2005-04-06 New Music Festival [recital program]

              School of Music
U N C G
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New Music Festival
April 6 – 9, 2005
School of Music and Weatherspoon Art Museum
2
Welcome to the Second Annual UNCG New Music Festival!
This year's Festival will feature Anne LeBaron, who is on the faculty at CalArts and is the Darius
Milhaud Visiting Assistant Professor at Mills College (Spring 2005). This year’s Festival features
artists that are actively engaged in the creation of new forms of expression. Featured guest
composer Anne LeBaron explores the relationship between live performers and a computer that
“thinks” musically…Clay Chaplin dons a special glove with electronic sensors that transmit his
hands’ movements into digital impulses that are in turn translated by a computer into
sounds…Kadet Kuhne presents films that in a different way translate the visual subjects’
movements into sound…many of the other composers and artists whose works will be presented
similarly explore relationships between music of the analog vs. digital worlds. The Festival also
features women as creative artists and composers with roots in South America.
I would like to express my thanks to John J. Deal, Dean of the School of Music, for his
enthusiastic support of this event. Additionally, a great many people have worked very hard to
make this happen, including Ann Grimaldi and Patti Gross of the Weatherspoon Art Museum,
School of Music Audio Technician Dennis Hopson, Tiffany Edwards of UNCG University
Relations, the folks at the Teaching and Learning Center who provided video projection
equipment, and my graduate assistants Cameron Ward and Daniel Pappas and all of the
students in the Composition Studio and Electronic Music Class.
I hope you enjoy the Festival!
Mark Engebretson
Assistant Professor of Composition
Director, Alice Virginia Poe Williams Electronic Music Studio
3
Contents
General Schedule.........................................................................................3
Concert I Program and Notes.......................................................................4
Concert II Program and Notes......................................................................7
Concert III Program and Notes...................................................................10
Composer and Video Artist Biographies.....................................................14
Performer Biographies................................................................................18
_____
4
General Schedule
Wednesday, April 6
4:00 pm .............................................................................Convocation address by Anne LeBaron
Thursday, April 7
5:30 pm ...............................................................................Concert I, Weatherspoon Art Museum
Friday, April 8
10:00 am .........................................................................Masterclass, School of Music Organ Hall
7:30 pm .............................................................................. Concert II, School of Music Recital Hall
Saturday, April 9
10:00 am ........................................................................ Masterclass, School of Music, Room 217
7:30 pm ............................................................................ Concert III, School of Music Recital Hall
5
Concert I
Thursday, April 7 · 5:30 pm
Weatherspoon Art Museum
5:30 Gathering, socializing, food
6:00 Fusing the Muse: Humans, Machines and Music
Address by featured guest composer Anne LeBaron in the Weatherspoon Auditorium
6:30 Music in the Weatherspoon Atrium
Mioritza (2004) Alice Shields
(b. 1943)
Brian French, trombone
Stupid Thing Improvisation (2005) Clay Chaplin
(b. 1971)
Clay Chaplin, interactive glove, computer programming, improvisation
Corail (2001) Edmund Campion
(b. 1957)
Susan Fancher, tenor saxophone
Sachamama (1995) Anne LeBaron
(b. 1953)
Cheryl Gobbetti Hoffman, flutes
_____
The Weatherspoon Art Museum will be open until 9:00 p.m.
Please visit the Jessica Stockholder exhibit upstairs!
The composers, musicians and staff of the Weatherspoon will be available to speak
with audience members informally about their work.
6
Alice Shields:
Mioritza - Requiem for Rachel Corrie
for trombone and tape
I created Mioritza in memory of Rachel Corrie, the 23-year-old American peace activist who in
March, 2003 was murdered by an Israeli forces bulldozer while she attempted to defend a
Palestinian doctor's home from demolition. When trombonist Monique Buzzarté asked me to write
a piece, I decided to dedicate the work to Rachel Corrie's memory. I took the title “Mioritza” from
a traditional Romanian poem of that name, which translates into English as “the clarivoyant
lamb.” The piece begins in a slow sarabande rhythm in a beat of three, with the emphasis on the
second beat. Towards the middle of the piece the performer sings through the trombone an
Indian raga melody with a phrase in Sanskrit, “Vittala, vittala, vittala, vittala: Deva vittala, Deva
vittala...”, which means roughly “glory to God.” I created the tape part using C-Sound and
ProTools.
yeast, foam, froth, spume,
the subject of exaltation,
I am a sheet of floating ice, the forehead of the morning.
I am a place for the washing of clothes,
a breathing water for the washing of feet,
in sunset a sistrum of light on the waves,
the rim thereon glowing gold between the breasts,
admired even where the gods gather together
to thrust back the fastening of a gate
in air,
a cloud or a body of mist,
epithet of sleep, sweet, grateful, refreshing,
the cloud-gatherer
from which one is not easily
roused.
Fragrant to lay ahold of, kindly welcome,
from beyond where the water wells up from the dark,
with your swanshift of feathers
over the surface of the earth
the heavens revolve, spinning
the axis of symmetry
about which the body is arranged,
embraced,
engirdled by the cerulean fields on high,
enravishing, dyeing the world azure
in a bath of bliss,
the marveling echo streaming
from the sky
—Alice Shields
Clay Chaplin:
Stupid Thing Improvisation
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for glove interface, interactive computer and improvising performer
Stupid Thing Improvisation (2005) is a free improvisation using my custom instrument Stupid
Thing. In this version, sounds are randomly chosen from a collection of one hundred sound files
that are also randomly selected before the performance. The challenge of this improvisation is
accepting the sounds that are chosen and creating something sonically interesting in the moment.
I enjoy not knowing what sounds might be selected at any moment and I like having to make
spontaneous decisions about what to do with them. While pre-planning might make for a tighter
performance this improvisation is focused on randomness and sonic discovery.
