l

/\1\11ERIC/\N U]JETYo= UNt\LRSITY CCMRJSERJ 250 West 57th Street • Suite 626-7 • New York, New York 10019 WINTER-SPRING, 1979/Vol. 12, No. 1

This Issue Contains Information For: PERFORMANCE POSSIBILITIES BROADCASTING OF ASUC RADIO SERIES Thomas Read, Law~ence Moss, Ben Johns­ TWO SUMMER INSTITUTES ton, and Edwin London. Johnston's NEW RECORDING POSSIBILITIES Two Sonnets of Shakespeare provided some of the finest musical moments of CONFERENCE XIV HELD IN SAN DIEGO the whole meeting. In this piece, Philip Larson of the EVTE demonstrated The Fourteenth annual conference phenomenal range and expressivity. The of the American Society of University entire EVTE quartet (Larson, Deborah Composers met in San Diego for four Kavasch, Linda Vickerman, and Edwin full days' worth of concerts and talks Harkins) was able to perform to full this year, beginning on the last day advantage in Edwin London's Psalm of of February. · The conference director, These Days 2 (also from the opening Ber~ard Rands (University of Califor­ concert). nia at San Diego), and th~ associate Thursday morning began with directors for programming,· Beverly greetings from National Chairman Edwin Grigsby (California State University London, Conference Director Bernard at Northridge) and Robert Stewart Rands, and UCSD Academic Vice-Chan­ (California State University at Fuller­ cellor Paul Saltman. London's remarks ton) , planned sessions that filled the included the notion that ASUC may wish conference days to the brim. About to consider welcoming non-academics fifty new pieces were heard! into the membe rship, given the present The meeting ran quite smoothly, s tate of the academic job market, and thanks to the good efforts of the expressed the hope that we might put organizers and the local planning "art before analysis, music before committee (Thomas Nee, Pauline Oli­ talk, and accomplishment before cre­ v eros , Roger Reynolds, Edwin Harkins, dentials." Interestingly, the sub­ Gerry Gabel, and Steed Cowart). sequent confere nce event was a forum Though the committee found it neces­ and panel discussion on the subject sary to s chedule an entire day of of music theory. Arthur Komar (mod­ rain, at least it was warm rain; erator), Robert Rollin, Paul Hedwall, otherwise, the sunshine provided for and James D. Wagoner contributed short those of us fleeing Midwest and papers, and John Rahn, Jane Coppock Northeastern winters proved more than and Gerald Warfield joined them for adequate, as was the zoo, the local the panel. Ms. Coppock and Mr. Warfield r.eli, and the scenery in general. we re able to make some trenchant com­ The performances during the ments, and Barney Childs , Richard Say­ opening evening's concert set the lor, and Jeff Pressing--among others standard for the entire conference: --made heated contributions from the sometimes absolutely excellent, and floor. just about always very strong. The Thursday afternoon's events Unive rsity's r eside nt SONOR ensemble began with a special guest lecture bore the brunt of the work, with im­ from Charles Wuorinen, who spoke about portant cont ributions from the compositional and analytical impe ra­ Exte nded Vocal Techniques Ensemble tives, and about his recent interest (EVTE), student ensembles, and two in fractiles and l/f noise fluctuations groups from San Diego State University. in natural and physical growth pro­ The first concert included pieces by cesses. Two full concerts comple ted Derek Healey, David Cope, Larry Austi n, the day, including pieces by Stuart Smith, Edward Diemente, Greg Steinke, (moderator) . The subject of critics Ann Silsbee, Rudolph Bubalo, Eric and criticism drew more heated response Stokes, Richard Bunger, Neil McKay, from the audience. To end the morning's William Averitt, Ursula Mamlock, and discussions, Maurice Wright, Bernard John Russell . For this writer, the L. Faber (Director of the Center for the ~ Mamlock and McKay works were of special Study of Public Policy and the Arts), interest. Grant Beglarian (Dean of the School of The Friday morning sessions Performing Arts at USC), and Pauline opened with a panel discussion about Oliveros (Director of the Center for the various possibilities for coopera­ Music Experiment and a member of the tion among electronic music studios; NEA composer/librettist panel) joined the participants were Cleve Scott, Ron in a discussion about the changing pat- Pellegrino, Greg Steinke, Ron Perera, tern of funding for contemporary Beverly Grigsby, and David Keane. This composers; the ideas that government was followed by a presentation from will no longer be as reliable and that Gregory Levin, who spoke about his industry might prove a future source work at IRCAM in Paris, and a talk by of funding were set forth. Ms. Oliveros David Keane, "Some Practical