has also received an honorable distinction in the Masterprize International Composition Competition (2003) and the Rudolf Nissim Prize (2001). Mcferron has been a finalist in the 2004 Confluencias Electronic Miniatures II International Competition, the 2002 Swan Composition Competition, the 1999 Salvatore Martirano Composition Contest, and the 1997 South Bay Master Chorale Choral Composition Contest. Mcferron has been a composers fellow at the Mac Dowell Colony (2001 ), June in Buffalo (1997), and the Chamber Music Conference of the East/Composers' Forum in Bennington, Vt (1999). His music has been featured on the 2001 SCI National Conference, SEAMUS National Conferences, the 9th Annual Florida Electroacoustic Music Festival, Spring in Havanna-2000 in Cuba, the MAVerick Festival, several SCI regional conferences, and concerts and radio broadcasts across the U.S. and throughout Europe. He has received commissions from Cantus, The Chamber Music Conference of the East/Composers' Forum, Nelson-Atkins Museum of Art in Kansas City, Jesus Florido, Thomas Clement, Andrew Lang, Sumner Academy of Arts and Science, and twice by the Metropolitan Youth Symphony Orchestra. Paul Osterfield's works have been performed by the Stones River Chamber Players , the Paterson Duo, the University of Georgia Wind Symphony, the Arkansas State University Wind Ensemble, the Cornett Festival Chamber Orchestra, the Cornett University Symphonic Band, the Chiron Performing Arts Ensemble, the University of Southern Mississippi Clarinet Choir, and the Middle Tennessee State University Clarinet Ensemble. He also has had works performed at the June in Buffalo festival and by the Cleveland Orchestra at their "Family Key Concert" series. His Six Vignettes for solo clarinet has been commercially released by Milwaukee Symphony Orchestra clarinetist William Helmers on a compact disc recording, Recitative and Frenzy (Equilibrium CD52). A recent artist in residence at the MacDowell Colony, Paul has also received awards from BMI, ASCAP, Cornell University, the National Federation of Music Clubs, the Ohio Federation of Music Clubs, and the Library of Congress. Paul Osterfield currently is Assistant Professor of Music Composition and Theory at Middle Tennessee State University, and has recently taught at Ithaca College and Cornell University. Having earned degrees from Cornell University, Indiana University, and the Cleveland Institute of Music, his primary composition teachers have been Steven Stucky, Roberto Sierra, Eugene O'Brien, Frederick Fox, and Donald Erb. Samuel Pellman was born in 1953 in Sidney, Ohio. He received a Bachelor of Music degree from Miami University in Oxford, Ohio, where he studied composition with David Cope, and an M.F.A. and D.M.A. from Cornell University, where he studied with Karel Husa and Robert Palmer. Many of his works may be heard on recordings by the Musical Heritage Society, Move Records, and innova recordings (including his October 2003 release entitled "Selected Planets"), and much of his music is published by the Continental Music Press and Wesleyan Music Press. In the past few months his music has been presented at the International Symposium of the World Forum for Acoustic Ecology in Melbourne, Australia and the Electric Rainbow Coalition festival at Dartmouth College. He is also the author of An Introduction to the Creation of Electroacoustic Music, a widely-adopted textbook published by Wadsworth, Inc. Presently he is a Professor of Music at Hamilton College, in Clinton, New York, where he teaches theory and composition and is co-director of the Studio for Transmedia Arts and Related Studies. Further information about his music can be found on the web at: http:i/www.musicfromspace.com. Michael Pounds was born in Cleveland, Ohio in 1964. After a relatively short career as a mechanical engineer, he turned his energies toward composition, studying at Bowling Green State University, Ball State University, the University of Birmingham in England, and the University of Illinois. His music has been performed at various locations in the midwestern United States, at the Florida Electroacoustic Music Festival, at the national conferences of the Society for Electro­ Acoustic Music in the United States (SEAMUS), at conferences of the Society of Composers, Inc., and at festivals and conferences in Australia, New Zealand, England, Spain, France and Korea. His awards include the 1998 ASCAP/SEAMUS Student Commission Award , a Residence Prize at the 25th Bourges International Electroacoustic Music Competition, and a Rotary Foundation Ambassadorial Scholarship for studies in England. Michael is currently the Assistant Director of the Music Technology program at Ball State University. Michael Ramsey - For Michael Ramsey, piano lessons at the age of 8 proved to be the beginning of a lifelong pursuit of musical knowledge. He has continuously been exploring new ranges of musical expression - teaching himself guitar as a teenager, singing in choirs, writing and arranging popular and classical music even before he began studying at Winthrop University in Rock Hill, SC. At Winthrop he earned a Bachelor's Degree in Choral Music Education in December of 1993 and a Masters Degree in Guitar Performance in May of 1996, studying with L. H. Dickert. He completed a Masters Degree in Composition at the University of Louisville in May of 2000 and is now working on the dissertation for his Doctor of Musical Arts Degree in Composition from the University of Missouri­ Kansas City. He has studied composition with Fred Speck and Paul Brink in Louisville and Jim Mobberley, Zhou Long and Paul Rudy in Kansas City. His works strive for accessibility and emotional impact without sacrificing intellectuality. Currently Mr. Ramsey is teaching theory and music technology classes at Winthrop University. Paul Richards - Composer Paul Richards (b.1969), an associate professor of composition at the University