I UCM NEW MUSIC f~ST VAL 2011: 0 D ANl;)NEW - / I . \ 1 ~011 SOCIETY OF COMPOS5RS, 11\lc. REGION VI CONFERENCE ,-A I I , , I ' , I '

~ ~ ~ ~' ' I NIVERSllTY OF CENTRAt MISSOURI /,)

I I DEPARTMENT O~MlJSl6 APRIL 8-10, 20 1 ' J UCM New Music Festival 2011: OLD AND NEW 2011 Society of Composers, Inc. Region VI Conference

Festival Featured Guest Artists: ATHENS SAXOPHONE QUARTET KCCONTINUUM

April 8-10, 2011

University of Central Missouri College of Arts, Humanities, and Social Sciences Department of Music An All-Steinway School

Festival at a Glance Alf concerts will be held in Hart Recital Half

Friday, April 8 Saturday, April 9 Sunday, April 11, 2010 8AM: Papers I (Utt 008) 8AM: Papers Ill (Utt 100) 8AM: Papers V (Utt 100) 10AM: Concert I 10AM: Concert IV 10AM: Concert VII 1PM: Papers II (Utt 107) 1 PM: Papers IV (Utt 100) 1 PM: Papers VI (Utt 100) 3PM: Concert II 3PM: Concert V 3PM: Concert VII 8PM: Concert Ill KCContinuum 8PM: Concert IX 8PM: Concert VI Athens Saxophone Quartet

UNNERSI1Y OF CENTRAL MISSOURJ - - DEPARTMENTOF - ­ MUS!C _5CI - Est. 1871- AN A LL-STEINWAY SCHOOL ;ociety of Composers, Inc. UCM New Music Festival 2011: OLD AND NEW April 8-10, 2011 U niversity of Central Missouri College of Arts, Humanities, and Social Sciences Department of Music

TABLE OF CONTENTS

Welcome from the Chair ...... 1 UCM Department of Music Faculty ...... 1 Paper Session 1 ...... •...... 2 Concert 1 ...... •...... •...... •...... •...... •. •.... .•...... •.•...... • •...... •...... • •...... •.....•...... •...... 3 Paper Session II ...... 5 Concert II ...... 8 Concert 111 ...... 12 Paper Session Ill ...... 15 Concert IV ...... 17 Paper Session IV ...... 19 Concert V (featuring KC Continuum) ...... 21 Concert VI (featuring Athens Saxophone Quartet) ...... 23 Paper Session V ...... 26 Concert VII ...... 28 Paper Session VI ...... 31 Concert VIII ...... 32 Concert IX...... 36 Festival Participants ...... 39 WELCOME FROM THE CHAIR

On behalf of the University of Central Missouri Department of Music I would like to extend our warmest welcome to all participants in our 2011 UCM New Music Festival. We are very pleased to host all OLD and NEW guest artists, scholars, composers, performers, and music fans. With Dr. Eric Honour as Festival Host, you can expect a tremendous conference experience. We are very pleased to host this New Music Festival because it epitomizes that which we value: honoring quality music selected through peer review; promoting music learning through scholarship and performance; showcasing bold artistic visions through contemporary music; and building a community of artists through collaboration. We value and nurture composition as a necessary component of music literacy. Therefore we aspire for this festival to encourage emerging composers and audiences. We hope you enjoy our campus and our community, but most of all we know you will savor the opportunity to experience compelling music in a community of musicians who share your passion.

Steven Moore, Chairman, Department of Music University of Central Missouri

UCM DEPARTMENT OF MUSIC FACULTY David Aaberg JaL.z Studies, Composition Michael Sekel sky Asst. Director of Bands, Percussion Michael Bersin Cello, Double Bass Aaron Jacob Sentgeorge Voice Lester Brothers Music History Richard Smith Piano John Check Music Theory David Stagg Assistant Director of Bands, Trombone J. Franklin Fenley Flute, Music History Alan Wenger Trumpet James Gai Clarinet, Saxophone Alan Zabriskie Director of Choral Studies Eric Honour Music Technology, Composition Mia Hynes Piano, Piano Pedagogy Sarni Babrakzai Office Professional Robert Lawrence Music Education, Choral Music Scott Lubaroff Director of Bands, Music Education Adjunct Faculty Carla Maltas Music Education David Adams Voice Sheri Mattson Oboe, Bassoon Joseph Armetta Guitar Gary Moege Horn, Guitar, Music History Jason Bolte Music Technology, Composition Steven Moore Music Education, Conducting Jon Gregory Euphonium, Tuba Stella Roden Voice Lee Hartman Music Theory John Rutland Orchestra, Violin, Viola James Isaac Jazz Studies, Saxophone 2 PAPER SESSION I Friday, April 8, 2011 • 8:00AM • Utt 008

8:00AM Mike Junokas, One Plus One Equals One: Jonathan Harvey's Advaya Model

In referring to Advaya (1994), Jonathan Harvey states:

'Advaya' is a first-century Buddhist term meaning 'not two', and it points to the transcendence of duality. We conventionally harbour the illusion that things exist naturally in their own right. Buddhism shows that ultimately this is untrue, and even the subjective 'self' is an 'empty thing' in the same way. All objects are the coloured illusions of a false duality. As every sound in Advaya derives from the cello, and the 'duo' onstage is unreal, it was important to articulate the illusion of multiplicity as vividly as possible so that the inherent unity lying behind would be all the more remarkable

Harvey is able to create a modern-day ode to the concerto in which the cello accompanies itself, without losing any of the virtuosic character found in romantic concertos, in his work for cello and electronics, Advaya. Harvey presents a model for today's performers and composers in developing a work that integrates the composer's creativity in compositional methods, the virtuosity of a solo performer, and the potential presented by modern electronics. This multi-media presentation will showcase how Harvey uses a specific electronics setup, advanced cello techniques, and electronic techniques to advance the central concept of 'not two' in his work, Advaya.

8:30AM Angela Lickiss, The Meeting of Part and Bach in Collage uber B-A-C-H

Arvo Part's Collage uber Ei-A-C-H, written in 1982, represents the height of Part's obsession with Bach. Collage is solidly situated in Part's post-modern aesthetic utilizing his tintinnabuli style and serialist techniques, however all three movements, Toccata, Sarabande, and Ricercare, carry certain connotations referring to older music. The Toccata's compositional process is simple and clear, like both the Baroque style and Part's tintinnabuli. The Sarabande contains the most overt reference to Bach and his music. Part includes the B-A-C-H motif throughout the movement and lifts entire sections of Bach's Sixth English Suite, orchestrated from the original solo harpsichord into a more typical Baroque instrumentation. The Ricercare is the movement that closest resembles the early definition of a ricercare, a polyphonic work utilizing contrapuntal imitation. This blending of the old and new material and techniques gives this work a feeling of disjuncture while still maintaining two distinct voices. As Lyn Henderson states in " A solitary genius: the establishment of Part's technique (1958-68), " "far from undermining the serial element, [tonality] will be required to cohabitat with it, in a free association of styles." I will first break down the inherent meanings to the titles given to each of the movements and identify specific examples, in each movement, of the blending of old and new compositional styles. I will also examine Collage to identify compositional practices more commonly associated with Part's post-1964 style. Then I will compare one of Bach's, the Adagio from Bach's Easter Oratorio BWV 249, instrumentation examples that is similar to Part's Sarabande. I will then use both of these results to demonstrate how the juxtaposition of Baroque and modernist aesthetics re-contextualizes both on a audible level.

9:00AM Timothy Stu Iman, A Cultural Analysis of Chen Yi's Si Ji (Four Seasons) for Orchestra

Chen Yi, a prominent composer of the 20th and 21st century, has been the subject of a considerable amount of musical study; however, her orchestra piece, Si Ji (Four Seasons) for full orchestra, has yet to be inspected with a great deal of scrutiny. The aim of this study is to provide a musical and cultural analysis of Si Ji, paralleling the composition to the traditional Chinese concept after which the piece is named. The cycle of the seasons has been an important concept throughout Chinese history, for both agricultural and philosophical purposes. According to traditional Daoist philosophy, the seasons are produced by the interaction between yin and yang, polar opposites that provoke each other into a continuous cycle of movement. Chen Yi's Si Ji relies on these polar opposites not only for the overall structure of the piece, but also to create relationships within the harmony, melody, and rhythm. It is the author's aim to present Si Ji as a multi-dimensional layering of polar relationships that provoke and balance each other, creating a harmonious and inevitable flow of energy. 3 Concert I Friday, April 8, 2011 • 1O:OOAM • Hart Recital Hall

Shades of Red Austin Jaquith UCM Trumpet Ensemble J. Steven Moore, conductor

Ice Town Michael D'Ambrosia UCM Trumpet Ensemble Alan Wenger, director

Judgments Nicola Monopoli Electroacoustic music

Blue River C. James Sheppard Mia Hynes, piano

Miniature n°2 Martin Loridan James Gai, clarinet; Frank Fenley, flute John Rutland, violin; Carla Maltas, piano

Piano Rap Music Scott Brickman Scott Brickman, piano

Three Movements for Trombone Quartet Allen Brings John Check, Dan Wyman, Ben Sachs, and David Stagg, trombones

Hallucination Andy Francis Justin Robinson, saxophone

Light Motives Anthony Green John Rutland, violin; Kathy Scherer, piano

Looking-Glass Changes Sarah Horick James Gai, darinet

Brahma Viharas Timothy Stulman I. Loving Kindness II. Compassion Ill. Equanimity IV. Sharing-Joy Jeff Heisler, saxophones 4 2011 UCM NEW MUSIC FESTIVAL: OLD AND NEW Shades of Red is a short tone poem based on two on Capstone CPS 8810 by pianist Jeri-Mae Astolfi pieces of nautical wisdom. The first movement for her release Chroma, SCI Performer's Recording depicts "Red Sky at Night, sailors delight," and Series. the second "Red Sky in the Morning, sailors take warning." Miniature n°2 is a short work, miniature, composed in 2010, for four instruments. The basic idea was to At the end of January 2009, a devastating Ice Storm have short fragments of traditional Asian influenced swept over a good portion of the Midwest leaving melodies developed in a contemporary classical way. parts of Kentucky and neighboring states without Reference is clearly made to Stravinsky and Ravel's power and water. It was the worst natural disaster works, which equally found an incredible source in Kentucky's history, and for some, the storm of inspiration in traditional or traditional-inspired continued to affect regular life for several weeks melodic lines. One of the most famous examples after the fact. Jee Town was in the early stages of is the opening of Le Sacre du Printemps, to which becoming a piece of music when the storm hit. this short miniature equally refers. However, each While the whole piece does not attempt to musically instrumental part is to be play freely, rubato, describe the events of the storm, the "slow-down" improvised-like. can be heard clearly a few minutes into the piece. The subsequent section gradually unveils and Piano Rap Music consists of three types of musical manipulates what I termed the "Ice Chord." material: a "motto" played in octaves, a rhythmically [broken) and registrally disjunct arpeggiated figure, and a series of repeated chords. The concept for the piece, a classical perspective on popular music, was l> o w]; !ITT ,,,----

Hallucination I was composed in the fall of 2009. The inspiration for this piece came from the television drama "House, M .D.", a series that I have became nearly addicted to over the past couple of years. During the 5th season of the show, one significant element of the plot revolved around Dr. House, who, due to the high levels of Vicodin in his system, began hallucinating two colleagues who had recently died. On a side note, while applause was still happening after the premiere of this piece, my wife looked at me with a "What the #* $&@#was that" expression on her face. I swelled with pride ...

Light Motives is inspired by Ecclesiastes 11 :7, which reads, "Truly the light is sweet, and a pleasant thing it is for the eyes to behold the sun: But if a man live many years, and rejoice in them all; yet let him remember the days of darkness; for they shall be many. All that cometh is vanity." The interplay between the violin and the piano signify an all­ encompassing remembrance of everything that is a part of life, both positive, and not so positive. This piece is lovingly dedicated to Ms. Lauren Henderson. looking-Glass Changes was written for Jeffrey Brooks (www.clarinetmonster.com). The playback is constructed solely of samples produced by the clarinet.

The Brahma Viharas, or Heavenly Abode, are four meditations proposed by the Buddha that aim at letting go of all undesirable traits of the mind such as hate, prejudice, apathy, desire, and jealously. Once the negative traits are uprooted, there is room for positive traits to be cultivated such as love, kindness, compassion, equanimity, and joy. The four meditations are as follows: In loving Kindness, one focuses on the development of good-will toward all human beings, ... to counteract hate and prejudice. In Compassion, one focuses on those who suffer, ... to counteract apathy. In Equanimity, one focuses on accepting both the world and the self as they are, ... to counteract desire. In Sharing-Joy, one focuses on a person or creature that is in a good place and literally shares their joy, ...to counteract jealousy. This piece was written at Bowling Green State University under the direction of Dr. Marilyn Shrude. It is dedicated to and was premiered by my good friend, Jeff Heisler. 6 PAPER SESSION II Friday, April 8, 2011 • 1:OOPM • Utt 107

1:OOPM Scott Brickman, KOed by the Octatonic Scale

Allen Forte, writing in The Structure of Atonal Music (1973), tabulated the prime forms and vectors of pitch­ class sets (PCsets). Additionally, he presented the idea of a set-complex, a set of sets associated by virtue of the inclusion relation. Post-Tonal Theorists such as John Rahn, Robert Morris and Joseph Straus, allude to Forte's set-complex, but do not treat the concept at length. The interval vector, developed by Donald Martino ("The Source Set and Its Aggregate Formations," Journal of Music Theory 5, no. 2, 1961) is a means by which the intervals, and more specifically the dyads contained in a collection, can be identified and tabulated. There exists no such tool for the identification and tabulation of collections other than dyads that are contained in larger collections. My presentation will be a study of the properties of a set, commonly known as the octatonic scale. The study will examine the properties and relationships among the subsets of the octatonic scale. The goals of the paper will be twofold: first, to construct a model that summarizes the properties of the subsets of the octatonic scale in a "collection vector", and second, to theorize about pitch-class set networks that allow the navigation from one octatonic hexachord to another.

1 :30PM Robert Gross, Prolongation in Stravinsky's Movements for Piano and Orchestra.

While contemplating the ways in which older composers influence today's composers, it is important not to neglect thinking about the ways older theorists have influenced modern music theory. Heinrich Schenker was an aesthetic jingoist and unapologetic nationalist, and would likely be appalled to see his prolongational theories extended to a repertory he sought to discredit. Schenker famously used Stravinsky's Concerto for Piano and Wind Instruments as a cautionary tale against too much post-tonal liberality. Nevertheless, post-tonal prolongation remains a topic of considerable interest to modern music theory. Ever since Felix Salzer included neo-classical works in Structural Hearing, living theorists continue to explore new vistas of post-tonal prolongation. Building on the four principles of post-tonal prolongation presented by this author at the November 2010 SCI national conference, the paper investigates the first movement of Stravinsky's 1959 Movements for Piano and Orchestra from the perspective of the four principles (extrication, fixed-register assertion, projection­ construction and recursion). I look at a background structure particularly derived from the salience of the E/E invariance, extricated strongly by non-pitch parameters. The paper concludes by observing the ambivalent relationship post-tonal prolongational analysts have with Schenker. He is owed an inestimable debt, as without him prolongational analysis would not be possible; yet, we have no obligation to respect his pronouncements about the lacking viability of post-tonal prolongation.

2:00PM Athanasios Zervas, Messiaen's Vingt Regards sur l'Enfant-Jesus (Ill. L'Echange): Pedal Sonorities Versus Complete Rotations

Olivier Messiaen is considered by the international art-music community to be the most influential French composition teacher of the 20th century, along with Nadia Boulanger. His composition methods, selections of rhythmic and pitch material, harmonic formations and functions, and contrapuntal treatment are subject to analysis and study even more frequently than his compositions are performed. Refusing to adopt a single system in his compositions, Messiaen instead epitomizes a creative approach to traditional formal archetypes. For example, his uses of the traditional 'two-reprise form' and fugue are infused with sound material borrowed from ancient and non-Western historic and geographic regions, serialism, and his scalar models of birdsongs. PAPER SESSION II 7 Messiaen's Vingt Regards sur l'Enfant-Jesus for piano (1944) - a collection of twenty pieces - is considered a major work for its masterful composition, theological symbolisms, and exploration of new aesthetics. The minimal use of rhythmic and pitch material projects a rather static surface -'pedal sonorities'; while at the same time the continuous evolution -'complete rotations,' of the musical elements at fundamental levels (middle ground and background) achieve continuity and flux, making the work subject to analysis. The overriding goal of this analysis is to explain why and how balance between the 'pedal sonorities' and 'complete rotations' is achieved. Pitch-class set analysis will be applied to the 3rd composition (Ill. L'Echange) and further critical analysis will compare subsections and elements of all eight pieces. 8 Concert II Friday, April 8, 2011 • 3:00PM • Hart Recital Hall

Laus Trinitati Felicia Sandler

Song of the Moon Kris Maloy UCM Concert Choir Dr. Alan Zabriskie, director

Sopranos Altos Tenors Basses Kari Bragg Sara Billingsley Maxwell Birdnow Dan Audley Angelina DeFeo Sarah Brinkley Nick Bissen Tim Billingsley Laurel Ei sler Sarah Bryant Tyler Busick Paul Blanchard Libbie Kaufman Tashina Caylor Robert Curry Micah Dunning Alyssa Oparnico Parry Hough Nathan Gearke Kendall Holsten Cassie Pettigrew Amilia M etcalf Joshua Krause Joel Jeffries Kelsey Sweitzer Barbara Solomon Andrew Stephens Alex Kolster Callie Vandegrift Haley Steele Travis White Jesse Looper April Wilson Kimberly Ta ckett Collin Woroniak Jacob Roller Krystal Thurm Taylor Sca rff Caitlin Walker Austin Winnett

Prelude and Excursion Kevin Mccarter Central Brass, the UCM Faculty Brass Quintet Alan Wenger and David Aaberg, trumpets; Gary Moege, horn; John Check, trombone; Jon Gregory, tuba

Reasons for Existence Curtis Worzalla Curtis Worzalla, guitar

Stalking the Wild Metaphor Warren Gooch Prologue I. Jumping to conclusions II. Talking to the wall Ill. Flying off the handle IV. Getting up on the wrong side of the bed V. Running around in circles VI. Turning over a new leaf Ilia Radoslavov, piano

Character Sketches of the Usual Suspects Katie Lakner James Thompson, flute

Is There Some Way We Can Set Things Straight? Joseph Post Electroacoustic music

Voices Jonathan Posthuma Jesse Looper, baritone; Veronica Snow, piano

Sonnet Ill: The Unbearable Lightness of Not Being Garrett Shatzer Jacob Sentgeorge, tenor; Andrew Stephens, piano CONCERT II 9 Brass Quintet No. 1 Christopher Wicks I. 11.

Malanca Igor lachimciuc Central Brass, the UCM Faculty Brass Quintet Alan Wenger and David Aaberg, trumpets; Gary Moege, horn; John Check, trombone; Jon Gregory, tuba 10 2011 UCM NEW MUSIC FESTIVAL: OLD AND NEW Laus Trinitati- Hildegard von Bingen (1098-1179) playing the guitar are my two passions in life, and I was a woman of many talents - a composer, abbess, felt the title should reflect that. In a way, these two writer, confidant and counselor, scientist, physician, things are my "Reasons for Existence" ... philosopher, poet and visionary. Many modern readers of her writings, and modern listeners of her music Stalking the Wild Metaphor is a suite for solo piano find in Hildegard a kindred spirit for our times. Her consisting of a prologue and six movements. Each imagery is vibrant and green, and her understanding of movement is based in some way on a popular God is expansive - encompassing both masculine and metaphor, such as "Don't fly off the handle," or feminine traits as well as features of the natural world "Did you get up on the wrong side of the bed?". around us. I am grateful to be able to add my voice to The listener can attach their own significance to the hers in this song of praise to the Trinity. relationship between each movement's title and its musical content, which is loosely based on a Song of the Moon - Near the end of Prometheus prominent twelve-tone theme, although the work Unbound, Shelley's epic "closet drama"- a genre itself is not serial. The theme is first presented in of Romantic play intended to be staged only in the fragmented form in the Prologue and then informs reader's imagination - the earth and the moon sing each successive movement in some way. This a love song to each other as the universe is unified composition was made possible by a generous grant in song and spirit. The text of this poem is taken from the St. Louis County Heritage and Arts Center from the author's reworking of the original song into of Minnesota. The work was originally composed in a more succinct and perhaps more pure form that 1984 and was revised and re-edited in 2009. was published later by Mary Shelley under the title "Variation on the Song of the Moon." Though the Character Sketches of the Usual Suspects was text can certainly be heard as a Romantic love poem inspired by the 1995 movie The Usual Suspects. Each - the pairing of earth and moon often a metaphor of the five sections represents one of the five main for the masculine and feminine in Romantic poetry characters: Todd Hockney, Michael McManus, Fred - it is, I think, also a great celebration of spirituality, Fenster, Dean Keaton, and Roger "Verbal" Kint (in the harmony of the universe, and the oneness of all that order). This is the order in which the characters things. stand during the police lineup at the beginning of the movie. Each section is supposed to represent some Prelude and Excursion opens with calm, sustained aspect of the character's personality rather than to harmonies and melodic lines in a chromatic palette attempt to retell the story. This was my first attempt that reflects the colors of a warm autumn afternoon. at using the twelve-tone technique in my composing. The excursion follows, focusing on rhythm patterns and the varied interaction of rhythms among the Is There Any Way We Can Set Things Straight? instruments as it travels through subtly changing is one of several compositions involving minimal scenery. Then a short new melodic figure combines source material and extreme time-stretching. intervals and rhythms previously heard separately. It Typically the source material is a recording of begins in the tuba and climbs into the higher parts. someone close to me saying what becomes the This leads to the end of the excursion, which briefly title of the piece. The time-stretched recording then remembers its opening. goes through several layers of signal processing. This piece fits the festival's theme of old and new The solo guitar piece Reasons for Existence by using computers to create a piece that sounds was the first piece I composed while studying at ancient and meditative, as if a clan of robots in 2053 Truman State University. After studying classical decided to become Tibetan monks and this is one guitar at Luther College, I chose to focus more on of their chants. Please don't think about that while contemporary finger-style guitar music, a technique listening to the piece. Just close your eyes and put featured by artists such as Leo Kottke, Michael yourself in the present moment. Hedges, Tommy Emmanuel, Don Ross, Antoine Dufour, and many others. This piece features a Voices - Constantine Cavafy is regarded by many as variety of extended right-hand techniques which one of the greatest Greek poets of the 19th and 20th are common to finger-style guitar music, including centuries. His work includes 154 poems that touch slap harmonics, artificial harmonics, percussive on topics such as religion, patriotism, and personal slaps, and rasgueado strumming. Compositionally, experience. The many translations of his work have Reasons for Existence is a through-composed elevated Cavafy to an international status, with many piece in the flavor of a "pop" tune that begins poets continuing to follow in his footsteps. "Voices" with a repeated melodic theme which is then is one of several poems that convey the persistent developed through the use of changing harmonies memories that haunt the mind. In this poem, the accompanying the theme. The title "Reasons for idealized voices of those one has known continue Existence" was not added until after the piece was to speak to us; sometimes their voices are sad composed. I chose this title because composing and lonely, comforting, or even terrifying. This set;ing CONCERT II 11 of Cavafy's text was created as part of a group together and play and dance just for fun. This could assignment for the composer's private lessons, be compared with a jazz jam session. In my quintet I with multiple composers setting the same text. The have tried to reproduce the atmosphere of this event. original version was improvised and recorded at The composition consists of a single movement. the piano, with the composer singing the melody, However, it could be viewed as a suite of episodes and later notated and edited into its current form. in different moods, in which each follows the other The composer tried to achieve clarity with simple without interruption. The whole Quintet is based moving lines and chords, attempting the present on the octatonic mode, known as "gypsy" mode in the text in a way that was understandable, touching, Europe. The quintet was finished in December 2004. and textually sensitive. "Voices" was included in a workshop at Northwestern College (Iowa) with vocal professor Emily Lodine and was premiered at the composer's student composition recital this past February by Dordt College sophomore Maria Bouwkamp, who plans on performing the piece again at her fall vocal recital, along with settings of other Cavafy poems that will be completed this summer.

