The SCI Concerts will be Streamed Live Here: CNU Live Streaming
The Department of Music at Christopher Newport University in Newport News, Virginia will
proudly host The Society of Composers, Inc., Region III Conference. 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. The organizational body of the Society is comprised of a National Council, co-chairs who
represent regional activities, and the Executive Committee.
To be held March 31-April 1, 2012, the conference will feature faculty and guest performers and
student ensembles in the wonderful Ferguson Center for the Arts.
Conference Host:
Dr. Christopher Cook
Director of Theory/Composition
Christopher Newport University
Christopher Newport University Department of Music
Dr. Mark Reimer, Chair
The Society of Composers, Inc.
Dr. Thomas Wells, The Ohio State University
President
Region III (PA, WV, VA, MD, DE, DC)
Dr. Harvey Stokes, Hampton University
Region III National Council Member
Student Assistants (CNU SCI Student Chapter)
Marc Hoffeditz, President
Andrew S. Bell
Jennifer Colburn
Laura Collier
Sean Cook
Emily DeWoolfson
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Concert 1
Saturday, March 31, 2:00 PM Music and Theatre Hall
Four Lyric Soundscapes For Flute Jeraldine Herbison
Of the various Light in Silver Wings
Of this lovely green
Of Sylphs in Fields of Air
Petunias
William A. Grunow, flute
Rich Peltz, piano
Roshi Kelly Rossum
Christopher Newport University
Kelly Rossum, trumpet
Annie Stevens, marimba
Serpentine Lauren Wells
University of Delaware
Lauren Wells, violin
Jennifer M. Barker, piano
Piano Sonata No. 3 Harvey Stokes
(in three movements) Hampton University
Eun Kyong Jarrell, piano
L'Age Mûr Jessica Rudman
The Graduate Center, CUNY
Bokyung Bonnie Kim, flute
Digression for Solo Horn Valentin Bogdan
Arizona Western College
Joseph Falvey, horn
Concert 2
Saturday, March 31, 7:30 PM Music and Theatre Hall
Messy Mark Snyder
University of Mary Washington
Andrea Cheeseman, clarinet
SGT II Mark Zanter
Marshall University
Protolith Paul Oehlers
American University
Nobue Matsuoka-Motley, marimba
Siren Song Christopher Cook
Christopher Newport University
Rachel Holland, soprano
Mons Montis Da Jeong Choi
Annie Stevens, percussion
Of Mice and Men Bruce Mahin
Radford University
Brian Peters, vibraphone
@? Jacob A. Clue
University of Delaware
Jesse Newby, Helga Elizabeth Roth, narrators
Jennifer M. Barker, piano
Colorful Movements Ryan Oliver
Temple University
Metronomic Hommage
Additives
Partial Imitation
Polypartials
"Sing Her Name" from Life Is Dreaming Michael Kallstrom
Western Kentucky University
Megan Ihnen, mezzo-soprano
Michael Kallstrom, bass
Octet Maurice Wright
Temple University
1. Octet Title Tunnel
2. Octour
3. Octoechos
4. Chinese Octet
5. Solo Octet
6. Turkish Octet
7. Maximal Octet
8. Final Octet
Concert 3
Sunday, April 1, 1:00 PM Music and Theatre Hall
Three Strategems for Saxophone Quartet James Jensen
Samford University
Jim Harney, alto saxophone
Kevin Joyce, alto saxophone
Eric Musselwhite, tenor saxophone
Jim Richmond, baritone, saxophone
Toward the Other Shore Suzanne Sorkin
Saint Joseph's University
John Irrera, violin
Piano Sonata No. 1 "volant" James Paul Sain
University of Florida
1. Blues, heavy beat
2. Song, legato
3. Swing, variations
Mary Hellmann, piano
Tout Entière Jennifer M. Barker
University of Delaware
Chris Mooney, baritone
Jennifer M. Barker, piano
Cadenza for LvB Andrey Kasparov
Old Dominion University
Andrey Kasparov, piano
Interrobang Paul Osterfield
Middle Tennnessee State University
Jim Harney, soprano saxophone
Kevin Joyce, alto saxophone
Eric Musselwhite, tenor saxophone
Jim Richmond, baritone, saxophone
Concert 4
Sunday, April 1, 4:00 PM Concert Hall
Rotunda Judith Shatin
University of Virginia
film
Four Pieces for Trumpet and Percussion Neil Flory
Del Mar University
Energetic
Contemplative
Focused, mostly reserved
Intense
Kelly Rossum, trumpet
CNU Percussion Ensemble
Annie Stevens, director
O sacrum convivium Jason Bahr
Florida Gulf Coast University
CNU Chamber Choir
Lauren Fowler-Calisto, director
American Elegy Richard Brooks
CNU Orchestra
Kristen Pelligrino, director
Ira Marc Hoffeditz
Christopher Newport University
My Voice Elaine Ross
Central Washington University
Las Vegas Raga Machine Alejandro Rutty
University of North Carolina at Greensboro
CNU Wind Ensemble
Mark Reimer, director
Concert 1
Herbison: Four Lyric Soundscapes for Flute
Four short visual images – Petunias - A musical sketch of the gay, delicate, ribbonlike petals of the petunia. Musical movement was used to draw a picture in the mind’s eye; as by using a repetitive series of five tones ascending and descending seems to create a wheel; note pitch direction and rhythmic movement seem to draw lines, triangles, squares and loops. In this case, sketch is the lace of a petunia. Of the various Light in Silver Wings – the delicate wings dragonflies, mosquitos, moths and butterflies in the rays of sunlight, or fairies in moonlight. This piece has a free metrical rubato style and spans the range of intense highs and airy lows. Of this lovely green is a painting of a sloping green meadow leading up to a hillside resting place. Of Sylphs (imaginary spirits) in Fields of Air is in folk song style, and has the steadier tempo to depict the dance. The goal of the music is to paint the image in sound. The titles were inspired by brief poetic lines in The Rape of the Lock by Alexander Pope.
Rossum: Roshi
This piece for trumpet and marimba symbolizes the relationship between teacher and student as described in the following Japanese parable:
“To a province in Southern Japan came on holiday, a famous teacher of music. The local musicians begged him to address them, and he showed them a new type of lute then coming into flavor at the capital. Sitting motionless in their midst, he so entranced them with its melody that at the end they cried out: ‘you play like a god!’
“They persuaded him to accept one of their numbers as a pupil, to study under him & return with a certificate of Mastership, to teach the others. They choose a young flute player to be the pupil, and subscribed the money for the journey. The young man was naturally overjoyed, and at the capital worked night and day to master the difficult technique of the new flute. To his disappointment, the master would only let him try the one melody, a classical air. Again and again he was made to play it, but never to the master’s satisfaction. The time went by, and he came to the conclusion that he had failed, and the master did not intend to give him the certificate.
“He left the master’s house, ashamed to return. He stayed in cheap lodgings in the capital . Now he tried out other melodies on the new flute, but realized that in them too his performance was unsatisfactory. He thought of giving up the flute altogether, but became intolerably restless and was forced to take it up again. Now he was playing to himself merely to calm his spirit everyday and evening, sometimes on the new flute and sometimes on the old one, and in this way his shame and distress of mind gradually became less. In the end he drifted back home, but did not play in public or show his face to the society of musicians.
“One day the musicians organized a great concert and sent a messenger begging him to attend with his flute, for sake of their former friendship. ‘We will not’ they said, ‘hold the concert without him.’ Touched by their kindness he went with the messenger, but on arrival found he had unconsciously picked up and bought the new flute, of which, he was not an accredited master. It was too late to change it for his old one, but in any case he had no reputation now, so careless of what the others might think he sat down and played for himself the old melody, repeated so many times for the master. He became lost in the melody, and did not know whether he played well or badly. Afterwards there was dead silence, and the musicians cried out: ‘you play like a god!’
“He ran home in tears and wrote a long letter to the old master, praying his forgiveness and blaming his own lack of understanding of the training. The master immediately sent the certificate of Mastership, with a letter saying: ‘You need not blame yourself too much. Your personal desire for fame gave you the energy to work hard at the technique. But Mastership is much more than technique. You had to practice till your practice became no-practice, till it was a natural activity. When you had forgotten your selfish aim, forgotten yourself, forgotten any effort in playing, forgotten even the flute-when nothing remained but the melody itself, you achieved Mastership.’”(credit: Rober W Smith's
book "Martial Musings ")
This short piece is dedicated to my teachers: Dennis Schneider, Keith Johnson andDavid Baldwin. It meant is to be performed by student(s).
