' he Red Clay Saxophone Quartet, SoundSCAPE ensemble and pianists ary Hellman and Daniel l

Greetings, and welcome to the Society of Composers, Inc. (SCI) 501h Anniversary National Conference at the University of Florida. The College of the Arts and School of Music is proud to host and foster the innovation that is showcased at this unique and prestigious national event.

As a major doctoral research institution, the University of Florida is committed to facilitating and supporting professional conferences, festivals and collaborative efforts involving creative artists and research scholars from throughout the world. UF's College of the Arts, which is comprised of the School of Art and Art History, School of Music, School of Theatre and Dance, Center for Arts in Medicine and Digital Worlds Institute, is also dedicated to promoting creativity and providing cultural resources and programs that allow individuals of all ages to experience important contemporary developments in the visual and performing arts. The annual SCI National Conference presents extraordinary opportunities to composers who submit their work as well as to the host institution and the students, faculty and community members who benefit.

Like the Society of Composers, Inc., we at the University of Florida are committed to the promotion, performance, understanding and dissemination of new and contemporary music and other art forms. We commend those whose leadership has made this event possible, and we extend best wishes to our distinguished guests and all festival participants. Thank you for coming, and enjoy.

Best regards,

Lucinda Lavelli Dean, UF College of the Arts 2 UFFLORIDA College of The Arts School of Music

The students and faculty of the University of Florida School of Music extend our heartiest welcome to the composers, performing artists and new music aficionados of the 2015 Society of Composers Inc. National Conference. The School of Music and the College of the Arts are immensely proud to host the 501h anniversary of this prestigious national event, celebrating and advancing the cause of what is happening now in the world of music composition.

The University of Florida School of Music is a comprehensive school within the state's flagship university. Students pursue undergraduate degrees in Composition, Music Education, and Music in Combination with an Outside Field and Performance. Graduate programs encompass master's degrees in Composition, Ethnomusicology, Music Education, Musicology and Performance, and doctoral programs in Composition, Ethnomusicology, Music Education, and Musicology.

Undoubtedly, one of the great strengths of the University of Florida School of Music is the Composition area. Internationally recognized composition faculty members are engaged in a wide variety of activities, from adventurous works for ensembles large and small, to cutting-edge engagement with technology.

The student body of the UF School of Music is an exceptional group of regional, national and international artists and scholars. The extraordinary academic reputation of UF attracts many of Florida's best and brightest high school graduates each fall. Graduate students from around the globe choose UF for our highly accomplished faculty, rigor of professional training and the notable success of our alumni. The students and faculty of the University of Florida School of Music embrace new music, and are thrilled by the opportunities afforded in hosting the 2015 SCI National Conference. Welcome to Gainesville!

Kevin Robert Orr, D.M.A. Professor and Interim Director University of Florida School of Music 3 UFFLORiDA College of The Arts School of Music

Welcome to the University of Florida and Society of Composers 501h Anniversary Conference. This year's conference is being held in collaboration with the 4th annual Florida Contemporary Music Festival. We are pleased to present an exciting selection of contemporary art music from around the nation. We are fortunate to have had several of the leading proponents of contemporary music at our festival including Daniel Kellogg, Lei Liang, Cort Lippe and Katharina Rosenberger. This year's featured composer is Don Freund.

We wish to thank the numerous individuals that have made this event possible. This year we are fortunate to have Michael Polo as our conference General Manager, Travis Garrison and Rob Seaback as our Technical Co-Directors, Garrett Hecker as our Program Coordinator, and Ismael Sandoval as our coordinator of Guest Relations. We're delighted to have members of our Phi Mu Alpha Sinfonia chapter as our stage crew and members of our chapter of Kappa Kappa Psi and Tau Beta Sigma assisting with hospitality. We've been delighted to work with our college staff in support of our event including Leah Craig, Holly Franklin, Jennifer Coolidge, Tom Reno, and Assistant Dean for Research, Anthony Kolenic. Special thanks goes to the SCI Executive Committee, especially their chairman, Mike McFerron, the SCI National Council and the SCI General Manager, Gerald Warfield. There are many, many more that have put their heart and soul into making this a wonderful event for all. We owe them all so very much. Thanks are also owed to our colleagues in the School of Music, including those in the Composition area, Paul Koonce and Joseph Dangerfield, our School of Music Director, Kevin Orr, and the Dean of the College of Fine Arts, Lucinda Lavelli. Without their support this year's festival could not take place. Additional thanks to Matt Cox and the staff of the University of Florida's Phillips Center for the Performing Arts for their work on our final evening's concert. We would also like to thank University of Florida President Dr. Kent Fuchs for his support.

The Society of Composers Inc. is fortunate to receive support from PARMA Recordings, Visit Gainesville, the University of Florida Office of Research, as well as the University of Florida Student Government, College of the Arts College Council, UF SCI Student Chapter, and UF Sonic Computing Organization. Thank you also to our colleagues at MusicAvatar.org. We are fortunate to have such generous support in this economically difficult climate for the arts.

We trust you will enjoy your stay in Gainesville. Please let us know if we can assist you in making your visit to our fine city more comfortable.

Dr. James Paul Sain Dr. Paul Richards Professor of Music Composition Professor of Music Composition 4 2015 SCI National Conference November 12-14, 2015

Don Freund: Special Guest Composer

Don Freund is an internationally recognized composer with works ranging from solo, chamber, and orchestral music to pieces involving live performances with electronic instruments, music for dance, and large theatre works. He has been described as " a composer thoughtful in approach and imaginative in style" (The Washington Post), whose music is "exciting, amusing, disturbing, beautiful, and always fascinating" (Music and Musicians, London). The recipient of numerous awards and commissions including two grants from the National Endowment for the Arts and a Guggenheim fellowship, he has served as guest composer at a vast array of universities and music festivals, and presented master classes throughout Europe, Asia and South America. Freund is also active as a pianist, conductor, and lecturer. As a festival coordinator, he has programmed over a thousand new American works; he has been conductor or pianist in the performance of some two hundred new pieces. A Professor of Composition at Indiana University Jacobs School of Music since 1992, his students from 40 years of teaching continue to win an impressive array of awards and recognitions. Up-to-date news on works and performances, and videos, audio files and pdf scores of over a hundred of Freund's compositions can be found online at DonFreund.com. 5 Special Guest Performers

soundSCAPE new music and composition collective

soundSCAPE facilitates the flowering of new music and the exchange of ideas and culture between musicians of tomorrow's generation. Each summer in scenic Maccagno, Italy, soundSCAPE attracts composers and performers from around the world for two weeks of concerts, lectures, master classes and workshops. The essence of the festival is process and collaboration -- soundSCAPE has been the starting point for new music initiatives that have flourished long beyond the festival, all around the globe. Musicians from soundSCAPE is a flexible chamber ensemble comprised of festival faculty and alumni performance participants. The ensemble has held residencies at the Logos Foundation in Belgium, University of California San Diego, Oberlin Conservatory of Music, University of Maryland Baltimore County, and others. soundSCAPE was founded in 2005 and is directed by Nathanael May, with institutional support from Missouri Western State University.

A champion of contemporary music and Associate Professor at UMBC, Lisa Cella performs throughout the United States and abroad. She is a founding member of new music ensemble NOISE, the flute duo inHale, and the flute and cello duo C2. She is a faculty member of the Soundscape Festival of Contemporary Music in Maccagno, Italy. She received degrees from Syracuse University, Peabody Conservatory, and the University of California, San Diego.

Aiyun Huang enjoys a musical life as soloist, chamber musician, researcher, teacher and producer. She was the First Prize and the Audience Award winner at the Geneva International Music Competition in 2002. A champion of new music, Aiyun has premiered over 100 works over the last two decades internationally. She holds the position of Associate Professor in Percussion and was recently appointed a William Dawson Scholar at McGill University.

A virtuoso clarinetisUcomposer Gleb Kanasevich widely performs as a soloist, improviser (clarinet and computer music), and a member of Cantata Profana, Lunar Ensemble and Trio Accendo. He appeared on stages of Spoleto Festival 6 USA, Norfolk Chamber Music Festival, Atlantic Music Festival, PARMAfest, Festival Leonardo De Lorenzo and will appear as a visiting artist in 2015 at MusicArte in Panama, University of Miami, Alia Musica in Pittsburgh, Audeamus International Music Festival in Croatia and many more.

Stephen Marotto received a Bachelors degree with honors from the University of Connecticut, a Masters degree from Boston University, and is currently a candidate for a Doctorate of Musical Arts degree at BU under the direction of Michael Reynolds. He has worked with numerous composers, and has played with several new music ensembles in the Boston area. Stephen has attended and performed at several new music festivals in both America and abroad. He has a wide range of musical interest that includes contemporary chamber music, improvisatory music, and electronic music.

Daniel Pesca has been a guest performer at many university venues, as well as at Carnegie Hall, the Kennedy Center, the Interlachen Center, the Library of Congress, the New Hazlett Theatre (Pittsburgh), the Megaron (Athens, Greece), and the Chicago Cultural Center. Daniel has performed as a featured soloist with the Orchestra of the League of Composers, the Eastman BroadBand, the Buffalo Philharmonic, and the Slee Sinfonietta. An enthusiastic ensemble pianist, Daniel has appeared with Dal Niente, the Pittsburgh New Music Ensemble, Ensemble Signal, and the Aspen Contemporary Ensemble. He has recorded for Centaur, Block M Records, and Urtext Classics.

Red Clay Saxophone Quartet SCI special guest commissioning ensemble

The Red Clay Saxophone Quartet is a professional chamber music ensemble formed in October 2003 by four internationally recognized saxophonists. Susan Fancher has 15 years of experience as soprano saxophonist with the Vienna, Amherst and Rollin' Phones saxophone quartets. Robert Faub has performed extensively throughout the US and Europe as alto saxophonist with the New Century Saxophone Quartet. Steve Stusek, saxophone professor at the University of North Carolina in Greensboro, is an international touring solo recitalist and chamber musician. Mark Engebretson is a veteran of the Vienna Saxophone Quartet and is Assistant Professor of Music Composition 7 at UNCG. The RCSQ's repertoire includes original works for saxophone quartet by Alexander Glazunov, Michael Torke, Ben Johnston, Terry Riley, M. William Karlins and Perry Goldstein, and transcriptions for saxophone quartet of music by Steve Reich and Francis Poulenc. All the Red Clay Quartet members play Vandoren Optimum mouthpieces.

Susan Fancher's tireless efforts to develop the repertoire for the saxophone have produced dozens of commissioned works by contemporary composers, as well as published transcriptions of music by composers as diverse as Josquin Desprez, Ben Johnston and Steve Reich. She has worked with a multitude of composers in the creation and interpretation of new music including Terry Riley, Michael Torke and Charles Wuorinen, just to name a few, and has performed in many of the world's leading concert venues and contemporary music festivals. The most recent additions to her discography are a solo CD entitled Ponder Nothin on the lnnova label and a recording on New World Records of Forever Escher by Paul Chihara. Susan Fancher is a regularly featured columnist for the nationally distributed Saxophone Journal. Her principal teachers were Frederick Hemke, Jean-Marie Londeix, Michael Grammatica and Joe Daley. She is a clinician for the Selmer and Vandoren companies.

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

Steve Stusek is Associate Professor of Saxophone at the University of North Carolina at Greensboro. He performs frequently with Dutch accordion player Otine van Erp in the duo 2Track, was director of Big Band Utrecht and is a founding member of the Bozza Mansion Project, an Amsterdam-based new music ensemble. The list of composers who have written music for him include Academy Award winner John Addison. His many awards include a Medaille d'Or in Saxophone Performance from teh Conservatoire de la Region de Paris, winner of the Saxohone Concerto competition at Indiana University, Semi-finalist in the Concert Artists Guild Competition, Vermont Council on the Arts prize for Artistic Excellence, and Finalist in the Nederlands lmpressariaat Concours for I

. I 8 ensembles. His teachers include Daniel Deffayet, Jean-Yves Formeau, Eugene Rousseau, David Baker, Joseph Wytko and Larry Teal.

Mark Engebretson is Assistant Professor of Composition and Electronic Music at the University of North Carolina at Greensboro. A former resident of Vienna and Stockholm, he has received numerous commissions from the Austrian Ministry of Culture, STIM (Sweden) and the American Composers Forum Commissioning Program. His Duo Concertante was recently premiered by the Wroclaw (Poland) Philharmonic. Mark Engebretson has appeared twice as a concerto soloist with the Brno (Czech) Philharmonic Orchestra. He is well represented as a composer and performer on the lnnova label and has performed with Klangforum Wien, Swedish percussionist Anders Astrand and the Intergalactic Contemporary Music Ensemble. His principle teachers were Michel Fuste-Lambezat, Frederick Hemke, Jean-Marie Londeix, M. William Karlins, Pauline Oliveros, Marta Ptaszynska, Michael Pisaro, Stephen Syverud and Jay Alan Yim.

Mary Hellmann special guest artist

Concert pianist Mary Hellmann is a Chair of the Music Department and an Associate Professor at Chowan University. She maintains an active performing schedule as both soloist and chamber musician. Dr. Hellmann is an avid proponent of music of our time and is a frequent master class clinician, performer at various festivals and adjudicator for competitions. Her principal instructors were Menahem Pressler, Ian Hobson, Michel Block, and Noel Engebretson. She has participated in a variety of master classes with some of the most renown pianists of our time including: Ward Davenny, Lillian Kallir, Joseph Kalichstein, Rebecca Penneys, Theodore Lettvin, Gyorgy Sebok, and Russell Sherman. She has presented recital programs for the Alabama Public Television series Pianists at Work, and performed in numerous university and festival settings including: the Rutgers International Piano Festival, the International Computer Music Conference, the Midwest Composers Forum, the Festivale Internationale de Todi, Italy, the Society of Composers, Inc. National and International Conferences, and the Society of Electro-Acoustic Music in the United States Conference. Dr. Hellmann believes that sharing one's knowledge 9 and passion for music to students is paramount in a musician's life. Mary received her Bachelor of Music from the University of Louisville; a Master of Music in Piano Performance and an additional Master of Music in Piano Pedagogy from the University of Illinois; she received her Doctor of Musical Arts from the University of Alabama. Recordings of her performances can be found on itunes.com, amazon.com, and cdbaby.com.

Daniel Koppelman special guest artist

Born in New York and raised in California, Daniel Koppelman has gained experience with many different musical traditions-classical and popular, composed and improvised, acoustic and electronic­ which has led him to explore their intersections in search of new possibilities for performing, teaching, and creating music. Koppelman's current performance interests include digital signal processing of acoustic piano and improvisation with various real-time controllers in conjunction with Cycling '74's Max/MSP and Ableton Live software. He has recorded for CRI, New World Records, Neuma Records, Capstone, SEAMUS, C74, Everglade, and In nova. His 2005 2-disc CD/DVD set of 21st century music for piano and electronics, "Escapement", was hailed by Keyboard Magazine as "engaging, intelligent, and unpretentious." Koppelman holds degrees from San Francisco State University (B.M.), Indiana University (M.M.), and the University of California at San Diego (Ph.D.), where he was a Regents Fellow; his piano teachers have included Wayne Peterson, James Tocco, Cecil Lytle and Aleck Karis. Currently Professor and Director of Music Technology at Furman University in Greenville, South Carolina, Koppelman has been a resident artist at STEIM in Amsterdam, the Institute of Sonology in The Hague, and the Center for Research in Computing and the Arts in La Jolla, CA. In 2008 he was awarded a Fulbright Scholarship to teach courses in Odessa, Ukraine in contemporary American music and the creative use of new technological tools. In 2009 his Fulbright was extended to provide for lecturing and concertizing across Ukraine. Koppelman combines with Ruth Neville to form duo runedako; their recent CD "Recombinant Nocturnes" features music for piano and electronics by Benjamin Broening. 10 Festival Staff

Dr. James Paul Sain and Dr. Paul Richards I Directors

Dr. Joseph Dangerfield I Associate Director

Michael Polo I General Manager

Robert Seaback and Travis Garrison I Technical Directors

Garrett Hecker I Program Coordinator

Ismael Sandoval I Guest Relations Coordinator

Navid Bargrizan, Cory Caplinger, Luis Felipe Vieira Damiani, Jordan Key, Joshua Mazur I Guest Artist Liaisons

Diogo Carvalho, Qianqian Yu I Recording Technicians

The Brothers of Phi Mu Alpha Sinfonia I Stage Crew

The Brothers of Kappa Kappa Psi I Guest Relations and Hospitality

PT'S COFFEE

·. . -_·-· -WITHOUT THE LOVE. 1t·s JUST COFFEE- ·--___ . PTSCOFFEE.COM 11 November 12, 2015 Concert One 10:00 a.m. Thursday, November 12, 2015 MUB 101

Rocket Christopher Cook Mary Hellmann, piano

Burning Shrine Crumbles Maxwell Tfirn Kenneth Broadway, John Wallace, percussion

Traces Luke Dahn I. 11. 111. IV. V. VI. VII. Daniel Koppelman, piano

Canon Russell Brown Peter Geldrich, clarinet I fixed media

INTERMISSION

Jong Chan Ji Kim fixed media

Contrastes Martin Gendelman Daniel Koppelman, piano

Raven Edward Knight I. Darkness II. Pine Needle Floating Ill. Light Duo Rodinia I Lisa Kachouee, clarinet I Jamie Whitmarsh, marimba 12 Program Notes

Rocket I Christopher Cook NASA's Wallops Flight Facility is located on the Eastern Shore of Virginia. It is used primarily as a rocket launch site to support science and exploration missions for NASA and other U.S. government agencies. At our home in coastal Northeastern North Carolina, we have an extraordinary view of launches from Wallops Island. Rocket, composed for pianist Mary Hellmann, was inspired by these spectacular nighttime events. The work is divided into four main sections; Construction, Blastoff, Space Waltz, Fireflies, and Re-entry, followed by a brief Coda.

Burning Shrine Crumbles I Maxwell Tfirn Burning Shrine Crumbles is a piece that reflects on ancient monuments and traditions being invaded by new practices and technology. The composition uses rhyth mical sections and spatial passages to contrast and represent the new practices and ancient monuments. Throughout the composition there is a struggle between the old (ancient) and new, fighting to overtake one another. The ancient is reflected through singing bowls, wine bottles, energy chimes and cymbals, while the new is represented by the complexity of rhythm in the drums.

Traces I Luke Dahn Traces is a set of seven character pieces, each of which bears in some way marks, or "traces," of influences on the composer's approach. The opening movement provides a short, sonorous introduction to the set during which resonate rich chords whose 12-tone structures are perhaps masked by their triadic configurations. These configurations hint at a Messiaenic influence. Following a Prokofievian second movement, a quick moto perpetuo filled with irregular scales and erratic accents, comes a pensive nocturne-like third movement, whose slowly-descending doleful left hand accompaniment is reminiscent of Chopin's melancholic e minor Prelude. In contrast is the sprightly fourth movement where melodic fragments are extracted from predominantly brittle, staccato textures. Here Boulez provides a loose model. Movement five is as much a piece for pedals as it is for the keys. The sostenuto pedal is in constant use, and its combination with various unconventional uses of the sustain pedal (i.e. half pedaling, delayed pedaling) produce a Berioesque multi-layered tapestry of resonating chords and rapid filigree. The placid sixth movement is a two-part canon with angular melodies in which the dux is mimicked by the comes in rhythmic diminution and contrary motion, much like the "Canon per Augmentationem in Contrario Motu" of J.S. Bach's monumental Art of the Fugue. The final seventh movement is essentially 13 the opening movement but in a different guise, the two serving as bookends for the entire set.

Canon I Russell Brown Canon is an exploration of imitative counterpoint in its strictest sense ...

Jong I Chan Ji Kim "Jong" means bells in Korean. I wrote this piece for the people in Nepal who lost everything from the earthquake on April 25th in 2015. I recorded my old bell (singing bowl) that I brought it from Korea for this piece. It originally came from Nepal. Nepali start the day with ringing bells in the morning, which is a very special and important everyday routine to waking up their gods. I hope they can still ring the bells in the peaceful morning again.

Contrastes I Martin Gendelman Written at the request of Washington DC-based pianist Carlos Cesar Rodriguez as part of his American Pianismo, Vol.2 project, this piece attempts to create a uniform flow of musical material that is, however, dissimilar by nature. The gestures that generate the composition are, therefore, contrasting in regards to their articulation, pitch collections, ranges, tempo, rhythmic regularity, and dynamic levels, as well as the use of repetition (as opposed to constant evolution of a musical idea). Yet, the frequent interpolation of these gestures leads to the inevitable unfolding of the music.

Raven I Edward Knight I. Darkness All the world is cold and dark. The people stumble around, unable to see. Raven takes pity on them as they discuss their plight. He tells them of the lakeside home of the Sky Chief, who keeps all the light of the world in an ornate wooden box. Despite the people's misgivings, Raven flies off to set his plan into action. II. Pine Needle Floating Raven transforms into the needle of a hemlock tree as it falls toward a stream. The needle is pulled downstream by the current. The chief's daughter arrives and the marimba echoes her movements as the needle positions itself to float near her. Their dance becomes one as the girl scoops the needle in her drinking cup, swallows the needle with the water, and conceives new life. Ill. Light The girl gives birth to a raven-haired child, the chief's first grandson. He is curious, pointing at the artifacts hanging from the rafters of the longhouse. The chief tries to please the boy by taking down the items one by one. The child keeps pointing at the large wooden box surrounded by a halo of light. He squawks relentlessly: I want the box The box. Exasperated, the chief reaches for his greatest treasure and gives it to the boy. As the child flings the lid open, the sun bursts out, and the boy transforms back into Raven. He flies out and flings the sun into the sky, where it remains today. 14 Concert Two 12:00 p.m. Thursday, November 12, 2015 University Auditorium

Steinway Preludes Dorothy Hindman I. Sparkling II. Pearly Ill. Velvety IV. Brittle V. Thunderous Jacob Mason, piano

Insect Asides Ash Stemke I. The Centipede II . The Ant Ill. The Fly IV. The Firefly V. The Wasp Jamey Wright, soprano I Rok Palcic, piano finding the air up there Andrew Sigler Christian Pail/an Storzer, violin I Timothy Brennan, piano

INTERMISSION

Follow the Leader Mike D'Ambrosio Matt Hightower, tuba I Christy D'Ambrosia, piano

In the Mountains, tranquil stillness, cold isolation Michael Rene Torres Mary Hellmann, piano

Suite for Alto Saxophone Neil Flory I. Modal Variations II. Hook and Groove Ill. Idle Time IV. Divided Focus V. Chromatic Variations Andy Wen, saxophone 15 Streets and Bridges Joseph Koykkar I. Downer Avenue II. Lafayette Place 111. Brady Street Jeri-Mae Astolfi, piano 16 Program Notes

Steinway Preludes I Dorothy Hindman The Steinway Preludes (2004) were written for concert pianist and Steinway presenter William Devan for a series of Steinway concerts and concerts for children. Unlike traditional sets of preludes written for each of the twelve keys, these preludes were all to be written for specific timbres associated with the Steinway piano. Sparkling exploits the high register of the piano and the bright sound of the keys when attacked staccato, without pedaling. Several pedaled sections provide timbral contrast and richness. Pearly features chords in fixed, sonorous voicings combined with suspensions, showing off the Steinway's remarkable capability of sustaining pitches in different registers for as long as the pianist desires. Velvety stays in the lower registers and emphasizes a fast, muted accompaniment against a cantabile melody that the pianist must bring out while keeping the rest relatively quiet. Brittle explores the upper register of the piano again, but this time is mostly pedaled. It features tremolo throughout the work and challenges the pianist with independent dynamic levels in each hand. As the piece ascends in register, the brittle quality of the notes is clear. Thunderous employs very loud dynamic levels, fast rhythms, and the use of the damper pedal to create a very full, resonant texture. It demonstrates both the power and the clarity of the Steinway piano across its entire range.

