SCHOOL OF MUSIC Society of , Inc. THE FROM THE SCI PRESIDENT:

On behalf of the Society of Composers, Incorporated, welcome to our 2013 National Conference!

This event is special for several reasons: it is our first National in several years-the recession having made it difficult to find schools with the resources to host; it is the second National we've hosted here at OSU- the first being the "Frank Zappa Conference" of 1984-and this conference is special, personally for me, as the third National I've hosted, as well as my last to preside over as President of SCI, a position I've been delighted to serve in for the past eleven years. So indulge me ifl carry on a bit in this welcome message.

This conference is dedicated to the memory of a great American , Edwin London, who served as President of SCI and as a National Conference host. Ed passed away some three weeks ago. For those who knew him, his is a vibrant and inspiring memory, and the energy and the force of his personality live on in his music. We will perform one of Ed's works on this conference, as well as present a little photo-remembrance of him at Reception I.

This year's conference is large, with almost JOO pieces performed over 12 concerts in 3 Y, days plus panels and paper sessions. To prevent cognitive fatigue, the conference attendee might want to limit her/his exposure, picking events carefully. Seriously, we've programmed some terrific pieces, and the high quality and variety of styles of works submitted is a tribute to the professionalism and vitality of our organization. The demography of the participants is definitely skewed toward young composers and performers, giving us all faith in the future of our organization and our metier.

A highlight of this conference will be the performance of three winning compositions from the ASCAP/SCI Student Composition Commission competition- three, due to the scar~ity of National Conferences in recent years at which these commissions are usually performed.

We've scheduled four receptions, one each evening of the conference, so you can catch up with your colleagues and relax a bit from the intense daily schedule. The banquet late Saturday afternoon is an SCI tradition, and I hope you can attend.

The expertise and interests of our guest composer/keynote speaker, Joshua Fineberg, reflect both the involvement of many of our composer-members in spectral music as well as a concern of all of us for the place of contemporary art music in 21 "-century society.

We welcome our special guest performers, Professor Fali Pavri, , from the Royal Conservatoire in Glasgow; the Anubis Quartet from Chicago; and the New Music from the School of Music at Ohio University, Michael Parkinson, director.

Three panel discussions and two paper sessions on topics such as text setting and writing pedagogical music give our members and guests opportunities to discuss topics related to contemporary composition and present their scholarly research findings.

We are beholden to many, many people and organizations that have made this conference possible: Richard Blatti, Director of The Ohio State University School of Music, for his decision to host the event and encouragement; Russel Mikkelson, Professor of and Director of The Ohio State University Contemporary Music Festival, under the auspices of which the event is being held; Kia-Hui Tan, Professor of Violin, who was instrumental early on in championing the event, and will present a concert Thursday evening of finalists from her international competition for violin works; Mark Rudolf, Professor of Cello, whose infectious energy and love for chamber music inspired the student performers in their participation; Katheryn Borst Jones, Professor of Flute and Area Head for Orchestral Instruments for her support and her many performances; and to all the faculty and students who contributed so unselfishly of time and talent to make the many performances on this conference possible.

Special thanks and recognition go to Dr. Michael Torres, the General Manager of sciosu2013, whose fine organizational, performance, and conducting talents are a major force in the production of this event, and with whom it was my pleasure to work on the planning of this conference. Also to Quinton Jones, for his coordination of all the receptions and food events, and for his many performances during the conference; and to Ramsey Sadaka and David Tornasacci, who served on the selection committee.

Financial support for the conference comes from the SCI National Office, The OSU School of Music, the Ohio State University College of Arts and Humanities, and the Johnstone Fund for New Music of the Columbus Foundation. We acknowledge The New Music Collectiv_e, a new-music ensemble and Ohio State University Student Organization, for their support, both through financial and in-kind contributions.

I am most grateful to my wife, Vera, an accomplished composer, teacher, and member of the Executive Committee of SCI, for her tolerance of all the distractions from our home life this conference has presented, and for her love and support.

Special thanks go to our local sponsors, Jack and Zoe Johnstone through their Johnstone Fund for New Music; Dr. Daniel Koch of Columbus Eyeworks who underwrote the program cover printing; the OSU School of Music; and the OSU College of Arts and Humanities. We gratefully acknowledge the work of Patrick J. Odonnel for his design of the program-book cover. We are most grateful to the production staff of the School of Music: Mark Rubinstein, Audio Engineer; Tami Morris, Publicity and Public-Relations Coordinator and her colleague, Jayne Allison; Megan Pierce, scheduling; Tim Donel, Production Manager and Emily Patronik and the stage-crews for their work in making events run as planned. Special thanks go to Sarah Burson and Mary Machuga of our business and financial staff who helped us navigate the tricky channels of getting things paid for in a university environment.

The conference comes at a time of growth and change in our school, and at a time that sees The Ohio State University as one of the few major universities experiencing financial stability and expansion both in the physical plant and the hiring of new faculty.

I'll finish by thanking our partner, ASCAP, and Cia Toscanini, Vice-President for Concert Music, for their continuing relationship with us in the ASCAP/SCI Student Composition Commission competition, as well as their sponsorship of our final gala reception. Sincerely, - ..... c1 ~ ~Societya of Composers, Inc. Torn Wells President, SCI 2002-2013

2 Society of Composers, Incorporated 2013 NATIONAL CONFERENCE

The Ohio State University School of Music Columbus, Ohio February 13-16, 2013 Dr. Thomas Wells, Conference Host Dr. Michael Rene Torres, General Manager www.sci2013.weebly.com www.facebook. com/SC/2013 Table of Contents

Letters of Welcome ...... 02

Dedication ...... 03

SCI History and Information ...... 04

Sponsor Information ...... 05

Conference at a Glance ...... 06

Campus Map ...... 06

Keynote Speaker ...... 07

KH Tan Composition Competition for Solo Violin Works ...... 07

Host and Guest Artist Biographies ...... 08

Event Schedule ...... 09

Composer/Presenter Biographies ...... 39

Performer Biographies ...... 54

1 Greetings and Welcome to Ohio State!

We are delighted to host this 2013 National Conference for SCI and, on behalf of my colleagues, thank you for joining us in celebrating the many styles, approaches, and milieu of contemporary American music.

With the able assistance of graduate student Michael Torres, Professor Tom Wells has planned an active schedule of performances, lectures, paper sessions, and panel discussions, punctuated by opportunities to get to know one another and, of course, do society business. Our faculty and student ensembles, as well as many guests will be featured throughout the twelve concerts on the program this week and our violin professor, Dr. Kia-Hui Tan, has a special program planned for you which is the result her work during a professional leave this year.

Our faculty, staff, and students are also here to help make your stay in Columbus a very pleasant one, indeed. Enjoy your time with us and with each other and make yourselves at home. We are so glad you're here!

My Very Best to One and All,

~L~' OHIO SCHOOL OF Richard L. Blatti, Director and Professor UNIVERSITYSJATE MUSIC The OSU School of Music

The 2013 National Conference of the Society of Composers, Inc. is dedicated to the memory of SCI Past President, Edwin London. The following biographical excerpt was written by Wilma Salisbury and was first published by www.clevelandartsprize.org.

Born in Philadelphia in 1929, London grew up listening to the lush sonorities of the Philadelphia Orchestra. As a child, he studied French horn, then switched to trumpet. In 1946, he joined the Air Force and played French horn in a military band. After earning a degree in French horn at Oberlin College, he began his performing career with Orquestra Sinfonica de and the Oscar Pettiford Jazz Band. London continued his education at the University of Iowa, where he completed a master's degree in conducting and a doctorate in composition. His principal teachers were P. G. Clapp and Philip Bezanson. He also studied composition with Luigi Dallapiccola, Darius Milhaud and Gunther Schuller. London's music, published primarily by C. F. Peters Inc., has been recorded on several labels and performed by ensembles across the United States and in Europe. London taught at Smith College from 1960 to 1969, then joined the faculty at the University of Illinois. There, he founded Ineluctable Modality, a ensemble specializing in new music. From 1978 until his retirement in 2004, he was a faculty member at Cleveland State University, where he formed the award-winning Cleveland Chamber Symphony in 1980. Widely honored for his work as a composer, conductor, music director and champion of contemporary American music, London has won numerous awards, including the 2001 Ditson Conductor's Award and the 1982 Cleveland Arts Prize for composition.

SCI President, Tom Wells, writes: "Ed was a great American composer whose music speaks in an original voice: bold, eclectic, witty, and always engaging. There were few composers who had Ed's giji for language and text setting. His wit was legendary and you could see a reflection of his wonderfully brilliant mind in the twinkle of his eyes as he would reel offpun after pun, and the richness of his conversation was always dazzling."

3 What is SCI?

The Society of Composers, Inc. is a professional society dedicated to the promotion, performance, understanding and dissemination of new and contemporary music. Members include composers both in and outside academia interested in addressing these concerns on a national and regional level. The governing body of the Society is comprised of a National Council made up of co-chairs who represent regional activities, and an Executive Committee made up of the editors and directors of Society publications and projects.

History

SCI was founded in 1966 as the American Society of University Composers or ASUC. The mission of the original organization was to further the cause of contemporary American music by providing opportunities for performance, recording, and publication of members' works. The name ASUC was later changed to SCI to reflect the demography of our organization, which today consists of almost 1500 members. The affiliations of today's SCI members range from the independent professional, the student studying for a career in composition, and composer­ professors from all over the United States, Canada, and beyond.

Successes

Some of the measure of SCI's success in promoting contemporary American music can be seen in the more-than 5,000 performances of new works SCI has sponsored at its annual national, regional, and student conferences. The presentation of our conferences--music festivals that showcase the works of SCI composers--is one of the primary missions of SCI, and distinguishes us from other service organizations for composers.

Publications

From its founding, publication was an immediate concern of the Society. Initially, only conference proceedings were published. This was followed by the ASUC Newsletter, the ASUC Recording Series, the SCI Journal of Music Scores, SCION (an online opportunities letter), Composerver (streaming mode recordings), The SCI Performers CD Series and culminating in the online distribution of many of these projects and iSCI, our new online journal.

Online Presence

SCI's online presence has expanded in recent years, and the website is the latest development in the growth of our organization. SCI members gain access to career opportunities like competitions, festivals, and conferences via SCION, SCI's online database of composition opportunities. SCI's CD series is available on several online music stores, we maintain an active presence on social networking sites like facebook, and projects like COMPOSERVER have offered streaming audio to listeners all over the Internet for many years. Today, media files of several types can be uploaded and made available online though member profile pages.

SCI CD Series

"The history of the SCI CD Series must start with the earlier Record Series and the initial issue produced by Gerald Warfield. When I became Chair of the Executive Committee in 1977 I took over the responsibility and continued after stepping down as Chair. Altogether we produced 10 LPs. By the mid-1980s, it became obvious that CDs would be the dominant media for recordings. Around this same time Reynold Weidenaar and I launched Capstone Records. After our first release in 1986 I continued the label on my own. I proposed that SCI release its CDs on Capstone as our original label, Advance Records, was no longer operating. The resulting 20 plus CDs were distributed by Albany Records. In 2008 Parma Recordings acquired Capstone with a commitment to continuing the series. As of today number 27 in the series is close to completion and number 28 is in development." - Richard Brooks

SCl/ASCAP 2013 Student Composition Commission

SCI, in conjunction with ASCAP, announces the fourteenth in a series of annual commissions to be awarded to two student composers. The winners will be selected from a pool of finalists from each SCI region, and their music will be subsequently premiered at an SCI Conference and, if qualifying, recorded in the SCI CD Series.

Prizes 1'1 place: $1500, recording in SCI CD Series, score published in SCI Journal of Music Scores 2"d place: $1000, recording in SCI CD Series

First place in 2010 was awarded to Andres Carrizo whose work Alucinaciones for which will be performed by the Anubis Quartet on Thursday, Feb. 14th on a concert at 1:30 p.m. First place in 2011 was awarded to Eric Guinivan whose work Fractured Light for wind ensemble will be performed by The Ohio State University Wind Ensemble on Saturday, Feb., 15th on a concert at 8:00 p.m. Second place in 2011 was awarded to Elliot Cless whose work *ROT* for saxophone quartet will be performed by the Black Swamp Saxophone Quartet on Friday, Feb. 15th on a concert at 8:00 p.m.

4 SCI OFFICERS Conference Sponsors President As one of the largest universities in the Thomas Wells [email protected] T , H · E President Elect world, The Ohio State University offers James Paul Sain [email protected] OHIO a wealth of resources on its beautiful Chair, Exec. Committee campus in Columbus, Ohio. In the midst James Paul Sain [email protected] SIATE of this educational community, the Editor ofNewsletter U:\lVERSITY School of Music is part of the College of Benjamin Williams [email protected] Arts and Sciences, the academic heart of Ohio State. The Michael Rene Torres [email protected] School is a unit large enough to take advantage of the endless Editor SCION possibilities provided by a world-class university, yet small John G. Bilotta [email protected] enough to attend to the individual needs of its students. Editor Journal Music Scores Founded in the late l 800's, the School of Music offers today's Bruce J. Taub [email protected] students, faculty, and guest artists an innovative place for Producer ofthe CD Series making exceptional music, stimulating artistic growth, Richard Brooks [email protected] exploring educational methodology, and conducting Vera Stanojevic [email protected] groundbreaking research. For more information, visit the Thomas Wells [email protected] School of Music website: http://music.osu.edu/ Audio Streaming Project Thomas Wells [email protected] Coordinator, Submissions Lee Hartman [email protected] We·~~ Coordinator SCIIASCAP Student Commissions Competition Kari Juusela [email protected] Anne Kilstofte [email protected] Representative, Independent Composers www.ascap.com Anne Kilstofte [email protected] ~ The American Society of Composers, Authors and Publishers Representative, Student Chapters (ASCAP) is a membership association of more than 450,000 Nickitas Demos [email protected] U.S. composers, songwriters, lyricists, and music publishers Student Representative of every kind of music. Through agreements with affiliated Jorge Elias Variego [email protected] international societies, ASCAP also represents hundreds of Webmaster thousands of music creators worldwide. ASCAP is the only Mike McFerron [email protected] U.S. performing rights organization created and controlled by Executive Designer composers, songwriters and music publishers, with a Board of Matthew McCabe mccabe [email protected] Directors elected by and from the membership. More Web Content Producer information at: www.ascap.com David Drexler [email protected] Web Development Manager Our recording and release projects M. Anthony Reimer [email protected] feature work by artists such as EditoriSCI Grammy® winner Richard Stoltzman, Craig Weston [email protected] Pulitzer Prize winner Lewis Spratlan, General Manager renowned session and live drummer Gerald Warfield [email protected] a. Steve Gadd, Pete Townshend of The Region I 1111111111 Who, Pixar/Randy Newman Scott Brickman [email protected] PARMA orchestrator Jonathan Sacks, legendary Beth Wiemann [email protected] RECORDINGS bassist Eddie Gomez, jazz great Chick Region 2 Corea, and New York Ph1lharmomc concertmaster Ulenn Anneliese Weibel [email protected] Dicterow, among others. PARMA emphasizes new and Daniel Weymouth [email protected] engaging sounds, innovative presentation, and an interactive Region 3 experience from all of our physical and digital products. Harvey Stokes hstok l 4 l [email protected] PARMA has pioneered the use of Enhanced Content in our Region 4 releases to bundle and incorporate digital study scores, Mark Engebretson [email protected] recording session photos and videos, composer interviews, Paul Osterfield [email protected] applications for mobile devices, and other contextual Region 5 information. More information at: www.parmarecordings.com Mark Phillips [email protected] Frank Felice [email protected] The Johnstone Fund for New Music Region 6 was founded by Columbus community Eric Honour [email protected] leaders Jack and Zoe Johnstone. It Craig Weston [email protected] supports the continuing growth and Region 7 vitality of contemporary classical Bruce Reiprich [email protected] music, and offers grants for the Glenn Hackbarth [email protected] commissioning and production of new Region 8 Rob Hutchinson [email protected] music performances with a goal to inspire collaboration Patrick Williams Patrick. wil [email protected] between musicians and composers, and position Central Ohio as a leader of this highly inventive art form. More information at: www.facebook.com/johnstonefund

5 CONFERENCE AT A GLANCE ------

Event Page Date Time Location OSU Convocation 09 02/13/13 11 :30am-12:30pm Weigel Hall Auditorium Panel Session I 09 02/13/13 1 :30pm-2:30pm Hughes Hall, Room 110 Paper Session 09 02/13/13 3 :00pm-4:30pm Round Room, Ohio Union Concert I (Electronic I) 11 02/13/13 8:00pm-l O:OOpm Weigel Hall Auditorium SCI Reception I 13 02/13/13 lO:OOpm-11 :OOpm Mershon Auditorium Lobby

Keynote Address (Fineberg) 14 02/14/13 9:00am-l O:OOam Weigel Hall Auditorium Concert II (Astolfi) 14 02/14/13 1O:OOam-11 :OOam Weigel Hall Auditorium Panel Session II 15 02/14/13 11 :30am-12:30pm Round Room, Ohio Union Concert III (Anubis Quartet) 15 02/14/13 1 :30pm-2:30pm US Bank Theater, Ohio Union Panel Session III 16 02/14/13 3:00pm-4:00pm Round Room, Ohio Union SCI EC/NC Meeting 16 02/14/13 6:00pm-7 :OOpm OSU Faculty Club, Rooms A-D Concert IV (KH Tan) 16 02/14/13 8:00pm-9:30pm Weigel Hall Auditorium SCI Reception II 18 02/14/13 9:45pm-l 1:00pm OSU Faculty Club, Dining Room

Concert V (Mixed I) 19 02/15/13 9:00am-10:30am Weigel Hall Auditorium Panel Session IV 20 02/15/13 l 1:00am-12:00am Weigel Hall Auditorium Concert VI (Ohio University) 21 02/15/13 1 :00pm-2:00pm Weigel Hall Auditorium Concert VII (Mixed II) 23 02/15/13 3:00pm-5:00pm Weigel Hall Auditorium Concert VIII (Mixed III) 25 02/15/13 8:00pm-10:00pm Weigel Hall Auditorium SCI Reception III 28 02/15/13 1O:OOpm-11 :OOpm Weigel Hall, Room 174

Concert IX (Mixed IV) 29 02/16/13 9:00am-10:30am Weigel Hall Auditori~m SCI General Business Meeting 30 02/16/13 11 :00am-12:00pm Weigel Hall, Room 174 Concert X (Tower Duo) 30 02/16/13 1 :00pm-2:30pm Weigel Hall Auditorium Concert XI (Electronic II) 33 02/16/13 3:00pm-5:00pm Weigel Hall Auditorium SCI Banquet 35 02/16/13 5:30pm-7:30pm Longaberger Alumni House Concert XII (Gala) 36 02/16/13 8:00pm-10:00pm Weigel Hall Auditorium SCI Reception IV 38 02/16/13 lO:OOpm-~ 1 :OOpm Thompson Library, 11th floor

Important Conference Locations: Weigel Hall (355) Hughes Hall (042) Ohio Union (161) Ohio Union Parking Garage (162) Thompson Library (050) Mershon Auditorium (055) OSU Faculty Club (028)

Conference Locations Not on Map: Arps Parking Garage (278) Longaberger Alumni House (022)

For more information visit:

OSU Campus Map www.osu.edu/map

Directions to the School of Music www.music.osu.edu/visit-us-directions-and-parking

Central Ohio Transit Authority www.cota.com

6 JOSHUA FINEBERG-KEYNOTE SPEAKER

Joshua Fineberg is Associate Professor of Music, Composition and Theory at Boston University where he is the Director of their Center for New Music and their Studio. BM Peabody Conservatory; Cursus de Composition et Informatique Musicale, IRCAM; DMA, . He has won various prizes, fellowships, and scholarships, including ASCAP; Ars Electronica; Boris and Edna Rapoport Prize; Arnold Salop Prize; yearly ASCAP Awards; and the Randolph S. Rothschild Award. Commissions from major international institutions and performers, including Fromm Foundation, Robert Levin, French Ministry of Culture, l'IRCAM, Marianne Gythfeldt, Radio ; American Association, Ensemble Court-Circuit, Ensemble l"Itineraire, CCMIX, Dominique My, and Ensemble FA. His "imagined opera" Lolita for actor, dancers, video, ensemble and electronics was premiered in Europe in 2008 and in the United States in 2009 in a version staged by Jim Clayburgh and Johanne Saunier's Joji company. Besides his compositional and pedagogical activities, Joshua Fineberg actively collaborates with computer scientists and music psychologists, and he has been involved in performing ensembles and as artistic director for recordings. Joshua Fineberg was also the issue editor for two issues of The Contemporary Music Review on "Spectral Music" and for a double issue featuring the collected writings of in English. He also served as the US Editor for The Contemporary Music Review from 2003-2009. His book , Why Bother? was released in June 2006. Former faculty member at Columbia University and . Music published by Editions Eschig and Gerard Billaudot Editeur. Recordings of his work released by Accord/Universal, Harmonia Mundi, and Mode Records.

KH TAN COMPOSITION COMPETITION FOR SOLO VIOLIN

Dr. Kai-Hui Tan, Professor of Violin at The Ohio State University, will present a concert on Thursday, February 14 during the 2013 SCI National Conference at 8pm in Weigel Hall Auditorium of selected pieces from the KH Tan Composition Competition for Solo Violin Works - "Asian Inspirations". The compositions draw on Asian inspirations which range from incorporating elements of traditional music of any Asian culture to more abstract ideas based on Eastern philosophies. The winning composer will be announced later during the Conference.

Kia-Hui Tan has performed as concerto soloist, recitalist and chamber musician in 25 US states and 20 countries on five continents, including at London's Barbican Hall and New York's CarnegieWeill Recital Hall. Described in The Strad as a "violinist whose virtuosity was astonishing," she has won numerous awards including the Bronze Medal at the first NTDTV Chinese International Violin Competition at Town Hall in 2008. Included in her repertoire of over 400 solo or chamber works are premiere performances of works by more than 70 living composers. She has been a member of various new music ensembles and is frequently invited to perform at contemporary music festivals and conferences, often presenting themed lecture-recitals on the vastly unexplored repertory for unaccompanied solo violin. Also an experienced orchestral violinist, she had served as concertmaster under Sir Colin Davis and Mstislav Rostropovich among many other notable conductors. Currently Associate Professor of Violin at The Ohio State University, Tan had been on faculty at Cornell University, University of Toledo, The Cleveland Institute of Music and Cleveland Music School Settlement before joining the Ohio State faculty in 2005. She is in demand as a master class presenter, adjudicator, strings coach and guest conductor in high schools, colleges and youth orchestras; her outreach activities have extended as far as China and Colombia. She is the recipient of the 2008-9 School of Music Distinguished Teaching Award. Tan studied , violin, and composition in her native country Singapore before receiving scholarships to the Guildhall School of Music and Drama and The Cleveland Institute of Music where she was conferred the doctor of musical arts degree in 2001. Her principal teachers included David Takeno, David Updegraff and Stephen Shipps. She continues to explore how Alexander Technique, Tai Chi and Nervous System Energy Work influence and enhance her violin playing and teaching.

7 HOST· THOMAS WELLS

Thomas Wells holds a D.M.A. in Music Composition from The University of at Austin. His principal teachers were Kent Kennan, Hunter Johnson, Clifton Williams, and . He is the author of The Technique ofEl ectronic Music, Macmillan/Schirmer, New York, and has been professionally involved with for more than 25 years. He has received grants from the National Endowment for the Arts, Pennsylvania Arts Council, Ohio Arts Council, and Texas Commission for the Art, and was the recipient of the 1990 Governor's Award for Outstanding Individual Artist in Ohio. He has created more than 20 works for electroacoustic media, in addition to concertos, film scores, band and orchestra works, and chamber music. His works have been performed nationally and internationally, with recent performances including Sechs Trakl Gesaenge, a 45' piece for chorus, orchestra, and tenor soloist commissioned by the Johannes Gutenberg University School of Music; and Echoes from the Southern, performed by the ProMusica Chamber Orchestra. He founded the New Music Ensemble at The University of Texas at Austin, School of Music and served as its director for many years. With that group, he presented the American premiere of Karlheinz Stockhausen's , Adieu, , and Cardew's Great Learning. He is active as a performer, and appears regularly with James Hill, Professor of Saxophone at The Ohio State University as Duo Contemporain. He is currently Professor of Composition and Director of the Sound Synthesis Studios at The Ohio State University, and serves as President of the 1500-member Society of Composers, Incorporated - the largest service organization for composers in America.

GUEST ARTIST· FALi PA VRI

Fall Pavri enjoys a busy and varied career as soloist, chamber musician, teacher and adjudicator. Born in Mumbai,India, he studied the piano at the Conservatoire with Professor Victor Merzhanov and at the Royal Academy of Music, London with Christopher Elton. While still a student, he was invited by the great Russian cellist, Mstislav Rostropovitch to be his pianist on an extensive concert tour of India. This was followed by his London debut at the Purcell Room and concerts in prestigious venues around the world. He has performed and collaborated with many eminent musicians including the Vellinger and Vertavo quartets, the Leopold Trio, Paragon Ensemble, Scottish Ensemble, clarinetist Andrew Marriner, cellist Franz Helmerson, singers Roderick Williams and Mark Padmore and composer . Fali was, for many years, a member of the Pirasti and he has a successful duo with his wife, the cellist Naomi Boole-Masterson.

He has recorded two critically acclaimed discs with the cellist Timothy Gill on the Guild label, including world premieres of two works by the Indian composer, John Mayer ("Prabhanda" and "Calcutta Nagar"). In 2009 he recorded another world premiere, the song cycle "Black Sea" by the British composer Anthony Bolton, with the tenor Richard Edgar-Wilson. His latest CD which features the music of the Swiss composer Volkmar Andreae was awarded the coveted "IRR Outstanding" accolade by the International Record Review. Radio broadcasts include regular appearances on BBC Radio 3, where he has played some unusual and challenging repertoire including the Sinding Piano Quintet with the Vertavo Quartet and Alexander Goehr's "Das Gesetz der Quadrille" with the baritone, Roderick Williams.

He has recorded for All-India Radio with Mstislav Rostropovich and for CBC (the North-American premiere of "La Trahison Orale" by Mauricio Kagel). A committed and sought-after teacher with many prize-winning students, Fali Pavri is a Professor of the Royal Conservatoire of Scotland and is also much in demand as an adjudicator and examiner. He has given masterclasses in many countries around the world including recently in Estonia, Finland, Cyprus, India and South Africa, where he was also a jury member at the Unisa International Piano Competition.

8 SOCIETY OF COMPOSERS, INC. WEDNES•AY 2013 NATIONAL CONFERENCE

The Ohio State University School of Music Convocation February 13, 2013 Weigel Hall Auditorium 11 :3 0 a.m.

An Interview with Joshua Fineberg Arved Ashby interviews the noted composer and SCI Keynote Speaker

Panel Session I February 13, 2013 Hughes Hall, Room 110 1:30p.m.

Culture and Composition in West Africa: ExplorinK Mande and Yoruba Music Panelists: Adeleke Ade~k6, Aaron Carter-Cohn, Oyebade Dosunmu, Ay9 Oluranti, Ryan Skinner Performers: Hanan Davis, Errik Hood, Maria Zarick

Mali and Nigeria are ofien in the news because of the activities of Islamic extremists. Both are members of the Economic Community Of West African States (ECO WAS), and on January I 5, 20/ 3, Nigeria became the first member nation to send troops to fight rebels in northern Mali. This might seem a familiar stmy from a distance, akin to recent events in Sudan or Somalia. But, this panel shares a different story about Mali and Nigeria, about cultural diversity and corresponding linguistic and musical diversity. Ultimately, it is two stories, not one. Although separated by only 1000 miles, the Mande music of Bamako and the Yoruba music of Lagos are vividZv distinct. Through presentation, performance, and discussion, this panel explores two important musical cultures with highly developed compositional practices. At this time, and at all others, it's important to remember the diversity ofcul ture that is undermined and overshadowed by the tread ofglobalization and violence.

Yoruba Art Music Oyebade Dosunmu and Ay(J Oluranti

Driven by nationalist ideals, I 9'"-century Afi-ican composers began to develop an art~form that registered the dual experience of tradition and global modernity. A historical account of the emergence of Yoruba art music will address factors that gave rise to a new canon in Nigeria. Examining the use of indigenous resources by Yon'tba composers reveals what the oral repository continues to offer an evolving tradition. The goal of preserving the tone and rhythm of the Yort'tbci lan&>uage imposes restrictions on the compositional process. if a word is given a falling instead of a rising contour, the meaning is changed, thus text influences melody and harmony. Parallel harmony is one result, but Yoritba composers have also employed polyphonic textures with staggered text, or heterophonic textures with alliterative sounds in subordinate voices. Nigerian composer Ayo Oluranti will discuss Yoritba texts and vocal techniques as stylistic and structural restrictions in the composition of Yoritbci vocal and choral music. He will also address the multiple lives ofcompositions in the art and popular canons.

Mande Music Ryan Skinner

Jn this presentation, 1 will demonstrate the compositional construction of1\1ande music performed on the kora (21-stringed harp). By examining the musical elaboration ofa single piece, "Jara bi" (meaning, in Bamanakan, "Love "), I will argue for a conceptual and performative approach to Mande music that stresses texturally dense accompaniment and pronounced solo melody, understood in the Mande world as the "morality" and "ethics " of musical aesthetics. This ethnomusicological and ethnographically informed approach to composition emphasizes the way the musical is necessarily embedded in the social, and vice versa.

Paper Session February 13, 2013 Ohio Union, Round Room 3:00 p.m.

The Other Schoenberg Richard Brooks

Arnold Schoenberg and Mathilda van Zemlinsky. Two children were born of this marriage: Gertrude and Georg (1906-1974). As the son of a famous composer, Georg had a trouble "finding" himself His musical talent was clear but he had other interests and seemed unable, as a youngster, to settle on any one vocation. As so many did, he earned his living primarily as a music copyist. After the Nazis came to power Schoenberg and most of his immediate family left Europe. Georg was the only family member who stayed behind. He survived and continued composing music. Public success was very limited; he worked menial jobs until retiring on a government pension. Before he died, according to his daughter, he destroyed much of his music. However, some has survived and it deserves more attention. This presentation begins to address this issue.

9 SOCIETY OF COMPOSERS, INC. WEDNESDAY 2013 NATIONAL CONFERENCE

Paper Session (continued) February 13, 2013 Ohio Union, Round Room 3:00 p.m.

What a 'Thump' Means: Morton Feldman's Treatment of Samuel Beckett's Words and Music Kerrith Livengood

Beginning in 1956, Samuel Beckett wrote a series of radio plays, which aired on the BBC's Third Programme. These radio plays progressively explore abstract concepts of character, formed by dramatic soundscapes increasingly detached from any virtual physical stage. The fifth play, Words and Music, features "Music" as a character, interacting with the other characters through musical "speeches." Many years after the initial broadcast, Morton Feldman collaborated with Beckett via the director Everett Frost to provide a new (and more satisfactory to Beckett) version of the musical portion of the play. Feldman had worked successfally with a Beckett text to create the "opera" neither years earlier; however, while there are some stylistic similarities between the two works, Words and Music is quite different from the rest of Feldman's late works due largely to its technical constraints. In this paper I examine the various difficulties Feldman met in bringing this musical character to life, particularly issues ofproportion, expression, and adherence to Beckett 's vague instructions. I also analyze the interpretations of the play by two different companies, focusing upon the middle section in which an actor must improvise a singing part in response to the music. Stemming directly from this, I conclude by considering whether or not "Music" is successfully convincing as a character, and what exactly "success" might mean in the context ofSamuel Beckett's aesthetic philosophy.

Cross-Cultural Reinvention in Music Composition Jung Yoon Wie

Chung-sung-gok is originally a Korean traditional song written for solo daegeum (large transverse bamboo flute) or danso (small notched bamboo vertical flute). This piece is called Chung-sung-gok (the song of the clear, high sound), characterizing the clear timber of daegeum in the high register. Daegeum has a hole called Chung-gong in addition to the finger holes, and a membrane is attached on Chung-gong. When a performer pushes the high tessitura, the membrane shakes and makes a buzzing sound. The vibration of the membrane, gathered from a river reed, produces a unique sound called chungsori, especially in the high register of the instrument. This song uses contrasting phrases between long-sustained notes and grace notes that emphasize the clear, tonal quality ofthe instrument. The melody of Chung-sung-gok is derived from the typical gae-myun-jo mode, one of the two major modal collections of the Korean classical music, the other being woo-jo. The two forms below represents the five note pattern ofthe gae-myun-jo mode.

Fonn l Form .2 "Chung-sung-gok." Chung-sung-gok. The Sejong Cultural Society, n.d. Web. 26 July 2012.

The Korean traditional song is represented in my composition Chung-sung-gokfor piano trio by melodic gestures, motives, and fragments drawn especially from the opening of the song, with its distinctive intervals and ornamentation. The sound of daegeum inspired me to use motivic fragments that suggest high, clear sounds, and the use of extended technique and colors aspires to evoke the colors characteristic of chungsori and the song's contrast between long-held notes and grace notes that accentuate the clear quality of the bamboo flute. Even though this piano trio is not bearing much of gae-myun-jo mode like the Korean traditional melody, its recurring lyrical, sustained pentatonic element expresses the pathos and longing of Chung-sunggok.

Failures of Third-Stream Music: Contributing Causes Mickie D. Willis

Throughout the 1960s, efforts to meld the diverse elements of jazz with more traditional concert music developed into a genre called Third Stream Music. There were many musicians and composers who, having both traditional training and expertise, and some ability in and sensitivity to jazz expression, wanted, logically enough, to combine these into a truly unique music. Composers like Andre Previn, Werner Heider, John Lewis, Andre Hodeir, Claude Bollinger, and Gunther Schuller all contributed to this style. However, there has always seemed to be little interest and support for this style. Why? It 's hard to attribute the lack of available recordings of third-stream music to lack of quality, with composers such as these involved. And jazz continues to enjoy at least the same level ofpopularity that is has since the sixties, perhaps more. And certainly there are more available recordings of serious contemporary concert music available now that there were at the time of the third­ stream initiative. What happened? Are the two worlds so far apart that, when either contains "impurities " borrowed from the other style that listeners of either one will refuse to accept some "contaminated" version of their preferred music? Perhaps. But there may be other factors as well. For the distinction between traditionally composed concert music and improvised jazz is more than style, and the obvious differences in the way the music is created. The differences go to the most elemental matters of music making itself, and have been with us probably since the earliest beginnings of music. Perhaps it is these differences that account for the existence ofthese two distinctly different musics in the first place.

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Concert I February 13, 2013 Weigel Hall Auditorium 8:00 p.m.

Electronic Media I

Sharpie fo r , Saxophone, and Piano Mark Engebretson

Sharpie was written for and is dedicated to the Thelema Ensemble of Belgium. The title reflects a fascination with those ubiquitous and absolutely essential implements that we find all around us (i.e., Sharpie markers). Sharpie markers are prized for their strong, clear lines and, having expanded from the original black, a brilliant and beautiful kaleidoscope of colors. Sharpies are bold, vibrant, edgy and they project pulsating energy.

