The University of Texas at San Antonio presents the Society of Composers, nc 2005 Region VI Conference

UTSA Department of Music February 24-26, 2005

Daniel Adams • Aaron Alon • Karim Al-Zand • Peter Askim .• Daniel Barnard • Mike Barnett • Kenneth R. Benoit • Douglas Bianclu • Per Bloland • Clifton Callender • Alan Chan • George B. Chave • Adam Cotton • James Crowley • Doug Davis • Juan Luis de Pablo Enriquez Rohen • S ue Dellinger • Rhodell T. Fields • Robert Fleisl1er • Mark Francis • Bruce Hamilton • Trent Hanna • David Heuser • Robert Hutchinson • Austin Jaquith • Donivan Johnson • David Korevaar • Timothy Kramer • Frank La Rocca • HyeKyung • Sabin Levi • Stepben Lilly • Carleton Macy • Melissa Maier • Cbarles Norman Mason • Ken Metz • Shirely Mier • Gary Masse • Kirk O'Riordan • Taiga Zafer Ozdemir • Daniel Perttu • Ricbard Power • Bill Ryan • Phillip Sckoeder • Paul Siskind • Rob $ mitb • Mark Snyder • Lesley Sommer •John Stafford II • Jack Stamps • Paul Steinberg • Greg A Steinke • Erich Stem • George Tanner • Michael Sidney Timpson • Michael Twomey • Guy Vollen • Andrew Walters • Marc Wooldridge :--c1 Society of Composers, Inc. [ SCI Sodety of Composers, inc.

Region VI Conference at the University of Texas at San Antonio Department of Music

David Heuser, Host Region VI Co-chairs: Phillip Schroeder and Samuel Magrill President: Thomas Wells

Table of Contents

Message from the Department Chair...... 3

Message from the Host ...... 4

Conference Schedule ...... 5

Concert Programs ...... 6

Composer Biographies, Program Notes and Song Texts . ... 15

Performer Biographies ...... 45 The Universit of Texas at San Antonio Department of Music

Message from the Chair

Dear SCI Region VI Conference Participants,

On behalf of the UTSA Department of Music: Welcome to San Antonio! Thank you for honoring us with you presence as we host the 2005 Region VI SCI Conference. I am grateful to David Heuser, associate professor of composition and theory, for his outstanding planning and coordination in hosting this exciting event. UTSA President Ricardo Romo and Dean Daniel Gelo join me in recognizing the students, faculty, and staff who have prepared many months so that your creative worb may be properly presented.

Learning, programming and performing new works is a critical responsibility of all musicians, especially those of us in higher education. We must seel<'., teach and present the good and current creative works alongside the inheritance of truly great music that has stood the test of time.

I sincerely wish that your time here is both enjoyable and productive, and that this conference informs and inspires your future work in the areas of composition, performance, teaching, and research.

Respectfully yours,

Gene Dowdy, Chair UTSA Department of Music

- 3 - The Universit of Texas at San Antonio Department of Music

Message from the Host

Welcome! J want to thank all of you for being a part of the Society of Composers Region VJ Conference this year. Although there was a time during this past Fall semester when I felt a little overwhelmed with the number of scores we received for this conference, Jam pleased for what that says for the state of our art. I was privileged to hear so much wonderful music and regret we could not perform more of it this week. Of course, any conference, especially one like this, is a group effort, and so, with apologies for the many people J will inevitably leave off this list, my thanks go out to everyone who has been part of that group effort.

First and foremost, thanks to all of my colleagues at the UTSA Department of Music for making this possible.Your support was necessaiy for the beginning, and you have given me more than I could ask for. Thank you. Special thanks to Dr. Eugene Dowdy, Chair of the UTSA Department of Music and Dr. Dan Gelo, Dean of the UTSA College of Liberal and Fine Arts, for their assistance and support.

To Cindy Solis, events manager supreme, before whom I bow low.

To eveiyone in the music office: N aomy Ybarra, Steven Hill, Michael Mendiola, Angelia Ward, Linda Sauceda and Armando Hernandez for all their invaluable work. Special thanl

To Sigma Alpha Iota, Phi Mu Alpha Sinfonia, UTSA composition students, and all of the other student volunteers for all their help with staging, receptions, and registr~tion .

To eveiyone with SCI for being wonderful and helpful throughout all of this. A special thanks to Tom Wells and Phillip Schroeder, who bore the brunt of my questions.

To David Sebald and Mark Rubinstein for technical assistance and loaning me things.

To Jack Stamps, for creating the cover graphic & making something out of nothing.

To Chris Harrison at AmeriSuites, Christy Knight & Gustavo Lira at Scenic Loop Cafe, Abbas Selgi at Terra Nova Violins for the use of bows for the percussion ensemble, and Sandy Leal at Allegra Print and Imaging.

And a special thanks to Cherie, Gwyneth and Julian for patience and laughs.

- 4 - Conference Schedule All Concerts are in the UTSA Recital Hall, Arts Building, 1604 Campus

Thursday, February 24, 2005 "Masterclass: "Music for Percussion and Film" - Marc Wooldridge, percussion 11 :OOam; Band Hall, UTSA Department of Music For UTSA Percussion and Composition Students. Open to general public.

Concert 1: 7 :30pm UTSA Orchestra, Chamber Orchestra, String Orchestra and others Reception to follow in the UTSA Music Department Main Hall

Friday, February 25, 2005 Concert 2: 9:30am Guest performers

-Lunch Break-

Concert 3: l:OOpm UTSA Concert Band, UT SA Woodwind Quintet and others

Paper Session 1: 2:30pm - UTSA Choral Hall Greg A. Steinke: Mother Earth - A Native American View

Concert 4: 3:30pm UTSA Wind Ensemble and others

-Conference Dinner at the Scenic Loop Cafe, 5:00pm-7:00pm (Tickets required)-

Concert 5: 7:30pm Guest Ensemble: AURA, the New Music Ensemble of the Moores School of Music, U niversity of Houston Reception to follow in the UTSA Music Department Main Hall Informal gathering at Luna Fine Music Club for jazz (with UTSA alum Jake Owen) following reception

Saturday, February 26, 2005 Concert 6: l:OOpm Guest artist Marc Wooldridge and others

Paper Session 2: 2:30pm UTSA Choral Hall Stephen Lilly: Form as an Outgrowth of Timbre and Rhythm: Wesley Fuller's Sherds of Five

Concert 7: 3:30pm UTSA Percussion Ensemble and others

- Dinner Break -

Concert 8: 7 :30pm UTSA Concert, Women's and Jazz Choirs and others Reception to follow in the UT SA Music Department Main Hall

- 5 - Concert Programs

* indicates a guest performer t indicates work is a premiere

This program is made possible in part through a partnership of Meet the Composer, Inc., and Mid-American Arts Alliance with the support of the National Endowment for the Arts, ASCAP, and the Virgil Thomson Foundation, the Texas Commission on the Arts, and private contributions to M-AAA. We thank M-AAA for supporting guest artist Marc Wooldridge' s appearance.

NATIONAL ENDOWMENT mid·america FOR THE ARTS arts alliance

- 6 - Concert 1: 7 :30pm, Thursday, February 24, 2005

I Austin Jaquith (b. 1980): Prelude for Orchestra (2001) ~ HyeKung Lee: R eveil for Orchestra (2004) t UTSA Orchestra, Gene Dowdy, conductor

J Michael Sidney Timpson: sneaky (2004) UTSA Chamber Orchestra, Terence Frazor, conductor

1 George Tanner (b. 1979): Portrait (2000) Kasandra Keeling, piano

5 Doug Davis (b. 1948): Family Portrait (2000) Linda Poetschke, soprano; Christine Debus, piano I. My Letter to the World (Emily Dickinson) III.To be away (Adele Davis) V. Alleluia (Doug Davis)

f Kirk O'Riordan (b. 1968): Dying Light (2004) Holly O'Riordan*, piano; Andrew Rammon*, cello

Rhodell T. Fields (b. 1968): Forest Tales (2003) 1 Olivia Aguayo, flute I. The Mountain II. The Nightingale III. The Crawlers IV. The Weasel V . The Plastic Soldier VI. Wilderness

l Sue Dellinger: Dragonfire (2000) Peter Rubins, Drew Stephen, Oscar Perez, horn; Sherry Rubins, percussion

- 7 - Concert 2: 9:30am, Friday, February 25, 2005

tO Sabin Levi: /ram Seven Meditations for Organ Sabin Levi*, organ movements I, VI, VII t~ Robert Hutchinson (b. 1970): Variations on "Giant Steps" (2004) t Duane Hulbert*, piano

\ l/ Daniel Perttu (b. 1979): Reflecting Pool (2004) Mark Ford*, cello

\7 Guy Vollen (b. 1973): Odell Lake (2003) Guy Vollen*, Ron Daray*, pianists

Trent Hanna (b. 1969): The Dorland Etudes (2001) Trent Hanna*, piano I. Far From the Peaceful Shore II. Pines Whisper III. The Santa Anna Winds

- 8 - Concert 3 : 1 :OOpm, Friday, February 25, 2005

{ ) Shirley Mier (b. 1966): Theme and Deviations for Band (2003) UTSA Concert Band, Leland Sharrock, conductor

/ l Gary Mosse: Tequila Clarinets t Larry Mentzer, Carlos Esparza, clarinets

/ 1 Aaron Alon (b. 1981): Spring and Fall (2003) Melody Rich, soprano; Ken Freudigman, cello; Geoffrey Waite, piano

/ Y Carleton Macy (b. 1944): Twigs (1980) UTSA Woodwind Quintet: Rita Linard, flute; David Herbert, oboe; Larry Mentzer, clarinet, Peter Rubins, horn; Ron Noble, bassoon I. Rapido II. Sticks III.Twigs IV. Branches V. Tango VI. Seeds VII. Reprise

\ l Kenneth R. Benoit (b. 1952): Sonatina for Bassoon and Piano (2003) t Rob Noble, bassoon, Geoffrey Waite, piano I. Allegro II. Andante III. Allegro scherzando

1)1! Mark Francis (b. 1958): Secondary Colors (2000) UTSA Flute Ensemble, Rita Linard, director

v1 Charles Norman Mason: Three-Legged Race (2000) Mary Ellen Goree, violin; Dan Zollars, cello; Geoffrey Waite, piano

- 9 - Concert 4: 3:30pm, Friday, February 25, 2005

Peter Askim (b. 1971): Edge for solo bass (2002) Peter Askim *, bass

v''i Timothy Kramer (b . 1959): Mosiacs (1999) George Chave (b. 1959): Lighten Up (2004) t I. Storyteller II. Sad Clown III. Mime ~\ Paul Siskind (b . 1962): The Perilous Adventures of Comet the Wonderdog (1998) Rob Smith (b. 1968): Blue Norther (2003) UTSA Wind Ensemble, Robert Rustowicz, conductor

\;~ Douglas Bianchi (b. 1952): Sonnet XXX: Remembrance (2002-2003) Linda Poetschke, soprano UTSA Wind Ensemble, Robert Rustowicz, conductor

}\o Juan Luis de Pablo EnrI:ruez Rohen (b. 1971): Songs of Love (2004) Sheila Lepez*, soprano; Alejandro Barra:fifu*, piano I. The Realm of You II. The Exponent of Breath III. When Roses Cease to Bloom, Dear IV. Come Slowly, Eden! V. Let Me Not Mar that Perfect Dream

} f"\ , Ken Metz (b. 1954): Arachne' s Dream (1989, rev. 2004) Kellach Waddle*, bass

- 10 - Concert 5: 7 :30pm, Friday, February 25, 2005

Guest ensemble AURA, the New Music Ensemble of the Moores School of Music, University of Houston

Rob Smith, Director

h. '6 Karim Al-Zand (b. 1970): Music Box Prelude

'\, 1 Bill Ryan: Launch (2000)

·~ ;t) Erich Stem (b . 1973): After Rain (2001)

t, ) Tim Kramer (b. 1959): Mimetic Variations (1998)

l i--- HyeKyung Lee: Dong Dong

~ 7 BJl Ryan: Blurred

Austin Jaquith (b. 1980): Trio for horn, clarinet, and pianot

Paul Steinberg (b. 1946): A Song for Chris (1988)

- 11 - Concert 6: 1 :OOprn, Saturday, February 26, 2005

Guest Artist Marc Wooldridge*, percussion Steve Reich (b. 1936): Clapping Music (1972) (with a film by Jam Yafai of Andy Warhol's 100 Cans)

Bruce Hamilton (b. 1966): Portals (2004)

David Heuser (b. 1966): Going to Vermont (2003)

·"°\ f\ Marc Wooldridge: Kaleidoscope (1989) (with a film by Jam V afai of Yacov Ag am' s Free Standing Painting)

ill 0 Andrew Walters (b. 1967): Suite for Guitar (2004) t Carlo Pezzimenti*, guitar (mvts. 1-2) Aaron Cotton*, guitar (mvt. 3) I. Prelude II. Siciliano Ill. T arantelle

v\ Mike Barnett (b. 1968): Lunar Rhapsody (2003) I. Light Without Heat II. The Forest of Eternal Solitude Ill. Desert Moon, Desert Wind David Korevaar*, piano

lf\v Per Bloland: Graveshift (2004) DVD

- 12 - Concert 7: 3:30pm, Saturday, February 26, 2005

vi7 John StaHord (b. 1978): A Session for Percussion (2002) Alan Chan (b. 1978): metal.. .stone ... being .. . cracked (2001-2002) UTSA Percussion Ensemble, Sherry Rubins director

Melissa Maier (b. 1953): Against Hope (2002) t Sandra Ramawy, piano (prelude and fugue) v1 ) Robert Fleisher (b. 1953): Five Songs from Carl Sandburg's "Prairie" (2004) Emily T ruckenbrod*, soprano; William Koehler*, piano

vi ~ Donivan Johnson: Lindisfarne Ground (1997) t Kevin Richmond, piano; Sandra Ramawy, bells

II\ 7 Clifton Callender: Canon CD playback or MID I piano

'-'\ ¥ Richard Power (b. 1967): Sonic l

Daniel Adams (b. 1956): Reverberations (1999) Eric Miculka, timpani

- 13 - Concert 8: 7 :30pm, Saturday, February 26, 2005 y J Michael Twomey: Plank (2004) Martha Fabriqu e", shakuhachi

71 Jack W . Stamps (b. 1969): Speech for the president to read in case the astronauts were stranded on the moon, July 18, 1969 (2003) UTSA Concert Choir, John Silantien, conductor Geoffrey Waite, organ, Juan 0ohnny) Mendoza, percussion, Edwardo Rios, Amanda Billerin, trumpets , James Balentine, Theremin

Phillip Schroeder (b . 1956): Lux aeterna (1997) UTSA Concert Choir, John Silantien, conductor

Adam Cotton (b. 1979): Breaking Away (2003-2004) Jesus Gachupin, guitar

C, '\ Mark Snyder: Radio and Floyd Ave. (2002) Rosa Vidro*, flute; Damian Sanchez*, clarinet, T olga Ozdemir*, piano, and tape playback

Lesley Sommer (b. 1968): Five Pieces on Poems by Robert Frost (2000) Kevin Richmond, piano I. Acquainted with the Night II. Secret Interlude # 1 III. Design IV. Secret Interlude #2 V. Come In

) \ T olga Ozdemir (b. 1975): Mesopotamia Suite (in three movements) (1996) T olga Ozdemir*, piano

Adam Cotton (b. 1979): Mountain Mission (2003) UTSA Guitar Ensemble, Michael Richter, director

Daniel R. Barnard (b. 1958): Three Short Choral Works on Texts by E. E. Cummings (2000) UTSA Jazz Choir, Gary Mabry, conductor; Geoffrey Waite, piano I. Everything Except II. Night III. Jimmie's got a Goil

Frank La Rocca (b . 1951): Magnificat (2002) UTSA Women's Choir, Gary Mabry, conductor

- 14 - COMPOSER BIOGRPHIES AND PROGRAM NOTES

Daniel Adams (b. 1956, Miami, FL) is a Professor of Music and Chair of the Faculty Assembly/Senate at Texas Southern University in Houston. Adams holds a Doctor of Musical Arts (1985) from the University of Illinois at Urbana-Champaign, a Master of Music from the University of Miami (1981) and a Bachelor of Music from Louisiana State University (1978). Adams has served on the Houston Composers Alliance Board of Directors and currently serves as Vice President of the South Central Chapter of the College Music Society. Adams is the composer of numerous published musical compositions and the author of several articles and reviews on various topics related to Twentieth Century percussion music, musical pedagogy, and the music of Texas. His book, "The Solo Snare Drum: A Critical Analysis of Contemporary Compositional Techniques" was released by HoneyRock Publishing in March of2000. He has received grants and awards from ASCAP (1985-2004), the Percussive Arts Society ( 1989, 2000), the American Symphony Orchestra League ( 1989), Meet the Composer ( 1987), the Greater Miami Youth Symphony (1987), the Minnesota Composers Forum (1984), the Maryland Clarinet Composition Contest (1982), and the Music Teachers National Association (1979). His music is recorded on Capstone Records and Summit Records.