—Clay Chaplin
Edmund Campion:
Corail
for tenor saxophone and interactive electronics
Corail (Coral) attempts a sonic analog to the contention that only when human culture moves
within an ecological niche can it relate appropriately with all the fields of forces of nature,
something of which it is inextricably a part. Just as we can move freely within our own
environment, the saxophonist moves within his or her sound world—one from which he or she is
constantly drawing inspiration and upon which the player interacts. From the sonic well of the live
saxophone, the computer extracts fine details of pitch, dynamics, durations and silences using
the composer’s special grammar and syntax to transform the data into an oceanic flow. The
player must learn to play through playing. The musician is constrained and guided by the ocean,
adapting to the conditions of the environment. Each musician is charged with finding his/her own
voice within the work. Improvisation is an important element of the piece, but the sonic identity of
Corail will always be present because the compositional constraints are designed in to the
programming. The piece was premiered at the AGORA festival in Paris in 2001 and is dedicated
to John Campion. The program note is adapted from a text by John Campion.
—Edmund Campion
Anne LeBaron,
Sachamama
for amplified flute, alto flute and tape
Sachamama, a work for amplified flute, alto flute, and tape, was inspired by the painting The
Sachamama, illustrating one of many visions of Pablo Amaringo, a painter and Peruvian shaman.
The Sachamama, or “mother of the jungle,” lives in camouflage in the rainforest. A huge snake
that rarely moves, it sometimes remains for hundreds of years in the same place. When a person
notes the presence of the Sachamama, he must leave immediately to avoid being crushed by a
tree or struck by lightning, as it produces severe wind and storm conditions. If a person passes in
front of its head, the Sachamama magnetizes him swiftly and swallows him. Vegetalistas
(mestizo shamans who derive their knowledge and personal powers from plants) invoke the
Sachamama as protection during healing ceremonies. In many depictions, rainbows flow from its
mouth.
The tape part to the composition Sachamama was constructed from sounds produced by Harry
Bertoia’s sound sculptures and gongs, recorded by the composer during a visit to his estate.
These tall, magnificent sculptures, which once resided in a barn in Pennsylvania, were set into
motion by physically brushing them, as one would brush wind chimes. The tape of the sound
sculptures was edited, but not processed. To complete the tape portion of Sachamama, music
from two other sources, created with a sequencer and digital processing effects, is layered over
the texture created by the Bertoia instruments: a Peruvian traditional song, and a “Gloria” by the
seventeenth-century Mexican composer Manuel de Suyama. The performer, doubling the tape
material at the outset, soon becomes an independent voice, sometimes interacting with the tape,
and sometimes standing apart.
—Anne LeBaron
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Concert II
Friday, April 8 · 7:30 pm
Recital Hall, School of Music
Stupid Thing Improvisation (2005) Clay Chaplin
(b. 1971)
Clay Chaplin, interactive glove, computer programming, improvisation, video
Scan: Suskin Sisters (2004) Kadet Kuhne
(b. 1967)
Video and sound by Kadet Kuhne
Apparent Horizon (1996) Maggi Payne
(b. 1945)
Video and sound by Maggi Payne
Ableitungen des Konzepts der Wiederholung (for Ala) (2004) Javier Garavaglia
(b. 1960)
Noah Hock, viola
Intermission
Corail (2001) Edmund Campion
(b. 1957)
Susan Fancher, tenor saxophone
Scan: The Lady’s Glove (2005) Kadet Kuhne
Video and sound by Kadet Kuhne
Witchcraft Recipes #9 and #9b (2001) Alejandro Rutty
(b. 1967)
Red Clay Saxophone Quartet
Susan Fancher, soprano saxophone
Andrew Hays, alto saxophone
Steve Stusek, tenor saxophone
Mark Engebretson, baritone saxophone
_____
The hall is equipped with a listening assistance system.
Patrons needing such assistance should contact an usher in the lobby.
Patrons are encouraged to take note of the exits located on all levels of
the auditorium. In an emergency, please use the nearest exit, which may
be behind you or different from the one through which you entered.
9
Kadet Kuhne:
Scan: Series
for video and electronic sounds
SCAN: is a series of audiovisual works in which gestures of communication are translated into
audible frequencies. The movements in the video serve as controls for audio playback and
become a tool for instrumentation. Using a customized, programmed interface in Jitter software, a
scan line is placed and moved at will over a video playback window. When visual motion crosses
this scan line, pre-designated sound samples are triggered and processed in real-time via
spectral filtering, granulation, envelope filters and cross-synthesis. Incidental soundtracks are
generated with interactive input and response, then recorded to disk in single or multiple layers.
As the progressing patterns of the visual information trigger sounds into a composition, a
reconstructed map of the gestures becomes the language itself. The nerve stimulus that caused
the initial physical expression becomes transferred into an image which in turn is expressed in a
sound. The choice of sound samples and the sequences of video edits are intended to impose
particular psychological states of being directly related to the chosen subject matter. With the
absence of words and the presence of a translated score, various levels of interpreting and
projecting onto the images are explored.
—Kadet Kuhne
Maggi Payne:
Apparent Horizon
for video and electronic sounds
I started gathering the video images for Apparent Horizon six years prior to its completion. My
original intent was to slowly reveal information in various landscapes by holding still on an image
for several seconds, then zooming in or out or panning to reveal more detail, an unusual vista,
rock formation, etc. It occurred to me that it also might be interesting to see what might be
"revealed" from an overhead view. Since it was impractical to rent airplanes for this purpose, I
decided to incorporate NASA footage taken by the Space Shuttle and Apollo series astronauts. It
is at times difficult to distinguish earth views from space from those taken on the earth's surface.
Many of the earthbound shots are of rather "alien" landscapes — those where I, as a human
being, don't really fit in — I'm the alien here. In these often-desolate places the only sounds one
hears are wind, insects, a scant number of birds and animals and a rare rainstorm. I decided to
take our constant human chatter and transpose it into sounds somewhat reminiscent of nature's
sounds in the landscapes to which they are attached or to transform them into somewhat
"otherworldly" sounds. This was an attempt to convey an aural impression of the sensations I
have experienced while in these earthbound landscapes and those sensations I imagine the
astronauts might experience while viewing the earth from space. Sound sources consisted of
transmissions from/through space and were from Space Shuttle and Apollo missions, satellite
transmissions, and shortwave radio broadcasts. Often I chose sections that were full of static and
distortion — signals which were reaching unintelligibility. There are Morse Code "crickets" at
Bryce Canyon and static "rain" at the Canyonlands. Processing includes heavy equalization,
convolving, extreme sample rate conversions and time compression/expansion. This is the third
piece in a series of pieces which are based on transformations of human-made or generated
sounds, the previous two being Airwaves (realities) and Liquid Metal.