Anthony Taylor, clarinet; Steve Stusek, saxophone; Liz Ames, piano

Retracing for Violin, Dancer, and Electroacoustic Sound Ross Fell er

Retracing, a collaborative work for solo dancer, violin, electroacoustic sound, and textiles, was created for the Dance Works series at the Cleveland Public Theatre. It was choreographed by Kora Radel/a, performed by dancer Julie Brodie and violinist Dorothy Martirano, and includes textiles by Rebecca Cross. I worked closely with the choreographer in order to produce a truly collaborative piece. The violinist performs gestural materials that both support and enhance the dancer's movements. As I composed the violin part 1 thought about developing analogous sounds to movement concepts such as: sweep, chop, pendulum, radiate, and fall. Additionally, the way the textiles were lit influenced my approach to dynamic-dependent resonance. The electroacoustic part primarily serves to reinforce various harmonics found in the violin part, and assist with spatialization and depth effects.

Dorothy Martirano, violin; Julie Brodie, dancer; Kora Radella, choreographer

Dionysus fo r Solo M ulti-Percussion Instruments and Live Electronics Konstantinos Karathanasis

Volatile, transformative, brutal, benevolent, chased and menacing, dismembered and resurrected, ceremonious, clamorous, mystic, inspirational, ecstatic, patron oftragedy and comedy. Dionysus is the god who embodies primitive instinctual forces oflife , irresistible, inexorable, ever triumphing. The piece is written in MaxMSP. The software tracks the percussionist 's attacks, amplitude, rhythm and density. Th is information is used to trigger various real-time sound transformation routines and pre-recorded materials. The whispered texts are from Euripides Bacchae. Many thanks to Dr. Ricardo Souza for commissioning this work and for his enhancing suggestions. Dionysus was also made possible with the partial support offunds from the Research Council of University of Oklahoma.

Ricardo A. Coelho de Souza, percussion

Phyllotaxis fo r Flute and Electronics Jennifer Merkowitz

The word phy//otaxis means "leaf arrangement" in Greek. It describes the phenomenon that plants seem to grow in patterns that make for the most efficient use of space. Jn these patterns, the Fibonacci sequence, the Golden Ratio, and the Golden Angle (360°/

Kimberlee Goodman,flute

Colorful Movements for Video Ryan Olivier

Colorfal Movements features four short experimental pieces exploring the relationships among sound, space, time, and light. Metronomic Hommage applies the timing relationship of beats per minute to the ratios used in the harmonic series. As the frequencies align, the partials combine to create new timbres. Additives is an experiment in timbral transformation. A circular shape based on the combination of overlapping partials visually represents the change in timbre. Partial imitation is a quasi-fugue whose imitation is based on partial numbers rather than scale degrees. The voices enter spatially and move across the room to opposite planes. Jn Polypartials, embedded, translucent spheres represent each pitch. The appearance of each sphere, as well as its associative pitch and color, relates directly to its designated partial. Starting with the fundamental, each partial is introduced until all sixteen partials have sounded, at which point the spheres fade into the distance.

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Concert I (continued) February 13, 2013 Weigel Hall Auditorium 8:00 p.m.

Concert Etude No. 1 for Horn and Fixed Media Carrie Leigh Page

Concert Etude No. I was commissioned by hornist Ericka Tyner Grodrian and received its premiere at the International Women's Brass Conference in the summer of 2012. The primary "etude" element for this work is the exploration of trill patterns and their inverted leaps. The trill element is echoed in the pulsations ofthe electronic sounds, freely derived from a recording ofsketch materials made by Grodrian at the beginning of the composition process. The structure of the piece is a basic arch form, with an extended B section ofpercussive sounds providing contrast to the pulsating outer sections of the work.

Ericka Tyner Grodrian, horn

The Swing Garden Project for Electronic Media Michael Pounds

"The Swing Garden Project" is a composition created from sounds recorded when I was in residence at I-Park in Connecticut. Another artist there created a landscape design project called "The Swing Garden." While she was realizing her design, I recorded many of the sounds associated with the work. These sounds are the only source materials used in my piece. I was particularly interested in the transformation of the materials used in the project. This inspired my transformation of sounds for the piece, and the structure of the piece clearly shows the transformational development of those sounds.

None is Traveling for Electronic Media Tim Reed

"None is Traveling" is an electroacoustic work inspired by four haiku, each by a different Japanese poet. Each of the haiku reflects on travel and/or place, and in this piece, the listener is invited to wander through a series of real, unreal and musical spaces.

None is traveling Pebbles shining clear, In the farther field But when I halted Here along this way but I, and clear a scarecrow kept me on the windy street This autumn evening. six silent fishes . .. company ... at twilight . . . -Basho Deep autumn water Walking as I walked Snow struck against me - Busan -Sanin -Kita

SLAMMED for Soprano Saxophone, iPad, and Computer James Paul Sain

SLAMMED (2006) - the one word title of the work can be used in many contexts such as "gee ...I'm slammed," or "do you want to get slammed?" Slammed in these contexts can have any number of meanings. This work is meant to convey a sense of "slammedness" arriving at the point of psychosis. Though, this might only be the plight of a delusional composer and his personal hypnopompic hallucinations related to the melodic third.

Michael Rene Torres, saxophone; James Paul Sain, iPad

Three Etudes for Electric Cello and Processing Elizabeth Start I. Quick Returns II. Reversals Ill. Layers

These three eludes were created and are performed using electric cello with wah, flanger, and digital delay pedals. The movement titles (quick returns, reversals, layers) reflect the digital delay settings used which inspired the approach to each movement. The eludes are improvisatory, but follow a script of elements introduced and briefly explored.

Elizabeth Start, cello

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Concert l (continued) February 13, 2013 Weigel Hall Auditorium 8:00 p.m.

Suite for Cello and Electronic Media Mark Zanter I. Prelude fl. Sarabande !fl. Intermezzo IV Corrente V Gigue

Suite (2 01 2) commissioned by Turkish cellist, Ezgi Karakus, is a work combining live performance, interactive electronic sound p rocessing, and fixed media within the context of the Baroque dance suite. The goal being to reinterpret elements of the suite; the free f orm Prelude (or improvisational "preluding"), the slow stately dance-Sarabande, and contrasting rhythmic elements of the Corrente, and Gigue in a such a way that the abstraction of the electronic elements juxtaposed with the reinterpretation of the dance suite sheds light on age old compositional issues, the value ofs olutions f ound in historical f orms, and their relevance in our current time.

Ezgi Karakus, cello

SCI Reception l February 13, 2013 Mershon Auditorium Lobby 10:00 p.m.

SCI Reception I will begin immediately after Concert I. Only registered conference attendees/performers 21 years of age or older may attend SCI Receptions

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Keynote Address February 14, 2013 Weigel Hall Auditorium 9:00 a.m.

Speaking in Tongues: Creatin!( meanin!( with an unknown language Speaker: Joshua Fineberg

Concert II February 14, 2013 Weigel Hall Auditorium 10:00 a.m.

Here (and There): Music for Piano and Electronics Jeri-Mae G. Astolfi, piano green is passing for Piano and Electronics Jeff Herriott

The initial version ofgreen is passing was composed in 1999. It opened with pulseless material that would become typical of my later work. In 2006, when I reworked the piece for a performance by pianist-composer , I retained this opening structure, but changed the piece's development to better suit my evolved musical style. At that time I worked almost exclusively on pieces that combined acoustic and electronic sounds, so 1 also created an alternate version that included a layer of electronic reverb as a fluctuating compositional element, a "conceptual echo." Jeri-Mae Astolfi premiered this electronically enhanced version in 2010.

Confetti Variations for Piano and Fixed Media Tom Lopez

Jeri-Mae Astolfi told me that among her admired composers ofpiano music were Johannes Brahms and Morton Feldman. That pairing struck me as a remarkable combination and I began dreaming of a Brahms/Feldman/Lopez mashup. My composition process entailed shredding Brahms and Feldman piano music into brightly colored fragments, firing the sparkly bits into the air, and listening to them rain down over field recordings. The resulting music, Confetti Variations, begins with distilled Brahms shavings and expands into dilated Feldman resonances. It is a journey between extremes with unexpected topography along the way.

Summer Phantoms: Nocturne for Piano and Fixed media Brian Belet

Phantom • something apparent to sense but with no substantial existence; as an apparition • representation ofsomething abstract, ideal, or incorporeal (from the Merriam-Webster Dictionary)

Referential archetypical symbols include the phantom (akin to the shadow), representing the creativity we don't realize we already have; the night and the night journey, as the search for self; and the summer season, as a time oflife and abundance. When working on Summer Phantoms: Nocturne, written for Jeri-Mae Astolfi, I composed the piano music first, with marginal annotations about the electronics. The fixed media part is made up ofpiano sounds (string scrapes, hand dampened tones, soundboard strikes, and isolated tones) that I processed through Spectral Analysis, Sum ofSin es, Time Alignment Utility, and additional algorithms using my COMP2 suite oftools , all operating within Kyma.

Crystal Springs for Piano and Fixed Media Phillip Schroeder

Crystal Springs was composed for Jeri-Mae Astolfi. The music alludes to the lush, rugged beauty of Crystal Springs, Arkansas, as well as imaginary springs that I envision issuing spiraling crystalline structures. The piece's three large sections, which each develop different aspects of its fundamental motifs, were designed by use of the Fibonacci series. its "fixed" materials are electronically manipulated sounds from an electric bass, a suspended cymbal, and the inside ofa piano.

Swirling Sky for Piano and Fixed Media Ed Martin

Swirling Sky begins by recalling peaceful moments spent lying in the grass, gazing at cloud formations drifting above. These shapes ojien spark my imagination, evoking images of magical characters, fantastic creatures, and primordial landscapes. As the piece progresses, it depicts losing oneself in the moment and being swept up through the clouds into an extraordinary adventure. Swirling Sky was composedfor Jeri-Mae Astolfi.

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Panel Session I I February 14, 2013 Ohio Union, Round Room 11 :30 a.m.

21st Century Art Music: Is anyone listeninK? Panelists: Joshua Fineberg, Arved Ashby, Danielle Fosler-Lussier

Commentary and conversation about the role of 2 I st-century art music in contemporary society dealing with issues such as the role of the listener, the value ofth e arts, politics and ethics, and much more.

Concert II I February 14, 2013 Ohio Union, US Bank Theater 1:30 p.m.

Anubis Quartet Allison Balcetis, saxophone; Ryan Muncy, saxophone Michael Ibrahim, saxophone; David Wegehaupt, saxophone

OK-OK for Saxophone Quartet Lansing McLoskey

When I started thinking about writing a saxophone quartet, 1 found myself drawn back to my favorite be-bop tune, "Ko -Ko, " which 1 first heard as an enthusiastic (but only moderately skilled) saxophonist in my junior-high jazz band. Rather than making an "arrangement" of the song, however, OK-OK is a total recontextualization based entirely on Charlie Parker's solo. Th e harmonic and rhythmic schemes ofthe original chart were abandoned, and the solo was stripped of all rests and rhythms, leaving in effect a tone-row of 1,058 pitches (which Birdjammed into I minute and 50 seconds of a 2'53" song!). Every note of Bird's solo is played in the original order, but it isn't until the very end ofthe piece that a snippet ofthe solo is actually quoted (the final phrase ofth e solo).

Butchered and Consumed with the Facets of Extension Edward Hamel

For me, an identity is a byproduct of our sociological situations of which we either control and/or simply participate in. Upon conforming and adapting to influence, the materials and environments we surround ourselves with begin to affect, mutate and create our identity. At the time 1 was writing this Butchered and Consumed by the Facets of Extension, 1 was considering how there may exist a foundational self prior to building an identity. ft can be difficult to consider this foundational innocence when dealing with all of these auxiliaries and extensions which distort, overpower and devour this Self Essentially, the title refers to this foundational innocence being overtaken by these facets it has consciously/sub-consciously developed and the subtle mutation and metamorphosis which occurs during this process.

Aluci naciones fo r Saxophone Quartet Andres Carrizo * World Premiere *

The ideas which prompted Alucinaciones ("Hallucinations ") are two fold: its performance aspect, and its harmonic aspect. Performance-wise, the piece was conceived as an exercise -in ensemble writing and use of the performance space. The quartet members, surrounding the audience, p lay with the listener 's awareness of a sound's source, passing lines, harmonies, and timbres around through carefal ensemble work. The effect is a swirling blur of diverse musical threads, which occasionally focus on a particular instrument (meaning, on a particular point in space), or on a specific melodic line. Harmonically, Alucinaciones furthers a technique used in an earlier piece for solo alto saxophone, whereby the instrument's sonic capabilities proscribe the piece's harmonic language. A series ofmultiphonics belonging to all three members of the ensemble are extracted and re-arranged, yielding a rich vein of harmonic ore.

Blissing Out for Saxophone Quartet Chris Fisher-Lochhead

Blissing Out grew out of the enduring personal and professional relationships 1 have had with the members of the Anubis Quartet over the last three years. When I began to write the piece, 1 was confronted by a dilemma: how could 1 reckon with all the numerous possibilities afforded by a prodigiously versatile group of musicians working in a medium as protean as the saxophone quartet. My solution was to write a set of overlapping movements, each with a distinct instrumentation and character. Once those individual movements were well enough defined, the composition proceeded in a manner quite similar to the working method described by Harold Pinter. As he wrote, "l have usually begun a play in quite a simple manner; found a couple of characters in a particular context, thrown them together and listened to what they said, keeping my nose to the ground." Thus, the whole is comprised of a heterogeneous assemblage of parts interacting through relations of exteriority, each with its own peculiar intensity, and never subordinated to an overarching (meaning-bestowing) unity.

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Concert III (continued) February 14, 2013 Ohio Union, US Bank Theater 1:30p.m.

Intercepting a Shivery Light for Saxophone Quartet Marcos Balter

Intercepting a Shivery Light was intended first and foremost to be a trippy listening experience. This work is truly an ensemble piece with no individualistic gestures. Avoiding common saxophone extended techniques, Balter uses physical and harmonic patterns that weave, interact, and rotate, saturating the acoustic space. Seemingly microtonal harmonies and a quasi-Doppler effect are apparent only as a result of similar gestures occurring at different rates. Patterns, melodies and harmonies at times coinciding and at others unaligned, yet everything in its right place.

Panel Session Ill February 14, 2013 Ohio Union, Round Room 3:00 p.m.

Composin!(for the Future: Writin!(for Peda!(OKY and the Emer!(ent Musician Panelists: Carrie Leigh Page, Nicholas Drake, Brian St. John, Krista Wallace-Boaz, Jennifer Kelly

In a world where most university-trained composers are writing for professional musicians of the academe, it seems that a large population of musicians are being overlooked; the non-professional, amateur, or beginning musician -- a demographic comprised mostly a/young musicians and children, but also including adults that pursue musical enrichment for their own lives.

This panel focuses on the role of composers as educators of their own music and music of our time. The discussion will center on the ways in which composing new music for teaching new musicians can help create, sustain, and increase an appreciation of and interest in contemporary concert music for fature generations.

Panelists will discuss how our focus as composers can encompass more writing for non-professional musicians; not to the exclusion of our general output, but as a vital addition to that output. Composers from Bach to Bartok all took on the responsibility of composing for the young and inexperienced as a necessary part oftheir role as composers. Today's composers can also take on that responsibility so that the music of our time can be taught willingly, even enthusiastically, alongside works that make up the great canon of music literature. This panel will give composers an enthusiasm and general strategies for taking their skills into the practice of writing for non-professionals.

SCI Meeting February 14, 2013 OSU Faculty Club, Rooms A-D 6:00 p.m.

Society of Composers, Inc. Corporation Dinner/Business Meeting For National Council and Executive Committee members only

Concert IV February 14, 2013 Weigel Hall Auditorium 8:00 p.m.

KH Tan Composition Competition for Solo Violin Works - "Asian Inspirations" Prize-Winners Concert Kia-Hui Tan, violin

Ride for Solo Violin Balee Pongklad * World Premiere *

Th e title of the piece is inspired by my experience of riding a long-tail boat in Thailand, known as Ruea Hang Yao in the Thai language. This type of boat is native to most Southeast Asian countries and especially famous in Thailand where long-tail boats are now often used to transport local passengers and tourists. Compared to the motion and movement of a long-tail boat while moving, the music appears to fast forward, glide, swerve and sometimes float freely, playing with the unexpected. The comparison could portray the excitement of riding a long-tail boat that runs fast on the undulating water and never knows what comes next. Even though I did not include any musical elements that give a sense of "Asian flavor ", the challenge ofthe piece is to provoke the feelings between agitation and relaxation one could have with this kind ofunique ride.

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Concert IV (continued) February 14, 2013 Weigel Hall Auditorium 8:00 p.m.

Variazioni su un canto popolare cinese for Solo Violin Anne-Marie Turcott * World Premiere *

This piece is based on a Chinese popular song ("The oldfisher"), in which is described an oldfisher in the act offishing at sunset, and the surrounding landscape: some fishing-boats coming in and out the harbour and the gentle movement of the waves (Variation !), a vivacious song coming from afar every now and then (Variation 2), the flight ofth e seagulls (Variation 3), the solitary harbour and the sentiment of solitude given by the solitude of the old fisher (the main theme of the Chinese popular song, quoted al the end of the piece). The chant itself is based on a pentatonic scale: for the composition ofthe Variations, a method ofc onlrapunctal projections has been employed. 1 have met this beautifal chant, falling in love with ii, by rehearsing ii in a voice-piano version with a Chinese student, a few years ago at the Milano 's Conservaloire.

Sanjo for Solo Violin EunSeok Park * World Premiere *

Sanjo is a style of the Korean traditional music. Sanjo means 'scallered melodies'. San.Jo is originally wrillen to demonstrate the virtuosity or techniques ofKorean traditional instruments. Sanjo has not fixed musical forms, but more like an improvisation or a free form. Mostly, Sanjo involves a solo instrument accompanied by Janggu, the Korean traditional 2-headed drum. The main concept for the composition is 'scallered melodies' with abundant use of grace notes and ornamentations derived f rom the dazzling beauties of Korean traditional folk songs. Also this composition reflects one ofthe uniqueness of Korean traditional folk music; the movement that seems to be mobile yet still and seems to be still yet mobile as such as the thinking of movement within stillness. San.Jo integrates Western melodic and harmonic language with Eastern sense of movement in adapting these qualities to a more contemporary sound.­ world.

Toward the Other Shore for Solo Violin Suzanne Sorkin

Jn Mahayana Buddhism, the six paramitas (generosity, discipline, patience, diligence, meditation, and knowledge) are six kinds of virtuous practice required for serving others and achieving enlightenment. In Sanskrit, paramila means "that which has reached the other shore". Through the practice ofthe six paramilas, one can cross over from the shore ofthis world (the shore ofsuff ering), to the shore ofen lightenment. This concept oftranscendence and "going beyond" served as the inspiration for Toward the Other Shore. In this composition, long and expansive melodic phrases breathe one into the next, coupled with throbbing leji-hand pizzicato. The metamorphosis of left-hand pizzicato over the course of the work is balanced with the on-going timbre variation and motivic development of the melody heard al the beginning of the piece. In the final section, the opening melody is further transformed, culminating in a dramatic contrapuntal strello.

-- - INTERMISSION- --

Twelve Signs for Solo Violin Chiayu * World Premiere *

Twelve Signs is based on the Chinese Zodiac. Jn the Zodiac, the twelve animal signs represent twelve different types ofp ersonalities. The zodiac begins with the sign ofthe Rat, followed by the Ox, Tiger, Rabbit, Dragon, Snake, Horse, Sheep, Monkey, Rooster, Dog and Boar. The twelve animals can also be classified into four trines based on thematic similarities. The first trine, the Rat, Dragon and Monkey, are described as extroverted, dynamic, and passionate. The second trine, the Ox, Snake, and Rooster, are described as philosophical, patient and meditative. The third trine, the Tiger, Horse, and Dog, are described as rash, impulsive, and idealistic. The fourth trine, the Rabbit, Sheep, and Pig, are described as intuitive, calm and sensible. The piece contains twelve movements and depicts the different characteristics ofe ach sign. it also incorporates various timbres and techniques which correspond lo the jive elements of the Chinese Astrology.

Joy Rising for Solo Violin Ching-Chu Hu * World Premiere *

Joy Rising, for solo violin, is a jive-movement work dealing with the concept ojjive types ofchi, or wu xing, central to all elements of Chinese thought, including philosophy, music, science, medicine, astrology, and Jeng shui. The sequencing of the elements in this particular order (wood, fire, earth, metal, and water) represents a creative or enhancing cycle. Each element can be seen as a necessity for the next. In Joy Rising, there are internal connections among the movements. "Wood" begins the cycle with various extended techniques to allow the woodiness of the violin to resonate as the musical gesture grows organically. "Fire" contrasts the mood with a driving movement as flames burn. Jn "Earth " there is a sense of duality - as man and nature occupy a shared space, two musical lines intertwine. Ajier a briefpiz zicato interlude, "Metal " continues with a shiny sheen to its florid movement, while "Water" is still and contemplative. Joy Rising was commissioned by and wrillen for Kia-Hui Tan.

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SCI Reception II February 14, 2013 OSU Faculty Club, Colleagues Dining Room, Lower Level 10:00 p.m.

SCI Reception II will begin immediately after Concert IV A cash bar will be available. Only registered conference attendees/performers 21 years ofage or older may attend SCI Receptions

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Concert V February 15, 2013 Weigel Hall Auditorium 9:00 a.m.

Mixed Instrumentation I

Enso for Trumpet and Fixed Electronics Oren Boneh

Enso (2011) is written for trumpet and fixed electronics. All of the sounds used in the electronic track are recorded trumpet sounds (valve clicks. bell flicks, mouthpiece pops, etc.). The piece was inspired by a work of visual art with the same title based on the Japanese philosophy of "Enso" (visually a circle, sometime found in Zen Buddhist art) which represents enlightenment, strength, elegance and absolute artistic freedom. The painting essentially showed these circles paired with rectangles and abstractions of them surrounded by various colors. II reminded me of the Japanese philosophy of "Wabisabi" which is basically finding beauty in imperfection. This piece exemplifies the juxtaposition or comparison of perfection and imperfection that I found so appealing in the painting.

Oren Boneh, trumpet

Quiet Man for Solo Baritone Saxophone David Heinick

The genesis of Quiel Man demonstrates the good things that SCI conferences can bring: At the 2010 conference at the University of South Carolina, the Creviston Duo performed a soprano sax piece of mine. Peter Verdonck, the saxophonist of the Thelema Trio of Belgium (guest performers at the conference), heard the piece and asked me lo write him a piece for baritone or bass sax, giving me carte blanche as lo lo musical language. Although I don 't know Peter well, the piece reflects and extends some of what I was able to pick up of his personality, musical and otherwise.

Casey Grev, saxophone

Ephemeral Rhapsody for Solo Violin Jason Bahr

This work was wrillen for Piotr Szewczyk as a part of the Violin Futura Project. The mood of the work is contemplative, and a bit sad. It work begins with a slow ascent using the octatonic scale. The tune lingers for a bit in the upper register, then begins a second ascent that is more animated and climbs higher before floating back down. The work is about three minutes long

Elizabeth Fisher, violin

Three Pieces for Clarinet James Jensen I. Monologue fl. Interlude Ill. Dance

Three Pieces for Clarinet (1997) is a set of brief eludes for unaccompanied clarinet that explores the instrument's three registers in a variety of tempo and dynamic sellings. Motivic content in each of the three sections is presented in an inverted arch formal, unified by a single pitch series.

Caroline Hartig, clarinet

Ballad for Solo Cello Jianjun He

Synthesizing Western compositional techniques with Chinese musical elements, Ballad, for Solo Cello (2006), shows the fasion of different cultures and reflects the diversity of today's music. It is the composer's wish to combine the accessible melody with idiomatic and innovative cello writing in this piece. The melody is somewhat related to Chinese pentatonic scales and meanwhile a lot ofdeferent slides remind the audience of those Chinese instruments, such as er-hu, zheng, and lei-qing. ii should be mentioned that the work is not based on or inspired by a story as the title might suggest so. However, at least to the composer, the piece sounds like that the cello, as a narrator, is telling an ancient legend in a dramatic and emotional way, and for this reason the work is entitled "ballad. "

Elisabeth Jeremica, cello

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Concert V (continued) February 15, 2013 Weigel Hall Auditorium 9:00 a.m.

Sans Titre VII for Solo Trumpet William Price

Composed in 2010, Sans Titre VII is a nine-minute, single movement work for solo trumpet that explores both physical space and musical distance as determinants of musical form.

James Zingara, trumpet

Citizens of Nowhere for Clarinet and Saxophone Nickitas Demos

The title Citizens of Nowhere is taken from an article of the same name written in 2003 by Paul Kingsnorth for The New Statesman. The article puts forth the assertion that a new global middle class is emerging: the "citizens ofnowhere . " Generally anxious, the music is rootless and constantly shifting; never settling for long in any one key center or mood. Even the two soloists do not remain on a single instrument for very long but constantly shift back and forth between different members of their respective instrumental families. The piece seeks to answer Kingsnorth 's final challenge: "The rest of us can join the citizens of nowhere in their empire of the placeless, or we can build new relationships with our own landscapes and our own communities. We can build on our pasts or dismiss them; bleach the human rainbow or loudly defend awkward, stubborn, unprofitable diversity. Somewhere or nowhere. The choice is ours.

Casey Grev, saxophone; Cody Grabbe, clarinet

Panel Session IV February 15, 2013 Weigel Hall Auditorium 11 :00 a.m.

Prosody in Music: Representing Speech Intonation, Rhythm, and Stress Panelists: Aaron Carter-Cohn, Marjorie Chan, Nat Condit-Schultz, David Huron, Scott McCoy, Daniel Shanahan, Maria Stankova

The tones, rhythms, and stresses of speech create meaning where grammar alone fails. These aspects of speech are collectively referred to as prosody and imbue language with musicality (Wennerstrom, 2001). Prosody is conspicuously lacking in the written word and separates engaging speech from a tiresome monotone. Composers often take written text and give it life through music, recreating the prosody and enriching the meaning of texts. Alternately, composers intentionally distort prosody, giving words an affectation. Although prosody can be enhanced or manipulated with music, we are not it's master. The prosodic features of our respective native language, and regional dialect, are ingrained in our musical tendencies and aesthetics.

"The Role of Speech Prosody in Musical Production, Intelligibility, and Memory," Daniel Shanahan Although there are a number of distinctions between the cognitive domains that process speech and those that , Patel notes there are nevertheless "numerous points of contact between musical and linguistic melody in terms ofprocessing and structure." (2008, p.238) For example, a composer's native language has a marked effect on how they utilize both rhythm and melodic range, as the prosodic patterns in speech have a direct effect on rhythmic and tonal patterns in their music. This presentation discusses the role of speech in musical production, intelligibility, and lexical memory through the results of three recent experiments that examine the role ofprosody in the production of melody in folksongs, the intelligibility of lyrics in pop­ songs, and the decline in memorability of words devoid ofprosodic stress and accent.

"Catching the Lyrics - Intelligibility in Twelve Song Genres," Nat Condit-Schultz and David Huron Although purely instrumental music is commonplace, most of the world's music includes the use of the human voice. In addition, most vocal music makes use of lyrics, in preference to nonlinguistic vocables. This creates an inherently dual listening situation, with linguistic and musical information simultaneously present. Although listeners may listen to songs in a language not understood (especially in the case of art music), in general, both musicians and listeners regard the lyrics as important aspects ofthe musical experience. At the same time, it is evident that listeners don't always attend to the lyrics, and those who do aren't always successful in deciphering them. Jn this research we report on several empirical studies intended to elucidate the factors influencing the intelligibility ofsung lyrics.

Listeners were exposed to brief musical excerpts from twelve song genres, including, Art song, Blues, Broadway, Country, Folk, Jazz, New Music, Rap, Reggae, Rhythm and Blues, Rock/Pop, and Sacred. Native English-speakers were instructed to transcribe English-language lyrics. The transcribed lyrics were then compared to the corresponding official published lyrics and intelligibility scores calculated. The different genres were found to exhibit different levels of lyric intelligibility. In addition, a spontaneous listening task was carried out in order to determine whether listeners tend to ignore or attend to lyrics. Different aspects of text intelligibility are reviewed, including the effects of vowel choice, consonant errors, rhythmic setting, melismas, and accompaniment effects. Repercussions for text-setting are discussed.

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Panel Session IV (continued) February 15, 2013 Weigel Hall Auditorium 11:00 a.m.

"Assembling Speech, Electronics, and Space: The Sonic Theater of American Composer-Performers in the 1960s and beyond," Maria Stankova "Speech is the voice unbound," writes composer Nicholas Collins in the liner notes to his teacher 's p iece "lam sitting in a room" from 1969. A hallmark ofthe American avant-garde, the piece reveals a radical link between music and spoken word, combining speech, the tape recorder, and the acoustic resonance of space. Lucier and Collins belong to a group of American composers that explored musical speech in a way that was strikingly different from European opera and serial music. Differences between the use of speech in American and European composition in the 1960s are examined. The analysis centers on American experimental artists , Paul DeMarinis, Alvin Lucier, and Laetitia Sonami, focusing on explorations of subjectivity and politics through the manipulation of speech, electronics, and space. This presentation interrogates how these artists approach the complex relationship between humans and machines, individual and society, and the relationship between voice, language, and bodies, to create unique theatrical spaces ofaffect and power.

Concert VI February 15, 2013 Weigel Hall Auditorium l :OOp.m.

The Ohio University New Music Ensemble Michael Parkinson, director The Athenian Saxophone Quartet Youmee Kim,piano

African Rhythms I for Flute, Clarinet, Violin, Cello, Piano, and Percussion Ayo Ohiranti

African Rhythms is an intercultural work that amalgamates African and Western Classical musical elements. While the harmonic language of the work is based on an octatonic pitch collection, the rhythmic structure is based on the development of two rhythmic motifs. Th e rhythmic motifs, kpalongo and w6r6 (or nk6nk6k616) bell patterns, serve as the rhythmic basis for some West African traditional and popular musical genres. The primary goal of the instrumentation for African Rhythms is to make orchestral instruments behave like African percussive instruments. For instance, the woodwinds provide time-line patterns, which are regulative elements in many kinds ofAfrican music. The percussive nature ofth e piano is also explored in making it behave like an African drum.

Three Haiku for Flute, Clarinet, Violin, and Cello Richard Pressley 1. Waterfall 11. Wind JJJ. Hope

Th e three very brief movements that comprise this two-minute work are entitled 1. Waterfall, 11. Wind, 111. Hope. They can be considered musical versions of the poetic haiku which attempts to have an aspect of 'illumination' that emerges unexpectedly from the elements and their arrangement in its very brief structure. Also as with haiku, they point beyond themselves -- 'outside the poem ' as it were -- to connect the familiar and sometimes the unusual (directly or by allusion) in often surprising ways to reveal a deeper meaning or connection.

The Gathering for Woodwind Trio Jonathan McNair I. Gathering 11. Solemn Prayers 111. Dance

Th e Gathering was composed for students at The University of Northern Colorado, upon being invited by Dr. Paul Elwood to visit as a guest composer. The first movement, Gathering, is concerned primarily with two ensemble ideas: rapid scalar runs, and colorfally changing chords in irregular rhythm and a variety of voicings. Clarinet and Flute each interrupt with musical monologues, and together make a quiet closing statement. Solemn Prayers, the second movement, features the oboe in expressive, longer melodic lines, supported by alto flute and . The accompanying instruments also have solo lines, as introduction and interludes or transitions between episodes devoted to the oboe. The number "jive" plays an important role as an organizing principle: the meter is mostly 514, there are many quintuplet divisions of beats, and there are jive pitches that serve as grounding pitches for the oboe's incantations. Dance is a quick-paced romp with frequently changing and ojien asymmetrical meter.

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Concert VI (continued) February 15, 2013 Weigel Hall Auditorium 1:00 p.m.

As The Night Blooms for Flute, Clarinet, Violin, Cello, Percussion, and Piano Corey Keating

As the Night Blooms was initially inspired by my burgeoning vegetable garden back home. Every morning I would awake with anticipation, eagerly surveying each bed to see what had grown the night before, and I was fascinated by the thought of this bustling world of nocturnal activity that occurred while I slept. While composing the piece, I was continuously reminded of the night-flowering plants datura and brugmansia, beautiful and elusive flowers with extremely hallucinogenic qualities, whose intoxicating fragrance floats freely through the evening air in summertime.

In Flight Until Mysterious Night for Flute, Clarinet, Marimba, Violin, Cello, and Piano Jeremy Beck

In Flight Until Mysterious Night was composed in February, 2009, for IonSound Project, ensemble-in-residence at the University of Pittsburgh. It was premiered by that group in Pittsburgh in June of 2009. While composed in one movement, this composition unfolds in three sections: fast-slow-fast. The fast music is sparkling and animated, with a forward propulsion energized by lively, syncopated rhythms. The slower, middle section provides a thoughtful, lyrical contrast to this music. The piece then concludes with a return of the fast music, bringing the work to a vigorous close. In Flight Until Mysterious Night was chosen through a national call for scores for inclusion on the 20I 1 Dallas Festival of Modern Music. A recording of the work is available on IonSound Project 's self-titled debut CD on the Innova label (20I 1).

The Ohio University New Music Ensemble Kyle Symons,flute; Laura Smith, oboe; Andrew Gross, clarinet Timothy Cuffman and Lauretta Werner, violins Anthony Borzi and Carolina Marroquin Borja, cellos Greg Becker and David Crider, percussion Yan bing Dong and Caleb Miller,

Hall of Mirrors For Piano and Saxophone Quartet Elliot Schwartz I. Can You Spell Sachsofone? II. Counting Lesson III. Humoreske IV. Drones and Points V. Chorale with Interruptions VI. Mirror Variations

Hall of Mirrors was composed for the Harvard University undergraduate saxophone quartet. Like many of my compositions, it grew out of my obsession with musical spelling-games - in this case, the word "saxophone" phonetically converted to SACHSOFONE. This spelling not only translates into a particularly interesting musical motive (in my opinion), but also provides the primary building blocks for a related series of 12-tone rows, from which the work's materials are derived. Given this pre-compositional background, the listener could regard Hall of Mirrors as a series of variations on the name "saxophone, " and that would be a perfectly valid way of approaching it. One should also consider the work, however, in the context of its title, as numerous "mirrors" keep popping up within the texture. These "mirrors" include echoes, displaced registers, melodic and rhythmic variants, literal reflections, crazy fun-house distortions, and incursions from the real world beyond the concert hall.

The Athenian Saxophone Quartet Matthew James, alto & soprano; Jordan Reed, alto Allyn Reilly, alto & tenor; Greg Sigman, baritone Y oumee Kim, piano

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Concert VII February 15, 2013 Weigel Hall Auditorium 3:00 p.m.

Mixed Instrumentation II

Circular Motions for Flute, Clarinet, and Piano Richard Brooks I. Maelstrom If. Jn the Eye olthe Storm Ill. Whirlwind

Circular Motions(2004-2005) - Maelstrom (2004) for flute, B-f lat clarinet, and piano was composed for clarinetist Esther Lamneck. We were caught in a blizzard at the Rochester airport in December 2003 and she asked me il I'd ever written anything f or this combination. She was performing with such an ensemble and needed more pieces. Webster defines "maelstrom " as a "strong ojien violent whirlpool." I'm not sure why I picked this title as it doesn 't necessarily reflect the musical content. Maybe I was recalling the blizzard conditions in Rochester. It is based on an interestingly symmetrical tone row and a portion oft he Fibonacci series. In the Eye of the Storm focuses around a short Fibonacci series: I 2 3 5 and its reverse. Since the combined total of the series adds to eleven I use the meter I I 18 f or large sections. Whirlwind is pretty selfe xplanatory. Hopefully, it provides an exhilarating finale.

