NATIONAL CONFERENCE a OCTOBER 12-15, 2005 Society of Composers, Inc. ------.

AT THE UNIVERSITY OF NORTH CAROLINA AT GREENSBORO SCHOOL OF MUSIC

~UNCG ~ Schoolo/Music Society of Composers, Inc.

Society of Composers, Inc. National Conference University ofNorth Carolina at Greensboro October 131h -151h, 2005

Mark Engebretson, Conference Host Adam Josephson, Assistant Director Cameron Ward, Technical Director Seth Colaner, Conference Staff Tim Daoust, Conference Staff Daniel Pappas, Conference Staff

Selections juried by the UNCG School of Music Faculty

Libby Larsen, Keynote Speaker

TABLE OF CONTENTS

Welcome Messages...... 2

Event and Concert Schedule Overview ...... 6

Concert Programs, Abstracts and Details...... 10

Composer Biographies and Notes ...... 28

Presenter Biographies...... 69

Performer Biographies...... 71

1 rl:iuNCG 11111 UNCG ~ SchoolofMusic School of Music

Welcome

To Our Guests from SCI:

On behalf of the students and faculty in the School of Music, welcome to the University of North Carolina at Greensboro! We are pleased that you have chosen UNCG as the location of your conference, and I am certain that Mark Engebretson and his colleagues have planned an outstanding event for you.

The School of Music at UNCG has a long history, dating back to the founding of the institution in 1891 as the State Normal and Industrial School. During the period 1919- 1931 it was known as the North Carolina College for Women, and it became the Woman's College of the University of North Carolina from 1932 to 1963. The Department of Music became the School of Music in the early 1920s, and since that time, the School has grown to its present size of 600 music majors and more than 60 faculty. The School is now the only institution in North Carolina that offers baccalaureate through doctoral degrees in both performance and music education. Programs in jazz studies, composition, theory, and conducting complement those offerings, as does the popular liberal arts degree in music.

We know that the facilities in the SOM will be conducive to your work here, but it is our faculty, staff, and students that will have the most impact. Don't hesitate to ask if there is anything we can do to make your stay more enjoyable.

John J. Deal, PhD Dean

2 ~UNCG 11111 UNCG ~ SchoolofMusic School of Music

Welcome

Dear Composers, Performers, Presenters, Colleagues, Friends,

Welcome to the 2005 National Conference of the Society of Composers, Inc.! It has been my great pleasure to organize this event for the benefit of everyone in our organization, for music and for art. I am very much looking forward to the experience of these proceedings, and it is my great hope that you will have a wonderful time in Greensboro and in our beautiful School of Music facility.

We all know that this kind of event could not take place without the contributions of our members-thank you for providing your music, your insights and your scholarship.

I would especially like to thank my performing colleagues at the UNCG School of Music for their enthusiasm, gracefulness and cooperation in the production of this Conference. For those of you who haven't been here before, I confidently predict that you will be convinced that some of the best music-making in the country is going on here at our school. The performing faculty and student body is absolutely first-rate, and I consider myself fortunate to have the opportunity to work with them.

Many other dedicated performers have traveled distances great and small to be here this week, and I hope that SCI members will all take the time to thank them for coming as well. There are truly too many individuals to name here in this space, but I would especially like to thank the Valdosta Georgia Faculty Chamber Ensemble, Joe Brashier, director, who are here to perform a full concert, and the Thelema Trio, who have traveled all the way from Belgium.

I hope you will get the chance to visit with our Keynote Speaker, Libby Larsen, who will be on campus throughout the Conference. Two of her compositions will be performed on evening concerts and she will address our group at the Saturday evening banquet. Ms. Larsen will also being working with our opera director, David Holley, on a new opera commissioned by UNCG with substantial support from the Babcock Foundation, to be premiered here in 2008.

Finally, I would like to enthusiastically thank our terrific Dean at the School of Music, John J. Deal, without whose encouragement and support none of this would be possible.

Enjoy the Conference! //~d~ Mark Engebretson Assistant Professor

3 ~UNCG 11111 UNCG ~ SchoolafMusic School of Music

The UNCG School of Music has been recognized for years as one of the elite music institutions in the United States. Fully accredited by the National Association of Schools of Music since 1938, the School offers the only comprehensive music program from undergraduate through doctoral study in both performance and music education in North Carolina. From a total population of approximately 15,600 university students, the UNCG School of Music serves over 600 music majors with a full-time faculty and staff of sixty. As such, the UNCG School of Music ranks among the largest Schools of Music in the South.

The UNCG School of Music occupies a new 26 million dollar music building which is among the finest music facilities in the nation. In fact, the new music building is the largest academic building on the UNCG Campus. A large music library with state-of­ the-art playback, study and research facilities houses all music reference materials. Greatly expanded classroom, studio, practice room, and rehearsal hall spaces are key components of the new structure. Two new recital halls, a large computer lab, a psycho­ acoustics lab, electronic music labs, and recording studio space are additional features of the new facility. In addition, an enclosed multi-level parking deck adjoins the new music building to serve students, faculty and concert patrons.

Living in the artistically thriving Greensboro-Winston-Salem- High Point "Triad" area, students enjoy regular opportunities to attend and perform in concerts sponsored by such organizations as the Greensboro Symphony Orchestra, the Greensboro Opera Company, and the Eastern Music Festival. In addition, UNCG students interact first­ hand with some of the world's major artists who frequently schedule informal discussions, open rehearsals, and master classes at UNCG.

Costs of attending public universities in North Carolina, both for in-state and out-of-state students, represent a truly exceptional value in higher education.

For further information regarding music as a major or minor field of study, please write:

Dr. John J. Deal, Dean UNCG School of Music P.O. Box 26170 Greensboro, North Carolina 27402-6170 (336) 334-5789

On the Web: www.uncg.edu/mus/

4

I ~Cl Society of Composers, Inc.

Welcome

On behalf of the Society of Composers, Incorporated, I want to welcome you to our 2005 National Conference. Since our society was founded, presenting conferences has been the cornerstone of our mission to promote the composition, performance, understanding and dissemination of contemporary music--and with over 5,000 new works performed over the years, we can claim some measure of success.

Although we have significantly expanded our services to our members over the years to include two CD series, internet services, a 29-volume journal of scores, a student commissioning competition, and others, the conference-an opportunity to renew friendships and associations, talk shop, and hear live performances of colleagues' music still remains an invigorating experience, even in these days of virtual realities.

I want to offer SCI's sincere appreciation to our host, Mark Engebretson, for his dedication and unflagging enthusiasm in presenting this wonderful event, and to all his colleagues in Greensboro and beyond who are participating in the performances and production of this conference. We are most grateful to the administration of the University of North Carolina at Greensboro for their support of our event, and for the beautiful facilities here that contribute so much to the enjoyment of this festival of new music.

Special thanks to AS CAP, our partner in the annual Student Commissioning Competition, for their support. We are honored to have Ms. Cia Toscanini from ASCAP in attendance for the performance of the prize-winning compositions from the 2004 judging.

I wish you a very enjoyable experience at our 2005 National Conference.

Best wishes,

Tom Wells President, Society of Composers, Incorporated

5 Event and Concert Schedule Overview

WEDNESDAY - October 12•\ 2005 Convocation - 4:00 pm Recital Hall Libby Larsen, SCI Keynote Speaker and invited guest of the SAI Music Fraternity

Pre-Conference Concert- 7:30 pm Recital Hall Thelema Trio Juan Maria Solare-Hypnosis AloYs Broder- Singen Schwingen Giorgio Colombo Taccani-Le retour du Golem Hallveig G. K. Agustsd6ttir-Jce Poems Peter Verdonck-Clarmaggeddon Ward De Vleeschhouwer-Dingle Way Dirk Brosse-Summer Jacques Palinkcx- All Together Hans-Henrik Norstrnm-Winter Zan Korneel Bernolet-Nox

6 Event and Concert Schedule Overview

THURSDAY -October 13th, 2005 CONCERT I - 9:00 am UNCG Percussion Ensemble, UNCG Brass Ensemble Recital Hall Daniel Adams - Dissolve David Long - Spirits John C. Ross - Centennial Chan Ji Kim - Moonbow John Stafford - Turnaround Jenece C. Gerber - Oregon Sketches Jon Anderson - encounters. dee Paper Presentation - 10:30 am Organ Hall Edward Green - Scelsi in the Mainstream; Or, Trio ti Cordes CONCERT II -1:00 pm Organ Hall Tayloe Harding - Canticle for Communion Chihchun Chi-sun Lee - Thgirbla. Wand Zheng Tu Janice Misurell-Mitchell - Sometimes the City is Silent Shawn Hundley - Love Songs Kenneth Jacobs - Approaching Northern Darkness Michael Timpson - CRUSH CONCERT III - 3:30 pm Red Clay Saxophone Quartet, Converse Trio Recital Hall Edward Martin - Apparitions Donald Womack - JD Scott Robbins - Trio for violin, cello, and piano (Address) Benjamin Boone -Alley Dance Carl Schimmel - Into Xylonia Charles Mason - All Four One SCI GENERAL BUSINESS MEETING-5:00 Room 223 OPENING RECEPTION-6:00 Recital Hall Atrium CONCERT IV - 7:30 pm UNCG Wind Ensemble, John Fadial, violin, John R. Locke and Kevin Geraldi, directors Aycock Auditorium Jesse Ayers - Fire ofthe Living God Derek Healey - Latino Preludes Neil McKay- Symphony For Winds Arthur Gottschalk - Concerto for Violin and Symphonic Winds Paul Siskind - The Perilous Adventures ofComet, the Wonderdog

7 Event and Concert Schedule Overview

FRIDAY - October 14•\ 2005 Panel Discussion - 8:00 am Room 110 Geoffrey Kidde, moderator; Janice Misurell-Mitchell and Benjamin Boone, panelists - Improvisation and Contemporary Music: Intersections and Cross Fertilizations CONCERT V - 9:00 am Eastwind Ensemble, UNCG Faculty String Quartet, UNCG Brass Ensemble Recital Hall Mike Mcferron - Lewis Fanfare Douglas O'Grady- Strata Mark Engebretson - Five Songs ofPassion Karim Al-Zand - Four Fables Sue Dellinger - Sound Bytes David Smooke - I 'Edge Paper Presentations - 10:30 am Room 110 Maria Niederberger - Frank Martin's Oratorio In Terra Pax Donovan Johnson - Webern circa 2005

CONCERT VI - l:OOpm Valdosta State University Faculty Chamber Ensemble, Joe Brashier, director Recital Hall Alejandro Rutty - Tango Loops David Wightman - No Disrespect James David - The Locomotive Geryon Grace Choi - Incidents Takuma ltoh - Sounds and Shapes Helena Michelson - Scintilla Paper Presentations - 3:00 pm Room 221 John Dribus - The Other Ear: A Consideration of Aesthetics, Semiotics and the Technique of Sonification Peter Swendson - (Re)hearing the Potential: Collisions and Explorations of Sonic Landscapes in Maggi Payne's Resonant Places

CONCERT VII - 4:30 pm Organ Hall David Va yo - Three for Two Aaron Alon - Spell Josh Goldman - Language Paul Steinberg - Klezmer Rhapsody Ken Davies - Sapphire Kaleidoscope Ronald Parks - Fringe Robert Denham - Goldgraber CONCERT IX - 7:30 pm UNCG Choral Ensembles, Nancy Walker, soprano, William Carroll, Welborn Young, directors Recital Hall Daniel Nass - Fumeux Fume Jonathan Santore - God's World Eddie Bass - I Died for Beauty Libby Larsen - Cowboy Songs Judith Shatin -Song of War and Peace

8 Event and Concert Schedule Overview

SATURDAY -October 15th, 2005 CONCERT X - 8:00 am Phillip Schroeder and Jeri-Mae G. Astolfi-The Establishment of a Performer's CD Series Recital Hall Adriam Pertout - Chant d'augmentation John Blair- Parallax Paul Dickinson - Suite for Piano Pui-shan Cheung - Lotus Pond Edward Knight - Illusions Craig Weston - ... into all crevices ofmy world Phillip Schroeder - Wrap it Up Concert XI - 9:00 am Organ Hall Juraj Kojs - Leporelo Joo Won Park- Tremolo Stefan Weisman -Ad Lib Stephen Wilcox - Non-Connubial Sigh Neil Flory - Summer Songs Lothar Kreck - Nimbus Movements Ileana Perez Velazquez - Constenalciones extraviadas entre lugernagas Paper Presentations - 10:30 am Room 217 Bruce Reiprich - Voice-Leading and Harmonic Background in Toru Takemitsu's A Bird Came Down the Walk Michael Slayton - In the Hand of the Frau: Elizabeth Austin's Frauenliebe und-leben in Comparision to Schumann's Setting CONCERT XII-1:00 pm Recital Hall Hubert Howe - Meditation Samuel Hamm - fix-a-tion Bruce Mahin - Blue Chin-Chin Chen - Dragon Moon Eric Honour - Dreamtime Keith Carpenter - Jackhammer CONCERT XIII - 3:30 pm Thelema Trio Recital Hall Carleton Macy - Wistful Green Burton Beerman - ghosts HyeKyung Lee - Musique Leger Karen Thomas - When night came ... Fernando Benadon - Five Miniatures Kevin Walczyk- Incantation BANQUET 5:30 pm Libby Larsen - Keynote Address Cone Ballroom-C, Elliot University Center

CONCERT XIV - 7:30 pm UNCG Symphony Orchestra, Scott Rawls, viola, Robert Gutter, director, Matthew Troy, guest conductor Aycock Auditorium Libby Larsen - Ring ofFire Greg Steinke -All in a Moment's Time Dorothy Hindman - Magic City Ellsworth Milburn - Salus ... es to

9 CONCERT PROGRAMS, ABSTRACTS, and DETAILS

Pre-Conference CONCERT- WEDNESDAY OCTOBER 12th, 2005- 7:30 pm Recital Hall Thelema Trio

Hypnosis* Juan Maria Solare (Argentina)

Sin gen Schwingen * * AloYs Broder (Germany)

Le retour du Golem * Giorgio Colombo Taccani (Italy)

Ice Poems * Hallveig G. K. Agustsd6ttir I. Monday Morning (Iceland) II. Outside My Window III. Winter Voice

Clarmaggeddon * Peter Verdonck (Belgium)

-Intermission-

Dingle Way* Ward De Vleeschhouwer (Belgium)

Summer* Dirk Brosse (Belgium)

All Together * Jacques Palinkcx (Netherlands)

Winter Zon ** Hans-Henrik Norstrnm (Denmark)

Nox * Korneel Bemolet (Belgium)

Ward De Vleeschhouwer, piano and keyboard Peter Verdonck, alto, tenor and baritone saxophone Marco Antonio Mazzini, clarinet, bass and contrabass clarinet

* USA premiere ** world premiere

10 CONCERT PROGRAMS, ABSTRACTS, and DETAILS

CONCERT I-THURSDAY OCTOBER 13th, 2005-9:00 am Recital Hall UNCG Percussion Ensemble, Cort McClaren, Nathan Daughtrey, directors UNCG Brass Ensemble, Mark Norman, director

Dissolve Daniel Adams

Spirits David Long I. The Succubus II. The Poltergeist UNCG Percussion Ensemble

Centennial( world premiere) John C. Ross UNCG Percussion and Brass Ensembles

Moon bow Chan Ji Kim Jnara Zandmane and Vincent Van Gelder, pianos UNCG Percussion Ensemble

Turnaround John Stafford UNCG Brass Quintet

Oregon Sketches Jenece C. Gerber I. Where the Mountains Meet the Sea II. That Which Lies Beneath III. Flowering Meadow IV. Mystic Waterfalls V. Primeval Forest Sarah Evans, piano encounters.dee Jon Anderson Jon Anderson, piano Doug Riser, choreography

11 CONCERT PROGRAMS, ABSTRACTS, and DETAILS

Paper Presentation - THURSDAY OCTOBER 13th, 2005 - 10:30 am Organ Hall Edward Green - Scelsi in the Mainstream; Or, Trio a Cordes

Giacinta Scelsi has had the misfortune to be seen both by his defenders and his critics as having made a fundamental break with prior Western musical practice. And while it is certainly true that various non-Western musical concepts can shed valuable light on the composer's tonal and rhythmic practices, this paper will argue that for all its obvious novelty, Scelsi 's music is best understood when listened to as part ofthe Western "Mainstream. " To see how this so, it is necessary to see the philosophic underpinnings of Western music. And so, use will be made in this paper ofconcepts both from Edmund Husserl's Phenomenology and Eli Siegel's Aesthetic Realism. Scelsi-like Stravinsky, like Beethoven-it will be shown, with examples from all three composers, is interested in making a perceptual one ofsonic reality as that which changes, and that which remains unchanged. This drama ofsameness and change underlies all Western music; Scelsi's included. A detailed analysis ofthe first movement ofhis Trio aCordes will serve as the center ofhis presentation. An overview ofthe entire composition, however, will also be provided. That Scelsi does not eschew "modulatory" techniques will become apparent. Finally, there will be an indication ofwhere the Trio a Cordes fits in Scelsi 's career-for it is a critical work. In it the composer's early love of Webern, mirrored in many ofhis compositions ofthe 1940s, bursts its chrysalis and emerges with the new form it will, in essence, retain for all the decades to follow. As part ofthis discussion, an attempt will also be made to clarify Scelsi 's frequently voiced (and, truth be told, hard to grasp) opinion that musical sound is "spherical" in its essence.

CONCERT II-THURSDAY OCTOBER 13th, 2005 -1:00 pm Organ Hall

Canticle for Communion Tayloe Harding John Alexander, organ

Thgirbla W. Chihchun Chi-sun Lee Zheng-Tu Haiqiong Deng, gu-zheng

Sometimes the City is Silent Janice Misurell-Mitchell Janice Misurell-Mitchell, flute

Love Songs Shawn Hundley I. II. III. Robert Wells, baritone James Douglass, piano

Approaching Northern Darkness Kenneth Jacobs Sheila A. Browne, viola David Brunell, piano

CRUSH Michael Timpson Richard Scruggs, saxophone Haiqiong Deng, gu-zheng

12 CONCERT PROGRAMS, ABSTRACTS, and DETAILS

CONCERT III-THURSDAY OCTOBER 13•h, 2005-3:30 pm Recital Hall Red Clay Saxophone Quartet

Apparitions Edward Martin Susan Fancher, alto saxophone

3D Donald Womack I. Damage II. Distance III. Disarray Susan Fancher, alto saxophone Inara Zandmane, piano

Trio for violin, violoncello, and piano ("Address") Scott Robbins I. 7-8-9 II. Chaconne Ill. Recycling via Rondo The Converse Trio Sarah Johnson, violin Kenneth Law, violoncello Douglas Weeks, piano

Alley Dance Benjamin Boone

Into Xylonia (world premiere) Carl Schimmel SCI/ASCAP Student Competition Winner I. gleaming teak parquet, boundless, oceanic ... II. Bubinga buttons and ash pegs bubble in clumps III. Newelposts and dominoes jostle with alphablocks, caespitose and shrubby N. Ligneous tendrils bear fattening spindle tips, shooting about dowelsprouts V. PYRGOIDAL PEPPERMILLS AND PEGLEGS- MAMMOTH AXEHANDLES-TITANIC BIEDERMEIER BEDSTANDS- VI. From the barbicans flutter deckle and chads, tickertape and timbersplinters, crepe paper billowing like hennin cloth

All Four One Charles Mason

Red Clay Saxophone Quartet Susan Fancher, soprano saxophone Robert Faub, alto saxophone Steve Stusek, tenor saxophone Mark Engebretson, baritone saxophone

13 CONCERT PROGRAMS, ABSTRACTS, and DETAILS

SCI GENERAL BUSINESS MEETING - 5:00 pm Room 223

OPENING RECEPTION - 6:00 pm Recital Hall Atrium

CONCERT IV -THURSDAY OCTOBER 13•h, 2005- 7:30 pm Aycock Auditorium UNCG Wind Ensemble John Locke, conductor

The Fire of the Living God Jesse Ayers from and they gathered on Mount Carmel

Latino Preludes Derek Healey I. Fanfare - Gloria a Dios (Mexico) II. Cancion - Ofertorio Nicaraguense (Nicaragua) III. Aria - Un Mandamiento Nuevo (Spain) IV. Salida- Como el Rey David (Mexico)

Symphony for Winds Neil McKay I. Risoluto II. Larghetto III. Rondo Kevin Geraldi, conductor

-Intermission-

Concerto for Violin and Symphonic Winds Arthur Gottschalk I. Cadenzas (Kabbalah) II. Largo (Holocaust) III. Scherzo (Klezmerlich)

John Fadial, violin

The Perilous Adventures of Comet, the Wonderdog Paul Siskand The Wilds of Missouri Nice Day for a Walk A New Friend Leaming to Bark The Mysterious Journey Chocolate Overdose Obedience School Chasing Squirrels Joie de Vivre

14 CONCERT PROGRAMS, ABSTRACTS, and DETAILS

Panel Discussion - FRIDAY OCTOBER 14t\ 2005 - 8:00 am Room 110

Geoffrey Kidde, moderator; Janice Misurell-Mitchell and Benjamin Boone, panelists - Improvisation and Contemporary Music: Intersections and Cross Fertilizations

This panel discussion will f ocus on a topic that has been aroundfor a while: the role of improvisation in contemporary music. We aren't trying to give any definitive answers, but several area ofpert inent questions come to mind when thinking about improvisation and contemporary music. Among the important questions are the following:

I. What happened to the movement in the 1960 's wherein composers were experimenting with notation and methods ofperformer interaction? Is the music improvisatory, or are pe1formers be called on to create the music beforehand and recreate it in live performance? Has there been an attempt to codifY techniques that would help performers with these "experimental scores?"

2. Have Jazz and Contemporary Music come closer? Can the methods ofimpro visation that Jazz musicians use be successfully incorporated into other contexts? Could, for instance, a Pierrot ensemble (flute, clarinet, violin, cello, and piano) blow on the changes of "Giant Steps "?

3. Is there a place in the music education landscape for improvisation outside ofthe Jazz Department? What methods could be developed, or have been developed? What can we learn about improvisation from music history? Did lesser composers and musicians in Bach and Mozart's time also improvise? To what extent did figured bass help people learn how to improvise? Was this kind of improvising like "comping" or like "soloing"? Could we create improvisation exercises for our students that would help them to become more complete musicians?

15

- - ~------CONCERT PROGRAMS, ABSTRACTS, and DETAILS

CONCERT V- FRIDAY OCTOBER 141\ 2005- 9:00 am Recital Hall EastWind Ensemble, UNCG Brass Ensemble, UNCG Faculty String Quartet

Lewis Fanfare Mike Mcferron UNCG Brass Ensemble Strata (world premiere) Douglas O'Grady SCI/ASCAP Student Competition Winner I. II. III. East Wind Trio d'Anches Kelly Burke, clarinet Mary Ashley Barret, oboe Michael Burns, bassoon Five Songs of Passion Mark Engebretson I. II. III. IV. v. East Wind Ensemble Kelly Burke, clarinet Mary Ashley Barret, oboe Michael Burns, bassoon Inara Zandmane, piano Four Fables Karim Al-Zand I. The Grasshopper and the Ant II. The Owl ana the Echo III. The Lion, the Fox and the Fish IV. The Man and the Fish-Hom Deborah Egekvist, flute Kelly Burke, clarinet Andrew Willis, piano Sound Bytes Sue Dellinger I. Blues II. The Crypt III. The Life of Mosquito IV. Catnap V. Tiptoe VI. Frog Dance Kelly Burke, clarinet Lynn Beck, horn Brooks Whitehouse, violoncello Andrew Willis, piano I' Edge David Smooke

UNCG Faculty String Quartet John Fadial and Janet Orenstein, violins Scott Rawls, viola Brooks Whitehouse, violoncello

16 CONCERT PROGRAMS, ABSTRACTS, and DETAILS

Paper Presentations - FRIDAY OCTOBER 14th, 2005 - 10:30 am Room 110

M aria Niederberger- F ran k Martin's Oratorio In Terra Pax

My essay touches briefly on the historical context ofthe composition, and the oratorio 's text with its sources. A briefintroduction to the composer Frank Martin (1890-1974) himselfand his musical philosophy follows.

In Terra Pax (Peace on Earth) was commissioned by Radio Geneva in 1944 and premiered in I 945 to mark Armistice Day at the end of World War II. Almost sixty years later, the Cathedral Choral Society in Washington D.C. resurrected this work to celebrate the dedication oft he US­ National Wold War II Memorial.

The main body is ofanalytical and theoretical nature and discusses Martin's unique source-scale that is at the root ofhis varied harmonic and melodic language. With the help ofselect passages and extracted musical examples, I attempt to show how Martin's musical language logically grows out ofhis initial pitch-class material. Jn this connection, I demonstrate how Martin created an expressive work that is rooted in melodic thinking, often in connection with countrapuntal layering.

Finally, I uncover Martin's covert musical tribute to the great composer J.S. Bach with his beautiful twelve-tone passacaglia-bass.

Donivan Johnson - Webern circa 2005

Since 1990, entirely new perspectives, attitudes and ways oflistening to the music ofAnton Webern have been published in English. Such important works as:

The Twelve-Note Music of Anton Webern, Kathryn Bailey (1991) Webern and the Lyric Impulse, Anne C. Shrejjler (1994) Webern Studies, Bailey, ed. (1996) The Life of Webern, Bailey (1998) The Atonal Music of Anton Webern, Allen Forte (1998) Webern and the Transformation of Nature, Julian Johnson (1999)

have deeply impacted, challenged and, thankfully, changed the post-war Darmstadt Cologne Die Reihe Perspectives OfNew Music pseudo-scientific mathematical analytical set-theoretic jargon and shibboleth-laden world-view of "St. Anton" (Stravinsky's ironic phrase). It was in 1945 that Webern was shot and killed by an American sentry ofthe occupation. The purpose ofthis jubilee paper is to: (I) very briefly share excerpts from the body ofwork listed above - all based on "revisiting" Webern 's original sketches now located in The P au! Sacher Institute; (2) provide "brief' examples from Webern's music that may foster a much more artistic manner ofhow we are to listen to, perform and understand his music as music - and not as an artifact (corpse) to be used as grist (specimen) for the academic mill and the training offuture composers.

17 CONCERT PROGRAMS, ABSTRACTS, and DETAILS

CONCERT VI FRIDAY OCTOBER 14t\ 2005-1:00 pm Recital Hall Valdosta State University Faculty Chamber Ensemble Joe Brashier, director

Tango Loops Alejandro Rutty

No Disrespect David Wightman

The Locomotive Geryon James David

Incidents (world premiere) Grace Choi SCI/ASCAP Student Competition Winner

Sounds and Shapes Takuma Itoh I. Pyramid II. Spiral

Scintilla Helena Michelson

18 CONCERT PROGRAMS, ABSTRACTS, and DETAILS

Paper Presentations-FRIDAY OCTOBER 14•\ 2005- 3:00 pm Room 221

John Dribus - The Other Ear: A Consideration of Aesthetics, Semiotics and the Technique of Sonification

The International Community for Auditory Display (!CAD) defines sonification as "the use ofnon­ speech audio to convey information. " With such a broad definition, the process ofsonification, which could be considered to fall into scientific or communications fields, also has implications for the arts. For a composer, one benefit ofsonification techniques is the fact that a data source provides an extra-musical text upon which to base artistic decisions. The Other Ear is a sonification ofEEG data provided by !CAD. The data, collected while a subject was listening to music, became the source ofa new musical work based upon the neural processes oflistening. An additive synthesis engine used twenty-nine channels ofEEG data to control almost every musical parameter including frequency, amplitude, panning, andfiltering. The work's success hinged primarily upon choosing appropriate data sets to drive different musical parameters. Mapping decisions were made either by a direct translation ofdata to sonic features, or by an interpretative mapping ofdata in light ofits extra-musical source. A balance ofthese mapping types was crucial; good translation decisions ensured an aesthetically sound composition, while good interpretive mappings shed light on the music's conceptual background, deepening its meaning. The Other Ear provides an inside look at the neural process oflistening. The subject's initial listening experience was regenerated into a new musical work, shedding light on the internal workings ofa listening mind.

Peter Swendson - (Re)hearing the Potential: Collisions and Explorations of Sonic Landscapes in Maggi Payne's Resonant Places

The electro-acoustic music community ofcomposers and scholars has taken great strides over the past three decades in developing a stable theoretical framework for their field. Emergingfrom 20th-century traditions ofmusique concrete and eco-acoustics, theorists such as R. Murray Shafer, Barry Truax, and Trevor Wishart have codified stylistic and procedural foundations for "acousmatic" and "soundscape" composition that grant scholars important theoretical contexts for research and analysis. Certain composers, however, challenge these genres with work for fixed media that exists between their borders. This work draws into question the completeness of existing classifications structures and must therefore be carefully examined as part ofan ongoing effort to expand critical contexts for the study ofe lectro-acoustic music.

Maggi Payne's composition, Resonant Places, provides an excellent example ofafu:ed media composition that both incorporates and defies the current theoretical models. Payne employs an approach in which the original contexts ofsound sources are important and remain at least somewhat audible, or even "visible", in the piece. And yet she also expands these sounds and our perception ofthem into something more than they could be on their own. My detailed analysis of the piece, supplemented by interviews with Payne as well as her original notes and track charts, illustrates how Resonant Places deftly fits between the genres ofsoundscape and acousmatic electro-acoustic music and highlights the ambiguity ofthese current stylistic categories.

19 CONCERT PROGRAMS, ABSTRACTS, and DETAILS

CONCERT VII FRIDAY OCTOBER 14t\ 2005 - 4:30 pm Organ Hall

Three for Two David Vayo I. Allegro energico II. Lilting III. Imminent David Allen and Soo Goh, clarinets

Spell Aaron Alon I. Spell (attacca) II. Pagan Dance (attacca) III. Embers LaTannia Ellerbe, violin Meaghan Skogen, violoncello Gina Pezzoli, violoncello

Language Josh Goldman for digital media

Klezmer Rhapsody Paul Steinberg Alan Woy, clarinet

Sapphire Kaleidoscope Ken Davies Rebecca McNair, piano

Fringe Ronald Parks Phil Thompson, clarinet/saxophone James Cannon, percussion Tomoko Deguchi, piano

Goldgraber Robert Denham Timothy Lees, violin

20 CONCERT PROGRAMS, ABSTRACTS, and DETAILS

CONCERT IX FRIDAY OCTOBER 14t\ 2005-7:30 pm Recital Hall UNCG University Choir, William Carroll, director UNCG Chamber Singers, Welborn Young, director

FumeuxFume Daniel Nass

God's World Jonathan Santore

I Died for Beauty Eddie Bass I. On this Wondrous Sea II. I Died for Beauty III. What Inn is This? IV. Afraid? V. Me! Come! UNCG Chamber Singers

-Intermission-

Cowboy Songs Libby Larsen I. Bucking Bronco II. Billy the Kid III. Lift me into Heaven Slowly Nancy Walker, soprano

Song of War and Peace Judith Shatin I. And How My Brother Is Cain II. Peace III. The Rain is Ready to Fall IV. Peace Poem After a U garithic Inscription

UNCG University Chorale

21 CONCERT PROGRAMS, ABSTRACTS, and DETAILS

CONCERT X - SCI CD RELEASE - SATURDAY OCTOBER 15rn, 2005 8:00 am Recital Hall Phillip Schroeder, presenter Jeri-Mae G. Astolfi, piano

Melange Music from the Society of Composers, Inc. Performer's CD Series #1

Chant d'augmentation (1999) Andrian Pertout (b.1963)

Parallax (2003)

Suite for Piano (1989) Paul Dickinson I. Prelude (b.1965) IL Dialectic III. Intermezzo IV. Postlude

Lotus Pond (2004) Pui-Shan Cheung (b.1976)

Illusions (1982) Edward Knight I. Prelude (b.1961) II. Toccata

... into all crevices of my world (1997) Craig Weston (b.1964)

Wrap It Up (2004) Phillip Schroeder (b.1956) Jeri-Mae G. Astolfi, piano

Presentation

"The Establishment of a Performer's CD Series" Phillip Schroeder

22 CONCERT PROGRAMS, ABSTRACTS, and DETAILS

CONCERT XI -SATURDAY OCTOBER 15th, 2005 - 9:00 am Organ Hall

Leporelo Juraj Kojs Daniel Skidmore, violin Frederic St. Pierre, violins Noah Hock, viola Brian Carter, violoncello

Tremolo Joo Won Park Russell Brown, bass clarinet

Ad Lib Stefan Weisman Brian Kennedy, organ

Non-Connubial Sigh Stephen Wilcox Ed Owen, tuba

Summer Songs Neil Flory I. The Sudden Field II. Late Afternoon Impression on Cocoa Beach III. After a Summer Shower IV. Touching V. Beach Nocturne #2 Nancy Walker, soprano Deborah Egekvist, flute Mark Mazzatenta, guitar

Nimbus Movements Lothar Kreck I. Bright Halo II. Rising Clouds Gerald Berthiaume, piano

Constelaciones extraviadas entre luciernagas Ileana Perez Velazquez I. Constelaciones extraviadas entre luciernagas II. Danza III. Constelaciones disturbaron la paz de luciernagas durmientes centenarias ... Steve Stusek, alto saxophone Inara Zandmane, piano

23 CONCERT PROGRAMS, ABSTRACTS, and DETAILS

Paper Presentations - SATURDAY OCTOBER 15•h, 2005 - 10:30 am Room 217

Bruce Reiprich - Voice-Leading and Harmonic Background in Toro Takemitsu'sA Bird Came Down the Walk

Although most often praisedfor his command oforchestration, Toru Takemitsu continued to demonstrate throughout his career a fascination for pitch relationships as well. Completed two years before his death in 1996, A Bird Came Down The Walk for viola and piano, in many ways, exemplifies the culmination ofthis aspect ofthe composer's development. By focusing upon the opening section ofA Bird Came Down The Walk, that is, approximately one-third of its total length, this paper will illustrate Takemitsu 's sensitive and sophisticated treatment ofpitch. Schenkerian voice-leading graphs combined with pitch-set analysis will reveal the hybrid nature of Takemitsu 's musical language as it relates to the organizational practices ofmuch twentieth­ century atonal music while being governed at the same time by fundamental aspects ofthe tonal tradition. The analysis of intentionally blurred tertian-harmony underpinnings, embedded streams ofpentatonic sets and major-minor seventh chords, and the multi-level projection of motives, pitch-sets, and linear progressions will illuminate a slowly moving, goal-oriented, hierarchical, contrapuntal/harmonic foundation ofexceptional invention.