—Maggi Payne
10
Javier Garavaglia:
Ableitungen des Konzepts der Wiederholung (for Ala)
(Introduction to the Concept of Repetition)
for viola & Max/MSP
The title in German refers to the way I tried to explore the concept of repetition. Repetitions are to
be found everywhere in our lives: from our habits, to our biological cycles; every life is a repetition
of others with variations. And exactly this is what I am trying to explore with this piece: how can a
repetition not be considered as such, when the variation degree makes it appear under a very
different light. Is repetition equal repetition?
Music is indeed a type of art that very well suits to explore this item, by either extending the
concept of repetition or simply expressing the same idea all the time, as much of the commercial
music nowadays does. Loops can be always the repetition of the same sample in music
electronics, but the way a composer can work with a loop can vary enormously, to the point that
the repetition itself disappears, loosing its essential being.
Mathematical relationships, as well as electronic procedures that already work with the principle
of repetition are here further material that the composition uses to explore this concept.
—Javier Garavaglia
Alejandro Rutty:
Witchcraft Recipes #9 & 9b
for saxophone quartet
The Witchcraft Recipes series (of which the present set is the ninth) consists of relatively short
but intense pieces of music, which aim to amplify and exaggerate the symbiotic relation between
musician, instrument, sound, and involuntary physical motion. The result of this distortion, if
successful, is an exorcism that occurs through the performance, bringing to life not the reality but
a hidden “else”.
Particular to Witchcraft Recipes #9 & 9b is the imitation through means of orchestration of the
effects of echo and reverberance of a reverb-delay unit. The soprano sax is generally the source
of ‘dry’ signal, while the rest of the group act as echo or reverberance.
—Alejandro Rutty
Society of Composers, Inc.
2005 National Conference
UNCG School of Music
October 13-15, 2005
Mark Engebretson, host
The Society of Composers, Inc. is a professional society dedicated to the
promotion of composition, performance, understanding and dissemination of
new and contemporary music. Members include composers and performers
both in and outside of academia interested in addressing concerns for
national and regional support of compositional activities.
SCI Society of Composers,
Inc.
11
Concert III
Saturday, April 9 · 7:30 pm
Recital Hall, School of Music
from Two Versions (2004) Mark Engebretson
Version II (b. 1964)
Chris Dove, bass clarinet
Brian French, trombone
Meaghan Skogen, violoncello
The Left Side of Time (2004) Anne LeBaron, sound
Kadet Kuhne and Maile Colbert, image
Brian French, trombone
Sonic Farfalla (2004) Rodrigo Sigal
(b. 1971)
Cheryl Gobbetti Hoffman, flute
Intermission
Red (2001) Nora Hoffman
(b. 1973)
Brandon Tesh, alto saxophone
Pope Joan (2000) Anne LeBaron
UNCG Contemporary Chamber Players
Jaemi Loeb, conductor
Rebecca Myers, soprano
Susan Rhue, flute
Tom Turnachik, oboe and English horn
Chris Dove, clarinet and bass clarinet
Michael Cummings, violin
Sara Bursey, viola
Michael Way, violoncello
Kevin Lawson, piano
_____
The hall is equipped with a listening assistance system.
Patrons needing such assistance should contact an usher in the lobby.
Patrons are encouraged to take note of the exits located on all levels of
the auditorium. In an emergency, please use the nearest exit, which may
be behind you or different from the one through which you entered.
12
Mark Engebretson:
Two Versions
for bass clarinet, trombone and cello
Two Versions was written for Ensemble Reconsil of Vienna, Austria, and premiered by that
ensemble in June, 2004. Many times when composing music, ideas present themselves that
must be rejected, suppressed, or ignored in order to insure the integrity or artistic unity of the
piece intact. Other times material is written and then expanded upon, re-written, manipulated or
varied to the point that the original idea, which may have been already quite interesting, is
completely lost. For this piece, I decided to take advantage of this situation by writing a piece in
two versions. The first version is the first composition of the piece, true to certain originating
ideas. The second version contains elaborations that suggested themselves while writing the first
version, but rather than either rejecting them or allowing them to obscure the original piece, they
have been integrated into an independent movement. Thus the piece is called Two Versions,
with movements Version I and Version II. Either or both Versions may be performed, and if they
are both performed, they may be performed in either order. For this concert, only Version II will
be heard.
Many thanks to Ensemble Reconsil and my dear friend, composer and flutist Alexander
Wagendristel for commissioning this piece.
—Mark Engebretson
Anne LeBaron:
The Left Side of Time
For trombone, interactive computer and video
The Left Side of Time, for trombone, MAX/MSP, and video, transports historical documents
surrounding the invention of the metronome into a 21st-century technological maelstrom. In
revisiting early 19th-century experiments, yearnings, and objections leading to the invention of the
metronome (widely attributed to Johann Nepomuk Mälzel), I became intrigued with other means
by which composers and performers regulated the speed of music by non-mechanical means.
The centerpiece of the my composition was inspired by Johann Joachim Quantz's classic
instructions for using the heartbeat as a standard of measurement for musical tempo, found in
Versuch einer Anweisung die Flöte traversiere zu spielen(Kritisch revidierter Neudruck nach dem
Original, Berlin 1752). The translation into English of Quantz's directions for using the pulse as a
means for regulating the speed of music is attributed to Dr. Arnold Schering(Leipzig, 1927). My
attention was drawn to the subject by the book, The Metronome and its Precursors, by
Rosamond E. M. Harding (Gresham Books, Oxfordshire,1938).
