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SPRING/SUMMER, 1976Nol. 9, No. 2

CONFERENCE XI HELD IN BOSTON

The eleventh annual conference of hard working people contributed im­ the American Society of University measurably to the success of the Composers was held in Boston from Feb­ conference. ruary 26th to the 29th, 1976. The Among the many highlights of the meetings, concerts, and get-togethers four day conference was the opening were hosted by the New England Con­ concert by the New England Conservatory servatory and the Massachusetts Wind Ensemble, conducted by Frank L. Institute of Technology. Those of us Battisti, on Thursday evening in Jor­ fortunate enough to attend all or part dan Hall. The works on that program of this significant gathering were were Passacaglia Profundus by Jere impressed by the quantity and quality Hutcheson (Michigan State University); of the events and by the gracious Rhombohedra by Gordon Cyr (Towson hospitality extended to us by the host State College, Towson, Maryland); institutions and their representatives. Nova by David Stock (Pittsburgh, Penn­ Special accolades must be offered to sylvania); Pometacomet, 1676 by Robert Donald Harris of the New England Con­ Selig (New England Conservatory) and servatory who shouldered the greatest The Continental Harp and Band Report responsibility for the successful by Eric Stokes (University of Minnesota). planning of the conference. He was A reception in the foyer of Brown Hall ably assisted in his efforts by Nancy was provided after the concert. Van de Vate (University of Hawaii) who Formal proceedings began Friday was chairperson for papers. Others morning .'n Brown Hall. Greetings were whose contributions were so vital in extended by Donald Harris, Marshall the success of the conference were Bialosky, and Elizabeth Cook, Director Fredrick Imbimbo, Coordinator; Beatrice of the Mayor's Office of Cultural Haines, Secretary; Martin Farren (Mass­ Affairs for the City of Boston. These achusetts Institute of Technology); we re followed by a special tre at as Donald Martino (New England Conserva­ Otto Luening, in honor o f his 75th tory); Elliot Schwartz (Bowdoin College); birthday, spoke on "The University and Robert Stern {University of Massachu­ the Larger Community." setts, Amherst); Bruce J. Taub, Ex­ The first Paper session, with ecutive Committee, American Society John Rogers (University of New Hamp­ of University Composers; and Barry shire) as chairman, consisted of papers Vercoe (Massachusetts Institute of by Claire Pol in (Rutgers University) on Technology) . Also thanks are due "Musi cal Notation as Communication James Whitaker, Administrative Co­ Today" and William Benjamin (University ordinator for the New England Conser­ of Michigan, Ann Arbor)--"On Pitch vatory and other members of the staff Reclassification: Unmaking Some Myths of our host institution: Gene Haley, of Octave Equivalence." These were Director of Public Af£airs; Elizabeth followed by a lecture demonstration Burnett, Performance Librarian; Robe rt by Ron George (Univers ity of California, Rachdorf, Dire ctor o f Audio-Visual San Diego) on "Re search i n t o New Areas Facilities; Jonathan Wulp, Stage of Multiple-Percussion Performance and Manager; Patricia Kenny, Assistant Composition." Director of Public Affairs; and Carol The second paper session, "Ameri­ Woodworth, Assistant to the Adminis~ can Music, Past and Present," was trative Coordinator. All of these chaired by Gregory Levin (University of Calgary, Alberta) and included papers Beardslee, Michael Dertouzos (Massachu­ by Barbara English Maris (Peabody setts Institute of Technology), Walter Conservatory) on "American Compositions Rosenblith (Massachusetts Institute of for Piano and Tape-Recorded Sound" and Technology), Barry Vercoe, and Robert Marshall Bialosky (California State Freeman (Eastman School of Music), moder­ College, Dominguez Hills) discussing ator. The discussion was both lively and "Some Late Nineteenth-Century Members informative. Friday ended with a recep­ of ASUC: Paine, Parker, Chadwick and tion in the Bush Room. MacDowell." Saturday began with the third paper At four o'clock Friday afternoon a session. Gordon Cyr served as Chairperson concert titled "Contemporary Chamber Music and the presentations were by Newton Hoff­ Concert I" was presented in Jordan Hall man (Ball State University) discussing involving faculty, students, and alumni "Circular Diagrams for the Tone Sets;" of the New England Conservatory. It was Jonathan Kramer (Yale University) speaking obvious that the performers in this con­ about "Teaching Music to the Amateur through cert, as in ali of the other concerts, had Composition;" and Harold Oliver (Geneseo put in many devoted hours of preparation College, SUNY) on "Teaching Music Theory in order to present the highest quality Within a Liberal Arts Program . " These were performances. The sincere attention to followed by a lecture demonstration by Ron­ excellence was appreciated by all in ald Pellegrino (Novato, California) entitled attendance! This first concert included "Thought Processes in the Electronic Arts of Music When Soft Voices Die by John Har­ Sound and Light." bison (Massachusetts Institute of Tech­ The afternoon began with the Second nology); Links by Stuart Smith (University Chamber Music Concert, in Jordan Hall of Maryland, Baltimore); Starting Over by including excerpts from Mass: For Abraham' Marshall Bialosky; Line Drawings by Leo Lincoln by Warner Hutchison (New Mexico Kraft (Queens College, CUNY); Flight of State University, Las Cruces); Pianississ­ The Flute by James Hoffman (New England imo by Donald Martino (New England Conser­ Conservatory); Episodes by Greg Steinke vatory); and Quartet by Steven Stucky (Evergreen State College, Olympia, Wash­ (Cornell University), the winning composi~ ington); Sound Play by Elaine Barkin tion in the ASUC Student Composition (University of California, Los Angeles); Contest, 1976. Vox In Rama by Henry Weinberg (Queens The ASUC General Business Meeting was College, CUNY) and Missa Brevis by held following the concert. Priscilla and Vladimir Ussachevsky (Columbia University). Barton .McLean reported on the ASUC radio After a break for dinner, activities series, which, by all accounts, is becoming were transferred to the campus of the quite successful. They pointed out that in Massachusetts Institute of Technology honor of the Boston Conference, the local where the Ianugural Concert of the MIT Public Radio Station, WGBH, was featuring Experimental Music Studio was presented the complete series. In addition, with the in Kresge Auditorium. This beautiful help of Wesley Horner, Mace Rosenstein, and structure seemed to be the ideal visual Radio Manager John Beck, WGBH was taping and aural setting for such an auspicious "Meet the Composer" with invited panelists event and we were not disappointed. The Marshall Bialosky, Barney Childs (Redlands program included Music For Synthesizer University), Donald Harris, Edwin London And Six Instruments by Edwin Dugger (Uni­ (University of Illinois), Donald Martino versity of California, Berkeley); mild and Nancy Van de Vate. This program will' und leise by Paul Lansky (Princeton be aired at a future date. University); Mirrors III by Edward Diemente Executive Committee Chairman Bruce (University of Hartford, H~rtt School of Taub welcomed Randolph Coleman and Edward Music); Synapse For Viola And Computer by Mattila to the National Council and Pris­ Barry Vercoe (Massachusetts Institute of cilla McLean (new director of the Radio Technology); Alternate Routes by Ronald Perera (Smith College); Two Short Computer Series) and Richard Brooks to the Executive Committee. He then reported on membership Pieces by Godfrey Winham (Princeton (now i ncreased tq almost 500) and finances. University) perfo rmed in memory of the A discussion of a possible increase in dr~ composer by Bethany Beardslee. The concert was followed by a panel to enable ASUC t o pursue more programs, a"' well a s to insu re the continuation of the discussion on the topic "The Emerging Role high standards apparent in present pro­ of Technology in the Arts. " Participants grams, e nsued (see Editorial Comment) . i n the pane l were Milton Babbitt , Bethany No decision was reached, but to this ob­ to the Theory Conference to share with the server it was clear that, while no one ASUC members the remaining events. The looked forward to paying higher dues, all first of these joint activities was a paper who commented seemed to agree that a dues by Benjamin Boretz (Bard College) entitled ,r--i.ncrease was not unreasonable and might, "What Lingers On , (When the Song Is Ended)." .ndeed, be necessary. One further point The third and last Contemporary involved the fact that ASUC has rather few Chamber Music Concert followed. This student members. Perhaps all members included Echo Music II by Elliott Schwartz; should encourage those students who appear Slide Music for Four Trombones by Robert to be interested in a career in college Ceely (New England Conservatory); phrases teaching to join the Society. from "whirl ..