of Florida, is the recipient of numerous commissions and awards. Commissions have come from organizations including the Jacksonville Symphony Orchestra, Florida State Music Teachers' Association and Music Teacher's National Association, Duo 46, Strung Out Trio, Sonoran Consort, Meet the Composer-Arizona, Arizona Repertory Singers, Arizona Commission on the Arts and Catalina Chamber Orchestra. Additionally, numerous university wind programs have commissioned Mr. Richards' work, including those of Baylor, Florida, Illinois 'Champaign/Urbana, Michigan, Nevada, Las Vegas, North Carolina at Greensboro, Northern Iowa, Syracuse and Truman State. Prizes include the Jacksonville Symphony Orchestra's, Fresh Ink 2002 Composers' Competition, the International Section of the 2000 New Music for Sligo/IMRO Composition Award, the 2001 and 2004 Truman State University/M.A.C.R.O. Composition Competitions, and many others. His works have been performed throughout the country and internationally on five continents. Music by Paul Richards is recorded on the Capstone, Mark, Summit, and MMC labels, and is published by Southern Music, Pebblehill, and the International Horn Society Press. James Paul Sain (b. 1959) is an Associate Professor at the University of Florida where he teaches electroacoustic and acoustic music composition, theory, and technology. He is the founder and director of the internationally acclaimed annual Florida Electroacoustic Music Festival. His compositional oeuvre spans all major acoustic ensembles , instrumental and vocal soloists, and embraces electroacoustic music. His works have been featured at national and international societal events. Composer residencies include those at the Swedish Royal Academy of Music, University of Oregon, University of North Carolina at Greensboro, University of Lanus (Buenos Aires), Luther College, Folkwang-Hochschule Essen, Korean National University of Arts, Winthrop University, and EMS (Stockholm}. Dr. Sain is currently SCI Executive Committee chair and a member of the American Composers Alliance. His music is available in print from Brazinmusikanta and American Composers Editions and on CD on the Capstone and Electronic Music Foundation labels. Eric Simonson received his Ph.D. from the University of California-San Diego in 1999. His degrees are in music composition, but his interests and teaching experience include computer music, music theory and musicology. He studied composition with Harvey Sollberger at Indiana University and Roger Reynolds at UC-San Diego. Currently, Mr. Simonson teaches music and humanities courses at Danville Area Community College in East Central Illinois. There he was recently awarded the Dorothy Duley endowed chair in liberal arts for 2004-05. His ongoing creative project (entitled Geometries) is a group of chamber music pieces that incorporate electroacoustic and computer generated sounds. Simonson is also a pianist and conductor. Michael Sidney Timpson is an Assistant Professor at University of South Florida, where he teaches composition and electronic music. Previously, he taught at the University of Michigan, the University of Kansas, and at Rhodes College in Memphis. He studied at the University of Michigan (OMA}, the Eastman School of Music (MA) and the University of Southern California (BM), with William Albright, Samuel Adler, William Balcom, Morten Lauridsen, and Joseph Schwantner, among others. His compositions have been featured throughout the United States and internationally. He has received honors from ASCAP, BMI, DownBeat Magazine, NACUSA, the National Federation of Music Clubs and such awards as the Brian M. Israel Prize, England's Kathryn Thomas Flute Competition, the Lee Ettelson Composer's Award, and the Music From China International Competition. Recently, he was nominated for the American Academy of Arts and Letters composition award. His music will appear on recordings released by Albany/Capstone, CRS, and ERM, and have been published by World­ Wide-Music. At present, he is co-chair of the Society of Composers Incorporated, Region IV. In 2003 his work, CRUSH for soprano saxophone and Chinese Zheng, was premiered in Carnegie Hall. In winter 2004, he will be traveling to China as a music consultant for a CCTV mini-series, and will score music to be recorded by the Shanghai Symphony Orchestra. In 2004, his Third Symphony was recorded by the Kiev Philharmonic. Recently, he completed a new commission entitled sneaky that was recorded by the Chinese National Film Orchestra; the same orchestra will be performing another commission, Adaptations: collision and reinvention for violin and orchestra in Beijing in 2005. In the coming year, he will also be composing a Flute Concerto to be performed by Japanese flutist Mihoko Watanabe in Israel and a Double Concerto to be performed by violinist Carolyn Stuart and pianist Svetozar Ivanov in Bulgaria. Hsiao-Lan Wang, a native of Taiwan, composes extensively for orchestra, chamber ensembles, solo instruments, and electronic media. Her music investigates the fundamental elements of musical communication through new timbral, formal, and technological relationships. As a composer, her talent and efforts have attained international acclaim including prizes, awards, and major performances from venues such as: Pauline Oliveros Prize and Libby Larsen Prize from IAWM, final performers selection by American Composers Forum - Sonic Circuit, second prize in the Pierre Schaeffer Computer Music Competition (Italy}, finalist of the Craig and Janet Swan Composer Prize for Orchestra and Composers Competition by Chamber Orchestra of Denton, Standard Awards from ASCAP, research grant from Women's Council of UMKC, and performances at Logos Foundation (Belgium), Bourges EA Festival (France), and Dutch National Radio. Ms. Wang is also a frequent participant at music festivals throughout the United States. In addition to her career as a composer, Ms. Wang extends