Wells: Serpentine
This piece was written during the spring of 2009 for performance at the 2009 SoundSCAPE new music festival in Pavia, Italy. It was premiered in Pavia at the Vittadini School of Music by Jenna Anderson, violin, and Russel Ronnebaum, piano. It was performed twice in November by two UMKC students: violinist Timothy Eshing and pianist Frederic Chen. The duo made the piece part of their contemporary repertoire, and they plan to perform in on additional programs in the future.
Stokes: Piano Sonata No. 3
Piano Sonata No. 3 was composed during the spring of 2010 for Kyong Jarrell, and is the sequel to my Piano Sonata No. 1, which was composed for Mrs. Jarrell in 1999. Several moods are projected in my Piano Sonata No. 3: an opening movement is pensive as well as dramatic, the slow movement is reflective, and a concluding movement is joyous. Architectonic procedures of form are expressed in each movement in a non-doctrinaire postmodern manner, with an abundance of cyclical elements throughout. The work is to be performed attacca.
Rudman: L'Age Mûr
L’Age Mûr (or the “Age of Maturity”) is a sculpture by Camille Claudel, depicting a young woman on her knees clasping the arm of a man who is being shepherded away by an old woman. The work is thought to express the grief Claudel experienced after her lover (and teacher) – the sculptor Rodin – ended their affair to remain with his wife. Though a more abstract interpretation of the sculpture’s meaning also exists, it is the work’s connection to that very concrete and personal situation that intrigued me. The depth of emotion found in the young woman’s face and figure inspired this eponymous composition for solo flute.
Bogdan: Digression for Solo Horn
Digression for Solo Horn is a study of various horn playing techniques, but also an introduction to the large pallet of sounds that the instrument can feature. The piece derives its title from the elusive character which it employs. There is not one single thematic material prevalent throughout the work but rather a multitude of ideas allowing for each of the before-mentioned techniques to be presented in the most effective way possible. The piece is also meant to be a study in listening on the audience's part, especially the ones who might be less familiar with the horn and the various sounds it can create. This work was premiered by Richard King, Principal Horn of the Cleveland Orchestra.
Concert 2
Zanter: SGT II
The form of SGT is determined by the glissandi of three sine tones in the region of C5. The surface of the work was then realized using various signal processing techniques applied to portions of the original glissandi.
Oehlers: Protolith
Protolith attempts to derive formal structure by creating sections of music with unified global parameters (spatialization, rhythm, tempo, and meter) and juxtaposing them with elements of contrasting types (decreasing tempo vs. continuous tempo, unmetered vs. metered, close vs. far). The sections of similar and juxtaposed elements form the basis of the piece. The overall unifying parameter of the piece is timbre. Protolith refers to the lithography of a metahotphic rock. Metamorphic rocks can be derived from any other rock. They therefore have a wide variety of protoliths.
Protolith was written using various software synthesizers, resonating filters, convolution processes, and sounds and effects created with electronic and recorded sound, assembled in Pro Tools, and spatialized with VRSonic's Vibe Studio software. Sections were assembled independent from each other and combined to form the global structure of the piece.
Cook: Siren Song
Siren Song, composed for Rachel Holland, is a work for soprano and electronics. The electronic sounds are largely created from recordings of Dr. Holland, and were manipulated through a variety of computer processes to construct the “sound world” for the composition. The Greek mythological Sirens, who lure sailors with their seductive voices to wreck on the rocky coast of their island, inspire the work. As her song emerges, she is accompanied by her own computer-enhanced voice adding an additional depth making her irresistible to sailors at sea! The harmonic overtones of the pitch “C” are used to create the tonal world that the she interacts with throughout the work. The voice is used instrumentally as she “vocalizes”, and no text is sung.
Choi: Mons Montis
The title of the piece, Mons Montis, translates to ‘A Great Rock’, in Latin and was taken from the name St. Peter. The name translates to “Rock” based on the New Testament, Bible verse Mathew 16:18 “And so I say to you, you are Peter, and upon this rock I will build my church...” This work is divided into five main sections: Introduction-A-B-C-A’-A”.
Sound samples of the original percussion instruments, in various states of manipulation, are used in the accompanying soundscape. Also, other sound samples such as glockenspiel, timpani, and vocals were manipulated by granular synthesis in MAX MSP, convolution in Sound Hack, as well as the stretching of time and pitch in Peak.
Mahin: Of Mice and Men
Of Mice and Men reveals a typical day in the house of a person being terrorized by a mouse (electro-mechanical or otherwise). The protagonists attempt to outsmart one another in various ways until the two finally come together in one final meeting of the minds. The percussionist is accompanied by a computer, which follows the performer's actions, makes decisions about tempo, duration and other musical parameters, before then performing its own part on a synthesizer.
Clue: @?
@? (2011) is a piece comprised of contrasts. These contrasts are ideas that are introduced to the listener with the intent of deep thought. The purpose of this deep thought is neither exposed nor intended to be understood. A combination of performed, spoken and diffused elements create a unique atmosphere that empowers the listener with a choice of approach to the material.
Oliver: Colorful Movements
Colorful Movements features four short experimental pieces exploring the relationships among sound, space, time, and light.
The first movement, Metronomic Hommage, applies the timing relationship of beats per minute found on the metronome to the intervallic ratios used in the harmonic series. In this piece I created 40 colorful metronomes, each set to one of the original metronome markings, and started them all at the same time. As the frequencies of beats per minute align, the partials combine to create new timbres. The piece ends when all of the metronomes sync back up after one minute.
The second movement, Additives, is an experiment in timbral transformation. Throughout the piece, different partials of the same harmonic series are introduced as simple sine waves. At the beginning of the piece, the partials are spaced far enough apart as not to overlap. As the piece progresses, the partials enter more frequently and are no longer perceived as separate pitches but are fused together to form new timbres. A circular shape based on the combination of overlapping partials visually represents each timbre.
The third movement, Partial Imitation, is a quasi-fugue whose imitation is based on partial numbers rather than scale degrees. The voices enter spatially from the left, right, front, or back and move across the room to the opposite plane. As the voices move, their timbres slowly change which is illustrated by a change in color.
In the last movement, Polypartials, embedded, translucent spheres visually represent each pitch. The appearance of each sphere within each phrase, as well as its associative pitch and color, relates directly to its designated partial number in the harmonic series. Starting with the fundamental, each partial is introduced one after the other until all sixteen partials have sounded, at which point the spheres fade into the distance.
Kallstrom: "Sing Her Name" from Life Is Dreaming
LIFE IS DREAMING is a full length work (70 minutes) for vocal and instrumental improvisers with dancer, electronic music and animation created by the composer. The texts are drawn from well known poems about sleep and dreams and from original texts by the composer. “Sing Her Name” features a principal melody that is used as catalyst for improvisation. The animation is fashioned from digital drawings and sequences by the composer using Corel Painter 11 and Toon Boom Studio 5 software. The electronic music was created with Reaktor 5 and Cubase.
Wright: Octet
OCTET (for video) is a visualization of an eight part electroacoustic composition of the same name. Composed in the summer of 2006, I realized the electroacoustic composition first, then created a visual analogue. Realized initially in eight channels, the video is accompanied by a down-mix of the original.
In part, OCTET is my reaction to hearing electronic sounds in Canada, China and Turkey in recent years. The sharp contrasts of character in the movements suggest some of the disorientation and happy confusion of travel and return.
The eight sections of the work are titled:
1. Octet Title Tunnel
2. Octour
3. Octoechos
4. Chinese Octet
5. Solo Octet
6. Turkish Octet
7. Maximal Octet
8. Final Octet
The first compositions were realized in Philadelphia, but most of the work was composed and rendered at 1/2 scale on my laptop at the Sokullu Pasa Hotel in Istanbul. I completed the ending sections of the work at a depressingly decadent resort hotel in southern Turkey. Upon returning to the US, I rendered the video components at full scale (1024x768), tweaked the 8.0 version, then made the 5.1 mix and stereo down-mixes and compressed the video for the DVD.
I created the sound and image with two open source software programs: Csound and POVRay. Csound served as both generator and analysis engine. For example, the lonely chant of the Solo Octet came about by processing the very active Chinese Octet that preceded it. The POVRAY images sometimes illustrate the music directly (movements 1, 4, 5, and 7), or else stand in a more abstract relationship to the music.
