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’S 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) “Vi 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’s 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’ 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’s 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’ 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’ 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’ revisions which are based on his treatment of the melismas include variations in the grouping of notes, the modification of the “reiterative 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’s 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’hui (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 “literary” ~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, “Interior 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 “General Consider- ations’’, 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. “Musical 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’s discourse can be identified as (1), the insistence upon the primacy of the listener’s 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’ contempt for other composers (“‘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’s language, the organization and syntax reveal some inherent faults. Boulez is preoccupied with “thing” 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’s 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’s 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 “poverty 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 “theory” of music. The “theory” 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’s section on “Musical Technique”) is seldom audible in the sounds themselves, the composer’s verbalizations about his music. become increasingly significant because they contain more information than the music itself. In this light, Boulez’s book is representative of the expanded role of, verbalizations about music in the West. Although it is difficult to agree with some of Boulez’s opinions and hard if not impossible in some instances to understand Boulez’s 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’s 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’s 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’s 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’s 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’s 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’s 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’s intentions to write a layman’s 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 “great” 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’s 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’s 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’s 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’s solution to the problems posed by these absences is doubtless as sincere as, say, Ligeti’s or Stockhausen’s. 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’s 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 “coloration” 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 “mood” indications (drammatico; espr.) seem a little out of character. The complete range of the instrument is used, from eh to bh’” (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’s to 5 P’s) 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 (“to 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’s 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 (“Musser F-04, brass mallet”). The performers’ 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 “distribu- 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 (“anger—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 “riffs,” microtonal “bends,” 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’s 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’s supplying the materials and the performers’ 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 “keeps 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 “what might occur if the work utilized indeterminate elements” (see the prefatory remarks to the score). These elements—durations, we assume—are here “fixed” and “precisely 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 “fluctu- 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’s idea of Klang- farben as manifest in the third movement (“The 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’Angle- 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 (“much 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 “chimes” 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 “2” (i.e., played by the sec- ond horn). When the third and fourth horns are inverted in m. 57, the upper part is marked “2” instead of “4.” 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 “In 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’ 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 “2.” No other dynamic indications are given except that the piece is to be “very 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’s 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: “...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’s 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’s 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 “Music 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’s 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’s 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 “key- board glissando,” the “ascending burst of white noise,” and the “reverberated 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’s dictionary defines “animus” 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’s material seems to be anticipated, and the part is occasionally metric enough to guide the pianist’s 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’s 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 “wings” 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’s 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 “mechanicalism,” and the inherent dif- ference between instruments and _ elec- tronic sound. A new trend towards “live” electronic manipulation without tape has begun and has gone a long way towards solving these problems which Davidov- sky’s 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 “tattooed 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 “dull and trivial.” Arthur Cohn acclaimed it with emphasis as “one 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’s piece is supplied with two two-piano parts titled “Version One” and “Version 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, “for 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’s death. 804 The score, a legible if not very dis- tinguished reproduction of the composer’s 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 “Instead of applausing [sic] public sings the same note. time = oo (infinity).” Antoniou’s 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’s 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’s 1970 Parodies (e.g., “hoarsly, stutterly, stammerly, baritonicaly, asth- maticaly,” or “neutraly, lyricaly, erotic- aly, epicaly, sarcasticaly,” even “homo- 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: “o katalominai rhinozerossola hop- samen lautilalomini hoooo.”). A page of directions (both German and _ English) outlines the “plan” of the theatrics: the baritone begins in imitation of Figaro’s aria from Rossini’s 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 “flute, 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’s 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’s 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’s piece does not make _ exces- sive demands upon the performer’s 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’s 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’s 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 “slimy,” “de profundis,” “manaical’ [sic], and “Dance to the Scaffold” reinforce the nar- rative character of the. composition. The beginning even imitates the augmented fourth intervals of the Devil’s violin tuning, after the manner of Liszt’s Me- phisto Waltz and Saint-Saéns’s 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’s manu- script. Calvin Hampton’s 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’s 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’s 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’s 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’s 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’s Poéme discontinu pour soprano, fliite, violon, violoncelle, et piano, expression- istic texts drawn from the collection “Poeme 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 “wrong-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) “e” 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’s 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, “For 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’S 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’s 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’s 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’s 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’ 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’s 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 “boing,” “ping,” or “clang” 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’re a child). Elis Pehkonen’s 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 “And 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 “any 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 “mod” flavor to the piece. R. Murray Schafer’s 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 “box” 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. “Jazzy 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’s 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 (“middle 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’s “Books 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’éditions, 1972. 435 p. troduzione: G. E. Simonetti. Roma: Arcana, 1973. Biamonte, Salvatore G. L. Armstrong, l’ambasciatore 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’ movements) and two “technician/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 “1” and “0” denote a “suggestive pattern of complementarities” between male and female such as “singular-plural,” “discon- 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 “‘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’ movements and emo- tional states, and the few stage materials required (brown paper for a “path,” risers and cushions, screens and backdrop, and mirrors). The latter serve among other things to cue in the singers’ various “modes”: 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’s 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’s reaction into his scheme: “N.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 “good” piece, in my opinion, is one in which the system will generate a satisfactory perfor- mance every time. The rules or “grammar” 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’s 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’s 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 “stop 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 “stop 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’s Display II—an “impro- 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 “You 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’ 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’s 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’s 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’s 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’Axél [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’s Visages d’Axél, 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’Isle-Adam for much of his creative life. Arthur Symonds charac- terized the play, posthumously published, as a “typical Symbolist drama,” and its author (credited with having fathered the Symbolist movement) as “a 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. “In 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’s 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 “the 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’s 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’s rejection may be another’s 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’s 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’s 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’s 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 “Hommage a Beethoven’ 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 “form” 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 “sound-oriented” style of avant-garde composition. The work is organized into seven short faisceaux (“bundles” or “clusters”) which alternate between static and active textures. Pitch is specified by the use of conventional music staves, but the positions and dura- tions of the notes are determined by the performers. No metric time signatures are used in this piece, and the length of the numbered bars depends upon the conduc- tors interpretation of the mood of the musical context. The notation is particularly well-designed and explicit in meaning. The extended note-heads and density-beamed accelerandos and decelerandos used here are already familiar conventions. Some organi- zation by twelve-tone field is evident, espe- cially in faisceaux VI, where the composer takes clever advantage of various ways of dividing twelve pitches among the alternat- ing trio groups. The brass parts call for some rapid tonguing, but do not make unusual de- mands on the performer. Fluttertonguing and muting is overdone, but good use is made of other special effects such as glis- sandos, breathing through the instruments, and rattling the valves. The percussion parts have some extremely rapid passages as well as some difficult alternations, but the parts as a whole are well-planned and should not surpass the capabilities of agile percussion- ists. The textures are carefully structured for variety and shape. The continuity of the piece may suffer for having been divided into so many sections, most of which begin with percussion solos. Another feature which might work to the detriment of this piece is common to the sound-oriented idiom in general: the restrictions imposed by the very clarity and simplicity of the notation itself. Although clarity and sim- plicity of design and content are desirable: elements in any notation system, there is always the danger of resorting to a mere permutation of the special effects and gim- micks which the notation expresses most easily. Fortunately, Ozma seems to have enough direction and formal structure to be able to avoid this trap. Otro HENRY East Carolina University N. C.. Ww iLSON, wn oe THURSDAY Aw A MEPRESE AA “ef ENA V VIEW PED Al A rte Noet inal of ae ee a Cee wd hy amet WT Oncaea: —— whee linen QW By OTTO W. HENRY Last night’s 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”’, 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. “HPSCHD”’ 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’s ‘‘Usable. Music I’’ (1967), William Hellermann’s ‘Ariel’ (1967), and William Duckworth’s ‘‘Western§ Exit” (1969). Leedy’s piece ‘‘for very small instruments with holes’’ was realized by 18 members of the ACC Band using harmonicas. CRTVR Fr me eels ecm ee GAG a HNL SLA © a The two movements (performed from behind the audience in the balcony) were short, ' plaintive and somehow touching in their simplicity and directness. ‘Ariel’, an electronic com- position for tape alone, seemed dry and academic by. com- parison. ‘‘Western Exit’? combined two slide projectors, a film and an announcer with nine _in- struments (mostly percussion). The instrumental sounds seemed to revolve in repeated seclions and generated a slightly strange rock atmosphere. The visuals (also by. the a] Sor se Sa 9) wh dA Bh rn — aw o™ aN 6? -~ T°S while VS Nk We ed AS WY NAG composer) sup erimposed their rhythms on this ostinado. The combined effect was like a cross section of newsreels; past, present and future Duckworih’s 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’s 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’s 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’s 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 “Chukchansi 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 “Songs of a Rada community in Trinidad.” Anthropos, 51:157- 74, Waterman, R. A.: 1943 “African 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’s 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’? 