Aesthetic gave a revealing explanation of how Problems of Electronic Music," which the NEA awards its annual grants to led naturally to a panel discussion individual composers. about the problems of teaching elec­ There were three full concerts on tronic music. Participants were Jona­ Saturday. The first was given by the than Kramer (moderator), W. Kenton members of the Harry Partch Performance Bales, Herbert Bielawa, David Cohen, Ensemble from San Diego State, and Peter Tod Lewis, Thomas Wells, David included Daphne in the Dunes, Barstow, Keane, and Greg Levin. The issue of and Castor & Pollux played on Partch's how much musical training ought to original instruments. The sound of the precede electronic studio work was ensemble live (as opposed to recorded) explored, and--predictably--not was a revelation for those who had not resolved. That afternoon a demonstra­ heard it previously. The ensemble is tion of vocal possibilities by EVTE directed by Danlie Mitchell. Also in- r---­ culminated with a performance of cluded on the micro-tonal concert were Madrigal by Richard Brooks. Edwin pieces by Paul William Simons and Cris Harkins, who plays trumpet as well as Forster. he sings, also talked about new possi­ The second concert returned to bilities on that instrument. works by ASUC members; pieces by Bruce Friday's afternoon concert in­ Falconer, C. Curtis-Smith, Elizabeth cluded pieces by Hane Brockman, Charles Vercoe, Allen Brings, Daria Semegen, Hoag, Beverly Grigsby, William Karlins, and Phillip Rhodes were played. In Michael Horvit, and Joel Naumann. the evening, Alexina Louie, Robert H. Music by Aurelio de la Vega, originally Lewis, Mike Schelle (the winner of the scheduled for this program, was heard ASUC student composition contest) , later in the conference. The concert Larry Austin, and Thomas Read had pieces that evening featured works by Jackson performed. Despite some technical Hill, Ruth Shaw Wylie, David Ward­ difficulties, it was a good concert; Steinman, Harold Oliver, Robert Stewart, Brian Fennelly's Empirical Rag was and Morgan Powell. clever, and well played by the Brass The Saturday morning sessions Quintet from San Diego State. Another dealt with the composer's relationship of the conference highlights was the to society on economic and critical performance of a piece by Ed Harkins levels. James Roy, the Vice-President written for himself and Philip Larson; for Concert Music at BMI, gave a slyly it was very, very funny. humorous talk about his view of the The conference ended on Sunday. royalty business and BMI's contribution In the morning, Victor Saucedo, Thomas to American composers. Donald Dierks, Clark, Elliott Borishansky, Thomas the music critic for the San Diego Cain, E. Michael Harrington, and ~ Union, and Ara Guzelimian, a critic for Heidi Von Gunden all read short papers. the Los Angeles Times and program Leo Kraft, Clifford Taylor, and Barney director for KUSC radio, were guests on Childs joined in a panel discussion a panel which included Elliott Schwartz, about teaching composition to the non­ Jonathan Kramer, and William Matthews composer. In the afternoon, the Center for Music Experiment on the UCSD campus ASUC PERFORMERS ' COLUMN hosted a concert of electronic pieces by Barton McLean, Thomas Wells, Emmanuel As a regular feature the News­ Ghent, and Charles Dodge. The Center letter publishes lists of member per­ was open throughout the conference; a formers who would like to receive notable facility in many ways, it is the scores from ASUC composers. If you home of the most impressive and inno­ are a full or associate member and vative percussion set-ups this writer would like to obtain scores send us has seen. your name and address (along with men­ Special 14th conference kudos to tion of your instrument and/or those David Cohen, from Arizona State Uni­ instruments available in your ensemble) versity; he has yet to miss an ASUC to: Editor, ASUC Newsletter, 250 West National! 57th Street, Suite 626-7, New York, New York 10019. William Matthews Bates College The New Music Performance Lab of North Texas State University is a developing ensemble devoted to per­ SOCIETY FOR MUSIC THEORY REPORT formance of contemporary chamber music. ASUC members are invited to Richmond Browne, secretary for the send scores of any instrumental, vocal or electronic combination to Society for Music Theory (SMT) and for­ the Lab's director, Thomas Clark, mer editor of the ASUC Newsletter, sends us the following report on SMT activities. School of Music, North Texas State University, Denton, Texas 76203, for ASUC members can take pride consideration of possible performance. in the success of the first national meeting of the Society for Music The University of Colorado's Theory, held in conjunction with New Music