NEWSLETTER SUMMER 1969 /VOL. 2, NO. 2

NATIONAL CONFERENCE,

The Society's 4th Annual National Conference was held April 11-12-13 amid the lush greenery of Santa Barbara, California. About 65 members from all over the country attended, along with numerous v,isitors from the Santa Ba·rbara community. The combination of excellent lodging and business facilities with a su­perbly planned and managed program-all under the influence of the startling beauty of a sub-tropical Spring-made this Conference, according to all opin­ions the writer has heard, the most successful and enjoyable in the Society's history.

As before, panels and lectures were arranged by the Executive Committee, with considerable help from the National Council and the two "co-managers" of the Conference: Chairman Peter Racine Fricker (Uni­versity of California/Santa Barbara) in charge of aPrangements, and Barney Childs (Deep Springs Col­lege). Childs and Fricker also put together the two concerts, which displayed a variety of compositional styles selected from the entire Society's membership while focusing some emphasis upon the activity cur­rently taking place in the host Region.

ln addition to reporting the events of this Confer­ence, I feel that it would be helpful to attempt to give some indication of the nature, scope, and timeliness of the material presented. Accordingly, I will offer a brief summary of each paper or event in the hope that members may be aided in directing inquiries toward persons whose remarks or activities they find interesting. As abstracts prepared by the authors were unavailable, responsibility for error in these summa­ries rests with the undersigned. It might be noted, however, that prob;rbly not until the publication of the Proceedings of Conference IV will the bulk of the information presented at Santa Barbara be available to others-a fact which prompts these notes.

* *

THE AMERICAN SOCIETY

OF UNIVERSITY COMPOSERS

A panel on "Recent Developments in Electronic Music" opened the Conference Friday morning. Chaired by Hubert S. Howe, Jr. (Queens College, CUNY), the panel included papers by five composer­researchers. Howe, in introductory remarks noting (as has Stravinsky in a recent New York Review of Boohs inte~view) a decade of progress in the technique of electromc sound production for music, commented on the direction of this progress: toward a reduction in the time-lag between compositional decision and end-rr·esult sound production. Following the single­track tapes and single-tone "instruments" of ten years ago came the multiple-track tapes and the sequencers of today. Howe predicted that the "third generation" studies of tomorrow will be concerned with various means of achieving some kind of "automatic" control over sound sources and sound manipulation-such contrnl being, perhaps paradoxkally, one way in which the electronic composer can beo-in to deal with his medium in "real" time. Howe 0mentioned two extant approaches to the concept of an automated lab-the synthesizer and the computer-and observed that both of these lack immediacy and to some extent economic feasibility for most university-based com­posers. The panel then proceeded to describe some approaches to the automation of studios.

John Clough (Oberlin), remarking on the necessity for developing a variety of languages with which to achieve a more sensitive and "immediate" interface between composer and computer, reported on his formulation of a sample of one such possible language in algebraic terms, using the mathematical theory of groups. l_n rrelatively simple algebra, sets of data may be described, transformations of such sets defined, successions of such transformations outlined, and hierarchies of transformational data sets arranged.

David Cohen (Arizona State University) discussed a recently developed prngram for computer sound gen­eration which attempts, in the interest of efficiency and (again) immediacy, to reduce the complexity of such a program to a minimum. Data cards carrying only four parameters-wave-form, envelope, duration, and frequency-a·re hand-sorted for order.

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Robert A. Moog (R. A. Moog Co.), elaborating on Howe's "third generation swdio," spoke of several kinds of existing or foreseeable studio setups which might employ a computer and/or manual control to achieve a closer and more continuous interaction between the composer and his "instruments" (in this case, voltage-controlled sound sources). One such set­up, on the analogy of the recent development of multi-track tape, would be a multi-track studio. An­other, which for full effectiveness awaits the building of more stable generators, would involve using a small digital computer to help control analog equipment. The advantages of such a system would include the preservation of some manual control (and thus human "feedback" judgment, as whe1-e, for example, human motion might control a voltage fluctuation) and the saving of both space and money-people being still a relatively inexpensive and efficient type of servo-mech­anism. Moog commented that in this medium, as in all others, the cost of generation and manipulation is modest beside the cost of storage. A third, non-com­puter but entirely pre-programmed-piece-producing studio would involve the use of many sequencer chains-perhaps to the limit of human physical capa­bility for motion: a composer surrounded by, say, 2000 knobs. A piece by Joel Chadabe (SUNY/Albany), using a prototype of such a studio, was played.

Emmanuel Ghent achieves programmatic control of electronic sound sources by using his Coordinome (a punched paper tape reader devised originally to control multiple time-tracks among live performers) to gate either sig·nals or voltages.

Max V. Mathews described a recent program (called GROOVE, for Generated Real-time Operation Of Voltage-control Equipment) which utilizes a DDP 224 computer with a memory capable of storing about a half hour of music and accepting both analog and digital modifications. By means of a real-time key­board and knob system, a typewriter for algebraic instructions, a scope for visual (and freeze) analysis, and a sampling-rate-changing real tempo knob, the composer can make use of the memory and speed of a computer in the cont-rol of the usual voltage-con­trolled equipment.

Discussion after the panel included comments from the audience concerning other programs now under way. Among those speaking briefly was Barry Vercoe (Princeton), who described an extension of the MUSIC 4B program which attempts to solve problems of excessive notational and running time by means of a "compiler" routine bypassing parts of the FORTRAN or ALGOL instructions. The new routine is usable on all IBM 360 series computers. A demonstration by Moog of some of his equipment ended the panel.

