Read 2011-Conference-Progam-3-24-11 text version

NACUSA Texas

Texas State University-San Marcos is a member of the Texas State University System

International Conference on the Sustainability of Modern Music March 25-26, 2011

Generously Sponsored by:

The Texas Chapter of the National Association of Composers USA (NACUSA Texas) The School of Music at Texas State University The University Lecturers Committee The Common Experience at Texas State University The University Bookstore at Texas State University

Hosted by Texas State University and by the NACUSA Texas Chapter at Texas State University · School of Music · San Marcos, Texas, USA

Keynote Speakers: Professor Mirjana Veselinovi-Hofman Professor Sran Hofman

Conference Hosts: Dr. Charles Ditto Dr. Dimitar Ninov Dr. Nico Schüler

Table of Contents

Page Conference Program ..................................................................................... Friday, March 25, 2011 ........................................................................ Saturday, March 26, 2011 ..................................................................... The Keynote Lectures & Speakers ..................................................................... Poster Abstracts .......................................................................................... Bios (in alphabetical order by last names) ............................................................ 3 3 4 6 8 9

Program Notes (in alphabetical order by the composers' last names) .............................. 15

2

Conference Program

A Display Table will be available throughout the conference (in Room 221), at which composers, performers, and scholars may display some of their work. Friday, March 25, 2011 6:00pm-6:45pm Registration & Sandwiches (etc.) & Poster Session, Room 221 - The German Composer Dietrich Erdmann (1917-2009) and his Emphasis on Tone Color by Nico Schüler, Texas State University 6:45pm-7:00pm Official Opening, Recital Hall - Drs. Ditto, Ninov & Schüler, Conference Co-Hosts - Dr. Tom Clark, Director of the School of Music - Dr. Wieslaw V. Rentowski, President of NACUSA Texas 7:00pm-8:30pm Modern Music Concert I, Recital Hall - Double Helix for piano duo (1987, rev. 2007) by Daniel Adams, Texas Southern University performed by Melinda L. Hudson & Anggraini Dinata, Texas State University - A Hero's Return for two trumpets, horn, trombone, and tuba (2010) ­ world premiere ­ by John Konderla, Stephen F. Austin State University performed by Chris Jordan (first trumpet), Taylor Reynolds (second trumpet), Violet Porter (French horn), Frank Luera (trombone), Bryce Biffle (tuba), Stephen F. Austin State University - Solaire for violin solo (2010) by Wieslaw Rentowski, Dallas performed by Hubert Pralitz (violin), Sound and Silence Orchestra in Dallas - She Dwells with Beauty for tuba and piano (2010) ­ world premiere ­ by Keith J. Robinson, Texas Lutheran University performed by Keith J. Robinson (tuba), Texas Lutheran University, and Philip Castro (piano), Texas State University - Where the Sidewalk Ends for voice and piano (2009) ­ world premiere ­ by Russell Drew Cannon, Stephen F. Austin State University performed by Tiffanny Hamilton (voice) and Chris Schoppe (piano), Stephen F. Austin State University - Prelude for piano (2009) ­ world premiere ­ by Edward Brown, Fort Worth Contemporary Music Fund performed by Edward Brown, Fort Worth Contemporary Music Fund - River Song No. 1 for clarinet, cello, and piano (2009, rev. 2010) ­ world premiere ­ by Bryce Nielsen Biffle, Stephen F. Austin State University performed by Hanna Gray (clarinet), Texas State University, Mason Lieberman (cello), Stephen F. Austin State University, and Chris Shoppe (piano), Stephen F. Austin State University 8:30pm-9:00pm Reception, Room 221 * * * 3

Saturday, March 26, 2011 9:00am-10:00am Registration & Breakfast & Poster Session, Room 221 - The German Composer Dietrich Erdmann (1917-2009) and his Emphasis on Tone Color by Nico Schüler, Texas State University 10:00am-11:00am NACUSA Texas Membership Meeting 11:00am-12:30pm Keynote Lecture I, Recital Hall On the Sustainability of Contemporary Music in Interdisciplinary and Cross-Cultural Contexts by Professor Mirjana Veselinovi-Hofman, University of Arts in Belgrade, Serbia 12:30pm-2:00pm Conference Luncheon 2:00pm-3:15pm Modern Music Concert II, Recital Hall - Study #1 for tape (1997) ­ world premiere ­ by Nico Schüler, Texas State University [Electronic Music] - Soliloquy for flute solo (1993) by Lowell Liebermann performed by Hsing-Chih Tsai (flute), Texas State University - Music for trumpet and piano (2010) ­ world premiere ­ by Ethan Schneider, University of the Incarnate Word performed by Kirsten Boynt (trumpet) and Faith DeBow (piano), Texas State University - REBUS 1 & 2 (1989) by Sran Hofman, University of Arts in Belgrade, Serbia [Electronic Music] - Entre Les Trous De La Memoire for piano (2009) ­ world premiere ­ by Tyler Hughes, Stephen F. Austin State University performed by Chris Schoppe, Stephen F. Austin State University - Dream Prologue for piano (1985) by John McGinn, Austin College performed by John McGinn (piano), Austin College - Cabinet of Curiosities: Electro-Baroque Suite of Found Sounds (2011) ­ world premiere ­ by Michael Austin, University of Texas at Dallas and the Laboratoire Musique et Informatique de Marseille (MIM) [Electronic Music] Mvt. 1 ­ Overture ("Human Heart") - Vanquishing Evil for solo piano (2011) ­ world premiere ­ by Mason Lieberman, Stephen F. Austin State University performed by Chris Schoppe (piano), Stephen F. Austin State University 3:15pm-3:30pm Coffee Break, Room 221 3:30-4:30pm Keynote Lecture II, Recital Hall The Sustainability of a Piece of Electronic Music by Professor Sran Hofman, University of Arts in Belgrade, Serbia 4:30pm-5:00pm Coffee Break, Room 221

4

5:00pm-5:45pm Invited Presentation, Recital Hall Introducing Music Analysis Through Unités Sémiotiques Temporelles (USTs) by Michael Austin, University of Texas at Dallas and the Laboratoire Musique et Informatique de Marseille (MIM) 5:45pm-7:00pm Dinner Break (pizza), Room 221 5:45pm-7:00pm NACUSA Texas Board Meeting, Room 214 7:00pm-8:25pm Modern Music Concert III, Recital Hall - Sonatina Pastorale for oboe, bassoon, and piano (2011) ­ world premiere ­ by Dimitar Ninov, Texas State University Movements I & II performed by Trio 488: Ian Davidson (oboe), Texas State University, Nathan Koch (bassoon), University of Texas at Austin, and Jason Kwak (piano), Texas State University - Celestial Mechanics for viola and piano (2009) ­ world premiere ­ by Till MacIvor Meyn, Texas Christian University performed by Ruben Balboa (viola) and Chuan Li Ko (piano), Texas State University - Pas de Deux for clarinet and oboe (2010) by Charles Ditto, Texas State University performed by Ian Davidson (oboe) and David Pino (clarinet), Texas State University - Etude in Two Places for snare drum solo (2008) by Daniel Adams, Texas Southern University performed by Bobby Lopez (snare drum), Texas State University - Vocalise for oboe and piano (2010) ­ world premiere ­ by Joshua Zinn, Stephen F. Austin State University performed by Ian Davidson (oboe) & Jason Kwak (piano), Texas State University - Singing of Wisdom for alto saxophone and piano (2010) ­ world premiere ­ by Adam Dastmalchi, Stephen F. Austin State University performed by Darron Carrington (alto saxophone) and Chris Schoppe (piano), Stephen F. Austin State University - Seafarer's Wake for oboe and piano (2010) ­ world premiere ­ by Michael Squilla, University of the Incarnate Word Moderato Adagio Moderato performed by Ian Davidson (oboe), Texas State University, and Zachary Ridgway (piano), University of the Incarnate Word - A Klezmer Notebook Notes for clarinet (2008) by Ken Metz, University of the Incarnate Word performed by Stephen Girko (clarinet), Austin Symphony 8:25pm NACUSA Texas Composition Competition: Announcing the Winners, Recital Hall 8:30pm-9:00pm Reception, Room 221