• ds (I)" by Robert Cogan (New Saturday afternoon c ame to a close England Conservatory); Samsara by Harold with a Concer t by Lois Svard Burge and Oliver; Prelude and Elegy by Brian Fen­ David Burge. Included on the program were nelly (New York University) and Quintet Etudes by David Chaitkin (New York Uni­ by Bruce Taub. The concert was followed versity); Orpheum (Night Music I ) by by brief closing remarks and adjournment. Andrew Frank (University of California, The Eleventh Annual Conference was Davis) ; Three movements from Five Pieces well planned, well executed and •.. well ••. For Piano by Edward Chudacoff (University exhausting: All who contributed in any of Michigan, Ann Arbor); Dime nsions II, way toward its success are to be congra­ for Piano and Tape by Barton McLean tulated. The programs we re many and (Indiana University, South Bend); and varied, the facilities were excellent, The Rite of Spring by Igor Stravinsky, a and the press coverage was outstanding. reduction for piano duet by the composer. To our hosts from all of us who attended, Saturday evening's concert featured "Thank You:" From those of us planning The New England Conservatory Contemporary next year's conference, "We have a tough Music Ensemble conducted by Gunther act to follow!" Schuller. Compositions performed on this Alfred Blatter outstanding concert were Music for Sixteen University of Illinois Instruments and Percussion by Ernesto ~ellegrini (Ball State University) ; _,aintings #2 by William Thomas McKinley (New England Conservatory); Two Mexican Sere nade s by Otto Lue ning (Columbia NATIONAL CONFERENCE ON MUSIC 1HEORY 1976 University); Blood and Milk Songs by Robert Stern (University of Massachusetts, The first National Conference on Music Amherst); Transactions for Seven Players Theory, planned and hosted by ASUC, was held by Howard Rovics (Manhattan School of in Boston February 29 - March 1 as an ex­ Music) ; and Concerto for Violin and Chamber tension of ASUC's Eleventh Annual Conference. Orche stra by Robert di Domenica (New Approximate ly 100 theorists attended a pro­ England Conse rvatory) . A reception in the gram of pape r s , panels, and organizational foyer of Brown Hall followed the concert. discussion put together by Gerald Warfield The fourth paper session began Sunday's (conference coordinator) and Richmond Browne events. This session was chaired by Marga (program chairman). Richter (Huntington, New York). The The Conference opened at the New Eng­ presentations involve d Richard Saylor land Conse rvatory of Music with an address (California State College, San Bernardino) to theorists and ASUC members by Benjamin on "The South Asian Conception of Time and Boretz (Bard College) • The rest of the Its Influence on Contemporary Western Conference was arranged at MIT by Barry Music;" Robert Newell (California State Vercoe, and began with a panel on "Intro­ University, Long Beach) on "Four Tiers on ductory Techniques and Modifications" the Foundation of Time;" and Juan Orrego­ arranged by Warfield. Participants were Salas (Indiana University) on "The Avant Robert Gauldin (Eastman) on "Introduction Garde Composer in Latin America." After to Set Theory;" Harold Lewin (Manhattan the presentat ion of these papers the open- School of Music) on "Permutati onal Aspe cts ~,ng session of the National Conference on of the Twelve-Tone System;" Barry Vercoe usic Theory was held. Bruce Taub pro­ (MIT) on "Music and Technology: Breaking vided an insight into the reasons for a the Language Barrier;" and Gerald Warfield National Conference on Music Theory and as (Index of New Musical Notation) on "Intro­ a spokesman for ASUC, welcomed the delegates duction to Schenker Analysis." Two organizational discussions were 1977 NATIONAL CONFERENCE INFORMATION held. The first, on Sunday, allowed mem­ bers of the planning committee representing The 1977 Nat{onal Conference of ASUC various regional theory groups to r aise will be held March 3-6, 1977, at the Uni-~ questions pertaining to the possibility of versity of Illinois at Urbana-Champaign. a national theory society. The speakers Program Chairman is Randolph Coleman, and were Donald Fisher (Northwestern; Midwest in charge of local arrangements is Edwin Theory Society), John Hanson (Eastman; London assisted by Paul Zonn, John Melby, Music Theory Society of New York State) , Alfred Blatter, and student member Brad James Harrison (Hunter; MTSYNS), Edward L. Albers. Members with ideas for papers or Largent (Youngstown; Ohio Theory-Composition panels should get in touch with Mr. Cole­ Teachers Association), John Rahn (University man at Oberlin College, Department of of Washington; ASUC), and moderator Rich­ Music, Oberlin, Ohio 44074. Scores to be mond Browne (University of Michigan; considered for per formance can be sent to Michigan Conference on Music Theory). Edwin London, School of Music, University Journal of Music Theory editor Bryan of Illinois, Urbana, Illinois 61801. The Simms introduced the theorists on Monday deadline for receiving scores is October morning's program: Robery Cogan (New 1, 19 76. England Conservatory) on "Carter's 'Pair o' Diamonds';" Robert P. Mo rgan (Temple) on ASUC JOURNAL OF MUSIC SCORES "Reduction Theory: An Historical View; " and Charles Shackford (Connecticut College) Scores selected for Volume VI of the on "Resolution and Progression in Complex ASUC Journal of Music Scores (available in and Ambiguous Harmony." September) are: Duo Concertante by Allen At the second organizational meeting, Brings (Queens College); Reri Velo citam many pers ons spoke from the floor on the by Richmond Browne (University of Michigan); pros and cons of forming an independent Spring by Ernesto Pell egrini (Ball State theory society. With some trepidation, the University); In Memoriam by William Prunty sense of the meeting arrived at a decision (Fairmont State College); Phi by John to proceed toward that goal by cautious Selleck (Columbia University ); and Caden,~ steps--first attempting to explore the by Timothy Sullivan (Nazareth College) . chances of increased theory activity in Volume IV, currently available, in­ existing societies and in regional formats. c ludes Hade s by Anthony Iannaccone (East A theory steering committee was formed. Michigan University) , Quintet I by Bruce Chaired by Richmond Browne, it includes T~ub \Columbia University) , Sound Piece representatives of known theory organiza­ III by Nancy Van de Vate (University of tions and others who have volunteered or Hawaii) , Incubus by Ruth Shaw Wylie (Pro­ may be asked to help by the committee, fessor Emeritus , Wayne State University) , which i s charged with exploring theory and, by special invitation of the selection activity in other groups, planning another committee , Trio f or Clarinet, Cello an d national meeting of theorists , and drafting Piano by Barney Childs (University o f a model for a theory s ociety. The com­ Redlands). mittee asks all interested theorists to Vo lume V, featuring compositions send in their names f o r the mailing list selected for the f irst release of t he ASUC and their ideas for c onsideration. Recording Series (see below), will be Concrete future p l a ns include a panel available soon. It includes Prelude and scheduled for November 6 at the 1976 Annual Elegy by Brian Fenne lly (New York Uni­ Meeting of t h e College Music Society in vers ity) , Interplanes by Pri scilla McLean Philadelphia on "Music Theory: The Art, (Indiana Unive rsity at South Bend), and the Profession, and the Futu re." Other Variations and Metamorphoses by Gerald time may also be used at the CMS meetings Warfie ld (University of I l linois). to advance the nati onal organizational The J o urn al 's stylistic and geographic situation. CMS has also agreed to host a diversity are assured by the selection pro­ nat ional meeting of theorists a t its 1 9 77 cedure : the selecti on committee- -three Confe rence in Evanston. regional chairmen and one e xecut ive com- / ~ mittee member--changes for each volume, > Richmond Browne scores not selected for a current volurne University o f Michigan may be resubmitted. l

