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Texas State UniversitySan Marcos, Texas

21st Regional ConferenceMarch 9–11, 2006

South Central ChapterTHE COLLEGE MUSIC SOCIETY

S T E I N W A Y

IS THE OFFICIAL PIANO

of

THE COLLEGE MUSIC SOCIETY’S

NATIONAL CONFERENCE

SchoolofMusic 601UniversityDrive SanMarcos,TX78666-4616 Office:512-245-2651 Fax:512-245-8181

March9-11,2006DearConferenceParticipants,

Wearedelightedtowelcomeyoutoourcampusforthe21stCollegeMusicSociety(CMS)SouthCentralChapterConference,heldasajointconferencewiththeTexasChapteroftheNationalAssociationofComposersUSA(NACUSATexas).Wewillofferarichprogramof11lecture-recitals,17researchpapers,nineposters,twopanels,andsixconcerts.AmongthemanyperformancesofcompositionsbyCMSandNACUSATexascomposers,wewillbeabletoenjoy10worldpremiereperformances.

WeareespeciallydelightedtowelcomeourKeynoteSpeaker,thewell-knownAmericancomposerCharlesH.Ruggiero,whowillpresentthekeynotelectureon“CreativeCollaborations:AComposer’sPerspective.”TwoofhiscompositionswillbeperformedbysaxophonistJosephLulloffandpianistJunOkada.Furthermore,aninvitedrecitalwillbegivenbyflutistDaniloMezzadri,accompaniedbypianistFaithDeBow.

Aspartoftheconference,theAnnualNACUSATexasMembershipMeetingwilltakeplaceonThursday,March9,aftertheeveningconcert.TheAnnualCMSSouthCentralMembershipMeetingwilltakeplaceonFriday,March10,immediatelyfollowingtheConferenceLuncheon. LetustellyouabitmoreaboutouruniversityandourSchool:TexasStateUniversityhasabout27,000studentsandistheflagshipoftheTexasStateUniversitySystem,theoldestmulti-campussysteminTexaswithcurrentlynineinstitutions.OurSchoolofMusicisthehomeofabout500musicmajorsandhasastrongemphasisonundergraduateinstructioninMusicEducation,Performance,Jazz,andRecordingArts.Furthermore,weofferMastersdegreesinMusicEducation,Conducting,Composition,MusicTheory,Performance,MusicHistoryandLiterature,aswellasaKodálycertification.

WewouldalsoliketopointoutthattheareaaroundAquarenaSpringsinSanMarcosisoneofthelongest–ifnotthelongest–continuouslyinhabitedareainNorthAmerica.Excavationshaveshownthatthisareahasbeencontinuouslyinhabitedformorethan10,000years.Wehopethatallconferenceattendeeswillbeabletovisitthesprings–whichdischarge150to300milliongallonsofwaterdaily–andpossiblytakeaglassbottomboatrideand/orhaveapeekatseveralendangeredspecies,someofwhichliveonlyhereinSanMarcos.Finally,someattendeesmayalsowishtovisitthelargestOutletMallintheStateofTexas–hereinSanMarcos.

Wewishallconferenceattendeesawonderfulstayandasuccessfulconference!

SunnieOh NicoSchülerConferenceCo-Host ConferenceCo-Host

- all members of the CMS South Central and the NACUSA Texas Chapters- all Staff and Faculty at Texas State University’s School of Music- Dr. Joe Stuessy, Director of the School of Music at Texas State University- Dr. T. Richard Cheatham, Dean of the College of Fine Arts and Communication- the University Bookstore at Texas State University- Texas State University Public Lecture Series Committee- HEB Groceries San Marcos- Walmart Superstore San Marcos- Fuschak’s B-B-Q- Nabi

South Central ChapterTHE COLLEGE MUSIC SOCIETY

ACKNOWLEDGEMENTS

The CMS South Central Chapter gratefully acknowledges all of those who have workedtirelessly to make this conference such a tremendous success:

CMS South Central Chapter Executive BoardPresident: Terry Lynn Hudson (Baylor University)

Vice President: Nancy H. Barry (University of Oklahoma)

Past President: Richard Davis (University of Texas-Pan American)

President-Elect: Nico S. Schuler (Texas State University-San Marcos)

Secretary: William Andrew Hudson (McLennan Community College)

Treasurer: Stacey Davis (University of Texas-San Antonio)

Newsletter Editor: Sunnie Oh (Texas State University-San Marcos)

Board Member: Cina M. Crisara (Texas State University-San Marcos)

Composition: Lynn R. Job (University of North Texas)

Ethnomusicology: Paula J. Conlon (University of Oklahoma)

Music Education: Susan Dill Bruenger (University of Texas-San Antonio)

Musicology: R. Michael Meckna (Texas Christian University)

Performance: Kathleen L. Wilson (University of Central Oklahoma)

Performance: Lori L. Wooden (University of Central Oklahoma)

Theory: Christopher K. Thompson (Williams Baptist College)

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2006 SOUTH CENTRAL CONFERENCE SCHEDULE

2006 Joint ConferenceCMS South Central Chapter and NACUSA Texas Chapter

Texas State University

Program (as of February 18, 2006)

Conference Registration,March9-11,7:30am–10:00pm,Room221.

TheListening & Reading Room(Room221)opensMarch9-11,from7:30am–10:00pm.

Wednesday, March 8, 2006

8:00pm – 9:30pm Lecture-Recital Session, Evans AuditoriumChair:KeithWinking,TexasStateUniversity- “GeneralBenjaminH.Grierson:CavalrymanandPioneerTexasBandmaster” LavernWagner(presenter),QuincyUniversity,Illinois TexasStateWindEnsemble,underthedirectionofRodSchuellerThiseventisco-sponsoredbytheDepartmentofHistoryTaylorLectureSeries,TexasStateUniversity.

Thursday, March 9, 2006

8:00am – 9:00am Lecture-Recital Session, Recital HallChair:CharlesDitto,TexasStateUniversity- “CanonicCraftinCastelnuovo-Tedesco’sSonatinaforBassoonandPianoop.130”(25min.) CarolMcNabb(presenter,bassoon),UniversityofTexasatBrownsville KennethSaxon(piano),UniversityofTexasatBrownsville- “TheFluteMusicofGraceWiley-SmithandItsCulturalInspiration”(25min.) SusanD.Fain(presenter,flute),UniversityofOklahoma

9:00am – 9:15am Coffee / Tea and Muffins, Room 221

9:15am – 9:30am Conference Opening, Recital Hall- ConferenceWelcome Dr.T.RichardCheatham,DeanoftheCollegeofFineArtsandCommunication Dr.JoeStuessy,DirectoroftheSchoolofMusic Ms.SunnieOh&Dr.NicoSchüler,ConferenceCo-Chairs

9:30am – 10:00am CMS Common Panel Session, Recital HallEducationinMusicisEveryMusician’sResponsibilityChair:CarolineStupple,SouthernMethodistUniversity- JoeStuessy,TexasStateUniversity- CarolineStupple,SouthernMethodistUniversity

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Thursday, March 9 (continued)

10:00am – 11:30am Paper Session Music Education, Recital HallChair:CarolineStupple,SouthernMethodistUniversity- “Music,Mission,andthePublicPurpose” DavidBruenger,UniversityofTexasatSanAntonio- “MiddleSchoolEnsembleRecruitment:TheImportanceofAdministrativeSupport” SusanBruenger,UniversityofTexasatSanAntonio:- “EmergingCourseDesignintheDigitalEra:ATechnologyDeliverySystemfortheIntrotoMusicClassroom” KayWilliams,AbileneChristianUniversity

11:30pm – 1:00pm Lunch Break

1:00pm – 1:30pm Panel Session Teacher Education: It Takes a Village, Recital HallChair:RobinStein,TexasStateUniversityRobinStein,AdahTolandJones,CynthiaI.Gonzales(allTexasStateUniversity)

1:30pm – 2:10pm Lecture-Recital, Recital HallChair:DanielAdams,TexasSouthernUniversity- “‘ICan’tLearnThat!’–DispellingtheMythofContemporaryMusic”(30min.) MelodyBaggech(presenter,soprano),EastCentralUniversity,Oklahoma StarlaHibler(piano),EastCentralUniversity

[walktoEvansAuditorium]

2:30pm – 3:30pm Concert, Evans Auditorium- AveMariaforwindensemble(1999)byRobDeemer(UniversityofOklahoma) TexasStateWindEnsemble under the direction of Rod Schuellerunder the direction of Rod SchuellerunderthedirectionofRodSchueller- Mosaicsforwindensemble(1999)byTimothyKramer(TrinityUniversity,Texas) TexasStateWindEnsemble under the direction of Rod Schuellerunder the direction of Rod SchuellerunderthedirectionofRodSchueller- ArcangeloRed,Rhapsodyforsolobassoon(2005)byLynnJob(UniversityofNorthTexas)

World PremiereLoriWooden(bassoon),UniversityofCentralOklahoma)

- ThreeEssaysforsolotrombone(1997)byNeilFlory(DelMarCollege,Texas)EileenMeyerRussell(trombone),DelMarCollege,Texas

- JazzSetforclarinetandbassclarinetbyWilliamO.Smith(b.1926)SandraMosteller(clarinet),WaylandBaptistUniversity,TexasJohnCipolla(bassclarinet),WesternKentuckyUniversity

- ColonnadesfortrumpetandFrenchHornbyMarkFrancis(MississippiSymphonyOrchestra)StephenHager(Frenchhorn),TexasStateUniversityJackLaumer(trumpet),TexasStateUniversity

- EmbracingPersonalHistory(2003)byDanielAdams(TexasSouthernUniversity)PaulaBird(violin),TexasStateUniversity

3:30pm – 4:00pm Break – Coffee / Tea & Snacks, Room 221

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4:00pm – 4:45pm Lecture-Recital, Recital HallChair:AdahJones,TexasStateUniversity- “GradusAdParnassumfortheFlutePedagogueandPerformer”(35min.) LorieScott,EastTexasBaptistUniversity

4:45pm – 6:15pm Paper Session Listening, Performing, Composing, Recital HallChair:SunnieOh,TexasStateUniversity- “TheSoundsoftheHuntinArtMusic:InterpretationsforModernListenersandPerformers” DrewStephen,UniversityofTexasatSanAntonio- “PerformanceDimensions,Enhancement,andInterventionofPerformanceAnxiety” JoeEllaCansler,WestTexasA&MUniversity- “Pre-CompositionSketches–OneComposer’sApproach” DanielAdams,TexasSouthernUniversity

6:15pm – 8:00pm Dinner Break[NACUSATexasBoardMeetinginRoom214]

8:00pm – 9:30pm Evening Concert, Recital Hall- LandandoforfivepercussionistsbyNiloVelardeChong(NationalConservatoryofMusic,Lima,Peru) StefanCadra,BobbyLopez,RyanPride,BillyLeo,AndrewSilver,underthedirectionofGenaroGonzalez,all

TexasStateUniversity- ThreeQuasiBirdSongs(MouminQuazi;2005)byKenMetz(UniversityoftheIncarnateWord) Chia-WeiLee(baritone),TrinityUniversity IrinaKhovanskaya(piano),UniversityoftheIncarnateWord- ThreeSandburgSettingsforsopranoandpiano(2000)byMichaelRemson(AmericanFestivalfortheArts) JuliWood(soprano),TexasStateUniversity SunnieOh(piano),TexasStateUniversity- StringQuartet(1995)byCharlesDitto,TexasStateUniversity PaulaBird(violinI),TexasStateUniversity AmeliaGray(violinII) AmesAsbell(viola),TexasStateUniversity ChristopherHaritatos(cello),TexasStateUniversityNACUSA Texas Composition Competition:- Trioforthreelaptopcomputers(2005)byRichardD.Hall(TexasStateUniversity) World Premiere RichardHall(laptopcomputer),TexasStateUniversity RussellRiepe(laptopcomputer),TexasStateUniversity AaronWard(laptopcomputer),TexasStateUniversity- Córdobaforsolooboe(2004)byAaronAlon(RiceUniversity) World Premiere IanDavidson(oboe),TexasStateUniversity- Peregrinoforsopranoandpiano(2005)byAaronClift World Premiere EmmaMcNairy(soprano),AustinCommunityCollege FaithDeBow(piano),TexasStateUniversity

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- YiCh’I–PoMoforBbclarinet,cello,andpiano(2004)byStephenYip(Houston,TX) World Premiere DavidPino(clarinet),TexasStateUniversity ChristopherHaritatos(cello),TexasStateUniversity OwenLovell(piano),TexasStateUniversity- VanGoghVignettesforviolinandviola(2005)byGregA.Steinke(MarylhurstUniversity) World Premiere PaulaBird(violin),TexasStateUniversity AmesAsbell(viola),TexasStateUniversity

9:30pm – 10:00pm Reception (Snacks), Room 221

10:00pm – 11:00pm NACUSA Texas Membership Meeting, Room 214

Friday, March 10, 2006

8:00am – 9:15am Lecture-Recital Session, Recital HallChair:TerryLynnHudson,BaylorUniversity- “TumultandTranquility:TheDepictionofNaturalandPsychologicalPhenomenainTwo21stCenturyPianoWorks”(30min.)

JanePerkyns(presenter,piano),TexasSouthernUniversity- “ForgottenMusic:ErwinSchulhoffandHisViolinSonataNo.2(WV91)”(35minutes) EkaGogichashvili(presenter,violin),BaylorUniversity VincentdeVries(piano),BaylorUniversity

9:15am – 10:00am Poster & Breakfast Session, Room 221- “TheUseofImagery,MentalPractice,andRelaxationTechniquesforMusicalPerformanceEnhancement” LesleySisterhen,BaylorUniversity- “Post-ModernInfluencesonContemporaryPerformancesofNorwegianFolkMusic” KarenNathman,UniversityofOklahoma- “TheInfiniteLiminoid:ALookatClaraSchumann,FranzLiszt,andtheRestofUsAmidsttheWondersofPerformativeNeverland”

LudimR.Pedroza,UniversityoftheIncarnateWord- “TheComprehensionofBasicMusicTheoryAmongUndergraduateMusicMajors” JamesHickey,TexasStateUniversity- “AReviewofLiteraturethatExaminesJobSatisfactionandPersonalityFactorsthatContributetoMusicTeacherAttrition”

CarolineStupple,SouthernMethodistUniversity

10:00am – 11:30am Paper Session Ethnomusicological Research, Room 214Chair:PaoloSusanni,TexasStateUniversity- “LouisW.Ballard(b.1931):NativeAmericanIdentityPreservedinPianoArtMusic”

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Friday, March 10 (continued)

CourtneyJ.Crappell,UniversityofOklahoma- “SymbiosisandIdentity:AStudyoftheRelationshipBetweenDrumandBugleCorpsandTheirFans” DennisCole,KentStateUniversity Xin“Cindy”Wang,KentStateUniversity- “SingaNewSong:TheMusicofVictorJaraandtheChileanNuevaCanciónMovement” RachelMcCarthy,UniversityofOklahoma

[walktoOldMain(ontopofthehill!)]

11:45am – 12:45pm Conference Luncheon, Old Main, 3rd floor

12:45pm – 1:30pm CMS South Central Membership Meeting, Old Main, 3rd floor

[walkbacktotheMusicBuilding]

2:00pm – 3:30pm Keynote Lecture & Performance, Recital HallChair:NicoSchüler,TexasStateUniversity- “CreativeCollaborations:AComposer’sPerspective” KeynoteSpeaker:CharlesRuggiero,MichiganStateUniversityThekeynotelecturewillbefollowedbythecompositionsNightSongsandFlightsofFancyandStrayhornbyCharlesRuggiero,performedbyJoseph Lulloff(saxophone;MichiganStateUniversity)andJun Okada(piano).ThisEventisbeingco-sponsoredbytheCollegeMusicSocietyandbytheTexasStateUniversityPublicLectureSeriesCommittee.

3:30 – 4:00pm Break – Coffee / Tea & Snacks, Room 221

4:00pm – 4:45pm Invited Recital: Texas Composers Concert, Recital HallDanilo Mezzadri (flute), University of Southern MississippiFaith DeBow (piano), Texas State University- SilverandGoldforfluteandpiano(1991/2004)byDeonNielsenPrice- Irisforfluteandpiano(1994)byWieslawRentowski- Variationsforfluteandpiano(1995/2005)byMichaelRemson- AmbivalenceRecalledforsoloflute(2005)byDanielAdams- Inquietudeforsoloflute(1995)byGregA.Steinke


5:00pm – 6:30pm Paper Session Modern Music, Room 214

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Friday, March 10 (continued)

Chair:RickyHall,TexasStateUniversity- “PolymodalExpansionandChromaticCompressioninMauriceRavel’sSonatepourviolonetvioloncelle” ElliottM.Antokoletz,UniversityofTexasatAustin- “Just‘aComposerofBlackboardMusic’?–PaulHindemithintheUnitedStates” RüdigerJennert,UniversityofWürzburg,Germany- “AxialSymmetryasaMeansofEstablishingTonalProgression” PaoloSusanni,TexasStateUniversity

6:30pm – 8:00pm Dinner Break

8:00pm – 9:30pm Evening Concert, Recital Hall- TIMEforpianosolo(2005)byAdamSovkoplas(SamHoustonStateUniversity) AdamWiggins(piano),SamHoustonStateUniversity CandidatefortheOutstandingStudentAward- Quips,Quotes,andQuibbles(2005)byStephenWeber(UniversityofScienceandArtsofOklahoma) World Premiere KennethBohannon(baritone),UniversityofScienceandArtsofOklahoma

StephenWeber(piano),UniversityofScienceandArtsofOklahoma- Kaleidoscopeforviolin,contrabassoon,andpiano(1999)byElliotSchwartz(b.1936) TerryLynnHudson(piano),BaylorUniversity MatthewMorris(contrabassoon),BaylorUniversity SueBlaker-Jacobson(violin),CentralTexasStringAcademy- “Viens,Mallika...Sousledômeépais”fromLakmébyLéoDelibes(1836-1892) MarilynGovich(mezzo-soprano),UniversityofCentralOklahoma BarbaraStreets(soprano),UniversityofCentralOklahoma SamuelMagrill(piano),UniversityofCentralOklahoma- Inventionsforfluteandpiano(2004)byHarryBulow(LamarUniversity) HarryBulow(flute),LamarUniversity,Texas EllenBulow(piano),LamarStateCollege,Texas- ThreeWishesforvoiceandpiano(1999)byRobertBoury(b.1946) JeanieDarnell(voice),OuachitaBaptistUniversity RobertBoury(piano),UniversityofArkansasatLittleRock

9:30pm – 10:00pm Reception (Snacks), Room 221

Saturday, March 11, 2006

8:00am – 9:15am Lecture-Recital Session, Recital HallChair:DimitarNinov,TexasStateUniversity- “Lessonsfromthe‘Lost’StringQuartet:ARadicalNewVersionofBeethoven’sPianoSonatainEMajorop.14,No.1”(25min.)

ArthurHoule(presenter,pianist),InternationalFestivalforCreativePianists

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Saturday, March 11 (continued)

- “TheTeachingPianoLiteratureofAlmeidaPrado”(25min.) CarinaJoly(presenter,pianist),UniversityofOklahoma

9:15am – 10:00am Poster & Breakfast Session, Room 221- “SubstantiatingWorthyMusicalExpressionwithReason” Hui-YiingChang,TexasStateUniversity- “RecentMusicEducationGraduates’AttitudesTowards‘Real-World’ApplicabilityofTheirUndergraduateCoursework”

Jin-HoChoi,UniversityofNorthTexas W.BartonMacMillan,UniversityofNorthTexas ChristineRewolinski,UniversityofNorthTexas H.JaniceSteele,UniversityofNorthTexas- “Hindemith,Schenker,andtheUniversityofNorthTexas” MichaelLively,UniversityofNorthTexas- “TheLifeandWorksofFranzXaverWolfgangMozart(1791-1844)” MichaelWalker,UniversityofTexas–PanAmerican- “PracticalTipsfortheFirstYearBandTeacher” EddieBriskey,TexasStateUniversity- “RobertSchumann’sPiano Quintet in E-flat, Opus 44:TheQuintessentialRomanticPiece?” ElizabethLee

10:00am – 10:30am Presentation by the American Music Center, Room 214“TheNew-MusicSavvyStudent:ResourcesfortheClassroom”byLynListon,DirectorofNewMusicInformationServices

10:30am – 11:30am Paper Session Minimalism, Room 214Chair:CynthiaGonzales,TexasStateUniversity- “MinimalistStructureinSteveReich’sElectricCounterpoint/II” CharlesDitto,TexasStateUniversity- “MinimalismintheMovies” RebeccaM.Doran,UniversityofTexasatAustin

11:30am – 11:45am Coffee / Tea & Snacks, Room 221

11:45am – 12:30pm Lecture-Recital Session, Recital HallChair:JoeyMartin,TexasStateUniversity- “TheDecompositionofVocalMusic,or:‘SongsWithoutWords’”(35min.) RuthMorrow(co-presenter),MidwesternStateUniversity,Texas KathyScherler(co-presenter),MidwesternStateUniversity,Texas JamesSchuppener(co-presenter),MidwesternStateUniversity,Texas

12:30pm – 2:00pm Lunch Break

2:00pm – 3:00pm Concert, Recital Hall- Floodforfluteandpercussion(marimbaandvibraphone)(2005)byDavidHeuser(UniversityofTexasatSan

Antonio) World Premiere

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RitaLinard(flute),UniversityofTexasatSanAntonio SherryRubins(percussion),UniversityofTexasatSanAntonio- LavenderMistforsolopercussionistutilizingmarimbaandauxiliarypercussion(2005)byRichardD.Hall

(TexasStateUniversity) EricMartin(percussion),TexasStateUniversity- InMemoriam:JohnD.Hillforaltotromboneandpiano(2004)byJohnD.White(TalladegaCollege,Alabama) World Premiere DavidJohansen(altotrombone),SoutheasternLouisianaStateUniversity JohnD.White(piano),TalladegaCollege,Alabama- Rondoforpianoop.6(1993/2003)byDimitarNinov(TexasStateUniversity) JoeyMartin(piano),TexasStateUniversity- JazzFantasyforpiano(1976)byArthurHoule(InternationalFestivalforCreativePianists) ArthurHoule(piano),InternationalFestivalforCreativePianists


3:15 – 4:45 Paper Session Music Theory, Room 214Chair:NicoSchüler,TexasStateUniversity- “TheCadenntialSix-FourRevisited” DimitarNinov,TexasStateUniversity- “ANewApproachtoIntervalTraining” ErikHeine,OklahomaCityUniversity- “Sudoku:APreludetoPart-Writing” CynthiaI.Gonzales,TexasStateUniversity


5:00pm – 6:15pm Lecture-Recital Session, Recital HallChair:ErikHeine,OklahomaCityUniversity- “DasBuchderhängendenGärtenbyA.Schönberg”(35minutes) ClaraO’Brien(mezzosoprano),UniversityofOklahoma HowardLubin(piano),UniversityofOklahoma LanceHulme(presenter),UniversityofOklahoma- “WhoWasSchubert’sErlking?”(25min.) AndrewHudson(presenterandpianist),McLennanCommunityCollege,Waco,Texas LiseUhl(soprano),McLennanCommunityCollege,Waco,Texas

6:15pm – 8:00pm Dinner Break[CMS-SCBoardMeetinginroom214]

8:00pm – 9:30pm Concert, Recital Hall- ThreeSongsforsopranoandpiano(1996-2004)byJasonBahr(MississippiStateUniversity) World Premiere LiseUhl(soprano),McLennanCommunityCollege,Waco,Texas AndrewHudson(piano),McLennanCommunityCollege,Waco,Texas- Floatingforpiano(1980/2003)andWrapitUpforpiano(2005)byPhillipSchroeder(HendersonState


END OF CONFERENCE

University) Jeri-MaeAstolfi(piano),HendersonStateUniversity- ThreeSongsofFriendshipforbaritoneandpiano(1998)byJoeStuessy(TexasStateUniversity) ChristopherHolmes(baritone),TexasStateUniversity RickRowley(piano),UniversityofTexasatAustin- Vignettes–Eightsongsforsopranoandpiano(1991)bySamuelMagrill(UniversityofCentralOklahoma) PamelaRichman(soprano),UniversityofCentralOklahoma SamuelMagrill(piano),UniversityofCentralOklahoma- Davidsbündlertänzeop.6byRobertSchumann(1810-1856)

SohyoungPark(piano),RiceUniversity

9:30pm – 10:00pm Reception (Snacks), Foyer of the Music Building

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Abstracts of Papers, Lecture-Recitals, Panels, and Posters

Allabstractsarelistedalphabeticallybythelastnameofthemainpresenter,or,incaseofseveral(equal)presenters,thealphabeticallyfirst.

DanielAdams,TexasSouthernUniversity“Pre-CompositionSketches:OneComposer’sApproach”Thepurposeofthispaperistodemonstrate,inthefirstperson,howonecomposer(myself)approachestheprocessofpre-composition.Althoughthemethodvariesfromworktoworkandcontinuestoevolve,severalfactorshaveremainedconsistentthroughoutitsevolution.Allgraphsforexample,aredrawnonartist’ssketchpaper,andallareproportionalinthehorizontalrepresentationoftimeandintheverticalrepresentationofpitch.Eachgraphvariesconsiderably,however,intheinterconnectionbetweentheverbalcontentandinthequasi-musicalsymbolsusedtodenotegestures,transitions,andclimaxpoints.Additionally,allcontainvarioussymbolsdenotingspecificperformancepractices, suchaspizzicato (strings),malletchoices (percussion),andmuting(brass).–Fiveexamplesofsingle-pagepre-compositionsketcheswillbebrieflypresentedandcompared,withanemphasison the interrelationshipbetweenthetemporalaspectofmusicalorganizationandelementssuchas timbre,rhythmicdensity,andregister.Shortmusicalexcerptscorrelatingtoeachwilldemonstratetheextenttowhichthegraphwasadeterminateintheactualcompositionoftherespectivepieces.

ElliottAntokoletz,UniversityofTexasatAustin“PolymodalExpansionandChromaticCompressioninMauriceRavel’sSonatepourviolonetvioloncelle”AtthefirstperformanceofMauriceRavel’sSonatepourviolonetvioloncelleon6April1922,somecriticswereshockedbywhattheyreferredtoasa“massacre”becauseofitssupposedabundanceof“wrongnotes.”Whilethisinvectiveisincongruouswithaworkofsuchbeautyandlogic,the“wrong-note”conceptiondoesneverthelessinvokeacertain“mischievous”qualitythatismanifestedinitiallyinthebimodal(minor-major)dualityofthefirstmovement.ThismovementwasfollowedbythreemoremovementsthatcameasaninterruptionofRavel’sworkinMayof1921onhisopera,L’EnfantetlesSortilèges,whosedramaturgyandmusicexpresslyinvokethemoodofmischief.TheintentioninthisstudyistoshowhowRavel’sDuoSonataexhibitsprinciplesofpolymodalchromaticismbasedonwhatappearstobe“mischievous”transformationsbetweendiatonic(i.e.,symmetricalminor/major)constructionsandamoreabstractchromaticism.Thesetwoconflictingspheres—modalandchromatic—arelinkedbymeansofintermediary intervallic stages between them.These stages include the octatonic scale especially, a symmetricalconstruction that represents a partial chromatic compression of the pentatonic and diatonic intervallic content.HarmonictransformationintheDuoSonatareflectssomeofthe“sardonic”contrastsandinteractionssoprominenttothemusico-dramaticcharacterofhisopera.