Katherine Borst Jones,j lute; Caroline Hartig, clarinet; Maria Staeblein, p iano

Flatiron for Solo Guitar Alexander Miller 1. Flatirons 11. The Town Below llf. Wandering IV Flatirons

Flatiron is a f our movement work inspired by my memories ofth e Rocky Mountains, from my time as a college student at the University of Colorado at Boulder. In Boulder, the "flatirons" are large rock formations jutting out ofth e mountainside above a large park where I went hiking often. Movements I, 3 and 4 are strongly influenced by my memories of this place. Movement 2, perhaps, then returns down to "street level" and is more a depiction of the youthful town of Boulder itself; this movement is influenced more by my background as a rock guitarist.

Alexander Miller, guitar

Shards for Flute and Piano John C. Griffin

Composed for flutist Lisa Bost-Sandberg, the piece features several extended techniques, including fluttertongue, slap tongue, and multiphonics. It includes frequent interaction between the flute and piano, with the two instruments trading off musical lines, and the piano acting as a resonator f or the flute. Throughout the work, f lurries ofrapid rhythmic activity alternate with moments of sustained sonorities, as the separated "shards" remain fractured and dissipated without resolving into a whole.

Katherine Borst Jones,jlute; J iung Yoon, p iano

Resonance for Solo Cello Mark Prince Lee

Resonance is divided into jive Groups, each with its own fixed pitch group, derived from the f inal set which appears only in Group V. The first four Groups consist respectively of I 0, 8, 6 and 5 pitches, the original set not used until the final Group. Like much of my recent music, fixed pitches receive their own dynamics and articulation, with the first four tempos organized according to their relationship to the final tempo. However, the work is also characterized by a new aesthetic approach to music I have been working on which I call 'Aesthetic Redundancy ', developed over recent years andfitlly explored in the cycle Music for Piano.

Paul Christopher, cello

A Miraculous Tale for Alto Saxophone and Derabucca Halim El-Dabh

The Miraculous Tale uses saxophone as story teller, accentuating El-Dabh's dramatic experiences during the time he was struck by lightening, an event that took him back to the African experiences with the deity known as Xango (Yoruba god ofl ightening). The work was commissioned and premiered in Boston in 2006 by Ken Radnoftky and Takaaki Masuko.

Todd Oxford, saxophone; Kevin Estes, derabucca

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Concert VII (continued) February 15, 2013 Weigel Hall Auditorium 3:00 p.m.

Duet for Bassoon and Cello Charles Halka

Duet (2011) was written for Duo Tempo Dificile (Mexico) and premiered at the 2011 San Miguel de Allende international Chamber Music Festival. Since the two instruments share a similar range, they are ideally suited to the dialogue featured in this short work. A casual conversation turns to argument, only to end in agreement.

Kerry Haberkern, bassoon; Elisabeth Jeremica, cello

Honoring Vertical Excellence for Solo Saxophone Will Redman

Honoring Vertical Excellence (2011) This score consists of three pages of variations of a four line melody. On the first page the main melody is invaded by superimposed fragments of notation rendering certain passages almost impossible to read. On the second page the melody is decorated with trills, flutter tongue, and grace notes. On the third page there are "phantom" repeal signs, circles around notehead, and dotted arrows that indicate jumps and slides between non-adjacent passages. There are no set instructions (though specific instructions for have been given for this occasion).

Casey Grev, soprano saxophone

Super Groove for Oboe and Piano Mike D' Ambrosio

Super Groove was commissioned by my former colleague at Oklahoma Stale University, Celeste Johnson Frehner. It represents, for me, an attempt to merge some of the fun theory topics 1 get to teach (set theory, chromatic mediants, sonata form, etc.) with a driving and energetic rhythmic texture. Performing the piece demands a certain amount of comfort with polyrhythms, but the result is extremely rewarding.

Celeste Johnson Frehner, oboe; Christy D' Ambrosio, piano

Shapes of the Wind for Alto Flute and Vibraphone Martin Gendelman

Traditionally, elements such as meter (grouping), durations, dynamics, and articulation have been employed by composers in a way that made certain events stand out from others (creating different types of musical accents). Shapes of the wind explores this issue in a very intimate setting, serving itself of those elements and bringing others on board, such as the use of some extended performance techniques for the alto flute. These techniques include a variety of pitched and un-pitched sounds that have become part of the instrument's repertoire in recent decades, adding variety to its characteristic warmth. Because of the sharp, percussive nature of some of these effects and of the flute's part in general throughout the piece, the vibraphone proved to be an excellent counterpart for the occasion.

synclduo Katie Kuvin,flute; Dan Kozlowski, percussion

Duo for Alto Saxophone and Piano Amy Williams I. Converge II. Merge 111. Diverge

Duo for alto saxophone and piano (2011) is divided into three movements. The subtitles (converge, merge, diverge) illustrate an abstract direction that each movement moves in. The first movement has perhaps the most complex, predetermined structure, in which highly diversified materials are juxtaposed, each phrase becoming shorter and more related to what follows. The second movement presents a more complementary and traditional relationship between the piano and saxophone. The third movement begins with the two instruments nearly indecipherable and gradually pulling apart into very independent roles.

Matthew Younglove, saxophone; Stephanie Titus; piano

Love in the Afternoon for Four Tubas Edwin London

Love in the Afternoon, by Edwin London, is a four minute tone poem for four tubas. This piece features the tubas flutter tonguing, double tonguing, and using intense vibrato.

Kenneth Hoffman, conductor; James Green, Jack Worth, Seth Justice, Nick Ater, tubas

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Concert VII (continued) February 15, 2013 Weigel Hall Auditorium 3:00 p.m.

Protagonist fo r Percussion Ensemble Daniel Adams

As the literary ref erence in the title suggests, Protagonist is based on the oppositional dynamic of a central character (represented by the tom-tom soloist) and the persons or forces or situations encountered during the protagonist 's struggle of the (represented by the other three parts). This metaphorical scenario is represented by the interplay of the tom-tom part with various combinations of wood, metal and membrane (skin) instruments that alternately assist and conspire against the soloist. Jn some passages, the soloist represents a dominant protagonist (as in the cadenza) Other passages portray a protagonist overwhelmed by sonic density and chaotic layers of rhythmic activity. Th e introduction of definitely pitched instruments near the end of the piece suggests a twist of plot as the soloist simultaneously recedes into the background. Ever triumphant, the soloist returns to sticks immediately bef ore the final measures to conclude with a loud and forceful gesture.

The Ohio State University Percussion Ensemble Joseph Krygier, conductor; Layne Mauldin, soloist; Kevin Estes, Andrew Hartman, Tim Shuster, percussion

Concert VIII February 15, 2013 Weigel Hall Auditorium 8:00 p.m.

Glow for SA TB Choir Jason Charney

"Glow" began as a setting of the poem "Good Night " by W S. Merwin. I was unable to secure the rights to that text, however, so I substituted my own words into the completed composition. Using Merwin 's poem as both a model and as inspiration, I tried to capture the intimacy of the original in my own version. The melody first heard in the alto and tenor near the beginning of the piece came to me quite early in the writing process, and I knew I wanted to harmonize it as a chorale. What resulted were two contrasting chorale settings of that melody: first, as a whisper between lovers ("glow softly"); and at the piece's climax, as a bold affirmation ("shine brightly "). The imitative entrances throughout the piece let the same text unfold in different directions, like light emanating from one source.

Capital University Philomel Lunda Hasseler, conductor; Ali ssa Ruth, Emily Riggin, sopranos; Annie Huckaba, Amanda Rhonemus, Grace Moore, altos John McClain, Zack Pytel, Dari ta Seth, tenors; Braden Alsnauer, Daniel Wagner, Brian Hupp, Dylan Woodring, basses

The Night Has a Thousand Eyes for Alto Saxophone, Accordion, and Piano Igor Karaca

The Night Has a Thousand Eyes is an experimental piece belonging to the genres of avant-jazz and computer-assisted algorithmic music. A book of surreal poetry by Andre Breton (1896-1966), was used as a basic material f or the piece. Selected words and verses were manipulated in real lime through the use of a special algorithm programmed by the composer, and then translated - using a p ersonal computer running Music Wonk 4 software - into a musical data stream played on the saxophone, accordion and piano. This composition includes passages in which the instruments are not lo be synchronized exactly. Al cues from the score each instrumentalist may be instructed to move straight on to the next section or to finish their current section before moving on. In this way the random (aleatoric) element is carefully directed by the composer, who controls the architecture and harmonic progression of the piece precisely.

Jeffi'ey Loeffert, saxophone; Natasa Kaurin-Karaca, accordion; Igor Karaca, piano

Walls fo r Flute Ensemble Jorge Variego

Th e piece is based on a nine-note block that is always observed from a different p erspective. A I the beginning it is seen as a p erfect vertical simultaneity, then turning ninety degrees to become a horizontal succession of pitches that appears on the bass flute. Th e unison represents the moment in a three dimensions rotation of the block in which all its components remain behind the only visible one, represented by a single note. Th ese procedures continue all through the piece until the climax point where seven piccolos gradually appear to overlap the horizontal line by the two lower flutes. Towards the end the textures become more irrupting to conclude with a choral texture that emerges from the unison.

OSU Flute Troupe Katherine Borst Jones, director; Kari Boyer, Rachel Haug, Katie Kuvin, Stefani e Schneider Luke Shultz, Erin Steele, Dannielle Sturgeon, Chelsea Tanner, Megan Yost,jlutes

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Concert VIII (continued) February 15, 2013 Weigel Hall Auditorium 8:00 p.m.

. . . or does it explode? for Three Percussionists Lauren Wells

This piece was inspired by the poem "Harlem " by Langston Hughes. 1 have loved and identified with this poem since 1 first read it years ago. Everyone encounters adversity in their quest to fulfill their dreams, and 1 feel that this poem captures the sensation that any artist experiences when balancing the trials oflif e and the struggle to create something lasting. This piece is not meant to be a play-by­ play representation ofthe ideas in the poem; rather, it is a semblance ofthe impression 1 take away from reading it so often. I tried to capture this musically by creating increasingly violent "interruptions" to an otherwise melancholy sound world, until the interruptions become the reality.

David Counterman, Lane Summerlin, Ashley Williams, percussion

Movement by for Woodwind Quintet John Akins

Movement for Woodwind Quintet was the result ofa Missouri Music Teachers Association Composer of the Year commission in 1980. The Missouri Arts Quintet, a faculty ensemble, premiered the work at the MMTA conference at the University ofMissouri in Columbia that year. The approach to writing the work was influenced to a great degree by the organic growth from an initial compact melodic­ harmonic gesture found in William Schuman's Sixth Symphony, with essentially all ofthe harmonic and melodic material in the present piece deriving from the interval classes contained in the third chord (on the downbeat after the two initial quick upbeat chords). The work also utilizes some timbre variations in the apparent voice leading between successive chords and in tremolos (here Tchaikovsky's technique in the finale of his Sixth Symphony served as a springboard). In addition, some passages are a kind of study in unsynchronized dynamic changes and the use ofdifferent dynamic levels simultaneously.

Rachel Haug,flute; Stephanie Kunz, oboe; Jackie Bretz, clarinet; Nan-yu Wu, bassoon; Katey Jahnke; horn

The Tree of Glory for Soprano, Mezzo Soprano, Flute, Clarinet, Piano, and Tubular Bells Vera Stanojevic

The Tree of Glory was premiered in London in 2012, as a part of the international project Following Constantine the Great. 1 was inspired by this project that on so many levels connects the people ofdifferent countries, reminding them not ofdiff erences but ofhow much they all share: history, religion, art, humanity. Many musical elements in this composition connect the East and the West: melismas, melodies and rhythms from my (and Constantine's) place of birth, as well as an evocation of eastern and western religious chant. For the text, 1 chose short selections from the early English poet Cynewulf's work. Elena, a poem that expresses the story of Constantine from the female role and perspective--that of his mother, Elena. Constantine's storied vision of Heaven, the Holy Angel and The Tree ofGlory served as a powerfal inspiration for the musical imagery in this work.

Nicholas Enz, conductor; Alissa Ruth, soprano; Annie Huckaba, soprano; Erin Helgeson Torres,jlute Caroline Hartig, clarinet; Fali Pavri, piano; Thomas Wells, percussion Capital University Philomel Lunda Hasseler, conductor; Alissa Ruth, Emily Riggin, sopranos; Annie Huckaba, Amanda Rhonemus, Grace Moore, altos John McClain, Zack Pytel, Darita Seth, tenors; Braden Alsnauer, Daniel Wagner, Brian Hupp, Dylan Woodring, basses

Sotto Voce for Violin, Cello, and Piano Marilyn Shrude 1. "... through the open door" 11. "... half willing, halfreluctant" 111. " .. . scarce knowing ifwe wish to go or stay"

Sotto Voce is a reflection on the dramatic landscape ofeas tern Washington, the home ofth e Walla Walla Chamber Music Festival. The title captures the subtle and understated intensity of this region. The movement titles are lines from Henry Wadsworth Longfellow's late sonnet Nature (ca. 1878). The work was premiered on June 19, 2012 by Maria Sampen, violin, Norbert Lewandowski, cello, and Cristina Valdez, piano.

Maria Staeblein,piano; Jana Vander Schaaf Ross, violin; Mary Featherston, cello

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Concert VIJI (continued) February 15, 2013 Weigel I-Tall Auditorium 8:00 p.m.

Elegy: Crossing the Bridge for Violin and Piano Ilya Levinson !. In the breath fl. Oh dear Ill. Paradis is a library IV Ghost Dark

The title "crossing the bridge" has two meanings: physical and metaphysical. During the course ofth e piece the player is asked lo use what is called an extended technique: to play col legno (with the wooden part of the bow) on the other side ofth e bridge, between the bridge and a Lai/piece. In metaphysical sense crossing the bridge means gelling in touch with the reality outside of commonly known human senses. Jn the piece a protagonist is going through the various extreme slates of human existence: from elegiac lo tragic, lo denial; and at the end is gelling a glimpse of what lies on the other side of the "bridge" lo Great Beyond. After this journey the protagonist's perception of the reality is changed, it becomes more holistic and transcendental. Elegy: crossing the bridge was commissioned by violinist David Yonan in 2010.

Leonid Polansky, violin; Caroline I-Tong, piano

Acoustic Field for Flute, Clarinet, Percussion, Piano, Violin, and Cello Chin Ting Chan

The chord structures ofAcoustic Field (2011) are usually dense and complex - they explore the upper partials of the harmonic series. By stretching the harmony through time, it allows the acoustic space to develop and resonate, thus creating a colorfal acoustic field. The piece is divided into three major sections. The first section explores the timbral variety of individual instruments. Thematic materials are often presented by solo or duet combinations with accompaniments. The middle section is marked with a metrically active rhythm, and is thematically developmental. The last section derives the harmony from the first section, but almost completely dissolves the other elements such as rhythm, texture and themes. The thematic materials are presented in fragments; the texture becomes denser and resembles that of the middle section; the stretching of the harmony is maximized, therefore creating a static acoustic field that serves to dissolve the complex harmony.

Michael Rene Torres, conductor; Dannielle Sturgeon,flute; Katie Morell, clarinet Dan Kozlowski, percussion; Quinton Jones, piano; Katelyn I-Tan, violin; Ramsey Sadaka, cello

Fairy Tale for Flute, Clarinet, Piano, Violin, and Cello Moon Young Ha

When I was a kid, I did not read many books, but I heard all kinds ofstories through my father who told me bedtime stories each night before I went lo sleep. Over twenty years later, I still remember these stories and the spirit of those nights. Some of the tales were happy, others sad. A few were even scary and mysterious. While composing Fairy Tale, ! took inspiration from these many stories, forming a single collage. When a listener imagines his or her own childhood stories and experiences, this fairy tale in music comes to life.

Phil Day, conductor; Rachel Haug,flute; Tanya Mewongukote, clarinet Quinton Jones, piano; Marian Reed, violin; Ramsey Sadaka, cello

*ROT* for Saxophone Quartet Elliot T. Cless * World Premiere *

*ROT* is a saxophone quartet for soprano and three altos deriving from and relating back to a multitude of treatments of the word 'rot,' the concept of 'rot,' and the sound of 'rot.' As an offshoot of my song cycle for saxophone project, the music explores the ecology of the saxophone, including the players' physical relationship to the instrument and the instrument 's metaphysical relationship to the one-word Lexi. Time is treated fluidly through my use of 'breath meter,' whereby musical material permeates the inhalation as well as the exhalation; each part f lows al the rate of its performer's breath. And therefore, pitch is also subject to ever-shifiing micro­ fluctuations. My hope is that the piece offers a variable, yet visceral experience for each listener, and that the music and metaphorical context generate more questions than answers, an inexorable progression towards dis/integration.

Black Swamp Saxophone Quartet Michael Rene Torres, soprano; Wes Miller, alto; Michael Cox, alto; Jay Miglia, alto

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Concert Vlll (continued) February 15, 2013 Weigel Hall Auditorium 8:00 p.m.

Harmonic Fields for Flute Clarinet, Soprano Saxophone, and Piano Liviu Marinescu

Most debates concerning the meaning ofharmon y will have to acknowledge the great heights reached in the western world during the tonal era. Once we step back a bit, the notion ofharmony or togetherness in music can gain a much wider perspective, not necessarily involving pitch or homophony. Harmonic Fields reexamines a few perennial concepts such as concord and consonance. At the foundation of this piece there are four types of situations: sections based on either the first 15 or the higher partials of "C", freely written areas, and brief serial segments. For much of the piece, all attempts to present the "C" partials in their natural order are interrupted by moments ofpitch uncertainty. Towards the end, harmonic coherence is attained when the overtones of "C" appear in their natural order, thus providing a sense of clarity. My goal was to work with very simple archetypal concepts like consonance vs. dissonance or pulse vs. non-pulse in order to create moments ofd eparture and return from a state ofharmonic unity.

Nicholas Enz, conductor; Erin Helgeson Torres, flute; Justin Johnston, clarinet; Jiung Yoon, piano

SCI Reception III February 15, 2013 Weigel Hall, Room 174 10:00 p.m.

SCI Reception Ill will begin immediately after Concert VIII. Only registered conference attendeeslpeiformers 21 years ofage or older may attend SCI Receptions

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Concert IX February 16, 2013 Weigel Hall Auditorium 9:00 a.m.

Fakebooks for Piano Solo Arthur Gottschalk Suite I I. Garner II. Monk 111. Shearing

Fakebook I and Fakebook II, for solo piano, are suites whose movements constitute individual homages to some of the great jazz pianists and composers ofthe mid-Twentieth Century: Erroll Garner, Thelonius Monk, and George Shearing, in the case of Fakebook I. The movements incorporate the pianistic styles and gestures of the composers whose names provide the titles, and each f eatures a tune composed by them, particularly Misty, 'Round Midnight, and Lullaby of Bird/and. The second suite is a continuation of the first, and each movement also elaborates upon a tune or tunes associated with each title pianist: Chick Corea, Art Tatum, and Dave Brubeck.

Ryan Behan, piano

Charismata for Clarinet, Alto Saxophone, Cello, and Percussion Frank Felice

The term charismata along with pneumalikon, usually refers lo the gifts ofthe Spirit as listed in the New Testament of the Bible, First Corinthians, chapter 12: knowledge, faith, wisdom, healing, and miracles are the ones that benefit everyone in the community, while the more arcane and mysterious gifts ofproph ecy, discernment of spirits along with the pairing of glossolalia and interpretation of tongues also serve the community, although in more specific ways. These gifts have been generously given over the millennia, and continue to be given from the Spirit, continuously and generously shared and redistributed: encouraging, building, teaching, healing and comforting. Each episode in this piece reflects a possible facet ofthat gift: prophecy is ofien unexpected and abrupt, healing is a warm redirection ofjocus, andfaith is ofien an underlying insistent strength against contrary events.

Andrew Lawrence, conductor; David Robinson, clarinet; Aaron Dvorak, saxophone Chris Moehlenkamp, cello; Lane Summerlin, percussion; Ashley Williams, percussion

La Fleur du Ciel for Violin, Viola, and Cello Christopher Dietz

Lafleur du ciel, f or string trio, was composed for the East Coast Contemporary Ensemble's Etchings Festival in Auvillar, France in July 20 I 0. The sounds in the first two-thirds of the piece are entirely natural harmonics and open strings. In order to facilitate a broader harmonic palette within this austere timbre, the instruments are scordatura, each with a single string detuned by a semitone. This mode of playing is altered for the final third of the piece, where each member of the trio plays a long, expressive statement, ordinario. Lafleur du ciel was inspired by a passage from Albert Camus' L'Etranger (1942) in which the imprisoned protagonist ponders the monotony of' his incarceration while remembering the simple pleasures ofhi s former life.

Liz Fisher, violin; Courtney Renner, viola; Chris Moehlenkamp, cello

Perne in a Gyre for Clarinet, Violin, Cello, and Piano Elizabeth Bell

PERNE JN A GYRE's title is taken from a passage from the poem, "Sailing to Byzantium", by WB. Yeats. I relate to the poem intensely, feeling myself; if not an aged man, certainly an aging human, with a need lo teach my soul to sing "for every taller in my mortal dress". Starling there, I found the imagery tremendously rich: flickering fire, whirling dancers, clapping hands and the stillness of the "gold mosaic ofa wall". A "pern" is a spindle, gyre a dance; thus "a spinning dance".

An aged man is but a paltry thing, 0 sages, standing in God's holy fire, A faltered coat upon a stick, unless As in the gold mosaic ofa wall, Soul clap its hands and sing, and louder sing Come from the holy fire, perne in a gyre, * For every taller in its mortal dress . .. And be the singing-masters ofm y soul.**

Phil Day, conductor; Annika Baake, clarinet; Katelyn Han, violin; Corey Blais, cello; Quinton Jones, piano

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Concert IX (continued) February 16, 2013 Weigel Hall Auditorium 9:00 a.m.

Consort II: Photogram for Saxophone Quartet Brian Fennelly

Consort 11: Photo gram for saxophone quartet was written for the Prism Saxophone Quartet and was completed in April 2002 during a composer residency at the Camargo Foundation in Cassis, France. The subtitle Photogram allows the relationships among the three main sections, played without pause, to be suggested in visual terms: Snapshot A, Snapshot B, and Sinfonia. The Snapshots are both developments ofthe motivic material in the Sinfonia, which is an homage to Bach in that ii is a two-voice canon by inversion, much like one ofBach's "Inventions." The two Snapshots precede the Sinfonia; Snapshot A (positive) ·develops the lead voice ofthe canon, while Snapshot B (Reflection, Refraction) deals with metrically and rhythmically altered material of the inversion. Separating these three sections is a lyric Canzonetta, split into halves. A wild coda completes the work.

Jeffrey Loeffert, soprano; Michael Rene Torres, alto; Matthew Younglove, tenor; Casey Grev, baritone

Mistress of the Labyrinth for Piano Solo Mei-Fang Lin

In Crete Mythology, the Mistress of the Labyrinth is this Goddess ofgre at power who oversees the Labyrinth. The Labyrinth in this piece represents a landscape or architecture built upon patterns that are highly structured on a higher level, and yet difficult to be perceived as such on a local level. The pianist in this piece symbolizes the Mistress of the Labyrinth who leads the audience through the secret paths of the Labyrinth on this journey. "Mistress of the Labyrinth" was commissioned by the "National Chiang Kai-Shek Cultural Center" in Taipei, Taiwan in 2007 for the "Soloists of Taiwan Series".

Fali Pavri,piano

SCI Meeting February 16, 2013 Weigel Hall, Room 174 11:00 a.m.

Society of Composers, Inc. General Business Meeting

Concert X February 16, 2013 Weigel Hall Auditorium l :OOp.m.

Mixed Instrumentation V Tower Duo

Leaves from Modern Trees for Flute and Piano James Romig

Leaves From Modern Trees, for flute and piano, was commissioned by a consortium offlutists including Virginia Broffitt, Megan Lanz, John McMurtery, and Amber Waseen. Completed in January 2011, the work lasts approximately thirteen minutes in one continuous movement. After an opening section of interlocking staccato figures in both instruments, sustained notes in the piano induce a transition to slower, legato gestures. A piano solo marks the midpoint, with the re-entry ofthe flute triggering a gradual return to the original spiky texture before a brief coda in which increasingly lengthy silences perforate the momentum. The title is a lyric from the song "First Wave Intact" by The Secret Machines on their 2004 album Now Here Is Nowhere.

John McMurtery,flute; Ashlee Mack, piano

Monstress for Clarinet Quartet Theresa Martin

While composing Mons tress, several images came to mind for inspiration. The first motives I composed reminded me ofa vortex with spinning, turbulent fluid. This led me toward the idea of an imaginary female monster that would perhaps be able to create such a vortex. After giving her personality some consideration, I decided she was lo be a fierce, cunning seductress. The enchanted monstress would also be agile, quick-tempered, and beautifitl, luring her prey with her haunting melodies. While she exists only in my mind, she lives through my music.

Amy Conley, Bb clarinet; Rachel Tookolo, Bb clarinet; Katrina Veno, Bb clarinet; Garrett Lefkowitz, bass clarinet

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Concert X (continued) February 16, 2013 Weigel Hall Auditorium I:OOp.m.

8-A-C-Homage for Viola and Piano Elizabeth Austin

Movement 1. B-A-C-I-!OMAGE - The pitches of the chromatic motive of BA CI-f's name and its retrograde inversion are identical interval/ically, only transposed a half step higher. One third into this movement, the initial motive of Bach's Toccata & Fugue in d (B WV 565) is quoted (notable that the last four pitches of this motive reflect the same intervallic makeup as Bach's name, the minor third becoming a major third). Movement II. "!ch bin's, Nachtigall" (Here I am, Nightingale) - Introducing this movement is a stately section inspired by Bach 's Air on the G String. The concluding, unmeasured section is inspired by a poetic fragment by Rilke (op ening lines from the Elegien). Rilke assigns the voice of the nightingale lo the artist 's inspired power, the power to add beauty and meaning to the world ofthe listener:

!ch bins, Nachtigall, ich, den du sings! hier, mir im Herzen, wird diese Stimme Gewalt, nicht /anger vermeidlich. (Here I am, Nightingale, of whom you sing, Here, in my heart, this voice becomes a power From which I can no longer escape.)

Laura Krentzman, viola; Erberk Eryilmaz, piano

Romances and Metamorphoses for Flute, Clarinet, Violin, Cello, and Piano Gerald Warfield

"Romance" indicates the way i would like the piece to be heard, a contemporary romantic composition. The "Metamorphosis" is obviously based on the well-known Bach Prelude in E-jlat minor. I have always been fascinated by the transformation of historical works into a modern idiom. This was my last major composition before 1 lefi music to become a writer. My sincere thanks to Tom for programming it.

Marshall Haddock, conductor; Katherine Borst Jones,jlute; Charles Atkinson, clarinet Juan Carlos Ortega, violin; Iris Tzu-Yun Chen, cello; Maria Staeblein, piano

Songs of Evocation for Mezzo Soprano and Piano Brian Bevelander I. The Everlasting Voices If. The Lake Isle of lnnisfree ill. To a Squirrel at Kyle-Na-No

Written for Renee Clair, the score focuses on some of the more coloristic aspects of the texts of William Butler Yeats. In The Everlasting Voices, the piano accompaniment tone-paints the celestial imagery of the text through the use of harmonic color, unusual pedal indications, and extremes of range and dynamics. The Lake isle of lnnisfree utilizes a series of halFpedal effects and repetitive musical figures to portray water imagery and poetic images that are far removed from the commonplace world. To a Squirrel at Kyle­ Na-No is an unusual and somewhat whimsical poem. it presented a unique opportunity to create a musical setting that stands in sharp contrast to the other poems of the set. The structure of Yeats's poem is reflected in the piano accompaniment, which utilizes a series of sustained notes against a fragmentary style. Short bursts of energy and more lyrical passages contrast with previous textures in the piano part, while the voice part supplies elements of romanticism.

The Everlasting Voices The Lake Isle oflnnis(ree To a Squirrel at Kvle-Na-No 0 sweet everlasting Voices. be still; I will arise and go now, and go to lnnisfree, Come play with me; Go to the guards ofth e heavenly fold And a small cabin build there, of clay and wattles made: Why should you run And bid them wander obeying your will, Nine bean-rows will I have there, a hive for the honeybee, should you run Flame under flam e, till Time be no more; And live alone in the bee-loud glade. Through the shaking tree Have you not heard that our hearts are old, And I shall have some peace there, for peace comes dropping slow, As though I'd a gun That you call in birds, in wind on the hill, Dropping/ram the veils of the morning to where the cricket sings; To strike you dead? In shaken boughs, in tide on the shore? from the veils of the morning to where the cricket sings; When all I would do 0 sweet everlasting Voices, be still. There midnight 's all a glimmer, and noon a purple glow, Is to scratch your head midnight's all a glimmer, and noon a purple glow, And let you go. And evening fall of the linnet 's wings. I will arise and go now, for always night and day I hear lake water lapping low sounds by the shore; While I stand on the roadway, or on the pavements grey, I hear it in the deep heart's core.

Renee Clair, mezzo soprano; Brian Bevelander, piano

31 SOCIETY OF COMPOSERS, INC. SATUR•A Y 2013 NATIONAL CONFERENCE

Concert X (continued) February 16, 2013 Weigel Hall Auditorium 1:00 p.m.

Structural Coupling for Flute and Alto Saxophone Curtis Nathaniel Smith I. Support fl. Competition Ill. Structural Coupling IV ln[ter]dependence +Epilogue

Structural coupling is the phenomenon that occurs between two systems- environments, languages, or in this case, two musicians- as interaction leads to imitation. Have you ever seen seasoned couples and long-time best friends who talk similarly, act similarly, even look similar? This is structural coupling at work. In the first movement notice the alto sax "supporting" the flute as it struggles upward and takes its downward tumbles- ultimately pulling the flute up and launching it heavenward. The second movement is a flat out race. In fact, the last 11 measures are to be played "as fast as possible. Not coordinated. Try to win by getting to the end first. Do anything necessary. " In the third movement both alternate between playing, ventriloquism, and imitation to represent their coupling. The finale is a series of razor-sharp interlocking motifs that require tight coordination and unity- but independence as well. The alto sax and flute ultimately lock into a calm counterpoint that becomes the epilogue.

... your friends? for Flute and Soprano Saxophone Clare Shore I. Quarter = 88-96 * World Premiere * fl. With ajazzfeel Ill. Quasi un reverie

your friends? is a three-movement work for flute and soprano saxophone. Each movement is suggestive of a different "personality". The first movement is a study in similarities and differences, perhaps suggestive of an individual with "dual personalities". The second movement is straightforward - frank and exuberant - mostly in unison, with a jazz "feel". The final movement, is a show piece for the flute, folly notated, but with a feeling of "self-absorbed" dreamy improvisation, with the saxophone providing an other-worldly sounding backdrop ofslow quarter-tone vibrato.

Fuga-telle Degredation for Flute and Alto Saxophone Benjamin R. Fuhrman * World Premiere *

A while ago, I decided to enter a one-day composition contest based on the theme of remixing existing works. I didn't win, but the resulting piece was fairly interesting. Using the subject from the fague in Bach's Sonata in C for Solo Violin, B WV I 005 as a basis, I wrote a quick, humorous remix for flute and alto sax. The resulting piece is essentially a bagatelle for the two instruments, degrading the original, stately theme by JS Bach into something more reminiscent of illustrious descendent - PDQ Bach - through the use of flutter-tonguing and multiphonics. I suppose this new take on an old theme could be called "flutter-tongue in cheek. "

Epic Suite for Flute and Alto Saxophone Scott Brickman I. Quarter= 132 *World Premiere* fl. Quarter = 63 Ill. Quarter = 19 2 IV Quarter = 84 V Eighth = 192

This work is in five movements, having three faster paced movements frame two slower ones. All of the movements are rather brief in duration. The title Epic doesn't refer to the scope of the piece, but of it being a duo with two heroes. Like almost all of my music, this work is a 12-tone piece based on the octatonic scale.

32 SOCIETY OF COMPOSERS, INC. SATUR•AY 20 I 3 NATIONAL CONFERENCE

Concert X (continued) February 16, 2013 Weigel Hall Auditorium l:OOp.m.

Day Trip for Alto Saxophone and Piano Benjamin Williams 1. Allegro * World Premiere * 11. Lento Ill. Allegro con brio

Much o/Day Trip was written during the hot and sultry months of a Mississippi summer. Outside. Having only spent one previous summer in Mississippi, 1 was still adjusting to the heal, enjoying the lazy afternoons silling on the back patio sipping iced tea and writing. And yet, one of the more exciting aspects of summer is having the _freedom lo gel out of town, take a day trip. Day Trip was written for the incredible performers of the Tower Duo. I had the pleasure ofgetting to know Michael and Erin Torres when I lived in Ohio. They are a very talented couple and 1 am glad to have the opportunity lo write for them, even when I live several states away. Meanwhile, I keep hearing of the trips they are making all over the world (not quite day trips) as they perform, teach and relax a bit too' Tower Duo Erin Helgeson Torres,jlute Michael Rene Torres, saxophone

Concert XI February 16, 2013 Weigel Hall Auditorium 3:00 p.m.

Electronic Media II the ongoing process for Laptop Duo Michael Boyd * World Premiere *

the ongoing process (20 l l-12) is a work for two live electronics (laptop) composer-performers who employ recordings of their own compositions as the source sound material for a given performance. Responding lo a series of network-based graphic images, each performer manipulates and shapes the presentation of his/her own work while also interfering with and distorting the activities of the other performer.

Michael Boyd, Stephen Lilly, laptops

Metamorphoses: Canon a 3 for Solo Cello with Real-time Computer Processing Clifton Callender

Metamorphoses is a three-part canon for solo cello and real-time computer processing that explores the simultaneous presentation of multiple independent accelerandos and ritardandos. The solo cello and two "virtual" cellos begin at the same time and in the same tempo. During the first half of the piece the virtual cellos gradually decelerate independently and then return to the original tempo, lagging behind the solo cello by four and eight beats. The second half of the piece inverts this process so that the piece concludes with all three voices ending at the same lime and in the same tempo. The gradually evolving formal design of the work is partly influenced by MC. Escher's print Metamorphoses 11. Metamorphoses was premiered by Evan Jones. My thanks lo both Evan Jones and Craig Hultgren for their expert cello advice. The following figure graphs the tempo design of the work:

~ -l time - Evan Jones, cello

To Unformed for Piano and Electronics Kyong Mee Choi

This piece is inspired by Thich Nhat Hanh 's book, No Death, No Fear. He describes life and death by saying, "When conditions are sufficient we manifest and when conditions are not sufficient we go into hiding." To Unformed al/empts to depict Thich Nhat Hanh 's idea musically by using the same musical material as a tool of formation and deformation. Depending on its musical context (condition), the same material serves alternatively as manifestation and hiding.

Caroline Hong, piano

33 SOCIETY OF COMPOSERS, INC. SA TUR DAY 2013 NATIONAL CONFERENCE

Concert XI (continued) February 16, 2013 Weigel Hall Auditorium 3:00 p.m.

