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Arizona State University School of Music

Presents the

Society Of Composers ·Region VII

25th Annual Conference

October 25-26, 1996

Glenn Hackbarth, Conference Host Arizona State University

Marshall Bialosky, Region VII Co-Chair California State University, Dominguez Hills

Lily Hood Gunn, Region VII Co-Chair University of San Diego

Society Of Composers Region VII

25th Annual Conference

October 25-26, 1996

Arizona State University School of Music

EVENTS

Friday, October 25

6:00 p.m.

8:00 p.m.

Registration Music Building Central Lobby

Concert I

Saturday, October 26

8:00 a.m. Coffee

8:45 a.m. Welcoming Remarks

9:15 a.m. Paper Session I

11:00 a.m. Concert II

12:30 p.m. Lunch Break

2:00 p.m.

3:00 p.m.

5:00 p.m.

5:30 p.m.

8:00 p.m.

Paper Session II

Concert III

Business Meeting (immediately following concert)

Dinner Break

Concert IV

Katzin Concert Hall

Recital Hall

Recital Hall

Recital Hall

Katzin Concert Hall

Recital Hall

Katzin Concert Hall

W-117 Music Building

Katzin Concert Hall

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Friday, ·October 25

8.:00 p.m. Concert I

Out Of The Primordial.Ocean

. ASU Percussion· Ensemble J.B. Smith, conductor

Rain Dance for Flute and Tape (1993)

Cycles and Myths

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. Trygve Peterson~ flute

Lisa Oberlander, clarinet· .· Jonathan Aceto, violin

Karen A. Koger, cello . Miriam Yutzy, piano

Katzin Concert Hall

Warren.Gooch ·

Mark Phillips

Timothy Kramer .

***************** INTERMISSION *****************

·Sonata for Alto Saxophone and Piano .

American Nam es

Center Of All Centers

From Shook Foil

Send Us Light

Joseph Wytko, saxophone Chris Eide, .piano ·

· ASU Concert Choir David Stocker, conductor

Brian Bevelander

Marshall Bialo~ky

Paul Parthun . .

Charles Norman Mason

David Stocker ·

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8:45a.m. Saturday, October 26 .

Opening Remarks RecitaLHall .

Glenn Hackbarth, Arizona State University.·. . Tohi~Marie Montgomery, Interim Director of the School 'of Musk .

· Marshall Bialosky, S.O;C; Region VII Co-Chair

9:15 a.m. . .· . .

Pap~r Session] . .

Recital Hall

· Robert Peck: Interpretqtion Through Analysis . of Shulamit· Ran 's "Fantasy· Variations for Violo11.f:ello" ·

. . . ··Ron Ge~rge: · New .Percussion. Resources

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11:00.a.m. CONCERTI! . . ! .

Katzin Concert Hall

·. . . . . .

Poe-Songs · War11er Hutchison 1. Serenade II.A Prean

Martha Rowe, soprano ... · · Nancy Joy, horn ·

F_red '3ugbee, yibes •.

Elegy for Tupa and Pfarw (1995) .

·. Doug Omundson, tuba A!ldria Fennig, piano

~ore Walkhtg On Uneven Gmund-- . ..

· . Steve Davidson, soprano saxpphone .· · · Amy Griffiths, alto saxophone

. Kevin Cotman; alto saxophone Scott-Zimmer, te11or saxopho11e · .

Steven Von Wald; tenor: saxophone · Julie· Patterson, baritone sa.xophone . · · · . · . Rubia Saptos, piano · .

·Naomi Sekiya ·.·r:

Herbert Biefaw~

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Aviary Suite (1985) - - I. Peacock .

II. Swan III.- Hummingbird

_IV. E~gle . - -V. Ostrich

Metamorphosis (1995)

Lisa Oberlander, clarinet

· Deborah l(avasch, . soprano -Lisa Oberlander, clarinet

Andria .Fennig, pfano

Pecking Orders for Three Piccolos _

Noisy Dreaming

Cheryl Anderson, piccol~ · Kortney James, piccolo

Heather Verbeck, piccolo

- I. Allegro moderato II. Andante III. Moderato

12:30 p.m.

2:00 p .m ._

Cheryl Anderson, flute H olly Haddad, clarinet

Bryan Adkins, horn Martin Gordon, bassoon

· LUNCHBREAK

PAPER SESSION II -

Deborah 'weagel: Schenker, Schoenberg, and Form

Deborah Kavasch

Deborah Kavasch

JayVosk

Michael Kallstrom

Recital Hall

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3:00p.m.: . CONCERT 'Ill Katzin Concert Hall ..

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S'Ying Sets. Bernard Gilmore

· Cheryl Anderson, flute, alto flut~ Julie Holben, oboe, English _horn

Scott Zh;n:mer, alto sa_xophone · Sp~nset King, _bass,

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·Walking ·On An Appl~ I. For Mr. B.

Stanley Dahl, percussion

II. Som~.Here, Some There · . . . . - . .

Ron George, Ma)let Keyboard Console·

.· Rori George

The Earth Reitten:..bers· . ·· Howard Quilling I. The Earth Remembers ·

.· n. Pr~y~r for th~ Depa~ted f~ower Woman ·Ill. ·western October IV~ Afterflow

Sarah Elder, soprano · Miriam Yutzy; piano

***************** · INTERMISSION · *****************

fBASS]ically Harlllless (1994, rev. ·1996) . . . . BrianBelet for electric 'J:,ass and computer-generated tape

. ' .... . - }on Murray~ ele~tric bass - . . .

· · Three Psalms . David Cohen ' · · '

C:D. Singers Oaniel :Durand, · cond ucfor . . . . ' . . . .

. : . . . . .

.. . Daniel Taylor,' EmeryHa~vison; trumpets ·.·. Robert Wittkamp, John Wise; Jeffrey Martin,· trombones

Kevin McGee, timpani . · . ~. :· ..

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8:00. p.m~ . CONCERT IV . .

