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Southeastern Composer’s League 56th Annual Composer’s Forum March 15-17, 2007 Recital Hall, School of Music Concert I Thursday, March 15, 2007 7:30 pm Recital Hall Sonare Preludium Joe Alexander The Excelsior Quartet Malik Barrows, euphonium Josh Jones, euphonium Michael Robinson, tuba Doug Sutton, tuba Think…know…after Kadisha Onalbayeva Grace Anderson, cello Freedom Lost Bruce Mahin Ināra Zandmane, piano …and sundry movements of the heart… Jonathan McNair 1. Prelude 2. Song 3. Thank you, Dmitri and Claude 4. Standing Stones Dennis AsKew, tuba Ināra Zandmane, piano Intermission Meandering Bruce Hurley Johnston Shawn Copeland, clarinet Ināra Zandmane, piano Three Dances for Lily James Geiger 1. Teeter-Totter 2. Dream 3. Crawling/Walking James Geiger, marimba Nightmares David Pegel David Fox, timpani Sisannah Steele, piano Radiance Scott Robbins Ensemble Radieuse Christopher Vaneman, flute Kelly McElrath Vaneman, oboe Melanie Foster Taylor, piano Program Notes: Joe Alexander, Sonare Praeludium Duration: 7:00 Joe L. Alexander’s Sonare Praeludium (for tuba quartet) was composed in the summer of 1999 for the Alabama Tuba Quarter. It is a large, one movement work based on three themes. The piece is technically challenging for the players but the overall effect for the audience is intended to be light hearted, playful and enjoyable listening experience. It was premiered by the group on February 25, 2000 at the College Music Society’s Southern Chapter meeting in Lafayette, Louisiana. Kadisha Onalbayeva, Think…know…after 6 minutes Think…Know…After was composed in only three hours and is built around mixture of contemporary string techniques, Kazakh folk melodies, and the sound of the dombra kobiz, an important folk instrument of Kazakhstan. This work is an effort to create a unique and personal voice through this blend of ideas and techniques. Think…Know…After was the co-winning composition for First Place in the 2005 Philips Slates Composition Contest for graduate students. Kadisha has been a composition student of Dr. Jerry Sieg at The University of New Orleans in New Orleans, Lousiana. Bruce Mahin, Freedom Lost Duration: 6:00 Freedom Lost expresses the feeling of horror and sense of loss felt by the composer as events unfolded on September 11, 2001. The piece uses musical gestures to convey a mixture of intense emotion, patriotic fervor, and sense of hope. The pianist uses standard pianistic techniques but also reaches inside the piano to strum and mute the strings. In addition, a small piece of paper is inserted between the strings in the higher register to create sounds not normally associated with the piano. Overall, the work attempts to capture the surreal feeling that often accompanies any event of this suddenness and magnitude. Jonathan McNair, …and sundry movements of the heart… Duration: 15:00 …and sundry movements of the heart… for Tuba and Piano was composed for Dr. Kenyon Wilson, friend, fine tubist, and fellow teacher. The four movements of this work explore very diverse (“sundry”) musical territories: abstract, songlike, humorous, pensive and transcendent. Many of the musical ideas were generated in spontaneous improvising sessions or by singing— hence, “movements of the heart” more than of the intellect. “Prelude” is anchored in its structure by a bold, serious gesture that is heard at the beginning, middle and end of the movement, developed a little differently each time. The melodic contour of the tuba in the intervening episodes is mostly an ascent from its lower register. The piano accompanies this upward climbing with higher register, glittering chords. “Song,” the second movement, is a lyrical melody. It expresses warm, positive human emotion in a simple manner. The third movement, “Thank you, Dmitri and Claude,” has a touch of vaudeville about it, and is light-hearted and witty. The names in the title are of two composers (Dmitri Shostakovich and Claude Debussy) who came to mind while writing it. (Imagine a variety show with these two venerated composers dancing, singing, and doing slapstick comedy.) “Standing Stones” is titled after the numerous sites in the British Isles where ancient people erected huge stones— in circles, singly, or even lining broad “avenues.” The incredible effort required to do so is mind-boggling, given the tools available to the people. And that they were able to make near-perfect circles, with stones aligned by the positions of sun and moon and seasons is further evidence of their intelligence and dedication to ideas and deep feelings far beyond the daily tasks of survival. The music begins very quietly, in deep tones, enigmatic harmonies, and introspective melodies, as if the stones are engulfed in early morning mist. Gradually, the mist lifts, the sun is revealed, and the moist stones glisten with reflected light. In similar fashion, the music gradually moves upward, and takes on a brighter sound until it reaches an ecstatic climax in D-flat major. Bruce Hurley Johnston, Meandering Duration: 6:00 Meandering is a homogenous work in three movements written for the clarinet with piano accompaniment. It is a highly chromatic work drawing from Bruce’s broad background of Jazz, Blues, and New Music composition. The idea of the piece is to take the listener on a journey spanning an immense spectrum of moods and emotions without ever committing to any particular state of mind. Blessed with the gift to see music through colors and shapes (synaesthesia), Bruce describes the piece as a kaleidoscope of colors and shapes driven by a vacillating rhythmic flow. James Geiger, Three Dances for Lily Duration: 7:00 Written during the fall of 2006, this “suite of baby dances” is dedicated to my daughter Lily on the occasion of her first birthday. As I watched her from birth, I noticed that she had a keen sense of rhythm. The first movement “Teeter-Totter” has a childlike quality of simplicity to it. The second movement “Dream” came about from watching her move in her sleep. The last movement “Crawling/Walking” has a distinct “three against two” rhythmic pulse since her arms move a slightly faster pace than her legs. As Lily continues to grow up, I know she will continue to be a source of inspiration for me. David Pegel, Nightmares Duration: 4 minutes Nightmares, for keyboardist and percussionist, was originally intended to be a solo prepared piano piece with choreography, the addition of timpani, was suggested by the choreographer to more easily facilitate a dance rhythm. The unexpected result was a timpani showpiece. 'Nightmares' focuses on an irregular percussion rhythm and incomplete chord structures to create a sense of mystery and fear. This piece, which can be described as a giant crescendo with a breakdown of rhythm until the final moment, tells the story of a girl being visited by her darkest fears in a dream, fears which slowly overwhelm her until she wakes up in a fit of hysteria. Scott Robbins, Radiance Duration: 15 minutes Composed over Christmas break, 2006, for Ensemble Radieuse, Radiance serves a three-fold purpose: (1) It allowed me the opportunity to compose a challenging, many-mooded work for three great musicians to whom I have devoted much of my compositional energy in recent years. (True, I wrote Sweet Dreams for Spooky for them three years ago, but that was a less-weighty composition, even with such a serious title.) (2) Its title is the first to capitalize on the group’s name (Ensemble Radieuse = radiant ensemble). (3) It allowed the chance to prove to myself that, even though inundated with administrative duties, I can still compose good music. Radiance is a rather free, quasi impressionistic work, although it does contain elements of styles I like such as minimalism and variation forms. I don’t want to write too much about this piece; let it suffice to say that a) much of what happens in the work is influenced by the spacious, spare piano introduction—a series of repeated sonorities that build in density—that opens the work; and b) the flute and oboe will enter eventually. Enjoy. Concert II Friday, March 16, 2007 10:30 am Recital Hall Hallucination William Pruett Brian Davis, piano Two Scenes for Solo Guitar Leonard Ball Ryan Smith, guitar Music for Piano V Mark Prince Lee Mark Prince Lee, piano Partita VI for Solo Bassoon John Corina 1. Grazioso 2. Expressivo 3. Capriccio 4. Allegretto 5. Pastorale 6. Dolce 7. Cantabile William Davis, bassoon Piano Sonata Richard Montalto 1. Adagio - Lively 2. Rubato Brian Davis, piano Program Notes: William Pruett, Hallucination Duration: 5:00 Hallucination is a nocturnal-fantasy piece in a free through-composed form of five sections. The pitch material is based primarily on the first two sonorities of the work. While there is no specific programmatic basis for the piece, it does make references to works of folk music and opera. The performer is given a wide range of flexibility in interpretation, especially regarding rhythm and tempo. Chic Ball, Two Scenes for Solo Guitar Duration: 12:00 Two Scenes for Solo Guitar started as a three-movement project in 2004, but has settled down to two movements due to interruptions from other works. There is, however, still a third movement out there somewhere. I know this because I have caught glimpses of it on several occasions. Meanwhile, the two existing movements seem well suited to each other and will continue to seek exposure wherever and whenever possible! Mark Prince Lee, MUSIC for PIANO V Duration: 5:00 MUSIC for PIANO is a large-scale compositional cycle consisting of twelve discrete sections, each beginning with one of twelve accompanying ‘FRAMES’. Like all of Mr. Lee’s music, the pitch material utilizes ‘fixed pitch frequency’, a unifying organizational technique employed whereby once a note is used it remains at that frequency or location on the piano for the entire work. Each piece exists as a compositional unity on both the micro and macro structural levels, the entire cycle being divided into two halves of six works each. In Part I of MUSIC for PIANO, each piece is roughly identical in formal design, the duration of each piece within each half is roughly the same, all the pitch material for the entire cycle of 12 pieces is derived from one twelve note harmonic structure divided into groups of six, three, and two, each one affixed to register, dynamic, and tempo, and each piece is preceded by an accompanying ‘FRAME, whose pitch material is a variant of the work it precedes. MUSIC for PIANO Part I, no’s I – VI received its world premiere performance by Mr. Lee in Morelia, Michoacan, Mexico, in June 2005 at the site of the first music conservatory established in the Western Hemisphere. Today’s performance of MUSIC for PIANO # V with FRAME, features the premiere of the piece with the addition of PITCH-STRAND groups, which reappear in varied form in no’s IX and XII. John Corina, Partita VI Duration: 10:00 Partita VI is a multi-movement composition for solo bassoon. This recently completed work (2007) is a series of variations on several tone rows, and is dedicated to William Davis. Richard Montalto, Piano Sonata No. 1 Duration: 10:00 Piano Sonata No.1 reflects diverse influences on the composer’s stylistic development. The slow introduction that opens the work is followed by the development of two themes, the first of which is reflective of the Baroque keyboard music, and the second recalls French Neoclassicism. The second movement (Rubato) is in ABA form and it brings to mind at various moments jazz improvisation, Expressionism and a familiar carol. This performance is the world premiere of the first two movements. Concert III Friday, March 16, 2007 1:30 pm Recital Hall Scherzo Greg Carroll John Fadial, violin Joseph Di Piazza, piano Phoebe’s Odyssey Hollis Roberts Deborah Egekvist, flute Spinning, Hanging, Falling Brian Willkie Multi-channel digital playback Elegy and Dance William Davis William Davis, bassoon Trio Terry Vosbein Jonathan Salter, clarinet Anne Berry, cello Radha Mundkur, piano A La Feminisca Berio Remix 2 Mitch Turner Studio realization Energy Drink III Mark Engebretson Scott Rawls, viola Program Notes: Greg Carroll, Scherzo Duration: 4:00 Scherzo is the last movement of a three-movement sonata for violin and piano. Its character is similar to the 19th century concept of a scherzo: it is serious rather than jocular, its predominant meter is triple, and its tempo is very fast—each measure is felt as a single beat. Octatonic scales—scales created by alternating half- and whole-step patterns—provide the pitch material for the entire movement. An ascending three-note motive (identical to the first three notes of the minor scale) generates most of the melodic material of the piece, and the prevailing rhythmic motives give the movement a distinct sense of urgency. Hollis Roberts, Phoebe’s Odyssey Duration: 6:00 This solo flute piece is based on a day in the life of my cat, Phoebe. It begins with a Midnight Escapade, in which she slinks through the house (her house, of course, not mine). I attempted to depict her various activities including sudden pounces, leaps, and curiosity-inspired per lustrations. In the second part, Morning Twilight Catnap, Phoebe is exhausted from her nocturnal escapades and tries to take a nap, but suffers interruptions from her humans as they move about in the morning. She purrs as she circles, trying to settle into a comfortable position for her nap. The third part, The Moth Chase, describes her frantic efforts to follow a moth, leaping up and down and swatting as she goes. Phoebe’s Odyssey won First Prize in the 2005 Arnold Salop Composition Contest for undergraduates. She was a composition student of Dr. Scott Robbins at Converse College in Spartanburg, South Carolina. Brian Willkie, Spinning, Hanging, Falling Duration: 5:00 Spinning, Hanging, Falling takes as its sound source a spinning quarter. Using the Kyma system these sources are deconstructed, scrutinized, and pieced back together while exploring motion, space, and time. Bill Davis, Elegy and Dance Duration: 11:00 Elegy and Dance for solo bassoon was composed for a summer bassoon workshop organized by Atlanta bassoonist Shelly Unger. She calls the event "Summer Bassoon Extravaganza." The Elegy was composed for the 2005 SBE, and the Dance, for the 2006 SBE. Both movements incorporate special effects, including multiphonics, quarter tones, and timbre variations on a single pitch. The two movements were formally premiered by the composer at the 2006 International Double Reed Society Conference in Muncie, Indiana. Terry Vosbein, Trio Duration: 8:00 I spent the summer of 2004 in Paris. Paris is my favorite city. I have spent several summers there, composing and drinking in her essence. It is the perfect city for a lover of life. I had an unusually productive summer there. I transcribed my piano sonata for a quintet. I composed and arranged eight jazz octets for a concert that fall. I wrote a Rhapsody for cello and piano. I spent two weeks training around Europe. And I wrote this trio. Originally I was to compose a cello and piano work for a 2005 New York concert. I finished my other projects and was awaiting finalization of the commission. I decided to begin anyway, to at least get it started before I left Paris. In two weeks it was done, a Rhapsody for cello and piano. Just as it was completed I received word that the concert was happening and the commission was set. The only change was that I was to write a trio instead of a duet! Once again, as with the Rhapsody, I began the trio hoping to at least get started before I returned to Virginia in the fall. I began by imagining brothers Ricardo and Jesús Morales, the clarinetist and cellist for the premiere, laughing and playing together as young children. So the composition begins with the brothers playing, tossing a triplet melody back and forth. Once I began, the piece flowed from my mechanical pencil (a Twist-Erase from Pentel, .09mm lead) as fast as I could write. I wrote in my studio on the Seine. I wrote sitting in a green metal chair in Place des Vosges. I wrote sipping café crème at the Cafe Sorbonne. And before I knew it the composition was completed. The trio is a happy playful piece. The clarinet and cello are frequently paired, frolicking as only brothers can. The piano holds them together, interjecting his own thoughts as well as introducing the lyrical middle section. There are a few main ideas that get tossed around and developed before the composition ends as it began, with the brothers tossing the triplet melody back and forth. The primary inspiration for this piece came from the remarkable virtuosity and musicianship of the performers for whom I was writing. Ricardo and Jesús Morales, as well as pianist David Riley, are some of the best musicians I know. Writing for such fine musicians for a New York City premiere is all a composer could ask for. This trio was commissioned for Ricardo Morales, Jesús Morales and David Riley by the University of Oregon School of Music for a 2005 performance at Merkin Concert Hall in New York. Scores, parts and audio can be downloaded at www.vosbein.com. Mitch Turner, A La Feminisca Berio Remix 2 Duration: 5:00 A La Feminisca (2006) is a remix of the Sicilian song from Berio’s Folk Songs. The sounds were taken from the 1968 recording featuring Cathy Berberian. The stark edges of each sample call attention to its collage nature, emphasizing the remix quality. Mark Engebretson, Energy Drink III Duration: 5:00 With the completion of Energy Drink III, I can finally speak of the Energy Drink pieces as a series, which it has been my intention to create for a number of years. These pieces are intense, energetic and demanding works, demanding a virtuoso performance from both the player and composer. Energy Drink III, to be heard for the first time today, was commissioned by my colleague and friend, violist Scott Rawls. This piece is, in essence, a blues, with a chord structure derived from this form stretched out one time over the entirety of the short work, thus forming the harmonic plan for the whole. I wanted to work with (varied) repeatability in this piece, so material you hear once, you may hear again. There are a myriad of localized harmonic schemes and motivic variations overlaid onto the basic harmonic scheme, considerable amount of work with sound, timbre, rhythm and meter. My conception of harmony may seem somewhat distant from the inspiration, but ultimately, it is all derived from the blues. Concert IV Friday, March 16, 2007 3:30 pm Recital Hall Veiled Places Ken Davies 1. Empyrean Escarpments 2. Anasazi Appartitions 3. Land of Cragged Spires Neapolitan Wind Quintet Caroline Rohm, flute Kandace Stephenson, oboe Ryan Daniels, clarinet Amanda Harman, bassoon Philip Kassel, horn Michael Burns, conductor What Do We Have? Betty Wishart Beauty Surrounds Us Nancy Jo Ezzell and Rebekah Murray, soprano 1 Brittany Akers and Megan Truelove, soprano 2 Jessica Noa and Megan Rowe, alto 1 David John Hailey and Brittany Kefauver, alto 2 Five Duets Mark Francis Laura Pritchett, alto flute Caroline Rohm, bass flute Topsy Speaks Rodney Waschka Sean Devlin, trombone Electro-acoustic accompaniment Snow Angels Dosia McKay 1. Winter’s Eve 2. The First Snow 3. Snow Angels Neapolitan Wind Quintet Caroline Rohm, flute Kandace Stephenson, oboe Ryan Daniels, clarinet Amanda Harman, bassoon Philip Kassel, horn Michael Burns, conductor Program Notes: Ken Davies, Veiled Places Duration: 11:00 There are places in the North American southwest that inspire the imagination and exude a sense of geological, historical mystery. One feels as though one is looking through an atmospheric veil at how life might have been in an ancient era. I attempted to capture a feel of three of those places in this work. In northern Arizona's Monument Valley, the desert floor is sparsely decorated with towering rock outcroppings, striking from a distance. Yet, close up, they are huge sculptures, their empyrean escarpments touching the sky. Through the high altitude thin air, the sun distinctly marks the shadows and abstract angular lines of the cliff's' rough edges. One faintly sees large ancient hands, casting shadows, carving the details. The ancient cliff-dwelling civilization at Colorado's Mesa Verde left little history except the remains of what was once a long and broad avenue of early American "hi-rise apartment complexes." One can tour the many remains of social gathering places and examine, close-up, a few examples of multi-room homes built in stone under shady rock ledges. For a brief moment, during my visit, I saw apparitions of one of these ancient Anasazi families going about their daily lives. South Utah's Bryce Canyon is a land of cragged spires and huge densely-clustered giant hoodoos, rising from the canyon floor like a colossal army of ancient warriors standing guard in the valley. To the early Paiute Native Americans, these were the "Legendary People" whom Coyote turned into stone for their misdeeds, coating them in shades of red, frosty pink and orange, golden yellow and tan. At the right time of the right day as a breeze ripples the sunlight, you might see the sparkling colors come to life in silent speech. Betty Wishart, What Do We Have? Beauty Surrounds Us Duration: 5:00 What Do We Have? What do we have? All we have is today. Who knows what tomorrow will bring? Will there be killing? Oh, why can’t we have peace throughout our land? For all we really have, all we have is today. Who knows what tomorrow will bring? Will there be war, killing and death? Dying? Or will there be peace throughout our land? Beauty Surrounds Us Beauty surrounds us, surrounds us all. Beauty surrounds us with dark rain-filled clouds; Clouds filled with rain, thunder and lightning, rainbows after storms. Beauty surrounds us with nature’s walls: seasons changing from summer to fall. Bright green leaves that turn to gold as climates change from hot to cold. Blades of grass that once were green soon take on an icy sheen. Leaves unraked, fallen on the ground, will lay unseen after snowflakes fall down. Weeping willows wear icy, icy tears that will bring cries of joy when summer appears. Beauty surrounds us, surrounds us all. Mark Francis, 5 Duets Duration: 9:00 5 Duets exists in 2 versions: this one and one for violin and viola. This is the first performance of this version. Each movement is based around the motive A-D-C. The motive is extended, broken down, rebuilt and transformed through various tempos, textures, forms and rhythmic figures. Rodney Waschka, Topsy Speaks Duration: 10:00 Topsy Speaks was commissioned by the Music Technology Program at the North Carolina School of the Arts for trombonist James Miller of the NC School of the Arts and the Los Angeles Philharmonic. Mr. Miller gave the premiere performance in Crawford Hall in Winston-Salem, North Carolina on May 4, 2002. Topsy, a ten-foot tall, 19-foot long elephant, was brought to the United States in 1875. She worked in various parts of the country, but around the turn of the century she was employed as a worker on the Coney Island amusement park. According to some, she grew bad tempered and began to attack her trainers. One, who offered her a lit cigarette as food, was dashed to the ground and killed. Others had also been killed. It was decided to execute Topsy, but the question was: how? Initially some people suggested strangling her. Then, Thomas Edison got involved. He sent a team to electrocute Topsy. He also sent a film crew to record the event for his movie studio. On January 4, 1903, Topsy was fitted with a hawser around her neck, fed carrots laced with a massive amount of cyanide, and then electrocuted by Edison's crew. Within weeks Edison's film of the killing of Topsy was in his movie catalog available for rental to movie houses across the country. Dosia McKay, Snow Angels Duration: 8:00 The woodwind quintet, Snow Angels, was inspired by a breeze of fresh air at the end of a long and humid summer in East Tennessee. As the mornings and evenings became cooler, and the change of seasons was at hand, the composer was overcome by the memories of snowy winters in her native Poland. She remembered being pulled in a sled by her parents, the taste and smell of snow, and the simplicity of a child’s joy and wonderment. She dedicates this piece to all of her Northern Friends who have been transplanted to the South and who miss true winter. Concert V Friday, March 16, 2007 7:30 pm Recital Hall Elegy Greg Wanamaker UNCG Chamber String Orchestra Greg Carroll, guest conductor “I Will Wait for You There!” David Caudill Robert Wells, baritone Scott Rawls, viola James Douglass, piano Night Songs Roger Vogel Malgorzata Staszewska, violin Anatoly Sheludyakov, piano Intermission Three Movements in Motion David Mitchell 1. Dancing (Contra-Rondo) 2. Tolling (Tolling Bells 3. Marching (The Relentless March of the Half Steps) Rylan Smith, guitar Matt Anderson, guitar Approaching Northern Darkness Ken Jacobs Sheila Browne, viola David Brunell, piano Springfield Trio 2005 Tayloe Harding Joren Cain, soprano saxophone David Springfield, trombone Maila Gutierrez Springfield, piano Program Notes: Greg Wanamaker, Elegy Duration: 5:00 Elegy is an arrangement for string orchestra of the slow movement (also titled Elegy) of my Duo Sonata for clarinet and alto saxophone. Elegy in its original version was written in memory of those who died in the tragedy on September 11, 2001. The work is a strictly white-note work based on very simple motives. Elegy received its world premiere at the 12th Festival Internacional Bach by the Orquesta Sinfonica de Trujillo in Trujillo, Peru. Violin I Allison Willet, concertmaster Megan Morris Will Selle Haein Song Elizabeth Cansler Meg Harrison LaTannia Ellerbe Violin II Jared Matthews, principal Annalisa Chang Veronica Allen Young Cho Brittany Ellis Chrissy Fuchs Viola Lauren Andersen, principal Laurie Rominger Caitie Leming Alex Beard Cello Gina Pezzoli, principal Michelle Kwon Jesse McAdoo Sarah Dorsey Bass Mike Di Trolio Kit Polen Steven Jackson David Caudill, “I Wait for You There” (The Last Letter of Sullivan Ballou to His Wife Sarah.) Duration: 22:00 …”I wait for you there! Come to me, and lead thither my children.” So reads the gravestone of Sullivan Ballou, March 28, 1829 to June 21, 1861, Major in the Union Army. The inscription is taken from the last line of his last letter to his wife, Sarah, written one week before he was killed by a cannonball, along with twenty-seven of his close comrades, in the Battle of Bull Run at Manassas, Virginia. He wrote: “I cannot describe to you my feelings on this calm summer night, when two thousand men are sleeping around me, many of them enjoying the last, perhaps, before that of death-and I, suspicious that Death is creeping behind me with his fatal dart, am communing with God, my country, and thee.” Having risen from an orphanage to a promising career as a lawyer, he volunteered in the spring of 1861. He was deeply concerned for his wife and two young sons, Willie and Edgar. His motive for fighting was a pure love for his country and its principals and he was willing “…to lay down all my joys in this life, to help maintain this Government…” Still the blissful moments of his life with her, he goes on, “come creeping over me, and I feel most gratified to God and to you that I have enjoyed them so long.” He promises her, “If the dead can come back to this earth and flit unseen around those they loved, I shall always be near you…” I Wait for You There was the 2003 MMTA/MTNA Commissioned Composition. Roger Vogel, Night Songs Duration: 9:00 Night Songs was written in 2003 for Tom O'Donnell, a prominent violinist in the Atlanta, Georgia area. Many different types of music are associated with the night; from lyrical serenades and lullabies to boisterous drinking songs and dark hymns there are dramatic differences. Night Songs is a work of strong contrasts in which a slow lyrical section is followed by a vigorous fast concluding section with a strong rhythmic momentum. David Mitchell, Three Movements in Motion Duration: 11:00 Three Movements in Motion is a composition for guitar duet. All three movements employ a wide variety of special effects on the guitar from percussive and strum techniques to harmonics and alternate tunings. The first movement, “Contra-Rondo,” is a fast dance that shifts from 4/4 to 5/4. Its title comes from the fact that it is in rondo form and the accompaniment in the second guitar part is in contrary motion. “Contra-Rondo” introduces and employs an interesting golpe (percussion) technique that returns in the third movement in a climactic finale. In the middle of the piece, the second guitarist must retune the 6th string from E to Eb in just four counts. Listen for the harmonics, glissandos, and Bartok pizzicato at the end of the movement. The second movement, “Tolling Bells,” is a slow movement with an unusual alternate tuning in the second guitar part. The 6th string is tuned from E to Eb. The 4th string is tuned D to C#. This gives the guitarist a tri-tone between the 5th and 6th strings and wonderfully dissonant chords, just like a cacophony of tolling church bells in the dark. Listen for the string bends and the ghostly midnight dance in the second guitar part. The first guitar part suggests shadowy figures scurrying