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SOCIETY of COMPOSERS REGION VIII 15Th ANNUAL CONFERENCE

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SOCIETY of COMPOSERS REGION VIII 15Th ANNUAL CONFERENCE soeiety of SAil i>IEOO srATE eoJUposers un1VERS11Y College of Professional Studies and Fine Arts Department of Music in cooperation with PHI BETA KAPPA, NU CHAPTER presents SOCIETY OF COMPOSERS REGION VIII 15th ANNUAL CONFERENCE with Special Guest Composer JACOB DRUCKMAN Kevin Hanlon, The University of Arizona Deborah Kavasch, California State University, Stanislaus Regional Co-Chairs NOVEMBER 13-15, 1987 / SOCIETY OF COMPOSERS, REGION VIII 15th ANNUAL CONFERENCE November 13 - 15, 1987 SAN DIEGO STATE UNIVERSITY REGISTRATION: Friday, November 13 until 5:00 p.m. Music Department Office (thereafter in lobby of Smith Recital Hall) Special Conference Guest JACOB DRUCKMAN (Phi Beta Kappa National Scholar, Pulitzer Prize-winning Composer) MAIN EVENTS Friday, November 13 3:00 p.m. Lecture #1 by Jacob Druckman, Smith Recital Hall "Personal Responsibility and the New Romanticism" (A view of the major aesthetic changes of the last 25 years) 8:00 p.m. Concert #1, Smith Recital Hall Saturday, November 14 9:00 - 11:45 a.m. Papers, Demonstrations, M113 Lunch Break 1:15 p.m. Lecture #2 by Jacob Druckman, Mll3: "The Music of Jacob Druckman" 2:15 p.m. Concert #2, Smith Recital Hall Dinner Break 8:00 p.m. Concert #3, Smith Recital Hall Sunday, November 15 10:00 a.m. Brunch, business meeting, feedback, future plans, return scores, etc. SDSU Faculty Center 12:00 noon Concert #4, SDSU Indonesian Gamelans Smith Recital Hall Concert #1 Friday, November 13 8p.m. Smith Recital Hall PROGRAM Animus I, for trombone and tape Jacob Druckman "TIM NICHOLS, trombone Fragments Marshall Bialosky REBECCA BERNAL, bass clarinet *DANLEE MITCHELL, vibraphone Gems William Toutant *DAVID WARD-STEINMAN, piano NANETTE FORTIER and *DANLEE MITCHELL, percussion Under the Winter Moon Tom Cleman SHANNON ROBERTS, flute Concerto for Clarinet & Percussion . Leon Stein *MARIAN LIEBOWITZ, clarinet SDSU Percussion Ensemble: KEN DAVIS, NANETTE FORTIER, HUGH O'NEIL, JANA SHIELDS *DANLEE MITCHELL, Director INTERMISSION Tohono Ron Gillis SDSU Concert Choir, *FRANK ALMOND, Director Levadi for soprano and tape Diane Thome LAURIE ROMERO, soprano Seven Waltzes for Emily Dickinson . Alexandra Pierce ALEXANDRA PIERCE, prepared piano Songs of Love (West Coast Premiere) Brent Dutton 1. Behold, thou art fair 2. Rise up, my love 3. How fair 4. Love is strong JEFFREY FOOTE, basso cantante TSUI YI, violin; *TED BRUNSON, violin CONRAD BRUDERER, viola; *TOM STAUFFER, cello * SDSU Faculty Saturday, November 14 Papers Room M113 (Choral Room) 9:00 a.m. Todd Seelye: "Milton Babbitt's Composition for Guitar," (lecture/performance) 9:30 Don Andrus: "Searchings III for Clarinet & Tape," (lecture/demonstration) with William Powell, clarinet 10:00 Marshall Bialosky: "Some Recent Histories in American Music" 10:30 - 10:45 Coffee Break 10:45 Stan Gibb: "The San Francisco Tape Center - Its History, Contributions, and Influences Upon Current Musical Practices" 11:15 Larry Solomon: "Music Analysis Software Demonstration" Lunch Break 1:15 p.m. Lecture #2 by Jacob Druckman: "The Music of Jacob Druckman" Concert #2 Saturday, November 14 2:15 p.m. Smith Recital Hall PROGRAM One by One, for flute and harp ............................................ Greg Steinke *LINDA LUKAS, flute; *MARIAN RIAN HAYS, harp Convergence for flute and piano . James Marshall *LINDA LUKAS, flute; *KAREN FOLLINGSTAD, piano Duo for Trumpet and Guitar . Alan Schmitz *ALAN SIEBERT, trumpet; ALAN SCHMITZ, guitar Pozan Tanc ......................... .. ............... ... .. ... ....... Rodney Oakes (for processed trombone, percussion, and tape) RODNEY OAKES, trombone; RON GEORGE, percussion Elegy for Astronauts (1986) ..................................... David Ward-Steinman (Chamber Version) *TERRY O'DONNELL, piano/tape *DAVID WARD-STEINMAN, piano/celeste; *MARIAN RIAN HAYS, harp SDSU PERCUSSION ENSEMBLE (*DANLEE MITCHELL, Director): KEN KIMERY, NANETTE FORTIER, SPENCER HARRIS, CHARLES McGHEE, HUGH O'NEIL *DONALD BARRA, conductor INTERMISSION Quintet for Piano and Brass Quartet (1961) .. .. ... ......... ....... .. ..... Barney Childs (premiere performance) *DAVID WARD-STEINMAN, piano SAN DIEGO BRASS CONSORT Flights of Fancy, for solo flute Ruth S. Wylie *LINDA LUKAS, flute In Contra, for trumpet and tape Sam Magrill *ALAN SIEBERT, trumpet Lost Relations Larry Solomon ANNA CARNEY, clarinet; GAIL ADAMS, alto sax *DAVID WARD-STEINMAN, prepared piano These Two Songs Are for the Birds! . Giuli Murphy 1. When I saw that clumsy crow (Raethke) 2. The birds in the first light twitter and whistle (Schwartz) DEANNA MURRAY, soprano; ANITA WRIGHT, alto saxophone; STACY COMSTOCK, piano Quintet for Brass . Merle E. Hogg SAN DIEGO BRASS CONSORT: *ALAN SIEBERT, MARK