In Memoriam - Sacajawea

Joseph Wytko, soprano saxophone Jeffrey Anthony, alto saxophone

Michael LaMonica, tenor saxqphone Kevin Gorman, baritone saxophone

Miniature V: All At One Point .

Four Posfrards To Betsy

Sonja Branch, . marimba J.B. Smith, marimba

· I. drifting, floating, hushed II. fast, biting, angular III. pale, nondescript .

. IV. distant, flowing, whispered

Concerto For Bt~ss Quintet .L. Allegro agitato

Robert Spring, clarinet .

II. Andante solemnmente ·. I~I. Allegro giocoso·

· Emery Harvison, trumpet Brad Bonebrake, trumpet

Casey Christopher, trombone Michelle Perry, horn ·

Deanna Swoboda, tuba

Katzin Concert Hall

Greg Steinke

David S. Lefkowitz

Mark Kilstofte

Frank Darmiento

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· Thru

Kortney James, flute Holly Haddad~ clarinet · Jonathan Aceto; violin Karen A. Koger, cello

Douglas Nottingham, percussion

-John Costa

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Essential Torque

-wind Quintet

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Walter Cosand, piano . . '

Trygve Peterson7 flute-· Martin Schuring, · oboe Robert ·spring, cla,i:iilet . Thomas Bacon,· horn

·.Jeffrey Lyman, bassoon

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. Robert T. Smith

.DavidVayo

Composer!_Presenter Biographies and Program Notes_· - - . , .· . , .

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Brian -· Belet is Music Systems. Area C~ordinator and. Assistant ·. Professor fo the . School . of Music and Dan<:e ·at · San Jose State · University- in San Jose, California. where he is . also · a Research Associate with the Center ·for Research ·.in Electro­Acoustic· MusiC. · He earned the · degree of Doctor oJ Musical Arts · in Composition . fro"m ·the University of Illinois at ·tJrbana-Champaign in 1990. The · recipient of. nuiner_ous awards for m\}sical . conipqsit1"c:m, his· works for acou_stic and electro- ·

.. aco:ustie media . have been ·. widely performed . in the .·United· States, f:utope, South Ametiea, and Asia: His rese~rch · has been· . presented at c;onferenc.es in the

. United · States, Hong Kong, Canada, Japan, and Luxembourg; and is pµblished in Perspectiv-es of .· Netti Music, the Proceedings of · the . b:zteriui.tfonal Computer-

. Music . Conferenc-e, the Proceedings of . the · Japan Music .. arid · Computer ·science So,ciety . Sumrtier : Symposium,. and the Pro_ceedings of, the SEAMUS 1994 , COrife r_ence. . ·.

[BASS]ically Harmless . was. originally colliposed •: in 1994 for niy 'friend and fellow bass.ist Jiin McManus. . Within a time structure generated . by recursive · iterations 'of the . ratio . of · the Golden Mean, · smaller details. of .aural events, were composed intuitively · (both manually and .algorithmiea1ly, _in · the -latter. case. via stochastic · processes . for the .· computer' mu.sic layer · using my program COMP2) using ratios of just · iiitonation · and the . Goldei:i Mean. · Each musical . layer remains idiomatic: . and . therefore quite . independent-, while overall unity is generateci through the . ·shared · formal ·structure. · The computer niusic layer _· . was realized in the :cREAM- studios .at San Jose State University. · The 1994 · realization utilized CSound and the. · 1996 revision utilized Kyma; some of the original sounds were recycled and . incorporated . into ·the revised version.

Brian Bevelander. · Co~poser/pianist Brian ·. Bevelander was born in · Boston, Massachusetts~ and reeeived his education · at the.· New England Conservatory of Music, Hart't College (B.M;), Bosto.n University (M.M.), and West · Virginia

· University . (D.M.A~ ). · His .·· princ.ipal ·composi'ficin ·teachers · include Thomas Canning at ·west Virginia University and . Hugo .Norden .,at Boston University. His · principal · piano teachers include Jean ·Poole Alderman at · the ·. New · England

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Conservatory, Raymond Hanson at Hartt College, and. Bela Nagy and Josepp . Bloch at Boston University. Bes.ides >teaching at Heidelberg College, he has been the recipient of several - composition fellowships, awards, ·. and .· residenc~es. Many of his compositions have enjoyed . numerous · perform·ances both ·· in Europe and the United States. Iri adqition to his electro~acoustic works,. his compositions · include chamber music, orchestral works, concertos, arid solo pieces.

· Sonata for Alto· Saxophone · and · Piano was written for a -concert of new saxophone music at West Virginia University in 1976. .The piece was premiered by saxophonist Debi Abbey and pianist Brian Bevelander in April . of that . year. The Sonata is essentially ·a quasi-twelve-tone . piece that · blends elements of . traditional concert music with jazz, The · score was published by . Dorn

· Publications,· -Inc., and . is. now available through · the American Composers Allianc.e in New York.

Marshall Bialosky _is ·Emeritus . Professor of . Music at . California · State University Dominguez Hills, where he was the founding · chair Of both the music and art departments in 1964. · Currently in his second term as Region VII co~chair, he is also. president of the National ·Association of Composers.

American Names, · actually composed · many, many years ago, w.as recently . subjected to heavy revisions in order to "save" · a poem admired by the composer.

· .Herbert Bielawa earned his· degrees in . piano and comp-0s1t10n at the University of Illinois and the University of Southern California. · He has been a member of the faculties of Bethany College and San Francisco State University where he · founded the . Pro Music Nova ·. and created the electronic music studio

· and courses for the Computer Music · Major. He has . written music for . iristrnmental ensembles, piano·; harpsichord, ·pipe organ, choir, ·electronl.cs,

chamber opera, band and . orchestra. Since 1991 he has been a free-lance composer . and pianist. His rriost recent music . commissions . were from the Minneapolis ~onvention Center, from the San Francisco School of · the Arts; from the American Guild · o.f Organists and from Earplay · of San Francisco.