about. The movement finishes with tolling bells fading into the dark misty night. The third movement, “The Relentless March of The Half Steps,” is based on a commonly used intervallic technique exercise. This exercise is a four-note figure in descending half steps. In this movement, the exercise is used as an ostinatos accompaniment part to the syncopated melodic part. This ostinatos figure provides a relentless march throughout the piece. The first guitar part introduces a syncopated melody that shifts from naturale to ponticello tone colors. The two guitars switch accompaniment and melodic parts in the middle of the piece, and the movement comes to a dramatic finish using a golpe technique that was introduced in the first movement. Kenneth Jacobs, Approaching Northern Darkness Duration: 13 minutes This is the second movement of a 47-minute concerto for viola and orchestra, and each of the movements can be played individually. In the second movement (“Simply, Heartfelt”), three gentle yet passionate themes are presented in succession. The poignancy of the opening themes gives way to the more animated feel of an intense, dramatic tango. The slow pulse still is prevalent, but it is heavily subdivided. Eventually, the two opening themes are recapped, slightly ornamented, and presented in reverse order. Consequently, the movement ends with the same starkly simple and romantic material with which it began. The work was commissioned by Sheila Browne, who has just returned from recording the entire concerto with the Kiev Philharmonic for ERM. The CD will be released later this year, and the viola / piano version (with David Brunell) will also be released as part of a two-disc set of viola works commissioned by Ms. Browne from this composer. The score is preceded by the following quote from Aldous Huxley: “…looking up into the darkness. Up there…just above me, floats the great secret, the beauty and the mystery. To look into the depths of that mystery, to fix the eyes of the spirit on that bright and enigmatic beauty, to pore over the secret until its symbols cease to be opaque and the light filters through from beyond—there is nothing else in life that matters; there is no rest or possibility of satisfaction in doing anything else.” ALDOUS HUXLEY: “THOSE BARREN LEAVES” (1925) Tayloe Harding, The Springfield Trio (2005) Duration: 12 minutes The Springfield Trio (2005) is a three movement work for piano, trombone, and soprano saxophone. Commissioned by pianist Maila Springfield in 2004, the composition features distinctly different content and form among its movements. The second is an adaptation of a song, originally conceived for a musical theatre production. It is the only one of the movements that is through-composed, suggested by a non-strophic text at its genesis. Motivically-inspired formal structures similar to much of the chamber work of the composer, predominate in movements 2 and 3 though the nature and mood of the material contrasts from section to section in both. The three performances of The Springfield Trio (2005) presented by the commissioning musicians on March 16, 17, and 18, 2007 constitute its world premiere. Concert VI Saturday, March 17, 2007 11:00 am Recital Hall Three Poems of Pierre Reverdy Thomas Royal Timothy Cook, baritone Grace Anderson, cello Thomas Royal, piano Clarinet Sonata David Lothamer Annie Hutson, clarinet Gregory Carroll, piano Woodwind Quartet, Op. 7 Jess Hendricks 1. Elegy 2. Instance 1 3. Interlude 1 4. Instance 2 5. Interlude 2 6. Finality Laura Pollard, flute Jay Welborn, clarinet Angel Garren, bassoon Shannon Kucirka, horn Program Notes: Thomas Royal, Three Poems of Pierre Reverdy Duration: 8:00 These pieces are settings of the French cubist poet, Pierre Reverdy (1889-1960.) The aesthetic approach used in this composition is analogous to the aesthetic approach seen in these poems. Reverdy achieves remarkable directness and strength through careful choice of and extremely judicial placement of very few words. In the setting of the poems, every attempt is made to portray a stark and desolate simplicity through the use of a linear approach which subsumes all musical elements to melodic considerations. The piece is not necessarily tuneful, as melodic material often appears in a fragmentary manner. Nonetheless, the melodic material is presented as simply as possible so that nuances of line are brought into severe focus. In addition, there is a kind of romanticism in the piece, though certainly not a trifling, comfortable romanticism. A very extended tonality sometimes presents itself in this piece, but its rules are very often violated for the sake of melodic considerations. Son de Cloche Tout s’est éteint Le vent passé en chantant Et les arbres frissonnent Les animaux sont morts Il n’y a plus personne Regarde Les étoiles ont cessé de briller La terre ne tourne plus Une tête s’est inclinée Les cheveux blayant la nuit Le Dernier clocher resté debout Sonne minuit Sur le Talus Le soir couchant ferme une porte Nous sommes au bord du chemin Dans l’ombre près du ruisseau où tout se tient Si c’est encore une lumière La ligne part à l’infini L’eau monte comme une poussière La silence ferme la nuit Souffle Il neige sur mon toit et sur les arbres. Le mur et le jardin sont blancs, le sentier noir et la maison s’est écroulée sans bruit. Il neige Sound of a Bell All the lights are out The wind passes singing And the trees shiver The animals are dead There is no one left Look The stars are not shining now Or the earth turning A head has bowed Hair sweeps the night The last bell tower upright Strikes midnight trans. Patricia Terry On the bank Evening as it sets closes a door We are on the edge of the road In the shadow close to the brook where everything holds still If this is still a light It’s heading for infinity. The water rises like a kind of dust Silence closes the night trans. Patricia Terry Breath It is snowing on my roof and on the trees. The wall and the garden are white, the path Black, and the house has given way without a sound. It is snowing trans. Mary Ann Caws and Patricia Terry David Lothamer, Clarinet Sonata Duration: 5:00 This is a one-movement sonata written during the first part of 2006. It was influenced by two other clarinet pieces: Poulenc's Clarinet Sonata and Robert Muczynski's Time Pieces. The goal of this work was to combine the freedom and vitality of Poulenc's music with Muczynski's highly chromatic (but not atonal) sonorities and jagged rhythms. Jess Hendricks, Woodwind Quartet, Op. 7 Duration: 24:00 Quartet for Woodwinds, op. 7 is a seven movement work for Flute, Clarinet, Bassoon, and Horn in F that was originally composed for the Western Arts Quartet as a one movement piece called “Elegy”. In 2004, Jess Hendricks decided to revisit the piece and add additional movements. The next five movements were based on ideas contained in the first movement, plus many additional themes were added. The piece attempts to explore all of the different sounds this unique ensemble can create and explores several different moods. The movements were given purposely vague titles so that the listener can create whatever picture or feel whatever emotion they want without having to be influenced by a title. Quartet for Woodwinds was the co-winner of First Prize in the 2005 Philip Slates Composition Contest for graduate students. Jess Hendricks has been a student of Dr. Ken Jacobs at The University of Tennessee in Knoxville, Tennessee. Composer Biographies Joe L. Alexander’s music has been performed throughout the United States, South America and Europe. Performances include recitals/presentations at regional conferences of the Birmingham Art Music Alliance, the Louisiana Composers’ Consortium, the Society of Composers, Inc., the College Music Society, and Southeastern Composers League Forum. His music has been featured at Bowling Green State University’s annual New Music & Art Festival, and New Music for Young Ensemble Composers' Competition. In 2002, the Monroe (Louisiana) Symphony Orchestra selected him to compose Louisiana Blue (baritone voice, flute, piano with orchestra accompaniment). His Two Bryant Songs (soprano, Bb clarinet and piano) are on the CD Winds and Voices, by Living Artist Recordings. Alexander teaches low brass, serves as the Head of Theory/Composition and is Director of the Music Technology Labs at Louisiana Tech University. In addition, he is the Secretary-Treasurer for the Southern Chapter of the College Music Society and Secretary for the Southeastern Composers League. In 2005, he hosted the Southeastern Composers League’s Annual Forum at Louisiana Tech University. Alexander holds a Doctor of Musical Arts degree from the University of North Texas and studied composition with Newel Kay Brown, Douglas Knehans, Martin Mailman, Cindy McTee, and James Riley. Leonard V. Ball, Jr. has been a member of the composition and theory area of the University of Georgia Hugh Hodgson School of Music since 1987. His principal instructional responsibilities include courses in undergraduate and graduate acoustic and electronic composition, music technology, computer assisted instruction, and music theory. He has also served, with minimum interruption, as chair of the School’s Technology Committee since 1995. He is currently director of the Roger and Phyllis Dancz Center for New Music. His compositions have been performed across the United States, in Europe, South America, and Japan. His electronic work has focused on interactivity combining dancers (movement) and sound. Born in Richmond, VA and brought up in eastern North Carolina, Ball’s musically formative years were spent as a vocalist/guitarist in a number of folk and light rock bands, culminating in professional work as an arranger/performer for several bluegrass and folk groups. After an eight-year hiatus with the United States Army, he earned Bachelor of Music and Master of Music degrees in composition from Kansas State University and a Doctor of Musical Arts in composition from the University of Memphis. His principal teachers were T. Hanley Jackson, John Baur, and Donald Freund. Gregory D. Carroll is an associate professor of composition and theory at UNCG, where he also teaches courses in music history and literature. He earned a BA from St. John’s University (MN) and an MM and Ph.D. in composition/theory from the University of Iowa. Dr. Carroll taught at the University of Iowa and Indiana State University before coming to UNC Greensboro in 1981. His compositions have been performed at state, regional, national, and international conferences-- from the continental United States and Alaska, to Canada, Europe and Australia. In the recent past, his Studies in American Folk Idiom was given its world premiere by the Anchorage Symphony Orchestra, and an arrangement for tuba solo and Wind Ensemble was premiered at the International Tuba-Euphonium Conference in Budapest. Dr. Carroll has also been active as a pianist, conductor and guest lecturer, and has served as judge for numerous state, regional and national composition contests. He currently serves as Vice President of the Southeastern Composers League. David Caudill is Emeritus Professor of Music at the Delta State University. His musical compositions have received numerous performances in recitals in concerts. His list of works includes six songs cycles, three major works for chorus, two major works for chorus and wind ensemble, works for various instrumental ensembles and for various solo instruments. Commissions include those by the Mississippi Music Teachers Association/Music Teachers National Association, the Phi Mu Alpha Sinfonia/Theta Upsilon Chapter and the American Choral Directors Association/Mississippi Music Teachers Association Joint Conference. His Romanza for Flute and Piano is included on the CD, Mississippi Classic, and was used in the music for a documentary made for public television. His Thy Light for Chorus was published by Boosey and Hawkes. His two act opera, The Shepherds’ Story, was premiered as part of the Delta State University’s 75th Anniversary Celebration. He is the recipient of the Mississippi Institute of Arts and Letters Music Award, the Phi Mu Alpha Sinfonia Orpheus Award, and an Academic Excellence Award from the Mississippi State Legislature. He currently resides in western North Carolina, and is working on his second opera. John Corina (b. 1928), composer, oboist, organist and conductor, received the B.S. degree in music education and M. A. in music history from Western Reserve University, and the D.Mus. degree in composition from Florida State University. He is Professor Emeritus at the University of Georgia Hugh Hodgson School of Music where for 25 years he taught oboe, composition and theory, and performed with the Georgia Woodwind Quintet. From 1983 through 1989 he served as conductor of the University Orchestra and from 1968 through 1989 he administered the programs in theory/composition. He was appointed to the graduate faculty in 1970 and promoted to the rank of full professor in 1978. In 1985 he was awarded the General Sandy Beaver Teaching Professorship, a three year appointment. Prior to the position at the University of Georgia, he taught at Miami Dade Junior College in Florida and in secondary schools in Dade County, Florida and Lakewood, Ohio. In 1998 he was inducted into the Collingwood High School (Cleveland, Ohio) Alumni Hall of Fame for achievement in music. His doctoral studies in composition were with John Boda and he has composed over 120 compositions consisting mainly of works for chorus and for vocal and instrumental chamber music. He has received fourteen awards in composition in addition to yearly ASCAP standard awards. An oboe student of Philip Kirchner, he has performed with the Cleveland Philharmonic, the Miami Beach Symphony, the Greater Miami Philharmonic and the Augusta Symphony and has performed ten times for the International Double Reed Society. His conducting studies were with F. Karl Grossman and Richard Burgin. Dr. Corina has been a church organist/choirmaster for over 50 years and in 1998 he retired as organist/choirmaster emeritus at Emmanuel Episcopal Church in Athens Georgia, a position he held for 24 years. He has also served as the conductor of the Athens Choral Society. Presently he continues his musical activities as composer, oboist, choral singer and organist. He returned to teaching composition part time at the University of Georgia for the 2000-2001 and 2003-2004 school years. Memberships include Phi Beta Kappa, Pi Kappa Lambda, MENC/GMEA, NEA, Southeaster Composers League, International Double Reed Society, American Music Center, SCI, NACWPI, AGO and ASCAP. His latest works include Antiphon for men, women and mixed chorus, and Magnificat for mixed chorus. William Davis has been a faculty member in the University of Georgia School of Music since 1981 and has served as Associate Director for Administration since 2003. He earned Bachelor of Music and Master of Music degrees at the University of Kansas, and the Doctor of Musical Arts degree at the Eastman School of Music. His main composition teachers have been John Pozdro, Samuel Adler, and Warren Benson, and he has studied bassoon with David Van Hoesen and Austin Ledwith. His published compositions include works for soloists, chamber ensembles, chorus, and symphonic band. His works for orchestra have been performed by the San Antonio Symphony, the Atlanta Symphony, the Macon Symphony, and other orchestras. Prior to 1981 he was an Army Band Officer (1972-74), a bassoonist in the San Antonio Symphony Orchestra (1974-75), and a faculty member at West Texas State University (1975-81). He has served as President of the National Association of College Wind and Percussion Instructors, as President of the Southeastern Composers League, and in several officer positions in the International Double Reed Society. A Wisconsin native, Ken Davies holds an M.A. in trombone from Middle Tennessee State University at Murfreesboro and an M.M. in composition from the University of Colorado at Boulder where he was an Effinger Fellowship composition student. During the 1970s, he was trombonist for ten years with Gabriel’s Brass, a 12-piece jazz/rock show band based in Orlando, Florida, regularly appearing at Walt Disney World. He has worked as a commercial arranger and session producer for nationally broadcast record and television projects. Since 2002, he has resided in south Mississippi where he teaches brass privately, composes and runs his publishing company, Kenvad Music. His works include choral, acoustic and electronic pieces that have been performed nationally at Society of Composers National and Regional conferences, Southeastern Composers League, the International Trombone Festival, and at several concerts. Mp3s of his works may be heard via his website www.kendavies.net. He was recently awarded the 2006-2007 Artist Fellowship Grant in composition by the Mississippi Arts Commission. Mark Engebretson, Assistant Professor of Composition and Electronic Music, has recently undertaken composing a series of high-powered solo works entitled “Energy Drink” and writing music for large ensembles. He was previously a freelance composer and performer in Stockholm and Vienna, earning numerous commissions from official funding organizations. His music has been presented at many festivals, such as Wien Modern (Vienna), Gaida Festival (Vilnius, Lithuania), Ny Musikk (Bergen, Norway), Indiana State University New Music Festival (Terre Haute, Indiana), the Florida Electroacoustic Music Festival and ISCM Festivals (Tirana, Albania and Baku, Azerbaijan). Recent performances include presentations by the Wroclaw Philharmonic Orchestra and the Jacksonville Symphony. His work “She Sings, She Screams” for saxophone and digital media has been performed countless times worldwide and has been released on three compact disc recordings. As a performer, he has appeared as a soloist and chamber musician worldwide, and he is a former member of the Vienna Saxophone Quartet. Dr. Engebretson has taught at the Eastman School of Music, the University of Florida and at the State University of New York, College at Fredonia. He holds the DMA degree from Northwestern University, and also studied at the University of Minnesota and the Conservatoire de Bordeaux. His teachers include Michel Fuste-Lambezat, Ruben Haugen, Frederick L. Hemke, Jean-Marie Londeix, M. William Karlins, Pauline Oliveros, Marta Ptaszynska, Michael Pisaro, Stephen Syverud and Jay Alan Yim. Mark Francis (b. 1958) is Director of Education and Community Outreach for The Florida Orchestra in Tampa. He previously served as Director of Education and Librarian for the Mississippi Symphony Orchestra and has taught at Mississippi State University, Louisiana School for Math, Science and the Arts, Centenary College, Northwestern State University and Power Academic and Performing Arts Complex. He holds a D.M.A. in composition from the University of Kentucky. A recipient of 10 ASCAP Standard Awards and an ASCAP Plus Award for his compositions which include chamber, orchestral, choral and electronic works as well as over 75 art songs. His compositions are frequently performed at prestigious festivals such as the Society Of Composers, Inc. National Meeting, Resolution 2000 New Music Festival, The Corcoran Gallery Contemporary Music Series in Washington, DC and the North American Saxophone Association. His compositions and arrangements are published by Conners Publications, Carillon Music from Albany Little Piper Publications, Gold Branch Music and Imagine Music. He is a past Board Member for Composition of College Music Society, South Chapter and past President of the Southeastern Composers League and a frequent contributor to 21st Century Music. James Geiger (b.1977), a native of Palatka, Florida, is currently the band director and percussion coordinator at West Laurens Middle School, located in Dublin, Georgia. He received his undergraduate degree from Georgia Southern University (BM, music ed. and music comp., 2000) and his graduate degree from The University of Tennessee (MM, music comp., 2005). His compositions have been performed by such groups as the Third Chair Chamber Players (Lincoln, NE), Clinton String Quartet (Clinton, NY), and the Cathedral Brass (Hastings, NE). When he is not teaching, Mr. Geiger arranges music for chorus and band, collects all kinds of compact discs, and teaches at Georgia College and State University’s Summer Music Camps. Tayloe Harding became Dean of the School of Music at University of South Carolina on July 1, 2005. He also served, from 2003-5 as Composer-in-Residence for the Valdosta (GA) Symphony Orchestra. He was most recently the Head of the Department of Music, Professor of Music, and Chief Advancement Officer for the Arts at Valdosta State University (VSU) as well as serving as Executive Director of the Valdosta Symphony Orchestra. He has previously served in faculty and administrative capacities at North Dakota State University, Virginia Commonwealth University, University of Wisconsin-Madison, and Georgia State University. Dr. Harding's works have received performances throughout the United States, Canada and on six continents. He has received grants for new works and premiers from Meet the Composer, the National Endowment for the Arts, Lila Wallace-Readers' Digest Foundation, Philip Morris, Inc., and a variety of state and local agencies in Florida, Georgia, Virginia, Wisconsin, Illinois, Kentucky, Minnesota, and North Dakota. Commissions for his new works have been received from Thamyris, the Atlanta Winds, the African-American Philharmonic Orchestra, the Atlanta Community Orchestra, the Fernbank Museum of Natural History, the Chicago Saxophone Quartet, the Gainesville (FL) Civic Orchestra, Chorus and Ballet, and from numerous individuals and Universities. His has been a fellow of the Ragdale and UCROSS Foundations, as well as of the Virginia Center for the Creative Arts, the Hambidge Center for the Arts, and the Atlantic Center for the Arts. A member of ASCAP, his works are published by Mareba Music, and Collected Editions, Ltd. He is currently serving as Immediate-Past President of the College Music Society, the nation’s only comprehensive professional and scholarly membership organization in music in higher education has been active in many national and international organizations most recently the Society of Composers, Inc. and the National Associations of Schools of Music. Jess Hendricks (b. 1972) is a composer and arranger living in the Knoxville, Tennessee area. While studying composition with Dr. Charles W. Smith at Western Kentucky University, he composed three award winning works: Piano Sonata No. 1, String Quartet No. 1, and Phase II for Unaccompanied Clarinet. All three pieces won the Kentucky Music Teachers National Association Composition Competition in 1992, 1993, and 1994. In 2006 the Celebration and Chorale for Percussion Ensemble, op. 24, String Quartet No 2, op. 15, Sat Gamaya for Winds, Percussion, and Strings, op. 32, and Lunar Reflections on the Sea, op. 33 were all premiered at various locations. On April 24, 1998 the Bassoon Concerto No. 1, op 9, was premiered by Jefferson Campbell (who also commissioned it) and members of the North Carolina School of the Arts Student Orchestra. Currently Jess Hendricks is working towards his Master’s Degree in Composition at the University of Tennessee in Knoxville, Tennessee and studying under Dr. Kenneth Jacobs. Kenneth Jacobs is Professor of Music Composition. A native of Indiana, he was awarded the Doctor of Musical Arts degree from the University of Texas at Austin. His music has been played across North and South America and Europe, and he has received an International New Music Composers Award, Bergen Festival Award, City College of New York Electro-Acoustic Prize, the Brown University Choral Prize, Tennessee Orchestral Prize, prizes from the Texas and Tennessee Music Educators Associations, and a Phi Kappa Phi Outstanding Artist Award. Composer of music for solo, chamber, orchestral, vocal, choral, and electronic media, he has toured extensively with a dozen multimedia works featuring his artwork and photography coupled with synthesized music, and these works soon will be available on DVD. Currently, fifteen solo compact discs of his music have been released on the Zyode, Impact, and Opus One labels. American Record Guide has described his music as “a deceptive kind—seemingly simple and accessible, but created with consummate skill.” He directs the composition program at the University of Tennessee and is published by Boosey and Hawkes, Seesaw Music, and North / South Editions. Bruce Hurley Johnston is an award winning composer and a Summa Cum Laude graduate of Berklee College of Music holding a Bachelor of Music Composition degree. He grew up in Arkansas and was playing blues on Memphis’ famous Beale Street by the age of 21. At the age of 25, he received a “Talent Scholarship” from Berklee based on his instrumental performance as well as his compositions. While in Boston, Bruce studied with composers John Bavicchi, Thomas J. McGah, and Arthur Welwood. Currently, he studies composition with Dr. Kenneth Jacobs at the University of Tennessee where he holds a graduate theory teaching assistantship. Bruce can be heard performing in the Southeast United States with various bands including “The Tennessee River Dogs” bluegrass group, “Cheating Spoon”, The Mount Olive Baptist Church “Voices of Praise”, and his fusion group “Tease Louise” of which he is guitarist, bassist, vocalist, and musical director. Mark Prince Lee received his BM in composition from Florida State University, where he studied with Harold Schiffman, and an MM in composition from Memphis State University. Mr. Lee also holds an MA and PhD ABD in German Studies from Vanderbilt University. He is currently the chair of the Music Department at Columbia Sate College in Tennessee (near Nashville), a position he has held since 1993. Mr. Lee did post-graduate study in composition for two summers at the Ferienkurse in Darmstadt, Germany where he studied with Brian Ferneyhough and John Cage. Most recently, Mr. Lee studied compositional analysis with Karlheinz Stockhausen during the summers of 2002, 2003, and 2004, in Kuerten, Germany (near Koeln). Mr. Lee’s works for a wide variety of acoustic and electronic media have been performed throughout the eastern half of the US including performances in Miami, New Orleans, Washington D.C., New York City, and Toronto. In Europe his works have been performed in Amsterdam, London, Paris, Vienna, and throughout Germany. David Lothamer is currently pursuing his Bachelor's degree in music composition. He began taking piano lessons at the age of 10, shortly after moving from Reston, Virginia to Nashville, Tennessee. During high school he became involved with various choirs and other performing groups. Formerly a piano performance major at Saint Louis University, David has since transferred to the University of Tennessee. In Fall of 2005, he began his study of composition with Dr. Jacobs. His interests include all kinds of music ranging from classical to popular and especially film scores. David's music has been influenced by several composers, particularly Poulenc, Debussy, Messiaen, and Stravinsky. He is currently a member of the UT Singers jazz choir. Bruce P. Mahin is a Professor of Music, and Director of the Radford University Center for Music Technology. He received the B.Mus from West Virginia University, M.Mus from Northwestern University and the Doctor of Musical Arts degree from the Peabody Conservatory of The Johns Hopkins University. Mahin is a former president of the Southeastern Composers League, a former co-chair of Society of Composers Region 3, a former research fellow at the University of Glasgow (Scotland), and the recipient of awards from the Virginia Commission for the Arts, Meet the Composer, Annapolis Fine Arts Foundation, Res Musica, Southeastern Composers League and others. His works are available on compact disc through Capstone Recordings (CPS-8747, CPS-8624 and CPS-8611) and published in score by Pioneer Percussion, Ltd. and in the Society of Composers Journal of Musical Scores. Dosia McKay was born and raised in Poland. At the age of nine she began her studies at the local Elementary School of Music in Wejherowo, with classical guitar as her major instrument, but soon chose to pursue flute and piano instead. She continued her education at the State School of Music and General Education in Gdansk. As a member of the symphony orchestra and women’s chorale she traveled to Hungary, Switzerland, and Germany. She graduated with honors, majoring in flute performance under Ewa Pinno and Katarzyna Wittschenbach. In 1991 Dosia came to California to join the Celebrant Singers, with whom she traveled extensively throughout the United States, Canada, Mexico, Cuba, France, Italy, Malta, Greece, and Albania. Since 1994 she has made Tennessee her home. She is currently studying music composition with Dr. Kenneth A. Jacobs at the University of Tennessee School of Music. Jonathan B. McNair is active in the creation and performance of new music, teaching, community outreach, and church music. His music has been performed across the U.S.A., and in Puerto Rico, Germany, Switzerland, and