The Twenty-Second

Annual National Conference

of the

American Society of University Composers

Northwestern University

April 8-12, 1987 • Evanston, Illinois

NOTES

Dean's Welcome

April 1987

TO: The American Society of University Composers

Dear Conference Participant:

We are pleased to be this year's host for the twenty-second meeting of the American Society of University Composers and I wish to take this opportunity to extend a wann welcome to you. The Conference Committee has planned an exciting conference and Northwestern University has provided the facilitites. The faculty of the School of Music have graciously contributed many hours in preparation for the performances you are about to witness. We hope that we have done our part to assure a successful conference.

On behalf of the faculty and the student body of the School of Music, please accept our very wann wishes for an outstanding conference. I look forward to the opportunity of meeting you.

Sincerely,

Thomas W. Miller Dean

r- --- - - - ----

National Chairman's Welcome

As national chairman of the American Society of University Composers, I am delighted to welcome you to the 1987 annual conference. Northwestern University is an ideal location for such a conference; its outstanding School of Music not only boasts a strong program in composition and contemporary music studies, but also offers us the advantages of a location only a few miles away from one of the great musical centers of the world. The ASU C conference program makes use of this proximity, in fact, in a variety of ways - ranging from presentations by Chicago jazz artists to a visit to the Chicago Symphony Orchestra (premiering a new work by Joan Tower, former Chairperson of ASUC Executive Committee, who will speak about the piece during the Evanston Conference).

There will be much to do and hear during these few days. Program chair Stephen Syverud, William Karlins and other members of the Northwestern School of Music faculty have done an outstanding job of putting together a series of events notable for breadth and variety. Distinguished figures such as Ben Johnston and Lou Harrison will be on hand to add their own special perceptions and perspectives.

Not least, of course, is the fact that our organization will be celebrating a new name and, reflecting that change, an expanded outlook. Our existence as the Society of Composers, Inc., will formally begin at the conclusion of the Evanston conference; let's use this occasion, then, to reflect upon our past, future, and ways in which we can preserve all the best of our impressive past achievements while exploring new avenues as well.

Sincerely,

Elliott Schwartz

American Society of University Composers National Council

Elliott Schwartz, Chairman Bowdoin College

Richard Hervig, Past Chairman University of Iowa

Allen Bonde Mount Holyoke College

Robert T. Adams Southeastern Massachusetts University

Gerald Chenoweth Rutgers State University

Max Lifchitz Columbia University

Thomas Albert Shenandoah Conservatory

James McVoy West Chester State College

Sylvia Pengilly Loyola University

David Kechley Univ. of North Carolina atWilmington

Michael Schelle Butler University

Thomas Wells Ohio State University

James Greeson University of Arkansas

W. Thomas McKenney University of Missouri at Columbia

W amer Hutchison New Mexico State University

Deborah Kavasch California State University aJ Stanis/ans

George Belden University of Alaska

Frank J. LaRocca California State University at Haywood

Reynold Weidenaar, Chairman New York University

Executive Committee Ting Ho

Bruce J. Taub Co-Edilor of Journal of Music Scores CF. Peters Corporation

Scott Eyerly Co-Edilor of Journal of Music Scores

Richard J. Brooks Nassau Comnumi.ty College

Joelle Wallach Submissions Coordinator

Edilor of Newsletter Montclair State College

Thomas Wells Director, Electronic Music Consortium Ohio State University

Phillip Rehfeldt Associate Representative

David Penri-Evans Louisiana Stale University

David Keane International Liaison Queens University I

Gerald Warfield, General Manager Martin Gonzalez, Executive Secretary I

_ _J

3:00 -11 :00 p.rn.

5:30-6:30 p.rn.

8:15-10:00 p.rn.

10:15 p.rn.

8:00 a.rn.- 1:00 p.rn.

8:00-9:00 a.rn.

9:00-10:00 a.rn.

10:30-11:30 a.rn.

11:30-1:00 p.rn.

12:00-1:00 p.rn.

Schedule of Events

Wednesday, April 8, 1987 Registration Pick-Staiger Lobby

Reception Regenstein Hall Student Lounge

Concert 1 • Vocal Pick-Staiger Concert Hall

Relax (Cash Bar) Lobby Bar Orrington Hotel

Thursday, April 9, 1987

Registration Pick-Staiger Lobby

Coffee Regenstein Recital Hall Lobby

Welcome & Introduction Regenstein Recital Hall Thomas W. Miller, Dean Northwestern University School of Music Keynote Addr~ Ben Johnston, composer

Concert 2 Pick-Staiger Concert Hall Steve Schick, percussionist

Lunch

Yamaha Digital Musical Instruments Regenstein 143 MIDI & FM Synthesis for Composition Howard Sandroff David Schoenbach

1:00-2:00 p.rn. Papers Regenstein Recital Hall "Micro-Tonal Systems for Clarinet: A Guide for Composers"

2:00-3:30 p.rn.

4:00-5:30 p.rn.

4:00-5:00 p.rn.

8:00p.m.

8:00 a.rn.-1:00 p.m.

8:00-9:00 a.rn.

9:00-10:00 a.rn.

10:30-11:30 a.m.

11:30 a.m.-1:00 p.rn.

1:00-2:30 p.rn.

E. Michael Richards "Silver Ladders" & ''Black Topaz"

Joan Tower Concert 3 Pick-Staiger Concert Hall Northwestern University Symphonic Band

Registration Pick-Staiger Lobby

Membership meeting Pick-Staiger Concert Hall

Chicago Symphony Concert Orchestra Hall Tower: Silver Ladders Barber: Concerto for Violin & Orch. Prokofiev: Symphony No. 7

Friday, April 10, 1987

Registration Pick-Staiger Lobby

Coffee Regenstein 011

Conversation between Ben Johnston and Lou Harrison Regenstein 011

Concert 4 • Chamber Music Pick-Staiger Concert Hall

Lunch and ASUC Executive Committee Meeting Norris Dining Room A

Concert S • Chamber Music Regenstein Recital Hall

3:004:00 p.m. Workshop: "Improvisation" Regenstein 011

Roscoe Mitchell, saxophone assisted by:

Jodie Christian, piano Malachi Favors, bass Steve McCall, drums

3:004:00 p.m. Yamaha Digital Musical Instruments Regenstein 143 MIDI & FM Synthesis for Composition Howard Sandroff David Schoenbach

4:00-5:30 p.m. Registration Pick-Staiger Lobby

4:30 p.m. Reception Hosted by Yamaha Corporation Orrington Ballroom

5:30 p.m. Banquet Orrington Ballroom

6:30 p.m. Presentation of ASUC/ Orrington Ballroom SESAC Award

Opening Remarks Thomas W. Miller, Dean

Northwestern University School of Music Introduction

Elliott Schwartz, Chairman American Society of University Composers

ASUC/SESAC Award Herbert E. Johnson, Vice President SESAC

Christopher Coleman, composer

8:15 p.m. Concert 6 Pick-Staiger Concert Hall Northwestern University Symphony Orchestra

10:15 p.m. Relax (Cash Bar) Lobby Bar Orrington Hotel

8:00 am. -1:00 p.m.

8:00-9:00 p.m.

9:00-10:00 a.m.

Saturday, April 11, 1987

Registration Pick-Staiger Lobby

Coffee Regenstein 011

Panel "Composers' Organizations"

Regenstein 011

Martin Sweidel, moderator; Frances Richard, ASCAP Patricia Morehead, New Music Chicago; Mwata Bowden, AACM

Richard Hobson, Cincinnati Comp. Guild; Homer Lambrecht, Minn. Comp. Forum; Robert Rodriguez, Texas Comp. Forum

10:30-11:30 a.m.

11:30 a.m.-12:30 p.m.

12:30-1:00 p.m.

1:00-2:30 p.m.

Concert 7 - Chamber Music Pick-Staiger Concert Hall

Concert 8 Friends of the Gamelan Lutkin Hall

Lunch

Concert 9 - Chamber Music Pick-Staiger Concert Hall

3:00 p.m. Papers Pick-Staiger Concert Hall "On Composers"

"Ben Johnson's Use of Just Intonation and Serialism" Heidi Von Gunden

"Some Aspects of the Choral Music of Elliott Carter" Marshall Bialosky

"Charm'd Magic Casements" - Mathematical Models in Ligeti Pozzi Escot

4:30 p.m. "Update on Source Licensing Legislation"

4:30-5:30 p.m.

Ralph Jackson, BMI Pick-Staiger Concert Hall

Yamaha Digital Musical Instruments Regenstein 143 Midi & FM Synthesis for Composition Howard Sandroff David Schoenbach

5:30 p.m.

6:00p.m.

8:15 p.m.

10:15 p.m.

8:00-9:00 a.m.

9:00-10:00 am.

10:30-11:30 a.m.

Reception (Cash Bar) University Club Orrington Hotel

Dinner Meeting - Elliott Schwartz and Regional Chairpersons - Place TBA

Concert 10 Pick-Staiger Concert Hall Northwestern University. Symphonic Wind Ensemble

Relax (Cash Bar) Lobby Bar Orrington Hotel

Sunday, April 12, 1987

Coffee Regenstein Recital Hall Lobby

Presentati.on Regenstein Recital Hall "How to Produce Your Own Record" Richard Brooks, Reynold Weidenaar

Concert 11 - Chamber Music Pick-Staiger Concert Hall

Programs Concert 1

Pick-Staiger Hall • Wednesday, April 8, 1987, 8:15 p.m. The Tyger Darrell Handel

Lucy Schaufer, mezzo soprana; Anne Lewandowski, oboe Julie Pagan, piana; Michael McLean, violin I Chris Fong, violin II; Mike Twomey, viola Douglas Kier, cello; Jay Gilbert, conductor

Voices Carol Barnett Identity Poem #1 Even Feminists Falter Love Poem for Tim a la Nerudea

Identity Opem #3 The Mermaid's Meditation I Didn't Know

Melissa Malde, soprana; James Crowley, guitar

Canti D'Innocenza Frank J. LaRocca Lucy Schaufer, soprana; Mark Lieb, clarinet

Donna Miller, harp; Sigurd Johnson, vibraphone Kent Kurrus, conductor

171st Chorus Jerome P. Kitzke April Arabian, soprana

Jeff Bradetich, bass

Intermission

Suite for Microtonal Piano Alarum Blues Etude Song Toccata

The Seafarer

Three Greek Lyrics

Abraham Stokman, piana

University Chorale Robert A. Harris, conductor

University Chorale Oliver Homana, oboe

Sigurd Johnson, percussion

Ben Johnston

Robert Stem

Richard Willis

Concert 2 Percussion Concert

Pick-Staiger Hall • Thursday, April 9, 1987, 10:30 a.m. Bricolage Peter Tod Lewis

Links No. 4 (Monk)

Schickstiick

Music for Marimba and Vibraphone

Antiphony VIII: (Revolution)

Steven Schick, percussionist

Concert 3 Contemporary Music Ensemble

University Symphonic Band

Stuart Smith

William Hibbard

Daniel Godfrey

Kenneth Gaburo

Pick-Staiger Hall • Thursday, April 9, 1987, 2:00 p.m.

Black Topaz Joan Tower Contemporary Music Ensemble

David Gale, piano; Mary Beth Knappen,jlute!piccolo Traci Carroll, clarinet/bass clarinet; Deborah Haburay, trumpet

James Hall, trombone; Sigurd Johnson, percussion Glenn Freeman, percussion; Don Owens, conductor

Overture "Life of the Land"

Symphony for Concert Band Pesante

= 52 Con fuco

The Second Voyage

Concerto for Band Sturdy Very quiet Enegico

Broken Blossoms , Op. 56

Intermission

University Symphonic Band John P. Paynter, conductor

Byron Yasui

D. Manuel Garcia

Paul Martin Zonn

Will Gay Bottje

David Noon

Concert 4 Chamber Music Concert

Pick-Staiger Hall • Friday, April 10, 1987, 10:30 a.m.

Another Look at October F. Gerald Errante, clarinet

Pieces of Night, I George Flynn, piano

Omaggi E Fantasie Jeff Bradetich, bass

Judi Rockey Bradetich, piano

Creatures from the Spirit World

The Bride's Complaint

B. B. Wolf -- an apologia

Kapture Mitchell Arnold, keyboard Sheldon Atovsky, keyboard

Paul Bro, soprano sax.ophone Jeff Handley, vibraphone

Carla Kusel, clarinet

Susan Charles, soprano

Jeff Bradetich, bass

F. Gerald Errante

George Flynn

W. Claude Baker

Sheldon Atovsky

Howard Sandroff

Jon Deak

Concert 5 Chamber Music Concert

Regenstein • Friday, April 10, 1987, 1:00 p.m.