Sonnet Ill: The Unbearable lightness of Not Being is a setting of a poem I wrote tied to the theme of the pseudo-eponymous novel by Milan Kundera. The novel suggests that something that happens only once must be insignificant in the grand scheme of things. I question this assertion. Like the novel, this poem reflects upon a relationship with a woman. The overarching imagery in the poem is that of ghosts, spirits, and the like. This inspiration came from said woman's belief in such things - and of my disbelief - but becomes something much larger, and dare I say "significant," by the end. The music supports the theme with ample use of textpainting and a few cases of leitmotifs (recurring melodic ideas that accompany certain emotions, characters, etc.).

Brass Quintet No. 1 is in two movements, of which the first is turbulent and full of disjunct rhythms, as well as dissonant harmonies based on interlocking (014) trichords. The second movement is a sort of fantasia on a melody in F-sharp Major, which sounds like an American folk melody in character, but is in fact mine. This movement includes a fugal exposition, and a calm, "morendo" conclusion.

Malanca - In Moldova (my native country), during the winter, we have many traditions for celebrating a New Year, which are connected with musical activities. One of these traditions is caroling, however, in a fashion quite different from Christmas carol. A small group of actors, dancers and musicians would gather together especially for this event. They would give about a 15 min. performance with acting and dancing for each house in the village. The whole activity sometimes lasts about two days. Musicians would choose the instruments that would be easy to carry and sound the loudest; these would be brass instruments. The whole performance would have an improvisatory character, and differ from house to house. The most interesting thing would happen when two or more Caroling groups meet 12 Concert Ill Friday, April 8, 2011 • 8:00PM • Hart Recital Hall

Dreamscape for tenor viola da gamba and electronics David Mendoza David Mendoza, viola da gamba

Highway Coda Michael Pounds (text by Matt Mullins) Matt Mullins, recitation

Improvisation Environment for Accordion and Electronics Mike Junokas Mike Junokas, accordion

Scrap Metal Jason Bolte Kari Johnson, piano

Orbit Daniel Eichenbaum ---l Jonathan Borja, flute; Cheryl Melfi, clarinet

The Ends of Histories Christopher Biggs Kari Johnson, piano

the world falls asleep William Lackey Sascha Groschang, violincello

Beyond Joao Pedro Oliveira Cheryl Melfi, clarinet; Sascha Groschang, violoncello Kari Johnson, piano CONCERT Ill 13 Dreamscape for tenor viola da gamba and E. Winkler for his informative articles on real-time electronics - What better way to juxtapose the scores, and Katherine Ferris for the accordion. musical styles of the traditional and cutting edge than within a dream? Although I played in an early Scrap Metal is an electroacoustic work that explores music consort during my undergraduate study at relationships between sonic material produced Florida State University, I have not until recently on the piano and various metal-produced sounds. rediscovered the expressive power of the viola da Scrap Metal was commissioned by the Music gamba. Since the viols do not project as well as Teachers National Association and the Missouri modern string instruments, they lend themselves Music Teachers Association. to being enhanced by electronics. In addition to the instrument being enhanced slightly by reverb, Orbit - American astronaut Joseph Allen wrote the the performer triggers three sound files from the following of his orbital experience above planet either the computer keyboard or by a foot pedal. Earth: The open source program Pure Data is used to perform of these functions. Tuning is in a slightly We orbit and float in our space gondola and tempered equal temperament with A= 415, which watch the oceans and islands and green hills puts less tension on the strings producing a more of the continent pass by at five miles agreeable sound. The work is a nice collection of per second. We move silently and effortlessly contrasting ideas, which are glued together by both past the ground. I want to say "over the the prerecorded sounds and pizzicato chords. ground" as I write this, but remember that in space your sense of up or down is Highway Coda, based on a poem with the same completely gone and my description must title, is a collaboration between the composer and reflect this fact. In addition, the the poet/musician/video artist. It consists of an breathtaking speed of the ship is an odd and electroacoustic audio work, a video component, confusing contrast to the feel of perpetually and a reading of the poem (either a recorded or a floating within the spaceship. You do live reading). The audio component was created not sit before the window to view the passing using recordings of the poet playing electric guitar, scene, certainly not down upon it. Are you electric bass, and drums. These sounds, along with speeding past oceans and continents, some other recorded sounds, were transformed, or are you just hovering and watching them edited and mixed to create an electroacoustic audio move beside you? work that accompanies a reading of the poem. The video component is an experimental film created All the electronic sounds in Orbit were created using by the poet. Another version of the piece involves samples from Rebecca Ashe and Cheryl Melfi. an interactive, online interface for exploring the poem along with the audio and visual components The Ends of Histories for piano and computer of the piece. The composer is grateful to both the (digital video and audio) was commissioned by MacDowell Colony and I-Park for providing time and and is dedicated to pianist Kari Johnson. The stimulating environments that were invaluable in the work presents sonic and visual materials meant to creation of the audio for this piece. represent various historical and contemporary ideas regarding how history ends. There are four types Improvisation Environment for Accordion and of materials that develop non-linearly in the work Electronics- This piece was first performed at and are treated as incommensurable. The materials DePaul University's Composers' Forum in 2009. represent the following conceptions of the end In this incarnation, the piece was performed of history: a polarized religious ending to history with a pre-recorded accompaniment track and a whereby everyone either ascends into a pleasant traditionally notated score. In its second incarnation, world or descends into fire; a prophetic, spiritual, the accordionist was given control over the transcendent end that has appeared in many forms accompaniment, which was integrated into an throughout history and is currently represented by interactive Max/MSP patch via a foot controller and the idea that there will be some kind of transition used a graphic score. In its current incarnation, the or cataclysm at the "end" of the Mayan calendar accordionist continues to have control over the in 2012; a socio-political end in which capitalist­ accompaniment but is now using a real-time score democracy supplants all other ideologies and all for non-linear interactivity between the performer nation-states transition to this system; and two and the electronics, generating a unique sonic scientific ends, either mass extinctions as the earth environment each time the piece is performed. All approaches a giant ball of radiation or when an sounds are derived from the accordion. Thanks go asteroid hits the earth. to Dr. Juan Campoverde Q. for his hard work and guidance in the composition.al process, Gerhard the world falls asleep (2007) was commissioned by cellist Mark Stauffer. The poetry of Charles 14 2011 UCM NEW MUSIC FESTIVAL: OLD AND NEW Baudelaire, one of Mark's favorite poets, was used as inspiration for the work. Baudelaire's "Contemplation" was the work I would return to most often when composing this piece.

As the title suggests, Beyond tries to project the sound of the acoustic instruments beyond their normal boundaries, through the use of several special instrumental techniques and, most important, through the use of the tape part. The electroacoustic sounds act as a fourth instrument that retains and, at the same time, expands the characteristics of the other three acoustic sound sources.

Quadrivium is a Kansas City-based ensemble dedicated to the performance of new music for flute, clarinet, cello, piano, and electronics. Members Christopher Biggs, Jonathan Borja, Sascha Groschang, Kari Johnson, and Cheryl Melfi often collaborate with composers on the creation of new works. In 2009, Quadrivium served as ensemble in residence for the University of Missouri-Kansas City Conservatory of Music and Dance Summer Composition Workshop. Recent performances include Electronic Music Midwest, Electroacoustic Juke Joint, a collaboration with the Kansas City Electronic Music and Arts Alliance, the KMTA/ MMTA Joint Conference, and engagements with the ArtSounds and Musica Estas concert series. Quadrivium actively seeks out new repertoire as well as opportunities to fuse cutting-edge performance with performing arts education and outreach. 15 Paper Session Ill Saturday, April 9, 2011 • 8:00AM • Utt 100

8:00AM Jessica Balik, Remembering Expressivity: Henri Pousseur's Mnemosyne I (1968)

In Greek mythology, the goddess of memory, Mnemosyne, mothered the nine muses. Therefore, she personifies the idea that recollection of the past can engender creative innovation for the future. Similarly, in the early years of the nineteenth century, the German poet Friedrich Hi:ilderlin (1770-1843) created a new and idiosyncratic poem, which is about the process of remembrance, and which he called Mnemosyne (ca. 1804). Finally, in 1968, the Belgian composer Henri Pousseur (1929-2009) set lines from Hi:ilderlin's aforementioned poem within a musical composition, which he also called Mnemosyne. Pousseur's work lasts about five minutes, but despite both its brevity and its monophonic texture, aspects of its underlying construction are nonetheless complex. My presentation explains several ways that Pousseur's intricate construction recollects elements from earlier eras of music history. They include the idea of monody, familiar from vocal and dramatic music around the turn of the seventeenth century; principles of tonal harmony, such as the sheer ideas of diatonicism and chromaticism; and serial techniques, such as operations involving recombination and permutation. I also explain how various aspects of this piece, including both the structure of its text and the sequence of its pitches, can be understood to emphasize a single phrase that lies at its center. The phrase reads die deutungslose Sprache (the "meaningless" or "uninterpretable" language). I relate Pousseur's apparent emphasis on this phrase to his critique of so-called "total" or "integral" serialism from the 1950s. Although Pousseur himself had once composed such music, he came to regard it as being - like an uninterpretable language - too difficult to comprehend. Beginning around 1960, he forged this critique both in prose essays and in musical compositions. Even though Pousseur's Mnemosyne is a short and relatively unknown piece, it is nonetheless worthy of consideration because it productively illustrates broader historical trends. They include Pousseur's own interest in reconciling serial technique with tonal harmony, an interest which occupied him throughout the 1960s, and which culminated in a large-scale dramatic work called Votre Faust at the end of that decade; the idea of "postserial" composition, a term that I understand to connote music that was not merely music composed after the 1950s, but that also somehow critiques that decade's serialism; and the marked popularity of Hi:ilderlin with composers of the later twentieth century. Finally, Mnemosyne reflects Pousseur's concern with recovering a direct and readily comprehensible form of musical expression. Although this same concern was also significant to other composers who were active in the 1960s, such as Wilhelm Killmayer (b. 1927), arguably the ideal of direct and immediate comprehensibility has become particularly associated with a younger group of German composers who matured in the 1970s. Therefore, just as the goddess Mnemosyne embodies recollection while spawning creative inspiration, so too do I understand Pousseur's Mnemosyne to reflect critically on music of the past while simultaneously pointing toward this music of the future.

8:30AM Jeremy Baguyos, Utilizing Electronics in the Performance of Druckman's "Synapse> Valentine"

Although Jacob Druckman's Synapse >Valentine was conceived as a single electroacoustic work, Synapse is the often omitted and forgotten electronic prelude to Jacob Druckman's Valentine. Many of the reasons for its omission are usually related to the logistics of public performance and publication, and these concerns have overridden Druckman's vision for the works. However, the performance of Synapse along with Valentine is still and always has been an appropriate and effective pairing, and it should be encouraged. Performers have an obligation to seek out the composer's notion of his or her work in its ideal and pristine state, even though the composer may have accepted or is willing to accept compromises to the ideal artistic vision for a work. Apart from composer intent, the pairing of Synapse and Valentine has many advantages. One of the advantages would include more variety of timbre. In addition, the pairing provides cohesiveness. A performer has a better chance of communicating the form of Valentine if the gestures are properly mimicked and the form properly measured and delineated. A performer has an even more improved chance of delineating the form of Valentine by taking turns with the Synapse tape and alternating in pairs similar musical statements between Synapse and Valentine. Ultimately, the works would not sound as random, and the listener's experience would be enhanced. 16 2011 UCM NEW MUSIC FESTIVAL: OLD AND NEW 9:00AM Christopher Gainey, Historical Foundations for the Development of Spectral Music

The purpose of this article is to show evidence of historical foundations for the development of spectral music as a fresh attitude towards composition that rose to prominence in the last quarter of the Twentieth Century. This article will characterize the development of spectral music as the coagulation of aesthetic and theoretical ideas of pioneering composers and scholars, and place spectral music in context as a reaction to the prevailing musical avant-garde of the mid-Twentieth century. This article will begin by discussing how the development of spectral music was influenced by the research and theoretical writings of scholars such as Jean-Philippe Rameau, Hermann von Helmholtz, Arnold Schoenberg, Henry Cowell, Joseph Schillinger, Paul Hindemith, Olivier Messiaen, and Harry Partch. Next, "proto-spectral" aspects of works by composers such as Richard Wagner, Gustav Mahler, Claude Debussy, Edgard Varese, Gyorgy Ligeti, Giacinta Scelsi, La Monte Young, Steve Reich, and Pierre Boulez will be discussed as a way of tracing the evolution of aesthetic goals later pursued by the first spectral composers. Then, spectral music will be characterized as one reaction to the prevailing "structuralist" avant- garde of the 1960s. Thirty years after the initial spectral explorations, the composers of today are tasked with synthesizing the resources discovered through the development of spectral music and the technical advances of other compositional approaches. Future generations of composers, regardless of stylistic preference, will be able to use the example set by the development of spectral music as a basis for the refinement of their own attitude towards composition. 17 Concert IV Saturday, April 9, 2011 • 1O:OOAM • Hart Recital Hall

SoundCloud Hsiao-Lan Wang UCM Laptop Ensemble and Guests

Eastern Hymn Adrienne Albert UCM Student Saxophone Quartet

Icarus for solo piano Chris Arrell

Landscapes Brandon Hendrix

Between Stream and Hills Chih-Chen Wei Slawomir P. Dobrzanski, piano

Crosstalk Travis Garrison Electroacoustic music

Linemusic Lee Hartman Jeremy Darnell, bassoon; Caitlin Walker, horn; Joseph Piontek, piano

Sonata No. 1 for Horn and Piano Pin Hsin Lin Candace Thomas, horn; Hye Young Kim, piano

Affektenlehre Harry Ward Jimmy Pecher, clarinet; Harry Ward, marimba

White Night Shuai Yao Electroacoustic music

Pas de Deux Charles Ditto Sheri Mattson, oboe; James Gai, clarinet 18 2011 UCM NEW MUSIC FESTIVAL: OLD AND NEW SoundCloud (2010) for laptop ensemble and optional creating the new sound that still belongs to her amplified mung beans uses completely synthesized heritage while using western instrument. sounds that are divided into four categories - clouds, dots, notes, and presence. Each category has a set of Crosstalk- noun. parameters that the player can control. It is conceived 1. Interference caused by two signals becoming as an intuitive improvisational tool specifically for partially superimposed on each other due to weaving a cloud of sounds, programmed in Max/ electromagnetic (inductive) or electrostatic MSP. This piece was originally written for the Electric (capacitive) coupling between the conductors Monster Laptop Ensemble for its 2010 Beijing tour. carrying the signals. 2. Conversation that does not relate to the main topic Eastern Hymn (2009) for Saxophone Quartet being discussed. began as a study in combining singing and playing instruments simultaneously. As a former singer, I am Linemusicwas commissioned by Brendan intrigued by the influence the voice has on producing McDonnell, a former student of mine, for his senior sound in pitched instruments. Through this process recital. Knowing the other repertory Brendan would evolved the sound of a drone-like instrument as in be playing, I set out to write a piece which would middle Eastern music. As the world gets increasingly provide some modicum of respite for his chops. The smaller and cultures become more intertwined, result was a deceptively simple piece consisting the progress of cross-pollinating musical genres of multiple lines of music superimposed upon becomes more evident. Eastern Hymn is the cross one another, creating a mega-passacaglia akin to pollenation of the East and the West, i.e. Indian ragas Menotti's Apocalypse and Rouse's Flute Concerto. and Western jazz, a tradition I grew up with (the Western part!) and the music I love to listen to. More The word Affektenlehre is German for the word(s) info can be found at: www.adriennealbert.com Affect Theory. I was interested in the study of the Greek "Doctrine of Affections" and thought I could Falling and rising melodic patterns characterize much portray some of those ideas through music-a of Icarus (2007). Over the course of the composition study of how music affects one's thoughts and these patterns slowly mutate through a kind of emotions. It is no secret that music affects everyone reverse variation process into a sonic object familiar differently, and so I wrote in a plethora of different to fans of Western classical music. By contrasting styles and textures to convey different emotions. continuous development with the gradual emergence The piece is in an avant-garde sort of style-in that of a familiar musical quote, I hope to create a multi­ no two performances should sound the same. The faceted, contradictory experience that simultaneously piece is designed in this fashion so that tempos, pushes psychological time forward into the unknown dynamics, nuances-even the articulations are left while pulling backward into the realm of memory. to the performers to improvise on. The first time I performed this was with a different clarinetist-so Landscapes consists of three movements, each of today's performance will brand new-even to my which are written in a deliberately simplistic style. ears! Sparse in texture and modest in presentation, the work exists only to highlight the sound world of the White Night is an Electronic Music composition. All piano. Each movement wanders from one sound to of its materials originate from a recording of Pipa that the next, only hinting at a modest formal structure. is a four-stringed Chinese traditional instrument. It belongs to the plucked category of instruments and The composer was inspired by Chinese paintings is very particular on its timbre. Sometimes called while composing Between Stream and Hills. What the Chinese lute, the instrument has a pear-shaped all prominent Chinese painters sought after was the wooden body. I created this work using Cecilia, mental world that they could dwell in comfortably. Digital Performer, Pro Peak, and MetaSynth. This, in return, would liberate them from worldly burden. Therefore, to refine their characters and Pas de Deux is a tri-parte construction. The first to liberate them spiritually is the base of Chinese is a plaintive, contrapuntal quasi-improvisation in painters' technique. How do their minds approach the manner of reed organ drone music-a passage to this state? Being close to hills and stream is the devoid of time. The second part is characterized by only way. There is a strong emphasis on the relation lively, contrasting, highly rhythmic material, a las between people and nature here. palmas, as accompaniment for an almost bawdy While composing this piece, the composer went exchange of riffs. An important melodic device, here, hiking very often. However, in this piece, there is is an interval wedge created by juxtaposing an F# no literally metaphor from "stream" and "hills." major pentatonic scale with a D# chromatic scale: Instead, the composer tried to transform the energy m3 - M3 - P4- P5 - m6, up and down. This cell then of the Nature and painters' spirits into her music, becomes the basis for the hymn-like theme of the closing passage. 19 Paper Session IV Saturday, April 9, 2011 • 1:OOPM • Utt 100

1:OOPM Wendy Wan-Ki Lee, "Camouflaged" and "Diluted" Pentatonicism in Piano Works by Chinese/American Composers

The pentatonic system has served as the primary organizational principle of many early piano works by composers of Chinese descent. With its innate ability to achieve a variety of tone colors and sustain an openness of sound, pentatonicism has enabled the piano, an emblematically Western percussion instrument, to carry out long, seamless melodic lines much more effectively than it could otherwise. After the 1966-76 Cultural Revolution, many Chin~se composers began to study Western musical models and became fascinated by the compositional possibifities that they opened up. Music incorporating Western compositional techniques with Chinese musical herit3ges gradually grew in prevalence as a result. In particular, works that were written for the piano by Chinese composers in the past twenty years have taken a drastic turn. Unlike before when pentatonicism no doubt occupied the musical forefront, post-1980 piano compositions were often intentionally "camouflaged" under Western musical ideals-suppressing or diluting traces of pentatonicisim while enabling Western harmonic and structural principles to direct the overall musical flow. In Nancy Rao's article written in 2002, she suggested that the noticeable "dilution" of pentatonicism in the works by Chinese composers in recent years was partly caused by their preoccupation with the numerous musical and organizational possibilities that the twelve-tone system could offer to them. These composers became fascinated by how a twelve-tone row can be partitioned into combinations of pentatonic collections, or into trichords and tetrachords that exhibit pentatoric forces, as these would allow them "to associate more freely with Chinese t raditional elements." While I agree completely with Rao's observations, I think that the extent of pentatonicism that exists in these composers' works-those that involve a combination of Chinese and Western musical elements-has not been diminished nor "rubbed out" during the process of amalgamation. Instead, I propose that pentatonicism is in "camouflage," hiding behind and become comfortably fused in with its predominantly Western musical environment. Two piano works written in the 1980s by Chinese/American composers-Duo Ye by Chen Yi and My Song by Bright Sheng-demonstrate the above phenomenon each in its own unique way. Both modeled on the coherent formal structures of Western music, Duo Ye resembles a one- movement Western sonata, while the four movements of My Song can be analogous to the arch- form design of Bartok's string quartets. In Duo Ye and My Song, their composers have camouflaged their uses of the pentatonic collections, and utilized various compositional techniques to soften the musical effect produced by these anhemitonic scales-diminished­ seventh chords within particular octatonic collections 'Nere used in Duo Ye; whereas 01, 02, and 06 dyads were used to counteract the rotational pentatonic forces in My Song. Interpreting a piece that involves a combination of Chinese and Western musical influences is challenging. Through a detailed study of Duo Ye and My Song, this paper intends to offer an analytical approach that is user-friendly and one which will preserve the composer's individuality yet reveal the core musical elements in the amalgamation of Western compositional techniques and Chinese aesthetics.