Dans le piano for 2-channel fixed media Robert Fleisher

Dans le piano is one ofthree vintage musique concrete tape pieces recently retrieved from my analog archives, comprising JOO 7-inch reels. After more than four decades, it was premiered this fall during the 2012 Electronic Music Midwest festival at Lewis University (Romeoville, IL). Sounds were derived almost entirely from the interior ofthe upright Chase and Baker piano in my childhood home on Manhattan's upper west side. Louis Nigro, father ofs inger-songwriter Laura Nyro (who also attended my high school) was among the instrument's tuners. No score survives, so it is likely this work was largely improvised, though some editing is evident. The title's oblique reference to Debussy's Pour le piano acknowledges the primacy oftimbr e in this youthfal experiment. selectric.metal for Fixed-Media Electroacoustic Media Travis Garrison

Type. Bounce. Hit. Manufacture. Drone. Mix. Bake. Serve.

Memoir of a Daydream for Fixed Media David Ikard

Memoir of a Daydream is a stereo, fixed media piece that illustrates the course of a daydream. The piece is basically a continuous stream ofthought in which various sounds remind the listener of different situations. The piece explores concepts ofso nic connectivity as well as physical connectivity (meaning that specific places can trigger specific sonic memories ofpast events.) Additional concepts explored are the relationship between perception. and reality. By this I mean that people can share similar experiences, but perceive them differently and thus live in both the present (shared) reality and simultaneously experience their individual perception of that reality. Thus, creating overlapping, simultaneous realities. Once the daydream is over, the listener is transported back to the starting location ofthe piece and simply walks away.

Seance for Violin and Electronics David Mendoza

Seance was composed in May and finished in June of 2012. I wanted to write an ornamented melody similar to traditional Arabic violin music, but what came out was something darker, yet still beautiful. Like most of my electro-acoustic music prior to this piece, the presence ofthe supernatural seemed to take over once again, and visions ofwhispering spirits wandering a barren windswept earth began to translate itself into music. A random panning module moves the sound from left to right, and is suppose to represent the spirits moving around a table similar to the one used in a traditional seance. For the record, I am not a Spiritualist nor do I believe in seances, but I thought it would be a fan piece for me to compose and perform

David Mendoza, violin

Tidal for Piano and Fixed Media Adam Scott Neal

TIDAL, for piano and fixed media, is based upon the natural harmonic series beginning on a low C (32. 7 Hz). Inspired by Schenkerian analysis, I created a set of triads out of this series and ordered them based on the difference tones they create. Thus, the subtle, background tones form a large scale tonal progression, while the surface chords are sometimes seemingly unrelated. The tape part constantly moves between just intonation and equal temperament while the piano plays figurations that allude to classical sonatas. The overall form and the surface gestures expand and contract, like tidal motion and surface waves.

Adam Scott Neal, piano

Densite for Computer Playback Benjamin O'Brien

Den.site was written in the audio software languages of SuperCollider and Paul Koonce 's PVC. Den.site documents the interactions between the density ofsamples being selected and the dimensions ofthe space in which they are realized. Depending on particular sets ofheuristics , different exponential models and soundscape audio files determine percussion sample playback parameters which are, in turn, recorded. These audio segments are then convolved with varying types ofimpulses responses, resulting in different sonic spaces. Den.site focuses on subverting the inherent sonic qualities of percussion instruments as a result of temporal sequence and their individual placement within particular spaces.

34 SOCIETY OF COMPOSERS, INC. SATURDAY 2013 NATIONAL CONFERENCE

Concert XI (continued) February 16, 2013 Weigel Hall Auditorium 3:00 p.m.

Improvisation with Varying Degrees of Restraint for Electronic Media Sean Peuquet

Initially, I developed a software instrument and recorded ten iteratively-layered improvisations, which then served as a backdrop or canvas for the piece. Shorter passages were then added to the mix, generated using a wide variety of techniques ranging from musical feature analysis to improvised electronic guitar. The process of working on the piece became a bit less haphazard in the striping away of material; by carving out silence and space, distinctions between the materials became possible, and ultimately, meaningful. In this way, issues of timing, pacing, and the articulation ofjorm were the last things to be considered. Faced with the question, "what's this piece about?," my answer was to throw more material at it and see (hear) what stuck, and then show it sticking. I think of it as music in search ofan idea, rather than music composed in response to one (what I normally do).

Appalasia for Erhu and Kyma Mark Phillips

Appalasia was composed for Tsun-Hui Hung, who traveled from Taiwan to the small Appalachian town where I teach for purpose of earning her masters degree in composition. It gets its title from a mash-up of the words "Appp lachia" and "Asia" and it's inspiration from the musical language and sounds of both cultures. The slow opening movement is my first foray into purely "live" , meaning there are no prerecorded samples, sound files, or MIDI sequences; only processing of the soloist's performance. Various samples are introduced in the second movement to create a broader and more Appalachian sound palate.

Tsun-Hui Hung, erhu

Big Circles for Amplified Viola and Electronic Media Nicholas Rich

In "Big Circles, " a violist performs with an interactive recording and looping abstraction constructed in Max/MSP. The patch operates semi-automatically, listening for pitch and amplitude variations and responding by recording and looping samples. All sound is generated in performance, with no pre recorded material. Key pitches trigger recording, playback, and transposition fanctions. Hence the violist's playing has both an immediate monodic role and triggering ramifications, as the sounding of key pitches carries the expectation of response from the patch. However, I constructed the patch with an intentional margin of error. A key pitch might not trigger its appropriate response, while any pitch might erroneously trigger a response. Additionally, loop and delay times vary randomly. Jn "Big Circles," successively finer levels of detail exhibit successively less predictability. Second-by-second, listeners experience the piece as a web a/possible relationships occurring along a probable trajectory, a set of rules manifested as concentric circles a/probability.

Mary E.M. Harris, viola

SCI Banquet February 16, 2013 Longaberger Alumni House 5:30 p.m.

Society of Composers, Inc. National Conference Banquet The Longaberger Alumni House 2200 Olentangy River Road, Columbus, OH 43210-1035 Th ~ SCI Banquet is a paid event (tickets available for $40 at the Registration Booth, Weigel Lobby)

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Concert XII February 16, 2013 Weigel Hall Auditorium 8:00 p.m.

Gala Concert

The Temptation of Saint Anthony for Trombone Ensemble Anthony Vine

The Temptation of Saint Anthony is based on the eponymous triptych by 15th century Dutch painter Hieronymus Bosch. The music reflects the narrative and structural qualities of the altarpiece, acting like a window that scrubs from the left to the right side of the painting. In the first panel of the triptych, The Flight and Failure of Saint Anthony, dense swatches ofglissandi rotate around a single pitch, D natural: the harmonic axis of the piece, which coincides with the midpoint of the trombone's slide. The work's middle panel, The Temptation of Saint Anthony, exposes and focuses on the piece's central pitch, casting it into a series of timbrally diverse episodes. Sinuous layers of muted trombone chords mark the final panel, Saint Anthony in Meditation, eventually giving way to the bleak saturation that pervades the music and the altarpiece.

The Ohio State University Trombone Ensemble Anthony Vine, conductor; Joseph Du~ hi, OSU trombone professor, Trent Baptiste, Chris Bertram, John Blasko, Paul Christodoulou, Charlie Combs, Alan Crist, Phil Day, Sean DeLong, Megan Dougherty, Mitch Filipiak, Matt Gaal, Stephanie Gae, Nathan Graham, Brandon Lopez, Daniel McCulloch, Elaine Mylius, Zackary Nellom, Ben Nelsen, Collin Poage, Emily Rees, Rocky Riddle, Steffani Ronfeldt, Dan Stevens, Laura Wadsworth, Tony Weigel, trombones

Veils for Solo Piano Joshua Fineberg

Tibetan Buddhists regard the world as a veil, or a series of veils, obscuring 'reality' from view. This is similar to howl see the piano. It is not the notes (or not only the notes) which draw me to the piano; rather, for me, the real magic of the piano is its resonance. The shock that is delivered by the hammers, when notes are struck, produces a continuous vibration. Small impacts can color this vibration, pushing it in one direction or another. Large shocks, on the other hand, are capable of completely eradicating the previous color, or leaving only the faintest trace of what had been. Very delicate interventions can even shifi the evolution of the resonance without being truly perceptible as independent events. All of this activity which is normally thought of as 'the music' can be seen as a sort of veil, hiding the real music whose heart is in the underlying resonance (color). The interaction between the punctuated surface and the continuous undercurrent, make up the form and movement of the piece. In writing Veils, I was inspired by this conceptual similarity to look into the actual sounds of Tibetan religious music, its bells, choruses and trumpets. Most particularly I analyzed the pacing and dramatic arcs ofthese rituals - in addition to looking at the actual sounds. These rites, without being obviously teleological, still create a sense offorward motion. And though they lack a clear formal arch, one still feels both climax and catharsis. In Veils, although much of what is actually heard can be traced in one way or another to these ethnographic sources, they cannot be directly heard that way. The sounds and structure of those sources have been transmuted into my own musical language; however, they still form a sort of 'reality' that can be felt, if not seen, behind the veil ofthe piece.

Fali Pavri, piano

Magnifieant for SA TB Choir Mark Spraggins Gloria Parti for SATB Choir

Magnificat (20 10) is an exploration of the first line of the well-known canticle of Mary, set to the text "My Soul Magnifies the Lord". The work is suitable for performance by amateur choirs, and obtains its complexity through layering and spatial arrangement. The score presents simple lines that are repeated in tempo, but in free time (within strict parameters). Gloria Patri (2010) is the 3rd movement ofa larger work, "Three Songs for St. Benedict", and is adapted from the office hymn "Gemma Caelestis ", attributed to Peter Damian (1007-72). St. Benedict was founder of the Benedictine Monks. The piece was commissioned by the California Lutheran University Choir for their 2010 Italy tour, and received performances in venues such as St. Mark's Cathedral in Venice, and St. Peter's Basilica, Vatican City.

The Ohio State University Chorale Robert J. Ward, conductor; Casey L. Cook, accompanist; Hanan Aseelah Davis, Laura Dittmar, Rachel CatherineHerman, Jennifer McMullen, Chelsea Mondesir, sopranos; Alissa Bodner, Cierra Byrd, Kelsey M. Christlieb, Ashley-Marie Donmoyer, Carrie Elizabeth Hall, Megan Rainey, Lianna Wimberly Williams, Maria Zarick, altos; Ryan Bailey, Matthew T. Baker, Jacob Boyer, Zachary J. DelMonte, Matthew P. Downing, Cameron Alvin, Gachett Brian M. Hathaway, Jaron M. LeGrair, Jacob A. Moore, tenors; Ian Bolden, Richard Celestina, Jaman E. Dunn, James R. Eder, Andy Hall, Charlie Hunter, Connor A. Notestine, Trevor Pedersen, basses

36 SOCIETY OF COMPOSERS, INC. SATUR•A Y 2013 NATIONAL CONFERENCE

Concert XII (continued) February I 6, 2013 Weigel Hall Auditorium 8:00 p.m.

Hommage a Claude Debussy for Flute, Viola, and Harp Nick Omiccioli

Hommage a claude debussy (2011) for flute, viola, & harp is a collection offour light-hearted miniatures based on the opening page of debussy's sonata for flute, viola, & harp. Each miniature begins with a brief allusion to the material from which it is based and the piece as a whole uses only motives derived from these fragements.

COSMOS Trio Katherine Borst Jones ,jlute; Jeanne Norton, harp; Mary E.M. Harris, viola

Objets Trouves for Flute, Clarinet, Percussion, Piano, Violin, and Cello Joshua Fineberg

Occasionally there are moments when one is observing something familiar and suddenly through a twist of perspective, an errant thought, or just blind chance, the familiar suddenly seems to shift, becoming something else, something startling, or strange, or even beautifal. it may be the tiniest piece of the whole now seen out of its context, or some familiar perspective now seen within a new context, or simply a change of attentional focus that changes everything, but in all these cases the object being observed becomes something else. Visual artists have played with these notions for nearly a century, but in that context the reconceptualizations and reinterpretations come more from the perceiver than the artist. Music, though, with its unique ability to alter time and attention can explore these notions as process and form: revealing here a bit of something, then taking it away, placing each thing in the desired context and giving it the desired perspective: A journey through a landscape where the terrain and landmarks are constantly shifting, but still recognizable, and where the line between found object and composed material becomes meaningless.

William Boggs, conductor; Katherine Borst Jones, flute; Caroline Hartig, clarinet; Garrett Lefkowitz, bass clarinet Juan Mendoza, percussion; Mariko Kaneda,piano; Jana Vander Schaaf Ross, violin; Mary Davis Fetherston, cello

Moonstruck for Percussion Ensemble Elaine Ross

Moonstruck (2012) for percussion ensemble was written specifically for the Central Washington University percussion ensemble. The intent is to display the unique and diverse effect that the cycle of the moon is fabled to have on the human psyche. With th e exception of the timpani and crotales, all instruments are non-definite pitched and used for rhythm and the effect of melodic contour. The opening is very mystical and portrays an eerie combination of sounds through timbral and dynamic shifts. A dance-like section emerges in alternating 618 and 214 with other patterns super-imposed over the top. The mystical section returns leading to a heavy primitive section. After a brief arrival and relaxation point, the work ends with a fast and farious section in 718 with many driving, yet somewhat unexpected rhythmical twists and turns.

The Ohio State University Percussion Ensemble Susan Powell, conductor; David Counterman, Nick Dillion, Kevin Estes, Ben Haimann, Andy Hartman Zach Koors, Dan Kozlowski, Johnny Mendoza, Tim Shuster, Ashley Williams, percussionists

Aurora Borealis for Wind Ensemble Joel Love

Aurora Borealis was inspired by the natural phenomenon that occurs in the northern latitudes. Jn short, auroral events arecaused by the collision of energetic, charged particles with atoms in the high altitude atmosphere. Last year I spent most of my summer playing piano in a rock band aboard a cruise ship that traveled from Seattle, WA to Anchorage, AK and back several times. During a geomagnetic event late one night, I was fortunate enough to see the Aurora in the distance while sailing from Juneau to Hoonah, AK. Th e piece has three main figures: an ascending/descending tetrachord (which is later inverted), a repeated eighth-note motive, and a melody (first heard in the clarinet).

The Ohio State University Symphonic Band Scott Jones, conductor; Erica Kodramaz, Piccolo ; Megan Yost, Nicole Lafave, Erica Kodramaz, Yusuke Tanaka, Stefanie Schneider, J. Wallace Bluhm, Joshua Stokes, flutes; Ashley Miley, Ashley Sherman, oboes; Leland Greene, English horn; Ashley Rohm, Evan Copeland, David Grenier, bassoons; Jenny Jackson, e-jlat clarinet; Ann Reither, Brandon Mash, Scott Cupito, Joe Plattenburg, Erin Wells, Jenny Jackson, Stephanie Hanson, Christina Pultz, ; Rebecca Turner, Austin Clark, bass clarinets; Trevion Henderson, Kelsi Wittum, alto ; Brandon Casto, tenor saxophone; Nicholas Enz, baritone saxophone; John Vanderhoff, Michelle Home, Evan Greene, Ben McM urray, Matt Urbanek, Ben Hyun, Daniel Thomas, trumpets; John Joyce, Reid Knuth, Rose Madonia, Megan Adler, Elizabeth Hutcheson, horns; Matt Gaal, Trent Baptiste, Steffani Ronfeldt, Brandon Lopez, trombones; Andrew Desmond, Taylor Evans, Cameron Chandler, Euphonium; Ken Hoffman, Kayla McMurry, Nick Ater, tubas; David Counterman, Brian Rhodus, Nicholas Dillion, Benjamin Haimann, Zach Koors, percussion; Alex Farley, double bass; Quinton Jones, piano

37 SOCIETY OF COMPOSERS, INC. SATUR•A Y 2013 NATIONAL CONFERENCE

Concert XII (continued) February 16, 2013 Weigel Hall Auditorium 8:00 p.m.

Vault for Trumpet Ensemble and Computer Bradley Decker * World Premiere *

This piece was inspired by the Abbey of St. Pierre, Auvillar, France. The church was built in stages, from the 11th century lo the 19th century. Portions of this impressive structure, most notably its bell tower, have collapsed, while other portions of the structure survived, or were later rebuilt around it. Around its nave is an old, decrepit graveyard with collapsing stones and iron crosses. 1 was awestruck every time I visited this place, and became interested in the concept ofpermanence. What is permanent? Our time on Earth is relatively short, yet the things we build have a lifespan as well. Nothing is truly timeless. The trumpet writing in this work is inspired by these scenes and concepts, as well as the architecture of the Church of St. Pierre. I tried to focus on antiphonal, ghostly effects, through the placement of the performers and the use ofcomputer processing.

The Ohio State University Trumpet Ensemble Timothy Leasure, conductor; Ben Joy, Ross Runyan, Jennifer Grimmer, Brogan Reilly Matthew Zelnik, Evan Greene, John Vanderhoff, Matthew Urbanek, trumpets

Fractured Light for Wind Ensemble Eric Guinivan

Fractured Light is loosely inspired by the imagery of beams of light being broken into rays by various objects. surfaces, and textures: imagery of "fractured" rays of light shifiing and shimmering as the perspective slow rotates kaleidoscopically. The piece revolves around a descending six-note motive heard at the beginning of the work which is subsequently "refracted" through various harmonies, timbres, and textures as it moves from an ominous, murky beginning to its radiant, shining conclusion.

The Ohio State University Wind Ensemble Russel C. Mikkelson, conductor; Katie Kuvin, piccolo; Rachel Haug, Chelsea Tanner, Erin Steele, Dannielle Sturgeon, Kari Boyer, Luke Shultz,flutes; Louise Vranesevic, Kelli Given, Bianca Kumar, oboes; Jacob Darrow, Nan-Yu Wu, Morgan Gende, bassoons; Katie Morell, e-jlat clarinet; Jacqueline Eichhorn, Katrina Veno, Tanya Mewongukote, Annika Baake, David Robinson, Emily Starcher, Joseph Sferra, Rachel Tookolo, clarinets; Garrett Lefkowitz, bass clarinet; Andrew Lawrence, Aaron Dvorak, alto saxophones; Joshua Laux, tenor saxophone; Mark Wallace, baritone saxophone; Josh Michal, A. Joshua Robinson, Katey Jahnke, Brad Granville, Devin Gossett, horns; Ben Joy, Ross Runyan, Tim Hoverman, Taylor Leonard, Jennifer Grimmer, Matthew Zelnik, Brogan Reilly, trumpets; John Blasko, Phil Day, Daniel McCulloch, Dan Stevens, trombones; Rocky Riddle, bass trombone; Adam Bailey, Julia Ware, James Kim, euphonium; James Green, Jack Worth, Seth Justice, tubas; Tim Shuster, Dan Kozlowski, Layne Mauldin, Ashley Williams, Lane Summerlin, Andrew Hartman, Shane Mathews, Kevin Estes, percussion; Aidan Terry, double bass; Sekyeong Seong, piano

SCI Reception IV February 16, 2013 Thompson Library, 11th floor 10:00 p.m.

SCI Reception IV will begin immediately afier Concert XJI. Only registered conference attendees/performers 21 years of age or older may attend SCI Receptions

38 COMPOSER/PRESENTER BIOGRAPHIES

A A

Daniel Adams (b. 1956, Miami, FL) is a Professor of Music at Texas Southern University in Houston. Adams holds a Doctor of Musical Arts (1985) from the University of lllinois 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 the President of the South Central Chapter of the College Music Society. He 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 entitled The Solo Snare Drum was published in 2000. He is also the author of two entries published in 2009 in the Oxford Encyclopedia of African-American History 1896 to the Present and has authored a revision of the Miami, Florida entry for the Grove Dictionary of American Music.

Adeleke Ade~kq is Humanities Distinguished Professor in the English and African American and African Studies departments at Ohio State University. He is the author of Proverbs, Textuality, and Nativism in African Literature (1998) and The Slave's Rebellion: Literature, History, Orature (2005). He has also authored numerous book chapters and journal articles. Some of the journals in which Dr. Ade~k9's work has appeared are Transition, Research in African Literatures, Global South,Oral Tradition, and Critical Inquiry. He is co-editor of West Africa Review, associate editor of Research in African Literatures, and editorial review board member at African Studies Quarterly and English Language Notes. Dr. Ade~k9's current research projects are on contemporary praise culture in Lagos, Nigeria, and animist poetics in African and African American poetry.

John R. Akins (b. 1939), a Michigan native, received his B.M. and M.M. in theory/composition from Southern Methodist University and a D.M.A. in composition from the University of Texas, Austin, studying with Jack Kilpatrick at SMU and at UT with Hunter Johnson and Kent Kennan. He has taught at Texas Lutheran College, at the University of Maine at Machias, and from 1977-2010 at Evangel University, Springfield, MO. He has received commissions from the Missouri Music Teachers Association twice, as well as from the Machias Bay Community Concerts Association, the Springfield Symphony Orchestra, and tenor Ron Brendel. He has membership in SCI, SEAMUS, and Christian Fellowship of Art Music Composers, and has had numerous performances at their regional or national conferences, as well as at Kennedy Center in Washington, D. C., at National Music Camp, Interlochen, MI, and at the 2010 International Computer Music Conference in New York, with repeats in plus other US venues.

Arved Ashby is on the musicology faculty at Ohio State, where he teaches courses on 19th-, 20th-, and 21st-century music in contexts of cultural history, critical theory, post-Marxist aesthetics, and media and communications. He has published essays on Britten, Mahler, Schoenberg, twelve­ tone composition, minimalist music, and Frank Zappa's orchestral works. For an essay on Alban Berg, he received the Alfred Einstein Award from the American Musicological Society. He edited Th e Pleasure of Modernist Music (University of Rochester Press, 2004) and wrote the monograph Absolute Music, Mechanical Reproduction (University of California Press, 2010). A collection he has edited on film music, Popular Music and the Post-MTV Auteur, will appear later this year from Oxford University Press.

Elizabeth R. Austin has taught composition at The Hartt School, where she earned a M.M. She and her husband, Gerhard Austin, assisted in establishing a faculty/student exchange between Hartt and the Staatliche Hochschule far Musik Heidelberg-Mannheim. During her Ph.D. studies (University of Connecticut), she won First Prize in the Lipscomb Electronic Music Competition. Other awards have included a Connecticut Commission on the Arts grant, First Prize in the IA WM's 1998 Miriam Gideon Competition, a Rockefeller Foundation Bellagio residency, Donne in Musica residency, and American Music Center grants. Published by Arsis Press, Tonger Musikverlag, Peer Musik, and Certosa, and recorded on the Ravello (Parma) and Leonarda labels, scores are also available through The American Composers Alliance. Two DMA dissertations (lllinois and U Houston) have been written on her music. A chapter on Austin's music is included in: Women of Influence in Contemporary Music: Nine American Composers by Dr. Michael K. Slayton. The online journal SCOPE featured Austin's music. B B

Jason Bahr (D.M., Indiana University-Bloomington) is an Assistant Professor of Composition and Music Theory at Florida Gulf Coast Un iversity. Bahr has received over two hundred performances of his works, including performances in 34 states and a dozen foreign countries. He was a finalist for the 2"d International Frank Ticheli Composition Contest for band music (2009) for Anderson's Animals, a recipient of a MacDowell Colony Residency (2006), a Fromm Foundation commission (2005), has won the Northridge Prize for Orchestral Composition (2005) for Golgotha, third prize in the Renee B. Fischer Piano Competition (2003), Region V winner in the SCI/ASCAP Competition (2002), the Cambridge Madrigal Singers Choral Composition Competition (1999) with Psaume I , and annual ASCAP awards since 1998. When not composing, Bahr frets over his student loan debt and the fate of the Kansas City Royals. SDG

The music of composer Marcos Balter has been described by critics as "vital, imaginative, ( ... ) surrealistic" [New York Times], "a virtuosic equilibrium of colliding particles (with) both intricate clarity and convincing trajectory" [Boston Globe], "utterly lovely" [Chicago Tribune], and "delicate" and "transportive" [Time Out Chicago]. His works have been championed by many of today's most prestigious and adventurous new. music ensembles, performers, and organizations such as the Meet the Composer Foundation, Chicago Symphony Orchestra's MusicNow, Carnegie Hall's Ensemble ACJW, and the Fromm Concert Series at Harvard University, among others. Past awards and honors include the Fellowship at the 2005 Tanglewood Music Cente, and performances at the World Saxophone Congress and the Lockenhaus Kammermusikfestival, as well as first prizes at several national and international composition competitions.

39 COMPOSER/PRESENTER BIOGRAPHIES

A recent finalist in the Utah Arts Festival competition for the 2013 Chamber Music Commission and awarded Second Prize in the Boston Chamber Orchestra's 2011-2012 Commission Competition, Louisville composer Jeremy Beck's most recent opera, Review, was one of three finalists in the 2010 National Opera Association's New Chamber Opera Competition. Beck's music appears on four lnnova CDs devoted to his compositions. Two of these CDs were included by Gramophone in its June 2006 Reviews: The best new recordings from North America, while the critic Mark Sebastian Jordan has described Beck as "an original voice celebrating music. Without self-consciousness, without paralyzing abstraction, Beck reminds us that music is movement, physically and emotionally." A graduate of the Yale School of Music, Duke University, and the Mannes College of Music, Beck also holds a law degree from the University of Louisville. www.BeckMusic.org

Composer-performer Brian Belet, whose compositions for acoustic and electro-acoustic media have been performed throughout the world, lives with his wife, artist-poet Marianne Bickett, in Campbell, California. He is Professor of Music at San Jose State University and a member of the performance ensemble SoundProof, which he co-founded with Stephen Ruppenthal and Patricia Strange in 2009. Belet is also a member of the Society for Electro-Acoustic Music in the United States, the International Computer Music Association, the Electronic Music Foundation, and the Society of Composers, Inc. His music has been released on the Centaur, Capstone, IMG Media, Frog Peak and lnnova labels.

Elizabeth Bell - Born 1928. Wellesley College (Music), 1950; Juilliard (composition: Mennin, Giannini), 1953. Music Critic Ithaca Journal, 1971-1975. One of the founders, a former officer, currently a director of New York Women Composers. Former member of Board of Governors of American Composers Alliance. Also member of BMI, ACF, SCI, NACUSA, other professional organizations. Commissions from: New York State Council on the Arts, Bradshaw/Buono duo, Inoue Chamber Ensemble, North/South Consonance, Vienna Modem Masters. Awards: Delius Prize, 1994; First Prize (1986), Grand Prize (1996), Utah Composers Competition; Meet-the-Composer grants. 3 all-Bell CD's: "The Music of Elizabeth Bell", MMC 2082, "Snows of Yesteryear", NS R 1029, and "A Collection of Reflections", N/S R 1042. Other recordings on CRS, Classic Masters, VMM, North/South. Two 75th Birthday all-Bell concerts: NYC 10/12/03, and Yerevan, Armenia, 4/28/04. Performed world-wide.

Composer/pianist Brian Bevelander was born in Boston, Massachusetts, and received his education at the New England Conservatory of Music, Hartt College of Music, Boston University, and West Virginia University. After receiving a doctorate in composition, he did post-graduate study at Brooklyn College, Dartmouth College and Boston University. His principal composition teachers were Thomas Canning at West Virginia University and Hugo Norden at Boston University. Bevelander's residencies include: The Danish Institute of Electro-Acoustic Music; The Koninklijk Conservatorium; The Tyrone Guthrie Centre; the lnstituut voor Psychoacustica en Elektronische Muziek; The Corporation of Yaddo; The Virginia Center for the Creative Arts; the Edward MacDowell Colony and the Djerassi Foundation. Besides a number of radio broadcasts in the United States, his music has also been broadcast by Danish Radio, Belgian Radio, Radio Moscow, VPRO Radio, Netherlands and many others. His music has been published by the American Composers Alliance, Dom Publications, Inc., Branden Press, Opus One Records, Capstone Records and Equilibrium Records.

As a composer, Oren Boneh always strives for music that engages the listener by being impassioned, intense, and thoughtful. His works have been performed and presented in various venues and concerts including the International Summer Academy of Music (Germany), the Royal Danish Academy of Music (Copenhagen), the 2012 Society of Composers Inc. (SCI) Student National Conference, the Manhattan School of Music, the Colorado Composer's Concert, and various others. He has also held artist residencies at the Visby International Centre for Composers (Gotland, Sweden) and the Kimmel Harding Nelson Center for the Arts (Nebraska City, Nebraska). Oren is in his final year as a student at the University of Denver pursuing a Bachelor of Music degree in Composition. There he studies with Dr. Chris Malloy and William Hill. In 2011, he studied in Copenhagen at the Royal Danish Academy of Music with Hans Abrahamsen, Juliana Hodkinson and Niels Rosing-Schow.

Michael Boyd is a composer, scholar and experimental improviser who currently serves as Assistant Professor of Music at Chatham University. Boyd's music, performed throughout the country in a variety of settings, embraces experimental practices such as installation , multimedia and performance art, and his composition Bit of nostalgia ... was released by Navona Records as part of the Society of Composers, Inc. CD series .. His essay "The Evolution of Form in the Music of " was published in two parts in Cambridge University Press's Tempo in 2012. Boyd also serves as Wilkins Township Commissioner and is working to improve bicycle infrastructure at work and in his community. In 2012 he was named Bike Pittsburgh's Advocate of the Year.

Scott Brickman (b. 1963, Oak Park, IL) is Professor of Music and Education and Chair of the Arts and Humanities Division at the University of Maine at Fort Kent, where he has taught since 1997. He received his education from the University of Wisconsin and Brandeis University. His music is recorded on the New Ariel, Capstone, SEAMUS and ERM labels. A CD of his chamber music, Winter and Construction, was released on the Ravello label in April 2012.

Richard Brooks holds a BS degree in from the Crane School of Music, Potsdam College, an MA in Composition from Binghamton University, and a PhD in Composition from NYU. In December 2004 he retired from Nassau Community College after for 30 years; for the last 22 years he was department chairperson. From 1977 to 1982 he was Chairman of the Executive Committee of the American Society of University Composers (now the Society of Composers, Inc.). From 1993-2002 he was President of the American Composers Alliance. He has over ninety works to his credit, including two full-length operas. His children's opera, Rapunzel, was most recently produced by the Cincinnati Opera giving 65 performances. He was selected as New Music Connoisseur's New Music Champion for 2006-2007 in recognition of his work with Capstone Records. From 2010-2012 he was Executive Director of the New York Composers Circle.

40 COMPOSER/PRESENTER BIOGRAPHIES c c

Clifton Callender is Associate Professor of Composition at Florida State University. His solo piano works have been recorded by Jeri-Mae Astolfi and Jeffrey Jacob, and a recording of Metamorphoses II by the Hanna-Yang duo is forthcoming on Parma. Performances and recognitions include the Spark Festival, Electroacoustic Barn Dance, Boston New Music Initiative, Composers, Inc., Florida Electroacoustic Music Festival, NACUSA Young Composers Competition, SEAMUS, the World Harp Congress in Copenhagen, and the pplANISSIMO festival in Bulgaria. Reasons to Learne to Sing was commissioned by the College Music Society for the Society's 50'h anniverary. Callender's articles have been published in Science, Perspectives ofNew Music, Journal ofMusic Theory, Music Theory Online, and Integral.

Andres Carrizo was born in Panama City, Panama, in 1982. The son of a professional Jazz arranger and musician, Carrizo was exposed to music and performance at an early age. While a student at Williams College, Carrizo began studying composition in 2001. After graduating, he moved to Buenos Aires, , where he studied composition privately with Argentine pianist and composer Gerardo Gandini. In August 2007, Carrizo completed a Master's degree in Music Composition at Bowling Green State University, where he studied with Burton Beerman, Marilyn Shrude, and Mikel Kuehn. He is currently pursuing a Doctorate in Music Composition at the University of Chicago, where he has studied with Shulamit Ran and Marta Ptaszynska, and is currently studying with . His music has been performed by the Fireworks Ensemble (New York), the Interlochen Symphony Orchestra, the National Symphony Orchestra of Panama, the Pacifica String Quartet, and eighth blackbird.

Aaron Carter-Cohn (MM, CAGO) is a doctoral student in Music Cognition, studying with Dr. David Huron, at the Ohio State University. At OSU, he teaches undergraduate theory and aural training. As a practicing musician and academic, Aaron seeks to make music through collaboration and inclusion, and to pursue research with relevant application. From February to August of 2013, Aaron will be on a Fulbright fellowship in Nigeria conducting empirical research on interactions between tone languages and music. Research topics include the influence of speech prosody on melody, harmony, and rhythm, and the effect of innovations and syncretism in popular and gospel music on ethnolinguistic culture. Aaron is a certified Colleague of the American Guild of Organists. His composition instructor is Dr. Thomas Wells.

Jason Charney writes music for voice and orchestral instruments as well as electroacoustic and interactive media. Jason's music addresses the intersection of the arts, science, and participatory experience. He holds a degree in composition and theory from the University of Kansas, where he studied with Forrest Pierce, Kip Haaheim, and Jaines Barnes.

Born in Banciao, Taiwan, Chiayu is an active composer of contemporary concert music. Chiayu has been interested in deriving inspirations from different materials, such as poems, myths, and images. Particularly, however, it is the combination of Chinese elements and western techniques that is a hallmark of her music. Chiayu's music has been recognized with awards from the Copland House, music+culture (2009 International Competition), the Sorel Organization, the International Harp Society, ASCAP, the Maxfield Parrish Composition Contest, and the Renee B. Fisher Foundation, among others. Her works have been performed by the , the Detroit, the San Francisco, the Toledo Symphony Orchestras, the Nashville Symphony, the American Composers Orchestra, and the Cabrillo Festival Orchestra, the Aspen Music Festival Contemporary Ensemble, Eighth Blackbird, Prism Quartet and Ciompi Quartet. Chiayu received her BM from the Curtis Institute of Music, MM and AD from Yale University and Ph.D. at Duke University.

Raised in Hong Kong, the music of Chin Ting (Patrick) Chan has been recognized by honors and awards including the SUAL Award 2012, finalist for the Soli fan tutti Composition Prize 2010, winner of the Third Annual newEar Composers' Competition, BGSU 44th Annual Competition in Music Composition and UMKC Chamber Music Composition Competitions, as well as performances throughout North America and Europe; performed by artists/groups such as Zeitgeist, Priamos Quartet, Bel Cuore Quartet, Color Field Ensemble, ensemble39, and Nonsemble 6, among others. Mr. Chan received degrees from San Jose State University and Bowling Green State University. He is currently pursuing a D.M.A. in composition at the University of Missouri-Kansas City, while serving as studio manager of the iMPACT Center and teaching courses in electronic music. His mentors have included , Zhou Long, James Mobberley, Marilyn Shrude, Burton Beerman, Andrea Reinkemeyer, Brian Belet and Pablo Furman. www.chintingchan.com.

Marjorie K.M. Chan is Associate Professor of Chinese Linguistics in the Department of East Asian Languages and Literatures, and Adjunct Associate Professor in the Department of Linguistics, at The Ohio State University. Her specialization in Chinese linguistics focuses on phonetics/phonology and dialectology, both synchronic and diachronic. Research and publications include studies pertaining to humor, language and gender, language and music interaction. She is also currently serving as the Director of the Institute for Chinese Studies, a component of the East Asian Studies Center at Ohio State.