her musical platform to both performing and conducting. Being an exceptional yangchin (Chinese dulcimer) player, she has participated in numerous performances in Taiwan and the United States. As a conductor, for both pre-twentieth century and contemporary music, she has continuously conducted works by both developing and established composers of our time. Ms. Wang received her BA in music composition and theory from the National Institute of the Arts (Taipei, Taiwan), and MM in composition from the University of Missouri-Kansas City. She is currently pursuing a OMA degree in composition at the University of North Texas. More information about her could be found at www.hsiaolanwang.com. Rodney Waschka II is perhaps best known for his theatrical works. His operas and excerpts from those operas have been performed throughout the US and from China to South Africa. He has also composed a large number of algorithmic pieces for traditional ensembles. His works are recorded on the Capstone, Centaur, and IRIDA labels in the US, PeP in Canada, and Plancton Music in Portugal. Waschka directs the North Carolina Computer Music Festival and tries not to take anything too seriously. Joseph Waters is Associate Professor of Music Composition and Director of Electro-Acoustic and Media Composition at San Diego State University. He studied composition at Yale University, the Universities of Oregon and Minnesota, and Stockholms Musikpedagogiska lnstitut. His primary teachers were Jacob Druckman, Bernard Rands, Roger Reynolds, Dominick Argento, Martin Bresnick and Jeffrey Stole!. He is a member of the first generation of American classical composers who grew up playing in rock bands. Throughout his career he has been intrigued by the confluence and tensions which entangle and bind the music of Europe and Africa. Much of his work involves interactions between electronic and acoustic instruments. He has been involved in inter-disciplinary and collaborative works since the early 1980's. His works are performed widely, both in the U.S.A. and abroad. He has received numerous awards in composition, including National Endowment for the Arts/Rockefeller Foundation, Regional Arts and Culture Council (OR) and Pennsylvania Council on the Arts grants. www.josephwaters.com Daniel Weymouth - Composer/conductor Daniel Weymouth writes for a wide array of ensembles, from standard orchestra to computer-interactive "instruments." He has studied and worked at several of the worlds leading computer-music facilities, including Stanford's CCRMA, Pierre Boulez's IRCAM and lannis Xenakis' CEMAMu. His compositions have been performed throughout Europe, Korea, Canada and the United States and appear on the MIT, SEAMUS and New World Record labels. Commissions have come from numerous ensembles and individual performers; grants from Meet the Composer and ASCAP. Weymouth is a current member of the Academy of Scholar Teachers at Stony Brook University, where he is Director of Computer Music and Graduate Program Director at the Department of Music A ten-year stint as an itinerant musician in popular genres may have something to do with his fascination with gadgets, as well as the kinetic and compact nature of much of his music, both acoustic and electronic. Christopher M. Wicks is active as a church musician and accompanist in Oregon's Willamette Valley. He holds a M.Mus. in Composition from the University of Montreal, where he studied under Isabelle Panneton, and a BA in Music from Maryhurst University near Portland, Oregon, where he studied composition under Sister Anne Cecile Daigle. He is now a PhD student in Musicology at the University of Oregon in Eugene. Performers Biographies Ilka Vasconcelos Araujo was born in Brazil and is the winner of first prizes in both I Festival Jovem lnstrumentistas, and I Paurillo Barrozo Piano Competition. She has performed in several countries including Brazil, the United States, France, Germany, and the Czech Republic. Ilka holds a B.M. in Piano Performance from Universidade Estadual do Ceara, and a M.M. in Piano Performance and Pedagogy under Professor Boaz Sharon from the University of Florida. She is currently a Ph.D. student in Musicology with cognate in Performance under Dr. David Kushner at the University of Florida, where she also works as a Teaching Assistant. In the summer of 2003, she went to Germany invited by the Telgte/Muester Music Academy to perform a recital and teach a Master Class. Last summer, she was invited for a concert tour around Brazil, where she also gave master classes and workshops. While in Brazil, Ilka was interviewed by Isla E, the second most important magazine in the country, and she was also featured in the Programa do Jo, a Public National TV Broadcast. Ilka has recently won first prize in the Alec Courie/is International Student Competition, a prestige prize given to the best international student at the University of Florida. Gerald Berthiaume (D.M.A.) is Director of the School of Music and Theatre Arts at Washington State University in Pullman, Washington, U.S.A. Berthiaume toured the Middle East in 1993 as a U.S. Artistic Ambassador in conjunction with the United States Information Agency. He has performed and lectured for national conventions of the Music Teachers National Association in Miami and Milwaukee, the College Music Society in Chicago and the Music Educators National Conference in San Antonio. His performances of 2Q1h/21 51 century music include works by Elliott Schwartz, Jeffrey Hass, William Kraft, James Mobberley, Brent Pierce, Chinary Ung, Libby Larsen, Jan Krzywicki, Thomas Benjamin, Donald Freund, Chen Yi, Stephen Michael Gryc, Charles Argersinger and Gregory Yasinitsky. Berthiaume's CD of solo piano music by Robert Starer is available on Albany Records. Other performances of new music by Berthiaume can be heard on Vienna Modern Masters label, Arizona University Recordings and Northeastern University Recordings.