Ensemble is looking for new the AMS in Minneapolis, October pieces for the spring and fall semes­ 20-22. The SMT papers and panels ters. Any instrumentation (including included many theorists and topics voice) that involves up to ten per­ reflecting the long-time interest of formers is acceptable. Composers ASUC leadersh ip in the development wishing to submit scores for consid­ of a national forum for music theory. eration should send them to: Charles The new Society is the out­ G. Eakin, College of Music, University growth of discussion at ASUC meet­ of Colorado, Boulder, Colorado 80309. ings as long ago as Baltimore 1972, Tempe 1973, and the ASUC-spon­ E. Michael Harrington of West­ sored 1st National Conference on field State College, Westfiled, Massa­ Music Theory (Boston 1976), with chusetts, would welcome all scores by help from the College Music Society ASUC members for guitar solo, or guitar and the American Musicological So­ in tandem with oboe, piano, or voice. ciety. In its first yea r of existence, Performance possibilities also exist the SMT has established a member­ for any combination of the following: ship of over 500 theorists (many of 2, 3 , or 4 guitars, 2 pianos, voice, whom are composer-members of and oboe. Materials can b e sent to: ASUC as well). The Music Theory E. Michael Harrington, 34 De nnison Spectrum, publishing papers from Avenue, Framingham, Massachusetts both the 1977 Evanston 2nd Na­ 01701. tional Conference on Music Theory and the 1978 SMT/ AMS meeting, ASUC RADIO SERIES BROADCASTS will appear in Spring 1979. The Society will meet in 1979 with the ASUC's Radiofest I is b e ing AMS in New York, November 1-4. broadcas t in late s pring and early summer on the following stations: Membership information is available KPFK, Los Angeles (we ekly broad­ from: Richmond Browne, secretary, SMT, casts from April through July) , University of Michigan, Ann Arbor, Michi­ KPFA , Berke l e y (series beg inning gan 48190. May 7 ), WUSF , Tampa (thirteen week series beginning in June), and NEW RECORD COMPANY KUT, Austin (thirteen week series beginning in May). Leonarda Productions, Inc. is a The National Federation of new, non-profit, tax-exempt record Community Broadcasters is now dis­ company which was formed to promote tributing the radio series for contemporary American music. They are ASUC. Society members who would soliciting tapes and information from like to purchase a program (they composers of serious music and would will dub tapes) or anyone inter­ appreciate hearing from ASUC members. ested in obtaining the series for Send biographical data and a list a broadcast should contact: of works with durations and instrumen­ National Federation of Community tations indicated (making special note Broadcasters, c/o Bill Thomas, of any material currently available in 1217 West Church Street, Champaign, New York City at the Lincoln Center Illinois 61820. Library for the Performing Arts, the American Music Center, or the Ameri­ SUMMER PROGRAMS IN COMPUTER MUSIC can Composers' Alliance). Composers should indicate their most represen­ Two special summer programs in tative works. If they are not avail­ computer music are being offered this able in New York City, please send a summer at the Massachusetts Institute cassette, tape, or record (no s core s of Technology. Program 1 (" Techniques please) of no more than an hour of of Computer Music Synthesis," June 18- music consisting of one or two 29) will explore current methods of representative works. Tapes need digital sound synthesis in concept and not be of broadcast quality nor pro­ in practice. Comprehensive lectures fessional performances. Materials will cover topics such as sound analy­ can be returned at the composer's sis, additive and non-linear synthesis, expense or put on permanent deposit digital filtering and reverberation, in the American Music Center Library man-machine interaction, micropro­ which will accept cassettes or ~ track cessors, and real-time digital syn­ (2 track) tapes. To have tapes re­ thesizers. Participants will be able turned, send a self-addressed, stamped to construct and test these networks jiffy bag. in active computers of the MIT Experi­ Please send tapes to: Marnie mental Music Studio. All ideas will Hall, President, Leonarda Productions, be developed from first principles. Inc., P.O.' Box 805, Radio City Sta­ No prior experience is required. tion, New York, New York 10019. Program 2 ("Workshop in Computer Music Composition," July 2-27) will SUMMER INSTITUTE provide opportunity to synthesize a complete medium-sound composition in The Boston University Tangle- digital sound. Synthesis networks are wood Institute, a summer program for created interactively by patching high school and college age musi cians oscillators and