MelodyBaggech(presenter,soprano),EastCentralUniversity,OklahomaStarlaHibler(piano),EastCentralUniversity“‘ICan’tLearnThat!’–DispellingtheMythofContemporaryMusic”Muchofthemusicofthe20thcenturyisoftenoverlookedbyperformers,becauseitisconsideredtoodifficult.Mygoalistooffersomeideasabouthowtobreakdownthecomplicatedmusicalnotationallanguageofmanyofourmorerecentcomposers.Mostperformerstrytodeciphertheinformationinamusicalscoreallatonce:notes,rhythms,phrasing,articulation, tempi,etc.Withnewmusic,however,amoresystematicapproach ishelpful. Isolating theindividualmusicalparametersandlearningthemseparatelyisonemethodofisolation.MyprocedureforlearningWebern’sFünfLiederop.3wastospeakthetextinrhythm,thenincorporateritardandiandtempi,andfinallytoaddthenotateddynamics.OnlywhenalloftheseaspectswerelearnedaccuratelyandcouldbecombinedcomfortablydidIbegintolearnthenotes.JohnCage’sAriapresentstheadditionalchallengeofgraphicnotation.Eventhoughgraphicnotationmaynotbeasexactastraditionalnotation,itshouldbefollowedascloselyaspossibleto

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abstracts...continued

renderaperformancethatrepresentsthecomposer’sintentions.Similarly,whenexecutingextendedvocaltechniques,asinLucianoBerio’sSequenzaIII,itisstillnecessarytointerpretthemusicasonewouldinatraditionalworkfromanothercentury.

EddieBriskey,TexasStateUniversity“PracticalTipsfortheFirstYearBandTeacher”Lastyearwasmyfirstyearteaching,andthroughouttheyeartherewereafewthingsthatIwishIhadknownbeforeIstartedteaching.Issueslikesettingupafilingcabinet,talkingtoparents,creatingabandhandbook,andconcertplanningareall thingsthatIwishIhadknownmoreabout.–Speakingtoparentsis, inmyopinion,thehardest,especiallyatconcerts.However,itisanecessaryandvitalpartofthejob.WheneverImeetaparent,IamalwayscarefulofhowIportraymyself.DoIlookimmature?AmIbeingdisrespectful?ThesearesamplequestionsthathaveflownthroughmyheadasIamabouttomeetaparent.Atparentconferences,theteachershouldnottelltheparenthowhorribletheirchildisinclass.Takingthelatterapproachwillresultindefensiveparents,becausetheyarebeingattackedonhowtheyhaveraisedtheirchild.Parentconferenceshavealsoafifty-fiftychancetomodifyastudentsbehavior.Theseandotherissueswillberaisedinthispresentation.

DavidBruenger,UniversityofTexasatSanAntonio“Music,Mission,andthePublicPurpose”RobertPhillips (Stakeholder Theory and Organizational Ethics,2003)posits “thatbusiness isbeholdennotonlyto shareholders but also to customers, employees, suppliers,management, and the community.” In recent years,the stakeholder model of operation has been increasingly applied in higher education as part of a trend towardusingbusiness-inspiredqualitymanagementstrategies.Whilethecorrespondencebetweenbusinessandeducationalpurpose and philosophy is imperfect at best, in its broadest sense stakeholder theory is intended to explain andguide theoperationof anyorganizationcomprisedofnumerousparticipants attempting to “accomplishmultiple,though not always entirely congruent purposes.”What does stakeholder theory offer the collegemusic programtaskedwitheducational,vocational,andperformancemissionsandapublicthatappearsincreasinglydistantfromtraditionalmusicprogramvalues?Usingstakeholdertheoryandcurrentresearchonpublicexpectationsforthearts,thispresentationwillexplorethepossibilityofdesigningablueprintformusicinstitutionsthatisresponsivetotheneedsofteachers,learners,business,andthecommunity.

SusanBruenger,UniversityofTexasatSanAntonio“MiddleSchoolEnsembleRecruitment:TheImportanceofAdministrativeSupport”Recruitmentisacriticalissueformusiceducatorsteachingmiddleschoolthroughgraduateschool.Recruitmentisaconcern,becauseitcanmakethedifferencebetweenasuccessfulprogramandonethatisstruggling.Thispresentationwillfocusonrecruitmentonthemiddleschoollevel,becauseitisusuallythefirstopportunityforstudentstodeclineparticipation inmusiceducation. Ingeneral,past researchhas found that thedecision tochoose toparticipate inmusicalactivitiesmaybeacombinationofstudent-centered, teacherandschool-centeredcharacteristics.School-centered characteristics, whichmay influence student participation inmusic, include administrative support andbeliefsandunderstandingsofmusiceducation,schedulingofclasses,attritionbetweenschoollevelsandvariancesincurriculum.Thispaperwillfocusonthewaysthattheelementaryprincipal,middleschoolprincipalandfineartssupervisorcaneitherfacilitateorhinderthemiddleschoolensembledirector’sabilitytorecruit.Suggestionsforhowtodevelophelpfulcommunicationstrategiesbetweenensembledirectorsandadministrationwillalsobemade.

JoeElla Cansler,WestTexasA&MUniversity“PerformanceDimensions,Enhancement,andInterventionofPerformanceAnxiety”Asmusicisessentiallyaperformingart,anyfactors,whichimpairorenhancethequalityofperformance,arenaturally

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ofimportancetothestudent, teacher,andprofessional.Aprimarysourceofconcernisaproblemusuallylabeled“nervousness”or “stage fright,”whichcanbe termed“performanceanxiety”.Thispaperanddemonstrationwillfocusontheunderstandingandimprovementoftheinterferenceofperformanceanxiety.Hopefully,itwillenlightenandchallengeeachofus!Twomainfactorscontributingtothisconditionarefearofforgettingandinhibitionsofself-expression.Solutionscanlieintherealmofthepsychologicalaswellasthemusical.Howdoesonegaincontrol?Whattoolsdoesoneusetobreaktensionandmakeanaudiencefriendly?Perhapsthispresentationcanbealaunchingpadforanewbeginning!Onemaybegintodisplaceorreformbadhabitsthroughinteractiveexercises,visualization,relaxationanddiscussion.Thisworkshopoffers“keycues,”stepsandbriefexercisestoestablishpositiveactionforachievingone’sidealperformance.Thereisnoquickfix,butlikethe12stepsofAAorWeightWatchers,onemusttakethestepsintolifechanginghabitsandthoughts;then,thesemustbeappliedtoeverydaylifeandperformance.Itisallabouttrustandfreedom.

Hui-Yiing Chang,TexasStateUniversity“SubstantiatingWorthyMusicalExpressionwithReason”Alongthelinesofsynchronizingtheartsandsciences,asispresentlypromotedinpublicschooleducation,musiciansandmusiceducatorsseektofindtheconnectionbetweenbothareas.Ibelievethatworthymusicalexpressionisnotbornoutofmerefantasy,butcanbesubstantiatedwithreason;themorepassionatethemusicalexpression,themorevividthescientificandlogicalexplanation.Wefirstexplorethecosmicrelationshipsinmusic,consideringitsvastand infinitequalities.Weapply the theoryof relativity,whereasituation’scomponentsaregivenvaluebasedonitscontext.Theytendtowardsequilibrium,beingsubjectedtogravitationalforces.Theyareportrayedwithrealityandgivencompletionwhenthethreedimensionsof timeandspaceareexploitedintermsofdevelopmentof thesectionsandbalanceintheparts.TheyareperformedbeautifullywhentheyimitatethecurvedmotionsofphysicalphenomenaandimposetheFibonacciseries,0.618.Lastly,passionateperformanceisrenderedwithaconceptionoftheinfinite,whichreflectsincurvedmotionsthatimitateasymptotes.Thelearningprocesshappenswithsensingofartisticqualitiesprecedingreasoning.Thesynchronizationofbothiscrucialandproducesresultshighlyappreciatedbyprofessionalsaswellasamateurs.

Jin-HoChoi,W.BartonMacMillan,ChristineRewolinski,H.JaniceSteele,UniversityofNorthTexas“Recent Music Education Graduates’ Attitudes Towards ‘Real-World’ Applicability of Their UndergraduateCoursework”Thebachelor’sdegree inmusiceducationatamajorityof four-year institutions in theUnitedStatesandCanadarequiresarelativelyhighnumberofhoursofcoursework.Sometimesexceeding130hours,theBachelorofMusicEducationdegreeoftensurpassescourserequirementsofotherbachelor’sdegrees.ThegrowingperceptionamonguniversityadministratorsthatthisistoodemandingwasrecentlyaddressedbytheStateofTexas,whichmandatedthattherequiredcourseworkbereducedto120hours.Suchacomplexdecisionrequiresbroadinputfrommultiplesources,whichfacultyandadministratorsattheUniversityofNorthTexasareconsidering.Thisposterwillpresentresultsofastudyconductedtodeterminetheattitudesofrecentmusiceducationgraduates.Thepurposeofthestudyistoascertainwhichcoursesrecentgraduatesfindtobemostapplicabletotheircurrentprofession.Thiscombinationqualitative / quantitative study utilizes survey researchmethodology.Analysis of the datawill be considered byappropriateadministrationasonecomponentinthedecisiontoreducehours.

DennisColeandXin“Cindy”Wang,KentStateUniversity“SymbiosisandIdentity:AStudyoftheRelationshipBetweenDrumandBugleCorpsandTheirFans”Previousscholarshiponthedrumandbuglecorpsactivityfailstotakeintoaccountthecompleteculturalcontextinwhichthedrumcorpsactivityexists.Today’sdrumcorpscommunityexistsasaninterdependentrelationship:adrumandbuglescorpsdependsonitsfansforartisticinspirationandfinancialsupport,whilefansoftheactivitydepend

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ondrumcorpsasameansofentertainment.Thisstudyexaminestheclose-knitrelationshipsthatexistbetweenadrumandbuglecorpsanditsfans.Todothis,wewillconsiderthebasicprinciplesofexchangebetweenproducerandconsumer,assuggestedbyJohnFiske.Dividedintotwomainsections,thegoalofthisstudyisbothethnographicandtheoretical:thefirstsectionanalyzestherelationshipofparticipantswithinthedrumcorpsactivityinthecontextofitsculturalcalendar.Thenextsectionexaminesspecificaspectsofformalizedbehaviorbetweenadrumandbuglecorpsanditsfans,whichreflectasymbiotic,mutually-beneficialrelationship,andquestionsthewaysinwhichone’spersonalidentityisdevelopedthroughtheirparticipationwithinthedrumcorpsactivity.

CourtneyJ.Crappell,UniversityofOklahoma“LouisW.Ballard(b.1931):NativeAmericanIdentityPreservedinPianoArtMusic”Describedas“theforemostIndianmusicalcomposerandmusiceducatorintheUnitedStates,”LouisBallard,oftheQuapaw/Cherokeetribes,distinguisheshimselffromothercomposerswhoincorporateNativeAmericanthemesintocontemporaryartmusic.InherdiscussionofNativecomposersofartmusic,TaraBrownerdescribesBallard’smethodssaying:“Hismusic relieson indigenous instruments, rhythms, forms, scales,vocalphrasings,andothermusicalelementsoriginatingwithhistorictraditionsandperformancepractices...”Ballard’smethodscontrastwithothercompositionsthatmerelyincludemotivicfragmentsofNativeAmericanmelodieswithinacomposition.AsoneofthefewcontemporaryartmusiccomposersapproachingthischallengefromaNativeperspective,Ballard’sworksofferauniqueopportunityforanalysis.–Ballard’scompositionsencompassseveralstylesandgenres,andmanyofhiscompositionshaveachievedinternationalrecognition.Thepurposeof thispaper is to investigatetheFourAmericanIndianPianoPreludes(1963),fourintermediate-to-advancedpianopieces.ThisanalysiswillofferinsightsintoBallard’scompositionaltechniquesthatallowforthesuccessfulincorporationofNativeelementsintohiscompositionsfortheWesternpiano.Thediscussionwill includeBallard’scontributionstothepreservationofNativeAmericanidentity.

CharlesDitto,TexasStateUniversity“AnAnalysisofMinimalistStructureinSteveReich’sElectricCounterpoint/II”Toalargeextent,minimalistmusicis“pre-composed,”oratleast“predetermined,”inthesensethatthefinalproductistheresultofarelativelysmallamountofmusicalmaterialsetintomotionbyaseriesofmotoricprocesses.AnanalysisofthesecondmovementofSteveReich’sElectricCounterpointcanyieldinsightsintothenatureoftheseprocesses,theunderlyingstructureofamusicdevoidnotonlyoftraditionalmotivicdevelopmentandtonalfunction,butalsomusic inwhich theWesternconceptof tensionand release is supplantedwithanEasterncontemplativestaticity.ThismovementoffersaparticularlyclearexpositionoftypicalminimalisttechniquespioneeredbySteveReich,mainly“phasing”or“phase-shifting”(thesimultaneoussoundingofthesamemelodicmaterialintwoormoreparts,butshiftedfromoneanotherbysomemeasureoftime,àlacanon)and“pulsing”(thebuildingandsustainingof vertical sonorities by theplayingof long stretchesof quick repeatednotes).But far frombeing simply adrymechanistic construction, analysis reveals a rational gridof compositionaldecisions thatpreciselydetermine thedetailsofthemusicalfabric.Thereissymmetryandthereiscuriousbreakingofsymmetry.Ateverylevel,thereisatightcontrol.

RebeccaM.Doran,UniversityofTexasatAustin“MinimalismintheMovies”Sinceitexplodedontothescenewiththe1983releaseofKoyaanisqatsi,minimalismhasgrowntoaprominentplaceamongmusicalstylesusedforscoringfilm.PhilipGlasshascontinuedtobeaprolificfilmcomposer;hisotherscoresincludeTheHours(2002)andTheTrumanShow(1998).OtherminimalistfilmcomposersincludeCliffMartinez,withfilmssuchasTraffic (2001)andSolaris(2002),andMichaelNyman,whoscoredThePiano(1993)andGattaca(1997).Butnotonlyso-calledminimalistfilmcomposersareusingminimalist techniques infilm.JohnWilliams

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usedminimalisminbothMinorityReport(2002)andA.I.: Artificial Intelligence(2001),andDonDavisuseditintheMatrix trilogy(1999-2003).Sowhyisminimalismanincreasinglypopularscoringtechnique?Whatmakesiteffective,andwhatcanitdo?ThroughanexaminationoffilmclipsfromKoyaanisqatsi,A.I.,TheTrumanShow,Solaris,andMinorityReport,thispaperwillshowhowtheverystylisticfeaturesthatconstituteminimalismallowittomanipulatetheperceptionoftime,tobeamarkerofrepetitiveeventsandobsessivecontrol,andtomarkothernessinfilm.

SusanD.Fain,UniversityofOklahoma“TheFluteMusicofGraceWiley-SmithandItsCulturalInspiration”TheflutemusicofOklahomacomposerGraceWiley-SmithshowstheinfluenceofherNativeAmericanMuscogeeCreekculture,balancedwithadevotiontoherChristianfaith.Smith’sworkshavebeenperformedthroughouttheUnitedStatesbyhighschool,university,andprofessionalflutists.SmithteachesfluteattheUniversityofCentralOklahomainEdmond,Oklahoma,whereshereceivedherB.M.E.andM.M.E.degrees.SmithalsoteachesNativeAmericancultureandlanguageclassesforIndianEducationwiththeEdmondPublicSchools.–TheNativeAmericaninfluenceisreadilyapparentinSmith’smusic,butamoresubtleinspirationhasguidedthecompositionoftheseworks.ReligionandhymnsinginghavelongbeenanimportantpartofMuscogeeCreekNationcultureandthatcontinuestoday.TheGermanicsenseofspiritualexpressionfoundinhymnsinginganditsrelationshiptofunctionalharmonyformthebackdropofthispaper.NativeAmericanflutemusicwithitsmorelinearorientationisthenexplored.Thesetwoavenuesconverge in themusicofGraceWiley-Smithaswewitness theEuropean-basedmusicalheritageofChristianitymeldwithNativeAmericanaesthetics.AperformanceofMomisKomet,asoloforfluteandpianobySmith,willconcludethepresentation.

EkaGogichashvili(presenter,violin)andVincentde Vries(piano),BaylorUniversity“ForgottenMusic:ErwinSchulhoffandHisViolinSonataNo.2(WV91)”During thepre-WorldWar IIyears, the leadershipof theThirdReichcontinuedhisefforts tomakeEuropeJew-free.Thereisagreatinterestamongmusicologistsofthepresentdaytowardrediscoveringthemusicof“entartete”(degenerate)composers,andmuchhasbeenwrittenaboutthehistoricalcircumstancesofthattime.However,thereareothercomposerswhohavenotgottenmuchattentionyet,onesthatweresenttomorestrictandinhumaneplaces.ErwinSchulhoffisamongthem.Schulhoffwasanincrediblygiftedpianist,conductor,composer,andwriter,whospentthelastyearsofhislifeintheWülzburginternmentcampinBavaria.Hewaspunishedforbeinganavant-gardecomposer,Jew,communist,andaSovietcitizen.–TheSonataNo.2forViolinwascomposedin1927.ItwaspremieredbyRichardZikainGenevaforthefestivaloftheInternationalSocietyofNewMusicin1929.Thereviewsweremixed; some critics did not see anything different fromSchulhoff’s other compositions, some admired itsdrivingrhythmsandenergy.Thislecture-recitalwilladdressErwinSchulhoff’scompositionalstylesupportedwiththeexamplesfromtheSonataNo.2.

CynthiaI.Gonzales,TexasStateUniversity“Sudoku:APreludetoPart-Writing”IwilldemonstratehowSudokupuzzlescanbeusedtointroduceandreinforcethelogicalthinkingskillsusedinpart-writing.ThethoughtprocessesrequiredtocompleteaSudokupuzzlereplicatethoseusedinpart-writing.InSudoku,forexample,onelooksatthecontentsofacolumn,arow,ora“footprint”toaccountforeachdigit1-9.Inpartwriting,onelooksattheverticalcontentsofachordtoaccountforeverychordmember.InSudoku,ifacolumnhaseightoftheninerequireddigits,theidentityoftheninthdigitcanonlybeonenumber.Inpart-writing,ifthechord’srootandfiftharesuppliedbythreevoices,thefourthvoicemusttakethethird.Sudokuallowsstudentstopracticethesethoughtpatterns inasimplecontextbefore transferringthemtoacomplex,multivariable,four-voicepart-writingassignmentthatmustaccountforchordspelling,spacing,doubling,voiceleading,andharmonicprogression.Thesemusicalvariablescanoverwhelmthebeginningmusictheorystudent,particularlythosewhosepriorexperience

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islimitedtoreadingasingle-linescoreinsteadofthegrandstaff.Sudokuisanengaging(andentertaining)meanstolearnandpracticethementalprocessesandlogicalthinkingskillsnecessarytopart-writesuccessfully.

ErikHeine,OklahomaCityUniversity“ANewApproachtoIntervalTraining”Intervals,bothsingingandaurallyrecognizing,areoneofthefirsttopicstobecoveredinthefirstsemesterofauralskills.However,themethodologythatispracticedregardingintervalsusuallyrunscontrarytothewaythattherestoftheauralskillsclassistaught.Mostpeople,professionalsandstudentsalike,weretaughtintervalsbyhearingorrecognizingatunethatisassociatedwithaparticularinterval.Ibelievethatamoreefficientwayofteachingintervalsexists,teachingintervalswithintheframeworkofthemajorscale.Inthispaper,Iwilloutlinemyapproachtoteachingintervalstomyauralskillsclasses,intermsofbothsightsingingandeartraining,andshowhowthisapproachcanalsocrossoverintotheteachingofintervalsinatheoryclass.

JamesHickey,TexasStateUniversity“TheComprehensionofBasicMusicTheoryAmongUndergraduateMusicMajors”Alltoooften,manywhoenjoytheartofmusicdonotknowhowtoreaditorunderstandthetheoreticalconnectionswithin.Aswithanyotherlanguage,musictheoryhasitsownsetofgrammaticalrules.Asanexpectedrequirement,college-level studentsmajoring inmusicmust go through twoyearsofmusic theory core courses tounderstandthewritten language theyhavecome to learnwith their instrument.Yet, someconceptsareharder to followandcomprehendthanothers.Equallyimportant,somestudentshavestrengthsinparticularareas,whileotherstudentsfallweak.Whatistoblameforpoortheoreticalcomprehension?Arethestudents’instrumentsahindranceoranavail?Arethetextbookstoovagueortootechnical?Doprofessors’techniquesassistinthelearningprocessoronlymakeitmoreconfusing?–ThisposterisbasedonresearchforaMaster’sthesis,whichfocusesonthecomprehensionofbasicmusictheory.Questionstoanswerare,whatstudentsfindtobemoredifficultoreasiertolearn,why,andifparticularteachingstyleshelp,aswellasiftheirinstrumentisofanyavail.Partofthisresearchisalsothereviewofvariouscollegetextbooksandarticlesonbasicmusictheoryregardingtheirpedagogicalapproachandquality.

ArthurHoule,InternationalFestivalforCreativePianists“Lessonsfroma‘Lost’StringQuartet:ARadicalNewVersionofBeethoven’sPianoSonatainEMajor,Op.14,No.1”BeethovencomposedhisPianoSonatainEop.14/1in1798-99.Hissubsequentstringquartetversionisalteredfarbeyondwhatwasnecessarytoaccommodatethestringidiom.Czernycalledthestringversion“lost,”andeventoday,manystringplayersandpianistsareunawareofitsexistence.Thislecture-recitalevolvedfromatellingcoincidence:Czerny(havingapparentlyneverseenthestringversion)addeddynamicmarkstohiseditionofthepianosonata–marksonlyfoundinthestringversion!DidCzernyhearBeethovenplaythepianosonatathisway?Beethoven’splayingwasneverstatic.Manyalterationsinhisstringarrangementarearguablycompositionalimprovementsoverthepianoversion.ItwouldhavebeenlogicalforBeethoventoincorporateatleastsomeofthesechangesintohispianointerpretation.Shouldfearofviolatingthe“Urtext”paralyzethemodernpianist?Reverencefortheoriginalscoreisalwayscommendable,asignofrespectforthecomposer.Withop.14/1,however,thesecretsofBeethoven’smostevolvedthinkingarehiddeninthelaterstringversion.Mypianoperformanceconflatesbothversions,whileaccountingforhistoricalevidenceconcerningperformancepractice–particularlyBeethoven’smannerofplayingop.14/1,asrecountedbyhiscontemporaries.

AndrewHudson(presenterandpianist)andLiseUhl(soprano),McLennanCommunityCollege,Waco,Texas“WhoWasSchubert’sErlking?”Thislecture-recitalexploresspecificpoeticandmusicaldevicesusedbyGoetheandSchuberttoconveythechanges

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intheErlkönig’scharacteroverthecourseofhisthreestatements.Inthefirststatement,theErlkönigspeakstotheboyasacompanionwithlongvowels,alliteration,andagenerallysmoothrhythmicflow.Hementionshismother,givinghimmorehumanqualities,andtemptstheboywithfantasticdescriptionsoflandscape.Schubert’smusicinvolveschangesofmodeandaccompanimentfiguration,andaliltingmelodywithachildlikebuteeriecontour.Duringthesecondstatement,bothpoeticandmusicalelements indicate increasedurgency.The thirdstatement theErlkönigshowshistruenature,beginningwithloveandendingwithviolence.Here,Schubertforcesusfromthetempting,colorfulworldtheErlkönighastriedtoportrayandplantsusfirmlybackinreality.–BothGoethe’sandSchubert’sErlkönig represents something absolutely real, and completely capable of disrupting our lives at any time.This,ultimately,iswhatmakesthissongsoterrifyingandsomagnificent.

LanceHulme(presenter),ClaraO’Brien(mezzosoprano),andHowardLubin(piano),UniversityofOklahoma“DasBuchderhängendenGärtenbyA.Schönberg”RecentresearchofArnoldSchoenberg’s“atonal”periodhasconcentratedondecipheringtheprinciplesthatgovernthechoicesofpitchmaterial.Schoenberg’semphasisoncounterpointconstitutescontinuitywiththebasisofwestern-Europeanmusicalrhetoric.TheemphasisonmelodyasthecompellingforceofcompositionseenthroughouttheBuchderhängendenGärten.TheaccompanimentalmelodiclinesinthepianobearacloserelationshiptocontemporaryViennesecomposers.Thetextsettinghasclosesimilaritiestolate-RomanticGermanicoperacomposers.RecognizingtherhetoricalcontinuitybetweenSchoenbergandhiscontemporariesisimportanttocorrectinterpretation.

RüdigerJennert,UniversityofWürzburg,Germany“Just‘aComposerofBlackboardMusic’?–PaulHindemithintheUnitedStates”Hindemith“throwsoutcompositionsbythedozen”andhas“thefertilityofarabbit.”Hisworksoftensound“dry”and“monotonous”.Heismorean“academic”thanacomposer.TheseandotherdescriptionsofPaulHindemithandhisworkswereprintedinmanyAmericannewspapers.Therefore,Hindemith,whotaughtmusictheoryandcompositionatYaleUniversityfrom1940until1953,musthavebeenwithoutadoubt“acomposerofblackboardmusic”.However,statisticsonperformance frequenciesofHindemith’s compositions in theUnitedStates andcountless statementsaboutHindemith’s influenceonyoungAmericancomposersconfirmhiswidespreadpopularityandhisenormousimpactontheAmericanmusicalsceneingeneralduringthe1940s.Inmypaper,IamgoingtodescribefeaturesofHindemith’sidiomonthebasisofamusicalcaricaturethatIdiscoveredinthePaulHindemithCollectionatYaleUniversity.Furthermore,Iwanttoshedlightonthereceptionofhisso-called“old”and“new”styleintheUnitedStates.Finally,Hindemith’ssomewhatdecayinginfluenceinthe1950sand1960swillbediscussedbriefly.

CarinaJoly,UniversityofOklahoma“TheTeachingPianoLiteratureofAlmeidaPrado”JoséAntonioResende deAlmeidaPrado (b. 1943) has enjoyed international recognition as one of the foremostcontemporaryBrazilian composers.A composerwhosemusic exhibits highly individual harmonic language andorganicstructure,Pradoattractsincreasingattentionfromperformersandresearchersthroughouttheworldinthepasttwodecades.Thislecture-recitalwillintroducePradoasacomposer,willcontextualizehimwithinthetrendsinBraziliantwentieth-centurymusicmaking,andwilldiscussthedevelopmentofhiscompositionalstyle.Asmusicalexamples,selectedpianopiecesfromthecollectionentitledJardinsSonoros[SonorousGardens]willbeperformed.Performersand teacherswillbe introduced to thestyleofPrado’spianomusicandwillbecomeacquaintedwithexclusive teachingliterature.Thisprojectaimstoarouse interest in thisvaluablesourceof late twentieth-centuryBrazilianpianorepertoire.