Scotland, released on the Capstone label, and published by Pilgrim Press. Performers have included members of the Cleveland Orchestra, Myriad Ensemble, Epicycle Ensemble, the Wichita New Music Ensemble, neoPhonia, the Smoky Mountain Chorale, Chattanooga Symphony core players, and soloists and ensembles at universities, colleges, festivals, and churches. McNair has received awards, residencies, and commissions from the American Composers Forum, Choral Arts of Chattanooga, Allied Arts of Chattanooga, Ballet Tennessee, the Chattanooga Symphony chamber players, and the Chattanooga Clarinet Choir. He studied composition at The Cleveland Institute of Music, Southern Methodist University, and Appalachian State University. He is currently U.C. Foundation Associate Professor of Music Theory and Composition at The University of Tennessee at Chattanooga, and artistic director of the Contemporary Music Symposium at UTC. David Mitchell studied classical guitar performance under John Sutherland at the University of Georgia, and has participated in master classes with virtuoso guitarists Christopher Parkening and David Russell. David is also a past winner of Georgia Music Teachers Association and National Music Educators Association competitions, and is a former member of the Georgia Council for the Arts Touring Artists Roster. Currently, he is the instructor of guitar at Truett- McConnell College and the University of Georgia Center for Continuing Education. David is the former instructor of guitar at Piedmont College. Over the last ten years, his students have won numerous state guitar competitions. David has served as the Guitar Division Chairperson for the Georgia Music Teachers Association student competitions. He was a competitor in the 2002 Guitar Foundation of America international competition in Miami. In addition to concerts and competitions, David has performed at many weddings, receptions, and arts events during his twenty-eight years of playing classical guitar. Currently, David is studying composition at the University of Georgia School of Music under Dr. Leonard Ball. He also received 2005 teacher of the year at South Gwinnett Community Schools for outstanding contributions to the students and community. Richard Montalto holds degrees in composition from the University of New Orleans, Tulane University and the University of North Texas. He studied composition with Russell Smith, John Baur and Larry Austin. He is the recipient of a number of awards, including an ASCAP Grants to Young Composers Award for his Symphony for Wind Ensemble, a Mississippi Artist Fellowship for his Symphony #2 and 25 ASCAP Standard Awards. His works have been performed at the Montreaux International Jazz Festival, Symphony Space in New York, the New Orleans Contemporary Arts Center, the International Computer Music Conference, Carnegie Hall, and numerous academic conferences. He has served as President of the Southern Chapter of the College Music Society and the Southeastern Composers’ League. Prior to joining the Mississippi University for Women faculty he served as director of the University of New Orleans Jazz Band. He is currently a Professor of Music at MUW. Kadisha Onalbayeva was born in Kazakhstan and began her musical training at the age of 5 years. She attended Jubanov Special School for Talented Children in Almaty, Kazakhstan for 12 years. While at Jubanov she studied piano and composition, gave piano recitals and was involved in piano and composition festivals and competitions. Awards include first prize in the Soviet Union’s “New Talent” competition, national piano competitions and Central Asia piano competitions. Kadisha also participated in international music festivals in Yalta, Germany, Turkey, Russia and Uzbekistan. In addition Kadisha performed Bach’s C Minor harpsichord concerto, Haydn’s D Major concerto, Grieg’s A minor concerto, Prokofiev’s Piano Concerto No. 1 and Khatchaturian’s concerto. After graduation from the Jubanov school, Kadisha entered the Kurmangazy National Conservatory of Music. While at the conservatory she studied piano, composition, accompanying, chamber music and pedagogy. Kadisha was awarded the “President’s Award for Young Artists” and Chevron’s “Award for Talented Students” in piano and composition. She continued her career with solo recitals, concerto performances, chamber recitals, composition performances and teaching. Kadisha also participated in performance seminars, workshops and master classes. Piano concertos performed by Kadisha while at the conservatory include Tchaikovsky’s Piano Concerto No. 1, Brahms’ Piano Concerto No. 1, Liszt’s Piano Concerto No. 1 and Rachmaninoff’s Piano Concerto No. 2. Kadisha’s most important piano teachers were Ludmila Lapan , Asuly Dosaeva, Tatiana Sulemenova,Guljamila Kadirbekova, Klara Gospadar, Vladimir Sevidov and Vladimir Krienev. Kadisha continued her activities as performer, composer and teacher following her graduation from the conservatory. During this time she received a Soros prize for her work in development of international cultural exchanges. This award paid for her first visit to America in January, 2000. This first visit brought Kadisha to New Orleans in January, 2000 to participate in the International Jazz Conference. In August, 2003. to study with Dr. Jerry Sieg and earned her M.M. in Composition from the University of New Orleans in May, 2005. She then completed her M.M. in Piano Performance at U.N.O. in 2006 with Professor Mary Ann Bulla, and is currently working on her Doctorate in Piano Performance Louisiana State University with Professor Michael Gurt and Professor Gregory Sioles. Throughout her career, Kadisha has been a strong supporter of new music. She has continued her performances of her music, and participated in international new music festivals as composer, performer and organizer throughout Central Asia, Austria, England, Kazakhstan, Russian, Uzbekistan, Tatarstan. While in America she has participated in new music activities in New Orleans, Slidell, Ruston, Baton Rouge, Spartanburg South Carolina and Pensacola, Florida. She has been particularly interested in introducing the music of Kazakhstan to America. She is a member of Kazakhstan Composers’ Union. Kadisha recently won the Southeastern Composers’ League (USA) graduate composition for her solo cello “Think…Know ..After..”. David Pegel, a Tennessee native, began his study of music at the age of nine. In addition to composing, he has become reasonably accomplished on multiple brass instruments, as well as flute, piano, and Baroque recorders. David has been studying with Dr. Kenneth Jacobs since the fall of 2004, and has since had many of his works premiered by his friends and colleagues on campus. His music has been described as "a fresh mix of old and new harmonies, expressing bold statements in a semi-traditional style that can identify with many audiences". In addition to study under Dr. Jacobs, David has also studied euphonium performance under the direction of Mr. Sande Macmorran, also of UT, and plays an active role in UT's Band and Choir programs. William Pruett teaches composition, theory and electronic music at Campbell University in Buies Creek, North Carolina. He maintains a piano teaching studio and has served as adjudicator for many piano and composition competitions, including NCMTA (North Carolina Music Teachers Association) and the Raleigh Piano Teachers Association. Hollis Elisabeth Roberts, of Sautee, Georgia, graduated summa cum laude with honors in violin performance from Converse College in Spartanburg, South Carolina. Ms. Roberts was the recipient of the 2006 Pi Kappa Lambda Award, which is earned by the senior with the highest academic record in the Petrie School of Music. An accomplished student and performer, Ms. Roberts was concertmaster of the Converse Symphony Orchestra, and a member of the Araya Quartet with which she toured Europe three times during the annual Converse Festival Tours. She also participated in the Sessione Senese per la Musica e l’Arte, in Italy in 2004. Ms. Roberts was a member of the Spartanburg Philharmonic Orchestra. She participated in master classes with Academy of St. Martin in the Fields Chamber Ensemble, Emerson String Quartet, Juilliard String Quartet and Beaux Arts Trio, among others. She was the Petrie School’s 2005 Presser Scholar, an honor given to an outstanding student majoring in music at the end of her junior year. In 2005, she was selected to perform with the National Festival Orchestra in Carnegie Hall. Ms. Roberts also taught violin in the Lawson Pre-College program at Converse. She is continuing her education at the Peabody Institute of Johns Hopkins University in Baltimore, Maryland where she is studying for her master’s degree in violin performance with an emphasis in pedagogy. Scott Robbins’ compositions are widely performed and professionally recognized, having received over 50 awards, including the International Sergei Prokofiev Award, Yale University’s Norfolk National Composition Prize, NACUSA Young Composers Award, ASCAP Foundation Grant to Young Composers, American Music Center Composer Assistance Award, Florida Individual Artist Fellowship, and multiple awards from ASCAP and commissions from the SC Music Teachers Association. His most recent award is the 2006 Grand Prize in the Composers Guild Composition Contest for his sextet, Elastic Frequencies. Among those who have performed and/or commissioned and/or commercially recorded Scott’s works are the Czech Radio Symphony, Warsaw National Philharmonic, Moyzes Quartet, Ensemble Radieuse, the Gregg Smith Singers, and the Dale Warland Singers. The Clearing, a film for which Scott composed the soundtrack, received the CINE-Eagle award and has been broadcast on Bravo and HBO. In his past life, Scott was guitarist for the Right Profile, a band that released an EP produced by REM-producer Mitch Easter and was signed to a contract with Arista records. Ultimately, sanity prevailed, and Scott went to college and received degrees from Wake Forest, Duke, and Florida State universities. Since 1998, he has been a member of the faculty of the Petrie School of Music, where he now serves as Interim Dean and Associate Professor of Musicology and Composition. Thomas Royal (born 1979) is currently studying composition in the M.M. program at the University of North Carolina Greensboro. His present concerns are in attempting to find newer conceptions of melody and counterpoint that not only expand upon current conceptions of those ideas, but also enhance communicability with the audience. Currently he serves as a teaching assistant in the Composition/History/Theory Division in the School of Music at UNCG. Mitchell Turner (b. 1966) is an active music theorist and composer. He holds a Ph.D. (1999) and an M.M (1993) from the University of Georgia, where he studied music theory and composition, as well as a B.S. in Communications from Georgia Southern University (1988). He studied composition with Dr. Lewis Nielson (Oberlin Conservatory), Dr. Leonard V. “Chic” Ball (the University of Georgia), Dr. William Davis (the University of Georgia) and Dr. David W. Mathew (Georgia Southern University). He is currently an Assistant Professor of Music at LaGrange College and taught previously at the University of North Carolina-Greensboro, the University of Georgia, and Piedmont College. His music has been performed at conferences of SEAMUS, the College Music Society and Southeastern Composers League. His music is published by Wehr’s Music House and Conners Publications. His music software HostX, TseqAM, and TseqX have been published multiple times by the British Magazine Computer Music. HostX is also distributed by Behringer, GmbH, with their digital audio hardware. His article "Interval-Class Exchanges in a Two-Dimensional Pitch- Class Space" was published in the Eastman School of Music Journal Integral in Vol. 16/17 (2005). A native of Cleveland, Ohio, Roger Vogel studied music theory and composition at the Ohio State University and earned the Ph. D. in 1975. His major professors were Marshall Barnes, Jay Huff, Norman Phelps, and Wolf Rosenberg. A productive composer, Dr. Vogel has over 100 compositions and several journal articles to his credit. Since he joined the faculty of the University of Georgia in 1976, Dr. Vogel has written over 95 original works which have been published by eleven different publishing firms. Notable among his awards are prizes from the Roger Wagner Choral Composition Competition, the National Saxophone Workshop Composition Contest, the National Flute Association, and the Delius Composition Competition. He has received commissions from the Georgia Music Teachers Association, the University of Georgia, Sigma Alpha Iota Professional Women's Music Fraternity, Phi Mu Alpha Professional Men's Music Fraternity, the Helios Duo, The Fellowship of Reason®, the Athens Master Chorale, the Medical College of Georgia, Georgia 'Cello Society,and the Bass Club of Georgia. His works have been performed in recitals and at conventions and festivals throughout the United States, South America, and Europe. New Orleans born composer, Terry Vosbein has received numerous commissions to write new works from such organizations as the Cleveland Orchestra and the Cleveland Museum of Art. He has composed works for orchestra, wind ensemble, various chamber ensembles and choir. And his compositions have been performed all over the world. Vosbein has been awarded five summer residencies at La Cité Internationale des Arts in Paris. In the fall of 2001 he was awarded a fellowship at University College in Oxford, where he composed Masque for Cello and Orchestra. And his composition A Prayer for Peace, a reaction to the events of September 11th, has received performances worldwide. A more recent work, Village Scenes for Alto Saxophone and Piano, was premiered by James Bunte and David Riley at Carnegie Hall in early 2006. When not spending his summers composing in exotic corners of the world, Vosbein teaches music composition at Washington and Lee University in beautiful Lexington, Virginia. He received his Masters in Composition from James Madison University under the tutelage of John Hilliard, and his Doctorate in Composition from the Cleveland Institute of Music, where he was a student of Donald Erb. For more information, or to download scores and audio of his compositions, go to www.vosbein.com Gregory Wanamaker’s music explores and extends unique timbral qualities of instruments and voices while maintaining lyric and dramatic characteristics commonly associated with works of earlier eras and contemporary popular music. The winner of numerous awards, Wanamaker’s music has been commissioned and performed throughout the United States, Canada, South America, and Europe by performers including the Trujillo Symphony Orchestra, PRISM Saxophone Quartet, The Gregg Smith Singers, The West Point Saxophone Quartet, Timothy McAllister, Deborah Bish, Ensemble Radieuse, and the Society for New Music. Recent world premieres include Deborah Bish’s acclaimed performance of Clarikinetics at the Festival de Inverno de Vale Veneto, Brazil in July 2004 and speed metal organum blues by the PRISM Saxophone Quartet at Symphony Space in New York City on November 19, 2004. His Motet for orchestra and ¡Yo no tengo soledad! for mezzo soprano, saxophone and string orchestra were premiered in August 2006 by the Orquesta Sinfonica de Trujillo at the 13th Festival Internacional Bach where Wanamaker served as composer in residence for the past two years. Wanamaker's music is featured on Timothy McAllister’s release In Transit on the Innova label and his music for clarinet was recorded by Deborah Bish’s recent release Clarikinetics on Mark Custom Records. His work Triaria appears on Ensemble Radieuse’s independent debut album, Inbox. Wanamaker is currently Associate Professor of Composition and Theory at the Crane School of Music at SUNY Potsdam. Rodney Waschka II is a composer/performer working with algorithmic composition, intermedia pieces, and music for traditional ensembles. His pieces have been performed throughout Europe and North America, in South America, Africa, in Japan and China. Musical Opinion (London) cited his music as "fluent and entertaining". Computer Music Journal has called his work, "profound … for the adventurous." Tim Perkis has praised his music as "cooler than cool", while Fanfare noted that "It succeeds because Waschka understands the need to come up with something new." Recordings of Waschka's music are available on the Capstone, IRIDA, Centaur, Ama Romanta, Plancton, and PeP labels. Commissions, recordings, and performances of his works have been supported by the National Endowment for the Arts, Meet the Composer, the North Carolina Arts Council, the Fundación Valparaíso, and many others. A former officer of the International Computer Music Association, Waschka is a faculty member at North Carolina State University. Brian Willkie is seeking his Ph.D. from Louisiana State University (recently ABD) where he works with Dr. Stephen Beck in the Electro-acoustic Studio and the Laboratory for Creative Arts and Technologies (LCAT). His works have been performed in Japan, Argentina, the U.K. and regionally in the Southeastern U.S. and are published by Dorn Publishing. Brian received his Masters and Bachelors degrees in composition from the University of Georgia at Athens under Dr. Leonard Ball and studied in Paris at the Center for the Composition of Music Iannis Xenakis (formerly Les Ateliers UPIC). Current projects include ICAST, sonification, and spatialization. Betty Wishart received degrees from Queens University and the University of North Carolina- Chapel Hill and pursued additional study in New York City. Roger Hannay and Donald Waxman were her major composition teachers; however, she has also done summer studies with Judith Weir, Robert Kyr, Deidre Gibbon. Her music has been performed throughout the United States, and also in England, France, Italy, South Korea, and Japan. Her music has been published by Warner Bros. and Conners Publications. She has been recognized in numerous publications including Who’s Who in Music, World Who’s Who of Women, Foremost Women of the Twentieth Century, International Leaders in Achievement, Who’s Who of Professional and Business Women, Personalities of the South, and Community Leaders of the World. She has also won Composers Guild awards in several categories, has received awards from Delta Omicron, American Pen Women, American College of Musicians, and ASCAP standard awards for the past ten years. Wishart teaches at Campbell University, is President of the Southeastern Composers League, and Theory/Composition Chair of the North Carolina Music Teachers Association. In addition to teaching at Campbell University, adjudicates piano and composition competitions. Wishart previously taught piano at UNC-Chapel Hill and in Coral Springs, Florida where she served as district president of the Florida State Music Teachers Association, president and director of the Broward County Music Teachers Association, and co-founded the Pompano Piano Competition. She is currently President of the Southeastern Composers League and Theory/Composition Chair for the North Carolina Music Teachers Association. The Performers Grace Anderson, née Lin, cellist, captured top prizes at Artists International Auditions and the National Federation of Music Clubs Competition. She has performed as a soloist and chamber musician in leading concert venues in North America and Europe. She made her New York debut recital at Weill Recital Hall at Carnegie Hall, and was hailed by The New York Concert Review as possessing “rapier definition and boundless energy.” An avid chamber musician, Grace Anderson has performed at Lincoln Center for the Performing Arts, Bargemusic, The Kennedy Center, and in music festivals at Caramoor, Aspen, and abroad in Canada, Holland, Germany, France and Croatia. Grace Anderson has collaborated with musicians from the Chamber Music Society of Lincoln Center. In addition, she founded the Tedesca Chamber Players, an all-strings ensemble whose performance of the Schubert String Quintet at the historical Trinity Church in New York City was broadcast by BBC television worldwide. A graduate of Harvard University and The Julliard School, Grace Anderson is currently pursuing a Doctorate of Musical Arts Degree at UNCG. She is the Founder and Artistic Director of the Triad Chamber Music Society in Greensboro, North Carolina. Born in San Jose, California, Matthew Anderson moved to north Georgia at an early age where he took up guitar studies with renowned pedagogue John Sutherland. Matthew began serious studies as a Presidential Scholar with Mr. Sutherland at Georgia State University, where he graduated Summa Cum Laude with Distinction from the School of Music. He then continued studies with John Sutherland at the University of Georgia under the prestigious University-Wide Teaching Assistantship in the areas of guitar and music theory. In addition to studies with Mr. Sutherland, Matthew has performed in masterclasses with Paul O'Dette, Matteo Mela, and Christopher Parkening. He has also studied music theory with Dr. Ronald Squibbs as well as electronic music with composer Dr. Leonard V. Ball, Jr. Matthew has distinguished himself as a guitarist in a number of ways, including a select performance for Atlanta mayor Shirley Franklin; guest performer at the UGA Study Abroad 2001 Art Exhibit in Cortona, Italy; a performance in the final recital of the 2003 Christopher Parkening Masterclass; First Prize and Convention Recitalist in the 2003 GMTA Spring Competition; featured guitarist on the 2005 documentary film, “Alvar Sunol: His Vision and His Art”; and he has given the Georgia premier of several works, including Chiel Meijering's “Autobahnkrieg”. Recently, Matthew passed his Master of Music Examinations with Distinction and graduated Magna Cum Laude from the University of Georgia. He is currently working on his DMA in performance at the same institution while minoring in music theory. In the spring of 2005, Matthew was chosen by John Sutherland to be a founding member of the Athens Guitar Trio. Adding to the trio as well as setting himself apart as a soloist, Matthew often performs on a rare 11-string guitar built for him by Kenny Hill. His musical interests range from rock to classical, which show in his transcriptions for guitar solo and guitar trio. Dennis AsKew has performed solo recitals throughout the United States and in Italy, Finland, Hungary, Australia, and The Netherlands. President of the International Tuba/Euphonium Association, he came to The University of North Carolina at Greensboro as the tuba and euphonium professor in 1992 and became a member of the Market Street Brass. AsKew, originally from Georgia, holds the DMA degree from the University of Michigan, the master's degree from Penn State University, and baccalaureate degree from the University of Georgia. His UNCG TubaBand has performed at festivals around the world. AsKew was the host of the 2002 International Tuba/Euphonium Conference held at UNC Greensboro. AsKew also is a national Associate Regent for Pi Kappa Lambda, the national honor society for musicians. Dr. AsKew can be heard on Market Street Brass' two recordings Christmas and Jive for Five, and his solo cd, Carolina Morning. Anne Berry is a native of Greensboro and began studying the cello at the age of six. She completed high school at the North Carolina School of the Arts and received her Bachelor’s degree in music from Duquesne University where she studied with Anne Martindale-Williams. In 2003, Anne won the Duquesne University Women’s Advisory Board Competition for her performance of J.S Bach’s fifth Cello Suite in C minor. In January of 2006, Anne graduated with her Master’s degree from the San Francisco Conservatory of Music under the tutelage of Jean- Michel Fonteneau. Anne has taught at Vibo Music Center and for San Francisco Conservatory of Music’s Conservatory in the Schools program providing assistance to public middle school orchestra teachers across the city. She has recently performed with San Francisco’s Pocket Opera, Berkeley Symphony, and the Bay Area Summer Opera Theater Institute. She has also done commercial work for Nissan Corporation. Anne is currently working on her doctorate at UNCG with Dr. Brooks Whitehouse. A dynamic and versatile artist, violist Sheila Browne has concertized in many of the world's major halls as a soloist, chamber musician, and as principal of several orchestras. A finalist at Carnegie Hall in the Pro Musicis International Solo Awards, she has also been a prizewinner as a member of the Arianna and Gotham string quartets. Ms. Browne has collaborated with such artists as James Buswell, Nicholas Chumachenko, Miriam Fried, Paul Katz, Gilbert Kalish, David Krakauer, Ruth Laredo, Richard Stoltzman and the Vermeer Quartet. She has been soloist and principal of the Juilliard, Mainz, Freiburg, German-French, and Madrid's Queen Sofia chamber orchestras. Also an active recitalist, she has given concerts and outreach performances in North America and Europe. A proponent of new music, she has premiered many new works, including the recent world premiere of Kenneth Jacobs' “Approaching Northern Darkness,” a concerto written for her. Her latest CD, of viola-cello duos, is due to be released in 2006. As principal of the New World Symphony, she was featured by Michael Tilson-Thomas in the PBS documentary "Beethoven Alive!" Working closely with Krystof Penderecki on his solo music at the Banff Festival, she was broadcast on CBC radio throughout Canada, and has been heard on radio stations in South America, Europe, and the United States as well. Other festivals Ms. Browne has played include the Donaueschingen, Evian, Great Lakes, Jeunesses Musicales, Music Academy of the West, Sun Valley, Tanglewood, and the Texas music festivals. Ms. Browne was Karen Tuttle's teaching assistant at The Juilliard School for four years, where she received her B.M. degree and a Naumburg scholarship, among others. She was awarded a German Academic Exchange Grant (DAAD) for studies with soloist Kim Kashkashian at the Freiburger Hochschule, where she received an Aufbau degree, and also received an M.M. at Rice University's Shepherd School, where she was Karen Ritscher's teaching assistant while she was in Paul Katz's Quartet Residency Program. She has been an artist/teacher-in-residence at the University of Missouri with the Arianna Quartet, as well as assistant professor of viola at The University of Tennessee. She has taught at the Green Mountain, Killington, Knoxville and American Festival of the Arts summer festivals. She will be teaching at California Summer Music Festival in Pebble Beach the summer of 2007. David Brunell, Associate Professor of Music, has concertized widely in the United States, Latin America and Europe. With numerous concerto performances with orchestras and solo recitals to his credit, his performances have also been broadcast on many radio and television stations in many countries including New York City’s WQXR. He has also made several recordings for Enharmonic Records in concerto, solo, and collaborative performances with such artists as violinist Andres Cardenes. The many awards Dr. Brunell has received include first prizes in the Music Teachers National Association National Piano Competition, the Beethoven Sonata competition, and the prize for the best performance of the required work in the New Orleans International Competition. He also won top prizes in the Young Keyboard Artists, New Orleans, and Louise D. McMahon International Competitions, and was selected to the Artistic Ambassador Program of the United States Information Agency. As an Artistic Ambassador, Dr. Brunell premiered "Abandoned Bells" by distinguished American composer William Mayer. Dr. Brunell is also an active church pianist. He has recorded a CD of hymn arrangements by Mark Hayes, and has been heard performing sacred music on national television several times on Dr. D. James Kennedy’s Coral Ridge Hour. As a teacher, Dr. Brunell’s students have achieved distinctions including winning the MTNA Southern Division collegiate piano competition. Dr. Brunell’s teaching awards include the Tennessee Music Teachers Association Teacher of the Year Award and the Tennessee Governor’s School of the Arts Outstanding Teacher Award. Dr. Brunell’s studies were at Indiana University, where he received the University’s highest musical and academic awards, the Joseph Battista Memorial Award, the Performer’s Certificate, and the John H. Edwards Fellowship. Prior to coming to Tennessee, Dr. Brunell taught at Saint Olaf College and at Indiana University. Dr. Brunell has also been a guest teacher at the Carson Newman College Summer Music Camp. Joren Cain, saxophone, is from Lemont, Illinois. He holds a Bachelor of Arts degree from Northern Illinois University, where he studied saxophone with Steve Duke. He is currently pursuing a Doctor of Musical Arts degree from the University of North Texas, where he also received a Master of Music degree and studied with Jim Riggs. Mr. Cain was a graduate saxophone teaching fellow at North Texas for several semesters and held the Assistant Professor of Saxophone position at Northern Illinois University in 