N./ERIC/\N UirTYCJ' l.J'J~TY aMR:IfRS 250 West 54th Street • Room 300 • New York, New York 10019 MAY, I 980(Vol. 13, No. 2

CONTENTS including an unbroken record of personal attendance at ASUC 1980 NATIONAL CONFERENCE annual conferences. And, in the same session, Edwin London 1981 NATIONAL CONFERENCE (Cleveland State University) was recognized and applauded NEWS OF THE SOCIETY for his years of service as Chairman of the National Council. Proposed name-change A further resolution of gratitude was made in appreciation of Student composition winner the unselfish and generous service contributed by the volun­ Proceedings articles teers who serve in the New York office. Their fine work is Journal submissions appreciated by the entire membership.

RADIOFEST 2 ~ Jackson Hill LETTER FROM NMC USEFUL INFORMATION REGIONAL CONFERENCES RECENT FESTIVALS ASUC NATIONAL CONFERENCE KEY­ UPCOMING FESTIVALS AND NOTE ADDRESS PERFORMANCE OPPORTUNITIES COMPETITIONS The distinguished American composer, conductor, and COMPOSERS IN ACTION educator, Gunther Schuller delivered the keynote address at the national conference in Memphis in March. Mr. Schuller began with reminiscences of what it was like to be a young American composer in the 1940s, with little in the way of REPORT FROM THE NATIONAL CONFER­ performance opportunities, limited access to the campus ENCE arena, no tape facility, no support foundations, and no new­ music record labels. The School of Music of Memphis State University hosted Mr. Schuller expressed the sentiment that American one of the most ambitious programs of concerts, addresses, composers have composed themselves into a corner - and and paper sessions ever undertaken at an ASUC national con­ into a crisis - for three reasons. In paraphrase, first, the ference. The conference, from March 26th through March revolution of ca. 1910 discarded more than we have gained 30th, comprised twelve concerts and nineteen paper sessions. since. We have lost harmony, rhythm, repetition, true melody, The performance standards, almost with no exceptions, were and traditional forms. Second, we have lost clear direction uniformly high. Certainly the membership. left the conference and leadership, and have lost a language in which to speak to with the impression of Memphis State as a thriving, bustling our audiences and to our peers. Third, we have arrived at a school of music, with a fine community of performers and juncture at which our technology and intellectual bric-a-brac composers in residence. Don Freund, conference chairman, have far outstripped what we can do with them. Our intel­ is to be thanked, complimented, and commended for putting lectual capabilities go far beyond what we or our audiences together such a splendid array of musical events. Altogether, can perceive artistically. 107 member composers were represented on the twelve con­ Like the composers of the Ars Nova we have invented certs (a staggering 15% of the membership!). A logical and for ourselves intellectual concepts that tantalize and excite interesting question that comes up in this context is that of us but that just may kill off music altogether. Many com­ how much music can one listen to and assimilate in the course posers have skill and know their craft, but art without emotion of a day. It is an interesting question for pondering by those is valueless. Our chief enemy is our brain. In our age, it is in charge of future national conferences in Cincinnati, Seattle, now our task to simplify, refine, sift, and screen, until our and Hartford. intellectual prowess is matched by our emotional capacity. In various sessions of the full membership, the Executive Electronic music, in spite of many masterpieces in the Committee, and the National Council several items were genre, has come to be the last refuge of the fraudulent, largely resolved of which the membership should be made aware . because it uses a language that is difficult to penetrate and to First, Richard Hervig (University of Iowa) was designated evaluate. The language of 1910 was a foreign language to Chairman-elect of the National Council. In the same session everyone, and seventy years later it is still a language that Kurt Stone was named an Honorary Associate Member of the appeals only to a narrow (elitist) group. society. In the plenary session of the society a resolution was Maybe what we need are composers with the genius to passed in recognition of David Cohen (Arizona State Univer­ recapture those lost qualities, not by imitation, but by finding sity) for his record of 15 years of support of the society, in our own experience analogi.es to those old virtues, couched - within our new all-embracing language. One of the problems in selecting a new name is avoid- We have enjoyed the freedoms of 1910, but we have ing similarity to other organizations, such as the American been short on coming up with an integrity within our total Society of Composers, Authors, and Publishers (ASCAP), language. It is high time to devote our intellects and our the American Guild of Authors and Composers (AGAC), and technologies to the task of discovering a new integrity and the League of Composers. Suggestions have included the to discovering analogies that respond to our expressive needs Association of American Composers (AAC), the North Ameri- ,--..... and to our own times. can Composers' Society (NACS), North American Com­ posers' Association (NACA), and Society of North American Mr. Schuller's remarks may stimulate some dialogu.e Composers (SONAC). A change of name that encouraged among the membership of the society. Members are invited Canadian composers to join the Society might serve to en­ to forward responses to the editors of the Newsletter. hance the Society's broadening image. If the membership at large indicates a strong interest in changing the name of the Society, the committee will under­ take to select several names that do not infringe upon other CALL FOR SCORES AND PAPERS, 1981 organizations and will submit them to the National Council NATIONAL CONFERENCE, CINCINNATI for further action. Responses to the following questions would be helpful The membership has received independently mailed to the committee: circulars describing submissions procedures for scores and 1. Do you feel that the term "university" has an papers for the 1981 National Conference to be held April exclusive connotation? ls this desirable? 