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NEWSLETTER CONTENTS XXXVIII : 1, January-February 2008 Resources About SCI Feature SCItings Tech Corner Join SCI

Learn about the Review of the 2008 New column devoted to Newsletter, upcoming National Conference in tech how-to questions SCI Events, and our Atlanta, Georgia, written by editor many online resources by Luke Gullickson Anthony Cornicello SCI is an organization for composers. Our Message from the Performances, Awards, membership categories President, members of Commissions, Honors, include full member, the National Council/ Publications, and other student member, retired Executive Committee Member Activities member, or life member. Page 2 Page 3 Page 4 Page 7 Page 9 Page 10 ANACRUSIS...

ANTHONY CORNICELLO: BENJAMIN WILLIAMS: Meet the New Composer Anthony Cornicello (b. 1964) Benjamin Williams is currently pursuing writes music that blurs distinctions between a Doctor of Musical Arts degree at The Ohio Editors of the SCI performers and electronics, timbre and har- State University. He received his Master of Newsletter mony, composition and improvisation, and Music degree in composition from the explores the boundaries of what may be con- University of Akron. His composition teachers sidered post-classical concert music. His music include Daniel McCarthy, Nikola Resanovic, is vibrant and visceral, full of rhythmic energy and Tom Wells. His music has been performed Anthony Cornicello and harmonic sophistication, and his forays across the United States by a wide variety of Editor, SCI Newsletter into live electronics have led to exciting com- performers and ensembles. His music has binations of instruments and processed sound. been performed at two SCI National Professor, Eastern He has been commissioned to write music for Conferences (including 2008), The Electronic Connecticut State the Scorchio Electric String Quartet, Modern- Music Midwest Festival, Kentucky New University Works! (funding from Meet the Composer/ Music Festival, The University of Nebraska Commissioning Music USA), the New York New Music Festival, SCI Region VI New Music Ensemble, the Group for Contem- Conference, and the Akron New Music porary Music, and the InterEnsemble of Pa- Festival. Williams has also won the ASCAP/ dova, Italy. His music has been presented as Victor Herbert Award as well as the APSU Benjamin Williams part of the Darmstadt and June in Buffalo Fes- Young Composers Competition. Editor, SCI Newsletter tivals. Cornicello’s works are published by DMA Student, Ohio C.F. Peters and his music appears on the Cen- State University taur and Albany labels. Anthony directs the Electronic Music lab at Eastern Connecticut State University, where he is an Associate Pro- fessor.

Society of Composers Newsletter, XXXVIII : 1, January-February 2008 1 SCI RESOURCES

About the Newsletter Upcoming SCI Events Internet & Email www.societyofcomposers.org Editors: Anthony Cornicello Spring 2008 (April 16-19) The SCI website is an up-to-date source of information: Benjamin Williams Circulation: 1400 2008 Region VI Conference • Conference dates and submission Sam Houston State University guidelines Access: available on the SCI website at Huntsville, TX • Contact information and links to member http://www.societyofcomposers.org/ Host: Trent Hanna [[email protected]] webpages data/publications/newsletter/current.pdf Submission deadline: Past • Student chapters and opportunities Frequency of Publication: bimonthly • CDs and journals produced by SCI Newsletter Contact Information: • Details on SCI such as membership Anthony Cornicello Spring 2009 (dates TBA) options, listings and contacts for officers, Eastern Connecticut State University 2009 Region VI Conference regional structure, by-laws, newsletter Shafer Hall, Room 109 archives, and more... 83 Windham St The Bass School of Music at Willimantic, CT 06226 Oklahoma City University (860) 236-3892 [email protected] Oklahoma City, OK SCION Host: Edward Knight [[email protected]] Benjamin Williams SCION is a listing of opportunities on our 504 Hemston Ct Submission deadline: TBA website exclusively for members. It is updated on Gahanna, OH 43230 a continual basis so that it may by checked at any (330) 268-2590 [email protected] time for the most current notices. In addition, Spring 2010 (dates TBA) members are emailed on the first Monday of each For other SCI business: 2010 Region VI Conference month to remind them to visit the site for new or Society of Composers, Inc. Kansas State University recent postings. The large number of listings is P.O. Box 687 easily managed by a table of contents with links Mineral Wells, TX 76067-0697 Manhattan, KS [email protected] Host: Craig Weston [[email protected]] to the individual notices. In-depth coverage-- Submission deadline: TBA contest listings in full--all items listed until Copyright © 2008 expiration-- this is a valuable resource that you Society of Composers, Inc. may print in its entirety or in part at any time. All rights reserved. Fall 2008 (October 10-11) John Bilotta, SCION Editor [email protected] How to Submit Items 2008 National Student Conference Ball State University to the Newsletter Muncie, IN [scimembers] Articles: The Newsletter welcomes sub- Submission deadline: TBA scimembers is a member-driven e-mail mailing missions of articles to run in future issues. list that is intended to facilitate communication Articles, if accepted, may be edited for between members of the Society on topics of length and content. Please include a See our website at concern to composers of contemporary concert photo with all submissions if possible http://www.societyofcomposers.org/ music. It conveys whatever notices or messages (photo may be of author). for more details. are sent by its members, including announcements of performances and Member News + Photos: Please send professional opportunities, as well as all member news and activities with a discussions on a wide variety of topics. For more photo. Submitted items may be edited. information, including how to join and Ideas/Suggestions: The Editors wel- participate in the listserv: come any other ideas or suggestions. http://www.societyofcomposers.org/data/ Submit to the newsletter via email at publications/listserv/listserv.html [email protected]

