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BIOGRAPHY
OTTO W. HENRY (1933-)
Otto Henry was born in Reno, Nevada on 8 May, 1933. Moving
east in 1938, his parents settled near Ashville, N.C. Henry began
his musical studies late, taking up the French horn and composition
only in high school. Two years of study at the University of North
Carolina at Chapel Hill were followed by two years of service in a
U.S. Army band, first in New York City, then in the Panama Canal
Zone. He returned to his studies in 1956 at Boston University where
he completed a B.M. and M.A. in composition under Hugo Norden and
Gardner Read. A developing interest in ethnomusicology lead to a
further year of study.
In 1961, Henry was appointed chairman of the department of
music at Washington and Jefferson College in Washington, Pa.
Isolated from the resources of a large metropolitan area, Henry
began experimenting with electronic music. In the attic of his
house, he slowly designed and built his own electronic instruments
and produced over twenty electronic compositions. In the summer
of 1964, he attended the first electronic music seminar given at
the University of Toronto under the direction of Myron Schaeffer.
Henry moved to Tulane University in New Orleans in 1965 to
complete his doctoral studies and to build an electronic music
studio. At Tulane he joined with composer Paul Epstein to produce
six concerts of electronic music. In 1968, he was appointed to
the faculty of the School of Music, East Carolina University,
where he became director of the programs in electronic music and
ethnomusicology. Henry completed a dissertation on electronic
music and received the Ph.D. from Tulane University in 1971. In
1972, he made an ethnomusicological field trip to the island of
Malta where he studied the complex patterns and systems of bell
ringing.
Henry's earlier compositions centered around music for brass
instruments, such as the Passacaglia and Fugue, for bass trombone
and piano (pub. Robert King). Of the many electronic compositions,
Lucifer and Symphony No. V, for magnetic tape are the most signifi-
cant. At East Carolina University, Henry has produced live and
aleatoric works for instruments and Moog synthesizer, such as
Liberty Bell, for percussion and tape, and Omnibus I, for any
combination of pitched instruments (pub. Media Press).
SE PAIL RE ETE EE
Resume: Otto W. Henry 407 Student St
b.1933 Reno, Nev. Greenville,N.C. 27834
- 919 752 3989
Degrees:
Mus.B.(Hons) Theory A.M. Composition Ph.d Musicology
Boston University Boston University Tulane University
1958 Ph aed 1970
Dissertation: The Evolution of Idiomatic and Psychoacoustical
Resources as a Basis for Unity in Electronic Music.(UM 70-24,525)
Training:
Composition: Musicology: Ethnomusicology:
Gardner Read Karl Geiringer Norma McLeod
Hugo Norden Gilbert Chase
Howard Smither
Robert. Preston
Positions held:
1954-56
United States Army Bands
1959-61 1965-68
Director, Mattignon High School Associate Director, Tulane
Orchestra, Cambridge, Mass. University Electronic Music
Studio, New Orleans, La.
Lecturer in Music, Boston Center
for Adult Education 1968- :
Assistant Professor of Music
(Electronic Music Composition,
Ethnomusicology) School of
1961-65 Music, East Carolina University,
Assistant Professor of Music Greenville, N.C.
Chairman, Department of Music 1974-
Washington and Jefferson College
Washington, Pa.
Instructor in Classical Guitar,
French horn, Boston Music School
Associate Professor of Music
Honors and awards:
Pi Kappa Lambda East Carolina University
Listed in Riemann Musik Lexikon Research Council Grant for
Erganzungsband, Personenteil A~K June-Aug. 1972: Music
p. 515-6 Resources in Malta
East Carolina University
Research Council Grant for
June-Aug. 1976: Folk Music
of the North Carolina
Percussive Arts Society Competition, Outer Banks
1975. Honorable mention for No
sound of Water
Listed in Index to Biographies of
Contemporary Composers, 5S. Bull (ed)
Metuchen, N.J.:Scarecrow Press, 1974
Hinshaw Publication Award,
Mars Hill Choral Composition
International Society for Festival, 1976 (Sanctus)
Contemporary Music (ISCM) Hilda Honigman Composer's Cup
H >
is: seat �?~ipaibes scab Fox N.C. Federation of Music Clubs
Sonata (Aeolian Harp) 1977
Music Publications:
Passacaglia and Fuque, for bass trombone and piano.
North Easton, Mass.: Robert King Music Co., 1961.
Liberty Bell, for ten percussionists and tape.
Champaign, I1ll.: Media Press, 1970.
Omnibus (1), for unspecified pitched instruments.
Media Press, 1971.
ene
Omnibus (2), for unspecified percussion instruments.
Media Press, 1971. -
Bo Not Pass Go, for three �?~timpeni, two playece.,
Media Press, 1972.
The Sons of Martha, for soprano and four percussionists.
Media Press, 1972.
Sanctus, for mixed chorus and soloists.
Chapel Hill, N.C.:Hinshaw Music, Inc., 1977.
Recording:
Between the Sound and the Sea. Music of the North Carolina
Outer Banks. Karen Helms and Otto Henry. New York:
Folkways Records, FS 3848.
Reviews of Music:
Passacaglia and Fugue, for bass trombone and piano.
Brass Quarterly, v.3, No.4, Summer 1960.
Divertimento di tre toni, for trombone and piano.
Brass Querterly, v.4, No.2, Winter 1960.
Variations for Brass Trio, for trumpet, horn and trombone,
Brass Quarterly, v.4, No.4, Summer 1961, -
Three Serial Duets, for two trumpets.
Hrass Quarterly, Ved, No.3, Spring 1962.
The Pure. Land, for synthesizer and painted slides.
James Boeringer, Bucknell U.: Cage, et al. High Fidelity and
Musical Americas, July 1977, p.34.
Articles:
The nature of the change in music. Topic 5, A Journal of the
Liberal Arts. Washington, Pa., Washington and Jefferson College,
Spring, 1963.
Western music and the Oriental influence. Topic 6, Fall, 1963.
A Preliminary Checklist: Books and Articles on Electronic Music.
New Orleans, La.: Tulane University Electronic Music Studio, 1964.
The Tulane University Electronic Music Studio. Yearbook, v.3,
1967.New Orleans: Inter-American Institute for Musical Research.
The electrotechnology of modern music. Arts in Society. Medison,
Wisconsin, University of Wisconsin Press, v.? No.l, Spring-
Summer, 1970.
Music and the new technology. Arts in Society, v.9 No.2,
Summer~Fall, 1972.
Music, Book and Record Reviews:
Music Library Association (MLA) Notes
v.24 no.3, March, 1968 7 9O1 6: Nesc, dete s TT2
D. Martino: Strata G. Self, J. Paynter, B.
Reynolds: Blind Men Dennis, E. Pehkonen, R.
Feldman: Structures M. Schafer: Music for
: : Young Players (Universal)
no-l, Sept., 1968 V. Globoker: La Ronde
Druckman: Animus I ABU ai elas
: | M. Bon: Display II
Subotnick: Prelude No. 4 T. Loevendie: Aulos
abled Pecans Bugs ¢ W. de Ruiter: Two Quartets
Davidovsky: Synchronisms 1-3 Tinethes
no.4, June, 1973 |
Lawson: Valentia Extramateriel pce crn iat we ge
Albright: Danse macabre A. Bouchourechliev: Ombres
Hampton: Catch-up y ;
Chihara: -Driftwood ay dee aac string fuertet
Library Journal (LJ)
N. Crowhurst: Electronic Music Instruments. June, 1971
N.A. Jairazbhoy: The Rags of North India. Sept. 1971
T. Dwyer: Composing With Tape Recorders. Sept., 1971
E. E. White: Appreciating India's Music. Oct., 1971
P, Holroyde: The Music of India. July, 1972
P. Collaer (ed): Music of the Americas. March, 1973
H. Russicol: The Liberation of Sound. March, 1973
E. Harich-Schneider: A History of Japanese Music. Aug., 1973
Yearbook, Vol. III, 1967 Inter-American Institute for Music Research
L.M. Cross: A Bibliography of Electronic Music. U. Toronto P. 1967
Electronic Music from the University of Illinois. Heliodor HS25047
Electronic Music. Turnabout TV 340045
Music from the Once Festival. Advance FGR-5-
Bertran Juretzky, Recital of New Music. Advance FGR-l
Ethnomusicology, Vol. 16 No. 2, May 1972
P. Houlez: Boulez on Music Today
Some recent performances and concerts:
North Carolina Composer's Symposium, Salem College,
Winston-Salem, N.C. Jan. 27, 1976 Shirley Recital Hall:
Follow the Sun, for Moog Synthesizer and Color Organs.
Richmond Technical Institute, Rockingham, N.C. Feb.13, 1976
Queen's College, Charlotte, N.C. Feb. 15, 1976
Wingate College, Wingate, N.C. Feb. 16, 1976
Program: The Good Woman of Setzuan The Sound of Water
Beethoven's Fifth Follow the Sun
- Shamen rod |
Visual Arts Forum, East Carolina University Fine Arts Center,
April 22, 1977 Jenkins Auditorium (dedication concert).
Wingate College, Wingate, N.C. April 29, 1977 Dickson-Palmer Center
{dedication concert)
Program: The Gateless Gate Four Landscapes from H.G.Wells
The Pure Land 3 Phoenix, Burning
Bring Back Yesterday
Performances of The Pure Land, for Syathi AKS Synthesizer and
painted slides:
Virginia Commonwealth University, Electronic Music Festival
Richmond, Va. Jan.15, 1977 School of Business Auditorium.
Sixth Annual Electronic Music Plus Concert .
Middle Tennessee State University, Murfreesboro, Tenn.
Jan. 22, 1977, Learning Resources Center.
North Carolina Composer's Symposium, Salem College,
Winston-Salem, N.C. Feb. 19, 1977 Shirley Recital Hall.
Bucknell University, Lewisberg, Pa. Whispers of the Dead,
A Concert of Avant-garde Music. March 12, 1977.
Vaughn Literature Auditorium.
Philadelphia College of the Performing Arts Electronic Music
Symposium, April 22-23 1977.
California Institute of the Arts, Newhall, Calit.
Wiley Cyn Hall, May 7, 1977. :
University of North Carolina at Greensboro, New Music Week,
Kirkland Hall, Sept.9, 1977 .
Philadelphia College of the Performing Arts, Evenings for Electronic
Music. Oct.3-Bell in the Empty Sky. Nov. 7-In the dry woods...
Dec. 5~The Gateless Gate.
Crane School of Music, State University College, Pottsdam, N.Y.
Evening Concert Series. Crane Percussion Ensemble, Sara M. Snell
Theater, Nov. 30, 1977- No Sound of Water.
CATALOGUE OF COMPOSITIONS
& Otto W. Henry @
(b. �?"_ Nevada, 1933)
1. Rondo Pequeto, for two trombones. Feb., 1956,
2- Mountain Spring, for solo guitar. July, 1956.
3. Folksong Suite, for flute and piano. Dec., 1956.
4, Entr'acte, for French horn and piano. March, 1957.
Se Academic Rondo, for French horn and piano. April, 1957.
6. Toccata, for French horn, trumpet or trombone alone. Oct.,1957.
7. Divertimento di tre toni, for trombone and piano. July, 1958.
Review: Brass Quarterly, V.4, No. 2, Winter,1960.
*8. Passacaglia and Fugue, for bass trombone and piano. Jan., 1959.
Review: Brass Quarterly, V.3, No. 4, Summer, 1960.
Published by Robert King Music Co. North Easton, Mass.
9. Symphonic Rondo, for orchestra. Feb., 1959.
Master's thesis, Boston University.
10. The Blue Guitar, for orchestra. May, 1959.
1l. Dichatomy, for brass sextette (2 tr.,2 hr., 2 tbn). July, 1959.
' 12. Three Bantu Songs, for brase quintet (2 tr., hr., tbhn., bar.).
Sept., 1959. Review: Brass Quarterly, V.7, No. 3, Summer,1964,.
13. Three Serial Duets (1), for trumpet and trombone. Feb., 1960. :
Review: Brass Quarterly, V.5, No. 3, Spring, 1962.
Three Serial Duets (II), for horn and violin. Feb., 1960.
e Three Serial Duets (111), for flute and clarinet. March, 1960..
e Prelude and Fantasy, for horn and violin. March, 1960.
Trio for violin, cello and piano. June, 1960.
Variations, for brass trio (tr.,hr.,tbn.). Auge, 1960
Review: Brass Quarterly, V.4, No.4, Summer, 1961.
Music for Stalag 17 (Wanhiveian and Jefferson College
dramatic production). Oct., 1961.
Passacaglia and Fugue for bass trombone and orchestra,
Nov., 1961.(arr. of no. B).
Vision II (electronic music- private studio at composer's
home at 219 E. Wheeling St., Washington, Pa}. 6:30 (mono),
Dec., 1961. :
Washington Concerto (electronic music). 2:20 (mono), Dec., 1961.
January the Sixth (electronic music).7:40 (mono), Jan., 1961.
The Essence of 2 or 3: Composition for Voice and Tape Recorder
(with Joseph Kagle, Jr.). Indet.-ca. 40" - (mono), Feb., 1962.
Jurassic I and II (electronic music). 6:25 (mono), April, 1962.
Sam Gita (electronic music). 5:45 (mono), May, 1962.
Quartet for Brass (2 tr., hr., tbn.). July, 1962.
Four Pieces for Symphonic Wind Ensemble. July, 1962.
Gymnopede, for woodwind quintet. Sept., 1962,
Four Songs for Magnetic Tape. 6:45 (mono), Nov., 1962.
Tintinnabulation (lectronic music). 5:35 (mono), Dec., 1962.
Aurora 7 (electronic music). 6:28 (mono), Dec.,1962.
Dancing Music (electronic music ballet). 8:24 (stereo), Feb., 1963.
Aknuf and the Stones: a Happening for Voices and Tape Recorder
(with Joseph Kagle, Jr.). 17:30 (mono), May, 1963.
35- Sonatina (electronic music- arr. from no. 34). 4:35 (mono),
June, 1963. |
36. Rondo Pequeno, for band (arr. from no. 1 ). June, 1963.
J7. Music for A Far Country (Washington and Jefferson College
dramatic production). Oct., 1963.
J8. Sinfonietta for Band. Nov., 1963.
39. Passacaglia and Fugue for bass trombone and band (arr. from
NO« a). NOVe, 1963.
40. M. Mussorgsky: Pictures at an Exhibition, arr. brass sextette
(2 tre, hr., 2 tbn., tbha.). Jans, 1964.
41. J.S.Bach: Fuga IV (WTC, Bk. I), arr. brass quintet (2 tr.,
ney, 2 tbn.). Jan. ,1964, i
42. J.«5eBach: Toccata in d, arr. brass sextette (2 tics Hs
2 tbn., tba.). Feb., 1964.
43. JeS.Bach: Eight Little Fugues, arr. brass quartet (2tr.,
2 tbn.). Feb. 1964.
44. JeS. Bach: Canzona in d, arr. brass quartet (2 tr., 2 tbn.)
: Feb., 1964, ,
45a. Symphony in One Movement No. I, for Magnetic tape. 20:45
(Stereo), April, 1964.
45b. ( same, revised EMS, Tulane University, New Orleans, Lae:
16:30 (stereo), Aug., 1966).
46. Lucifer, the Son of the Morning (electronic music). 42:27
(stereo), May, 1964.
47. Four Landscapes from H.G. Wells (voices and magnetic tape).
17:30 (stereo), May, 1964,
48. The Land of Wu (Li Po) (electronic music). 3:20 (mono),
May, 1964, , 7
49a. Symphony in One Movement No. II, for magnetic tape. 19:30
(stereo), May 1964.
49b. ( same, revised Tulane University, Aug. 1966).
SO. Sampson and the Lioné In the Garden of Delilah (electronic
music). 12:30 (stereo), May, 1964.
sl. Suite for Magnetic Tape No. 1. 27:15 (mono), June, 1964.
32. Suite for Magnetic Tape No. 2. 29:40 (mono), June, 1964.
S3a. Symphony in One Movement No. III, for magnetic tape.
17:35 (stereo), June, 1964.
S3b. ( same, revised Tulane University, July, 1966).
34. Suite for Magnetic Tape No. 3. 13:50 (mono), dune 1964.
55. Jazz Electronique (electronic music). 3:52 (mono), June,1964,
56. Three Humors (electronic music- realized EMS Toronto University).
11:00 (mono), July, 1964, 7
Sie Variations (electronic music- EMS Toronto). 4:50 (mono),
July, 1964,
38. Invention ( study for magnetic tape-:�?"MS Toronto). 1:00
(mono), July, 1964. |
599. Triptych from the Bible, for voices and tape recorder.
15:46 (stereo), Nov. 1964. :
60. Serendipity (electronic music). 3:16 (stereo), March 1965.
61. Two Scenes from Richard III, for voice and tape recorder,
13:50 (stereo), April, 1965.
62. A Tale from Baron Mincheusen, for voice and tape recorder.
4:13 (stereo), April, 1965.
63a. Symphony No. IV in Three Movements, for magnetic tape.
19:32 (stereo), May, 1965,
63b. ( same, revised Tulane University, Sept., 1966).
64, The Seven Deadly Sins ( electronic music ballet). 23:06
(stereo), May, 1965.
65. Passages (electronic music- £&MS, Tulane University)
4:32 (stereo), April, 1966. : |
66. Ballet 1966 (electronic music ballet). 6:55 (mono), April,
1966.
67. Symphony in One Movement No. V, for magnetic tape. 18:52
(stereo), June, 1966.
68. Symphony No. VI in Four Movements, for magnetic hacia
19:30 (stereo), July, 1966.
69. Midnight Special (electronic music-~ film by Bill Smith).
9:29 (stereo), July, 1966.
70. Music for The Old Glory (Robert Lowell- electronic music for
| the Tulane University dramatic production). Ca. 25:00
(mono), Nove, 1966. 3
71. Pericles (electronic music for total theater). 11:40 (stereo),
Dec., 1966.
72. The Sears Box, for awplified soprano and live tape manipulation.
cae 10:00. May, 1967.
73. Something for Color Organ (uses no. 65 plus throat mike,
Theremin, ring modulator, color organ). May, 1968
74. Gloria Mundi, for band and tape. 9:12, Dec., 1968.
75. Beethoven's Fifth (electronic music- realized EMS East
Carolina University, Greenville, N.C.). 3:45, March, 1969.
76. Phoenix, Burning (electronic music). 11:49, Nov., 1969.
17. Seascape (electronic music). 8:32, Dec., 1969.
*78. Liberty Bell, for ten percussionists and tape (Moog
Suntheeizedl. Dec., 1969. Published by Media Press,
Urbana, Ill.
19. Music for Macbeth (Moog Synthesizer- East Carolina University
dramatic production). Feb., 1970.
80. Music for The Good Woman of Setzuan (Brecht- songs and
Moog Synthesizer interludes). April, 1970.
SI. Shamen, for Moog Synthesizer. 11:40, May, 1970.
82. Concourse, for brass and tape (Moog Synthesizer). Nov. 1970.
*B3. The Sons of Martha, for soprano and 4 percussionists.
Nov. 1970. Published by Media Press, Urbana, Ill.
*84. Do Not Pass Go, for 3 timpani, 2 performers. Dec. 1970.
Published by Media Press, Urbana, Ill.
Going Up, for Moog Synthesizer. 28:20, Dec. 1970.
Omnibus (1), for unspecified pitched instruments.
Jane, 1971. Published by Media Press, Urbana, Ill.
Omnibus (2), for unspecified percussion instruments.
Jan., 1971. Published by Media Press, Urbana, Ill.
If winter comes... , for Moog Synthesizer. 19:54, Feb., 1971.
Rebus, for unspecified brass instruments. April, 1971.
Through a Glass, Darkly (electronic music). 10:15, Sept., 1971.
Intermittencies (electronic music). 11:20, Sept., 1971.
Across the River, for live Moog Synthesizer performance.
Sept.-, 1971. 4 Channel realization April, 1975. 8:20.
East is East, for live Moog Synthesizer performance.
March, 1972.
Follow the Sun, for Moog Synthesizer. 13:45, June, 1973.
Mass, for unaccompanied mixed chorus. Aug., 1973
Men and Angels, for soprano and 4 percussionists. Nov., 1973.
Wire Music, for amplified wires and 3 - 4 performers.
Nov., 1973 :
The Cube, for tenor saxophone and piano. May, 1974.
Sonata (Aeolian Harp), for piano. July, 1974.
Circle, for symphonic wind ensemble. Aug., 1974.
Bicentennial Bag, for woodwind quintet. Sept., 1974.
No Sound of Water, for ten percussionists. i1ltiS,-Octs, i974.
Overture and Incidental Music to The Good Woman of Setzuan.
Moog Synthesizer. Arr. from no. 88. 4 channel, 17:05, Nov.,
1974. 2
Overture 7
The Cloud, the Rainbow and the Airplane
Selling Water in the Rain
Happy Coolie
Plum Song |
Celestial Navagation
Finale: The Gods Ascend to Heaven
MacBeth. Suite arr. from no. 79. 4 channel, 26:50. Jan.,1975.
Sandman. Live performance piece for Electrocomp 200. May, 1975.
Candyman. Live performance piece for Electrocomp 200. May,'75.
The Sky, amd: the Forest, for Moog Synthesizer. 4 channel,
10:53, Aug. 1975, With Super-8 mm film. 7 :
Green is a nice color, but not in my hair. Painted film.
Auge 1975
Transmission of the Lamp, for Moog Synthesizer. 4 �,�hannel.
Bell in the empty sky ~- 6:57. May, 1975
In the dry woods, a dragon is singing �?" 8:59. March, i975
Fhe gateless gate ~ 10:55. Sept., 1975
The Sound of Water. Live performance piece for Synthi AKS and
double deck delay. Nov. 1975. Used for film The Content of
Watercolor (Edward Reep), produced by Rpbert Rasch.
(Four untitled pieces) Synthi AKS synthesizes 2c
4 channels. June 1976.
Libra. Live performance piece for Moog Synthesizer. Aug. 1976.
The Pure Land, for Synthi Aks Synthesizer and painted slides.
Tape and live performance piece. 9:47, 4 channels. Sept. 1976.
(untitled). Synthi Aks Synthesizer. 9:45, 4 channels. Nov. 1976.
Bring Back Yesterday, for Synthi AKS ia nected and slides.
11:52, 4 channels. Nov. 1976.
Dark Visitors, for Tenor Saxophone and Amplified Piano.
10:52. Feb. 1977.
The Sears Box, for Soprano and Amplified Piano. 11:25
(revision of no. 72) Nov. 1977.
XLK
ERGANZUNGSBAND_
PERSONENTEIL
A-K
herausgegeben von �?"
CARL DAHLHAUS
LOS 2
B-SCHOTES'SDOHNE- MA ENZ
SCHOTT & CO. LTD., LONDON - SCHOTT MUSIC CORP., NEW YORK
- B. SCHOTT�?TS SOHNE (EDITIONS MAX ESCHIG), PARIS
Henry, Orro W., *8.5. 19523 ra Reno (Nev.}: ameri- Henry
kanischer Komponist und Wines xforscher, studierte an �?~
der University of North Carolin nein Chanel Hilt (1952- of Louisiana in New Orleans (1965-70), wo er 1970
50), der Boston University �?~Mjass. (2 £05: te 59}, der Jni- mit der Arbeit The Evolution of Idiomatic and Psycho-�?"
versizy of Toronto (1904) und der Tuiane University acoustical Resources as a Basis for Unity in Electronic Mu-
sic zum Ph. D. promovierte. Er studierte Musiktheorie
und Komposition bei Hugo Norden und Read, Hom
bei John Coffee und David Battay, Musikwissenschaft
bei Geiringer, Howard Smither, Robert Preston, Chase
und Fr.C.Lange, Vergleichende Musikwissenschaft
bei Norma Lezd und Elektronische Musik bei Myron
Schaeffer. H. war Assistant Professor of Music und
Chairman am Music Department des Washington and
" Jefierson College in Washington/Pa. (1961-65), As-
sociate Director des elektronischen Studios fiir Musik
an der Tulane University und ist gegenwartig Assistant
Professor und Leiter des elektronischen Musikstudins
an der East Carolina University in Greenville (N. C.).
Er komponierte Orchesterw erke (Ommibus I und I
fiir cine nicht vorgeschriebene Anzahl von Instrumen-
ten, 1970), Kammermusik (Divertimento di tre toni fiir
Pos. und KI, 1958; Passacaglia und Fuge fiir Balpos.
und KI1., 1959, bearbeitet fiir Orch. 1961, fiir Dlaska-
pelle 1963; Three Serial Duets, Nr 1 fiir Trp. und Pos,
Nr 2 fiir Hom und V., und Nr 3 ftir T1. und Klar.,
1960; Gynmopede fiir Bliserquintetr, 1962), Stiicke fiir
Blasorchester (Gloria mundi mit Tonband, 1968; Re-
ous, i¥/i;, Stticke fir Schlagzeugensemble (Liberty
Bell fiir 10 ddscmiieen 1970; The Sons of Martha fiir
S. und 4 Schlagzeuger, 1970). Elektronische Musik -
(Washington Concerto, 1961; Tintinnabulation, 1962;
Aurora 7, 1962; 4 Symphonies in One Movement, Nr 1,
1964, Nr 2, 1964, Nr 3, 1964, revidiert 1966, Nr 5,
1966; Lucifer, the Son of Morning, 1964; Jazz Electronique,
1964; Symphony N° 4 in. Three Movements, 1963, revie
diert 1966; Syinplony N° 6 in Four Movements, 1966;
Beethoven's Fist, 1969; Going up, 1979), elektronische
Ballettmusik (The Seven Deadly Sins, 1965; Ballet 1966)
und elektronische Theatermusik (Two Scenes jrom
»Richard Te, 1965, und fiir Macheth von Shakespeare,
1970). Von einer Rethe von Aufsitzen scien genannt:
The Nature of the Change in Music (A Journal of the
Liberal Arts, 1963); A Prelintinary Checklist. Books and
Articles on Electronic Music (New Orleans 1954, Tulane
- University Electronic Music Studio}; The Electrotech-
nology of Modern Music (an; Arts and Society VII, 1970).
4
a
2957-A
Le : pervision. This indicates a need to clarify
isory practices in music education.
process of supervision in music is a complex and demanding
responsibility that requires an experienced and setae informed
PETSAR..
A curi an adva i} degree in music supervision should
: (1) curriculum development, (2)
lip, 3) | individual and group dynamics, (4)
�?oVi tase egr can and its use, (5) educational administration,
A
(6) p sabiie ¢ relations technics, (7) budget and finance, (8) research
18100 and
methods a1 Na their use in music supervision and (9) trends and |
issues in education and
M $4.00; X $6.00. 108 pages
CONTRAPUNTAL-HARMONIC FACTORS IN SELECTED
WORKS OF BELA BARTOK �?"
Lawrence William HARTZELL, Ph.D.
University of Kansas, 1970
The importance of counterpoint in the music of Béla Bartok was first
documented by the composer himself, when he observed that his music
became more contrapuntal after 1926. This increase resulted from the use
of such traditional contrapuntal procedures as fugue, canon, and imitative
counterpoint. These procedures, however, were employed within the
confines of homophonic forms, implying a definite relationship between the
disciplines of counterpoint and harmony. �?~Therefore, it is the purpose of this
dissertation to analyze contrapuntal passages from important compositions
written between the years 1926-1945 in order to ascertain specific methods
of constructing and combining melodic lines to produce harmonic sonori-
ties and functions.
The study is divided into five chapters, the first of which is introductory
and covers important literature relating to the composer and the specific
interests of the dissertation procedure. Chapter II deals with the individual
melodic lines, while Chapters III and IV treat two-part textures and three-
and four-part textures respectively. Chapter V gives a summary of the
study's findings, conclusions based on that summary, and recommenda-
tions for continued study of Bartok�?Ts contrapuntal-harmonic textures.
The above chapters employ the following procedures as a means of
obtaining material. Freguencies of Occurrence for melodic and harmonic
_ Materials are compiled-and compared to similar findings in the music of
Johann Sebastian Bach. Bach was chosen because literature concerning his
ausic is well-known, providing a common point of reference; and many of
his practices may be observed in the music of Béla Bartok. Various methods
of developing sonority, tonality, harmonic progression, and harmonic
rhythm are discussed and submitted to internal comparisons. That is,
practices observed in two-part textures are used as standards by which
similar or dissimilar findings in three- and four-part writing are measured,
in an effort to ascertain stylistic consistency within the various textures.
Bartok's contrapuntal melodies are found to be primarily conjunct, but
somewhat chromatic due to a high degree of minor seconds. The most
- chromatic melodies are from three- and four-part contrapuntal textures,
with melodies from two-part textures being considerably more diatonic.
_Tonality is attained in all textures by (1) construction of melodies on
material from one diatonic scale, (2) construction of melodies on material
from two�?T scales of different diatonic formula based on the same tonal
center, (3) construction of melodies on scale fragments. In all textures,
thirds and sixths are found to be the most significant intervals in the
construction of harmonic sonorities, with major seconds-minor sevenths,
perfect fourths and fifths, and the tritone of secondary importance. Har-
monic progression is found to be of two types. Either a given texture
employs such a strong harmonic motion that the contrapuntal lines tend
to emphasize their inherent harmonic properties, or a given texture em-
_ ploys such a strong contrapuntal motion that harmonic progression seems
to result from the coincidental union of melodies. Rhythm plays an impor-
tant part in the combination of contrapuntal and harmonic elements, in
that a definite rhythm or rhythmic pattern is caused to recur at regular
intervals, providing a norm against which an ntegular harmonic rhythm
is set.
In conclusion, the present study reveals that Bartok�?Ts contrapuntal-
harmonic writing is a combination of traditional and non-traditional ele-
ments. This may be seen in his use of such traditional elements as diatonic
scales, tertian-based soul sr aegi sonorities, th e concept of tonal ily, and defi-
nite harmonic motion al i progi ression: and Suc; ik tv] mic ally * wentiet n-Coi
tury materials as baie! and quintal harmonies, asymmetric
asymmetric measure divisions, and the exiensive use of the iritone. Final
various imiportant relationships between counterpoint and harmony
enumerated.
Order No. 70-25,343
M $4.00; X $10.15. 225 pages.
E i EVOL UTION OF IDIOMATIC AND PSYCHOACOUSTICAL
RCES AS A BASIS FOR UNITY IN ELECTRONIC
Otto Walker HENRY, Ph.D.
Tulane University, 1970
Chairman: Robert E. Preston
This dissertation established that a community of ideas, con
direction exists in certain types of progressive or a �?~i
music. The basis of unity 1 is identified as a common approach to the concep-
tualization of music as acoustical or shecsvdlabpaiaticnl sound, rathe
the use of sound as an agent for expressing syntactical relations ship s and
symbolic meanings. A distinction is made between the linguistic, télelogical
and holomorphic concepts of traditional music and the | autonomous and
idiomorphic treatment of structural relationships and compositional deter-
ninants in recent electronic music.
The concept of the structural areas of music as parameters is reviewed.
The use and function of pitch, timbre, duration and intensity in electronic
music are re-defined as individual totalities which commonly exhibit total
range and total ambience. It is shown that equality among the parameters
in electronic music has occurred through the reduction of pitch and dura-
tion from proportional absolutes to proportional analogies.
The principal organizational resource is identified as valence, a syner-
getic approach originating in the electroacoustical concept of modulation.
han
- The determinants of relationship and organization are described as the
acoustical resources of overtones, combination tones and beating, the elec-
troacoustical resources of circuits and circuit-systems, and the psychologi-
cal resources of contrast, denegation and surprise.
Historical precedents are considered and pertinent areas of psy-
choacoustical research and technological development are summarized and
documented throughout. Related developments in recent vocal and instru-
mental music are noted and interpreted as indications of a synthesis of
mid-twentieth century style in which the differences between the electronic
and instrumental idioms are minimized through a common approach to
music as acoustical sound.
Order No. 70-24,525 M $4.00; X $12.85. 284 pages.
THE GRADUALE DOMINICALE (MEXICO: PEDRO OCHARTE,
1576) OF JUAN HERNANDEZ, [STUDIES IN MUSIC # 45}
Enid Patricia HOUSTY, Ph.D.
The Catholic University of America, 1970
This copy of the 1576 Gradual Dominicale (Sunday Gradua/) in the
Library of Congress, Washington, D.C., is a very early SIE of a liturgi-
cal book with music printed in America. The chants of the Mass as con-
tained in this Gradua/ have been revised by Hernandez to conform to the
decrees of the Council of Trent.
This dissertation presents a study of Hernandez�?T versions of the chant
melodies. And in an effort to determine the extent and nature of these
revisions of the chant, comparisons are made between Hernandez�?T work
and the following sources: the Vatican edition of the Gradua/ (Rome,
1908), the Urbinas Gradua/(Venice, 1560), and the Ratisbon edition of the
Gradual (Rome, 1884).
Analysis of the sources shows that the chant in the sixteenth century
was still enjoying a period of growth with the composition of new melodies
and the revision of of the old melodies. Hernandez�?T revisions which are
based on his treatment of the melismas include variations in the grouping
of notes, the modification of the �?oreiterative style,�?� and the reduction of
the length of the standard phrases.
COLLEGE RECORD
Undervraduate Courses:
Music:
4t the University of North Carolina: 1952-5h,
Harmony, 2 vears Notation, Sight-singing, Dictation, 1
Historv of Music, 1 year year
Band, Orchestra, Recital Class, 2 years
French horn and piano lessons, 2 years
At Boston University: 1956-58,
Countervoint, 2 years Contemporary Techniques
Comnosition, 2 years Conducting and Score Reading
Advanced Theory Collegium Musicum
Analytical Techniques Bach and His Predecessors
Vocal and Instrumental Arranging Wagner to the Present
Advanced Orchestration Introduction to Musicology
Class 'Cello French horn lessons, 2 years
Class Flute Orchestra, 2 years
Recital Class
Laneuare, Humanities and Science:
At the University of North Carolina:
Freshman English Latin I
Enelish Literature American History, to 1865
Enelish Comnosition American History, since 1865
French, 2 years Survey of Western Civilization
Introduction to Physical Geology (Lab.
Phvsical Education Hygiene
At Boston University:
General Psycholoky
Graduate Courses at Boston University: 1958-61
Music: Credits:
Comnosition i. ss & © & @ ee ae ee a %
Research and Directed Study in Composition .
Maprer: CONCURMUNGCAL 2orme « cs se he i os
Musicology and Research 82) £6 82 Se eR Oe ce
Musicology and Research: Seminar on 17t Century .
pean PRINT 6 4. kk 6 eb oe a a ok
Pe TOCALION «4.4 ee eos reer ae
Research and Directed Study in Theory of Music ,
Research and Directed Study in Theory Pedagogy .
Music in the Middle Ages is + 8 8 WER Ce
W ONW WF ON OND Wo DD
Svecialized Courses in Anthropology and African Studies:
Peooies and Cuitures of AfPien . . 6 ook ce &
Err Ot FISIOR 6 6 a wv 6s eS Se
Research in African Anthronological Studies
2
University, 1965-68
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BMG X 463 )
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reaching Experience and Preferences:
Musicology: Exp ance in teaching and directing graduate studies
wentieth-Century Musice
troductory and advanced studies.
Specialty: African Music.
Composition: Composition on all levels, in all mediums; orchestration.
Specialty: Electronic Music. studi lesion, administration;
om
Cc
Cc
nposition in al ree jlectronic music;
Mosg synthesizer.
Qualified as electronic repair and recording
techniclane
BOOK REVIEWS
Boulez, Pierre. Boulez on music today. Cambridge, Mass.: Harvard University
Press, 1971. Translation by Susan Bradshaw and Richard Rodney
Bennett. 144 pp, index, illus. $6.95.
Boulez�?Ts book is a collection of opinions, commentaries and theories
possibly gathered and enlarged from composition notebooks. It was first
published as Penser la musique aujord�?Thui (Paris, 1963). The topic is strictly
limited to avant-garde serial composition, although the title seems to suggest a
oroader range of contemporary subjects. For ethnomusicologists, the most
striking feature of the book is the intricacy of the verbal or �?oliterary�?�
~chavior of the author, who is acknowledged as one of the most important
»nposers living today.
The book itself is divided into three unequal sections. The first and
test section, �?oInterior Dialogues�?�, is a whimsical argument between two
gi characters. The dispute, full of literary quotes, arrives at no
conclusions and circles back to the original point. In �?oGeneral Consider-
ations�?T�?T, Boulez comments upon the role of analysis, the abuses of some types
of composers, and the necessity for an essentially intellectually controlled
approach to composition. �?oMusical Technique�?�, the third and largest section,
occupies the remaining three-fourths of the book. Here, Boulez expounds
upon his personal approach to composition, showing how musical resources
can be conceptualized and integrated. Boulez draws examples from his own
music and also from the music of Alban Berg and Anton von Webern.
The positive elements in Boulez�?Ts discourse can be identified as (1), the
insistence upon the primacy of the listener�?Ts perception (2), the condemnation
of mere mathematical organization, and (3), the plea for a rational balance
between imagination and intellect. The book as a whole is marred by Boulez�?T
contempt for other composers (�?o�?~minor and slavish talents�?�~ p. 21), by a
superabundance of quotations and by an over-developed terminology. Despite
the literary sophistication and scientific authority of Boulez�?Ts language, the
organization and syntax reveal some inherent faults. Boulez is preoccupied
with �?othing�?� categories, with naming imaginary, abstract processes and then
subdividing them into further component areas. The hierarchies thus con-
Structed are impressive in language, but the meaning is obscure.
Viewed from the context of verbal behavior, three characteristics of
Boulez�?Ts book can be singled out as typical of the avant-garde movement.
The first characteristic is the practice of quoting from a fashionable repertoire
of painters, poets, musicians and critics whose revolutionary maxims and
intellectual philosophies can be used to attack the lingering traditions of
romanticism. Isolated by what they consider to be a_ hostile public,
avant-garde artists seek justification in literary authority as a means of
defense. Second is the time-honored practice of disparaging one�?Ts contem-
poraries and criticizing established institutions such as the concert hall and
opera for their essentially conservative and ultra-traditional repertoire. While
BOOK REVIEWS 287
this practice is by no means restricted to the Twentieth-century, the degree of
invective has taken on new dimensions. Boulez, like some other composers,
constantly oversteps the boundaries of his ascribed insult-statis to offer
himself as a target. The role of controversy in Western music has thus
acquired a new intensity.
The third practice consists of borrowing scientific concepts for the
manufacture of a technical language. The new linqua Franca of �?~music analysis
has been the subject of dispute because its logic and word-use is imprecise in a
strictly scientific sense (Backus, 1962; Cone, 1965). There are many good
reasons why such a language has appeared, although the effect has been to
create a �?opoverty of language�?� situation more acute than in any time in the
history of Western music. One explanation can be found in the role of serial
music as an accepted academic style which lends itself to the publication of
learned articles intelligible only to specialists: Another explanation lies in the
contemporary conceptualization of music as the abstract physical properties of
an imaginary universe. Serial style has developed beyond the manipulation of
a numbered series into a search for organic or synergetic types of organi-
zation. Several remarkable situations can be seen in this new concept of
music. Each composition requires an exhaustive ordering of resources which
constitutes an entire �?otheory�?� of music. The �?otheory�?� or analysis of a piece,
then, is �?~�?~quite equivalent to the piece�?� (Salzman, 1967, p. 160 ftn. 2). Since
the highly abstract schema of serial music (as exemplified by Boulez�?Ts section
on �?oMusical Technique�?�) is seldom audible in the sounds themselves, the
composer�?Ts verbalizations about his music. become increasingly significant
because they contain more information than the music itself.
In this light, Boulez�?Ts book is representative of the expanded role of,
verbalizations about music in the West. Although it is difficult to agree with
some of Boulez�?Ts opinions and hard if not impossible in some instances to
understand Boulez�?Ts analytical processes, it is necessary to concede that the
issues are none the less vital and significant to the development of contem-
porary musical thought and practice.
East Carolina University Otto W. Henry
Greenville, N.C.
REFERENCES CITED
Backus, John : :
1962 Die Reihe: a scientific evaluation. Perspectives of New Music, Vol. I No.
1:160-171.
Cone, Edward T. : �?~
1965 A budding grove. Perspectives of New Music, Vol. III No. 2: 3846.
Salzman, Eric i ass, an
1967 Twentiecth-century music: an introduction. Englewood Cliffs, N.J., Prentice Hall.
JAIRAZBHOY, N. A. The Rags of
North Indian Music: Their Structure
and Evolution. 222p. illus. record. bib-
liog. index. Wesleyan Univ. Pr. 1971.
$22.50. ISBN 0-8195-4027-7. LC 77-
120260. MUSIC
The classical music of northern India is
very pleasing to Western ears, but its
theory and evolution are difficult to
understand because of its culture-bound
definitions and terms and its regional
and historical variations. Jairazbhoy,
professor of Asian music at the Univer-
sity of Windsor, focuses primarily on
the scales and melodic formulas of the
North Indian raga. He treats the kha-
raja or drone element extensively in one
chapter, but mentions the tala or
rhythmic element only briefly. The book
is scholarly, yet written with a clarity of
expression and purpose rarely encoun-
tered. While it is technical, it avoids the
stultifying lists of terms, styles, and hbis-
torical sources so common in other
works. Of special interest are the many
pertinent musical examples, charts, and
diagrams, as well as the 45-rpm dise of
musical passages performed on the sitar
by Vilayat Khan. Much credit is duc to
the publisher for an exceptionally clear
format, and to the author for an unu-
sually well-organized approach.�?"Ouo
W. Henry, School of Music, East Caro-
lina University, Greenville, N.C.
This is an uncorrected proof of a review scheduled for Library Journal, Sept. 15, 1971
WHITE, Emmons E. Appreciating In-
dia�?Ts Music: an Introduction, with an
Emphasis on the Music of South In-
dia. 96p. illus. bibliog. Crescendo.
1971. $6. ISBN 0-87597-059-1. LC 70-
131051. MUSIC
White served as a missionary in south-
ern India for 40 years and studied under
professional Indian musicians. How-
ever, a love and appreciation of music
does not always qualify one to write
about it. White�?Ts book is a sincere at-
tempt to explain South Indian music,
but it suffers from a poor literary style,
a dependence on secondary sources, and
an overly descriptive and subjective
approach to what is surely one of the
of music.�?"Otto W. Henry, School of
Music, East Carolina University,
Greenville, N.C.
world�?Ts most highly developed systems �?"
This is an uncorrected proof of a review scheduled for Library Journal, Oct. 1, 1971
HOLROYDE, Peggy. The Music of In-
dia. fwd. by Ravi Shankar. 287p. illus.
bibliog. index. Praeger. 1972. $8.95.
essay on Indian music as a whole, this is
one of the best books to appear thus
far.�?"Otto W. Henry, School of Music,
LC 76-158093. MUSIC
Books on Indian music tend to oversim-
plify the subject, or else they focus too
intensely on the terminology and the fine
details. While Holroyde�?Ts book lies a lit-
tle on the romantic side and lacks a
certain amount of scholarly detail, it is
nonetheless authoritative and thoroughly
readable. The religious, philosophical,
and historical backgrounds of Indian
music are thoroughly and sympatheti-
cally treated; and the difficult concepts
and taxonomy of the raga are interpret-
ed and explained in meaningful Western
terms. As a general but comprehensive
East Carolina University, Greenville,
N.C.
This is an uncorrected proof of a review scheduled for Library Journal, July 1972
HARICH-SCHNEIDER, Eta. A His-
tory of Japanese Music. 720p. illus.
bibliog. index. records. Oxford Univ.
Pr. 1973. $65. ISBN 0-19-316203-2.
MUSIC
The lack of a treatise dealing with the
historical development of Japanese music
has long hindered the Western scholar�?Ts
appreciation of this ancient and sophis-
ticated music culture. Therefore, this vol-
ume, the culmination of over 20 years of
research, emerges as a major new source.
The book is organized into seven major
historical periods, from prehistoric times
to the present. The documentation and
consideration of original sources�?"
archeological, visual, literary, and musi-
cal�?"firmly supports the author�?Ts de-
tailed and formidable account, which is
carefully interwoven with cultural and
political events. Many plates, charts, dia-
grams, and transcriptions supplement the
text. Three recordings supplied with the
book contain some rare and beautiful ex-
amples of Japanese music.�?"Otto W.
Henry, East Carolina University, Green-
ville, N.C.
This is an uncorrected proof of a review scheduled for Library Journal, August, 1973
COLLAER, Paul, ed. Music of the
Americas: an Illustrated Music Eth-
nology of the Eskimo and American
Indian Peoples. contribs. by Willard
Rhodes & others. 207p. illus., some
color. index. Praeger. 1973. $25. LC
70-112028. CULTURAL STUDY/MUSIC
This is essentially an illustrated book on
unusual musical instruments and cus-
toms. Such a collection of photographs
and general, descriptive commentaries
has a certain value; but the present work
is limited by its dated information and by
its reliance on photographs (many of
which have appeared in earlier collec-
tions) from museums and early field ex-
peditions. Originally published in Ger-
man (1968), it contains a_ lengthy
historical introduction, 97 full-page pho-
tographs, a bibliography, a list of photo
credits, and an index. The contributions
of some eight authors (including Collear,
Laura Boulton, and Willard Rhodes) are
sometimes mixed together under the
same topic or illustration, which gives the
text a heterogeneous or even polyglot
character.�?"Otto W. Henry, School of
Music, East Carolina University, Green-
ville, N-C.
