NEWSLETTER THE AMERICAN SOCIETY OF UNIVERSITY COMPOSERS SUMMER 1969 /VOL. 2, NO. 2

NATIONAL CONFERENCE, A panel on "Recent Developments in Electronic Music" opened the Conference Friday morning. The Society's 4th Annual National Conference was Chaired by Hubert S. Howe, Jr. (Queens College, held April 11 -12-13 amid the lush greenery of Santa CUNY), the panel included papers by five composer­ Barbara, California. About 65 members from all over researchers. Howe, in introductory remarks noting the country attended, along with numerous v,isitors (as has Stravinsky in a recent New York Review of from the Santa Ba·rbara community. The combination Boohs inte~view) a decade of progress in the technique of excellent lodging and business facilities with a su­ of electromc sound production for music, commented perbly planned and managed program-all under the on the direction of this progress: toward a reduction influence of the startling beauty of a sub-tropical in the time-lag between compositional decision and Spring-made this Conference, according to all opin­ end-rr·esult sound production. Following the single­ ions the writer has heard, the most successful and track tapes and single-tone "instruments" of ten years enjoyable in the Society's history. ago came the multiple-track tapes and the sequencers of today. Howe predicted that the "third generation" As before, panels and lectures were arranged by the studies of tomorrow will be concerned with various Executive Committee, with considerable help from means of achieving some kind of "automatic" control the National Council and the two "co-managers" of over sound sources and sound manipulation-such the Conference: Chairman Peter Racine Fricker (Uni­ contrnl being, perhaps paradoxkally, one way in versity of California/Santa Barbara) in charge of which the electronic composer can beo-in to deal with 0 aPrangements, and Barney Childs (Deep Springs Col­ his medium in "real" time. Howe mentioned two lege). Childs and Fricker also put together the two extant approaches to the concept of an automated concerts, which displayed a variety of compositional lab-the synthesizer and the computer-and observed styles selected from the entire Society's membership that both of these lack immediacy and to some extent while focusing some emphasis upon the activity cur­ economic feasibility for most university-based com­ rently taking place in the host Region. posers. The panel then proceeded to describe some approaches to the automation of studios. ln addition to reporting the events of this Confer­ ence, I feel that it would be helpful to attempt to give John Clough (Oberlin), remarking on the necessity some indication of the nature, scope, and timeliness for developing a variety of languages with which to of the material presented. Accordingly, I will offer a achieve a more sensitive and "immediate" interface brief summary of each paper or event in the hope between composer and computer, reported on his that members may be aided in directing inquiries formulation of a sample of one such possible language toward persons whose remarks or activities they find in algebraic terms, using the mathematical theory of interesting. As abstracts prepared by the authors were groups. l_n rrelatively simple algebra, sets of data may unavailable, responsibility for error in these summa­ be described, transformations of such sets defined, ries rests with the undersigned. It might be noted, successions of such transformations outlined, and however, that prob;rbly not until the publication of hierarchies of transformational data sets arranged. the Proceedings of Conference IV will the bulk of the information presented at Santa Barbara be available David Cohen (Arizona State University) discussed a to others-a fact which prompts these notes. recently developed prngram for computer sound gen­ eration which attempts, in the interest of efficiency * * and (again) immediacy, to reduce the complexity of such a program to a minimum. Data cards carrying only four parameters-wave-form, envelope, duration, and frequency-a·re hand-sorted for order. Robert A. Moog (R. A. Moog Co.), elaborating on The first of two concerts took place Friday evening Howe's "third generation swdio," spoke of several in the excellent new Lotte Lehmann Concert Hall on kinds of existing or foreseeable studio setups which the campus of the University of California/Santa might employ a computer and/or manual control to Barbara. '!\Tith a few exceptions (noted below), it was achieve a closer and more continuous interaction produced by players from the University of Cali­ between the composer and his "instruments" (in this fornia/San Diego. Opening with the world premiere case, voltage-controlled sound sources). One such set­ of Proportions (1968) by Wendell Logan (Ball State up, on the analogy of the recent development of University), the program continued with the Flute multi-track tape, would be a multi-track studio. An­ Variations (1963) of Charles Wuorinen (Columbia) other, which for full effectiveness awaits the building and Noya (1966) by Harold Budd (California College of more stable generators, would involve using a small of Music and Art). The first half ended with Double digital computer to help control analog equipment. Basses at Twenty Paces (1969), written by Pauline The advantages of such a system would include the Oliveros (Univcrsity of California/San Diego) for col­ preservation of some manual control (and thus human league Bertram Turetzky, who performed it with "feedback" judgment, as whe1-e, for example, human bassist Ross Lund (University of California/Santa motion might control a voltage fluctuation) and the Barbara). The second half of the concert included a saving of both space and money-people being still a performance by trombonist Stuart Dempster (Univer­ relatively inexpensive and efficient type of servo-mech­ sity of Washington) of One Man (1967) by Ben anism. Moog commented that in this medium, as in Johnston (University of Illinois), followed by Armistice, all others, the cost of generation and manipulation is a truce for dancers and musicians (1966) by Sydney modest beside the cost of storage. A third, non-com­ Hodkinson (University of Michigan). The evening puter but entirely pre-programmed-piece-producing ended with Kenneth Gaburo (University of Cali­ studio would involve the use of many sequencer fornia/San Diego) conducting his Antiphony IV chains-perhaps to the limit of human physical capa­ (1966). bility for motion: a composer surrounded by, say, 2000 knobs. A piece by Joel Chadabe (SUNY/Albany), using a prototype of such a studio, was played.