The title Reverberations refers to both the sonic character and formal design of this single movement work for unaccompanied timpani. Muffling and damping are used sparingly, thus the natural reverberation of the drums facilitates the connection of successive motives, phrases, and sections of the piece. Additionally, fragments of thematic materials introduced in the beginning sections reverberate throughout the remaining passages, often transformed through changes of timbre, texture and rhythm. The timpani are struck alternately in three areas of their head surfaces. The performer uses conventional timpani mallets, yarn mallets, fingers, and a wire brush to emphasize contrasts between the varied acoustical properties of the drum.

Aaron Alon (b. 1981) received his BA in music from the University of Chicago, where he studied composition under Marta Ptaszynska, Easley Blackwood, and Jean Milew. He is currently pursuing a Masters of Music in composition at the Cleveland Institute of Music, where he is studying under Margaret Brouwer and Orianna Webb. Recent awards include the 2003 Olga and Paul Menn Foundation Prize in Composition, first place in the 2004 Ohio Federation of Music Clubs Student Composers Contest, and second prize in the international 2004 Tampa Bay Composers' Forum Prize for Excellence in Chamber Music Composition. Aaron is also an active member of the Phi Beta Kappa Society and the current president of the Phi Omicron chapter of Mu Phi Epsilon. In addition to his classical compositions, Aaron is currently composing for a new dramatic musical titled LEPers.

Spring anti Fall is a setting of Hopkins' poem by the same title. In the text, the speaker consoles Margaret, who is grieving her first loss (loss of innocence or possibly a death). The speaker attempts a stoic veneer, but emotion seeps through; the speaker's own struggle is brought out in the rapidly shifting mood of the cello cadenza. The speaker asks Margaret why she is weeping, concluding that she weeps for a universal human condition, something we all feel but can scarcely name: "It is the blight man was born for, I It is Margaret you mourn for." While both instruments engage in musical commentary on the text, the piano is more of a passive observer of the mood; the cello is more closely aligned to the voice and to the speaker's emotional struggle, as the speaker tries to comfort Margaret, and ultimately, him- or herself.

- 15 - Spring and Fall to a young child

Margaret, are you grieving Over Goldengrove unleaving? Leaves, like the things of man, you With your fresh thoughts care for, can you? Ah! as the heart grows older It will come to such sights colder By and by, nor spare a sigh Though worlds of wanwood leafmeal lie; And yet you will weep and know why. Now no matter, child, the name: Sorrow's springs are the same. Nor mouth had, no nor mind, expressed What heart heard of, ghost guessed: It is the blight man was born for, It is Margaret you mourn for.

Gerard Manley Hopkins (1844- 89)

Karim Al-Zand is currently an Assistant Professor of Composition and Theory at Rice University's Shepherd School of Music. His music has enjoyed performances in the US, Canada and Europe and has been called "strong and startlingly lovely" (Boston Globe). Al-Zand has degrees from Harvard University (Ph. D., 2000) and McGill University in Montreal, Canada (B.Mus., 1993). His pieces have garnered several national awards and prizes including the prestigious Sackler Composition Prize, a $20,000 award and commission which he received in 2003. Al-Zand is also a founding member and vice-president of Musiqa, Houston's contemporary music group, which presents concerts featuring new and classic repertoire of the twentieth and twenty-first centuries.

Active as a bassist, composer, and conductor, Peter Askim is a member of the Honolulu Symphony Orchestra and on the faculty of the University of Hawaii - Manoa. He is currently on leave, pursuing a Doctor of Musical Arts degree in Composition at the University of Texas at Austin. He has received numerous honors for his compositions, including commissions from the International Society of Bassists and the Honolulu Symphony. His compositions are recorded on Gasparo Records and published by Discordia and Liben Music Publishers. Mr. Askim will have performances of his music in Asia, North America, South America and Europe this year. He has been a featured recitalist at the Hawaii Contrabass Festival, the International Society of Bassists Convention and the World Bass Festival in Wroclaw, Poland. Mr. Askim has served as Music Director of the Branford Chamber Orchestra and makes frequent guest conducting appearances, including with the Honolulu Symphony Orchestra.

Edge is the sharp but delicate lines of a cut diamond; the sheen of sound as it slices the silence; the precision of a surgical knife. Edge is the gritty underside of the pulsing city: dangerous, vital. It is a slalom ski as it speeds downhill - barely balancing and almost, but not quite, losing control. Precarious, but exhilarating ...Edg e was commissioned by the International Society of Bassists as the required piece for the 2003 Solo Competition.

Daniel Barnard holds a DMA in composition from the University of Kansas. He is Choral Director and Director of the Music at Noon chamber concert series at Penn State Erie, The Behrend College. Dr. Barnard is a multiple ASCAP Award winner and has won national competitions sponsored by Mt. Union College and Northern Arizona State University. His Three Short Choral Works on Texts by E. E.

- 16 - Cummings was the winning composition in November at the 261h annual Ithaca College Choral Composition Competition. Also in November three movements from Barnard's current project, entitled Requiem for a Sailor were selected for performance at a national reading session by Vocal Essence, the St. Paul based choir directed by Philip Brunelle. Barnard is affiliated with the Society of Composers Inc, American Composers Forum, American Society of Composers and Publishers, American Choral Directors Association, Chamber Music America, and serves as Treasurer of Pennsylvania Presenters.

Three Short Choral Works on Poems by E. E. Cummings represents a hybrid between vocal jazz and standard choral literature. The jazz influenced harmonies and rhythms seem particularly well suited to Cummings' whimsical lyrics. The extraordinary range of Cummings work is represented by these three selections. Everything Except (or as he spelled it: ev erythingex Cept) is the cheekiest of the poems and has the most purely jazz setting. By contrast, Night is serious and sensitive. Its setting is a lyrical and harmonically challenging a cappella ballad. Finally, the humorous Jimmie's Got a Gail takes advantage of Cummings' wit and his meter in this rollicking blues treatment. ev erythingex Cept: NIGHT ev erythingex Cept: Night, with sunset hauntings; that A red cloud under the moon. 's what she's Here will I meet my love got Beneath hushed trees.

- ex Over the silver meadows Of flower-folded grass, cept what? Shall come unto me why Her feet like arrows of moonlight. ,what it Under the magic forest Takes. now Mute with shadow, I will utterly greet you know(just as The blown star of her face. well as i do)what By white waters Sheathed in rippling silence, it takes;& i don't mean It- Shall I behold her hands Hurting the dark with lilies. & i don' t Hush thee to worship, soul! mean any Now is thy movement of love. Night; and a red cloud thing real Under the moon.

Ly what ;or ev erythi ng which. but, som e th ing:Who

- 17 - Jimmie's got a goil

Jimmie's got a goil goil goil, Jimmie 's got a goil and she coitnly can shimmie when you see her shake shake shake, when you see her shake a shimmie how you wish that you was Jimmie.

Oh for such a gurl gurl gurl, oh for such a gurl to be a fellow's twistandtwirl talk about your Sal- Sal- Sal-, talk about your Salo -mes but gimmie Jimmie's gal. - e. e. cummings

Mike Barnett began his musical career as a self-taught Heavy Metal/Art Rock drummer who composed, recorded and toured with original acts during the 1980's and 90's. He earned the Bachelor of Arts in Composition in 1996, the Master of Arts in Composition in 1998, both from the Indiana University of Pennsylvania, and the Doctor of Musical Arts degree in Composition in 2004 from the University of Colorado at Boulder where he now serves as adjunct Faculty in the Composition/Theory department. Dr. Barnett's output includes several orchestral works, including a work for orchestra and electronic sounds, a piano concerto, a chamber opera and many chamber works, solo works and songs. In January of 2005, one of his orchestral works entitled "Broken", recorded by the Kiev Philharmonic, was released on ERM Media's Masterworks of the New Era 5. His chamber music has been performed around the United States by many prominent musicians.

I composed Lunar Rhapsody in the Summer of 2003 for pianist David Korevaar. The pitch material is drawn from a system of my own making in which I rotate a series of various synthetic scales, symmetrically, around a fixed central point on the piano keyboard. The music itself is a sonic portrayal of journeys I have taken, both real and imagined; journeys under the moon (the real) and journeys to the moon (the imagined).

- 18 - Kenneth R. Benoit was born in 1952 in Coral Gables, Florida. He holds the Doctor of Musical Arts degree in Composition from Louisiana State University. His works have been performed throughout the U.S. and in Austria, Britain, Canada, France, Germany, Italy, Japan, the Netherlands, Spain, and Switzerland. He is currently an Adjunct Professor of Music at Broward Community College in Broward County, Florida. He and his wife live with their two cats in Hallandale Beach, Florida.

Sonatina for Bassoon and Piano is in three movements. The first is in sonata form, with an introduction which establishes the interval of a second (major and minor) as the dominant interval. This is carried through in both of the themes; though the second theme is contrasted by the use of a seventh (inverted second) and by a more lyrical accompaniment. The development concentrates on the second theme first, then uses the first theme to lead into the recapitulation. The second movement is in ABA' form. The "A" sections are passacaglias on the bass line presented by the piano. The "B" section consists of variations based on the bassoon theme heard during the fifth repetition of the passacaglia bass. The third movement is a rondo (ABACABA).

Douglas Bianchi (b. 1952), is in his eighth year as Director of Bands at Wayne State University in Detroit, Michigan. He conducts both the Wayne State University Wind Symphony and Concert Band, and teaches conducting and music theory. Under his direction, the WSU Wind Symphony has premiered several works, including James Lentini's "The Angel's Journey" (published by Ballerbach) and "Riding with Warriors", Edward Martin's "Enchanted Falls", as well as several of his own compositions. He also has articles published in the National Band Association Journal, the Instrumentalist, and Encore Magazine. In addition, Professor Bianchi has guest conducted the Detroit Civic Orchestra, the Detroit Summer Institute Orchestra, as well as bands and orchestras in both Europe and Asia. In demand as a guest adjudicator, clinician, and conductor, he has received several awards for his outstanding teaching and contributions.

Sonnet XXX: Remembrance, composed in February of 2002 and revised in January of 2003 in memory of former WSU Band Director Harold Arnoldi, is a setting of Shakespeare's thirtieth sonnet for soprano and wind ensemble. Through-composed and in a single tempo, a feel of nostalgia is created by motific recall. The mood of the sonnet shifts from the despondent to one of repose in the last couplet. For this reason, the last couplet is musically distanced from the body of the sonnet by an instrumental interlude in 5/4 beginning with a piano ostinato. Layering lines below and above the ostinato, the interlude culminates with a musical quote from the Wayne State University "Alma Mater", a fitting gesture given Harold Amoldi's sixty-year affiliation with the University. After this interlude, the final couplet is sung recalling previous material, and the piece ends quietly in C major with the rhythmic chanting of Harold Amoldi's name veiled within. This "Nome de plume" is scored to include the trumpet, Harold Amoldi's instrument, chanting appropriately, a B flat.

Text: When to the Sessions of sweet silent thought, I sommon up remembrance of things past, I sigh the lacke of many a thing I sought, And with old woes new waile my deare times waste: Then can I drowne an eye (un-us'd to flow) For precious friends hid in deaths dateless night, And weepe a fresh loves long since canceld woe. And mone th'expence of many a vannisht sight. Then can I greeve at grievances fore-gon, And heavily from woe to woe tell ore The sad account of fore-bemoned mone, Which I new pay, as if not pay d before. But if the while I thinke on thee (d eare friend) All losses are restord, and sorrowes end. - William Shakespeare

- 19 - Originally from New York City, Per Bloland received an undergraduate degree in Psychology from the University of Michigan. He went on to pursue a second Bachelors degree in composition from San Francisco State University, where he studied with Ron Caltabiano and Josh Levine. As a Masters student at the University of Texas at Austin, he studied with Kevin Puts, Russell Pinkston and Bruce Pennycook, He is currently working toward his Doctorate at Stanford University, studying with Mark Applebaum. Per recently won first prize in the SEAMUS/ ASCAP Student Commission Competition, and grand prize in the Digital Art Awards, Tokyo, Japan. In addition, he was selected as a finalist in the International Contemporary Music Contest "Citta di Udine", Italy, which includes a performance and recording of his string quintet Prelude: Dissent. He has also been a finalist in the SCI/ASCAP Student Commission Competition and the Pierre Schaeffer International Computer Music Competition. Recent performances include the International Computer Music Conference, the Electronic Music Midwest Festival, SoundimageSound II, Cinematexas, Imagine 2, Most Significant Bytes, and the Indiana State University Contemporary Music Festival.

Graveshift: Through a rain-streaked cafe window, surveillance of a street scene is digitally transformed into a fluid chaos comprised of paranoia, ghostly figures, and alterations of reality. Echoes of a forgotten song float above the milieu, now gaining, now loosing coherence. It is an image plagued by distortion, but this distortion emerges from quietness and recedes once again into the same. Graveshift was conceived as a cross-discipline collaboration including video, music, and live dance.

Clifton Callender, Assistant Professor of Composition at Florida State University, received the Ph.D. in composition from the University of Chicago as a Whiting Fellow. He holds the M.M. in composition from the Peabody Conservatory and the B.F.A. from Tulane University. His music has been recognized by and performed at the Tenth International Festival of Electroacoustic Music "Primavera en La Habana 2004," the National Association of Composers USA Young Composers Competition, the Northern Arizona University Centennial Composition the Society for Electroacoustic Music in the United States, Competition, North American Saxophone Alliance 2002 Biennial Conference, the Fifth World Harp Congress in Copenhagen, the iChamber New Music Series, the Composers Conference at Wellesley College, the Ernest Bloch Music Festival, the 2nd ppIANISSIMO festival in Bulgaria, Florida State University, SCI national, regional, and student conferences, the University of Georgia, the University of Chicago Contemporary Chamber Players Concert Series, Northern Illinois University, and the Chicago Union League Civic & Arts Foundation. His orchestral work, Visage, received a reading by the American Composers Orchestra as part of the Whitaker New Music Reading Sessions.

Canon is a work for Disklavier that explores the simultaneous presentation of different accelerandos. The work consists of three strata that begin at M.M. 30 and accelerate to an ending tempo ofM.M. 180 over a duration of precisely two minutes. Each voice cycles through a repeating forty two bar theme, with the highest voice accelerating quickly near the beginning and gradually decreasing the rate of acceleration, the lowest voice mirroring this process, and the middle voice maintaining a steady increase in tempo throughout. The specific tempo contours are designed so that all three voices end at precisely the same moment, in the same tempo, and at the very end of their respective repetition of the theme.

Alan Chan has received honors from the American Society of Composers, Authors and Publishers (ASCAP) and the Composers and Authors Society of Hong Kong (CASH). Floes (2002) for vibraphone solo recently received second prize from the Percussive Arts Society composition competition. His recent composition and Master's thesis, Burlesque (2004) for Orchestra will be performed in March 2005 by the University of Missouri - Kansas City (UMKC) Conservatory Orchestra. During the year of 1999-2000, he entered the Vienna exchange program to study at the Universitiit fur Musik und Darstellen

- 20 - Kunst Wien with Michael Jarrell. His mentors also include Marc-Andre Dalbavie (IRCAM summer course 2001), Toshio Hosokawa (Darmstadt summer course 2002), John Van der Slice (University of Miami), James Mobberley and Chen Yi (UMKC). He is now pursuing his doctoral degree in composition at the University of Southern California.

Jin Shi Wei Kai (literally translated as metal... stone ... being... crackeU) is an ancient Chinese idiom, dates back to the 5th century B.C., which tells about a famous archer and the struggle between his will and the unruly force of nature. It implies that if we have faith and effort, we can accomplish any difficult task. Similar proverbs can be found in the Bible such as "Moving Mountains" from Saint Paul's letters. This piece was commissioned by Composer and Authors Society of Hong Kong in 2001 and has been performed eight times in the United States and in Europe.

