The Society of Composers, Inc. 1990 Region VI Conference

in conjunction with the UT A New Music Festival

Hosted by the University of Texas at Arlington Department of Music

Wendell Nedderman, President University of Texas, Arlington

Thomas Porter, Dean of the College of Liberal Arts

Gary Ebensberger, Chairman, Department of Music Zoe Moorer, Assistant Chair David Gompper, Conference Director

Conference Committee: Brian Brown, Julie Ducasse, Sheri Hammerstrom, Lee Harris, Daniel Hippman, Robert Hudson, Andrea Perez, Eric Ramsey, Michael Thompson, Greg Wiggins.

The UT A Festival of New Music gratefully acknowledges support for the 1991 SCI Region VI Conference from the Office of the President; Society of Composers, Inc.; Gary Ebensberger, Chairman of the Music Department; Lezlie Lewis and Carol Hurley for their secretarial support, and the academic and administrative offices at the University of Texas at Arlington.

Performers are University of Texas at Arlington faculty and students except as noted in the program.

We welcome the members of the SCI Executive Committee and National Council to this Conference.

Thanks to SESAC for their generous support of the 1991 Student Composition Contest.

Cover design: Carol Milliren and Susy Garner Score from David Gompper's ISO Ill for oboe solo (1991)

Program Schedule Thursday, March 7, 1991

Coffee and Rolls 8:30 am Room 104

Paper Presentations - Choir Room 106 9:00 am Robert Rollin - "Pitch Structure,

Form and Notation in Karel Husa's Concerto for Orchestra,

9:35 am

10:10 am

10:45 am

1926" Gerry Gabel - "Extended Uses of the Crossing Phenomenon" Charles Hoag - "A chance for killing a snake: Sensemaya" Break

Concert I - UT A New Music Ensemble 11 :00 am Irons Recital Hall

Panel Discussion Choir Room 106 "The influences of other cultures" 2:00 pm David Vayo, Chair

Larry Austin Martin Jenni David Gompper

Concert II - TCU New Music Ensemble 3:00 pm Irons Recital Hall

Concert III - UT A Percussion/Wind Ensembles 8:00 pm Irons Recital Hall

Friday, March 8, 1991

Coffee and Rolls 8:30 am Room 104

Paper Presentations Choral Room 106 9:00 am Greg Steinke - "Towards a New

Interdisciplinary" 9:35 am George Belden - "The Rituals

Project: Technical and Aesthetic Problems in the Communality of Music Materials"

10: 10 am Deborah Kavasch - "Extended

10:45 am

11:20 am

Vocal Techniques" Cynthia Folio - "The New Eclecticism" Break

Concert IV - UTA New Music/Jazz Ensembles 11:30 am Irons Recital Hall

Concert V - UTA New Music Ensemble 3:00 pm Irons Recital Hall

Dinner 6:00pm The Tandoor Restaurant

Concert VI - UTA Choral/Orchestral Ensembles 8:00 pm Irons Recital Hall

Reception - University Center Bluebonnet North Ballroom

Presentation of SCI!SESAC Student Composition Contest Awards

Saturday, March 9, 1991

Coffee and Rolls 8:30 am Room 104

Paper Presentations Choral Room 106 9:00 am Tim McKinney - "Set Theory

and Composition: are they com­patible?"

9:35 am Michael Iatauro - "The Use of

10:10 am

10:45 am

11:20 am

Found Material in Composition" Tim Kloth - " O King vs. Sommermorgan" Bill Matthews - "Milli Vanilli: who owns what?" Break

Concert VII - UNT New Music Ensemble 11 :30 am Irons Recital Hall

SCI National Board Meetings 2:30 pm Room 104

Concert I Thursday, March 7, 1991

11:00 am

Irons Recital Hall

UT A New Music Ensemble

Philip Baczewki tape alone

Pastels/or flute quartet Daniel Adams 5itnarea Perez

'Tracy Cafawe{[ Julie 'DuCasse 'l(rystfe Lcmao

Fluxion William Meadows tape alone

Septem de Animiculis Carmina Lloyd Taliaferro

I - Moderate II - Scherzando ill-Moderate IV - A la Strauss V - Freely Vl- Fast VII - Very slow

Meditatione Addita Caro{ Jessup -cCarinet

Joey Carter -percussion

Flush/or six trombones 'Barry Jfearn

'FJcfiara Miff.er :Franl(!f oster ~itfiJ!ays

1?.P6ert Jfuason Jim Mon!(

Mikel Kuehn

'Daviif (jompper . conau.ctor

Violaceous James E. Stiles Mary 'l(jnse«a - vio{a

Anon (1984) David K. Gompper 'E{iza6etfi 'Tomorsky -guest o6oeist

'Daviif (jompper -piano

Concert II Thursday, March 7, 1991

3:00pm

Irons Recital Hall

Texas Christian University New Music Ensemble Gerald Gabel - Director

Violet's Invention (1988) Larry Austin Jl.aam 'Woanid;j ·piano so{o ('University of 'J{prth 'Te;r__as)

Sonarequasta J oe Alexander 'Beth Patton· f£ute

(j-ary 'J!Vliitman · cfari.net (j-eorge 1?.psen6aum · vio[a

'Tamas 'Ungar ·piano

Love Songs to a First-Born I. lullaby Il. we dream m. to waken an angel

Trio

'Vincent 1?.Jisso- baritone (j-eorge 1?.flsen6aum · vio[a

(j-ary 'J!Vliitman · cfari.net (j-eorge 1?.psen6aum · vio[a ?(fith 'Durin.gton ·piano

•.. a wreath of fern ...

Time Labyrinths

(j-eorge 1?.psen6aum · vio[a

'Beth Patton · f£ute (j-ary 'J!Vliitman · o6oe John OWings ·piano

David Vayo

Robert Rollin

Kurt Kuniyasu

Robert Mueller

Concert III Thursday, March 7, 1991

8:00 pm

Irons Recital Hall

UTA Percussion and Wind Ensembles

Music for Percussion Ensemble Greg Steinke

Divertimento

Size

Lauren Whiteman

Martin Sweidel

'U'T5t Percussion 'EnsemMe 'Micfiae{ 'Varner . conauctor

- intermission -

Non-inconsequenza Timothy Kloth

Dialogue

Timepieces

Lee %ar6augfi · trom6one

Philip Parker

Scott P{ugge · s~opfione

Cynthia Folio

'll'T5t 'Wina 'Ensem6{e 1Uiy Licfitenwa{ter · conauctor

Concert IV Friday, March 8, 199 1

11:30 am

Irons Recital Hall

UTA New Music and Jazz Ensembles

Sonatine (1988) Mary Jeanne van Appledorn ']Janie{ J{ippman - cumnet

Su.zanne ?(fy -piano

Suite from "MacBeth" Samuel Pellman

Timespan

tape al.one

Margaret Brouwer 'll'T.Jll. Cirde of :Fifths 'Brass Qji-intet

First Flower of Spring Jon Birdsong

Yanomamo

Timanfaya

Jon 'Binfsong - trumpet 'Ernst :FU.Scfi -soprano sa;zopfione Cfiristian Scfiuk - tenor sa;zopfione

'Be{intfa Lopez -piano 'Brian 'Wortfien - 6ass Joey Carter - arums

'll'T.Jll. Jazz Orcliestra 'Bi{{ Snotfgrass · contfuctor

James Greeson

Rex Cadwallader

'll'T.Jll. Jazz Orcfiestra '1\?:tCatfwallaaer - contfuctor

Concert V Friday, March 8, 1991

3:00pm

Irons Recital Hall

UT A Faculty and New Music Ensemble

Cat's Cradle 3

Alaskan Beasts

Joanne 'Erwin · 'ce&

:Micki 'BeUen · contra£to Suzanne 'JVy ·piano

Reed Holmes

George Belden

Evocation for viola and piano Jeffery Hoover Joni 'Baczewfd · vio{a 'Davi£ S to/@n · piano

Tearing Down the Wall Justin Lewis

East Central University New Music Ensemble (Oklahoma)

:Micfuu{ 1(j.rl(Pa{rrur · trompet sow 'Dr. :Marl(Jfo{{ingswortfi.

Pam'Wifson :Marc S cfi.roeder

51/.nayPrice .!it.ngie 'Iayfor

Joe .!it.fei(antfer · contfuctor

Love in the Early Morning Joelle Wallach .!it.nn Catfwailatfer · soprano

Suzanne 'JVy ·piano

In Contra for trumpet and tape Samuel Magrill PJ.cl('Bogartf · trompet

Per Elysios Martin Jenni

'E{iza6etfi. Jfawtfiorne · o6oe 'Brian 'Brown · Ii.om

Joni 'Baczewski · viofa Lee Jfarris · fi.arpsicfi.ortf

Concert VI Friday, March 8, 1991

8:00pm

Irons Recital Hall

UT A Choral and Orchestral Ensembles

Chorale Prelude: Ting Ho Nun Danket alle Gott

Linton Powe[[· organ

Six Little Arrays for Piano Edward Mattila

Music for Someone I Don't Know

Larry 'Wift.y · piano

Michael Twomey Winner of the 1991 SCl!SESAC

Studenl Composition Contest for his chamber work Grey Sables

'lJavUf (jompper · piano

Encore UlfGrahn '])azfu.ng Zfr.u · piano

The Preacher Stuart Hinds

Hymn to St. Cecilia Benjamin Britten

John I: The Word

Three Psalms I. Where was I? III. Praise!

'll'T!ll Cfr.am6er Singers Jing 'Tam · conductor

Warren Gooch

James S. Sclater

'll'T!ll !ll Cappe{[a Cfr.oir (jary 'E6ens6erger · conductor

- intermission -

Fractal Images Margaret Brouwer I - Ancient Phases II - Earth Song III - Skattle

Hyperion Martin Sweidel

'll'TJI Orcfiestra 'R.p6ert AfcCasfri.n · contfuctor

Reception following concert - Cash bar

University Center - Bluebonnet North Ballroom Presentation of the SCI/SESAC Student Composition Contest Awards, presented by Herbert E. Johnson, Vice­

President SESAC, Inc.