Michael Slayton, presenter, with Mei Zhong, Jerome Reed and Elizabeth Austin - In the Hand of the Frau: Elizabeth Austin's Frauenliebe und - leben in Comparision to Schumann's Setting

Elizabeth R. Austin's Frauenliebe und - Leben (I 999) may attribute its creative roots not only to Adelbert von Chamisso and Robert Schumann but also to the Austrian poet and author, Ingeborg Bachmann. Austin had been pondering the question ofhow one, as a post-modern composer, sets out to compose music for a text (Chamisso 's) that is not only over a century old, but a text that has already been utilized by several ofthe foremost composers ofthe Romantic Era (including, of course, Schumann). The poem outlines the adoring and subservient attitude of a nineteenth­ century woman, who gains her sole validity through her suitor's/husband's eyes. When Austin came upon Bachmann 's novel, Malina, the quandary began to settle itself in a most inspired manner. Schumann's well-known song cycle stands as a bastion ofRomantic vocal music, from the male standpoint ofboth composer and poet. Austin's Frauenliebe takes a closer look at the vmying inte1pretations ofthe feminine reactions in this poetry. Chamisso 's writing, full of unashamed adoration and absolute devotion, provides at once a solely positive example ofthe nineteenth-centwy romance aesthetic as well as a somewhat dubious glimpse ofwoman when viewed through a contemporary lens. With Bachmann as muse, Austin's cycle sets out to reveal a challenging vision ofthis woman's feelings, asking "Can the woman's authentic feelings, chronicled in these various stages ofher life, be interpreted differently today? How and why does the woman love? Might there even be a touch ofhysteria in her reactions?"

This paper proposes a lecture recital featuring performances ofboth the Schumann Frauenliebe und -Leben and the Austin cycle ofthe same name. The lecture will demonstrate how Austin 's setting, catalyzed by the Jch character from Bachmann 's novel, led her to provide Chamisso 's poems with a startling contemporary musical viewpoint. The manner in which her version lies in contrast and comparison to the Schumann cycle will be explored. Both cycles will be performed by soprano Mei Zhong and pianist Dr. Jereome A. Reed.

24 CONCERT PROGRAMS, ABSTRACTS, and DETAILS

CONCERT XII SATURDAY OCTOBER 15th, 2005-1:00 pm Recital Hall

Meditation Hubert Howe for computer and eight channel diffusion

fix-a-tion Samuel Hamm for clarinet, computer and eight channel diffusion Russell Brown, clarinet

Blue Bruce Mahin I. II. Nitza Kats and Lucy Mauro, pianos Matthew Frederick and David Hopkins, assistants

Dragon Moon Chin-Chin Chen for soprano, digital media and eight channel diffusion Mei Zhong, soprano

Dream time Eric Honour for didgeridoo, digital media and eight channel diffusion Eric Honour, didgeridoo

Jackhammer Keith Carpenter I. John Henry II. Cut Your Comers III. Casey Jones Susan Fancher, saxophones Steve Stusek, saxophones Brooks Whitehouse, violoncello Inara Zandmane, piano Robert Gutter, conductor

25 CONCERT PROGRAMS, ABSTRACTS, and DETAILS

CONCERT XIII - SATURDAY OCTOBER 15th, 2005-3:30 pm Recital Hall Thelema Trio

Wistful Green Carleton Macy

ghosts Burton Beerman

Musique Leger HyeKyung Lee

When night came... Karen Thomas

Five Miniatures Fernando Benadon

Incantation Kevin Walczyk

Ward De Vleeschhouwer, piano and keyboard Peter V erdonck, alto, tenor and baritone saxophone Marco Antonio Mazzini, clarinet, bass and contrabass clarinet

26 CONCERT PROGRAMS, ABSTRACTS, and DETAILS

CONCERT XIV -SATURDAY OCTOBER 15t\ 2005, 7:30 pm Aycock Auditorium UNCG Symphony Orchestra Robert Gutter, director, Matthew Troy, guest conductor

Ring of Fire Libby Larsen

All In a Moment's Time Greg A Steinke I. "The rolling golden dunes,"

Interlude I - "glowing for an eternity.. ." - Cadenza I

II. "a crystal in the mist. .." - Cadenza II

Interlude II - "All in a moment's time,"

III. "The mist rises ... with the whistle of the breeze."

Scott Rawls, viola

-Intermission-

Magic City Dorothy Hindman Matthew Troy, guest conductor

Salus ...esto Ellsworth Milburn

27 COMPOSER BIOGRAPHIES AND NOTES

Daniel Adams (b. 1956, Miami, FL) is a Professor of Music at Texas Southern University in Houston. He has previously held positions at the University of Miami and Miami-Dade Community College. Adams holds a Doctor of Musical Arts (1985) from the University of Illinois at Urbana-Champaign, a Master of Music from the University of Miami (1981) and a Bachelor of Music from Louisiana State University (1978). Adams currently serves as a member of the Percussive Arts Society Composition Committee, the Board of Directors of the Houston Composers Alliance, the National Asociation of Composers, USA (NACUSA)and as treasurer of the newly-formed Texas Chapter ofNACUSA. Adams is the composer of numerous published musical compositions and the author of several articles and reviews on various topics related to Twentieth Century percussion music, musical pedagogy, and the music of Texas. His book, "The Solo Snare Drum: A Critical Analysis of Contemporary Compositional Techniques" was released by HoneyRock Publishing in March of2000. He has received grants and awards from ASCAP (1985-2005), the Percussive Arts Society (1989, 2000), the American Symphony Orchestra League (1989), Meet the Composer ( 1987), the Greater Miami Youth Symphony ( 1987), the Minnesota Composers Forum ( 1984 ), the Maryland Clarinet Composition Contest (1982), and the Music Teachers National Association (1979). His music is recorded on Capstone Records and Summit Records. The title of Dissolve refers both to the literal definition of the term, a separation of an entity into its constituent parts, and to a cinamagraphic technique in which one image is gradually transformed into another. Resonant sounds dissolve according to their natural acoustical decay. Sustained sounds dissolve into percussive passages and definitely pitched sonorities dissolve into the sounds of indefinitely-pitched instruments. Homophonic and polyphonic textures dissolve into one another. Dissolve is composed in a three section form that resembles ternary or rounded binary but is neither, as the three sections are distinguished mostly by timbre, texture, and the relationship between definite and indefinite pitch. The first section consists of mostly long sustained notes. The second, third, and fourth marimbas begin the piece entering one by one with rolls on the 12 notes of the chromatic scale spread throughout the marimba's register. The marimbas are accompanied by resonant sounds played on the indefinitely­ pitched metal instruments. The first marimba articulates the same notes that are played as rolls by the other three marimbas, facilitating the transition to middle section. Two alternating chords played on the vibraphone complete the transition to the more rhythmically active middle section, which is dominated by by indefinitely-pitched wood, metal, and membrane instruments. This section is characterized by a faster tempo and more complex rhythmic counterpoint. Indefmitely-pitched counterpoint between the tom-toms and temple blocks are juxtaposed against a collage ofrepeated notes on the cowbell, claves, and bass drum Playing a six note motive, the vibraphone part again signals a transition, this time to the final section. It is is based on polyrhythmic counterpoint between the vibraphone, crotales, and bells with the marimba rolls from the opening section serving as a backdrop.

The Icelandic painter/composer Hallveig G. K. Agustsdottir composed this work especially for this ensemble. In the three parts she describes the atmosphere of her country. Each part has a typical Icelandic situation. Monday Morning shows the image of an awakening iceland, covered in a blanket of snow. Slowly the sun conquers the cold silence and live returns. Outside My Window is the wonderful feeling of watching an ice storm when sitting close to the fireplace in a cosy home. But the Winter's Voice drags you out of your dream into the biting cold on your way to work.

Aaron Alon (b. May 14, 1981) entered music relatively late, beginning to compose in his sophomore year in college. He went on to earn his BA in music from the University of Chicago and his MM in composition from the Cleveland Institute of Music. He is currently working toward his doctorate in composition as a Brown Fellow at Rice University's Shepherd School of Music. His past teachers include Marta Ptaszynska, Margaret Brouwer, Easley Blackwood, Jean Milew, and Orianna Webb. Mr. Alon has received awards from the National Association of Composers, the National Federation of Music Clubs, SCI/ASCAP, the Renee B. Fisher Composer Awards, the Tampa Bay Composers' Forum, the Ohio Federation of Music Clubs, and the Olga and Paul Menn Foundation. His works have been performed throughout the US, including Chicago, LA, Cleveland, San Antonio, Kearney, and St. Petersburg. Mr. Alon is a member of the Phi Beta Kappa Society and a past president of the Phi Omicron chapter of Mu Phi Epsilon. He is a member of ASCAP. While Spell is not truly programmatic, the music and movement titles are meant to create a loose story of sorcerers casting a spell. In the first movement (Spell), the casting of the spell starts in the violin and is echoed and expanded upon by the second cello. The second movement (Pagan Dance) starts as an extension of the first, but gradually builds into a raucous and chaotic dance. The energy continually increases until it is finally suspended at a high point: the spell is ending; dawn in approaching. In the final movement (Embers), the fire begins to die.

28 COMPOSER BIOGRAPHIES AND NOTES

Various motives and themes return and are subject to increasing fragmentation. Though the spell and the fire are dying, the magic only fades from view. The movements are played without pause.

The music of composer Karim Al-Zand (b. 1970) has been called "strong and startlingly lovely" (Boston Globe). Al-Zand is currently an Assistant Professor in Composition at Rice University's Shepherd School of Music. Before arriving in Houston, he received degrees from Harvard University (Ph.D., 2000) and McGill University in Montreal, Canada (B.Mus. 1993). He was recently awarded the prestigious 2003 Sackler Prize in Composition. Groups which have featured his music include the Mendelssohn String Quartet, Flux String Quartet, California E.A.R. Unit, New Millennium Ensemble, Third Angle Ensemble, North/South Consonance, Pinotage, Ensemble Noir, and Brave New Works. Al-Zand's most recent commission, from OrchestraX in Houston, resulted in the composition of The Seventh Voyage ofSindbad. In 1998 String Quartet won the Salvatore Martirano Composition Competition and in 2003 his String Quartet No. 2 was honored as part of the Tampa Bay Excellence in Chamber Music Prize. His work has received recognition from AS CAP, the Society of Composers, the National Association of Composers, and from the Massachusetts Association of Jazz Educators (for his jazz and big band arrangements). He has been a participant composer in many festivals including MusicNinetySeven, June in Buffalo, the Aspen Festival, the Wellesley Composers Conference, and the Oregon Bach Festival; he has also been a resident at the MacDowell Colony and an associate at the Atlantic Center for the Arts. Karim Al-Zand is a member ofMusiqa (www.musiqahouston.org), Houston's contemporary music group, which presents concerts featuring new and classic repertoire of the twentieth and twenty-first centuries. On Four Fables: These four short pieces draw their inspiration and their characterization from animal apologues by authors from near and far. The Grasshopper and the Ant is a classic fable traditionally ascribed to the Greek slave Aesop (ca. 620-560 BC). In keeping with the antics of the fable's protagonists, the piece is an acrobatic dance. The Owl and the Echo, by eighteenth-century French fabulist Jean-Baptist Perrin, explains the nocturnal habits of the owl and its solitary call. Perrin's many fables were known in the US primarily through a French­ language primer published in 1846. The second movement is a melancholy and atmospheric canon. The Russian writer Ivan Kyrlov (1769-1844) was celebrated for the whimsical political satire in his fables, the most frequent target of which was the Russian imperial family. The Lion, the Fox and the Fish is said to parody a local governor's response to Alexander I, after the Emperor had expressed concern over the rioting populace. This movement is a dance, a sort of sizzling scherzo. The fame of American author Ambrose Bierce (1842-1914) rested in large part on his withering wit, as manifest in his acerbic Devil's Dictionary. (He defines a fiddle as "an instrument to tickle human ears by friction of a horse's tail on the entrails of a cat.") The Man and the Fish-Horn is similarly sardonic, as it pokes fun at the fable genre and, in particular, at Aesop's many stories of fisherman. The last movement is a lively fanfare.

Jon Anderson is currently a doctoral fellow in composition at the University of North Texas, and concurrently teaching at Wayne State University in the Music and Dance departments. Writing for a variety of acoustic and electro-acoustic mediums, he has received national and international honors and awards including the Academy of Television Arts & Sciences, the Society of Composers Inc (SCI), SCl/ASCAP, the International Society for Music Education (ISME), the Pierre Schaefer International Competition of Computer Music, the Cuban Institute of Music & National Laboratory ofElectroacoustic Music, the International Computer Music Association (ICMA), and the Society for Electro-Acoustic Music in the United States (SEAMUS). Originally from Lakeville, Minnesota, a suburb of Minneapolis, he received degrees from Luther College and the University ofNorth Carolina at Greensboro. He has studied composition with Cindy McTee, Butch Rovan, Eddie Bass, and John Howell Morrison. Doug Risner, Department Chair & Associate Professor, Maggie Allesee Department of Dance, Wayne State University. For over two decades as a dance educator, choreographer, and faculty member, Risner has taught and choreographed at Luther College, Pittsburgh Ballet Theatre, Meredith College, Iowa State University, Winona State University, the University ofNorth Carolina at Greensboro, Gustavus Adolpus College, Weber State University, and Western Illinois University. His work has been funded by the generous support of the Pennsylvania Council on the Arts, the H. George & Jutta F. Anderson Endowment, the North Carolina Department of Public Education, the Iowa Arts Council, and the North Carolina Dance Festival. He currently serves as Assistant Editor for the Journal of Dance Educationand as Executive Committee Secretary for the National Dance Education Organization (NDEO). Risner also contributes to Research in Dance Education, Dance Research Journal, and Chronicle of Higher Education. encounters.dee is a collaboration for pianist/dancer and tape exploring alternative relationships between the performer and piano. The entire composition generates from initial recording sessions exploring movement that physically connected with the piano. This determines the basis for the acoustic score's pitch content and the entirety

29 COMPOSER BIOGRAPHIES AND NOTES of the tape part's source material. In this way, dance functions not as a response to the music, but as the generative foundation throughout the composition. From there, the three forces of dance, piano, and tape are embellished, reevaluated, and interconnected.

Born in Baltimore in 1938, Elizabeth R. Austin received her early musical training at The Peabody Conservatory. When Nadia Boulanger visited Goucher College (Towson, MD), where Elizabeth Austin was an undergraduate music student, she was awarded the composer a scholarship to study at the Conservatoire Americaine in Fontainebleau, France. Elizabeth R. Austin has taught composition and theory at various music institutions in Hartford, Connecticut. Her association with the Hartt School (University of Hartford), where she earned a Master's in Music while on the faculty, included the establishment of a faculty/student exchange with the Staatliche Hochschulefiir Musik Heidelberg-Mannheim. While studying for her Ph.D. at the University of Connecticut, Elizabeth Austin won First Prize in the Lipscomb Electronic Music Competition for her Klavier Double for piano and tape. Other awards have included a Connecticut Commission on the Arts grant, selection by GEDOK (Society of Women Artists in German-speaking countries) to represent the Mannheim-Ludwigshafen region in the national seventieth-year anniversary exhibition in Lubeck, and First Prize in the IA WM's 1998 Miriam Gideon Competition (for Homage for Hildegard (von Bingen). The Rockefeller Foundation awarded her a month-long residency at Bellagio, Italy in 2001. Performed in Prague, Rome, Finland, Italy, and Germany, as well as in The United States and The Caribbean, Elizabeth Austin's music has been received with distinction and critical acclaim This music was the subject of ant interview with Bruce Duffie, New Music Connoisseur, Spring, 2003. Her music has also been well received by the radio audiences of Germany's MDR (Mitteldeutsche Rundfunk), and featured in the MDR Triangel. Ulrich Urban performed her Puzzle Preludes for piano at Leipzig's Gewandhaus in 2002. She is President of Connecticut Composers, Inc. as well as organist/choir director at St. Paul's Episcopal Church in Windham Center. She serves on the Alumni Board of The Walden School (young composers), New Hampshire. Published by Arsis Press and Tonger Musikverlag and recorded on the Capstone and Leonarda labels, Elizabeth Austin is also represented on the 1994 Society of Composers CD and Journal (Vol. 20).

Jesse Ayers' music has been performed in the United States, Europe, Japan, Russia and New Zealand, including two ISCM World Music Days festivals (Slovenia 2003 and Warsaw 1992) and two International Tuba-Euphonium Conferences. He has been a participating composer at the Virginia CBDNA New Band Music Symposium (1996) and the Essentially Choral Reading Sessions (2004), and his appearances as guest composer have included the campuses of Valparaiso University (IN), California State University Bakersfield, Heidelberg College (OH), Virginia Tech, and Carson-Newman College (TN). His most recent project was a five day residency on the campus of Valparaiso University for the premiere and recording sessions of his most recent work, Jericho, a large-scale surround-sound composition for expanded wind orchestra, choir, narrator, with audience participation. The CD will be available soon from the University's web site. Ayers participated in a similar residency with Valparaiso in 1999 with the recording of the Mount Carmel. Ayers received his undergraduate and master's from the University of Tennessee Knoxville and his DMA from the University of Kentucky. He has studied composition with David Van Vactor, Joseph Baber, John Anthony Lennon, and Allen Johnson; choral conducting with Donald Neuen, and master classes with Karel Husa, Norman Dello Joio, and Vaclav Nelhybel. Ayers currently serves as Professor of Music at Malone College (OH) where he received the 2001 Distinguished Faculty Award for Scholarship/Creative Expression. He has received awards from ASCAP annually since 1992 and grants from Meet the Composer and the American Music Center. The Fire of the Living God is the final movement from ... and they gathered on Mount Carmel, a three-movement work for wind orchestra based on the great contest in ancient Israel between the lone prophet Elijah and the 450 false prophets ofBaal, as recorded in I Kings 18. The movements are in the typical configuration of fast-slow-fast, with the titles of the first two being The Incantations of the Prophets ofBaal and The Prayer ofElijah. Scripture records that after hours of praying, ritualistic dancing, and self-mutilation by the false prophets, calling in vain on Baal to send fire to consume the sacrifice on their altar, that it is the God of Elijah who answers his servant's very short and simple prayer, sending a fire so intense that it not only consumes Elijah's water-soaked sacrifice, but the very stones of the altar. Textural juxtaposition (cinematic intersplice) is the primary compositional device, with the recurring brass pyramids returning rondo fashion after contrasting blocks of sound. In the closing seconds of the piece, the two brass choirs join forces to play the closing phrase of Martin Luther's Ein Feste Berg, which is quoted as a benediction to Elijah's deliverance as he courageously stands alone against a host of adversaries. Mount Carmel was begun in March 1994 in New Smyrna Beach, Florida, while the composer was an artist-in-residence at the Atlantic Center for the Arts, and was completed in Knoxville, Tennessee, the following March. The work

30 COMPOSER BIOGRAPHIES AND NOTES

received its premiere in 1995 by the University of Kentucky Wind Ensemble under the direction of Dr. Richard Clary and has been recorded by the Valparaiso University Chamber Concert Band under the direction of Dr. Jeffrey Doebler.

Eddie Bass is Professor emeritus in the School of Music at UNCG. He earned the A.B., M.M., and Ph. D. degrees from the University of North Carolina at Chapel Hill. Until 1992 he was chair of the Composition/History/Theory division of the School of Music at UNCG. From 1992 until his retirement in 2003 he served as coordinator of composition. He has composed for a variety of media, including orchestra, wind ensemble, chorus, vocal soloists, and chamber ensembles. His music has been performed throughout the U.S., in Canada, Britain, Russia, and the Far East. His Pas de Quatre for Trombone Quartet was awarded first prize in the 1989 composition contest of the International Trombone Association. His music is published by Seesaw (New York), BVD Press (Connecticut) and Warwick (England). From 1968 to 1985 he was principal trumpet of the Greensboro Symphony, and until 2000 a member of the Market Street Brass. He has published articles on the music of Debussy, Berlioz, and Mahler. On I Died for Beauty: I have always been fond of Emily Dickinson's poems. Although I make no claim to a scholar's understanding of them, it seems to me that one of her most important recurring themes is a kind of questioning of the meaning of life and human accomplishment in the face of the fact of death. The words of the second poem seemed to me a particularly apt expression of that questioning, and the title of that poem therefore a suitable one for the title of the cycle as a whole. Having chosen these particular poems and determined the order in which they would appear I tried to write music that would present that tension between life and death as a sort of "inverted arch," moving from the questioning character of the first poem "downward" through the pessimism of no. 2 and descending further to the frightening grave-imagery of no. 3, after which moving back "up" again through the hopefulness of no. 4 to the certainty of heaven in no. 5. The key scheme reflects this inverted arch (F major--D minor--B minor--D major--F major) as, to some extent, does the succession of tempos. The overall form might be represented this way:

1. On this Wondrous Sea 5. Me! Come! (Moderato, F major) (Allegro, F major) 2. I Died for Beauty 4. Afraid? (Andante, D minor) (Recitativo, D major) 3. What Inn is This? (Lento, B minor)

I. On this wondrous sea, 2. I died for beauty, but was scarce Sailing silently, Adjusted in the tomb, Ho! Pilot, ho! When one who died for truth was lain In an adjoining room. Knowest thou the shore Where no breakers roar, He questioned softly why I failed? Where the storm is o'er? "For beauty," I replied. "And I for truth,---the two are one; In the silent west, We brethren are," he said. Many sails at rest, Their anchors fast; And so as kinsmen met at night, Thither I pilot thee. We talked between the rooms, Until the moss had reached our lips, Land, ho! Eternity! And covered up our names. Ashore at last!

31 COMPOSER BIOGRAPHIES AND NOTES

4. Afraid? Of whom am I afraid? 3. What inn is this Not death; for who is he? Where for the night The porter of my father's lodge Peculiar traveler comes? As much abasheth me.

Who is the landlord? Of life? 'T were odd I fear a thing Where the maids? That comprehendeth me Behold, what curious rooms! In one or more existences At Deity's decree. No ruddy fires on the hearth, No brimming tankards flow. Of resurrection? Is the east Necromancer, landlord, Afraid to trust the mom Who are these below? With her fastidious forehead? As soon impeach my crown!

5. Me! Come! My dazzled face In such a shining place! Me! Hear! My foreign ear The sounds of welcome hear! The saints shall meet Our bashful feet.

My holiday shall be That they remember me; My paradise, the fame That they pronounce my name.

-- Emily Dickinson

New York City's The Village Voice has said that "There is a remarkable clarity in the way Burton Beerman carries out the logic of his materials and he has an excellent ear for sound color ... the composer displays an acute sensitivity to the differences between live sound and electronic sound and the music contains extraordinary moments when the sound seems to belong to both worlds ... " He has been characterized by the press as one of the leading clarinetists of contemporary and avant-garde music whose virtuosity and technical control of the instrument establish him as a remarkable and compelling performer. Composer, clarinetist, video artist, Burton Beerman continues to seamlessly integrate technology with other media and is active as a composer of acoustic music. Performances of his works have taken place at such venues as New York's Carnegie Concert and CAMI Halls, Chopin Hall in Mexico City, Town Hall in Brussels, the American Cultural Centre and the Cite Universitaire Theatre in Paris, Spoleto Festival USA, and venues in Japan, Australia, Hungary, Canada, Poland, Russia and New Zealand. The composer was in residence at STEIM Research Center in Amsterdam, Meditations for electric clarinet, interactive computer, and dancers presented at the JIM International Conference endorsed by IRCAM in Cannes, France, featured at the 501h anniversary of electroacoustic music celebration in at the Radio Funkhaus in Vienna and featured at the International Summer Meeting ofElectroacoustic Music in Sarvar, Hungary. His intermedia performing ensemble, TheElectric Arts Duo for several seasons collaborated with the Tanza Dance Theater in performances in Europe, in such visible venues as PEPSI SZIGET 2000, Margit Island, Artus, and MU theatres, Hungary. Ghosts, commissioned by the Thelema Trio from Belgium, was composed about the same time as Invisible Images, commissioned by the NeXTEns. and shares many structural concepts and compositional approaches. In both works the pitch material is presented early in the work and then transformed into different characters later. Essential to each work is music that displays the individual and ensemble virtuosity of the group. I was introduced to electronic music at the University of Michigan in 1967. At this time we would record analog sounds, process them, and then splice them together into musical events. Time has taken me in many different technical directions

32 COMPOSER BIOGRAPHIES AND NOTES

since those early days, but the techniques used in Ghosts is similar to the original analog process. Instead of analog sounds, I recorded digital samples, processed them with functions such as cross synthesis, place them in a digital timeline and recorded the timeline as a digital sample.

A native of Buenos Aires, Fernando Benadon studied jazz arranging at the Berklee College of Music and composition at UC-Berkeley, earning a Ph.D. in 2004. Praised as "engagingly forward" by the New York Times, Fernando was the winner of the Fromm commission at Tanglewood, the Aaron Copland Award from the Copland House, the League ofComposers/ISCM competition, and UC-Berkeley's Ladd Prize, which supports a two-year residency in Paris. He has received fellowships from Tanglewood, Fondation Royaumont, the Wellesley Composers Conference, and the Aspen Advanced Master Class. His soundtrack for the feature film Arimpara premiered at the 2003 Cannes Film Festival and was screened at more than a dozen International Film Festivals from Melbourne to Seattle. As a scholar, he has given presentations at several research conferences, and his article on jazz rhythm will appear in early 2006 in the journal Ethnomusicology. Fernando is assistant professor of Music at American University. On Five Miniatures: Miniature 1: Drunk, Oriondo stumbles into a remote and dusty tavern. He spots a small table in a dark comer where Fulgencia sips from a golden flask. He trips a few times before landing at her side. Miniature 2: Fulgencia offers Oriondo her flask, which he refuses. She voices her displeasure with ultramodern mediocrity. Miniature 3: Oriondo tries to explain something very important, gesticulating passionately between burps and curses. She does not understand him. Maybe he throws up. Miniature 4: "The problem, " laments Fulgencia, "is our espousal of inane fabulists whose vapid sermonettes inure the bereft. Incidentally, you are most inurbane." Miniature 5: Credits roll.

Korneel Bernolet is pianist and composer, studying at the academy of music in Veurne, Belgium .. This young composer has taken masterclasses with Koen Dejonghe, Piet Swerts and Wim Henderickx. Nox tells the story of the ever returning ritual of sunrise and sunset. The main "characters" in his musical play, being the sun, the dark and the stars, are depicted in a stereotypical way: the sun symbolises light, while the dark sounds fearful and military. The stars have a neutral atmosphere, they guard over the totality, but do they influence the night or the sun? Nox has five short movements that show the atmosphere of the relationship between these three characters.

John Blair was born in Washington D.C. and began playing Trombone at age ten. After winning several prizes on Trombone he began teaching himself piano and composing at age twelve. He has written numerous works in many different genres as well as for a variety of soloists and ensembles. His composition Adagio for Clarinet was premiered at the 2003 International Clarinet Symposium. He has performed at the Lionel Hampton Jazz Festival. Mr. Blair has served on the Theory and Composition faculty at Sam Houston State University and implemented the jazz studies program at Montgomery College in Houston. Mr. Blair's composition teachers include Chen Yi, Donald Erb, James Mobberley, Zhou Long and Phillip Schroeder. He is currently completing Doctoral studies in Composition at the Conservatory at the University of Missouri-Kansas City. Parallax was originally improvised at the piano during a live performance. Prior to the initial performance I had just a few musical gestures sketched out and knew basically what I was going to play. I was pleased with the outcome and the experience of performing extemporaneously proved quite exhilarating. After the initial performance I received requests for copies of the piece, I immediately transcribed what I had improvised at the recital. I've long admired the Preludes non mesures of the French clavecinistes, in particular the works of Couperin and D' Anglebert, and it is in the spirit of these remarkable compositions that this piece was conceived. After the initial performance I received requests for copies of the piece, I immediately transcribed what I had improvised at the recital.

Benjamin Boone is an Associate Professor at California State University Fresno. Previously, he taught at the University of Tennessee, where he received the "Chancellor's Award for Excellence in Teaching." A Fulbright Senior Specialist Fellow to the Republic of Moldova, his works appear on thirteen CDs by leading performers and have been played from Carnegie Hall to eleven foreign countries. Boone's music has garnered musical awards and honors from ASCAP, the International Society of Contemporary Music, the Olympia International Prize in Composition, Billboard Magazine, the National Association of Composers/USA, The American Music Center, the Southeastern Composers' League, the Delius Foundation, the Fundaci6n Valparaiso (Spain) and Boston University,

33 COMPOSER BIOGRAPHIES AND NOTES

among others. Recent commissions include Abstrakte Kontakte: Getrennte Aufgaben, for processed saxophone, processed violin/viola and dancers, commissioned by the A *de Vantgarde Festival ftir Nueue Musik, Munich and the Office of the American Consulate and the world's first Concerto for Baritone Saxophone, commissioned by Brad Hubbard and the Western Piedmont Symphony. Boone's research on the musical components ofhuman speech is mentioned in The New Grove Dictionary ofMusic and Musicians (under "blue note"). He has also assisted a biologist with the infrasonic recording ofrhinoceros vocalizations in Zimbabwe and Zambia, served as a music business manager in New York City and perfonned as a saxophonist throughout the United States and Europe. Bayerischer Rundfunk Studio Franken - Bavarian National Radio co-produced The Transatlantic Reed - String Project's Capstone CD Eastbound- Westbound which receives wide airplay in Gennany. Boone has studied with Bernard Rands, Gordon Goodwin, Charles Fussell, John A. Lennon and Jerry Coker at the University of Tennessee (BM), Boston University (MM) and the University of South Carolina (DMA). For more infonnation, visit www.BenjaminBoone.com

On Alley Dance: I was commissioned by the concert Artists' Guild New York Competition winners the New Century Saxophone Quartet to write a piece for their Channel Classics CD Homegrown: Commissions, vol. 1, and to replace a piece in their repertoire. They wanted an energetic and jazzy piece, but not a "jazz" piece. I gathered many ideas, some of them quite hip, but the one that stuck in my head was a figure that alternated between a minor and a major third. The simple figure stuck in my head, and so I took it as a challenge to try and write a piece based on it. The resulting piece, Alley Dance, showcases the saxophone quartet's versatility as an ensemble and as individual soloists. They are called upon to perfonn delicate passages in addition to highly aggressive, jazz influenced music. The perfonners are called on to scoop notes, bend notes, growl, stretch the upward range of the saxophone and execute extremely wide leaps.

Dirk Brosse is a multi-faceted composer and respected conductor on the international music scene. Since 1999 he has held the title of Music Director of the Tokyo International Music Festival and of the prestigious International Flanders Film Festival. Together with clarinettist Marco A. Mazzini he accepted the challenge to arrange this wonderful concerto for clarinet, cello and orchestra into an epic history for an extended Thelema Trio.

On Singen Schwingen: Falling, rising, circling, blossoming, exhaling, reflecting, rocking, vibrating, insisting, growing, asking, complaining, breathing, searching, resilienting, singing and swinging second-motifs unit in this trio to a musical occurrence, which ascends from the nothing and sinks again there, takes up an additive-climbing up longing figure appearing in the beginning over and over again, shows extensively a economical composition and in spite of several outbreaks above all very secluded, withdrawn, singing, swinging characters and tries to achieve a quarter of an hour tensed-sensitive lifetime.

Keith Carpenter was born in 1967 in Ashland, KY, and currently lives in Shorewood, WI. He holds degrees from Rice University, the University of Cincinnati College-Conservatory of Music, and Northwestern University. He studied composition with Ellsworth Milburn, Joel Hoffmann, Jay Alan Yim, M. William Karlins, Michael Pisaro, Gerhard Stabler, Tristan Murai!, and Louis Andriessen. His music explores the intersections of vernacular music with art music, often characterized as having an intense, highly syncopated rhythmic profile. This is coupled with a harmonic language that occupies a space between tonal modality and chromaticism creating a sound unique among composers. His music has been performed widely, including perfonnances in France, Albania, Argentina and throughout the United States. His works have been perfonned by the Amherst Saxophone Quartet, Present Music, the Northwestern University Contemporary Music Ensemble, the Nouvel Ensemble Moderne, and saxophonists Mark Engebretson and Susan Fancher. Current projects include a piano concerto to be premiered by pianist Jane Livingston at Carthage College in Spring 2006. On Jackhammer: When Mark Engebretson approached me to write a piece for his new ensemble, Melomania!, I couldn't wait to get started on it. When sitting down to write, I began to think of an artistic problem I would like to solve. It came to me simply with the word, which is the title of the work: Jackhammer. I had long been interested in writing a work as an homage to the American Labor movement. The title suggested the solution: a jackhammer is an air powered tool used to break apart rocks and concrete. My work, then, would use air powered tools (saxophones) to break apart songs. The work is in three movements, each based on an American work song. The first movement, John Henry, is based on the African-American folksong of the same name. The musical theme of the song is only occasionally apparent in the movement, and even then it is difficult to pick out. The second movement, Cut Your Corners, is based on an African-American prison song entitled "I'll Be So Glad When the Sun

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Goes Down," a largely improvised work song sung to the accompaniment of pick-axes and shovels busting rocks and turning hardpan. In the movement one will hear --quite explicitly-- the main themes of the work song being presented in a call and response pattern. The last movement, which is attached to the second movement without break, is based on the old railroad epic, The Ballad of Casey Jones. In this movement the use of the actual musical themes is done away with at the expense of capturing the compound duple feel of the original. Many of the rhythms are the same as the original folk tune, but are used with much different pitches. At two different instances the percussionist yells out two characteristic phrases of the folk song.