5

The Keynote & Invited Lectures

Mirjana Veselinovi-Hofman, University of Arts in Belgrade, Serbia On the Sustainability of Contemporary Music in Interdisciplinary and Cross-Cultural Contexts

Sustainability is a crucial term today to mark strategies and efforts which, generally speaking, have been made in securing and maintaining a humane form of life on our planet, in all segments of that life: ecological, economic, technological, social, cultural... Those efforts were initiated by an awareness of the global scale of the environmental and energy problems of life on the planet Earth, which have been accumulating, especially since the beginning of the 70s of the twentieth century. True, the term sustainability is not mentioned specifically in connection with music. However, that which the music of the twentieth century has demonstrated, achieved and reached through its development and interweaving with other arts and sciences of arts, meaning, in its interdisciplinary and cross-cultural trends, points also to those tendencies which can be related to the issues of sustainability, in the direct or indirect sense. These issues refer to the possibilities and forms of the durability of all positive aspects that are encompassed by the presence and functioning of diverse systems and their potentials for providing the optimal conditions and means for the achievement and development of healthy life in the entire healthy environment. As indicated in the report on sustainability and sustainable development, which was written by the Brundtland Commission of the United Nations and published in 1987, it concerns the strategy of fulfilling human needs in the present, as the basis of fulfilling the needs of future generations.1 Already in its fundamental meaning and aim, sustainability reveals itself as a very flexible and adaptable idea, which is why it can be projected specifically on any sphere of human existence, environment, physical and spiritual activity, and hence on the sphere of music too. So, not only are the issues of sustainability important for the perspective of the development of the entire institution of music (Institution Musik) at the local and global level, but it can also shed light on some of the most important phenomena in music and art, in general. However, in this lecture I will focus only on the sustainable forms of the manifestation of contemporary music, from the angle of some fundamental determinants of the concept of sustainability and the strategy of sustainable development. The basic among those determinants ­ which, after all, stands at the root of the very term of sustainability, hence generating many other determinants of that concept ­ is durability. Referring to contemporary music, that concept will be articulated here in several basic issues that are covered by it, being interrelated and mutually strongly imbued. It concerns the issue of contemporary music phenomena which have or might have the potential for persisting, for being maintained, that is, which can be considered as sustainable. Also, it concerns the ways of maintenance and areas where that is possible. Since, after all, both issues generally imply the questions of preservation from distortion, oblivion or disappearance, which is, again, caused by the attitude to resources and the "natural" musical ground, there will be special reference to the conservation of folklore "ecosystems" and the various methods of preserving the "natural", authentic musical and cultural "habitats". Also, the issue of conservation implies, on the one hand, an awareness of the need for the stability of the existence of some particularly important sources and means of contemporary music; on the other hand, it implies the awareness of their potential transformation in the course of their linear development, as well as in their renewability in the course of their circular flow. So, the issues of sustainability involve both the preservation of the continuity of cause-effect relationships in the development of musical means and their re-use in the same initial shape but different contexts. Thereby, both types of "movement" of musical material, means and procedures share the influence of science and new technologies in them. In addition, the circular flow of material, as an authentic form of manifesting the sustainable use of material in general, actualizes the problem of its recycling. Through that, the circular flow necessarily opens up the question of "waste" as well, the presence and removal of "toxic" matter, forms of "pollution" in the sphere of music and overcoming them. Directly related to these are the social-economic, institutional and educational factors of the sustainability of contemporary music. Because, the preservation, development and promotion of positive achievements and values of the entire institution of music, also include the struggle against "toxicity" and the "pollution" of the musical environment, as well as institutional and media advocacy to reduce the negative effects of using music as a market commodity in contemporary society. The sustainability of music as art requires having an influence on the individual and collective consumption of music, from the aspects of the positive reorganization of educational and other

1

See Our Common Future, Chapter 2: "Towards Sustainable Development", From A/42/427. Our Common Future: Report of the World Commission on Environment and Development, http://www.un-documents.net/ocf-02.htm (access 31 January 2011).

6

necessary conditions, projects, programs and practices of the omnipresent work in the field of music; and all that in the context of interdisciplinary approaches, intercultural dialogue and exchange, critical and creative engagement. All the elements of the sustainability of contemporary music emphasized here, have their "habitats" in the area of stylistic, aesthetic trends and branches of contemporary music; of its compositional techniques or concrete solutions; the media it uses, including the interrelation with nonmusical media in the forms of mixed-media, polymedia or inter-media; in the area of meta-musical projects; in logical and genre-like coordination with the sciences of art in its multi-scientific textual forms; in strengthening or, perhaps, loosing its autonomy; in the sphere of the social position of music and science of it, and their position in the process of education and social-economic and cross-cultural communication. It is on these "habitats" that I shall rely upon in this lecture, as the sources of evidence for the theses I shall put forward on the sustainability of contemporary music. Ultimately, those sources will also show that the sustainability of contemporary music relies on the functioning of its opposing internal forces, because the potentials of music which are to be developed and preserved as a positive heritage for future generations, are to a great extent self-contradictory already in their ontology. That is why, generally speaking, the notion of the sustainability of contemporary music reveals itself and acts as a "slipper" oxymoron. Indeed, that is the case in many other areas of life, too. * * *

Sran Hofman, University of Arts in Belgrade, Serbia The Sustainability of a Piece of Electronic Music

The aim of this paper is to point to the problem of durability of a piece of electronic music, which is so specific for this kind of music. I believe that, due to the peculiarities of electronic media, an electronic composition ­ if examined from the angle of its sustainability ­ is in a different position than an instrumental or vocal piece. Therefore, I will analyze the characteristics of the existing forms of preservation of a piece of music: as being conveyed from generation to generation by oral tradition, notated, recorded or kept as computer file, and will show how and why the existence of an electronic composition varies regardless the fact that it can also be written as a score, recorded, or saved as a music software document. * * *

Michael Austin, University of Texas at Dallas and the Laboratoire Musique et Informatique de Marseille (MIM) Introducing Music Analysis Through Unités Sémiotiques Temporelles (USTs)