2 Society of Composers Newsletter, XXXVIII : 1, January-February 2008 A B O U T S C I NATIONAL COUNCIL Message EXECUTIVE COMMITTEE from The President President Chairman Thomas Wells James Paul Sain Ohio State University University of Florida The resumption of Region 1 Editor, Newsletter our Newsletter is a Scott Brickman Anthony Cornicello University of Maine at Fort Kent happy event for SCI. Eastern Connecticut State University On behalf of Execu- Beth Wiemann Benjamin Williams University of Maine tive Committee The Ohio State University Chair, Jim Sain, I’m happy to announce that Region 2 Editor, SCION Anthony Cornicello of Eastern Connecticut Anneliese Weibel John G. Bilotta SUNY-Stony Brook State University, and Ben Williams from The Ohio State University have agreed to serve Editor, Journal of Music Scores Daniel Weymouth Bruce J. Taub SUNY-Stony Brook as co-editors for this publication. The News- letter is a showcase for member activities, Producer, CD Series Region 3 and I’d like to urge all of our members to Richard Brooks Harvey Stokes Capstone Records Hampton University share their recent accomplishments, includ- ing photographs, with our colleagues in SCI Manager, Audio Streaming Project Bruno Amato Thomas Wells Peabody Conservatory through this publication. I also want to en- join members to contribute special features, The Ohio State University Region 4 such as interviews, polemics, and reviews to Coordinator, Submissions Mark Engebretson Lee Hartman University of North Carolina at Greensboro the mix. The Atlanta conference was a big suc- University of Delaware Paul Osterfield Middle Tennessee State University cess, thanks to the Herculean efforts of Nick Representative, Independent Composer Demos and the excellent performance re- Anne Kilstofte Region 5 sources of Georgia State University and mu- Phoenix Arizona Mark Phillips Ohio University sicians from the Atlanta area. The review in Representative, Student Chapters this issue will provide more details of this Nickitas Demos Frank Felice Georgia State University Butler University outstanding event. I would also like to direct your attention Representative, Students Region 6 to the recently-posted ASUC/SCI record Alexander Sigman Eric Honour Amsterdam, The Netherlands University of Central Missouri series at societyofcomposers.org. This collec- tion spans roughly thirty years and includes Ken Metz Coordinator, SCI/ASCAP Student Competition and Grants The University of the Incarnate Word over 40 works in all kinds of genres. I digit- ized the collection about a year ago and put Kari Juusela Region 7 Berklee College the project on the back burner until just be- Bruce Reiprich Webmaster Northern Arizona State University fore the Atlanta Conference. I am impressed with how kindly time has treated most of the Mike McFerron Glenn Hackbarth Lewis University Arizona State University works in this collection, and what a variety of styles the series encompassed. The series Web Content Manager Region 8 itself is a tribute to the hard work Richard Matthew McCabe Charles Argersinger University of Florida Washington State University Brooks has contributed and continues to contribute to SCI. Chair Emeritus Patrick Williams William Ryan University of Montana On another note, our new refereed webzine journal, iSCI, is in preparation for Grand Valley State University National Conference Host its premiere issue in late Spring. Kudos to Steve Paxton Sante Fe, New Mexico the co-editors, Craig Weston and Jason Bahr, as well as the editorial board: John White, Student Conference Elliott Schwartz, Robert Rollin, and Stephen Ball State University Heinemann. President Emeritus Tom Wells Greg Steinke President, SCI

Society of Composers Newsletter, XXXVIII : 1, January-February 2008 3 FEATURE:2008 NATIONAL CONFERENCE