Concert 3
Jensen: Three Strategems for Saxophone Quartet
I. Assemblage
II. Divergence: Fantasy on a Faux Celtic Tune
III. Continuum
Three Strategems for Saxophone Quartet was composed in 2004 for the ARA Saxophone Quartet. Its three movements, with the exception of the principal thematic statement of the second movement, are largely developed from a single pitch class set.
The opening movement exposes the major linear element of the work often in bold unison statements for the ensemble. There is a great deal of contrapuntal overlay followed by a return of its opening material. The movement comes to a close utilizing a quiet repeated loop in a slower tempo.
The slow second movement begins with an unaccompanied statement of the theme by the tenor saxophone. Following the opening section, a fast tempo developmental section intervenes prior to the return of the original theme in a four-part presentation.
The third movement features a continuous series of new material in a variety of tempo and meter alignments leading to a chromatic fugato passage just prior to the closing material in a block chordal format.
Sorkin: Toward the Other Shore
Toward the Other Shore for violin was commissioned by violinist Piotr Szewczyk as part of his contemporary solo violin project, Violin Futura II. He premiered the piece in Jacksonville, Florida in May 2010. In this lyrical piece, left-hand pizzicato functions as an important melodic, timbral, rhythmic, and structural element. The first section of the work features an expressive melody played on the D string while supported by the open G string. In the middle of each phrase, the timbre of the open G string modulates from arco to left-hand pizzicato. As the melody expands to the A and E strings, left-hand pizzicato, now on the D string, serves as an important rhythmic pulse, punctuating the melodic line and driving the music forward. In the third section, (mm. 27-49), the lyrical melody found in the first section is revisited, but now with a fresh timbral profile. The melody is transformed into harmonics, and given a much broader register outline, while motivic left-hand pizzicato on the G, D, and A strings emerges as an important counterpoint to the melodic line. In the final section, (mm. 50-74), the opening melody is further developed, culminating in a dramatic contrapuntal stretto.
Sain: Piano Sonata No. 1
Piano Sonata No. 1, subtitled "volant" (to fly) was written for pianist Richard Bosworth. Each movement is inspired by jazz idioms from "blues," "song," and "swing." The harmonic language freely shifts between jazz influenced extended triadic sounds and more dissonant secondal sonorities. This work is a study in contrasts and extremes - from the beauty of the second movement to the "boogie woogie" of the last movement.
Barker: Tout Entière
Tout Entière (2001), for baritone and piano, was commissioned by baritone Tod Fitzpatrick as a gift for his wife, Elaine, on the occasion of their tenth wedding anniversary. It is a setting of two poems by Baudelaire. The highly romantic nature of the musical setting was chosen to compliment both the essence of the poetry and the occasion for the commission. The two poems are presented as one through-composed work, with motivic material being shared between the respective accompaniments.
Kasparov: Cadenza for LvB
Cadenza for LvB for piano is based on the select harmonic and melodic samples from Beethoven's Piano Trio in C Minor, Op. 1, No. 3. Composed upon a wide array of the instrument's coloristic possibilities, this work may be performed either right before the trio or as an independent piece.
Osterfield: Interrobang
An interrobang (?!) is a punctuation mark that combines the question and exclamation marks. I composed Interrobang for saxophone quartet in the fall of 2008 during my non-instructional assignment grant semester. For a couple years, my wife Kim and I had half-jokingly talked about me using that title for a piece. (I must confess that I do not remember why we discussed this as a title.) After finishing the work, Kim mentioned the title again, and I responded that it didn’t fit the piece, but the more I thought about it, I realized that the title was a good match. Much of the piece is direct, boisterous, and loud, but there are also several sections that are calmer and more restrained.
Concert 4
Shatin: Rotunda
Designed by Thomas Jefferson to represent the “authority of nature and the power of reason,” the Rotunda is the physical and symbolic center of the University of Virginia, founded by Jefferson in 1824 as the first secular Liberal Arts university in America. Inspired by these ideals, composer Judith Shatin and filmmaker Robert Arnold created a portrait of the Rotunda that combines its timeless majesty with the ever-changing hum of daily life. Images recorded over the course of an entire year from a fixed camera location outside Shatin's office became the source of the images. With over 300,000 images to work with, Arnold and Shatin decided to bold their piece around the idea of one day on the Lawn unfolding over the course of a year. As it moves from dawn to sunset it also moves through the four seasons. The music was created from recordings Shatin made in and around the Rotunda over the same time period and then processed using a variety of techniques.
Bahr: O sacrum convivium
My setting of this sacred text is contemplation on Christ’s sacrifice as demonstrated in the Eucharist. Like Barber’s Agnus Dei, this work began life in another medium. Much of the music is derived from a solo marimba piece. When writing the chorale sections for the marimba piece, I wrote them as if writing for human voices, and always had in mind I would use the music for a choral work. I felt that this text really matched the sentiment in the music. This work is influenced by Messiaen’s setting of the same text, and Górecki’s Totus Tuus.
Flory: Four Pieces for Trumpet and Percussion
I have always been impressed by the versatility of the trumpet—the instrument is capable of producing some of the loudest, most boisterous and aggressive music imaginable, yet it can also play subdued, lyrical melodies of great expression. In the Four Pieces for Trumpet and Percussion, I attempted to exploit this versatility. Therefore, the first and last pieces in the set both contain much loud and aggressive music and are appropriately described as "energetic" and "intense". By contrast, the inner pieces feature the more subdued timbres of flugelhorn and muted trumpet, and deal more with lyrical, sustained melodic lines. In keeping with these moods, the percussion parts of the first and last pieces consist solely of non-pitched (and mostly non-sustaining) instruments, while those of the inner pieces feature pitched instruments, many of which have some capability to sustain. Throughout, a very chromatic pitch language dominates. The Four Pieces for Trumpet and Percussion were composed in the fall of 2004 for Dr. Mary Thornton and the Del Mar College Percussion Ensemble.
Brooks: American Elegy
AMERICAN ELEGY (2002) for string orchestra was not composed for any particular occasion. In the Winter of 2002 I began work on a second string quartet which I had been contemplating for several years. As work progressed, much to my astonishment, I began to hear fragments of “America the Beautiful” as part of the musical fabric. My first reaction was decidedly negative: “How hokey,” I thought; but the ideas persisted and I could not shake them. I finally realized that I was having a sort of delayed response to the horrific events of September 11. Since the incorporation of the borrowed fragments seemed essential to the rest of the work, I finally resolved to let them in.
After finishing the string quartet, I thought I was done with “America the Beautiful” but it kept creeping back into my thoughts. I have always admired the song and would advocate its adoption as the national anthem in place of “The Star-Spangled Banner” (the militaristic text of which annoys me). In order to rid myself of this obsession I composed “American Elegy”. Again, fragments of the original melody were used to generate a type of revery (and reverent) homage to the memory of all that was lost in 2001.
Hoffeditz: Ira
Ira, latin for the word "wrath", is a brief, yet aggressive concert overture for wind ensemble. The work attempts to expand and develop the motive A-Bb-C#-D-Eb, but is halted by unison pitches or tritones outlining that same theme. While the piece as a whole does not fit a specific diatonic mold, the tension of the unsuccessful thematic developments lead to more tonal and progressive sections befitting of the frustrated mood.
Ross: My Voice
My Voice (2010) was completed in August of 2010. The title is intended to depict the techniques and harmonic vocabulary that help to define the composer’s “voice,” including quartal/quintal sonorities, soft dissonances, lyrical melodies, polyrhythmic techniques, and a neo-tonal/neo-romantic flavor. My Voice is a 7 minute, through-composed work in modified arch form (A B C B A). The extended introductory A section is an emergence of colors and harmonies which finally cadences on an E-flat major chord. The lyrical B section features a lush horn melody with supporting low, rich extended chord harmonies. The rhythmic, aggressive middle section explores polyrhythms and close quartal vertical sonorities which are more dissonant than the opening section. The rhythmic and melodic ostinati propel the work to a climax at the end of the C section. The return to the B section features thick, lush harmonic structure off-set by soaring countermelodies. The work ends quietly, as if one was fading away into the sunset.