BEDELL, ETHAN DULSKY, *BILL YEAGER, *BRENT DUTTON * SDSU Faculty Concert #3 Saturday, November 14 8 p.m. Smith Recital Hall PROGRAM Etudes for Contrabass Barney Childs BERTRAM TURETZKY, contrabass Sonata for Violin and Piano (1987) . Martin Rokeach NATHAN RUBIN, violin I. Fantasia II. Largo; teneramenta ELLEN WASSERMANN, piano III. Allegro Piano Sonata Thomas Brosh I. Principia THOMAS BROSH, piano II. Chorale e Fughetta III. Ritornando Secret Thoughts Frank LaRocca *TOM STAUFFER, cello Compline (Lisa McCullough) Lily Hood Gunn ROXANNE LaCOMBE, soprano; *GREG STEINKE, oboe *MARIAN LIEBOWITZ, clarinet; TSUI YI, violin; *TOM STAUFFER, cello *TERRY O'DONNELL, piano; *DANLEE MITCHELL, percussion LILY HOOD GUNN, conductor INTERMISSION Valentine Jacob Druckman BERTRAM TURETZKY, contrabass Dedication Cantata (James Agee) . John Hilliard *MARTIN CHAMBERS, tenor; *MARIAN LIEBOWITZ, clarinet *TOM STAUFFER, cello; *CONRAD BRUDERER, piano Some Here, Some There (1987) . ....... .... ... .. ... ... .. ... ... .. ... Ron George RON GEORGE, Super Vibe and tape (prerecorded Super Vibe) Star Peter Lieuwen LAURIE ROMERO, soprano; *TOM STAUFFER, cello *DANLEE MITCHELL, percussion; *TERRY O'DONNELL, piano *GREG STEINKE, conductor * SDSU Faculty Concert #4 Sunday, November 15 12:00 noon Smith Recital Hall PROGRAM Gamelan Kyahi Udan Asih/Kyahi Mari Oneng *Sarna, Director Gangsaran - Ladrang Bima Kurda (Pelog Patet Barang) - Gangsaran - Lancaran Bendrong (Slendro Patet Nem) This medley of two dance compositions will serve to illustrate the 7-tone pelog and 5-tone slendro tuning systems, the colotomic structure of the gongs (large gong, kettle-shaped kenong, and smaller hanging kempuls are the most evident), the inner melody of the four-octave slentem/saron family of metallophones, and several types of elaboration performed by the interlocking bonang and bonang panerus (small racked gongs). The drum is the rhythmic conductor. Gending Bonang Babar Layar, Pelog Patet Lima. A composition on a very large scale using the same resources as the first piece. The musical form consists of six gongan (the musical material between the widely spaced strokes on the large gong, subdivided into four equal phrases, each ended by a stroke on the large kettle-shaped kenong). Melodic phrases often provide asymmetry with the regular structure of the colotomy, and frequently involve internal repetition, especially between kenong phrases two and three. The substitution of pitch 4 for pitch 3 in certain areas of the melody is handled with great subtlety. (The "dissonant" pitch 4, called~ gives its name to the tuning.) In patet lima pitch 7 is avoided - in this composition it is never heard - but pitch 1 is prominent. A gentling bonang of large scope was used in the Javanese court to create an atmosphere of elegance and distinguished restraint. Ketawang Gending Alas Padhang mingah Ladrang Kondho Manyura, Slendro Patet Manyura. This pair of compositions in different colotomic structure (the ladrang form adds the small hanging gong, kempul, among other things) will illustrate the so-called "soft-playing" style, which uses the instruments of the previous compositions, as well as the softer elaborating instruments gender (metallophone), gambang (wooden xylophone), rebab (bowed lute), suling (flute), and voices. Although each instrument involves a unique timbre, relative speed (in general, the higher the faster) and a different melodic style, they share the purpose of leading up to the next important pillar tone of the balungan (skeleton) which is reinforced by the saron melody. Usually every fourth tone (Alas Padhang), or every second tone (Kondho Manyuro) is the goal to be reinforced. In a sense, the elaborating instruments lay down a tonal carpet for the sarons, and even more so for the main tones of the colotomic structure. Although compositions in patet manyura often emphasize pitch six of the slendro tuning at such important points, one of the elements of beauty about the two compositions being played is that they emphasize pitch three as the main gong tone. Bubaran Robert, Slendro Patet Manyura, by Lou Harrison. Originally composed in 1976, and revised at Mills College in 1981, this joyful exit music (bubaran) was written for Robert Brown. GAMELAN MEMBERS: CLAY BROWN, *ROBERT BROWN, JOHN DONALD, EFREM EMERSON, MARK KARWOSKI, STEPHANIE KULUVA MARIA MARQUISE, "VIJAYASREE MOKKAPATI, *LEWIS PETERMAN CHRIS SMITH, DARBY STANDS, KENNETH TAYLOR, KAZUKO WHITE • SDSU Faculty Acknowledgements Special acknowledgement is made to the College of Professional Studies and Fine Arts, Merrill Lessley, dean, and the Music Performance Trust Fund of the American Federation of Musicians, Local 325, for monies paid in part for sponsorship of the conference, and for the participation of Phi Beta Kappa Visiting Scholar, Jacob Druckman. The generous assistance of
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