This is an uncorrected proof of a review scheduled for Library Journal, Mar. 1, 1973
RUSSCOL, Herbert. The Liberation of
detract from this work. The popu-
Sound: an Introduction to Electronic
Music. 31\5p. illus. bibliog. index.
Prentice-Hall: 1972. $10. ISBN 0-13-
535393-9. LC 72-1897. MUSIC
The author has produced an eclectic and
overly descriptive work which evades the
larization of any art form is often a diffi-
cult, thankless task; and an authoritative,
objective, and comprehensive book on
electronic music has yet to appear.�?"
Otto W. Henry, School of Music, East
Carolina University, Greenville, N.C.
most interesting aspect of electronic mu-
sic�?"how it is made�?"in favor of a liter-
ary and philosophic appreciation of its
expression and historical development.
Although the author�?Ts intentions to write
a layman�?Ts introduction to this complex
art form are honorable, the value judg-
ments, the romantic tone, the tenuous
historical background (stretching back to
Franz Schubert), and the overemphasis
placed on the roles of certain �?ogreat�?�
men, such as Edgard Varése, seriously
This is an uncorrected proof of a review scheduled for Library Journal, Mar. 1, 1973
DWYER, Terence. Composing with
Tape Recorders: Musique Concrete
for Beginners. 74p. illus. Oxford
Univ. Pr. 1971. pap. $3. ISBN 0-19-
311912-9. LC number unavailable.
MUSIC
Dwyer�?Ts book is only the second book in
English dealing with the technique of
making music with a tape recorder and
is notable for that reason alone. Essen-
tially, it is a novice�?Ts shortcut, but as
such it is not to be despised, although
many criticisms could be made from
a more serious or technical viewpoint.
The tone is pleasantly British: conversa-
tional, jovial and practical at the same
time. Dwyer provides graded exercises
as well as down-to-earth discussions of
aesthetics and composing techniques.
Only a bare minimum of equipment is
required. Sound sources are restricted
to musical instruments and environmen-
tal noise. Music educators especially
ought to examine this book with a view
to classroom experiments.�?"Otto W.
Henry, School of Music, East Carolina
University, Greenville, N.C.
This is an uncorrected proof of a review scheduled for Library Journal, Sept. 15, 1971
CROWHURST, Norman H. Electronic
Musical Instruments. (Tab Bk., No.
546). 193p. illus. index. TAB. 1971.
$7.95; pap. $4.95. LC 70-133801.
MUSIC
Crowhurst, an audio engineer, is the
author of many articles and books, both
technical and popular, on audio elec-
tronics. The present work is a practical
introduction to the amplification and
modification of instrumental sounds by
electronic means and a valuable guide
to selecting, matching, modifying, and
repairing modern electronic equipment.
The book is written on a layman�?Ts level,
but the material presented is highly
technical. Subjective criticisms and a
proliferation of exclamation marks mar
the work. Chapter 6, on electronic music
synthesizers, is particularly disappoint-
ing, as: it deals only with the RCA,
Moog and ARP synthesizers, omitting
any mention of the Buchla, Electro-
comp, Ionic, and Synket systems. Aside
from the technical sophistication, and
the naive evaluations of the role of elec-
tronics in music, the book should be
useful to the young novice because of its
many practical hints.�?"Otto W. Henry,
School of Music, East Carolina Uni-
versity, Greenville, N.C.
This is an uncorrected proof of a review scheduled for Library Journal, June 15, 1971
March, 1168
THE QUARTERLY JOURNAL OF THE
MUSIC LIBRARY ASSOCIATION
sSulicu Vy CALLALICUUDS LULISIULLALLIULID UL aLL
and subjectivity, as a musical piece is
bound to be. Mathematics, too, are not
hampered by the necessity of so unreliable
and inaccurate a factor as the human per-
former.
Although all parameters of this work
are organized, the most immediate inter-
est lies in the use of rhythmic proportions.
These often take the form of slow, regular
groups of three, five, or seven (often oc-
curring simultaneously), whose correct exe-
cution would be unreasonably difficult�?"
especially as they frequently cross the bar
lines�?"had Weinberg not provided alter-
native notations in which the rhythms are
expressed in smaller groups. Modern music
often succeeds in its intentions without
the aids of harmony, melody, or regular
(i.e. perceptible) rhythm, and Weinberg�?Ts
solution to the problems posed by these
absences is doubtless as sincere as, say,
Ligeti�?Ts or Stockhausen�?Ts. It has, however,
a more limited appeal, for the composers
mentioned do at least keep in mind the
fact that music has always been a recre-
ation and an emotional pleasure. The
school of composers that adheres to the
musical philosophy of Milton Babbitt
would appear to consider this attitude out-
dated.
It is a good thing that Apogee have in-
cluded a work of this kind in their first
series, for the immense variety of modern
music must be demonstrated in an un-
biased way before value judgements can
be made. It may even be too early to make
value judgements, but when the question
is one of fundamentals, rather than of
585
intrinsic musical worth, one is tempted
to express severe misgivings.
JOscELYN GODWIN
Cornell University
Donald Martino: Strata, for Bass Clar-
inet Solo. (Apogee Series I.) Cincinnati:
Apogee Press Inc., 1967. [5 p., $4.00]
The continuing experimental trend in
contemporary music has brought about an
increasing concern for precision and ac-
curacy in notation which is now taking
on an aura of speculation that separates
that which is written from that which is
or can be played. Following this trend,
Donald Martino�?Ts Strata for Bass Clarinet
exceeds the limits within which accuracy
can be demanded of an instrumentalist,
but it supplies a highly attractive study
in its aural and spatial aspects.
The chief difficulties in this work have
to do with the controlled measurement of
the larger and smaller units of time in a
context in which neither is a stable ele-
ment. With few exceptions, each of the
fifty-nine measures contains an individual
time signature which indicates the sig-
nificant groupings, some of which are con-
ventional (4/4), some of which are fraction-
al (3/16 + 2/8 + 3/16). Duplet, triplet, and
quintuplet �?ocoloration�?� are common on
both macro- and micro-levels; more com-
plex proportional ratios (4:5, 6:5) also oc-
cur, and any of the types mentioned here
are commonly subdivided into uneven
rhythms. Metronome markings provide the
speed of both the larger and smaller units,
but as the dimensions of the units fluctu-
ate, the markings have little value. The
many conventional �?omood�?� indications
(drammatico; espr.) seem a little out of
character.
The complete range of the instrument
is used, from eh to bh�?T�?� (the eh key should
be standard equipment on modern bass
clarinets by now). The intervals are char-
acteristically wide and employ major and
minor sevenths and ninths or their octave
compounds as the most typical units. Ten
dynamic levels (4 F�?Ts to 5 P�?Ts) are called
for, with gradations in between. What is
even more surprising is that the bass clari-
net is probably capable of accomplishing
this.
Turning to the aural aspect, this piece
can be described as an a-thematic chain of
kinetic sonorities separated by brief pauses,
and herein lies its real merit. Unusual but
carefully explained articulations combine
with key-clicks, slap-tonguing, and _ lip-
bends to create a phantasmagoric texture
of fleeting and constantly changing tim-
bres. Flutter-tonguing, throat-tremolos,
and key-tremolos between two unblown
fingerings also contribute to the total
effect.
As already suggested, the possibilities of
these imaginative devices are hampered
by an equally imaginative approach to the
notation of rhythm, so complex that one
must take to pencil and paper to discover
if the composer has completed a 2/16
measure (m. 57). A curious six-measure
postlude (�?oto Muffin, in Memoriam�?�), in
which the measures are presented out of
order (but numbered), remains without
explanation. Speculation can be endured,
but mysticism is out of place here.
Roger Reynolds: Blind Men. For
mixed voices, 3 trp., 2 trb., bass trb.,
tuba, perc., pf. New York: C. F. Peters
Corp., 1967. [Score, 26 p., $6.00]
While this work is scored for mixed
chorus, brass septet, piano, and percussion,
nothing else about it is conventional. The
brief text, an impressionalistic description
of blind men in Cairo taken from Herman
Melville�?Ts Journal up the Straits (1857), is
used as a phonetic cantus firmus and inter-
preted in textures which illustrate the
basic significance of the words. The visual
shapes are thickened for intensity, elongat-
ed for duration, and bent across the staff
to indicate relative pitch. The words are
not intended to be especially intelligible
per se; the text is available on cards, how-
ever, which may be used as the basis of
slide or film projections, or even programs
and posters.
The composition consists of three basic
alternating units: Time Mixtures of one-
minute durations that are based on un-
measured group effects, Links, governed
by single events and the natural limita-
tions of breath and resonance, and Meas-
ured Sections. Altogether there are twenty-
one sections, each supplied with detailed
descriptions of the effect desired. Often
there are more words than notes. All per-
586
formers are called upon to interpret visual
symbols of various designs. Special per-
formance-signs for the instruments are
carefully explained in the preface, and
percussion materials are specified right
down to the brand names (�?oMusser F-04,
brass mallet�?�).
The performers�?T positions on the stage
are also specified. The seven brass instru-
ments are positioned directly in front of
the conductor and consist of Trombone 1,
Trumpet 2, Trumpet 3, Tuba, Trombone
2, Bass Trombone, and Trumpet 1 in
order from left to right and reading from
top to bottom on the score. The SATB
chorus is drawn up in two lines behind
the brass and is assigned three �?odistribu-
tions�?�: straight across, broken in half and
bent forward, and divided into thirds with
the two wings moved back into a square
U-shape. They are instructed to assume
these shapes at various times in order to
cue each other or the piano and percussion
which are placed on either side of them.
The choral parts are each divided into
four sections (Sop. 1, 2, 3, 4, etc.) to facili-
tate tutti-solo textures and to provide a
greater amount of complexity when need-
ed. Singers are asked to participate in
tuned glissandi, microtonal inflections,
rhythmic intonations, and aleatoric selec-
tion of individual words. Various tone
colors are produced by Sprechstimme
declamation of vowels and consonants, and
emotional interpretations (�?oanger�?"rage�?"
disgust�?"resignation�?�) further modulate
the vocal sounds.
The brass have little or no melodic ac-
tivity in the accepted sense; their activity
consists of sustained or rapidly reiterated
notes which are broken with improvisa-
tional �?oriffs,�?� microtonal �?obends,�?� or glis-
sandi indicated by thick curving lines.
The final section calls for them to blow
into their instruments without forming an
embouchure, in order to create whistling
sounds. The trombones are asked to play
some exceptionally low if not impossible
tones. On page 13, the bass trombone has
a contra-G below the bass staff. It is not
clear why the trumpets in the opening
section are notated in the bass clef. Noth-
ing a trumpet could produce would lie
this low. The two percussion parts con-
tain no timpani or snare drums, but every-
thing else is present including five differ-
ent sizes of triangle, high and low bass
drums, and wooden chimes. Some of the
vocalists are required to serve as extra
performers. The piano is used more as a
percussion instrument�?"the top must be
entirely removed for access to the strings,
frame, and sounding board, which are used
as percussive surfaces. Three grades of
plectrum are employed, and the hand is
sometimes used to dampen the strings
when the keyboard is used. An auxiliary
pianist is called for on page 20.
Stylistically, this piece belongs in the
train of Luciano Berio�?Ts Passaggio and best
illustrates the break down of the con-
ventional notational system, for it depends
on verbal explanations and visual sound-
images more than pitch and rhythmic du-
ration. Some of the sounds even defy de-
scription (a set of tape-recorded examples
is offered with the parts). The brunt of
the labor inevitably falls on the conductor,
who must assimilate and memorize each
section to a greater extent than is called
for in conventional music. It is largely a
question of the composer�?Ts supplying the
materials and the performers�?T supplying
the realization of these materials. This is
a work of sonorous textures, sometimes
complex and confusing, sometimes bland
and delicate, sometimes both at once, but
always interesting because the composer
�?okeeps his eye on the object�?� (as Tovey
would say), and because of the literary
quality of the text.
Morton Feldman: Structures [for] Or-
chestra. [3 (alto), 3 (Eng. hrn), 3 (B.
Plo; Beek. perc, : celesta, harp,
strings]. New York: C. F. Peters Corp.,
c.1962. [Score, 15 p., $6.00; perform-
ance material on rental]
Mr. Feldman, a disciple of John Cage,
has been experimenting with improvisa-
tional pieces (Durations; Last Pieces) in
which the pitches are fixed but unmeas-
ured. This is a written-out orchestral
version of �?owhat might occur if the work
utilized indeterminate elements�?� (see the
prefatory remarks to the score). These
elements�?"durations, we assume�?"are here
�?ofixed�?� and �?oprecisely notated�?� in his own
manuscript�?"not precisely enough, as it
turns out. The score consists of 90 medas-
ures of 5/4 time; the tempo is to �?ofluctu-
ate�?� between MM = 60 and 69, resulting
in some seven-plus minutes of pointillistic
permutations of the chromatic scale. The
effect, though more dissonant here, can be
traced back to Schénberg�?Ts idea of Klang-
farben as manifest in the third movement
(�?oThe Changing Chord�?�) of his Five Pieces
for Orchestra (1909). The indeterminate
aspect goes back even further, to the curi-
ous rhapsodic preludes of Denis Gaultier,
Louis Couperin, and Jean-Henri d�?TAngle-
bert (c.1650), which supply unmeasured
whole-notes to be elaborated by the per-
former.
The concept is still a good one and
could be highly interesting (�?omuch like a
series of reverberations from a common
sound source�?�), if it were not marred by
a certain indifference as well as an obvious
lack of knowledge about the orchestra. The
harmonic writing within each instrumen-
tal type is based on minor seconds, major
sevenths, and minor ninths. The strings
are muted (except for the contrabass) and
are mostly occupied with only one type
of artificial harmonic. The harp plays only
harmonics. Seven pitches of antique cym-
bals are required, and the first two notes
of these occur within four beats of one
another, necessitating two performers at
this point alone. All these instruments
plus a celesta and eleven �?ochimes�?� produce
a high treble sonority which is filled in
below by the woodwinds and brass in a
medium and low range. Some contrast is
achieved by occasionally changing regis-
ters. An alto flute is specified; the piccolo
and contra-bassoon are omitted, as are
timpani and untuned percussion.
The wind instruments that occur in
pairs are notated on a single staff, as is
usual, but a curious predilection for posi-
tioning the second instrument above the
first results in ambiguity. Stem directions
are not consistent. The half-note minor
second for the trumpets in m. 5, for ex-
ample, is marked with a single stem. On
the other hand, double stems are pro-
vided for unisons in the horn part and
then marked �?o2�?� (i.e., played by the sec-
ond horn). When the third and fourth
horns are inverted in m. 57, the upper
part is marked �?o2�?� instead of �?o4.�?� Single
whole notes in the paired woodwinds
around m. 47 and in the trombones in m.
79 are not marked a 2 (i.e., played by
both). Although mutes are specified for
the horns, the circle and cross signs nor-
587
mally associated with hand stopping are
used to bring about an occasional open
sound, The same signs are employed in
the trumpet parts.
The indication �?oIn the score all instru-
ments sounding as written�?� (sic) can not
hold true for the celesta (which sounds an
octave higher) or the contrabass, unless the
pizzicato gh�?T in m. 25 is intended for the
fourteenth position about three inches
from the end of the fingerboard on the g-
string. Spurious legato marks occur in the
cello (m. 40), horns (m. 20), and in the
trombone part (m. 50, 66). A single crescen-
do-decrescendo is supplied for the horns
in m. 34-35, which also coincides with one
of those double-stemmed notes marked
�?o2.�?� No other dynamic indications are
given except that the piece is to be �?overy
soft.�?�
Perhaps these mistakes are not at all
important, for the score could be cor-
rected by the conductor in less than an
hour, but they serve to point out that the
composer is not familiar with the orches-
tral medium. If a composer is lacking in a
basic professional skill, how are we to re-
ceive his music in good faith? Perhaps
publishers, when accepting such manu-
scripts, should more actively exercise their
editorial responsibilities.
Otto W. HENRY
Tulane University
ORCHESTRAL MUSIC
Alun Hoddinott: Concerto Grosso, Op.
41. For two oboes, two bassoons, two
horns, and strings. London [& New
York]: Oxford University Press, 1966.
[Min. score, 49 p., $4.40; pts. on rental]
Idem. Symphony No. 2. London [&
New York]: Oxford University Press,
1966. [Study score, 104 p., $7.35; pts.
on rental]
Gordon Jacob: Overture for Strings.
London [& New York]: Oxford Uni-
versity Press, 1966. [Score, 15 p., $2.80;
pts. on sale]
Robert Starer: Mutabili (Variants for
Orchestra). New York: MCA Music,
1967. [Study score, 63 p., $3.25]
The two works of Alun Hoddinott share
an opening gesture apparently borrowed
from Stravinsky�?Ts Symphony in Three
Movements, but there the resemblance
ceases. The Concerto Grosso, dated June
1965 and first performed at the Caerphilly
Festival the same month, is a curious con-
glomerate of harmonic styles. It juxta-
poses shamelessly whole-tone passages with
almost-twelve-tone lines, without attempt-
ing to justify either in any logical fashion.
There is an occasional nod in the direction
of serial procedures�?"a ten-note tune im-
mediately inverted, for example�?"but evi-
dently no stylistic commitment. For a work
so titled, it is anamolously lacking in poly-
phony. The composer resorts most of the
time to octave doubling when two or more
instruments are playing at once. With a
concertino of six wind instruments called
for, it is rare that they are involved in
anything more than a two-part texture,
the pairs of instruments almost always
playing a due and coupled in octaves. The
publisher found two words in a review to
quote: �?o...fine craftsmanship.�?� If crafts-
manship has anything to do with the or-
ganizing of musical structures and the
idiomatic dispersal of instrumental tex-
tures, the reviewer must certainly have
been thinking of a different work.
Hoddinott�?Ts symphony, dated May 1962
and first performed at the Cheltenham
Festival the following July, is a 25-minute
piece in four movements for large orches-
tra�?"woodwinds in threes, brass 4-3-3-1,
timpani, percussion, harp, and _ strings.
It displays many of the same characteris-
tics as the Concerto Grosso: stylistic in-
compatibility, excessive doubling, lack of
consideration for instrumental colors and
idiomatic capabilities, a tendency to over-
statement, and a tiresome insistence upon
a limited number of rhythmic motives�?"
identical in both works�?"which seldom de-
velop but are merely repeated. Hoddinott�?Ts
devotion, both melodically and harmoni-
cally, to the whole-tone scale is touching,
but a diet of major seconds, major thirds,
and tritones leaves one wishing for some-
thing a trifle less bland.
Gordon Jacob, at least, is entirely famil-
588
( MUSIC FOR INSTRUMENTS AND TAPE
Jacob Druckman: Animus 1, for trom-
bone and tape. New York: MCA Music,
1967. [2 scores, 11 p. each, and tape,
$15.00]
Animus I was premiered by master
trombonist André Smith during the Town
Hall �?oMusic of Our Time�?� program of
March 1967 and will soon appear recorded
on Turnabout, TV 34177. The trombone
is the most versatile of all brass instru-
ments and one of the most ancient of all
metal horns. Its durable qualities will
probably outlast even the tape recorder,
which has finally met its equal here. There
is something noble about the trombone�?Ts
ability to stand and dish it out in this
piece�?"a dramatic situation which is ex-
ploited by facing the speakers diagonally
across the hall, according to the per-
formance instructions, and having the
performer sit, stand, exit, and re-enter
from a position in front of the speaker
on stage right.
But the trombone part approaches the
impossible. The skips that leap beyond
the octave and occur in fast succession
combine with the wide range of special
effects and the difficulty of constantly
adjusting the part against the tape nota-
tion to present formidable obstacles. Be-
sides muting, flutter-tonguing and glis-
sando�?"all normal equipment�?"some ef-
fects are entirely unorthodox: singing
while playing, whispering, clicking the
tongue, and raising the back of the
throat to change the timbre. Some are
compounded, such as opening and closing
the plunger on the mute while beginning
to flutter-tongue gradually. In this respect,
readers familiar with recent music will be
reminded of Luciano Berio�?Ts Sequenza
for solo trombone.
No tonal or metric qualities in the
conventional sense are intended. Aside
from six measured bars, this work (12 min.
40 sec.) is performed without the aid of
barlines and usually without rests. Only
the twentieth-century tactus, the second
(which is inscribed above the tape part),
and the partially notated electronic sounds
guide the relative placement of the gener-
ally sharp, detached, and accented notes
of the trombone. The traits of not re-
peating a pitch until at least six or more
others have been used and avoiding the
octave and perfect intervals are: already
familiar. The form is through-composed,
but vaguely sectional, with recurring hints
of the initial motive.
The tape part is available in two or
four channels and is notated on two
staves in the score. Although the stereo
distribution of the channels is not shown
and no indication of timbre or sonority
appears (two definite drawbacks), the
texture and rhythm are sketched accurate-
ly enough and the graphic illustrations
that replace these where conventional no-
tation breaks down are well chosen. Two
pauses have to be cued by the tape opera-
tor�?"everything else depends on the per-
former. The first and second cues begin
with recorded trombone sounds that dis-
appear into the electronic fabric which is
sometimes marred by clichés�?"the �?okey-
board glissando,�?� the �?oascending burst of
white noise,�?� and the �?oreverberated
click�?��?"and by a little too much empha-
sis on reverberation and violent, speed-
modulated sounds.
The score is carefully prepared but
might have been provided with more
annotation in the tape part and clef signs
at the beginning of the trombone staves,
which are hand-drawn and sometimes not
evenly spaced.
Webster�?Ts dictionary defines �?oanimus�?�
as a disposition to do something or a
feeling of hatred or animosity. In any case,
Druckman has created an active and
angry piece which succeeds in matching
an instrument against an electronic score,
combining them in an interesting if high-
ly difficult composition.
Morton Subotnik: Prelude No. 4, for
piano and electronic sounds (1966).
New York: MCA Music, 1967. [Piano
part, 12 p., and tape, $7.50]
Most outstanding from a technical view-
point are those portions of the score that
are not strictly measured, and yet are not
improvisational. The beginning and cen-
tral sections are without barlines and rests
but provide vertical strokes above the
staff which mark off the duration of a
second. The performer must align his
given figures according to these and syn-
125
chronize his part with certain infrequent
cues of the tape, which is only partially
notated on an extra staff; otherwise, no
strict relationship exists. In the final sec-
tion, the pianist is even freer and is asked
to fit his simple figures into longer time-
spans of 10- and 15-seconds in length.
Several metered sections employ conven-
tional if asymmetrical rhythms.
The piano part is almost monophonic,
but both hands are required to execute
the wide intervals which follow one an-
other rapidly. No obvious tonal or serial
relationships can be detected. The com-
poser seems to have declared a pox on
both houses and concentrated on creating
his own sound-world that for the most
part avoids scales or tonal centers, using
skips that are so wide that the interval
distance is lost and the pitches become
colors. On the other hand, the repetition
of pitches as well as the persistence of a
tremolo figure and a few melodic cells
create small patches of tonal relations
that give a delicate impression of a con-
tinuous train of related thought.
The tape runs continuously and re-
quires no manipulation. The sound
sources are entirely electronic but unusual-
ly varied and resourceful. Bombastic tex-
tures are avoided. While the repertory of
bell sounds, rushes of white noise, clicks,
and sustained tones are familiar enough,
all of these are used in tasteful sequence.
Some of the piano�?Ts material seems to be
anticipated, and the part is occasionally
metric enough to guide the pianist�?Ts
tempo. The ending is particularly well
managed and fades off mysteriously in
wind-chime ostinatos.
The composer allows an uncommon
amount of freedom in the execution of the
piano part without shirking his responsi-
bility in the areas of pitch, rhythm, and
tempo. Although the wide intervals and
extremes of range will not be hard for a
competent pianist, a major difficulty will
be the counting and adjustment of this
part against the activity of the tape.
Subotnik has created a sensitive and prac-
tical piece well adapted to its medium and
thought provoking for both performer and
listener.
Lejaren Hiller: Machine Music, for
piano, percussion, and_ two-channel
tape recorder. Bryn Mawr, Pa.: Theo-
dore Presser Co., 1967. [Score, 28 p.,
$2.50. Three scores needed for perf.
Tape recorder part available on rental
from publisher.]
Lejaren Hiller, director of the Experi-
mental Music Studio of the University of
Illinois, is, like Borodin, both a chemist
and a composer. But Machine Music dis-
plays a wealth of organization and insight
seldom achieved by his Russian counter-
part. This piece is scored for piano, per-
cussion, and tape, and is recorded on
Heliodor (H 25047, HS 25047). The sonori-
ty will be too strange for conservative
musicians, and the strict metric qualities
will seem old-fashioned to the avant-
garde�?"an unenviable stylistic position,
perhaps, but one which Hiller makes the
most of in any case.
The annotation and design of the score
is intelligible and attractive. The piano
part is conventional in notation and de-
pends heavily on percussive and rhythmic
figures. The vertical organization uses
thick, non-triadic chords and tone-clusters;
the horizontal aspect has a twelve-tone
format, or at least a tendency to cycle
around various orders of the chromatic
scale without pitch repetition. Wide in-
tervals are characteristic, but do not rule
out suggestions of tonal relations.
The part for a single percussionist is,
like the piano part, difficult and virtuostic
in places. No standard notation for per-
cussion exists in this area of contemporary
practice; Hiller�?Ts scheme, however, is ex-
emplary. Two staves for the four tuned
instruments and a single line for the
eighteen untuned instruments preserve
the basic rhythmic line by utilizing ex-
plicit graphic symbols to show the se-
quence of alternation. A preliminary list
explains these symbols and indicates dif-
ferent grades of percussion sticks as well.
A stage plan is also included.
The two-channel tape is used in alter-
nate movements of this eleven-movement
work, and it is provided with one measure
of clicks, inaudible except to the opera-
tor who uses earphones at this point and
who indicates the tempo visually to the
other players before switching on the
speakers. The two staffs provided for this
part in the score are detailed without
being cluttered. Timbres are described
126
verbally, and precise pitch and rhythmic
notation is used wherever possible. Vari-
ous electronic devices are mentioned and
the acoustic or electronic derivation of
the sounds is also indicated. The sound
sources themselves vary from specified
electronic frequencies to concréte mon-
tages and random splicings from earlier
material.
Machine Music would be a good work to
spring on a class in advanced analysis.
The continuous eleven-movement organi-
zation is an arch-form with interesting
cross-relations of instrumentation, texture,
and compositional devices. All possible
combinations of piano, percussion, and
tape are exploited in trios, duets, and
solos. The two trios are placed at the
beginning and end while the second of
three duos serves as the sixth, or central
movement. The interior �?owings�?� of the
arch-form consist of solo-duo-solo-solo in
the first half, and the same reversed for
the second half.
Particularly interesting are movements
II, V, and X�?"all solos which share the
same arithmetical division of a _ one-
minute time span (12 measures of 5/4 in
MM = 60). The first solo for piano simply
articulates two sustained and _ widely-
separated minor seconds in durations
which increase by two eighth-note values
(2, 4, 6, etc.) until the length of 20 eighth
notes is reached. This scheme is retro-
graded for movement X (bass drum and
cymbal) and both versions are combined
in movement V for tape, which uses ran-
dom cuttings in half-second bursts.
Also relating across the central move-
ment, V and VII use an identical alterna-
tion of six patterned measures, while III,
VI (the center), and IX are based on an
exchange of a single melody and several
ostinatos which reveal the same or similar
variational treatment. The first and last
movements begin alike and share some
patterned elements. The first movement is
somewhat Stravinsky-like in its presenta-
tion and then irregular alternation of
these patterns and also in its irregular
accentuation of the same chord. The last
movement is of climatic proportions and
uses prerecorded rehearsal tapes from the
other movements in a constantly acceler-
ating recapitulation.
The continually varied but aurally re-
lated sections of this work create real
concert-hall power and brilliant possibili-
ties for performance. Ambitious ensembles
should give it a try.
Mario Davidovsky: Synchronisms No. I,
for flute and electronic sounds; No. 2,
for flute, clarinet, violin, cello, and
electronic sounds; No. 3, for cello and
electronic sound. New York: McGinnis
& Marx, 1966, 1964, 1966. [No. 1: score,
5 p., $2.50; performance materials, 2
scores and tape, $12.50. No. 2: score, 17
p-, $4.50; performance materials, 6
scores and tape, on rental. No. 3: score,
8 p., $2.50; performance materials, two
scores and tape, $12.50.]
These are among the few published
compositions that combine conventional
instruments with electronic music; they
are valuable publications for this reason,
but stylistically they tend to fall within a
category that is rather predictable by now.
(They are recorded on CRI 204-SD 204.)
The instrumental parts emphasize the
intervals of the seventh, ninth, and octave-
plus. Octaves and triadic outlines are
avoided, and pitches are repeated only at
the distance of six or twelve notes further
on. The rhythm is non-metric and con-
sists of tied and dotted values, different
levels of triplets and quintuplets, a liber-
al sprinkling of grace notes, and con-
trasting sections of semi-determinate
groups. The dynamic range is from ffff to
bppp. All gradations, accents, and changes
in dynamic level are non-expressive and
occur with great frequency. Special color-
istic effects, like dynamic markings, change
rapidly and tend to be applied to single
notes or small groups of notes. As for
form, the pieces leave a vaguely strophic
impression which is created more by the
re-use of textures and special effects than
by thematic variation.
The electronic portion, a 7.5ips two-
channel tape supplied by the publisher, is
also characteristic. All sounds are elec-
tronic in origin. Emphasis is placed on
measured bursts of rapid notes which
speed up or slow down and become loud
or soft according to the pitch direction.
The tone color may be varied from a
sharp nasal sound to a hissing noise and
reinforced by clicks and sustained bell-
tones. All elements are blended in rapid
127
succession (or simultaneously) and con-
trasted by the presence or absence of
reverberation. If the approach seems
dated, the technical adroitness of these
pieces is not to be passed over lightly.
The two-channel effects, for example,
show a wealth of attention to detail and
the channels manage to complement each
other without stressing spatial displace-
ment.
The tape part is partially notated on
two clefless staves above the instrumental
part and supplies some cues in rhythmic
notation but neglects timbre except to
indicate percussive effects. The tape it-
self must be started and stopped at given
places. The instrumentalists who attempt
these pieces must almost memorize the
electronic part to develop any sense of
control over their own.
The format of the scores is good but
economical; Nos. 1 and 3 use the glossy
inside and back of the cover. Synchronisms
No. 2 is in manuscript and contains an
explanatory preface which the others
lack and badly need.
Synchronisms No. 1 (1963), for flute and
electronic sounds, is the least impressive of
the three, because the relatively high
tessitura of the flute is almost devoid of
overtones and thus limits the range and
scale of the tape part. Only three special
effects are used, and except for a few
dotted lines the entire piece is barless.
No. 2 (1964) is barred in conventional
time signatures and combines four instru-
ments (flute, clarinet, violin, and cello)
/
with the tape. More range is given to
semi-determinate elements and though
the instrumental parts are almost totally
independent in places, there is enough
complementary texture to balance this.
The clarinet, a remarkably flexible in-
strument, is almost bare of special effects,
which are concentrated in the violin and
cello. The tape part has some well-handled
stereo effects and is more active in the
bass register.
Synchronisms No. 3 (1964) is the best
of the lot because of its more developed
cello part and more rhythmic electronic
portion. Instrument and tape seem to be
better matched here, probably because of
the cello�?Ts polyphonic capabilities and
wider range of coloristic effects, which
include knocking on the bridge and
hammering down on pitch positions with
the left hand. There is more variety of
form, and the piece is of a more sub-
stantial length.
The full potential of this idiom, while it
has produced one of the more interesting
forms of recent music, may not be realized
for some time yet due to the inflexibility
of prerecorded tape, the esthetic objections
of �?omechanicalism,�?� and the inherent dif-
ference between instruments and _ elec-
tronic sound. A new trend towards �?olive�?�
electronic manipulation without tape has
begun and has gone a long way towards
solving these problems which Davidov-
sky�?Ts three Synchronisms illustrate but do
not overcome.
Otro W. HENRY
East Carolina University
ORCHESTRAL MUSIC
Dmitri Shostakovich: Concerto for
Violoncello and Orchestra. [2222-1000-
timp., celesta-str.] Ed. by Lewis Roth.
New York: MCA Music, 1966. [Study
score, 71 p., $4.00]
Shostakovich created his cello concerto
for Rostropovich, who has made it a part
of himself. Some even claim that the
incomparable cellist has it �?otattooed to his
skin.�?� He always achieves victory with
it whether contending with the Moscow
State Orchestra, the Philadelphia Orches-
tra, or another.
When it first came out, the work pro-
voked a wide range of comment. Alfred
Frankenstein called it �?odull and trivial.�?�
Arthur Cohn acclaimed it with emphasis
as �?oone of the important concerti of the
century.�?� Taken together, these judgments
provide a harsh indictment of the twen-
tieth-century concerto. To be sure, the
repertory, especially for cello, includes few
masterpieces. Thus, every substantial work
is a welcome contribution. Here Lewis
Roth has provided an excellent edition
with everything clearly in place�?"not a
mini-miniature that has to be deciphered,
but the comfortable size of study score,
6 X 9 inches.
The concerto opens with a relentless
four-note motive, attesting that Beethoven
128
Hampton�?Ts piece is supplied with two
two-piano parts titled �?oVersion One�?� and
�?oVersion Two.�?� In both versions, the
second piano can be tuned a quarter-
tone flat. The two versions can be played
simultaneously, or the first version can
be pre-recorded on tape and synchronized
with a live performance of Version Two.
The use of a conductor is suggested.
Version One consists of four sections of
approximately five measures each which
explore different patterns of tone clusters
and glissandos. The full twenty measures
are to be repeated four times with one
additional repetition of the first section.
Version Two contains similar textures
and sections, except that the order of the
sections is transposed and an extra sec-
tion of five measures has been added. The
twenty-five measures of Version Two are
to be repeated four times with one final
repetition of the first section. In this
manner, each version lasts 105 measures,
and the textures of the various sections
will begin and overlap at different times.
The notation devised for the different
sizes and positions of tone clusters is
clear and well-chosen. The instructions
are explicit except in the matter of
tempo, for which no indications are
given. This is an attractive piece which
should prove interesting to performer
and listener alike.
Otro W. HENRY
East Carolina University
Theodore Antoniou: Moirologhia for
Jani Christou, for baritone and piano.
Kassel: Barenreiter, 1972. [Score, 16 p.;
apply to publisher]
Theodore Antoniou: Parodies, for
voice (actor) and piano. Kassel: Baren-
reiter, 1972.. [Score, 12 p.; apply to
publisher]
Written in 1970, Moirologhia for Jani
Christou, �?ofor bariton [sic] and piano,�?� is
a setting of dirges (in Greek) by several
authors in tribute to Jani Christou, a
recently deceased young Greek composer
and associate of Antoniou. A translation
of the texts into English is printed at the
front of the score as well as a eulogy to
Christou written by Antoniou shortly
after the former�?Ts death.
804
The score, a legible if not very dis-
tinguished reproduction of the composer�?Ts
manuscript, employs graphic notation for
much of the vocal line and _ includes
drawings of figures in various positions
to indicate activity suggested for the
singer. Piano notation is mostly conven-
tional, incorporating x signs for prepared
strings and triangular noteheads for
finger-stopped notes. An unavoidable sug-
gestion of deterioration of compositional/
notational practice occurs with the ap-
pearance of kindergarten-sized notes and
rests; these are used to indicate repeti-
tions of a previously notated chord, an
unfortunate result of what may have
been expedience. In a piece whose the-
atrical aspects appear to comprise the
primary level of access, they provoke a
feeling of amateurism.
After a carefully timed entrance on the
stage, the singer vocalizes more-or-less
non-stop; his music begins with propor-
tional notation of a continuous sliding
line, moves to conventional notation and
parlando, and then returns to the mur-
muring which continues as he exits. The
final direction is �?oInstead of applausing
[sic] public sings the same note. time
= oo (infinity).�?� Antoniou�?Ts English di-
rections are touching at times (�?~Frozen
and colorless. No any expression�?�), dis-
tressing at others (�?~�?~rich the climax. Line
been pearced by electricity.�?�); the ap-
pearance of typos in the preface as well
is surprising when one realizes this same
publisher is also responsible for MGG.
The composer�?Ts admirable efforts to pro-
vide understandable. instructions should
not have been left by the editors as a
source of possible embarrassment.
This problem is more acute in An-
toniou�?Ts 1970 Parodies (e.g., �?ohoarsly,
stutterly, stammerly, baritonicaly, asth-
maticaly,�?� or �?oneutraly, lyricaly, erotic-
aly, epicaly, sarcasticaly,�?� even �?ohomo-
sexuely�?�), but there are fewer directions,
more theater, and a text. that has little
semantic meaning: Sechs Laut- und
Klanggedichte by Hugo Ball. (A sample
line: �?oo katalominai rhinozerossola hop-
samen lautilalomini hoooo.�?�). A page of
directions (both German and _ English)
outlines the �?oplan�?� of the theatrics: the
baritone begins in imitation of Figaro�?Ts
aria from Rossini�?Ts I] Barbiere; he and
the pianist have various confrontations
Peter Lawson: Valentia Extramaterial,
for flute, piano, [and] 2 or 4 percus-
sion. London: Hinrichsen (Peters),
1971. [Score, 21 p., $7.50]
William Albright: Danse macabre, for
�?oflute, clarinet, violin, cello, piano
(1971). Brunswick, Maine: Bowdoin
College Music Press, 1972. [Score, 33
p., no price cited]
Calvin Hampton: Catch-up [for] 4 pi-
anos or tape recorder and 2 pianos.
Version 1, 2. New York: C.F. Peters
Corp., 1970. [2 playing scores, each 4
p.; the set, $1.50]
Valentia Extramaterial�?Ts partially im-
provised and loosely coordinated sections
raise a vital contemporary issue: how
many decisions can be left to perform-
ers, how much improvisation can be rea-
sonably allowed or required of them, and
to what extent can a flexible, indetermi-
nate framework be depended upon for
consistency?
In Lawson�?Ts piece, the selection of the
percussion instruments is left up to the
performers. The percussion parts are
freely notated in unmeasured graphic
symbols which suggest various types of
textures and densities. �?"The piano and
flute parts use conventional notation,
but sometimes proceed independently of
their relative positioning. The perform-
ers* are asked to complete some sections
eau upon previous material.
The piano part, which seems to predomi-
nate, emphasizes irregular bursts of dis-
sonant tone clusters, sometimes used
percussively, sometimes spread out in
wide figures. The flute participates ac-
tively with sharp punctuations, but is
more effective in sustained and solo pas-
sages. Lawson takes great care to exploit
the possibilities of combining different
instruments, and the alternation of busy,
sustained, and solo sections results in an
interesting and varied formal texture.
Lawson�?Ts piece does not make _ exces-
sive demands upon the performer�?Ts imagi-
nation or ability, nor will it require
more rehearsal time and _ preparation
than most. contemporary ensemble mu-
803
AVANT-GARDE MUSIC
sic. However, the function of the percus-
sion parts is left undefined by Lawson�?Ts
graphic notation. Are they to be inter-
preted as integral or ornamental? �?~This
is a particularly crucial issue�?"too im-
portant, perhaps, to be left to unspecified
instruments, graphic notation, and the
interpretations of as many as four per-
cussionists.
William Albright�?Ts Danse Macabre is
a strange blend of avant-garde effects
superimposed on ordinary or even banal
quasi-tonal materials. The piece is scored
for flute, clarinet, violin, cello, and piano,
but each performer also plays upon
a number of percussion instruments stra-
tegically positioned according to an elab-
orate stage diagram. The duration is
approximately 1414 minutes. The work
is dedicated to the Aeolian Chamber
Players and was commissioned by Bow-
doin College.
The formal plan suggests a division
into three broad sections: a mystic intro-
duction, a sarcastic waltz in irregular
meter, and a frenzied tarantella. Pro-
grammatic directions such as �?oslimy,�?�
�?ode profundis,�?� �?omanaical�?T [sic], and
�?oDance to the Scaffold�?� reinforce the nar-
rative character of the. composition. The
beginning even imitates the augmented
fourth intervals of the Devil�?Ts violin
tuning, after the manner of Liszt�?Ts Me-
phisto Waltz and Saint-Saéns�?Ts Danse
Macabre.
The indeterminate sections are written
in an eclectic mixture of modern nota-
tions�?"interesting enough in themselves,
although overelaborate in places and hard
to read because of the composer�?Ts manu-
script.
Calvin Hampton�?Ts Catch-Up for four
pianos (or two pianos and tape recorder)
is a vivacious and deceptively simple piece
consisting of mildly imitative passages of
tone clusters and glissandos. Since it is
neither complex nor technically difficult,
it is likely to be dismissed as another
example of minimal music with a face-
tious title. However, the interest and
value of a piece like Catch-Up lies in the
efficiency and economy of the system of
fixed shapes which revolve and recom-
bine like the parts of a mobile, creating
organized variety from limited resources.
EL6T Punr �?~fy cou £62 *A *8330N VW
carries this cycle gracefully from start to
finish. In the background, the vocal line
accompanies in a quasi-recitative declama-
tion. The musical language is nostalgic:
triads with accessory tones leading to
whole-tone sonorities, all within the frame-
work of familiar tonal relationships.
Curiously, ancient French texts often dic-
tate an idiom associated with early-twen-
tieth-century composers. The narrow low-
middle range poses no problem for the
singer other than that of perfect projection
of the language.
The text of Alan Rawsthorne�?Ts Two
Fish�?"two witty songs for soprano and
piano�?"is a 1641 translation by Joshuah
Sylvester of poems by the late-sixteenth-
century French poet Guillaume de Barthas.
This setting was found among Rawsthorne�?Ts
manuscripts at his death. It was not dated
but is thought to have been composed
towards the end of his life. The subjects
are, respectively, infidelity and fidelity be-
tween two fish of opposite sex. Interest-
ingly, the second song is a rhythmically and
harmonically adulterated version of the
first. Compositional means are economical
to the extreme; two major triads a half-tone
removed, D and E, play simultaneously,
then reverse as the pianist�?Ts hands move
symmetrically by half-step. This is the pri-
mary motive for the suite, although other
polytonal combinations appear and resolve
symmetrically. The high-tessitura soprano
(tenor) scuttles and hops about on chord
members. The songs should be amusing
encores to a vocal recital, or a charming
introduction to mildly modern sounds for
a young vocal student.
Vigneron-Ramaker�?Ts Vocalise, op. 18, is
a chain of graceful melodic arches, its diffi-
culty requiring a singer of considerable
technical prowess. The piano score of this
song-without-words is no mere accompa-
niment, and, although idiomatic to the
keyboard, presents certain mechanical
difficulties. The vocal and instrumental
parts are beautifully balanced. The com-
poser reveals an unusually strong sense of
architecture, constructing his climaxes with
rhythmic drive and ever-mounting melodic
curves. The idiom is pan-tonal, by moment
triadic, then whole-tone, chromatic, cluster,
or fourth-chord combined in a convincing
and original expression.
In Altena�?Ts Poéme discontinu pour soprano,
fliite, violon, violoncelle, et piano, expression-
istic texts drawn from the collection �?oPoeme
discontinu�?� by Pierre Borgue are arranged
into two movements lasting fifteen and a
half minutes. Although the length is not
sustained by the musical content, there are
no musical-stylistic problems for the lis-
tener. The musical language is only very
slightly post-impressionistic. The tonal vo-
cabulary is triadic, both pure and with
�?owrong-note�?� accessory tones. There is
much duplication of chord-tones between
instruments, with the familiar atmospheric
see-sawings of impressionism in the accom-
paniment. The vocal tessitura is low with
effective high climaxes�?"a dramatic mezzo
is indicated. The French text is abstruse
and overbearing, contrasting overly-much
with the transparency of the musical idiom;
nor is the declamation convincing�?"an in-
consistent treatment of the mute (schwa)
�?oe�?� tends to displace the natural flow of
the language. Characteristic French text-
setting operates here: quasi-recitative use
of duplets-triplets-quadruplets in alterna-
tion, often with repeated notes to accom-
modate the wordiness of the text.
Soler�?Ts suite is serious, dark, and learned.
The whole-tone chords of the accompa-
niment are not atmospheric but functional,
taking part in the gathering and release
of tension. The text, in Latin, is among
the most mystical of the writings of Saint
Paul, and for that reason it is difficult to
imagine these songs performed either in
concert or in church. The voice and piano
proceed independently of one another. The
extreme bottom register of the piano is
exploited, and, to some extent, that of the
voice also. The piano writing is virtuosic,
less so the voice. The sonorities are glorious
at the end of the first piece where the
texture thins and the text declares, �?oFor
ye died, and your life is hid with Christ
in God.�?� The vocal line tends to highlight
unimportant words and is in no way il-
lustrative of the text. The ideal here is
Stravinskian�?"use of the text for sonorous
rather than expressive purposes. This is a
handsome, if austere, addition to the reper-
tory.
ALDEN GILCHRIST
San Francisco
CHILDREN�?TS MUSIC
George Self: Shriek, for 4, 8, or more
descant recorders. [3 p., $.75]; John
Paynter: First Star, for voices and
instruments. [Instructions, 1 leaf,
$.65]; Idem: Autumn, for voices and
instruments. [Chart, 1 leaf, $.35];
Brian Dennis: Chant for Spike Milli-
gan, for voices and instruments.