Insect Asides I Ash Stemke Insect Asides, winner of the 2012 Thelma Thompson Composition Award, is a song cycle for voice and piano guaranteed to cure any fear of bugs. The texts are five short poems by Ogden Nash. Fear not, entomologists: the composer is very aware that the centipede is not actually an insect. But Arthropod Asides just wouldn't be as catchy. finding the air up there I Andrew Sigler There was a time when, after the day's programming ended and the national anthem was played, the television would go to static. As a child I would sometimes sneak out in the middle of the night and sit fascinated as the television displayed a visual and auditory state of frantic activity. However, I also noticed that at some point this activity seemed to reach a tipping point, and instead of absolute movement, the screen and sound became absolute stillness. I'm still intrigued by this line between activity and stasis The rhythmic drive of finding the air up there (and in particular the deliberate request made of the violinist to avoid the pulse typically inherent in rapid sixteenth note groupings) explores this world. A beautiful slow melody made up of pitches, each of these in reality simply incredibly rapid vibrations, their forward motion transforming into a shimmering stillness. 17 Follow the Leader I Mike D'Ambrosia Follow the Leaderwas commissioned by tubist Matthew Hightower, who was also a former composition student of mine at Murray State University. It begins with a challenging melody, characterized by minor-seventh leaps, presented initially by the tuba and piano together. That melody gets repeated and varied throughout the work, with each new version taking the piece in a new direction. The final variation is set in the left hand of the piano in a fast 9/8 meter, bringing the work to its exciting conclusion. The piece is so titled for two reasons. Matthew was a model student in the music department at Murray State, studying music education, tuba, and composition at a high level. His work ethic and dedication set a great example for his peers (and those who have come along afterward)-an example to be followed. Matt ended up getting a doctorate in Tuba Performance at the University of Texas and has become a professional performer and educator. In addition, this piece makes heavy use of the canon, a composition device where one musical line is placed on top of itself but a little behind. In all cases, canons have a leader and a follower; there are over ten canons that occur throughout the piece and are marked in the score.

In the Mountains, tranquil stillness, cold isolation I Michael Rene Torres My wife and I have worked several summers in North Carolina at the Brevard Music Center. The festival is located on the edge of the beautiful Pisgah National Forest, which has become a second home to us. We typically arrive two weeks before students arrive and leave days after students leave. This time, before and after the student presence at the festival, is strikingly silent and starkly empty for a place so alive with music each summer. It is simultaneously peaceful and unsettling. Also, 2014 was the coldest summer we have experienced in the mountains, which added to the sense of serenity and aloneness. "In the mountains I tranquil stillness I cold isolation ... " reflects these impressions and is based upon my piano improvisations during those early mornings and late nights at the Brevard Music Center.

Suite for Alto Saxophone I Neil Flory The outer movements of the Suite for Alto Saxophone are both sets of variations; the first movement is cast exclusively in an 8-note scale, while the last movement is freely chromatic. The second movement draws inspiration from popular styles; its opening four-note statement constitutes a "hook" which is developed throughout. The third movement's melody was discovered during an afternoon of relaxation and daydreaming, and reflects this quiet mood. The fourth movement is based on two contrasting ideas, both of which are developed in various ways. Suite for Alto Saxophone was commissioned by virtuoso saxophonist Andy Wen, who has performed it in numerous venues in the U.S. and abroad, and who recorded it on his CD Apparitions, available through Emeritus Recordings. 18 Streets and Bridges I Andrew Koykkar This 3-movement composition for solo piano is based on musical reflections of my youthful days living on the east side of Milwaukee. I. Downer Avenue--­ during my Milwaukee days Downer Avenue was a genteel neighborhood that had a wonderful artistic and intellectual ambience primarily due to having the UWM campus located nearby. I traveled that street almost daily making my sojourns to campus to pursue my composition studies in the early 70s. I have included a very brief passage from my composition professor John Downey's Pyramids as a memoriam to his mentorship and talents in the last few measures. II. Lafayette Place--- where I spent my adolescence living in an apartment close to the lakefront. My musical roots where laid there. I was involved with various styles of American music (rock, blues, soul, etc.) alongside my burgeoning interest in Western classical music. Ill. Brady Street--- during that time Brady Street was a colorful working class neighborhood with a strong Italian ethnicity, which morphed into the city's center of the counterculture by the late 1960s. Released on Ravello Records in 2015 as part of the CD "Wisconsin Soundscapes"- new music for piano featuring Jeri-Mae Astolfi. 19 Panel Discussion 2:30 p.m. Thursday, November 12, 2015 Friends of Music Room Joseph Dangerfield, moderator I Don Freund I Daniel Koppelman I Nathanael May I Lansing McLoskey I Russell Robinson

Concert Three 3:30 p.m. Thursday, November 12, 2015 MUB 101

The Broca Divide Michael Sterling Smith Michael Capone, viola

A rare form of kleptomania Jorge Variego Jorge Variego, clarinet I fixed media

Hajiki (Pluck) Michael Pounds fixed media

Five Metamorphoses after T.H. White Lee Hartman Sheri Mattson, oboe

INTERMISSION

Launch Sequence Carter John Rice fixed media

Duoesque M. Shawn Hundley Jason M. Hastings, clarinet I Rose Sh/yam Grace, piano

Shadows Liviu Marinescu Daniel Koppelman, piano 20 Program Notes

The Broca Divide I Michael Sterling Smith The Broca Divide is largely concerned with the translation and transformation of gestures (both physical and musical). The piece was written for-and with the help of-violist Michael Capone.

A rare form of kleptomania I Jorge Variego The work is a derivative composition from pieces by other composers. It is a homage that celebrates many preexisting compositions without fixing to any of them. An idea formed by many other ideas with only one unique element, this very performance.

Hajiki (Pluck) I Michael Pounds "Hajiki (Pluck)" was composed using only recordings of a Japanese shamisen. It is an exploration of the various possibilities of the instrument and the sounds it can make (and many that it cannot). The piece is loosely structured around the idea of a plucked string, with it's excitation and resolution as a metaphor for life experience. Thanks to Kyoko Kidd for playing her shamisen in the recording studio.

Five Metamorphoses after T.H. White I Lee Hartman Five Metamorphoses after T.H. White is a companion piece to the famous solo oboe work by Benjamin Britten, Six Metamorphoses after Ovid. Whereas Britten captured the mythological characters in the midst of their transformations, the process has already been completed at the start of each movement of Five Metamorphoses. Each of the short movements is then a reflection on the short quote found as a subtitle. The process of turning Wart into King Arthur wasn't without its bumps and bruises. These metamorphoses were pivotal in that eventual transformation.

Launch Sequence I Carter John Rice Launch Sequence draws its inspiration from the countdown which might precede a shuttle launch: 5, 4, 3, 2, and 1. The work is formally structured around moments of impact and arrival mapped against these numbers being counted downward. Timbral and gestural contrast is presented as each moment in the sequence is reached, and the final moment of impact is arrived as the number 1 is tallied.

Duoesque IM. Shawn Hundley Aside from the obvious connection between the title and the two performers of this work, the two-chord pulse introduced by the piano also functions as the cell 21 that engenders the ideas to follow. The work also has two main sections that are each restated, with the restatement of each section highly transformed. The pulse from the beginning continues throughout the work interweaving through the melodic lines and appearing in various forms and constantly switching between the piano and clarinet. The clarinet's long melodic lines often clash with the piano's pulsing rhythms. Finally, the action is resolved and the work ends quietly, reminiscent of the beginning. Jason Hastings and Rose Grace premiered Duoesque on February 15, 2015 in Jacksonville, Florida, and the work is dedicated to Jason Hastings.

Shadows I Liviu Marinescu Through Shadows, the main goal was to feature the piano as a total instrument, by including not only the traditional ways in which it has been played for centuries but also the sounds and performing techniques of our present time, obtained by preparing and plucking strings, touching the soundboard, and so on. Since a single pianist could never perform such a complex work, the use of samples was an obvious choice right from the onset. In addition to a wide range of high quality audio samples recorded on concert and upright pianos, toy and Thai pianos were also used. The piece has two large sections, centered around pitches C and F#. While much of the work is written using a highly chromatic idiom, there are a few moments of clarity, when the overtone series of these two pitches are presented through a number of repetitive patterns. - -·--- ~ · --·------

22 Concert Four Symphonic Band John M. Watkins, Jr. I Conductor and Music Director 7:30 p.m. Thursday, November 12, 2015 University Auditorium

Fanfare of Celebration and Commemoration Don Freund

Froschteichmusik Travis Alford UF Percussion Ensemble I Kenneth Broadway, conductor

Nightfall Hysteria Adam Vidiksis Andrew Bajorek, guest conductor

Cellgames 2.0 Warren Gooch Archie G. Birkner, IV, guest conductor

019: Dream System Nucleus Derek Holden Paul Basler, horn soloist

We Seven Derek M. Jenkins Garrett L. Griffin, guest conductor

Jug Blues and Fat Pickin' Don Freund 23 Program Notes

Fanfare of Celebration and Commemoration I Don Freund Fanfare of Celebration and Commemoration was composed for the IU Herald Trumpets to perform at the Oct. 10, 2001 Installation Ceremony of our new Chancellor, Sharon S. Brehm. It was begun on September 8th and was was a cheerful, rollicking half-finished piece when the attacks of 9/11 shook us into a new reality. When I returned to the piece the following weekend, continuing the work without some reflection of this darkness seemed impossible. This sudden sombre music is followed by a gathering of strength and eventual return to the optimism of the opening, asserting a confident vision of a brighter future for our society and our world, and for our university community under the leadership of Chancellor Brehm.

Nightfall Hysteria I Adam Vidiksis Anticipation is a powerful force. In the form of anxiety it can keep us awake at night, writhing in terror and despair; as excitement it can act as a fuel for our most profound achievements. Nightfall Hysteria focuses largely on the former: the self-inflicted wounds we suffer when contemplating some dreaded fate in the dark of night. It is often those events that we are powerless to change that cause us the most aggravation. This work explores these complex emotions in seven continuous parts, focusing on texture and gesture as the primary musical drive. The work begins with a feeling of despair, which gradually builds to a terrible climax. The middle of the piece is a moment of peace, a calm in the middle of the tumult. It depicts a contemplation of mortality, and a momentary sense of serenity that comes from realizing that our inevitable fate joins us as one humanity. This gives way to a rising sense of anxiety once again, in which our thoughts taunt and mock as the music builds to a pinnacle of chaotic activity. These terrifying moments fade away as the night ends and the dawn rises on a new day.

Cel/games 2.0 I Warren Gooch The classic "shell game" involves hiding an object beneath one of several shells or cups. The trick is to guess under which shell or cup that object can be found, once the positioning of the shells or cups has been changed. In Gel/games 2.0, musical motives ("cells") are "hidden", juxtaposed and appear in a wide range of transformations. The "2.0" in the title refers to the fact this wind ensemble piece uses musical material from an earlier composition for trumpet ensemble entitled Gel/game. Gel/games 2.0 was premiered by the Truman State Wind Symphony under the direction of Dan Peterson at Truman State University in February of 2008. It received its "off-campus premiere" at the 2008 Collegiate 24 Band Directors National Association conference in Kansas City the following month.

Froschteichmusik I Travis Alford In the summer of 2011 I attended the wedding of a cousin in North Carolina, which was held on a beautiful, sprawling old farm. Just around dusk I was wondering around the old barns and happened by a small pond. Suddenly the air was filled with the music of countless crepuscular creatures - frogs, cicadas, crickets, katydids - active now in the cool of the evening, blending into one glorious polyrhythmic symphony of chirps, croaks, and buzzes. Although no human construction could begin to capture the magic of this experience, I have nonetheless attempted to use it as inspiration for Froschteichmusik, and I can only hope it serves as a temporary substitute until you are able to experience the real thing for yourself.

019: Dream System Nucleus I Derek Holden 0/9: Dream System Nucleus (read as "zero of nine") for solo horn and chamber wind ensemble serves the purpose of introduction in more than one regard. The piece is designed to be the introduction to an evening of music, but also exists as a prelude to a series of nine additional pieces that have yet to be written, each revolving around one of nine locations in which my dreams have taken place for about a decade. This piece serves as the space between those locations. Relatively brief in duration, the work gives the soloist ample opportunity to display their virtuosity and musicality at the highest level, all within the framework of a uniquely orchestrated chamber wind group. The piece was written on the end of my undergraduate study from Cynthia Simpson and Mike Guzman.

We Seven I Derek M. Jenkins We Seven, the title of this work, comes from a book by the same name written by the United States's first astronauts. The first seven American astronauts that were recruited became collectively known as the "Mercury Seven." Through their efforts and those of countless others, the United States Space Program accomplished much with these six flights, including successfully sending an astronaut into space, putting a man in orbit, and keeping him up there for more than 24 hours. In 1962, shortly after John Glenn and Scott Carpenter's orbital flights, the "Mercury Seven" co-wrote the book We Seven, and throughout it the astronauts discuss the events leading from their selection into the program up through Carpenter's flight in May of 1962. The primary material for the work comes from two sources: the use of musical cryptograms to encode the astronauts' names and initials into pitches and the aria 'Un bel di vedremo' from Giacomo Puccini's opera, Madame Butterfly. The inclusion of the latter comes directly from one of Glenn's chapters in the book. Together with a couple of the other astronauts, he would often listen to the opera to unwind from a long day of 25 training. I would like to think that as he was orbiting the Earth that this opera, particularly this aria, would be running through his mind. This work commemorates the Project Mercury on the 50th anniversary of its conclusion and was written for Joseph Parisi and the University of Missouri-Kansas City Wind Ensemble.

Jug Blues and Fat Pickin' I Don Freund Commisssioned for the celebration of Tennessee's "Homecoming '86," Jug Blues & Fat Pickin' was inspired by recordings of the Memphis Jug Band (Beale Street, late 1920's), and bluegrass banjo pickin', which becomes "fattened out" by the sound of winds. 26 November 13, 2015 Concert Five 10:00 a.m. Friday, November 13, 2015 University Auditorium

Chiyogami Suite S.R. Kisselbaugh I. Just Before II. Progression 111. Stegosaurus IV. Chiyogami V. Growth Mary Hellmann, piano

If we touch the ashen lotus Zack Merritt Kalindi Bellach, viola

Song of the Himalayas Jianjun He Scott Watkins, piano

Murmurations Jody Rockmaker Elizabeth Druesedow, Ian Mcintyre, Haley Harris, Aaron Janosa, clarinets

INTERMISSION

Toccata a la Charleston David Heinick David Heinick, piano

Meditation sur l'Eucharistie George L. Karst George L. Karst, organ

Sola gratia, sofa fide e soli Deo Gloria Richard Pressley I. II. 111. IV. v. Daniel Koppelman, piano

Traceur David Gompper Michael Norsworthy, clarinet I David Gompper, piano 27 Program Notes

Chiyogami I S.R. Kisselbaugh "Chiyogami" is a type of decorative Japanese paper typically used for origami. Not only is it a title of a movement within the suite, but it is also descriptive, as this is a suite of music based on decorative paper - art. Each movement of "Chiyogami Suite" is based a piece of art by my friend, Jerry Phillips, and shares its title. Each also depicts some type of action. "Just Before" is a print of a leaf right before it hits the ground, and so the movement follows the path of the leaf from being attached to a tree to it's final spot on the ground. "Progression" was a study in color and shows two seahorses engaged in a mating dance. The music plays between red Uerky) sections and blue (soulful} sections. The constant ascending and descending figures of "Stegosaurus" follow the movement of the dinosaur. "Chiyogami" illustrates the activity in the colors and design on the decorative paper. And finally, "Growth" returns us to the leaf from "Just Before," which has become a part of the earth it landed on and is assisting the growth of new life.

If we touch the ashen lotus I Zack Merritt This work, if we touch the ashen lotus, is the fifth movement of my Sonata for solo viola. The central idea behind the work is the physical experience of time; realized in the concept of aging. As the piece progresses the viola becomes more and more "detuned" and the initial purity of the open strings is lost. Finally, watch the violist play; most of the material is generated from a physical gesture.

Song of the Himalayas I Jianjun He Song of the Himalayas (2009) is a musical painting of the unique scenes of the Tibet Plateau: the high and steep mountains, the boundless grasslands, and the beautiful temples ... It reveals the spiritual life of Tibetan people and shows their passion for music and dancing. Although the materials employed in this work are related to the Tibetan tradition, there is no direct quotation from the original folk music. Synthesizing Western compositional techniques with Tibetan musical elements this work sounds "old and new." It shows the fusion of different cultures and reflects the diversity of today's music.

Murmurations I Jody Rockmaker A distant, fond memory: standing in front of the Rome Terminal Train Station, the sun setting slowly in the cooling, winter air. First, the racket starts. One, two, soon thousands of birds begin to chatter to one another. Then one takes flight. Then another, and another, until the sky is filled with a cloud of starlings, shifting in space. A dense cloud is stretched to near-transparency, then re-formed while kaleidoscopic shapes mesmerize. A rebellious faction breaks off, goes its own

_ J 28 way counter to their peers, and then join the main mass again. Every now and then a group settles back in the trees, a brief repose before launching themselves again. Finally, as the sun sets, whole groups return to their nests, and settle for the night.

Toccata a la Charleston I David Heinick "Toccata a la, Charleston" is the first movement of my Sonata for piano (2012). The title, which came after the movement was written, simply acknowledges the well-known Charleston rhythm that pervades the piece.

Meditation sur l'Eucharistie I George L. Karst This work dramatizes the Eucharist-Le. Holy Communion. It suggests the ecstasy of receiving communion with the Messiah and long-dead people from the ancient world and the Middle Ages. This piece diverges from 201h-century demystifications of the divine through their attempts at rational devotion. Hence it celebrates the irrationality of solemn pageantry, and imagines the splendor of a deity too vast to understand. The music is of A-8-A form. The A section includes a grave choir of celestes along with low pedal pitches that that thunder quietly. A 4' flute speaks a melody that playfully dances as a contrast to the gravity of the atmospheric texture. Such dissimilarity reflects the mischievous nature of gargoyles that gesture mockingly to counter the solemnity of soaring architecture. The B section includes a series of large chords and polychords framed by a slow crescendo that culminates in a state of euphoria as the host is consumed. This piece is meant to be played on a large instrument in a dark, reverberant Gothic interior. Such an environment is effective in combining antiquarian ritual with futurism in music. It was previously recorded in 2013 by the composer and his wife Stephanie Karst at the Washington National Cathedral in Washington D.C.

Sola gratia, so/a fide e soli Deo Gloria I Richard Pressley This piece was written in 1993-94 when I was an undergraduate. Though the music I write now is much different, this piece has always been very dear to my heart -- it is so true to who I was and what I wanted it to be at the time I simply cannot bring myself to change it in any way. The work is a piano suite in five movements. The first movement is in 'arch' form consisting of seven short sections (ABA'CA'BA): the first primarily chordal with a tritone motif in the bass; the second a sort of plainchant in the highest register; the central, most substantial fourth section develops an angular melody; a return of the first three sections in reverse order follows, before an aggressive coda abruptly explodes from the piano's lowest register. Movement 2 is more of a waltz 'moment' than a waltz proper: the theme is simply presented three times (increasingly thickened by doubling) before fading away. The third movement is a cut-and-paste dialogue between 1) five hymn-like chords, 2) one chord reiterated six times quickly, and 3) a more melodically-focused homophonic idea; their distinctness 29 blurs as the movement develops. Movement four is a dance-cum-scherzo that (like movement two) simply presents its ideas with some reordering of its elements before it accelerates to a quick conclusion. The final movement is an aggressive, rhythmic development of its opening 4-note motive that quickly frenzies itself into the concluding climax of the entire suite.

Traceur I David Gompper Traceur (2014) - This work is based on a series of sketches that were generated at the MacDowell Artist Colony in New Hampshire in December and January of 2013-2014, ideas generated from the ascending order of fractions that create interesting symmetrical properties (the Farey series). While this trench work served as a somewhat obtuse structural foundation, the surface and expression of the music is very much related to the experience-mostly imagined-of the art of Parkour, and the person known as a traceur, who as a skilled runner and jumper often performs acrobatic feats of flight (mostly choreographed and found on-line). This work is about the idea of being chased, trying to run as fast as possible into (but not around) rails and obstacles without wasting movement and without slowing down. 30

( Universit~ of Florida Opera 12:00 p . . Friday, November 13, 2015 MUS 1

The Torrent William Vollinger Vox Madrigalis I Joshua Mazur, director

Rosetta's Stone I John G. Bilotta Scene 2 \..___ Tane Dekrey, piano I Tegan Pennington, cello I Matthew Christoff, Al I Danielle Arndt, Hippocampus I Timeelah Adamson, Rosetta

The Age of Innocence David Carpenter Act I, Scene 7 Anja Arko, piano I Kasie Wagner, May Welland I Will Winter, Newland Archer

The Eighth Daughter Kyle Rowan Tane Dekrey, piano I Karisa McKinney, flute I Kendrick Hiew, cello I Samone Hicks, Kushinada I Danielle Arndt, Myanushi I Jonathan Gravely, Ashinadzu I Jamey Wright, Nanako 31 Program Notes

The Torrent I William Vollinger THE TORRENT is a dramatic setting for narrator, SATB solo voices (or choir) and piano of a poem by the English poet Jenny Joseph on the subject of agape love. It was premiered at the last concert of the Gregg Smith Singers in New York City in 2012. In the first half we are tourists in a gorge, a tumultuous mixture of water and darkness, a place you really can't stay alive in, although somehow you do, representing what Dylan Thomas called the force that through the green fuse drives the flower. In the second half this torrent trickles down into two mundane acts of kindness, a young man returning an old lady's scarf, and an old man apologizing for letting a door slam in your face at the chemist's. The rhythm of the narration is strictly based on Jenny Joseph's recitation of the poem, with the singing voices and piano matching the spoken rhythms, sometimes as background, sometimes as amplification, sometimes as the characters themselves. The words and music are intrinsically connected to each other. As Claudio Monteverdi's brother Giulio said, "Let the word be harmony's mistress, not her handmaid." It is therefore important to pay close attention to the words of this wonderful poem by Jenny Joseph. I believe this piece to be the best work I have yet written.

Rosetta's Stone I John G. Bilotta "Rosetta's Stone" (2015) is a collaborative opera conceived by Oded Ben-Horin. The librettists are Ben-Horin (Norway) and John F. McGrew (U .S.) and the composers are Jostein Stalheim (Norway) and John Bilotta (U.S.). "Rosetta's Stone" was envisioned as a neuroscience opera combining the artistic expression of scientific concepts with the drama of one man's decline into Alzheimer's. The first scene is dominated by a six-voice chorus of shadow characters representing a teacher's major brain regions-a surreal mise-en­ scene, occurring, possibly, only in his own mind. "Scene 2" (which is being performed at the SCI National Conference), with music by John Bilotta, focuses on Al, the teacher, (baritone) and his relationship with his student Rosetta (soprano). Hovering nearby is the Hippocampus (mezzo), one of the brain regions from the first scene, acting invisibly here, helping and prompting the music teacher when his memory fails him. However, in "The Hippocampus Monologue", the aria which closes the scene, we see that it is her own accelerating destruction by the disease that underlies the teacher's problems. Subsequent scenes detail the teacher's continuing decline and its impact on Rosetta who struggles with the fate of her mentor and with her fears for her own future. 32 The Age of Innocence I David Carpenter Based on the novel by Edith Wharton and set in New York in the 1870s, The Age of Innocence tells the story of Newland Archer, a young lawyer, who is engaged to the socialite May Welland, a marriage that will unite two of New York's oldest families. Just before their engagement is announced, the Countess Ellen Olenska, May's cousin, returns to her native New York from Europe in an aura of scandal, having left her dissolute husband, the Polish Count Olenski. Though Newland wishes to fulfill his family's expectation that he marry May, he finds himself strangely attracted to this unconventional, free-thinking woman who dares to challenge the conventions of old New York. He finds he must choose between following tradition and experiencing true passion, as he attempts to fathom his own heart. In the scene you will see performed today, Newland and May are out for a stroll in Central Park. Newland has with him a book of poems by Rossetti, given to him by Ellen when he visited her house the previous evening.