In More Walking On Uneven Ground the · word "more" · refers to the fact that . this work is ·a new version of an . earlier piece fot harpsichord and piano

entitled . simply, Wa-lking · The ·Ramp . lt is .· based on distinct. triadic chord "changes",· much like Blues "changes" · or ·ancient ''grounds". · The ·chord · change patterns are, at first, · two rhe~sures lo.ng b.ut with each reiteration another new chord . .is added, . hence the reference in the original . title to tamp. In . the center of the . work change patterns themselves· cease gr·owing but last

_ longer. Thµs . the term · uneven in the ··present · title refers t.o . this irregular shift fo change rates. More .Walking was purposely conceived as. a work in jazz . style: complete with walki_ng bas·s throughout; • hence · walking in . the title. · I let my hair down -in this work and had furi with its juicy harmonies, risque riffs and flirtatious interplays between the · saxes and piano.

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David · Cohen -(l~27~1Q91) . was a founding member of the American Society of University Composer's (now · th~ Society of Composers). He hosted ·both regional and national conferences ai the University of Alabama and · at Arizona State . University during . his . tenures · there. · An early advocate "of ·musical · applications of the . computer, Cohen developed and · directed . electronic studios

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at both · institutions. His compositions include .. music for orchestra, band, chamber grotips, voice, chorus; and electroniCs. He ·wrote ·several scores for theatre, · including the , children'.s opera Beauty is · Fled, and composed extensiveiy .·· for chorus in . the later part of his life.

Three . Psalms was commissioned by .. Qaniel Dµ.rand . for the twenty-fifth · anniversary of the Bach and Madrigal Society · of Phoenix. . The work was Qne .in a s.eries of choral compositions commissioned . or premiered by Durand over a period of fifteen years sta,rting in 197L . The text is from the Bay Psalm Book of 1692, one of _David Cohen'~ favorite sources for texts . for niusfcal setting, and

.. in . three movements _ presents Psalms . 1, 23, and 95 . The instrumentation for . brass ·· and timpani was · derived · from · the orchestral forc;e·s · of the Mozart · Requiem, the work paired with Three . Psalms at its . 1983. premiere.

· · John · Va~coricelos Costa graduated from . the· University . of Rhode Island · in 1984: :After \ a two-year tutelag¢ under composer Richard Romiti, he .attended the . University of Michigan where bis teachers included Fred 'Lerdahl, Williain

. Bolcom, Eugene · Kurtz; WUliam Albright, George Balch Wil~ori, . and MiChael D;rngh'ehy. . He· was awarde-d composer · fellowships at _the Co.tnposers· Coriference · .at · Wellesley College, the. Festivai at Sandpoint, ' and · at ·the Tang-lewood MusiC Center. He _was the winner · of the 1990 Georges Enesco International Competition ·· arid a recipient of the Charlys . Ives Scholarsh,ip.

·. giveri · by the American Aca,demy and Insti.tute of Aits & Letters. . He has receivecl commissions from the Prism Saxophone Quartet, the Phantom ·Arts . Ensemble. -for Am_erican Music, arid the Utah Youtfr Symphony. · He Is currentJy ·.

·. ori the adjunct faculty staff at · the · Univer'sity . of Utah. · · · . . . .·

Thru'... for Chamber Ens~:nble . is likened to an imaginary "Fan fas.tic . Vo.yage. '1 . .

The concept is · that of a thread of consciousnes.s .. traveJing at various rates of speed: through a long, winding . tunnel. ' captaining many . different obstacles. This . tu.nnel, however, contains no walls '. and is · not fo,und . underground .. Rather, it . represents a visual stream- Of motion where . all orie sees are blurs ·of · · imag¢s ·resulting from traye-ling ·. throu.gh at high . v~locities · a.nd negotiating the many twists and turns . .. In the · end, : ~however, the fast: speed eventually · b~comes slow and. th~ . point of arrival -- that of tranquility -- is :reached.

'Frank Darmiento is a 1967 g_raduate ·Of Union College in Schenectady, New York; where . he . studied music composition with Edgar Curtis ·. arid was . award~d·' ..

_: the Richmond Prize in Music . _ He .later studied music . composition with . Wendell Margrav·e . ii) Washington, D.c;:: · 1\fr, Darmiento has had · performances of a half-dozen orchestral compositions and arrangements by the Phoenix Symphony, Mesa Symphony, and ·Scqttsdale Symphony. He . has also written works for concert band, jazz . .en~enible, and :a Variety of classical chamber

. groups. . His ·concert band and . brass - chainber ·· works are · published by Serendipity ·· Press of. Bangor, Maine. · Mr. . Darmiento i s also a · registered professional engineer and :is' . currently .a . priildpal with .. the . enviroilrrie1_1tal cpnsulting firm A.C.E. Enyironrnental LLC in Mesa~ · . Arizona.

Concerto for· B~ass Quintet: The foundatio~ of the ConC.e rto is its harmonic. structure and rhythmic intensity. · , One IJ1ain theme · ties the •entire_ piec.e .together. . Fragments · of the theme . are used in a short introductory section leading to the . theme's. firsf complete statement by the ttumpi t. Jn. the . second movement . shifting . chord patterns ·· dominate. The movement starts with a .. minimalist approach, slowly changing the . harmonic structure ·· as 'the

movement evolves. ·The final movement goes back to the riotes of the odginal theme, ·but ·with · different thythms, and concludes with ·a sei-ies of trumpet calls.

Ron Georg·e is an· international performing. and . ·recording ~rtist and proud inventor . of six major new percu·ssion instruments: . the . Ballad Console; Loops Console, Mallet Keyboard Console, Super Vibe; and the American Game/an; He has recently completed . work on · a CD of .music for voice · an.d percussion with

.. performance artist · Rachel Rosenthal and. a CD entitled Music for ·Winds, Double Bass and. Percussion with wind . player Vinny Volia and bassist Bertram Turetzky. · Mr. George has been awarded an NEA Recording Grant and support .from the Aaron Copland, Fund to record his compositions, as well as those that have been written for ·him, on a solo. CD, Magic Ears (Music for and. by Ron Ge.orge), to be released .on 0.0. Disc, Inc.