ElizabethLee,TexasStateUniversity“RobertSchumann’sPianoQuintetinE-flat,Opus44:TheQuintessentialRomanticPiece?”RobertSchumann’sPianoQuintetinE-flat,Opus44,wasthefirstcompositionofitskind.Afterabriefintroduction

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toSchumann’scareer,hissignificance,characteristicsandcontributionstotheRomanticEraaregiven.TheposterwilldiscusstheelementsofRomanticstylefoundwithintheopus.AnalyticalobservationswilldetailSchumann’suse of form, melody, harmony, keys, rhythm, scoring, and movement types. Lastly, the poster will evaluate thecomposition’scontributiontothedevelopmentoftheRomanticEra.

LynListon,DirectorofNewMusicInformationServices“TheNew-MusicSavvyStudent:ResourcesfortheClassroom”Howcanstudentskeepafingeronthepulseofthenew-musicworldnowandaftertheygraduate?Wherecantheygetanswerstocommonmusic-businessquestionsthattheywillencounterintheircareers,andhowmanyofthosequestionscanyouanswercorrectly?Doyouknowwheretogotogetasmall-rights,grand-rights,mechanical,orsynchronizationlicense?Whatis“fairuse”?DoyourstudentsknowaboutASCAP,BMI,andSESAC?Howmanyyearsisaworkcomposedin1967or1992incopyright?Wherecanperformersgotolearnaboutnewworksandpossiblygiveapremierewithorwithout funds tocommission?It isabigworldout there–howcancomposerspromotetheirmusictothebroadestpossibleaudience?LynListonoftheAmericanMusicCenterwillcovertheseandotherissueswithademonstrationofresourcesfortheclassroomandthemusicdepartment.

MichaelLively,UniversityofNorthTexas“Hindemith,Schenker,andtheUniversityofNorthTexas”Shortly after RobertW. Ottman joined the University of NorthTexas, he became involved with the supervisionof twoveryunusual, andperhaps remarkably forward-looking,master’s theses.These studentprojects,GraceE.Knod’s“AComparisonoftheHindemithandSchenkerConceptsofTonality”andNathanMiron’s“TheAnalyticalSystemsofHindemithandSchenkerasAppliedtoTwoWorksofArnoldSchoenberg,”weresubmittedin1955and1956,respectively,narrowlyinadvanceoftherevisededitionofSchenker’sFreeCompositionandwellaheadoftheimportantbodyofEnglish-languageinvestigationoftheSchenkeriansystemthatappearedinthelate20thcentury.Inmanyways,theworkofOttman’sstudentsseemstopre-figuretheextremeavant-gardeofSchenkerianthoughtthatdevelopedseveraldecadesafterthethesesweresubmitted.TheideaofsystematicallyintegratingtheanalyticalmethodsofHeinrichSchenkerandPaulHindemithremainsascompellingtodayasitmusthaveseemedtoRobertW.Ottmanandhisstudentsduringthemid1950s,yet this importantandstill relevantareaofresearchis largelyunexploredbyboththescholarsofHindemith,aswellasbySchenkerianmusictheorists.

RachelMcCarthy,UniversityofOklahoma“SingaNewSong:TheMusicofVictorJaraandtheChileanNuevaCanciónMovement”ThemusicalmovementknownasNuevaCanción(newsong)beganinthe1950sand1960sinSouthAmericaasaformofpoliticalprotest.Musicianssangaboutfolkheroeswhodefiedthegovernment;theyplayedtheinstrumentsoftheirancestors,andtheyinspiredactivismthroughtheirmusic.WhatbeganinChilespreadthroughoutLatinAmerica.TheroleoffolkinstrumentsinNuevaCanciónnotonlydefinesitssound,butrepresentsthepoliticalsubversionofthemovement.Thismusichelped tounifyoppressedpeopleandcommentonsocialandpolitical situations theyfaced.DrawingonthewritingsofSchechter,González,andMoreno-Chá,IwilldiscussthemusicofVictorJara,Inti-Illimani,andQuilapayún.Byanalyzingthemelodicfeatures,lyricalcontent,andstructureofthisgenre,Iwillshowthepowerfulextra-musicalassociationsthataccompanythemusicitself,makingthisrepertoirehighlycontroversialandempowering.

CarolMcNabb(presenter,bassoon)andKennethSaxon(piano),UniversityofTexasatBrownsville“CanonicCraftinCastelnuovo-Tedesco’sSonatinaforBassoonandPianoop.130”ThesessionexaminesMarioCastelnuovo-Tedesco’sSonatinaprimarilyfromacompositionalstandpoint,butalsoincludesbriefinformationaboutthecomposerandpedagogicalapplicationsoftheworkinbassoonteaching.Thework,datingfrom1946,isinthreemovements,andisapproximately14minutesinlength.TheSonatinaisinatonal

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idiomwithimpressionisticelements.Thebassoonpartisofmoderatedifficultyandpianoparticipatesintheworkasanequalpartner.Thefirstmovementisalyricalallegrettoinsonataform,whilethesecondmovement,markedandantinograziosoeunpocomalinconico,reliesontwoprinciplethematicideas,oneofwhichincorporatesmixedmetersandshortphrases,whiletheotherisamoreintenseappassionato.Theplayful,thirdmovementismarkedRondoallamarciaandexhibitsatypicalstructure,butwithaslowermiddlesection.Thefirstandsecondmovementsrelyoncompactmelodicmaterial,whichisdevelopedthroughtheuseofcanonicinterplaybetweenthebassoonandpiano,atvaryingintervalsandrhythmicdisplacement.Duringthesession,severalexamplesofthecompositionaltechniquewillbedemonstrated,followedbyaperformanceoftheentirework.

RuthMorrow,KathyScherler,andJamesSchuppener,MidwesternStateUniversity,Texas“TheDecompositionofVocalMusic,or:‘SongsWithoutWords’”Classicalvocalrepertoireoftenappealstothelistenerasavoice-dominatedgenre,inpartbecausethesoloist(s)standinfrontofthekeyboardandin[probablygreater]partfromthepreeminencewegivetowordsasacommunicativemediumrelativetothatofmusic.TheintroductionoftheGermanLiedintheearly19thcenturysoughttochangethatmis-orpreconceptionthroughthecompositionofapianoaccompanimentrepletewithmeaning.Thispresentationwilldecompose,ifyouwill,aGermanLied:presentingitfirstinpianotranscription,thenwithoriginaltext,inEnglishtranslation,andfinallyaspianoaccompanimentonly,therebyillustratingthehypothesisthatthetextisconveyedasmuchthroughtheaccompanimentasthroughthevocalpart.GeneralideasofLiedcompositionwillbediscussed,aswillthoseofsingingintranslation,performingtranscriptions,andimbeddedimageryinpianocomposition.

KarenNathman,UniversityofOklahoma“Post-ModernInfluencesonContemporaryPerformancesofNorwegianFolkMusic”“Listentoallfolksongattentively,fortheyarethetreasuretroveofthemostbeautifulmelodiesandthroughthemyoucangettoknowthecharacterofpeoples.”ThewordsofZoltanKodalyareimportanttothestudyofanyculture.Music in a society is bornof its triumphs, tragedies andhopes.As a culture changes through time, somight itsmusic.Thepurposeofthisstudyistoexamineprevalentpost-moderninfluencesandtheireffectsontheperformanceof traditionalNorwegianfolkmusic.Thedefiningmusicalelementsof thevocalmusicwillbestudied includingcommon sources and subject of lyrics.Examplesof contemporary influenceswill be identified and compared totraditionalelementstounderstandwhatperformanceelementshaveremainedconstantandwhatelementshavebeeninfluenced.

DimitarNinov,TexasStateUniversity“TheCadentialSix-FourRevisited”Thecommonnotionofthecadentialsix-fourchordsuggeststhatitbeinterpretedasadominantchordwithadoublesuspension(twoaccentednon-chordtones).Yettherearescholars,includingtheauthorofthisarticle,whoconsiderthatsonorityabi-functionalchord–atonicoveradominantbass.Thisapproachcastsanewlightonsomecasesthatcouldneverbeexplainedifthechordwereregardedasameredominant.Theintervalofaperfectfourthseemstobeamajorargumentforthosewhotreatthecadentialsix-fourasadissonantsonority.YetArnoldSchoenbergdidnotseemtobeveryconvincedinthesolidityofthisargumentwhenhewroteinhisTheoryofHarmony:“Nevertheless,whereasintheactualdissonancetonessoundtogetherthatcanneverinanyarrangementbeconsonant,thetonesofthesix-fourchordareinotherarrangementsabsolutelyconsonant(triad,sixthchord).Thedemandofthesix-fourchordforresolution,tobetreatedasadissonance,isthusbynomeansasstormyasthatofarealdissonance.”Letmeusethisstatementasastrongpointofdeparturefromtheconventionalwaythecadentialsix-fourchordisregardedinmosttheorybooks.

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LudimR.Pedroza,UniversityoftheIncarnateWord“TheInfiniteLiminoid:ALookatClaraSchumann,FranzLiszt,andtheRestofUsAmidsttheWondersofPerformativeNeverland”Thesolorecitalemergedinthe19thcenturyamidsttheculturaldialoguesofanumberofperformers,FranzLisztandClaraSchumannbeingthemostconspicuous.Liszt’slegacyisgenerallyperceivedasonethatcelebratesthephysicalandmentalskillsoftheempoweredperformer.ClaraSchumann,inreactiontoFranzLiszt,rejectedwhatsheconsideredmereexhibitionistskillandsuggestedaperformancestylethatprojectedcontemplativevalues.Subsequently,20thcenturyperformersstruggledwithLiszt’sandSchumann’sunspokencreeds.Intheend,ascriticHaroldSchonbergoncestated,“ClaraSchumann...eventuallytriumphed,”andthesolorecitalappearedtosolidifyasaquietmusicaloccasionidealforcontemplation.–Presently,nonetheless,manyofusinacademiafindourselvespartof,willinglyornot,aheterogeneoussocietythatboastsmultiplemodesofperformanceandongoingmergingofstyles.Inresponsetothesetendencies,curriculumsandtraditionalperformancetendenciesarecontinuouslychanging.Sometimeswefindourselvesin“academicneverland,”aboundlessspaceinwhichwearecompelledtonegotiatemultipleviews,styles,andmodesofperformance.ThisisanthropologistVictorTurner’sgloballiminoid,aspacerichwithconflictandcontradictionwheremodernperformersstruggletofindmeansofself-expression.

JanePerkyns,TexasSouthernUniversity“Tumult and Tranquility: The Depiction of Natural and Psychological Phenomena in Two 21st Century PianoWorks”Thispresentationwilllookattwospecificworksforpiano:BetweenStillnessandMotion(2004)byAmericancomposerDanielAdams and Star Burning Blue (2000) by Canadian composer Kelly-MarieMurphy.Although seeminglyunrelated,bothpiecesareprogrammatic,withthecomposersdrawingonnaturalandpsychologicalphenomenaasthebasisfortheirstructuralmaterial.BetweenStillnessandMotionwasinspiredbythepoem“PassionalLandscape”byOctavioPaz,inwhichthepoet“parallelsthetumultuousforcesofthenaturalworldwiththosewithinthehumanpsyche”(Composer’sprogramnotes).StarBurningBluedepictsthelifecycleofamainsequence,super-giantstarwithitsstronggravitationalforcethatdrawsmattertoitatanever-increasingrate,burningitsnuclearfueluntiltheinevitable stellar explosion.The presentation will examine the common methods with which the two composersdepict the ideasofmotionversusstillnessandpowerversusemptiness.Specificareas thatwillbediscussedwillincludetexturalsonoritiesandsoniccontrasts,rhythmicgesturesusedtoportraythedualityofmoods,andtheuseofuniquelypianisticsonoritiesthroughpedaltechniquestocreatespecificeffectsfundamentaltotheprogrammaticintent.Thepresentationwillconcludewithaperformanceofthetwoworksintheirentirety.

CharlesRuggiero,MichiganStateUniversity“CreativeCollaborations:AComposer’sPerspective”StereotypesofthemastercomposerasanindependentandisolatedcreativeagentaresupportedbyourknowledgeoftheworkinghabitsandpersonalitiesofsomeimportantcomposersofWesternartmusic.Whereasmanycomposershavecollaboratedwithartistsfromotherfields(choreographers,authors,filmdirectors,etc.),examplesofcomposerswhohavewrittenmusicwithothercomposersarerelativelyrareoutsidetheworldsofBroadway,TinPanAlley,andsomeotherkindsofpopularmusic.Themostnotablecomposer-collaboratorsofAmericanmusicwereDukeEllingtonandBillyStrayhorn.Anexaminationoftheirprofessionalrelationshipyieldsinsightsintothenatureofsuccessfulartisticcollaboration.Effectivecomposercollaborationsandcomposer/performercollaborationsmayresultinartisticproductsthataredifferentandricherthanwhatindividualmusicalartistscanachieve.Successfulcollaborationsintheartsoccurwhencollaboratorsprovidedifferentingredientstothecreativemixbutsharegoalsandknowwhenandhowtoleadandfollow.Perhapsmusiciansandotherartistscandemonstratetotherestoftheworldhowcollaboration,ratherthanisolation,egoisticalcompetition,andconfrontation,mightleadtosolutionstosocialproblems.

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LorieScott,EastTexasBaptistUniversity“GradusadParnassumfortheFlutePedagogueandPerformer”In1919SigfridKarg-Elertcompleted30CapricenfürFlötealleinOpus107(subtitledGradusadParnassum)andprovidedflutistswithacollectionofpiecesintendedtoconnectexistingtechnicalfluteliteraturetotheprogressivedemandsofcontemporaryorchestralmusic.Sincetheirconception,theCapriceshaveheldamostimportantplaceintechnicalstudiesofthetwentiethcenturyfortheflute;however,thereasonsfortheirimportanceandanunderstandingofhowdeeplyconnectedtheyaretothechangingmusicalaestheticoftheearlytwentiethcenturyislacking.Thislecture-recitalwill(1)placetheseshort,didacticworkswithintheirhistoricalcontext,(2)discussthetwoexpositorysectionsintheCaprices’publication,whichdirecttheflutist’sunderstandingoftheirintentionanddesign,(3)detailhowKarg-Elert’sCapricesforflutesoloprovidetheflutistwithasummaryofmusicalstylesfromthebaroquetoearly20thcenturyandthensubsequentlypointtowardsfuturetechniquesandideas,and(4)presenttheCapricesasmusicallysubstantiveworks,deservingofinclusioninsoloperformancerepertoireas‘concert-etudes.’AperformanceofselectedCapriceswillconcludethepresentation.

LesleySisterhen,BaylorUniversity“TheUseofImagery,MentalPractice,andRelaxationTechniquesforMusicalPerformanceEnhancement”Thisstudypresentsinformationonhowimagery,mentalpractice,andrelaxationtechniquesmaybeusedbymusiciansandmusicteacherstoenhanceperformance.Imageryisamentalprocessinwhichanindividualconsciouslyimaginesanexperienceinhisorhermind,anditseffectsonperformancehavebeenstudiedextensivelyinthefieldofsportpsychology.Sportpsychologistsrecommendthatimagerybeprecededbyrelaxationtechniquestohelptheperformerassociatethesimulatedperformancewithastateofcalmnessandcontrol.Mentalpracticeisaspecializedformofimagerythatmaybeusedtoenhancememoryandconcentration.–Anexploratorystudywasconductedinvolvingfive graduate pianists from theUniversity ofOklahoma.The subjects engaged inmental practice, imagery, andprogressivemuscularrelaxationoveraperiodoffourweeks.Aftergoingthrougharelaxationandimageryexerciseduring each group session, the subjects performed onememorized piece for each other.The performanceswerevideotapedandsubjectswererequiredtoevaluatetheperformancebyratingtheareasofaccuracy,concentration,memory,confidence,andoverallperformanceafterwatchingthevideotape.Investigationoftheratingsonperformanceevaluationsindicatedthattheratingsforthefinalperformancehadthehighestmeansinallfivecategories.

RobinStein,AdahTolandJones,andCynthiaI.Gonzales,TexasStateUniversity“TeacherEducation:ItTakesaVillage”Thepurposeofthispaneldiscussionistoaddresshowtocreateintegratedlearningexperiencesforpre-servicemusiceducatorsthatmirrorhowmusicteachersengagetheirmusicalknowledgeandskillsintheclassroom.Conventionalpracticeinschoolsanddepartmentsofmusichasbeentopresentdiscretecontent inmusic theory,musichistory,performance,andmusiceducation.Rarely,however,istheworkofamusiceducatorsocompartmentalized.Moreoften,musiceducators,aswellasothermusicmajors,willbenefitfromcomprehensiveexperiencesthatintegrateinstructionalpedagogies,historicalperspective,theoreticalfoundation,andtechnicalskills.Panelmemberswillofferspecificexamplesofcross-curricularcollaborationandgeneratedialoguewithaudiencemembers.

J.DrewStephen,UniversityofTexasatSanAntonio“TheSoundsoftheHuntinArtMusic:InterpretationsforModernListenersandPerformers”Thehuntingmotif is pervasive in18th and19th century artmusic.Still,whileperformers and listeners todayareawareofahuntingstyle,fewunderstandthesocio-culturalmeaningsitmediates.Evenfewerpeoplearefamiliarwiththeproceduresandprotocolsoftheactivitythatinspiredit,thecourtlyEuropeanhunt.Inthispaper,Idescribeatypicalhunt,focusingonthefunctionofthemusic.Iestablishalexiconofgesturesandtechniquesthatwereusedbycomposerstorefertothehuntandwhichwereclearlyunderstoodashavingthisfunctionbycontemporarylisteners.Toconclude,Ifocusonaseriesofrepresentativeworksthatfeaturehuntingmusicandexplainthesignificanceof

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thehuntinthesespecificcontexts.ThemusicalworksrunfromBach’sHuntCantata,“Wasmirbehagt”(1713),toBrahms’sHornTrioop.40(1865).Byexaminingtheseworksinthetermsthatthecomposersandtheiraudiencesunderstoodthem,modernlisteners,whodonotnecessarilyholdtheearlierassumptionsaboutthehunt,areofferedabetterunderstandingoftheirintentionandsignificance.Forperformers,thisawarenessprovidesthetoolstoconveymoreconvincinglythemeaningsembeddedinthehuntingstyle.

CarolineStupple,SouthernMethodistUniversity“AReviewofLiteraturethatExaminesJobSatisfactionandPersonalityFactorsthatContributetoMusicTeacherAttrition”Musicteacherattritionandjobsatisfaction,aprominenttopicforyears,isespeciallyrelevanttodayduetoagrowingshortageenteringthefield.Researchhasfocusedonthemusician’spersonality(Parker1993,Bergee1992,Krueger1976)aswellasautobiographicalinformation(Forbes1982,Natale1993,Scheib2001,Scheib2002).Findingsforjobsatisfactionhavebeenmixedhowever;somecommonalitiescanbegleaned.Inafrequencycountcompiledbythisresearcher,factorsrelatedtoschooladministrationwerecitedmoreoften(Scheib2001,Heston&Whitehead1996,Phelps1982,Krueger1976).Overworkwasthesecondlargestcontributor(Phelps1982,Forbes1982,Gregory1987,Hamann1987).Similarly,acasestudybyScheib(2002)revealedissuesrelatedtoroleconflicts,roleoverloads,underutilizationofskillsandresourceinadequacy.Krueger(1976)supportsthisreason,findingthatmusicteachershaveastrongattachmenttothehome.Secondaryleavebecausetheyaredissatisfiedwiththedemandsofadjudicationsandcompetitions(Forbes1982,Gregory1987,Parker1993).Moststudiescitednogenderdifferencesinsatisfaction/ dissatisfaction (Phelps 1983,Coleman 1987).However,Krueger (1976) did find differences inmotivation andpersonalitybetweenthesexesandmusicspecialtyarea.Basedonthestudiescitedinthisreview,universityfacultyseemstobemoresatisfiedwiththeirjobsthanthepublicschoolmusicteacher(Jones1986,Aubrey1995).

PaoloSusanni,TexasStateUniversity“AxialSymmetryasaMeansofEstablishingTonalProgression”Intraditionaltonalmusic,theestablishmentoftonalareas(keys)andthemeansoftonalprogressionarebothregulatedbyspecialtonalrelationshipsbasedonfunction.Thisfunctionisgeneratedbyatonalhierarchyintrinsictothestructureofthemajorandminorscalesandtheirtriadicderivatives.Thesymmetricpitchcollectionsandrelativeharmonicderivativesfoundinanabundanceof20thcenturymusiccreatenewkindsoftonalrelationshipsthatgeneratetheirownmeansoftonalprogressionandcreatenewkindsoftonalcentersthathavelittle,ifnothingincommonwiththeirtraditionaltonalcounterparts.Tonalcentricitybasedonaxialsymmetryisanexampleofthe“new”tonality.Thesonicspaceofpiecesbasedonthisprincipleisdefinedbythesymmetricaldistributionoftonesaroundaxes.Theearliestmusicalexamplesbasedonthisprincipledatebacktothelate19thcentury.Itseemsasifalargenumberofworksbyseveral20thcenturycomposersmaybeanalyzedusingtheprincipleofaxialsymmetry.Thusfar,however,thisprincipleisnotwidelyusedinanalyticalmethodsandsystems.Theadoptionofsaidprincipleasastandardanalyticaltoolwouldallowanalyststodiscovermoreaboutthecompositionalprocessesin20thcenturymusic.

Dr.LavernWagner,QuincyUniversity,Illinois“GeneralBenjaminH.Grierson:CavalrymanandPioneerTexasBandmaster”BenjaminGriersonledoneofthefirstbandsinTexas.Hiscollectionoftwomanuscriptsetsofbandbooksandamanuscriptof full scores forbandfromthe1840sare theearliest substantialcollectionsknownforanAmericanband.HewasoneoftheearliestbandcomposersintheUnitedStatesandoneofthefirstbandcomposerstowriteoutscores.(Previouscomposerssimplywroteouttheinstrumentalpartswithoutascore.)GriersonwasstationedatFt.Davis,Texas,followingtheendoftheCivilWar,anditwasatthislocationwhereDr.WagnerconductedconsiderableresearchontheGeneral’slife.ThemovieHorseSoldiers,starringJohnWayne,islooselybasedonGeneralGrierson.–Aspartofthelecture,abandcomprisedofTexasStatefacultyandstudentswillperformmusicfromtheGriersonCollection.


MichaelWalker,UniversityofTexas–PanAmerican“TheLifeandWorksofFranzXaverWolfgangMozart(1791-1844)”AlthoughFranzXaverWolfgangMozart isusuallyheldinhighesteembymusichistorians, therehavebeenfewrecent studiesofhis lifeorworks.Despite the fact thatheneverheldany importantorhighly regardedmusicalpositionduringhislifetime,hewaswellknownandadmiredbyseveralimportantmusicalfigures,includingRobertSchumannandFelixMendelssohn.Asacomposer,hewrotemore than60works,manyofwhichhavenotbeenstudied,performed,orrecorded.Asapianist,hewasknownasavirtuosoandwasappreciatedmainlyinsmallmusiccircles.Asitis,heisstillverymuchunknowntoday–evenhisveryexistenceislargelyunknown.Andhismusic,forthemostpart,remainsfiledawayinmuseumsandlibrariesprimarilyinVienna,andafewpiecesintheMozarteuminSalzburg.Althoughafewofhiscompositionswerepublishedduringhislifetime,manyofthemhaveyettoseeprint.ThisposterportraysthelifeandcareerofFranzXaverMozart,featuringselectedmusicfromeachofhisthreecompositionalperiods.

KayWilliams,AbileneChristianUniversity“EmergingCourseDesignintheDigitalEra:ATechnologyDeliverySystemfortheIntrotoMusicClassroom”Musicasadisciplinehasarecordinthe20thcenturyofadoptingvarioustechnologicalopportunitiestoimproveitsproduct.Earlyrecordingdeviceswereimportanttomusiciansastheytriedtostudythemusicofothernationalities.Asthequalityofrecordingequipmentimproved,themusicindustryprovidedenhancedenjoymentofmusictoitsaudiences.Theworkdonebycomposershasbeenalteredbythecapabilitiesofmusicsoftwareandcomputersystems.However,theoneareathathaslaggedbehindinmusicdepartmentsisthetacticaldesignemployedtoteachmusiccourses.Untilveryrecently,musicteacherswereconfinedtoteachingmethodsandequipmentthathavechangedlittlefromthemid-20thcenturyclassroomandarerathercumbersometouse.Onlyinthelastfewyearshavemusicinstructorsbeguntoapplyrapidlychangingtechnologytothemusicclassroom.KayWilliamshasproduced37classsupportpackages toprovideenhanceddigitalcomponentsforamoreeffectivepresentationin the lecturesetting.These individual lectureunits containmusical examples,videoclips, artwork,historical illustrations, and lecturenotestoassiststudentsinunderstandingthemusicalideaspresented.

Volume 2

The Last Waltz of The BandNeil MinturnUniversity of Missouri-Columbia

Neil Minturn addresses the phenomenon of rock and roll with a serious investigation of Martin Scorsese’s documentary film The Last Waltz (1978). This celebrated “rockumentary” artfully captures for posterity the final public performance of The Band, a partnership of one American and four Canadians that yielded an impressive body of popular song in the rock idiom between 1961 and 1976. Joining its members for their farewell was a variety of friends and guests who—like the music of The Band itself—reflected the rich array of vernacular expressions that have nourished rock and roll since its emergence. Prof. Minturn approaches the performances and the film itself in terms of the concepts of intimacy and tradition. He presents the San Francisco concert as the summation of an extraordinary musical pilgrimage and prefaces his scene-by-scene analysis of Scorsese’s cinematic creation with a cogent introduction to issues surrounding documentary film-making. Selected performances are discussed in detail.

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Program Notes for Compositions

Allprogramnotesaresortedalphabeticallyunderthecomposer’slastname.

DanielAdams,TexasSouthernUniversityEmbracingPersonalHistoryforviolin(2003)isacommentaryontheshamanicconceptoferasingpersonalhistory.Theprocessbeginswitha‘personalinventory’ofallconsciousandunconsciousmemoriesofpeople,places,events,andexperiences.Theintentionisnottolosethememories,buttoneutralizetheireffectsonthepsyche(bothgoodandbad), so that thememoriesno longer limitone’spowerorexpressionof freewill.Toerasepersonalhistory,however,onemustfirstembraceit.Onemustrecognizepreviouslydiscardedpartsoftheselfandfearlesslyconfrontcontradictory interpretationsof experiences that evolveasbyproductsof social conformity.– In the introductorysection of this brief piece, distinct motives emerge from a texture of long, rhythmically nebulous sonorities ofcontrastingtimbreandregister;muchlikeforgottenmemoriesemergingfromtheunconsciousmind.Rapidmelodicpassagesfollowinaframeworkofchangingmetersandsubdivisions,representingthetumultuouseffectsofowningrepressedmemories.Thesepassagesareinterspersedwithinterludesoftranquilclarity.Alyricalfour-measurecodettarepresentsthereconciliationofconflictandthememorieslaidtorest.