The Eighth Daughter I Kyle Rowan According to Japanese legend, Susana, the Shinto deity of storms, saves a family from Orochi, a terrible eight-headed serpent who was devouring each of their eighth daughters one by one. Susana's heroic deeds are well documented. What legend does not address is how the parents, not knowing that help will come, try to cope with the imminent loss of their eighth and final daughter and how they try to protect her, and how Kushinada, the remaining daughter, faces this sacrificial role she did not choose for herself. The Eighth Daughter addresses these questions in four short scenes set at four different times before the fateful night. 33 SCI EC/NC Meeting 1 :30 p.m. Friday, November 13, 2015 Friends of Music Room

Concert Seven Red Clay Saxophone Quartet 3:30 p.m. Friday, November 13, 2015 University Auditorium

OK-OK Lansing D. Mcloskey

Obsession Eric Fegan SCl/ASCAP Commission

here is no water but only rock Eric Honour

Treppab!! Texu Kim SCl/ASCAP Commission

Off on a Tangent... Ronald Keith Parks 34 Program Notes

OK-OK I Lansing D. Mcloskey I heard Charlie "Bird" Parker for the first time when I was an enthusiastic (but only moderately skilled) alto sax player in the junior high jazz band. The solos were so dizzyingly fast I had a hard time believing someone could negotiate their fingers around the instrument that adeptly and quickly, with every turn of phrase feeling like a surprise and yet inevitable at the same time. My favorite Bird tune when I was 13 years old remains my favorite to this day: Ko-Ko. I decided to write a piece based entirely on Bird's solo from Ko-Ko, without adding or changing a single note. The harmonic and rhythmic schemes of the original chart were abandoned, and the solo was removed from the context of the song. I then stripped the solo of its rhythmic component and deleted all rests, creating in effect a tone-row of 1,058 pitches (which Bird crammed into 1 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 of the piece that a snippet of the solo is actually quoted (the final phrase of the solo). Ok-Ok was commissioned by The Fromm Foundation for the Radnofsky Quartet, and recorded by the Frost Saxophone Quartet for the "Sixth Species" CD (Albany Records).

Obsession I Eric Fegan Obsession is a piece that explores the little things that someone can get caught in everyday situations. Little motives permeate through the texture as the ensemble tries to relieve some tension only to become more and more obsessive over these moments. This composition shows how if one dwells on the small figures it can become a hinderence on their life and they need to find a way to break their ties. here is no water but only rock I Eric Honour T. S. Eliot's masterwork, The Waste Land, is widely recognized as one of the most important and influential poems of the 20th century. In his notes on the poem, Eliot says that the first part of the fifth section of the poem (What The Thunder Said) employs three themes: "the journey to Emmaus, the approach to the Chapel Perilous (see Miss Weston's book), and the present decay of eastern Europe." Regardless of these deeper references, this section of the poem features some of Eliot's most striking and effective imagery. Beginning in the second stanza, at line 331, with the words "Here is no water but only rock," Eliot's imagery turns dry, suffocating, and desperate. His use of repetition over the next 27 lines drives home the feeling of a person lost in a desert of rock, searching endlessly for water, but finding none. In the quartet "here is no water but only rock," the music is similarly arid - especially in the opening section - and searches futilely for stability and comfort. It achieves a sort of stability and 35 trajectory in the end, through appropriating the rhythms and energy of rock music, but mixed with a grating, dissonant, aggressive sense of harmony, which offers no succor or release. The closest the music comes to water is in the tenor saxophone solo at rehearsal letter J - which references the "God-Music" section of Crumb's "Black Angels" - but the search ends once more in rock.

Treppabll I Texu Kim Inspired by a famous print 'Treppauf Treppab' (in English, 'Ascending and Descending') - in which M.C. Escher created an optical illusion of an endless staircase on the rooftop of a castle, with two lines of people on it, one ascending and the other descending - I decided to compose a piece exclusively with 'descending gestures.' It begins with a bouncy motive of descending leaps in a row, imitating the hopping steps of someone coming down a stairway. The horizontal and vertical intervals of the initial pattern diverge to create a wide variety of sections. While composing this piece, I realized this piece is also about people's endeavor to escape from a system - could it happen eventually? A seven-minute piece, Treppab/I was commissioned by the Society of Composers, Inc, and the American Society of Composers, Authors and Publishers. Its performance today is its premiere, by Red Clay Saxophone Quartet (Susan Fancher, Robert Faub, Steven Stusek, and Mark Engebretson).

Ronald Keith Parks I Off on a Tangent ... Off on a Tangent ... was written for the Red Clay Saxophone Quartet on the occasion of their residency at Winthrop University in 2008. Have you ever had one of those group conversations in which multiple topics are discussed with frequent cross talk and tangents, but somehow everything makes sense in the end? Off on a Tangent ... is a musical homage to that kind of information laden and stimulating chat with good friends. Technically, the music is in three sections, the first process-oriented, the second more lyrical and melodic, and a third that despite the groups best efforts to keep it on track, is laden with references to prior materials in the piece and, well ... goes off on multiple tangents. Special thanks to the Red Clay Saxophone Quartet for their exemplary support of new music, superior musicianship, and friendship. 36 Concert Eight UF Faculty Chamber Series 7:30 p.m. Friday, November 13, 2015 MUB 101

Digressions Jonathan B. McNair Janna Lower, violin I Mary Hellmann, piano the bunyip Thomas Dempster Jonathan Helton, saxophone I fixed media

Fantavia Elizabeth Vercoe Mary Birkner, flute I Chip Birkner, percussion stringstrung Samuel Wells Ulisses Rocha, guitar I fixed media

INTERMISSION

More Music for Examining and Buying Merchandise Alejandro Rutty Jonathan Helton, saxophone I fixed media

My Viola Don't Swing Robert J. Frank Stephen Fine, viola

Musashi Richard Johnson Kristen Stoner, flute I fixed media

Passages Don Freund I. Birth II. Innocence Ill. Growth IV. Nurturing V. Longing VI. Building Jonathan Helton, saxophone I Paul Basler, horn I Don Freund, keyboard 37 Program Notes

Digressions I Jonathan B. McNair When informally telling a story, one is rarely able to maintain a strictly linear direction in the telling. Instead, there may be interruptions from the listener to interject a comment, ask a question, request background information, or to clarify a statement or a meaning. The storyteller may also voluntarily digress to follow a thought. This observation was behind the structure of Digressions. I wanted to suggest a number of universal states of feeling, with a lot of (sometimes abrupt) contrast. The music ranges between rhythmic vitality, lofty and refined expression, humor and playfulness, introspection, and strong assertiveness. While Digressions comes across with a sense of tonal centers through portions of the piece, it was not approached as a "tonal" work in the traditional understanding of the word. The use of unordered pitch class sets allowed for a diverse melodic surface with connections to the harmony, and with underlying relationships between apparently different ideas.

the bunyip I Thomas Dempster Across the first-nations people of Australia, in Wemba Wemba and other languages across the continent, the bunyip stirred fears and imaginations for centuries before the first white colonizers arrived. While generally bunjil could mean any sort of mean spirit or devil, the bunyip, as the story goes, was a foul, large beast - variously some sort of great cat that also had qualities of dogs, rabbits, and kangaroos. It lurked and skulked in billabongs and along riversides and had a rather impressive appetite. Hapless human wanderers would unwittingly sate that appetite, and, as the stories go, the bunyip was a voracious eater. And yet, no one has ever really seen a bunyip. Occupying a position alongside North America's Sasquatch or South Asia's Yeti, its noted features from reputed sightings run the gamut from the creature having a duck bill or a platypus face, to eyes and a screech like a bittern, to fangs like a tiger to a face like a dog. Rather than a real beast - or even a mythic one - it could very well, this bunyip, be the cultural memory of a species long forgotten, one long extinct, despite the occasional "finds" by "men of science" in Australia as early as 1818. Perhaps the concept of the bunyip is a cautionary tale: do not disturb nature, do not purposefully seek out and rouse it. .. For, indeed there are consequences ...

Fantavia I Elizabeth Vercoe Fantavia is a wide-ranging fantasy for flute and percussion based on the rhythms and melodies of North American songbirds. Some of the songs are as familiar as the orioles and robins of a suburban back yard, while others, like the common loon, are recollected from awakening at dawn in the wilderness. Although a literal transcription was the starting point for each call, the music is more fantasy 38 than fact. The piece was written in 1982 and has been performed at the following venues: the Cite Internationale des Arts in Paris, Merkin Hall in New York, the University of Virginia, Ohio State University, the National Flute Convention in Colorado, the National Museum of Women in the Arts in Washington, D.C., Jordan Hall in Boston, and on the New Hampshire Music Festival. Additionally, the following ensembles have performed Fantavia: Synchronia in St. Louis, the New London Contemporary Ensemble at Connecticut College, and the Pittburgh New Music Ensemble at the Charles Ives Center in Connecticut. The Armstrong Duo performed Fantavia on an extended American tour in 1991 and later recorded it on a compact disc released in 1996. The score is published by Noteworthy Sheet Music. stringstrung I Samuel Wells stringstrung, for guitar and digital media, was commissioned by and is dedicated to my dear friend, Benjamin Wedeking. The digital audio is entirely derived from acoustic guitar samples. The work is loosely inspired by the strings of a guitar and the last stanza of "87'' by E.E. Cummings: what a wonderful thing is the end of a string (murmurs little you-i as the hill becomes nil) and will somebody tell me why people let go - E.E. Cummings © Grove Weidenfeld

More Music for Examining and Buying Merchandise I Alejandro Rutty More Music for Examining and Buying Merchandise, for solo instrument and electronics is a continuation of Music for Examining and Buying Merchandise, for alto saxophone, piano and vibraphone. These are the notes of the first piece of this series Music for Examining and Buying Merchandise: Music for examining and buying merchandise, or shopping, is usually played in the background, where music is designed to encourage spending. As such, the purpose of music is mood regulation and behavior control. This piece, which has as its only purpose to be listened to, paraphrases -from certain distance- some of the features of music designed for mood-control.

My Viola Don't Swing I Robert J. Frank The title for this short, humorous work came from a well-intentioned but frustrated student during an improvisation class. Beginning with disjointed, unsuccessful attempts, the followed with moments of self-reflection, the music finally starts to "get its grove on" as it races towards the frantic finale, leaving the listener to determine: "do it" or "don't it"? 39

Musashi I Richard Johnson Miyamoto Musashi, a seventeenth century ronin of legendary renown, is the founder of the Niten-ryu school of swordsmanship. He devoted his life to honing his skills in the Way of the sword, winning dozens of duels. So great was the perfection of his skill that his late duels were fought only with a boken, or wooden sword, regardless of his opponent's weapon. In 1645, lying ill and near death in a cave where he taken to a hermitic existence, he dictated the key concepts of his Way to a disciple. This document, Go Rin No Sha ("Book of Five Rings") is still read today as a guide to strategy in any discipline. Musashi contains text from A BOOK OF FIVE RINGS by Miyamoto Musashi, translated by Victor Harris. Copyright© 1974 by Victor Harris. Used by permission of The Overlook Press, New York, NY. All rights reserved.

Passages I Don Freund Passages (1991) was commissioned for the Island Moving Company, a modern dance/ballet company in Newport, R.I. It was composed in collaboration with choreographer Judith Wombwell who suggested the title and the program for the piece. The 6 movements (Birth, Innocence, Growth, Nurturing, Longing, and Building), describe the maturation of a society as well as an individual. The work was first performed outdoors, so primal naturalistic gestures dominate the musi­ cal character. The Casio CZ voices were specifically created for this work by the composer. Although composed as a trio (with the Casio part performed on the keyboard), Passages may also be performed with MIDI sequence-driven Casio, or with a CD of the Casio part. 40 CONGRATULATIONS SOCIETY OF COMPOSERS, INC on 50 amazing years of music!

PARMA Recordings is a proud sponsor of the Faculty Chamber Series Concert Reception

PARMA Recordings is an audio production house that specializes in recording, releasing, and promoting contemporary music. We are dedicated to creating the highest quality music and presenting it in unique, innovative, and engaging recorded live formats. To discuss a project or submit project ideas, email us at [email protected].

www. parmarecord Ing s.com PARMA Recordlnqs www.navonarecords.com 223 Lafayette Road OOOG North Hampton NH 03862 www.ravellorecords.com e: [email protected] www.blgroundrecords.com ph: 603.758.1718 tu: 603.379.2990 a. 1111111111 PARMA RECORDINGS 41 November 14, 2015 Concert Nine 11:00 a.m. Saturday, November 14, 2015 MUB 101

Decoherence Christopher Biggs Samuel Wells, trumpet I interactive media

Dancing Tree Thomas Rex Beverly fixed media

After the Impact David Z. Durant Mary Hellmann, piano

II Prete Rosso Charles Nichols Sarah Plum, violin I interactive media

INTERMISSION

Pictures of the Floating World Jessica Rudman Karen Adair, soprano I James Jenkins, tuba

lnharmonic Fantasy No. 3 Hubert Howe fixed media

Aspects Craig Weston I. Awakening II. Aquiver Tod Kerstetter, clarinet I Jacqueline Fass/er-Kerstetter, horn I Mary Hellman, piano

Beft Joo Won Park fixed media

RockStar 2.0 Mark Engebretson I. 11. 111. Susan Fancher, saxophone I interactive media 42 Program Notes

Decoherence I Christopher Biggs Decoherence was commissioned by and is dedicated to Samuel Wells. The work abstractly reflects on a phenomena in quantum physics and a possible explanation for the phenomena. Decoherence is a phenomena whereby particles that have probable locations always take on a specific location when observed by a human. This is represented through the presentations of hundreds of possible ways to a play a single pitch on the trumpet followed by the performer's decision to play the pitch in a specific manner. One possible explanation for how probable locations collapse into a specific location is that all probable locations come to exist in their own parallel universe upon observation. This mirrors a philosophical notion of parallel universes whereby each time a person makes a decision the universe fractures into multiple parallel words. As the work progresses the trumpet player has less and less freedom as the specific universe they inhabit becomes increasingly defined by their past decisions.

Dancing Tree I Thomas Rex Beverly Dancing Tree is product of my fascination with slow growth. The tree in this time­ lapse video is about 300 years old, but is only 15 feet tall because of the desert environment where it grows. The music in this piece is a sonification of the subtle, but often frenetic movement of the dancing tree on one windy day in the desert of west Texas.

After the Impact I David Z. Durant After the Impact for piano (2014) uses the entire range of the piano to depict a blow to the head or the psyche and the subsequent recovery from it.

II Prete Rosso I Charles Nichols I/ Prete Rosso, for amplified violin, motion sensor, and interactive computer music, was inspired by the violin concertos of Italian Baroque composer and virtuoso violinist Antonio Vivaldi, who was nicknamed The Red Priest, because of his red hair and Catholic ordination. In the piece, the amplified violin is recorded live and played back in four parts, spatialized around the audience, as an accompaniment with itself. A motion sensor on the wrist of the violinist tracks bow arm performance gesture, to interactively control audio effects in the computer. The piece was written for Sarah Plum, with a commission from Drake University. The full premiere was performed with the 124.4 channel surround­ sound system, installed in the Cube of the Moss Arts Center at Virginia Tech. 43 Pictures of the Floating World I Jessica Rudman Amy Lowell's collection of poems entitled Pictures of the Floating World (1919) is a set of poignant haiku-like works. The title of the book is a literal translation of the Japanese word "Ukiyo- e", which is a genre of paintings and woodcut prints dating back to the seventeenth century. The subject matter of such art works often include landscapes, historical tales, and images taken from theater. In a sense, they are vignettes frozen in time, and Lowell's poems capture that property magically. In this eponymous set of songs for soprano and tuba, I have set seven of Lowell's poems (with an interlude for solo tuba). Like the texts, the songs are brief, and the sparse textures reflect the simple power of the words.

lnharmonic Fantasy No. 3 I Hubert Howe lnharmonic partials are sounds that are not the overtones that we hear with most instrumental or vocal sounds because they do not combine to create a sense of pitch. Another way of describing them is that they are sounds that have a spectrum but not a "timbre" in the way that we usually think. This work was conceived from a desire to create complex, evolving inharmonic sounds that include many different components that fade in and out over the course of a tone. The sounds were created by combining the pitches that occur in many different octaves and compressing them into the interval of an octave and a fifth, or a twelfth. The work consists of numerous short passages that include different numbers of notes, densities, and rhythmic distributions. The inharmonic components are presented in ways that both fade in and out over the course of the tone or are attacked and decay separately. At the climax of the work, these two processes are combined. The piece was commissioned by Nancy Bogen, written in 2014, and synthesized using csound.

Aspects I Craig Weston Aspects was commissioned by Tod Kerstetter and Jacqueline Fassler-Kerstetter, and premiered at ClarinetFest 2013 in Assisi, Italy. One of my goals in both movements of this piece was to build an interesting and engaging structure out of a very small repertoire of musical gestures. "Awakening" begins with a repeating tolling chord in the piano (which will be omnipresent), and excruciatingly long, still notes in the clarinet and horn. As the title implies, there is almost no activity at all initially, as the music gradually awakens, with the horn's notes very slowly developing into a melody, punctuated with occasional descending cascades in the clarinet and piano. The movement is constantly growing and developing, but at a very patient pace. "Aquiver" takes the efficiency principal even more seriously, building the entire form from one small gesture: an oscillating minor third. The quivering gesture has a limp: the durations of the upper and lower 44 notes are typically in a 3:2 relationship. Because of this, most of the movement is set in asymmetrical meters. The whole movement is aquiver with this basic melodic gesture and with pulsating repetitive energy, in a kind of swinging rhythmic drive.

Beft I Joo Won Park Beft is a creature that always goes to left in Thinks You Can Think by Dr. Seuss. I made an aural representation of Befts in different shapes and sizes in this piece.

RockStar 2.0 I Mark Engebretson The saxophone version of RockStar, labeled 2.0, was written for Susan Fancher. It's a re-worked version of the original violin piece-the concept for the computer is about the same, but uses saxophone samples, rather than violin, and the solo part was re-worked extensively to take advantage of the soprano saxophone. The piece is in three movements, a digital delay opener, a ballad inspired by the long, slow introduction to Pink Floyd's Shine On You Crazy Diamond and a looping, bluesy, splashy closer. 45 Concert Ten 1:00 p.m. Saturday, November 14, 2015 University Auditorium

SWARM!!! Steven Jon Landis, Jr. Gerard Spicer, Nicholas Mcintyre, Steven Amann, Jeremy Urban, soprano saxophones

Cloudscapes Daniel Powers I. Cirrus II. Nacreous Flute choir I Kristen Stoner, conductor

Half-Life David DeVasto

Captain Hook Patricia Julien

Verve Street Vaibhav Mohanty

Moonless Daniel M. Cavanagh University of Florida Big Band I Scott Wilson, conductor 46 Program Notes

SWARM!!! I Steven Jon Landis, Jr. SWARM!!! pays homage to the raw and, at times, sobering beauty of nature. This quartet is an aural memento of a fascinating yet horrifying experience with a swarm of yellow jackets. Undaunted, unafraid, and highly organized, they did their job in protecting their hive (all too well - I was stung twelve times and broke my foot during the escape!). The frenetic quality of the music captures the psychological state of the moment while highlighting the coordinated efforts of the swarm. SWARM!!! was awarded first prize in the 2015 UMKC Chamber Music Composition Competition.

Cloudscapes I Daniel Powers Cloudscapes was commissioned by Joyce Wilson, my colleague at Indiana State University, for the ISU Flute Ensemble. Besides the instrumentation, the commission specified that all the players be given challenging parts, and especially that the alto and bass flutes should be used prominently. It was written in early 2009. The piece was already well under way when I noticed a certain similarity between the music I was writing and the appearance of cirrus clouds. I had already had, several years previously, the idea of writing something based on cloud formations, and it was kind of a pleasant surprise to realize that I had already started writing the piece without even knowing it! Cloudscapes is in two movements, played with only a short pause between them, titled Cirrus and Nacreous. Cirrus clouds are common all over the world, and probably need no explanation. Nacreous clouds, however, are extremely rare; you aren't likely to see one unless you travel to far northern latitudes during winter. In appearance, they resemble polished mother-of-pearl, hence the name. They form in the stratosphere, as much as 40 miles above the earth's surface. Because of their extremely high altitude, they can reflect sunlight from below the horizon before dawn or after dusk, and appear to glow brightly in the dark sky. I imagine it must be an impressive sight.

Half-Life I David DeVasto "Half-Life" uses a sustained melody over a shifting harmonic framework. The tune is not in any particular key, although moments of centricity occur through consistent rhythmic patterns and the overall shape of the melodic contour. The title is in reference to a quote by John Calvin regarding the life of solitude led by a single man. 47 Captain Hook I Patricia Julien Captain Hook is a contrapuntal jazz quartet composition. It utilizes a 161h-note­ swing funk groove with a bass ostinato that includes two-bar breaks to help place an emphasis on silence as a rhythmic component.

Verve Street I Vaibhav Mohanty Verve Street (2014) was composed for and premiered by the Charleston Jazz Orchestra (Charleston, South Carolina). It features a fast-paced, energetic drive fueled by the fusion of the traditional big band feel with unique and modern sonorities. The main theme is developed both melodically and rhythmically as the piece progresses, ultimately taking on new aural and emotional characteristics. As the title suggests, this piece is a manifestation of verve, vigor, and enthusiasm.

Moonless I Daniel Cavanagh Moonless was written for the jazz group Seven Minus and its residency at Virginia Tech in 2007. Featuring a repeated phrygian ostinato, the melody snakes around on top of the static harmony before reaching a contrasting & harmonically moving section. The voicings are tightly constructed and highlight the wonderful chamber qualities of modern jazz small groups. The title refers to the idea of a society in which the awareness of our feminine energy has gone absent, notably in our public policy decisions. We are left fumbling in the dark, out of balance. 48 Concert Eleven Musicians from soundSCAPE 4:00 p.m. Saturday, November 14, 2015 MUB 101

Pentagonal Waves Daniel Adams Aiyun Huang, timpani

On a Poem by Miho Nonaka: Harvard Square Shawn E. Okpebholo Lisa Cella, flute

Beyond Joao Pedro Oliveira Gleb Kanasevich, clarinet I Stephen Marotto, cello I Daniel Pesca, piano I fixed media

Sonata for flute and piano Cynthia Folio I. Quodlibet II. Terna del Mar Ill. Joropo Lisa Cella, flute I Daniel Pesca, piano

INTERMISSION

Breakdowns Christopher Gainey Lisa Cella, flute I Stephen Marotto, cello

SWEPT Suzanne Sorkin Gleb Kanasevich, clarinet I Stephen Marotto, cello

Variants Aleksander Sternfeld-Dunn Lisa Cella, flute I Daniel Pesca, piano

Lew Beach Shawn Crouch Gleb Kanasevich, clarinet I Stephen Marotto, cello I Daniel Pesca, piano I Aiyun Huang, percussion 49 Program Notes

Pentagonal Waves I Daniel Adams I composed Pentagonal Waves for Dr. Joseph Moore Ill on the occasion of his appointment to the Director of Percussion Studies at the University of Texas, Brownsville. The title is derived from the prominence of the number five in several aspects of the piece. It is composed for five drums and is five minutes and fifty-five seconds in duration. Its metric structure is based on the alternation of quintuple meter with triple, duple, and asymmetrical metric structures and in the frequent occurrence of quintuplets interspersed between duple and triple­ based rhythmic subdivisions. The piece begins with a slow introduction in five­ four time, which is twice interrupted by rapid passages in odd meters. Subsequent sections are based on contrapuntal passages with various combinations of two drums played by one hand while three drums are played using the other hand. The two independent repeated rhythmic figures converge at regular rhythmic intervals. In a pre-final section, the coloristic palette of the timpani are expanded, as the performer plays the drums using yarn mallets and bare hands. The performer returns to conventional timpani mallets one hand at a time, and a section of vast dynamic contrasts includes repetitions of one or two notes and glissandi. A coda of rapid notes between all drums brings the piece to a conclusion.

On a Poem by Miho Nonaka: Harvard Square I Shawn E. Okpebholo This composition - inspired by Harvard Square, a poem by the Japanese poet, Miho Nonaka - is a work for solo flute, composed for and premiered by my friend, Caen Thomason-Redus. It was not my intention to, necessarily, text paint each word of the poem; rather, I tried to evoke the essence of the poem's meaning. In one word, Nonaka describes her poem as being about 'resonance.' A natural term in the music world, the word 'resonance', figuratively speaking, can also mean evoking images, memories and emotions, which she beautifully achieves in Harvard Square. This composition is for the virtuoso flutist, utilizing various extended flute techniques. For example, the composition begins with the flute playing bamboo tones, a way for the modern western flute to, by using nontraditional fingerings (which I notated in the score), sound like a shakuhachi flute, a Japanese bamboo flute.