Shores

1st prize winner: Michael Twomey 2nd prize winner: Thomas E. Fitch

Concert VII Saturday, March 9, 1991

11:30 am

Irons Recital Hall

University of North Texas New Music Ensemble

Thomas Clark and Shawn Pollard - Directors

Sfiannon (ji6son · ffute James 'R.pmain · alto s~opfwne

'Betfr. 'Bron!(_· trumpet 'lJavUi Cason· 'ce&

Malcom 'Be{[ · marim6a Cfui.s Carter · piano

Tom Clark

lmagenes al atardecer... Marc Satterwhite Jeanine 'IJeftaan - alto f{ute

'IJavitf Cason - 'ce[fo :Mafcom 'Be[[ - marim&a

!4.dam :J.{jcfw{s and 'Eric Jfo[[is -percussion

Miniatures for Computer I - Pulsations

Marvin Johnson

II - Resonances III - Orbits

Lyric Fantasy

bon mort

Six Haiku

tape alone

Sfiannon (ji6son · f{ute James 'JVnnain - alto sa;t\__opfwne

Carfos 5fgui£ar -guitar

- intermission -

Greg Steinke

Chris Morgan 'Ifwmas [{arf<:_ - tromEone

Lauren A. Whiteman Jeanine 'IJeftaan - alto f{ute :Mafcom 'Be[[ -vi6rapfwne

Seven Preludes for Dinner Philip Baczewski Sfiaron '1Jeu6y - c{arinet Po[[y :Maynard -guitar

Racing with Rabbits Michael Schelle Jolin J{i{{ -guest percussionist

r 37' fi\1 (i.'\.i') &i

The Composers

Daniel Adams is an Assistant Professor of Music at Texas Southern University. He has previously held positions at The University of Miami (1986-88), Miami Dade Community College (1986-88), and at the Performing and Visual Arts Center of Dade County Public Schools (1985-87) where he also served as Com­poser in Residence for the theater program. Adams is a co-founder of the South Florida Composers' Alliance. He served on its Board of Directors from its inception in 1985 until he left Miami in August of 1988. He is now an active member of the Houston Composers' Alliance.

Adams holds a D.M.A. degree from The University of Illinois (1985), a M.M. from The University of Miami (1981), and a B.M. from Louisiana State University (1978). His composition teachers have included Salvatore Martirano, Ben Johnston, Morgan Powell, Dennis Kam, and Dinos Constantinides. Adams has received grants and awards from the American Symphony Orchestra League, the Percussive Arts Society, ASCAP and Meet the Composer.

The title of Pastels refers to the gradual changes of color and texture that result from transformations of density, register and the fingering of sustained notes. The piece opens with notes of long duration that gradually yield to polyrhythms based on repeated pairs of notes. This is followed by repeated single pitches, mostly in the high range. A succession of long notes returns, followed by variants of the previously heard polyrhythmic passages. Short incipient motives then taper off into a passage of long notes with which the piece concludes. Both the vertical and horizontal pitch relationships are based on interval classes one, two and six.

Joe L. Alexander holds a B.M. degree in Music Education from East Carolina University and a M.M. degree in Theory/Composi­tion from James Madison University. He is currently a doctoral candidate in Composition at The University of North Texas and is working on his dissertation entitled Suite for Symphonic Winds. His composition teachers have been Drs. Newel Kay Brown, Martin Mailman, Cindy McTee, and James Riley. Recent perform­ances include Winter's Last Twilight (Co-winner of the 1988 North Texas Symphony's "New Music Competition") and Sonarequasta at the 1990 Texas Student Composer's Symposium at UT A, and Affinities Remembered at the Society of Composer's Region VI conference this past April. Professional memberships include BMI, Phi Mu Alpha, Pi Kappa Lambda and the Society for Composers, Inc. Since the fall of 1990, he has been on the Faculty at East Central University in Ada, Oklahoma where he teaches Theory, Music Appreciation and Low Brass.

Sonarequasta, or "quasi" sonata, was written at the request of violist, George Rosenbaum. It was premiered on the Specrrum Series at The University of North Texas on February 21, 1990. The first movement is based on a combination of the definitions of the early Baroque sonata and Classical sonata form. The second movement is a traditional, four voice fugue with two countersub­jects. The work is dedicated to Mr. Rosenbaum.

Mary Jeanne van Appledorn, Professor of Music at Texas Tech University, received the B.M., M.M. and D.M.A degrees from The Eastman School of Music. Her musical compositions include major works such as the Concerto for Trwnpet and Band, per­formed during the 1985 International Trumpet Guild Conference and recorded by Opus One records; Set of Seven for the New York City Ballet's 40th Anniversary Festival in 1988; Concerto Brevis for piano and orchestra, recorded for the Contemporary Record Society in 1989 at Philadelphia, and Cantata: Rising Night after Night for soloists, choruses and large orchestra, which was recorded by the Slovak Radio Orchestra and Chorus in Czechoslo­vakia on December 3, 1990 for a compact disc on the Vienna Modem Masters label. In 1989 Texas Tech named Dr. van Appledorn the Paul Whitfield Horn Professor, the highest distinc­tion the University bestows upon its faculty. Her music is being performed throughout the world including Russia, Japan, Hungary, Germany, France, Australia and the Netherlands. It is published by Oxford University Press, E.C.Schirmer, Dorn Publications, Inc., and Molenaar's Muziekcentrale in the Netherlands.

Larry Austin (b. 1930) was educated in Texas and California and studied composition with Violet Archer, Darius Milhaud and Andrew lmbrie. His orchestral works have been performed by the New York Philharmonic, the Boston Symphony and the Buffalo Philharmonic, among others. In 1978, he joined the faculty at The University of North Texas, where he presently works and teaches, serving as co-director of the Center for Experimental Music and lntermedia

Austin's electroacoustic music is well known and widely per­formed. He currently serves as President of the Computer Music Association and CDCM, the latter which is a consortium of major U.S.A. computer music studios producing the CDCM Computer Music Series of compact disc recordings.

Austin has received numerous fellowships, grants, commissions, and awards. His works are recorded on Columbia, Advance, Source, lrida, Folkways and DCDM/Centaur and are published by Peer International, MJQ Music and the American Composers Alliance. His research interests include compositional algorilhms, the Universe Symphony of Charles Ives, and new music perform­ance. He is the author of the book Learning To Compose: Modes, Materials and Models of Musical Invention, published by William C, Brown Co.

Violet's Invention - During Violet Archer's tenure at The University of North Texas, Denton from 1950 to 1952, I was her student in private composition and piano lessons. As my first real composi­tion teacher, Violet was perfect. She enthusiastically encouraged and guided my efforts, from my Sonatina for violin and piano (1950) to my Concertina for flute, trumpet, and strings (1952), four pieces later: five big pieces in two years! She instilled in me, early on, a passion to invent, to explore, and to be creatively productive. What fluency and invention I have sustained through the years since then was first nurtured by her challenging model as a prolific and ingeniously inventive composer. This piano piece, Violet's Invention, is a small token of thanks to and admiration for her in her 75th year, and I am honored to have been invited to compose it for the Violet Archer Festschrift.

Violet's Invention is a canon whose pitches derive from anagram­matic extrapolations of the letters in Violet Archer's name. Form, rhythmic design and melodic/harmonic continuity were created through a "Violet Archer ordering" of virtually all of the metaphori­cally appropriate anagrams that can be made with the two words of her name, themselves metaphors for what I sense as Appollonian and Dionysian sides of her nature and her music.

Philip Baczewski has composed works which employ resources ranging from symphony orchestra to twenty-piece flute choir. His first work for flute choir, employing four piccolos, six C flutes, six alto flutes and four bass flutes was partially premiered at the 1976 National Flute Association convention. Another work using the same instrumentation, Fleogan, was premiered at the 1979 American Society of University Composers (SCI) regional conference. More recent premiers have included a performance of a commissioned work, Colorscape, by the Chamber Symphony of San Francisco in 1985, and a 1990 performance of Prisms, for string ensemble, by the Fort Worth Chamber Orchestra. Baczewski holds a D.M.A. degree from The University of North Texas, where he studied with Merrill Ellis, William P. Latham and Larry Austin.

1 =3=1 was realized at Stanford University during the summer of 1990. The score was generated on a NeXT work-station using a LISP-based package called Common Music, written by Heinrich Taube. The NeXT's Music Kit in combination with it's on-board DSP hardware was used to produce the performance tape.

The title of this work refers to a perceptual phenomenon used as a thematic element. The score consists of a single melodic line. However, an "aural illusion" is created by varying the timbre and spatial location of successive tones. What starts as a single melodic strand gradually seems to become a three-part contrapuntal structure with one voice on the left, one voice in the center, and one voice on the right. By employing Common Music's ability to control voice timbre and stereo panning, gradual movement between a single line and an apparent three-voice texture becomes possible.

The pitch material for this work consists of a twelve-tone series that is divided into three tetrachords stated both sequentially and in palindromic patterns. These patterns are repeated under various transpositions. The work also has a palindromic sectional structure defined by the patterns of pitches employed in its construction. Seven Preludes for Dinner, written in 1982, is the only piece I've written which employs a "classical" serial method of composition. The row employed, however, has a predominance of seconds and fourths in its intervallic content, providing the feeling of a quartal scheme of harmony. Except for the initial Preludium and the Finale, the preludes evoke a reminiscence of various stylized forms from various musical periods: Fugue, Minuet, Waltz, March, and the less well defined format of Idyll are all represented. This work was commissioned by clarinetist Maria Palacios while we were both students at The University of North Texas. The title explains the terms of the commission.

George R. Belden is an Associate Professor of Composition and Theory at The University of Alaska, Anchorage. He was born and raised in Kansas and holds degrees from Bethany College, The University of Northern Colorado, and The University of North Texas. His composition teachers include Herbert Bielawa, Evan Copley, Merrill Ellis, and William P. Latham. He is currently co­chairman of Region 9 of the Society of Composers, Inc and is a founding member of the Alaska New Music Forum. He is a member of ASCAP.

