NEWSLETTER THE AMERICAN SOCIETY MARCH, 1971/VOL. 4, NO. 1 OF UNIVERSITY COMPOSERS

1971 NATIONAL CONFERENCE Accommodations: Private dormitory facilities, $5 .00 Arrangements are nearing completion for the Society's single, $4.00 each double, meal tickets about $1.00 per Vlth Annual National Conference in Houston on April meal. The Ramada Inn (a typical motel), bus service to the 16-18, 1971. Jeffrey Lerner (University of Houston) is in campus, 24-hour restaurant, $10.50 single, $7.50 double, charge of concert planning and general arrangements. Elaine $6.50 triple. Families can be accommodated. Meals at Barkin and Edward Chudacoff (University of Michigan) are campus cafeterias are about $1.00. planning panels and papers. While matters are progressing nicely, it is still possible to suggest to either of these your Non-Conference attractions: Tour of the NASA Com­ own participation. plex, April 16 morning; Houston Symphony Concert, April I 18 at 2:30; Concert by the Lyric Art String Quartet, April Concerts now scheduled for Friday, April 16, and 14 at 8:30 (free); Ice Follies, April 13-23; The Houston Saturday, April 17, tentatively include music by Leo Kraft, Alley Theatre, museums, galleries, swimming, tennis, golf, Francis J. Pyle, Jerome Margolis, Edward Mattila, Ruth boating, the Astrodome, and many fine restaurants in the Wylie, David Burge, Alberto Ginastera, Elaine Barkin, nearby area. Michael Horvit, Elliot Borishansky, Jean Ivey, Jon Apple­ ton, and Lawrence Moss. A special feature of the Vlth Conference is the opening address by National Chairman David Burge. Burge will Responses to the conference questionnaire sent to the present a review of the achivements of the Society since its membership in November have been gratifying, and the inception and seek to provide a perspective for a thorough willingness of the members to suggest themselves for reconsideration by all members of the future of the presentations insures a high level of discussion. At this time, group- its aims, scope, organization, and effectiveness. It is panels are listed for Friday, February 16 ("Computer particularly important that as many members as possible Synthesis of Sound: New Ideas" with John Clough, Charles attend this address and participate in the deliberations sure Dodge, Stanford Evans, Arthur Layzer, Barry Vercoe and to follow! moderator Hubert S. Howe, Jr.) and Saturday morning, February 17 ("The Nature of Continuity in Music" with Barney Childs, Harold Oliver, Charles Whittenberg, and A STATEMENT BY THE NATIONAL CHAIRMAN moderator Benjamin Boretz). Recently I have had the opportunity to visit many college and university campuses. At each, as time allowed, I Saturday afternoon, February 17, should provide inter­ had occasion to speak with faculty composers, some of esting and valuable information for ASUC composers in the whom are active members of the A.S.U.C. and many of form of a panel dealing with copyright laws. Among the whom are not. I was particularly surprised to meet a large speakers will be Leonard Feist of the National Association number of composers who had not even heard of the of Music Publishers, a member of the Government Com­ Society! Without exception the individuals in this latter mittee of the National Music Council. Panelists for the last category were interested in joining and participating. program, Sunday morning February I 8, have not been fully ascertained- there is still time to direct inquiries on this and It appears to me that, without the least suggestion of other matters to Barkin or Chudacoff- but the topic is of false pride, the Society in its sixth year is a viable, valuable very great interest: "The Ph.D. program in Composition." organization, the need for which is felt by many- including Veterans of previous Conferences will agree that open those who do not know of its existence. It also seems to me discussions involving comment from the floor often prove that we could all be doing much more to acquaint our good to be among the memorable highlights of A.S.U.C. gather­ students and neighboring colleagues with the real benefits ings; certainly this last topic, along with the Chairman's to be derived from active membership. opening remarks and inde'ed all the matters scheduled for discussion, deserves hard and serious thought by the As an example: during one recent tour three successive Society meeting in open forum. universities that I visited were conducting their first contemporary music festival. Each was totally different A completed schedule of events and arrangements will from the