Beyond I Joao Pedro Oliveira As the title suggests, this piece tries to project the sound of the acoustic instruments beyond their normal boundaries, through the use of several special 50 instrumental techniques and, most important, through the use of the electronics. The electroacoustic sounds act as a fourth instrument that retains and, at the same time, expands the characteristics of the other three acoustic sound sources.

Sonata for Flute and Piano I Cynthia Folio Sonata for Flute and Piano was commissioned and premiered by Julie Hobbs and funded by a grant from the University of Wisconsin-Stevens Point. It is a tribute both to Julie and to what might be called the "canon" of 201h-century repertoire for flute that I have had the pleasure of performing and studying for many years. Much of the piece is constructed from aspects of Julie's career and interests-and even her name. The main motive in the first movement-B-C-Bb­ Bb-Eb-uses the German names (and in one case, the pitch-class number) of H- 0 -B-B-S: H=B; 0 (zero)=C; B=Bb; Es=Eb. The first movement is called "Quodlibet" because it contains many references to themes and motives from the standard contemporary repertoire for flute. A traditional Quodlibet combines popular tunes of the day into a contrapuntal piece. The second movement, "Terna del Mar," is a tribute to Julie in that it makes references to Vox Balanae for flute, cello, and piano by George Crumb, which was the topic of her dissertation. 'Terna del Mar" is Spanish for "Sea Theme," the title of the main theme for Vox Balanae. The third movement is inspired by the Venezuelan Joropo-a genre that combines fast-paced and virtuosic music and dance. The basic meter for this movement is 6/8, but there are frequent polyrhythms, syncopations, and hemiolas.

Breakdowns I Christopher Gainey Breakdowns is a set of three short, but energetic, bursts for flute and cello that seeks to highlight the full range of possibilities on these two versatile instruments while emphasizing a variety of precise and elegant interactions between the performers. This piece was composed for, and is dedicated to, Ashley Addington and Rachel Arnold.

Variants I Aleksander Sternfeld-Dunn Variants was written for flautist Sandy Hughes, and was completed in December of 2006. The theme is an original tune, and the following variations all focus on some aspect of the theme. The coda at the end serves as the final statement of the theme as it dies away into nothingness. The work is structured so each variation propels the piece forward to the cadenza when the work reaches is climax in both tempo and pitch. The form is as follows: Theme, Variation 1: 51 Kinky, Variation 2: Feeling Improvised, Variation 3: Reflective, Variation 4: Playful, Variation 5: Frenzied, Variation 6: Cadenza.

Lew Beach I Shawn Crouch Lew Beach is not a beach at all, but rather a very small town in the Catskill Mountains of upstate New York where my family has an old farm house which sits on a piece of land that is large enough for no sounds of modern civilization to reach. And while there are times of sheer silent beauty, more often than not there is a frenetic energy that buzzes around you in the summer months. One hears the sounds of thousands of trees blowing in canon as the wind comes through the valley, or the polyphonic cacophony of different animal life from insects to bear sounding simultaneously. At times these sounds are jagged and disjoint (part I), at times they are nearly still and lyrical (part 11 ), and at times they come at you as brutal onslaughts that appear at the more violent moments in nature (part Ill). In three uninterrupted sections Lew Beach is an impressionistic memory of this land. 52 SCI" Ge eral Meeting ~ay, November14,2015 usic Room

Concert Twelve University of Florida Concert Choir and Symphony Orchestra Will Kesling I Conductor, UF Concert Choir Tene DeKrey I Accompanist Matthew Wardell I Conductor, UF Symphony Orchestra 7:30 p.m. Saturday, November 14, 2015 Philips Center for the Performing Arts

ICC IFC-2012 408.2.2 Nathan Daywalt

0 sacrum convivium Jason Bahr

Two Prayers for Sabbath Evening Joshua Fishbein II. Oseh Shalom (Job 25:2) Joshua Mazur, cantor

Into Being Ingrid Stolzel

0 Fortuna Don Freund

Heyr Himnasmi'~ur Salvatore A. Locascio

Lux Caelestis Timothy Kramer I. Yehi-or (Genesis 1 :1-5) Ill. Pabhassara Sutta (Pali Canon: Sutta pitaka, anguttara, Book 1, record 5532 [1.5.9 and 1.5.1 O]) Matthew Christoff, cantor 53 Jubilate Deo (Psalm 100) Don Freu·nd UF Women's Chorale I Dr. Cory Alexander, conductor

INTERMISSION

Hard Cells Don Freund

Promises Michael Laurella

Sleeping I am carried... David Clay Mettens

A Screaming Comes Across the Sky David Heuser

FINE, FARKASH & PARLAPIANO

Supported by the Fine Family Fund for Strings at The University of Florida 54 Program Notes

ICC IFC-2012 408.2.21 Nathan Daywalt ICC IFC-2012 408.2.2 is named after a law contained within the International Code Consortium's International Fire Code as published in 2012. Chapter 4, Section 408.2.2 is the law that requires theaters, auditoriums, and concert halls to make a mandatory announcement prior to the beginning of each show, instructing members of the audience to locate the nearest emergency exits. This postmodern choral work is a musical invocation of these obligatory pre­ concert platitudes. In a conventional concert, the pre-concert announcement might seem like a sterile, modern intrusion into the rich and storied aesthetics of the music it precedes. Like many pieces written in the last century, ICC IFC- 2012 408.2.2 is characterized by a sense of historical self-awareness; it acknowledges ~nd embraces the legal disclaimers and semantics that embody contemporary American culture. It attempts to provide a timestamped memoir of the sounds and harmonies familiar to modern ears. Our society has become characterized by the ubiquitous adoption of mobile phones and mobile communication devices. The piece incorporates many jingles and ringtones that were once ubiquitous, but have already faded into nascent obscurity; it is a self­ aware cultural postcard, cognizant of its statement of "here we are now" becoming "there we were then."

O sacrum convivium I Jason Bahr My setting of this sacred text is contemplation on Christ's sacrifice as demonstrated through the Eucharist. Like Barber's Agnus Dei, this work began life in another medium. Much of the music is derived from a solo marimba piece. When writing the chorale sections for the marimba piece, I wrote them as if writing for human voices, and always had in mind I would use the music for a choral work. I felt that this text really matched the sentiment in the music. This work is influenced by Messiaen's setting of the same text, and G6recki's Totus Tuus.

Two Prayers for Sabbath Evening I Joshua Fishbein Scored for cantor, SATB chorus, and piano, Two Prayers for Sabbath Evening contains I. V'shamru, a declaration to keep Shabbat, and II. Oseh Shalom, a Hebrew prayer for peace. The first movement changes tone with the text from dramatic to relaxing, while the second movement answers the declamatory tone of the first with peaceful bliss. In the warm key of E­ Major, Oseh Shalom is akin to an American spiritual. Harmonically, the music 55 colors the Mixolydian mode with several striking dissonances and expressive cross-relations. The whole work represents a rebirth of imitative counterpoint in Jewish music, which has been largely missing from classical synagogue music since the time of Salamone Rossi. Text is taken from the books of Exodus (V'shamru) and Job (Oseh Sha/om). Two Prayers for Sabbath Evening won the Young Composers Award of the Guild of Temple Musicians. Additionally, Oseh Shalom won the ACDA's Brock Memorial Student Composition Competition. V'shamru and Oseh Shalom were premiered individually by Cantor Lori Corrsin and the Pacific Youth Choir, under the direction of Mia Hall Savage, and tenor Brandon Elliott and the CSU Fullerton University Singers, under the direction of Robert lstad, respectively. The entire set is published by Transcontinental Music Publications.

Into Being I Ingrid Stolzel The Sanskrit Mantra "So ham ham sa" has been called the universal breath mantra. Its vibration resembles the sound of the breath during inhalation (so ham) and exhalation (ham sa). I was drawn to this mantra because it is the breath that connects us all and brings everything into being. Breath is our first act of life as we enter this world, and our last as we depart it. In between, we take on average a staggering 17,000 breaths a day, mostly unaware of our breathing, while a barely audible mantra continuously flows through our bodies as we inhale and exhale. It is the awareness of our breath that lies at the heart of "Into Being." "Into Being" was commissioned by Octarium for the Art Local Project.

0 Fortuna I Don Freund The text of 0 Fortuna (1968) is very familiar as the opening movement of Carl Orff's "Carmina Burana." Don's setting, for unaccompanied women's voices, is more intense, bordering on hysterical. In the main body of the piece, the fifteen syllables of each stanza are quickly articulated to create a 15/16 metrical back­ drop drone behind an insistent melody, which eventually builds to a mad climax.

Heyr Himnasmi'~ur I Salvatore A. Locascio Historically, Iceland's approach to theology is quirky when compared to continental Europe. Iceland was one of the last countries to convert to Christianity, adopting it as an "official" religion around the 11th century. Before this, like most Nordic cultures, Iceland worshiped the Norse Gods. Because of their comparatively young conversion to Christianity, Icelandic Theology often incorporated elements of previous beliefs, creating a unique, quirky interpretation of theology somewhat akin to practices found in Central America. Heyr Himnasmiour is the title of a hymn by Icelandic author Kolbeinn Tumason. The 56 text was written sometime during the late 12th century and is frequently associated with funerals. Given the small size of Iceland, the Icelandic language has evolved slower than other European languages. Icelanders are capable of understanding original Norse Myths as they were originally documented. This text, as old as it seems to an English speaker, is still easily understood. The text gives subtle nods to Iceland's norse tradition, using terms like "Heavensmith" to describe God or "the whole ground" to refer to the realm of men. Because of this emotional property, the work incorporates chant, generally shies away from tertian chords (a development in music much later than the date of this poem) and plays with the emotional context behind smaller intervals. It is also fittingly dedicated to John Tavener, a composer who I greatly admired.

Lux Caelestis I Timothy Kramer In 2004 I composed a Lux aeterna for Scott Macpherson and the Trinity University choir. After hearing a performance in the Cologne Cathedral, I started to think about making a larger cycle that would address the subject of light from different religious perspectives. Lux Cae/estis (Celestial Light) is the final result of that process, completed in 2011. There are five movements in this cycle, each of which may be performed independently. The first and third will be presented on this program, Yehi-or and Pabhassara Sutta. The cycle begins with the creation of light (Genesis) and the Hebrew words "Yehi-or" - let there be light. This piece opens with a solo reflecting Jewish cantillation and the choir then enters on the creation of light with some harmonic singing. The text in the third movement comes from Theravada Buddhism and the Pali canon. Here it is the mind that is luminous, not defiled by incoming thoughts. In this piece I played with the sound of the syllables as much as the words themselves.

Hard Cells I Don Freund Because of their intrinsic nature and the way they are deployed in the composi­ tion, the materials out of which Hard Cells is composed are to be perceived as metallic, hard-edged, unyielding building blocks of sound. Rather than allowed to grow, develop and blend into an organic flow, they are contexted by repetition, superimpositioning and juxtapositioning - what might be described as a cut-and­ paste approach to fabricating a work. This hard-shell cellular approach to the character and structuring of material is what (I believe) distinguishes Stravinsky from Bartok, Scarlatti from Bach, and rock from jazz. In Hard Cells, the steely nature of the ideas is underlined by an insistent unchanging 16th-note pulse. Hard Cells divides into three sections. In the opening third of the piece, the cellu­ lar ideas are deployed over an unrelenting A pedal-tone. The cello finally breaks loose from this encasement, initiating the second section with a primal rock 5-4-1 57 progression; in this section the material is free to shift into contrasting tonalities, and even, after a brief reprise of the A pedal, gathers momentum into a celebra­ tory climax. The final section, which grows out of the after-shocks of this climax, functions as a non-sequitur epilog; fastened to a metrically uncommitted stream of tambourine 16th-notes, the remainder of the ensemble independently loops odd-lengthed mechanistic fragments.

Promises I Michael Laurello When I started writing Promises in September of 2014, I imagined the orchestra as an enormous machine relentlessly chugging away to accomplish some sort of task, or moving towards a goal of some kind. But, even as I got a little deeper into composing the piece, I still wasn't sure what the goal was. Should the music grow bigger? Should it get smaller and smaller? Should it push so hard that it breaks apart? Eventually, someone said to me: "This music seems like it's promising something. You just have to decide whether or not it's going to break its promise." This made me think not only about the concept of a musical promise, but also about some of the promises that I've kept and those that I've broken in my life. The music started to represent something more personal and profound, and I composed the bulk of the piece with these thoughts in mind. In the end, I don't know whether the piece keeps its promise, but I like to think it does.

Sleeping I am carried I David Clay Mettens "Sleeping I am carried... " is based on a melodic fragment from Alban Berg's Mombert setting "Schlafend tragt man mich," Op. 2, no. 2. I scatter references to this melody throughout, but perhaps most noticeable is the poetic connection between Mombert's imagery and the atmosphere and form of my piece. In a dream, Mombert's speaker traverses a great distance to return home, passing over a landscape whose rough outlines and blurry forms appear only in peripheral vision. My piece transports the listener through a hazy sonic landscape of overlapping musical ideas. One idea emerges and comes into focus, only to disappear again, as another comes to the fore. Wispy lines in the strings and flutes wind around each other, and rumbles ascend from the depths of the orchestra. In a moment of clarity near the end, Berg's vocal line appears complete as the bass line of a radiant chorale. This subsides, and the piece comes to rest on an extended melody in the strings, concluding with a final evaporation of the dream world. 58 A Screaming Comes Across the Sky I David Heuser A Screaming Comes Across the Sky is the first sentence from Thomas Pynchon's novel Gravity's Rainbow. The book's title refers to the parabola made by a rocket or bomb in flight; specifically, Pynchon is referring to the V2 rocket, which the Germans were lobbing at London during World War II. This parabola is the central metaphor of the book, signifying many things, including the trajectory of life itself, from birth to death. By no means does this short work attempt to capture the richness and complexity of Pynchon's dense novel. Instead, I focused on the mood struck by the first sentence and the shape described by Pynchon's title. The piece is very much about altitude, with register playing a central role. At the same time there is a constant rhythmic pulse, heard even in the quietest moment in the piece. The only point where this incessant pulse is not heard is when the horns burst out with the main melody of the piece, a melody that has been otherwise buried or unfinished, struggling to gain altitude until finally, at this climatic moment towards which the whole piece leads, everything else is stripped away. A Screaming Comes Across the Sky was commissioned by the Immanuel and Helen Olshan Texas Music Festival for its "New Texas Overtures" program. It was awarded the 2006 Fauxharmonic Orchestra Composition Prize, and was the winner of the Columbia Orchestra's 2007 American Composer Competition. 59 Composer Bios

Daniel Adams (b. 1956, Miami, FL) is a Professor of Music at Texas Southern University in Houston. Adamsholds a Doctor of Musical Arts (1985) from the University of Illinois at Urbana-Champaign, a Master of Music from the University of Miami (1981) and a Bachelor of Music from Louisiana State University (1978). He currently serves as the College Music Society Board Member for Composition. Adams is the composer of numerous published musical compositions and the author of many articles and reviews on various topics related to Twentieth Century percussion music, musical pedagogy, and the music of Texas. His most recent article, "Indeterminate Passages as Temporal and Spatial Components of Three Selected Compositions for Snare Drum Ensemble" was published in the Fall 2013 issue of the Journal of the National Association of Wind and Percussion Instructors. 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. Adams has served as a panelist and lecturer nationally and internationally. In 2011 he presented, by invitation, a composition master class at Ewha University in Seoul, South Korea His music has been performed throughout the United States, and in Spain, Germany, Belgium, Sweden, Turkey, Argentina, Canada, and South Korea. His music is recorded on Capstone Records, Ravello Records, Albany, and Summit Records.

Travis Alford (b. 1983) is a composer, trumpeter, and improviser whose music has been widely performed at such venues as the June in Buffalo Festival, the Composers Conference at Wellesley College, New Music on the Point, Symphony Space in NY, the Auditorium Sede Museale di Santa Caterina in Treviso, Italy, and the International Trumpet Seminar in Kalavrita, Greece, by groups including the Meridian Arts Ensemble, Talujon Percussion, the Lorelei Ensemble, the Genkin Philharmonic, Wild Rumpus New Music, the East Coast Contemporary Ensemble, L'Arsenale, and members of the JACK Quartet and Talea Ensemble. He has also received recognition for his work from the League of Composers/ISCM, ASCAP, the Society of Composers, Inc., the Atlantic Center for the Arts, the American Composers Alliance, and the Brandeis Office of the Arts. As a performer, Travis is committed to the promotion of new music, and has played trumpet with the Boston New Music Initiative, the Equilibrium Concert Series, New Music Brandeis, and the New England Philharmonic, among others. Being a North Carolina native, he can also be found blowing on the harmonica 60 from time to time. Travis currently teaches at Johnston Community College in Smithfield, NC, and has held previous positions at the Massachusetts Institute of Technology, Brandeis University, and Gordon College. He holds degrees in theory and composition from Brandeis (PhD, '14), the New England Conservatory (MM, '08) and East Carolina University (BM, '05). He lives in West Newton, MA with his wife Lauren, his son Owen, and his dog Toby.

Jason Bahr is a composer living in southwest Florida. Bahr has received over 300 performances of his works, including performances in 35 states and over a dozen foreign countries. He was a finalist for the 2nd 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) forGolgotha, third prize in the Renee B. Fischer Piano Competition (2003), Region V winner in the SCl/ASCAP Competition (2002), the Cambridge Madrigal Singers Choral Composition Competition (1999) with Psaume 1, and annual ASCAP awards since 1998. As a Kansas City native, Bahr is an avid of the Kansas City Royals. Listen to works and peruse scores at www.jasonbahr.com. Soli Deo Gloria

American composer Thomas Rex Beverly is a graduate of Trinity University in San Antonio, Texas where he received a bachelor's degree in music composition. At Trinity, he studied with Timothy Kramer, David Heuser, Jack W. Stamps, and Brian Nelson. He has had pieces performed at the 2013 Electroacoustic Barn Dance Festival, the 2014 Biennial Symposium for Arts and Technology at Connecticut College, the 2014 SCI Iowa New Music Symposium, the 2014 TransX Transmissions Art Symposium in Toronto, Canada, the 2014 Sweet Thunder Electroacoustic Festival, 2014 New York City Electroacoustic Festival, the 2014 International Computer Music Conference and the 2014 So Percussion Summer Institute. In addition, he won second prize in the 2015 ASCAP/SEAMUS Student Commissioning Competition for his piece Ocotillo. He is a recent graduate of Bowling Green State University in their Master of Music Composition degree program where he studied with Elainie Lillios, Christopher Dietz and was a Music Technology Teaching Assistant.

Christopher Biggs is a composer and multimedia artist residing in Kalamazoo, Mich., where he is Assistant Professor of Digital Composition at Western Michigan University. Biggs' recent projects focus on integrating live instrumental performance with interactive audiovisual media. In addition to collaborating with artists in other disciplines on projects, he treats all of his works as collaborations 61 between himself and the initial performing artist by working with the performers during the creative process and considering their specific skills and preferences.

John G. Bilotta was born in Waterbury, Connecticut, but has spent most his life in the San Francisco Bay Area where he studied composition with Frederick Saunders. He is a graduate of the University of California, Berkeley, and the San Francisco Music & Arts Institute. His works have been performed by soloists and ensembles around the world including Rarescale, Earplay, the Talea Ensemble, the Washington Square Contemporary Music Society, Chamber Mix, North/South Consonance, Musica Nova, the Avenue Winds, the Presidio Ensemble, the Boston String Quartet, the San Francisco Composers Chamber Orchestra, the Kiev Philharmonic, the Oakland Civic Orchestra, San Francisco Cabaret Opera, Bluegrass Opera, Boston Metro Opera, the Thompson Street Opera, New Fangled Opera, and VocalWorks. His music is available on Capstone Records, New Music North, Beauport Classical Recordings, ERMMedia, Bouddi Music/Australia and Navonna Records, and are distributed by Naxos. He serves on the Board of Directors for Goat Hall Productions and on the Executive Committee of the Society of Composers, Inc. He is co-director of the Bay Area's Festival of Contemporary Music, now in its thirteenth year.

Russell Brown is currently serving as Assistant Professor of Woodwind Studies and Music Theory at Albany State University (Albany, GA) and instructs at the Georgia Governor's Honors Program hosted at Valdosta State University. Dr. Brown's compositions have been performed on concerts for local, national, and international audiences in venues across the country including the Gwinnett Ballet (GA), 4 Clowns (CA), Jacksonville Symphony Orchestra (FL) and R20 (Poland). He generally enjoys making racket for a living. Dr. Brown holds a PhD in Music composition and an MM in Music Composition from the University of Florida, an MM in Music Performance from The Ohio State University and a BM in Music Performance from Valdosta State University. He regularly performs contemporary music in various chamber groups and is currently a member of the Albany (GA) Symphony Orchestra, Valdosta (GA) Symphony Orchestra, and has performed with the Savannah Philharmonic, Columbus (GA) Symphony Orchestra, The Florida Orchestra (Tampa), Gainesville (FL) Chamber Orchestra, and Ocala Symphony Orchestra.

David Carpenter's music has been performed throughout the United States, including concerts at the Aspen Music Festival and School, the Oregon Bach Festival, the Brevard Music Center, and the International Double Reed Society at the University of Oklahoma. Vocal music being one of his primary interests, Mr. 62 Carpenter has composed several works in this genre, including Fredericksburg, premiered by baritone William Stone with the Temple University Concert Choir and Chamber Orchestra as part of the Philadelphia Chamber Music Society's 2007-08 season; and an opera based on the novel The Age of Innocence by Edith Wharton. Selected scenes from this work were performed in New York City in November 2013. A recipient of a MacDowell Colony fellowship in 2010, Mr. Carpenter has also collaborated with the Momenta Quartet, and bassoon virtuoso Pascal Gallois, who premiered his Three Myths for Solo Bassoon in 2008. For the 2012-13 season, Mr. Carpenter was composer in residence with the Delaware County Symphony (Aston, PA), who premiered his orchestral work, The River in the Tree. Most recently, Mr. Carpenter was commissioned by Play On, Philly!, an organization that brings music to students in the Philadelphia public schools, to write a piece for speaker and orchestra using the words of Frederick Douglass. This work, Hallelujahs of the Free, premiered in May 2015, was followed by a performance in Paris of his Rhapsody by pianist Katelyn Bouska. Mr. Carpenter holds a Doctor of Musical Arts degree from Temple University, where he studied with Maurice Wright.

Dan Cavanagh is a composer and pianist who has garnered numerous awards in both areas. He received a 2009 gold medal prize from the National Academy of Music's International Music Prize for Excellence in Composition. His jazz piano trio was a finalist in the 2013 Bucharest International Jazz Competition, and he was a finalist in the 2011 Jacksonville Jazz Piano competition. Cavanagh received Honorable Mention in the 2007 Gil Evans/IAJE Commission Competition, Featured Performance at the 2006 International Jazz Composers' Symposium, finalist in the 2002 and 2005 ASCAP Young Jazz Composers competitions, among other awards. His music continues to be performed across the country and internationally. He has received commissions from a wide range of jazz and classical groups across North America and Europe. His music can be found on a variety of American jazz and classical recordings, including Confronting Inertia by trumpeter John Adler, his big band record, Pulse, trio record with Joe McCarthy and Linda Oh, The Heart of the Geyser, and duo record with Dave Hagedorn, Horizon. Cavanagh's music is published by Sierra Music Publications, Walrus Music (eJazzlines), UNC Jazz Press, and Echo Composers. Cavanagh is the founding Artistic Director and pianist of the American Jazz Composers Orchestra, a big band dedicated to performing music written by living American composers. He has performed with Grammy-winners Joe McCarthy and Irma Thomas, and many leading jazz musicians. Cavanagh serves as an Associate Professor of Music and the Director of Music Industry Studies at The University of Texas at Arlington. 63

Christopher Cook received the Doctor of Music degree from Indiana University where he served as assistant director of the Center for Electronic and Computer Music. He is a recent recipient of a Fromm Music Foundation commission from Harvard University and has received awards from the National Endowment for the Arts, ASCAP, MTNA, and the National Assembly of Local Arts Agencies. He has served as Composer-in-Residence at James Madison University, Amherst College, the University of Evansville, the Monroe County Community Schools Corporation (Indiana) and for the city of Somerset, Pennsylvania. He is Director of Theory and Composition at Christopher Newport University.