Belden's music has been published by Belwin Publishers, Canzona Press, Tritone Press, and Trombone Association Publications. He has received commissions from The University of Alaska Anchor­age and from the Alaska State Council on the Arts. Belden recently won the ASCAP Special Award for "works which have a unique prestige value" and which have been performed recently in public. Masks and Rituals received its New York premiere by the North/ South Consonance in February, 1990, and recently won a prize in the Composer's Guild of Utah annual composition contest. His composition Gilgamesh, has been selected for inclusion in the Society of Composers, Inc. Record Series and Journal of Music Scores, Vol 17. Belden's Alaskan Beasts: A Song Cycle won first prize in the Composer's Guild 1986 composition contest. His Arctic Music for Band received honorable mention in the Pro Loco Corsicano (Italy) 8th International Composition for Original Music for Band. His original composition and arrangements for tuba and euphonium solo published by Belwin were cited in a recent listing of recommended literature in the T.U.B.A. Journal.

Jon Birdsong, as a recent student of Lyman Brodie, Bill Snodgrass, Keith Johnson and Zoltan Suscs, has pursued a direction most closely related to jazz music, but has embraced a very diverse musical influence. Birdsong lived in Budapest, Hungary last year, and studied with Zoltan Suscs and Rudorf Tomsiets, where he was involved in a jazz ensemble. First Flower of Spring was written for

this jazz group. He is currently a student at The University of North Texas.

Margaret Brouwer, Assistant Professor of Music at Washington and Lee University, received a grant from the Virginia Commission for the Arts last June which resulted in the composition of Fractal Images for chamber orchestra. Fractal Images was premiered on March 2 in Lexington, Va. On March 7, SCHerWid for solo horn will be performed at the University of Georgia in Atlanta. In November, Brouwer's Two Pieces for Viola were performed on the St. Louis Symphony Chamber Music Series and Two Songs was performed on the Currants (University of Richmond) New Music Series in Richmond, at Randolph-Macon College in Ashland and at SONOKLEXT in Lexington. Brouwer's music is recorded on OPUS ONE label and will be released shortly on CD by Crystal Records. Other grants Brouwer has received include Indiana University, WEST AF Meet the Composer, National Endowment for the Arts, the Indiana Arts Commission and Washington and Lee University Glenn Grants.

Fractal Images was composed with the assistance of a grant from the Virginia Commission for the Arts. Recently having become very intrigued by the book "Chaos" by James Gleick, I have been experimenting with the possibilities for creating musical forms based on premises found in Chaos. This work represents the third in a series of form-studies inspired by Gleick's book. Gleick quotes scientists in the premise that there is no randomness even when apparent chaos prevails. In order, randomness emerges or, going one step further, randomness finds its own underlying order. There is probably a coding scheme that has yet to be understood. In various apparently random drawings of an object, the final project is still the same picture. Just as when we enter a new room, our eyes dance around in what seems to be a random order, we still get a good idea of the room. In the same way, a piece of music can be perceived as a whole even when the listener is lead seemingly in a random or chaotic manner between ideas. In the first movement, Ancient Phases, contrasting ideas have been juxtaposed in the same way that exuberant-spirited, life-affirming themes might run chaotically side by side.

Contrasting in mood as well as form, Earth Song is a simple song form based on the 16th century canzonet with a lute-style accompa­niment in the pizzicato of the strings. It is an uncomplicated homage to our once clean and untarnished earth.

The form of the third movement, Skattle, was inspired by Gleick's description of a computer based experiment to find three possible solutions to an equation giving a different color to each solution. Exploring the graphic space of the solutions in finest detail revealed that

"a boundary between two colors never quite forms. Instead of a neat ridge between the blue and red valleys, for example, he was blotches of green, strung together like jewels. It was as if a marble, caught between the conflicting tugs of two nearby valleys, would end up in the third and most distant valley instead. On even closer inspection the line between a green blotch and the blue valley proved to have patches of red ... Wherever two colors try to come together, the third always inserts itself, with a series of new, self­similar intrusions. Impossibly, every boundary point borders a region of each of the three colors."

I found this colorful idea extremely appealing and conducive to the construction of musical forms in general, and in this case light and humorous. Simply put, the three elements which are representative of the three colors in this movement are percussion solos, orchestral chords and instrumental solos.

Timespan - The remembrance of time spent viewing the stone circles and standing stones of Scotland and Dartmoor where I could almost hear the eerie sounds of primitive horn calls floating across the hills, and of a day at Stonehenge where a mystifyingly modem cosmological knowledge on the part of Bronze Age people seems in evidence, inspired an interest in combining the ancient and primitive with the space-age. Rondeau Squared follows the rondeau form of the 13th century French Trouveres which exploited basically the alternation between chorus and soloist and had two thematic ideas. My contemporary version is elaborated so that each section of the large rondeau form is, in itself, a small rondeau form. Of the three movements, Ancient Calls was written first. While writing it, I became interested in making a connection between the ancient and the contemporary. Ancient Calls reminded me of the bleak hills and ancient yet modem stone markings and sight lines found in Dartmoor and Scotland. It uses multiphonics and changing vowel sounds and recurrent permutations of aggre­gates involving the perfect fifth. Shining Metal leaves the ancient behind and is a space age maze of rhythmic complexities presented through the utilization of three short motivic ideas.

Rex Cadwallader is an experienced educator at all levels of public instruction, having directed successful public school band programs in Nebraska and Iowa for sixteen years. He received both his Bachelor of Music Education and Master of Music in Composition degrees from The University of Nebraska - Lincoln, where he studied composition with Robert Beadell. He completed his Doctor of Arts in Theory and Composition degree at The University of Northern Colorado, where he studied with Dr. Evan Copley and Dr. Robert Ehle.

Dr. Cadwallader's compositions, both jazz and non-jazz, are published in the United States and Europe, and have been played by many professional, university and high school ensembles. He received Jazz Fellowship grants in jazz composition from the National Endowment for the Arts in 1987 and 1988.

Timanfaya was inspired by the incredible volcanic forces that formed the island ofLanzarote in the Canary Islands, where there is a national park of the same name.

Thomas Clark (b. 1949) studied at The University of Michigan with Leslie Bassett and George Balch Wilson, receiving a Doctor of Musical Arts degree in 1976. He has taught at Indiana Univer­sity, Pacific Lutheran University and the National Music Camp at lnterlochen. Now at The University of North Texas, he teaches composition and music theory, produces the CEMI EVENT SERIES in the Center for Experimental Music and lntermedia, and for many years directed the New Music Performance Lab which he developed there. His compositions are affiliated with BMI, available through the American Composers Alliance and on Centaur Records. He also co-authored Learning to Compose, published by Wm. C. Brown Co.

Shores is part of a series of works inspired by and based on natural geographic patterns of shorelines and peninsulas. Drawing on images of motion in the composer's poem, "Sea Breeze," Shores was originally composed for the UNT New Music Performance Lab.

Cynthia Folio is currently Associate Professor of Theory at Temple University of Philadelphia. From 1980-90, she taught full­time at Texas Christian University and played flute in the Fort Worth Symphony Orchestra. She earned a Ph.D. in Music Theory and a Performers Certificate in flute from The Eastman School of Music and a Bachelor of Music degree from West Chester University. She studied composition with Larry Nelson (WCU) and Joseph Schwantner (ESM), and her dissertation was an analysis of Schwantner's music. Her awards include a grant from the National Endowment for the Humanities, a distinguished alumnus award from WCU, and a residency at the Yaddo artist colony. She has published articles in Perspectives of New Music, extempore, and The Flutist Quarterly. Her compositions One for Four (for flute quartet) and Developing Hues (for flute and bass clarinet) are published by Shawnee Press and Seesaw Music Corp., respectively. As a flutist, Cynthia is active in the performance of contemporary music. She recently travelled to Brazil to participate in two festivals of new music and recorded a jazz flute compact disc entitled Portfolio, which features five of her original compositions. She is a member of ASCAP, the International League of Women Composers, Society of Composers, Inc. and a lifetime member of the National Flute Association.

Timepieces for wind ensemble (1987) was written for and pre­miered by Robert Blanton and the TCU Wind Ensemble. Th,e title of the individual movements are all about time: "A Point in Time" is based on one main melodic/harmonic structure and is in a romantic style; "Summer Evening" evokes the image of a mirage, which begins in the low register and slowly rises at the opening; "Early Spring" mimics many of the sounds of nature; "Times Remembered" is so called because a theme from the first move­ment unconsciously resurfaced while composing the end. Time­pieces was one of the selected compositions for the Symposium XV for New Band Music (at Radford University) and the Society for Composers Regional Meeting (at The University of Texas in San Antonio).

Gerald Gabel is a composer, theorist, conductor and educator who is currently Assistant Professor of Composition and Theory at TCU and co-director of the school's Upchurch Studio for Electro­Acoustic Music. He received the B.M. degree from the University of Northern Iowa and both the M .A. and Ph.D degrees from the University of California, San Diego. His principle instructors have included Roger Reynolds, Peter Michaelides, Bernard Rands, Pauline Oliveros and Robert Erickson. Prior to his appointment at TCU, he was Visiting Assistant Professor at Dartmouth College (1984-87), Assistant Professor at California State University, Los Angeles (1984), Chairman of the Theory and Composition programs at the Music and Arts Institute of San Francisco. He was also the director of choral ensembles at San Diego Mesa College, the University of California, San Diego, and the La Jolla Civic/ University Chorus.

His music explores various facets of his diverse compositional, theoretical and perceptual interests with emphasis upon the morphology, function, variation and transformation of musical texture. His works have been recognized by grants and fellowships from the National Endowment for the Arts, the MacDowell Colony, the American Music Center, the American Society of Composers, Authors, and Publishers, and the New England Foundation for the Arts, among others. His music has been performed in all parts of the US and in Europe and is published by Seesaw Music Corp. of New York. He is also Director of the New Hampshire Music Festival Composers Conference and co-editor of ex tempore, a musical journal which addresses issues of importance to composers and theorists. Recently, his compositions have been heard at festivals in Lawrence, KS, New London, CT and Memphis, TN.