The contract b etween ASUC and com­ the recording project are the same a s tho se posers states t h a t, because t he Soci ety for the ASUC Journal , and one of t hese is i s a non- p rofit o r ga nization, royalties proportionally equa l sytlistic and geograph­ nnot b e paid to ,omp oser s . Howe v er, i c represe ntation o f all members of the Jmp~ser s reta i n a l l o ther r i ghts and Soc iety. Sometimes t his goal has been commercial p ublicatio n is not p r ecluded. dif ficult t o maintain b ecause of sparce A number o f c omposi tio ns i n the Journa.l submiss i ons from some areas. Judging of had been publ i s hed previou s ly or were the Recor ding Series r o tates as it does p ub lished s ubsequen t t o their app e arance i n for the Journal (i.e. , three regiona l i n the J ournal; Solo compositi ons (p i e c e s chairmen--thus assuring disparate geo­ t h at may be performed from a s ingl e copy graphic repre sentat ion-- and one member of o f the score) cannot be conside red b ecause t he Executive Committee ) . p ubl i cation of per fo rmance mater i a l would Compositions on t he first recording e nd anger the Journal ' s non- competiti v e a r e: Priscilla McLean , Interplanes for status . t wo pianos ; William Penn, Chamber Musi c The edit or o f the Journal t h anks the I I for cello and piano; Brian Fennelly, j udges a nd the e d itorial staff (Jef frey Pr elude and El e gy for brass quintet; Ge rald Hal l , Ni g el Man uel, and John Sell e ck) for Warfield, Varia t i ons and Metamo r phoses for cont ributi ng time to the producti on of two cell os and offstage p i ano . Recor ds the s e volumes. Pro jects such as the J ournal may be o rdered from Advance Recordings for would not b e poss ibl e without the hundreds $6. An orde r blank i s encl ose d with the of h o urs o f voluntee r wo r k of members of Newslet ter a s i s a s pecial o rder blank t h e Society. We also a re indebted t o for your music departme nt libr ar y. Yo u J o seph Boon.in, Inc . , p ublis her of t h e are urg ed t o p a ss this on t o your mu sic J o urnal. librarian with your recommend a t i o n . Instruct ions f o r submitting sco res Three recordings a re s cheduled f or t h i s for the n ext series o f volumes appea r year : below. Further informati on is available Recordin g 1: Compositions not to b e in the News l ett er (Vo l. 5, Nos. 2- 3) or publ ished in the ASUC o m t h e Edi tor . Journal o f Mu sic Score s . (S ubmit tap e a nd score; s cores n e ed no t meet ASUC RECORDI NG SERI ES INITIATED publishing standards of the Journal.) The Society is now able to provi de a Re c oEdin g 2 : Compositions already s ignificant new service to its members publi she d in the Journal, thr ough the initiation of the ASUC Record­ Vo lume s I-IV. (Submit ing Series . The importance of recordings t ape only.) to c omposers c an hardly be overemphasized, Recor ding 3: Compositions to b e pub­ a nd t he i ssuance of recordings in conjunc­ lished in Vo lume VIII t i on wi th the publi cation of the scores of the Journal. This makes thi s series unique among current will be a coordinated American contemporary music recordings . set as the first r e ­ (As mentioned in the above article, the cordi ng was coordinated compositions on the f irst recording are with Vo l ume V o f the c o ntained i n Vo l ume V of the ASUC J o ur nal Journal. (Submit tape of Music Scor e s ) . and scores ; s cor e s must The p r oduc t i o n of recordings , one o f meet publish i ng s tan­ t he original goals of the Society, was dar ds of the Journal.) proven feasible two years ago by the Ins tructions for submitting tape s and appearance of a recording (undertaken sco res appear below, but in every case you primarily by David Cohen) in conjunction mus t, if y ou submit tapes, state withi n with Proceedings 7/ 8. ASUC is indebted which c ategory you are submitti n g them. to Barney Childs and Advance Recordings for making the present series possible at ,,..--.. cost the Society can afford. INSTRUCTIONS FOR SUBMITTI NG SCORES AND TAPES Our goal is to produce three new recordings this year, if manpower for Materials for the Journal and Record­ the administrative work can be found. It ing Series should be submitted by October should be emphasized that the goals for 1, 1976. In addition to your entry, send a separate letter including a description Since March, nearly forty additional broad­ of the contents of the package, permission casts have been logged bringing the series for any text that is used, a statement of to an all-time high in numbers of broad- release for any union performers, and an casts. ~ indication of the volume of the Journal A newly purchased Phase Linear Auto­ and/or recording for which it is being correlator noise reduction unit now makes submitted. Enter only one composition. it possible to accept unplayed and sealed Scores not accepted for Volume VIII will recordings as well as slightly lower quality automatically be submitted for Volumes IX tapes. Moreover, some quarter track copies or X. of good quality can now be used. So please Send four copies (not original or send any tapes or records you think are master), one of which must make good camera acceptable. copy: black copy on white paper. The score Following are guidelines for sub­ must present a professional appearance and mitting material. Under each heading should not be crowded. Include one typed those items listed first are most needed. copy of any instructions or analytical Length: short (3-7 minutes), medium material that might enhance the usefulness (8-12 minutes), long (21 of the score. Short scores (under 30 pages) minutes and up) . are preferred in order to include as many composers as possible in each volume. Instrumentation: orchestra, orchestra The requirement of clean, high con­ and chorus, large chamber trast, reproducible copy must be strictly ensemble, small chamber en­ enforced. The Journal staff can no longer semble, duo, solo instrument, afford to spend an inordinate amount of electronic. time repairing manuscripts. Facsimile pub­ lication involves much more than simply Tape Format: ~ track, 15 ips; ~ track, photographing the score, and volumes can be 7~ ips; \ track, 15 ips; \ published more frequently if preparation track, 7~ ips. time can be held to a minimum. Send entry to: John Epperson, Editor, All tapes must be stereo. If they us ~ ASUC Journal of Music Scores, 250 West 57th dolby A or B specify which one. Do not se. Street, Room 626, New York, New York 10019. master tapes, but do send good copies on high quality low noise tape. As noted above, Tapes records are now also acceptable. Each sub­ Submit one high quality stereo dub mission must contain the following: per­ (not the master) on low noise, high output mission in writing with all tapes for union \ inch tape. There must be no discernible musicians to broadcast over non-union com­ variance between the score and tape. The mercial stations; a short biography of the performance should be of the best possible composer; a brief description of the work. quality. Acceptable tape formats, in order Please feel free to submit several works. of preference, are: ~ track, 15 ips; ~ Composers will be notified of acceptability track, 7~ ips; \ track, 15 ips. Dolbyized this summer. Send all materials to: Priscilla tapes are preferred but not necessary. For and Barton McLean, 2914 South Locust Road, Recording 2 only, include one legible copy South Bend, Indiana 46614. of the score with the t ape. See the News­ letter (Vol. 7, No. 3) for further informa­ tion, or write to the Journal editor. ASUC STUDENT COMPOSITION CONTEST Send entry and letter to: Barton McLean, 58412 Locust Road, South Bend, Winners of the first annual ASUC Stu- Indiana 46614. dent Composition Contest were Steven Stucky (first prize for his Quartet for Clarinet, Viola, Cello, ~nd Piano) and Robert ASUC RADIO PROGRAM Shuffett (second prize for his Six De­ lineations for woodwind quintet). Mr. ASUC radio program d i r e c tors Priscilla Stucky's composition was performed at the and Barton McLean report that materials are National Conferenc e i n Bos ton. Entries . ~ now needed in ord er to produce swo o r three are now being accepted for the 1976 con­ new programs this summer. All Society mem­ test. The competition is open to: a) bers are s trongly urge r'l. to s end i:ape s and/ student composers (students currently or r e cords for programs 9 , 10, and 11. enro lled or s tudying privately) who a re present or former students of ASUC mem­ quality. Awards to be given are a $250 bers--excl uding doctoral candidates first prize and a $50 second prize. The currently working only on dissertations ; first prize composition will be submitted and, b) composers who are s t udent members to the judges of the ASUC Journal of Musi c ~f ASUC. Persons who hold Full Membership, Scores for possible inclusion in the Journal. cesent or former offi cers of ASUC, and Moreover, the winning composition may b e persons r e .lated t o present or former performed at a Regional and/or Nat ional officers of ASUC are i neligible. All Conference of ASUC. Deadline for entries entrants must be 28 years o f age or under. is September 15, 1976 . Entries and in­ Entries must be unpublished compo sitions quiries should be sent to: John Melby , for a maximum of five instruments or ASUC Contest Chairman, School of Music , voices, or a maximum of four instruments University of Illinois at Urbana-Cham­ with tape. Two copies of the score must paign, Urbana, Illinoi s 61801. be submitted. If the composition requires tape, the tape must also be included. Parts mu st be available and each entry should include return postage. ASUC will CELLO COMPOSITION CONitST WINNER not be responsible for lost materia l . If the contestant is not a member of ASUC, Ernesto Pellegrini has been announced the entry must include a statement signed winner of the fourth annual Cello Ensemble by the appropriate ASUC member certifying Composition Contest for his Divertimento a that the contestant is the member's present Tre for bassoon and two cellos. The work or former student. is slated for performance next season by Entries will be judged by three the Arizona Cello Society. Judges for Regional Ch airm~n and one member of the this year's competition were Takayori Executive Committee. ASUC reserves the Atsumi, Frederick Donnelly, Roger Harris, right to award no prizes if, in the Peter Lieberson, and Bruce Taub. judgment of the conunittee, none of the Details for the next Cello Contest pieces submitted is of sufficiently high will be announced in the Fall Newsletter. r--.... cROCEEDINGS OFFER