8-12, at the College-Conservatory of Music of the University 2. Do you feel that some worthwhile composers might of Cincinnati. The deadline for receipt of scores for works feel excluded because of the word "university"? for orchestra, opera, theatre pieces, and dance has already 3. Do you feel that dropping the word "university" passed, but other categories of works may still be submitted. would be consistent with the aims and character of the Society The deadlines are as follows: July 1, 1980, for chamber as you see them? works, band, percussion, choral, electronic, solo, jazz, and other small-force compositions; and August 1, 1980, for 4. How would the change of name affect the support papers, lecture-demonstrations, and other presentations. you would receive (travel funds, conferences, etc.) from your Materials are to be sent to ASUC Conference Co-Chairman, university or other funding organizations? College -Conservatory of Music, University of Cincinnati, 5. Do you personally know of composers who would Cincinnati, Ohio 45221. Scores and tapes should be sent join, or members who would quit, if this change were made? to the attention of Prof. Norman Dinerstein, papers and 6. Do you favor or oppose the change? Additional abstracts to Prof. Jonathan Kramer. comments and remarks are welcome. All responses should be sent directly to the New York office (please note new address): ASUC, 250 West 54th ,..--... Street, Room 300, New York, NY 10019. NEWS OF THE SOCIETY PROPOSED NAME-CHANGE

A perennial question that surfaced at the national ASUC/SESAC STUDENT COMPETITION WINNER conference was that of whether or not to change the name of the Society. In the current period of prosperity for the Dennis Miller, a composition graduate student at Col­ Society - a period in which the membership is growing in umbia University, has been named winner of the 1980 ASUC/ unprecedented numbers - there is sentiment that a sizeable SESAC Competition for ASUC student composers. The number of composers are reluctant to join, either out of winning composition, Quartet for violin, cello, vibraphone, past disenchantment or out of a feeling that the Society and flute, was performed on March 27, at the ASUC National exists only for university-affiliated composers. There is some Conference in Memphis. Dennis Miller, a native of Kentucky, feeling among members that a change in the official name of studied at Loyola University in New Orleans and at the Hartt the Society to a name that does not include the word uni­ College of Music in Hartford. At Columbia, where he was versity might encourage these composers to join, thereby awarded the Rapoport Prize in 1979, he has been a student increasing the base and range of the Society. The counter­ of Chou Wen-Chung, Mario Davidovsky, and Harvey Soll­ arguments are that the Society, after fifteen years of existence berger. as ASUC, has established a reputation, and to change the Second prize was awarded to Stephen Mason, and name would affect the character of that reputation. Further, Honorable Mentions went to Michael Gandolfi, Daniel Roth­ a name-change would unduly complicate the status of society man, and Cindy McTee. publications, which now have a foot-hold in the contemporary The prize money was provided by SESAC (Society of music market - ASUC Journal, Proceedings, and the Radio European Stage Authors and Composers), and ASUC is in Series. the process of developing an expanded role for SESAC in the A committee of Dennis Kam (University of Miami), competition. Reynold Weidenaar (New York City), Walter Winslow (Uni­ versity of California, Berkeley), and Ann Silsbee, Chair (Ithaca, New York), has been form ed to deal with the ques­ tion. The committee wants to hear from the membership PROCEEDINGS: ARTICLE GUIDELINES concerning the possible name-change - both for and against, Papers delivered at national conferences of ASUC are along with suggestions fo r a new name for the Society, should automatically C0 nsidered for publication in Proceedings, but a name-change be favored by the overall membership. all of the papers cannot be published. Papers are selected fQr readability, interest, and content, with an emphasis on covered that the situation of the composer in the late 70s was scholarly contribution to fields of interest within the general becoming m'ore ~}early articulated with the completion of membership. The submission of papers delivered at regional every program. What kept us going, of course, was the music conferences is strqngly encouraged, and authors should take itself, which we feel to be of as high a quality and general the initiative of sending them to the editor. interest as any we have heard on any series. The full guidelines statement is available from Dr. As we sit here contemplating this final report with Greg Steinke, Editor, Proceedings, Music Department, Lin­ elation, exhaustion, and a bit of melancholy, we are slowly field College, McMinnville, Oregon 97128, (503) 472-4121. coming to the realization that it is all over. No new programs, no new music or interviews to look forward to - all done. JOURNAL OF SCORES UPDATE Wrap it up. Negotiate with distributors. Clean up. It's been quite a year! Now we'll see if it plays in A new procedure is in effect for submission of scores Peoria. for