Emmanuel Ghent achieves programmatic control of Satu1-day began with a series of performance demon­ electronic sound sources by using his Coordinome strations by trombonist Stuart Dempster, clarinetist (a punched paper tape reader devised originally to Jeffrey Lerner (University of Houston), bassist Bert­ control multiple time-tracks among live performers) to •ram Turetzky, and bassoonist Les Weil (University of gate either sig·nals or voltages. California/Santa Barbara). Problems of "new" instru­ mental sounds and the notation thereof were dis­ Max V. Mathews described a recent program (called cussed, questions were answered, and each performer GROOVE, for Generated Real-time Operation Of played a recent work for his instrument. Works heard Voltage-control Equipment) which utilizes a DDP 224 were Luciano Berio's Sequenza V (1966) for trombone, computer with a memory capable of storing about a William 0. Smith's Variants (1967) for clarinet, Robert half hour of music and accepting both analog and Erickson's Ricercar a 3 (1968) for contrabass and two digital modifications. By means of a real-time key­ recorded contrabass tracks, and David Ward-Stein­ board and knob system, a typewriter for algebraic man's Child's Play (1969) for bassoon and piano, with instructions, a scope for visual (and freeze) analysis, the composer as pianist. and a sampling-rate-changing real tempo knob, the composer can make use of the memory and speed of a computer in the cont-rol of the usual voltage-con­ After lunch on Saturday, Conference pairtoic1pants trolled equipment. strolled across the campus to the Magic Lantern The­ atre to attend the two afternoon presentations. First Discussion after the panel included comments from came a panel discussion on "The Relation of Licens­ the audience concerning other programs now under ing Organizations to University Composers," with way. Among those speaking briefly was Barry Vercoe guest speakers Martin Bookspan (ASCAP) and Calfl (Princeton), who described an extension of the MUSIC Havelin (BMI) sharing the platform with moderator 4B program which attempts to solve problems of excessive notational and running time by means of a Peter Racine Fricker. An informative and active dis­ cussion took place between the two speakers and the "compiler" routine bypassing parts of the FORTRAN or ALGOL instructions. The new routine is usable on members of the Society who brought up questions on all IBM 360 series computers. A demonstration by this topic of importance to all composers. Rather than review the topic here, I refer the reader to Moog of some of his equipment ended the panel. H. Owen Reed's article which covers much of the mat­ * * ter ·in the ASUC Newsletter of January, 1969. - The second event of the afternoon made use of the plex: "How much system? What system? Teach a dis­ facilities of the Magic Lantern Theatre, as film com­ cipline, a subject, a body of skill, OR teach a student, poser Leonard Rosenman (Warner Brothers-Seven a potentially creative person, a growing human Arts) entertained and instructed the Conference mem­ being?" As always is the case with panels of this sort, bers with two versions of a film sequence from The no definitive answers emerged; the exchange of ideas Savage Eye. Rosenman had composed sha~-ply differ­ and attitudes, however, seemed unusually successful ing scores to the two versions, illustrating the two con­ this time-or perhaps it was the California sun. trasting approaches to film scoring, naturalism and * * * * artistic reality, which he put forth in his recent article At the Society's annual business meeting on Satm­ "Notes from a Sub-Culture" (Perspectives of New day afternoon, treasurer Charles Dodge reported on Music, 7: 1). Following the film, Rosenman went on to the financial picture of the organization. Two points discuss his ideas for "open form" films-films which, emerged from his report: (1) the Society is currently in on an analogy with open form music,would be change­ debt and must find support for part of the cost of able in form, multiple in projection, and perhaps further Proceedings and for the support of future modular in every dimension. Summer Institutes, and (2) with a membership now stabilized at nearly 175, a projected balanced budget Saturday night saw the second concert of the Con­ can be foreseen which would include the cost of gen­ ference, presented (with one exception) by the Univer­ eral running expenses, the Proceedings, and an annual sity of Oregon Players. Beginning with the Woodwind Conference, but would not include a Summer Insti­ Quartet No. 2 (1964) of William Sydeman (Mannes tute. College of Music), the program continued with the Reports from Regions included statements from world premiere of Adine Diamond's Trilogy (1966). Allen Brings (Region 11), Clifford Taylor (III), Don­ Next came Garnes of Five (1968) by Charles Whitten­ ald Maclnnis (IV), Randolph Coleman (V), Carlton berg (University of Connecticut) and a playing of Gamer (Vil), and Barney Childs (VIII) concerning Vocalise for four-channel tape (1965-67) by Alden Ash­ membership activities and projects being carried out forth (University of California/Los Angeles). After the on a local basis. Regions II, III, and V held Regional intermission came the world premiere of Interplay for Conferences during the past year; Region VIII served Flute, Horn, and Percussion (1969) by Homer Keller as host for the National Conference. (University of Oregon), followed by Interruptions (1965) by Elliott Schwartz (Bowdoin College). The As a result of membership voting, the Executive c concert ended with a performance by members (and Committee has three new members: Carlton Gamelf friends) of the University of California/Santa Barbara (Colorado College), ,Paul Lansky (Princeton Univer­ Men's Glee Club of Chortas (1968) by Richmond sity), .and Joan Tower (C. W. Post College). Elaine Browne (University of Michigan), conducted by the Barkin, Richmond Browne, Charles Dodge, Hubert S. composer. Both concerts were well attended and Howe, Jr., Ben Johnston, and Raoul Pieskow remain warmly received by members of the Society and num­ on the Committee. erous auditors from the music community of Santa Preparations alfe already under way for Conference Barbara. V (1970) which at this date seems likely to be held in the East, perhaps at Dartmouth in connection with * * * * the electronic music festival there. At any rate, after Sunday morning saw the last scheduled event of the the genuine success of Conference IV, the participants Conference. A wide-ranging, free-swinging, and quite can only urge all members to plan attendance next fascinating panel discussion, vigorously enlivened by year. members of the audience, tackled the topic: "Should RICHMOND BROWNE Composition be Taught in Universities, and if so, How?" Chairman Joel Mandelbaum (Queens College, CUNY) moderated the discussion. Official participants CORRECTION included Barney Childs, Paul Earls (Duke University), The January 1969 issue of the Newsletter was in­ Bernhard Heiden (University of Indiana), Claudio correctly labelled Volume 2 No. 3. It should, of