Christian Fellowship of Art Music Composers

2011 Regional Conference hosted by

the Nyack College School of Music Pardington Hall

45 South Boulevard Nyack, NY 10960

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Let them say continually, "Let the LORD be magnified,

Who has pleasure in the prosperity of His servant." --PSALM 35:27

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the Christian Fellowship of Art Music Composers 2011 Regional Conference

hosted by the Nyack College School of Music

SCHEDULE OF EVENTS:

SATURDAY NOVEMBER 5, 2011:

9:00 AM Registration

9:30 AM

Welcome & Prayer

Allen Brings: Missa Simplex Audience sings, Anthony LaMort, organ, Bill Vollinger, cantor

Missa Simplex: I had several purposes in composing Missa Simplex, one no less important than the others. They were to set the parts of the Ordinary of the mass most likely to be sung by a congregation in a manner consistent with the time-honored liturgical tradition of the Church while employing a harmonic language that reflected a practice that could have sprung up only in the 20th century, a language entirely diatonic yet not dependent on triads or other widely-used chords. The melodic lines would have to be easily learned and remembered after having been heard on successive Sundays whether or not the singer was able to read music, and, of course, they had to be easy to sing. In order not to discourage men—and women too—whose voices lie in lower registers from participating, a pitch level was chosen that would make the music accessible to all, and the melodic lines would have to be limited in range. The accompaniment, especially because it eschewed a familiar chord vocabulary, would have to be playable by a keyboard player of possibly limited abilities on either an organ without pedals or on a piano if no organ were available. The notes would have to be printed large enough to be easily read even if placed on a music rack at a less-than-comfortable distance from the player or by a player whose eyesight may not be as acute as it once was. As I composed the music, I was reminded of the definition of prayer that I had been taught as a child, that its purpose was to raise the mind and heart to God. I pray that my Missa Simplex has helped to make that possible.

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9:45 AM hymn-poet Richard Leach & hymn sing of new settings of his work

Audience sings, Anthony LaMort, organ

Deeann Mathews: God's Excellence (text by composer)

God’s Excellence: This hymn came from the hymn writer’s profound flash of frustration looking through a hymnbook and not being able to find a single 20th Century hymn that focused on God, His attributes, and His supremacy to all other things. The hymn writer often composes and writes lyrics from a place of immediate need, and is grateful for how the Lord always provides when the purpose is to glorify Him!

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Donald Sanborn: On Ships that Sail Upon the Sea

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Deeann Mathews: We Will Not Sing Pharaoh's Song We Will Not Sing Pharaoh’s Song: This hymn borrows its musical germ from the first phrase of the Negro Spiritual, “Go Down, Moses” – a similar spirit of resistance to the ungodly forces of an evil, oppressive culture links this new hymn and the music made by Christian slaves in centuries past. Freedom is in Christ, no matter the earthly circumstances: beautiful, Godly defiance of worldly foes and philosophies breathes from this hymn.

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Deeann Mathews: The Eagle, the Hen and the Dove

The Eagle, the Hen, and the Dove: This is a Christmas hymn that avoids the tendency to “baby worship” that so much Christmas tradition and music falls into, and instead plumbs the wonderful mysteries of what God provided for us when He, the eternal and almighty, chose to take on our frail humanity. The whimsical idea of three birds recognizing the full meaning of His coming (while we human beings learn by listening to them) gives the music of this hymn laughter underlying its joy.

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Deeann Mathews: How Far Away Is Heaven?

How Far Away is Heaven?: This hymn takes its musical idea from the contrasts in the text. The melody of the hymn has a range of a ninth, proceeding a fifth up from its midpoint and also a fifth downward – the idea being that if you are trusting in the Lord Jesus, and walking with Him, He and all of Heaven’s blessing (that is, toward the high E), are close at hand. If you are walking away from Him (that is, down toward the low D), heaven is very far away indeed.

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Ricky Gessler: Jesus Shining Broke the Darkness

Jesus Shining Broke the Darkness is a hymn of Christ’s resurrection, as understood through the Transfiguration described in the Gospels (i.e. Matthew 17:1-8). Jesus Christ “borrowed splendor from a day that is to come.” In Christ, the future – the new creation- has already begun. It seems that recently theologians have been reawakened to what Christ’s physical resurrection means for us, not only as a sign of hope for our individual futures, but for the renewal of the creation itself and the role we play in it today.

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Ricky Gessler: O Jesus Are You Silent Now?

O Jesus, Are You Silent Now? focuses on Jesus’ silence in His trial before Pilate. Jesus, who freely preached the gospel even to those on the periphery of society, was not willing to answer the questions of those in power. This not only fulfilled scripture (Isaiah 53:7), but also demonstrated Jesus’ willingness to undergo the crucifixion according to His Father’s will. It is significant that He went over the heads of the earthly powers in that He didn’t need them to validate His kingdom.

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Jerry Casey: Circle of Thorn

Circle of Thorn As I perused the beautiful hymnody of Richard Leach, I recalled a hymn tune I had written many years ago. I was struck by the imagery of “Circle of Thorn.” The meter proved to be a match for my hymn tune with only a few minor adjustments.

Richard Leach: Reflection: Sing to the Lord a New Song

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Lawrence Mumford: On Ships That Sail

On Ships That Sail is a straightforward setting of Richard Leach's beautiful hymn text. I have tried to include a sense of rolling waves with arching melody lines, and perhaps a hint of exotic places by using some modality. In congregational performance all 4 parts can be sung.

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11:00 AM Keynote Speaker Tom Jennings

(music director Redeemer Presbyterian NYC) "Trends in Church Music:

Is there Room for Artistic Music in the Modern Church?"

12:00 PM Lunch in local restaurants

1:30 PM

CONCERT 1

Jerry Casey: Mine Were the Hands (text by the composer) Marie Ferguson, soprano, Abbey Taylor, piano

Mine Were the Hands In one of the films on the life of Christ the devil appears to Christ during the temptation experience in the form of a suave persuasive man. Later in the film the same man appears in the crowd when the people want to make Jesus a king. The same face is seen again in the crowd that calls for Jesus’ crucifixion. These are very telling moments in the film. Jesus took the weight of the sin of the whole world when He died on the cross—that included my sin. My face might very well be seen in that jeering, mocking crowd at the crucifixion. Those thoughts were behind the words of this song. I tried to make the music portray those words with drama and emphasis.