Custom trombone interface design by Monique Buzzarté and Holland Hopson was supported by
the Harvestworks Digital Media Arts Center's Artist-in-Residence program. Max/MSP
programming by Stephan Moore was supported in part by Create@iEAR, an artist residency
program at Rensselaer Polytechic Institute's iEAR Studios. Additional Max/MSP interface
programming by Holland Hopson. Video by Kadet Kuhne and Maile Colbert. Thanks to the
Pauline Oliveros Foundation for studio time and space, to Mark Menzies for his mellifluous voice,
and to the American Music Center Copying Assistance Grant. This work was made possible by
the commissioner, Monique Buzzarté, whose vision, patience, and persistence were essential to
its development and completion.
—Anne LeBaron
The visuals for The Left Side of Time were created by manipulating educational and medical films
from the early 19th century with the goal of complementing the recorded text within the piece.
These archival images were molded and layered to illustrate the main themes in an abstracted,
analogous manner. The video artists strove to reflect the aural composition by thinking of the
visuals in a less traditionally cinematic manner, utilizing a "weaving" technique to move the
images through the negative space of the screen, much like our blood pulsates throughout our
bodies.
— Maile Colbert
13
Rodrigo Sigal:
Sonic Farfalla
for flute and electroacoustic sounds
Sound is a wave that travels through the air until it has no energy left. What would the difference
be between sound and a butterfly (farfalla)? The piece explores the brief existence of a butterfly
or flute within a dense sound world and is dedicated to Alejandro Escuer.
—Rodrigo Sigal
Nora Hoffmann:
Red
for improvising performer and digital media
Red (2001) is a composition for 4 tracks of quadraphonic playback and optional live performer.
The piece should be performed in the dark with a low level of red light.
Red was inspired when I practiced double stops on my violin, closely sensing into my body’s
visceral experience of slight changes in pitch and intonation. The four channels are a mix of
seven “raw” and nine “ringing” tracks of intervals on the violin, playing with different hues of the
sounds.
For the “raw” tracks, I recorded intervallic thirds and seconds on the violin. All pitches are
between Bb4 and E4. They are mostly outside the equally tempered scale, and some are only
microtones apart from each other. I called them “raw”, because the bowing is audible, and I only
looped and faded the tracks’ ends and beginnings, but did not edit them further in the way I did
for the “ringing” tracks.
For the “ringing” tracks, I rerecorded the same intervals as before, this time placing the
microphone in a way to especially pick up overtones, difference tones, and the ringing/beating of
the intervals. I chose the most ringing sections of each of the recorded tracks and created nine
new tracks, rich in overtones, by looping and layering those sections.
The optional live instrument both contrasts and supports the taped material. The performer
moves in the space, senses the music as s/he intently listens, and intuitively improvising,
responds to the tape.
Performances of Red include CEAIT Festival 2002, California Institute of the Arts, the 10th
Annual Ussachevsky Memorial Festival (2002), Pomona College, Claremont, and the University
Exchange Concert at UCSD 2002.
—Nora Hoffmann
Anne LeBaron:
Pope Joan
for soprano and chamber ensemble
Pope Joan, a dance opera originally choreographed by Mark Taylor for Dance Alloy and written
for the Pittsburgh New Music Ensemble, was co-commissioned by the two performing
organizations. A dramatic setting of Enid Shomer’s poems, which purport to be documents found
on the body of Pope John VIII at his/her death, Pope Joan may also be performed as a concert
version.
According to many documented sources, the future Papessa began her calling in the ninth
century as an ecclesiastic scribe. She joined a Benedictine monastery at the insistence of her first
lover and later moved to Athens and Rome, where, still disguised as a man, she became cardinal
and then, in 856, Pope John VIII. She was stoned to death after giving birth to a child during a
papal procession in 858.
Scholars disagree as to whether Joan's papacy was legendary or real, yet there remains
evidence in church records that she did exist. Despite this evidence, her pontificate was officially
stricken from papal records, perhaps due to the destabilizing challenge of female ascendancy to
the papacy. The ultimate potency of the story is illustrated by a Vatican custom developed after
14
the death of Pope Joan: candidates for the papacy had to seat themselves naked on an open
stool, to be viewed through a hole in the floor by cardinals in the room below. The cardinals'
committee would then make its official announcement: Testiculos habet et bene pendentes, "he
has testicles, and they hang all right".
As choices in gender and self-expression become more available to us, Joan's ninth-century
experiment provides a lens through which we wished to examine contemporary values and
expectations of gender. Some of the thematic elements enfolded within the story, reflecting
contemporary issues that are integral to Joan’s story, include women in the church; cross-dressing;
simultaneous birth/death as a Christian motif; the commingling of physical and spiritual
love; and intolerance of the unfamiliar.
excerpts from POPE JOAN [Being Documents Found on the Body of Pope John VIII]
©1992 by Enid Shomer, published in This Close to the Earth, available from The University of Arkansas Press, Fayetteville.
II. After Love
Let me not be turned into a dove
like St. Gertrude. I do not wish
to fly away. Already my breasts
like two soft pigeons have nested
in the cup of his hands. Let me not
be bedecked
with a virgin’s beard or pluck
out my eyes like St. Lucy
because I am part of the beauty
of the world. Let my face bloom
in the cowl
like a crocus breaking through
the cold dark soil
of winter. Let the dust always
look this golden, let me stay
in this place,
commanding the hours like a breviary.
If he shuns my cell, let it
temper me, like the icy
stream at Meninengen where I
was baptized
and the swordsmiths plunged their new
blades.
IV. Elegy
O lift the tiny feet and hands, lift
the head carefully as a jug of wine, as blown
glass. Rinse the eyes clear. Part and comb
the fine hair, and in the desk drawer sift
among the clutter for the small gold
crucifix to be worn around his neck---a rose
of Sharon, its blossoms raging against the base
of the cross. Be wary of drafts and cold
linens. Remember when you walk, he’s not safely
tucked inside like a foot curled away from a fire,
but rides noisily upon your arm, precariously
upon your arm. Glide like a blade of light! The air,
the sunny air which polishes his cheeks and fills
his eyes with sky cannot catch him if he falls.