course, Spies (Swarrthmore College), David W ard-Steinman have read Volume 2, No. 1. (San Diego State College) and Richmond Browne. The first part of the topic question being rather quickly answered either yes, maybe, or no, other questions (in addition to "How?") were soon raised. SUMMER INSTITUTE Some of these were: "When?", "Whyr", "If not, why No Summer Institute is scheduled for the summer not? and what else?", "What is the proper use of a of 1969. Some thought has been given ,to making this composer's time, influence, and training?", and finally a biennial, rather than an annual, event. Members _,- the predictable but always provocative question-com- are invited to submit their suggestions. DUES POLICY STATEMENT tive members, and a fair number have expressed their desire to become members. As invited guests, many did A member of the Society pays his dues for the calen­ attend and even participate in this meeting. The con­ cfar year between January 1 and the date of the An­ ference opened with a discussion of ASUC for prospec­ nual Conference. A member who is on leave or out of tive members. Reports on area and institution activi­ the country may inactivate his membership by writing ties followed, from Robert Bernat (Indiana University the Executive Committee. He will receive no com­ of Pennsylvania) representing v\Testern Pennsylvania, munications from the Society and will not be respon­ Emerson Meyers (Catholic University) and Esther Wil­ sible for dues payments during this period. Those liamson Ballou (American University) representing present members who are behind in theiViolin and Com­ benefits from the Society. Members who fail to pay puter (with Paul Zukovsky as the violinist on the tape) dues before the time of the Annual Conference of any was a high point of the afternoon. The composer was year will be drnpped from the rolls of the Society. present, and carried on a fairly extended discussion afterwards on the structure of the piece, general com­ puter technology, and related matters. The University of Pennsylvania student group, directed by Hugh PROCEEDINGS Hartwell, performed works by Andrew Frank, Richard Volume II of the Society's Proceedings (St. Louis, Bellak, Howard Lipman, Hugh Hairtwell, Alan Cross­ 1967) was distributed to the members early in April man, Paul Riale, and Lee Silvan. Informal tape pres­ of this year. If financial support can be found, the entations featured Emerson Meyers, Robert Bernat, Executive Committee plans to accelerate the issuing and Richard Gross. There was also an informal dem­ of Volumes III (which will include the Philadelphia onstration of the T emple University electronic music Conference, 1968, and the Ann Arbor Summer Insti­ studio. tute, 1968) and IV (the Santa Barbara Conference, A panel on performance problems included Claudio 1969). Spies (Swarthmore College and Harvard Summer Subscriptions and back issues can be obtained at School, 1968); Clifford Taylor (Temple University); $5.00 per year from the Proceedings Editor, American and Richard ·wernick (University of Pennsylvania). It Society of University Composers, Dept. of Music, Col­ brought forth some interesting commentary frnm the umbia University, New York, N. Y. 10027. audience. The discussion got around to the difference between training performance groups in liberal ar ts Members are strnngly urged to ask ·their respective institutions and in performance-oriented institutions, music libraries to become subscribers. Every music with some special comments concerning those state­ library ought to be a subscriber to the Proceedings; supported "universities" recently converted, here in the timel~ness and uniqueness of the contents argue Pennsylvania at least, from teachers' colleges. Since a for their inclusion on every theory shelf. Equally im­ number of visiting prospective members had associa­ portant, however, is the beneficial effect such subscrip­ tions with these latter institutions, some of the more tions have on the financing of the Proceedings. A rela­ deprecating comments, about educators training futuire tively small number of subscribing libraries could have educators in stereotyped ways with outmoded musical the effect of making the Proceedings almost com­ thinking, caused noticeable friction. Represen tatives pletely subsidized by this one means. Speak to your of some of these institutions stated in rebuttal the facts music librarian! of their qualifications in brief and their concern for and ability to deal with current problems and current creative effort. The discussion's most interesting aspect NEWS FROM THE REGIONS brought into focus some thinking to the effect that, (Cf. report of the National Conference business meeting while liberal arts institutions maintain high academic for summaries of regional reports given there.) levels, they do not educate those numbers of people who are sent out into public education with the re­ sponsibility for the breadth of education, and so in Region Ill fact have very little t o do with effecting change edu­ cationally. The real educational impact, it was sug­ The first regional conference of Region llI took gested, is emerging from that broad base of stat e­ place at T emple University March 8. I think the con­ supported institution concentrating on educating edu­ sensus of opinion would be that the meeting was a cators and, given the qualifications of faculty coming good one. As I realized when I took over Region III into these institutions, the more significant effect on as chairman, it: had a terribly small membership. This the state of music generally could probably occur regional meeLing was directed purposefully to prospec- there. This discussion certainly launched in my mind a of whatever is asked of them, and this is highly com­ view of the value of what I had tried to bring about mendable, but it does not allow much room for exer­ in increasing our membership in this way. I think the cising and developing judgment of a complex char­ organization needs morre of the voice of this broad acter. base of state-supported education. One gets an im­ pression that complete representation of composers in All students' time is heavily structured, with band, all kinds of institutions brings out a powerful dicho­ orchestra, and choral rehearsals, private lessons, class tomy, state subsidization standing as a massive force work, and very frequently a commuting schedule. developing rapidly now, as opposed to the more exclu­ What rationale for complex music, technically de­ sive, privately endowed education commonly known manding beyond learned instrumental or vocal formu­ as "liberal arts." The problem is the matterr of assur­ lae, and without mass appeal, can be convincing for ing representation in ASUC of this large grass-roots these students? And yet, here is where the real work kind of effort and mode of operation. I doubt that we is done in effecting change educationally. The mind can overlook so brge a movement for long, and I hope can move quite rapidly under the liberal arts orienta­ that would not be our intention, but that we might tion, but the dialogue between this condition