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’s pieces. For example, no mention is made about the electronic portions of Charles Hamm’s Canto or Salvatore Martirano’s 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’s 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 “dodecaphonic” 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’s 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’s 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 (“Oh, 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 “pretty 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 “studio 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’s notes also refer to an objective of “instrument-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’Edgar Poe (1964) restricts the material to a voice recording of Mallarmé’s 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’s 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 “velocity” style described above, Tzvi Avni’s 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’s textless sing- ing voice with electronic material is curiously appropriate and adds a certain dramatic value. The voice is used both “real” 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 “live” 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’s 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 “eet 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’s 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’s 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’s 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 (“‘eybersonics’’). 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’s Music, a long metallic-sounding chord or “spectrum” 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”’ to this spectrum, only to have it cut out from underneath him suddenly, and the experience of being physically “dumped” 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’s 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 “spec- 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’s 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’s 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’s 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’s 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 “Two loves at variance,” a poem by Virginia Hammel, Its drawn-out text syllables and agitated texture have a decided dodecaphonic sound. Charles Whittenburg’s Electronic Study IZ with Contrabas (1962) also conforms to a type but is remarkable for Turetzky’s 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’’ 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’s 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’s 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’t 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’ (opt c#’’); 6, 8; ten clef, mute, wide and difficult skips; 6 min. The Passacaglia of Otto Henry’s 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’’ ; 3/2, 4; 6% min. George F. McKay’s 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’t, 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’s 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#’’ instead of et’’; p. 18, staff 1-2, g in trb should be tied over the bar-line; p. 18, staff 4, meas. 4, trpt, git’ instead of g natural’; p. 19, staff 5, meas. 5, bh instead of b natural. Otto Henry’s 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’’; 3, 4; ten cel. 5 BROOKLINE LIBRARY MUSIC ASSOCIATION cordially invites you to a COMPOSERS’ 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’s 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 “Problems 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’s 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 “(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. “(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’s 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 “Exodus,” ‘The Magnificent 1.7 “The. Misfits,’ “Bathsheba,” “Wells Fargo” and “The Valiant Years.” The Concert Band will also play the “Thunder 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’s Department of Music as well as director of the Concert -Band, has stated that this year’s 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;”’ 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’s only march, ‘Santa Anna’s Retreat,’ and continue in the classical vein with Berlioz’ “March to the Scaffold,” Strauss’ | “Death and Transfiguration,’ Mus- . sorgsky’s “Pictures at an Exhibi- tion” and Ravel’s “Bolero.” In a review of Broadway, the ' band will then present highlights from Lerner and Loewe’s “Came- lot,” and selections from Bernstein's “West Side Story.” : Selections from movie scores will round out the winter concert. The band will present highlights from Gold’s “Exodus,” Gould’s ‘“Wind- jammer” and Rosa’s. ‘Parade of the Charioteers.” Mr, Otto W. Henry, director of the Concert Band and chairman of W & J’s Music Department, also announced several other concerts scheduled for the second semester. On April 20, the band will partiei- pate in The College’s Arts Festival with an afternoon concert of music by Sanders, Stravinsky, Russo and others. : “Pop” favorites will be highlight- ed on May 16-17 at the concert band’s annual “Straw 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 “Music for ‘A Midsummer Night’s Dream’ ”’ written earlier this year for an ECU Playhouse production of the Shakespeare comedy — “The Pure Land,” written in 1977 for Moog synthesizer and painted slides; his electronic realization of three Eric Satie “Gym- nopedes,’’ featuring ,Wagner’s “The 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’s { 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,’’ 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’S RETREAT FROM BUENA VISTA Stephen Foster (1848) SYMPHONIE FANTASTIQUE: Movement IV “March 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 “THE 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’s compositions have} been performed at the New Eng- @iand Conservatory, the Brookline Library, and Boston University. | mReviewers have referred to his} awork as “‘Neo-Baroque”’ 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’s 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 “Mr. 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 “electronic | 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. _ “African music” will be the theme |of Henry’s 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’s third lecture, December 12, will concern the “twelve 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 “American 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’s 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 “West Side Story’? and “Oklahoma” 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’s 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: “What Are You Carrying, Stones?" "Stones!" A controlled dramatic experience by J. Kagle “Music: 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) ARTMENTPRESENTSTHEKEUKACOLLEGEARTDEPARTME NTP RE KEUKACOLLEGEARTDEPARTMENTPRESENTSTHEKEUKACOLEL september 10 = ADAS #1: Introduction-two movies thursday Ss: p.m. Art in the Western World ne From Renior to Picasso . “es 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’usette 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 Fh 1°} 5 ct 3 | oan Lv) ~ @ 5 Fh fe) 3 3 Q © 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 = =e re hei =o te) 5 ay @ 5 n fe} ct a = he —_ pet fae is) 5 < ie) het re 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 ° le} ct =m > ® Ms] @ Le] rh ' 5 Q @ ee INTERMISSION ‘Aa Tyuse I t If defective tape of VISAGES is replaced by Austrian 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 “Symphony in One Move- ment No. 5” did the sound drift out to a framework of almost traditional musical sounds. Otherwise, Henry’s 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,’ 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, “The Angelic Concert,” was the program’s 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, “Four Landscapes from H. G. Wells’; Dr. Norma Ma- eloud and Dr. Richard Scheck- ner read passages from the au- thor’s 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’ imagination. such as instrum ers and coma music, by, 4 nothing to » only to physice “To 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, “The 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’s electronic mu- sic and ‘‘intermedia’’ 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’’ 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’s 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, “‘Mesa: 5 Source Duo,’’ 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 “Four Ways,’ “‘The Wolf Man’’ and “Wave Train’’-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 “Four Ways” was a briefcase with speaker underneath and microphone inside, with i moveable lid to regulate the sound source pitch; “‘Wave Train’? used the sounding boards and randomly plucked Strings of two grand pianos as sources for electronic manipulation; and “‘The Wolf Man’” 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 ‘“Pericles,’’ 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’s “‘Com- positions,’ an extraordinari- ly well-structured piece dis- rupted only when ‘‘Tulane Drama Review’’ 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’s music, while Adams’ 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’’ event “‘Or- ange Dessert,’’ 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 “Con- _ structions” and ‘‘Dessert,”’ 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’’ 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’’, and it is presently engaged in a production of Ionesco’s 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’’ 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’’, and it is presently engaged in a production of Ionesco’s 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’Eu 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’S 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’s Play and Playwright “As for plot and motivation, let’s not mention them.” “Every play is an investigation brought to a successful conclusion.” “Naturalistic drama. The theatre of Antoine.” “The theatre’s a riddle, and the riddle’s a thriller.” “Refined detective drama.” “I dream of an irrationalist theatre.” “Personality doesn’t exist.” “Each character is not so much himself as another.” “Life’s getting more cheerful.” “Everything can be comprehended in time.” NEWCOMB COLLEGE May 4, 1968 Department of Music Dixon Hall Electronic Music Studio 2:30 p.m. INTERSECTIONS: ELECTRON MUS IC and FILM Intersections | (Ampex 351) Paul Epstein Il (Filmstudy 1) Something for Color Organ ; Otto Henry Intermission , Music Otto Henry ee : idnight Specia Film Bill Smith Hl Paul Epstein and Franklin Adams IIR (1 ydutsmliF) Paul Epstein Painted Film Bill Smith intersections Following the program there will be a panel discussion moderated by Dr.Peter S. Hansen. We are dealing with process; and a process is an intentionality, whether human, natural, or mechanical. What is new is the manner in which our processes come together and the effect of the coming together on each intentionality involved. In the past such intersections permitted only those conflicts that could -= and would -= be resolved. Dissonance implies and demands resolution. But other kinds of intersection are possible. Two intentionalities may cross without im- pinging on one another, without suggesting any particular relationship or association between them. Or they may collide in such a way as to cause the cancellation of one or both. Between these two extremes lies the continuum of possibilities that forms the arena in which today's art operates. "Invade areas where nothing's definite (areas -~ micro and macro -= adjacent the one we know in). John Cage NEWCOMB COLLEGE Department of Music A PROGRAM IN MEMORY OF EDGARD VARESE 1883-1965 & Sunday, April 17, 1966 Dixon Hall 8:30 p.m. NEWCOMB COLLEGE Department of Music A PROGRAM IN MEMORY OF EDGARD VARESE 1883-1965 Sunday, April 17, 1966 Dixon Hall 8:30 p.m OCTANDRE (1923) DENSITY 21.5 (1936) Roy Irvine, flute Otto Henry, French horn Richard Harrison, Flutist Michael Pierce, clarinet John Mosier, trumpet Hamp Gillespie, oboe Theodore Demuth, trombone Matthew Huntley, bassoon Conductor; John Kuypers THE ELECTRONIC MUSIC OF VARESE Paul Epstein, Instructor in Music and Director of Electronic Music Studio VARESE AS I KNEW HIM Gilbert Chase, Professor of Music and Director of Inter-American Institute for Musical Research IONISATION (1932) Charles Blancq- Margaret Frishe i Steve Bland Otto Henry VARESE George Bohmfalk Roy Irvine Mary Ann Bulla John Joyce Films by Thomas Bouchard: Glimpses of Varese. Ronald Dowd John Nadas Varese’s workshop as he left it. Paul Epstein Content Sablinsky Verges sequence, with music Conductor; John Kuypers specially composed by Varese, from Bouchard’s film Around and About Joan Miro. cintermissionr EDUCATION = A960 ONFERENCE The Program 11:30 am.