others (which is as it should be, of course!) and be issued soon, but members may wish to take note of the yet, in a sense, the composers in charge at each campus had following general information provided by Jeffrey Lerner. common problems which they were eager to discuss. I suggested that by joining the Society and attending the Contemporary Music Ensemble, directed by Leonard Pearl ­ National Conference they would have the opportunity of man, and faculty performers from the University of meeting and discussing these problems with literally dozens Maryland in music by George Crumb, Robert Hall Lewis, of other composers who had various degrees of experience Lawrence Moss, Jean Ivey, Robert Luse, William Bland, in developing a new music program on their various Richard Rodney Bennett, Luciano Berio, and Stefan Wolpe. campuses. Regional Chairman Clifford Taylor will lead a panel involving Bennett (visiting composer at Peabody this year), A more specific example: it appears in speaking to many Jonathan Elkus (Lehigh University), and Stefan Grove composers (and music school deans) across the country that (Peabody). Other events include remarks by John Melby we, as university composers (and often part-time adminis­ (Princeton) on "Some New Developments in Computer trators), are painting our creative profession into a more Music,': and a visit to the Peabody Electronic Music Studio. and more uncreative, academic corner- or having a very threatening corner painted for us- by the ever-increasing insistence on the doctorate. Many bloodied heads (to ASUC MEMBERS IN ACTION change the metaphor) in the Society will attest to this. I point out that one of the several panels at the Houston Wallace Berry's Duo for Flute and Piano or Harp­ Conference in April will concern itself with "The Doctoral featured by University of Michigan colleagues Keith Bryan Program in Composition." Do we feel that the doctorate and Karen Keys on their 1970 European tour-is to be makes us and our students better composers? How can we published by the Southern Music Company. His Canto as individuals or as a group make suggestions that will either Lirico for viola and piano and Fantasy for Clarinet and (I) improve the various doctoral programs or (2) convince Piano are being published by Carl Fischer, Inc. Having administrators that a composer's value lies in his music fini shed his Credo in unam vitani for cello, horn, and tenor rather than his degrees? soloists and chamber ensemble, Berry is currently preparing a CRI recording of his music. I hasten to assert that I do not suggest that Society become some sort of self-protective organization. I do feel Will Gay Bottje anticipates three premiers in the next that the mutual dissemination of relevant information on few months, as his Duo-Sonatina for Two Euphoniums and many important topics among professionals is more neces­ Wind Ensemble and Interplays for French Horn, Piano, sary than ever. Above all we need to know the music that is Harpsichord and Tape appear on concerts at Southern being written and played around the country. We need to Illinois University in March and May, respectively. Bottje's know one another. Tangents (Symphony No. 7) receives its first performance March 24 by the Illinois State University Orchestra, Robert Plan to attend the Conference in Houston. Bring your Oppelt conducting. music and your ideas. Tell your colleagues and students about it. Bottje and Alan Oldfield expect publication of their new manual, "Sounds, Tapes, and Imagination" by the Southern Illinois University Press in April. I look forward to seeing you there.

Richard Bunger premiered his own Pianography, Fantasy David Burge on a Theme by Fibonacci {1970-71) on a series of concerts Chairman, National Council of contemporary piano music presented during February at various State College campuses throughout California. Bunger's premieres of new music for piano in the past two NEWS FROM THE REGIONS years include George Rochberg's Prelude (on Happy Birth­ Region II plans a joint meeting with the Greater New day), Henri Lazarofs Cadence IV, Barney Childs' J. D. (for York Chapter of the American Musicological Society March piano and tape), Olly Wilson's Piano Piece for Piano and 13 , according to Chairman Allen Brings. The program at the Electronic Sounds, Kazuo Tokito's Interval, Claudio Spies' Graduate Center of CUNY will be devoted to papers on Bagatelle, Richard Hoffman's Three Small Pieces for Piano, Primary Documents of Stravinsky (given by Claudio Spies), Lloyd Tew's Vectoral Studies, and Randolph Coleman's