NEWSLETTER THE AMERICAN SOCIETY OF UNIVERSITY COMPOSERS .. SUMMER, 1970 /VOL. 3 NO. '2

Program Chairman Carlton Gamer (Colorado Col­ lege) and Concert Chairman John Rogers (University SUMMER INSTITUTE of New Hampshire) brought together composers from The 1970 ASUC Summer Institute of New Music throughout the country to serve as panelists, lecturers, for students of composition will be held August 9-14 and moderators-and also to prepare and present their at Allerton House, Allerton Park, University of Illi­ music to the Conference. Friday morning saw the first nois, Monticello, Illinois. Students of composition official event of the Society's weekend as ·the final may participate in a series of events including a semi­ round of judging in the Electronic Music Competition nar, "Computer as Composer," a workshop on "Con­ was opened :to the members. The final six pieces were temporary Percussive Resources: a comprehensive sur­ played for Competition Judges Frarn;ois Bayle (Groupe vey," readings in open rehearsal by the Contemporary de Recherches Musicales, Radiodiffusion-Television Chamber Players of the University of Hlinois, a con­ Fram;aise), J ames K. R andall (Princeton University), cert series, lectures, and private conferences with com­ and Salvatore Martirano (University of Illionis). The posers. The teaching personnel consists of James two winning pieces were played the following eve­ Beauchamp, Charles Braugham, Ben Johnston, Ed­ ning as part of the second concert of the weekend, ward Kobrin, Edwin London, and Thomas Siwe; com­ enabling those members who had heard the final posers in residence are David Burge, George Burt, judging .to indulge in the pleasant past;time of "judg­ Barney Childs, Randolph Coleman, Sydney Hodkin­ ing the judges." (The results of the Competition are son, M. William Karlins, Wendell Logan, Donald given elsewhere in this Newsletter.) Martino, Salvatore Martirano, Elliott Schwartz, and Paul Zonn. Following a tour of the Dartmouth Electronic Mu­ sic Studio, a panel on Notational Problems was con­ The cost for the Summer Institute is $100 including vened by Moderator Carlton Gamer. Speakers in­ room and board. Applicants should submit scores, cluded Earle Brown (Peabody Conservatory of Mu­ tapes (if possible), and letters of recommendation -to sic), Richard Bunger (Los Angeles, Calif.), Barney ASUC Summer Institute, c/ o Edwin London, School Childs (Wisconsin College Conservatory), and Sydney of Music, University of Illinois, Urbana, Illinois 61801. Hodkinson (University of Michigan). Student composers wishing to hav~ works read and Conference participants were welcomed to the recorded on tape in rehearsals should submit scores Kiewit Computation Center for a tour before attend­ and parts as soon as possible to Edwin London; if ing a cocktail party hosted by Dartmouth College for possible, selected student works will be presented in the Society. Then Friday evening saw the first of two a public concert series. A limited number of partial concerts held as part of the Conference. Pianist Rich­ grants of tuition aid will be available. ard Bunger's program included Piece for piano and electronic sounds (1969) by Olly Wilson, Impromptu (1963) and Bagatelle (1970) by Claudio Spies, Seven NATIONAL CONFERENCE. Haiku (1951-2) and The Perilous Night, Suite for Pre­ pared Piano by John Cage, nach bach, phantasy for The Fifth Annual National Conference of the So­ piano (1966) by George Rochberg, Music for Prince ciety was held at Dartmouth College, Hanover, New Albert (1969) by Elliott Schwartz, ].D. (1969) by Bar­ Hampshire, on the weekend of April 10-12. Approxi­ ney Childs, and Invention IC (1968) by Randolph mately 75 members and perhaps as many local guests Coleman. spent the three days attending a full schedule of meet­ ings, programs, and exhibitions, while braving 1the Saturday morning began with a Professional Collo­ last few snowflakes of '!