1:30PM Pin Hsin Lin, Chen Yi's Unique Manipulation of Pitch Materials in Symphony No. 2

In my presentation, I would like to discuss the special Chinese language, combining four pitch materials, within the Western music in Chen Vi's Symphony No. 2. Through my analysis, I discover that Chen Yi combines Chinese folk tunes, her personal "Chen Yi T~eme" from her Piano Concerto, twelve-tone row, and tone clusters together. Her special textural manipulation not only makes her Symphony No. 2 an excellent example of cross-cultural fusion, but also appeals to both Western and Eastern audiences, for the strong central ideas and the colorful timbre through the whole piece. I would like to discuss her textural manipulation in this piece, which makes this piece distinctive from o1her contemporary orchestral works. In the meantime, Chen Yi also absorbed the aleatoric techniques from the works of Lutoslawski and Penderecki and adopted the texture produced by the heterophonic variation of Chinese instrumental ensembles into her orchestration for the Western orchestra, since it is similar to the texture created by aleatoric techniques in contemporary Western orchestr31 practice. By assimilating the techniques of Western texture-oriented composers like Ligeti, Penderecki, and Lutoslawski, Chen Yi pays more attention to the texture process in "Symphony No. 2." 20 2011 UCM NEW MUSIC FESTIVAL: OLD AND NEW 2:00PM Theodore Karathodoros, Comments and Observations on Dimitri Terzakis' work Rabasso: Correlations and Critical Approaches to the Pitch Material Based on the Theory and Practice of Byzantine Music

Undoubtedly, due to the absence of a uniform language in 20th century musical creation, musicological­ theoretical study of this music through the spectrum of a common analytical system is practically impossible. Musical streams, schools, and especially the idiomatic musical language of many composers, raise reasonable questions for researchers and set a challenge for the field of musical analysis. In order to formulate a scientifically documented theoretical view of any specific piece of music, the issues of terminology, hierarchy, parameter classification and data evaluation of a piece must always be on the front line. Dimitri Terzakis, one of the most distinguished Greek composers, turned his attention to Greek tradition. Early in his musical career, he realized the imperative need to change his orientation toward contemporary musical creation, in order to avoid the influences of Western culture.

" My relation to Western music is negative in a fruitful way. Having ascertained early enough the causes that led it to the grave (because it is already dead), I tried to avoid them, and this effort helped me find my own musical language."

By turning to account the constitutive principles of Byzantine melody and technical elements such as tetrachords, microtonal intervals, elxis* and the like, he formed a personal music language and creatively assimilated the elements of Greek and Byzantine musical culture. Rabassa for saxophone quartet, viola, violoncello and contrabass was written in 1992 in Cologne and commissioned by the German Radio Broadcasting Service. After his Fourth String Quartet, Rabassa is the second work introducing the fourth phase of Terzakis' mature compositional technique. The basic characteristic of this composition - in relation to the pitch material organization - is the use of what Terzakis calls his " melodic axis" technique. The predominant and direct result of this technique is the shrinkage of melodic structures. More specifically, central tones are encircled with different speeds by their satellite tones, the intervallic structures of which determine the character and the sound context of the tonal spaces. In this paper, a dialectic is developed between Rabassa and the theoretical systems of Byzantine music and chanting tradition. Through specific excerpts the paper demonstrates a valuable analytical approach to the piece, leading to significant new insights into this work and Terzakis' compositional methods.

* The quality of the melody's predominant pitches to attract pitches that are above and below them, depending on the melody's direction. 21 Concert V Saturday, April 9, 2011 • 3:00PM • Hart Recital Hall

Festival Featured Guest Artists: KCContinuum

Enhanted Preludes ( 1988) Elliott Carter Jonathan Borja, flute; Alice Huang, cello

Invisible Worlds (2009) Nicholas Omiccioli Grace Lai, flute; Chari Louw, piano

Acquiesce (from Pieces of Mind and Matter, 2006) Paul Lombardi Youming Chen, violin; Alice Huang, cello

Jumpin', Coolin', and Fugin' (2003) Jason Bahr Keel Williams, bassoon; Kari Johnson, piano ( INTERMISSION mandala prismatica Christopher Levin Keel Williams, bassoon; Kari Johnson, piano

Deux Preludes (1966) Karel Husa I.Adagio II.Allegro Jonathan Borja, flute; Mauricio Salguero, clarinet; Keel Williams, bassoon

Small Worlds (2006) James Romig Jonathan Borja, flute; Mauricio Salguero, clarinet; Youming Chen, violin Alice Huang, cello; Kari Johnson, piano

KCContinuum was founded to present works written after 1945 by established and emerging international composers. KCContinuum believes in promoting the music of today and exposing audiences to infrequently performed contemporary music as well as music we just love to play. The ensemble consists of a rotating group of members selected according to the particular needs of concerts and events. Many of the current musicians have been involved in various new music projects in the Kansas City area including "A Schoenberg Retrospective," "Carter and Messiaen at 100," and the "George Crumb Festival;" all held at the University of Missouri - Kansas City within the past five years. 22 2011 UCM NEW MUSIC FESTIVAL: OLD AND NEW Enchanted Preludes is a birthday present for Ann Jumpin', Coolin' and Fugin'was written for Carl Rath Santen, commissioned by her husband, Harry, and in 2003. The work is in an arch structure, roughly composed in gratitude for their enthusiastic and ABCDCBA. A is the Jumpin' I section, where the deeply caring support of American music. It is a instruments share wide leaps and the bassoon duet for flute and cello in which the two instruments has expressive solo moments. The B section is combine their different characters and musical Jumpin' II. This is klangfarben type writing as materials into statements of varying moods. The title the instruments trade pointillistic gestures. C is comes from a poem of Wallace Stevens: The Pure for Coolin'. Here both players perform thick jazz Good of Theory, "All the Preludes to Felicity," stanza harmonies and rapid runs. The centerpiece of work no.7: is a Fugato (0), based on the main theme of Coolin'. The sections .return in reverse order with a powerful Felicity, ah! Time is the hooded enemy, finish! The inimical music, the enchanted space In which the enchanted preludes have their mandala prismatica was composed for James Keel place. Williams in early summer of 2009. The piece was inspired by a visit of the Tibetan Monks from the The score was given its first performance by Patricia Drepung Gomang Monastery in India to Kansas City Spencer, flute, and Andre Emelianoff, cello, of the Da for the construction of a Chenrezig (compassion) Capo Chamber Players in New York, on May 16, 1988. Sand Mandala in Kirk Hall at the Central Branch of the Kansas City Public Library, the composer's Invisible Worlds is a dramatic work for flute and workplace, from March 29 through April 4, 2009. piano that was inspired by the eternal darkness of the The piece is mostly inspired by the sights and deep ocean. More information is known about our sounds of the monks' week-long stay, especially the moon than this arcane habitat. At just under a mile opening and closing ceremonies of the mandala below the surface of the ocean, the only visible light construction. The bassoon's opening melody is is that produced by the creatures that reside within built upon a melodic fragment from the opening these waters. This region of the ocean is called the ceremony played on Tibetan wind instruments. Bathypelagic Zone and sometimes referred to as the The piano's chant-like cluster sections are drawn midnight or dark zone. At this depth, water pressure from a reverberant performance of the monks can reach levels close to 6,000 pounds per square seemingly monophonic, yet truly heterophonic inch making research difficult, if not impossible. This chants. The bassoon's extended multiphonic section zone only makes up the top third layer of the ocean. was inspired by one monk's throat-singing-styled Venturing deeper toward the trenches promise chant. The piece also builds formally on my earlier no shortage of life and yield a vastly unexplored work, prismatic photographs for clarinet and piano, landscape. consisting of episodic fragments and ending with a chaconne referencing the piano's harmonies during Since 2004, I have been writing a book of string the bassoon's extended multiphonic section. duets. In this book, I intend to have a duet for every combination of instruments in the violin family. Small Worlds-for flute, clarinet, violin, cello, and Acquiesce is the second duet in the book, and was piano-is the result of a joint commission from commissioned by Mariusz Kozak. This work is the Luna Nova Ensemble and Ensemble Anura. absolute in that it has no extra-musical associations. The work, completed in spring of 2006, lasts The work is designed around a three-note ascending approximately nine minutes. The title refers to the motive that occurs in four incarnations. The work of Mark Buchanan, who writes about small cello is the first to present the motive, and does world network theory, expanding on the idea of "six so darkly-each time reaching slightly higher in degrees of separation" (also known, popularly, as pitch than before. The motive is always presented the "Kevin Bacon Principle"). Theories of networks in groups of three, and goes through a series of are in many ways similar to theories of music, and transpositions and transformations that culminate Small Worlds explores some possible intersections in the climax of the piece. The transpositions of the and interactions between two different "networks" interval patterns are concluded in the final section of pitch and rhythm-one articulated primarily by as a canon. Here, pitch, proportion, intensity, the flute, clarinet, and violin; the other articulated displacement of imitation, and interval of imitation primarily by the cello and piano. are tightly integrated. The final statements of the motive happen in the cello in a similar fashion to the beginning, this time, however, with high, sustained notes in the violin. The shape of the entire piece reflects the transformation design of the three-note motive. 23 Concert VI Saturday, April 9, 2011 • 8:00PM • Hart Recital Hall

Festival Featured Guest Artists: Athens Saxophone Quartet

Schism Athanasios Zervas

Hanging Onto the Vine Zae Munn

Stigmata Theodore Karathodoros

STL-Reed Kristin Shafel

All About Sax James Yannatos

Event Horizon Patricia Morehead

Evymnon Michael Adamis

Ok-Ok Lansing McLoskey here is no water but only rock Eric Honour

Athens Saxophone Quartet Athanasios Zervas, soprano saxophone Dionisios Roussos, alto and soprano saxophones Leo Saguiguit, tenor saxophone Eric Honour, baritone and alto saxophones

The Athens Saxophone Quartet (ASQ) was founded by Athanasios Zervas in 1997 and is considered one of the finest chamber music ensembles of Greece. The ASQ has frequent appearances internationally in music festivals andconcert halls, and has premiered more than one hundred compositions. Although the repertory of the ASQ comprises works of different eras and styles, the majority of its repertory is music composed after 1945. 24 2011 UCM NEW MUSIC FESTIVAL: OLD AND NEW Schism of saxophone quartet: A Hymn to Poetics in different guises and colorations between each of "Let there be a play of poetry! Do come the sections. heroic act; a new sixth sense, open among the others .... _Rising on the sound waves, "Evymnon" is an ancient Greek word which means high above the limits of Time." [K. Varnalis] "good sounding hymn." The composition consists of four sections, each with a different character, which are performed without interruption. The pitch Hanging Onto the Vine, for saxophone quartet, material derives from the Byzantine melismatic was commissioned by Kelland Thomas and was tradition. Short melodic units are combined, varied, composed in 2000. It was premiered by the Indiana transformed, and expanded, resulting in a constant University Student Saxophone Quartet in 2001. The flow. Evymnon was composed for the Athens title draws on several obliquely related images of Saxophone Quartet in 1998. vines and hanging: images in the Book of John of branches abiding in the vine and bearing fruit, the Ok-Ok- I heard Charlie "Bird" Parker for the psychological state of "hanging by a thread," and first time when I was an enthusiastic (but only Tarzan swinging from a vine. Published by JOMAR moderately skilled) alto sax player in the junior Press. high jazz band. The solos were so dizzyingly fast I had a hard time believing someone could negotiate The piece entitled Stigmata was composed in their fingers around the instrument that fast. But February 2009 and was commissioned by the Athens even more than the "technical" virtuosity, what Saxophone Quartet. The piece's development reflects really blew my mind (and led me to the inescapable a narrative concept, predicated on two fundamental­ conclusion that I had no future as a jazz saxophonist) adverse characteristics: on one hand, we get the was that I simply couldn't comprehend how feeling that the pitch and rhythm material evolves someone's brain could negotiate, improvise, execute through procedures referring to a thematic-motivic a solo at such breakneck speed, with every turn of process, while, on the other hand, the model of phrase feeling like a surprise and yet inevitable at the the spiral form, namely the constant development same time. and flow through horizontal polymelodic and My favorite Bird tune when I was 13 years old polyrhythmic controls, intervenes in snatches. The remains my favorite to this day: Ko-Ko. I decided succession of these two situations creates allusive to revisit Ko-Ko again, though rather than make correlations and analogies that correspond to those an "arrangement" of the song, my piece is a total of the rondo form, with the ultimate purpose being recontextualization based entirely on Bird's solo. the contribution of the afore-mentioned elements to The harmonic and rhythmic schemes of the original an unbreakable unity. chart were abandoned, and the solo was removed from the context of the song. I then stripped the solo STL/Reed (2004, Kansas City, MO) was my first of it's rhythmic component and deleted all rests, experience writing for a reed instrument. In this creating in effect a tone-row of 1,058 pitches (which piece I was primarily experimenting with strong Bird jammed into 1 minute and 50 seconds of a 2'53" melodies, box notation, and rich colorful harmonies. song!). The title is inspired by my brother's initials. Around Every note of Bird's solo is played in the original the time I composed STL/Reed he was going through order, but it isn't until the very end of the piece that the new experience of starting college, and it made a snippet of the solo is actually quoted (the final me reflect on new experiences in general. phrase of the solo). Throughout there is a recurring chord progression similar to a jazz chart, the chords Event Horizon is a one movement work with many all derived from a 12-tone row drawn from the different tempi. It is structured in four sections: slow opening phrase of the solo. and mysterious, fast, lyrical, and the final section Ok-Ok was commissioned by The Fromm is jazz-based using multiphonics to expand the Foundation for the Radnofsky Quartet as part of a coloristic range of the quartet. special grant to Composers In Red Sneakers. The title "event horizon" refers to the astronomical of black holes in deep space. Black here is no water but only rock- T. S. Eliot's holes are of an infinite density emitting no light into masterwork, The Waste Land, is widely recognized the universe and yet we have been able to determine as one of the most important and influential poems their existence. "Event horizon" describes the action of the 20th century. In his notes on the poem, Eliot of matter disappearing or being absorbed into a says that the first part of the fifth section of the black hole. This concept inspired the structure of this poem (What The Thunder Said) employs three new work for saxophone quartet. themes: "the journey to Emmaus, the approach to Each of the four sections is absorbed into the the Chapel Perilous (see Miss Weston's book), and event horizon or black hole symbolized musically by the present decay of eastern Europe." Regardless a unison "d" which begins the piece and comes back of these deeper references, this section of the poem CONCERT VI 25 features some of Eliot's most striking and effective imagery. Beginning in the second stanza, at line 331, with the words "Here is no water but only rock," Eliot's imagery turns dry, suffocating, and desperate. His use of repetition over the next 27 lines drives home the feeling of a person lost in a desert of rock, searching endlessly for water, but finding none. In the quartet here is no water but only rock, the music is similarly arid - especially in the opening section - and searches futilely for stability and comfort. It achieves a sort of stability and trajectory in the end, through appropriating the rhythms and energy of rock music, but mixed with a grating, dissonant, aggressive sense of harmony, which offers no succor or release. The closest the music comes to water is in the tenor saxophone solo at rehearsal letter J - which references the "God-Music" section of Crumb's Black Angels - but the search ends once more in rock. 26 Paper Session V Sunday, April 10, 2011 • 8:00AM • Utt 100

8:00AM Peter Gillette, Minimalism and the Textural Debt to Neo-Classicism in Albert M. Fine's Keyboard Works for David Tudor (1965)

Obscure Fluxus composer Albert M. Fine (1932-1987) has a vast, diverse, and scantily published oeuvre that has yet to receive musicological attention. Trained as a young man by Nadia Boulanger, the Boston native received a masters degree in conducting from Juilliard in 1959, also working with composer Vincent Persichetti and befriending Peter Schickele and Philip Glass. Glass would subsequently describe Fine as a wonderful teacher, and yet a quixotic figure whose personal eccentricities doomed his interactions. Throughout the 1960s, Fine sought employment as a conductor or composer through many mainstream institutions, but also fell in with the Fluxus crowd, became a true believer, and eventually transitioned into a transient yet occasionally notable existence in the art world. This paper-one of several arising out of an extended archival study of Fine's extant sources and a planned edition of his unpublished, conventionally­ notated scores- focuses on two keyboard works Fine wrote for David Tudor late in 1965, contextualizes them within the history of New York minimalist styles, and considers his works as a locus between neo-classical training and post-Cagean attitudes towards notation. Rather than viewing Fine as a seminal figure within minimalism, I consider Fine as an early, prescient illustration of minimalism's stylistic paradox: texturally, Fine favors neo-classic cleanliness while formally, his notational strategies for repetitions struggle to move beyond the teleological confines of periodic structures. Fine's two works for David Tudor-Symphonic Sketch and Three Movements for Piano-strikingly anticipate the clean, minimalist two-part texture that would rise to ubiquity in Steve Reich's Violin Phase (1967) and, later, in Philip Glass's Music in Fifths (1969) and related works. Fine's-and his piano works'­ obscurity precludes us from viewing them as lost evolutionary phenotypes. Fine had been writing tonal keyboard works; and yet, Fine's documented encounter with the music of La Monte Young suggested new formal, textural, and notational strategies to be explored. Fine's composition notebooks and drafts of keyboard works from 1964 and 1965, then, record his attempts to reconcile two apparently incompatible compositional approaches. His careful and richly documented attempts to work out solutions to the notation repetition and the creation of subtle timbral changes throughout a predominantly uniform texture suggest a composer who, while deep in the musical underground, still called upon his neo-classical training. Fine's affinity for two-part counterpoint even informed his path breaking work as a mail-artist, "Flux-film"maker, and word-score composer. Fine's works for Tudor, then, represented the composer's negotiation between two-part counterpoint, the blending of conventional notation with repetitive and aleatoric elements and strategies, and Fine's unique visual style. Fine's synthesis of his training in tonal counterpoint with his work in a self­ consciously post-Cagean milieu can serve as an instructive, entirely unexamined episode of early minimalism that balances "midtown" texture with "downtown" spirit. A handout will include a table of Fine's extant works and several score examples, in manuscript and (where beneficial on account of idiosyncratic notation) transcription.

8:30AM Patricia Morehead, Rhythmic Practice in the Music of Ralph Shapey

Shapey's definition of rhythm:

"Regular or irregular recurrences of groups, phrases, patterns and motions in relation to each other, pulses, meter, stress durations, accents, pitch, contours, designs and time, functioning within the architectural structure of the artistic whole."

During the first quarter of study, Ralph Shapey asked each of his graduate students to write a paper on the various aspects of rhythm that we thought were important. In addition, we were asked to write the most demanding rhythms we could invent in one- through four-part rhythmic studies. This happened as part of the course of our basic studies with him during the first quarter of lessons at the University of Chicago. These rhythms we had to be able to perform in class in front of our peers. It was important to Shapey that we should only write what we could perform ourselves, but that we should always be aware of challenging our abilities and expanding them as a basic resource for creating music. The studies made us very conscious of the composite rhythm in not just one rhythmic line and of how important this rhythm is to bringing contrast and definition to music, not only in solo composition, but also in multiple-voiced works. PAPER SESSION V 27 I will address a multiplicity of ideas that Shapey brought to his own rhythmic practices by using his examples from the standard repertoire, which will include Beethoven, Brahms, Haydn, Messiaen, Mozart, Schoenberg, Varese and Webern.

9:00AM Zachariah Zubow, Beat Class Modulation in Ligeti's Piano Etude, No. 4

Listening to Gyorgy Ligeti's Etude number 4, titled Fanfares, from his Piano Etudes: Book 1 written in 1985, one cannot dismiss the rhythmic gestures developed throughout the movement. The rhythmic structure of the piece is centered on the ostinato figure that can be found throughout the movement. The meter defines the grouping of the eighth notes as 3+2+3/8, by which the ostinato gains its character. While this ostinato figure continues, rhythmic transformations occur in the opposite hand that directly interact with the ostinato figure. The rhythmic transformations that occur are similar to the rhythmic analysis described by Richard Cohn in his article, "Transpositional Combination of Beat-Class Sets in Steve Reich's Phase Shifting Music." Cohn's method of beat-class transformation will be used to provide better insight to the rhythmic transformations of Ligeti's Fanfares. 28 Concert VII Sunday, April 10, 2011•10:00AM ·Hart Recital Hall

Migratory Patterns Devin Fanslow UCM Percussion Ensemble Michael Sekelsky, director

Time and Tide Stephen Yip Dan Wyman, trombone; Michael Sekelsky, percussion

Sonata for Stereos Simon Fink Electroacoustic music

Remnants Joseph Dangerfield

Uwohali Kris Maloy

Preludes of Pace Molly Joyce I. Medium Piano II. Fast Piano Ill. Slow Piano Stacey Barelos, piano

Spiral/A Thousand Years Igor Karaca Electroacoustic music

Impromptu Andrew Smith Ian Gottlieb, violoncello

Les Battements Jacob Reed Jacob Sentgeorge, tenor; James Gai, clarinet; Richard Smith, piano

Winter Waltz Victoria Malawey Dionisios Roussos, alto saxophone; Kristen Hirlinger, piano

Byzantine Chant (improvised) Nefeli Roussos, voice; Dionisios Roussos, alto saxophone

The Battle of Marathon Dimitris Gouzios Dionisios Roussos, alto saxophone; Mia Hynes, piano CONCERT VII 29 Flying like a flock of birds, always following a leader, the first two movements, is interrupted, and this always swapping the lead. This short little verse interruption is aurally identifiable, as the descending details the meaning behind this piece. Migratory closing gesture of the second movement becomes Patterns is an exploration in a concept taken from the springboard into the third movement. Part II the way birds migrate and applied to a musical explores the fluctuations and changes that occur as setting. What one sees when watching, say, a flock time morphs into space and eventually reaches its of Canadian Geese is that they fly in a " V" formation. end. The ebb and flow of time, heard in the fourth The bird at the tip of the "V" leads the way and and fifth movements, gives way to the blurred provides a means for the other birds to draft behind boundaries between time and space in the sixth the leader. Throughout the trip, the birds take turns movement. The concluding movement creates a leading the flock. The most difficult position to fly in static atmosphere as time runs out. Each movement is up front, and thus they conserve energy by sharing of the piece was composed using a motivic segment, the load. Each movement of this piece details the or "remnant," contained within the first movement. personality of a new bird that is leading the group This compositional technique represents a realization until the destination is ultimately reached. of the composer's philosophy that every place leaves its mark upon those who live in or visit that place, This piece, Time and Tide was composed for just as travelers and residents leave their mark upon trombone and percussion. Composer wanted to the places they encounter. - Carla Colletti explore different tone colors in both instruments by employing different extended techniques. There are Uwohaliwas commissioned by pianist Ewa Plonka some imitations of two instruments are played like for her featured performances in the United States dialogues; sometimes, those dialogues are repeated and Israel following her prize-winning performance or echoed to each other and sometimes, they are in the Oklahoma-Israel Exchange International imitated to on another. Also, different tone color Competition. Ewa asked me for a short, virtuosic sounds were designed to express different time, piano piece a la Liszt, but one colored by the space and tide, such as at dawn, at noon, and dusk. traditions of America and Oklahoma in particular. Composer used of unmeasured notation to give As an Oklahoma Native and part-Cherokee more freedom to players to improvise the time and myself, I wanted to write something expressing space in order to express the music in an appropriate the imagery of Oklahoma and the Native American way. traditions still very present in my home state. I began to think of how I might encapsulate these I began creating Sonata for Stereos by digitally different references with one short solo work, and recording a 2 Y2 second sample of bubble wrap decided that if the music would fly over the piano as popping. Manipulating the sample in Protools, in a Liszt piece, perhaps the idea of flight could play MAX/MSP, and Audiosculpt, I composed a 4 Yi a role in the work. I began to imagine the beginning minute piece in stereo. I then "orchestrated" the as a "taking off" and the body of the piece as a great piece by playing it back through each audio system bird, perhaps an eagle, flying freely with power and in my apartment: an ipod, a new stereo system, a grace over the Great Plains. shower radio, a 1980's boom box, and four others. The resulting piece progresses from one lush I recorded each playback, and then pieced the piano texture to the next, until the great bird comes same composition back together as a mix of the to a peaceful rest at the end of this exhilarated flight. different recordings. I also built a patch in MAX/ "Uwohali" means "Eagle" in Cherokee. MSP which would play the new mix in stereo while simultaneously playing back six variations of the Preludes of Pace, for solo piano, was written for same mix at different speeds, through intense by Austin-based pianist Michael Schneider for the frequency filters, and moved around a six-channel 7th Annual San Angelo Piano Festival, April, 2011, surround-sound environment. The piece explores in San Angelo, Texas. The piece consists of three issues of listening environments and foreground/ preludes incorporating different tempos or speeds: background relationships. The "orchestration" is I. Medium Piano, II. Fast Piano, and II/. Slow Piano. meant to add little extra dimension to these issues. As the names suggest, each prelude explores the different musical possibilities within each pace. What Remnants (of time and space), composed in 2009 I personally find most interesting about this piece for Ryan Fogg, is a single-form work containing is that these preludes were written over the span of seven movements that coalesce into two main my spring and summer of 2010 in which my living parts. Each part signifies the spirit of two places the location changed several times. The first prelude composer visited and lived in 2009: Moscow, Russia, was composed in my hometown of Pittsburgh, and Lake Baikal, Siberia. The first two movements PA, the second one in London, UK, and the third making up Part I of Remnants examine the concept in Paris, France, with the final touches completed of time as space and as movement. In the third after my return to Pittsburgh. While the preludes movement, time, as it has been defined within do not necessarily reflect the different styles of the 30 2011 UCM NEW MUSIC FESTIVAL: OLD AND NEW music in each of these countries, I feel that they rather encompass my own musical progress as I experienced these different cultures in such a short period, with so many unforgettable memories of people and places I treasure. Lastly, each of the three preludes are individually dedicated to individual pianists I know personally and have come to deeply admire, Becky Billock, Kunal Lahiry, and Michael Schneider, all of whom I cannot thank enough for their consistent interest and dedication to my music.