15
Composers and Video Artists
Active in the electronic, instrumental, and performance realms, Anne LeBaron is recognized as a
composer and musician at the forefront of innovation. Her work embraces an extraordinary array
of subjects, ranging from contemporary adaptations of Greek and South American myths, to the
linkage of late 20th-century physics with 17th-century science, to a current probe into extinction
— addressing not only endangered species in the natural world, but also vanishing icons of
popular culture. Her second work for music theater, Croak (The Last Frog), tells the story of the
last frog on earth, with performances at George Washington University in April, 1997. As a
Fulbright Scholar to Germany in 1980-81, Ms. LeBaron studied composition with György Ligeti,
later completing her doctorate at Columbia University. Her works have been written for virtually
every contemporary genre and performed and broadcast throughout the U.S. and Europe, with
recent premieres in Hong Kong, Sydney, and Berlin. Her numerous awards and prizes include a
Guggenheim Foundation Fellowship and the 1996-97 CalArts/Alpert Award in the Arts, given
annually in five artistic disciplines to "passionate and engaged individuals who . . . hold enormous
promise for the future." Prior to joining the faculty of the Music Department at the University of
Pittsburgh in 1996, Ms. LeBaron was based in Washington, D.C. In 1993, she was one of six
composers in the U.S. selected to participate in the inaugural round of "New Residencies,"
sponsored by Meet the Composer. For three years, she served as Composer-in-Residence with
The D.C. Youth Orchestra Program, Horizons Theater, and The National Learning Center at the
Capital Children's Musuem. Toward the close of her residency tenure, the National Symphony
Orchestra commissioned a fanfare, American Icons, in honor of the 25th anniversary of the
Kennedy Center. Leonard Slatkin conducted the three performances. The range of LeBaron's
musical language can be heard on several recordings. The Musical Railism of Anne LeBaron, a
co-production with Mode Records and Tellus, features the first work written for the Lyon & Healy
Electric Harp, as well as selections from her blues opera collaboration with Thulani Davis, "The E.
& O. Line." Rana, Ritual, and Revelations (Mode), with the New Music Consort and the Theater
Chamber Players of Kennedy Center, received the highest rating given by Down Beat. Phantom
Orchestra, the first recording by the Anne LeBaron Quintet, reveals her work as a jazz musician
and band leader. Released on the German label Ear-Rational, this unusual ensemble blends the
sounds of brass, harp and guitar, and percussion. A work incorporating instruments built by Harry
Partch, Southern Ephemera, was released in 1997 on the Music & Arts recording, Newband.
Dish, a stark and witty commentary on sexual relationships, can be heard on Dora Ohrenstein's
CRI recording, Urban Diva. An accomplished harpist, Ms. LeBaron is recognized internationally
for her pioneering work in developing extended techniques and electronic enhancements for this
instrument. Leading innovators of jazz and other forms of improvised music, including Muhal
Richard Abrams, Anthony Braxton and Derek Bailey, have engaged her in performance and
recording collaborations.
Edmund J. Campion was born in Dallas Texas in 1957. He received his Doctorate degree in
composition at Columbia University and attended the Paris Conservatory where he worked with
composer Gérard Grisey. In 1994 he was commissioned by IRCAM ( L'Institut de Recherche et
Coordination Acoustique/Musique) in Paris to produce a large scale work for interactive
electronics and midi-grand piano entitled Natural Selection (ICMC 2002). Other projects include a
Radio France Commission, l'Autre, the full-scale ballet Playback (commissioned by IRCAM and
the Socitété des Auteurs et Compositeurs Dramatiques ) and ME, for Baritone and live
electronics, commissioned by the MANCA festival in association with CIRM (Centre National de
Création Musicale). Campion is currently an Associate Professor of Music at the University of
Berkeley in California where he also serves as the Composer in Residence at CNMAT (The
Center for New Music and AudioTechnologies). Other prizes and honors include: the Rome Prize,
the Nadia Boulanger Award, the Paul Fromm Award at Tanglewood, a Charles Ives Award given
by the American Academy of Arts and Letters, and a Fulbright scholarship for study in France. In
2002, Mr. Campion received a Fromm Foundation commission to compose a new work for the
San Francisco Contemporary Music Players. Future projects include a new work for the famed
Percussion de Strasbourg Ensemble.
Clay Chaplin is a composer, improvisor, and video artist from Los Angeles who explores audio-visual
improvisation with computer instruments and networked systems. During his career, Clay
has worked on many projects involving experimental music, video, dance, computers, and related
16
technology. His works have been performed internationally including performances at the Los
Angeles County Museum of Art, the Center for Contemporary Music at Mills College, the Lincoln
Center Out-of-Doors Festival, the Line Space Line concert series, the Detritus concert series, the
Sonic Circuits Festivals, the Piano Spheres concert series, the Santa Fe Electronic Music
Festival, UCSB's Cultural Turn Conference, UCSD's Time-Forms Media Festival, the Ex-Static
Concerts in Sydney, the Korean Electro-Acoustic Society concerts in Seoul, the Fringe Festival of
Independent Dance Artists in Toronto, the Olympia Experimental Music Festival, the International
Computer Music Conference in Hong Kong, the Baltimore Composers Forum concerts, the
CEAIT Electronic Music Festivals, and the Electronic Music Threshold concerts. Clay received his
MFA from California Institute of the Arts where he studied composition and computer media at the
Center for Experiments in Art, Information, and Technology (CEAIT) with Morton Subotnick, Mark
Trayle, Sara Roberts, and Tom Erbe. After receiving his MFA, Clay worked as an Assistant
Professor of Composition at CEAIT from 1998 through 2002. He taught in the Composition New
Media and Integrated Media programs and also served as the Technical Director for the School of
music in 2000. Clay has been composer in residence at STEIM in Amsterdam and the Center for
Contemporary Music at Mills College in San Francisco.
Maile Colbert is a filmmaker, video, and sound artist currently working in Los Angeles, California.
