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·ety o Inc. REGION V CONFERENCE February 22 ~ 25, 2007 Society of CompQ~~~§ Inc. TABLE OF CONTENTS Letter from President Joanne M. Burrows, SC, Ph.D • ••••••••••••••••••••••••••••••••••••••••••••••••.•••.•••••..••••••••...•.•••.••••.•••.•.•••••••••••..••••••••••• 7 Letter from Chair and Assistant Professor of Music LaDonna Manternach, BVM, DMA ••••••••••••••••••••••••••••••••••••••••••••••••••• 9 Acknowledgements ••••••••••••••••••••••••••••...••••••••••••.••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••.•••••••..•.•...••.••••..•.•.••••..••••••• l l The Commitment of Artists by Dr. Jeffrey Hoover ••••••••••••••.••••••••••••••••••••••••••••••••••••••.•.••.•••••••••••••••••••••••••••••••••••••••••••••••••••••• l 3 Conference Schedule •••••••.••••••••••••••••••••.•••••••••••••••••••••••••••••••••••••••••••••••••••.••••••••••.••.....•••••.•••••••.••••••••••••••••••••••.•••••••••••••••••••••••••• 15 Concert Programs Concert I 17 Concert II 21 Concert Ill ••••••••••••••••••••••••••••••••••..•••••••••••.•••••••••••.•••••.•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 25 Concert IV ••••••••••••••••••••••••••.•.•••.•..•••••..••••••••••••.•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 31 Concert V ••••••••••••••••••••••••••........••••••••••••••••••••.••••••••••••••••••••••.•••••••••••••••••••••••••••••••••••••••••..••••••••••••••••••••••••••••••••••••••••••• 37 Concert VI •••••.•••.•.•••••••••••••••••••••••••••••••.•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 41 Concert VII ••••••••••••••••••••••••••••••••••••••.••••••••••••••••••••••.••.•.......................•..•..••••.•.••.•••••••••••••••••••••••••••••••••••••••••••..••••••••••..•• 43 Concert VIII •.••.••••••••.••.••.•••••••••••••••••••••••••••••••••••••••••••••••.•.•••••••••.••••••••••••••••••••.•••••••••...•...•.••.•••.•..•...•••••••••••••••.•••••••••••••.. 43 Paper Abstracts Sharon Nichols: .•••••••••••...••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••..•••••••••••••••••••••••••••••••••••••••••••••• 47 The Divergent Double Pipe: A Musical Instrument of the Egyptian New Kingdom and Late Period Brendan McConville: •••••••••••••••••••••••••••••••••••••••••••.••••••••••••••••.•••••••••••••••••••••••••.•.•....•••••••••••••••••••••••••••••••••••••••••••••••••••••• 49 Harmonic Refinement: An Analysis of Elliott Carter's Lauds Justin Merritt: •••••••••••••••••••••.•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 51 A New Harmony: A System for Tonal and Atonal Composition Scott R. Harding: ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 53 A Composer's Sketchbook: The Journey from Concept to Construct Jeffrey Hoover: •.•••...•..••.•......•....••••...•...•.•••••.••••••.••••••....•••••....••.••••••••...•••.••••••••••••••••••••••••••••••..•..•.••••••...•....••••••.•••••••• 55 Eliminating Barriers to Composition Conducting Symposium Repertoire List ••.•••••••••••••••••••.•••.••••••...••••.•••••••••.•.••••••••••••••••••••••••••••.••••.••••••••••••••••••••••••••••••...•••.••......•....•....•...•••..•..•••••• 57 Stanley DeRusha Biography •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••..••.••.............•. 59 Conductor Participant Biographies •••••.•••.••••••••••..•••••.••••••••••.••.•.••••••••.•••••••••••••••••••••••••••••••••••••.•••••••••••••••••••••••••••••••• 61 Composer Biographies •.•••••••.••.••••.••••••••••••••••••••••••••••••••••••••••.••••••••••••.••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••..••••••••••• 63 Performer Biographies ••••••••••••••••••.•••••••••.•.•••••••••••••••••••••••••••••••••••.••••.••••.•...•.•.••........•••••••••••••.••••.•••••••••••••••••••••••••••••••••••••••••••••• 83 Ensemble Personnel ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••.••••••.•••...•••••••.•••••••••••••••••••••••••••••••••••••••••••••• 9 5 5 6 Jeirmtte NL I! ~1 rr0W1, SC, P/i,J;), P re&'lde1~1 Clarke College Dear Members of the Society of Composers, On behalf of the entire Clarke College community, I welcome you to our campus and to the 2007 SCI Region V Conference. We are pleased that you are here and hope that your time on campus is educational and enjoyable. Clarke College prides itself on being a community of learners, dedicated to creating a vibrant environment in which our students learn and live. Similarly, it is in community that the Society of Composers thrives. You are a community of outstanding musicians, collaborating to promote the art of composing, performing, understanding and disseminating new and contemporary music. Clarke has a long-standing tradition of excellence in the flne arts and this tradition is evident in the caliber of activities planned for you over the next several days. I wish to thank Clarke Associate Professor of Music Amy Dunker, OMA, for her tireless work in planning this first-class event and the faculty and students in the music department for their support in bringing it to life. I also wish to extend our appreciation to the many college and community musical groups who are participating it this event. The conference is an opportunity to showcase the musical talent in the tri-state