ASUC is once again making back issues Annual Conferences and receive the many fine of its Proceedings (Volumes 1-5) available articles in the Proceedings. The contents to members at half price. This offer is of these volumes is listed below. To order, being made particularly for the many new please return the coupon included at the end members of the Society so that they may of the Newsletter to: American Society of learn more about the history of the organi­ University Composers, 250 West 57th Street, zation through the events of the first five Room 626-7, New York, New York 10019.

Contents

Volume I Andrew W. Imbrie The University of California Se r ies i n Contemporary Music Iain Hamilton The University and the Composing Profession: Prospects and Problems Charles Wuo r inen Performance o f New Music in American Universities Stefan Bauer-Menge lbe rg Impromptu Remarks on New Methods o f Music Printing J.K. Randall Introduction - Computer Performance of Music Herbert Brun On the Conditions under which Comput e r s would Assist a Composer in Creating Music of Contemporary Relevance and Significance Ercolino Ferretti Some Re search No tes on Music with the Compute r Godfrey Winham How MU S I C 4B Generates Formants and Non-Harmoni c Partials , and Improves Loudness Control and "Quality" Le j aren A. Hiller, Jr. Some Comments on Computer Sound Synthesis David Lewin Is it Music? Harold Shapero Remarks Panel Discussion: "What do you, as a Composer, Try to get the Student to Hear in a Piece of Music?" Volume II Peter Westergaard Sung Language Melvin Strauss Performance problems in Contemporary Music Joel Ch adabe Performing Problems Fred Coulter Simplification of Complex Music al Structures Charles Wuorinen Comment on Fred Coulte r Paul A. Pisk Arnold Schoenberg as Teacher Roy Travis Directed Motion in Webern' s "Piano Variations, Op. 27/II" John Rogers Toward a System of Rotational Ar rays Le igh Gerdine Introduc t o ry Remarks - Mic r o t o nal Mu sic i n Ame ric a Pe t e r Yates Microtones Ben Johnston Three Attacks on a Problem Lejaren A. Hiller, Jr. Elec tronic Sy nthesis of Mic r o ton al Mus ic J o el Mande lbaum The I solatio n of the Mi c roto nal Composer Carlton Game r Depp Scales and Difference Sets in Equal-Tempe red Systems

Volume III Kurt Stone Music Publishing Today: A Few Random Observations Benjamin Boretz The Theoretic al Character of Musical Entities Ben Johnston On Context Panel Discussion: "Theatre Music" David Burge Toward a Higher Standard of Performance Martin Boykan The Webern Concerto Revisited Chou Wen-Chung Single Tone s a s Music al Entities: An Appro ach t o Struc ture d De viatio ns in Tonal Characteristics Hubert S. Howe, Jr. A General View of Compositional Procedure in Computer Sound Synthesis John Rogers Some Experiments wi th Contextually De fined "Oc taves" Panel Discussion: "Mixed-Media Composition"

Volume IV Hubert S. Howe , Jr. Introduc tion - Rece nt De v e lopme nts i n Electro n i c Mu s i c John Clough Computer Music and Group Theory David Cohen Yet Another Sound Generation Program Enunanuel Ghent Paper-Tape Control of Elec tronic Mus i c Synthesi s Max Mathews GROOVE, A Program for Real Time Cont r o l o f a Sound Synthesi zer by a Computer Robert Moog An Objective Look at Electronic Music Equipme nt Panel Discussion: "The Relation of Lic e n sing Organizat ion s to Unive r sity Composers" Panel Discussion: "Should Composition Be Ta ught i n Un iver s itie s , a nd if s o, How? " Bertram Turetzky Performance Demonstration: "The New World of Sound"