MINE WERE THE HANDS (text by the composer)

I see the cruel hands nailing Jesus to the cross; I hear the jeering voices as they mocked Him;

I feel the bitter hatred as the people wagged their heads; I hear the wicked tongues shouting, “Crucify.”

Who are these people so eager for Christ’s death? The faceless crowd that keeps on shouting, “Crucify.”

Are they alone in this terrible deed? Are there others to blame for this horrifying crime?

I see a familiar face in that screaming, mocking crowd And now I must confess what I know to be true.

Mine were the hands that drove in the nails; Mine was the voice that jeered and mocked Him; Mine was the head that wagged in bitter hatred;

Mine was the tongue that shouted “Crucify.” Mine was the sin that led Christ to die;

Mine were the hands, Mine were the hands that nailed Christ to the cross.

O, Lord forgive!

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Donald Sanborn: Peter's Salvation

Jerry Lucadamo, trumpet, Anthony LaMort, organ

Peter’s Salvation portrays the restoration of Peter to Jesus after denying Him. This aspect of the Resurrection story has long interested me; Peter seems to be one the first to receive the forgiveness offered by the Resurrection. The piece is in three sections; the first opens with Jesus’ warning that anyone who denies Him before man, He will deny before God; this is followed by Peter’s denial. The middle section represents the Resurrection. In the final section, Jesus asks Peter three times if he loves Him, then instructs him to “tend My lambs.” Throughout most of the piece, the trumpet represents the voice of Jesus (and, when muted, those who hassled Peter into denying Him). My prayer is that this composition helps to encourage and remind people of the place Christ has for them in His ministry.

Chuck Beck: All the Colors of the Rainbow

Marie Kenote, flute, Tammy Lum, piano

All the Colors of the Rainbow is the title and last movement of a suite for flute and accompaniment, commissioned by a Chinese flutist, who wanted a series of compositions based on traditional Chinese folk songs, with Westernized accompaniments. The result was this work, the first six movements based on authentic Chinese folk songs, but the last one (presented here) based on an original theme created to sound (hopefully!) like a traditional Chinese melody. This movement is written as a conventional theme and variations, with the theme and each variation traversing the primary colors of the rainbow.

Anthony LaMort: Improvisation for Organ

Anthony LaMort, organ

William Vollinger: Life's Like a Flute, Life's Like a Trumpet (text by the composer) Marie Kenote, flute, Jerry Lucadamo, trumpet, William Vollinger, narrator/voice

Life’s Like a Flute, Life’s Like a Trumpet explores and contrasts the differences (stereotypes) between a flute and a trumpet, likens them to two opposite poles, then suggests the possibility of harmonizing them with a third strand, cf. Ecclesiastes 4:12. As for the music: there’s a flute, there’s a trumpet, there’s no piano, and there’s a narrator who starts to sing at the end. It’s funny, but not completely.

LIFE’S LIKE A FLUTE, LIFE’S LIKE A TRUMPET (text by the composer)

Life's like a flute. Life's like a trumpet. Flute is kind and nurturing. Trumpet is strong and empowering. Flute apologizes too much. Trumpet doesn't apologize. Maybe it's a stereotype, but they're on two poles: like yin and yang, or to every thing there is a season: a time for flute, a time for trumpet (like the book of Ecclesiastes says). So we run our lives between flute and trumpet. Flute and trumpet can even be political parties, except when you have a political argument it's double trumpet and no flute.

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A trumpet can only play one note at a time, A flute can only play one note at a time. So you can't do everything with just flute or just trumpet. That's why they always have to put pianos in the background. It just doesn't seem to work otherwise. And oh yes, lest we forget: Flute falls in love with Trumpet, and Trumpet falls in love with Flute. Yet there's a little trumpet inside each of us. and a little flute inside us too. The trouble is if one's too loud and the other's too soft, they both get out of balance. So how do you get them to balance with each other or even within yourself? Two notes at the same time can harmonize, but they don't really make a chord. Which is why we need a third voice, a third note to really make a chord. That's because a three-stranded cord isn't easily broken (like the book of Ecclesiastes says). That's why I’m singing with them, so we can harmonize, so we can be both nurtured and empowered. and not tip over so much. It'll be more warm and friendly, even though we've only added one note. When God is the third note, or the third strand, you can really harmonize, until something starts to happen something starts to happen something starts to... We could go on some more I guess like this, but we think you get the point for now. Amen.

Gregory Pascuzzi: Rock of Ages Dennis Dougherty, clarinet, Jonathan Tice, piano

Amazing Grace Dennis Dougherty, clarinet, Andrew Vang, piano

Rock of Ages & Amazing Grace These little pieces are in a sense dual purpose, to serve as either offertories in a church service context or as recital pieces. (In either case they could be viewed as offerings. Hardly anything new with that. Bach did it all the time). They're "borderline" pieces, straddling that barbed wire fence between being arrangements and compositions. They both have a sort of nostalgic American quality (i.e., sound kinda like Copland) though the "Amazing Grace" one has some suggestion of bagpipe drones in the piano part. (There's some question if that tune's American or Scottish).

Dan Carillo: By Faith (piano sonata)

Tammy Lum, piano

By Faith is a piano sonata in the classic 4-movement format - fast, slow, dance, fast. It was composed between December 2008 and July 2010. The title refers to the Christian belief in eternal salvation through God's grace and the incarnation, crucifixion and resurrection of our Lord Jesus Christ. In this case, the title also refers to the compositional process. The continuity of this piece stems from decisions made in a linear sequence, trusting in musical instincts to discover the formal continuity of the piece. This piece was composed by faith, in a manner of speaking, which adds to the improvisational character of the piece and brings the two disciplines, composing and improvising, into closer proximity.

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3:00 PM Paul Kiler: new music composed for his artwork

Jerry Casey: Forest Light (Prelude)

(prerecorded)

Forest Light (Prelude) As I browsed through the wonderful photographs of Paul Kiler, I saw the striking “Forest Light.” I immediately thought of the “Prelude” from my Seven (A Suite for Orchestra). This work, which is an orchestration of my Seven (A Suite for Piano), was recorded by the Slovak Radio Symphony and released on an MMC CD in 2002. That is the performance you hear on the recording.