Joel Bluestone - Recently back from performances in Astonia, Dr. Joel Bluestone's active schedule last year included performances in Colorado, California, Carnegie Hall in New York City and Amsterdam. He is currently a Professor of Music at Portland State University, where he has been the head of the percussion department for the last 15 years. He received his B.A from the University of California, at San Diego and his M.M. and D.M.A. from the State University of New York, at Stony Brook. His principal teachers have been the contemporary percussionists Raymond Des Roches, Jean-Charles Francios and Richard Horowitz, Principal Timpanist of the Metropolitan Opera Orchestra. Dr. Bluestone is entering his 12th year as Co-Founder/Percussionist with the Northwest premiere contemporary new music ensemble "Fear No Music". In addition, he is the Principal Timpanist with Sinfonia Concertante Orchestra and has been the Principal Timpanist with the Missouri Symphony.

Janice Bradner, pianist, received her Bachelor of Music from the University of North Carolina at Greensboro and Master of Music from Winthrop University where she studied with Dr. Eugene Barban. Ms. Bradner is currently Lecturer in Music at Winthrop coordinating the piano proficiency program, and teaching secondary piano and accompanying. She has also taught theory and aural skills. She has been head staff accompanist at Winthrop for seven years, and now accompanies faculty and graduate recitals. As a free-lance accompanist in the Charlotte area, Ms. Bradner collaborates with musicians of the Charlotte Symphony for solo and chamber recitals and recordings. She has worked with Susanna Self Huppert, past principal flutist with the Charlotte Symphony and winner of the 1997 National Flute Association Young Artist Competition. In 1993 Ms. Bradner collaborated with Lorraine Gorrell in a concert of songs written to poetry of Belgian poets. They performed at the University of Kansas and the Cleveland Museum of Art in conjunction with the American tour of Le Vingt, an art exhibit of works by Belgian Symbolist artists and poets . Before joining the faculty at Winthrop, Ms. Bradner taught theory, class and private piano, and piano ensemble at Central Piedmont Community College in Charlotte, NC. Ms. Bradner is involved with Charlotte community organizations, singing with the Myers Park Baptist Church Chancel and Motet choirs. She has also sung with The Cantata Singers , a group of professional musicians in Charlotte , NC. directed by Paul Oakley.