David K. Gompper (b. 1954) currently Assistant Professor of Theory and Composition at the University of Texas, Arlington, received the D.M.A. degree from the University of Michigan (1988), where he studied with Leslie Bassett, William Albright and George B. Wilson. At the Royal College of Music, London, he received a M.M. degree in composition, and studied with Humphrey Searle and Jeremy Dale Roberts in composition, Phyllis

Sellick in piano and Norman Del Mar in conducting. His bachelor's degree in piano performance was granted by San Diego State University. Gompper taught at the University of Nigeria, Nsukka (1980-82).

Gompper has received numerous awards for his academic and musical achievements, including a Regents Fellowship at the University of Michigan, a National Graduate Fellowship Award from the U.S. Department of Education, the Charles E. Ives Prize for composition from the American Academy and Institute of Arts and Letters, and a Composers Fellowship from the National En­dowment for the Arts (1991).

His recently completed commissions include incidental music for a production of The Tempest (November 1990), and a work for solo oboe ISO Ill which was premiered at the 1991 TMEA convention is San Antonio. Gompper is currently working on two commissions, a wind ensemble work for the University of Texas at Arlington and an orchestral work for the Jackson Symphony (Michigan), the latter which will be premiered October 1991. He has recently accepted a post in the theory/composition department at the University of Iowa.

Anon - for oboe and piano was written in 1984 as a commission for the Michigan Music Teachers Association and was premiered in Grand Rapids that same year. It is in one movement with three sections. The title, an archaic word meaning "soon, presently", is used typically as a response to a imperative inquiry (esp. in Shakespeare). This kind of dialogue is an integral part of the musical flow between oboe and piano. The timbres of both instruments are intrinsically and wildly different in nature; elevating and honoring those differences in the form of dialogue are given an opportunity in this work.

Warren Gooch received his Doctorate in composition from The University of Wisconsin-Madison, where he studied composition with Stephen Dembski, Joel Naumann and Matthias Kriesberg, and theory with Bruce Benward, Joseph Straus and John Schaffer. He received his Masters degree from The University of Minnesota at Duluth, where he studied composition with Thomas Wegren, and his BM degree from the College of St. Scholastica, where he studied with Mary Mageau and St. Martina Hughes.

Gooch has received many awards, grants and commissions. His compositions have been recognized by the National Federation of Music Clubs, Minnesota Orchestra, American Choral Directors Association, Music Teachers National Association, Society of Composers, Composers and Songwriters International and several regional arts organizations. His music is published by Neil Kjos, Flarnmer and Augsburg Publishing House. Gooch has both authored and assisted in the preparation of teachers' manuals for nationally recognized college music theory textbooks published by

Brown and Prentice-Hall. Gooch is currently coordinator of the Theory-Composition Department at Northeast Missouri State University.

John I: The Word - This choral piece draws its title and text from the opening verses of John I: "In the beginning was the Word ... ". The piece employs both traditional and "non-traditional" choral devices in an attempt to depict both the message and the atmos­phere of these verses, which may be interpreted at different levels in a direct sense, symbolically and prophetically. Controlled use of improvisational elements is evident throughout the six-minute piece, which calls for mixed choir and both male and female soloists.

Ulf Grahn, born and raised in Sweden, a resident of Washing ton D.C. area since 1972, where he has been actively involved in the performance and presentation of new music. He studied music at The Royal Academy of Music, Stockholm and at The Stockholm City College, where his principal composition studies were with Hans Eklund. He holds degrees from Stockholm's Musikpeda­gogiska lnstitut and The Catholic University of America. He has the equivalent to a civil economics degree from The University of Uppsala, Sweden in Business Administration, Economics and Development Studies.

In 1973, he founded the Contemporary Music Forum, Washington, D.C. and served as its Program Director until 1984. During 1988-90, he was Artistic and Managing Director of the Music at Lake Siljan Festival, Sweden. Prior to this, he was on the faculty of George Washington University and Director of its Electronic Music Studio. At present he is a free-lance composer and a frequent lecturer on Swedish/Scandinavian music, including his own, American music and Cultural Economic issues.

James Greeson is an Associate Professor of Music Theory and Composition at The University of Arkansas. In 1985, his FanJasy for Five Players was premiered by the Da Capo Chamber Players at Carnegie Hall and performed by them on numerous occasions since then. In 1983, Dr. Greeson was one of three finalists for the Music Teachers National Association "Composer of the Year" award for his composition, Piano FanJasy, which was commissioned by the Arkansas State Music Teachers Association. He has had six of his compositions published and heard across North America and on occasion in Europe and South America.

Dr. Greeson received his D.M.A. in composition from The Univer­sity of Wisconsin, where he studied with Leslie Thimmig. He received his Bachelor (magna cum laude) and Master of Music degrees in composition from The University of Utah, where he studied with Ramiro Cortes and Vladimir Ussachevsky. Dr. Greeson has also been active as a jazz guitarist and composer. He is the director of UA Jazz Band and has composed and arranged a

number of charts for that band. He has also performed as a guitarist with Lee Konitz, Rich Matteson, Bill Watrous and Grady Tate.

Yanomamo is an original composition for Jazz Ensemble, written in 1990. It is based on the chord changes to the standard Cherokee, but treated in the form of the Brazilian samba. The Yanomamo are a tribe of native Brazilians just as the Cherokees are native Americans.

Ting Ho has received composing awards and grants from the National Endowment for the Arts, the National Endowment for the Humanities Meet-the-Composer, Inc., the New Jersey Council on the Arts, and the American Music Center, and was the recipient of the Louis Lane Prize. His works have been performed at Alice Tully Hall and Weill Recital Hall of Carnegie Hall in New York City, and in concerts and new music festivals in the United States and Europe. One of his works was featured in a Voice of America broadcast to the Orient, and in 1988, he was awarded a Distin­guished Artist designation by the State of New Jersey.

Dr. Ho was born in Chungking, China, and received his Ph.D. in music composition from The Eastman School of Music of The University of Rochester (NY). He is a member of the Executive Committee of the Society of Composers, Inc., and is presently on the faculty at Montclair State College (NJ), where he is the Coordinator of the Music Theory and Composition Division and Director of the Electronic Studio.

Chorale Prelude: Nun Danket alle Gott was commissioned for the dedication of the new organ console at the Presbyterian Church of Upper Montclair, N.J.

Reed Holmes received his Ph.Din Music Theory from The University of Texas at Austin. His compositions have been performed extensively in the United States and Europe. His works have been awarded performances at events such as the Knoxville World's Fair, Festival Contemporanea e antica (Parma, Italy), International Computer Music Conferences (Venice, Denton, Rochester, NY), lncontri Con L'AltraMusica (Italy), among others.

Currently, he is an Associate Professor of Theory and Composition at The University of Texas at San Antonio, where he is also Director of the Electronic Music Studio. Reed is the Co-Chairman of Region VI of the Society of Composers, Inc.

Cat's Cradle 3, for Solo Cello, is written in two parts which are played without a pause. The first part, "Song," is a slow, lyrical exploration of the main interval patterns of the work with a thoughtful and introspective mood. In contrast, the second part,

"Dance," is much faster, presenting a primitive and rhythmically aggressive character.

Cat's Cradle 3 is the first part of a larger work Cat's Cradle 3 & 4; the two parts may be performed separately (i.e., Cat's Cradle 3 for Solo Cello and Cat's Cradle 4 for Cello and Tape) or together. Cat's Cradle 3 & 4 will be completed in 1990 and is being written with the support of a grant from The National Endowment for the Arts.

The titles of my series of Cat's Cradle compositions refer to the child's game in which an intricately looped string is passed from one player to the next, resulting in a succession of different looped string patterns and textures.

The work is written for cellist David Garrett and is dedicated to my friend and father-in-law Whitney Cochran.

Jeffrey Hoover has received several awards, commissions and honors as a classical composer. These have included the Trieste International Competition for Symphonic Composition ( 1981 ), Lancaster Summer Arts Festival Composition Prize (1985) and grants for composition by Meet The Composer, Ball State Univer­sity and Southwestern Michigan College. He has been a three-time Fellow at the Hambridge Center (1987-1989) and at Ragdale (1988). Among his commissions are music for educational as well as professional performance. He was recently a guest of the Virginia College Band Directors Association, where he conducted his Concerto for Percussion and Wind Symphony. Hoover is currently a Ph.D. candidate at Texas Tech University.

Evocation is a work of contrasts. The piece unfolds as lyrical gestures which reach a climax of great intensity. In the second part of the composition, short rhythmic thrusts in the piano and viola complements the lyrical first part. Organic relationships are established, creating an integral work. The impressionistic use of music materials hearkens back to those composers whose work has influenced this piece.

D. Martin Jenni (b.1937) currently directs the program in Composition and Theory at The University of Iowa, where he has been a member of the faculty since 1968. He holds a B.M. from DePaul University (1957), and A.M. in medieval studies from The University of Chicago (1962), and the D.M.A. in composition from Stanford (1966). As a member of The American Composers Alliance since 1955 (when he was nominated for membership by Henry Cowell), Jenni's compositions are licensed by BMI, published by Associated Music Publishers and in ACA's Facsimile Editions, and recorded on CRI. They have received major awards from the Ford Foundation, BMI and the National Endowment for the Arts. Areas of his research include medieval topics (Gregorian chant, the work of Hildegard van Bingen), issues in music theory

(Fe tis and the notion of tonality, "natural harmony" theory of the Baron de Blein), and world music (on-site studies of Karnatic, Bal­inesian, Moroccan, Egyptian, Bulgarian and Croatian folk and classical repertories).