Kyong Mee Choi, composer, organist, painter, and visual artist, received several prestlg10us awards and grants including John Simon Guggenheim Memorial Foundation Fellowship, Robert Helps Prize, Aaron Copland Award, Illinois Arts Council Fellowship, First prize of ASCAP/SEAMUS Award, Second prize at VI Concurso Internacional de Musica Eletroacustica de Sao Paulo, Honorary Mentions from Musique et d 'Art Sonore Electroacoustiques de Bourges, Musi ca Nova, Society of Electroacoustic Music of Czech Republic, Luigi Russo lo International Competition, and Destellos Competition. Her music was published at SCI, EMS, ERM, SEAMUS, Detonants Voyages (Studio Forum, France), and CIMESP (Sao Paulo, Brazil). Her multimedia opera THE ETERNAL TAO is released by Ravello recording in 2013. She is an Associate Professor of Music Composition at Roosevelt University in Chicago where she teaches composition and electro-acoustic music. Samples of her works are available at www.kyongmeechoi.com.

41 COMPOSER/PRESENTER BIOGRAPHIES

The music of Elliot T. Cless weaves relationships between external natural stimuli and internal mental states, creating distinctive temporal experiences. Recent collaborators include the Calder Quartet, saxophonist Marcus Weiss, saxophonist Mary Joy Patchett, Northwestern University Contemporary Music Ensemble, Point CounterPoint Chamber Players, Boston New Music Initiative, and visual artist Nathalie Miebach. His music has been honored by the SCI/ASCAP Student Composition Commission and the Longy School of Music String Department Composition Prize, and has been performed at summer festivals in Vermont and Italy. Elliot graduated from Tufts University and is currently a Doctor of Music candidate at Northwestern University, studying with Lee Hyla and Jay Alan Yim. Other mentors include John McDonald, Lewis Spratlan and Elliott Schwartz in composition, Clayton Hoener in violin, and Barry Drummond in Javanese gamelan music. He is currently working on a new piece to be premiered by the Dal Niente Ensemble in April.

Nathaniel Condit-Schultz is a PhD student in the Cognitive and Systematic Musicology Lab at the Ohio State University. He recieved his M.A. in music composition from the University of California at Santa Cruz. D D

Mike D' Ambrosio is Associate Professor of Theory and Composition at Murray State University and has been there since fall 2008. He previously held teaching positions at Jacksonville State University, Oklahoma State University, University of Dayton, and Cincinnati's College­ Conservatory of Music (CCM). Originally from Long Island, he received his D.M.A. and M.M. degrees in composition from CCM and his undergraduate degrees from Lehigh University where he double-majored in music and accounting. Mike's Wind on the Island won both the 2009 Cincinnati Camerata Composition Competition and 2007 University of South Carolina Choral Composition Contest and was performed in June 2008 at the Cultural Prelude to the Olympics in Beijing. Its predecessor Jn You The Earth won the 2006 Arant Choral Composition Prize and has received several performances in the US and Italy. Mike has received ASCAPLUS Awards for the past six years and has music published with Dom Publications and Triplo Press.

Brad Decker's music focuses on interaction. Each work deals with the concept of interaction in a unique way (i.e. performer/composer/audience interactivity; combining differing eras of music technology; exploring disparate gestures and timbres; juxtaposing spaces and architectural ratios; combining world musics and cultures, etc.) His music has been performed in Italy, France, Brazil, and Canada, as well as at numerous festivals in the United States. As a teacher, he stresses positive, creative exploration, and refined clarity of expression. His classes usually center on the discovery of new ideas through critical thinking and focused observation. Dr. Decker received his OMA in music composition from the University of Illinois at Urbana-Champaign. He received his MM in music theory and composition at the University of Tennessee, Knoxville. He is currently Instructor of music composition and theory at Eastern Illinois University. For more information: www.braddecker.org.

Nickitas Demos (b. 1962, Boulder, Colorado) holds a OMA in Composition from the Cleveland Institute of Music where he studied with Donald Erb (1927-2008). His commissions include works for the Cleveland Orchestra, Atlanta Ballet, Nashville Chamber Orchestra, Georgia Music Teachers Association and the National Association of College Wind & Percussion Instructors. He is the recipient of numerous grants and awards including a MacDowell Fellowship (2012), Grand Prize: 2004 Millennium Arts International Competition for Composers, Grand Prize: 2005 Holyoke Civic Symphony Composition Competition and 15 ASCAP Awards among others. His music is self-published through Sylvan Lake Press (ASCAP) and has been recorded by MSR Classics and Capstone Records. Professor of Music Composition and Coordinator of Composition Studies at the Georgia State University School of Music, Demos is the Artistic Director of the neoPhonia New Music Ensemble and serves on the Executive Committee of the Society of Composers, Inc. (SCI). For more information, visit: http://nickitasdemos.com.

The music of Christopher Dietz has been recognized by honors and awards from Copland House, Canada's Banff Centre and National Arts Centre, the Camargo Foundation, ASCAP's Morton Gould Young Composer Awards, the Minnesota Orchestra Reading Sessions and Composer Institute, the League of Composers/ISCM Orchestral Competition, the Yvar Mikhashoff Trust for New Music, the Riverside Symphony Composer Reading Project (NYC), North/South Consonance (NYC), the Chicago Ensemble's Discover America competition, the Utah Arts Festival's Orchestral Commission Prize, the NewMusic@ECU festival, as well as numerous academic scholarships and fellowships. Christopher holds a Ph.D. in Composition and Theory from the . In addition, he holds degrees from the Manhattan School of Music and the University of Wisconsin. He has been on the faculty at Hillsdale College and the Oberlin Conservatory. Christopher is currently an assistant professor of composition at Bowling Green State University in Ohio.

Oyeb:ide Dosimmu holds M.A. and Ph.D. degrees in Ethnomusicology from the University of Pittsburgh where he also earned a Certificate in African Studies. His research spans traditional and urban music cultures across Africa and the African Diaspora, including Yoruba masquerading and theatrical genres, popular music, and modem art music. His other interests include music and postcoloniality, transnationalism in music, music and politics, music and youth subcultures, Music Theater in world cultures, and Afro-Asiatic musical dialogue. Oyebade has delivered papers at various conferences in the United States, Europe and Nigeria, and contributed to academic and non-academic publications. His current book project on transnational afrobeat maps the dance-protest genre's migrations from 1960s Lagos to the United States and Europe, and examines aesthetic and ideological dialogues ensuing in the process. Oyebade directs the Fela Sowande Singers and co-edits the multimedia periodical AfroBeat Journal. Oyebade Dosunmu is a Visiting Assistant Professor at Williams College.

Nicholas Alexander Drake began his musical studies on the piano before switching his emphasis to composition as an undergraduate. He earned a B.A. in philosophy from Centre College in 200 l where he studied composition with Laurence Bitensky. Drake earned the Master of Music degree in composition from the University of Louisville in 2007 where he studied with Marc Satterwhite and Paul Brink and electronic music with John Gibson. During his graduate studies, Drake was a recipient of the Warren Babb Scholarship, a Graduate Dean's Citation and the Alice Eaves Barns Award. Drake composes and arranges music for chamber ensembles, orchestra, and electronic media. His Lobo for solo piano was recently recorded by pianist Denine LeBlanc on her CD Weep No More, a collection of music by Kentucky composers.

42 COMPOSER/PRESENTER BIOGRAPHIES

Egyptian born Halim El-Dabh first came to the United States as a Fulbright scholar bringing with him his knowledge of African traditional music plus his innovations in electronic music (1946) as well as his avant garde techniques in piano performance. He was fortunate to meet with Igor Stravinsky and other famous composers of the 20th century. Aaron Copland, intrigued by El-Dabh's creativity, invited the young composer to be one of his private students at Tanglewood (1951-1952). Professor Emeritus El-Dabh lives in Kent, Ohio where he has taught at Kent, State University for 42 years. E E

Mark 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, , Marta Ptaszynska, , Stephen Syverud and Jay Alan Yim and saxophone with . His teachers in France were Michel Fuste-Lambezat and Jean-Marie Londeix. F F

Frank Felice (b. 1961) is an eclectic composer who writes with a postmodern mischievousness: each piece speaks in its own language, and they can be by turns comedic/ironic, simple/complex, subtle/startling or humble/reverent. Recent projects of Felice's have taken a tum toward tum towards the sweeter side, exploring a consonant adiatonicism. His music has been performed extensively in the North and South America as well as in Europe and Asia. Commissions include funding from the National Endowment for the Arts, Dance Kaleidoscope, Music Teachers National Association, and Kappa Kappa Psi/Tau Beta Sigma. Frank currently teaches as an associate professor of composition and electronic music in the School of Music at Butler University in Indianapolis. He continues to pursue his creative muse through painting, poetry, cooking, home brewing, paleontology, theology, philosophy, and curling. He is very fortunate to be married to mezzo-soprano Mitzi Westra.

Ross Feller is a composer, theorist, and educator. His awards and honors include the Ohio Arts Council Individual Excellence Award for Composition, ASCAP Composition Award, Gaudeamus Foundation International Composer's Competition (finalist), ASCAP Young Composer's Competition (finalist), and Bent Frequency's International Call for Scores (finalist). His compositions have been commissioned and performed by the Oberlin Conservatory Contemporary Music Ensemble, Oberlin Percussion Group, Ciosoni, Prism Saxophone Quartet, Aurelia Saxophone Quartet, Ensemble Luna Nova, Goliard Ensemble, and members of the Cleveland Orchestra, Atlanta Symphony Orchestra, and the Elision Ensemble. Performances at Symphony Space, Roulette, De Ijsbreker, Spoleto, Krannert Center, Presser Recital Hall, Park West, and at many national and international festivals. Compositions reviewed in Time Out New York, The Plain Dealer,Chicago Tribune, and the Wall Street Journal. Feller is an Assistant Professor of Music at Kenyon College in Gambier, Ohio, and has also taught at the Oberlin College Conservatory of Music. Visit www.rossfeller.com.

Brian Fennelly studied music composition and theory at Yale with Mel Powell, Donald Martino, Allen Forte, Gunther Schuller, and George Perle. He is Professor Emeritus of Music in the Faculty of Arts and Science at New York University. In addition to a Guggenheim fellowship, his awards include three fellowships from the National Endowment for the Arts, three composer grants from the Martha Baird Rockefeller Fund, two Koussevitsky Foundation commissions, and an award for lifetime achievement from the American Academy of Arts and Letters. His musical works include 16 titles for orchestra, 44 pieces of chamber music and 24 pieces for solo instruments, as well as electronic music, choral music and solo songs. His music has been awarded prizes in such prestigious competitions as the Louisville Orchestra New Music Competition and the Goffredo Petrassi International Competition for orchestral music, and is recorded on several CDs on the Albany, CRT, New World, Pro Viva, and First Edition labels, among others.

Robert Fleisher attended the High School of Music and Art in his native New York City, graduated with honors from the University of Colorado, and earned a doctorate in composition at the University of Illinois. He currently serves as professor and coordinator of music theory and composition at Northern Illinois University (DeKalb). His music has been heard in Australia, Canada, France, Germany, Italy, Mexico, , Taiwan, the UK, and throughout the USA; recordings appear on Centaur and Capstone. He is also the author of Twenty Israeli Composers (1997), and a contributing composer and essayist in Theresa Sauer's Notations 21 (2009). His participation in this conference is made possible through support from the Illinois Arts Council, a State agency.

Benjamin R. Fuhrman is a composer and multi-instrumentalist from Lansing, Michigan. He earned a Bachelor's in violin performance at Hope College, and a Master's and Doctorate in music composition from Michigan State University, and has served as the composer in residence at ART342 in Fort Collins, Colorado. His principle teachers include Sunny Cirlin, Mihai Craioveanu, Mark Sullivan, and Ricardo Lorenz. He has received numerous commissions, and has had pieces premiered and performed throughout the world. He is currently working on a commission from saxophonist Nate Bogert, playing with the bands Wisaal and Slivovitz, teaching mandolin and computer music at the MSU Community Music School, and is looking to settle down into a professorship somewhere. For more information check out www.benfuhrman.com.

43 COMPOSER/PRESENTER BIOGRAPHIES

G G

Travis Garrison is a composer, audio engineer, and performer of electroacoustic music. Current research interests include computer-based improvisational systems and the aesthetics, history, and theory of electroacoustic music. Travis recently received Honorable Mention in the SCI/ASCAP 2012 Student Commission Competition. His works have been performed at conferences and festivals including the International Computer Music Conference (ICMC), the Society for Electroacoustic Music in the United States (SEAMUS) conference, the Electronic Music Midwest (EMM) festival, the New York City Electroacoustic Music Festival (NYCEMF), and the Symposium on Arts and Technology at Connecticut College. Travis holds a BA in Computer Music and Composition from the University of California, San Diego, and an MA in Electroacoustic Music from Dartmouth College. Travis is currently a Ph.D. candidate in Music Composition with a cognate in Historical Musicology at the University of Florida, and has recently joined the staff of East Carolina University.

The creative work of Argentine-born composer Martin Gendelman touches on both the acoustic and electronic domains and includes compositions for solo performer, chamber groups, and orchestra, as well as many cross-disciplinary pieces and installations (primarily with dance, video, and theatre), and has been performed and recognized in Europe, South America, and the United States. Besides his activity as a composer, Dr. Gendelman heads the Music Theory and Composition area at Georgia Southern University. Before joining GSU, he served on the faculties of the University of Maryland (both in College Park and Baltimore County), Towson University, The Catholic University of America, and the Levine School of Music. He holds degrees from Universidad Nacional de La Plata (Argentina)(BM), California State University Northridge (MM), and The University of Maryland (DMA) where he studied with Mariano Etkin, Liviu Marinescu, Lawrence Moss, and Thomas Delio among others.

His music is described as "brainy and jazzy" (American Record Guide) and "fascinatingly strange" (BBC Music Magazine). Arthur Gottschalk is Professor of Music Composition at Rice University's Shepherd School of Music. Among many awards, his Concerto for Violin and Symphonic Winds won First Prize in theXXV Concorso Internazionale di Composizione Originate (Corciano, Italy), and in 2011 he was awarded the prestigious Bogliasco Fellowship for further work in Italy. Other awards include the Prize of the American Academy of Arts and Letters, and composer residencies at the famed Columbia-Princeton Electronic Music Center and at the Piccolo Spoleto Festival.

John C. Griffin is a professor of music at Western Michigan University and Associate Director of Music at St. Catherine of Siena Church in Portage, Michigan. Griffin earned his Ph.D. in music composition from the University of Iowa, studying with David Gompper. He received his BM and MM in music from WMU, where he studied composition with Richard Adams, C. Curtis Smith, and Robert Ricci, and piano with Lori Sims. As a pianist, he has performed with the new music ensembles Opus 21 and Birds on a Wire, and currently serves as the accompanist for the Kalamazoo Singers choral group. Griffin is a Finalist of the International Music Prize for Excellence in Composition 2011 and semi-finalist for the American Prize in Composition. His compositions have been performed at numerous festivals and conferences, including College Music Society International Conferences in Croatia (2009) and South Korea (2011).

Eric Guinivan's music has been performed by orchestras and chamber ensembles across the United States, Europe, and Asia. His works have received several awards and honors, including three BMI Student Composer Awards, two ASCAP Morton Gould Awards, and grants from the Theodore Presser Foundation, and Meet the Composer. Eric has received commissions from the New York Youth Symphony, the Delaware Youth Symphony, the Firebird Ensemble, the Lotte Lehmann Foundation, and pianist Vicki Ray, among others. A founding member of the GRAMMY-nominated Los Angeles Percussion Quartet, Eric has also performed with orchestras and chamber ensembles across the country. Eric received Bachelor of Music Degrees in Composition and Percussion Performance from Indiana University and holds a Masters and Doctorate from the University of Southern California Thornton School of Music. Eric currently teaches orchestration, music theory, and aural skills at University of Southern California and music history and theory at Renaissance Arts Academy. H H

Moon Young Ha is a composer from Seoul, South Korea, currently living and working in New York City. His music has focused on combining traditional instruments with electronics and video to affect relevant and meaningful experiences for diverse audiences. His work has been presented at festivals and concerts in Europe, Asia and the Americas by ensembles such as Alarm Will Sound, Empyrean Ensemble, LOOS Ensemble, Chatham Baroque, among others. He is founder, director and conductor of ensemble mise-en (www.mise-en.org), and he is currently pursuing his Ph.Din composition at New York University. More information can be found at his website: http://www.moonyoung.net.

Charles Halka's music has been performed in the U.S., Mexico, and Europe, including performances by counler)induction, ONIX,Jauna Muzika, Volti, Aquarius, Pictures on Silence, and the California Stale University Norlhridge Symphony. As a Fulbright grantee, he spent a year in writing an opera, Julius, which premiered in 2010, and a choral excerpt from the opera,Dipuklf Rauda, was performed recently at the ISCM World Music Days 2012 in Belgium. Last year, Round and Round was premiered in the Coolidge Auditorium of the Library of Congress. Charles studied at conservatories in the U.S ., , and Lithuania and holds degrees in piano and composition from the Peabody Conservatory. In May, he will earn his DMA from Rice University. His teachers have included Michael Hersch, Judah Adashi, Richard Lavenda, Kurt Stallmann, Pierre Jalbert, and Arthur Gottschalk. Charles is Artist-in-Residence at the Foundation for Modem Music (Houston).

44 COMPOSER/PRESENTER BIOGRAPHIES

Edward Hamel (b. 1986, Chicago, Illinois) is a composer currently residing in San Diego, California. He graduated magna cum laude from Columbia College Chicago receiving a Bachelors of Music in Composition. He is acquiring a Master of Arts in Composition at The University of California, San Diego. Much of Edward's musical discourse is concerned with the notion of informational saturation, the resulting perspective(s) thereof, and the functionality/perception of procedural music in correspondence with unconventional, complex sonorities. Edward received Honorable Mention at the Gaudeamus Muziekweek 2012 for his work 'Countenance.' His music has been performed by such groups as Ensemble Dal Niente, Anubis Quartet, Color Field Ensemble, Insomnio, cellist Seth Woods and bassoonist Rebekah Heller of the International Contemporary Ensemble.

A native of China, Jianjun He received his B.A. in violin performance from Northwestern National University (Lanzhou, China), M.A. in music theory from The Arts Academy of China (Beijing), and D.M.A. in composition from West Virginia University where he studied composition with John Beall. His compositions, numbering over sixty for a wide variety of media, are enjoying growing success in Asia and the United States. They have been featured at numerous new music related festivals and conferences. CD recordings are available on ERM, VMM, Mark Masters, New Ariel, Innova, and Da Di (China) labels. In addition to his musical creation, he has published books and research papers on music theory, compositional techniques, ethnomusicology, and music education. Dr. He is currently Associate Professor of Composition and Theory at Jacksonville University (FL).

David Heinick is the composer of over eighty works for a variety of media; these include at least fifteen commissioned works. His music is published by Subito Music, Dorn Publications, Nichols Music, and Kendor Music; it has been performed throughout the United States, and broadcast on National Public Radio and the CBC. Heinick is a professor of composition and theory at the Crane School of Music of SUNY - Potsdam, where he has taught since 1989. Before that, he taught for ten years at St. Mary's College of Maryland, and a year previous to that at the University of Maryland-Eastern Shore. In Maryland, he spent fifteen summers as a member of the artist-faculty of the Tidewater Music Festival, and acted as Director of that festival for three years. He holds degrees from the Eastman School of Music and the Catholic University of America.

Jeff Herriott is attracted to sounds that shift and bend at the edges of perception. He creates unhurried music, using slow-moving shapes and a free sense of time. His work has been supported by awards and commissions from the MATA Festival, the Barlow Endowment for Music Composition, the American Composers Forum's Jerome Composers Commissioning Program, the American Music Center Composers Assistance Program, and a McKnight Foundation Visiting Composer Residency. Herriott is Associate Professor of Music at the University of Wisconsin at Whitewater.

Ching-chu Hu studied at Yale University, Freiburg Musikhochschule in Germany, The University of Iowa, and the University of Michigan. Honors includes composer-in-residence at the Piccolo Spoleto Festival, guest composer at the American Music Week Festival in Sofia, Bulgaria, and composition fellow at the Aspen and Bowdoin Music Festivals, Yaddo, The MacDowell Colony, and the Banff Centre for the Arts. He has received performances in various national and international festivals and concerts, including the Altemativa Festival in Moscow and Wigmore Hall in London. Ensembles performing his work include the Kiev Philharmonic, the National Dance and Opera Orchestra of China, the Charleston Symphony Orchestra, the Columbus Symphony Youth Orchestra, 's Studio New Music Ensemble, Newark Granville Symphony Orchestra, Brave New Works, the University of Iowa Center for New Music, and the Brooklyn Rider String Quartet. He is Associate Professor of Composition and Theory of Music at Denison University. More information can be found at: chingchuhu.com.

David Huron is an Arts and Humanities Distinguished Professor at the Ohio State University, where he holds joint appointments in the School of Music and in the Center for Cognitive Science. I I

Composer and conductor David Ikard is currently pursuing a OMA in composition from the University of Oklahoma. Mr. Ikard has been featured at new music festivals and his music has been performed by numerous ensembles across the U.S. as well as abroad. Recent performances include the Global Composition conference in Darmstadt Germany, Electronic Music Midwest, the Student National Conference of SCI in Columbus Ohio, The University of Iowa, and Region VI conference of SCI in Amarillo Texas. Composition teachers include Marvin Lamb, Konstantinos Karathanasis, Kim Archer and David Maslanka among others. Mr. Ikard's work is published by Media Press Inc. out of Chicago Illinois. J J

James A. (Jim) Jensen is recently retired as Professor of Music and Coordinator of Theory and Composition at Samford University in Birmingham, Alabama, where he has also taught clarinet and saxophone. He obtained the BM and MM Degrees from Pittsburg State University, and the Doctor of Music Degree from Florida State University. His composition teachers have included John Boda, Carlisle Floyd, and . He recently completed an International Artist Residency as a composer at the Banff Center in Alberta, Canada. His music has been performed throughout the United States and Europe and at both regional and national conferences of SCI. He is a member of the Society of Composers, Inc., ASCAP, the Kansas Music Hall of Fame, the Iowa Rock and Roll Music Association's Hall of Fame, Board Member and past President of the Birmingham Chamber Music Society, Phi Mu Alpha Sinfonia, American Federation of Musicians, Reserve Officer's Association, past President of the Birmingham Art Music Alliance, and former Commander of the 313th United States Army Band.

45 COMPOSER/PRESENTER BIOGRAPHIES

Dr. Brian St. John is Assistant Professor of Music and Director of Orchestras at the University of Evansville, Assistant Conductor to the Evansville Philharmonic Orchestra, and Conductor of the Evansville Philharmonic Youth Orchestra. Prior positions have included Director of Orchestras at Minnesota State University Moorhead, Music Director for the North Valley Chamber Orchestra, Resident Conductor for the Longmont Symphony Orchestra, Music Director of the Longmont Youth Symphony, and Music Director for the Niwot Timberline Symphony (now the Boulder Symphony Orchestra), Assistant Conductor for the State Ballet of Missouri (now the Kansas City Ballet), Assistant Conductor for the Philharmonia of Kansas City, and Assistant Conductor for the Colorado MahlerFest orchestra. He has also written and premiered several of his own original works. Dr. St. John holds degrees from the University of Missouri-Kansas City Conservatory (BM, Viola Performance and MM, Orchestral Conducting) and Arizona State University (DMA, Orchestral Conducting). K K

Dr. Igor Karaca is a Bosnian composer and pianist of classical and jazz music. He studied music composition and conducting at Sarajevo Academy of Music under Josip Magdic and Andjelka Bego-Simunic. He graduated in 1996 with a BM in music composition, and has since been a guest at different masterclasses in Europe, working with Boguslaw Schaeffer, Klaus Huber, Helmut Lachenmann, Marc-Andre Dalbavie and Marco Stroppa, among others. In 1999, Karaca came to United States to study composition with Dr. Thomas Wells at the Ohio State University, from which he received his DMA in 2005. Igor Karaca has written three symphonies, concertante works for clarinet and piano, twenty electronic and electro-acoustic compositions, and over eighty chamber compositions, including the award-wining Wind Trio, Between Walls, and Handful of Dust. Currently, Dr. Karaca is teaching music composition, counterpoint, music technology, and music theory at Oklahoma State University, Stillwater.

Konstantinos Karathanasis is an electroacoustic composer who draws inspiration from modem poetry, artistic cinema, abstract painting, mysticism, Greek mythology, and the writings of Carl Jung. His compositions have been performed at numerous festivals and have received awards in international competitions, including Bourges, Musica Nova, and SEAMUS/ASCAP. Recordings of his music are released by SEAMUS, ICMA, Musica Nova, and broadcast by the Art of the States. Konstantinos holds a Ph.D. in Music Composition from the University at Buffalo, and is currently an Associate Professor of Composition & Music Technology at the University of Oklahoma. For more info log in at: http://music.ou.edu/oukon.

Corey Keating is currently pursuing a Master's degree in music composition at Bowling Green State University in Ohio, where he teaches music theory and aural skills. He has studied composition with Christopher Dietz, Pablo Furman, Mikel Kuehn, and Marilyn Shrude, and has participated in masterclasses with Josh Levine, David Ludwig, Robert Morris, Rob Paterson, Andy Thomas, and Nils Vigeland. His music has been performed by the UC Stanislaus Chamber Choir, the San Jose State Concert Choir, members of the San Jose Chamber Orchestra, horn player Mike Walker and pianist Qing Jiang, and has been featured in the Metos Music, Atlantic Music Festival, and South Bay Composers' Collective concert series. Recently, Mr. Keating was awarded first prize in the NFMC's 2012 Emil and Ruth Beyer National Art-Song competition for Spring Night, a selection from a song-cycle based on the poetry of Sara Teasdale.

Dr. Jennifer Kelly is a professional conductor, and Assistant Professor/Director of Choral Activities at Lafayette College. Many ensembles have been under her baton including Philharmonic Orchestra at the Kadima Conservatory, Los Angeles United Musicians Symphony Orchestra, UCLA Concert Choir, and several ensembles at the colleges of Los Angeles Valley and Lafayette. She was recently appointed conductor of the Concord Chamber Singers. Jennifer obtained her doctoral degree from UCLA under Donald Neuen, and has presented her scholarship on American women composers in the U.S. , U.K., and China. Her book In Her Own Words: Conversations with Composers in the United States will be published in the spring of2013 by the University of Illinois Press. L L

Composer Mark Prince Lee resides in the Nashville, Tennessee area where he writes, conducts, performs, and teaches. His works have been performed in over 50 cities throughout North America and Europe. Lee received his B.M. in composition from Florida State University, and his M.M. in composition from Memphis State University. Post graduate study in composition include: participation for two summers at the Ferienkurse in Darmstadt, Germany where he studied with Brian Femeyhough, Michael Finnissy, and attended the concerts and seminars of during his historic return to Darmstadt; participation for three consecutive summers in the composition and analysis seminars given by Karlheinz Stockhausen in Kilrten, Germany. Lee also holds an M.A. and Ph.D. in German Studies from Vanderbilt University.

Russian-born Ilya Levinson graduated from the Moscow State Conservatory as a composer, where he studied composition with Alexander Pirumov and orchestration with Edison Denisov. After immigrating to the United States in 1988, Levinson completed a Ph.D. in Composition at the University of Chicago where his training included instruction from Ralph Shapey, Shulamit Ran, John Eaton, and Howard Sandroff. Levinson's catalogue includes operas, musicals, symphonic and chamber music, film scores and original music for theatre productions. His music was performed by the Russian State Philharmonic Orchestra, Yaroslavl Orchestra, Civic Orchestra of Chicago, Sarajevo Philharmonic, CUBE Ensemble, New Music Ensembles of The University of Chicago and Northwestern University, and Duo Montagnard among others. Ilya Levinson was a winner of the 1994 Midwest Composers Competition and recipient of two Illinois Arts Council Fellowships in Music Composition in 1997 and 2003. His "Klezmer Rhapsody", recorded by the Maxwell Street Klezmer Band and was released on the Shanachie label.

46 COMPOSER/PRESENTER BIOGRAPHIES

Mei-Fang Lin received her Ph.D. in composition from the University of California at Berkeley and her master's degree from the University of Illinois at Urbana-Champaign where she also taught as Visiting Assistant Professor of Composition from 2007-2009. From 2002-2005, she studied composition with French composer Philippe Leroux and participated in the one-year computer music course "Cursus de Composition" at IRCAM in on a Frank Huntington Beebe Fellowship and Berkeley's George Ladd Paris Prize. She was appointed Assistant Professor of Composition at the Texas Tech University in 2009. Lin's music has won awards from the Musica Domani International Competition, American Composers Forum, Seoul International Competition for Composers, Fifth House Ensemble Composer Competition, Bourges Competition, Look & Listen Festival, Competition, SCI/ASCAP Student Commission Competition, Luigi Russolo Competition, Prix SCRIME, NACUSA, Music Taipei Composition Competition ... etc. Her music has received performances and broadcasts internationally in around 30 countries.

Chris Fisher-Lochhead (b. 1984) is a composer/performer currently residing in Chicago. His music explores various ways of being-in-the­ world, including, but not limited to, humor, language, tradition, embodiment, theatricality, and political engagement. He has worked with a wide array of performers, including the Arditti Quartet, Ensemble Dal Niente, The Spektral Quartet, Marcus Weiss, Rebekah Heller, and the Anubis Quartet. He is currently completing a doctorate at Northwestern University, where he studies with Lee Hyla, Jay Alan Yim, and Hans Thomalla. Upcoming projects include collaborations with Third Coast Percussion, Graeme Jennings, and the Mivos Quartet. See more at www.cflmusic.com.

Tom Lopez composes for acoustic instruments, electronics, noise, and "aural traces." His imaginative music has been described in the New York Concert Review as "astonishing and riveting ... of sparkling, almost celestial beauty." He has received awards from the National Endowment for the Arts, the Aaron Copland Fund, Meet the Composer, and the Fulbright Foundation and has had residencies at the Banff Centre, MacDowell Colony, Copland House, Blue Mountain Center, and Djerassi. His work may be heard on the CDs released by the innova, Centaur, Vox Novus, SCI, and SEAMUS labels. Lopez teaches at the Oberlin College Conservatory of Music, where he directs the Contemporary Music Division.

Joel Love (ASCAP) is a composer who enjoys writing for a variety of genre. In his music, he explores the aesthetic of beauty, connection between music and spirituality, and seeks to collaborate with artists from other disciplines. Recently, his collaboration with Prince V. Thomas, On Joy, On Sorrow, was featured during a 3-month installation at the Houston Center for Photography. The Houston Chronicle commented that it is "a beautiful piece that feels cleansing to watch." Last year, the New York Youth Symphony awarded Joel a Citation for Compositional Excellence for his submission, Real Fiction. In 2009, Da Camera of Houston presented Joel with an Aspiring Artist Award and the commission of Just One Person. One of Joel's recent films, Stitched, was an official selection at the 2011 Carmel Art and Film Festival. The score for the short film Kidfellas, won "Best Musical Score" at Houston's 2011 48-Hour Film Project. M M

Liviu Marinescu's works have been performed by prominent ensembles and orchestras throughout the world, including the Cleveland Chamber Symphony, Czech Bohuslav Martinu Philharmonic, Orchestra 2001, as well as the National Radio and Music Academy orchestras in Bucharest. He has taught music composition and theory courses at Concordia College, MN, West Chester University, PA, University of Maryland, and Cleveland State University, and has been a visiting professor at the Trondheim Conservatory in Norway and the National University of Music in Romania. Since his 2002 appointment as coordinator of music composition and theory at California State University Northridge, Dr. Marinescu has received numerous awards and grants from the Fulbright Commission, the American Music Center, ASCAP, Meet the Composer Fund, as well as the Fromm Music Foundation Commission at Harvard University.

Ed Martin's music has been performed throughout the world, including the World Saxophone Congress, the International Computer Music Conference, the Seoul International Computer Music Festival, Confluences: Art and Technology at the Edge of the Millennium (Spain), the Soundings Festival (Scotland), Nuclea Musica Nueva de Montevideo (Uruguay), the International Electroacoustic Music Festival (Chile), the New York Electronic Music Festival, Electronic Music Midwest, the Florida Electro-acoustic Music Festival, and various SEAMUS conferences. An expert on the music of Magnus Lindberg, Martin is Associate Professor of Music at the University of Wisconsin Oshkosh, where he administers the electronic music studio. He has music released on the Parma/Ravello, SEAMUS, University oflllinois, and Mark Records labels.

Theresa Martin is a composer of energetic, melodious, and rhythmically driven music who often draws her inspiration from literature, images, nature, and personal experiences. She enjoys writing chamber music, and given her expertise in clarinet performance, is frequently commissioned to write for the instrument. Her music has been awarded recognition by the American Composer's Forum, ASCAP Morton Gould Young Composer's Competition, and NACUSA Young Composer's Competition, and has been performed in Canada, Great Britain, Sweden, China, Taiwan, and throughout the U.S. at music festivals, wnferences, and university recitals. Studying both composition and clarinet performance, she received her DMA in composition at the University of Michigan and Masters' degrees in composition and clarinet performance at Arizona State University. She currently teaches private clarinet, piano and composition lessons and resides in Appleton, WI. More information on Theresa Martin's music is available on her website: www.theresamartin.net.

Scott McCoy, Professor of Voice and Pedagogy at The Ohio State University, is the director of the Helen Swank Voice Teaching and Research Lab. He has been Professor of Voice and Pedagogy, Director of the Presser Music Center Voice Laboratory, and the Director of Graduate Studies at Westminster Choir College of Rider University. His multimedia voice science and pedagogy textbook, Your Voice, An Inside View, is used extensively by colleges and universities throughout the United States and abroad. He is immediate past president and director of the National Intern Program of the National Association of Teachers of Singing (NATS), associate director of the Journal of Singing for voice pedagogy, and has also served NATS as Vice President for Workshops. McCoy is a founding faculty member in the NYSTA Professional Development Program, teaching classes in Voice Anatomy & Physiology and Acoustics & Voice Analysis. He is a member of the distinguished American Academy of Teachers of Singing.

47 COMPOSER/PRESENTER BIOGRAPHIES

Jonathan B. McNair's music has been performed across the U.S.A., and in Canada, Brazil, Puerto Rico, Austria, England, and Germany. Recordings are available on the Capstone, ACA Digital, and AUR labels, and a soon-to-be-released track on Albany Records. Selected works are published by Potenza Music, MLKeepe Music and the SCI Journal of Scores. McNair has received grants, commissions, and awards from numerous organizations, and has been a resident composer at the Ucross Foundation, the Hambidge Center, and I-Park. He studied composition at The Cleveland Institute of Music, Southern Methodist University, and Appalachian State University. He is a U.C. Foundation Professor of Music Theory and Composition at The University of Tennessee at Chattanooga, where he periodically produces contemporary music concerts. He holds office in the Southeastern Composers League.

David Mendoza (b. El Paso, Texas, 1979) writes various styles of contemporary music. His works juxtapose the traditional with the contemporary, the ancient with the avant-garde, and the accessible with the abstract. Sound sources often include silences, electronic sounds, non-western instruments, non-traditional instruments, and improvisation to produce something that has been described as ethereal and evocative. Since 2007, his works have been performed at festivals and conferences around the country including SEAMUS, and SCI Regional and National conferences. Recent achievements include the premiere of his orchestral work Awakening by the Cleveland Orchestra, winning his third ASCAP Plus award, and being selected to attend the Silk Road workshop in Vancouver, Canada.