"Unités Sémiotiques Temporelles," (or USTs) are 19 phenomenologically perceived units that constitute a system developed in the early 1990s at the Laboratoire Musique et Informatique de Marseille (MIM) to analyze and teach the composition of electro-acoustic music. This label instantly suggests a heavy emphasis on time and temporality; however, the name of each unit describes sound in terms of movement over time (Chute, Qui avance, Par vagues2, etc.). In his essay, "Les Unités Sémiotiques Temporelles: Problématique et essai de définition," François Delalande defines USTs as: "...a musical segment, which, without regard to context, has a precise temporal significance as a morphological organization of sound (the USTs themselves are equivalent, and abstract, segments that present, without regard to context, temporal significance as with similar modes of morphological organization)."3 [translation by Michael Austin] USTs have traditionally been used to define temporally significant segments of music at the level of the Schaefferian sound object (objet sonore), but they are also useful in delineating larger hierarchical levels of form, notions of energetics or motion throughout a piece, and the expression of time in music. In this paper, I propose an expansion of the use of USTs by amateur musicians and analysts without training in the Western canon of music notation, ear training, or musicianship. Because the phenomenological experience of music can be equally meaningful to any perceptive listener, a thoughtful analysis can be constructed by almost anyone. I propose ways in which USTs provide an easily acquired language to describe time, movement, and form in acoustic and electro-acoustic music and will further demonstrate the usefulness of USTs as an analytical technique for both specialists and non-specialists.

2 3

"Falling, advancing, by waves," respectively. Laboratoire Musique et Informatique de Marseille, Les Unités Sémiotiques Temporelles: Éléments nouveaux d'analyse musicale, 1996. p. 19.

7

Poster Abstract

Nico Schüler, Texas State University The German Composer Dietrich Erdmann (1917-2009) and his Emphasis on Tone Color

The German composer Dietrich Erdmann (1917-2009) is one of the most important advocates of tone color compositions that specifically limit the instrumentation to traditional (acoustic) instruments. Hereby, his compositional approach is rather `traditional' in the sense of `anti-avant-garde'. However, his success within the last three decades of his life has given him much support by colleagues as well as by the audience, which ­ in turn ­ triggered the interest of musicologists and music theorists. This poster will provide biographical information and a stylistic assessment of Dietrich Erdmann's music in general ­ the music of a composer who is an outspoken opponent of the avant-garde. The poster will also discuss Erdmann's re-interpretation of traditional principles of compositions to achieve a modern music style with rich tone colors and unusual instrumentations.

8

Bios

(in alphabetical order by last names)

Daniel Adams (b. 1956, Miami, FL) is a Professor of Music at Texas Southern University in Houston. Adams holds a Doctor of Musical Arts (1985) from the University of Illinois at Urbana-Champaign, a Master of Music from the University of Miami (1981) and a Bachelor of Music from Louisiana State University (1978). He is the composer of numerous published musical compositions and the author of many articles and reviews on various topics related to Twentieth Century percussion music, and musical pedagogy. His book entitled The Solo Snare Drum was published in 2000. His music is recorded on Capstone Records, Ravello Records, and Summit Records. Michael Austin is a doctoral candidate in Aesthetic Studies (Arts and Technology) at the University of Texas at Dallas, specializing in the analysis of contemporary music and sonic art. He completed his M.M. in Music Theory from UT-Austin and his B.M. Music Composition from UT-San Antonio. Austin is currently Associate Professor of Music at Collin College in Plano, Texas, and a lecturer in sound design at UT-Dallas. He is also a member of the Laboratoire Musique et Informatique de Marseille (MIM), researching methods of analyzing the phenomenological experience of time and energy in music. www.mlaustin.com Ruben Balboa III was born and raised in Harlingen, Texas. Recently graduating from Harlingen High School in 2009, he is now attending Texas State University majoring in Viola performance. He has been playing viola for eight years and is now studying under the direction of Dr. Ames Asbell. Ruben can be seen with such groups as the San Angelo Symphony and Brazos Valley Symphony Orchestras. Besides performing, he is also a teacher for the Texas State String Project. Balboa is also the violist for Sarinda String Quartet and principal violist for the Texas State Symphony Orchestra. Bryce Nielsen Biffle was born on December 27, 1990 in Dallas, Texas. He is currently a Sophomore Music Composition major studying under Dr. Stephen Lias at Stephen F. Austin State University in Nacogdoches, Texas. Bryce composes prolifically in the student / independent film medium and several films he scored have appeared in numerous film festivals in Dallas, Los Angeles, New York, and other venues. His predominant musical influences include Aaron Copland, Philip Glass, Bruce Broughton, Randol Bass, and John Williams (whom Bryce met in 2010). Bryce is also an accomplished arranger in the brass ensemble and marching band fields. Kirsten Boynt spent most of her life in San Marcos, Texas. She made All-State her senior year in high school and also made the UIL TSSEC Outstanding Performer at the Solo and Ensemble contest that year as well. Kirsten then attended Blinn College for two years to study music. While there, she won the concerto competition for two consecutive years and toured with the Blinn College Symphonic Winds Band around central Texas. After Blinn, she came to Texas State University and is currently in the process of receiving her Music Education Degree. Kirsten is co-principle in the Texas State Wind Ensemble and currently teaches lessons and gigs around central Texas. Since graduating in 2004 from the University of North Texas, Edward Brown has worked to establish himself as a piano teacher and a community leader in the non-profit sector. As the founder of the Fort Worth Contemporary Music Fund and a member on the board of the Fort Worth Music Outreach, Edward Brown has sought to advance music education and the public's exposure to contemporary classical music. Current projects include the orchestration of Danza lejana by Dallas composer Timothy Brown to be performed by the Flower Mound Symphony in 2011. Russell Drew Cannon is a native of Garland, Texas. He is presently enrolled in the Music Theory and Composition program at Stephen F. Austin State University, where he is also a member of the Wind Symphony. Russell plays both Bass and Bb Clarinet, and has been composing music since seventh grade. His interest in composition grew from listening to classical music, and the scores of his favorite movies. After completing his studies and accomplishments at Stephen F. Austin State University, he aspires to compose for television, commercial or film as well as small ensemble work. Darron Carrington was born on June 15, 1987 in Houston, Texas. He soon discovered the saxophone and has been playing consistently since the 9th grade. After graduating from Humble High School in 2005, he then attended Stephen F. Austin State University, where he has been under the direction of Dr. Brian Utley and currently Dr. Nathan Nabb. At SFASU Darron has participated in many ensembles, from the Swingin' Axes Jazz Band to the university's Wind Symphony/Symphonic Band. After graduating with his undergraduate degree he plans to continue his musical studies in performance or jazz studies.