Per Elysios: Wm. H. in memoriam honors the memory of William Hibbard, musical director (since its founding in 1966)of the Center for New Music at The University of Iowa, who died in April 1989. The work, for oboe, horn, viola, harpsichord and crotale, received its first performance at Iowa in April of 1990. In notes for that per­formance Jenni described the piece as "gentle, singing, spacious, haunted by the pitches B-flat, B-natural (B, H as the Germans call them). It reflects, modestly, lessons learned from two beloved masters: Franyois Couperin - a broadly traversing rondeau, to be played 'tres tendrement, sans lenteur' - and William Hibbard himself, who, over two collegial decades, shared many discover­ies." The title's reference to the abode of the blessed recalls (for the composer) both Couperin's Aptheose de Lulli and Catullus's powerful elegy on the death of his brother:

Through many lands, across the seas, I've come to perform these brotherly rites, just as you and I did, once, for our parents: ave atque vale

Marvin Johnson is a native of Alabama and received his first degrees in music from The University of Alabama. He completed his Ph.D. in Composition at Princeton University. He held faculty appointments at Kent State and Western Illinois prior to his joining the faculty at Alabama, where he is Associate Professor of Theory and Composition and Director of the Electronic Studios.

Previous works for the electronic medium include: Tempos (1984), Windows and Mirrors (1986) and Stickjigures for clarinet and tape (1988).

Miniatures represent a new compositional direction for this composer in that the principal parts are not in the melody or bass but in the middle registers. Other "voices" rotate around these central registers, as do color changes, registral shifts, etc. Tempo changes further differentiate the texture by rapidly changing from larger to smaller division, and in so doing help to identify important features in hannony, .melody and design.

This composition was realized using the Music NBF sound synthesis program in the electronic studios at The University of Alabama.

Deborah Kavasch is noted for her pioneering work in modem vocal music, particularly in "extended vocal techniques." sounds discovered through improvisation and study of the music of other cultures that extend beyond traditional bel canto singing. A founding member of the Extended Vocal Techniques Ensemble of

the University of California, San Diego, Ms. Kav:isch has contin­ued to develop an ensemble and solo repertoire which encompasses extended techniques for both instruments and voices. She holds the B.A. degree in German, the B.M. and M.M. degrees in Theory/ Composition from Bowling Green State University and the Ph.D. degree in Music from UCSD. Ms. Kav:isch is on the faculty of the Department of Music at California State University, Stanislaus.

Timothy Kloth has taught at The University of Richmond, The University of Virginia, The University of Arizona, Virginia Commonwealth University, and Iowa State University over the last ten years. With degrees from Capital University, The Eastman School of Music and The University of North Texas, Dr. Kloth has studied composition with Warren Benson, David Cope and Martin Mailman. Recent awards have been received from The Arizona Commission of the Arts, the Virginia Center for the Creative Arts, and ASCAP. Recent performances have been by cURrents and the Roxbury Chamber Players. Dr. Kloth also produced MUSIC SINCE 1900 for WCVE-FM, NPR in Richmond for three years .

Non-/nconsequenza was composed in 1979, while Kloth was a student at The University of North Texas, and dedicated to Tom Everett. The piece follows the stylistic traditions set out by Luciano Berio in Sequenza V, Carlos Alsina in Consequenza, and Henre Bamert in Inconsequenza. The piece incorporates a variety of extended instrumental techniques for the trombone. The trombone is seen to be taking on a mind of its own, ultimately controlling the trombonist. I have since composed a Non­lnconsequenza II for trombone, piano, tape and slides, and a Non­/nconsequenza V for clarinet, violin, 'cello and piano. The latter is a set of five variations on the Non-Inconsequenza theme.

Mikel Kuehn was born in Eau Claire, Wisconsin in 1967. Primarily educated in Texas, he moved to Los Angeles in 1980 and studied jazz improvisation with Dr. Michael Carney at California State University Long Beach, and Rule Beasley in Santa Monica. In 1989 Mr. Kuehn earned a B.M. degree in composition from The University of North Texas, where he studied with Dr. Cindy McTee and Professor Phil Winsor. Currently at The Eastman School of Music, Kuehn studies with Joseph Schwantner. He has been a recipient of ASCAP "Grants to Young Composers", "BMI Awards to Student Composers'', and a commission from the Hattiesburg Children's Chorus. Kuehn's works have been performed in California, Kansas, Mississippi, New York, Ohio, Tennessee and Texas.

Kurt Kuniyasu was born and raised in Honolulu, Hawaii. He holds degrees from The University of Hawaii (B.M. composition, 1980) and The University of Miami (M.M. Theory and Composi­tion, 1982). In 1984, he entered the graduate program at The University of North Texas where he is currently a candidate for the D.M.A. degree in composition.

Mr. Kuniyasu's works have been performed throughout Florida, Texas, Louisiana and Hawaii, with additional performances in Taiwan, Massachusetts, Ohio and California. Completed commis­sions have included works for tuba, viola, piano, choir, orchestra and dancers .

... a wreath of fern ... was commissioned by George Rosenbaum, who is currently Professor of Viola at Texas Christian University. Professor Rosenbaum premiered the work on April 17, 1990 in the Merrill Ellis lntermedia Theater on the University of North Texas campus.

Justin Lewis is currently a senior music education major at East Central University where he is studying composition under Dr. Mark Hollingsworth. He is the principle trombonist of the concert and jazz bands. His musical awards include the Morrison Scholar­ship and the Kerr Scholarship. Lewis plans to pursue a master's in composition upon completion of his bachelor's degree.

Tearing Down the Wal/was completed in March of 1990 and dedicated to Michael Palmer. The piece, while appearing to symbolize the unity of Eastern and Western Germany, in reality depicts the striving toward personal and governmental freedom of all peoples. The first movement, ''To Flay", begins with specific rhythmic motives and evolves into an unmetered frenzy. The frenzy ends with an exaggerated crescendo and a sudden caesura. The second movement, 'The Commons," features a solo trumpet utilizing manipulated motives from patriotic music. The movement originates slowly and softly, gains in complexity and emotion, and ends with a retrogression of the original motive. The piece was performed in the spring of 1990 in a composition master class conducted by Ulrich Suesse.

Sam Magrill, Assistant Professor of Music, coordinates the theory/composition division and directs the CSU Computer Music Studio at Central State University in Edmond, Oklahoma He received his doctorate in composition from the University of Illinois, Champaign-Urbana (1983), where he studied with Herbert Briln and Benjamin Johnston. From 1984-85, he was composer-in­residence at the University of Wyoming at Laramie and from 1985-88, he directed the composition program at California State University, Long Beach (CSULB). A founding member of the Southern California Resource for Electro-Acoustic Music (SCREAM), Dr. Magrill coordinated the 1986 SCREAM festival at CSULB and participated in subsequent festivals at UCLA, the Los Angeles County Museum of Arts and California Institute of the Arts. For the past three years, he has received ASCAP awards and has participated in the L.A. Harbor College Artist-in-Residence Program. Since the summer of 1989, he and his music have been featured twice on the radio show ''Trilogy" on KXLU-FM (Los Angeles) and once on "Century XX" on KCSC-FM (Edmond, Ok). Parts of his composition for piano "Deep Fork Variations" were

recently published in the Deep Fork Anthology, a collection of music, art, poetry and texts about Oklahoma.

In Contra ( 1986) is not about Nicaragua. It is, however, about differences and distinctions. Originally a soprano aria without accompaniment, In Contra became a tape study without soprano. The trumpet picked up the lost words and was told to "enunciate clearly". While the tape gurgles and shrieks, the trumpet sings using the diction of contradiction; but do they notice each other?

Edward Mattila is originally from Duluth, Minnesota. His advanced degrees are from The New England Conservatory and The University of Minnesota. He is currently Professor of Music Theory and Composition at The University of Kansas and Director of the UK Electronic Music Studio. Mattila's compositions include works for chamber, choral, orchestral ensembles and electronic media. His works have been performed locally and around the country at colleges, universities and new music festivals . Profes­sional memberships include the Society of Composers, Inc. (National Council, 1976-81), College Music Society and The American Music Center.

Six Little Arrays for Piano - The term "arrays" implies a serial piece and is associated with 12-tone theory. In this instance, an all­interval 12-tone referential set provides the basic pitch content on which computational and other operations are performed. Six different 12 x 12 arrays are derived from it, one for each of the short pieces. Rhythmic and registeral aspects are also determined by permutations of the referential set. The work is published in Volume 15 of the American Society of University Composers Journal of Music Scores (ASUC) and is forthcoming on a CD recording of the Society of Composers Recording Series (SCI).

Timothy R. McKinney is an Assistant Professor of Music Theory at The University of Texas at Arlington. He received his Ph.Din Music Theory from The University of North Texas in 1989, where he studied with Robert Wason, Benito Rivera and Graham Phipps. He also holds a B.S. in Viola Performance and an M.M. in Music Theory. He is a former member of the Fort Worth Symphony and former associate editor of the Southwest Journal of Music. McKinney is an active researcher who specializes in the history of theory and analysis; conference papers this spring include the South Central Society for Music Theory, the South Central Chapter of the College Music Society, and Region YI of the Society of Compos­ers, Inc., on topics as diverse as Nicola Vicentino (1511-1576) and Anton Webern.

William H. Meadows is an independent composer and performer of electronic music. His areas of study include the integration of aural, visual and performing arts, the realization of inter-active electronic environments, and the live performance of electronic music.

Meadow's early influences include Tchaikovsky and Spike Jones. He played guitar in various bands through the seventies, simultane­ously developing an interest in electronic music. He built most of his early equipment, and began independent investigations of analog synthesis, tape loops, and experimental music. He now uses a variety of technologies including FM, digital sampling, MIDI sequencers and custom computer software.

Fluxion is a microtonal composition based on 19 notes per octave, equal tempered tuning. This tuning contains an exact just minor third, a reasonably good major third and perfect fifth, and a very large semitone. The net result is an exotic blend of "in tune-ness" that is novel but not grating on the ear. The piece utilizes self­regulated, positive re-generation feedback networks, which can be heard at the beginning and the end of the work. The first occur­rence makes use of random phase delays to produce indeterminate pitch information, while the second uses infinite, 'positive and negative pitch shifting of a just minor third interval. The remainder of the piece was performed on a Yamaha DX-7 and TX81Z and was played entirely by MIDI sequencer with some manual mixing. It was recorded onto Beta Hi-Fi and transferred to digital audio tape.

Christopher R. Morgan (b. 1967) recently graduated from The University of Texas at Arlington with a B.M. in Composition. At present, he is a student of Dr. Thomas Clark at The University of North Texas, where he is pursuing a Masters in Composition and working as an assistant in the Center for Experimental Music and lntermedia.