John Akins: I Heard the Voice of Jesus Say Come

(electroacoustic prerecorded) I Heard the Voice of Jesus Say Come was composed at the request of my friend Bill Vollinger to consider doing “something electronic to accompany one of a selection of Paul Kiler's art works” for this conference, I chose the piece, “I Heard the Voice of Jesus Say Come.” While my piece is more directly linked to the actual words in the title, I wanted to reflect the sense of pure upward drawing that came to me as I first viewed the work on the artist's website. Thus my work begins with a series of electronically generated pure sine tones, each rising initially to a sustained pitch level. Eventually it becomes apparent that each pitch corresponds to a specific overtone (2nd thru 16th) of small c fundamental (octave below middle C), which is actually never sounded (though our ears tend to hear it projected from the overtones) until the viola and voice first enter. After this introductory section, the remainder of the piece is a woven tapestry combining members of the C major triad with scriptural and hymnic expressions of our Lord Jesus' call to come to Him. I extend grateful acknowledgement to Central Bible College music professor Merlin Mitchell and my son Christopher (voice) and to Evangel University music professor Larry Dissmore (viola) for the live recorded samples used here.

Clive Davis: 4x4x4x4 (Pigeons in the City) (electroacoustic interactive with computer)

4x4x4 was composed using the software, Pure Data. This object-oriented software allowed me to create an environment where I could establish a musical situation that could unfold on its own, or allow for human intervention. The premise of the composition is as follows: four instruments in my Pure Data patch have eight possible cells of eight notes each. A series of metronomes sends bangs to each instrument, selecting one of eight possible cells to play. Another subsection of the Pure Data patch allows the computer to select how many notes of the eight note cells should be played in sequence. The third subsection of the Pure Data patch assigns velocity information to the notes, specifically, note on or note off commands. The patch that I created allows the editor/composer/engineer to select any variety of musical combinations and any tempo. For this particular interpretation, I selected a calm tempo using various synthesizers featuring ambient sounds, soft attacks, and bell-like qualities. I tried to capture the serenity as well as chaotic movement of pigeons featured in Paul Kiler’s photograph.

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Paul Kiler talk: “Visio Divina”

(PLEASE VIEW SOME OF PAUL’S ARTWORK AND PHOTOGRAPHY IN THE UPPER BALCONY TO THE RIGHT OF WHERE YOU ARE SITTING.)

4:00 PM

Peer Sharing & Meeting in Room 102

5:30 PM Dinner at Tarantella Pizza and local restaurants

7:30 PM

CONCERT 2

Adam Sovkoplas: Passacagliations in D Meg Wilhoite, organ

Passacagliations in D, a combination of a passacaglia and a theme and variations, is based on the twenty-one chord progression of the second statement. All of the chords are related by common-tones as they progress rather than being a traditionally derived chord progression. In the third presentation, I have taken the chord progression and arranged it into a four-voice harmony with a rhythm that resembles a hymn. The fifth statement of the theme is in a fast waltz which runs into a faster double prelude to the final presentation: a fugue based on the “melodic” line of the chord progression. The fugue itself is tonal, but the original chord progression is used to drive the transitional key changes from one fugal statement to the next.

Allen Brings: Two Strains

the Nyack Handbell Choir, Jennifer Scott, director Two Strains: I have often confessed to being a "bilingual" composer, mostly writing in a highly chromatic idiom but also occasionally in a diatonic idiom without a chromatic note in sight. As you might have suspected, it was my hearing a bell choir that inspired me to write a piece for one, but the very nature of the sound also demanded—or so it seemed to me—that I exclude any chromaticism. Not wishing, however, to be limited to the traditional chord vocabulary commonly associated with diatonicism, I enriched my language with a greater variety of intervals while still retaining the sense of harmonic motion usually attached to music that exhibits "functional harmony." I was also determined to write a piece of utmost seriousness for handbell choir, a piece that would move its audience and not merely entertain it. The two contrasting pieces that are the result of these considerations, one in the minor mode, the other in the major, also, I hope, exploit characteristics of bells that cannot be obtained in any other way. It is also a kind of "performance music" that is best appreciated when one sees the instruments themselves and how they are being played by the devoted players who are playing them. Two Strains was composed in 1979 and revised in 1987.

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David Davies: Coventry Carol

Sohi Kim, cello, the Nyack Handbell Choir, Jennifer Scott, director, Anthony LaMort, organ

Coventry Carol was composed for the Handbell Choir at 15th Avenue Christian Church in Rock Island, IL and was premiered at their 2007 Christmas Eve Service. In addition to my work as an educator and a composer of concert music, I have also spent many years serving as a musician in Christian church settings. It has been a particular joy of mine to compose music for use in church by amateur musicians. I am energized by the act of introducing new music into settings outside of the traditional concert hall and I’ve found my church musicians to be exceptionally capable of keeping me “honest” as a composer. It’s not always easy for believing composers to know how our gifts fit into the broader church community, and a challenge for me when I composer for church settings to produce something that has artistic and musical integrity and is yet approachable for the average congregant. In addition to these challenges, Coventry Carol also carried with it the significant musical expectations associated with a Christmas Eve service. Though my approach to this tune ended up being quite traditional (indeed, this is probably the most conservative piece in my work to date), I believe it has been quite effective when used in worship, for which I’m grateful and humbled.

Meg Collins: Time Pieces 1. Time Squared 2. Time Alone 3. Dinnertime

4. Time Warped 5. All in Good Time Allen Brings, piano

Time Pieces is a suite of five short movements for solo piano, totaling approximately twelve minutes. The pieces explore various applications of the word ‘time.’ In the first movement, entitled Time Squared, the temporal dimensions of the music are squared. One whole tone scale governs the horizontal realm while the other whole tone scale governs the vertical. Midway through the movement, the scales switch realms, and then back again at the end of the movement, thus “squaring” the horizontal and vertical dimensions. The other movements of the suite consider the word ‘time’ in entirely different ways: the second, third and fourth movements are vignettes depicting their titles – Time Alone, Dinnertime and Time Warp. Dinnertime, in particular, is very programmatic; it is a representation of the evening meal in the home of my childhood. Listen for dishes clinking, water boiling, and children scrambling to the table in response to the call, “Time for dinner!” The final movement of the suite, All in Good Time, freely arranges the traditional hymn, “Lord of All Hopefulness,” which speaks of being mindful of God’s presence at every time of the day.