DanielAdams,TexasSouthernUniversityAmbivalenceRecalledforsoloflute(2005)Thetermambivalence,coinedin1911bypsychologistEugenBleuler, is thecoexistenceoftwoopposingdrives,desires, feelings,oremotions. Itmaymanifest itself ineither theconsciousorunconsciouspartsof themind. InFreudian psychoanalysis, ambivalence is described as “feelings of love and hate toward the same person.”Theconceptofambivalenceisrepresentedinthissolobytheinterplayoftwodistinctmotives,eachderivedfromseparatematricesandvaryinginrhythmiccharacter.Inthebeginningsection,onemotiveismostlylegatoandlyricalandtheother ismorestridentandcomplex.Bothare transformedthroughmeterchanges,shiftingrhythmicsubdivisions,andchangesoftempoandregister.Asaresult,theybecomenearlyindistinguishable,neitheroneprevailingovertheother.Inseveralpassagesrepeatednotesareplayedwithsubtlevariationsoftimbrethroughchangesoffingering.Thecodaisavariantoftheintroductorypassage,playedasharmonics.

AaronAlon,RiceUniversityCórdobaforsolooboe(2004),WorldPremiereEachmovementofCórdobareferencesanexcerptfromadifferent,butsimilarlythemed,poem.ThefirstmovementreferencesLorca’spoemCancióndejinete,astranslatedbySusanaCavallo;thisisalsotheoriginofthetitle“Córdoba”.ThesecondmovementmakesreferencetoSamuelColeridge’sRimeoftheAncientMariner.ThethirdmovementreferencesC.P.Cavafy’sWalls,astranslatedbyRaeDalven.Tothebestofmyknowledge,thesetextshaveneverbeengroupedtogetherbefore,separatedastheyarebytime,country,andlanguage.Yettheirjuxtapositionforthissettingmaystrikethereaderassurprisinglynatural.Thepoemsaredrawntogetherherebytheircommonliterarythemes,theirsharedobservationsofahumannaturethattranscendsnationalistboundaries,andbytheembodimentofhumanisolationinthepathosofasolooboe.

Movement I:Ay!ThatdeathshouldawaitmebeforeIreachCórdoba.Córdoba.Far-offandalone.(fromLorca’s“Cancióndejinete”,translatedbySusanaCavallo;usedwithpermission)Movement II:LikeonethatonalonesomeroadDothwalkinfearanddread,

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Andhavingonceturnedroundwalkson,Andturnsnomorehishead,BecauseheknowsafrightfulfiendDothclosebehindhimtread.(fromColeridge’s“RimeoftheAncientMariner”)Movement III:Withoutconsideration,withoutpity,withoutshametheyhavebuiltbigandhighwallsaroundme....Ahwhydidn’tIobservethemwhentheywerebuildingthewalls?ButIneverheardthenoiseorthesoundofthebuilders.Imperceptiblytheyshutmeoutoftheworld.(fromCavafy’s“Walls”,translatedbyRaeDalven;usedwithpermission)

JasonBahr,MississippiStateUniversityThreeSongsforsopranoandpiano(1996-2004),World Premiere

Alone(1996/2001)TimePasses(2001)MyBelovedSpake(2004)

The threesongswereallwrittenatdifferent times,anddespite thecontrastsofstyleand language(andperhaps,maturityasacomposer),thereisoneelementthatremainsconstant:angst.“Alone”,withitstroubledtextbyPoe,issetinaveryexpressionisticmanner.ThesenseoflonelinessexpressedbyPoeissomethingIquiterelateto.In“TimePasses”,thereisangstofadifferentsort.Itspeaksoftheverytemporalnatureofman.Indeed,Iwascertainlyawareofthescarcityofourtimewhilewritingthiswork.Itwasanexamofsortsduringmygraduatedays.Iwasgivenatextandhadtoreturnin24hourswithafinishedscore!Finallythereis“MyBelovedSpake”.Thoughthesubjectmatteriscertainlymoreoptimistic,thereisacertainunderlyingsadness.ItriedtocapturebothtendernessandlonginginthisexpressiveBiblicaltext.

RobertBoury,UniversityofArkansasatLittleRockThreeWishesforvoiceandpiano(1999) TheSwan This ToaDejectedPoetRobertBouryhaswrittenoverahundredartsongssince1979,whenhebeganhisrenaissanceofinterestinsongwriting.Havingagreatloveforpoetryandliterature,mostofBoury’ssongsaresettotextsby20thcenturyAmericanpoets.ThreeWisheswaswrittenbyBouryasanencouragementforJeanieDarnell,whenshewasinthemidstofcompletingherD.M.A.degree.Thetextofthefirstpoem,“TheSwan”,isbythepoetMaryOliverandspeaksofaswancomingtotheshoreasthelyricspeakertriestodecidewhattodo.Theswanissymbolicofopportunity,andhowonewillembraceitwhenitarrives.“This”,apoembytheArkansaspoetAndreaHollanderBudy,speaksofahousewifewhohascometotermswithandacceptedherroleinlife,symbolicofanindividualembracinglifeasitisandbeinghappywithone’sself.Thethirdsong,“ToaDejectedPoet”speaksofanartist’scalling,notnecessarilyofhisownchoosing.Theartistispossessedbythemusetocreate,regardlessofthepricehemustpay.

HarryBulow,LamarUniversity Adagio

AllegroAdagioAllegroInventions forfluteandpianowascompletedin2004.Itconsistsoffour inventions,allofwhicharebasedupon

program notes...continued

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theopeningfive-notefigure.Thevariousinventionsareplayedwithoutinterruptionandaresectionalinnature.Theintervalsoftheopeningfive-notefigureincludetheminorsecond,majorandminorthirds,andthemajorseventh.Theideabehindtheworkwastousetheintervalsassociatedwiththeopeningfigureinstringingtogetherincreasinglyintenseanddynamicmelodicshapes.Theworkmakesuseofchordaldesignsmoreaspointsofpunctuationandcolorthananysensepfprogressionorharmonicmovement.Thefourinventionscorrespondtothefollowingtempochanges:adagio,allegro,adagioandallegro.

AaronClift(b.1981)Peregrinoforsopranoandpiano(2005),World PremiereInthespringof2002,IstudiedSpanishliteratureinMadrid,Spain,aspartofastudyabroadprogramthroughTuftsUniversity.AttheAutonomousUniversityofMadrid,Itookaclasscalled“SpanishPoetrySince1939,”inwhichIdiscoveredtheworksofSpanishpoetLuísCernuda(1902-1963).IwasgreatlymovedbyCernuda’sinsightintothehumanconditionandrealizedthatmanyofhispoemswouldmakeexcellentsongs.So,in2003,Ibeganworkonwhatwouldbecomeatwo-yearprojectofsettingCernuda’spoetrytomusic.IchosefourpoemsforthissongcyclethatIfeelexemplifyhisstyleandsingularvision.“Peregrino”[Pilgrim],thefinalpoeminthesongcycle,challengesustoseekspiritualenlightenment.Whilethisjourneyisdifficult,Cernudaurgesusto“continue,continueonanddon’treturn”(“Sigue,sigueadelanteynoregreses”).Insetting“Peregrino”tomusic,IstrovetomaintaintheintegrityofCernuda’swords,whileatthesametimeprovidenewcommentaryonhismessage.Today,I’mproudtopresentyouwiththedebutperformanceofthiswork.

Translationofthelyrics(translatedbyAaronClift):Goback?Hewhohasreturnedis,Afterlongyears,afteralongjourney,WearyoftheroadandthegreedOf his land, his house, his friends,Of the love that would faithfully await his return.Butyou?Goback?Youdon’tthinkofreturning,Ratheryouthinkofcontinuingfreelyahead,Alwaysavailable,youngorold,Withoutasontoseekyou,likeheseeksUlysesWithoutIthacawaitingandwithoutPenelopeGoon,goonaheadanddon’treturn,Faithfultotheendoftheroadandyourlife,Don’tmissaneasierfate,Yourfeetuponuntroddenearth,Youreyesfacingwhatyou’veneverseen.from“DesolationoftheChimera”(1956-1962)

RobDeemer,UniversityofOklahomaAveMariaforwindensemble(1999)ComposerFranzBiebl(1906-2000)wasanorganist/choirmasterandteacherintheFürstenfeldbruckparishnearMunich,whenalocalfiremanaskedBiebltocomposeaworkforanamateurfirefighterschoirin1964.TheresultwasthedoublemalechoirversionofAveMaria.Thepiecewasrelativelyunknownformanyyears,untilitwasintroducedtoatouringchoirfromCornellUniversityandwassubsequentlybroughtbacktotheUnitedStates,whereitreceivedalargefollowinginthechoralcommunity.ItwasrecordedbythechoralensembleChanticleerandbecameoneofthemostpopularchoralworksofthelatetwentiethcentury.–In1999,Ichosetosetthedoublemalechoralversionforwinds,whileIwasworkingonmyMastersdegree incompositionatNorthernIllinoisUniversity.Ihadbeeninterestedinwritingforthewindensembleforsometimeandthisworkgavemetheopportunitytoexperimentwithcombininginstrumentaltimbresinachoraltexture.Theworkconsistsofstatementsbyasoloinstrument,followedby


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achamberensemblechorale;thisisheardthreetimesbythreedifferentcombinationsofinstrumentsandconcludeswithaprayerbythefullgroup.

LéoDelibes(1836-1892)“Viens,Mallika...Sousledômeépais”fromLakméTranslationbyMarthaGerhart:Lakmé:Come,Mallika,thefloweringvinesarealreadycastingtheirshadowsoverthesacredstreamwhichflows,calmanddeep,awakenedbythesongofnoisybirds.Mallika:Oh,mistress,it’sthehourwhenImayseeyousmile–theblessedhourwhenIcanreadintotheeverlockedheartofLakmé!Both:Beneaththewoodedcanopywherethewhitejasminentwineswiththerose...uponthefloweringbank.greetingthemorning–come,letusdowntogether.Letusglidegently;uponitsdelightfulbillowsletusfollowtherunningcurrent.Upontheshimmeringwater,withalanguidhand,come,we’llreachtheshorewherethespringisstillandthebirdssing.Beneaththewoodedcanopy,beneaththewhitejasmin,ah,wewillgodowntogether!Lakme:But,Iknownotwhatsuddenfearpossessesme;whenmyfathergoesalonetotheircursedvillage,Itremblewithfear!Mallika:ThatthegodGaneshamayprotecthim,asfarastothepondwherejoyfullyfrolictheswanswithsnowywhitewingsletusgoandgatherthebluelotuses.Ah!


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NeilFlory,DelMarCollege,TexasThreeEssaysforsolotrombone(1997)The first of the Three Essays consists mostly offast, intense, chromatic music; however, consonantlyricism isencounteredintheinteriorofthepiece.Thesecondpieceoftheset,alsohighlychromatic,beginswithsoft,pulselessmusic,which iseventuallyandalmostreluctantlyreplacedbyaggressivegesturesofgreatvirtuosity.Thegeneralunrestofthefirsttwomovementsisfinallyresolvedintheconsonantlyricismoftheconcludingpiece.Acrosstheentireset,relatedregistralstructuresandsymmetricalsetsofpitchesaredeveloped.

MarkFrancis,MississippiSymphonyOrchestraColonnadesfortrumpetandFrenchhornColonnadesisnamedafterthecolonnade-shapedlinesofthatmakeupthepiece.Themusicallinesaresomekindofcolonnadeorvariationonthatshape.

RichardD.Hall,TexasStateUniversityTrioforthreelaptopcomputers(2005),World PremiereTriowaswrittentoexploretheliveperformanceopportunitiesoflaptopcomputers.Thisisachievedthroughreal-timemanipulationof5variousmotivesbasedonthenotesfoundinSkryabin’sMysticchord.Thesemanipulationsmayincludepitch,tempo,reverb,delay,filteringand/oranynumberofaudioeffects.Duringmostofthepiece,theexactmanipulationisleftuptotheperformers.Theperformanceisnotatedthroughaseriesofcurvesandgraphiccharactersthatareplacedonastaffandgiventimingsastotheirplacementinthepiece.Notonlywasthegoalofthispiecetoproducealaptopperformance,butalsotocreateanelectronicpiecethatwouldnotbeout-of-dateanytimesoon.Theeffects,software,andhardwarearenotspecified.Hence,theperformersmayuseanycomputersoftwaretheywishaslongasitcanhandlereal-timemanipulation.

RichardD.Hall,TexasStateUniversityLavenderMistforsolopercussionistutilizingmarimbaandauxiliarypercussion(2005)LavenderMistwasinspiredbytheabstractexpressionisticworkofthesamenamepaintedbytheAmericanartistJacksonPollock(1912-1956).Pollockrevolutionizedtheartofpaintingbydevelopingatechniquecalled“actionpainting.”Thismethodofpaintinginvolvedlayingthecanvasdownonthegroundanddrippingthepaintonit,usingsticks,brushes,and/orotherobjects.Theactualactofpaintingwasjustasimportantastheproduct.Theresultwasatypeofdancethatoccurredaroundthecanvaswithcontrolled(andattimesrandomoraccidental)splashesofpaint,eventhoughPollock“deniedtheaccident.Thefirstsection,performedonmarimba,containsarowofpitchesthataredeterminedbythelettersinthetitleofthepainting.Thesecondsectionconsistsofmaterialusingagroupof14auxiliarypercussion instruments.Since thescopeof thesesoundsexceed the traditional12-notechromaticscale,notepositionandnoteshapedeterminetheinstrumentthatisbeingplayed.Thesepitches(sounds)arederivedfromapitchsetinspiredbyPollock’sname.Thethirdsectionalternatesbetweenthemarimbaandtheauxiliaryinstruments,utilizingthesamepitchsets.Allthreesectionscontainseveralimprovisationalpassageswithjustthepitchesortherhythmsgiven.ThispiecewaswrittenforandwiththehelpofpercussionistEricMartin.

DavidHeuser,UniversityofTexasatSanAntonioFloodforfluteandpercussion(marimbaandvibraphone)(2005),World Premiere Ripple Wave FloodFlood is a small piece;more precisely it is one of limitedmusical ambitions, an idea I value highly and oftenstruggletoinstillinmycompositionstudents.Almostnothinghappensinthefirstmovementofthepiece,“Ripple”:theunfoldingoftheflutemelodyoutofthefirstthreenotesisslowandmethodical,andthevibraphonesimplyand


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graduallydropsdownanoctave.Thesecondmovement,“Wave”,consistsofafairnumberofnotesplayedquickly.In“Flood”,thefinalmovement,calmnessprevails,exceptforashortoutburstinthemiddle.ThepiecewascomposedaroundthesametimehurricanesKatrinaandRitahittheGulfCoastoftheUnitedStateslastAugustandSeptember.Thepiecewasnotwritteninresponsetotheseevents,butalongsidethem.ItwasalmostimpossiblenottobebenttowardsreflectingthedevastationinAlabama,Mississippi,Texas,andLouisiana,andthetitles,aswellassomeofthemusicalcharacteristicsofthework,cameoutofthisreflection.

ArthurHoule,InternationalFestivalforCreativePianistsJazzFantasyforpiano(1976)JazzFantasywasoneoftwoselectionsthattookFirstPrizeinthe1978NewEnglandConservatoryPiKappaLambdaScholarship Competition. Originally written in December of 1976, it has gone through a number of subsequentrevisionsandallowsforagooddealofimprovisatorylicense.Itscreationwasspurredbyarebelliousstreak,sinceseveralofHoule’searlyteachersdetestedjazz,callingit“justmusicoutoftune.”Ironically,likesomanyso-called“fantasies”intheclassicalrepertory,JazzFantasy’stautconstructionandthematicunitybeliethefeelingofspontaneityitengenders.Itisreallyaclassicallyconstructedworkinajazzystyle;listen,forexample,fortherecurringwalkingandboogie-woogiestylebasslines.Don’t,however,trytofigureoutwhatkeyitisin–withallitsmodulations,you’lljusthurtyourself.

LynnJob,UniversityofNorthTexasArcangeloRed,Rhapsodyforsolobassoon(2005),World PremiereTheoriginalArcangelo Red(arhapsodyinfreerondoform,2003)forviolinhasbeensubmittedforthe2006PulitzerPrize.Today’spresentationistheworldpremiereofthecomposer’sownbassoontranscription.Whilestayingtruetotheoriginalpiece,thecomposerdramatizedandshadedtheemotionalimagerythroughsweepingidiomaticalterations.(Versionsforfluteandclarinetalsoexist.)ThetitleisaplayonthefirstnameofthegreatBaroquecomposerArcangeloCorelli(1653-1713),meaningArchangel,andtheintensevividnessthecolorredimparts(portendingwisdomandanointing).Alineinthescore–“ . . .beyondthetent-gardensof immortalstarlight . . .”–hintsatavisionofdeath,aconflictedlookbeyondthislifeintoatranscendentalbrilliancethatonecanonlyanticipate,notattain,whilefixedtothisearth.Astheperformerislooking“beyondthetent,”sheisstill“thissideofparadise.”Chromaticsandembellishmentstakesecondplacetothebeautifularchesofthestirringtonalmotif.Quicklychangingmoodstaketheaudienceonawhirlwindtourthroughamysticalsongofintense,intimatesoulscape.Thenumber12,connotingIsrael,figuresprominentlyintheconstruction.

TimothyKramer,TrinityUniversity,TexasMosaicsforwindensemble(1999)Mosaicswascommissionedin1999bytheBoardofDirectorsoftheMidwestClinic,witharequestforaworkthatischallenging–butplayable–atthehighschoollevel.Myinitialideasweretodesignapiece,inwhichsimplefigureswouldbuildlarger,morecomplexmusicalobjects.Asaresult,thisworkisbasedonasmallfour-notegroup(C-D-F-Ganditstranspositions)thatformsharmonic,melodic,andmotivicpatternsthroughoutthepiece.Materialmadefromrelativelysimplerhythmsisthenusedtocreatelargergesturesandmotion.Inmanycases,patternsarebrokenbetweenpairsofinstruments,registers,orchoirswithintheensemble.Onaformallevel,theworkpresentsitselfasafantasywithfiveinteriorsections,surroundedbyanintroductionandcoda.Eachsectiontakesonadifferentmoodandtexture,displayingvariousperspectivesofthemosaic“tiles”,fromwhichtheworkisconstructed.

SamuelMagrill,UniversityofCentralOklahomaVignettes–Eightsongsforsopranoandpiano(DonaldE.Hines;1991)

RedRaspberriesRenaissance


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ThePoet’sDilemmaStreetLightsFallMasqueSkitterbugsSymphonyOdysseyVignettes,asetofeightsongsforsopranoandpiano,isalsoasetofvariations,aseachsongisbasedonthesamematerial.Whatchangesisthecharacterandpresentation.Sometimesitistrilly;sometimesthereareslowarpeggios;sometimesthereisrepetitionorafastcascadeofnotesorajazzyfeel.ThepoemsarebyDonaldHines,ProfessorEmeritusofHumanitiesattheUniversityofCentralOklahoma.TheworkwascommissionedjointlybytheOklahomaMusicTeachersAssociationandtheMusicTeachersNationalAssociation.

KenMetz,UniversityoftheIncarnateWordThreeQuasiBirdSongs(MouminQuazi;2005)“MigrantBirds”“LostDuck”“CoffeeHouseSparrows”Thesesongsareanattempttoaddmusictothewonderfulpoetryofmyfriend,Dr.MouminQuazi.Iwishtothankhimespeciallyforhisinspiringtakeonlife.Dr.QuaziiscurrentlyaprofessorofEnglishatLamarUniversityinBeaumont.Therearemusicaljokes,hiddenreferencestoapopularsong,andquotesfromCopelandandWagner.Therearealsomusicalconnectionsmadetothewords,boththroughspellingandmeaning.Itwasgreatfuntocomposethesesongs.Finally,IwishtogivemorespecialthankstomyfriendsIrinaKhovanskayaandChia-WeiLeeforbeingsokindastoperformthismusic.Theyaregreatartistsindeed.

“Migrant Birds”Sweptbyinvisiblebrooms,blackbirdslikewordsonapage,specksofspiltgroundpepperblowninthewind,muchbiggerthough,tightlynotrandomlychangecoursealltogether,butnotaltogetheratthesameexactmoment.Socalledjunkbirdsswimtheskies,comenorthforawhiletomakealife.Readynow,theyonceagainbecomefluidspice,dotheirinstinctualdance,movednotbywhim,butfancyanyway,andthehotpepperblowshometosouthernclimes,seasoningskieselsewhereforatime.“Lost Duck” [Note:MallardsarefromtheAnatidaefamilyandarefromtheAnatinitribe.Ducksarerelatedtogeeseandswans.Mallardsareknownas“dabbling”ducks.]Neckoutstretched,IstraintokeepyouInmysight.Loneduck,lost,CirclinghighoverHeadandhomes.Whyalone?InasummerskyIcanseeit.Butwinter?


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WhereareyourfellowQuackerfriends?Neckoutstretched,YouseemnakedSansflankinghensanddrakes.DoyouknowHowlostyouare?Ordidyouchoose,likeme,Todabblewithsolitude?“Coffee House Sparrows”Now,theyflitandflutterFromchairtochair,tabletotable,perchtoperch.Thesmalleronenotfarfromthelargerone,forverylonganyway.But,evenhousesparrowsgrowoldanddiesomeday.Thoughsomearekilledbycats,orhitbycars,andothersflyintoglassThatmasqueradesasclear,bluesky,dotheothersdieofunderstandableExhaustionfromflyingtoandfro,findingtheirmates,preparingnests,Gettingfood,andprotectingtheirplace,Finally,justdyingmid-flight,heartbursting,causingthatlastplummetToground--thatlastfallthatHiseyesupposedlysees?Orisitaslowandpainfuldeath,wheresicknessrobsitofair[thisverseomitted]Andabilitytofly,period?Orisitpossiblethatonedaytheysimplyclosetheireyesand[thisverseomitted]Willtheirpassagetothegreatbeyondwhiletheyareasleeponelasttime?Dotheirsparrowmatesknowthattheirsparrowmatehasflownawayforever?Ordotheyawakentosilence,awaitingafirstchirpofnewday,Andnothearingit,know,andhavingknownadifferentheartfailure,Drawclosetotheother,smoothfeathers,foldwings,andtuckheadBetweenbreastandneck,andbreathe,Until,insilence,theydie,too?GototheafterskyoranafternestInanaftereaveintheafterafter,Wheretheyaftersing,andafterfly,Andafterflit,andafterflutter,AndcausetheafterlifealsoToafterwonderAttheirafterlove.

DeonNielsenPriceSilverandGoldforfluteandpiano(1991/2004)InhisPoeticsofMusiclectures,Stravinskyprobestheconceptsofunityandvarietyinartisticcreation.Hisinsightsintotheaestheticeffectsofachievingaproperbalanceofunityandvarietyhavealwaysabeacontome,guidingtheformand the intricacies ineverycomposition.Eachofmycompositionshas itsownuniquescalarandharmonicbasis,createdsometimesfromcomputergenerateddigitalvectorsofintervallicpossibilitiesofchords,or,perhapsfromthemelodicmaterial,asinSilverandGold.Istrivealwaystounifythisvariety,however,withbasicformsand


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textures.–SilverandGoldwasfirstcomposedin1991forsolofluteasa“HappyBirthday”greetingforcomposer/musicologist/flutistJeanniePool(formerNACUSABoardChairandOfficer).In2004,itwasre-composedasaDuoforFluteandPiano.ThepremierperformanceonApril7,2004,atChaffeyCollege(CA),wasplayedbyflutistTamaraChadimawiththecomposeratthepiano.

MichaelRemson,AmericanFestivalfortheArtsVariationsforfluteandpiano(1995/2005)Theprimaryinspirationfor“VariationsforFluteandPiano”wasCopland’s“PianoVariations”–aworkIhavebothstudiedandadmiredformanyyears.Theprimaryfour-notemotiveofthepieceisstatedattheoutsetandisthentreatedinavarietyofwaysoverthecourseoftenvariationsandacoda.AsintheCopland,thefirstsetofvariationsisprimarilymelodicandcontrapuntal,makingspecialuseofrangedisplacementandcanonictreatments.Theremainingvariationsaremorerhythmicinnatureandhelptoincreasethetensionandexcitementofthepiece,whilecontinuingtoexploretheprimarymotiveinnewways.Astheperformerscontinuetoexchangeandenjoytheinterplayofthecentralmotive, theworkculminates in amoremajesticfinale, inwhich thecentral idea is statedonefinal time.Thefun,forlackofabetterterm,intheworkcomesfromhearingthemotiveinunexpectedwaysandenjoyingtheinteractionbetweenthetwoperformers.

MichaelRemson,AmericanFestivalfortheArtsThreeSandburgSettingsforsopranoandpiano(2000)CarlSandburgarguablyranksamongthemost“American”ofAmericanpoetsand,evenmoreimportantly,asonewhohelpedtorefashionAmericanpoetryusinganewvernacularandbrevityofexpression.Thatbrevity,itstruckme,was ideal fora seriesof songs.Culled fromSandburg’s“Handfuls”collection, theseworkshavenot, tomyknowledge,beengroupedtogetherinthismanner.InreadingSandburg’scollectedworks,Iwasstruckbyhisuseofcolorsandselectedthesefourpoems(whichtogethercomprisethreedistinctsongs)astheyseemedtogotogethersoorganically.Fromamusicalstandpoint,IchosetoincorporateseveralaspectsofAmericanartsong,fromtheworksoftheearlypartofthecentury(heardin“WhiteShoulders”)toamoremodernsound(heardin“YellowDust”)aswellasaquasi-jazzidiom(heardin“SandoftheSea”and“WhiteLight”).Spanningseveralidioms,ofcourse,presentsinterestingchallengestoboththesingerandpianistinmaintaininganorganicflowfromsongtosong–onethatisborneoutinthenuancesoftheperformers.

#1YourwhiteshouldersIrememberAndyourshrugoflaughterLowlaughterShakenslowFormyourwhiteshoulders#2YellowdustonabumbleBee’swing,Greylightsinawoman’sAskingeyes,RedruinsinthechangingSunsetembers:ItakeyouandpilehighThememoriesDeathwillbreakherclawsOnsomeIkeep.


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#3SandofthesearunsredWherethesunsetreachesandquivers.SandofthesearunsyellowWherethemoonslantsandwavers.Yourwhitelightflashesthefrostto-nightMoonofthepurpleandsilentwest.Rememberme,oneofyourloversofdreams.

CarlSandburg’sWhiteShoulders,Troths,FluxandWhitelightarecopyright©1916aspartoftheHandfulspoetrycollection.Thesepoemsarecurrentlyinthepublicdomain.