Roger Sessions (by Edward Cone), Bela Bartok (by Benja­ Invention IC. min Suchoff), and Charles Ives (by John Kirkpatrick). Barney Childs' Concerto for Clarinet and Orchestra Region III will hold an all-day meeting March 6 at received its first performance in December by the Milwau­ Peabody Conservatory in Baltimore. Jean Ivey is Chairman. kee Symphony Orchestra, Kenneth Schermerhorn con­ The program includes two concerts featuring the Peabody ducting. Russell Dagon was soloist. David Epstein's Vent-ures for Symphonic Wind Ensem­ the Southeastern Composers League. ble was premiered in December by the Eastman Wind Ensemble with Donald Hunsberger conducting. The piece Roy Travis will make his debut as an electronic music will be played in Boston and on tour this Spring by the composer on April 19, 1971, when his Afro-Electronics will M.I.T. Symphony Orchestra. Epstein's Sonority- Variations be performed at Schoenberg Hall in Los Angeles. Colleagues for Orchestra and Fantasy Variations for Solo Violin are Alden Ashforth, Paul Chihara, Paul Reale, and Gerald published by MCA Music. As a conductor, Epstein has Strang will also appear on the program. The Travis work is appeared recently in Lisbon with the Gulbenkian Chamber from a concerto-in-progress for flute, pre-recorded African Orchestra, and in Boston with the M.I.T. group in the instruments, and synthesizer. Further Travis compositions premiere of George Perle's Three Movements for Orchestra. to be premiered at UCLA this season include Songs and He has also conducted Edwin Dugger's Music for Synthe­ Epilogues (recently released by Oxford University Press), sizer and Six Instruments on a new AR/DGG recording. and a new Septet based on West· African rhythms. Both works will first be heard February 20, 1971. Travis' African Peter Racine Fricker, new Chairman of the Department Sonata for piano will be premiered by Richard Grayson in a of Music, University of California at Santa Barbara, has just May concert involving live electronic transformations with completed a work for voice and percussion, written for the assistance of Thomas Oberheim. coloratura soprano Dorothy Dorow. He is now working on a commission for the July Cheltenham (England) Festival. Bertram Turetzky continues his busy schedule of con­ certs featuring contemporary music for double bass. Recent George Heussenstamm's Tournament for four brass premieres include Robert Hall Lewis' Inflections I for sextets and four percussionists was awarded first prize in Contrabass Solo, Ernst Krenek's Duo for flute, contrabass, the 1971 Symposium of Contemporary Music for Brass and tape, and Robert Erickson's 9!;2 for Henry, Orville, and held in February at Georgia State University. The composi­ Wilbur. His book on techniques for the contrabass is tion, written with four-channel recording in mind, was forthcoming from the University of California Press. chosen over works by 29 other composers. Heussenstamm receives a $300 commission to write another work for brass for next year's Symposium. NEW PUBLICATIONS AND COMMISSIONS Jean Eichelberger lvey's Terminus for mezzo-soprano Bowdoin College Music Press will soon issue two new and tape will be premiered February 24 in a concert of works for chamber ensembles: Rotational Arrays for music from the Peabody Electronic Music Studio. Her woodwind quartet by John Rogers, and Duets for Quintet Three Songs of Night for soprano, five instruments, and (flute, clarinet, violin, cello, and piano) by William Bolcom. tape is scheduled for a March 9 program to be given by the Bowdoin College has commissioned William Albright to Peabody Contemporary Music Ensemble. Music by George write a new work to be premiered by the Aeolian Chamber Crumb will be featured by the Ensemble on its March 5 Players at Bowdoin's 6th Annual Contemporary Music concert at Peabody. Festival, May 6-8, 1971.

M. William Karlins' Birthday Music No. JI for flute and Cornell University's Wind Ensemble has recorded a double bass, and Graphic Mobile for three or more number of recent works. The series can be found in the instruments with or without dancers, are published in Schwann catalog. Several of the pieces have been published, Media Press "Music for Small Groups: Series One." His according to Director of Bands Marice W. Stith, who would Passacaglias and Rounds is also published by Media in its like ASUC members to know of the Ensemble's desire to "Aleatoric Music for &and." Forthcoming from Media Press give first performances to new works. are Karlins' 3 Songs for Soprano, Flute and Piano and Woodwind Quintet.