and try as an organization to bring some unity out of these actual implementation of concept has not only to two points of view. exist but be enlarged. I hope we have something going here. Our approach to new music here at Temple has A fall 1969 meeting of Region III is tentatively some bearing on the discussion. Our Collegium Musi­ scheduled for \,Yashington, D. C. with possibly some cum for Contemporary Music, begun some years ago, interesting information on Bartok by a countryman, has now been instituted as a regular class, and this and an initial exploration of the impact on music of semester, with an assistant conductor, I have groups the black community, composers who represent it, and individual students studying 10 worrks for per­ and its social orientation. formance, by V\Tuorinen, Layton, Kirchner, Schwartz, Stravinsky, Bartok, Webern, and a short choral work , CLIFFORD TAYLOR of mine. There is resistance, of course-to a surpris­ ingly moderate degree compared to two years past. The best answer seems to be to get a performer play­ ing the music accurately. It can be convincing by Region II itself if directed well, a f;>Oint. made at the conference Region II held its annual conference, as announced by Mr. Spies concerning his Harvard Summer School in the last Newsletter, on March 8, hosted by Colum­ experience. bia University. It consisted of two panel discussions, arranged by program chairman Ursula Mamlok, and At Temple, we have excellent musicians in abun­ a short business meeting presided over by Regional dance. In contrast to the liberal arts institutions, our Chairman Allen Brings. Many members, and some need is to enlarge their musical horizons beyond what non-member guests, were in attendance. they get from their frequently conservative teachers and their own musical awareness and intelligence. We The first panel, on "Theory as Instruction," was have a low tuition as a state-related institution. Our moderated by Leo Kraft, and offered a diversity of students are of diverse backgrounds, mostly with a views from different types of institutions. Milton Bab­ fairly strong urge for conventional recognition through bitt (Princeton University) likened the conservatory performance. Many already do professional work, give student to a native speaker learning to formulate the privately sponsored recitals, ·appear as soloists in youth grammar of a language he already knows quite well concerts with the big orchestras. But their vocational intuitively. By contrast, students at Princeton tend to interest is necessarily urgent. For the majority of have little musical background and will keep music in our people, public school education is a primaxy voca­ a passive role throughout their development. The tional goal, so we have the strong education program Princeton program begins with species counterpoint emphasis common everywhere. This often means stand­ as an approach to .tonal music; emphasis is placed on ard repertoire, or moderately contemporary rrepertoire, analysis, influenced by Schenkerian theory, going up in private study and ensemble work, even for students at least through Beethoven. Benjamin Boretz (New in the Bachelor of Music programs, and re-emphasized York University) likes to start with what is useful to in the Bachelor of .Music Education programs. New all students, with an emphasis on general concepts. ideas or concepts may not be particularly welcome. These would include a concept of surface and back­ Frequently the attitude of our students is to make ground, intervals, polyphony, minimal perception of music but not to evaluate it, except for its perform­ repetition. Practice in :rules is facilitated by this kind ance value. Their position is to do an excellent job of background. Billy Jim Layton (SUNY/Stony Brook) doubts that there is a marked difference between uni­ were presented and briefly discussed, both by the com­ versity and conservatory students at the elementary posers and by members of the audience. theory level. Composers, he feels, should get the same education as other musicians, with learnino- to hear . 0 l las1c for all. He :finds contemporary music too con- fused to serve as a focus for basic ear-training, and SUMMER COURSES AND FESTIVALS likes to focus on a limited body of music, such as Bach, Palestrina. The Stony Brook program begins The 24th International Vacation Course for New with melody writing, includes modal 16th-century Music at Darmstadt will run from August 24 through counterpoint and tonal harmony including 4-part September 5. The faculty includes composers Foss, chorales, with a third year of pure analysis. Joel Spie­ Stockhausen, Ligeti, and Maderna, as well as perform­ gelman (Sarah Lawrence College) finds that both com­ ers who are specialists in contemporary music. In poser and performer as beginning students resist the 1970, commemorating the 25th International Vacation study of theory. At his school, each teacher is at liberty Course, the city of Darmstadt will offer four composi­ to choose his own procedures, but the emphasis is on tion prizes totalling 21,000 DM. Information on the processes not skills, and contemporary music is brought Courses and the competition from International Mu­ in as illustration wherever possible. Charles Wuorinen sic Institute of Darmstadt, 61 Darmstadt, Nieder-Ram­ (New England Conservatory) aims at encouraging stadter Strasse 190, West Germany. writing by students according to their own lights. Unlike some previous speakers, he believes under­ Pierre Boulez will conduct a course in the interpre­ graduate theory should stress the basic "calisthenics" tation and conducting of contemporary music June 16- of writing, and that the beginning course should be July 5 at the Music Academy of Basel, Switzerland. taught as though all the students were going to be professional. Some discussion from the floor brought Syracuse University will conduct a foreign study up pros and cons of species counterpoint, the amount program in honor of Hindemith, L'Ecole Hindemith, of writing needed in a theory course, and the impor­ at Vevey, Switzerland, where Hindemith's last home tance of acquainting students with actual performance and grave are located. The school will be under the and performance realities. direction of Howard Boatwright, dean of Syracuse's School of Music and a pupil of Hindemith. Dates are The second panel, on "The Position of the Black June 10-Aug. 1. Composer in Current American Music" was chaired by Eric Salzman, and presented Carman Moore, Stephen Stanford University will offer two summer work­ Chambers, Milford Graves, and \'\'illiam Fischer, from shops in computer applications to music July 21-Aug. the Society for Black Composers (cf. last Newsletter for 15. Composers Leland Smith and John Chowning will information on this group). The composers, in indi­ conduct the workshop in computer-generated music, vidual statements and in response to questions from in tended for composers and theorists interested in the floor, brought out a number of significant features using the computer for sound generation and com­ characteristic of the black