Pui shan Cheung, born in Hong Kong, has had her music performed in the Internationale Ferienkurse ftir Neue Musik. Darmstadt, Germany, New Music Forum in San Diego, the Cincinnati Music Festival, the International New Music Festival in Hong Kong, MUSICARAMA, the New Generation Music Festival, the Chinese Music Festival and broadcasted frequently in Radio 4 in Hong Kong. Pui-shan is the recipient of a number of awards including first Prize in the University of Missouri, Kansas City Chamber Music Composition Competition, regional winner in the SCI/ASCAP Composition Commission Program, composer prize at the Composers and Authors Society of Hong Kong (CASH), the Asian Cultural Council (Lee Hyson Foundation Fellowship), CASH overseas scholarship, Kansas City Conservatory Scholarship, KC Young Matrons in honor of Linda Herner Barrick Award, Inez Benson award. Pui-shan is currently a doctoral candidate at the University of Missouri, Kansas City where her composition principal teacher is Chen Yi.

Three Chinese Paintings is written for solo piano, with three paintings by the Chinese painter Wu Guan Zhong' s inspiring the music. Through this music, I am not only attempting to broaden my view and insight of the painter, but also to transform the abstract visual images and expression into sound. With the piece Lotus Pond, the silence in the interval and the undulating lines are presented in the music to create the atmosphere of Zen.

Chin-Chin Chen is composer and teacher of composition, electroacoustics, theory, and music technology. Her recent composition interest is in writing a series of solo instrument/voice and ea works, and in composing pieces for Chinese instruments or setting music to ancient Chinese poems. Dr. Chen's electroacoustic works have been recognized in competitions, such as the Concorso Internazionale Luigi Russolo in Varese, Italy, and Concorso Internazionale di Composizione Elettronica "Pierre Schaeffer". Her compositions have received performances and broadcasts internationally and throughout the United States. Dragon Moon, for soprano and 8-channel electroacoustic sounds, is on ancient Chinese poems from the Song Dynasty (960-1367). A seemingly stretched-out melody sung by the soloist is accompanied by mostly short sounds sparsely spread out in an 8-channel field but later on the melody is also supported by long sustained sounds to give an ethereal and spacious feeling. The vocal part sometimes imitates the singing/speaking styles found in Beijing opera. All the ea sounds were generated from a recording of the speaking and singing of the same poems by the soloist, Dr. Mei Zhong, voice professor of Ball State University.

Grace Choi is a composer whose works has been performed throughout the States, Europe, and Asia. Her commissioned pieces have been premiered at Carnegie Hall, Seiji Ozawa Hall, New York New Music Ensemble, Chicago Chamber Musicians, Orchestre National de Lorraine, France, Ensemble Accroche Note, France, Bozzini String Quartet, Canada, Valdosta Ensemble, Georgia, Debussy Trio, Boston, and the American Society of Clarinet Choir in Washington, DC. She has been a fellowship composer at Acanthes, France (2000, 2002, 2005), Hochschule filr Musik Franz Liszt, Germany (2003), IRCAM, Paris (2005), Tanglewood Music Center (2004), June in Buffalo (2002, 2003), Wellesley Composers Conference (2005) and Djerassi Arts Program (2006). Her prizes and fellowships include ASCAP/SCI Commission Competition, NO DUS ISCM Ensemble, National Association of Composers USA, Virginia Carty Delillo Competition at Peabody Conservatory, Grand Prize from the Contemporary Music Society of Seoul, Korea, Gerald Oshita Fellowship, Kaske Fellowship, and honors from Ibla Foundation and NACUSA. Currently, she is a Ph.D. candidate at Brandeis University. She earned a Masters degree from Peabody Conservatory of John Hopkins University and a Bachelors from Seoul National University. She is teaching at the University of Massachusetts. Her CD was released by Capstone Records. Incident was dedicated to Valdosta Faculty Ensemble to be premiered during the SCI National Conference in University ofNorth Carolina, Greensboro. J. M. David (b. 1978) has been active as a composer and arranger for more than seventeen years. He was named national first-place winner in the 2002 MTNA Collegiate Composition Competition as well as other honors. His music has been performed at national and international conferences including the 2005 International Clarinet Fest in

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Tokyo, Japan, the World Saxophone Congress, the 2005 Society of Composers, Inc. National Conference, the International Trombone Festival, and the Florida State University Festival of New Music among others. Recent commissions include works for the Fountain City Ensemble, Joseph Alessi (principal trombone, NY Philharmonic), the Columbus State University Wind Ensemble, Georgia Southern University, the Eppes String Quartet, Trio Bel Canto, and the Georgia Governor's Honors Program. He holds the M.M. degree from the University of Georgia and is currently a doctoral candidate at Florida State University where he studies with Ladislav Kubik and Ellen Taaffe Zwilich. His music is available through Pebblehill Music Publishers and has been recorded on the Summit label. On The Locomotive Geryon: The piece is based on a composite image that formed during the early stages of the work's conception. One source of the image is Dante's Geryon: a monstrous creature with the head ofa man, the body of a snake, and the tail of a scorpion. The beast moves with terrific speed as he transports Dante and Virgil further into the depths of the abyss. This terror is then transformed into a massive machine that is agile yet menacing, not unlike a large V-twin motorcycle. This mental imagery is presented through an expressive approach for the saxophone that is contrasted by a mechanistic accompaniment.

A Wisconsin native, Ken Davies studied trombone and composition at the University of Wisconsin at Madison (B.Mus 1967) and attended graduate school at Yale. Following several years as a freelance trombonist and commercial arranger in New York and Boston, he accepted a position as trombonist with the 12-piece rock-fusion show group Gabriel's Brass based in Orlando, Florida and under contract to Walt Disney World from 1972-82. In Orlando, he was also active as a commercial arranger with credits on several released records as well as two television Christmas specials which aired nationally in the top 40 major TV markets. In 1991, he returned to school, receiving his M.A. (1993) in trombone at Middle Tennessee State University. During that time he also studied composition with Dr. Thom Hutcheson. He continued composition studies at the University of Colorado at Boulder under Dr. Luis Gonzalez, Dr. Richard Toensing and Joseph Lukasik. He was awarded the Cecil Effinger Composition Fellowship in 1995 and completed his M.M. in composition in 1996. His etude book 20 Pieces in Changing Meters for trombone, published by Puna Music, is endorsed by several leading trombone professors. Moving to the Mississippi Gulf Coast in 2002, Ken established his own ASCAP publishing firm, Kenvad Music. He has received grants from the Mississippi Arts Commission. Among recent performances, the Episcopal Church of the Redeemer in Biloxi, Mississippi performs his Five Liturgical Settings For Mass in their regular weekly Eucharist services. This past January, Oregon organist Christopher Wicks performed Ken's Quietudes for organ (2002) on the west coast. Antiphonal Music for two trumpets was performed at the Southeastern Composers' League's 54th annual conference in March 2005 at Louisiana Tech University in Ruston. Quatandre for trombones was given its world premier by the New Orleans Trombone Choir at the International Trombone Festival 2005 in New Orleans. His music is also heard on his website www.kendavies.net. Sapphire: a translucent or transparent variety of corundum, varying in color; Kaleidoscope: anything that constantly changes, as in color and pattern. Many of my compositions seem to be influenced by my tendency to "hear" visual shapes and "see" music. While I often think that I'll develop a "system" for composing a piece, intuition usually takes over after I've assembled several rhythmic, harmonic and melodic building materials. For this piece, the idea of transparent cut glass creating a through-composed variety of moving patterns formed the structural idea though I used the basic ABA formal concepts to bring back repeated material to enhance surface unity. Much of the harmonic and melodic materials are developed from a few "discovered" pitch sets (mostly mild dissonances in this piece) which I then freely transpose and transform (anywhere between tonality and atonality) along with juxtaposed rhythmic variations, somewhat in the manner of "modular composition." Debussy's comment about taking a month to decide between two chords is easy for me to understand! It applies equally to transformed melodic fragments, rhythmic motives, how long an idea should repeat, what should be next where, and what to do when Chopin sneaks in and (gasp) sounds right.

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

36 COMPOSER BIOGRAPHIES AND NOTES theory and composition courses at Indiana State University and Butler University. She also taught music theory at the lnterlochen Arts Camp in 2005. She is currently residing in Charlotte, North Carolina. Sound Bytes was written in 2003 as the result of a commission from Indiana State University. The piece is a group of six character pieces for horn, piano, cello, and clarinet. Each movement varies between twenty seconds and three minutes long. For the most part, the pieces sound like their titles. The first piece, Blues, has some blues idioms to it. The Crypt is the longest movement and is on the dark side. The Life of a Mosquito is very fast and short. The idea here was to express a theme in the shortest time span possible. Catnap is written only for the horn and clarinet and is quite tuneful and expressive. Tiptoe is very light and quiet. Frog Dance portrays frogs singing and dancing.

A native of the San Francisco Bay Area, Robert Denham completed his DMA in composition at the University of Cincinnati College Conservatory of Music (CCM). While at CCM Mr. Denham studied with Michael Fiday, Joel Hoffman, and Ricardo Zohn-Muldoon, and is currently serving in his fourth year as Manager of the annual new music festival MusicX. He received his MA in Composition from UCLA where he studied with Roger Bourland, Ian Krouse, and the late Jerry Goldsmith; and his BM in trumpet performance from Biola University in LaMirada, California. Denham's music includes works of every genre and has been performed across the United States and Europe by such performers and ensembles as Timothy Lees (Concertmaster, Cincinnati Symphony Orchestra), the CCM Philharmonia, the Los Angeles Flute Quartet, the Orion Saxophone Quartet, the CCM Chamber Players, and the Academia Musicale di San Casciano Orchestra e Coro di bambini (Florence, Italy) in such notable venues as the Culver City Chamber Music Series, the Pacific Contemporary Music Center (Long Beach CA), and the Ernest Bloch Festival (Newport OR). He has won numerous competitions, including the Hvar International Composition Competition (Croatia), the CCM Philharmonia Composition Competition,the Gluck Brass Quintet Composition Competition, and was the 1998 recipient of the coveted Stanley Wilson Composer's Award (UCLA). While Goldgriiber does not employ any sort of extra-musical visual element, it is nevertheless a pictorial work in the sense that its structure represents a musical collage or, as it is traditionally classified, a form based on the principle of variation. The concept is similar to that of a painter experimenting with colors and effects by "borrowing" a given subject and juxtaposing it with backgrounds that are foreign to the essence of the original material. In this case, the "material" is represented by the first twelve measures of the Concerto in D major for Violin and Orchestra by E. W. Korngold. Though Korngold's work is never overtly stated in Goldgraber and may even appear to be completely absent from the variations that supposedly rely on it, its influence is essential to the very inspiration of the latter. I believe that a visual understanding of the musical structure of Goldgraber is essential to the listener's comprehension of the work as a whole. The work is a set of variations where the "theme" is never actually stated, although the overall form can also be understood as an arch where the "keystone" or symmetrical axis occurs in the most romantically inclined variation, (and therefore that variation which I think most closely resembles Korngold's style), No. 5. There are a total of nine variations, each preceded by an interlude; and this complete set being preceded and succeeded by an introduction and finale. The interludes work on an arch principle that is separate to themselves; a harmonic "wedge" that proceeds inward towards the keystone variation (5), and then another wedge that expands outward towards the finale. This piece was written for and premiered by Timothy Lees, Concertmaster of the Cincinnati Symphony Orchestra; I am grateful to him for the generous time and effort he has put into its performance.

The music of Paul Dickinson is characterized by a dramatic contrast of musical ideas integrated into organic formal structures. Art, literature and music of all eras influence his diverse musical output. Dickinson began his musical studies on piano at age eleven, and composition at age twelve. His teachers include Tomas Svoboda, Joseph Schwantner, Warren Benson, Samuel Adler, Alan Stout and Gerhard Stabler. He received degrees from the Eastman School of Music (BM) and Northwestern University (MM, DM). Among his honors and awards are grants from the Fromm Foundation for New Music, the Arkansas Arts Council, the DAAD (German Academic Exchange Service), a BMI Award, and numerous commissions. His music has been performed throughout North America and Europe. Dickinson is Associate Professor of Music Theory and Composition at the University of Central Arkansas. The Suite for Piano ( 1989) consists of four movements. The Prelude is in the character of a toccata, with continuously changing patterns of sixteenth notes. It begins softly in the middle of the keyboard, expands out to the extremes at the climax, and returns to the quiet of the opening. The second piece, Dialectic, presents opposing forces, loud and soft dynamics, high and low registers, chordal and melodic writing, which are developed in a free dialog of rhetorical gestures. The Intermezzo stands as a moment of quiet repose between the energy of the second and fourth pieces, highlighting the intervals of a major second and major third. The Postlude begins as a fugue, but gradually disintegrates until the subject is unrecognizable.

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Mark Engebretson (b. 1964), Assistant Professor of Composition and Electronic Music at UNCG, lived for five years as a freelance composer and performer in Stockholm and Vienna, earning numerous commissions from official funding organizations. His music has been presented at festivals such as Wien Modem (Vienna), Gaida Festival (Vilnius, Lithuania), Sonoimagenes (Buenos Aires) Horgange Festival (Vienna), Ny Musikk (Bergen, Norway), Indiana State University New Music Festival (Terre Haute, Indiana), the Florida Electroacoustic Music Festival, ISCM Festivals (Tirana, Albania and Baku, Azerbaijan) and World Saxophone Congresses (Pesaro, Italy, Montreal, Canada and Minneapolis, Minnesota). Recent performances include premieres by UNCG's EastWind Ensemble at Carnegie Hall, the Wroclaw (Poland) Philharmonic Orchestra and the State University ofNew York at Fredonia Wind Ensemble, a presentation by the Jacksonville Symphony and a three-night, sold out engagement featuring Winter Ashes, with dance and video by John Gamble. His work She Sings, She Screams for alto saxophone and digital media has been performed countless times worldwide, and has been released on three commercial compact disc recordings, two of which are on the innova label. As a performer, he has appeared as a soloist and chamber musician worldwide. He is a former member of the Vienna Saxophone Quartet and a current member of the Red Clay Quartet. Dr. Engebretson taught composition at the University of Florida, music theory at the SUNY Fredonia and 20th-century music history at the Eastman School of Music. He studied at the University of Minnesota (graduating Summa cum Laude), the Conservatoire de Bordeaux (as a Fulbright Scholar), and Northwestern University, where he received the Doctor of Music degree. At Northwestern he studied composition with M. William Karlins, Pauline Oliveros, Marta Ptaszynska, Michael Pisaro, Stephen Syverud and Jay Alan Yim and saxophone with Frederick Hemke. His teachers in France were Michel Fuste-Lambezat and Jean-Marie Londeix. Five Songs ofPassion was written for the EastWind Ensemble and premiered during their performance at Weill Recital Hall in Carnegie Hall on March 10, 2005. The composition was undertaken with the support of the University of North Carolina at Greensboro School of Music. I wanted to create a group of movements that communicated directly, immediately, without getting too complicated. In this respect, I was thinking about the early musical gems of Anton Webern, althoughq the Five Songs are decidedly not Webemesque in style. So, in a sense, the "passion" of the title refers not only to the moment-to-moment musical passion that (I hope) exists for the performers and listeners, but also to a kind of compositional passion that occurred in the making of the piece. These movements are written from my musical heart and soul. Having four distinct instrumental colors immediately suggested to me a large-scale format for the piece. I made five movements, during which each instrument is given its own movement to act as leader or soloist. The "leaders" are heard in this order: piano, bassoon, clarinet and oboe. The fifth movement is a fmale that is mostly tutti throughout. Each movement has its own simple, characteristic shape. Movement one is in two parts, fast and slow. The second movement begins in the bassoon's highest register and descends gradually to its depths. The middle movement is a virtuosic statement by the clarinet that in the end comes apart at the seams. The oboe's movement is the one true "song" of the collection, in standard song format (aaba). The tutti recalls the opening movement, and is again in two parts, the first shorter than the second.

Neil Flory is an active composer and poet. He holds degrees in music from the University of Central Florida, the University of Florida, and the University of Texas at Austin. He has studied with Stella Sung, Budd Udell, James Paul Sain, Donald Grantham, Dan Welcher, Russell Pinkston, and Mark Schultz. He has composed a variety of works both in the acoustic and electro-acoustic mediums, and his music has been performed across the United States as well as in Europe, South America, and Asia. His work A Dog Chasing its Tail (for actor and tape) appears on Volume One of the University of Florida SCI Student Chapter's CD series, and his Venn Music I (for violin and guitar) is included on the 2003 Duo 46 release entitled Untaming the Fury, available through Summit Records. His music is published by Jomar Press, Go Fish Music, Tuba-Euphonium Press, Harrock Hall Music, and Mnemes­ Alfieri and Ranieri Publishers, and his poetry has appeared in various publications such as Poetry Forum, Alternative Press Magazine, and Mind Matters Review. Recent commissions include a set of songs for voice, clarinet/bass clarinet, violin, and piano, commissioned by the Oneota Chamber Players, and a work for flute, oboe, guitar, cello, and harpsichord, commissioned by the Iowa Music Teachers' Association. Dr. Flory currently teaches music theory, ear training, and composition at Del Mar College in Corpus Christi, Texas. Prior to his work at Del Mar, he taught at Luther College in Decorah, Iowa. Summer Songs is a set of five art songs, all which are based on poems written by the composer. All of the poems have some direct or indirect connection to summer and to things that the composer associates with summer, such as spiritual rebirth and the exuberance of nature. The work was commissioned by virtuoso flutist Christine Beard. Please refer to the separate page included with the program for the texts of the poems.

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Summer Songs-Poems by Neil Flory The Sudden Field Late Aftemoon Impression on Cocoa Beach If ever Stout wild winds you have wanted to live Mercury slowly dropping to live for and in that sudden field Huge tightly packed expanse of of wildflowers that day Dense grey clouds glimpsed through the small space Envelops between the shutters wishing Vast hard surf let it be From a distance now Those two kites Looked like birds Big and black and Strong and Free After a Summer Shower

again everything the bright new green of everything the vivid washed-off green of everything this whole world new and again the leaping into it wonder and vibrance of it aJI surrounding me dancing swirling rolling around me again a bursting cornucopia carousel fresh green life unquestioning just leaping just enchanted just rejoicing the fields and even the roads have become a vast undulating trampoline oflaughing celebration now again I am bouncing in an uncontrollable smile clean and free and I am a tiny bird riding the wide wind-sways of the tops of the living trees I am rolling without destination unquestioning across this new green country just of joy exhilarated I am tumbling through the grand sky its vast impossible blue its towering gold-laced clouds gliding pillows and again my joy is something to be touched handled squeezed loved embraced tightly and I can't help but be tightly wrapped up with euphoria I can't help but sing Touching Beach Noctume #2 these two large breathing trees Midnight so close A man and a woman stand and savor in Are walking the fine shimmering intertwining Close along the shore of their thick branches Braving the edge wood upon wood Just close enough deep green into deep green To sacrifice defenses and in the warmth of touching that Welcome vulnerability of one tree yet almost (or Euphoria) or fully indistinguishable Rhythmic probings from the other Foamy gropings and through that layered thickness Behind them a smooth wind light Their footsteps vanish instantly gliding Untraced Like fiddler-crabs retreating I have often hoped that we can all Suffocated lighthouses love Thoughts In half-consciousness

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Jenece C. Gerber is pursuing the Ph.D degree in music composition at SUNY Buffalo. She has also obtained the Master of Music in composition from the University of Akron and the Bachelor of Arts in an individualized planned program of study in ethnomusicology with an emphasis in music composition and a minor in women's studies from Bowling Green State University. During the summer of2005 Ms. Gerber was the teaching assistant in the music composition program at Brevard Music Center in Brevard, North Carolina. She has also executed special studies in Indonesian music, spending several months on Bali. Her music has been described as evocative, engaging, approachable, and lyrical, and is infused with elements oflndonesian music and strong polymetric sensibilities. In addition to being the 1995 National Collegiate winner of the Music Teachers' National Association/CPP-Belwin Student Composition Competition and a finalist in the ASCAP Foundation Grants to Young Composers competition, Ms. Gerber can make a mean cappuccino. More information on her activities can be found on the SCI website, on www.newmusicjukebox.com, and on her own website, www.gerbermusic.com. She has studied with Marilyn Shrude, Burton Beerman, Wallace DePue, Donald Wilson, Daniel McCarthy and John Beall and is currently a student of Jeffrey Stadelman. On Oregon Sketches: For the nearly five years that I lived in Oregon I was transfixed by the diverse beauty of the natural environment. So much of the landscape of western Oregon is defined by the turbulent and volcanic forces beneath the surface as well as the multitude of water upon the surface. The volatile magnificence of this place remains an active memory for me. This work is not only a tribute to the wildness of Oregon but a catharsis of that bit of the spirit of the place that refuses to leave me at peace by any other means. The work poured forth once I got away from the "tools of composition" and sat in the dark with just a piano. When I came back a couple days later to actually notate some of these sonic evocations, the material was just there waiting. The entire piece was written in a very short time without the struggle that often accompanies the process. Nothing and everything is as it seems in Oregon ... and all is in constant flux. I think that impossibility of opposites is depicted in this work.

Josh Goldman is a composer I improviser I guitarist I instructor who lives in Brooklyn, New York. He composes I improvises I performs music, using acoustic and electronic sources, for various ensembles and settings. Much of his music combines sound and visual elements. His compositions and performances have been heard internationally. As an instructor he has taught for the New York City Department of Education and Mercy College (Bronx House Campus). Mr. Goldman attended the New England Conservatory of Music where he received a BM in music performance and is currently pursuing his MM in music composition at Brooklyn College where he studies with Dr. Amnon Wolman. Language is a stereophonic composition written for seven vocalists (none of whom are using their vocal cords).

Arthur Gottschalk was born in San Diego, California, but raised in the Northeast. He attended the University of Michigan at Ann Arbor where, after two years in the pre-med curriculum, he changed career paths, receiving a Bachelor of Music degree in Music Composition, a Master of Arts degree in Music Composition and English Literature, and his Doctorate in Music Composition (cognate: Computer Science), studying with William Bolcom, Ross Lee Finney, and Leslie Bassett. He is currently a Professor at Rice University's Shepherd School of Music, where he is Chair of the Department of Music Theory and Composition, and where he directed the university's electronic and computer music laboratories until 2002. In 1986 he co-founded Modem Music Ventures, Inc., a company which held a recording studio complex, a record production division, four publishing firms, and an artist management division, and for whom he produced records for PolyGram and Capitol. Gottschalk's teaching specialties include electronic music, music theory, music composition, and counterpoint. As a film and television composer he numbers six feature films, twelve television scores, and numerous industrial films and commercials among his credits. Among other awards, he is a recipient of the Charles Ives Prize of the National Academy of Arts and Letters, annual ASCAP Awards since 1980, and has been a Composer-in-Residence at the famed Columbia/Princeton Electronic Music Center and the Piccolo Spoleto Festival. Most recently, he has been honored by the Society for New Music with its Auchincloss Prize. His music is performed regularly in Europe, South America, Taiwan, and Australia, is recorded on Crystal, Summit, Mark, Golden Crest, Crest, and Orion, and is published by Seesaw Music, Shawnee Press, and Ballerbach Music (ASCAP). His book, Functional Hearing, was released in the Fall of 1997 and is published by Scarecrow Press, a division of Rowman & Littlefield.

40 COMPOSER BIOGRAPHIES AND NOTES

Concerto for Violin and Symphonic Winds was commissioned by virtuoso violinist Kenneth Goldsmith for his 65th birthday. The work celebrates not just his virtuosity but his passionate musicality, with three movements: Cadenzas (Kabba/ah), Largo (Holocaust), and Scherzo (Klezmerlich). Beyond these titles (subtitles), any further programmatic elements may be found inside the music, rather than the printed page.

Samuel J. Hamm, Jr. (b. 1968) is a composer of acoustic, electroacoustic, and mixed-media music within a variety of genres including concert music, theatre, and dance, with a focus upon live-performance interaction between musicians and technology. Sam completed a PhD in Music Composition in 2005 at the University of Florida, where his dissertation advisor was James Paul Sain. Sam also holds a BM in Composition from the University of Alabama (1991), studying with Harry Phillips, Fred Goossen, and Marvin Johnson, and a MM in Composition from the University ofFlorida (1995), studying with John White and Budd Udell. Sam has also studied composition with Cort Lippe at the University of Buffalo. Currently, he is a Postdoctoral Fellow and Instructor in Music Technology and Composition at the University of Louisiana at Lafayette. Sam served for five years as Associate Director of the Florida Electroacoustic Music Festival. Professional affiliations include the American Society of Composers, Authors, and Publishers (ASCAP), Society for Electro-Acoustic Music in the United States (SEAMUS), and Society of Composers, Incorporated (SCI), and the College Music Society (CMS). ftx·a·tion Function: noun Date: 14th century: the act, process, or result of fixing, fixating , or becoming fixated: a : a persistent concentration of libidinal energies upon objects characteristic of psychosexual stages of development preceding the genital stage b : stereotyped behavior (as in response to frustration) c : an obsessive or unhealthy preoccupation or attachment (Definition from Merriam-Webster online dictionary at m-w.com).

Tayloe Harding became Dean of the School of Music at University of South Carolina on July 1, 2005. He also serves as Composer-in-Residence for the Valdosta (GA) Symphony Orchestra. He was most recently the Head of the Department of Music, Professor of Music, and Chief Advancement Officer for the Arts at Valdosta State University (VSU) as well as serving as Executive Director of the Valdosta Symphony Orchestra. He has previously served in faculty and administrative capacities at North Dakota State University, Virginia Commonwealth University, University of Wisconsin-Madison, and Georgia State University. Dr. Harding's works have received performances throughout the United States, Canada and on six continents. He has received grants for new works and premiers from Meet the Composer, the National Endowment for the Arts, Lila Wallace-Readers' Digest Foundation, Philip Morris, Inc., and a variety of state and local agencies in Florida, Georgia, Virginia, Wisconsin, Illinois, Kentucky, Minnesota, and North Dakota. Commissions for his new works have been received from Thamyris, the Atlanta Winds, the African-American Philharmonic Orchestra, the Atlanta Community Orchestra, the Fernbank Museum of Natural History, the Chicago Saxophone Quartet, the Gainesville (FL) Civic Orchestra, Chorus and Ballet, and from numerous individuals and Universities. His has been a fellow of the Ragdale and UCROSS Foundations, as well as of the Virginia Center for the Creative Arts, the Hambidge Center for the Arts, and the Atlantic Center for the Arts. A member of ASCAP, his works are published by Mareba Music, and Collected Editions, Ltd. He is currently serving as President of the College Music Society, the nation's only comprehensive professional and scholarly membership organization in music in higher education has been active in many national and international organizations most recently the Society of Composers, Inc. and the National Associations of Schools of Music. Dr. Harding and his wife Christine Carere Harding are very proud of their family, including children Marye!, Maddie, Chase, Mimi and Grace. Canticle for Communion is a short work for solo organ composed for the dedication of the Shantz organ installed at Christ Church, Valdosta in the spring of2004. The work is composed with regard to the specifications of the instrument itself, and this specificity is an observance of the role that this fine instrument has and will continue to play in the remembering of the communion at Christ Church. The work opens and returns to a fanfare-like theme borrowed from another short work known as the Bailey Fanfare. This fanfare, composed in 2001 for solo trumpet upon the occasion of the retirement of Dr. Hugh Bailey as President of Valdosta State University, is both a celebration for him and for his dear wife, Joan Bailey, and a tribute to their own commitment to the community of Christ Church. It seems appropriate to me that the Bailey's presence in this work be a musical example and representation of all the fine people who call that special place home, and is but a small token of my own love and devotion to the same.

41 COMPOSER BIOGRAPHIES AND NOTES

Derek Healey was born in Wargrave, England in 1936, and studied composition with Herbert Howells and organ with Harold Darke at the Royal College of Music, London, and with Boris Porena and Gofredo Petrassi in Italy. He has won prizes in the UK, Italy and the USA and has taught Theory, Composition and Ethnic Music at the Universities of Victoria (lecturer), Toronto (special visiting lecturer), Guelph (assistant & associate professor), and Oregon (associate & full professor), finally becoming Academic Professor of Music at the RAF School of Music in Uxbridge, England. He has written works in most genres, having had over forty works published in the UK, Canada and the USA. Works for large ensembles, particularly 'Arctic Images' and 'One Midsummer's Morning', have been played by fifteen orchestras or wind ensembles, and the opera 'Seabird Island' was the first contemporary opera to be taken on a cross-Canada tour. His study 'The Influence of African-American Music on the works of Frederick Delius' has been published recently by the Delius Society (Philadelphia Branch). Healey, who has his doctorate from the University of Toronto and is a Fellow of the Royal College of Organists, is now retired from teaching and spends his time in composition and research, residing in the Cobble Hill district of Brooklyn, New York. On Latino Preludes: These four songs of praise are arranged from a set of twenty-one choral preludes for organ which I composed during 1998-1999, based largely, but not exclusively, on Spanish and Mexican folk hymns. Since that time I have arranged various groupings of these preludes for different combinations of instruments including violin and organ; violin and piano; flute, violin, viola and piano; string orchestra and a mixed chamber ensemble. The opening Fanfare is fourfold tutti repetition of the chorus and verse ofa metrical version of the 'Gloria a Dios' from Mexico. The movement which follows is an arrangement of the 'Ofertorio Nicaraguense', much used in Latino churches in the New York area; the melody has a distinctive 6/8 lilt, the accompanying clarinets play flowing sixteenth notes throughout employing the 'scala alternata'. The following aria is based on the Spanish hymn 'Un Mandamiento Nuevo', which I first heard in the beautiful church of San Jose in San Juan, and that takes the form of a baroque aria; the hymn melody being richly ornamented with an accompaniment consisting of repeated eighth note chords. The finale is again based on a melody from Mexico, this time an Alabanza, a hymn of praise or of thanks, entitled 'Como el Rey David'. This song has a strong rhythmic character, making much use of an anticipated second beat and is similar, but probably unrelated to the nineteenth century ragtime dances. The movement ends in a vigorous and triumphant manner.

Dorothy Hindman 's (b. 1966) work is performed extensively in the U.S., and also in France, Germany, Italy, Russia, Romania, and the Czech Republic. Critics have called her music 'intense, gripping, and frenetic', 'sonorous and affirmative' and 'music of terrific romantic gesture'. Awards and recognition include 2005 Almquist Choral Composition Award, 2004 Nancy Van de Vate International Composition Prize for Opera, 2004 Winner of the International Society of Bassists Solo Composition Competition, a 2002 Alabama Music Teachers Association/MTNA Commission, the Atlanta Prize in the 2001 Hultgren Biennial Solo Cello Works Competition, an Alabama State Council on the Arts Individual Artist Fellowship, the NACUSA Young Composers Competition, the Abraham Frost Composition Competition, the ASCA/National Symphony Orchestra Commission Competition, the G. Schirmer Young Americans Choral Competition, and the Percussive Arts Society's International Solo Marimba Composition Competition. Recent commissions include Drift for the Lithium Saxophone Quartet, Taut for the Corona Guitar Kvartet, Louise: The Story of a Magdalen, a full-length opera for Alabama Operaworks, and Time Management for bassist Robert Black. A native of Miami, Florida, Hindman has taught music theory and composition at Birmingham-Southern College since 1994. Her works are available on the Living Artist CD series. She currently resides in Rome, Italy, with her husband, 2005 Rome Prize Fellow Charles Norman Mason. Magic City (in moto perpetuo) utilizes four simple chords and a steady eighth note pulse. Each chord is presented first as a harmonic area within which distinguishing melodic fragments and timbral gestures occur. Gradually, the durations of each chord and its associated melodies and timbres become shorter, until the chords appear as a progression, and a composite melody is heard. Overall, the work can be heard as a metaphor for the bustling activity in any city from one day to the next. However, it is specifically a tribute to the city of Birmingham and the state of Alabama, as it enters an exciting new era of support and dedication to the arts. Magic City was made possible in part by a 1998-99 Artist Fellowship from the Alabama State Council on the Arts.

42 COMPOSER BIOGRAPHIES AND NOTES

Eric Honour is an associate professor of music and director of the music technology program at Central Missouri State University. He holds degrees in saxophone performance and composition from the University of Florida and Northwestern University. He studied composition with Stephen Syverud, M. William Karlins, Alan Stout, Jay Alan Yim, and Budd Udell. He studied saxophone with Frederick Hemke, Jonathan Helton, and Kandace Brooks. Recent activities have included performances in Washington, D.C., Los Angeles, Florida, Nebraska, and Arkansas, as well as the premiere of his string quartet Axegrinder at the Rassegna Jnternazionale di Composizione "Alfeo Gigli" in Bologna, Italy. His work as an audio engineer is in demand, with recent credits on albums released by artists based in London, New York, and Kansas City. On Dreamtime: The "Dreamtime" is that part of Australian Aboriginal culture which explains the origins of the land and its people. The ancient racial memory of a people whose traditions and culture remained largely unaltered for thousands of years can recount great geological changes-the rising of the seas, the change from lush vegetation to desert, and the eruption of volcanoes-as well as the arrival of man on the continent. If American urban culture possessed a dreamtime, how would it sound? Dreamtime is composed for didjeridu and compact disc. In performance, the didjeridu is amplified and processed with a relatively slow ping-pong delay. The CD track features granular and subtractive synthesis and sampling. The initial sound sources included a recorded conversation with my family. The CD track was composed using Thank, Digital Performer 4 and MachFive.

Hubert Howe was educated at Princeton University, where he studied with J. K. Randall, Godfrey Winham and Milton Babbitt, and from which he received the A.B., M.F.A. and Ph.D. degrees. He was one of the first researchers in computer music, and became Professor of Music and Director of the Electronic Music studios at Queens College of the City University of New York. He also taught at the Juilliard School for 20 years. In 1988-89 he held the Endowed Chair in Music at the University of Alabama in Tuscaloosa. From 1989 to 1998 and 200 I to 2002 he was Director of the Aaron Copland School of Music at Queens College of the City University of New York. He has been a member of the American Composers Alliance since 1974 and was elected President in 2002. He also served as President of the U.S. section of the League of Composers/International Society for Contemporary Music from 1970 until 1979, in which capacity he directed the first ISCM World Music Days ever held outside of Europe. Recordings of his computer music ("Overtone Music," CPS-8678, and "Filtered Music," CPS-8719) have been released by Capstone Records. Meditation is my first completely microtonal composition, based on 19-tone equal temperament. As the title implies, it is a slow, contemplative work that begins from a single tone, combines it with other tones, builds to larger and faster materials, and ultimately returns to a single tone as in the beginning. The basic sound is a vocal-like tone produced by three-carrier FM synthesis so that two formants are emphasized. Throughout much of the piece, the sound undergoes a crescendo and diminuendo with a corresponding timbre change that parallels the basic structure of the piece. There is no amplitude or frequency modulation in the synthesis of the sounds; all the beating that is present is a natural result of the intonation of the tones. There are five sections in the piece in a palindromic relationship and a 2:1 tempo change between each, increasing at first and then decreasing. In the beginning, tones start from the middle octave (the first note is middle C) and expand outward into other octaves. In the second section, where certain highlighted tones travel between the loudspeakers, the basic "theme" of the piece is stated. In the middle section, tones are attacked with a more "bell-like" envelope, and the exact midpoint is a climax. After that point, material returns in a compressed form, and the piece parallels the opening sections, returning to a single octave and single tone as in the beginning. The piece was composed in 1993 and synthesized with the csound program.