George B. Chave (b. 1959) is a recipient of numerous honors and awards including first prize in the 1985 Oriana Trio International Composition Competition, and the grand prize in the 1993 Best Song in the Universe Contest. His music has been performed throughout the United States and in Mexico, Canada, Europe, and Korea and is published by Alliance Music, Harold Gore Music, Manduca Music and Norruth Music, Incorporated. Chave has composed over 60 works including numerous solo songs, solo and chamber instrumental pieces, and works for orchestra, band and wind ensemble. He recently completed an opera based on the female Egyptian Pharoah, Hatshepsut. Chave is an Associate Professor of Music at the University of Texas at Arlington. He studied composition with Brian Israel, Earl George, Dexter Morrill, Samuel Adler, Robert Wykes and John Perkins, and holds degrees from Syracuse University, Binghamton University and Washington University.

Lighten Up , a three movement work for Wind Ensemble, was commissioned by Bill and Susan Collins as a gift for retired University of Texas at Arlington Band Director, Ray Lichtenwalter. My instructions from the commissioning party were to "have fun." I composed it with that spirit in mind. The first movement is essentially a march (or at least march inspired). It takes some rather unexpected twists and turns. The second movement finds its inspiration in ragtime. It runs the gamut from rather dark and depressed to wildly manic, with an emotional crash back to depression and anger. The third movement reflects on the elements presented in the first two movements in a light-hearted manner; in a sense poking fun at whatever might be deemed serious in the those movements.

Adam Cotton was raised in Austin, Texas. He started playing guitar and writing songs at age twelve. After a few years of experimenting with different musical ideas and philosophies he eventually decided to enter into formal classical training at the University of California in Santa Cruz. There he received the Deans Undergraduate Award for his String Quartet No. 1: The Waves. His music has been performed in England, Tennessee, Indiana, Texas and California. Adam is now performing, writing and teaching in the San Francisco bay area.

Mountain Mission: Guitar ensemble music should be fun. This is the result of that assertion.

Breaking Away: In wanting to write a guitaristic piece that borrowed from modem rock styles but kept true to its classical guitar roots, I ended up with Breaking Away. A journey through odd times and driving ostinatos, it could be said that Breaking Away is the love child of Leo Brouwer and Tool.

- 21 - A summa cum laude graduate of the University of Tennessee studying with David Van Vactor, Doug Davis went on to complete his Ph.D. from Harvard University where he studied with Earl Kim and Leon Kirchner. At Harvard, he was selected by Leonard Bernstein as the student member of the Norton Lectures Discussion Group. Recent performances include "Psalm for an Orange Angel" by the Hungarian Symphony and "Token" for voice and orchestra featured at the Ukrainian "Contrasts" festival. His jazz compositions have been recorded by Chick Corea, Larry Coryell, and Bennie Wallace. Davis is the director of theory, composition, and jazz studies at California State University, Bakersfield. In 2003, he received the WANG Family Excellence Award that is given to four faculty members chosen from the entire 23 campuses in the CSU system.

Family Portraits: The initial impetus for this song cycle was a Christmas present from my daughter. It was a small framed poem that began: Chaotic canvas gushing imprecise. I immediately recognized she was talking my language and began the most precise matter of notating music. Hearing my efforts, my wife handed me a poem that she created after the untimely death of a friend from cancer. We were her principal care-givers during her final seven months when she required 24/7 assistance. This cathartic song seemed almost to be already written. These two settings became the second and third songs in this emerging cycle. The first song, Emily Dickinson's "My Letter to the World" seemed to encapsulate a perspective of which I'm familiar. The fourth song was written with the hope that its sentiments might help my student who was facing the most difficult time for any family, the death of her young child. The cycle concludes with an "Alleluia" which includes an entreaty to return from paradise only to extend its glory, certainly a point of view I don't plan to "top".

Texts: I. This is my letter to the World That never wrote to Me The simple News that Nature told With tender Majesty Her Message is committed To Hands I cannot see For love of her Sweet countrymen Judge tenderly of Me -Emily Dickinson

III. To be away, in May To be gone away, in May Means to lose so much To miss the spring To miss the news To trade away- Forsaking friendship's binding force To escape the pain of pending loss While spring' s eternal life flows forth Perplexing though it may be to me-

Why my senses reel Why my balance tilts So strong I've always said I feel That I wish to cry In May. - Adele Davis

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___J V. Alleluia, alleluia Alleluia, alleluia Take flight from Time's frozen light And float again on breezes blown By wings of the earth's revolving By life's ever enfolding Into yet another alleluia Alleluia -Doug Davis

Born in Mexico City in 1971 Juan Luis de Pablo Enriquez Rohen has studied composition under Timothy Kramer, Victor and Francisco Nufiez. Holds a Bachelor of Music degree in Composition from Trinirty University and is currently studying a Masters degree at the University of Houston under the guidance of Rob Smith, Reynaldo Ochoa, Michael Horvit and Robert Nelson. His music has been played in most major theatres in Mexico City and in Queretaro City. His Danzas Mestizas for orchestra was premiered at the Teatro de la Republica under the direction of Jose Guadalupe Flores. Currently, his lullaby for Soprano and Piano is being recorded by acclaimed Mexican Soprano, Encarnacion Vazquez for the Conaculta-FONCA proyect: Canciones de Luna. Recently, Mr. Enriquez played his newest guitar Sonata at a Mayan concert in Merida, Yucatan.

Songs ofLove: This cycle for Soprano and Pianoforte is specially written for the voice of Sheila Lopez and the playing of Alejandro Barrafion in fulfillment of a commission to contribute to aqn interesting repertoire of concert song cycles written by composers using foreingn language texts. Songs of Love, was chosen among other cycles by Robert Avalon and Federico Ibarra, to name a few. This cycle reflects on the poetry of Emily Dickinson without altering or obscuring the text.

Texts: I. The Realm of You Then take my flower, pray' I have no life but this, To lead it here; IV. Come Slowly, Eden! Nor any Death, but lest Dispelled from there; Come slowly, Eden! Lips unused to thee, Nor tie to earths to come, Bashful sip thy jasmines, Nor action new, As the fainting bee, Except through this extent, The realm of you. Reaching late his flower, Round her chamber hums, II. The Exponent of Breath Counts his nectars - enters, Love is anterior to life, And is lost in balms! Posterior to death, Initial of creation, and The exponent of breath. V. Let Me Not Mar that Perfect Dream

III. When Roses Cease to Bloom, Dear, Let me not mar that perfect dream By an auroral stain, When roses cease to bloom, dear, But so adjust my daily night And violets are done, That it will come again. When bumble-bees in solemn flight - Emily Dickenson Have passed beyond the sun,

The hand that paused to gather Upon this summer's day Will idle lie, in auburn, -

- 23 - Sue Dellinger's compositions include solo and chamber pieces as well as electronic works, symphonic band works, and orchestral works. She has had numerous performances of her works at festivals, conferences, and recitals internationally. Some of these include performances by Synchronia (St. Louis), Continuum (New York), The Contemporary Music Festival at Indiana State University, The Butler University Wind Ensemble, Tampa Bay Composers Forum, the Virginia CBDNA New Band Music Symposium XXV, the International Hom Society Festival in Beijing, China, as well as various national and regional SCI conferences. In 2004 she won the Judith Lang Zaimont Award of the IAWM Search for New Music Awards. Sue is in the process of completing her doctorate in music composition at Indiana University in Bloomington, Indiana, where she has studied with Claude Baker, Fred Fox, Don Freund, and Eugene O'Brien. She also holds a masters degree from Butler University in Indianapolis, Indiana. Sue has taught various music courses at Indiana State University and Butler University. She is currently residing in Charlotte, North Carolina.

Dragonfire is for three horns and percussion and was written for the 32nd International Hom Society Symposium in Beijing, China. The percussion instruments in this piece were purposely limited and consist of timpani, tam tam, and suspended cymbal. It is primarily a lively work made up of short gestures and rhythmic motives as well as a melodic line that is varied throughout the piece. Primary intervals in the piece include the minor third and the tritone while other compositional devices include variation, canon, and ostinato. The piece was titled "Dragon.fire" because of the importance of the dragon in Chinese culture and the fact that the year 2000 (the year this piece was written) was the "Year of the Dragon" in China.

Born in Germany in 1968, Rhodell T. Fields has a diverse background in ethnic music. Coming from an African-American father and Greek mother, and raised in Greece for the most part, his musical output has the potential to convey the music language of vastly different cultures. The exposure to traditional Greek and Middle Eastern idioms, by been a professional level keyboardist, pianist and composer, in and out of studios back in Greece for many years, has been a major contribution to his development. For the last 4 years, the decision to develop and expand his musical knowledge, brought him to United States and currently he studies composition in the University of South Florida with composers such as Michael Timpson, Paul Reller and James Lewis. In early December of2004 his ''Cuban Suite" for String Orchestra, was included in a reading session followed by full performance from the Florida Orchestra under the guidance of conductor Susan Haig, with great success and warm responses.

Forest Tales is a cycle of short pieces for solo flute, completed in 2003. The first piece of the cycle was "The Mountain" which incorporates elements of Greek folk traditional music and the unique way the peasants in the Greek mountains play their hand made recorders. There was an effort to assimilate the musical aesthetics and approach of the peasants improvisations, which intentionally lacks virtuosity but always expresses deep thoughts and emotions. The rest of the pieces portrays some of the mountains residents while the last movement takes us back out of the mountains reality, with music that sounds distant and nostalgic. I need to express my deep gratitude to Dr. Michael S. Timpson for his encouragement and his constant efforts in promoting my music as well as other new composers output. He has been supportive in the greatest extend and constantly vibrant and energetic towards our compositional goals.

- 24 - Robert Fleisher (b. 1953, NYC) is professor and coordinator of music theory and composition at Northern Illinois University (DeKalb). He received the B.Mus. with honors at the University of Colorado (Boulder) and the M.M. and D.M.A. at the University of Illinois (Urbana). Artist residencies include Yaddo, Millay Colony, Virginia Center, Hambidge Center, Villa Montalvo, and Mishkenot Sha'ananim (Jerusalem). Compositions appear on Centaur and Capstone. He has also contributed to journals in the U.S. and abroad, and is the author of Twenty Israeli Composers: Voices ofa Culture, published by the Wayne State University Press.

Five Songs from Carl Sandburg's "Prairie": At the start of my Spring 2003 sabbatical leave, my wife Darsha (to whom these songs are dedicated) taped Sandburg's "Prairie" (the first poem in his 1918 collection, Cornhuskers) to my PC. The texts for these five songs, all from this extended poem, inspired music unlike anything I've ever written. It is a special pleasure to collaborate on this occasion with my former NIU student, Emily Truckenbrod, and with my NIU colleague, Bill Koehler. They've each performed these songs previously, but this is the first time they are doing so together.

Five Songs from Carl Sandburg's "Prairie" I was born on the prairie and the milk of its wheat, the red of its clover, the eyes of its women, gave me a song and a slogan... . Here I know I will hanker after nothing so much as one more sun­ rise or a sky moon of fire doubled to a river moon of water. The prairie sings to me in the forenoon and I know in the night I rest easy in the prairie arms, on the prairie heart. ... 0 Prairie mother, I am one of your boys. I have loved the prairie as a man with a heart shot full of pain over love. Here I know I will hanker after nothing so much as one more sun­ rise or a sky moon of fire doubled to a river moon of water.

I am here when the cities are gone. I am here before the cities come. I nourished the lonely men on horses. I will keep the laughing men who ride iron. I am dust of men.

I am dust of your dust, as I am brother and mother To the copper faces, the worker in flint and clay, The singing women and their sons a thousand years ago Marching single file the timber and the plain.

Have you seen a red sunset drip over one of my cornfields, the shore of night stars, the Wave lines of dawn up a wheat valley? Have you heard my threshing crews yelling in the chaff of a strawpile and the running wheat of the wagonboards, my comhuskers, my harvest hands hauling crops, singing dreams of women, worlds, horizons?

Rivers cut a path on flat lands. The mountains stand up. The salt oceans press in And push on the coast lines. The sun, the wind, bring rain And I know what the rainbow writes across the east or west in a half-circle: A love-letter pledge to come again.

- 25 - I speak of new cities and new people. I tell you the past is a bucket of ashes. I tell you yesterday is a wind gone down, a sun dropped in the west. I tell you there is nothing in the world only an ocean of tomorrows, a sky of tomorrows. I am a brother of the cornhuskers who say at sundown: Tomorrow is a day. Carl Sandburg

Mark Francis (b. 1958) is Director of Education and Librarian for the Mississippi Symphony Orchestra. He has previously taught at Mississippi State University, Louisiana School of Math. Science and the Arts, Centenary College, Northwestern State University and Power Academic and Performing Arts Complex. He holds a D.M.A. in composition from the University of Kentucky. A recipient of IO ASCAP Standard Awards his composition include chamber, orchestral, choral and electronic works as well as over 65 art songs. His composition are frequently performed at prestigious festivals such as the Society of Composers, Inc. National Meeting, Resolution 2000 New Music Festival, the Corcoran Gallery Contemporary Music Series in Washington, DC and the North American Saxophone Association. His compositions and arrangements are published by Conners Publications, Carillion Music from Albany and Little Piper Publications. He is a past Board Member for Composition of the College Music Society, South Chapter, and past President of the Southeastern Composers League and a frequent contributor to 2._L'. Century Music.

Secondary Colors for flute choir was written in 2000. The work was designed to introduce young performers to various extended techniques: flutter tongue, jet whistle, key taps, singing while playing. These techniques are integrated into the music as part of the timbral palete and are not intended to stand out on their own.

Bruce Hamilton holds DM and MM degrees in Composition and a BM degree in Percussion Performance from Indiana University, where he received the Performer's Certificate, the Dean's Prize for Chamber Music Composition, and the Cole and Kate Porter Memorial Composition Scholarship. His works are published by Non Sequitur Music, available on CD on the SEAMUS and Mark labels, and are widely performed at conferences, festivals, and recitals in the US and abroad. Hamilton has received honors and awards from ALEA III, AMC, ASCAP, the Barlow Endowment, the National Society of Arts and Letters, PAS, the Russolo-Pratella Foundation, and SEAMUS. He has been granted numerous commissions, including those from Carbondale Community Arts, SEAMUS/ASCAP, the Pittsburgh New Music Ensemble, the Whatcom Symphony, and the American Composers Forum. Hamilton is currently Assistant Professor of Music at Western Washington University, where he teaches music theory, composition, and electroacoustic music.

Portals (2003-4) was commissioned by percussionist Marc Wooldridge with funding provided by Western Washington University. The multi-section work explores conceptual themes of passage and transition and uses a fusion of synthetic, instrumental, and "everyday" sounds. It is also a stylistic amalgamation, mixing drum beats, ambient textures, gestural phrases, and virtuosic percussion playing into a surrealistic stew. Portals was created at the WWU electroacoustic music studio (wweams) and the composer's home studio.

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- -- ~------~ Trent Hanna is currently the Theory/Composition Coordinator at Sam Houston State University in Huntsville, Texas. Dr. Hanna received his Doctorate of Musical Arts in Composition from the University of Texas in 2003. His compositions have received numerous awards including first in the 2001 SCI/ASCAP Student Composition Competition and honorable mention in the 2005 Truman State University/MACRO Composition Competition. One of his most recent compositions, Fanfare for Peace, has already been performed six times, including performances in Vienna and Prague. Trent has competed in several piano contests, placing first in the TMTA Collegiate Competition, the Corpus Christi International Young Artists Concerto Competition, and the Sorantin Young Artist International Concerto Competition. Dr. Hanna was awarded residencies at the Dorland Mountain Arts Colony, the Virginia Center for the Creative Arts, Villa Montalvo, and the Isle Royale National Park Artists-in-Residence Program.

The Dorland Etudes represent triumph over tribulation. During a difficult time in my life, I forced myself to a piano and started playing in hopes that somehow it would help me return to a semblance of normalcy. The rhythmic repeated pattern I started playing became the beginning of the first etude and gave birth to the main three-note motive used throughout the three etudes. While I had begun and completed the first etude in 1997, I only had sketches of the second and third. In 2001 as a resident at the Dorland Mountain Arts Colony in Temecula, California, I completed the final two etudes, inspired by the beauty of the surroundings and a night during which the Santa Ana Winds blew through the colony with ferocity.