Rutty: Las Vegas Raga Machine
Multiple transformations and changes of media and genre are at the core of the concept of Las Vegas Raga Machine. The source of the piece is a song composed by Rutty in 1995 for a rock/pop/South American folk group. The composer has processed his recording of that song by ways of electronic looping and other computer-generated effects. The result of that electronically-generated sound was then transcribed and re-composed for wind ensemble.
In the piece, disorderly and fragmented loops move around at different tempi, accelerando or diminuendo independently of each other, imitating the sound distortions of flanger, time-stretching or pitch-shifting sound files until the original song reveals itself before disintegrating again into altered fragments.
In Las Vegas Raga Machine, different universes coexist in a foreign environment, just as they do in the world of techno/electronica sampling and looping. Yet, it is inhabited by the expression and energy of the original South American pop/folk song, and by the power and sophistication of the wind ensemble.
In alphabetical order
Jason Bahr
Jason Bahr (b. 1972, Kansas City, KS) B.M. University of Missouri-Kansas City; including study at Kingston University in London, England; M.M., D.M., Indiana University-Bloomington. He has studied with Samuel Adler, Claude Baker, David Dzubay, Eugene O'Brien, Don Freund, Kevin Jones, James Mobberley and Gerald Kemner. He is currently an Assistant Professor of Music Theory and Composition at Florida Gulf Coast University. Bahr has also served on the faculties of Ohio Wesleyan University, Mississippi State University, Cottey College and the University of Oklahoma.
Bahr has received over two hundred performances of his works, including performances in 30 states and ten foreign countries. He was a finalist for the 2nd International Frank Ticheli Composition Contest for band music (2009) for Anderson’s Animals, a recipient of a MacDowell Colony Residency (2006), a Fromm Foundation commission (2005), has won the Northridge Prize for Orchestral Composition (2005) for Golgotha, third prize in the Renee B. Fischer Piano Competition (2003), Region V winner in the SCI/ASCAP Competition (2002), the Cambridge Madrigal Singers Choral Composition Competition (1999) with Psaume 1, and annual ASCAP awards since 1998.
Commissions include Mysteries of Light (violin and piano) for the Fromm Foundation, Brevard Invocation (timpani and horn) for the Mountain Chamber Players, Soliloquy (English horn) for Krista Riggs, When We Are Going (treble choir, violin and organ) for Theresa Spencer, Strikes and Resonance (marimba) for Grant Braddock, and Tipping Point (alto sax and piano) for the Mississippi Music Teachers Association. When not composing, Bahr frets over his student loan debt and the fate of the Kansas City Royals. SDG
Jennifer Barker
Jennifer Margaret Barker’s compositions have been hailed by critics in North America, Europe and Asia as “extraordinarily moving”, “soul-stirring”, “at once gripping and timeless”, “blazingly alive, with lovely, aching melodies”, “show-stopping”, “anything but passive”, “beautiful…warm”, “haunting”, “thrilling new sounds”, “familiar and yet always new”, “illuminated by dreamy images”, and her compositional output has been noted for its “amazing array” and “striking writing”.
Barker has received commissions and performances from most notably The Detroit Symphony Orchestra, The Saint Louis Symphony Orchestra with the St. Louis Children’s Choirs, The New Jersey Symphony Orchestra with the New Jersey Youth Chorus, The Virginia Symphony with The Virginia Children’s Chorus, The Fort Collins Symphony, The Bearsden Choir with the BBC Scottish Symphony Orchestra Brass and Percussion Ensembles, The Scottish Chamber Orchestra String Quartet, The Scottish Chamber Orchestra String Trio, Orchestra 2001, Relâche, Network for New Music, The Society for New Music, Mélomanie, Trio Arundel, The Taggart-Grycky Duo, Del’Arte, Musica Nova, The Holywell Ensemble, Marimolin, The Hardwick Ensemble, The Children’s Chorus of Maryland, and The Bay Youth Symphony, as well as an extensive list of international concert artists. She was invited to compose a work for The 2002 American Liszt Society National Conference, and her compositional work is featured on the Distant Voices Touring Theatre ‘September Echoes’ production. In January 2011, her youth string orchestra work, Suilean a’ Chloinne, was presented at the Conductors Guild Conference. Her compositions have also been featured on documentary and art films, including “No Denying”.
In addition to ASCAP awards and varying international awards, Barker has received grants from organizations such as The National Endowment for the Arts, the Pew Charitable Trust, the American Composers Forum, the Virginia Commission for the Arts, the Norfolk (USA) Commission on the Arts and Humanities, the Meir Rimon Commissioning Assistance Grant, the Pennsylvania Performing Arts on Tour, the Philadelphia Music Project and The Scottish Arts Council. In 2007 she received an Established Artist Fellowship from the Delaware Division of the Arts for her contributions to the State of Delaware.
Published by Boosey & Hawkes, Theodore Presser, Vanderbeek & Imrie Ltd. and Southern Percussion, Barker has received numerous broadcasts of her compositions on American public radio, Hong Kong radio and the BBC. Her first CD, ‘Nyvaigs’, was released in April 2000 on the CRI label and is currently distributed by New World Records. Her second CD, ‘Geenyoch’, which includes a bonus DVD featuring four music videos of her compositions filmed by award-winning cameraman John Anthony Palmer, was released in May 2005 on the Meyer Media LLC label (www.meyer-media.com).
Barker is a Full Professor of Music Theory/Composition at the University of Delaware.
Valentin Bogdan
Valentin Mihai Bogdan has started his music studies at the age of four in his native Romania. At the age of 14, he was the youngest musician to be part of the orchestra affiliated with the "Tudor Ciortea" Music Institute of Brasov Institute of Music. He subsequently toured extensively throughout Europe and Asia in countries like Netherlands, Great Britain, France and Jordan.
His compositions were performed in Miami, as part of Festival Miami and Music at MOCA Concert Series, at the Oregon Bach Festival Composers Symposium, and the St. Joseph Catholic Church Concert Series in New York. He was also the commissioned composer of the 2010 Forida State Music Teachers Association annual conference.
As a pianist, he was awarded the Second Prize at the Varna International Piano Competition in 2008, and he was the winner of Wayne State Concerto competition in 2002. He received the second place at the Birmingham Musicale the same year. He was also the winner at the Livonia Arts Commission Music Competition and Berta Salon Piano competition.
Dr. Bogdan is a graduate of University of Miami, Michigan State University and Wayne State University with degrees in Piano Performance and Music Composition. His main teachers were Dr. Dennis Kam and Dr. Rosalina Sackstein. He is currently serving as Professor of Music (piano and composition) at Arizona Western College.
Da Jeong Choi
The Korean-born composer, Da Jeong Choi, began conducting at 15. She earned her Bachelor of music degree in music composition at Dankook University in Seoul and her Master of Arts degree in music at Rutgers, the State University of New Jersey in New Brunswick, New Jersey. In 2003, she obtained there in 2011 her Ph.D. degree (Music Composition, Minor in Music Theory) at the University of North Texas (UNT) in Denton, Texas. Previous teachers include Jung Sun Park and Gerald Chenoweth. She has studied composition with Joseph Klein, Cindy Mc Tee, and Jon Nelson at UNT, Denton, Texas, USA.
Da Jeong Choi’s works have been performed and broadcasted throughout USA, Canada, Asia, Europe, South America, and New Zealand including the International Computer Music Conference, the International Conference of the College Music Society, the Aspen Music Festival, Society of Composers, Inc., the Society for Electro-Acoustic Music in the USA, the International Review of Composers, the Echoes of Space, Rarescale: New music for alto and bass flute, Electronic Music Midwest Festival, Belvedere Chamber Music Festival, the North American Saxophone Alliance Conference, the Kentucky New Music Festival, the Society of Music Research, CFAMC Biennial Conference, the 2nd Sung Nam Choir Festival, the 24th Pan Music Festival (ISCM), the 27th Seoul Contemporary Music Festival, the 4th Pusan Contemporary Music Festival, and the 14th Munhwa Broadcasting Corporation Art Song Festival for Young Composers (TV Channel 13, MBC, South Korea). One of Choi’s percussion works, Explorations of a Drum for Snare Drum Solo is on the suggested performance lists for the PAS Italy-International Competition (2011).