Spiral I A Thousand Years is a short-form ambient exploration from Igor Karaca, featuring muted, long­ echoing, cloudy notes, fading from tonelessness into tone-clusters. This is a soundscape for contemplating exotic astrophysical phenomena: molecular clouds, cosmic background radiation, and the musical event horizons of spinning black holes.

Les Battements is a song for tenor, clarinet and piano. The text is a translation into French of Robert Graves's poem "Counting the Beats." Evocative of impending suffering, Graves's text sets a dark and foreboding mood. The tenor, at once narrator and subject, converses with the clarinet. The piano, playing a more supportive role, sounds the intimate heartbeats of the subjects early in the work and later the drums and tumbril wheels of a death march. This piece was commissioned by Hixon Dance for their 2009-1010 Season. The words of Robert Graves are set to music and reproduced by permission of the Trustees of the Robert Graves Copyright Trust.

Winter Waltz was written in the middle of an Ohio winter when snow, ice, and cold temperatures made everything seem so bleak. Consequently, the theme in the alto saxophone is somewhat disjunct and bleak, but I attempted to balance that quality with a more upbeat and playful rhythmic structure. To this effect, I incorporated a waltz meter with a great deal of syncopation in both the piano and saxophone parts. The piece as a whole uses a traditional formal design of rounded binary. 31 Paper Session VI Sunday, April 10, 2011 • 1:00PM •Utt 100

1:OOPM Gillette, Peter. Ur-Tonality and Neo-Tonality as Musical Modes of Adornian Critique in Luciano Berio's 0 King and Sinfonia

Despite Luciano Berio's intermittent reliance on serial compositional techniques late into his career, by 1968, Berio was sounding an early alarm about what later became known, pace Joseph Kraus, as ("the myth of") "serial tyranny." While composing his Sinfonia, a famous rapprochement with the music of the past, Berio wrote a scathing and overheated newspaper editorial decrying serialism as an analytical, fascistic, academic fetish and arguing for a regeneration of diversity. Given Adorno's critical affection for serial ism and the importance of fascism and "fetish" to his thought, it would seem, at first blush, that Berio was using Adorno's critical tools against Adorno's chosen music. And yet, the contours of Berio's belief that tonal genres, forms, and syntaxes could still bear meaning and trouble listeners grew directly out of the composer's encounter with Adorno. This paper will deal with Adorno's writings about Samuel Beckett, Bertold Brecht, and Gustav Mahler in the early 1960s and view Berio's engagement with and employment of these texts in print and in composition. Adorno's writings on Samuel Beckett's The Unnameable, Brecht, and Mahler's Scherzo to the Second Symphony (in Mahler: A Musical Physiognomy) inform the composition of Sinfonia and give us a frame through which to consider Berio's choice of quoted texts. By viewing Adorno as a unifying source for several (though, to be sure, not nearly all) of Berio's quoted materials, we can better reconstruct the political message-negative though it may be at times-of Sinfonia's third section. This paper assumes a basic knowledge of Sinfonia's third section and will not rehash now-familiar explications of quotation. Instead, the third section-and the analogous relationship between Mahler and Beckett-will create a template for an entirely new reading of the second section, a threnody for Martin Luther King, which uses a defunct form-the isorhythmic motet this time, but with several fixed compositional parameters borrowed from integral serialist practice-in order to self-consciously model an Adornian paradigm of the black community constructing its own institutions in order to resist the hegemonic force of assimilation. This model is the negative image of Berio's bitterly humorous critique of revolutionary pretensions in the third section. Drawing on fresh documentary evidence, I will demonstrate how-in order to historicize King's assassination and contextualize his movement as one that stands apart from hegemony-Serio sought a uniquely pre-tonal, formal means of organization as a dynamic means of mediating historical time while stepping outside of the serial/neo­ classical polemic. Though the times in which Berio composed presented new revolutionary challenges, the composer filtered his experience through the music of the past by drawing an analogue between his own situation and the context that animated Adorno's writing-1930s Germany, a time when political and artistic stakes were even higher.

1 :30PM Hanson-Dvoracek, Andrew. The [B]lessing is Miracle: Quotation and Structure in Julius Eastman's Gay Guerilla

Activism and extramusical intention are two qualities rarely associated with instrumental minimalist music, even though the aesthetic rose out of the clear racial issues highlighted in pieces such as Steve Reich's Come Out and It's Gonna Rain. Despite these beginnings and subsequent works such as Philip Glass's Satyagraha, strictly instrumental works began to more closely resemble the austerity and opacity of minimalism in the visual arts. However, by the late 1970s New York-based composer Julius Eastman began composing minimal works with titles such as Gay Guerilla, Crazy Nigger and Evil Nigger, resulting in unavoidable implications to the reception of his music. These three works were all performed and recorded during Eastman's residency at Northwestern University in 1980, at which he acknowledged the provocative effect that such titles had on otherwise inscrutable music. Contrary to stylistic expectations, there are musical elements in these works that can aid in forming an interpretative stance. In particular, Gay Guerilla concludes with a climactic quotation of the chorale melody Ein feste Burg as it is stated in Johann Sebastian Bach's cantata BWV 80. This not only provides the listeners with a recognizable melody after nearing half an hour of minimalist textures, but further analysis shows that it provides the structure of much of the work prior to its obvious statement. By examining the quotation's use in the context of the larger piece in light of comments by Eastman about the work's title, I will show how Gay Guerilla is Eastman's attempt to use musical intertextuality to reintroduce a sense of meaning and personal interpretation to minimalist music. 32 Concert VIII Sunday, April 10, 2011 • 3:00PM •Hart Recital Hall

Five Songs from Carl Sandburg's "Prairie" Robert Fleisher Emily Truckenbrod, soprano; Linda Perry, piano

... of Glass Frank Felice Touch Heart House Electroacoustic music

Smorgasbord Nicole Chamberlain Nicole Chamberlain, flute

Fugitive Yellow Shirt Zachariah Zubow Jason Gregory, violin; Zachariah Zubow, computer

Ballad for alto saxophone Ulf Grahn Leo Saguiguit, saxophone

Quirk Eric Honour

Rushing Toward the Singularity Andrew Cole Mauricio Salguero, clarinets

Open Circuit Mike McFerron Rebecca Ashe, flute

Bapu Asha Srinivasan Rebecca Ashe, flute; Mauricio Salguero, clarinet CONCERT VIII 33 Robert Fleisher: Texts for Five Songs from Carl Sandburg's "Prairie"

1. I was born on the 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.

2. I am here when the cities are gone 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.

3. Have you seen a red sunset 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 wagon boards, my cornhuskers, my harvest hands hauling crops, singing dreams of women, worlds, horizons?

4. Rivers cut a path on flat lands 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.

5. I speak of new cities and new people 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 corn huskers who say at sundown: Tomorrow is a day. 34 2011 UCM NEW MUSIC FESTIVAL: OLD AND NEW Texts for the Five Songs were selected from When Ken Kesey was a fugitive in Mexico, he was the expansive poem, " Prairie," that opens chased down by the FBI and CIA forcing him to hide Carl Sandburg's second published collection, in the jungle for about a week's time. A yellow shirt Cornhuskers (1918). Under the influence of his was hung outside the window of his apartment evocative language, this cycle explores a completely to let the jungle-hiding Kesey know the coast was different musical world than that inhabited by my clear. Fugitive Yellow Shirt also has these symbols earlier works. The Five Songs are dedicated to my of return, which are represented in the violin and wife, Darsha, who introduced me to Sandburg's electronic sounds of the piece. Composed for Jason "Prairie." They appear on the compact disc, Gregory, this piece is an aleatoric representation of Portraits (Capstone, 2008), which is appreciatively return to normalcy. reviewed in the March/April 2011 issue of the NATS (National Association of Teachers of Singing) The Ballad is a work for unaccompanied instrument Journal. It is a special pleasure to collaborate again that I started a long time ago. As of today I have with my former student, Emily Truckenbrod, who finished works for flute, oboe, clarinet, trumpet, gave the first complete performance of this work at trombone alto recorder. The Ballad was written at the 2004 SCI national conference. the request of John Sampen. All solo works include basic unifying element that is worked out in the ... of Glass - The world of electronic music offers piece. In the Ballad it is the opening 6 notes and both creators and listeners of the genre a vast array the avoidance of feeling a steady beat combined of choices and possibilities. Hundreds of choices with dynamic shape and changes between fast and exist: electroacoustic music can be comprised slow vibrato. For the listener it should feel like an of reproductions or substitutions of acoustic improvised cadenza. instruments, mixed with acoustic instruments, some times in a karaoke-style relationship, or it can. also Quirk for bass clarinet and computer - In much be music that is created that can in now way made of the music I write, the title comes first and has with acoustic instruments. This piece is a mixture tremendous impact on the resultant score. When I of a number of those techniques, to be "played" set out to write a piece for Mauricio Salguero, the during a concert but a piece that does not include word "quirk" came to mind. Something about the a performer. The sub-genre of electroacoustic sound of it reminds me of the low notes of the bass music it belongs to is called musfque concrete, in clarinet, particularly when played with slap-tongue. which composers employ recordings of everyday Messrs. Merriam and Webster define "quirk" as sounds as basic musical material for the work. "a peculiar trait." For me, the word always carries These sounds are manipulated using various editing a further, slightly negative connotation, as if these techniques, filters, spatial arrays and guilt to produce idiosyncratic traits were just a little bit dirty - the the work you hear today. Each of the movements sort of thing any decent person would keep under use up to three individual samples or recordings wraps. Nevertheless, as a composer, my quirks are of "glass;" i.e. rubbing (like a glass harmonica or an abiding love of groove and popular music; an wine glasses), resonating, rolling or breaking. The on-again, off-again romance with post-minimalist three movements of ... of Glass are played without developmental techniques; and something of an pause. Composed for the Criste! DeHaan Fine Arts infatuation with granular processing. The piece Center, the student composers of the University of "Quirk" explores all of these in depth. It's just as Indianapolis Department of Music, and John Berners. well: the second definition of "quirk" is "a groove separating a bead or other molding from adjoining Smorgasbord explores the different styles members," so even our lexicographers see the links and textures a flutist can convey through the between quirks and grooves. manipulation of the air stream. Through punching, clicks, bending, popping, fluttering, and even singing Rushing Toward the Singularity was commissioned while playing, the flute can take on a metamorphosis by Mauricio Salguero. The work is inspired by of sound. The titles of the movements are analogous cyberpunk and the idea of life after the technical to a variety of textures found in food as well as the singularity, a point at which technological sounds of the flute. Through punches and aggressive acceleration creates a paradigm shift in our attacks, the sound can be crunchy; though bending, existence, resulting in artificial intelligence, human it can be gelatinous; through pops, clicks and augmentation, a virtual human existence, etc. different embouchure shapes, it can be carbonated; The sound and images of this piece are gritty, with our friend the piccolo, singing while playing, distorted, and mechanical, much like the cyberpunk and fluttering, it can sound fluffy. Certainly the flute aesthetic. Movement I, "The Luminous Flesh of has a "smorgasbord " of ingredients in the pantry Giants," explores the grandiose monuments of a that can be whipped up a delicious audio-culinary technologically advanced society, creating on a scale work. never before imagined. In contrast, Movement II, "ldoru, Love and the Turing Machine," focuses on CONCERT VIII 35 the interplay of the humans and machines where the clarinet and electronics flow to and from one another. In Movement Ill, "Rushing Toward the Singularity," the mechanical and fast-paced future becomes the dominant theme and the clarinet and electronics mirror and augment each other while preserving their separate roles. Finally, Movement IV, "The Spiritual Machines" once again explores the interchange of man and machine; this time the clarinet and electronics are much more unified. The titles are taken from the writings of Charles Stross, William Gibson, and Ray Kurzweil.

Open Circuit was written for flutist, Rebecca Ashe, in ce lebration of Electronic Music Midwest's 10th Anniversary. This composition was completed at the Ucross Foundation Artist Residency in Wyoming, August 2010.

Bapu, an homage to Mahatma Gandhi, is based on one of his favorite devotional songs. This song is so iconic of Gandhi that hearing it immediately conjures up his image in any Indian's mind. As with most Indian music, the basic song is a guideline for many possible renditions; I've used the version I remember learning as a chi ld. The structure uses the Indian concept of continuing melodic variations. The song's original text praises Lord Raam, but Gandhi's version inserts Allaah into a Hindu song and thus proclaims universality of religion. His version translates as

" Lord Raam, Chief of the house of Raghu, Seetha and Ra am, the uplifters of those who have fallen, lshwar and Allaah is your name, Bless everyone with wisdom, Lord."

In the finale of this piece, Gandhi's song is juxtaposed with another iconic Indian song, Vande Maataram, which evokes strong patriotic emotions in Indians, and certainly in myself. Both songs affect me deeply, as an In dian-American and as a person. While I have conflicted feelings on being a non-resident Indian, I consider America my home. These songs express the universality of culture and humanity and engender in me a "patriotism" for the entire world. 36 Concert IX Sunday, April 10, 2011 • 8:00PM •Hart Recital Hall

Maybe? Aaron Perrine

Legends Jack Ballard UCM Jazz Ensemble 1 David Aaberg, director

Saxophones Trumpets Trombones Rhythm Justin Robinson Greg Blakeman Ben Sa chs Kevin Haberberger - Paris Rucker Chris Fischer Michael Sticken guitar Thomas Hobbs Michael Cervantes Bryan Campbell Michael Martin - piano Nick Bissen Mark Lavinge Richard Marshall Jacob Crouse - bass Jessie Riggins Bryant Waner - bass Jim Lower - drums

Viologen Matthew Dotson (audio) Bart Woodstrup (video) Electroacoustic music

Pastoral Horn Trio Anne Neikirk John Rutland, violin; Gary Moege, horn; Richard Smith,·piano

Pushing Buttons Andrew Walters Eric Honour, alto saxophone

19-Tone Clusters Hubert Howe Electroacoustic music

Liberation Joel Love Dionisios Roussos, alto saxophone

Concertina No. 1: Cathedrals Jessica Rudman Eric Honour, baritone saxophone

Punk-Truck-Love Daniel Zajicek James Gai, bass clarinet CONCERT IX 37 Maybe?-As odd as it sounds, this composition Originally entitled Monkeys Typing, Pushing Buttons started out as a piece for jazz combo and live for Alto Saxophone and Two Channel Electroacoustic electronics using MAX/MSP. This is also where the sound is about trying to flip the right switch at title came from, as in, "maybe" this will work? Well, the right time. This is basically what playing an I didn't like the electronics and got rid of them, but I instrument is, isn't it? Though there are allusions thought the tune still had some potential. I ended up to typewriting monkeys, bombs, clocks, severe expanding it to eight instruments for Pete Whitman's punishments for the wrong answer, and other such X-tet to perform. The final version, scored for big things, al l of the sounds in this piece come from band, was premiered by The University of Minnesota recordings of saxophones. Many thanks to ldit Jazz Ensemble One, under the direction of Dean Shner, Lance Miller, Scott Wyatt, Roy Allen, Jeff Sorenson. Stolet, and to Robert Rose for the source material.

Legends was originally written for and in honor of In 19-tone Clusters, all the overtones are clusters jazz and Latin percussionist, Alex Acuna, played in of 5-note chords in 19-tone equal temperament, the premier performance at the Fort Lewis College duplicated through three to four octaves above the Jazz Festival and accompanied by the composer. It fundamental. The amplitudes of the components incorporates a 5/4 meter that acts as an extended are varied so that they have a kind of "shimmer." 4/4 Latin groove, featuring the rhythm section at the The different instruments in the piece play the basic beginning. The winds include a soprano sax and cluster, a "sparkling" cluster, a "whoosh" sound, a flute and combined with muted brass instruments, "gong" sound, and a cluster glissando. Each short allow for tone clusters that recall traditional jazz passage is based on different but related chords, voicing. and passages state both the entire 19-tone pitch classes and all nine interval classes. The piece was The latest edition in the Dotson/Woodstrup series, synthesized using csound. Viologen is inspired by recent discoveries made in the field of fuel cell technology. Viologens are a Liberation is a piece about breaking free from class of organic electrochromics which owe their something that weighs down the spirit. This could name to a color change from colorless to violet. be a painful relationship, a frustrating job, or some This technology may one day improve video situation in which you have just HAD ENOUGH! display technology. Viologen have the potential to The piece begins with a modal melody from catalytically oxidize glucose and other carbohydrates which a good deal of the material in the movement in a mi ldly alkaline solution, which makes a is derived. After the melody is stated, there is an carbohydrate fuel cell possible. Viologens are also incessant back and forth, similar to bickering or investigated for use in electrochromic systems arguing until there has been enough! The climax of because of their ability to change color reversibly the piece occurs as the saxophonist gratingly plays a many times upon reduction and oxidation. Possibly multiphonic as loud as possible. The ending features the best known viologen is Paraquat, which is one of a refashioning of the opening material. It is slightly the world's most widely used herbicides. Recently, hopeful, but still weary, as one might expect from a Gerald Watt (great-great nephew of the steam heated interchange. engine inventor James Watt), used this herbicide as a catalyst to extract the electrons from glucose and Concertina No. 1: Cathedrals was written in 2009 transfer them to an electrode. for saxophonist Daniel Mumbauer. The electronic track uses recordings of Mumbauer demonstrating Pastoral Horn Trio was inspired by and written as a extended techniques on the saxophone, as well as companion piece to the Brahms Horn Trio. Brahms a field recording of a street saxophonist in Paris. conceived of his trio while on a walk in the Black Rather than masking the source of the sounds, I Forest during the summer of 1865 - he was inspired wanted to create electronics that would blend with by the natural world around him. I composed this the live saxophone so that the listener would not piece at the Brevard Music Center's Summer Festival always be sure whether sounds are coming from nestled in the beautiful Blue Ridge Mountains of the speakers or the performer. The samples are North Carolina, where I found similar inspiration therefore processed m inimally (mostly using a from nature. Brahms also drew on folk tunes in large amount of 'cathedral' reverb) to ensure the his work; the theme in the last two movements of "saxophone-ness" is not lost. Extended techniques his trio is thought to be derived from a folk tune and an improvisatory element in the live part are he learned as a child. While my work has no direct designed to further blur the boundaries between the quotation of a folk tune, the melodic material is acoustic and the electronic. meant to pay homage to folk music and evoke a pastoral soundscape. Punk-Truck-Love was completed in the spring of 2010, and began through imagining how to start a clarinet piece. As I worked through various versions 38 2011 UCM NEW MUSIC FESTIVAL: OLD AND NEW a 'punk' opening became the most interesting to me. There are basically three large sections to this work, and the title generally reflects those. In addition, the title also helps explain the sonic territory of the piece. Those of you familiar with the movie Punch­ Drunk Love will, I hope, feel a similar quirkiness to the character of this work. 39 FESTIVAL PARTICIPANTS