Diversion for Four

Anachronisms

Sigurd Johnson, vibraphone Michael Pagan, piano Benjamin Musa, bass Stephen Hawk, drums

Janice Minor, clarinet David Smith, bass clarinet

Douglas Kier, cello Michael Pagan, piano

Don Owens, conductor

First Concerto for Flut.e and Percussion Earnest, Fresh and fastish Slow and poignant Strong, swinging and fastish

Nonaah

Drummer

Rachel Bardy,flute Sigurd Johnson, percussion Robert Cleary, percussion

Janice Misurell-Mitchell, flute Thomas Novak, basson

Julie Pagan, piano

2-Channel Tape

Ben Johnston

Peter Lieuwen

Lou Harrison

Roscoe Mitchell

Noah Creshevsky

Concert 6 University Symphony Orchestra Concert

Pick-Staiger Hall • Friday, April 10, 1987, 8:15 p.m.

Contrasts (The Web and the Wind) Harry Freedman

Sinfonie No. 2 UlfGrahn

Neon Night Stephen M. Gryc

I ntermi.ssion

Tombeau Michael Robin Kerwin Regan Grant, bass-baritone

AREYTOS : A Symphonic Picture Raymond Torres-Santos University Symphonic Orchestra

Victor Yampolsky, conductor

Concert 7 Chamber Music Concert

Pick-Staiger Hall • Saturday, April 11, 1987, 10:30 a.m.

Solar Ellipse 4-Channel Tape

Farewell Music Mixing with Wind and Light Over the Waves

Le Cheval Aile

Frederick Remke, saxophone Terry Applebaum, percussion

Mary Beth Knappen,jlute Douglas Johnson, bass

David Gale, piano Sigurd Johnson, percussion

Don Owens, conductor

Journal Entries 1985 The Effect of Neighbors in Spring Interlude Pendulum

Douglas Johnson, solo bass Chris Fong, violin

Colin Marshall, cello Richard Keitel, piano

Don Owens, conductor

Barry Truax

John Austin

Glenn Hackbarth

Don Diekneite

Concert 8 Friends of the Gamelon

Lutkin Hall - Saturday, April 11, 1987, 11:30 a.m.

Landrang Wilujeng (Slendro pathet manyura) Wilujeng is a traditional Javanese ladrang and is a musical greeting. It expresses the wish that all that follows will proceed smoothly and graciously.

A Well-Rounded Fanfare Barbara Bent

Main Bersama-sama Lou Harrison

Shimmering Water (laras slendro) Mario Omo

Kagok Pangrawit (laras pelog) Ki W asitodipuro

Giligilig (laras slendro) Paul Tobin

Accumulation (laras slendro) Daniel Schmidt

Slendrone (laras slendro) Robert Lombardo

Ladrang in Honor of Pak Daliyo Lou Harrison

This program is subject to change.

Concert 9 Chamber Music Concert

Pick-Staiger Hall• Saturday, April 11, 1987, 1:00 p.m.

Priere pour une infinite

Acts I

Barry Bennett, percussion Robert Cleary, percussion

Glenn Freeman, percussion Sigurd Johnson, percussion

Christopher Thomas, percussion Terry Applebaum, conductor

Barry Bennett, percussion Robert Cleary, percussion

Glenn Freeman, percussion Wiliam Seliger, percussion

Christopher Thomas, percussion Terry Applebaum, conductor

Four Individual Migrations

Nocturne

Sonic Etude

Mark Lieb, clarinet Robert Cleary, percussion Jeffery Fellers, percussion

Julie Pagan, piano

Debbie Culver, piccolo Ann Glazer, piano

Stephen Jones, piano

Richard Desilets

William Moylan

Orlando J. Garcia

Martin Rokeach

Stephen Jones

Concert 10 University Symphonic Wind Ensemble Concert

Pick-Staiger Hall • Saturday, April 11, 1987, 8:15 p.m.

Sinfonia Concertante for 21 Wind Instruments (1980) Michael Matthews

Concerto for Wind Orchestra (1984) Frederick Speck

Infinity for Symphonic Wind Ensemble (1981) Marilyn Shrude I. Where is the way to the dwelling of light . . . ?

The Book of Job II. In my ends is my beginning. T. S. Elliott

Intermission

Foung for Symphonic Wind Ensemble (1978) Ka Nin Chan

Angular Velocity for Large Wind Ensemble and Tape (1979) Frederick Bianchi

Osservazioni II for Winds, Keyboard, Robert Hall Lewis Harp and Percussion (1978)

University Symphonic Wind Ensemble John P. Paynter, conductor

Concert 11 Chamber Music Concert

Pick-Staiger Hall • Sunday, April 12, 1987, 10:30 am

River and Circle Heather Landes, flute

James Crowley, guitar

Fantasies for Soprano Saxophone and Tape

Three Pieces

Scampata No. 1

Kinetic

Karen Wylie, soprano SQX()phone

Tamara Chang, violin David Gale, piano

Peter Mason, horn Kenneth Thompkins, trombone

4-Channel Tape

* * *

Ron Warren

Lewis Nielson

Wendell Logan

Christopher Coleman

Charles Mason

Conductors will be very happy to meet with composers regarding worlcs being performed at this conference.

John Paynter has reserved 12:00 noon - 2:00 p.m. Monday thru Friday for this purpose. His office is Regenstein 050. Other conductors may be reached at their offices:

Don Owens, Regenstein 060 Robert Harris, Music Administration 32 Victor Yampolsky, Pick-Staiger Concert Hall 112

8:00 I 8:30 I 8:45

9:00

9:30 I I 10:00

10:30 10:45

I 11 :00

11 :30 12:00

I 12:30 , :00

1 :30

I 2:00

4:00 4: 15

4:30 5:00

5: 15

6:30

7:45 8:00

11 :00

ASUC DRESS REHEARSAL SCHEDULE

All dress rffiearsals will be on Pick-Stai~r Sta~ unless otllerwise indicated.

TUESDAY April 7

Set-Up

CME- Topaz Dress

S}1Tlfi:nic Baro Dress

WEDNESDAY THURSDAY FRIDAY SATURDAY SUNDAY Apri I 12 April 8 April 9 April 10 April 11

Johnston Atovskv Truax I Coleman

( (Stockman) Errante Hackbarth

! Nielson

Schick Flynn Creshev D1ekne1te j "'"" Rehearsal ~~~~r sky

Austin Logan 9:45 P~ .... Lieuwen Warren

Schick Comp. 10:45 ASUC Chambe ASUC Recital Faculty Harrison Concert I Chamber

Concert 10 :30 a .m. Concert Pere. Ensemb 1 e 10:30 a.m

set-up P/S Sta;: Mitchell B.J. j Friends

Desi lets Lieuwen Isola- , of i sts i Gamelon P.E. Reg. 011 ~arciaJ Lutk in Johnston

Moylan 12:45 ASUC P .E. Set-up P.E. Black Topa Chamber ~-------- -

Concert ASUC Charrtx>r

Set - up Reg. Rec. Concert Hall

S}lllhJnic Wird ftS£ Baro NJSO Ensarble Dress Cax:ert Dress

I Hande 1 I Rokeach !

5:00 LaRocca Desilets

1----

University 6:po Chorale Moy an

! Dress 7•00 - rtJSO $et-Lil

ASUC Vocal ASUC Occh'''''IASUC W•od ' Concert Concert Ensemble '

Concert :

! i

: :

! i

I

! I

i

Contemporary Music Ensemble Rehearsal ~chedule American Society of University Composers

Check Room Assignments - Carefully

Journal Entries - Diekneite - Performance April 11, 10:30 A.M. March 30 - 4: 15-6:00 H.M. Reg. 01 1 April 1 - 4: 15-6:00 P.M. Reg . 011 April 6 - 4:15-6:00 P.M. Reg. 011

Dress April 11 - 9:00-9:30 A.M. Pick Stage

Four Individual Migrations - Garcia - Performance April 11 , 1:00 P.M. March 30 - 6:00-8:00 P.M. Reg. 143 April 1 - 6:00-8:00 P.M. Reg. 137 April 6 - 6:00-8:00 P.M. Reg. Rec. Hall

Dress April 11 - 12:00-12:30 P.M. Pick Stage

Q_~k_.I.2.paz - Tower - Performance April 9, 2:00P.M. March 31 12:00-1: 50 P . M. Reg.

Reg. Pick Pick

011 011 Stage Stage

Apri I 2 - 12:00-1: 50 P .M. Apri ! 7 - 12:00-1: 50 P .M.

Drt:?SS April 9 - 12:45-1 :30 P.M.

Canti D' Innocenza - LaRocca - Performance April 8, 8:15 P.:!:1_. March 31 - 12:00-12:50 P.M. Pick Stage April 2 - 12:00- 12:50 P.M. Reg. 139 April 7 - 12:00-12:50 P.M. Reg. 011

Dress April 8 - 5:00-5 :30 P.M. Pick Stage

The Tyger - Handel - Performance April 8, 8:15 P.M. Ma r~c h;,-,.3,.,.1----'->1...,.: """oo,..._-.1"":.,.5,.-o P . M. April 2 - 1:00-1:50 P ~ M . Apr i 1 7 - 1 : 00-1 : 50 P. M.

Dress April 8 - 4:15-5:00 P.M.

Reg . 139 Reg . 139 Reg. 011 Pick Stage

Divers ion for Four - Johnston - Performance April 10, 1:00 P.M., Reg. Rec. Hall March 31 - 6:00-8 :00 P.M. Pick Stage

Anachronisms - Lieuwen

Apri l 2 - 6:00-8;00 P.M. Reg. Rec. Hall April 7 - 6:00-8:00 P.M. Reg. 011

Dress April 10 - 12:30-1:00 P.M. Reg . Rec. Hall

- Performance April 10, 1:00P.M., Reg. Rec. Hall March 31 - 8:00-10:00 P.M. Reg. Rec. Rall Apri I 7 - 8: 00-10:00 P .M. Reg. 011 April 9 - 12:00-12:45 P.M. Reg. 011

Dress April 10 - 9:45-10:40 A.M. Reg. Rec. Hall

Le Cheval Aile - Hackbarth - Performance April 11, 10 :30 A.M. April 2 - B:UO-TO;OO P.M. Reg. Rec. Hall April 8 - 4:15-6:00 P.M. Reg. 011

Dress April 11 - 8:30-9:00 A.M. Pick Stage

FJntJsies for Soprano Saxophone and Tape - Nielson - Perf. Apri l 12 , 10:30 A.M. ------- March 30 - 10:00 A.M.-12:00 P.M. Reg. 011

TO OE ANNOUNCED

April 6 - 10:00 A.M.-12:00 P.M. Reg. 011 Apri 1 8 - 10:00 A.M.-12:00 P.M. Pick Stage

Dress Apri 1 12 - 8:45 A.M.-9:30 A.M. Pick Sta~

Nonaah - Mitchell ~and Circle - Warren Voices - Barnett NOCIUrne - Rokeach Scampata No. 1 - Coleman Three Pieces - Logan Concerto No. 1 - Harrison

Performer and Composer Biographies and Program Notes

April Arabian is currently a member of the Northwestern University School of Music Faculty where she directs the vocal jazz program. After receiving both the Bachelor and Master of Music degrees from Western Michigan University, she severed a one year teaching appointment replacing Steve Zegree as director of the Gold Company Program, WMU's nationally acclaimed vocal jazz ensemble. She has made several demonstration recordings for Hal Leonard Publications, Jensen Publications, and Columbia Productions, in addition to recently complete commerical recordings.

Ms. Arabian currently resides in Chicago where she works professionally as a singer and performer. She also remains active as a clinician and adjudicator throughout the midwest

Sheldon Atovsky is a composer, performer, teacher and producer currently on the faculty of DePaul University, Chciago. He is co-founder of Kapture which celebrates its 10th anniversary season this year and of New Music Chicago, a production and service organization.. He received his DMA from Northwestern University where he was a student of Alan Stout Atovsky has written over fifty works in all media and has specialized in vocal improviations, multi-meida events and pattern music for ensembles.

Creatures from the Spirit World is the prelude to Depart des Ark, a large work for dance theater based on the story of Noah's Ark, with choreography by Susan Bradford. Influences of the Javanese Gamelan, West African polyrythms, contemporary rock music and the music of Robert Moran are present in this piece. This performance is by members of the new music ensemble Kaputre: Mitchell Arnold and Sheldon Atovsky, keyboards; Paul Bro, soprano saxophone; Steve Elkins, vibraphone; Carla Kusel, clarinet.

Mitchell Arnold is a composer and conductor and performs on piano and trombone. He has taken both Bachelors and Masters Degrees in composition at Northwestern University, where he studied with Alan Stout, Robert Moran, and Peter Gena He has studied conducting with Paul Vermel at the University of Illinois at Champaign-urbana and with Dr. Jon Robertson and Keith Igarashi at the Redlands Syumphony Orchestral Conducting Institute. As an assistant professor of msuic at Mundelein College, he teaches music theory, piano, and composition; he is also the dirctor of brass ensembles at Northwestern and conductor of the Pitzen Brass Ensemble. He conducted the premiere of Robert Moran's singspiel, Leipziger Kerzenspiel, at Mt. Holyoke College (II 85) and again at the Asia Society in New York (IV 85). He was a founding board member of New Music Chicago and a member of the Field Museum Gamelan Repertoire Ensemble.