consideration for the ASUC Journal of Music Scores. Multiple scores of compositions are now no longer necessary: one copy of a submitted score is sufficient. In addition, pieces performable by one or two performers are now accept­ RADIOFEST II NEW AMERICAN MUSIC able for inclusion. Further information can be obtained from Bruce Taub, ASUC Journal Editor, 250 West 54th Street, Director: Priscilla McLean Room 300, New York, New York 10019. Producer: Barton McLean Advisor: Ev Grimes LIST OF PROGRAMS RADIOFEST NEW AMERICAN MUSIC 1. The Pioneers of Electronic Music in America: A visit a final report with Otto Luening and Vladimir Ussachevsky. The early years, and their vision of where the medium has Prepared by Priscilla and Barton McLean gone, and its future. When first conceived over a year ago, this new 1980 Luening Fantasy in Space series of thirteen hour-long programs of new music by mem­ Ussachevsky Sonic Contours bers of the American Society of University Composers was Both Concerted Piece for Tape Recorder and planned as a fairly traditional one. It gradually dawned on Orchestra us, however, that perhaps we had a rare opportunity to Ussachevsky Conflict present, define, and document in a more elegant way the Luening Chorale Fantasy incredible "grass-roots" explosion of new music surfacing /""'everywhere, and particularly centered on the activities of 2. Voices: Real and Extended. Experimental and virtuosic nembers of ASUC. Circumstances were fortunate for us. vocal techniques, compu~r applications, and a hilarious We had already had experience in putting together a series, finale contribute to a strong and varied program. we were touring across the U.S. that year in performance, and Charles Dodge In Celebration we had met Ev Grimes, of station KANU-Kansas, who was John Downey A Dolphin instrumental in exposing us to new programming concepts Syd Hodkinson November Voices (she recently did the Henry Cowell programs on NPR). Per­ Raoul Pleskof Motet and Madrigal haps the most bizarre fortunate circumstance was that we had William Mayer Two News Items no idea whatsoever how long this would take - nearly 1000 hours at last count! 3. New American Orchestral Music. Some of the finest With the NEA grant in hand, we plunged. Early-on, orchestral music of the decade by three Pulitzer Prize several basic criteria were laid out, some painful but necessary winners. nevertheless. We would make this a "listeners' " series, one Leslie Bassett Concerto for Two Pianos and that utilized the unique advantages and limitations of radio, Orchestra rather than just another substitute for a recital hall. We Karel Husa Two Sonnets from Michelangelo quickly discovered that the best music in the world is useless Donald Martino Mosaic for Grand Orchestra if the listener turns the radio off. And so, on the advice of Grimes, Steve Rathe from NPR, and others, we divided the 4. The Avant-Garde Piano. Eerie bowed string, cluster, programs into half-hour segments (making each hourly theme prepared piano, and many other techniques contribute self-contained at the half-hour), occasionally played move­ to these substantial works. ments and excerpts rather than whole works, initiated specific Stephen Scott Music III for Bowed Strings topics for each program, indulged ourselves at times in fancy Ann Silsbee Doors (but hopefully tasteful) production techniques, and had Samuel Pellman Silent Night live interviews with each composer on the series. Priscilla Barton McLean Dimensions II for Piano and Tape became the interviewer and moderator for the series, which turned out to have unexpected advantages, since her col­ 5. Virtuosic Performances of New Music. A look at several leagues felt that they could "open up" more to a fellow works requiring virtuosity in performance, and the com­ composer than to an announcer, producing some startling posers who produced them. ~sights into the composer's mind. Howard Buss Came/Music Perhaps the most gratifying aspect to us as the series Anthony Iannaccone Rituals for Violin and Piano developed was the realization that here were real people Eleanor Cory Epithalamium coming across, composers with their own unique personalities, Harold Oliver Full Fathom Five aspirations, hangups, charm, and humor. And we soon dis- John Melby Two Stevens Songs •

6. New American Chamber Music. Tense, dramatic, experi­ 12. New Music for the Recital Hall. A catch-all title for mental, traditional, lyrical, all adjectives that describe a number of works that did not fit into any specific the wealth and variety of the new chamber music now category, but were too good to leave out! Some inter­ being written in America. Several interesting insights esting insights into the composer's mind . All chamber into how composers work. music. William Kraft Momentum David Epstein String Quartet 1971 Walter Hartley Metamorphoses William Albright Halo Charles Hoag Collage David Stock Scat Leo Kraft Line Drawings Gerald Warfield Variations and Metamorphosis Will Gay Bottje Dances: Real and Imagined 13 . What ever Happened to the Avant-Garde? Where have 7. Th e American University as the Patron of New Music. all those wild composers and pieces of the 60s gone? A highly charged, vivid , controversial, and personal Some surprising answers em erge as three of the most view of the role of the University in new music by a active of the late 60s composers talk enthusiastically roundtable of composers associated with a leading about this topic. patron of new music for many years - the University Larry Austin Maro on Bells of Illinois. Larry Austin A ccidents Herbert Briin Gestures for Eleven Donald Erb Mirage Harry Partch The Bewitched Donald Erb Reconnaissance Ben Johnston Cradle Song: Songs of Innocence David Cope Threshold and Vision Paul Martin Zonn Voyage of Columbus Morgan Powell Light and Shadows Our thanks is