9

Philip Castro was born and raised in McAllen, Texas. Graduating from James Nikki Rowe High School in 2009, Philip now attends Texas State University, majoring in Piano Performance. He has been playing piano for six years and is now studying under Dr. Jason Kwak. Philip is not only active as a classical pianist and accompanist, but is also the pianist for the Texas State Jazz Orchestra, which is under the direction of Dr. Keith Winking. Philip plans to continue his study of both classical and jazz piano and hopes to attend graduate school for a master's degree in piano performance. Adam Dastmalchi is currently an undergraduate composition major at Stephen F Austin State University and is studying under Dr. Stephen Lias. He has written several pieces while here at SFASU. He is a member of the American Society of Composers, Authors, and Publishers (ASCAP). Adam hopes to become a film score composer in the future and possibly move to LA. He is also interested in video game composition. He wants to pursue his Master's Degree at Berklee College of Music. His website is www.adamdastmalchi.com, where he has a more detailed biography with all of his compositions posted there. Oboist Ian Davidson is a member of the faculty at Texas State University and Associate Principal Oboe of the Austin Symphony. In addition, he is oboist with the Wild Basin Winds, Assistant Principal Oboe of the Austin Lyric Opera, and Principal Oboe of the Bear Valley Festival Orchestra. His more than 3500 public performances have taken him to 27 countries on 6 continents in such venues as Teatro Colon, Rachmanninnoff Hall, Cheung Theater, Kennedy Center, and Carnegie Hall. He has given master classes and solo concerts at the Moscow Conservatory of Music, the Prague Conservatory of Music, Trinity University - London, Universidade de Piui, Nelson Mandela University, University of Silesia, and the Slovak State Conservatory of Music, as well as a number of universities in the United States. Conference and Convention performances include the Texas Music Educator's Association, Texas Band Master's Association, National Flute Association, International Clarinet Association, International Trumpet Guild, Society of Composer's International, NACUSA, Regional College Music Society Conventions, The College Music Society National and International Conventions, and five performances at the International Double Reed Society Convention. A 2010 Grammy Nominee, Dr. Davidson was awarded the Presidential Award for Excellence in Scholarly and Creative Activities at Texas State University, where he holds the rank of Professor of Music. Faith DeBow, pianist, enjoys a vibrant and eclectic career throughout the Central Texas region. Ms. DeBow has been teaching class piano and accompanying at Texas State University since 2001, where she often plays for faculty and student recitals. She is the regular pianist for Conspirare, the Grammy-nominated professional choir based in Austin. She recently performed in New York City with Conspirare under the auspices of Carnegie Hall's Weill Institute. Ms. DeBow is also the Young Artist Coordinator for the Victoria Bach Festival and a staff accompanist at Trinity University. She has a wide range of musical interests including contemporary music, singing/songwriting, and innovative recital programming. Indonesian pianist Anggraini Dinata is currently completing her senior year as a piano performance major under the guidance of Dr. Jason Kwak. Recent accomplishments include being awarded a scholarship from the Associated Student Government of Texas State, performing in a Master-Class for Dr. Enrico Elisi, and being awarded `MostImproved Pianist' at the School of Music Bravo! Award ceremony. A certified teacher by the Associated Board of Royal School of Music, Ms. Dinata has maintained a private teaching studio in the Central Texas Area for the last two years. Upon completion of her degree, Ms. Dinata plans on furthering her studies with a M.M. degree in Piano Pedagogy. Charles Ditto is composer and multi-instrumentalist from Texas whose music has been performed on three continents, including the world premiere of an orchestral piece in Rome in 2009. He was the recipient of the Copeland Fellowship at Amherst College (1998), and was awarded American Music Center's (New York) Composer Assistance Award for 2007. Ditto was the NACUSA/Texas first-prize winner in 2008, and his music has been published on the SCI CD series on Capstone Records. Additionally, Ditto's music has been released on Summit Kids (distr. by Rounder), Evios Empire, Curious Music Records, Poison Plant, Human Symphony, and Hypertonia World Enterprises. He has published articles on Handel's clock music and Cuban zarzuela, and has presented numerous seminars in Europe, Mexico, and the US. Ditto currently teaches at TSU and has won awards for excellence in teaching and scholarly and creative activities. Presently principal clarinetist with the Austin Symphony, Stephen Girko was appointed as principal clarinetist with the San Antonio Symphony for the 1999-2000 season. Prior to that, he was the principal clarinetist with the Dallas Symphony Orchestra from 1975 through 1998. Mr. Girko, a skilled cook, owns and operates a small catering

10

company called "EAT MY PIZZA!" Steve takes to his client's home the ingredients with which to make New York style pizzas as well as an incredibly delicious salad. After the guests have observed his culinary skills and have filled themselves with the fruits of his labor, he will then entertain them by performing both classical and popular music on his clarinet. Hanna Gray is a freshman music education major at Texas State. She is a member of the wind ensemble and is currently studying clarinet with Dr. Vanguel Tangarov. She attended Sachse High School, where she was a drum major, all-region band member, and co-principle in the top honor band. She has plans to become a band director at the Jr. High level after completing her undergraduate degree at Texas State and earning her master's degree in education at the University of Texas in Austin. Tiffanny Lynne Hamilton is a soprano who has performed the roles of Rosalinda from Die Fledermaus (Strauss), The Countess in The Marriage of Figaro (Mozart), Marzenka in The Bartered Bride (Smetana) and Santuzza in Cavalleria Rusticana (Mascagni) with the Stephen F. Austin State University Orchestra under Gene Moon. She has also performed the role Tosca in the Opera in the Ozarks' production of Tosca by Puccini. She has most recently been accepted into the Amalfi coast Music Festival this summer as a member of the young artist program. Tiffanny is a student of Mrs. Debbie Berry at Stephen F. Austin State University. [Conference Keynote Speaker & Keynote Composer] Sran Hofman (1944) is one of the most respected composers in Serbia, professor of composition at the Faculty of Music in Belgrade, and head of its Electronic Studio. He has also been the Secretary of the Serbian Section of the International Society for New Music, one of the founders of the International Composers' Forum, the Dean of the Faculty of Music and the Vice Rector of the University of Arts in Belgrade. Hofman has published a number of papers in the field of the contemporary music and the book The Characteristics of Electronic Music. His oeuvre includes numerous works for orchestra, chamber music, solo pieces, vocal and instrumental ensembles, and compositions for choir and electro-acoustic music. His works have been performed at leading music festivals, both at home and abroad, e.g. Belgrade Music Festival, International Composers' Forum in Belgrade, Ohrid Summer Festival, The Biennial of Music in Zagreb, International Competition in Electro-Acoustic Music in Bourges, Symposium of Electronic Music ISEA in Helsinki, ISCM World Music Days in Germany, Sweden and Romania. Hofman has received many awards, among them the First Prize at the Third International Composers' Forum in Belgrade in 1994, for his Concerto Music for piano, 13 strings and electronics, the First Prize at the Fourth International Composers' Forum in Belgrade in 1995 for his Signs for flute, violoncello, piano and live electronics, the Prize of the Association of the Composers of Serbia, and the Medal of the University of Arts in Belgrade. Melinda L. Hudson is currently in her second year as a piano performance major at Texas State University, under the tutelage of Dr. Jason Kwak. Some of her notable accomplishments include participating in a Master-Class for Dr. Jung Hwa Lee and Professor John Owings. Further, in 2010 she was the only undergraduate pianist to be selected as a finalist in the Texas State Concerto Competition. Currently, the Hudson/Dinata duo is completing their third semester as a chamber ensemble. After her undergraduate degree, Melinda plans on furthering her education by pursuing a Masters degree in piano performance. Tyler Hughes is now in his last year as an undergraduate composition major. He studies composition at Stephen F. Austin State University under the guidance of Dr. Stephen Lias. Tyler has now amassed an extensive body of work as well as improved his compositional skills. While studying, he is also a working composer, having commissions to write music. He is also an active member of the National Association of Composer United States of America (NACUSA) and has had music performed at two recent Texas chapter NACUSA conferences. Tyler Hughes' plans include obtaining his Masters in music and then going on to obtain a Doctoral degree in Music Composition. From there, Tyler plans on either pursing a degree in Art and/or living his life as a film and freelance composer. Born in Kuala Lumpur, Malaysia, Chuan-li Ko began his formative piano lesson at the age of eight. He graduated from UCSI University with Bachelor of Classical Music (Hons.) in 2009 and earned his Associate, Licentiate and Fellowship Diplomas in Piano Performance, awarded by the Trinity College of London under the tutelage of Ms. Su-yen Chee. His deep interest in music did not only lie in piano performance; he also took composition and picked up violin has his second instrument. Chuan-li is currently pursuing a Master of Music degree in Piano Performance at Texas State University, studying with Dr. Jason Kwak. Nathan J. Koch is the bassoon studio Teaching Assistant at the University of Texas at Austin, and is currently working on his Doctor of Musical Arts in performance. An active teacher and orchestral player, Nathan is currently