David Heuser's music has been performed by various groups and individuals and on festivals and conferences throughout the US and abroad, and he has won a variety of awards, grants and commissions. Michael Souther in the Register-Guard (Eugene, OR) called Heuser's orchestral work Cauldron "an exciting, dynamic tour-de-force." Reviewer Mike Greenburg, writing in the San Antonio Express-News, wrote of Heuser's Miniatures for Piano, "All are exceptionally well-crafted, and all contain a lot more music than the term 'miniature' might suggest." And Andrew Druckenbrod, of the Pittsburgh Post-Gazette, reviewing a performance of Heuser's Immaculate, Bored, Off-key and Vain, said "This work is just the sort of music classical music needs more of." A native ofNew Jersey, Heuser's degrees are from Eastman and Indiana University, and he currently resides in San Antonio, where he is an Associate Professor at the University of Texas at San Antonio. Heuser's music is published by Non Sequitur Music, and works of his can be found on the Albany, Capstone, and Equilibrium labels.

Going to Vermont: When Marc Wooldridge, for whom this work is written, and I discussed what this piece might be like, we quickly found ourselves thinking about natural world (the marimba, after all, is made of wood), and, for me, the place I associate most with being outside, being in nature, is Vermont. My grandparents retired to Vermont, and we visited there so often - it seemed to be the only place we went to for vacation - I grew to know every inch of the seven hour trip from our home in New Jersey, until the journey itself took on a ritualistic nature. And so the ideas of Vermont and nature began, in my mind, to be associated with ideas of going on a trip, on a vacation, getting away from the everyday and leaving your troubles behind. Although I still go there now, taking my own children, the idea of Vermont also got me caught up in my past, remembering childhood and what an adventure a vacation is to child. Although my thoughts, as you can see, had drifted quite far from the natural world, the piece does include references to nature, particularly through bird song (the hermit thrush, Vermont's state bird, most notably). The piece is in three sections. The first is the dark world of worries and of 4:30 in the morning lying in the back of the car listening and watching, pretending to sleep. The second section is the fun part of the trip, when there' s stuff to do, things to look at. However it's all concrete and billboards with no sign of the natural world. (A connection to my youth: all of the radio audio from this section comes from tapings I did as a kid.) In the last section we've finally left the interstate for twisting road that follow the shape of the rivers, with green everywhere, and no sign of the commercial. Open up the windows, we 're almost there.

- 27 - Robert Hutchinson (Ph.D. 1998, University of Oregon) is Associate Professor of Music at the University of Puget Sound in Tacoma, Washington. Hutchinson's composition, From the Sea to the Stars, was commissioned by the Tacoma Youth Symphony for a May 2004 premiere. His composition Dancing on the Strand for wind ensemble was selected by the Virginia Chapter of the College Band Directors National Association for their Symposium XXIX for New Band Music in February 2004, and received an honorable mention in the competition for ASCAP's 2004 Rudolph Nissim Award. Hutchinson's Jeux des Enfants was selected by the Charles Ives Center for American Music for a June 2002 premiere by the Charleston Symphony Orchestra at the Piccolo Spoleto Festival in Charleston, South Carolina. Jeux des Enfants and Dancing on the Strand were selected for performance at the Society of Composers 2004 National Conference in Oklahoma in March 2004.

The release of the album Giant Steps by John Coltrane in 1959 changed the way jazz was composed and performed. The composition Giant Steps features an unusual chord progression that ascends through key areas a major third apart and a strictly sequenced melody. My initial idea was to write a series of polyrhythmic studies over the chord progression of"Giant Steps." Later, when I settled on the idea of writing variations, I decided to use contrapuntal techniques (canon, fugue), as well as write free variations. The scheme of "Variations on "Giant Steps" is as follows: five groups of variations with each group containing three variations. The three variation types in each group are (1) free/abstract, (2) polyrhythmic, and (2) Bach-like. A description follows.

Theme Variation 1. Sextuplets. Variation 2. Three Against Four Against Five Against Seven. Variation 3. Invention .. Variation 4. Major Seventh Chords. Variation 5. Two Against Three. Variation 6. Fugue. Variation 7. Set Class 6-20 (014589 Variation 8. Three Against Four. Variation 9. Canon at the Octave. Variation 10. Fractal. Variation 11. Five Against Four (or 2+3 over 2+2). Variation 12 . Gigue. Variation 13 . Sarabande (With Tristan). Variation 14. Sevens (And Seven Against Four). Finale

Austin Jaquith, a native Californian, began studying composition in high school with Jack Perla in Oakland, CA. Collegiate studies began at the Cleveland Institute of Music with Dr. Margaret Brouwer, where he received a B.M. in composition. In Cleveland Mr. Jaquith's works were performed by the Biava String Quartet, the Cleveland Chamber Symphony, and the Parma Symphony. Additionally Mr. Jaquith's Prelude was performed by the Virginia Beach Youth Symphony, Jeffrey Phelps, director. In 2003, Mr. Jaquith was accepted as a M.M. candidate in Composition at the Moores School of Music at the University of Houston, where he will graduate in May.

Composed in the Spring of 200 l , Prelude seeks to wander a labyrinth built from shifting shades of color through harmonic and melodic fluctuation as well as subtle orchestrational variety. The piece is a clear arch form, developing slowly towards its one climax and then ebbing away to nothing.

Trio for horn, clarinet, and piano: From the opening bars, the clarinet and horn are established as carrying the lead in this work. The two often cooperate and exchange melodic gestures while the piano for the most part occupies a supporting role. The basis for the entire work is heard in the opening horn call, which is

- 28 - heard in varied forms throughout the movement. The structure is that of a rondo, with an introduction which appears for a second time just before the final A section.

Donivan Johnson is in his fourteenth year as the only K-12 music instructor for the Selkirk School District located in Northeast Washington. In 2001 Selkirk was designated as one of the "Best 100 Communities For Music Education In America." His music has been characterized as that of"dramatic simplicity . .. rent from the heart, elevating individual gifts and talents of those in performance to a higher place than entertainment" (Selkirk Sun - April 13, 1998). His cantata Arise, My Love was described as music "that sticks in the ear .. . irritatingly beautiful transparency" (Basler Zeitung - June 7, 1999: Basel, Switzerland). He has been invited to present his original research on the music of Webern at various National and Regional SCI Conferences. He received his B.A and M.A. in Composition from California State University, Northridge where he was a student of Aurelio de la Vega. The ground in Lindisfarne Ground ( 1997) has two meanings. Musically, it refers to the constant bass part (ground). Moreover, it refers to the actual ground on which the tidal community ofLindisfarne (Holy Island) in Northumbria stands. David Adam, the Vicar of Lindisfarne, wrote: "There is a time for breaking down that we may be rebuilt, refreshed and resurrected. If only people would discover that breaking is part of break-through!!" (Letter to the composer, April 1998) Helmut Lachenmann reminds and admonishes us that: "composition is by no means a 'putting together' but rather a 'taking apart' and more: a confrontation with the interconnections and necessities of the musical substance." (Vier Grundbestimmungen des Musikhorens, 1979) The five piano phrases of this work (accompanied by very soft random ringing of unpitched bells and framed by seven extremely loud break-throughs) are an attempt to give a very brief aural expression of this confrontation.

David Korevaar began his piano studies at age six in San Diego with Sherman Storr, and at age 13 he became a student of the great American virtuoso Earl Wild. By age 20 he had earned his Bachelor's and Master's degrees from the Juilliard School, where he continued his studies with Earl Wild and studied composition with David Diamond. He completed his Doctor of Musical Arts from the Juilliard School with Abbey Simon. Another important mentor and teacher was the French pianist Paul Doguereau. David Korevaar's mastery of the piano is joined with a large and varied repertoire, and enhanced by his work with living composers and his own experience writing music. He successfully balances an active performing career as a soloist and chamber musician with teaching at the University of Colorado at Boulder, where he is Assistant Professor of Piano.

Timothy Kramer's works have been performed throughout the United States, Europe, and Mexico, including performances by the Indianapolis, Detroit, Tacoma, and San Antonio Symphony Orchestras, the Winters Chamber Orchestra, North/South Consonance, the SOLi Ensemble, the ONIX Ensemble (Mexico), and the Detroit Chamber Winds. He has received grants and awards from the Guggenheim Foundation, the NEA, the MacDowell Colony, Meet the Composer, BMI, ASCAP, the American Guild of Organists, and the American Music Center among others. His degrees are from Pacific Lutheran University (B.M.) and the University of Michigan (M.M., D.M.A.), and he was a Fulbright Scholar to Germany in 1988-89. He is currently Associate Professor and Composer-in-Residence at Trinity University in San Antonio. His works are published by Southern Music Co., Earnestly Music, Hinshaw, and Selah and recorded on the Calcante and North/South labels.

Mosaics was commissioned in 1999 by the Board of Directors of the Midwest Clinic, with a request for a work which is challenging, but playable, at the high school level. My initial ideas were to design a piece in which simple figures would build larger, more complex musical objects. As a result, this work is based on a small four-note group (C,D,F,G and its transpositions) that forms harmonic, melodic, and motivic patterns throughout the piece. Material made from relatively simple rhythms is then used to create larger gestures and motion. In many cases, patterns are broken between pairs of instruments, registers, or choirs within the ensemble. On a

- 29 - formal level, the work presents itself as a fantasy with five interior sections surrounded by an introduction and coda. Each section takes on a different mood and texture, displaying various perspectives of the mosaic "tiles" from which the work is constructed.

Mimetic Variations: This work was commissioned in 1998 by the Detroit Chamber Winds (and Strings), whose core wind ensemble often performs the more traditional Harrnoniemusik of the 18th century. In order to bridge the gap between their more utilitarian, 18th century repertoire and the 20th century, I decided to base my work on material which has similar characteristics to their repertoire: a clear melodic and rhythmic component, directness, elegant simplicity, an occasional dramatic effect. This piece also reflects my ongoing interest in cyclic relationships. Each variation not only treats the original theme group, but also presents a variety of alterations, which are then imitated in ensuing sections. These transforming variations move us from a driving, playful introduction into contrasting material that dissolves the ensemble down to a single line shared between players. A chorale brings all the forces of the ensemble together that leads to a heroic tutti. Finally, a section of irregular and shifting meters moves the ensemble back to the opening material. Each variation relies on the sharing of gestures between pairs of players to disassemble and then reassemble the fust section. The resulting patterns are echoes of material cut from the opening.

Frank La Rocca (b. 1951) earned the B.A. in Music from Yale University, and the M.A. and Ph.D in composition from the UC Berkeley. Among his awards and honors are First Prize in the 2003 Friends and Enemies of New Music Competition, an NEA Composer Fellowship, an ASCAP Young Composer's Award, a California State Artist Fellowship, the Nicolo de Lorenzo Prize, Honorable Mention in the 2004 Vanguard Premieres choral competition, and a Special Commendation in the ASCAP/Nissim Orchestral Competition. Notable recent performances include Magnificat at Davies Symphony Hall, San Francisco, Expectavi Dominum in the Cathedral at Aarschot, Belgium, and In This Place at the Piccolo Spoleto Festival. For 2005, he has been commissioned by Stanford Lively Arts and the San Francisco Girls Chorus to compose a new work to be premiered at Stanford in February 2005, and performed by the SFGC at the World Choral Symposium in Kyoto, Japan in July 2005. His music has been recorded on the Capstone, CRJ, CRS and MEDR labels. La Rocca is a founding member, past Executive Director and current Artistic Director of COMPOSERS, INC., and teaches at California State University, Hayward, where he is Head of Composition and Theory.

Magnificat was completed in February of 2002 and consists of a setting of the Virgin Mary's famous prayer/song from the book of Luke. It is a text that speaks powerfully to qualities of fai thfulness, humility and hope - and this from an obscure teenage Jewish girl in a nondescript small town somewhere in ancient Israel. For me, this fact endows the text with a mystical, miraculous quality that I have attempted to capture in the music. It is dedicated to my mother, who is also named Mary.

HyeKyung Lee graduated from The University of Texas at Austin (DMA in Composition /Performance in Piano). She also studied with Bernard Rands at the Atlantic Center for the Arts 1998, and Ladislav Kubik at the Czech-American Summer Music Institute in Prague 1995. Her Suite for Solo Piano is available on New Ariel Recordings (performed by Jeffrey Jacob), Opposed Directions for Disklavier and Live-electronics (performed by herself) on Vol. 8 of the SEAMUS CD Series, Quickly Casual on Robin Cox Ensemble Vol.7. She has taught at the University of Hawaii and Oberlin Conservatory of Music. While she was in Hawaii, she recorded the CD, "Blue- New Music for Saxophone and Piano" with saxophonist Todd Yukumoto (released on Equilibrium).

Dong-dong: "Dong" means "movement" in the Korean language. Doubling this word makes the word lighter, thus "Dong-dong" implies "light movement." Reveil is about personal "awakening."

- 30 - Kirk O'Riordan (b. 1968) is an active composer, conductor, saxophonist, and teacher. His music has been performed in six countries and in 13 of the 50 United States. Performances of his works have been featured at festivals and conferences such as the Ravenna Festival (Italy), regional conferences of the Society of Composers, Inc. and the College Music Society; and in concert by such performers as Arizona State University Chamber Winds and Symphony Orchestra, the Northwestern University Contemporary Music Ensemble, the University of Colorado Chamber Wind Ensemble, the Williamsport Chamber Chorus and Orchestra, Jeffrey Lyman, Marco Albonetti, Russell Peterson, Andrew Rammon, and Holly Roadfeldt­ O'Riordan. Dr. O'Riordan is currently on the faculty of Susquehanna University where he teaches music theory and composition. He has also served on the faculties of Lock Haven University, Colorado Christian University, Chandler-Gilbert Community College, and Paradise Valley Community College. He holds the Doctor of Musical Arts degree from Arizona State University (the first recipient of that degree from ASU); the Certificate of Performance in Saxophone from Northwestern Universtiy; and three Master of Music degrees (composition, saxophone performance, and conducting). In his spare time, Dr. O'Riordan is an avid inline hockey player: he is the goalie for the Lock Haven University club team, and for other teams in the Williamsport, PA area.

Tolga Zafer Ozdemir, born in Ankara, Turkey in 1975, likes to compose music. He is pursuing his doctorate degree in University of Memphis under the supervision ofKamran Ince and John Baur.

Mesopotamia Suite is the three-modern presentation of the traditional Anatolian dances. The first movement has 5/8 time signature, based on a light theme, which occurs in couple times in the rondo form. The second movement carries the heavy weight of the melody in a free style, 9/8 with the quasi-rubatos. Harmonic content gets complex throughout the movement, up till the golden mean of the piece; pure G center, which the entire composition has built on. After this long and heavy center, the last movement starts in presto, 9/8 and based on a whole tone scale on the right hand, while accompanied by a G center chord.

Daniel Perttu is currently pursuing a Doctor of Musical Arts degree in composition at The Ohio State University as a University Fellow. His major teachers include Jan Radzynski, Donald Harris, Don Freund, Bright Sheng, Thomas Janson, Frank Wiley, Claude Baker, Maria Newman, David Cutler, and Gunther Schuller. His music has been performed in various venues across the United States, including the SCI 2004 National Conference, The Ohio State University, the Brevard Music Center, and Kent State University. He is a finalist in the Third Seoul International Competition for Composers and has won awards in national, regional, and university-wide competitions, including the Jacob K. Javits Fellowship, sponsored by the United States Department of Education. He holds two master's degrees, one in composition and one in bassoon performance and orchestral conducting, from Kent State University. This year he is looking forward to performances at The Ohio State University, Kent State University, and Florida State University.

Reflecting Pool: The title refers to a surprisingly deep pool of water formed by a bizarre growth of wood surrounding three separate tree trunks that originate from the same root. I came upon this extraordinary natural creation while hiking in the Appalachians, and as I gazed into the pool, I discovered much more than the curiously blackened reflection of myself and the tree boughs above: the pool became a projection screen for my own thoughts, feelings, and memories. This composition for solo cello serves the same function; like the reflecting pool (which does not return an exact image, but a darkened one), it has its own structure and logic that invites the listener to project his own thoughts, feelings, memories, and fantasies onto it. However, the piece's own composition, by its own objective nature, refuses to reflect those experiences literally, and thus, like the reflecting pool, returns an image that is transformed.

- 34 - Richard Power received a Bachelor's degree in composition and performance from Trinity University, and Master's and D.M.A. degrees in composition and theory from the University of Illinois, Urbana. He currently lives in Houston, Texas, where in addition to composing he remains active as a saxophonist.