2001. He was the recipient of several scholarships and awards, including being named Outstanding Woodwind Student at UNT during the 1999-2000 school year. Mr. Cain has performed recitals across the United States and abroad, including performances in Germany and the Czech Republic. His article discussing the saxophone sonatas of Edison Denisov can be found in the 2000 Saxophone Symposium. Mr. Cain recently concluded his tenure as saxophonist with The United States Army Field Band, which he joined in 2002. He performed several times as a featured soloist, acted as staff arranger, and was the leader of the TUSAFB Saxophone Quartet, in which he played soprano saxophone. He can be heard on recordings by The United States Army Field Band, as well as UNT's Two O'Clock Lab Band and Wind Symphony. Mr. Cain joined the faculty of Valdosta State University this fall, where he teaches saxophone and directs the New Jazz Ensemble. Brian Davis holds a Masters degree in piano performance from UNCG and has lived in the Greensboro area for 17 years. He works as a freelance accompanist and teacher, and serves as Director of Music Ministries at Flat rock UMC in Stokesdale, NC. Sean Devlin holds a Masters of Music in Trombone Performance from the North Carolina School of the Arts in Winston-Salem, NC. He graduated cum laude from the University of North Carolina, Greensboro, in May 2004 with a Bachelor of Music in Trombone Performance. His teachers have included James T. Miller and Randy Kohlenberg. While at UNCG, Mr. Devlin occupied the position of principal trombone in the symphony orchestra as well as having played with the wind ensemble. He played bass trombone in the brass ensemble and jazz ensemble as well. At NSCA he was the bass trombonist with the symphony orchestra, trombone choir, graduate brass quintet, and graduate trombone quartet. In the summer of 2002, Mr. Devlin auditioned for the annual National Wind Ensemble and won the position of principal trombone and subsequently performed with the ensemble in New York's Carnegie Hall. In the summer of 2004, he won the spot of principal trombone in the Catania Festival Orchestra, based in Catania, Sicily. With this ensemble, Mr. Devlin participated in a one month tour, performing concerts throughout Sicily and the Calabria region of Italy. During the academic year of 2003/04, Mr. Devlin auditioned for and won the university concerto competition at UNCG and performed Joseph Turrin's "Fandango" for trumpet and trombone with the symphony orchestra. In 2006, he was a finalist in the Lewis van Haney orchestral excerpt competition held in Birmingham, England, by the International Trombone Association. Mr. Devlin is a substitute with the Greensboro Symphony and the Winston-Salem Symphony orchestras and has held the position of Principal Trombone in the Greensboro Philharmonia and the Fayetteville Symphony Orchestra. He is currently a freelance trombonist and private instructor in the Greensboro - Winston-Salem - High Point triad area and is currently the bass trombonist with the Triad Brass quintet. Joseph Di Piazza earned the BM from De Paul University, and the MM and DMA degrees from the University of Wisconsin, where he also received a prestigious NDEA Fellowship. He has performed throughout the United States and Europe as recitalist, chamber player, and soloist with symphony orchestras and has participated in festivals at Interlochen, Eastern Music Festival, Chicago Spring Arts Festival, the University of Illinois, Methodist College, Woodstock Guild Series, and the Beethoven Festival in New York. In addition to numerous University Guest Artist Series, Di Piazza has performed on series at the Chicago Art Institute, Orchestra Hall, Cincinnati Art Museum, and the Martin Luther King, Jr., Center for Performing and Cultural Arts. He was also invited to give a recital on the Horowitz Steinway, which was touring the United States. James Douglass, assistant professor of collaborative piano and vocal coach, has been involved in diverse genres including chamber music, vocal arts, opera, choral arts, symphonic repertoire, jazz, cabaret and musical theater. He received the Doctor of Musical Arts degree in keyboard collaborative arts at the University of Southern California (USC), as a student of Dr. Alan L. Smith. His Master of Music and Bachelor of Music degrees in piano performance were obtained from the University of Alabama as a student of Amanda Penick. At USC, he was awarded a Koldofsky Fellowship and the Outstanding Keyboard Collaborative Arts recognition in 2004. Douglass has served on the faculties of Mississippi College, Occidental College (LA), USC and Middle Tennessee State University. In 2003, he began teaching in the summer study program AIMS (American Institute of Musical Studies) in Graz, Austria as instructor of collaborative piano and a vocal coach in the Lieder Studio. Performances as a chamber musician and vocal accompanist include broadcasts (TV and/or radio) in Wales, California, Tennessee, Alabama and Mississippi; in master classes given by vocal artists Dawn Upshaw, Carol Vaness and Vladimir Chernov, choral directors Norman Luboff and Paul Salamunovich, and pianists Leon Bates, Natalie Hinderas, Anne Epperson and Martin Katz. Deborah Egekvist earned the BM from Lawrence University, the MM at the Eastman School of Music, and the DM at Florida State University. She has taught at Marshall University in Huntington, West Virginia, and at the University of Oklahoma at Norman. Active as a soloist and chamber musician, Egekvist has performed throughout the United States, Germany, Canada, and the Asian South Pacific. She has appeared as soloist with the Minnesota Orchestra, the Green Bay Symphony, the West Virginia Symphonette, the Aurora Symphony, and the Huntington Chamber Orchestra. She has also performed as principal flute of the Huntington Chamber Orchestra, the Greensboro Symphony, and the EastWind Quintet at UNCG. In June 1989, Egekvist made her New York debut at Carnegie Recital Hall. The Excelsior Quartet, (Josh Jones, euphonium, Malik Barrows, euphonium, Doug Sutton, tuba and Michael Robinson, tuba), is comprised of undergraduate tuba and euphonium majors from UNCG. The performers bring a variety of musical experiences and backgrounds to the ensemble, allowing for a wide range of performance styles. The quartet was chosen via audition to perform at the Southeastern Tuba Euphonium Conference later this month. John Fadial, associate professor of violin, is familiar to Greensboro audiences as concertmaster of the Greensboro Symphony Orchestra, under the baton of Maestro Dmitry Sitkovetsky. Having performed on four continents as a United States Information Service Artistic Ambassador, Fadial maintains a vigorous schedule as soloist, chamber musician, recording artist and teacher. He has appeared at the Smithsonian Institution, the Phillips Collection, and the Kennedy Center, with numerous engagements at summer festivals in Aspen, Banff, Brevard, Eastern, Heidelberg (Germany), Mirecourt (France), Costa Rica, and Brazil. He has shared the stage in chamber music collaborations with pianist Jon Nakamatsu, harpsichordist Anthony Newman, cellist Paul Katz, violist John Graham and bandoneon virtuoso David Alsina of the New York Tango Trio. He has performed widely throughout the U.S. and Europe since 1997 as the violinist of the Chesapeake Piano Trio. Recent seasons have featured concerts throughout the U.S., France and Brazil, including the French premiere, with cellist Beth Vanderborgh, of William Bolcom’s Suite for Violin and Cello as well as chamber music performances with Bernard Greenhouse, Dmitry Sitkovetsky, Lynn Harrell, Bella Davidovich, and the Stanislas Sextette. Fadial’s recent recording of the chamber music of Samuel Coleridge-Taylor on the Centaur label, with members of UNCG’s Artist Faculty Chamber Players, was a Featured New Release at TowerRecords.com for Spring of 2005, and deemed “not to be missed” by American Record Guide. In October of 2005, he gave the world premiere of Arthur Gottschalk’s Concerto for Violin and Symphonic Wind Ensemble, as part of the Society of Composers International Conference. Fadial hold degrees from the North Carolina School of the Arts (BM), the Eastman School of Music (MM) and the University of Maryland (DMA). His teachers and mentors include Charles Castleman, Elaine Richey, Alexander Schneider, Joseph Silverstein, Arnold Steinhardt, and Zoltan Szekely. Angel Garren (Quartet 138), bassoon, is a sophomore Music Education Major from Asheboro, N.C. Angel plays in the UNCG Symphony Orchestra, the Farkas Quintet and the UNCG Chamber Winds. Shannon Kucirka (Quartet 138), horn, is a sophomore Music Education major with a concentration in Horn Performance. She is currently a member of the UNCG Wind Ensemble, the University Symphony Orchestra, University Band, and Horn Ensemble. She is the horn player in the "Simply Brass" Brass Quintet and the Farkas Wind Quintet. Shannon serves as the Events Coordinator for the UNCG chapter of CMENC as well as the service chair for Sigma Alpha Iota. She also works as the University Band Librarian. She recently completed a tour with the UNCG Wind Ensemble. German pianist Radha Mundkur earned her degrees as a student of Matthias Kirschnereit’s from the Rostock College of Music and Theater- Diploma in Piano Pedagogy in 2000, Diploma in Piano Performance in 2003, and Diploma Artistic Baccalaureat in Piano Chamber Music in 2005. Several scholarships allowed her to additionally work in masterclasses with pianists such as Renate Kretschmar-Fischer, Stephan Imorde, Andrzej Jasinski, and Hamish Milne. During the academic year of 2000/01 the Rotary Foundation chose her to spend one year as an “Ambassador of Good Will” at Indiana University. Radha performs as a chamber musician and soloist in Germany and Europe, such as at the festival for contemporary music Tage Neuer Musik Rostock and at the Festspiele Mecklenburg- Vorpommern. She toured with the Students’ Ensemble of the Jeunesses Musicales Bremen in Denmark and Moscow, Russia, as well as with the orchestras Junge Sinfoniker Bielefeld, and Junge Marburger Philharmonie in Germany. Most recently she gave a piano solo recital with sonatas by Mozart, Prokofiev and Schubert in Rieux/Minervois, France in fall 2006. After a short interlude as a piano instructor at the Rostock College of Music and Theater, and at the Music Schools at Bad Doberan, and Braunschweig, Radha is currently a doctorate student with Andrew Harley in the program for collaborative piano at the University of North Carolina at Greensboro. Laura Pollard (Quartet 138), flute, is a sophomore Music Education major at UNC-Greensboro. She is an alumni member of the Asheboro Flute Choir and a current member of the UNCG Flute Choir and the Farkas Quintet. She is a North Carolina Teaching Fellow, and hopes to teach middle school band upon graduation in May 2009. Scott Rawls has appeared as soloist and chamber musician in the United States, Canada, Mexico, Japan, and Europe. Chamber music endeavors include performances with the Diaz Trio, Kandinsky Trio and Ciompi Quartet as well as with members of the Cleveland, Audubon and Cassatt String Quartets. His most recent CD recording, released on the Centaur label, features the chamber music of Samuel Coleridge-Taylor and was released summer 2004. His recording of chamber works for viola and clarinet was released spring 2003 on the same label. The ensemble, Middle Voices, will record another disc for Centaur featuring the chamber music of American composer, Eddie Bass. Additional chamber music recordings can be heard on the CRI, Nonesuch, Capstone, and Philips labels. Also a champion of new music, Rawls has toured extensively as a member of Steve Reich and Musicians since 1991. As the violist in this ensemble, he has performed the numerous premieres of The Cave and Three Tales, multimedia operas by Steve Reich and Beryl Korot, videographer. And under the auspices of presenting organizations such as the Wiener Festwochen, Festival d'Automne a Paris, Holland Festival, Berlin Festival, Spoleto Festival USA and the Lincoln Center Festival, he has performed in major music centers around the world including London, Vienna, Rome, Milan, Tokyo, Prague, Amsterdam, Brussels, Los Angeles, Chicago and New York. He is a founding member of the Locrian Chamber Players, a New York City based group dedicated to performing new music. Dr. Rawls currently serves as Associate Professor of Viola and Chair of the Instrumental Division in the School of Music at the University of North Carolina at Greensboro. Under the baton of maestro Dmitry Sitkovetsky, he plays principal viola in the Greensboro Symphony Orchestra. He is very active as guest clinician, adjudicator, and master class teacher at universities and festivals in America and Europe. During the summers, Rawls plays principal viola in the festival orchestra at Brevard Music Center where he also coordinates the viola program. He holds a BM degree from Indiana University and a MM and DMA from State University of New York at Stony Brook. His major mentors include Abraham Skernick, Georges Janzer, and John Graham. Jonathan Salter grew up in Oberlin, Ohio, and received his Bachelor of Arts degree at Williams College where he majored in music (with highest honors) and mathematics. He received his Master of Music degree from Indiana University. Jonathan was the associate principal clarinetist for the Berkshire Symphony from 1998 to 2002, and was selected to perform Debussy’s Premiere Rhapsodie with the orchestra for the concerto competition in 2001. He was the recipient of the Hubbard Hutchinson Memorial Fellowship from Williams College and also received the Leopold Schepp Foundation Fellowship. Jonathan’s teachers include Michèle Gingras, Susan Martula, Alan Kay, Howard Klug, Eli Eban, and he is currently working on his Doctor of Musical Arts degree at UNCG with Dr. Kelly Burke. David Springfield, Trombone Instructor of Jazz Studies at Valdosta State University, teaches jazz piano, improvisation, arranging, combos, jazz history and applied trombone. He is also a member of the Faculty Jazz Combo. He holds a Bachelor of Music degree in Trombone Performance and a Master of Music in Jazz Studies, both from the Eastman School of Music. His principal teachers were Rayburn Wright, Bill Dobbins and Fred Sturm (jazz) and John Marcellus (trombone). He has previously been a faculty member at Eastman, Aarhus University (Denmark), Georgia Southern University and Armstrong Atlantic State University. Mr. Springfield is an active performer both as a pianist and trombonist. He has performed with jazz artists Randy Brecker, Clark Terry, Lee Konitz, Jerry Bergonzi and Gary Bartz. He has appeared with the Rochester Philharmonic Orchestra and the Savannah, Charleston and Jacksonville Symphony Orchestras. His international performing experience includes three tours of Japan with the Eastman Wind Ensemble and a production West Side Story in Europe. He was a member of Klüvers Big Band in Aarhus, Denmark and performs with the Savannah Jazz Orchestra and Jazz Composer's Octet. Mr. Springfield is a member of IAJE and has appeared with the Georgia Jazz Educators Big Band at the annual GMEA conferences. Mr. Springfield has had his compositions and arrangements performed by such artists as Branford Marsalis, John Abercrombie, Phil Woods, Allen Vizzuti and Joe Alessi. He received a Downbeat magazine award for arranging and was a finalist in the 1996 International Thad Jones Competition, sponsored by the Danish Radio Jazz Orchestra. He is the principal arranger for Klüvers Big Band and his works appear on seven recordings by the band. In addition to his work as a jazz arranger, Mr. Springfield has written for concert band, symphony orchestra, brass quintet and trombone choir. His music has been performed throughout the United States and Europe and is published by Kendor Music and UNC Jazz Press. Maila Gutierrez Springfield, piano, is staff accompanist/instructor at Valdosta State University. Maila graduated with a Bachelor of Music degree in Piano Performance from Syracuse University and received her Master’s degree in Piano Accompanying and Chamber Music from the Eastman School of Music. In 1993 and 1994 she received the Eastman’s Excellence in Accompanying Award. She has also served as staff accompanist for ACDA, MTNA, NATS and at the Interlochen Arts Camp. She was the accompanist at Georgia Southern University from 1997-2002. Maila has been a faculty member at the Georgia Governor’s Honors Program from 1994-97 to 2000 present. A champion of contemporary music, Dr. Melanie Foster Taylor’s performance activities include a lecture-recital series titled “Twentieth-Century Piano Scores,” covering the entire pantheon of 20th-Century music in 20-year segments. In 2006, she will present a recital of piano music published from 2000-2005. She is also the pianist for Ensemble Radieuse, a flute, oboe, and piano trio based at Converse College who recently produced a CD, “Inbox,” featuring contemporary works for this ensemble. Dr. Taylor has been a featured soloist with the Converse Wind Ensemble and the Brass Quintet, and is in demand as a collaborative pianist by vocalists and instrumentalists. Dr. Taylor's students have distinguished themselves in statewide, divisional, and Young artist competitions. She has promoted performance opportunities for young pianists by establishing numerous composer festivals, concerto competitions, and piano camps. As the faculty advisor for Converse’s student chapter of the South Carolina Music Teachers Association, the “Petrie Pedagoddesses” activities include administration of the annual PianOlympics event for the Alia Lawson Pre-College piano students, performance of a benefit recital for the Tsunami victims, and active participation in the SCMTA annual conference. Dr. Taylor is an active clinician for the Music Teachers National Association, holds national Certification by that organization, and appeared as Clinician for the Vermont Music Teachers Association state conference in 2004. She has lectured for the College Music Society and the Society for Music Theory and has had articles published in the American Music Teacher, Keyboard Companion, The Piano Quarterly, and Journal Seamus. Dr. Taylor has been the Intermediate-Advanced Keyboard Editor for Alfred Publishing Company, working closely with Maurice Hinson on numerous publications. Dr. Taylor has enjoyed coaching the Converse Piano Team, created a Piano Pedagogy Resource Laboratory, and instituted the Music=Link program to provide piano lessons for community students who are gifted but in need. Melanie Foster Taylor holds degrees in Piano Performance from the Oberlin Conservatory of Music and Marshall University, and the Doctor of Music in Piano Pedagogy and Literature from Indiana University. Her teachers include John Perry, Alfonso Montecino, Kenneth Marchant, and Michel Béroff. Her recital was broadcast on the National Public Radio “Music from Oberlin” series. She was the youngest winner in both the Amateur and Professional divisions of the Young Artist Competition of the West Virginia Symphony Orchestra. Christopher Vaneman recently completed his studies at Yale University, where he studied with Ransom Wilson and from which he received the Doctor of Musical Arts degree. Chris holds MM and MMA degrees from Yale as well as an Honors BM from the Eastman School; he has also attended the Salzburg Mozarteum and Belgium’s Conservatoire Royal, where he studied under a grant from the Belgian American Educational Foundation. He studied at Eastman with Bonita Boyd, in Brussels with Jean-Michel Tanguy, and in Salzburg with Andras Adorjan. He has also studied contemporary flute techniques with Robert Dick in New York and Baroque performance practice and ornamentation with Barthold Kuijken in Belgium. He is flutist of the Converse-based chamber group Ensemble Radieuse, (whose first CD, Inbox, features three newly-commissioned works) and the New York-based Echo, and teaches during the summer at Pennsylvania’s Performing Arts Institute. Chris has performed as a soloist with orchestras in Germany and Denmark as well as in the United States and served as principal flutist of the Reigate Festival Orchestra in England, among other ensembles. 2004-2005 performances took him to England, Panama, and Texas, as well as other less exotic locales. Chris is also an engaging writer on musical subjects, and has supplied program notes for a number of compact discs and innumerable concerts; the Tokyo Quartet used his notes for its cycle of Beethoven performances at Carnegie Hall and Lincoln Center. Oboist Kelly McElrath Vaneman is the Chair of Musicology and Composition and Assistant Professor of Oboe and Musicology. She holds D.M.A., M.M.A., and M.M. degrees from the Yale University School of Music, where she was a teaching assistant to Ronald Roseman. A native Texan, she received her B.Mus. summa cum laude from Baylor University, where she studied with Doris DeLoach. In addition, she holds a certificate in performance from the Koninklijk Konservatorium Brussel, where she studied modern and Baroque oboe with Paul Dombrecht under a grant from the Belgian American Educational Foundation. Other teachers include Denise Lamb and Sharon Towndrow. An active performer, Dr. Vaneman has appeared as a soloist with orchestras in Guatemala, Texas, and South Carolina. She has also played with the Central Texas, Waco, Asheville, and New Haven Symphony Orchestras, the Greater Spartanburg (SC) Philharmonic, the National Orchestral Institute, the American Wind Symphony, the Montreat Bach Festival, and the Reigate Festival Orchestra of Surrey, England. Dr. Vaneman is, above all, committed to chamber music and the expansion of its repertoire. She has been an Artist-Fellow at the Norfolk Chamber Music Festival and the Bach Aria Festival and was founder and director of Chamber Music in the Chapel in New York City's St. Patrick's Cathedral. Along with her husband, flutist Christopher Vaneman, she has been invited to perform two premieres at the International Double Reed Conference in Madison, Wisconsin. As oboist of Ensemble Radieuse, she has been involved in the commissioning of several new works for flute, oboe, and piano. A musician of wide-ranging interests, Dr. Vaneman has performed Baroque music on period instruments and performs regularly with the Converse Early Music Ensemble. She has also performed and recorded as a member of the New York-based rock bands Rome 56 and the Ashley Wilkes Band. She was the past president of the Rho chapter of Pi Kappa Lambda and a member of Alpha Chi and has written for The Double Reed, the journal of the International Double Reed Society. In addition to her duties at the Petrie School, she serves as Oboe Instructor of the South Carolina Governor's School of the Arts and Humanities and spends her summers in residence at the Performing Arts Institute of Wyoming Seminary in Wilkes-Barre, Pennsylvania. Jay Welborn (Quartet 138), clarinet, is a sophomore at the University of North Carolina at Greensboro majoring in clarinet performance. Prior to beginning his education at UNCG, Jay studied privately with Eileen Young before completing his high school education at the North Carolina School of the Arts where he studied under Igor Begelman. In addition to playing with the 138 quartet, he also serves as the clarinetist for the Farkas Quintet. Jay currently serves as the principal clarinetist in the UNCG Symphonic band. He is a member of the Mu Phi Epsilon music service fraternity, and a Peer Academic Leader in the Grogan College living and learning community. He has been recognized in solo competitions including the Piedmont Wind Symphony and the Greensboro Symphony Youth Orchestra. Robert Wells is currently Assistant Professor of Voice and teaches studio voice and vocal pedagogy. He also serves on the faculty of the Schlern International Music Festival in Voels am Schlern, Italy. He holds the BM in Voice from the State University of New York College at Fredonia, and holds MM and DMA degrees in Voice from the University of Cincinnati College- Conservatory of Music. A frequent recitalist and collaborative artist, Wells has also enjoyed an active performance career in both oratorio and opera in New York State and the Midwest, and his performances have taken him to Great Britain and Europe. He has sung leading roles in Le Nozze di Figaro, Così fan tutte, and Albert Herring and has appeared as baritone soloist in such works as Benjamin Britten's War Requiem, Mendelssohn's Elijah, and the St. John Passion of J. S. Bach. An active choral conductor, Wells served as Director of the Fredonia College Choir and was recognized for his work with numerous professional and community choral organizations in Western New York. Wells formerly served on the faculty at the State University of New York College at Fredonia, where he was Co-Chair of the Voice Faculty and was a sought-after clinician and adjudicator. Inara Zandmane, born in the capital of Latvia, Rîga, started to play the piano at the age of six. Zandmane holds a BM and MM from Latvian Academy of Music, MM in piano performance from Southern Illinois University at Carbondale, and DMA in piano performance from the University of Missouri at Kansas City. She has been the staff accompanist at the UNCG since 2003. She also served as the official accompanist for the MTNA Southern Division competition and the North American Saxophone Alliance conference in 2004. Zandmane has performed in recitals in St. Paul, Kansas City, Cleveland, St. Louis, and New York, as well as in many Republics of the former Soviet Union. In April 2000, she was invited to perform at the Glenn Gould Studio in Toronto. Inara Zandmane has appeared as a soloist with the Latvian National Orchestra, Liepaja Symphony, Latvian Academy of Music Student Orchestra, SIU Symphony, and UMKC Conservatory Symphony and Chamber orchestras. She has performed with various chamber ensembles at the International Chamber Music Festivals in Rega, Vilnius, Tallinn, Helsinki (Finland), and Norrtelje (Sweden). For a few last years, Zandmane has worked together with the Latvian composer Peteris Vasks. She has given Latvian premieres of his two latest piano pieces, Landscapes of the Burnt-out Earth and The Spring Music, and recorded the first of them on the Conifer Classics label. The UNCG School of Music has been recognized for years as one of the elite music institutions in the United States. Fully accredited by the National Association of Schools of Music since 1938, the School offers the only comprehensive music program from undergraduate through doctoral study in both performance and music education in North Carolina. From a total population of approximately 16,000 university students, the UNCG School of Music serves over 600 music majors with a full-time faculty and staff of more than sixty. As such, the UNCG School of Music ranks among the largest Schools of Music in the South. The UNCG School of Music now occupies a new 26-million-dollar music building, which is among the finest music facilities in the nation. In fact, the new music building is the second-largest academic building on the UNCG Campus. A large music library with state-of-the-art playback, study and research facilities houses all music reference materials. Greatly expanded classroom, studio, practice room, and rehearsal hall spaces are key components of the new structure. Two new recital halls, a large computer lab, a psychoacoustics lab, electronic music labs, and recording studio space are additional features of the new facility. In addition, an enclosed multi-level parking deck is adjacent to the new music building to serve students, faculty and concert patrons. Living in the artistically thriving Greensboro—Winston-Salem—High Point “Triad” area, students enjoy regular opportunities to attend and perform in concerts sponsored by such organizations as the Greensboro Symphony Orchestra, the Greensboro Opera Company, and the Eastern Music Festival. In addition, UNCG students interact first-hand with some of the world’s major artists who frequently schedule informal discussions, open rehearsals, and master classes at UNCG. Costs of attending public universities in North Carolina, both for in-state and out-of- state students, represent a truly exceptional value in higher education. For information regarding music as a major or minor field of study, please write: Dr. John J. Deal, Dean UNCG School of Music P.O. Box 26170 Greensboro, North Carolina 27402-6170 (336) 334-5789 On the Web: www.uncg.edu/mus/
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Title | 2007-03-15 SCL [recital program] |
Date | 2007 |
Creator | University of North Carolina at Greensboro. School of Music, Theatre and Dance |
Subject headings |
University of North Carolina at Greensboro. School of Music, Theatre and Dance University of North Carolina at Greensboro |
Place | Greensboro (N.C.) |
Description | Spring 2007 programs for recitals by students in the UNCG School of Music. |
Type | Text |
Original format | programs |
Original publisher | Greensboro N.C.: The University of North Carolina at Greensboro |
Contributing institution | Martha Blakeney Hodges Special Collections and University Archives, UNCG University Libraries |