Walking -On An Apple . · is an ongoing series of compos1t10ns for the Mallet Keyboard Console. At . present, only five works are · planned· for the . series, arid two are complete. How many compositions will eventually be written is not

.. known. Since art apple is round (or sort of), there is no beginning and rio end . . We simply keep walking around and around and around and around; F,or Mr. B. was written ·in respect for my good friend John Bergamo and the music that he wrote for me, Gupta · Sloka . Chanda. The solo is improvised because that is one of my true passions. Some Here, Some There is a composition which expresses love with all . its depth and beauty; This performance is for Judy, someone who is most dear to me. ·

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·Bernard Gilmore is J>rofessor . of Music at the University of . California, . Irvine, . where :he · is also .. Chair of the Department of Music. He previously served as Acting Dean of the School .of the Arts at UCL Prior to coming to UCI in 1982, he taught at Cornell University . and ·oregon State University. He earned the B.A and M.A. from the University of California, Los Angeles, and the D.M.A .. froni Stanford. He has performed as a hprn-player in. : the Boston Pops Tour Orchestra; Los Angeles Philhann.onic, . anci in Israel with. the orchestras of . Haifa and · Jerusalem. · ·

The title . of. Swing -Sets . .reflects both the obviously jazzy feel Of the. music and the fact that it is derived rather rigorously from two dodecaphonic sets . While swing permeates a great · deal of the work, there are also sections based on· the · rhy~hmic . and motivic characteristics of blues ·and be-bop .. The blues sections are derived . frorri a set permeated by the interval of the descending third .:~ . the characteristic . melodic interva~ . of blues~-whHe the passages · of · be:.bo·p . are haunted by the agile ghost of Charlie Parker.· Swing Sets . is dedicated to · two wonderful African-American .· composers: Hale Smith . arid . my colleague at . UCI,

· James. Newto.n. ·

Warren Gooch received his Doctorate in composition · from . the University of Wisconsin-Madison, Master's degree from the . University of . Minnesota-Duluth, and Bachelor's degree from the College of St. Scholastica. His composition· instructors have . included Stephen Dembski, Joel Naumann, Eric Stokes, and Mary Mageau. · Gooch's · music has been recognized through numerous grants; commissions, awards, and significant -performances via such organizatjons as the National Federation of Music . Clubs, Minnesota Orchestra, ·American ·Choral Directors Association, Music Teachers National Association, · Percussive ·Arts Society; International Trumpet ·Guild, Music Educators National Conference,

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College Music Society, Composers Guild, and. others .. · A recent orchestral work was recorded by the Slovak · Radio Orchestra, a·na Gooch's · music. has been performed at music festivals across 'the! United . St~tes ·. and in Europe~ Publishers · include Kjos, .f'laminer; Alliance, · Plymouth, Walto.n, Eagle's . . Wing, and Aug_sburg. ·

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Out Of The Primordial.· Oc'ean ··is scored for. eight .percussionists. . The· piece involves the manipulation of a set of rhythmk and pitch . motives that gradually '"evolve" · . as the _piece. progresses. The work begins quietly, gradually building · into . a· sustained · isorhythmi<: section, which in turn leads t() an extended ~olo for timpani. · . The _piece closes with a brief coda recalling earlier motivic material. . .The influence of gamelan · music is evident throiighout· the work. Out Of The Primordial Ocean was composed for W. Michael Hooley and the Truinan· State University Percussion Ensemble, and was .. premiered in' the Spring Of 1992 at a Percu.ssive . Arts Society co~ference:. · ·

Warne.r Hutchison is.· Resident · Compser· and Professor Emeritus at New Mexico State University. Commissions by performers and :conduetors have · led to ·premieres at Linco'I.n Center and elsewhere; MacDowell -Colony· residencies, AS CAP Awards, and . appearances as guest composer . u·nder. the Meet the · Composer ·· series. Dr. Hutchison studied ' ,composition with Samuel Adler and

. Merrill · .Ellis at the tJniversity_ of North Texas; with Wayne · Batlow an!1 Kent · Kennan at the .Eastman· School · of Music; and privately ,with Roy Harris. Recent CD releases include · The Desert Shall Bloom As The · Rose for · orchestra; As The Stars Forever f~r . symphonic .band; .and two brass quintets, Apocalypse .l .and Apocalypse V. His 1997 commi_ssiO~s include a symphony for . band for the United . States Air Force Heritage of A_merica Concert Band (Washington, D.C.) ·· and .a concerto ~ for Victor Valenzuela, .hornist with the T!-lcson Symphon.Y· ·

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f°o e ~Songs · reflect · aspects of the work of Edgar _Allan Poe. Much . has b~en written about Po.e's · contribution to ~merican · literatµre as Well as - his urnbrageous life. ·.One : recent medical study ·. suggests that. he died of rabies; . not of alcoholism . as has been widely reported. These two · poems . (from a cycle of three) were penned to, or about actual ·p!!rsons. The· first, · Sere·nade~ is. a love. song~ the second,. Paean, drips With Poe's gloominess. It is funereal. · A woman's corpse (his "bride"}. Iles in a coffin, surrounded by her friends whose feelings

.. .. for her · seem somewhat ambivalent: "They loved, her -fot her wealth .. .'and they hated her . for her pride." This work is ·challenging for all three ·performers

. and ~requires special . effects oii both : the horn and vibraphone. ·

Michael · . Kallstio~ is an active . composer and perf~rmer and the .. creator of . · Electric Opera, ·a series of solo· chamber operas with electronic tape, . puppets

and videos that have been performed over ,60 times across the country. ·. His instrumental and . ctioral works have been , performed . in England, . Italy, · Slovenia, Argentina, Chile, Brazil, . and Kenya . . · For the 1996-97 se~son, '. a fourth · solo chamber . opera, Ghps ts!!, will be premiered, as . · well as a new work . ·

