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This Issue Contains Information For:

SUBMITTING SCORES TO ASUC PROJECTS SUBMITTING TAPES TO ASUC RADIO SERIES BURGE/EASTMAN COMPOSITION AWARD TWO SUMMER PROGRAMS IN COMPUTER MUSIC ELECTRONIC MUSIC PLUS FESTIVAL SUBMITTING TOPICS TO INTERNATIONAL PERCUSSION CONFERENCE

CONFERENCE XI I I HELD IN MIAMI

The thirteenth ah nual conference of the American Society of University Composers was held March 22-25, 1978, at the University of Miami, Coral Gables. The University of South Flor­ida, Tampa, was the co-sponsoring school . Dennis Kam bf the University of Miami and Larry Austin· of the University of South Florida were the Conference Chairmen. Approximately 125 attending members enjoyed the beautiful weather and heard much fine music and several stimulating papers and panel discussions.

The conference began Wednesday evening with a concert of members' works including Stephen Dembski's Pterodactyl; Todd Brief's (New England Conservatory) Fantasy for Violin and Piano; Gordon Goodwin's (Univers ity of South Carolina) Shuffle Chaconne; Greg Steinke's (Ever­green State College) Atavism; John Duesenberry's (The Boston School of Electronic Music) Four Movements for Tape and Prepared Piano; Marshall Bialosky's (California State University, Dominguez Hills) A Spell Befor e Winte r; Herbert Bielawa's (San Francisco State University) "Haec Dies" from. Eight Antiphons for Voices; Randall Shinn's (University of Ne w Orleans) . Two Still Lifes; and Fred Geissler's (University of Virginia) Conce rto f or Piano and Chamber Orchestra .

Thursday morning, following open­ing remarks and greetings from William F. Lee (Dean of the School of Music, University of Miami) , a "tone setting" speech was presented by composer Earle Brown. The rest o f t h e day was devoted

WINTER-SPRING, 1978/Vol. 11, Nos. 1-2

to an informal recital by pianist David Burge featuring works by William Albright (Five Chromatic Dances) and Charles Eakin (Frames), and papers, panels, and dem­onstrations including "Exploring the Spatial Properties of Sound, Including Voicespace I: Still (A Case in Point)," a paper .by Roger Reynolds (University of California, San Diego); "Composers' Groups in America: Reflections and Anti­cipations," a panel responding to "A Brief History of Composers' Groups in the United States" by Marshall Bialosky with panelists Randolph Coleman (Oberlin College ), David Burge (Eastman School of Music), Marshall Bialosky (California State College, Dominguez Hills), and Ed­win London (University of Illinois); "Varieties of Time in 20th Century Music," a paper by Jonathan Kramer (Yale Univer­sity); "Special Effects for Oboe," a lec­ture-demonstration by Greg Ste inke (Ever­green State' College); "Approaches for the Analysis of Compositional Procedures in Sound Mass Composition," a paper by Rob­ert Rollin (Youngstown State University); and "The Composer ' s Experience with Non­Western Music ," a panel with Barbara Benary (Rutger 's University), Chou-wen Chung (Columbia University), and Vincent McDermott (Lewis and Clark College).

works featured on the evening con­cert were "Floria in Excelsis" from Eight Antiphons for Voice s by Herbert Bielawa (San Francisco Stat e University); Thirteen Wa ys of Looking at a Blackbird by Edward Mattila (The University of Kansas); A Noiseless Patient Spider by Yehuda Yannay (University of Wisconsin­Milwaukee); Pin etop by Stuart Smith; Elegy to Chimney : In Memoriam by John Watts ; I nterplanes by Priscilla McLean (University o f Texas at Austin); Duo by David Maslanka (Sarah Lawrence Col­lege ); Deloumenon by John Rahn (Uni­versity of Washington); and Devil's Advocate by Phillip Rhode s (Carle ton College).

Friday morning's presentations involved an informal recital by David Gibson, cellist, with selections from works by Joel Chadabe, Donald Martino, and David Gibson; a lecture-demonstra­tion by Barton McLean (University of Texas at Austin) entitled "Eight-Channel Electronic Music Concepts" that fea­tured McLean's tape piece, Identity I: Song of the Nahuatl; a paper by Fred Geissler (Uni versity of Virginia) on " Structural Uses of Time in the Music of Elliott Carter: A Developmental Approach;" papers by Nancy and Michael Udow on "The Compositional Implica-tions of the Timbrack, a Four 'Octave' Multiple Percussion Console" and "Traveling Music ••• Percussion and Dance • • • Accompaniment or Ensemble?;" and a paper by Herbert Bielawa (San Francisco State University) entitled "Macrostructure in Composition." The final paper, "Considerations Regarding the Relevance of Music Theory Training," was delivered by Harold Oliver (South­ern Methodist University) with responses by Barney Childs (University of Redlands) and Leo Kraft (Queens College).