Donald Macinnis is Director of the new electronic music SYMPOSIUMS studio at the University of Virginia. Using ARP synthesizing The Third Annual Contemporary Choral Music Sympo­ equipment and his own MUSIGOL computer program, sium of the University of South Florida (Tampa) was held Macinnis (with computer-artist Lloyd Sumner) has created January 29 and 30 with Vincent Persichetti as composer­ a program of computer art and music called Aesthetic consultant. Ted Hoffman reports that about 1000 high Cybernetics. His new R endezvous for trumpet, horn, school students participate in the event, to which any trombone, synthesizer, and tape was premiered February American composer may send scores. Hoffman's The 13 at the 8th Annual Symposium of Contemporary Music Golden Goose has received many recent performances in for Brass, sponsored by host Georgia State University and Europe, the Near East, and the Americas. l in a piano recital; March 19 the first full-scale production of CONTEMPORARY MUSIC ON CAMPUS the Cage-Hiller HPSCHD since its premiere at the University The University of Colorado at Boulder continues its of Illinois. Warren Burt and Joel Chadabe are in charge; Sixth Annual Festival of Contemporary Music with a March David Tudor, Ron Peters, Dennis Heimrich, and Findlay 2 program by pianist Alan Mandel. Soprano Cathy Ber­ Cockrell are harpsichordists. March 20 is the date of a berian appears March 8, the University New Music Ensem­ concert of tape music by SUNY composers and An ble March 25, and the Aeolian Players March 26. A mixed Experiment in Theater by Chadabe and Jerome Hanley. media program presented by Morton Subotnik closes the series on March 30. The Northwestern University Contemporary Music En­ semble, now in its third year, plans several concerts this The University of Illinois is holding a multi-faceted 1971 Spring, including one at the University of Minnesota and a Festival of Contemporary Arts on its Urbana campus final appearance in Evanston April 30. between February 19 and April 11 . The list of events includes concerts, lectures, and radio reports in the areas of Sam Houston State University will hold its Tenth theater, film , dance, music, and the visual arts, with the Annual Contemporary Music Festival March 11 -13 with music portion concentrated between February 25 and Paul Creston as guest artist and lecturer. Dr. James B. March 25 . Music Committee Chairman Edwin London and Marks, Chairman of theory-composition, is the festival colleagues Morgan Powell, Paul Zonn, and Tom Siwe have chairman. arranged more programs than can be described here (if you are near Urbana send for the Festival brochure; it runs to Wisconsin State University at River Falls will present the 34 pages in itself), but a short listing of participants would music of Barney Childs April 28 and 29. The second include Roger Reynolds, the University Percussion Ensem­ concert includes the premiere of Childs' When Lilacs Last in ble and Wind Ensemble, Ben Johnston, Paul Zonn, Edwin the Dooryard Bloom 'd for chorus, band, and soloists. The London, James Beauchamp, Herbert Brun, the University WSU New Music Ensemble, led by Conrad Delong, will be Contemporary Chamber Players, the Ineluctable Modality, heard May 6. the University's Walden Quartet, David Rosenboom, Kurt von Fischer, David Amram, the University's Brass Quintet, Woodwind Quintet, and Improvisation Ensemble, its Opera OTHER NEW MUSIC EVENTS Group, Paul Zukofsky and Gilbert Kalish, George Roch­ The March 27 Composers' Forum concert at Donnell berg, the University Jazz Band, Neva Pilgrim, Sebastien Library Auditorium, New York, will present Sergio Cervet­ Benda, George Crumb and probably a good number of the ti's 4 Fragmentos de Pablo Neruda and Cocktail Party, 75 or more composers receiving performances during the along with George Green's Fantaisies Concertantes for Festival. violin and cello and Violin Sonata No. 1. The seventh and last concert of the Forum's 1970-71 season April 24 will Michigan State University's recently-formed New Musi­ present Jeffrey Levine's One, Two Trio, Cadenza, and cal Art Ensemble, directed by Larry A. Nelson, will present Parentheses, followed by Alvin Singelton's Argoru II, music by Charles Ives, Mario Davidovsky, Allen Strange, Woodwind Quintet, and Cinque. Henri Pousseur, James Niblock, and David Burge on March 9. The group's third concert of the season will be held May The Da Capo Chamber Players will play works of 11, with music by Mario Davidovsky, Salvatore Martirano, Babbitt, Bartok, Davidovsky, Martino, Haydn, Villa-Lobos, Chou Wen-Chung, Morton Feldman, and R. Murray Scha­ and Wolpe in concerts this Spring at C. W. Post Col­ fer. lege, Princeton University, New York University, and the New York Historical Society. Members of the group are The University of Michigan Contemporary Directions Helen Harbison (cello), Joel Lester (violin), Patricia Spencer series closes April 16 with music by George Balch