Gramophone Magazine calls Shawn Crouch a "gifted composer" and Anthony Tommasini of the New York Times describes Shawn Crouch's work as music of "gnarling atonal energy". The Miami Herald called his Road From Hiroshima; A Requiem a "staggering achievement, an imaginative, powerful and deeply moving work" making the Miami Herald and Sun Sentinel's 2005 Classical Music Standouts. Shawn has received awardsfrom the American Academy of Arts and Letters, ASCAP, Yale University, Meet the Composer and the Percussive Arts Society. He is the inaugural recipient of the Dale Warland Singers Commissioning Award given by Chorus America and the American Composers Forum. Shawn Crouch has had his works performed by among others; American Modern Ensemble, Cantori New York, California E.A.R. Unit, Chanticleer, Del Sol String Quartet, the Esoterics, Eighth Blackbird, Lost Dog New Music Ensemble, newEar Contemporary Ensemble, Phoenix Chorale, Prism Quartet, Santa Fe Chorale, Seraphic Fire, the Yesaroun' Duo, and Volti. An educator as well as a composer, Shawn Crouch has served as the Founding Director of Seraphic Fire's Miami Choral Academy, a tuition-free program that creates a little league-type network of choral ensembles for children in underserved communities of Miami­ Dade County. Shawn Crouch has also served on the music faculty at the Walden School for Young Musicians, and the Hunter College Campus School in New York City. Shawn Crouch received his B.Mus. in composition from the New England Conservatory, and his M.Mus. in composition from the Yale School of Music. Mr. Crouch is currently a OMA candidate in composition at the University of Miami's Frost School of Music.

The music of Luke Dahn has been called "terrific, awfully damned good" (Sequenza 21) and "blessed with a vigorous rhythmic sense" (Fanfare), and has been performed by groups such as the Moscow Conservatory Studio for New Music, Composers Inc., the NODUS Ensemble, the League of Composers Chamber Players, the NEXTET Ensemble, the University of Iowa Center for New 64 Music, New Music New Mexico, violinist Wolfgang David and saxophonist Kenneth Tse. Venues have included Carnegie Hall (NY), Rachmaninoff Hall (Moscow), the Estonia Academy of Music (Tallinn), the Frankfurter KuenstlerKlub, Harvard University's Memorial Church, the Miami ISCM Festival Series and the N.E.O.N. (Nevada Encounters of New Music) Festival at which he was awarded the Max Di Julio Prize. Dahn has also been the recipient of several other recent awards including the 2014 J.D. Robb International Composition Prize. Dahn earned graduate degrees in composition from the University of Iowa and Western Michigan University, and his principal teachers include David Gompper, C. Curtis-Smith, and Ann Gebuhr. After serving eight years at Northwestern College (IA), he joined the faculty at the University of Utah in 2015. In addition, he is co-founder and co-artistic director of Ensemble Peripherie, and also serves on the Board of Directors of the League of Composers/ISCM. For more information, visit www.lukedahn.net.

Mike D'Ambrosio is Associate Professor of Theory and Composition at Murray State University in Kentucky and has been there since fall 2008. He has held previous teaching positions at Jacksonville State University (AL), Oklahoma State University, University of Dayton, and Cincinnati's College-Conservatory of Music (CCM). He received his D.M.A. and M.M. degrees in music composition from CCM where he studied with Joel Hoffman and Ricardo Zohn-Muldoon (now at Eastman). Originally from Long Island, New York, Mike did his undergraduate work at Lehigh University where he double-majored in music and accounting. Recent commissions include the Luther College Trumpet Ensemble, the Murray State University Wind Ensemble, Kentucky Center's Governor School for the Arts Faculty Quintet, Celeste Johnson (Professor of Oboe at Oklahoma State University), and Larry Wyatt (Director of Choral Studies at the University of South Carolina). Mike's music has been performed by the Philadelphia Brass, Monarch Brass, Shepherd School Brass Choir (Rice University), Indiana University Brass Choir, Cincinnati Symphony Youth Orchestra, the Cincinnati College-Conservatory of Music (CCM) Wind Ensemble, and by soloists and chamber musicians throughout the United States. His 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 at the Forbidden City Concert Hall in Beijing. Mike has also received ASCAPLUS Awards for the past seven years and has music published with C. Alan Publications, Potenza Music, Triplo Press, and Dorn Publications. 65 Nathan Daywalt recently completed studying music composition at the master's level at Ball State University, where he also obtained undergraduate degrees in music composition (B.M.) and music technology (B.S.). He is an active collaborative pianist and recording engineer, and previously managed Ball State University's Central Recording Services.Daywalt has enjoyed teaching Acoustics, Sonic Arts, and recording techniques, and is a member of the local chapters of Society of Composers, Inc. (SCI), Audio Engineering Society (AES), and Theta Chi. He has also served as a recording and audio engineer at Interlachen Center for the Arts.

Thomas Dempster is a composer of chamber, electroacoustic, and multimedia works. With over 70 completed works to his name, his output ranges from solo miniatures to extended works for orchestra with soloists. His music bears accessible yet decidedly individualistic traits, from tonal references to extended techniques, from works touching on classical forms to experimental soundscapes and video works. His music has been performed widely throughout North America and Europe, including GEMDays (UK), Di_Stanze (Italy), Toronto International Electroacoustic Symposium, the San Francisco New Music Festival, Electronic Music Midwest, Electroacoustic Barn Dance, NYCEMF, University of Kentucky New Music Festival, ICMC, the Indiana State University Music Now! Series, SEAMUS, Society of Composers Inc., College Music Society, the National Flute Association, the North American Saxophone Alliance, and numerous others. Dempster is a recipient of awards, honors, and grants from BMI, ASCAP, the South Carolina Arts Commission, and others. He has been commissioned by the Greenbrook Ensemble, the Blue Mountain Ensemble, the Governor's School of North Carolina, the Ohio State University New Music Ensemble, the South Carolina Music Teachers Association, and others. Several of his works are commercially available from Potenza Music Publishing, Quiet Design Records, and Navona Records. He is an affiliate composer of Broadcast Music, Inc. (BMI) www.thomasdempster.com

David DeVasto has presented works in the United States and Europe; including IAEF, SCI, CFAMC, EMM, ICF, NEON, CUR, and EAJJ. DeVasto's music appears on Navona, and Flitterswift labels, and he has appeared as a pianist on Southport Records. DeVasto earned his Ph.D. from The University of Iowa in 2009 and has served on the music faculties at Lindenwood University and McKendree University. He is currently an Assistant Professor of Music Theory and Composition at Elmhurst College in Chicago, IL. For more on David DeVasto, please visit his website: www.devasto.net 66 David Z. Durant (b. 1957, Birmingham, Alabama, USA) is Professor of Music at the University of South Alabama in Mobile, Alabama where he directs the music theory, composition and technology programs. He received his BM and MM from the University of Florida and his OMA from the University of Alabama. His composition teachers have included Edward Troupin, John D. White, Fred Goossen, Harry Phillips, Andrew lmbrie, Marvin Johnson, and James Paul Sain. Durant is also active as a pianist and has premiered a number of his own works for the piano.

Mark Engebretson (b. 1964) is Professor of Composition and Electronic Music at the University of North Carolina at Greensboro. He is the recipient of a Barlow Commission (for Bent Frequency), North Carolina Artist Fellowship in Composition (for the Concerto for Soprano Saxophone and Orchestra), a Fulbright Fellowship for studies in France, and has received major commissions from Harvard University's Fromm Music Foundation (Acrylic Waves), the University of Wisconsin-Madison (They Said: sinister resonance), the Thomas S. Kenan Center for the Arts (Deliriade) and the Barlow Foundation He is the founder of the UNCG New Music Festival. Engebretson's creative work is driven by melody, timbre, virtuosity, clear and balanced formal structure, the integration of new media, multiple levels of associations, and a desire for fresh, engaging musical expression. Recent work has included strong overtones of pop music and creative intersections with written texts. Dr. Engebretson taught composition at the University of Florida, music theory at the SUNY Fredonia and 201h-century music history at the Eastman School of Music. He studied at the University of Minnesota (graduating Summa cum Laude), the Conservatoire de Bordeaux (as a Fulbright Scholar), and Northwestern University, where he received the Doctor of Music degree. At Northwestern he studied composition with M. William Karlins, Pauline Oliveros, Marta Ptaszynska, Michael Pisaro, Stephen Syverud and Jay Alan Yim and saxophone with Frederick Hemke. His teachers in France were Michel Fuste­ Lambezat and Jean-Marie Londeix. www.markengebretson.com http://www.youtube.com/user/mysterE512

Eric Fegan is an Ohio born composer. Currently, he is attending the Jacobs School at Indiana University receiving his Masters in Music Composition and a recent graduate of the Shepherd School of Music at Rice University. He has composed for a wide variety of instruments and styles and has had the privilege of working with some of the nation's top ensembles including the Zeitgeist ensemble, Dover String Quartet, Cleveland Chamber Symphony Orchestra and 67 PRISM Saxophone quartet. Eric tries to display excitement and passion through his music and hopes to engage audiences of all types.

A singer and pianist, Dr. Joshua Fishbein {born December 30, 1984) composes vocal and instrumental music. His music has won awards sponsored by The American Prize, the American Choral Directors Association, BMI , the Belvedere Chamber Music Festival, the Boston Metro Opera, the Cantate Chamber Singers, the Cerddorion Vocal Ensemble, Chorus Austin, the Delaware Valley Chorale, The Esoterics, the Guild of Temple Musicians, the Hollywood Master Chorale, the National Lutheran Choir, WomenSing, and others. Currently, Fishbein is on the theory faculty of the Peabody Institute of the Johns Hopkins University. Prior to that, he served as a visiting professor of composition and theory at the University of Nevada, Las Vegas. Fishbein earned his Ph.D. in music from UCLA, where he directed the UCLA Early Music Ensemble. He completed his Master of Music at the San Francisco Conservatory of Music (SFCM) with additional graduate studies at the University of Maryland (UMD), earning UMD's Distinguished Teaching Award. At SFCM, Fishbein served as assistant conductor of the Conservatory Chorus and won first prize in the Art Song Composition Competition. He earned undergraduate degrees in music and psychology from Carnegie Mellon University, where he won the Harry G. Archer Prize in orchestral composition. A native of Baltimore, Fishbein studied piano performance and theory at The Peabody Preparatory. Fishbein's composition teachers include Roger Bourland, Paul Chihara, David Conte, Richard Danielpour, Nancy Galbraith, Ian Krouse, David Lefkowitz, and Lawrence Moss. He has choral compositions published by E.C. Schirmer Music Company, Transcontinental Music Publications, and Yelton Rhodes Music.

Neil Flory is an active composer whose music has been performed across the United States as well as in Canada, Mexico, South America, Europe, Asia, and Australia. With over 80 compositions to his credit, Flory has composed a wide variety of works both in the acoustic and electro-acoustic mediums. His music appears on commercially available recordings from the Summit and Emeritus labels, and is currently published by Jamar Press and Cimarron Music Press. Over the years he has fulfilled numerous commissions for a variety of ensembles and soloists; recent commissions include a work for soprano and alto saxophones, commissioned by virtuoso saxophonist Andy Wen. Flory is currently Assistant Professor and Music Coordinator at Jamestown Community College, in Jamestown, New York. Previously, he served as a member of the music faculties of Central Washington University, Del Mar College, and Luther College. He holds degrees from the University of Texas at 68 Austin (D.M.A.), the University of Florida (M.M.) and the University of Central Florida (B.M.E.). While earning his degrees, he studied composition with Stella Sung, Budd Udell, James Paul Sain, Russell Pinkston, Mark Schultz, Dan Welcher, and Donald Grantham.

Cynthia Folio is Professor of Theory and Composition at Temple University, where she was honored with the Lindback Award for Distinguished Teaching in 1994 and the Creative Achievement Award in 2012. She received her Ph.D. in music theory and Performers Certificate in flute from the Eastman School of Music. Cynthia's compositions have been described by reviewers as "confident and musical in expressing ideas of great substance," "intriguing and enjoyable," and "imaginatively scored." She has received commissions from such organizations as Network for New Music, the Relache Ensemble, the Mendelssohn Club of Philadelphia, and the National Flute Association, and she earned 22 consecutive ASCAP Awards for composition. She has had residencies at The American Academy in Rome, Yaddo, and the Virginia Center for the Creative Arts. In the summer of 2011, the National Flute Association featured an entire concert of her music on its annual convention, and in 2015 it featured her new double flute concerto, Winds for Change, performed by the flute duo ZAWA! and the Serafin String Quartet. Cynthia's pieces are recorded on many CD's, including a 2014 release, lnverno Azul, featuring nine of her compositions, on the BCM+D label; a 2007 release by the Relache Ensemble, Press Play, by Meyer Music; and a 2006 release of Flute Loops: Chamber Music for Flute by Centaur Records, featuring eight of her compositions. She also recorded a jazz CD, Portfolio (Centaur Records), which includes four original compositions.

Robert J. Frank (b. 1961) has won awards from ASCAP, the Civic Orchestra of Chicago, Theodore Presser New Choral Music Competition, and been performed around the world. His orchestral works have received numerous commissions and performances by ensembles including I Palpiti, the Meadows Symphony, the Richardson Symphony, Clemson Symphony, Dallas Wind Symphony, Kremlin Chamber Orchestra, and the Civic Orchestra of Chicago. His music has been performed on concerts throughout the world, including at the Viva Vivaldi International Arts Festival in Mexico City; Regional, National and International conferences of the College Music Society; International Trumpet Guild, National Flute Association (USA), Percussive Arts International Conference, and the Mozarteum Summer Music Program under the auspices of the Salzburg Summer Music Festival. His music is published by Brixton Publications and www.robertfrankmusic.com and is recorded on several CD labels. He is 69 anAssociate Professor of Music Composition and Theory at Southern Methodist University in Dallas, Texas.

Christopher Gainey balances a variety of creative and academic pursuits that he considers complementary components of an eclectic approach to the study of music. He composes for and maintains professional relationships with a wide range of performers, engages with and benefits from the ideas of his colleagues through academic research, and performs regularly on guitar and banjo in music of any style that catches his ear. In preparation for this lifestyle, he has earned master of music degrees in composition, guitar, and music theory pedagogy from Peabody Conservatory and a Ph. D. in composition from the University of Iowa. Until 2011, he taught music theory and composition at Grinnell College and the University of Iowa where despite loving his work, he felt that his enthusiasm was undermined by a certain lack of intellectual refinement. In an attempt to remedy this, he is pursuing a second Ph . D. in music theory as a graduate student at the University of British Columbia where the focus of his research is the role of timbre in twenty-first century music.

The creative work of Martin Gendelman (b.1976) touches on both the acoustic and electronic domains and includes compositions for solo performer, chamber groups, and orchestra, as well as many cross-disciplinary works and installations (primarily with dance, video, and theatre). Over the past decade, his music has been performed across the Americas, Europe, and the Middle East, by ensembles such as the New York-based Da Capo Chamber Players, the Meitar Ensemble (Israel), and the Orquesta Sinf6nica def Neuquen (Argentina). Present projects include new compositions for the Savasa trio (Ensemble Modern) and the Munich-based Blaue Reiter ensemble. Currently, he is Assistant Professor of Music and Head of the Composition and Music Theory area at Georgia Southern University. He holds degrees from Universidad Nacional de La Plata (Argentina), California State University Northridge, and The University of Maryland, where he studied composition with Mariano Etkin, Liviu Marinescu, Lawrence Moss, and Thomas Delio. In addition, he has attended master classes by Fabian Panisello and Philippe Leroux. For more information, visit www.martingendelman.com

David Gompper has lived and worked professionally as a pianist, a conductor, and a composer in New York, San Diego, London, Nigeria, Michigan, Texas and Iowa. He studied at the Royal College of Music in London with Jeremy Dale Roberts, Humphrey Searle and pianist Phyllis Sellick. After teaching in Nigeria, he received his doctorate at the University of Michigan, taught at the University of Texas, Arlington, and since 1991 has been Professor of Composition and 70 Director of the Center for New Music at the University of Iowa. In 2002-2003 Gompper was in Russia as a Fulbright Scholar, teaching, performing and conducting at the Moscow Conservatory. In 2009 he received an Academy Award from the American Academy of Arts and Letters in New York City. Gompper's compositions have been performed in such venues as Carnegie, Lincoln Center and Merkin Halls (New York), Wigmore Hall (London), Konzerthaus (Vienna) and the Bolshoi Hall (Moscow). Wolfgang David and the Royal Philharmonic Orchestra recorded his Violin Concerto for a Naxos CD. He received a 2013 Fromm Commission to write a Clarinet Concerto for Michael Norsworthy and BMOP (Boston Modern Orchestra Project), Gil Rose, director, which will be premiered in the spring of 2016. He will return to London (January 2017) for a second recording project with the RPO that will include three concerti: clarinet, double and cello.

Warren Gooch's music has been performed widely throughout North America, Europe, Asia and Latin America. Gooch is recipient of over thirty composition awards and paid commissions, and has approximately forty published works available from Southern, Neil A. Kjos, Alliance, Flammer, Dorn, Ensemble, Plymouth, and other publishers. His music has been recognized by the National Federation of Music Clubs, American Choral Directors Association, Music Teachers National Association, International Trumpet Guild, Percussive Arts Society, Composers Guild, Minnesota Orchestra, and a number of other cultural organizations. Clockwork for orchestra has been recorded by the Slovak Radio Orchestra, on the PARMA label. Completing his doctorate in composition at the University of Wisconsin-Madison in 1988, Gooch studied with Stephen Dembski, Joel Naumann, Eric Stokes, Mary Mageau and others. Professional memberships include the Society of Composers, American Composers Forum, BMI , Music Educators National Conference, Christian Fellowship of Art Music Composers, Pi Kappa Lambda, Phi Mu Alpha Sinfonia, Iowa Composers Forum and numerous other organizations. Until his retirement in August 2015, Gooch served as Chair of the Theory-Composition area at Truman State University, where he was the recipient of the university's "Educator of the Year" award in 2012. In 2013, he was a recipient of the Governor's Award for Excellence in Education from the State of Missouri. He is also active in church music.

Lee Hartman holds degrees from the University of Missouri-Kansas City (D.M .A., M.M.) and the University of Delaware (B.M.). At the University of Delaware, he received a Dean's Scholar position enabling him to pursue an individually designed academic program combining music education and composition. At the 71 University of Missouri-Kansas City he served for three years as the Assistant Director to Musica Nova, the conservatory's new music ensemble, while teaching composition classes. Musica Nova, under his baton, can be heard on Stephen Yip's Gorintou released by Navona records. In 2007 he was invited to both the Iceland Academy of the Arts in Reykjavik, Iceland and the Sichuan Conservatory in Chengdu, China to give lectures and master classes in composition. He teaches at the University of Central Missouri having previously taught at Park University, University of Delaware, and University of Missouri-Kansas City. In the past year, his works have been performed by the Minnesota Freedom Band, Norfolk Choral Festival (under the direction of Simon Carrington), tenor Jake Sentgeorge, oboist Sheri Mattson, and the Pittsburg State University Percussion Ensemble.Hartman is currently the Editor-in-Chief of KCMetropolis.org and the Artistic Director of the Mid America Freedom Band. His compositions can be found at http://www.leehartmanmusic.com

A native of China, Jianjun He received his BA in violin performance from Northwestern National University, MA in music theory from The Arts Academy of China, and OMA in composition from West Virginia University where he studied composition with John Beall. His compositions 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, lnnova, Curvepoint, and Da Di labels. He is currently Professor of Composition and Theory at Jacksonville University (FL).

David Heinick's music spans a broad range of styles and performing forces, often juxtaposing disparate styles within a single work. His music has been performed throughout the United States, Canada, and Europe, and has been broadcast on NPR, the CBC, and the BBC. With Carol Heinick, he has performed extensively playing music for two pianists at one or two pianos; he has also been active as a collaborative pianist, having performed with numerous prominent soloists and members of major orchestras. Since 1989, he has been a member of the faculty at SUNY-Potsdam's Crane School of Music; he previously taught at the University of Maryland-Eastern Shore and St. Mary's College of Maryland.

David Heuser's music has be hailed as "all-American music at its most dynamic and visceral," "thoughtful, beautiful and wonderfully made," and "just the sort of music classical music needs more of." Heuser has received commissions from such ensembles as the San Antonio Symphony, the New York Youth Symphony, the Texas Music Festival Orchestra, and the SOLi Chamber Ensemble. His 72 music has won many awards, including the Columbia Orchestra American Composer Competition and the Dallas Wind Symphony Brass Fanfare Competition. Heuser's degrees are from the Eastman School of Music and the Indiana University Jacobs School of Music. A native of New Jersey, Heuser resided in San Antonio for 14 years, where he was a Professor at the University of Texas at San Antonio teaching music composition and theory. Since July 2011 he has been the Associate Dean at the Crane School of Music in Potsdam, New York. His music is published by Non Sequitur Music, and works of his can be found on recordings on the Albany, Capstone, and Equilibrium labels, as well as on CDs released by the Cactus Pear Music Festival and the Composers Alliance of San Antonio. For more see www.davidheuser.com.

Dorothy Hindman has emerged as one of the most interesting composers of her generation. Her music, a blend of punk/grunge with a European spectralist sensibility has been called "intense, gripping, and frenetic," and "a showpiece experience for the performer and an engaging and refreshing one for the listener." In 2015-2016, her music will receive more than forty performances including a chamber music retrospective concert at Weill Hall at Carnegie Hall in March 8. International performances of her music this season include France, Germany, Brazil, Copenhagen, Sicily, Estonia, London, and Montreal, and festivals including include the Australian Flute Festival, the Havana Contemporary Music Festival, the Festival Eleazar de Carvalho in Brazil, the 2015 Birmingham New Music Festival, and New Music Greensboro. Hindman has composed for top performers including Bent Frequency Duo, Empire City Men's Chorus, bassist Robert Black, cellist Craig Hultgren, guitarist Paul Bowman, percussionist Stuart Gerber, and Corona Guitar Kvartet. Orchestra performances include the Women's Philharmonic Orchestra, the Alabama Symphony, the Brevard Symphony Orchestra, and the North Florida Symphony Orchestra. Her music appears on ten CDs, including her critically­ acclaimed Tapping the Furnace (innova). Other labels include Albany, Capstone, and Living Artists. Scores available from Subito Music and darn/Needham. dorothyhindman.org

Derek Holden (b. 1990) holds a B.M. in Music Composition from the University of Alabama in Tuscaloosa and is currently working on his M.M. in Music Composition at the University of Alabama. An enthusiastic collaborator, Holden has worked with a wide variety of instruments and performers. Holden is currently working on projects with performers all over the United States and Japan, ranging from a quartet for euphonium, tenor sax, cello, and piano, a piece for a large wind ensemble, to any number of solo pieces for 73 various instruments and performers. Holden's music is shaped significantly by working with a collaborating performer. Notable names from this list include Garth Knox, violist of Ensemble lntercontemporain and Arditti Quartet fame, as well as Dr. Paul Bowman, a favorite guitarist of many prominent American composers. Holden attended the Etchings Festival in Auvillar, France in July of 2014. At this festival, he studied with Mark Andre, Beat Furrer and had a performance of his solo viola work, The Axe Has Flowered. Holden has studied composition with C. P. First, Marvin Johnson, and Peter Westergaard, euphonium with Demondrae Thurman and Ryan Black, and classical guitar with Michael Johnson. Holden is a member of ASCAP, as well as SCI. Holden has been published by Potenza Music and the International Journal of Contemporary Composition.