Furthermore, Da Jeong Choi received various awards including the Gold Prize from MunHwa Broadcasting Corporation Composition Contest for Young Composers (1994), the first prize from the Joong Ang Competition (1997), the second prize from Percussive Arts Society Composition Contest (2005), the second prize from the Con/un/drum Solo Percussion Composition Competition (2009), etc. Moreover, Choi’s another artistic outlet is composition series titled Cantus Curatio (Healing Melody in Latin) for solo instrument. These solo works utilize a variety of contemporary creative practices with each work dedicated to the victims of a different disease.
Jacob A. Clue
Jacob A. Clue is a graduate of Radford University, and is currently pursuing his Masters in Composition at the University of Delaware. His primary composition teachers include Dr. Bruce Mahin (Radford University) and Dr. Jennifer Barker (University of Delaware). While at Radford, Clue received performances of works on guest recitals at Goucher College and the University of Delaware, the Big South Undergraduate Research Symposium and the NCAEaEAS-RBNMF student run new music festival at the University of North Carolina Greensboro. In the fall of 2007, Clue spent a semester studying at Glasgow University, Scotland, where he worked with composers William Sweeney and Dr. Graham Hair. At the University of Delaware, Clue is a cofounding member of the University of Delaware SCI Improv. Group and an active member of SCI. In the spring of 2011, Clue's video/electro-acoustic piece (6 * 3) was selected as part of an exhibition titled “A Meaningful Pursuit” at the Crane Art Gallery in Philadelphia.
Christopher Cook
Christopher Cook received the Doctor of Music degree from Indiana University where he served as assistant director of the Center for Electronic and Computer Music. He has received awards and honors from the Fromm Music Foundation at Harvard University, the National Endowment for the Arts, ASCAP, the Music Teachers National Association, and the National Assembly of Local Arts Agencies. He was Composer-in-Residence at Amherst College, the University of Evansville, the Monroe County Community Schools Corporation (Indiana) and for the city of Somerset County, Pennsylvania.
His compositions are widely performed in university and festival settings, including June in Buffalo, Music of Our Time, the Indiana State University Contemporary Music Festival, The Society of Composers Inc., the Annual American Music Week (Sofia, Bulgaria), and the Utrecht Music Festival (The Netherlands). His Electro-acoustic works have been presented at conferences and festivals including the International Computer Music Conference, the Society for Electro-acoustic Music in the United States, the Florida Electro-acoustic Music Festival, Electronic Music Midwest, and the InterMedia Manifold TechArt exhibit. He is director of theory and composition at Christopher Newport University.
Neil Flory
Neil Flory is an active composer and poet. He holds degrees in music from the University of Central Florida, the University of Florida, and the University of Texas at Austin. He has studied composition with Stella Sung, Budd Udell, James Paul Sain, Donald Grantham, Dan Welcher, Russell Pinkston, and Mark Schultz. He has composed a variety of works both in the acoustic and electro-acoustic mediums, and his music has been heard in performance across the United States as well as in Europe, South America, Asia, Australia, Canada, and Mexico. His Venn Music I (for violin and guitar) is included on the 2003 Duo 46 release entitled Untaming the Fury (available through Summit Records), and two of his works for unaccompanied saxophone are included on Andy Wen's recording Apparitions (available through Emeritus Recordings). His music is published by Jomar Press, Cimarron Music Press, and Tuba-Euphonium Press, and his poetry has appeared in various publications such as Poetry Forum, Alternative Press Magazine, and Mind Matters Review. Recent commissions include a work for violin, guitar, and piano, commissioned by the Strung Out Trio; a composition for four saxophones, commissioned by the Arkansas Saxophone Quartet; and a work for concert band, commissioned by the Del Mar College Concert Band. The composer is an active
Jeraldine Herbison
Jeraldine Saunders Herbison, (January 9, 1941) composer and music teacher, directed orchestra music for 34 years in Maryland, North Carolina, and Virginia. She retired from the Newport News Public Schools in July, 1998. She graduated with distinction from Virginia State College in Petersburg with a Bachelor of Science degree major in Violin, and a combined minor in voice and piano. She was a student of theory and composition with Undine Smith Moore , Clare Boge, Dr. Tom Clark; of violin, with Dr. Thomas Bridge, Dr. Percy Kalt; of cello with Dr. James Herbison, and Alex Segal, of viola with Raymond Montoni, of voice with Willis Patterson and Harry Savage; of chamber music, with James Herbison at Hampton University, and Alex Segal and Eisenberg of the Philadelphia String Quartet. Her post-graduate studies with those teachers were summers spent at Virginia State University, University of Michigan, Hampton University, University of Alaska at Fairbanks, Christopher Newport University and Central Connecticut State University.
Jeraldine is principal violist, and alternate cellist/violinist with the York River Symphony Orchestra where she currently holds the titled “Composer in Residence”, and where her orchestra pieces have been performed since 2002.
While most of her chamber works and Art Songs are not commercially published, they have been performed nationally and internationally. Five of her string orchestra pieces which include, Suites No. 1 in C, Suite No. 2 in F, Three Pieces for Winter, Theme and Variations for String Orchestra, and Marching Through Pierot's Door are listed in the Lucks Music Library, former published by Velke Publishing Co. Two of her art songs, The Rainy Day and Love Me Not, are featured on a CD by Sebronette Barnes entitled You Can Tell The World. A photo, biography and listing of her piano and cello music are found in the book From Spirituals to Symphonies by Helen Walker-Hill. Additional piano and chamber and vocal works are listed in anthologies by Selma Epstein, Margaret Simmons -Jeanine Wagner, and Hildred Roach.
She is a member of VMEA, MENC and ASTA. Composer group memberships include the National Association of Composers USA, the International Alliance for Women in Music, the American Composers Forum and the Society of Composers Inc.
Jeraldine is furthermore a widow, a mother, a grandmother, a great grandmother, a pet dog owner, and member of Woodville Presbyterian Church.
Marc Hoffeditz
Born in Aguana, Guam, Marc Hoffeditz is the currently studying music composition at Christopher Newport University with Dr. Christopher Cook. He is also the president of the student chapter of SCI at CNU. Last summer, he was one of seven composers selected to attend Wintergreen Summer Music Festival, studying with Stepehen Dembski, Lawrence Dillon, and Larry Alan Smith. Christopher Newport University recently commissioned Mr. Hoffeditz to compose the finale to the 2011 Family Weekend Concert for wind ensemble, orchestra, and choirs. After graduation in May, he plans on pursuing graduate study in music composition.
Garrett Hope
Dr. Garrett Hope is an award-winning composer and multi-instrumentalist living in Pennsylvania. He is currently a Visiting Assistant Professor at Ursinus College where he teaches music theory and music technology, and conducts the string ensemble. Previously he has been adjunct faculty at the University of Northern Colorado, the Larimer campus of Front Range Community College, and Colorado Christian University. Dr. Hope has had his pieces performed across the United States and Europe. Recently, Dr. Hope was commissioned by the University of Nebraska-Lincoln to provide 30- and 60-second spots for the Put Yourself on the Map TV commercial ad campaign that airs during Husker football games on network and pay-per-view television. The commercial was awarded a grand gold for Excellence in Advertising at the 2010 CASE District VI conference.
Dr. Hope completed a DMA in composition at the University of Nebraska-Lincoln in 2011. He received his masters degree from the University of Northern Colorado and his undergraduate degree from Colorado Christian University. He has studied composition with Dr. R. Evan Copley, Dr. Bob Ehle, Dr. Tyler White, and Dr. Eric Richards.
James A. Jensen
James A. (Jim) Jensen is recently retired as Professor of Music and Coordinator of Theory and Composition in the Division of Music, School of the Arts, Samford University in Birmingham, Alabama, where he has also taught clarinet and saxophone. He obtained the BM and MM Degrees from Pittsburg State University, and the Doctor of Music Degree from the College of Music at Florida State University. His composition teachers have included John Boda, Carlisle Floyd, and David Cope. He recently completed an International Artist Residency as a composer at the Banff Center in Alberta, Canada. He has written many musical compositions in a variety of genres. His music has been performed throughout the United States and Europe and at both regional and national conferences of SCI. He is a member of the Society of Composers, Inc., ASCAP, the Kansas Music Hall of Fame, the Iowa Rock and Roll Music Association's Hall of Fame, Board Member and past President of the Birmingham Chamber Music Society, Phi Mu Alpha Sinfonia, American Federation of Musicians, Reserve Officer's Association, a founding member and past President of the Birmingham Art Music Alliance-a consortium of local composers, and former Commander of the 313* United States Army Band.