given to the following fo r their help with pro­ duction and/or advice : 8. New American Electronic Music. Several of the very best works of the late 70s point to a new maturity in Columbia-Princeton Electronic Music Center and Vladimir electronic music. Some side-splitting humor as well. Ussachevsky; New England Conservatory; University of Illi- nois at Urbana and Scott Wyatt; Colorado College and Stephen Reynold Weidenaar Fanfare Scott; University of Kansas-Lawrence, and Edward Mattila, Daria Semegen Arr: Music for Dancers KANU-FM, Lawrence; Southern Methodist University and Priscilla McLean Invisible Chariots, I & III Mvts. Bruce Faulconer; University of California at San Diego and John Watts Elegy to Chimney: In Memoriam Bernard Rands; Ev Grimes, Independent Radio Producer; David Berlin Interactions for Flute and Tape Steve Rathe, Executive Producer, National Public Radio; Reynold Weidenaar Wiener (Your Usual Magnetic Eleanor Page , KUT-FM, Austin, Texas; University of Texas ,.-.--.., Sequel) Department of Music. 9. The Many Faces of Orchestral Music. A different look at the orchestra, as it is treated in a work for young players, an avant garde work, and one of the major oratorios of the 70s. Due to the compelling nature of this latter work, we present it here in its entirety. The RADIOFEST series has been accepted for broad­ Ulf Grahn The Wind of Dawn cast by WRPI in Troy, New York, and KZSC in Santa Cruz, Elliott Schwartz Eclipse III California. Some individual programs have been ordered Edwin London The Iron Hand by station KPFK in Los Angeles, and by Nazareth College and 10. The Virtuoso Composer-Performer of New Music. the University of Massachusetts, Amherst. RADIOFEST 2 An in-depth visit with two of the important new music has been approved for feeding over Extended Program Ser­ pianists of our time - David Burge and Charles Wuor­ vice satellite for broadcast by NPR stations. Owing to the inen. A detailed look at how performance practices, slow process of setting up the satellite service and the back­ audiences, and the new music scene have changed log of materials, the RADIO FEST 2 series will not be carried during the past fifteen years. until the spring of 1981. Within the service, each of the 250 NPR affiliates has the option of broadcasting the carried David Burge Sources IV material or not. It would be helpful if members of the Society C. Curtis-Smith Rhapsodies would advertize the series to local NPR stations to alert them Charles Wuorinen Percussion Symphony to its availability. Harvey Sollberger Impromptu 11. Extended Instruments. Various kinds of experimental and electronic techniques are used to extend the ordin­ ary qualities of the instruments. Some interesting philosophical, environmental, and transcendental dialogue as well. LETTER FROM NATIONAL MUSIC Ron Pellegrino Sand H Explorations COUNCIL Eric Stokes Eldey Is land The New York Office of the Society sent a letter o0 Rob Newell Phase Modules congratulations to Gunther Schuller on the occasion of his Samuel Pelfurnn He is Not Here for He is Risen election as President of the National Music Council. In that Martin Scott Kosins Variations on a Theme by letter it was brought to Mr. Schuller's attention that there the Wind was a noticeable lack of composer-organization representa- tion on the organization's board of directors and policy­ united coherent voice which will becoi;ne per­ planning committee. An abbreviated version of Mr . Schul­ vasively audible in our land and have an impact ler's response follows: on our cultural life. Sincerely, November 21, 1979 Mr. Richard Brooks American Society of University Composers 250 West 54th Street New York, NY 10019 Gunther Schuller Dear Mr. Brooks: As you know, I was elected President of the National Music Council last spring, an honor and commitment which I intend to take very seriously. I view the NMC with its broad and diverse member constituency, representing vir­ tually every phase and aspect of the music field, as an extraordinarily potent instrument for the betterment of music in our country - as an art, a profession and an integral part of our society USEFUL INFORMATION and culture. The potential is enormous; now we must fulfill it. MUSICIAN'S GUIDE TO COPYRIGHT At my first Board meeting, held on September A 92-page resource concerned with the copyright law, 14th, I proposed an agenda dealing with a number copyright procedures, duration and transfer of copyright, of issues which, I believe, are of major and nation­ royalties, and infringement of copyright, prepared by al priority, and therefore logically our concern. Edward R. Heam, Mark E. Halloran, and J. Gunnar Erickson, The lively discussion which ensued led to the is available at a cost of $5 .95, plus $1.00 for postage and formation of 1) a Policy Planning Committee, handling, from Bay Area Lawyers for the Arts, Building B., and 2) a consensus that a number of the pro­ Fort Mason, San Francisco, CA 94123. posed issues be assigned to various working com­ mittees, which could in turn be appointed by myself and the Policy Planning Committee. This MUSIC COMPETITION CIRCUIT NEWSLETTER latter committee (whose members are Ralph The Washington-based MUSIC COMPETITION CIR­ Black, Executive Director of the American Sym­ CUIT NEWSLETTER, now in its second year of publication, phony Orchestra League; Martin Bookspan, is a sizeable bi-monthly newsletter containing information Director of the Concert Division of ASCAP; Samuel Hope, Executive Director of the National about a wide vadety of music competitions for composers Association of Schools of Music; Allen Sapp, Dean and performers. A subscription is ayailable for $5 .00 ($7 .00 of the College~onservatory of Music of the foreign) from Music Competition Circuit, 1629 K Street, University of Cincinnati; and Gene Wenner, Presi­ Suite 599, Washington, DC 