* *

The first of two concerts took place Friday evening in the excellent new Lotte Lehmann Concert Hall on the campus of the University of California/Santa Barbara. '!\Tith a few exceptions (noted below), it was produced by players from the University of Cali­fornia/San Diego. Opening with the world premiere of Proportions (1968) by Wendell Logan (Ball State University), the program continued with the Flute Variations (1963) of Charles Wuorinen (Columbia) and Noya (1966) by Harold Budd (California College of Music and Art). The first half ended with Double Basses at Twenty Paces (1969), written by Pauline Oliveros (Univcrsity of California/San Diego) for col­league Bertram Turetzky, who performed it with bassist Ross Lund (University of California/Santa Barbara). The second half of the concert included a performance by trombonist Stuart Dempster (Univer­sity of Washington) of One Man (1967) by Ben Johnston (University of Illinois), followed by Armistice, a truce for dancers and musicians (1966) by Sydney Hodkinson (University of Michigan). The evening ended with Kenneth Gaburo (University of Cali­fornia/San Diego) conducting his Antiphony IV (1966).

Satu1-day began with a series of performance demon­strations by trombonist Stuart Dempster, clarinetist Jeffrey Lerner (University of Houston), bassist Bert­•ram Turetzky, and bassoonist Les Weil (University of California/Santa Barbara). Problems of "new" instru­mental sounds and the notation thereof were dis­cussed, questions were answered, and each performer played a recent work for his instrument. Works heard were Luciano Berio's Sequenza V (1966) for trombone, William 0. Smith's Variants (1967) for clarinet, Robert Erickson's Ricercar a 3 (1968) for contrabass and two recorded contrabass tracks, and David Ward-Stein­man's Child's Play (1969) for bassoon and piano, with the composer as pianist.

After lunch on Saturday, Conference pairtoic1pants strolled across the campus to the Magic Lantern The­atre to attend the two afternoon presentations. First came a panel discussion on "The Relation of Licens­ing Organizations to University Composers," with guest speakers Martin Bookspan (ASCAP) and Calfl Havelin (BMI) sharing the platform with moderator Peter Racine Fricker. An informative and active dis­cussion took place between the two speakers and the members of the Society who brought up questions on this topic of importance to all composers. Rather than review the topic here, I refer the reader to H. Owen Reed's article which covers much of the mat­ter ·in the ASUC Newsletter of January, 1969.

The second event of the afternoon made use of the facilities of the Magic Lantern Theatre, as film com­poser Leonard Rosenman (Warner Brothers-Seven Arts) entertained and instructed the Conference mem­bers with two versions of a film sequence from The Savage Eye. Rosenman had composed sha~-ply differ­ing scores to the two versions, illustrating the two con­trasting approaches to film scoring, naturalism and artistic reality, which he put forth in his recent article "Notes from a Sub-Culture" (Perspectives of New Music, 7: 1). Following the film, Rosenman went on to discuss his ideas for "open form" films-films which, on an analogy with open form music, would be change­able in form, multiple in projection, and perhaps modular in every dimension.

Saturday night saw the second concert of the Con­ference, presented (with one exception) by the Univer­sity of Oregon Players. Beginning with the Woodwind Quartet No. 2 (1964) of William Sydeman (Mannes College of Music), the program continued with the world premiere of Adine Diamond's Trilogy (1966). Next came Garnes of Five (1968) by Charles Whitten­berg (University of Connecticut) and a playing of Vocalise for four-channel tape (1965-67) by Alden Ash­forth (University of California/Los Angeles). After the intermission came the world premiere of Interplay for Flute, Horn, and Percussion (1969) by Homer Keller (University of Oregon), followed by Interruptions (1965) by Elliott Schwartz (Bowdoin College). The

c concert ended with a performance by members (and friends) of the University of California/Santa Barbara Men's Glee Club of Chortas (1968) by Richmond Browne (University of Michigan), conducted by the composer. Both concerts were well attended and warmly received by members of the Society and num­erous auditors from the music community of Santa Barbara.

* * * * Sunday morning saw the last scheduled event of the

Conference. A wide-ranging, free-swinging, and quite fascinating panel discussion, vigorously enlivened by members of the audience, tackled the topic: "Should Composition be Taught in Universities, and if so, How?" Chairman Joel Mandelbaum (Queens College, CUNY) moderated the discussion. Official participants included Barney Childs, Paul Earls (Duke University), Bernhard Heiden (University of Indiana), Claudio Spies (Swarrthmore College), David W ard-Steinman (San Diego State College) and Richmond Browne. The first part of the topic question being rather quickly answered either yes, maybe, or no, other questions (in addition to "How?") were soon raised. Some of these were: "When?", "Whyr", "If not, why not? and what else?", "What is the proper use of a composer's time, influence, and training?", and finally

_,- the predictable but always provocative question-com-

plex: "How much system? What system? Teach a dis­cipline, a subject, a body of skill, OR teach a student, a potentially creative person, a growing human being?" As always is the case with panels of this sort, no definitive answers emerged; the exchange of ideas and attitudes, however, seemed unusually successful this time-or perhaps it was the California sun.

* * * * At the Society's annual business meeting on Satm­

day afternoon, treasurer Charles Dodge reported on the financial picture of the organization. Two points emerged from his report: (1) the Society is currently in debt and must find support for part of the cost of further Proceedings and for the support of future Summer Institutes, and (2) with a membership now stabilized at nearly 175, a projected balanced budget can be foreseen which would include the cost of gen­eral running expenses, the Proceedings, and an annual Conference, but would not include a Summer Insti­tute.

Reports from Regions included statements from Allen Brings (Region 11), Clifford Taylor (III), Don­ald Maclnnis (IV), Randolph Coleman (V), Carlton Gamer (Vil), and Barney Childs (VIII) concerning membership activities and projects being carried out on a local basis. Regions II, III, and V held Regional Conferences during the past year; Region VIII served as host for the National Conference.

As a result of membership voting, the Executive Committee has three new members: Carlton Gamelf (Colorado College), ,Paul Lansky (Princeton Univer­sity), .and Joan Tower (C. W. Post College). Elaine Barkin, Richmond Browne, Charles Dodge, Hubert S. Howe, Jr., Ben Johnston, and Raoul Pieskow remain on the Committee.