Sonic Residue: The material that sound is made of is temporary, but each sound leaves an imprint upon one's mind that lingers in search of meaning. Music results from the imprint rather than the sound, and from the path that one follows while connecting the sonic residue. The exceptionally long decay of the vibraphone's tone, as well as its ability to instantly stop that decay, led me to write a piece in which the ideas of continuity and interruption were integral to the form. I wanted to explore the temporary nature of sound, and the way that a listener might connect the sonic residue that remains in his or her mind.

Steve Reich has been called" ... America's greatest living composer," " ...the most original musical thinker of our time," and " ...among the great composers of the century." From his early taped speech pieces It's Gonna Rain (1965) and Come Out (1966) to his creation and work with his ensemble, Steve Reich and Musicians, to his recent works such as the digital video opera Three Tales (2002), Mr. Reich's path has embraced not only aspects of Western Classical music, but the structures, harmonies, and rhythms ofnon­ Western and American vernacular music, particularly jazz.

Clapping Music is written for two hand clappers that begin by playing a 12-count rhythmic pattern repeated 12 times. Then, while one player continues to play the rhythm, the other plays a series of variations by starting on the 2nd count of the pattern, then the 3rd, etc. Eventually both players end up playing the original rhythm together after which the piece ends. The film by Jam Yafai is an animated treatment of Andy Warhol's famous painting entitled 100 Cans from the collection of the Albright-Knox Art Gallery in Buffalo, NY. Like the music, the visual images involve both repetition and variation.

Bill Ryan is a tireless advocate of contemporary music. Active as a composer, conductor, concert producer, and educator, he has been involved in the performances of hundreds ofrecent works. In recognition of his efforts, Bill has received grants and awards from ASCAP, Chamber Music America, Meet The Composer, the Tampa Bay Composers Forum, and the International Electroacoustic Music Competition of Sao Paulo, Brazil. In 2003 Bill formed his own ensemble, Billband. In April, 2004 their debut recording was released to critical acclaim on the Innova Recordings label. Gramophone magazine described it as " ... gritty and funky ... " and further wrote, "Rarely has music this earthy been so elegant, and not since the works of Elliott Carter has a composer fashioned so many facets of his own personality into what is obviously a conversation between musical characters." Bill has been teaching at Suffolk Community College since 1997. At SCC he founded and produces Open Ears, a quarterly new music concert series featuring distinguished contemporary composers and performers. The series has received three Adventurous Programming Awards from Chamber Music America. He also founded and directs the Contemporary Music Ensemble and their annual commissioning program. Past commissioned composers include David Lang, Phil Kline, Evan Ziporyn, and Michael Lowenstern. In addition to all kinds of music, Bill enjoys backpacking, cooking, and is a long-suffering Detroit Tigers fan. He lives on Long Island with his wife, three children, and Saint Bernard.

Launch was commissioned by the Sullivan Dance/Theater Project and was premiered in May 2000 as part of the dance work Our Mothers by the choreographer Amy Yopp Sullivan. In this work I continue to explore my interest in patterns, their perception and presentation.

Blurred is composed for piano and any number of additional instruments. The piano part is fixed, although there is some flexibility in terms of moving from one idea to the next. The additional instruments simply reinforce lines of their choosing that are sounding in the piano part. The result should be a haze, or blur, of sound.

- 35 - Phillip Schroeder was born into a military family in Northern California in 1956. His life as a musician began early and has paralleled the diversity of surroundings, now eleven states: trumpet in bands, choirs, electric bass in rock bands, orchestral and chamber conducting, improvisation ensembles, and piano performance. He has composed music for orchestra, wind ensemble, live-electronics, chamber ensembles, choir, instrumental solos, and voice, all variously described as continuing "a tradition of brilliance and openness" and as "expressive lyrical sound-worlds." He has appeared as a guest composer, lecturer, and performer throughout the United States and Europe. His music appears on the Capstone Records, Boston Records, and Vienna Modem Masters labels. Schroeder currently teaches at Henderson State University. He received degrees from the University ofRedland, Butler University, and Kent State University. Among the many influences on his work, the most significant include Taoism, good food, the overtone series, and the love and patience of good friends.

Lux aeterna: For many years the inner spiritual meaning of the Lux aetema communion from the Requiem Mass provided a strong attraction for a musical setting - the prayer for God to grant us eternal light, that which is forever loving and selfless. The Latin form of the word communio is appropriately translated as a sharing in common, uniting together. The music is scored for eight parts, and is generated by two means: melodies that expand and contract in canonic imitation (Al, B, and Al'), and contrasting homophony that use the melodies to produce chords (C and A2). Cadential overlapping or silence connects the sections. The five lines and two stanzas of the text produced the following structure and key centers:

Al B c A2 Al '

F E~ B A G F

The musical elements combine to create a shimmering or undulating quality, with voices emerging and receding within textures. The tonal centers, each emphasizing Lydian mode, form a cycle of descending major seconds (also the primary interval of the melodic motives), suggesting the imagery that beseeches God to allow the "light eternal shine upon them." Lux aeterna was written in February 1997, and is available from Moon of Hope Publications.

Paul Siskind's music encompasses many genres, and has been performed across the country and abroad by renowned ensembles such as the Minnesota Orchestra, the Omaha Symphony, the Arditti String Quartet, the Dale Warland Singers, Continuum, and soprano Cheryl Marshall. He has received awards and grants from ASCAP, Meet The Composer, the American Music Center, the National Federation of Music Clubs, and the McKnight, Jerome, Puffin, and Dodge foundations. His work is published by G. Schirmer Inc., and has been recorded on the Innova and New Ariel labels, among others. Dr. Siskind is on the faculty of the Crane School of Music, SUNY-Potsdam. He has also worked as a composer-in-residence for the Education Department of Minnesota Opera, Twin Cities Chapter Coordinator for the American Composers Forum, Music Director of One Voice Mixed Chorus, and as an Auditor for the New York State Council on the Arts.

Thr(e.e. cummingS)ongs: Attempting to set Cummings' poetry to music always seemed like a daunting challenge to me. Like many people, I was only familiar with the famous quirky poems, the ones with twisted syntax. These had always struck me as not working well for musical setting; the visual and grammatical quirks would lose all of their meaning and charm when sung, rendering the poems unintelligible. However, as I looked for poems for this commission, I discovered a side of Cummings' work that I did not know: a highly lyrical style. I was very surprised to find that the famous quirky poems are really only a small portion of his output, and that most of his work is immensely lyrical. In these lyrical contexts, the grammatical quirks now seem to heighten, rather than undermine, the musical potential of the poems. Thus, the two outer songs in my set are lyrical in style, befitting the text as well as the nature of the

- 36 - instrumentation of the trio. In contrast, the middle song highlights the more familiar, quirky side of Cummings' poetry; this also allowed me to explore some of the coloristic effects also available in the trio.

The Perilous Adventures of Comet, the Wonderdog is a humorous tone poem about my dog. He is a big, galumphy lab mix that jumped out of the bushes and followed me home from school one sunny afternoon. He is the first dog I've ever owned, and I've learned a lot about dogs (as well as myself) since he adopted me. The piece loosely describes some of the (mis-)adventures that we've shared. It is divided into nine short episodes, each with a descriptive title: The Wilds of Missouri Nice Day for a Walk A New Friend Leaming to Bark The Mysterious Journey Chocolate Overdose Obedience School Chasing Squirrels Joie de Vivre Most of these episodes depict real events: eating two bags of Halloween candy (wrappers and all); an aborted attempt at obedience school; etc. These antics have often lead me to wonder: can a dog have too much personality? My musical style is usually very serious, and my pieces are rarely programmatic. This piece is different: it depicts a humorous story in a cartoonish manner. To help tell the story and contribute to the humor, I incorporate a number of quotes from well-known pieces to act as signifiers for the events of the story. These quotes are juxtaposed against Comet's two-part theme, an angular brass fanfare.

"Bridging modernism and American jazz and pop idioms" (San Antonio Express­ News) , the innovative and highly energetic music of Rob Smith is frequently performed throughout the United States and abroad. He has received numerous awards and commissions, which include participation in the American Composer's Forum's Continental Harmony Project in 2000 and a Fulbright Grant in 1997. Currently, he teaches at the University of Houston's Moores School of Music where he is Assistant Professor of Music Composition and director of the A URA Contemporary Ensemble. He also serves as one of the artistic directors of Musiqa, a Houston-based contemporary chamber ensemble. His music is published by Boosey & Hawkes, Carl Fischer, Southern Music Company, C. Alan Publications, and Skitter Music Publications.

Blue Norther is a Texas term referring to a cold front that creates extremely windy conditions and dramatic temperature drops in a very short period of time. The "blue norther" gets its name from the blue haze that often appears at the front edge of these weather systems. The sparse opening, with its mournful minor melody, represents a hot Texas plain before it is besieged by a "blue norther". Loud percussion rolls, rapid woodwind passages and a chorale-like theme in the brass represent the "norther". This aggressive and fast paced material dominates the work like the front will dominate the plain, but eventually the original mood returns as the front passes. Blue Norther was commissioned by the Muskego High School Symphonic Band (Jamie Beckman, director) with generous assistance from the Muskego High School Music Friends.

Mark Snyder is currently pursuing his DMA at The University of Memphis. Recordings have been made for Dart, Geffen, Planetary, Soft Skull Press and Urban Geek. Conference performances include Ocean, NASA, NF A and SCI. His music has been performed throughout the continental U.S. and awards include NEA and VF A grants.

- 37 - Lesley Sommer received her Doctoral degree in composition from Indiana University, where she studied with Frederick Fox, Eugene O'Brien, and Claude Baker. Her music has been performed in a variety of venues and locations. Sommer is especially interested in the juxtaposition of music with dance, theater, and text, and she recently composed a full-length electronic score for a university production of Peer Gynt in Bellingham, Washington. Some of her current projects include a song cycle on texts of Shakespeare for baritone David Meyer; and a chamber orchestra piece for Bellingham's Whatcom Symphony Chamber Orchestra. Sommer is currently Associate Professor of Music at Western Washington University where she coordinates the lower-division theory program and teaches composition.

Five Pieces on Poems by Robert Frost: The first, third, and fifth pieces from this set are each inspired by a particular poem of Robert Frost: Acquainted with the Night (I), Design (III), and Come In (V). The first and final pieces use similar pitch material and are meant to be languid, introspective nocturnes, since both poems use "night" as a metaphor for death and the unknown. The middle movement is more rhythmically driving, which may evoke the poem's idea of an insidious, underlying design or plan. The second and fourth pieces (the Secret Interludes) are not directly inspired by any poetry. These pieces deal with non­ linear thought processes, streams of consciousness, and free association; and represent (for me) the state of mind of someone who is trying to read poetry while being distracted by, or perhaps reminded of, his or her own life.

Acquainted with the Night What brought the kindred spider to that height, I have been one acquainted with the night. Then steered the white moth thither in the night? I have walked out in rain -- and back in rain. What but design of darkness to appall?-- I have outwalked the furthest city light. If design govern in a thing so small.

I have looked down the saddest city lane. Come In I have passed by the watchman on his beat As I came to the edge of the woods, And dropped my eyes, unwilling to explain. Thrush music--hark! Now if it was dusk outside, I have stood still and stopped the sound of feet Inside it was dark. When far away an interrupted cry Came over houses from another street, Too dark in the woods for a bird By sleight of wing But not to call me back or say good-bye; To better its perch for the night, And further still at an unearthly height, Though it still could sing. One luminary clock against the sky The last of the light of the sun Proclaimed the time was neither wrong nor right. That had died in the west I have been one acquainted with the night. Still lived for one song more In a thrush's breast. Design I found a dimpled spider, fat and white, Far in the pillared dark On the white heal-all, holding up a moth Thrush music went-- Like a white piece of rigid satin cloth-­ Almost like a call to come in Assorted characters of death and blight To the dark and lament. Mixed ready to begin the morning right, Like the ingredients of a witches' broth-­ But no, I was out for stars; A snow-drop spider, a flower like a froth, I would not come in. And dead wings carried like a paper kite. I meant not even if asked; And I hadn't been. What had that flower to do with being white, - Robert Frost The wayside blue and innocent heal-all?

- 38 - John Stafford II (M.M. Bowling Green State University) is beginning his first year at Millikin University teaching music theory and composition. His music has been performed throughout North America and Europe and has earned recognition from such organizations as the University of Oregon's Waging Peace Through Singing (an international competition for choral music), the Society of Composers, Inc., the North American Saxophone Alliance, the National Federation of Music Clubs, the Ohio Federation of Music Clubs, and ASCAP. In addition, such artists as Velvet Brown, the Gregg Smith Singers, the New York Treble Singers, and the Anti-Social Music Ensemble have performed his music. Also, Stafford's music has been featured at the Primavera En La Habana 2004 (Spring In Havana 2004) International Electroacoustic Music Festival in Havana, Cuba and he was recently selected as a finalist for the IV Edition of the Pierre Schaeffer International Competition of Computer Music in Italy.

A Session For Percussion was written in May 2002. The composition is an experiment on alternating two contrasting musical ideas by morphing in and out from one another. The first idea is present through the use of wine glasses, bowed crotales, both suspended and chinese cymbals. The other is displayed by two vibraphones and seven floor toms. I tried to create this "morphing" effect throughout the work by using different mallets, tapping with fingertips on the drumheads, bowing both crotales and cymbals, and alternating free rhythmic material between all of the players. A Session For Percussion was premiered at the 2003 Otterbein College Contemporary Music Festival by the Otterbein College Percussion Ensemble under the direction of Jack Jenny.

Born in 1969 in San Antonio, Texas, Jack Stamps has spent a lifetime pursuing a variety of musical outlets. For nearly a decade, he was a songwriter in a local band and pursued a solo career thereafter. He has completed a BM in Music Composition at the University of Texas at San Antonio where he studied with Drs. James Balentine and David Heuser. There, his pop and classical influences converged. He has written pieces for the UTSA Wind Ensemble, the Tosca String Quartet, Clarinetist Stephanie Key, the UTSA Women's Choir, percussionist Chuck Fischer, and others. He is currently studying composition with Russell Pinkston at The University of Texas at Austin, pursuing a masters degree and has completed the first act in a 3-act electro- acoustic opera.

Speech for the president to read in case the astronauts were stranded on the moon, July 18, 1969: I have always been fascinated by NASA's space exploration program and specifically of the lunar landings. Being born in the year of the first landing, I grew up, hand in hand, with the culture and mystique of lunar exploration. Recently, I visited a touring exhibit of the National Archive at a San Antonio museum and saw an original draft of a speech to be delivered by the President in the event the astronauts would be stranded on the moon. I felt a strange mixture of haunting and hope. The words, so eloquently chosen for the most unthinkable of tragedies, devoid of religious connotations, tell of a universal sense of hope and inquisitiveness about the universe that all mankind share. Difficult, though, was shaking the chill of imagining a fate like being stranded on the moon while a world mourns. I wrote this piece in an attempt to express this mixture of feelings I initially experienced when I read the speech. Starting with a basic principle of harmonic progression as the driving force, The harmony usually moves on beats I and 3. I imagined a silence on the moon so intense that all that could be heard was the astronauts own hearts beating and so the motion of the piece is paced by this pulse.

- 39 - Text: "Fate has ordained that the men who went to the moon to explore in peace will stay on the moon to rest in peace. These brave men, Neil Armstrong and Edwin Aldrin, know that there is no hope for their recovery. But they also know that there is hope for mankind in their sacrifice. These two men are laying down their lives in mankind's most noble goal: the search for truth and understanding.

They will be mourned by their families and friends; they will be mourned by their nation; they will be mourned by the people of the world; they will be mourned by a Mother Earth that dared send two of her sons into the unknown.

In their exploration, they stirred the people of the world to feel as one; in their sacrifice, they bind more tightly the brotherhood of man. In ancient days, men looked at stars and saw their heroes in the constellations. In modem times, we do much the same, but our heroes are epic men of flesh and blood.

Others will follow, and surely find their way home. Man's search will not be denied. But these men were the first, and they will remain the foremost in our hearts.

For every human being who looks up at the moon in the nights to come will know that there is some comer of another world that is forever mankind."