Recent grants and commissions include: Illinois Arts Council Artist Fellowship (1984-85); William Bennet, oboe, Carnegie Recital Hall, NYC (4 II 79); Donald Schyultz, trumpet, Candadian Broadcasting Corporation (1981); Daphne for A Dance Ensemble (V 79).

John Austin was born in 1934. After composition study with Roy Harris, he received a degree from Harvard Lawe School but only practiced for a yaer before returing to music full time. He studied composition with Robert Lombardo and Ralph Shapey, earning a Ph.D. from the University of Chicago in 1981. That same year, he returned to law practice afater a 20-year absence and paresently composes as time and energy permit

Farewell Music Mixing with Wind and Light Over theWaves, written in collaboration with Fred Hemke and Terry Applebaum, is in memory of my son who was a saxophone player and sailor, The title reflects vivid memories of him hanging out over sparkling water, the boat heeling over in the wind. The music consists of excursions from the opening music and returns to variants of it

Claude Baker studied at the Eastman School of Music, where his principal composition teachers were Samuel Adler and Warren Benson. As a composer, he has received a number of professional honors including BMI-SCA and ASCAP awards; the 1985 George Eastman Prize; two Kennedy Center Friedheim Awards (1979, 1984); a "Mauel de Falla" Prize (Madrid, 1976); residencies at Yaddo and the Mac Dowell Colony; and grants from the New York State Council on the Arts and the Rockefeller Foundation. Mr. Baker is currently a Professor of Theory and Composition in the School of Music at the University of Louisville, Louisville, Kentucky.

Omaggi e Fantasie for Double Bass and Piano is comprised of three central movements, each paying homage to a well-known, twentieth-century composer, and each preceded by a "fantasia." The music of the fantasias themselves alludes to a particular work by a fourth composer, whose identiy emerges unmistably from the initial respose to and enjoyment of the piece by a knowledgeable listener were I to reveal the composers to who tribute is given for my own compositional development. It is hoped, however, that even if the listener is unfamiliar with these composers, his or her appreciation of the work on a purely musical level will in no way be affected.

Carol Barnett graduated from the University of Minnesota in 1976 with a Mater of Arts in theory and composition. Her teachers include Paul Fetler and Dominick Argento. She is a member of the Minnesota Composers Forum. and currently works as a free-lance copyist, composer and flutist in Minneapolis.

Voices was composed for teh Minnesota Composers Forum's Composers Commissioning Program. and was first sung by the author of the poetry, Nancy Cox. On a whim, I picked these particular poems out of Nancy's oevre because they all begin with "I." I also liked the blend of fantasy and reality that I found in them. The music itself uses frequent word painting: "waves" of notes up and down for water and wind, and sharply plucked minor seconds for the mermaid's painful steps are two examples.

Marshall Bialosky is a Professor of Music at California State University Dominguez Hills where he was the founding chairman of both the music and art departments. A past regional chairman of ASUC, he was also National Chairman from 1974 to 1977. Currently, he is the president of the National Associaiton of Composers/USA (NACUSA), a post he has held since 1978.

Frederic Bianchi is a member of the theory and composition faculty and director of electronic and computer music at the Cincinnati Conservatory of Music, University of Cincinnati. He has studied at Kent State University, CLeveland State University, the State University of New York at Stony Brook, and Ball State university where he received a doctorate in theory and composition in 1985.

Angular Velocity consists of a number of cariations which use timbre, density, speed and texture as its motivic material. The tape, which must be accurately synchronized with the ensemble, plays a variety of roles throughout the work. The tape is often integrated with the ensemble and requently used to inititate specific rhythmic events. The tape is also used as an acoustical extension of individual instruments or the entire ensemble, both relying heavily on the juxtaposition of cellular motives in order to create diverse acoustical relationships.

Since his retirement from Southern Illinois University Will Gay Bottje has been writing extensively. Commisions have included those from teh West Shore Symphony, Pro Music Orchestra (of Columbus), University of Wisconsin - Parkside, Grand Haven Community Foundation, Anthony Kooiker, Musica Sonora and others. Extensive research is being carried out on alternate tunings, both equal and proportional, including four volumes of short pieces, Sparks from a New Flint. He continues to teach a class in electronic music at Grand Valley State College.

The title Concerto for Band is used somewhat in the Baroque sense of Concerto Grosso, an alternation of solo and concerted sections. There are three movements, the first introducing a principle ritornello theme, which is then developed throughout the movement., The second features a rather atmospheric interplay of sonorities and an extended clarinet solo. The third, a rather straightforward rondo, develops its principle theme until it becomes a five-part canon.

Mwata Bowden studied clarinet in college and played saxophone after college, touring with many blues bands and R & B groups. In 1973 he met members of the AACM; this changed his career direction. He toured Eruope with the AACM Group Quadrisect in 1977, as they showcased his music. His group, Sound Spectrum, appeared on the 1984 Kool Jazz Fest, again showcasing his original material. Presently he conducts Music Residencies for Urban Gateways and teaches clarinet and theory at the AACM School of Music.

Proclaimed by the New York Times as "the master of his instrument" Jeff Bradetich is one of the leading performers and advocates for the bass in the U. S. today. He has given debut recitals in Carnegie Hall in New York and Wigmore Hall in London and areleased his first solo album in 1985. He recently reveived an NEA grant to promote his solo career. Mr. Bradetioch received his BM degree from Northwestern University in 1980, and is cuarrently Assistant Profgessor of bass at NU and Executive Director of the International Society of Bassists and Editor of its magazine.

Judi Rockey Bradetich received her MM in accopaning from USC in 1979. She has accompanied the master classes of Gabor Rejto, Charles Treger and Milton Katims and has been staff accompanist at the National Music Camp, Music Academy of the West and the Red Lodge Music Festival.

Paul Bro, saxophonist, received a BM from Iowa State University, and MM from Northwestern Universtiy, and is currently persuing a DM at Northwestern where he studies with Dr. Frederick Hemke. Mr. Bro is also a saxophone instructor at DePaul Unviersity. He is a member of the Chicago Saxophone Quartet and has performed with the Chicago Symphony Orchestra, the Milwaukee Symphony Orchestra, the Grant Park Orchestra of Chicago, the Loop Group, and several other local musical organizations. Mr. Bro has been the saxophonist for Kapture since 1983.

Richard Brooks lives in Brooklyn and teaches at Nassau Community College on Long Island where he has been Chairman of the Music Department since 1983. He served as Chairman of the Executive Committee of the ASUC from 1977-82. He presently serves as Secretary of the American Composers Alliance. His compositons have been performed extensively throughout the US and in France. In addition to producing the ASUC record series, he and Reynold Weidenaar also produce Capstone Recoards. Dr. Brooks also received awards in composition from the NEA, the State University of New York and the American Music Center.

Chan Ka Nin was born in Hong Kong in 1949 and moved with his family to Vancouver, Canada at the age of fifteen. He later sutdied composition with Bernard Heiden at Indiana University where he received his masters and doctoral degress . Currently he is on the Faculty of Music at University of Toronto teaching theory and composition. Last year his piece for solo harpsichord won two prizes at the Alienor Composition Awards in Washington. This year his commissioned pieces for Esprit Contemporain Orchestra (Toronto) and Societe de musique contemporaine de Quebec chamber ensemble are being premiered.

Foung is a transliteration of Chinese word meaning "wind." In general, the work unfolds itself with a gradual crescendo to a climactic middle section, followed by a soft section and finishing with a dynamic ending. The piece consists of a combination of opposing elements: well tempered pitch and micro-

toanl pitch, metric and non-metric notation, dissonant clusters and consonant modal melodies and fluctuating tempi. A generative three note cell B-C#-G is first introduced by the chimes near the beginning. Transformation of this cell in the meldoic lines permeate the whole work. The harmony is mostly made up of clusters; however a "serene" C Major triad is also used to enhance the sonic beauty.

Susan Charles, soprano, received a Master of Music degree in Voice from the University of Texas at Austin. After studying at the Munich Conservatory of Music, she joined the faculty of the Music Center of the Northshore. Ms. Charles is active as a recitalist, specializing in the 20th century art song.

Christopher Coleman is a doctoral student in composition at the University of Chciago. He has studied with Ralph Shapey, Shulamit Ran, George Crumb, Richard Wernick, and George Rochberg, among others. He received first prize in the 1987 ASUC/SESAC student Composition contest for his String Quartet No. 1. His music is published by Music for Percussion, Inc. and Crown Music Press. Currently he teacher acoustics at Columbia College in Chicago.

"Frequently, after having complete a lengthy "serious" work I have turned to shorter, ligher pieces as a compositional catharsis. I composed Scampata No. 1 immediately after compkleting the fist half of my lengthy song cycle Disapperances. The title is a fourth-century Italian term which refers to a deliberately out-of-tune performance or mock serenade played outside the homes of newlyweds or obnoxious townspeople. The present work is dedicated to my two good friends George Strobel and Rick Land."

Noah Creshevsky has studied with Virgil Thompson at the State University of New York at Buffalo, Nadia Boulanger at L'Ecole Noramle de Musique in Paris, and at the American Conservatory in Fontainebleau. His Masters degree is from the Juilliard School where he was a pupil of Luciano Berlo. His work has had the support of grants from ASCAP, the New York State Council on the Arts, and the National Endowment for the Arts. PResently, he is on the faculties of the Juilliard School and Hunber College, and cuarrently professor of music at the Conservatory of Music of Brooklyn College of the City University of New York.

Like ordinary hats, rabbits, and bits of cloth that are refashioned in a magic show to create illusion, Drummer's familiar Times Square sounds removed from their banal, random, and violent origins - have been compositionally manipulated to form the happy deception of inentionality, purposefulness, and schematic orderliness. This is achieved by means of splicing and arepetition, and most strongly by the careful punctuations and superimpositions of the highly organized drummer. The unexpected splash of glitter which is the piece's fianl sound is not much different from the conjurer's dramatically gaudy puff of smoke.

Jon Deak has appeared as recitalist, lecturer, street musician, and is currently associate principal bassist with the New York Philharmonic. As a composer, Mr. Deak has received awards from the arts councils of most of the majro states, the Francis Goelet Foundation, the National Endowment for the Arts, CBC Radio Canada, ASCAP, and many performing arts organizations including the New York Woodwind Quintet, the Washington Ballet and the New York Philharmonic.

Since B. B. Wolf introduces itself quite clearly, program notes are superfluous. (Nevertheless here are some notes) Only three items need to be mentioned. 1.) The piece was written for my good friend and mountaineering buddy, Richard Hartshorne, who also wrote the text. 2.) I loved working out the technical details of the music, physical movement, vocal speech, instrumental and percussive rhtyhm - yes, it is quite a challenge for a bassist to learn. 3.) Lastly, I'm proud to say, that several wildlife conservation groups are now interested in the work, for reasons which should become clear.

Richard Desilets was born in Magog in 1957. He obtained his Masters in Music at the Universite de Montreal where he studied compostion with Serge Garant and electro acoustic composition with Marcelle Deschenes and Francis Dhomont In 1985; he participated in a concert of "Les evenments du Neuf' with his score Metamorphose Du Cri, organized by the National Tribue of Yong Composers. The catalogue of his works consists of some twenty titles. His works are regularly performed in Canada and he has received many awards.

Priere pour Une Infinite. A savage, even brutal, prayer of this very moment. This work is built upon a motif of Balinese inspiration and developed in the form of a series of twelve tones. Priere pour Une Infinite won a silver medal at the Seventh National Young Composer's Competition on November 14, 1986.

Don Diekneite was born in St Louis, Missouri and currently resides in Bloomington, Indiana where he is a Lecturer in Music at Indiana University. His degrees include a BM from Webster University, and an MM and DM in Composition from Indiana University. Mr. Diekneite has composed for a wide variety of electronic and acoustic media. He is currently working on commissions from the Ronen Chamber Ensemble of Indianapolis and the chamber-theatre group Tales and Scales from Evansville, Indiana.

"Journal Entries, 1985, is one of several pieces I have written which bean the Journal Entries title. The premise behind these pieces is to use ideas which have been collected but never used in previous works. This piece is subtitled "Three Pieces for Solo String Bass, Violin, Cello, and Piano." The first and thrid pieces are loosely based on song forms, while the second piece is a recitative-like interlude between the more energetic outer movements. One of the main gists of this work is the tension created by contrasting hard-driving percussive rhythms with softer, more sustatined sounds. These contrast happen both simultaneously and in succession."