Preparations alfe already under way for Conference V (1970) which at this date seems likely to be held in the East, perhaps at Dartmouth in connection with the electronic music festival there. At any rate, after the genuine success of Conference IV, the participants can only urge all members to plan attendance next year.

RICHMOND BROWNE

CORRECTION

The January 1969 issue of the Newsletter was in­correctly labelled Volume 2 No. 3. It should, of course, have read Volume 2, No. 1.

SUMMER INSTITUTE

No Summer Institute is scheduled for the summer of 1969. Some thought has been given ,to making this a biennial, rather than an annual, event. Members are invited to submit their suggestions.

DUES POLICY STATEMENT

A member of the Society pays his dues for the calen­cfar year between January 1 and the date of the An­nual Conference. A member who is on leave or out of the country may inactivate his membership by writing the Executive Committee. He will receive no com­munications from the Society and will not be respon­sible for dues payments during this period. Those present members who are behind in thei<r dues pay­ments for the reasons stated above should now inform the Executive Committee so that they will not be held responsible for the year(s) in which they received no benefits from the Society. Members who fail to pay dues before the time of the Annual Conference of any year will be drnpped from the rolls of the Society.

PROCEEDINGS

Volume II of the Society's Proceedings (St. Louis, 1967) was distributed to the members early in April of this year. If financial support can be found, the Executive Committee plans to accelerate the issuing of Volumes III (which will include the Philadelphia Conference, 1968, and the Ann Arbor Summer Insti­tute, 1968) and IV (the Santa Barbara Conference, 1969).

Subscriptions and back issues can be obtained at $5.00 per year from the Proceedings Editor, American Society of University Composers, Dept. of Music, Col­umbia University, New York, N. Y. 10027.

Members are strnngly urged to ask ·their respective music libraries to become subscribers. Every music library ought to be a subscriber to the Proceedings; the timel~ness and uniqueness of the contents argue for their inclusion on every theory shelf. Equally im­portant, however, is the beneficial effect such subscrip­tions have on the financing of the Proceedings. A rela­tively small number of subscribing libraries could have the effect of making the Proceedings almost com­pletely subsidized by this one means. Speak to your music librarian!

NEWS FROM THE REGIONS

(Cf. report of the National Conference business meeting for summaries of regional reports given there.)

Region Ill

The first regional conference of Region llI took place at T emple University March 8. I think the con­sensus of opinion would be that the meeting was a good one. As I realized when I took over Region III as chairman, it: had a terribly small membership. This regional meeLing was directed purposefully to prospec-

tive members, and a fair number have expressed their desire to become members. As invited guests, many did attend and even participate in this meeting. The con­ference opened with a discussion of ASUC for prospec­tive members. Reports on area and institution activi­ties followed, from Robert Bernat (Indiana University of Pennsylvania) representing v\Testern Pennsylvania, Emerson Meyers (Catholic University) and Esther Wil­liamson Ballou (American University) representing Washington, D. C., and Emma Lou Diemer (Univer­sity of Maryland) representing Maryland.

J. K. Randall's Lyric Variatiorts for Violin and Com­puter (with Paul Zukovsky as the violinist on the tape) was a high point of the afternoon. The composer was present, and carried on a fairly extended discussion afterwards on the structure of the piece, general com­puter technology, and related matters. The University of Pennsylvania student group, directed by Hugh Hartwell, performed works by Andrew Frank, Richard Bellak, Howard Lipman, Hugh Hairtwell, Alan Cross­man, Paul Riale, and Lee Silvan. Informal tape pres­entations featured Emerson Meyers, Robert Bernat, and Richard Gross. There was also an informal dem­onstration of the T emple University electronic music studio.

A panel on performance problems included Claudio Spies (Swarthmore College and Harvard Summer School, 1968); Clifford Taylor (Temple University); and Richard ·wernick (University of Pennsylvania). It brought forth some interesting commentary frnm the audience. The discussion got around to the difference between training performance groups in liberal ar ts institutions and in performance-oriented institutions, with some special comments concerning those sta te­supported "universities" recently converted, here in Pennsylvania at least, from teachers' colleges. Since a number of visiting prospective members had associa­tions with these latter institutions, some of the more deprecating comments, about educators training futuire educators in stereotyped ways with outmoded musical thinking, caused noticeable friction. Represen tatives of some of these institutions stated in rebuttal the facts of their qualifications in brief and their concern for and ability to deal with current problems and current creative effort. The discussion's most interesting aspect brought into focus some thinking to the effect that, while liberal arts institutions maintain high academic levels, they do not educate those numbers of people who are sent out into public education with the re­sponsibility for the breadth of education, and so in fact have very little t o do with effecting change edu­cationally. The real educational impact, it was sug­gested, is emerging from that broad base of stat e­supported institution concentrating on educating edu­cators and, given the qualifications of faculty coming into these institutions, the more significant effect on the state of music generally could probabl y occur there.

This discussion certainly launched in my mind a view of the value of what I had tried to bring about in increasing our membership in this way. I think the organization needs morre of the voice of this broad base of state-supported education. One gets an im­pression that complete representation of composers in all kinds of institutions brings out a powerful dicho­tomy, state subsidization standing as a massive force developing rapidly now, as opposed to the more exclu­sive, privately endowed education commonly known as "liberal arts." The problem is the matterr of assur­ing representation in ASUC of this large grass-roots kind of effort and mode of operation. I doubt that we can overlook so brge a movement for long, and I hope that would not be our intention, but that we might try as an organization to bring some unity out of these two points of view.

Our approach to new music here at Temple has some bearing on the discussion. Our Collegium Musi­cum for Contemporary Music, begun some years ago, has now been instituted as a regular class, and this semester, with an assistant conductor, I have groups and individual students studying 10 worrks for per­formance, by V\Tuorinen, Layton, Kirchner, Schwartz, Stravinsky, Bartok, Webern, and a short choral work of mine. There is resistance, of course-to a surpris­ingly moderate degree compared to two years past. The best answer seems to be to get a performer play­ing the music accurately. It can be convincing by itself if directed well, a f;>Oint. made at the conference by Mr. Spies concerning his Harvard Summer School experience.