area. Again, welcome to our campus and our city. We wish you all the best for a successful conference. Sincerely, Joanne M. Burrows, SC, Ph.D. President 7 8 Clarke College Dear Members of the Society of Composers, On behalf of the Clarke College Music Department, welcome to campus. The excitement has been building for quite some time and we're glad that you are finally here. A special welcome to Stanley DeRusha who has generously agreed to offer a conducting symposium during the conference. We look forward to learning from his vast experience on Friday evening. Clarke College has enjoyed a tradition of excellence in the fine arts since its founding and there is always artistic work happening on campus. In fact, while you are here, I invite you to two other wonderful opportunities on campus. Clarke's art department is currently hosting "Big Muddy," a regional juried ceramics exhibit, in our Quigley Gallery in the Atrium. Each evening you are here, the drama department will hold performances of the Pulitzer Prize winning play "Picnic" by William Inge, in Terence Donaghoe Hall. I wish to express my sincere gratitude to Dr. Amy Dunker for planning and organizing this event with such enthusiasm and a broad vision for what is possible on a campus the size of Clarke College. We appreciate her many creative talents and teaching acumen by which she encourages and inspires numerous students. Thanks, too, to the Clarke College administration for their support of this conference, recognizing the importance of this event bringing together people from the local arts community with those from many parts of the country. We all grow and learn much from such gatherings. We are sincerely grateful to the Dubuque Arts Council and Mediacom for providing us with an arts grant in support of this event. Enjoy the conference! Sincerely, LaDonna Manternach, BYM, OMA Chair and Assistant Professor of Music 9 10 Society of CompQ~~!§ Inc. ACKNOWLEDGEMENTS This conference was made possible through the enthusiastic support of the following: Clarke College: President Joanne M. Burrows, SC, Ph.D. Vice President for Academic Affairs, Joan Lingen, BVM, Ph.D. Clarke College Music Department: LaDonna Manternach, BVM, D.M.A. Chair Amy Dunker, Margaret Cornils, Deb Fordice, Jaime Guiscafre, Masahiro Iwasaki, Jill Klinebriel, John Leas~, Nancy Lease, Beverly Nichols, David Resnick and Francis John Vogt Stanley DeRusha Clarke College Music Students, especially Marisa Lingl and Kristin Purcell. Dubuque Symphony Orchestra Chamber Ensemble and W illiam lntriligator Julien Dubuque Chamber Choir and Kristin Eby University of Dubuque Chamber Choir: and Kristin Eby Loras College Choirs and Bruce Kotowitch Edgewood Women's Chorus and Kathleen Otterson Wartburg Seminary Chapel Choir and Roy Carroll Dubuque Trumpet Ensemble Charles Berland ,Ann Duchow, John Marco, James Sherry Mike Mcferron and Lewis University for the use of the sound system Mike Cyze, Shea Herbst, Tricia Pitz and Jamie Specht from the Clarke College Marketing & Communication Office Cozette Oberhoffer and the Clarke College Conference and Events Staff Matthew Ricketts and the Clarke College Food Service Staff Mediacom and the Dubuque Arts Council for their financial support of the Conference and Conducting Symposium 11 12 Society of ComP,Q~~E§ Inc. 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    C H A P T E R 2 Early Electronic Music in Europe I noticed without surprise by recording the noise of things that one could perceive beyond sounds, the daily metaphors that they suggest to us. —Pierre Schaeffer Before the Tape Recorder Musique Concrète in France L’Objet Sonore—The Sound Object Origins of Musique Concrète Listen: Early Electronic Music in Europe Elektronische Musik in Germany Stockhausen’s Early Work Other Early European Studios Innovation: Electronic Music Equipment of the Studio di Fonologia Musicale (Milan, c.1960) Summary Milestones: Early Electronic Music of Europe Plate 2.1 Pierre Schaeffer operating the Pupitre d’espace (1951), the four rings of which could be used during a live performance to control the spatial distribution of electronically produced sounds using two front channels: one channel in the rear, and one overhead. (1951 © Ina/Maurice Lecardent, Ina GRM Archives) 42 EARLY HISTORY – PREDECESSORS AND PIONEERS A convergence of new technologies and a general cultural backlash against Old World arts and values made conditions favorable for the rise of electronic music in the years following World War II. Musical ideas that met with punishing repression and indiffer- ence prior to the war became less odious to a new generation of listeners who embraced futuristic advances of the atomic age. Prior to World War II, electronic music was anchored down by a reliance on live performance. Only a few composers—Varèse and Cage among them—anticipated the importance of the recording medium to the growth of electronic music. This chapter traces a technological transition from the turntable to the magnetic tape recorder as well as the transformation of electronic music from a medium of live performance to that of recorded media.
  • John Mccarthy Oral History