Alan Beeler’s 4 Little Bi- National Scalar Pieces recalled Hin- demith in its quartal har- mony and contrapuntal ap- Conference proach; and Trent Hanna’s A review of the 2008 A Piece of Snow utilized a SCI National Conference standard place-based pro- at Georgia State University gram while also incorporat- ing improvisatory touches. By Luke Gullickson Thursday afternoon’s MM, University of Texas at Austin concert consisted of elec- troacoustic works, and not So…pluralism. I know, I surprisingly, it was among know. It’s getting to be a the more diverse programs tired cliché. But I had to say on the conference. Anthony it right away, because at the Cornicello demonstrated his moment it’s the best expla- inventive glove that con- nation I have for what, ex- trolled sound elements in actly, composers are up to the appropriately named these days. Whether we like The Gloved One. Two works, it or not, from time to time Per Bloland’s Graveshift and we must assess this ques- Orlando Legname’s Agua de tion, ask ourselves what Pingo, included video. Ben- we’re writing and why, look jamin Williams’ Mirrored around and try to pin down Pursuit for live piano and some movements and tape blended techno beats trends. I had the fantastic with Latin jazz. And there opportunity last month to were also two traditional encounter these issues first- works for electronic play- hand at the SCI National back, Neil Flory’s Four Vari- Conference, held February ants and James Paul Sain’s 20-23 at Georgia State Uni- Beondegi. versity in Atlanta. top: Matthew McCabe and Stefanie Acevedo On Thursday night the The week got off to a middle: Michael Solomon, Chester Udell, and Kyle Vegter GSU Wind Ensemble pre- strong start Wednesday night with a bottom: Dr. James Paul Sain sented a concert that included two concert by GSU’s neoPhonia New premieres. Lansing McLoskey’s OK Music Ensemble, under the direction OK for saxophone quartet wittily of Nickitas Demos. The student performers put forth admirable “recontextualized” a Charlie Parker solo’s 1058 pitches into a effort in assembling these varied works. The Piedmont Winds striking, meditative sound-world. Jonathan Newman’s suave presented the conference’s first piece by guest composer George Concertino, which recalled French neoclassicism, received a fine Tsontakis, Birdwind, which demonstrated the composer’s skill- performance by flutist Sarah Kruser Ambrose. And, a roaring ful instrumental writing. The most energy, however, was pre- conclusion was provided by Kingfishers Catch Fire, an attractive sent in the following piece, Ed Martin’s Psychonetic, which sent and energetic piece by the recently ubiquitous John Mackey. us all out to the reception charged up and ready for the week. The wind writing by all of these composers showed the promise The Thursday morning session included performances or- of this growing repertoire. ganized by the composers, and as throughout the week, it was a Friday morning began with another concert of composer- joy to see so many wonderful performers engaged with new provided performers. Marilyn Shrude’s Lacrimosa for alto saxo- music and willing to travel in order to perform it. This first con- phone and piano opened the program with a tone that was cert was highlighted by Clifton Callender’s Point and Line to mournful and emotionally complex, and Dohi Moon’s [bi:guni Plane, a striking, coloristic piece executed with a superb sense of chum] drew unique sonic effects from a combination of three touch and attack by pianist Hui-Ting Yang. cellos. Following this concert was a full program by GSU fac- That morning also held a panel discussion on the subject of ulty clarinetist Kenneth Long, who also deserves applause for Music Journalism in the 21st Century, featuring Creative Loafing’s the incredible variety of his program. Two of the pieces were Mark Gresham, Darren Nelsen of the Atlanta Composers Blog, solo, two included piano, and one featured the GSU Percussion and Pierre Ruhe, classical music critic for the Atlanta Journal- Ensemble in the accompanying role. The moods were similarly Constitution. The conversation began with ruminations on the disparate. John Bilotta’s Heart’s Desire wove Irish folk songs to- past and future of journalism and the falling influence of print gether into a work that felt homespun and honest. Craig Wes- media, and eventually gave way to a spirited debate on the ton’s Still on the Antipodes, which included the percussion group more general roles of the composer and of the critic. If there and piano, featured numerous subtle colors and touches as well hadn’t been another concert to get to, we might have gone on as large gestures. Perhaps the best vehicle for Long’s playing, all day. however, was Paul Osterfield’s Six Vignettes. The generic title Luckily, though, we made it back for a full recital by pianist belies the pieces’ quirky and memorable character, and Jeri-Mae Astolfi, who tackled an enormous program of extreme throughout, Osterfield tactfully utilized many clarinet tech- variety. There was a great deal of piano music on the confer- niques in the service of the movements’ individual moods. ence, and this program illustrated the multiplicity of ap- Friday afternoon’s concert again featured various performers. proaches to and influences on the medium. Laurence Sherr’s Dorothy Hindman’s Tapping the Furnace was particularly Nocturne was a fetching tribute to Debussy; Brian Belet’s Drei memorable, using cymbals, coins and narration to recount a Kinderstucke capably expressed the aphoristic style of Webern; story about furnace workers in Alabama. Percussionist Scott