composer and his milieu. position. vVolfgang Kuhn will give a concurrent work­ The black composer today is interested in his African shop in computer-assisted instruction. Dept. of Music, roots. In tribal society, the musician functions as a Stanford University, Stanford, California 94305. kind of high priest, with links to all the emotional and spiritual elements of society . .Music is close t~ Henk Badings will conduct a workshop in contem­ religion, magic, Titual. Hence black communities are porary music as part of the Pittsburgh Festival of the used to listening· to music seriously, not as entertain­ Arts June 29-Aug. 10. The programs of music and ment; a 'record player is found in nearly every black dance include 10 world premieres. Dept. of Philosophy family, and children are encouraged to listen to music, and Fine Arts, Point Park College, Pittsburgh, Pa. dance to it, and in general respond actively, not accept 15222. it as mere background. The black composer thus finds a receptive audience. Black performers in general are Easley Blackwood will be 011 the faculty of a com·se equipped to play either jazz or classical music, another ir~ the int~rpretation of romantic and contemporary factor which has influenced black composers, often in piano music at Northwestern University July 7-18. He the direction of incorporating complex improvisation will include two recitals, of music by Boulez, \'\'ebern, procedures in their music. The black creative artist Ives, Berg, Schoenberg, et al. Northwestern University works from a philosophical premise, emphasizing so­ School of Music, Evanston, Ill. 60201. cial change, and with perhaps a stronger commitment to communication with his audience than is usually evident among white composers in an advanced style. Taped excerpts from compositions by the panelists - · ~

New England Conservatory will offer a summer in­ The University of Iowa Center for New Music in­ stitute in Contemporary Trends in Music Education vites composers to submit scores and tapes for consid­ at Tanglewood July 14-Aug. 22. Herbert Alper is di­ eration for performance. All types will be considered: rector of the course, and composers Donald Martino Ii ve, electronic, mixed media, improvisational, large/ and Otto Luening are on the faculty. New England small ensembles, voice, experimental, etc. Center for Conservatory Institute at Tanglewood, 290 Hunting­ New Music, School of Music, U. of Iowa, Iowa City, Lon Ave., Boston, Mass. 02115. Ia. 52240.

SYMPOSIUMS CONTEMPORARY MUSIC ON CAMPUS The Composers' Forum exists to provide the young (Alphabetized by school) composer with a bridge into the professional world. Each Forum is devoted to two composers only, and Andrews University presented faculty composer takes place in the Donnell Library in New York. Any Blythe Owen in a recital of her compositions February composer living in the United States is eligible for 9. Dr. Owen recently received the Pedro Paz Award presentation, once only. This means he must be ver;; for a composition for voice, violin, and piano. sure that he has a number of works he would like to be represented by, revealing an overall mastery of Bowdoin College held its 4th annual Contemporary expression. If selected, he must be ready to put to­ Music Fe&tival May 16-17, featuring the Aeolian Cham­ gether a program of about one half hour of chamber ber Players as performers. Works performed by them music, using 6 or fewer performers. Composers must included compositions commissioned for this Festival also be present at the Forum, for the question period by Pauline Oliveros and Brian Fennelly, as well as that follows. Composers interested should submit 4 or the prize-winning work in the 1969 Bowdoin Competi­ 5 scores in diverse media, by November 1 to appear tion, Signos de las Tiempos by the young Argentine in the spring of 1970, and by May 1 for the following composer Antonio Tauriello. Also heard were works fall. William Hellermann, General Manager, Com­ by David Burge, David Gilbert, Raoul Pleskow, and posers' Forum, 111 Amsterdam Avenue (Room 519), Elliott S. Schwal'tz. Other recent programs at Bowdoin New York, N. Y. 10023. have included the world premiere of Schwartz's Voy­ ages for wind orchestra, a concert of works by Robert The 7th annual Symposium of Contemporary Mu­ Moran, Douglas Leedy, Cornelius Cardew, and Lukas sic for Brass of Georgia State Colleg·e will be held in Foss, and compositions by Janacek, Read, Riegger, Atlanta Feb. 20-22, 1970. Although the Southeastern and Stravinsky. Composers League is a co-sponsor of this event, all composers, not just League members or regional resi­ A Brandeis University concert of 20th century music dents, are welcome to submit scores. Scores and parts in May included Randall's Lyric Variations for Violin should be submitted by Oct. 15, and may be for all and Computer, as well as works by Babbitt, Berger, brass combinations, also for brass-percussion, brass and Harbison. with tape, brass-vocal, and brass-piano. (Please check before submitting other combinations.) Works will be The UniveTsity of Colorado presented its 4th Fes­ performed by the Georgia State College Brass Ensem­ tival of Contemporary Music Feb. 11-March 17. Com­ ble with Lhe New York Brass Quintet as guest artists. posers present for lectures and performances of their A $300 Commission Award will be given to one of work were Earle Brown, Elliott Schwa•rtz, and Vladi­ the composers performed. Two albums from past mir Ussachevsky. Paul Zukovsky, violin, and the Aeoli­ Symposia are available on records, CR4084 and CR- an Chamber Players were among· the pel'formers. 4085, Golden Crest Records. William H. Hill, Dept. Works by 26 composers were hea['d, including world of Music, Georgia State College, Atlanta, Ga. 30303. premieres of compositions by Richard Bromley and George Walker. New Dimensions in iVIusic, which presents in Seattle and on tour a series of public concerts of new music, Columbia U uiversity's Group for Contemporary is most interested in receiving scores from composers, Music included in its spring concerts premieres of preferably fm 7 performers or fewer; all instruments, works by Elaine Barkin, Arthur Berger, and Nicolas singers, and tape playback are available, and perform­ Roussakis, as well as compositions by Brehm, E. C. ers are all professionals. Scores and tour inqui·res Laufer, Stravinsky, Varese, and Wolpe. The Perform­ should be sent to Joan Franks v\Tilliams, Music Direc­ ers' Committee for 20th Century Music also presented tor, New Dimensions in Music, 107 S. Main, Seattle, three concerts at Columbia, each devoted to a single Wash. 98104. composer: late Debussy, Bartok, and Henry Cowell. The Columbia University Chamber Music Readings Illinois Wesleyan University presented its 1969 directed by Max Pollikoff are scheduled for 5 consecu­ Symposium of Contemporary Music March I0-21. tive Thursdays starting May 22. Unpublished, unper­ Guests included composers Ulysses Kay and Iain formed works and works-in-progress are read, with the Hamilton, and the Loop Group from DePaul Univer­ composers in attendance. sity in a mixed-media concert.