During a joint luncheon meeting of the Executive Committee and the National Council on Friday, Samuel Hope, Executive Director of the National Association of Schools of Music, presented an overview of recent and impending matters of con­cern i n Congress and l ed a discussion of what role ASUC might play in legislative affairs.

The afternoon sessions featured "The Unanswered Questions: Some Recent Biographies of Charles I v e s," a paper by Gordon Cyr (Towson State Un i versity) which wa s preceded by a showi ng of t he film "A Good Dissonance -- Like a Man;" "Composing Music with Small Computers," a paper by Joel Chadabe (State Univer­sity of New York at Albany); "The Rules of the Game Have Change d ••• Somewhat," a report by Alfred Reed (Unive rsit y o f Miami ) on t he n ew c op y right l aw; and "Announcement of a New Project by ASCAP" by Mart in Bookspan (ASCAP).

Fo llowi ng the business meeting, a l ate aft e rnoon concert included Collide A - - Scope b y Donald Macinni s (University of Virginia); Flights of Fancy by Edward Dieme n t e (Hartt College , Un i v ersit y o f Har t f ord ); Fusions by Gl e nn Hackbarth (Ar izo na State University); Last Night I Was t he Wi nd by Ri c hard Br ooks (Nassau Community Colleg e ); Combinazioni I I by Robe rt Hall Lewis (Gouche r College );

Tetramusic by Gordon Cyr (Towsen State University); Gemini Fantasy by Paul Zonn (University of Illinoi s); and Sonata for piano, flute, and percu ssion by Ulf Grahn (The Contemporary Music For um). (""'

Friday ended with Concert IV, a pro­gram that featured Soundscape by Dary John Mizelle (Oberlin College Conservatory); 1976 #3 Brass Quintet by Lawrence Kucharz; Dream's End by William Mayer (Composers Recordings, Inc.); Three Things f or Dr . Seuss by Jere Hutcheson (Michigan State University); Corroboree by Earle Brown; Inlaid for violin , cello, piano, and s y n­thesized sound by John Rinehart (Central Washington Uni versity); Ensembles by George Heusenstamm; and Chamber Concerto I by Elliott Schwartz (Bowdoin College).

The session Saturday morning con­cluded the conference with the following papers and panels: "Student Comp ose r s : Our Reactions to Everything that Has Happened So Far in this Conference Especially Concerning 'Considerations Regarding the Relevance of Music Theory Training ' ," a student panel with Bruce Miller (University of South Flori da) and Julie Ugarte (University of Miami ) ; "Composing Dynamic Laser Light Sculpture," a lecture-demonstration by Ron Pellegrino (Miami University, Ohio); "Fiber Move- ~ ments," a paper by Gunther Tautenhahn; "The Parti ta f or Piano by Arthur Berger, " a paper by Jane Coppock (Dartmouth College); and "Proposed: The Establis h ­ment of a •Consortium of Electronic Music Studios," a panel/general discussion moderated by Cleve Scott (Ball State University).

The Society wishes to expre s s i ts appreciation to Lar ry Austin and Dennis Kam for their hard work in putti ng to­gether an excellent conference, and to extend thanks to those who assisted them, in particular , the University of Miami Conference Committee, the theor y and composition students, and the members of Phi Mu Alpha Synphonia .

During t h e pre-conf e rence meeting of the National Council and Exec uti ve Commit tee it was sugg e s t ed that Canadian composers b e contacted in orde r to de­termine whether they are satisfied with their p resent plac e ment in the v ari ous r egions . Canadian members s hou ld express t h e ir opinions o n t h is matter t o : Ri c h a rd Brooks, ASUC Executive Committe e Ch a i rman 250 West 57th St reet, Room 6 26-7 , New Yor k, New Yo rk 1001 9 .

Richa rd Broo k s Nassau Communi ty College

1979 CONFERENCE IN CALIFORNIA

The 1979 National Conference of ASUC will be held February 28-March 4, 1979, at

he University of California at San Diego. _,·ernard Rands, Vice-Chairman of the De­

partment of Music, is in charge of local arrangements. Information for submission of scores and papers will b~ given in a future issue of the Newsletter.