At Temple, we have excellent musicians in abun­dance. In contrast to the liberal arts institutions, our need is to enlarge their musical horizons beyond what they get from their frequently conservative teachers and their own musical awareness and intelligence. We have a low tuition as a state-related institution. Our students are of diverse backgrounds, mostly with a fairly strong urge for conventional recognition through performance. Many already do professional work, give privately sponsored recitals, ·appear as soloists in youth concerts with the big orchestras. But their vocational interest is necessarily urgent. For the majority of our people, public school education is a primaxy voca­tional goal, so we have the strong education program emphasis common everywhere. This often means stand­ard repertoire, or moderately contemporary rrepertoire, in private study and ensemble work, even for students in the Bachelor of Music programs, and re-emphasized in the Bachelor of .Music Education programs. New ideas or concepts may not be particularly welcome. Frequently the attitude of our students is to make music but not to evaluate it, except for its perform­ance value. Their position is to do an excellent job

of whatever is asked of them, and this is highly com­mendable, but it does not allow much room for exer­cising and developing judgment of a complex char­acter.

All students' time is heavily structured, with band, orchestra, and choral rehearsals, private lessons, class work, and very frequently a commuting schedule. What rationale for complex music, technically de­manding beyond learned instrumental or vocal formu­lae, and without mass appeal, can be convincing for these students? And yet, here is where the real work is done in effecting change educationally. The mind can move quite rapidly under the liberal arts orienta­tion, but the dialogue between this condition and actual implementation of concept has not only to exist but be enlarged. I hope we have something going here.

A fall 1969 meeting of Region III is tentatively scheduled for \,Yashington, D. C. with possibly some interesting information on Bartok by a countryman, and an initial exploration of the impact on music of the black community, composers who represent it, and its social orientation.

, CLIFFORD TAYLOR

Region II

Region II held its annual conference, as announced in the last Newsletter, on March 8, hosted by Colum­bia University. It consisted of two panel discussions, arranged by program chairman Ursula Mamlok, and a short business meeting presided over by Regional Chairman Allen Brings. Many members, and some non-member guests, were in attendance.

The first panel, on "Theory as Instruction," was moderated by Leo Kraft, and offered a diversity of views from different types of institutions. Milton Bab­bitt (Princeton University) likened the conservatory student to a native speaker learning to formulate the grammar of a language he already knows quite well intuitively. By contrast, students at Princeton tend to have little musical background and will keep music in a passive role throughout their development. The Princeton program begins with species counterpoint as an approach to .tonal music; emphasis is placed on analysis, influenced by Schenkerian theory, going up at least through Beethoven. Benjamin Boretz (New York University) likes to start with what is useful to all students, with an emphasis on general concepts. These would include a concept of surface and back­ground, intervals, polyphony, minimal perception of repetition. Practice in :rules is facilitated by this kind of background. Billy Jim Layton (SUNY/Stony Brook)

doubts that there is a marked difference between uni­versity and conservatory students at the elementary theory level. Composers, he feels, should get the same education as other musicians, with learnino- to hear l . 0 las1c for all. He :finds contemporary music too con-fused to serve as a focus for basic ear-training, and likes to focus on a limited body of music, such as Bach, Palestrina. The Stony Brook program begins with melody writing, includes modal 16th-century counterpoint and tonal harmony including 4-part chorales, with a third year of pure analysis. Joel Spie­gelman (Sarah Lawrence College) finds that both com­poser and performer as beginning students resist the study of theory. At his school, each teacher is at liberty to choose his own procedures, but the emphasis is on processes not skills, and contemporary music is brought in as illustration wherever possible. Charles Wuorinen (New England Conservatory) aims at encouraging writing by students according to their own lights. Unlike some previous speakers, he believes under­graduate theory should stress the basic "calisthenics" of writing, and that the beginning course should be taught as though all the students were going to be professional. Some discussion from the floor brought up pros and cons of species counterpoint, the amount of writing needed in a theory course, and the impor­tance of acquainting students with actual performance and performance realities.

The second panel, on "The Position of the Black Composer in Current American Music" was chaired by Eric Salzman, and presented Carman Moore, Stephen Chambers, Milford Graves, and \'\'illiam Fischer, from the Society for Black Composers (cf. last Newsletter for information on this group). The composers, in indi­vidual statements and in response to questions from the floor, brought out a number of significant features characteristic of the black composer and his milieu. The black composer today is interested in his African roots. In tribal society, the musician functions as a kind of high priest, with links to all the emotional and spiritual elements of society . .Music is close t~ religion, magic, Titual. Hence black communities are used to listening· to music seriously, not as entertain­ment; a 'record player is found in nearly every black family, and children are encouraged to listen to music, dance to it, and in general respond actively, not accept it as mere background. The black composer thus finds a receptive audience. Black performers in general are equipped to play either jazz or classical music, another factor which has influenced black composers, often in the direction of incorporating complex improvisation procedures in their music. The black creative artist works from a philosophical premise, emphasizing so­cial change, and with perhaps a stronger commitment to communication with his audience than is usually evident among white composers in an advanced style. Taped excerpts from compositions by the panelists

were presented and briefly discussed, both by the com­posers and by members of the audience.

SUMMER COURSES AND FESTIVALS

The 24th International Vacation Course for New Music at Darmstadt will run from August 24 through September 5. The faculty includes composers Foss, Stockhausen, Ligeti, and Maderna, as well as perform­ers who are specialists in contemporary music. In 1970, commemorating the 25th International Vacation Course, the city of Darmstadt will offer four composi­tion prizes totalling 21,000 DM. Information on the Courses and the competition from International Mu­sic Institute of Darmstadt, 61 Darmstadt, Nieder-Ram­stadter Strasse 190, West Germany.