filters diagramatically offered in conjunction with the Bos- on a screen. Scores are created when ton Symphony Orchestra's Berkshire notes played on a musical keyboard Music Center, is offering a new and appear on the screen in standard musical unique program this year for young notation to be edited, printed out, or composers. The Young Artists Compo­ synthesized by the computer. Lecture sition Program is open to compose rs demonstrations and private coaching will of ages 15-18 who have not matricu­ be provided by prominent composition lated at a college, university or con­ faculty. Limited enrollment will en­ servatory. The program is directed by sure each participant four to six hours ASUC member Maurice Wright, Assistant daily of computer time in the Experi­ Professor of Music at Boston University. mental Music Studio. Both programs are This program in original compo­ offered by MIT Studio director, Profes­ sition provides instruction and criti­ sor Barry Vercoe. cism by Mr. Wright, weekly readings For further information write to: of compositions in progress, consulta­ Director of the Summer Session, Room tion and interchanges with established El9-356, M.I.T., Cambridge, Massachu­ composers of the Berkshire Music Cen­ setts 02139. ter (including Theodore Antoniou) , and a final public performance of works eral education in varied curricula selected by the Faculty. Additionally, across the country as an alternative students will attend classes in solfege to traditional approaches to music and musicianship. A typical week in­ through "music appreciation." cludes a private composition lesson, He would be interested in re­ five hours in small seminar composi­ ceiving any available information tion groups, plus two hours reading concerning alternatives to music works in progress and three hours appreciation in general education. in solfege classes. This information might take the Anyone requesting more informa­ form of curriculum descriptions, tion or an application may write: syllabi, catalogue copy, or materials. Boston University Tanglewood Insti­ Materials received will be acknowl­ tute , 855 Commonwealth Ave., Boston, edged and properly credited. Kindly MA 02215, or call: (617) 353-3386. send information and materials to: Dr. Jackson Hill, Project G.E.M. CLARINET MUSIC CATALOG Liaison Officer, c/o Department of Music, Bucknell University, Lewis­ burg, PA 17837. Elsa Ludewig-Verdehr is compil­ ing a list of clarine t music written by women compose rs of all nationali­ ELECTRONIC MUSIC PLUS FESTIVAL REVIEW ties. She wishes to learn about any manuscript or published work written The unsurpassed beauty of Mr. by a woman composer for B-flat or A Jefferson's neo-Classic college quad­ clarinet, including unaccompanied rangle, "The Lawn," at Charlottes­ works, works with piano, voice{s), ville, was the scene of the eighth chamber music combinations of all annual Electronic Music Plus Festival, types, and concertos {with orchestra, co-sponsored this year by Region III chamber orchestra, wind symphony, or of ASUC and the Southeaste rn Compos­ band). All information {including ers' League, November 3-4, 1978. publisher or source where the work The University of Virginia put may be obtained), no matter how ob­ on an excell ent series of three con­ scure or obvious it may seem, will be certs in historic Old Cabe ll Hall welcomed and will help in making the {on The Lawn) , f eaturing a numbe r of compilation more complete and worth­ University of Virginia students and while. Dr. Verdehr is Professor of faculty, as well as some performers Music at Michigan State University, from Shenandoah Conservatory and East Lansing, Michigan 48824. from the greater Washington are a. The planning committee of Walter Ross , Donald Macinnis , Fred Geissler, COMPOSITION FOR THE NON- MUSICIAN and Jane Wilkinson , are to b e thanked and congratulated for putting on such Jackson Hill (Bucknell Univer­ an excellent program. A total of sity) is involved in a nationwide twenty-three composers was r epresented project whose purpose is to design, in the concert s , including a numbe r identify, and implement innovative of out-of-the-region ASUC composers -­ programs that f orm part of college Jona than Kramer , Priscilla McLean, general-education curricula in the Michae l Horvit, Rudolph Bubal o , Con­ liberal arts. For this purpose the rad DeJong, Dexter Morrill, and Scoiety for Values in Higher Educa­ Harold Schiffman {of whom a surpris­ tion has established a Project on ing number were in attendance from General Education Models with head­ as far away as Texas, Massachuestts, quarters in Washington, D.C. It is and Florida). Music by Region I II funded by the Exxon Corporation and members included Lawrence Moss's the Fund for Impro ve ment in Post­ Omaggi o