Source collection | UA9.2 School of Music Performances -- Programs and Recordings, 1917-2007 |
Series/grouping | 1: Programs |
Finding aid link | https://libapps.uncg.edu/archon/index.php?p=collections/controlcard&id=608 |
Rights statement | http://rightsstatements.org/vocab/NoC-US/1.0/ |
Additional rights information | NO COPYRIGHT - UNITED STATES. This item has been determined to be free of copyright restrictions in the United States. The user is responsible for determining actual copyright status for any reuse of the material. |
Object ID | UA009.002.BD.2007SP.999 |
Digital publisher | The University of North Carolina at Greensboro, University Libraries, PO Box 26170, Greensboro NC 27402-6170, 336.334.5304 |
Full Text | Southeastern Composer’s League 56th Annual Composer’s Forum March 15-17, 2007 Recital Hall, School of Music Concert I Thursday, March 15, 2007 7:30 pm Recital Hall Sonare Preludium Joe Alexander The Excelsior Quartet Malik Barrows, euphonium Josh Jones, euphonium Michael Robinson, tuba Doug Sutton, tuba Think…know…after Kadisha Onalbayeva Grace Anderson, cello Freedom Lost Bruce Mahin Ināra Zandmane, piano …and sundry movements of the heart… Jonathan McNair 1. Prelude 2. Song 3. Thank you, Dmitri and Claude 4. Standing Stones Dennis AsKew, tuba Ināra Zandmane, piano Intermission Meandering Bruce Hurley Johnston Shawn Copeland, clarinet Ināra Zandmane, piano Three Dances for Lily James Geiger 1. Teeter-Totter 2. Dream 3. Crawling/Walking James Geiger, marimba Nightmares David Pegel David Fox, timpani Sisannah Steele, piano Radiance Scott Robbins Ensemble Radieuse Christopher Vaneman, flute Kelly McElrath Vaneman, oboe Melanie Foster Taylor, piano Program Notes: Joe Alexander, Sonare Praeludium Duration: 7:00 Joe L. Alexander’s Sonare Praeludium (for tuba quartet) was composed in the summer of 1999 for the Alabama Tuba Quarter. It is a large, one movement work based on three themes. The piece is technically challenging for the players but the overall effect for the audience is intended to be light hearted, playful and enjoyable listening experience. It was premiered by the group on February 25, 2000 at the College Music Society’s Southern Chapter meeting in Lafayette, Louisiana. Kadisha Onalbayeva, Think…know…after 6 minutes Think…Know…After was composed in only three hours and is built around mixture of contemporary string techniques, Kazakh folk melodies, and the sound of the dombra kobiz, an important folk instrument of Kazakhstan. This work is an effort to create a unique and personal voice through this blend of ideas and techniques. Think…Know…After was the co-winning composition for First Place in the 2005 Philips Slates Composition Contest for graduate students. Kadisha has been a composition student of Dr. Jerry Sieg at The University of New Orleans in New Orleans, Lousiana. Bruce Mahin, Freedom Lost Duration: 6:00 Freedom Lost expresses the feeling of horror and sense of loss felt by the composer as events unfolded on September 11, 2001. The piece uses musical gestures to convey a mixture of intense emotion, patriotic fervor, and sense of hope. The pianist uses standard pianistic techniques but also reaches inside the piano to strum and mute the strings. In addition, a small piece of paper is inserted between the strings in the higher register to create sounds not normally associated with the piano. Overall, the work attempts to capture the surreal feeling that often accompanies any event of this suddenness and magnitude. Jonathan McNair, …and sundry movements of the heart… Duration: 15:00 …and sundry movements of the heart… for Tuba and Piano was composed for Dr. Kenyon Wilson, friend, fine tubist, and fellow teacher. The four movements of this work explore very diverse (“sundry”) musical territories: abstract, songlike, humorous, pensive and transcendent. Many of the musical ideas were generated in spontaneous improvising sessions or by singing— hence, “movements of the heart” more than of the intellect. “Prelude” is anchored in its structure by a bold, serious gesture that is heard at the beginning, middle and end of the movement, developed a little differently each time. The melodic contour of the tuba in the intervening episodes is mostly an ascent from its lower register. The piano accompanies this upward climbing with higher register, glittering chords. “Song,” the second movement, is a lyrical melody. It expresses warm, positive human emotion in a simple manner. The third movement, “Thank you, Dmitri and Claude,” has a touch of vaudeville about it, and is light-hearted and witty. The names in the title are of two composers (Dmitri Shostakovich and Claude Debussy) who came to mind while writing it. (Imagine a variety show with these two venerated composers dancing, singing, and doing slapstick comedy.) “Standing Stones” is titled after the numerous sites in the British Isles where ancient people erected huge stones— in circles, singly, or even lining broad “avenues.” The incredible effort required to do so is mind-boggling, given the tools available to the people. And that they were able to make near-perfect circles, with stones aligned by the positions of sun and moon and seasons is further evidence of their intelligence and dedication to ideas and deep feelings far beyond the daily tasks of survival. The music begins very quietly, in deep tones, enigmatic harmonies, and introspective melodies, as if the stones are engulfed in early morning mist. Gradually, the mist lifts, the sun is revealed, and the moist stones glisten with reflected light. In similar fashion, the music gradually moves upward, and takes on a brighter sound until it reaches an ecstatic climax in D-flat major. Bruce Hurley Johnston, Meandering Duration: 6:00 Meandering is a homogenous work in three movements written for the clarinet with piano accompaniment. It is a highly chromatic work drawing from Bruce’s broad background of Jazz, Blues, and New Music composition. The idea of the piece is to take the listener on a journey spanning an immense spectrum of moods and emotions without ever committing to any particular state of mind. Blessed with the gift to see music through colors and shapes (synaesthesia), Bruce describes the piece as a kaleidoscope of colors and shapes driven by a vacillating rhythmic flow. James Geiger, Three Dances for Lily Duration: 7:00 Written during the fall of 2006, this “suite of baby dances” is dedicated to my daughter Lily on the occasion of her first birthday. As I watched her from birth, I noticed that she had a keen sense of rhythm. The first movement “Teeter-Totter” has a childlike quality of simplicity to it. The second movement “Dream” came about from watching her move in her sleep. The last movement “Crawling/Walking” has a distinct “three against two” rhythmic pulse since her arms move a slightly faster pace than her legs. As Lily continues to grow up, I know she will continue to be a source of inspiration for me. David Pegel, Nightmares Duration: 4 minutes Nightmares, for keyboardist and percussionist, was originally intended to be a solo prepared piano piece with choreography, the addition of timpani, was suggested by the choreographer to more easily facilitate a dance rhythm. The unexpected result was a timpani showpiece. 'Nightmares' focuses on an irregular percussion rhythm and incomplete chord structures to create a sense of mystery and fear. This piece, which can be described as a giant crescendo with a breakdown of rhythm until the final moment, tells the story of a girl being visited by her darkest fears in a dream, fears which slowly overwhelm her until she wakes up in a fit of hysteria. Scott Robbins, Radiance Duration: 15 minutes Composed over Christmas break, 2006, for Ensemble Radieuse, Radiance serves a three-fold purpose: (1) It allowed me the opportunity to compose a challenging, many-mooded work for three great musicians to whom I have devoted much of my compositional energy in recent years. (True, I wrote Sweet Dreams for Spooky for them three years ago, but that was a less-weighty composition, even with such a serious title.) (2) Its title is the first to capitalize on the group’s name (Ensemble Radieuse = radiant ensemble). (3) It allowed the chance to prove to myself that, even though inundated with administrative duties, I can still compose good music. Radiance is a rather free, quasi impressionistic work, although it does contain elements of styles I like such as minimalism and variation forms. I don’t want to write too much about this piece; let it suffice to say that a) much of what happens in the work is influenced by the spacious, spare piano introduction—a series of repeated sonorities that build in density—that opens the work; and b) the flute and oboe will enter eventually. Enjoy. Concert II Friday, March 16, 2007 10:30 am Recital Hall Hallucination William Pruett Brian Davis, piano Two Scenes for Solo Guitar Leonard Ball Ryan Smith, guitar Music for Piano V Mark Prince Lee Mark Prince Lee, piano Partita VI for Solo Bassoon John Corina 1. Grazioso 2. Expressivo 3. Capriccio 4. Allegretto 5. Pastorale 6. Dolce 7. Cantabile William Davis, bassoon Piano Sonata Richard Montalto 1. Adagio - Lively 2. Rubato Brian Davis, piano Program Notes: William Pruett, Hallucination Duration: 5:00 Hallucination is a nocturnal-fantasy piece in a free through-composed form of five sections. The pitch material is based primarily on the first two sonorities of the work. While there is no specific programmatic basis for the piece, it does make references to works of folk music and opera. The performer is given a wide range of flexibility in interpretation, especially regarding rhythm and tempo. Chic Ball, Two Scenes for Solo Guitar Duration: 12:00 Two Scenes for Solo Guitar started as a three-movement project in 2004, but has settled down to two movements due to interruptions from other works. There is, however, still a third movement out there somewhere. I know this because I have caught glimpses of it on several occasions. Meanwhile, the two existing movements seem well suited to each other and will continue to seek exposure wherever and whenever possible! Mark Prince Lee, MUSIC for PIANO V Duration: 5:00 MUSIC for PIANO is a large-scale compositional cycle consisting of twelve discrete sections, each beginning with one of twelve accompanying ‘FRAMES’. Like all of Mr. Lee’s music, the pitch material utilizes ‘fixed pitch frequency’, a unifying organizational technique employed whereby once a note is used it remains at that frequency or location on the piano for the entire work. Each piece exists as a compositional unity on both the micro and macro structural levels, the entire cycle being divided into two halves of six works each. In Part I of MUSIC for PIANO, each piece is roughly identical in formal design, the duration of each piece within each half is roughly the same, all the pitch material for the entire cycle of 12 pieces is derived from one twelve note harmonic structure divided into groups of six, three, and two, each one affixed to register, dynamic, and tempo, and each piece is preceded by an accompanying ‘FRAME, whose pitch material is a variant of the work it precedes. MUSIC for PIANO Part I, no’s I – VI received its world premiere performance by Mr. Lee in Morelia, Michoacan, Mexico, in June 2005 at the site of the first music conservatory established in the Western Hemisphere. Today’s performance of MUSIC for PIANO # V with FRAME, features the premiere of the piece with the addition of PITCH-STRAND groups, which reappear in varied form in no’s IX and XII. John Corina, Partita VI Duration: 10:00 Partita VI is a multi-movement composition for solo bassoon. This recently completed work (2007) is a series of variations on several tone rows, and is dedicated to William Davis. Richard Montalto, Piano Sonata No. 1 Duration: 10:00 Piano Sonata No.1 reflects diverse influences on the composer’s stylistic development. The slow introduction that opens the work is followed by the development of two themes, the first of which is reflective of the Baroque keyboard music, and the second recalls French Neoclassicism. The second movement (Rubato) is in ABA form and it brings to mind at various moments jazz improvisation, Expressionism and a familiar carol. This performance is the world premiere of the first two movements. Concert III Friday, March 16, 2007 1:30 pm Recital Hall Scherzo Greg Carroll John Fadial, violin Joseph Di Piazza, piano Phoebe’s Odyssey Hollis Roberts Deborah Egekvist, flute Spinning, Hanging, Falling Brian Willkie Multi-channel digital playback Elegy and Dance William Davis William Davis, bassoon Trio Terry Vosbein Jonathan Salter, clarinet Anne Berry, cello Radha Mundkur, piano A La Feminisca Berio Remix 2 Mitch Turner Studio realization Energy Drink III Mark Engebretson Scott Rawls, viola Program Notes: Greg Carroll, Scherzo Duration: 4:00 Scherzo is the last movement of a three-movement sonata for violin and piano. Its character is similar to the 19th century concept of a scherzo: it is serious rather than jocular, its predominant meter is triple, and its tempo is very fast—each measure is felt as a single beat. Octatonic scales—scales created by alternating half- and whole-step patterns—provide the pitch material for the entire movement. An ascending three-note motive (identical to the first three notes of the minor scale) generates most of the melodic material of the piece, and the prevailing rhythmic motives give the movement a distinct sense of urgency. Hollis Roberts, Phoebe’s Odyssey Duration: 6:00 This solo flute piece is based on a day in the life of my cat, Phoebe. It begins with a Midnight Escapade, in which she slinks through the house (her house, of course, not mine). I attempted to depict her various activities including sudden pounces, leaps, and curiosity-inspired per lustrations. In the second part, Morning Twilight Catnap, Phoebe is exhausted from her nocturnal escapades and tries to take a nap, but suffers interruptions from her humans as they move about in the morning. She purrs as she circles, trying to settle into a comfortable position for her nap. The third part, The Moth Chase, describes her frantic efforts to follow a moth, leaping up and down and swatting as she goes. Phoebe’s Odyssey won First Prize in the 2005 Arnold Salop Composition Contest for undergraduates. She was a composition student of Dr. Scott Robbins at Converse College in Spartanburg, South Carolina. Brian Willkie, Spinning, Hanging, Falling Duration: 5:00 Spinning, Hanging, Falling takes as its sound source a spinning quarter. Using the Kyma system these sources are deconstructed, scrutinized, and pieced back together while exploring motion, space, and time. Bill Davis, Elegy and Dance Duration: 11:00 Elegy and Dance for solo bassoon was composed for a summer bassoon workshop organized by Atlanta bassoonist Shelly Unger. She calls the event "Summer Bassoon Extravaganza." The Elegy was composed for the 2005 SBE, and the Dance, for the 2006 SBE. Both movements incorporate special effects, including multiphonics, quarter tones, and timbre variations on a single pitch. The two movements were formally premiered by the composer at the 2006 International Double Reed Society Conference in Muncie, Indiana. Terry Vosbein, Trio Duration: 8:00 I spent the summer of 2004 in Paris. Paris is my favorite city. I have spent several summers there, composing and drinking in her essence. It is the perfect city for a lover of life. I had an unusually productive summer there. I transcribed my piano sonata for a quintet. I composed and arranged eight jazz octets for a concert that fall. I wrote a Rhapsody for cello and piano. I spent two weeks training around Europe. And I wrote this trio. Originally I was to compose a cello and piano work for a 2005 New York concert. I finished my other projects and was awaiting finalization of the commission. I decided to begin anyway, to at least get it started before I left Paris. In two weeks it was done, a Rhapsody for cello and piano. Just as it was completed I received word that the concert was happening and the commission was set. The only change was that I was to write a trio instead of a duet! Once again, as with the Rhapsody, I began the trio hoping to at least get started before I returned to Virginia in the fall. I began by imagining brothers Ricardo and Jesús Morales, the clarinetist and cellist for the premiere, laughing and playing together as young children. So the composition begins with the brothers playing, tossing a triplet melody back and forth. Once I began, the piece flowed from my mechanical pencil (a Twist-Erase from Pentel, .09mm lead) as fast as I could write. I wrote in my studio on the Seine. I wrote sitting in a green metal chair in Place des Vosges. I wrote sipping café crème at the Cafe Sorbonne. And before I knew it the composition was completed. The trio is a happy playful piece. The clarinet and cello are frequently paired, frolicking as only brothers can. The piano holds them together, interjecting his own thoughts as well as introducing the lyrical middle section. There are a few main ideas that get tossed around and developed before the composition ends as it began, with the brothers tossing the triplet melody back and forth. The primary inspiration for this piece came from the remarkable virtuosity and musicianship of the performers for whom I was writing. Ricardo and Jesús Morales, as well as pianist David Riley, are some of the best musicians I know. Writing for such fine musicians for a New York City premiere is all a composer could ask for. This trio was commissioned for Ricardo Morales, Jesús Morales and David Riley by the University of Oregon School of Music for a 2005 performance at Merkin Concert Hall in New York. Scores, parts and audio can be downloaded at www.vosbein.com. Mitch Turner, A La Feminisca Berio Remix 2 Duration: 5:00 A La Feminisca (2006) is a remix of the Sicilian song from Berio’s Folk Songs. The sounds were taken from the 1968 recording featuring Cathy Berberian. The stark edges of each sample call attention to its collage nature, emphasizing the remix quality. Mark Engebretson, Energy Drink III Duration: 5:00 With the completion of Energy Drink III, I can finally speak of the Energy Drink pieces as a series, which it has been my intention to create for a number of years. These pieces are intense, energetic and demanding works, demanding a virtuoso performance from both the player and composer. Energy Drink III, to be heard for the first time today, was commissioned by my colleague and friend, violist Scott Rawls. This piece is, in essence, a blues, with a chord structure derived from this form stretched out one time over the entirety of the short work, thus forming the harmonic plan for the whole. I wanted to work with (varied) repeatability in this piece, so material you hear once, you may hear again. There are a myriad of localized harmonic schemes and motivic variations overlaid onto the basic harmonic scheme, considerable amount of work with sound, timbre, rhythm and meter. My conception of harmony may seem somewhat distant from the inspiration, but ultimately, it is all derived from the blues. Concert IV Friday, March 16, 2007 3:30 pm Recital Hall Veiled Places Ken Davies 1. Empyrean Escarpments 2. Anasazi Appartitions 3. Land of Cragged Spires Neapolitan Wind Quintet Caroline Rohm, flute Kandace Stephenson, oboe Ryan Daniels, clarinet Amanda Harman, bassoon Philip Kassel, horn Michael Burns, conductor What Do We Have? Betty Wishart Beauty Surrounds Us Nancy Jo Ezzell and Rebekah Murray, soprano 1 Brittany Akers and Megan Truelove, soprano 2 Jessica Noa and Megan Rowe, alto 1 David John Hailey and Brittany Kefauver, alto 2 Five Duets Mark Francis Laura Pritchett, alto flute Caroline Rohm, bass flute Topsy Speaks Rodney Waschka Sean Devlin, trombone Electro-acoustic accompaniment Snow Angels Dosia McKay 1. Winter’s Eve 2. The First Snow 3. Snow Angels Neapolitan Wind Quintet Caroline Rohm, flute Kandace Stephenson, oboe Ryan Daniels, clarinet Amanda Harman, bassoon Philip Kassel, horn Michael Burns, conductor Program Notes: Ken Davies, Veiled Places Duration: 11:00 There are places in the North American southwest that inspire the imagination and exude a sense of geological, historical mystery. One feels as though one is looking through an atmospheric veil at how life might have been in an ancient era. I attempted to capture a feel of three of those places in this work. In northern Arizona's Monument Valley, the desert floor is sparsely decorated with towering rock outcroppings, striking from a distance. Yet, close up, they are huge sculptures, their empyrean escarpments touching the sky. Through the high altitude thin air, the sun distinctly marks the shadows and abstract angular lines of the cliff's' rough edges. One faintly sees large ancient hands, casting shadows, carving the details. The ancient cliff-dwelling civilization at Colorado's Mesa Verde left little history except the remains of what was once a long and broad avenue of early American "hi-rise apartment complexes." One can tour the many remains of social gathering places and examine, close-up, a few examples of multi-room homes built in stone under shady rock ledges. For a brief moment, during my visit, I saw apparitions of one of these ancient Anasazi families going about their daily lives. South Utah's Bryce Canyon is a land of cragged spires and huge densely-clustered giant hoodoos, rising from the canyon floor like a colossal army of ancient warriors standing guard in the valley. To the early Paiute Native Americans, these were the "Legendary People" whom Coyote turned into stone for their misdeeds, coating them in shades of red, frosty pink and orange, golden yellow and tan. At the right time of the right day as a breeze ripples the sunlight, you might see the sparkling colors come to life in silent speech. Betty Wishart, What Do We Have? Beauty Surrounds Us Duration: 5:00 What Do We Have? What do we have? All we have is today. Who knows what tomorrow will bring? Will there be killing? Oh, why can’t we have peace throughout our land? For all we really have, all we have is today. Who knows what tomorrow will bring? Will there be war, killing and death? Dying? Or will there be peace throughout our land? Beauty Surrounds Us Beauty surrounds us, surrounds us all. Beauty surrounds us with dark rain-filled clouds; Clouds filled with rain, thunder and lightning, rainbows after storms. Beauty surrounds us with nature’s walls: seasons changing from summer to fall. Bright green leaves that turn to gold as climates change from hot to cold. Blades of grass that once were green soon take on an icy sheen. Leaves unraked, fallen on the ground, will lay unseen after snowflakes fall down. Weeping willows wear icy, icy tears that will bring cries of joy when summer appears. Beauty surrounds us, surrounds us all. Mark Francis, 5 Duets Duration: 9:00 5 Duets exists in 2 versions: this one and one for violin and viola. This is the first performance of this version. Each movement is based around the motive A-D-C. The motive is extended, broken down, rebuilt and transformed through various tempos, textures, forms and rhythmic figures. Rodney Waschka, Topsy Speaks Duration: 10:00 Topsy Speaks was commissioned by the Music Technology Program at the North Carolina School of the Arts for trombonist James Miller of the NC School of the Arts and the Los Angeles Philharmonic. Mr. Miller gave the premiere performance in Crawford Hall in Winston-Salem, North Carolina on May 4, 2002. Topsy, a ten-foot tall, 19-foot long elephant, was brought to the United States in 1875. She worked in various parts of the country, but around the turn of the century she was employed as a worker on the Coney Island amusement park. According to some, she grew bad tempered and began to attack her trainers. One, who offered her a lit cigarette as food, was dashed to the ground and killed. Others had also been killed. It was decided to execute Topsy, but the question was: how? Initially some people suggested strangling her. Then, Thomas Edison got involved. He sent a team to electrocute Topsy. He also sent a film crew to record the event for his movie studio. On January 4, 1903, Topsy was fitted with a hawser around her neck, fed carrots laced with a massive amount of cyanide, and then electrocuted by Edison's crew. Within weeks Edison's film of the killing of Topsy was in his movie catalog available for rental to movie houses across the country. Dosia McKay, Snow Angels Duration: 8:00 The woodwind quintet, Snow Angels, was inspired by a breeze of fresh air at the end of a long and humid summer in East Tennessee. As the mornings and evenings became cooler, and the change of seasons was at hand, the composer was overcome by the memories of snowy winters in her native Poland. She remembered being pulled in a sled by her parents, the taste and smell of snow, and the simplicity of a child’s joy and wonderment. She dedicates this piece to all of her Northern Friends who have been transplanted to the South and who miss true winter. Concert V Friday, March 16, 2007 7:30 pm Recital Hall Elegy Greg Wanamaker UNCG Chamber String Orchestra Greg Carroll, guest conductor “I Will Wait for You There!” David Caudill Robert Wells, baritone Scott Rawls, viola James Douglass, piano Night Songs Roger Vogel Malgorzata Staszewska, violin Anatoly Sheludyakov, piano Intermission Three Movements in Motion David Mitchell 1. Dancing (Contra-Rondo) 2. Tolling (Tolling Bells 3. Marching (The Relentless March of the Half Steps) Rylan Smith, guitar Matt Anderson, guitar Approaching Northern Darkness Ken Jacobs Sheila Browne, viola David Brunell, piano Springfield Trio 2005 Tayloe Harding Joren Cain, soprano saxophone David Springfield, trombone Maila Gutierrez Springfield, piano Program Notes: Greg Wanamaker, Elegy Duration: 5:00 Elegy is an arrangement for string orchestra of the slow movement (also titled Elegy) of my Duo Sonata for clarinet and alto saxophone. Elegy in its original version was written in memory of those who died in the tragedy on September 11, 2001. The work is a strictly white-note work based on very simple motives. Elegy received its world premiere at the 12th Festival Internacional Bach by the Orquesta Sinfonica de Trujillo in Trujillo, Peru. Violin I Allison Willet, concertmaster Megan Morris Will Selle Haein Song Elizabeth Cansler Meg Harrison LaTannia Ellerbe Violin II Jared Matthews, principal Annalisa Chang Veronica Allen Young Cho Brittany Ellis Chrissy Fuchs Viola Lauren Andersen, principal Laurie Rominger Caitie Leming Alex Beard Cello Gina Pezzoli, principal Michelle Kwon Jesse McAdoo Sarah Dorsey Bass Mike Di Trolio Kit Polen Steven Jackson David Caudill, “I Wait for You There” (The Last Letter of Sullivan Ballou to His Wife Sarah.) Duration: 22:00 …”I wait for you there! Come to me, and lead thither my children.” So reads the gravestone of Sullivan Ballou, March 28, 1829 to June 21, 1861, Major in the Union Army. The inscription is taken from the last line of his last letter to his wife, Sarah, written one week before he was killed by a cannonball, along with twenty-seven of his close comrades, in the Battle of Bull Run at Manassas, Virginia. He wrote: “I cannot describe to you my feelings on this calm summer night, when two thousand men are sleeping around me, many of them enjoying the last, perhaps, before that of death-and I, suspicious that Death is creeping behind me with his fatal dart, am communing with God, my country, and thee.” Having risen from an orphanage to a promising career as a lawyer, he volunteered in the spring of 1861. He was deeply concerned for his wife and two young sons, Willie and Edgar. His motive for fighting was a pure love for his country and its principals and he was willing “…to lay down all my joys in this life, to help maintain this Government…” Still the blissful moments of his life with her, he goes on, “come creeping over me, and I feel most gratified to God and to you that I have enjoyed them so long.” He promises her, “If the dead can come back to this earth and flit unseen around those they loved, I shall always be near you…” I Wait for You There was the 2003 MMTA/MTNA Commissioned Composition. Roger Vogel, Night Songs Duration: 9:00 Night Songs was written in 2003 for Tom O'Donnell, a prominent violinist in the Atlanta, Georgia area. Many different types of music are associated with the night; from lyrical serenades and lullabies to boisterous drinking songs and dark hymns there are dramatic differences. Night Songs is a work of strong contrasts in which a slow lyrical section is followed by a vigorous fast concluding section with a strong rhythmic momentum. David Mitchell, Three Movements in Motion Duration: 11:00 Three Movements in Motion is a composition for guitar duet. All three movements employ a wide variety of special effects on the guitar from percussive and strum techniques to harmonics and alternate tunings. The first movement, “Contra-Rondo,” is a fast dance that shifts from 4/4 to 5/4. Its title comes from the fact that it is in rondo form and the accompaniment in the second guitar part is in contrary motion. “Contra-Rondo” introduces and employs an interesting golpe (percussion) technique that returns in the third movement in a climactic finale. In the middle of the