\Tinter. Arrangements Chair, quium on the latest developments in electronic music man Jon Appleton (Dartmouth College) deftly syn­ equipment. Hubert S. Howe, Jr., (Queens College chronized the events of the Conference to include the C.U.N.Y.) chaired the discussion, which featured state­ final judging and awarding of the prizes in the 3rd ments by Jean Eichelberger Ivey (Peabody Conserva­ International Electronic Music Competition, spon­ tory of Music), Ronald Pellegrino (Ohio State Uni­ sored by the Dartmouth Arts Council. The erntir·e versity), David Rosenboom (Neurona Corporation), weekend was held as part of the Bicentennial Cele­ Gerald Shapiro (Brown University), and Joel Chadabe bration of Dartmouth College. (S.U.N.Y. at Albany). Jon Appleton convened the afternoon panel discus­ Sunday morning's panel brought the views of sion on electronic music. Speakers included Messrs. George Burt (University of Michigan), Claudio Spies Bayle and Randall, Benjamin Boretz (Columbia Uni­ (Swarthmore College), Homer Keller (University of versity), Alvin Lucier (Brandeis University), and Gor­ Oregon), Ben Johnston (University of Illinois), and don Mumma (University of Illinois). moderator Randolph Coleman before a highly partici­ patory audience, on the subject of New Music in the At the Annual Business Meeting of the Society, held Undergraduate Music Program: The Composer-Theo­ on Saturday afternoon, National Council Chairman rist View. The lively discussion was characteristic of Randolph Coleman (Oberlin College) announced the the entire Conference, and members left Dartmouth election of three new members to the National Coun­ in spring sunshine to return to their various home cil. They are John Rogers, Region I; Paul Earls (Duke campuses-recalling (perhaps, as I did) the many suc­ University), Region IV; and David Burge (University cessful meetings of the Society's first five years-and of Colorado), Region VIL Burge also succeeds Cole­ looking forward to the professional dialogue of the man as Chairman of the National Council. (Since the Society in years to come. conference, Richmond Browne has been elected chair­ -RICHMOND BROWNE man of Region V.)

The terms of Executive Committee members Rich­ mond Browne, Ben .Johnston, and Hubert S. Howe, FROM THE NEW NATIONAL CHAIRMAN Jr., having expired, three new members have been appointed to the Committee by the National Council I. As the new Chairman of the National Council I (in accordance with recently approved amendments to shall be trying as vigorously as possible to increase the Operational Structure of the Society). The ap­ membership and have already written the Regional pointees are Barney Childs, Edward Levy (Hofstra Chairmen ~nd the Executive Committee :to that effect. University), and Nicolas Roussakis (Columbia Univer­ sity). Charles Dodge (Columbia University) will serve 2. I would like to call the att\!ntion of every member as Chairman of the Executive Committee. to the fact that college and university libraries may receive copies of the Proceedings and the Newsletter Reports from the Regions were given by R egional by becoming associate members ($15/year). Each mem­ Chairmen Rogers; Allen Brings (Queens College), Re­ ber is urged to bring this matter to the attention of his gion II; Clifford Taylor (Temple University), Region music librarian. III; Donald Maclnnis (University of Virginia), Region IV-in place of Paul Earls; Coleman, Region V; DAVID BURGE Burge, Region VII; David Cohen (Arizona State Uni­ Chairman, National Council versity), Region VIII; and Homer Keller (University of Oregon), Region IX. In nearly every instance, the Regions reported having held at least one successful Regional concert or meeting during the year. Region THE NEW PROCEEDINGS II was able to raise enough money to support a series of Regional Concerts. All members should have received by now their copy of Volume 3 of the Society's annual Proceedings, After enjoying dinner together in the Alumni Hall of Dartmouth's Hopkins Center, the members and containing papers from the 3rd Annual Conference in Philadelphia and the 2nd Summer Institute at Ann guests of the Society returned to Spaulding Audi­ torium for a concert which began with Mario David­ Arbor. If you have not received your copy of this vol­ ovsky's Synchronisms No. 2 (1964), conducted by John ume, please get in touch with the Society, c/ o Dept. of Music, Columbia University, New York, N. Y. 10027. Heiss (New England Conservatory of Music). Students and faculty of the New England Conservatory per­ formed the work, and also played in Earle Brown's Times Five (1963), conducted by the composer. ASUC IN PRINT The two prize-winning compositions in t he Elec­ tronic Music Competition were heard next, before "ASUC's Fourth Annual Conference" at ithe