Volume V Panel Dicussion: "Notational Problems" Jean Eichelberger Ivey ' An Electronic Music Studio in a Conservatory Ronald Pellegrino Some Considerations for the Real Time Performance o f Music Using Electronic Means David Rosenboom In Support of a Systems Theoretical Approach to Art Media Joel Chadabe Technical Report : The CEMS System Panel Discussion: "Electronic Music" Benjamin Boretz Composing With Electronics : Sensitive Mirrors for Subtle Echoes Panel Discussion: "New Music in the Undergraduate Music Program: The Composer - Theorist View" John Melby Some Recent Developments in Computer-Synthesized Music

Benjamin Suchoff Be la Bartok Claudio Spies Stravinsky

I.S. C.M. NEWS Stefan Wolpe, Piece for Trumpet and Seven Instruments (1971) ~ Hubert S. Howe, Jr., President of the League of Composers - International Society Rolv Yttrehus, Music for Winds, Per­ for Contemporary Music, U.S. Section, re­ cussion, Cello and Voices p orts that several ASUC members are repre­ (1969) (ASUC) sented in the final selection for the ISCM Paul Betjeman, Hawthorn Three (1975) World Music Days in Boston in October, 1976. for string quartet and piano over one hundred works were submitted to (ASUC) the U.S. Section for consideration, but Allan Blank, Three Novelties for only six works could be chosen. Since there Alto Sax (1971) (ASUC) was such a large quantity of excel lent Paul Levi, The Truth (1975) for music, the selection board felt it im­ voice and chamber ensemble possible to eliminate so many works from Robert Hall Lewis, Combinazioni this number, and therefore made a larger (1973) for violin, cello, choice of eighteen works. Six were desig­ clarinet and piano (ASUC) nated the official U. S. entries to the John Melby, Two Stevens Songs (1975) festival and twelve were submitted individ­ for soprano and tape (ASUC) ually with the endorsement of the U.S. Robert Pollock, Geometrics' (1974) Section. The selections are as follows for string quartet with the six official entries listed first. Netty Simons, Diverse Settings (1959) for large chamber ensemble David Stock, Inner Space (1973) for orchestra (ASUC) George Edwards, Giro (1974) for Richard Swift, Prime (1973) for orchestra {ASUC) alto sax and seven instruments George Perle, Songs of Praise and Bruce Wise, Variations (1973) for Lamentation {1974) for chorus orchestra and orchestra (ASUC) Judith L. Zaimont, Chansons Nobles Leonard Rosenman, Chamber Music II et Sentimentales for high (1968) for chamber ensemble voice and piano (ASUC) Seymour Shifrin, Chronicles (1971) Ellen Zwilich, Symposium for for chorus and orchestra Orchestra (1972-73) I

COMPETITIONS AND PERFORMANCES will includ e $300 and a perf ormance at the LSU Festival of Contemporary Music. Per­ The Cont emporary Music Forum , Ulf formance time should be twelve to twenty­ Gra h n , d i rector, is looking for new p i eces five minutes and the entry must have been to per form o n the ir r egu l a r seri es at t he written within the past two years. Name s ~ Washingt o n Ethica l Soci ety. Thei r per ­ must not appear on the compositions. In­ formanc e group consist s of f l u t e, c l a rinet, stea d, place your name, address, and the p i ano, a nd p ercussion. They are als o able title of the work in a sealed envelope t o use t apes a nd ma y add o ne o r t wo mor e attached to the score . Full score and parts, instruments for any single p erformanc e . along with a two dollar entry fee, should Th i s past fall their progr ams i ncluded be sent no later than October 31, 1976, to: works by Mario Davidovsky, Robert Hall The Festival Arts Trio, c/o School of Music, Lewis , Donald Martino , Lawr ence Mo s s , and Louisiana State University, Baton Rouge , Stephen St runk. , Louisia na 70803 . Composers wish i ng to submit works for possi ble perfoxmanc e should send them to: The College Band Directors' National Ulf Grahn, The C o n te~pora ry Music Forum, Association (CBDNA ) announces the Max 77 50 16 th Street N. W. , Washington , D.C . Winkler Band Composition Contest sponsored 20012 . by Belwin-Mills Publishing Corporation and adminis tered by CBDNA. The winning com­ The music depar tment of Mars Hill position will receive $1,000 and possible College invites composers t o submit un­ publica tion by Belwin-Mills. The contest published choral composi tions to b e deadline is September 1, 1976. Composers chosen for performance i n a choral festival wishing further information and entry a t Mars Hill College, November 5-6 , 1 976. forms should contact: Professor James D. Hinshaw Publishin g Compa ny will o ffer to Robertson, Chairman, CBDNA Small College the composer of one of the p e rfo rmed wo r k s Committee, Eastern Oregon State College, a publication award for inclusion in t h e LaGrande, Oregon 97850. recently inaugurated Ma r s Hill College Choral Series. Scores should be sui table for c o llege ASSISTANCE NEEDED and advanced high school singers and may include works for mixed a cappella , treble , Composers Autograph Publications is male, or small vocal ensembles and pieces goi ng o u t of b u siness and i s a ttempting to utilizing piano, organ, or small ensemble r eturn all v ellum mas t e r sheets to the accompaniments. c omposers . To dat e t hey have not been able Composers should send three copi es of to contact t he f ollowi ng peopl e: each score, postmarked no later than September 1, 1976, to: Donna Robertson, George An drix Marje Fowler Chairperson, Choral Festival, Music Depart­ Wi lliam K. Bl and Cl are Franco Alan Boehmer F. David Giggy ment, Mars Hill College , Mars Hill, North Allen R. Bonde Tom Hamilton Carolina 28754. Br it Carrel James He i nke Robert Ch auls J . H. Heller, Jr. The College of Saint Thomas Depart­ Richar d Chruszch Margaret E. Henry Henry Coleman, Jr. Richard Hensel ment of Music announces a composition Erruna Lou Diemer Benjamin P. James competition in liturgical music. Awards Dean Estabrook James Jensen include $1000 first prize, $500 second prize, and $250 third prize and performance David Kechley Tonald Roxbury Robert W. Kehrber g Steph en Scott of the winning compositions. In addition E. Tak eo Kudo Johan nes Sm it G.I.A. Publications, Inc., will award a Trent Kynaston Sall y Speare- Lu tyens contract to the first prize winner for Ell iott J. Landon J a red Spears J ames MacDonald publication. For further details write : J e ffrey Swann George Frederick McKay (estate) Theodore Toews Dr . Francis N. Mayer, College of Saint A. Loren Olsen Phili p Wes t in Thomas, St. Paul, Minnesota 55105. Patrick B. Quinn L . Keith White Lawrence R. Smith John Wo r st The Festival Arts Trio, in residence' Thomas Read Klaus von Wrochem at Louisiana State University, announces It wou l d b e of real help to CAP i f a composition contest for an unpublished anyone knowi ng t he where abouts of any of work for piano, violin, and cello which has the se composers wil l write : David Cope, received no public performance. Th e prize 508 Edgehill Dri ve, Oxford, Ohio 45056. HARPSIGlORD BOOK disciplines including education, scien­ tific research, aesthetics, and perceptual Karen Shirer is writing a book on development. They sell a diverse range of ~o ntemporary h arpsichord music and needs books and records in limited editions _nformation about works using unusual primarily through mail order. Centre pub­ techniques (new tuning systems, prepared lications include Sound Sculpture, edited harpsichord, playing on the harp, using by John Grayson; Biofeedback and the Arts: the case as a resonator, e xotic amplifi­ Results of Early Experiments, edited by cations, electronic harpsichord). Com­ David Rosenboom; and J.E.E., The Journal posers with appropriate pieces can send of Experimental Aesthetics. For further the composition' s title, publisher's or information write: A.R.C. Publications, composer's address, and a description of P . O. Box 3044, Vancouver, B. C., V6B 3X5, the techniques used to: Karen Shirer, Canada. 23 Martinal Road, Valparaiso, Indiana 46383. NEWS FROM 1HE REGIONS