Pierre Boulez will conduct a course in the interpre­tation and conducting of contemporary music June 16-July 5 at the Music Academy of Basel, Switzerland.

Syracuse University will conduct a foreign study program in honor of Hindemith, L'Ecole Hindemith, at Vevey, Switzerland, where Hindemith's last home and grave are located. The school will be under the direction of Howard Boatwright, dean of Syracuse's School of Music and a pupil of Hindemith. Dates are June 10-Aug. 1.

Stanford University will offer two summer work­shops in computer applications to music July 21-Aug. 15. Composers Leland Smith and John Chowning will conduct the workshop in computer-generated music, in tended for composers and theorists interested in using the computer for sound generation and com­position. vVolfgang Kuhn will give a concurrent work­shop in computer-assisted instruction. Dept. of Music, Stanford University, Stan ford, California 94305.

Henk Badings will conduct a workshop in contem­porary music as part of the Pittsburgh Festival of the Arts June 29-Aug. 10. The programs of music and dance include 10 world premieres. Dept. of Philosophy and Fine Arts, Point Park College, Pittsburgh, Pa. 15222.

Easley Blackwood will be 011 the faculty of a com·se ir~ the int~rpretation of romantic and contemporary piano music at Northwestern University July 7-18. He will include two recitals, of music by Boulez, \'\'ebern, Ives, Berg, Schoenberg, et al. Northwestern University School of Music, Evanston, Ill. 60201.

New England Conservatory will offer a summer in­stitute in Contemporary Trends in Music Education at Tanglewood July 14-Aug. 22. Herbert Alper is di­rector of the course, and composers Donald Martino and Otto Luening are on the faculty. New England Conservatory Institute at Tanglewood, 290 Hunting­Lon Ave., Boston, Mass. 02115.

SYMPOSIUMS

The Composers' Forum exists to provide the young composer with a bridge into the professional world. Each Forum is devoted to two composers only, and takes place in the Donnell Library in New York. Any composer living in the United States is eligible for presentation, once only. This means he must be ver;; sure that he has a number of works he would like to be represented by, revealing an overall mastery of expression. If selected, he must be ready to put to­gether a program of about one half hour of chamber music, using 6 or fewer performers. Composers must also be present at the Forum, for the question period that follows. Composers interested should submit 4 or 5 scores in diverse media, by November 1 to appear in the spring of 1970, and by May 1 for the following fall. William Hellermann, General Manager, Com­posers' Forum, 111 Amsterdam Avenue (Room 519), New York, N. Y. 10023.

The 7th annual Symposium of Contemporary Mu­sic for Brass of Georgia State Colleg·e will be held in Atlanta Feb. 20-22, 1970. Although the Southeastern Composers League is a co-sponsor of this event, all composers, not just League members or regional resi­dents, are welcome to submit scores. Scores and parts should be submitted by Oct. 15, and may be for all brass combinations, also for brass-percussion, brass with tape, brass-vocal, and brass-piano. (Please check before submitting other combinations.) Works will be performed by the Georgia State College Brass Ensem­ble with Lhe New York Brass Quintet as guest artists. A $300 Commission Award will be given to one of the composers performed. Two albums from past Symposia are available on records, CR4084 and CR-4085, Golden Crest Records . William H. Hill, Dept. of Music, Georgia State College, Atlanta, Ga. 30303.

New Dimensions in iVIusic, which presents in Seattle and on tour a series of public concerts of new music, is most interested in receiving scores from composers, preferably fm 7 performers or fewer; all instruments, singers, and tape playback are available, and perform­ers are all professionals. Scores and tour inqui·res should be sent to Joan Franks v\Tilliams, Music Direc­tor, New Dimensions in Music, 107 S. Main, Seattle, Wash. 98104.

The University of Iowa Center for New Music in­vites composers to submit scores and tapes for consid­eration for performance. All types will be considered: Ii ve, electronic, mixed media, improvisational, large/ small ensembles, voice, experimental, etc. Center for New Music, School of Music, U. of Iowa, Iowa City, Ia. 52240.

CONTEMPORARY MUSIC ON CAMPUS

(Alphabetized by school)

Andrews University presented faculty composer Blythe Owen in a recital of her compositions February 9. Dr. Owen recently received the Pedro Paz Award for a composition for voice, violin, and piano.

Bowdoin College held its 4th annual Contemporary Music Fe&tival May 16-17, featuring the Aeolian Cham­ber Players as performers. Works performed by them included compositions commissioned for this Festival by Pauline Oliveros and Brian Fennelly, as well as the prize-winning work in the 1969 Bowdoin Competi­tion, Signos de las Tiempos by the young Argentine composer Antonio Tauriello. Also heard were works by David Burge, David Gilbert, Raoul Pleskow, and Elliott S. Schwal'tz. Other recent programs at Bowdoin have included the world premiere of Schwartz's Voy­ages for wind orchestra, a concert of works by Robert Moran, Douglas Leedy, Cornelius Cardew, and Lukas Foss, and compositions by Janacek, Read, Riegger, and Stravinsky.

A Brandeis University concert of 20th century music in May included Randall's Lyric Variations for Violin and Computer, as well as works by Babbitt, Berger, and Harbison.

The UniveTsity of Colorado presented its 4th Fes­tival of Contemporary Music Feb. 11-March 17. Com­posers present for lectures and performances of their work were Earle Brown, Elliott Schwa•rtz, and Vladi­mir Ussachevsky. Paul Zukovsky, violin, and the Aeoli­an Chamber Players were among· the pel'formers. Works by 26 composers were hea['d, including world premieres of compositions by Richard Bromley and George Walker.

Columbia U uiversity's Group for Contemporary Music included in its spring concerts premieres of works by Elaine Barkin, Arthur Berger, and Nicolas Roussakis, as well as compositions by Brehm, E. C. Laufer, Stravinsky, Varese, and Wolpe. The Perform­ers' Committee for 20th Century Music also presented three concerts at Columbia, each devoted to a single composer: late Debussy, Bartok, and Henry Cowell.