Jennifer Bernard Merkowitz is Assistant Professor of Music Theory and Composition at Otterbein University in Westerville, Ohio, where she teaches composition, theory, aural skills and electronic music. She received her MM and OMA in Composition from the University of Cincinnati College-Conservatory of Music, and she holds a BA in Music and a BS in Computer Science from the University of Richmond. She has also been on the faculty at the College of William and Mary in Virginia and Interlochen Arts Camp in Michigan. Jennifer is a composer and pianist whose diverse inspirations include liturgical chant, games, and the growth patterns of plants. Her music has been performed in national and international venues, including the International Computer Music Conference in Belfast, Northern Ireland, the International Tuba/Euphonium Conference in Cincinnati, Ohio, and the 60X60 Athena Mix (2011) in various places from Kentucky to Romania.

Described as "a major talent and a deep thinker with a great ear" by the American Composers Orchestra, "an engaging, gifted composer writing smart, compelling and fascinating music" by Gramophone Magazine, and "a distinctive voice in American music" composer Lansing McLoskey has had his music performed in fourteen countries on six continents. He has won more than two dozen national and international awards, most recently the prestigious Goddard Lieberson Fellowship from the American Academy of Arts and Letters, and the first International Joint Project Commission Competition. Recent performances include concerts in Italy, Spain, New York, Los Angeles, Boston, Philadelphia, Cincinnati, Miami, and Melbourne, Australia, and performances at twelve music festivals in the past year alone. Associate Professor at the University of Miami, McLoskey's music is released on Albany, Wergo Schallplatten, Capstone, Tantara, and Beauport Classics and published by Presser, Reed Music, ACA, Subito, and Odhecaton Z Music. www.lansingmcloskey.com

Alexander Elliott Miller is a composer and guitarist residing in Southern California. Ensembles and musicians that have performed his work include soprano Tony Arnold, pianists Herb Bielawa and Vincent Craig, the Los Angeles Percussion Quartet, Brave New Works, violists Dominic DeStefano and Jack Stulz, the Definiens Project, the Quintet Attacca and the USC Symphony. His work has also been performed by the LA-based What's Next? Ensemble, of which he is a co-director and guitarist. Honors include the 2012 Earplay Donald Aird Composers Competition and a MacDowell Colony Fellowship. Miller is currently on the faculty of Chapman University in Orange, California, and holds degrees from the University of Southern California, the Eastman School of Music and the University of Colorado at Boulder. N N

Adam Scott Neal (b. 1981 , Atlanta). PhD Fellow, University of Florida. MA, Queen's University Belfast. MM & BM, Georgia State University. Over 90 performances across 18 States and 5 foreign countries. 0 0

Benjamin O'Brien composes and performs acoustic and electro-acoustic music. He is currently pursuing a Ph.D in Music Composition at the University of Florida. He holds an MA in Music Composition from Mills College and a BA in Mathematics from the University of Virginia. Benjamin has studied composition, theory, and performance with John Bischoff, Ted Coffey, Fred Frith, Paul Koonce, Roscoe Mitchell, and Paul Richards. His compositions have been performed at conferences and festivals including ICMC, Electroacoustic Music Studies Network Conference, Linux Audio Conference, Colloqui di Informatica Musicale, SEAMUS, Musica Viva. He performs regularly with the international laptop quartet Glitch Lich.

Ryan Olivier grew up in the southern United States and began formal compositional study at Loyola University's College of Music in New Orleans. He is currently a doctoral student at Temple University studying with Maurice Wright. Ryan has also studied with Samuel Adler in and with Kevin Puts and Robert Aldridge at the Brevard Music Center. His music has been performed by the Momenta Quartet and the Cygnus Ensemble, and his various interests have led him to work with a wide array of media including electronics, video, and dance. His work has been featured at Miami's 12 Nights Festival, the Society of Composers, Inc. regional and national conferences, the New York City Electro­ acoustic Music Festival, the Electronic Music Midwest Festival, the Society for Electro-Acoustic Music in the United States National Conference, the International Workshop on Computer Music and Audio Technology in Taiwan, and the International Computer Music Conference. www.ryanolivier.com.

48 COMPOSER/PRESENTER BIOGRAPHIES

Aye} Oluranti (formerly Ogunranti) has featured in the music scenes in Nigeria, UK & USA in the last thirty years primarily as a composer and as well as a conductor, organist, music scholar and theorist. In his intercultural approach to music composition he experiments with the fusion of elements that define Western Art music, particularly Yoruba and Igbo musics of Nigeria. On a broader facet, Ay9 believes in both the traditional and the contemporary 'experimental ' approaches to music within a postmodernist aesthetic, employing African musical processes and resources within compositional language. Having studied pre-colonial Yoruba art-music forms such as the Yoruba folk opera with Akin Euba, he proceeded to iragbiji, Qsun State, Nigeria to study and record dundun music, a Yoruba instrumental genre, in 2010. Ay9 holds an MA and a PhD in Composition & Theory from the University of Pittsburgh. His compositions have been performed in Africa, Asia, Europe, North America, Russia, and South America.

Nicholas S. Omiccioli (b. 1982) is currently a preparing future faculty fellow at the University of Missouri-Kansas City and production coordinator of newEar Contemporary Chamber Ensemble. His works have been performed throughout the United States, Canada, Italy, Austria, Lithuania, Thailand, New Zealand, and China by ensembles such as the Jasper String Quartet, Curious Chamber Players, DuoSolo, Ensemble Platypus, le Nouvel Ensemble Moderne, l'Orchestre de la francophonie, Society for New Music, Brave New Works, Contemporaneous, Kansas City Chorale, and the Simon Carrington Chamber. He has been commissioned by the Wellesley Composers Conference, Great Lakes Chamber Music Festival, National Arts Centre in Canada, and Third Angle Ensemble. In addition to many awards and honors, Nick was recently nominated for two awards by the American Academy of Arts and Letters and selected as a finalist in representing the United States at ISCM 2014 World Music Days in , Poland. p p

Carrie Leigh Page is a composer and music educator living in Mesa, AZ. She currently teaches at Paradise Valley Community College and Archway Classical Academy in the greater Phoenix metropolitan area. Page is a graduate of Converse College (BM, Music Education), the University of Louisville (MM, Composition), and Arizona State University (OMA, Composition). Recent works have includedEmergent for electronic sounds, Everyday Arias for soprano and orchestra, In the Stillness for SATB choir, and Concert Etude No. I for horn and fixed media. Other works have included chamber operas and psalm settings for St. Mary's Basilica in Phoenix. Page is a member of ASCAP, SCI, ACF, SMT, and CMS. She is currently serving on the board of the International Alliance for Women in Music.

EunSeok Park, originally from South Korea, is currently pursuing his DMA degree in Music Composition from The Ohio State University where he studies with Jan Radzynski. He also serves as a Graduate Teaching Associate at OSU. In 2012, he was composer-in-residence for the OSU Symphony Orchestra. His music has been performed in Asia and throughout the U.S. His recent compositions have ranged from full orchestra to smaller chamber works and also electronic music. He holds MM and AD degrees in Music Composition from The Hartt School, University of Hartford. His principal composition teachers include Donald Harris, David Macbride, Stephen Michael Gryc, and Robert Carl.

Sean Peuquet is a composer and installation artist. Currently, he is a Visiting Assistant Professor of Digital Arts at Stetson University and is finishing his Ph.D. in Composition at the University of Florida. His works have been performed at SEAMUS, ICMC, the Chosen Vale International Trumpet Seminar, Electronic Music Midwest, the Boston CyberArts Festival, and the New York City Electronic Music Festival, among other spots. Sean received his B.A. from the University of Virginia in 2005, where he studied music, psychology and astronomy. In 2007, Sean earned his Masters degree in Electro-Acoustic Music from Dartmouth College. Sean's research focuses on compositional, theoretical, and technical approaches to the intersection of music and place. Sean has had the privilege of studying composition and computer music with Jon Appleton, Newton Armstrong, Matthew Burtner, , Paul Koonce, Larry Polansky, Paul Richards, Marina Rosenfeld, James Paul Sain, Judith Shatin, and Ge Wang.

Ohio University Distinguished Professor Mark Phillips won the 1988 Barlow International Competition for Orchestral Music, leading to collaborations with conductor Leonard Slatkin. Following a national competition, Pi Kappa Lambda commissioned him to compose a work for their 2006 national conference in San Antonio. His music has received hundreds of performances throughout the world - including dozens of orchestra performances by groups such as the St. Louis Symphony Orchestra and the Cleveland Orchestra - and has been recorded by Richard Stoltzman and the Warsaw Philharmonic Orchestra, the Lark Quartet, and several solo artists.

Balee Pongklad began composing music while he was studying a bachelor degree in music at Chulalongkorn University in Bangkok, Thailand. In 2005, he came to the United States to pursue a master degree in music composition at San Francisco State University with Ronald Caltabiano and Richard Festinger. During his time in the US, he has composed a number of compositions, ranging from small ensemble, symphonic band to large orchestra. His orchestral piece "Dawn for orchestra " was cited for honorable mention by the Minnesota Orchestra Composer Institute in 2008. He was also selected a finalist for his composition "The Grand Palace " by The 2nd International Frank Ticheli Composition Contest for concert band in 2009. Recently, he is pursuing a doctoral degree in music composition at the University of Alabama and studying with professor Craig P. First who has also guided and mentored his composition "Ride" for violin solo.

After a relatively short career as a mechanical engineer, Michael Pounds turned his energies toward composition, studying at Bowling Green State University, Ball State University, the University of Birmingham in England, and the University of Illinois, where he completed his doctorate. He specializes in computer music composition and collaborative intermedia projects. His awards include the ASCAP/SEAMUS Student Commission Award, a Residence Prize at the Bourges International Electroacoustic Music Competition, a Rotary Foundation Ambassadorial Scholarship for studies in England, and residencies at the MacDowell Colony and I-Park. His music has been performed throughout the United States and abroad. He was a co-host of the 2005 national conference of the Society for Electro-Acoustic Music in the U.S. Michael is the Assistant Director of the Music Media Production and Industry program at Ball State University, where he teaches composition, acoustics, music perception, recording and computer music.

49 COMPOSER/PRESENTER BIOGRAPHIES

Richard Pressley (b.1970) has enjoyed many performances of his works in the U.S. and Europe. He began his musical career in rock music in his early teens, playing and touring with rock and punk bands. He attended the University of Indianapolis and Butler University for his B.M., Cambridge University for his Master's, and the University of Minnesota for his Ph. D; also doing post-doctoral study at Karlsruhe Musikhochschule and Darmstadt in Germany. His composition instructors include Wolfgang Rihm, Sandeep Bhagwati, Dominick Argento, Judith Lang Zaimont, Alex Lubet, Daniel Chua, and Michael Schelle. He has also participated in master classes and private sessions with many of today's leading composers. Currently, he lives in Columbia, SC with his wife, Johanna, where he is a freelance composer, performer, and writer on music. www.roressley.com.

William Price's music has been performed in Europe, South America, Asia, and throughout the United States. His works have been featured prominently at such venues and events as the International Trumpet Guild Conference, the International Clarinet Association International Conference, the World Saxophone Congress, the National Flute Association Convention, the Bowling Green State University New Music and Art Festival, and the Florida State University Festival of New Music. Price's music has received awards and commissions from numerous organizations, including ASCAP, the Music Teachers National Association, Percussive Arts Society, NACUSA, the Alabama State Council on the Arts, and the Southeastern Composers League. Price received a BMED degree from the University of North Alabama and his Masters and Doctoral degrees in Composition from Louisiana State University. Dr. Price is currently Assistant Professor of Music at the University of Alabama at Birmingham and past-president of the Birmingham Art Music Alliance. R R

Will Redman is a musical instrument that scrambles and obfuscates the precarious limen of the composer-performer-audience compact. Scores employ fantastically unsystematic notation, inviting the beholder into a wilderness of interpretive self-sufficiency. Improvisations manifest as ostensible readings of invisible psycho-temporal texts. Computers listen and alter chunks and tones. Sounds distend the sentient receptive sphere. Productions disseminated internationally through and with human, print and broadcast media. (Partial list: Friends Records, Mobtown Modem, Transit Ensemble, Thelema Trio, Notations 21, NewMusicBox,Baltimore Sun, The Wire, Pitchfork, WFMU, CHYZ, WRSU, BBC3, Resonance FM.) Festivals: Huddersfield, June In Buffalo, High Zero, Whartscape, Livewire. Organized performance units: Microkingdom (improvised noise rock), Umbilicus (percussion quartet) and The Compositions (chamber music). PhD - SUNY Buffalo (w/Jeffrey Stadelman). MA - Universtiy of Southampton (w/Michael Finnissy). BA - University of Maryland Baltimore County (w/Stuart S. Smith). Teaching - Towson University. Domicile - Baltimore, MD.

Tim Reed was born in May of 1976 weighing 11 pounds and 9 ounces. During the following fifteen years, his weight steadily increased, reaching approximately 170 pounds in 1991. Tim's height also increased during this time, reaching 6 feet and 4 inches in 199 I. Between 1991 and 2007 his height remained steady at 6 feet and 4 inches while his weight fluctuated between 165 and 210 pounds. Tim is currently 6 feet and 4 inches in height and weighs 183 pounds (Jan 2012). Tim is Assistant Professor of Music Theory/Composition at Manchester University and holds degrees from the University of Florida, Illinois State University and LaGrange College.

Nicholas Rich is a composer of acoustic and electro-acoustic music which investigates the intersections of music, memory, language, culture, and nature. His work spans multiple genres and media, from traditional large ensembles and experimental chamber orchestras to solo electro­ acoustic pieces, music for dance, and laptop ensembles. Rich's primary interests in the field of electro-acoustic music are the Laptop Ensemble and live interactive software environments. He was a founding member of the Greensboro (GLOrk), the first ensemble of its kind in North Carolina, and G_Lens (Greensboro Laptop Ensemble), an ensemble he founded and directed at UNCG. Currently he is the co­ director ofTriaL (Triad Laptop Ensemble). Rich earned a B.M. in composition at the UNCG School of Music, where his principle teachers were Mark Engebretson and Alejandro Rutty. Currently he is working toward an M.M. in composition at the North Carolina School of the Arts, studying with Lawrence Dillon.

James Romig composes music that endeavors to reflect the intricate complexity of nature, where fundamental structures exert influence on both small-scale iteration and large-scale design, obscuring the boundaries between form and content. His work shows the influence of academic study with and , interaction with the natural world through hiking and photography, and an interest in chaos theory, fractal geometry, and small-world networks. Recent guest-composer visits include Northwestern University, the Aspen Institute, the Cincinnati Conservatory, the University of Illinois, Juilliard, and the American Academy in Rome. Residencies include Petrified Forest National Park, Grand Canyon National Park, and Copland House. He holds degrees from Rutgers University (PhD) and the University of Iowa (MM, BM), and has been on faculty at Western Illinois University since 2002.

Dr. Elaine Ross is currently chair of music theory at the Colburn Conservatory in Los Angeles. Dr. Ross is published by Southern Music Company, Sisra Press, and Trip lo Press and has had numerous works selected for performances at Society of Composers, Inc., College Music Society, and Music Educators Association conferences. Notable recent compositions include: Canyons for woodwind quintet - winner of the Sinfonia National Woodwind Quintet Composition Competition in May of 2009; Neon Fanfare for trumpet ensemble -selected for performance at both the National Trumpet Conference in 2010 and the International Trumpet Guild Conference in 2011 ; The Presence for choir, selected for performance on the Opus 7 All Northwest Composer's Concert in Seattle in 2011; and Moonstruck for Percussion Ensemble, performed at the 2012 Northwest Percussion Conference. In addition, Wildfire for Symphonic Winds reached the quarterfinals in the Coups de Vent International Wind Orchestra competition and was performed in 2008 in Lille, France.

50 COMPOSER/PRESENTER BIOGRAPHIES s s

James Paul Sain (b. 1959) is Professor of Music at the University of Florida where he teaches electroacoustic and acoustic music composition, theory, and technology. He founded and directed the internationally acclaimed Florida Electroacoustic Music Festival for 17 years. His compositional oeuvre spans all major acoustic ensembles, instrumental and vocal soloists, and embraces electroacoustic music. His works have been featured at major national and international societal events. He has presented his music in concert and given lectures in Asia, Europe, South America and North America. Dr. Sain is currently Executive Committee Chair and President-Elect of the Society of Composers Inc. He previously served for several terms on American Composers Alliance Board of Governors. His music is available in print from Brazinmusikanta and American Composers Editions and on CD on the Capstone, Electronic Music Foundation, Innova, University of Lanus, Mark Masters, Albany and NACUSA labels.

Phillip Schroeder's music for soloists, chamber ensembles, live electronics, orchestra, and choir, has been described as "shimmering" (John Schaefer, WNYC)," "rich in subtle detail" (New Classics), and "haunting" (Sequenza21). His musical life is diverse, paralleling the diversity of his surroundings (having lived in twelve states). He composes prolifically, concertizes as a pianist, improvises with a variety of ensembles, and conducts orchestral and chamber groups. His music appears on the innova, Ravello/Capstone, Boston Records, Vienna Modern Masters, and Cold Blue labels. He teaches at Henderson State University.

Elliott Schwartz taught at Bowdoin College and has also held extended residencies/visiting professorships at Ohio State University, University of Minnesota, the University of California, Harvard, Oxford, Cambridge, and Tufts. Performances of his music include New York, Los Angeles, London, Paris, , Reykjavik, Copenhagen, Weimar, Tokyo, Hong Kong and San Francisco. Ensembles which have played his music include the Cincinnati, Houston and Milwaukee Symphonies, Saint Paul Chamber Orchestra, Boston Modem Orchestra Project, Lontano, Borromeo String Quartet, Kreutzer Quartet, and Ensemble Altemance. Honors and awards include a Gaudeamus Prize, as well as grants from the Rockefeller Foundation and the NEA. Schwartz's 70•h birthday was celebrated with concerts and guest lectures at Oxford, the Royal Academy of Music, and the Library of Congress. Recent performances of his work include New York (Symphony Space, Merkin Hall, the Juilliard School), New Music Miami, League of Composers/ISCM Orchestra, Cambridge University, the National Portrait Gallery and Waterloo Festival, Royal Scottish Academy, and the Oslo Conservatory.

Daniel Shanahan is a Post-Doctoral Fellow in the Music Cognition Lab at Ohio State University. He completed a PhD from the University of Dublin, Trinity College, and a Bachelor's degree in Jazz Composition from Berklee College of Music. He has published in Music Theory Online, Theory and Practice, and The Empirical Musicology Review, among others, an has presented in conferences in the US, Ireland, the UK, Greece, Austria, and Germany. His research interests range from the role of tension and expectation in Impressionist music to computational studies of jazz standards and improvisations.

Clare Shore, the second woman to earn the Doctor of Musical Arts degree in Composition from The Juilliard School, has received critical acclaim for her works, with reviewers from the New York Times, New York Post, Boston Globe, Washington Post, and others hailing her works as "provocative;" "immensely dramatic;" "unpretentious;" "ingenious and evocative;" "intriguing;" "romantic to the core". While at Juilliard Ms. Shore studied with David Diamond, Vincent Persichetti, and Roger Sessions, and subsequently with Gunther Schuller. Since then, she has received numerous commissions, awards, and grants, including a Composer Fellowship from the National Endowment for the Arts. Shore has served on the faculties of Fordham University, Manhattan School of Music, the University of Virginia, George Mason University, and Palm Beach Atlantic University. She currently holds an exclusive publishing contract with E.C. Schirmer. Her works are recorded on CRS, Owl Recordings, and Opus One, produced by Grammy Award-winning Elite Recordings.

Composer Marilyn Shrode is known for her warm, lyrical music, highly linear and multi-layered with timbral contrasts that result in a bright, shimmering and delicately wrought sound world. She received degrees from Alverno College and Northwestern University, where she studied with Alan Stout and M. William Karlins. Among her more prestigious honors are those from the Guggenheim Foundation (2011 Fellow), American Academy of Arts and Letters, Rockefeller Foundation, Chamber Music America/ASCAP, Meet the Composer, and the National Endowment for the Arts. She was the first woman to receive the Kennedy Center Friedheim Award for Orchestral Music ( 1984) and the Cleveland Arts Prize for Music (1998). Active as a composer, pianist, teacher, and contemporary music advocate, Shrude has consistently promoted American music through her many years as founder and director of the MidAmerican Center for Contemporary Music and as chair of the Department of Musicology/Composition/Theory at Bowling Green State University.

Ryan Skinner is an ethnomusicologist who studies expressive culture in West Africa and its European and American diasporas, with an areal focus on Malian music. Specializing in the analytic methods of cultural anthropology, social history, and musicology, Skinner's research examines issues of popular and public culture, morality and ethics, cultural politics and economies, urbanism, and globalization. Skinner is also the author and illustrator of a children's book, Sidikiba's Kora Lesson (Beaver's Pond Press, 2008) and an accomplished kora (21-stringed West African harp) player. Skinner holds a Ph.D. in ethnomusicology from Columbia University (2009) and is currently an Assistant Professor of Music and African American and African Studies at The Ohio State University.

Curtis Nathaniel Smith (b.1983) is a composer and music instructor living in the Dallas Fort Worth area. His music encompasses an amalgamation of styles ranging from rock to contemporary art music and has been described as scientific, explorative, lyrical, energetic, fun, and elegant. Recent works include his violin solo "Fantasie after Jimi Hendrix," saxophone quartet "Quadriloquy," Chamber Symphony no. I (commissioned by the 2011 Barlow Endowment for Music Composition Student Award) and "Structural Coupling"--duet for alto sax and flute. Curtis recently finished studying at the Brevard Music Center with Robert L. Aldridge and David Dzubay and will be pursuing doctoral studies starting fall 2013.

51 COMPOSER/PRESENTER BIOGRAPHIES

Suzanne Sorkin (b. 1974) is active as a composer and educator. She has received awards and commissions from the Fromm Music Foundation at Harvard University, Chamber Music Now, Violin Futura, Third Millennium Ensemble, counter)induction, ASCAP, Meet the Composer and others. Her work has been programmed on Piano Spheres in Los Angeles, Washington Square Contemporary Music Society, Denison University New Music Festival, Chamber Music Quad Cities, Florida State University Festival of New Music, and Vassar Modfest. She has written for ensembles including the Mannes Trio, Cabrini Quartet, Cleveland Chamber Symphony, Third Angle, and Aspen Contemporary Ensemble. She received her Ph.D. in composition from the University of Chicago through the support of a four-year Century Fellowship in the Humanities. Suzanne Sorkin is an Associate Professor of Music at Saint Joseph's University, where she teaches music composition and theory and serves as chair of the Department of Music, Theatre and Film.

Mark Spraggins is currently Associate Professor of Music at California Lutheran University, where he teaches theory, composition, and is director of a new program in music production. He received his Master of Music degree from Butler University (go Dawgs!) and a doctorate from the University of Southern California. He has composed works for practically every standard ensemble, and additionally has composed for television and other media. He recently scored the trailer to Everdawn, which is being pitched to HBO as a mini-series. Mark often performs on piano, and has championed the prepared piano works of John Cage.

Maria Stankova is an ABO PhD candidate in Composition at New York University where she studies with Elizabeth Hoffman and Martin Daughtry. Her compositions have been performed by the International Contemporary Ensemble, Ensemble Pamplemousse, Ekmeles Vocal Ensemble and On Structure. Her most recent work has explored the tensions between horizontal and vertical structures of macro-timbre through probability theory. Her dissertation project focuses on the assemblage between voice and technology in experimental performance. Maria is a member of the composer-performer collective Ensemble Pamplemousse and the improvisation duo Pygmy Jerboa. www.mariastankova.com

Vera Stanojevic received graduate and post-graduate degrees in Music Composition from the Tchaikovsky Conservatory in Moscow and the OMA from The Ohio State University. Her compositions have won numerous awards, including grants from the Ohio Arts Council and Greater Columbus Arts Council; Vienna Modem Masters Millennium Commissioning Competition award; American Composers Forum Commissioning Project Grant, and a Dale Warland Choral Competition prize. Representative performances include the premiere of Chamber Music (Essen); Notturno, for orchestra (Czech Republic); Dance: to the End of the Circle and Beyond. ..R eturn?, (Columbus ProMusica Chamber Orchestra); Voyages, for Piano and fixed media (numerous concerts and festivals, including the Florida International Electronic Music Festival, Musi ca Femina/Munich, and the International Piano Festival in Glasgow); Jn Memoriam for Piano and Percussion (Glasgow), and Tree of Glory (London). Her newest commission, a work for four pianos and fixed media, will be premiered in Scotland this March. She currently teaches at Capital University in Columbus.

Elizabeth (a.k.a. Betsy) Start has degrees in mathematics and cello from Oberlin, master's degrees from Northern Illinois University, and a PhD in composition from the University of Chicago. She spent 10 years as a Chicago free-lancer, performing and teaching for many organizations, before returning to her hometown of Kalamazoo (Ml). She is Executive Director of the Michigan Festival of Sacred Music, which celebrates diverse faiths and cultures through music. She performs with the Kalamazoo Symphony, Elgin (IL) Symphony, Chicago Philharmonic, among others, and is a member of the Chicago Composers' Consortium. As a performer, she has premiered over 90 works. As a composer she has had numerous commissions and grants, and over 300 performances of over 100 works in the U.S. and abroad. www.elizabethstart.com. T T

Born in Milan in 1962, Anne-Marie Turcotte graduated in Piano, Composition, and Choral Music at the "G. Verdi" Conservatoire of Milan under the guidance of Alberto Colombo, Azio Corghi, and Franco Monego. Prize winner in national and international competitions: !st prize: International composition competition "Harald-Genzmer" (Miinchen, Germany, 20 IO); 1st prize: International composition competition "Murcia- 1992" (Murcia, Spain, 1992); 2nd prize: International composition competition for choral music (Spittal, Austria, 1992); 2nd prize: National Composition competition for wind instruments (Livomo, Italy, 1991); 3rd prize: International Chamber Music Composition Contest in Seinajoki, Finland, 2011 ); Special mention: Composition Contest - Society for Universal Sacred Music (New York - USA, 2009). Her music has been commissioned and performed by important orchestras and festivals and broadcast by the Italian radio. Some of her works are published by Ricordi, Edipan, Edizioni Sinfonica, Berben, and Schott. Professor of Harmony and Counterpoint, she presently teaches at Conservatoire of Vicenza. v v

Jorge Variego was born in Rosario, Argentina. He has a doctorate degree in music composition from the University of Florida, a master of music degree in composition and clarinet performance form Carnegie Mellon University, where he attended as a Fulbright scholar. Actively involved with technology in sound and music, Jorge has been a pioneer in the field of interactive computer music, having created or performed a great deal of works for clarinet and electronics in the US, Europe and South America. He participated in many international computer music festivals such as MATA, SEAMUS, EMS, Sonoimagenes and can be heard on many CDs, including his solo recordings "Necessity" (Albany - 2010) and "Regress" (CMMAS - 2013) which are dedicated to new music for clarinet and electronic media. For more visit www.jorgevariego.com.

52 COMPOSER/PRESENTER BIOGRAPHIES

Anthony Vine (b. Ohio, USA, 1988) is an American composer currently based in Seattle, Washington. His music has been performed in North America and Europe by JACK Quartet, Pascal Gallois, ensemble bEISidES, among others. He has participated in masterclasses and lessons with an eclectic array of composers, including Brian Ferneyhough, Georges Aperghis, Enno Poppe, Rebecca Saunders, Zygmunt Krauze, and David Lang. Vine received his B.M. in music composition from The Ohio State University, and is currently pursuing his M.M. in music composition at the University of Washington, studying with Huck Hodge. https://soundcloud.com/anthony-vine. w w

Krista Wallace-Boaz currently serves as Director of Graduate Studies and Associate Professor of Piano and Pedagogy for the University Of Louisville School Of Music, where she teaches class piano, piano pedagogy, keyboard literature classes, and applied piano. In 2003 she became the pianist in the Trio Bel Canto, an alto saxophone/tenor saxophone/piano trio dedicated to the creation of new music for this genre. In March 2010 she made her Carnegie Hall debut with the University of Louisville Grawemeyer Players, performing works by Lutoslawski and Currier, receiving accolades from the NY Times for her warm-toned and picturesque performance. She may be heard in collaboration with saxophonist Dave Wozniak on the newly released recording American Fusion, produced by Emeritus Recordings, and on Free Flying with trombonist Brett Shuster, produced by Albany Records. She recently performed at the 2012 World Saxophone Congress in St. Andrews, Scotland, performing works by Michas and Lieuwen.

Lauren Wells is a composer, performer and educator currently residing in Newark, DE and teaching at the University of Delaware, where she received her Master's in Music Composition in May 2012. Lauren grew up in Kansas City, where she received her Bachelor's degrees in Music Composition and Theory from the University of Missouri-Kansas City. Her compositions reconcile the esoteric and the vernacular, probing popular idioms, especially folk and jazz, for material and inspiration. Lauren's recent honors have included First Place in the University of Delaware Orchestra Composition Competition, a performance at the 2012 SCI Region III Conference, a premiere at the SoundSCAPE Festival in Pavia, Italy, and Second Place in the Austin Peay State and Webster University Young Composers' Competitions. Lauren has studied with Dr. Jennifer Margaret Barker, Dr. Paul Rudy, Dr. Chen Yi, Dr. Zhou Long, and Dr. James Mobberley.

The compositions of Amy Williams have been presented at important contemporary music venues throughout Europe, the Americas and Australia by renowned soloists and ensembles such as The Buffalo Philharmonic Orchestra, Pro Arte Chamber Orchestra, Ensemble Aleph, Dal Niente, Wet Ink, Talujon, Pittsburgh New Music Ensemble, California E.A.R. Unit, International Contemporary Ensemble, H2 Saxophone Quartet, and pianist Ursula Oppens. As a member of the Bugallo-Williams Piano Duo, Williams has performed at prestigious new music festivals and series throughout Europe and the Americas. The Duo has three critically-acclaimed CDs on Wergo, as well as appearing on the Neos and Albany labels. Williams was the recipient of a recent Howard Foundation Fellowship and Fromm Music Foundation Commission. She holds a Ph.D. in composition from the University of Buffalo, where she also received her M.M. in piano performance. She has taught at Bennington College and Northwestern University and is currently Assistant Professor of Composition at the University of Pittsburgh.

Benjamin Williams is a composer in central Mississippi and an Assistant Professor of Music Theory and Composition at Mississippi College. Raised in Northeast Ohio, Williams earned degrees in Music Composition from The University of Akron (B .M and M.M.) and The Ohio State University (D.M.A.). The Cleveland Chamber Symphony, the NACUSA National Conference, UCM New Music Festival, The Society of Composers, Inc. National Conference, Electronic Music Midwest Festival, Denison New Music Festival, Kentucky New Music Festival and the University of Nebraska New Music Festival have performed his works. Williams also performs chamber music locally with the Pentimento Trio and with the jazz ensemble Brick Street Trio.

Mickie Willis, composer and jazz pianist, received his D.M.A in Music Composition from Louisiana State University, studying with Kenneth Klaus, James Drew, Don Freund, and Dinos Constantinides. He composes for live concert performance and also has created music for films and videos using MIDI instruments and computer-generated sounds. His concert works include an oratorio, three symphonies, two symphonic poems, five works for chamber orchestra, four string quartets, two sets of piano variations, one oboe sonata, compositions for various other chamber ensembles, songs, and jazz compositions. His commercial works include a one-hour suite for , music for ten films and videos, and television commercials. He is also a writer with many published articles on music and other subjects, and one book in print. Now semi-retired, he devotes his full time to composing, playing and writing, while also teaches fine arts music courses at Arkansas State University. z z

Mark Zanter, an active composer/performer, has received commissions from the UIUC Creative Music Orchestra, CU Symphony, the American Composers forum, the WV Commission on the Arts, WVMTA, Cetin Aydar, Lori Baruth, Due East, Solen Dikener, Rick Kurasz, Lindsey Goodman, The Ankara University Soloists String Quartet and others. He has appeared as a composer and performer on NPR's Live at the Landmark, WILL, IPR, Second Sunday concerts, on WVPN In Touch With The Arts, is published by Les Productions d'OZ, and his works have been performed nationally and internationally at festivals including, MUSIC "X", June in Buffalo, The Cortona Contemporary Music Festival, NYCEMF and the Atlantic Center for the Arts. Mr. Zanter completed his A. Mus. D. in composition at the University of Illinois where he studied with, Salvatore Martirano, William Brooks, Paul Martin Zonn, and Erik Lund. He is Coordinator of Music Theory and Composition at Marshall University, Huntington, WV.

53 PERFORMER BIOGRAPHIES

A A

While specializing in saxophone literature, Liz Ames is a collaborative pianist who is passionate about performing and working with instrumentalists, vocalists, and composers. Her international appearances include performances at the 2008 Contemporary Music Festival in Lima, Peru as a member of the Trio de las Americas and at the 2011 International Double Reed Society Conference. In March 2012 Liz served as piano coordinator and staff pianist at the North American Saxophone Alliance Biennial Conference in Tempe, AZ. Liz received permission to create piano reductions for four concerti, including Henry Brant's Concerto for Saxophone and Orchestra, Edison Denisov's Concerto for Alto Saxophone and Orchestra, My Assam Dragon by Jan Sandstrom, and John Mackey's Concerto for Soprano Saxophone and Orchestra. These four reductions are the beginning of Liz's life-long project of making saxophone concertos more accessible to saxophonists. Liz is finishing her doctorate in collaborative piano at Arizona State University and is currently living in Chicago, IL.

Anubis Quartet is dedicated to reshaping the saxophone quartet genre and reconceptualizing the way listeners experience the instrument through contemporary music. Anubis Quartet places significant emphasis on curating and is known for innovative concert formats. Each member of the quartet regularly performs on all members of the saxophone family - from sopranino to bass - which results in engaging and varied performances that exponentially increase the possibilities of expression through sound. With more than 30 premieres in hand, including works by Marcos Balter, Philippe Leroux and Lee Hyla, over half of the ensemble's repertoire has been tailor made for its musicians. Anubis Quartet was formed in 2007 and establishes a symbolic connection between Anubis, the Egyptian God of the Underworld, and the volatile yet sensual world of sound, color, and transformation, which is vital to contemporary music. The group's name also pays homage to revolutionary spectralist composer Gerard Grisey, whose work has inspired and influenced its members.

Jeri-Mae G. Astolfi is a Canadian-born pianist whose playing has been lauded as "brilliant" (New Music Connoisseur), "persuasive" (Sequenza21), and "beautiful" (American Record Guide). Her repertoire, ranging from the Renaissance era through the present, clearly affirms her keen interest in new music, which has led her to commission and premiere many new solo and collaborative works- music that has been featured on live radio broadcasts and released by Albany Records and Ravello Records' Capstone Collection. The recipient of numerous awards and grants, Astolfi's passion for new music has been recognized by invitations to many regional, national, and international music forums, where she has premiered and lectured on new piano music. Her advanced studies in piano performance were with pianists Helmut Brauss (University of Alberta), Tom Plaunt (McGill University), and Lydia Artymiw (University of Minnesota), with whom she completed doctoral studies. Astolfi currently serves on the music faculty of the University of Wisconsin Oshkosh.