20006 (703) 979-9867. A dent of the American Music Conference) held recent issue listed nearly a hundred competitions, both its first meeting on September 27th and, besides domestic and international. discussing a number of substantive issues and problems with which the NMC might wish to DORLAND MOUNTAIN COLONY deal in the long term, constituted the following five committees: The Dorland Mountain Colony, a 300-acre retreat in Education - Samuel Hope, Chairman the Palomar range, near Temecula, California, is developing Finance - Ralph Black, Chairman a program to provide a working retreat for composers, writers, International - Allen Sapp Chairman and visual artists. The Composer's House at the Colony looks Music Industry - Gene Wenner, Chairman toward Mount Palomar through the length of Lupin Canyon. Professional Performance - Schuyler A small grand piano is provided for the composer's use. Chapin, Chairman There is no charge for the use of the facilities, but established These committees are mandated to meet in the artists are invited to make tax-deductible contributions to the next weeks and months with the firm hope of project. presenting the Council with a certain amount of Application blanks may be requested from The Dorland work product at the annual meeting which is Mountain Colony, Box 6, Temecula, California 92390. scheduled for January 17, 1980 in Washington, DC. MIT SUMMER PROGRAMS Through this structured committee process we hope not only to tackle some of the major issues Two special summer workshops will be held in June and and problems confronting music in our nation July at the Massachusetts Institute of Technology, directed and our society, but to elicit - indeed provoke - by Prof. Barry Vercoe. Program 1: TECHNIQUES OF vital input from the field(s)-at-large . I welcome COMPUTER SOUND SYNTHESIS will run from June 16 to your participation in this process - each and every June 27, 1980. It will explore current methods of digital one of you. sound synthesis. Program 2, which runs from June 30 to In unity there is strength, and of the many goals July 28, is called WORKSHOP IN COMPUTER MUSIC COM­ I envision for the NMC, one of the most crucial POSITION. Information can be obtained from the Director - if not the most crucial - is to unite our vast of the Summer Session, Room El 9-356, M.I.T. Cambridge, field, at least on a number of key issues, into a Massachusetts 02139 (617) 253-7441. ADMINISTRATION INTERNSHIPS Center-based Performers' Committee for Twentieth-Century Music, which presented one concert and gave a series of four New York Congressman Fred Richmond is offering a contemporary performance workshops. Two concerts of number of paid arts internships in his Washington office open ASUC works featured performances of compositions by to qualified graduate students in arts administration. Inter­ Claire Polin, Larry Nelson, David Berlin, Larry Lipkis, Allen ,~ ested students should get in touch with Congressman Rich­ Blank, James McVoy, Leroy Williams, Joel Naumann, Samue: mond, 1707 Longworth House Office Bldg., Washington, DC Crain, Stuart Smith, Frank Siekmann, John Schooley, Robert 20515 (202) 225-5936. Shuffett, and John Rinehart. French-born composer Bernard Xolotl presented a concert of his electronic music and visuals, WESLEY AN SUMMER CHORAL INSTITUTE and Sonic Meditations by Pauline Oliveros were performed in a midnight ceremony in the university chapel. The concert A Six-Week Summer Choral Institute of Contemporary by CONTINUUM featured the premiere of Jane Wilkinson's Music will be held at Wesleyan University from July 2 to Duo. Region III will co-sponsor the 1980 Electronic-Music­ August 13, 1980. Ten composers will be in residence during Plus Festival at West Virginia University in November. I the workshop. Information is available from SCICM, Graduate Liberal Studies, Wesleyan University, 287 High Street, Middle­ town, Connecticut 06457 (203) 374-9411.

RECENT FESTIVALS AND SERIES Concerts of New Music at the University of Wisconsin, REGIONAL CONFERENCES Parkside, this season have featured music of Jiirg Baur, John Region V. DePaul University in Chicago hosted the Downey, John Biggs, John White, and Otto Luening. Region V annual Conference, November 9-11, 1979, which The Fourth Annual Electronic Music Festival at Jersey included four concerts of works by 30 regional composers. City State College on March 5, 1980, featured five concerts. Eight ensembles from Ball State, DePaul, Indiana, North­ ASUC members included in the festival were John Duesen­ western, Western Michigan, and Youngstown Universities, berry, Jerome Margolis, Greg Steinke, Daria Semegen, Emma the University of Illinois, and Oberlin College participated. Lou Diemer, Michael Gilbert, Reynold Weidenaar, Jean Student member Mary Ellen Bernard reports: Eichelberger Ivey, Ronald Perera, Vivian Rudow, and Burton In addition to the concerts a number of Beerman. papers were presented by members of the Society ranging from examinations of the music of George The Tenth Annual Festival of New Music at Ball Stat Crumb, Olivier Messiaen and others to the com­ University was held April 16-19, 1980, in Muncie, Indiana. positional use of time-point sets and the influence The festival featured lecture-demonstrations, panel discussions, of media on the dissemination of music. and performances of music by Society members John Rogers, The Society was fortunate to have a number John Melby, Gary Nelson, Rudolph Bubalo, Cleve Scott, of guest participants at the conference. James G. Roy, Jr., assistant vice-president of B.M.I., dis­ David Keane, Herbert Briin, and Nancy and Michael Udow. cussed with society members the services of A Composers' Guild for Performance concert at Colum­ B.M.I. to composers and publishers. Mr. Roy and other distinguished guests participated in a sym­ bia University April 3, 