·. for . orche.stra , and chorus, Mountains; Rivers; · Caverns. Also Sunday .. Pages, a foll•scale opera, . will ·be premiered in J997-98. He has studted . composition. wi.th Roger Hannay and · John Boda . and holds degrees in composition :from Florida

State . University (D.M.), the University _ of North Carolina at Chapel Hill (M~M.) , and ' the Urii \/ersity of Miami. (RM.). · He is . currently Associate Pr{)fessor of

· Music and Coordinator of Theory · arid Composition aL Western K entucky· U rii v e r sit y . ·· · · · · ·

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Noisy Dr~ami.ng was commissioned . and premiered by ·. the . Western . Arts Chamber Players in the Spring of 1996. The title comes from the. lyrics of the . composer's . new solo chamber opera, . Ghosts! I . "Near death ... the failing circuitry tlfat projects this noisy dreaming." ·

Deborah . Ka vasch; coinposer/soprano, Is noted for her · pioneering work in modern vocal musk, · particularly ·ill extended . vocal techniques. · A founding member· of the. Extended · .Vocal Techniques Ensemble. at. the · University of California at San . Diego, she has continued to develop a solo and . ensemb.le

· repertoire · that encompasses . extended · techpiques for instruments and voices: She has . had . works commissioned arid· performed in North America and. Europe and has . appeared in concert in · major international music centers and festivals. She has · received grants ·. and residencies in compos1tion and performance and. was a 1987 ·Fulbright . Senior · Scholar . in Stockholm, Sw.eden . . Dr. Kavasch holds degrees in Gerinan and . Music Theory/Composition from Bowling Green State · University, Ohio, and the Doctor · of Philosophy . in Music

. from the University of California at San Diego. She is Professor of Music Theory/Compositio_n and Voice · at California State. University, . Stanisfaus.

Aviary Suite . (1985) was commissione.d by clarinet.ist/musicoJogist David Eiseman· as a pedagogical work . as well as .a concert piece. . Each .of the five movements represents a different · bird · (peacock, · swan, hummingbird, eagle, and ostrich) and uses . various . contemp.orary iethniques, including specific intervals or .non-diatonic resources, irregular or changing meters, microtones and multiphonics, and extreme ranges of the fo.strument.

Metam~rpfwsis (1995) is a song of rebirth, .ah affjrmation of new life.

Mark Kilstofte .. hoids degrees from St.. · Olaf College 'and the University of ·Michigan,. where he studied composition with Leslie . Bassett, . William Bolcom, . Eugene Kurtz, William ·.Albright, and George Wilson: He is the recipient · of a number of awards, including grants an.d. fellowships from the Mai:::Dowell · Cqloriy, the Knight Foundation, the ·American Academy of Arts and . Letters, the Delius Composition Competition, and ASCAP's Niss.im · Composers Competition. His compositions have been performed ·. widely throughout North America and are ·

· published by Boelke~Bomart and by .. the . Newmatic Pres&. Mr. · Kilstofte currently teaches at Furman Universit.y iri Greenville, s·outh Carolina, ·and· · directs the newly-founded Newma .Ensemble. ·

Four Postcards t~ Betsy was composed in · .. 1986 for cla.ri~etist Elizabeth Ca,mpeau~ · . Cast in a series of four brief, contrasting movements, · the piece exploits the extreme technical and expressive capabilities of the clarinet in _an attempt to cr~ate · aural images of those. fleeting thoughts so often captu.red . on pictt;tre-postcards. Th~ work is unified by- the recurrence of two pitch pairs, namely Bb-C and B-Eb (referring to Betsy Campeau and ·her husband, Hank ·

· Smith), which· . are . heard . in various combinations and· regis.tral configurations throughout; usually as the opening and/or closing . material of each movement. · Despite the fact that Postcards... is . wf,itten for unaccompanied clarinet, its conc'eption is as · much . vertical/harmonic . as it is · II.near/melodic. · Polyphonic ..

· melody abounds · .in the second . and third · movements, but implied ·.harmonic shifts occur iri the outer movements as well, even · in the · scales of the fourth movement.· ·

Timothy . Kramer (b. Seattle, 1959) receiv.ed his Bachelor of Music in both - compos1t10n ·and organ . at Pacific Lutheran- University . in Tacoma, Washington;· Hi~ studies . continued at the University of MichJgan w.here he completed the D~M .A . in 1990 under · composers . WHliam Albright, Leslie Bassett, William Bolcom, ·and George Wilson. . · Kramer's . wor.ks . have bt;!en performed throughout the · United States and ' Europe by numerous organizations .including

.· the Indianapolis and Detroit Sympho.ny Orchestras . and the ·Winters Chamber Orchestra. His honors include . composition awards from the · National

.· Endowment for the . A.rts, Meet the Composer, BMI, AS CAP, the American .. Guild of Organists~ and the American Music Center. · .He .is .published by Hinshaw .Music. and recorded .. on Calcante and · North/South records. Mr. Kramer is

· .currently Assistant Professor and · Composer~ in-Residence at • Trinity University of San Antonio. · · ·

·. . : ..

Cycles and Myths . was commissioned by . the S'OLI c.hamber ensemble and premiered in March . of 1996 in San Antonio. This piece presents a · number · .of cyclic ideas · which occur ~itli lite.ml . and varied . re'petition. ' · Conn~ctions are made betweeri the ·individual players of the ensemble through . similarities of timbre .and gesture. ·· In every "cyde," a driving, rhythmic theme coordinates all the motives assigned to each · player. The .·"myths,'' which occur between . cyc;res, · are. essentially character · var iaHons, . ·where ·· eac;h soloist presents .

. material specifically .assigned to their instruments. This work also contains mari·y r eferences, · both through . quotation and imitation, · to works with this· specific instrumentation (e.g., Messiaen's Quatuor pour la fin du ternps) arid .to works by Schoenberg ·.and Bach. •· . . ..