Charles Atkinson is a professor of musicology at The Ohio State University who also performs as a free-lance clarinetist in various ensembles in central Ohio and elsewhere- among them the Central Ohio Symphony, the Ohio Capital Winds, and the New Sousa Band. His teachers include David Weber (New York City Ballet Orchestra), Joseph Allard (the Juilliard School), and Michele Zukovsky (). B B

Allison Balcetis holds a Doctorate of Musical Arts degree from the University of Alberta under the direction of Dr. William Street. During this time she produced her first solo recording, Zeniths and Nadirs. She holds degrees from Bowling Green State University where she studied with Dr. John Sampen and is the first - and only - saxophonist to earn a joint degree from the Universite de Bordeaux and the Conservatoire National de Region de Bordeaux where she studied with Marie-Bernadette Charrier. Since 2003 Allison has maintained an international performance career with concerts in Italy, France, Thailand, Slovenia, Canada, the United States, and Mexico. In 2005, Allison's quartet won first place in the Fischoff National Chamber Music Competition. In Edmonton, Alberta Allison helps develop the new music community as an Executive Board Member of the Tonus Vivus Society of New Music. Since 2009 Allison has been the saxophone instructor at the University of Alberta.

Ryan Behan has won acclaim from audiences in Europe and the US as a soloist and collaborative pianist. He has presented bicentennial celebration concerts devoted to the solo, chamber and vocal literature of Liszt, Chopin and Schumann, and premiered numerous new compositions, with performances of the solo piano works of Alexander Miillenbach and Pulitzer Prize-winning composer Joseph Schwantner. A winner in the Fischoff National Chamber Music Competition, he has served as a collaborative pianist for the Mozarteum International Sommerakademie in Salzburg and the AIMS in Graz, Austria. He has concertized with members of the Columbus Symphony, Dayton Philharmonic and Indianapolis Symphony, with performances broadcast on BBC Radio and NPR. Behan holds degrees from the Universitat Mozarteum Salzburg, The University of Utah, and Bowling Green State University as well as OSU (DMA). He studied extensively with Jerome Rose, lmre Rohmann, Vedrana Subotic and Caroline Hong, as well as with Leslie Howard at the !KIF in NYC.

The "Bel Canto" Clarinet Quartet was founded in the Fall of 2012 by masters students Amy Conley, Garrett Lefkowitz, Katrina Veno, and Rachel Tookolo. This chamber group, consisting of three soprano clarinets and one bass clarinet, prides itself on the study and performance of staples of the clarinet quartet repertoire.

The Black Swamp Saxophone Quartet has been presenting unique and exciting performances since its inception in 1986. The quartet plays a variety of musical styles and selects literature from a vast repertoire of classical, jazz and contemporary music. Many of the works performed have been written for the BSSQ by composers such as: Pulitzer and Grammy winning composer Jennifer Higdon and University of Michigan composer Evan Chambers. The BSSQ has performed at the Bowling Green New Music and Art Festival, Columbus Arts Festival, Cincinnati Center for Contemporary Art, New Music Chicago Spring Festival, the Phillip's Collection in Washington D.C., and the Lancaster Festival. The quartet has also been artist-in-residence at the Arosa Musikwochen in Switzerland as well as winning first prize in the Fischoff National Chamber Music Competition and finalist in the Martigny (Italy) International Music Competition. Current BSSQ members include: Wes Miller, soprano; Michael Rene Torres, alto; Michael Cox, tenor; and Jay Miglia, baritone.

54 PERFORMER BIOGRAPHIES

Maestro William Boggs received his Bachelor of Music, cum laude from OSU where he went on to earn a Master of Music in Conducting and worked on his Doctoral Studies in Opera Production. He continued his Postgraduate Studies in Conducting with The Juilliard School in New York. Currently he teaches at Capital University. Boggs recently conducted the world premiere of Robert Aldridge's new American opera, Elmer Gantry, with Nashville Opera and the remount at Florentine Opera of Milwaukee. The Florentine production was released on the Naxos label to critical acclaim garnering three Grammy nominations and named the "2011 Best Opera Recording" by Opera News. In February 2012 Elmer Gantry received Two Grammy awards. Boggs maintains an active guest conductor schedule. A partial list of guest appearances include Nashville Opera, Florentine Opera, Indianapolis Opera, Cincinnati Opera, Baltimore Opera, Hawaii Opera Theater, Lyric Opera of Kansas, Opera Carolina, Macau Festival, Mississippi Opera, Fresno Grand Opera, and Hong Zhou Symphony.

Julie Brodie, Associate Professor of Dance at Kenyon College, earned B.F.A./M.F.A. degrees at the University of Illinois. She completed Labanotation studies at Ohio State University and is a Certified Movement Analyst. Brodie worked professionally in Chicago and taught at Franklin & Marshall College before moving to Ohio. She has since danced with HighJinks Dance Company and Double Edge Dance. American College Dance Festival recognized Brodie's choreography for Outstanding Artistic Achievement, and she has been awarded grants from the Pennsylvania Arts Council and Great Lakes Colleges Association. Brodie presents research internationally, has published in The Journal of Dance Education, and co-authored the book Dance and Somatics: Mind-Body Principles for Teaching and Performance. In 2010 Brodie was a Fulbright Scholar in Egypt, teaching at the Academy of the Arts, the Cairo Ballet, and the Egyptian Modem Dance Company. Brodie enjoys living on a small farm with her husband and three children. c c

Under the direction of Dr. Lynda Hasseler, the Capital University Philomel, which means Nightingale, is a select ensemble of singers who master the challenge of advanced literature from a range of musical styles spanning Renaissance to contemporary/pop styles. With extensive training rooted in the rich Lutheran heritage of fine a cappella singing and a longstanding global touring tradition, Philomel is more than a collection of beautiful voices. It is a choral envoy of joy, hope and positive social change that leverages the transformative power of music to connect people from diverse cultures around the world. Unique to this group is a repertoire whose styles span a wide range of secular and sacred choral literature, spirituals, gospel, carols, music celebrating a global perspective, and jazz and pop music.

Iris Tzu-Yun Chen was born in Taiwan and began studying the cello at the age of eight. She received her Music Education Bachelor degree from National Taipei University of Education where she graduated with high honors in teaching and performance. Ms. Chen came to the United States in 2006 to pursue a Master ofArts degree in Cello Performance at New York University (NYU). While at NYU she won the NYU Concerto Competition in 2009. During that time, Ms. Chen also served as an adjunct faculty member in the NYU Steinhardt School. Ms. Chen is currently pursuing a DMA in Cello Performance at The Ohio State University in School of Music, where she studies with Professor Mark Rudo.ff.

Paul Christopher is Associate Professor of Music Theory and Low Strings at Northwestern State University in Natchitoches, Louisiana. Prior to this appointment he served as Principal Cello of the Shreveport Symphony Orchestra, Shreveport Opera and as a member of the Premier String Quartet. His articles have been published in the Jacques Offenbach Society Newsletter, Strings, Bass World and American String Teacher. Mr. Christopher has appeared as guest artist and clinician in Costa Rica, Honduras, Arkansas, New Mexico, North Carolina, Tennessee, Texas and throughout Louisiana. Mr. Christopher is currently involved in recording the cello duos of Jacques Offenbach on the Human Metronome label with fellow cellist Ruth Drummond with four CDs available at www.cdbaby.com. In addition, he has appeared on numerous recordings as a member of the Nashville String Machine with artists such as Faith Hill, Ricky Skaggs, Bruce Springsteen and George Strait.

Renee Clair appears regularly in professional new music venues and festivals throughout the United States. In addition to regional events, she has sung at national conferences of the College Music Society and SCI. Clair's new music repertoire extends from classics of contemporary literature through works composed for her voice. She is recognized as an active performer in opera, oratorio, recital and chamber music. Clair's operatic roles include: the Witch in Hansel and Gretel, Orlofsky in Die Fledermaus, Cherubino and Marcelina in Le Nozze Di Figaro, Mrs. Page in The Merry Wives of Windsor, and Third Lady in Die Zauberflote. Most recently she won first place in the National Opera Association Production Competition. She founded the concert series Chanter in Queensland, Australia, and founded and conducted the West Berkeley Chorale in California. Currently a doctoral candidate in vocal performance from the University of Memphis, Clair lives in Ohio, where she teaches applied voice and accompanies for Tiffin University.

Amy Conley received her Bachelors degree in Music Education from the University of North Texas and has given master classes and taught privately in the Dallas Metroplex. She has been a member of The Ohio State Wind Symphony, Symphony Orchestra, and the Grammy award winning University of North Texas Symphonic band. She is currently finishing her Master's degree in Clarinet Performance at The Ohio State University.

Founded in 2004 by three members (Katherine Borst Jones, Flute; Jeanne Norton, Harp; Mary E.M. Harris, Viola) of ProMusica Chamber Orchestra in Columbus, Ohio, the Cosmos Trio explores music for the magical blend of flute, harp and viola. Engaging and accessible, Cosmos combines the best of European tradition with adventurous contemporary music, including commissioned works by Libby Larsen, Stephen Paulus and other leading composers. With a repertoire that ranges from Telemann to Takemitsu, Cosmos delights listeners with its appealing programs and audience-friendly approach. Each concert offers listeners a unique experience, exploring the sounds and colors of music from across the centuries and around the world. For more information, visit the Cosmos Trio website: www.cosmostrio.org

55 PERFORMER BIOGRAPHIES

Michael Cox is a tenured Professor of Saxophone and Jazz Studies at Capital University where he has taught since 1990. In addition to the Black Swamp Saxophone Quartet, Michael is a member full time with the Columbus Jazz Orchestra and part-time with the Columbus, Lancaster and Newark Symphony Orchestras, the Pro Musica Chamber Orchestra, and such diverse groups as Flippo, Still Motion, Nova Madrugada and the High Street Stompers. He was a founding member of Yumbambe, Vaughn Wiester's Famous Jazz Orchestra, and Capital University's faculty jazz group Spectrum, and he has played concerto, chamber and jazz performances across the US and abroad. Michael holds a Doctorate degree from the University of Northern Colorado, a Master's degree from Wichita State University, and a Bachelor's degree from Cameron University in his home town of Lawton, Oklahoma, where he was presented with an Alumni of the year award in 2000. D D

Christy D'Ambrosio is an accomplished piano soloist and collaborative chamber musician. She has performed in both solo and chamber capacities throughout the United States. D' Ambrosio received her Master of Music in Piano Performance at Cincinnati's College-Conservatory of Music, where she was a student of Frank Weinstock and Michael Chertock. She studied with Robert Thomas and Siok Lian Tan while obtaining her baccalaureate degree from Miami University of Ohio and won both the Undergraduate Concerto and Undergraduate Artist Competitions at the university. Credentialed in the Suzuki method, D' Ambrosio is active as teacher and adjudicator. She lives in Murray with husband Mike D'Ambrosio and their sons Leo and Vinny.

Phil Day is currently pursuing the MM in wind conducting at The Ohio State University. He previously served as the associate director of bands and marching band director at Worthington Kilbourne High School, where he conducted the WKHS Symphonic Band and taught advanced placement music theory. He also guest conducted the WKHS Wind Symphony in performances at the OMEA Professional Development Conference in 2012 and at Carnegie Hall in New York City in 2008 and 2012. Since 2007, Phil has served as the associate conductor of the Grove City Community Winds, a community band based in Grove City, Ohio. He is a 2005 graduate of Capital University Conservatory of Music.

Joseph Duchi, associate professor of trombone, is a graduate of The University of Michigan, where he earned both the BM and MM degrees. Before coming to Ohio State in 1975, Ouchi held the position of assistant conductor of bands and assistant professor of low brass at the University of Massachusetts in Amherst. While in Amherst he gave numerous trombone clinics, adjudicated several state contests, and participated in many concerts with Mt. Holyoke, Smith and Amherst College groups. His performing experiences include three seasons with the Springfield, Massachusetts Symphony Orchestra and the Springfield Orchestra Brass Quintet. Ouchi is also a former member of the Fifth U.S. Arn1y band, where he often performed as soloist and assistant conductor, and a former faculty member at the National Music Camp at Interlochen, Michigan. He is cuITently the bass trombonist in the Columbus Symphony Orchestra, member of the Ohio Brass Quintet, and trombonist with the ProMusica Chamber Orchestra of Columbus. E E

Jacqueline Bretz Eichhorn is in the final semester of her Doctor of Music Arts degree in clarinet performance at The Ohio State University. She holds a Bachelor of Music Education degree from Eastern Illinois University, and a Master of Music degree in clarinet performance from OSU. She currently serves as the principal clarinet in the OSU Wind Symphony, and is also an active chamber musician. Her teachers have included Dr. Caroline Hartig, James Pyne, Dr. Magic Smith, and Richard Barta. Jackie is the adjunct instructor of clarinet and saxophone at Mount Vernon Nazarene University and also teaches several private students throughout the Columbus area.

Nicholas Enz, born in Newton, Kansas, is both an active conductor and educator. Before beginning his doctoral work, Enz served as director of bands at Michigan Technological University from 2004 to 2012. Under his leadership, the Wind Symphony embarked on numerous performance tours, including a residency in Ironwood, MI funded by the Michigan Council of Arts and Cultural Affairs. Enz founded the Keweenaw Area Jazz Band, which provides high school students from nine rural school districts with opportunities to study jazz music; the band won "Outstanding Jazz Ensemble" at the 2011 NMU Jazz Festival. As a saxophonist, Enz has performed with the Jimmy Dorsey Orchestra, the Pine Mountain Music Festival Symphony Orchestra, and as a featured soloist with the Keweenaw Symphony Orchestra. Enz received his bachelor's degree from Bethel College in Kansas, and his master's degree from Central Michigan University where he studied with John Williamson and Dr. David Gillingham.

Erberk Eryilmaz was born in Samsun, in 1989. He studied piano and composition in Hacettepe University - Ankara State Conservatory. During his studies at the Hartt School, he studied piano with Margreet Francis, Oxana Yablonskaya, composition with Stephen Gryc, Robert Carl, David Macbride, and conducting with Christopher Zimmerman, and Edward Cumming. He was awarded I st prize in the 2007 SCI/ ASCAP(North East) Composition Competition, and "Concerto for Two Pianos and Orchestra" was chosen for "The Masterworks of the New Era"(ERM Media). In 2008, he won the grand prize at "The Van Rooy Competition for Musical Excellence". He has collaborated with the Presidential Symphony Orchestra of Turkey, Hacettepe Chamber Orchestra, Gazi Chamber Orchestra, Hartt Symphony, Wind Ensemble, and Foot in the Door, and conductors such as Vakhtang Matchavariani, Dmitry Yablonsky, Edward Cumming and Glen Adsit. He is the artistic director/conductor of the Hartford Independent Chamber Orchestra. He is studying composition and conducting at Carnegie Mellon.

56 PERFORMER BIOGRAPHIES

Kevin Estes currently resides in Dublin, Ohio, and is pursuing a Doctorate of Musical Arts at the Ohio State University. Kevin teaches percussion at Pickerington North High School, performs regularly with the OSU Percussion Ensemble, and has performed with the Westerville Symphony. During his time in Greensboro, North Carolina he performed with the UNCG Wind Ensemble as the principle percussionist and has also performed with the Winston Salem Symphony Orchestra. Kevin has served as timpanist of the UNCG Symphony Orchestra and Casella Sinfonietta. Kevin has studied with outstanding performers Kris Keeton, Brian Jones, N. Scott Robinson, and Mike Schutz. He has also performed and participated in master classes with Mike Burritt, Mark Ford, Anders Astrand, Eric Hollenbeck, Scott Herring, Cory Hills, John Tafoya, and Brett Dietz. F F

Mary Davis Fetherston, hailed as "an unusually fine cellist," currently performs with the Dayton Philharmonic and the Columbus Symphony Orchestras and is active as a recitalist and chamber musician. Her interests and activities have ranged from baroque performance- as principal cellist and soloist with the Columbus Bach Ensemble, with the Mt. Auburn Quartet, and other groups- to contemporary music, including work with the Cincinnati Composer's guild, premieres of many works, and dedications of new pieces. Dr. Fetherston was featured as soloist in the Dayton Philharmonic's recent recording of William Bolcom's "Daedalus" from Inventing Flight, and her playing and arrangements can be heard on Lyrica's disk, A Crystal Spring. Dr. Fetherston holds degrees from the Peabody Conservatory, the College-Conservatory of the University of Cincinnati, and The Ohio State University. Dr. Fetherston teaches cello privately in Clintonville and serves on the faculty of Ohio Wesleyan University.

Elizabeth Fisher began studying violin at the age of three in Delaware, OH. She spent many years under the direction of Stacy Lemke, and Korine Fujiwara of the Carpe Diem String Quartet. Elizabeth also participated in OMEA All-State and Regional orchestras, Honors Orchestras, and solo competitions. She is currently pursuing a Bachelor's Degree in Music Performance at The Ohio State University, where she studies with Kia-Hui Tan and Leonid Polonsky. Additionally, Elizabeth is a member of the OSU Symphony Orchestra and other small ensembles, including The Scarlatto String Quartet. In the fall of 2011 , she became a co-founder of the quartet, which performed a public recital in June of 2012. The Scarlatto String Quartet plans to hold their second recital this spring. In her free time, Elizabeth enjoys attending local concerts and participating in music groups outside of school.

Danielle Fosler-Lussier, Associate Professor of Music, has taught at OSU since 2003. Educated at the University of Pennsylvania (B .A.), the University of Hamburg (DAAD scholar), and the University of California, Berkeley (M.A., Ph.D.), she spent three years as a postdoctoral fellow at Princeton University's Society of Fellows in the Liberal Arts before coming to Ohio. Her research on music and cold war politics in Eastern and Western Europe and the United States has been supported by an AMS-50 dissertation fellowship as well as fellowships from the American Council of Learned Societies, the International Research and Exchanges Board, and the Eisenhower Foundation. Fosler-Lussier is the author of a book entitled Music Divided: Bart6k's Legacy in Cold War Culture. Her current project, supported in 2011-12 by a Fellowship from the National Endowment for the Humanities, describes U.S. government sponsorship for musical performances abroad during the cold war.

Celeste Johnson Frehner is currently the Associate Professor of Oboe at Oklahoma State University and a member of the Tulsa Symphony Orchestra. She is the president of the Midwest Double Reed Society and travels to South America several times a year as the oboe faculty member of the Colombian Youth Philharmonic. Celeste also performs with the Oklahoma City Philharmonic, Tulsa Opera Orchestra and Tulsa Ballet Orchestra. As a performer, Celeste has appeared with numerous orchestras, festivals, and in competitions around the globe. She has performed in Switzerland, Canada, Colombia, the Isle of Man, and as guest principal oboist of the Russian String Orchestra. She served as principal oboe of the New York String Orchestra with performances in Carnegie Hall, and has received fellowships to attend the Tanglewood Music Center, Aspen Music Festival, Kent/Blossom Music Festival, and the Sarasota Music Festival. Celeste holds degrees from Eastman and the University of Illinois. G G

Dr. Kimberlee Goodman has been on the faculty of Otterbein University in Westerville, Ohio since 2005. She has also taught a course at Ohio State entitled "Navigating a Career in Music" and has taught music appreciation courses for the LifeLong Learners Institute. Dr. Goodman has presented lecture recitals at the College Music Society's international conferences in Seoul (2011), Bangkok (2007), and at a CMS regional conference in Missoula, Montana (2008). Dr. Goodman was the guest artist for the Cleveland Flute Society's Flute Day in 2012. Dr. Goodman holds flute performance degrees from Arizona State (BM) and Ohio State (MM and DMA).

Cody Grabbe is currently a University Distinguished Fellow at Michigan State University, one of that university's most prestigious awards for students at the doctoral level. He currently serves as a graduate assistant for Theodore Oien of the Detroit Symphony Orchestra, with whom he studies. He currently teaches undergraduate majors and minors as well as the clarinet methods course at MSU. He was a student of Eli Eban and Howard Klug at the Indiana University Jacobs School of Music, Michele Gingras at Miami University (OH), and Dr. Caroline Hartig at Michigan State University. In November of 2009, Cody performed Debussy's Premiere Rhapsodie as a winner of the Concerto Competition at Miami University. He has performed in several orchestras in the Midwest, including for the Dayton Ballet's series "New Music for New Dance." He is a founding member of the contemporary music group, Collective Behavior, CoBe, at Michigan State University.

57 PERFORMER BIOGRAPHIES

Casey Grev holds degrees in Music Education and Saxophone Performance from The Ohio State University, where he studied with Jim Hill; and is currently pursuing his Masters at Michigan State University, where he studies with Joe Lulloff and is a University Distinguished Fellow. He is a winner of the Jan and Beattie Wood Concerto Competition at Brevard Music Center and The Ohio State University Concerto Competition. An avid chamber musician; he performs with the Echo Saxophone Quartet, comprised of graduate students at Michigan State University, and in the Protean Duo with saxophonist Michael Torres.

Dr. Ericka Tyner Grodrian is Assistant Professor of Hom and Music Theory at Valparaiso University. A doctoral graduate of Indiana University, she also holds music degrees from the University of Alabama and Converse College. Ericka won her division of the Susan Slaughter Solo Brass Competition at the 2010 International Women's Brass Conference in Toronto. She is excited for her first appearance at the International Hom Symposium this summer, where she will premiere Five Mangled Expressions by David DeBoor Canfield. Dr. Grodrian enjoys frequent chamber music collaborations, and has appeared with numerous orchestras throughout Indiana and the Southeast. H H

Kerry Haberkern is a candidate for the degree of Doctor of Musical Arts. Her previous orchestral appointments include positions with the Baton Rouge Symphony Orchestra and the Niagara Symphony Orchestra. Ms. Haberkern was a resident Artist of the Music and Sound Program at the BanffCentre and has attended the Aspen Music Summer Festival.

Marshall Haddock joined the School of Music faculty at OSU in 1975 as Director of Orchestral Activities. Since its founding in 1980, he has also been Music Director and Conductor of the Opera/Music Theater program. In this capacity he has conducted 47 operas/musicals at OSU. Mr. Haddock began his musical studies on the clarinet, but shifted his emphasis to orchestral conducting under the influence of the German conductor, Kurt Frederick. He later studied conducting with at the Domaine School, with Sir Adrian Soult and at Tanglewood, and with Richard Leri at the American Symphony Orchestra League's Institute for Orchestral Studies. He has also been an active orchestral and chamber music clarinetist, having held Principal Clarinet chairs with the Akron and Canton Symphony Orchestras. He also played with the Santa Fe Opera, the Kentucky Opera, and the Madison Summer Symphony.

Gyuhyun (Katelyn) Han is pursuing DMA degree in violin performance at Ohio State University, where she is studying with Kia-Hui Tan and Leonid Polonsky. Her previous teachers include Kyung Sun Lee and Nam Yun Kim. She holds her violin performance degrees from the Korean National University of Arts (BM, MM, AD). She has won in numerous competitions, such as the Tenth Spring-Autumn Music Competition and Kyungwon university of Music Competition. Also, she has performed with Seoul Philharmonic Orchestra and Sunhwa Orchestra. She has attended International Great Mountains Music Festival, PCMA International Music Festival, Soesterberg International Music Festival, and Saint Petersburg Conservatory Music Festival. Currently, she is working as a GTA and playing as a concertmaster at OSU.

Mary E.M. Harris is Professor of Viola at Miami University in Oxford, Ohio. She was a member of the Oxford String Quartet at Miami from 1988 to 2005. A former member of the Dakota String Quartet and I Musici de , Ms. Harris has also served as principal violist of the New American Chamber Orchestra, touring Europe extensively and performing at the Korsholm, Casals, and other international festivals. Ms. Harris is principal violist of ProMusica Chamber Orchestra in Columbus, Ohio, the Richmond (IN) Symphony Orchestra and formerly served as principal of the Echternach Festival Orchestra in Luxembourg. She currently spends summers performing at the New Hampshire Music Festival and as a member of the Peter Britt Festival in Jacksonville, Oregon. She is a founding member of the flute, viola, harp ensemble COSMOS, a group dedicated to commissioning and performing new works for this combination.

Caroline Hartig is the Associate Professor of Clarinet at OSU. An acclaimed international soloist and recording artist, she has performed throughout the United States, Europe, and Asia in major concert halls including Carnegie Hall, Weill Recital Hall, Merkin Concert Hall, the Fritz Reiner Center for Contemporary Music, Symphony Hall Boston; Tokyo, Munich, Perugia, Italy and Tel Aviv, Israel. She has appeared as a guest artist for the International Clarinet Association and has been heard on National Public Radio's Morning Edition. An advocate for contemporary music, she has premiered works by leading composers including Pulitzer-Prize winners William Bolcom and Donald Martino. Dr. Hartig is in demand as a teacher has been a clinician at the International Midwest Band and Orchestra Conference and has served on the juries of young artist competitions. She was recently elected to the board of directors of the International Clarinet Association. Prior to her appointment at OSU, Hartig served on the faculty at Michigan State University.

Nurturing Capital University's rich choral legacy, Lynda Hasseler, D.M.A., continues to program classic and contemporary a cappella sacred and secular choral literature. Dr. Hasseler travels widely as a clinician, singer, and guest conductor. Choirs under her direction have received numerous invitations to perform for multiple conferences and have toured nationally and internationally. In partnership with Craig Courtney, she was recently appointed co-editor of the new Capital University Choral Series published by Beckenhorst Press. In addition to her work as a conductor, Professor Hasseler has maintained an active singing career. A mezzo-soprano, she has performed, toured and recorded nationally and internationally with professional choral ensembles including the Robert Shaw Festival Chorus and the Oregon Bach Festival Chorus.

A DMA student in flute performance at Ohio State, Rachel Haug serves as principal flute in both the Wind Symphony and the Symphony Orchestra, where she has also played piccolo. Haug received her MM from Ohio State in 2012 and her BA from Luther College in 2010. In 2008, Haug played principal flute with the Symphony Orchestra in the Emmy Award-winning production, Christmas at Luther: Night of Glory, Dawn ofP eace. She has toured with ensembles throughout the United States, Europe, and Japan.

58 PERFORMER BIOGRAPHIES

Caroline Hong received her degrees from the Johns Hopkins University (BM), The Juilliard School (MM), and Indiana University (DM). Prior to OSU, she held appointments of Assistant Professor at Longwood University, and Associate Instructor in both Theory and Piano at Indiana University. She has minors in voice, violoncello, music history, and music education. Critics have praised her for her "expressive and powerful playing" and "formidable technique" (Columbus Dispatch) as well as her "keen sense of lyricism and the classical style" (Richmond Times Dispatch). She has recorded for Mark Records and Fleur de Son. Jn addition to having been appointed the first female piano faculty member in 2005 for the "Piano at Peabody" program where she returns in the summers, she will be on faculty at the Vianden International Chamber Music Festival in August of2013. Other professional affiliations include Steinway Artists, American Liszt Society, and the Columbus Symphony.

Baritone Errik Hood is an active performer and voice teacher. Mr. Hood has performed professionally with Madison Opera, Chautauqua Opera, Opera New Jersey, Cincinnati Opera, Dayton Opera, Cincinnati Chamber Orchestra, and the Dayton Philharmonic Orchestra. Mr. Hood has also performed as a recitalist and concert soloist throughout Ohio and the Greater Chicago Area. Mr. Hood is currently on the faculty at Wright State University (Dayton, OH) and is pursing his DMA at The Ohio State University where he is also a Graduate Teaching Associate. Mr. Hood holds a Bachelor of Music from Wright State University and a Master of Music from the Bienen School of Music at Northwestern University.

Annie Huckaba is currently a student at Capital University studying vocal performance with an emphasis in opera and musical theatre. At Capital she has studied a wide range of styles from musical theatre, to opera, to choral singing to jazz and pop. She spent her last two summers performing at the amusement park Dollywood where she even got to perform with Dolly Parton. She is an active member of Capital University's Chapel Choir and Philomel who are also performing for you today! She is very excited to perform this piece for you, and hopes that you enjoy it! Many thanks to Vera for this great opportunity and for creating such beautiful music!

Dr. Tsun-Hui Hung holds a B.A. in Erhu performance from the Chinese Culture University (Taiwan), a M.Mus. in composition from Ohio University, and a Ph.D. in Cognitive Ethnomusicology from the Ohio State University. She won the Excellence Prize at the National Erhu Competition in Taiwan and has performed numerous times in the National Concert Hall and National Opera House in Taiwan as well as overseas. She is active in both solo and collaborative performances and has played with many major orchestras, including the Taipei Symphony Orchestra and the National Chinese Opera Company. She is currently teaching at the University of Cincinnati College-Conservatory of Music. I I

Michael Ibrahim is a Canadian saxophonist based in West Virginia and New York City. His performances of concertos, recital repertoire, and new music have attracted much attention in North America and Europe. Noted for his "sheer virtuosity and musical intensity" (Calgary Herald), he has performed as a soloist throughout North America, Austria, England, France, Germany, Holland, Italy, and Russia. As a freelance performer at the center of New York City's contemporary classical scene, Ibrahim has worked with Amp Music, Either/Or, Fireworks Ensemble, International Contemporary Ensemble, Manhattan Sinfonietta, PRISM Quartet, Red Light New Music, SEM Ensemble, and Wet Ink. His teachers include Paul Cohen, John Sampen, Claude Delangle, Marcus Weiss, Jeremy Brown, Karen Finnsson, and Chris Jacklin. He is currently on faculty at West Virginia University, where he received the Outstanding Teaching Award for the School of Music in 2010. Ibrahim is a Conn­ Selmer Artist and performs exclusively on Selmer saxophones. J J

Elisabeth Jeremica is currently the Graduate Teaching Associate at the Ohio State University, where she is pursuing a DMA in Cello Performance. She holds a Bachelors of Music from DePaul University School of Music, and a Masters of Music from Pennsylvania State University. Her principal teachers include Stephen Balderston, Kim Cook, Raymond Davis, and most recently, Mark Rudoff. Ms. Jeremica was an inaugural member of the DePaul new music group, Ensemble 20+, and a member of the PSU Grad String Quartet 2010-2012. Recent festivals and workshops include the AAMA Salzburg 2011 , ARIA International Festival 2009, Zephyr International Chamber Music Festival 2008, and Cello Slam in 2008 and 2009. She served as cello and chamber music faculty for the PSU Summer Music Camp 2011-2012. Ms. Jeremica plays a 1928 cello by Wilhelm Otto from Diisseldorf, Germany. For more information, visit www.acellist.com.

Katherine Borst Jones, Professor of Flute, at The Ohio State University since 1985, winner of the Distinguished Teacher award in 1995 and 201 2, and the Distinguished Scholar Award in 2008, she is director of the OSU Flute Troupe with performances at four national (NFA) and four state (OMEA) conventions. She is a founding member and co-principal flutist of the ProMusica Chamber Orchestra, and of the flute, viola, harp trio, COSMOS, a member of the Columbus Symphony Orchestra and principal flute of the New Sousa Band, which has toured Japan, China and the United States extensively. Past-President of the National Flute Association, and recipient of the Distinguished Service Award in 2011 , she has recorded for CRI, d'Note and Summit, including a flute and harp CD, Paradise. She has commissioned composers Libby Larsen, Michael Ruszczynski, Mark DeVoto , Tom Duffy, Tom Wells, Stephen Paulus, Dale Warland and Rudolfo Bubalo, among others.

Quinton Jones received his undergraduate education from Capital University, with assistance from the Liszt Academy in Budapest, Hungary and he is currently working on his Masters of Music at The Ohio State University. A classically trained pianist, who found the constraints of tonality early on, Jones sought to break free. This searching created the desire for immortality and when asked about this desire Jones responded: "A well-written piece of music, just like a painting standing the test of time, or a literary classic, will be immortal. While our lives are short, in the grand scheme of the universe, art allows a human to transcend their physical death. When someone listens to the passion in Beethoven, the laughter in Mozart, the reverence of Bach, or even the mystery of Ives, those lives are brought back into the world. It is their immortality that inspires and illuminates the path to true life after death."

59 PERFORMER BIOGRAPHIES

Scott A. Jones is Associate Professor of Music and Associate Director of University Bands at OSU. In addition to conducting Symphonic Band, he also leads the undergraduate conducting curriculum. Prior to joining the OSU faculty, Dr. Jones served as Director of Bands at Concordia College (Moorhead, MN). He also garnered 15 years of teaching experience in the public schools of Apple Valley, MN and Ashville, OH. Dr. Jones was named "Music Educator of the Year" by the Minnesota Music Educators Association, and was one of three school band conductors from the United States selected to participate in the National Band Association International Conducting Symposium in Rome, Italy. His guest engagements regularly include All-State Bands and Honor Bands, as well as international engagements throughout Asia. K K

Pianist Mariko Kaneda holds degrees from the Paris Conservatoire, Mannes School of Music, and the Graduate Center, C.U.N.Y. She has won prizes at the Montreal International Piano Competition, the Maria Canals International Piano Competition, and the European Piano Competition in Luxembourg. As a regular guest artist at OSU's contemporary music festivals, she performed the U.S. premiere of the Krzysztof Penderecki's Piano Sextet in 2002. As an active chamber musician, she has collaborated with violinist Aaron Rosand; with cellists Janos Starker, Bernard Greenhouse; violist Paul Neubauer among others. She is a mamber of the Lighthouse Chamber Players which performs every summer in Cape Cod. She resides in Columbus with her husband David Niwa, assistant concertmaster of the Columbus Symphony. They play in the Canaletto Ensemble on the Sunday at Central chamber music recital series in Columbus. She is currently on the faculty at Ohio Wesleyan University.

Natasa Kaurin-Karaca is an Adjunct Professor at Oklahoma State University. She teaches Aural Skills, Class Piano, and Music Appreciation. Before joining OSU Natasa worked as an Artist in Residence for Greater Columbus Arts Council and taught choral programs at the elementary, high school and college levels in Bosnia and United States. As a promoter of chamber music, Natasa led "Frontiers" - the ensemble for new music at Oklahoma State University. Currently, she is a music director of Stillwater Chamber Singers, an auditioned group of highly devoted singers from Oklahoma. Natasa received her Bachelor of Music degree in Music Theory and Education from University of Novi Sad, Serbia, and her Masters of Music degree from The Ohio State University under the tutelage of Dr. Hilary Apfelstadt. She has been teaching at Oklahoma State University since 2006.

Turkish cellist, Ezgi Karakus began her cello education at the age of eleven with Prof. Caglayan Una! Sumer, and attended Dokuz Eylul University State Conservatory in her native Izmir, Turkey. While attending the conservatory she thrice won the concerto competition three, and before arriving in the U.S., performed with Youngenc Philharmonic Orchestra in Bremen, Germany. Ezgi completed her Mast of Arts at Marshall University where she was awarded first prize in the Jackson Balshaw Competition, and the Marshall University Concerto Competition. She is a student of Dr. SOien Dikener.

Originally from Los Angeles, California, Daniel Kozlowski studied Percussion and Music Theory at Belmont University in Nashville, TN; he is currently pursuing his Master's degree at OSU, studying under Dr. Susan Powell and Mr. Joseph Krygier while serving as a Teaching Assistant in the Theory department. He has been a student at the Eastern Music Festival under the batons of Gerard Schwarz and Jose-Luis Novo. In Nashville, Dan performed multiple times with the Nashville Ballet, premiering Mark Volker's ballet The Diary ofAnne Frank. An advocate of new music, Dan has commissioned multiple works from innovative young composers and was a founding member of Nashville's PULSE [new music ensemble], an ensemble committed to living composers. As a member of the OSU Percussion Ensemble during Drums Downtown IX, he worked with Pulitzer Prize winning composer , culminating in performances of Tehillim (I + II) and Drumming with the composer in residence.