F. Gerard Errante is a clarinetist of international stature whose performances have won highest praise from the music centers of the United States, Europe, Australia, and New Zealand. A native of New York City, Errante holds a Doctor of Musical Arts degree from the University of Michigan and is widely published in a variety of journals. He has recorded for the CRI label, Mark Educational Recordings, Capstone Records, and for national aradio stations throughout the world. Currently Dr. Errante is Professor of Music at Norfolk State University in Norflok, Virginia and Co-Director of the Norfolk Chamber Music Consort.

Annther Look at October was written during the summer of 1984. It is a somewhat autobiographical work looking back at the previous October, which had been a time of personal crisis. The emotional content ranges from quiet resignation to screaming rage. Employed in the composition is a variety of extended techniques including multiple sonorities, microtones, air sounds, timbre alteration, and singing while playing.

Pozzi &cot "is to me the most interesting and original woman compsoer now functioning," writes Virgil Thomson. She was recognized as one of the five outstanding women composers of the 20th century in 1975 when her work Sands (1966) was performed by the New York Philharmonic. A noted theorist, she has co-authored the books Sonic Design, published and lectured extensively here, in Europe and China. A professor at Wheaton College and New England Conservaory Graduate School, she is considered a Renaissance scholar having developed an interdisciplinary conception of music. She is also the editor of the journal Sonus.

- Bill Wald, Spectrum Records

George Flynn chairs the Composition Department at The School of Music, DePaul University, where he holds the rank of Professor. Flynn's fifth recording - his performance of his Kanai for solo piano - will be released by Finnadar Records this spring.

Pieces of the Night is a set of three anti-nocturnes (nightmares of a sort), of which the first will be performed at this concert. It consists of an indtroduction leading to a lullaby (the steady rhythm) that becomes fitful and violent before degenerating into a series of roiling textures. A transition leads to a second lullaby before a quiet reprise of the opening sounds.

Harry Freedman was born in Lodz, Poland in 1922 and came to Canada at the age of 3. He attended Winnipeg School of Art during his teens. At 18, he began studying clarinet and harmony/counterpoint After four years in the Air Force, he switched to oboe and composition while attending the Royal Conservatory of Music in Tomoto. The following year he joined the Tornto Symphony on English horn and remained until 1970 when he resigned to become a professional composer. A charter member of the Canadian League of Composers, he was named Composer of the Year in 1979 (Canadian Music Council) and was appointed "Officer of the Order of Canada" in 1985.

Contrasts (The Web and the Wind) consists of two contrasting movements. The subtitle is the title of a poem which suggested the form of the work - there is nothing in the music descriptive of either web or wind In the first section, there is a refinement of a melodic device I have used previously. Several instruments play very busy lines, all within the same small interval. It is the texture within that interval that rises and falls to form what might be called a textural melody.

Kenneth Gaburo (b. 1926) is internationally recognized for his innovative work including 110 experimental compositions, and numerous philsophical, asethetic, socio-political writings. He founded New Music Choral Ensemble in 1%0 (200 new works performed); lingua Press in 1974 (115 publications by 71 authors): and honors include Guggenheim, UNESCO, Thorne, Fromm, Rockefeller, and Koussevitzky.

In 1984 Antiphtmy VIII (Revolution) for one percussionist and tape was premiered (CalArts). Gaburo regards Aniphony VIII as a theatre in which a percussionist functions as performer, acrobat-dancer, and actor. A complex score is played from membory on forty percussion instruments made of steel and skin. Steel and skin represent death and life respecitvely. The performer is asked to experience five changes of being, namely: indifference, distraction, denial, firre­with-fire, uncertainty. These states reflect certain current societal attitudes toward Nuclear War.

David Manuel Garcia received his undergraduate and Masters degrees at Bowling Green State University (Ohio) where he studied with Burton Beernman, Donald M. Wilson and Wallace E. DePue. He began his doctoral studies at The Florida State University under John Boda. He completed his Doctorate at the Ohio State University studying with Thomas Wells and Gregory Proctor. Garcia is on the faculty of Worcester State College in Massachusettes, where he teaches theory and composition. He is the Director of Bands, and the Choral Director at Worcester State.

Symphony for Band was completed in August of 1986, and will obtain its premiere performance at this conference. In the three movements (the second and thirdare continuous), I have given personal tribute to three colleagues; the first, based on his initials D.B., the second containing his favorite music device, the "horn fifths," and third, a firey (con fuoco) reflection of a musician whose passion is work and music. All are represented with gratitude as my mentors.

Orlando J. Garcia was born in Havana, Cuba in 1954 and emigrated to the U.S. in 1961. He received his doctorate in music from the University of Miami, Florida. His teachers have included David Del Tredici, John Corigliano and Morton Feldman. Garcia's works have been performed throughout the U.S., including recent and upcoming performances as part of the Brooklyn Philharmonic Chamber Series, the North/South Consonance Series, Albany and Memphis State New Music Festivals and Composer's Forum cocnert series. Dr. Garcia is the founder and President of the South Florida Composer Alliance and

is currently teaching theory and composition courses at Florida International University, the University of Miami and the New World School of the Arts.

"Four Individual Migrations is a work that is based on varying degrees of harmonic and rhythmic synchronization between four instruments. As with many of my works, a main concern is the counterpoint between various aspects of registration, orchestration, density and pacing. An appropriate metaphor for this composition is the individual musical journeys of four instuments which at times cross paths and intertwine. After today's preiere performance, the work is scheduled for performance next week in New York as part of the Brooklyn Philharmonic's Chamber Music Concert Series."

Daniel S. Godfrey received his MM from Yale University and his Ph.D. from the University of Iowa, both in composition. He has taught theory and composition at the Unviersity of Pittsburgh and is currently Chair of Composition and Theory at the Syracuse University School of Music. He has received a variety of commissions and awards, and his works have been performed and broadcast throughout the U.S. and in Europe. A number of works are published by Margun Music and recorded on the Orion label.

Music for Marimba and Vibraphone was commissioned by St.even Schick and paremiered by him in Pittsburgh in February 1983. The work is intended to provide a challenging showpiece for the percussionist as concert recitalist, one that calls for a full display of four-mallet virtuosity. There are two movements: a quiet and lyrical introduction followed by a longer movement, most of which is very fast. The entire piece is generated from a nucleus of very simple ideas, which appear in various guises throughout both movements.

Ulf Grahn (b. 1942 Solna, Sweden) is a resident of the Washington D. C. area since 1973 where he has been actively involved in the promotion of new music. He holds degrees from SMI, Sweden and the Catholic University of America. In 1973 he founded the Contemporary Music Forum and served as its Program Director until 1984. Presently he is on the faculty of George Washington University and is a free-lance reporter for the Swedish Radio Music Department on American Music. Mr. Grahn has received numerous grants and commissions from the Library of Congress, Swedish Radio, Contemporary Music Forum, Washington Music Ensemble, and Duo Contemporain. His works have been performed and broadcast throughout the world.

Sinfonie No. 2 was commissioned by the Stockholm Philharmonic for the 1983/84 season and premiered in Stockholm by them in June 1984. The work is in one movement but with clear sections that, in tempi, follow the traditional symphony. Sinfonie No. 2 is a journey/experience beginning with a small germ which grows, changes character and identity creating different modes while building an organic form and a natural flow without giving away surprises in advance. It expresses things that cannot be explained or expressed by any other means of communication then sounding in an actual performing reality.

Regan Grant, a native of Saskatchewan, has a B.F.A. in acting from the University of Regina. He is working on a Bachelor of Music degree at the University of Topronto, while studying con-currently at the Tomto Opera School.

Stephen Gryc received his Doctor of Musical Arts degree from the University of Michigan. He is currently Assistant Professor of Composition and Theory at the Hartt School of Music, the University of Hartford, where he is also Co-Director of the Center for Computer and Electronic Music. Mr. Gryc's orchestral music has been widely performed by professional and college oarchestras, and in 1986 his Three Orchestral Sketches won the ASCAP/Rudolph Nissim Award.

"Neon Nights is an urban nocturne. The piece begins with an energetic outburst of sound. Just as the colors of neon lights seem more brilliant because of the surrounding soft.er music. When the piece gives way to a slower tempo and more subdued mood, the energy of the work's opening is still present as an undercurrent. The suppressed explosion for full orchestra near the end of the piece reminds me of the way city lights look from a distance. The piece ends with a quick acceleration into silence. As with other of my works, the title of the piece suggested a visual metaphor which established the musical goal of achieving the brilliant effects of light and color produced by neon lights."

Heidi Van Gunden is an Associate Professor at the University of Illinois. Publications include The Music of Paauline Oliveros and The Music of Ben Johnston, currently she is studying East.em influences upon contemporary American music.

Glenn Hackbarth (b. 1949) is currently on the faculty at Arizona Stat.e University where he directs the New Music Ensemble and the Electronic Music Studios. He has received fellowships from the Arizona Commission on the Arts and the National Endowment, ASCAP composer awards since 1980 and four university grants for composition and recording. Hackbarth holds a DMA from the University of Illinois where he studied with Herbert Briln, Ben Johnston and Edwin London.

Le Cheval Aile (1982) was composed on a grant from Arizona Stat.e University. The tape consists primarily of electronically generated and comput.er­controlled sounds which begin as complex layerings of activity and gradually dissolve during the course of the composition. Spoken t.ext herad in several locations is drawn from the diary kept by Jean Cocteau during his filming of Beauty and the Beast, the title of the work coming from the last few lines of the t.ext Le cheval aile miroit.e sous l'eau de la source qui coule. La lune eclair une flaque d'encre. (The winged horse reflected in teh spring's flowing wat.er. The moon lighting a lake of ink.)

Darrell Handel is on the faculty of the Cincinnati College­Conservatory of Music. His awards include the first place choral work, 1976 International Bela Bartok Competition, six ASCAP awards, and Bicentennial commissions from the Columbia and Charleston Symphonies. Recent performances include Mooncyc/e by Composer, Inc., in San Francisco, Chamber Concerto for Harp by North/South Consonance in New York and Rosalind Rees' premiere of his song cylce Lou and Ella's Pi/loo last month in Cincinnati.

The Tyger (1984). The simple direct words by William Blake make a compelling statement at several levels, from the literal to the abstract. The deliberate pulse, charming rhyme, and provocative imagery form a kind of music of their own.

Jeff Handley, percussionist, received his bachelor of music degree from DePaul University, Chicago. He was principal percussionist with the Civic Orchestra of Chicago, 1985-86, and has played with the Chicago Symphony Orchestra, Lyric Opera of Chciago Orchestra, Orchestra of Illinois and the Chicago Contempoarary Players. Currently he is pursuing a master of music at DePaul and is playing with the Elgin Symphony Orchestra.

Robert A. Harris is a member of the faculty of the School of Music at Northwestern University where he holds the position of Professor of Conducting and Director of Choral Organizations. Prior to joining the faculty at Northwestern in 1977, Dr. Harris taught at Wayne State University and at Michigan State University. Dr. Harris earned his Ph.D. degree in composition from Michigan State University and has undertaken graduate and post-doctoral studies at the Eastman School of Muise and the Aspen Music School where he was a Rockefeller Fellow. His compositions, especially those in the choral medium, have received performance throughout the United States as well as in several European countries.

Lou Harrison studied with Henry Cowell (1934-5) and Arnold Schoenberg (1941). In 1943 he moved to New York where he was influenced by Virgil Thomson who became a champion of his works. He received a grant from the American Academy and Institute of Arts and Letters (1947), and shortly thereafter he left to teach in Portland, Oregon and then at Black Mountain College. He returned to California and settled in Aptos. In 1952 and 1954 he was awarded Guggenheim Fellowships. From 1957 to 19()() Harrison worked in an animal hospital, composing at night, and in the early 19()()'s traveled to the Far East: a Rockefeller grant enabled him to study first in Korea with Dr. Lee Hye-Ku and in Taiwan with Dr. Kiang Tsai-Ping, who taught him the principles of Korean court music and Chinese classical music respectively. His activities as an instrument builder were intensified while pursuing his lifelong interest in pitch relations and his belief in just intonation. In 1967 he began teaching at San Jose State University. In 1970 he was music director of Pauline Benton's Red Gate Shadow Players, presenting Chinese shadow plays with Chinese music. During the same year he gave a series of Chinese concerts with Kenneth Rexroth reading his own translations of Chinese texts. In 1974 he developed an advanced polytechnic music theory course: World Music Theory (which he taught at Stanford in 1974, San Jose State University from 1974-82, the Center for World Music in Berkeley 1975, University of Southern California 1977, and Mills college 1980-82). In 1977 he designed and constructed with William Colvig two major Javanese Garnelan orchestras. In the last ten years he has composed one major work per year and toured frequently as a lecturer, keynote speaker on American composers to major universities across the U.S. In 1980 he was given a Milhaud Chair at Mills College and continued teaching there until his retirement in the spring of 1985. Lou Harrison's compositions demonstrate a variety of means and techniques. In general he is a melodist. Rhythm has a significant place in his work too. Harmony is unimportant. He is one of the first American composers to successfully create a workable marriage between Eastern and Western forms. "The richness of his legacy resides in the eclecticism and universality of its vision."* Lou Harrison says: "Cherish, Conserve, Consider, Create." *(Peter Garland program notes from Lou Harrison's 60th Birthday Concert)

Frederick L. Hemke is a prominent saxophone virtuoso and Professor of Music at Northwestern University and Visiting Lecturer at the Interlachen Arts Academy. Dr. Remke is Chairman of the Department of Wind

and Percussion Instruments at Northwestern University, and performs as saxophonist with the Chicago Symphony Orchestra. He serves as an Educational Consultant to The Selmer Company, Elkhart, Indiana. A graduate of the University of Wisconsin and the Eastman School of Music, Dr. Remke was a student of Marcel Mule at the Conservatoire National de Musique in Paris, France, where he became the first American to win a Premier Prix in saxophone.