—REGISTRATION Mezzanine, Tulane University Center. 12:30 p.m—LUNCHEON Kendall Cram Ballroom. (Luncheons guaranteed only with advance reservations) _ Presiding: Mr. A. J. Waechter, Jr., chairman, New Orleans Conference. Invocation: Rev. George D. Hopper, coordinator of religious activities, ‘Tulane. Speaker: Dr. Joseph E. Gordon, dean, College of Arts and Sciences. Address: “THE UNDERGRADUATE COLLEGE”: Tradition, Change and Rededication.—A_ brief look at its history and tradition and an examinia- tion of the forces shaping its future. A call for our rededication of effort and resources to the role and purpose of this “heart” of the complex university. 2:00 p.m.—PANEL SESSIONS An SIOMAGE. TO TS) ELIOT’: Out ob the Sacred Wood, through the Waste Land, into the Rose Garden.—T. S. Eliot’s death is too recent to permit any definitive assessment of his achievement as a poet, but to many readers he has seemed, perhaps more than any other of our time, the modern poet. Student Council Room A. Moderator: Dr. Donald Pizer, professor of English. Speaker: Dr. E. Philip Bollier, professor of English me B. “ADVENTURES IN ELECTRONIC MUSIC” —A discussion and demonstration of the newest trends of experimental music. President’s Room A. Moderator: Dr. Peter Hansen, professor and chair- man of Music department. Speaker: Mr. Otto Henry, graduate assistant, Music department. Cc. “THE CITY—STANDARDS BY WHICH WE LIVE AND DIE” Student Council Room A. Moderator: Mr. James Lamantia, associate professor of architecture, member of American Institute of Architects and of Vieux Carré Commission. Speaker: Mr. John Lawrence, dean, School of Ar- chitecture. 3:15 p.m.—PANEL SESSIONS A. “YANKEE DOODLE”—The Soldier of the NEW ORLEANS + MARCH 26, 1966 1966 TULANE CONFERENCE-:---NEW ORLEANS American Revolution. Student Council Room B. Moderaior: . Mr. Charles: L. . ‘Pie’ Dufour, New. Orleans States-Item columnist, historian, author and Tulane lecturer. Speaker: Dr. Hugh F. Rankin, professor of history. B. “INDIA: THE SPIRITUALIZED SOCIETY”’— The Indian vision of the Great Society and what it portends for the future of democracy in Asia. Student Council Room B. Moderator: Mr. Pendleton E. Lehde, president, Pendle- ton Terminal Corporation and a Fellow in the Institute of Electronic Engineers. _ Speaker: Dr. Robert C. Whittemore, professor of philosophy. C. “NEWCOMB COLLEGE PERSPECTIVES” President’s Rooms A and B. Moderator: Dr. David R. Deener, acting dean, New- comb College. The Student and Today’s Stresses—Miss Florence E. DeFroscia, Newcomb student body president. The Student and Academics—Miss Elsa Freiman, cap- tain, Newcomb College Bowl Quiz Team. The Faculty—Dr. Joseph Cohen, director, Scholars and Fellows Program, and associate professor of English. 4:30 p.m.—RECEPTION—Mezzanine CONFERENCE HOSPITALITY COMMITTEE: Mr. and Mrs. Joseph McCloskey, Co-chairmen; Mr. Allain C, Andry, III, Mr. Max Barnett, Jr.. Mr. Edmond J. Bendernagel, Jr., Mr. Edward B. Benjamin, Jr., Mr. and Mrs. W. Mente Benjamin, Mr. Peter L. Bernard, Jr., Mrs. A. B. Bland, Mr. and Mrs. Thomas W. Born, Mr. Louis D. Brown, Mr. E. Philip Bultman, Jr., Mr. James N. Burlingame, Mrs. Clay Calhoun,’ Dr. Gerald M. Capers, Mr. and Mrs. Hodding Carter, Mr. A. Watson Chapman, Rev. Sherwood S. Clayton, Mr. Murray Cleveland, Dr. and Mrs. Harold Cummins, Mr. Arthur Q. Davis, Miss Kathryn Davis, Mr. and Mrs. Moise W. Dennery, Mr. Donald W. Doyle, Miss Adele Drouet, Mr. and Mrs. Tatham Eskrigge, Mr. Clifford Favrot, Mr. H. M. Favrot, Jr., Mr. Arthur Feitel, Mr. and Mrs. Darwin S. Fenner, Mr. Douglass Freret, Mr. Harry P. Gamble, Jr., Miss Barbara Gessner, Mr. Louis S. Goldstein, Dr. Joseph E. Gordon, Mr. Nicholas Gordon, Mr. and Mrs. Ken Gormin, Mr. M. Carter Hall, Jr., Mr. and Mrs. Paul Hogan, Jr., Mr. C. M. Horton, Mr: Adolph E. Jastram, Mr. Arthur L, Jung, Jr.. Mrs. Reichard Kahle, Miss Susie B. Keane, Mr. Joseph L. Killeen, Mr. William C. Knight, Mr. Harvey C. Koch, Mr. John W. Lawrence, Mr, and Mrs. George Leake, Mrs. Emilio Levy, Mr. and Mrs. John Pat Little, Dr. and Mrs. Robert C. Lynch, Mr. and Mrs. E. Patrick McCloskey, Mrs. Andrew McCollam, Mr. and Mrs. Edward A, McLellan, Mrs. John F. Manson, Mr. Ernest B. Mason, Dr. C. V. Menen- dez, Dr. Joseph C. Menendez, Dr. George W. Meyer, Mrs. R. King Milling, Mr. and Mrs. Lloyd Monroe, Col. James A. Moreau, Mr. and Mrs. Buford M. Myers, Jr., Mr. and Mrs. Waldemar S. Nelson, Mrs. Claudia Odom, Mrs. Lester J. Paltron, Mr. H. C.: Parker, Jr., Mr. Jack Pizzano, Mr. Peter J. Pizzo, Jr.. Mr. W. Shepard Pleasants, Jr., Mr. Robert G. Polack, Mrs. Robert Reynolds, Mrs. Wm. I. Ricciuti, Dr. Karlem Riess, Mr. and Mrs. George B. Riviere, Mr. Albert A. Robbert, Jr.. Mr. and Mrs. Roy M. Schwarz, Mr. R. Mallard Seago, Dr. Mortimer Silvey, Mr. Claude Simons, Mrs. John H. Stibbs, Mrs. Florence Toppino, Mrs. William E. Ulmer, Mr. and Mrs. E. C. Upton, Jr.. Mrs. R. G. Verlander, Mr. J. Mort Walker, Jr., Mr.«Woollen H. Walshé, Dr. and Mrs. John C. Weed, Mr. Rudolph J. Weinmann, Mr. Millard D. White, Mr. Thomas C. Wicker, Jr., Mrs. Ingegerd A. Willoughby, Mr. and Mrs. Gordon F. Wilson, Jr., Mr, Samuel Wilson, Jr., Miss Elizabeth Wisner, Mr. Carl E. Woodward, Mr. and ee B. W. Yancey, Dr. and Mrs. Rix N. Yard, Miss Nancy Snellings, Mr. and Mrs. Olaf Olsen. REGISTRATION COMMITTEE: Mr. Robert E. Bermudez, Mrs. Lela M. Crawford, Mr. William Decker, Jr., Mr, and Mrs. Theodore Dennery, Miss Josie DiMaggio, Miss Lillie H. Nairne, Mrs. Mattie C. Tisdel, Mr. and Mrs. Robert Eskrigge Young. ARRANGEMENT COMMITTEE: Mr. and Mrs. Frank Riess, Co-chairmen. DECORATIONS COMMITTEE: Mrs. Lela M. Crawford, chairman; Mrs. Harold Curtis Ball, Mrs. Harry Barkering, Mrs. Eugene J. Bergeret, Miss Ellen Page Brydon, Mrs. Bernard Eble, Mrs. Florence P+-Forio, Mrs. Carolyn Geier, Miss Janet E. Hooper, Mrs. Margaret P. Hutchinson. sen 4 Presented by THE TULANE ALUMNI ASSOCIATION Place: Tulane University Center, Saturday, March 26, 1966 Registration: 11:30 a.m., Luncheon: 12:30 p.m. Panel Sessions: 2:00 p.m. and 3:15 p.m, Cost: Registration fee $1.00 (No registration’ fee for those who attend luncheon.) Luncheon $2.00 MODERN DANCE RECITAL <== Newcomb College DOXOLOGY eocceaoeae Geoevceogegvoeceoeoaeoeoc sd A STUDY OF LEVEL eeoecoeos oCeoec Geegcsosoe 0e2cd8 Accompaniment GAVOTTE °66 9Segdg8900GC2 G92 Bao0O0SS9eS8 GSe3ZeS05° RECIPROCITY eseeeeseesceocoesoseovuesoeeeoseoe osc sg 6 Accompaniment “MAM'SELLE MARIE Accompaniment ecoeeoaoceaeeceene O9Ssecee8000 CHESS GAME ©e@eesoeco0@eceeceoaeooeoee os eoesdo Choreography Accompaniment 1966 Jeanne=Nell Gement Kathleen Me Hugh Susan Schwartz Robbie Hoffman Otto Henry Intermediate Dance Class Monique De Labistide Frances Gamache Otto Henry Janice Michiels Mrs. Presti Advanced Dance Class Frances Gamache Otto Henry Special thanks to Mrs. Presti and Mr. Otto Henry for their wonderful assistance with our musical accompaniment. THE TULANE UNIVERSITY THEATRE Presents Two Plays From ROBERT LOWELL’S THE OLD GLORY Directed by ARTHUR WAGNER Production Designed by RICHARD KENT WILCOX Costumes Designed by NEIL BIERBOWER Technical Direction and Lighting by ROY H. LONGMIRE Original Score by OTTO HENRY MY KINSMAN, MAJOR MOLINEUX Eppiz AVERY Boy (his brother) Jay LizsMan Ferryman Rick Hurst Ist Redcoat 2nd Redcoat MicHAEL BERGER Ist Barber Victor B. MILLER 2nd Barber F. Joun Fett Tavern Keeper Marcus J. GRAPES Clergyman SABIN EPSTEIN Prostitute Rosary Harte. Colonel Greenough Ricwarp Russ Man in Periwig Pumir McCoy Mitt OBERMAN Watchman Mort PorasH Major Molineux SYDNEY JAMES Citizens of Boston Francine Ginpi, SytviA Lackry, PyRAMID SELLERS, E.uiot Jorre, Tric SEHRT, Mike Durst _ Time: Just before the American Revolution Prace: Boston BENITO CERENO Captain Amasa Delano Wittrm Wo1ak John Perkins Pope FREEMAN Don Benito Cereno Luts Q. Barroso Babu ANTHONY CEBRUN Atufal Harotp VANN Francesco PauLt AntHony Issa American Sailors.. Mrke Durst, Guy BrupBacHEr, DANIEL RUBENSTEIN Spanish Sailors Davw Burke, Ex.uior Jorre, Morton PotasH Negro Slaves Frep SAMPSON Jr., Percy SPENCER CHANDLER Duncan, FLoyp JoHNnson, CHARLES NizaLak, ALPHONZzo Yates, MicHArt BucksELL, Catvin Brack, Betry ANN Wuirte, ELAINE CuNNINGHAM, GiLBErRT MaATrHEws, Rickey PowELL TE: About 1800 Prace: The Decks of the President Adams and the San Domingo < mq Z, TN 2 < é © r) S je) = Z Sl = ra te) a. 3 S pe O © cs os es Z fe) Sjamoy j4aqoy II-L toquiesegq pue ‘p Jaquisdsg — 0g JequIZAON ‘asnoyAryg oy} Ul AUYUOID d'IoO CESARE NOTES ON THE CURRENT PRODUCTION These two history plays out of Robert Lowell’s trilogy The Old Glory have a unique history of their own. Having been turned down by a number of commercial producers and the Lincoln Center Repertory Company, the plays were finally offered a production in 1964 by a new and unique theatre enterprise which was housed in a church in mid-town Manhattan and produced by the resident Episcopalian minister. Called the American Place Theatre, it had recently been formed with the express pur- pose of presenting plays of fledgling playwrights and, hopefully, the dramatic writings of distinguished authors in other forms of literature. Lowell’s plays filled the American Place Theatre’s initial bill admirably: three new plays by one of America’s most distinguished poets, written in a charged and lucid language rarely found in the American theatre, and dealing with unconventional dramatic material. The third play of the trilogy, Endicott and the Red Cross, was dropped before opening night, but My Kinsman, Major Molineux and Benito Cereno were an immediate success and established the American Place Theatre as one of the most important experi- mental producing theatres in the country. Both plays are concerned with events out of the American past: My Kinsman, Major Molineux, based on the short story by Nathaniel Hawthorne, deals with the period of the American Revolution and Benito Cereno, based on the novella by Herman Melville, tells a story taken from the autobiographical writings of the actual Captain Amasa Delano. The semi-night- mare world of the Hawthorne short story is transformed by Lowell into a complete nightmare, while the traditional study of Good and Evil in the Melville novella is more specifically related in the play to contemporary tensions. The second play on tonight’s program could not have been accomplished without the enthusiastic cooperation of the Drama Department at Dillard University, the department’s directors, Mr. Ted Gilliam and Mr. Joe Greenhoe, and the dozen or so students who made the long trip between Dillard and Tulane faithfully throughout the rehearsal period. To all of them we owe our thanks. THE MAJOR SEASON An engrossing and hard-hitting story of greed within a post-Civil War Southern family, Another Part of the Forest by Lillian Hellman, will be presented in the Arena February 15-19 and February 22-26. Henry IV, Part I, one of the most popular of Shakespeare’s histories, will close the season on Apil 19-23 and April 26-30, The Tulane University AMivertans aa the oe ee by wy The Tulane University Theatre Summer Theatre July 5-9, 1967 presents Friedrich Diirrenmatt’s THE PHYSICISTS Directed by GERALD HOKE Designed by R. NEAL APPLEBY Lighting Designed by R. P. MOYER and L. J. DeCUIR Electronic Score by OTTO HENRY THE CHARACTERS trene: Straub «... e ec eee en ces Sti ctascs Rety 4 Inspector Richard Voss ....... : (cc lan~ ees mms ane ee ae Marta’ BOW 93 ev a has es eret ‘ Eh Fal > P ...... Carole Cullum PUQENOE oe 26 xs eee wih Bs vate wake Bill Campbell nn wears NaN ewe Stee Me ee Pe Cie eh RN eT eee Tee © a »s+ee+ John Richowsky Herbert George Beutler (Newton) . oy eee Mark Waller Fraulein Doktor Mathilde Von Zahnd ... .... Carroll Mace Ernst Heinrich Ernesti (Einstein) .... .. Donald Deagon Frau Rose .. Dorothy Connell Iskar Rose ... ..... Tony Bultman Adolph-Friedrich ....... a pear averset + Ae ets Wilfried-Kaspar a aE aa Fe weeeeeee Jim Silverman George-Lukas ...... . ie ..... Pierre Musson Johann Wilhelm Mobius . sania .. Sydney James Monika Stettler ‘ F : ee ee ..-. Harriet McFaul Lloyd Pye Gifford Jim Spring dons a wer oot ‘a fet f all fh 25,1968 PROGRAM Intersections I (Ampex 351) for magnetic tape, 1967, with Intersec- tions II (Filmstudy 1) for Super 8 mm film, 1968 .... Paul Epstein Paul Epstein was born in Boston and educated at Brandeis University and the University of California at Berkeley. In 1962-63 he studied composition with Luciano Berio in Milan, Italy. He is now Assistant Professor of Music and Di- rector of the Electronic Music Studio at Newcomb College of Tulane University. Intersections I and II are the first of a projected series of pieces derived from a notion of process. The title has multiple implications: the intersection between film and tape, between the two tracks of tape, between subject and compositional operations (content and form) in both media, and the intersections of various processes within each medium. Song for tenor voice and prepared tape Vernon Martin Grant Williams Oh, I have slipped the surly bonds of earth and danced the skies on laughter-silvered wings. Sunward I’ve climbed and joined the tumbling mirth of sun-split clouds and done a thousand things you have not dreamed of, wheeled and soared and swung here in the sunlit silence. Hovering there I’ve chased the shouting wind along and flung my eager craft through the footless halls of air. Up, up, the long delirious burning blue I’ve topped the windswept heights with easy grace where never lark nor even eagle flew. And while with silent lifting mind I’ve trod the high untrespassed sanctity of space, put out my hand and touched the face of God. John G. Magee Royal Canadian Air Force Killed in training, Age 19 Tones, electronic prepared tape Alan Oldfield Arabic 6120 for IBM computer Loyd Lott Arabic 1620 is the first computer composition from NTSU, and as far as we know, it is the first in the Southwest. The composition is the results of research incorporating the Richard F. Smiley computer program. Arabic 1620 consists of sounds generated entirely by computer and recorded on magnetic tape. Instead of hearing a prepared tape of this computer music, it is possible to transmit the computer’s real-time sound directly to this concert hall from the Computer Center in the Business Building; however, regulations of the Federal Communications Commission forbid this. The computer offers many possibilities which are not possible with human performers. For example, all of us understand a quarter note, a sixty-fourth note, a thirty-second note, but what about a sixty-fifth note, an eleventh note, a ninety- ninth note? These can be performed by computer. Also, if we can have three, four, or five notes in one beat, why not have any number from one