Robert Mueller (b. 1958) earned an undergraduate degree from Northern Michigan University, a Masters degree in composition from Bowling Green State University in 1984 and a D.M.A. degree in composition from The University of Cincinnati College-Conser­vatory of Music in 1988. His principal teachers were Marilyn Shrode and Burton Beerman at Bowling Green, and Joel Hoffman, Jonathan Kramer and Earle Brown at Cincinnati. Currently on the faculty at The University of Arkansas, he has also taught at The University of Cincinnati and at Bowling Green.

Mueller's largest work to date is Deep Earth Passing for orchestra, composed in 1988 and premiered in 1989 by the Cincinnati Symphony. Mueller is the recipient of a recent ASCAP Supple­mental Award, a Margaret Fairbanks Jory Copying Assistance Grant. He has also received composition awards from the Jackson Symphony Association, the Cincinnati Symphony, the Cincinnati Composers Guild, the Montana State Association of Symphony Orchestras, the Lansing Matinee Musicale and the Ohio Federation of Music Clubs. A member of ASCAP, SCI and other professional organizations for composers, Mueller's music has been performed successfully across the country and has received much critical acclaim.

Philip Parker received the M.M. degree from Indiana University and the B.M. degree from Wichita State University where he studied composition with Walter Mays. He is currently an Associate Professor at Arkansas Tech University, where he teaches percussion and music theory. Parker's works are published by Southern Music Co. and C. Alan Publications. He was also timpanist with the Ft. Smith Symphony and is currently active as a performer, clinician and adjudicator.

Dialogue for Alto Saxophone and Wind Ensemble was premiered in February, 1990 by Jean Lansing and the Arkansas Tech University Wind Ensemble. As the title suggests, a conversation develops between the soloist and the ensemble. Instead of functioning in a traditional accompanying role, the ensemble, after a gentle opening, comments and interjects upon the solo line in a spirited Allegro. The piece closes with hints of the opening measures in the saxophone, which fades into an ethereal back­ground of harp, percussion and bowed crotales.

Samuel Pellman(b. 1953) His teachers of composition have included David Cope (Miami University) and Karel Husa and Robert Palmer (Cornell, where Pellman received a D.M.A. in 1979). Among his awards in composition is the second prize in the 1983 Composers' Competition of the National Association of Com­posers, U.S.A. He has received numerous commissions and has made several recent appearances as a guest composer at colleges and universities around the United States. Some of his works may be heard on recordings by Redwood Records, the Musical Heritage Society and the Cornell University Wind Ensemble. Most of his music is published by the Continental Music Press, Dom Publica­tions, and NACUSA Publications. During the fall semester of 1987 he was visiting associate professor of music at the Eastman School. He continues to serve as associate professor of music at Hamilton College, in Clinton, New York, where he is chair o( the music department, teaches theory and composition, and is director of the Studio for Electronic Music.

Suitefrom "MacBeth" I. Eye of newt II. Lament for renown and grace

entr'acte III. Midnight Madness IV. Enter three Murderers

This suite is comprised of music composed as incidental music for a production of "MacBeth" by the Department of Theatre and Dance at Hamilton College during the Spring of 1989.

The first piece, "Eye of newt," was composed as the prelude to Act IV, which begins with the famous scene of the three witches around a boiling cauldron. The second piece, "Lament for renown and grace," was composed for the conclusion of Act II, Scene III, the

scene in which the murder of King Duncan is discovered. The pitches for this piece are taken from a equal-tempered scale of 19 tones per octave. Following this piece, there is a brief passage of music, an enJr' acte, that was originally deployed at the end of Scene III of Act III.

The third piece, "Midnight Madness," was composed as the prelude to the first scene of Act V. In this scene Lady MacBeth is observed walking and talking in her sleep and obsessively going through the motions of washing her hands ("Out, damned spot!"). The final piece of this suite is taken from the prelude to Act III, Scene III, during which three murderers hired by MacBeth commit the murder of his comrade, Banquo.

The equipment used for the production of this music includes a Yamaha DX-7 II-FD digital sound synthesizer, a Yamaha TX802 FM tone generator, an Ensoniq EPS sound sampler, a Digitech dsp-128 multi-effects processor, and a Macintosh computer running the Opcode Vision™ sequencer program.

Robert Rollin (b. 1947) began composing at the age of eight and soon received scholarships in piano and composition at the Third Street and Juilliard Schools. After encouragement from Erich Leinsdorf, Rollin studied with Mark Brunswick at City College, and graduated Phi Beta Kappa, with honors in English and as out­standing music graduate (Lado Award). As Doctoral Fellow at Cornell University, he studied under Robert Palmer and Karel Husa and took master classes with Aaron Copland, Elliot Carter Donald Erb and Mario Davidovsky.

In 1976 Rollin was Composer-Fellow at the Darmstadt Festival. In the same year he received a Bicentennial National Endowment Grant for Chromatic Suite ConcertanJ, and a Lilly Endowment post doctoral grant for study of the music of Schumann. By invitation of Gyorgy Ligeti and with German government support, Rollin returned to Germany in 1977. Since then, Rollin has taught compo­sition at the Dana School of Music in Ohio and served as Midwest chairman of the Society of Composers, Inc. A theory of cluster composition and a book on the music of Ligeti are among current projects.

Trio, for viola, clarinet and piano is inspired by the poem "Piano" by D.H.Lawrence. Each movement relates to the corresponding stanza of the poem. The first movement has a transfigured citation of a lullaby of William Byrd, which calls to mind the descriptive subject matter of the verse. The second movement is a recollection of past musical experiences with a few thematic references to the composer's Concerto for Woodwind Quintet and Orchestra (1978). The third movement has rhythmic allusions to an implication of the word "appassionato" that pianists will recognize as related to Beethoven.

/

It might be stated that each movement belongs in spirit to a different instrument. The first to the viola, the second to the clarinet, and the last to the piano. The composer requests that this brief note and the poem which follows be printed in the program or read to the audience at each performance.

Piano

Softly, in the dusk, a woman is singing to me; Taking me back down the vista of years, till I see A child sitting under the piano, in the boom of the tingling strings And pressing the small, poised feet of a mother who smiles as she sings.

In spite of myself, the insidious mastery of song Betrays me back, till the heart of me weeps to belong To the old Sunday evenings at home, with winter outside And hymns in the cozy parlor, the tinkling piano our guide.

So now it is vain for the singer to burst into clamor With the great black piano appassionato. The glamor Of childish days is upon me, my manhood is cast Down in the flood of remembrance, I weep like a child for the past.

D .H .Lawrence

Marc Thomas Satterwhite, composer and bassist, began his musical training on the piano, later concentrating on the double bass and in composition. He holds degrees with high honors from Michigan State University and Indiana University, where he is completing a doctorate in composition. He held principal positions in the Indiana University orchestras, and was active in new music.

His compositions have been played frequently at festivals, conventions and music schools. He maintains an interest in Latin American affairs, was Treasurer of the Bloomington Committee for Democracy in Latin America and is an Amnesty International Freedom Writer. He has been on the faculty of Western Michigan University, where he taught double bass and music theory. Currently appointed to the faculty of Lamar University in Beaumont, Texas, he teaches music theory and composition.

Imagenes al atardecer (Images at Sunset) is a short meditative piece inspired by a sunset I saw on the western M exican coast near Guaymas. I am not a poet, so I will make no attempt to describe it, but it was beyond doubt the most beautiful sunset I have ever seen. I doubt that I will ever see its equal.

As I sat on the beach watching the colors slowly change, I heard church bells in the distance, and for some reason, a favorite Mexican folksong "La llorona" came.into my mind. This is somewhat puzzling, as the song has nothing whatsoever to do with sunsets.

Fragments of this melody are woven into the texture of the piece, and towards the end the off-stage cello sings it in its entirety. Most of the other musical imagery in this composition (off-stage bells, the rainstick at the beginning and end to emulate waves) is fairly obvious.

Michael Schelle (b. 1950) is Composer in Residence at Butler University in Indianapolis and serves as Co-Chair of SCI Region V. His works have been commissioned and performed by many ensembles and orchestras. He has received grants and awards from the NEA and the Barlow Foundation, among others. He is active as a visiting guest composer including recent "all-Schelle" concerts at Washington State University, Carnegie Mellon, Kent State and Millikin. In 1989, Schelle was honored as "Distinguished Composer of the Year" by the Music Teachers National Associa­tion for his work, Musica Magnetizzare.

Racing with Rabbits (commissioned by John Hill) was composed in the summer of 1988 at the MacDowell Colony. The major project of my three-month residency was the completion of Le Scelte d'Amore: The Great Soap Opera, which premiered in 1989 with the Indiana Opera Theatre. However, a few memorable colony events caused a brief sabbatical from the opera, turning me instead to the rapid writing of 'rabbits' ... a deadly racing collision during the live Indianapolis 500 Mile Race radio broadcast; a disfigured, surrealistic game of Fictionary on night; a poet in residence who also dabbled in black magic and, most importantly, a fiendish family of innocent(?) little furry creatures with little fluffy-white tails stealing my lunches from the picnic baskets placed outside the studio (MacDowell alums will understand). All these events generated a fusion of reactions: anger, laughter, disorientation, and the need for just a bit of rabbit revenge ... (with apologies to the ASPCA).

James Stiles received his B.M. and M.M. degrees in Theory and Composition from Southern Methodist University and his D.M.A. in Comp0sition from The University of North Texas. He is currently the Registrar at Texas Woman's University in Denton.

Violaceous: An Intermezzo for Solo Viola. Besides looking like a viola, violaceous means violet-colored. The lighting on stage should be a mixture of only reds and blues, beginning and ending the piece as a fairly equal mixture for violet, but changing back and forth from red at the loudest point to blue in the softer parts. This work is typically programmed between other works, to give the impression of an unintentional improvisation, the spinning out of the tuning process.