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Clive Davis: A Little Night Music Marie Kenote, flute, Dennis Dougherty, clarinet,

Jacob Nevill, saxophone, Jeff Kraus, marimba

A Little Night Music: This summer was a very creative time for me. I had the opportunity to compose a work for percussion and live electronics, Enter Enkidu (2011), for a new music symposium in Millerton, NY on October 22, 2011. In addition to this, I completed Three Organ Preludes (2011), learned the program Pure Data, arranged some music for an a cappella group, and prepared for a trip to Germany to visit Bayreuth and see productions of Lohengrin and Tannhäuser. During this time, I was full of musical ideas, and wanted to write something for chamber music ensemble. Night Music (2011) is composed as a little fantasy for alto saxophone and small chamber ensemble. The idea was to create a small fantasia-style work for solo saxophone, supported heavily by flute, clarinet, and marimba. The harmonic material is based on the purvi raga, but unlike Northern Indian classical music, I treat the raga more like a set theory of notes that can be combined in part, in whole, melodically and harmonically. The purvi raga is often considered quiet, serious, and deeply mysterious, making it suitable for nighttime music making.

Shawn Okpebholo: 3 songs from “On Music” (poetry by Beatrice Holz)

1. “Invitation to Music” Chloe Nevill, soprano, Dennis Dougherty, clarinet, Anthony LaMort, piano

3. “Without Translation” Laurelle Virola, soprano, Anthony LaMort, piano

5. “The Final Prelude…” Laura Martinez, soprano, Dennis Dougherty, clarinet, Anthony LaMort, piano

On Music is a collection of songs set to the poetry of Beatrice Holz. Whether it is the composer to the page; the performer to the stage; or one’s last song before mortality, this work takes the listener on an intimate journey through various aspects of music.

ON MUSIC (poetry by Beatrice Holz)

I. INVITATION TO MUSIC When music’s magic joins the wordsmiths inspiration

and crafted intuition transmutes poet’s art to song, a wedding of miraculous dimension

invites our brief excursion to a spiritual realm, where music’s element and time ephemeral

strive to be merged as one eternal bond. A perfect, sacred union forms, as though the air itself had birthed a child. Composer’s thought, ensconced in heart, finds heart enwrapped in soul,

and soul, enfolded in the poetry, takes breath, and so ennobled, brings forth impassioned impulse, giving birth to song. How can one seek to know the alchemy of such an art?

Such union is a hollowed miracle, an elegiac, lyric gift of heart,

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yet we who seem to know this sacred bond prolong and recreate its mystery when we, too, share in song.

III. WITHOUT TRANSLATION

Music of the heart… mirrored soul of the self,

language of the spirit manifest, Silence and sound together speak.

indissoluble in connection, indisputable on content,

yet impenetrable, enigmatic, beyond description.

Beauty that knows no boundary invites the soul to dialogue,

holds conversation with the spirit… Meaning there is,

but translation for our earth-bound tongue. No, No, my friend.

No translation, there is none. How does this language “speak”?

How do we “know”? this only can we say:

that heartstrings vibrate, opened spirits soar,

and in the trembling air, triumphant, there ‘tis born,

the music that is soul and song, a unity of one.

V. THE FINAL PRELUDE

To each must come a day we face our own mortality, that day we face the fact that life will end.

But maybe worse in all of it’s reality when to a loved one that summons penned.

Ah… It seemed unreal at first when he was so full of life lay still, the parchment skin stretched pale o’er fragile veins.

And there we watched and waited singing softly through the tears old-fashioned hymns with all their verses and refrains.

It was hard to sing, but on we pressed, the melodies passed back and forth as each in turn broke down and wept.

Trios became duets, then even less amidst our choking cries, the songs became slivers of a tune left in neglect.

Ten minutes more, that’s all we had, and I could sing no more, yet stumbled on, with broken voice, to speak the Shepherd’s Psalm.

While, echoing still, that peaceful hush of music soft, filled up the air and soared aloft. …prelude to an angel’s song. Ah…

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Donald Wilson: The Gospel of Peace (text by Lois J. & Donald M. Wilson)

the Nyack Concert Chorale, Joel Jameson, director; Laura Martinez, soprano soloist: Jonathan Tice, piano

The Gospel of Peace For several years now as a member of my church's adult choir and men's vocal ensemble, I have enjoyed singing the bass parts in literally hundreds of choral compositions. While many of the songs we sing tell of the joy and happiness of knowing we're saved and going to Heaven, I never encountered one that addresses the issue of just how we can obtain that promise and receive that gift. Although some churches present that information as part of an invitation to come forward at the end of the service, I thought that it might be good to have the soul-winning plan set to music and made available to be sung in the service prior to the main message or as part of the invitation. My wife, Lois, and I prayed about it, and then came up with a set of lyrics based on the plan of salvation known as the “Romans Road.” The music quickly followed and very soon we had a complete song for Solo Voice and Piano with or without Mixed Chorus. Today's presentation will be the first performance of “The Gospel of Peace” anywhere in the world in any version. -DW

THE GOSPEL OF PEACE (text by Donald M. and Lois J. Wilson)

1. If after death to Heav'n we would go, Just these four things, four things we'd need to know.

The first is that, when all is said and done, “There is none righteous, no, not one.”

2. For when Man first 'gainst God did sin,

He ope'd the gate and let Satan in. And thus with death were all men shod,

“For all have sinned and come short of the glory of God.”

REFRAIN: His heart was broken because of sin, Yet still He wants us to let Him come in. Forever in Heaven with Him we could be

And know His love eternally.

3. Before we draw on earth our last breath, We must learn: “The wages of sin is death.”

And thus there is the second point to see: Apart from God forever we'll be.

However…

4. The third thing God would have us learn: He wants us not in Hell to burn. To prove His love He acted thus:

“While we were yet sinners, Christ, Christ died for us.

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(REFRAIN)

5. Then God raised Jesus from the grave So that all sinners might be saved. The fourth and final thing to see.

To get God's gift of Life (it's free!):

6. If you'll confess your sins to Him And seek forgiveness for all of them,

Believing God did raise His Son, You will be saved and your new life begun;

You will be saved and with Him be one.

REFRAIN: His heart was broken because of sin, Yet still He wants us to let Him come in. Forever in Heaven with Him we will be

And know His love eternally.

© 2009, 2010 Donald M. Wilson and Lois J. Wilson. All rights reserved.