to twenty- four notes in one beat? This too can be accomplished with the computer. For more technical information, here are a few of the procedures used in writing for the IBM 1620 digital computer. For every note of music, there are four figures typed on IBM cards which represent the sound. The first column is the octave column which specifies the octave by numbers (from 0 to 6); the second column is the note column which specifies the note within the octave by letter; the length of the note is specified by the last two columns (from 01 to 99). A note may be sharpened by substituting the letters J, K, L, M, N, O, and P (corresponding to the octave placement) in the octave column and putting the note letter in the note column (for example, middle C which is the beginning of the fourth octave is coded as 4C and if it is sharped, it is MC on the cards). For notes with flats, the same letters are substituted in the note column to represent A-, B-, C-, D-, E-, F-, or G-, flat, respectively. For example, a B-flat in the second octave is written as 2K. To fix the code for the entire note, we can have an eighth note G in the fifth octave which is written as 5G08. The IBM cards, which contain the note information for the composition, are proces- sed in the computer. An AM radio placed near the computer console monitors the sound when the computer starts playing. A tape recorder records the music from the computer, and the tape is modified in the NTSU Electronic Music Composition Laboratory by add- ing reverberation, modulations, and filtering for various tone colors. No notes are added in the Electronics Lab; they are generated solely by the 1620 computer. Arabic 1620 is in ternary form with a short introduction. The A. section consists of a theme based on a 12-tone row; the B section contains “events” of thematic material transposed, inverted, and in retrograde; the final A returns to the original theme of the composition. Improvisation for E-11 electronic performance instrument and dancer Merrill Ellis Dancer Sandra Harris* Merrill Ellis The E-11 electronic performance instrument was built by Dr. Robert Moog especially for the North Texas Electronic Music Composition Lab for the pur- pose of investigating real-time performance techniques. Traditionally, electronic music has been prepared on very bulky and awkward configurations of instru- ments that cannot be moved from a lab. This small transistorized instrument is portable and can be moved to any location for performance. The objective of this piece is to reveal the musical possibilities inherent in live performance with electronic synthesized sound. SHORT INTERMISSION Midnight Special electronic music — Otto Henry : film — Bill Smith The title of this work is taken from an old blues tune (“Midnight special, shine your light on me’’) and explores both the visual and auditory ramifications of the subject—trains—although not necessarily on the same conceptual level. * Miss Harris is the Modern Dance Instructor of the Physical Education Department, NTSU. The musical portion was derived from six basic sine-tone chords and developed Newcomb College Tulane University New Orleans Memorial Service Harriott Sophie Newcomb July 29, 1855 - December 16, 1870 Dixon Hall Thursday Afternoon April 21, 1966 One O’Clock PROGRAM DAVID RUSSELL DEENER, ACTING DEAN, NEWCOMB COLLEGE Presiding Academic Procession — Salve Festa Dies .... R. Vaughan Williams Invocation THE REVEREND W. DONALD GEORGE Chaplain, Chapel of the Holy Spirit hs Sas Pe kh is ki 5 ebb l Pete bo ee Orlando Gibbons My Heart to Thee Now Makes Its Plea Orlando di Lasso Song from Ossian’s Fingal Johannes Brahms THE NEWCOMB CHORUS James Ratcliff — Director Hors — Claus Sadlier, Otto Henry Piano — Sandra Goldstein SCRIPTURE READING Two movements from ‘‘The Lamentations of Jeremiah’’......... Alberto Ginestera 1. Recordare Domine quid acciderit nobis 2. O-vos omnes qui transitis per viam TULANE -NEWCOMB A CAPPELLA CHOIR John M. Kuypers — Director BENEDICTION Recessional — Cortege Joyeux IN MEMORIAM Esther Finlay Harvey Newcomb, 1895 Emeritus Librarian April 16, 1966 Electronic Music Studio, Department of Music, Newcomb College Tulane University, New Orleans, Louisiana A PRELIMINARY CHECKLIST: BOOKS AND ARTICLES ON ELECTRONIC MUSIC Compiled by Otto W. Henry, Associate Director Because of the limitations of time and the unavailability of over three-fourths of this material for checking, this initial attempt remains unannotated and lacking in bibliographical depth in certain respects. The style and form used here were dictated by the contents which were obtained mainly from the following indexes: Applied Science and Technology Index Essay and General Literature Index Guide to the Musical Arts (1953-56) Guide to the Performing Arts International Index Music Index Reader's Guide to Periodical Literature The entries here are listed alphabetically by author rather than divided into subject headings. Certain variations and ommisions are caused by the original listings which vary in detail from index to index. Many of the articles listed under "anonymous" do have authors listed in the periodicals concerned, as well as titles. This is a reflection of the Guide to the Performing Arts' maddening habit of listing subject content rather than bibliographical information. We chose to issue this listing in its present form in hopes that it would nevertheless prove useful to research in this area. Some of the entries will be found to be mere notices of an event and perhaps of little worth except to persons like myself who are attempting to document certain phases of this movement. Grateful acknowledgement is made here to Ann Basart, Ray Wilding- White, LeJaren Hiller, and others from whose articles and reports we have culled a faw extra entries not mentioned in the above indexes. June 1966 great 18—The Daily Reflector, Greenville, N. C.—Sunday, February 22, 1970 ECU Now Has Electronic Music Studio By JERRY RAYNOR Reflector Staff Writer Without fanfare, East Carolina University has established an Electronic Music Studio. This is one of those seemingly routine developments which may well presage an influential trend in the musical As the first Electronic Music - Studio in the eastern part of | it brings to | North Carolina, easteners their first concrete, | continuing contact with such music, and will, of course, be of interest to young musicians training at the university. Otto W. Henry, a young music professor on the faculty of Tulane University in Louisiana, in 1968 was asked to come to Greenville to establish the Electronic Music Studio at ECU. Henry now serves as an assistant professor of musicology and also as director of the newly established elec- tronic studio. When Henry first arrived at ECU, his first task was to build an acceptable console to produce electronic sounds. ‘‘Based on knowledge gained from earlier experiments, both at Tulane and for my own per- sonal workshop, I built a com- plete console here,’’ Henry explained. ‘Some of the individual components which make up this console include pulse generators, mixers, filters, ring modulators, vibrato units, amplifiers and other sound and sound mixing devices. These units are all tied into a patch panel. “The circuit connecticns are made in series or in parallel,”’ he further pointed out. | a commercial console,” His home-made console looks more like an elaborate device for conducting an outer-space flight then an instrument to shape music, but he showed how easily it can be made to function manipulations and placement of é : ; | patch cords. -role of the university in the | ‘immediate future. ‘Our next step was procuring Henry continued. ‘‘This was made possible by Title VI grant funds. We purchased our Moog Syn- thesizer, which is a sophisticated console. The Moog Synthesizer is the creation of Dr. Robert. A. Moog. “Dr. Moog has a doctorate in electronic engineering,’”’ Henry stated. ‘‘Since 1957 he has been designing instruments for electronic music, an integrated console. The Moog Synthesizer is his major product. One of the beauties of it is that it eliminates the need to splice tape, which is a torturous process. It also gives you more freedom.”’ The physical set up at ECU is a studio in three separate parts. “One is my studio, the other is the Moog Studio, and then there is the tape studio,’’ Henry pointed out. “‘The three together constitute the ECU Electronic Music Studio.” Already, courses in electronic music for ECU students are underway. ‘‘This quarter we are teaching courses in electronic music history,”’ remarked. ‘‘In the spring quarter we will begin offering courses electronic music.”’ Like, the instruments for creating the new music, scores too have a new look. Instead of the conventional composition sheets, electronic music is composed using sheets of patching diagrams with. | medium,” | been in existence only about 20 yyears. Henry in in effect a contemporary in composition of | the the part of a_ student, notations shown by drawing in the connections. One part of the Moog Syn- thesizer has appearance of a conventional instrument. | This is the keyboard controller, with a few knowledgeable | A native of Asheville, Henry is | enthusiastic about the future of electronic music as a new field | in the modern fast-paced growth | of American culture. “In effect, it is a brand new he states. ‘“‘It has Electronic music is becoming increasingly im- | portant, to the point that plan- | ners at ECU felt it ought to have an electronic music studio as part of the music program here.” He notes that ‘‘every progressive major university this field of music,’’ “Composers have a meager amount of published material or established theory to build on, and must arrive at theory and practical results on the basis of J intuition and long dedicated hours of experimentation,’’ is the way in which Henry described the path of progress in this music. “’m like so many people in Henry says. “Tm not a trained electronics man. I managed, however, to learn to read _ schematic diagrams, and I’ve found out | how useful a few simple tools, | especially a screw driver, can be.”’ Henry revealed that his first real interest in electronic music | goes back to about ten years ago. with a music department has | such a studio, or is taking steps to get one.”’ ECU is the fourth. North Carolina university to have an electronic music studio. “‘The University of North Carolina at Greensboro was the first to get theirs,” Henry remarked, ‘‘and Chapel Hill and Duke both have one. However, ours at ECU is the largest and most complete of the four.” One of the exciting aspects of this field of music is that it is still in its stage of infancy. As a consequence, a serious ex- perimenter in electronic music pioneer in a field which promises great discoveries and breakthroughs in the near future. “Tt involves a willingness on and especially a composer, to work hard, to try one thing after another, and to be receptive to new thoughts and approaches,” Henry commented. “That was when I was first axposed to the ‘musique con- crete’ of the French composer Pierre Schaeffer, an early composers of electronic music. I was also fascinated by work Jone by a German composer, Oscar Sola. In German elec- tronic music is called ‘elec- tronisher musik’.”’ Perhaps Henry’s_ earlier ‘training in the specialized field of non-Western music influenced his receptivity to the new sound in music. ‘I’m a specialist in African, Arabian, and Asian | music, with emphasis on - the ' African field,’’ Henry noted. Henry indicates that the range of sounds possible with elec- | tronic music is almost endless. “In conventional music you depend primarily on rhythm, tempo and melody for your structure. In electronic music, you have a wide range of sounds which can be created through » the more accoustical elements of pitch, intensity. timbre and duration.” HOME MADE CONSOLE ... at ECU was built by Otto Henry using — a variety of electronic components — pulse, generators, mixers, filters, ring modulators, vibrato workable console. Continuing his explanations, Henry remarked: ‘You don’t think in terms of melody, but of shapes and contours of music. By using the various electronic components in various com- binations based on pitch, in- tensity, timbre and duration, a composer can shape sounds as he wishes, but it must be done well, ‘“‘Therefore, it takes new concepts of thinking about music as well as new methods to ap- ply,”’ he stated. Henry admits that it is quite possible ‘‘to imitate the sounds of conventional instruments with the electronic components.”’ One of the side effects of the paucity of published materials on electronic music is the op- portunity it provides people in this field to work in close relationship with others. Ex- changing data and ideas gained from ‘painstaking, sometimes torturous work’’ — as Henry refers to it, ‘‘is one means of broadening each _ other’s knowledge.”’ A good example of this willingness to share with others the fruit of discovery is a recent report Henry made to Dr. Gertrud Marbach, who is setting up anelectronic music project in Weihergarten, Germany. Dr. Marbach had written earlier. ° asking Henry to furnish in-~ formation. é Among statements and ideas expressed by Henry in the report are: oe. 2 - — “By modifying the values of certain components I have in- creased the usefullness of some ‘of these instruments as producers of electronic music. —On plans for students: ‘beginners learn the classical studio technique, advance to the use of my instrument system and then to the Moog Synthesizer . . . the student also learns to trace short-circuits, to make simple repairs and to solder patch cords and line con- nections. —‘] do not hesitate to recommend to the young composer that he persist as I have in a fundamentally ex- perimental attitude towards the composition of electronic | music. ' — “Above all else, studios ‘today and the people who ad- minister and use them must avoid complacency and dogma. ' The intuitive knowledge I have gained from constructing my own instruments had had a profound and beneficial effect on my composition... ] encourage . .. students to acquire not only a knowledge of the use of elecr- tonic instruments, but also an . understnading of their function. —‘‘Personally, I conceive my _ music in terms of the function of s my instruments. —‘‘Whenever I feel I have exhausted the possibilities of an _ instrument I have constructed, I do not hesitate to disassemble it and re-use the parts in other projects. —“I have come to depend o the sustained reactions of complex circuits which produce continuous events that can be shaped and controlled manually. —‘‘Along with many others, I feel that live performance will eventually supersede tape music as the proper equipment is | developed.’’ These are general ideas ex- pressed in addition to descrip- tions of technical equipment and its assembly and operation. _ And, ending his ideas of ex- perimentation and_ theory contained in the report, he states: ‘‘I see the possibilities of a stylistic unity in which the objectionable contrasts of electronic style and musical instrument style can be avoided.”’ Henry realizes that much of the objection to ‘electronic music’? on the part of the average uninitiated listener is due to unfamiliarity of what this music really sounds like. ‘‘It has always been this way, with | anything new,” he commented. “It takes time for people to become accustomed to new ideas, new concepts, new sights and sounds.”’ bey. 5 units and other units to create a The fact that electronic music is still relatively unknown to many music lovers does not mean it is without its devotees. This was proven in a late January concert Henry gave at ECU’s Recital Hall which was a very well attended one. . .not only by younger music lovers, but with a good showing of older ones. In this concert, Henry, with two assistants, featured some of the compositions of musicians who are beginning to be well known for their works, as well as some of his own, such as “Liberty Bell III.” The completion of the ECU Electronic Music Studio; enrollment of students in courses designed for study in this field; and a successful con- cert all point to the fact that — in Greenville at least — electronic music is indeed becoming a form of music people are beginning to listen to. Louisiana Music Teachers Association Affiliated with Music Teachers National Association, Inc. Sixteenth ANNUAL CONVENTION Meeting Jointly with The Louisiana Chapters of NATIONAL ASSOCIATION OF TEACHERS OF SINGING THE AMERICAN STRING TEACHERS ASSOCIATION NATIONAL ASSOCIATION OF COLLEGE WIND AND PERCUSSION INSTRUCTORS November 2-4 1967 Newcomb College, Tulane University New Orleans, Louisiana wee. WAR NAR ANT RCE EL ARTE SIRE OSE # A MAJOR ACCOMPLISHMENT WITH THE INTERNATIONAL LIBRARY OF MUSIC” which provides more than 1,000 of © THE WORLD’S BEST PIANO COMPOSITIONS. This wealth of musical material will stimulate any student to develop skill in the necessary art of sight-reading by daily practice. 1. The most COMPLETE 3. PERMANENT hard cover album-collection graded albums foe eqns ad- 4, INDEXED four ways for instant location of titles, 2. ECONOMICAL — Only composers, grade, clas- 10¢ a composition sification. Write for free sample copies of these effective newTeaching Aids: STAFF NOTES — The Piano Teachers’ Magazine REPORT CARDS — A monthly evaluation for each student DIPLOMAS — A yearly incentive and goal MUSIC ASSIGNMENT DATE BOOKS — for weekly lesson records and the extraordinarily helpful new 24-page GUIDE TO MORE EFFECTIVE PIANO TEACHING THE UNIVERSITY SOCIETY, INC. Publishers of Music Libraries Since 1897 25 Cottage Street, Midland Park, New Jersey Centenary College of Louisiana SHREVEPORT SCHOOL OF MUSIC Offering the Bachelor of Music Degree in Performance, Theory and Com- position, Music Education; the Bachelor of Arts Degree in Performance. CHOIR - ORCHESTRA - BAND - OPERA WORKSHOP SYMPHONY CHORALE Member of National Association of Schools of Music For information, write: GILBERT CARP, Director Plan to Attend Regional Meeting of MUSIC TEACHERS NATIONAL ASSOCIATION NEW ORLEANS February 11-14, 1968 — PATRONIZE OUR ADVERTISERS — TEMA CON VARIAZIONI Tchaikovsky (FROM TRIO, OPUS 50 IN A MINOR) Festival Arts Trio of L.S.U. Jonathan Sack, piano Dino Constantinides, violin Thaddeus Brys, cello 3:30-.3:45 pm COFFEE — Lounge, Dixon Hall 3:45- 4:30 pm GENERAL SESSION Chairman: Walter Jenkins, Theory Section 3:45- 4:30 pm Program of Electronic Music Auditorium, Dixon Hall Paul Epstein and Otto Henry Tulane University Electronic Music Laboratory New Orleans PIANO RECITAL Auditorium, Dixon Hall SYLVIA ZAREMBA Newcomb College New Orleans Six Variations, K. 398 on “Salve tu Domine” by Paisiello .Romanze, Op. 118 Intermezzo, Op. 118 Gaspard de la Nuit Ondine Le Gibet Scarbo INTERMISSION Variations Brillantes, Op. 12 Impromptu, Op. 36 Two Preludes, Op. 28 Etude, Op. 11 Concluding Composition to be announced CROWN TAPE DECKS ... are used to record recitals and for certain stages in electronic music composition. HE MOOG SYNTHESIZER .. .a three panel electronic console, is being adjusted by Otto Henry, director of ECU’s newly established Text And Photographs By Jerry Raynor Electronic Music Studio. | DR. OTTO HENRY of East Carolina’s School of Music discusses the Music Department with two members of the" Southern Association of Colleges and Schools, E W Doty (center) of the University of Texas, and Leslee Wyatt (right), of the University of Texas at QUARTET HONORED — East Carolina (Staff Photo by Ross Mann) Austin. SACS representatives have been touring ‘the campus since Sunday, checking on facilities for ECU’s accredidation. A team from SACS visits the campus every ten years to study the University artist-inresidence, Ed Reep and faulty film makers Dr. Robert Rasch, Henry Stindt and music composer Dr. Otto Henry were honored at a reception Wednesday in. Men classes and programs being offered. denhall Student Center following the premiere showing of ‘The Content of Watercolor,” a film about Reep’s work. Left to right are: Rasch, Reep, Henry and Stindt. (ECU News Bureau photo) EAST CAROLINA UNIVERSITY SCHOOL OF MUSIC PRESENTS Che Symphonic Band SPRING CONCERT HERBERT L. CARTER, Conductor PAUL KOSOWER, Cello JAMES HOULIK, Sexophone PROGRAM Variants on a Mediaeval Tune Norman Dello Joio Ritmo Jondo Carlos Surinach Bulerias Saeta Garrotin Four Pieces for Cello and Wind Ensemble (1961) Gregory Kosteck Andante Maestoso Moderato Lirico Prestissimo Lento Calmato Mr. Kosower, Soloist INTERMISSION Star-Edge for Alto Saxophone and Band Warren Benson Mr. Houlik, Soloist Gloria Mundi for Band and Tape Otto Henry (First. Performance) Conducted by the Composer FRIDAY, APRIL 25, 1969 — 8:15 P. M. VARMA AAA AAAAAAAAAAAAAAAAAA/VAAAAMAA/VAA AAAI AAAAAAAAAAAAAAIAAAAAAAAAAAAAAA/AA AIAN AAA AAAI AAA /AAAAAAAAAABAMY WRIGHT AUDITORIUM GREENVILLE, N. C. 2nd Festival of Contemporary — Arts Bb Db Atlantic Christian College February 19-March 22, 1969 | wison, n. ©. ATLANTIC CHRISTIAN COLLEGE . Wilson, North Carolina presents the 2ND FESTIVAL OF CONTEMPORARY ARTS with Guest Composer MORTON FELDMAN Guest Artists ADELAIDE WOODWIND QUINTET BUNYAN WEBB, Guitarist, North Carolina. State University WILLIAM YOUHASS, Percussionist, Memphis State University FATHER IAN AND CAROLINE MITCHELL, Author of “‘American Folk Mass” FESTIVAL COMMITTEE Arthur D: Wenger, President, Atlantic Christian College Lewis Swindell, Dean, Atlantic Christian College William Duckworth, Festival Chairman J. Ross Albert Mildred Hartsock Russell Arnold Thomas Marshall James Cobb Milton. Rogerson Paul Crouch The cover design is the score to PITCH CITY by William Duckworth CONCERT ELECTRONIC MUSIC Abgesang (1967) Otto Laske Lucifer (1964) Otte Henry Pere Facts from ‘Urboui’’ (1968) i David Rosenboom Presentation of 1969 Student Composition Award Dr. James Cobb, Chairman, A.C.C. Department of Music Road Rock (movie and tape) (1967) Gilbert. Trythall 5 March 1969 Hackney Music Building 8:15 p.m. CONCERT FATHER IVAN AND CAROLINE MITCHELL Father Mitchell, a guitar-playing Episcopal priest showed .an interest and talent in composition while still a young man. After ordination and marriage to Caroline, the Mitchell’s moved to St. Christophers Mission on the Navajo Indian Reservation in Utah. There they developed a working knowledge of the language and they lived and worked with the people on the reservation. 7 : It was here he composed the AMERICAN FOLK MASS, a major work for guitar, bass, banjos and chorus. The Mass, believed to be the first work of its kind, has gained him an international reputation and has been produced and performed in many major cities. It so impressed the late Joseph Cardinal Ritter of St. Louis that he commissioned the Episcopal priest to render the Roman Catholic English Language Mass into the folk idiom. The Mitchell’s appearances have included such diverse places as The Statler-Hilton in Denver, The Muelbach in Kansas City, Eleventh Hour in Indianapolis, Improvisation Club in New York and on the Johnny Carson TONIGHT show. 18 March 1969 Wilson Gym 11:00 a.m. EAST CAROLINA UNIVERSITY CONTEMPORARY ARTS FESTIVAL TUESDAY, 22 APRIL 1969 SCHOOL OF MUSIC RECITAL HALL 3:00 P.M. THE MUSIC OF OTTO HENRY Compositions in the Electronic Idiom Four Landscapes from H.G. Wells [1964] The Crystal Egg A Dream of Armageddon The Valley of Spiders The Time Machine Lucifer [1964] performed with color organs The Sears Box [1967] , for amplified soprano Grave Invention on a 60 Hz.Hum [1] Con amore [lullaby] Invention on Delayed Playback [canon] Con fuoco Invention on a Hum [II] [arioso] Amabile Patricia Hiss, soprano An informal discussion follows the above program. Acknowledgement is made for technical assistance by Henry Ross [lights] and James Stockner [audio]. EAST CAROLINA UNIVERSITY SCHOOL OF MUSIC presents in FACULTY RECITAL Ole Henry - Elechontce Mubtc assisted by THE EAST CAROLINA UNIVERSITY PERCUSSION ENSEMBLE, HAROLD JONES, Director PHOENIX, BURNING (1969) WAESETAG CONC on i e e rs e ee 5:40 BEETHOVEN'S FIFTH (1969) INTERMISSION SEASCAPE (1969), for Moog Electronic Music Synthesizer LIBERTY BELL (1969), for 13 percussionists and Moog Electronic Music Synthesizer The East Carolina University Percussion Ensemble, Harold Jones, Director THE MOOG SYNTHESIZER: an informal demonstration of this instrument will be given by Mr. Henry at the conclusion of the concert. THURSDAY, JANUARY 22 8:15 P. M. SCHOOL OF MUSIC RECITAL HALL EAST CAROLINA UNIVERSITY SCHOOL OF MUSIC Presents In FACULTY RECITAL OTTO HENRY Electronic Music for the Moog Synthesizer Overture to The Good Woman of Setzuan (Bertolt Brecht) Through a Glass, Darkly 10:15 Across the River (performed on the Moog Synthesizer) ca. 10:00 INTERMISSION Shamen If Winter Comes Thursday, September 30, 1971 8:15 P.M. Fletcher Music Center Recital Hall All compositions on this program were composed and realized on the Moog Electronic Music Synthesizer during 1971 in the East Carolina University Electronic Music Studio. EAST CAROLINA UNIVERSITY SCHOOL OF MUSIC Presents in Faculty Recital OTTO HENRY ELECTRONIC MUSIC Midnight Special (1966) Pericles (1966) Intermittencies (1969) INTERMISSION East is East (1972), for Moog Synthesizer Symphony No. V, for Magnetic Tape (1966) ca. 10:00 18:20 Wednesday, March 15, 1972 8:15 P.M. School of Music Recital Hall EAST CAROLINA UNIVERSITY GREENVILLE, NORTH CAROLINA 27834 OFFICE OF THE CHANCELLOR March 24, 1976 Dr. Otto Henry School of Music East Carolina University Dear Dr. Henry: Dean Pittman has been boasting of your success in the competition of the League of Composers-International Society for Contemporary Music and I want to offer my personal congra- tulations on your accomplishment. The entire campus community acquires dis- tinction from achievements such as yours and we are grateful to you for your professional dedi- cation. Sincerely, rae lll Leo W. Jenkins An Equal Opportunity Employer East Carolina University is a constituent institution of THE UNIVERSITY OF NORTH CAROLINA — William C. Friday, President EAST CAROLINA UNIVERSITY GREENVILLE, NORTH CAROLINA 27834 OFFICE OF THE CHANCELLOR November 30, 1976 Dr. Otto Henry School of Music East Carolina University Dear Dr. Henry: Dean Pittman has informed me that your composition Sanctus was one of the winners of the Hinshaw Publication Award for the Mars Hill Choral Series. Please accept my congratulations for your success in this competition. The reputation of the School of Music and indeed the university is enhanced by activities such as yours and I am personally grateful to you for it. Best wishes for your continued success. Sincerely, fe aii Leo W. Jenkins An Equal Opportunity Employer East Carolina University is a constituent institution of THE UNIVERSITY OF NORTH CAROLINA — William C. Friday, President EAST CAROLINA UNIVERSITY GREENVILLE, NORTH CAROLINA. 27834 OFFICE OF THE CHANCELLOR May 13, 1977 Dr. Otto Henry School of Music East Carolina University Greenville, North Carolina 27834 Dear Dr. Henry: Dr. Pittman has sent your recording Between the Sound and the Sea and I very much appreciate the gift. The fine work that you have done is particularly appropriate to the regional role of East Carolina University. I wish to congratulate you for bringing your high competence to a study of folk music in this area. I have enjoyed listening to the recording and look forward to playing it frequently for interested visitors to my home. Sincerely, Sw Ma pins— Leo W.