Shawn Hundley attended Radford University where he received his BM in music composition, studying with Bruce Mahin, Daniel Crozier and Mark Camphouse. Shawn began graduate studies in 1997 at Florida State University studying composition with Ladislav Kubik and Ellen Taaffe Zwilich. He also studied piano with Leonidas Lipovetsky and conducting with Andr.Z Thomas in addition to work as a graduate assistant teaching music theory courses. His works have been performed at the Florida State University Festival of New Music and in 2003, Trio was performed at the SCI National Student Conference at the University of Miami. Shawn is cofounder of the Florida State University student chapter of the Society of Composers, Inc. and served as its president from 2003- 2004. Evocations for string quartet was awarded second prize in the Eppes String Quartet Competition with a

43 COMPOSER BIOGRAPHIES AND NOTES premiere in 2004. Shawn has attended the Czech-American Summer Music Institute in Prague, Czech Republic where he received a premiere of Four Pieces for Piano in the Dvorak Museum. In the spring of2005, he received a Charles Ives Scholarship from the Academy of Arts and Letters after a nomination from Ellen Taaffe Zwilich. After completing work towards the doctorate in 2004, he currently teaches at Florida State University and Stubbs Music Center in Tallahassee.

Love Songs

The day is gone, and all its sweets are gone! Sweet voice, sweet lips, soft hand, and softer breast, Warm breath, light whisper, tender semi-tone, Bright eyes, accomplished shape, and languorous waist! Faded the flower and all its budded charms, Faded the sight of beauty from my eyes, Faded the shape of beauty from my arms, Faded the voice, warmth, whiteness, paradise­ Vanished unseasonably at shut of eve, When the dusk holiday - or holinight - Of fragrant-curtained love begins to weave The woof of darkness thick, for hid delight; But, as I've read love's missal through today, He'll let me sleep, seeing I fast and pray.

This living hand, now warm and capable Of earnest grasping, would, if it were cold And in the icy silence of the tomb, So haunt thy days and chill thy dreaming nights That thou would wish thine own heart dry of blood So in my veins red life might stream again, And thou be conscience-calmed - see here it is - I hold it towards you.

I cry your mercy, pity, love - ay love! Merciful love that tantalizes not, One-thoughted, never-wandering, guileless love, Unmasked and being seen - without a blot! O! let me have thee whole, - all, all, be mine! That shape, that fairness, that sweet minor zest Of love, your kiss - those hands, those eyes divine, That warm, white, lucent, million-pleasure breast - Yourself - your soul - in pity give me all, Withhold no atom's atom or I die: Or living on perhaps, your wretched thrall, Forget, in the mist of idle misery, Life's purposes - the palate of my mind Losing its gust, and my ambition blind!

-- John Keats (1819)

Takuma ltoh is currently studying composition at the Shepherd School of Music at Rice University in Houston, Texas, where he is expected to receive his B.Mus in 2006. Most recently, he has received a commission from the New York Youth Symphony to write a concerto for the Shanghai Quartet, which is to be premiered in Carnegie Hall next summer. He is also a recipient of the ASCAP Foundation Morton Gould Young Composer Award, a first place

44 COMPOSER BIOGRAPHIES AND NOTES in the Voices of Change Russell Hom Young Composer Award, and a fellowship to attend the Pacific Music Festival this summer. His past composition teachers include Anthony Brandt, Pierre Jalbert, and Karim Al-Zand. Sounds and Shapes was composed in the spring of2003 for a reading session by the Speculum Musicae during their residency at Rice University. The piece consists of two contrasting short movements: Pyramid is a slow movement with a dramatic opening that slowly evolves into an ethereal atmosphere; Spiral is a relentless, perpetual­ motion movement that features many virtuosic passages in the violin and marimba.

Kenneth A. Jacobs, a native oflndiana, was awarded the Doctor of Musical Arts degree from the University of Texas at Austin. He has received an International New Music Composers Award, Bergen Festival Award, City College ofNew York Electro-Acoustic Prize, the Brown University Choral Prize, Tennessee Composer Orchestral Prize, prizes from the Texas and Tennessee Music Educators Associations, and a Phi Kappa Phi Outstanding Artist Award. He directs the composition program at the University of Tennessee School of Music and is published by Boosey and Hawkes, Seesaw Music, and North I South Editions. He has toured extensively with a dozen multi­ media shows utilizing his artwork projected synchronously with his music. Fifteen complete compact discs of his music have been released on the Opus One, Impact, and Zyode labels. Approaching Northern Darkness is the third movement of a Concerto for Viola and Orchestra written for Sheila Browne in 2004. It is a fiery conclusion suiting the performer's wishes and temperament, with a range comparable to many violin pieces. The work is not at all in the tradition of elegiac or melancholic viola music. The extended middle section is presented nearly constantly in double stops, although they are prevalent in the outer sections as well. The work is presented here in a reduction for viola and piano.

Chan Ji Kim, a native of Korea, earned her BA at E-Wha Women's University in Seoul, Korea and her MA at New York University, where she studied composition with Dr. Ron Mazurek and Dr. Dinu Ghezzo. She is a teaching assistant in the Ph.D music composition program at the University of Florida, where she is studying with Dr. James Sain, Dr. Paul Koonce, and Dr. Paul Richards. Her music has been released on CD's and has aired on KBS radio in Korea. Her piece for flute and tape was performed at the World Music Days in Romania in 1999. Chan Ji Kim was commissioned by NYU Dance Department where she composed a work for the Millennium 2000 Concert. Her chamber pieces and multimedia pieces were performed at the Summer Music Festival in Florence and Assisi, Italy in 2000, 200 l and 2002, INMC (International New Music Consortium) 2003 concert series in Romania, SAi (Sigma Alpha Iota) Women Composer's Showcase, Southeastern Composers Symposium, Korean New Music Society in Seoul, Korea, and Berlin New Music Festival in Germany. Her orchestra p•ece, SAN (The Mountain) premiered at Orchestra of Bucharest in Romania in 2004. Her awards include the 1999/2000 recipient for best composer ofINMC, SCI (Society of Composers. Inc)/ASCAP 2002 student competition regional winner, and many other awards and scholarships. Her electroacoustic music has been performed at Florida Electroacoustic Music Festival and many dance concerts and chamber music concerts in America, Europe, and Korea. She was commissioned by the major international chamber ensemble groups: Anton Webern Quartt in Berlin, Germany, ProContemporonia in Bucharest Romania, Les Basses in Seoul, Korea, and R20 (String Orchestra) in Wroclaw, Poland. Moonbow, for two Pianos, Marimba, and Percussion, is short for Moon-Rainbow. Using a continuous leaps of perfect fifth propel the harmony in a crescent shape like the Moonbow. This consists of a polyphonic texture that manifests itself though single arpeggio pattern and complex chord segments. These two elements alternate though the piece successively, emerging as the many colors of the Moonbow. The piece is a Rondo-like form, which is the main Moonbow arpeggio pattern comes back several times.

45 COMPOSER BIOGRAPHIES AND NOTES

From the Hollywood Bowl to the National Cowboy Hall of Fame, from Carnegie Hall to the "Meet in Beijing" International Arts Festival, Edward Knight's music has found a home straddling the worlds ofjazz, concert, and theatre. Critics have called Knight a "fresh, original voice" with "an inventive sense of humor" (Bernard Holland, The New York Times), who creates music that is "visceral in its excitement" (John von Rhein, Chicago Tribune). Born in Ann Arbor in 1961, Knight earned his DMA from University of Texas at Austin. He studied privately with John Corigliano and was the first American to be named outstanding postgraduate composer at London's Royal College of Music. Recent awards include Best Song Cycle in the American Art Song Competition; ASCAP's Rudolf Nissim Award; first prize in the National Orchestra Association's New Music Orchestral Project; and fellowships to Yaddo and MacDowell. Where the Sunsets Bleed: Chamber Music of Edward Knight was released by Albany Records in 2005. He is director of composition at Oklahoma City University. Illusions, a two-movement work for piano, was written when Knight was 20 years old. The abstract work took its name when the composer flipped to a page in the dictionary, closed his eyes, and pointed to a word. The Prelude sets an atmospheric sound world for the high-energy Toccata to follow. The piece was premiered in 1984 in Austin, Texas by pianist John Ferguson. Illusions won the Grand Prize in that year's Delius Competition and took second place in the Lansing Matinee Musicale, losing out to Knight's Brass Quintet. The Dutch-based American Voices has presented more than 100 performances of Illusions on tours of Europe and Asia.

Juraj Kojs: I was born in 1976 and raised in Slovakia. I am a composer, pianist, and educator. My studies in piano and composition started in Slovakia and later continued in the US. Currently a Ph.D. candidate in Composition and Music Technologies at the University of Virginia, I study composition with Matthew Burtner and Judith Shatin. As a visiting lecturer in computer sound and interactive performance, I joined the faculty of Medialogy Department at Aalborg University in Copenhagen, Denmark for the academic year 2004/2005. My works were performed at the festivals and conferences in Argentina, Chile, Cuba, Denmark, France, Great Britain, Italy, Netherlands, Slovakia, Spaain, and the US. Interest in discovering new acoustic worlds and involving technology in composition processes is reflected in my music. I am a member of SOFIA (Sonorities of Interactive Acoustics) and MIAMI (Medialogy Interactive Acoustics and Multimodal Interfaces) groups that specialize in interactive audio-visual performance and research. On Leporelo: In Slovak, the word leporelo means a children's folding-out book. The string quartet is, thus, a collection of music miniatures in which extended string techniques are explored. The names of individual movements are: Train, Tea Party, Bubbles, Balloons, Tree House, Marbles, Sand Castles, Sparkles, and Little Bells. Continuously decreasing dynamics, contracting intervals, diminishing registers, and decelerating temporal structures formally frame the composition.

Lothar A. Kreck grew up and lived in Germany, in several European and Asian countries and since 1960 in the United States. In addition, extensive travels have given him the chance to experience many cultures that are now expressed in his music. He did not undertake studies in composition, but rather absorbed music by playing in orchestras (cello) in the USA (Washington/Idaho Symphony 1971-1997), Austria (Krems 3 times) and in Germany (Munich 2 times). His efforts in composition go back to 1953. All of today's compositions are the culmination of efforts that began in 1983. Kreck's music first combined the traditional music elements of his early European roots with North American jazz elements so imbedded in the culture of his chosen country, sometimes called Third Stream Music. Later he based his music on a moderate free tonality, then back to more traditional tonality and also to live electronic. He makes extensive use of folksong elements, which he believes are rich sources of music and also of other poetic material. He is a member of the Society of Composers, the American Music Center and the Internet Cello Society. His compositions have been performed by the Maui Symphony Orchestra, the Eugene Symphony Orchestra, the Society of Composers Conferences (regions, VIII, IV, VI), the Dennison University New Music Festival (2004), in Munich (Germany): the Munich Society of New Music Festivals (2004, 2005) and in San Francisco at a public piano/organ recital. Two Premiers will be performed in October of2005: in Munich and at Montana State University. On Nimbus Movements: 1) Bright Halo--The majestic presence of the radiant halo with its serenity brightens our spirit and brings joy into our lives. How sad it would be to suddenly miss it. 2) Rising Clouds--Happy memories of halo's vitality spending light start out this second part of the composition. However, now clouds appear and begin to cover the brightness of the past. Soon more and more the sky continues to darken noisily and with it makes the once

46 COMPOSER BIOGRAPHIES AND NOTES radiant halo invisible. Our urgent hope is for disappearing clouds, and the darkness changing back to brilliance. When will it be? For now only waiting. How sad.

Libby Larsen (b. 24 December 1950, Wilmington, Delaware) is one of America's most prolific and most performed living composers. She has created a catalogue of over 200 works spanning virtually every genre from intimate vocal and chamber music to massive orchestral and choral scores. Her music has been praised for its dynamic, deeply inspired, and vigorous contemporary American spirit. Constantly sought after for commissions and premieres by major artists, ensembles and orchestras around the world, Libby Larsen has established a permanent place for her works in the concert repertory. Larsen has been hailed as "the only English-speaking composer since Benjamin Britten who matches great verse with fine music so intelligently and expressively" (USA Today); as "a composer who has made the art of symphonic writing very much her own." (Gramophone); as "a mistress of orchestration" (Times Union); and for "assembling one of the most impressive bodies of music of our time" (Hartford Courant). Her music has been praised for its "clear textures, easily absorbed rhythms and appealing melodic contours that make singing seem the most natural expression imaginable." (Philadelphia Inquirer) "Libby Larsen has come up with a way to make contemporary opera both musically current and accessible to the average audience." (The Wall Street Journal). "Her ability to write memorable new music completely within the confines of traditional harmonic language is most impressive." (Fanfare) Libby Larsen has received numerous awards and accolades, including a 1994 Grammy as producer of the CD: The Art of Arlene Auger, an acclaimed recording that features Larsen's Sonnets from the Portuguese. Her opera Frankenstein, The Modem Prometheus was selected as one of the eight best classical music events of 1990 by USA Today. The first woman to serve as a resident composer with a major orchestra, she has held residencies with the California Institute of the Arts, the Arnold Schoenberg Institute, the Philadelphia School of the Arts, the Cincinnati Conservatory, the Minnesota Orchestra, the Charlotte Symphony, and the Colorado Symphony. Larsen's many commissions and recordings are a testament to her fruitful collaborations with a long list of world-renowned artists, including The King's Singers, Benita Valente, and Frederica von Stade, among others. Her works are widely recorded on such labels as Angel/EM!, Nonesuch, Decca, and Koch International. Holder of the 2003-2004 Harissios Papamarkou Chair in Education at the Library of Congress and recipient of the Eugene McDermott Award in the Arts from the Massachusetts Institute of Technology as well as a Lifetime Achievement Award from the American Academy of Arts and Letters, Libby Larsen is a vigorous, articulate champion of the music and musicians of our time. In 1973, she co-founded (with Stephen Paulus) the Minnesota Composers Forum, now the American Composers Forum, which has been an invaluable advocate for composers in a difficult, transitional time for American arts. Consistently sought-after as a leader in the generation ofmillenium thinkers, Libby Larsen's music and ideas have refreshed the concert music tradition and the composer's role in it. The Cowboy Songs are three character songs. Two of the texts are drawn from cowboy/girl poetry, Bucking Bronco with a text by Belle Starr and Billy the Kid with an anonymous text. The third, Lift me into Heaven Slowly is the retitled Sufi Sam Christian of American poet Robert Creeley.

47 COMPOSER BIOGRAPHIES AND NOTES

Texts for Cowboy Songs

Bucking Bronco

My true love is a rider wild broncos he breaks, Though he promised to quit for my sake. It's one foot in the stirrup And the saddle put on with a swing And a jump he is mounted and gone.

The first time I met him it was early one spring A-riding a bronco a high headed thing The nest time I was him 'twas late in the fall a-swinging the girls at Tomlinson's ball. He gave me some presents Among them a ring The return that I gave him was a fat better thing; A young maiden's heart, I'd have you all know, That he won it by riding his bucking bronco. Now all young maidens, where ever you reside, Beware of the cowboy who swings rawhide, He'll court you and pet you and leave you to go in the spring up the trail on his bucking bronco --Belle Star

Lift me into heaven slowly

Lift me into heaven slowly, cause my back's sore and my mind's thoughtful, And I'm not even sure I want to go. --Robert Creeley

Billy the Kid

Billy was a bad man. Carried a big gun He was always after good folks And he kept them on the run He shot one every morning To make his morning meal Let a man sass him He was sure to feel his steel. He kept folks in hat water, Stole from every stage, When he was full of liquor he was always in a rage. He kept things boiling over, He stayed out in the brush, When he was full of dead eye, Other folks had better hush. Billy was a bad man, But one day he met a man a whole lot badder and now he's dead And we ain't none the sadder --Anonymous

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On Ring of Fire: "We only live, only suspire consumed by either fire or fire." T.S. Eliot. Commissioned by the Charlotte Symphony Orchestra Society, Inc. through the generous assistance ofthe AT & T Foundation for New Works and the Arts & Science Council-Charlotte/Mecklenburg, Inc., and the North Carolina Arts Council.

HyeKyung Lee, a graduate from The University of Texas at Austin (DMA in Composition and Performance Certificate in Piano) studied with Karl Korte, Donald Grantham, Russell Pinkston, Dan Welcher, and Stephen Montague. She also studied with Bernard Rands at the Atlantic Center for the Arts in March 1998, and Ladislav Kubik at the Czech-American Summer Music Institute in Prague 1995. An accomplished pianist, HyeKyung has performed her own compositions and others in numerous contemporary music festivals and conferences. She has also performed over 200 contemporary works by other composers during her tenure as a member of the UT New Music Ensemble. Her Suite for Solo Piano is available on New Ariel Recordings (performed by Jeffrey Jacob) and Opposed Directions for Disklavier and Live-electronics (performed by herself) on SEAMUS CD Vol.8, and Saxophone Concerto on Mark Custom Recordings (performed by Havery Pittel with the University of Texas Wind Ensemble). She recorded a CD, "Blue"with saxophonist Todd Yukumoto (released on Equilibrium), featuring her own Sonatina and Musique Legere. She has taught at the University of Hawaii, Bowling Green State University, and Oberlin Conservatory of Music. Currently she is on the faculty at the Ohio Wesleyan University. Musique Legere makes use of a build-up of stacked fourth into an arpeggio, creating anxious coming and goings between the instruments over the rhythmic ostinato, then into a more lyrical, melodic motion.

Chihchun Chi-sun Lee is originally from Kaohsiung, Taiwan and now resides in Tampa, Florida. She has spent many years as composer-in residence with Taiwan's premiere traditional Chinese instrument group, Chai Found Music Workshop. Her music has had numerous performances and broadcasts worldwide in Australia, Austria, Bulgaria, Canada, Croatia, the Czech Republic, France, Germany, Hawaii, the Netherlands, the Philippines, Poland, Singapore, Taiwan, Costa Rica, Ukraine, and around the continental United States. Her works appear on CDs from the Albany/Capstone label, ERMedia's Masterworks, NACUSA, and Celebrity Music Pte. Ltd. in Singapore and has been published by World-Wide-Music. Recently, she won the International Brandenburg Symphony prize, in which she will write a new work for this orchestra in 2006. She has received numerous honors; these include the Harvard Fromm Fellowship, Taiwan National Culture and Arts Foundation commission, the SCI/ASCAP Student Composer Commission, ISCM/League of Composers Competition, International Festival of Women Composers Composition Prize, the Hong Kong Chou Scholarship, the Joyce Dutka Arts Foundation, the "Music Taipei" award, the Fresh Ink Orchestral Composition Competition, the Margaret Blackbum Competition, NACUSA, the Taiwan Environmental Protection Bureau Music Contest, the Taiwan Provincial Music Competition, the Taiwan National Songwriting Prize, a Taiwan International Community Radio grant, and the Taiwan International Young Composers Competition. She received degrees from the University of Michigan (D.M.A. Composition), Ohio University (M.M. Composition/M.A. Film Scoring), and Soochow University in Taipei (B.F.A. Theory and Composition.) Her teachers included William Albright, William Bolcom, Yien-Chung Huang, Yien Lu, Mark Phillips, Bright Sheng and Loong-Hsing Wen. She has previously taught at Johnson County Community College, Washburn University, Rhodes College, and the University of Michigan, and is currently on the faculty of the University of South Florida. Tltgirbla. Wand Zheng Tu are two movements of a suite of a solo compositions for Chinese guzheng (a koto-like zither) that were commissioned by Taiwanese performer Hsing-Hui Chen. The first movement, Thgirbla. W, was written in memoriam of the composer's mentor, William Albright, who suddenly passed away on September 17, 1998 at the age of 54. This movement starts with the East Asian restraint that symbolizes the sadness upon his death, while also alluding to the meditative and mysterious side of the man himself. The middle section reflects his outer personality and his signature compositional style---interesting, spectacular and unpredictable! The music develops through both smooth and contrasting moments. The ending recapitulates the sadness from the beginning; this represents the shock of suddenly loosing someone so important. (BTW: The title is the retrograde ofW. Albright. Representing the unpredictability oflife!) The second movement, Zheng Tu, alludes to the following narrative: "Gazing through the mist of dawn, the warrior reflected. Life flashed by, as a day was just relived; struggles, glories, keenly caressed the healed wound. As the dust of passion fell, then settled, the road lengthened; a fearless mind, rejuvenated, leaded toward another journey of determination worth living for." Commissioned by Chen to celebrate a decade-long friendship with the composer, the pentatonic tuning of this movement symbolically represents Ms. Chen's determination and passion for Zheng even after many twists and turns in life. The meaningful depth flows through the music. Zheng-Tu also phonetically implies "The journey of conquest." For every facet of life, obstacles ought to be conquered with an optimistic determination. However, the journey is definitely individualized.

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David Long (b. 1950) was born in Cleveland, Ohio and was raised in Arizona. He holds a BM from Arizona State University and MM and DMA degrees from University of North Texas. Long is currently a Professor of Music and Composer-in-Residence at the University of Mary Washington in Fredricksburg, Virginia where he teaches courses in theory, composition and orchestration. Spirits is a piece for percussion ensemble and piano, commissioned and premiered by the James Madison University Percussion Ensemble in 2002 under the direction of C. William Rice. The percussionists perform on an array of thirty-seven instruments. In two movements, the first is The Succubus, a demon of the night who masquerades as a seductive woman beguiling men in their sleep. The movement begins by expressing that curious state between wakefulness and sleep. The succubus then enters via the piano, and the percussion keyboards sing her siren song. The man is drawn into the seduction, but the ecstasy becomes hampered by the man's confusion over reality vs. fantasy. The movement ends with wondering ... was it real? The second movement, The Poltergeist, represents a malevolent spirit whose hauntings are characterized by loud noises, strange lights, rapping sounds, shrieks, and moving objects. The genre of the percussion ensemble provides the unique capability to provide such evocations.

Carleton Macy (b. 1944) is a composer of works ranging from vocal and orchestral to jazz and music for non­ western instruments. Macy's music often integrates a variety of historical and ethnic stylistic influences. His compositions have been performed throughout the US, in Europe and Asia, and are recorded on INNOVA, DAPHENO, ACCESS RECORDS, aca Digital Recordings, and Latvian Radio. Macy's Composition teachers have included William Bergsma, Robert Suderberg, and Donal Michalsky. Macy is Professor of Music at Macalester College where he has taught since 1978. He teaches Music Theory and Composition, and directs the Jazz Band, the Collegium Musicum, and an Improvisation Ensemble. Dr. Macy has an active interest in Non-Western music, presently serving as Artistic Director, conductor and performer with the Minnesota Chinese Music Ensemble and a drummer with the Macalester Highland Pipe Band. Wistful Green is an "upper mid-west" sort of piece. Its single movement, composed during the height of a Minnesota winter, has frequent spells of the anxiety brought on by never-ending white and blue. Lyrical visions of warmth and greenness represent the hope that winter will dissipate and the lushness of summer will return. This trio is the third ofa series of"Prairie Trios," all of which use piano and at least one wind instrument.

Bruce P. Mahin is a Professor of Music, and Director of the Radford University Center for Music Technology. He received the B.Mus from West Virginia University, M.Mus from Northwestern University and the Doctor of Musical Arts degree from the Peabody Conservatory of The Johns Hopkins University. Mahin is a former president of the Southeastern Composers League, a former co-chair of Society of Composers Region 3, a research fellow at the University of Glasgow (Scotland), and the recipient of awards from the Virginia Commission for the Arts, Meet the Composer, Annapolis Fine Arts Foundation, Res Musica, Southeastern Composers League and others. His works are available on compact disc through Capstone Recordings (CPS-8624 and CPS-8611) and published in score by Pioneer Percussion, Ltd. and in the Society of Composers Journal of Musical Scores. Blue expresses the color of blue through four movements of constantly changing timbres and textures of the piano. The work makes use of extended performance techniques in order to elicit a wider range of timbral variety than might be otherwise possible. The first movement explores the darker shades of blue, ranging from almost black to deep azure. Shades of color are expressed through dense clusters in the lowest range developing into muted notes and harmonics in upper ranges. The second movement explores sonic contrasts resulting from playing "inside" the piano and on the keys to elicit colors derived from washes of sound. This movement, in contrast to the first, explores lighter shades of blue with sounds which emphasize upper partials in the harmonic content.

Ed Martin is a composer of contemporary instrumental and electro-acoustic music. His music has been awarded first prize in the 2005 Electro-Acoustic Miniatures International Contest, the 2004 Craig and Janet Swan Composer Prize for orchestra music, the 2004 Tampa Bay Composers' Forum Prize for Excellence in Chamber Music Composition, and the 21st Century Piano Commission Competition at the University of Illinois. He was also recently awarded second prize in the 2005 ASCAP/SEAMUS Student Commission Competition. He has also twice been named a regional winner and national finalist in the SCI/ASCAP Student Composition Commission Competition and has been a finalist in the A SC AP Morton Gould Young Composers Awards. His works have received many performances throughout the United States and in Europe at such events as SEAMUS national conferences, Society of Composers, Inc. conferences, Florida Electro-acoustic Music Festivals, North American Saxophone Alliance conferences, and Confluences - Art and Technology at the Edge of the Millennium in Spain. Martin, originally from Bethlehem, PA, holds a master's degree in composition from the University of Texas at

50 COMPOSER BIOGRAPHIES AND NOTES

Austin, a bachelor's degree in composition from the University of Florida, and is currently completing his doctorate in composition at the University of Illinois at Urbana-Champaign. He has studied composition and electronic music with Scott Wyatt, Stephen Taylor, Guy Garnett, Dan Welcher, Donald Grantham, Russell Pinkston, Steven Montague, James Paul Sain, and Budd Udell. In addition to composing, Martin has appeared as a guest conductor with the University of Illinois New Music Ensemble and has conducted several of his own works and the works of colleagues. He is active as a pianist and has studied piano with William Heiles and Kevin Sharpe. He also is extremely passionate about teaching music and has recently completed a semester as a Visiting Lecturer at the University of Illinois and is currently teaching at Illinois Wesleyan University. For more information, please visit www .edmartincomposer.com. Apparitions (2004) is a piece for alto saxophone and electro-acoustic accompaniment. The title refers to the reoccurring saxophone sounds that appear in various forms throughout the accompaniment. These sounds can first be heard as long, delicate tones that emerge from the soloist's line, while further along in the piece, they appear as short, melodic phrases that subtlety taunt the soloist. These "ghost saxophones" become more and more agitated and increasingly torment the soloist as the piece builds to its climax. Eventually, the soloist is overcome by the accompanying texture of ferocious, growling saxophones. This piece was composed for saxophonist Michael Bovenzi for a performance at the 2004 North American Saxophone Alliance National Conference.

Charles Norman Mason has won numerous awards including a Rome Prize (2005-06 Samuel Barber Fellowship) from the American Academy in Rome, second prize in the International Society of Bassists 2004, an orchestra prize in the Premi Internacional de Composici6 Musical Ciutat de Tarragona, first Prize in the Atlanta Clarinet Association Composition Competition, a National Endowment of the Arts Individual Composers Grant, a BMI Award for Young Composers, and honorable mentions from the International Bourges Electro-Acoustic Competition and the MACRO orchestra competition. He has filled commissions from the Dale Warland Singers, violinist Karen Bently Pollick, the New York Goliard Ensemble, Metropolitan Opera Soloist Mildred Allen, Steinway Artist William DeVan , bassist Robert Black, Onix Ensemble of Mexico, the Luna Nova Ensemble, the Fairbanks Symphony, and the Alabama Symphony. His works have been performed throughout the world including the Aspen Summer Music Festival, and new music festivals in Prague, Bucharest, Bulgaria, and Sao Paulo. Mason is founder of Living Artist Recordings, and is the 2004 composer in residence with the Goliard Ensemble. All Four One for Saxophone Quartet was commissioned by the Chicago Lithium Quartet and premiered in Chicago April 2002. This piece is another example of Mason's style of composition he refers to as Hyper­ Connectivism. He defines Hyper-Connectivism as follows: "The word Connective refers to the idea of disparate parts working together towards a common goal. The term Hyper refers to on the one hand, the edge where great things happen; on the other hand to the point where at any moment, all could fall into disarray, the border right before chaos."

Mike McFerron is an assistant professor of music and composer-in-residence at Lewis University in the Chicago area. He has been on the faculty ofUMKC and the Kansas City Kansas Community College, and has served as resident composer at the Chamber Music Conference of the East/Composers' Forum in Bennington, Vt. Mcferron is founder and co-director of Electronic Music Midwest. Mike Mcferron is an assistant professor of music and composer-in-residence at Lewis University in the Chicago area. He has been on the faculty ofUMKC and the Kansas City Kansas Community College, and has served as resident composer at the Chamber Music Conference of the East/Composers' Forum in Bennington, Vt. Mcferron is founder and co-director of Electronic Music Midwest. McFerron has been a composers fellow at the MacDowell Colony (2001 ), June in Buffalo (1997), and the Chamber Music Conference of the East/Composers' Forum in Bennington, Vt (1999). His music has been featured on SCI National Conferences, SEAMUS National Conferences, University of Richmond's 3rd Practice Festival, Spark Conference, Annual Florida Electroacoustic Music Festivals, Spring in Havanna-2000 in Cuba, the MAVerick Festival, several SCI regional conferences, and concerts and radio broadcasts across the U.S. and throughout Europe. McFerron's music can be heard on numerous commercial CDs as well as on his website at http://www.bigcomposer.com. lewis Fanfare was Written for the Metropolitan Youth Symphony Orchestra in residence at Lewis University, Lewis Fanfare was completed August 2004.

Born in Canada in 1924, Neil McKay has been a citizen of the U.S. since 1964. Early in his career he was a jazz musician, bandsman in the Canadian Navy, and arranger/conductor in radio. He received his education at the Toronto Conservatory of Music, the University of Western Ontario, and the Eastman School of Music and subsequently had a teaching career at the University of Wisconsin and the University of Hawai'i, retiring from the

51 COMPOSER BIOGRAPHIES AND NOTES

latter in 1987 as Professor Emeritus. At present he enjoys a composite life of composing, travel and golf McKay has been honored over the years with prizes, fellowships and commissions and has been performed internationally. The Hawai'i State Foundation on Culture and the Arts awarded him a fellowship "in recognition of artistic excellence, significant accomplishments in Music Composition and commitment to the Arts in the State ofHawai'i." Organizations to which he belongs help keep him in touch with mainland colleagues: ASCAP, The Society of Composers, Inc., The American Music Center and The College Music Society. He is a Fellow of the MacDowell Colony and is listed in the Sigma Alpha Iota composer's bureau. His website is www.neilmckaymusic.com. His compositional style ranges from somewhat conservative to avant garde and experimental. Many works are influenced by jazz, folk music, and Asian and Polynesian cultures. The Symphony for Winds is in classical form with three movements instead of the traditional four. In the first movement, Risoluto, a short motive is introduced and from it the musical material for all three movements evolves. The movement is in sonata form, the first theme lyric and modal, the second chromatic and fragmented. The second movement, Larghetto, is wistful in mood. Two themes, each with an accompanying ostinato, are presented in tum. They then combine with elements of the ostinati to form a short climax, after which the first theme returns. The final movement is in rondo form. Two themes, one energetic, the other tranquil (both transformations of first movement material), present themselves and then are transformed as subject and counter-subject of a fugue. The fugue extends into the finale and the movement ends with a vigorous fortissimo climax.

Helena Michelson was born in Moscow, Russia and was raised in Riga, Latvia. First trained as a pianist, she began studying music in Riga at the age of five. In the United States, she continued her music education studying piano with Mack McCray at the San Francisco Conservatory of Music and, in masterlasses, with Richard Goode and Awadagin Pratt. She completed her undergraduate studies in Music at the University of California, Berkeley and holds a doctorate in composition and theory from the University of California, Davis. She has studied composition, among others, with Olly Wilson, Cindy Cox, Pablo Ortiz, and, in masterclasses, with Louis Andriessen, Martin Bresnick, Mario Davidovsky, Eric Chasalow, Philippe Leroux, Bernard Rands, and Judith Shatin. She has been a participating composer in MusicX a festival of new music at the University of Cincinnati College-Conservatory of Music in 2003 and again, in 2005, an invited composer at Domaine Forget in Quebec, and a composition fellow at the Composer's Conference at Wellesley College and the Ernest Bloch Composers' Symposium. A recipient of numerous honors and awards, she is the Grand Prize winner in the 2004 Composers Guild Composition Contest. She has also been one of the winners in the 2002 Search for New Music sponsored by the International Alliance for Women in Music (IA WM) and is the 2005 winner of the Judith Lang Zaimont Prize in the IA WM's Search for New Music. Scintilla (2004) is cast in a single movement following an ABA form. In this piece I am particularly interested to examine instrumental colors and explore rhythmic and motivic elements, treating groups of instruments as interacting blocks. Musically, it is based on several short gestures which are developed throughout the piece in a variety of ways.