SUBMISSIONS PROCEDURE FOR ASUC PROJECTS

ASUC now supports the following projects requiring submission of mater­ials by members: the ASUC Journal of Music Scores, the Record Series, and the Radio Series. All of these projects are linked in various ways and the vol­ume of submissions has b e come cumber­some. In order to more efficiently use the submitted materials, we are re­organizing the submissions procedure. Members are encouraged to submit materials on an on-going basis -- do not wait for deadline announcements. Materials will be "funneled" to the various projects for which they seem ~ost appropriate and the various proj­

ct co-ordinators will determine where, - and how best to use the material. Only

full membe rs of ASUC are e ligible for these projects. Those eligi ble are urged to s ubmit materials in any of the following categories:

1. Scores only (3 copies--at least one of which must be of came ra-ready quality )-­considere d for Journal only .

2 . Scores (sa me as above ) and tape --considered for J ournal , Record Series, and/ or Radio Series.

3. Tape only--considered for Record Series only .

All scores, tapes, and records must b e e valuated by a r otating panel of j udge s b e fore they c an be included in any project. The panel consists of three members of the National Council and one member from the Executive Committee. All matters concerning the calligraphic ac­c eptability o f score s will be determine d solely by the Editor of the Journal and ~11 matter s conce rning t h e a cce p tab i l ity

J f recording and performance qualities will be determined by the Co-ordinator o f the Record Serie s and the Radio S eries. Compositional quality will be e v alua t ed sole l y by the panel o f judges .

In addition, the following stip­ulations must be understood:

1. Any work selected for publica­tion in any past or future issue of the ASUC Journal will automatically be acceptable, compositionally, for possible recording (providing the sub­mitted tape is of acceptable quality).

2. Members are not to send original scores or master tapes--copies only.

3. Each tape will be evaluated for consideration in the following categories: A. Dubs of professional quality

master tapes. B. Work tapes and rehearsal or

performance tapes not up to the recording or performance standards of the series.

4. Tapes will be assigned to either of the above categories upon the recommendation of an expert des­ignated by the Executive Conrrnit­tee and such recomme ndations shall be deemed final.

5. Compositions selected by the judges from Category A above can be re­corded immediately; those selected from Category B will be slated for recording upon the receipt of a new tape which satisfactorily mee ts the recording and perform­

.anc e standards. 6. It is understood that works may

be recorded only, published only, both published and recorded, or only included in the Radio Series; a single work may be included in all the proj ects at the discre tion of the judges and the project co­ordinators.

7. New tapes of works selected from Category B above must b e r e ­evaluated for performance and recording e xcellence by the d es­ignated r eco r ding e xpert.

8. The composer of a work whose tape falls into Category A agrees (by the act of submission) to provide a new tape of acceptable performance and recording quality not later than three cale nda r mont hs from the d a te o f notifi ­cation of acceptance by the judges or the recording opti on will be forfeited.

9. The composers accept a ll res­ponsibility f o r sec uring an

acceptable tape, including any financial obligations. In addition, a recording fee of $5.00 per minute will be charged to each composer whose work is acceptable.

10. The composer assumes responsi­bility for securing any neces­sary union or royalty waivers (forms will be provided for this purpose). Composers or copyright owners shall not expect to receive any royalties from the sale of the records or the Journal.

11. The composer agrees to provide biographical data on himself and/or the performers if re­quested.

12. Eligibility for the Record Series and the Journal is restricted to full memhers of ASUC.

Following are guidelines for sub­mitting materials to the Radio Series, Record Series, and ASUC Journal of Music Scores.

1. Radio Series and Record Series (the following formats are listed in order of preference) : a. 15 ips, ~ track stereo. b. 7~ ips, ~ track stereo. c. disks (Radio Series only). d. \ track not usually ac­

ceptable. (Dolby or DBX noise reduction is ac­ceptable but be sure to precede music with a Dolby tone) •

2. ASUC Journal of Music Scores: a. length: 20-30 pages maximum. b. calligraphy: neat (scores

may be automatically rejec­ted due to poor calligraphy).

c. size: not important but remember it will be reduced to 8~" x 11".

d. instrumentation: any com­bination acceptable except solo works or other ensem­bles capable of being per­formed from score.

e. number o f copies: two xe rox or other copies, and one camer a-ready copy (able t o be photographed).

f. IMPORTANT: although we pre­fer scores for which the com­poser holds the copyright, we

will accept those with copy­rights held by others, such as publishers, provided the scores are accompanied by a~ written statement from the copyright owners indicating that they " ••. agree to allow the work to be reprinted in the anthology, ASUC Journal of Music Scores (published by European American Music Corporation), provided that in no way may the anthology be used for performance purposes." (American Com­posers Alliance scores are acceptable).

All materials--scores and tapes-­should be sent to: Barton McLean, 6 Mata­dor Circle, Austin, Texas 78746.