SUNDAY MORNING NOVEMBER 6, 2011: (time changes to standard time, set clocks back one hour)

Optional trip to Redeemer Presbyterian Church 10:30 AM service

(Hunter College Auditorium, 69th St. & Park Ave. NYC)

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OUR PERFORMERS AND COMPOSERS John R. Akins, a Michigan native, received his B.M. and M.M. in theory/composition from Southern Methodist University and a D.M.A. in composition from the University of Texas, Austin, studying at the latter with Hunter Johnson and Kent Kennan. Now retired, he has taught at Southwestern Assemblies of God College, Texas Lutheran College, the University of Maine at Machias, and Evangel University, Springfield, MO, where he hosted the 2003 CFAMC Mid-Central Regional conference. He has had commissions from the Missouri Music Teachers Association, the Machias Bay (Maine) Community Concerts Association, the Springfield (MO) Symphony Orchestra, and tenor Ron Brendel. Besides CFAMC, he also holds membership in Society of Composers, Inc. (SCI) and Society for Electro Acoustic Music in the United States (SEAMUS) and has had numerous performances at their regional and national conferences. Born in February, 1954. Reborn in late July, 1973. Chuck Beck has a Master of Music degree in Music Composition from Bowling Green State University, 1991. While there, he studied with Dr. Donald Wilson, who encouraged him to join the CFAMC. Currently, Mr. Beck is residing near Columbus, OH, where he enjoys an unofficial status as “composer in residence” at Centenary United Methodist Church in Granville, OH. His works have been performed both across the United States and internationally. Born in New York City, Allen Brings served as chairman of the eastern region of the American Society of University Composers and is vice-president of Connecticut Composers. His compositions include works for orchestra, band, chorus, a wide variety of chamber ensembles, piano, organ, harpsichord, guitar, and voice, have been recorded for Navona, Capstone, Centaur, Grenadilla, Contemporary Record Society, North/South Consonance, Arizona University Recordings, and Vienna Modern Masters. He has written for College Music Symposium, Contemporary Music Newsletter, Society of Composers Newsletter, New Music Connoisseur, New Oxford Review, ComposerUSA, sounding board, and Adoremus Bulletin. He is Professor Emeritus at Queens College. Dan Carillo is a guitarist, composer and arranger with extensive international performing experience. He contributed as a guitarist and featured soloist to dozens of recordings with notable jazz artists including Tania Maria, Jon Lucien, the Paul Winter Consort, Chico Hamilton, Dianne Reeves, Dave Brubeck, and Harry Belafonte. His arrangements for various ensembles, including orchestra, are heard in several recording. As a studio musician, he performed on countless commercial jingles and television/feature film soundtracks. He released three recordings of original music - Crossings of the Spirit and Child's Play for Iris Records and Homage for Imara Music. He has been on the Music Department faculty at City College since 1986 and serves as the Director of Jazz Studies Programs. Jerry Casey recently released a CD, Yet, I Will Rejoice, featuring her choral and vocal chamber music. The CD includes five tracks by the Otterbein University Concert Choir under the direction of Gayle Walker. She has received the ASCAP Plus Award annually since 1996. Her compositions have been performed in the Midwest and South, also at Indiana Wesleyan University, Duke University, the Eastman School of Music, the London (England) New Wind Festival and in New York City. Mrs. Casey was formerly on the faculty at the University of the Cumberlands, Williamsburg, Kentucky and at Edison Community College, Ft. Myers, Florida.

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David Horace Davies serves as Assistant Professor of Music Theory and Composition at the Greatbatch School of Music at Houghton College. Prior to joining the faculty at Houghton he served on the faculties of Augustana College in Rock Island, IL and Miami Dade College in Miami, FL. His works have been performed at churches, schools, and conferences throughout the United States and he is also an active conductor and organist. His most recent composition “Come and Worship” will be premiered by the Philharmonia and Choirs of Houghton College at their annual Christmas PRISM event this December. David lives with his wife and three children in Houghton, NY. Clive Davis received his Bachelor of Music degree from Peabody Conservatory in 1989 and his Doctorate of Musical Arts from Boston University in 1994. His compositions have been performed by the Boston University Symphony Orchestra, the Berkshire Children’s Chorus, Convergence, the Arcadian Winds, Cantilena Chamber Choir, and the Peabody Opera Institute, to name a few. He has received a number of awards and commissions for his compositions, including two ASCAP prizes. He is currently Adjunct Professor of Electronic Music at Simon’s Rock College and the Director of Music at Berkshire School. Our clarinetist, Dennis Dougherty, is a graduate of Michigan State University, where he received degrees in applied clarinet and composition. He studied clarinet with Keith N. Stein (Chicago Symphony) and Johal Madaw (new Philharmonic Orchestra of London). He performs regularly with orchestras and chamber music ensembles in the New York area. His songs, chamber works, and orchestral compositions have been performed in New York, Rockland, and as far away as the Ukraine, Russia and Argentina. In recent years he has premiered 8 new works on both piano and clarinet, some of which were written for him. He is married to Russian violinist Olga Dusheina. Dennis and Olga maintain a music studio in West Nyack, NY.

Marie Ferguson graduated from Nyack College in May of 2011 with a Bachelors of Music. She studies voice under the instruction of Bernardo Villalobos and Lori Fredrics. Marie currently studies Meisner Technique at MCS Acting Studio. Marie's love of modern music composers began at a young age when she performed the Hermit Songs for her senior project at Annapolis Area Christian School. Throughout her education at Nyack, Marie enjoyed exploring many 20th century composers such as Berg, Rorem and Menotti. Marie is honored to sing a piece by Jerry Casey that beautifully portrays the saving grace of God.

Ricky Gessler is a composition student at the Nyack College in Rockland County, NY. Originally a painting contractor from North Carolina, Mr. Gessler quit his job of 13 years to pursue a career in music and ministry. His goal is to integrate more classical composition techniques and instrumentation into contemporary rock music. Having begun three years ago with no background in piano or classical tradition, Mr. Gessler’s musical output is off to a slow start. But he is enjoying the adventure along the way. He has been studying with William Vollinger for one year.