1980, included music by ASUC mem­ posium dealing with the composer and the media, ber Joel Gressel. moderated by Raymond Wilding-White of DePaul. Indiana State University (Terre Haute) recently held In addition to Mr. Roy, the panel members in­ cluded Arthur Cohn from Carl Ficher, Inc.; its 13th annual Contemporary Music Festival, which brought Thomas Willis, former music critic, Chicago the Indianapolis Symphony to the campus for four days. Tribune, and currently concert manager at North­ The festival featured works by Frederic Fox, Aurelio de la western University; Ilhan Mimaroglu from Finna­ Vega, Sidney Hodkinson, Vincent McDermott, and John dar Records (Atlantic Recording Corp.); Norman Rinehart. Pellegrini, program director, WFMT-FM, Chicago; and James Ruddle, WMAQ-TV, NBC News, Chicago. To this observer the conference was an ex­ citing event, providing many stimulating ideas and presenting a number of interesting works of music. It is most difficult to single out individual pieces when so many of substance were per­ formed, but this listener responded particularly UP,COMING FESTIVALS AND PERFORM­ to Ramon Zupko's Masques and to the Trio by ANCE OPPORTUNITIES Will Bottje. The University of Denver's fifth annual "Music of the 20th Century" seminar will meet in Aspen, Colorado, from~ Region III. A two-day spring conference of ASUC July 25 to August 4, 1980. The seminar will have contac Region III was held at Bucknell University (Pennsylvania) with the Aspen Summer Festival through rehearsals and in­ April 18 & 19, 1980. Six concerts were held in connection formal meetings with performers. Information is available with the weekend, which featured the ASUC conference from Donald Keats, Lamont School of Music, University of and a residency on campus by CONTINUUM, the Lincoln Denver, Denver, Colorado 80208. (303) 7 53-2197. The second annual New Music America Festival has COMPETITIONS been scheduled for June 7-15 in Minneapolis. The festival is sponsored by the Walker Art Center and the Minneapolis Chamber Works Project for Contemporary American Star, in conjunction with the Minnesota Composers Forum Composers. Works must be for no more than twelve players and the Minneapolis College of Art and Design. New Music and have received less than four performances. Deadline: America will feature nine concerts in the Walker Art Center July 15 , 1980. Information: Larry Livingston, New England of performers and composers working in distinct, yet com­ Conservatory, 290 Huntington Avenue, Boston, Massachu­ plementary musical styles, ranging from avant-garde concert setts 02115. (617) 262-11 20. music, to minimalism , to jazz. Last year's festival in New International Horn Society Composition Contest. York was widely acclaimed by critics nationwide and Several categories acceptable. Deadline: November 1, 1980. beyond. Information is available from Nigel Redden, Information: Gayle Chesebro, Music Department, Furman Walker Art Center, Minneapolis, Minnesota 55403. University, Greenville, SC 29613. (803) 294-2086. (612) 377-7500. National Association of Composers U.S.A. Young Composers Competition. Open to composers under the age of 30. Deadline: September 15, 1980. Information: The Electronic Music Studio of Catholic University NACUSA, P.O. Box 49652, Barrington Station, Los Angeles, will host a one-day festival of electronic music on Sunday, CA 90049. October t9, 1980. Electronic works are being solicited for consideration. Information is available from Joel Naumann, Mendelssohn Club of Philadelphia Choral Composition Director, Electronic Music Studio, School of Music, Cath­ Competition. Choral work 15 to 30 minutes in length. Prize: olic University of America, Washington, DC 20064. $1000. Deadline: September 1, 1980. Information: Wil­ (202) 635-5450. liam Marsh, Mendelssohn Club, 12 Farmington Place, New­ town, PA 18940. (215) 968-5979.

Compositions for, or involving, bass flute or amplified bass flute are being considered for performance or premiere by Gretel Shanley (Andrus), 21516 Encina Road, Topanga, California 90290. (213) 455-1682. Collect telephone calls from composers are invited. A lecture-demonstration of bass-flute resources was held by Gretel Shanley and Don COMPOSERS IN ACTION Andrus during the ASUC national conference in Memphis. ANN SILSBEE's Letter to a Field Biologist received its premiere in New York City in December, at the Third Street Music School, with the composer and Nurit Tilles, pianists, Elizabeth Hayden Pizer is putting together a series of performing. Her new Quartet for clarinet , violin, cello, and radio broadcasts of music by women composers for station piano was premiered by the Syracuse Society for New Music KPF A. Any ASUC women composers interested in con­ in a series of five concerts at the Everson Museum in Syracuse tributing to the series should get in touch with Elizabeth and at Bard College, Hamilton College, St. Lawrence Univer­ Pizer at 555 Penitencia Street, No. 1, Milpitas, California sity, and Colgate University. 