MORE TAPES AND SCORES ARE SOLICITED FOR THE NEW RADIO SERIES AND THE JOURNAL

Priscilla and Barton McLean are now selecting materials for the second ASUC Radio Series which, like the first, will consist of thirteen one-hour programs. ~ They report that they encourage the sub­mission of many more tapes. All good tapes are welcome but they are looking, in particular, for pieces involving large ensembles . (including orchestral and choral works). In addition, shorter works of less than 10 or 15 minutes duration are needed. Pieces that have a particularly unique quality, such as a humorous twist or unusual instrumentation, would be very desirable.

While the number of scores submitted for the ASUC Journal of Music Scores con­tinues to grow, there remains a vast num­ber of members who have never submitted works for consideration. We urge all full memhers to send materials. We es­pecially e ncourage you to send scores and tapes for possible use in the joint Journal-Record issues. The more works received the more truly representative the selections can be.

ASUC RADIO SERIES BROADCASTS

Priscilla and Barton McLean, Directors of the ASUC Radio Programs,

report that this academic year (1977-1978) 26 radio stations in 19 states have run the entire series, resulting ~ total of 338 broadcasts. The

"owing stations were and are broad-casting the programs:

KUAC Fairbanks, Alaska KLRE Little Rock, Arkansas KERS Sacramento, California WREK Atlanta, Georgia WGLT Normal, Illinois WAJC Indianapolis, Indiana KHKE Cedar Falls, Iowa KANU Lawrence, Kansas WFTL Louisville, Kentucky KCLC St. Charles, Missouri KGLT Bozeman, Montana WIRQ Rochester, New York WBWC Berea, Ohio WMRT Marietta, Ohio KSOR Ashland, Oregon WGEZ Beaver Falls, Pennsylvania WXTN Philadelphia, Pennsylvania WZAR Ponce, Puerto Rico (commercial) WDOM Providence, Rhode Island KACZ Amarillo, Texas KSIX Corpus Christi, Texas KNCN Corpus Christi, Texas (commercial) KTET El Paso, Texas WGBW Green Bay, Wisconsin WRFW River Falls, Wisconsin Speci al mention and thanks should

be given to KANU-Radio, the University of Kansas, for their cooperation in providing the directors of the Radio Series with the interviews of ASUC and other composers used in many of the programs. Also, special thanks is given to Ev Grimes, director of the KANU interviews.

ASUC STIJDENT COMPOSITION CONTEST

ASUC is pleased to announce the results of its 1977 Student Composition Contest. First Prize of $250 went to Todd Brie f for his Fantasy f or Violin and Piano (perf ormed at the ASUC Na­tional Conference in Miami). The Second Prize winner, Samuel Pellman, r e ceived $100 for his Pentacles for Alto Sax and Tape.

ASUC congratulates the winne r s and regrets not being able to off er more ~zes . The consistent ly high c a libre

:he more than fifty submissions indi­cates an impressive level of student work in this country. We extend our apprecia­dicates an i mpre ssive l evel o f student work in this country. We e xtend our

tion to all who entered works this year and hope each will submit again next year.

All scores and tapes will be re­turned shortly under separate cover.

BURGE/EAS1MAN COMPOSITION AWARD

Robert Freeman, Director of the Eastman School of Music, announces a prize of $1,500 to be given for a com­position for solo piano written by a member of ASUC. Internationally known concert pianist David Burge will choose the winner from those works sub­mitted.

Burge, Chairman of the Piano De­partment of the Eastman School of Music and former National Chairman of the ASUC (1970-1974), has been named Kil­bourn Professor for the 1978-1979 aca­demic year; the Composition Award is being sponsored by Eastman as a part of this Professorship, r ecognizing Burge's long-term interest in the com­position and p e rformance of n ew piano music and his particular interest in ASUC, of which he is a founding member.

Members of the Society may submit works until September 1, 1978. The award will b e made shortly thereafter. Burge will subsequently perform and record the winning composition. Works are to be for solo piano; compositions for piano and tape or other electronic equipment are permitted . Unpublished, unrecorded works of any duration will be accepted, although it is preferred that they be between five and t wenty­five minutes in length. The year of composition should be indicated on the score. All scores submitted will be­come t h e property o f the Eastman School of Music.

Send sco res directly to: David Bur ge, Chairman , Piano Department , East­man School of Music, 26 Gibbs Street, Rochester, New York 14604.

SUMMER PROGRAMS IN COMPUTER MUSIC

Two s p ecial summe r programs in computer music are being offered this summer at the Massachusetts Institute o f Technology. Program l ("Techniques of Computer Music Syn thesis," June 1 2-23, a nd June 26-July 7) wi ll explore

current methods of digital sound syn­thesis in concept and in practice. Comprehensive lectures will cover topics such as sound analysis, additive and non-linear synthesis, digital filtering and reverberation, man-machine inter­action, microprocessors, and real-time digital synthesizers. Participants will be able to construct and test these networks in active computers of the MIT Experimental Music Studio. All ideas will be developed from first principles. No prior experience is required.