SUMMER WORKSHOPS Larry Austin of the University of South Florida, Tampa, has been appointed The Univers ity of Wyoming will con­ the new chairman of Region IV. Randolph duct a composers' symposium June 21-25 Coleman has been elected co-chairman of entitled "New American Music: Tangents Region V and Edward Mattila of Region VI. II." The symposium will feature nation­ ally prominent composers for the concert William Penn and James Willey, co­ hall, school, and film who will discuss chairmen for Region II, announce that two and demonstrate their work. Vaclav Nel­ ASUC reg ional conferences were scheduled hybel is the f irst announced symposium during May, one in New York City and one lecturer. Further information is avail­ in Rochester, New York. It was hoped that able from: Dr. Edgar Lewis, Department in offering two locations it would be ~ f Music, University of Wyoming, Laramie, possible for more members to participate. ,qoming 82071. The Rochester meeting was held at Nazareth College on May 8 and included a paper given by Dexter Morrill ("A Computer Instrument ELECfRONIC CONCERT Design for Digital Sound Synthesis"), a workshop oh new marimba techniques by Leigh Dexter Morrill, Associate Professor Howard Stevens, and two concerts that at Colgate University, is accepting 1976- included works by Harris Lindenfeld, James 77 engagements for a program of music Gibson, William Penn, Daria Semegen, Dexter called "Rotations." The program, con­ Morrill, Ann Silsbee, James Willey, Samuel sisting of computer-generated music Pellman, and Timothy Sullivan. designed e specially for halls, galleries, The meeting in New York City took and unusual spaces, is a quadraphonic place on May 10 at the CUNY Graduate Center tape/loudspeaker presentation which can on 42nd Street and consisted of two concerts b e repeated each hour or at scheduled featuring works by Allan Brings, Bryan times, to permit a larger audience and a Fennelly , Eleanor Cory, Laura Greenberg, less formal listening environment. All Lawrence Kucharz, Christopher Rouse, Marga audio equipme nt for "Rotations" is pro­ Richter, Walte r Hartley, Da~ia Semegen, vided and installed by Mr. Morrill. David Maslanka, Arline Diamond, Richard Persons interested in the program can Brooks, and Ursula Mamlok. write: Dexter Morrill, "Rotations," Box Unseasonably pleasant spring weather 251, Hamilton, New York 13346. favored attendance at the annual confer­ ence of Region III held February 14 and 15 at Towson State College report regional PUBLICATIONS co-chairmen Gordon Cyr and Larry Nels on. r---' The conference, which began Saturday Aesthetic Research Centre (A. R.C.) morning with a business meeting, included Publications is a publishing h ouse spe -­ two panels, two concerts, and a session for ciali zing in presenting rec e nt d e velop­ playing tapes and examining scores of mem­ me nts in the arts and their relate d bers' comp ositions. The first panel , "Why, When, How, and How Not to Prepare a Piano," corder ; Startin g Over for solo flute; Two moderated by Barbara English Maris, in­ Voices in a Meadow f or vo ice and viola; cluded panel members Arno Drucker (pianist) , and Six Ri ddles f rom S ymphosius for voice Ernest Weissenborn (piano technician) , and and two instruments . Stuart Smith (composer). The second panel, moderated by Robert Shuffett, was titled, Dr. Sy Brandon was third runner up ir. "The Education of Composers; The 'Ideal' the 1976 Nati onal Associ a tion of College vs. Reality," and included participants Wind and Percuss ion Instructors ' Composi­ Robert Hall Lewis, Larry Nelson, and t ion Contest f or his Random 7 f or trombone Gordon Cyr. and perc ussion. ASUC composers featured on the two concerts were Vivian Rudow, Julia Stilman­ Richard Brooks heard premie rs of four of his works (Pr elude an d Lament , Suite Lasansky, Ronald Reaser, Robert Shuffett, for Percussion , S ona ta f or Viol i n an d Piano , Donald Martino ~ Burton Beerman, Jonathan Kramer,Larry Nelson, and Gordon Cyr. Mem­ and Song Cycle: Last Night I C\Tas the Wind ) at New York University i n April. Also i n bers represented at the tape and score session were Howard Patrick, Larry Nelson, April his opera, Rap unzel , for young audi ­ and Vivian Adelberg Rudow. e n ces receive d three perfo rmances by the Opera Theatr e o f No rthern Virginia . Region VIII held its first mini­ Richmond Browne (University of conference (the regular regional occuring Michigan) h as been elected president of in November) on Saturday, April 24, at the the Yale School of Music Alumni Associa­ University of Redlands. The conference was organized by Regional Chairman Barney tion and named c hairman of the Yale Music Alumni Fund. Childs and included a tape listening session, lecture demonstrations ("New Resources for Alfred Ca rlson ' s Piano Sonata and Flute," Patrick Parswell; "Extended Vibra­ Suite for Clari net and Pi ano were performed phone Research," Ron George; "Tympanum at Los Angeles City College in February. Luminorum," John Forkner), and two concerts His Polymorphics, Fi ve Duets for Guita rs , ~ which featured works by Larry Solomon, Rule was heard at the University of Redlands ir, Beasley, Alfred Carlson, Nancy Van de Vate, April. Jim Fox, Marshall Bialosky, George Heussen­ stamm, Richard Saylor, Gunther Tautenhahn, David Cope's (Miami Unive~sity ) book, Alexandra Pierce, and Ron George. The next New Music Notation, has recently been regional will be November 12 and 13, 1976, published. by Kendall/Hunt Publishing Com­ at California State University, Fullerton. pany. The second edition of his New Direc­ tions in Music i s now available through William C. Brown Company. Both publishers ASUC COMPOSERS IN ACTION can be contacted at 2460 Kerper Boulevard, Dubuque, Iowa 52001. Larry Barnes received a grant from the Gund Foundation for the April premier Emma Lou Diemer (University of Cali­ at Heideiberg College of his Earthwalk, a fornia, Santa Barbara) recently presented double concerto for piano, percussion, a concert of keyboard compositions by women and wind orchestra. In January, he per­ composers. Included were three o f her own formed two of his compositions at the Ohio works (Declarations for Organ, Pianoharp­ Contemporary Composers' Concert at Miami sichordorgan, and selections from Seven University, Oxford, Ohio. Etudes for Piano); Five Over Twelve by ASUC member Ludmila Ulehla; and other works Jon Bauman's (Frostbury State College) by women composers of the 17th to 20th Concerto for Oboe d'Amore was premiered in centuries. Ms. Diemer will have three May by the Chamber Orchestra of the Fort works published in the near future: Three Worth Symphony. Pieces for Carillon (Guild of Carillonneurs of North America); Music for Woodwind Marshall Bialosky (California State Quartet (Oxford University Press); and ~ College, Dominguez Hills) has had four Celebration for organ (Augsburg Publishing pieces published recently with Seesaw House) . Her Choruses on Freedom were Music Corp.: Variations on an Elizabethan premiered recently by the Dallas Civic Lute Theme for alto, tenor, and bass re- Chorus. •