William Hibbard was born in Newton, Massachusetts in 1939, received his B.M. in violin and M.M. in composition from the New England Conservatory of Music, and his Ph.D. from the University of Iowa. He has been Music Director (and now Director) of that University's Center for New Music for the past 21 years. His most recent work is Handwork for solo piano, written for Garrick Ohlsson.

"Schickstuck for solo vibraphone was inspired by the virtuosity of the percussionist in the University of Iowa's Center for New Music at that time, Steven Schick. I wrote it to honor as well as celebrate his talents. Here his virtuosity calls for control and understatement, concentration and distillation: one set of mallets throughout playing lone lines of slowly evolving pitch material, bare octaves, a frequently 'monotonous' rhythmic flow of evenly spaced pulsations, and very subdued dynamics."

Richard Hobson holds the Bachelor of Music degree in flute and composition from the College-Conservatory of Music of the University of Cincinnati and the Master of Music degree in composition from the Shepherd School of Music of Rice University. He studied flute with Robert Cavally and composition with Scott Huston, Ellsworth Milburn, David Barton and Lukas Foss. Hobson is active as composer, arts administrator and flutist specializing in the performance of contemporary music. He has been active with the Cincinnati Composers Guild since 1980, having served as Concert Director, Director of Finance and Development and in June of 1986 was elected the organization's President. Mr. Hobson works as a management and development consulatant to arts organizations and holds the position of Assistant Director of Development at Thomas More College in Northern Kentucky (Greater Cincinnati).

Ralph N. Jackson, BMI's Assistant Driector of concert Music, has a multifaceted background as a composer, music educator and new music advocate. After receiving a BM degree in oboe performance and a MM in composition from The University of North Carolina Greensboro and was Composer-in­Residence with the Center for New Music at the University of Iowa. Moving to New York City in 1979, he represented G. Schirmer Music Publishers as Coordinator of Performance Activities before joining the BMI staff in 1980.

Ben Johnston is Professor Emeritus at the University of Illinois at Urbana-Champaign where he has been since 1951. He was born in 1926 in Macon, Georgia. He holds degrees from William and Mary College, Cincinnati Conservatory of Music, and Millas College. His principal teachers of composition were Darius Milhaud, Harry Partch, and John Cage. He has had

fellowships from the John Simon Guggenheim Foundation, the National Endowment on the Arts and the Center for Advanced Studies of the University of Illinois and commissions from the Walter W. Naumberg Foundation, the Paul Fromm Foundation, the Smithsonian Institution, and Radio Polski. He is best known for his compositional works in extended just intonation, many of which are microtonal.

Diversion for Four is a twelve-tone jazz piece for combo. It was composed for a Composer's Forum concert in New York City but not completed in time for the program. The premier only occurred in 1983 at Northwestern University.

Stephen Jones (b. 1960) is a doctoral student in composition at the University of Cincinnati's College-Conservatory of Music, where his teachers include Jonathan Kramer and Allen Sapp. Additionally, he has studied with Joseph Schwantner, Earle Brown, and Frederick Rzewski. Jones completed undergraduate work at Brigham Young University and received his Master's Degree from the University of Cincinnati in 1986. He has won several prizes and awards, the most recent being first place in the solo voice category of the National Federation of Music Clubs Young Composers Contest A grant from the Barlow Endowment for Music Composition will fund a new work commissioned by the Emory University Wind Ensemble in Atlanta, Georgia, to be premiered in Atlanta next November.

"Sonic Etude. As a young graduate student I came across the term "moment form" and decided to build a piece around that concept I set out to write a series of sonic tableaux that had no linear continuity or intentional interrelation one to another. Each block in the piece was to be conceived purely for the sake of its sound potential, with harmonic, melodic and rhythmic aspects subservient to the density and color of the sound as a whole. Silences would, through their position and length, play one of the theatrical toles in the piece's cast of characters. The volatile, more mercurial gestures of the opening minutes of the piece give way to a quote from an earlier piano work. The continuity in the antique nature of the quote's musical fabric clearly influences the last section, which grows steadily to a huge climax, exploiting the sound potential of the piano's lower register. A slow, static coda closes the work."

Michael Kerwin began his study of music at the Royal Conservatory of Music where he received diplomas in composition and classical guitar. He attended the Conservatoire National in Nice, France and the Faculty of Music, University of Toronto where he received a Master of Music degree in composition. He teaches at various community music schools in Toronto and is a co-founder and executive member of the Canadian Contemporary Music Workshop.

Tombeau, a multi-sectional cantata in one movement, is a setting of the epitaph by Alcuin of York (ca. 735-804) for bass-baritone and chamber orchestra.

Fragments of plainsong (Domine Jesu Christe), pitch and rhythmic structures derived from manipulations of this chant, peals of bells, harsh interjections of the ensemble, vocal melody (at times angular, at times chant-like) - all evoke vivid images of the ephemeral nature of life, of death, and of salvation.

Jerome P. Kitzke has composed works in genres small to large. He has won awards from BMI and ASCAP, and has worked extensively as a free improvisational pianist. He currently helps curate the vast collection of scores at the American Music Center in New York City. Mr. Kitzke's scores are available at the American Composers Alliance. 17lst Chorus was composed while Mr. Kitzke was in residence at the Millay colony for the Arts in upstate New York, October 1985.

171st Chorus. Of his Mexico City Blues Jack Kerouac wrote, "I want to be considered a jazz poet blowing a long blues in an afternoon jam session on Sunday. I take 242 choruses; my ideas vary and sometimes roll from chorus to chorus or from halfway through a chorus to halfway into the next." I was drawn to the bittersweetness of the 171st of these many wonderful choruses. Check 'em out lbey will not diappoint

Carla Kusel, clarinetist, received her bachelor of music from the University of Cincinnati (1979) and her Master of music degree from Northwestern University (1980). She is a student of Clark Brody and Russell Dagon. She has played with the Florida Gulf Coast Symphony and the Honolulu Symphony. She was principal clarinetist with the Toledo Symphony, 1983-85, and currently she is principal clarinetist with the Illinois Philharmonic Symphony Orchestra.

Homer Lambrecht is a freelance teacher, trombonist and composer in the Minneapolis-St Paul area He also serves as one of the managing composers of the Minnesota Composers Forum. His degrees (B.A., M.A., D.M.A.) are in music theory and composition. He has taught in various capacities at the University of Wyoming, University of Wisconsin-Madison, University of Minnesota, Macalester College, and Film In The Cities (a region medial access center and film school).

Frank LaRocca was born in Newark, New Jersey in 1951, and studied music at Yale and the University of California at Berkeley, where he earned his Ph.D. His awards include an ASCAP Young Composer Award, Amherst Choral Prize, the de Lorenis Executive Director of Composers, Inc. of San Francisco and Co-Chair of ASUC Region IX. Mr. LaRocca is currently Associate Professor of Composition at California State University, Hayward.

"Canti d1T11Wcenza. I found the intermingling of innocence and sensuality in these subtle, delicate poems irresistible. Too, the poets' concern for the

purely musical qualities of the language seemed to lend these poems to a musical setting. Like the poetry, the music achieves its expression through restraint dynamics rarely exceed mezzo-forte, extremes of register are avoided and the tempi are moderate to slow. It has been recorded for release on the Contemporary Recording Society label later this year. (Song texts and translations are in the score, in possession of Don Owens.)

Peter Tod Lewis (b. Charlottesville, VA) was the Director of the Electronic Music Studios at the University of Iowa since 1969. Earlier in his career, he received the Wechsler commisson at Tanglewood, fellowships at the Huntington Hartford Foundation and MacDowell Colony, and lived abroad for 2 years, principally in Mallorca. In 1975 he received a faculty research grant and was visiting composer at the Institute of Sonology in Utrecht and at the Groupe de musique experimentale in Bourges, where he was commissioned to realize a new work for tape. In 1978 he was awarded the American Composers Alliance Recording Award for Signs & Circults: String Quartet No. 2 (CRl SD 392), and in 1979 he received a grant from the National Endowment of the Arts. In the spring of 1981, he was resident composer at Ossabaw Island Project in Georgia.

Bricolage (meaning "odds and ends", "bits and pieces") is a work for solo percussion and tape in three movements: (1) Rain; (2) Chorale; (3) Rhythmus, harmonie, melodie. Movements 1 and 2 are to 3 as the latter is to the whole work. The tape segment provides the emotional climax of the work, its harmonies and timbres (a string orchestra played backwards an octave below recorded pitch), adding an unexpected profondeur. This segment is then followed by the "Vigueras" march. The first performance of Bricolage took place on Febbruary 10, 1980 at the University of Iowa, Steven Schick, soloist for the Center for new Music. Some months later the work was a prize winner in the Friedheim Award competition at the John F. Kennedy Center for the Performing Arts, Washington, D.C., where it was performed on October 4, 1981.

Robert Hall Lewis holds degrees from the Eastman School and diplomas from the Paris Conservatory and the Vienna Academy, where he was awarded the graduation prize in composition. His numerous awards include Fulbright and Guggenheim Fellowships, the Walter Hlnrichsen Award (from Columbia University), two NEA grants and an award from the American Academy of Arts and Letters. Lewis teaches at Goucher College and the Peabody Institute.

Osservazioni II was composed with the assistance of a a fellowship-grant from the National Endowment for the Arts. The work implies observations by both audience and performers of unique musical situations, which tend to emerge as unexpected elements in the form. Three different instrumental groups are formed in the second movement, each playing in a different tempo. The ensemble finally unites in the fastest of these tempi and continues dramatically

to the end of the work.

Peter Lieuwen, currently a Lecturer in Theory and Composition at the University of California, Santa Barbara, holds the B.A. and M.M. degrees in composition from the University of New Mexico and the Ph.D. in composition from the University of California, Santa Barbara. His teachers have included Morton Schoenfeld, Scott Wilinson, William Wood, Edward Applebaum, Emma Lou Diemer, and Peter Racine Fricker. He has won the Music Affiliates Award in Composition from the University of California, an award from Meet the Composer Inc. and first prize in the 1986 Musicians' Accord National Competition in New York City. Lieuwen's compositions are recorded by Contemporary Recording Studios of Philadelphia.

Anachronisms. Employing essentially triadic sound shapes and instrumental color as unifying elements, Anachronisms (Gr. .fil!.il. against, chronos, time) offers a stteam of musical events which suggest those of various periods and styles, both older and newer, which are ever-present in our musical universe. The opening gesture of the Prelude serves as the germ motive (intervallically and Ihythmically) from which subsequent activity is derived.

Wendell Logan is professor of music and coordinator of the program in African American Music/Jazz Studies at the Oberlin Conservatory, where he also teaches courses in jazz improvisation, composition, and directs jazz ensembles. He has worked as an arranger for the world famous Florida A. & M. University marching band, and his compositions and arrangements have been performed at numerous college and universities around the country and abroad. He currently performs on bass trumpet with his own group and with the Oeveland based jazz group, Space.

"Three Pieces for Violin and Piano was written for violinist Richard Yound. It is intended as a display vehicle for the violin. Movement I (slow) is primarily concerned with the interaction of sustained and agitated gestures. Movement II (fast) -- in addition to the use of motivic material, such devices as cross-accents and various types of plucked sounds are used. Movement III (slow) is the most lyrical of the three. The opening movive undergoes numerous transformations followed by a rapid cadenza-like section. The movement closes with a complete statement, followed by fragments of the opening motive. The electric piano was chosen because I felt that it complemented the string sound in a unique way."

Charles Mason studied comps1bon with Dennis Kam at the University of Miami and with Ben Johnston, Bohdan Mazurek, Salvatore Martirano, and John Melby at the University of Illinois. He has won several awards including a BMI award for yound composers for his Symphonic Band

composition entitled "Shiftings." Currently he heads the composition degree program at Birmingham-Southern College and is president of the Alabama Teachers of Music Theory.