Devoted to exploring and furthering the intersections of music and technology, Eric Honour's work as a composer and saxophonist has been featured in numerous international conferences and festivals like ICMC, SEAMUS, Spark, FEMF, BEAF, EMM, and others. A member of the Athens Saxophone Quartet as well as a soloist specializing in works incorporating electronics, he performs regularly in Europe and the United States.Honour's music has been described as "fast, frenetic, and fiendishly difficult" and performed around the world by such notable artists as Quintet Attacca, Winston Choi, Stephan Vermeersch, the Thelema Trio, and Quartetto Musicattuale. His work as a composer has been recognized in many competitions, published by Roncorp, and recorded on the Capstone, Ravello, and lnnova labels. Professor of music and director of the Center for Music Technology at the University of Central Missouri, his work as an audio engineer and producer appears on the lnnova, Centaur, Ravello, Irritable Hedgehog, Orpheus Classical Music, Everview, North Star Appli, and E.M.E. Action labels, as well as on numerous independent releases.

Hubert Howe was educated at Princeton University, where he studies with Milton Babbitt, and from which he received the A.B., M.F.A. and Ph.D. degrees. He was one of the first researchers in computer music, and became Professor of Music and Director of the Electronic Music studios at Queens College of the City University of New York. For over ten years, he was Director of the Aaron Copland School of Music at Queens College. He also taught at the Juilliard School from 1974 to 1994. He has been a member of the Society of Composers, Inc. since its founding in 1965 and served on the Executive Committee from 1967 to 1971 . He served as President of the U.S. section of the League of Composers/ International Society for Contemporary Music from 1970 until 1979. He has been a member of the American Composers Alliance since 74 197 4 and served as President from 2002 to 2011. He is also a member of the International Computer Music Association, SEAMUS. In 2009, he founded the New York City Electroacoustic Music Festival, and he continues as Director. In 2013 he became Executive Director of the New York Composers Circle.

M. Shawn Hundley joined the faculty of Bethune-Cookman University in 2006 and serves as Associate Professor of Music Theory and Composition. Still finding time to compose, three works have been premiered since 2014, including a new work premiered by the Brass Band of Central Florida and Groovet for cello and piano, premiered at the Eastman School of Music. In 2011, he was named "Distinguished Composer of the Year" by the Music Teachers National Association. Also in 2011, new works were premiered by the PEN Trio, with In Threes, and Rose Shylam Grace, with the commissioned piano composition, A New American Ballad, recently released on the album "Vibrations of Hope" through Albany Records. His work Surface Tensions, premiered by the University of Georgia Wind Ensemble in 2010, was awarded the Arch Composition Award. "Dulce et decorum est", a work for chorus, orchestra and vocal solos, premiered in a chamber version under the direction of Andre Thomas in 2006. He was also honored to be a recipient of the Charles Ives Scholarship from The Academy of Arts and Letters. His works have been performed at numerous venues and have been performed in Prague, throughout the Caribbean, and around the United States. He holds the Doctor of Musical Arts from The Florida State University where he studied composition with Ladislav Kubik and Ellen Taaffe Zwilich, and piano with Leonidas Lipovetsky.

Derek M. Jenkins (b. 1986, Frankfurt am Main, Germany) has received performances of his music throughout the United States, Europe, and Canada including performances by the Fountain City Brass Band, U.S. Army Materiel Command Band; the Florida State Wind Orchestra; the UMKC, Northern Arizona, Arkansas, Arizona State, Iowa State, Western Michigan, Henderson College, and Bethel College Wind Ensembles; and the Carinthia, Joseph Wytko, and Saxophilia Saxophone Quartets. In 2012, Jenkins's wind ensemble piece Eosphorus: The Morning Star was selected as a winner of the National Band Association's Young Composer Mentor Project. Jenkins has received recognition from MACRO, ASCAP, UMKC, and at conferences and festivals across the U.S. and abroad. He has been commissioned by the Mid America Freedom Band, the University of Tennessee at Martin Wind Ensemble, the University of Missouri-Kansas City Wind Ensemble, the Bethel College Wind Ensemble and Concert Choir, the Eleanor Roosevelt Middle School Concert Band [Dubuque, IA], and various individuals throughout the country. Jenkins is 75 currently studying at the University of Missouri-Kansas City (OMA Composition I MM Musicology) and he holds degrees from Rice University (MM Composition, 2013) and the University of Missouri-Kansas City (BM Composition I BM Theory, 2010). Additionally, he has received further instruction at the Karntner Landeskonservatorium and the Alpen-Adria Universitat Klagenfurt. His primary composition teachers have included Karim Al-Zand, Chen Yi, Pierre Jalbert, Richard Lavenda, James Mobberley, Paul Rudy, and Zhou Long. In his spare time, Jenkins is an amateur scuba diver and daydreams of becoming an astronaut.

Richard Johnson is a multimedia artist and composer whose interest in music was piqued during a childhood heavily impacted by film . Equal parts Kurosawa and Spielberg combined to create his ongoing interest in culture and history, the music of Takemitsu and Williams, and an obsession with mystery, adventure, and storytelling. This blend of interests is most clearly present in his set of pieces for soloists, electronics, and video entitled Quaerere Sententias. In 2012, Richard received his OMA from the University of Missouri-Kansas City where he studied with Chen Yi, James Mobberley, Paul Rudy, and Zhou Long. He also holds degrees from the Hartt School at University of Hartford (MM) and West Chester University of Pennsylvania (BM). Richard currently resides in Kalamazoo, Michigan, where he serves as Assistant Professor of Multimedia Arts Technology at Western Michigan University.

Patricia Julien (www.patriciajulien.com) holds the M.M. in Jazz and Commercial Studies from Manhattan School of Music and the Ph.D. in Music Theory from University of Maryland, College Park. She composes works for mixed-voice choral ensembles, solo voice and piano, orchestra, contemporary chamber ensembles, small jazz combos, and big band . Patricia also writes original music for theatrical productions including a recently premiered new musical called 0, Caligula!. She has received numerous commissions and her works have been performed throughout the United States and in China. She teaches courses in Music Theory and Jazz Composition and Arranging at the University of Vermont, and performs widely as a jazz flutist.

George L. Karst is a Ball State doctoral student and polystylist who composes varying works. His output includes chamber music, cathedral organ music, choral pieces, chant, music for solo instruments, and electronic music. His music suggests varying impressions, including heraldry, solemnity, and meditative ecstasy. On the other hand some of his works demonstrate grotesque themes and neo-expressionism. A less obvious but important contrasting element is 76 humor. Karst's style has changed with time. His derivative early work included neo-Wagnerian harmony. Later he explored retro-futurism through the use of octatonicism found in Messiaen's early works. His most recent work and keyboard improvisations have drifted away from such modes of limited transposition. He uses polychords, octave displacement, varying note durations, and other voice-leading techniques to imply tonal centers and fashion hierarchies of pitches. Yet another element is the fusion of medieval and non-Western melodic shapes with modernist textures. His electronic music includes digital audio sculpting of textures. At other times there are algorithms controlling sound synthesis parameters and gestures. In some work he combines electronic and acoustic voices. Additionally he often combines non-pitched textures with pitched material. His other activities have included teaching at BSU and directing music at St. Matthew Episcopal Church in Indianapolis. From 2006-2012 George sold pipe and digital organs some of which are now at prominent landmarks in Indianapolis, Fort Wayne, and Southern Indiana. George L. Karst lives in Indianapolis with his wife Stephanie and two daughters, Theodora and Zoe.

Chan Ji Kim composes for dance, chamber ensembles, orchestra, multimedia performances and fixed media. Her research and music areas of interest include collaboration between composer and choreographer, Korean folk music, and interactive media composition. Her major performances include World Music Days in Timisuara, Romania, Festa Della Musica Europea in Rome, Italy, Sonic Arts at the University of Rome, Tor Vergata in Italy, International Music Festival performed by the Bart6k Trio in Seville and Malaga, Spain, International Music Days in Constanta, Romania, New Music Concert performed by the Anton Webern Quartet in Berlin, Germany, New Music Society concert in Seoul, Korea, New Music Consortium concert in Bucharest, Romania, Summer Music Festival In Florence and Assisi, Italy, International Composers and Interactive Artists at the Symphony Space in New York City, International Double Reed Society conference, Florida Electroacoustic Music Festival, Congress of the International Alliance of Women in Music, Society of Composers, Inc. national conference, and Women Composers Festival in Hartford. Her article "Music for Clara Schumann" is published by Jihak-sa in Korea, her music has been published by Calabrese Brothers Music, TrevCo Music, The Sejong Cultural Society, and also available on the album Nova (SCI CD no. 27) by Parma, Mosaic by Emeritus, and on The Era of Modern Bassoon album Collection by Akashibu Gakufu in Japan. She studied music composition at E-Wha Women's University in Korea (B.A.), New York University (M.A.), and University of Florida (Ph.D.). Currently, she is chair of the Performing Arts department at the Eastern Florida State College. 77

Texu Kim (b.1980)'s works have been performed by groups such as the Minnesota Orchestra, Ensemble Modern, Alarm Will Sound, Ensemble lntercontemporain, Ensemble Reconsil Vienna, National Orchestra of Korea, Seoul Philharmonic Orchestra, Ensemble 212, and Ensemble TIMF, as well as at the Bruckner Festival, SONiC Festival, Mizzou International Composers Festival, Aspen Music Festival and School, American Guild of Organists National Convention, American Choral Directors Association Conference, Tongyeong International Music Festival, and June in Buffalo Festival. He has earned awards and honors including the ASCAP/SCI Commissioning Competition, Indiana University Georgina Joshi Award, the American Prize, Ossia New Music Composition Prize, C4 Commissioning Competition, and lsang Yun International Composition Prize. Since May 2014, he has been serving as composer-in­ residence of Korean Symphony Orchestra.In addition to composing original works, he has arranged and orchestrated music for such major occasions as the opening ceremony of the 2014 Paralympic Winter Games. and for renowned musicians such as soprano Sumi Jo and violinist Chee-Yun. His principal teachers are Unsuk Chin, David Dzubay, Sven-David Sandstrom, Claude Baker, Sangjick Jun, and Jeong-eun Seo. He has earned a D.M. in Composition at Indiana University, where he served as an associate instructor in music theory.

S.R. Kisselbaugh received her Bachelor's degree in Music Research from Murray State University in Murray, KY in 2008. She then attended Ball State University in Muncie, IN, where she earned a Master of Music in Composition in July 2010. She is currently ABO in Music Composition and Theory with a secondary in Choral Conducting at Ball State University. In 2013, Kisselbaugh was an integral part in creating a collaborative concert with the Ball State University Chamber Choir and the student composers. This concert is now a yearly activity and had its first call for works this fall. Kisselbaugh is also a member of Ball State's SCI student chapter and has held the offices of President, Vice President, and Treasurer. "Just Before," the first movement of her composition "Chiyogami Suite" was recently chosen to be part of the SCI Region V Mixtape. "Chiyogami Suite" has also been chosen to be performed at the Society of Composers Inc. 50th Anniversary Conference in November 2015. At Ball State, she has studied composition under Dr. Derek Johnson, Dr. Eleanor Trawick, Dr. Vera Stanojevic, Dr. Jody Nagel, Dr. Richard Pressley, and Dr. Amelia Kaplan.

Composer Edward Knight is a "fresh, original voice" with "an inventive sense of humor" (Bernard Holland, The New York Times) who creates music that is 78 "visceral in its excitement" (John von Rhein, Chicago Tribune). His work eschews easy classification, moving freely between jazz and concert worlds. His music has been performed on five continents by ensembles ranging from Oklahoma­ based Duo Clarion to the New York Philharmonic, in venues as varied as the "Meet in Beijing" Festival to the Hollywood Bowl, by artists ranging from Kelli O'Hara to Paul Neubauer to Marquita Lister. He is winner of an Aaron Copland Award; the American Art Song Competition; and ASCAP's Rudolf Nissim Award for Best New Orchestral Work. He is a voting member of The Recording Academy, which selects the Grammy Awards. He studied privately with John Corigliano and was the first American to win the Sir Arthur Bliss Memorial Award for outstanding composer at London's Royal College of Music. His works are published exclusively by Subito Music. Recordings are available from Albany Records, ERMMedia, Centaur, and Capstone Records. Knight is composer-in­ residence, director of composition, and founder of Project 21: Music for the 21st Century at Oklahoma City University. Knight was OCU's 2013 Outstanding Faculty of the Year and a former Oklahoma Musician of the Year.

Joseph Koykkar, is a musician at home in a variety of music from classical to avant-garde to rock and blues. As a composer, he has had his music performed nationally and internationally for over the past 30 years, including performances and commissions by many of the leading new music ensembles in the nation. His music can be heard on 11 CDs, including an all-Koykkar CD released on Northeastern Records in 1992 and on Parma records in 2015. His composition Out Front on the North/South label, was one of 49 entries in contention for a 2006 Grammy in the "Best Contemporary Classical Composition" category. He has composed in a variety of media including chamber music, orchestral scores, music for dance, film/video scores, and electronic/computer music. He holds degrees from Indiana University (M .Mus.) and the University of Miami (OMA). He has received grants and awards from such sources as the Pew Charitable Trust for Music, the NEA, Meet the Composer, ASCAP, the American Music Center, the Wisconsin Arts Board and the American Composers Forum. He was composer-in-residence for the NOW Festival '96 at Capital University in Columbus, OH. As a professor at the University of Wisconsin­ Madison, he teaches courses in electroacoustic music/sound design and serves as Music Director for the UW's Dance Program. During the late 1980s and early 90s, he was instrumental in shaping the UW-Madison's unique lnterarts and Technology Program, acting as coordinator from 1995-2005. He has been on the UW-Madison faculty since 1987. 79 Timothy Kramer's works have been performed widely throughout the world by major ensembles and orchestras, including such groups as the Indianapolis, Detroit, Tacoma, and San Antonio Symphony Orchestras, the Winters Chamber Orchestra, North/South Consonance, the SOLi Ensemble, the ONIX Ensemble (Mexico), the Detroit Chamber Winds and Strings, and Luna Nova. He has received grants from the Guggenheim Foundation, the NEA, the MacDowell Colony, Meet the Composer, BMI, ASCAP, and the American Guild of Organists, among others. His degrees are from Pacific Lutheran University (B.M.) and the University of Michigan (M.M., D.M.A.), and he was a Fulbright Scholar to Germany. Originally from Washington State, he taught at Trinity University in San Antonio for 19 years, where he also founded CASA (the Composers Alliance of San Antonio). In 2010 he became Professor and Chair of the Music Department at Illinois College in Jacksonville, Illinois, where he was named the Edward Capps Professor of Humanities. Please visit timothykramer.com for more information.

Steven Landis (b.1977) a native of Gainesville, Florida, works with many mediums including: solo instrumental, vocal, chamber and large ensemble, digital and mixed media, as well as film, theater, and dance. He has taught Composition at Salem College in Winston-Salem, North Carolina. Currently Steven is a CITS (Composer-in-the-Schools) Fellow and a graduate teaching assistant in Composition at The University of Missouri-Kansas City Conservatory. As a bassist, Steven has performed with bands and orchestras throughout Florida, Georgia, and Alabama and has held the position of Principal Double Bass with the Albany Symphony and the Gainesville Chamber Orchestra. Steven has also performed with the North Carolina new music ensemble, COLLAPSS and the Black House Collective in Kansas City. Steven earned an MM in Composition from The University of North Carolina at Greensboro, as well as an MM in Double Bass Performance and a BM in Composition from The University of Florida. He has studied bass with Kevin Casseday and composition with Mark Engebretson, Alejandro Rutty, Paul Richards, and James Paul Sain. Steven is currently pursuing a OMA in Composition at the University of Missouri-Kansas City Conservatory where he studies composition with Zhou Long and Chen Yi and double bass with Jeffery Kail.

Michael Laurello is an American composer and pianist. He has collaborated with ensembles and soloists such as So Percussion, the Yale Philharmonia, Sandbox Percussion, the Yale Percussion Group, Sound Icon, the 15.19 ensemble, NotaRiotous/The Boston Microtonal Society, guitarist Flavia Virzi, soprano Sarah Pelletier, pianisUcomposer John McDonald, and clarinetist and 80 linguisUmusic theorist Ray Jackendoff. His music has been performed at venues such as Carnegie Hall, Lincoln Center, the Bang on a Can Summer Festival, and the Norfolk Chamber Music Festival. In 2016, he will be releasing an album of original music in collaboration with PARMA Recordings. Laurello studied composition at Yale, where he received the Jacob Druckman Scholarship and the Rena Greenwald Memorial Scholarship. His primary teachers were David Lang, Martin Bresnick, and Christopher Theofanidis. He holds an M.A. in composition from Tufts University, where he studied under John McDonald, and a B.M. in music synthesis (electronic production and design) from Berklee College of Music. Recent honors include the Woods Chandler Memorial Prize, upcoming participation in the 2015 Nashville Symphony Composer Lab and Workshop, participation in the 2015 Earshot Berkeley Symphony Readings, a Baumgardner Fellowship and commission from the Norfolk Chamber Music Festival's Chamber Choir and Choral Conducting Workshop, a commission from the American Composers Forum, and an Emerging Artist Award from the St. Botolph Club Foundation (Boston, MA). He has attended the highSCORE (Pavia, Italy) and Etchings (Auvillar, France) festivals, and was a composition fellow at the 2015 Bang on a Can Summer Festival.

Muncie composer Salvatore A. Locascio has written for a broad spectrum of performers and mediums, frequently turning to Medieval, Renaissance, Early Baroque and Early 20th century compositional techniques as a source of inspiration. A champion of 20th and 21st century vocal music, he often performs in recital and does workshops with students in the Atlanta area on writing for the human voice. In 2010 he won the Atlanta Mu Phi Epsilon Alumni Scholarship, where he was noted showing "achievement in both performance and composition" after performing excerpts of his own Songs of William Blake cycle. His recent choral work The Good Shepherd won the 2014 Georgia Young Composer's Festival prize, graduate division. Bene, for viola and fixed media utilizing elements of Byzantine chant, was selected for performance at the 2014 Society of Composers Incorporated National Conference. More information can be found on his website: www.salvatorelocascio.com

Liviu Marinescu's works have have been performed by the Cleveland Chamber Symphony, Czech Bohuslav Martinu Philharmonic, Orchestra 2001 in Philadelphia, the National Chamber Radio and the Music Academy orchestras in Bucharest. His debut at the Bucharest International New Music Festival when he was 21 years old, was noted by the Parisian newspaper Le Mende de la Musique, which described one of the concerts he co-organized with other young composers and artists as being "inventive in its evolution, content, and 81 substance," and promoting an "anti-conformist view." Soon after, the Bucharest newspaper Actualitatea Muzicala acknowledged that Liviu Marinescu "not only has the intelligence and maturity expected from a modern artist, but also the ability to express himself through sounds in a convincing way." In the U.S., his music has been praised by numerous publications, including The Philadelphia Inquirer, Washington Post and Los Angeles Times, while the critics of The Strad, Strings Magazine, and New York Concert Review recognized its "real expressive power and attractive rhetoric," and "majestic assertiveness." Liviu Marinescu has taught a wide range of composition and theory courses at the Colburn Conservatory, 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, Palacky University in the Czech Republic and the National University of Music in Romania. Since 2002, he has been directing the music composition and theory programs at California State University Northridge.

Lansing D. Mcloskey has been 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." McLoskey's music has been performed in sixteen countries on six continents, and has won more than two dozen national and international awards, including the prestigious Goddard Lieberson Fellowship from the American Academy of Arts and Letters, awarded to a "composer of exceptional gifts." Among his recent awards are the 2014 Red Note Festival Composition Competition, Honorable Mention in the 2015 Lydian String Quartet Composition Prize, Grand Prize in the Chatham Baroque Composition Competition, a 2013 Aaron Copland Recording grant, a 2014 Global Music Award, and International Joint Wind Quintet Project Competition. McLoskey has been commissioned by the Fromm Foundation, National Endowment for the Arts, Pew Charitable Trusts, Barlow Endowment, Meet The Composer, ASCAP, MATA, and many others. Recent commissions include works for Ensemble Berlin PianoPercussion, ensemberlino vocale (Berlin), The Crossing Choir, TAWA Sax (Peru), oboist ToniMarie Marchioni, and the New Spectrum Foundation for violinist Miranda Cuckson. Recent performances include concerts in Finland, Italy, Spain, Mexico, Colombia, the UK, Chicago, New York, Philadelphia, Cincinnati, and Miami, among others. Professor at the University of Miami Frost School of Music, Mcloskey's music is released on Albany, Wergo Schallplatten, Capstone, Tantara, and Beauport Classics, and published by Theodore Presser Company, American Composers' Press, Mostly Marimba, Subito Music, and Odhecaton Z Music. 82

Jonathan B. McNair's music has been described by critics as being " ... skillfully crafted ... expressive and rhythmic ... " His works have been performed across the U.S.A. in national and regional conferences, festivals, and professional concerts, and in Canada, Brazil, Puerto Rico, Austria, England, and Germany. Recordings are available on the Capstone, ACA Digital, and AUR labels. Selected works are published by Potenza Music, MLKeepe Music and the SCI Journal of Scores. McNair has received grants and commissions from numerous agencies in the Chattanooga area, as well as the Fortnightly Music Club, Ohio Arts Commission, Texas Composers Forum, and the American Composers Forum for its "Faith Partners" program and Viva Voce! Choral music camp. McNair is the Holmberg Professor of American Music at UT Chattanooga, and is past­ President of the Southeastern Composers League. He has been invited to residencies at the Ucross Foundation, the Hambidge Center, and I-Park Artists' Enclave.

Rooted in performance, Zack Merritt creates surrealistic, temporal vignettes that encourage audience participation and interpretation.

David "Clay" Mettens (b.1990) is a composer of acoustic and electroacoustic concert music. His recent work seeks to distill the strange and sublime from the familiar. He has been commissioned and performed by ensembles across the United States and as part of the Ritsos Project in Samos, Greece. Recently, his works have been performed at the North American Saxophone Alliance Region 2 Conference, by OSSIA on the Cornell Contemporary Chamber Players series, and on the Cafe MoMus series at the University of Cincinnati College­ Conservatory of Music. He has been commissioned by the American Opera Initiative to write a 20-minute work to be premiered in December 2015 by the Washington National Opera at the Kennedy Center. His orchestra piece "Sleeping I am carried ... " was selected for the 24th Annual Underwood New Music Readings with the American Composers Orchestra and the 2015 ['tactus] Young Composers Forum with the Brussels Philharmonic. The piece was also the winner of Eastman's 2014 Wayne Brewster Barlow Composition Prize, and received a premiere with the Eastman School Symphony Orchestra in October 2014. In the fall of 2015, he will enter the PhD composition program at the University of Chicago. He earned his masters degree at the Eastman School of Music, where he studied composition with David Liptak, Robert Morris, Ricardo Zohn-Muldoon, and Carlos Sanchez-Gutierrez, and computer music with Allan Schindler. A native of Covington, KY, he completed his undergraduate studies at 83 the University of South Carolina with a degree in music composition and a clarinet performance certificate.

Vaibhav Mohanty (b. 1998) is a composer and arranger from Charleston, South Carolina. Learning piano from the age of four, he began composing at age nine when he wrote his first piece for solo piano in memory of a late elementary school teacher. Vaibhav later began composing works for concert band as well as chamber ensembles and appeared in concert as guest conductor for the premiere of his first symphonic work when he was twelve years old. Vaibhav's recent awards include his selection as the Grand Prize Winner of the Sul Ross State University Wind Ensemble Composition Competition, a Winner of the National Association for Music Education Student Composers Competition, and a Finalist in the National YoungArts Foundation competition (awarded to the top 170 artists from over 11,000 applicants). Vaibhav has also received three Awards of Excellence and an Award of Merit from the National Parent Teachers Association Reflections Contest for his compositions and an Honorable Mention from the ASCAP Foundation Morton Gould Young Composer Awards. Vaibhav has been a member of SCI since 2014 and ASCAP since 2013. His works are currently published by JPM Music Publications and Lighthouse Music Publications and have been performed and recorded throughout the nation. In the past Vaibhav has taught music theory at a private studio in Charleston and has additionally held a music instructor position at the Charleston County School District summer arts program, where he became the youngest full-time teacher. Vaibhav is currently pursuing his undergraduate studies at Harvard University.