Uni­ John Heiss returned to perform in his own Move­ versity of California at Santa Barbara is described in ments for Three Flutes (1969). The final work used a an article by Ronald Pellegrino in Perspectives of New large company of dancers as the Dartmouth Players Music, vol. 8, no. I (Fall-Winter 1969), 155. presented an excerpt from their winter production of Ghost Sonata to electronic music by Jon Appleton. Choreography was by Ray Cook (Dartmouth College). ASUC RADIO SHOW Each participant will be able to work individually 2 or 3 hours a day in small labs. The SIU Electronic A series of ASUC radio shows are presently being Music Studio, under the direction of Dr. Will Gay organized for the 1970-71 season. Members who wish Bottje, is one of the finest in the mid-West. Informa­ to have their compositions-one piece from each mem­ tion from Mr. Mark D. Wilbur, University Extension ber-played on these broadcasts should submit tapes Services, Southern Illinois University, Carbondale, Ill. (before Sept. l, 1970) in stereo at 7Y:! ips with •typed 62901. information indicating: I. title and date of composition Catholic University is offering an Electronic Music Laboratory Workship for music educators, composers, 2. performers teachers, and students June 15-20. It will be under the 3. duration direction of H. Emerson .Meyers, director of the Cath­ 4. date and place of performance olic University Electronic Music Labora:tory; Jean Eichelberger Ivey will serve as laboratory director and 5. a short biography about the composer concert programmer. The week includes two evening 6. any other relevant information concents (open to the public) June 15 and 19, offer­ to Joan Tower, 545 West lllth Street (Apt. 9D), New ing a historical and technical survey of electronic mu­ York, New York 10025. Those members who want to sic. The first program features musique concrete, works have their tapes returned to them should include the using the voice, and purely electronic music, by P. necessary return postage. Schaeffer, LeCaine, M. Schaeffer, Randall, Meyers, Robinson, Lucier, and Ivey; the second includes works Composers should obtain the consent (in writing) utilizing traditional instruments live or on tape, as of any union performers represented on the tape to well as purely electronic music, by Luening, Ussachev­ use their performances for the purpose of broadcast sky, Davidovsky, Mardirosian, Heintz, Chadabe, and on non-profit stations in order to protect the Society Meyers. Information: Director of 'i!\Torkshops, Cath­ as an organization from possible legal or financial olic U., Washington, D. C. 20017. difficuties. Details concerning the number and names of sta­ Peabody Conservatory offers its annual workshop in tions included in this project and the procedure of electronic music for school music teachers, under the circulation of the tapes will be outlined in a later direction of Jean Eichelberger Ivey, July 13-17. Two issue of the Newsletter. evening programs during the week are open to the public as well as to workshop registrants: a concert of electronic music, including works for live performers plus tape, July 13 at 5 P.M.; and an evening of films, including No Exit with score by Vladimir Ussaohevsky NEWS FROM THE REGIONS and two short films by ·wayne Sourbeer with scores by Jean Eichelberger Ivey, July 15. Information: Summer Region I held a conference February 14-15 at the Session, Peabody Conservatory, Baltimore, Md. 21202. New England Center for Continuing Education in Durham, N. H. It included a demonstration of new woodwind techniques by the Philharmonia Quintet; a A four-week Institute in Electronic and Computer­ demonstration of the ARP Synthesizer by Robert Generated Music will be given at the University of Pearlman and David Friend of Tonus, Inc.; and a tour New H ampshire, with multiple options as to attend­ ance dates and credits, from Aug. 3-28. Hubert S. of the University of New Hampshire Computer Sound Synthesis Studio. There was also an evening concert Howe, Jr., and John E. Rogers are on the faculty. For of members' works: 3 Poe Songs by Mark DeVoto; further information, see previous issue of Newsletter, T erezin by Robert Stern; and 8 Etudes for woodwind or write to Computer Music Institute, Division of Con­ tinuing Education, Huddleston Hall, Durham, N. H. quartet by Elliott Carter. 03824.