Michael Kallstrom
Michael Kallstrom is an active composer and operatic bass who has performed the six works of his Electric Opera series over 200 times in the U.S. and Canada. He has composed in all genres, including chamber, orchestral, choral, opera, ballet, electronic and theater works. His music has been performed in Australia, Russia, Spain, Japan, France, the Netherlands, Slovenia, Italy, England, Wales, Brazil, Chile, Argentina, Costa Rica, the Dominican Republic and Kenya. Recently, he was named University Distinguished Professor, the first such appointment in the performing or visual arts at Western Kentucky University. He studied composition with Roger Hannay and John Boda, and earned degrees from the University of Miami, the University of North Carolina, and Florida State University. Please contact the composer at: michael.kallstrom@wku.edu or visit his web page at: http://people.wku.edu/ michael.kallstrom/
Andrey Kasparov
Andrey Kasparov is currently Associate Professor of Music Composition, Piano and Music Theory at Old Dominion University in Norfolk, Virginia, and Artistic Co-Director of the Norfolk Chamber Consort (ncconsort.org). A graduate of the Moscow Sate Conservatory and Indiana University's School of Music in Bloomington, he concertizes, publishes and records internationally. His most recent CD releases on Albany Records, including "Hommages Musicaux" and "Ignis Fatuus: Piano Music of Adolphus Hailstork," have received high critical acclaim. The prizes he has won include those from the Sergei Prokofiev International Composition Competition in Moscow, Russia and the Piano Competition for 20th-Century Music in Orléans, France.
Bruce Mahin
Bruce P. Mahin is a Professor of Music, and Director of the Radford University Centerfor Music Technology. Mahin is a former president of the Southeastern ComposersLeague, a former co-chair of Society of Composers Region 3, a former research fellowat the University of Glasgow (Scotland) and resident composer at Le Cité Internationaledes Arts in Paris, 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. 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.
Tyler Miller
Tyler M. Miller was born in Atlanta, Georgia, and grew up in Blacksburg, Virginia. He is currently pursuing a Master’s of Music in composition at the University of North Carolina at Greensboro where he studies with Dr. Mark Engebretson and Dr. Alejandro Ruty. He graduated with his B.M. in composition from Christopher Newport University in 2010 where he studied with Dr. Christopher Cook.
Paul Oehlers
Paul A. Oehlers is most recognized for his "extraordinarily evocative" film scores. (Variety) Films incorporating his music have screened at the Berlin International Film Festival, the Philadelphia Festival of World Cinema, the Indiefest Film Festival of Chicago, and the Hamptons International Film Festival, where the film Paul scored, Most High, captured the Golden Starfish, the largest independent film award in the United States. The film has gone on to win the Grand Jury Prize at the Atlanta International Film Festival and the Prism Award for Outstanding DVD of the Year.
Paul A. Oehlers' compositions have been performed in the United States and abroad including performances at the Society for Electro-acoustic Music in the United States national conferences, the International Computer Music Conferences, the Gamper New Music Festival, the Seoul International Electro-acoustic Music Festival, the Institut fiir Neue Musik und Musikerziehung in Darmstadt, Germany, and the VII Annual Brazilian Electronic Music Festival, as well as a 1987 command performance for former United States President Ronald Reagan.
Paul was named the Margaret Lee Crofts Fellow by the MacDowell Colony for the year 2006. He is currently Program Coordinator and Associate Professor of Audio Technology at American University in Washington, DC.
Ryan Olivier
As a military brat Ryan Olivier primarily grew up in the southern United States. Born in New Orleans, he eventually returned to his birthplace to pursue compositional studies at Loyola University New Orleans College of Music. Upon graduation he made his great journey north of the Mason-Dixon line to study at the Boyer College of Music and Dance at Temple University in Philadelphia where he is currendy a doctoral student studying with Maurice Wright, Matthew Greenbaum and Richard Brodhead. Ryan has also studied with Samuel Adler in Berlin and with Kevin Puts and Robert Aldridge at the Brevard Music Center. His music has been performed by the Momenta Quartet, members of Nonsemble 6, and the Cygnus Ensemble, and his various interests have led him to work with a vast array of media including electronics, video, and dance. His electroacoustic work has been featured at Miami's 12 Nights Festival, Pennsylvania State University's Crosscurrents Festival, Temple University's Cybersounds Concert Series, the New York City Electrocacoustic Music Festival, SEAMUS National Conference 2011, and the International Computer Music Conference 2011 in the United Kingdom.
Paul Osterfield
Composer Paul Osterfield was born in Nashville, Tennessee in 1973, and he spent his formative years in Northeast Ohio. His compositions receive performances throughout the United States and internationally. Osterfield has been a Fellow at the MacDowell Colony, and has won Middle Tennessee State University’s Outstanding Creative Arts Faculty Award, an Individual Artist Grant from the Tennessee Arts Commission, and awards from BMI, ASCAP, and the National Federation of Music Clubs. Osterfield’s works are available on Albany Records, Capstone Records and the Equilibrium label. Also maintaining an active career as an educator, Osterfield is Professor of Music Composition and Theory at Middle Tennessee State University. He has given composition seminars and master classes at colleges and universities throughout the southern United States. Having earned degrees from Cornell University (D.M.A.), Indiana University (M.M.), and the Cleveland Institute of Music (B.M.), Paul Osterfield’s primary composition teachers have been Steven Stucky, Roberto Sierra, Eugene O’Brien, Frederick Fox, and Donald Erb. More information about Osterfield can be found at www.paulosterfield.com.
Elaine Ross
Elaine M. Ross is currently the coordinator of music theory and composition at Central Washington University. Prior to this appointment, Dr. Ross held the position of Assistant Professor of Music at the University of Minnesota-Morris where she taught courses in music theory, composition, saxophone, and music history. Dr. Ross has also been on the faculty at Cameron University, University of Michigan-Flint, and Interlochen Arts Academy. Dr. Ross has had numerous works performed at regional and national conferences. Most recently, her composition Canyons was the winner of the Sinfonia National Woodwind Quintet Competition and Wildfire, for Symphonic Winds, was a selected work in the quarterfinal round of the Coups de Vent International Wind Orchestra Competition in Lille, France. Elaine Ross has written works in several different genres that are currently being performed by several leading universities and fine arts schools throughout the United States, including Central Washington University, Southern Methodist University, the University of Miami, Appalachian State University, the University of Minnesota-Morris, Texas Tech University, Interlochen Center for the Arts, and St. Olaf College. In addition, Dr. Ross presents, performs as a collaborative pianist, and attends many CMS, SCI, and MENC conferences. Elaine Ross is a member of ASCAP, SCI, American Composers Forum, and CMS and is published by Southern Music Company, Triplo Press, and Sisra Press. Dr. Ross' remaining works are self-published on her web site: www.elaineross.com.
Kelly Rossum
Kelly Rossum is an international trumpet artist who has been invited to perform at multiple International Trumpet Guild Conferences, including Bangkok, Thailand and Sydney, Australia as well as repeat appearances at the Festival Of New Trumpet Music in New York, New York. A champion of new music, he has premiered compositions by Dave Douglas, Stephanie Richards, David Durst, Steven Bryant and numerous other musicians’ works. He has performed everything from lead trumpet at New York’s famed Birdland jazz club, to natural trumpet in Bad Säckingen, Germany. As a recording artist, Kelly has released four albums as a leader and has appeared on over 40 recordings as a sideman.
His compositions, incorporating improvisational and contemporary avant-garde techniques, have been performed and recorded by numerous artists and organizations. He has provided original scores for both film and dance and has received support from the American Composers Forum and the Jerome Foundation.
Kelly Rossum is Assistant Professor of Music and Director of Jazz Studies at Christopher Newport University. Previous to his appointment at CNU, Rossum served as the jazz director and trumpet professor at Jacksonville State University in Alabama and founded and directed the jazz program at MacPhail Center for Music in Minnesota, one of the nation’s largest community music schools.
Kelly Rossum has earned the Bachelor of Music degree from the University of Nebraska, the Master of Music degree from the University of North Texas, and the Doctor of Musical Arts degree from the University of Minnesota.