Ellsworth Milburn received his musical education at UCLA, Mills College, and the College-Conservatory of Music, University of Cincinnati, where he subsequently taught for five years. He served for almost 25 years on the faculty of the Shepherd School of Music at Rice University as Professor of Music and Chair of the Composition and Theory Department. He took early retirement in 2000 and now lives in northeastern Pennsylvania, where he devotes his time to composing. In an earlier phase of his career he played jazz and was music director for The Committee, San Francisco's improvisational theater company, and wrote music for radio, television, and film. As a composer he has received four grants from the National Endowment for the Arts, a Presser Foundation Grant for publication of his String Quartet #1, ASCAP Awards, and residencies at MacDowell Colony and Yaddo. Among others, he has received commissions or performances from the Houston Symphony, The Seattle Symphony, the Springfield (MO) Symphony, the Pardubice (Czech Republic) Chamber Symphony, the Concord, Blair, and Lark String Quartets, Da Camera Society, The Kandinsky Trio, and the Concert Artists Guild. His music has been featured on National Public Radio's "Performance Today'', and has been recorded on CRI, Gasparo, Grenadilla, and Summit labels. His recent CD, on CRI, features two string quartets and other chamber music. Salus ... esto was composed to help celebrate the fiftieth anniversary of the Springfield Symphony Association of Springfield, Missouri. The words of the title are the first and last of the motto of the state of Missouri, from Cicero, Salus populi suprema lex esto (The well being of the people is the supreme law). As part of the commemorative aspect ofthe piece, the name of the city of its premiere -- Springfield-- occurs in Morse code in several of its rhythms. For example, the opening passage in the timpani contains the code in elongated rhythms, as does the first solo clarinet passage. The work is in one movement, divided into five sections: Andante con moto -- Scherzando --

52 COMPOSER BIOGRAPHIES AND NOTES

Adagio -- Scherzando -- Andante con moto. This arch-like shape allows for returns of musical material in varied ways: The first and last sections are similar, as are the second and fourth, with the middle section being unique. The basic melody (which emerges in the clarinet solo mentioned earlier) is derived from the opening fanfare-like pyramid in the brass. A large range of orchestral colors, textures, and dynamics is exploited, and the harmonic language, while centered on the pitch "E", spans the musical extremes of tonality and atonality, consonance and dissonance. Salus ... esto was commissioned by the Springfield Symphony Association with the assistance ofa grant to the composer from the National Endowment for the Arts.

Janice Misurell-Mitchell, composer, flutist and performance artist, is Artistic Co-director of CUBE Contemporary Chamber Ensemble in Chicago. A member of the faculty of the University of Chicago Department of Music, she is also involved in the creation of programs and courses about women in music. She was chosen as a "Chicagoan of the Year" in classical music for 2002 by the Chicago Tribune. Her honors include grants from the Illinois Arts Council, the Chicago Department of Cultural Affairs, Meet the Composer, residencies at the Atlantic Center for the Arts and the Ragdale Foundation, and awards and commissions from the National Flute Association, the Youth Symphony of DuPage, the International Alliance for Women in Music, Northwestern University and others. Her works are performed throughout the United States and Europe and have been featured on the Public Broadcasting Network, the National Flute Association Conventions, at the National Museum for Women in the Arts in Washington, D.C., the Museum of Contemporary Art, Symphony Center in Chicago and at Carnegie Hall. Her music is available on compact disks produced by MMC Recordings, OPUS ONE Recordings, and Arizona University Recordings. Two of her performance pieces, After the History and Scat/Rap Counterpoint, are available on video. Her music is published by Margun Music (available through Shawnee Press), the Needham Publishing Company, and Arizona University Publications. Sometimes the City is Silent, for solo flute was commissioned by the National Flute Association for the 2003 High School Soloist Competition. The piece is based on a series of poetic and musical sketches I made in the fall of 2000 while I was teaching at New York University and living in Greenwich Village on the twenty-fifth floor ofa hi­ rise. When looking at the view at night I would sometimes try to read the outlines oflights (on bridges and in windows) and shapes on rooftops (water towers and cast iron ornament) as a kind of graphic notation; I would improvise flute lines based on these images. On nights when the windows were open I could hear the sounds of the traffic and people on Houston Street below; I sometimes improvised with these sounds, recorded them and also wrote short poems about them. On rare occasions there were times, usually for only a few moments, when the city was silent. This piece is about all of the above; it is dedicated to the spirit of the people of New York City.

Daniel Nass (b. 1975), a native of Minnesota, received a Bachelor of Arts degree in Music Theory and Composition from Saint Olaf College in 1997, under the direction of Peter Hamlin. In 2000, he earned a Master of Music degree in Composition from the University of Missouri at Kansas City, where he studied with James Mobberley, Paul Rudy, and Chen Yi. He is currently pursuing a Doctorate of Musical Arts degree in Composition at the University of Texas at Austin, where his principal teachers have been Kevin Puts, Russell Pinkston, and Donald Grantham. A member of ASCAP, SCI, SEAMUS, and American Composers Forum, Daniel has received various awards and recognitions, including ASCAP awards, as well as invitations to SEAMUS and SCI conferences, the 2002 Seoul International Computer Music Festival, and the 2003 International Computer Music Conference in Singapore. His works are published by BaldNass Music, and recordings are available on the Centaur Records label. I came across the text for Fumeux Fume (Solage, 14th C.) while studying Renaissance music, and was immediately struck by the vivid imagery and wordplay. Because interpretation of the text led me to view the depicted character deep in thought, I sought to portray the course of his thought process. Starting with an initial thought (on a single pitch), and leading to more complex contemplations, the character alternates between moments of clarity and confusion, finally evaporating, himself, into a thoughtful haze.

Fumeux fume par fumee. Smoky smolders smokily, Fumeuse speculacion. In smoky speculation. Qu 'antre fummet sa pensee. Thus he steeps his thoughts in smoke. Fumeuxfume par fumee. Smoky smolders smokily. Quar fumer molt Ii agree, For it suits him well to smoke, Tant qu'il ait son entencion. Until he gets his way. Fumeuxfume par fumee. Smoky smolders smokily, Fumeuse speculacion. ln smoky speculation. -- Anonymous

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Hans-Henrik Nordstrom's music has often been described as being markedly Nordic in its tonal quality and the music in some ways does owe much to Nordic music and Nordic nature. Winter Zon is the Flemish translation for winter sun. The Flemish title is due to the fact that the work was commissioned by Thelema Trio, who call Flanders their home. The work is composed in a mood of winter. Walking towards west you meet darkness; the clouds are black and ominous, heavy rain or snow. Walking home again you tum around, head towards east and meet back the sun. Pale and whitish yellow without much warmth but yet with some light. Winter Sun. The big contrasts between this dark west and bright east are stressed by the instrumentation of the piece with the baritone saxophone and the contrabass clarinet in the deepest darkness and the piano which embraces the whole spectrum, including the utmost bright and crystalline register. This work was composed during the first months of2005.

Douglas M. O'Grady (b. I 974) is currently Assistant Professor of Music in Theory and Composition at Georgia College & State University in Milledgeville, Georgia. Dr. O'Grady holds degrees from the University of Alabama, the University of Louisiana, and the University of Massachusetts. His composition teachers have included C. P. First, Tristan Murail, Sir Harrison Birtwistle, and Charles Fussell. Strata is the result ofa commission earned by placing 2nd in the 2004 SCI/ASCAP Student Commission Competition in the final year of the composer's doctoral work at the University of Alabama. The piece, a three­ movement work written for oboe, Bb clarinet, and bassoon, continues the composer's idea of"accumulation and dissolution of complex musical objects" begun in his 2004 mixed quartet Metamagical Themas. Multiple processes of accumulation and dissolution in the realms of pitch, rhythm, and form interact simultaneously, creating an atmosphere of constant variation with key structural points articulated where the processes become synchronized. The orchestration creates a deliberate ambiguity concerning the role of each performer in terms of principal voice vs. accompaniment, providing an environment of constantly shifting focus upon each of the three performers who often perform as soloists simultaneously.

Jacques Palinckx is a guitarist and composer who formes the Palinckx Band with his brother Bert and three other musicians since 15 years. They became one of the most complex and exciting avant-garde rock groups from the Netherlands. His music goes from cross-over to improvisation. On All Together: This piece was composed for Thelema Trio and premiered on 13 F ebruari 2005 on "the week of contemporary music" in Ghent, Belgium.

Joo Won Park (b. 1980) is currently working towards the PhD in Composition at the University of Florida where he is studying with James Paul Sain, Paul Richards, and Paul Koonce. He graduated from the Berklee College of Music majoring in Music Synthesis, under the direction of Richard Boulanger. His music and audio applications have been featured in several festivals such as the Florida Electro Acoustic Music Festival, Society for Electro­ Acoustic Music in the United States Conference, Seoul International Computer Music Festival, and International Computer Music Conference, as well as in print in Electronic Musician, ICMC 2004 DVD, and The Csound Book. He is also the general manager of the Florida Electroacoustic Music Festival since 2002. Tremolo rediscovers the musical value of the tremolo and its related sonic properties. The bass clarinet was chosen for its ability to easily execute many tremolo variations and other fluctuations of pitch and spectra. The percussive elements of the instrument, for example the extensive use of key clicks and breath noise, are amplified. Ronald Keith Parks, born Waynesville, NC, 1960, is an active composer of acoustic and electronic music. His diverse output includes large orchestral works, instrumental and vocal chamber music, choral music, electroacoustic music, and interactive computer music. His compositions and papers have been selected for inclusion at numerous national and international festivals, conferences, and numerous performers' and composers' concert recitals around the world. Dr. Parks' research into granular sampling, granular synthesis methods, and FFT-based spectral filtering is included in the Amsterdam Catalogue of Csound Computer Instruments and has been featured at SEAMUS, SCI, and various other conferences and professional venues. His honors and awards include the Aaron Copland A ward, the Distinguished Junior Professor Award at Winthrop University, the South Carolina Music Teacher's Association Commission, Honorable Mention in the Shepard Composer of the Year Award, two Giannini Scholarships for Music Composition plus the Chancellor's Award for Excellence at the North Carolina School of the Arts, and three Graeffe Memorial Scholarships for Composition and the Presidential Recognition Award at the University of Florida. His music is available on the Electronic Music Foundation label (CD 031) and the Society of Composers, Inc. Student Chapter CD Volume I from the University of Florida. Dr. Parks received the BA in composition from the North Carolina School of the Arts, an MM in composition from the University of Florida, and a Ph.D. in composition from

54 COMPOSER BIOGRAPHIES AND NOTES

the University at Buffalo. He is currently assistant professor of composition, music technology, and theory and is the Director of the Winthrop Computer Music Labs at Winthrop University. FRINGE is an exploration of the spaces between musical parameters. Perceptually, there is a moment when we cease to hear notes as a chord and hear a timbre. Similarly, series of notes may, or may not be heard as a melody depending on how the notes are presented. Also, rhythms and rhythmic patterns can be heard as motives or as patterns depending on perception and presentation. FRINGE explores the spaces between these perceptual moments by moving from one state to another. Lines emerge as melodies, melodic patterns combine and form textures, repeated notes destabilize and form polyrhythms, and harmony and timbre merge. FRINGE was made possible by a generous commission from the South Carolina Music Teachers Association.

Andrian Pertout was born in Santiago, Chile, 17 October, 1963, and lived in Gorizia, Northern Italy for several years before finally settling in Melbourne, Australia in 1972. He is currently undertaking a Doctor of Philosophy (PhD) degree at the University of Melbourne on Tweddle Trust and Melbourne Research scholarships. Composition awards include the Betty Amsden Award- 2005 3MBS FM National Composer Awards, First Prize in the 2004 ISU Contemporary Music Festival/Louisville Orchestra Composition Competition (USA), Judges' and Audience Prize of the 2003 Oare String Orchestra Third International 'Music for Strings' Composing Competition (UK), the 2002 Michelle Morrow Memorial Award for Composition, and the 2002 Zavod Jazz/Classical Fusion Award. Andrian's music has been performed in China, Croatia, France, USA, Belgium, Chile, Italy, Slovenia, Canada, Republic of Macedonia, UK, Austria, Korea and Australia by orchestras that include the Melbourne Symphony Orchestra, Tasmanian Symphony Orchestra, The Louisville Orchestra (USA), The Foundation Orchestra (USA), La Chapelle Musicale de Tournai (Belgium), and the Oare String Orchestra (UK). Chant d'augmentation or 'Song of Augmentation' highlights the augmented scale consisting of alternating minor third and minor second intervals. The augmented chord is also featured, at times with an added minor third (producing the set 0, 3, 4, 8), while other times superimposed with its major seventh transposition (0, 4, 8 combined with its t 11 producing a symmetrical set or combinatory hexachord made up of alternating minor second and minor third intervals). The piece also utilizes 'golden mean' or 'golden section' proportions. The fraction represented by this ideology is .618, and manifests itself in Chant d'augmentation with 'moment de reflexion' or 'moment of reflection' in bar 71, where the 'golden mean' is underscored with three seconds of silence.

Scott Robbins is a native of Boone, North Carolina, whose music has garnered a distinguished record of awards, accolades, and performances. His works have been recorded for release on CD by the Czech Radio Orchestra, Ensemble Radieuse, the Florida State New Music Ensemble, the Moyzes Quartet, and the Warsaw National Philharmonic Orchestra, and performed nationally and internationally, including at venues such as the Norfolk Chamber Music Festival, the College Music Society's National Conference, the Christian Fellowship of Art Music Composers' National Conference, the Plymouth Music Series Orchestral Reading Project, and three national conferences of the Society of Composers, Inc. Awards include the International Sergei Prokofiev Prize Composers Competition, the Norfolk National Composition Prize, NACUSA Young Composers Award, American Music Center Composer Assistance Program, and the Amadeus Choir Christmas Carol Writing Award. The most recent award was the Loundoun Symphony's American Composers Competition for his work Spooky Does the Bunny-Hop (Extended Orchestral Remix). Commissions have come from the Dale Warland Singers, Ensemble Radieuse, Master Musicians Collective Orchestral Recording Project, the National Flute Association, Spartanburg Renaissance Project, and the South Carolina Music Teachers Association. Scott composed the soundtrack for the CINE-Eagle award-winning film The Clearing, which has been broadcast on Bravo, HBO, and Florida and Georgia Public Television. Robbins received degrees from Wake Forest (BA), Duke (AM), and Florida State (D Mus) universities, and joined the faculty at the Petrie School of Music in 1998, serving as Chair of the Department of Musicology and Composition before assuming the role of Assistant Dean. He lives in Spartanburg, with I wife, 2 kids, 2 cats, 1 beagle. The Trio for Violin, Cello, and Piano is the first work I composed upon moving to Spartanburg, SC. I was excited about my new job, new colleagues, and new home, and that excitement found its way into this piece: the new job emphasized musical excellence, the new colleagues were great performers. And the new home? That's where I got some of the musical structure for the piece, from my new address, 789 Glendalyn Avenue. All three movements rely on successions of seven, then eight, then nine events to make them work. Formally the work is a rather straightforward sonata cycle, its movements following the time-honored fast-slow-fast design. The first movement features short soliloquies from the three performers, which alternate with rhythmic sections (sometimes hypnotic, sometimes funky). The 7-8-9 shows up in the rhythmic patterns, often arranged in 7+8+9 eighth-note

55 -COMPOSER BIOGRAPHIES AND NOTES

groupings. The second movement is a sad chaconne over a series of descending chords (7, then 8, then 9). In true variation form practice, even when the piece brightens up, changes key, and sounds as ifthe chords have gone away, they haven't. The closing rondo brings back ideas from the earlier movements, including the earlier funky music as well as the sad chaconne theme, which is even recast as a march at one point.

A native of New Jersey, John C. Ross received training in composition at Florida State University and the University ofiowa; his principal teachers were John Boda and D. Martin Jenni. Thanks to a Fulbright grant, he has also studied with Philippe Manoury in Lyon, France. His music has been performed at the Society of Composers, Inc. National Forums, several university music schools, and in France. His awards include the first Abraham Frost Prize from the Univeristy of Miami, several ASCAP awards (including a young composer grant), a summer residency at Yaddo, and the 2002 RudolfNissim Award. After a Line By Theodore Raethke, a work for soprano and orchestra, was one of three works chosen for the Sixth International Composer Readings by the Riverside Orchestra ofNew York City and was performed at the Mid-American Center for Contemporary Music at Bowling Green State University. OfRoss's piece Passages, Daniel Ginsberg of the Washington Post has said, "a beguiling exploration of color and melody ... soaring figures nestled in a dreamlike haze of sound." His music is published by Cimarron Music and by himself. Encore, a work for cello and piano, is recorded on Innova and After a Line will be released in 2005 on Albany Records. Currently, Ross teaches aural skills, theory and composition at Pittsburg State University in Pittsburg, Kansas. Centennial (2003) was written for the second Biennial Festival of New Music and the brass and percussion performers of Pittsburg State University, Pittsburg, Kansas, at the request of Professor Stella Hastings. The university was begun in 1903. Centennial was completed on February I, 2003, the day the space shuttle Columbia broke up reentering the Earth's atmosphere and all seven crew members perished. For me, this work also commemorates those seven, and the relentless spirit of exploration they embodied. May that spirit live on.

Alejandro Rutty is a composer, conductor and art-advocate with a unique profile. His output includes work in avant-garde music, standard classical repertoire, Argentine traditional music, and innovative community-based projects. Alejandro Rutty's compositions have been played by Cassatt String Quartet, New York New Music Ensemble, National Symphony Orchestra (Argentina), Kiev Philharmonic, ICE Ensemble, Quasar Sax Quartet, Phoenix Trio, and Amherst Saxophone Quartet among others. Rutty's conducting appearances include the UNCUYO Symphony Orchestra, June in Buffalo Festival, Catskill Choral Society, Albuquerque Philharmonic Orchestra, American Opera and Musical Theatre Company, Orpheus Theatre Company and Grand Opera Theatre. Rutty is founding member of ensemble Lake Affect, a group dedicated to interdisciplinary work with poets and visual artists. His latest activities include his work as pianist and arranger of Argentine Tango performances and Artistic Director of the Hey, Mozart! Child Composer Project. Alejandro Rutty is currently Assistant Professor at Hartwick College's Department of Music. His education includes a PhD in Composition at State University ofNew York at Buffalo, and degrees from The University of New Mexico and Universidad CatA.3lica Argentina. On Tango Loops: While playing Tango Music on a CD or a computer, a sound operator applies a harmonizer, a reverb unit, sometimes also fast-forwarding, pitch-shifting, skipping, or mixing different recordings: That is the image describing the piece. Without imitating quite literally the actions of this imaginary DJ, a process of sound manipulation is suggested by natural means of orchestration. In it, traditional Tango - newly composed- comes in and out of focus, gets distorted, multiplied, reversed, or mixed with different music. There are three version of this piece: one which adds a tango quartet to the ensemble, and one for symphony orchestra. The continuation of this piece, Tango Loops 2 (2005), for 17 instruments and chorus, will be premiered in December 2005, in Buenos Aires, Argentina.

Jonathan Santore's compositions have engaged and excited performers and audiences throughout the United States and Europe. Currently serving as Composer in Residence for the New Hampshire Master Chorale, Santore was a winner of the 1999 American Composers Forum Welcome Christmas! Carol Contest, and was also named New Hampshire Composer of the Year for 1999. Santore has won several other awards for his compositions, including Finalist status in the 2003 Wegmans/PMCP Band Composition Contest, Special Mention in the 2002 British Trombone Society/Brass in Association Composition Contest, Honorable Mention in the 2000 Britten-on­ the-Bay Composition Competition, and performances at the New Hampshire Music Festival, the national conferences of the North American Saxophone Alliance and the Society of Composers, Inc., and the Ithaca College Choral Composition Contest. His works have been performed by ensembles including Minnesota's VocalEssence Chorus, the Choir of Rochester Cathedral, England, and the New York University Choral Arts Society, and have

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been broadcast regionally by Maine Public Radio and Television, and nationally by Public Radio International. His works have been recorded by California's Octagon New Music Ensemble and published by American Carillon Music Editions, Gold Branch Music, Manduca Music Publications, and Walton Music Corporation. Currently Associate Professor of Music Theory and Composition and Chair of the Department of Music, Theatre, and Dance at Plymouth State University in New Hampshire (where he has been selected twice for inclusion in Who' s Who Among America's Teachers), Santore began his musical career as an All-State trumpet player in his native east Tennessee. He went on to study composition with Stephen Jaffe, Eugene Kurtz, Donald Grantham, and William Kraft, and holds academic degrees from Duke University, The University of Texas at Austin, and UCLA. God's World was written in late January and early February of2004, as my family was moving back into our home after a 3 Yi month absence caused by a fire. It came to me more quickly and more completely than just about any other piece I've written; I think it's a song of gratitude for the place my family calls home, and for the friends we've made there over the past eleven years. God's World was a finalist in the 2005 NUVOVOX Choral Awards, and was recently published by Walton Music Corporation.

God's World

0 WORLD, I cannot hold thee close enough! Thy winds, thy wide grey skies! Thy mists that roll and rise! Thy woods, this autumn day, that ache and sag And all but cry with colour! That gaunt crag To crush! To lift the lean of that black bluff! World, World, I cannot get thee close enough!

Long have I known a glory in it all, But never knew I this; Here such a passion is As stretcheth me apart. Lord, I do fear Thou'st made the world too beautiful this year. My soul is all but out of me,-let fall No burning leaf; prithee, let no bird call.

-- Edna St. Vincent Millay

Carl Schimmel was born in Pensacola, Florida, in 1975, and grew up in Wakefield, Rhode Island. He attended Case Western Reserve University in Cleveland, Ohio, where he received a Bachelor's degree in mathematics and music, and went on to receive his Master's degree in Composition from the Yale School of Music in New Haven, Connecticut. He is currently pursuing a doctoral degree from Duke University, where he has studied with Sydney Hodkinson, Stephen Jaffe, Anthony Kelley, and Scott Lindroth. His other teachers have included Ezra Laderman, Martin Bresnick, Evan Ziporyn, and Ned Rorem, and he has twice attended the Aspen School of Music, where he studied privately with George Tsontakis and later participated as a fellow in the Master Class conducted there by Christopher Rouse and Poul Ruders. He is the recipient of the Woods Chandler Prize from Yale University and the 1999 Beams Prize from Columbia University for his orchestral work Capa Cocha. His woodwind trio Pieces of Eight was a finalist in the 200 I Seoul International Composition Competition, and his work Five Lies has received the Emil and Ruth Beyer Award from the National Federation of Music Clubs, a First Music Award from the New York Youth Symphony, and Third Prize in the SCI/ASCAP Commissioning Competition. Recently, his wind ensemble work The Blatherskite's Comeuppance received an honorable mention for both the ASCAP Frederick Fennell Band Prize and the ASCAP Morton Gould Young Composer Awards. His works have been performed throughout the United States and as far away as Korea and Alaska, and he has received commissions from the Society of Composers, Inc. and ASCAP, New York Youth Symphony, the Renee B. Fisher Foundation, the University of North Carolina Wind Ensemble, trombonist Aaron Misenheimer, Battery Four Percussion Quartet, Cross Sound Music Festival, and others. On Into Xylonia: This work is one in a series of works which explore diatonicism. In some sections, phrases are constructed using complete diatonic scales; other sections use four-note chords which, when stacked, generate a

57 COMPOSER BIOGRAPHIES AND NOTES

diatonic scale. But, more important to the listener than the compositional method is the fantastical storyline indicated by the six section titles.

Phillip Schroeder was born in Northern California in I 956. His life as a musician began early and has paralleled the diversity of surroundings, now eleven states: trumpet, boys and mixed choirs, electric bass, orchestral and chamber conducting, experimental improvisation ensembles, and piano. He has composed music for orchestra, wind ensemble, live-electronics, chamber ensembles, choir, instrumental solos, and voice, all variously described as continuing "a tradition of brilliance and openness" and as "expressive lyrical sound-worlds." He has appeared as a guest composer, lecturer, and performer throughout the United States and Europe. His music appears on the Capstone, Boston Records, New Ariel, and Vienna Modern Masters labels, and he also performs on Ants Records (Italy). Schroeder currently teaches at Henderson State University. He received degrees from the University of Redland, Butler University, and Kent State University. Among many influences on his work, the most significant include Taoism, good food, the overtone series, and the love and patience of friends. I have long been asked to write a something that could be used either as a piece to end a program or as an encore. Wrap It Up is simply meant to be fun to play and light-hearted, full of compound melodies, and mischievous rhythmic figures, and a modest tip of the hat to one of my favourite piano works Brahms' Op. I I 9, No. 2. Judith Shatin's music " ... allows the imagination to have a field day ... " according to The New Music Connoisseur, while the Denver Post calls her music" ... fresh and bold." Twice a fellow at the Rockefeller Center in Bellagio, she has received four NEA fellowships and grants from such organizations as the American Music Center, Meet the Composer, the New Jersey State Arts Council, and the Virginia Commission for the Arts. Her music was the subject ofa two-year retrospectived, sponsored by the Lila Wallace-Readers Digest Arts Partners program. All sound is grist for her sonic imagination, whether it be the machines of a coal mine, a weaver at her loom, or a sculptor carving tree trunks. Her musical structures are inspired by many sources, ranging from the intricate narrative of poetry to the environment around us. Her music has been commissioned by such groups as the Ash Lawn Opera, Barlow Foundation, Core Ensemble, Garth Newel, Kronos Quartet, newEar, Monticello Trio, National Symphony, the Dutch Hexagon Ensemble and Wintergreen Performing Arts. Recent CD's include Piping the Earth on the Capstone label (CPS-8727) and Dreamtigers on the Innova label (innova 613). Educated at Douglass College (AB), The Juilliard School (MM) and Princeton University (PhD), Judith Shatin is currently William R. Kenan, Jr. Professor and Director of the Virginia Center for Computer Music at the University of Virginia. For more information, visit www.judithshatin.com. Songs of War and Peace ( 1998), is a setting of four Israeli poems in translation by outstanding American poets, on the ever-present topic of war and peace. I chose four poems that particularly moved me from the compelling book After the First Rain, a title which, in colloquial Hebrew, also means "After the Shooter."These poems represent the sadness and shock of the post-Rabin enivronment, although some sing of hope as well. The poems include: And How My Brother is Cain (Azriel Kaufman, trans. Barbara Goldberg), The Rain is Ready to Fall (Eytan Eytan, trans. Merrill Leffler); Peace (Ella Bat-Tzion, trans. Barbara Goldberg) and Peace Poem After a Ugarithic Inscription (Eli Netzer, trans Moshe D'or). The first poem is one of the devastation of Rabin's assassination and its aftermath; the second of ambivalence and acceptance; the third of hope for peace; and the fourth, a command to end the cycle of war. I composed Songs of War and Peace in commemoration oflsrael's Fiftieth Anniversary.

58 COMPOSER BIOGRAPHIES AND NOTES

Texts for Songs of War and Peace All poems from After the First Rain, Dryad Press, used by permission

And How My Brother Is Cain

Those who walked to weep those who walked to write and I walked and walked and walked and under my feet words hummed and I walked over the dark and over despair and over silence

and a demon walked through my heart and the gun and there was a shot and years collapse and how my brother with blood on his hands and how my brother is Cain and I walked and walked and there came a fire consuming the silence.

--Azriel Kaufman, translated by Barbara Goldberg

Peace

Peace is a sea whose waves will carry us far.

--Ella Bat-Tzion, translated by Barbara Goldberg

The Rain is Ready to Fall

The rain is ready to fall On the mountains of the deep On the high valleys. The rain is ready to fall downside up

On the defeated victors On the victorious defeated. The rain is ready to fall on a world turning upside down. A rain of many waters. A rain the earth can only accept.

--Eytan Eytan, translated by Merrill Leffler

Peace Poem After a Ugarithic Inscription

Call war off the land Put love on earth Pour peace over the land Make love plentiful over fields Withold your rod sheath your sword.

--Eli Netzer, translated by Moshe Dor

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Paul Siskind's music encompasses many genres, and has been performed across the country and abroad by renowned ensembles such as the Minnesota Orchestra, Omaha Symphony, Arditti String Quartet, Dale Warland Singers, Continuum, Burklyn Ballet Theatre, and soprano Cheryl Marshall. He has received awards and grants from ASCAP, Meet The Composer, the American Music Center, the National Federation of Music Clubs, and the McKnight, Jerome, Puffin, and Dodge foundations. His work is published by G. Schirmer Inc., and has been recorded on the Innova and New Ariel labels, among others. He has worked as a composer-in-residence for the Education Department of Minnesota Opera, Twin Cities Chapter Coordinator for the American Composers Forum, Music Director of One Voice Mixed Chorus, and as an Auditor for the New York State Council on the Arts. Dr. Siskind is on the faculty of the Crane School of Music, SUNY-Potsdam. Tile Perilous Adventures ofComet, tile Wonderdog is a humorous tone poem about my dog, Comet. He is a big, galumphy Jab mix that jumped out of the bushes and followed me home from school one sunny afternoon when I was teaching in Kirksville, Missouri. He is the first dog I've ever owned, and I've learned a Jot about dogs (as well as myself) since he adopted me. The piece loosely describes some of the foibles and (mis-)adventures that we've shared. The piece is divided into nine short episodes, each with a descriptive title: The Wilds of Missouri Nice Day for a Walk A New Friend Leaming to Bark The Mysterious Journey Chocolate Overdose Obedience School Chasing Squirrels Joie de Vivre

Most of these episodes depict real events, albeit fancifully. For example, Comet didn't seem to know how to bark when I first found him; instead, he would do a curious little shuffle-dance as he gathered the gumption to eke out a weak little burp. He also has an uncanny knack for being able to eat anything, and has summarily eaten his grooming brush, three pairs of shoes, wooden door moulding, and a four-foot ficus tree! He also once ate two bags of Halloween candy (wrappers and all), but was seemingly unfazed by the poisonous chocolate (nor by the two cups of peroxide which the vet told us to administer as an antidote)! These antics were soon followed by an abortive attempt at obedience training, which lead me to wonder: can a dog have too much personality? My musical style is usually very serious, and my pieces are rarely programmatic. This piece is different: it depicts a humorous story in a quirky, almost cartoonish manner. To help tell the story and contribute to the humor, I incorporate a number of quotes from well-known pieces which act as signifiers for the various events of the story. These quotes are juxtaposed against Comet's two-part theme, an angular brass fanfare built on augmented triads and the whole-tone scale. The Perilous Adventures ofComet, the Wonderdog was commissioned by Dr. Timothy Mahr for the St. Olaf College Band, with funds provided by the Miles Johnson Endowment.

David Smooke has received honors including a MacDowell Colony Fellowship and the William Schuman Prize for most outstanding score in the BMI Young Composers Competition. His music has been featured on festivals including two Northwestern University New Music Marathons and national and regional conferences of the Society of Composers, and has been performed by the Pacifica String Quartet, eighth blackbird, the California EAR Unit, the University oflowa Center for New Music, the International Contemporary Ensemble (1.C.E.), and Cube among others. He recently composed a tango for Amy Dissanayake for performance at U. C. Davis that was recorded in May 2005 for CD, release and has written music for the documentary film "Burgundy and the Language of Wine" that has been featured on festivals nationally and internationally and is available on DVD through Natural Worlds.com. He teaches music composition, history and theory at the College of Performing Arts of Roosevelt University (where he was nominated for a Roosevelt Recognition award for Excellence in Teaching) and at the Merit School of Music. He received an M.M. degree from the Peabody Conservatory and a B.A. magna cum laude from the University of Pennsylvania, and is currently A.B.D. in the Ph.D. program at the University of Chicago, where he received the Century Fellowship, the highest fellowship offered by the Humanities Division. His composition teachers have included Shulamit Ran, Marta Ptaszynska, David Rakowski, Robert Hall Lewis and Richard Wernick. The Pacifica Quartet, for whom L 'EDGE was written, is a string quartet whose players are equally capable of producing a perfectly-blended sound and of shining as soloists. This piece is designed to exploit both capabilities.

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In thinking about ledges, I quickly realized that I was entering a world of dialectics. Sitting on the inside of a window ledge feels sheltered and gentle. Standing on the outside is an entirely different experience. Similarly, one looks up at the sky and the birds or down to the hard unforgiving ground. This piece explores the different emotional costs from each side of the window, attempting an original synthesis to the dialectic. Throughout the piece, syncopated polyrhythms are interrupted by bird calls (the distorted calls of cardinals and black-capped chickadees) or glissandos. Long melodies dissolve into whispered harmonics or harsh overpressure. In L 'EDGE, the quartet is asked to produce a wide range of sounds from long be! canto melodies to unusual extended techniques. The lowest string of the cello is tuned down a minor third to A (instead of C); this scordatura is exploited in two solos marked "harsh, with urgency". Natural harmonics, including the oddly tuned seventh partial, are used throughout, as are passages tuned one-quarter tone flat. At times instruments are asked to play in the highest possible register on the fourth string or notes that are so high they are off the fingerboard. This range of sounds adds to the sense of vertigo the piece should convey.

Juan Maria Solare was born 1966 in Buenos Aires, Argentina, where he studied piano and conducting, as well as composition with Fermina Casanova, Valdo Sciammarella and Juan Carlos Zorzi. Later he went to Cologne, Germany to study composition with Johannes Fritsch, Mauricia Kagel and Helmut Lachenmann. On Hypnosis:This work was composed originally for viola solo and arranged later especially for Thelema Trio. The heavy, rhythmical style of this work, tries to hypnotise you with its melodic loops, accents and fiery temper.

Paul Steinberg (Electronic Composition, Theory) is the Director of the Center for New Music Resources at the Crane School of Music, SUNY Potsdam. He holds degrees from New Mexico State University, Southern Methodist University, and the University of Oklahoma. His teachers include: Warner Hutchison, Alvin Epstein, Thom Mason and Michael Hennagin. Dr.Steinberg is a composer who is the recipient of many awards for his compositions. A woodwind doubler by training, Dr. Steinberg has written extensively for instruments in various combinations in the woodwind family. His interests include the combination of acoustical and electronic media and he has written for and performed many works with the New and Unusual Music Artists, a group that he helped establish in 1982. At the present he and a colleague, Dr. Alan Woy, have formed a duo named Symbiotta which is traveling the collegiate circuit performing lecture recitals on Paul's clarinet music. Paul and Alan recently released a CD also titled Symbiotta. On Klezmer Rhapsody: Back in the ' 80's, Al Woy asked me to write him an unaccompanied solo for clarinet, based on Klezmer like themes. At the time I had never even heard of the term Klezmer, but after Al explained what he was talking about, I decided I would "give it a go". I as former clarinetist myself, growing up playing too many weddings and Bar Mitzvahs, what you hear is a result of my misspent youth.