[Chart, 1 leaf, $.35]; Elis Pehkonen:
Genesis, for voices, instruments, and
tapes. [Instruction, 2 leaves, $1.35];
R. Murray Schafer: Minimusic, for
instruments or voices. [36 patterns,
$1.35] (Music for Young Players.)
London: Universal (Presser), 1971-72.
Aleatoric music has by now penetrated
into every medium and level of con-
temporary music practice. Music educators
particularly have been quick to take advan-
tage of the techniques of aleatoric and
improvisatory music insofar as they en-
courage creativity and provide a perform-
ing medium for untrained composers and
musicians. Another influential factor has
been the increasing demand for aleatoric
pieces at the high school and college level.
Music publishers, therefore, have begun to
issue easily assimilated compositions for
bands, choruses, and mixed ensembles on
a number of different performing levels
which feature the fashionable new tech-
niques of avant garde music.
Universal Edition�?Ts Music for Young
Players, a series of some thirty-three simple
improvisatory ensemble pieces by ten dif-
ferent composers, is one of the more suc-
cessful responses to the new demand for
aleatoric music at the educational level. The
series as a whole is characterized by its
practical arrangements of voices and
instruments, by its clear score format, and
by its economy of resources and design.
The majority of the compositions are short,
averaging about five minutes in length, but
some are longer due to the use of indeter-
minate procedures. The performing levels
vary from extremely simple children�?Ts
pieces to more complex and intellectually
demanding compositions that require a
good deal of musical ability. Several repre-
sentative works from this series will be
reviewed here.
George Self�?Ts Shriek, for four to eight or
more descant recorders, contrasts a variety
of special effects such as finger tapping,
overblowing, covering the fipple, removing
the end joint, and singing and playing
simultaneously. The four instrumental
parts are set in a line graph marked off
at five second intervals. The written direc-
tions and notations are clear and easy to
follow.
Asin several other pieces, the performers
can gather sounds on a tape recorder for
use during performance, if they wish. The
brief duration (4�?T 5�?�) and the sometimes
isolated quality of the musical events are
the only obvious shortcomings detectable
in this piece, which should otherwise be
quite interesting and enjoyable to perform.
First Star and Autumn, by John Paynter,
for voices and instruments, are more prop-
erly children�?Ts pieces than some works in
this series. Both pieces employ an effective
ad libitum background on metallic percus-
sion instruments. The singers follow a single
melodic line, but proceed independently.
Autumn uses a haiku text, while the words
for First Star are taken from the traditional
evening star wish. Both pieces are sensitive
and impressionistic in character.
Chant for Spike Milligan, by Brian Dennis,
is likewise suitable for very young perform-
ers. The text is a nonsense rhyme. The
linear score is in three parts. Each singer
has a single �?oboing,�?� �?oping,�?� or �?oclang�?�
percussion instrument which is struck at
every third or fourth repetition of the word
patterns. This is an easy, silly piece, and
it ought to be fun to play (if you�?Tre a child).
Elis Pehkonen�?Ts Genesis, for voices,
instruments, and tapes, is scored for speak-
ing and singing choruses, solo voice, un-
specified instrumental ensemble, suspend-
ed cymbal, and two tape recordings.
Graphic box-score format is used through-
out. The score is a little hard to sort out
because the six groups of parts change levels
from page to page. The text from the first
chapter of Genesis is set in strophes which
are marked off by a cymbal stroke and the
intoning of �?oAnd God said . . .�?� by a solo
voice. The speaking chorus whispers,
speaks and shouts, while the instruments
368
and singers pursue different sets of repeat-
ed patterns. Two pre-recorded tapes are
specified, one of fast running water, the
other of �?oany continuous sound.�?� The tapes
are to be played back at different speeds
during the performance.
My chief objection to this. piece is the
sensational choice of text and the manner
in which it is set, which is going to garble
the words badly. Also, I think the tape part
is superfluous and only adds a fashionable
�?omod�?� flavor to the piece.
R. Murray Schafer�?Ts Minimusic, for
instruments and voices, has an interesting
and original score format. Each page of
the octavo-sized score is to be cut into three
leaves to allow separate turning. Each leaf
contains a �?obox�?� of verbal and graphic
performing instructions, a timing in sec-
onds, and several arrows indicating which
direction the player can proceed. The ter-
minology and notation are somewhat
technical. The performing instructions call
for fauxbourdon, mordents, trills, and other
traditional effects. �?oJazzy lines,�?� hymn
tunes, mirror inversions, and transpositions
are also required, so that the musical train-
ing of the performers should be well ad-
vanced. Close co-operation is another req-
uisite. This piece should be very exciting
and challenging to perform, and young
musicians can probably learn a great deal
from it.
Otto W. HENRY
Fast Carolina University
Greenville, N.C.
STUDIES AND METHODS
POPULAR MUSIC
A Survey of Books, Folios, and Periodicals
With an Index to Recently Reviewed Recordings
Edited by RoBERT M. JONES
wk
This list attempts to be as comprehensive as possible, listing the year�?Ts
production in the field, and drawing together items published within
the preceding quarter which are readily available in the United States.
It is a multi-media listing of books, folio-type music, new periodicals
in the field, recently reviewed recordings, and other materials which
might be of particular interest. The record reviews are indexed from
a basic list of periodicals; however, if an important review appears
in a source other than the basic list, it is cited with full bibliographic
information.
Country and Western music, Soul, MOR (�?omiddle of the road�?�),
musical comedy, and the various forms of rock music are covered.
Folk music, gospel, early blues, and jazz are excluded at this point.
Books which formerly appeared in this journal�?Ts �?oBooks Recently
Published,�?� now appear in this list. Folio scores are listed after an
examination of new issues. Normally excluded from this list are easy
arrangements from the original, concert band arrangements, and choral
octavo arrangements. Also excluded are 45-rpm records.
This list is compiled by the MLA Committee on Popular Music: Joy
Davis, Doug Gibbons, Irwin Kraus, Karl Van Ausdal, and Robert Jones,
Chairman.
BOOKS RECENTLY PUBLISHED
Albertson, Chris. Bessie. New York: Stein
and Day, 1972. 253 p., $7.95. ISBN 0-8128-
1406-1. LC card 79-163353.
Bertoncelli, Riccardo. Pop story. Suite per
consumismo, pazzia e contraddizioni. In-
Books, 1973. 224 p., $5.95. LC card 76-
144361.
Carles, Philippe, and Jean-Louis Comolli.
Free jazz, black power. Paris: Union géné-
rale d�?Téditions, 1972. 435 p.
troduzione: G. E. Simonetti. Roma: Arcana,
1973.
Biamonte, Salvatore G. L. Armstrong,
l�?Tambasciatore del jazz. Milano: U. Mursia,
1973. 165 p., L2000.
Buckingham, Jamie. O happy day; the
Happy Goodman story. Waco, Texas: Word
Originally published in Paris: Editions Champ libre,
1971.
Caserta, Peggy. Going down with Janis. As
told to Dan Knapp. Secausus, N.J.: L.
Stuart, 1973. 298 p., $7.95. LC card 73-
76819.
Decker, Tom W. So you wrote a song, now
Mr. Jones is the music acquisitions librarian, University of Illinois, Urbana.�?"Ed.
flutes, a director who coordinates the visual
aspects (slides, lights, mirrors, performers�?T
movements) and two �?otechnician/per-
formers who electronically manipulate and
distribute the sound.�?� The title and basic
concept come from an unpublished manu-
script by Buckminster Fuller in which �?o1�?�
and �?o0�?� denote a �?osuggestive pattern of
complementarities�?� between male and
female such as �?osingular-plural,�?� �?odiscon-
tinuous-continuous,�?� etc. From this arises
a basic structure which consists of four
sections (A,B,C,D) labeled Growth,
Awareness, Abundance and Tranquility in-
terspersed with three episodes of �?o�?~pre-ver-
bal expression�?� (Anxiety, Anger, and
Mirth). Space prevents giving more than
this cursory view, but be assured that in
the score Reynolds has given generalized
directions not only for pitches, but for
lighting cues, actors�?T movements and emo-
tional states, and the few stage materials
required (brown paper for a �?opath,�?� risers
and cushions, screens and backdrop, and
mirrors). The latter serve among other
things to cue in the singers�?T various
�?omodes�?�: slurs, tones and chords. Pitches
for these are derived from a Pitch Chart,
which also gives the material performed
by the three woodwinds. These play exclu-
sively multiphonics, fingerings for which are
provided in the score. To facilitate matters,
a full set of performance materials is avail-
able from the publisher. The full score thus
serves as a general guide, much in the
manner of Schoenberg�?Ts Partizell or simpli-
fied score (see op. 22). 1/0 is in fact an
American cousin of the Gesamtwerk. With
Teutonic thoroughness the composer even
takes the audience�?Ts reaction into his
scheme: �?oN.B.: If the individual audience
member wishes, he may participate in the
performance in the following way: CON-
SIDER TWO STATES OF ATTEN-
TIVENESS. 1) totally receptive and re-
laxed, . . . 2) single-minded concentration
on one element. . . Begin with (1). At the
moment any particular element catches
your attention, enter state (2), concentrating
all your attention upon one item until it
stops or you are distracted. Then immedi-
ately return to (1) and continue alternating
between these extremes.�?� Shades of Stock-
hausen! 1/0 was commissioned and per-
formed by the Encounters series in Pasadena
in January, 1971. Although no duration
is given, I would guess from the directions
MLA Notes DEC. 1973
that it would last ideally between 45 minutes
and an hour.
LawrENCE Moss
University of Maryland
Vinko Globoker: La Ronde, experi-
ment in collective work by an indefinite
number of performers. Frankfurt: Li-
tolff (Peters), 1972. [Instructions, 7 p.,
$3.50]
Maarten Bon: Display II, improvisa-
tion for 9 more/less musicians. Am-
sterdam: Donemus (Peters), 1972.
[Performance score, 19 p., $7.50]
Theo Loevendie: Aulos, for one or
more wind instruments and/or
stringed instruments. Amsterdam:
Donemus (Peters), 1972. [Score and
instructions, 4 p., $2.00]
Wim de Ruiter: Two Quartets To-
gether [for flute, bass clarinet, vibra-
phone, 2 violas, and 2 cellos]. Amster-
dam: Donemus (Peters), 1972. [Score,
27 p., $9.00]
Reviewing indeterminate or improvisa-
tory compositions poses special problems.
Lacking a definitive, fixed and predictable
framework of sound and time relationships,
the analysis and evaluation of such pieces
can only be approached through an ap-
praisal of their rigor, economy, and practi-
cality as individual functioning systems.
Especially important to the effectiveness of
an indeterminate composition is the finite
closure of alternative choices. A �?ogood�?�
piece, in my opinion, is one in which the
system will generate a satisfactory perfor-
mance every time. The rules or �?ogrammar�?�
of the piece should be fool-proof and bug-
free like a computer program, taking all
possibilities into account. Another impor-
tant consideration is the efficiency of the
score format, the graphic symbols and the
verbal instructions. The performer should
be able readily to translate the composer�?Ts
ideas and symbols into sound. He should
also be able to comprehend and creatively
manipulate the system and its alternatives
to the best advantage of the composition.
According to the above criteria, Vinko
Globokar�?Ts La Ronde contains a few loose
ends. The work consists of a set of verbal
and graphic instructions which are divided
into models, procedures, transformations,
and rules. A minimum of seven instru-
mentalists or singers stand in a circle. Only
portable instruments are allowed. The par-
ticipants have individually selected and
memorized two or three models and one
group of two transformations from the lists
provided. (Models are simple activities such
as continuous sound, continuous noise,
speaking, and whistling.) The transforma-
tions involve changes in texture, density,
tempo, duration, timbre, intervals, and dy-
namics. Any participant can start the piece
by beginning to play his model. After a
moment, the first participant, while con-
tinuing to play, gives a signal to the player
on his left or right. The second player is
obliged first to imitate the sounds of the
first player, and then to apply his selected
transformation. The second player then
signals the player on his left or right, who
imitates, transforms, and signals in the same
manner. In this way, the sounds and their
transformations begin to spread around the
circle.
The rules give some alternatives. A player
may choose to play a model or remain silent
when he has been signaled. Any player can
advance to the center of the circle,
whereupon all the players are obliged to
imitate what he is doing. Any player can
give a �?ostop and re-begin�?� sign if the current
situation seems impossible. Also, any player
can give the sign for the end of the piece.
Theoretically, several impossible situa-
tions could develop. Two players could
monopolize the piece by passing imitations
and transformations back and forth be-
tween themselves, to the exclusion of every-
one else. Everybody could advance to the
center, leaving no one to imitate. Here, the
�?ostop and re-begin�?� rule can cover a multi-
tude of sins, and could provide some inter-
esting situations. But what if a participant
who has chosen a speaking model signals
someone who has chosen an_ intervallic
transformation? What happens after a per-
son advances to the center of the performer
circle? Does he step back, does he remain
there? What do the other performers do
if he steps back?
Finally, there is the possibility that a
disgruntled performer could give the sign
for the end only seconds after the piece
has begun. Although every piece must ulti-
mately depend upon the good will of the
MLA Notes DEC. 1973
performer, it is a littlke too much to ask
him to second-guess the composer by filling
in the gaps in the system.
Maarten Bon�?Ts Display II�?"an �?oimpro-
visation for nine or more /less musicians�?� �?"
is scored for four groups of two instru-
mentalists and singers. In the score, the
composer mixes graphic symbols, verbal
directions, and indeterminate rhythmic du-
rations. The piece consists of a series of
eclectic and loosely-related improvisatory
sections co-ordinated by a conductor. Ver-
bal explanations appear here and there,
above and below the score, in the margins,
sometimes along one edge, wherever there
is room. I object to the superfluous com-
plexity of this piece, which is caused by
an overexpanded repertory of cursory ef-
fects and by a lack of closure of alternatives.
Directions like �?oYou can repeat this two bars
as many times as you want (at least fifty
times)�?� are self-defeating. I also object to
the substitution of roman numerals for
ordinary dynamic markings (e.g. IX for
p-crescendo) and arabic numerals for spe-
cial effects. In sum, the composer has
elaborated the piece beyond the limits
of conceptualization.
Aulos, by Theo Loevendie, is a solo or
ensemble piece of about five minutes�?T dura-
tion for one or more wind or stringed
instruments. The composer specifically ex-
cludes the trombone as a possible perform-
ing instrument for reasons not explained.
If the piece is performed by more than
one instrument, only instruments with sim-
ilar ranges are acceptable.
The score consists of single five-line
staves. The spaces of each staff represent
four instrumental registers, and each staff
has the duration of ten seconds. The
composition consists of the spaced alterna-
tion or continuation of some eight simple
textures disposed in the four different reg-
isters. Towards the end, double staves pro-
vide for a choice of textures. This piece
is well-conceived, direct, and simple to in-
terpret, and the performer has ample op-
portunity to elaborate according to his taste
and ability.
Wim de Ruiter�?Ts Two Quartets Together
has a standard score format with indeter-
minate placement of precisely notated
pitches within a time-measured bar�?"an
arrangement that has already become a
popular convention. Improvisation is not
called for, and graphic signs appear only
occasionally in the piano part. Pitch-order
relationships derive for the most part from
the liberal twelve-tone field ideal wherein
a pitch is not repeated until six or more
different pitches have been used.
De Ruiter has literally combined two
separate pieces, a quartet for two violas and
two cellos, and a quartet for flute, bass
clarinet, vibraphone, and piano. However
pointless or iconoclastic this combination
may seem, one does not have to search far
for precedents�?"Cage�?Ts Aria with Fontana
Mix, for example, or Charles Ives, or even
further back to the renaissance parody mass
or the medieval motet.
More conservative and abstract in com-
parison with the works reviewed above, de
Ruiter�?Ts composition is nonetheless skillfully
crafted, imaginative, and above all idiomat-
ic.
Orro W. HEnry
East Carolina University
Greenville, N.C.
ORCHESTRAL MUSIC
Serge Nigg: Visages d�?TAxél [3333;
4431; timp.; perc.; celesta, piano, 2
harps; str.] Paris: Ed. J. Jobert (Elkan-
Vogel), 1968. [Full score, 157 p.,
$22.75, performance materials on ren-
tal. ]
Serge Nigg�?Ts Visages d�?TAxél, dated June
6, 1967, though the first movement had
been performed several times before that,
is based upon the drama Axél, which
occupied Villiers de I�?TIsle-Adam for much
of his creative life. Arthur Symonds charac-
terized the play, posthumously published,
as a �?otypical Symbolist drama,�?� and its
author (credited with having fathered the
Symbolist movement) as �?oa remarkable poet
and a remarkable satirist, imperfect as both.
He improvised out of an abundant genius,
but the greater part of his work was no
more than improvisation . . . No one in
his time [1838-89] followed a literary ideal
more romantically.�?�
According to the composer (born in Paris,
1924, of Russian and Scottish ancestry), the
two parts of his Visages represent two es-
sential aspects of the disenchanted hero.
�?oIn the first, Le Monde visionnaire, there
is an attempt to penetrate the reality of
things. Axélis also a voyantin the Rimbaud-
ian sense: a being gifted with visionary
powers that permit him. . . to see beyond
Time and the Visible. . . The second part,
Le Monde passionel, plunges into the uni-
verse of tender, violent, and unrestricted
passions. Its fulfillment is realized only in
the final perspective of the literary work:
a kind of dissolution of the élan vital.�?�
Nigg�?Ts score, meticulously edited and
handsomely printed, calls for woodwinds
MLA Notes DEC. 1973
in threes, four horns, three trumpets, three
trombones, tuba, a substantial battery (in-
cluding vibraphone and marimba), celesta,
piano, two harps, and the usual strings.
Total duration: twenty-one minutes.
The style is mercurial despite frequent
ostinatos and a good deal of instrumental
doubling. Some passages, especially those
with divided strings, have an impressionist
air; many harmonic structures are clearly
bi-chordal. But, while two decades separate
Visages from his Variations for Piano and
Ten Instruments (1946)�?"the latter identi-
fied as �?othe first twelve-tone work written
in France�?��?"for Serge Nigg the serial meth-
od, albeit now of a relatively personal
variety, appears still to be an organizing
force, and an effective one.
HALSEY STEVENS
University of Southern California
Ivana Loudova: Chorale, for Wind
Orchestra, Percussion and Organ. New
York: C. F. Peters, 1973. [Score, 19
p., $5.00]
Peters continues its impressive series of
publications of American Wind Symphony
Orchestra commissions with the Chorale for
Wind Orchestra, Percussion and Organ of
Ivana Loudova. The composer�?Ts name is
new to me; apparently she is of Polish
origin, a supposition that is strongly rein-
forced by the character of the music, which
owes a considerable debt to Penderecki,
Serocki, and Gorecki. Only eleven minutes
in duration, the Chorale displays most of
the familiar instrumentational gestures
found in the scores of the three Polish
at Mantua, thus having no particular con-
nection with Venice.
Even though scholars would appreciate
a more consistent and critical editorial
practice, brass players should welcome
these attractive editions.
WILLIAM PRIZER
University of North Carolina
at Chapel Hill
Hunter Johnson: Trio for flute, oboe,
and piano. New York: Galaxy Music
Corp., 1972. [Score, 28 p., and parts,
$7.00]
To ears surfeited with the sound of the
usual string and keyboard ensembles, this
Trio will seem particularly fresh. The
literature for such a combination surely
cannot be very extensive, perhaps because
composers have not been attracted by its
inherent stiffness and narrow range of
color. But one man�?Ts rejection may be
another�?Ts acceptance and it is gratifying to
hear how wonderfully expressive Hunter
Johnson has made his choice.
The work is traditional only in being
based on a fast-slow-fast three-movement
form. All else is unmistakably Johnsonian.
There is still that quality of nostalgia his
work has always had; but now, through
the restricted medium, rendered more dis-
ciplined, yet remaining as warmly lyric
and powerfully expressed as ever. The sur-
face characteristics that the listener will
get at first hearing (much more will come
later) are the major/minor thirds perme-
ating the chordal structure and melodic
line, the octave doublings in all combina-
tions, and the constantly shifting meters
and tempos.
The two wind parts are written mostly
in middle and upper registers while the
piano ranges all over the keyboard. The
texture is always open, with widely spaced
sounds, and could be called a kind of sober
luminosity. The sonorous material adds
up to an intensely personal tonal/atonal
idiom which distinguishes Johnson as a
composer who mines his own vein and
bears little resemblance to those in his
own or other generations.
The score is excellently printed with
John Kirkpatrick�?Ts usual meticulous edit-
ing. The parts are eminently readable and
generous with cues.
BURRILL. PHILLIPS
Cornell University
Paul Seiko Chihara: Driftwood [for
string quartet]. New York: C.F. Peters
Corp., 1971. [Score, 14 p., and parts,
$4.50]
Driftwood is another in a series of pieces
(Branches, Logs, Willow, Willow) gener-
ated by Paul Chihara�?Ts highly personal
compositional image of trees and nature.
In this piece, the flow and exchange of
quiet polyrhythmic ostinatos and more
active sections of delicate filigree figures
suggest a mildly impressionistic picture
based on the kinetic motion of the sub-
ject.
Driftwood is a very reserved piece, con-
templative and tonal in places, but con-
tent to convey motion rather than themes.
Missing is the percussive, dissonant poly-
phony so characteristic of quartets after
Bartok. An unusual feature is the scoring
for two violas instead of two violins. A
substitute Violin II part may be obtained
from the publisher, but the additional
dark sonority of the original viola part is
preferable. The string writing is idiomatic
and conventional in notation and utilizes
a wide range of special effects. Except for
a code of indeterminate length, the piece
is measured throughout. Its relatively
short duration (714 minutes) contributes
to the intimacy and subtlety of expression.
Otto W. HENRY
East Carolina University
ORCHESTRAL MUSIC
André Bouchourechliev: Ombres
pour orchestre a cordes. Paris: Al-
phonse Leduc (Presser), 1973. [Score,
38 p., $10.00]
Boucourechliev�?Ts Ombres is written for a
small string orchestra of four Ist violins,
three 2nd violins, two violas, two cellos and
one contrabass. Each part has a separate
staff and the parts may be doubled. True
to the designation �?oHommage a Beethoven�?T
which appears in the title, this work pro-
duces the impression of a nostalgic parody
of a Beethoven piece in tone-cluster or
sound-oriented style. The borrowed tex-
tures and fragments were probably adapted
from an idealized gloss of the Beethoven
style rather than from any one specific
work, although one is tempted to start
digging around in the late string quartets
for thematic quotations.
The main difficulty of Ombres lies in the
realization of its indeterminate durations.
The entrances, durations and tempos of
several whole sections of this work do not
exist except as the conductor creates them.
This is usually the case in the sound-orient-
ed idiom: the instrumental parts are not
difficult by themselves, but the instru-
mentalists and conductor must co-operate
in a more sensitive and responsive manner
than in traditionally notated music.
If a structural form has to be assigned
to this piece, then the most appropriate
plan would seem to be a slow seven-part
sonata rondo with a return of the develop-
ment section as a coda. However, the real
�?oform�?� of this piece lies in its processes,
and not in its thematic manipulations.
The opening section consists of long-held
cluster sonorities and vague melodic frag-
ments of cantus-firmus-like slowness. No
metric time signature appears and the con-
ductor is instructed to beat only the begin-
nings of bars. The second section com-
mences an imitation of a long Beethoven
rhythmic development in a double meter
identified as Tempo di Beethoven (ritmo di
due battute). Tone clusters in the violins and
violas swell and recede in intensity over a
fast rhythmic ostinato figure in the cellos
and bass. A return to the slower materials
of the first section is followed by an aleatoric
double-page filled with random melodic
fragments which the players select at will.
After a brief return to more sustained
sonorities, a second parody is introduced
in alla breve time which resembles the inci-
sive beginning of the seventh movement
of the String Quartet in c-sharp minor, op.
131. A fourth sustained and unmeasured
section follows. The final section (coda)
introduces another aleatoric page of frag-
mented parts which reassemble and fade
out on a high dissonant tone cluster.
Ombres is a subtle, mysterious piece full
of almost-remembered melodies and pro-
cesses. It is an effective piece because for
all its simplicity of means, it takes full
advantage of the nuances of the string idiom
and of the contemporary approach to son-
ority, indeterminacy and process.
Otto W. HENRY
East Carolina University
Antoine Tisné: Ozma, pour 2
trompettes, 2 cors, 2 trombones, 2
percussions. Paris: Editions Musicales
Transatlantiques (Presser), 1972.
[Score, 59 p., $16.00]
Ozma, by Antoine Tisné, is scored for
a double brass trio with paired percussion-
ists. The indeterminate durations, the
prevalence of special effects and the clus-
ter-like vertical sonorities belong to the
�?osound-oriented�?� style of avant-garde
composition.
The work is organized into seven short
faisceaux (�?obundles�?� or �?oclusters�?�) which
alternate between static and active textures.
Pitch is specified by the use of conventional
music staves, but the positions and dura-
tions of the notes are determined by the
performers. No metric time signatures are
used in this piece, and the length of the
numbered bars depends upon the conduc-
tors interpretation of the mood of the
musical context. The notation is particularly
well-designed and explicit in meaning. The
extended note-heads and density-beamed
accelerandos and decelerandos used here are
already familiar conventions. Some organi-
zation by twelve-tone field is evident, espe-
cially in faisceaux VI, where the composer
takes clever advantage of various ways of
dividing twelve pitches among the alternat-
ing trio groups.
The brass parts call for some rapid
tonguing, but do not make unusual de-
mands on the performer. Fluttertonguing
and muting is overdone, but good use is
made of other special effects such as glis-
sandos, breathing through the instruments,
and rattling the valves. The percussion parts
have some extremely rapid passages as well
as some difficult alternations, but the parts
as a whole are well-planned and should not
surpass the capabilities of agile percussion-
ists.
The textures are carefully structured for
variety and shape. The continuity of the
piece may suffer for having been divided
into so many sections, most of which begin
with percussion solos. Another feature
which might work to the detriment of this
piece is common to the sound-oriented
idiom in general: the restrictions imposed
by the very clarity and simplicity of the
notation itself. Although clarity and sim-
plicity of design and content are desirable:
elements in any notation system, there is
always the danger of resorting to a mere
permutation of the special effects and gim-
micks which the notation expresses most
easily. Fortunately, Ozma seems to have
enough direction and formal structure to
be able to avoid this trap.
Otro HENRY
East Carolina University
N. C..
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By OTTO W. HENRY
Last night�?Ts Contemporary
Arts Festival Concert at Atlantic
Christian College featured
music of the Avant Garde.
Highlight of the ev ening) was the
second performance of the John
Cage and Lejaren Hiller piece
�?~*HPSCHD�?��?T, performed by guest
harpsichordist Neely Bruce with
the assistance of about 10 tape
recorders, an urn of coffee and
two trays of cookies.
In his preliminary remarks,
Mr. Bruce urged the audience to
move. about Howard Chapel
freely, to partake of the refresh-
ments and to join him on the
stage and read the score with
him.
They complied with gusto,
and, it seemed to me, with some
relief. �?oHPSCHD�?��?T soon
developed into a delightful
music gallery as people strolled
about talking and inspecting the
equipment.
The earlier half of the concert
was taken up with Douglas
Leedy�?Ts �?~�?~Usable. Music I�?T�?T
(1967), William Hellermann�?Ts
�?~Ariel�?T (1967), and William
Duckworth�?Ts �?~�?~Western§ Exit�?�
(1969).
Leedy�?Ts piece �?~�?~for very small
instruments with holes�?T�?T was
realized by 18 members of the
ACC Band using harmonicas.
CRTVR Fr
me eels ecm
ee GAG a HNL SLA ©
a
The two movements (performed
from behind the audience in the
balcony) were short, ' plaintive
and somehow touching in their
simplicity and directness.
�?~Ariel�?T, an electronic com-
position for tape alone, seemed
dry and academic by. com-
parison.
�?~�?~Western Exit�?T? combined two
slide projectors, a film and an
announcer with nine _in-
struments (mostly percussion).
The instrumental sounds
seemed to revolve in repeated
seclions and generated a slightly
strange rock atmosphere.
The visuals (also by. the
a] Sor se Sa 9)
wh dA Bh
rn �?"
aw o�"� aN 6? -~
T°S
while VS Nk We ed AS WY NAG
composer) sup erimposed their
rhythms on this ostinado. The
combined effect was like a cross
section of newsreels; past,
present and future
Duckworih�?Ts composition, like
a great deal of music today, is
not so much a statement about
music or about life, as a question
involving both.
Atlantic Christian College is to
be congratulated for efforst in
presenting this program. Well
planned and well rehearsed, this
dns undertaking makes
one look forward to the future
offering in contemporary music
from Atlantic Christian College.
INTER-AMERICAN INSTITUTE FOR
MUSICAL RESEARCH
YEARBOOK
Volume Ill GILBERT CHASE, Hditor
REPORTS
THE TULANE ELECTRONIC MUSIC STUDIO
The Electronic Musie Studio of Tulane University was or-
ganized in the Fall of 1965 under the auspices of the Depart-
ment of Music and under the direction of gomposers Paul Ep-
stein and Otto Henry. Existing audio equipment was central-
ized, augmented and designed into a practical console which is
able to serve the department�?Ts recording needs as well as pro-
vide the necessary facilities for the production of electronic
music. The filters, gating circuits and other modulators were
previously designed and built by Mr. Henry and are being re-
placed by a more compact unit with a view towards the live
manipulation of electronic and acoustic sound elements. The
studio is located in room 117 of Dixon Hall, adjacent to the
stage,
The Inter-American Institute for Musical Research has lent
its support by handling the studio�?Ts correspondence and provid-
ing facilities for the filing and storage of the growing tape col-
lection and archives. The studio has also been able to assist the
Ethnomusicology program in the processing and extraction of
information from field recordings.
Graduate courses in studio techniques will be offered for the
first time this fall (1967) to a limited number of students.
At the end of its second year of operation, EMS Tulane has
produced five major concerts as well as participating im two ex-
tended runs in connection with the New Orleans Group. Paul
Epstein composed the audio portions for 4/66, and more recently
for the intermedia production of Ionesco�?Ts Vietims of Duty.
Otto Henry has produced electronic musi¢ for Tulane University
Theatre productions and an experimental concert in collabora-
tion with chorographer Frances Gamache.
Highlight of the current year was a pair of concerts by the
ONCE Group (Gordon Mumma, Robert Ashley) in which the
studio combined with the New Orleans Group to produce Con-
structions by Paul Epstein and Franklin Adams, and Pericles
(Kenneth Koch) by Otto Henry and Gerald Hoke�?"both in inter-
media techniques. 3
O.5¥..
Merriam, A. P. and R. F. G. Spier:
1959 �?oChukchansi Yokuts songs.�?� Actas del XXXIII Congreso In-
ternacicnal de Americanistas, IJ: 611-38. San José, Costa
Rica: Lehmann.
Merriam, A. P., S. Whinery,.and B. G. Fred:
1956 �?oSongs of a Rada community in Trinidad.�?� Anthropos, 51:157-
74,
Waterman, R. A.:
1943 �?oAfrican Patterns in Trinidad Negro music.�?� Evanston: Un-
published: PhD Dissertation, Northwestern University.
Norma McLeod
Tulane University
RECORDINGS
Electronic Music: from the University of Illinois. Heliodor
H25047/HS25047.
Since the emphasis in this recording is placed on the com-
bination of electronic and instrumental mediums, the title is
slightly misleading. This emphasis, however, is not misplaced
as these compositions by Lejaren Hiller and his colleagues from
the Experimental Music Studio of the University of Illinois dem-
onstrate, Hiller�?Ts Machine Music (1964) for piano, percussion
and tape exhibits real concert-hall power, especially in its one-
man percussion part which must be something to see. The piano
part is most effective when it is strongly rhythmic or involved
in action on the bare strings. The taped portion is not a foreign
element here, and the strength of the other parts assures that it
does not dominate. Alternating solo passages among the three
media lend structural interest and variety to the piece.
The short pieces by Kenneth Gaburo are the only ones for
tape alone. Lemon Drops (1965) slips unnoticeably into a
casual cocktail jazz-style complete with electronic guitar, piano,
�?~�?~vibes�?T? and bass. The joke wears thin on repeated hearings.
For Harry (1965) uses strong ring-modulated chords combined
with the metallic gliding sounds of some unidentified stringed
instrument. The piece is dedicated to Harry Partch and prob-
ably relates to his enharmonically-tuned instruments, but the
notes provided with the recording make no mention of this.
Sane ee
In the case of new and experimental music an increased
obligation is placed upon those who compile record-jacket notes
to supply pertinent information about the music itself rather
than the biographical pedigrees of the composers. Aside from a
preliminary and inaceurate listing of the works and the perform-
ers, nothing is said here about the musie except for several
parenthetical remarks concerning Gaburo�?Ts pieces. For example,
no mention is made about the electronic portions of Charles
Hamm�?Ts Canto or Salvatore Martirano�?Ts Underworld. Canto may
not use taped sounds and if so its inclusion in this company is
hard to justify. If it does, they cannot be separated from the
instrumental parts, at least in a recorded performance. The text,
a long poem by Ezra Pound, is shared by a soprano and a wom-
an�?Ts speaking voice, often at the same time. Comprehension of
the words is further complicated by the fact that the microphone
placement favors the chamber ensemble. The instrumental parts
(mainly woodwinds and percussions) seem to be written in a
�?ododecaphonic�?� style with sustained tones that are sometimes
bent out of tune against an irregular and agitated texture.
The most significant pieces are presented on the second side.
Futility 1964, by Herbert Briin, uses a mildly reproachful text
(his own?) addressed to the listener by a woman�?Ts voice in al-
ternation with electronic commentary �?" a form which is main-
tained right down to the end, but one which does not fail to hold
the attention, The voice part, consistently held below the level
of the electronic portions, has a curious flat quality to it.
Salvatore Martirano�?Ts Underworld (1965), easily the most
exciting work on this recording, is performed by the Contempor-
ary Chamber Players of the University of Illinois, who were also
heard in Canto. It is important to notice how well the instru-
ments and the taped portions combine and how this is achieved
by bringing the instrumeuts up to the level of the tape. Al-
though improvisatory techniques play an important part in this
piece, the structural element ean be audibly pereeived and it
takes more than pauses to accomplish this kind of skillful organ-
ization, An unsual feature is supplied by speaking performers
who talk, sing, yell, and laugh; the second section is set off by
continuous laughter which is psychologically catching. Satir-
ical popular eletnents are well used. At one point the saxo-
phone and drums cross over into a raucous jazz style followed
(�?oOh, yeah �?" yeah!�?�) by a parody on a Latin-American rhythm
section that fades and revives as if taken over from a short-wave
radio. Dipping square-wave tones provide a satisfactory conclu-
sion.
One reviewer has characterized the compositions on this re-
cording as �?opretty worthless stuff�?� (excépt for the Gaburo
pieces). This reviewer takes the opposite viewpoint; music such
as this is not for everyone and it will indeed be worthless to
those who persist in thinking of music in nineteenth-century
terms.
Electronic Music. Turnabout TV 4004/TV 340048
(Composers of the Columbia-Princeton Electronic Music
Center)
Given four composers who not only come from different
backgrounds but also from different countries, it is quite likely
if not certain that their compositional styles will vary consider-
ably from one another. But bring them together and train them
at the same electronic music studio and they develop more or
less the same stylistic idiom �?" and why not? They share the
same equipment, the same instructions, and the same technicians.
The result is a �?ostudio sivle�?� which is nowhere better illustrated
(or proven) than on this recording. This is not to imply that
such styles are not musically valid: simply that they are in a
certain sense restrictive at a time when the electronic idiom
needs to free itself from dogma. There is something to be said
in this respect for composers who are independent from large
studios.
The style represented on this recording might be character-
ized as one which is based on velocity. Rasping sounds, such as
are made by hitting a thin stick across a corrugated surface, are
common, aS are sonorities reminiscent of a knife-blade being
scraped on an eccentric and rapidly revolving grindstone; or,
more to the point, a pre-recorded tape being passed across a
playback head at fast-forward speed. High-pitched and hollow-
sounding percussive impacts which resemble a reverberated xylo-
phone note can also be distinguished. The impression is one of
a burst of irregular speed separated by silence or swishing white
noise. The ratio of noise components to pitch-elements is dis-
posed in favor of the former.
This is the common background of these compositions; each
has the right to be judged on its individual merits, however, and
the listener should not be too quick to stereotype them into a
single category. Study No. 1 by Andres Lewin-Richter is one of
the two pieces that uses electronic sources exclusively. Although
short (3:35) the diversity of materials is too great to impart a
sense of form by tension-relaxation. The composer�?Ts notes also
refer to an objective of �?oinstrument-like sounds�?� which cannot
be taken literally.
Ilhan Mimaroglu is represented by three pieces, two of
which draw on literary and visual associations. Le tombeau
d�?TEdgar Poe (1964) restricts the material to a voice recording
of Mallarm�Ts poem, which is subjected to manipulation and then
re-combined with the original to form a kind of melodrama.
Bowery Bum (1964) was suggested by Jean Dubuffet�?Ts Visual
Study No. 3 on the same subject and is interpreted in one direc-
tion by the limitation of the sound-sources to an element corres-
ponding to the india ink of the original. What the composer
uses to represent this ought not to be told as it detracts from the
enjoyment of this otherwise well-constructed piece. Intermezzo,
also by Mimaroglu (1964), lacks interest and is very character-
istic of the �?ovelocity�?� style described above,
Tzvi Avni�?Ts Vocalise (1964) provides some of the best
moments on this recording, principally because he knows when
to stick with an idea. The combination of his wife�?Ts textless sing-
ing voice with electronic material is curiously appropriate and
adds a certain dramatic value. The voice is used both �?oreal�?�
and manipulated. A partial recapitulation, based ou the lyric
texture of the opening, imparts the right amount of formal
balance.
On the other hand, Variations for Flute and Electrome
Sound (1964) by Walter Carlos, for all of being scientifically
notated and scored, cannot bridge the gap between �?olive�?� flute
and taped sound. The fault lies in both mediums as neither con-
cedes anything to the other. The special effects that have been
a part of the solo flutist�?Ts stock-in-trade for thirty years are
entirely Jacking in the flute part which is written in an ambu-
latory quasi-tonal fashion. The flutist is not named. The same
lack of congruity is also noticeable in Dialogues for Piano and
Two Loudspeakers where the contrast between the fixed and
intrinsically unalterable pitches of the rather ordinary piano
part and the multi-colored and continuously variable material
of the tape is too strong. A partial solution would have been to
�?oeet out and get under�?� the piano cover ,in order to compete
with the electronic sounds on their own terms.
Music from the Once Festival. Advance Recordings FGR-5.
The ONCE Group of composers, architects, and film-makers
are producers of the yearly ONCE Festival of Contemporary Arts
in Ann Arbor, Michigan. A commercially available recording of
the music of Gordon Mumma, Robert Ashley, George Cacioppo,
and Donald Seavarda is an important event.
In a manner of speaking, the music on this record is as ugly
as a broiled lobster, but what a delicious taste it has for the
ears! Listeners who place too much value on exterior details
will find both the form and the sonority of these pieces hard to
swallow. Form in more conventional musie is based on progres-
sion and predictability, avoided here in favor of a game-like
framework of rules around which a largely unpredictable and
improvisatory process can be constituted. Why this should be
so is in part connected with the sonority; im fact, nowhere else
can form and sonority be found in such close relationship. In
Robert Ashley�?Ts in memoriam Crazy Horse ( symphony), for ex-
ample, individual pitches are unspecified. This leaves the per-
formers free to create combinations of sound that are impossible
to notate. Quartertone dissonances and embouchure distortions
are only a few techniques thus possible �?" sounds that are to be
appreciated more for their acoustical nature and incapacity for
repetition than for their harmonic qualities.
What is really remarkable about this recording is that or-
dinary instruments in the hands of extraordinary musicians are
capable of sonorities hitherto available only in electronic music,
and that the two mediums can be shown to be rapidly approach-
ine each other. Techniques have now almost developed to the
point where they no longer dominate their individual fields, but
through a process of transposition and exchange can be rele-
gated to their proper position as subservient to the composer�?Ts
will. This process is not yet complete, but may be illustrated
here by the use of the concept of modulation in both instru-
mental and electronic music. Modulation is an electronic tech-
nique which causes one sound to modify and combine with an-
other, and involves not only frequency and overtone structure
but amplitude as well. Gordon Mumma�?Ts Music from the Ve-
nezia Space Theater, originally composed for the 27th Venice
Biennale of 1964, uses specialized electronic devices which cause
the selected sound-materials to contro! or modulate themselves
(�?o�?~eybersonics�?T�?T). Time on Time in Miracles by George Cacioppo
(1964) requires the brass players to hum into their instruments
while playing, which produces changes in timbre and pitch; the
original sound of the instrument is thus modulated by the voice.
Form can also be seen as a common element, but is better
understood as both a psycho-acoustical and a temporal aspect.
At the beginning of Mumma�?Ts Music, a long metallic-sounding
chord or �?ospectrum�?� establishes an impatient expectancy that be-
gins to take on meaning as it is realized that many complex and
interesting things are happening on a micro-cosmie seale, parti-
cularly in the higher frequencies. The listener, in other words,
finally becomes �?~�?~tuned�?��?T to this spectrum, only to have it cut out
from underneath him suddenly, and the experience of being
physically �?odumped�?� is hard to avoid.
Donald Scavarda uses silence to achieve a similar plane of
expectancy in his Landscape Journey for elarinet and piano.
John Morgan�?Ts clarinet playing is so subtle that it is difficult to
separate sound from silence. By bending or forcing the clarinet
reed and using false fingerings he creates instrumental �?ospec-
trums;�?� three and four separate tone-areas can be heard, which
further combine to produce others that barely hover within the
range of audibilitv. Furthermore, these tones seem to be indi-
vidually controlled and are made to enter and develop while
other tones are still sounding. Anything so subtle and complex
and, at the same time, so classically simple, would be hard to
name,
Advance Recordings is to be complimented for issuing a
highly significant recording of the works cf an important group
of American composers. Libraries and music schools that do not
own this record are overlooking an area they cannot afford to
neglect; the same is true of anyone who has a serious interest in
contemporary music.
Bertran Turetzky, contrabassist, in a Recital of New Music.
Advance Recordings FGR-1. x
It is one thing to be an accomplished performer, but quite a
different thing to be an accomplished performer on an instru-
ment for which there is no significant solo literature. While it
is probably true that the capabilities of the contrabass as a solo
instrument lend themselves more to the twentieth-century idiom
than the Romantic, it has remained for Bertran Turetzky to pro-
vide the stimulus; for this he deserves much credit. The facet
that the contrabass has more designations and nicknames than
any other instrument in the history of musie¢ is not a reflection
of its popularity but rather of its mixed ancestry and the stereo-
tvped character of its orchestral function. Whatever you choose
to call it, the sheer resonating power and lyrie qualities of this
instrument will be a revelation to the most hardened of profes-
sionals. It is capable of sandpaper and velvet, almost at the
same time, end the contrasts are dazzling: Mr. Turetzky com-
mands the range and sonority of a brass section. Not to be over-
looked are the lyricism of the string tones and the organ quali-
ties of the double stops. The timpani-like pizzicato is well
known, but the more unusual percussive effects can set the con-
cert hall ringing like a series of explosions. Neither are the more
delicate nuances lacking.
The compositions on this recording were commissioned by
or written for Mr. Turetzky and while all of them are based
on serial techniques, they are illustrative of a wide range of
contemporary practice. Two unaccompanied solos invite com-
parison, William Sydeman�?Ts For Double Bass Alone (1957), in
three movements, is the oldest but none the less interesting for
being more conventional, because of the lyrie and rhythmic tex-
tures in which the bass is made to accompany itself with left-
hand pizzicati and double stops. George Perle�?Ts Monody II
(1962) explores a greater variety of special effects; the alterna-
tion of these gives the impression of three or four different in-
struments, but the total effect is still monophonic. The snap piz-
zicato in this piece cracks like a rifle.
Three compositions combine other instruments with the con-
trabass. Duo (1963) by Ben Johnston is the most interesting of
these although the attention is drawn more to the flute than the
contrabass. The three movements are based on two combina-
torial hexachord rows, and micro-tonal inflexions are employed
to good advantage, particularly in the second movement. In
Donald Martino�?Ts Cinque Fragmenti (1962) the oboe is no match
for the bass which is used as a multiple instrument that fune-
tions in a chordal, percussive, and melodie capacity, and some-
times crosses the oboe�?Ts register by means of harmonics. No at-
tempt has been made to exploit the oboe beyond some extremely
wide intervallic skips. Ywo (n.d.) by Kenneth Gaburo adds a
soprano and flute to the bass, and takes both its name and basic
structure from �?oTwo loves at variance,�?� a poem by Virginia
Hammel, Its drawn-out text syllables and agitated texture have
a decided dodecaphonic sound.
Charles Whittenburg�?Ts Electronic Study IZ with Contrabas
(1962) also conforms to a type but is remarkable for Turetzky�?Ts
agile and brassy performance. Based on a serial foundation of
five notes, the outward impression is one of a free form with
commentary by the contrabass. The sonorities of the instrument
and the synthesized tape complement each other very well in
certain sections. The tape portion is entirely electronic but
eschews the purity of the �?~�?~sinus-tone�?T�?T school for a more colorful
approach. This piece is well known and has received several
important performances; but the distance of five years makes
the extensive reverberation and white noise sweeps.seem a little
dated now.