piece, the second guitarist must retune the 6th string from E to Eb in just four counts. Listen for the harmonics, glissandos, and Bartok pizzicato at the end of the movement. The second movement, “Tolling Bells,” is a slow movement with an unusual alternate tuning in the second guitar part. The 6th string is tuned from E to Eb. The 4th string is tuned D to C#. This gives the guitarist a tri-tone between the 5th and 6th strings and wonderfully dissonant chords, just like a cacophony of tolling church bells in the dark. Listen for the string bends and the ghostly midnight dance in the second guitar part. The first guitar part suggests shadowy figures scurrying about. The movement finishes with tolling bells fading into the dark misty night. The third movement, “The Relentless March of The Half Steps,” is based on a commonly used intervallic technique exercise. This exercise is a four-note figure in descending half steps. In this movement, the exercise is used as an ostinatos accompaniment part to the syncopated melodic part. This ostinatos figure provides a relentless march throughout the piece. The first guitar part introduces a syncopated melody that shifts from naturale to ponticello tone colors. The two guitars switch accompaniment and melodic parts in the middle of the piece, and the movement comes to a dramatic finish using a golpe technique that was introduced in the first movement. Kenneth Jacobs, Approaching Northern Darkness Duration: 13 minutes This is the second movement of a 47-minute concerto for viola and orchestra, and each of the movements can be played individually. In the second movement (“Simply, Heartfelt”), three gentle yet passionate themes are presented in succession. The poignancy of the opening themes gives way to the more animated feel of an intense, dramatic tango. The slow pulse still is prevalent, but it is heavily subdivided. Eventually, the two opening themes are recapped, slightly ornamented, and presented in reverse order. Consequently, the movement ends with the same starkly simple and romantic material with which it began. The work was commissioned by Sheila Browne, who has just returned from recording the entire concerto with the Kiev Philharmonic for ERM. The CD will be released later this year, and the viola / piano version (with David Brunell) will also be released as part of a two-disc set of viola works commissioned by Ms. Browne from this composer. The score is preceded by the following quote from Aldous Huxley: “…looking up into the darkness. Up there…just above me, floats the great secret, the beauty and the mystery. To look into the depths of that mystery, to fix the eyes of the spirit on that bright and enigmatic beauty, to pore over the secret until its symbols cease to be opaque and the light filters through from beyond—there is nothing else in life that matters; there is no rest or possibility of satisfaction in doing anything else.” ALDOUS HUXLEY: “THOSE BARREN LEAVES” (1925) Tayloe Harding, The Springfield Trio (2005) Duration: 12 minutes The Springfield Trio (2005) is a three movement work for piano, trombone, and soprano saxophone. Commissioned by pianist Maila Springfield in 2004, the composition features distinctly different content and form among its movements. The second is an adaptation of a song, originally conceived for a musical theatre production. It is the only one of the movements that is through-composed, suggested by a non-strophic text at its genesis. Motivically-inspired formal structures similar to much of the chamber work of the composer, predominate in movements 2 and 3 though the nature and mood of the material contrasts from section to section in both. The three performances of The Springfield Trio (2005) presented by the commissioning musicians on March 16, 17, and 18, 2007 constitute its world premiere. Concert VI Saturday, March 17, 2007 11:00 am Recital Hall Three Poems of Pierre Reverdy Thomas Royal Timothy Cook, baritone Grace Anderson, cello Thomas Royal, piano Clarinet Sonata David Lothamer Annie Hutson, clarinet Gregory Carroll, piano Woodwind Quartet, Op. 7 Jess Hendricks 1. Elegy 2. Instance 1 3. Interlude 1 4. Instance 2 5. Interlude 2 6. Finality Laura Pollard, flute Jay Welborn, clarinet Angel Garren, bassoon Shannon Kucirka, horn Program Notes: Thomas Royal, Three Poems of Pierre Reverdy Duration: 8:00 These pieces are settings of the French cubist poet, Pierre Reverdy (1889-1960.) The aesthetic approach used in this composition is analogous to the aesthetic approach seen in these poems. Reverdy achieves remarkable directness and strength through careful choice of and extremely judicial placement of very few words. In the setting of the poems, every attempt is made to portray a stark and desolate simplicity through the use of a linear approach which subsumes all musical elements to melodic considerations. The piece is not necessarily tuneful, as melodic material often appears in a fragmentary manner. Nonetheless, the melodic material is presented as simply as possible so that nuances of line are brought into severe focus. In addition, there is a kind of romanticism in the piece, though certainly not a trifling, comfortable romanticism. A very extended tonality sometimes presents itself in this piece, but its rules are very often violated for the sake of melodic considerations. Son de Cloche Tout s’est éteint Le vent passé en chantant Et les arbres frissonnent Les animaux sont morts Il n’y a plus personne Regarde Les étoiles ont cessé de briller La terre ne tourne plus Une tête s’est inclinée Les cheveux blayant la nuit Le Dernier clocher resté debout Sonne minuit Sur le Talus Le soir couchant ferme une porte Nous sommes au bord du chemin Dans l’ombre près du ruisseau où tout se tient Si c’est encore une lumière La ligne part à l’infini L’eau monte comme une poussière La silence ferme la nuit Souffle Il neige sur mon toit et sur les arbres. Le mur et le jardin sont blancs, le sentier noir et la maison s’est écroulée sans bruit. Il neige Sound of a Bell All the lights are out The wind passes singing And the trees shiver The animals are dead There is no one left Look The stars are not shining now Or the earth turning A head has bowed Hair sweeps the night The last bell tower upright Strikes midnight trans. Patricia Terry On the bank Evening as it sets closes a door We are on the edge of the road In the shadow close to the brook where everything holds still If this is still a light It’s heading for infinity. The water rises like a kind of dust Silence closes the night trans. Patricia Terry Breath It is snowing on my roof and on the trees. The wall and the garden are white, the path Black, and the house has given way without a sound. It is snowing trans. Mary Ann Caws and Patricia Terry David Lothamer, Clarinet Sonata Duration: 5:00 This is a one-movement sonata written during the first part of 2006. It was influenced by two other clarinet pieces: Poulenc's Clarinet Sonata and Robert Muczynski's Time Pieces. The goal of this work was to combine the freedom and vitality of Poulenc's music with Muczynski's highly chromatic (but not atonal) sonorities and jagged rhythms. Jess Hendricks, Woodwind Quartet, Op. 7 Duration: 24:00 Quartet for Woodwinds, op. 7 is a seven movement work for Flute, Clarinet, Bassoon, and Horn in F that was originally composed for the Western Arts Quartet as a one movement piece called “Elegy”. In 2004, Jess Hendricks decided to revisit the piece and add additional movements. The next five movements were based on ideas contained in the first movement, plus many additional themes were added. The piece attempts to explore all of the different sounds this unique ensemble can create and explores several different moods. The movements were given purposely vague titles so that the listener can create whatever picture or feel whatever emotion they want without having to be influenced by a title. Quartet for Woodwinds was the co-winner of First Prize in the 2005 Philip Slates Composition Contest for graduate students. Jess Hendricks has been a student of Dr. Ken Jacobs at The University of Tennessee in Knoxville, Tennessee. Composer Biographies Joe L. Alexander’s music has been performed throughout the United States, South America and Europe. Performances include recitals/presentations at regional conferences of the Birmingham Art Music Alliance, the Louisiana Composers’ Consortium, the Society of Composers, Inc., the College Music Society, and Southeastern Composers League Forum. His music has been featured at Bowling Green State University’s annual New Music & Art Festival, and New Music for Young Ensemble Composers' Competition. In 2002, the Monroe (Louisiana) Symphony Orchestra selected him to compose Louisiana Blue (baritone voice, flute, piano with orchestra accompaniment). His Two Bryant Songs (soprano, Bb clarinet and piano) are on the CD Winds and Voices, by Living Artist Recordings. Alexander teaches low brass, serves as the Head of Theory/Composition and is Director of the Music Technology Labs at Louisiana Tech University. In addition, he is the Secretary-Treasurer for the Southern Chapter of the College Music Society and Secretary for the Southeastern Composers League. In 2005, he hosted the Southeastern Composers League’s Annual Forum at Louisiana Tech University. Alexander holds a Doctor of Musical Arts degree from the University of North Texas and studied composition with Newel Kay Brown, Douglas Knehans, Martin Mailman, Cindy McTee, and James Riley. Leonard V. Ball, Jr. has been a member of the composition and theory area of the University of Georgia Hugh Hodgson School of Music since 1987. His principal instructional responsibilities include courses in undergraduate and graduate acoustic and electronic composition, music technology, computer assisted instruction, and music theory. He has also served, with minimum interruption, as chair of the School’s Technology Committee since 1995. He is currently director of the Roger and Phyllis Dancz Center for New Music. His compositions have been performed across the United States, in Europe, South America, and Japan. His electronic work has focused on interactivity combining dancers (movement) and sound. Born in Richmond, VA and brought up in eastern North Carolina, Ball’s musically formative years were spent as a vocalist/guitarist in a number of folk and light rock bands, culminating in professional work as an arranger/performer for several bluegrass and folk groups. After an eight-year hiatus with the United States Army, he earned Bachelor of Music and Master of Music degrees in composition from Kansas State University and a Doctor of Musical Arts in composition from the University of Memphis. His principal teachers were T. Hanley Jackson, John Baur, and Donald Freund. Gregory D. Carroll is an associate professor of composition and theory at UNCG, where he also teaches courses in music history and literature. He earned a BA from St. John’s University (MN) and an MM and Ph.D. in composition/theory from the University of Iowa. Dr. Carroll taught at the University of Iowa and Indiana State University before coming to UNC Greensboro in 1981. His compositions have been performed at state, regional, national, and international conferences-- from the continental United States and Alaska, to Canada, Europe and Australia. In the recent past, his Studies in American Folk Idiom was given its world premiere by the Anchorage Symphony Orchestra, and an arrangement for tuba solo and Wind Ensemble was premiered at the International Tuba-Euphonium Conference in Budapest. Dr. Carroll has also been active as a pianist, conductor and guest lecturer, and has served as judge for numerous state, regional and national composition contests. He currently serves as Vice President of the Southeastern Composers League. David Caudill is Emeritus Professor of Music at the Delta State University. His musical compositions have received numerous performances in recitals in concerts. His list of works includes six songs cycles, three major works for chorus, two major works for chorus and wind ensemble, works for various instrumental ensembles and for various solo instruments. Commissions include those by the Mississippi Music Teachers Association/Music Teachers National Association, the Phi Mu Alpha Sinfonia/Theta Upsilon Chapter and the American Choral Directors Association/Mississippi Music Teachers Association Joint Conference. His Romanza for Flute and Piano is included on the CD, Mississippi Classic, and was used in the music for a documentary made for public television. His Thy Light for Chorus was published by Boosey and Hawkes. His two act opera, The Shepherds’ Story, was premiered as part of the Delta State University’s 75th Anniversary Celebration. He is the recipient of the Mississippi Institute of Arts and Letters Music Award, the Phi Mu Alpha Sinfonia Orpheus Award, and an Academic Excellence Award from the Mississippi State Legislature. He currently resides in western North Carolina, and is working on his second opera. John Corina (b. 1928), composer, oboist, organist and conductor, received the B.S. degree in music education and M. A. in music history from Western Reserve University, and the D.Mus. degree in composition from Florida State University. He is Professor Emeritus at the University of Georgia Hugh Hodgson School of Music where for 25 years he taught oboe, composition and theory, and performed with the Georgia Woodwind Quintet. From 1983 through 1989 he served as conductor of the University Orchestra and from 1968 through 1989 he administered the programs in theory/composition. He was appointed to the graduate faculty in 1970 and promoted to the rank of full professor in 1978. In 1985 he was awarded the General Sandy Beaver Teaching Professorship, a three year appointment. Prior to the position at the University of Georgia, he taught at Miami Dade Junior College in Florida and in secondary schools in Dade County, Florida and Lakewood, Ohio. In 1998 he was inducted into the Collingwood High School (Cleveland, Ohio) Alumni Hall of Fame for achievement in music. His doctoral studies in composition were with John Boda and he has composed over 120 compositions consisting mainly of works for chorus and for vocal and instrumental chamber music. He has received fourteen awards in composition in addition to yearly ASCAP standard awards. An oboe student of Philip Kirchner, he has performed with the Cleveland Philharmonic, the Miami Beach Symphony, the Greater Miami Philharmonic and the Augusta Symphony and has performed ten times for the International Double Reed Society. His conducting studies were with F. Karl Grossman and Richard Burgin. Dr. Corina has been a church organist/choirmaster for over 50 years and in 1998 he retired as organist/choirmaster emeritus at Emmanuel Episcopal Church in Athens Georgia, a position he held for 24 years. He has also served as the conductor of the Athens Choral Society. Presently he continues his musical activities as composer, oboist, choral singer and organist. He returned to teaching composition part time at the University of Georgia for the 2000-2001 and 2003-2004 school years. Memberships include Phi Beta Kappa, Pi Kappa Lambda, MENC/GMEA, NEA, Southeaster Composers League, International Double Reed Society, American Music Center, SCI, NACWPI, AGO and ASCAP. His latest works include Antiphon for men, women and mixed chorus, and Magnificat for mixed chorus. William Davis has been a faculty member in the University of Georgia School of Music since 1981 and has served as Associate Director for Administration since 2003. He earned Bachelor of Music and Master of Music degrees at the University of Kansas, and the Doctor of Musical Arts degree at the Eastman School of Music. His main composition teachers have been John Pozdro, Samuel Adler, and Warren Benson, and he has studied bassoon with David Van Hoesen and Austin Ledwith. His published compositions include works for soloists, chamber ensembles, chorus, and symphonic band. His works for orchestra have been performed by the San Antonio Symphony, the Atlanta Symphony, the Macon Symphony, and other orchestras. Prior to 1981 he was an Army Band Officer (1972-74), a bassoonist in the San Antonio Symphony Orchestra (1974-75), and a faculty member at West Texas State University (1975-81). He has served as President of the National Association of College Wind and Percussion Instructors, as President of the Southeastern Composers League, and in several officer positions in the International Double Reed Society. A Wisconsin native, Ken Davies holds an M.A. in trombone from Middle Tennessee State University at Murfreesboro and an M.M. in composition from the University of Colorado at Boulder where he was an Effinger Fellowship composition student. During the 1970s, he was trombonist for ten years with Gabriel’s Brass, a 12-piece jazz/rock show band based in Orlando, Florida, regularly appearing at Walt Disney World. He has worked as a commercial arranger and session producer for nationally broadcast record and television projects. Since 2002, he has resided in south Mississippi where he teaches brass privately, composes and runs his publishing company, Kenvad Music. His works include choral, acoustic and electronic pieces that have been performed nationally at Society of Composers National and Regional conferences, Southeastern Composers League, the International Trombone Festival, and at several concerts. Mp3s of his works may be heard via his website www.kendavies.net. He was recently awarded the 2006-2007 Artist Fellowship Grant in composition by the Mississippi Arts Commission. Mark Engebretson, Assistant Professor of Composition and Electronic Music, has recently undertaken composing a series of high-powered solo works entitled “Energy Drink” and writing music for large ensembles. He was previously a freelance composer and performer in Stockholm and Vienna, earning numerous commissions from official funding organizations. His music has been presented at many festivals, such as Wien Modern (Vienna), Gaida Festival (Vilnius, Lithuania), Ny Musikk (Bergen, Norway), Indiana State University New Music Festival (Terre Haute, Indiana), the Florida Electroacoustic Music Festival and ISCM Festivals (Tirana, Albania and Baku, Azerbaijan). Recent performances include presentations by the Wroclaw Philharmonic Orchestra and the Jacksonville Symphony. His work “She Sings, She Screams” for saxophone and digital media has been performed countless times worldwide and has been released on three compact disc recordings. As a performer, he has appeared as a soloist and chamber musician worldwide, and he is a former member of the Vienna Saxophone Quartet. Dr. Engebretson has taught at the Eastman School of Music, the University of Florida and at the State University of New York, College at Fredonia. He holds the DMA degree from Northwestern University, and also studied at the University of Minnesota and the Conservatoire de Bordeaux. His teachers include Michel Fuste-Lambezat, Ruben Haugen, Frederick L. Hemke, Jean-Marie Londeix, M. William Karlins, Pauline Oliveros, Marta Ptaszynska, Michael Pisaro, Stephen Syverud and Jay Alan Yim. Mark Francis (b. 1958) is Director of Education and Community Outreach for The Florida Orchestra in Tampa. He previously served as Director of Education and Librarian for the Mississippi Symphony Orchestra and has taught at Mississippi State University, Louisiana School for Math, Science and the Arts, Centenary College, Northwestern State University and Power Academic and Performing Arts Complex. He holds a D.M.A. in composition from the University of Kentucky. A recipient of 10 ASCAP Standard Awards and an ASCAP Plus Award for his compositions which include chamber, orchestral, choral and electronic works as well as over 75 art songs. His compositions are frequently performed at prestigious festivals such as the Society Of Composers, Inc. National Meeting, Resolution 2000 New Music Festival, The Corcoran Gallery Contemporary Music Series in Washington, DC and the North American Saxophone Association. His compositions and arrangements are published by Conners Publications, Carillon Music from Albany Little Piper Publications, Gold Branch Music and Imagine Music. He is a past Board Member for Composition of College Music Society, South Chapter and past President of the Southeastern Composers League and a frequent contributor to 21st Century Music. James Geiger (b.1977), a native of Palatka, Florida, is currently the band director and percussion coordinator at West Laurens Middle School, located in Dublin, Georgia. He received his undergraduate degree from Georgia Southern University (BM, music ed. and music comp., 2000) and his graduate degree from The University of Tennessee (MM, music comp., 2005). His compositions have been performed by such groups as the Third Chair Chamber Players (Lincoln, NE), Clinton String Quartet (Clinton, NY), and the Cathedral Brass (Hastings, NE). When he is not teaching, Mr. Geiger arranges music for chorus and band, collects all kinds of compact discs, and teaches at Georgia College and State University’s Summer Music Camps. Tayloe Harding became Dean of the School of Music at University of South Carolina on July 1, 2005. He also served, from 2003-5 as Composer-in-Residence for the Valdosta (GA) Symphony Orchestra. He was most recently the Head of the Department of Music, Professor of Music, and Chief Advancement Officer for the Arts at Valdosta State University (VSU) as well as serving as Executive Director of the Valdosta Symphony Orchestra. He has previously served in faculty and administrative capacities at North Dakota State University, Virginia Commonwealth University, University of Wisconsin-Madison, and Georgia State University. Dr. Harding's works have received performances throughout the United States, Canada and on six continents. He has received grants for new works and premiers from Meet the Composer, the National Endowment for the Arts, Lila Wallace-Readers' Digest Foundation, Philip Morris, Inc., and a variety of state and local agencies in Florida, Georgia, Virginia, Wisconsin, Illinois, Kentucky, Minnesota, and North Dakota. Commissions for his new works have been received from Thamyris, the Atlanta Winds, the African-American Philharmonic Orchestra, the Atlanta Community Orchestra, the Fernbank Museum of Natural History, the Chicago Saxophone Quartet, the Gainesville (FL) Civic Orchestra, Chorus and Ballet, and from numerous individuals and Universities. His has been a fellow of the Ragdale and UCROSS Foundations, as well as of the Virginia Center for the Creative Arts, the Hambidge Center for the Arts, and the Atlantic Center for the Arts. A member of ASCAP, his works are published by Mareba Music, and Collected Editions, Ltd. He is currently serving as Immediate-Past President of the College Music Society, the nation’s only comprehensive professional and scholarly membership organization in music in higher education has been active in many national and international organizations most recently the Society of Composers, Inc. and the National Associations of Schools of Music. Jess Hendricks (b. 1972) is a composer and arranger living in the Knoxville, Tennessee area. While studying composition with Dr. Charles W. Smith at Western Kentucky University, he composed three award winning works: Piano Sonata No. 1, String Quartet No. 1, and Phase II for Unaccompanied Clarinet. All three pieces won the Kentucky Music Teachers National Association Composition Competition in 1992, 1993, and 1994. In 2006 the Celebration and Chorale for Percussion Ensemble, op. 24, String Quartet No 2, op. 15, Sat Gamaya for Winds, Percussion, and Strings, op. 32, and Lunar Reflections on the Sea, op. 33 were all premiered at various locations. On April 24, 1998 the Bassoon Concerto No. 1, op 9, was premiered by Jefferson Campbell (who also commissioned it) and members of the North Carolina School of the Arts Student Orchestra. Currently Jess Hendricks is working towards his Master’s Degree in Composition at the University of Tennessee in Knoxville, Tennessee and studying under Dr. Kenneth Jacobs. Kenneth Jacobs is Professor of Music Composition. A native of Indiana, he was awarded the Doctor of Musical Arts degree from the University of Texas at Austin. His music has been played across North and South America and Europe, and he has received an International New Music Composers Award, Bergen Festival Award, City College of New York Electro-Acoustic Prize, the Brown University Choral Prize, Tennessee Orchestral Prize, prizes from the Texas and Tennessee Music Educators Associations, and a Phi Kappa Phi Outstanding Artist Award. Composer of music for solo, chamber, orchestral, vocal, choral, and electronic media, he has toured extensively with a dozen multimedia works featuring his artwork and photography coupled with synthesized music, and these works soon will be available on DVD. Currently, fifteen solo compact discs of his music have been released on the Zyode, Impact, and Opus One labels. American Record Guide has described his music as “a deceptive kind—seemingly simple and accessible, but created with consummate skill.” He directs the composition program at the University of Tennessee and is published by Boosey and Hawkes, Seesaw Music, and North / South Editions. Bruce Hurley Johnston is an award winning composer and a Summa Cum Laude graduate of Berklee College of Music holding a Bachelor of Music Composition degree. He grew up in Arkansas and was playing blues on Memphis’ famous Beale Street by the age of 21. At the age of 25, he received a “Talent Scholarship” from Berklee based on his instrumental performance as well as his compositions. While in Boston, Bruce studied with composers John Bavicchi, Thomas J. McGah, and Arthur Welwood. Currently, he studies composition with Dr. Kenneth Jacobs at the University of Tennessee where he holds a graduate theory teaching assistantship. Bruce can be heard performing in the Southeast United States with various bands including “The Tennessee River Dogs” bluegrass group, “Cheating Spoon”, The Mount Olive Baptist Church “Voices of Praise”, and his fusion group “Tease Louise” of which he is guitarist, bassist, vocalist, and musical director. Mark Prince Lee received his BM in composition from Florida State University, where he studied with Harold Schiffman, and an MM in composition from Memphis State University. Mr. Lee also holds an MA and PhD ABD in German Studies from Vanderbilt University. He is currently the chair of the Music Department at Columbia Sate College in Tennessee (near Nashville), a position he has held since 1993. Mr. Lee did post-graduate study in composition for two summers at the Ferienkurse in Darmstadt, Germany where he studied with Brian Ferneyhough and John Cage. Most recently, Mr. Lee studied compositional analysis with Karlheinz Stockhausen during the summers of 2002, 2003, and 2004, in Kuerten, Germany (near Koeln). Mr. Lee’s works for a wide variety of acoustic and electronic media have been performed throughout the eastern half of the US including performances in Miami, New Orleans, Washington D.C., New York City, and Toronto. In Europe his works have been performed in Amsterdam, London, Paris, Vienna, and throughout Germany. David Lothamer is currently pursuing his Bachelor's degree in music composition. He began taking piano lessons at the age of 10, shortly after moving from Reston, Virginia to Nashville, Tennessee. During high school he became involved with various choirs and other performing groups. Formerly a piano performance major at Saint Louis University, David has since transferred to the University of Tennessee. In Fall of 2005, he began his study of composition with Dr. Jacobs. His interests include all kinds of music ranging from classical to popular and especially film scores. David's music has been influenced by several composers, particularly Poulenc, Debussy, Messiaen, and Stravinsky. He is currently a member of the UT Singers jazz choir. Bruce P. Mahin is a Professor of Music, and Director of the Radford University Center for Music Technology. He received the B.Mus from West Virginia University, M.Mus from Northwestern University and the Doctor of Musical Arts degree from the Peabody Conservatory of The Johns Hopkins University. Mahin is a former president of the Southeastern Composers League, a former co-chair of Society of Composers Region 3, a former research fellow at the University of Glasgow (Scotland), and the recipient of awards from the Virginia Commission for the Arts, Meet the Composer, Annapolis Fine Arts Foundation, Res Musica, Southeastern Composers League and others. His works are available on compact disc through Capstone Recordings (CPS-8747, CPS-8624 and CPS-8611) and published in score by Pioneer Percussion, Ltd. and in the Society of Composers Journal of Musical Scores. Dosia McKay was born and raised in Poland. At the age of nine she began her studies at the local Elementary School of Music in Wejherowo, with classical guitar as her major instrument, but soon chose to pursue flute and piano instead. She continued her education at the State School of Music and General Education in Gdansk. As a member of the symphony orchestra and women’s chorale she traveled to Hungary, Switzerland, and Germany. She graduated