The University of Connecticut, continuing its series The University of Michigan's Contemporary Direc­ The New Music, presented soprano Bethany Beardslee tions group presented in January a concert of new in Babbitt's Philomel in a concert March 24. Also on chamber music by Browne, Erb, Feldman, Moss, and the program were works by Arel, Hubert S. Howe, Jr., \Vestergaard. Pleskow, Rovics, Varese, and Wolpe. Recent concerts of die Tape Center and Perform­ Duke University will inaugurate graduate work ing Group at Mills College have included instrumen­ leading to the M.A. in Composition-Theory in Sep­ tal and mixed media works by Austin, Earle Brown, tember 1969. The program is conceived for a small Maraldo, Milhaud, Moran, William 0. Smith, Stra­ number of students, and offers a high ratio of faculty vinsky, and Yun. to students and a good library. Assistantships and scholarships are available. Address Prof. w·arren Kirk­ Nazareth College presented programs of electronic endale, Director, Graduate Studies, Dept. of Music, and other new music in an open environment in Duke University, Durham, N. C. 27708. February and April. Composers represented were Wayne Barlow, Timothy Clark, Jean Eichelberger The Eastman School of Music had Henry Brant as hey, Hilton Jones, Karl Korte, John Allen LoPresti, guest composer in March, lecturing and conducting in Randall McClellan, Franklin Morris, Paul Polombo, a program of his works by the Eastman Collegium and and Timothy Sullivan. Composers interested in sub­ the Eastman ·wind Ensemble. Eastman's 39th annual mitting material for a fall concert should write Tim­ Festival of American Music took place May 4-9 and othy Sullivan, Nazareth College, 4245 East Ave., included world premieres of works by Wayne Barlow, Rochester, N. Y. 14610. Michael Brozen, Edmund Haines, Gordon Johnson, Jerry Owen, Elie Siegmeister, and Noel Stevens; the A Mini-Festival of one-act operas at the State Uni­ U.S. premiere of works by the young Soviet composer versity of New York/Buffalo included operas by Law­ Rodion Shchedrin; and numerous Rochester pre­ rence Moss, Gustav Holst, and Leona'fd Bernstein. mieres. Throughout the year, contemporary works appear frequently in concerts by Eastman's many per­ SUNY/Potsdam held a Composers' Forum Oct. 31- forming groups. Nov. 2, sponsored by its own music department and the Office for University-Wide Activities of SUNY. Georgia State College's 6th Annual Symposium of Eleven composers on the faculties of various SUNY Contemporary Music for Brass, in February, presented branches participated. Vincent Persichetti was guest works by 36 composers, including Robert Cogan, Con­ composer and panel moderator. rad De Jong, William Duckworth, Emmanuel Ghent, Robert Hall Lewis, Donald Maclnnis, Joseph Ott, SUNY/Stony Brook had a Stravinsky Festival in Daniel Pinkham, and Gilbert Trythall. (For future April with the composer in attendance. It included an programs, cf. Symposiums.) all-Stravinsky concert conducted by Robert Craft, a lecture by Craft, the first public showing of a film, Hofstra College premiered a multi-media work by Portrait, Igor Stravinshy, and a panel discussion on Richard Arnell, British composer, currently a visiting "Stravinsky: His Impact, His Achievement," by Berger, member of the faculty, April 27. The work, Combat Carter, Copland, and Wuorinen, chaired by Billy Jim Zone, was commissioned by the Hofstra Chorus, and Layton. also included soloists, natrator, film, videotape, and orchestra. Electronic effects for the work were created North Texas State University presented a symposium by faculty composer Herbert Deutsch. The perform­ of new music by composers from the Southwest March ance was part of a program entirely devoted to British 23-28. Pedorming resources included chorus, band, composers. orche~tra, chamber ensembles, faculty artists, and the NTSU Electronic Music Laboratory. Composers inter­ Sam Houston State College's contemporary music ested in future recurrences of this event should seek festival in March presented Alvin Etler as guest com­ infmmation from V. Martin, Library Bldg., Room poser and lecturer. 216, North Texas State U., Denton, Texas 76203. Part II of Oberlin College's 19th Festival of Con­ ported by the U.S. Office of Education's Bureau of temporary Music was held April 23-26. Iannis Xenakis Research, Region VI. Currently on leave from Augus­ lectured and gave a seminar; his Atrees for mixed en­ tana College, Sioux Fall, S. D., Dr. Lillehaug has trav­ semble was performed, along with works by Casti­ elled all over the United States interviewing noted glioni, Richard Bunger, Reed Hoyt, Richard Hoffman, composers, performers, educators, and listeners. Now Leonard P. Smith, Stockhausen, Subotnick, Olly Wil­ living in the San Francisco area, he would like to son, and Walter 'iVinslow. Heard on the Festival's hear from all musicians interested in the topic. His Part I last fall were works by Boulez, Randolph Cole­ address is 18815 Tilson Ave., Cupertino, Calif. 