SUMMER COURSES Southern Illinois University is offering a workshqp called "Electronic Music: Creative Tool in the Class­ room" twice during the summer: June 2-July 3 and July 20-Aug. 1. Designed particularly for the instruc­ tor in college or secondary school, it is open to any interested individuals, including high school students. INDEX OF NEW MUSICAL NOTATION By contemporary composer, of course, I include only those intentionally excluded from Bill Austin's new Serious music, during the mid:20th century, under­ book-only those, to put it in the current jargon, who went a profound stylistic upheaval. New musical con­ utilize radical post-de Vitry notational procedures: cepts demanded notational adjustments and innova­ "What do I propose? The establishment of an inter­ tions. The resulting profusion of idiosyncratic nota­ national treasury of musical notations, connected if tional devices and procedures has seriously impaired possible not with an academic institution but ~ith a the performers' ability to realize properly the com­ great public library, administered by the best nota­ posers' intentions. tional technician we can find, and supervised by an In response to this situation there was formed in advisory board of notational users of the most varied New York, in April of 1969, an ad hoc committee backgrounds and callings. The distinctiveness of :the whose purpose it was to promote a project devoted to collection would lie in the program of exchanges and an attempt to systematize the notational developments studies stimulated by its existence. Apart from the en­ and experiments that have appeared in contemporary chanting problems of cataloguing and public display, music during the last 15-20 years. Originally the group the program of studies would utilize the greatest variety included Frank Campbell, Richard French, Kurt o.( hum.an resources to work toward two sets of objec­ Stone, and Thor Wood. In the fall of 1969 Wiley tives. First, to understand the nature of notation itself. Hitchcock joined the group. In December of 1969 the For instance, is it a picture of sound, or a set of in­ group became officially a committee of the Music Li­ structions for getting other people to do something? brary Association, and Kurt Stone was appointed its What is the relation between the conception of a chairman. Also about that time the New York Public musical idea and its notational form? We have lived Library agreed to housing the project (The Index of for long through periods when musical imagination New Musical Notation) in the Music Division of the seems to have been conditioned by conventional no­ Library of the Performing Arts at Lincoln Center in tational procedures: is that any longer the case? Sec­ New York City, and w administering and auditing the ond ~bjective: to refine and promulgate prototypical project's funds. · notatronal systems, and thus to encounter and try to resolve other basic matters. For instance, at what point The impetus for the project came from three events: does notational particularity or idiosyncrasy become 1) A talk given in 1967 before the American So­ mere conceit? "Vhen is the substance of an idea un­ ciety of University Composers by Kurt Stone; affected by a further refinement of its form? If we 2) A panel conducted by Kurt Stone in 1968 be­ limit ourselves to one set of notational procedures, fore one session of the Congress of the Inter­ what kinds of music result? All these matters, of national Music Council and the International c?~rse, can be handled over the widest range of con­ Association of Music Libraries; dnrons, from the sophisticated monograph and con­ trolled exp~rimental . situati<;>n to th.e elementary test 3) A talk given by Richard French befo~e the and the pnmary music class. That is one virtue; an­ American Musicological Society in December 1968. other is .the sparkling spurt I think such studies would give to the revival and exchange of basic musical ener­ The following is a pertinent excerpt from French's gies ... " speech: · Procedures, etc. " ... The contemporary composer is in difficulty. He ~f~er an an~lysis of the Lincoln Center Library's hasn't asked for our help, but I think we should try ex1stmg collectron and the acquisition of additional to get him to accept it anyway. The particular diffi­ pertinent music, a systematic index is to be formed culty to which I refer is a technical one: namely, the listing all compositions according to whatever special proliferation, the almost uncontrolled regeneration, notational features are employed. of private systems of musical notation. I am not par­ The index as well as statistical and evaluative in­ ticularly concerned at this moment with whether the terpretations are to be published periodically and standards recommended. co~poser can an~ longer speak to the general public, which supports lum, or to the academic public, which A bibliography of pertinent scores and available supplies the audiences of his performances. I am con­ recordings also is to be compiled and