11

serving a one-year position with the Austin Symphony as 3rd/Utility Bassoon while maintaining a small but talented private studio of young players from the Austin area. His freelance work has led to engagements with the Tulsa, Victoria, and Brazos Valley symphonies, and the orchestras of the Austin Lyric Opera and the Wichita Grand Opera. www.nathanjkoch.com John Konderla was born in 1990 to parents Phillip and Pennye Konderla. He was raised in Houston, Texas for a short time and moved to Baytown in 1997. He began working in music at a young age, being a piano student of Geraldine Sharply at the age of 6, continuing until 17. Under her direction he attended and placed in multiple competitions. He continued his study of piano being overseen by Gary Goss, a local choir director at a Nacogdoches area high-school, pianist, and piano instructor. During this time he composed music for a band he was the bassist and keyboardist for. Currently he is a music composition student at Stephen F Austin in Nacogdoches, being taught by Dr. Stephen Lias. His compositions range from solo works for piano to brass quintets. South Korean born pianist Jason Kwak is currently finishing his third year as Assistant Professor of Piano at Texas State University. He has earned his degrees in Piano Performance from Eastman School of Music and The University of Texas at Austin. His extensive resume includes numerous solo and concerto performances, lectures, masterclasses, and presentations on both National and International level including appearances in 10 countries and over 25 Universities. In 2003, Dr. Kwak was awarded by Texas A&M University-Kingsville the Presidential Award for Excellence in Teaching. Also, in 2011, Dr. Kwak was awarded the same award by College of Fine Arts and Communication at Texas State University. Mason Lieberman is a young composer based out of Nacogdoches, Texas. His work ranges in style from baroque trios to modern solos, and from classical symphonies to hard rock. His influences include famous composers like Sergei Rachmaninov, and more recent musicians, from John Williams to Joe Satriani. He is currently a student at the Stephen F. Austin State University. Lowell Liebermann was born in New York City in 1961. He is an American composer, pianist, and conductor. He began his piano lessons at the age of eight and composition lessons at fourteen. When he was sixteen, he performed his Piano Sonata, Op.1 at Carnegie Recital Hall. He earned his bachelor's, master's, and doctoral degrees from the Juilliard School of Music. He composed various types of works including sonatas, concertos, solo pieces, symphonies, operas, and chamber music. Robert ("Bobby") A. Lopez currently holds the position of Lecturer at Texas State University-San Marcos. His duties include teaching applied percussion, percussion ensemble and percussion methods. Mr. Lopez is an active educator, clinician, performer and adjudicator in the central and south Texas areas. He has worked with several percussion programs including the Georgetown High School (Texas) drumline, Cedar Park High School drumline, Revolution Indoor drumline, and the Texas State University drumline. Aside from his duties at Texas State University-San Marcos and performs as an extra in the Mid-Texas Symphony Orchestra and the Austin Symphony Orchestra. He is published by Tapspace Publications and is an endorser for Encore Mallets. John McGinn, Assistant Professor of Music (Theory / Composition) at Austin College in Sherman, TX, received his doctorate in composition from Stanford University in 1999. His works have won several honors and been performed nationwide, including a premiere of Score for Score by the Inscape Chamber Orchestra of Bethesda, MD in October 2009. As an arranger, McGinn has created piano reductions of several large-scale works for Boosey & Hawkes, including John Adams' Nixon in China and Gnarly Buttons. As a pianist, he has appeared on more than a dozen commercial recordings including a critically acclaimed solo album, The 20th Century Piano (AmCam). Till MacIvor Meyn is Associate Professor of Theory and Composition at Texas Christian University. Recent performance highlights include: Orion in Shanghai, Beijing, and Shenyang, China 2009; Dominant Curve at the National Music Academy of Ukraine in 2009; Red/Blue at Clarinet Fest 2008 in Oklahoma City, MO; Precipice at the 2008 Biennial Saxophone Congress in South Carolina; Anthem at the 2007 Florida State University Festival of New Music. Dr. Meyn's music is published by ECS Publishing, C. Alan Publications, and Alry Publications. Dr. Meyn has also performed as a baritone singer with numerous choral ensembles, notably Schola Cantorum of Texas, the Los Angeles Master Chorale, the University of Southern California Chamber Singers, and the Indiana University Pro Arte Early Music Ensemble. Ken Metz is a composer who loves music and has devoted his life to it. He teaches music theory and composition at the University of the Incarnate Word in San Antonio, Texas and has recently published an introduction to music