David Aaberg is Professor of Music and Director of Jazz­ Colony and the Atlantic Center for the Arts. Commercial Commercial Music at the University of Central Missouri, a recordings of Arrell's music include A is for Andiamo and position he has held since 1986. He performs on trumpet Reel (Electroshock) and Ghosts (Beau port Classical). Arrell with numerous groups in the Kansas City area including is Assistant Professor of Music at College of the Holy the Kansas City Jazz Orchestra, the Boulevard Big Band, Cross and taught previously at Clayton State University and the Louis Neal Big Band. A native of the Seattle area, in suburban Atlanta. He holds degrees from Cornell Dr. Aaberg attended Central Washington University (BA University (OMA), UT-Austin (MM), and the University of and MM in Composition}, where he studied composition Oregon (BM). with Donald White and trumpet with Robert Panerio. He later attended The University of Texas at Austin (OMA in Rebecca Ashe is a freelance musician and appears across Composition), studying composition with Karl Korte and the country as a performer, lecturer, and masterclass trumpet with Raymond Crisara. He and his arrangements clinician. A new music performer and collaborator, she can be heard on numerous CDs from Kansas City's has partnered with several composers and has performed Boulevard Big Band and Trilogy Big Band. Many of his at several festivals, including SPARK, SEAMUS and the compositions and arrangements for jazz ensemble and jazz Electroacoustic Juke Joint. In 2007, Dr. Ashe collaborated choir are published by Walrus Music and UNC Jazz Press. with three composers, Christopher Biggs, Ryan Oldham, and Jorge Sosa to premiere three new pieces for flute. Award-winning U.S. composer Adrienne Albert (ASCAP} A recording project for the pieces is underway, with a began composing music in the 1990s after a lengthy release expected in 2011. Dr. Ashe earned her Bachelor career singing other composers music (Stravinsky, degree in Applied Music (flute) at the Eastman School of Bernstein, Glass, Schuller to name a few), A graduate Music, where her principal teacher was Bonita Boyd. She of UCLA, Adrienne studied piano with Jacob Gimpel, earned both Master of Musical Arts and Doctor of Musical Aube Tzerko, compositions with Leonard Stein, Stephen Arts degrees from the University of Missouri -Kansas City, Mosko. Her works have been performed throughout the studying with Dr. Mary Posses. In 1998, she was the only US, Canada, Europe, Thailand, South Africa, Central and American and one of four flutists worldwide to be chosen South America, and China. Commissions, awards,grants: for Trevor Wye's prestigious one-year course in Kent, Low Flutes (2010), Mu Phi Chapter Grant (2009), Areon England. Flutes(2010}, Pennsylvania Academy of Music (2009), Andrew Malloy (2009), Chamber Music Palisades, (2008), Jeremy Baguyos is Assistant Professor of Music winner-Aeros Competition (2008), Pacific Serenades Technology and Double Bass at the University of Nebraska (2007),Evensong Service(2007). NEA grant, MTC, ACME, at Omaha, where he teaches courses in Digital Synthesis/ and ASCAP Awards. Multimedia, Music Informatics, and Applied Double Bass. He is also the director of Ensemble AM.I., the performing Michael Adamis, born in 1929 in Piraeus, Greece, is computer music ensemble of the University of Nebraska. recognized internationally as an avant- garde composer He resides in Omaha, NE with his wife, two children and who created a contemporary musical genre founded on dachshund. In his spare time he enjoys biking, cross­ the musical culture of Greek tradition. He has established country skiing, bowling, watching the Kansas City Chiefs, a school of thought within contemporary musical and spending time with his two children. If he had to do it practice that makes references to Byzantine aesthetical all over again, he would be a stand-up comedian. perspectives and morphological accomplishments. He has produced more than four hundred works including pieces Jason Bahr (b. 1972, Kansas City, KS) B.M. University of for orchestra, instrumental and vocal ensembles, electronic Missouri-Kansas City; M.M., D.M., Indiana University­ and multimedia, as well as music for church, theatre and Bloomington. He is currently an Assistant Professor television. His prolific and continual presence on the of Music Theory and Composition at Florida Gulf international artistic stage has included commissions Coast University. Bahr has received over two hundred from the world's most important cultural associations, performances of his works. He was a finalist for the numerous performances and radio broadcasts of his 2nd International Ticheli Composition Contest (2009) for works, awards, representations of Greece at international Anderson's Animals, a recipient of a MacDowell Colony music fora and functions held in his honor. Residency (2006), a Fromm Foundation commission (2005), won the Northridge Prize for Orchestral Composition The music of Chris Arrell, described as "sensuous and (2005) for Golgotha, third prize in the Renee B. Fischer highly nuanced" by the Atlanta Journal Constitution, has Piano Competition (2003), Region V winner in the SCI/ been commissioned and performed by such ensembles ASCAP Competition (2002), and the Cambridge Madrigal as Boston Musica Viva, Sonic Generator, Sospeso, Singers Choral Composition Competition (1999) with Thamyris, Bent Frequency, the California E.A.R. Unit, Psaume 1. When not composing, Bahr frets over his and newEar, among others, at venues across the US student loan debt and the fate of the Kansas City Royals. and in South America, Europe, and Australia. Honors SDG include commissions from Boston Musica Viva, the Fromm Foundation of Harvard University, Music at the Jessica Balik is completing a PhD in historical musicology Anthology, Spivey Hall, and Cornell University, prizes from at Stanford University. Her dissertation is entitled the Ossia New Music Ensemble, the Salvatore Martirano "Romantic Rebellion, Romantic Retreat: Music and '1968' Composition Competition, the League of Composers/ in West Germany." It considers how art music composed International Society for Music, the Society of Composers, in that country during the 1970s -- by composers including and ASCAP, and residencies from the MacDowell Wolfgang Rihm, Wilhelm Kill mayer, and Dieter Schnebel 40 2011 UCM NEW MUSIC FESTIVAL: OLD AND NEW -- relates both to music of the previous decade and to a of the organizational board of the Electronic Music climate of social unrest that culminated in 1968. Midwest Festival, and a founding board member and current President of the Kansas City Electronic Music Jack Ballard, PhD, (Theory/Composition) has composed and Arts Alliance. Jason holds a B.M. with an emphasis and produced music in a variety of genres, from classical in Music Engineering Technology and a M.M. in Music and film music to jazz and bluegrass. He worked with Composition from Ball State University. His music has Gunther Schuller, Kazadi wa Makuna, Wendell Jones, been performed throughout the United States, Europe, Arthur Post, David Maddux, and Frank Wiley, and received South America and Asia. In the summer of 2007, Jason B.A.Ed and M.M. degrees from Central Washington and was an Associate Artist in Residence at the Atlantic Center Eastern Washington Universities. His half-dissertation for the Arts with Master Artist Denis Smalley. Jason's on hyperextended tertian sonority is from Kent State music has received awards and recognition from the University. Its initial research received the Bruce Benward International Competition for Composers " Citta di Udine," Student Music Theory Award in 2007. He also writes VII Concurso Internacional de Miniaturas El ectroacusticas, music for dramas, films, videos and national radio shows, 2nd. International Electroacoustic Music Contest - including the award-winning Adventures in Odyssey, and CEMVA, 9th Electroacoustic Composition Competition is experienced in digital audio and video editing. His recent Musica Viva, Bourges International Competition of ballet, The Castle, will be performed by the Houston-based Electroacoustic Music and Sonic Art, ASCAP/SEAMUS dance company, Ad Deum. Also an award recipient for his Student Commission Competition, ETH Zurich Digital Arts symphonic and popular writing, he is a member of ASCAP, Week Soundscape Competition, Music Teachers National JEN, Society of Composers, and the Society of Composers Association and Missouri Music Teachers Association and Lyricists. As an educator, his years in higher education (Missouri Composer of the Year/Commission: 2007), and produced and influenced such internationally recognized International Society of Bassists Composition Competition. Grammy-nominees and performers as Jars of Clay, Sarah Jason's music is avai lable on the Va x Novus and Miso Jahn, Dom Li berati, Joe Vitale, Jr., and Smalltown Poets. Records labels. Probably the best known representation of his diversity in styles and instrumentation is his collection of Th e Psalms Jonathan Borja enjoys a varied career as both flutist (REX Music, 1994), which includes such jazz notables as and musicologist in the Kansas City area. Jonathan has Alex Acuna, David Friesen, Fletch Wiley, Tom Patitucci, and performed throughout the United States and Mexico others, and members of the Oregon Symphony. and has performed in festivals devoted to the music of composers as varied as J.S. Bach, George Crumb, Elliott Stacey Barelos is a pianist and composer. As a pianist, Carter, Gustav Mahler, and Olivier Messiaen. He currently she specializes in the music of the 20th and 21st centuries, serves as second flute with the Topeka Symphony particularly the music of living composers. Her solo Orchestra, and he holds teaching positions at Blue River release, The Midwest American Piano Project, which Community College and Park University. features works by living composers with ties to the American Midwest, was released by Albany Records in Scott Brickman (b. 1963, Oak Park, Illinois) was educated 2008. The American Record Guide said,"Stacey Barelos ... in the Chicago Public Schools and the University of plays with authority and poetic nuance, her beautiful tone Wisconsin and Brandeis University. He is Professor of captured vividly in this warm recording .... " Dr. Barelos has Music and Education at the University of Maine at Fort done extensive research and performance of the piano Kent, where he has been teaching since 1997. In the fall of music of American composer Henry Cowell (1897-1965). As 2009 Scott initiated intercollegiate club baseball at UMFK, a composer, Stacey's works have been performed across becoming the team's coach as well as one of its players. the U.S. and in Europe and Australia. Currently, Stacey Barelos is Assistant Professor of Piano and Theory at Born in New York City, Allen Brings served as chairman Missouri Southern State University. She received her DMA of the eastern region of the American Society of degree in piano from the University of Wisconsin-Madison Un iversity Composers and is vice-president of Connecticut in 2008. Composers. His compositions include works for orchestra, band, chorus, a wide variety of chamber ensembles, piano, Christopher Biggs is a composer and multimedia artist organ, harpsichord, guitar, and voice, have been recorded residing in Council Bluffs, IA. Chris is a co-founder and for Navona, Capstone, Centaur, Grenadilla, Contemporary board member of the Kansas City Electronic Music and Record Society, North/ South Consonance, Arizona Arts Alliance (KcEMA). Chris received the 2008 Missouri University Recordings, and Vienna Modern Masters. He Music Teacher's Association composer of the year award, has written for College Music Symposium, Contemporary the 2009 SEMAUS/ASCAP first place award, and the 2011 Music Newsletter, Society of Composers Newsletter, New Truman State/Macro Composers Competition award Music Connoisseur, New Oxford Review, ComposerUSA, and commission. He is currently a full-time instructor at sounding board, and Adoremus Bulletin. He is Professor Iowa Western Community College where he teaches the Emeritus at Queens College. technical music program. Beginning in August of 2011 Chris will be the professor of Digital Composition at Elliott Carter is "One of America's most distinguished Western Michigan University. creative artists in any field" (Aaron Copland). His intricate, mercurial work often mirrors human interactions and Jason Bolte is currently serving as an Adjunct Instructor relationships. Recent years have seen an outpouring of of Music Technology and Composition at the University major orchestral scores, along with numerous chamber of Central Missouri while completing his D.M.A. in Music works. Late styl e marked by transparency and cla rity of Composition at the University of Missouri - Kansas City texture, with a new directness of formal design. Music Conservatory of Music and Dance. Jason is a member championed by leading conductors including Boulez, FESTIVAL PARTICIPANTS 41 Barenboim, Knussen, Dohnanyi, Levine, Gielen, Holliger. Orchestra's Composition Prize (2010), the Henry and His many awards include official recognition from the Parker Pelzer Prize for Excellence in Composition (2005), governments of France, Germany, Italy, and the U.S. the Young and Emerging Composers Award (2002), and ASCAP Standard Awards. He was a Fulbright Scholar Nicole Chamberlain, born Nicole Randall, is a composer to the Russian Federation and the Netherlands (2009- and flutist living in Atlanta, GA. Her works have been 10), where he served as composer-in-residence with performed from Nashville, TN to Recife, Brazil. Nicole's the Ensemble Studio New Music at the famed Moscow works have been featured on "Live in Studio C" , bowed. Conservatory, and lectured at Maastricht Conservatorium. org, and Dartmouth College's Electronic music festival. She He has been a resident in the Leighton Studios of the was awarded Atlanta Pen Women's Composer of the Year prestigious Banff Centre in Alberta, Canada, and the Yaddo 2008 and her work "Mangosteen" is featured on a new cd Colony in New York. Recordings of his works are available of works compiled by the Georgia Chapter of the National on the Albany Records label, and many are published Museum of Women and Agnes Scott College. Nicole by European American Music and PIP Press Music was selected by the Atlanta Opera to compose a short 10 Publications. He currently resides in Cedar Rapids, Iowa, minute opera in 24 hours for the 2010 competition, which where he is Assistant Professor of music composition and won "Audience Favorite." Nicole received her Bachelors in theory, as well as the director of orchestral activities at Coe Music Composition from the University of Georgia. Nicole, College. as a flutist, currently performs with duoATL, Mercury Season, New Atlanta Philharmonic, and various jazz Jeremy Darnell is pursuing a Bachelor of Music Education situations throughout Atlanta. She has appeared with such degree at the University of Central Missouri, where he groups as neoPhonia, Bent Frequency, Cobb Symphony, studies bassoon with Sheri Mattson. Capitol City Opera, and Orchestra Atlanta. You can find out more and listen to Nicole's music at http://www.nikkinotes. Charles Ditto is an award-winning composer from Texas com. whose music has been performed on three continents, including the world premiere of an orchestral piece in John Check teaches music theory at the University of Rome in 2009. He was the recipient of the Copeland Central Missouri, where he also plays with the Central Fellowship at Amherst College (1998), and was awarded Brass. In the fall of 2010 he made a presentation on theory American Music Center's (New York} Composer Assistance pedagogy at the annual meeting of the College Music Award, 2007. Ditto was the NACUSA/Texas first-prize Society. An essay of his on jazz improvisation will soon winner in 2008, and his music has been selected for appear in Gamut. publication on the Society of Composers, Inc. CD series on Capstone Records. Additionally, Ditto's music has Andrew SeagP,r Cole is a composer and media artist. He been released on Summit Kids (distr. by Rounder), Evios is a founding member of the Baltimore based Afternow Empire, Curious Music Records, Poison Plant, and Human collective and the current vice president of the Kansas Symphony. City Electronic Music and Arts Alliance. His works have been performed at numerous festivals, including ICMC, Slawomir Dobrzanski is Associate Professor of Piano and June in Buffalo, Music X, SEAMUS, NACUSA, Connecticut Chair of Keyboard Studies at Kansas State University. College's Symposium on Art and Technology, the He obtained a Master of Music degree from the Chopin Mehr!klang Festival Freiberg, EMM, and EAJJ. Awards Academy of Music in Warsaw (Poland} and a Doctor of include the 2008 NACUSA Young Composer's Competition, Musical Arts from the University of Connecticut. He taught the 2006 Prix d'Ete, and the Robert Hall Lewis and Otto piano performance at the University of Rhode Island and Ortman Awards. Andrew holds a BA in philosophy and at Concordia College (Moorhead, Minn.}. As a pianist and music from Goucher College and MM's in computer teacher, he has also taught masterclasses and performed music and composition from Peabody Conservatory. He is solo and chamber music recitals across Europe, Asia, currently a Doctoral Chancellor's Fellow at the University North and South America. of Missouri, Kansas City. Matthew Dotson (b. 1981) is a composer of electronic Mike D'Ambrosio has been Assistant Professor of Theory and acoustic concert music as well as music for dance, and Composition at Murray State University in Kentucky video, and multimedia/installation. His inspiration comes, since fall 2008. He has held previous teaching positions in a large degree, from world, folk, and popular music in at Jacksonville State University (AL}, Oklahoma State addition University, University of Dayton, and Cincinnati's College­ to modern concert music. Technology is also a major Conservatory of Music (CCM}. He received his D.M .A. and focus of his work, both in creative application and societal M.M. degrees in music composition from CCM where he implication. Recently he was an artist-in-residence at studied with Joel Hoffman and Ricardo Zohn-Muldoon the Kimmel Harding Nelson Center for the Arts where (now at Eastman}. Originally from Long Island, New York, he finished a work for piano and electronics for pianist Mike did his undergraduate work at Lehigh University Mabel Kwan. Other instrumentalists and ensembles he where he double-majored in music and accounting. Mike has worked with include the University of Iowa Center for has music published with Dorn Publications and Triplo New Music, percussionist Greg Beyer, flutist Erin Lesser, Press. and bassoonist Stephanie Willow-Patterson. In the past three years he has had over 60 performances across the Joseph Dangerfield has lived and worked professionally United States, Europe, and South America. Among his in Germany, Russia, Holland, and New York. He is the teachers are David Gompper, Lawrence Fritts, John Eaton, recipient of many awards and recognitions, including the and James Phelps. More info can be found at www. Aaron Copland Award (2010), the Indianapolis Chamber matthewdotson.com. 42 2011 UCM NEW MUSIC FESTIVAL: OLD AND NEW Composer Daniel Eichenbaum's music has been performed has honorable recognition from organizations such as and published throughout the United States, Europe, and the New York Youth Symphony, the American Composers Asia. His music combines his love of science and the arts. Forum, and the American Academy of Arts and Letters. He In 2010, he won an Inspiration Grant from the Metropolitan has been awarded fellowships to the Aspen Music Festival, Arts Council of Kansas City to fund a series of live, electro­ the I-Park Artists' Enclave, and the MacDowell Colony. He acoustic music performances of his music in Kansas recently completed his Ph .D. at the University of Chicago. City's Arvin Gottlieb Planetarium. These performances, entitled Dark Matter combined full-dome visual projection Robert Fleisher attended the High School of Music with live music and astronomical presentations to critical and Art in New York City, graduated with honors from praise. Mr. Eichenbaum enjoys working with performers the University of Colorado, and earned a doctorate in to create new and exciting repertoire. In 2010, the Kansas composition at the University of Illinois. He is professor City based chamber ensemble Quadrivium commissioned and coordinator of music theory and composition at and premiered his work Orbit for flute, clarinet, and live Northern Illinois University (DeKalb). His music has electronics. He wrote Silent Sphere for flutist Rebecca been heard in Australia, Canada, France, Germany, Italy, Ashe in 2008 and the piece has since been performed Mexico, Spain, Taiwan, the UK, and throughout the USA; numerous times. Other ensembles that have performed recordings appear on Centaur and Capstone labels. He his works include the Montana State University Orchestra, is the author of Twenty Israeli Composers: Voices of a the University of Arizona Chamber Orchestra, the Culture (1997), and a contributing composer and essayist University of Michigan Concert Band, the University of in Theresa Sauer's Notations 21 (2009) . Warwick Wind Ensemble, and Funf. His music is published by Southern Music, Reynard Music, and Warwick Brass, Andy Francis (b.1986) is an award winning composer and recorded on the Capstone Records label. and percussionist based out of Mount Pleasant, Ml. He is currently finishing up a Master of Music degree in Devin Fanslow is a music theory/composition student composition from Central Michigan University. He holds at Ball State University and is from the small town of two Bachelor of Music degrees cum laude in percussion Granger, Indiana. This is his first year studying music performance and composition from Ohio University. His composition despite being his third year in college. In the teachers include David Gillingham, Mark Phillips, David last year he had been a music education major, also at Smooke and Daniel McCarthy. He will begin doctoral study BSU , and the year before that was a classical/jazz trumpet in the fall at Michigan State University. Rest assured, performance major at Roosevelt University in Chicago. Andy has been many places and done many things. For a complete bio, please visit www.andyfrancismusic.com Frank Felice (1961) is an eclectic composer who writes with a postmodern misch ... ievousness: pieces can be James Gai is a multi-woodwind instrument performer/ comedic/ironic, simple/complex, or humble/reverent. His teacher. He joined the UCM faculty to teach clarinet and recent projects have taken a turn toward turn towards the saxophone in 1985 following twelve years of teaching sweeter side, exploring a consonant adiatonicism. He at Northern State College.Aberdeen, South Dakota.A is member of the Society for Electro-Acoustic Music in former public school band director, Dr. Gai holds Bachelor the U.S., the American Composers Forum, the American of Music Education (Clarinet} and Master of Music Music Center, The Society of Composers Inc., and the (Theory/Composition} degrees from Southern Illinois Christian Fellowship of Art Music Composers. In addition University-Carbondale, and the Doctor of Arts (Woodwind to musical interests, he pursues his creative muse through Performance} from the University of Northern Colorado. painting, poetry, cooking, home brewing, paleontology, He has been with the Yamaha family of artist-clinicians theology, philosophy, and basketball. He is very fortunate since 1981, performing and presenting clinics across to be married to mezzo-soprano Mitzi Westra. When not the Midwest and Canada. Dr. Ga i's students have found involved musically or i.n any of the above activities, he can success at every level, with careers in education ranging be found at Butler University teaching composition and from middle school teaching through higher education, electronic music in their School of Music. and performance careers that include symphony positions, military bands, cruise ships, and the Glenn J. Franklin Fenley is professor of flute and music history Miller Orchestra. His students consistently rank among the at the University of Central Missouri. His degrees come top collegiate artists in the state and region. He himself from the University of Illinois at Champaign- Urbana (BS continues an active performance schedule as an extra with in Music Ed.}; the University of Missouri at Columbia (M. the Kansas City Symphony, regular member with both the Ed .) and the University of Illinois at Champaign-Urbana Sedalia and Lee's Summit symphonies, the After-hours (Ed. D.}. Dr. Fenley has coordinated graduate studies in Jazz Trio, and the Jim Gai Big Band. He has performed the Department of Music since 1993.With Dr. Gary Moege with the Greeley Philharmonic Orchestra, Denver (Professor of Horn and Guitar), he also coordinates the Symphony, Huron Symphony.Watertown Symphony, annual Honor Wind Symposium, an invitation-only event and soloed with the Central Missouri Concert Band at which brings over 100 high school wind players to the their 2002 appearance at the Missouri Music Educators campus each November to participate in like-ensemble Conference. Dr. Gai has performed in the pit orchestras of performances. Dr. Fenley has been a member of the UCM nineteen musicals and has played for such diverse artists music faculty since 1971 . as Bob Hope, Red Skelton.The Lettermen, the Jimmy Dorsey Orchestra, Roberta Peters, Ben Vereen,Tommy Simon Fink (b. 1980) composes chamber music, orchestral Netherton, Myron Floren, and Bobby Layne. music, and electronic music. His music has recently been played by ensembles such as the Pacifica Quartet, eighth Christopher Gainey (b. 1981} did his undergraduate blackbird, and the Saint Paul Chamber Orchestra. Simon and Master's level work at the Peabody Conservatory FESTIVAL PARTICIPANTS 43 earning degrees in composition, guitar performance of Catholic University of America, Northern Virginia and music theory pedagogy before receiving a Ph. D. in Community College and at George Washington University. composition from the University of Iowa. His music has Presently he teaches Swedish language and culture at the been performed throughout the United States and abroad Foreign Service Institute. His list of commissions include by groups such as the University of Iowa Center for New The Library of Congress Mc Kim Fund, The Swedish Music, The Ligetisplit Ensemble, The Affinity Chamber Broadcasting Corporation, The Stockholm Philharmonic Players, The San Francisco Guitar Quartet, and Duo Orchestra, National Symphony String Quartet, Washington Transatlantique. His music is published by Vogt&Fritz and Music Ensemble, George Washington University. His the SCI Journal of Music Scores, and his music is included residences include Chicago Musical College, University of on recordings from SCI, ERM Media, and the San Francisco North Dakota, Swedish Institute in Athens Greece, Jeuness Guitar Quartet. He is currently a lecturer in composition at Musical, and James M adison University. His awards Grinnell College and a Visiting Assi stant Professor of Music and prizes include Composers' Forum New York, Charles Theory at the University of Iowa. For more information Ives Center for American Music, Composers' Conference please visit www.christophergainey.com. Johnson Vermont. First prize in Stockholm International Organ Days, Musik i Dalarnas Carillon contest and Kil Travis Garrison is a composer, audio engineer, and International Piano contest. His music has been heard in electronic musician. A common thread throughout his all over Europe, North and South America, Japan, Korea work is a blurring of the boundaries between things and is published by Seesaw Music Corp, Edition Suecia organic and things electronic, between the actual and the and Edition Nglani. His music is available online from imagined, and between the rea l and the hyperreal. Current Naxos and others. He is included in Groves Dictionary of research interests include computer-based improvisational Music,, Baker's Biographical Dictionary, Contemporary systems and the musicology of electroacoustic music. Composers St James Press and other dictionaries. Travis holds a BA in Computer Music and Composition Memberships include The Society of Swedish Composers, from the University of California, San Diego, and an MA ISCM Swedish section, The American Composers Forum, in Electroacoustic Music from Dartmouth College. Travis The Society of Composers Inc. is currently pursuing a Ph.D. in Music Composition with a cognate in Historica l Musicology at the University of Internationally recognized composer/pianist Anthony Florida. Green has performed in many venues across America and Korea, and has worked personally with George Crumb Peter Gillette is a doctoral ca ndidate in historical and Steve Reich. As a composer, he received grants from musicology at the University of Iowa about to begin a the Argosy Foundation, Meet the Composer, and Mu dissertation that, tentatively, will explore the relationship Phi Epsilon. His works have been performed by ALEA between European serialists and the downtown avant­ Ill (Gunther Schuller, conductor), the Providence String garde within various Lincoln Center institutions from 1965 Quartet, the Playground Ensemble, Ossia New Music through 1976. He holds a masters in trumpet from Iowa Ensemble (winner of their 2nd International Composition and is a graduate of Lawrence University. He presented on Prize) , Grupo Instrumental Siglo XX, Alarm Will Sound, Berio's 0 King at the Midwest Graduate Music Consortium and many others. He is currently a doctoral candidate at in Madison, at the University of Iowa Musico logy the University of Colorado at Boulder, as the recipient of Colloquium, and at the American Musicological Society their first ATLAS Fellowship. Midwest meeting. His style study of the keyboard sonatas of fluxus composer Albert M . Fine has been accepted Jason Gregory is studying music composition at The for presentation at the Third International Conference on University of Iowa under the aegis of Dr. Lawrence Music and Minimalism next fall in Leuven, Belgium. He Fritts and Dr. David Gompper. Currently, he is helping also presented on the use of junk metal in ultramodern out the dance department with their sound needs as works for percussion ensemble at UC-Santa Barbara's well as creating new music in collaboration with faculty Music and Politics conference in 2008. choreographers