Joel Jameson has enjoyed a prolific performing career on the opera stage. As a leading Bass he has performed a wide range of Verdi and Mozart roles, in numerous opera companies. His teachers included Metropolitan legend Jerome Hines. His recent achievements with the Nyack College Chorale have been two concert performances with MidAmerica Productions at Carnegie Hall performing Morton Lauridsen’s Lux Aeterna, and Eugene Butler’s Emmanuel. Mr. Jameson received his Bachelors degree

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in vocal performance from Illinois Wesleyan University, Masters degree in vocal performance from the University of Southern California, and an Artist’s Diploma in Opera at Duquesne University.

Tom Jennings is a pianist and has served since 1995 as Director of Worship and Arts at Redeemer Presbyterian Church, which is the largest Protestant congregation in New York City. He is the composer of numerous published works for string quartet, jazz band, brass quintet, liturgical and commercial music. Tom holds the Doctor of Musical Arts degree in classical piano from Manhattan School of Music and has performed extensively as recitalist and orchestral soloist. He has accompanied numerous opera stars, including Ben Heppner, Heidi Grant Murphy, and Jerome Hines. In jazz and cabaret venues, he he’s performed with artists such as Leslie Uggams, Steve Ross, Branford Marsalis and Paquito D’Rivera. Tom’s keynote address for this conference is Trends in Church Music: Is There Room for Artistic Music in the Modern Church?

Dr. Marie Herseth Kenote is a tenured Professor of Music at Nyack College (Nyack, New York). She can be heard on recent CD projects: Concert Spirituel; Octets by Alec Wilder; and The Miracle by William Bolcom.. Marie performed as a substitute flutist with the New York Philharmonic for over 20 years. She enjoys presenting sacred music in various venues, including Nyack College, monasteries, nursing homes, and in churches. Marie holds the B.M. degree from the New England Conservatory of Music, M.M. from the Juilliard School, a D.M.A. from Rutgers University, and spent a year in Berlin as a Fulbright Scholar. In her spare time, she enjoys her three cats, and researching musicological topics.

Paul Kiler has worn many hats. He has been both commercial and artistic photographer, traveling all around the globe. He has been a worship space designer, sculptor of crosses and creator of stained glass windows. He serves as a pastor to artists and creatives, and is director of Art as Service Ministries in Nw Mexico and California. He is a missionary with Artists in Christian Testimony International, Franklin, Tennessee. He sometimes calls himself a 21st Century Protestant Evangelical Mystic. As an author, his work centers around Christianity and the Arts. He has developed a new method of meditating and listening to God through an image, called “Visio Divina”, which he’s developing into a book, and also will be presenting at today’s conference.

Introduced to music from a fairly young age, Sohi Kim began playing the piano and later picked up the cello. It has been about five years since she has started playing the cello. She is currently a sophomore attending Tappan Zee High School and is the principal cellist for the Concert Orchestra and Vice President for Chamber Orchestra. She enjoys playing music with the company of other musicians in small groups or in orchestra. In getting herself acquainted with the piano and the cello, she found her two favorite composers to be Frédéric François Chopin and Johann Sebastian Bach. Jeffrey Kraus has performed for Lucas Foss, Milton Babbit, Virgil Thompson, Frank Zappa, Steve Reich and Henry Brant . He has worked with the Brooklyn Philharmonic, Group for Contemporary Music, Parnassus, Center for Contemporary Opera, Orchestra of Our Time, Sinfonica San Salvador ( soloist and conductor ) and Newband , the music of Harry Partch and Dean Drummond. Jeff has appeared with Tony Bennet, James Taylor, Aretha Franklin, Jerry Mathis, Kenny Loggins, Carly Simon and has worked with Dave Brubeck for twenty five years as percussionist, drummer and contractor. M.M. Manhattan School of Music. Facuty MSM Pre College, United Nations International School and Nyack College.

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Anthony Mark LaMort, a native of Queens, NY counts among his musical mentors Leonard Raver, Paul Martin Maki, David Tcimpides, and Nancy Garniez. Active as an organist, choral conductor, harpsichordist and composer as well as a preacher, Mr. LaMort serves Zion Evangelical Lutheran Church in Maywood, NJ as Assistant in Ministry and Music Minister; Reconciliation Christian Church in Orange, NJ as Pastor; and has just secured an appointment to Third Westminster Presbyterian Church in Elizabeth, NJ as Minister of Worship and Evangelism. Most significantly, Anthony is a lifelong disciple of Christ who feels profound gratitude for the blessing of being able to utilize his music for the Glory of God and the edification of God’s people.

Richard Leach is a leading contemporary writer of words for hymns. Using traditional forms, he creates striking new texts with biblical and theological integrity. His work is included in hymnals and supplements including Church of Scotland, Evangelical Lutheran Church in America, Christian Reformed Church, Presbyterian Church in Canada, United Methodist Church, Presbyterian Church USA and others. Selah has been publishing collections of his texts since 1995. In addition, dozens of anthem settings of his words have been composed and published by Selah, Augsburg-Fortress, GIA and other publishers. He has been called a master of his craft master of his craft in the review pages of The Hymn Society journal. Several new settings of his hymns will be presented today at our conference.

Trumpeter Jerry Lucadamo lives in Pleasantville, N.Y. with his wife Lorette and son Ben. He received his B.Mus. degree from the Mannes College of Music and his M.A. in Teaching from Mahattanville College in Purchase, New York. He is currently the Instrumental Music Director for the Pocantico Hills School in Sleepy Hollow, N.Y. As a free lance trumpet player he has performed throughout the tri-state area as a soloist at various churches including most recently at St.Patrick’s Cathedral in a new mass by "On Eagles Wings" composer Michael Joncas.

Dr. Tammy Lum, pianist, praised by the New York Concert Review for her “Bravura performance...brilliantly light finger work...confident and dramatic, bringing the audience to its feet," Tammy Lum is an international performer, multiple competition prize winner and music educator. As the winner of the 1990 Leschetizky Foundation Competition, she performed her U.S. solo debut at Carnegie Recital Hall in the same year; she was also the winner of the 1990 Competition of the Five Town Music and Arts Foundation, the 1988 Manhattan School of Music Concerto Competition, the 1988 Mieczyslaw Munz Foundation Scholarship Competition, and the 1987 William Boyd Competition. She was also a prizewinner of the 1995 New Orleans International Piano Competition, 1986 Liederkranz Foundation Competition, and the 1985 Young Keyboard Artists Association Competition. Her solo piano CD recording, “My Treasure Box” was released by Hugo Productions, Inc. in 1999. Her new solo and Amasi Trio CD will soon be released. She received her BM and MM from the Eastman School of Music, participated in the Professional Studies Program at The Juilliard School, and received her Doctor of Musical Arts at the Manhattan School of Music. A passionate believer of connecting communities through music and art, she is the founder of the Hudson River Pianofest, a co-founder of the American Liszt Society Mid-Hudson Chapter, a member of the Rockland County Music Teachers Guild the Soire Society of the Arts in Rockland, NY. She is a tenured professor at Nyack College.

