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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

os @ ©
Fs) He ee pees }
BMG X 463 )
�?~
imerica )
eo © & &
e@ © @ 6

® @ 3

Ps

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

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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.

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me eels ecm

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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

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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,
ACOLLEGEARTDEPARTMENTPRESENTSTHEKEUKACOLLEGEAR)
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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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LARLEERM IS Sion

�?~AoTuse 1

+t If defective tape of VISAGES is replaced by Austrian
distributor in time

the case annual presentation

production
poster photograph

poster design

oOTSnu [TejUoUTIsdxs jo

audio & video equipment

SITYM-SUTPTIM I

program

DTAOD saTseyo

uBUPTS PIBYyoOTIA

SITYM-SUTpPTIM 3

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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

�?~Aa Tyuse I

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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.�?