Program 2 ("Workshop in Computer Music Composition," July 10-28) will provide opportunity to synthesize a complete medium-sound composition in digital sound. Synthesis networks are created interactively by patching oscillators and filters diagramatically on a screen. Scores are created when notes played on a musical keyboard appear on the screen in standard musical notation to be edited, printed out, or synthesized by the computer. Lecture demonstrations and private coaching will be provided by prominent composition faculty. Limited enrollment will en­sure each participant four to six hours daily of computer time in the Experimen­tal Music Studio. Both programs are offered by MIT Studio director, Professor Barry Vercoe.

For further information write to: Director of the Summer Session, Room El9-356, M.I.T., Cambridge, Massachusetts 02139.

ELECTRONIC MUSIC PLUS FESTIVAL

The Eighth Annual Electronic Music Plus Festival will be held this year at the University of Virginia, November 3-4. Sponsored jointly by the Southeastern Composers League, the American Society of University Composers (Region III), and the Mcintire Department of Music at the University of Virginia, the Festi­val has, since its inception in 1970, drawn the interest of increasing num­bers of composers. The Festival Com­mittee invites composers currently re­siding in the United States to submit per f ormance material by August 1 5 ,1978. Works in the following categories with tape or live electronics will receive preference: solo, small ensemble,

multi-media, and concert band. Sub­mission of rehearsal tapes is encour­aged.

Send all materials and enquiries to: Electronic Music Plus Festival /"""'\ Committee, Mcintire Department of Music, 113 Old Cabell Hall, University of Vir­ginia, Charlottesville, Virginia 22903. Composers who wish their scores and related materials returned to them must include a check to cover the cost of re­turn postage and insurance if desired.

INTERNATIONAL CONFERENCE

An international conference en­titled "Time in Music, Rhythm and Per­cussion: East and West" will be held at the University of Wisconsin-Milwaukee March 8-10, 1979. The conference is de­signed to bring together prominent per­formers of non-western percussion and virtuoso new music percussionists (as well as ethnomusicologists, composers, and theorists) who will perform, lec­ture, and demonstrate percussion, con­cepts of rhythm, and concepts of time in various cultures. The project is funded by the Vilas Foundation. ~

The conference committee is solic­iting presentations from ASUC members and would consider such topics as "How Time Passes: The Problem of Music Time," "Tempo Rubato: East and West," "Exper­imental Music and New Percussion Instru­ments."

All inquiries should be sent di­rectly to: Professor Yehuda Yannay, Department of Music, University of Wis­consin-Milwaukee, Milwaukee, Wisconsin -53201.

NEWS FROM 1HE REGIONS

The following ASUC members have recently become regional co-chairpersons: James Eversole (University of Connecti­cut) for Region I, and Stephen Scott (Colorado College) for Region VII. Cleve Scott (Ball State University) was recently appointed as the electronic music representative to the Executive Committee.

A meeting of Region I was held at the university of Massachusetts-Amherst on November 5, 1977, arranged and hosted

by regional co-chairperson Robert Stern with the assistance of Lew Spratlan and Ron Perera. The day was devoted to con­certs of works by Region I members Allen Brings, John Duesenberry, James Eversole, Jonathan D. Kramer, Thomas Read, John c. Heiss, Christopher Hills, Louise Mygatt, Charles Turner, Elizabeth Vercoe, Charles Bestor, Avo Somer, and Charles Shackford. Also of interest to the membership was a tour of the newly installed University of Massachusetts Electronic Music Studio.

The annual conference for Region II was held Saturday, November 12,1977, on the campus of Sarah Lawrence College, Broxville, New York, writes region co­chairperson Jim Willey J Mario Falcao, David Gibson, and Leigh Howard Stevens each demonstrated new resources and playing techniques for harp, cello, and marimba respectively. An afternoon con­cert was devoted to works by Eleanor Cory, Arline Diamond, Daria Semegen, James Willey, Richard Wilson, and Noel Barry Zahler.

In April, Region II inaugurated its first Carnegie R~cital Hall Concert, a unique venture for the region, reports Willey, in that a public performance was held rather than a regional gath­ering. The concert, partially funded by a grant from the Alice M. Ditson Fund for Music, featured the Da Capo Chamber Players performing works by Ursula Mamlok, Raoul Pleskow, Daria Semegen, Richard Wilson, Maurice Wright, and Rolv Yttrehus. The intention of the concert was to encourage similar events for the future and thus provide a pub­lic forum for member's works.