Warren Gooch's music has been widely performed Jon Gregory is Visiting Instructor of Tuba and Euphonium throughout North America, Europe, Asia and Latin at the University of Central Missouri. He received his America. Gooch is recipient of over thirty composition Bachelors of Music Education from UCM, in the spring awards and paid commissions, and has approximately of 2001, and his Masters of Music from the University thirty published works available from various publishers. of Akron, with emphasis in Tuba Performance, in the His music has been recognized by numerous national spring of 2003. While completing his master's degree, and regional cultural organizations. Gooch chairs the he performed with the Ashland Symphony Orchestra, Theory-Composition area and coordinates the graduate University of Akron Graduate Brass Quintet, and the program in Music (MA) at Truman State University, where Cuyahoga Valley Brass Band. He also was brass instructor he has been a four-time finalist for both that university's at multiple high schools throughout the Akron/Canton " Educator of the Year" and "Advisor of the Year" awards. area. He presently performs with the UCM Brass Faculty He is active in the field of sacred music. Quintet and the Fountain City Brass Band. He is very active as a clinician and private teacher throughout the Kansas Ult Grahn studied music at the Royal Academy of Music, City Metropolitan area. Stockholm and at the Stockholm City College where he studied composition, violin, viola piano and voice. Sascha Groschang is an active recitalist and chamber He holds a degree in Violin and Viola from Stockholm's musician, having performed across the United States and Musikpedagogiska lnstitut, Sweden and a MM from the Asia. She has appeared at Lincoln Center and Carnegie Catholic University of America. He was been on the faculty Hall numerous times, and gave her solo debut recital at 44 2011 UCM NEW MUSIC FESTIVAL: OLD AND NEW Carnegie Hall's Weill Hall in 2009. She has shared the Southeastern Oklahoma State University, and a Master stage with artists such as Yo-Yo Ma and ltzhak Perlman of Music degree in Composition from the University and has been a soloist with the Grammy-Award-winning of Oklahoma. His composition teachers have included Kansas City Chorale, the Bach Aria Soloists and the Trans­ Christian Asplund, Jason Bahr, Kenneth Fuchs, and Donald Siberian Orchestra. With recordings for NBC, Atlantic Grantham. His music has been performed at many and Rhino Records, Sascha is also an avid performer of prominent conferences and festivals of new music. He is non-traditional styles. She is currently on faculty at Ottawa the recipient of two ASCAPlus Awards, and his music is University. published by HoneyRock Publications and Imagine Music Publishing. Personal website: http://www.brandonhendrix. Robert Gross teaches graduate-level music theory at Rice com University. BM, composition, Oberlin Conservatory of Music. MM, composition, Rice University. MA, music for Kristen Hirlinger is a sophomore at the University of film, television and theatre, University of Bristol. OMA, Central Missouri, majoring in Music Technology. She composition; graduate certificate, scoring for motion studies piano with Dr. Mia Hynes and composition with pictures and television, both University of Southern Eric Honour. Her hometown is Boonville, Missouri. California. Teachers include Samuel Adler, Arthur Gottschalk, Stephen Hartke, Samuel Jones, Richard As a featured composer and saxophonist in numerous Lavenda, and Frank Ticheli. Awards include two grants major conferences and festivals, Eric Honour has from American Music Center; two ASCAP/Victor Herbert developed an international reputation as a musical awards; winner in Whitaker New Music competition; artist. A member of the Athens Saxophone Quartet, he winner of Inter-American Music Awards Competition, with performs regularly in Europe and the United States, winning work published by C.F. Peters. His piano concerto and has presented lectures and masterclasses at many won the 2009 Arch Composition Award. leading institutions, including the Conservatorio di Perugia, Hogeschool Gent Conservatorium, CMCP.GR, Andrew Hanson-Dvoracek has received Bachelor's and Northwestern University, the University of Missouri - Master's degrees in Guitar Performance from Lawrence Kansas City, and the University of Oklahoma. Honour's University and The Boston Conservatory before pursuing new solo recording, Phantasm, will be released on a Master's in Musicology from the University of Iowa. Ravello Records in 2011. The release features stereo and Current research interests include postminimalist 5.1 surround mixes of Honour performing eleven works composer Julius Eastman, video game music, and large­ for saxophone and computer by such world-renowned scale form in popular music. His intermittent writings can composers as Karlheinz Essl, Luigi Ceccarelli, and others. be found at andyhd.net. Honour's music has won numerous awards and been described as "fast, frenetic, and fiendishly difficult." It has Lee Hartman holds degrees from the University of been performed around the world by such notable artists Missouri-Kansas City (0.M.A., M.M.) and the University as Quintet Attacca, Q-02, Winston Choi, the Thelema Trio, of Delaware (B.M.). In 2007 he was invited to both the and Quartetto Musicattuale. Recordings of his music Iceland Academy of the Arts in Reykjavik and the Sichuan appear on a variety of labels. He is a professor of music at Conservatory in Chengdu, China to give lectures and the University of Central Missouri. master classes in composition. In 2007-08 he was Visiting Instructor in music theory at the University of Delaware. He Sarah Horick, a native of Charleston, SC, is currently a currently teaches at the University of Central Missouri. doctoral student in composition at The Catholic University of America and teaches composition at Montgomery Award-winning saxophonist, Jeffrey Heisler, currently College in Maryland. She earned an M.M. in Music serves on the faculty of Wayne State University (Detroit, Composition and an M.A. in Music Theory from Florida Ml) and Kent State University (Kent, OH). He holds a State University and a B.M. in Music Theory from Furman Doctor of Musical Arts degree specializing in contemporary University. Ms. Horick's works have been performed in the music (2010) and a Master of Music degree in saxophone US , Canada, and Europe and at Electronic Music Midwest performance (2006) from Bowling Green State University 2009, the 2010 SCI Student National Conference, Delta where he studied with John Sampen. In addition, Heisler State University's Electroacoustic Juke Joint, Florida State earned his Bachelor of Music Education degree (2003) from University's Festival of New Music, and the University of Central Michigan University where he studied saxophone South Florida's Women Composers' Symposium where with John Nichol. Among his significant accomplishments she served as a guest composer. was a 2005 Fischoff National Chamber Music Competition 1st prize gold medal as the soprano saxophonist with the Hubert Howe was educated at Princeton University, where Blue Square Saxophone Quartet. Heisler has performed he studied with J. K. Randall, Godfrey Winham and Milton several concert tours throughout the United States, Italy, Babbitt, and from which he received the A.B., M.F.A. and and France and has appeared on the prestigious Portes Ph .D. degrees. He was an early researcher in computer Ouvertes aux Noveaux Talents concert series in Paris music, and became Professor of Music and Director of (2005). In addition, he has premiered works and composer­ the Electronic Music studios at Queens College of the City approved transcriptions by Ellen Taaffe Zwilich, Morton University of New York, where he was also Director of Subotnick, Luciano Berio, Steve Reich, Chen Yi, and Louis the Aaron Copland School of Music. In 1988-89, he held Andriessen. the Endowed Chair in Music at the University of Alabama in Tuscaloosa. He is currently President of the American Brandon Hendrix holds a Doctor of Music degree in Composers Alliance. Composition from The University of Texas at Austin, a Bachelor of Music degree in Piano Performance from FESTIVAL PARTICIPANTS 45 Karel Husa, winner of the 1993 Grawemeyer Award and Kari Johnson is a doctoral student at the University the 1969 Pulitzer Prize for Music, is an internationally of Missouri-Kansas City where she studies with John known composer and conductor. An American citizen Mcintyre. She is an active performer of new music and since 1959, Husa was born in Prague, Czechoslovakia, on chamber music. Ms. Johnson's recent performances August 7, 1921. After completing studies at the Prague include collaborative concerts at the University of Central Conservatory and, later, the Academy of Music, he went to Missouri and Pittsburg State University, UMKC's "Carter Paris where he received diplomas from the Paris National and Messiaen at 100" festival, the CMS Great Plains Conservatory and the Ecole normale de musique. Among Chapter 2009 Regional Conference, and SEAMUS 2010. In his teachers were Arthur Honegger, Nadia Boulanger, the coming year she will perform at EMM and the Electro Jaroslav Ridky, and conductor Andre Cluytens. In 1954, Acoustic Juke Joint, as well as the Thailand International Husa was appointed to the faculty of Cornell University Composition Festival. As a teacher Ms. Johnson has been where he was Kappa Alpha Professor until his retirement on the faculty of the Conservatory of Central Illinois, and in 1992. He was elected Associate Member of the Royal currently teaches at the UMKC Community Music and Belgian Academy of Arts and Sciences in 1974 and has Dance Academy and Avila University. She has received received honorary degrees of Doctor of Music from several awards for her teaching, including the 2009 Muriel several institutions, including Coe College, the Cleveland McBrien Kauffmann Graduate Assistant Award at UMKC. Institute of Music, Ithaca College, and Baldwin Wallace Her former teachers include Dr. Mia Hynes, Dr. Robert College. Among numerous honors, Hu sa has received Satterlee, Dr. Cynthia Benson, Dr. Timothy Ehlen, Dr. Reid a fellowship from the Guggenheim Foundation; awards Alexander, and Dr. Diane Petrella. from the American Academy of Arts and Letters, UNESCO, and the National Endowment for the Arts; Koussevitzky Molly Joyce is a nineteen year old composer from Foundation commissions; the Czech Academy for the Pittsburgh, Pennsylvania. She currently attends The Arts and Sciences Prize; the Czech Medal of Merit, First Juilliard School in New York City, studying with Pulitzer Class, from President Vaclav Havel; and the Lili Boulanger Prize winning composer Christopher Rouse. She has award. Recordings of his music have been issued on studied at several conservatories including the Royal CBS Masterworks, Vox, Everest, Louisville, CRI , Orion, College of Music in London with Timothy Salter. She has Grenadilla, and Phoenix Records, among others. also studied privately with Missy Mazzoli and Richard Daniel pour. She is the recipient of many prestigious Mia Hynes made her professional debut with the awards including a 2010 ASCAP Morton Gould Award and Indianapolis Symphony at the age of twelve. She has was also named a finalist in the National Foundation for performed on National Public Radio's Performance Today; Advancement in the Arts 2010 Young Arts Competition. To at the Chautauqua Music Festival, the Rocky Ridge Music find out more about Molly, please visit: www.mollysjoyce. Festival, the Library of Congress Coolidge Recital Series, com the Dag Hammerskjold Library at the United Nations, Steinway Hall (NYC), and the Kansas City Summerfest Mike Junokas is a Chicago composer who has studied with Chamber Music Festival. Dr. Hynes holds a D.M.A. from Dr. Juan Campoverde Q. and Dr. Mark Harbold. He has a the Eastman School of Music, and holds B.M and M.M M.M . in Music Composition from DePaul University and degrees from Indiana University. Dr. Hynes serves on the a B.A in Music Theory and Composition from Elmhurst faculty of the University of Central Missouri where she is College. He is currently the Executive Vice President of the Professor of Piano and Piano Pedagogy. Pi Iota Sinfonia Alumni Association and Music Director at Notre Dame de Chicago Catholic Church. In 2009 Igor lachimciuc received his Ph .D. in composition from the University of Utah. Dr. lachimciuc's awards Igor Karaca is a Bosnian composer and pianist of include 1st prize in composition at the Silver classical and jazz music. He studied music composition Chrysanthemum (Moldova), and the 2003 Wayne and conducting at Sarajevo Academy of Music and has Peterson's Prize (USA). Igor lachimciuc's works have been since been a guest at different masterclasses in Europe, purchased by the National RTV Company and performed working with Boguslaw Schaeffer, Klaus Huber and Helmut by Ars Poetica, Earplay, New York New Music Ensemble, Lachenmann, among others. In 1999, Karaca came to Canyonlands, and Salty Crickets. The most important United States to study composition with Dr. Thomas Wells commissions include the Utah Art Festival's commission at the Ohio State University, from which he received his for orchestra, and the Intermezzo Chamber Music series. OMA in 2005. Igor Karaca has written three symphonies, As a cimbalomist, he performed at Tanglewood music twenty electro-acoustic compositions, and over eighty festival with the Boston Symphony and was a guest chamber compositions. Currently, Dr. Karaca is teaching performer with Salt Lake Symphony. music composition, theory and technology at Oklahoma State University, Stillwater. Austin Jaquith began his college education at the Cleveland Institute of Music in 1999 and graduated Theodore Karathodoros graduated from the Department ten years later from Indiana University with a OM in of Music Science and Art of the University of Macedonia composition. While at IU his String Quartet No. 3 won in Thessaloniki. He has presented many papers in the IU Jacobs School of Music Kuttner String Quartet musicological conferences, while various pieces of Competition in 2006, and the AFMC Emil and Ruth Bayer his have been performed both locally and abroad by Composition Competition in 2007. In 2009, his orchestral distinguished soloists and prestigious ensembles such work Blaze of Autumn received the Deans Prize in as the Athens Saxophone Quartet, Rex Richardson, Orchestral Composition at IU. Recently Dr. Jaquith was Athanasios Zervas, lwona Glinka, Leo Saguiguit and more. hired as an Assistant Professor of Theory and Composition He is a doctoral researcher at the Department of Music at Cedarville University in Ohio. Studies of the National and Kapodistrian University of 46 2011 UCM NEW MUSIC FESTIVAL: OLD AND NEW Athens. His research focuses on the work produced by Assistant Editor for KCMetropolis, Kansas City's on line Michael Adamis and Dimitris Terzakis. Since 2008, he is journal for the performing arts, and maintains a piano a Cultural Affairs Officer at the Nea Aghialos Society of studio of 22 students. Athens. Angela Lickiss is currently finishing her D.M .A. in Oboe Hye Young Kim has appeared as a so loist and chamber from the University of Iowa with a M.M. from the Boston musician throughout the U.S., Korea, Japan and Europe. Conservatory '08 and B.M . from Middle Tennessee State She began playing the piano at age 5 and completed University '02 . She en joys performing both new music and her Bachelor's degree with honor at Hanyang University Baroque compositions. in Korea. She then attended Indiana University where she received her Master of Music degree and Performer Lyrical composer Pin Hsin Lin tells stories through her Diploma. She is presently a doctoral ca ndidate at the music. Her composition Enchanting Shadow for piano trio University of Illinois at Champaign- Urbana. Hye Young won the 2006 first prize at the premiere national competition was the winner of the Indianapolis Matinee Musicale for composers, the Centrum Chamber Music Composer's Scholarship Award, the first prize in the Korea Piano Duo Competition in Washington State, and Ms. Lin herself was competition and the Diploma in the International Piano featured in the Festival's Experience Magazine Spring 2007 Duo Competition in Japan and gold medalist in the Korea issue. She presented Enchanting Shadow and other new Newspaper Piano Competition, winner of the Haneum works at the Bowdoin International Music Festival and Piano Concerto Competition in Korea which awarded gave a lecture regarding the composition ana lysis at the her the opportunity to play in Seoul the Rachmaninoff Aspen Composers' Conference in summer 2010. Other Concerto No. 3 with the Ukraine Philharmonic Orchestra, awards include two Peabody Career Development Grants and a finalist in the 2010 Kankakee Valley Symphony 2006 and 2008; two American Music Center's Composer Orchestra's Young Artist Piano Concerto Competition. Assistance Grants 2006 and 2008, and scholarships from Bowdoin and St. Magnus. She is currently a doctoral William J. Lackey {b .1976) is administrative director of the student in composition at the University of Illinois at Mizzou New Music Summer Festival and serves on the Urbana-Champaign where she studies with Erik Lund, Zack board of directors of the Kansas City Electronic Music and Browning, Steven Taylor, Reynold Tharp, and Scott Wyatt. Arts Alliance, newEar contemporary chamber ensemble, She grew up in Kaohsiung and Taipei, Taiwan. She received and the Odyssey Chamber Music Series. Lackey holds her Master degree in Composition at the Peabody Institute degrees in composition from the Univers ity of Missouri­ of Johns Hopkins University and her Bachelor degree in Kansas City Conservatory of Music and Dance {D.M.A., Composition at Roosevelt University. M.M.) and Christopher Newport University (B.M.). In his free time, he is training for the Chicago Marathon. Paul Lombardi holds a Ph.D. in music composition from For more information on Lackey's music, visit www. the University of Oregon. His music has been performed williamjlackey.com. in more than 20 states across the US, as well as in other areas in North America, South America, and Europe. Katie Lakner was born in 1988 and grew up in Jackson, Recordings of his music are available from Capstone MO. At the age of four, she began taking piano lessons. Records, Zerx Records, and ERM Media. Many groups She began composing at the age of six. Through middle have played his music, notably the Kiev Philharmonic, school and high school, she played flute in her school the East Coast Composers Ensemble, Third Angle, and bands. She is now a senior Music: Liberal Arts major at Hundredth Monkey. Dr. Lombardi's theoretical work focuses Truman State University. For the past three years she has on mathematics and music, and is published in the Music been studying composition with Dr. Warren Gooch. Th eory Spectrum, Indiana Theory Review, Mathematics and Music (forthcoming), and Mathematics and Computers Wendy Wan-Ki Lee is currently an Assistant Professor of in Simulation. He has been a member of the theory and Music Composition at Chinese University of Hong Kong. composition faculty at the University of New Mexico since She received her Ph.D. and M.M. in Music Composition 2003, and was a member of the faculty at the Shenandoah and Theory from the University of Michigan, a B.M. University in 2010. from the University of Toronto, and piano performance diplomas from the RCM in Toronto and Trinity College of Jesse Looper is a student of Jacob Sentgeorge at the London. Wendy is the recipient of numerous commissions University of Central Missouri. and awards, such as those from the American Academy of Arts and Letters, Hong Kong Arts Development Council, Martin Loridan is a French Composer, graduated from the Hong Kong Composers' Guild, and the Government Conservatoire National Superieur de Paris (CNSM). He of Canada. She is also a frequent presenter at many studied Harmony, Orchestration, Composition, with French universities and international conferences. composer T. Escaich and G. Connesson, and former Olivier Messiaen's students Alain Mabit and Denis Cohen. His work Christopher J Levin holds MM Theory and MM includes chamber, orchestral and vocal music, as well as Composition degrees from the University of Missouri­ film-music and orchestrations, in both tonal and post-tonal Kansas City and a BM in Composition from James languages. His work has been distinguished in numerous Madison University. Recent festival appearances include composition competitions, including the prestigious the Walden School Inaugural Composers Forum, OBFCS Franz Josef Reinl-Stiftung competition 2011 {Vienna). 2009, SCI Region VI Conf. 2009, and EAMA Summer He's currently working on a piece for Saxophone and Programs 2005 & 2007. Teachers include John S. Hilliard, wind orchestra, commissioned by l'orchestre de la garde Zhou Long, James Mobberley, Chen Yi, Claude Baker, republicaine, which will be created in June at the In valides Narcis Bonet, and Michel Merlet. Topher serves as (Paris). FESTIVAL PARTICIPANTS 47 Joel Love (ASCAP} is a composer who enjoys writing clinician and researcher for arts integration projects in for a wide variety of genre. In his music, he explores the Nebraska and Oklahoma. She has made state, regional and aesthetic of beauty, the connection between music and national presentations for music education professional spirituality, and seeks to collaborate with artists from a organizations. Her articles have appeared in the Music variety of disciplines. Recently, his collaboration with Educator's Journal, Orff Echo, Southern Journal of Music Prince V. Thomas, On Joy, On Sorrow, was featured in a 3 Education and other state education publications. Maltas month installation at the Houston Center for Photography. was a founding board member of the Great Plains Orff The Houston Chronicle commented that it was "a chapter, and has served on state committees and boards beautiful piece that feels cleansing to watch." Another for the American Choral Directors Association, National recent collaboration with Thomas, Patriot Acts, toured the Association of Music Educators and National Education country and had stints in a number of galleries including Association. the Queens Museum of Art, the Aicon Gallery Manhattan, and the Gallery at Penn College. In the summer of 2010, Sheri Mattson is the Oboe and Bassoon Professor at the television mini-series Shooting Stars, which features Central Missouri. Before starting her position at UCM, she a score by Joel, aired on Fox Sports Southwest, reaching taught at Truman State University. Dr. Mattson holds a approximately 8.6 million homes. The films he has Doctor of Music degree in Oboe Performance from Florida scored have won several awards including Platinum Remi State University where she studied with Dr. Eric Ohlsson Award for Frieda Gilroy (2008), and Best Documentary for and baroque oboe with Dr. George Riordan, a Master of Surviving Rita: Looking Forward from the Houston Press Music degree in Oboe Performance from Arizona State Club (2007). Joel currently lives in Austin, Texas and is University, and a Bachelor of Science degree in Music pursuing a OMA in Composition at the University of Texas and Physics from the University of Wisconsin-Superior. at Austin. She has also studied with Roger Rehm, Dan Stolper, and Anita Nashlund. She has played with many professional Victoria Malawey is Assistant Professor of Music at performing groups including the South Dakota Symphony, Kenyon College where she teaches courses in music the Duluth-Superior Symphony, the Tallahassee theory, composition, and gender studies. She has written Symphony, the Gainesville Symphony, and the Tempe compositions for mixed chamber and vocal ensembles, Symphony. Dr. Mattson has also been a double reeds which have been performed at venues throughout the clinician in Arizona, Florida, Il linois, Michigan, Missouri, Midwest and as far as Athens, Greece. She studied South Dakota, and Wisconsin. composition with Robert Lombardo at Roosevelt University and Sven-David Sandstrom at Indiana University. In Kevin McCarter's music has been played by orchestras, addition to composing, her research interests include the soloists, chamber groups, and choruses in the U.S. , analysis of songs, popular music, music theory pedagogy, Canada, and Europe. Opening Ideas, for string orchestra, and gender studies. was premiered by the Chicago Chamber Orchestra and has been recorded by the Kiev Philharmonic. Blossoms An eclectic composer of many interests and influences, and a Breeze, McCarter's most performed chamber piece, Kris Maloy writes music bridging many styles and genres. became a repertoire piece for the Ocean Wind Trio, and His music has been described as "beautifully paced," has also been played by other woodwind trios. The and "of great elegance ... expansively lyrical" (David Manhattan Choral Ensemble commissioned As the Earth LaMarche, New York Concert Review), and his work has Brings Forth Her Bud for their March 2008 program. Three received honors and awards in music composition from Songs on Poems of Emily Dickinson have been sung in the American Composers Forum, the Minnesota Orchestra New York, Paris, and several other cities. Composers Institute, the Cleveland Chamber Orchestra's Young and Emerging Composers Series, the New York Mike McFerron is professor of music and composer­ Virtuoso Singers, the Meistersingers, the North American in-residence at Lewis University and he is founder and Saxophone Alliance, the University of Kentucky New co-director of Electronic Music Midwest (http://www. Music Festival, and numerous awards and honors from the emmfestival.org). A past fellow of the MacDowell Society of Composers, Inc., and ASCAP. He has recently Colony, Ucross, June in Buffalo, and the Chamber Music been awarded artist residencies at the Banff Centre for Conference of the East/Composers' Forum, honors include, the Arts in Alberta, Canada, and the Ucross Foundation among others, first prize in the Louisville Orchestra arts colony in Wyoming. His next major commissioned Composition Competition (2002), first prize in the CANTUS work in progress is a Double Concerto for Two Violins and commissioning/residency program (2002), recipient of Orchestra to be premiered in the spring of 2011. the 2005 CCF Abelson Vocal Music Commission, and the Chicago Symphony Orchestra's "First Hearing" Program Carla Jo Maltas joined the Music Education faculty at (2001) . McFerron's music can be heard on numerous Central Missouri in Warrensburg, Missouri in the fall of commercial CDs as well as on his website at http://www. 2006. Prior to coming to UCM, Dr. Maltas taught general bigcomposer.com. music education at Ball State University in Muncie, IN. Maltas also taught K-12 vocal and general music for fifteen Described as "an engaging, gifted composer writing years in the state of Nebraska. Maltas holds Bachelor's and smart, compelling and fascinating music with a bluesy Master's Degrees in Music Education from the University edge and infectious punch" by Gramophone Magazine, of Nebraska-Lincoln, and completed a Ph.D. in Kodaly Lansing McLoskey's music has been performed in thirteen Music Education from the University of Oklahoma. Maltas countries on six continents. He has won more than is a nationally certified Kodaly educator and holds a two dozen awards - most recently the prestigious 2011 Master's certificate in Orff-Schulwerk from the University Goddard Lieberson Award from the American Academy of Memphis. Maltas has served as a curriculum writer, of Arts & Letters - and has received commissions from 48 2011 UCM NEW MUSIC FESTIVAL: OLD AND NEW Meet The Composer, N.E.A., Pew Charitable Trusts, Barlow of Kentucky. He was formerly the Director of Bands at Endowment, Fromm Foundation, and ASCAP, and has Colorado State University (2000-2010), Director of Bands written for such renowned ensembles as The Hilliard at Lafayette High School and Jessie Clark Middle School in Ensemble and Dinosaur Annex. Recent performances Lexington, Kentucky ( 1986-1996) and Assistant Director of include premieres in Boston, New York, Philadelphia, Bands at the University of Kentucky (1982-1986). Additionally Rome, Chicago, Miami, and Melbourne, Australia, and he has served as the Director of Orchestras at UK, Music performances in Aspen, Tanglewood, Lima (Peru}, and Director for the Central Kentucky Youth Orchestras, and Leon (Mexico). www.lansingmcloskey.com Conductor for the CSU Symphony Orchestra. Steven is a strong advocate for music literacy and has developed Clarinetist Dr. Cheryl Melfi has performed throughout the nationally-recognized programs of excellence at the United States and Asia, and has been a featured artist at secondary and collegiate level. He frequently serves as a music festivals and clinics including Music From Greer, clinician and conductor around the nation. the University of Minnesota's Third Annual New Music Festival, UMKC's Summer Composition Workshop, the Patricia Morehead, composer/oboist, is a graduate of Singapore Bandmasters' Workshop, the Asian Symphonic the New England Conservatory of Music, the Toronto Band Competition, Electroacoustic Juke Joint, and Royal Conservatory of Music, the Conservatoire national more. She has appeared as a guest artist and clinician de musique de Paris, the Accademia Chigiana in Sienna at the University of Central Oklahoma and the Music Arts and The University of Chicago. She studied composition Institute, and her performance at the 2008 International with Dr. Samuel Dolin (Toronto, Canada), Ralph Shapey, Clarinet Association's ClarinetFest was called "excellent" Shulamit Ran and John Eaton (Chicago). She has served and "exotic." From 2005-2007 Dr. Melfi was Instructor on the faculty of Roosevelt University in composition, of Clarinet at Mah idol University in Salaya, Thailand. theory and oboe, and is currently professor of composition Currently she is Assistant Director at the Community Music and music history at Columbia College. Patricia is the and Dance Academy in Kansas City, Missouri. leader of the Composers Forum at the Merit School of Music, and teaches composition online in Vermont David Mendoza studied viola and composition at Florida (VTMIDl.org). State University earning his BM in composition (2003) studying under Ladislav Kubik and Mark Wingate. While Matt Mullins is a writer, musician, experimental filmmaker at Florida State he also took advantage of learning Early and multimedia artist. His fiction and poetry have Music with Pamela Andrews, Chinese Music with Haiqiong appeared in Pleiades, Hunger Mountain, Harpur Palate, Deng, Korean Music with Andrew Killick, and Balinese Descant, sub Terrain, Hobart, decomP, kill author, The Gamelan with Michael Bakan. In 2008, he received his San Pedro River River Review and a number of other MM from Florida International University studying with print and on line journals and anthologies. His collection Orlando Garcia. Since then, his works have been accepted of short stories, Three Ways of the Saw, is forthcoming for performance at various festivals and conferences from from Atticus Books in 2012. His ever-evolving interactive around the country. Internationally, he has collaborated digital literature project lives at lit-digital.com. Matt lives and premiered work in Buenos Aires, Argentina. in Muncie, Indiana where he teaches screenwriting at Ball State University. Gary Moege has been a member of the music faculty at Central Missouri since 1981 . He taught in public schools Zae Munn is Professor of Music at Saint Mary's College in in Kansas, taught guitar at the University of Colorado­ South Bend, Indiana where she has taught composition Colorado Springs, and played horn and guitar as a and theory courses since 1990. She taught at Interlachen member of the U.S.Air Force Academy Band. He has Arts Camp in Michigan for 14 summers. Her OMA and MM also performed with the Colorado Springs Symphony, degrees in composition are from the University of Illinois the Mid-America Woodwind Quintet, and the Oklahoma at Champaign-Urbana and her BM in composition is from Horn Quartet. Dr. Moege has had several compositions Chicago Musical College of Roosevelt University. Born in published, including guitar solos and brass quintets. His 1953, Munn's early musical training was as a cellist, with method book for guitar is used at the university level. additional studies in piano, voice, and conducting. Her He often performs as a guest soloist with bands and works are published by Arsis Press, Earthsongs, Frank E. orchestras in Kansas and Missouri. He holds the B.M.E. Warren Music, HoneyRock, JOMAR Press, Tempo Press, and M.M. degrees from Emporia State University and and Yelton Rhodes Music. Recordings are available from the Doctor of Musical Arts degree from the University of Capstone Records, Centaur Records, and a number of Oklahoma. Dr. Moege teaches early music history and independent, local labels. world music, is a member of both the Cambia no Trio and UCM Brass Quintet, and conducts the horn choir and the Anne Neikirk is currently working towards a Doctor of guitar ensemble at University of Central Missouri. Musical Arts degree in composition at Temple University in Philadelphia. She holds a Master of Music degree Nicola Monopoli studies composition, electronic music and in composition from Bowling Green State University piano at Piccinni Conservatory in Bari, Italy. and a Bachelor of Arts degree in music from Hamilton College. She is a teaching assistant in music theory and J. Steven Moore is Chairman of the Department of Music orchestration at Temple and a recent alumna of the Brevard at the University of Central Missouri where he serves as Music lnstitute's composition program. Her primary a conductor and music education faculty member. Dr. teachers include Samuel Pellman, Burton Beerman, Moore has a B.M.E. with a Performer's Certificate from the Marilyn Sh rude, Cynthia Folio and Maurice Wright. Anne University of South Carolina and M.M. in music education is a member of ASCAP, SCI , ACF and the American Music and D.M.A. in instrumental conducting from the University Center. For more information, visit www.annieneikirk.com. FESTIVAL PARTICIPANTS 49 Joiio Pedro Oliveira studied organ performance at the Linda Perry is Professor of Music, Director of Keyboard Gregorian Institute of Lisbon. He completed a PhD in Studies, and coordinator of the graduate program in Composition at the University of Stony Brook. His music accompanying and chamber music at Southern Illinois includes opera, several orchestral composition, a Requiem, University Edwardsville. Best known as a collaborative 3 string quartets, chamber music, solo instrumental music artist, she has performed extensively as a recitalist, both and electroacoustic music. He has received numerous locally and nationally. Accompanist for many years at prizes and awards, including three Prizes at B.ourges national conferences of the Suzuki Association, she was Electroacoustic Music Competition, the Magisterium Prize asked by their violin committee to record the Suzuki in the same competition, the Giga-Hertz Special Award, 1st Violin repertoire for Warner Publications. Dr. Perry holds Prize in Metamorphoses competition, 1st Prize in Yamaha­ bachelor's and master's degrees in Piano Performance Visiones Sonoras Competition, 1st Prize in Musica Nova from Northwestern University and the Doctor of Musical competition, etc .. He is Professor at Aveiro University Arts degree in Accompanying from the University of (Portugal) and Universidade Federal de Minas Gerais Ill inois. (Brazil). Contact: [email protected] - www.jpoliveira.com Joseph Piontek studies piano with Richard Smith at the Nicholas S. Omiccioli (b. 1982) is currently a doctoral University of Central Missouri. student at the University of Missouri-Kansas City where he is a Preparing Future Faculty Fellow and studies Joseph Post was born on the appropriately-named co mposition with James Mobberley and Chen Yi. His Seymour Johnson AFB in 1984. The world has never previous teacher was Brian Bevelander at Heidelberg been the same. Since then he formed avant-garde rock University. Mr. Omiccioli has received many awards groups that toured domestically and released albums and honors including commissions by the Great Lakes internationally, graduated from UCM, made rap beats for Chamber Music Festival and Wellesley Composers' NFL players, recorded and mixed on the fly for commercial Conference, winner and judge's choice in the 2007-2010 releases at big ticket music festivals, did production work UMKC Chamber Music Composition Competitions, 2009 for a music TV network, was invited to participate in DuoSolo Emerging Composer Award, Kansas City Chorale national and regional SCI conferences, took a year-long Crescendo Competition, and Brian M. Israel Prize to name sabbatical in rural Missouri, and did many other things that a few. Just recently, Mr. Omiccioli was nominated for an are too inappropriate to print. award by the American Academy of Arts and Letters, was a winner of the ASCAP Foundation's 2010 Morton Gould Jonathan Posthuma, age 21, is a junior at Dordt College Young Composer Awards, and placed 1st in the Thailand in Sioux Center, Iowa. He is currently completing a International Composition Festival Competition. His music degree in Secondary Education: Choral and Instrumental. has been performed by DuoSolo, the Kansas City Chorale, Although Dordt does not offer a degree in composition, Contemporaneous, the Wellesley Composers' Conference, Jonathan has been taking private lessons with Dr. Luke members of Brave New Works, the Society for New Music, Dahn, professor at Northwestern College (I owa) and the Puget Sound Piano Trio, and various new music plans on studying composition at the graduate level. festivals around the country. This past February, Jonathan performed and conducted several of his works at an independently organized Jim Pecher has been an avid and dedicated clarinetist composition recital which included works for piano solo, for the past twelve years. He received his HS diploma prepared piano, organ, vocal solos, and various chamber from Parkway South HS in Manchester, Missouri. He has ensembles. studied under many well-renown teachers such as Becky Swett, St. Charles Community Co llege, Allison Storochuk, After a relatively short career as a mechanical engineer, Missouri State University, and Professor Klug, Indiana Michael Pounds turned his energies toward composition, University. Currently, he is finishing his BA in Music degree studying at Bowling Green State University, Ball State at Missouri State University and is planning on getting University, the University of Birmingham in England, his masters in Clarinet Performance. He has played in and the University of Illinois, where he completed his multiple prestigious ensembles such as the Missouri doctorate. His awards include the ASCAP/SEAMUS All-State Band and Choir, the SLSYO, the MSU Wind Student Commission Award, a Residence Prize at the Ensemble, Concert Chorale, and Symphony Orchestra. Bourges International Electroacoustic Music Competition, a Rotary Foundation Ambassadorial Scholarship for studies Born in McGregor, Minnesota, Aaron Perrine has received in England, and residencies at the Mac Dowell Colony degrees from the University of Minnesota, Morris, the and I-Park. His music has been performed throughout the University of Minnesota, and is currently pursuing his United States and in Canada, Mexico, England, Ireland, Ph.D. in composition from The University of Iowa, studying France, Spain, Austria, Korea, Australia and New Zealand. with David Gompper and Lawrence Fritts. April, one of Recent performances include the International Computer his compositions for band, was a finalist in the first Frank Music Conference, the Society for Electro-Acoustic Ticheli Composition Contest. This piece was also a JW Music in the US National Conference, the New York City Pepper " Editors' Choice" and was a featured composition Electroacoustic Music Festival, the Society of Composers, in Teaching Music Through Performance in Band, Volume Inc. Region IV, V and VIII conferences, the ElectroAcoustic 7. His compositions for band can be found at C. Alan Juke Joint Festival, and the Electronic Music Midwest Publications. For more information, please visit his website festival. He was a co-host of the 2005 national conference at www.aaronperrine.com. of the Society for Electro-Acoustic Music in the U.S. Michael is the Assistant Director of the Music Technology program at Ball State University (Muncie, Indiana). 50 2011 UCM NEW MUSIC FESTIVAL: OLD AND NEW A native of Bulgaria, pianist Ilia Radoslavov obtained his Jessica Rudman's music has been presented across the Doctoral Degree in Piano Performance as a Paul Collins United States and abroad. She has participated in festivals Distinguished Graduate Fellow, an award celebrating including the Cortona Sessions, EAMA, Music07, NEON, outstanding performing ability and musicianship, at and the Ernest Bloch Festival. Honors include winning the the University of Wisconsin-Madison, where he studied 2008 Omaha Symphony's New Music Symposium Score with Christopher Taylor. Ilia has graduated with high Call, the 2009 Con/un/drum Composition Competition, distinction and holds degrees in Piano Performance and a WELFund grant from the University of Hartford. from Southern Illinois University-Carbondale, where he Ms. Rudman has taught at Central Connecticut State worked with Wilfred Delphin, and the State Conservatory University and the Hartt School, and is currently pursuing of Music, Sofia, Bulgaria, where his teachers were Stella a Ph.D. at the City University of New York as an Enhanced Dimitrova, and llya Tchernaev. He has also studied with Chancellor's Fellow. For more information and audio world-renowned Leon Fleisher, Richard Goode, and Arin samples, please visit: http://www.jessicarudman.com. Shein. Most recently, Ilia has been the gold medalist in the 2009 Seattle International Piano Competition and John Rutland is an associate professor of music at the will serve as one of the jurors for its 2010 edition. The University of Central Missouri, where he teaches violin, list of recognitions in his name includes first prizes viola, and conducts the University Symphony Orchestra. from the American Protege International Piano and He received a Bachelor of Music Education degree from Strings Competition, followed by a performance at Stetson University and a Master of Music degree in violin Carnegie Hall's Weil Recital Hall, the Saint Louis Artist performance with a minor area in musicology from the Presentation Society, UW-Madison Concerto Competition, University of North Texas. He completed a OMA in violin UW-Madison Beethoven Piano Competition, National performance from the University of North Texas. He has Mozart Competition, Sofia, Bulgaria, and National Piano performed with the Richardson Symphony Orchestra, and Competition, Provadia, Bulgaria; and awards from the Garland Symphony Orchestra, was the co-concertmaster Missouri International Piano Competition, Joplin Missouri, of the University of North Texas Symphony Orchestra and and the Hague International Piano Competition, the Concertmaster of the University of North Texas Chamber Netherlands. He is Assistant Professor of Piano at Truman Orchestra. His teachers include Routa Kroumovitch and State University. Philip Lewis.