~Jenkins Chancellor East Carolina University is a constituent institution of The University of North Carolina An Equal Opportunity Employer EAST CAROLINA UNIVERSITY GREENVILLE, NORTH CAROLINA 27834 OF RICE OF “THECHANCELLOR December 6, 1977 Dr. Otto Henry School of Music . East Carolina University Dear Dr. Henry: I was pleased to learn that you received high recognition by the North Carolina Federation of Music Clubs, for outstanding composition. Your achievement reflects great credit on the School of Music and the University. You have my appreciation and best wishes for continued success. Sincerely, Léo W. Jenkins LWJ/sb cc: Dean Everett Pittman An Equal Opportunity Employer East Carolina University is a constituent institution of THE UNIVERSITY OF NORTH CAROLINA — William C. Friday, President RESEARCH PROJECT: MUSICOLOGICAL RESOURCES IN SIALTA SUBMITTED TO THE RESEARCH COUNCIL, EAST CAROLINA UNIVERSITY APRIL 4, 1972 OTTO We HENRY ASST. PROF. OF MUSIC I. Need. Because of my background in musicoloay I have been invited to participate in a field research project by two prominent ethno- musicologists, Dre Norma McLeod of Tulane University, and Dr. Marcia Herndon of the University of Texas at Austin. Ore McLeod and Dre Herndon have been engaged in a survey of the music of Malta. Their preliminary findings have uncovered a large body of manuscripts in the archives and music collections of Malta which may be of considerable musicological importancee Although certain aspects of Maltese culture, such as religion, politics, economics and society have been dealt with thoroughly, the music of Malta has been completely neglected by trained scholarse Because of its central location, its role as a cultural melting pot and its vast time depth of over a thousand years of recorded history, Malta should prove to be a treasure house of missing and undiscovered works. II. Research Design. The proposed research will be conducted in Malta over a two- month period, from May 20 to August 2. Three stages can be identified: : A. Preliminary: First of all, it will be necessary to establish personal contacts and working relationships with authorities and custodians who control access to the music collections and archivese Introductions and proper contacts have already been assured by the initial work of Dr. McLeod and Dre Herndon. Be General Survey of Available Collections: The major objective here is to evaluate the scope, time depth and general value of the music available. Besides the archives of the Royal University of Malta, it will be important to locate and search through the music collections ’ of the major churches, fraternal organizations and societies. President Trewsurer BARBARA KRADER ISRAEL J. KATZ 176-Erb-Streer Ww. Department of Music cs it St Columbia University ETHNOMUSICOLOGY. x. Miaterlee-Omr7-Camader— New York, N.Y. 10027 First Vice-President Past President J. H. NKETIA BRUNO NETTL Institute of African Studies Schoo! of Music University of Ghana University of Illinois Legon, Accra, Ghana Urbana, Illinois 61801 Second Vice-President ' Member-at-Large FRANK GILLIS ALAN P. MERRIAM Archives of Traditional Music Department of Anthropology 013 Maxwell-Indiana University indiana University Bloomington, Indiana 47401 Bloomington, Indiana 47401 SOCIETY FOR Secretary Member-at-Large ROBERT A. BLACK BARBARA SMITH Department of Anthropology School of Music California State College University of Hawaii Hayward, California 94542 Honolulu, Hawaii 96822 Otto W. Henry January 2h, 1973 School of Music East Carolina University Greenville, N.C. 2783) Dear Otto, It is very late, but I am still mindful of the fine job you did on the Book and Record Exhibit at the SEM meeting in Toronto, and want to thank you versonally for it. You had more complications to cope with than anyone before you, and yet the results were magnificent. I saw a lucky student, out of the corner of my eye, who was just sitting there with earphones on listening to records. I wish T had had time to do that. What a good as- sortment of records you collected for him to hear! [I thought the books were very well selected too. Thank you for your patience with me, with Kolinski, and with the Can- adian customs. And if you can write up something to give to next year's exhibit maker, it would be much appreciated. With best regards, and all good wishes for the New Year, Sincerely, Sear$ ore Barbara Krader 1 Berlin (West) 5 Adolf—Martens-Str. 10 EAST CAROLINA UNIVERSITY | MAGAZINE FOR ALUMNI AND FRIENDS © VOLUME V, NUMBER phage 1972 ETHNOMUSICOLOGY Ethnomusicology is acomparatively recent discipline, but one which has advanced rapidly in scope and significance in the past twenty years. Ethnomusicology attempts to uncover and correlate relationships between music and musical be- havior on a world-wide basis. There- fore, an ethnomusicologist is a product of an interdisciplinary train- ing which combines a study of Western and non-Western music with the study of anthropology, sociology, linguistics, psychology and other pertinent areas. He must deal not only with the theoretical and acoustical properties of music, but also with the physical and verbal behavior of musicians and listeners as well as the cultural values which shape and reinforce the functions of music in society. The ultimate goal of ethnomusico- logical studies is to bring about a better understanding of mankind through his music. Music, like lan- guage, is a universal phenomenon. People all over the world practice some form of music, whatever their technological or economic level might be. While the understanding or enjoyment of music is usually not cross-cultural due to ethnic or other dissimilarities, the role and func- tion of music within each individual culture tends to extend across cul- tural and. social institutions. An ethnomusicological investigation of almost any people, for example, would have to become involved with religion, politics, economics, education and kinship’ because these factors always find some manner of expression and repre- sentation in song, dance or in- | strumental music. At East Carolina University, a pro- gram of studies leading to a Master of Arts in Ethnomusicology was approved in the Fall of 1970. The present program was designed not only to train ethnomusicologists, but also to broaden the musical experience of performers and music educators by exposing them to the alternate realities of non-Western music and culture. The program consists of three area survey courses (Euro-American music, African music, and the music of Asia and the Orient), an introduction to ethnomusicology, and an ad- vanced seminar in theory and method. In addition, a comprehen- sive survey course, Music of the World’s Peoples, is offered at the freshman level as a general service course. Courses in ethnomusicology are cross-listed with anthropology courses in the school catalog, and because of the special relationship between the two_ disciplines, ethnomusicology majors must complete at least twelve hours of anthropological studies before be- ginning work on a thesis. The interdisciplinary nature’ of ethnomusicological studies is also illustrated by the variety of students who enroll in the courses. The pro- gram serves anthropologists, sociol- ogists, psychologists, linguists and, in fact, anyone whose particular interest or speciality happens to in- tersect one of the many cultural or scientific viewpoints from which music may be studied. —Dr. Otto W. Henry School of Music dey MUSIC AND THE NEW TECHNOLOGY Otto W. Henry Composer who has specialized in electronic music. He is on the faculty of East Carolina University, where he presides over a Moog Synthesizer and related activities. The communications explosion has produced an immediate and ob- vious effect upon the creation, transmission, reception and inter- pretation of the aesthetic experi- ence. The relationship between technology and music is so close today that any advance in tech- nological design or instrumentation results in a corresponding ex- pansion of concepts and resources in music. However, music is also a product of the society in which it exists, and the changes wrought by technology upon modern society will also effectively determine the course and expressive content of the music. | would like to relate some recent developments in society and music to the expansion of communication and technology in this country. For all practical purposes, culture in America has been dominated by urban monopolies which per- petuate a basically European con- cept of social hierarchies, each with its special category of music, such as ‘‘classic,” “popular” or “folk.” The expansion of communi- cation, transportation and mass production and a growing dissatis- faction with urban values have begun to work towards a decentral- ization of commercial and cultural monopolies and towards a dissolu- tion of conventional urban-rural relationships, now that the neces- sity of living or working in or near a large city has been eliminated. Traditional European concepts of urban and rural society are under- going a process of re-evaluation and a new ethnic consciousness, distinctly American and uniquely 306 fitted to our own traditions and goals, can be seen arising from the turmoil of the past decade. The technological explosion, by its variety and sheer quantity, has pro- vided the means by which the arts can escape the consequences of urban monopolies and outmoded European concepts of culture. New regional and local opportunities have been created by the prolifera- tion of independent radio and TV stations, by the increase of local sound recording studios with their own labels and systems of distri- bution, and by the ubiquitous electronic music studio with its new potential for massed electronic sound and live performance. United by the common element of electronic technology and a mutual desire to escape from conventional European molds and categories, . popular and “serious” composers and performers are coming closer together than ever before. The recording and broadcasting monop- olies and the closed, impenetrable concert halls which encouraged and upheld the distinctions between types of music can now be by- passed. In essence, half a century of trying to extend European con- cepts of music by counting pitches or. by going back to Bach, or by squeezing American music into the conventions of European harmony and rhythm in a vain effort to gain admission to the urban studio and concert halls, has now come to an end. Contemporary musicians are finding it more necessary, convenient and meaningful to create their own media from the available technological resources and to mold their own expression according to newer, more relevant values. As the distinctions between differ- ent categories of music diminish, the European conventions which assign different roles to composers, arrangers and performers also come into question, for these specialties were based on separate abilities to write and interpret symbols for sound drawn on paper. Paper is not very useful anymore. The ability of magnetic tape to store and transmit sound and the the propensity of aleatoric and electronic music for textures and sonorities that defy description have practically eliminated the use- fulness of music notation and have made it necessary for the composer to become his own performer and the performer his own composer. Thus a new oral tradition, living and alive, is being fashioned by elec- tronic technology and its effects on society. In short, the expansion of technol- ogy has brought about a new free- dom-and a new independence for the expression and communication of music. It remains to point out that a new responsibility is also called for, a responsibility to be shared by both the communications media and the musician. By re- sponsibility, | do not mean slipping Beethoven’s Ninth or Switched-on Bach in between the top forty. Responsibility means to be aware of one’s contemporaries, to open up to Rock and Bluegrass, to elec- tronic and aleatoric music, to let us all in together, while there is room and opportunity. VISUAL ARTS FORUM ty-greenville:nc-97834 D = a ae, © = schoolotart-eastcarol April 26, 1977 Dr. Otto Henri school of Music East Carolina Univ. Greenville, N.C. 27534 Dear Dr, Henri: On behalf of the Visual Arts Forum we would like to thank you for your electronic music presentation. It was enlightening to us all. Hopefully we will be able to hear you perform again sometime in the future. Sincerel Cliff Pag President PROJECT: FOLK MUSIC OF THE OUTER BANKS; CONTINUED RESEARCH, RECORDING, DOCUMENTATION. Otto W. Henry Karen G. Helms I. Background of the study. For the past two summers, Karen Helms and I have been engaged in a long-range project to study, collect, and record the folk music of Ocracoke and the Outer Banks. Ms. Helms is Artist in Residence at Richmond Technical Institute in Hamlet, N.C. She completed her Master's degree in 1973 at East Carolina University in Ethnomusicology. The current project is an extension of work done on her Master's thesis on the music of Ocracoke. . The music of the Outer Banks has always been overshadowed by the scenic attractions and the interesting geological and environment features. Little attention has been paid to the permanent residents, whose culture and society tend to be hidden by the annual influx of tourists and by the tourist industry and National Park Service facilities which extend the entire length of the islands. It has been difficult but rewarding to penetrate this exterior facade and work with the people themselves. Last summer, Ms. Helms and I succeeded in gathering enough high-fidelity tape recordings to put together a record soon to be released by Rounder Records of Amherst, Mass. Our itinerary stretched from Ocracoke to Norfolk, Va., and consumed a week and several hundred dollars of our own money. Although some funds will be forthcoming from the recording, most of the royalties will go to the informants and we do not feel we can soon afford another such trip unless funding is located. Meanwhile, the traditional music of the Outer Banks is evaporating as the older residents pass away. One of our best informants perished in an automobile accident just last month. There is an urgency in this matter, for the traditions are not being passed on and it is frustrating to watch the last remnants of the culture wash away like the sand dunes. II. Objectives. Much remains to be done. There are many informants who have moved away from the Outer Banks.and are scattered along the Coastal Plains from Wilmington to Baltimore who need to be contacted. Ms. Helms and I would like to take three weeks in July-August for an extended field trip to the Outer Banks and Coastal Plains in order to contact these informants and to explore some new opportunities to record and document several categories we have not been able to cover before, particularly children's music and instrumental dance music. ELECTRONIC ay 4 MUSIC N SymPOSium APRIL 22 & 23 Ss SS featuring works of Conrad Cummings Arthur Krieger Jon Dattorro Roger Luther Don Dailey Ladislav Medved Brian Fennelly Larry Nelson Gerald Frohmader Alwin Nikolai Ulf Grahn Frank Roloney Virginia Hageman Andrew Rudin : y. Otto Henry Leon Silvan , Anson Kenney Wayne Slawson \ , Johnathan Kramer Scott Wyatt \) you are invited to listen to works in the Gallery at any time \ during the exhibit hours. April 22 - 10:00 am to 5:00 pm April 23 - noon to 7;00 pm JPSIILAND) D A Q o) o COLLEGE OF THE PERFORMING ARTS 250 SOUTH BROAD STREET, PHILADELPHIA, PENNSYLVANIA 19102 semen eatietie i, ae ae ae ~ ee i ee EVENINGS FOR ELECTRONIC MUSIC number 3 in a series of 5 concerts MUSIC AND MEDIA: INTER-RELATING ELECTRONIC MUSIC WITH DANCE, FILM, THEATRE, & PHOTOGRAPHY A panel will discuss methods of intearating music into collaborative Structures, advantages and disadvantages of electronic music in mixed-media events, and special esthetics of inter-relationship in the arts. Panel members will include Tom Porett, award-winning photographer, media artist, and Phila. Col. of Art faculty member, Dorothy Rabensteiner Zana, composer and choreographer, Carlos Rausch, composer and former conductor of the Roval \innipeg Ballet, and Andrew Rudin, composer of music for Fellini: Satyricon, Pennsylvania Ballet, and Alwin Nikolais Dance Theatre. Questions from the audience will be invited and Raphael Dannat will perform Mr. Rausch*s Para Gerrardo for flute and tape. Compositions by Porett and Rabensteiner Zang will also be heard The final installment of Otto Henry's Zen parables, The Gateless Gate, will open our program. Coffee will be served. Admission is free. The program featuring Larry Nelson of West Chester State has been rescheduled for March 6, 1978. Composers are invited to submit tapes for consideration and ~inclusion on our Feb. 6 and March 6 Evenings. Dec. 20 is the deadline for submission