Jessica Rudman
NYC-based composer Jessica Rudman’s music has been performed across the United States and in France, Italy, Spain, and Turkey. She has participated in festivals such as the Seasons Music Festival, Wintergreen Summer Music Festival, the Electro-Acoustic Barn Dance the European American Musical Alliance, Nevada Encounters of New Music, and the Bard Conductor’s Institute. Honors include winning IAWM’s Libby Larsen Prize (2011), receiving Honorable Mention for the Brian M. Israel Award (2011), winning first prize in the Con/un/drum Percussion Competition (2009), and being selected for the 2008 Omaha Symphony New Music Symposium.
Ms. Rudman has taught at The Hartt School, Central Connecticut State University, and Baruch College. She is a member of the new music collective, The Hartford Sound Alliance, and sits on the boards of the Studio of Electronic Music, Inc. and the Women Composers Festival of Hartford. Ms. Rudman holds degrees from the University of Virginia and The Hartt School. She is currently pursuing a Ph.D. at the CUNY Graduate Center as an Enhanced Chancellor’s Fellow and is a student of Tania León.
More information about Ms. Rudman and her music can be found at her website, http://www.jessicarudman.com.
Jake Rundall
Jake Rundall (b. 1980) is a composer of instrumental and electronic music. He is interested in algorithmic procedures and the creation of visceral and intellectually engaging music. He has received notable recognition, including the 2006 Joseph H. Bearns Prize from Columbia University (for his piece Dogma) and an honorable mention in the 2004 ASCAP Foundation Morton Gould Young Composer Competition (for his piece Knead). His music has been performed across the U.S, and recently in Canada and the UK, at various festivals and conferences including ICMC, SCI, SEAMUS, SPARK, NYCEMF, EMM, FEMF, and CMS.
Rundall recently completed his DMA in Music Composition at the University of Illinois at Urbana-Champaign where his teachers included Heinrich Taube, Scott Wyatt, Stephen Taylor, Christopher Hopkins, Erik Lund, William Brooks, Zack Browning, and Vinko Globokar. The title of his doctoral dissertation is Polymeter: Disambiguation, Classification, and Analytical Techniques. Prior to this, he graduated with a BA in music and mathematics from Carleton College (2002), where he studied composition with Phillip Rhodes. He is currently a faculty member at The College of Wooster (Wooster, OH) and has also taught at Wabash College (Crawfordsville, IN).
Alejandro Rutty
Born in Argentina, composer Alejandro Rutty’s output includes orchestral, chamber, mixed-media music, and arrangements of Argentine traditional music. Rutty’s compositions and arrangements have been played by the Minnesota Symphony Orchestra, National Symphony Orchestra of Argentina, National Symphony Orchestra of Brazil, Boston Modern Orchestra Project, Porto Alegre Symphony Orchestra and Indianapolis Chamber Orchestra, among other groups. Recordings of his music have been released by Capstone Records, Arizona University Recordings, and ERM Media. An All-Rutty CD (Navona Records) including A Future of Tango is scheduled to appear in March 2012.
Founder and Artistic Director of the Hey, Mozart! Project, Alejandro Rutty is currently Associate Professor of Music at the University of North Carolina at Greensboro.
James Paul Sain
James Paul Sain (b. 1959) is Professor of Music at the University of Florida where he teaches electroacoustic and acoustic music composition, theory, and technology. He founded and directed the internationally acclaimed Florida Electroacoustic Music Festival for 17 years. His compositional oeuvre spans all major acoustic ensembles, instrumental and vocal soloists, and embraces electroacoustic music. His works have been featured at major national and international societal events. He has presented his music in concert and given lectures in Asia, Europe, South America and North America. Dr. Sain is currently SCI Executive Committee chair and an American Composers Alliance board member. His music is available in print from Brazinmusikanta and American Composers Editions and on CD on the Capstone, Electronic Music Foundation, Innova, University of Lanús, Mark Masters, Albany and NACUSA labels.
Judith Shatin
Judith Shatin (www.judithshatin.com) is a composer whose music, called “something magical” by Fanfare, reflects her multiple fascinations with literature and visual arts, with the sounding world, and with the social and communicative power of music. Shatin’s music has been commissioned by groups including the Barlow and Fromm Foundations, the McKim Fund of the Library of Congress, the Lila Wallace-Readers Digest Arts Partners Program, and ensembles including Ash Lawn Opera, Da Capo Chamber Players, the National and Richmond Symphonies, and many more. Twice a fellow at the Rockefeller Center in Bellagio, she has held residencies at MacDowell, Yaddo, the VCCA, La Cité des Arts (France), Mishkan HaAmanim (Israel), among others. A staunch advocate for her fellow composers, she has served on the boards of the League/ISCM, American Composers Alliance, and International Alliance for Women in Music. Also in demand as a master teacher, Shatin has served as BMI composer-in-residence at Vanderbilt University, as master composer at California Summer Music, and as senior composer at the Wellesley Composers Forum, among others. She is currently William R. Kenan Jr. Professor at the University of Virginia, where she founded the Virginia Center for Computer Music. She is featured in the recent book Women of Influence in Contemporary Music, Nine American Composers (Scarecrow Press, 2010).
Mark Snyder
Mark Snyder is a composer, performer, producer, songwriter, video artist and teacher living in Fredericksburg Virginia. Mark's multimedia compositions have been described as "expansive, expressive, extremely human, ....Snyder's compositions attract performers who resist to works with electronics as well as audiences who don't think they want to hear computer processing." Dr. Snyder is Assistant Professor of Music at the University of Mary Washington teaching courses in electronic music, composition and theory. He earned his D.M.A. from the University of Memphis, an M.M. from Ohio University and a B.A. from Mary Washington College. Mark founded and directed the Imagine 2 Electroacoustic Music Festival (2004-2006), the Electroacoustic Juke Joint (2007-2010) and the Electroacoustic Barn Dance (2011). He is a member of the American Society of Composers, Authors and Publishers (ASCAP), the Society for Electro-Acoustic Music in the United States (SEAMUS), the Audio Engineering Society (AES), The Society of Composers, Inc.(SCI) and The National Academy of Recording Arts and Sciences (NARAS).
Suzanne Sorkin
Suzanne Sorkin (1974) is active as a composer and educator. She has received awards and commissions from the Fromm Music Foundation at Harvard University, Chamber Music Now, Violin Futura, Third Millennium Ensemble, counter)induction, ASCAP, and others. Her work has been programmed on Piano Spheres in Los Angeles, Washington Square Contemporary Music Society in New York City, Denison University New Music Festival, Chamber Music Quad Cities, Florida State University Festival of New Music, and Vassar Modfest. She has written for ensembles including the Marines Trio, Cabrini Quartet, Cleveland Chamber Symphony, Third Angle, and Aspen Contemporary Ensemble. She has been a composition fellow at the Wellesley Composers Conference, the Ernest Bloch Composers Symposium, the Advanced Masterclasses in Composition at the Aspen Music Festival, and the Oregon Bach Composers Symposium. Residencies awarded to her include Virginia Center for the Creative Arts, Ragdale Foundation, Artists' Enclave at I-Park, ART342, Kimmel Harding Nelson Center, and Atlantic Center for the Arts. She received her Ph.D. in composition from the University of Chicago through the support of a four-year Century Fellowship in the Humanities. Suzanne Sorkin is an Associate Professor of Music at Saint Joseph's University, where she teaches music composition and theory and serves as Chair of the Department of Music, Theatre and Film.
Harvey Stokes
Dr. Harvey J. Stokes is Professor of Music at Hampton University, where he also is the founder and director of the Computer Music Laboratory. His degrees are from Michigan State University (Ph.D.), the University of Georgia (M.M.), and East Carolina University (B.M.). His composition instructors include Drs. Brett Watson, Alan Leichtling, John Corina, Lewis Nielson, Jere Hutcheson, and Charles Ruggerio.
He is the author of two books on music, Compositional Language in the Oratorio The Second Act: The Composer as Analyst and A Selected Annotated Bibliography on Italian Serial Composers. He is the recipient of numerous composition awards, including those sponsored by the Lancaster Festival and the New England Conservatory of Music. His compositions have been performed by many ensembles: the Richmond Symphony, the Lancaster Symphony, the Virginia Beach Symphony, the Oxford String Quartet, the Quapaw String Quartet, the Still String Quartet, the Downtown String Ensemble, the Richmond Chamber Players, the Georgia Woodwind Quintet, the New England Conservatory Contemporary Ensemble, and the Milhaud Trio.