Zinorl N. Broiiola is from the Philippines and is currently pursuing a master's degree in piano performance under the tutelage of Dr Eugene Barban at the Conservatory of Music at Winthrop University . In 1992, he completed his undergraduate studies in piano performance at the Bulgarian State Academy of Music in Sofia, Bulgaria under Professors Konstantin , Julia Ganev and Dimo Dimov. He has been featured in numerous concerts in the Philippines, Bulgaria, Poland, Italy, Russia and the US and was the first prize winner in piano of the 1981 National Music Competitions for Young Artists , Manila, Philippines and the first prize winner of the 1990 Concorso lnternazionale dei Giovanni Pianisti held in Marsala, Sicily, Italy.

Ellen Bulow, received her M.M. in piano performance from Winthrop University in 1996 and studied with Dr. Eugene Barban. She also studied piano with Dr. Joseph DiPiazza at UNG Greensboro and Walter Hautzig.

Lorrie S. Crochet earned her bachelor's degree in music education from the University of Missouri, Kansas City, and her master's degree in wind conducting from the University of Miami in Coral Gables, Florida, where she studied with Gary Green . She is currently assistant director of bands and assistant professor of music at Winthrop University in Rock Hill , South Carolina, and is a doctoral candidate in music education at the University of Miami . Bands under Ms. Crochet's direction have consistently earned superior ratings at concert and marching festivals and competitions throughout Florida, Kansas , and Missouri . Prior to moving to south Florida, she taught instrumental music in grades 4 through 12 in the Olathe School District in Olathe, Kansas. While attaining her master's degree at the University of Miami , Ms. Crochet served as assistant conductor of the wind ensemble, symphonic winds , and chamber winds. From 1996 to 2000, she was the director of bands at Charles W. Flanagan High School in Pembroke Pines, Florida. Ms. Crochet has served as a clinician, guest conductor, and adjudicator throughout Kansas and Florida. She has been selected for Who's Who Among America's Teachers for 1992, 1995, 1999, and 2002, and currently holds memberships in the American School Band Directors Association , MENG: The National Association for Music Education , College Band Directors National Association , South Carolina Music Educators Association, and the National Band Association.

Lorraine Gorrell has performed in Canada, England , the Netherlands, and Germany as well as for the Canadian Broadcasting Corporation , Dutch Radio, and U.S. Public Radio and Television. In the United States, she has presented recitals at many colleges and universities and at the Cleveland Museum of Art, the Merkin Concert Hall in New York, the Spencer Gallery in Kansas, the Vancouver Art Gallery, and the Victoria Art Gallery, Canada. Ms Gorrell has also published numerous articles on music, and her book, The Nineteenth-Century German Lied (Amadeus Press, Portland, Oregon, 1993) was selected by Choice Magazine in its January 1995 issue as one of the best academic books of the year. Her new book, Discordant Melody: Alexander Zemlinsky, His Songs , and The Second Viennese School has been published by Greenwood Press.

Jenn ifer Hughes began studying percussion in the 10th grade . She is now in her senior year as a music education student with percussion as her primary instrument. She plans on teaching in a nearby elementary school at the conclusion of her schooling. Katherine Kinsey is an Associate Professor of Music at Winthrop University. She serves as the Director of Choral Activities, and is in her eighth year as a choral music faculty member where she directs the Winthrop Chorale and Chamber Singers. Her additional duties at the university include teaching both graduate and undergraduate applied conducting, overseeing and instructing courses related to the master's of conducting program, and directing the choral teacher education program. She is also the faculty advisor for the student chapter of the American Choral Directors Association, and has served as the advisor for Winthrop's collegiate chapter of MENG for six years. She is currently serving as the SC ACDA College Division Chair and formerly served as the state's membership chair for four years. Dr. Kinsey is a native of Walterboro, S. C. and holds a master's degree in choral music education from the University of North Carolina at Greensboro and a doctorate in choral conducting from the University of South Carolina where she studied with Dr. Larry Wyatt and Dr. Emanuel Alvarez. Prior to coming to Winthrop , she was a public school choral music educator in Charlotte, N.C. having taught high school choral music for ten years and junior high chorus for three. She was also employed by the Community School of the Arts of Charlotte as an instructor of piano, voice, and music theory for seven years , and served as a church music director for five years.