Wilson, (flute), Allen Blustine (clarinet), and Joan Tower (piano). Roberto Gerhard, Peter Griffith, Joan Harkness, and Kurt Carpenter. The Rockefeller Foundation-sponsored group is The University of Michigan Contemporary Directions conducted by Sidney Hodkinson. Concert in Town Hall, April 20, will be conducted by Sidney Hodkinson. The group, supervised by Leslie Bassett, SUNY at Albany has a busy March schedule of new is presenting the program under the auspices of the Naum­ music coordinated by Electronic Studio director Joel berg Foundation. George Balch Wilson's Concatenations, Chadabe. Among the events is a March 12 production of George Burt's Exit Music, George Cacioppo's Time on Time Salvatore Martirano's L's G.A. and The Mar-Vil Construc­ in Miracles, Gerald Plain's aChattanoogaChoo, Roberto tion, the latter involving a new electronic instrument used Gerhard's Hymnody, and Eugene Kurtz's Animations make in performance by Martirano. March 15 sees Fred Rzewski up the program. The University of Washington will present a concert of anticipated that one work out of the group recorded will be new music at Town Hall on April 27, sponsored by the chosen as particularly outstanding, and the composer of Naumberg Foundation. The program, directed by William such work will receive a token cash award in addition to a 0. Smith and Robert Suderberg, includes works by John full refund of the recording fee. Verrall, Bruno Maderna, William Bergsma, Smith, and Suder berg. It is hoped that this project will uncover new talent and symphonic works of such quality as to become part of the The 1970-71 season of the Monday Evening Concerts permanent treasure of fine music. sponsored by the Southern California Chamber Music Society at the Los Angeles County Museum of Art Write : Midland-Odessa Symphony & Chorale, Inc. continues March 8 with duo-pianists Karl and Margaret Symphonic Composition Recording Service Kohn in a program of Earle Brown's Corroboree, the P.O. Box 6266 tableaux vivants avant la Passion selon Sade by Sylvano Midland, Texas 79701 Bussotti, Stravinsky's Concerto for Two Solo Pianos, Paul Chihara's Driftwood for violin, two violas, and cello, and Marc-Antonio Consoli's Trigram for violin, viola, cello, and CURRICULAR INNOVATIONS bass. A new version of Ives' Trio for piano, violin, and cello Charles Whittenberg's Repertoire Presentation group has will receive its first performance on March 22. offered the University of Connecticut an example of the composer at work in another role this season. Whittenberg's COMPETITIONS theory class performs all the new music it studies for audiences on and off campus. Works ranging from neglected Concours International de Composition de la Ville de early 20th century classics to pieces written especially for Geneve. This biennial contest is devoted to opera for 1971, the class have been presented. Whittenberg is also director unpublished and unperformed. 12,000 Swiss francs and of the Colloquia-Concerts funded by the Research Founda­ possible performance by the Grand Theatre of Geneva. tion at the Museum of Art on the University campus. Deadline September 1, 1971. Concours International d'Opera 1971, Maison de la Radio, 66 boulevard Carl-Vogt, CH 1211 Geneva 8, Switzerland. COMPOSITIONS AVAILABLE

Avant-garde, se rial or aleatory, improvisatory, electronic, The Newsletter will publish notice of ASUC members' multi-media, or theater music compositions are eligible in works available whenever space is free . Send particulars­ the Contest being held by the Summer Arts Festival Kinetic title, instrumentation, timing, terms, etc.-to the Editor. Theatre Presentation of the Oregon College of Education, Monmouth, Oregon 97316. Works should be unpublished and should not have won previous prizes. For soloist or GEORGE HEUSSENST AMM small group at the college performer level. The Festival runs from July 22 to August 7; deadline for the contest is May Tournament, Op. 38 (I 970) for four brass sextets and 15 . Prizes from $150 to $25. four percussionists. 17 minutes; 12 trumpets in C, 8 trombones, 4 tubas in C, 4 percussionists. Winner of 1971 The National Federation of Music Clubs offers prizes of Symposium of Contemporary Music for Brass. Available from $75 to $250 in four categories: chamber works, from composer, 403 W. Ventura Street, Altadena, Califor­ chorus, solo piano, and vocal music. Composers under 26. nia 91001. Deadline April 1. Information and entry blanks from National Contest Chairman, Mrs . W. Paul Benzinger, 618 W. Mini-Variations, Op. 25 (1968). 15 minutes; flute Wisconsin Avenue, Oconomowoc, Wisconsin 53066. (piccolo), oboe, violin, viola, cello. Seesaw Music Corp., 177 E. 87th Street, New York, New York 10028. Rental to The Board of Directors of the Midland-Odessa Sym­ be arranged by publisher. phony and Chorale, Inc., plans for two weeks in June, 1971, to make available its nationally recognized orchestra and chorus for stereo tape recording of symphonic com­ positions, published or unpublished, deemed to have merit. CHANGE OF ADDRESS This will be done for fees substantially below cost to Claudio Spies, 117 Meadowbrook Drive, Princeton, N. J. encourage and help promote the composition, performance 08540; and Woolworth Center of Musical Studies, Prince­ and publication of new or unpublished works. It is ton University, Princeton, N. J . 