Kinetic was realized on a Buchla analog synthesizer at the University of Illinois. In one sense, this piece with its focus on forward motion can be heard as a reaction against non-teleological music. This is to be expected as the dimensions of motion and distance, while difficult to work with when composing for acoustic instruments, are quite easy to realize when working with electronics. While motion and distance do not necessarily imply goal direction, they brought forth opportunities the composer did not wish to ignore. The form of the piece is, in part, sectional (there are four distinct sections) and, in part, developmental in that each section is derived from a temporal expansion of a different portion of the opening gesture.

Michael Matthews has studied composition with Aurelio de la Vega and Larry Austin. His music has been performed in Canada, the United States, Europe, Asia, Australia and South America. In 1984 his Quis est Deus? was the winner of the Music Inter Alia Composition Prize in Winnipeg, and he was composer-in-residence at the Banff Centre School of Fine Arts during the summer of 1983. He currently teaches composition at the University of Manitoba.

"Sinfonia Concertante was written during the spring of 1980, shortly after my arrival at North Texas State University to begin work on my Ph.D. The basic idea of the piece is that of intervalic expansion, both on the small and the large scale, as the opening Eb moves both upward and downward, ultimately leading to high and low register A's separated by seven octaves, and then returning to the original Eb. This score is the first that I completed under my teacher Larry Austin, and it is dedicated to him."

Roscoe Mitchell, composer and multi-instrumentalist Through his participation in the establishment of the "Association for the Advancement of Creative Musicians" (AACM) and as a founding member of the world-renowned "Art Ensemble of Chicago), he was instrumental in creating the body of musical literature that ushered in the post-Coltrane period. Mr. Mitchell has received numerous awards and grants including the National Endowment for the Arts (NEA), Wisconsin Arts Board (W AB), Vilas Foundation, University of Wisconsin-Madison and a research grant from Instutut de Recherche et Coordination Acoustique Musique (IRCAM) in Paris, France. He founded the "Creative Arts Collective" (CAC) of East Lansing, Michigan and he is the founder/leader of the "Sound Ensemble" and a cofounder of the trio "Space." His innovations as a solo performer, his role in the resurrection of long-neglected woodwind instruments of extreme register, and his re-assertion of the composer into what has traditionally been an improvisational form, have placed him at the forefront of contemporary music for over twenty years.

NONAAH . This trio for flute, bassoon, and piano is part of an on going series titled the NONAAH CONCEP'I'. The first work from this concept is a solo version for alto saxophone written in 1972. In the series there are work for both improvising and non-improvising ensembles.

Janice Misurell Mitchell, composer and flutist, is on the music faculties of Northwestern and Rosevelt Universities. A graduate of Goucher College and the Peabody Conservatory, she is completing her doctoral studies at Northwestern. She has received grants and awards from Meet the Composer, the Illinois Arts Council, the International League of Women Composers, and Northwestern University. She is a founding member and Vice President of American Women Composers, Midwest. Her works are published by Needham Publishing Company and American Composers Editions.

Patricia Morehead, oboist and composer, is a graduate of the New England Conservatory, and has diplomas from the Royal Conservatory of Music, the Conservatoire national de Musique de Paris, and the Accadernia Chigiana di Siena. She made her Carnegie Recital Hall debut in 1977. She has concertized actively in Brazil, Europe, and North America. She has been artist-in-residence and professor of wind chamber music at the International Festival of Music at Gramado, Brazil. Currently she is a Returning Scholar at the University of

Chicago in Composition. Her composition teachers have included Dr. Samuel Dolin, Ralph Shapey, and Shulamit Ran.

William Moylan is Coordinator of Sound Recording Technology, Director of SRT Facilities, and Assistant Professor in the College of Music, University of Lowell. His works have been performed throughout the United States and in Canada and Europe, are published by Seesaw Music Corporation and Dom Publications, Inc., and are recorded on the Opus One and Breathing

Space labels. Moylan's formal education includes the Doctor of Arts degree (theory and composition) from Ball State University; Master of Music (composition) from the University of Toronto; Bachelor of Music degree (composition) from the Peabody Conservatory of Music of the Johns Hopkins University.

Acts I is the first of, thus far, three works using excerpts from Acts by Laurence d'A.M. Glass. The percussion quartet and the tape part (plus text) are in juxtaposition; occurring simultaneously, but of no relation, as if from divergent points of origin. The material of the quartet forms the basis of the structure of the work, and is articulated by musical materials and instrumentation. Wood, skin, and metal instruments are segregated to form units, with tuned and untuned instruments creating further subunits, to articulate the fourteen sections of the work. Musical materials are conceptualized as "sound objects" in motion; with timbral relationships and rhythmic/metric movement being the focus of the quartet's material. The tape part explores the characteristics of the text in a similar manner, providing some common traits between the two divergent forces.

Lewis Nielson is currently Associate Professor of Music at the University of Georgia.

"Fantasies was realized in the electronic music studio of the University of Georgia. It is dedicated to Kenneth Fischer and was written in memory of my dear teacher and friend Peter Tod Lewis. The work is in three movements: I. Imminence, II. Remember, III. Homage (Little Birds)."

David Noon (b. Johnstown, Pennsylvania, 1946): D.M.A., M.M.A., Yale University; M.A., New York University; B.A., Pomona College. Composition studies with Kohn, Davidovsky, and Milhaud. Awards from ASCAP, BMI, the Aspen Festival, Yale, YMF, Fulbright Fellowship, and the National Endowment for the Arts. Compositions published by Carl Fischer. Numerous comnuss1ons including Houston Symphony, New York Philharmonic Orchestra, the New Music Consort, and Pomona College. Currently teaches composition and is Chairman of the Music History Department at Manhattan School of Music in New York City.

""My Broken Blossoms, op. 56, is a tone poem based on the extraordinary 1919 film of the same name directed by D. W. Griffith. The film tells the tragic story of a young Chinese man who journeys to London's Limehouse section hoping to bring with him the peace and understanding of Oriental philosophy. In London, he meets, befriends, and loves a winsome street waif, who has been brutalized by her sadistic father. The bitter story ends in murder and suicide for them all. My tone poem is based on various scenes and moods from the film: Preamble, Chinese Scene, Sailor's Fight, Sea Voyage, London, the Chinese Man and the Waif, Fate, the catastrophe.

Don Owens. Assistant Director of Bands and Associate Professor of Conducting, received degrees from North Texas State University and the University of Illinois. Before coming to Northwestern in 1979, he taught for twelve years at Evanston Township High School where his duties included directing band, brass ensembles and jazz band, and teaching music theory, composition and electronic music. Owens conducts the University Jazz Ensemble and the Contemporary Music Ensemble and he is Director of the Jazz Curriculum. He is a well published author and composer, active in professional societies and organizations. He teaches courses in jazz arranging, instrumental methods and conducting.

John P. Paynter has been Director of Bands at Northwestern University since 1953. A graduate of Northwestern, with Bachelor and Master of Music degrees in composition, he joined the faculty in 1951 at the age of 23. In addition to heading the Bands, he is Professor of Conducting and Chairman of the Conducting Department. He conducts the University's fall musical production and the famed Waa-Mu Show. Paynter is also conductor of the internationally famous Northshore Concert Band and an active composer and arranger. He has appeared as conductor and clinician in 48 states, Canada, Japan, Africa, Israel, and many of the countries of Europe. Under his direction, the Northwestern University Bands rank with the finest in the world.

Frances Richard is a strong advocate for composers, composers rights and the music of our time. Founding director and Vice President of Meet the Composer and currently Director of the Symphonic and Concert Department of ASCAP. Active as speaker panelist, trustee, director, lecturer and consultant in all areas related to music, music industry, non-profit management, funding, legislation and government cultural policy.

E. Michael Richards was educated at the New England Conservatory (B.Mus.-clarinet), the Yale University School of Music (M.Mus.-clarinet), and the University of California, San Diego (Ph.D.-theoretical/experimental studies). As a recitalist of new music, he has performed at Symphony Space (New York), the Tokyo College of Music (Japan), the Cal Arts Festival of Contemporary Music (Valencia, CA), the 1982 ClariNetwork InterNational Congress (Washington, D.C.), the 1982 International Stravinky Symposium (San Diego), and with the Yale Conservatory Ensemble under Arthur Weisberg and SONOR under Bernard Rands. Richards is currently an Assistant Professor at Hamilton College in Clint, New York.

Robert Xavier Rodriguez (b. 1946) has studied with Hunter Johnson, Halsey Stevens, Elliott Carter, Bruno Maderna, Jacob Druckman and Nadia Boulanger. Honors include the Prix Lili Boulanger, and awards from ASCAP. The NEA, the Ditson Fund, the Mobil, Rockefeller and Guggenheim Foundations and The American Academy and Institute of Arts and Letters (Goddard Lieberson Award). Rodriguez has taught at the University of Southern California and has held Composer-in-Residence appointments from The Los Angeles Chamber Orchestra and The Dallas Symphony Orchestra, with whom he is presently serving as Consultant, following a 3-year Meet the Composer Residency. In addition, Rodriguez is Associate Professor of Music at The University of Texas at Dallas and President of Meet the Composer/Texas.

Martin Rokeach (b. 1953) has had numerous performances of his music throughout the United States. Among his many awards are first prize in both the Contemporary Record Society's 1985 publication competition and the 1982 Delius Competition. He teaches at St Mary's College and California State University, Hayward and is one of the founders and directors of San Francisco's Composers, Inc.

"Nocturne for piccolo (or flute) and piano was completed in June of 1985. It is a relatively simple, uncompleted piece, and is dedicated to the memory of my sister Ruth. It is published by ALRY Publications."

Howard SandrofT received the Master of Music degree with honors from Chicago Musical College of Roosevelt University. His composition teachers have included Robert Lombardo and Ben Johnston. Sandroff is currently Director of the Electronic Music Studio at the University of Chicago, and Conductor & Artistic Director of Chicago's New Art Ensemble. His concert works have been performed and broadcast throughout the United States and Europe.

The Bride's Complaint, commissioned by Soprano Susan Charles, is a setting of a poem by Lisi Mueller.

The Bride's Complaint

I saw the face of my love naked And that was more than my love could bear

0 red-eyed bull of the sun, How many times must I cross you?

My kisses are petals past his mouth and sparrows twitter away my breath­whirligig world, run slow, run down,

let my love remember me!

Steven Schick holds degrees from the University of Iowa and the Soloists' Diploma with honors from the Staatliche Hochschule fuer Musik in Freiburg, West Germany. Schick's fellowships and awards include Annette Kade and Fulbright Fellowships; 1st Prize in the American Wind Symphony Orchestra Competition in Pittsburgh, Pennsylvania; 2nd Prize in the f982 Gaudeamus International Competition for Interpreters of Comtemporary Music from the Internationale Ferienkursen fuer Neur Musik in Darmstadt, West Germany. He has released recordings with Composers Recordings, Inc., The University of Iowa Press, and ProViva (Munich). Schick has taught at the University of Iowa, the Ferienkurse fuer Neue Musik in Darmstadt and is currently on the faculty of California State University at Fresno. Schick performs extensively as a solo percussionist. His 1986-87 concert schedule includes nearly 60 performances in the United States, Europe, Australia, New Zealand and India

David Schoenbach--Academic Liaison, Digital Musical Instruments Division, Y amah International Corporation. B.A. Univeristy of Michigan. Composer for theatre and dance, David has designed devices for expressive control of synthesis. He currently heads the Academic Program of Yamaha's Digital Musical Instruments Division, advising colleges and universities on electronic music studio and classroom setup.

Marilyn Shrode is a Chicago-born composer who has received degrees from Alverno College and Northwestern University, where she studied with Alan Stout and M. William Karlins. Honors in composition include the Kennedy Center Friedheim Awards for Orchestral Music (1984), the Farley Award for Creative Music, the Phi Kappa Phi Creative Achievement Award (1985), an Ohio Arts Council Individual Artist Fellowship (1985-86), and grants from the Wyatt Fund and Meet the Composer. Since 1977 she has been on the faculty of Bowling Green State University, where she teaches and co-directs the nationally acclaimed New Music Festival.

Infinity. The following notes were written by John P. Paynter on the occasion of the work's premiere (Nov., 1983). "While the compositional techniques are complex, the work is somehow not unfamiliar, even to the unacquainted listener. The two sections both begin and end from a posture of silence. The first is more "soloistic" or "individualistic" in its combinations of sounds. The second part deals with vertical sonorities of a mixed color combination and "rotates" these sounds between masses of larger coloration. The impression of weightlessness and undefined spaciousness is thur created by removing the traditional limitations of measured rhythm, balance and harmony."