Greg A Steinke is Former Chair, Departments of Art and Music, (The Joseph Naumes Endowed Chair in Music), also Associate Dean of Undergraduate Studies, Marylhurst University, Marylhurst, Oregon (now retired, 6/15/0I); Associate Director, Ernest Bloch Music Festival ('93-97) and Director, Composers Symposium ('90-97) (Newport, OR); Professor Steinke holds a B.M. degree from Oberlin Conservatory, a M.M. degree from Michigan State University, a M.F.A. degree from the University oflowa, and a Ph.D. from Michigan State University. He is the author of articles on new oboe literature and music composition; he has done the revisions to the Paul Harder Harmonic Materials in Tonal Music, Basic Materials in Music Theory, Bridge to Twentieth-Century Music, Rev. Ed. for Prentice-Hall, and most recently with H Owen Reed a revision to the Harder-Reed Basic Contrapuntal Techniques for Warner Bros. Pub.; and an article, "Music for Dance: An Overview" in The Dance Has Many Faces, by Walter Sorell, a cappella books. He holds membership in a number of professional organizations. He has served as the National Chairman of the Society of Composers, Inc. (1988-97) and is currently Secretary/Treasurer of Art Culture Nature, Inc. Professor Steinke is very active as a composer of chamber and symphonic music with a number of published/recorded works and performances across the United States and internationally, as a speaker on interdisciplinary arts and as an oboe soloist specializing in contemporary music for oboe. His most recent composition honors include: Finalist (of 4 )- 'O I Seoul International Composers Competition. Winner of Delta Omicron International Music Fraternity Composition Competition, '02. Honorable Mention - '02 "Britten-on-the­ Bay" Composition Competition Series XIII (Saxophone Quartet). Special Mention - '03 USA International Harp Competition (Solo Harp). Finalist/Winner- '04 of COMA Open Score Project in England (Generic Quartet). On All in a Moment's Time: The composer has long wanted to use this poem as a basis for a composition, but the "moment" didn't seem to arrive until the request for this commission came. The composer realized a special relationship between what he might hope to do with a "concerto" and the images/notions created by this poem.

61 COMPOSER BIOGRAPHIES AND NOTES

Thus, in a these words I found encapsulated a way to proceed on this piece as well as the possibility of a different approach to the form of a usual concerto - and thus All in a Moment's Time . So, the listener is asked to enjoy a little different perspective on a concerto as well as to revel in hopefully appealing sonic images in his/her listening/hearing process. The listener should find all the usual concerto "stuff' - fast and slow movements as well as the "cadenza," but mixed in a different way. At the time the composer was working on the piece, Yitzhak Rabin was assassinated, so perhaps some of the Hebrew-like modal flavors found in the work may have resulted from that event as well as an internalization of the horrors of the act committed. Also, the William Walton Viola Concerto has crept in as it has always been a favorite and was the composer's first major experience as an oboist playing a concerto accompaniment many years ago at Interlochen. The composer is very grateful for a residency made available to him at the Atlantic Center for the Arts in Florida that enabled an extended, uninterrupted time to complete a substantial portion of the work. The composition is dedicated to my son Kyle, who gives us an intriguing and compelling insight to his world at the age of nine and a special inspiration to his father to write a new piece.

62 COMPOSER BIOGRAPHIES AND NOTES

The rolling golden dunes, the wind whispering across the beach; white sands sprawled over the grass and the icy clouds hovering above.

The lost trails swing listlessly from side to side,

diving and rising without end, going through the mist and sky, glowing for an eternity on the beach--

For the beach lives forever in the hearts of many.

Plains of young wheat glistening in the sun's rays, as radiant as a crystal in the mist above all the fog.

The rumbling tractor tackling the resistant wheat--

All in a moment's time, tumbling the stems to an infinity where it lay.

Now I remember hearing the river sounds, the splashing, the leaves floating, reminiscing about times gone by.

The mist rises along the rocky gorge, softly floating along with the whistle of the breeze. --Kyle Alban Steinke, 1986

Giorgio Colombo Taccini: Le retour du Golem is a new addition to a Jong series of works written for unusual instruments or ensembles; this trio is a timbral and expressive development of Golem for solo contrabass clarinet, first performed in Amsterdam in November 2004. New to this work, is the system of perspectives and resonances added to the original material, to explore the vastness of its possibilities: the great range of the two winds, especially in their lowest and highest registers, is the most important object of this development. The titular reference to the Golem - a legendary creature moulded from clay by Rabbi Low to give help to the Jewish people of Prague and then converted again to clay after its rebellion - is an abstract model for the expressive dramaturgy of the work, without any representation in the music itself.

Karen P. Thomas, composer and conductor, is the Artistic Director and Conductor of the Seattle Pro Musica. With Seattle Pro Musica she has received the Margaret Hillis Award for Choral Excellence and the ASCAP-Chorus America Award for Adventurous Programming of Contemporary Music. A review of Ms. Thomas' CD with Seattle Pro Musica, A/night by the Rose, in Choir & Organ Magazine (Great Britain) remarks:" ... there is great depth and purity in this performance ... Seattle Pro Musica presents a cappella singing at its best." American Record Guide describes her CD Peace in Our Time as "probing and radiant ... vibrant and gutsy ... a most satisfying and deeply affecting release" which has "warmth and emotional punch." Ms. Thomas' compositions are regularly performed and broadcast on radio and television throughout the United States, Europe and Latin America, including the

63 COMPOSER BIOGRAPHIES AND NOTES

International Festival Donne in Musica in Italy, the Bergen International Festival in Norway, the International Congresses on Women in Music in London and Spain, the Oregon Bach Festival, the Alliance World Festival of Women's Singing and the Goodwill Arts Festival in the U.S. Her choral works are performed by groups such as The Hilliard Ensemble, and have been praised as " ... superb work of the utmost sensitivity and beauty." Ofher music theater work, Boxiana, the Seattle Times wrote: " ... one of the most dazzling interdisciplinary pieces to have hit Seattle in the past few years. Passionate, witty and daunting in its technical prowess ... This is one knockout of a piece." Ms. Thomas is a recipient of grants from the National Endowment for the Arts, The American Academy and Institute of Arts and Letters, New Langton Arts, the Seattle Arts Commission and the King County Arts Commission. She has received fellowships from Artist Trust and the Washington State Arts Commission, and was a fellow at the Oregon Bach Festival, Dorland Arts Colony and Chorus of Westerly. Her compositions have been awarded prizes in various competitions, including the ASCAP Competition, His Majestie's Clerkes, Melodious Accord, the International Alliance for Women in Music and the Northwest Chamber Orchestra. Her commissions include works for the Grand Jubilee 2000 in Rome, the American Guild of Organists, and the Goodwill Arts Festival, among numerous others. In 1998 she received the first Distinguished Alumna Award from Comish College of the Arts. Currently serving on the board of the American Choral Director's Association (Washington State) and the Conductor's Guild, Ms. Thomas has been a Board member of the International Alliance for Women in Music and of the League-ISCM, and has served on the faculties of Pacific Lutheran University, Evergreen State College, Comish College and Edmonds Community College. The Music Director of a comprehensive music program at University Unitarian Church, she holds advanced degrees from the University of Washington and Comish College. She has studied and participated in Master Classes with Sir David Willcocks, Arvo Part, Peter Phillips, Dale Warland, Jacob Druckman, Leon Kirchner, William Kraft, Ned Rorem, Helmuth Rilling, William Bergsma, Tonu Kaljuste, Simon Carrington and Gregg Smith. When night came... was composed in 1994 as a personal response to the horrors of the war in the former Yugoslavia, in particular to the atrocities committed against the women of Bosnia-Herzegovina. This piece is dedicated to those women - to those who have been brutally murdered, and to the survivors. It is in some part a lament, but it is also a tribute to the strength and resiliency of the women of Bosnia-Herzegovina. There are two Bosnian folksong quotations in When night came... The first, Odkad seke nismo zapjevale, is based on a short series of repeated notes, with harmonies consisting of major and minor seconds. It is a ganga, an intense and vibrant form of vocal music sung in the mountainous regions of Herzegovina. The second song, Kadja poqjoh na Benbasu, is a lyrical love song- one of the most well-known and beloved songs in the area around Sarajevo. When night came... exists in versions for clarinet and piano, clarinet and chamber ensemble, and clarinet and orchestra. It has recently received performances in London, New York, Pennsylvania, Michigan, Virginia, Washington, Oregon and Houston. Odkad seke nismo zapjevale How long we sisters haven't sung. Now we'll do it, because we've come together. Let's sing, sisters and cousins. One tribe, one family. Kadja poqjoh na Bembasu When I went to Bembasa, to Bembasa by the riverside, I led a white Iamb, a white lamb with me. All the Bembasa girls were standing at their courtyard gates; my beloved was alone at her latticed window. I said to her, "Good evening, girl!" She replied, "Come see me this evening my darling!" I didn't go that evening, but went the next day; The next day my beloved married another!

Michael Sidney Timpson is an Assistant Professor at University of South Florida, where he teaches composition and electronic music. Previously, he taught at the University of Michigan, the University of Kansas, and at Rhodes College in Memphis. He studied at the University of Michigan (DMA), the Eastman School of Music (MA) and the University of Southern California (BM), with William Albright, Samuel Adler, William Bolcom, Morten Lauridsen, and Joseph Schwantner, among others. At present, he is co-chair of the Society of Composers Incorporated, Region IV. His compositions have been featured throughout the United States and internationally, including in France, Czech, Ukraine, Canada, Japan, and Taiwan. He has received honors from ASCAP, BMI, DownBeat Magazine,

64 COMPOSER BIOGRAPHIES AND NOTES

NACUSA, the National Federation of Music Clubs and such awards as the Brian M. Israel Prize, England's Kathryn Thomas Flute Competition, the Lee Ettelson Composer's Award, and the Music From China International Competition. Recently, he was nominated for the American Academy of Arts and Letters composition award. His music will appear on recordings released by Albany/Capstone, CRS, NACUSA, and ERM, and have been published by World-Wide-Music. He has had two works recorded by the Kiev Philharmonic and another by the Chinese National Film Orchestra. His recent projects include several different orchestral commissions, works for wind ensemble and percussion ensemble, music for a Chinese mini-series, and Taiwanese TV jingles. On CRUSH: Upon commission of this work, I realized that soprano saxophone and zheng were a great ensemble for combining musical elements from American and Asian roots. I chose the title CRUSH, since it relates to various technical and emotive concepts of the piece. First, the most indicative gesture of the zheng is to literally "crush" the string, thus bending the pitch. Second, the rigorous sound of the soprano saxophone has a rather "crushing" effect. Third, the different music styles evoked (Asian, American, European, etc.) are "crushed" together in an eclectic combination; this is symbolically represented by the comparative correlation between the pentatonic and blues scales within the work. Fourth, Asian heterophony (two different versions of the same melody used simultaneously), a texture formed throughout the composition, literally "crushes" the two timbres into one. Fifth, the jagged, angular, and syncopated rhythms from American music that are emphasized, seemingly "crush" time. Finally, sixth, a "crush" is also a passionate focus, the energy for which drove the inspiration of the composition. CRUSH was premiered on September 19, 2003 in Carnegie Hall by Haiqiong Deng and Richard Scruggs.

David Vayo (b. 1957) is Professor and head of the composition department at Illinois Wesleyan University, where he teaches composition and contemporary music and coordinates the Symposium of Contemporary Music and the New Music Cafe concert series. Vayo has also taught at Connecticut College and the National University of Costa Rica. He holds an A.Mus.D. in Composition from The University of Michigan, where his principal teachers were Leslie Bassett and William Bolcom; his M. Mus. and B. Mus. degrees are from Indiana University, where he studied with Frederick Fox and Juan Orrego-Salas. Vayo has received awards and commissions from the John Simon Guggenheim Memorial Foundation, ASCAP, the Koussevitzky Music Foundations, the Barlow Endowment for Music Composition, the American Academy and Institute of Arts and Letters, the American Music Center, the National Association of College Wind and Percussion Instructors, and the Illinois Council for the Arts, and has been granted numerous artists' colony residencies. Over two hundred performances and broadcasts of his compositions have taken place, including recent performances in Mexico, Japan, the Netherlands, Finland, and France and at Northwestern University, the Cleveland Institute of Music and CalArts. Festivals which have programmed his work include the International Trombone Festival, the International Double Reed Festival, the BanffFestival of the Arts, and the World Music Days of the International Society for Contemporary Music. Vayo's Symphony: Blossoms and Awakenings has been performed four times by the St. Louis Symphony under Leonard Slatkin. His compositions are published by Southern Music, A. M. Percussion Publications, and the International Trombone Association Press.

Ileana Perez Velazquez was born in Cuba and received B.A in Piano and composition from the Higher Institute of Arts, Havana, Cuba. In 1993 she came to USA as a graduate student obtaining a MA in electronic music from Dartmouth College in 1995. She received a Doctoral Degree in Music Composition from Indiana University in 2000. Since 2000 she has been an Assistant Professor of Music Composition and Electronic Music at Williams College, MA. She received several national composition awards in Cuba, including the fust prize of composition for chamber music in the contest of the National Union of Writers and Artists of Cuba (UNEAC), and the first music composition prize from the Musical Youth of Cuba. Perez-Velazquez was a recipient ofa 2000 Cintas Fellowship in Composition administered by Arts International, NYC. She has been commissioned and performed by soloists, ensembles, and orchestras, including commissions from the Hopkins Center of Dartmouth College for the Flux Quartet, Cuarteto Eco from Madrid, Spain, Insornnio instrumental ensemble from the Netherlands, Minneapolis Guitar Quartet (Jerome Foundation), the Instrumental Ensemble Nuestro Tiempo from the National Symphony Orchestra of Cuba, the Berkshire Symphony Orchestra. Perez Velazquez's compositions have been performed in concerts and International Festivals in Cuba, the United States, Venezuela, Colombia, Mexico, Spain, the Netherlands, France, and Lebanon including performances by the Chamber Music of the League of Composers ISCM, New York, Sound of Americas Cuba at Weill Recital Hall, NYC, BGSU Festival, Q-ba Festival in Amsterdam, The Netherlands, Sonic Circuits International Electronic Music Festivals at Berklee College (American Composers Forum), New Music Festival of the Tres Cantos Auditorium, Madrid, Spain, Boston Chamber Singers, Crossroads of traditions, a Latin American music festival at Indiana University, International Festival of Contemporary Music in Bogota, Colombia, II Festival Iberoamericano de Guitarra in Beirut, Lebanon, Forum of

65 COMPOSER BIOGRAPHIES AND NOTES

Caribbean Composers in Venezuela, the International Musical Academy "Masters of Pontlevoy" Ivry-sur-Seine, France among others. Arte Tripharia", Spain, publishes her music. Constelaciones extraviadas entre luciernagas (Constellations lost among fireflies) The extra musical meaning of the work is the parallelism of intimate and familiar things with faraway and magnificent events, such as between a swarm of fireflies and a star constellation. The first movement is lyrical, with an improvisatory character. The second represents the dance of the encounter between these two levels of existence; and the third combines characteristics of the first two. The piece presents challenging problems for the player, in terms ofrhythm and sheer instrumental technique. I have used pervasive syncopation, irregular pulse divisions, meter changes, and extreme registers.

Peter Verdonck studied the saxophone with Willy Demey and composition with Lucien Posman at the Royal Conservatory of Ghent, Belgium. This piece was composed as a daring solo for the clarinet with accompaniment of piano and baritone saxophone. With the birth of Christ, the Devil was banished for 2000 years into the underworld. At this point in 2005 his return should have been 5 years ago. Clarmaggeddon deals with the rise of evil and the unawareness of the people

Ward De Vleeschhouwer studied piano with Claude Coppens and Daan Vandewalle and composition with Frank Nuyts and Luc Brewaeys at the Royal Conservatory of Ghent, Belgium. The music Ward composes is often inspired by his deepest interest for folk music from all over the world.

Dingle Way is a walking route on the West-coast oflreland. In the piece you hear folk tunes from Scotland, Indian ragas and African rhythms. The end of the piece is a blend of all the previous melodies and rhythms.

A native of Portland Oregon, Kevin Walczyk received a Bachelor of Arts in Education degree from Pacific Lutheran University and the Master of Music and Doctor of Musical Arts degrees from the University of North Texas. His composition instructors have included Larry Austin, Jacob Avshalomov, Martin Mailman, Cindy McTee, Thomas Svoboda, and David Del Tredici. As an accomplished jazz arranger and composer, Walczyk refined his craft with prominent jazz arrangers Tom Kubis and Frank Mantooth. Walczyk's works have been commissioned and/or recorded by numerous ensembles, including the St. Louis Symphony Orchestra, Oregon Symphony, Kiev Philharmonic, Seattle Symphony, Vancouver Symphony, Pittsburgh New Music Ensemble, Portland Youth Philharmonic, Third Angle Contemporary Music Ensemble, American Guild of Organists, Hutchins Consort, SoundMoves, Providence Ensemble, Thelema Trio, trumpet virtuoso Tim Morrison, and the Art Abrams Swing Machine Big Band. His works have been featured throughout Europe, Asia, South America and North America and at new music festivals in the United States, Holland, Belgium, and Peru. Walczyk's honors include grants from Meet the Composer, Argosy Foundation, American Music Center, and Western Oregon University. He has earned prizes or finalist status from the Pittsburgh New Music Ensemble's Harvey Gaul Competition, ASCAP, BMI, Lionel Hampton Creative Composition Contest, Phi Mu Alpha Sinfonia, ERM Media's Masterworks of the New Era recording prize, and the Los Angeles Philharmonic Synergy project. His works have been selected for participation by the Ernest Bloch Composers Symposium, College Band Directors National Symposium, Southeastern League of Composers, College Music Society, North American Saxophone Alliance, Society of Composers, Inc., and the Master Musicians Collective recording project. Walczyk is currently resident composer and Professor of composition studies at Western Oregon University, where he has taught for the past ten years. Incantation was composed in 1996 for SoundMoves - the resident faculty trio at Western Oregon University. The work's melodic and harmonic structures are derived from two primary sources - the phrygian mode and the major pentatonic scale. The instrumental trio is augmented by the addition of a prepared, digital-playback recording, which was composed and recorded in the new electronic music facility at Western Oregon University. The digital realization incorporates elements ofreal-time algorithmic composition techniques, computer-generated music, and timbre designs that, in their beginning stages, reflected the trio's acoustic properties. The improvisational nature of portions of the digital recording are matched by the ensemble of performers who are required to improvise with a minimal amount of provided musical content.

66 COMPOSER BIOGRAPHIES AND NOTES

Stefan Weisman is a graduate of Bard College and Yale University, and is currently a Ph.D. candidate at Princeton University. His composition instructors have included David Lang, Joan Tower, Martin Bresnick, Jacob Druckman, Steven Mackey, and Paul Lansky. Among his commissions are works for Sequitur, the Minimum Security Composers Collective, and the Oregon Bach Festival Composers' Symposium, which commissioned a piece in honor of George Crumb's 75th birthday. Other groups who have performed his work include the Miro String Quartet, So Percussion, the Locrian Chamber Players, the New Millennium Ensemble, the Yesaroun' Duo, the Da Capo Chamber Players, pianist Lisa Moore, the New Jersey Symphony, and the Hudson Valley Philharmonic. His piece "The Bird Happens" was selected for the American Composers Orchestra's 2005 Underwood New Music Readings. His music has been heard at places such as Symphony Space, Merkin Concert Hall, the June in Buffalo festival, and a Bang on a Can Marathon Concert. Upcoming projects include "Darkling," commissioned by the American Opera Projects, which will be included in the Guggenheim Museum's "Works & Process" series. For more info: www.stefanweisman.com On Ad Lib: This piece was written in 200 I for a multi-media theater piece about string theory, "Calabi-Yau," which premiered at the HERE Theater in New York City. The solo organist is given a set of chords and asked to repeat these while following a set of rules allowing the performer some limited freedom to choose the lengths of notes and durations of the repetitions.

Craig Weston teaches composition, music theory, and electroacoustic music at Kansas State University, after previous positions at Western Illinois University, Iowa State University, and the University of Washington. He holds degrees from Central Michigan University (B.M.) and the University of Washington (M.M., D.M.A.). He has received a wide array of grants, awards, and commissions, and his chamber, orchestral, and electronic music has been widely performed around the country. As is evident in ... into all crevices ofmy world, Weston often elevates shimmering, shifting sound colors and polyrhythmic "grooves" to equal stature with melody and harmony in multifaceted pieces which reveal roots in jazz as well as the concert music of the 20th Century. On ... into all crevices of my world: In setting out to write this piece, my thoughts began, as always, with the instruments and which of their qualities I wanted to exploit. I wanted to create a ringing, resonant quality: with lots of pedal for the piano, making extensive use of the ephemeral upper register and the rich bass notes. The title comes from the closing line of the poem, "Asphodel, That Greeny Flower," by William Carlos Williams. As the work progressed, it struck me as having a very sensuous quality, which reminded me of this poem, which pairs the two most sensuous things I know: a lingering sweet smell and love. The repeating thirds of the opening music, especially, seem to me like the metaphoric Asphodel for Williams: they eventually seem to penetrate, in one form or another, into all crevices of the piece. . .. into all crevices ofmy world was commiss ioned by the Iowa Music Teachers Association.

David Wightman was born in Bloomington Indiana, raised in Chapel Hill North Carolina, and currently lives in San Diego California where he is working towards a PhD in composition at UCSD. Before moving to California, David was living in Texas where he attended Rice University and the University of Texas at Austin. David has worked with California EAR Unit, Paperrad, Speculum Musicae, Nautical Almanac, Nouvel Ensemble Moderne, Beige Collective, and the Aspen Contemporary Ensemble.

Stephen Wilcox received a B.M. in instrumental performance (tuba), a B.M. in music theory from West Chester University in 1994, and a M.M. in Composition at the University of Illinois at Urbana-Champaign. He is currently a William Penn Fellow in the University of Pennsylvania's doctoral program in composition. Wilcox has studied with James Primosch, Jay Reise, Anna Weesner, and Erik Lund. A BMI award winner and MacDowell Fellow, he attended the Summer Composition Workshop in Hoy, Scotland, where he worked with Sir Peter Maxwell Davies. His other honors include the NACUSA Award and the Helen L. Weiss Music Prize. Wilcox's work has been performed by Julia Bentley, Gregory Wiest, Joseph Bognar and members of the Scottish Chamber Orchestra in Edinburgh. SCI included his work in their CD series and in the SCI Journal, and his music has also been recorded on the Capstone label. Most recently, he has received awards from New Music Delaware, "Friends and Enemies of New Music", the Virginia Center for the Creative Arts, and the Prism Saxophone quartet.

67 COMPOSER BIOGRAPHIES AND NOTES

Non-Connubial Sigh uses the musical letters in names as motto material. The first movement is derived from my name and the second is my wife's name (Rageshwar Dulat). I was trying to think up a marriage-related title that was not insipidly romantic and I remembered this little bit of lyric from The Mikado:

The youth who winked a roving eye, Or breathed a non-connubial sigh, Was thereupon condemned to die- He usually objected!

Donald Reid Womack is the composer of more than 60 works for orchestra, chorus, voice, chamber ensembles, and solo instruments. His music has been performed throughout North America, as well as in Asia, Europe, South America, New Zealand, Hawai'i, Guam, the U.S. Virgin Islands, and Puerto Rico. The recipient of more than 30 grants and commissions, Mr. Womack was awarded Individual Artist Fellowships from the Hawai'i State Foundation on Culture and the Arts in 1997 and again in 2002, becoming the first artist in any field to be twice honored. Other organizations which have honored his music include ASCAP, Meet the Composer, The American Composers' Forum, Arts Midwest, Sigma Alpha Iota, The National Association of Composers, The National Organization for Advancement in the Arts, The Tampa Bay Composers' Forum, The Music Teachers' National Association, and The American String Teachers Association. As an active supporter of new music and nationally and in the Hawai'i community, he has directed numerous festivals and concerts of contemporary music. Mr. Womack holds Doctoral, Masters, and Bachelors degrees in composition, theory, and philosophy from Northwestern University and Furman University. He has been a faculty member at the University ofHawai'i since 1994, where he serves as associate department chair and professor of composition and theory. On 3D: The saxophone is an instrument ofremarkable and widely varying capabilities. Its character ranges from athletic to expressive, from joyful to somber, from screaming to soulful. From the softest whisper to the loudest shriek it can sing and it can cry - and it can surely wail. In writing a piece for saxophone and piano - which certainly has its own remarkable range of character - I wanted to make use of the instruments' multiple dimensions. Each of the three movements, unified by several recurring motives and played without pause, explores the instruments' various personalities. The first movement, Damage, plays with the idea of building tension. Throughout the movement tension grows -ebbing and flowing - until a moment of great distress is reached, at which point the second movement interrupts, - leaving the first movement incomplete. Distance examines various aspects of space - the extreme ranges of the instruments, the distortion of time, and the disparate moods of the music all are important ideas. This movement begins plaintively, eventually building to the same point of distress where the first movement ended, then continuing to a dissolution of tension - in effect, completing the first movement, which had been abruptly cut off. After another climax and a brief tender passage the movement ends with a remote echo ofa previous theme. The final movement, Disarray is the most acrobatic and rhythmic of the three. Relentlessly driving syncopation and cross-rhythms feed its energetic frenzy. References to jazz, blues, and funk - which are present in all movements - are most clearly revealed here. The movement begins frantically and builds to a final climax, followed by an ending which simply dissolves. JD was written for saxophonist Todd Yukumoto and pianist HyeKyung Lee, and is available commerically on Blue: New Music from Hawaii (Equilibrium).

68 PRESENTER BIOGRAPHIES

John A. Dribus completed his undergraduate composition studies at Ouachita Baptist University and is currently a DMA candidate at the University of North Texas where his teachers have included Cindy McTee, Butch Rovan, Joe Klein, and Jon Nelson. Mr. Dribus has received numerous awards for his academic and musical achievements (including composition and piano performance). He has written for performing forces ranging in size from solo instruments to full orchestra. He is also an accomplished electronic composer and has written works for both multi-channel tape and video. His research has centered around psychoacoustics, binaural and multi-channel spatialization, and the integration of multi-media elements in composition. His works have been programmed by organizations including SEAMUS, ICMA, SCI and others, and his music has been heard in Korea, Thailand, the Czech Republic, England, Chile, Australia's Sydney Opera House Studio, and across the United States.

Donivan Johnson received his Master of Arts in Composition from California State University, Northridge. He serves as the only K-12 music instructor for the Selkirk School District (lone, WA). For his dedication to students, Johnson is listed in Who's Who Among American Teachers. In 200 I, Selkirk was designated as" One ofthe JOO Best Communities for Music Education in America." The Selkirk music program was featured on Morning Edition and All Things Considered for National Public Radio. As a composer, his work Lindisfarne Ground (piano and unpitched bells) was selected for performance at the Society of Composers Region VI Conference, University of Texas, San Antonio in February, 2005. His children's piano piece entitled Kinderstuck Nach Webern: Laughing Man received its premiere during March in San Francisco. Johnson has been invited to present his original research on and his unique approach to the music of Anton Webern (1883 - 1945) a number ohimes. In particular, he emphasizes how Webern's music may be heard and understood without resorting to "incomprehensible theoretical languages." He has presented at: Regional and National Conferences for The Society of Composers; National Conference for the Christian Fellowship of Art Music Composers; Southwest Contemporary Music Festival and Conference; Whitworth College (Spokane, WA), where he delivers the annual Hans Moldenhauer Memorial Lecture.

Composer and Flutist Geoffrey Kidde (born 1963) has written music for a wide variety of media: an orchestral song cycle; an electronic tape mime theater work based on Kafka's Metamorphosis; film scores; works for instruments with electronic tape; and orchestral, vocal, choral and chamber music. Ongoing musical projects include an opera based on Joseph Conrad's novel Victory. Kidde's music has received much recognition. His orchestral prelude Quest ( 1992), recorded by the Slovak Radio Symphony Orchestra and conducted by the late Robert Black (MMC Recordings 2015), was praised by Robert Carl in Fanfare Magazine. Island (1992) won NACUSA's 1993 Competition's Second Prize. The premiere performance of Bagatelle (1993) for piano and electronic tape by Joan Rowland in London's St. John's Smith Square received a rave review by Barry Millington in Musical Opinion: "the tape [part] was one of the most attractive and ingeniously assembled I have encountered." Kidde's East Coast/West Coast (1989-90) for piano four-hand was performed by the Schnabel Duo throughout North America and Europe. Kidde's music score for the award-winning feature film Habit ( 1997)* by film maker Larry Fessenden--was "beautifully scored" wrote Amy Biancolli in the Albany Times Union. Geoffrey Kidde is currently an Assistant Professor of Music at Manhattanville College, where he teaches Music Theory and Music Technology. He has also taught music at Hofstra and St. John's Universities, Queensborough Community College (CUNY), the Third Street Music School Settlement, the University of Bridgeport, and Columbia University's Electronic Music Center. From 1991 to 1993 he served as Executive Director, and from 1993- 95 as President of the League ofComposers/ISCM, U.S. Section. In 1995 he received his D.M.A. from Columbia University, where he studied with Mario Davidovsky, Chou Wen-chung, and George Edwards, and in 1988 a M.M. from New England Conservatory, studying there with John Heiss and Malcolm Peyton. His flute teachers include Robert Dick, Jayn Rosenfeld, Patricia Spencer, and Robert Stallman.

Maria A. Niederberger earned her Ph.D. in Theory at Composition from Brandeis University. She studied composition with Don Martino at Harvard University, with Martin Boykan and Arthur Berger at Brandeis University, and with Richard Swift at the University of California at Davis. Presently, she is Associate Professor in Theory and Composition at East Tennessee State University. In the past, she has served on the Board of the International Alliance for Women in Music (IA WM) and has chaired the annual IA WM concerts for five years. Niederberger's compositions are widely performed and recognized. She

69 PRESENTER BIOGRAPHIES has received awards from art agencies such as Pro Helvetia, the National Endowment for the Arts of Switzerland, the Schindler Foundation, the American Music Center, Villa Montalvo Arts Colony, and ensemble Opus Novum. Her composition Vernissage received performances in California, Zurich, and London; Her Oboe Concerto was premiered at the National Museum for Women in the Arts in Washington, D.C., and later highlighted in Chicago, IL. Her song cycle Wait for Me was presented at the CSUS Festival of New American Music in Sacramento, CA, and the 2003 Festival of Women in Music Today in Seoul, Korea. Niederberger was featured composer at the Millennium Concert of the Symphony Orchestra of Lucerne, Switzerland. Among her published CD recordings are Music Between Two Continents (Magnon), a complete CD featuring five early works, Milestones, a Capstone publication with works selected by SCI, highlighting her Piano Quintet, and the London recording Live from Wigmore Hall (Magnon ), presenting her Vernissage.

Bruce Reiprich joined the faculty of Northern Arizona University in 1999 where he is coordinator of music theory and composition. Last year he traveled to Halle and Braunschweig, Germany as a guest of the University of Halle to present workshops on Schenkerian music theory and to attend performances of his chamber works Autumn and Chozubachi and the premiere of Old Pond by the new music ensemble, Talea. Most recently, his Weeping Willow for soprano and string quartet, a setting of a Turkish poem, was performed on the Composers, Inc series in San Francisco. He is currently co-chair of SCI Region VII.

Dr. Michael Slayton (b. 1971) currently serves as Assistant Professor of Music Theory and Composition at Vanderbilt University's Blair School of Music. His music is regularly programmed in the U.S. and abroad, most recently in Weimar, Germany; the Operafestival Kristiansund in Kristiansund, Norway; the Festival Internacional de Piano in Aviero, Portugal; and the Nashville Ballet's Emergence Project. Since moving to Nashville in 1998, Mr. Slayton has received numerous commissions for choral, solo, and chamber works. He has written for many local artists, such as the Godwin-Thompson Duo and pianists Jerome Reed and David Northington, as well as for choirs and artists in Connecticut, New Jersey, and Texas. Mr. Slayton's current projects include a solo work for pianist Ulrich Urban, professor of piano at the Felix Mendelssohn Hochschule in Leipzig, Germany, a chamber work for the Christoph Domer Ensemble in Berlin, and a book about composer Elizabeth Austin. During his D.M.A. study at the University of Houston's Moore's School of Music, Mr. Slayton was a student of Michael Horvit and David Ashley White and director of the Contemporary Music Ensemble. He has won several awards for his teaching and writing, including the Louisa Stude Sarofim Prize for Composition and the TMTA Composer of the Year Award in 2001. A member of Connecticut Composers, Inc., the College Music Society, and the American Composer's Alliance, Mr. Slayton continues to be an active participant in the national and international music community.

Peter V. Swendsen (www.swendsen.net) explores the capacity of electro-acoustic sound and digital media to challenge and extend our engagement with performance. His music has been called "highly skillful" by the San Francisco Bay Guardian and "marvelous" by the San Francisco Chronicle. Swendsen is currently a Jefferson Scholars Fellow and Ph.D. student in Composition and Computer Technologies at the University of Virginia, where he is also an instructor in the Mcintire Department of Music. He received his MF A from the Mills College Center for Contemporary Music and his BM from the Oberlin Conservatory of Music. His work has been heard throughout the United States and recently in Italy, Slovakia, India, Spain, France, Chile, and Argentina. Swendsen has studied composition with Gary Nelson, Richard Povall, and Kristine Bums, and more recently with Gail Wight, Maggi Payne, Fred Frith, and Pauline Oliveros. He is currently studying with Matthew Burtner and Judith Shatin, creating and performing with interactive environments, dance, installation, video, and sound. He has served as webmaster for the Society of Composers, Inc. and is currently Assistant Editor, Publications for Journal SEAMUS. Swendsen is the co­ artistic director of Prospect Dance Group, and works extensively in collaboration with choreographers.

70 PERFORMER BIOGRAPHIES

David R. Allen is currently pursuing a Doctor of Musical Arts Degree at The University ofNorth Carolina at Greensboro and studies with Kelly Burke. Mr. Allen received a Bachelor of Arts from Indiana University of Pennsylvania and Master of Music from Carnegie Mellon University where he studied with Thomas Thompson of the Pittsburgh Symphony. In the spring of 1998, Mr. Allen studied chamber music at the European Mozart Academy in Poland. He has performed with the Greensboro Symphony, Charlotte Civic Orchestra, Pittsburgh Opera Orchestra and has participated in recordings with the Keystone Winds. He has performed in chamber music concerts and recitals in Europe and the Middle East including a performance the Usedomer Musikfestival in Germany with the Pan Wind Quintet and at the 2005 ClarinetFest in Japan as a member of Una Voce Quartet. David Allen is currently Instructor of clarinet at Radford University in Virginia and has served on the faculties of Queens University of Charlotte and The University of North Carolina at Asheville.