Jim Fox (University of Redlands) and Community Leaders and Noteworthy Americans. Fredrick May (University of Oregon) have He will also appear in Notable Americans been appointed student representatives to of the Bicentennial Era. His Ballet for the ASUC Executive Committee. Harps was premiered in December in Tokyo /"} and his Spring - At Last! has been Errunanuel Ghent's Dithyrambos for brass recorded on RCA by the Mimuar Harp Ensemble quintet has just been published by Oxford who performed it during their world wide University Press. Mr. Ghent, under the concert tour. His Winter's Sonnet for sponsorship of the Mimi Garrard Dance Com­ flute, harp, and organ recently received pany, is participating in a $25,000 grant its premiere in Willoughby, Ohio, and from the National Endowment for the Arts his Concerto for Violoncello and Orchestra to make possible further development of was premiered by the West Suburban Phil­ computer-controlled theatrical lighting. harmonic Orchestra.

Ulf Grahn's This Reminds Me Of--- Leo Kraft has been elected President for flute, clarinet, French horn, trombone, of the American Music Center, succeeding and percussion, was premiered in Washington, Ezra Laderman. Mr. Kraft will serve a D.C., by the Contemporary Music Forum, and term of three years. his Det Ar Nagon I Narheten for soprano, flute, and guitar received its U.S. premiere Barton McLean (Indiana University at in February at the Catholic University of South Bend) will compose Identity I, an America. environmental audience interaction work exploring man's relation to nature and his George Heussenstarnm's Playphony for environment, with a grant from the National alto saxophone and percussion, winner of Endowment for the Arts. The project, pre­ the 1975-76 Composition Competition of miering in 1977 in South Bend, has been the National Association of College Wind featured in Asterisk Magazine and cited in and Percussion Instructors, was premiere d David Cape's New Directions in Music. in Tucson in April. His Canto Nuovo for Dr. McLean will be featured in an solo recorder received its premiere at the hour long, nationally syndicated, Composers ternational Recorder Competition in Forum FM radio broadcast produced by Martin _uges, Belgium. Two other works, Poems Bookspan. McLean's Dimensions II was re­ f rom the East and S tream, have been pre­ cently given its New York premiere in mie red in recent mont h s . Mr. Heussen­ Lincoln Center (Alice Tully Hall) by pianist stamm has been awarded a 1976 Fellowship David Burge. Grant from the National Endowment for the Arts to compose a large work for multiple Excerpts from Harold Oliver's (State groups. University of New York, Geneseo) chamber opera, Kin g of the Cats, were performed at Karel Husa (Corne ll University) has SUNY , Geneseo in March. received several commissions latel y in­ cluding one from Coe College, Cedar Rapids, Wi lliam Penn (Eastman School of Music) Iowa, to celebrate its one hundred and will compose and produce the sound track twenty-fifth birthday and one for Western for the Smithsonian Institution's Cosmic Michigan University's Brass Quintet. This Awakening, a planetarium show displaying Spring he is conducting concerts with the the de velopment of astronomy in the United Rochester Philharmonic Orchestra that in­ States. The show, narrated by Burgess clude his own work, Apotheosis of this Meredith and presented in the National Air Earth. In October, Miami University and Space Museum's Albert Einstein Space­ presented its Achievement Award to Mr. arium, opens in July with attendance figures Husa "who has made outstanding and signifi­ for the Summer estimated at three quarters cant contributions and is duly recognized of a million people. Mr. Penn has also for his meritorius achievement as one of received a CAPS Grant t o compose a harpsi­ the influential leaders in the United chord piece for Elizabeth Chojnacka. States in the discipline of music ." Cl aire Polin (Rutgers University) Janos Kiss (The Cleveland Music received special honor in Gedok 1975 ~chool Settlement) has been included in (Mannhei m, Germany) for her Infinito for the Fifteenth Edition of Who's Who i n the soprano and alto saxophone, narrator, d an­ Midwe st and in the 1975-76 editi on of c e r, a nd chorus. Seesaw Mus ic Corp . wi ll publish two recently completed compositions, Two works of Bruce Taub have been Laissez sonner! (piano sonata), and Dark presented by The Composers' Ensemble in Nebulae I: Paraselene (song cycle in six New York in recent months: Forme (Horace languages). Her recently commissioned Mann Auditorium), and a new one act opera, work, Ma'alot, for vibraphone and per­ Passion, Poison, and Petrifaction (Carne~ cussion, was premiered at Rutgers in May. Recital Hall). John E. Price (Eastern Illinois Uni­ versity) had several pieces performed this Gunther Tautenhahn's Caprice and Spring including For Brass Quintet : Hymn Meditation for Flute, The Last Farewell and Deviation, Carol VII for tenor and for French horn and piano, and Two Bagat­ flute, Set I for voice and piano, and teles for Right Hand Piano have been Impulse and Deviation I for solo cello. published by Seesaw Music Corp. Mr. His Meditation and Change of Thought for Tautenhahn has been selected for inclusion orchestra was premiered in May by the in the 1976 edition of the International Eastern Illinois University Symphony. Who's Who in Music .