95035. REYNOLD WEIDENAAR's film Wav elines JI was selected for the New York Filmmakers' Expo and the Los Angeles International Film Exposition. Broadcast rights The Pro Arte Chamber Orchestra of Boston is inter­ have been assigned to WGBH-TV in Boston. His Pathway s ested in new music for its 1980-81 season. The orchestra was chosen for the 1980 International Gaudeamus Music comprises double winds, one percussion, one timpanist, and Week Festival in The Netherlands. strings. Information or submissions: Newall Hendricks, Pro Arte Chamber Orchestra, 168 Coolidge Street, Brook­ WILLIAM ALBRIGHT (University of Michigan) has line, MA 02146. (617) 232-2616. created a new work for solo harpsichord under commission from the University of Evansville. It was premiered by Doug­ las Reed in March . Albright served as a guest composer at Mansfield State College (Pennsylvania) in April. CONSTELLATIONS, the contemporary ensemble of principal performers of the New Music Performance Lab at LESLIE BASSETT (University of Michigan) was a guest North Texas State University, is seeking new chamber works composer at Boston University in March . His A R ing of to program for its 1980-81 concerts. The group consists of Emeralds, commissioned by the Cork International Choral outstanding graduate and advanced undergraduate students Festival and premiered last year, was performed at the Ann providing most of the fo llowing resources: soprano, flute, Arbor Yeats Festival in March. oboe, clarinet, bass clarinet, alto sax, trumpets, horn, trom­ ALLEN STRANGE (San Jose State University) re­ bones, tuba, percussion, piano, harpsichord, guitar, viola, ceived a premiere of his composition The Second Book of ~ cello. ASUC members are invited to send scores (parts not Angels for string quartet and tape in December in San Jose. necessary initially nor tapes unless of electronic sounds) calling for any portion of these resources to Thomas Clark, DON FREUND (Memphis State University) won a Director of the New Music Performance Lab, North Texas first prize in the 1979 Washington International Music Com­ State University School of Music , Denton, Texas 76203. petitions. Something for Flute and Piano by AUGUST WEGNER Flute was premiered at the Theodore Roosevelt birthplace (University of Wisconsin, Parkside) was performed at the in New York in December. ASUC Region V conference at DePaul University in Novem­ JACKSON HILL (Bucknell University) delivered a ber. His Concert Music for Euphonium and Percussion was paper entitled "Japanese Buddhist Music: The Most Ancient performed at a Chicago Society of Composers Concert at Traditions" at the Association for Asian Studies national ~ Chicago Public Library in the same month. conference in Washington, DC, in March. Two of his or­ BRUCE MAC COMBIE's Parkside Music, commissioned chestral pieces were performed in April - Sangraal by the by the University of Wisconsin, Parkside, was one of the five National Gallery Orchestra in Washington, Richard Bales, finalist compositions in the Kennedy Center Friedheim conducting, and Variations for Orchestra by the Orchestra Awards concert in 1980. Society of Philadelphia, William Smith, conducting. Music by NORMAN DINERSTEIN, JONATHAN JORDAN TANG (Southwest Missouri State Univer­ KRAMER, and WILLIAM BROOKS has been chosen to sity) attended the premiere of his Symphony No. 2 by the represent the United States at the ISCM World Music Days Utah Symphony in Salt Lake City in November. His Sunset in Tel Aviv, June 29 to July 5, 1980. was performed at the ASUC Region VI Conference at North Texas State University in November, and his Peach Blossom The Third String Quartet of KAREL HUSA (Cornell Fountain was performed by the Pittsburgh New Music En­ University) has been transformed into a ballet called Ontogeny semble in April. His Studies was performed at the ASUC by choreographer Denis Nahat and was premiered by the National Conference in Memphis in March. Cleveland Ballet in October. His Al Fresco, Concerto for Saxophone, and Concerto for Percussion will soon be re­ GUNTHER TAUTENHAHN has been appointed to the leased on Golden Crest Records. Manhattan Beach (California) Cultural Arts Commission. His Brass Quintet was performed by the Composers Brass Quin­ EMMANUEL GHENT's Divertimento for computer tet in Los Angeles in November. His Quartet for piccolo, brass and electronic violin, Beobab, and three other works two flutes, and alto flute , was premiered in Las Cruces, New were presented in New York at the Kitchen in January. Mexico , in the same month. PRISCILLA MC LEAN was a guest composer at the LLOYD ULTAN's Suite for Brass Quintet is scheduled 1979 Gaudeamus Musiekweek in The Netherlands as one of for approximately thirty performances this season by the fifteen composers chosen for performance at the week-long New Mexico Brass Quintet. It was also performed by the festival. Her Beneath the Horizon II for tuba and tape (fea­ University of Minnesota Brass Quintet in March. His String turing whale ensemble) was performed in Rotterdam by Quartet No. 2 was premiered at the Walker Art Center in Melvyn Poore on September 7. Three other American com­ Minneapolis in April. May performances include the posers were represented at the festival; they were John Cage, premiere of his Concerto for Organ and Chamber Orchestra ,,-.._, Morton Feldman, and Robert Moran. Priscilla McLean's and his Wanaki Win for orchestra (commissioned by the Night Images will be included in a two-record set of new elec­ Civic Orchestra of Minneapolis), both performances in Min­ tronic music to be released soon by Folkways Records. neapolis. ELIZABETH HAYDEN PIZER's Qu/isoly for flute MICHAEL GILBERT's There Shall Come Soft Rain, and piano was premiered in Baton Rouge, Louisiana, in for electronic tape, was recently performed as part of the February, 1979. Her Under and Overture received its premiere Luigi Russolo Festival in Varese, Italy. It will be featured in San Jose, California, the following May. She was featured in a version for tape and percussion at the University of on a special broadcast over KPF A in Berkeley last July. Massachusetts/ Amherst in March 1980. A collaboration between Gilbert and dancer Susan Waltner entitled Journeys Triple Concerto for clarinet, bass clarinet, and contra­ was premiered at Smith College in November 1979. In addi­ bass clarinet, with chamber orchestra by DONALD MAR­ tion, Gilbert's work was performed recently at SUNY-Stony TINO (New England Conservatory) was performed in Boston Brook, and the University of Wisconsin, Platteville. His in December. The reviewer in the Boston Globe wrote, recording Moving Pictures (Gibex 001) is now distributed "This is a brilliant