Stuart S. Smith is a percussionist as well as a composer. He studied at the Berklee School of Music, then the Hartt College of Music, and the University of Illinois where he was awarded Doctor of Musical Arts. He is a past executive editor of Percussive Notes Research Edition and is currently executive co-editor of the American Composers Series. Stuart's awards included the National Endowment for the Arts Composer's Fellowship, the Maryland Artist's Fellowship, and the Hartt College Distinguished Alumni Award. His music is performed regularly and throughout the United Stages with prestigous performances in Europe and the Orient.

Frederick Speck (b. 1955) is an Assistant Professor at Gettysburg College. He has received grants and awards from such organizations as the Pennsylvania Council on the Arts, the Southeastern Composers' League, Mansfield University and Gettysburg College. His music has been heard in such locales as the Eastmen Wind Ensemble Composition Symposium, the University of Delaware New Music Festival, and the Academia del Danza in Rome, Italy. While earning his DMA at the University of Maryland he studied with Lawrence Moss and Mark Wilson. Othr teachers have included Burton Beerman, Marilyn Shrode and Danald Wilson, and Joseph Schwantner.

Concerto for Wind Orchestra is scored for thirty-three instrumentalists and constrasts the powerful, dramatic possibilities of the large ensemble with transparent networks of sound used as the fabric to support soloistic opportunities for individual performers. While the music is highly chromatic, the work relies on subtle tonal relationships as vehicles for the generation of growth and cadence. Written in 1984, it was introduced by the Eastman Wind Ensemble at the 1985 Eastman Wind Ensemble Composition Symposium.

Robert Stern was born in Paterson, New Jersey. He recieved his B.A. from the University of Rochester in 1955 and his M.A. and Ph.D. from the Eastman School of Music in 1962, after intermittent studies at the University of California at Los Angeles. His teachers include Louis Mennini, Kent Kennan, Wayne Barlow, Bernard Rogers, Lukas Foss and Howard Hanson. His many composition awards and grants include the National Endowment for the Arts, the Massachusetts Council on the Arts and Humanities, the Martha Baird Rockefeller Fund for Music, ASCAP and eight MacDowell Fellowships.

The Seafarer was commissioned by the University of Massachusetts Fine Arts Center for its Tenth Anniversary. The composer says of The Seafarer: "The lyric quality of Joseph Langland's fine poem seems to coincide with my own lyric sensibilities, and so the setting takes on a decided melodic cast supported by a strong harmonic sense. The poignant refrain in the poem ('Sheep in my hobbles,. ... old hands so hard') finds a natural analogue in my setting taking the form of a ritornello. As in the poem, the ritomello is found three times; twice as a canon between the sopranos and altos, and harmonized at the conclusion for full chorus serving as a coda to the work."

Abraham Stokman was born in Tel Aviv, Israel, where he began his piano studies at the age of six. Later he came to the United States and studied at Juilliard with Edward Steuermann, obtaining his bachelors and masters degrees in music. He spent six years as pianist in residence at Chicago Musical College of Roosevelt University and four uears as chairman of the piano department of the American Conservatory of Music. Mr. Stokman has performed widely throughout the United States, with appearances at both Lincoln Center and Keniledy Center. He and his wife Arlene frequently give duo piano concerts.

Martin Sweidel received his DM.A. in Composition (1983) from the University of Cincinnati College-Conservatory of Music where he also served as the Director of Electronic Music and a Visiting Assistant Professor of Theory and Composition. He is presently on the faculty of Southern Methodist University where he is Assistant Professor of Composition and the Director of Electronic Music. Dr. Sweidel is also a founding member and past President (1982-86) of the Cincinnati Composer's Guild.

Raymond Torres-Santos was born in Puerto Rico in 1958. He studied compostiion with Paul Reale, Henri Lazarof and David Raksin (film music) at the University of California, Los Angeles (UCLA) where he received his PhD. and M.A. degrees. Major awards he has received include those given by Henry Mancini for Motion Picture and Television Composition, Frank Sinatra for Jazz Composition and Arranging, BMI for Student Composers, and grants from the American Music Center and UCLA. He is currently Assistant Professor at the California State University, San Bernardino, where he teaches theory and directs the Electronic Music Studio and the Commercial Music Program.

Areytos: A Symphonic Picture is a one-movement piece for orchestra and computer-generated sound The word "areytos" can be spoken by the now extinct indigenous culture of the Caribbean. The computer-generated sound was realized on a Foonly F4 central processor and the Systems Concepts Digital Synthesizer (the "Samson Box") using the language developed by Bill Schottstadt, PLA at the Center for Computer Research in Music and Acoustics (CCRMA), Stanford University.

Joan Tower is currently composer-in-residence with the St Louis Symphony Orchestra (Leonard Slatkin, music director), a program funded by the Exxon Corporation, the Rockefeller Foundation, the National Endowment for the Arts, and Meet the Composer. Mrs. Tower was pianist for the award­winning Da Capo Chamber Players for fifteen years and received a doctorate from Columbia University. She was named "Musician of the North" by High Fidelity/Musical America in 1982 (and WGBHJTV produced a documentary on her that received an Honorable mention Award at the American Film Festival in

1983.) Her music is published by G. Schirmer and recorded on Nonesuch and ORI.

"Black Topaz, was first petformed by the late Robert Miller with the Group for Contemporary music to whom it is dedicated. This piece is part of a series with titles involving minerals: Platinwn Spirals for solo violin, Red Garnet Waltz for piano, and Silver lmlders for orchestra- as a gesture of love and appreciation to the memory of my father who was a mining engineer and geologist. The mineral topaz has two characterisitics that inspired some of the ideas in this piece; one is its capacity to change color and the other is its hardness which makes it less susceptible to basic structural modification. Black Topaz uses these qualities by exploration a long range color change from basically a more dissonant one to a consonant one."

Barry Truax is Director of the Sonic Research Studio and Associate Professor in both the Department of Communication and the Centre for the Arts at Simon Fraser University where he teaches courses in acoustic communication and electroacoustic music. Trained in both the sciences and music, he also studied at the Institute of Sonology, Utrecht, and came to S.F.U. in 1973 to work with R. Murray Schafer and the World Soundscape Project. In 1985 he was Conference Director of the International Computer Music Confereoce held in Vancouver where his most recent record Sequence of Earlier Heaven was launched.

Solar Ellipse is a synthesized soundscape which, like its mate Wave Edge (1983) is based on a particular type of spatial trajectory and related image. The trajectory is that of the epicycle, where a spinning sound image (revolving four times per second) travels around and elliptical "orbit" similar to planetary motion. The image is that of fire whose energy is simultaneously being dissipated yet, like the sun, appears to remain constant Solar Ellipse is based on the I Ching haxagram number 49, Revolution, comprised of the trigrams for fire and lake. The work was realized with the composer's PODX system for sound synthesis and composition in the Centre for the Arts at Simon Fraser University.

Ron L. Warren has appeared as a composer and/or pianist at various Festivals and Series in the eastern United States. His principal teachers in composition have included Lawrence Moss, Burton Beerman and Mark Wilson. He has received commissions fropm the Chamber Music Society of Baltimore and the Head-Turner Flute and Guitar Duo. Mr. Warren recently appeared with flutist Jean DeMart Warren at the Baltimore Museum of Art performing his own wOlks as the 1986 winner of the Res Musica Composition Competition.

River and Circle . There is a sense in which River and Circle involves two "pieces" unfolding in an alternating fashion. The Prologue provides material for six variations and a short "quasi fantasia" which interrupts the third movement. The other piece first appears as a brief "interruption" at the end of

Movement I and grows in importance in succeeding movements. In spite of these interruptions and alternations, each movement aspires to a certain gestural unity of its own.

Ki Wasitodipur is a prolific composer of Javanese music, both traditional and avant-garde, and is presently the director of the Pakulaman Gamelan in Y ogyakarta.

Reynold Weidenaar, composer and video/film maker, received a B.Mus. degree in composition from the Oeveland Institute of Music in 1973, where he was valedictorian, and an M.A. degree in composition from New York University in 1980. He was Editor of Electronic Music Review, Cleveland Orchestra Recording Engineer under George Szell, and Chief Audio Engineer and Director of the Electronic Music Studios at the Cleveland Institute of Music, where he was a member of the Conservatory composition faculty. He joined the faculty of New York University in 1979, where he is presently Assistant Professor of Film and Television at the Tisch School of the Arts. He teaches experimental video and film production, motion picture recording, and creative sound design.

Richard Willis is a graduate of the Eastman School of Music and is presently composer-in-residence and professor of composition at Baylor University. Among his numerous awards are the Prix de Rome, the Joseph Beams Prize, and the Ostwald Award. A recenet commission was the String Quartet No. 3, for the Alard Quartet.

The three poems are Night Piece, by Aleman; Forgotten, by Sappho; and an anonymous folk-text, Swallow Song. All date from around 600 B.C., and are used here in modem translations. Of particular interst is the Swallow Song; sung by children at a certain date in the Spring, it would seem to anticipate our modem "trick-or-treat'' ("What shall we have? Or must we hence away? Thanks, if you give; if not, we'll make you pay!") The songs were commissioned by the Fine Arts Society of Texas.

Victor Yampolsky, associate professor of conducting and director of Northwestern University Orchestras, emigrated in 1973 from the Soviet Union. He met Leonard Bernstein in Rome and received an invitation from him to participate in the Berkshire Music Center Fellowship Program at Tanglewood. Yampolsky next won a position as violinist in the Boston Symphony Orchestra. As a conductor, he served as music director for the Plymouth Philharmonic Orchestra and later held the same position with the Atlantic Symphony Orchestra in Halifax, Nova Scotia. He also conducted Ottawa's National Arts Centre Symphony as well as the symphonies of Montreal, Toronto, Winnipeg and Vancouver.

Byron Yasui was born in Honolulu, Hawaii and received his DMA in composition from Northwestern University in 1972. He has been on the music faculty of the University of Hawaii since that year and currently holds the rank of associate professor. His teaching areas include theory, conmposition, jazz studies, and classical guitar. He is a MacDowell Colony fellow, and member of ASCAP and ASUC. He has been a free-lance bassistist since 1960 and a member of the bass section of the Honolulu Symphony sicne 1964. His current commisssions include creation of student guitar ensemble literature for the D.O.E. in Hawaii and a new work for the Galliard String Quartet.

Overture: "life of the Latuf' was premiered in March 1986 at the inauguration ceremony of the University of Hawaii President Albert J. Simone by the school's concert band. The subtitle is taken from the Hawaii state motto: "The life of the land is perpetuated in righteousness." This piece consists mainly of three disguised versions of the Hawaii state anthem. "Hawaii Ponoi" and a fugue with an ancient Hawaiian chant-like meldoy as the subject.

Paul Martin Zonn is on the composition faculty at the University of Illinois. He is a well-known clarinetist and conductor. His recent endeavors include conducting the Nashville New Music Consort, recording for release on disc his newest composition Those (Never-Ending) Memories, and performing a solo clarinet recital that included the premier of a new work composed for him and computer-synthesized tape by John Melby along with a no-holds barred rendition of Babbitt's My Ends Are My Beginnings. (Not necessarily in that order.)

Ten years down the road I relaize that there are no program notes for The Second Voyage. You gotsta take it like it comes, one note after the other, and then some. It's band stuff all the way! There is a little space for an improvised soprano saxophone solo. I hope the player has listened to Coltrane and Dolphy.

NORTHWESTERN UNIVERSITY PERFORMING ENSEMBLES

Contemporary Music Ensembles

The Contemporary Music Ensemble is the primary contemporary music performance ensemble at Northwestern is committed to the performance of new music, the Contemporary Music Ensemble is especially devoted to playing the most current works by avant-garde composers. Additionally, the Contempoarary Music Ensemble performs music of the 20th century not usually included within the mainstream of conventional chamber music concerts. The ensemble is unique in that the group embraces all types of music makers - brasses, keyborads, strings, voices, woodwinds, as well as dancers, actors and mimes.