with honors, majoring in flute performance under Ewa Pinno and Katarzyna Wittschenbach. In 1991 Dosia came to California to join the Celebrant Singers, with whom she traveled extensively throughout the United States, Canada, Mexico, Cuba, France, Italy, Malta, Greece, and Albania. Since 1994 she has made Tennessee her home. She is currently studying music composition with Dr. Kenneth A. Jacobs at the University of Tennessee School of Music. Jonathan B. McNair is active in the creation and performance of new music, teaching, community outreach, and church music. His music has been performed across the U.S.A., and in Puerto Rico, Germany, Switzerland, and Scotland, released on the Capstone label, and published by Pilgrim Press. Performers have included members of the Cleveland Orchestra, Myriad Ensemble, Epicycle Ensemble, the Wichita New Music Ensemble, neoPhonia, the Smoky Mountain Chorale, Chattanooga Symphony core players, and soloists and ensembles at universities, colleges, festivals, and churches. McNair has received awards, residencies, and commissions from the American Composers Forum, Choral Arts of Chattanooga, Allied Arts of Chattanooga, Ballet Tennessee, the Chattanooga Symphony chamber players, and the Chattanooga Clarinet Choir. He studied composition at The Cleveland Institute of Music, Southern Methodist University, and Appalachian State University. He is currently U.C. Foundation Associate Professor of Music Theory and Composition at The University of Tennessee at Chattanooga, and artistic director of the Contemporary Music Symposium at UTC. David Mitchell studied classical guitar performance under John Sutherland at the University of Georgia, and has participated in master classes with virtuoso guitarists Christopher Parkening and David Russell. David is also a past winner of Georgia Music Teachers Association and National Music Educators Association competitions, and is a former member of the Georgia Council for the Arts Touring Artists Roster. Currently, he is the instructor of guitar at Truett- McConnell College and the University of Georgia Center for Continuing Education. David is the former instructor of guitar at Piedmont College. Over the last ten years, his students have won numerous state guitar competitions. David has served as the Guitar Division Chairperson for the Georgia Music Teachers Association student competitions. He was a competitor in the 2002 Guitar Foundation of America international competition in Miami. In addition to concerts and competitions, David has performed at many weddings, receptions, and arts events during his twenty-eight years of playing classical guitar. Currently, David is studying composition at the University of Georgia School of Music under Dr. Leonard Ball. He also received 2005 teacher of the year at South Gwinnett Community Schools for outstanding contributions to the students and community. Richard Montalto holds degrees in composition from the University of New Orleans, Tulane University and the University of North Texas. He studied composition with Russell Smith, John Baur and Larry Austin. He is the recipient of a number of awards, including an ASCAP Grants to Young Composers Award for his Symphony for Wind Ensemble, a Mississippi Artist Fellowship for his Symphony #2 and 25 ASCAP Standard Awards. His works have been performed at the Montreaux International Jazz Festival, Symphony Space in New York, the New Orleans Contemporary Arts Center, the International Computer Music Conference, Carnegie Hall, and numerous academic conferences. He has served as President of the Southern Chapter of the College Music Society and the Southeastern Composers’ League. Prior to joining the Mississippi University for Women faculty he served as director of the University of New Orleans Jazz Band. He is currently a Professor of Music at MUW. Kadisha Onalbayeva was born in Kazakhstan and began her musical training at the age of 5 years. She attended Jubanov Special School for Talented Children in Almaty, Kazakhstan for 12 years. While at Jubanov she studied piano and composition, gave piano recitals and was involved in piano and composition festivals and competitions. Awards include first prize in the Soviet Union’s “New Talent” competition, national piano competitions and Central Asia piano competitions. Kadisha also participated in international music festivals in Yalta, Germany, Turkey, Russia and Uzbekistan. In addition Kadisha performed Bach’s C Minor harpsichord concerto, Haydn’s D Major concerto, Grieg’s A minor concerto, Prokofiev’s Piano Concerto No. 1 and Khatchaturian’s concerto. After graduation from the Jubanov school, Kadisha entered the Kurmangazy National Conservatory of Music. While at the conservatory she studied piano, composition, accompanying, chamber music and pedagogy. Kadisha was awarded the “President’s Award for Young Artists” and Chevron’s “Award for Talented Students” in piano and composition. She continued her career with solo recitals, concerto performances, chamber recitals, composition performances and teaching. Kadisha also participated in performance seminars, workshops and master classes. Piano concertos performed by Kadisha while at the conservatory include Tchaikovsky’s Piano Concerto No. 1, Brahms’ Piano Concerto No. 1, Liszt’s Piano Concerto No. 1 and Rachmaninoff’s Piano Concerto No. 2. Kadisha’s most important piano teachers were Ludmila Lapan , Asuly Dosaeva, Tatiana Sulemenova,Guljamila Kadirbekova, Klara Gospadar, Vladimir Sevidov and Vladimir Krienev. Kadisha continued her activities as performer, composer and teacher following her graduation from the conservatory. During this time she received a Soros prize for her work in development of international cultural exchanges. This award paid for her first visit to America in January, 2000. This first visit brought Kadisha to New Orleans in January, 2000 to participate in the International Jazz Conference. In August, 2003. to study with Dr. Jerry Sieg and earned her M.M. in Composition from the University of New Orleans in May, 2005. She then completed her M.M. in Piano Performance at U.N.O. in 2006 with Professor Mary Ann Bulla, and is currently working on her Doctorate in Piano Performance Louisiana State University with Professor Michael Gurt and Professor Gregory Sioles. Throughout her career, Kadisha has been a strong supporter of new music. She has continued her performances of her music, and participated in international new music festivals as composer, performer and organizer throughout Central Asia, Austria, England, Kazakhstan, Russian, Uzbekistan, Tatarstan. While in America she has participated in new music activities in New Orleans, Slidell, Ruston, Baton Rouge, Spartanburg South Carolina and Pensacola, Florida. She has been particularly interested in introducing the music of Kazakhstan to America. She is a member of Kazakhstan Composers’ Union. Kadisha recently won the Southeastern Composers’ League (USA) graduate composition for her solo cello “Think…Know ..After..”. David Pegel, a Tennessee native, began his study of music at the age of nine. In addition to composing, he has become reasonably accomplished on multiple brass instruments, as well as flute, piano, and Baroque recorders. David has been studying with Dr. Kenneth Jacobs since the fall of 2004, and has since had many of his works premiered by his friends and colleagues on campus. His music has been described as "a fresh mix of old and new harmonies, expressing bold statements in a semi-traditional style that can identify with many audiences". In addition to study under Dr. Jacobs, David has also studied euphonium performance under the direction of Mr. Sande Macmorran, also of UT, and plays an active role in UT's Band and Choir programs. William Pruett teaches composition, theory and electronic music at Campbell University in Buies Creek, North Carolina. He maintains a piano teaching studio and has served as adjudicator for many piano and composition competitions, including NCMTA (North Carolina Music Teachers Association) and the Raleigh Piano Teachers Association. Hollis Elisabeth Roberts, of Sautee, Georgia, graduated summa cum laude with honors in violin performance from Converse College in Spartanburg, South Carolina. Ms. Roberts was the recipient of the 2006 Pi Kappa Lambda Award, which is earned by the senior with the highest academic record in the Petrie School of Music. An accomplished student and performer, Ms. Roberts was concertmaster of the Converse Symphony Orchestra, and a member of the Araya Quartet with which she toured Europe three times during the annual Converse Festival Tours. She also participated in the Sessione Senese per la Musica e l’Arte, in Italy in 2004. Ms. Roberts was a member of the Spartanburg Philharmonic Orchestra. She participated in master classes with Academy of St. Martin in the Fields Chamber Ensemble, Emerson String Quartet, Juilliard String Quartet and Beaux Arts Trio, among others. She was the Petrie School’s 2005 Presser Scholar, an honor given to an outstanding student majoring in music at the end of her junior year. In 2005, she was selected to perform with the National Festival Orchestra in Carnegie Hall. Ms. Roberts also taught violin in the Lawson Pre-College program at Converse. She is continuing her education at the Peabody Institute of Johns Hopkins University in Baltimore, Maryland where she is studying for her master’s degree in violin performance with an emphasis in pedagogy. Scott Robbins’ compositions are widely performed and professionally recognized, having received over 50 awards, including the International Sergei Prokofiev Award, Yale University’s Norfolk National Composition Prize, NACUSA Young Composers Award, ASCAP Foundation Grant to Young Composers, American Music Center Composer Assistance Award, Florida Individual Artist Fellowship, and multiple awards from ASCAP and commissions from the SC Music Teachers Association. His most recent award is the 2006 Grand Prize in the Composers Guild Composition Contest for his sextet, Elastic Frequencies. Among those who have performed and/or commissioned and/or commercially recorded Scott’s works are the Czech Radio Symphony, Warsaw National Philharmonic, Moyzes Quartet, Ensemble Radieuse, the Gregg Smith Singers, and the Dale Warland Singers. The Clearing, a film for which Scott composed the soundtrack, received the CINE-Eagle award and has been broadcast on Bravo and HBO. In his past life, Scott was guitarist for the Right Profile, a band that released an EP produced by REM-producer Mitch Easter and was signed to a contract with Arista records. Ultimately, sanity prevailed, and Scott went to college and received degrees from Wake Forest, Duke, and Florida State universities. Since 1998, he has been a member of the faculty of the Petrie School of Music, where he now serves as Interim Dean and Associate Professor of Musicology and Composition. Thomas Royal (born 1979) is currently studying composition in the M.M. program at the University of North Carolina Greensboro. His present concerns are in attempting to find newer conceptions of melody and counterpoint that not only expand upon current conceptions of those ideas, but also enhance communicability with the audience. Currently he serves as a teaching assistant in the Composition/History/Theory Division in the School of Music at UNCG. Mitchell Turner (b. 1966) is an active music theorist and composer. He holds a Ph.D. (1999) and an M.M (1993) from the University of Georgia, where he studied music theory and composition, as well as a B.S. in Communications from Georgia Southern University (1988). He studied composition with Dr. Lewis Nielson (Oberlin Conservatory), Dr. Leonard V. “Chic” Ball (the University of Georgia), Dr. William Davis (the University of Georgia) and Dr. David W. Mathew (Georgia Southern University). He is currently an Assistant Professor of Music at LaGrange College and taught previously at the University of North Carolina-Greensboro, the University of Georgia, and Piedmont College. His music has been performed at conferences of SEAMUS, the College Music Society and Southeastern Composers League. His music is published by Wehr’s Music House and Conners Publications. His music software HostX, TseqAM, and TseqX have been published multiple times by the British Magazine Computer Music. HostX is also distributed by Behringer, GmbH, with their digital audio hardware. His article "Interval-Class Exchanges in a Two-Dimensional Pitch- Class Space" was published in the Eastman School of Music Journal Integral in Vol. 16/17 (2005). A native of Cleveland, Ohio, Roger Vogel studied music theory and composition at the Ohio State University and earned the Ph. D. in 1975. His major professors were Marshall Barnes, Jay Huff, Norman Phelps, and Wolf Rosenberg. A productive composer, Dr. Vogel has over 100 compositions and several journal articles to his credit. Since he joined the faculty of the University of Georgia in 1976, Dr. Vogel has written over 95 original works which have been published by eleven different publishing firms. Notable among his awards are prizes from the Roger Wagner Choral Composition Competition, the National Saxophone Workshop Composition Contest, the National Flute Association, and the Delius Composition Competition. He has received commissions from the Georgia Music Teachers Association, the University of Georgia, Sigma Alpha Iota Professional Women's Music Fraternity, Phi Mu Alpha Professional Men's Music Fraternity, the Helios Duo, The Fellowship of Reason®, the Athens Master Chorale, the Medical College of Georgia, Georgia 'Cello Society,and the Bass Club of Georgia. His works have been performed in recitals and at conventions and festivals throughout the United States, South America, and Europe. New Orleans born composer, Terry Vosbein has received numerous commissions to write new works from such organizations as the Cleveland Orchestra and the Cleveland Museum of Art. He has composed works for orchestra, wind ensemble, various chamber ensembles and choir. And his compositions have been performed all over the world. Vosbein has been awarded five summer residencies at La Cité Internationale des Arts in Paris. In the fall of 2001 he was awarded a fellowship at University College in Oxford, where he composed Masque for Cello and Orchestra. And his composition A Prayer for Peace, a reaction to the events of September 11th, has received performances worldwide. A more recent work, Village Scenes for Alto Saxophone and Piano, was premiered by James Bunte and David Riley at Carnegie Hall in early 2006. When not spending his summers composing in exotic corners of the world, Vosbein teaches music composition at Washington and Lee University in beautiful Lexington, Virginia. He received his Masters in Composition from James Madison University under the tutelage of John Hilliard, and his Doctorate in Composition from the Cleveland Institute of Music, where he was a student of Donald Erb. For more information, or to download scores and audio of his compositions, go to www.vosbein.com Gregory Wanamaker’s music explores and extends unique timbral qualities of instruments and voices while maintaining lyric and dramatic characteristics commonly associated with works of earlier eras and contemporary popular music. The winner of numerous awards, Wanamaker’s music has been commissioned and performed throughout the United States, Canada, South America, and Europe by performers including the Trujillo Symphony Orchestra, PRISM Saxophone Quartet, The Gregg Smith Singers, The West Point Saxophone Quartet, Timothy McAllister, Deborah Bish, Ensemble Radieuse, and the Society for New Music. Recent world premieres include Deborah Bish’s acclaimed performance of Clarikinetics at the Festival de Inverno de Vale Veneto, Brazil in July 2004 and speed metal organum blues by the PRISM Saxophone Quartet at Symphony Space in New York City on November 19, 2004. His Motet for orchestra and ¡Yo no tengo soledad! for mezzo soprano, saxophone and string orchestra were premiered in August 2006 by the Orquesta Sinfonica de Trujillo at the 13th Festival Internacional Bach where Wanamaker served as composer in residence for the past two years. Wanamaker's music is featured on Timothy McAllister’s release In Transit on the Innova label and his music for clarinet was recorded by Deborah Bish’s recent release Clarikinetics on Mark Custom Records. His work Triaria appears on Ensemble Radieuse’s independent debut album, Inbox. Wanamaker is currently Associate Professor of Composition and Theory at the Crane School of Music at SUNY Potsdam. Rodney Waschka II is a composer/performer working with algorithmic composition, intermedia pieces, and music for traditional ensembles. His pieces have been performed throughout Europe and North America, in South America, Africa, in Japan and China. Musical Opinion (London) cited his music as "fluent and entertaining". Computer Music Journal has called his work, "profound … for the adventurous." Tim Perkis has praised his music as "cooler than cool", while Fanfare noted that "It succeeds because Waschka understands the need to come up with something new." Recordings of Waschka's music are available on the Capstone, IRIDA, Centaur, Ama Romanta, Plancton, and PeP labels. Commissions, recordings, and performances of his works have been supported by the National Endowment for the Arts, Meet the Composer, the North Carolina Arts Council, the Fundación Valparaíso, and many others. A former officer of the International Computer Music Association, Waschka is a faculty member at North Carolina State University. Brian Willkie is seeking his Ph.D. from Louisiana State University (recently ABD) where he works with Dr. Stephen Beck in the Electro-acoustic Studio and the Laboratory for Creative Arts and Technologies (LCAT). His works have been performed in Japan, Argentina, the U.K. and regionally in the Southeastern U.S. and are published by Dorn Publishing. Brian received his Masters and Bachelors degrees in composition from the University of Georgia at Athens under Dr. Leonard Ball and studied in Paris at the Center for the Composition of Music Iannis Xenakis (formerly Les Ateliers UPIC). Current projects include ICAST, sonification, and spatialization. Betty Wishart received degrees from Queens University and the University of North Carolina- Chapel Hill and pursued additional study in New York City. Roger Hannay and Donald Waxman were her major composition teachers; however, she has also done summer studies with Judith Weir, Robert Kyr, Deidre Gibbon. Her music has been performed throughout the United States, and also in England, France, Italy, South Korea, and Japan. Her music has been published by Warner Bros. and Conners Publications. She has been recognized in numerous publications including Who’s Who in Music, World Who’s Who of Women, Foremost Women of the Twentieth Century, International Leaders in Achievement, Who’s Who of Professional and Business Women, Personalities of the South, and Community Leaders of the World. She has also won Composers Guild awards in several categories, has received awards from Delta Omicron, American Pen Women, American College of Musicians, and ASCAP standard awards for the past ten years. Wishart teaches at Campbell University, is President of the Southeastern Composers League, and Theory/Composition Chair of the North Carolina Music Teachers Association. In addition to teaching at Campbell University, adjudicates piano and composition competitions. Wishart previously taught piano at UNC-Chapel Hill and in Coral Springs, Florida where she served as district president of the Florida State Music Teachers Association, president and director of the Broward County Music Teachers Association, and co-founded the Pompano Piano Competition. She is currently President of the Southeastern Composers League and Theory/Composition Chair for the North Carolina Music Teachers Association. The Performers Grace Anderson, née Lin, cellist, captured top prizes at Artists International Auditions and the National Federation of Music Clubs Competition. She has performed as a soloist and chamber musician in leading concert venues in North America and Europe. She made her New York debut recital at Weill Recital Hall at Carnegie Hall, and was hailed by The New York Concert Review as possessing “rapier definition and boundless energy.” An avid chamber musician, Grace Anderson has performed at Lincoln Center for the Performing Arts, Bargemusic, The Kennedy Center, and in music festivals at Caramoor, Aspen, and abroad in Canada, Holland, Germany, France and Croatia. Grace Anderson has collaborated with musicians from the Chamber Music Society of Lincoln Center. In addition, she founded the Tedesca Chamber Players, an all-strings ensemble whose performance of the Schubert String Quintet at the historical Trinity Church in New York City was broadcast by BBC television worldwide. A graduate of Harvard University and The Julliard School, Grace Anderson is currently pursuing a Doctorate of Musical Arts Degree at UNCG. She is the Founder and Artistic Director of the Triad Chamber Music Society in Greensboro, North Carolina. Born in San Jose, California, Matthew Anderson moved to north Georgia at an early age where he took up guitar studies with renowned pedagogue John Sutherland. Matthew began serious studies as a Presidential Scholar with Mr. Sutherland at Georgia State University, where he graduated Summa Cum Laude with Distinction from the School of Music. He then continued studies with John Sutherland at the University of Georgia under the prestigious University-Wide Teaching Assistantship in the areas of guitar and music theory. In addition to studies with Mr. Sutherland, Matthew has performed in masterclasses with Paul O'Dette, Matteo Mela, and Christopher Parkening. He has also studied music theory with Dr. Ronald Squibbs as well as electronic music with composer Dr. Leonard V. Ball, Jr. Matthew has distinguished himself as a guitarist in a number of ways, including a select performance for Atlanta mayor Shirley Franklin; guest performer at the UGA Study Abroad 2001 Art Exhibit in Cortona, Italy; a performance in the final recital of the 2003 Christopher Parkening Masterclass; First Prize and Convention Recitalist in the 2003 GMTA Spring Competition; featured guitarist on the 2005 documentary film, “Alvar Sunol: His Vision and His Art”; and he has given the Georgia premier of several works, including Chiel Meijering's “Autobahnkrieg”. Recently, Matthew passed his Master of Music Examinations with Distinction and graduated Magna Cum Laude from the University of Georgia. He is currently working on his DMA in performance at the same institution while minoring in music theory. In the spring of 2005, Matthew was chosen by John Sutherland to be a founding member of the Athens Guitar Trio. Adding to the trio as well as setting himself apart as a soloist, Matthew often performs on a rare 11-string guitar built for him by Kenny Hill. His musical interests range from rock to classical, which show in his transcriptions for guitar solo and guitar trio. Dennis AsKew has performed solo recitals throughout the United States and in Italy, Finland, Hungary, Australia, and The Netherlands. President of the International Tuba/Euphonium Association, he came to The University of North Carolina at Greensboro as the tuba and euphonium professor in 1992 and became a member of the Market Street Brass. AsKew, originally from Georgia, holds the DMA degree from the University of Michigan, the master's degree from Penn State University, and baccalaureate degree from the University of Georgia. His UNCG TubaBand has performed at festivals around the world. AsKew was the host of the 2002 International Tuba/Euphonium Conference held at UNC Greensboro. AsKew also is a national Associate Regent for Pi Kappa Lambda, the national honor society for musicians. Dr. AsKew can be heard on Market Street Brass' two recordings Christmas and Jive for Five, and his solo cd, Carolina Morning. Anne Berry is a native of Greensboro and began studying the cello at the age of six. She completed high school at the North Carolina School of the Arts and received her Bachelor’s degree in music from Duquesne University where she studied with Anne Martindale-Williams. In 2003, Anne won the Duquesne University Women’s Advisory Board Competition for her performance of J.S Bach’s fifth Cello Suite in C minor. In January of 2006, Anne graduated with her Master’s degree from the San Francisco Conservatory of Music under the tutelage of Jean- Michel Fonteneau. Anne has taught at Vibo Music Center and for San Francisco Conservatory of Music’s Conservatory in the Schools program providing assistance to public middle school orchestra teachers across the city. She has recently performed with San Francisco’s Pocket Opera, Berkeley Symphony, and the Bay Area Summer Opera Theater Institute. She has also done commercial work for Nissan Corporation. Anne is currently working on her doctorate at UNCG with Dr. Brooks Whitehouse. A dynamic and versatile artist, violist Sheila Browne has concertized in many of the world's major halls as a soloist, chamber musician, and as principal of several orchestras. A finalist at Carnegie Hall in the Pro Musicis International Solo Awards, she has also been a prizewinner as a member of the Arianna and Gotham string quartets. Ms. Browne has collaborated with such artists as James Buswell, Nicholas Chumachenko, Miriam Fried, Paul Katz, Gilbert Kalish, David Krakauer, Ruth Laredo, Richard Stoltzman and the Vermeer Quartet. She has been soloist and principal of the Juilliard, Mainz, Freiburg, German-French, and Madrid's Queen Sofia chamber orchestras. Also an active recitalist, she has given concerts and outreach performances in North America and Europe. A proponent of new music, she has premiered many new works, including the recent world premiere of Kenneth Jacobs' “Approaching Northern Darkness,” a concerto written for her. Her latest CD, of viola-cello duos, is due to be released in 2006. As principal of the New World Symphony, she was featured by Michael Tilson-Thomas in the PBS documentary "Beethoven Alive!" Working closely with Krystof Penderecki on his solo music at the Banff Festival, she was broadcast on CBC radio throughout Canada, and has been heard on radio stations in South America, Europe, and the United States as well. Other festivals Ms. Browne has played include the Donaueschingen, Evian, Great Lakes, Jeunesses Musicales, Music Academy of the West, Sun Valley, Tanglewood, and the Texas music festivals. Ms. Browne was Karen Tuttle's teaching assistant at The Juilliard School for four years, where she received her B.M. degree and a Naumburg scholarship, among others. She was awarded a German Academic Exchange Grant (DAAD) for studies with soloist Kim Kashkashian at the Freiburger Hochschule, where she received an Aufbau degree, and also received an M.M. at Rice University's Shepherd School, where she was Karen Ritscher's teaching assistant while she was in Paul Katz's Quartet Residency Program. She has been an artist/teacher-in-residence at the University of Missouri with the Arianna Quartet, as well as assistant professor of viola at The University of Tennessee. She has taught at the Green Mountain, Killington, Knoxville and American Festival of the Arts summer festivals. She will be teaching at California Summer Music Festival in Pebble Beach the summer of 2007. David Brunell, Associate Professor of Music, has concertized widely in the United States, Latin America and Europe. With numerous concerto performances with orchestras and solo recitals to his credit, his performances have also been broadcast on many radio and television stations in many countries including New York City’s WQXR. He has also made several recordings for Enharmonic Records in concerto, solo, and collaborative performances with such artists as violinist Andres Cardenes. The many awards Dr. Brunell has received include first prizes in the Music Teachers National Association National Piano Competition, the Beethoven Sonata competition, and the prize for the best performance of the required work in the New Orleans International Competition. He also won top prizes in the Young Keyboard Artists, New Orleans, and Louise D. McMahon International Competitions, and was selected to the Artistic Ambassador Program of the United States Information Agency. As an Artistic Ambassador, Dr. Brunell premiered "Abandoned Bells" by distinguished American composer William Mayer. Dr. Brunell is also an active church pianist. He has recorded a CD of hymn arrangements by Mark Hayes, and has been heard performing sacred music on national television several times on Dr. D. James Kennedy’s Coral Ridge Hour. As a teacher, Dr. Brunell’s students have achieved distinctions including winning the MTNA Southern Division collegiate piano competition. Dr. Brunell’s teaching awards include the Tennessee Music Teachers Association Teacher of the Year Award and the Tennessee Governor’s School of the Arts Outstanding Teacher Award. Dr. Brunell’s studies were at Indiana University, where he received the University’s highest musical and academic awards, the Joseph Battista Memorial Award, the Performer’s Certificate, and the John H. Edwards Fellowship. Prior to coming to