Pianist Jeri-Mae G. Astolfi, a native of Canada, has been engaged in an active and diverse musical career from an early age. An avid performer ofrepertoire ranging from the renaissance era to the present, her keen interest in new music has led to the commission, premiere, and performance of many new works, both solo and collaborative, which have been featured on live radio broadcasts and on recordings, such as Music for Piano by Phillip Schroeder, on the Capstone Records label. Her passion for the creation and integration of new works has also manifested itself in her participation at various national and regional conferences where she has not only performed and premiered new works, but where she has also delivered presentations on topics including the piano literature ofEinojuhani Rautavaara, Canadian piano literature, and new literature for piano. This enthusiasm has further propelled her to service as the chairperson for the Arkansas State Music Teachers Association composition competitions, and as both a consultant and editor of new piano teaching materials. In addition to performing and lecturing, she also serves as a clinician, adjudicator, coach, and private instructor and has been particularly active with the National Music Teachers Association, appearing as a guest performer, presenter, adjudicator, and masterclass instructor at both national and state conventions. A recipient of numerous awards, scholarships, and grants, her studies and performances have taken her throughout Canada, Italy, and the United States. Astolfi holds advanced degrees in piano performance from the University of Alberta, McGill University, and the University of Minnesota where she completed doctoral studies under Lydia Artymiw. She was recently awarded the Outstanding New Faculty Member award from Henderson State Univesity where she currently teaches both piano and music theory.

Mary Ashley Barret has been on the faculty at the University of North Carolina at Greensboro since 1998. She holds the BM from The Eastman School of Music, the MM from Baylor University, and the DM with a certificate in the Pedagogy of Theory from Florida State University. An active performer, Barret is currently a member of the Greensboro Symphony Orchestra, and principal oboe in the Salisbury Symphony Orchestra. She has appeared as soloist with the Salisbury Symphony, the Pottstown Symphony, the UNCG Orchestra, the Florida State Wind Orchestra, and has presented numerous guest recitals and master classes throughout the United States, Caribbean, New Zealand and Australia. In the summer of2003, she was a host for the International Double Reed Society Conference. Barret is a member of the East Wind Trio d' Anches the Cascade Wind Quintet, and can be heard on the recording "Out ofthe Woods: Twentieth­ Century French Wind Trios" with TreVent, and Centaur Records' The Russian Clarinet and Samuel Coleridge-Tayor: Chamber Music.

Lynn Huntzinger Beck holds performance and education degrees from the Eastman School of Music and the University of Southern California, and studied horn with Verne Reynolds, James Decker and Vincent DeRosa. Prior to NCSA, she was horn professor for 12 years at the University of Nevada, Las Vegas, where she also served as theory coordinator. As hornist with the Sierra Wind Quintet, Ms. Beck recorded two internationally acclaimed compact discs on the Cambria label. She has performed with the Spoleto Festival and National Repertory orchestras, and has appeared as soloist at the International Horn Society Workshop. Also active as a commercial musician in Las Vegas, Ms. Beck traveled internationally with the Frank Sinatra Orchestra. Formerly principal horn with the Nevada Symphony, she is now a member of the Greensboro Symphony and performs frequently with other area orchestras, including the Knoxville, North Carolina, Charlotte, and Winston-Salem symphonies. She has served as education

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director for the Greensboro Symphony and is a member of the music theory faculty at both NCSA and Salem College.

Gerald Berthiaume has performed as soloist, accompanist and chamber musician throughout the United States and abroad. In 1993, he won the United States Information Agency Artistic Ambassador Competition at Stanford University where he competed among 88 pianists. As a result, Berthiaume toured the Middle East presenting concerts at U.S. embassies and consulates, as well as for international schools and television. Berthiaume has been invited to perform for national conventions of the Music Teachers National Association in Miami and Milwaukee, for the College Music Society in Chicago, for the Music Educators National Conference in San Antonio and the Percussive Arts Society in San Antonio. In 2004, Berthiaume performed for the Festival of New Music in Munich, Germany and the SCI conference in South Carolina. He has also performed for the Northwest Conference of the Society of Composers International in Missoula and given performances, workshops and masterclasses for state conventions of the Washington State Music Teachers Association and Oregon Music Teachers Association. He has toured as accompanist for William Walker of the Metropolitan Opera and for James King of the Vienna State Opera. Berthiaume has completed 13 compact disc recordings of solo and chamber music performances. These performances are available on several labels: Albany Records (N.Y. and United Kingdom), Vienna Modem Masters, Advance Music (Germany), Arizona and Northeastern University Recordings.In August 2003, he became Director of the School of Music and Theatre Arts at Washington State University where he has taught since 1989. In addition to serving as director, he teaches studio piano to undergraduate and graduate majors, as well as chamber music to all music majors. The WSU Sextet took 3rd place in the 2003 MTNA National Collegiate Chamber Music Competition. Berthiaume coordinates the WSU Summer Keyboard Explorations camp for junior high and high school students each July. Prior to joining WSU in 1989, he taught at Lamar University in Beaumont, Texas for 11 years. Berthiaume holds degrees in piano performance from the University of Puget Sound, New England Conservatory and the University of Washington. As an undergraduate he won the MTNA-WSMTA State Collegiate Piano Competition.He remains active in the Washington State Music Teachers Association adjudicating, giving workshops and masterlessons. He is former chair of the WSMTA Education Board.

Joe H. Brashier has been Director of Bands at Valdosta State University since August,1998. Prior to this he was Associate Director of Bands at Rutgers University from 1995-98. His experience includes Director of the Marching Band and conductor of the Symphonic Band at Appalachian State University from 1987-92, and Supervisor of Music in the Kansas City, Kansas School District. Dr. Brashier's previous experience includes thirteen years of public school teaching. Brashier is a native of Clinton, Mississippi. He attended the University of Southern Mississippi, studying conducting with Joe Barry Mullins and trombone with Raymond Young and Larry Weed. After earning Bachelor and Master degrees in Music Education, he taught at Red Level (AL) High School, Tate (FL) High School, and Greenwood (MS) High School. In 1987 Brashier earned a Doctor of Musical Arts degree in Conducting from the University of Kansas. At Kansas he studied conducting with Zuohuang Chen and wind literature with Robert Foster. Dr. Brashier has served as a clinician or adjudicator throughout the South, Midwest, East coast, Canada, and Guam and is a noted authority on the Saito Conducting Method. He also has an extensive background in marching band and related areas. Besides outstanding bands, he directed winter guards for eleven years. He holds membership in the College Band Directors National Association, National Band Association, Music Educators National Conference, Kappa Kappa Psi, Phi Mu Alpha Sinfonia, Phi Beta Mu, and the Grainger Library Society.

Russell Brown is currently pursuing a PhD in Music Composition at the University of Florida. Mr. Brown also holds an M.M. in Music Composition from the University of Florida, an M.M. in Music Performance from The Ohio State University and a B.M. in Music Performance from Valdosta State University. He currently is a member of the Gainesville (FL) Chamber Orchestra, the Albany (GA) Symphony Orchestra and various chamber groups that perform primarily contemporary music. Russell has performed at local and regional SCI concerts, the Florida Electroacoustic Music Festival, and SEAMUS.

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A dynamic and versatile violist, Philadelphia-born Sheila A. Browne has concertized in many of the world's major halls as a soloist, chamber musician, and as principal of several orchestras. A solo finalist in the Pro Musicis International Awards, she performed in Carnegie Hall in 2004. She also won prizes as a member of the Arianna and Gotham String Quartets and has collaborated with artists such as James Buswell, Nicholas Chumachenko, Paul Katz, Gilbert Kalish, David Krakauer, Ruth Laredo, Richard Stolzman and the Vermeer Quartet. As principal of the New World Symphony, she was featured by Michael Tilson-Thomas in the PBS documentary "Beethoven Alive!" She has been soloist and principal of the Mainz, Freiburg, German-French, and Madrid's Queen Sofia chamber orchestras. Working closely with Krystof Penderecki on his solo music at the BanffFestival, she was broadcast on CBC radio throughout Canada, and has been heard on radio stations in South America, Europe, and the United States. Other festivals Ms. Browne has played I taught in include Evian, Great Lakes, Jeunesses Musicales, Music Academy of the West, Sun Valley, Tanglewood, Texas, Knoxville, Killington, Green Mountain, and American Festival of the Arts. A proponent of new music, she has premiered many new works, several of which are soon to be released on CD, such as Arthur Gottshalk's Politically Correct, written for the Gotham Quartet and soprano, and Anthony Iannoccone's Clarinet Quintet. The Arianna Quartet has recently released a compact disc on the Urtext label of the Brahms and Mozart Clarinet Quintets. Also an active recitalist, she has given concerts and outreach performances in North America and Europe. Ms. Browne was Karen Tuttle's teaching assistant at the Juilliard School for four years, where she received her B.M. degree. She was awarded a German Academic Exchange Grant (DAAD) for studies with soloist Kim Kashkashian at the Freiburger Hochschule, which granted her first Master's degree, and was also Karen Ritscher's teaching assistant at Rice University's Shepherd School, where she received her second Master's degree. At Rice, she played with the Gotham Quartet as part of Paul Katz's quartet residency program. She was an Artist I Teacher-in-Residence at the University of Missouri-St. Louis with the Arianna String Quartet before teaching at the University of Tennessee-Knoxville.

David Brunell is Associate Professor of Piano at the University of Tennessee. He received his undergraduate, Masters, and D.M. degrees from Indiana University, where he received the University's highest musical and academic awards-the Joseph Battista Memorial Award, the Performers Certificate, and the John H. Edwards Fellowship. He has performed across the United States, Latin America and Europe. Other awards include the 1998 Tennessee Music Teachers Association "Teacher of the Year," first prizes in the Music Teachers National Association Competition and the Beethoven Sonata Competition, the prize for the best performance of the required work in the New Orleans International Competition, top prizes in the YKAA, New Orleans, and Louise D. McMahon International Competitions, as well as selection to the Artistic Ambassador Program sponsored by the United States Information Agency.

Kelly Burke joined the faculty at the University of North Carolina at Greensboro in 1989. She is currently the principal clarinetist of the Greensboro Symphony Orchestra and bass clarinetist of the Eastern Music Festival Orchestra. Equally at home playing Baroque to Bebop, she has appeared in recitals and as a soloist with symphony orchestras throughout the United States, Canada, Germany, New Zealand, Australia, and Russia. An avid chamber musician, Burke is frequently heard in concert with the Mallarme Chamber Players, for whom she plays both clarinet and bass clarinet, the East Wind Trio d'Anches, Middle Voices (clarinet, viola and piano), and the Cascade Wind Quintet. Burke's discography includes several recent releases with Centaur Records: The Russian Clarinet, with works by Prokofiev, Shostakovich, Glinka, Melkikh, and Goedicke; Middle Voices: Chamber Music for Clarinet and Viola, featuring works by several American composers; and Samuel Coleridge-Taylor: Chamber Music featuring the quintet and nonet. She has also recorded for Telarc, Albany and Arabesque labels. Burke has received several teaching awards, including UNCG's Alumni Teaching Excellence Award, the School of Music Outstanding Teacher Award, has been named several times to Who's Who Among America's Teachers, and was recently honored with the 2004 UNC Board of Governor's Teaching Excellence Award. She is the author of numerous pedagogical articles and the critically acclaimed book Clarinet Warm-Ups: Materials for the Contempora1y Clarinetist . She holds the BM and MM degrees from the Eastman School of Music and the OMA. from the University of Michigan. Burke is an artist/clinician for Rico International and Buffet Clarinets.

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Michael Burns holds the BM degree from the Victoria University of Wellington, New Zealand, the MM from the New England Conservatory, and the DMA from the University of Cincinnati College­ Conservatory of Music. Burns has performed in numerous professional orchestras including the Cincinnati and the New Zealand Symphonies and played Principal in the Midland/Odessa, Richmond and Abilene Symphonies; and the Cincinnati Chamber Orchestra. Prior to UNCG he taught at the Cincinnati College­ Conservatory, Indiana State University, and Midland College. He remains active as a solo and chamber performer with numerous performances at International Double Reed Society conventions, recitals and master classes throughout North America and the South Pacific, and is bassoonist in the EastWind Ensemble and the Cascade Quintet. He has recorded for the Centaur, CAP, Telarc, EMI, Klavier, and Mark labels. In summers, Bums is associated with the Eastern Music Festival and the Bands of America Summer Symposium. He is also an active composer with many of his pieces being published by BOCAL Music and frequently performed. His mentors include William Winstead, Sherman Walt, Leonard Sharrow, and Colin Hemmingsen. He is archivist for the International Double Reed Society and was co-host for the IDRS 2003 Conference in Greensboro, NC. Bums is a Yamaha Performing Artist.

James Cannon, percussionist, received his Bachelor of Music from Winthrop University in May 2005. He is currently working toward the Master of Music degree at Winthrop University where he serves as the graduate assistant for the percussion department. He also teaches percussion privately and through the Academy of Music at Winthrop University.

William P. Carroll, Director of Choral Activities and Chair of the Division of Vocal Studies, holds degrees from Millsaps College, Southern Methodist University, and the University of Cincinnati College­ Conservatory of Music. He has served as guest conductor for numerous workshops, honor choirs, and clinics, including the North Carolina High School Honors Chorus and All-State Chorus, the North Carolina Junior High All-State Chorus, the Virginia Music Camp, and the Lake Junaluska Music Week and has given presentations for the Eastern Division ACDA Convention, the Fellowship of United Methodist Musicians National Conference, and the Intercollegiate Men's Choruses Association National Convocation. He recently completed a fifteen-year tenure as Conductor of the Ch

Brian Carter hails from Buffalo, NY, and is a second-year masters student in the studio of Brooks Whitehouse. He earned his Bachelor's Degree in music education at the Crane School of Music in Potsdam, NY. While at Potsdam, Brian was the principal cellist of both the Crane Symphony Orchestra and The Early Music Ensemble. Currently, he is a member of Gate City Camerata. Brian has performed in numerous masterclasses with many distinguished artists. Since moving to Greensboro, Brian has been active in many of the area's regional orchestras as well as performing in many chamber ensembles at UNCG.

Nathan Daughtrey has served as Visiting Lecturer in Percussion Studies at UNCG since 2003. He teaches applied percussion lessons and directs the University Percussion Ensemble. He earned his Bachelor, Masters, and Doctor of Music Arts degrees from the University of North Carolina at Greensboro. He has studied percussion with Dr. Cort McClaren, marimba with Keiko Abe, and composition with Dr. Greg Carroll. As a solo marimbist, Dr. Daughtrey has traveled around the globe performing solo recitals, giving clinics and masterclasses, and performing as a soloist with orchestras. He released his first solo CD, "Spiral Passages" in 2001 featuring the premiere recordings of five works for marimba. His second CD, "Strange Dreams," will be released in the summer of2005 and will include a recording of Emma Lou Diemer's "Concerto in One Movement for Marimba and Orchestra" with the Slovak Radio Symphony Orchestra, as well as recordings of his own compositions. In addition, he appears frequently as section percussionist with the Greensboro Symphony Orchestra, the Winston-Salem Symphony, and the North Carolina Symphony.

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Tomoko Deguchi (b.1965, Nishinomiya, Japan): Pianist, Music Theorist, began a performing career while in Japan, focusing on contemporary music. She has been a featured performer at numerous concerts including the 20th Century Piano Music series, the Young Artist Concert series, Kobe Art Conference Competition concert, and the Buffalo Contemporary Ensemble Concert series. In 1996, she was selected one of the six finalists in the Crane Festival of New Music, National Student Performers Competition, and performed at the State University ofNew York at Potsdam. She was the 1998 Concerto Competition winner at the University of Wyoming. In the same year, she was invited as a guest performer at the Northern Illinois University, where she did a recording for her first solo piano album "Syncopated Lady," featuring works of members of the American Composers Forum, which was released in June 1999 from Capstone Records. More recently she performed for contemporary composers concerts and new music concerts around the region. Currently, Ms. Deguchi is an lecturer of music at Winthrop University. She is a Ph.D. candidate (ABD) in music theory from State University ofNew York at Buffalo. She holds a Masters degree in Music Theory from University of Wyoming, Bachelor's and Master's degrees in Music Education from Kobe University, Japan.

Haiqiong Deng, a performer on the traditional Chinese instrument the zheng (or gu--zheng), was the winner of the Outstanding Performance Prize at the Chinese National zheng Competition in Shanghai. Her instrument is a 21 or 26-string plucked instrument with moveable bridges for each string, and is the descendant of the Japanese koto and Korean kayagum. Since 2001, she has performed in numerous works in music festivals and invited to give performance and lectures at various universities and national/regional conference in the United States that include: the 2000 World Music Festival in Chicago, Lotus World Music Festival in Bloomington; 2004 The college Music Society National Conference in San Francisco; 2005 the Presidential Concert Series at Middle Tennessee State University, the Concert-Lecture Series at Carson Newman College and Guest artist at Darton College. Her Carnegie Hall debut recital in 2003 included two world premieres: Dots, Lines, Convergence by Chihchun Chi-sun Lee, a concerto for zheng and chamber ensemble commissioned by the Harvard Fromm Foundation, and CRUSH, a duo for zheng and soprano saxophone by Michael Sidney Timpson. She has appeared as a soloist with the Tallahassee Symphony Orchestra, the Singapore Symphony Orchestra, the Singapore Chinese Orchestra, and the Singapore City Orchestra. Haiqiong released her solo CD, Ning - Chinese Zheng Solo by Haiqiong Deng, in September 2002 by the Celebrity Music Pte. Ltd. in Singapore. She also appeared as a soloist in Out of Tang Court by composer Zhou Long in Evelyn Glennie's CD, Oriental Landscapes, with the Singapore Symphony Orchestra, and Tales From the Cave, with Music from China. Haiqiong received her Bachelor of music degree in zheng performance from the Shanghai Conservatory of Music and Master of Arts in Arts Administration and ethnomusicology from the Florida State University School of Music. She is currently the Director of the Chinese Music Ensemble at the Florida State University.

The EastWind Trio d'Anches (or sometimes, the EastWind Ensemble) is the resident faculty reed trio at the University of North Carolina at Greensboro. Formed as a quintet in 1973, EastWind has performed extensively and established an enviable reputation regionally, nationally, and internationally. The ensemble maintains a heavy concert schedule that includes performances and clinics at conventions and conferences, on radio and television, in public schools, and on various college campuses. The members each have extensive solo and chamber music experience, which brings strength and creative diversity to the group. EastWind has an effective musical rapport that allows the ensemble to perform a wide range of music with equal amounts of style, creativity, and bravado. Repertoire of the EastWind Trio d'Anches includes all of the standard literature from the Baroque to the present. The ensemble also draws upon the talents of guest artists to create entertaining programs enhanced by dance, narration, and the addition of other instruments. Along with formal performances, EastWind has an excellent educational program oflecture/demonstrations and master classes for schools, as well as customized residencies. Please see individual biographies for Ashley Barret, Michael Bums, Kelly Burke and Inara Zandmane.

LaTannia Ellerbe attended Vanderbilt University as a Chancellor's Scholar. She graduated from Vanderbilt in 2004 with a B Mus., magna cum laude. She is currently working on her Masters in Violin Performance and will graduate in 2006. LaTannia plays with various orchestras including the Blue Ridge Chamber Orchestra, The Danville Symphony, and The University Symphony Orchestra, for which

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she is currently concertmaster. She has participated in a number offestivals including the Henry Mancini Institute, The Medomak Conductors Retreat, Meadowmount, Eastern Music Festival, and Brevard Music Center. Ms. Ellerbe has studied violin with Ernest Pereira, Christian Teal, John Faidal, and Anne Setzer. She currently serves on the faculties of Bennett College and the Music Academy ofNorth Carolina. In her LIMITED Spare time, she enjoys playing Praise and Worship music for the NBS gospel choir and Greater Ambassadors for Christ International Ministries.

John Fadial holds degrees from the North Carolina School of the Arts, the Eastman School of Music, and the University of Maryland. As a United States Information Service Artistic Ambassador, he has toured extensively on four continents. Recent recital appearances have included performances at the Phillips Collection; the Kennedy Center; the Sale Poire!, Nancy, France; and the American University in Blagoevgrad, Bulgaria. A highly successful teacher, his students has been accepted by such prestigious institutions as Oberlin Conservatory, Peabody Conservatory, the Eastman School, The Cleveland Institute, and the National Repertory Orchestra. They also have included winners of the Pittsburgh Symphony Young Artist Solo Competition; and winners and finalists in the MTNA National Competitions. John Fadial currently serves as concertmaster of the Greensboro Symphony Orchestra, as well as violinist of the Chesapeake Trio and the Mclver Ensemble. His mentors include Elaine Richey, Charles Castleman, and Arnold Steinhardt.

Susan Fancher's tireless efforts to develop the repertoire for the saxophone have produced dozens of commissioned works by contemporary composers, as well as published transcriptions of music by composers as diverse as Josquin Desprez and Steve Reich. She has worked with a multitude of composers in the creation and interpretation ofnew music including Terry Riley, Michael Torke and Charles Wuorinen, to name just a few, and has performed in many of the world's leading concert venues and contemporary music festivals. The most recent additions to her discography are a solo CD entitled Ponder Nothing on the lnnova label and a recording on New World Records of Forever Escher by Paul Chihara. Susan Fancher is a regularly featured columnist for the nationally distributed Saxophone Journal. Her principal teachers were Frederick Hemke, Jean-Marie Londeix, Michael Grammatico and Joe Daley.

Robert Faub is an accomplished classical soloist, chamber musician and jazz artist. He was formerly the alto saxophonist with the widely acclaimed New Century Saxophone Quartet, with whom he performed extensively throughout the United States and in the Netherlands. He appears on New Century's recordings A New Century Christmas and Standards. As a soloist, he gave the first performance of Ben Boone's concerto Squeeze with the University of South Carolina Symphony, adding to a long list of works he has premiered. His recording of Andrew Simpson's Exhortation, included on Arizona University Recording's America's Millenial Tribute to Adolphe Sax, was "immaculately played,'' according to The Double Bassist magazine. Robert Faub currently teaches saxophone at UNC Chapel Hill, is on the music theory faculty at UNC Greensboro, and appears regularly with the North Carolina, Greensboro and Winston-Salem Symphonies.

Kevin M. Geraldi began his appointment to the UNCG School of Music faculty as Associate Director of Bands in Fall 2005. In this capacity, he conducts the Symphonic Band, teaches courses in undergraduate conducting, and directs the Wind Ensemble chamber music program. He recently completed the Doctor of Musical Arts degree in instrumental conducting at the University of Michigan where he received a full fellowship to study with Michael Haithcock. Prior to beginning his doctoral studies, he served as Director of Bands at Lander University in Greenwood, SC. Dr. Geraldi holds a Master of Music degree in conducting from the University of Michigan, where he studied with H. Robert Reynolds. He received his Bachelor of Music Education degree from Illinois Wesleyan University, where he studied conducting with Steven Eggleston. From 1996-1998, he was director of bands for the Westchester Public Schools in Westchester, IL, where his ensembles received top honors. Dr. Geraldi has served as assistant conductor of the Central Illinois and Michigan Youth Symphonies and as a guest conductor he has conducted honors groups in Michigan, South Carolina, and Connecticut. He maintains an active schedule as a clinician throughout the country. As a member of the Franklin Park Brass Quintet, Dr. Geraldi has toured the Midwest, New England, and South Carolina, performing recitals and conducting brass and chamber music masterclasses. Dr. Geraldi has studied conducting privately and in seminars with teachers including Gustav Meier, Pierre Boulez, and Frederick Fennell. Most recently, he was a participant in the Conductor's

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Institute of South Carolina's opera conducting workshop at the Spoleto Festival, USA. Dr. Geraldi was named as the 2001-2002 recipient of the Thelma A. Robinson Award, an award given biannually to a conductor under age 30 by the Conductors Guild and the National Federation of Music Clubs. He is a member of the Conductors Guild, the College Band Directors National Association, Music Educators National Conference, Pi Kappa Lambda, Phi Mu Alpha Sinfonia, and the International Trombone Association.

Soo Goh is an international DMA student at the University of North Carolina at Greensboro from Penang, Malaysia. He began his formal clarinet studies with Michael Chesher at Luther College in Decorah, Iowa in 1998, and then with Kevin Schempf at the Bowling Green State University, Ohio, for his M.M. degree. As an active performer, he has been engaged in many pit orchestra as well as various chamber music groups. Soo Goh has performed with the Penang Symphony Orchestra, Luther College Symphony Orchestra, Bowling Green State University Philharmonia, as well as the Bowling Green Symphonic Band and Wind Ensemble. He was the principal clarinetist of the UNCG Symphony Orchestra and a co-principal clarinetist of the UNCG Wind Ensemble. He is presently completing his doctoral studies at UNCG with Dr Kelly Burke.

Robert Gutter is currently Director of Orchestral Activities at the University of North Carolina at Greensboro and also serves as Music Director of the Philharmonia of Greensboro. In 1996 he received an appointment as Principal Guest Conductor of the National Symphony Orchestra of the Ukraine in Kiev. He is founder and artistic director for the International Institute for Conductors which has had workshops in Kiev,Catania, and most recently in Bacau, Romania. In his 35 years as a professional conductor he has devoted himself to both professional and non-professional orchestras in over twenty five countries and in the major cities ofNew York, Washington D.C., Paris, London, Vienna, Milano,Firenze, Stuttgart, and St. Petersburg. In addition to his symphonic engagements, he has appeared with opera companies both in the United States and in Europe. Prior to accepting his orchestral posts in North Carolina in 1988, he served as Music Director and Conductor of the Springfield, Massachusetts Symphony. In 1986 he was named "Conductor Emeritus" of that orchestra. As an instrumentalist, Gutter served as principal trombonist with the Washington National Symphony. He holds the bachelor and Master degrees from Yale University.

Sarah Johnson made her debut with the Minneapolis Symphony at the age often. She has received accolades throughout the US, South America and Europe for her "first rate fiddling" (NY Times)and served for nearly a decade as founder and director of the critically-acclaimed and very popular "Sarah Johnson & Friends" chamber music series at the Dock Street Theatre in Charleston, SC. An active proponent of music by women as well as a performer who regularly premieres new works, Ms. Johnson was actively involved in commissioning and premiering the Violin Concerto (1993) by Pulitzer Prize winning composer Robert Ward. Inl994, she released her first compact disc on the Albany Label, entitled "Scarlet and Blue" which featured the Robert Ward Violin Concerto. She made her European debut at the Spoleto Festival in Italy at the personal invitation of Gian-Carlo Menotti following her performance of his violin concerto, a performance which was featured on the CBS Morning News. A former member of the Saint Paul Chamber Orchestra and a founding member of the South Carolina Chamber Orchestra, Ms. Johnson is a graduate of The Curtis Institute of Music in Philadelphia where she studied with Ivan Galamian, Jaime Laredo and members of the Guarneri Quartet. Further studies were made in New York City with Erica Morini and the Beethoven scholar, Karl Ulrich Schnabel. While in New York she freelanced and played with the Orpheus Ensemble. Ms. Johnson has taught on the visiting faculties of the Eastman School of Music, Duke University, and the College of Charleston. She has participated in the festivals of the Grand Tetons, Eastern Music Festival, Piccolo and Spoleto Festivals, Summer Scenes on Roanoke Island, Cabrillo Festival, Bear Lake Festival, the Austin Chamber Music Festival, Gateways, EVIVV A! and Artslgnite in Winston-Salem, An Appalachian Summer and Summer Music in Blowing Rock and the Chapel Hill Chamber Music Festival and Workshop. She is currently an Associate Professor of Violin at the Petrie School of Music at Converse College and a member of the Artist Faculty of the North Carolina School of the Art

Pianist Nitza Kats is a graduate of the Rubin Academy of Music in Jerusalem, Israel, where she earned her Teaching Certificate and Artist Diploma, studying with Sonya Vallin and Pnina Salzman. During her studies there she won scholarships from the American-Israel Cultural Fund, a foundation supporting young Israeli musicians. Ms. Kats continued her education at the University of Minnesota under Professor

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Bernhard Weiser, where she earned a Master of Fine Arts degree, majoring in piano performance. Additional private studies were with Nadia Reisenberg, Leon Fleisher, Malcolm Bilson, Leonard Shure, and Clifton Matthews, among others. Ms. Kats has performed extensively in solo recitals and chamber music concerts in Israel and the United States, and has been heard on public radio stations in both countries. Her long pedagogic career includes teaching positions at the Rubin Academy of Music in Jerusalem, the University of Minnesota, and at Virginia Tech. Currently, she is an Associate Professor in the Department of Music at Radford University.

Brian Kennedy, who hails from Fayetteville, NC, will graduate in December with a degree BA in Music with a double concentration in Organ and Piano. His accompanying and performing cover a broad area of music which includes musically directing The New Hapeville Comics in the 2002 Fringe NYC International Festival and Marat/Sade at UNC-G's Taylor Theatre. Brian has been always been involved in church music and currently serves as the Director ofLifeteen Music at St. Paul the Apostle Catholic Church.

Kenneth Law, violoncello, received undergraduate and graduate degrees in performance from the Eastman School of Music and Cleveland Institute of Music, and a Graduate Performance Diploma from the Peabody Conservatory as a student of Paul Katz, Alan Harris, and Stephen Kates. He also served as a chamber music teaching assistant to Joel Krosnick at the Juilliard School from 1994-96. Mr. Law has been a member of such orchestras as the Cleveland Chamber Symphony, Aspen Music Festival Orchestra, and American Chamber Orchestra, and has appeared as soloist and recitalist throughout the southeast. His concert appearances include performances at the German Embassy in Washington, D.C., the Kennedy Center's Terrace Theater, and Alice Tully Hall in New York City. He has collaborated with such artists as Earl Carlyss (Juilliard String Quartet), Michael Tree (Guarneri Quartet), Ying String Quartet, Norman Carroll (concertmaster emeritus, Philadelphia Orchestra) and the late Samuel Baron. Mr. Law is Assistant Professor of Violoncello and Chamber Music at the Carroll McDaniel Petrie School of Music of Converse College. He is the cellist of the Converse Trio and LYRA String Quartet and principal cellist of the Greater Spartanburg Philharmonic. Mr. Law is also a member of the Phoenix Players of Baltimore, Maryland, and Ritz Chamber Players of Jacksonville, Florida, and coordinates the Converse College Chamber Music Workshop.

Timothy Lees, Concertmaster of the Cincinnati Symphony Orchestra since 1998, is an accomplished performer who is increasingly in demand for his thoughtful chamber music playing and controlled command of the orchestral literature. A native of Philadelphia, PA, Mr. Lees graduated from the Eastman School of Music where he received the coveted Performer's Certificate. He has distinguished himself both here and abroad, and has established his reputation as a leader serving as the Concertmaster for the internationally renowned Spoleto Festival Orchestra, the New Jersey Symphony, and the Charleston (SC) SymphonyOrchestra. An avid chamber musician, Mr. Lees has collaborated with such artists as Peter Wiley, Steven Tenenbom, Ida Kavafian, Yefim Bronfrnan and Jaime Laredo and makes regular appearances at the Linton Music Series in Cincinnati, OH. In addition, he has been heard at the summer festivals of Aspen, Sarasota, Spoleto and Sebago-Long Lake. As a recitalist, Mr. Lees has been featured in performances in Cincinnati, Philadelphia and San Diego's Mainly Mozart Festival. He is a former member of the Santa Fe Opera Orchestra and the Concerto Soloists of Philadelphia, where he also performed as a soloist. Mr. Lees has appeared as soloist numerous times with the Charleston Symphony Orchestra and the Cincinnati Symphony Orchestra performing such works as the Beethoven, Bruch, and Korngold Violin Concertos, Mozart's Sinfonia Concertante for Violin and Viola and the Brahms Double Concerto. In March of 1999 he won critical acclaim for a Carnegie Hall performance with the Cincinnati Symphony Orchestra. Edith Eisler of Strings Magazine writes: "The display of egotism is almost redeemed by the soaring melodies and the famous bravura violin solo, played with spectacular virtuosity by concertmaster Timothy Lees (Strauss, Ein Heldenleben]".

John R. Locke has served on the UNCG School of Music Faculty as Director of Bands and Founding Director of Summer Music Camp since 1982. A Professor of Music, Locke is Conductor of the University Wind Ensemble and, until recently, Chaired the Instrumental Division. He holds the Bachelor and Master of Music degrees from West Virginia University and the Doctor of Education degree from the University of Illinois. Previously, Dr. Locke held teaching positions in music at West Virginia University, Southeast Missouri State University, and the University of Illinois. Dr. Locke has conducted band performances

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throughout the country including the National Conventions of the MENC and CBDNA, the Kennedy Center in Washington, DC and Lincoln Center in New York City. In addition, he has guest conducted the U.S. Air Force Band, U.S. Army Field Band, U.S. Navy Band, and the Dallas Wind Symphony, as well as numerous university bands. He has published articles on band literature in The Journal of Band Research and Winds Quarterly, is the former Editor of The North Carolina Music Educator and was a member of the Research Publications Commmittee for CBDNA. In 1989, Dr. Locke was selected for membership in the prestigious American Bandmasters Association, one of the youngest members of the modem era. He has received the Phi Mu Alpha Orpheus Award and has been a recipient of the National Band Association Citation of Excellence on three occasions. He is a National Arts Associate of Sigma Alpha Iota. In 1994, Dr. Locke received the Phi Beta Mu International Fraternity Outstanding Bandmaster of the Year Award, presented at the Midwest Clinic in Chicago. With the UNCG Wind Ensemble, Locke has recorded eleven commercially available compact discs which have received critical acclaim from Bandworld Magazine and been aired frequently on PBS radio stations across the country. He is Past-President of the North Carolina Music Educators Association, an affiliate ofMENC with some 2,200 members. In 1999, Dr. Locke became President of the Southern Division of the College Band Directors National Association and a member of the Board of Directors of the American Bandmasters Association. In 2002, Dr. Locke was nominated for the 0. Max Gardner Award, the highest award in the 16-campus UNC System. In 2003, Locke was elected Vice-President of the American Bandmasters Association and was awarded the Outstanding Teacher Award in the School of Music in April. In 2004, Locke was elected President-Elect of the American Bandmasters Association. Dr. Locke maintains an active schedule of guest conducting and adjudicating bands throughout the United States and Canada. Since 1977, he has administered summer music camps for more than 43,000 students.