Those who are interested in learning just what the contra-
bass is capable of, ought to become acquainted with this record-
ing. It remains to be seen if other players of this instrument are
capable of taking advantage of Mr. Turetzky�?Ts example.
Otto W. Henry
Brass QuARTERLY 173
HENRY, OTTO. Passacaglia and fugue for bass trombone and piano.
The Composer, 59 Westland Ave., Boston 15, Mass.
McKAY, GEORGE FREDERICK. Suite for bass clef instruments. Ann
Arbor, Mich., University Music Press, 1958. tuba (baritone) and
piano
André Ameller�?Ts twelve-tone study, Kryptos, is one of the most
abstract, and certainly one of the most difficult works in the repertoire
of the trombone, �?~the work opens with a statement of the row (which
contains vo g but has both ef and dp) by the trombone, echoed by the
piano. "Phis is followed by a very slow variation of the row over chang-
ing, atonal, rapid figurations in the piano; a scherzando section in which
the row is broken up and alternated with free figures; a slow section in
free canon which is not strictly atonal; and a cadenza-like section which
is reminiscent of the opening statement and which is followed by another
version of the first variation. The work closes with a coda based on the
opening statement. The whole work is very brilliant and airy. The treat-
ment of the atonal material is free and imaginative, by no means strict
or mechanical; and the formal scheme, although also quite free, is
nevertheless satisfying. The texture is generally light and open, providing
good balance between piano and trombone. �?~he most distinctive feature
of the writing is the angularity and wide range of the melodies, which
in the piano may cover more than four octaves in the space of a few
notes. In the trombone it is a poor four-note phrase which can�?Tt manage
to encompass at least an octave. This presents no particular difficulty
for the pianist, but it requires the ultimate in accuracy and agility from
the trombonist.
Technical considerations: BB (opt GGh)-b�?T (opt c#�?T�?T); 6, 8; ten
clef, mute, wide and difficult skips; 6 min.
The Passacaglia of Otto Henry�?Ts Passacaglia and Fugue is in a neo-
baroque idiom, brought up-to-date by the strongly quartal orientation of
its theme. The baroque influence is carried over into the passacaglia
variations, which are strict patterned variations in the spirit of Sweelinck
and Scheidt. The theme of the passacaglia also serves as the subject of
the fugue, but here it is broken up into uneven rhythmic fragments whose
interaction gives a slight feeling of the dispersed melody technique,
although there is actually none present. The ending is bombastic, but
not ineffective. The whole work is resolutely quartal, austere and thor-
oughly masculine. It is well and idiomatically written for the bass
trombone, an instrument for which it is very difficult to write effectively.
Bass trombone players should take grateful notice.
Technical considerations: C-a�?T�?T ; 3/2, 4; 6% min.
George F. McKay�?Ts Suite for bass clef instruments was the prize-
winning composition of the 1957-58 composition contest of the National
Association of College Wind and Percussion Instructors. NACWAPI (if
you are eligible to belong and don�?Tt, you should) is no doubt performing
a noble service by its efforts, through annual contests, to build up the
REVIEWS
BORDEN, DAVID. Fifteen dialogues for trombone and trumpet in Bb.
[Rochester, N. Y.] Ensemble Publications, 1962.
HENRY, OTTO. Three serial duets for C trumpet and trombone. The
Composer, 1960.
With his Fifteen dialogues for trombone and trumpet, David Borden
has provided brass players with some really excellent duets. Musically
they are put together with care, sophistication and technique the like
of which is usually reserved for more substantial media. In fact, not
since Richard Franko Goldman�?Ts Duo for tubas have any brass duets
worth analyzing musically come to this reviewer's attention. Mr. Borden
applies a wide range of solid compositional technique to his task. Har-
monically his favorite intervals are ninths, sevenths and seconds, although
some duets have more quartal elements. Melodically he favors wide,
angular skips,:often in nearly atonal sequences. Rhythmically he ranges
from very simple, conventional meter to nearly a-rhythmic bursts of
almost un-countable variety. Pointillism is his favorite technique, but
he also makes skilled use of the time-honored techniques of canon,
sequence, inversion, retrogression, and many others. Structurally most
of the works depend for expansion and cohesion on motivic elaboration.
From the standpoint of instrumental technique the duets range from
moderately challenging to extremely difficult. The difficulty lies in the
combination of very wide, difficult-to-hear intervals with complex
rhythms. The more difficult Dialogues make excellent training pieces
for rhythm, solfége and ensemble for advanced conservatory students.
All of them make challenging study material and even suitable recital
pieces. This reviewer is attracted to them primarily as exercises in
problem-solving �?" more like mathematical puzzles than works of art �?"
but their extreme difficulty and technical display should not obscure
the fact that most of them are also pieces of considerable musical
cleverness. |
The composer has kindly provided the reviewer with the following
list of corrections to the published edition: p. 8, staff 4, meas. 1, trpt,
should be d#�?T�?T instead of et�?T�?T; p. 18, staff 1-2, g in trb should be tied
over the bar-line; p. 18, staff 4, meas. 4, trpt, git�?T instead of g natural�?T;
p. 19, staff 5, meas. 5, bh instead of b natural.
Otto Henry�?Ts Three serial duets for trumpet (C) and trombone are
not as easily approached. The twelve-tone technique is rather free. The
rhythms are quite intricate in the slow movement and enlivened by
pointillistic effects in the fast. The duets are reserved and introspective,
generally well written for the instruments, and rewarding for serious
players.
117
Brass QUARTERLY
In his Divertimento di tre toni, Otto Henry has imposed upon
himself the task of restricting his harmonie and melodic material to
three tones: C, F and G. He occasionally allows himself the liberty
of a pianoforte glissando or of transposing the series to another key,
but otherwise, aside from the full chords of the coda. he sticks deter-
minedly to his three notes. His harmony is of necessity quartal, his
form �?~sectional and his rhythm relentlessly simple. Mr. Henry has
allotted himself an almost impossible task, for monotony is inevitable
with such restricted material: and the work really becomes an exercise
in problem-solving, or in coaxing the greatest possible variety ont of
three reluctant notes. The result, if not entirely successful, is interest-
ing; for Mr. Henry at least has an idea and is trying to do something
with it �?"and ideas are hard to come by these days, especially in trom-
bone solos. The sheer difficulty of the. musical problem gives the
performer an unusually real sense of participation in a work where
every nuance counts. For just how much can be done with only three
notes? It is a game that performers as well as composers can play.
Technical considerations: F-c�?T�?T; 3, 4; ten cel.
5
BROOKLINE LIBRARY MUSIC ASSOCIATION
cordially invites you to a
COMPOSERS�?T WORKSHOP FOR NEW COMPOSITIONS
© OTTO HENRY passacaglia and fugue for bass trombone and piano
® JULIUS GAIDELIS sonata for violin and piano
© RICHARD PETERS sonatine for flute and piano
® KENNETH WOLF sonata for horn and piano
WEDNESDAY bd JANUARY 13, 1960 e 8:30 P.M.
BROOKLINE PUBLIC LIBRARY 361 WASHINGTON STREET, BROOKLINE
Refreshments ' _ The public is invited
a
Brookline
Library
Music
Association
OTTO HENRY
JULIUS GAIDELIS
JUSUF EMED
KENNETH WOLF
a
COMPOSERS" WORKSHOP
January 13, 1960, 8:30 p.m.
Passacaglia and Fugue for bass trombone
and piano
George Powers, bass trombone
Martha Stonequist, piano
Sonata for violin and piano
allegro non troppo
lento tranquillo - vivace ~ lento tranquillo
allegro
Izidorius Vasyliunas, violin
Vytenis Vasyliunas, piano
intermission
Duets for flute and clarinet
Anne Harnsberger, flute
Sherman Friedland, clarinet
Sonata in E flat for horn and piano (1954)
moderato =- allegretto deciso
adagio cantabile - allegro inquieto -�?" tempo I
allegro con brio
Roland A. Pandolfi, horn
The composer at the piano
é Page OE TT AO et, PSL ae oO NODAL RP REPRE NO POE ET HS Se hi a =
The New England Conservatory
A COLLEGE OF MUSIC
Founded in 1867
RECITAL
BY
FRANCESCO MONTESANTI, Tenor Trombone
AND
EARL F. GRONER, Bass Trombone
(Candidates for the Master's Degree, 1959)
assisted by
Roland Nadeau, of the Faculty, piano
George Powers, trombone
Robert Swanson, frombone
PROGRAM
BEETHOVEN Drei equale for four trombones
- Andante
Andante moderato
Adagio sostenuto
CoRELLI, ARCANGELO Sonata in D minor, (originally in
E minor, No. VIII)
Preludio
Allegro
Sarabande
Giga
Mr. Montesanti
SANDERS, ROBERT L. Sonata in E flat major
Moderato
Scherzo
Chorale
Finale
Mr. Groner
Intermission
HEnry, OTTO Passacaglia and fugue for
bass trombone and piano
(first performance)
Mr. Groner
Deray, JEAN-MICHEL Deux danses
Danse sacrée
Danse profane
Mr. Montesanti
MEYERBEER Adieu aux Jeunes Marie�?Ts
arranged for four trombones
by Eugene Adam
TUESDAY, MARCH 31, 1959
RECITAL HALL, 8:30 P.M.
NO TICKETS REQUIRED
Boston University
School of Fine and Applied Arts
Program of
Original Compositions
by Students of Gardner Read
MONDAY, FEBRUARY 15, 1960 �?" 8.15 P.M.
PROGRAM
Duets for Flute and Clarinet Yusuf Emed
ANNE HORNSBERGER, flute
SHERMAN FRIEDLAND, clarinet
Passacaglia and Fugue Otto Henry
GEORGE W. PowERrs, bass trombone age
MARTHA STONEQUIST, piano
From Duo Concertante for Flute and Clarinet Alan Kemler
Andante cantabile
Allegro scherzando
Allegro moderato
Andante tenderoso
Andante cantabile�?"Allegro
GERARDO LEVY, flute
EFRAIN GUIGUI, clarinet
Sonata for Violin and Piano Raymond Wilding-White
GIORA BERNSTEIN, violin
MYRON PRESS, piano
The public is cordially invited to participate in a forum discussion
with the composers and performers on �?oProblems of Contemporary
Chamber Music.�?�
CONCERT HALL
855 Commonwealth Avenue
The New England Conservatory
A COLLEGE OF MUSIC
Founded in 1867
TROMBONE RECITAL
BY
- EUGENE E. WATTS
(Candidate for the Master�?Ts Degree, 1961)
Miriam Stern, accompanist
PROGRAM
Otto HENRY Divertimento di Tre Toni (1958)
MAHLER From Symphony No. 3, first movement ;
trombone solo (transcribed by Allen
Ostrander)
TIBOR SERLY Concerto
Allegro moderato
Piu lento
Allegro
Intermission
EUGENE WaTTSs Andante from QUARTET FOR Brass
John Rhea, trumpet
Dale Turner, trumpet
Raymond Turner, ¢rombone
MorDECHAI SHEINKMAN Divertimento
Allegro ma non troppo
Vivace
Adagio
Allegretto
Moderato
Allegro
Claude Hill, Zarp
John Rhea, trumpet
Sherman Friedland, clarinet
MONDAY, JANUARY 30, 1961
RECITAL HALL, 8:30 P.M.
NO TICKETS REQUIRED
BOSTON CENTER FOR ADULT EDUCATION
(A nonprofit educational institution founded in 1933)
SUMMER COURSES
Beginning June 15, 1961
5 Commonwealth Avenue
Boston 16, Massachusetts Telephone CO 7-4430
BOARD OF DIRECTORS
Mrs. Paul H. Flint, President
Mary Bates Field, Vice-President
Mrs. Graham Granger, Vice-President
S. Alan Becker, Vice-President
Mrs. Clarence J. Gamble, Secretary
Richard F. Lufkin, Treasurer
Mrs. Frederick Sayford Bacon Warren C. Moffett
Rev. Joseph Barth Harriet F. Parker
Dorothy Bartol Charles W. Phinney
Frank O. Buda Frances R. Porter
Mrs. Lawrence Foster Frank M. Rines
Dorothy E. Hancock Kenneth R. Shaffer
Msgr. Francis J. Lally Richard S. Shuman
Frances E. Lawson Mrs. Malcolm Strachan
James H. Lewis Mrs. Gardner Washburn
Mrs. Harold N. McKinney Albert H. Wechsler
. HONORARY DIRECTORS
Matthew W. Bullock Dr. Kirtley F. Mather
Harriot S. Curtis Mrs. C. Douglas Mercer
Roger D. Swaim
STAFF
Donald K. Beckley, Executive Director
Mrs. Harriet McLean, Assistant Director
WELCOME TO A SUMMER IN BOSTON
This course booklet carries with it a welcome to all of you who expect to be in
Boston for any substantial part of the summer. We hope that you will join the many others
who will be enroling in one or several of the courses described here.
The Center is located only a few steps from the Boston Arts Festival and many other
attractive summer features. Be sure to include the Center in your Boston summer plans.
THE MEANING OF MUSIC
Otto W. Henry, Mus. B., M.A., Boston University
Analyzing musical forms and interpreting their manifold meanings offers a richly satis-
fying experience to the sensitive listener of great music. The layman will not only be given
a thorough basis for the appreciation of music but also an historical perspective which will
heighten his personal response and increase his understanding and enjoyment of music from
periods which are perhaps beyond his present comprehension.
In each of the ten weekly meetings a major musical form will be reviewed from its
origins to its contemporary manifestation with special emphasis on musical.values in the
era from which the wide variety of recorded examples are taken. The layman will be given
an insight into the cause and effect of changing musical styles, especially the forces that
brought about the collapse of traditional music around 1900 and will learn about the values
and aims of the music which replaced it. Among the musical forms to be studied will be
the symphony, the concerto, the tone poem, contrapuntal forms, the opera, the oratorio,
the requiem, and chamber music. Group limited.
Ten One-Hour Meetings, Thursdays, 6:15 P.M. Beginning June 15
BOSTON MUSIC SCHOOL Inc.
Founded 1910 Incorporated 1912
251 COMMONWEALTH AVENUE
BOSTON 16, MASSACHUSETTS
Telephone KEnmore 6-8796
1960-1961
FIFTIETH SEASON
Member of the
UNITED COMMUNITY SERVICES
NATIONAL GUILD OF COMMUNITY SCHOOLS
1910 - OUR 50TH ANNIVERSARY - 1960
ADMINISTRATION
Linwood D. Scriven, Director
REGISTRAR ASSISTANT REGISTRAR
Mrs. Ethlyn J. Claus Mrs. Laura Whitehouse
FACULTY
PIANO: Shake C. Ahoyian, Marion Bonnet, Paul Bregor*, Margaret Chaloff, George Cohen,
Amy Marcy Eaton, Philip Mealey
HARP and PIANO: Nellie Zimmer
VOICE: Joseph Kling, Anne G. Novins
VIOLIN and VIOLA: Linwood D. Scriven, Sarah Mindes Scriven
VIOLONCELLO: Esther Parshley*, Corinne Flavin
GUITAR: Otto W. Henry
FLUTE: Virginia McGann, Barbara Henry
CLARINET: Albert Perrotta
TRUMPET: John DiPetrillo
DRUMS: Joseph Laspisa
SOLFEGE: Marion Bonnet, Amy M. Eaton, Sarah Scriven
SUPPLEMENTARY SUBJECTS: Paul Bregor*, Linwood D. Scriven, Sarah Scriven
JUNIOR ORCHESTRA and ENSEMBLE GROUPS: Sarah Scriven
SENIOR ORCHESTRA: Linwood D. Scriven
SPEECH and DICTION: To be announced
BALLET: Elena Sergeyeva
PAINTING: Helmut Krommer
* On leave of absence
INSTRUMENTS FOR THE PRODUCTION 0 LECTRONIC MUSIC
composer in his private studio at 219 E. isheeling St.
Washington, Pa.
Commercial Equiptment.
Bico Model RPK = 100 Tape Decke
Eico Model HF-i2 Amplifier.
Bico Model 488 Electronic Switch
Sony Model 262=D Tape Deck
VM Model 700 Tape Recorder (2)
Wollensak Model T~1515 Tape Recorder,
Fischer Model K-10 Reverberation Unit.
Lafayette Model TE-22 Audio Generator (2)
Lafayette Model ML-176 Bulk Tape Harser,
10. Lafayette Model PA~292 Microphone Mixer.
11. Audie Model 400 Tape Head Demagnitizer.
12. Cosino Tape Magazine.
13- Ohmite Model VT=4 Variable Transformer.
14. Monarch Model PRE-~101 Pre~amplifier (2).
15¢ Moog Model TC Theremin
16, Harman Kordan Model A-500 Stereo Amplifer.
17. Electro-Voice Speaker (2).
II. Constructed Instruments andtheir sources.
(F.C.Judd: Electronic Music & Musique Concrete;Spearman, Lon. '61)
18:Controlled Bell Gate (p. 39).
'19.Ring Modulator (p. 49).
20.Passiwe Tone Control ( pe 46).
21.White Noise Generator (p. 36).
(R.P. Turner: Zhe Blectronic Hobbyist's Handbook:Gernsback Lib. #69)
22, Bandpass AF Amplificr (p. 53).
23, Signal Rejection Amplifier (p. 56).
24. Voltage Regulated Power Supply (p. 83).
25+ Miniature Power Supply ( pe 94)
26. Wave Clipper (p. 119).
(Alan Douglas: Electronic Musical Instrument Manual; Pittman, NY '62)
27+ Bell Gate (p. 108
28. Electronic Organ Filters (p. 90 ff)
(Radio Zlectrenies Magazine)
29.Variable Bandpass Filter (June '56 p. 113)
30. Tunable Phase~Shift Audio Filter (R.L.Ives; May '63, ps 49)
(Radio & Television News )
314 Balenced Modulator ("Special Effects Apmlifier") G. Southworth;
Sept. 155 PebT.
32. Low�?"Pass Filter (Fleming; May '55 p. 47).
(R.H. Dorf: Electronic Musical Instruments. (Radie Mag. Mincola NY'58)
33 Frequency Divider.
(Mise,)
34 Amplified Coil.
35. Cartridge Harp.
WASHINGTON AND JEFFERSON COLLEGE
Washington, Pennsylvania
OTTO HENRY:
COMPOSITIONS FOR MAGNETIC TAPE.
An annotated catalogue.
Vision II (1961)
Washington Concerto (1961)
January the Sixth (1962)
The Essence of Two or Three$
A composition for voice and
magnetic tape. (1962)
Jurrasic I and IL (1962)
Sam Gita (1962)
Four Songs for Magnetic Tape (1962)
Tintinnabulation (1962)
Aurora 7 (1962)
Dancing Music (Ballet - 1963)
Sonatina (1963)
Aknuf and the Stones$
a happening for voices and
magnetic tape (1963)
13.
1h.
15.
16.
Symphony in One Movement No. 1.
(196)
Lucifer, the Son of the Morning
(1964)
Four Landscapes by H.G. Wells
(with voice = 196))
The Land of Wu.
(with voice « 196};)
Symphony in One Movement No. 2
�?o(196h)
Sampson and the Lions
In the Garden of Deliloh (196k)
Suite for Magnetic Tape No. 1.
1964.)
Suite for Magnetic Tape No. 2.
(1964)
Symphony in One Movement No. 3.
�?o(158L)
Suite for Magnetic Tape No. 3.
(198) Gee
Jazz Electronique (196)
Three Humors (EMS, Toronto, '6h)
Variations (EMS, Toronto, '6l)
Triptych from the Bible
(EMS, Toronto, 196) +
with voices).
Washington And Jefferson College
Washington, Pa.
ADD NDA i. Pe es ee OEE PE OS ST POF PP ee Pee Prete. tt. We Henry
A bibliography of articles of interest to the practical
electronic musician selected from Radio and Television News
1952-58 (RTIVN), Electronics World 1959-64 (EW) and Radio
Blectronics 1959-64 (RB).
This bibliography is designed as an aid to those musicians
who are purchasing and building electronic instruments for
use in a private electronic music studio.Selection was made
on a purely subjective basis. Articles of special interest �?"
to the author are marked with an asterisk (*).Amplifiers,
pre-amplifiers and power supplies were generally omited#
although these periodicals abounded with information
pertaining to the same. Persons interested in these instruments
should make their own survey. Special attention is called
in this respect to Rufus P. Turner's book 7 The Slectronic
Hobbyist's Handbook mentioned tater in this bibliography.
I. Tape Recorders and Recording.
Corn, M. Quater-Track Crosstalk Remedy. liay 63 p.83 EW
Blechman, F. Tape- Winding Nomogram, Oct.64 pe38 EW.
Brandt, W. TV biusic and the Broadcast Technician. Oct. 61 pe45 EW
Buegel, K.F. Four-Track Tape Systems. Mar. 61 p.39 EW.
Burstein, H.*Tape Recording. beg. Sept. 55 pe57 RTVN
�?~5 Tape Recorder Bquilization Curves. July 64 p.39 iW,
Testing Tape Recorders. Dec. 61 p.58 EW.
Which Tape to Use. Nov. 63 p.35 Bi.
Home Tape Recording; Planning Your Purchase. ware56 p130
RTVN
Fajardo, R.S. Tape Loops for Language Labs, Sept. 61 pe61 EW.
Hoefler, D.C.*Pages From a Tape Sditor's Notebook.beg.Nov.53 RTVN
Hogan, J.\:. Adding VU Meter to Tape Recorder (sic) Oct. 64 p.104 Bi,
25 Slow Speed Tape Recording. June 59 pe56 EW
James, R. Checking Tape Recorder Heads, Jan. 61 P.83 Ew.
Larson, J.ai. Special Effects with a Tape Recorder. Auge60 P. 40 RE
Wachllister, J.L. A Tape System You Can Build. (Viking)beg. Feb 56 RTVN
laskasky, J. Put More on Your Tape May 62 RE
McRoberts, J.A. Erasing Troubles in Magnetic Recording. Apr.55 p. 56 RTVN
Reed, A. 20 CPS Tape Recorder Switch. Apre59 p.i02 EW,
tt
"
* ditto for oscillators,
Washington and Jefferson College
Washington, Pa.
BODERER Feo ec ens tec iee ah CESK RCO SOA OR SD CEES Cer vA rE ees es 9 cn OElO Ve BOTY
ae A continuation of a bibliography for the
practical electronic musician drawn from two periodical
sources know progressively as (1) Radio Craft-(RC)-
Radio Electronics (RE from Oct. 1948) and (2) Radio News
(RN) - Radio and Television News (RTVN from Aug. 1948)�?"
Electronics World (EW from 1959), These magazines can be
found in almost any public library.
I. Tape Recorders and Recording.
Burstein, H. Improving Low Priced Tape Recorders; beg. Apr. 55 p.33 RE
ea Lowdown on Tape Playback Equilization; Nov. 58 p.7q@ RE
�?� Servicing Home Tape Recorders; beg. May 56 p.75 RE
" Stereo Tape Comes of Age; beg. Nov. 56 p.57 RE
Clears, F.T. A Quasi-Technical Discussion of Magnetic Recording; Feb.e48 p.5.
Crowhurst,N.H. Second Speaker Adds Realism; May 56 p.75 RE
Di Elisi,F.J. Add Bias-Erase Indicator to Tape Recorder; Dec. 55 p.e46 RE
Dorf, R.H. Notes on Sound Recording; Aug. 49 pe43 RE :
" Tape Recorders; Mechanical and Blectronic Characteristics; Nov,5.
Prank, R. Understanding the Wire Recorder; Feb. 48 p.43 RN
Gnessin, D. Magnetic Tape Erasure; Mar. 55 p.86 RE
Heller, S. New Devises in Tape Recording; June 55 p.36 RE
. Tape Recorder Operation; Apr. 56 p.36 RE
Hust, L.B. Build your Own Tape Recorder; Feb.48 p.39 RN
Ledbetter, J.B. Adapting Home Recorders for Professional Use; Jan. 49 P68 2
Miller, W. Versitile Equiptment Key to Good Recording; Apr. 51 p.35 RTVN
Queen, I. Tape Recording; beg. Aug.52 p.38 RE
Read, 0. The Recording and Production of Sound;beg.Jan.48 end Dec. 48 RN
%: A Flexible Record and Repraduce System; Nove50 p.42 RTIVN
Sherwin, R. Tape Recorder Switch; Jan. 55p.167 RE
Smollin, M. Tape Recorder Servicing; Sept. 54 p.40 RE
Sprinkle, M.C. Cannecting Loudspeakers; June 50 p.40 RE
Stark, P.A. Adapt Your Tape Recorder to Record Stereo; 0ct.59 Pe53d RE
Tremaine, H.M. Practical Sound Engeneering; beg. Mar. 51 ped2 RTVN
: Magnetic Tape Contaet Prints; Feb.50 p.52 RE
Tape Recorder Glossary; July 55 p.90 RE
II. Hun,
Coriell, 5.F. Audio Hum Check List; May 53 p-65 RE
Field, R.M. Some Hum Servicing Problems; Nov.50 p.50 RE
Fleming, L. Controling Hum in Audio Amplifiers; Nov.50 p.55 RTVN
French, H.E. Ground Loops and Hum�?"m�?"m; Apr54 pe56 RE
Geisler, L.�?". Humless Pre-Amp Heater Supply; Mar. 58 p.117 RE
Langham, J.R. Hi Fi Expert Tracks Down Hum; Aug. 48 p. 36 RC
McRoberts, J.A. Background Noise Reduction on Tape; Oct. 56 pe42 RE
. Tracking Hum and Noise in Magnetic Recording; June 57 pe41 E
Hum Squelcher and Tone Control; Nov. 58 p.132 RE
Hum Suppression ; Nev. 58 p. 135 RE
III. Reverberation,.
Costigan, D.M. Build This Simple Echo Unit; Feb. 56 p. 52 RE
Dundovic, J.F. Synthetic Reverberation; Jan.49 p.68 RIVN
Hansen, C.L. Simple Echo Box; July 52 ped1 RE
Michels, H. A Simulated Echo Chamber; �?~Nev.51 pe 47 RIVN
(Echo for Tape Recorder; july 56 p.109 RE)
Washington and Jefferson College
Washington, Pennsylvania
CONC ERT
by
The W.«& J. Concert Band
Otto W. Henry, Director
.
Featuring music from television and movie sound
PROGRAM
Entry of the Gladiators (March) Julius Fucik
An old circus march, heard in several movies
The Valiant Years | Richard Rogers
Music from the recent television series on
the memoirs of Winston Churchill
Tales from Wells Fargo Mort Greene
Current television western
Alfred Hitchcock Presents arr. by James
From the television mystery show Ployhar
Tunes of Glory Malcolm Arnold
Motion picture starring Sir Alec Guiness �?"
as a Scottish soldier. ,
Bathsheba Lou Singer
The Misfits Alex North
Modern western with Marilyn Monroe and
the late Clark Gable
Exodus Ernest Gold
A story of the Israeli independence
Magnificent 7 Hlmer Bernstein
Hollywood western _
Monday, Dec. 18th, 1961 8:50 P.M.
Auditorium of the Beth Israel Synagogue.
265 North Avenue
Washington, Penna.
Concert band sets
first performance
Washington and Jefferson Col-
lege�?Ts Concert Band will present its
first concert of the year next Mon-
day December 18, in the Beth Isreal
Synagogue Auditorium.
Performing for the first time
under the direction of Mr. Otto W.
Henry, the Concert Band will pre-
sent a program of music from mot-
ion pictures and television pro-
grams.
The program will include themes
from �?oExodus,�?� �?~The Magnificent
1.7 �?oThe. Misfits,�?T �?oBathsheba,�?�
�?oWells Fargo�?� and �?oThe Valiant
Years.�?� The Concert Band will also
play the �?oThunder and Blazes
March.�?�
The Concert Band will begin its
performance at 8:00 p. m. next
Monday at the Beth Israel Auditor-
ium, 256 North Avenue.
Students, faculty and friends of
The College are invited to attend
this premier performance of the
1961 Concert Band. Admission is
free.
The Concert Band is primarily
composed of members of the W & J
Marching Band whose performanc-
es this year included half-time pro-
grams at the home football games.
Mr. Henry, chairman of The Col-
lege�?Ts Department of Music as well
as director of the Concert -Band,
has stated that this year�?Ts band
has a very professional outlook
and will explore the musical litera-
ture to provide the greatest en-
joyment to the listeners as well as
themselves.
i
, Dr. Otto Henry Is
Pertorming Today
Dr. Otto Henry, professor of
ethnomusicology and electronic
music in the East Carolina
choreography and dance by
Sara Berman; �?~Four Land-
scapes from H. G. Wells;�?��?T and
wieielas
Mr. Henry conducts open rehearsal of band.
Henry Organizes
W&J Brass Quintet
Otto Henry, College Band Director,
has announced the formation of a
new instrumental music group on
campus.
The new group, a Bass Quintet,
is presently making plans for several
appearances before the students and
faculty during the remainder of the
school year.
The Quintet, composed of Fred
Lipkind and James Scott on trum-
pets; Frank Kuzy on baritone; David
Levin on the trombone and Mr.
Henry playing the French Horn, are
currently practising every Monday
evening in the Student Center.
Tentatively Henry plans a concert
for the Quintet in the Spring of 1962.
The works of several Italian compos-
ers will be performed during the
Spring Concert. Composers such as
Gubreilli and Pieruigi will be high-
lighted in this program.
Previous to the Spring perform-
ance, the Quintet will take part in
the traditional caroling at Christmas-
time. This participation will be part
Band performs
tomorrow night
Featuring a balanced program of
classical music, show tunes and
movie themes, The College Concert
Band will present its annual con-
cert in Mellvaine Auditorium to-
morrow at 8:30 p. m.
The Concert will open with Steph-
en Foster�?Ts only march, �?~Santa
Anna�?Ts Retreat,�?T and continue in
the classical vein with Berlioz�?T
�?oMarch to the Scaffold,�?� Strauss�?T
| �?oDeath and Transfiguration,�?T Mus-
. sorgsky�?Ts �?oPictures at an Exhibi-
tion�?� and Ravel�?Ts �?oBolero.�?�
In a review of Broadway, the
' band will then present highlights
from Lerner and Loewe�?Ts �?oCame-
lot,�?� and selections from Bernstein's
�?oWest Side Story.�?� :
Selections from movie scores will
round out the winter concert. The
band will present highlights from
Gold�?Ts �?oExodus,�?� Gould�?Ts �?~�?oWind-
jammer�?� and Rosa�?Ts. �?~Parade of the
Charioteers.�?�
Mr, Otto W. Henry, director of
the Concert Band and chairman of
W & J�?Ts Music Department, also
announced several other concerts
scheduled for the second semester.
On April 20, the band will partiei-
pate in The College�?Ts Arts Festival
with an afternoon concert of music
by Sanders, Stravinsky, Russo and
others. :
�?oPop�?� favorites will be highlight-
ed on May 16-17 at the concert
band�?Ts annual �?oStraw Hat Concert�?�
presented on the patio behind the
Student Center.
In addition, the band will present
the February 15 selections at con:
certs in surrounding areas.
School of Music, will perform
some of his own works at a
recital of electronic music at
8:15 p.m. today.
His program will include
�?oMusic for �?~A Midsummer
Night�?Ts Dream�?T �?��?T written
earlier this year for an ECU
Playhouse production of the
Shakespeare comedy �?" �?oThe
Pure Land,�?� written in 1977 for
Moog synthesizer and painted
slides; his electronic realization
of three Eric Satie �?oGym-
nopedes,�?T�?T featuring
,Wagner�?Ts �?oThe Ride of th
an electronic realization of of the Annual Christmas Sing held
ea outside the Student Center prior to
Valkyries. ;
the vacation.
Dr. Henry was last year�?Ts {
winner of the Hinda Honigman
Gold Cup a statewide award for
original composition sponsored
by the N. C. Federation of
Music Clubs. His winning com-
position, a choral work entitled
*�?~Sanctus,�?T�?T was commissioned
by Mars Hill College.
The public is invited and |
there is no admission charge.
& Henry has high praise for the mem-
a bers of the Quintet and states that
they are doing extremely well for
the brief amount of time they have
spent in rehearsal.
1 Rady Blak - Uufiz/e/
Waco
DIRECTOR OTTO HENRY
WASHINGTON AND JEFFERSON COLLEGE
Washington, Pa.
CONCERT
by
The Varsity Concert Band
OTTO W. HENRY, Beatie:
PROGRAM
SANTA ANA�?TS RETREAT FROM BUENA VISTA
Stephen Foster (1848)
SYMPHONIE FANTASTIQUE: Movement IV
�?oMarch to the Scaffold�?� Hector Berlioz
DEATH AND TRANSFIGURATION: Finale ... Richard Strauss
PICTURES FROM AN EXHIBITION: Prominade; Catacombs;
the Great Gate Modest Mussorgsky
BOLERO Maurice Ravel
INTERMISSION
Highlights from CAMELOT Lerner and Loewe
WEST SIDE STORY: Selections Leonard Bernstein
Highlights from EXODUS Ernest Gold
WINDJAMMER Morton Gould
PARADE OF THE CHARIOTEERS from BEN HUR
Miklos Rozsa
Special thanks are due to the members of the college faculty
who are participating in this concert.
Friday February 15, 1963 at 8:30: P. M.
Mcllvaine Auditorium
WASHINGTON AND JEFFERSON COLLEGE
WASHINGTON, Pa.
Presents
THE W & J BRASS QUINTET
EARL WHITEMAN, trumpet WILLIAM EDD, trombone
*HARRY PENCE, trumpet JAMES LONG, trombone
*OTTO HENRY, French horn
(* Faculty)
PROGRAM
Anonymous SonaATA from Dig BANKELSANGERLIEDER (c.1684)
Henry Purcell TRUMPET TUNE
(c.1695)
TRUMPET TUNE
Anthony Holborne Five Pisces (c.1599)
1.The Marie-Golde 3.The Choise
2.Patiencia 4.Last Will and Testament
5.The New-Yeres Gift
John Adson Two Ayres for CorNeTts & SacBuTs (c.1620)
Giovanni Da Palestrina RICERCAR DEL Primo Tuono (c.1580)
Giovanni Gabrieli CANZONA per SONARE No. 2 (1608)
INTERMISSION
Johann Pezel SonATA No. 2 (1670)
Gottfried Reiche SonaATA No. 1 (1697)
SonATA No. 21
SonaTA No. 22
Nicholas Rimsky-Korsakov NotTTuRnNo (c.1890)
Paul Hindemith ... MoRGENMUSIK (1982)
L.Massig bewegt
III .Bewegt.
Edmund Haines Toccata (1949)
WASHINGTON AND JEFFERSON COLLEGE
WASHINGTON, Pa.
Presents
THE W & J BRASS QUINTET
EARL WHITEMAN, trumpet WILLIAM EDD, trombone
*HARRY PENCE, trumpet JAMES LONG, trombone
*OTTO HENRY, French horn
(* Faculty)
PROGRAM
George Frederick Handel Three Pieces from the WaTER Music
1. Allegro
2. Bourree
3. Allegro
Anthony Holborne (d. 1602) ....Two Pieces
1. Honie-Suckle
2. Night Watch
Gottfried Reiche (d. 1734) Sonata No. 18
Johann Pezel (d. 1694) THREE PIECES
1. Intrade
2. Sarabande
3. Bal
INTERMISSION
Johann Sebastian Bach Fuca IV
(from THE WELL-TEMPERED
CLAVIER)
Modest Mussorgsky Two Pieces from PicTURES AT AN
EXPOSITION
1. Promenade; Bydlo
2. Ballet of the Chickens in Their
Shells
Ludwig van Beethoven Trio Op. 87
4, Finale; Presto
(Earl Whiteman, Otto Henry, William
Edd)
Robert Sanders Two Marches
1. from Surre FoR Brass QUARTET
(1956)
2. from QUINTET FoR Brass (1958)
WepNEspAy, May 12 at 8:00 P.M. SrupENT CENTER
WASHINGTON AND JEFFERSON COLLEGE
WasHIncTon, Pa.
The 1963 W & J Arts Festival presents
a combined concert by
The Kiltie Band of Carnegie Institute of Technology
Richard E. Strange, Director
and
The W & J Concert Choir
William E. Saul, Director
PP �?" 7am
I. Tue Kittie Bann
Entrance of the Pipers.
Outdoor Overture
Suite No. 2 in F
March
Song without Words
Song of the Blacksmith
Fantasia
(Otto W. Henry, guest conductor)
Symphony for Band Persichetti
Adagio - Allegro
Adagio Sostenuto
Allegretto
Vivace
II. Tue W & J Concert Cuor
WPA AAT A Ba Oogardige ok oe pe et a PRO aes A ek ars Davis
Around Us Hear the Sounds of Even Dvorak
A-Roving
Aura Lee
The Rebel Soldier
Madame Jeanette
Give Me Your Tired, Your Poor
Accompanists :
Gary PETERSON Davin Perry
�?~SATURDAY, MAR.
19621 se �?oTHE WASHINGTON REPORTER,
a a on Electronic Music
By W & J Professor at AAUW Meeting
Professor Otto W. Henry, com-
poser, and Chairman of the Music!
Department at Washington and,
Jefferson College, will present a/
lecture-recital on Electronic Mu
sic at the March 20 meeting of
the American Association of Uni-
versity Women (AAUW) Wash-
ington Branch, in the Current
Events Club House. The program
fis scheduled for 8:15 p, m., and
}members are invited to bring
| Zuests.
| Mr. Henry will present a brief!
Hhistory of this new music and\]
its aesthetics. He will use his own
icompositions demonstrating the
different materials with which the
electronic composer works. Com-
positions to be featured are Ver-|{
sion IJ, Washington Concerto,
January the Sixth, and Suite from|%
The Essence of 2 or 3.
Professor Henry has had ex-|§
a tensive training and experience in
his field. He was born in Nev ada|
and when quite young, moved to}
peeve, North Carolina. He al
Carolitla for two years as a scinied
major. He then entered militar
service and performed in the U. S.
Army bands at Fort Dix, the First
Army Band in N. Y. City, and the
�?~60th Army Band in the Canal
Zone.
Re
PROFESSOR OTTO W. HENRY
!
After his discharge, he entered!
Boston University and completed
his baccalaureate work majoring}
in Theory. While earning a Mas-
ter of Arts degree he _ studied)
French horn with John Coffey of|
the Boston Symphony and compo-|
sition with Dr. Huto Norden and |
Professor Gardner Read.
Mr. Henry�?Ts compositions have}
been performed at the New Eng-
@iand Conservatory, the Brookline
Library, and Boston University. |
mReviewers have referred to his}
awork as �?o�?~Neo-Baroque�?��?T in style.
In 1959, Professor Henry began
ork on a Ph. D. in Musicology,
pecializing in African Ethnomus-
cology.
Before coming to Washington
and Jefferson College, he was di-
rector of the Mattignon Hig h®
School Orchestra, lecturer on con-
temporary music and music ap-
preciation at the Boston Center
for Adult Education, and a mem-
ber of the Instrumental Society of
e Boston Music School.
Members of the A.A.U.W. com-
mittee planning Tuesday night�?Ts
program �?~are: Mrs. Elbert Davis, �"�
chairman; Mrs. B. H. Berman,|
m Mrs. A. a �?~Holland, Mrs. R. G.
aa Johnson, J. G. Milligan, Dr.|
mi. B. wie �?oMr. Leonard Quetch,
and Mrs. Milton Rosenberg. |
Mrs. W. H. Perkins is chairman |
of hostesses. .
Mr. Otto Hetiry, chairman of the
| Music Department, initiated a ser-
ies of three lectures Tuesday even-
ing in the Student Center on differ-
ent types of musical composition
and reproduction.
The first lecture concerned the
/experimental field of �?oelectronic
| music.�?� Henry demonstrated how
| various objects, such as water or
�?~rusty cans, can produce a wide
| variety of sounds that may be uti-
�?~lized in an extreme form of compo-
| Sition.
_ �?oAfrican music�?� will be the theme
|of Henry�?Ts lecture December 5. He
will discuss and demonstrate a pan-
orma of African native music exis-
tent prior to European influence,
and draw an analogy between
Negro music and the jazz field.
Henry�?Ts third lecture, December
12, will concern the �?otwelve tone
|serial technique of composition.�?�
The Mario Melodia Dance Troup
will close out the 1964 Arts Festi-
val with a performance in The Col-
lege Gym tonight at 8:30.
The first part of the program will
be devoted to folk dances and will
Henry initiates discussions
on diverse areas of music
Mr. Herny initiated a music lecture
Thursday, Apel 16:
Melodia dancers perform tonight
feature the dances of Spain and
Scotland. An �?oAmerican Medley�?�
will follow, presenting a barn
dance, the Charleston and Jazz
dancing.
The third segment will feature
Members of the Mario Melodia Dance Troup in rehearsal.
'
dancers performing to electronic
music composed and presented by
Mr. Otto Henry. Electronic music
is produced by things other than
musical instruments. The means
used include audio generators and
�?~looping, blending and splicing of
audio tapes.
Following an intermission, the
troup will present a classical bal-
let to the music of Mozart�?Ts Eine
Kleine Nachtmusik.
Shortly after the end of the per-
formance there will be a reception
for the members of the troup and
The College community in the Stu-
dent. Center. This will give the
students an opportunity to meet
some of the performers, most of
whom are between the ages of 16
and 21.
Mr. Melodia is a choregrapher,
director and dancer who has. work-
ed in such productions as �?oWest
Side Story�?T? and �?oOklahoma�?� as
well as numerous other assign-
ments in choreography in the tri-
state area and New York. The
dance group was also present at
last year�?Ts Arts Festival.
EXPERIMENTAL WORKSHOP:
The Music of John Cage
Thursday, April 16, 1964 at 3:00 P.M.
Student Center
A Flower (1950)
The Wonderful Widow of 18 Springs (1942)
Bonnie Williams, Lyric Soprano
If.
4 Minutes, 33 Seconds for Piano (1952)
as 33"
Eis 2" 4o�?�
tat 3 a
Otto Henry, Pianist
uae
Cartridge Music (1960)
Performers: Otto Henry
Harry Pence
AVG
Radio Music (1956)
Performers
Bonnie Williams Arnold Cushner
Otto Henry Ronald Freiwald
Harry Pence Richard Cowan
Conway Jeffers Charles Rosenberg
"There is no such thing as silence. Something is
always happening that makes a sound."
written in response & unpredict-
to a request for a ; able our ears
: . instantaneous
manifesto on music, are now in
1952. excellent
condition
nothing is accomplished by writing a piece of music
tt " W " hearing w w " "
t " �,� Ty playing " " "1
�?"�?" John Cage: Silence
Washington and
Jefferson College
1964 Arts Festival:
April 9-16.
WASHINGTON AND JEFFERSON COLLEGE
1964 ARTS FESTIVAL
The MARIO MELODIA DANCE TROUP
Program
ie
Folk Dances
1. Hora
Carol Willard Larry Cervi
Sandi Morrison Gordon Schu
Barbara Hawn Don Salvo
Sharon Balogh Sparky Metz
Peggy Wieland Rudy Kasmiersky
2. Spanish
Maris Melodia Sue Kress
Darcee Bickler
3. Scottish
Susan Lang Highland Dancers.
Lae
American Medly
Mario Melodia Larry Cervi
Don Salvo
1. Barn Dance
Darcee Bickler Sue Kress
Sharon Balogh
2. Charleston
arol Willard Barbra Hax
ween AA ES 4 Morrison Mes fewn
43. Jazz
Peggy Wieland Darcee Bickler
Carol Schroedel
aif.
Modern Dance
1. Cheironome (Electronic Music).....0tto Henry
Betty Malezi
2. Antiphon (Electronic Music).......0tto Henry
John Hart Roslyn Sher
Betty Malezi Bonnie Constantino
Intermission
IV.
Classical Ballet
Divertimento
(Music: W. A. Mozart: Eine Kleine Nachtmusik)
1. Allegro
2. Romanze
43. Rondo
Ensemble.
Choreography eeeseevwee#e? ee*@e0nteev28fee@eees eeee¢ -Mario Melodia
Pianist. aeenaetonanevo@eepee peeve eae eeenv7#seernreeve#ee -Matt Cvetic
PREYCUGEL ONL GU, seduces neces ccacccescs ROD evel
Lighting courtesy of West Penn Power Company
Curtains courtesy of W & J Buskin Club
Thursday April 16th, 1964 at 8:30 P.M.
EXPERIMENTAL WORKSHOP: III.
Electronic Music Myron Schaeffer......+.seeeeeeeees Summer Idyll
Wednesday , April 15, 1964 at 3:00 P.M. Vladimir Vssacherski.. poccescccese sPLece Yor tape
Recorder
eta - Otto HENTY.sccesescccccccsverccees OnAtinan
Preliminary Remarks by Mr. Otto Henry
Chairman, Department of Music.
�?" _�?"
Student Center
More electronic music may be heard Thursday
PROG: evening April 16th at 8:30 when the Mario Melodia
PROGRAM Dance troup performs Mr. Henry's electronic ballet
I, Antiphon.
Pierre Schaeffer............-Ratizoad Study
Pierre Henry s.eesevecyeccesse-Finale from the
Concerto of Ambiguities "The old masters could sing but lacked the teachings.
of science to supplement those of art - a noble
union, which enables moving melody and powerful
TI. harmony to be at one... What might we not |
accomplish if we discovered the physical laws in
Oskar Sala..sececcerecsceceseS improvisations virtue of which - mark this well - we bring together
: in proportions as yet unknown the ethereal substance
eee in the air end thereby not only produce mesic but
also perceive the phenomena of light, vegetation,
and life itself? Don't you see! Those laws would
equip the composer with new powers by making possible
instruments far superior to those we have, and per-
haps result in a grander harmony than that which
governs our present msic. .. Composers have so
far worked with a substance they did not understand.�?�
Honore de Balzac, Gambara �?"