entertainment of dazzlingly imaginative through JCOA-New Music in New York. and resourceful devising." ROBERT NEWELL (Chapman College) received the Elegy for string orchestra by ROQUE CORDERO premiere of his work Field Modules, commissioned by the has been published by Peer International. His Symphony OMNIBUS ensemble, at the ASUC National Conference in No. 2, which won the Caracas Award for 1957, has been Memphis in March. released in a recording by the Louisville Orchestra. His Tres piecesillas para a/ina were premiered at Illinois State Uni­ SY BRANDON (Millersville State College, Pennsylvania) versity, Normal, in November. has received a grant from the Martha Baird Rockefeller Com­ poser Assistance Program toward expenses fo r the premiere ADA BELLE MARCUS has received the Master of of his new work Of the People, scheduled for first perform­ Music degree in composition from DePaul University. Her ance in February, 1981, by the York Symphony Orchestra. work there included electronic music and conducting. Breaking Open, for women's chorus and orchestra, by DINOS CONST ANTINIDES (Louisiana State Uni­ NORMAN LOWREY (Drew University), was performed by versity) presented five recitals of his music in New York the Haddonfield Symphony (New Jersey) in February, with City and presented violin recitals at Smith College and at Arthur Cohn, conducting. The work is available through the the University of Toronto. His Kaleidoscope Fantasy for Carl Fischer Rental Library. His Earth-Song, a sculpture­ Solo Cello was premiered by Mark Shuman at Carnegie Re­ and-music exhibit-performance, has been showing at a number cital Hall in New York in November. His Piece for Solo of galleries in New Jersey during the 1980-81 period. The exhibit includes ceramic sculptures, sound installations, and Barbro Dahlman, piano, at the National Bureau of Stand­ sonic meditations, recitations, and live performance. Infor­ ards in Washington in March. His Tale for Organ was pre­ mation on securing the exhibit can be secured from the miered in Falls Church, Virginia, by Eileen Gunther in Feb­ composer at (201) 377-3000, or through Drew University, ruary. He presented a broadcast lecture on recent American ,,--.....,Madison, New Jersey 07940. music over the Swedish Broadcasting Corporation in January. He has been commissioned by Michael Stover to compose a Sweet Jesus and the Honkies by Sugar REY WEIDE­ piano quartet, for premiere in Washington during 1981. NAAR was performed at a Bourges concert at the American Center in Paris last February. Composer DARIA SEMEGEN's new work Electronic DAVID STOCK is serving as a member of the Music Composition No. 2: Spectra was premiered last November Panel of the Pennsylvania Council on the Arts. at the State University of New York at Stony Brook and the University of Wisconsin, Platteville. The work is scheduled Brancusi's Brass Beds by DAVID WARD-STEINMAN for release on Opus One Records in 1980, and was supported was chosen winner in the 1980 Kansas Brass Quintet Com­ by a National Endowment for the Arts grant and a Faculty position Contest. He is Composer-in-Residence at San Diego Research Grant from the State University of New York in State University. WILLIAM BILLINGSLEY (University of 1979. Daria Semegen is Assistant Professor of Music and Idaho) received Honorable Mention for his Essences of Jazz Associate Director of the Electronic Music Studios at the in Four Phases. State University of New York at Stony Brook, Long Island.

ULF GRAHN's Sonata: Regions of Time, Part I, received its American premiere by Marilyn DeReggi, soprano, AJf£M !

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*//· EXECUTIVE COMMITTEE ( 1980) Richard Brooks, Chairman, Nassau Community College; Jackson Hill, Bucknell University and Thomas Cleman, Northern Arizona University, Editors of the Newsletter; Bruce J. Taub, C. F. Peters Corporation, Editor of the Journal; Cleve Scott, Electronic Music Consortium, Ball State University; Samuel Hope, National Association of Schools of Music; Greg Steinke, Editor of the Proceedings, Linfield College ; Rey­ nold Weidenaar, ASUC Submissions Coordinator; Priscilla McLean, ASUC Radio Series; Margo Greene, ASUC Recording Series; Kurt Stone, Associate Representative; Stuart S. Smith, Representative to Assembly of National Arts Education Organization, University of Maryland; David Felder, Student Representative, Cleveland Institute of Music.

NATIONAL COUNCIL (1980) Robert T. Adams, Southeastern Massachusetts University, and Thomas Read, University of Vermont (Region l); Harris Lindenfeld, Hamilton College, and Ann Silsbee, Ithaca, New York (Region 2); James McVoy, West Chester State College, and John Rinehart, Shenandoah Conservatory (Region 3); Paul Hed­ wall, University of Alabama, and Dennis Kam, University of Miami (Region 4); Robert Rollin, Youngstown State University, and Philip Winsar, DePaul University (Region 5); Thomas Clark, North Texas State University, and Edward Mattila, University of Kansas (Region 6); Stephen Scott, The Colorado College, and Richard Toensing, University of Colorado (Region 7); Beverly Grigsby, California State University at Northridge, and Warner Hutchison, New Mexico State University (Region 8); Diane Thome, University of Washington, and Walter K. Winslow, University of California at Berkeley (Region 9); Edwin London, Chairman, Cleveland State University.

MAILING ADDRESSES 1. For membership and subscription information write: ASUC, 250 West 54th Street, Room 300, New York, New York 10019. 2. To submit materials to the ASUC Journal of Music Scores or Record Series, write: ASUC, 250 West 54th Street, Room 300, New York, New York 10019. 3. To submit information for inclusion in the ASUC Newsletter, address: Tom Cleman and Jackson Hill, editors, ASUC Newsletter, 250 West 54th Street, Room 300, New York, New York 10019.