H. Owen Reed (Michigan State Univer­ sity) was honored upon his retirement from Gerald Warfield's book on elementary MSU with a concert of his music presented Schenker analysis, Layer Analysis: A by the University wind ensemble and sym­ Primer of Elementary Tonal Structures, is phonic band. Pieces performed included now available from David McKay, Inc., 750 Spiritual Renascence, For the Unfortunate, Third Avenue, New York, New York 10017. Missouri Shindig, The Touch of the Earth, and La Fiesta Mexicana. Professor Reed James Willey's (State University of plans to spend his time completing a three­ New York, Geneseo) recently completed book series on theory and composition, string quartet was performed by the Ester­ composing, and guest conducting and hazy Quartet at the University of Missouri lecturing. at Columbia in February. His works were also heard during American Music Week at Marga Richter performed her Concerto Nazareth College in October. ~ for Piano and Violas, Cellos and Basses with the Oklahoma Symphony Orchestra in January. Also in January the concert James Wintte (Southeastern Oklahoma version of her Abyss was premiered by the State University) has received several Madison Symphony. Ms. Richter has recently recent premiers including Cappriccio for signed an exclusive five-year publishing Organ (University of Oklahoma), Alla Camera contract with Carl Fischer, Inc. (Mount Allison University, New Brunswick, Canada), Music for Woodwind Quintet (Austin Daria Semegen (State University of College) and Katachresis (Southeastern New York at Stony Brook) has received a Oklahoma State University). National Endowment for the Arts commission The Celebration of Contemporary Music for a work using voice, instruments, and Inaugural Festival at Lincoln Center (March electronic tape. She has recently won a 5-13, 1976) featured works of two ASUC prize in the I.S .C .M. Internation Elec­ founding members, Charles Wuorinen (Arabia tronic Music Competition and her work, Felix) and Milton Babbitt (Correspondence Electronic Composition No. 1, will appear for String Orchestra and Synthesized Tape). on a Columbia Masterworks record in June. ASUC Executive Committee Treasurer Gerald She is Associate Director of the Electronic Warfield also gave a lecture entitled Music Studios at Stony Brook. "Notation--Contemporary and Future." The Festival was under the auspices of the New Timothy Sullivan (Nazareth College, York Philharmonic, Juilliard School, and Rochester, New York) recently completed the Fromm Music Foundation. Trio for the Long Island Brass Trio and Deep River for trumpet, piano, and tape. West Chester State College School of The latter was heard at a meeting of the Music, West Chester, Pennsylvania, in its~ Rochester Piano Guild in April. The Rain­ concert series, Evenings of New Music, bow, for women's choir, a small vocal im­ has featured works by ASUC composers Burton provisation choir, percussion, and elec­ Beerman, Jonathan Kramer, Robert Lombardo, tronic instruments was performed at Naz­ and Larry Nelson. areth College in March. CHANGE OF ADDRESS I would especially like to thank Donald Harris, Chairman of the Planning Com­ mittee, and his staff, Frederick Imbim­ Michel Meynaud, 31, Boulevard du bo and Beatrice Haines, as well as the ~mmandant Charcot, 92 Neuilly s/Seine, other members of the Committee (Martin ance. Farren, Donald Martino, Elliott Schwartz, Robert Stern, and Barry Ve rcoe) for the superb job they did organizing the con­ Rob Newell, Music, California State ference. I would also like to thank University at Long Beach, 6101 East 7th Nancy Van de Vate, Chairperson of the Street, Long Beach, California 90840. Program Committee, for the excellent work she did putting the papers and p anels together. Although many of our members Gerald Warfield, University of were not able to stay and attend the Illinois School of Music, Urbana, Illinois National Conference on Music Theo r y , this 61801 (after August 1, 1976). meeting was an e xtremely important event . A gre at de al of cre dit is due the Com­ mittee for the National Conference on EDITORIAL CO:MMENf Music Theory for all of their efforts: Richmond Browne (Program Chairman), Gerald Warfield (Coordinator) , Marsh all In addition to the usual reminder Bialosky, Richard Brooks, John Hans on, about the next deadline (September 10, James Harrison, John Rahn, and Bry an Simms. 1976) for submitting copy to the Ne ws­ One of the many important i tems that came up a t the ge neral bus iness meeting a t lette r, I would like to devote this the conference was t he raising o f the due s. issue's Editorial section to the follow­ For the first time, the idea was not met ing important letter from Executive with the hostility that I expected, since Committee Chairman Bruce Taub and urge I think that I was able to make a pretty good case for our financial need. At the that you give it careful consideration. present time, the Society i s not able to t a ke o n a ny new p roject s . It i s no t only Dear ASUC Membe r s : for lack of f unds , but for t he lac k of peopl e who can do the work (Those with I would like to thank all of y ou both the time and ability). Remember that who were able t o attend and those who t he So ciety has no professional office participated in our Eleventh Annual s taff--e ven though we now have close to Natio nal Confe r ence at the New England 500 memb e rs!--and that everyo ne who works Conser vator y o f Music and t he Massa c hu­ f or the So c iety d oes s o without remunera­ setts Institute of Techno l ogy . Abou t t ion. The r eason t hat we h ave no o ffice 1 75 of o ur member s were there , making s taff i s s imp l y because we can' t afford i t . t h is confer e n ce not o nl y (I t hink you All of o ur mo ney is s p e nt o n the p r ojects will agree) o ur b est a nd most s uccess­ we s upport as a service to o ur members : ful, but o ur best attended c o nfe r e nce. the Jou~nal of Mus ic Score s, Recording

EXECUTIVE COMMITTEE (1976)

Richard Brooks, Nassau Community College; Richmond Browne, University of Michigan; Thomas Cleman, Northern Arizona University; John Epperson, Queens College; Jeffry Hall, Columbia University; Warner Hutchison, New Mexico State University; Priscilla McLe an, Indiana University at South Bend; John Melby, University of Illinois; Bruce Taub, Chairman, Columbia University; Gerald Warfield, Treasure r, Music Division, New York Public Library.

NATIONAL COUNCIL (1976)

Elliott Schwartz, Bowdoin College (Region l); William Pe nn, Eastman School o f Music ~egion 2); Gordon C. Cyr, Towson State College (Region 3); Larry Austin, University · South Florida (Region 4); Edwin London, University of Illinois (Region 5); Michael uorvit, University of Houston (Region 6); Charles Eakin, University of Colorado (Region 7); Barney Childs, University of Redlands (Region 8); Greg Steinke, The Evergre en State Colle ge (Region 9 ); Marshall Bialosky, Chairman, California State College , Dominguez Hills . Series, Proceedings, Newsletter, A.s.u.c. how many well-informed people do not know Radio Programs, Student Composition Con­ about the Society and the things that we test, Conferences, and so forth. The do. result of this situation is that whatever The dues will not be raised unless we work has to be done is done rather hap­ have the consent of the general membership. hazardly--when people have enough time I, therefore, ask all members to please fili - and energy to do it (since we all are also out the form on the back of this Newsletter busy as composers, teachers, performers). and send it to me as soon as possible giving The Society, therefore, does not operate me your approval or disapproval on the nearly as efficiently as it could. This question of raising the dues. The results is particularly frustrating to me as of this vote will then be considered by the Chairman of the Executive Committee and members of both the National Council and as a member who strongly believes in the Executive Committee. This is extremely ASUC--what we stand for and what we do. important to do so that we can plan and make No one, of course, wants to pay more policy decisions for the coming year. money for anything, but I feel that it I hope that you will all spend both would be money well spent. Our dues is an enjoyable and profitable summer. the Society's only present source of in­ come. Unlike almost any other organiza­ Best wishes, tion that I can think of, our Society has not raised its dues since its incep­ Bruce J. Taub, Chairman tion more than ten years ago. Since we Executive Committee, ASUC now have close to 500 members, raising the dues by $5 (making Full Membership $30, Associate Membership $20, and Student Membership $15) would give us an additional $2500. Since the last issue there has been a Rather than use this money for any change in my mailing address (zip code only). new project, I feel we should use the money to pay for more office and other Please send all Newsletter material by help so that we can operate at maximum September 10 to: efficiency, be of more service to our members, and be able to keep to our goal of publishing at least three volumes of Tom Cleman, Editor the Journal and producing three records ASUC Newsletter every year (which we have not been able Box 6031 ,,,.--..._ to do as yet). The money could also be Northern Arizona Unive ':y used for increased publicity for the Society. You would be surprised to learn Flagstaff, Arizona 860i~

------I BALLOT FOR RAISING 1BE DUES I ASUC PROCEEDINGS OFFER Name: I Name:

Address: I Address: I I

I Zip Check one: I Please send me copies of Volume I [] I approve raising the dues I copies of Volume II [] I do not approve raising the dues I copies of Volume III copies of Volume I~ Mail to: A.s.u.c. - Dues I copies of Volume 'i. 250 West 57th Street Room 626-7 I A check for $ is enclosed. New York, N. Y. 10019 I I I