95104; man, Davidovsky, Stockhausen, Roger Reynolds, Dean telephone (408) 255-0309. Nuernberger, H. M. Gorecki, Lutoslawski, and Foss, along with a program of student works. The . Music Publishers Association invites sugges­ tions for improving the notation of music for percus­ 'Villiams College presents a continuing chamber sion, from composers, performers, and teachers. The music series called Music in the Round, directed by Association hopes to provide standards or guidelines Julius Hegyi and played by professionals. In a strong which may improve communication: Send suggestions though not exclusive emphasis on contemporary mu­ to Arnold P. Broido, Frank Music Corp., 119 West 57 sic, these programs have recently included Copland, Street, New York, N. Y. 10019. Gaburo, Ginastera, Krenek, Messiaen, Riegger, Schwartz, Stevens, Villa-Lobos, and Vogel. The Wisconsin State University/River Falls 1969 PERIODICALS Fine Arts Festival presented Chou Wen-Chung as The Electronic Music Review has ceased publica­ guest composer and lecturer. A complete program of tion with its seventh issue. Since no other publication Chou's chamber music included a new work, Yiin, has had electronic music as its main focus, this depar­ commissioned for the occasion. Elsewhere on the Fes­ ture can only be viewed with regret. Numbers I, 4, 5, tival was a program of works by Christian Wolff, 6, and 7 are still available, at $2.25 each, from the Elliott Schwartz, Sydney Hodkinson, Gordon Mumma, Independent Electronic Music Center, Trumansburg, and Emmett 'iVilliams. N. Y. 14886. Number 2-3, a combined issue which con­ stituted the International Electronic Music Catalogue, a major reference work in ·the field (cf. Newsletter, Vol. I No. 2 for description), may be ordered from the OTHER CONTEMPORARY PROGRAMS M.I.T. Press. The National Gallery of Art presented its 26th A new periodical, the American Musical Digest, will American Music Festival on the Sundays of April and begin regular publication in the fall. A pre-publica­ May. American composers from the 18th through the tion issue is now available on request. The magazine, 20th century were represented. The centenary of a project of the Music Critics Association under a Gottschalk's death was commemorated in a piano re­ grant from the National Endowment for the Arts, is cital of his works and a performance of one of his a monthly digest of music criticism appearing in maga­ symphonies. Among the 20th century composers per­ zines and important newspapers throughout the world. formed were 'Villiam Bergsma, David Diamond, Ken­ Gene Bruck is executive director of the project. Offices neth Gaburo, Walter Hartley, Alan Hovhaness, Peter are at 1865 Broadway, New York, N. Y. 10023. Mennin, Robert Parris, Walter Piston, Ben 'Neher, and Richard '!\Tillis. Richard Bales is music director of the Gallery and conductor of the Gallery Orchestra. COMPETITIONS The Pasadena Art Museum presented its 5th season Darmstadt Competition. See under Summer Courses of contemporary programs under the title Encounters, and Festivals. directed by Leonard Stein. Composers featured, each in a complete program devoted to his work, were vVoodwind Quintet Contest. Native American com­ Earle Brown, Ernst Krenek, 'Villiam 0. Smith, and posers. Unpublished, unperformed work for woodwind Milton Babbitt. quintet, 15 minutes or less. $100 and performance at MacDowell Festival of Mitchell College, New London, Conn., Oct. 3-5, 1969. vVinning composer must partici­ pate in Festival; expenses will be paid. Deadline for CURRENT RESEARCH score and parts July 15. Sponsmed by Eastern Con­ necticut Symphony Orchestra, whose members will Dr. Leland A. Lillehaug is pursuing a research proj­ perform the winning quintet. Mrs. Charles Frink, ect on "The Aesthetic Gap between the Contemporary Manager, Eastern Connecticut Symphony Orchestra, Composer and the Audience and Performer," sup- P. 0. Box 627, New London, Conn. 06320. ~. . 4th International Ballet Music Competition, of the AWARDS city of Geneva and the Swiss Radio. Ballet, 15-40 min­ William Albright's Organbook 1967, a set of 5 utes, unpublished, unperformed, scored for orchestra piec~s which he included in his performance-demon­ of at ~east 20 players. Deadline for score and piano strat10n at the 1968 ASUC Summer Institute in Ann reduct10n Sept. l, 1969. 10,000 Swiss francs, perform­ Arbor, .'~on the $2,300. Queen Marie-Jose prize for ance, and broadcast. Concours International de Mu­ composHion. Mr. Albright performed the work in sique de Ballet, Maison de la Radio, 66 boulevard Geneva in March. Carl-Vogt, CH 1211 Geneva 8, Switzerland. , Tied l'.or first. prize in the 1969 Dartmouth College T~ieste 8th Annual Competition for Symphonic Electromc Musi~ Contest were Peter Klausmeyer, a M us1c. Symphonic composition. 2,000,000 liras and 26-_Year-old American who composed his winning Cam­ performance; also lesser prizes. Deadline Sept. 7, 1969. bria~ Sea a~ the University of Michigan Electronic Premio Citti di Trieste, Conservatorio di Musica G. l\fos~c Stud10;. ~nd .Peter Glushanok, a 54-year-old Tartilii, Via Ghega 12, I-34132 Trieste, Italy. Latvian n~w hvmg m N:w York, who composed his In Memonan for My Friend Henry Sala in a home Leo Sowerby Memorial Award. Sacred cantata for studio. The winning works will be recorded. SATE with organ (plus optional small orchestra) suit­ able for choir of 30-40 voices, 20-30 minutes. $500 and The $1000 prize for percussion quartet composition publication by H. W. Gray Inc. $2 entry fee. Deadline offered by SUNY/Buffalo and the New Percussion Oct. l, 1969. John Walker, 410 South Michigan Ave., Quartet was won by Ryszard Kwiatkowski of Szczecin, Chicago, Ill. 60605. Poland. Compositions for worship, suitable for amateur \<\Tinner of the National Federation of Music Clubs church choirs: sacred operas, anthems, preludes, and awar~ to an outsta~d.ing woman composer of sym­ hymn arr~ngemen~s. $500 and lesser prizes, plus per­ phomc works was M1nam Gideon. formance m a .festival of sacred music. Deadline Oct. l, 1969. Alfred Neumann, Christ Congregational Church, 9525 Colesville Rd., Silver Spring, Md. 20901. Schnitger Prize - 4th International Competition. Organ composition. Deadline Dec. 31, 1969. Secretariat of the Competition, Emmawijk 2, Zwolle, Netherlands .