WASHINGTON AND JEFFERSON COLLEGE
WASHINGTON, Pa.
OTTO HENRY: Composirions ror MAGNETIC TAPE
A Concert of Electronic Music
PROGRAM
Dancine Music (Ballet, 1963)
THREE Humors (realized at the Electronic Music Studio, University of
Toronto, 1964)
1. Somber
2. Romantic
3. Mischievous
LUCIFER, THE SON OF THE Mornine (1964)
Second Movement: The Temptation
THE EssENCE OF Two or THREE (1962)
4. Polka Dots I
5. Professionalism
INTERMISSION
JAZZ ELECTRONIQUE (1964)
SoNATINA from AKNUF (1963)
Four LANDSCAPES FROM H. G. WELLS (1964)
1. The Crystal Ege
2. A Dream of Armageddon
3. The Valley of the Spiders
4. The Time Machine
Voices: Mary Jane Hohenstein
Joseph Kagle
SERENDIPITY (1965)
Fripay, May 7 at 8:00 P.M. SrupEnr CENTER
This program is dedicated to the memory of Myron Schaeffer,
the late director of the Electronic Music Studio, University of
Toronto.
february 9 -
twesday S:00 p.m.
february 16 �"�
twesday S:00 p.m.
february 23 -
twesday S:00 p.m.
march 2 -
tuesday 3:00 p.m.
april G
tuesday 8S:00 p.m.
may 4
tuesday S:00 p.m.
> &
may 25 -
tuesday S200 p.m.
ADAS #6: The Dada Revolt: A Play-
Lecture
a play-lecture by J, Kagle
Question: How is a moose when it
spins?
Answer: Remember on a dark and.
stormy night your mother is your
best friend.
ADAS #7: The Past Today ~ three movies.
Rembrandt: A Self-Portrait
The Titan
Three Paintings by Hieronymus Bosch
ADAS #8: Essence of Two or Three:
Composition for Voice and Magnetic
Tape.
Music: Otto Henry
Voice: Joseph Kagle
ADAS #9: Number Nine - three movies
W.B. Yeats: A Tribute
Mark Tobey: Artist
The Drawings of Leonardo Da Vinci
ee
ADAS #10: �?oWhat Are You Carrying,
Stones?" "Stones!"
A controlled dramatic experience
by J. Kagle
�?oMusic: Otto Henry
ADAS #11: Movement in Art and Life
- two movies,
Dancer's World
Art and Motion
ADAS #12: The End,
es NHALLHEGEMANHALLHEGEMANHAL LHEGEMANHALLHEGEMAT
196 21965196419651964 1965196419 6519 641965196419 GS,
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september 10 = ADAS #1: Introduction-two movies
thursday Ss: p.m.
Art in the Western World ne
From Renior to Picasso . �?oes
september 22 �?"- ADAS#2: Quartet
tuesday S:00 p.m.
Introduction of Series
Four Landscapes from H.G. Wells
Voices: Mary Jane Hohenstein
Joseph Kagle
Music: Otto Henry
The Land of Wu by Li-Po
Voice: Joseph Kagle
�?~Music: Otto Henry .~
January the Sixth (Sonata for hu-
man voices and magnetic tape)
Music: Otto Henry
ectober G6 -
tuesday S:00 p.m.
ADAS #8: So this is ...1 said it was
-».and you said yes,
An examination of reality and
illusion in life and art,
ectober 27 - ADAS #4: Language and Painting:
twesday S:00 p.m. Two Ways of Seeing,
jeanvuary 19 - ADAS #5: Two Painters Look at
tuesday S:00 p.m. Painting.
J. Kagle and R, Best
Carnegie Institute of Technolory | April 19, 1964
DANCE WORKSHOP CONCERT
Gavotte and l�?Tusette JS. Bach
Choreographed and danced by Joanna Gewertz
The Modern Temper Seymour Shifrin
Barbara Decker, Carol Heineman, Betty Malezi
Choreographed by Joanna Gewertz
Continuum George Abend
Carol Engelson (Choreographer), Diana Rau, Edgar Weinstock
Counterpart | Improvisation
Choreopraphed, danced and vlayed by Barbara Decker
J'attends Une Chose Inconnue Improvisation
Choreographed and danced by Carol Engelson
Analytical Cubism: Enriched or Adulterated Alfred H. Barr, Jr.
Joanna Gewertz (Choreographer), Barbara Decker, Larry Miller
Lecturer: Peter M. Sander
INTERMISSION
Choreia Otto Henry
Choreographed and danced by Betty Malezi
Visions and Prophesies Ernest Bloch
Joanna Gewertz (Choreographer), Barbara Decker
",..and when she could hide him no longer, she rade for him an ark and
set it by the river's brink. and his sister stood afar off." Exodus 2
The Maskers
John Hart, Carol Heineman, Lynn MacGregor, Betty Malezi
Choreogranhed and synoken by Barbara Decker. Masks--Merry Morton
Parable Thomas Witt
Choreographed and danced by Joanna Gewertz
"...this diagonal force...determined by past and future...the perfect
metaphor for the activity of thought." Arendt
Act Without Words II Samuel Beckett
Bentley Anderson, Richard Hughes
Theatre Piece Thomas Witt
The Dance Workshop
Conceived and directed by Thomas Witt
Production designed by Merry Morton. Sound by George Honchar. Lighting
by Doug Maddox. Accompaniment by Thomas Witt. We gratefully acknowledge
the help of Fred Youens, Inga Newbeck, Mike Frank, Beverly Silverstein,
Marge Levitt, Arlene Stimmel, Nik Skarlis and students of the Department
of Drama.
prelude and march . OTTO HENRY
| GUEST ARTISTS the ONCE group
blinkety blank NORMAN McLAREN |
(animation, hand-painted sound track) | SPECTACULAR: MUSIC: THEATRE
a 4 di
dialogues for man and machine HENK BADINGS tne Luding
the house GEORGE MANUPELLI from GALLERIES GORDON MUMMA
(concréte sound track by ROBERT ASHLEY) interlude for space theatre | ROBERT ASHLEY
the bottleman; experiment
visages t LUCIANO BERIO ._in two scenes II GEORGE MANUPELLI
a the wolfman ROBERT ASHLEY
le rire BRUNO MADERNA
l'amiral cherche une maison a louer HUELSENBECK,
3 JANKO, TZARA
(triple poem, 1916) .
huelsenbeck: o prufer
janko: r wilding-white
tzara: w sylvester
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production
poster photograph
poster design
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audio & video equipment
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our appreciation to
the Alpha Phi Omega
National Service Fraternity
for their assistance,
and to the Case Committee
for Special Programs,
Osman Mawardi,
chairman
strosacker auditorium
may 4 1965
prelude and march _ OTTO HENRY fl
7 GUEST ARTISTS the ONCE group
blinkety blank NORMAN McLAREN ~
(animation, hand-painted sound track) : SPECTACULAR: MUSIG: THEATRE
includi
' dialogues for man and machine HENK BADINGS ren iy
©RDON MUMMA
the house GEORGE MANUPELLI from GALLERIES Ge
ist interlude for space theatre ROBERT ASHLEY
(concrete sound track by ROBERT ASHLEY) madesteix P
the bottleman: experiment
_in two scenes ITI GEORGE MANUPELLI
visages t LUCIANO BERIO
OR the wolfman ROBERT ASHLEY
le rire BRUNO MADERNA
l'amiral cherche une maison a ieee HUELSENBECK,
JANKO, TZARA
(triple poem, 1916)
huelsenbeck: o prufer
janko; r wilding-white
tzara; w sylvester
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INTERMISSION
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distributor in time
Not all of the music comes from institutions
_, PRELUDE AND MARCH -- OTTO HENRY (United States)
Though Otto Henry is on the faculty of Washington-Jefferson College,
his studio is entirely self-built. The small independents, including
Berlin's Herman Hesse and Pierre Henry of Paris, contribute their
share in the face of such obstacles as expensive equipment, time-
consuming assembly, and strictures on performance. These men honor
the world of sweat and soldering-iron, where musical creativity and
electronic ingenuity go hand-in-hand.
soj0u wez801id
UNIVERSITY OF TORONTO
FACULTY OF MUSIC
A PROGRAMME OF COMPOSITIONS
by students of the
SUMMER SEMINAR
ELECTRONIC MUSIC STUDIO
CONCERT HALL, EDWARD JOHNSON BUILDING AT 8:30 P.M.
WEDNESDAY, AUGUST 12TH, 1964
The Lone Tree and Others Paul Pedersen
Poem by Chiang-wan
The lone tree, isolated from its crowd,
Stands facing me.
Clearly in silent words it says,
"We have no companion, you or I".
Western wind, blowing all the night long,
Even the autumn forest over there has grown thin.
To voice all the grief of man,
Autumn rains wail and Autumn winds issue their angry howl.
Torontoniana | John Donald Robb
This piece is a collage of electronic sounds organized in an overall
pyramid of sound. The title refers to the place and time of its com-
position and a mood suggested by the season. Certain sounds used are
reminiscent of sounds heard in the streets of Toronto.
Three Humors | Otto Henry
Somber
Romantic
Mischievous
These three short pieces are an attempt to explore three extremes of
human emotions or humors which were suggested to the composer by the
nature of the electronically produced material as they were first con-
ceived. The first piece employs only three "Spectra! or sound sources
which are transposed to different pitches and keyed with a "Bell Gate".
The Romantic Humor consists of a legato melody accompanied by an arpeggio.
This arpeggio was actually created by filtering the melodic notes them-
selves as they were played, so that although the texture is full, no more
than two pitches are sounding at once. The third humor was created from
filtered pitches and manipulated by splicing and speed variations.
3.
VV iqyur ab pas
it ATCC!
NEWCOMB COLLEGE
Department of Music
A Program of Electronic Music
on the occasion of the establishment of an
Electronic Music Studio
4:00 p.m.
October 31, 1965 Newcomb Art School
Yod Nono �?" : Morton Subotnick
Pinball (1965)* Jean E. Ivey
Quintona (1965)* Ernst Krenek
Tonegroups | (1965)* _ Paul Epstein
Tonegroups II (1965)*
INTERMISSION
~ Thema: Omaggio a James Joyce (1958)** Luciano Berio
The Temptation (1964) | Otto Henry
Caligula (1961) Roberto Gerhard
Do Not Attempt to Defeat the Interlock (1 964) Edward Zazda
*Realized at the Electronic Music Studio, Brandeis University.
**Reglized at the Studio di Fonologia Musicale, Milan, of which Berio was a founder.
ELECTRONIC MUSIC STUDIO, TULANE UNIVERSITY, NEW ORLEANS, LA.
TECHNICAL REPORT NO. Lessee vccccccecllay, 1966
Work on an electronic music studio was begun in September of 1965.
The studio's objectives are to provide an experimental center for
faculty, students and area composers, to centralize the repair and
maintenance of the Music Depte's audio equipment, �?~and to create
facilities for research in psycho-acoustics and ethnomusicology. The
Music Dept. allocated what funds could be spared for this purpose and
approved the use of room 117 in Dixon Hall. As this is a very small
ropm, the first three months were spent in providing floor-to-céiling
shelving and suitable work tables. The initial resources consisted of
an Ampex 350-r, a Magnacord P1i6-J (both full-track) and a Viking 86, as
well as an Ampex 620 portable amplifier. The first purchase was a de-
humidifier as two relays in the worn Ampex 350 had already opened up.
Temperature and humidity control remain the most troublesome problem.
The air conditioning cannot be done without, but it is of the wet variety
necessitating the constant operation of the dehumidifier; both of these
create a considerable amount of noise and it is difficult to hear. The
Ampex and Viking are mounte on the right of a 6' X 2' work bench, the
Ampex flat and the Viking above the former's amplifier on shelves. An
FICO RPK-100 is mounted flat on the left and the Magnacord is on a rack
adjacent to this. This provides two full-track and quarter-track stereo
units that can be operated independently. Shelving is provided above
the EICO for an amplifier, two audio generators and an electronic switch.
The central area is taken up by a 20" X 36" cabinet into which modulators
and patching boards have been installed. A UST~4 and a Viking 78-Q deck
are auxilliary units which are removable for use by the music faculty.
The usual shielding and impedance problems are present. The
motulator console provides two outputs for each instrument to eliminate
exterior coupling when a split signal is desired. A one-to-one patching
relationship insures that all combinations of modulators are available,
although a complicated circuit takes one the appearance of the telephone
switchboard at AT&T during a heavy rush hour.
Next year's plans call for the addition of a commercial BP filter
aS well as the construction of instruments to replace those that are on
loan. Appended here are details of instrumentation and activities fostered
by the studio. A bibliography of articles on electronic music has been
prepaired and is available from the Interamerican Institute for Music
Research which is handling the studio's files and correspondencee A
revised bibliography on studio instruments will be forthcoming and a list
of composers, studios, instrumentation and compositions is planned.
Greetings and best wishes to all our colleagues in the field .
Paul Epstein, Director
Otto Henry, Associate Director
66
OEC
PROGhaM NOTlc: Experimental Concert. Dixon Hall. December 4, 1966.
Please note: The audience is requested to sit in the
central portion of Dixon Hall and not too near the
front, for the best visual effect,
THE BLSCTKONIC MUSIC CONC in? often seems a sterile affair because
an audience is assembled but not used. It cannot react as an
audience, for the visual cues and the human personality are
missing. There is nothing to look at; the sound issues from
loudspeakers and is not reinforced by the gravitation of the
conductor's baton and the musician's gestures; the kinesthetic
sense is not awakened.
This is the contemporary predicament of electronic music: jt
is a new art form searching for a medium. In this concert, we are
attempting to supply both a visual and a kinesthetic element in
varying degrees, first by using the narrative qualities of the human
voice (H.G. Wells), second by modern dance choreography (Fifth
Symphony) and finally by theater accompaniment -�?" the manipulation
of colored lights, scenery and theatrical props (Lucifer).
While there have been earlier attempts in this direction, none
have approached the purpose we have expressed here. In effect, we
are seeking a synthesis between this special type of music and the
other arts, an experiment that has sometimes produced lasting results.
ELECTRONIC MUSIC, now some twenty years old, is divided into two
basic schools of thought. The more intellectual type derives from
Herbert Jimert at Radio Cologne and is heavily scientific, highly
mathematical, and depends upon the post-Webern serial technique.
The second style derives from Pierre Schaeffer at Kadio Diffusion
Francaise in Paris and perhaps from men like Henk Badings and
Viadimir Ussachevsky. This style is less abstract and freer from
imposed dogmas.
The music itself exists and was created on magnetic recording
tape and is played only through loudspeakers. The creative pro-
cess eliminates the middle-man interpreter and resembles the one-
to-one relationship between the artist, his canvas and the viewer.
The "thematic material" is selected from microphonic recordings
("Musique Concrete"), electronic oscillator blends ("Zlectronic
Music") or sometimes both ("Tape Recorder hiusic"). A common
feature of electronic music composition is the limitation of the
basic sound sources to as few as vossible because of the wide
range of possibilities inherent in modern electronic audio tech-
nology. There are six basic techniques: Splicing, Blending, Trans-
position, ketrograde, Tape Loops and keverberation. Any version
obtained by these processes may be further transformed by filtering,
modulation and variation of the attack and decay pattern by gating.
iulti-channeled stereo effects offer further possibilities. All
of the above techniques are employed, sometimes simultaneously,
in the FIFTH SYMPHONY, to be heard tonight.
The Fine Arts Committee
of the
Tulane University Center Program
Presents
EX? 6 Rt MERA
SN CER fT:
Bib C- [> RON (ft - Re SL
+-H-=
tHe AR FER
ELECTRONIC MUSIC by OTTO HENRY
CHOREOGRAPHY AND DESIGN by FRANCES GAMACHE
Sunday, December Fourth, at 8:30 PM
Dixon Hall
Tulane University
PROGRAM Iti
| Lucifer, the Son of the Morning (1964)
Four Landscapes from H. G. Wells (1964) The Fall
The Crystal Egg The Temptation
|
2
A Dream of Armageddon 3. Angelic Concert
4, Prayers of Exhortation
5. Final Judgement; Inferno
The Valley of Spiders
The Time Machine
NARRATORS: Dr. Norma McLeod DANCERS and PERFORMERS:
Dr. Richard Schechner
- Ww Nb
re weet Meta n i ie |
Robert James Evelyn Smith
Erika Monk Diane Desmond
Michael Hills Teresita Dorsey
ty Raymi Barclay Nina Galler
Margaret Powell Rebecca Gonzalez
symphony in One Movement No. 5 4 vis Nancy. Fina
Fon Magnetic Tepe (1906) Margie Scheuermann Victoria Gonzalez !
re Milton Scheuermann Catherine Goldsteingg
PRUCERS: Naeocey vamnade . Charles Gonzalez Carolyn Sapp -
Frances Gamache Joyce Prophet Audrey Skylar
Monique Mendelson Ah pie rasa arayne SCs
Jan Michiels Amanda Miller
Alan Gamache PRODUCTION STAFF
Costume and Prop Design: Heie Boles
Florine Ford
Pn er Rese Publicity: Jan Friedman
Lighting: Diane Andrews
Electronic music, now twenty years old,
is created on and for magnetic recording tape
and need not be written out except in the com-
poser's imagination. Ina sense, it is music
for loudspeakers without human performers and
therefore lacks the visual and kinesthetic
appeal of instrumental or vocal music, This
concert attempts to supply these missing
elements by a fusion of movement, light and
theatrical design,
* ¥ *
OTTO HENRY is associate director of the Elec-
tronic Music Studio at Tulane University
where he is working on a Ph.d in musicology.
He studied composition at Boston University
and was chairman of the Dept. of Music at
Washington and Jefferson College, Washing-
fon ,..Pa.
FRANCES GAMACHE studied at Randolph-Macon
Woman's College and the Rhode {sland School
of Design in Providence where she taught
modern dance and choreographed recitals.
She was director of creative dramatics and
dance for the Looking-Glass Theater and is
now Arts Co-ordinator for Project Score in
New Orleans,
Electronic
by Bill Rushton and
Suzanne Stamps
Since its birth twenty years
ago, the dilemma of electronic
music in concert has been the
inability of the audience to em-
pathize with the product of a
mere machine. In an effort to
overcome this problem with a
total audience response, last
Sunday night in Dixon Hall
choreographer-designer Francis
Gamache and composer Otto
Henry of the graduate music
school integrated electronic mu-
sic with a program of dance,
drama, and visual effect. Their
imaginative experiments suc-
ceeded, evoking thunderous au-
dience response.
In all three works Henry
avoided the raucousness often
displayed by his scientist con-
temporaries in lieu of an over-
all pleasant sound. Yet, only in
the �?oSymphony in One Move-
ment No. 5�?� did the sound drift
out to a framework of almost
traditional musical sounds.
Otherwise, Henry�?Ts composition
asserted stock purity of an aes-
thetic material claiming both
its own right to be and its duty
to influence the other arts.
Morality Play
The most striking effort of
the evening was a contempo-
rary morality play based on
Music Rates Encore
Milton. The five-part gomposi-
tion, called �?~�?~Lucifer, Son of
the Morning,�?T capsuled the his-
tory of man with a kinetic col-
lage of aluminum panels, poly-
ethylene webs, dancers, lights,
and music. Part three of this
work, �?oThe Angelic Concert,�?�
was the program�?Ts most aes-
thetically successful statement
of the program. An abstraction
of music, light manipulation,
and other-worldly stage props.
From here, with the use of
stereophonic equipment, the
piece crescendoed in a way that
has never been achieved by tra-
ditional musical forms and
methods of performance.
In contrast to the richness
of the Lucifer production, the
Symphony was accompanied by
five dancers in stark black leo-
tards on a stage that was bare
except for multi-level modules
at Tulane .
A concert featuring a com-
bination of electronic music and
theater accompaniment will be
presented Sunday at 8:30 p. m.
in Dixon Hall :
University ca
Sponsored by the F
mmittee .of the Unive
yenter, the; presentation is the
first concert of its kind to
given in New Ork
The free
to the public, �?"
_ dire
Henry, graduate student in the
Newcomb College . department
of music, and Mrs. Frances
Gamache, special student
lane, dancer and choreo
the concert wil ;
electronic
simple narration, modern dé
| choreography and the changi
| of lights, scenery and theatrical
props. ae oi
and swags of cheesecloth. The
dancers, slow and independent
�?~at first, gained speed and or-
ganic unity by entwining them-
selves in the gauzy nets and
climaxed their ballet with what
looks like a Martian taffy-pull.
Accompaniment for this climax
included the flashing of near-
blinding lights, part of the ver-
satile palate of Lighting Direc-
tor, Diane Andrews.
The only tedious part of the
evening came during the first
work, �?oFour Landscapes from
H. G. Wells�?T; Dr. Norma Ma-
eloud and Dr. Richard Scheck-
ner read passages from the au-
thor�?Ts work. Members of the
audience found it difficult to
follow the thread of the work,
but the interplay of the music
with an occasional phrase was
enough to prompt associations
in the listeners�?T imagination.
such as instrum
ers and coma
music, by, 4
nothing to »
only to physice
�?oTo give audiences �?"
thing to look : i
perimenting with Wis
in providing theatrical accom-
niment by adding human per-
formers, motion and various
lighting effec
tronic music laboratory, is also
the composer of several pre-
ludes being played during�?� the
presentation of the play, �?oThe
Old Glory�?� by Robert Lowell,
currently in production at the
Playhouse on the university
campus. ee
Sua.
4 1%le
Electronic Music Leaves
Audience Slightly Stunned
by Bill Rushton
A generally unappreciative
audience was occasionally
stunned, but rarely outraged
by last week�?Ts electronic mu-
sic and �?~�?~intermedia�?T�?T events
at Tulane. Concerts were
held Thursday and Friday
nights, and a panel discus-
sion Thursday afternoon.
The program was an im-
portant milestone in local
cultural progress, bringing
forth the commendable debut
of a new intermedia group,
the local �?~�?~first�?T�?T of an in-
strumented electronic music
concert with live performers,
and a second smash success
by the New Orleans Group
which created a mild sensa-
tion at their concert lastyear
Ann Arbor, Michigan�?Ts
seven-year-old ONCE Group,
composed of Robert Ashley
and Gordon Mumma, domi-
nated the two-day event with -
five pieces that demonstrat-
ed an end to the. myth that
electronic sound is totally
dehumanized and dehumaniz-
ing.
Eerie Presence
Their opening number,
�?o�?~Mesa: 5 Source Duo,�?T�?T used
three harmonicas connected
to a four-speaker stereo sys-
tem by two tables full of am-
plifying equipment. The duo
was limited in the number of
sounds that could be super-
imposed at one time, but
eerily reinstated the perfor-
�?~merx-instrument presence for
which previously disgruntled
audiences have clamored.
Similarly their �?oFour
Ways,�?T �?o�?~The Wolf Man�?T�?T and
�?oWave Train�?T�?T-exhibited in-
struments, performer-in-
strument relationships, and
performance-audience rela-
tionships in traditional pat-
terns, but utilizing radically
different materials.
One of the-instruments in
�?oFour Ways�?� was a briefcase
with speaker underneath and
microphone inside, with
i moveable lid to regulate the
sound source pitch; �?o�?~Wave
Train�?T? used the sounding
boards and randomly plucked
Strings of two grand pianos
as sources for electronic
manipulation; and �?o�?~The Wolf
Man�?T�?� utilized combinations
of lip, teeth, and tongue for-
mations from a performer
yelling into a microphone.
Background tapes of a jet
plane landing, a WWL com-
mercial, and other sounds
were shunted through ampli-
fiers and wave generators for
static and other effects. One
chief problem was the dan-
gerous decibel levels
reached by the duo, compli-
cated by additional problems
of style refinement that most
tape-only composers have
avoided.
De Gustibus Debut
The De Gustibus Group of
director Gerald Hoke, com-
poser Otto Henry, choreo-
grapher Frances Gamache
and photographer Bill Smith
debuted Friday with apoem-
play �?~�?oPericles,�?T�?T staged with
intermedia techniques. Four
projectors with excellent
footage paced the production,
which suffered mainly from
unimpressive lighting.
Hit of the evening was the >
New Orleans Group�?Ts �?o�?~Com-
positions,�?T an extraordinari-
ly well-structured piece dis-
rupted only when �?~�?~Tulane
Drama Review�?T�?T Editor Rich-"
ard Schechner bumped over
his building blocks. While ar-
tist Franklin Adams mount-
ed plastic bags filled with
white plastic on �?~a suspended
rope to the right, composer
Paul Epstein tied white bal-
loons to a similar rope on
the left. On stage, Schechner
built a cardboard box tower
into the loft, accompanied
by Epstein�?Ts music, while
Adams�?T slides of cubical,
spherical, and amorphous
shapes danced over their
respective groups. The mu-
sic included pile-driving
sounds from thenew library,
with the industrial motif fur-
ther enhanced by sending ma-
terials for the three con-
structions across the audi-
torium via pulleys, assem-
bly-line style.
Dessert for the program
was the �?~�?~Pop�?T�?T event �?o�?~Or-
ange Dessert,�?T�?T created and
(Continued on page 5)
most of the pieces showed a
need for more discipline and/
or fewer decibels. Although
the performers offered a
thought-provoking discus-
sion on electronic music
Thursday, genuine audience
Electronic Music
(Continued from Page 4)
narrated by Ashley of the
ONCE group. Two Newcomb
coeds in orange dresses were
sent through charm school
paces on how to walk and sit,
followed by afilmstrip remi-
enthusiasm left much, much
to be desired.
niscent of a TV super-knife
commercial which showed an
orange being peeled, sliced,
and topped with flaming bran-
dy.
But the overall effect was
both encouraging and neces-
sary, and New Orleans stands
enriched for having experi-
enced it.
With the exception of �?oCon-
_ structions�?� and �?~�?~Dessert,�?��?T
On Thursday and Friday, February 9 and 10, the Fine Arts Committee in conjunction
with the Tulane Drama Review and the Department of Music, will present two programs of
unusual interest. The programs will be held in Dixon Hall at 8:30 p.m. The first will be a
concert of electronic music by Robert Ashley and Gordon Mumma of the ONCE Group. The
second will be a program of electronic music, theatre, and intermedia by the ONCE Group,
the Dallas Chamber Ensemble, the New Orleans Group, and De Gustibus.
On Thursday, February 9 at 4:00 p.m., there will be a forum on "Intermedia and the
Tradition". The forum, also to be held in Dixon Hall, will be open to the public at no charge.
Robert Ashley and Gordon Mumma have been pioneers in the development of electronic
music as a performance medium. They organized the Co~operative Studio for Electronic Music
in Ann Arbor, and as members of the ONCE. Group have performed extensively in this country
and abroad. The Dallas Chamber Ensemble, under the direction of David Ahlstrom, has also
been active in performing new music and intermedia. The New Orleans Group,directed by
Franklin Adams, Paul Epstein, and Richard Schechner, last year produced a happening,
"4/66", and is currently engaged in a production of lonesco's Victims of Duty, to be seen in
April. De Gustibus consists of composer Otto Henry, choreographer Frances Gamache, and
theatre director Gerry Hoke. Last month Mr. Henry and Mrs. Gamache presented a progrom
here of electronic music and theatre.
Tickets for the evening programs will be on sale at the University Center Information
Desk, ext. 322, Monday through Friday from 12:00 to 4:00. General admission to each
program is $1.25; all students and Tulane faculty and staff $1.00
Robert Ashley and Gordon Mumma have distinguished themselves
both through their work in electronic music and intermedia and through
their performances of new music in this country and abroad. In 1958 they
organized the Co-operative Studio for Electronic Music in Ann Arbor,
Michigan, and in 1960 they began the annual ONCE Festivals. They
have been pioneers in the development of electronic music as a per-
formance medium. The latest result of this development, �?~�?~cybersonic�?T�?T
instruments that produce and alter electronic sounds without the neces-
sity of magnetic tape, is seen in Mesa.
Jerry Hunt and Houston Higgins are members of the Dallas Chamber
Ensemble. Under the direction of David Ahlstrom, the Ensemble has
performed a wide range of new music, both electronic and instrumental,
as well as intermedia.
The New Orleans Group was founded in 1965 by Franklin Adams,
Paul Epstein, and Richard Schechner. Last year the Group presented
a happening, �?~�?~4/66�?T�?T, and it is presently engaged in a production of
Ionesco�?Ts Victims of Duty, to be seen in April.
Pericles is a production of De Gustibus, a group consisting of the-
atre director Gerald Hoke, composer Otto Henry, choreographer Frances
Gamache, and lighting designer Bill Smith. In December, 1966, Mr. Henry
and Mrs. Gamache presented a program here of electronic music and the-
atre.
The Fine Arts Committee
in conjunction with
The Tulane Drama Review
and the Department of Music
presents
TWO PROGRAMS OF
ELECTRONIC MUSIC
THEATRE
INTERMEDIA
Dixon Hall
Tulane University
February 9 and 10, 1967
8:30 p.m.
FEBRUARY 9, 1967
A PROGRAM OF ELECTRONIC MUSIC
PERFORMED BY ROBERT ASHLEY AND GORDON MUMMA
MESA: 5 SOURCE DUO (1966) Gordon Mumma
for amplified instruments and cybersonic devices
Intermission
MUSIC FOR SOLO PERFORMER (1965)
for amplified performer
FOUR WAYS (1966)
for amplified objects
FEBRUARY 10, 1967
A PROGRAM OF ELECTRONIC MUSIC,
THEATRE, AND INTERMEDIA
PERICLES Kenneth Koch
Morton Potash, Frances Gamache, Alan Gamache,
Jacqueline Potash, Paul Issa, Joe McQuitty,
Douglas Crimp, Evelyn Smith, Joyce Prophet,
Nina Galler, Raymi Barclay.
SUR DOCTOR JOHN DEE Jerry Hunt
with TABULATURA SAYGA
Jerry Hunt and Houston Higgins
Intermission
O's og ig 1) Oe |S) Began emery wearer mror Chiru arma ar a F Franklin Adams and
Paul Epstein
Paul Epstein, Erika Munk, Richard Schechner,
Raymi Barclay, Franklin Adams, Margaret Powell
ORANGE DESSERT Robert Ashley
Erika Munk and Judith Reed
Technical crew: George Gattoni, Ned Dameron,
Brenda Miller, William Meyers, Bill Smith,
David Rittenberg
Robert Ashley and Gordon Mumma have distinguished themselves
both through their work in electronic music and intermedia and through
their performances of new music in this country and abroad. In 1958 they
organized the Co-operative Studio for Electronic Music in Ann Arbor,
Michigan, and in 1960 they began the annual ONCE Festivals. They
have been pioneers in the development of electronic music as a per-
formance medium. The latest result of this development, �?~�?~cybersonic�?T�?T
instruments that produce and alter electronic sounds without the neces-
sity of magnetic tape, is seen in Mesa.
Jerry Hunt and Houston Higgins are members of the Dallas Chamber
Ensemble. Under the direction of David Ahlstrom, the Ensemble has
performed a wide range of new music, both electronic and instrumental,
as well as intermedia.
The New Orleans Group was founded in 1965 by Franklin Adams,
Paul Epstein, and Richard Schechner. Last year the Group presented
a happening, �?~'4/66�?T�?T, and it is presently engaged in a production of
Ionesco�?Ts Victims of Duty, to be seen in April.
Pericles is a production of De Gustibus, a group consisting of the-
atre director Gerald Hoke, composer Otto Henry, choreographer Frances
Gamache, and lighting designer Bill Smith. In December, 1966, Mr. Henry
and Mrs. Gamache presented a program here of electronic music and the-
atre.
Sunday Music Series �?" Delgado Museum of Art
Program �?" an ie May 1 14, 1967
Downman Auditorium
ELECTRONIC MUSIC AND INTERMEDIA
MIDNIGHT SPECIAL music, Otto Henry
film, Bill Smith
THE WOLFMAN Robert Ashley
THE SEARS Box Otto Henry
choreography, Frances Gamache
Valerie de Casas, soprano
MUSEUMPIECE The New Orleans Group:
to James B. Byrnes Franklin Adams, Paul Epstein,
Richard Schechner
PERICLES Kenneth Koch
music, Otto Henry
films, Bill Smith
direction, Gerald Hoke
NEXT CONCERT: MAY 21
BEAZER-WILLIAMS CONSORT
ae
elit
Care
WwW
| aii
HieuxCarre |
lobh-h?¢
layers Cheatre
~ PLAYERS THEATRE
of
Le Petit Théatre du Vieux Carré
presents
The New Orleans Group Production
f
VICTIMS OF DUTY
(a pseudo-drama)
by
Eugéne lonesco
Produced by JILL YOUNG
Staged by The New Orleans Group:
FRANKLIN ADAMS, PAUL EPSTEIN, RICHARD SCHECHNER
with motion picture images by DENNIS CIPNIC
Production manager:
RAYMI BARCLAY
Associate Technical Director, JERRY ROJO
THE CAST
Madeleine LyLA Hay
| Choubert GERALD HOKE
ARTHUR WAGNER
Nicolas d�?TEu BRONISLAV RADAKOVICH
The Lady JACQUELINE POTASH
General Understudy Morton PorasH
TULANE DRAMA REVIEW
QUARTERLY - MALLOT YELLOW SUBSCRIPTION $5.00
crew for VICTIMS OF DUTY
film crew Morton Potash, Raymi Barclay, Chris Alderman,
Doug Crimp, Franklin Adams.
still photography Chris Alderman, William Harlan, Matt Herron.
lighting Jerry Rojo, Gordon Smith.
sound Paul Epstein, Otto Henry.
properties and costumes Raymi Barclay, Sylvia Lackey, Mandy Miller.
construction and painting Franklin Adams, Paul Epstein, Richard Schechner, Jerry R
Jill Young, Xavier de Callatay, Barbara Baker,
Andy Diamond, Gordon Smith, Ned Dameron, Mandy Miller,
George Gattoni, Raymi Barclay, Bill Harlan, Doug Crimp,
Dan Eubanks, Manfred Kuechler, Joe McQuitty, a
Jo Beth Barnes, Judy Wolf, Linda Patrick, Virginia Tomasek, |
Tom Hasselle, Ned Callihan, Fred Brownstein.
projectionists Jean Douglas Crimp, E. Palfrey Dameron, Daniel Eubanks, 1]
Paul-Anthony Gabriel-Issa, Gianlorenzo Gattoni,
William Harlan, Manfred Kuechler.
house Mary Radakovich, Peggy Shapiro, Jim Mambourg, Stuart Tur
Travis Boykins, Margaret McNamera, Mary Campania.
ACKNOWLEDGMENTS
We would like to thank the following for contributing services and commodities for
VICTIMS OF DUTY
JEAN SEIDENBERG THE RECORD CENTER-SHOPPER�?TS WORLD
THOS. COOK AND SON WDSU-TV AND RADIO TIMES PICAYUNE STATES-ITE
VIEUX CARRE COURIER CLARION HERALD ANDY DIAMOND
NEW ORLEANS TRAFFIC: ENGINEERING DEPARTMENT
Nu-DEAL OPTICAL . SIMONE SANZENBACH
TULANE UNIVERSITY THEATRE
LINDA SEAGRAVE, Publicity director of Le Petit Theatre
ANDREAS REISING, SUNRISE BAKERY
about Tonight�?Ts Play and Playwright
�?oAs for plot and motivation, let�?Ts not mention them.�?�
�?oEvery play is an investigation brought to a successful conclusion.�?�
�?oNaturalistic drama. The theatre of Antoine.�?�
�?oThe theatre�?Ts a riddle, and the riddle�?Ts a thriller.�?�
�?oRefined detective drama.�?�
�?oI dream of an irrationalist theatre.�?�
�?oPersonality doesn�?Tt exist.�?�
�?oEach character is not so much himself as another.�?�
�?oLife�?Ts getting more cheerful.�?�
�?oEverything can be comprehended in time.�?�
NEWCOMB COLLEGE May 4, 1968
Department of Music Dixon Hall
Electronic Music Studio 2:30 p.m.
INTERSECTIONS:
ELECTRON
MUS IC and FILM
Intersections | (Ampex 351) Paul Epstein
Il (Filmstudy 1)
Something for Color Organ ; Otto Henry
Intermission
, Music Otto Henry
ee :
idnight Specia Film Bill Smith
Hl Paul Epstein and Franklin Adams
IIR (1 ydutsmliF) Paul Epstein
Painted Film Bill Smith
intersections
Following the program there will be a panel
discussion moderated by Dr.Peter S. Hansen.
We are dealing with process; and a process is an intentionality, whether human,
natural, or mechanical. What is new is the manner in which our processes come
together and the effect of the coming together on each intentionality involved.
In the past such intersections permitted only those conflicts that could -= and
would -= be resolved. Dissonance implies and demands resolution. But other
kinds of intersection are possible. Two intentionalities may cross without im-
pinging on one another, without suggesting any particular relationship or
association between them. Or they may collide in such a way as to cause the
cancellation of one or both. Between these two extremes lies the continuum of
possibilities that forms the arena in which today's art operates.
"Invade areas where nothing's definite
(areas -~ micro and macro -= adjacent
the one we know in).
John Cage
NEWCOMB COLLEGE
Department of Music
A PROGRAM
IN MEMORY OF
EDGARD VARESE
1883-1965
&
Sunday, April 17, 1966
Dixon Hall
8:30 p.m.
NEWCOMB COLLEGE
Department of Music
A PROGRAM
IN MEMORY OF
EDGARD VARESE
1883-1965
Sunday, April 17, 1966
Dixon Hall
8:30 p.m
OCTANDRE (1923) DENSITY 21.5 (1936)
Roy Irvine, flute Otto Henry, French horn Richard Harrison, Flutist
Michael Pierce, clarinet John Mosier, trumpet
Hamp Gillespie, oboe Theodore Demuth, trombone
Matthew Huntley, bassoon
Conductor; John Kuypers
THE ELECTRONIC MUSIC OF VARESE
Paul Epstein, Instructor in Music and
Director of Electronic Music Studio
VARESE AS I KNEW HIM
Gilbert Chase, Professor of Music and
Director of Inter-American Institute for Musical Research
IONISATION (1932)
Charles Blancq- Margaret Frishe
i Steve Bland Otto Henry
VARESE George Bohmfalk Roy Irvine
Mary Ann Bulla John Joyce
Films by Thomas Bouchard: Glimpses of Varese. Ronald Dowd John Nadas
Varese�?Ts workshop as he left it. Paul Epstein Content Sablinsky
Verges sequence, with music Conductor; John Kuypers
specially composed by Varese,
from Bouchard�?Ts film Around
and About Joan Miro.
cintermissionr
EDUCATION
= A960
ONFERENCE
The Program
11:30 am.�?"REGISTRATION
Mezzanine, Tulane University Center.
12:30 p.m�?"LUNCHEON Kendall Cram Ballroom.
(Luncheons guaranteed only with advance
reservations) _
Presiding: Mr. A. J. Waechter, Jr., chairman, New
Orleans Conference.
Invocation: Rev. George D. Hopper, coordinator of
religious activities, �?~Tulane.
Speaker: Dr. Joseph E. Gordon, dean, College of
Arts and Sciences.
Address: �?oTHE UNDERGRADUATE COLLEGE�?�:
Tradition, Change and Rededication.�?"A_ brief
look at its history and tradition and an examinia-
tion of the forces shaping its future. A call for
our rededication of effort and resources to the
role and purpose of this �?oheart�?� of the complex
university.
2:00 p.m.�?"PANEL SESSIONS
An SIOMAGE. TO TS) ELIOT�?T: Out ob the
Sacred Wood, through the Waste Land, into the
Rose Garden.�?"T. S. Eliot�?Ts death is too recent to
permit any definitive assessment of his achievement
as a poet, but to many readers he has seemed,
perhaps more than any other of our time, the
modern poet.
Student Council Room A.
Moderator: Dr. Donald Pizer, professor of English.
Speaker: Dr. E. Philip Bollier, professor of English
me B. �?oADVENTURES IN ELECTRONIC MUSIC�?�
�?"A discussion and demonstration of the newest
trends of experimental music.
President�?Ts Room A.
Moderator: Dr. Peter Hansen, professor and chair-
man of Music department.
Speaker: Mr. Otto Henry, graduate assistant, Music
department.
Cc. �?oTHE CITY�?"STANDARDS BY WHICH WE
LIVE AND DIE�?�
Student Council Room A.
Moderator: Mr. James Lamantia, associate professor
of architecture, member of American Institute of
Architects and of Vieux Carré Commission.
Speaker: Mr. John Lawrence, dean, School of Ar-
chitecture.
3:15 p.m.�?"PANEL SESSIONS
A. �?oYANKEE DOODLE�?��?"The Soldier of the
NEW ORLEANS + MARCH 26, 1966
1966 TULANE CONFERENCE-:---NEW ORLEANS
American Revolution.
Student Council Room B.
Moderaior: . Mr. Charles: L. . �?~Pie�?T Dufour, New.
Orleans States-Item columnist, historian, author
and Tulane lecturer.
Speaker: Dr. Hugh F. Rankin, professor of history.
B. �?oINDIA: THE SPIRITUALIZED SOCIETY�?��?T�?"
The Indian vision of the Great Society and what it
portends for the future of democracy in Asia.
Student Council Room B.
Moderator: Mr. Pendleton E. Lehde, president, Pendle-
ton Terminal Corporation and a Fellow in the
Institute of Electronic Engineers. _
Speaker: Dr. Robert C. Whittemore, professor of
philosophy.
C. �?oNEWCOMB COLLEGE PERSPECTIVES�?�
President�?Ts Rooms A and B.
Moderator: Dr. David R. Deener, acting dean, New-
comb College.
The Student and Today�?Ts Stresses�?"Miss Florence E.
DeFroscia, Newcomb student body president.
The Student and Academics�?"Miss Elsa Freiman, cap-
tain, Newcomb College Bowl Quiz Team.
The Faculty�?"Dr. Joseph Cohen, director, Scholars
and Fellows Program, and associate professor
of English.
4:30 p.m.�?"RECEPTION�?"Mezzanine
CONFERENCE
HOSPITALITY COMMITTEE: Mr. and Mrs. Joseph McCloskey, Co-chairmen; Mr.
Allain C, Andry, III, Mr. Max Barnett, Jr.. Mr. Edmond J. Bendernagel, Jr., Mr.
Edward B. Benjamin, Jr., Mr. and Mrs. W. Mente Benjamin, Mr. Peter L. Bernard,
Jr., Mrs. A. B. Bland, Mr. and Mrs. Thomas W. Born, Mr. Louis D. Brown, Mr. E.
Philip Bultman, Jr., Mr. James N. Burlingame, Mrs. Clay Calhoun,�?T Dr. Gerald M.
Capers, Mr. and Mrs. Hodding Carter, Mr. A. Watson Chapman, Rev. Sherwood S.
Clayton, Mr. Murray Cleveland, Dr. and Mrs. Harold Cummins, Mr. Arthur Q. Davis,
Miss Kathryn Davis, Mr. and Mrs. Moise W. Dennery, Mr. Donald W. Doyle, Miss
Adele Drouet, Mr. and Mrs. Tatham Eskrigge, Mr. Clifford Favrot, Mr. H. M. Favrot,
Jr., Mr. Arthur Feitel, Mr. and Mrs. Darwin S. Fenner, Mr. Douglass Freret, Mr.
Harry P. Gamble, Jr., Miss Barbara Gessner, Mr. Louis S. Goldstein, Dr. Joseph E.
Gordon, Mr. Nicholas Gordon, Mr. and Mrs. Ken Gormin, Mr. M. Carter Hall, Jr.,
Mr. and Mrs. Paul Hogan, Jr., Mr. C. M. Horton, Mr: Adolph E. Jastram, Mr. Arthur
L, Jung, Jr.. Mrs. Reichard Kahle, Miss Susie B. Keane, Mr. Joseph L. Killeen, Mr.
William C. Knight, Mr. Harvey C. Koch, Mr. John W. Lawrence, Mr, and Mrs. George
Leake, Mrs. Emilio Levy, Mr. and Mrs. John Pat Little, Dr. and Mrs. Robert C.
Lynch, Mr. and Mrs. E. Patrick McCloskey, Mrs. Andrew McCollam, Mr. and Mrs.
Edward A, McLellan, Mrs. John F. Manson, Mr. Ernest B. Mason, Dr. C. V. Menen-
dez, Dr. Joseph C. Menendez, Dr. George W. Meyer, Mrs. R. King Milling, Mr. and
Mrs. Lloyd Monroe, Col. James A. Moreau, Mr. and Mrs. Buford M. Myers, Jr., Mr.
and Mrs. Waldemar S. Nelson, Mrs. Claudia Odom, Mrs. Lester J. Paltron, Mr. H. C.:
Parker, Jr., Mr. Jack Pizzano, Mr. Peter J. Pizzo, Jr.. Mr. W. Shepard Pleasants, Jr.,
Mr. Robert G. Polack, Mrs. Robert Reynolds, Mrs. Wm. I. Ricciuti, Dr. Karlem Riess,
Mr. and Mrs. George B. Riviere, Mr. Albert A. Robbert, Jr.. Mr. and Mrs. Roy M.
