I UCM NEW MUSIC f~ST VAL 2011: 0 D ANl;)NEW - / I . \ 1 ~011 SOCIETY OF COMPOS5RS, 11\lc. REGION VI CONFERENCE ,-A I I , , I ' , I ' ~ ~ ~ ~' ' I NIVERSllTY OF CENTRAt MISSOURI /,) I I DEPARTMENT O~MlJSl6 APRIL 8-10, 20 1 ' J UCM New Music Festival 2011: OLD AND NEW 2011 Society of Composers, Inc. Region VI Conference Festival Featured Guest Artists: ATHENS SAXOPHONE QUARTET KCCONTINUUM April 8-10, 2011 University of Central Missouri College of Arts, Humanities, and Social Sciences Department of Music An All-Steinway School Festival at a Glance Alf concerts will be held in Hart Recital Half Friday, April 8 Saturday, April 9 Sunday, April 11, 2010 8AM: Papers I (Utt 008) 8AM: Papers Ill (Utt 100) 8AM: Papers V (Utt 100) 10AM: Concert I 10AM: Concert IV 10AM: Concert VII 1PM: Papers II (Utt 107) 1 PM: Papers IV (Utt 100) 1 PM: Papers VI (Utt 100) 3PM: Concert II 3PM: Concert V 3PM: Concert VII 8PM: Concert Ill KCContinuum 8PM: Concert IX 8PM: Concert VI Athens Saxophone Quartet UNNERSI1Y OF CENTRAL MISSOURJ - - DEPARTMENTOF - ­ MUS!C _5CI - Est. 1871- AN A LL-STEINWAY SCHOOL ;ociety of Composers, Inc. UCM New Music Festival 2011: OLD AND NEW April 8-10, 2011 U niversity of Central Missouri College of Arts, Humanities, and Social Sciences Department of Music TABLE OF CONTENTS Welcome from the Chair ... ....... .. ..... ...... .. .. ...... ...... ................. ........... .......... ........ ....... ................. ... ......... 1 UCM Department of Music Faculty . ...... ....... ........ .. .... ...... ...................... ........ ...................... ....... 1 Paper Session 1 ......... .... ... .... .. ......... ......... .. ... ...... ........ ....................•............. ........................ ....... .......... ...... .2 Concert 1 ...... .......... .. ... .. •..... ..•......... •..... ...•... ...•. •.... .•..... .•.•...... ...• •. .... ..•..... .• •. ..... •.....•...... ..........•... ......... ... .... .. .3 Paper Session II .... ............ ... .. ... ....... ...... ..... ... .... .. ..... ....... ..... .... .... ..... ....... ...... ...... .... .... .. ...... ..... ............ ...... .5 Concert II ............ .. .. .... ........... ......... .... .... .... .. .. .......... ........ .... .. ......... ..... .... .. .... ....... ... ... ........ ............ ... ... ... ..... 8 Concert 111 .. ..... ......... ....... .. .. ... ..... ......... ... .. ...... .......... ... ... ............. .... ... .... ........ ........................... ... .. ..... ....... ....12 Paper Session Ill .... .. .. ........ ...... ...... ... .... ....... .... .... ... ...... .... ..... ...... .... .... ... ..... ... .... .... ...... .. ... ........... .......... ... .. 15 Concert IV ... .... ...... .......... ............ ...... .......... ..... ... ... ... ....... ... ... .... ........ ...... ..... ... ....... ........ ... .......... ... .... ... ..... .. .17 Paper Session IV .. ...................... .............. .... ...... ... .. ............................... ... .... ......... ........ ... ....... ...... ... ... ..... 19 Concert V (featuring KC Continuum) ...... .... ..... ..................... ............ ....... .. ........ ........ ....... ..... .... ...... 21 Concert VI (featuring Athens Saxophone Quartet) ... .. .. ..... ................ ... ......... ............. .. ... .... ............ 23 Paper Session V ....... .... ....... ... ........... ................ ... ....... ...... ... ...... ..... .. ..... ........ .... ..... .. .... ... .. ... .. ..... ...... ........ 26 Concert VII ......... ....... .. ...... ........ .... ...... .......... ....... ... ...... ..... ...... .. .... .......... .... ....... .................... ........ ... .... .... .. 28 Paper Session VI ..... ................ .. ......... .. ... .... ......... .. .. ..... ... .... .... ............ .... ............. ..... ......... ...... ............ ... 31 Concert VIII ........ ...... ...... ..... ............ ...... ....................... .. ..... ... ..... ... .. ..... ... ....... ... .......... ...... .... ..... ... .. ....... .. .... 32 Concert IX. ........... ..... .. ...... .... ... ... ....... ..... .... ...... ...... .. ... .. .. ....... .... ........ ..... .... .. ... ......... .. ... .. ......... ....... ..... ....... 36 Festival Participants ....... ... ... ..... ..... ........ ...... ............... ..... .. ..... .... .. ... ..... ..... ............ ..... ...... .... ......... ... .. ...... 