FLUTE-PICCOLO PIANO SOPRANO Rachel Bardy David Gale Lucy Schaufer Debbie Culver Ann Glazer Melissa Malde Heather Landes Richard Keitel Mary Beth Knappen Julie Pagan

Michael Pagan BASSOON Lyn Davies PERCUSSION Anne Lewandowski Robert Oeary

Jeffrey Fellers CLARINET Sigurd Johnson Mark Lieb Glenn Freeman Janice Minor Steve Hawk James Mortisugu David Smith VIOLIN

Tamara Chang SOPRANO Christine Fong SAXOPHONE Micheal McLean Karen Wylie

VIOLA 1RUMPET Mike Twomey Deborah Habruay

CELLO FRENCH HORN Douglas Keir Peter Mason Colin Marshall

1ROMBONE BASS James Hall Stephen Reinfranck Kenneth Thompkins Douglas Johnson

HARP GUITAR Donna Miller James F. Crowley

Symphonic Band

FLUfE-PICCOI.D ALTO SAXOPHONE Ben Hunt Karen Bergquist Holly Copeland* Carol MacPherson Michelle Bower Duane Peiffer Doug Mark Debbie Culver* Linda Porter Bob Morrison* Janet Grangaard Damon Smith Mary Raclaw Catherine Hug Christopher Sharp Lynelle Kirkwood TENOR SAXOPHONE Garth Simmons Jane Lewis Steve Werpy Robert Taylor Karen Mellow Elizbeth Stryjewski BARITONE Megan Sweeny SAXOPHONE BASS TROMBONE

Michael Quigg Dave Brubeck OBOE Richard Trumble ENGLISH HORN FRENCH HORN Debra Aho* Carolyn Barber EUPHONIUM Anne Lewandowski Rebecca Beavers Philip Homiller

Philip Boulanger Michelle Kabele E-FI.A T CLARINET Cyrus Fenton Daniel Stine* Janice Minor Louise Hunter

Peter Jarousek TUBA B-FI.AT CLARINET Daniel Novak George Cantrell Robert Adelson* Steve Oade Robert Carpenter* Becky Barnum Steve Renfro Peter Lograsso Kristin Brown Patrick McDermot Jacqueline Eastwood TRUMPET-CORNET Clive James Jonathan Blackbum STRING BASS Steve Krahling Jared Brame David Sickle Tom Katzenmeyer John Deverman Igor Pecevsky Gregory Mallek David Flickinger Halla Motawi Laura Frick PIANO Tina Nelson Michael Lanier Joan Johnson Paul Pulliam Jeffrey Murray Paula Remick Alex Philipson PERCUSSION James Riddell Mike Pollock Eric Bachmann Jane Rowe Beth Steele Jeff Fellers Mark Sloss Richard Stellner Jay Gilbert

Matthew Swafford* Sigurd Johnson BASS CLARINET Brian Tork Matthew Mailman James Ellis Ricardo Vargas Robert McCleary Lisa Varuzzo Donald Stewart

TROMBONE Brayer Teague* BASSOON Jim Cherry Kathy White Jospeh Hauck Carolee Clayton David Kritz Helen Dauerty * denotes principal Michael Wallace* Mara Fox player Jon Wenberg

University Chorale

This 40-voice ensemble is the most select of the University choruses. Its personnel are selected on the basis of their musicianship and their interest in the performance of both a cappella and accompanied literature.

SOPRANO Elaine Baggs Jean Bogue Sallie Brown Sheryl Ebert Jennifer Frey Wendy Gudeman Karen Lowe Melissa Malde Joni McMechan Alicia Monastero Tami Swartz Andrea Wilkmorski

ALTO Alice Brockway Patti Gallagher Cheryl Goodman Sara Haus Michelle Jones Lori Kettner Diana Kodner Kirsten Levin Caroline Markham Jennifer Morrison Sheri Owens Tracy Poe Susan Smentek Elizabeth Warden

TENOR Randy Christie Jonathon Ellwanger Peter Harlan Timothy Haskett Lawrence Johnson Kevin Krantz Lawrence Lee

BASSES Victor Benedetti Gregory Buell Paul French P. J. Hanke Gregory Keil Paul Koch Mark Ledogar Barry Nance Adam Rauch Carl Samet Jeffrey Wright

Symphony Orchestra For many years a complete symphony orchestra has been maintained by the School of Music. The orchestra provides experience in the concert presentation of representative symphonic repertoire and gives instrumentalists and singers the chance to perform concertos and arias with proper orchestral accompaniment

VIOLIN Jennifer Duitsman BASS CLARINET Ken Mine Stephanie Vial James Moritsugu Linda Simon Colin Marshall BASSOON Daniel Henry Nathan Hesselink Tom Novak WhunKim Douglas Kier Jennifer Bayley John Kolb Tim Roberts Mary Ann Pazen Chris Fong Nick Gander Catherine Stockwell Rebecca Lee Yali You CONTRABASSOON Mike McLean Trischa Seaman Catherine Stockwell Timothy Sipols Melissa Kraut HORN Heidi Senungetuk Clair Magee Kurt Civilette Tom Kamp BASS Kathy Donahue Elizabeth Phillips Douglas Johnson David Griffm Paul Manaster Ben Musa Kim Manson Sheila Walters Kurt Henning Mark Martin Tamara Chang Rob Motsinger Rhoda Mcintire Allison Good David Sickle Rebecca Beavers Denise Jackson Igor Pecevsky Peter Jirousek Bernardo Arias FLUTE Eric Murphy Elizabeth Harrington Laura Hlavacek TRUMPET Karoline Lewis Jane Rigler Stephen Billington Karine Fujiwara Jon Keeble Mary Lynne DiCenzo Henry Edwards Maurice Wright Chuck Finton Flavia Zappa PICCOLO Stephen Warkentin Catherine Fairweather Laura Hlavacek TROMBONE Beth Babcock Maurice Wright Brian Diehl VIOLA OBOE Kenneth Thompkins Andrew Picken ·Ricardo Castaiieda Tim Weiss Stewart Pharis Winn Soldani BASS TROMBONE Martha Lampert Oliver Homan Tim Weiss Sheila Graves Tuck Lee TUBA Gordon Jones ENGLISH HORN Patrick Sheridan Claudia Lasareff-Mironoff Winn Soldani PERCUSSION Lisa Hirschmugl CLARINET Barry Bennett Kim Sullivan David Ford William Seliger Jacqueline Meshew Lindsay Freireich Glenn Freeman Brian Wiebe Robert Adelson Stephen Hawk CELLO Denise Lum Beth Lewis Carol Werbow James Moritsugu HARP Sang Oh Eb CLARINET Joanne Glover Kurt Fowler Robert Adelson

Symphonic Wind Ensemble Composed of the finest woodwind, brass, and percussion players on the University campus, this very select 42-piece organization has been acclaimed as the "nation's finest Symphonic Wind Ensemble," a reputation acquired through performances at major music teacher-conductor conventions as well as in concert across the country. Flexibility and superb musicianship mark the programs of the Symphonic Wind Ensemble, and its objective are to perform the finest literature of highest musical value with emphasis on works originally written for band and wind ensemble. Rigid requirements for individual musicianship and advanced technical attainment make membership in the Symphonic Wind Ensembles highly rewarding experience. This group plays six to ten performances each yuear with membership by invitation of the directors after all auditions have been heard in the fall.

FLUfES FRENCH HORN PERCUSSION Robert Cronin* Robert Lauver* Robert Cleary Carol Schmidt Douglas Hull Sigurd Johnson Beverly Crawford Peter Mason David Leytze Mary Beth Knappen Whit Hill Tom Russo Clarissa Nolde Kristie Strecker Chris Thomas*

Eric Murphy Brayer Teague OBOES Lyn Davies* TRUMPET PIANO Susan Granger Craig Penrose* Steve Taylor Alice Saunders Willie Streider Winn Soldani Judith Saxton

Scott Wilson CLARINETS Debra Haburay Paul Votapek* Luis Loubriel David Jones Peter Hakanen Tammy Anderson David Rattner TROMBONE Cynthia Knight Hans Bohn* Lana Haley Scott Anderson David Smith James Hall (bass)

BASSOONS EUPHONIUM Greg Morton* Scott McClintock* Stephanie Przybylska James Thornton Lynn Rippere Lisa Weiss TUBA

Steve Grove* SAXOPHONE Ariel Sasson Mark Rohwer* Frederic Hemke Jeremy Ruthrauff Patrick Falso

Other Performing Ensembles

Friends of Gamelan, Inc. is a not-for-profit, tax-exempt educational organization devoted to the promotion of Indonesian garnelan music and culture. It was formed in 1981 with the purpose of buying a Javanese garnelan upon which members could teach and practice garnelan muisc, give public concerts and bring guest Jaavanese musicians, dancers and puppeteers to perform.

Gamelan Nyai Panjang Sari (The Vemerable Essence of Garnelan Music) is a Central Javanese gamelan owened by the Friends of the Garnelan, Inc. It is the only complete or double garnelan (both tuning systems) in the Chciago area. It was forged in the gongsrnith of Pak Dutosudarma, the official garnelan maker of the Court of the Susuhunan of Surakarta, Central Java, especially for Friends of the Gamelan. It was named in May, 1984, by Sri Djoko Rohardjo, dalang (only a dalang can name a gamelan). The garnelan is housed at Roosevelt University.

Classes and workshps are offered regularly. Beginning classes are taught by Maria Omo, Assistant Director. Intermediate classes and the Performance Ensemble are under the direction of Jane Knourek, Artistic Director. CLasses and the Ensemble meet weekly and also participate in master classes given by cisiting garnelan artists. Credit classes are offered through Roosevelt University. Workshops for elementary, hgih school and university classes are shceduled by arrangement with the Artistic Director.

Membership in Friends of the Garnelan, Inc., is open to anyone and everyone. Individual memberships ar $15.00; family memberships are $25.00. Dues and donations are tax deductible.

Kapture is an aural arts performance ensemble whose primary focus is on the works and performances of ensemble members. Founded in 1977, Kapture has bperforrned nearly one hundered concerts in the forms of vocal, instrumental and electronic music and in the spoken arts of recitation, rityual and theater. Past events have included formal muisc and dance concerts and intermedia events ernloying less than ten to over one hundered perforrneres. Kapture has received continuous support in grants and private donations and is recognized as "one of the most active and accomplished music groups." (Chicago Sun-Times) Ensemble members include Mitchell Arnold, Sheldon Atovsky, Paul Bro, Deborah Campagna, Shawn Decker and Steve Elkins.

Visit the Displays in the lobby or Pick-Staiger Concert Hall. The displays will remain for the entire conference.

The Yamaha Digital Musical Instrument display is in room 143 of Regenstein Hall. In addition to the three scheduled demonstrations, David Schoenbach and Howard Sandroff will be available at other times for individual and small group sessions. Those of you interested in the additional sessions can sign up for times at the Registrations Table in the lobby of Pick-Staiger Concert Hall.

Computer Music Studio - Times have been set up to see a demonstration of the equipment and research being conducted in this facility. Please sign up at the Registration Table in the Pick-Staiger Concert Hall Lobby.

Electronic Music Studios - People are available during the conference to demonstrate the equipment in the studios. Please sign up for times at the Registration Table in the Pick-Staiger Concert Hall Lobby.

ACKNOWLEDGEMENTS

I am indebted to the following people, ensembles, and groups for the time and energy they have expended in presenting the 22nd National Conference of the American Society of University Composers. The success of this conference is due entirely to their efforts.

NORTHWESTERN ORGANIZATIONS: Performers, Conductors, Faculty, Students

Band Office Staff Computer Music Studio Electronic Music Studio Pick-Staiger Staff Sigma Alpha Iota Symphony Orchestra Theory/Composition Assistants

01HER GROUPS: ASCAP: Fran Richards

Composers' Workshop Contemporary Music Ensemble Phi Mu Alpha Music History Assistants Symphonic Band Symphonic Wind Ensemble University Chorale

ASUC National Office: Elliot Schwarts, Gerald Warfield, Martin Gonzales

Friends of the Gamelan: Jane Knourek Guests: Lou Harrison, Ben Johnston, Roscoe Mitchell, Joan Tower Kapture: Sheldon Atovsky

(continued)

SESAC: Herbert E. Johnson, Vice President Award Judges: Lewis Neilsen, chainnan

Warner Hutchison, Don Freund Yamaha Corporation: David Schoenbach, Howard Sandroff

COMPOSERS, PRESENTERS and the following INDNIDUALS

Charles Argersinger Terry Applebaum Marty Bjornson John Bucceri Wiliam Coble Lynden DeYoung Casey Ginther Gary Greenberg Frederick Remke Randi L'Hommedieu Darleen Cowles Mitchell Julie Pagan Jack Pernecky Craig Springer Martin Sweidel Maggie Wildman

Paul Aliapoulios April Arabian Jeff Bradetich Don Casey Peggy Cranfill Shawn Decker Regen Grant E. Lary Grossman M. William Karlins Chris Lower Janice Mizurell Mitchell Michael Pagan Steven Schick Alan Stout Michael Twomey Thomas Willis

And a very special thank you to Sally Luczak

Ric Ashley Judi Rockey Bradetich Susan Charles James Crowley Donald Fisher Richard Green Robert A. Harris Gary Kendall Thomas W. Miller Don Owens John P. Paynter Robin Seaver Abraham Stokman Arnold Weber Victor Yampolsky

And finally, to those of you who are in atteendance, even though you did not have a composition or idea chose for presentation at the conference, thanks for your support.

From the nitty-gritty details and the financial support to the preparation and execution of the excellent performances, I thank you all for your assistance.

---- ~7 Stephen t.' Syverud Conference Chairperson

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