Schwarz, Mr. R. Mallard Seago, Dr. Mortimer Silvey, Mr. Claude Simons, Mrs. John
H. Stibbs, Mrs. Florence Toppino, Mrs. William E. Ulmer, Mr. and Mrs. E. C. Upton,
Jr.. Mrs. R. G. Verlander, Mr. J. Mort Walker, Jr., Mr.«Woollen H. Walshé, Dr.
and Mrs. John C. Weed, Mr. Rudolph J. Weinmann, Mr. Millard D. White, Mr.
Thomas C. Wicker, Jr., Mrs. Ingegerd A. Willoughby, Mr. and Mrs. Gordon F. Wilson,
Jr., Mr, Samuel Wilson, Jr., Miss Elizabeth Wisner, Mr. Carl E. Woodward, Mr. and
ee B. W. Yancey, Dr. and Mrs. Rix N. Yard, Miss Nancy Snellings, Mr. and Mrs.
Olaf Olsen.
REGISTRATION COMMITTEE: Mr. Robert E. Bermudez, Mrs. Lela M. Crawford,
Mr. William Decker, Jr., Mr, and Mrs. Theodore Dennery, Miss Josie DiMaggio, Miss
Lillie H. Nairne, Mrs. Mattie C. Tisdel, Mr. and Mrs. Robert Eskrigge Young.
ARRANGEMENT COMMITTEE: Mr. and Mrs. Frank Riess, Co-chairmen.
DECORATIONS COMMITTEE: Mrs. Lela M. Crawford, chairman; Mrs. Harold
Curtis Ball, Mrs. Harry Barkering, Mrs. Eugene J. Bergeret, Miss Ellen Page Brydon,
Mrs. Bernard Eble, Mrs. Florence P+-Forio, Mrs. Carolyn Geier, Miss Janet E. Hooper,
Mrs. Margaret P. Hutchinson. sen
4
Presented by THE TULANE ALUMNI ASSOCIATION
Place: Tulane University Center, Saturday, March 26, 1966
Registration: 11:30 a.m., Luncheon: 12:30 p.m.
Panel Sessions: 2:00 p.m. and 3:15 p.m,
Cost: Registration fee $1.00 (No registration�?T fee for
those who attend luncheon.) Luncheon $2.00
MODERN DANCE RECITAL ==
Newcomb College
DOXOLOGY
eocceaoeae Geoevceogegvoeceoeoaeoeoc sd
A STUDY OF LEVEL
eeoecoeos oCeoec Geegcsosoe 0e2cd8
Accompaniment
GAVOTTE °66
9Segdg8900GC2 G92 Bao0O0SS9eS8 GSe3ZeS05°
RECIPROCITY
eseeeeseesceocoesoseovuesoeeeoseoe osc sg 6
Accompaniment
�?oMAM'SELLE MARIE
Accompaniment
ecoeeoaoceaeeceene O9Ssecee8000
CHESS GAME
©e@eesoeco0@eceeceoaeooeoee os eoesdo
Choreography
Accompaniment
1966
Jeanne=Nell Gement
Kathleen Me Hugh
Susan Schwartz
Robbie Hoffman
Otto Henry
Intermediate Dance Class
Monique De Labistide
Frances Gamache
Otto Henry
Janice Michiels
Mrs. Presti
Advanced Dance Class
Frances Gamache
Otto Henry
Special thanks to Mrs. Presti and Mr. Otto Henry for their wonderful
assistance with our musical accompaniment.
THE TULANE UNIVERSITY THEATRE
Presents
Two Plays From
ROBERT LOWELL�?TS
THE OLD GLORY
Directed by ARTHUR WAGNER
Production Designed by RICHARD KENT WILCOX
Costumes Designed by NEIL BIERBOWER
Technical Direction and Lighting by ROY H. LONGMIRE
Original Score by OTTO HENRY
MY KINSMAN, MAJOR MOLINEUX
Eppiz AVERY
Boy (his brother) Jay LizsMan
Ferryman Rick Hurst
Ist Redcoat
2nd Redcoat MicHAEL BERGER
Ist Barber Victor B. MILLER
2nd Barber F. Joun Fett
Tavern Keeper Marcus J. GRAPES
Clergyman SABIN EPSTEIN
Prostitute Rosary Harte.
Colonel Greenough Ricwarp Russ
Man in Periwig Pumir McCoy
Mitt OBERMAN
Watchman Mort PorasH
Major Molineux SYDNEY JAMES
Citizens of Boston Francine Ginpi, SytviA Lackry, PyRAMID
SELLERS, E.uiot Jorre, Tric SEHRT, Mike Durst
_ Time: Just before the American Revolution Prace: Boston
BENITO CERENO
Captain Amasa Delano Wittrm Wo1ak
John Perkins Pope FREEMAN
Don Benito Cereno Luts Q. Barroso
Babu ANTHONY CEBRUN
Atufal Harotp VANN
Francesco PauLt AntHony Issa
American Sailors.. Mrke Durst, Guy BrupBacHEr, DANIEL RUBENSTEIN
Spanish Sailors Davw Burke, Ex.uior Jorre, Morton PotasH
Negro Slaves Frep SAMPSON Jr., Percy SPENCER
CHANDLER Duncan, FLoyp JoHNnson, CHARLES
NizaLak, ALPHONZzo Yates, MicHArt BucksELL,
Catvin Brack, Betry ANN Wuirte, ELAINE
CuNNINGHAM, GiLBErRT MaATrHEws, Rickey PowELL
TE: About 1800 Prace: The Decks of the President Adams
and the San Domingo
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NOTES ON THE CURRENT PRODUCTION
These two history plays out of Robert Lowell�?Ts trilogy The Old Glory have a
unique history of their own. Having been turned down by a number of commercial
producers and the Lincoln Center Repertory Company, the plays were finally offered
a production in 1964 by a new and unique theatre enterprise which was housed in a
church in mid-town Manhattan and produced by the resident Episcopalian minister.
Called the American Place Theatre, it had recently been formed with the express pur-
pose of presenting plays of fledgling playwrights and, hopefully, the dramatic writings
of distinguished authors in other forms of literature. Lowell�?Ts plays filled the American
Place Theatre�?Ts initial bill admirably: three new plays by one of America�?Ts most
distinguished poets, written in a charged and lucid language rarely found in the
American theatre, and dealing with unconventional dramatic material. The third
play of the trilogy, Endicott and the Red Cross, was dropped before opening night,
but My Kinsman, Major Molineux and Benito Cereno were an immediate success
and established the American Place Theatre as one of the most important experi-
mental producing theatres in the country. Both plays are concerned with events
out of the American past: My Kinsman, Major Molineux, based on the short story
by Nathaniel Hawthorne, deals with the period of the American Revolution and
Benito Cereno, based on the novella by Herman Melville, tells a story taken from
the autobiographical writings of the actual Captain Amasa Delano. The semi-night-
mare world of the Hawthorne short story is transformed by Lowell into a complete
nightmare, while the traditional study of Good and Evil in the Melville novella is
more specifically related in the play to contemporary tensions.
The second play on tonight�?Ts program could not have been accomplished without
the enthusiastic cooperation of the Drama Department at Dillard University, the
department�?Ts directors, Mr. Ted Gilliam and Mr. Joe Greenhoe, and the dozen or
so students who made the long trip between Dillard and Tulane faithfully throughout
the rehearsal period. To all of them we owe our thanks.
THE MAJOR SEASON
An engrossing and hard-hitting story of greed within a post-Civil War Southern
family, Another Part of the Forest by Lillian Hellman, will be presented in the
Arena February 15-19 and February 22-26. Henry IV, Part I, one of the most
popular of Shakespeare�?Ts histories, will close the season on Apil 19-23 and April 26-30,
The Tulane
University AMivertans
aa
the
oe
ee
by
wy
The Tulane University Theatre
Summer Theatre July 5-9, 1967
presents
Friedrich Diirrenmatt�?Ts
THE PHYSICISTS
Directed by GERALD HOKE
Designed by R. NEAL APPLEBY
Lighting Designed by R. P. MOYER and L. J. DeCUIR
Electronic Score by OTTO HENRY
THE CHARACTERS
trene: Straub «... e ec eee en ces Sti ctascs Rety 4
Inspector Richard Voss ....... : (cc lan~ ees mms ane ee ae
Marta�?T BOW 93 ev a has es eret �?~ Eh Fal > P ...... Carole Cullum
PUQENOE oe 26 xs eee wih Bs vate wake Bill Campbell
nn wears NaN ewe Stee Me ee Pe Cie eh RN eT eee Tee © a »s+ee+ John Richowsky
Herbert George Beutler (Newton) . oy eee Mark Waller
Fraulein Doktor Mathilde Von Zahnd ... .... Carroll Mace
Ernst Heinrich Ernesti (Einstein) .... .. Donald Deagon
Frau Rose .. Dorothy Connell
Iskar Rose ... ..... Tony Bultman
Adolph-Friedrich ....... a pear averset + Ae ets
Wilfried-Kaspar a aE aa Fe weeeeeee Jim Silverman
George-Lukas ...... . ie ..... Pierre Musson
Johann Wilhelm Mobius . sania .. Sydney James
Monika Stettler �?~ F : ee ee ..-. Harriet McFaul
Lloyd Pye
Gifford
Jim Spring
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25,1968
PROGRAM
Intersections I (Ampex 351) for magnetic tape, 1967, with Intersec-
tions II (Filmstudy 1) for Super 8 mm film, 1968 .... Paul Epstein
Paul Epstein was born in Boston and educated at Brandeis University and
the University of California at Berkeley. In 1962-63 he studied composition with
Luciano Berio in Milan, Italy. He is now Assistant Professor of Music and Di-
rector of the Electronic Music Studio at Newcomb College of Tulane University.
Intersections I and II are the first of a projected series of pieces derived
from a notion of process. The title has multiple implications: the intersection
between film and tape, between the two tracks of tape, between subject and
compositional operations (content and form) in both media, and the intersections
of various processes within each medium.
Song for tenor voice and prepared tape Vernon Martin
Grant Williams
Oh, I have slipped the surly bonds of earth
and danced the skies on laughter-silvered wings.
Sunward I�?Tve climbed and joined the tumbling mirth
of sun-split clouds and done a thousand things
you have not dreamed of, wheeled and soared and swung
here in the sunlit silence. Hovering there
I�?Tve chased the shouting wind along and flung
my eager craft through the footless halls of air.
Up, up, the long delirious burning blue
I�?Tve topped the windswept heights with easy grace
where never lark nor even eagle flew.
And while with silent lifting mind I�?Tve trod
the high untrespassed sanctity of space,
put out my hand and touched the face of God.
John G. Magee
Royal Canadian Air Force
Killed in training, Age 19
Tones, electronic prepared tape Alan Oldfield
Arabic 6120 for IBM computer Loyd Lott
Arabic 1620 is the first computer composition from NTSU, and as far as
we know, it is the first in the Southwest. The composition is the results of
research incorporating the Richard F. Smiley computer program.
Arabic 1620 consists of sounds generated entirely by computer and recorded
on magnetic tape. Instead of hearing a prepared tape of this computer music,
it is possible to transmit the computer�?Ts real-time sound directly to this concert
hall from the Computer Center in the Business Building; however, regulations
of the Federal Communications Commission forbid this.
The computer offers many possibilities which are not possible with human
performers. For example, all of us understand a quarter note, a sixty-fourth note,
a thirty-second note, but what about a sixty-fifth note, an eleventh note, a ninety-
ninth note? These can be performed by computer. Also, if we can have three,
four, or five notes in one beat, why not have any number from one to twenty-
four notes in one beat? This too can be accomplished with the computer. For
more technical information, here are a few of the procedures used in writing
for the IBM 1620 digital computer.
For every note of music, there are four figures typed on IBM cards which represent
the sound. The first column is the octave column which specifies the octave by numbers
(from 0 to 6); the second column is the note column which specifies the note within the
octave by letter; the length of the note is specified by the last two columns (from 01
to 99). A note may be sharpened by substituting the letters J, K, L, M, N, O, and P
(corresponding to the octave placement) in the octave column and putting the note letter
in the note column (for example, middle C which is the beginning of the fourth octave
is coded as 4C and if it is sharped, it is MC on the cards). For notes with flats, the
same letters are substituted in the note column to represent A-, B-, C-, D-, E-, F-, or G-,
flat, respectively. For example, a B-flat in the second octave is written as 2K. To fix the
code for the entire note, we can have an eighth note G in the fifth octave which is
written as 5G08.
The IBM cards, which contain the note information for the composition, are proces-
sed in the computer. An AM radio placed near the computer console monitors the sound
when the computer starts playing. A tape recorder records the music from the computer,
and the tape is modified in the NTSU Electronic Music Composition Laboratory by add-
ing reverberation, modulations, and filtering for various tone colors. No notes are added
in the Electronics Lab; they are generated solely by the 1620 computer.
Arabic 1620 is in ternary form with a short introduction. The A. section
consists of a theme based on a 12-tone row; the B section contains �?oevents�?� of
thematic material transposed, inverted, and in retrograde; the final A returns
to the original theme of the composition.
Improvisation for E-11 electronic performance
instrument and dancer Merrill Ellis
Dancer Sandra Harris*
Merrill Ellis
The E-11 electronic performance instrument was built by Dr. Robert Moog
especially for the North Texas Electronic Music Composition Lab for the pur-
pose of investigating real-time performance techniques. Traditionally, electronic
music has been prepared on very bulky and awkward configurations of instru-
ments that cannot be moved from a lab. This small transistorized instrument is
portable and can be moved to any location for performance. The objective of
this piece is to reveal the musical possibilities inherent in live performance with
electronic synthesized sound.
SHORT INTERMISSION
Midnight Special electronic music �?" Otto Henry
: film �?" Bill Smith
The title of this work is taken from an old blues tune (�?oMidnight special,
shine your light on me�?T�?T) and explores both the visual and auditory ramifications
of the subject�?"trains�?"although not necessarily on the same conceptual level.
* Miss Harris is the Modern Dance Instructor of the Physical Education
Department, NTSU.
The musical portion was derived from six basic sine-tone chords and developed
Newcomb College
Tulane University
New Orleans
Memorial Service
Harriott Sophie Newcomb
July 29, 1855 - December 16, 1870
Dixon Hall
Thursday Afternoon
April 21, 1966
One O�?TClock
PROGRAM
DAVID RUSSELL DEENER, ACTING DEAN, NEWCOMB COLLEGE
Presiding
Academic Procession �?" Salve Festa Dies .... R. Vaughan Williams
Invocation THE REVEREND W. DONALD GEORGE
Chaplain, Chapel of the Holy Spirit
hs Sas Pe kh is ki 5 ebb l Pete bo ee Orlando Gibbons
My Heart to Thee Now Makes Its Plea Orlando di Lasso
Song from Ossian�?Ts Fingal Johannes Brahms
THE NEWCOMB CHORUS
James Ratcliff �?" Director
Hors �?" Claus Sadlier, Otto Henry
Piano �?" Sandra Goldstein
SCRIPTURE READING
Two movements from
�?~�?~The Lamentations of Jeremiah�?T�?T......... Alberto Ginestera
1. Recordare Domine quid acciderit nobis
2. O-vos omnes qui transitis per viam
TULANE -NEWCOMB A CAPPELLA CHOIR
John M. Kuypers �?" Director
BENEDICTION
Recessional �?" Cortege Joyeux
IN MEMORIAM
Esther Finlay Harvey
Newcomb, 1895
Emeritus Librarian
April 16, 1966
Electronic Music Studio, Department of Music, Newcomb College
Tulane University, New Orleans, Louisiana
A PRELIMINARY CHECKLIST: BOOKS AND ARTICLES ON ELECTRONIC MUSIC
Compiled by Otto W. Henry, Associate Director
Because of the limitations of time and the unavailability of
over three-fourths of this material for checking, this initial
attempt remains unannotated and lacking in bibliographical depth
in certain respects. The style and form used here were dictated by
the contents which were obtained mainly from the following indexes:
Applied Science and Technology Index
Essay and General Literature Index
Guide to the Musical Arts (1953-56)
Guide to the Performing Arts
International Index
Music Index
Reader's Guide to Periodical Literature
The entries here are listed alphabetically by author rather than
divided into subject headings. Certain variations and ommisions are
caused by the original listings which vary in detail from index to
index. Many of the articles listed under "anonymous" do have authors
listed in the periodicals concerned, as well as titles. This is a
reflection of the Guide to the Performing Arts' maddening habit of
listing subject content rather than bibliographical information. We
chose to issue this listing in its present form in hopes that it would
nevertheless prove useful to research in this area. Some of the entries
will be found to be mere notices of an event and perhaps of little
worth except to persons like myself who are attempting to document
certain phases of this movement.
Grateful acknowledgement is made here to Ann Basart, Ray Wilding-
White, LeJaren Hiller, and others from whose articles and reports we
have culled a faw extra entries not mentioned in the above indexes.
June 1966
great
18�?"The Daily Reflector, Greenville, N. C.�?"Sunday, February 22, 1970
ECU Now Has
Electronic
Music Studio
By JERRY RAYNOR
Reflector Staff Writer
Without fanfare, East
Carolina University has
established an Electronic Music
Studio. This is one of those
seemingly routine developments
which may well presage an
influential trend in the musical
As the first Electronic Music
- Studio in the eastern part of |
it brings to |
North Carolina,
easteners their first concrete,
| continuing contact with such
music, and will, of course, be of
interest to young
musicians training at the
university.
Otto W. Henry, a young music
professor on the faculty of
Tulane University in Louisiana,
in 1968 was asked to come to
Greenville to establish the
Electronic Music Studio at ECU.
Henry now serves as an
assistant professor of
musicology and also as director
of the newly established elec-
tronic studio.
When Henry first arrived at
ECU, his first task was to build
an acceptable console to produce
electronic sounds.
�?~�?~Based on knowledge gained
from earlier experiments, both
at Tulane and for my own per-
sonal workshop, I built a com-
plete console here,�?T�?T Henry
explained.
�?~Some of the individual
components which make up this
console include pulse
generators, mixers, filters, ring
modulators, vibrato units,
amplifiers and other sound and
sound mixing devices. These
units are all tied into a patch
panel.
�?oThe circuit connecticns are
made in series or in parallel,�?��?T he
further pointed out.
| a commercial console,�?�
His home-made console looks
more like an elaborate device
for conducting an outer-space
flight then an instrument to
shape music, but he showed how
easily it can be made to function
manipulations and placement of
é : ; | patch cords.
-role of the university in the |
�?~immediate future.
�?~Our next step was procuring
Henry
continued. �?~�?~This was made
possible by Title VI grant funds.
We purchased our Moog Syn-
thesizer, which is a sophisticated
console.
The Moog Synthesizer is the
creation of Dr. Robert. A. Moog.
�?oDr. Moog has a doctorate in
electronic engineering,�?T�?��?T Henry
stated. �?~�?~Since 1957 he has been
designing instruments for
electronic music, an integrated
console. The Moog Synthesizer is
his major product. One of the
beauties of it is that it eliminates
the need to splice tape, which is
a torturous process. It also gives
you more freedom.�?��?T
The physical set up at ECU is a
studio in three separate parts.
�?oOne is my studio, the other is
the Moog Studio, and then there
is the tape studio,�?T�?T Henry
pointed out. �?o�?~The three together
constitute the ECU Electronic
Music Studio.�?�
Already, courses in electronic
music for ECU students are
underway. �?~�?~This quarter we are
teaching courses in electronic
music history,�?��?T
remarked. �?~�?~In the spring
quarter we will begin offering
courses
electronic music.�?��?T
Like, the instruments for
creating the new music,
scores too have a new look.
Instead of the conventional
composition sheets, electronic
music is composed using sheets
of patching diagrams with.
| medium,�?�
| been in existence only about 20
yyears.
Henry in in effect a contemporary
in composition of |
the the part of a_ student,
notations shown by drawing in
the connections.
One part of the Moog Syn-
thesizer has appearance
of a conventional instrument.
| This is the keyboard controller,
with a few knowledgeable |
A native of Asheville, Henry is
| enthusiastic about the future of
electronic music as a new field
| in the modern fast-paced growth |
of American culture.
�?oIn effect, it is a brand new
he states. �?~�?o�?~It has
Electronic music is
becoming increasingly im- |
portant, to the point that plan- |
ners at ECU felt it ought to have
an electronic music studio as
part of the music program
here.�?�
He notes that �?~�?~every
progressive major university
this field of music,�?T�?T
�?oComposers have a meager
amount of published material or
established theory to build on,
and must arrive at theory and
practical results on the basis of J
intuition and long dedicated
hours of experimentation,�?T�?T is
the way in which Henry
described the path of progress in
this music.
�?o�?Tm like so many people in
Henry says.
�?oTm not a trained electronics
man. I managed, however, to
learn to read _ schematic
diagrams, and I�?Tve found out
| how useful a few simple tools,
| especially a screw driver, can
be.�?��?T
Henry revealed that his first
real interest in electronic music
| goes back to about ten years ago.
with a music department has |
such a studio, or is taking steps
to get one.�?��?T
ECU is the fourth. North
Carolina university to have an
electronic music studio. �?o�?~The
University of North Carolina at
Greensboro was the first to get
theirs,�?� Henry remarked, �?~�?~and
Chapel Hill and Duke both have
one. However, ours at ECU is the
largest and most complete of the
four.�?�
One of the exciting aspects of
this field of music is that it is still
in its stage of infancy. As a
consequence, a serious ex-
perimenter in electronic music
pioneer in a field which promises
great discoveries and
breakthroughs in the near
future.
�?oTt involves a willingness on
and
especially a composer, to work
hard, to try one thing after
another, and to be receptive to
new thoughts and approaches,�?�
Henry commented.
�?oThat was when I was first
axposed to the �?~musique con-
crete�?T of the French composer
Pierre Schaeffer, an early
composers of electronic music. I
was also fascinated by work
Jone by a German composer,
Oscar Sola. In German elec-
tronic music is called �?~elec-
tronisher musik�?T.�?��?T
Perhaps Henry�?Ts_ earlier
�?~training in the specialized field
of non-Western music influenced
his receptivity to the new sound
in music. �?~I�?Tm a specialist in
African, Arabian, and Asian
| music, with emphasis on - the
' African field,�?T�?T Henry noted.
Henry indicates that the range
of sounds possible with elec-
| tronic music is almost endless.
�?oIn conventional music you
depend primarily on rhythm,
tempo and melody for your
structure. In electronic music,
you have a wide range of sounds
which can be created through »
the more accoustical elements of
pitch, intensity. timbre and
duration.�?�
HOME MADE CONSOLE ... at ECU was built by Otto Henry using �?"
a variety of electronic components �?" pulse, generators, mixers,
filters, ring modulators, vibrato
workable console.
Continuing his explanations,
Henry remarked: �?~You don�?Tt
think in terms of melody, but of
shapes and contours of music.
By using the various electronic
components in various com-
binations based on pitch, in-
tensity, timbre and duration, a
composer can shape sounds as
he wishes, but it must be done
well,
�?~�?o�?~Therefore, it takes new
concepts of thinking about music
as well as new methods to ap-
ply,�?��?T he stated.
Henry admits that it is quite
possible �?~�?~to imitate the sounds
of conventional instruments with
the electronic components.�?��?T
One of the side effects of the
paucity of published materials
on electronic music is the op-
portunity it provides people in
this field to work in close
relationship with others. Ex-
changing data and ideas gained
from �?~painstaking, sometimes
torturous work�?T�?T �?" as Henry
refers to it, �?~�?~is one means of
broadening each _ other�?Ts
knowledge.�?��?T
A good example of this
willingness to share with others
the fruit of discovery is a recent
report Henry made to Dr.
Gertrud Marbach, who is setting
up anelectronic music project in
Weihergarten, Germany. Dr.
Marbach had written earlier. °
asking Henry to furnish in-~
formation.
é
Among statements and ideas
expressed by Henry in the report
are: oe. 2
- �?" �?oBy modifying the values of
certain components I have in-
creased the usefullness of some
�?~of these instruments as
producers of electronic music.
�?"On plans for students:
�?~beginners learn the classical
studio technique, advance to the
use of my instrument system
and then to the Moog Synthesizer
. . . the student also learns to
trace short-circuits, to make
simple repairs and to solder
patch cords and line con-
nections.
�?"�?~] do not hesitate to
recommend to the young
composer that he persist as I
have in a fundamentally ex-
perimental attitude towards the
composition of electronic
| music.
' �?" �?oAbove all else, studios
�?~today and the people who ad-
minister and use them must
avoid complacency and dogma.
' The intuitive knowledge I have
gained from constructing my
own instruments had had a
profound and beneficial effect on
my composition... ] encourage .
.. students to acquire not only a
knowledge of the use of elecr-
tonic instruments, but also an
. understnading of their function.
�?"�?~�?~Personally, I conceive my
_ music in terms of the function of
s my instruments.
�?"�?~�?~Whenever I feel I have
exhausted the possibilities of an
_ instrument I have constructed, I
do not hesitate to disassemble it
and re-use the parts in other
projects.
�?"�?oI have come to depend o
the sustained reactions of
complex circuits which produce
continuous events that can be
shaped and controlled manually.
�?"�?~�?~Along with many others, I
feel that live performance will
eventually supersede tape music
as the proper equipment is
| developed.�?T�?T
These are general ideas ex-
pressed in addition to descrip-
tions of technical equipment and
its assembly and operation. _
And, ending his ideas of ex-
perimentation and_ theory
contained in the report, he
states: �?~�?~I see the possibilities of
a stylistic unity in which the
objectionable contrasts of
electronic style and musical
instrument style can be
avoided.�?��?T
Henry realizes that much of
the objection to �?~electronic
music�?T? on the part of the
average uninitiated listener is
due to unfamiliarity of what this
music really sounds like. �?~�?~It has
always been this way, with
| anything new,�?� he commented.
�?oIt takes time for people to
become accustomed to new
ideas, new concepts, new sights
and sounds.�?��?T
bey. 5
units and other units to create a
The fact that electronic music
is still relatively unknown to
many music lovers does not
mean it is without its devotees.
This was proven in a late
January concert Henry gave at
ECU�?Ts Recital Hall which was a
very well attended one. . .not
only by younger music lovers,
but with a good showing of older
ones.
In this concert, Henry, with
two assistants, featured some of
the compositions of musicians
who are beginning to be well
known for their works, as well as
some of his own, such as
�?oLiberty Bell III.�?�
The completion of the ECU
Electronic Music Studio;
enrollment of students in
courses designed for study in
this field; and a successful con-
cert all point to the fact that �?" in
Greenville at least �?" electronic
music is indeed becoming a form
of music people are beginning to
listen to.
Louisiana Music Teachers Association
Affiliated with
Music Teachers National Association, Inc.
Sixteenth
ANNUAL CONVENTION
Meeting Jointly with
The Louisiana Chapters of
NATIONAL ASSOCIATION OF TEACHERS OF SINGING
THE AMERICAN STRING TEACHERS ASSOCIATION
NATIONAL ASSOCIATION OF COLLEGE WIND AND
PERCUSSION INSTRUCTORS
November 2-4
1967
Newcomb College, Tulane University
New Orleans, Louisiana
wee.
WAR NAR ANT RCE EL ARTE SIRE OSE
#
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Centenary College of Louisiana
SHREVEPORT
SCHOOL OF MUSIC
Offering the Bachelor of Music Degree in Performance, Theory and Com-
position, Music Education; the Bachelor of Arts Degree in Performance.
CHOIR - ORCHESTRA - BAND - OPERA WORKSHOP
SYMPHONY CHORALE
Member of
National Association of Schools of Music
For information, write:
GILBERT CARP, Director
Plan to Attend
Regional Meeting of
MUSIC TEACHERS
NATIONAL ASSOCIATION
NEW ORLEANS
February 11-14, 1968
�?" PATRONIZE OUR ADVERTISERS �?"
TEMA CON VARIAZIONI Tchaikovsky
(FROM TRIO, OPUS 50 IN A MINOR)
Festival Arts Trio of L.S.U.
Jonathan Sack, piano
Dino Constantinides, violin
Thaddeus Brys, cello
3:30-.3:45 pm COFFEE �?" Lounge, Dixon Hall
3:45- 4:30 pm GENERAL SESSION
Chairman: Walter Jenkins, Theory Section
3:45- 4:30 pm Program of Electronic Music Auditorium, Dixon Hall
Paul Epstein and Otto Henry
Tulane University Electronic Music Laboratory
New Orleans
PIANO RECITAL Auditorium, Dixon Hall
SYLVIA ZAREMBA
Newcomb College
New Orleans
Six Variations, K. 398
on �?oSalve tu Domine�?� by Paisiello
.Romanze, Op. 118
Intermezzo, Op. 118
Gaspard de la Nuit
Ondine
Le Gibet
Scarbo
INTERMISSION
Variations Brillantes, Op. 12
Impromptu, Op. 36
Two Preludes, Op. 28
Etude, Op. 11
Concluding Composition to be announced
CROWN TAPE DECKS ... are used to record recitals and for
certain stages in electronic music composition.
HE MOOG SYNTHESIZER .. .a three panel electronic console, is
being adjusted by Otto Henry, director of ECU�?Ts newly established
Text And Photographs
By Jerry Raynor
Electronic Music Studio. |
DR. OTTO HENRY of East Carolina�?Ts
School of Music discusses the Music
Department with two members of the"
Southern Association of Colleges and
Schools, E W Doty (center) of the
University of Texas, and Leslee Wyatt
(right), of the University of Texas at
QUARTET HONORED �?" East Carolina
(Staff Photo by Ross Mann)
Austin. SACS representatives have been
touring �?~the campus since Sunday,
checking on facilities for ECU�?Ts
accredidation. A team from SACS visits
the campus every ten years to study the
University artist-inresidence, Ed Reep and
faulty film makers Dr. Robert Rasch, Henry
Stindt and music composer Dr. Otto Henry were
honored at a reception Wednesday in. Men
classes and programs being offered.
denhall Student Center following the premiere
showing of �?~The Content of Watercolor,�?� a film
about Reep�?Ts work. Left to right are: Rasch,
Reep, Henry and Stindt. (ECU News Bureau
photo)
EAST CAROLINA UNIVERSITY
SCHOOL OF MUSIC
PRESENTS
Che Symphonic Band
SPRING CONCERT
HERBERT L. CARTER, Conductor
PAUL KOSOWER, Cello
JAMES HOULIK, Sexophone
PROGRAM
Variants on a Mediaeval Tune Norman Dello Joio
Ritmo Jondo Carlos Surinach
Bulerias
Saeta
Garrotin
Four Pieces for Cello and Wind Ensemble (1961) Gregory Kosteck
Andante Maestoso
Moderato Lirico
Prestissimo
Lento Calmato
Mr. Kosower, Soloist
INTERMISSION
Star-Edge for Alto Saxophone and Band Warren Benson
Mr. Houlik, Soloist
Gloria Mundi for Band and Tape Otto Henry
(First. Performance)
Conducted by the Composer
FRIDAY, APRIL 25, 1969 �?" 8:15 P. M.
VARMA AAA AAAAAAAAAAAAAAAAAA/VAAAAMAA/VAA AAAI AAAAAAAAAAAAAAIAAAAAAAAAAAAAAA/AA AIAN AAA AAAI AAA /AAAAAAAAAABAMY
WRIGHT AUDITORIUM GREENVILLE, N. C.
2nd Festival of
Contemporary �?"
Arts
Bb Db
Atlantic Christian College
February 19-March 22, 1969 | wison, n. ©.
ATLANTIC CHRISTIAN COLLEGE .
Wilson, North Carolina
presents the
2ND FESTIVAL OF CONTEMPORARY ARTS
with Guest Composer
MORTON FELDMAN
Guest Artists
ADELAIDE WOODWIND QUINTET
BUNYAN WEBB, Guitarist, North Carolina. State University
WILLIAM YOUHASS, Percussionist, Memphis State University
FATHER IAN AND CAROLINE MITCHELL, Author of �?o�?~American Folk
Mass�?�
FESTIVAL COMMITTEE
Arthur D: Wenger, President, Atlantic Christian College
Lewis Swindell, Dean, Atlantic Christian College
William Duckworth, Festival Chairman
J. Ross Albert Mildred Hartsock
Russell Arnold Thomas Marshall
James Cobb Milton. Rogerson
Paul Crouch
The cover design is the score to PITCH CITY by William Duckworth
CONCERT
ELECTRONIC MUSIC
Abgesang (1967) Otto Laske
Lucifer (1964) Otte Henry
Pere Facts from �?~Urboui�?T�?T (1968) i David Rosenboom
Presentation of 1969 Student Composition Award
Dr. James Cobb, Chairman, A.C.C. Department of Music
Road Rock (movie and tape) (1967) Gilbert. Trythall
5 March 1969
Hackney Music Building
8:15 p.m.
CONCERT
FATHER IVAN AND CAROLINE MITCHELL
Father Mitchell, a guitar-playing Episcopal priest showed .an interest and talent
in composition while still a young man. After ordination and marriage to Caroline, the
Mitchell�?Ts moved to St. Christophers Mission on the Navajo Indian Reservation in Utah.
There they developed a working knowledge of the language and they lived and worked
with the people on the reservation. 7 :
It was here he composed the AMERICAN FOLK MASS, a major work for guitar,
bass, banjos and chorus. The Mass, believed to be the first work of its kind, has
gained him an international reputation and has been produced and performed in many
major cities. It so impressed the late Joseph Cardinal Ritter of St. Louis that he
commissioned the Episcopal priest to render the Roman Catholic English Language Mass
into the folk idiom.
The Mitchell�?Ts appearances have included such diverse places as The Statler-Hilton
in Denver, The Muelbach in Kansas City, Eleventh Hour in Indianapolis, Improvisation
Club in New York and on the Johnny Carson TONIGHT show.
18 March 1969
Wilson Gym
11:00 a.m.
EAST CAROLINA UNIVERSITY
CONTEMPORARY ARTS FESTIVAL
TUESDAY, 22 APRIL 1969
SCHOOL OF MUSIC RECITAL HALL
3:00 P.M.
THE MUSIC OF OTTO HENRY
Compositions in the Electronic Idiom
Four Landscapes from H.G. Wells [1964]
The Crystal Egg
A Dream of Armageddon
The Valley of Spiders
The Time Machine
Lucifer [1964]
performed with color organs
The Sears Box [1967] , for amplified soprano
Grave
Invention on a 60 Hz.Hum [1]
Con amore [lullaby]
Invention on Delayed Playback [canon]
Con fuoco
Invention on a Hum [II] [arioso]
Amabile
Patricia Hiss, soprano
An informal discussion follows the above program. Acknowledgement is made
for technical assistance by Henry Ross [lights] and James Stockner [audio].
EAST CAROLINA UNIVERSITY
SCHOOL OF MUSIC
presents in
FACULTY RECITAL
Ole Henry - Elechontce Mubtc
assisted by
THE EAST CAROLINA UNIVERSITY
PERCUSSION ENSEMBLE, HAROLD JONES, Director
PHOENIX, BURNING (1969)
WAESETAG CONC on i e e rs e ee 5:40
BEETHOVEN'S FIFTH (1969)
INTERMISSION
SEASCAPE (1969), for Moog Electronic Music Synthesizer
LIBERTY BELL (1969), for 13 percussionists and Moog Electronic Music
Synthesizer
The East Carolina University Percussion Ensemble, Harold Jones, Director
THE MOOG SYNTHESIZER: an informal demonstration of this instrument will be
given by Mr. Henry at the conclusion of the concert.
THURSDAY, JANUARY 22
8:15 P. M.
SCHOOL OF MUSIC RECITAL HALL
EAST CAROLINA UNIVERSITY
SCHOOL OF MUSIC
Presents In
FACULTY RECITAL
OTTO HENRY
Electronic Music for the Moog Synthesizer
Overture to The Good Woman of Setzuan (Bertolt Brecht)
Through a Glass, Darkly 10:15
Across the River (performed on the Moog Synthesizer) ca. 10:00
INTERMISSION
Shamen
If Winter Comes
Thursday, September 30, 1971
8:15 P.M.
Fletcher Music Center Recital Hall
All compositions on this program were composed and realized on the Moog Electronic Music
Synthesizer during 1971 in the East Carolina University Electronic Music Studio.
EAST CAROLINA UNIVERSITY
SCHOOL OF MUSIC
Presents in Faculty Recital
OTTO HENRY
ELECTRONIC MUSIC
Midnight Special (1966)
Pericles (1966)
Intermittencies (1969)
INTERMISSION
East is East (1972), for Moog Synthesizer
Symphony No. V, for Magnetic Tape (1966)
ca. 10:00
18:20
Wednesday, March 15, 1972
8:15 P.M.
School of Music Recital Hall
EAST CAROLINA UNIVERSITY
GREENVILLE, NORTH CAROLINA 27834
OFFICE OF THE CHANCELLOR March 24, 1976
Dr. Otto Henry
School of Music
East Carolina University
Dear Dr. Henry:
Dean Pittman has been boasting of your
success in the competition of the League of
Composers-International Society for Contemporary
Music and I want to offer my personal congra-
tulations on your accomplishment.
The entire campus community acquires dis-
tinction from achievements such as yours and we
are grateful to you for your professional dedi-
cation.
Sincerely,
rae lll
Leo W. Jenkins
An Equal Opportunity Employer
East Carolina University is a constituent institution of THE
UNIVERSITY OF NORTH CAROLINA �?" William C. Friday, President
EAST CAROLINA UNIVERSITY
GREENVILLE, NORTH CAROLINA 27834
OFFICE OF THE CHANCELLOR November 30, 1976
Dr. Otto Henry
School of Music
East Carolina University
Dear Dr. Henry:
Dean Pittman has informed me that your composition
Sanctus was one of the winners of the Hinshaw Publication
Award for the Mars Hill Choral Series.
Please accept my congratulations for your success
in this competition. The reputation of the School of
Music and indeed the university is enhanced by activities
such as yours and I am personally grateful to you for it.
Best wishes for your continued success.
Sincerely,
fe aii
Leo W. Jenkins
An Equal Opportunity Employer
East Carolina University is a constituent institution of THE
UNIVERSITY OF NORTH CAROLINA �?" William C. Friday, President
EAST CAROLINA UNIVERSITY
GREENVILLE, NORTH CAROLINA. 27834
OFFICE OF THE CHANCELLOR
May 13, 1977
Dr. Otto Henry
School of Music
East Carolina University
Greenville, North Carolina 27834
Dear Dr. Henry:
Dr. Pittman has sent your recording Between the Sound and
the Sea and I very much appreciate the gift.
The fine work that you have done is particularly appropriate
to the regional role of East Carolina University. I wish to
congratulate you for bringing your high competence to a study of
folk music in this area.
I have enjoyed listening to the recording and look forward
to playing it frequently for interested visitors to my home.
Sincerely,
Sw Ma pins�?"
Leo W.~Jenkins
Chancellor
East Carolina University is a constituent institution of
The University of North Carolina
An Equal Opportunity Employer
EAST CAROLINA UNIVERSITY
GREENVILLE, NORTH CAROLINA 27834
OF RICE OF �?oTHECHANCELLOR
December 6, 1977
Dr. Otto Henry
School of Music .
East Carolina University
Dear Dr. Henry:
I was pleased to learn that you received high recognition by
the North Carolina Federation of Music Clubs, for outstanding composition.
Your achievement reflects great credit on the School of Music
and the University. You have my appreciation and best wishes for
continued success.
Sincerely,
Léo W. Jenkins
LWJ/sb
cc: Dean Everett Pittman
An Equal Opportunity Employer
East Carolina University is a constituent institution of THE
UNIVERSITY OF NORTH CAROLINA �?" William C. Friday, President
RESEARCH PROJECT: MUSICOLOGICAL RESOURCES IN SIALTA
SUBMITTED TO THE RESEARCH COUNCIL, EAST CAROLINA UNIVERSITY
APRIL 4, 1972
OTTO We HENRY
ASST. PROF. OF MUSIC
I. Need.
Because of my background in musicoloay I have been invited to
participate in a field research project by two prominent ethno-
musicologists, Dre Norma McLeod of Tulane University, and Dr. Marcia
Herndon of the University of Texas at Austin. Ore McLeod and
Dre Herndon have been engaged in a survey of the music of Malta.
Their preliminary findings have uncovered a large body of manuscripts
in the archives and music collections of Malta which may be of
considerable musicological importancee Although certain aspects of
Maltese culture, such as religion, politics, economics and society
have been dealt with thoroughly, the music of Malta has been completely
neglected by trained scholarse Because of its central location, its
role as a cultural melting pot and its vast time depth of over a
thousand years of recorded history, Malta should prove to be a treasure
house of missing and undiscovered works.
II. Research Design.
The proposed research will be conducted in Malta over a two-
month period, from May 20 to August 2. Three stages can be
identified: :
A. Preliminary:
First of all, it will be necessary to establish personal
contacts and working relationships with authorities and
custodians who control access to the music collections and
archivese Introductions and proper contacts have already
been assured by the initial work of Dr. McLeod and Dre Herndon.
Be General Survey of Available Collections:
The major objective here is to evaluate the scope, time
depth and general value of the music available. Besides
the archives of the Royal University of Malta, it will be
important to locate and search through the music collections
�?T of the major churches, fraternal organizations and societies.
President Trewsurer
BARBARA KRADER ISRAEL J. KATZ
176-Erb-Streer Ww. Department of Music
cs it St Columbia University
ETHNOMUSICOLOGY. x. Miaterlee-Omr7-Camader�?" New York, N.Y. 10027
First Vice-President Past President
J. H. NKETIA BRUNO NETTL
Institute of African Studies Schoo! of Music
University of Ghana University of Illinois
Legon, Accra, Ghana Urbana, Illinois 61801
Second Vice-President ' Member-at-Large
FRANK GILLIS ALAN P. MERRIAM
Archives of Traditional Music Department of Anthropology
013 Maxwell-Indiana University indiana University
Bloomington, Indiana 47401 Bloomington, Indiana 47401
SOCIETY FOR
Secretary Member-at-Large
ROBERT A. BLACK BARBARA SMITH
Department of Anthropology School of Music
California State College University of Hawaii
Hayward, California 94542 Honolulu, Hawaii 96822
Otto W. Henry January 2h, 1973
School of Music
East Carolina University
Greenville, N.C. 2783)
Dear Otto,
It is very late, but I am still mindful of the fine job you did on the
Book and Record Exhibit at the SEM meeting in Toronto, and want to thank
you versonally for it. You had more complications to cope with than anyone
before you, and yet the results were magnificent. I saw a lucky student,
out of the corner of my eye, who was just sitting there with earphones on
listening to records. I wish T had had time to do that. What a good as-
sortment of records you collected for him to hear! [I thought the books
were very well selected too.
Thank you for your patience with me, with Kolinski, and with the Can-
adian customs. And if you can write up something to give to next year's
exhibit maker, it would be much appreciated.
With best regards, and all good wishes for the New Year,
Sincerely,
Sear$ ore
Barbara Krader
1 Berlin (West) 5
Adolf�?"Martens-Str. 10
EAST CAROLINA UNIVERSITY |
MAGAZINE FOR ALUMNI AND FRIENDS ©
VOLUME V, NUMBER phage 1972
ETHNOMUSICOLOGY
Ethnomusicology is acomparatively
recent discipline, but one which
has advanced rapidly in scope and
significance in the past twenty
years. Ethnomusicology attempts to
uncover and correlate relationships
between music and musical be-
havior on a world-wide basis. There-
fore, an ethnomusicologist is a
product of an interdisciplinary train-
ing which combines a study of
Western and non-Western music
with the study of anthropology,
sociology, linguistics, psychology
and other pertinent areas. He must
deal not only with the theoretical
and acoustical properties of music,
but also with the physical and
verbal behavior of musicians and
listeners as well as the cultural
values which shape and reinforce
the functions of music in society.
The ultimate goal of ethnomusico-
logical studies is to bring about a
better understanding of mankind
through his music. Music, like lan-
guage, is a universal phenomenon.
People all over the world practice
some form of music, whatever their
technological or economic level
might be. While the understanding
or enjoyment of music is usually not
cross-cultural due to ethnic or other
dissimilarities, the role and func-
tion of music within each individual
culture tends to extend across cul-
tural and. social institutions. An
ethnomusicological investigation
of almost any people, for example,
would have to become involved
with religion, politics, economics,
education and kinship�?T because
these factors always find some
manner of expression and repre-
sentation in song, dance or in- |
strumental music.
At East Carolina University, a pro-
gram of studies leading to a Master
of Arts in Ethnomusicology was
approved in the Fall of 1970. The
present program was designed
not only to train ethnomusicologists,
but also to broaden the musical
experience of performers and music
educators by exposing them to the
alternate realities of non-Western
music and culture. The program
consists of three area survey
courses (Euro-American music,
African music, and the music of
Asia and the Orient), an introduction
to ethnomusicology, and an ad-
vanced seminar in theory and
method. In addition, a comprehen-
sive survey course, Music of the
World�?Ts Peoples, is offered at the
freshman level as a general service
course. Courses in ethnomusicology
are cross-listed with anthropology
courses in the school catalog, and
because of the special relationship
between the two_ disciplines,
ethnomusicology majors must
complete at least twelve hours of
anthropological studies before be-
ginning work on a thesis.
The interdisciplinary nature�?T of
ethnomusicological studies is also
illustrated by the variety of students
who enroll in the courses. The pro-
gram serves anthropologists, sociol-
ogists, psychologists, linguists and,
in fact, anyone whose particular
interest or speciality happens to in-
tersect one of the many cultural or
scientific viewpoints from which
music may be studied.