WieslawRentowskiIrisforfluteandpiano(1994)IrisisbasedontheIrishfolksong“St.Patrick”andisinthreemovements.ConceivedandcomposedafterSt.Patrick’sfeast,theworkremainsareminiscenceofIris[h]tunewrittenforamasquerade,withsomeaeolianflare.ThepiecewaspremieredonJune1,1995,atMcGillUniversity,Montreal,Quebec,andisdedicatedtoWolfgangBottenberg(German-CanadiancomposerfromMontreal).

PhillipSchroeder,HendersonStateUniversityFloatingforpiano(1980/2003)andWrapitUpforpiano(2005)Floatingwaswrittenin1980andrevisedin2003.Themusicintegratesextendedtechniques,forexamplestrummingandplucking the strings,with traditionaluseof thekeyboard.Themusicemphasizes space– registral extremes,harmonicallyambiguouschords,longresonancesbetweenarticulations–andexpansion/contraction.–Ihavelongbeenaskedtowriteapiecethatcouldbeusedeitherasaworktoendaprogramorasanencore.WrapItUpissimplymeant to be fun to play and light-hearted, full of compoundmelodies, andmischievous rhythmicfigures, and amodesttipofthehattooneofmyfavoritepianoworks,Brahms’Op.119,No.2.

RobertSchumann(1810-1856)Davidsbündlertänzeop.6TheDavidsbüdlertänzewerecomposedin1837,whenSchumannhadbecomesecretlyengagedtohisbelovedClaraWieck against her father’swish.Hewrote her: “MyClarawill understand all that is in the dances for they arededicatedtoher,andthatmoreemphaticallythananyofmyotherthings.”Infact,heusedamotiffromoneofClaraWieck’sMazurkasattheverybeginningofthepiece.Alleighteendanceswereinitialedwithan‘F’forFlorestanoran‘E’forEusebius,orsometimesboth.Thetwocharacters,thefieryFlorestanandthedreamyEusebius,belongtothefictitiousDavidsbund,whichreferstothecircleofSchumann’smusicalfriends.LikethebiblicalDavid,thisgroupopposedmanyPhilistinesaroundthem,whodonotownimaginationormusicalpurity.EventhoughSchumanndroppedthereferencetohisimaginarycharactersfromtherevisedversionin1851,theintimateanddirectconnectiontohisinnerworldareevidentinbotheditions.TheuniquelytenderandoptimisticspritbehindtheworkmakesitoneofthegreatestcompositionsbySchumannamonghismanybrilliantpianoworks.ElliotSchwartz(b.1936)Kaleidoscopeforviolin,contrabassoon,andpiano(1999)InthecreationofKaleidoscope,Ihavetriedtoletthenatureofitsthreeinstruments(violin,contrabassoonandpiano)influencemanyofmycompositionalchoices.Attimes,theworkexploitsthedisparities,seemingmismatchesandviolentcontrastsamongtheseinstruments.Atothertimes,though,thelistenermaynoticeanalternativefocusupon“commonground”areas,whichdictateaverydifferentkindofmusicaldiscourse.IndecidingtoexploreALLofthesetimbralandtexturalpossibilities–literally,akaleidoscopeofcolors!–Ineededtocompensatebyunifyingthetotalstructure.Accordingly,Ihavetriedtocentertheformaldesignaroundarecurringseriesofeasilyrecognizable


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motives,andreferencetoasingletwelve-tonerow.(Thelattertranslates,forthelisteningear,intothreetriads,eachofwhichhasadiscordantkickattached.)ThecompositionofKaleidoscopetookplaceoverthecourseofanentireyear,andonthreecontinents–mostlyinEngland,butalsolargesectionsofitinJapan,andatmyhomeinMaineaswell.ThepieceisdedicatedtocontrabassoonistHenrySkolnick,whogavethe1999premiereperformanceinFlorida,atFestivalMiami.

WilliamO.Smith(b.1926)JazzSetforclarinetandbassclarinet(1988)

“Swinging”“Incantation”“Energetic”

AsWilliamO.Smithcelebrateshis80thbirthday,wearebelatedincelebratinghismanycontributionstocontemporarymusic and to the clarinetworld. “WilliamO.” has been an important innovator in contemporary clarinetmusic.His unique compositions include a plethora of extended techniques, including use of multiphonics, microtones,muting,andjazz,aswellastheexperimentalcreationsforthedemi-clarinet,fordoubleclarinet,andforclarinetandelectronics.PhilipRehfeldt’slandmarkbookNewDirectionsforClarinet(rev.1994)dedicatesanentirechaptertoSmith’smultiphonicfingerings.Hehasprovidedclarinetistschallengingrepertoirefornearlyfivedecades.JazzSetforclarinetandbassclarinet(1988)combinesSmith’sexpertiseinthejazzandinthecontemporaryclassicalarena.This four-movementworkblends jazz stylesand inflectionswithclassic formsandharmonic structures.Today’sperformanceincludesthreeofthesemovements.Thefirstpiece,“Swinging,”incorporatesitsswinging“set”withinacanonicstyle.Inthesecondmovement,“Incantation,”thebassclarinetplaysinafree,improvisatoryfashion,whiletheclarinetdroneslightlyabovethemelody.Thefourthmovement,“Energetic,”frequentlyhighlightstheperformersplayinginhomophonyattheintervalofamajorsecond.Thisexcitingfinaleusesextremesindynamics,register,andtimbralchanges.

AdamSovkoplas,SamHoustonStateUniversityTIMEforpianosolo(2005)

ClockTick-TockJawsofTimeOutofTime

Basedonaspectsoftime,thispiecehasastricttempoof60beatsperminute.Thefirstmovement(Clock)representsthetwelvestrikesofagrandfatherclock.Theconstanteighthnoterepresentsthetickingofsecondsinthesecondmovement(Tick-Tock).Thethirdmovement(JawsofTime)introducesdeath,themonsterthatbringsthecessationoftime,andisrepresentedbyatri-tonephraseandthemasticatingsoundcausedbybeatingthedamperpedal.Inthefourthmovement(OutofTime),themotivesslowlyaccelerateuntiltheyspinoutofcontrolendinginanabrupthalt.Thedurationofthispieceisexactly11minutesand59seconds.Timerunsoutbeforethetwelfthhour,alludingtotheinitialtwelvestrokesofthegrandfatherclock.

GregA.Steinke,MarylhurstUniversityVanGoghVignettesforviolinandviola(2005),World PremiereAshasbeenexpressedinajournalofthepainterEdvardMunch,“attimesyouseewithdifferenteyes,”acomposer“attimes[hears]withdifferent[ears.]”Andsoitishereof“hearing”thesepaintingsatthismomentintime.Anothermomentmightproduce adifferent “hearing”, or “hearing” impression. I’ve attempted to createmy“hearing”ofthese paintings and even create different possible hearings within the “hearing” through passages of structuredimprovisation,whichinturnproducedifferenthearingsforthelistener.SoI’vecomposedwhatIheard,toparaphraseMunch,atthismomentintime.


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GregA.Steinke,MarylhurstUniversityInquietudeforsoloflute(1995)InquietudewaswrittenforflutistJuliaLarson,forarecitalfeaturingmyownworks.Thisisashortetude-likepiece,writteninmemoryofthefamousflutistWilliamKincaid(1895-1967).ItismeanttocapturetheflavorofsomeofhispracticeexercisesforfluteIremembersomeofmyflutecolleaguesdoinginthepracticeroomfrommyconservatorydaysaswell asessencesof famousflutepassages (e.g.,MidsummerNight’sDream,DaphnisandCloé, etc.) thecomposerremembersbeingperformedbyMr.Kincaid.ThepiecewaspremieredbyDr.LarsononSeptember19,1995,atBallStateUniversity.

JoeStuessy,TexasStateUniversityThreeSongsofFriendshipforbaritoneandpiano(1998)TheThreeSongsofFriendshipwerecommissionedbyTimothyJones,afinebass-baritonenowonthemusicfacultyattheMooresSchoolofMusicattheUniversityofHouston.Dr.JonessuppliedtheWaltWhitmantextsforthefirsttwosongs(“ForYouODemocracy”and“ISawinLouisianaaLive-oakGrowing”).Dr.Jones,bytheway,wasbornandraisedinShreveport,Louisiana.Tocompletetheset,heaskedthatIcreatea“drinkingsong”withoriginallyrics.Mywife(Chris)andIdidso–hopefullywithatouchofhumor.

StephenWeber,UniversityofScienceandArtsofOklahomaQuips,Quotes,andQuibbles(2005),World PremiereThesongcycleQuips,QuotesandQuibbles,formediumvoiceandpiano,contains18veryshortvignettesbasedonspokenorwrittenobservationsaboutmusicandmusicians.Thesongsrangeindurationfromthirtysecondstotwominutes.Thequotesutilizedastextsaregenerallydirect,flippant,wittyorinsightful.Anattempthasbeenmadebythecomposerofthesongcycletohintatthereferencedorquotedcomposer’sstyleineachsetting.Insomecases,thecomposerofthecyclepresentsmutatedornestledmelodicorrhythmicideasfromareferencedorquotedcomposer.Hence,thereisagreatdiversityofmusicalstyles,vocabularies,andtexturespresentinthecycle.Inmostcases,averybriefpianopreludeandpostludewraparoundthetextpresentedbythesinger.Quips,QuotesandQuibblesisthethirdcycleina3-setseriesoflightandhumorouscyclesbyStephenWeber.ThefirsttwocyclesareThe Unofficial Guide toAbove-AverageSinging(2004)andVocalVernacular:ThreeSongsforVoiceandPianoon“EnglishizedGerman,FrenchandItalianTexts(2005).

JohnD.White,TalladegaCollege,AlabamaInMemoriam:JohnD.Hillforaltotromboneandpiano(2004),World Premiere[ProgramNotesforthiscompositionwillbedistributedattheconference.]

StephenYip,Houston,TexasYiCh’I–PoMoforBbclarinet,cello,andpiano(2004),World PremiereThistriowasinspiredbyChinesebrushworkincalligraphyandpainting.TheChineseword“YiCh’i”inEnglishmeans“onebreath”.“Po”means“broken”,and“PoMo”means“tobedonelayerbylayer”.YiCh’I–PoMo isthesecondpieceintheseriesof“YiBi”,whichisoneofhebasictechniqueinChinesebrushworkandcalligraphy.Thepaintingisclear,simple,anddirect.“Onebreath”isoneoftheChinesebrushingtechniques.Thereisdifferentbalance,density,anddepththatcouldbeproducedbydifferentapplicationsofthebrushingtechnique.Eachofthemelodicgestureisinspiredbythis“onebreath”technique,“brushdown-brushpull-brushup”tocompletetheentiremusicalphrase.Iemployedthenumeralideaintothismusic,suchas“three”:therearethreeinstruments,threemainsections,andthemotivicelementsarebasedinthreenote-sets.Regardingthetextureofthispiece,Iwasinspiredbytheideaof“PoMo”,usingconceptsofdotsandlinesasmusicalshortnotesandmelodiclonglines,densityandloosenessastexture,darkandlightcontrastastonecolor,hostandguestsasdominantandsecondarysubjects,andspaceasemptymeasuresandreststocreatetheeffectoflayerbylayer.


AMERICAN POPULAR MUSICThe Rock YearsLarry Starr and Christopher WatermanRock, country, pop, soul, funk, punk, folk, hip-hop, techno, grunge—it’s all here. An abridged version of the authors’ acclaimed AmericanPopular Music: From Minstrelsy to MTV, this volume traces the devel-opment of rock from its roots in the mid–1940s to its current state inthe 21st century. The authors integrate in-depth discussions of themusic itself with solid coverage of the attendant historical, social, andcultural circumstances.

2005 368 pp.; 62 illus. paper

To order, or for more information, please call 1-800-451-7556.In Canada, call 1-800-387-8020. Visit our website at www.oup.com/us/he.

LEARNING PIANOPiece by PieceIncludes 2 CDsElyse MachDesigned for nonmusic majors who want to learn piano “for the funof it,” this book presents materials in an easy-to-follow progressionof difficulty. Offering a uniquely diverse and global solo and ensemblerepertoire, it enables students to master basic keyboard skills andprovides them with ample opportunities to improvise, transpose, andharmonize. Two CDs packaged with each book contain almost 100original orchestrations—also available on MIDI disks—by renownedcomposer Phillip Keveren.

November 2005 128 pp. paper

New and Recent Texts from

New Edition

MUSIC IN BRAZILExperiencing Music, Expressing CultureIncludes CDJohn P. MurphyOrganized around four themes—unity, diversity, cosmopolitanism,and verbal artistry–—Music in Brazil covers a wide spectrum ofmusic, including samba, bossa nova, Tropicália, and MPB (MúsicaPopular Brasileira); regional traditional and popular music; Brazilianrock, rap, and electronica; and such genres as sertaneja (similar tocountry-and-western music) and brega (sentimental pop).

January 2006 176 pp. paper / cloth

PROGRESSIVE SIGHT SINGINGIncludes CDCarol Krueger

February 2006 416 pp. paper

New in the Global Music SeriesMARIACHI MUSIC IN AMERICAExperiencing Music, Expressing CultureIncludes CD Daniel SheehyThis unique volume introduces the social, cultural, and economic con-ditions surrounding mariachi music in the U.S. and focuses on itsrising popularity amongst Mexican Americans. It shows how mariachimusic is simultaneously a folk music rooted in more than 150 years oftradition, a commodity governed by market considerations, and adynamic course of activity that has been shaped by musical innova-tion and social meaning.

2005 128 pp. paper / cloth

MUSIC FOR ANALYSISExamples from the Common PracticePeriod and the Twentieth CenturyIncludes CDSixth EditionThomas Benjamin, Michael Horvit, and Robert Nelson

February 2006 528 pp. paper

Forthcoming

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Active Participants’ Biographies

Daniel Adams(b.1956,Miami,FL)isaProfessoratTexasSouthernUniversityinHouston.HeholdsaD.M.A.(1985)fromtheUniversityofIllinoisatUrbana-Champaign,aM.M.fromtheUniversityofMiami(1981)andaB.M.fromLouisianaStateUniversity(1978).Dr.Adamsisthecomposerofnumerouspublishedmusicalcompositionsand the author of several articles and reviews on various topics related toTwentieth Century percussion music,musicalpedagogy,andthemusicofTexas.HisbookTheSoloSnareDrum:ACriticalAnalysisofContemporaryCompositional Techniqueswas released byHoneyRock Publishing inMarch of 2000.Hismusic is recorded onCapstoneRecordsandSummitRecords.

Aaron Alon(B.A.,UniversityofChicago;M.M.,ClevelandInstituteofMusic)iscurrentlypursuingaD.M.A.incompositionatRiceUniversity,whereheisonthecompositionandtheoryfacultyfortheShepherdSchoolofMusicPreparatoryProgram.HehasreceivedawardsfromNACUSA,NFMC,SCI,ASCAP,theRenéeB.FisherComposerAwards,MuPhiEpsilon,theTampaBayComposers’Forum,theOhioFederationofMusicClubs,andtheOlgaandPaulMennFoundation,andhashadhisworksperformedaroundthecountry,includinginChicago,Cleveland,LA,Houston,SanAntonio,andGreensboro.Formoreinformation,pleasevisithttp://www.aaronalon.com.

Elliott AntokoletzisProfessorofMusicologyattheUniversityofTexasatAustin,wherehehasheldtheTacquardEndowedCentennialChairandE.W.DotyProfessorshipinFineArts.HeisauthorofTheMusicofBélaBartók(1984),BélaBartók:AGuideToResearch(1988,1997),TwentiethCenturyMusic(1992),andMusicalSymbolismin the Operas of Debussy and Bartók (2004),whichwasnominatedfortheKinkeldeyAwardbytheAMSAwardsCommittee (2005).He is the editor of various books aswell as of the International Journal of Musicology. HereceivedtheBélaBartókMemorialAwardfromtheHungarianGovernmentin1981.MajoringinviolinunderDelayandGalamianatJuilliard(1960-1965),helaterreceivedhisPh.D.inMusicologyfromtheCityUniversityofNewYork(1975).

ViolistAmes AsbellisafoundingmemberoftheAustin-basedToscaStringQuartet,whichperformsandrecordsin variousmusical genres.Most recently, the group accompanied rock legendDavidByrne on twoworld tours,performinginnearly30countrieson5continents.Acollaborationwithtangocomposer/arrangerGloverGillyieldedconcertsinArgentina,California,andTexas,aswellasthesoundtracktoRichardLinklater’sfilmWakingLife.Dr.AsbellisAssistantPrincipaloftheAustinLyricOperaorchestraandperformsfrequentlywiththeAustinSymphonyandotherregionalensembles.ShereceivedtheD.M.A.degreefromtheUniversityofTexasin2001,andjoinedtheTexasStateUniversityfacultyin2005.

Canadian-bornpianistJeri-Mae G. Astolfimaintainsanactiveanddiversecareerasaperformerandeducator.Herkeeninterestinnewmusichasledtothecommission,premiere,andperformanceofmanynewworks,bothsoloandcollaborative,whichhavebeenfeaturedonliveradiobroadcastsandonrecordingsontheCapstoneRecordslabel,includingMélange:NewMusic forPiano (SocietyofComposer’s Inc.Performer’sRecordingSeries).Sheholdsadvanceddegrees inpianoperformancefromtheUniversityofAlberta,McGillUniversity,and theUniversityofMinnesotaandcurrentlyteachesbothpianoandmusictheoryatHendersonStateUniversity.

Melody BaggechreceivedherM.M.degreeandherD.M.A.degreefromtheUniversityofOklahoma.Shehasbeenactiveasaperformerinavarietyofmusicalmediums,includingopera,oratorio,musicaltheatre,contemporaryandimprovisatorymusic,recitals,andsacredmusic.Dr.BaggechhassunginbothoperaticandconcertsettingsinItalyandAustria,aswellas theUS.ShehasperformedwithAmarilloOpera,RomeFestivalOpera,CimarronCircuitOpera,OperaInternational,andtheWashingtonSavoyards.ShehasbeenonthefacultyatEastCentralUniversitysince2001andservesasOperaDirectorandAssistantProfessorofVoice.

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Jason BahriscurrentlyanAssistantProfessorofmusictheoryandHARPFellowatMississippiStateUniversity.HereceivedhisB.M.fromtheUniversityofMissouriatKansasCityandhismastersanddoctoratefromIndianaUniversity.Dr.BahrhasstudiedcompositionwithSamuelAdler,ClaudeBaker,DavidDzubay,DonFreund,GeraldKemner,JamesMobberley,andEugeneO’Brien.Hisworkshavereceivedmorethan150combinedperformancesin27statesandsevenforeigncountries.HisawardsincludeaFrommCommission,theNorthridgePrize,andtheCambridgeMadrigalSingersPrize.Whennotcomposing,hefretsoverhisstudentloansandthefateoftheKansasCityRoyals.

Paula Bird,anaccomplishedviolinistandpianist,receivedherdegreesfromtheUniversityofTexasatAustin,theUniversityofTexasatSanAntonio,andTempleUniversity.AformermemberoftheSanAntonioSymphony,Dr.Birdcurrentlyplaysfirstviolinwith theAustinSymphonyOrchestraand theAustinLyricOpera,andsheservesasAssociate Concertmaster and Master Class Clinician with the Sunriver Music Festival in Oregon. She is alsoaprincipalplayer,soloist,andchamberplayerwiththeConspirareChoirandtheVictoriaBachFestival.Dr.Birdteacheschambermusicandstudioviolin,andco-teachestheStringMethodsclassesatTexasStateUniversity,whereshealsodirectstheTexasStateUniversitySuzukiStringInstitute.

Robert Bouryhasfor thepast twentyfiveyearsservedas theResidentComposerat theUniversityofArkansasatLittleRock.AgraduateoftheManhattanSchoolofMusicandtheUniversityofMichigan,Bouryspecializesinartsongstotwentiethcenturypoetry.HehaswrittensuccessfulgrantstobringpoetsMaryOliver,DonaldHallandRobertBlytohiscampus.Dr.Bourybelieveswearelivingduringarenaissanceofpoetry,andhisoveronehundredartsongsandthreeoperashonor thatsurge increativity.Healsocomposeschambermusic,pianomusicandhascomposedtwosymphonies.

Eddie BriskeyiscurrentlyinhissecondyearasanassistantbanddirectoratDrippingSpringsMiddleSchool.HeearnedhisB.M.fromTexasStateUniversity,whereheisnowworkingonhisMastersdegree.Mr.Briskey’sworkhasbeenpublishedintheSouthCentralMusicBulletinandpresentedatthe2006TMEAconference.Inadditiontohisteachingduties,Mr.Briskeyhashelpedtobringover$7,000tohiscampusthroughgrants.Thesegrantsincludedthedevelopmentandimplementationoffivecomputerstations,andanoverheadprojectorforthebandhall.

David Bruenger isAssistantProfessorofMusicat theUniversityofTexas–SanAntoniowherehecoordinatesmusicindustrystudiesandthemusicmarketingdegreeprogramandteachescoursesinthemusicindustry,Americanmusicandculture,andthehistoriesofjazz,rock,androotsmusic.Heisactivelyinvolvedintheperformanceandbusinessofcommercialmusicandhisresearchexploressocialandeconomicaspectsofclassicalandpopularmusicandmusicalinstitutions.

Susan Bruenger iscurrentlyAssistantProfessorofMusicEducationatTheUniversityofTexas–SanAntonio,wheresheteacheselementarymethods,choralmethods,supervisesstudentteachers,andsponsorsanactivestudentMENCchapter.Dr.BruengerservesontheexecutiveboardofTMECandistheSouthCentralCMSmusiceducationboardmember.Herresearchinterestslieintheareaofrecruiting,non-selectperforminggroups,musicaltheaterandrecorderpedagogy.

Ellen BulowstudiedpianowithKayleenYudaattheUniversityofHawaiiwhereshereceivedherB.M.inmusicalperformance.ShestudiedwithDr.EugeneBarbanatWinthropUniversitywhereshereceivedherM.M.degreeinperformance.ShewasalsoastudentofDr.JosephPiazzaattheUniversityofNorthCarolinaandWalterHautziginNewYork.ShecurrentlyteachesatLamarStateCollegeinPortArthur,Texas.

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Harry BulowwasborninDesMoines,Iowain1951.HereceivedhisB.M.inmusicfromSanDiegoStateUniversity(1975),andhisM.A.andPh.D.inmusictheoryandcompositionfromUCLA(1978,1983).HestudiedcompositionandorchestrationwithAaronCopland,PeterMennin,HenriLazarof,RoyTravis,DavidWard-SteinmanandHenryMancini.Hisworkshavereceivednumerousawardsincluding1stPrizeattheInternationalComposersCompetitioninTrieste, Italy, the“OscarEspla”Prize from thecityofAlicante,Spain,anNEAComposerFellowshipand23consecutiveawardsfromASCAP.Dr.BulowisProfessorandChairoftheDepartmentofMusic,TheatreandDanceatLamarUniversityinBeaumont,Texas.

Joe Ella CansleriscurrentlyanAssoc.ProfessorofVoiceatWestTexasA&MUniversityinCanyon,Texas.ShecompletedherPh.D.atTexasTechUniversity,havinggraduatedfromWestTexasStateUniversitywithaBachelorofMusicEducationdegreeandaMastersDegreeinVocalPerformance.Sheperformslecturerecitals,chambermusic,clinics,andworkshopsallovertheworld.AsarecipientoftheFacultyDevelopmentGrantin1999,sheperformedandconductedinItalyandSwitzerlandwiththeUniversityofSiennaandin2002wasColloquiumGuestProfessorandGrantRecipientwithWesternCarolinaUniversity.AsmusicaldirectoroftheOutdoorDramaMusicalTEXAS,shehasauditioned,cast,andproducedprofessionaltheatre.

Hui-Yiing ChangearnedherB.A.withdistinction(cumlaude),atBostonUniversityandherM.M.MusicEducationatTheUniversityofTexasatAustin.SheispresentlypursuingaMastersdegreeininstrumentalconductingandinphysicsatTexasStateUniversity,wheresheisstudyingunderMr.HowardHudiburg.ShehasbeennominatedtotheChancellor’sListandPiKappaLambda.Shehaspresentedatanothermusicconference,participatedinaphysicsresearch internship, and attended two conductingworkshops. Shewas boardmember of the SouthTexasYouthSymphonyandiscurrentlyvice-presidentoftheSocietyofPhysicsStudentsoncampus.

Jin Ho Choi,anativeofSeoul,SouthKorea, receivedaBachelor’sdegreefromYonseiUniversity invoiceandmusiceducationandaMaster’sdegreeinchurchmusicfromtheSouthernBaptistTheologicalSeminary.HewonthethirdplaceattheNATScompetitionin1999andwasfeaturedonnumerousconcertsasabaritonesoloistandchoralconductor.Hehasalsoservedasamusicministeratseveralmegachurches,bothintheUSandinKorea.JinHoChoi,aMemberoftheNationalScholarHonorSociety,iscurrentlypursuingaPh.D.degreeinmusiceducationattheUniversityofNorthTexasandservesasaprincipalatGreaterDallasKoreanSchool.

John Cipolla isAssistant Professor of Music at Western Kentucky University (clarinet & saxophone). He hasperformedwithavarietyofensemblesandartistsintheclassical,commercial,andjazzfields.HehasbeenamemberoftheRadioCityMusicHallOrchestrasince1985.Dr.Cipolla’spublications/recordingsareonSony,ECMNewSeriesRecords,G.Schirmer,MusicMinusOne,C.F.PetersEditions,andnumerousjournalsandwebsites.John’sawardsincludethe2003/2004ThirdDistrictKentuckyMusicEducators“College/UniversityTeacheroftheYear,”the2005WesternKentuckyUniversityJuniorFacultyScholarship,andFirstPrizeatthe2003InternationalClarinetAssociationResearchcompetition.

Aaron Cliftwasbornin1981inChapelHill,NorthCarolina.AtTuftsUniversity,hepursuedguitar,voice,andpianoperformanceandstudiedcompositionwithJohnMcDonald.AtTufts,Mr.Cliftwonseveralawards,includingtheOutstandingAchievementAwardinMusic.HewasalsooneofonlysixfinalistsintheTischlerMusiccompetition.In2003,hegraduatedsummacumlaudewithdegreesinmusicandSpanish.Today,hestudiescompositionwithUniversityofTexasprofessorDr.DonaldGrantham,filmmusicwithcomposerBrianSatterwhite,andpianowithAustinChamberMusicCenterfounderanddirectorFelicityColtman.Mr.CliftcitesJ.S.Bach,JohnColtrane,andFrankZappaasamonghisgreatestmusicalheroes.

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Dennis ColeiscurrentlypursuingaPh.D.inEthnomusicologyatKentStateUniversityinKent,OH,andworksasanadjunctprofessoratAshlandUniversityinAshland,OH,whereheteaches20thcenturymusictonon-musicmajors.Mr.Cole’smusicalinterestsareonUnitedStatesdrumandbuglecorps,alongwiththevariousmusicaltraditionsfromthePeople’sRepublicofChina.HehaspresentedpapersatvariousconferencesthroughoutNewYork,Pennsylvania,Ohio,andOklahomaforboththeCollegeMusicSocietyandtheSocietyofEthnomusicology,andhaspublishedarticlesontopicsrangingfromtheBeatlesandtraditionalAfricandrummingto,mostrecently,ethno-musicologicalmethodologies.