II , Ulf Grahn's Pace , John secondary Education {F IPSE). Al­ Rinehart's Inlaid, Donald Macinnis's though Hill is involved with all Quadralith I, and Paul Dworak's parts of the curriculum in the Interactions. project, as a composer h e is most Several works stand out i n interested in the ways that musical retrospect. Lawrence Moss's Ommagio compos ition has been used for gen- II, an intricate and structurally highly satisfying excursion in an­ Facts and Problems," a report by tiphony, performed by Barbara Rowan Gilberto Mendes. and Content Sablinsky, was one of the most impressive works of the Region VI held its annual meet­ festival. Michael Horvit's Antiphon ing at West Texas State University II was a fascinating study in anti­ October 27-28. The conference, co­ phonal counterpoint with intricate chaired by George Eason and Edward and exciting rhythms and sonorities. Mattila, was hosted by Eason of the John Rinehart's Inlaid, superbly WTSU faculty. played by the Shenandoah Trio, was A new music building provided a remarkably clear expression in a an excellent facility for the two-day rationalistic idiom, but within a event which included three concerts context that was imminently musical of music by William Davis, Royal and that made good psychological Brantley, Sara Montgomery, George sense throughout. Ulf Grahn's Eason, James Wintle, Gayneyl Wheeler, Pace was an impressive study in Larry Austin, Steve Paxton, Edward timbre that used popular music Mattila, Thomas Clark, Bill Evans, quotations in a novel and engaging Joseph Nelson, Michael Hunt, and way as a counterploy to synthesized Newel Kay Brown. material. Several works by Ren Featured during the conference Weidenaar added humor and a chance was an outdoor program of tape music to laugh in a festival such as we in nearby Palo Dura Canyon Amphithe­ are all prone to stage in which we atre which provided a most unusual and take ourselves far too seriously. interesting acoustical environment. Region III has tentatively Other events included a paper by agreed to co-sponsor the next Thomas Clark, "Density Functions in Electronic Music Plus Festival next the Structure of Modern Music," and year at the University of Maryland. a lecture-demonstration, "The Flute in 20th Century Music," presented by Jackson Hill Sally Turk, Mary Karen Clardy, and Bucknell University. Brad Garner.

NEWS FROM THE REGIONS California State College, Stan­ islaus, in Turlock, California, spon­ The annual conference of Region sored this year's conference of Region V was held November 3-4, 1978, at Ball IX, Januar y 19-20, reports regional co­ State University School of Music. Three chairman Greg Steinke. Scott Coulter concerts of music by ASUC members were hosted the event. Two concerts were heard including works by Edwin London, held featuring works by Cope, Bielawa, Robert Erickson, William Brooks, Roger Sekon, Winslow, Steinke, Coulter, Marsh, Philip Larson, Deborah Kavasch, Stewart, Harder , and Finney plus a Dary John Mizelle, M. William Karlins, guest appearance by the Electronic Robert Rollin, James Waters, Yehuda Weasel Ensemble from San Jose perform­ Yannay, Reynold Weidenaar, James ing Music from "The Time Curve Poems" Marshall, Ramon Zupko, Jerry Owen, number XI, by Das Eustrellen. Also Rudolph Bubalo, Fred Fox, Curtis participating in the conference were Curtis-Smith, Peter Tod Lewis, H. Owen student composers Eric Schiffrin of Reed, Paul Zonn, Sandra Tjepkema, and Santa Cruz and Michael Bernstrom of August Wegner. Turlock. Lecture-demonstrations were Other events included a lecture­ presented by Stephen Ruppenthal on demonstration, "New Trumpet Techniques," "American Text-Sound Composition" and presented by Edwin Harkins; two papers, by Josef Sekon on "Sal-Mar Construc­ "Carlos Castenada and don Juan--A Les­ tion: Part Share Holder: A Real­ son in Sonic Awareness" by Heidi Von Time Electronic Music Machine." A Gunden (Southern Illinois University) fall conference is scheduled for and "Some Younger European Composers" Region IX in November. by Robert Rollin (Youngstown State University); a presentation, "Musical ASUC COMPOSERS IN ACTION Timbre and the Power of Sound," by Dary John Mizelle (Oberlin College); The premiere of William F. Chamber­ and "Brasilian Contemporary Music: lin' s Quintet (1978) for flute, bassoon, violin, viola, and cello was given in tions Phrase (tape) and 4 Movements for October by the Mohawk Valley Symphony Tape and Prepared Piano, both of which Chamber Players at Fulton Montomery have recently seen performance at festi­ Community College in Johnstown, New vals and concerts in Boston, Philadel­ York. The work was also programmed by phia, Richmond, Va., Miami, and other the same group in October at Depot Lane locations. Theatre, Schoharie, New York, and in December