�?"Dr. Otto W. Henry
School of Music
dey
MUSIC AND THE
NEW TECHNOLOGY
Otto W. Henry
Composer who has specialized in
electronic music. He is on the
faculty of East Carolina University,
where he presides over a Moog
Synthesizer and related activities.
The communications explosion has
produced an immediate and ob-
vious effect upon the creation,
transmission, reception and inter-
pretation of the aesthetic experi-
ence. The relationship between
technology and music is so close
today that any advance in tech-
nological design or instrumentation
results in a corresponding ex-
pansion of concepts and resources
in music. However, music is also a
product of the society in which it
exists, and the changes wrought by
technology upon modern society
will also effectively determine the
course and expressive content of
the music. | would like to relate
some recent developments in
society and music to the expansion
of communication and technology
in this country.
For all practical purposes, culture
in America has been dominated by
urban monopolies which per-
petuate a basically European con-
cept of social hierarchies, each
with its special category of music,
such as �?~�?~classic,�?� �?opopular�?� or
�?ofolk.�?� The expansion of communi-
cation, transportation and mass
production and a growing dissatis-
faction with urban values have
begun to work towards a decentral-
ization of commercial and cultural
monopolies and towards a dissolu-
tion of conventional urban-rural
relationships, now that the neces-
sity of living or working in or near a
large city has been eliminated.
Traditional European concepts of
urban and rural society are under-
going a process of re-evaluation
and a new ethnic consciousness,
distinctly American and uniquely
306
fitted to our own traditions and
goals, can be seen arising from the
turmoil of the past decade. The
technological explosion, by its
variety and sheer quantity, has pro-
vided the means by which the arts
can escape the consequences of
urban monopolies and outmoded
European concepts of culture. New
regional and local opportunities
have been created by the prolifera-
tion of independent radio and TV
stations, by the increase of local
sound recording studios with their
own labels and systems of distri-
bution, and by the ubiquitous
electronic music studio with its new
potential for massed electronic
sound and live performance.
United by the common element of
electronic technology and a mutual
desire to escape from conventional
European molds and categories,
. popular and �?oserious�?� composers
and performers are coming closer
together than ever before. The
recording and broadcasting monop-
olies and the closed, impenetrable
concert halls which encouraged and
upheld the distinctions between
types of music can now be by-
passed. In essence, half a century
of trying to extend European con-
cepts of music by counting pitches
or. by going back to Bach, or by
squeezing American music into the
conventions of European harmony
and rhythm in a vain effort to gain
admission to the urban studio
and concert halls, has now come
to an end. Contemporary musicians
are finding it more necessary,
convenient and meaningful to
create their own media from the
available technological resources
and to mold their own expression
according to newer, more relevant
values.
As the distinctions between differ-
ent categories of music diminish,
the European conventions which
assign different roles to composers,
arrangers and performers also
come into question, for these
specialties were based on separate
abilities to write and interpret
symbols for sound drawn on paper.
Paper is not very useful anymore.
The ability of magnetic tape to
store and transmit sound and the
the propensity of aleatoric and
electronic music for textures and
sonorities that defy description
have practically eliminated the use-
fulness of music notation and have
made it necessary for the composer
to become his own performer and
the performer his own composer.
Thus a new oral tradition, living and
alive, is being fashioned by elec-
tronic technology and its effects
on society.
In short, the expansion of technol-
ogy has brought about a new free-
dom-and a new independence for
the expression and communication
of music. It remains to point out
that a new responsibility is also
called for, a responsibility to be
shared by both the communications
media and the musician. By re-
sponsibility, | do not mean slipping
Beethoven�?Ts Ninth or Switched-on
Bach in between the top forty.
Responsibility means to be aware
of one�?Ts contemporaries, to open up
to Rock and Bluegrass, to elec-
tronic and aleatoric music, to let
us all in together, while there is
room and opportunity.
VISUAL ARTS FORUM
ty-greenville:nc-97834
D
=
a
ae,
©
=
schoolotart-eastcarol
April 26, 1977
Dr. Otto Henri
school of Music
East Carolina Univ.
Greenville, N.C.
27534
Dear Dr, Henri:
On behalf of the Visual Arts Forum we would like to
thank you for your electronic music presentation. It
was enlightening to us all. Hopefully we will be able
to hear you perform again sometime in the future.
Sincerel
Cliff Pag
President
PROJECT: FOLK MUSIC OF THE OUTER BANKS;
CONTINUED RESEARCH, RECORDING, DOCUMENTATION.
Otto W. Henry
Karen G. Helms
I. Background of the study.
For the past two summers, Karen Helms and I have been engaged in a
long-range project to study, collect, and record the folk music of
Ocracoke and the Outer Banks. Ms. Helms is Artist in Residence at
Richmond Technical Institute in Hamlet, N.C. She completed her Master's
degree in 1973 at East Carolina University in Ethnomusicology. The
current project is an extension of work done on her Master's thesis on
the music of Ocracoke. .
The music of the Outer Banks has always been overshadowed by the
scenic attractions and the interesting geological and environment
features. Little attention has been paid to the permanent residents,
whose culture and society tend to be hidden by the annual influx of
tourists and by the tourist industry and National Park Service facilities
which extend the entire length of the islands.
It has been difficult but rewarding to penetrate this exterior facade
and work with the people themselves. Last summer, Ms. Helms and I succeeded
in gathering enough high-fidelity tape recordings to put together a record
soon to be released by Rounder Records of Amherst, Mass. Our itinerary
stretched from Ocracoke to Norfolk, Va., and consumed a week and several
hundred dollars of our own money. Although some funds will be forthcoming
from the recording, most of the royalties will go to the informants and
we do not feel we can soon afford another such trip unless funding is
located.
Meanwhile, the traditional music of the Outer Banks is evaporating as
the older residents pass away. One of our best informants perished in an
automobile accident just last month. There is an urgency in this matter,
for the traditions are not being passed on and it is frustrating to watch
the last remnants of the culture wash away like the sand dunes.
II. Objectives.
Much remains to be done. There are many informants who have moved
away from the Outer Banks.and are scattered along the Coastal Plains
from Wilmington to Baltimore who need to be contacted. Ms. Helms and
I would like to take three weeks in July-August for an extended field
trip to the Outer Banks and Coastal Plains in order to contact these
informants and to explore some new opportunities to record and document
several categories we have not been able to cover before, particularly
children's music and instrumental dance music.
ELECTRONIC ay
4 MUSIC
N SymPOSium
APRIL 22 & 23
Ss
SS
featuring works of Conrad Cummings Arthur Krieger
Jon Dattorro Roger Luther
Don Dailey Ladislav Medved
Brian Fennelly Larry Nelson
Gerald Frohmader Alwin Nikolai
Ulf Grahn Frank Roloney
Virginia Hageman Andrew Rudin : y.
Otto Henry Leon Silvan ,
Anson Kenney Wayne Slawson \ ,
Johnathan Kramer Scott Wyatt \)
you are invited to listen to works in the Gallery at any time \
during the exhibit hours.
April 22 - 10:00 am to 5:00 pm
April 23 - noon to 7;00 pm JPSIILAND) D A
Q o) o
COLLEGE OF THE
PERFORMING ARTS
250 SOUTH BROAD STREET, PHILADELPHIA, PENNSYLVANIA 19102
semen eatietie i, ae ae ae ~
ee i ee
EVENINGS FOR ELECTRONIC MUSIC
number 3 in a series of 5 concerts
MUSIC AND MEDIA: INTER-RELATING ELECTRONIC MUSIC
WITH DANCE, FILM, THEATRE, & PHOTOGRAPHY
A panel will discuss methods of intearating music into collaborative
Structures, advantages and disadvantages of electronic music in
mixed-media events, and special esthetics of inter-relationship
in the arts. Panel members will include Tom Porett, award-winning
photographer, media artist, and Phila. Col. of Art faculty member,
Dorothy Rabensteiner Zana, composer and choreographer, Carlos
Rausch, composer and former conductor of the Roval \innipeg Ballet,
and Andrew Rudin, composer of music for Fellini: Satyricon,
Pennsylvania Ballet, and Alwin Nikolais Dance Theatre.
Questions from the audience will be invited and Raphael Dannat
will perform Mr. Rausch*s Para Gerrardo for flute and tape.
Compositions by Porett and Rabensteiner Zang will also be heard
The final installment of Otto Henry's Zen parables, The
Gateless Gate, will open our program.
Coffee will be served. Admission is free.
The program featuring Larry Nelson of West Chester State has been
rescheduled for March 6, 1978.
Composers are invited to submit tapes for consideration and ~inclusion
on our Feb. 6 and March 6 Evenings.
Dec. 20 is the deadline for submission of entries for our Symposium
On Electronic Music to be held on April 19-20. Entry blanks can be 7:00 Dm |
obtained by writing to Andrew Rudin, PCPA, 250 So. Broad St., Phila.,
| room 604
ES PCPA
| 250 SOUTH BROAD STREET, PHILADELPHIA, PENNSYLVANIA 19102
ie fs [ l] LAND) ea b 2) 0 [ UN
COLLEGEOFTHE , ys:
oto (arg
Eat Caraling oiverarty
Mvatc Dept .
DO. Or J517
Greenville jNiC- 9 v4 2g
_ please post
PHILADELPHIA
COLLEGE OF THE PERFORMING ARTS
250 So. Broad St., Philadelphia, Pa. 19102
april 19 aazil 20
exihiilaik leeture-deEnmne
gallery
rm. 201
On both days, between the hours of 11 am and 7 pm, a program works by the composers below
will play continuously.
James Ayoob Ulf Grahn | Richard Potts
Ross Care Thomas Hamilton | : Robert Pruden
James Dashow Otto Henry Andrew Rudin
William Flohrer Hubert Howe Daria Semegen
Gerald Frohmader Bentley Jarvis Steven Smoliar
Michael Gilbert : Carl Michaelson Lois Wilcken
Kenneth Perrin
~*
OTTO HENRY: .
INTERMEDIA
AN EVENING OF ELECTRONIC MUSIC
WITH VISUAL EFFECTS
PROGRAM
THE GATELESS GATE (Moog Electronic Music Synthesizer
and Color Organs). «sees 10255
By pursuing the philosophy of Zen, one discovers
that barriers and obstacles to fulfillment are
imaginary and do not exist. Thus one must learn
to cross the "gateless gate" of reality.
THE PURE LAND (Synthi AKS Synthesizer and painted
SLIGES) occcccccesceveeves FEAT
The "pure land" is a Buddhist middle-heaven
for souls of moderate asperations. The Pure Land
is described in Buddhist literature as a glowing
paradise inhabited by spirit-teachers and filled
with strange landscapes. The slides which accompany
this piece were created by mixing crystalline and
acrylic paints directly on clear plastic slides.
BRING BACK YESTERDAY (Synthi AKS Synthesizer with
negative image slides)...11:52
"0,bring back yesterday. Bid time return"
(Shakespeare, Richard II ). Ordinary black and white
negatives were framed in slide holders. They are
projected through a red filter against a scatter
background projector.
FOUR LANDSCAPES FROM H.G. WELLS, for magnetic tape and
voices (1964) ..secceese 19825
The stories of H.G. Wells are still among the
finest examples of early science fiction. Well's
descriptions of alien landscapes are especially
interesting for the. moods and impressions they create.
1. from The Crystal Eqq
Mr. Cave has discovered that a crystal object
in his antique shop is a window to another
world.
from A Dream of Armageddon
Well's description of an air raid on Naples
was written years before the invention of
the airplane.
from The Valley of the Spiders
In the distant past (or perhaps on a different
planet), three horsemen pause to survey a
Sinister valley.
from The Time Machine
The Time Traveller has pushed his machine to
the last days of Earth, when life is almast
extinct.
3136 Reynolda Rd.,
Winston-Sallem, N.C.
27106 |
November 15, E372
Ow. We. Henry:
Assoce Prof. Music
School of Music
Easstt: Carolina University
Greenville, Ne Ce.
My dear Sir,
Your Sanctus was chosen the winner of the Hinda Ho-
nigman Gold Cupe
You and your Wife are invited to be guests of the
Federation om Tuesday November 29, (Music Day of Culture
Week) in RaTeigh at Balentines, Cameron Village, Oberlin Rd. .
Banquet will in the General's: Quarters, Lower Level, 6:30 P.M.
Please let me Know as soon as you can about accepting
the invitatione
Also please send me information concerning yourself
as we will need your History for the archives.
Congratulationse
Sincerely,
* Fraices Se Wolft
Saturday morning, October 28
Hill Rehearsal Hall 11:00 A.M.
MEETING OF THE SOUTHEASTERN COMPOSERS LEAGUE
(open to members and to all visiting professional and student composers)
[NOTE: At this same time, members of the UNC New Music Ensemble will be appearing
at the NCMTA Convention in Raleigh to perform this year�?Ts prize winning student
composition, Dodge, by UNC graduate composition major, James Mobberley.]
Saturday afternoon, October 28
Hill Rehearsal Hall 3:00 P.M.
The New Music Ensemble
Roger Hannay, director
The Percussion Ensemble
Lynn Glassock, director
PROGRAM II
Paganini Set (1973) Jackson Hill
Praeludio
Notturno |
Improvvisazione |
Corrente
Improvvisazione II
Notturno II
Sovraposizioni
Motetto perdendo
The New Music Ensemble
Roger Hannay, director
Five Dream Sequences Walter Ross
Triangle Jane Wilkinson
No Sound of Water Otto Henry
The Percussion Ensemble
Lynn Glassock, director
(conducted by Roger Hannay)
Hill Rehearsal Hall
Immediately at the conclusion of the concert:
Composer�?Ts Forum
(An interchange of ideas among visiting composers, performers, and
audience)
Saturday evening, October 28
Hill Rehearsal Hall 8:00 P.M.
PROGRAM Ii
Two Songs on Texts by W. B. Yeats
for soprano and orchestra
�?oThe Cat and the Moon�?�
�?oWe Have Fallen in the Dreams...�?�
Marajean Marvin, soprano
Concertino for Trumpet and Orchestra
Stanley Friedman, trumpet
The New Music Ensemble
Roger Hannay, director
INTERMISSION
Two Dances from The Tempest
Dance of the Shapes 1973
Dance of the Island 1973
Music in Honor of Bayside, Long Island
Prelude and Variations
UNC Wind Ensemble
David Reed, director
Robert Stine
Stanley Friedman
Ulf Grahn
Paul Dorsam
Jerry Sieg
oncert 3 Saturday - F700 pm
| HuBeRT Howe * Canons 4 (10225)
TAPE Queens Lotlege CUKY.
LOTTO HENRY * The Puredand (9-47)
MULTIMEDIA &, Larotna Univers ty
3 Dwiaht Gatwoon % In Memor1uM,
Cactaceae, TAPES U.of Tenn, at Martin
�?"~ INTERMISSION ~
J PHILIP Howes Untitled by the Sea (8-00)
TAPE Cambria Heights, NY.
CHAWLEY JACKSON Etude (4:35)
TAPE �?~Kawsas St. University
SLORAN CARRIERS Trombone Mirum (600)
TAPE/TROMBONIST (R.ResscTrombone > V.C-U-
ATLHAN MiMARCGLUAGLEST COMPOSER
TARE Columbia Princeton
SAXOPHONE DAY AT EAST CAROLINA UNIVERSITY
MARCH 23, 1977
2:30 P.M., RECITAL HALL, A. J. FLETCHER MUSIC CENTER
JAMES HOULIK, SAXOPHONE AND PAUL TARDIF, PIANO
IN RECITAL
Suite Hebraique Srul Irving Glick
Chasidic Dance
Hora
Cantorial Chant
Circle Dance
Sonata for tenor saxophone and piano James DiPasquale
Andante, Allegro moderato
Adagio non troppo
Allegro con brio
eae Visitors , Otto Henry
Sinister
Tranquil; with the tender assurance of a lullaby
Freely, like an ancient myth
Frantastic, incongrous (Der Doppelganger)
*premiere performance*
Songe de Coppelius Florent Schnitt
Music for tenor saxophone and piano M. William Karlins
i, = 60
II. To the memory of Coleman Hawkins
cide "420
Pitt County Excursions William Duckworth
March
Serenade
Air
Ragtime
BUCKN ELL UN IVERSITY
DEPARTMENT OF MUSIC
WHISPERS OF THE DEAD: ,
: A CONCERT OF AVANT ~ GARDE. MUSIC
The Bucknell New Music Ensemble
Jackson Hill and William Duckworth, Directors
Guest Performers
DIANE GOLD, flute
State College, PA.
JAN COWARD, bass clarinet
Philadelphia -
Saturday, March 134977
9:00 p.m.
Vaughan Literature Auditorium
PROGRAM
Metamusic (1964) 0 6 oo ee a Toshiro Mayuzum
Jackson Hill, violin Tad Thayer, tenor saxophone
Susan Willis, piano William Duckworth, conductor
Whispers of the Dead (1976). . . . . . . Jackson HII!
Premiere performance
Diane Gold, amplified flute
Mastic tor tor) AYSRE ye ee NA ea
Premiere performance
Grace Boeringer, violin Zoya Jenks, cello
Steve Bass, clarinet Pamela Cole, piano
Jackson Hill, conductor
ane Pore: Lad: TC a ee rs Oe Peng
for painted slides and synthesizer
Fourth performance
Intermission
q yy x v
DEPARTMENT OF MUSIC
WHISPERS OF THE DEAD:
A CONCERT OF AVANT-GARDE MUSIC
The Bucknell New Music Ensemble
Jackson Hill and William Duckworth, Directors
Guest Performers
�?~DIANE GOLD, flute
State College, PA.
JAN COWARD, bass clarinet
Philadelphia
Saturday, March 12, 1977
9:00 p.m.
Vaughan Literature Auditorium
PROGRAM
Metamusic (1964) . .Toshiro Mayuzumi
Jackson Hill, violin Tad Thayer, tenor saxophone
Susan Willis, piano William Duckworth, conductor
Whispers of the Dead (1976) . Jackson HI11
Premiere performance
Diane Gold, amplified flute
Music for Four (1968) . Ulf Grahn
Premiere performance
Grace Boeringer, violin Zoya Jenks, cello
Steve Bass, clarinet Pamela Cole, piano
Jackson Hill, conductor
The Pure Land (1976) . Otto Henry
for painted slides and synthesizer
Fourth performance
Intermission
Midnight Blue (1976) , William Duckworth
Second performance
Jan Coward, bass clarinet
Overture and Allegro (1959) . David Amram
Diane Gold, flute
Phoneme (1973) . Marvin Lamb
for spoken choir
Jackson Hill, conductor
Triptych (1973) . Robert Sherlaw Johnson
American premiere
Heidi Shaw, flute Steve Bass, clarinet
Grace Boeringer, violin Zoya Jenks, cello
Nancy Seth, piano Jackson Hill, percussion
William Duckworth, conductor
DERE
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�?o| am-hopelessly-a musician.�?�
-Aaron Copland
THE NORTH CAROLINA COMPOSER�?TS SYMPOSIUM
PRESENTS A
NORTH CAROLINA COMPOSERS CONCERT
SATURDAY, FEBRUARY 19, 1977
8:00 P.M.
SHIRLEY RECITAL HALL
FOUR Pieces for Organ (1966) ? Thomas Brosh
1. Chorale Prelude 2. Christe 3. Song 4. Ricercare
Margaret Mueller, organ
VASSILISSA Margaret Sandresky
1. Giant in Chains 2. Vassilissa and the Young Tsar
3. Sorcery 4. TheMagic Bird 5. The Horseas Swift as the Wind
Margaret Sandresky, piano
Lynn Peters, double bass
NUMEROLOGY NO. 2 Jay Williams
Jay Williams, tape and trombone
STRUCTURE (1965/1974) Roger Hannay
The Percussion Ensemble of UNC Chapel Hill
Lynn Glassock, director
INTERMISSION
out from sound it grew
11-11-11-18
in memorium variations Ross Albert
PHONEMES Marvin Lamb
Atlantic Christian College Contemporary
Chamber Players
Marvin Lamb, director
THE TWENTY-THIRD PSALM i Donna Robertson
Mary Endress, soprano
Susan Carlson, flute
THE PURE LAND Otto Henry
Otto Henry
Performer on Synthesizer and Painted Slides
Reception after the concert.
Technical engineer - Jay Williams
This Symposium is funded by the North Carolina State Arts Council
and the Mary Babcock Reynolds Foundation. it is sponsored by |
Salem College, Wake Forest University and the North Carolina
School of the Arts.
School of Music Bulk Rate
SALEM COLLEGE U. S. Postage
: 7 : PAID
inston-Salem, North Carolina 27108 Winston-Salem, N ©.
Permit No. 31
THE NORTH CAROLINA COMPOSER�?TS SYMPOSIUM
PRESENTS A
NORTH CAROLINA COMPOSERS CONCERT
TUESDAY, JANUARY 27, 1976
8:15 P. M.
SHIRLEY RECITAL HALL
FANTASIA SUPER BACH Frank Wiley
Frank Wiley, organ.
Thomas Powell, chimes
RECITATION WITH FIVE REFLECTIONS Donna Robertson
Recitation; The beat goes on; Scherzo; Bells; Soliloquy; Epilogue
John Woolley, trombone
Ann Listokin, piano
PARTITA, OP. 28 Daniel Foley
Barcarolle; Gavotte and Musette; Adagio; Finale
Bob Priest, guitar
David Cakes, guitar
ECUADORIAN PHANTASIE Ann Listokin
Zany; Con Brio
Philip Dunigan, flute
Nicolette Dunigan, flute
Eugene Jacobowsky, violin
Bob Madura, cello
Ann Listokin, harpsichord
FOLLOW THE SUN (Multi-media) Otto Henry
Otto Henry
INTERMISSION
MY FATHER MOVED
THROUGH DOOMS OF LOVE Roy Prendergast
OBERON, THE ENCHANTER Margaret Sandresky
Eugene Jacobowsky, violin
Paul Hatton, violin
David Winslow, viola
Nancy Anderson, cello
SONATA, Movement # 1 Hunter Johnson
Allegro molto a dinamico
Peggy Shuping, piano
FIVE SONGS OF THE DARK Ross Albert
Dark ground; The underside of joy; Cubes of nightfall; The old
ones; Goodnight
Donald Hoirup, baritone
Marlene Hoirup, piano
THREE PRELUDES FOR PIANO AND TAPE Frederick Beyer
Henry Ingram, piano
This Symposium is sponsored by Salem College, the North Car-
olina School of the Arts, and Reynolda House, and is funded by a grant
from the Z. Smith Reynolds Foundation.
School of Music
SALEM COLLEGE
inston-Salem, North Carolina 27108
League of Composers �?"
International Society for Contemporary Music
U.S. Section, Inc.
c/o American Music Center, 250 West 57th Street, Room 626-7, New York, New York 10019
Honorary
Co-Chairmen
AARON COPLAND
ROGER SESSIONS
Board of
Directors
1973-76
RONALD ANDERSON
MIRIAM GIDEON
JOEL GRESSEL
Treasurer
JOSEPH MACHLIS
BRUCE SAYLOR
Recording Secretary
PATRICIA SPENCER
HUGO WEISGALL
1974-77
MILTON BABBITT
ELLIOTT CARTER
ROBERT HELPS
HUBERT S. HOWE, JR
President
OTTO LUENING
DANIEL SHULMAN
ANDREW THOMAS
4975-78
ELEANOR CORY
Coresponding
Secretary
BRIAN FENNELLY
THOMAS S. JAMES
Vice President
LEO KRAFT
ERIK LUNDBORG
JUDITH SHATIN
JOAN TOWER
February 275 1976
Dear Composer:
On behalf of the League-ISCM, I would like to convey our appre-
ciation to you for having entered a work in our International Piano
Music Competition. I regret to inform you, however, that your piece
was not selected as a winner.
We were astounded by the large response to the competition:
over 265 scores were entered. The judges -- Robert Helps, Seymour
Shifrin, and Beveridge Webster -- spent many hours personally reading
each score before finally meeting to select the winners. When all
scores had been viewed, the judges felt that it would be impossible
to select material for only a single concert from this number. They
therefore suggested, and the Board of Directors has agreed, that the
number of winners be expanded and that the remaining works be presented
during the 1976-77 season.
The winning compositions are as follows:
Gregory Michael Ballard, Piano Music 2
Donald Freund, Clamavi
Jacques Guyonnet, Chronigques
Richard Hoffman, Piano Variations #2
Karl Kohn, Bits and Pieces
Gregory Kosteck, Cantilena
Robert E. Pollock, Departure
Niel Sir, Composition for Piano
Richard Wilson, Eclogue
Peter K. Winkler, Humoresaue
The works by Ballard, Freund, Guyonnet, Hoffman, and Kohn will be .
performed by Robert Black at the League-ISCM concert on May 20, 1976
at Carnegie Recital Hall in New York City. The works by Kosteck,
Pollock, Sir, Wilson, and Winkler will be performed next season.
Due to the large number of winners, more than one pianist may be
employed.
All of these works are considered as finalists by the judges,
and no distinctions between the works are made. The determination
of which works will also be released on a recording will not be made
until after all the concerts have taken place.
The judges felt great admiration for many of the works entered
in the competition, and they regretted that it was impossible to have
an even greater number of winners. Some of the works that the judges
felt should receive special commendation are as follows:
Steven Block, eveningspun/black
Martin Brody, Sax e
David Chaitkin, Etudes
Timothy V. Clark, Sonatine Classique
Conrad Cummings, Remembered Voices
Stephen Dankner, Bird in Space, after Brancusi
David Diamond, Sonata #2
Jonathan Drexler, Gossamer Dances
Michael Eckert, Tesserae
Vittorio Fellegara, io @ Bach
Andrew Frank, Orpheum (Night Music I)
Ulf Grahn, Cing Preludes (regard sur musique de la France)
Otto W. Henry, Sonata ("Aeolian Harp")
Jere Hutcheson, �?oFantasie-Impromptu
Matthias Kreisberg, Three Untitled Piano Pieces, 1972
Noel Lee, Four Etudes for for Piano, set 11 il
Tod Machover, Sun
Lawrence Moss, Fanta sy for Piano
Ernesto Pellegrini, Movement lll, for Piano
Raoul Pleskow, Pentimento
Dorrance Stalvey, Changes
John Selleck, Ichinen Sanzen
Randall Snyder, Music for Audun Ravnan
Francis Thorne, Piano Sonata
William Valente, Fantasy for Piano (in the form of etudes)
Beatrice Witkin, Contour for Piano
Jonathan D. Kramer, Music for Piano # #3
Once again, I would like to express our appreciation to you
for your interest in the competition. We are encouraged by the
response to this competition, and we hope that we will be able to
conduct further activities of this kind in the future.
Scores will either be returned or deposited in the American Music
Center Library, as stated in our announcement,
Sincerely,
bet A. Yue).
Hubert S. Howe, Jr., President
League-ISCM
School of Music Fletcher Recital Hall
East Carolina University Sunday, May 11, 1975
Presents 8:15 P.M.
A Recital of Compositions by
KATHERINE FORD GATES
assisted hy
MICHAEL LEE - BILL DEVINS
DAVE BOSTON �?" BEV WHITE
CHAL RAGSDALE
Piece for Tape and Percussion Quartet (1973-74)Chal Ragsdale, conductor
Rick Latham
Frank Oddis
Jan Whitman
Robert Dickey
Red Banks, for percussion (1975)
Sally Helton, multiple percussion
Sally Williams, prepared piano
Linda Walker, piano
Anthem, for saxophone and tape (1974)
Michael Haithcock, saxophone
* * * Intermission * * *
Omniverse, for Moog synthesizer (1973)
Video effects by Dave Boston*
Canticle for E. B. 1. (1975)
Dee Ann Braxton, violin
Holiday Worth, viola
Claudia Carmone, cello
Cliff Bellamy, cello
Michael Smith, contrabass
Transmigrations, for dancers and tape (1975)
Michael Lee, choreographer
Bev White, costume designer
Bill Devins, lighting technician
Jeff Krantz, asst. lighting technician
Dancers
Joni Peetz Catherine Davis
Dan Nichols Steve Geiger
Trudy Tharp Dana Mooneyham
Clarnex Williams Elizabeth Pope
*Special thanks to WITN-TV for the use of their video equipment.
This recital is given in partial fulfillment for the Bachelor of Music degree in
Theory-Composition.
The Daily Reflector, Greenville, N.C._�?"Thursday, December 1, 197715
>
Composer's Cup
To Dr. Henry
Dr. Otto Henry of the School of
Music, East Carolina Universi-
ty, is the 1977 winner of the Hin-
da Honigman Composer�?Ts Cup.
The award, for his composition
Sanctus, was given during the
21st annual meeting of the North
Carolina Federation of Music
Clubs. held Tuesday at Hilton
Inn.
The award is one of those
given each year during the an-
nual North Carolina Culture
Week. f
Henry is Associate Professor
of Ethnomusicology and Elec-
tronic Music and is also a
member of the graduate music
faculty
14 FOUNTAINHEAD 6 December 1977
AB
OTTO HENRY OF the ECU School of Music is the winner of the �?"
Hinda Honigman Gold Cup for original composition.
Otto Henry wins award
ECU NEWS BUREAU
Dr. Otto Henry, associate
�?~ professor of ethnomusicology and
electronic music in the East
Carolina University School of
Music, is the winner of a
statewide award for original
composition.
Henry was given the Hinda
Honigman Gold Cup after win-
ning a competition for composers
sponsored by the N.C. Federation
of Music Clubs. He formally
accepted the award at a recent
Music Day dinner in Raleigh.
The winning composition, an
avant-garde choral work entitled
�?~*Sanctus,�?T�?T involves the perform-
ers�?T own selection of pitches, with
durations cued by the conductor
The work was commissioned
in 1973 by Mars Hill College and
published earlier this®year by
Hinshaw Music, Inc. as part of
-the Mars Hill College Choral
Series.
Dr. Henry received his bache-
lor�?Ts and master�?Ts degrees from
Boston University, and holds the
PhD degree from Tulane Univer-
sity.
EAST CAROLINA UNIVERSITY
SCHOOL OF MUSIC
Presents
STUDENT COMPOSERS FORUM:
MUSIC COMPOSED BETWEEN SEPTEMBER 1 AND OCTOBER 15, 1970
Fanfare for Two Trumpets Jill Fraser
Rick Chapman, trumpet
Jim Allison, trumpet
In Tenebris, | (Thomas Hardy) Richard Holloman
George Hubbs, percussion
Brenda Dugger, english horn
Marcia Eubanks, clarinet
Sandra Little, piano
Michael Price, celeste
Richard Holloman, baritone
Stafford L. Starcher, conductor
Music for Brass Quintet Bruce Frazier
Kenneth Molton, trumpet
Nigel Boulton, trumpet
Chris Lowder, french horn
John Driver, trombone
Eric Benson, tuba
Brass Quintet Robert Perry
Tim Hutchinson, trumpet
Brian McCulley, trumpet
Mike Barker, trumpet
John Driver, trombone
Doug Adams, trombone
Textures in Time Gafford Pearce
mixed media
Evolutions 1970 _ Bruce Frazier
electronic tape
Students of Otto Henry Monday, November 9, 1970
and Gregory Kosteck Recital Hall, 8:15 P.M.
EAST CAROLINA UNIVERSITY
SCHOOL OF MUSIC
presents
STUDENT COMPOSERS�?T FORUM
Music composed between October 15, 1970 and January 15, 1971
Prisms for Ensemble Starcher
Alan Valotta, clarinet
Betty Ann Worrel, bassoon
Mike Price, piano
Peyton Becton, percussion
Variations for Piano Wages
Gary Wages, piano
Piece for Two Clarinets Starcher
Alan Valotta, clarine!
Marsha Eubanks, clarinet
Revelations 1970 for Tape Holloway
Structures for Brass Sextet Robert Perry
Metal Forms
Lines and Curves
Brian McCully, trumpet
Rick Chapman, trumpet
Leon Auman, french horn
John Driver, trombone
Doug Adams, trombone
Dan Harris, tuba
West Wind (for Tape) Billie J. Perry
Woodwind Quartet in Four Movements Benson
Jeanette Dameron, flute
Alan Valotta, clarinet
Brenda Dugger, oboe
Beverley Ervine, bassoon
�?o*.,. peace�?� (for Tape) Frazier
students of Otto Henry January 31, 1971
and Gregory Kosteck Recital Hall, 8:15 P.M.
EAST CAROLINA UNIVERSITY
SCHOOL OF MUSIC
presents
E.C.U. Young Composers Forum
�?oEvenings Under the Roof�?��?T
Piece for Four Percussionists and Tape Ford Gates
Leslie Kopp, conductor (1973-4)
1. Carrie Bean
2. Tony McCutcheon
3. Sally Helton
4. Larry White
Vortex, for Moog Synthesizer Bruce MacDonald
(1974)
Four Pieces for Two Clarinets Samuel Smith
Samuel Smith and Bert Owen (1974)
LBV S;
2. Requiem
3. Mood
4, Fugue
The Two Thieves, for Moog Synthesizer Merridith Ezzard
(1974)
Moderations for Alto Sax and Piano Philips Johnson
Michael Haithcock, Sax (1973-4)
Robert Sullivan, Piano
INTERMISSION
Fall Love Music Robert Conger
Robin Brown, Flute, Vince Pitt, Bassoon, (1973-4)
Sally Helton and Tony McCutcheon, Percussion
Two Moog Synthesizer Realizations: (1974)
1. Robert Conger: popular melody
2. Hal Tyson: piano piece
Moderations for Alto Sax and Piano �?oEncore�?� Philips Johnson
Mood Music for Tenor Sax and Brass Quintet Robert Conger
Richard Macmahan,Tenor Sax
Rick Chapman and Alex Holton, Trumpets
Steve Skillman, Horn; Doug Adams, Trombone
Ricky Guptill, Tuba
April 3, 1974
School of Music Recital Hall
8:15 P.M.
dL 2
eat i : 3 3 4 : ae 6 i 8 9 10 ii, LZ 3 14 5 16 4 F/
east carolina university
school of music
presents
a recital of compositions
by
gloria jill fraser
surfaces, for four percussionists and moog synthesizer (1974)
ecu percussion ensemble
diamonds, for bass clarinet, tape and oscilloscope (1974)
leslie kopp, bass clarinet
three studies for moog synthesizer (1973)
intermission
tape piece | (1972)
tape piece II (1972)
walking music, for three young violinists (1974)
pamela bath
serena matney
brenda peterson
four score
jill fraser, moog III p
robert miller, synthi aks
ford gates, electrocomp
dooley ezzard, mini moog
8:15 p.m.
friday, april 26, 1974
a. j. fletcher recital hall
FOUNTAINHEAD/VOL. 5, NO. 53/9 MAY 1974 7 .
Synthesized music
performed at ECU
SYNTHESIZED SOUND:
GLORIA JILL FRASER
By JOHN ROBERT WALLACE
Special to the Fountainhead
Recently, | heard the creative efforts
of a young composer who is writing for the
synthesizer, the violin and who is also a
woman. | shall, to give you a thesis, be
describing my feelings in light of my past
experiences about that concert, and so
with Julie Andrews | shall start at the very
beginning.
When | walked in, | had missed the first
two pieces. My friend, Lee, said he had
enjoyed them. Lee is an organist of
supreme intuitive powers. | like to talk
about my friends. That�?Ts what Jack
Kerouac did, but Jack Kerouac�?Ts friends,
like | guess so many of our friends repeat
activities, and repetition, although the
soul of advertising, is death to literature,
: jn my opinion, anyway. ~
So while Gloria Jill Fraser pulled plugs,
turned. knobs, and adjusted speaker
cabinets, Lee and | argued, the way people
at concerts argue, feeling for the right
response and delivering it ever so carefully
as if its meré utterance gave it gravity and
validity. | was bound and determined,
approximately 50 years iafter John Cage
did his radio thing in New York, not to like
this �?omusic�?�. | used to think John Cage�?Ts
random selection of radio signals was a
statement on the nature of man�?Ts inability
to communicate, a great operatic tragedy
of disordered sounds in search of a
direction. ,
By the end of the evening, after Lee had
convinced me we didn�?Tt have to divide an
octave into the traditional tone scale that
man has been doing, | saw, as in a vision
of flashing light and blinding revelation
that the essence of music is really the
creation of any sound. Any sound (a pretty
loose definition, but a current one,
nonetheless.) At this point | turn into a
totally subjective creature, for | believe
some sounds are physiologically more
attractive to us than others, but that
doesn�?Tt mean those other sounds are not
music, to someone anyway. | also believe
_that every sound affects us, and although
our choices of activity are pretty confined
in this latter half of the 20th Century, one
of the inalienable rights that is with us still
isthe right to choose what we consider to
be music to our ears.
There were things about the concert |
liked and things. ! disliked. If music is
everywhere and can be everything, what
sound is sweeter to anyone�?Ts ears than the
sound of his automobile�?Ts motor turning
over quickly and running quietly? To me,
that sound is music. How much one can
do with that sound is another thing, but it
is a sound that at the right moment can
bring great happiness, or failing to sound
can bring instantaneous, but not lasting
despair.
In Ms. Frasers 1973 piece, �?oThree
studies for moog synthesizer,�?� there were
moments of joy. There were sounds that
created images in the mind, much like the
impressionistic music of Debussy. There
- form. Certain
were sounds | found offensive, loud
rasping sounds that | associate with
needless destruction, as in bulldozers
tearing at the heart of a turn of the century
house.
There were sounds that | could not live
with for a very long time, like a man
�?~confined to his room with a dripping
faucet. However, a musician has the right
to explore the possibilities of any plant or
animal it may. The dinosaur is no longer
with us and the oak tree is still in the
throws of evolutionary flux.
I�?Tm not making any predictions as to
the lasting nature of synthesizer music as |
heard it in Ms. Fraser's concert, but | am in
favor of seeing how the arrangement of
sound develops. Her music is not without
sounds create certain
patterns on an oscilloscope, say in the
shape of a diamond _ In scoring her music,
Ms. Fraser has woven these shapes
_together and varied them, much in the way
�?~traditional composers have treated theme
and variation. Her sounds last for
predetermined durations, they change in
volume, pitch, and timbre. They even
change direction through the projection
from the various speakers. Her music
does tend to avoid traditional rhythms, i.e.
foot tapping.
Only in her last piece on the program,
�?oFour Score,�?� did anything like jazz
rhythms creep in. The instruments, four
synthesizers were a moog Ill p, a synthi
aks, an electrocomp and a mini moog. In
this piece, the sea surged, breakers
crashed, birds twirped, things slowed
down, speeded up, and dust in the grooves
retreated and emerged. Sound loved itself
and what it could do.
Let me mention one other piece before |
bring this excursion into another of life�?Ts
activities to a close. Ms. Fraser wrote a
canon, or round, called �?oWalking Music for
Three Young Vlolinists.�?� Around a
rectangle of six music stands, each
�?~containing three bars of music, three
violinists followed one another in a
regulated order, playing first the first bar,
and when returning to it, playing the
second bar, etc. until all the music had
been played by each one of the
violinists. The effect was marvelous, for
instead of the simple repetition of the
same phrase in a traditional canon, one
was always hearing new phrases. The
piece began with a solo violin, was joined
by each of the subsequent violins, and
finally tapered off as the last violinist
played her last note.
My friends, life is where you are, ana
you can see it anyway you like. Any
moment can be momentous, if you want it
to be. You see, | worked at one time in the
U.S.A.F. Security Service listening to
weird high frequency signals, and Ms.
Fraser brought back many more pleasant
memories to me with her recreation of
those signals than she could ever
imagine. So just send out your
signals. You never know who's listening.
School of Music
East Carolina University
Presents
A RECITAL OF COMPOSITIONS BY
PHILIPS JOHNSON
A. J. Fletcher Music Center
Recital Hall
Monday, November 8, 1976
9:00 P.M.
Revision II (for magnetic tape)
Ap aT
Fanfare
Ken Hubbard, alto sax
Revision IT
ages Fig sk
Six Pieces
John McLellan, flute
Teresa Meeks, alto flute
Carrol Ridenhour, piano
Revision II
a eige, © gis. 33,
Moderations
Ken Hubbard, alto sax
Diane Goodall, piano
Revision II was realized using the following equipment:
Moog IIIp Synthesizer
PAiA Sequencer (with power supplies and Moog interfacing
by Philips Johnson)
PAiA 2720 series Synthesizer
Crown 700 tape recorder
Revox A77 tape recorder (2)
Teac 3440 tape recorder
Ampex 456 �?oGrand Mastering�?� tape
Special thanks to Eric Haas, Debra Fales, Buz Tyler, and Lucy Midyette.
This recital is given in partial fulfillment of the requiremtns for the Bachelor
of Music degree in Theory - Composition.
East Carolina University
School of Music
Presents in Senior Recital
PHILIPS JOHNSON
COMPOSITION AND ELECTRONIC MUSIC
Across the River
(Moog IIIp)
Sonatina
Eddie Henderson, piano
Environments
(alto flute and tape)
Morning Music
Eric Haas, English horn
Philips Johnson, flute
Duke Ladd, piano
Rick Latham, percussion
Janet Reeve, bass
Otto Henry
1975
1977
A.J. Fletcher Recital Hall
Tuesday, May 10, 1977
7:30 P.M.
This recital is given in partial fulfillment of the requirements for the Bachelor
of Music degree in Theory-Composition.
ELECTRONIC MUSIC PLUS
Saturday Evening, March 16, 1974, 8:00 p
Hill Auditorium, Social- -Re ligious Building.
Sondo. . a a ee a ee . . »Peter Lewis
Color film University of Lowa
Mirrors, Echoes and Dialogues . és . . Dan Urquhart
Diane Davis, a Florida State University
Memorabilia... i. 4 eee 6 eg ek ees Schwere
David Vanderkooi, �?~cello Bowdoin College
Skaniadaryo . . - 2 6 « « « » » « Jean Eichelberger Ivey
Enid Katahn, piano Peabody Conservatory
Intermission
smutiyata..°.-.. a oe . »- Alan Moore
Eugene Anderson, visuals �?oKentucky State University
Thou, Restless, Ungathered cama . eVincent McDermott
Susan Clapp, clarinet Wisconsin College-Conservatory
Mary Arnold, soprano
Citizen Kane the POCONG e0. A . eins «ee ee ee
film, Gil Trythall Peabody College
.. whose circumference is nowhere (III 1970). . . «Jon English
Jon English, trombone University of Iowa
Franklin Miller, film
Sunday Evening, March 17, 1974, 8:00 p
Hill Auditorium, Social- -Religious Building
BAM OOSsCOpie. Vision. oi, 2 oe. - - »Conrad DeJong
Ann Holland, dance �?~University of Wisconsin
at River Falls
SPARS Box... oo ee ee - . Otto Henry
Sharon Mabry, soprano East �?~Carolina University
Quadrants ... Mg oe eee . » Larry Austin
Chris Teal, violin �?~University of South Florida
Multiphonix.. . pike ee a - . «fom Hutcheson
Middle Tennessee State Middle Tennessee State
Percussion Ensemble University
Intermission
Excerpt. 4 ee BOE gt gt 3 . . «David Ernst
Ernest Szugyi, bass" York College of the
3 ed University of New York
When the Landlord Speaks. ...... - « « - ~-Don Diekneite
Rick Johnston, director ? Webster College
ee. Full Rotetion of the Earth, 2, 6 2 2. am Trythall
Don Evans, visuals Peabody College
Vanderbilt University
Raymond Clay, Dancer
MIDDLE TENNESSEE STATE UNIVERSITY
MUSIC DEPARTMENT
Announces
SIXTH ANNUAL
ELECTRONIC
MUSIC PLUS
FRIDAY, January 21, 1977
SATURDAY, January 22, 1977
featuring
Guest Composer
DAVID COPE
Special Attraction
SOLEIL LASER MUSIC SPECTACLE
created by
Bruce Rogers
&
Gary Levenberg
ADMISSION FREE
Co-Sponsored By
THE TENNESSEE ARTS COMMISSION
THE MTSU STUDENT FINE ARTS COMMITTEE
THOM HUTCHESON, Director
DAVID JENSEN, Asst. Director
MATT WARD, Coordinator
PROGRAM III
SATURDAY, January 22, 1977
2:00 P.M.- 5:00 P.M.
Room 111(Environmental Simulation Lab), LEARNING RESOURCES CENTER, M.T.S.U.
BRUCE ROGERS
GARY LEVENBERG
Bloomington, Indiara
PROGRAM IV
SATURDAY, January 22, 1977
8:00 P.M.
"Soleil Laser Music Spectacle"
Room 221(Media Classroom), LEARNING RESOURCES CENTER, M.T.S.U.
THOM HUTCHESON**
Middle Tennessee State Univer-
sity, Murfreesboro
GERALD LEFKOFF
West Virginia University,
Morgantown
KENNETH JACOBS
University of Tennessee,
Knoxville
VINCENT McDERMOTT
Wisconsin Conservatory of Music,
Milwaukee
HENRY RINNE
University of Tennessee,
Knoxville
DWIGHT GATWOOD
University of Tennessee, Martin
OTTO HENRY
East Carolina University,
Greenville, North Carolina
TOM JORDAN
Indianapolis, Indiana
DAVID COPE
Miami University, Oxford, Ohio
GIL TRYTHALL, music
West Virginia University,
Morgantown
DON EVANS, visuals
Vanderbilt University, Nashville,
Tennessee
* MTSU Students
** MTSU Faculty
a �?"�?"�?" �?"�?"�?"�?"�?" �?" �?"�?"�?"�?"�?" �?"�?"