Composer, violinist, and computer music researcher, Charles Nichols explores the expressive potential of instrumental ensembles, computer music systems, and combinations of the two, for the concert stage, and collaborations with dance and video, and teaches Composition and Computer Music at Virginia Tech. His recent premieres include Nicolo, Jimi, and John, a concerto for amplified viola, interactive computer effects, and orchestra, three movements based on the virtuosity of Paganini, Hendrix, and Coltrane, and Sound of Rivers: Stone Drum, a multimedia collaboration, with sonified data, electric violin, and computer­ processed sound, accompanying narrated poetry, dance, animation, and computer-processed video, based on scientific research into how stoneflies navigate throughout their lifecycles, by the sound of rivers.

Shawn E. Okpebholo (b. 1981) is a widely sought-after and award-winning composer, whose music can be characterized as diverse, dynamic, and genuine. His compositions have been performed all around the globe, including 84 five continents (Africa, Asia, Europe, North and South Americas) and over thirty states in the U.S. Dr. Okpebholo regularly receives commissions from noted soloists, chamber groups, and large ensembles. These artists have performed his music at some of the nation's greatest venues, including the Kennedy Center and the National Cathedral. Steal Away is the first album of solely his music and features settings of Negro spirituals that he re-imagined for voice, piano, flute and viola. Some of his other works can also be heard on various commercially released CDs. He earned his master's and doctoral degrees in composition from the University of Cincinnati, College-Conservatory of Music (CCM) where he also studied music theory. He completed a bachelor's degree in composition and music history from Asbury College and had additional studies in film scoring at New York University. As an academic, he has guest lectured and given master classes at numerous colleges and universities across the country as well as two universities in Nigeria. Currently, he is Associate Professor of Music Composition and Theory at Wheaton College Conservatory of Music (IL), having taught before at Union University (TN), Northern Kentucky University, and CCM. He lives in Wheaton, IL with his wife, violist Dorthy, and his daughters, Eva and Corinne. More information can be found on his website, www.shawnokpebholo.com.

Joao Pedro Oliveira completed a PhD in Music at the University of New York at Stony Brook. His music includes one chamber opera, several orchestral compositions, a Requiem, 3 string quartets, chamber music, solo instrumental music, electroacoustic music and experimental video. He has received numerous prizes and awards, including three Prizes at Bourges Electroacoustic Music Competition, the prestigious Magisterium Prize in the same competition, the Giga-Hertz Special Award, 1st Prize in Metamorphoses competition, 1st Prize in Yamaha-Visiones Sonoras Competition, 1st Prize in Musica Nova competition, etc. He is Professor at Federal University of Minas Gerais (Brazil} and Aveiro University (Portugal). He published several articles in journals, and has written a book about analysis and 20th century music theory. Contact: [email protected] www.jpoliveira.com

Joo Won Park (b.1980) wants to make everyday sound beautiful and strange so that everyday becomes beautiful and strange. He performs live with toys, consumer electronics, kitchenware, vegetables, and other non-musical objects by digitally processing their sounds. He also makes pieces with field recordings, sine waves, and any other sources that he can record or synthesize. Joo Won draws inspirations from Florida swamps, Philadelphia skyscrapers, his two sons, and other soundscapes surrounding him. He has studied at Berklee College of Music and the University of Florida, and currently 85 serves as a Visiting Assistant Professor of Computer Music at the Oberlin Conservatory. Joo Won's music and writings are available on ICMC DVD, Spectrum Press, MIT Press, PARMA, Visceral Media, MCSD, SEAMUS, and No Remixes labels.

Ronald Keith Parks, born in Waynesville, NC, is an active composer of acoustic and electronic music. His diverse output includes orchestral works, instrumental and vocal chamber music, choral works, electroacoustic music, songs, and interactive computer music. Recent commissions include Earth and Pluto for the Charlotte Civic Orchestra, Silence in Forty-Two for Jeff McEvoy, Reflections and Lore for the Bechtler Ensemble, 9 Dreams of Flying for the Charlotte New Music Festival, /// Elements for the Blue Ridge Chamber Players (funded by the Raleigh Chamber Music Guild), Alhambra Tiles and Things Get Out of Hand ... for the Out of Bounds Ensemble, Simple Things for the Charlotte Symphony's Orchestra Composer on Campus Project, A Matter of Perspective for Duo XXI, Off on a Tangent ... for the Red Clay Saxophone Quartet, Torque, Wavelength and Afterimage 8 for the Charlotte Civic Orchestra, Afterimage 7 for the NeXT Ens, and .. .drift ... for the Force of Nature artist exchange program. His compositions and papers have been selected for inclusion at numerous national and international festivals and conferences including the Society of Composers', College Music Society, the Florida Electroacoustic Music Festival, the Society for Electroacoustic Music in the United States, the International Computer Music Conference, and the Electronic Music Midwest Festival. His honors and awards include the Aaron Copland Award, and the South Carolina Music Teacher's Association Commission. Dr. Parks received the BM in composition from the North Carolina School of the Arts, an MM in composition from the University of Florida, and a Ph.D. in composition from

Michael Pounds began his career as a mechanical engineer, with a BS from Ohio University. After employment at the NASA Lewis Research Center, he returned to the academic world to study music composition with a focus on computer music and music technology. After undergraduate music studies at Bowling Green State University he earned graduate degrees in music composition from Ball State University, the University of Birmingham in England, and the University of Illinois, where he completed his doctorate. His creative work includes compositions for fixed audio media, live interactive computer music, 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 86 I-Park. His work has been presented throughout North America and Mexico, Europe, Asia, Australia and New Zealand. He was a co-host of the 2005 National Conference of the Society for Electro-Acoustic Music in the U.S. He also co­ hosted the 2014 National Conference of the Society of Composers, Inc. Michael is the Assistant Director of the Music Media Production program at Ball State University, where he teaches composition, acoustics, music perception, recording and computer music.

Daniel Powers wanted to be a composer from the moment he found out what a composer was when he was around six years old. It took a while to get the hang of it, but getting degrees from Oberlin College and Indiana University helped. He has supported his composing habit by teaching composition at Indiana State University, playing viola and being composer in residence in the Terre Haute Symphony, writing Pops arrangements, music engraving, and writing about music. When he isn't making or thinking about music, he enjoys reading, cooking, travelling, and writing about himself in the third person.

Richard Pressley has enjoyed performances of his music at festivals and concerts in the U.S., Europe, even Brazil and Australia, by such performers and ensembles as the JACK Quartet, the Minnesota Orchestra, Claire Edwardes, thingNY, Patrick Crossland, Concorde, ensemble platypus, Richard Ratliff, the dissonArt ensemble, the Moran Quintet, the Definiens Project, and counter)induction among others. He began his musical career in rock music in his early teens, playing and touring with rock and punk bands. He then 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 the 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. Richard lives in Charleston, SC where he is Assistant Professor of Music Theory at the Horton School of Music at Charleston Southern University. rpressley.com

Carter John Rice, a native of Minot, North Dakota, is a composer of new music currently pursuing a Doctor of Arts (D.A.) in music theory/composition at Ball State University. His music has been featured across the United States and abroad, including performances at the annual conference for the Society of Electroacoustic Music in the United States, The National SCI Conference, The Bowling Green State University New Music Festival, Electronic Music Midwest, 87 The Electroacoustic Barn Dance, The Soundscape Festival, and the National Student Electronic Music Event. He was the inaugural recipient of Concordia College's Composer of Promise Award, for which he received a commission from the Concordia College Orchestra. Rice's music is largely concerned with the notion of creating cohesive and contrasting soundworlds that slowly generate and expel sonic energy over time. Rice received his Master's degree from Bowling Green State University where he studied with Elainie Lillios and Christopher Dietz. He currently studies with Michael Pounds, Keith Kathman, and Jody Nagel at Ball State University. He frequently collaborates with friend and flutist Colleen O'Shea Jones. Carter also serves as the national student representative for The Society of Composers Inc.

Jody Rockmaker (born 1961, New York City) received his Ph .D. in Composition from Princeton University. He has studied at the Manhattan School of Music, New England Conservatory and the Hochschule tor Musik und darstellende Kunst in Vienna. He studied composition with Erich Urbanner, Edward T. Cone, Milton Babbitt, Claudio Spies, Malcolm Peyton and Miriam Gideon. Dr. Rockmakeris also the recipient of numerous awards including a Barlow Endowment Commission, Fulbright Grant, two BMI Awards for Young Composers, an ASCAP Grant, the George Whitefield Chadwick Medal from New England Conservatory, and a National Orchestral Association Orchestral Reading Fellowship. He has held residencies at the MacDowell Colony, Yaddo, the Djerassi Resident Artists Program and Villa Montalvo, and has been a Composition Fellowship at the Tanglewood Music Center. He taught at Stanford University and is currently an Associate Professor at Arizona State University School of Music. He served on the board of Earplay New Music Ensemble, and was Associate Director of the Arizona State University School of Music from 2011-2013. His music is available through American Composers Edition.

Arizona-born, Florida-raised, and currently San Diego-based, Kyle Rowan (b. 1985) is a composer of (mostly) acoustic chamber music. Characterized by motion and direction generated through layered, shifting textures, his music has been performed by ensembles including the Momenta Quartet, the Palimpsest Ensemble, the Kallisti Ensemble, the TV Buddha Ensemble, the UIUC Symphony Orchestra, the University of Florida Clarinet Ensemble, the University of Illinois Clarinet Choir, the Los Angeles Clarinet Choir, the Busan Clarinet Choir, as well as many individual performers, and has been heard across the United States as well as internationally at the 2015 SEAMUS Conference, the soundSCAPE festival in Maccagno, Italy, the Busan Clarinet Choir Festival in Busan, South Korea; the University of South Florida New Music Festival, in Tampa, Florida; 88 and the Manchester New Music Festival in North Manchester, Indiana. His recent work focuses on the application of principles of game design to music composition, with a particular emphasis on interactive literature. Kyle holds degrees from the University of Florida and the University of Illinois, and is currently a doctoral candidate in music composition at UCSD, where he studies with Katharina Rosenberger.

Jessica Rudman is a Connecticut-based composer and teacher who writes music that unifies extended techniques with clear melodic development and narrative structures to create a unique and personal emotional expression. Her works have been performed by groups such as the International Contemporary Ensemble, the Cadillac Moon Ensemble, The Omaha Symphony's Chamber Orchestra, the Yakima Symphony Orchestra, and the Hartford Independent Chamber Orchestra. She has received awards from SCl/ASCAP, Boston Metro Opera, the College Music Society, the International Alliance for Women in Music, and others. Dr. Rudman has served on the faculty at Baruch College, Central Connecticut State University, and The Hartt School. She is currently the Director of the Young Composers Project and the Chair of the Composition/Musicianship/Theory Department of The Hartt School Community Division. Dr. Rudman has also been highly involved in arts administration and is on the board of the Women Composers Festival of Hartford. She holds degrees from the CUNY Graduate Center, The Hartt School, and the University of Virginia. More information about Dr. Rudman and her work can be found at her website, http://www.jessicarudman.com.

Alejandro Rutty's compositional output includes orchestral, chamber and mixed­ media music, arrangements of Argentine traditional music, and innovative outreach musical projects.A unique feature of Rutty's music is its affection for textures suggested by modern recording processing techniques, and the use of Tango - a genre he performs as a pianist-and other South American genres as part of the music's surface. Rutty's compositions and arrangements have been played by the Minnesota Symphony Orchestra, Boston Modern Orchestra Project, Indianapolis Chamber Orchestra, National Symphony Orchestra of Argentina, National Symphony Orchestra of Brazil, Porto Alegre Symphony Orchestra, New Mexico Symphony Orchestra, Linkoping Symphony Orchestra, American Modern Ensemble, the New York New Music Ensemble, the Red Clay Saxophone Quartet, and the Cassatt String Quartet among other groups. Rutty's music has been published by Effiny Music, SCI/European American Music, and Ricordi Sudamericana. Recordings of his music have been released by Capstone Records, Arizona University Recordings, and ERM Media. The Conscious 89 Sleepwalker (Navona Records) including A Future of Tango and other orchestral pieces was released in 2012. Founder and Artistic Director of the Hey, Mozart! Project, Alejandro Rutty is currently Associate Professor of Music at the University of North Carolina at Greensboro. More about Rutty can be found at: www.alejandrorutty.com

Andrew Sigler's concert music has been performed by members of the San Francisco Symphony, the Metropolitan Opera Orchestra, the Toronto Symphony Orchestra, the Seattle Symphony Orchestra, and the New World Symphony. Winner of the 2014 Suzanne and Lee Ettelson award, he has twice been a prizewinner in The Robert Avalon International Competition for Composers as well as a finalist for the American Prize and the Earplay Donald Aird Composers Competition. Sigler has been a composer fellow at the Wellesley Composers Conference and the Seasons Festival, and received commissions from both organizations. His music has been performed at the SCI National Festival, the NACUSA National Festival, the Oregon Bach Festival, and Fast>>Forward»Austin, and his writing has been featured in Opera News and NewMusicBox where he was the Austin regional editor. His music is published by Editions Musica-Ferrum and he serves as a board member of the National Association of Composers, USA. His commercial work includes composition and sound design for clients including Microsoft, Google, T-Mobile, and Blue Cross/Blue Shield. Broke Down Outside El Paso won the 2006 East West/Quantum Leap composition award for best use of their Colossus software. His string arrangements were featured in the award-winning Barbara Smith Conrad documentary When I Rise. Andrew is Lecturer of Composition at the University of Tennessee where he teaches theory, composition and audio recording. For more information, please visit andrewsigler.com.

Michael Sterling Smith is a composer and guitarist based in Denton, Texas. He holds a Bachelor of Music from the University of Delaware and a Master of Music from the University of Florida. His works have recently been performed by the Quanta Quartet on their Australian tour, at the SCI conference at EKU, the NASA conference, the International Saxophone Symposium, the Westfield New Music Festival, and by the Dissonart ensemble in Greece. In 2010 he was awarded with an Individual Artist Fellowship from the Delaware Division of the Arts. Michael also maintains an active performing career, consisting heavily of contemporary music. He is currently pursuing his doctoral degree at the University of North Texas. 90 Suzanne Sorkin (b. 197 4) 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 in New York City, 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 Melomanie, Mannes Trio, Cabrini Quartet, Cleveland Chamber Symphony, Third Angle, and Aspen Contemporary Ensemble. Residencies awarded to her include Millay Colony for the Arts, Virginia Center for the Creative Arts, Ragdale Foundation, Artists' Enclave at I-Park, ART342, Brush Creek, Kimmel Harding Nelson Center, and Atlantic Center for the Arts. She received her Ph.D. in music composition from the University of Chicago through the support of a four-year Century Fellowship in the Humanities. Suzanne Sorkin has taught music composition, theory, and music history at Vassar College. She is currently an Associate Professor of Music at Saint Joseph's University in Philadelphia, where she teaches music composition and theory and serves as chair of the Department of Music, Theatre and Film.

Ash Stemke (b. 1991) is currently a graduate student in music composition at the University of North Carolina at Greensboro, and holds a Bachelor of Music degree with Highest Honors and Highest Distinction from the University of North Carolina at Chapel Hill where he studied composition with Dr. Allen Anderson and Dr. Stephen Anderson. He has attended lectures and master classes with Helmut Lachenmann, Rene Staar, and Zubin Mehta. Ash's works have been premiered by the Ensemble Wiener Collage in Vienna, Austria, the UNG Lab Orchestra (Vincent L. Povazsay, conductor) in Chapel Hill, NC, and Christin Danchi, Violin (Carnegie Mellon University) in Pittsburgh, PA. He is a two-time winner of the Thelma Thompson Composition Award: for his song set Insect Asides in spring 2012 and his orchestral honors thesis project Baru Nocturne in spring 2013. He was also selected to represent UNG-Chapel Hill at the 2012 Schoenberg Academy in Vienna, Austria with other composers from universities across the globe. Current projects include a set of 24 piano preludes and a liturgical setting for choir, keyboard, and assembly. Following the completion of the Masters degree at UNG-Greensboro, he plans to pursue a Ph.D. program at another institution.

Aleksander Sternfeld-Dunn grew up in the San Francisco Bay Area, was educated on both coasts and now finds himself in the middle of the country. His 91 music combines a frenetic rhythmic language, lean textures and lyrical sensitivity. His music Fireworks, as well as the National Flute Associations Best Newly Published Chamber Music Award for Urban Jungle. His works are published by FJH Music, Dorn Publications, Trevco Music, Airy and Boom Crash Music and can be heard on the ERM and Capstone Labels. He is an Associate Professor at Wichita State University where he teaches courses in composition, theory, technology and interdisciplinary arts. For more information please visit aleksandersternfelddunn.com

Hailed "as a composer of considerable gifts" and "musically confident and bold" by NPR's classical music critic, Ingrid Stolzel's emotionally charged music is performed worldwide. She has received commissions and performances from leading ensembles including the California E.A.R. Unit, Third Angle, Adaskin String Trio, ensemble s21, San Diego New Music, Khorikos, Octarium and Allegresse and has worked with internationally renowned performers including Van Cliburn International Piano Competition Gold Medalist, Stanislav loudenitch. She is a winner of the 2014 Ortus International New Music Competition, 2013 Cayuga Chamber Orchestra Composers Showcase Competition, 2012 Arizona Pro Arte Competition and 2010 NewMusic@ECU Competition. Stolzel is a frequent guest composer and her music has been heard at the Beijing Modern Music Festival, 161h Biennial Festival of New Music at Florida State, Festival of New American Music, Aries Composers Festival, International Alliance of Women in Music Congress and IC[CM] International Conference on Contemporary Music, among others.Stolzel received her Doctorate degree in composition at the University of Missouri, Conservatory of Music and Dance in Kansas City and holds a Master of Music in Composition from the Hartt School in Hartford, CT. She is Assistant Professor of Composition at the University of Kansas and prior served as Director of the International Center for Music at Park University. For more information: www.ingridstolzel.com

Maxwell Tfirn is a fourth year PhD at the University of Virginia in Composition and Computer Technology. Max has received his M.A. in Composition from Wesleyan University, a Bachelors of Music in Music Education at University of Florida and received a Performance Certificate in Percussion. He has had work selected for ICMC, SEAMUS, Electro Acoustic Barn Dance, FEAST Festival, Technosonics XIII, South Central Graduate Music Consortium, 12 Nights series, N_SEME, Subtropics Music festival and a featured composer for Share. He has also had works played by Dither, Eklmeles, Loadbang, FLEA, MICE and The New Thread Quartet. Maxwell enjoys studying noise, timbre, spectromorphology and sound synthesis. He is currently working with Dr. Judith Shatin and has 92 worked with Anthony Braxton, Dr. Ted Coffee, Dr. Matthew Burtner, Dr. Paula Matthusen, Dr. James Sain and Ronald Kuivila.

Saxophonist, composer, educator, and curator, Michael Rene Torres, currently serves as Lecturer of Saxophone at The Ohio State University in Columbus, Ohio and Instructor of Saxophone and Composition at Muskingum University in New Concord, Ohio. He is the founder and Executive Director of the Columbus Ohio Discovery Ensemble [CODE]; a contemporary music ensemble that is dedicated to the promotion, performance, and perception of new music in Central Ohio. Additionally, Michael is an Advisory Board member of the Johnstone Fund for New Music which advances the performance of new music for the benefit of the Central Ohio community and is an Executive Committee member of the Society of Composers, Inc. as the Co-Editor for the bimonthly national SCI Newsletter. He has served as Assistant Dean of Students at the Brevard Music Center Festival and Institute (2010-2015), the Assistant Event Coordinator for The Ohio State University Contemporary Music Festival (2010-2012), and as the General Manager of the 2013 National Conference of the Society of Composers, Inc. Michael's compositional interests are in chamber music that explores the juxtaposition of consonance and dissonance and is often inspired by psychology. He holds degrees from The Ohio State University (OMA-saxophone, MM­ composition), Northwestern University (MM-saxophone), and Stetson University (BME-education). Dr. Torres has studied saxophone with James Bishop, Frederick L. Hemke, James Hill, and Joseph Lulloff and studied composition with Thomas Wells and Kari Juusela. For more information, visit his website: www.michaelrenetorres.weebly.com.

Jorge Variego was born in Rosario, Argentina. He is a former Fulbright Scholar and is currently in the Music Theory/Composition faculty at the University of Tennessee, Knoxville. 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 music festivals such as MATA, SEAMUS, EMS, Sonoimagenes, Holland Festival, ICMC and can be heard on many CDs, including his most recent solo CD's Necessity (Albany- 2010) and Regress (CMMAS-2013). During the summer of 2012, he was resident artist at the CMMAS, in Mexico, were he recorded the material for his CD Regress, fully dedicated to music for clarinet and electronic media by Argentine composers. In June 2013, he was resident artist at the Visby Centre for Composers, in Sweden, where he composed a new work commissioned by the Berner Musikkollegium. In July 2014 he premiered a new work for bass 93 clarinet and orchestra commissioned by the Symphonic Orchestra of Rosario, in Argentina. Most recently, in 2015, he presented new works in Switzerland, Spain, the US and was selected as semifinalist in the American Prize. More information at: www.jorgevariego.com

Elizabeth Vercoe has been a composer at the Civitella Ranieri Center in Italy, the St. Petersburg Spring Music Festival in Russia, the Cite International des Arts in Paris, and the MacDowell Colony, and held the Acuff Chair of Excellence at Austin Peay State University. She has won many awards and commissions along with grants from the Artists Foundation, the National Endowment for the Arts, Meet the Composer, the Artists Foundation and the Massachusetts Arts Council. Her music is published by Noteworthy Sheet Music, Certosa Verlag (Germany), and Arsis Press and recorded on the Owl, Centaur, Navona, Leonarda and Capstone labels. Described by Gardner Read as "an exceptionally gifted composer with a fine technical command and a keen sensitivity to sound materials," she has attended concerts of her music in London, Paris, Bangkok, New York, and San Francisco, as well as international Festivals in Russia and Alaska. Following her doctorate at Boston University, she promoted women's music as a board member of the International League of Women Composers, Director of the Women's Music Festival/85, and author of articles on the subject. In 2014 her Elegy for viola and piano was selected for performance at Bruno Walter Hall at Lincoln Center for a celebration of the 751h anniversary of the American Music Center. A dissertation (J. Capaldo, Elizabeth Vercoe: Composing Her Story) about her vocal music is available online.

Adam Vidiksis is a composer, conductor, percussionist, and technologist based in Philadelphia whose interests span from historically informed performance to the cutting edge of digital audio processing. Drawing from both acoustic and electronic sounds, his music has been heard in concert halls and venues around the world. Critics have called his music "mesmerizing", "dramatic", "striking" (Philadelphia Weekly), "notable", "catchy" (WQHS), "interesting'', and "special" (Percussive Notes), and have noted that Vidiksis provides "an electronically produced frame giving each sound such a deep-colored radiance you could miss the piece's shape for being caught up in each moment" (David Patrick Stearns of the Philadelphia Inquirer). His unique approach to composition has been praised for its "outstanding control" (Philadelphia Weekly) and for being "restrained" and "magical" (Local Arts Live). His music has been played by the "Black Sea Symphony" in Constanta, Romania, Omaha Symphony, Momenta Quartet, and Zephyrus Duo, and SPLICE. His commissions include Network for New Music, 94 ICIA, Luna and Renegade Theater Companies, Institute for Computer Music and Sound Technology, and ElectroAcoustic Piano project. Vidiksis's music has won numerous awards, including recognition from SCI and ASCAP. His works are available through HoneyRock Publishing and PARMA Recordings. Vidiksis holds degrees from Drew, NYU, and Temple University, culminating in a doctorate in music composition. Vidiksis serves on the composition faculty of Temple University, where he teaches classes in music theory, composition, and music technology. He is conductor of the Temple Composers Orchestra and director of the Boyer Electroacoustic Ensemble Project (BEEP). [www.vidiksis.com]

William Vollinger's music is described as "3D: different, direct and deep", performed by the Gregg Smith Singers and NY Vocal Arts Ensemble, whose performance of "Three Songs About the Resurrection" won first prize at the Geneva International Competition. He's published by Abingdon, API, Heritage, Kjos, Lawson-Gould, and Laurendale. Five works were editor's choices in the J.W. Pepper Catalogue. Recent premieres included Jackson State Symphony, San Francisco Choral Artists, Ridgewood Concert Band, and Hamilton-Fairfield Symphony. "An Empty Swing" was nominated for the Orchestral American Prize and "Raspberry Man" for Chamber. Hartshorn Recordings is releasing an album of his works in 2015.