- ·~

The Columbia University Chamber Music Readings directed by Max Pollikoff are scheduled for 5 consecu­tive Thursdays starting May 22. Unpublished, unper­formed works and works-in-progress are read, with the composers in attendance.

The University of Connecticut, continuing its series The New Music, presented soprano Bethany Beardslee in Babbitt's Philomel in a concert March 24. Also on the program were works by Arel, Hubert S. Howe, Jr., Pleskow, Rovics, Varese, and Wolpe.

Duke University will inaugurate graduate work leading to the M.A. in Composition-Theory in Sep­tember 1969. The program is conceived for a small number of students, and offers a high ratio of faculty to students and a good library. Assistantships and scholarships are available. Address Prof. w·arren Kirk­endale, Director, Graduate Studies, Dept. of Music, Duke University, Durham, N. C. 27708.

The Eastman School of Music had Henry Brant as guest composer in March, lecturing and conducting in a program of his works by the Eastman Collegium and the Eastman ·wind Ensemble. Eastman's 39th annual Festival of American Music took place May 4-9 and included world premieres of works by Wayne Barlow, Michael Brozen, Edmund Haines, Gordon Johnson, Jerry Owen, Elie Siegmeister, and Noel Stevens; the U.S. premiere of works by the young Soviet composer Rodion Shchedrin; and numerous Rochester pre­mieres. Throughout the year, contemporary works appear frequently in concerts by Eastman's many per­forming groups.

Georgia State College's 6th Annual Symposium of Contemporary Music for Brass, in February, presented works by 36 composers, including Robert Cogan, Con­rad De Jong, William Duckworth, Emmanuel Ghent, Robert Hall Lewis, Donald Maclnnis, Joseph Ott, Daniel Pinkham, and Gilbert Trythall. (For future programs, cf. Symposiums.)

Hofstra College premiered a multi-media work by Richard Arnell, British composer, currently a visiting member of the faculty, April 27. The work, Combat Zone, was commissioned by the Hofstra Chorus, and also included soloists, natrator, film, videotape, and orchestra. Electronic effects for the work were created by faculty composer Herbert Deutsch. The perform­ance was part of a program entirely devoted to British composers.

Sam Houston State College's contemporary music festival in March presented Alvin Etler as guest com­poser and lecturer.

Illinois Wesleyan University presented its 1969 Symposium of Contemporary Music March I0-21. Guests included composers Ulysses Kay and Iain Hamilton, and the Loop Group from DePaul Univer­sity in a mixed-media concert.

The University of Michigan's Contemporary Direc­tions group presented in January a concert of new chamber music by Browne, Erb, Feldman, Moss, and \Vestergaard.

Recent concerts of die Tape Center and Perform­ing Group at Mills College have included instrumen­tal and mixed media works by Austin, Earle Brown, Maraldo, Milhaud, Moran, William 0. Smith, Stra­vinsky, and Yun.

Nazareth College presented programs of electronic and other new music in an open environment in February and April. Composers represented were Wayne Barlow, Timothy Clark, Jean Eichelberger hey, Hilton Jones, Karl Korte, John Allen LoPresti, Randall McClellan, Franklin Morris, Paul Polombo, and Timothy Sullivan. Composers interested in sub­mitting material for a fall concert should write Tim­othy Sullivan, Nazareth College, 4245 East Ave., Rochester, N. Y. 14610.

A Mini-Festival of one-act operas at the State Uni­versity of New York/Buffalo included operas by Law­rence Moss, Gustav Holst, and Leona'fd Bernstein.

SUNY/Potsdam held a Composers' Forum Oct. 31-Nov. 2, sponsored by its own music department and the Office for University-Wide Activities of SUNY. Eleven composers on the faculties of various SUNY branches participated. Vincent Persichetti was guest composer and panel moderator.

SUNY /Stony Brook had a Stravinsky Festival in April with the composer in attendance. It included an all-Stravinsky concert conducted by Robert Craft, a lecture by Craft, the first public showing of a film, Portrait, Igor Stravinshy, and a panel discussion on "Stravinsky: His Impact, His Achievement," by Berger, Carter, Copland, and Wuorinen, chaired by Billy Jim Layton.

North Texas State University presented a symposium of new music by composers from the Southwest March 23-28. Pedorming resources included chorus, band, orche~tra, chamber ensembles, faculty artists, and the NTSU Electronic Music Laboratory. Composers inter­ested in future recurrences of this event should seek infmmation from V. Martin, Library Bldg., Room 216, North Texas State U., Denton, Texas 76203.

~.

Part II of Oberlin College's 19th Festival of Con­temporary Music was held April 23-26. Iannis Xenakis lectured and gave a seminar; his Atrees for mixed en­semble was performed, along with works by Casti­glioni, Richard Bunger, Reed Hoyt, Richard Hoffman, Leonard P. Smith, Stockhausen, Subotnick, Olly Wil­son, and Walter 'iVinslow. Heard on the Festival's Part I last fall were works by Boulez, Randolph Cole­man, Davidovsky, Stockhausen, Roger Reynolds, Dean Nuernberger, H. M. Gorecki, Lutoslawski, and Foss, along with a program of student works.

'Villiams College presents a continuing chamber music series called Music in the Round, directed by Julius Hegyi and played by professionals. In a strong though not exclusive emphasis on contemporary mu­sic, these programs have recently included Copland, Gaburo, Ginastera, Krenek, Messiaen, Riegger, Schwartz, Stevens, Villa-Lobos, and Vogel.

The Wisconsin State University/River Falls 1969 Fine Arts Festival presented Chou Wen-Chung as guest composer and lecturer. A complete program of Chou's chamber music included a new work, Yiin, commissioned for the occasion. Elsewhere on the Fes­tival was a program of works by Christian Wolff, Elliott Schwartz, Sydney Hodkinson, Gordon Mumma, and Emmett 'iVilliams.