at the United Methodist Church Emmanuel Ghent's Brazen was Hall in Colleskill, New York. At all recently released on the album "New three concerts Mr. Chamberlin was able Directions in Music: Significant to conduct his own music and moderate Contemporary Works for the Computer," discussions of it through grants from a two-record set by Tulsa Studios. Meet The Composer, a special assistance program funded by the New York State Michael Gilbert's electronic Council on the Arts. composition Ascents was premiered at Smith College and then choreo­ Dinos Constantinides (Louisiana graphed by dancer Susan Waltner. State University) has had two premieres His Steel Clouds was premiered at in recent months: Antithesis for Cham­ Hampshire College in November on a ber Orchestra at the University of North program that also included his Un­ Carolina, and Study for Brass for Solo winding and Winter Light. A record­ Euphonium and Brass Ensemble at Louisi­ ing of the electronic/fusion music ana State University. His Rhapsody for of Michael Gilbert is now available Flute and Piano, Dedications for Strings, on the Gibex label. Sappho Songs, and Sonata for Solo Violin were all performed this past August by Jackson Hill's (Bucknell Uni­ members of the Sessione Senese per la versity) Sonata: Super flumina Mu s i ca in Siena, Italy. For the third Babylonis was performed in December consecutive year Mr. Constantinides has by pianist Barbra Dahlman on a Con­ received an ASCAP Standard Award for temporary Music Forum concert at the composition. Corcoral Gallery of Art in Washing­ ton, D.C. Hill's orchestral piece The comple ted version of Masquer­ Sangraal, premiered last May by the ades/Parodi e s (1978) by Curtis Curt is­ Cape Cod Symphony Orchestra, was Srni th (Western Michigan University, performed in November by the Univer­ Kalamazoo) was performed in October at sity of Pit~sburgh Symphony, and in the Eastman School of Music by William April at Washington's National Gallery Albright. Three of the movements (In of Art. That same month Hill's Missa dulci jubilo: Like a Calliope; Wie Brevis was given a performance by the lieblich is doch, Herr, die Statte: choir of the National Cathedral in jig for an e l ephant; and Nun k omm der Washington. heiden Heiland: Parody) were pre­ mieres. Masquerades was recorded for Karel Husa (Cornell University) CRI in January. informs us that Golden Crest Records, Inc., has just released an album Theodore Dollarhide's (Unive r­ titled: "Mary Ann Covert Plays Piano sity of Michigan) Faces at the Blue Compositions of Karel Husa." In­ Front was premiere d in February by the cluded on the album are Sonatina for Wheeling , Illinois, High School Wind Piano, Opus l; Sonata for Piano, Opus Ensemble. Dollarhide is currently in 11, Elegie for Piano, and Sonata No. Paris on a grant from the Fulbright 2 for Piano. Commission where he is studying with Eugene Kurtz. David Keane (Queen's University, Kingston, Canada) has had premieres of John Duese nbe rry (Th e Boston School f our works in recent months. His In of Electronic Music) was one of nine Memoriam: Hugh LeCaine was first p er­ composers designated as recipients of formed at this year's Festival Inter­ Artists Fellowships in music composition national de Musique Experimental in by the Artis ts Foundation (a Massachu­ Bourges, France. Corona for chorus, s e tts arts agency) i n 1979. The award strings, flute, two oboes, and two was given in r e cognition of his composi- trumpets was premiered in Kingston, Ontario. His Henge for 40-piece trom­ latter work appears on an album en­ bone choir was premiered by the group titled "McLean: Electro-Symphonic Sonare, and his one-act opera, The Landscapes" with Priscilla McLean's Devils Constructs (libretto by David Invisible Chariots. Mr. McLean's Fanstone) for seven voices and three Metamorphosis for Orchestra, The tape recorders, was premiered and re­ Purging of Hindemith for orchestra, ceived eleven subsequent performances Dimensions I, and Dimensions II are in October. Mr. Keane's Ambulator being published in this country by Nemorensis for electronic tape was Alexander Broude and in Europe by presented at a concert of new music at Breitkopf and Hartel. the University of Sussex last June. During this past year a Voice of America broadcast featured McLean's The Exile, a song by Frederick The Sorcerer Revisited and Dimensions Koch, was premiered at the Cleveland II over its Euro-Asian network. This Music School Settlement in December by summer he will spend six weeks in resi­ baritone Stephen Szaras. His Sonics dence at the MacDowell Colony. The for piano was premiered in November "McLean Mix," an electronic music duo at Wooster College and is now avail­ featuring Priscilla and Barton McLean able on Opus 1 records. Mr. Koch's undertook