Jacob Reed received his Bachelors in Music Education, Ben Sachs studies trombone with David Stagg at the and Masters degrees in Music Composition and Music University of Central Missouri. Theory from the Ohio State University (OSU). He studied composition with Tom Wells, Gregory Proctor, and Igor Leo Saguiguit has appeared as soloist and chamber Karaca. In 2005 he co-founded the OSU New Music musician in performances at festivals and universities Ensemble. He was the featured composer of the inaugural throughout the United States and abroad. He has concert of New Music at the McConnell Arts Center in also collaborated with numerous chamber ensembles Columbus, Ohio, and was recently selected for the OSU throughout his career. In addition to his work with the Emerging Artist Fellowship. Jacob works as a composer, Athens Saxophone Quartet, he is a member of the Chicago jazz drummer, and dance accompanist. He is the Music Saxophone Quartet, one of the nation's oldest professional Director of Hixon Dance, and teaches vocal music in the ensembles of its kind. As a member of the Lithium, lmpuls, Worthington schools. and Enigma Sa xophone Quartets, he has performed throughout the country and has presented numerous Justin Robinson is a senior jazz-commercial music premieres of works by today's rising composers. The major at the University of Central Missouri. He studies Enigma Quartet was a prizewinner in the prestigious saxophone with James Gai and jazz with David Aaberg. Fischoff National Chamber Music Competition. Saguiguit has toured America and Sweden with a chamber ensemble James Romig composes solo, chamber, and large­ comprised of viola, piano, saxophone and mezzo-soprano ensemble works that have been performed throughout the voice. Other chamber music collaborations include United States, Europe, and Asia. He holds degrees from performances with the Basel Saxophone Quartet of the University of Iowa (MM, BM) and Rutgers University, Switzerland, Thamyris Contemporary Music Ensemble, where he studied with Charles Wuorinen and additionally the National Black Arts Festival, and the Sewanee Music with Milton Babbitt. Both served on his PhD dissertation Festival. He is currently assistant professor of saxophone committee in 2000. Recent guest-composer visits include at the University of Missouri - Columbia. He was Northwestern University, the Cincinnati Conservatory, previously on the faculties of Northwestern University and Juilliard, the American Academy in Rome, and Petrified Emory University. Forest National Park. As a recipient of a 2010 Aaron Copland Award, he will be in residence at Copland House Mauricio Salguero is currently a OMA candidate at the during summer 2011. He is associate professor at Western University of Missouri-Kansas City (UMKC) Conservatory Illinois University. of Music. His musical interests span diverse genres, including contemporary, classical and Latin music. Critics Dionisios Roussos holds a diploma in saxophone from the have praised him as having "conviction and impressive Athens Conservatory. He has performed as saxophone technique." Mauricio's honors include a 2010 Inspiration soloist with orchestras throughout Europe and China. Grant from the KCArts fund, the First Prize in the National He is a member of the Music Band of the Hellenic Coast Contest of Musical Composition from the Institute of Guard, and saxophone professor at Nakas Conservatory in Culture and Tourism City of Bogota, Colombia, the Bettylou Athens, Greece. Scandling Hubin Scholarship in both World Music and Music Technology from Mu Phi Epsilon and the Spaulding/ FESTIVAL PARTICIPANTS 51 Warfield Memorial Scholarship from Sigma Alpha Iota. Garrett Shatzer's music has been performed by such Mauricio has appeared as a soloist with the Universidad groups as the Meridian Arts Ensemble, the Empyrean Javeriana Orchestra, the University of Arkansas Wind Ensemble, and the Mobius Trio in such venues as the Symphony and the Symphonic Orchestra of the UMKC Mondavi Center, the Kennedy Center, and Teatro Colon. Conservatory of Music. He also performed at ClarinetFest Shatzer is a Ph .D. candidate in Composition at the 2008 and 2010. He holds a B.M. from the Universidad University of California at Davis. Holding degrees from the Javeriana in Bogota, Colombia, and a M .M. from the University of Michigan and the University of Miami, he has University of Arkansas-Fayetteville. also studied in Paris, Rome, Melbourne, and Buenos Aires. His current commissions include a song for Grammy­ Felicia Sandler teaches at the New England Conservatory. winning countertenor Ian Howell, a piece for the Finisterra Her recent commissions include Let 's Touch the Sky for Piano Trio, and a full-scale triple concerto for the Erato the NEC Concert choir celebrating Lorna Cooke DeVaron 's Piano Trio. 90th birthday, In the Other World Which No-one Owns for the First Unitarian Universalist Church of San Francisco, James Sheppard studied composition through a fellowship Lord Randal for chamber winds for the Strathmore High at the University of Massachusetts with further work at the School band, and Pulling Radishes for the NEC percussion University of Iowa as a Composing and Performing Fellow ensemble, Frank Epstein, director, released on a Naxos CD with the Center for New Music. From 1978-2010 he was Spring 2011 . Sandler has received awards from Meet the professor of composition at Miami University in Oxford, Composer, Presser Foundation, Jerome Fou ndation, and Ohio where he directed and developed music technology American Composers Orchestra, among others. Her choral curricula and facilities. His compositions for and music is published with E.C. Schirmer. performances on the Electronic Valve Instrument received positive reviews in Musica l America and Perspectives of Michael Sekelsky has served as Professor of Percu ss ion New Music. Awards include residencies at the MacDowell and As sistant Director of Bands at the University of Colony, Virginia Center for the Creative Arts, and several Central Missouri since 1984, where he also serves as the Individual Artist Awards from the Ohio Arts Council. coordinator for the Wind/Percussion division. His activities in the Midwest and Kansas City region include frequent A native of Mississippi, pianist Richard Smith has toured jazz festival rhythm section adjudication, clinics, such as throughout the South and Midwest as a so loist and the 2011 MO/KS Day of Percussion drum set clinic, Mid­ chamber musician under the auspices of many cultural Missouri Percussion Arts Trophy Competition drum set/ organizations and universities. His orchestral engagements multiple percussion master class clinician, and MM PAT include performances in Louisiana,Texas and Missouri ensemble director, arranger, and drum set soloist. He has and he has also performed in Germany. As a chamber served as Missouri's PAS Chapter President and Vice­ musician, he is pianist with the Cambia no Trio, a group President, continuing to serve as the chapter webmaster. which combines a variety of instrumental combinations and solo performances to present programs of varied Jacob Sentgeorge, tenor, has performed as a soloist in repertoire and diverse musica l styles. Presently a member opera and oratorio throughout North America and Europe. of the keyboard faculty at the University of Central Currently he is completing his dissertation on selected Missouri, Richard Smith has taught at Sam Houston songs of Charles Ives as he nears completion of the OM State University and the Mehus Conservatory of Music. degree in Voice Performance and Pedagogy at Indiana He received Bachelor and Master of Music degrees from University Jacobs School of Music.There he studied with Northwestern Louisiana State University and a Doctor of Mary Ann Hart, and performed many roles on the stage Musical Arts degree from Louisiana State University where of the IU Opera Theater. Concurrent with his dissertative he was a student of Jack Guerry. research, Jake has begun to form collaborations with composers who seek a third rail of performance that is Veronica Snow is a senior at the University of Central more storytelling cabaret than recital song. Combining Missouri, double majoring in Piano Performance and video and electronic enhancement these projects Pedagogy. She is a student of Dr. Mia Hynes. Her aim to speak more directly to a film-going audience. hometown is Raytown, Missouri. Veronica is currently the Such predecessors can be found in the melalogues of president of the UCM Student Chapter of Music Teachers Schumann, the stage pieces of Peter Maxwell Davies, the National Association and is on the teaching staff of the monologues of Frank Martin, as well as the melodramas of UCM Community Music Program. radio theater soap operas. As an Indian-American composer, Asha Srinivasan draws Kristin Shafel (b. 1982, Madison, WI) earned her M .M. from her Western training and her Indian heritage to and B.M. in composition, with minors in bass and arts create her compositional language. Her music has been administration, from the UMKC Conservatory. Her presented at various festivals including SEAMUS, ICMC, compositions have been performed at new music festivals and the National Flute Convention. She has won national and conferences throughout the United States. Shafe! commissioning competitions, including BMI Foundation's is currently a bassist in the Kansas City Civic, Northland Women's Music Commission and the Flute/Cello Symphony and Heritage Philharmonic orchestras and a Commissioning Circle. Other honors include: ASCAPlus writer/editor for KCMetropolis.org. At UMKC Shafel was Award, Prix d'Ete 2nd prize, and Walsum prize. Graduate involved in Musica Nova, Composers' Guild, Conservatory studies include: D.M.A. in Composition at University of Student Association and the Conservatory's orchestras Maryland and M.Mus. in Computer Music Composition and bands. Her composition instructors were James and Music Theory Pedagogy at the Peabody Conservatory. Mobberley, Paul Rudy, Zhou Long and Chen Yi, and her Ms. Srinivasan is an Assistant Professor of Music at bass instructor was Sue Stubbs. Lawrence University. 52 2011 UCM NEW MUSIC FESTIVAL: OLD AND NEW David L. Stagg, Professor of Music, has been at the of contemporary art music, Dr. Truckenbrod has been University of Central Missouri since 1981. Dr. Stagg is a featured soloist at Society of Composers National Associate Director of Bands and Trombone Instructor. His and Regional Conferences, the Midwest Composers degrees are from Wichita State University (BME) and the Symposium, and numerous times with the Center for New University of Iowa (MA, OMA). Dr. Stagg has performed as Music. Dr. Truckenbrod holds the Doctor of Musical Arts a conductor and trombonist at state, regional, and national and Master's Degree from the University of Iowa and a conventions. He served as committee chairman for the Bachelor of Music from Northern Illinois University. Local Affiliate Societies Committee and the Scholarship Committee in the International Trombone Association. Caitlin Walker is pursuing a Bachelor of Music Education He is a past member of the Wichita Symphony Orchestra degree at the University of Central Missouri, where she and The United States Army Field Band,Washington, studies horn with Gary Moege. D.C.; and performed several concerts with the Kansas City Symphony in the 1980's. He is presently a member Andrew Walters was born in Topeka, Kansas but spent of the Western Missouri Brass Band. Dr. Stagg taught at most of his beginning years in Farmington, Missouri. Central College and Westmar College before coming to the Walters has received degrees from Millikin University, University of Central Missouri. Northern Illinois University, and a Doctor of Musical Arts degree in composition from the University of Illinois. Andrew Stephens is a sophomore at the University of Walters' music has been performed at various conferences Central Missouri, majoring in Piano Performance. He is throughout the United States and Canada including a student of Dr. Mia Hynes. His hometown is Cowgill, SEAMUS, SCI, ICMC, Spark, Imagine II, Electronic Music Missouri. Midwest, Electroacoustic Juke Joint. His piece Before Clocks Cease Their Chiming was premiered by Duo Timothy Sturman received his OMA at Bowling Montagnard at the 2009 World Saxophone Congress in Green State University (BGSU) under the tutelage of Bangkok, Thailand. His music appears on volume nine Distinguished Artist Professor Marilyn Shrude. He has and sixteen of the Music from SEAMUS compact discs. received numerous honors and awards at both national Currently he is Assistant Professor of Music Theory and and international levels. As winner of the First Music Music Technology at Mansfield University in Mansfield, Commission, he was commissioned to compose an Pennsylvania. orchestral piece for the New York Youth Symphony that was premiered in Carnegie Hall on March 7, 2010. Hsiao-Lan Wang, a native of Taiwan, composes extensively He was the winner of the 27th BGSU Competitions in for orchestra, chamber ensembles, solo instruments, Music Performance, received second place in the Greater and electronic media. Her works have received awards Cleveland Flute Society Composition Competition, and internationally, and been heard in Taiwan, Belgium, received honorable mention in the National Association Canada, France, the Netherlands, Czech Republic, China, of Composers Annual Composition Competition, the and throughout the United States. She holds a OMA Minnesota Orchestra Composer Institute Call for Scores, degree in composition from the University of North and the 2010 Truman State University/MACRO Composers Texas, and teaches music technology and composition at Competition. Stulman has also studied with Mikel Kuehn, Montana State University. Advocacy for women's music Wallace DePue, Burton Beerman, and Margaret Brower. has been an area where she devotes much of her energy Stulman is interested in Eastern aesthetics and studies in recent years. She currently serves as the president Chinese religious forms and language. He is fluent in of International Alliance for Women in Music. www. Chinese and has spent two years in the ShangHai area. hsiaolanwang.com.