08540. CALENDAR 27 University of Washington Contemporary Music Con­ cert, Town Hall, New York MARCH 28-29 Barney Childs, Wisconsin State University, River Falls 1-25 University of Illinois 1971 Festival of Contemporary Arts continues. 30 Northwestern University Contemporary Music En­ semble, Evanston 2 Alan Mandel, University of Colorado at Boulder Festival of Contemporary Music MAY 5 Peabody Conservatory, Music of George Crumb 6 Wisconsin State University New Music Ensemble, 6 Region III meeting, Peabody Conservatory River Falls 8 Cathy Berberian, University of Colorado at Boulder 6-8 6th Annual Contemporary Music Festival, Bowdoin Festival of Contemporary Music College 8 Monday Evening Concerts, Los Angeles County Mu­ 11 Michigan State University Musical Arts Ensemble, seum of Art East Lansing 9 Peabody Contemporary Music Ensemble Concert 9 Michigan State University Musical Arts Ensemble, East Lansing 11-13 Sam Houston State University 10th Annual Contem­ porary Music Festival 12 Salvatore Martirano, SUNY at Albany 13 Region II meeting with New York American Musi- cological Society, CUNY Graduate Center 15 Frederic Rzewski, SUNY at Albany EDITORIAL COMMENT 19 HPSCHD (Cage-Hiller), SUNY at Albany After reading David Surge's remarks on the mutual 20 An Experiment in Theater (Chadabe-Hanley), SUNY advantages of interesting your colleagues in ASUC, you at Albany may wish to give them some idea of the range of activity 22 Monday Evening Concerts, Los Angeles County Mu­ available in the Society. One way would be to circulate this seum of Art copy of the Newsletter among them. Information about 25 University of Colorado New Music Ensemble, Boulder membership is readily obtained from your Regional Chair­ 26 Aeolian Players, University of Colorado at Boulder man or from the Executive Committee in New York. Festival of Contemporary Music On the light side- 27 Composers' Forum, Sergio Cervetti and George Green, Donnell Library Auditorium, New York David Burge recently made the wire services with his 30 Morton Subotnik, University of Colorado at Boulder Serenade for Musical Saw and Orchestra premiere in Festival of Contemporary Music Denver. The Editor may be pardoned for pointing out that at least one other work used the musical saw before the APRIL Chairman's- my Chortos JI was premiered last March at the 15 Joint meeting of National Council and Executive University of Connecticut, wherein I played the thing Committee, ASUC, Houston myself! In that work I also used a power saw-but just as I was congratulating myself on a real first, Mark DeVoto 16 Contemporary Directions, University of Michigan, (who else?) dredged up the memory of a Giuseppe Chiari Ann Arbor power saw solo from his capacious banks. 16-18Vlth Annual National Conference, ASUC, University of Houston On the really light side- 19 Roy Travis' Afro-Electronics, Schoenberg Hall, Los Angeles Aside from the fish in the first performance of John Cage's Theater Piece, the lima beans and hay in certain 20 University of Michigan Contemporary Directions En­ Lamont Young works, the two artichokes resounding in the semble, Naumberg Concert, Town Hall, New York Editor's B-00-l-A (1962), and the new Ann Arbor live 24 Composers' Forum, Jeffrey Levine and Alvin Single­ electronic group called PORK, does anyone know of any ton, Donnell Library Auditorium, New York other instances of food music? Send 'em in! But seriously, folk, put a note now in your calendar for THE AMERICAN SOCIETY the April 16-18 National Conference- and another about, OF UNIVERSITY COMPOSERS, INC. oh, May 15 to write to me about your Summer plans for music. A non-profit corporation in the state of New York Richmond Browne c/o Department of Music Editor, ASUC Newsletter Columbia University School of Music New York, N.Y. 10027 University of Michigan Ann Arbor, Michigan 48105 Executive Committee Elain Barkin, University of Michigan Barney Childs, Wisconsin College Conservatory Charles Dodge (Chairman), Columbia University Carlton Gamer, University of Colorado Paul Lansky, Princeton University Edward Levy, Yeshiva University Raoul Pleskow, C. W. Post College, L.I.U. Nicolas Roussakis, Columbia University Joan Tower, Columbia University

National Council John Rogers, University of New Hampshire II Allen Brings, Queens College III Clifford Taylor, Temple University IV Otto Henry, East Carolina University V Richmond Browne, University of Michigan VI Jeffrey Lerner, University of Houston VII David Burge (Chairman), University of Colorado VIII David Cohen, Arizona State University IX Homer Keller, University of Oregon