Courtney CrappelliscurrentlypursuingaD.M.A.degreeinPianoPerformancewithanemphasisinPianoPedagogyattheUniversityofOklahoma.HeearnedhisM.M.fromOUandhisB.M.fromLouisianaStateUniversity.Mr.CrappellwontheannualSchoolofMusicconcertocompetitionintheFallof2005andwillbeperformingwiththeOUOrchestrainMarch2006.Inadditiontohisexperiencesinperformance,Mr.Crappell’sresearchatOUfocusesontopicsinethnomusicology.HeiscurrentlyteachingWorldMusicclassesattheUniversityofOklahoma.

Jeanie DarnellcompletedherD.M.A.inVocalPerformanceandPedagogyattheUniversityofColorado-Boulderin2002,whilealreadyheadingthevoiceareaasanAsst.ProfessorattheUniversityofNebraskaatOmaha.ShehaslecturedonrecitalrepertoirefromSchuberttoBergatCMSconferencesandpresentedherresearchon“TrainingMaleAdolescentVoicesinPrivateStudio”attheInternationalCongressofVoiceTeachersinVancouverthispastAugust.Having also servedon the faculty at several other universities,Dr.Darnell alsoworked as aPart-timeGraduateInstructorofVoicewhileatCU-BoulderandiscurrentlyAsst.ProfessorofVoiceatOuachitaBaptistUniversity.

Ian Davidson isAssoc.PrincipalOboeof theAustinSymphony,Asst.PrincipalOboeof theAustinLyricOperaandSoloEnglishHornoftheBearValleyMusicFestival.OtherengagementsincludestintsasPrincipalOboeoftheDallasBachOrchestraandtheAustinSinfoniettaaswellasAsst.PrincipalOboeoftheSantaFeOperaandCo-PrincipalOboeoftheDallasChamberOrchestra.ConcertoappearancesincludetheDallasBach,theAustinChamber,andtheDallasChamberOrchestras,theAustinSinfonietta,theLaredoPhilharmonic,andChamberSoloistsofAustin.InternationalrecitalsandresidenciesincludetheMoscowConservatory,HongKongBaptistUniversity,theUniversityofSilesia,TrinityCollegeofMusicinLondon,andtheInstituteofCultureinSt.Petersburg.Dr.DavidsonisAssoc.ProfessoratTexasStateUniversity.

Faith DeBow has taught class piano and accompanying at Texas State University since 2001. She is also theinstrumentalstaffaccompanistatTrinityUniversityandrehearsalpianistfortheLyricOperaofSanAntonio.SheregularlycollaborateswithCentralTexas’finest singersandchambermusicians, suchasConspirareand theSanAntonioChamberChoir.Herinterestsincludenewmusic,neglectedcompositions,early-1900spopularsong,andsacredmusic.ComposersshehasworkedwithincludeJakeHeggie,DonaldGrantham,LibbyLarsen,Jae-EunPark,AaronClift,CharlesDitto,andMarkCruz.

Rob Deemer (b. 1970) has had his musicalworks performed throughout theUnitedStates,Africa, and Europe.Recentconcertworksofhishavebeenperformedby theMillarBrassEnsemble, theAustinCivicOrchestraandvariousensemblesfromtheUniversityofTexas,theUniversityofOklahoma,RooseveltUniversity,andNorthernIllinoisUniversity.HisfilmscoreshavebeenheardinmajorfilmfestivalsatCannes,NewYork,SanFrancisco,LosAngelesandAustin.Currently,he isco-authoringanewtextbookwithnotedfilmscholarsDavidNeumeyerandJamesBuhler.Dr.DeemerisavisitinginstructorofcompositionattheUniversityofOklahoma.

Vincent de Vrieswas recentlynamed to theBaylorUniversitySchoolofMusicasAssistantProfessorofPianoandDirectorofCollaborativePiano.PriortohisappointmentatBaylorUniversity,hewasservingasanAssistant

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InstructoratTheUniversityofTexasatAustin.Dr.deVries receivedhisD.M.A.degreefromTheUniversityofTexasatAustin,wherehestudiedwithNancyGarrett.Heistherecipientofmanyscholarshipsandhaswonawardsinseveralcompetitions,amongthemfirstprizeintheNationalYoungArtistCompetitioninTheNetherlandsandfirstprizeintheSydneyWrightAccompanyingCompetition.

Charles DittoreceivedaB.M.incompositionfromtheUniversityofHoustonin1977.HeestablishedDittoRecordsandHumanSymphonyMusic,andhasproducedandmarketedeightalbumsoforiginalmusictodate.PerformancecreditsincludeWalterHyatt,RajamaniGypsyOrchestra,andKevinFowler.HereceivedaM.M.(1992)andaD.M.A.(1998) incompositionfromtheUniversityofTexasatAustin.Hisprofessionalassignmentshave includedmanycommissionsfortheateranddance.Hisscorefor“Raving”hasbeenselectedforperformancesattheInternationalMichaelChekhovFestival (2005) inAmherst and theMetropolitan Playhouse (2006) inNewYork.Hewas therecipientoftheCopelandFellowshipatAmherstCollegefortheSpringof1998.Dr.DittocurrentlyteachesattheSchoolofMusicatTexasStateUniversity.

Rebecca M. DoranreceivedanM.M.inCompositionin2003fromtheUniversityofLouisville,whereshestudiedunderDr.MarcSatterwhite.SheiscurrentlyworkingonaPh.D.inMusicTheoryattheUniversityofTexasatAustin,wheresheteachesfreshmantheoryandsophomoreeartraining.Shespokeatlastyear’sCMSSouthCentralConferencewithapapertitled“TheSoundofLaughter:TheRoleoftheSoundtrackintheParodiesofMelBrooks.”

Susan Fain,anengagingperformer,adedicatededucator,andascholarlywriter,hasservedasprincipalflutewiththeUniversityofOklahomaWindSymphony, theEasternWashingtonUniversityOrchestra, and theGreatFallsSymphonyinMontana.PursuingdoctoralstudiesattheUniversityofOklahoma,Mrs.Fainteachesmusicappreciationclasses,flutestudents,andassistsindirectingtheOUflutechoir.Mrs.FainistheadjunctfluteinstructoratCameronUniversityinLawton,Oklahoma,andhasbeenpublishedinFluteTalkandtheOklahoma Flute Society Newsletter.

Neil Flory,AssistantProfessorofMusicTheoryandCompositionatDelMarCollege,isanactivecomposerwhosemusichasbeenperformedacrosstheUnitedStatesaswellasinEurope,SouthAmerica,andAsia.HisworkVennMusicI(forviolinandguitar)isincludedonthe2003Duo46releaseentitledUntamingtheFury,availablethroughSummitRecords.HismusicispublishedbyJomarPress,GoFishMusic,Tuba-EuphoniumPress,andHarrockHallMusic.Thecomposercontinuestofulfillcommissionsforavarietyofsoloistsandensembles.

Mark Francis(b.1958),DirectorofEducationandLibrarianfortheMississippiSymphony,haspreviouslytaughtatMississippiStateUniversity,LouisianaSchoolforMath,ScienceandtheArts,CentenaryCollege,andNorthwesternStateUniversity.Heholds aD.M.A. in composition from theUniversity ofKentucky and is the recipient of 10ASCAPStandardAwardsandanASCAPPlusAward.HiscompositionsandarrangementsarepublishedbyConnersPublications,CarillionMusicfromAlbanyandLittlePiperPublications.HeisapastBoardMemberforCompositionoftheCMSSouthernChapter,pastPresidentoftheSoutheasternComposersLeague,andafrequentcontributorto21stCenturyMusic.

Eka Gogichashvili,Asst.ProfessorofViolinatBaylorUniversity,holdsdegrees inviolinperformancefromUSuniversities as well as from the Republic of Georgia. Throughout her studies and career, Dr. Gogichashvili hasappearedinnumerousperformancesasasoloistaswellaschamberandorchestramusician.Atdifferenttimes,shehasperformedwith theContemporaryChamberPlayers, theLSUPianoTrio, theTbilisiStringQuartet, theElagQuartet,OhioLightOpera,TbilisiPhilharmonicChamberOrchestra,WacoLyricOpera,WacoSymphony,BatonRougeSymphony,theMoscowChamberOrchestraArco,andtheBridgetonSymphonyOrchestra.Dr.Gogichashvili’sawardsincludetheCircleofAchievementsTeachingAward(2001)andtheOutstandingTeachingAwardbyBaylor

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University’sSchoolofMusic(2005).

Cynthia I. GonzalesearneddegreesfromtheUniversityofNorthTexasandHarvardUniversity.Dr.Gonzaleswritesabouttext-musicrelationsinGermanlieder,specializinginArnoldSchönberg’searlysongs.AfrequentpresenteratATMI,Dr.Gonzalesdemonstrateswaystoteachauralskillsthroughweb-basedmaterials.Lastmonth,shepresentedapaperattheInternationalAssociationfortheStudyofPopularMusicinapapertitled“FromOzzyOsbournetoG.F.Händel:LearningDictationSkillsthroughPopularMusic.”Sheisnowinher10thseasonwiththeAustin-basedprofessionalchoralensembleConspirareandinhersecondyearatTexasStateUniversity.

Genaro Gonzalez,ProfessorandCoordinatorofPercussionatTexasStateUniversity,directedTexasStatepercussiongroupsatvariousconventionsand festivals, including theMontreux JazzandWorldMusicFestival, theBerkleeWorldPercussionFestival,andthePercussiveArtsSocietyInternationalConvention.Mr.Gonzalezisaveryactiveperformer, clinician, and adjudicator. He currently serves as Principal Percussionist with theAustin SymphonyOrchestraandtheAustinLyricOpera,andhefrequentlyperformswiththeSanAntonioSymphony.HehasbeenservingonthePercussiveArtsSociety’sBoardofDirectorssince1989andservedintheofficesofSecretary,Vice-President,andPresident.

Kelvin Gregory

Marilyn Govich,DMA,teachesvoiceandistheHeadoftheOpera/MusicTheatreDivisionattheUniversityofCentralOklahoma.ShereceivedtheUniversityofOklahomaProvost’sOutstandingDissertationAwardandwasco-winneroftheBiennialDissertationAwardoftheNationalOperaAssociation.ShehasperformedwiththeOklahomaCollegiumMusicum,sungleadingrolesinopera,andcontinuestoperformprofessionallyinmusicaltheatre.Sheisanactiverecitalist,oratoriosoloist,adjudicatorandclinician,twicepresentingartistrecitalsforregionalNATS.RecentlyshesangattheNationalOperaAssociationinNewYorkCityandrecordedanoperascenewiththePolishNationalRadioSymphony.

Stephen Hager is the professor of horn at Texas State University and a member of the Mid-Texas SymphonyOrchestra.ProfessorHagerhasbeenprincipalhornoftheAustinSymphonyOrchestraandamemberoftheCalgaryPhilharmonicOrchestraaswellastheUnitedStatesArmyBand“Pershing’sOwn.”HeisindemandasaclinicianthroughoutTexasandhasconcertizedthroughoutNorthAmerica,Europe,andRussia.StephenHagermaybeheardontheMarkCustomlabelinarecordingof40 Characteristic Studies for French Horn by H. Klingandistheco-editoroftheSouthernMusicPublicationTheStandleyRoutine.

Richard D. Hall is aLecturer atTexasStateUniversity,wherehe teaches composition, electronic composition,musictechnology,andhumanities.HealsoassistswiththeTexasMysteriumforModernMusicEnsemble.HeholdsdegreesfromAngeloStateUniversityandTexasStateUniversity.DuringhisgraduateworkatTexasStateUniversity,Mr.HallwastherecipientoftheFrancisR.Schneiderfellowship.Hehasreceivednumerouscommissions,scoredtwoindependentfilms,hasseveralpiecespublishedbyDornPublicationsandhaspublishedsoftwarereviewsfortheSouthCentralMusicBulletin.HeholdsmembershipsintheNationalAssociationofComposersUSAandtheAmericanSocietyofComposers,Authors,andPublishers.

CellistChristopher HaritatoshasgainedareputationasapassionateandintelligentperformeronboththeBaroqueandmodernformsofhisinstrument.HoldingdegreesfromtheUniversityofChicago,theClevelandInstituteofMusic,andtheEastmanSchoolofMusic,healsostudiedwithJaapterLindenasaFulbrightScholarattheAkademiefürAlteMusikinBremen.Heperformsregularlywithleadingearlymusicensembles,suchasApollo’sFire(Cleveland),

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HandelandHaydnSociety(Boston),PublickMusick(Rochester),Fioritura(Philadelphia),andArsLyricaHouston.Asamoderncellist,hehasbeenInterimandActingPrincipalcellistoftheAustinLyricOpera,andhasperformedinmanyorchestras.HeteachesatTexasStateUniversity.

Erik HeineisAssistantProfessorofMusicTheoryattheWandaL.BassSchoolofMusicatOklahomaCityUniversity.HereceivedhisPh.D.inMusicTheoryfromtheUniversityofTexasatAustinin2005.HisresearchinterestsincludefilmmusictheoryandthemusicofDmitriShostakovich.

David Heuser’smusic has been performed by various groups and individuals and on festivals and conferencesthroughout theUSandabroad,andhehaswonavarietyofawards,grants,andcommissions.AproductofNewJersey,Dr.Heuser’sdegreesarefromEastmanandIndianaUniversity,andhecurrentlyresidesinSanAntonio,whereheisanAssociateProfessorattheUniversityofTexasatSanAntonioandafoundingmemberoftheComposersAllianceofSanAntonio.HisworkscanbefoundonrecordingsontheAlbany,Capstone,andEquilibriumlabels.

Starla HiblerisProfessorofMusicatEastCentralUniversityinAda,OK.SheholdsD.M.A.andM.M.degreesfromtheUniversityofNorthTexas,whereshestudiedwithJosephBanowetz.ShereceivedaB.M.degreeinPianoPerformancefromIllinoisWesleyanUniversityandhasstudiedattheViennaConservatory.Sheisactiveasasoloandchambermusicperformer.AsanactivememberofOklahomaMusicTeachersAssociation,CMS,andOklahomaFederationofMusicClubs,sheservesregularlyasaclinicianandadjudicator.Duringthesummerof2005,Dr.HiblerservedonthepianofacultyatInspirationPointFineArtsColonyinEurekaSprings,AK,sponsoredbytheNationalFederationofMusicClubs.Sheisalsoanorganist.

James Hickey–fromLaredo,Texas–hadalatemusicalstartatage18bytakingpianolessons.Ina4-yearperiodstudyingpianowithFriedrichGechter,herevealedaninnateabilityforpiano,songwriting,musictheory,andmusiceducation.Graduatingsummacumlaudein2004fromTexasA&MInternationalUniversity(TAMIU)withaB.M.,henowpursueshisM.M.inmusictheoryatTexasStateUniversity.CreditsincludeCDandbookreviewsintheSouthCentralMusicBulletin,andfirstprizeintheArts&LiteraturedivisionofTAMIU’sAnnualAcademicConference.

Christopher HolmesisalecturerinvoiceatTexasStateUniversity.ThebaritonehasappearedwithAmarilloOpera,Austin Lyric Opera, Central City Opera, Eugene Opera,The Living Opera, Lyric Opera of SanAntonio, OperaCircleCleveland,OperaDelSol,andUtahFestivalOpera.OperaticrolehighlightsincludeBelcore,Demetrius,DonGiovanni,Escamillo,Figaro,Ford,Germont,Guglielmo,Marcello,Papageno,andValentin.HehasreceiveddegreesfromTempleUniversityandtheOberlinCollegeConservatory.

Arthur HouleisfounderanddirectoroftheInternationalFestivalforCreativePianists.Anactiveperformerandclinician,Dr.HoulehaswrittenforPiano&Keyboard,Clavier,PianoToday,AmericanRecordGuide,FJHPedagogyNewsletter,MusicEducatorjournals,AmericanMusicTeacher,andtheCollegeMusicSocietyNewsletter.HehasdegreesfromtheUniversityofMassachu-setts-Lowell,NewEnglandConservatory,andtheUniversityofIowa.Dr.HoulehastaughtatNewEnglandConservatory,BostonConservatory,theUniversitiesofIowa,NorthDakotaandTexas-Austinand,mostrecently,atAlbertsonCollege.HenowteachesattheIdahoMusicAcademyandprivatelyintheBoise,Idaho,area.

Andrew Hudson,holdingB.M.,M.M.,andD.M.A.degrees,hasgivensoloandcollaborativeperformancesinItaly,Germany,Canada,Mexico, and theUS,andservedduring the summersof2002-2004asa facultypianist at theAmericanInstituteofMusicalStudiesinGraz,Austria.Dr.Hudsonisanactivevocalaccompanistandcoach,havingperformedapproximatelyfifteenhundredsongs/ariaswithsingersfromaroundtheword,includingalumnioftheBayreuth,Leipzig,Metropolitan,NewYorkCity,andNiceOperas,andtheNationalOperaofPrague.HeiscurrentlyonthepianofacultyofMcLennanCommunityCollegeinWaco,Texas,andistherehearsalpianistfortheLyricOperaWacoandPrincipalLiederCoachforLiedAustria.

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Terry Lynn HudsonisaSeniorLecturerinPianoatBaylorUniversity.Sheisanactiveperformer,presentingrecitalsas soloist,duopianist, andaccompanist inEurope,CentralAmerica, and throughout theU.S.Otherprofessionalactivityincludespresentationsandlecture-recitalsatnational,regional,andstateconferencesoftheMusicTeachersNationalAssociation,CollegeMusicSociety,andTexasMusicEducatorsAssociation.Dr.HudsonisPresidentoftheSouthCentralChapteroftheCollegeMusicSociety,andservedascoordinatorofthe2003CMSRegionalConferenceheldatBaylor.ShehasalsoheldofficeinPiKappaLambdaNationalMusicHonorSociety,SigmaAlphaIotaMusicFraternity,andtheWacoMusicTeachersAssociation.

Lance HulmeteachesattheUniversityofOklahomaSchoolofMusic.Hiscompositionshavereceivednumerousawardsandgrantsandhavebeenpresentedatmanynationaland internationalconcertsand festivals.Dr.HulmehasdegreesfromtheEastmanSchoolofMusicandYaleUniversityandwasaFulbrightScholarattheUniversitätfürMusikinVienna,Austria.AmonghiscompositionteacherswereJacobDruckman,MartinBresnick,DominckArgento.Lastyear,HulmepresentedatheorypaperattheOklahomaTheoryRoundtable.

Suzanne Blaker JacobsonisAssoc.DirectorandviolinteacherwiththeCentralTexasStringAcademyinWaco,TX.SheisConcertmasterof theTempleSymphonyandamemberof theWacoSymphony.ShereceivedaB.M.fromtheUniversityofMichigan,andboththeM.A.andD.M.A.degreesfromOhioStateUniversity.Dr.Jacobson’sorchestralexperienceincludesservingasPrincipalSecondViolinoftheToledoSymphony,Asst.ConcertmasteroftheProMusicaChamberOrchestra(Columbus,OH),aswellastheColumbusandFt.WorthSymphonyOrchestras.From1995to1997,Dr.JacobsonwasAsst.ProfessorofViolinandViolaatEasternKentuckyUniversity.SheiscurrentlyVice-PresidentoftheNorthTexasSuzukiAssociation.

Rüdiger Jennert studied Music Education and English at the University of Freiburg and at the University ofMassachusetts(Amherst).HereceivedhisdoctoraldegreeinMusicologyfromtheUniversityofWürzburgin2004withadissertationonPaulHindemith’sreceptionintheUnitedStates.HehaspublishedarticlesonHindemithintheHindemith-Jahrbuchandotherperiodicals.Dr.JennertteachesMusicandEnglishatthehighschoollevelandrecentlytaughtacourseinmusichistoryattheUniversityofWürzburg.

Lynn Job (pronouncedwitha long“o”) (b.1959) isanactiveAmericanwomancomposer,author, thespianandpublisher,born inSouthDakota.Shegraduated fromCaliforniaStateUniversityFullertonand theUniversityofNorth Texas. Dr. Job continues to win awards from theAmerican Music Center andASCAP and has an activecommissions roster. She serves as the SouthCentral BoardMember for Composition (interviewed in theSouthCentralMusicBulletin IV/1,Fall2005)andpublishes throughBuckthornMusicPress(over100worksathttp://www.buckthornstudios.com.)Severalinternationalpremieresin2006includetheLaubach(Germany)OrganFestivalandtheWorldSaxophoneCongressinSlovenia.

David Johansen,Assoc.ProfessorofTromboneStudiesatSoutheasternLouisianaUniversity,holdsaD.M.A.fromtheUniversityofIowa.HecurrentlyholdsthepositionofSecondTromboneintheBatonRougeSymphonyOrchestraandhasheld thepositionsofPrincipalTrombonewith theComposers’WorkshopEnsembleat theUniversityofIllinois,directedbyHerbertBrün,andwiththeprestigiousCenterforNewMusicattheUniversityofIowa,directedbyKennethGaburo.Dr.JohansenspecializesincontemporarychambermusicfortromboneandhaspremieredthreeworksbytherenownedcomposerJohnD.White.HehasperformedthroughoutthecountryincollaborationwithDr.White,andtheyhavepresentedrecitalstogethersince1987.

Carina Joly,originallyfromBrazil,developedsevenyearsofintenseactivityasbothapianistandapianoteacherbeforemovingtotheUnitedStates.In1997,sheperformedBrazilianpianomusicthroughoutDenmarkinaprofessional

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BEYOND TALENTCreating a Successful Career in MusicANGELA MYLES BEECHING

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EMPIRICAL MUSICOLOGYAims, Methods, ProspectsEdited by ERIC CLARKE and NICHOLAS COOK

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ACTING FOR SINGERSCreating Believable Singing CharactersDAVID F. OSTWALD

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MUSIC, EDUCATION, ANDMULTICULTURALISMFoundations and PrinciplesTERESE M. VOLK

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UNDERSTANDINGFRENCH VERSEA Guide for SingersDAVID HUNTER

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Winner of the 2003 Wallace Berry Awardfrom the Society for Music TheoryWinner of ASCAP–Deems Taylor Award

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exchangeprogramsponsoredbytheRotaryInternationalFoundation.Ms.JolyholdsaM.M.fromPennsylvaniaStateUniversity,whereshewasagraduateassistantwithinthepianodepartment.Since2002,Ms.JolyhasbeenintheD.M.A.programinpianoperformanceandpedagogyattheUniversityofOklahoma.ShecurrentlyconductsresearchontheteachingpianoliteratureoftheBraziliancomposerJoséAntonioResendedeAlmeidaPrado.

Adah Toland Jones,ProfessorofFluteatTexasStateUniversity,isPrincipalFlutewiththeAustinLyricOperaandtheVictoriaBachFestivalOrchestraandplaysfrequentlywithAustinandSanAntonioSymphonies.Dr.JoneshasbeenasoloistatNationalFluteAssociationConventionsinSt.Louis,Boston,andOrlandoandhasconductedtheNationalHighSchoolFluteChoirandProfessionalFluteChoir.SheholdsB.M.andM.M.degreesandaPerformer’sCertificatefromtheEastmanSchoolofMusicandaD.A.degreefromBallStateUniversity,whereshereceivedtheDistinguishedAlumniCitationin2000.Dr.JoneswasalsotherecipientofTexasState’sPresidentialAwardforExcellenceinCreativeActivities.

Irina KhovanskayareceivedformalmusicaltrainingattheMoscowCentralSpecialMusicCollege,duringwhichtimeshealsoconcertizedextensivelyasarecitalistandwithorchestras,e.g.atMoscowConservatory’sSmallHall,attheRussianSpaceCenter,andonUSSRTV.AttheMoscowStateTchaikovskyConservatory,shestudiedwithVictorMerzhanov.SheperformedwiththeMoscowSymphony,inmanyRussiancities,inZurich,Munich,Brussels,andWarsaw.ContestsinRussia,Germany,andBelgiumwerecappedbyKhovanskaya’swinningFirstPrizeintheTexasSteinwaySocietyPianoCompetitioninDallasin1999.Dr.KhovanskayanowresidesinSanAntonio,Texas,andteachespianoattheUniversityoftheIncarnateWord.

Timothy Kramer’sworkshavebeenwidelyperformedthroughouttheUS,Europe,andMexico,includingperformancesbytheIndianapolis,Detroit,Tacoma,andSanAntonioSymphonyOrchestras.HehasreceivedgrantsandawardsfromtheGuggenheimFoundation,theNEA,theMacDowellColony,MeettheComposer,BMI,ASCAP,theAmericanGuildofOrganists,andtheAmericanMusicCenter,amongothers.HisdegreesarefromPacificLutheranUniversity(B.M.)andtheUniversityofMichigan(M.M.,D.M.A.),andhewasaFulbrightScholarinGermany(1988-89).HeisAssociateProfessoratTrinityUniversityinSanAntonio.HisworksarepublishedbySouthern,EarnestlyMusic,Hinshaw,andSelahandrecordedonCalcanteandNorth/South.

Jack Laumer, professor of trumpet at Texas State University, completed music degrees at St. Olaf College inMinnesota,wherehewasafinalistintheYoungArtists’CompetitionoftheMinnesotaOrchestra,andatManhattanSchoolofMusic.WhileinNewYork,heplayedintheNationalOrchestralAssociationOrchestraandBrassQuintetandwasfirsttrumpetandsoloistwiththeGoldmanBand.HestudiedtrumpetwithRonHasselmannoftheMinnesotaOrchestra,CecilCollinsattheManhattanSchoolofMusic,andWilliamVacchianooftheNewYorkPhilharmonic.AfterteachingatManchesterCollegeinIndianaforfouryears,LaumerarrivedinTexasin1977andbeganplayingintheAustinSymphony.

Chia-wei Lee isquicklyestablishingasoneofthemostcompellingemergingbaritonesintheUnitedStates.Hisdistinctivelybeautifulandstrongbaritonevoicehasalsowonhiminternationalacclaim.Anextremelygiftedartist,heisathomeonboththeoperaticandconcertstages.Inpastseasons,hehasportrayedvariouscharactersincludingGermont(LaTraviata),Ford(Falstaff),DonGiovanni(DonGiovanni),GianniSchicchi(GianniSchicchi),Marcello(LaBoheme),andTheCount (TheGhostofVersailles).AnativeofTaiwan,Dr.Leecurrently resides in theSanAntonioarea,whereheisonthevoicefacultyatTrinityUniversity.

Elizabeth LeeisagraduatestudentinMusicTheoryatTexasStateUniversity.WhileshereceivedherBachelorofArtsDegreeinDecember2005fromTexasState,shehopestocompleteherMastersinMusicTheoryinDecember

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2007.There,shestudiedpianowithDr.TimothyWoolseyandplayedthecellowiththeTexasStateSymphonyforseveralyears.Ms.Leewas the recipientof the InternationalEducationScholarship forStudyAbroadduring thesummerof2003.SheisalsocurrentlyholdingaTeachingAssistantshiptoteachEssentialMusicianship.