David· S. · ·Lefkowitz attended · Cornell Ui}iversity (B.A), . the U11iversity of Pennsylvania (M.A.), and the Eastrrian School of Musk (Ph.D.), where ·his prinCipal teachers · have been Karel .. Husa,. ·. George· ·crumb, Samuel Adler, and Joseph Schwantner. · Among the many prizes he has won are the Fu\rni (Japan)'

· International Harp Music .· Awards Competition; an ASCAP Foundation Gi:an.t to Young . Composers, and . the .National Association - of Composers, USA Young Composers' Compe~ition in . . 1992 and 1994. Recent commissions include Rage , Denial, H<?pe for the Debµssy Trio, a work-in,-progress for the Pittsburgh New Music Ensemble, and a chall).ber opera for .the Santa Monica Civic Opera. Mr. Leflcowitz · is currently on the faculty of University of California, Los Angeles, ·. where he teaches composition .and theory'. · · ·

Miniature V~· · All At One Point was originally written ·as a so.Jo work in 1992 and' arranged for duet . in the following yearo In some respects the . musical material is related to a wonderfully fanciful short story · in ltalo Calvino's Cosmicomics entitled ''All At One I;>oint,': · the beginning of which I quote: "Through the calculations begu.n }Jy Edwin P. Hubble . on the galaxies'. velocity

. . of recession, we. can establish the moment · when rill the · universe's · matter was · concentrated in a single point; before it began to expand in · space." In ··Miniature V there is··· a corresponding use of pedal · points which become

gradually destabilized or · which slowly bloom into full . chords or lines .·

Charles Norman· · Mason was . born in Salt Lake City, Utah, and studied composition at the University of Miami with Dennis Kam and at the ' University of Illinois . wjth Ben Johnston, Salvatore Martirano, and Johri Melby. . His . compositions ha.v'e received sev~ral awards including a 1995 Delius Prize, a 1996 .Dale Warland ·Singers Commission Prize, a Broadcast Music Inc" ·Award for Young · Composers, a 1994 National Endowment . of the Arts .· I11dividual ~omposer

' .- .

. Grant; ·and a composition grant from the · Alabama Council on . the Arts. , .· His music has been performed throughout the '.United . States as· well ·as iri Europe · and . · Latin America. Dr. Mason · is Chairman ·of the ·· Division of : Fine arid Pe'rfotming Arts · at Birmingham~'Southern College .and is Managing Editor of · the international journal, Living ·. Music. His music is available from American Composers Edition (New York).

From Shook Foil. Primcirily what' attracted me to . Hopkins'· poetry is its sound. Hopkins'· poetry has. a special rhythm to it, a rhythm he . referred to as "sprung . rhythm. II . In fact, . he wrote that his verse . was "less. to· .be read than heard.'·' ' In addition, Hopkins also employs a heavy ·use of alliteration . that I . exploit in my ..

. composition. The obvious 'tension between man and nature described in ·.the poem . is. reflected in the medium of the piece, 'but not' in the usual manner of contrasting · machine sounds with · human sounds; · Rather: the expression of tension in the piece is created by the contrast of machine · time with human time. The · time OJ). . the ·tape is · ben.t ".and manipulated to attempt a human . feel whHe at the same time ·the singers . are required to bend .towards the machine · time· by singing · in as exact rhythm as possible, . and thus, •. the smaller the gap between the two. ex:ptessions of · time, the greater the tension. · ·

£>au I Parthun earned a· .Ph.D. from the University of Minnesota in music . and anthropology in 1976. His formal musical education· began ~s a pupil of Leo S.owerby and Gunnar Johansen. He ·is the rec;ipient of ·a ·· National Federa_tion of Music Clubs Composition Contest, · a .. Thor Johnson Conducting Fellowship, and . · an ~A . composition .· award . . His compositions incluqe,· VOGal, choral, chamber,

· arid orchestral music. He has taught · at several universHies, has done ·extensive . . · ethnomusicological research, and is the author of several . · publications

dealing with Native American tribal musics. He · is .curre.ntly· a trainin·g coordinator .· with the BLM at . the Natiqnal .Training · Center in ·Phoenix.

Center Of All Centers. . Ranier Maria Rilke (18.75~1926). is- widely regarded as the greatest poet of our. century. Much . of his· work has been edited. and translated by . Steph.en Mitcbe-U (b. 1943), ~h<;> currently ·.lives in Berkeley, While · spiritual poetry often tends towards . longing, . Center Of All Centers is a poem of fulfillment. ·

Robert Peck is a compost:r and theorist and Assistant Theory/Composition and Strings . at Louisiana . Tech University.

. D.M.A. degree from Jndiana University. An active 'cellist, he throughout the United States. · .His _primary research activities the relationships between music and mathematics.

' .

Professor of. He holds a

has . perf armed · center around .

Mark Phillips (b. 1952) won the 1988 . Barlow·. Intern:ationai' Competition with .his · orchestral composition, Turning, which has be.en performed by _the St. Louis ·Symphony Orchestra, the Cleveland Otchestra, and the NHK Symphony Orchestra of Japan. ·Shadow . ·Dancing, . commissioned and premiered .. · in 1994 by .David Stock and the Pittsburgh _New Music Ensemble, was recently -performed in Beijing, Ghina. Other awards and distinctions · include the 1994 . Newly Published Flute · Music ·. Competition,, a 1990 Delius Chamber· Music Award, . ~nd an ASCAP Raymond Hubbell Award .. Born in Philadelphia, Mr. Phillips holds a B.M: degree ·from West Virginia University and both. an M.M. degree . and a D.M.A. · degree · from Indiana. University. From · 1982-8.4 · he · was a Visiting Instructor of composition at Indiana University. · In the · Fall of . 1984 he joined· the composition faculty at the Ohio University School of 'Music.