Paul Steinberg received the BA in Music Education from New Mexico State University, MM in Composition from Southern Methodist University and DMA in composition from the University of Oklahoma. His teachers include Warner Hutchison, Thom Mason and Michael Hennagin. Dr. Steinberg is the director of the Center for New Music Resources and Professor of Composition at the Crane School of Music, State University College, Potsdam, NY. He is a composer that has received many awards such as: Charles Ives Center for American Music Fellowship; University Awards Fellowship, SUNY; Project Director, Center for New Music Resources, NEA; Meet the Composer Grants. HE is very interested in writing for combinations of acoustical and electronic media, and has written and performed many works with the New and Unusual Music Artists, a group that he helped establish in 1982. Paul is a woodwind doubler and a jazz aficionado as can be heard in much of his musical language.

A Song For Chris: This piece was written upon the death of an old college friend. I decided to remember him in the happy vein that I always identified with him. This piece was premiered by the New and Unusual Music Artists, in the Fall of 1988. I think it is particularly poignant and appropriate that Rob Smith, the conductor this evening, was a student and present at the premiere of this work.

Greg A Steinke is Former Chair, Departments of Art and Music, (The Joseph Naumes Endowed Chair in Music), also Associate Dean of Undergraduate Studies, Marylhurst University, Marylhurst, Oregon (now retired, 6/15/01); Associate Director, Ernest Bloch Music Festival ('93- 97) and Director, Composers Symposium ('90- 97) (Newport, OR); Professor Steinke holds a B.M. degree from Oberlin Conservatory, a M.M. degree from Michigan State University, a M.F.A. degree from the University oflowa, and a Ph.D. from Michigan State University. He is the author of articles on new oboe literature and music composition; he has done the revisions to the Paul Harder Harmonic Materials in Tonal Music, 6, 7, 8 & 9th Ed., Basic Materials in Music Theory , 7, 8, 9 & 10th Ed., Bridge to Twentieth-Century Music, Rev. Ed. for Prentice-Hall, and most recently with H Owen Reed a revision to the Harder-Reed Basic Contrapuntal Techniques for Warner Bros. Pub.; and an article, "Music for Dance: An Overview" in Th e

- 40 - Dance Has Many Faces, 3rd Ed., Ed. by Walter Sorell, a cappella books. He holds membership in a number of professional organizations. He has served as the National Chairman of the Society of Composers, Inc. (1988- 97) and is currently Secty/Treas of Art Culture Nature, Inc. Professor Steinke is very active as a composer of chamber and symphonic music with a number of published/recorded works and performances across the United States and internationally, as a speaker on interdisciplinary arts and as an oboe soloist specializing in contemporary music for oboe. His most recent composition honors include: Finalist (of 4)- '01 Seoul International Composers Competition. Winner of Delta Omicron International Music Fraternity Composition Competition, '02. Honorable Mention - '02 "Britten-on-the-Bay" Composition Competition Series XIII (Saxophone Quartet). Special Mention - '03 USA International Harp Competition (Solo Harp). Finalist/Winner- '04 of COMA Open Score Project in England (Generic Quartet).

Abstract: Mother Earth - A Native American View (A Musical Work in Progress} A presentation on a musical composition in progress for Soprano, Bass and Chamber Ensemble utilizing original Native American poetry by Kios Naahaabii* (aka Don Jordan) reflecting the poet's (and the composer's) perceptions of our earthly environment and those who people it. Presenter will share some thoughts and ideas about composing the work and working/interacting with the poetry with some short music excerpts. The presentation will also briefly touch upon some earlier works already completed and performed utilizing Native American music and poetic images (all from Kiosi poetry): (IMAGE MUSIC for Flute, Oboe, Trombone and Contrabass, ONE by ONE for Flute and Harp, WIND RIVER COUNTRY for Woodwind Quintet ,TOMMOROW ON YESTERDAY for Harp, NATIVE AMERICAN NOTES - The Bitter Roots of Peace for String Quartet, and DON'T WE for Clarinet in A). The discussion will include a briefreview of some of the problems of utilizing Native American Musics in an art music context. As time permits, possible strategies will be included about utilizing Native American musical materials in interdisciplinary courses or with students who might wish to work on projects incorporating these or similar materials. A lecture/demonstration format with handout (poetry and musical examples) and short, recorded musical illustrations of original source materials and excerpts given from presenter's works. Other supplementary material presented by overhead transparencies (or Power Point) to compliment the handouts.

*Kios was a Northwest (Oregon & Washington) Native American poet. (d. 1996)

Erich Stem (b. 1973) has had performances of his music nationwide by groups such as the Minnesota Orchestra, Richmond Symphony, Plymouth Music Series Orchestra, Opus 3 trio, and the Sunrise Quartet. His works have also been featured on several regional and national radio programs including The Latest Score, Foldover, Vast Field and WCVE's Classical Music with Bobbie Barajas. Stem's chamber music can be heard on the Living Artist Recordings label, which recently released Bay Images on a new compilation CD featuring clarinetist Jim Logan and pianist Karin Firsow. Throughout his career, Stem has received awards and grants from a variety of organizations such as the Jerome Foundation, Meet the Composer, American Music Center, University of Maryland, and ASCAP. In addition to composition, Dr. Stem has taught at St. Mary's College of Maryland and the University of Maryland and has held positions with various non-profit organizations in an effort to promote new music. He holds degrees from James Madison University (BM '96) and the University of Maryland (DMA '03) and is currently an assistant professor of music theory and composition at Indiana University Southeast.

After Rain (2001) is comprised of two movements; Night and Journey and Celebration. The first movement, Night, is tranquil in nature, slowly evolving one theme to two other related motives expressed in the solo passages of the piano and violin. Towards the end of the piece, each motive and supporting gesture is heard concurrently, creating a new sound while preserving the identity of each idea. Journey and Celebration takes the meditative atmosphere created in Night and uses a steady pulse and unaltered melodic theme to guide the gradual and sometimes sudden changes in texture, harmony, and rhythm. The transformation that occurs from one expression of the 'unaltered' theme to the next is achieved by

- 41 - separately introducing a change in a particular element (e.g. timbre or rhythmic gesture) in each of the instruments as the piece progresses. The result of this transformation leads to a dramatic section, creating a sense of celebration during the final moments of the piece. Even though both movements were originally conceived with no specific purpose or program in mind, the titles of the work were later given to convey ideas dealing with struggle, resolution, and finally, a new beginning. This concept took on a more important meaning to me as I composed the work during a time of renewed patriotism in our country towards the end of 2001.

George Tanner was born in 1979 in Uniontown, PA. He entered the composition program at West Virginia University under the instruction of Dr. John Beall in 1997. Upon graduating he then continued his study of composition at Bowling Green State University with Drs. Marilyn Shrude and Burton Beerman. While completing his degree, George became a part-time faculty member at BGSU teaching theory and composition courses. George currently lives in Staten Island, NY and remains an active composer and arranger.

Portrait (2000) was originally intended to complete a set of three short piano pieces. However, it quickly grew too large to fit neatly into the set and thus became a single piece. Despite its relatively short length, the piece took nearly an entire semester during my junior undergraduate year to complete. The main element of the piece is the simple three-note melody heard at the opening.

Michael Sidney Timpson is an Assistant Professor at University of South Florida, where he teaches composition and electronic music. Previously, he taught at the University of Michigan, the University of Kansas, and at Rhodes College in Memphis. He studied at the University of Michigan (DMA), the Eastman School of Music (MA) and the University of Southern California (BM), with William Albright, Samuel Adler, William Bolcom, Morten Lauridsen, and Joseph Schwantner, among others. His compositions have been featured throughout the United States and internationally, including in France, Czech, Ukraine, Canada, Japan, and Taiwan. He has received honors from ASCAP, BMI, DownBeat Magazine, NACUSA, the National Federation of Music Clubs and such awards as the Brian M. Israel Prize, England's Kathryn Thomas Flute Competition, the Lee Ettelson Composer's Award, and the Music From China International Competition. Recently, he was nominated for the American Academy of Arts and Letters composition award. His music will appear on recordings released by Albany/Capstone, CRS, and ERM, and have been published by World-Wide-Music. At present, he is co-chair of the Society of Composers Incorporated, Region IV. In 2003, his work, CRUSH for soprano saxophone and Chinese Zheng, was premiered in Carnegie Hall. In 2004, his Third Symphony was recorded by the Kiev Philharmonic. Recently, the Chinese National Film Orchestra commissioned two works, sneaky for string orchestra and Adaptations: reinvention and collision for violin and orchestra, along with 30 minutes of other arrangements to be premiered in Beijing in 2005. Later that year, he will be scoring music for a CCTV mini-series and be composing a Concerto for Japanese flutist Mihoko Watanabe.

The composition sneaky for string orchestra was written for conductor Fan Tao of the China Film Chamber Orchestra. Mr. Tao has asked Michael one day in January 2004, "I am doing a recording session with my string orchestra in Beijing, do you have any music I could put on it?" Unfortunately, I had no recent string orchestra works, but I never-the-less replied, "sure ... but I need to edit it still- how soon do you need it?" With a two week window, I set out to "sneak" in what was actually a new composition; thus the title of the work- which I suppose managed to influence the nature of the piece itself.. ..

- 42 - Michael Twomey holds degrees from the University of Montana (with high honors), Northwestern University, and the Peabody Conservatory of Johns Hopkins University with post graduate studies at the Aspen Music School, New York University, and the Prague Conservatory. He studied composition with Donald Johnston, Stephen Syverud, Alan Stout, Morris Cote], and George Tsontakis. He is currently an Assistant Professor of Music and coordinator of the music theory curriculum at Our Lady of the Lake University.

Plank was composed during the summer of 2004 for Martha Fabrique and was given its premier at the International Shakuhachi Festival in New York City. It is subtitled "a theater piece for shakuhachi." In Plank, the instrument is removed from its traditional contemplative environment into a world of movement, speech, and gesture. Based on the poem of the same name by poet Glori Simmons, Plank allows the performer and instrument to switch functions in a theatrical context. The shakuhachi becomes a character and the performer becomes an instrument through which the story is played out. Simmons' stark pointillistic language creates room for musical commentary- often the elaboration of a short motif

Guy VolJen (b. 1973) earned B. M. and M. M. degrees in composition at Wichita State University, where he was a student of Walter Mays. He completed a D. M. at Florida State University as a student ofLadislav Kubik. Dr. Vollen's compositions have been performed in such cities as San Francisco, Kansas City and Prague, and his composition Th e Eclipse Lovers was selected for performance at the 1996 National Conference ofMENC; in 2002 he was nominated for an American Academy of Arts and Letters composition award. His ragtime piano music is published by Prime Material Press.

Odell Lake (2003) is primarily a study in phrasing and repetition. Except for a short coda, every measure is repeated at least once. Melodies begin and end in the middle of repeated sections, and repetitions of short segments are sometimes nested within longer repeats, creating a shifting soundscape of related but ever­ changing phrases. The title refers to an educational computer program the composer recalls from grade school.

Andrew Walters (b. 1967) received his Bachelor of Music from Millikin University, his Master of Music degree in Composition from Northern Illinois University and his Doctor of Musical Arts degree in composition from the University of Illinois. Dr. Walters' piece "IN-EX" won Honorable Mention at the 1998 Russolo Pratella International Electroacoustic Composition Competition and is featured on the "Music from SEAMUS, Volume Nine" compact disk. Dr. Walters has taught at Millikin University, Brookhaven College, and is presently a Visiting Assistant Professor in Music Theory and Composition at the University of Texas at Arlington.

The composition of Suite for Guitar was started in the summer of 2004. It contains several movements, of which three are being performed today. Each movement shares the same motives of pitch material, the first tetrachord of the phyrgian scale starting on a different open string of the guitar. I read somewhere that we are never at any time more than 3 feet from a spider. The third movement, Tarantelle, is based loosely on the 17'" century Italian dance where a person who gets bitten by a spider has to dance faster and faster to get the poison out. The slapping strokes on the guitar are imitative of spider bites and the accelerando of the piece is as though someone was trying to get something out of their system.

- 43 - Dr. Marc Wooldridge is an Associate Professor of Music at Northwestern College where he teaches percussion, music theory and composition. He was a founding member of the Maelstrom Percussion Ensemble, a group whose artistic excellence was recognized through a prestigious three-year Residency Grant from Chamber Music America. He tours extensively as a percussion soloist with a program he has developed entitled Journeys: Multimedia Percussion (see www.multimediapercussion.com). Wooldridge has premiered many new works for percussion solo including two of the works he will be presenting for at this conference: Portals by Bruce Hamilton and Going to Vermont by David Heuser.

Kaleidoscope (1989) is a scored for marimba, bells and vibraphone. The marimba plays a series of repeated patterns from which selected notes are doubled by the bells and vibraphone. The cross rhythms that result between the parts gives a kaleidoscopic effect. Jam Vafai's film is a treatment ofYacov Agam's Free Standing Painting from the collection of the Albright-Knox Art Gallery in Buffalo, NY. This painting is unique in that it sits atop a rotating platform which visitors to the gallery may spin to set it in motion. Through the use of animation techniques, the filmmaker further explores the motion potential of the work.

- 44 - PORFORMER BIOGRPHIES

Amanda Balarin, a current full-time student at the University of Texas at San Antonio, performs in the UTSA Wind Ensemble, Orchestra, and is under the private instruction of Mr. Jan Roller, Assistant Principle of the San Antonio Symphony. Amanda will soon be earning a Bachelor of Music Studies where she will continue to use her education and musical knowledge to teach our youth and future musicians.

James Scott Balentine, Professor of Music Theory and Composition at the University of Texas at San Antonio, is a composer, arranger, performer and conductor, and currently serves as Associate Chair of the Department of Music. He teaches courses in music theory and composition, history of jazz, and an occasional music business seminar. Dr. Balentine holds bachelor's and master's degrees from the University of South Carolina and the Doctor of Musical Arts in Composition from the University of Texas at Austin.

Alejandro Barraiion graduated 1991in piano performance at the National Conservatory of Mexico and studied for two years at the Hochschule fur Musik und darstellende Kunst in Vienna, where he was a student of Michael Krist. In 2001 -as a Fulbright grantee- he obtained the Master's degree in collaborative piano at Longy School of Music in Cambridge, MA. Currently, he is a student of pianist Timothy Hester and is pursuing the DMA program in Keyboard Collaborative Arts at the University of Houston. Before coming to the USA, Mr. Barraiion served as faculty and chair of the piano department of the Autonomous University of Zacatecas, Mexico. He has played at the International Cervantino Festival of Guanajuato, Mexico and as soloist of several orchestras of Mexico. Mr. Barran en was first prize in several national competitions in Mexico, and a winner of the 2001 Honors Competition at Longy School of Music. Recently he was granted the Ruth Tomfohrde award at the University of Houston for the excellence in collaborative piano repertory.

Tenor Michael Burgess is an Assistant Professor of Voice at the University of Texas - San Antonio. He completed his Doctor of Musical Arts degree in Vocal Performance at University of Michigan. He studied under world-class singers Loma Haywood and George Shirley. He also studied under renowned pianist and vocal coach Martin Katz. He received his Master of Music degree from Western Michigan University and Bachelor of Arts in Philosophy and Music from Calvin College. Other teachers include tenors Stanley Kolk and Carl Kaiser. Dr. Burgess has sung lyric and di grazia roles such as Tonio (La Fi/le du Regiment), Alfredo (La Traviata), Tamino (The Magic Flute), and the title role in Benjamin Britten's Albert Herring. He also played Frankie in the hit musical Forever Plaid for three sell-out seasons in West Michigan. He has sung several modem operas and premiers such as Philip Glass' The Fall ofth e House of Usher, Stephen Paulus' The Three Hermits, Carlisle Floyd's Susannah, and the title role in the Detroit area premiere of Russian composer David Finko's Abraham and Hannah, based on the true story of the uprising at the concentration camp at Treblinka. Notable San Antonio performances have included the roles of Frederick in Gilbert and Sullivan's The Pirates ofP enzance at the Vexler Theater and Jesus in Lloyd-Webber's Jesus Christ Superstar at the San Pedro Playhouse. Dr. Burgess has sung in many oratorio and concert performances including Handel's Messiah, Carl Orffs Carmina Burana, Mozart's Requiem, and several J. S. Bach works: St, John Passion, Magnificat, Mass in G, the "Coffee Cantata", and various solos and duets in the sacred cantatas. He has sung with San Antonio Choral Society, The Fredricksburg Chorale, Opera Grand Rapids, Toledo Opera, the Jackson (MI) Symphony Orchestra, The Calvin College Oratorio Society, the Grand Rapids Choir of Men and Boys, and the Michigan Bach Collegium.