Mark Mazzatenta is active in both the classical and jazz worlds as performer and composer. He earned the MM degree at Florida State University in 1987 and began teaching at the University of North Carolina at Greensboro, where he currently heads the guitar program. Mazzatenta's concerts feature contemporary and original music--everything from solo classical guitar pieces to improvisatory electric guitar synthesizer. He performs in a duo with twin brother Michael on piano/harpsichord/keys and with his jazz group MAZZJAZZ. Mazzatenta has played in workshops with Fred Wesley and Byron Stripling and performed concerts with Chris and Dan Brubeck. He has published in Soundboard Magazine, the Jazz Educators Journal and has recorded 3 CDs of original music.

Marco Antonio Mazzini was born in Lima, Peru and began studying music with his father at age 5. He later continued studies at the National Conservatory of Peru and received his undergraduate diploma in 1998 studying under Clarinetist, Ana Barrera. In 1999 he moved to Belgium to study with Eddy Vanoosthuyse at the Royal Conservatory of Ghent, where he has received his master degree in clarinet, chamber music and improvisation. Complimenting his studies, Marco Antonio has appeared as a soloist with the Lima Philharmonic Orchestra, the National Symphony Orchestra of Peru and the Orchestra of Trujillo. Additionally he has performed in many important concerts halls in Lima, Arequipa, Trujillo and Cuzco, as well as in Colombia, Belgium, Holland, France, Japan, Luxembourg, Czech Republic, Slovakia, USA, Italy and Iceland. As a founding member of the Thelema Trio, a rather unique ensemble dedicated to the performance and promotion of new music, he plays a variety of chamber works written for not only the traditional clarinet, but also bass clarinet and contrabass clarinet. In March of2004 he was invited to record the music of Vincent d'Hondt on the sound track for "La Femme de Gilles", a Belgian production by film maker Frv'©dv'©ric Fonteyne. In addittion to his musical endeavours, Marco Antonio is the director of "Clariperu", a Spanish-language website dedicated to the clarinet.

Rebecca Anne McNair is currently pursuing the Masters of Music in Piano Pedagogy at UNCG. She received her undergraduate degree in Piano Performance at Huntingdon College in Montgomery, Alabama, studying with Dr. Ronald Shinn. She has taught piano at UNCG Summer Music Camp, Huntingdon College Junior Piano Camp, and has had a private piano studio in both Alabama and Mississippi. Ms. McNair has also accompanied vocalists and ensembles in Alabama, Mississippi, and Greensboro in such venues as Guilford College and the UNCG School of Music. Rebecca is a member ofMTNA and currently studies with Dr. Paul Stewart.

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Mark A. Norman is a professional conductor and tubist living in the Piedmont/Triad Area. He currently is the conductor of the Greensboro Concert Band and the UNCG University Band. His past conducting appointments include the American Wind Orchestra, the Riverside Wind Symphony, the Loudoun Concert Band, and at Towson University where he served as the Assistant Director of Bands. Mr. Norman is a former tubist with the U.S. Navy Band in Washington, DC performing in the concert and ceremonial bands, brass quintet, tuba quartet and as a soloist and clinician. He is the former Principal Tuba of the Georgetown Symphony, McLean Orchestra, and the Mt. Vernon Chamber Orchestra and was a featured soloist with each ensemble. He has also performed with the North Carolina, Charlotte, Richmond, Fairfax, Greensboro and Winston-Salem Symphonies. Mark is a former member of the Tubas in the Sun Quartet, Washington Brass, and Quintet Brazil. He is the former conductor of the Dominion Brass and Riverside Brass Ensemble.

Janet Orenstein enjoys an active performing career in the United States and abroad as both a chamber musician and soloist. As a founding member of the Guild Trio, she has won the USIA Artistic Ambassador and Yellow Springs Competitions, and has toured extensively with this group in Canada, Europe and the United States. From 1996-200 I she performed and taught violin at UV A where the Guild Trio held the position of Ensemble-in-Residence. As winner ofthel 996 USIA Duo Competition, she gave recitals and master classes in seven African countries with pianist Christina Dahl. She has been a top prizewinner in numerous competitions, including the Philadelphia Orchestra Concerto Competition and the West Palm Beach Invitational Concerto Competition. Since coming to North Carolina with her husband, UNCG cello professor Brooks Whitehouse and their two sons, Ms. Orenstein has appeared as soloist with the Salisbury Symphony Orchestra, and in recital at Lees-McRae and Mt. Olive Colleges. She has also performed at Meredith College where the Guild Trio was resident ensemble for the 2003 NCMTA State Conference. Her principal teachers include Joyce Robbins, Szymon Goldberg, Ivan Galamian and Christine Dethier.

Ed Owen is Assistant Professor of Tuba & Euphonium at Arkansas State University. His primary duties include serving as Coordinator of Graduate Studies, teaching Applied Tuba and Euphonium, and conducting the ASU Tuba and Euphonium Ensemble and Brass Choir. He currently performs as Principal Tuba of the Arkansas Symphony Orchestra and Brass Quintet, the Delta Symphony Orchestra, and the ASU Brass Quintet. A native Arkansan, he received the Bachelor of Arts in Music Education degree from Arkansas Tech University (summa cum laude), the Master of Music in Tuba Performance and Doctor of Musical Arts in Performance and Literature from the University of Illinois in Urbana-Champaign. Prior to his appointment at ASU, Dr. Owen served on the faculties of the University of Southern Mississippi, Ouachita Baptist University and Indiana State University. A dedicated and enthusiastic teacher, his students are regular participants in local, state, and international competitions. Most recently, he placed two students in the semi-finals of the Arnold Jacobs International Orchestral Tuba Competition in Budapest, Hungary. He has also conducted Tuba & Euphonium Ensemble concerts at the International Tuba & Euphonium Conferences in Regina, Saskatchewan, Canada and Greensboro, North Carolina. Dr. Owen's orchestral engagements have included the Meridian Symphony, Champaign-Urbana Symphony, Great Music West Festival Orchestra and Brass Quintet, Sinfonia da Camera, Illinois Contemporary Chamber Players, and the Terre Haute Symphony. As a soloist he has appeared with the Delta Symphony Orchestra, the Arkansas State University Wind Ensemble, and the Symphonic Bands of Arkansas Tech University, University of Illinois, and Bryant High School. An active clinician, Dr. Owen is in demand for master classes and clinics on brass performance and techniques. He has studied tuba with Andy Anders and Mark Moore.

Scott Rawls has appeared as soloist and chamber musician in the United States, Canada, Mexico, Japan, and Europe. Chamber music endeavors include performances with the Diaz Trio, Kandinsky Trio and Ciompi Quartet as well as with members of the Cleveland, Audubon and Cassatt String Quartets. His most recent CD recording, released on the Centaur label, features the chamber music of Samuel Coleridge­ Taylor and was released summer 2004. His recording of chamber works for viola and clarinet was released spring 2003 on the same label. The ensemble, Middle Voices, will record another disc for Centaur featuring the chamber music of American composer, Eddie Bass. Additional chamber music recordings can be heard on the CRI, Nonesuch, Capstone, and Philips labels. Also a champion of new music, Rawls has toured extensively as a member of Steve Reich and Musicians since 1991. As the violist in this ensemble, he has

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performed the numerous premieres of The Cave and Three Tales, multimedia operas by Steve Reich and Beryl Korot, videographer. And under the auspices of presenting organizations such as the Wiener Festwochen, Festival d'Automne a Paris, Holland Festival, Berlin Festival, Spoleto Festival USA and the Lincoln Center Festival, he has performed in major music centers around the world including London, Vienna, Rome, Milan, Tokyo, Prague, Amsterdam, Brussels, Los Angeles, Chicago and New York. He is a founding member of the Locrian Chamber Players, a New York City based group dedicated to performing new music. Dr. Rawls currently serves as Associate Professor of Viola and Chair of the Instrumental Division in the School of Music at the University of North Carolina at Greensboro. Under the baton of maestro Dmitry Sitkovetsky, he plays principal viola in the Greensboro Symphony Orchestra. He is very active as guest clinician, adjudicator, and master class teacher at universities and festivals in America and Europe. During the summers, Rawls plays principal viola in the festival orchestra at Brevard Music Center where he also coordinates the viola program. He holds a BM degree from Indiana University and a MM and DMA from State University of New York at Stony Brook. His major mentors include Abraham Skernick, Georges Janzer, and John Graham.

The Red Clay Saxophone Quartet was formed in October of2003 by four internationally recognized saxophonists based in Greensboro, North Carolina. Susan Fancher, Robert Faub, Steve Stusek and Mark Engebretson have distinguished themselves individually as soloists and members of highly acclaimed chamber music ensembles. Susan Fancher has 15 years of experience as soprano saxophonist with the Vienna, Amherst and Rollin' Phones saxophone quartets. Robert Faub has performed extensively throughout the US and Europe as alto saxophonist with the New Century Saxophone Quartet. Steve Stusek, saxophone professor at the University of North Carolina in Greensboro, is an international touring solo recitalist and chamber musician. Mark Engebretson is a veteran of the Vienna Saxophone Quartet and is Assistant Professor of Music Composition at UNCG. Please see individual performer biographies for Susan Fancher, Robert Faub and Steve Stusek, and composer biography for Mark Engebretson.

Dr. Jerome A. Reed, professor of music at Lipscomb University, provides private piano and composition lessons, coaches the University String Ensemble, and teaches classroom courses in piano literature and pedagogy. He holds the D.M.A. and M.M. in piano performance from the Catholic University of America and the B.M. in music from Middle Tennessee State University. His performance schedule averages around 20 concerts, lectures, and recitals every year. He has performed extensively in the U.S., I South America, and Europe, appearing in such venues as the Mendelssohnhaus in Leipzig, Germany, the I Musikhochschule in Graz, Austria, and the Conservatoire Royale in Brussels. His work has been broadcast over U.S., German, and Australian Public Radio. Dr. Reed is the director of the music division of the I Governor's School for the Arts, past president of the Southern Division of the Music Teachers National Association, and former music critic for the Tennessean. His recordings (on Capstone Records) include an album premiering new music for piano and tape. In the fall of 2002 Dr. Reed took a group of students I overseas in the Lipscomb in Vienna program. During the 2002-03 he performed the Concord Sonata by I Charles Ives, together with a multimedia presentation and readings from Ives's writings, in a number of I venues in the United States and abroad. Highlights included performances at the Musikhochschule in Graz, I Austria (sponsored by the European Piano Teachers Association), and at Mendelssohnhaus in Leipzig, I Germany (sponsored by the American Consulate). In 2003 he was awarded the one of Lipscomb I University's most prestigious honors, the Avalon Award for Creative Excellence. I ' Doug Risner, Department Chair & Associate Professor, Maggie Allesee Department of Dance, Wayne State University. For over two decades as a dance educator, choreographer, and faculty member, Risner has taught and choreographed at Luther College, Pittsburgh Ballet Theatre, Meredith College, Iowa State University, Winona State University, the University of North Carolina at Greensboro, Gustavus Adolpus College, Weber State University, and Western Illinois University. His work has been funded by the generous support of the Pennsylvania Council on the Arts, the H. George & Jutta F. Anderson Endowment, the North Carolina Department of Public Education, the Iowa Arts Council, and the North Carolina Dance Festival. He currently serves as Assistant Editor for the Journal of Dance Educationand as Executive Committee Secretary for the National Dance Education Organization (NDEO). Risner also contributes to Research in Dance Education, Dance Research Journal, and Chronicle of Higher Education.

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PERFORMER BIOGRAPHIES

Richard Scruggs has performed widely in America, Germany, Sweden, Poland and the Netherlands as soloist and chamber musician in concert venues and festivals such as Weill Recital Hall at Carnegie Hall, the Alte Oper (Frankfurt), Sophiensaal (Munich), the Intemationale-Ferienkurse flir Neue Musik (Darmstadt), the Festival der Seltenen Besetzungen (Ludwigsburg), and the Biennial Festival ofNew Music at Florida State University. Several gifted composers have dedicated saxophone works to Scruggs, including Werner Wolf Glaser, Ryan Garber, Cristian Marina,, Alan Theisen, Michael Sidney Timpson, and Mark Alan Taggart. He was for several years a student of the eminent saxophone soloist and pedagogue Sigurd Rascher and in I 992 earned the Doctor of Music Degree from Florida State University. From I 993-200 I he was the saxophone instructor of the Tiibinger Musikschule in Germany. He is currently an Assistant Professor of Music at Carson-Newman College in Jefferson City, Tennessee. He performs regularly with zheng virtuoso Haiqiong Deng and in the duo parabolique et d'ivoire with composer/pianist J. Ryan Garber.

Meaghan Brown Skogen is currently working towards her Doctorate of Musical Arts in Cello Performance at UNCG. She earned her Masters in Music from UNCG and Bachelors in Music Performance and Music Education from Chapman University in Orange, CA. Mrs. Skogen has been a soloist with the Chapman University Chamber Orchestra and Santiago Strings Orchestra. She has recorded on several CDs and a movie soundtrack in California. She was a finalist in two area solo competitions. Currently Mrs. Skogen freelances throughout North Carolina, Virginia, and California. She teaches a freshman music theory class, a Career Development in Music class, and Leaming community class through UNCG, and maintains a private cello studio.

Steven Stusek has earned an international reputation for virtuosic performances of standard and new works for the saxophone as well as for his engaging master classes and clinics. A founding member of both the acclaimed Red Clay Sax Quartet and the UNCG Quatuor d' Anches, he has won the prestigious Dutch Chamber Music Competition as part of the saxophone-accordion duo 2Track with Dutch accordion player Otine van Erp. Along with degrees from Indiana University (BM, DM) and Arizona State University (MM), Stusek has studied at the Paris Conservatoire and the Conservatoire de la Region de Paris, where he earned the Prix d'Or a l'Unanimite in saxophone performance. He is also founder and host of the Carolina Saxophone Symposium, a day-long conference held at UNCG each Fall, and dedicated to the highest level of saxophone performance and education. The CSS is open to all saxophonists at no charge. In addition to being performing artist for the Vandoren and Selmer companies, Stusek is on the faculty of the Blue Lake Fine Arts Academy.

Thelema Trio-(please see composer biographies of Ward De Vleeschhouwer and Peter Verdonck and performer biography for Marco Antonio Mazzini): All great artists in the history of music had the privilege to work with the composers of their time. They used their talents to meet the new challenges and in this way the new music was introduced to the audience. Inspired by this tradition Thelema was formed in August 2002. The opportunity to work with composers themselves adds an extra and important dimension to our performance and our mentality. This is what our trio stands for. We are always open to new ideas and hope to expand our technical and musical skills. We want to inspire composers to write for this ensemble and to experiment beyond the frontiers of composition and instrumental technique. As it was also the idea of the abbeye ofThelema on other subjects in the early 20th century.

Above all we want the music to speak for itself as it was meant to be.

Thelema Trio is a unique Belgian ensemble. In their original line-up they go far beyond their classical education, so becoming a voice of the composers of today. Thelema Trio has a unique blaze of colours, varying from an orchestral lushness to the energy and power of avant-garde and rock and jazz, constantly refining their technical and musical skills. Thelema Trio are former students of the Royal Conservatory of Ghent, where they studied chamber music with Marcel Lequeux, Filip Rath.Y© and John Whitelaw. The ensemble has been giving concerts since March 2003. In that month they were also one of the winners at the Biannual Chamber Music Contest of Rotary Club Ghent. Their concerts have taken them to halls all over Belgium, in the Netherlands, Italy and Peru. In July 2005 they perform at the International Clarinet Festival 2005 in Tama, Tokio. In October

82 PERFORMER BIOGRAPHIES a concert tour through the USA will follow, where they've been invited by the American Society Of Composers to play American and Belgian works. In November 2003 they started a new programme consisting of traditional Peruvian and South-American music, arranged by clarinettist Marco. This music was recorded on the demo-CD ,AoPeruvian Music,Ao in February 2004. In May 2003 a promo-CD was recorded, which was followed by the demo-CD ,AuLive performances,Au in January 2005. Thelema is the first permanent ensemble in this line-up.

Thelema Trio is officially endorsed by BG FRANCE.

Phil Thompson is Professor of saxophone, flute and clarinet at Winthrop University in Rock Hill, South Carolina, where he also directs the Winthrop University Jazz Ensemble. He is very active both as a woodwind doubler in Charlotte, North Carolina, and as a clinician/adjudicator at schools and festivals throughout the Southeast. He is in demand as a performer and teacher of all instrumental styles - Classic to Jazz, and performs regularly with groups ranging from the Charlotte Symphony Orchestra to artists such as Ella Fitzgerald, Sarah Vaughn and Bernadette Peters. Thompson is a clinician for the Selmer Company. A graduate of East Carolina University and the University of Michigan, Thompson completed the Doctor of Musical Arts degree in Woodwind Performance at the University ofNorth Texas in 1993. While at UNT, Dr. Thompson played lead alto in the Two O'Clock Lab Band, directed by James Riggs.

As one of the most outstanding groups on the concert circuit, the UNCG Percussion Ensemble is known for its musicianship and superb technical ability - features that define the sound of this prestigious ensemble. Approximately thirty percussionists and their conductor, Cort McClaren, make up the three percussion ensembles at UNCG. Consisting of a unique blend of talented musicians ranging from freshman to doctoral students, the group captures the essence of contemporary percussion music. The UNCG Percussion Ensemble has also distinguished itself by performing many commissions, premieres, and recordings. The ensemble recorded Philip Parker's Concertino for Bb Trumpet and Percussion, Daniel McCarthy's Song of Middle Earth for Solo Marimba and Percussion Ensemble, and David Gillingham's Concerto for Piano and Percussion Orchestra and Gate To Heaven for Solo Marimba and Percussion Ensemble. Additionally, the UNCG Percussion Ensemble has also recorded a CD entitled "Sketches" which includes Philip Parker's Five Pieces for Clarinet and Percussion Orchestra, Sketches for Alto Saxophone and Percussion Orchestra, Marek's Sonata for Marimba Quartet, and David J. Long's Three Movements for Keyboard Percussion Ensemble. The ensemble was selected to perform at the 1994 Percussive Arts Society International Convention in Atlanta, Georgia and in 1998 in Orlando, Florida for a new music reading session where the ensemble premiered works by David Gillingham, Daniel McCarthy, and David J. Long. The ensemble has commissioned and premiered over 25 new works and continues to identify outstanding composers for its commissioning series.

The UNC Greensboro Wind Ensemble is a highly select concert band of sixty-four performers majoring in music at the UNCG School of Music. Performers range from freshman through masters and doctoral candidates in music performance and music education. Membership in the organization is highly competitive. These students have achieved numerous individual honors including solo competition awards on regional and national levels, music scholarships, undergraduate teaching fellowships, graduate assistantships and fellowships, teaching positions in music at all levels including college, membership in all-state bands, as well as professional performing credentials in orchestras, top military bands and professional quintets. Performers in the current UNCG Wind Ensemble are drawn from fourteen states. The UNCG Wind Ensemble has enjoyed a distinguished record of performance over the past decade. In

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January 1992, the UNCG Wind Ensemble performed "A Tribute to John Philip Sousa" to a capacity crowd of2,700 at the Concert Hall of the John F. Kennedy Center for the Performing Arts in Washington, D.C. Twice, the Wind Ensemble earned critical acclaim from The Washington Post newspaper following concerts in the nation's capital. The Wind Ensemble has performed throughout the eastern United States in recent years including the first-ever performance, in 1987, by a North Carolina collegiate ensemble in Lincoln Center, New York City. The Wind Ensemble performed that same year in West Virginia, Virginia, Pennsylvania, and Washington, D.C. Compact discs of the Wind Ensemble have received widespread praise and are commercially available - sforzando! (1995), vivo! (1996), celebration! (1997), begin! (1997), fantasy! (1998), A Tribute to Sousa - Live! (2000), internal combustion! (200 l ), equus! (200 l ), october! (2002), whirr! (2002),sunrise! (2003), aurora! (2004) and ra! (2005).

The Valdosta State University Department of Music is a fully accredited member of the National Association of Schools of Music, with a faculty of27 artist teachers and over 150 music majors. The Department of Music presents over 200 musical performances for the public each year. In addition, several of the major performing ensembles of the department travel throughout Georgia, the Southeast, and abroad; performing for schools, civic groups, and as part of community concert series. The faculty of the Department of Music are active performers, scholars, conductors, clinicians, and adjudicators throughout the region. The department offers a full range of instrumental and vocal performing ensembles, including the Valdosta Symphony Orchestra. Membership in ensembles is open to all VSU students.

Members of the Valdosta Faculty Chamber Ensemble: Elizabeth Goode, flute Susan Eischeid, oboe Jeff Olson, clarinet Scott Pool, bassoon Cary Brague, alto saxophone Kristen Johns, horn Kenneth Kirk, trumpet Doug Farwell, trombone Larry Scully, piano Paul Campiglia, percussion Michael Dana, percussion Nina Lutz, violin Alicja Usarek-Topper, violin Matson Topper, viola Steven Taylor, cello Donovan Stokes, double bass

Vincent van Gelder was born in Rotterdam, The Netherlands. In the summer of 1990, he studied with Chemy-Stefanska at the Chopin masterclasses in Duszniky, Poland. From 1995 till 1997, Mr. van Gelder studied at the Latvian Academy of Music in Riga, Latvia. His teachers there were Theofils Bikis and Amis Zandmanis. Mr. van Gelder holds BM and MM degrees from the Conservatory ofHogeschool Enschede and MM in performance from the Southern Illinois University at Carbondale where his teacher was Wilfred Delphin. He graduated in the summer of2003 with a DMA from the University of Missouri at Kansas City where he studied with Richard Cass. Mr. van Gelder has played recitals in The Netherlands, Germany, Latvia, and in many states in the US, including a full Liszt recital on one of Liszt's own pianos at the Spencer Art Museum in Lawrence, Kansas. He is the Winner of 1999 St. Louis Artist Presentation Society Auditions. The St. Louis Post wrote about his performances of the Chopin Ballades: "He brought out the different layers with the precision of a brain surgeon". Also in 1999, he was a soloist with the

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Southern Illinois University Symphony Orchestra, playing Prokofiev's 2nd Piano Concerto. In January 2000, Vincent van Gelder won the Concerto/Aria Competition and was presented as a soloist with the UMKC Conservatory Orchestra playing Liszt's Totentanz. In October 2001, Vincent van Gelder was selected amongst IO people worldwide to participate in the International F. Liszt Master class taught by Leslie Howard in Utrecht, The Netherlands. Vincent van Gelder is currently living in Greensboro, North Carolina, where he was assistant director for the 2003 "Focus on Piano Literature" conference. Together with his wife, Inara Zandmane, he recorded, in the summer of2004, all of the solo piano works by Maurice Ravel, on the Vinar classics label.

Nancy Walker earned the BME from Hastings College in Nebraska. She taught in the public schools there before earning the MM from the University of Colorado in Boulder and DM from Indiana University. At UNCG, Walker teaches studio voice and served as the Chair of the Vocal Studies Division for eight years. She performs frequently in recitals and oratorios in the area and has performed in Carnegie Hall and the Kennedy Center. Walker was a national finalist in the National Association of Teachers of Singing (NA TS) Artist Awards and served as Regional Governor for the Mid-Atlantic Region. She received a Fulbright Research Grant to study the songs of Josephine Lang in Munich, Germany, in 1998.

Douglas Weeks is the Chair of Performance and Babcock Professor of Piano. During the summers, he coordinates Piano Studies at the Brevard Music Festival in the NC mountains. He has performed throughout the Southeastern US both as soloist and as a member of the Converse Trio. He has also performed and taught in twelve countries in Africa, the Middle East, and South Asia under sponsorship of the US Information Agency. In spring 1999, Dr. Weeks taught for four months at the Conservatory of Music, Cairo, Egypt, as a Fulbright Senior Scholar. Most recently, he has performed as soloist with the Spartanburg and Greenville, SC, Symphonies, the Winterthur (Switzerland) Symphony, and in Panama City, Panama, with the Converse Trio. A prize winner in the Robert Casadesus International Piano Competition, Dr. Weeks competed in the VI International Tchaikovsky Competition in Moscow. He is a National Patron of Delta Omicron Music Honorary Fraternity and a two-time recipient of the SC Arts Commission's Artist Fellowship in Music. He has been awarded the Kathryne Amelia Brown Award at Converse College for excellence in teaching and a SC Commission on Higher Education's Distinguished Professor Award. His articles have appeared in Clavier and in the on-line journal, Piano Pedagogy Forum. Douglas Weeks holds a B.M. from 111inois State University, a M.M., with a Performer's Certificate, from Indiana University, a D.M. from Florida State University, and a License de Concert from the Ecole Normale de Musique, Paris, France. His teachers include Abbey Simon, Jack Radunsky, Edward Kilenyi, Tong II Han, Rosina Lhevinne, and Maria Curcio Diamand.

Robert Wells is currently Assistant Professor of Voice and teaches studio voice and vocal pedagogy. He also serves on the faculty of the Schlern International Music Festival in Voels am Schlern, Italy. He holds the BM in Voice from the State University ofNew York College at Fredonia, received the MM in Voice, and is currently completing the DMA degree program at the University of Cincinnati College-Conservatory of Music. A frequent recitalist and collaborative artist, Wells has also enjoyed an active performance career in both oratorio and opera in New York State and the Midwest, and his performances have taken him to Great Britain and Europe. He has sung leading roles in Le Nozze di Figaro, Cosi fan tutte, and Albert Herring and has appeared as baritone soloist in such works as Benjamin Britten's War Requiem, Mendelssohn's Elijah, and the St. John Passion of J. S. Bach. An active choral conductor, Wells served as Director of the Fredonia College Choir and was recognized for his work with numerous professional and community choral organizations in Western New York. Wells formerly served on the faculty at the State University ofNew York College at Fredonia, where he was Co-Chair of the Voice Faculty and was a sought-after clinician and adjudicator.

Brooks Whitehouse (BA, Harvard College; MMA and DMA, SUNY Stony Brook) comes to Greensboro from the University of Florida where he spent a year as Assistant Professor of Cello and Chamber Music. Whitehouse has performed and taught chamber music throughout the US and abroad, holding Artists-in-Residence positions at SUNY Stony Brook, the Guild Hall in East Hampton, NY, the University of Virginia (as a member of The Guild Trio) and The Tanglewood Music Center. The Guild Trio was a winner of both the "USIA Artistic Ambassador" and "Chamber Music Yellow Springs" competitions, and with them he has performed and held master classes throughout the United States and

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Canada, as well as in Norway, Turkey, the former Yugoslavia, Belgium,Luxembourg, Germany, Portugal, France and Australia. In 1991 The Guild Trio received a three-year grant from Chamber Music America for their unique music/medicine residency at SUNY Stony Brook's Medical School. The trio has been a frequent feature on National Public Radio's "Performance Today", and has also appeared on the University of Missouri's public television series "Premiere Performances", and "Front Row Center" on KETC-TV9 in St. Louis. As a soloist Whitehouse has appeared with the New England Chamber Orchestra, the Nashua Symphony, the New Brunswick Symphony, the Billings Symphony, and the Owensboro Symphony, and has appeared in recital throughout the northeastern United States. His performances have been broadcast on WQXR's "McGraw-Hill Young Artist Showcase", WNYC's "Around New York," and the Australian and Canadian Broadcasting Corporation networks. He has held fellowships at the Blossom and Bach Aria festivals, and was winner of the Cabot prize as a fellow at the Tanglewood Music Center. As guest artist he has appeared with the Seacliffe Chamber Players, the New Millennium Ensemble, the JU Piano Trio, The Apple Hill Chamber Players, the Atelier Ensemble and the New Zealand String Quartet. His principal teachers were Timothy Eddy and Norman Fischer.

Andrew Willis is recognized for his performances on historical and modem pianos in the United States and abroad. He has recorded a wide variety of solo and chamber repertoire for Claves, Albany, Centaur, Newport Classics, and CRI records. The New York Times called his recording of Beethoven's Op. 106 "a 'Hammerklavier' ofrare stature." At UNCG, where he joined the piano faculty in 1994, Willis serves as Artistic Director of the biennial Focus on Piano Literature, at which he premiered Martin Amlin's Sonata No. 7 in 2000. Willis holds the BM in Piano from The Curtis Institute of Music, where he studied with Mieczyslaw Horszowski, the MM in Accompanying from Temple University, where he studied with George Sementovsky and Lambert Orkis, and the DMA in Historical Performance from Cornell University, where he studied with Malcolm Bilson. For a number of years, his multifaceted musical career was based in Philadelphia, where he served as keyboardist of The Philadelphia Orchestra for several seasons. He has also taught at several colleges and universities and at Tanglewood.

Alan Woy is Professor Emeritus of Music at the Crane School of Music, SUNY Potsdam, and has been on the faculty since 1971. Although recently retired from full-time teaching, he will continue to teach studio clarinet. Dr. Woy earned his B.M. degree from Illinois Wesleyan University and both a M.M. and D.M.A. degrees from the University of Colorado in Boulder. Dr. Woy is principal clarinet of the Orchestra ofNorthem New York and a charter member ofNUMA (New and Unusual Music Artists), a resident faculty contemporary music ensemble.

Welborn Young, Assistant Professor of Music, holds a BME degree and a MA in Conducting degree from Middle Tennessee State University and a DMA in choral conducting from the University of Illinois at Urbana-Champaign. Dr. Young teaches undergraduate and graduate conducting, graduate seminars in choral repertoire, German diction, and conducts the Women's Choir and Chamber Singers. In addition, Dr. Young is the Conductor of the Choral Society of Greensboro. He has served as guest conductor and clinician in festivals and clinics in North Carolina, Tennessee, Virginia, South Carolina, Washington D.C., Illinois, and Washington. Recently, His choirs have toured Austria, the Czech-Republic, Hungary, Italy, and England. He is the former Artistic Director and Conductor for Windy City Performing Arts, Inc. in Chicago. These ensembles received enthusiastic reviews in such papers the Chicago Sun Times, Chicago Tribune, and the Windy City Times. In the summer of 1998, Dr. Young was a featured festival conductor at the Concertgebouw in Amsterdam, Netherlands. That same summer he was guest conductor of Chicago's Grant Park Symphony Chorus and assisted with the preparation of their first recording. He has prepared and conducted the Nashville Symphony Chorus and appeared as guest conductor with the Nashville Opera Association.

Inara Zand mane born in the capital of Latvia, Riga, started to play the piano at the age of six. Zandmane holds a BM and MM from Latvian Academy of Music, MM in piano performance from Southern Illinois University at Carbondale, and DMA in piano performance from the University of Missouri at Kansas City. She has been the staff accompanist at the UNCG since 2003. She also served as the official accompanist for the MTNA Southern Division competition and the North American Saxophone Alliance conference in 2004. Zandmane has performed in recitals in St. Paul, Kansas City, Cleveland, St. Louis, and New York, as well as in many Republics of the former Soviet Union. In April 2000, she was

86 PERFORMER BIOGRAPHIES invited to perform at the Glenn Gould Studio in Toronto. Inara Zandmane has appeared as a soloist with the Latvian National Orchestra, Liepaja Symphony, Latvian Academy of Music Student Orchestra, SIU Symphony, and UMKC Conservatory Symphony and Chamber orchestras. She has performed with various chamber ensembles at the International Chamber Music Festivals in Riga, Vilnius, Tallinn, Helsinki (Finland), and Norrtelje (Sweden). For a few last years, Zandmane has worked together with the Latvian composer Peteris Vasks. She has given Latvian premieres of his two latest piano pieces, Landscapes ofthe Burnt-out Earth and The Spring Music, and recorded the first of them on the Conifer Classics label.

Dr. Mei Zhong, Associate Professor teaching at Ball State University, received her D.M.A. from the University of Illinois at Urbana-Champaign, and her M. F. A. from the University of California at Los Angeles. Both degrees are in Voice Music. She earned a Bachelor of Arts (in Piano Performance) from Hunan Teachers University and a diploma of voice for advanced study from Shanghai Conservatory of Music in China. As opera singer and concert soloist, Zhong has performed extensively in both China and the United States. During her seven years as a career performer at Henyang Baihua Theater (an Opera and Dance Theater) in China, she frequently performed in different cities as well as on local television and radio stations. She has performed several lead roles in opera productions, including her favorite roles as Butterfly in Madama Butterfly, Sister Angelica in Suor Angelica and Micaela in Carmen. In addition to performing as a soloist in the UCLA Choral and Symphony Orchestra production ofDvorak's Te Deum, conducted by Donald Neuen, Zhong has performed in a television production for KSCI in Los Angeles and was one of the subjects of a documentary by the Chinese Central Documentary Film Company, Beijing. Zhong studied with John Wustman for four years and was a soloist in his highly acclaimed series, The Complete Songs of Schubert. Her numerous performances, solo recitals and concerts have taken her to more than sixteen states in the United States. Several of her articles have been published, including her research paper, "Problems of Tempo in Puccini's Arias," which appeared in Volume 40 of The College Music Symposium. Zhong has given many master classes and lecture recitals at various institutions and conferences internationally. She is the author of the book Tempo in the Soprano Arias of Puccini's La Boheme, Tosca, and Madama Butterfly_(ISBN: 0-7734-7190-1). Her Anthology of Chinese Songs-Volume I: Newly Arranged Chinese Folk Songs (ISBN: 1-878617-64-8) as well as her singing recording are published by Leyerle Publications in New York. Zhong is writing her new book Vocal Pedagogy, under a publishing contract. Zhong received first prize in the National Vocal Competition for The Alice Abel National Vocal and Instrumental Awards in 2000, after winning the Idaho District Vocal Competition in 1999 and 2000. As one of twelve teachers selected from United States, Zhong was awarded the fellowship for studying in the National Association of Teachers of Singing Intern Program held in Ithaca, NY, in 2000. Zhong received the Artist Honor from Phi Kappa Phi Honor Society. She was twice nominated for the Distinguished Researcher of the Year Award at Idaho State University, where, in 2002, she was honored with the Master Teacher award as one of five outstanding faculty members selected from across the Idaho State University campus. You could reach her via [email protected]!.

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