This year's Region V conference, coordinated by Yehuda Yannay, was held November 11-12, 1977, at the University of Wisconsin-Milwaukee. The conference began with a concert of works by James Hartway, Richard Hervig, Bain Murray, August Wegner, John White, Bruce Wise, and Scott Wyatt. Following a Saturday morning business meeting, John Downey moderated a lecture/panel session that included the following topics and par­ticipants: "The Paradox of Motion and Stasis in the Music of Gyorgy Lige ti" (Robert Rollin), "The Avant Garde Recorder" (Edward Gogolak), "Fresh Conceptual Resources for Composers" (Burt Levy), "New Music in England" (Richard Orton) , and "New Music and the Public Media" (Curtis Carter, panel1

moderator, Louise Kenngott, Lawrence B. Johnson, Heidi Van Gunder, and Conrad Dejong).

The final two concerts featured works of Bruno Amato, Burton Beerman, Tim Blickhan, Ted Dollarhide, Jere Hutcheson, M. William Karlins, Peter Lewis, and Morgan Powell.

Region VI, 'co-chaired by Michael Horvit and Edward Mattila, held a re­gional conference at the University of Houston, November 11-12. r Hosted by Michael Horvit,• the conference included two concerts of music by regional mem­bers George Eason, Mary Jeanne van Appledorn, Michael Hunt, Michael Horvit, Harold Oliver, Thomas Benjamin, Joe Nelson, Barton McLean, James Wintle, Edward Mattila, David White, and Frank Boehnlein. Other conference activities included a lecture-recital by Karen Ervin, percussionist, and a panel dis­cussion ("How Relevant is the Study of Music Theory to the Student Composer?") moderated by Robert Nelson with panel members Harold Oliver, Barton McLean, and Edward Mattila.

ASUC COMPOSERS IN ACTION

Marshall Bialosky (California State University, Dominguez Hills) has had several pieces published by Seesaw ·in recent months. These include Three Movements for Piano, Suite for Unaccompanied Cello, Album for the Young (piano), Constantly Bending (alto recorder or oboe), Guitarondo (solo guitar), and A Christmas Hymn (alto voice and three instruments). His Music was performed by the CSU-Dominguez Hills University Chorale on their winter tour.

Ralph Bubalo (Cleveland State Uni­versity) has received recent premieres of his Electrum for alto saxophone multi­phonics and tape and Tubularity for horn and tape. He was the recipient last year of a National Endowment for the Arts fellowship grant for a work for orchestra and tape, and an ASCAP Com­posers Award. His Concerto for ampli­fied clarinet and multiple tape delay was commissioned by the Fortnightly Musical Club of Cleveland. A recording of his Soundposts for violin, clarinet, and piano is available on Dimension Records.

Nancy Laird Chance's Ceremonial for percussion quartet was premiered by Paul Price and the Manhattan Percussion Ensemble in February at the Manhattan School of Music. Her Declamation and Song, commissioned by the New Music Consort, was premiered by them in April at York College in Queens.

Emmanuel Ghent's Vivace was pre­miered by the Mimi Garrard Dance Com­pany as part of the Riverside Dance Festival in New York in March. His Phosphones was also included on the program.

Craig Coray (University of Alaska) had two works included on a March con­cert at the Anchorage Historical and Fine Arts Museum. Pianist Dean Epper­son performed Coray's Canonic Study and Five Eskimo Songs.

Curtis Curtis-Smith (Western Michigan University) has received a Guggenheim Fellowship for the year be­ginning in September 1978. His project involves the composition of several cham­ber and solo works employing a micro­tonal tuning system in conjunction with equal temperament. A portion of the Fellowship year will be spent in London. Mr. Curtis-Smith has also received an award from the American Academy and Institute of Arts and Letters in recog­nition of his creative work in music. The award was presented at the Academy's ceremonial luncheon in New York in May.

Ulf Grahn has received recent premieres of three new works: In the Shade for percussion ensemble, The Wind of Dawn for orchestra and tape, and Trombone Unaccompanied. His Cinq Preludes, Sonata for Piano with Flute and Percussion,and Snapahots for Piano are all available on Opus One Records.

Jackson Hill (Bucknell University) has won the New York City chapter of the American Guild of Organists' annual composition contest. Hill won the cash prize and publication contract for his choral motet, In Mystery Hid, and his Three Mysteries for Organ, all to be published by Hinshaw Music Corporation. His An English Mass, a setting of a communion service with modern text, has won the national competition for the sesquicentennial celebration of

Trinity Episcopal Church, Watertown, New York. It is being published by Worldwide Music.