Aaron Cotton, a native of Austin, Texas, was first introduced to the classical guitar at the age of I 0 at which time he started rudimentary study and then changed studios to study with Carlo Pezzimenti. By the age of 12, he was performing in public for special events and cafe concerts. Since that time, Aaron has continued to perform at various places and events throughout Texas. In 2001, he was invited to give several recitals in England. Currently, he is finishing his Bachelors of Music degree at Texas Woman's University and expects to graduate in December 2004. After this, he hopes to continue performing on a national and international level as he enjoys traveling. Aaron plays on a guitar constructed by Ignacio Rozas of Madrid, Spain.

- 45 - Ron Daray was born and raised in Chicago, Illinois, and earned a degree in piano performance from Wichita State University. He is currently active as a professional accompanist and serves as pianist and organist at Covenant Presbyterian Church in Wichita.

Christine Debus is currently staff accompanist at UTSA, where she teaches and coordinates accompanying and performs in both student and faculty recitals. She studied piano with Gabriel Tacchino and Jacqueline Latarjet, professors at the Conservatoire National Superieur de Musique de Paris. She has been on the faculty of the Conservatoire de Musique de Bordeaux, France and moved to the USA in 1986. Prior to settling in San Antonio, she was an active chamber musician throughout the Washington, DC area, performed in Prelude Concerts at the Kennedy Center with National Symphony members and was the harpsichordist of the Eclipse Chamber Orchestra.

Eugene Dowdy is Department Chair and an Associate Professor in the Department of Music at the University of Texas at San Antonio. He conducts the UTSA Orchestra and is the founding violinist of Rio Trio, UTSA's faculty piano trio. Dowdy received the Doctor of Musical Arts degree in orchestral conducting from the University oflowa under James Dixon. He earned the Master of Music from UTSA and the Bachelor of Music (with a Performance Certificate in violin) from UT Austin, where he taught in the University of Texas String Project under Phyllis Young. Prior to his university appointment, Dr. Dowdy taught public school orchestra for nine years in San Antonio (NEISD) and was honored with the two top district awards: the Human Relations Award (1989) and Teacher of the Year (1992). In the spring of2001 he was one of three UTSA faculty recognized by the Alumni Association for outstanding teaching. He is listed in Who's Who Among America's Teachers (1992, 2002), and Who's Who in America (2002, 2003). In addition to being the Resident Conductor of the Youth Orchestras of San Antonio, he is an active guest­ conductor and clinician at regional orchestras, festivals and contests throughout Texas and the Midwest, including nine summers on the faculty of the Interlochen Arts Camp. Active in many professional and honorary music organizations, Dowdy is the Immediate Past President of the Texas Orchestra Directors Association. Gene and his wife Stacy count two musicians as daughters, Jessica (piano) and Rachel (cello).

Carlos Esparza is a senior attending the University of Texas at San Antonio and is pursuing a degree in music education. He is a member of the Wind Ensemble and Orchestra at UTSA. He is also a former member of the Laredo Philharmonic Orchestra and the Laredo Wind Ensemble. Carlos was a finalist in the 2004 UTSA Concerto and Aria Competition. He has studied flute with Dr. Rita Linard and is currently studying clarinet with Larry Mentzer.

Dr. Martha Fabrique currently serves as Chair of the Music Department and is Associate Professor of Music at Our Lady of the Lake University. She holds a DMA (Doctorate of Musical Arts) from the University of Colorado-Boulder (1997). As a professional flutist she joins the San Antonio Symphony flute section regularly and performs locally with the Mid-Texas Symphony, Majestic Theatre production, the SOLi chamber ensemble, and Camerata San Antonio, among others. Dr. Fabrique earned master's degrees in flute and ethnomusicology from Florida State University and her bachelor's degree from the Baldwin Wallace Conservatory of Music. Her flute teachers include William Hebert, Charles Delaney and Geoffrey Gilbert. In addition to her work as a flutist, Martha is an accomplished performer on the Japanese shakuhachi (bamboo flute). Her doctoral thesis is entitled Crosswinds: Interpreting Flute Literature Influenced by the Japanese Shakuhachi, and she has lectured on this subject at the National Flute Convention, the World Shakuhachi Festival, and the International Conference of the College Music Society in Kyoto. In 2004 she premiered a theatrical composition for shakuhachi entitled Plank by OLLU composer Michael Twomey at the International Shakuhachi Festival in New York City. Her primary teachers are Yoshio Kurahashi and Stan Richardson, both master teachers of the Jin Nyodo style of shakuhachi based in Kyoto, Japan.

Mark Ford began playing the cello at the age of five and received his B.A. from the University of Florida under the tutelage of Mark Tanner. He is currently finishing his M.M. at Florida State University where he studies under Lubomir Georgiev. Mr. Ford plays not only the modem cello, but the baroque cello and the electric cello as well. He currently plays the electric cello with a rock band in Tallahassee named Keroseen.

- 46 - Terence Frazor currently holds the position of Music Director and Conductor of the Laredo Philharmonic Orchestra in Texas. He has appeared as guest conductor with some of the leading orchestras of North and South America, including the Sao Paulo State Symphony (Brazil), the UNAM (Mexico City) Philharmonic, the St. Louis Symphony, the San Antonio Symphony (Texas) the Brooklyn Philharmonia, the Caramoor Festival Orchestra (New York State) and the American Symphony Orchestra (New York City). In Europe, Mr. Frazor has conducted the Mozarteum Orchestra (Austria), Orchestre Nationale de Monaco, the Zurich Symphony Orchestra, the Georgian Chamber Orchestra (Germany), the Ingolstadt Philharmonic (Germany) and the Bournemouth Sinfonietta (England). Mr. Frazor began his professional conducting career as assistant conductor to the legendary Leopold Stokowski and the American Symphony Orchestra. He later held the position of Music Director of New York City's Bel Canto Opera Company, where he led productions from the standard repertoire as well as many lesser known works. Mr. Frazor studied at Montreal's McGill University with Alexander Brott and continued his musical studies with Igor Markevitch in Monaco. Terence Frazor is a graduate of the Mannes College of Music in New York City.

Currently a senior composition student at the University of Texas at San Antonio, Jesus Gachupin has studied under James Balentine, David Heuser, William Ross and James Syler. He has studied guitar under Mathew Dunne and Mathew Hinsley, and has attended master classes with world-class guitarists David Russel, William Kenenhgiser, and Sergio Assad. He will be graduating this spring Summa Cum Laude with a Bachelors degree in composition.

David Herbert (oboe and English horn) received the Bachelor of Music degree from the University of Houston and the Master of Music degree from Baylor University. He has studied oboe with Ray Weaver, principal oboist of the Houston Symphony, and English horn with Tom Stacey, English hornist with the New York Philharmonic. Active as a free-lance musician, Mr. Herbert is also English hornist with the Austin Symphony Orchestra, principal oboist with the San Antonio Festival Orchestra, and a founding member of the chamber music ensemble, the King William Winds.

Classical guitarist Dr. Matthew Hinsley has enjoyed a busy performing schedule in 2004 including a lecture and recital at the 2"d Annual Hawaii International Conference on the Arts and Humanities in Honolulu as well as a live performance on Hawaii Public Radio and a recital at the Atherton Performing Arts Center in Waikiki. In October Hinsley will travel to Montreal to deliver a lecture/recital on Mario Castelnuovo-Tedesco's ten-song cycle for baritone and guitar Vogelweide at the 2004 Guitar Foundation of America Festival. This trip will coincide with the publication of the first installment of a three-part article on the same subject to be published in Soundboard, the trade journal of the Guitar Foundation of America. Another trip is planned to Canada later this season including concerts and masterclasses at Mt. Allison University and Acadia University during which Hinsley will also lecture on the history, literature and practice of self-accompanied art-song with classical guitar. Dr. Hinsley is currently a lecturer in guitar at UTSA.

Kasandra Keeling is a native San Antonian who began her university studies at the University of Texas at San Antonio. She was a Zachry Scholar and a student of Dr. Janice K. Hodges. Dr. Keeling holds Bachelor and Master of Music degrees in piano performance from the University of Houston where she studied with Nancy Weems. While a student at UH, she was awarded the first prize at the University of Houston Concerto Competition, the Mid-Texas Symphony Competition, and the TMTA Collegiate Piano Solo Competition. Her doctorate was awarded in May 2000 from The University of Colorado at Boulder where she did her primary studies with Alvin Chow and additional studies with Larry Graham. While a student at CU, she was awarded the Robin Sawhill Award for Excellence in Piano Performance given by the piano faculty, the Norma Ekstand A ward at the Graduate Honors Competition, first prize at the University of Colorado Concerto Competition, as well as top prizes in national competitions such as the Soratin Young Artists Competition and the Nena Wideman Piano Competition. Ms. Keeling has performed with orchestras in the U.S. and Mexico and is an active recitalist and chamber musician. Under her instruction, her past students have been winners of competitions such as the Corpus Christi Young Artist Competition and the Music Teachers National Association's Steinway and Sons Collegiate Artist Competition. She has also had students perform for pianists such as Abbey Simon, Claude Frank, and David Burge. Previously on the faculty at the University of Wyoming, Dr. Keeling teaches applied piano and piano literature at UTSA.

- 47 - William Koehler has taught piano at Northern Illinois University in DeKalb since 1985. He is also the coordinator of undergraduate advising for NIU's School of Music. Dr. Koehler has studied with Moreland Roller, Adele Marcus, and William Race, and his competition awards include first prizes in the 1984 San Antonio International Keyboard Competition and the 1989 New Orleans International Piano Competition. He received the Doctor of Musical Arts degree from the University of Texas - Austin in 1986. An active performer of chamber music throughout the Midwest, Dr. Koehler has appeared in concerts with violinists William Preucil, David Perry, and Brian Lewis, baritones William Warfield and Robert Sims, tenor George Shirley, oboist Alex Klein, flutist Jean Berkenstock, 'cellists Marc Johnson and Walter Preucil, and violists Richard Young and Cathy Basrak. He has also performed with the Vermeer, Arianna, and Prague string quartets.

Rita Linard, assistant professor of flute at UTSA, has her doctoral degree from the University of Texas in Austin. She also attended Indiana University, the University of Illinois, and Northern Illinois University. Her flute teachers include James Pellerite, Charles Delaney, Karl Kraber, Peter Middleton, and Paula Robison. Dr. Linard has performed in master classes given by Jean-Pierre Rampa!, William Bennett, Donald Peck, Marcel Moyse, Dick Graf, and Harvey Sollberger. In addition to frequent solo-recital and chamber music appearances with the Linard-Buchanan Flute and Harp Duo, the King William Winds, the Nova Flute and Guitar Duo, and the Sonora Flutes, she is principal flute in the Mid-Texas Symphony, and frequently plays with the San Antonio Symphony and Austin Lyric Opera. In the summer months Dr. Linard teaches and performs at Blue Lake Fine Arts Camp. Her numerous performances have been broadcast on Michigan Public Radio and National Public Radio. A member of the National Flute Association, Dr. Linard has performed at several conventions as well as adjudicating the Newly Published Music, High School Flute Soloist, and Professional Flue Choir competitions. Dr. Linard is coordinator of the Wind and Percussion program at UTSA, as well as teaching flute, aural skills, and flute ensemble. The UTSA Flute Ensemble has performed at the National Flute Association Convention and for the Texas Music Educators Convention. She is also the director of the UTSA Flute Camp for area high school and middle school students, giving them the opportunity to perform in both master classes and flute choir.

Mexican singer Sheila Lopez was a student at the University of Zacatecas, Mexico during the period 1995-1999. From 199-2001, she took voice lessons with Elizabeth Anker and Anna Gabireli at Longy School of Music in Cambridge, MA. She obtained 2"d place in the Competition of the National Association of Teachers of Singing in 2003. Mrs. Lopez, has performed a variety of roles: Ninette in Prokofiev' s The Love for three Oranges, Serpetta in Mozart's La Finta Giardinera, and "the voice of God" in Alessandro Scarlatti's oratorio Cain el primo Omicidio. From 2001 to 2003, she was a student oflsabell Ganz in the University of Houston. Currently, Mrs. Lopez is a senior student at the University of Houston under the guidance of Katherine Ciesinski.

Gary Mabry joined the UTSA faculty in 1991. He conducts both the Women's Choir and the UTSA Jazz Choir, both of which he founded. Every other year he produces the UTSA Madrigal Dinner. Also a member of the voice faculty, he has served as president of the South Texas Chapter and of the Montana chapters of the National Association of Teachers of Singing. He is an active member of the American Choral Directors Association and the Texas Choral Directors Association. He has served as the Repertoire and Standards Chair for Women's Choirs for TCDA and as been a TCDA conducting mentor for the Student Conductors Symposium. Dr. Mabry is a frequent clinician and conductor for various schools, churches and region choirs. For seven summers he taught on the faculty of the Interlochen Arts Camp. With over thirty years of leadership experience in church music, he currently serves as a staff member of the University United Methodist Church of San Antonio. As a singer-actor As a singer-actor he has a number of professional roles to his credit in both musical theatre and opera: Juan Peron (Evita), Colonel Pickering (My Fair Lady), Herr Schultz (Cabaret), Horace Tabor (The Ballad of Baby Doe), Figaro (The Barber of Seville) and Marcello (La Boheme). Dr. Mabry earned a Doctor of Musical Arts degree from the University of Colorado, Boulder. He has a Masters degree from Hardin-Simmons University and a Bachelors from Abilene Christian University.

- 48 - Larry Mentzer was the principal clarinetist of the San Antonio Symphony for thirty years. A native of Pennsylvania, he received his Bachelor of Music from the New England Conservatory of Music in Boston, Massachusetts where he studied clarinet and chamber music with Rosario Mazzeo of the Boston Symphony Orchestra. He received his Master of Arts from Trinity University. Mr. Mentzer is currently on the faculty at the University of Texas at San Antonio (UTSA) where he teaches clarinet and is the director of the UTSA Clarinet Ensemble. With St. Philip's College and the San Antonio Symphony, he helped develop the Music Advancement Program for qualified middle school band and orchestra students from the San Antonio Independent School District. He has taught clarinet at Trinity University, the University of the Incarnate Word and St. Mary's University. Before becoming a member of the San Antonio Symphony, he was a member of the Air Force Band of the West at Lackland Air Force Base, Texas, performing on both clarinet and saxophone. Mr. Mentzer has presented recitals and clinics for the Texas Bandmasters Association (TBA), the Texas Music Educators Association (TMEA) and the International Clarinet Association (ICA). He enjoys a private teaching studio and is a recitalist, clinician, woodwind coach and adjudicator.

Ron Noble holds a Bachelor of Music Education from DePaul University and a Master of Music from UTSA. He has been the bassoon instructor at UTSA since 1996. He is in his 30th season with the San Antonio Symphony, playing contrabassoon and bassoon. Ron has performed with the Dallas, Austin, Corpus Christi and Naples (Florida) symphonies. His chamber music experience is extensive, having played in woodwind quintets in Chicago as well as Miami. He is a member of the UTSA woodwind quintet and the King William Winds. He was first bassoon of the Winters Chamber Orchestra for many years.

Oscar Perez is beginning his senior year as a music studies major at The University of Texas at San Antonio. Perez was a member of the Texas Music Educators Association All-State Philharmonic Orchestra and the All-State Symphonic Band. He holds principal positions in the school's Wind Ensemble, and Orchestra and also performs in the university' s Opera Orchestra, Student Woodwind Quintet, and Student Brass Quintet. Outside of school, Oscar is the principal hornist of the San Antonio Wind Symphony and has performed with the Symphony of the Hills, San Antonio Brass, and with members of the San Antonio Symphony. He has also appeared on stage and in the pit of the San Pedro Playhouse. Last summer Perez worked as a cabin counselor and performer at the Blue Lake Fine Arts Camp in Michigan. Oscar Perez is a student of Peter Rubins.

Carlo Pezzimenti began studying guitar at age thirteen, while living with his family in Italy. During his student summers he often made the pilgrimmage to Santiago do Compostela, Spain to perform and learn before Maestro Andres Segovia at the "Music in Compostela" festival. It was in these early experiences in the presence of the father of classical guitar that Pezzimenti's life as a musician took shape. Eventually he earned a degree in music from the prestigious Morlacchi Conservatory in Perugia, and soon after started his own professional career. Mr. Pezzimenti now holds an adjunct faculty position at Texas Woman's University. He instructs an ensemble guitar class in which students work on chamber music, in addition to teaching private applied classical guitar lessons. Carlo Pezzimenti has 11 recordings and has concertized throughout Europe, Latin America and major cities of the United States. His appearances on the concert stage, as well as on radio and television, have received consistent, ever-widening acclaim.