of entries for our Symposium On Electronic Music to be held on April 19-20. Entry blanks can be 7:00 Dm | obtained by writing to Andrew Rudin, PCPA, 250 So. Broad St., Phila., | room 604 ES PCPA | 250 SOUTH BROAD STREET, PHILADELPHIA, PENNSYLVANIA 19102 ie fs [ l] LAND) ea b 2) 0 [ UN COLLEGEOFTHE , ys: oto (arg Eat Caraling oiverarty Mvatc Dept . DO. Or J517 Greenville jNiC- 9 v4 2g _ please post PHILADELPHIA COLLEGE OF THE PERFORMING ARTS 250 So. Broad St., Philadelphia, Pa. 19102 april 19 aazil 20 exihiilaik leeture-deEnmne gallery rm. 201 On both days, between the hours of 11 am and 7 pm, a program works by the composers below will play continuously. James Ayoob Ulf Grahn | Richard Potts Ross Care Thomas Hamilton | : Robert Pruden James Dashow Otto Henry Andrew Rudin William Flohrer Hubert Howe Daria Semegen Gerald Frohmader Bentley Jarvis Steven Smoliar Michael Gilbert : Carl Michaelson Lois Wilcken Kenneth Perrin ~* OTTO HENRY: . INTERMEDIA AN EVENING OF ELECTRONIC MUSIC WITH VISUAL EFFECTS PROGRAM THE GATELESS GATE (Moog Electronic Music Synthesizer and Color Organs). «sees 10255 By pursuing the philosophy of Zen, one discovers that barriers and obstacles to fulfillment are imaginary and do not exist. Thus one must learn to cross the "gateless gate" of reality. THE PURE LAND (Synthi AKS Synthesizer and painted SLIGES) occcccccesceveeves FEAT The "pure land" is a Buddhist middle-heaven for souls of moderate asperations. The Pure Land is described in Buddhist literature as a glowing paradise inhabited by spirit-teachers and filled with strange landscapes. The slides which accompany this piece were created by mixing crystalline and acrylic paints directly on clear plastic slides. BRING BACK YESTERDAY (Synthi AKS Synthesizer with negative image slides)...11:52 "0,bring back yesterday. Bid time return" (Shakespeare, Richard II ). Ordinary black and white negatives were framed in slide holders. They are projected through a red filter against a scatter background projector. FOUR LANDSCAPES FROM H.G. WELLS, for magnetic tape and voices (1964) ..secceese 19825 The stories of H.G. Wells are still among the finest examples of early science fiction. Well's descriptions of alien landscapes are especially interesting for the. moods and impressions they create. 1. from The Crystal Eqq Mr. Cave has discovered that a crystal object in his antique shop is a window to another world. from A Dream of Armageddon Well's description of an air raid on Naples was written years before the invention of the airplane. from The Valley of the Spiders In the distant past (or perhaps on a different planet), three horsemen pause to survey a Sinister valley. from The Time Machine The Time Traveller has pushed his machine to the last days of Earth, when life is almast extinct. 3136 Reynolda Rd., Winston-Sallem, N.C. 27106 | November 15, E372 Ow. We. Henry: Assoce Prof. Music School of Music Easstt: Carolina University Greenville, Ne Ce. My dear Sir, Your Sanctus was chosen the winner of the Hinda Ho- nigman Gold Cupe You and your Wife are invited to be guests of the Federation om Tuesday November 29, (Music Day of Culture Week) in RaTeigh at Balentines, Cameron Village, Oberlin Rd. . Banquet will in the General's: Quarters, Lower Level, 6:30 P.M. Please let me Know as soon as you can about accepting the invitatione Also please send me information concerning yourself as we will need your History for the archives. Congratulationse Sincerely, * Fraices Se Wolft Saturday morning, October 28 Hill Rehearsal Hall 11:00 A.M. MEETING OF THE SOUTHEASTERN COMPOSERS LEAGUE (open to members and to all visiting professional and student composers) [NOTE: At this same time, members of the UNC New Music Ensemble will be appearing at the NCMTA Convention in Raleigh to perform this year’s prize winning student composition, Dodge, by UNC graduate composition major, James Mobberley.] Saturday afternoon, October 28 Hill Rehearsal Hall 3:00 P.M. The New Music Ensemble Roger Hannay, director The Percussion Ensemble Lynn Glassock, director PROGRAM II Paganini Set (1973) Jackson Hill Praeludio Notturno | Improvvisazione | Corrente Improvvisazione II Notturno II Sovraposizioni Motetto perdendo The New Music Ensemble Roger Hannay, director Five Dream Sequences Walter Ross Triangle Jane Wilkinson No Sound of Water Otto Henry The Percussion Ensemble Lynn Glassock, director (conducted by Roger Hannay) Hill Rehearsal Hall Immediately at the conclusion of the concert: Composer’s Forum (An interchange of ideas among visiting composers, performers, and audience) Saturday evening, October 28 Hill Rehearsal Hall 8:00 P.M. PROGRAM Ii Two Songs on Texts by W. B. Yeats for soprano and orchestra “The Cat and the Moon” “We Have Fallen in the Dreams...” Marajean Marvin, soprano Concertino for Trumpet and Orchestra Stanley Friedman, trumpet The New Music Ensemble Roger Hannay, director INTERMISSION Two Dances from The Tempest Dance of the Shapes 1973 Dance of the Island 1973 Music in Honor of Bayside, Long Island Prelude and Variations UNC Wind Ensemble David Reed, director Robert Stine Stanley Friedman Ulf Grahn Paul Dorsam Jerry Sieg oncert 3 Saturday - F700 pm | HuBeRT Howe * Canons 4 (10225) TAPE Queens Lotlege CUKY. LOTTO HENRY * The Puredand (9-47) MULTIMEDIA &, Larotna Univers ty 3 Dwiaht Gatwoon % In Memor1uM, Cactaceae, TAPES U.of Tenn, at Martin —~ INTERMISSION ~ J PHILIP Howes Untitled by the Sea (8-00) TAPE Cambria Heights, NY. CHAWLEY JACKSON Etude (4:35) TAPE ‘Kawsas St. University SLORAN CARRIERS Trombone Mirum (600) TAPE/TROMBONIST (R.ResscTrombone > V.C-U- ATLHAN MiMARCGLUAGLEST COMPOSER TARE Columbia Princeton SAXOPHONE DAY AT EAST CAROLINA UNIVERSITY MARCH 23, 1977 2:30 P.M., RECITAL HALL, A. J. FLETCHER MUSIC CENTER JAMES HOULIK, SAXOPHONE AND PAUL TARDIF, PIANO IN RECITAL Suite Hebraique Srul Irving Glick Chasidic Dance Hora Cantorial Chant Circle Dance Sonata for tenor saxophone and piano James DiPasquale Andante, Allegro moderato Adagio non troppo Allegro con brio eae Visitors , Otto Henry Sinister Tranquil; with the tender assurance of a lullaby Freely, like an ancient myth Frantastic, incongrous (Der Doppelganger) *premiere performance* Songe de Coppelius Florent Schnitt Music for tenor saxophone and piano M. William Karlins i, = 60 II. To the memory of Coleman Hawkins cide "420 Pitt County Excursions William Duckworth March Serenade Air Ragtime BUCKN ELL UN IVERSITY DEPARTMENT OF MUSIC WHISPERS OF THE DEAD: , : A CONCERT OF AVANT ~ GARDE. MUSIC The Bucknell New Music Ensemble Jackson Hill and William Duckworth, Directors Guest Performers DIANE GOLD, flute State College, PA. JAN COWARD, bass clarinet Philadelphia - Saturday, March 134977 9:00 p.m. Vaughan Literature Auditorium PROGRAM Metamusic (1964) 0 6 oo ee a Toshiro Mayuzum Jackson Hill, violin Tad Thayer, tenor saxophone Susan Willis, piano William Duckworth, conductor Whispers of the Dead (1976). . . . . . . Jackson HII! Premiere performance Diane Gold, amplified flute Mastic tor tor) AYSRE ye ee NA ea Premiere performance Grace Boeringer, violin Zoya Jenks, cello Steve Bass, clarinet Pamela Cole, piano Jackson Hill, conductor ane Pore: Lad: TC a ee rs Oe Peng for painted slides and synthesizer Fourth performance Intermission q yy x v DEPARTMENT OF MUSIC WHISPERS OF THE DEAD: A CONCERT OF AVANT-GARDE MUSIC The Bucknell New Music Ensemble Jackson Hill and William Duckworth, Directors Guest Performers ‘DIANE GOLD, flute State College, PA. JAN COWARD, bass clarinet Philadelphia Saturday, March 12, 1977 9:00 p.m. Vaughan Literature Auditorium PROGRAM Metamusic (1964) . .Toshiro Mayuzumi Jackson Hill, violin Tad Thayer, tenor saxophone Susan Willis, piano William Duckworth, conductor Whispers of the Dead (1976) . Jackson HI11 Premiere performance Diane Gold, amplified flute Music for Four (1968) . Ulf Grahn Premiere performance Grace Boeringer, violin Zoya Jenks, cello Steve Bass, clarinet Pamela Cole, piano Jackson Hill, conductor The Pure Land (1976) . Otto Henry for painted slides and synthesizer Fourth performance Intermission Midnight Blue (1976) , William Duckworth Second performance Jan Coward, bass clarinet Overture and Allegro (1959) . David Amram Diane Gold, flute Phoneme (1973) . Marvin Lamb for spoken choir Jackson Hill, conductor Triptych (1973) . Robert Sherlaw Johnson American premiere Heidi Shaw, flute Steve Bass, clarinet Grace Boeringer, violin Zoya Jenks, cello Nancy Seth, piano Jackson Hill, percussion William Duckworth, conductor DERE cee eae cr Sees ee pa : ee g ; “| am-hopelessly-a musician.” -Aaron Copland THE NORTH CAROLINA COMPOSER’S SYMPOSIUM PRESENTS A NORTH CAROLINA COMPOSERS CONCERT SATURDAY, FEBRUARY 19, 1977 8:00 P.M. SHIRLEY RECITAL HALL FOUR Pieces for Organ (1966) ? Thomas Brosh 1. Chorale Prelude 2. Christe 3. Song 4. Ricercare Margaret Mueller, organ VASSILISSA Margaret Sandresky 1. Giant in Chains 2. Vassilissa and the Young Tsar 3. Sorcery 4. TheMagic Bird 5. The Horseas Swift as the Wind Margaret Sandresky, piano Lynn Peters, double bass NUMEROLOGY NO. 2 Jay Williams Jay Williams, tape and trombone STRUCTURE (1965/1974) Roger Hannay The Percussion Ensemble of UNC Chapel Hill Lynn Glassock, director INTERMISSION out from sound it grew 11-11-11-18 in memorium variations Ross Albert PHONEMES Marvin Lamb Atlantic Christian College Contemporary Chamber Players Marvin Lamb, director THE TWENTY-THIRD PSALM i Donna Robertson Mary Endress, soprano Susan Carlson, flute THE PURE LAND Otto Henry Otto Henry Performer on Synthesizer and Painted Slides Reception after the concert. Technical engineer - Jay Williams This Symposium is funded by the North Carolina State Arts Council and the Mary Babcock Reynolds Foundation. it is sponsored by | Salem College, Wake Forest University and the North Carolina School of the Arts. School of Music Bulk Rate SALEM COLLEGE U. S. Postage : 7 : PAID inston-Salem, North Carolina 27108 Winston-Salem, N ©. Permit No. 31 THE NORTH CAROLINA COMPOSER’S SYMPOSIUM PRESENTS A NORTH CAROLINA COMPOSERS CONCERT TUESDAY, JANUARY 27, 1976 8:15 P. M. SHIRLEY RECITAL HALL FANTASIA SUPER BACH Frank Wiley Frank Wiley, organ. Thomas Powell, chimes RECITATION WITH FIVE REFLECTIONS Donna Robertson Recitation; The beat goes on; Scherzo; Bells; Soliloquy; Epilogue John Woolley, trombone Ann Listokin, piano PARTITA, OP. 28 Daniel Foley Barcarolle; Gavotte and Musette; Adagio; Finale Bob Priest, guitar David Cakes, guitar ECUADORIAN PHANTASIE Ann Listokin Zany; Con Brio Philip Dunigan, flute Nicolette Dunigan, flute Eugene Jacobowsky, violin Bob Madura, cello Ann Listokin, harpsichord FOLLOW THE SUN (Multi-media) Otto Henry Otto Henry INTERMISSION MY FATHER MOVED THROUGH DOOMS OF LOVE Roy Prendergast OBERON, THE ENCHANTER Margaret Sandresky Eugene Jacobowsky, violin Paul Hatton, violin David Winslow, viola Nancy Anderson, cello SONATA, Movement # 1 Hunter Johnson Allegro molto a dinamico Peggy Shuping, piano FIVE SONGS OF THE DARK Ross Albert Dark ground; The underside of joy; Cubes of nightfall; The old ones; Goodnight Donald Hoirup, baritone Marlene Hoirup, piano THREE PRELUDES FOR PIANO AND TAPE Frederick Beyer Henry Ingram, piano This Symposium is sponsored by Salem College, the North Car- olina School of the Arts, and Reynolda House, and is funded by a grant from the Z. Smith Reynolds Foundation. School of Music SALEM COLLEGE inston-Salem, North Carolina 27108 League of Composers — International Society for Contemporary Music U.S. Section, Inc. c/o American Music Center, 250 West 57th Street, Room 626-7, New York, New York 10019 Honorary Co-Chairmen AARON COPLAND ROGER SESSIONS Board of Directors 1973-76 RONALD ANDERSON MIRIAM GIDEON JOEL GRESSEL Treasurer JOSEPH MACHLIS BRUCE SAYLOR Recording Secretary PATRICIA SPENCER HUGO WEISGALL 1974-77 MILTON BABBITT ELLIOTT CARTER ROBERT HELPS HUBERT S. HOWE, JR President OTTO LUENING DANIEL SHULMAN ANDREW THOMAS 4975-78 ELEANOR CORY Coresponding Secretary BRIAN FENNELLY THOMAS S. JAMES Vice President LEO KRAFT ERIK LUNDBORG JUDITH SHATIN JOAN TOWER February 275 1976 Dear Composer: On behalf of the League-ISCM, I would like to convey our appre- ciation to you for having entered a work in our International Piano Music Competition. I regret to inform you, however, that your piece was not selected as a winner. We were astounded by the large response to the competition: over 265 scores were entered. The judges -- Robert Helps, Seymour Shifrin, and Beveridge Webster -- spent many hours personally reading each score before finally meeting to select the winners. When all scores had been viewed, the judges felt that it would be impossible to select material for only a single concert from this number. They therefore suggested, and the Board of Directors has agreed, that the number of winners be expanded and that the remaining works be presented during the 1976-77 season. The winning compositions are as follows: Gregory Michael Ballard, Piano Music 2 Donald Freund, Clamavi Jacques Guyonnet, Chronigques Richard Hoffman, Piano Variations #2 Karl Kohn, Bits and Pieces Gregory Kosteck, Cantilena Robert E. Pollock, Departure Niel Sir, Composition for Piano Richard Wilson, Eclogue Peter K. Winkler, Humoresaue The works by Ballard, Freund, Guyonnet, Hoffman, and Kohn will be . performed by Robert Black at the League-ISCM concert on May 20, 1976 at Carnegie Recital Hall in New York City. The works by Kosteck, Pollock, Sir, Wilson, and Winkler will be performed next season. Due to the large number of winners, more than one pianist may be employed. All of these works are considered as finalists by the judges, and no distinctions between the works are made. The determination of which works will also be released on a recording will not be made until after all the concerts have taken place. The judges felt great admiration for many of the works entered in the competition, and they regretted that it was impossible to have an even greater number of winners. Some of the works that the judges felt should receive special commendation are as follows: Steven Block, eveningspun/black Martin Brody, Sax e David Chaitkin, Etudes Timothy V. Clark, Sonatine Classique Conrad Cummings, Remembered Voices Stephen Dankner, Bird in Space, after Brancusi David Diamond, Sonata #2 Jonathan Drexler, Gossamer Dances Michael Eckert, Tesserae Vittorio Fellegara, io @ Bach Andrew Frank, Orpheum (Night Music I) Ulf Grahn, Cing Preludes (regard sur musique de la France) Otto W. Henry, Sonata ("Aeolian Harp") Jere Hutcheson, “Fantasie-Impromptu Matthias Kreisberg, Three Untitled Piano Pieces, 1972 Noel Lee, Four Etudes for for Piano, set 11 il Tod Machover, Sun Lawrence Moss, Fanta sy for Piano Ernesto Pellegrini, Movement lll, for Piano Raoul Pleskow, Pentimento Dorrance Stalvey, Changes John Selleck, Ichinen Sanzen Randall Snyder, Music for Audun Ravnan Francis