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Rain Dance . has four. mair1: contrasting section$ or movements .. which are linked · together and . performed without pause. The first and third sections . are ·

. related by both . their accompaniment and . the lyrical nature of the flute line: . The. · second . section is . pointillistic ·and builds to . a grand . climax where the

··. soloist · must struggle to avoid drowning. ·· A brief flute cadenza. links · the .· third movement . to · the · roJlickiog, · .rondo-like · finale; which features · a v-ery brief (and . very · "wet") tapt".-inusic "cadenza;'' Nearly all of the sounds in · the· ta:pe-. ·· music . accorn.paniment for Rain Dance are derived from half a dozen flute sounds · and . a couple . of different · water ·· sotjnds. . The idea .·· for combining water sounds with . the . flute sounds, which were the · original basis for ' the -composition, · grew out ·of what I ·perceived to · be. a complementary sonic relationship between water drops and some of my . transformed key clicks. ·.

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Howard ·. Quilling · was · born in Enid; Oklahoma, in · 1935 . and received his formal training at · the University of ~outhern Ca:liforriia and · the · University of · California, . Santa B.arbara (Ph.D.r He studied music composition · with Iilgolf Dahl, Emm.a Loµ "Diemer, ·and Peter Racine FrickeL In · 1971 Mr~ · Quilling accepted a position . at .Bakersfield College where he taught .. music ·theory· and . composition until · he retired in 1996. · In 1988 he established the New Directions Conc·ert Series under the auspices of . the Bakersfield Symphony. a:nd i s . the · · current director: He ·has received a number of commissions and awards, and has works published by . National Music Publishers, North/South Editions, · and Howard Quilling Editions . . · He is record~d . on · the Vienria Moqern Masters. and ·North/South Consonance . labels .

Th~ Earth Remembers .. · Although poet ·Nancy Edwards and Howard Quilling have. worked together for · ·t:he past 25 years·, The Earth . Remembers is the first : collaboration in the form of a . song cycle. For Nancy Edwards, the poems are a celebration of life arid nature, ·and the belief ' that life is reaffirmed in nature

. in many ways which · we · can appreciate and experl.enc_e. Birth, rebirth, and_· a spiritual · quest are higlJiy significant elements of her . work ~ For Howard

· Quilling. the poems were a perfect vehicle for a song cycle · for the high voice . . The' process of coi;nposition . was· very rapid and spontaneous : · usually . just a single sitting was required to se~ each . ·poem.·· . ·

Naomi Sekiya was b~rn in Nishinasuno; Tochigi .prefecture, · Japan. · · At the age . Of eighteen, she moved to . the United States fo study music, receiving her Bachelor'~ and Master's degrees from the University· of California, Los .Angeles,

·with a major in music composition~ She has . been the· recipient of numerous awards · as well as commjssions . from organizations including the . North .

. American Saxophone Alliance . arid the • Japanese. tuba quartet group, L.eo. . Her . guitar quartet, .· . Tobi/a .at. the Gate, has · 'been performed ·by · the Minneapolis · Guitar Quartet · and is currently in . the ·process of being . produced for commercial · release ·on R¢A. Her Three Folk . Songs for_ worrien's chorus was recently . nominated . for the Inter-American . ·Music ' Award and . wiH he published by ·· C. · ·F. Peters .n.ext summer. . Ms. S.ekiya is ··. currently ·a graduate student · in . c.omposition at the University of Southern · California. ·

. . . · . . . . .

. E_legy · for tuba and piano (1995) ·was written with an awareness of the Qay of Remeinbra:nce, ·which js an annual memorial in observance. of the signing of Executive Order 9066 by · Franklin Roosevelt in .1942: · . Thi.s order gave . the U.S .

·Army . authority · to remove 120,000 . innocent persons of Japanese descent ; mostly . U.S. ·. citizens, from their homes oit the . West Coast· into detentfon · camps

during Wo.rld War· n: ·· -Elegy .was ·. originally commissioned by , Gene ·Pokorny, , the principar tubist of the Chicago Symphony Orchestra, and was premiered in his concerts at the Osaka Philharmonic Orchestra · Hall in Osaka and the . Kawaguchi Riria Music Hall in Tokyo~

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· Robert T. Smith was born in Syracuse, New York. He received his Bachelor's degree in music education at Potsdam · College . :and holds a Master's degree in musk composition . from the University _ of Texas . at Austin, where · he is . currently pursuing . his D.M.A. _In 1994, Mr. Sqiith received first prize in Moody Garden's "Mysteries of the Rainforest" Composer's Competition f9r his work Mo9dy Garden~ In 1995 he was awarded a co.mmission from the . New York Youth Symphony . to. · compose · a · siring quartet, Traversing the Flow, which . was · · premiered at · Merkin Hall in March, 1996. Mr . .. Smith has had many performances of his music at various . festivals across the· col.in try' and has been performed by ensembles · .such as . Synchtonia and the . Aspen Co.ntemporary Ensemble; He has been the recipient of an ASCAP Young Composers Grant and is published by Southern . Music . ·. In .1997, as · the recipient of a Fulbright Grarit, Mr. Smith will study with Peter Sculthorpe at the University of Sydney in· Australia.-

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Essential Torque is different from most ·tape and· instrument pieces in that i~ . requires the .pianist to be exactly sync_hronized with. the tape part for the majority of the work. The sounds found in the tape have .been · created from

·. samples of various piano sounds and of ·. a metal ruler being struck ·against · a :table , top. · - This - work · received jur.y mention in ·the · 1995 Luigi . Russo lo International ElectroniC Music Competition, Honorable .· Mention in the 1995 NA_CUSA Young Composer's Competition; and · will be a featured work· on the

·· Montague/Mead (piano ·and ele.c.tronics) U.S. tour .in the Fall of 1996 ..

Greg . Steinke is Dean of the College · ·of Fine Arts and Professor of Music (composition/theory) at Millikin Univer~ity . . Professor . · Steinke .holds a · B.M .