4 Society of Composers Newsletter, XXXVIII : 1, January-February 2008 2008 NATIONAL CONFERENCE (CONTINUED)

Deal performed the piece with enthralling conviction. This con- SCI/ASCAP Student Commission Contest. Carolyn O’Brien’s cert was also notable for its inclusion of the conference’s only Formicary and Maxwell Dulaney’s Eastern Limb both demon- vocal work, part of a song cycle called Songs of Existence by strated exciting young talents. Dulaney’s piece contained per- Brian Bevelander. One wonders whether the submitted entries haps the greatest surprise moment of any work on the confer- on the whole were so slanted away from vocal music. It recalls a ence: after an initial section of tense music and dense interac- point made more than once during the week by George Tson- tion between the seven players, the texture suddenly opened up takis: “Americans don’t listen to music, they listen to song.” to a beautiful, nocturnal soundscape that was tuned with bril- I’ve been asking myself since whether this insight is accurate, liant senses of pacing and space. I was reminded of the classic and if so, whether composers are unwisely ignoring it. advice in jazz improvisation, to constantly ask oneself if what Friday evening featured a banquet, with the keynote ad- one is playing constitutes an improvement on silence. When I dress provided by Tsontakis. As throughout the week, our guest mentioned my enjoyment of this section to Dulaney after the composer proved himself here to be an eloquent spokesman for concert, he responded that he wanted to “make everyone hang the field, an open-minded advocate who likes to remind others out for a while.” In this case, the approach worked perfectly, that “my colleagues are writing up a storm.” It is refreshing to leaving the audience leaning forward in our chairs with a keen know that on the highest levels of the profession there are indi- sense of where we were and what we were listening to. viduals who clearly appreciate the complexity of the many is- Saturday night’s concert was similarly a billboard for the sues facing composers. many fantastic new music players who appear to be hanging Saturday’s first two concerts again exhibited the variety to around in Atlanta. Brian Baxter’s People Movement opened the which those in attendance had become accustomed. Leonard concert with a tasteful and concise burst of rhythm, and Or- Mark Lewis’ As In Stained Light showed off some pop- lando Jacinto Garcia’s olas de humanidad, by contrast, gave the influenced piano writing, Robert Fleisher’s Secrets made a more audience a quiet sound piece with little sense of traditional traditionally modernistic impression, and Alexander Sigman’s progression. The combination of extremely soft piano strum- Reflects/Refléxions//Implosions for solo alto sax blended a Ferney- ming over muted violin harmonics was gorgeous sonically, and houghian aesthetic with scientific inspirations that recalled Garcia connected the episodes and images with the utmost Varese. Also notable were Kari Henrik Juusela’s colorful Dream taste. Kyong Mee Choi’s A Slight Uncertainty Is Attractive, for Forests, which contrasted cloudy, soundscape sections with run- flute and electronics, followed with an astounding achievement ning notes and energetic rhythms, and Zack Browning’s Execu- in spatialization. The sounds strongly suggested visual im- tion 88, which brought a jazzlike energy to the familiar genre of ages—not surprisingly, since Choi is also a painter—and the modernistic piano music. concentration of musical information across the texture was George Tsontakis presented a master class that afternoon always pitch-perfect. The concert continued with Nickitas for GSU composition students, and aside from offering his own Demos’ Akathist, which provided unexpected doses of wit and insights, he consistently showed a concern for opening the floor dance in an almost startling contrast with much of what we’d and involving everyone in the proceedings. We all benefited heard over the previous days. And to close, there was another from the discussion that resulted, and Tsontakis impressed with attractive and strongly constructed piece by George Tsontakis, his ability to perceive the underlying issues in the students’ his Piano Quartet no. 3. music and ask the right questions. Thanks are owed to Nick Demos and the students, faculty, GSU’s terrific Percussion Ensemble took the stage Saturday and staff at Georgia State. I was constantly impressed with the afternoon, showcasing another growing repertory that has been effort and organization these individuals put forth to make the a playground for recent composers. Christopher Mont’s per- week a success. The many performers featured, including those formance of Jonathan McNair’s Sonata for Solo Percussion dis- from GSU, the Atlanta area, and around the country, also de- played a promising talent, and the piece pleased with subtle serve a special mention. sonic connections and carefully planned gestures. Scott Deal The conference was tiring. I’m sure that everyone in atten- and GSU faculty percussionist Stuart Gerber joined forces for dance would agree. It was so much music to take in, so many two duets, Amelia Kaplan’s Beat it with a Stick and Marc Satter- different approaches to digest. But aesthetic pluralism is, after white’s Nazca Lines. Seeing these two excellent performers all, inherently a challenge on us as composers, performers, and working together was a joy in itself, and the composers pro- listeners. As Molly Ivins put it, “The thing about democracy, vided countless inventive ideas. It’s an interesting commentary beloveds, is that it is not neat, orderly, or quiet. It requires a cer- on the state of percussion music that the final piece on the con- tain relish for confusion.” Pluralism may be tiring, may be diffi- cert, Brandon Hendrix’ Bahrah, was the first to include anything cult to understand in sum, may be occasionally off-putting, but approximating a real, old-fashioned groove. Depending on you know what? I’ll take it. Especially if it means I get to some- one’s perspective, this apparent trend away from repeating times come across musical gems like the ones I heard in Atlanta. rhythmic figures could be viewed as a positive or negative de- We find ourselves situated today in a perhaps unparalleled at- velopment for percussion music, but at the very least, we can mosphere of artistic freedom, and I was thrilled to sit and listen clearly say that composers are approaching this genre with in a room full of composers who are actively taking advantage great freedom and personal license. of it. So cheers, everyone. Keep on writing, and hopefully I’ll I’ve mentioned much excellent and memorable music, but see you at the next conference. the real peaches of the week were the concerts on Friday and Saturday evenings. The former featured largely performers from the Atlanta-based new music group Bent Frequency. The works included Tsontakis’ Seven Knickknacks for Violin and Viola, Kyle Kindred’s piano trio Inundación, and Carl Schimmel’s rite.apotheosis, all of which brought together concerns for color, rhythmic energy, and motion. Mei-Fang Lin’s L’Image reconsti- tuée similarly wore a modernistic aesthetic tempered by a cer- tain playfulness that made it instantly appealing. Lin also de- serves commendation for the perfectly balanced pacing of her four movements. Perhaps most exciting on Friday evening, though, were the two premieres by the winners of last year’s