39 WELCOME FROM THE CHAIR On behalf of the University of Central Missouri Department of Music I would like to extend our warmest welcome to all participants in our 2011 UCM New Music Festival. We are very pleased to host all OLD and NEW guest artists, scholars, composers, performers, and music fans. With Dr. Eric Honour as Festival Host, you can expect a tremendous conference experience. We are very pleased to host this New Music Festival because it epitomizes that which we value: honoring quality music selected through peer review; promoting music learning through scholarship and performance; showcasing bold artistic visions through contemporary music; and building a community of artists through collaboration. We value and nurture composition as a necessary component of music literacy. Therefore we aspire for this festival to encourage emerging composers and audiences. We hope you enjoy our campus and our community, but most of all we know you will savor the opportunity to experience compelling music in a community of musicians who share your passion. Steven Moore, Chairman, Department of Music University of Central Missouri UCM DEPARTMENT OF MUSIC FACULTY David Aaberg JaL.z Studies, Composition Michael Sekel sky Asst. Director of Bands, Percussion Michael Bersin Cello, Double Bass Aaron Jacob Sentgeorge Voice Lester Brothers Music History Richard Smith Piano John Check Music Theory David Stagg Assistant Director of Bands, Trombone J. Franklin Fenley Flute, Music History Alan Wenger Trumpet James Gai Clarinet, Saxophone Alan Zabriskie Director of Choral Studies Eric Honour Music Technology, Composition Mia Hynes Piano, Piano Pedagogy Sarni Babrakzai Office Professional Robert Lawrence Music Education, Choral Music Scott Lubaroff Director of Bands, Music Education Adjunct Faculty Carla Maltas Music Education David Adams Voice Sheri Mattson Oboe, Bassoon Joseph Armetta Guitar Gary Moege Horn, Guitar, Music History Jason Bolte Music Technology, Composition Steven Moore Music Education, Conducting Jon Gregory Euphonium, Tuba Stella Roden Voice Lee Hartman Music Theory John Rutland Orchestra, Violin, Viola James Isaac Jazz Studies, Saxophone 2 PAPER SESSION I Friday, April 8, 2011 • 8:00AM • Utt 008 8:00AM Mike Junokas, One Plus One Equals One: Jonathan Harvey's Advaya Model In referring to Advaya (1994), Jonathan Harvey states: 'Advaya' is a first-century Buddhist term meaning 'not two', and it points to the transcendence of duality. We conventionally harbour the illusion that things exist naturally in their own right. Buddhism shows that ultimately this is untrue, and even the subjective 'self' is an 'empty thing' in the same way. All objects are the coloured illusions of a false duality. As every sound in Advaya derives from the cello, and the 'duo' onstage is unreal, it was important to articulate the illusion of multiplicity as vividly as possible so that the inherent unity lying behind would be all the more remarkable Harvey is able to create a modern-day ode to the concerto in which the cello accompanies itself, without losing any of the virtuosic character found in romantic concertos, in his work for cello and electronics, Advaya. Harvey presents a model for today's performers and composers in developing a work that integrates the composer's creativity in compositional methods, the virtuosity of a solo performer, and the potential presented by modern electronics. This multi-media presentation will showcase how Harvey uses a specific electronics setup, advanced cello techniques, and electronic techniques to advance the central concept of 'not two' in his work, Advaya. 8:30AM Angela Lickiss, The Meeting of Part and Bach in Collage uber B-A-C-H Arvo Part's Collage uber Ei-A-C-H, written in 1982, represents the height of Part's obsession with Bach. Collage is solidly situated in Part's post-modern aesthetic utilizing his tintinnabuli style and serialist techniques, however all three movements, Toccata, Sarabande, and Ricercare, carry certain connotations referring to older music. The Toccata's compositional process is simple and clear, like both the Baroque style and Part's tintinnabuli. The Sarabande contains the most overt reference to Bach and his music. Part includes the B-A-C-H motif throughout the movement and lifts entire sections of Bach's Sixth English Suite, orchestrated from the original solo harpsichord into a more typical Baroque instrumentation. The Ricercare is the movement that closest resembles the early definition of a ricercare, a polyphonic work utilizing contrapuntal imitation. This blending of the old and new material and techniques gives this work a feeling of disjuncture while still maintaining two distinct voices. As Lyn Henderson states in " A solitary genius: the establishment of Part's technique (1958-68), " "far from undermining the serial element, [tonality] will be required to cohabitat with it, in a free association of styles." I will first break down the inherent meanings to the titles given to each of the movements and identify specific examples, in each movement, of the blending of old and new compositional