Karel Husa (Cornell University) recently conducted the Peabody Wind Ensemble and a choir of 160 voices in the East-Coast premiere of his Bicen­tennial commission, An American Te Deum, at the Peabody Institute in Baltimore. His Landscapes for Brass Quintet was premiered by the Western Brass Quintet during the Phi Mu Alpha convention in Kalamazoo, Michigan, at which time Husa was initiated as an honorary national member.

His Sonata No. 2 for Piano and Sonata for Violin and Piano will soon be released on Grenadilla Records, while Golden Crest Records is pre­paring an album of his complete music for solo piano. Mr. Husa has recently received a commission to compose a work for the Evansville, Indiana, University String Quartet. This will be the first string quartet Husa has written since his Pulitzer Prize winning String Quar­tet No. 3.

M. William Karlins (Northwestern University) spent September at the MacDowell Colony working on his Wood­wind Quintet No. 2, a commission from the Camerata Woodwind Quintet and West­ern Illinois University. On leave from Northwestern ~or the 1977-78 academic year, Mr . Karlin was a visiting composer and lecturer at several schools in the Midwest, Southwest, and on the East Coast. Concerts of his music were pre­sented at each school.

A four page article in the Fall 1977 issue of Saxophone Symposium was devoted to an interview with Karlins. Several of his works were performed this Fall including his Quartet for Saxophones No. 2, Outgrowths - Varia­tions for Piano, Woodwind Quintet, and Graphic Mobile.

Donald Keats (Lamont School of Music) will lead daily seminars in music of the 20th century during the University of Denver Summer Session at the Aspen Music Festival, July 21-31, 1978. Dr. Keats has conducted similar sessions at Aspen since 1976.

Suite in Stilo Antico for orches­tra, and Episode for French horn, oboe, bassoon, and harp, two works by Janos

Kiss (Cleveland Music School Settlement), were premiered at the February concert of the West Suburban Philharmonic Or-~hestra in Fairview Park, Ohio (the com­

•oser conducting). Kiss' latest work, Via Lactea (The Galaxy), a symphonic fantasy, was premiered in May.

Jonathan D. Kramer (Yale Univer­sity) has just completed a book entitled Stravinsky and Darmstadt: a Study of Musical Time. An article extracted from this book appears in the Musical Quarterly for April, 1978, and an over­view of the book was presented by Kramer at the annual National Conference on Music Theory at Northwestern University. Kramer serves as Musical Director for the Linda Diamond Dancers, who have danced his music recently in New York, Miami, New Haven, and Paris. Recordings are now available of Kramer's The Canons of Blackearth, on Opus One Records, and Renascence, performed by Phillip Reh­feldt (University of Redlands) on Grena­dilla Records.

Kramer has recently received a Composers Assistance Grant, a grant from the National Endowment for the Arts, a ~eet the Composer grant, and a grant from

__ he National Endowment for the Humanities to be a fellow at the School of Criticism and Theory, University of California, Irvine. There have been recent per­formances of Kramer's compositions at the International Experimental Music Festival in Bourges, France, at the Monday Evening Concerts in Los Angeles, at the Summer Music Festival in Sarasota, Florida, at the International Contempor­ary Music Festival in Buenos Ares, and on many college campuses.

The California State University­Dominguez Hills University Chorale per­formed National Chairman Edwin London's (University of Illinois at Champaign­Urbana) Christmas Music on their Christ-mas concert this past year.

Spectrum: The American Deaf Dance Company performed to Priscilla McLean's (University of Texas, Austin) electronic work, Dance of Dawn, in a ~oint performance with the Dallas Ballet

1rch 31 in Austin. This was the first Joint deaf-and-hearing performance in the United States. Spectrum will be taking the work on tour in the near fu-

ture. Her Invisible Chariots quadra­phonic and stereo electronic tape) was premiered in March at the First Festi-val of Women's Music, the Women's Inter­art Center in New York City. On April 3 WBAI broadcast electronic music by both Priscilla and Barton McLean. An interview concerning Priscilla McLean and her music was recently accepted by Nation­al Public Radio, and she will be featured in an article on BMI women composers in the forthcoming annual BMI magazine.

Vera N. Preobrajenska's Mazurka, Op. 2 No. 1 for symphonic band was per­formed last summer by the New Hastings Symphonic Band in Santa Cruz, California. Dr. Preobrajenska, who lives in Santa Cruz, currently works as a professional arranger.