Society of Composers Newsletter, XXXVIII : 1, Januray-February 2008 5 ARTICLE:THEORY OR COUNTERPOINT? Theory or Counterpoint: study. Theorists had to make a choice as in their lessons and perform in their en- to which topics to keep, and at most in- sembles. What Comes First? stitutions they decided to continue the The homophonic tradition is quite edited by Benjamin Williams already strong focus on harmony, present in today's popular music. Many DMA, Ohio State University probably because they thought it was fundamentals texts end with a chapter the most practical analytical knowledge or two on writing accompaniment pat- This discussion took place on the [scimembers] mailing list March 12-15, 2008. for instrumentalists and vocalists who terns based on voice leading manipula- would spend most of their time practic- tions and figurations of basic progres- Question: ing repertoire from the late baroque sions with triads and dominant 7ths. Bob Wilson: through the 19th century. It is important also to consider the At this school, like most I have re- [email protected] likelihood that music systems say some- searched, four semesters of theory are Jack DW Ballard, Jr.: thing about the culture they inhabit. A required before enrolling in a course in This has been going on for some music that strives continuously to bal- counterpoint. After a semester and a time. Don't forget the lovely fight be- ance independence and cooperation half of theory and composition, how- tween Marpurg and Kirnberger over within a deeply hierarchical pitch sys- ever, it seems to make more sense to which comes first: the harmony or the tem does tell us something about the study them together. Music composition melodies (short version). culture it comes from. Much of this cul- is more applying good counterpoint to [email protected] tural feedback comes from experience with the “intensity” of voice leading, as an existing melody than following some Harmony First... theoretical methodology. opposed to rhythmic, metric, or timbral Paul Siskind: intensity. The study of voice leading is a It appears to me that rather than Students typically come to our pro- leading the way, music theory simply way to unlock that earlier cultural expe- grams with prior listening and perform- rience and its values. organizes and documents existing de- ing experience mostly in tonal harmonic velopments, counterpoint, and voice [email protected] styles, rather than pre-harmonic contra- Counterpoint First... leading. Simply put, theory is the horse, puntal styles. It thus makes more sense not the cart, so why in university and to begin with the musical styles and Conrad Kehn: college music programs is the cart put syntax with which they are already fa- It is hard to find a text that supports before the horse? It makes more sense, miliar. the teaching of species counterpoint as to me at least, to teach them both at the Most of the music that modern mu- part of the undergrad theory sequence. same time. sicians interact with was composed This year we switched from Kostka and [email protected] from a primarily harmonic conception, Payne to Laitz. It includes species right not a contrapuntal conception. There- after rudiments. Responses: Music theory is actually music his- Clarifying the Issue... fore, understanding the concepts of harmony first offers more immediate tory. We are teaching the theoretical Paul SanGregory: practical connections for modern musi- practices of historical periods. We It seems important to distinguish cians. should start with single line music, between the terms theory, harmony and Starting theory with harmony does move to consonant 2-voice writing, add counterpoint. There are theories about not totally ignore any understanding of dissonance, and then start working with music that really are “theoretical” as in counterpoint. Harmony is typically 4-part settings. “not proven or commonly accepted”. taught in a way that encompasses two [email protected] These are theories that try to explain main aspects: 1) understanding the Elliott Miles McKinley: music, but do not try to teach music. normative syntax of chord progressions; Four part harmony is, in essence, Then there is the “theory of harmony”, and 2) understanding voice-leading four-part counterpoint. Chords are a which is actually a set of documented within the chord progressions. Voice- result of this counterpoint. Thus, the guidelines on how composers of the leading is basically the application of study of counterpoint should precede common practice era dealt with matters contrapuntal principles within a har- the study of harmony, which would of vertical sonorities. These guidelines monic framework. provide much better insight to the na- are meant to teach the “language” of [email protected] ture of harmony and the art of good common practice music. In this sense, David S. Lefkowitz: voice-leading (something that Schoen- isn't counterpoint part of theory too? berg writes about in Theory of Harmony). So the discussion here probably You have to ask, “Who are taking the classes being offered?” For a general [email protected] should really be focusing on, “Do we music education curriculum you have to Hermes Camacho: teach harmony or counterpoint first?” It seems best to study 16th-century [email protected] focus on the most important elements which, I believe, center on functional counterpoint first, since it doesn't con- Keith Murphy: harmony. cern the student with chords’ vertical Part of the reason 2-voice counter- That said, any department that of- realizations as much and focuses pri- point tends to be taught after 4-voice fers counterpoint classes should con- marily on proper voice-leading. I've harmony has to do with the histories of sider making those classes available to found that in students' papers I've American collegiate music curricula: the students at an appropriate point in graded, the voice-leading is exceedingly while counterpoint at many schools was their music education. poor since they seem to be more focused once a separate class required for all [email protected] on the vertical realizations of voices students, these days they are more likely Zae Munn: chord-by-chord rather than as a whole offered as an elective, if at all. melodic line. If you teach students first The reason for counterpoint drop- Four-part harmony links up quite directly with what most of my students how to manipulate the voices against ping from the curriculum probably has a each other properly, there's less to teach lot to do with the recent need to make experience as music—homophonic tex- tures, most based on 3- or 4-part voice when formal harmony is introduced. space in the curriculum for new areas of leading principles, the music they study