Laura Martinez was born and raised in Havana, Cuba, and is currently a Senior Vocal Performance Major at Nyack College. She has an Associate in Music Education from Miami Dade College. Laura has performed significant roles in the following musicals: Carousel, West Side Story, Cabaret, Showtune, I

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love you, you're perfect now change, Side by Side by Sondheim and Oklahoma!. She was last seen as Pamina in the Opera Die Zauberflote and is currently working on the opera La Boheme as Musetta. Her other credits include Yerma, a theater adapted play by Federico Garcia Lorca in her senior year of high school, for what she got 2nd place in the Florida Foreign Language Annual Competition and she is also 1st place winner of the Invitational Scholarship Competition for Voice (2010-2011) of Nyack College. Deeann D. Mathews is an African American author, composer, arranger, and pianist living in San Francisco, California. She is also the creative director of Praising Pilgrims Music, a growing publishing company of music and music-related materials based in San Francisco, California. Ms. Mathews is also active in several musical, educational, and community organizations in the San Francisco Bay Area. Ms. Mathews is also the webmistress of The Free HIMbook, a directory containing more than 400 hand-picked hymns, anthems, choruses, Spirituals, and selections from large choral works, along with links to tens of thousands of other public domain choral pieces both sacred and secular, all available for free.

Lawrence R. Mumford (D.M.A., USC) has had music published by eight companies. Genres include symphonic, chamber, film/media music, choral, and song. His works have been premiered in Los Angeles, Carson City, Portland, Chicago, Indianapolis, Cleveland, Baltimore, and Washington D.C. Two of his original orchestral themes have played daily on radio in fifty cities nationwide since 2000. He has also placed a song on a Billboard #1 album, and had articles on music published in “Christianity Today” and “Choral Journal” (ACDA). A music professor since 1992, he has been teaching at Biola Conservatory of Music in Los Angeles since 2008. Copies of his article in Christianity Today, “A Variety of Religious Composition”, are available at this conference.

Chloe Nevill is in her junior year as a Vocal Performance major at Nyack College. She has performed in the roles of Nella in Gianni Schicchi and Queen of the Night in Mozart’s The Magic Flute with Nyack College’s Opera Workshop and is currently in rehearsals for the role of Miss Silvertone in Mozart’s The Impresario. Chloe also performs with Nyack College’s Chamber Ensemble and Chorale. She studies voice with Shelley Jameson and is pursuing a flute minor with Marie Herseth Kenote. Chloe’s hope that in the near future she will continue on to receive a Master’s in Opera Performance.

Jacob Nevill’s music career has been one weaved with various styles of music performance, education, and challenges that he has met or is still facing. Whether playing saxophone, composing, or teaching he has strived to understand and do his best in whatever collaboration or project he’s involved with. Jacob has a BA in Instrumental performance & Composition from Nyack College and M.M. in Jazz Arranging & Composition from William Paterson University. Jacob has studied saxophone with Alfons Smukala, Michael Cardillo, and Paul Cohen. These musicians have instilled in Jacob a desire for excellence in his playing, teaching and his music making. But it is composing that holds Jacob’s highest interest. He has written solo works, duets, chamber music, vocal, and band arrangements. During his time at Nyack, Jacob had the pleasure of studying with William Vollinger from who he attributes much of his development and style. At William Paterson, Jacob studied with Cecil Bridgewater and Jim McNeely.

The Nyack College Chorale is an outstanding performing body composed of about 60 men and women, under the expert direction of Professor Joel Jameson, Their repertoire spans many periods and styles of music. Last month the Chorale presented a Memorial Tribute of music composed by it’s former director, Paul Liljestrand. The Chorale members are preparing for their Christmas Concert of lessons and carols on Saturday, December 10 at 8PM.

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Dr. Shawn E. Okpebholo (b. 1981) is Assistant Professor of Theory and Composition at Wheaton College-Conservatory of Music. His music has been performed throughout the U.S., as well as Canada, Africa, Europe, and Asia - including The Kennedy Center, National Cathedral and Monte Music Festival (India). As a guest lecturer, he as appeared at UNC-Greensboro, the University of Benin (Nigeria), Biola University, among others. A sought after composer, some commissions include: the International Tuba Association, U.S. Air Force, and OhioMEA. A winner of various composition prizes, Dr. Okpebholo holds degrees from Asbury College (B.A.) and the University of Cincinnati, College-Conservatory of Music (M.M., D.M.A)-additional study in film scoring at NYU. Gregory Pascuzzi, from Pittsburgh. Largely self taught with some study with Karel Husa, Frank McCarty and Henry Mazer (though learning something from everyone he's ever worked with or taught, even if learning what never to do). His compositions/arrangements have been performed by several orchestras including Pittsburgh, Baltimore and Detroit; the New York Philharmonic brass quintet, the Canadian Brass, Westminster Brass, BBC Big Band and most of the major American military bands and some in the UK, Russia and Japan. Christian groups he's written for &/or played with include the New English and All Souls Orchestras, Crescendo (Hungary & Moldova), Oratorium (Romania) and Christian Performing Artists' Fellowship in Washington. Donald H. Sanborn III is at work on a musical and a Christmas piece. Recent premieres include an Easter duet for trumpet and organ, Peter’s Salvation; a brass quintet, Fanfare for Caitlin's Castle (inspired by the composer's Goddaughter, the piece also exists as a duet for trumpet and organ); and an SAB anthem, Of the Holy Trinity. His solo organ and choral works have been performed by members of the American Guild of Organists in worship and concert settings. Mr. Sanborn's favorite of his compositions is Jubilate Fanfare, a duet for trumpet and organ. Written with his wife, Jennifer Leach Sanborn, the piece was premiered at their wedding. Jennifer Scott studied voice at Nyack College with Dr. Marion B. Howe. She worked at Brookdale Christian School as their music teacher until 2004. Jennifer has directed the Nyack College Handbell Choir and Women’s Chorale since 2005. Jennifer served as senior choir director and handbell director at Community Evangelical Free Church in River Vale, NJ for numerous years before being called to Clinton Avenue Reformed Church in Bergenfield, NJ where she is a deaconess. Professional memberships: Music Educators National Conference, New Jersey Music Educators Association, and American Guild of English Handbell Ringers. Additional graduate studies at Nyack College. Adam Sovkoplas is completing his DMA (currently all but dissertation) in Composition at the University of Kentucky. Sovkoplas has been awarded the Christian Fellowship of Art Music Composers scholarship, won the 2nd Annual SHSU Phi Mu Alpha/Fisher Tull Composition Contest, and was recognized as the College Music Society South Central Chapter Outstanding Student Composer in 2006. His works have been performed nationally and internationally at various conferences and festivals including the 2nd Annual Festival of New Organ Music, London, England (2007), the Orvieto Musica Festival in Italy (2008), and the 2010 International Computer Music Conference in New York. Please visit: http://www.societyofcomposers.org/user/adamsovkoplas.html Margaret Collins Stoop’s works have been performed throughout Europe and the United States, including a commission by the “Door Eendracht Sterk” Fanfare Band of Hedel, Netherlands, for it’s