12

theory textbook, co-authored with Dr. Robert Frank of Southern Methodist University, entitled Fundamentals for the Aspiring Musician (available from Routledge). He is currently serving as vice-president of the southwest CMS region. Dimitar Ninov was the 2009 Chairman of the Board of Directors of the National Association of Composers, United States. He teaches music theory at Texas State University, San Marcos. Ninov is a published composer and theorist, and an invited lecturer at regional, national and international music theory conferences. His music has been performed in the United States, Europe, Canada, and Southeast Asia. Ninov holds a doctoral degree in composition from the University of Texas at Austin, and master's degrees in theory and composition from the National Academy of Music in Sofia, Bulgaria. David Pino, clarinetist, has performed as a soloist, lecturer, and chamber musician all his life and in countries all over the world. He is the author of The Clarinet and Clarinet Playing, recognized worldwide as the book on the clarinet. He made two recordings on the Orion label, has toured Europe with the David Pino Chamber Ensemble (clarinet, string quartet, and piano), and has published a series of twenty articles in The Clarinet magazine on the clarinet teaching of the late Keith Stein. Dr. Pino has been Professor of Clarinet at Texas State University for more than forty years. Hubert Pralitz studied violin at the St. Moniuszko School of Music in Sopot, Poland, and the Conservatoire National Superieur de Musique de Paris. He graduated cum laude from the Mozarteum in Salzburg, Austria. Mr. Pralitz is a recipient of several distinguished international awards and has performed concerts in the United States, Canada, Europe, Latin America and North Africa. He has recorded many sound tracks for commercials, television series and motion pictures. H. Pralitz is currently completing his Masters Degree in Violin Performance at SMU and is the program director / soloist of the Sound and Silence Orchestra based in Dallas, TX. The music of Wieslaw Rentowski has been performed at many International Festivals and Conferences in Europe and North America. In 1988 Rentowski was awarded the first prize in the National Competition for Young Composers in Warsaw. Numerous commissions, grants and awards followed in Poland, Germany, Canada and USA. Most recently he received awards from the American Music Center , ASCAP and grants from the Richardson Arts Commission. Rentowski's music has been published and recorded by many companies in Europe and North America . Dr. Rentowski (also a virtuoso organist and conductor) holds several advanced degrees from universities in Poland and US. He is a founding member and current president of the NACUSA Texas chapter. Taylor Reynolds is the son of Dr. Philip T. Reynolds and Lucy Rodriguez. He graduated from Center High School in Center Texas. Having played his trumpet for eight years, he is a freshman at Stephan F. Austin State University, where he studies in the trumpet studio under Dr. Wurtz, is a member of the symphonic band directed by Mr. Richardson, and is part of the Lumberjack marching band under Dr. Campo. He plans to get his degree in music education, and graduate in the spring of 2015. Zachary Ridgway began music studies at an early age with his father, Paul Ridgway (himself a student of Leon Fleisher), later completing a bachelor's degree in piano performance and a master's degree in piano performance and pedagogy, both from Baylor University. Ridgway teaches piano at University of the Incarnate Word and at Musical Arts Center of San Antonio, and is an active performer and collaborator. Keith J. Robinson graduated from Texas A&I University in 1985. In 2008, he received a Master's degree in Music Education from Texas State University. He currently teaches at Jefferson Avenue Elementary School, Texas Lutheran University, and is music director at First United Methodist Church in Seguin, Texas. A published and recorded composer, Robinson's music travels the planet via the web, as tubists download his music at www.tuba4u.com. His composition 12-Tone Rondo for solo tuba was selected by the International Tuba Euphonium Association as part of their Gem Series, and was featured in the Spring 2008 issue of the ITEA Journal. Ethan Schneider, born April 10, 1991, in San Antonio, Texas, is currently a student at the University of the Incarnate Word, where he studies composition with James Syler. As a pianist and percussionist, he performs with the UIW Wind Ensemble and Marching Band. Ethan teaches percussion at East Central High School in San Antonio, Texas, where he also writes percussion music for the marching band. He is a member of TMEA, PAS, and NACUSA.

13

Chris Schoppe is currently an assistantship holding graduate student at Stephen F. Austin State University where he is concentrating on music theory studies. He attended the same university for his undergraduate degree in piano performance. During that time, he accompanied and performed solo on numerous occasions for different areas of the School of Music. Along the way, Mr. Schoppe has received scholarships for jazz performance as well as accompanying. At the completion of the graduate degree, he intends to continue his studies in music theory at the doctoral level and strives to teach theory on the collegiate level. Nico Schüler is Professor of Music Theory and Musicology at Texas State University and Co-Chair of Texas State's Common Experience, which is an initiative of year-long themes with more than 100 events per year across the disciplines. His main research interests are interdisciplinary aspects of modern music, computer applications in music research, music theory pedagogy, and methodology of music research. Dr. Schüler is the editor of the research book series Methodology of Music Research, the editor of the peer-reviewed journal South Central Music Bulletin, the author or editor of 19 books, and the author of more than 90 articles. Michael Squilla, born February 8, 1990, graduated from Antonian College Preparatory High School in San Antonio, Texas, in 2008. Currently, Michael is pursuing his undergraduate music degree at the University of the Incarnate Word, where he studies composition with James Syler. From an early childhood, he grew up around Jazz music and musicians, which is where he draws influence. He has studied Jazz guitar privately and in lessons for six years. He aspires to receive his masters and doctoral degree in music theory in order to pursue a career in teaching at the college level. Hsing-Chih Tsai is a graduate student in Flute Performance and studying with Dr. Adah Jones. She earned her Bachelor of Arts degree from National Hsinchu University of Education in Taiwan. She was an honored mention of the Concerto Competition 2010 at Texas State University. From fall of 2010, she was hired as a flute adjunct teacher at San Marcos Baptist Academy. At the same year, she was invited to membership in Golden Key International Honor Society, Texas State University and National Music Honor Society-Pi Kappa Lambda. She is teaching Chinese at Austin Chinese School and is a Chinese Instructor Assistant at Texas State University. [Conference Keynote Speaker] Mirjana Veselinovi-Hofman, Ph.D., is a full-time professor in the Department of Musicology at the Faculty of Music, and the Department of Interdisciplinary Studies at the University of Arts in Belgrade, Serbia. She was also engaged at the Academy of Arts in Novi Sad (Serbia); cooperated with the University of Music and Drama in Rostock (Germany) and the Erasmus University in Rotterdam (Holland). Between 2003 and 2005, she was affiliated to the Music Department at the University of Pretoria, South Africa. She is Editor-inChief of the bilingual scientific International Magazine for Music New Sound, a member of the editorial board of the Matica srpska Journal for Stage Art and Music, and a member of the editorial music board for compiling the Serbian Encyclopedia. ­ She is head of a scientific project being conducted by the Musicological Department of the Faculty of Music in Belgrade, within which she has prepared the edition of The History of Serbian Music (Belgrade, 2007). Until the beginning of the 1980s, she dealt with music reviews, cooperating with the Third Program of Radio Belgrade and the leading daily Politika. ­ Her scientific activity has focused on the areas of contemporary music, with special emphasis on the field of Serbian and European avant-garde and postmodern music, as well as on the issues of contemporary musicology. She has published scientific studies, analyses and scientific essays, along with five books and two mini-monographs. Many of her works have been published abroad (e.g. the book Fragmente zur musikalischen Postmoderne, Frankfurt am Main [etc.]: Peter Lang, 2003). She has participated in national and international musicological gatherings; has been a member of international scientific teams; in 1997, she received a DAAD scholarship. ­ She is head of the Musicological Department of the Faculty of Music in Belgrade, president of the Serbian Musicological Society and a member of the International Musicological Society (IMS). Joshua Zinn is a native of Canyon, Texas in the Texas Panhandle. He is 20 years old and currently studying music composition at Stephen F. Austin State University in Nacogdoches, TX, where he is also a member of the Wind Symphony as a clarinet player. He has been playing in concert band for 8 years and has been writing music for 7. He became a student at Stephen F. Austin in the fall of 2009, and is currently in his fourth semester as of spring 2011.