. Delta Omicrnn Contest. "Vomen composers. Unpub­ lished, unperformed song cycle for solo woman's voice with piano accompaniment (plus another instrument if desired), 10-15 minutes. $300 and performance at 1.971 Delta Omicron Conference. $5 entry fee. Dead­ lme Aug. 1, 1970. Dr. Maria Ezerman Drake, Chair­ man, Composition Competition, Philadelphia Musical Academy, 1617 Spruce St., Philadelphia, Pa. 19103.

Compo.sitions for educational television: full-length symphomc work for full orchestra, 10-30 minutes· mu­ sic drama or opera, 15-60 minutes; chamber ~usic composition for 3 or more instruments, 12-30 minutes; composition for orchestra and voice, 10-20 minutes; composition for orchestra and instrumental solo, 15- 30 minutes; full-length dance drama, or series of dance pieces, not over 60 minutes. Awards up to $1000. Awards Chairman, Mississippi Authority for Educa­ tional Television, Post Office Drawer 2470, Jackson Miss. 39205. ' CALENDAR EDITORIAL COMMENT (cf. this and previous Newsletter for details) Recent months have added new members and a broader geographical distribution to the American JUNE Society of University Composers. Canadian members, 9. Summer courses in "Today's Music," Southern some of whom have been with us from the first, are Illinois U. Through Aug. 2. now present in larger numbers. And partly spurred 10. L'Ecole Hindemith, Vevey, Switzerland. Through on, no doubt, by the location of the 1969 National Aug. 1. Conference, numerous new members from the West Coast, both of the United States and of Canada, have 16. Interpretation of Contemporary Music course, joined the Society. Certain Regions have made a Pierre Boulez, Music Academy, Basel, Switzerland. strong and successful effort to draw new members into Through July 5. their activities; noteworthy is Clifford Taylor's report l 9. Festival of Two Worlds, Spoleto, Italy. Through on Region III, suggesting some of the ways new mem­ July 13. bers can be reached and the values to be gained from 20. International Society for New Music Festival, a broad-based membership. Hamburg, Germany. Through June 27. 21. World premiere, Devils of Loudun, opera by We welcome all new members and urge them to Penderecki, Hamburg State Opera. contribute news and suggestions to the Newsletter. It 29. U.S. premiere, The Prodigal Son, parable by Brit­ is our desire that the Newsletter be truly representa­ ten, Caramoor Festival, Katonah, N. Y. ive of the Society as a whole, not merely of a re­ stricted geographical region. A high proportion of our 29. Pittsburgh Festival of the Arts. Through Aug. 10. members, and indeed of composers taken as a group, 30. Festival of the Arts of this Century. U. of Hawaii. live in or near the large Eastern cities; this includes Through July 23. the editor of the Newsletter. It is but natural, then, that a great deal of news comes to hand from this geographical area. But this is not a regional News­ JULY letter! It is to be hoped that colleagues in other areas, 1. Bowdoin College Summer School of Music, Aeoli­ such as Canada and the western United States, will an Chamber Players. 6 weeks. make a special effort to keep the rest of us informed of activities in their region. From time to time, I meet 7. Electronic Music Workshop, Peabody Conserva­ persons who say: "You didn't mention in the News­ tory. Through July 11. letter our school, our region, our festival, our note­ 14. Seminars in Electronic Music, North Texas State worthy achievement." To which the answer unfor­ University. Through July 31. tunately is: "No one told me about it!" 16. Conference on Contemporary Music, Aspen (Col­ orado) Music Festival. Luigi Dallapiccola, guest And if possible, tell us in advance! Many persons composer. Through July 30. have expressed interest in the Calendar feature of the 21. "Music and the Computer" workshops, Stanford Newsletter. But to appear in the Calendar, informa­ University. Through Aug. 15. tion must reach us well in advance of publication. Once an event is past, its interest for others is dimin­ ished; it is then too late to attend or contribute or take any appropriate action, except perhaps to learn AUGUST something from the example of what has been done. I. U. S. premiere, HeljJ! Help! the Globolinks, opera by Menotti, Santa Fe Opera. On double bill with The Newsletter appears three times a year, in Janu­ Stravinsky, Rossignol. Repeated Aug. 6, 9, 15. ary, early summer, and early fall; news may be sent at 14. U.S. premiere, Devils of Loudun, opera by Pen­ any time to derecki, Santa Fe Opera. Repeated Aug. 20. 24. International Vacation Course for New Music, JEAN EICHELBERGER I VEY Darmstadt, Germany. Through Sept. 5. Editor, Newsletter 13 Duzine Road New Paltz, N. Y. 12561 SEPTEMBER 5. International Music \i\Teek of the Gaudearnus Foundation, Bilthoven, Holland. Through Sept. 12. THE AMERICAN SOCIETY OF UNIVERSITY COMPOSERS, INC.

A non-profit corporation in the state of New York c/o Department of Music Columbia University New York, N. Y. 10027

Executive Committee Elaine Barkin, Queens College Richmond Browne, University of Michigan Charles Dodge, Columbia University Carlton Gamer, Colorado College Hubert S. Howe, Jr., Queens College Ben Johnston, University of Illinois Paul Lansky, Princeton University Raoul Pleskow, C. W. Post, L. I. U. Joan Tower, C. W. Post College, L. I. U.

National Council

l David Epstein, Massachusetts Institute of Technology 11 Allen Brings, Queens College IJI Clifford Taylor, Temple University IV Donald Maclnnis, University of Virginia V Randolph E. Coleman (Chairman), Oberlin College Vl Jeffrey Lerner, University of Houston VII Carlton Gamer, Colorado College VllI David Cohen, Arizona State University IX Homer Keller, University of Oregon

Jean Eichelberger Ivey, Newsletter Editor

Newsletter material should be sent to: 13 Duzine Road New Paltz, New York 12561