"Sonix II" for Alto Saxophone and
Tape Delay
"Soundscape" for Trumpet and Tape
"Secret World" for Tape and Dancer
"Orpheus" for Tape and Videotape
"The First Alternative" for Tape,
Soprano Sax and Percussion
"Images sur les Plastiques" for
Videotape
"The Pure Land" for Tape, Slides,
and Synthesizer
"Quartet" for Tape and Dancer
"Bright Angel" for Trumpet and Tape
Delay
Continuous showing, 40 min. show
John Duke**, saxophone
John Reid*, trumpet
Anne Holland**, dancer
Henry Rinne, saxophone
Mark Gadson, percussion
Otto Henry, synthesizer
David Jensen, slides
Suzette Surkamer, dancer
Tom Naylor**, trumpet
"Two Pleasantries for Five Inflatable Instruments"
Soprano I
Mary Loy
Lesa Smithson
Suzi Cooper
Beth Love
Lecia Wallace
Eugenia Gilbert
Soprano II
Debbie Wéatherspoon
Stefanie Bratcher
Julie Sharpton
Amy Page
Diane Gardner
Kathy Crockarell
Bonnie Patton
Tenor I
Phil Vincion
Andrew McClarney
- James Satterwhite
John Graves
MTSU CONCERT CHOIR
Neil Wright**, Conductor
Tenor II
Bobby McKnight
Steve Tudor
David Lee
Pressley Templeton
Tim Mullican
Robert Rose
Alto I
Lisa Early
Gwendolyn Taylor
Beth Gunter
Holly Parton
Cathy Estep
Alto II
Tina Farrar
June Hawkins
Mary Kay Pedigo
Cathy Chavarie
Baritone
Bill Young
Ronald Fulghum
Brad Beasley
Oavid M. Johnson
Douglas Jennings
James Martin
Jim Johnson
Matt Dobson
Bass
Allen Miller
Mark Perry
Randy Box
Tom Robinson
Patrick Duke
ACKNOWLEDGEMENTS
. M. G. Scarlett, President, Middle Tennessee State University
. Jack Carleton, Vice-President for Academic Affairs, MTSU
. Marshall Gunselman, Director, Learning Resources Center, MTSU
. Neil Wright, Chairman, Music Dept., MTSU
. Gordon Holl, Director, Tennessee Arts Commission
. Harold Smith, Director of Student Programming, MTSU
Mrs. Dorothy Harrison, Director, Public Relations, MTSU
Dr. Bill Jackson, Director, Instructional Development, Learning Resources Center,
Mrs. Judy Hall, Materials Production Service, Learning Resources Center, MTSU
Mrs. Anne Holland, Chairman, Dance Dept., MTSU
Dr. David Jensen, Faculty, Florida A & M University, Tallahassee
Omicron Tau Chapter, Phi Mu Alpha Sinfonia Professional Music Fraternity
Omicron Psi Chapter, Delta Omicron Professional Music Fraternity
MTSU Music Faculty
MTSU Print Shop, Jim Booth, Director
Auxiliary sound equipment provided by The Music Shop, Murfreesboro, Tennessee
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THE SCHOOL OF MUSIC
EAST CAROLINA UNIVERSITY
Presents in
FACULTY RECITAL
OTTO HENRY
assisted by
JILL FRASER, BRUCE MACDONALD,
FORD GATES, DWIGHT FLICKENGER,
SHEILA MARLOWE, HAROLD JONES
and the
EAST CAROLINA UNIVERSITY PERCUSSION QUARTET
Follow The Sun (12:45 �?"Moog Synthesizer Otto Henry (1973)
realization)
Wire Music Otto Henry (1973)
Pendulum Music Steve Reich (1968)
| Am Sitting In A Room Alvin Lucier (1970)
Ford Gates, recitalist
INTERMISSION
Two Songs For Soprano And Percussion Quartet Otto Henry (1973)
1. The Sons of Martha (Kipling)
2. Men and Angels (Crane)
Sheila Marlowe, soprano
Harold Jones and the East Carolina University
Percussion Quartet
Be Prepaired New Percussion Quartet (1968)
Jill Fraser, pianist
East Is East (Moog Synthesizer Performance) Otto Henry (1972)
Sunday, the Second of December, 1973, at 8:15 PM
Fletcher Music Center Recital Hall
East Carolina University
School of Music
Presents
Compositions by Otto Henry
The Good Woman of Setzuan: Overture and Incidental Music for the play by
Berhold Brecht. Moog Synthesizer, 1971.
. Overture
. The Cloud, the Rainbow and the Airplane
. Selling Water in the Rain
. Happy Coolie
. Plum Song
. Celestial Navigation
. Pip�?Ta Passes
. Finale: The Gods Ascend to Heaven
Four Landscapes from H.G. Wells, for magnetic tape and voices (1964)
1. from The Crystal Egg
2. from A Dream of Armageddon
3. from The Valley of the Spiders
4. from The Time Machine
James Rees and Patricia Pertalion, Narrators.
Intermission
No Sound of Water, for ten percussionists (1974)
East Carolina University Percussion Ensemble
Harold Jones, Director.
Phoenix, Burning, for magnetic tape and color organs (1970)
Fletcher School of Music
Recital Hall
Friday, November 15, 1974
8:15 P.M.
THE SCHOOL OF MUSIC
EAST CAROLINA UNIVERSITY
Presents in
FACULTY RECITAL
OTTO HENRY
Electronic Music
with
Slides and Film
The Sky and the Forest (1975). Moog Synthesizer with film.
Green is a nice color, but not in my hair. (1975) Painted film.
Across the River (1975). Moog Synthesizer with slides.
intermission
The Sears Box, for amplified soprano (1968).
Sherry Miller, soprano
. Grave
. Invention on a Hum
. Con Amore
. Canonic March
. Con Fuoco
. Invention on a Sigh
. Amabile
Transmission of the Lamp (1975). Moog Synthesizer and visuals.
1. Bell in the Empty Sky
2. In the dry woods, a dragon is singing
3. The Gateless Gate
Sunday, the Twenty-sixth of October, 1975, at 8:15 P.M.
Fletcher Music Center Recital Hall
EAST CAROLINA UNIVERSITY
SCHOOL OF MUSIC
Presents an
ELECTRIC HALLOWEEN
CONCERT
(Electronic Composer�?Ts Forum)
You 7l Scream Bloody Murder
(even tho your feet are on fire) (3:10)
Seascapes (14:15)
Shells
Fog
Gulls
Prelude to Butterflies (6:10)
from Symphony No. 10 (2:30)
Chasm (4:44)
INTERMISSION
Wolfperson
David Winstead
Eldred Spell
Urbaniak/Holton
Sammartini/Winstead
Denise Hodges
Robert Ashley
Adapted from Robert Ashley�?Ts 1964 avant-garde classic, Wolfman.
Performed by Alex Holton, David Winstead and Eldred Spell.
Pavanne (2:24)
Under the Rock (2:50)
Occurence at Owl Creek (3:52)
Three Omens (11:10)
black cat
full moon
on the road
Hungarian Rhapsody in ¢ minor (4:45)
Fauré/Spell
Alex Holton
Eldred Spell
Alex Holton
Liszt/Winstead
A.J. Fletcher Recital Hall
Sunday, October 31, 1976
8:15 P.M.
THE
EAST CAROLINA
PLAYHOUSE
presents �?"�?"�?"____________
CLAUDE WOOLMAN AMANDA MUIR
MAC -�?"
Bar vEL
A TRAGEDY BY WILLIAM SHAKESPEARE
Directed by EDGAR R, LOESSIN
Setting JOHN SNEDEN
Lighting ANDREW GILFILLAN
Costumes MARGARET GILFILLAN
Music OTTO HENRY
McGINNIS AUDITORIUM
FEBRUARY 16, 17, 18, 19, 20 and 21, 1970
EVENINGS AT 8:15
_MATINEE 2:30
_ 10�?"The Daily Reflector, Greenville, N.C.�?"Tuesday, February 17, 1976
Woolman Stands Out In
MacBeth Presentation
The East Carolina Playhouse
production of William
Shakespeare�?Ts �?~�?~Macbeth�?T�?��?T
directed by Edgar Loessin,
opened for a seven performance
run (nightly through Saturday at
8:15 p.m. and one matinee
Thursday at 2:30 p.m.) at
McGinnes Auditorium on the
ECU campus.
Piaying to an audience of high
school students from many
schools in eastern North
Carolina, this initial per-
formance, marked by several
first rate performances, was
marred by a number of per-
formances characterized more
by well-learned lines recited
than felt.
The production never moved
with the. gathering force of
impending doom and tragedy
which one expects of �?~�?~Mac-
beth.�?T Time and again, the
breakthrough seemed on_ the
verge but never quite
materialized. The dark forces of
evit hovered on the horizon, but
never came into focus, a driving
force to propel the actors into
giving flesh and blood utterance
to Shakespeare�?Ts memorable
lines.
The mechanics are there, well
organized and ready to be
brought to full life �?" hopefully,
that particular reference to real
life with interplay of forces
inherent in this play will emerge
in tonight�?Ts and succeeding
performances. It will be a pity if
this does not happen.
Claude Woolman is
magnificant as Macbeth. He is
Macbeth every moment he is on
stage �?" suffering, tortured and
driven by forces he cannot
' control. Every changing mood of
Macbeth�?Ts complex, ill-starred
personality is projected in
Woolman�?Ts interpretation. And
physically too, he is perfectly
matched to the part �?" com-
manding, regal, every inch a
royal figure. Woolman�?Ts full rich
voice is a vehicle he uses with
compelling power - an in-
strument of exceptional beauty.
Amanda Muir plays Lady
Macbeth with an undercurrent
of sweetness more suited to Mrs.
Miniver than to Lady Macbeth.
Her delivery is exact, sure, and
pleasing, but her performance
simply does not portray a grasp
of the cruel, scheming woman
employing feminine guiles to
spur her man on to black deeds.
It is only in the mad scene that
she establishes conviction �?" in
this brief scene she proves
herself a fine actress.
Banquo, played by Lewis
Weisiger, becomes a fully
realized character. Not a line or
gesture is wasted as Weisiger
takes command and makes. his
Banquo a living person.
John Sneden rightfully steals
the show with his rollocking
performance as the porter,
assuredly one of the most ef-
fective small characters ever
penned by Shakespeare.
Robert Chase as Duncan; Ben
Ramsour as Macduff, and David
Weil as Maclolm fell short of
being inspired. A_ certain
woodenness marred their
performances, although at
times, especially Ben Ramsour
in his portrayal of Macduff,
managed to inject some real
feeling.
John Sneden�?Ts basic setting,
with changes of scenes
suggested by changes of
lighting, is totally effective.
Background music, special
electronic music by Otto Henry,
is one of the unexpected
pleasures in this production.
All the ingredients of a truly
fine �?~�?~Macbeth�?� are here - it only
remains to be seen whether the
well rehearsed cast can over-
come the obstacles and give the
characterizations the quality of
real persons. JERRY
RAYNOR
Otto Henry�?Ts original music,
performed on the moog
mechanically support the lead
synthesizer,
actors.
Thursday, February 19, 1970, Fountainhead, Page 7
It's as if
Staging and acting in Macbeth
someone didn�?Tt trust the Bard�?Ts
(or the Greeks�?T) judgement in
the matter. It�?Ts a spectacle for
to be carried off.
the sake of spectacle.
(continued from page 5)
evil supernatural forces at work
in this play.
And as this happens, the
spectacle tacked onto the text
are consistently effective
helps convey
is too much
flag waving and too many birds
increases. There
throughout,the tension of the
action,
in the
The veteran actors
show(Woolman, Miss Muir, and
Sneden)
the unearthly
chirping. The three spirits pop
atmosphere, and the less than
human,
perform their roles
up where they don�?Tt
almost mechanical
in
beautifully. John Sneden,
least where
Shakespeare didn�?Tt want
them),
(or at
belong
which
compulsion under
his one short Porter�?Ts scene,
gets all
Macbeth falls. All this makes
the drama effective in
possible humor,
and finally Macbeth,
itself.
and tone from his
meaning,
denied of dying in the noble
Why all the added spectacle to
distract and detract from it?
lines. Many of the other parts,
however
Greek fashion--offstage--is slain
are weak and_ onl
right before our eyes and has
Electronic Studio presents _
Hallo ween horror/music hour
Students from the School of
Music's Electronic Music Sttidio
have joined forces to present a
special far-out Halloween concert
�?~of Moog synthesizer sounds, tape
music, live performance and
�?~visual effects that promises to be
serious, spooky and amusing at
the same time. This collective
effort represents years of work
and includes almost every i-
maginable category and style of
electronic music, from tape mani-
pulation to synthesizer realiza-
tions and live performance.
David Winstead�?Ts You�?Tll
a Scream Bloody Murder and De-
nise Hodges Chasm are tape
manipulation pieces, composed
with tape loops and razor blades.
Eldred Spell�?Ts Seascapes and
Occurence at Owl Creek and
Alex Holton�?T s Under the Rock and
Three Omens were composed on
the Moog Electronic Music Syn-
thesizer.
In the category of electronic
realizations are Winstead�?Ts ver-
sions of Sammartini�?Ts Symphony
No. 10 and Liszt�?Ts Hungarian
Rhapsody in C Minor, Spell�?Ts
version of Faure�?Ts Pavanne and
Holton�?Ts interpretation of Urban-
jak�?T s Butterflies, is adapted from
Robert Ashley�?T s 1964 avant-garde
classic, Wolfman, which uses
microphone feedback.
Among the special visual
effects will be color organs, color
wheels, slides, kaleidoscope and
lenticular projectors, strobe
lights, and a host of other
mind- and eye-boggling devices.
The concert will be held in the
A.J. Fletcher Music Center Re-
cital Hall on Sunday, October 31st
(Halloween) at 8:15 P.M. Come
and bring a friend!
The Oberlin Conservatory
BLEGT ONIC
a concert
ECTRONIC MAUSIC: USA
Tuesday, February 27, 1973 1:30 p.m.-10:30 p.m.
Wednesday, February 28, 1975 11:00 a.m.-7:00 p.m.
Kulas Recital Hall, Oberlin Conservatory of Music
O. Wilson U. of California Berkeley, California ***R. Pellegrino Oberlin Conservatory Oberlin, Ohio
A. Gnazzo Berkeley, California O. Henry East Carolina U. Greenville, North Carolina
° A. Strange California State U. San Jose, California R. Hannay U. of North Carolina �?" Chapel Hill, North Carolina
VI U S | (; b VY D. Bates Fresno State U. Fresno, California J. Eichelberger lvey Peabody Conservatory Baltimore, Maryland
J. Hunt Dallas, Texas ' M. Babbitt Princeton Princeton, New Jersey
***P. Lewis U. of lowa lowa City, lowa *B. Fennelly NYU New York, New York
G. Plain Chicago, Illinois N. Creshevsky Brooklyn College Brooklyn, New York
W. G. Bottje Southern Illinois U. Carbondale, Illinois H. Howe Queens College Flushing, New York
W. Kimmel Sangamon State U. Springfield, Illinois **F. Morris �?" Syracuse U. Syracuse, New York
L. Bassett U. of Michigan Ann Arbor, Michigan J. Chadabe SUNY Albany, New York |
*G. Wilson U. of Michigan Ann Arbor, Michigan J. Kramer Yale New Haven, Connecticut
*J. Rinehart Heidelberg College Tiffin, Ohio R. Perera Smith College _ Northampton, Massachusetts
*E. Miller Oberlin Conservatory Oberlin, Ohio E. Schwartz Bowdoin College Brunswick, Maine
0.C.C.M The Oberlin Conservatory
Electronic Music Studios
R. Pellegrino, Director
Kulas Recital Hall Tuesday, February 27, 1973 1:30 PM. 1035?
Wednesday, February 28, 1973 14:00: A.M, ~ 7:00 PAL
ELECTRONIC MUSIC: USA
GLASS AND STEEL (1970) R. Hannay
U. of North Carolina
Chapel Hill, North Carolina
THE GREEN SHOVEL AROUSED (VERSION 5) A. Gnazzo
Berkeley, California
TRIFORM L. Bassett
U. of Michigan
Ann Arbor, Michigan
AN IMAGINARY DANCE (1970-72) J. Kramer
Yale
New Haven, Connecticut
PHOENIX, BURNING 0. Henry
East Carolina U.
Greenville, North Carolina
ALTERNATE ROUTES R. Perera
Smith College
Northampton, Massachusetts
- CETUS (1967) 0. Wilson
U. of California
Berkeley, California
OCCASIONAL VARIATIONS M. Babbitt
Princeton
Princeton, New Jersey
THE DICKENS, WHAT? W. Kimmel
Sangamon State U.
Springfield, Illinois
CIRCUIT (1970) N. Creshevsky
Brooklyn College
Brooklyn, New York
J. Chadabe
SUNY
Albany, New York
*GEOMANTEIA (1969) J. Rinehart
Heidelberg College
Tiffin, Ohio
�?oEXIGENCIES G. Wilson
U. of Michigan
Ann Arbor, Michigan
*SUNYATA B. Fennelly
NYU
New York
* PATCHWORK E. Miller
Oberlin Conservatory
Oberlin, Ohio
�?o© %8S1GNAL-MESSE P, Lewis - Music
F. Miller - Film
U. of lowa
lowa City, lowa
* *XE1GURED FOR 16mm FILM AND QUADRAPHONIC TAPE (1972) R. Pellegrino
: Oberlin Conservatory
Oberlin, Ohio
**TOYS-LIGHTS KINESCOPE F. Morris - Music
R. Marquisee - Kinescoping
Syracuse U.
Syracuse, New York
transhelix J. Hunt
Dallas Texas
SKAGS (performed by Biome) A. Strange
California State U.
San Jose, California
FREEZE (1972) H. Howe
Queens College
Flushing, New York
OBERLIN COLLEGE
OBERLIN. OHIO 44074
THE CONSERVATORY OF MUSIC
March 2, 1973
Dear Professor Henry:
Thank you for letting us hear your work. The audience
which was drawn from a 100 mile radius was appreciative of
the opportunity to hear so many of the composers working
in electronic medium. I and my students were especially
grateful for your positive response to the invitation.
Sincerely,
CR Paegun
R. Pellegrino
\
The Music Department of
Atlantic Christian College
Wilson, North Carolina
presents
FIFTH FESTIVAL OF CONTEMPORARY ARTS
Concert�?"Panel Discussion
Monday, March 20, 1972
8:00 p.m.
Omnibus 1 . : ; ee �?~ �?oBe : �?o rite . Otto Henry
Instrumental Group From East Carolina University
Canon/Fucgue and. Toccata: =" & 3.4% John Davis
William & Thelma Sasser, Pianists
Gambit For Solo Percussion & Tape . . . . William Duckworth
Andrew Preston, Percussionist
INTERMISSION
Panel Discussion
Robert Sherman
Otto Henry, East Carolina University
John Davis, North Carolina Wesleyan College
William Duckworth, Atlantic Christian College
PROGRAM PSALM 90 Charles Ives (1923)
Soprano SHEILA MARLOWE
Tenor SANDY MILLER
Igor Stravinsky (1948)
Organ
Lee Hendricks
Soprano SHEILA MARLOWE
Alto KAREN HELMS Handbells
Tenor SANDY MILLER Carrie Bean
Bass BOB EDWARDS Rie Davis
Mary Ester Becker
Susan Zeiglar
Oboe . Lisa Huffman
Lisa Huffman Diane Bocks
Steve McKinny
Chimes
English Horn Larry White
John Goodall
Gong
Bassoon. Jim Allison
Vince Pitt
Susan Zeiglar
MASS Otto Henry (1973)
Trumpets
Alex Holton . Sanctus �?"
Jim Allison Agnus Dei
Trombone
Bob Conger
David Herri Soprano MARY MAY
aca Alto KAREN HELMS
Bass Trombone Tenor SANDY MILLER
Tom Shields Bass BOB EDWARDS
130 CAROL DRIVE TERRE HAUTE, INDIANA 47805
Dear Composer,
EXECUTIVE OFFICERS Thank you for entering the Percussive Arts Society Composition
Contest. The winners of the contest are:
PRESIDENT
GARY OLMSTEAD
"Six Invocations to the Suara Mandala" - Walter Mays
FIRST VICE-PRESIDENT »
hake�?� pipet 4320 Janesville
Wichita, KA 67220
SECOND VICE-PRESIDENT
LARRY VANLANDINGHAM
�?oTwo Movements for Mallets" - William J. Steinohrt |
EXEC. SECRETARY-TREASURER Wright State Univ. - Music Dept.
NEAL FLUEGEL Dayton, OH 45431
RECORDING SECRETARY
JACQUELINE MEYER "Siderals" - Marta Ptaszynska
PUBLICATIONS 45125 Fairmount Rd.
Chagrin Falls, OH 44022
THE PERCUSSIONIST
NEAL FLUEGEL, EpDITOR 2 Ps
The following compositions recieved votes:
PERCUSSIVE NOTES
JAMES L. MOORE, EDITOR
BOARD OF DIRECTORS �?oIntrusions�?� - John Serry, Jr., Eastman Residence Halls, 424
University Ave., Box 320, Rochester, NY 14607
GARY BECKNER
GARY BURTON a . P ,
JAMES COFFIN �?oUntitled Piece for Percussion Ensemble" - David Rosenthal, 427 3
eo lst St., Fillmore, CA
RON FINK 93015
NEAL FLUEGEL
JIM GANDUGLIA : :
NORMAN GOLDBERG "No Ecundcvof.Watert - Otto W. Henry, Sch. of Music, East Carolina
RONALD KEEZER . *
JOEL LEACH Univ., Greenville, NC 27834
MARTIN MAILMAN
eet ae eee "Forests of the Sun" - Tim Clark, 663 East Ave., Strasenburgh
JAMES MOORE . Planetarium, Rochester, NY 14607
JOHN MULVEY
GARY OLMSTEAD :
JAMES PETERCSAK "Red Dust" - Donald Sur, 6 Ashton Pl., Cambridge, MA 02138
DICK RICHARDSON
PHIL STANGER pe ee : gar or
LARRY VANLANDINGHAM Traces" - Randall Shinn, 906 E. Michigan, Urbana, IL 61801
PEGGY WHITE
MARTIN ZYSKOWSKI
�?oFive Alarm Time Cycle" - Peter Magadini, 105 Deloraine Ave.,
ADVISORY COMMITTEE Toronto, Ontario M5M - 2Bl
DONALD CANEDY : 2 * .
SAUL: FELDSTEIN _ "Lenore" - Mike Hayes, Box 5723 TTU, Cookeville, TN 38501
GORDON PETERS 7
Lie Re _ "Nonet 3" =- Charles T. Blickhan, 496 E. Michigan, Apt. 3, Urbana,
NANCY . KENT IL 61801
"Krishna" - Raymond Luedeke, 1708 Strongs Ave., Stevens Point,
WI 54481
Sincerely,
Nisb Vlg
Executive Secretary, PAS
AMERICAN MUSICOLOGICAL SOCIETY
9:00- 9:30
9:30 -AZ15
12:15 --. 2:00
2:00- 4:30
SOUTHEAST CHAPTER
SPRING MEETING, APRIL 8, 1972
SCHOOL OF MUSIC
EAST CAROLINA UNIVERSITY
GREENVILLE, N. C.
Registration and Coffee, Lobby and Faculty Lounge
First Session, B105
�?oDivergent Feelings in One Place: The Musical Consequences
of a Goethean Mistake�?�
Luise Eitel Peake (University of South Carolina)
�?oTonal Organization in Haydn�?Ts Development Sections�?�
Harold Andrews (University of North Carolina at Chapel Hill)
INTERMISSION
�?oProblems of Authenticity in the Music of Haydn and Mozart�?�
Guest Speaker: Jens Peter Larsen (Copenhagen; Visiting
Professor: University of Wisconsin)
Luncheon, Holiday Inn
Concert by East Carolina Collegium Musicum, Barbara Henry
and Robert Irwin, Conductors
Second Session, B105
Business Meeting
�?oThe Blues Harp�?�
Otto Henry (East Carolina University)
�?oOn the Rhythmic Significance of Beethoven�?Ts Annotations in
Cramer�?Ts Etudes�?�
William S. Newman (University of North Carolina at Chapel
Hill)
�?oThe Wagner-Brahms Controversy: a Personal View by Hans von
Bulow�?�
Susan Patrick (University of North Carolina at Chapel Hill)
friday
8:00 p.m.
U8 ae, hall
Welcoming remarks by James W. Pruett,
chairman of the Department of Music, Uni-
versity of North Carolina at Chapel Hill and
by Arthur Jannery, president of the South-
eastern Composers League.
Second Fantasy
on Ives�?T Universe Symphony Larry Austin
Ann Woodward, viola
Donald Oehler, clarinet
Francis Whang, keyboards
David Wonsey, percussion
Midnight Blue William Duckworth
Norwood Howard, saxophone
Fantasia on One Note Arthur Hunkins
(for Aries synthesizer and Art Hunkins)
Voices of Darkness Wayne Barlow
Susan Bradford, recitor
William Chicurel, piano
David Wonsey, percussion
Roger Hannay, conductor
INTERMISSION
Prelude, Fugue and Big Apple Walter Ross
David Reed, bass trombone
Bring Back Yesterday Otto Henry
Otto Henry,Synthi AKS
visuals by Otto Henry
Ukrainian Fantasy Don Freund
Adrian Bryttan, violin
This is a Test #10536 Donald Evans
Sonnetto Gilbert Trythall
Gilbert Trythall, Moog synthesizer
Favors y
Ss BiG ees sea
roomlOs
MEETING OF THE
SOUTHEASTERN COMPOSERS LEAGUE
(open to members and to all
visiting professional and student composers)
saturday
oJ p.m.
Beicarcal a |
Partita for Electric Oboe John Corina
John Corina, oboe
with ARP synthesizer
Variations on a Theme of Webern Donald Maclinnis
Alan Smith, cello
Skaniadaryo Jean Eichelberger Ivey
Barbara English Maris, piano
ARP-Dances Roger Hannay
visuals by Donald Evans
mime by Warren Johnson
INTERMISSION
Sound Pieces from Scratch , Frank McCarty
Raymond Gariglio, clarinet
Honeydew (video cassette) Jerry Frohmader
Linguistics Marvin Lamb
George Broussard, trombone
Music for Percussion and Tape Frank Wiley
percussion ensemble:
Larry Duckworth
Robert Long
David Wonsey
Frank Wiley, conductor
MARS HILL COLLEGE
MARS HILL, NORTH CAROLINA 28754
November 8, 1976
Mr. Otto Henry
School of Music
East Carolina University
Greenville, North Carolina 27834
Dear Mr. Henry:
It gives me great pleasure to inform you that your piece Sanctus
is one of the winners of the Hinshaw Publication Award for the Mars
Hill Choral Series. The announcement was made Saturday afternoon by
Don Hinshaw of Hinshaw Music Company, Inc. at the First Annual Choral
Composition Festival at Mars Hill November 6.
Mr. Hinshaw will also publish Entreation by Bradley Nelson of
Indianapolis, Indiana and Psalm 66 by Jerry Seig of Williamsburg, Kentucky
If the composer can clear rights to the text, Hinshaw may include The
Cries of New London by Rob Newell of Long Beach, California in our series.
Your piece is very effective and Bill Thomas looks forward to including
it in his spring tour and on the second festival concert next fall.
We were sorry you were unable to attend, but look forward to having
you with us next year.
Again, thank you for a fine piece that will add much to our series
and congratulations on your award.
With very best wishes,
Sincerely yours,
Donna Robertson, Chairperson
First Annual Contemporary
Choral Composition Festival
DR/mb ;
ce: Mr. Donald G. Hinshaw
NORTH CAROLIMA MUSIC (Listing of Fisal Five, of
Fourteer Monthly Programs)
Program #10 (July 1976)
Alfred H. Yopp (deceased--Wilmington) Cakewalk
Ferformar--Dr, Richard Deas s piano
Eddie C, Bass (UNC-G) Three Pieces for
Pertormers--Philip Koonce, oboe Ralph Leckvosa, dy iano
Harvey Miller (Brevard College) Thre BgE
Performers~Ralph Watta, baritone, oa chaaber enseable
Thomas Turser (UNCCharlotte) )
Partormre--Michael Mesaley, guitar Vencane Tine, plane
TIME s 27°25"
Pregram #11 (August 19%)
Dowwa Rebertaon (Marea Hill College) Tove
Ferformers--Savasota (Fla.) High School Girls! Ghoras
Jack Jarrett (ferusrly of UNC-G) ¢ e (opsraj--Act IXS, fur
Charlies Lynam as Cyreno; Chris Davis aa Roxanne ; Soloiats, Chesale
amd Orchestra ef the UNC-G Opera Theatre under tha direction of
Jack Jarrett
TIME 3 29 '9o i�?�
12 (September 197%)
Otte Henry (East Caroliva University) No Sound of Water
Performers=-East Carolina University Percussion Ensemble,
Harold Jowmeg, director
Frederick Beyer (Greensboro Goliegs) Three Preludes for Piano avi Taps
Performar-�?"Henry Tugram, piaso .
TiMgs 28°00"
Program #13 (October 19°%6 )
Awn Listokin (Salem Coliege) Four Spanish Songs
Performara�?"-Elien Poindexter Elkin, soprano Anna Listokin, plane
Wilmex Haydez Weleh (Davideon College) Passion Music (excerpts�?"
Prelude and Sanctus)
Performex--Wiilmer Welsh, organ (UNC-G)
(John Philip Sousa and) Arthur Hunkins/ The Stars and Stripes Revs
Performer--~irtime Runkins, Electrecomp synthesizer
TIME: 30°02" (29°06" to VO)
Pregram #14 (Nowember 197%)
Rese Marie Cooper, ASCAP (Gresnsboro) Chamber Suite
Perforsarse�?"Jvel Apirews, herp Don Adcock, flute Tony Dancy, oboe "anor
Jay Williams (NCSA) Bonophony
Perforssx--day Williams
TIME: 29°41" (28534" to VO)
pctober28-20,1077
UN iversity of mpeeus Caro fee
chapel hill
hill hall
The University of North Carolina
Chapel Hill
Department of Music
Hill Hall
in cooperation with
The Southeastern Composers League
and
The New York Composers Theatre
presents
THE SEVENTH ANNUAL ELECTRONIC-
MUSIC-PLUS FESTIVAL ,
with
The UNC New Music Ensemble
Roger Hannay, director
Guest Composers and Performers
and
Members of the Performing Faculty
of the Department of Music
October 28 - 29, 1977
SPECIAL THANKS TO:
James W. Pruett, chairman, Department of Music
University of North Carolina, Chapel Hill.
Arthur Jannery, president, Southeastern Com-
posers League.
The New York Composers and Choreographers
Theatre.
Charles Hauser, James Eddings, Daniel Sanchez,
and Alexander Maclnnis, UNC-CH, audio
assistance.
Donald Evans, Vanderbilt University, assistance
with visuals.
Cathy Van Maren, UNC-CH, administrative assistant
Kathryn Logan, UNC-CH, Assistant Music Librarian,
publicity and programs.
Bill Meredith, UNC-CH, publicity and programs
assistant.
Members of Phi Mu Alpha and Sigma Alpha lota.
Larry Rowan, UNC Physics Department
UNC-G
NEW MUSIC WEEK
FRIDAY /SEPT. 9: TARC CONCERTA
MUSIC BY FRIENDS & FIENDS
University of North Carolina at. Greensboro
New Music Week Kirkland Room �?o~hL300 iS Friday, September 9, 1977
WONG BONG - FRANK McCARTY
THE PURE LAND. - OTTO HENRY
ELEMENTALS - JOHN SELLECK
Water
Earth
alg
Fire
AT REICHENBACH FALLS - JAY WILLIAMS
PRELUDE IN D MAJOR - FRANK WILEY
SPRING
43 W. 61 St., N.Y.C. 10023
Tel. (212) 586-7260
RECORDS
FS 3848 BETWEEN THE SOUND & SEA: Oral Tradi-
tion Music of the North Carolina Outer Banks,
Collected by Karen G. Helms. Recorded by Otto
Henry and Karen G. Helms. includes Harmonica
medley, Lullabies, Mandolin Medly, and traditionai
songs with Edgar Howard, Isabel Etheridge and
many others. Johnny O�?TLou=Dile Gallop (d. 1976),
Harmonica Medley�?"Isabe! Etheridge (Home Sweet
Home, Kitty Wells), Amber Tresses �?" Isabel
Etheridge and Mary Basnight, Lullahy/ Chiidren�?Ts
Song�?"Elizabeth Howard (Ole Tucky Buzzard, Oh,
Pray Doctor), Mandolin Medley�?"Lawton Howard
(Little Sydney (Cindy), Round the Mountain),
Seventy-Two�?" Dick Tillett, Tom Dan�?Tls�?" Edgar
Howard (whistle), Jule Garrish, Maurice Ballance,
Matilda Jane Lee�?" Edgar Howard (whistle), Jule
Garrish, Maurice Ballance, The Sailor Boy �?"Dick
Tillett, Nellie Cropsey�?"Isabel Etheridge, Charlie
Mason Pogie Boat�?" Charles Stowe, Carolina
Cannonball�?"-Charles Stowe, Harmonica Mediey�?"
Jule Garrish (Casey Jones, The Old Sow[Jumped
Over the Fence, The Little Ones Crawled Under},
Booze Yacht�?"Jule Garrish, Paddy�?Ts Hollow�?" Edgar
Howard (soloist), Jule Garrish, Maurice Ballance,
Let's Keep the Holler Alive�?" Edgar Howard. illus-
trated notes enclosed.
1-12�?� LP'$6.98.
14
In Wingate student center
Otto Henry, a noted North
Carolina electronic music
composer and performer, will
present the first musical con-
cert in the Wingate College
Dickson-Palmer Center this
- Friday evening at 9 p.m. The
concert in the center�?Ts Helms
Forum will occur just hours
after the dedication of the new
center.
Henry�?T s Friday. evening
performance of -electronic�"�-
music is an �?~intermedia
presentation with special visual
effects accompanying his
music. The program will in-
clude compositions of varinus
style, including those entitled: -
The Gateless Gate, The Pure: .
Lane�?T Bring Back Yesterday;
Four. Landscapes�?T From HG.
Wells and Phoenix Burning.
Equipment used will include a
moog synthesizer, Synthi AKS,
�?~magnetic tape, color organs
and slide projectors.
Henry is a native of Nevada,
but was raised in the North |
Carolina�?T mountaius.. He at- *
tended the University of North
-Carolina at Chapef Hill, Boston
University, and obtained his
�?~doctorate-from Tulane
Unitersity in 1970, He camé to.
East Carolina�?T University in.
1968,-where he designed and
built one of the largest elec-
fronic: misi i¢ studios oh the East
Hen 4s ° active�?oas a
composer, in Ye traditional �?"
Musteian Otto: Henry
ee
;
a
coe j To he Tay new student: center�?�
and .electronic idioms. His
music is published by Robert
King, Media Press and Hinshaw
Music.
Henry�?Ts concerts. are in-.
formal and his program notes
suggest to the-listener.the at-
_ mosphere and images of the
original compositions. His style 4
of electronic music bridges the«
gap between comtemporary.
popular uses of the synthesizer
and the more formal or
�?oserious�?� art music, according -
to most electronic music ex--.
perts.
Crane School of Music, State University College, Potsdam, New York
EVENING CONCERT SERIES PROGRAM FOR 1977-1978
CRANE PERCUSSION ENSEMBLE
James Petercsak, Conductor
Richard Holly, marimba soloist
Wednesday, November 30, 1977 8:00 p.m.
Sara M. Snekl Theater
PROGRAM
PRELUDE for Percussion .
BARE e775 2 eer é -D. Gordon
James Ryder, recorder
PARAGONS Hee RBIS ig os, DG nt, Ree aren sane aa Ens
Richard Holly, marimba soloist
Percussion Quartet
M. Benedict, G. France, R. Holly, K. Moran
KNOCK ON WOOD. . ... 3 2 : Seo hs oh Bhank
MOSAICS . . �?~ : 2 A See te «We �?oHUDDIS
SUITE for Percussion. ._ : 2oW oe Krart
Percussion Ensemble
1) SOUND OF WATER... 2 6-4 .0. Henry
CRANE PERCUSSION ENSEMBLE PERSONNEL
Allison, Paul
Benedict, Michael
Brown, Kathy
Cantisani, Pietro
Donnelly, Jeffrey
Dunda, Stephen
France, Gary
Gordon, David
Holly, Richard
Kayne, David
Melito, Thomas
Monahan, Ellen
Moran, Kevin
O'Shea, Dennis
Rand, Christopher
Severance, Scott
Smith, Randall
Swift, Charlotte
Taormina, Peter
Tranchino, Eugene
Watnik, Robbi
STATE UNIVERSITY COLLEGE
POTSDAM, NEW YORK 13676
CRANE SCHOOL OF MUSIC 7 Telephone: (315) 268-2969
Jue
Cast Carolina University N77
o 8 choot of 77) US2C NZ
(i W\ ~ Presenis~
�?oConcer? Band
Sack Stamp~D ee Botos
~ assisted by¥~�?" = z=
- Univers? By ty. Choralé is
core ~ Director
xy yyeparies
Cn ee 23 /02F B-
F110 pr 2S Pad Wo
PROGRAM
Antiphon (1971) Fisher Tull
(1934- +)
Rondo Pequeno (1956) Otto Henry
(1933- )
Celebrations for Chorus and Wind Ensemble (1966) Vincent Persichetti
(1915- )
I. Stranger VII. I Sing the Body Electric
Il. I Celebrate Myself VIII. A Clear Midnight
III. You Who Celebrate Bygones IX. Voyage
INTERMISSION
Second Suite in F (1905) Gustav Holst
(1874-1934)
Spectrum for Tape and Band (1967) Herbert Bielawa
(1930- +)
Dr. Otto Henry, Tape Technician
Incantation and Dance (1962) John Barnes Chance
(1932-1972)
Celebrations
Stanger
_ Stranger,
if you passing meet me
and desire to speak to me,
why should you not speak to me?
Any why should I not speak to you?
I Celebrate Myself
I celebrate myself,
and sing myself,
and what I assume,
you shall assume
for every atom belonging to me
as good belongs to you
I loafe and invite my soul
I lean and loafe at my ease
Observing a spear of summer grass
You Who Celebrate Bygones
You Who Celebrate Bygones
Who have explored the outward,
the surfaces, of the races,
the life that has exhibited itself
Who have treated of man as the creature
of politics, agregates, rulers and priests,
I, habitan of the Alleghanies
treating of him, as he is in himself in his own rights,
Pressing the pulse of life that has seldom exhibited itself,
the great pride of man himself
Chanter of Personality, outlining what is yet to be
I project the history of the future.
I Sing the Body Electric
I sing the body electric
the armies of those I love engirth me
and [ engirth them
They will not let me off till go with them
respond to them and discorrupt them
and charge them full with the charge of the soul
Was it doubted that those who corrupt their own bodies
conceal themselves?
And if those who defile the living are as bad
as they who defile the dead?
And if the body does not do fully as much as the soul?
And if the body were not the soul?
What is the soul?
A Clear Midnight
This is thy hour O Soul
Thy free flight into the wordless
Away from books, from art,
the day erased, the lesson done,
Thee fully forth emerging, silent, grazing,
pondering the themes thou lovest best,
Night, sleep, death and stars.
Voyage
PROGRAM NOTES
Antiphon is in the nature of �?oliturgical festive music.�?� Antiphonal contrasts between
brass and woodwind sections are employed throughout the composition. The design is based
on a tripartite framework with the outer rhythmic sections in extreme contrast to the lyrical
flow of the middle section. In this short work, therefore, the full expressive range of the wind
and percussion instruments is brought into play.
During my military service in Panama in 1955, I visited a small rural cantina where I found
a local dance orchestra giving an impromptu concert on a motley collection of instruments.
The songs and dances were Spanish in origin, but the raw, primitive vigor and the improvised
harmonies came from their own culture and their own feelings about music.
The image of this music returned a year later when I had left the service and began to
compose on my own. Rondo Pequeno was practically my first serious composition. Twenty
years ago its rhythmic syncopations and peculiar twists were a bit avant-garde and it was never
performed. It is still a difficult piece and I am grateful to be able to hear it performed after
all this time.
Celebrations for Chorus and Wind Ensemble was premiered November 18, 1966 �?~at Wis-
consin State University at River Falls, the composer conducting. There is a great sense of
warmth and joy in the score and this effective setting of Walt Whitman�?Ts text allows the words
to project with perfect naturalness. (text included)
* * *
In 1905 Holst became involved in the rediscovery of English folk songs and came to realize
that folk tunes had the simplicity and economy he felt essential to any great art! The result
of this influence was a purification and simplification of his style combined with a new flexi-
bility and freedom. The Second Suite (March, Song Without Words, Song of the Blacksmith
and Fantasia on the Dargason) is based on folk tunes from Hampshire, each of which is treated
in a different style.
Spectrum is a work for mixed media �?" a pre-recorded tape and live musicians. Two parti-
cular aspects of the piece are thus thrust beyond the traditional: instrumental color (electronic
sounds) and harmony (cluster sonorities). To counterbalance these two extremes, the piece
is formalized in a traditional ABA setting. The A section is an interweaving of four musical
gestures which leads to the B section, which is predominated by the tape. The electronic
sounds have their source in a piano and �?owhite noise�?� After a solo exposition by the tape,
the band slowly enters which propels the piece into the recapitulation of A. This time, the
tape enters in tempo with the band, stating the first five notes of the A theme in an ostinato
pattern. The ostinato overwelms the band as the percussion come into direct combat, with
the tape. The percussion section succumbs and the band builds to the final statement of the
tape which is soft and distant.
UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN
School of Music
AN EVENING OF ELECTRONIC MUSIC
OFFERED BY THE EXPERIMENTAL Music STuDIos
AS PART OF THE SPECIAL FOUR-DAY WORKSHOP IN ELECTRONIC Music
Music Building Auditorium, Tuesday, July 11, 1978, 8:15 P.M.
- HOOPLA! (1969) Edwin London
musique concrete and electronically generated sound
Undefined Globals (1977) Robert Eichler
electronically generated sound
In Celebration (1976) Charles Dodge
computer generated speech .
text by Mark Strand
Arrows of Desire (1978) Otto W. Henry
electronically generated sound
What Cheer! (1978) | Dan Senn
musique concrete and electronically generated sound
Rule III (1976) : Paul Christian Koonce:
musique concrete
INTERMISSION
(10 minutes)
Susurrus (1978) | Robin Heifetz
musique concrete and electronically generated sound
Devil's Hopyard (1974) aie Edward Diemente
electronically generated sound
411-56 J.C. Oliverio
For Jon - Fragments of a time to come (1977) Lars-Gunnar Bodin
computer generated sound
ARROWS OF DESIRE «ss SYSTEM SCHEMATIC OTTO HENRY
| synthi aks �?owig7e.
TAPE REC
01
02
pal
O4
SCHOOL OF MUSIC
EAST CAROLINA UNIVERSITY
Presents in
Faculty Recital
OTTO HENRY
A Recital of electronic music
MUSIC FOR A MIDSUMMER NIGHT�?TS DREAM (1978)
. Overtune and March
. Nocturne for a Fairy Queen
. Bottom�?Ts Rhumba
Rock
. A Dirge: Sixpence a Day
. Ambience
. Bergomasque
. Phinale
|
2
3
4.
5
6
7
8
THE PURE LAND (1977), for synthesizer and
painted slides
INTERMISSION
THREE GYMNOPEDES (1888) Eric Satie (1866-1925)
electronic realization 1978
FOUR LANDSCAPES FROM H.G. Wells (1964)
voices: Joseph Kagle, Jr., Mary Jane Hohenstein
1. from The Crystal Egg
2. from A Dream of Armageddon
3. from The Valley of the Spiders
4. from The Time Machine
THE RIDE OF THE VALKYRIES (1856) Richard Wagner (1813-1883)
electronic realization 1978
A.J. Fletcher Recital Hall
Sunday, October 8, 1978
8:15 P.M.
THE 1978 FESTIVAL OF NEW MUSIC
Saturday morning, October 28
Hill Rehearsal Hall 11:00 AM
MEETING OF THE SOUTHEASTERN COMPOSERS LEAGUE
(open to members and to all
visiting professional and student composers)
{[NOTE: At this same time, members of the UNC
New Music Ensemble will be appearing at the
NCMTA Convention in Raleigh to perform this
year's prize winning student composition,
Dodge by UNC graduate composition major,
James Mobberley. }
THE 1978 FESTIVAL OF NEW MUSIC
Saturday afternoon, October 28
Hill Rehearsal Hall 3:00 PM
| The New Music Ensemble
Roger Hannay, director
The Percussion Ensemble
Lynn Glassock, director
-PROGRAM II-
Concertino for Trumpet and Orchestra Stanley Friedman
Stanley Friedman, trumpet soloist
Five Dream Sequences �?ois : sts Walter Ross
Triangle ; 45 a : 1 Jane Wilkinson
No Sound of Water | re: Ee Otto Henry
The Percussion Ensemble
conducted by Roger Hannay
Hill Rehearsal Hall 4:00 PM
--- Composer*s Forum ---
(An interchange of ideas among
visiting composers, performers, and audience)