Soprano Linda Poetschke makes regular appearances with symphony orchestras and regional opera companies across the Southwest. Opera roles include: Norina (Don Pasquale), Musetta (La Boheme), Despina (Cosi Fan Tutte), Marie (Daughter ofth e Regiment), Madame Silverklang (Impresario), Violetta (La Traviata), and Pamina (The Magic Flute). As featured soloist, Ms. Poetschke has performed with the New Mexico Symphony, the Charlotte (NC) Symphony, the Western Michigan Symphony and with the major symphony orchestras in her home state of Texas, including the Dallas Symphony Orchestia's Christmas Pops at the Meyerson and numerous appearances with the San Antonio Symphony. She has also performed as soloist with the New York West End Chamber Ensemble and the San Antonio Mastersingers in a Carnegie Hall appearance of Requiem by W.A. Mozart. Linda Poetschke has appeared as soloist for the national conventions of the American Choral Directqrs Association(ACDA) in San Antonio and most recently in San Diego and the National Association of Teachers of Singing (NATS). She is a frequent recitalist on university campuses and has also performed sacred recitals and concerts in Switzerland,

- 49 - London, Paris, Amsterdam, and Germany. In the summers of 1997 and 1998, she taught and performed in the Czech Republic at the Chopin Music Festival through the Musical Bridges program at the University of Texas at San Antonio. Ms. Poetschke holds Vocal Performance degrees from the University of North Texas at Denton, and the University of Texas at Austin. She is an Associate Professor of Voice at UTSA where she received the Distinguished Faculty Teaching Award from the UTSA Alumni Association in 1996. An endowed vocal scholarship in Linda Poetschke's name has been established at UT-San Antonio in the Division of Music where she serves as Coordinator of the Vocal Area.

Sandra Ramawy holds a Bachelor of Music in Piano Performance from the Boston Conservatory where she studied with Jung-Ja Kim and a Master of Music in Piano Performance from the University of Texas at Austin where she studied with Gregory Allen. She is currently a Doctoral candidate in piano performance at the University of Texas at Austin. A native oflndonesia, Ms. Ramawy has performed in Southeast Asia, Mexico and the USA.

Andrew Rammon serves as Instructor of Cello at Susquehanna University, Bucknell Univeristy, and Lycoming College. He is the principal cellist of the Williamsport Symphony Orchestra, and performs with the Grammy-nominated Eakin Piano Trio. He has performed in international festivals under the baton of some of the world's great conductors, including Charles Du to it and Michael Tilson Thomas. His other performance credits include an onscreen performance as a cellist in the movie Amistad, as well as in the orchestra for the soundtrack to the movie Godzilla. Mr. Rammon is a frequent recitalist and concerto soloist, appearing most recently in recital with Holly O'Riordan and as a soloist with the Williamsport Symphony Orchestra and the Bloomsburg University Orchestra.

Kevin Richmond holds a Bachelor of Music in Piano Performance from the University of Wisconsin­ Madison where he studied with Carroll Chilton, and a Master of Music in Piano Performance from the University of Texas at Austin where he studied with Lita Guerra. He is currently completing the Doctor of Musical Arts degree in piano performance at the University of Texas at Austin. Mr. Richmond's teaching experience includes activities in Germany, France, and the USA. In addition to maintaining a private studio in Zierenberg, Germany, he was a member of the faculty at the Universitiit Kassel in Kassel, Germany, and at the Loire Valley Music Institute Summer Music Festival in Chinon, France. In Fall 2002, Mr. Richmond joined the faculty at the University of Texas at San Antonio as coordinator of group piano. Kevin Richmond has performed numerous solo recitals in Germany, France, Austria, Japan, and the USA. Notable performances include George Crumb's Makrokosmos I at the "Wiener Tage der Zeitgenossischen Klaviermusik" in Vienna, Austria, a program of French and American piano music at "La Couture" in Huismes, France, an evening of piano music by George Crumb at the "GieJ3hauskonzerte," a prestigious concert series of New Music in Kassel, Germany. Mr. Richmond is also active in the New Music Series at the University of Texas at San Antonio.

Michael Richter received the Bachelor of Music degree from The University of Texas at San Antonio and has studied with guitarists David Underwood and Pepe Romero. Mr. Richter is a founding member of the San Antonio Guitar Quartet which has performed throughout South Texas. He frequently appears as a guest soloist and accompanist in the San Antonio area.

Holly Roadfeldt-O'Riordan holds degrees in piano performance from the Eastman School of Music and Indiana University and recently finished a doctoral degree in piano performance at the University of Colorado in Boulder. As a soloist, she has appeared with the University of Colorado Orchestra, the Eastman Musica Nova Ensemble, the Indiana University Wind Ensemble, the Lamont Symphony Orchestra, the Toledo Symphony Orchestra, and the University of Colorado Wind Ensemble. She made her debut with orchestra at the age of 13. A dedicated performer of contemporary music, Dr. Roadfeldt was awarded the prize for the Best Performance of a 20th Century American Composition in the Frinna Awerbuch International Piano Competition. In recitals, she has premiered over 50 solo and chamber compositions including works by Luis Gonzalez, Kirk O'Riordan, David Heuser, John Drumheller, Patrick Schulz, and Betsy Schramm. Dr. Roadfeldt-O'Riordan is currently Assistant Professor of Piano at Susquehanna University. Prior to her appointment there, she taught courses in piano, music theory, and music appreciation at Glendale Community College, Chandler-Gilbert Community College, Paradise Valley Community College, Indiana University and the University of Colorado.

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-- - ~ ------Edwardo Rios is a senior Music Education major at UTSA. He currently performs with the Wind Ensemble and Orchestra. He has studied with Mr. Jan Roller and Mr. Chris Carrillo. Outside of school he is a member of the San Antonio Wind Symphony and has performed with many different ensembles including Salsa Bands, Tejano Bands, Chamber Groups and Mariachi groups. Highlight performances include concerts at the Hollywood Bowl in Hollywood California and Kennedy Center in Washington D.C..

Jan David Roller (trumpet) received the Bachelor of Music Degree from the University of Houston and the Master of Music from the Eastman School of Music. He currently plays trumpet in the San Antonio Symphony and teaches trumpet and brass ensembles at the Interlochen Arts Camp during the summer. Mr. Roller plays numerous recitals throughout the Southwest. He has an extensive repertoire of trumpet music as well as a large collection of period instruments and transcriptions.

Peter Rubins has enjoyed both a symphonic and a Broadway touring career. His major teachers have been Dale Clevenger, Forrest Standley, and Arthur Goldstein. His symphonic work history includes multiple long-term contracts with the Pittsburgh and the San Antonio Symphonies. His long-term theater credits include the domestic tours of Cats, Les Miserables, Miss Saigon, The Music of Andrew Lloyd Webber and The Phantom of the Opera. Other freelance credits include the Chicago Symphony, Milwaukee Symphony, Orchesta Sinfonica de Galicia, Pittsburgh Opera, Pittsburgh Ballet, Pittsburgh New Music Ensemble, San Antonio Lyric Opera, as well as chamber music, pop stars, and TV/ radio commercials. His work has taken him on multiple tours of Asia and Europe, and he is happy to call San Antonio home.

Sherry Rubins directs the UTSA Percussion program. Since the mid-eighties Mrs. Rubins has performed as an extra musician with the San Antonio Symphony and she has been the principal percussionist/timpanist with the Mid-Texas Symphony since 1991. She has been Vice-President of the Texas Chapter of the Percussive Arts Society as well as on the faculty of the Interlochen Arts Camp, the Texas Music Festival at the University of Houston, the Stephen F. Austin University Percussion Symposium, Texas Lutheran University, and the University of Houston. Mrs. Rubins has presented clinics and concerts at the Texas Bandmasters Convention, Texas Music Educators Convention, and the Texas Day of Percussion. In the fall of 1998 she co-presented a fundamental mallet clinic at the Percussive Arts Society International Convention in Orlando, Florida. Mrs. Rubins is a busy freelance performer throughout the South Texas area and she is also an educational clinician for the Zildjian Company as well as the Ludwig/Musser Company.

Robert Rustowicz, Associate Professor, came to UTSA in 1976 to begin the university's instumental ensembles program. He holds the Bachelor of Music Education from Central Michigan University and the Master of Music in Performance and Doctor of Musical Arts in Wind Conducting from the College­ Conservatory of Music at the University of Cincinnati. Dr. Rustowicz is active as a guest conductor, clinician, and adjudicator throughout south Texas. He teaches courses in rehearsal techniques, wind literature, and conducting as well as directing the UTSA Wind Ensemble.

Leland Sharrock is now serving as the interim conductor of the UTSA Symphonic Band and music education instructor for the Department of Music. Mr. Sharrock recently retired as the band director from William Taft High School in Northside Independent School District. Prior to working at Taft High School he served as the Music Supervisor in Temple, Texas and band director at Roosevelt and Churchill High Schools in San Antonio. Mr. Sharrock is also an accomplished hornist who studied with Philip Farkas and has performed with the San Antonio Symphony. Mr. Sharrock is replacing Dr. Kenneth Williams who has accepted a position as the Managing Director of the Visual and Performing Arts Center at Newark High School in Newark, Delaware.

Dr. John Silantien has taught and conducted choirs on the secondary and collegiate levels in Texas, the Washington, D. C., area, and on the faculty of the Eastman School of Music in Rochester, New York. He holds a Doctor of Musical Arts degree from the University oflllinois. His awards include a Rockefeller grant for choral conducting at Aspen, Colorado, and a Fulbright award for research in London, England. He presently serves as Director of Choral Activities at the University of Texas at San Antonio and as

- 51 - Director of the San Antonio Symphony Mastersingers. Between 1992 and 1998, he served as Editor of the Choral Journal, the official publication of the American Choral Directors Association, with a circulation of over 18,000. He serves frequently as adjudicator, clinician, and guest conductor. During the summer of I 999, he lectured at an international conference of choral musicians held in Brasilia, Brazil. He is listed in the International Who's Who in Music and Who 's Who among America's Teachers. Choirs under his direction have been invited to perform before the Music Educators National Conference, the American Choral Directors Association, the Texas Choral Directors Association, and the Texas Music Educators Association. They have sung in New York City's Lincoln Center and London's Royal Festival Hall. In June 1997 the UTSA Madrigal Singers toured Brazil performing at major venues in Sao Paulo and Rio de Janeiro. His orchestral conducting credits include performances with the San Antonio Symphony, the San Antonio Pops, and New York's West Side Chamber Orchestra, as well as CD recordings of three Mozart piano concertos with the Moscow State Radio Orchestra. He made his Carnegie Hall debut in May 1994 conducting Mozart's Requiem.

Drew Stephen, a Senior Lecturer, Music History/Music Theory at UTSA, holds degrees from the University of Western Ontario, the Staatliche Hochschule fur Musik in Freiburg, Germany, and the University of Toronto. After completing his Ph.D. in musicology, he held a University of Toronto Postdoctoral Fellowship in the Humanities and Social Sciences. Dr. Stephen's research concerns the social and cultural significance of the hunt in European music of the nineteenth century with a particular focus on opera. He has presented papers, both nationally and internationally, on the role of the hunt in the works of Weber, Wagner, Verdi, and Brahms, on the hunt as a mediator of couleur locale, and on the influence of the hunting horn and hunting-horn music on the development of the orchestral horn and its repertoire. In addition to his academic pursuits, Dr. Stephen is an active and accomplished performer on both modem and natural horns. From 1991 to 1995 he held the position of Alternate Solo Hom with the Orchestra of the Landesbiihnen Sachsen in Dresden, Germany. From 1995 to 2004, he performed regularly with theatres, orchestras, and chamber music ensembles in the Toronto area. Recent performances include Handel's Concerto a due Cori and The Fireworks on period instruments with the Tafelmusik Baroque Orchestra of Toronto and recordings for the forthcoming edition of the Norton Anthology of Western Music with the Aradia Ensemble.

Emily Truckenbrod, soprano, has appeared in recital, concerts, and opera throughout the United States as well as in Austria and Honduras. On the opera stage, she has appeared in such roles as the Queen of the Night (The Magic Flute), and Adele (Die Fledermaus). Equally comfortable with oratorio and orchestral works, she has appeared as soloist with the Louisiana Philharmonic Orchestra, the Wichita Symphony, the Quad Cities Symphony Orchestra, and the Tulsa Oratorio Society. An enthusiast of contemporary art music, Dr. Truckenbrod has been a featured soloist at Society of Composers (SCI) National Conferences, the Midwest Composers Symposium, and with the University of Iowa Center for New Music. Dr. Truckenbrod holds a DMA and Master's degree from the University oflowa and a Bachelor of Music degree from Northern Illinois University. She currently serves on the faculty of Oklahoma State University and is an Artist in Residence for the Oklahoma Arts Council.

P. Kellach Waddle's busy schedule as a solo bassist includes more than 2 dozen solo recitals scheduled for the 04-05 season alone. His acclaimed solo performances of Bach, pieces written for him by living . composers, and his own music have been heard in other 80 cities in more than 20 states since 1986. As a composer in other medium he has completed nearly 200 works in variety of genres and his music has received nearly 300 performances in nearly 40 states and over a dozen countries. His works in larger forms include his Double Concerto for Two Cellos and Orchestra performed by members of the Cleveland orchestra which Was nominated for the Pulitzer in Music in 2002. He also is resident composer and bassist for the Budjanova Chamber ensemble and has been a member of the Austin Symphony since I 992. More info about Mr. Waddle's career and works can be found at http://www.under.org/cpcc/pkwaddle.htm.

Geoffrey Waite serves as one of two full-time staff accompanists for the Department of Music at UTSA. In addition to assisting undergraduate and graduate students with the preparation and performance of degree recitals, he collaborates regularly with faculty in recitals and other performance venues, as well as with a variety of departmental choral and instrumental ensembles. A native of New York State, Mr. Waite received his B.M. from Westminster College in Pennsylvania, and his M.M. from Syracuse University in

- 52 - New York. Actively involved as a free-lance collaborative pianist, he also serves as the principal organist/pianist for University United Methodist Church in San Antonio. He is the pianist for the San Antonio Symphony Mastersingers Chorus, has performed with the San Antonio Symphony, and has performed and recorded with the San Antonio Choral Society. Mr. Waite resides in San Antonio with his wife Patricia, and children Matthew, Kristi, and Brendan.

- 53 - Afterword:

As composers, what do we think of the following statement?

Without composers there would be no musicians.

While this bold declaration may seem self-evident, inviting a response such as, "Duh!," there are other considerations. For example, this statement may imply that composers are themselves musicians, when we all know that only people who perform on instruments (and sometimes voice) are actually musicia~s. How can we call composers musicians if upon hearing your music actually played somewhere, someone exclaims, "That ain't music!" Now, depending upon how many seconds this critic intones the syllables "mew" and "sik," or how many extra diphthongs are present in those syllables, there may be a possibility that the critic is ignorant of the flourishing nature of good contemporary musical composition, or that the critic is just plain stupid.

Now that we have settled the question of critics being musicians, let me further explain how the word "musician" is commonly used. For example, if you are a saxophonist ... wait, let me rephrase that. .. if you are a violinist, normal people will refer to you as a "musician" when they introduce you at, say, a party. If you are a composer, then does one still say, "she is a musician" when introducing you to a friend at a party? No, of course not. The friend will introduce you as a "really smart person who can actually write music," or, perhaps, a "creative genius." (I am excluding all introductions which refer to other aspects of the composer's life, such as, "Here comes my friend, the waiter.") Does this imply that real musicians are not smart? Exactly. (For the sake of brevity, I have not included any discussion whatsoever of improvising musicians and what happens to them at parties.)

While I believe I have successfully proven that without composers there would be no musicians, I would avoid the tautology inherent in stating, "Without music there would be no composers," a situation which would require composers to find another outlet for their "issues." However, there are many implications inherent in this argument which should be further explored, chief among them being the question of whether there are any parties without musicians, and whether those parties any good, and, if so, how can composers get invited to them. Of course, it would most ideal to continue this chain of thought over a cold alcoholic drinl~. Or perhaps several.

-Anonymous

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