She holds a BFA in The Studio for Interrelated Media from Massachusetts College of Art, and a
MFA in Integrated Media/Film and Video from the California Institute of the Arts. She has had
multiple screenings, exhibits, and shows, including The New York Film Festival, Los Angeles
County Museum of Art, the REDCAT Theater in Los Angeles, The Portland International
Documentary and Experimental Film Festival, and a two-week multi-media tour in Japan.
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.
Composer and violist Javier Alejandro Garavaglia has composed electroacoustic works and
music for solo instrument, chamber music, and orchestra, often including multi-track tape and
live-electronics. His music has been performed in Germany, Argentina, the United States,
Ecuador, Brazil, Hong Kong, Scotland, Russia, Bulgaria, and Canada, and at festivals and
symposia including the ICMC, Brazilian Computer Music Symposium, Florida Electroacoustic
Music Festival, Moscow Autumn, Queens College, New York University, Universidad Católica
Argentina, Connecticut College, Festival Musica Nova Sofia (Bulgaria). His awards include the
Folkwang-Preis für Komposition (Essen, Germany) and the prize of the International Music
Council (Argentina). He is Associate Director of the Florida Electroacoustic Music Festival.
Garavaglia lives in Germany, teaches at Folkwang-Hochschule, Essen, and travels extensively as
performer.
Nora Hoffmann grew up un Germany where she won prizes in several years for the German
competition “Jugend Musiziert,” on violin and recorder. On a trip to Ecuador and Canada in 1994,
she came to see the violin as a prison that kept her from being free, and quit playing it. Moving
first to Freiburg and then to Berlin, she studied anthropology, psychology and languages, worked
as a cab driver, waitress, and in snow emergency service, enjoyed Berlin’s nightlife, and
17
completed a three-year training in Integrative Gestalt Therapy. She began to practice of Tibetan
Buddhist meditation. After several years of not playing much music, she took the violin up again
in 1997, and performed improvised pieces in Berlin’s art and night scene. At this time, she played
with different groups in a variety of styles, including live trance, pop/rock, experimental music, and
British folk songs, and collaborated with visual artists, poets, dancers, and DJs. In 1999, Ms.
Hoffmann moved to California to study improvisation and electronic music composition at Mills
College. Important teachers were Fred Frith, Pauline Oliveros, and Maggi Payne. In 2004, she
received my master’s degree in composition/new media from the California Institute of the Arts.
Her teachers include Anne LeBaron, Lucky Mosko, and Mike Fink (composition), Leo Wadada
Smith and Susie Allen (improvisation), Mark Trayle and Morton Subotnick (technology,
composition). Nora Hoffmann writes music for instrumental ensembles and electronics, and
acollaborates with dancers, videographers, and puppeteers. She continues to perform
spontaneous composition on violin, solo and in groups, as well as works of contemporary
composers. Her most recent CD, Angel Peak – Spontaneous Compositions on Solo Violin is
available through CDbaby and www.norahoffmann.com.
Kadet Kuhne is a media artist based out of Los Angeles whose work includes installation, music
composition and filmmaking. Kadet’s installations center around the creation of spatialized and
interactive environments using hacked electronics, sensors and live processing as a means to
explore conditioned patterns and the use of the body as a psychological metaphor. Kadet’s
electronic music produces a virtual acoustic atmosphere with layered ambiences, percussive
fragments and glitchy textures. In addition to performing live and producing tracks, she composes
for film, new media, theatre and dance. As an experimental filmmaker, she has multiple film and
video shorts that are screened worldwide. Past exhibitions and performances include venues
such as the Museum of Art Lucerne, Los Angeles Contemporary Museum of Art, Musées de
Strasbourg, San Francisco Arts Commission Gallery, The Weisman Art Museum (Minneapolis),
Highways Gallery (Los Angeles), New York Underground Film Festival, Rhode Island School of
Design and the Knitting Factory (Los Angeles).
Maggi Payne obtained music degrees from Northwestern University, the University of Illinois, and
Mills College. For ten years she was a recording engineer in the multi-track facilities at the Center
for Contemporary Music at Mills, where she is currently Co-Director and teaches recording
engineering, composition and electronic music. She was a production engineer at a major Bay
Area radio station for ten years and now freelances as a digital recording engineer and editor. Her
works have been performed throughout the United States and Europe, including the New Music
Across America Festival 1992 (Los Angeles), New Music America 1990, 1987 and 1981
Festivals, Composers' Forum in NYC, Experimental Intermedia Foundation in NYC, Rensselaer
Polytechnic Institute, SEAMUS, Siggraph, CADRE, University of California at Santa Cruz, Cal
State Northridge, Texas Tech University, University of Hartford, College of Santa Fe, Media
Study/Buffalo, New Langton Arts in san Francisco, New York Museum of Modern Art, Paris
Autumn Festival, Bourges Festival in France, and the Autunno Musical at Como, Italy. She has
received two Composer's Grants and an Interdisciplinary Arts Grant from the National
Endowment for the Arts, and video grants from the Mellon Foundation and the Western States
Regional Media Arts Fellowships Program.
Alejandro Rutty is a composer, conductor and art-advocate with a unique profile. His output
includes work in avant-garde music, standard classical repertoire, Argentine traditional music,
and innovative community-based projects. His compositions have been played by the National
Symphony Orchestra of Argentina, the New York New Music Ensemble, National University of
Cuyo Symphony Orchestra, the Amherst Saxophone Quartet, and the Cassatt String Quartet
among other groups. Recent events include recording by the Kiev Philharmonic of Rutty's Tango
Loops, for the ERM label. Also, Alejandro Rutty conducted conducting the American Premiere of
Martín Palmeri's Misatango with the Catskill Choral Society. Recent performances include
Hartwick College Choir's performance of Banchieri's La Barca di Venetia per Padova. Rutty has
worked as composer and music director for theatrical productions and opera. Recipient of
numerous grants and fellowships, Rutty's education includes degrees in composition, orchestral
conducting, and choral conducting. He has conceived and produced CDs featuring stories and
artwork by special members of the I Did My Bit project (with WWll veterans) and currently the
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Hey, Mozart! project involving children and professional musicians. Alejandro Rutty is founder of
the ensemble Lake Affect, a group dedicated to interdisciplinary work with poets. Rutty's latest
activities include his work as arranger and pianist for Lorena Guillén's Argentine-Tango
peformances. Alejandro Rutty is currently Assistant Professor of Music at Hartwick College.