three concert tours through Avataric Impressions for piano and seven states this spring. tape was premiered in March at Mont­ gomery College in Maryland, and his Elliott Schwartz (Bodowin College) choral based on Psalm 47 and published is a Visiting Research Fellow at the by G. Schirmer won Honorable Mention Center for Music Experiment (University in the Harvey B. Gaul contest. of California, San Diego) for 1978-79. He has been a visiting composer at The work of Lawrence Kucharz was various University of California cam­ featured on February 21, 1979, in a puses throughout the year. During a concert at the Experimental Intermedia Fall 1978 tour of Britain he presented Foundation in New York. Two works for lectures and concerts for the B.B.C. wind instruments, 1976 # 1 and 1978 # 6, Radio, Royal College of Music, Univer­ were performed by members of Spectra. sity College Cardiff (Wales), and the His Canal Street and Renwick Street, Universities of Sussex, Leeds, and two text-sound intermedia works, were Keele. also presented. . Kucharz's Winter Street Scenes I Daria Semegen (SUNY at Stony was recently performed at Galerie Gae­ Brook) has received a 1979 Faculty tan, Geneva, Switzerland, in an instal­ Research Grant from the New York State lation series called "A Spoken Space". University Research Foundation for a new electronic composition. This past Ursula Mamlok's (Manhattan fall she was a recipient of the chamber School of Music) Festive Sounds for music composition prize awarded by the wind quintet, written for Sigma Alpha University of Maryland and the South­ Iota for their 75th Anniversary Con­ eastern Composers League. vention, was premiered at Dallas, Texas, in August. Both Festive Sounds Greg Steinke's (The Evergreen and her Sextet for flute, clarinet, State College) Music for String Quar- bass clarinet, violin, double bass, tet was premiered at Evergreen State and piano (performed in November at College in June and his Ostinato Fan­ the Second ISCM Concert in Carnegie tasy for quadraphonic tape was pre­ Recital Hall) are being published by miered at Southwestern College in c. F. Peters. Chula Vista, California, in February. Seesaw Music has published his Family Three new recordings of Barton Portrait for piano and 12th Night McLean's (University of Texas, Austin) Sketches for oboe d'amore and bass. music are being released this spring. Remembrances for four trumpets and They are Dimensions II for piano and wind ensemble received performances tape, recorded by David Burge (CRI), in February at the University of Dimensions I for violin and tape Wyoming and the University of South (Advance Records), and Song of the Florida, and his A Flight of Virtuosity Nahuatl (Folkways Records). The was performed in November in River Falls, Wisconsin, and Minneapolis, Minnesota, by ber at Alice Tully Hall by The Western the University of Wisconsin, River Falls, Wind. Phoenix I for harp solo (1978) New Music Ensemble. was chosen for the composer of the year Mr. Steinke announces t h at he still award by the Music Teachers National wishes to receive scores for oboe for Association and performed in Seattle at possible review in his writings for the their national convention in April. International Double Reed Society. Richard Wilson's (Vassar College) Sonata for Guitar by Gunther Eclogue was awarded the Burge-Eastman Tautenhahn was premiered in November Prize of $1500 in a competition for at Northridge, California. His Caprice major new works for piano. Two of his Elegant/Flute and Accordian received its works have received recent premieres first performance in February at Loyola at Vassar College: String Quartet-- Ma rymount University, Los Angeles . 1977, and the Ballad of Longwood Glen for tenor and harp. Nancy Van de Vate's (University of Hawaii) Suite for Solo Violin was James Wintle (Southeastern Okla­ performed in October by ASUC member homa State University) reports that his Dinos Constantinides as part of a New Pezzo Concertato was recently premiered Times Concert in Baton Rouge, Louisi­ by duo pianists Gary and Elka Kirkpat­ ana. Other recent performances of her rick. His Music for Woodwind Quintet music included Trio for Strings (at has been performed at Bruno Walter Hall, Honolulu), Letter to a Friend's Lone­ Lincoln Center, and the Whitney Museum. liness for string quartet and voice (at Northridge, California), and three electronic works, Wind Chimes, Invention No. 1 for Magnetic Tape, a nd Satelli te Music (at Honolulu). CHANGE OF ADDRESS Ms. Van de Vate recently received her sixth consecutive ASCAP Standard Tom Cleman, 106 1 Ardrey Circle, Award. On July 1, 1979 she will assume Flagstaff, Arizona 86001. the position of Dean of Academic Affairs at Hawaii Loa College, where she is presently Associate Professor o f Music.