published. cerned only with the fact that his notational systems Periodic convocations of comrosers, music editors, have become so multifarious in whole and in details performers, educators, etc., are to be held for discus­ that he is in danger of losing the ability to send out sions o_f the practical application and general evalua­ intelligible messages even to his colleagues. All this is tion of the project's findings. done, of course, in •the name of originality: we live at FRANK C. CAMPBELL a time when one criterion of a good musical idea is Chief, Music Division its novelty, and one criterion of the novel musical idea New ·York Public Library is the formal particularity of its notational procedures. at Lincoln Center CONTEMPORARY MUSIC ON CAMPUS The Columbia-Princeton Electronic Music Center (alphabetized by school) celebrated its 10th anniversary with two concerts; May 5 and 6. Works presented included pure tape The University of Alabama, with the aid of a grant works and works for tape and live performers, the from the_National Foundati011 of :the Arts and support latte,r from the Group for Contemporary Music at from the Southeastern Composers League, presented Columbia University. Other recent concerts of the its 21st annual Regional Composers' Forum April 24- Group have included the first performance of Harvey 25. Carlos Chavez was guest composer; he lectured and Sollberger's 2 Motets from M usica Transalpina and two of his works were performed. In addition,, works David Olan's Trio for flute, clarinet, and cello, as well by 20 composers from the South had performances. as New York premieres of works for percussion by Emphasis a:t the Alabama forums alternates yearly Joan Tower and Charles v\Tuorinen. between chamber and orchestral music. This year fea­ tured chamber_music; performers included the Clare­ The New Music IV concert a:t the University of mont Strin.g Quintet, the Clarion Wind Quintet, the Connecticut March 16 included the world pn:miere of Cadek Quartet of the University of Alabama, the Uni­ Chortos II by Richmond Browne, along with works by versity Percussion Ensemble, members of the Birming­ Trombly, Erickson, Fisher, Luening, and Schoenberg. ham Symphony Orchestra, faculty and students of the University of Alabama, and other guests. The two-day Eastman School of Music held its 40th American schedule included five programs. Music Festival May 12-16, under the direction of How- ard Hanson who founded the Festivals. Among many Bowdoin College held its 5th Contemporary Music composers heard were Conrad de Jong, Verne Rey­ Festival May 6-11. The Aeolian Chamber Players pre­ nolds, Alvin Etler, Elizabeth Sawyer, Robert Gauldin, sented two concerts, including the world premiere of Ron Nelson, '>\Tarren Benson, Ross Lee Finney, David a computer-controlled commissioned work by Salva­ Russell Williams, v\Tayne Barlow, and Howard Han­ tore Martirano and works by Crumb, Rochberg, son. The Eastman Musica Nova ensemble gave a con- ( Davidovsky, Bartok, and Ives. Also on the festival were cert May 18 including Crumb's Madrigals: Book Ill, a program of works by Elliott Schwartz of the Bow­ the U.S. premiere of Richard Arnell's 8 Clarinet Pieces, doin faculty, a lecture on "Mixed Media and Film and works by Copland, Davidovsky, Dallapiccola, and Music" by Richard Arnell, a lecture-demonstration by Poulenc. Facul:ty composer Samuel Adler's 4th Sym­ the Murray Louis Dance Company, and concerts of phony was premiered by the Dallas Symphony in student compositio\)s. March; in the same month David Gilbert's Centering II had its world premiere in a concert given at Eastc Concerts of contemporary chamber music were man by the Philadelphia Composers Forum. given at Brandeis University March 13, May 3, and May 10. Georgia State College presented its 7th annual sym­ posium of Contemporary Music for Brass Feb. 20-22, The Opera v\Torkshop of Carnegie-Mellon Univer­ with the New York Brass Quintet as guests. Claire sity presented contemporary French composer Pierre Polin's At Cader Idris, landscape for five brasses, won Petit's Love is a Carne in March. this year's award, which carries with it a commission to compose a work for next year's Symposium. The 5th Festival of Contemporary Music of the University of Colm;ado took place in March and April, The Hunter College Opera Workshop presented the The largest single presentation was David Burges' New York premiere of Stanley Silverman's Elephant Twone in Sunshine, an Entertainment for Theater Steps in April. (1969). Works by Hilty, Diller, .Gaburo, Diamond, Bromley, Messiaen, Batstone, Biss, Lutoslawski, Schoen­ The State University of New York at Albany pre­ berg, V1Tebem, Berg, Penderecki, and Ligeti were also sented The Many Sounds of Electronic Music: an In­ heard. Performing groups included Die Reihe from ternational Sampling May 7-10. 8 programs presented Austria and the LaSalle Quartet. David Diamond was a broad sutvey, planned by Joel Chadabe, director of principal guest corriposer and lecturer. the Albany Electronic Music Studio.