H. Owen Reed's (Michigan State University, Professor Emeritus) The Materials of Music Composition, Through Jazz, Rock, Pop, Folk, and Art Music (Robert Sidnell, co-author) is being published in three volumes (volumes 2 and 3 still in preparation) by Addison­Wesley Publishing Company. His Rejoice! Rejoice! for chorus, vibraphone, chimes, vocal soloist, and double bass was re­cently premiered by the Cadillac Oratorio Society. Professor Reed lectured and conducted at several state colleges during January and February.

From a Very Little Sphinx, a song cycle for soprano and piano by John Schooley (Fairmont State College), was performed this year for the Mansfield State College Alumni Guest Series, Mans­field, Pennslyvania, and during a Feb­ruary Concert Series Lecture and Per­formance at the Science and Cultural Center, Charleston, West Virginia. He was also commissioned by the Grafton High School Chorus to write a work for Chorus, Harp, and Soprano solo which was premiered at the 1978 State Conven­tion of the West Virginia Music Educa­tors in March. Mr. Schooley's works are now being featured in regular con­cert tours by lyric-coloratura soprano, Anne Schooley.

A jury of the International Society of Contemporary Music selected an instrumental work of Daria Semegen (SUNY at Stony Brook) to represent the United States in the World Music Days Festival held in Helsinki, Finland, May 9-16, 1978.

Saxophone Quartet by Walter Watson (Kent State University) was premiered in January at Cleveland State Univer­sity as part of the Cleveland Composers' Guild series. Dr. Watson is also a consulting editor for the Ludwig Music Publishing Company which has recently issued his Let All the World in Every Corner Sing for their children's choir series.

Yehuda Yannay's (University of Wisconsin-Milwaukee) Five Songs for Tenor and Orchestra were commissioned and premiered by the Music for Youth Orchestra in Milwaukee. Cellist George Sopkin and horn player Barry Benjamin premiered his Hidden Melody on a Music From Almost Yesterday concert in Mil­waukee. He has also received a grant to record his At the End of the Parade for baritone and six players on CRI. The work is performed by The Orchestra of Our Time, Joel Thorne, conductor.

Works of several ASUC members were performed during the Electronic Music Symposium '78 held April 19-20 at the Philadelphia College of the Performing Arts. Composers included were John Dusenberry, Michael Gilbert, Ulf Grahn, Hubert Howe, Jonathan Kramer, and Daria Sernegen.

CHANGE OF ADDRESS

Rolv Yttrehus, Music Douglass College, Rutgers New Brunswick, New Jersey

EDITORIAL CCTv!MENT

Department, University,

08903.

As you may have noticed, publication of the Newsl e tter has been delayed this term; consequently, the present volume contains material for both Winter and Spring issues. A special abbreviated Summer issue is scheduled to appear in late August with a report from the Chairman of the Executive Committee and an article on electronic music and the new copyright law by Barton McLean. Publication on t h e usual time schedule will r esume in the Fall.

A Newsletter information guide ap­pears for the first time on the front page of this issue. It is hoped that it will serve to call attention to those ite ms that might require action

on the part of the reader. I would like to emphasize that

while I encourage submission of material by certain dates to provide sufficient lead time (January 10, May 10, October 10), I also encourage members to sub­mit material on an ongoing basis--don't wait for the deadlines and don't be deterred by them. If your informa­tion arrives too late for the current issue it will most likely appear in the subsequent one.

Torn Clernan, Editor ASUC Newsletter 250 West 57th Street Suite 626-7 New York, New York 10019

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EXECITTIVE COMMITIEE (1978)

Richard Brooks, Chairman, Nassau Community College; Thomas Cleman, Northern Arizona University; Warner Hutchison, New Mexico State University; Barton McLean, University of Texas; Priscilla McLean, University of Texas; Cleve Scott, Ball State University; Bruce Taub, Journal of Music Scores; Kurt Stone, Index of New Musical Notation, Associate Member.

NATIONAL COUNCIL

James Eversole, University of Connecticut, and Robert Stern, University of Massa­chusetts (Region I); James Willey, SUNY Geneseo, and David Maslanka, Sarah Lawrence College (Region II); Ulf Grahn, Contemporary Music Forum, and Larry Nelson, West Chester State College (Region III); Larry Austin, University of South Florida -Tampa, and Dennis Kam, University of Miami - Coral Gables (Region IV); Cleve Scott, Ball State University and Richard Hervig, University of Iowa (Region V); Michael Horvit, University of Houston, and Edward Mattila, University of Kansas (Region VI); Stephen Scott, The Colorado College, and William Stacy, University of Wyoming (Region VII); David Cohen, Arizona State University, and Robert Stewart, California State University - Fullerton (Region VIII); Greg Steinke, The Evergreen College, and Gordon Mumma, University of California - Santa Cruz (Region IX). Edwin London, Chairman, University of Illinois.