14

Program Notes

(in alphabetical order by the composers' last names)

Daniel Adams, Texas Southern University Etude in Two Places for snare drum solo (2008) Etude in Two Places was composed for the Percussive Arts Society Massachusetts Chapter 2008 Snare Drum Collection, a set of 40 brief snare drum solos compiled in preparation for the chapter's 2008 Day Of Percussion. The title of the etude refers to the combination of conventional snare drum passages with Latin techniques and other special effects, the alternation of which forms the basis of the piece. The conventional playing area of the drum, as well as the edge, center, rim shots and metal hoop are combined in both melodic and contrapuntal figures. Daniel Adams, Texas Southern University Double Helix for piano duo (1987, rev. 2007) Double Helix is so named because the registral convergence of the two piano parts resembles the enigmatic and somewhat illusory eponymous geometrical shape. The part for Piano One begins in the extreme upper register of the instrument, while the part for Piano two begins in its lowest register. Over the course of the piece, the register of both players intersects and then become juxtaposed. Simultaneously, the rhythmic relationship between the two parts alternates between independence and unison. Michael Austin, University of Texas at Dallas and the Laboratoire Musique et Informatique de Marseille (MIM) Cabinet of Curiosities: Electro-Baroque Suite of Found Sounds (2011) ­ world premiere Mvt. 1 ­ Overture ("Human Heart") This overture is composed in the French Baroque style (i.e. two complimentary sections--slow, dotted section with faster, fugal section following). The found sounds used to create this movement insinuate the image of a human heart, collected in a jar, which may still be beating. ­ The entire work is based on the Baroque dance suite and includes movements typical of that style (ex. Allemande, Sarabande, Passacaglia, etc.). The Cabinet of Curiosities, or Kunstkammer, was a mysterious collection of odd relics that the well-to-do of Renaissance Europe found to be thought provoking and awe-inspiring; these cabinets were the precursors of contemporary museums. The movements of this work evoke the peculiarity and bizarre nature of these collections and question many of the aesthetic and ethical dilemmas associated with them in spite of the unserious tone of the work. Bryce Nielsen Biffle, Stephen F. Austin State University River Song No. 1 for clarinet, cello, and piano (2009, rev. 2010) ­ world premiere One of my favorite childhood memories were of those going fishing with my father. To this day I still find myself in search of untouched streams and secret fishing holes where I now find my inner-peace and inspiration. I was also inspired by the music of Mark Isham (his scores to A River Runs Through It and October Sky) and Dave Grusin. River Song No. 1 depicts a father/son fishing trip not unlike those I took as a boy. The clarinet embodies the vibrant, bright energy of the child longing to learn how to fish. The cello represents the stern, mature sound of the father, guiding his son in the art of casting. The piano is both the ever moving river; like the ever endearing love a father shares between his children. Edward Brown, Fort Worth Contemporary Music Fund Prelude for piano (2009) ­ world premiere The Prelude began as a student work early in my composition lessons with Dr. Blessinger at TCU. The work was originally part of a larger set of piano variations based on Handel's Judas Maccabeus. It took on a life of its own and bears little or no resemblance to the original theme. The work is very rounded with the opening theme returning at the end. The middle section is a cantabile contrasting section that has its own thematic development before a short bridge brings the opening theme back. Russell Drew Cannon, Stephen F. Austin State University Where the Sidewalk Ends for voice and piano (2009) ­ world premiere Shel Silverstein's poem Where the Sidewalk Ends is immediately significant to me, as it evokes a pleasant scene from childhood memories. I read it to myself aloud simply as it was written several times, then I read it lyrically in three or four different meters and rhythms until I became satisfied with how this text would function with music. I had then sketched out rhythmic patterns and bars above the printed text and applied this to the notation software. The final step in the process was the intricate task of assigning pitch classes for a soprano and adding other ornamentations in the piano line. I had settled on an idea that there would be so standard key for this piece; it is written

15

in "C", but almost every key is visited by planing from one chord to another. Many times in this piece, resolutions are not where one would expect, thus it maintains interest throughout. However, there are recurring themes and ideas that play in and around the text for emphasis. Adam Dastmalchi, Stephen F. Austin State University Singing of Wisdom for alto saxophone and piano (2010) ­ world premiere An elderly lady sits on her front porch and listens to birds. She wishes she too was a bird all her life. So, she starts singing like she does in church. Magically, the birds fly to her and land on her chair. Her voice is very beautiful and signifies the beauty of wise singing. In the end, as she is passing away, the birds similarly mimick her voice to honor her life as a singer. ­ This fairytell is represented with a Vocalise on Alto Saxophone. The piano harmonizes the beautiful saxophone solo, to exhibit the mood of the singing lady. The key is a minor, sad sounding key. The smoothness overall is perfect for the scenario of the tell. The varying ranges of the piano and saxophone are supposed to reveal how flexible the lady's voice was. In the end, the Alto ends the piece on the third, which is about how sad, yet peaceful, the women's death occurred. Charles Ditto, Texas State University Pas de Deux for clarinet and oboe (2010) Pas de Deux is a tri-parte construction. The first is a plaintive, contrapuntal quasi-improvisation in the manner of reed organ drone music--a passage devoid of time. The second part is characterized by lively, contrasting, highly rhythmic material, á las palmas, as accompaniment for an almost bawdy exchange of riffs. An important melodic device here is an interval wedge created by juxtaposing an F# major pentatonic scale with a D# chromatic scale: m3 ­ M3 ­ P4 ­ P5 ­ m6, up and down. This cell then becomes the basis for the hymn-like theme of the closing passage. ­ Conceived as music for a danced duet, the work describes a piquant and unexpected reunion of two former lovers. Their mutual love and all their history together rise to the forefront as wonderful memories flood their senses. Then, just as unexpectedly, old issues and problems begin to return and merge into a full-blown argument full of jeers and insults. Finally, warm and deep-seated feelings conquer the long-festering difficulties and they warmly embrace before parting. Sran Hofman, University of Arts in Belgrade, Serbia REBUS 1 & 2 (1989) The work was realized in 1989, in the Sound Studio at the Faculty of Music in Belgrade, and is a part of the still unfinished cycle of the musical riddles. Rebuses can be performed separately or in sequence. The solution of a given riddle appears as a fact of an unexpected significance, and as a notion that is not only the consequence of the sum of simple pictures, symbols and signs that a rebus contains. Transposition of this idea into the region of music means the establishing of logic of the musical shaping as well as taking into consideration the perceptive abilities of a listener. Thereby, all the results are equally `accurate'. Tyler Hughes, Stephen F. Austin State University Entre Les Trous De La Memoire for piano (2009) ­ world premiere Entre Les Trous De La Memoire pays homage to the painter Dominique Appia and his work Entre Les Trous De La Memoire, which translates to "Between the gaps of memory." This piece represents your eye wondering around and the completely surreal painting by Dominique Appia. The music reflects the listlessly wondering eye across the canvas. Each music subject and section is the reaction of the mind of what it is seeing. This piece, as well as the painting itself, is one of my personal favorites that I enjoy listening to during my leisure time. John Konderla, Stephen F. Austin State University A Hero's Return for two trumpets, horn, trombone, and tuba (2010) ­ world premiere This piece depicts the return of a soldier after a time of war, the reconciliation of hero to his homeland. After the initial elation, he is confronted with new and alternative ideas, eventually allowing them define his roll as the city embraces him. A Hero's Return has a feeling of journeying as it transposes and redevelops the melody. Eventually ending with the same opening line, allowing the addition of fragments of the middle sections to support and guide it's conclusion. Mason Lieberman, Stephen F. Austin State University Vanquishing Evil for solo piano (2011) ­ world premiere Vanquishing Evil is a piece for solo pianist, meant to reference a famous duel in an even more famous series of novels. The pianist, through usage of some intensely challenging chords and complex, almost non-tonal runes runs,