Martin Sweidel (b. 1955) holds a D.M.A. in Composition (1983) from The University of Cincinnati College, Conservatory of Music. He joined the faculty of The University of Cincinnati in 1983 where he served as the Director of Electronic Music and a Visiting

Assistant Professor of Theory and Composition. In 1986 he joined the faculty at Southern Methodist University where he is presently Assistant Professor of Composition and the Director of Electronic Music. Dr. Sweidel is a founding member and past President (1982-86) of the Cincinnati Composers' Guild. As a composer, guitarist, and a computer music programmer/performer, Sweidel has had performances throughout the country. These have included the American Society of University Composers Festival in Toronto (1986), the Society for Electro-Acoustic Music National Meeting in New York (1989), and the International Electronic-Plus Festivals in Knoxville (1982), Austin, (1985), Kansas City (1985) and Oberlin (1989). Commissions have included First Primes for the Ohio Music Teachers Association, Bucky's View for The Percussion Group, Listen/Voices/Wind/Change for Voices of Change, and A Stereo Fanfare for Polished Brass. Several of his works are published by Norruth Music. Grants have included several from Meet the Composer and two Individual Artists Fellowships from the Ohio Arts Council (1983/84 and 1985/86) and a Composers Fellowship from the National Endowment for the Arts (1991). His Split Shot Study No. 1 is recorded on CCG/CAGE Records and Listen/Voices/Wind/Change is included in "Main Street USA", a radio series on musical life in America produced for the Australian Broadcasting Corporation. Commercial music by Sweidel included electronic scores for the film The Last Witness and the documentary Adventures on the Planet Earth.

Hyperion, completed in 1980, is a work for orchestra which is dedicated to my wife Monica. Very systematic methods were used to organize the musical materials of the piece. Polyrhythms and Fibonacci numbers were used to structure the phrases and sections. A pitch chart resembling an elaborate crystalline structure was used to define tonal motions. Combined with this "left-brain" approach to organization was the more intuitive process which was used to create the thematic materials and the overall mood of the piece. When the work was completed, it was without a title. Included among several suggestions by Scott Huston, my teacher at that time, was the present title. Upon reading the poem Hyperion by John Keats, I dis-covered that the mood of the poem and the piece were very similar. No specific program connects the two: it is only the poem's expression of profound sadness and its celestial imagery which suggested the appropriateness of the title .

. Size - is a movement from a larger work entitled Size. Chaos, and Other Definitions. The text, written by the theologian Bernard Loomer, sets out to redefine the word "size":

By size I mean the stature of your soul, your capacity for relation­ships, the range and depth of your love. I mean the volume of life you can take into your being and still maintain your integrity and individuality, the intensity and variety of outlook you can entertain in the unity of your being without feeling defensive or insecure. I mean the strength of your spirit to encourage others to become freer in the development of their diversity and uniqueness. I mean the power to

sustain more complex and enriching tensions. I mean the magnanim­ity of concern to provide conditions that enable others to increase in stature.

Greg Steinke (b. 1942), is Assistant Director and Professor of Music (composition and oboe), at the University of Arizona (1988). Professor Steinke holds degrees from Michigan State University (Ph.D.), University of Iowa (M.F.A.), Michigan State University (M.M.) and Oberlin Conservatory (B.M.).Formerly, he was Chairman of the Music Department at San Diego State University, Director of the School of Music at the University of Idaho, Chairman of the Music Department at Linfield College, and a faculty member at The Evergreen State College, California State University, Northridge, and the University of Maryland. He is the author of numerous articles and has completed revisions to the Paul Harder Harmonic Materials in Tonal Music, 6th Ed. and Basic Materials in Music Theory, 7th Ed. for Allyn and Bacon. Steinke is very active as a composer of chamber and large ensemble music with more than a dozen published works as well as an oboe soloist, specializing in contemporary music for oboe. Currently he is serving as the National Chairman of the Society of Composers, Inc.

Lloyd Taliaferro (U.T.A. Professor Emeritus) holds the Ph.D. degree in Composition from The University of North Texas. His teachers included Luciano Berlo, Aaron Copland, Leon Kirchner and George Morey. He joined the faculty of UT A in 1957 and is a member of the Texas Archive Society as well as on the Board of Directors of the Forth Worth League of Composers. At UT A, he variously served as Professor of Composition, Coordinator of Theory/Composition, Acting Chairman, Assistant Chairman and established the Electronic Music Lab in 1975.

Septon di Animiculis Carmina Cum Meditatione Addita (Seven Songs of Evolutionary Creatures with an Afterthought), written irt 1985, portrays primordial life in seven short glimpses. Creatures (and music) become extinct through maladoption or structural weakness. Some survive in altered form ... the afterthought mourns the extinct and questions the future.

Michael Twomey Music for Someone I Don't Know ( 1991 ). These piano pieces where written after having:.experienced the AIDS quilt. Each movement is a reflection on the various quotes and writings which appear on the quilt itself.

I: As aged summer limps away defeated by the cold II: I never met you. But I feel like I know you. III: And when the earth shall claim your limbs, then shall

you truely dance. IV: The sound of distant laughter V: I know a place where dreams are born.

David Vayo (b. 1957) is an Assistant Professor of Music at Connecticut College, New London. He holds an A.Mus.D. in Composition from The University of Michigan, where his principal teachers were Leslie Bassett and William Bolcom. Vayo has received awards from ASCAP, . The American Academy and Institute of Arts and Letters, the National Association of Compos­ers U.S.A., and New Music Chicago. Recent performances of his music have taken place in New York, Toronto, Baltimore, Las Vegas and Washington. Vayo serves as Membership Chairman for the Society of Composers, Inc.

From 1982 to 1984, Vayo lived in Costa Rica, teaching at the National University and the National Symphony Youth Program; this experience helped fuel a lifelong love of Latin American music. A pianist as well as composer, Vayo performs an eclectic mixture of classical, jazz, contemporary and Latin American repertoire, as well as his won free improvisations.

The three Love Songs to a First-Born were composed during the weeks preceding the birth of our daughter Rebecca. I wanted to write music that my wife Margot and I could play for our baby. Margot is a violist, and although I am a better pianist than vocalist, I chose to write for my voice since babies love to hear singing.

The three movements are subtitledLullabye, We Dream and To Waken an Angel. I hope that they describe something of the love that all parents feel toward their children.

Joelle Wallach was born in New York City, and grew up there and in Morocco. She began her musical studies early, both privately and at the Juilliard Preparatory School. Excelling in the study of piano, voice, theory and composition, she also studied the violin and bassoon. Ms. Wallach earned the B.M. and M.M. degrees in composition at Sarah Lawrence College and Columbia University respectively, and studied with John Corigliano at the Manhattan School of Music, which granted her its first doctorate in composition.

Her works are heard frequently in the United States and abroad. They are included in solo recitals of the New York Philharmonic's first chair players, sung by professional, amateur and school choruses and broadcast by ensembles as diverse as California new music groups and Czechoslovakian broadcast orchestras. Her choral work, On the Beach at Night Alone won first prize in the Inter-American Music Awards of 1980, and she recently won a prize for The Tiger's Tail from the National Orchestral Association (1990).

Love in the Early Morning is a cycle of two songs about a house­wife trying to seduce her milkman, based on poems by two living Americans, Madeline Tiger and Susan Donnelly.

Women, whose sexual and romantic longings are not reciprocated, have become a sexist stereotype in works by male composers as different and respected as Mozart, Verdi and Bernstein. These new songs, clearly in the hand of a woman, portray the poignancy of yearning side by side with its powerful lustiness: the social nicety of "Milkman, do we have it straight" giving way to the plangent cry of "Morning ticks" with its desperate tenderness.

MilkJDIP Egg P1cuc

Milkman, do we have it straight? I am the housewife and have ordered eggs. W allc them up the path. and don't disturb the snow. Morning ticks .. . A dozen eggs .. . a dozen mornings' dozens tick: the pan, the latch, the closing door, And here we are: I, the housewife: you?

You be the milkman, dancing up the eggs, and noticing the moon evaporate above the lamp ...

... Milkman, I will be, oh let me be the rnoonrnaid ... melting in your arms.

... tall lamp-like milkman, carrying all those moons is to dawn-haired women.

You hurry to collect your due: horse, buggy, cartons, quarts. you whip the horse until the snow churns into buttery lumps ...

based on IM poem, &es, please b] Matkli11< Tiger

Making Loyc to the Milkman

He's predictable. Yet with that shock

of red hair my son is known by.

I don't trust a man in a closed van. Give me

a buuer-colored truck, Guernsey in watercress, laid back door

and him swinging out in the quickrnarch of the deliverer.

None of your waxy cardboard. He brings bottles

trembling together, dewed with early morning,

and feathered brown eggs that fit your palm. His

Grade A sun, tempered so you can look straight at it,

distillation of meadow blown from the pod in a lavish scattering,

cream rising to the top of the daily churn

Human kindness. SKSan.DonMIJy

Lauren A. Whiteman is an Instructor of Music Theory at The University of North Texas. She received her D.M.A. in Composi­tion from The University of South Carolina, and M.M. from The University of North Texas and her B.M. in Theory and Composi­tion from James Madison University. Her poetry plays an important role in many of her works, including 6 Haiku. She has

participated as a composer-in-residence at the 1989 Conductors Institute and has had performances of her compositions at the Spoleto Festival in Charleston, S.C.

Divertimento (premiere performance) was composed in Columbia, S.C. in 1989. The piece combines "wood" sounds and "metal" sounds in homogeneous sections while an ostinato provides a unifying element. A discerning ear may hear the semblances of an American folk tune in the "metal" section. This work marks the beginning of a minimalist period for this composer.

6 Haiku, for alto flute and marimba was composed in February 1989 in Columbia, S.C. Each movement follows the general pattern of a traditional Japanese Haiku - seven syllables in the first line, five in the second and seven in the third. The accompanying haiku for each movement were also composed by the composer.

Time The mist before dawn A refuge from ancestral Time, the sun rises

Cricket Cricket in my house get out before I crush you deep into the rug.

Light Shooting stars spreading glue that binds the universe with the sound of light.

Specks The sun burst today and a billion golden specks Fell on the water.

Gull A deserted beach ignores the cries of a gull hungry for swnmer

Plant Dear little house plant my green thumb has turned you brown killing you with care.