Rita Linard,AssistantProfessoroffluteattheUniversityofTexasatSanAntonio,hasherdoctoraldegreefromtheUniversityofTexasatAustin.ShealsoattendedIndianaUniversity,theUniversityofIllinois,andNorthernIllinoisUniversity.Inadditiontofrequentsolo-recitalandchambermusicappearanceswiththeLinard-BuchananFluteandHarpDuo,theKingWilliamWinds,theNovaFluteandGuitarDuo,andtheSonoraFlutes,sheisprincipalfluteintheMid-TexasSymphony,andfrequentlyplayswiththeSanAntonioSymphonyandAustinLyricOpera.Inthesummermonths,Dr.LinardteachesandperformsatBlueLakeFineArtsCamp.

Lyn ListonisDirectorofNewMusicInformationServicesattheAmericanMusicCenter(AMC),NewYorkCity.Previously,shewasPromotionAssociateatBoosey&Hawkes,workingwithorchestras,chambermusicgroups,operacompanies,andchoreographers /dancecompanies.AtAMC,Ms.Listonoverseestheproductionofpublications,theProfessionalDevelopmentProgram,NewMusicJukebox.org, in addition tofielding inquiries fromaround theworldaboutmusicbyAmericancomposersandmusic-businessissues.SheholdsaM.M.degreeinclassicalguitarperformancefromtheUniversityofCincinnatiCollege-ConservatoryofMusicandaB.M.degreefromtheUniversityofSouthCarolina.

Michael LivelyiscurrentlyadoctoralstudentinmusictheoryattheUniversityofNorthTexas.HehaspreviouslyservedasahighschoolandcollegebanddirectorandisanactiveconductorandorganistinthenorthTexasarea.Mr.LivelyisresearchingadissertationtopicwithDr.TimothyL.Jacksonrelatingtothesuggestionofmulti-linearandnon-linearmusicaltimeinthe“Krakow”sketchesofBeethoven’slateperiodstringquartets.HehasrecentlypublishedanarticleintheJournalofMusicTheoryPedagogy.

PianistOwen LovellearnedhisBachelor’sandMaster’sdegreesfromthePeabodyConservatory,wherehisprimaryteacherwasBorisSlutsky.WhileinBaltimore,hestudiedadditionallywithJulianMartin,EllenMack,andLeonFleisher.OwenLovellearnedhisD.M.A.degreefromtheUniversityofTexas,wherehestudiedwithBettyMallardandGregoryAllen.HehasconcertizedthroughmuchoftheUS,Ontario(Canada),Mexico,andhasbeenheardliveonAustin’sNPRaffiliate,KUT-FM.Dr.LovellwasappointedtothekeyboardfacultyofTexasStateUniversityin2004,whereheoverseestheclasspianoprogram.AdditionalinformationaboutOwenLovellcanbefoundathttp://www.owenlovell.com.

Howard Lubin’scareerincludesawiderangeofinterestsandachievements.Byageseventeen,hehadwonthreeawardsforcompositionfromBMI,afterwhichhestudiedpianoandGermanliteratureatOberlinCollege.Followinggraduate studyat the JuilliardSchool,he taught at the JuilliardOperaCenter andworkedwith theMetropolitanOpera’sYoungArtistDevelopmentProgram.HelaterworkedinEuropeasheadofthemusicstaffattheCologneOperaandasguestartistattheBregenzandSpoletofestivals.HenowteachesappliedpianoandchambermusicattheUniversityofOklahoma.

Joseph Lulloff,invitedKeynote Musicianatthisconference,isProfessorofSaxophoneatMichiganStateUniversity(MSU).HeperformsregularlyasasoloistinmanyofthemostprestigiousconcertvenuesintheUS,Europe,SouthAmerica, and Japan, aswell aswith leadingsymphonyorchestras inAmericaandabroad.Lulloff also servesasprincipalsaxophonistwiththeSt.LouisSymphony,GrandRapidsSymphonyandtheFlintSymphonyOrchestras.HereceivedhisB.M.andaM.M.fromMichiganStateUniversityandpursuedacareerasaprofessorofsaxophoneattheUniversityofIllinoisandeventuallyMSU,duringwhichtimehementoredmanyaspiringsaxophonistsandled

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severallargejazzensembles.Heisarecipientofnumerousawardsforsoloperformance,includingtheConcertArtistsGuildAwardin1985,theProMusicusInternationalMusicAward(1987),andthe1995Teacher/ScholarAwardfromMSU.LulloffhasbeenfeaturedatWorldSaxophoneCongresses inTokyo(Japan),Valencia (Spain),Nuremburg(Germany),Montreal(Canada)andChicago.Equallyadeptwithbothclassicalandjazzrepertoire,LulloffisfeaturedbothasasoloistandensemblememberinnumerousrecordingsontheArabesque,RCA,Albany,AUR,Veriatza,andChannelClassicslabels.

Bart MacMillaniscurrentlyaPh.D.studentattheUniversityofNorthTexasinDenton,TX.HereceivedaB.M.fromWichitaStateUniversityandaM.M.fromYaleUniversity.Hehashadaperformingcareerasatrumpeter,free-lancepianist,andaccompanist.Mr.MacMillanhastwoyearsofpublicschoolteachingexperienceasajuniorhighschoolbanddirectorand17yearsofcollegeteachingexperienceasajazzdirector,banddirector,andclassroominstructor,teachingmusicappreciation,musictheoryandorchestration,aswellasjazzhistory,stylesandimprovisation.Hemaintainsanoverlyactivescheduleasadjunctcollegeinstructor,freelanceperformerandteacher,aswellasafulltimestudentinmusiceducationandresearch.

Samuel MagrillistheAssistantDirectoroftheSchoolofMusicandComposer-in-ResidenceattheUniversityofCentralOklahoma.HereceivedaB.M.incompositionfromOberlinConservatoryinOhioandaMaster’sandDoctoratefromtheUniversityofIllinois,Champaign-Urbana.Hehasreceivednumerousawardsandcommissions,includingones from theNEA, theAmericanMusicCenter, theMid-AmericaArtsAlliance, and theAmericanComposers’Forum.HisworkshavebeenpremieredinMoscow,inAustralia,attheNationalFluteAssociationConvention,theNationalCMSConference,theOklahomaOperaFestival,theAmadeusFestival,theNationalSocietyofComposers’Conference,andinChennai,India.

Eric Martinisanin-demandteacher,clinician,andperformer.HereceivedhisB.M.fromtheUniversityofNorthTexas,andhisM.M.fromTexasStateUniversity.HecurrentlyholdsthetitleofLecturerofPercussionatTexasStateUniversityandInstructorofPercussionatTexasLutheranUniversityinSeguin.WhileatTexasState,hetaughtandarrangedfortheFrontEnsembleatthe2004PASICCompetition,wherethegroupreceivedtheBestPitaward.Mr.Martinisnowhighlysought-afterasaclinicianandarrangerthroughoutTexas.

Joey MartinisAssociateProfessorandDirectorofChoralActivitiesatTexasStateUniversityandalsoservesasthe artistic director for theAlamoCityMen’sChorale,music director for historicFirst ProtestantChurch (NewBraunfels),andchoirmasterfortheMid-TexasSymphony.Hisscheduleisfilledwithengagementsasguestconductor/clinicianthroughouttheUSandEurope.RecentengagementsincludeconductingtheConnecticutAmericanChoralDirectorsAssociationWomen’sHonorChoir,ConductingProfessorfortheTransientGloryChoralSymposiumandFestivalatNYU,andconductorfortheSoutheastRegionOklahomaHonorChoir.Healsoenjoyscollaboratingwithvocalartistsinrecitals,servingascoach/accompanistforsuchdiverseartistsareJennieOlson,MariaJette,TimothyJones,andCherylParrish.

Rachel McCarthyisagraduateteachingassistantattheUniversityofOklahoma,wheresheisamasters’studentinpianoperformanceandmusicology.AsamagnacumlaudegraduateoftheUniversityofTulsawithdegreesinPianoPerformanceandSpanish,shereceivednumerousawards,suchas theParriottMusicScholarship,TopTenFreshman,andOutstandingSeniorinSpanish.McCarthyisamemberoftheMusicTeachersNationalAssociationandOklahomaMusicTeachersAssociation.PianisticachievementsincludeperformingasaconcertosoloistwiththeOklahomaCityPhilharmonic,BartlesvilleSymphonyOrchestra,andOralRobertsUniversityOrchestra.ShewasalsoanOMTACollegiateAuditionwinnerin2002.

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Carol McNabbholdsdegreesinbassoonperformancefromtheUniversityofNorthTexas,UniversityofLouisiana–Monroe,andUniversityofArizona.SheperformedforovertwentyyearsintheFortWorthSymphonyandOperaOrchestras,theShreveportSymphony,andtheTucsonSymphony,amongothers.SheisanactivesoloandchambermusicrecitalistandhasperformedattheDesertFoothillsMusicFestivalinScottsdale,Arizona,forthepastelevenyears.Dr.McNabbisanassociateprofessoratUniversityofTexas–Brownsville,wheresheteachesdoublereeds,music theory and aural skills. Shehas performed atTexasMusicEducatorsAssociation andTexasBandmastersAssociationconventions.

Emma McNairy,soprano,isaccomplishedinmanydifferentartforms,rangingfromoperatotheater,tomodelingandfilm.TheseventeenyearoldrecentlygraduatedearlyfromGonzaloGarzaIndependenceHighSchoolandiscurrentlyattendingAustinCommunityCollege.Ms.McNairy’sperformancecreditsincluderoleswithOperaintheOzarks,TheGeorgetownPalaceTheater,HydeParkTheater’sFronteraFest,PinkstoneProductions,TheGilbertandSullivanSocietyofAustin,theVortexTheater,aswellasfourseasonswithAustinLyricOpera’sChorus.Ms.McNairyplanstocontinuehermusicalandtheatricalstudiesduringthefallof2006atamusicconservatory.

Ken MetzisanAssociateProfessorofmusicattheUniversityoftheIncarnateWordandanadjunctinstructorofbassintheSanAntonioCommunityCollegeDistrict.Heteachesmusictheory,composition,andotherrelatedsubjects.HeisamemberofCMS,CASA,SCI,NACUSA,andASCAP.

Danilo Mezzadri,invited recitalistofthisconference,isaBrazilianflutistwhohassustainedanactivecareerasaperformerandteacherintheUnitedStatesaswellashishomecountry.Hehasappearedasaguestsoloistwithmanyensembles, including theDetroitSymphonyOrchestra,UniversityofSouthernMississippiSymphonyOrchestra,JacksonSymphonyOrchestra,Pró-MúsicaSymphonyOrchestraofRiodeJaneiro,andCamerataFlorianópolis.AsafoundingmemberoftheQuartetoBrasilis,Dr.MezzadrihasgiveninternationaltoursandrecordedaCDfeaturingSouthAmericanmusicforfluteandstrings.Dr.Mezzadrihaswonseveralcompetitions,suchastheInternationalPortoAlegre SymphonicOrchestraYoung InstrumentalistCompetition,Brazilian International FluteAssociationCompetitionandDetroitCivicCompetition.Healsohasservedastheprincipalflutistofseveralorchestras,includingthePhilharmonicOrchestraoftheUniversityofParaná,BrazilianPopularMusicOrchestra,DetroitCivicOrchestra,andJacksonSymphonyOrchestra.MezzadrihasrecentlyacceptedthepositionofAssistantProfessorofFluteattheUniversityofSouthernMississippi.HehasalsobeenguestartistandvisitingfacultyattheParanáCatholicUniversity,SantaCatarinaStateUniversity,SchoolofMusicandArtsofParaná,andBlueLakeFineArtsCamp.

Matthew Morris isAssociate Professor ofBassoon atBaylorUniversity and holds degrees fromFloridaState,Baylor,andEastCarolinaUniversities.HisprincipalteachersareJonPederson(NorthCarolinaSymphony),BrianKershner(BaylorUniversity),andWilliamWinstead(FloridaStateUniversity).Dr.Morrishasappearedinnumerousfestivals, concert series, radio and television broadcasts, studio recordings, chamber music series, and orchestralconcertsintheUSandabroad,includingappearancesatCarnegieHall,theBolshoiTheater,andtheKennedyCenterforthePerformingArtsinWashington,D.C.Hehaspresentedmasterclasses,conductedworkshops,andservedasanadjudicatoronthejuniorhighthroughcollegiatelevels.

Ruth E. Morrow,NCTM,isthecurrentDoloresP.BolinandD.PhilandAuroraS.BolinChairofPianoandChairoftheDepartmentofMusicatMidwesternStateUniversityinWichitaFalls,Texas.SheholdsdegreesfromIndianaUniversity,theEastmanSchoolofMusic,andWhitmanCollege.WithabackgroundthatspansallmusicalstylesandincludesperformancesthroughouttheUnitedStatesandEurope,Dr.Morrowremainsindemandasrecitalist,collaborativepianist,andlecturerontopicsfromragtimetomovement.SheteachesattheIndianaUniversityPianoAcademyeachsummerandisaCertifiedInstructoroftheFeldenkrais®Method.Inadditiontohernumerousmusicalendeavors,Dr.Morrowisanavidmarathonrunner.

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Sandra Mosteller,AssistantProfessorattheWaylandBaptistUniversity,teachesclarinet,musiceducation,andworldmusic.ShehasperformedsolosacrosstheEastCoast,Midwest,andEurope.Dr.Mostellerhasperformedworksforseveralcomposers,includingTheaMusgrave,DonaldErb,BruceMahin,MarkKilstofte,andRodneyWashka.Shehaspremieredseveralworks,includingEbbtide,whichwaswrittenforherbyBelgiancomposerNorbertGoddaer.She isprincipalclarinet in thePlainviewSymphonyandhascontributedarticles to theClarinet,NorthCarolinaMusicEducator’s,andNACWPIJournal.SheearneddegreesfromUNCGreensboro,ArizonaStateUniversity,andTrumanStateUniversity.

Karen D. Nathman brings awealth of experience to thefield ofmusic education. She is a coloratura soprano,adjudicator,pianist,andformerpublicschoolchoraldirector.TheseexperiencesstemfromaprofoundpassionformusicandwillculminateinaPh.D.inmusiceducation,fromtheUniversityofOklahoma.Herdesireistoteachat thecollegiate level, createmeaningful andcomprehensivemusic curriculum,andparticipatedirectly inmusicteachertraining.NathmaniscurrentlyagraduateteachingassistantattheUniversityofOklahoma,whilepursuingherdoctoraldegree.Sheteachestwosectionsofthemusiceducationcourseentitled“MusicforClassroomTeachers”.

Dimitar NinovisacomposerandmusictheoristwholivesinAustin,Texas.HeisconcertcoordinatoroftheTexasChapter of NACUSA. His PianoAlbumwas published by the FJHMusicCompany inApril 2005, and he is arecipientofsomenationalandinternationalawardsincomposition.HeholdsadoctoraldegreeincompositionfromtheUniversityofTexasatAustin(2003),andmaster’sdegreesintheory(1992)andcomposition(1996)fromtheStateAcademyofMusicinSofia,Bulgaria.Inthefiledofmusictheory,Dr.Ninov’smainareasofinterestincludetonalharmony,musicalform,andeartraining.

Mezzo-SopranoClara O’BrienreturnstotheU.S.aftersixteenyearsontheoperaticandconcertstagesofEurope.Anotedinterpreterofartsong,Ms.O’BrienhasbeenawardedLeGrandPrixPaulDerènneat the InternationalConcoursdeChantdeParis,theSpecialPrizeofthe1stInternationalColoraturaCompetitionSylviaGeszty,anda FulbrightGrant. She holds aM.M.with Performer’sCertificate from theEastman School ofMusic. She alsostudiedoperaattheCurtisInstituteofMusicandwentontotheChicagoLyricOperaCenterforAmericanArtistsapprenticeshipprogram.Ms.O’BrienhasrecordedwiththeBellaMusicalabelandSüdwestDeutscherRundfunk,andiscurrentlyAsst.ProfessorofVoiceattheUniversityofOklahoma.

Sunnie Oh,LectureratTexasStateUniversity,isholdingaB.M.inMusicEducationandaM.M.inPianoPerfor-mance.ShegavepianorecitalsandperformancesinSouthKorea,Slovenia,California,Michigan,Oklahoma,andTexas.She alsowon the secondprizeof theAspiringOrganistCompetitionof theAmericanGuildofOrganists(GreaterLansingArea,Michigan)in1998.Ms.Oh’scredentialsincludeseveralpublishedcompositionsandpubli-cationsonpianopedagogy.SheistheSecretaryofNACUSA’sTexasChapter,theeditoroftheCMSSouthCentralChapterNewsletter,andaReviewBoardmemberoftherefereedjournalSouthCentralMusicBulletin.–TogetherwithDr.NicoSchüler,sheistheco-organizerofthisconference.

Jun Okada,invitedKeynote Musicianatthisconference,isinternationallysought-afterasaprofessionalpianistandenjoysanactivecareer,beinginvolvedinoveronehundredperformancesannuallyasasoloist,induoensembles,andasachambermusicspecialist.Shehasreceivedcriticalacclaimforherexpertiseintheperformanceofstring,low-brassandwoodwindliterature.NativeofHiroshima,Japan,shebeganhermusicalstudiesatYamahaMusicSchool,andreceivedtheBachelorsandMastersdegreesfromMichiganStateUniversityunderthetutelageofDeborahMoriarty.Ms.OkadaisparticularlynotedforhercommandofthecontemporarysaxophonerepertoireandhasperformedwithnumerousinternationallyrecognizedartiststhroughouttheUnitedStates,Japan,BelgiumandCanada.AsamemberofLulloff-OkadaDuowith saxophonist JosephLulloff, shehasperformedatCarnegie-WeillRecitalHall, at the

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A special course held in conjunction with the 2006 International Choral Festival

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ThailandInternationalSaxophoneConference,aswellasatmanyotherinternationalandnationalvenues.TheduoisfeaturedonVolumeVIofAmerica’sMillenniumTributetoAdolpheSax,availablethroughArizonaUniversityRecordings.Ms.Okadahas served as a facultyof theMusicDepartment atHopeCollege inHolland (MI), andmaintainsteachingstudiosinMichigan.

PianistSohyoung ParkreceiveddegreesfromRiceUniversity,theUniversityofMichigan,andSeoulNationalUni-versity.ShealsoreceivedaDiplomaofMeritfromtheAccademiamusicalediChigianainSiena,Italy,andattendedtheInternationalChamberMusicSchoolofTriodiTriesteinItaly.Dr.ParkperformedinnumerouscountriesandalsoappearedasasoloistwiththeRiceChamberOrchestraattheStudeConcertHallinHoustonaswellaswithRusePhilharmonicOrchestrainBulgaria.ShejoinedthefacultyatRiceUniversityin2005.Previously,shehasbeenafac-ultymemberatSamHoustonStateUniversity.Inaddition,sheisahighlysought-outteacherforpre-collegestudentsattheRiceUniversityPreparatoryProgram.

Ludim PedrozaisAssistantProfessorofMusicattheUniversityoftheIncarnateWord,wheresheteachesMusicHistory, Studies inWorld Music, and Piano. She holds an Interdisciplinary Ph.D. in FineArts fromTexasTechUniversityandpreviousdegreesinpianoperformance.Dr.Pedroza’sresearchinterestscenteroncomparativestudiesinmusicandsociety,especiallyanthropologicalapproachestothestudyofperformativeeventslikethetraditionalsolorecital.Dr.Pedrozaisalsoanactiveperformerandcontinuestoexperimentwithdifferentapproachestobothtraditionalanduntraditionalpianorepertoire.

Jane Perkyns,AssociateProfessoratTexasSouthernUniversity,teachespiano,musichistory,theory,pianopedagogy,andperformanceseminarclasses.Sheserved for threeyears (2000-03)as theMusicCoordinator in theDept.ofFineArts.ShereceivedhergraduatedegreesfromTheJuilliardSchoolandtheUniversityofBritishColumbia.Dr.PerkynshasperformedextensivelythroughoutCanadaandtheUSA,bothassoloist,andcollaborativeartistandhashadthehonorofpremieringseveralworksbothinthesoloandchambermusicfield.Dr.Perkynshasalsobeenactiveintheareaofmusicaltheatreandcomposition.Sheistheco-founderofCurtynCallsCo.,devotedtothewriting,producingandteachingmusicaltheatretochildrenwithdisabilities.

David Pino,clarinet,hasbeentheclarinetprofessorandcoordinatorofwoodwindsatTexasStateUniversitysince1967.HehasperformedandlecturedinmanycountriesinAmericaandEurope,hasmaderecordingsofmusicforclarinetandpianowithFrancesMitchumWebb,andhastouredwiththeDavidPinoChamberEnsemble(clarinet,strings,andpiano).HeistheauthorofTheClarinetandClarinetPlaying,publishedbyDoverPublications,andiscurrentlywritingalongseriesofarticlesontheclarinetteachingofKeithSteininTheClarinet,thejournaloftheInternationalClarinetAssociation.Deon Nielsen PriceholdsdegreeswithhonorsfromBrighamYoungU.,U.ofMichigan,andU.ofSouthernCalifornia.ShehasservedasLecturerattheUniversityofCalifornia,SantaBarbara,severalCaliforniaCommunityColleges,andasAdjunctAssociateProfessorofMusicatCaliforniaStateUniversity,Northridge.Apianist,composer,educator,andauthor,Dr.PriceperformsandlecturesasResidentArtist/ComposerthroughouttheAmericas,Asia,andEurope.Forthelastthreeyears,sheservedasPresidentofNACUSAandisalsoaformerpresidentoftheInternationalAllianceforWomeninMusic(IAWM),currentlyontheBoard.Shewasarecipientofmanygrantsandcommissions.

Michael Remson is a composer, librettist, author, educator andExecutiveDirectorof theAmericanFestival fortheArts.Dr.Remson’sworkshavebeenperformedbyNewYorkCityOpera,HoustonGrandOpera,TexasTechOpera,Rhode IslandCollegeChoruses,AbileneCollegiateOpera,HoustonBallet,EastmanEROI,andbymanyotherperformersandperformingorganizations.Hehasreceivednumerousgrants,commissionsandfellowshipsand

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isonfacultyattheUniversityofHoustonMooresSchoolofMusic,UH’sMitchellCenterforthePerformingArts,andattheHoustonBallet.Dr.Remson’sprimarymentorsincludeCarlisleFloyd,RobertNelson,NancyGalbraith,andEdwardAlbee.

ThemusicofWieslaw V. RentowskihasbeenperformedatmanyInternationalFestivalsandConferencesinEuropeandNorthAmerica.In1988,hewasawardedfirstprizeintheNationalCompetitionforYoungComposersinPoland.Numerouscommissions,grants,andawards followed inPoland,Germany,Canada,and theUSA.Dr.Rentowski–alsovirtuosoorganistandconductor–holdsseveraladvanceddegreesinmusic,includingaD.M.A.fromLouisianaStateUniversity(1996).MostofhismusichasbeenpublishedandrecordedinbothEuropeandtheUS.HetaughtatcollegesinLodz,BatonRouge,NewOrleans,andappearedasaguestcomposer,lecturer,andsoloistinmanycitiesinPoland,Germany,CanadaandtheUS.Dr.RentowskicurrentlyresidesinDallas,TX,andisnowactiveastheNACUSATexasChapterPresident.

Christine RewolinskiisaSuzukiteacherandfreelanceviolinistintheDallasFortWortharea.ShehastaughtSuzukiviolinforover15yearsandhasbeenaguestclinicianatSuzukiworkshopsandfortheDallasIndependentSchooldistrict.Ms.RewolinskiiscurrentlyworkingtowardaPh.D.inmusiceducationattheUniversityofNorthTexas.

Pamela Richman,soprano,receivedherM.M.inVocalPerformancefromtheUniversityofIllinois,Champaign-Urbana. Although she sings opera, oratorio and chamber music, her specialty has been new music, includingperformancesofworksbyPrevin,Ravel,Schoenberg,Dallapiccola,andMagrill.In2001,shetouredAustraliawiththe University of Central Oklahoma (UCO) Cello Ensemble. She teaches Music Fundamentals andAural SkillsaswellasclassandprivatevoiceatUCO.SheisthefeaturedsopranoontheXOLOCD“CelloMusicbySamuelMagrill”withTessRemy-Schumacher,cellist.Ms.RichmanrecentlyreturnedfromPoland,wheresherecordedwiththePolishNationalRadioSymphony.

Russell Riepe,ProfessorandCoordinatorofComposition,FounderandDirectoroftheTexasMysteriumforModernMusic,andDirectorofGraduateMusicStudiesatTexasStateUniversity,isalong-standingmember(aFellowsince1967)oftheWoodrowWilsonFoundation.HismusichasbeenfeaturedinNorthAmerica,Europe,andAsia.Dr.RiepeisamemberofASCAP,andhisarticles,musicalarrangements,andoriginalcompositionsareinternationallypublished,performed,andrecorded.AlthoughhiscareerisprincipallydevotedtoCompositionandteaching,asapianisthehasalsoappearedatCarnegieHall,LincolnCenter,RachmaninoffHall(Moscow),andShatinTownHall(HongKong),tonameafew.

Rick Rowley is a tremendously versatile musician and has appeared extensively as a recitalist, a concertosoloistandchamberperformerwithmanyoftheworld’sleadingmusicians.HehasmadenumerousrecordingsofsoloandchambermusicandhisrecentrecordingsforPlumCDshavereceivedsuperbreviews.Heishighlyadmiredasateacherinmasterclassesandhasworkedwithpianists,instrumentalistsandactor/singersinthatformat.HeiscurrentlyservingasalectureronthefacultyoftheUniversityofTexasatAustin.Mr.Rowleyhas been very active in the theater and has acted in, directed, and served as musical director for over 40productions.

Sherry RubinsdirectstheUniversityofTexasatSanAntonioPercussionprogram.Sincethemid-1980s,Mrs.RubinshasperformedasanextramusicianwiththeSanAntonioSymphony,andshehasbeentheprincipalpercussionist/ timpanistwith theMid-TexasSymphony since1991.Shehas beenVice-President of theTexasChapter of thePercussiveArtsSociety aswell as on the facultyof the InterlochenArtsCamp, theTexasMusicFestival at theUniversityofHouston,theStephenF.AustinUniversityPercussionSymposium,TexasLutheranUniversity,andtheUniversityofHouston.

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Charles Ruggiero, invitedKeynote Speaker at this conference, is amemberof theSchoolofMusic faculty atMichiganStateUniversity,wherehehastaughtbothcompositionandmusictheorysince1973.Dr.Ruggierohascomposedmusicfororchestra,windensembles,chambergroups,soloinstruments,andvoice.Since1980,hehasproducedanumberofsubstantialcompositionsforthesaxophone.Inmanyofhisworks,Ruggierohasfusedelementsfromjazzandpre-20th-centuryWestern“classical”musicwithmaterials, techniques,andformalconceptsof20th-centuryEuropean andNorthAmerican artmusic.Ruggiero’smusic has been performed inAsia, Europe, SouthAmerica, and throughout NorthAmerica. Performances of several of his compositions are available on compactdiscrecordingsontheADMLIVE!,AUR(ArizonaUniversityRecordings),Centaur,ChannelCrossings/ChannelClassics,MarkRecordings,CRI(ComposersRecordings,Inc.),Klavier,andSunriseMusiclabels.Dr.RuggieroisamemberofASCAP.SomeofhiscompositionsarepublishedbyDornPublications,andtheMichiganStateUniversityPress,butmostareavailabledirectlyfromthecomposer.