Alice Shields has created many electronic and computer works, operas and pieces for dance
and voice, as well as chamber music. Unique among classical composers, Shields has been a
professional opera singer, performing traditional and modern roles at the New York City Opera
(Monteverdi's Ulisse), the Opera Society of Washington, D.C. (Wagner's Die Walküre), the
Clarion Opera Society in Italy (Cavalli's Giasone), and the Wolf Trap Opera (Mozart's Idomeneo).
Since 1991 she has performed Nattuvangam (South Indian rhythmic recitation) for Bharata
Natyam dance-drama at Wesleyan University, Julliard School, the Asia Society, and the
American Museum of Natural History, and since 1996 has studied Hindustani raga singing with
the Bangladeshi singer Marina Ahmed Alam, herself a student of the internationally-known singer
Pandit Jasraj. Alice Shields received the Doctor of Musical Arts in music composition from
Columbia University, studied European classical voice with the soprano Helen Merritt, Hindustani
classical voice with Marina Ahmed Alam, and Nattuvangam with Swati Bhise and briefly with
T.S.Kadhirvellu. She has been awarded grants by the National College Choreography Initiative
(NEA; 2001), the New York Foundation for the Arts, the Mary Flagler Cary Charitable Trust for
Music, the New Jersey State Council on the Arts, the National Endowment for the Arts, CAPS,
the National Opera Institute, the Martha Baird Rockefeller Fund for Music, and the Presser
Foundation. Shields has held a number of academic positions, including Assistant Professor of
Psychology at New York University, teaching The Psychology of Music; Associate Director for
Development of the Columbia University Computer Music Center; and Associate Director of the
Columbia-Princeton Electronic Music Center. She has served as grant reviewer in music
composition for the New York Foundation for the Arts, CAPS, and as grant reviewer in the
psychology of music for the National Science Foundation.
Rodrigo Sigal holds a PhD in Electroacoustic composition from City University in London and a
BA in composition from the Musical Studies and Research Center (CIEM) in Mexico City, and
was part of the composition workshop directed by Prof. Mario Lavista. He also studied with Denis
Smalley, Javier Alvarez, Franco Donatoni, Judith Weird, Michael Jarrel, Alejandro Velasco and
Juan Trigos among others. He is now pursuing a postdoctorate at the National School of Music in
Mexico and he is in charge of the Mexican Center for Music and Sonic Arts (C+). Since 1991 he
has been working as composer, sound and recording engineer in his private studio in Mexico,
London and Santiago, composing for dance, video, radio and T.V., and he was the coordinator of
the Computer Music Lab at the CIEM from 1994 until 1998. He has received awards from the
Mexican National Fund for Culture and the Arts (FONCA), The CIEM, The Banff Centre for the
Arts in Canada, ORS and The Sidney Perry Foundation in England and the LIEM Studios and
The Ministry of Culture in Spain, the 1st. Prize (Cycles, 1999), honorary mentions (Tolerance,
2000 and Twilight, 2001) at the Luigi Russolo Composition Prize and finalist at Bourges 2002
(Twilight). Friction of things in other places won the 3rd place at the JTTP prize in 2003 by the
CeC (Canada) and the SAN (UK). His work is available in more than 10 compact discs, and his
CDs Manifiesto and Space within have received excellent reviews and radio broadcast in Mexico
and abroad. His music is performed constantly in different countries.
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Performers
Susan Fancher's career has featured hundreds of concerts internationally as a soloist and as
the member of chamber music ensembles, performing music from classical standards to
contemporary works to arrangements of older music to jazz. Her tireless efforts to develop the
repertoire for the saxophone have produced dozens of commissioned works by contemporary
composers, as well as several published transcriptions of music by composers as diverse as
Josquin Desprez and Steve Reich. She has worked with a multitude of composers in the creation
and interpretation of new music including Terry Riley, Charles Wuorinen, Philip Glass, Hilary
Tann, Friedrich Cerha, M. William Karlins, Perry Goldstein, Olga Neuwirth, David Stock, Michael
Torke, Robert Carl and Paul Chihara, just to name a few. Susan Fancher has performed in many
of the world's leading concert venues including Carnegie Hall's Weill Recital Hall, the
Amphitheater at the Chautauqua Institution, London's Queen Elizabeth Hall, Vienna's
Musikverein and Konzerthaus, Filharmonia Hall in Warsaw, Orchestra Hall in Malmö, Sweden,
the Krannert Center for the Performing Arts, and at ISCM festivals in Alania and Bulgaria, the
Gaida Festival in Lithuania, June in Buffalo, Hörgänge and Wien Modern Festivals in Vienna, and
on CBS Sunday Morning. Tours have taken her to Albania, Austria, Bulgaria, Canada, Finland,
France, Germany, Ireland, Italy, Lithuania, Luxembourg, Norway, Spain, Sweden, and throughout
the US. Susan Fancher is a regularly featured columnist for the nationally distributed Saxophone
Journal. She holds the Médaille d'Or from the Conservatoire of Bordeaux, France, and the
Doctor of Music in saxophone performance from Northwestern University, for which her
dissertation topic was the saxophone music of Italian composer Giacinto Scelsi (1905-1988). Her
principal teachers were classical saxophone masters Frederick Hemke, Jean-Marie Londeix and
Michael Grammatico, and Chicago jazz legend Joe Daley.