Thorne, Piano Sonata William Valente, Fantasy for Piano (in the form of etudes) Beatrice Witkin, Contour for Piano Jonathan D. Kramer, Music for Piano # #3 Once again, I would like to express our appreciation to you for your interest in the competition. We are encouraged by the response to this competition, and we hope that we will be able to conduct further activities of this kind in the future. Scores will either be returned or deposited in the American Music Center Library, as stated in our announcement, Sincerely, bet A. Yue). Hubert S. Howe, Jr., President League-ISCM School of Music Fletcher Recital Hall East Carolina University Sunday, May 11, 1975 Presents 8:15 P.M. A Recital of Compositions by KATHERINE FORD GATES assisted hy MICHAEL LEE - BILL DEVINS DAVE BOSTON — BEV WHITE CHAL RAGSDALE Piece for Tape and Percussion Quartet (1973-74)Chal Ragsdale, conductor Rick Latham Frank Oddis Jan Whitman Robert Dickey Red Banks, for percussion (1975) Sally Helton, multiple percussion Sally Williams, prepared piano Linda Walker, piano Anthem, for saxophone and tape (1974) Michael Haithcock, saxophone * * * Intermission * * * Omniverse, for Moog synthesizer (1973) Video effects by Dave Boston* Canticle for E. B. 1. (1975) Dee Ann Braxton, violin Holiday Worth, viola Claudia Carmone, cello Cliff Bellamy, cello Michael Smith, contrabass Transmigrations, for dancers and tape (1975) Michael Lee, choreographer Bev White, costume designer Bill Devins, lighting technician Jeff Krantz, asst. lighting technician Dancers Joni Peetz Catherine Davis Dan Nichols Steve Geiger Trudy Tharp Dana Mooneyham Clarnex Williams Elizabeth Pope *Special thanks to WITN-TV for the use of their video equipment. This recital is given in partial fulfillment for the Bachelor of Music degree in Theory-Composition. The Daily Reflector, Greenville, N.C._—Thursday, December 1, 197715 > Composer's Cup To Dr. Henry Dr. Otto Henry of the School of Music, East Carolina Universi- ty, is the 1977 winner of the Hin- da Honigman Composer’s Cup. The award, for his composition Sanctus, was given during the 21st annual meeting of the North Carolina Federation of Music Clubs. held Tuesday at Hilton Inn. The award is one of those given each year during the an- nual North Carolina Culture Week. f Henry is Associate Professor of Ethnomusicology and Elec- tronic Music and is also a member of the graduate music faculty 14 FOUNTAINHEAD 6 December 1977 AB OTTO HENRY OF the ECU School of Music is the winner of the — Hinda Honigman Gold Cup for original composition. Otto Henry wins award ECU NEWS BUREAU Dr. Otto Henry, associate ‘ professor of ethnomusicology and electronic music in the East Carolina University School of Music, is the winner of a statewide award for original composition. Henry was given the Hinda Honigman Gold Cup after win- ning a competition for composers sponsored by the N.C. Federation of Music Clubs. He formally accepted the award at a recent Music Day dinner in Raleigh. The winning composition, an avant-garde choral work entitled ‘*Sanctus,’’ involves the perform- ers’ own selection of pitches, with durations cued by the conductor The work was commissioned in 1973 by Mars Hill College and published earlier this®year by Hinshaw Music, Inc. as part of -the Mars Hill College Choral Series. Dr. Henry received his bache- lor’s and master’s degrees from Boston University, and holds the PhD degree from Tulane Univer- sity. EAST CAROLINA UNIVERSITY SCHOOL OF MUSIC Presents STUDENT COMPOSERS FORUM: MUSIC COMPOSED BETWEEN SEPTEMBER 1 AND OCTOBER 15, 1970 Fanfare for Two Trumpets Jill Fraser Rick Chapman, trumpet Jim Allison, trumpet In Tenebris, | (Thomas Hardy) Richard Holloman George Hubbs, percussion Brenda Dugger, english horn Marcia Eubanks, clarinet Sandra Little, piano Michael Price, celeste Richard Holloman, baritone Stafford L. Starcher, conductor Music for Brass Quintet Bruce Frazier Kenneth Molton, trumpet Nigel Boulton, trumpet Chris Lowder, french horn John Driver, trombone Eric Benson, tuba Brass Quintet Robert Perry Tim Hutchinson, trumpet Brian McCulley, trumpet Mike Barker, trumpet John Driver, trombone Doug Adams, trombone Textures in Time Gafford Pearce mixed media Evolutions 1970 _ Bruce Frazier electronic tape Students of Otto Henry Monday, November 9, 1970 and Gregory Kosteck Recital Hall, 8:15 P.M. EAST CAROLINA UNIVERSITY SCHOOL OF MUSIC presents STUDENT COMPOSERS’ FORUM Music composed between October 15, 1970 and January 15, 1971 Prisms for Ensemble Starcher Alan Valotta, clarinet Betty Ann Worrel, bassoon Mike Price, piano Peyton Becton, percussion Variations for Piano Wages Gary Wages, piano Piece for Two Clarinets Starcher Alan Valotta, clarine! Marsha Eubanks, clarinet Revelations 1970 for Tape Holloway Structures for Brass Sextet Robert Perry Metal Forms Lines and Curves Brian McCully, trumpet Rick Chapman, trumpet Leon Auman, french horn John Driver, trombone Doug Adams, trombone Dan Harris, tuba West Wind (for Tape) Billie J. Perry Woodwind Quartet in Four Movements Benson Jeanette Dameron, flute Alan Valotta, clarinet Brenda Dugger, oboe Beverley Ervine, bassoon “*.,. peace” (for Tape) Frazier students of Otto Henry January 31, 1971 and Gregory Kosteck Recital Hall, 8:15 P.M. EAST CAROLINA UNIVERSITY SCHOOL OF MUSIC presents E.C.U. Young Composers Forum “Evenings Under the Roof”’ Piece for Four Percussionists and Tape Ford Gates Leslie Kopp, conductor (1973-4) 1. Carrie Bean 2. Tony McCutcheon 3. Sally Helton 4. Larry White Vortex, for Moog Synthesizer Bruce MacDonald (1974) Four Pieces for Two Clarinets Samuel Smith Samuel Smith and Bert Owen (1974) LBV S; 2. Requiem 3. Mood 4, Fugue The Two Thieves, for Moog Synthesizer Merridith Ezzard (1974) Moderations for Alto Sax and Piano Philips Johnson Michael Haithcock, Sax (1973-4) Robert Sullivan, Piano INTERMISSION Fall Love Music Robert Conger Robin Brown, Flute, Vince Pitt, Bassoon, (1973-4) Sally Helton and Tony McCutcheon, Percussion Two Moog Synthesizer Realizations: (1974) 1. Robert Conger: popular melody 2. Hal Tyson: piano piece Moderations for Alto Sax and Piano “Encore” Philips Johnson Mood Music for Tenor Sax and Brass Quintet Robert Conger Richard Macmahan,Tenor Sax Rick Chapman and Alex Holton, Trumpets Steve Skillman, Horn; Doug Adams, Trombone Ricky Guptill, Tuba April 3, 1974 School of Music Recital Hall 8:15 P.M. dL 2 eat i : 3 3 4 : ae 6 i 8 9 10 ii, LZ 3 14 5 16 4 F/ east carolina university school of music presents a recital of compositions by gloria jill fraser surfaces, for four percussionists and moog synthesizer (1974) ecu percussion ensemble diamonds, for bass clarinet, tape and oscilloscope (1974) leslie kopp, bass clarinet three studies for moog synthesizer (1973) intermission tape piece | (1972) tape piece II (1972) walking music, for three young violinists (1974) pamela bath serena matney brenda peterson four score jill fraser, moog III p robert miller, synthi aks ford gates, electrocomp dooley ezzard, mini moog 8:15 p.m. friday, april 26, 1974 a. j. fletcher recital hall FOUNTAINHEAD/VOL. 5, NO. 53/9 MAY 1974 7 . Synthesized music performed at ECU SYNTHESIZED SOUND: GLORIA JILL FRASER By JOHN ROBERT WALLACE Special to the Fountainhead Recently, | heard the creative efforts of a young composer who is writing for the synthesizer, the violin and who is also a woman. | shall, to give you a thesis, be describing my feelings in light of my past experiences about that concert, and so with Julie Andrews | shall start at the very beginning. When | walked in, | had missed the first two pieces. My friend, Lee, said he had enjoyed them. Lee is an organist of supreme intuitive powers. | like to talk about my friends. That’s what Jack Kerouac did, but Jack Kerouac’s friends, like | guess so many of our friends repeat activities, and repetition, although the soul of advertising, is death to literature, : jn my opinion, anyway. ~ So while Gloria Jill Fraser pulled plugs, turned. knobs, and adjusted speaker cabinets, Lee and | argued, the way people at concerts argue, feeling for the right response and delivering it ever so carefully as if its meré utterance gave it gravity and validity. | was bound and determined, approximately 50 years iafter John Cage did his radio thing in New York, not to like this “music”. | used to think John Cage’s random selection of radio signals was a statement on the nature of man’s inability to communicate, a great operatic tragedy of disordered sounds in search of a direction. , By the end of the evening, after Lee had convinced me we didn’t have to divide an octave into the traditional tone scale that man has been doing, | saw, as in a vision of flashing light and blinding revelation that the essence of music is really the creation of any sound. Any sound (a pretty loose definition, but a current one, nonetheless.) At this point | turn into a totally subjective creature, for | believe some sounds are physiologically more attractive to us than others, but that doesn’t mean those other sounds are not music, to someone anyway. | also believe _that every sound affects us, and although our choices of activity are pretty confined in this latter half of the 20th Century, one of the inalienable rights that is with us still isthe right to choose what we consider to be music to our ears. There were things about the concert | liked and things. ! disliked. If music is everywhere and can be everything, what sound is sweeter to anyone’s ears than the sound of his automobile’s motor turning over quickly and running quietly? To me, that sound is music. How much one can do with that sound is another thing, but it is a sound that at the right moment can bring great happiness, or failing to sound can bring instantaneous, but not lasting despair. In Ms. Frasers 1973 piece, “Three studies for moog synthesizer,” there were moments of joy. There were sounds that created images in the mind, much like the impressionistic music of Debussy. There - form. Certain were sounds | found offensive, loud rasping sounds that | associate with needless destruction, as in bulldozers tearing at the heart of a turn of the century house. There were sounds that | could not live with for a very long time, like a man ‘confined to his room with a dripping faucet. However, a musician has the right to explore the possibilities of any plant or animal it may. The dinosaur is no longer with us and the oak tree is still in the throws of evolutionary flux. I’m not making any predictions as to the lasting nature of synthesizer music as | heard it in Ms. Fraser's concert, but | am in favor of seeing how the arrangement of sound develops. Her music is not without sounds create certain patterns on an oscilloscope, say in the shape of a diamond _ In scoring her music, Ms. Fraser has woven these shapes _together and varied them, much in the way ‘traditional composers have treated theme and variation. Her sounds last for predetermined durations, they change in volume, pitch, and timbre. They even change direction through the projection from the various speakers. Her music does tend to avoid traditional rhythms, i.e. foot tapping. Only in her last piece on the program, “Four Score,” did anything like jazz rhythms creep in. The instruments, four synthesizers were a moog Ill p, a synthi aks, an electrocomp and a mini moog. In this piece, the sea surged, breakers crashed, birds twirped, things slowed down, speeded up, and dust in the grooves retreated and emerged. Sound loved itself and what it could do. Let me mention one other piece before | bring this excursion into another of life’s activities to a close. Ms. Fraser wrote a canon, or round, called “Walking Music for Three Young Vlolinists.” Around a rectangle of six music stands, each ‘containing three bars of music, three violinists followed one another in a regulated order, playing first the first bar, and when returning to it, playing the second bar, etc. until all the music had been played by each one of the violinists. The effect was marvelous, for instead of the simple repetition of the same phrase in a traditional canon, one was always hearing new phrases. The piece began with a solo violin, was joined by each of the subsequent violins, and finally tapered off as the last violinist played her last note. My friends, life is where you are, ana you can see it anyway you like. Any moment can be momentous, if you want it to be. You see, | worked at one time in the U.S.A.F. Security Service listening to weird high frequency signals, and Ms. Fraser brought back many more pleasant memories to me with her recreation of those signals than she could ever imagine. So just send out your signals. You never know who's listening. School of Music East Carolina University Presents A RECITAL OF COMPOSITIONS BY PHILIPS JOHNSON A. J. Fletcher Music Center Recital Hall Monday, November 8, 1976 9:00 P.M. Revision II (for magnetic tape) Ap aT Fanfare Ken Hubbard, alto sax Revision IT ages Fig sk Six Pieces John McLellan, flute Teresa Meeks, alto flute Carrol Ridenhour, piano Revision II a eige, © gis. 33, Moderations Ken Hubbard, alto sax Diane Goodall, piano Revision II was realized using the following equipment: Moog IIIp Synthesizer PAiA Sequencer (with power supplies and Moog interfacing by Philips Johnson) PAiA 2720 series Synthesizer Crown 700 tape recorder Revox A77 tape recorder (2) Teac 3440 tape recorder Ampex 456 “Grand Mastering” tape Special thanks to Eric Haas, Debra Fales, Buz Tyler, and Lucy Midyette. This recital is given in partial fulfillment of the requiremtns for the Bachelor of Music degree in Theory - Composition. East Carolina University School of Music Presents in Senior Recital PHILIPS JOHNSON COMPOSITION AND ELECTRONIC MUSIC Across the River (Moog IIIp) Sonatina Eddie Henderson, piano Environments (alto flute and tape) Morning Music Eric Haas, English horn Philips Johnson, flute Duke Ladd, piano Rick Latham, percussion Janet Reeve, bass Otto Henry 1975 1977 A.J. Fletcher Recital Hall Tuesday, May 10, 1977 7:30 P.M. This recital is given in partial fulfillment of the requirements for the Bachelor of Music degree in Theory-Composition. ELECTRONIC MUSIC PLUS Saturday Evening, March 16, 1974, 8:00 p Hill Auditorium, Social- -Re ligious Building. Sondo. . a a ee a ee . . »Peter Lewis Color film University of Lowa Mirrors, Echoes and Dialogues . és . . Dan Urquhart Diane Davis, a Florida State University Memorabilia... i. 4 eee 6 eg ek ees Schwere David Vanderkooi, ‘cello Bowdoin College Skaniadaryo . . - 2 6 « « « » » « Jean Eichelberger Ivey Enid Katahn, piano Peabody Conservatory Intermission smutiyata..°.-.. a oe . »- Alan Moore Eugene Anderson, visuals “Kentucky State University Thou, Restless, Ungathered cama . eVincent McDermott Susan Clapp, clarinet Wisconsin College-Conservatory Mary Arnold, soprano Citizen Kane the POCONG