OTHER CONTEMPORARY PROGRAMS

The National Gallery of Art presented its 26th American Music Festival on the Sundays of April and May. American composers from the 18th through the 20th century were represented. The centenary of Gottschalk's death was commemorated in a piano re­cital of his works and a performance of one of his symphonies. Among the 20th century composers per­formed were 'Villiam Bergsma, David Diamond, Ken­neth Gaburo, Walter Hartley, Alan Hovhaness, Peter Mennin, Robert Parris, Walter Piston, Ben 'Neher, and Richard '!\Tillis. Richard Bales is music director of the Gallery and conductor of the Gallery Orchestra.

The Pasadena Art Museum presented its 5th season of contemporary programs under the title Encounters, directed by Leonard Stein. Composers featured, each in a complete program devoted to his work, were Earle Brown, Ernst Krenek, 'Villiam 0. Smith, and Milton Babbitt.

CURRENT RESEARCH

Dr. Leland A. Lillehaug is pursuing a research proj­ect on "The Aesthetic Gap between the Contemporary Composer and the Audience and Performer," sup-

ported by the U.S. Office of Education's Bureau of Research, Region VI. Currently on leave from Augus­tana College, Sioux Fall, S. D., Dr. Lillehaug has trav­elled all over the United States interviewing noted composers, performers, educators, and listeners. Now living in the San Francisco area, he would like to hear from all musicians interested in the topic. His address is 18815 Tilson Ave., Cupertino, Calif. 95104; telephone (408) 255-0309.

The . Music Publishers Association invites sugges­tions for improving the notation of music for percus­sion, from composers, performers, and teachers. The Association hopes to provide standards or guidelines which may improve communication: Send suggestions to Arnold P. Broido, Frank Music Corp., 119 West 57 Street, New York, N. Y. 10019.

PERIODICALS

The Electronic Music Review has ceased publica­tion with its seventh issue. Since no other publication has had electronic music as its main focus, this depar­ture can only be viewed with regret. Numbers I, 4, 5, 6, and 7 are still available, at $2.25 each, from the Independent Electronic Music Center, Trumansburg, N. Y. 14886. Number 2-3, a combined issue which con­stituted the International Electronic Music Catalogue, a major reference work in ·the field (cf. Newsletter, Vol. I No. 2 for description), may be ordered from the M.I.T. Press.

A new periodical, the American Musical Digest, will begin regular publication in the fall. A pre-publica­tion issue is now available on request. The magazine, a project of the Music Critics Association under a grant from the National Endowment for the Arts, is a monthly digest of music criticism appearing in maga­zines and important newspapers throughout the world. Gene Bruck is executive director of the project. Offices are at 1865 Broadway, New York, N. Y. 10023.

COMPETITIONS

Darmstadt Competition. See under Summer Courses and Festivals.

vVoodwind Quintet Contest. Native American com­posers. Unpublished, unperformed work for woodwind quintet, 15 minutes or less. $100 and performance at MacDowell Festival of Mitchell College, New London, Conn., Oct. 3-5, 1969. vVinning composer must partici­pate in Festival; expenses will be paid. Deadline for score and parts July 15. Sponsmed by Eastern Con­necticut Symphony Orchestra, whose members will perform the winning quintet. Mrs. Charles Frink, Manager, Eastern Connecticut Symphony Orchestra, P. 0. Box 627, New London, Conn. 06320.

. 4th International Ballet Music Competition, of the city of Geneva and the Swiss Radio. Ballet, 15-40 min­utes, unpublished, unperformed, scored for orchestra of at ~east 20 players. Deadline for score and piano reduct10n Sept. l, 1969. 10,000 Swiss francs, perform­ance, and broadcast. Concours International de Mu­sique de Ballet, Maison de la Radio, 66 boulevard Carl-Vogt, CH 1211 Geneva 8, Switzerland.

T~ieste 8th Annual Competition for Symphonic M us1c. Symphonic composition. 2,000,000 liras and performance; also lesser prizes. Deadline Sept. 7, 1969. Premio Citti di Trieste, Conservatorio di Musica G. Tartilii, Via Ghega 12, I -34132 Trieste, Italy.

Leo Sowerby Memorial Award. Sacred cantata for SATE with organ (plus optional small orchestra) suit­able for choir of 30-40 voices, 20-30 minutes. $500 and publication by H. W. Gray Inc. $2 entry fee. Deadline Oct. l, 1969. John Walker, 410 South Michigan Ave., Chicago, Ill. 60605.

Compositions for worship, suitable for amateur church choirs: sacred operas, anthems, preludes, and hymn arr~ngemen~s. $500 and lesser prizes, plus per­formance m a .festival of sacred music. Deadline Oct. l, 1969. Alfred Neumann, Christ Congregational Church, 9525 Colesville Rd., Silver Spring, Md. 20901.

Schnitger Prize - 4th International Competition. Organ composition. Deadline Dec. 31, 1969. Secretariat of the Competition, Emmawijk 2, Zwolle, Netherlands .

. Delta Omicrnn Contest. "Vomen composers. Unpub­lished, unperformed song cycle for solo woman's voice with piano accompaniment (plus another instrument if desired), 10-15 minutes. $300 and performance at 1.971 Delta Omicron Conference. $5 entry fee. Dead­lme Aug. 1, 1970. Dr. Maria Ezerman Drake, Chair­man, Composition Competition, Philadelphia Musical Academy, 1617 Spruce St., Philadelphia, Pa. 19103.

Compo.sitions for educational television: full-length symphomc work for full orchestra, 10-30 minutes· mu­sic drama or opera, 15-60 minutes; chamber ~usic composition for 3 or more instruments, 12-30 minutes; composition for orchestra and voice, 10-20 minutes; composition for orchestra and instrumental solo, 15-30 minutes; full-length dance drama, or series of dance pieces, not over 60 minutes. Awards up to $1000. Awards Chairman, Mississippi Authority for Educa­tional Television, Post Office Drawer 2470, Jackson Miss. 39205. '

AWARDS

William Albright's Organbook 1967, a set of 5 piec~s which he included in his performance-demon­strat10n at the 1968 ASUC Summer Institute in Ann Arbor, .'~on the $2,300. Queen Marie-Jose prize for composHion. Mr. Albright performed the work in Geneva in March.