6 Society of Composers Newsletter, XXXVIII : 1, January-February 2008 THEORY OR COUNTERPOINT? (CONTINUED)

Mozart, Schubert, and Beethoven What about the Students... what of Palestrina and Monteverdi? One studied counterpoint first; so, why Aleks Sternfeld-Dunn: of the obligations of the artist is to make shouldn't students do the same? What's the point in teaching voice use of, and perhaps contradict, all that [email protected] leading at all? Most students that we has come before, and the obligation of Matthew Saunders: teach theory to are performance and the teacher is to expose the student to as I was inspired by my experience as mus. ed. students. Our goal should be to much as possible. a TA using the Clendinning-Marvin text, teach students how to analyze music [email protected] which includes two chapters of not- and apply that analysis to the music What Next?... quite-Fux counterpoint as soon as stu- they are making. In the long run, how Kyle Beckham: dents learn intervals. many performers need to remember that Why not teach strict counterpoint Pedagogically, it gets students a chord seventh goes down, or that the for the first 1 1/2 semesters for entering thinking about interactions between 2 of a Neapolitan six go to leading tone? composition students in a private lesson voices just like it always has (Mozart, Not nearly as many who need to be able format and transition into “normal” Haydn, et al.) When we get to SATB to trace a micro- and macro-structure of composition at the end of the year? writing, students are already trained to a piece. Some schools won't even allow students think that way. [email protected] to declare a composition major until It's a practical thing to do that lets Jesse Ayers: their junior year anyway, so this would students write music that is pretty cool. Rather than roll our eyes or look only improve their chances. They are generally at an age where they down our noses when we hear students [email protected] just ache to be expressive—they want to in the hallways saying things like, pretend to be Beethoven or Liszt, so let John White: “What's the point of theory anyway?” The relationships of theory and them do what those guys did to learn to we might do better to ask ourselves why about music. If we hook them early, we counterpoint to musicianship are com- they aren't making a connection be- plex enough that I have written a short might be able to win them over. tween what we're teaching and what [email protected] book on the subject, Guidelines for College they do in the practice room and in en- Teaching of Music Theory, Second Edition, Jack DW Ballard, Jr.: sembles. by John D. White; The Scarecrow Press, Chorale exercises might be com- [email protected] Inc; New York and London, 2002, 227 pared to learning to drive with a stick, Kyle Beckham: pages. before ever getting in a car. You're It is difficult to design a curriculum [email protected] throwing in harmonic principles and that places an appropriate amount of learning the counterpoint at the same Jim Sain time on any given compositional or ana- Counterpoint is a composerly craft time. lytical methodology. Electives allow us [email protected] and best taught by composers (and not to spend more time on our individual- theorist that compose). That said, there Both... ized interests. The best thing to remem- are only so many classes a composition Paul SanGregory: ber as a composition student is that you faculty can teach and, in this time of If your goal is to have students un- aren't limited to one methodology or economic intrenchment, we're not likely derstand counterpoint from a 16th- another. to see another composer line added to century perspective you don't need to [email protected] our faculty any time soon. In the acad- teach them harmony first. In fact, it may Greg Robin: emy we must not only set lofty goals but be better to not teach them harmony I think the question that some are also deal with reality. But, that's another first. But, if your goal is to help students mistakenly asking is “What is best for story. most quickly and efficiently learn how the students interest/area?” Universities jsain@ufl.edu to use functional harmony, then har- are not technical colleges. The point of a mony class is still a great thing. University degree is to create intelligent Concluding Thoughts: Bach spent years practicing all of the well-rounded students. If all you want Bob Wilson: “rules″ of harmony via his counterpoint. to do is play, take lessons from a great Clearly, the only effective way to Of course, his understanding of all of teacher. A university’s purpose is to give determine which pedagogical ideas are this was far superior to that of students knowledge that a student turns in to the most effective would be to examine/ who only learn such rules in 2-4 semes- wisdom. The university should not be a test matriculated students several years ters of harmony class. And, there really job placement agency. We learn what is after they have graduated. That would is no need for them to compose like J.S. needed to be an intelligent “classical” be an interesting dissertation topic for a Bach. musician. It is a students job to assimi- DMA candidate, the discussion of which From my perspective, “harmony” is late it to their daily lives. If we do not is clearly for an entirely different thread. counterpoint and counterpoint writes continue educating what we know If the goal is to produce the best harmony. They are the same. should be taught at a collegiate level, we educated musicians, and my experience [email protected] will all become job counselors telling is typical, then shouldn't various cur- Matthew H. Fields: students what the hot job commodity of riculums be open to modification to The vast majority come to college the day is. achieve that goal? today immersed in commercial music [email protected] [email protected] that is written with an indifference to- Joseph Di Ponio wards voice-leading. Whether we ap- How does this relate to what the proach music first from a vertical or For more information, including how to join and students are learning in their music his- participate in the listserv go to: horizontal perspective is a relatively tory courses? Harmony did not simply minor distinction, as both approaches http://www.societyofcomposers.org/data/ happen. Zarlino deals with the basic publications/listserv/listserv.html are utter news to most students. rules of harmony in his treatise (al- composer@matthewfields. though he understood harmony from the standpoint of counterpoint). And

Society of Composers Newsletter, XXXVIII : 1, Januray-February 2008 7 SCITINGS:MEMBER NEWS/ACTIVITIES

commissioned by the York Symphony Selected recent performances in- SCItings on the occasion of its 75th anniversary, clude: two performances of Hindman’s Member News and Activities and it will be performed on April 26 Incarnation for choir by the Coro Odys- 2008. sea in Portugal in July; five perform- The Concert Band of Northwest ances of Hindman’s Streaming for or- Pennsylvania commissioned him to chestra by the Alabama Symphony Or- write two works, Claremont and Episodes, chestra in September; a performance of both of which will be conducted by John Hindman’s guitar quartet Taut by the Fleming in their respective premieres in Corona Guitar Kvartet on the “Nuovi April and June, 2008. Spazi Musicale” Festival in Rome, Italy Saxophonist Patrick Jones commis- in October; the premiere of Hindman’s sioned A Neobaroque Suite for alto saxo- Tapping the Furnace for speaking percus- phone and piano, which will be pre- sion solo by Stuart Gerber on a Bent sented at the International Saxophone Frequency concert in Atlanta, GA; two Congress in June, 2008. performances of Hindman’s Needlepoint Many other works will be played by for guitar solo by Paul Bowman in San The Erie Philharmonic as part of the Diego and Birmingham; and a perform- retrospective leading up to and beyond ance of Hindman’s Beyond the Cloud of the composer's 80th birthday: Unknowing for marimba solo, performed David Heuser • "Three Visions" after poetry by Brett by Scott Deal at the College Music Soci- In 2007 David Heuser’s orchestral Rutherford, April 7,2005, Hugh Kee- ety National Conference in Salt Lake work A Screaming Comes Across the Sky lan, conductor City, Utah, in November. won the Columbia Orchestra’s Ameri- • "From the Sacred Harp", November 16, can Composer Competition; the 2005, Hugh Keelan, conductor Maryland-based orchestra performed • Suite No. 1 for Orchestra, April 26, the piece in June. 2005, Hugh Keelan, conductor He also received a Composer Assis- • "Todesblumen", November 15, 2006, tance Program grant from the American Peter Stafford Wilson, conductor Music Center for preparation of per- • "Ashes and Equinox", February 7, 2007, formance materials for the premiere of Peter Stafford Wilson, conductor Something Miraculous Burns, commis- • "Two Portraits", April 25, 2007, Bruce sioned by the San Antonio Symphony Morton Wright, conductor and premiered in November 2007. The • Concerto for Saxophone and Orchestra, work was hailed as "...luminously Patrick Jones, saxophone, Victor Yam- gloomy...intense, deeply felt polsky, conductor music...masterful in harmony and or- • "quietude and repartee" April 23, 2008, chestral color" by San Antonio Express- Daniel Meyer, conductor • Concerto for Flute and Saxophone, No- News senior critic Mike Greenberg. The Dr. Dorothy Hindman same critic said of Thin Green Traces, a vember 12, 2008, Daniel Meyer, con- twenty minute work for violin and pi- ductor Daniel Adams’ Concerto for Marimba He was also recently honored with ano premiered by the SOLI Chamber and Percussion Ensemble was performed an ASCAP Plus Award in 2007. Ensemble in December, that it was in Flushing, New York by the Aaron "darkly expressive music...tautly disci- Most significantly, the new music Copland School of Music Percussion building on the campus of Edinboro plined and lean." Ensemble, conducted by Michael Lipsey University of Pennsylvania is now com- Also in 2007 Heuser received an on November 16, 2007. The concert was Artist Foundation of San Antonio grant plete and is being used by the Music part of the New Music Festival jointly- Department. The building is known as for a saxophone quartet piece which he sponsored by the Society of Composers, the Dr. William P. Alexander Music Cen- will write in 2008 for a consortium of Inc. and the Long Island Composers eleven saxophone quartets from around ter, in honor of the composer's 46 years Alliance. of association with the university, where the country. Adams’ Two Antiphonal Portraits for Currently Heuser is writing an or- he is now emeritus professor of music history and composition. percussion ensemble was performed in chestral work called Three Lopsided Tampa, Florida by the University of Dances for the Texas Music Festival Dr. Dorothy Hindman’s work for South Florida Percussion Ensem- which will premiere the piece in Hous- ble,conducted by Robert McCormick on ton in June 2008. guitar solo, Needlepoint, was released on the Musings compact disc released by November 19, and in Baton Rouge by Hamiruge (the Louisiana State Univer- Dr. William P. Alexander has re- the Society of Composers, Inc. series on Capstone Records, and her work Seconds sity Percussion Ensemble) conducted by cently been honored with a plethora of Emory Blake on November 28. commissions, performances, and special for electronics is featured on Vox Novus’ recognition. His Symphony No. 2 was 2004-05 60x60 double disc.