Elizabeth Morrow joined the faculty at The University of Texas at Arlington in 1991 , and holds the position of Associate Professor and Assistant Chair of the Department of Music. She received the t degree Doctor of Musical Arts in Cello Performance from the University of Southern California under Eleonore Schoenfeld. Dr. Morrow's repertoire extends beyond traditional classical periods and styles to incorporate jazz and 20th Century compositions, and she has a special interest in and commitment to performing newly commissioned and lesser-known works in the cello repertoire. As a recitalist and chamber musician, she has concertized extensively in Europe and North America. In Fall 1999, Dr. Morrow released her solo compact disc, Soliloquy: Contemporary Works for Unaccompanied Cello, with Centaur Records. In Summer 2000, she was featured performing a selection from Soliloquy at the World Cello Congress Ill in Towson, Maryland. In recent years, Dr. Morrow has enjoyed residencies in Mannheim, Germany and Seoul, Korea teaching numerous talented young students and performing. Elizabeth Morrow is a dedicated pedagogue and is founder of the Texas Cello Academy, an annual summer course and festival held at the University of Texas at Arlington. (Fleisher)

The Red Clay Saxophone Quartet-Susan Fancher, soprano saxophone, Robert Faub, alto saxophone, Steve Stusek, tenor saxophone, Mark Engebretson, baritone saxophone was formed in October of 2003 by four internationally recognized saxophonists based in Greensboro, North Carolina. Susan Fancher has 15 years of experience as soprano saxophonist with the Vienna, Amherst and Rollin' Phones saxophone quartets. Robert Faub has performed extensively throughout the US and Europe as alto saxophonist with the New Century Saxophone Quartet. Steve Stusek, saxophone professor at the University of North Carolina in Greensboro, is an international touring solo recitalist and chamber musician. Mark Engebretson is a veteran of the Vienna Saxophone Quartet and is Assistant Professor of Music Composition at UNCG .

Cynthia Sain earned her degree in flute performance, with distinction, from San Diego State University under the direction of Karen Reynolds. She received a La Jolla Young Artists award, has toured internationally with the San Diego Youth Symphony and performed with numerous ensembles including the San Diego Symphony, San Diego Gilbert & Sullivan Theatre, and La Jolla Chamber I Orchestra. I I _J Winthrop University Wind Symphony

Piccolo - Krissy Thousand Flutes - *Jennifer Baldwin, Jessica Schuler Oboes - *Stacey Everett, Amanda Shelton Clarinets - *Kate Brockman, Jennifer Brown, Crystal Cooke, Kari Cooper Bass Clarinet - Monica Gonzalez Contrabass Clarinet - Wendy Maillet Bassoons - Jessica Hudgens, Sandy Kaiser Alto Saxophones - *Dan Grovo, John Rogers Tenor Saxophone - Nick Gibson Baritone Saxophone - John Rogers Trumpets - John Brooks, Thomas Langford, *James Moyer, Kevin Roberts Horns - *Andrew Davidson, Rachel Hall, Will Royall, Chandler Smith Trombones - Patrick Box,* Benjamin Hingle, Brandon Wells Euphonium - Seth Murphy Tuba - *Brent Belue Percussion - Patrick Allen, Jaime Ellisor, Jennifer Hughes, Michael Scarboro, Erik Sheldon, *Tommy Wilson Harp - Christine VanArsdale * principal

Winthrop University Chamber Singers Soprano - Heidi Auten, Caroline Firczak, Anna Frantz, Maeghan Pawley, 1. Katelyn Schultz, Elizabeth Williams, Michelle Wright I Alto - Kristi Cutler, Elizabeth Eargle, Lauren Lee, Jennifer Mims, Emily Patterson, Brooke Ritter, Christine Sevacko Tenor - Herbert Deas, Gregory Gafford, John Kaneklides, Jack Stevenson, Jeremy Winkler Bass/Baritone - Branten Blair, Cameron Blew, Nathan Gray, James Hendrix, Zach Hugo, Christopher Rice

Conference Staff Ron Parks and Bruce Thompson, Conference Hosts, would like to acknowledge the contributions of the following people. Without their support and hard work this conference would not be possible Samuel J. Hamm, Jr. - technical director Michael Ramsey - assistant coordinator Chris O'Neill - stage manager Andrew Svedlow - College of Visual and Performing Arts, Dean Donald M. Rogers - Department of Music, Chair Ida Newsom and Pat Rosser - Department of music office staff ... ,.• •

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