Candace Thomas is currently pursuing her OMA in horn Harry Ward is an active composer and percussionist performance at the University of Illinois at Urbana­ from Farmington, Missouri. While in High School, Champaign, under the direction of Bernhard David Scully. Harry participated in the Missouri All-State District She also holds a Master of Music in Horn Performance Choir and Band, and the MAAA Honors Band (1st from the University of Massachusetts-Amherst, and a chair). While getting his Undergraduate Degrees in Bachelor of Music in Horn Performance from Boston Percussion Performance and Music Composition, Harry University. Her principal teachers have been Laura Klock & has received numerous honors - including: The Deans Eric Ruske. Other teachers include Gunther Schuller, Jean list, John Prescott Composition Scholarship, Claude T. Rife, Richard Menaul, Ellen Dinwiddie Smith, and Kendall Smith Memorial Scholarship, Ralph and Elva Harmon Betts. She has attended masterclasses taught by Dale Scholarship, John Phillip Sousa Band Scholarship, Clevenger, Xiao Ming Xie, William Purvis, Richard King, Principal Percussion (timpani) in the Missouri State and Gregory Miller. She is currently the second horn in the University Symphony, Missouri State Wind Ensemble (3 Champaign-Urbana Symphony and has performed with years), Springfield Symphony Alternate percussionist (2 numerous orchestras, including the Cape Cod Symphony years). Harry plans on pursuing a degree in composition Orchestra, Brockton Symphony Orchestra, Illinois at the graduate level after graduating Missouri State. Symphony, New Bedford Symphony Orchestra, North Shore Philharmonic, and Thayer Symphony. Born in Taiwan, Chih-Chen Wei entered the National Taiwan Normal University, earning a Bachelor of Music. Emily Truckenbrod is an Assistant Professor and the She then completed Doctor of Musical Arts with academic Director of Vocal Studies at Southern Illinois University honors and distinction, Pi Kappa Lambda, from the Edwardsville. Dr. Truckenbrod has appeared in recital, University of Southern California. Her composition concerts, and opera throughout the United States as mentors include Chinary Ung, Stephen Hartke, Donald well as in France, Austria and Honduras. An enthusiast Crockett, Paul Chihara, Ian Krouse, Shyh-ji Chew, and . ~ j , j ·1~ rt ' ~· ~ UNIVERSITY OF CENTRAL ML'iSOUlU -E:!:f. 18;1-··· University of Central Missouri Department of Music UCM New Music Festival 2011

Concert 'Jll Sunday, April 10, 2011 • 10:00AM •Hart Recital Hall

In consideration of the performers, other audience members, and the live recording of this concert, please silence all devices before the performance. Parents are expected to be responsible for their children's behavior.

Migratory Patterns Devin Fanslow UCM Percussion Ensemble Michael Sekelsky, director

Time and Tide Steµi1e1i Yip Dan Wyman, trombone Michael Sekelsky, percussion

Sonata for Stereos Simon Fink Electroacoustic music

Remnants Joseph Dangerfield

Uwohali Kris Maloy

Preludes of Pace Molly Joyce I. Medium Piano II. Fast Piano Ill. Slow Piano Stacey Barelos, piano

Spiral/A Thousand Years Igor Karaca Electroacoustic music Impromptu Andrew Smith Ian Gottlieb, violoncello

Les Battements Jacob Reed Jacob Sentgeorge, tenor; James Gai, clarinet Richard Smith, piano The words of Robert Graves are set to music and reproduced by permission of the Trustees of the Robert Graves Copyright Trust.

Winter Waltz Victoria Malawey Dionisios Roussos, alto saxophone Kristen Hirlinger, piano

Byzantine Chant (improvised) Nefeli Roussos, voice Dionisios Roussos, alto saxophone

The Battle of Marathon Dimitris Gouzios Dionisios Roussos, alto saxophone Mia Hynes, piano FESTIVAL PARTICIPANTS 53 Ting-Lien Wu. In addition to being the recipient of MetLife New Media artist Bart Bridger Woodstrup's work takes Creative Connections Grant from Meet the Composer, the form of traditional musical composition, real- Chih-Chen Wei was awarded Subito Grant from the time interactive audio/video performance, multimedia American Composers Forum, Stanley Wilson Composition installation and networked experience. His work lies Award from UCLA. She was the resident composer for Los within the union of electronic sound/image, space/object, Angeles Chamber Singers in 2002, and was the resident and science/technology. A formal training in the visual composer for National Taiwan Symphony Orchestra in arts provided the underpinning of his approach to sonic 2010. composition, in essence remapping Kandinsky's studies back onto sound. Symbiotically, Ba rt's visual works are Alan Wenger is Associate Professor of Music, and joined often articulators of sonic realizations - a synesthesia. He the faculty of the UCM Music Department in 2003 as the holds a Masters of Music from Northern Illinois University applied trumpet teacher. His education includes a BM and a Masters of Fin e Art from Rensselaer Polytechnic degree in Trumpet Performance from the University of Institute. His work is shown regularly throughout the U.S. Nebraska-Lincoln, graduate studies at Boston University, and abroad, and has been included at Siggraph, Inter­ and MM and OMA degrees in Trumpet Performance from Society for the Electronic Arts, Society for Electro Acoustic the University of North Texas. His primary teachers include Music, Spark Festival of Electronic Music and Arts, Not Still Leonard Candelaria, Dennis Schneider, Rolf Smedvig, Art Festival, Version>03, and the Chicago Underground and Roger Voisin. He is a fo rmer member of the award­ Film Festival. winning Fountain City Brass Band in Kansas City, serving as principal solo cornet for six years in numerous concerts Curtis Worzalla is a graduate composition student at across the United States and in the UK. He is also a former Truman State University, studying with Dr. Warren Gooch member of the Amarillo Symphony and Opera orchestras, and Dr. Charles Gran. He currently serves as Graduate the Lincoln Symphony and the Nebraska Chamber Teaching-Research Assistant in the area of music theory, Orchestra. He presently performs in a substitute capacity teaching courses in Aural Skills I and II. Curtis received with the Kansas City Symphony and Kansas City Chamber his B.A. from Luther College in Decorah, IA, where he Orchestra. His extensive chamber music experience studied music composition with Dr. Brooke Joyce and includes touring with the Empire Brass, Bluebonnet Brass, guitar with Peter Lingen. Curtis is still an active guitarist, Nebraska Brass and Kansas Brass. He has performed on and composes for the guitar frequently. After finishing his natural trumpet in Germany, Sweden, Switzerland, and the M .A. in composition from Truman, he plans to pursue a U.K, as well as playing commercially with the Four Tops, M.M. in finger-style guitar performance, and eventually, a Manheim Steamroller, Lou Rawls, the Temptations,Tommy doctorate in music composition. Tune and the Manhattan Rhythm Kings, and contemporary Christian artist Ken Medema. Dr.Wenger maintains an Dan Wyman is a graduate of the University of Connecticut active schedule as a so loist and clinician, and is an Artist/ (BA Music, BS Education) and is currently a graduate Clinician for Edwards Trumpets. He has a keen interest in teaching assistant at the University of Central Missouri. At new music, and has premiered solo works for trumpet by UCM, he is pursuing a Masters in instrumental conducting, composers Norman Goad, Eric Honour, Gene Murray, and teaches a marching band techniques course, and assists Fisher Tull. with the Marching Mules. As a marching arts visual designer and instructor, Dan has written for and taught Christopher M. Wicks, a Fellow of the American Guild of numerous marching bands and winterguards throughout Organists, is active as a church musician and a recitalist New England. He serves as the visual caption head in Oregon's Willamette Vall ey. He holds a M.Mus. in for the 7th Regiment Drum and Bugle Corps from New Composition from the Universite de Montreal. His London, CT, and performed as a member of the Boston compositions have been performed in fourteen American Crusaders Drum and Bugle Corps from 2003-2005. In his states, the District of Columbia, Quebec, South Korea and undergraduate career, Dan received a research grant from four European countries, and published by such houses as the University of Connecticut to study brass chamber Imagine Music and Wayne Leupold Editions. music abroad in Geneva, Zurich, Barce lona, and Milan with the Armonia Brass Trio. As a trombonist, he has performed Keel Williams received his Ba chelor's of Music from the as a soloist and ensemble member in numerous recital and University of Memphis in 2006 and his Master's degree concert settings. Dan enjoys seeking out and performing in music performance from the University of Missouri­ new works for trombone. Kansas City in 2009. Mr.Williams is currently pursuing an Artist Certificate at the University of Missouri-Kansas City James Yannatos was born and educated in New York where he is co-principal bassoon in the Wind Symphony, City, attending the High School of Music and Art and the Chamber and Symphony Orchestras. Mr.Williams Manhattan School of Music. Subsequent studies with has performed with orchestras in France, Germany, Nadia Boulanger, Luigi Dallapiccola, Darius Milhaud, Switzerland, Luxembourg, Belgium, and China. He is Paul Hindemith, and Philip Bezanson in composition, also a regular performer with several regional orchestras William Steinberg and Leonard Bernstein in conducting, in western Tennessee, northern Mississippi, and the and Hugo Kortschak and Ivan Galamian on violin took greater metropolitan area of Kansas City. Mr.Williams has Yannatos to Yale University (B .M., M.M.), the University of performed as soloist with the UMKC Symphony Orchestra, Iowa (Ph.D.), Aspen, Tanglewood, and Paris. As a young at the Conservatory of Music in Shanghai, and was a violinist, he performed in various professional ensembles featured guest artist at the 2010 MidSouth Double Reed including a piano trio, string quartet, early music groups Conference. with Hindemith and Boulanger, and in the Casals Festival. In 1964, he was appointed music director of the Harvard­ Radcliffe Orchestra, and has led that group on tours to 54 2011 UCM NEW MUSIC FESTIVAL: OLD AND NEW Europe, Russia, South America, and Asia. He organized United States and abroad, including at the famed St. Mark's and co-directed the New England Composers Orchestra, Basilica in Venice, Italy. Alan's main conducting mentors the Tanglewood Young Artists Orchestra, and taught include Ronald Staheli, Andre Thomas, and Kevin Fenton. conducting and Tanglewood. He has appeared as guest conductor-composer at the Aspen, Banff, Tanglewood, Daniel Zajicek is a composer, video artist, and performer. Chautauqua, and Saratoga Festivals, and with the Boston Most interested in beauty and the bizarre, his musical Pops, Winnipeg, Edmonton, Baltimore, and San Antonio output consists of acoustic, electronic, video, installation, Symphonies and the Sverdlovsk, Leningrad, Cleveland, and operatic works. Originally from Columbia, Missouri, and American Symphony Chamber Orchestras. Daniel has received degrees from The University of Missouri - Kansas City, the University of North Texas, and Shuai Yao is a graduate student of Music composition is a doctoral candidate in composition at Rice University. at Ball State University now. Yao received her Bachelor More information on him may be found at http://www. of Fine Arts in composition from Central Conservatory danielzajicek.com. of Music in China. Her works have been chosen for presentation by several conferences and music festivals. Athanasios Zervas holds a OM in composition and an MM She awarded "Excellent" prize TMSK LiuTianHua National in saxophone performance from Northwestern University. Chamber Folk Music Competition, in China, 2008. In 2006, At Northwestern he studied saxophone with Fredrick She awarded " Silver Prize" with a Chinese pipa solo Only Hemke and composition with M . William Karlins, Alan Then Under Brow in American World Cup International Stout, Stephen L. Syverud, and Jay Alan Yim. He is an Traditional Instrumental Music Competition. She worked assistant professor of Music Theory at the University of as a music editor for Chamber Music Concert of Old Works Macedonia in Thessalonica, Greece. His compositions New Instruments by Central Conservatory of Music Arts have been performed and recorded throughout Europe Management Department. During her undergraduate and the United States. Founder of the Athens Saxophone study, she received several Cherry 21st Century Quartet and the Athens Contemporary Music Ensemble, Scholarships in Central Conservatory of Music in China. Zervas is widely recognized as one of the foremost champions of contemporary music in Greece. Stephen Yip was born in Hong Kong and now living in U.S.A. He received his doctor of musical arts (D.M .A.) at Zachariah Zubow (b. 1984) graduated with a Bachelor Rice University and bachelor of fine arts (B.F.A.) at the of Arts degree in 2006 from Luther College and in 2008 Hong Kong Academy for Performing Arts. He has attended graduated with a Masters in Music Composition from major music festivals include: Aspen Music Festival, Asian Illinois State University. Recently, Zach's music has been Composers' League, ISCM World Music Days, Music X, chosen to be included on the SCI National and Region June in Buffalo, IMPULS Ensemble Akademie, California V Conferences, Electronic Music Midwest, and Iowa E.A.R . Unit Composer Seminar, the 13th International Composers Forum Conference. His music has recently Summer Program, Czech Republic, International been performed in Europe as well as the United States. Composers' Workshop, Luxembourg, The 45th Zach's composition teachers include David Gompper, International Summer Course for New Music, Darmstadt, Lawrence Fritts, David Feurzeig, Brooke Joyce, and Martha Germany and residencies include: Atlantic Center for the Horst. Zach is pursuing a Ph .D. in music composition at Arts, Florida, Kimmel Harding Nelson Center for the Arts, The University of Iowa. Nebraska, Virginia Center for the Creative Arts, Yaddo, and MacDowell. He has received many composition prizes, including "Haifa International Composition Prize", First International EPICMUSIC Composition Prize, Italy, International Biennial composition competition, the International Music Prize for Excellence in Composition 2010, by the National Academy of Music, Thessaloniki, Greece, and the 2010 Alvarez Chamber Orchestra Freestyle Composition Competition, London, England. His works are recorded in the ERM-Media, PARMA, Capstone, North South recording, Ablaze records, ATMA Classique, and Beauport Classical labels.

Alan Zabriskie is Director of Choral Activities and Assistant Professor of Music Education at the University of Central Missouri where he conducts the Concert Choir and the Women's Chorus. He holds a B.M. degree from the University of Utah in Music Education, an M.M. in Choral Conducting/Music Education from Brigham Young University, and a Ph.D. in Choral Conducting/Music Education from The Florida State University. He taught for five years in the Clark County School District in Southern Nevada. Alan has served as chorus master for the Utah Lyric Opera and Florida State University Opera. Alan's textbook Foundations of Choral Tone: A Proactive and Healthy Approach to Choral Blend was released in October 2009. He has conducted choirs on performance tours in the

l OOH::>S AVM Nl3LS-11V NV - 1Z8 1 ·i;-;i- ( '.)1snw l.(lflOSSlW 1V'tllN3) , - - JOJNIWHIV

\

I

/ /

)

I I \ \ ~ >