The Performers

Rick Bogard joined the UT A faculty in 1990 as trumpet instructor and Director of the UT A Brass Choir. A native of Arkansas, he holds a B.M. degree from The University of Central Arkansas and a M.M. degree from Baylor University. While completing doctoral course work at The University of North Texas, he studied with John Haynie and Leonard Candelaria, and was a graduate teaching fellow.

John Hill earned his B.M. and M.M. at Butler University and has studied with George Gaber, David Friedman, Bahal Roy and John Von Ohlen. He has performed with the Indianapolis Symphony and numerous individual artists including Peter Noone, Martin Mull and Danny Thomas. He has taught privately and in the public schools since 1980 and, since 1987, has been on the performance faculty of Butler's Jordan College of Fine Arts as instructor and director of the JCFA Percussion Ensemble. He is also Vice­President of the Indiana Chapter of the Percussive Arts Society.

Linton Powell is Professor of Organ, Harpsichord, Musicology and Music Theory at The University of Texas at Arlington, and is noted for his research on Spanish keyboard music as well as for his recitals of the same. He has written the first book on the history of Spanish piano music and consequently was one of the American scholars invited to participate in the International Congress of Spanish Music in Salamanca in 1985. His teachers include Montserrat Torrent (organ) of the Barcelona Conservatory and Isolde Ahlgrimm (harpsichord) of the Hochschule fur Musik in Vienna, Austria Dr. Powell has performed on historic organ tours with Marilyn Mason in Spain, Germany, Italy and Austria He also made two tours with the Percussive Arts Society.

Elizabeth Tomorsky received her B.M. degree in oboe perform­ance from The University of Michigan, studying with Harry Sargous, and began her Masters work at the University of Cincin­nati. She is currently principal oboeist with the Midland/Odessa Symphony, and travels throughout the country giving master classes and recitals.

Mithael Varner is Professor of Percussion at The University of Texas at Arlington. As Coordinator of Percussion activities he is involved in every aspect including the Percussion Ensemble, Marching Percussion, Marimba Ensemble and a full schedule of private students. Mr. V amer has spent time in Japan and China studying the music and especially percussion of these cultures. He is currently completing his D.M.A. in Music Performance at The University of North Texas.

Adam Wodnicki has received high critical acclaim since his debut as a concert pianist in Lublin, Poland in 1973, performing more than 500 concerts in Europe, Taiwan and North America. His awards include three prizes at the Festival of Poli.Sh Pianists in Slupsk and three National Chopin Society Competition A wards. Wodnicki has taught at The Krakow Music Academy, The Univer­sity of Texas and The University of North Texas.

UT Al Arlington Symphony Orchestra Dr. Robert McCashin

Director

Violin I Jennifer Johnson

Concertmistress Julie Hartt Clarine McCashin AnnOsmolak Robin Moreland Howard Geisel Rosalyn Waldorf Lisa Redding

Violin II Cheryl Welch, Principal Nancy Walker Stephanie Keen Danh Tran April Brenning Dong Shin Priscilla McMullin Monda Weir Dianne Babcock Betty Massey

Viola Mary Kinsella, co-principal Jennifer Wiggin, co-principal Michelle Johnson Mara Lewis Eniko Walter Tina Mercer

Violoncello Karen German, Principal David Farquar Dixie Bennett Jason Dumas Joanne Erwin

Double Bass Paul Ruppert, Principal Joseph Moreno David Brown Greg Mraz.ek Marcus Montes

Flute Andrea Perez, co-principal Julie Ducasse, co-principal Channon Lang

Oboe Tina Hergotz, Principal Elizabeth Hawthorne

co-principal Clarinet

Daniel Hippman, co-principal Danny Allen, co-principal

Bassoon Angela Cordell, Principal Jennifer Hughes

Horn Brian Brown, Principal Lisa Flammang, Ass't. Pr in Darlene Harms Greg Piazza Stacy Walker Jon Massey

Trumpet John Greear, Principal Michael Sergison Brian Gill

Trombone Barry Hearn, Principal Frank Foster Robert Hudson

Tuba Mark Finley

Timpani Paul Knaier

Percussion Jirn Boulet

Librarians Jennifer Johnson Cheryl Welch

Stage Managers John Greear Greg Piazza Tina Post

UT A Percussion Ensemble

Michael Varner - Director

Bruce Alford Doyle Bellville Lee Ewell Leon Flowers Eric Kelley Chris Matthews Eric Hansen Matt Key Heather O'Toole

Circle of Fifths Brass Quintet

Ken Callaway Brian Gill

Brian Brown Barry Heam

Eric Stephens

UTA Wind Ensemble Ray Lichtenwalter - Director

Piccolo Julie Ducasse

Flute Andrea Perez Theresa Wietzel Tracy Caldwell Jerutifer Norris

Oboe Tina Hergotz Amy Harrunert

E-fiat Clarinet Carol Bierschenk

B-fiat Clarinet Daniel Hippman Carol Bierschenk Stephanie McDuffie Jodie Cage Tricia Vickery Jerutifer Wilson

Bass Clarinet Danny Allen Kim Cotten

Bassoon Angie Cordell

Trumpet Brad Bonebrake Glenn Butler Cindy Cochran Brian Gill John Greear

French Horn Brian Brown Doug Morgan Darlene Harms Lisa Flammang

Trombone Barry Hearn Frank Foster Keith Hays Jim Monk

Tuba Mark Finley Eric Stephens

Timpani Rob McClelland

Percussion Willie O'Burke Jim Boulet David Suter Lee Ewell Doyle Bellville

Piano Greg Wiggins Jennifer Wilson

UT A A Cappella Choir Gary Ebensberger - Director

Soprano Tenor Monica Dane Ron Blackman Lisa Hernandez Kevin Clibom Nanci Kirkland David Jones Mari Lee Lamb Christopher Kelsey Pat Mebus Jerry Scanlan Shannon Roberson Tony Young Sheri Hanunerstrom Syed Zaker Jeannette Hays Jonathan Burleson Susan Jones Bobby Dellinger HwinaKim Ken Hansen Jennifer Stanley Lee Harris Anissa Trussell Jim Wiedemeier Debbie West Greg Wiggins

Alto Bass Tanya Caraway Oscar Galvan Beth Coyle Greg Fortuna Dawn Holland Doug Morgan Michelle Martinez Jung Park Yvette Mickelson Eric Ramsey Michelle Finch Kris Stone Nancy Walker Jason Toon Stephanie Edwards John Dillion Darby Frantz Tedd Higgins Judy Heal Ralph Howell Laura Horton Nathaniel Lundberg Arwen Hurt Rob Parrott Viki Murphy Michael Ruppert

Clay Williams

UT A Chamber Singers Jing Ling Tam - Director

Soprano Monica Dane Sheri Hanunerstrom Nanci Kirkland Mari Lee Lamb Shannon Roberson

Alto Ann Cadwallader Beth Coyle Stephanie Edwards Michelle Finch Laura Horton

Tenor Jerry Scanlan Kevin Clibom Ron Blackmon Chris Kelsey Greg Wiggins

Bass Lee Harris Rob Parrott Al Prewitt Eric Ramsey Jason Toon

UT A Jazz Orchestra Bill Snodgrass - Director

Rex Cadwallader - Assistant Director

Saxophones Manuel Casteneda

Jon Tyrell Tony Valdez

Rick Weidemann Greg Woodson

Trumpets Glenn Butler

Brian Gill Ken Peach

Kenny Callaway Cliff Stewart

Trombones Rich Armstrong

Keith Hayes James Andrews Eric Ballantyne

Kevin Bums

Rhythm Section Howard Shipman, piano

Greg Mrazek, bass James Palmer, guitar

.Willie O'Burke, drums

UT A New Music Ensemble David K. Gompper - Director

Brian Brown Ann Cadwallader

Julie DuCasse Shellene Foster

Brian Gill Robert Hudson Mary Kinsella Andrea Perez David Suter

Michael Thompson Philip Tullius

Gregory Wiggins Eric Stephens

Society of Composers, Inc. Executive Committee (1991)

Reynold Weidenaar, Chairman New York University

Ting Ho, Editor of Newsletter Montclair State College

Bruce J. Taub Co-Editor of Journal C.F. Peters Corp.

Scott Eyerly Co-Editor of Journal

Richard Brooks, Producer of CD Series, Nassau Community College

Dennis Kam, Co-Chair of Student' Chapters University of Miami

Deborah Kavasch, Co-Chair of Student Chapters Cal. State, Stanislaus

Joelle Wallach Submissions Coordinator

Phillip Rehfeldt Associate Representative University of Redlands

National Council (1991)

Greg Steinke, Chairman The University of Arizona

Elliott Schwartz, Past Chairman Bowdoin College

Robert T. Adams (1) S.E. Massachusetts Univ

William Matthews (1) Bates College

Max Lifchitz (2) SUNY, Albany

Samuel Pellman (2) Hamilton College

Bruce Mahin (3) Radford University

Margaret Brouwer (3) Washington and Lee University

Dennis Kam (4) University of Miami

Charles Mason ( 4) Birmingham Southern College

Michael Schelle (5) David Vayo, Membership Chairman Butler University Connecticut College

Fred Glesser, Editor Monograph Series Miami, Florida

Martin Gonzalez Executive Secretary

Gerald W arlield General Manager

Frank Stemper (5) Southern Illinois Univ, Carbondale

Charles Hoag (6) University of Kansas, Lawrence

Reed K. Holmes (6) University of Texas, San Antonio

Deborah Kavasch (7) Cal. State, Stanislaus

Michael Iatauro (7) New Mexico Inst. of Mining and Tech.

George Belden (8) University of Alaska, Anchorage

Frank J. LaRocca (8) Cal. State, Hayward

Kate Waring (9) West Germany

Until one is committed there is hesitancy, the chance to draw back, always ineffectiveness,

concerning all acts of initiative (and creation). The moment one definitely commits oneself, then Providence moves too. A whole stream of events issues from the decision. Whatever you can do

or dream you can, begin it. Boldness has genius, power and

magic in it.

Goethe