. degree from Oberlin . Conservatory, an .· M.M. degree· from . ·Michigan State .. University, an .M.F.A . . degree from . the University. of Iowa, and a Ph.D. from

· Michigan State University. He is the author of articles Qn new oboe. literaiure · and music composition; he has done the revisions to the Paul Harder Ha.rmonic Materials in Tonal Music, 6th, 7th & 8th editions, and Basic Materials in Music Theory, 7th & 8th editions, for . Allyn and Bacon; and he holds membership in a . numb.er of ·professional . organizations. Currently .he serves as the National C~airrrian of the Society of -Composers, Inc. Ptofessor Steinke is active as a composer of chamber and symphonic · music . with a number of published works . and - performances .·across the country; as .a· spe"lket .. on interdisciplinary arts; and as an oboe soloist specfalizing in contemporary rnusic for oboe.

Jn Memoriam - Sacajawea is a moving, elegfac tribute to Sacajawea, the brave Indian woman · who led Lewis and Clar~ on . their trek _ to the Pacific. It is a ·· movement taken ·. and arranged from the compose.r's . Wind River Country for woodwind quintet, which is based . on scenes in early Wyoming. Native Americ;an songs freely mix· with .composed . material to provide a musical mosaic:

D.avid V ayo (b. 1957) is an As sod ate Professor at Illinois Wesleyan University. He ·holds degrees from the University· of Michigan; where his · principai teachers were Leslie .Bassett .·and William · Bolcom; and Indiana Uniyersity, where he studied with Fred~rick Fox and Juan .Orrego-Salas: Vayo

.. I

. .

has . receiv~d awards. from ASCAP, . the American Aci:tdemy and . Institute of Arts and Lette.rs; · the American Music Center, and the National AssoCiation of Composers USA: Recent performance.i; ,<;>f his works have takeri place in Seoul, San Francisco, Rott_erdam, So Paulo; Hong · Kong, and Mexico City. · His Symphony: Bfossoms · ahd Awakenings has been performed four times by the St. Louis Sy_mphony un_der .Leonard Slatkin. . .

Wind· Quintet. Among the sni.aller standard instrumental ensembles', the< .. woodwind qui_ntet is . rt?markable for its '.heterogeneity. If a . chord is played . by

a string quartet or brass quintet, the blend can give . one a ·_sense that · a single . instrument is playing all of. the pitches. · The · vast differences in tone color ·. among the instruments of the woodwind . quintet make such. an Impression impossible~ their individuality is . present at all times, which is ·. both. the beauty

· and the challenge of the : medium. There also seems fo · be an irrepressible spunk and dry wit about the ensemble, balanced .by a . strong capability for lyricism. Thrbughout the composition, I tried · to · take 'full advantage of the tone color. possibilities of the medium, ·from the kaleidoscopic trading-off of contrapuntal · licks · in ·the · work's outer sections, · to the serene chords irt the middle . sectfon .· where the bassoon, normally the bass of the ensemble, takes .the upper notes. This work was the p·rize-winning composition at Symposium Seven for New . Woodwind Quintet Mtisic · at the University of qe·orgia in 1993, . and has be~il ·released on CD by the Georgia Woodwind Quintet.

Jay · Vosk. Born in ·. New York City jn . 1948, . Jay . Yosk received degrees in compos1t10n from the Eastman · School .of Music and the University of Michigan .

. His teachers· · in composition include Samud ·Adler, . Ross Lee Finney,, and .Leslie Bassett. Recently, he was the recipient of the .1996 Tucson/ Pima Arts Council Composer's Fellowship. . His commissions . include .· works for the . Tucson Symphony, c.ontrabass virtuoso Bertram Turetzky, Carlos Nakai, the Catalina Chamber Orchestra, and, . most . recently, the Arizona Repertory Singers. Mr . . Vosk , has . collaborated on numerous works with artists of other disciplines> These include musie for a dance. wot}( wi;th choreographer Marsha Threlkeld; incidental music for the play Censored for the Invisible Theater in Tuc;son; and · music for' an , Arizona Commission on the Arts proinotfonal video. Mr. Vosk is published by· Kjos, Dorn Publications, Seesaw, Zalo Publications; and . Niqhbls Music. ·

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Pecking . Orders is . a playful scherz~ · for three piccolos. As. the title suggests, the piece consists of a handful of · birdcall-like motives. These motives are built upon a series of interchangeable .melodic and rhythmic patterns which· r,eappear in diffe.rent guises •throughout the work. From an · idiomatic standpoint, I purposely gave the piecolos a ·· lot. of rapid configurations so as to neutralize the likelihood· of · any intortatiOn 'challenges:' Pecking . Orders was conipl'eted , fo the. spring of this year. ·

Deborah Weagel is currently a graduate student in music theory and composition at the . University of :New Mexico. Her music has been performed in Utah and New ·Mexico, and her fliture plans include a doctorate in music · composition~ emphasizing operatic writing. ·

Conference Facilitators

Glenn Hackbarth, Conference Coordinator Professor Amy Holbrook, Paper Session Moderator Professor Samuel Pilafian, Brass Ensemble Coach

Dr. Gerald Bolt, Executive Assistant, Facilities and Events Paul Estes, Performance Events Manager Brent Gabrielsen, Electronics Engineer

Performers

Arizona State University New Music Ensemble Glenn Hackbarth, director

Arizona State University Percussion Ensemble J.B. Smith, conductor

Ryan Anthony Elizabeth Bayersdorffer

Brandy Clark Casey Farina

Gabe Lugo Doug Nottingham

Nick Rizzo Ryan Watson

Arizona State University Concert Choir

David Stocker, conductor Larry Smith, assistant conductor

Miriam Yutzy, accompanist

Arizona State University Faculty Performing Artists

Thomas Bacon Walter Cosand Jeffrey Lyman

Trygve Peterson Martin Schuring

J.B. Smith Robert Spring Joseph Wytko

New Mexico State University Faculty Performing Artists

Fred Bugbee Nancy Joy

Martha Rowe