John Watts (New School for Social INFORMATION ' FROM THE EDITOR Research) was represented in the Eighth Annual Electronic Music PLUS Festival This winter- spring issue of t he at the University of Virginia with Newsle tter will be followed in August Processional for tape and ten trumpets. by a summer issue . Members who have His Le Match de Boxe for chamber or­ material to b e included should send it chestra was premie red by L ' Orch e stre to me by July 1, 1979. Oth e rwise , the· Symphonique de Radio Sarrebruck in No­ deadline for submitting copy for the vember in Metz, France , at the festival fall Newslett er is Octob er 10. Rencontres Internationales de Musique A special r eminder regarding Contempora ine. Keepsakes f or tape and address changes: we need to b e ad­ orche stra , commi ssioned by the Sage City vised immediately of any change in your Symphony (Bennington, Vermont), was pre­ address . Since the post o ffice will miered b y that group i n December . not forward bulk mail you will not Mr. Watts, director of the Com­ receive e ither the News l e tter or the posers Theatre, is currently working Proceedings unless your address is on a piano concerto for pianist Dwight correct. Peltzer. Tom Cleman, Editor Comparatives, a song cycle by Jane ASUC Ne wsle t ter Wi lki n s o n (Uni v ersity o f Virginia) for 250 West 57th Street soprano and viola, was premiered at the Suite 626-7 University of Virginia in October by New York, New York 10019 Continuum of New York. Her Crossworlds for six voices was premiered i n Decem- IN MEMORIAM

The following two ASUC members died in February of this year

R. SCOTT COULTER Founding member of ASUC Chairman of Music, California State College, Stanislaus

ROBERT H. STOLTZE Well-known Portland, Oregon, teacher and composer Professor of Music at Lewis and Clark College for many years

EXECUTIVE COMMITTEE (1979)

Richard Brooks , Chairman, Nassau Community College; Thomas Cleman, Editor of the Ne ws l ett er, Northern Arizona University; Bruce J. Taub, Editor of the Journal ; Cl eve Scott , Electronic Music Consortium, Ball State Unive r s ity; Samue l Hope , National Asso ciation of Schools o f Mu s ic; Warne r Hutchison, Editor o f the Pro­ ceedings, New Mexico State University; Barton McLean, ASUC Recording Series, University of Texas at Austin; Priscilla McLean, ASUC Radio Series; Kurt Stone, Associate Representative.

NATIONAL COUNCIL (1979)

James Eversole, University of Massachusetts, and Robert Stern, University of Massa­ chusetts (Region l); David Maslanka, Sarah Lawrence College, and Ann Silsbee , Ithi­ ca, New York (Region 2 ); Ulf Grahn, The Contemporary Music Forum, and Jackson Hill, Buckne ll University (Region 3 ); Paul Hedwall, University of Alabama, and Denni s Kam, Univ eri sty of Mi ami (Region 4); Robert Rollin , Youngs town State University , and Ri ch ard He rvig, Univ e rsity of Iowa (Region 5); George Eason, West Texas State Uni­ versity, and Edward Mattila , University of Kansas (Re gion 6); Stephen Scott, The Colorado Coll ege , and William B. Stacy, University of Wyoming (Region 7); Robert Stewart, California State Unive r sity at Fullerton, and Beverly Grigsby, California State University a t Northridge (Regi on 8 ); Gr eg Steinke, Eve rgreen State Colle ge, a nd Gordon Mumma, Universi ty o f California , Santa Cruz (Region 9); Edwin London, Chairman , Cleve l and State Unive r s i ty.

MAILING ADDRESSES

1 . For me mbership a nd s ubscription information write: ASUC, 250 West 57th Street, Suite 626- 7, New York, New York 10019.

2. To submit materials to the ASUC Journal of Music Scores, Record Series, or Radiofe st write: Barton and Priscilla McLean, 6 Matador Circle, West­ lake Highlands, Austin, Texas 78746.