    John Mccarthy Oral History

    John McCarthy Oral History San Francisco Conservatory of Music Library & Archives San Francisco Conservatory of Music Library & Archives 50 Oak Street San Francisco, CA 94102 Interview conducted August 28, 2015 Tessa Updike, Interviewer San Francisco Conservatory of Music Library & Archives Oral History Project The Conservatory’s Oral History Project has the goal of seeking out and collecting memories of historical significance to the Conservatory through recorded interviews with members of the Conservatory's community, which will then be preserved, transcribed, and made available to the public. Among the narrators will be former administrators, faculty members, trustees, alumni, and family of former Conservatory luminaries. Through this diverse group, we will explore the growth and expansion of the Conservatory, including its departments, organization, finances and curriculum. We will capture personal memories before they are lost, fill in gaps in our understanding of the Conservatory's history, and will uncover how the Conservatory helped to shape San Francisco's musical culture through the past century. John McCarthy Interview This interview was conducted at the San Francisco Conservatory of Music on Friday, August 28, 2015 by Tessa Updike. Tessa Updike Tessa Updike is the archivist for the San Francisco Conservatory of Music. Tessa holds a B.A. in visual arts and has her Masters in Library and Information Science with a concentration in Archives Management from Simmons College in Boston. Previously she has worked for the Harvard University Botany Libraries and Archives and the Bancroft Library at the University of California, Berkeley. Use and Permissions This manuscript is made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved for the San Francisco Conservatory of Music.
  • Harpsichord and Its Discourses

    Harpsichord and Its Discourses

    Popular Music and Instrument Technology in an Electronic Age, 1960-1969 Farley Miller Schulich School of Music McGill University, Montréal April 2018 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Ph.D. in Musicology © Farley Miller 2018 Table of Contents Abstract ................................................................................................................... iv Résumé ..................................................................................................................... v Acknowledgements ................................................................................................ vi Introduction | Popular Music and Instrument Technology in an Electronic Age ............................................................................................................................ 1 0.1: Project Overview .................................................................................................................. 1 0.1.1: Going Electric ................................................................................................................ 6 0.1.2: Encountering and Categorizing Technology .................................................................. 9 0.2: Literature Review and Theoretical Concerns ..................................................................... 16 0.2.1: Writing About Music and Technology ........................................................................ 16 0.2.2: The Theory of Affordances .........................................................................................
  • The Haunted Continent and Andrew Bird's Apocrypha

    The Haunted Continent and Andrew Bird's Apocrypha

    University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2013 Chasing That Ghost On Stage: The Haunted Continent And Andrew Bird's Apocrypha Mary Elizabeth Lasseter University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the American Studies Commons Recommended Citation Lasseter, Mary Elizabeth, "Chasing That Ghost On Stage: The Haunted Continent And Andrew Bird's Apocrypha" (2013). Electronic Theses and Dissertations. 1163. https://egrove.olemiss.edu/etd/1163 This Thesis is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. CHASING THAT GHOST ON STAGE: THE HAUNTED CONTINENT AND ANDREW BIRD’S APOCRYPHA A Thesis presented in partial fulfillment of requirements for the degree of Master of Arts in the Department of Southern Studies The University of Mississippi by M.E. LASSETER May 2013 Copyright M.E. Lasseter 2013 ALL RIGHTS RESERVED ABSTRACT This thesis traces the various physical and metaphorical journeys south of Chicago musician Andrew Bird. Using what historical record is publicly available, I examine Bird’s formal musical training. I then explore the years between 1995 and 2001, or what I call Bird’s period of apprenticeship. Next is an exploration of the canonical narratives surrounding the blues of the Mississippi Delta, especially the music of Charley Patton. When Andrew Bird encountered a canon, or dominant histories and meanings of Southern music that influence how musicians play and how audiences interpret that music, he began to react against that canon in his own compositions and performances.