Eileen Meyer RussellisanAssociateProfessorofMusicatDelMarCollegeinCorpusChristi,Texas.InadditiontoherteachingpositioninCorpusChristi,Dr.RussellteachesatBlueLakeFineArtsCampinTwinLake,Michigan.SheholdsdegreesfromIndianaUniversity(B.M.inTrombonePerformanceandD.M.inBrassPedagogy)andtheUniversityofNorthernIowa(M.M.inTrombonePerformance),andsheisatromboneclinicianandartistwithC.G.Conn.Dr.RussellhaspresentedclinicsorperformancesatInternationalTromboneAssociationFestivals,CMSSouthCentralconferences,TMEAconferences,andattheMidwestInternationalBandandOrchestraConference.

Kenneth SaxonholdsaD.M.A.inpianoperformancefromtheUniversityofAlabamaandM.M.andB.M.degreesinpianoperformancefromShorterCollege.Dr.SaxonhasrecentlyreleasedaCDofthePreludesop.32(complete)bySergeiRachmaninoffandrecordedcomposerKawaiShiu’s“clearshade”fortheCDmusicofkawaishiu.Hisarticle“TeachingSight-Reading:OldSawsandNewToolsforEffectiveSight-ReadingSkills”appearedintheonline2004PianoPedagogyForum.Dr.SaxonservesastheCoordinatorofCollaborativePianoatUniversityofTexasatBrownsville,wherehealsoteacheskeyboardskillsandaccompanying.

Kathy Scherler,AssistantProfessorofMusicatMidwesternStateUniversityinWichitaFalls,Texas,receivedherPh.D.inMusicEducationfromtheUniversityofNorthTexas.Dr.Scherler’steachingexperienceincludeselementarymusic,secondarychoralmusic,andprivatevoice.Shecurrentlyco-directstheoperaprogramatMidwesternState.HerresearchinvolvesmusiceducationandtheEnglishlanguagelearner,andtopicsconcerningmusicteachers.Inadditiontoresearchpresentedat the2006TMEAConvention,sherecentlypresented,at the2006ConferenceonInterdisciplinary Qualitative Studies at the University of Georgia, a paper on music teachers instructing Englishlanguagelearnersexploredthroughphenomenologicalinterviewing.

Phillip Schroeder’s life as amusician began early and has paralleled the diversity of surroundings: trumpet inconcertbands,boysandmixedchoirs,electricbassinrockbands,orchestralandchamberconducting,experimentalimprovisationensembles,andpianoperformance.Schroeder’smusicappearsontheCapstone,Boston,innova,andViennaModernMasterslabels.Dr.SchroederteachesatHendersonStateUniversity.HereceiveddegreesfromtheUniversityofRedlands,ButlerUniversity,andKentStateUniversity.Amongthemanyinfluencesonhiswork,themostsignificantincludeTaoism,goodfood,theovertoneseries,andtheloveandpatienceoffriends.

Rodney C. SchuellerisAssistantProfessorofMusicandDirectorofBandsatTexasStateUniversity.HeearnedtheB.M.degreeinTrumpetPerformanceandMusicEducationfromtheUniversityofIowa(1994),theM.M.degreeinWindConductingfromIndianaUniversity(1997),andtheD.M.A.degreeinWindConductingfromMichiganStateUniversity(2003).HehasstudiedwindconductingwithRayE.CramerandJohnL.Whitwell,withadditionalstudiesinorchestralconductingwithJamesDixonandLeonGregorian.Heisacontributingauthortothreevolumes

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intheTeachingMusicThroughPerformanceinBandseriespublishedbyGIA,andhaspublishedarticlesinboththeBandmastersReviewandTheInstrumentalist.

Nico Schüler,who studiedmusic education,musicology, andmusic theory, is theCoordinatorofMusicTheoryatTexasStateUniversity.Hismainresearchinterestsareinterdisciplinaryaspectsofmodernmusic,musictheorypedagogy, methodology of music research, andWorld Music. He is the editor of the book series “MethodologyofMusicResearch”(FrankfurtamMain,NewYork:PeterLang)andoftherefereedjournalSouthCentralMusicBulletin,theauthororeditorof18books,andtheauthorofmorethan70articles.Dr.SchülerisPresidentElectofTheCollegeMusicSociety’sSouthCentralChapterandVicePresidentoftheTexasChapteroftheNationalAssociationofComposersUSA(NACUSA).

James SchuppenerisinhisthirdyearasDirectorofChoralActivitiesatMidwesternStateUniversityinWichitaFalls,Texas.BeforecomingtoMidwestern,hewasDirectorofChoirsatSouthwesternCollegeinWinfield,Kansas,fortwentyyears.Dr.SchuppenerreceiveddegreesfromMiltonCollege(Wisconsin),IllinoisWesleyanUniversity,andtheUniversityofArizonawherehewasaconductingstudentofDr.MauriceSkones.Dr.SchuppenerisamemberofACDA,TCDA,NATS,TACTandCMS.ChoirsunderhisdirectionhaveperformedthroughouttheUnitedStatesandalsoSwitzerland,GermanyandAustria.

Elliott SchwartzhastaughtatBowdoinCollegesince1964,andispresentlyRobertK.BeckwithProfessorofMusicEmeritus.PerformancesofSchwartz’smusic include theMinnesotaOrchestra,CincinnatiSymphony,MilwaukeeSymphony, St. Paul Chamber Orchestra,Tanglewood, the Library of Congress, Monday Evening Concerts (LosAngeles), and De Ijsbreker (Amsterdam). He has appeared as visiting composer-lecturer at universities andconservatoriesinParis,Strasbourg,Tokyo,Weimar,Mannheim,Rotterdam,Copenhagen,London,andReykjavik.In2006,his70thbirthdayisbeingcelebratedwithmanyconcerts.AnumberofhisworksarerecordedontheNewWorld,CRI,Albany,CapstoneandInnovalabels.

Lorie ScottteachesfluteatEastTexasBaptistUniversityandTexasWesleyanUniversity.SheholdsMastersandDoctoraldegreesinFlutePerformancefromtheUniversityofNorthTexasandaBachelorofArtsdegree,summacumlaude,inMusicandBusinessfromLutherCollege.

Lesley Sisterhen iscurrentlytheVisitingAssistantProfessorofPianoandDirectorofPianoPedagogyatBaylorUniversity inWaco,Texas.AtBaylor,she teachespianopedagogy,classpiano,anddirects thePianoLaboratoryProgram.ShereceivedherD.M.A.inPianoPerformanceandPedagogyfromtheUniversityofOklahoma,whereshestudiedwithDr.JaneMagrath.Dr.Sisterhenpreviously taughtpianoat theUniversityofCentralOklahoma.Hermainareaofresearchistheuseofperformanceenhancementstrategies,suchasmentalpractice,imagery,andrelaxationtechniques.

William O. Smith(b.1926)isProfessoremeritusandtheformerdirectoroftheContemporaryGroupattheUniversityofWashington.Manyofhisover180worksmusichavebeenpublishedbyUniversal,OxfordUniversityPress,Shall-U-Mo,Edi-Pan,MJQMusic,andRavennaEditions,andrecordedontheColumbia,Fantasy,Edi-Pan,NewWorld,Contemporary,CRIandCrystalRecordslabels.HestudiedatJuilliard,MillsCollege,theParisConservatory,andtheUniversityofCalifornia,studyingwithDariusMilhaudandRogerSessions.Smithreceivedmanyawardsandhonors,includingthePrixdeParis,thePrixdeRome,twoGuggenheimfellowships,andgrantsfromtheNEAandtheAmericanAcademyofArtsandLetters.

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Adam Sovkoplaswas born inBrownsville,Texas, on January 16, 1982.He holds aBachelor ofArts inMusicfromtheUniversityofTexasatBrownsville,wherehestudiedcompositionwithpianist/composerRichardUrbis.Mr.SovkoplashaswonanAlphaChiAlfredH.NolleScholarship(2003), theChristianFellowshipofArtMusicComposersscholarship(2005),andthe2ndAnnualSHSUPhiMuAlpha/FisherTullCompositionContest(2005).Mr.SovkoplasiscurrentlyworkingonhisMasterofMusicinCompositionwithpianist/composerDr.TrentHannaatSamHoustonStateUniversity.Hewill complete his degree inMayof 2006 andhopes to beginworkonhisDoctorateincompositionthatfall.

Jan Steele holds aBachelorofMusicEducation fromUniversitéLaval (QuébecCity,QC,Canada).She taughtelementary/secondarymusicinBritishColumbiapublicschoolsfor8yearsbeforecomingtoTexastopursuegraduatestudies.In2003-2004,JancompletedaMastersinMusicEducation(jazzeducation)attheUniversityofNorthTexas.InAugust2004,shethentraveledtotheMiddleEastandtaughtelementarymusic(K-3)ataninternationalschoolinKuwait.OriginallyfromVancouver,BC(Canada),JanisnowbackinDentonforthePh.D.inMusicEducation,ofwhichthisposterpresentationispart.

Robin SteinistheCoordinatorofMusicEducationatTexasStateUniversity.Sheisanelementarygeneralspecialistandteachestheelementarymethodsclasses,introductorymusiceducationcourses,researchinmusiceducation,andsupervisesstudentteachers.SheholdsBachelorsandMastersdegreesinMusicfromtheUniversityofWyomingandaDoctorofArtsinMusicEducationfromtheUniversityofNorthernColorado.Dr.Steinhaspresentedclinicsatstate,divisionalandnationalconferences.SheiscurrentlyontheNationalExecutiveboardoftheSocietyforMusicTeacherEducation and is thePresident-Elect of theTexasMusicEducatorsConference.Dr.Stein is alsoon theEditorialBoardofthejournalSouthCentralMusicBulletin.

Greg A Steinke,nowretired,istheformerJosephNaumesEndowedChairofMusic/ArtandAssociateDeanofUndergraduateStudies,MarylhurstUniversity,Oregon.HewastheAssociateDirectoroftheErnestBlochMusicFestival(1993-1997)andtheDirectoroftheComposersSymposium(1990-1997)inNewport,Oregon.Dr.SteinkeservedastheNationalChairmanoftheSocietyofComposers(1988-1997)andiscurrentlytheSecretary/TreasurerofArtCultureNatureInc.Heisthecomposerofchamberandsymphonicmusicandauthorwithpublished/recordedworksandperformancesacrosstheUSandinternationally.Hewasalsoaspeakeroninterdisciplinaryartsandanoboistspecializingincontemporarymusic.

Drew Stephen’sresearchconcernsthesocialandculturalsignificanceofthehuntinEuropeanmusicofthenineteenthcentury.HehaspresentedandpublishedpapersontheroleofthehuntintheworksofWeber,Wagner,Verdi,andBrahms,onthehuntasamediatorofcouleurlocale,andonthehistoryanddevelopmentofthehuntinghornandtheorchestralhorn.Inadditiontohisacademicpursuits,Dr.Stephenisalsoanactiveandaccomplishedperformeronbothmodernandnaturalhorns.HeisAssistantProfessorofmusicologyattheUniversityofTexasatSanAntonio.

Barbara StreetsisamemberoftheSchoolofMusicfacultyattheUniversityofCentralOklahomaandservesasHeadoftheVocalArtsDivision.SheholdstheBachelorofMusicEducation,MasterofMusic(Voice),andthePh.D.inMusicEducationfromtheUniversityofOklahoma.SheisactiveasarecitalistandoratoriosoloistandpresentedanArtistSeriesRecital for theNATSTexomaRegionFallConference.Her article “TheSoloSongsofMichaelHead”appearedinvolume22ofthejournalBritishMusicin2000.In2005,Dr.StreetsrecordedascenefromDavidYeagley’soperaJacekwiththePolishNationalRadioSymphonyOrchestraforOpusOneRecordings.

Joe StuessyholdsthePh.D.andM.A.degreesfromtheEastmanSchoolofMusicandaB.M.fromSouthernMethodistUniversity.HeisDirectoroftheSchoolofMusicatTexasStateUniversity.Dr.Stuessy’sfirstPiano

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ConcertowaspremieredbytheHoustonSymphonyandhasbeenperformedbytheSanAntonioSymphonyandtheMoscowStateOrchestra.HissecondPianoConcertowaspremieredin1996.BothconcertoshavebeenrecordedbytheMoscowStateOrchestraandareavailableonAquariuscompactdiscs.Acompleteconcertofhiscompositionswaspresentedin1993attheComposer’sUnioninMoscow,Russia.

Caroline Stupple,AssistantProfessorofMusicEducationatSouthernMethodistUniversity,earnedaB.M.degreefromIthacaCollege,aM.M.E.fromTempleUniversityandiscurrentlyadoctoralcandidateatIndianaUniversity.Ms.StupplehasmanyyearsofexperienceaschoralandgeneralmusicteacherinNewYorkState.ShehasstudiedconductingwithJanHarrington,JamesJordan,AnneHowardJones,andVolkerHempfling.Ms.Stuppleisactiveasaguestconductor,clinician/consultant,researcher,andadjudicator.Mostrecently,shepresentedatTMEAandwasaconductorfortheDallasAll-CityMiddleSchoolHonorsChoir.Herpresentresearchinterestischoralconductinggestureanditsrelationshiptochoirperformancelevel.

Paolo Susanni,Italianborntheoristandpianist,hasbeenteachingmusictheory,musichistory,andauralskillsatTexasStateUniversitysince2002.HereceivedhisD.M.A. fromtheUniversityofTexasatAustin.His two-parttreatisecomprisedanoriginalanalysisofBartók’sSonataforPiano(1926)andatranslationofElliottAntokoletz’sbookTheMusicofBélaBartók.HehassincewrittenthreepapersonBartók’spianomusic,twoofwhichwillappearinforthcomingissuesoftheInternationalJournalofMusicology.Twoother,recentlycompletedpapershavebeenacceptedforpublication.HehaspresentedpapersandlecturerecitalsintheUSandhasbeeninvitedtoplayandspeakattheStateMusicConservatoryinIzmir,Turkey,thissummer.

Lise UhlearnedaBachelorofMusicEducationfromMountUnionCollege,Alliance,Ohio.Ms.UhlwasagraduateteachingassistantinvoiceandoperaatUniversityofArizona,wheresheearnedtheM.M.degreeinVocalPerformance.Ms.Uhlreceivednumerousprizesinvocalcompetitionsandhasappearedonstageinopera,oratorio,andmusicaltheatreinArizona,Nevada,Texas,andOhioandhaspresentedseveralguestartistrecitals.ShehasservedonthevoicefacultyatUniversityofArizonaandUniversityofNevada,LasVegas.Since1980,Ms.Uhlhastaughtvoice,dictionforsingers,anddirectedoperaatMcLennanCommunityCollege.ShealsoservedasagueststagedirectorfortheLyricOperaWaco.

Nile Velarde Chong,borninChimbote(Peru)in1964,studiedcompositionattheNationalConservatoryofMusicinLima,Peru.WithascholarshipfromtheSpanishgovernment,healsostudiedelectro-acousticandcomputermusicinMadrid,Spain.HismusichasbeenwidelyperformedinEuropeandSouthAmerica.HeiscurrentlyprofessorofmusictheoryandorchestrationattheNationalConservatoryofMusicinLima.

Lavern WagnerwasProfessorandChairmanoftheMusicDepartment(1958-1991)atQuincyUniversity,inQuincy,Illinois.HislectureatthisconferenceisDr.Wagner’sfirstpresentationinTexasonBenjaminGrierson.Dr.WagnerconductedanumberofGrierson’sworksonC-SPANin1994attherecreationofthe1858Lincoln-DouglasdebateinQuincy,Illinois.HehaslecturedonGeneralGriersonatSouthernIllinoisUniversity,MemphisUniversity,HendersonStateUniversityandattheSonneckSocietyforAmericanMusicconferenceinKansasCity.Dr.WagnerreceivedagrantfromtheNationalEndowmentfortheHumanitiesandwasaguestspeakeratEuropalia85EspanainBrussels,Belgium.

Michael WalkeriscurrentlyAssistantProfessorofMusicattheUniversityofTexas–PanAmerican.HereceivedhisB.A.inPianoPerformanceatHumboldtStateUniversityandbothhisM.A.andPh.D.inMusicTheoryattheUniversityofOregon.Inadditiontoteaching,heisanactivecomposerandresearcher.

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Xin “Cindy” Wang,anativeofthePeople’sRepublicofChina,holdsBachelor’sandMaster’sdegreesinviolinperformance.Sheresideswithherhusband,DennisCole,inKent,Ohio.Besidesassistingherhusbandwithethno-musicologicalfieldresearch,Ms.WangiscurrentlypursuingasecondMaster’sdegreeatKentStateUniversity.

Stephen Weber isAssociate Professor of Music and Coordinator of the Music Department at the University ofScienceandArtsofOklahoma,whereheteachespiano,piano-relatedcourses,andmusictechnology.Histerminaldegree is a Ph.D. in FineArts fromTexasTechUniversity.Dr.Weber’sEight Etudes for Piano and EclecticsetforPercussionQuartethavebeenrecordedontheOpusOnelabel.Hehasover80publishedworkswithvariouspublishers.Dr.Weberhasbeentherecipientofuniversityteachingandresearchawardsandwasselectedas2003OklahomaMusicianoftheYearbytheOklahomaFederationofMusicClubs.

Aaron WardiscurrentlyanundergraduatecompositionstudentatTexasStateUniversityunderthedirectionofDr.RussellRiepeandisplanningtoattendgraduateschoolwithDr.RiepeatTexasStateinthespringof2006.Mr.WardfirstbecameinvolvedwiththecompositionprogramatTexasStateinthefallof2004,andperformedasolocomputer-controlledelectronicpieceattheTexasMysteriumofModernMusicconcertinApril2005.Mr.Ward’selectroniccompositionsandperformancesconsistmostlyoflivemanipulationandlayeringofprerecordedsounds.

John D. WhiteisProfessorandChairofthePhilosophyDepartmentatTalladegaCollegeinAlabama.HeholdsaB.M.inpianoperformancefromtheUniversityofKentucky,aM.M.incompositionfromtheUniversityofIdaho,andaPh.D.incompositionfromtheUniversityofIowa.Acatalogueof90+compositionsincludespiecesthatrangeinscopefromsoloinstrumentalworks,throughavarietyofchambermusic,abouthalfincludingvoice(s)withtextsalsowrittenbythecomposer,tolargeensembleworks.Philosophicalessays,stillunpublished,includePhilosophyofLaw,applicationsofformallogictobeliefsystems,TheSubstanceArgument(ahistory),aesthetics,Spinoza,andpointsofcontactbetweenmusicandphilosophy.

Adam WigginswasborninWebster,Texas,andgrewuparoundtheHoustonarea.AcompositionmajoratSamHoustonStateUniversity,Mr.WigginshasstudiedwithTrentHanna,KyleKindred,andpianistJayWhatley,amongothers.HehopestomovetoManhattenaftergraduatingnextyearandbecomearehearsalpianist.

Kay WilliamsjoinedthefacultyofAbileneChristianUniversityinAbilene,TexasintheFallof1989andisinstructorofelementarytheory,classpiano,privatepiano,andintroductiontomusic.SheholdsaPh.D.andaM.M.fromTexasTechUniversityandaB.M.E.fromAbileneChristianUniversity.Inadditiontoherassignedcollegiateduties,Dr.Williamsisactiveinaccompanyingstudentandfacultyrecitalperformancesandwithcommunityevents,suchasUILsoloandensemblecontestsandcommunitymusicaltheaterproductions.Dr.WilliamsalsomaintainsaprivateSuzukipianostudio.

Lori L. Wooden,AssociateProfessorofBassoonattheUniversityofCentralOklahoma,holdsaD.M.A.degreefromtheUniversityofWisconsin-Madison,aM.M.degreefromtheUniversityofMinnesotaandaB.S.degreefromSt.CloudStateUniversity.Dr.WoodenhasperformedwiththeOklahomaCityPhilharmonicOrchestra,hasbeenamemberoftheDuluth-SuperiorSymphonyOrchestra,theMadisonSymphonyOrchestra,theOshkoshSymphonyOrchestra,andtheGreaterRochesterWomen’sPhilharmonicOrchestra.Shecurrentlyteachesbassoon,coordinatesthewoodwindchambermusicprogram,isAssociateConductoroftheUCOSymphonyOrchestraandConductoroftheOklahomaYouthSymphony’sYoungArtistsOrchestra.

Juli Wood,dramaticsoprano,hassungandtaughtmusicatalllevelsoverthepast22years.ShereceiveddegreesfromtheUniversityofTexasatSanAntonio(UTSA)andStephenF.Austin.Sheperformedsuchoperaroles

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asSantuzza(Mascagni’sCavalleriaRusticana),Dinah(Bernstein’sTroubleinTahiti),Tosca(Puccini),Mother(Menotti’sAmahl),Magda(Menotti’sTheConsul).Mrs.WoodhastaughtatUTSAandisnowAsst.ProfessorofVoiceatTexasStateUniversity.ManyofherstudentswereNATSfinalists,wonRegionalMetAuditions,wonprizesintheHoustonGrandOperaFinalsandothercompetitions,andhavebeenacceptedintooperaapprenticeprogramsaroundtheUS.Mrs.WoodisarecentpastpresidentofNATS.

Stephen YipgraduatedfromRiceUniversitywithaD.M.A.Hehasattendedmanymusicfestivals,suchastheAspenMusicFestival,theAsianComposers’League,andtheIMPULSEnsembleAkademie.Dr.Yip’sworkshavebeenperformedintheUS,Europe,andAsia.Hehasreceivedseveralcompositionprizes,includingthe“HaifaInternationalCompositionPrize”andtheFirstInternationalEPICMUSICCompositionPrize,Italy.HisorchestralworkwillberecordedintheERM-Mediacompactdiscseries“MasterworksoftheNewEra.”Hismusichasbeenperformedatseveralmajormusicconferencesand festivals:SCI,CMSandNACUSAconferences, ISCMWorldMusicDays,HongKongMusicarama,andHongKongArtsFestival.

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Upcoming CMS Events

Institute in Music TechnologyJune 3–8, 2006

Illinois State University, Normal, Illinois

Institute on Music History PedagogyJune 8–10, 2006

Butler University, Indianapolis, Indiana

Summer Intercultural InstitutesJune 10–17, 2006: Vocal Music of BulgariaJuly 9–15: Unlocking the Art of Flamenco

New England Conservatory, Boston, Massachusetts

International Choral Festival Choral SymposiumJuly 10–16, 2006: The Conductor and the Score

University of Montana, Missoula, Montana

4�th National ConferenceSeptember 14–17, 2006

San Antonio, Texas

International Conference in ThailandJuly 2007

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BOARD OF DIRECTORS

President: C. Tayloe Harding (University of South Carolina)

President-Elect: Kathleen Lamkin (University of La Verne)

Vice-President: Douglas Ovens (Muhlenberg College)

Secretary: David Brian Williams (Illinois State University)

Treasurer: John J. Deal (University of North Carolina-Greensboro)

Composition: Dennis Kam (University of Miami)

Ethnomusicology: Eileen Hayes (University of North Texas)

Music Education: C. Victor Fung (University of South Florida)

Music in General Studies: Barbara Bowker (William Rainey Harper College)

Music Theory: Kristin Wendland (Emory University)

Musicology: James R. Briscoe (Butler University)

Performance: Judith Coe (University of Colorado-Denver)

PAST PRESIDENTS

John Buccheri (Northwestern University)

W. Loran Crosten (Stanford University)

Nohema Fernández (University of California-Irvine)

Harry B. Lincoln (State Universityof New York-Binghamton)

Barbara Reeder Lundquist (University of Washington)

Barbara English Maris (The Catholic University of America)

Anne Dhu McLucas (University of Oregon)

Dale A. Olsen (The Florida State University)

Phillip Rhodes (Carleton College)

Elliott S. Schwartz (Bowdoin College)

Douglass Seaton (The Florida State University)

Arthur R. Tollefson (University of North Carolina-Greensboro)

Robert J. Werner (University of Cincinnati)

David Willoughby (Elizabethtown, Pennsylvania)

EDITORS

College Music Symposium: Richard Green (Pennsylvania State University)

MBAM: Michael Budds (University of Missouri, Columbia)

Newsletter: David Willoughby (Elizabethtown, Pennsylvania)

THE CMS FUNDBOARD OF DIRECTORS

President: Robert J. Werner (The University of Cincinnati, Emeritus)

Secretary: Karen H. Garrison (Auburn University-Auburn)

Treasurer: Charles G. Boyer (Adams State College, Emeritus)

Director: Ann Besser Scott (Bates College, Emerita)

Director: Douglass Seaton (The Florida State University)

PRESIDENTS OF REGIONAL CHAPTERS

Great Lakes: Barbara Bowker (William Rainey Harper College)

Great Plains: Darleen Cowles Mitchell (University of Nebraska-Kearney)

Mid-Atlantic: Ruskin K. Cooper (Davidson College)

Northeast: Diane Follet (Muhlenberg College)

Pacific Central: Florian Conzetti (University of San Francisco)

Pacific Northwest: Jared Burrows (Douglas College) Pacific Southern: Jeffrey W. Benedict (California State University-Los Angeles)

Rocky Mountain: Stephanie Berg Oram (Red Rocks Community College)

South Central: Terry Lynn Hudson (Baylor University)

Southern: Dennis Kam (University of Miami)

COMMITTEE CHAIRS

2006 National Conference: Charles G. Boyer (Adams State College, Emeritus)

2007 National Conference: James P. Parakilas (Bates College)

Administration: Richard D. Green (Pennsylvania State University)

Careers in Music: Derek Mithaug (The Julliard School)

Cultural Inclusion: Sang-Hie Lee (University of South Florida)

Engagement: Cynthia Crump Taggart (Michigan State University)

International Initiatives: Ricardo D. Trimillos (University of Hawaii-Honolulu)

Mentoring: Seth Beckman (The Florida State University)

Professional Development: Anthony Rauche (University of Hartford)

Professional Life: Kathleen Lamkin (University of La Verne)

Professional Services: Anne L. Patterson (Fairmont State College)

Publications: David G. Woods (University of Connecticut)

Scholarship of Teaching and Learning: Elizabeth Barkley (Foothill College)

Technology: David B. Williams (Illinois State University)

EXECUTIVE OFFICE STAFF

Executive Director: Robby D. Gunstream

Communications: Mary Anno-Murk

Membership Director: Shannon Devlin Data Resources: Julie L. Johnson

Webmaster: Elizabeth Mast

Communications: Suzanne Nuanez

Professional Activities: Peter Park

Professional Development: Tod Trimble

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