Brian French, principal trombonist of the Winston-Salem Symphony Orchestra, made his
Wachovia Masterworks Series solo debut in February 2002, joining the orchestra for three
performances of George Walker’s Trombone Concerto. French has held principal positions in the
Arkansas Symphony Orchestra and the Civic Orchestra of Chicago, and has performed with the
North Carolina Symphony and the Chicago Symphony Orchestra. He is a native of Greensboro,
and received both his BM and MM from Northwestern University, counting Frank Crisafulli, Jay
Friedman, and Arthur Linsner among his primary teachers. While in Chicago, he became active
as a recitalist and chamber musician, and made appearances with the Millar Brass Ensemble,
London Brass, and the Storioni Ensemble. French has played both principal and bass trombone
positions with orchestras of the Eastern Music Festival, and in 1995 gave a critically acclaimed
performance of the Grøndahl Concerto with the academy orchestra. Additionally, he has
performed as a member of the Encore Brass Quintet in residence at the Bravo! Vail Valley Music
Festival, and in 1997 was a member of the Pacific Music Festival Orchestra in Japan. French is
on the performance faculty at Davidson College and is Concert Manager for the School of Music
at UNCG.
Noah Hock did his undergraduate studies at the University of Puget Sound, where he was the
first violist to win their annual Concerto Competition. He is an active orchestral and chamber
music performer throughout the Piedmont Triad, and is the principal violist with the Greensboro
Philharmonia. He has performed with the chamber group Clairvoyance and as a soloist with the
Alban Elved Dance Company. Mr. Hock is a graduate student at UNCG, studying with Scott
Rawls.
Cheryl Gobbetti Hoffman is a member of the University at Buffalo’s music department faculty
and a former member of the Buffalo Philharmonic Orchestra. Committed to exploiting the
sonorous and interpretive possibilities of contemporary flute voice, fostering challenging musical
collaborations in varying ensemble instrumentation and performer roster, leading educational
masterclasses and workshops, and commissioning new works—Gobbetti Hoffman has performed
in various concert venues including New York’s Weill Recital Hall at Carnegie Hall, Cooper Union,
and Merkin Hall. While a tenured musician and Board Director for the Buffalo Philharmonic
Orchestra Ms. Gobbetti-Hoffman was a member of its Artistic Advisory Committee; a co-founding
artist of the Beaufluvian Players and co-founder for New & Used Music and the Niagara Frontier
Flute Association, she has also served as generous teaching artist for the Western New York
20
Institute for the Arts-in Education, Board Director for Young Audiences of Western New York,
Inc., and a popular, if eclectic, program host for Western New York and Southern Ontario's
classical music radio station WNED-FM. As a student, Cheryl earned a scholarship to the
Manhattan School of Music; Michael Tilson Thomas invited her into the professional orchestral
world and mentored her perusal of the symphonic repertory. Advanced private studies and
international master classes with the likes of Julius Baker, James Galway, Thomas Nyfenger,
Aurele Nicolet, Jean-Pierre Rampal, William Bennett, and Peter Lloyd further informed her
concept of flute voice and performance; intensive chamber music studies were mentored by
Mischa Schneider of the Budapest Quartet, members of the original Cleveland Quartet, and
pianist/composer Leo Smit.
Jaemi Loeb is currently in her second year of a Master of Music degree in orchestral conducting
under the direction of Robert Gutter. She currently performs with the UNCG Symphony, Opera
Theater, and Contemporary Chamber Players as well as the Raleigh Symphony. After completing
her degree in May, Jaemi will begin a term as Assistant Conductor of both the Raleigh and
Durham Symphonies. A native of North Haven, Connecticut, Jaemi comes to UNCG from Brown
University, where she graduated magna cum laude with honors in Music and a second major in
Modern Culture Media. As an undergraduate, she served as assistant conductor of both the
university Wind Symphony and Symphony Orchestra, conducted several musical theater
productions, and studied Horn with David Ohanian. Other conducting studies have included the
Brevard Music Center’s Advanced Conducting Seminar, Conductors Guild Training Workshops,
and the Conductors Institute of South Carolina.
Rebecca Myers appeared as “Ellen” in UNCG’s recent production of Lakmé. Other credits
include “Amy” in the UNCG Opera Theatre’s NOA award-winning production of Little Women, and
this past March, she won first place in the Charlotte Opera Guild vocal competition. She has also
appeared as “Amore” in Glück’s Orfeo ed Eurydice with the Side Show Opera in Charlottesville,
Virginia, “Pitti-Sing” in The Mikado with the Durham Savoyards, and the title role in Cinderella
with Raleigh Little Theatre. She is a second year MM student in Vocal Performance in the studio
of Mr. Robert Wells. Ms. Myers is a private voice teacher at the Szymanski Voice Studio in
Chapel Hill and holds an AB in History from Princeton University.
The Red Clay Saxophone Quartet is a top-notch chamber music ensemble formed in October
2003 by four internationally recognized saxophonists. Susan Fancher has 15 years of experience
as soprano saxophonist with the Vienna, Amherst and Rollin' Phones saxophone quartets.
Andrew Hays is a doctoral student at UNCG and holds his undergraduate and Master’s degrees
from Duquesne University. Steve Stusek, saxophone professor at the University of North
Carolina in Greensboro, is an international touring solo recitalist and chamber musician. Mark
Engebretson is a veteran of the Vienna Saxophone Quartet and is Assistant Professor of Music
Composition at UNCG. The RCSQ's repertoire includes original works for saxophone quartet by
Alexander Glazunov, Michael Torke, Ben Johnston, Terry Riley, M. William Karlins and Perry
Goldstein, and transcriptions for saxophone quartet of music by Steve Reich and Francis
Poulenc.
Brandon Tesh, a Greensboro native, is currently a sophomore Jazz Studies major in saxophone
at UNCG. Brandon is currently studying saxophone under Dr. Steve Stusek, and jazz
performance under Rob Smith and Steve Haines. Along with performing in the UNCG Jazz
Ensemble, he is also a member of numerous small classical and jazz groups. Brandon recently
won the UNCG Concerto Competition with Alfred Desenclos' Prelude, Cadence, et Finale
arranged for orchestra by Russell Peterson, which he will be performing with the UNCG
Symphony Orchestra in May.
21
School of Music
U N C G
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 14,000 university students, the UNCG School of
Music serves nearly 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 26167
Greensboro, North Carolina 27402-6167
(336) 334-5789
On the Web: www.uncg.edu/mus/