Samuel Wells is a composer, performer, and music technologist based in New York City. As an advocate for new and exciting music, he actively commissions and performs contemporary works. Sam has performed throughout the United States, as well as in Canada and France. He has also been a guest artisUcomposer at universities throughout North America, including Western Michigan University, Western University of Ontario, the University of Iowa, Montana State University, and Northern Arizona University. He has performed electroacoustic works for trumpet and presented his own music at the Chosen Vale International Trumpet Seminar, Electronic Music Midwest, Electroacoustic Barn Dance, NYCEMF, N_SEME, and SEAMUS festivals. Sam and his music have also been featured by the Kansas City Electronic Music and Arts Alliance (KcEMA) and Fulcrum Point Discoveries. Sam is a member of Kludge, an innovative duo with Jon Carbin that explores the possibilities of cello, trumpet, and electronic media. Sam has performed regularly with the Owensboro (KY) Symphony Orchestra, and the Colorado MahlerFest Orchestra. This past summer, Sam was performance faculty at the inaugural Summer Institute for the Performance, Listening, Interpretation, and Creation of Electroacoustic music (SPLICE) at Western Michigan University. He 95 was also a fellow at the Bang On A Can Summer Festival, and the June in Buffalo Performance Institute.

Craig Weston (b. 1964) joined the faculty of Kansas State University in 2002, after previous positions at Western Illinois University, Iowa State University, and the University of Washington. He holds degrees from Central Michigan University (B.M.) and the University of Washington (M.M., D.M.A.). He has received grants, awards, and commissions from groups including ASCAP, the Cincinnati Symphony, the Norwalk (Connecticut) Symphony, the Seattle Arts Commission, the University of Washington, the Iowa Music Teachers Association, the Kansas Music Teachers Association, the American Composers Forum, the Kansas Arts Commission, the Bradley University New Music Ensemble, and the Hobart and William Smith Colleges. He was artist in residence at North Cascades National Park. His chamber, choral, orchestral, and electronic music has been widely performed around the country, and his prose writings have been published in several music journals. His music can be heard on CD on the Capstone label and several of his pieces are published by RJ Upmarket Press. 96 Performer Bios

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 lnnova Recordings, Ravello Records, Ravello Records' Capstone Collection and recordings for the Society of Composers Inc. Performers Recording Series. Of these recordings, Mainly Piano has hailed, "Astolfi is the rare artist who seems as comfortable with traditional classics as she is with more experimental music. . . . [A]stonishing pianism . . . and her recordings never fail to impress." The recipient of numerous performance and research awards and grants, Astolfi's passion for new music has been recognized by invitations to many regional, national, and international music forums and institutes, where she has premiered, lectured about and coached new piano music. She is also an active member in various local, state, and national music associations, serves on the governing board of PianoArts (a North American piano competition, festival, and fellowship organization) and is a founding member of duoARtia with pianist Holly Roadfeldt. 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 as an Artist in Residence at Piedmont College (GA).

An enthusiastic performer and advocate of new music, Kalindi Bellach has a broad range of experience in classical music. She holds degrees in performance from New England Conservatory of Music and Pennsylvania State University, and is currently pursuing a OMA in contemporary music performance at Bowling Green State University.

Michael Capone has performed with orchestras and small ensembles in the Finger Lakes and Southern Tier regions of New York and also in the greater Dallas-Fort Worth metroplex area in Texas. A graduate of Ithaca College, Mr. Capone received his Bachelor of Music in Viola Performance and Music Education in 2011, studying with Debra Moree. Upon graduation, he won positions with the Orchestra of the Southern Finger Lakes and the Binghamton Philharmonic, performing also with Symphoria, Ash Lawn Opera, and the 97 Northeast Pennsylvania Philharmonic. An advocate of new music, Mr. Capone has also performed with a number of new music ensembles, including the Ithaca College Contemporary Ensemble, Ensemble X at Cornell University, and NOVA, at the University of North Texas. He has recently commissioned and premiered new works for viola by Marco Schirripa and Michael Sterling Smith, and is committed to expanding the repertoire for the viola. He is currently located in Denton, TX, where he is studying with Susan Dubois in pursuit of his MM degree in Viola Performance at the University of North Texas.

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'Ambrosia 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. Credentialed in the Suzuki method, D'Ambrosia is active as teacher and adjudicator. In addition to maintaining a private studio, she has served as Adjunct Instructor at Murray State University in western Kentucky since 2008

A dynamic and engaging ensemble, Duo Rodinia consists of clarinetist Lisa Kachouee and percussionist and composer Jamie Whitmarsh. The ensemble is committed to performing accessible works by living composers, commissioning new pieces, educating audiences, and adapting literature from a variety of stylistic periods to augment the clarinet and percussion repertoire. The ensemble has toured the United States extensively including a 2014 Carnegie Hall debut and a 2015 College Music Society Conference performance. Despite only consisting of two musicians, Duo Rodinia is able to create a vast array of timbres using instruments such as clarinet, bass clarinet, marimba, vibraphone, glockenspiel, drumset, electronics, and steel pan. Performance and outreach activities include duo recitals, solo performances, lectures, lessons, and masterclasses in clarinet, percussion, and composition at universities, secondary schools, and communities throughout the country. Recent performance and outreach venues include Oklahoma City University, University of North Carolina at Chapel Hill, Furman University, University of South Alabama, University of North Carolina at Asheville, East Central University, Southwestern Oklahoma State University, George Mason University, Florida State University, Mississippi University for Women, Samford University, Tennessee Tech University, Troy University, Thomasville Music Academy, and the University of Central Oklahoma. Rodinia is the name of a hypothesized supercontinent that existed 98 prior to the formation of Pangea. The name is significant as the North American Craton (that which forms the geological core of North America) was at the center of Rodinia. Thus the name is derived, partially in jest, from the convention of naming ensembles based on geographic location.

Jacqueline Fassler-Kerstetter teaches horn, music theory, and brass techniques on the faculty of the School of Music, Theatre, and Dance at Kansas State University. She is also a member of the resident K-State Faculty Brass Quintet and the Konza Wind Quintet. Having been part of the Kansas Arts roster, Jacqueline has participated in residencies and performed for audiences of all ages throughout the state of Kansas. She has performed as horn soloist with the K-State orchestra, bands, and clarinet choir. In the spring of 2006, Jacqueline was featured as a soloist on the K-State Symphony Band's South Pacific tour where she performed with the band in Auckland, New Zealand. In the summer of 2013, she premiered Craig Weston's Aspects with her husband Tod Kerstetter at the International Clarinet Association's "ClarinetFest" in Assisi, Italy. Students in Jacqueline's horn studio have excelled. In the recent years, her horn students have won the K-State Symphony Orchestra's Concerto Competition. Matthew Wilson performed the first movement of the Gliere Concerto (2010), and John Allred performed the first movement of the Gordon Jacob Concerto (2011 ). Alumnus John Allred was invited to perform a solo with the San Francisco Conservatory Symphony Orchestra for an Armed Services benefit concert in April 2015. Jacqueline's past orchestral experience includes performances with the Filarm6nica del Bajio of Guanajuato (Mexico), Evansville Philharmonic, Owensboro Symphony, Greenville Symphony, Asheville Symphony, the Aspen Music Festival, the Classical Music Festival in Eisenstadt (Austria), and with the American Wind Symphony on tours in America and Northern Europe.

Peter Geldrich is Assistant Professor of Clarinet at Valdosta State University and serves as principal clarinet of the Valdosta Symphony Orchestra. In addition to the VSO, Mr. Geldrich plays in the Albany Symphony Orchestra (GA), frequently performs with Sinfonia Gulf Coast (FL), and has served as guest principal clarinet with the Orquesta Sinfonica UANL in Monterrey, Mexico. As a featured soloist, Mr. Geldrich has appeared with the Montclair Symphony Orchestra (NJ), the VSU Wind Ensemble, and the Carolina Master Chorale alongside acclaimed soprano Arianna Zuckerman. An avid chamber musician, Mr. Geldrich is a member of the Scirocco Quartet, the UF Wind Trio, and the UF Wind Quartet with whom he has performed in various conferences including: the 2015 and 2011 International Double Reed conference, the 2012 National Flute Convention, and the 2012 Florida Flute Convention. He also has performed 99 internationally in the Burgos International Music Festival, the Sulzbach­ Rosenberg International Festival, and with the American Chamber Winds. Additionally, he has been a featured performer on the University of South Carolina's Computer Music Concert Series and the University of Florida's Contemporary Music Festival. Mr. Geldrich is a doctoral candidate in clarinet performance at the University of South Carolina where he is a student of Joseph Eller. Mr. Geldrich has studied with renowned orchestral clarinetists Loren Kitt, Mitchell Estrin, and Karl Leister. He received the Master of Music degree in clarinet performance from the University of Florida and a Bachelor of Music in clarinet performance from the University of Maryland.

Rose Shlyam Grace, a Russian-born pianist, has concertized throughout the United States as a soloist and chamber music recitalist. In recent years, Miss Grace has been a featured artist at several music conferences, including the National MTNA Conference in NYC, the National Flute Convention and the FSMTA Conferences. Since 2009, Miss Grace has been teaching at Bethune­ Cookman University where she currently holds the position of an Associate Professor of Piano. Miss Grace is the founder and director of the B-CU Music Outreach Program, featuring college music students in live presentations of classical music throughout the Volusia County Public Schools. During the summers, Miss Grace has taught on the faculty in the High School Piano Division at the Interlachen Center for the Arts Music Festival in Michigan, and has coached at the Castleman Quartet Program in Fredonia, New York. Miss Grace is an active member of the FSMTA, currently holding the position of Vice President of the State Competitive Events. She can be heard on several recording labels, with a recent CD release on Albany Records entitled, Vibrations of Hope: Music of the New Millennium. She holds a OMA from the Eastman School of Music, an M.A. in Musicology from the University of Chicago, and a B.M from the Oberlin Conservatory of Music.

Jason M. Hastings joined the faculty of Bethune-Cookman University in the fall of 2013 as Visiting Instructor of Music. A native of Canton, Ohio, he has spent the majority of his professional career as a performer and educator in the country of Mexico. During his tenure in Mexico, Jason held the position of Principal Clarinet with La Orquesta Sinf6nica Sinaloa de las Artes, and also served as Professor of Clarinet at La Escuela de Artes Jose Limon (DIFOCUR). Concurrent with his time in the orchestra, Jason was a founding member of the jazz saxophone trio, Three Legged Cat, as tenor saxophonist. This ensemble toured extensively throughout North America and released a commercial recording, Walkin' Upright, in 2006. Jason has performed with artists such as 100 Earl Wild, William Preucil, Placido Domingo, Andre Watts, Surendran Reddy, Frank Foster, Sean Jones and with ensembles including the Cleveland Light Opera, The American Wind Symphony, Opera Naples, the Pittsburgh Playhouse Pit Orchestra and The Count Basie Orchestra. Additionally, he took part in several Government sponsored chamber music tours throughout the country of Mexico. Jason attended Youngstown State University where he earned a Bachelor of Music in Performance; he also earned a Master's Degree of Music in Performance from the University of Michigan. His principal teachers include Fred Ormand, Lee Morgan, Robert Fitzer and Dr. Dennis Nygren.

Matt Hightower is currently Visiting Assistant Professor of Tuba and Euphonium at Texas A&M University-Kingsville. Dr. Hightower has also held positions at Murray State University and The University of Texas. Dr. Hightower has performed with The Bloomington Camerata Orchestra, The Columbus (IN) Symphony, The Evansville Philharmonic, The Jackson Symphony (TN), The Victoria Symphony (TX), and David Baker's 20th Century BeBop Band. Dr. Hightower has been a semi-finalist and finalist for several International Tuba and Euphonium Conference competitions and was the 2013 silver medalist in the tuba artist division of the Leonard Falcone International Tuba and Euphonium Festival Competition. Dr. Hightower received a bachelor in music education from Murray State University, a master's degree in tuba performance from Indiana University and recently completed a doctorate in tuba performance at The University of Texas at Austin. Matt studied tuba with Ray Conklin, Daniel Perantoni, and Charles Villarrubia. Matt's composition instructors include Mike D'Ambrosia, John Fannin, and P.O. Phan.

Tod Kerstetter serves as Professor of Clarinet, member of the resident Konza Wind Quintet, and Music Program Webmaster in the School of Music, Theatre, and Dance at Kansas State University. Recent significant performances include appearances at the International Clarinet Association "ClarinetFests" in 2013 (Assisi, Italy), 2014 (Baton Rouge, LA), and 2015 (Madrid, Spain). He currently serves on the LC.A. Executive Board as Treasurer. As an orchestral musician, Tod has performed on clarinet, E-flat clarinet, bass clarinet, and saxophone with professional ensembles including the American Wind Symphony, the Charleston (SC) Symphony, the Filarm6nica del Bajio of Guanajuato, Mexico, the Kansas City Symphony, the Nashville Chamber Orchestra, the Nashville Symphony, the Owensboro (KY) Symphony, the Savannah Symphony, and the Topeka Symphony. A graduate of Furman University, Indiana University, and the University of Georgia, Tod enjoys traveling and has performed internationally in Australia, Austria, Finland, Germany, Hungary, Italy, Mexico, New Zealand, the 101 Netherlands, Norway, Russia, Slovenia, Spain, and Sweden. Tod particularly enjoys being involved in commissioning projects for new music, having been involved in commissioning projects for compositions by David Maslanka (Desert Roads, Eternal Garden), Mauricio Murcia (Colombian Suite, Trio Suite Colombiana), Kevin Walczyk (Concerto Scion), and Craig Weston (Aspects, Still on the Antipodes, Stehekin Sonata). He is also active as an arranger and editor, with publications appearing in the catalogs of Airy Publications, Carl Fischer, Morningstar Music, and Prairie Dawg Press. Along with Robert Chesebro, professor emeritus at Furman University, Tod has also co-authored a clarinet pedagogy textbook titled The Everyday Virtuoso.

In 2013 at the age of fourteen, pianist Jacob Mason won the New World Symphony National Concerto Competition, the Alhambra Orchestra Concerto Competition and the Ars Flores Concerto Competition with the Prokofiev Piano Concerto No. 1. His debut as soloist with the New World Symphony took place on April 13, 2013. This triple-crown of concerti prizes predict a stellar career for Mason as a performing soloist and collaborative pianist specializing in the most difficult classical and modern piano repertoire. In 2013, Mason attended the International Music Institute and Festival USA on scholarship, and was selected afterward for an eight concert tour representing IMIF. In 2014, Mason received lnterlochen's prestigious Maddy Summer Artist Award for piano performance. This summer he was invited to attend lnterlochen's 2015 Advanced Piano Institute and the Miami Music Summer Festival's International Piano Festival Academy. Mason's awards include first places in the Junior Division of the Alabama Music Teachers Association, the Junior Division Sonata Competition, the Music Teachers National Association State Level Piano Duet Competition, a Coral Gables Music Club Scholarship, a Miami Music Teachers Foundation's Merit Scholarship, and an Elsa Conde Senior Piano Ensemble Scholarship. Mason's teachers include Nancy Wingard, Naoko Takao, Debora Sanchez, and Giselle Brodsky. He has performed in masterclasses with Kemal Gekic, Francesco Libetta, Walter Ponce, Orli Shaham, and Boris Slutsky. Mason is a rising senior at Miami Arts Charter School majoring in piano. He accompanies the MAC Choral Program, singers and instrumental soloists, and conducts and performs with the MAC Orchestra.

Dr. Sheri Mattson is Associate Professor of Double Reeds at Central Missouri. In addition to applied double reeds, Dr. Mattson currently teaches Aural Training and Woodwind Techniques. Before starting her position at UCM in 2003, she taught at Truman State University. Dr. Mattson holds a Doctor of Music degree in Oboe Performance from Florida State University, a Master of Music degree in 102 Oboe Performance from Arizona State University, and a Bachelor of Science degree in Music and Physics from the University of Wisconsin Superior. Her teachers include Eric Ohlsson, Martin Schuring, Anne Leek, Roger Rehm, Dan Stolper, and Anita Nashlund. She is an active chamber musician and soloist, performing nationally and internationally. Recently, her collaboration with Dr. Juanita Becker (The Lake Cottage Duo) has been performing throughout the Midwest and at regional, national, and international conferences. They released a CD on Centaur Records in the Spring of 2012. As a double reed educator, she has also taught at Blue Lake Fine Arts Camp. She has conducted clinics for the Midwest Double Reed Society, universities and high schools both regionally and nationally and at academies and conservatories in Ukraine. She has played professionally with the South Dakota Symphony, the Duluth-Superior Symphony, the Tallahassee Symphony, the Gainesville Symphony, and the Tempe Symphony and currently plays with several local symphonies.

Michael Norsworthy's unique voice on the clarinet has made him a sought after soloist and chamber music collaborator and garnered praise from critics and audiences around the globe for performances that explore transcendent virtuosity and extremes of musical expression. As one of the most celebrated champions of the modern repertoire, he has premiered over 150 works in collaboration with a veritable who's who of composers including Babbitt, Birtwistle, Carter, Dench, Ferneyhough, Finnissy, Gompper, Lachenmann, Lindberg, Murai!, and Rihm among many others in leading venues such as Carnegie Hall, Vienna's Musikverein, Moscow's Tchaikovsky Hall, Lincoln Center, Merkin Hall, The Casals Festival, and the Aspen Music Festival. His discography can be found on the Albany, BMOP/sound, Cantaloupe, Cirrus Music, ECM, Gasparo, Mode, Navona, New World, and New Focus labels. He is principal clarinet with the Boston Modern Orchestra Project, Professor of Clarinet and Director of Contemporary Music Performance at the Boston Conservatory. He studied at Michigan State University, Southern Illinois University at Carbondale and New England Conservatory and his teachers include Elsa Ludewig-Verdehr, Eric Mandat, Kalmen Opperman, and Richard Stoltzman. Norsworthy is an artistic advisor for Henri Selmer Paris and an artist clinician for D'Addario Woodwinds and plays on Selmer clarinets and D'Addario reeds exclusively.

Sarah Plum began her performing career by winning the first prize at the International Stulberg Competition in 1984. Since then she has been sought after by orchestras and fellow musicians in the US and Europe as a soloist, recitalist and chamber musician for concerts of both traditional and contemporary repertoire and has performed at festivals and venues such as Ars Musica 103 Brussels, Cite de Musique, The Barbican, The Luzern Festival and Ankunft Neue Musik Berlin. Most recently, she has played chamber music concerts at the Festival de Musique "Zodiac" in the south of France as well as presented solo concerts of new music in Berlin, New York City and at Bard College. As a new music specialist, Plum has had the good fortune to take part in historic performances and premieres with noted composers and ensembles. Her long term collaborations with composers have led to CDs such as her 2011 solo release Absconditus. This CD has been called "flinty and stark yet atmospheric" by music web, "a gem" by the American Record Guide and Gramophone Magazine said that "Sarah Plum plays with a wealth of colour and a surprising range of sounds". Since this release Plum has been invited to perform an evolving solo program of 21st century works, many of which were written for her, at new music festivals and series worldwide. These programs have been praised as "consistently stunning with works that demanded conventional virtuosity but also great skill in unconventional techniques" (third coast journal) and "extraordinary,

Considered one of Brazil's finest guitarists/composers in the past twenty years, Ulisses Rocha has performed and recorded with some of Brazil's best-known artists, including Gal Costa, Cesar Camargo Mariano, and Hermeto Pascoal. He has also shared the stage with Egberto Gismonti, Al Di Meola, Eliane Elias, Marco Pereira, and Paulo Belinatti. Mr. Rocha began playing and studying classical guitar at a young age but also took up electric guitar and began to explore rock and roll music. In the early 1980s he united with fellow guitarists Andre Geraissati and Mozart Mello to form the Group D'Alma, a musically eclectic trio that influenced the formation of the enormously successful trio of John Mclaughlin, Paco de Lucia, and Al di Meola. Mr. Rocha has released eleven CDs and participated on numerous other recording projects. Mr. Rocha has been a professor at the Unicamp Faculty of Music since 1990 and is currently a visiting professor of guitar in the School of Music at the University of Florida and the 2012-2013 Bacardi Eminent Scholar through UF's Center for Latin American Studies.

Gerard Spicer is a Master of Music candidate at the University of Florida, studying with Dr. Jonathan Helton. Gerard holds a Bachelor of Music Honors in Music Education and an Artist Diploma from Western University, Canada, where he studied with Barry Usher, Bobbi Thompson and Laura Kerslake. He has performed in master classes for artists such as James Houlik, Julia Nolan, and Jonathan Helton. Gerard was the graduate winner of the 2014 University of Florida Concerto Competition and performs at the University of Florida with the 104 Wind Symphony, All-Saxophone Festival Orchestra, and the Collision Saxophone Quartet.

Scott Watkins is a graduate of The University of Cincinnati's College­ Conservatory of Music with a degree in piano performance where he held the Van Cliburn Scholarship. He earned the Master of Music degree from The University of South Carolina and holds the Doctor of Music degree in piano performance from The Florida State University where he studied with the late Edward Kilenyi. He won the prestigious Artistic Ambassador Award from The U. S. Department of State in 1985, and the Patricia D'Angelus Award at the Memphis Beethoven International Piano Competition in 1999. His career has taken him to many of the world's concert stages, and he has enjoyed many collaborations with some of the finest orchestras and soloists. Watkins has championed new music throughout his distinguished 30-year career, including world premiere performances of works by Elie Siegmeister, Ned Rorem, and He Jianjun, whose Piano Sonata was given its world premiere by Watkins in Wyoming in 2009 and repeated at Carnegie Hall the following year. In 2013 Watkins gave the first international performance of Howard Hanson's recently discovered Piano Sonata in China. His lastest recording, American Piano Sonatas, has garnered high praise from critics. The Dallas Morning News said that "Watkins plays authoritatively and expressively," and Fanfare Magazine said that "Watkins plays splendidly bringing a fine tonal balance and elegance" to the three sonatas by Howard Hanson, Carlisle Floyd, and William Schirmer. Watkins is Associate Professor of Piano at Jacksonville University.

Dr. Andy Wen is an Associate Professor at the University of Arkansas Little Rock. He is a founding member of the Arkansas Saxophone Quartet and plays Principle Alto Saxophone in the Little Rock Wind Symphony. He has performed in twenty-four states and eleven countries on three continents. His performances include concertos with bands and orchestras, solo recitals, and chamber concerts. He has premiered four concertos and has recorded two CDs. He presented the first saxophone recital in the National Concert Hall in Taipei, Taiwan and has performed at conferences of the North American Saxophone Alliance; World Saxophone Congress; Association de Saxophone de France; Southeast Composers League; Hawaii International Conference of Arts and Humanities; American School Band Directors Association; Etats Generaux Mondiaux du Saxophone; United States Navy Band International Saxophone Symposium; Arkansas Bandmasters Association; Georgia, Ohio and Pennsylvania Music Teachers Associations; and Music Teachers National 105 Association (MTNA) where he was the 1990 MTNA National Collegiate Artist Competition winner. His performances have been broadcast in Arkansas, Ohio, and Texas. Andy has premiered over thirty solo and chamber compositions including those by David Baker, Larry Bell, Robert Boury, Sy Brandon, Neil Flory, Fred Fox, Michel Fuste-Lambezat, Karen Griebling, John Harbison, David Kechley, Christian Lauba, L. A. Logrande, Kevin McKinney, Allyn Reilly and many others. Most of these works were written for him . He was a two-term Treasurer of NASA and received degrees studying with Jean-Marie Londeix, Eugene Rousseau, Kenneth Fischer, and Allyn Reilly. Andy Wen is a Conn­ Selmer Clinician and plays Selmer saxophones.