Tennessee, Dr. Brunell taught at Saint Olaf College and at Indiana University. Dr. Brunell has also been a guest teacher at the Carson Newman College Summer Music Camp. Joren Cain, saxophone, is from Lemont, Illinois. He holds a Bachelor of Arts degree from Northern Illinois University, where he studied saxophone with Steve Duke. He is currently pursuing a Doctor of Musical Arts degree from the University of North Texas, where he also received a Master of Music degree and studied with Jim Riggs. Mr. Cain was a graduate saxophone teaching fellow at North Texas for several semesters and held the Assistant Professor of Saxophone position at Northern Illinois University in 2001. He was the recipient of several scholarships and awards, including being named Outstanding Woodwind Student at UNT during the 1999-2000 school year. Mr. Cain has performed recitals across the United States and abroad, including performances in Germany and the Czech Republic. His article discussing the saxophone sonatas of Edison Denisov can be found in the 2000 Saxophone Symposium. Mr. Cain recently concluded his tenure as saxophonist with The United States Army Field Band, which he joined in 2002. He performed several times as a featured soloist, acted as staff arranger, and was the leader of the TUSAFB Saxophone Quartet, in which he played soprano saxophone. He can be heard on recordings by The United States Army Field Band, as well as UNT's Two O'Clock Lab Band and Wind Symphony. Mr. Cain joined the faculty of Valdosta State University this fall, where he teaches saxophone and directs the New Jazz Ensemble. Brian Davis holds a Masters degree in piano performance from UNCG and has lived in the Greensboro area for 17 years. He works as a freelance accompanist and teacher, and serves as Director of Music Ministries at Flat rock UMC in Stokesdale, NC. Sean Devlin holds a Masters of Music in Trombone Performance from the North Carolina School of the Arts in Winston-Salem, NC. He graduated cum laude from the University of North Carolina, Greensboro, in May 2004 with a Bachelor of Music in Trombone Performance. His teachers have included James T. Miller and Randy Kohlenberg. While at UNCG, Mr. Devlin occupied the position of principal trombone in the symphony orchestra as well as having played with the wind ensemble. He played bass trombone in the brass ensemble and jazz ensemble as well. At NSCA he was the bass trombonist with the symphony orchestra, trombone choir, graduate brass quintet, and graduate trombone quartet. In the summer of 2002, Mr. Devlin auditioned for the annual National Wind Ensemble and won the position of principal trombone and subsequently performed with the ensemble in New York's Carnegie Hall. In the summer of 2004, he won the spot of principal trombone in the Catania Festival Orchestra, based in Catania, Sicily. With this ensemble, Mr. Devlin participated in a one month tour, performing concerts throughout Sicily and the Calabria region of Italy. During the academic year of 2003/04, Mr. Devlin auditioned for and won the university concerto competition at UNCG and performed Joseph Turrin's "Fandango" for trumpet and trombone with the symphony orchestra. In 2006, he was a finalist in the Lewis van Haney orchestral excerpt competition held in Birmingham, England, by the International Trombone Association. Mr. Devlin is a substitute with the Greensboro Symphony and the Winston-Salem Symphony orchestras and has held the position of Principal Trombone in the Greensboro Philharmonia and the Fayetteville Symphony Orchestra. He is currently a freelance trombonist and private instructor in the Greensboro - Winston-Salem - High Point triad area and is currently the bass trombonist with the Triad Brass quintet. Joseph Di Piazza earned the BM from De Paul University, and the MM and DMA degrees from the University of Wisconsin, where he also received a prestigious NDEA Fellowship. He has performed throughout the United States and Europe as recitalist, chamber player, and soloist with symphony orchestras and has participated in festivals at Interlochen, Eastern Music Festival, Chicago Spring Arts Festival, the University of Illinois, Methodist College, Woodstock Guild Series, and the Beethoven Festival in New York. In addition to numerous University Guest Artist Series, Di Piazza has performed on series at the Chicago Art Institute, Orchestra Hall, Cincinnati Art Museum, and the Martin Luther King, Jr., Center for Performing and Cultural Arts. He was also invited to give a recital on the Horowitz Steinway, which was touring the United States. James Douglass, assistant professor of collaborative piano and vocal coach, has been involved in diverse genres including chamber music, vocal arts, opera, choral arts, symphonic repertoire, jazz, cabaret and musical theater. He received the Doctor of Musical Arts degree in keyboard collaborative arts at the University of Southern California (USC), as a student of Dr. Alan L. Smith. His Master of Music and Bachelor of Music degrees in piano performance were obtained from the University of Alabama as a student of Amanda Penick. At USC, he was awarded a Koldofsky Fellowship and the Outstanding Keyboard Collaborative Arts recognition in 2004. Douglass has served on the faculties of Mississippi College, Occidental College (LA), USC and Middle Tennessee State University. In 2003, he began teaching in the summer study program AIMS (American Institute of Musical Studies) in Graz, Austria as instructor of collaborative piano and a vocal coach in the Lieder Studio. Performances as a chamber musician and vocal accompanist include broadcasts (TV and/or radio) in Wales, California, Tennessee, Alabama and Mississippi; in master classes given by vocal artists Dawn Upshaw, Carol Vaness and Vladimir Chernov, choral directors Norman Luboff and Paul Salamunovich, and pianists Leon Bates, Natalie Hinderas, Anne Epperson and Martin Katz. Deborah Egekvist earned the BM from Lawrence University, the MM at the Eastman School of Music, and the DM at Florida State University. She has taught at Marshall University in Huntington, West Virginia, and at the University of Oklahoma at Norman. Active as a soloist and chamber musician, Egekvist has performed throughout the United States, Germany, Canada, and the Asian South Pacific. She has appeared as soloist with the Minnesota Orchestra, the Green Bay Symphony, the West Virginia Symphonette, the Aurora Symphony, and the Huntington Chamber Orchestra. She has also performed as principal flute of the Huntington Chamber Orchestra, the Greensboro Symphony, and the EastWind Quintet at UNCG. In June 1989, Egekvist made her New York debut at Carnegie Recital Hall. The Excelsior Quartet, (Josh Jones, euphonium, Malik Barrows, euphonium, Doug Sutton, tuba and Michael Robinson, tuba), is comprised of undergraduate tuba and euphonium majors from UNCG. The performers bring a variety of musical experiences and backgrounds to the ensemble, allowing for a wide range of performance styles. The quartet was chosen via audition to perform at the Southeastern Tuba Euphonium Conference later this month. John Fadial, associate professor of violin, is familiar to Greensboro audiences as concertmaster of the Greensboro Symphony Orchestra, under the baton of Maestro Dmitry Sitkovetsky. Having performed on four continents as a United States Information Service Artistic Ambassador, Fadial maintains a vigorous schedule as soloist, chamber musician, recording artist and teacher. He has appeared at the Smithsonian Institution, the Phillips Collection, and the Kennedy Center, with numerous engagements at summer festivals in Aspen, Banff, Brevard, Eastern, Heidelberg (Germany), Mirecourt (France), Costa Rica, and Brazil. He has shared the stage in chamber music collaborations with pianist Jon Nakamatsu, harpsichordist Anthony Newman, cellist Paul Katz, violist John Graham and bandoneon virtuoso David Alsina of the New York Tango Trio. He has performed widely throughout the U.S. and Europe since 1997 as the violinist of the Chesapeake Piano Trio. Recent seasons have featured concerts throughout the U.S., France and Brazil, including the French premiere, with cellist Beth Vanderborgh, of William Bolcom’s Suite for Violin and Cello as well as chamber music performances with Bernard Greenhouse, Dmitry Sitkovetsky, Lynn Harrell, Bella Davidovich, and the Stanislas Sextette. Fadial’s recent recording of the chamber music of Samuel Coleridge-Taylor on the Centaur label, with members of UNCG’s Artist Faculty Chamber Players, was a Featured New Release at TowerRecords.com for Spring of 2005, and deemed “not to be missed” by American Record Guide. In October of 2005, he gave the world premiere of Arthur Gottschalk’s Concerto for Violin and Symphonic Wind Ensemble, as part of the Society of Composers International Conference. Fadial hold degrees from the North Carolina School of the Arts (BM), the Eastman School of Music (MM) and the University of Maryland (DMA). His teachers and mentors include Charles Castleman, Elaine Richey, Alexander Schneider, Joseph Silverstein, Arnold Steinhardt, and Zoltan Szekely. Angel Garren (Quartet 138), bassoon, is a sophomore Music Education Major from Asheboro, N.C. Angel plays in the UNCG Symphony Orchestra, the Farkas Quintet and the UNCG Chamber Winds. Shannon Kucirka (Quartet 138), horn, is a sophomore Music Education major with a concentration in Horn Performance. She is currently a member of the UNCG Wind Ensemble, the University Symphony Orchestra, University Band, and Horn Ensemble. She is the horn player in the "Simply Brass" Brass Quintet and the Farkas Wind Quintet. Shannon serves as the Events Coordinator for the UNCG chapter of CMENC as well as the service chair for Sigma Alpha Iota. She also works as the University Band Librarian. She recently completed a tour with the UNCG Wind Ensemble. German pianist Radha Mundkur earned her degrees as a student of Matthias Kirschnereit’s from the Rostock College of Music and Theater- Diploma in Piano Pedagogy in 2000, Diploma in Piano Performance in 2003, and Diploma Artistic Baccalaureat in Piano Chamber Music in 2005. Several scholarships allowed her to additionally work in masterclasses with pianists such as Renate Kretschmar-Fischer, Stephan Imorde, Andrzej Jasinski, and Hamish Milne. During the academic year of 2000/01 the Rotary Foundation chose her to spend one year as an “Ambassador of Good Will” at Indiana University. Radha performs as a chamber musician and soloist in Germany and Europe, such as at the festival for contemporary music Tage Neuer Musik Rostock and at the Festspiele Mecklenburg- Vorpommern. She toured with the Students’ Ensemble of the Jeunesses Musicales Bremen in Denmark and Moscow, Russia, as well as with the orchestras Junge Sinfoniker Bielefeld, and Junge Marburger Philharmonie in Germany. Most recently she gave a piano solo recital with sonatas by Mozart, Prokofiev and Schubert in Rieux/Minervois, France in fall 2006. After a short interlude as a piano instructor at the Rostock College of Music and Theater, and at the Music Schools at Bad Doberan, and Braunschweig, Radha is currently a doctorate student with Andrew Harley in the program for collaborative piano at the University of North Carolina at Greensboro. Laura Pollard (Quartet 138), flute, is a sophomore Music Education major at UNC-Greensboro. She is an alumni member of the Asheboro Flute Choir and a current member of the UNCG Flute Choir and the Farkas Quintet. She is a North Carolina Teaching Fellow, and hopes to teach middle school band upon graduation in May 2009. Scott Rawls has appeared as soloist and chamber musician in the United States, Canada, Mexico, Japan, and Europe. Chamber music endeavors include performances with the Diaz Trio, Kandinsky Trio and Ciompi Quartet as well as with members of the Cleveland, Audubon and Cassatt String Quartets. His most recent CD recording, released on the Centaur label, features the chamber music of Samuel Coleridge-Taylor and was released summer 2004. His recording of chamber works for viola and clarinet was released spring 2003 on the same label. The ensemble, Middle Voices, will record another disc for Centaur featuring the chamber music of American composer, Eddie Bass. Additional chamber music recordings can be heard on the CRI, Nonesuch, Capstone, and Philips labels. Also a champion of new music, Rawls has toured extensively as a member of Steve Reich and Musicians since 1991. As the violist in this ensemble, he has performed the numerous premieres of The Cave and Three Tales, multimedia operas by Steve Reich and Beryl Korot, videographer. And under the auspices of presenting organizations such as the Wiener Festwochen, Festival d'Automne a Paris, Holland Festival, Berlin Festival, Spoleto Festival USA and the Lincoln Center Festival, he has performed in major music centers around the world including London, Vienna, Rome, Milan, Tokyo, Prague, Amsterdam, Brussels, Los Angeles, Chicago and New York. He is a founding member of the Locrian Chamber Players, a New York City based group dedicated to performing new music. Dr. Rawls currently serves as Associate Professor of Viola and Chair of the Instrumental Division in the School of Music at the University of North Carolina at Greensboro. Under the baton of maestro Dmitry Sitkovetsky, he plays principal viola in the Greensboro Symphony Orchestra. He is very active as guest clinician, adjudicator, and master class teacher at universities and festivals in America and Europe. During the summers, Rawls plays principal viola in the festival orchestra at Brevard Music Center where he also coordinates the viola program. He holds a BM degree from Indiana University and a MM and DMA from State University of New York at Stony Brook. His major mentors include Abraham Skernick, Georges Janzer, and John Graham. Jonathan Salter grew up in Oberlin, Ohio, and received his Bachelor of Arts degree at Williams College where he majored in music (with highest honors) and mathematics. He received his Master of Music degree from Indiana University. Jonathan was the associate principal clarinetist for the Berkshire Symphony from 1998 to 2002, and was selected to perform Debussy’s Premiere Rhapsodie with the orchestra for the concerto competition in 2001. He was the recipient of the Hubbard Hutchinson Memorial Fellowship from Williams College and also received the Leopold Schepp Foundation Fellowship. Jonathan’s teachers include Michèle Gingras, Susan Martula, Alan Kay, Howard Klug, Eli Eban, and he is currently working on his Doctor of Musical Arts degree at UNCG with Dr. Kelly Burke. David Springfield, Trombone Instructor of Jazz Studies at Valdosta State University, teaches jazz piano, improvisation, arranging, combos, jazz history and applied trombone. He is also a member of the Faculty Jazz Combo. He holds a Bachelor of Music degree in Trombone Performance and a Master of Music in Jazz Studies, both from the Eastman School of Music. His principal teachers were Rayburn Wright, Bill Dobbins and Fred Sturm (jazz) and John Marcellus (trombone). He has previously been a faculty member at Eastman, Aarhus University (Denmark), Georgia Southern University and Armstrong Atlantic State University. Mr. Springfield is an active performer both as a pianist and trombonist. He has performed with jazz artists Randy Brecker, Clark Terry, Lee Konitz, Jerry Bergonzi and Gary Bartz. He has appeared with the Rochester Philharmonic Orchestra and the Savannah, Charleston and Jacksonville Symphony Orchestras. His international performing experience includes three tours of Japan with the Eastman Wind Ensemble and a production West Side Story in Europe. He was a member of Klüvers Big Band in Aarhus, Denmark and performs with the Savannah Jazz Orchestra and Jazz Composer's Octet. Mr. Springfield is a member of IAJE and has appeared with the Georgia Jazz Educators Big Band at the annual GMEA conferences. Mr. Springfield has had his compositions and arrangements performed by such artists as Branford Marsalis, John Abercrombie, Phil Woods, Allen Vizzuti and Joe Alessi. He received a Downbeat magazine award for arranging and was a finalist in the 1996 International Thad Jones Competition, sponsored by the Danish Radio Jazz Orchestra. He is the principal arranger for Klüvers Big Band and his works appear on seven recordings by the band. In addition to his work as a jazz arranger, Mr. Springfield has written for concert band, symphony orchestra, brass quintet and trombone choir. His music has been performed throughout the United States and Europe and is published by Kendor Music and UNC Jazz Press. Maila Gutierrez Springfield, piano, is staff accompanist/instructor at Valdosta State University. Maila graduated with a Bachelor of Music degree in Piano Performance from Syracuse University and received her Master’s degree in Piano Accompanying and Chamber Music from the Eastman School of Music. In 1993 and 1994 she received the Eastman’s Excellence in Accompanying Award. She has also served as staff accompanist for ACDA, MTNA, NATS and at the Interlochen Arts Camp. She was the accompanist at Georgia Southern University from 1997-2002. Maila has been a faculty member at the Georgia Governor’s Honors Program from 1994-97 to 2000 present. A champion of contemporary music, Dr. Melanie Foster Taylor’s performance activities include a lecture-recital series titled “Twentieth-Century Piano Scores,” covering the entire pantheon of 20th-Century music in 20-year segments. In 2006, she will present a recital of piano music published from 2000-2005. She is also the pianist for Ensemble Radieuse, a flute, oboe, and piano trio based at Converse College who recently produced a CD, “Inbox,” featuring contemporary works for this ensemble. Dr. Taylor has been a featured soloist with the Converse Wind Ensemble and the Brass Quintet, and is in demand as a collaborative pianist by vocalists and instrumentalists. Dr. Taylor's students have distinguished themselves in statewide, divisional, and Young artist competitions. She has promoted performance opportunities for young pianists by establishing numerous composer festivals, concerto competitions, and piano camps. As the faculty advisor for Converse’s student chapter of the South Carolina Music Teachers Association, the “Petrie Pedagoddesses” activities include administration of the annual PianOlympics event for the Alia Lawson Pre-College piano students, performance of a benefit recital for the Tsunami victims, and active participation in the SCMTA annual conference. Dr. Taylor is an active clinician for the Music Teachers National Association, holds national Certification by that organization, and appeared as Clinician for the Vermont Music Teachers Association state conference in 2004. She has lectured for the College Music Society and the Society for Music Theory and has had articles published in the American Music Teacher, Keyboard Companion, The Piano Quarterly, and Journal Seamus. Dr. Taylor has been the Intermediate-Advanced Keyboard Editor for Alfred Publishing Company, working closely with Maurice Hinson on numerous publications. Dr. Taylor has enjoyed coaching the Converse Piano Team, created a Piano Pedagogy Resource Laboratory, and instituted the Music=Link program to provide piano lessons for community students who are gifted but in need. Melanie Foster Taylor holds degrees in Piano Performance from the Oberlin Conservatory of Music and Marshall University, and the Doctor of Music in Piano Pedagogy and Literature from Indiana University. Her teachers include John Perry, Alfonso Montecino, Kenneth Marchant, and Michel Béroff. Her recital was broadcast on the National Public Radio “Music from Oberlin” series. She was the youngest winner in both the Amateur and Professional divisions of the Young Artist Competition of the West Virginia Symphony Orchestra. Christopher Vaneman recently completed his studies at Yale University, where he studied with Ransom Wilson and from which he received the Doctor of Musical Arts degree. Chris holds MM and MMA degrees from Yale as well as an Honors BM from the Eastman School; he has also attended the Salzburg Mozarteum and Belgium’s Conservatoire Royal, where he studied under a grant from the Belgian American Educational Foundation. He studied at Eastman with Bonita Boyd, in Brussels with Jean-Michel Tanguy, and in Salzburg with Andras Adorjan. He has also studied contemporary flute techniques with Robert Dick in New York and Baroque performance practice and ornamentation with Barthold Kuijken in Belgium. He is flutist of the Converse-based chamber group Ensemble Radieuse, (whose first CD, Inbox, features three newly-commissioned works) and the New York-based Echo, and teaches during the summer at Pennsylvania’s Performing Arts Institute. Chris has performed as a soloist with orchestras in Germany and Denmark as well as in the United States and served as principal flutist of the Reigate Festival Orchestra in England, among other ensembles. 2004-2005 performances took him to England, Panama, and Texas, as well as other less exotic locales. Chris is also an engaging writer on musical subjects, and has supplied program notes for a number of compact discs and innumerable concerts; the Tokyo Quartet used his notes for its cycle of Beethoven performances at Carnegie Hall and Lincoln Center. Oboist Kelly McElrath Vaneman is the Chair of Musicology and Composition and Assistant Professor of Oboe and Musicology. She holds D.M.A., M.M.A., and M.M. degrees from the Yale University School of Music, where she was a teaching assistant to Ronald Roseman. A native Texan, she received her B.Mus. summa cum laude from Baylor University, where she studied with Doris DeLoach. In addition, she holds a certificate in performance from the Koninklijk Konservatorium Brussel, where she studied modern and Baroque oboe with Paul Dombrecht under a grant from the Belgian American Educational Foundation. Other teachers include Denise Lamb and Sharon Towndrow. An active performer, Dr. Vaneman has appeared as a soloist with orchestras in Guatemala, Texas, and South Carolina. She has also played with the Central Texas, Waco, Asheville, and New Haven Symphony Orchestras, the Greater Spartanburg (SC) Philharmonic, the National Orchestral Institute, the American Wind Symphony, the Montreat Bach Festival, and the Reigate Festival Orchestra of Surrey, England. Dr. Vaneman is, above all, committed to chamber music and the expansion of its repertoire. She has been an Artist-Fellow at the Norfolk Chamber Music Festival and the Bach Aria Festival and was founder and director of Chamber Music in the Chapel in New York City's St. Patrick's Cathedral. Along with her husband, flutist Christopher Vaneman, she has been invited to perform two premieres at the International Double Reed Conference in Madison, Wisconsin. As oboist of Ensemble Radieuse, she has been involved in the commissioning of several new works for flute, oboe, and piano. A musician of wide-ranging interests, Dr. Vaneman has performed Baroque music on period instruments and performs regularly with the Converse Early Music Ensemble. She has also performed and recorded as a member of the New York-based rock bands Rome 56 and the Ashley Wilkes Band. She was the past president of the Rho chapter of Pi Kappa Lambda and a member of Alpha Chi and has written for The Double Reed, the journal of the International Double Reed Society. In addition to her duties at the Petrie School, she serves as Oboe Instructor of the South Carolina Governor's School of the Arts and Humanities and spends her summers in residence at the Performing Arts Institute of Wyoming Seminary in Wilkes-Barre, Pennsylvania. Jay Welborn (Quartet 138), clarinet, is a sophomore at the University of North Carolina at Greensboro majoring in clarinet performance. Prior to beginning his education at UNCG, Jay studied privately with Eileen Young before completing his high school education at the North Carolina School of the Arts where he studied under Igor Begelman. In addition to playing with the 138 quartet, he also serves as the clarinetist for the Farkas Quintet. Jay currently serves as the principal clarinetist in the UNCG Symphonic band. He is a member of the Mu Phi Epsilon music service fraternity, and a Peer Academic Leader in the Grogan College living and learning community. He has been recognized in solo competitions including the Piedmont Wind Symphony and the Greensboro Symphony Youth Orchestra. Robert Wells is currently Assistant Professor of Voice and teaches studio voice and vocal pedagogy. He also serves on the faculty of the Schlern International Music Festival in Voels am Schlern, Italy. He holds the BM in Voice from the State University of New York College at Fredonia, and holds MM and DMA degrees in Voice from the University of Cincinnati College- Conservatory of Music. A frequent recitalist and collaborative artist, Wells has also enjoyed an active performance career in both oratorio and opera in New York State and the Midwest, and his performances have taken him to Great Britain and Europe. He has sung leading roles in Le Nozze di Figaro, Così fan tutte, and Albert Herring and has appeared as baritone soloist in such works as Benjamin Britten's War Requiem, Mendelssohn's Elijah, and the St. John Passion of J. S. Bach. An active choral conductor, Wells served as Director of the Fredonia College Choir and was recognized for his work with numerous professional and community choral organizations in Western New York. Wells formerly served on the faculty at the State University of New York College at Fredonia, where he was Co-Chair of the Voice Faculty and was a sought-after clinician and adjudicator. Inara Zandmane, born in the capital of Latvia, Rîga, started to play the piano at the age of six. Zandmane holds a BM and MM from Latvian Academy of Music, MM in piano performance from Southern Illinois University at Carbondale, and DMA in piano performance from the University of Missouri at Kansas City. She has been the staff accompanist at the UNCG since 2003. She also served as the official accompanist for the MTNA Southern Division competition and the North American Saxophone Alliance conference in 2004. Zandmane has performed in recitals in St. Paul, Kansas City, Cleveland, St. Louis, and New York, as well as in many Republics of the former Soviet Union. In April 2000, she was invited to perform at the Glenn Gould Studio in Toronto. Inara Zandmane has appeared as a soloist with the Latvian National Orchestra, Liepaja Symphony, Latvian Academy of Music Student Orchestra, SIU Symphony, and UMKC Conservatory Symphony and Chamber orchestras. She has performed with various chamber ensembles at the International Chamber Music Festivals in Rega, Vilnius, Tallinn, Helsinki (Finland), and Norrtelje (Sweden). For a few last years, Zandmane has worked together with the Latvian composer Peteris Vasks. She has given Latvian premieres of his two latest piano pieces, Landscapes of the Burnt-out Earth and The Spring Music, and recorded the first of them on the Conifer Classics label. The UNCG School of Music has been recognized for years as one of the elite music institutions in the United States. Fully accredited by the National Association of Schools of Music since 1938, the School offers the only comprehensive music program from undergraduate through doctoral study in both performance and music education in North Carolina. From a total population of approximately 16,000 university students, the UNCG School of Music serves over 600 music majors with a full-time faculty and staff of more than sixty. As such, the UNCG School of Music ranks among the largest Schools of Music in the South. The UNCG School of Music now occupies a new 26-million-dollar music building, which is among the finest music facilities in the nation. In fact, the new music building is the second-largest academic building on the UNCG Campus. A large music library with state-of-the-art playback, study and research facilities houses all music reference materials. Greatly expanded classroom, studio, practice room, and rehearsal hall spaces are key components of the new structure. Two new recital halls, a large computer lab, a psychoacoustics lab, electronic music labs, and recording studio space are additional features of the new facility. In addition, an enclosed multi-level parking deck is adjacent to the new music building to serve students, faculty and concert patrons. Living in the artistically thriving Greensboro—Winston-Salem—High Point “Triad” area, students enjoy regular opportunities to attend and perform in concerts sponsored by such organizations as the Greensboro Symphony Orchestra, the Greensboro Opera Company, and the Eastern Music Festival. In addition, UNCG students interact first-hand with some of the world’s major artists who frequently schedule informal discussions, open rehearsals, and master classes at UNCG. Costs of attending public universities in North Carolina, both for in-state and out-of- state students, represent a truly exceptional value in higher education. For information regarding music as a major or minor field of study, please write: Dr. John J. Deal, Dean UNCG School of Music P.O. Box 26170 Greensboro, North Carolina 27402-6170 (336) 334-5789 On the Web: www.uncg.edu/mus/ |
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