, Tied l'.or first. prize in the 1969 Dartmouth College Electromc Musi~ Contest were Peter Klausmeyer, a 26-_Year-old American who composed his winning Cam­bria~ Sea a~ the University of Michigan Electronic l\fos~c Stud10;. ~nd .Peter Glushanok, a 54-year-old Latvian n~w hvmg m N:w York, who composed his In Memonan for My Friend Henry Sala in a home studio. The winning works will be recorded.

The $1000 prize for percussion quartet composition offered by SUNY /Buffalo and the New Percussion Quartet was won by Ryszard Kwiatkowski of Szczecin, Poland.

\<\Tinner of the National Federation of Music Clubs awar~ to an outsta~d.ing woman composer of sym­phomc works was M1nam Gideon.

CALENDAR (cf. this and previous Newsletter for details)

JUNE

9. Summer courses in "Today's Music," Southern Illinois U. Through Aug. 2.

10. L'Ecole Hindemith, Vevey, Switzerland. Through Aug. 1.

16. Interpretation of Contemporary Music course, Pierre Boulez, Music Academy, Basel, Switzerland. Through July 5.

l 9. Festival of Two Worlds, Spoleto, Italy. Through July 13.

20. International Society for New Music Festival, Hamburg, Germany. Through June 27.

21. World premiere, Devils of Loudun, opera by Penderecki, Hamburg State Opera.

29. U.S. premiere, The Prodigal Son, parable by Brit­ten, Caramoor Festival, Katonah, N. Y.

29. Pittsburgh Festival of the Arts. Through Aug. 10. 30. Festival of the Arts of this Century. U. of Hawaii.

Through July 23.

JULY

1. Bowdoin College Summer School of Music, Aeoli­an Chamber Players. 6 weeks.

7. Electronic Music Workshop, Peabody Conserva­tory. Through July 11.

14. Seminars in Electronic Music, North Texas State University. Through July 31.

16. Conference on Contemporary Music, Aspen (Col­orado) Music Festival. Luigi Dallapiccola, guest composer. Through July 30.

21. "Music and the Computer" workshops, Stanford University. Through Aug. 15.

AUGUST

I. U. S. premiere, HeljJ! Help! the Globolinks, opera by Menotti, Santa Fe Opera. On double bill with Stravinsky, Rossignol. Repeated Aug. 6, 9, 15.

14. U.S. premiere, Devils of Loudun, opera by Pen­derecki, Santa Fe Opera. Repeated Aug. 20.

24. International Vacation Course for New Music, Darmstadt, Germany. Through Sept. 5.

SEPTEMBER

5. International Music \i\Teek of the Gaudearnus Foundation, Bilthoven, Holland. Through Sept. 12.

EDITORIAL COMMENT

Recent months have added new members and a broader geographical distribution to the American Society of University Composers. Canadian members, some of whom have been with us from the first, are now present in larger numbers. And partly spurred on, no doubt, by the location of the 1969 National Conference, numerous new members from the West Coast, both of the United States and of Canada, have joined the Society. Certain Regions have made a strong and successful effort to draw new members into their activities; noteworthy is Clifford Taylor's report on Region III, suggesting some of the ways new mem­bers can be reached and the values to be gained from a broad-based membership.

We welcome all new members and urge them to contribute news and suggestions to the Newsletter. It is our desire that the Newsletter be truly representa­ive of the Society as a whole, not merely of a re­stricted geographical region. A high proportion of our members, and indeed of composers taken as a group, live in or near the large Eastern cities; this includes the editor of the Newsletter. It is but natural, then, that a great deal of news comes to hand from this geographical area. But this is not a regional News­letter! It is to be hoped that colleagues in other areas, such as Canada and the western United States, will make a special effort to keep the rest of us informed of activities in their region. From time to time, I meet persons who say: "You didn't mention in the News­letter our school, our region, our festival, our note­worthy achievement." To which the answer unfor­tunately is: "No one told me about it!"

And if possible, tell us in advance! Many persons have expressed interest in the Calendar feature of the Newsletter. But to appear in the Calendar, informa­tion must reach us well in advance of publication. Once an event is past, its interest for others is dimin­ished; it is then too late to attend or contribute or take any appropriate action, except perhaps to learn something from the example of what has been done.

The Newsletter appears three times a year, in J anu­ary, early summer, and early fall; news may be sent at any time to

JEAN EICHELBERGER I VEY

Editor, Newsletter 13 Duzine Road New Paltz, N. Y. 12561

THE AMERICAN SOCIETY OF UNIVERSITY COMPOSERS, INC.

A non-profit corporation in the state of New York

c/o Department of Music

Columbia University

New York, N. Y. 10027

Executive Committee

Elaine Barkin, Queens College

Richmond Browne, University of Michigan

Charles Dodge, Columbia University

Carlton Gamer, Colorado College Hubert S. Howe, Jr., Queens College

Ben Johnston, University of Illinois

Paul Lansky, Princeton University Raoul Pleskow, C. W. Post, L. I. U.

Joan Tower, C. W. Post College, L. I. U.

National Council

l David Epstein, Massachusetts Institute of Technology

11 Allen Brings, Queens College

IJI Clifford Taylor, Temple University

IV Donald Maclnnis, University of Virginia

V Randolph E. Coleman (Chairman), Oberlin College

Vl Jeffrey Lerner, University of Houston

VII Carlton Gamer, Colorado College

VllI David Cohen, Arizona State University

IX Homer Keller, University of Oregon

Jean Eichelberger Ivey, Newsletter Editor

Newsletter material should be sent to:

13 Duzine Road

New Paltz, New York 12561