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100th anniversary. She has recieved numerous awards. In March 2011 she conducted the Fairfield County Chorale for her work, “Gnosis”. Stoop began formal music education at age sixteen with a scholarship to the preparatory division of the Mannes College of Music. In 1989, Stoop graduated from Smith College cum laude, with High Honors for her thesis, On the Horizontal and Vertical in Selected Works by Schoenberg and Webern. She studied Chinese flutes and folk music at the Yuet Wah Music School in Hong Kong, and western flute with Timothy Wilson, In 1998, Stoop received her master's in music composition from the City University of New York, studying under Thea Musgrave. Stoop is the founding director of the Adesso Choral Society, dedicated to performing works by contemporary composers. She teaches at the Westport Music Center and privately teaches flute, piano, theory and composition. She is president of Connecticut Composers, Inc. Abbey Taylor, pianist, is a prize winner of the Nyack College Invitational Scholarship Competition 2010. Abbey is currently a Freshman Music Education piano major at Nyack. Other than playing the piano, Abbey is also an accomplished oboist. She is a member of the Nyack College Wind Ensemble. Prior to Nyack, Abbey was active in her music studies, participating in the Young Musicians Festival in Connecticut, as well as teaching many piano students. Jonathan Tice, pianist, winner of the Nyack College Invitational Scholarship Competition 2010. He has been playing music since a young age. He started playing piano at the age of three and never stopped. At the age of six he began playing the violin. He also plays the bass guitar, guitar, and trumpet. With parents who own the Malverne School of Music in Long Island, Jonathan has become accustomed to performing in their annual spring and winter recitals, as well as lending a hand as a member of the teaching staff. He has also performed solos with the Molloy College Community Orchestra, in addition to leading the first violins as concert master. Currently, he is enjoying his studies with Dr. Lum at Nyack College and recently participated in their concerto competition. Jonathan is concert master of the Nyack College String Orchestra and is in the Honors Society at Nyack College. He loves the opportunities for musical growth which he is experiencing at Nyack and looks forward to increasing his repertoire with new fun and exciting pieces! Andrew Vang is a student attending Nyack College with a Music Education major studying classical piano. He gives piano lessons and basic guitar lessons. He is a Nyack College School of Music Invitational Scholarship Competition Winner of 2011 and a Rockland County Music Teachers Guild Music Scholarship Winner of 2011. Laurelle Virola is a senior Vocal Performance Major at Nyack College currently studying with Professor Shelley Jameson. She has been a part of Nyack College Opera Workshop for four years playing roles ranging from Novice in Suor Angelica, to ensemble member in La Traviata, to Lauretta in Gianni Schicchi, and Pamina in The Magic Flute. She is currently singing the role of Musetta in LaBoheme. She has gone on tour with the Nyack College Chorale to England in the spring of 2010 and was part of the performance at Carnegie Hall in spring 2011. Ms. Virola is a winner of the Nyack College Invitational Scholarship Competition and plans to further her studies in opera beyond Nyack College. William Vollinger’s music has been 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. “Violinist in the Mall” won the 2005 Friends and Enemies of New Music

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competition. His music has been performed and broadcast worldwide, published by Abingdon, API, Heritage, Kjos, Lawson-Gould, and Laurendale. Five works have been editor’s choices in the J.W. Pepper Catalogue. The New Orleans ensemble Musaica commissioned and premiered “Duck Girl” and “The Pelican” in 2010.. Navona Recordings just released “Raspberry Man” and “Emmanuel Changed” this year. Meg Wilhoite is the organist at the First Baptist Church in the City of New York, on 79th Street and Broadway in Manhattan. A native of Bradenton, Florida, Ms. Wilhoite moved to NYC in 2004 and is active in the city's contemporary music scene, most notably as the co-director of the critically acclaimed series Music at First at First Presbyterian Church in Brooklyn Heights. Chicago native Donald M. Wilson studied composition with Karel Husa and Robert Palmer at Cornell University and with Gunther Schuller at the Berkshire Music Center. In 1965 Wilson became the first music director of the educational FM station in Philadelphia now known as WHYY-FM. Now a professor emeritus at Bowling Green State University in Ohio, Wilson joined the BGSU music faculty in 1967, taught music theory, analysis and composition for 31 years and chaired the Music Composition/History Department for two four-year terms. From 1983 to 1995 Wilson produced over 80 one-hour programs in the annual "New Music Festival" radio series for national distribution. A member of the American Music Center since 1964 and a member of the American Composers Alliance since 1967, Wilson became a founding member of the Christian Fellowship of Art Music Composers in 1995. Three years later he was elected to the latter organization's Board of Directors. Since the beginning of the new millennium, Wilson has been writing music for use in church services. In 2009 Lutheran Church of the Savior in Paramus, NJ commissioned him to set the 23rd Psalm to music. William Vollinger led that church's choir in it’s premiere Also that year Wilson's cantata on Genesis chapter 1, “In The Beginning” was awarded 2nd prize in the 2009 Religious Arts Festival at the First United Methodist Church of El Centro, Calif.

“And let the beauty of the LORD our God be upon us, and establish Thou the work of our hands upon us.”

-PSALM 90:17