16

evokes the feeling of a fight between two equally matched forces, fighting to control (or destroy) the world respectively. Who will win? Lowell Liebermann Soliloquy for flute solo (1993) Soliloquy means, in dramas, the act of a character speaking to himself so as to reveal his thoughts to the audience. This piece was composed in 1993. The duration is about five minutes. There is no time signature or key signature. Thus, there is no bar line. It was commissioned and dedicated to Katherin Kemler, who premiered the piece at January 30, 1993. This piece starts with a D major triad, and the idea of triads spreads all over the whole piece no matter in slow or fast tempo. Another idea of this work is the adding or cutting notes to make different tensions. For example, at the third line and fourth line, it starts from six notes in a group, then, seven notes, eight notes, and nine notes in a group. It makes the listener feel more and more tense. The opposite section is at third page, Meno mosso. It starts from eight notes, seven notes, six notes, five notes, and then four notes in a group to create less and less tense. John McGinn, Austin College Dream Prologue for piano (1985) Penned (at a remarkably slow rate) during my undergraduate years with Leon Kirchner at Harvard in the mid-80s, Dream Prologue is a fanciful blend of impressionistic tone colors and tight-knit contrapuntal writing. Its virtuosic flights are meant to convey a sense of spontaneity and free-play, all the while maintaining a strong sense of form that alternates between moods of meditation, playfulness and passion. Ken Metz, University of the Incarnate Word A Klezmer Notebook Notes for clarinet (2008) Last year my half brother (same father) had his DNA tested. The result: I'm Jewish! At least my Y chromosome carries the traits of the Ashkenazy. This was a well hidden fact and I fully think that my father and his three brothers went to their graves not knowing this about their ancestry. Well, I was surprised, but relieved. All my life I had felt a certain closeness to "jewishness" that is hard to describe. So this music is my attempt to reclaim my musical heritage if such a thing is possible. Each title is a type of Klezmer piece; a kolomeike is a fast tempo dance song from the Ukraine, a bulgar refers to the 3+3+2 rhythm probably from Bulgaria, and a skotshne is a instrumentally virtuosic display type of piece. This is the first installment of a work that I hope to continue adding to as I rediscover more of my hidden self. Till MacIvor Meyn, Texas Christian University Celestial Mechanics for viola and piano (2009) ­ world premiere Celestial Mechanics was composed for Misha Galaganov, viola, and John Owings, piano, in the summer of 2009. The piece is cast in three movements; each movement relates to different aspects of the Cosmos. Quantum jitters is the concept that the Universe is made up of fields that are constantly in flux. Hence, the first movement, `Quantum Jitters', features a repetitive piano motive upon which the viola melody plays. The middle movement is titled `Elegy: Song Without Words'; the viola sings the melody throughout, as the piano spins first a slow broken chordal accompaniment, and then becomes jazzier and more urgent. This movement inquires into the meaning and wonder of the great expanse of space; it returns to the slow material at its close. The final movement, `Fanfare', presents responses to the questions of the second movement; it revels in the majesty and complexity of the Cosmos. Dimitar Ninov, Texas State University Sonatina Pastorale for oboe, bassoon, and piano (2011) ­ world premiere Sonatina Pastorale for oboe, bassoon, and piano is a newly composed work, dedicated to Trio 488 of Texas State University. Two movements of the piece will be performed at the world premiere. The first movement is named "Spring Games" ­ with its changing rhythmic figures, meters, and melodic motives it is meant to evoke the joy of the spring and the spontaneous atmosphere of a sunny day in the countryside. The second movement is entitled "Before Sunrise", and it is calmer in tempo and softer in color, suggesting a mood of anticipation and hope as we are awaiting the break of the day. Threads of Bulgarian folklore intonation are naturally interwoven with the musical fabric of the two movements. Wieslaw Rentowski, Dallas Solaire for violin solo (2010) Solaire (French ­ sunny, bright) for violin solo was commissioned by violinist Hubert Pralitz and is dedicated to him. The piece was conceived as a short, one movement composition suitable for an encore. While the opening

17

section is reminiscent of some French "style galant" idioms, the second part of the piece tends to be a long, quasiimprovized cadenza. Frequent meter changes and French text spoken by the performer add to the esthetic collage of the composition and its musical flavor. Still ... the piece is based on So-la-i-re (read G-A-E-D strings of the violin). Keith J. Robinson, Texas Lutheran University She Dwells with Beauty for tuba and piano (2010) ­ world premiere The heavy, dark nature of She Dwells with Beauty grows from a portion of text borrowed from the John Keats 1819 poem "Ode on Melancholy," to be read prior to performance. The solo begins in the tuba's low register as the piano accompaniment presses forward, essentially unchanged throughout each of the three verses. Dynamically, the work continually increases in volume as the tuba gradually ascends into its upper register. Originally conceived as a song for baritone voice and piano, the piece grew from its original single verse incarnation to three verses plus a brief quasi-cadenza to become a somber, introspective work for tuba and piano. Ethan Schneider, University of the Incarnate Word Music for trumpet and piano (2010) ­ world premiere Music for Trumpet and Piano was born out of the static motif presented at the opening of the piece. As motion and energy grow out of the stillness, this motif remains present. Eventually, this piece became the first movement of a trumpet sonata. Nico Schüler, Texas State University Study #1 for tape (1997) ­ world premiere This was my first experiment with electronic music. It was never performed so far. I recently re-discovered it and ... liked it! The best of it is: it is only 1 minute and 30 seconds long! Michael Squilla, University of the Incarnate Word Seafarer's Wake for oboe and piano (2010) ­ world premiere The Seafarer's Wake is a suite for oboe and piano in three movements. Initially, the piece was not intended to be programmatic. As the composition process continued, it began to sound nautical. The movements follow the arc of the seafarer and his soon to be widowed wife's storyline. The first movement represents his journey and death. The heaviness of the accompaniment represents the choppiness of the seas. The second movement is his funeral which is characterized by nonfunctional harmonies representing uncertainty concluding with a musical question mark. The third and final movement signifies the life of the widow after the death of her husband, the seafarer. Busy movement in both the oboe and piano parts represent the widow's disbelief, anger, and refusal to accept the loss. It continues into a glimpse of acceptance ending with a cadence to a colorful alteration of the tonic chord, once more giving a sentiment of haziness and uncertainty. Joshua Zinn, Stephen F. Austin State University Vocalise for oboe and piano (2010) ­ world premiere This piece came out of an assignment from my composition teacher in my first year of private lessons in college. I was asked to write an instrumental vocalise with piano accompaniment; essentially a lyrical and flowing piece that sounds as though it might be sung as well as played. I chose the oboe because I feel like its unique, regal sound suited the character of the piece, and it is an incredibly lyrical instrument. Writing this piece was a great exercise in experimenting with different chords and harmonies, and I purposefully abstained from locking it into a specific key, although F is a very strong tonic for the outer sections, and Bb is the same for the middle. The overall piece is abstract, and does not represent anything particular. To me, it is reverent and somewhat dark in places, and some of it is slightly influenced by old church music.

18

Information

2011-Conference-Progam-3-24-11

18 pages

Find more like this

Report File (DMCA)

Our content is added by our users. We aim to remove reported files within 1 working day. Please use this link to notify us:

Report this file as copyright or inappropriate

1305642


You might also be interested in

BETA
Microsoft Word - SCI Program book.docx