Ohio State University, in connection with its cen­ tennial celebration, had a unique exhibition utilizing electronic technology April 25-May 12. Under the title Interactive Sound and Visual Systems, 1the exhibit in­ cluded computer-animated film, electronic sound, video and light shows, electromyogram, and environ­ mental collage.

------The University of Oregon Theater Group presented OTHER CONTEMPORARY PROGRAMS the premiere and six performances of Kenneth Ga­ buro's In the Can, a Dialectric Mix in Three Rounds The Canadian Music Council met in Ottawa May in April. Gaburo also conducted the New Music 15-17. The programs were heavily weighted with con­ Choral Ensemble of the University of California/San temporary music, including a concert by the Societe Diego in a concert at Oregon. Other works heard on de Musique Contemporaine du Quebec, with Cathy contemporary music programs at Oregon this year Berberian. One unusual session featured "The Audi­ include Glossolalia for tape, percussion, baritone, and ence as Performer." Delegates could choose to visit organ by Richard Felciano, and works by Ligeti, computers at the National Research Council, take a Penderecki, Elliotit Schwartz, Peter Bergquist, and walk around Ottawa to perceive its "soundscape" William 0. Smith. under the guidance of composer Murray Schaeffer, or participate by voice or portable instrument in a "cal­ The Peabody Conservatory Electronic Music Studio culated risk" organized by composer Gilles Tremblay; presented two concerts of student works February 12 the three groups met to compare experiences at the and May 21; one of them was broadcast on Baltimore end of the session. radio station 'VBAL. Jean Eichelberger Ivey, direotor of the Studio, presented a public lecture-demonstra­ Two concerts originally scheduled by the League of tion on electronic music May 13, using as illustrations Composers-ISCM in New York underwent a change several of her own compositions (some with films) and of plan. The concert of March 15, originally scheduled works by Otto Luening and Riohard Robinson. for chamber music, was instead completely devoted to electronic music. It included the world premiere of C. W. Po&t College presented a concert by the Em­ Jean Eichelberger Ivey's Cortege (for Charles Kent), pire Chamber Players March 17. Included were works the U.S. premiere of Barry Vercoe's Synthesism No. 2, by Joan Tower, Mario Davidovsky, Alban Berg, and works by Gaburo, Fennelly, Randall, Luening, Edgard Varese, and Arthur Berger. Howe, and Davidovsky. Robert Miller's recital of 20th century piano music, originally scheduled for April 12, Queens College presented several; concerts of works has been postponed till fall. written (and performed) by members of the facu1ty and alumni. Composers included: Leo Kraft, Allen The National Gallery of Art presented its 27th Brings, Hubert S. Howe, Jr., Elaine Barkin, Raoul American Music Festival in 6 Sunday concerts during Pleskow, and Noel Da Costa. There was also an elec­ April and May. Among numerous works performed tronic music concert May 12. were world premieres of compositions by Robert Hall Lewis and George Walker. David w·ard-Steinman was guest composer at the University of South Florida's conference on Contem­ porary Music, during which time it was announced that he will be Tampa's composer-in-residence for the coming year under a Ford Foundation Contemporary Music Projeot grant. CURRENT RESEARCH

Ross Lee Finney was guest on the campus of Wis­ Dr. G. Maurice Hinson would like ito see contem­ consin State University at River Falls for three days porary piano music (from easy to artist level) to be during April, as part of the school's Fine Arts Festival. reviewed and listed in a new book he is compiling, Finney's Remorseless Rush of Time was premiered on with the aid of Irwin Freundlich. entitled Guide to a concert devoted entirely w his works. The work was the Pianist's Repertoire. Composers of piano music commissioned by 1the University; other composers who may write Dr. Hinson at 213 Choctaw Road, Louis­ have had commissions for past festivals include Vin­ ville, Kentucky 40207. cent Persichetti, Donald Erb, and Chou Wen-Chung. In May, a concert in the school's New Music Series Dale A. Craig is teachiug and doing 'research in included works