Violist Laura Krentzman completed her undergraduate studies at the New England Conservatory of Music in Boston and graduate studies at the University of North Texas, where she studied with Carol Rodland and Susan Dubois. While at the University of North Texas, Laura studied Baroque viola performance with Cynthia Roberts and was principal viola of the Collegium Musicum. Laura also has her Graduate Performance Certificate from the Hartt School. Laura has performed in masterclasses with Kim Kashkashian, Wil fried Strehle, Helen Callus and Michelle Lacourse and has worked with Lawrence Dutton of the Emerson Quartet and Danny Seiden berg of the Turtle Island Quartet. In 2004, she was a soloist with the Hartford Symphony and in 2008 with the University of North Texas Collegium Musicum. Laura is also an active proponent of new music. Laura plays with the Westmoreland Symphony, New Haven Symphony, Hartford Symphony, Waterbury Symphony and is principal viola of the Hartford Independent Chamber Orchestra.

Joseph Krygier is currently Music Coordinator and percussion accompanist with the internationally recognized OSU Department of Dance where he plays hand percussion and drum set for modem and African dance classes. Krygier is also a percussion accompanist with Columbus' premier professional dance company, BalletMet. Additionally, he has worked as a dance accompanist at the lnterlochen Center for the Arts Summer Camp and at Ohio Wesleyan University. A sought-after composer for dance in the Columbus area, Krygier has composed numerous scores for modem dance performance, in addition to a full 90-minute length work. In addition to his duties with the OSU Department of Dance, Krygier serves as a Lecturer in Percussion Studies at The Ohio State University, where he co-directs the award-winning OSU Percussion Ensemble, and teaches classes in equipment repair and hand drumming. He received his undergraduate degree from the Eastman School of Music and his Masters degree in performance from Northwestern University.

60 PERFORMER BIOGRAPHIES

Katie Kuvin is currently pursuing a Master's degree in Flute Performance at The Ohio State University. She recently graduated magna cum laude from OSU with dual undergraduate degrees in Flute Performance and Choral Music Education. She has served as the piccolo player for the Wind Symphony and the Symphony Orchestra. As a member of the Wind Symphony at OSU, she has collaborated with leading contemporary composers Joseph Schwantner, Steven Bryant, Michael Gilbertson, and John Mackey in performances of their works for wind band. As a flutist, she has performed in masterclasses for Marina Piccinini, Chris Norman, Loma McGhee, and Nancy Hadden. Katie is also the co-founder and flutist of synclduo, a flute and percussion ensemble from Columbus, Ohio (with percussionist Daniel Kozlowski). Passionate about new music, synclduo is dedicated to discovering lesser known works for flute and percussion while commissioning innovative composers to expand the repertoire for this instrumentation. L L

Andrew Lawrence is currently pursuing a MM in Wind Conducting at The Ohio State University, where he is co-director of the University Band and a frequent guest conductor with OSU ensembles. Prior to graduate school, he previously taught at Brass Castle Elementary School in Washington, New Jersey, serving as their instrumental director. Additionally, he served as Music Director of the Hackettstown Community Band out of Hackettstown, New Jersey, a position he held for three years. A 2008 graduate of Ithaca College, Andrew is an active performer and educator on saxophone.

Timothy Leasure received his BM from Ohio University in 1990 and his MM from The Ohio State University in 1993. Following post-Master's work at OSU, he joined the United States Navy Band in Washington, DC. While a member of the Navy Band, he was chosen as the 1997 National Tour soloist, and as a featured soloist in the band's concerts in Stockholm, Sweden. He has served as principal trumpet of the Springfield (OH) Symphony during its 1994-95 season, and as second trumpet in the ProMusica Chamber Orchestra of Columbus from 1992 to 1995. He is currently second trumpet in the ProMusica Chamber Orchestra of Columbus. In 2001, he was awarded the Distinguished Alumni Award from Ohio University in Athens, Ohio. Mr. Leasure was also the recipient of the 2004 Distinguished Teaching Award at the OSU School of Music and was recently made an honorary member of Phi Mu Alpha Sinfonia.

Stephen Lilly is an internationally performed composer, a published theorist, and a performer of new music. After completing an advanced degree in composition (OMA, University of Maryland), he spent a year studying at the Institute of Sonology in the Hague. Most of his work is scored for chamber ensembles, often including signal processing or computer generated sounds. An in-depth look at his approach to computer programming was recently published in Organised Sound 13: I (the accompanying DVD includes Lilly's statics: convergence). Lilly currently teaches digital audio production at the Art Institute of Washington.

Hailing from Cincinnati, Ohio, Garrett Lefkowitz is currently pursuing his Master's in Clarinet Performance. Mr. Lefkowitz is a graduate of Albion College, where he earned a Bachelor of Arts in Music Performance and Political Science. During his undergraduate career he served as principal clarinet of the Albion College Symphonic Band and Symphony Orchestra as well as clarinetist in the Albion College Woodwind Quintet. He was selected to perform with the Michigan Small College Intercollegiate band three times and participated in the MidAmerica Productions National Collegiate Wind Ensemble which performed in Carnegie Hall. At Ohio State he is currently plays bass clarinet for the OSU Wind Symphony, Symphony Orchestra, and the "Bel Canto" Clarinet Quartet. Mr. Lefkowitz currently studies with Dr. Caroline Hartig, and has previously studied with Mr. James Pyne, Dr. Meghan Merciers, and Dr. Christopher Kirkpatrick.

Dr. Jeffrey Loeffert is the Assistant Professor of Saxophone and Theory at Oklahoma State University. Loeffert graduated Summa Cum Laude from Northwestern University with a Bachelor of Music double major in Saxophone Performance and Jazz Studies. A Frank Huntington Beebe Scholar, Loeffert studied in Paris at the Conservatoire National de Region - Cergy-Pontoise where he received the Medalle d'Or Unanimite and the Conservatoire National de Region - Boulogne-Billancourt where he received the diploma Cycle d'Orientation Professionnel. Loeffert completed graduate studies at Michigan State University (MSU) as the recipient of a University Distinguished Fellowship. He received a MM degree in Saxophone Performance a MM degree in Music Theory Pedagogy, and a OMA degree in Performance from MSU. M M

Specializing in contemporary music, pianist Ashlee Mack performs solo and chamber music with new-music organizations such as the Society for Chromatic Art, Vox Novus, New Music Forum, and the Iowa Composers Forum. She has given recitals across the United States, Germany, and Italy. Mack's performances of Odds and Ends by Robert Morris and For Milton by Christian Carey are featured on a Milton Babbitt memorial CD published by Perspectives of New Music/Open Space. Her recording of James Romig's Transparencies was recently released on Navona Records. She is currently the Coordinator of Piano Instruction at Knox College in Galesburg, Illinois.

Violinist Dorothy Martirano has performed in North, Central and South America, Europe and Asia, and most recently in Thailand, Italy, and France. She enjoys playing alternate styles, and specializes in contemporary music and improvisation, especially with dancers, and has premiered many new works for violin. She toured and recorded during the 1980s and early 90s with Composer/Performer/Inventor Salvatore Martirano, doing solo performances of music composed for her, and duos with "Four not Two" a composing/performing interactive computer/MIDI synthesizer system for improvisation. She has performed and recorded with the Tone-Road Ramblers, the Cal Arts Contemporary Chamber Players, and the University of Chicago Contemporary Chamber Players. She was concertmaster of the Champaign-Urbana Symphony Orchestra for 21 years, and has performed with the Springfield Symphony, the Illinois Chamber Orchestra, Sinfonia da Camera, and the Prairie Ensemble. Recordings on Centaur, Polydor, New World Records, Hal Leonard, Paramount Pictures, Einstein Records, CUCD, and Pogo Studios.

61 PERFORMER BIOGRAPHIES

John McMurtery is Assistant Professor of Flute at Western Illinois University and section flutist with the New York City Opera Orchestra. He regularly performs with the Metropolitan Opera Orchestra and New Jersey Symphony, and has served as acting piccoloist with the Oregon Symphony. Appearances as soloist include the Artemis Chamber Ensemble, Manhattan Chamber Orchestra, New York Symphonic Ensemble, New Jersey Flute Society, and the Flute Society of St. Louis. He has recorded for Naxos and Pentatone. McMurtery has taught at the University of Nevada Las Vegas and Westminster Conservatory, and is past president of the New York Flute Club. He earned his D.M.A. from The Juilliard School, M.M. from Rutgers University, and B.M. from Central Washington University.

Juan Mendoza is in his third year of study toward completing his Doctor of Musical Arts degree in Percussion Performance. He received his BM and MM in Percussion Performance from the University of Texas-San Antonio and Belmont University. He currently serves as an adjunct professor at Ohio Christian University. Juan has performed with the San Antonio Symphony, San Antonio Opera, Mid-Texas Symphony, San Antonio Wind Symphony, Nashville Ballet, Laredo Philharmonic Orchestra, and Westerville Symphony.

Tanya Mewongukote is an international student from Bangkok, Thailand. She holds a Bachelor of Arts (I st Class Honors) in Clarinet performance from Chulalongkorn University, Bangkok, Thailand along with Master of Music from Portland State University, Portland, Oregon. She is currently a doctoral student at The Ohio State University under the tutelage of Dr. Caroline Hartig. Tanya has played with several orchestras in Bangkok where she had an opportunity to perform for members of the Thai royal family many times. She was a member of Chu\alongkorn University Symphony Orchestra, Siam Philharmonic Orchestra, South-East Asian Youth Orchestra, Bangkok Opera Orchestra and Portland State University Orchestra. Tanya also studied in the master classes with James Campbell, Sean Osborne, Joze Kotar and Franklin Cohen.

Jay Miglia joined the Black Swamp Saxophone Quartet in 1995, the same year he began a long association with the Famous Jazz Orchestra and the Columbus Jazz Orchestra. Jay has appeared with the Columbus, Newark-Granville and Lancaster Festival Symphony Orchestras and is a regular member of the Ohio Capital Winds, appearing on their 2009 recording, Men of Ohio; the Music of Henry Fillmore. Jay has been teaching at colleges around the Midwest since graduating from the University of North Texas in 1995. He currently serves as Saxophone Instructor and Jazz Studies Coordinator at Otterbein University, a position he has held since 2006.

Dr. Russel C. Mikkelson serves as Director of University Bands and Professor of Music at OSU, where he conducts the Wind Symphony, chairs the graduate conducting program, and oversees all aspects of the university's band program. Under his direction, the OSU Wind Symphony has performed at the 2003 College Band Directors National Association Convention, the 2001, 2004, 2006 and 2008 Ohio Music Educators Association Conventions, and has recorded five CDs. Director of the OSU Contemporary Music Festival and a staunch advocate for the creation of new works, Mikkelson also serves on the American Bandmasters Association Commissioning Committee and has instituted a program of regular commissioning projects for the OSU Bands. Dr. Mikkelson is Past President of the Big Ten Band Directors Association, a member of the College Band Directors National Association, MENC, Phi Mu Alpha Sinfonia, Phi Beta Mu, and is an elected member of the American Bandmasters Association.

Wes Miller holds a Bachelor's Degree in Saxophone Performance from Bowling Green State University where he was a student of Dr. John Sampen. He has performed with the Tulsa Philharmonic, Adrian Symphony, Toledo Symphony, Toledo Concert Band, Columbus Symphony, the United States Navy Band Woodwind Quintet, University of Kentucky Orchestra, Bowling Green Philharmonia, the Lexington Philharmonic and the Lancaster Festival Orchestra. As a member of the Black Swamp Saxophone Quartet he was first prize winner at the 1992 Fischoff Chamber Music Competition. Currently he performs in the Black Swamp Saxophone Quartet and is one of the owners of Columbus Music Academy Ltd.

After a 24-year career in The Air Force Band in Washington, DC, cellist Chris Moehlenkamp decided to return to school, and is in his first year of the Master of Music Degree program at OSU. While in the Air Force, he served as principal cellist of the Air Force Symphony Orchestra and Concert Band. He was also a member of the Strolling Strings and the Air Force String Quartet. Prior to his service in the Air Force, he served as principal cellist with the Knoxville (TN) Symphony Orchestra and has also performed with the Cincinnati Symphony, Dayton Philharmonic and the North Carolina Symphony. Chris grew up in Lynchburg, Virginia, and is a graduate of the Cincinnati College-Conservatory of Music where he studied with , Lee Fiser, and Peter Wiley.

Katie Morell is a native of Dunmore, Pennsylvania and has been playing the clarinet for seventeen years. She received a Bachelor of Science degree in Music Education and a Clarinet Performance Certificate from The Pennsylvania State University. She received her Master of Music in clarinet performance and is pursuing a Doctor of Musical Arts in clarinet performance at The Ohio State University. She a Graduate Teaching Associate for the clarinet studio and in music education assisting in Woodwind Techniques. Her primary teachers have included Smith Toulson, Dr. Anthony Costa, James Pyne, and Dr. Caroline Hartig. Katie resides in Columbus, Ohio with her dwarf hamster Audrey.

Ryan Muncy is a performer, curator, educator, and arts entrepreneur dedicated to contemporary music. He is the executive director of Ensemble Dal Niente, a Chicago-based contemporary music ensemble and non-profit arts organization, a founding member of Anubis Quartet, and has given world premieres of over 100 new works for saxophone. He has performed and/or recorded with the International Contemporary Ensemble (ICE), Ta\ea Ensemble, Grant Park Symphony and has appeared as a featured performer at the Internationale Ferienkurse fur Neue Musik Darmstadt. Ryan holds degrees from Ball State University, where he studied with saxophonist George Wolfe and clarinetist Caroline Hartig, as well as Bowling Green State University, where he was teaching assistant to John Sampen. As a 2003-04 Fulbright Grantee in France, Ryan studied with Jean-Yves Fourmeau, and continued studies in France as a 2006-07 recipient of the Harriet Hale Woolley Award. Ryan earned his DMA from Northwestern University in 2012 where he studied under Frederick Hemke.

62 PERFORMER BIOGRAPHIES

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Jeanne Norton has been principal harpist and soloist with the ProMusica Chamber Orchestra of Columbus since 1979. She is founder and director of HarpOhio performing ensemble for pre-college students and is Lecturer in Harp at OSU. In 1985 she served as national conference chair for the American Harp Society Salzedo Centennial Celebration. A graduate of the Cleveland Institute of Music, she studied with Alice Chalifoux and with Marjorie Tyre of the Philadelphia Orchestra and the Metropolitan Opera and Anna Bukay of the Cincinnati Symphony. She has been principal harpist and soloist with the Florida Symphony Orchestra and the American Festival Orchestra, Salemo, Italy. Ms. Norton appears regularly as recitalist and soloist in Ohio, and has performed with the orchestras of Columbus, Atlanta, Wheeling, Charleston, Akron, Canton, Naples-Marco Island and the Lancaster and Cincinnati May Festivals. Ms. Norton travels and performs frequently with COSMOS, trio for flute, viola, and harp. 0 0

The flagship ensemble of the OSU mixed choirs, The Ohio State University Chorale conducted by Dr. Robert J. Ward, is a 48-member select ensemble that is open by competitive audition to all OSU students. The Chorale sings a variety of distinctive choral literature with frequent solo opportunities. They perform on campus and in the community, occasionally touring. The Chorale sang at the Lucerne International Choral Festival in Switzerland in July 2008.

The Ohio State University Band Program has a rich history that extends back to humble beginnings in 1878. During its more than 130-year history, OSU Bands have earned an enviable reputation for artistic excellence in regional, national, and international venues. The Ohio State University Symphonic Band has contributed to that reputation through performances for the College Band Directors National Association, Ohio Music Education Association, the OSU Contemporary Music Festival, regional touring, and through its recordings of new wind literature for Ludwig Music and the Boosey and Hawkes Windependence Series. The sixty instrumentalists who comprise the Symphonic Band perform four campus concerts each year and, since 1990, has premiered eleven new works for concert band. Students in the band have had the opportunity to work with such notable conductors and composers as Frederick Fennell, Frank Ticheli, H. Robert Reynolds, Gunther Schuller, Jennifer Higdon, John P. Paynter, Steven Bryant, David Gillingham, Daniel Bukvich, Nancy Galbraith, Jonathan Newman, Col. Timothy Foley, John Mackey, Elizabeth Green, Roger Cichy, and Warren Benson.

Conducted by Dr. Russel C. Mikkelson, The Ohio State University Wind Symphony is widely recognized as one of the country's elite wind bands. Committed to the creation of new music for winds, this ensemble has commissioned music by composers including Frank Ticheli, William Bolcom, Aaron Jay Kemis, David Maslanka, Eric Stokes, John Mackey, Steven Bryant, Carter Pann, Michael Gilbertson, Johan DeMeij, Dan Welcher, David Gillingham, John Stevens, Donald Crockett, Daniel Godfrey, Charles Rochester Young and many others. One of the goals of the Wind Symphony is to provide students opportunity to interact with some of the leading composers and musical minds of our time. Visitors have included such notable musicians as John Corigliano, , Krzysztof Penderecki, Gunther Schuller, Joseph Schwantner, Jennifer Higdon, Frank Ticheli, Augusta Read Thomas, John Mackey, John Stevens, Steven Bryant, David Gillingham, and Percy Grainger biographer John Bird.

Juan Carlos Ortega holds Bachelor's and Master's degrees in Violin Performance from the University of Louisville, and a DMA degree from The Ohio State University. He also holds a music degree from the National Conservatory of Music of his native city Quito in Ecuador. He has performed as a soloist with several orchestras and has served as concertmaster of the OSU, the National Conservatory of Music, and the Quito Philharmonic Symphony Orchestras. Honors from competitions include awards from the National Symphony Orchestra of Ecuador Young Soloist Competition (1996 and 1998), and the first prize in the Macauley Chamber Music Competition College Division (2006). Juan Carlos served as the violin GTA of Prof. Kia-Hui Tan at the OSU Music School for three years. Currently, he teaches for the Jefferson Academy of Music at OSU. His teachers include Kia-Hui Tan, Patrick Rafferty, Peter McHugh, Gustavo Guifiez, and Tadashi Maeda.

Todd Oxford is active internationally as a soloist in Europe, Asia, Mexico, Canada, and in the United States. Recent engagements include New York Debuts, European appearances at the 14th World Saxophone Congress, and a tour of Germany. Asian appearances include two tours of the People's Republic of China, tours of Thailand and Indonesia. He has toured as a performing artist on the rosters of Columbia Artists Management, C & C Arts Management, the Texas Touring Artists of the Texas Commission on the Arts, and Arts Mid-West. Mr. Oxford's professional awards include two consecutive New York Debut Awards, Dallas Concerto Competition First Prize, Coleman Chamber Music Competition Finalist, San Antonio Express News's Best of 2006-Classical Music, Who's Who in America, Who's Who in the World, and selection as an Outstanding Young Man of America. He received DMA at The University of Texas in 2001 and is currently Assistant Professor of Saxophone and Chamber Music at the Texas State University. p p

Leonid Polonsky's musical career began in his native city of Moscow where he received his training at the Special Music School for Gifted Children and the Gnessin Music Institute.Mr.Polonsky has served as Assistant Concertmaster of the Moscow Philharmonic and Concertmaster of the Moscow State Orchestra.He was a soloist with internationally acclaimed "Moscow Virtuosi" Chamber Orchestra. In 1990, he immigrated to the United States and currently is Acting Concertmaster with the Columbus Symphony Orchestra.

63 PERFORMER BIOGRAPHIES

Susan Powell is currently Associate Professor and Director of Percussion Studies at OSU. She received the Bachelor of Music Degree from the Eastman School of Music, and both the Master of Music and Doctor of Music degrees from Northwestern University. She has appeared at both the Leigh Howard Stevens Summer Marimba Seminar and the Northwestern Summer Keyboard Seminar as performer and clinician, and has presented sessions at several OMEA conferences as well as the Midwest Clinic. She has also performed with the Pendulum Duo in Sweden, Lithuania, Czech Republic and has upcoming invitations in Poland and Mexico. In the spring of 2006 Powell was named one of ten recipients university-wide of the OSU Alumni Award for Distinguished Teaching, and also honored as the 2003 School of Music Distinguished Teacher. She is an active composer of works for percussion, and is a performing artist for malletech keyboard instruments and an educational endorser for Zildjian and Grover Pro Percussion. R R

Kora Radella, artistic director of Double-Edge Dance, is an Assistant Professor of Dance at Kenyon College. Radella holds a B.F.A. and M.F.A. from the University of Illinois at Urbana-Champaign and a two-year advanced diploma from the School for New Dance Development (SNDO) in Amsterdam, The Netherlands. Radella has received numerous choreographic grants and was honored with the Ineke Sluiter Prize for choreography in Amsterdam. Radella's work has been performed throughout the USA, and in Europe including performances in Aberdeen, Amsterdam, Basel, Barcelona, , and London. Since moving to Ohio, her work has been featured multiple times at the Ingenuity Festival, Playhouse Square in Cleveland as well as in Akron, Athens, Columbus, and Kent. Recent performances include the Chen Dance Center and Triskelion in New York City, and at the Kennedy Center, at the 2012 National College Dance Festival.

Courtney Renner, a native of Montana, is a junior at The Ohio State University studying music performance. She began piano lessons at an early age and by middle school started taking viola lessons as well. Courtney and her family regularly attended the Bozeman Symphony where she first heard the viola and fell in love with its rich, dark tone. In high school, Courtney began playing with the Bozeman Symphony and was sitting as assistant principal by her last season with them. Before she left for college at the University of Northern Colorado, Courtney had also performed with the Helena Symphony and the Montana State University Orchestra on several occasions. After completing two years of schooling at UNC, Courtney transferred to OSU to finish her degree in viola performance. Courtney performs regularly throughout Columbus and is currently a part of the Central Ohio Symphony.

David Robinson is currently a Sophomore at Ohio State University studying Clarinet Performance for his Bachelor's degree. he has been playing for approximately 8.5 years, and since that time has added Piano to his instrumentation. Although this is David's second year as a performance major, this is his first year at OSU. David transferred from Texas State in order to study with Dr. Caroline Hartig upon suggestion from his previous instructor Dr. David Pino. While in High School, he was fortunate to have the opportunity to perform as a guest soloist with the Austin Symphony Orchestra after winning their Austin Youth Concerto Competition. David's future ambitions include performance opportunities as a soloist as well as becoming the principle clarinetist of a professional symphony orchestra.

Alissa Ruth is in her Junior year at Capital University studying Vocal Music Education. Her most recent roles at Capital include Olive in The 25th Annual Putnam County Spelling Bee and Gianetta in The Gondoliers (the latter of which will be performed this March). She is an active member of the Capital University Chapel Choir and Philomel, as well as several other organizations on campus, including ACDA, OCMEA, Student Government, and Sigma Alpha Iota. She would like to thank Vera Stanojevic for this wonderful opportunity to sing such beautiful music. s s

Ramsey Sadaka is a third year music student and undergraduate theory assistant at The Ohio State University. Currently, he takes lessons in cello performance with Professor Mark Rudoff, and composition lessons with Professor Thomas Wells. In the past, he has studied cello with Richard Bell and composition with Dr. Jan Radzynski, Dr. Marc Ainger, and Donald Harris. The second movement of his first string quartet was featured in the New American Music Project, a collaboration between the Chamber Music Connection and the Columbus Children's Choir, to produce fine works by American composers. Other honors include his Prelude and Scherzo for Viola, Cello, and Double Bass being selected for performance at the 2012 SCI Student National Convention, as well as receiving the 2012 Marilyn and Donald Harris Award in Composition. Ramsey plans to pursue degrees in cello performance and composition.

Violinist Jana Vander Schaaf Ross is a new arrival to the Columbus area. Since moving to Westerville in August, she has become an Associate Musician with the Columbus Symphony. Ross has also performed with the Westerville, New Albany, and Ohio Valley Symphonies. While residing in Virginia, Ross served as concertmaster of Opera on the James and principal second violin of the Roanoke Symphony Orchestra and Opera Roanoke. Prior to that she was a tenured member of the Colorado Symphony Orchestra in Denver. As the violinist of the James Piano Quartet, she performs with pianist and husband Nick Ross, Director of Keyboard Studies at Otterbein University. Ross holds a bachelor and masters degree in violin performance from Oberlin Conservatory and Rice University, respectively. This summer she will return for her tenth season to perform and teach at the Wintergreen Summer Music Festival and Academy.

64 PERFORMER BIOGRAPHIES

Dr. Ricardo A. Coelho de Souza is a visiting instructor in world music and percussion at the University of Oklahoma. Ricardo holds a performer's certificate from the Carlos Gomes Conservatory, Bachelor and Master degrees from the University of Missouri, and a DMA from OU. Ricardo was a recipient of the BM! Student Composer Award in 1999 and at OU he received the Ronald J. Dyer Award in percussion, the Michael Hennagin Memorial Scholarship in composition, the Sutton Award in chamber music, and the Gail Boyd de Stwolinski Award for meritorious scholarship and musical performance achievements. Ricardo has been featured at the Percussive Arts Society International Convention, the Texas Christian University Latin American Arts Festival, and The International Music Festival of Para in Brazil. He has commissioned or premiered more than 25 works with percussion. Ricardo is actively engaged in composing and playing with various ensembles including the Duo Avanzando with clarinetist David Carter.

Lane Summerlin is a native of Greensboro, NC. He is in his second year of studies at OSU, perusing a MM. Lane holds a BM from the University of North Carolina at Greensboro. For several years Lane has been involved with drum corps across the country, aging out of DCI in 2010 with the Bluecoats Drum and Bugle Corps (Canton, OH). He was also a member of the 2011 Winter Guard International World Champions, Music City Mystique (Nashville, TN). Last summer, Lane taught at the Troopers Drum and Bugle Corps (Casper, WY).

Pianist Maria Staeblein joined the Ohio State University School of Music in 2009 as a faculty member in collaborative piano. An active chamber musician and soloist, she has played numerous performances throughout Europe, the US and Canada, and has made CD recordings for Vienna Modem Masters and Albany Records. She won first prize at the International Competition of the 33rd European Music Festival, and received prizes and awards at national and international competitions including the International Piano Competition Citta di Senigallia, Italy. Maria Staeblein studied with Erich Appel at the Meistersinger Conservatory in Nuremberg, Germany, and with Arie Vardi at the Academy for Music and Theatre in Hannover, Germany. In addition, she studied with Gyiirgy Sebiik, Leon Fleisher, Lev Naumov, and Hans Leygraf.

Steve Stusek, saxophone, is Associate Professor of Music at the University of North Carolina Greensboro, where he is a member of the Eastwind Quintette d'Anches and the Red Clay Saxophone Quartet. He received his Bachelor's degree in saxophone performance from Indiana University. Before beginning a Master's degree in saxophone and chamber music at Arizona State University, Steve spent a year in Paris studying at the Paris Conservatory and the Conservatoire de le Region de Paris, where he was awarded the Prix d'Or a l'Unanimite in Saxophone Performance. After living in the Netherlands for almost eight years he returned to Indiana University and was awarded a DMA in Saxophone in 2001. He has served on the faculties of Ball State University, Middlebury College, the Cincinnati Conservatory of Music. Steve's teachers have included Eugene Rousseau, Joseph Wytko, David Baker, Larry Teal, Daniel Deffayet, Jean-Yves Formeau, and Leroy Wolter. Steve is the Past-President of the North American Saxophone Alliance.

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Anthony Taylor, clarinet, has been on the faculty of the University of North Carolina School of Music, Theatre and Dance and Principal Clarinet of the Winston-Salem Symphony since 2007, and on the faculty of the Hot Springs Music Festival since 2008. He has formerly held positions with the Spokane Symphony, the Boise Philharmonic, Washington State University, Eastern Washington University, and Whitman College. Upcoming performances include an appearance on New Year's Eve as jazz clarinet soloist with the Winston-Salem Symphony, guest recitals in Texas, including the University of Texas at Austin, and a performance of the Mozart at the Hot Springs Music Festival in June, 2012. Taylor holds degrees from the University of Cincinnati College-Conservatory of Music, the Florida State University and Washington State University. His former teachers include Steve Cohen, Ron Aufmann, Richard Hawkins, Frank Kowalsky, Jim Schoepflin, and Joseph Brooks.

Stephanie Titus holds a Bachelor of Music degree with honors in Piano Performance from the University of South Carolina, a Master of Music degree in Piano Performance and Literature as well as a Master of Arts degree in Pedagogy of Theory from the Eastman School of Music. She currently studies with Thomas Rosenkranz at Bowling Green State University while pursuing a Doctor of Musical Arts degree in Contemporary Music with specialization in performance. Her previous instructors include Chiu-ling Lin, Marina Lomazov, and Barry Snyder. Ms. Titus is a passionate performer of standard solo piano repertoire with an avid interest in contemporary music. Her recent repertoire includes Berio's Sequenza IV, Takemitsu'sRain Tree Sketch II, and Boulez's Incises. She is frequently sought to perform newly composed works for solo piano and chamber works, as well as commissioning pieces with Fracas quartet (saxophone, electric guitar, piano, and percussion).

Dr. Erin Helgeson Torres freelances with several Ohio symphonies, including as a substitute Principal Flutist of the Central Ohio Symphony and as substitute with Columbus, Springfield, Westerville and Lima Symphonies. She performed with the WASBE International Orchestra and the Austrian American Mozart Academy and has won the Women in Music Columbus, COFA Young Artist, OSU Concerto and NFA Masterclass Competitions. She also was a finalist in both the Kentucky Orchestral and YA Competitions and the Midatlantic YA Competition. She conducted her document research in France through a National SAT Career Grant and earned her Doctorate at Ohio State in 2012. Erin is currently working towards an Artist Diploma at the University of Cincinnati, College-Conservatory of Music and is looking forward to competing in March as a semi-finalist for the William C. Byrd Young Artist Competition. For more information about Dr. Torres, visit her website: www.erinhelgesontorres.weebly.com.

65 PERFORMER BIOGRAPHIES

Dr. Michael Rene Torres is currently on faculty at Muskingum University where he serves as Lecturer of Saxophone and Composition. He is also an Assistant Dean of Student Life at the Brevard Music Center Institute and Festival and is the Co-Editor of the Society of Composers, Inc. Newsletter. Dr. Torres is an award winning performer, composer, and educator and has served as the Assistant Event Coordinator for The Ohio State University Contemporary Music Festival since 2010. Michael completed a Doctorate in Saxophone Performance at The Ohio State University in 2012 and in 2006 he earned a Masters Degree in Saxophone Performance at Northwestern University. Prior to this he received a Bachelor Degree in Music Education from Stetson University and is currently pursuing a second Masters Degree in Composition at The Ohio State University. For more information about Dr. Torres, visit his website: www.michaelrenetorres.weebly.com.

The Tower Duo is a flute and saxophone ensemble that is dedicated to sharing the importance of the arts through chamber music with communities throughout the United States. The ensemble also has a special interest in performing and premiering contemporary works to expand the repertoire of this unique instrumentation. The Tower Duo's members, flutist, Dr. Erin Helgeson Torres and saxophonist, Dr. Michael Rene Torres, are both award winning performers. Recent engagements have included performances at the 35th International U.S. Navy Band Saxophone Symposium at George Mason University, the 2011 Wright State University Saxophone Festival, the Southern Theatre in Columbus, the Brevard Music Center, The Ohio State University, Muskingum University, and the Columbus Museum of Art. For more information about the Tower Duo, visit their website (www.towerduo.weebly.com) and facebook page (www.facebook.com/thetowerduo). w w

Robert J. Ward serves as Director of Choral Activities at OSU where he conducts the Men's Glee Club and Chorale. He also teaches courses in graduate courses in conducting and choral literature. Prior to his appointment at OSU, Dr. Ward was for sixteen years a member of the music faculty at Oklahoma State University. He has been honored with invitations to present concerts and lectures for National ACDA, National Collegiate Choral Organization. North Central Division ACDA, Central Division ACDA, International Kodaly Educators, Organization of American Kodaly Educators, Texas Music Educators Association, Texas Choral Directors Association, as well as Oklahoma, Kansas, Missouri, Mississippi, Ohio, Utah, Arkansas, Louisiana, and West Virginia Choral Directors Associations. He is currently the editor of a children's choral music series and a men's choral series published by Santa Barbara Music Publishers. He holds the Doctor of Musical Arts degree from Michigan State University.

David Wegehaupt is a saxophonist passionate about the promotion and development of contemporary music. As a soloist and chamber musician, David has been active in commissioning and performing new music for saxophone. A founding member of Anubis Quaret, David has also worked with International Contemporary Ensemble (ICE), Chicago Lyric Opera orchestra, Eco Ensemble (Berkeley, CA), and more. In April 2010, David performed the North American premiere of Bruno Mantovani's saxophone concerto Troisieme Round. In March 2011, David performed the North American premiere of Philippe Leroux's concerto L'Unique trait de pinceau with the UC-Berkeley Symphony Orchestra, conducted by David Milnes. David holds degrees from Bowling Green State University and Arizona State University where he studied under John Sampen and Timothy McAllister, respectively. A Fulbright grant in 2007-2008 allowed him to study with Jean-Michael Goury in France. He currently resides in Phoenix, AZ.

Nan-Yu Wu, a master student in bassoon performance at Ohio State. She received her Bachelor of Arts in Performance in Taiwan in 2012. Wu has toured with Orchestras and Wind Band throughout the Canada, Europe, and Japan. y y

Jiung Yoon has a DMA in piano performance from the Ohio State University. He initially trained in South Korea, where he won numerous competitions, such as the IBACH Music Competition, the Jeon-ju University Competition, and the National Music Concours Scholarship. After obtaining the bachelors degree in Korea, Jiung worked as a professional accompanist for numerous concerts and international music camps and competitions. In 2006, he came as a scholarship student to Bowling Green State University, where he earned his certificate and MMA in Piano. He studied with Prof. Laura Melton at BGSU and worked with Prof. Steven Glaser at OSU, where he held a University Fellowship.

A South Carolina native, Matthew Younglove is an emerging artist and teacher of the saxophone. He is currently pursuing a Doctor of Musical Arts degree in Contemporary Music at Bowling Green State University in Ohio, where he is the saxophone teaching assistant for Dr. John Sampen. Younglove was a Presser Scholar and graduated Summa Cum Laude from the University of South Carolina where he earned a Bachelor of Music degree in Saxophone Performance. He completed graduate studies at Northwestern University with a Master of Music degree in Saxophone Performance. His principle teachers include Connie Akers, Frederick Hemke, Clifford Leaman, and John Sampen. Younglove embraces new music and has commissioned and premiered works by composers Ian Dicke, George Fetner, Simon Fink, Girard Kratz, David Maslanka, and Amy Williams. As a member of the award-winning Assembly Quartet he frequently tours the US performing concerts and engaging in educational outreach performances.

66 PERFORMER BIOGRAPHIES

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Dr. James Zingara is currently Associate Professor of Music at the University of Alabama at Birmingham where he teaches applied trumpet, brass methods, and serves as Assistant Director of Bands. He has performed in 34 states as well as China, England, Latvia, Singapore and Denmark. From 1989-1996 he served as principal comet/trumpet soloist with the US Air Force Heritage of America Band. Dr. Zingara holds degrees from the University of Wisconsin-La Crosse, East Carolina University, and a OMA in trumpet performance from the University of Illinois. Dr. Zingara currently represents Bach Trumpets as an endorsing artist/clinician and is principal trumpet of the Northwest Florida Symphony, the UAB Faculty Brass Quintet and also performs with the Pensacola Symphony. He has been a trumpet faculty member at Blue Lake International Fine Arts Camp since 2005.

67 NOTES

68 SPONSORS & SUPPORT

~JOHNSTONEtUND , °VJ FOR NEW MUSIC ) .

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