8 Society of Composers Newsletter, XXXVIII : 1, Janurary-February 2008 SCITINGS (CONTINUED )

Daniel Adams is the author of an munity Culture Centre's Auditorium in performed at the Wei Hing Theatre of article entitled “2007 PAS Composi- Waltham, Massachusetts, performed by the City University of Hong Kong, pi- tionWinners” published in the October oboist Regina Wilkins. ano performed by the composer. 2007 issue of Percussive Notes, thejournal On September 11 2007, Recalling Two new works are scheduled for of the Percussive Arts Society. Adams from Dreams for trumpet and piano was premires on April 27, 2008 at the also received an Award from the Ameri- premiered in the Faculty Recital at the Atonement Lutheran Church in Syra- can Society of Composers,Authors, and University of Northern Iowa's cuse, New York: the Concert Overture Publishers for his music composition Gallagher-Bluedorn Performing Arts 'Hong Kong Night Scene Sketch' and the activities in 2006-2007. Center's Davis Hall in U.S.A. Iowa. Per- Symphonic Sketch 'Nocturne.' Both forming were professor Randy Gra- pieces will be performed by the Onond- bowski on trumpet and Sean Botkin on aga Civic Symphony Orchestra, con- piano. ducted by Erik Kibelsbeck. Donald Yu has also had several per- formances outside the US. On July 20 2007, Etude for Piano 'Birds' Uncertainty for Piano, Fantasy on 'The Lady of Shalott' for Piano, Sonata No.4 'Chaos' for Piano, Hell and Heaven for pi- ano, Autumn Elegy II for violin, piano and guitar, and Explosion for piano were all performed at the 2007 soundSCAPE's ''Special Presentation'' in Sala Beato An- gelico in Cortona Italy. All pieces were performed by the composer. On May 2 2007, Romantic Light Piece Daniel Adams No. 2 for cello and piano was performed in England, Canterbury Christ Church Donald Yu's work has been exten- University's St. Gregory Centre for mu- sively performed throughout the US sic. The cello part was performed by and overseas. Anthony Cornicello On February 14 2007, his Mystical Max Cheung; the piano part was per- Anthony Cornicello’s “I’ll Have an formed by Kim Burwell. Aria for organ and Anthem: Our Father Electric Mahabharata, Please” is scheduled On May 27 2007, Explosion for piano, for chorus were premiered at the Memo- for a performance on the 2008 SEAMUS rial Church of Harvard University in Two Chinese Poems for Baritone and piano Festival in Salt Lake City, UT. The 2003 were premiered at the HKBU Honours U.S.A. Cambridge, Massachusetts, with work, written for violoncello and live Project Composition Concert in the Carson Cooman conducting and playing electronics will be performed by Made- the organ. Academy Community Hall , performed liene Shapiro. by Man-Ching Yu. On August 7, 2007, On March 25 , 27 and 28 2007, Yu's In 2007, Cornicello received a com- Explosion for piano was also performed newly commissioned Twelve Preludes for mission for Syncretic Resonances, for two by Man-Ching Yu at the Kleine Studio at organ was premiered by Carson clarinets and electronics. The piece will Cooman, at the San Francisco El Grande the 2007 International Summer Acad- have its premiere on the ClarinetFest in emy of Mozarteum in Salzburg, Austria. in Ciudad de Mexico during the 'Viaje Kansas City in July, 2008, and will be On November 2nd, Incidental Music de Mexico.'. performed by F. Gerard Errante and D On April 1 2007, Reflections for Trom- for a chinese poetic drama 'Phoenix' was Gause, the commissioners of the work. bone Choir was premiered by the Ithaca Forthcoming works include The In- Trombone Troupe, conducted by Erik teractive Pianist (for piano and electron- Kibelsbeckat at the 18th Annual Frueh- ics), written for Kathy Supové, and a ling Posaunen Concert at Pennsylvania song cycle with texts from Lawrence State University's Esber Recital Hall. Ferlighetti’s A Coney Island of the Mind. The piece was subsequently played by the same group on April 2, at Elmira College's Gibson Theatre in Elmira, New York. Yu’s Frankenstein for organ and cello was premiered on May 30 2007 at the Adolphus Busch Hall of Harvard University in U.S.A. Cambridge, Massa- chusetts. Performing were Tomas Dunn, cello, Carson Cooman, organ. On July 31 2007 , Yu’s Sonata for oboe solo 'Echo I' was performed at the Com- Donald Yu