by Conrad de Jong, Barney Childs, Chinese music at Chung Chi College, the Chinese Uni­ Elliott Schwartz, Ton de Leeuw, Terry Riley, and versity of Hong Kong, Shatin, New Territories, Hong others. Kong. He is particularly concerned with the influence of Asian musics on contemporary American composi­ tion. Two articles by Mr. Craig appeared recently in the Chung Chi Bulletin and Chung Chi Journal. Com­ posers interested in the subject of his research may communicate with Mr. Craig at the Department of Music of Chung Chi College. AWARDS Composers in any geographical area are invited to submit works to the 8th annual Symposium of Con­ The Third International Eleotronic Music Compe­ temporary Music for Brass at Georgia State University tition for the Dartmouth Arts Council Prize, held at Feb. 12-14, 1971. Scores and parts should be submitted Dartmouth overlapping the ASUC conference, was by October 15, and selections will be reported to com­ won by two composers: Jose Vincente Asuar (Santiago, posers by January 5. ·works may be for any brass com­ Chile) for his composition Divertimento and Richard binations, brass-percussion, brass-electronic tape, brass­ Allan Robinson (Atlanta, Georgia) for his composi­ vocal, and brass-piano; please check before submitting tion Ambience. Honorable mentions were awarded to other combinations. The New York Brass Quintet will Jean-Claude Risset (Paris, France) for his work Muta­ again assist the Georgia State Brass Ensemble in the tions I and to .Jonathan L. \Veiss (Boston, Massachu­ Symposium, and .a $300 Commission Award will be setts) for his work Act of Openings. Judges were Fran- presented to a participating composer. Information 1;ois Bayle, James K. Randall, and Salvatore Mar.ri­ from William H. Hill, Dept. of Music, George State rano, the last replacing Christian ·wolff who was University, 33 Gilmer St., Atlanta, Georgia 30303. unable to participate. Concours International de Composition de la Ville The Pulitzer Prize for musical composition has been de Geneve. This biennial contest is devoted to opera awarded to Charles ·wuorinen for Times' Encomium. for 1971, unperformed and unpublished. 12,000 Swiss The first electronic composition ever to receive this francs and possible performance by the Grand T .h& award, the work was commissioned for a Nonesuch iitre of Geneva. Deadline Sept. 1, 1971. Concours In­ Record and composed using the facilities of the ternational d'Opera 1971, Maison de la Radio, 66 bou­ Columbi4-Princeton Electronic Music Center. levard Carl-Vogt, CH 1211 Geneva 8, Switzerland.

COMPETITIONS CALENDAR

Grants and Aid to Individuals in the Arts, a publi­ JUNE cation listing over 1200 sources of fellowships, scho­ larships, and other aid in all the art forms, will shofltly 22. Electronic Music ·workshop, Southern Illinois U. be available for $10 from "Grants," Box 9005. Wash­ Through July 3. ington, D. C. 20003. 22. Workshop in Computer-Generated Music, Stan­ Choral Composition Contest of E. C. Schirmer Co. ford U. Through July 14. and the Handel and Haydn Society, Boston. Work for mixed chorus accompanied, not over 20 minutes, no more than 2 soloists, may be accompanied by chamber JULY orche~tra, tape, film, slides, light show, ballet, etc., but . 3. U.S. premiere, The Growing Castle, opera by must be suitable for concert presentation on stage Malcolm Williamson, Caramoor Festival, N. Y. without pit; English text. $500, performance by the Handel and Haydn Society conduoted by Thomas 13. Electronic Music Workshop, Peabody Conserva­ Dunn and round-trip fare to attend performance, pub­ tory. Through July 17. lication by E. C. Schirmer Music Co. (ASCAP) or its BMI affiliate, Ione Press, Inc. Send three scores by 13. Concert of electronic music, Peabody Conserva­ September 1, 1970 to E. C. Schirmer Music Co., 600 tory. \Vashington St., Boston, Mass. 0211 l. 15. Electronic Music \Vorkshop, North Texas State Choral Contest for American Composers. Composer U. Through July 30. must be native or naturalized American, resident in the United States. Work for SATB, SSA, or TTBB, 20. Electronic Music w·orkshop, Southern Illinois U. 3 to 10 minutes, English or Latin text, sacred or secu­ Through Aug. I. lar, accompanied or a cappella, suitable for college age singers. Deadline Jan. 1, 1971. $200 and publica