Society of Composers Newsletter, XXXVIII : 1, January-February 2008 9 TECH CORNER

course, is not news to many of you. I’m sure that most of TECH CORNER our readership will have a good level of proficiency in one Technology How-To program or another. For some, it will be Csound, others will know OpenMusic, and readers will be happy with by Anthony Cornicello Finale. Associate Professor, Eastern Connecticut State University My idea for this column is to answer questions posed For some of us, the diagram below is second nature. by the members of SCI. What’s the best keyboard for inputting Many composers are quite familiar with Max/MSP - well music on my computer? What printer should I use? Is this enough to have an idea of what the ‘patch’ below will interface overkill for my purposes? I’m sure many of you have sound like. Yet, there are some members of SCI for whom burning questions you’d like to see answered. And, I’ll be electronics is a mystery, a confusing torrent of arcane certain to post some of the questions online, to see how buzzwords and cryptic symbology. some of you respond.

The technologically-inclined musician is no longer an For my first column, I’d like to issue a call for a oddity. In days past, there were composers and computer general survey. What notation software do you use, and technicians; they seemingly spoke different languages, and why? Certainly, a loaded question! Did you gravitate so their paths almost never crossed. There was the towards the software because a teacher was using it? Were occasional individual who dared to bridge both worlds. you attracted to certain features? Do you constantly make a Today, most composers under the age of 45 are well-versed wish list for the upgrades you’d like to see? Let’s see in electronic music, and computers have become an where this takes us! Send your responses to me at integral part of our lives, for better or worse. This, of [email protected].

I should mention that this is the 20th anniversary of my first purchase of a computer. Not quite as romantic as your first kiss, but writing a column like this certainly makes me think about how things have changed. My first computer was a 286, and out of the box it did pretty much nothing. Until I installed programs, all the computer could do was blink at the C:> prompt. And, when the programs were finally up and running they were incredibly slow, with crude interfaces that tended to hinder rather than inspire. Times have changed indeed, as I routinely use more than ten programs each day (most with ‘real time’ response), with many more used on a less than regular basis. Keeping up with all the software (and hardware) can be a real challenge, but well worth the effort.

SCI RESOURCES (CONTINUED )

SCI has launched a new on-line journal Call for Submissions (no deadline) iSCI: for the publication of music scholarship by Please send submissions electronically to composers and for composers, edited by Craig Weston at [email protected]. Also The Composers Jason Bahr and Craig Weston. We hope to include an abstract of no more than 300 present the composer’s unique point of view words describing your work. Abstracts through an exciting mix of theory and should be submitted as an .rtf or .pdf file Perspective analysis, “shop talk,” pedagogy, and practice. attached to an email. Works maybe submitted This list in not inclusive: this is the place for The Internet Journal of the as traditional papers, multi-media colloquy on everything that matters to presentation, podcasts or other formats. Past Society of Composers, Inc. composers. Contributors are encouraged to presentations from SCI Conferences are exploit the multi-media possibilities of on- eligible. Inquiries are welcome - please line publication. address them to both editors.

Jason Bahr, Mississipi State University, Craig Weston, Kansas State University, 10 [email protected] [email protected]

10 Society of Composers Newsletter, XXXVIII : 1, Janurary-February 2008 HOW TO JOIN SCI MEMBERSHIP INFORMATION For complete details, please visit http://www.societyofcomposers.org/data/organization/membership.html FULL MEMBERSHIP ($55/year): Eligible to submit scores to the National Conferences, regional conferences, SCI Recording Series, SCI Journal of Music Scores. Access to the SCI Newsletter in electronic form. Optional subscription to [scimembers], the SCI listserv and all other SCI publications. Eligible to vote on Society Matters and in elections for the National Council.

JOINT MEMBERSHIP ($75/year): Same benefits as full members

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PUBLICATIONS Publications include the SCI Newsletter, SCI Recording Series, Performers CD Series, SCI Journal of Music Scores, and SCION (monthly e-mail listing of announcements and opportunities for composers).

ANNOUNCEMENTS Announcements of contests, calls for scores, and other solicitation appear in the SCI Newsletter and SCION as a service to SCI members. While every effort is made to assure the accuracy of these announcements, SCI cannot accept responsibility for errors, misrepresentations, or misinterpretations.

PIXEL PERFECT:MEMBER PHOTOS Pixel Perfect Photos of SCI Members

Photo by Gerald Warfield Photo by Tom Wells Richard Brooks and a friend at the Atlanta Aquarium. Gerald Warfield and Craig Weston confer over iSCI at the Atlanta Conference. (His friend did not attend the National Conference.)

Society of Composers Newsletter, XXXVIII : 1, January-February 2008 11