Compositional activities in recent years include the completion of several commissioned works, invited participations in conferences of the Society of Composers as well as the Southeastern Composers League, and an invited composer residency at West Chester University. The Oxford String Quartet has also released internationally on Albany Records a CD containing three of his four string quartets. Dr. Stokes is featured in From Exposition to Development: The Legacy of Composers at Hampton University, presented by the Perry Library at Old Dominion University.
Lauren Wells
Lauren Wells, a Kansas City native, is a composer and performer currently residing in Newark, Delaware. Lauren’s compositions have been premiered and performed across the United States and in Italy. She specializes in writing for chamber ensembles, and she frequently challenges her performers to improvise and innovate. In 2010, Lauren won a competition to compose a film score for the documentary No Shortcuts: The Entrepreneurial Life of Henry Bloch. Her work has recently received performances at the SoundSCAPE festival in Pavia, Italy, as an ongoing part of the People’s Liberation Big Band’s Alternative Jazz Series in Kansas City, and at the University of Delaware. Her Sonata for Cello and Piano won second prize at both the Austin Peay State Young Composer’s Competition and the Harry and Arden Fischer Young Composer’s Competition. She is currently pursuing her Master’s of Music in Composition at the University of Delaware, where she studies with Dr. Jennifer Margaret Barker. Lauren teaches Aural Skills as part of her graduate assistantship. She holds two Bachelor’s of Music degrees in Composition and Theory from the University of Missouri-Kansas City Conservatory of Music and Dance.
Maurice Wright
Maurice Wright (www.maurice.org) was born in Front Royal, Virginia, a small town situated between the forks of the Shenandoah River near the Blue Ridge Mountains.
His interests in image were incorporated into two electronic operas: The Trojan Conflict (1989), and Dr. Franklin, an opera about Benjamin Franklin, produced in Philadelphia in 1990 as part of the Electrical Matter Festival. Since then he has experimented with visualization of musical sound and with digital animation, making his first professional presentation as an animator in March, 1996. Shortly thereafter he was commissioned by the Network for New Music to create a work for saxophone, piano, computer animation and computer sound for their 1996-1997 season in Philadelphia. The Philadelphia Inquirer described the work, "Taylor Series," as "visionary" and "lyric."
His video compositions were recently shown in Beijing, Copenhagen, Dresden, Montreal, and Sunderland (UK), and in several cities in the US. Wright is Laura H. Carnell Professor of Music Composition at Temple University.
Mark Zanter
Mark Zanter, an active composer/performer, has received commissions from the UIUC Creative Music Orchestra, CU Symphony, the American Composers forum, WVMTA, and numerous soloists. His works have been performed nationally and internationally at festivals including, NYCEMF, MUSIC X, June in Buffalo, and The Cortona Contemporary Music Festival. He has been awarded fellowships by the WV Commission on the Arts, the Atlantic Center for the Arts, and has been a finalist in competitions held by ASCAP and the National Symphony Orchestra. Mark’s works are published by MJIC, and Editions D’ oz.
As a performer Dr. Zanter is equally at home performing standard repertoire, improvised music, and jazz and has appeared with orchestras, chamber groups, and improvisers, including the Huntington Symphony Orchestra, the Ohio Valley Orchestra, Sinfonia Da Camera, Anthony Braxton, Roscoe Mitchell, Leroy Jenkins, Vinko Globokar, George Lewis, Butch Morris, and Alphonse Mouzon. He has recorded with Deborah Richtmeyer, Vinko Globokar, and his work with Anthony Braxton received special mention in Downbeat Magazine.
Dr. Zanter is currently professor of music theory and composition at Marshall University, Huntington, WV. He completed his A. Mus. D. in composition at the University of Illinois (UIUC) where he studied with, Salvatore Martirano, William Brooks, Paul Martin Zonn, and Erik Lund.
In alphabetical order
Andrea Cheeseman
Dr. Andrea Cheeseman is Associate Professor of Clarinet at Appalachian State University. An active and engaging performer, she has received invitations to perform at colleges and universities throughout the country as a soloist and chamber musician. She has performed for diverse festivals such as the Electroacoustic Juke Joint Festival, College Music Society Annual Meetings, the Montana/Idaho Clarinet Festival, the National Flute Association Convention and the Oklahoma Clarinet Symposium. In the summer of 2003, Dr. Cheeseman was named First Runner-Up in the Mu Phi Epsilon International Competition. Prior to her appointment at ASU, Dr. Cheeseman was on the faculties of Delta State University, Alma College and Hillsdale College. Dr. Cheeseman earned the Doctorate of Musical Arts and Master of Music degrees in clarinet performance from Michigan State University and the Bachelor of Music degrees in clarinet performance and music education from Ithaca College. Her principal teachers have included Elsa Ludewig-Verdehr and Michael Galván. When not teaching or performing, Dr.Cheeseman spends her time studying musicians’ occupational health, swimming and practicing ashtanga yoga.
Joseph Falvey
Dr. Joseph Falvey is Assistant Director of Athletic Bands at Christopher Newport University. In addition to his duties as a band director, Dr. Falvey teaches applied horn at CNU.
Dr. Falvey received his D.M.A from the University of Miami, M.M. from the Cincinnati College-Conservatory of Music, and B.M.E. from Eastern Michigan University. At the University of Miami, he was a teaching assistant and Mancini Institute Orchestra Fellow from 2008-11. Dr. Falvey can be heard playing Principal Horn with the Mancini Institute Orchestra on Robert Klein’s HBO comedy special Unfair and Unbalanced. Dr. Falvey’s principal teachers include Randy Gardner, Richard Todd, Willard Zirk, David Thompson, and J.D. Shaw.
Dr. Falvey performed as Third Horn with Symphony of the Americas from 2009-2011 and was a Mancini Institute Orchestra Fellow from 2008-2011. Additionally, Dr. Falvey has served as Principal Horn of the Shenzhen Symphony Orchestra (China) and Third Horn of Orquesta Sinfónica Sinaloa de las Artes (Mexico). He has also performed with the Florida Grand Opera, Sarasota Orchestra, New World Symphony, Palm Beach Pops, Irving Symphony, Toledo Symphony, Tulsa Signature Symphony, Columbus Symphony, Lexington Philharmonic, Ann Arbor Symphony, Norwegian National Opera, and the Opera, Theatre, and Music Festival of Lucca, Italy.
Lauren Fowler-Calisto
Dr. Lauren Fowler-Calisto, Associate Professor and Director of Choral Studies and Vocal Jazz at Christopher Newport University in Newport News, Virginia, moved to the Hampton Roads area from the upper Midwest ten years ago where she taught on both public school and collegiate levels for over fifteen years. Prior to her position at Christopher Newport she served as the Associate Director of Choirs and Specialist in Choral Music Education and Vocal Jazz at Iowa State University.
Dr. Fowler received her Doctor of Arts degree from the University of Northern Colorado in Choral Conducting and Vocal Performance and Pedagogy. She also holds a Bachelor of Music Education degree from Concordia College, Moorhead, MN, where she worked with Paul J. Christiansen and sang in the Concordia Choir, and a Master of Music in Performance degree from the University of Arizona, where she worked with Dr.Maurice Skones and sang with the Arizona Chamber Choir.
She is quite active as an adjudicator and guest conductor for high school, college, and middle school Honor Choirs, Festival Choirs and Jazz/Show Choirs. Dr. Fowler has appeared as the Guest Conductor for the New Hampshire All-State Jazz Choir, the Kentucky Collegiate Honors Choir at the 2001 Southern Division MENC convention, the South Dakota All-State Jr. High Honors Choir and the Northern Kentucky Women’s High School Honors Choir. She has also directed the Virginia District IX, IV, X and XI Women’s Honors Choirs in addition to the Prince William All-County SATB chorus and the District VIII SATB Honors Choir twice. Both her traditional and jazz choirs at the University and public school levels have been selected to perform at state conventions, including the CNU Chamber Choir (2003) and the CNU Women’s Chorus (2006) at the Virginia Music Educators State Conference. One of her conducting students, Heather Vereb of Loudoun County, while a junior choral music education and vocal performance majorat CNU was recently selected as one of four finalists in the American Choral Directors Association National Undergraduate Student Conducting Competition.
Continuing to participate and work with the American Choral Directors Association and the International Association of Jazz Educators, Dr. Fowler serves as the Repertoire and Standards Chair in Vocal Jazz on the Southern Division Board of ACDA after serving as the Virginia state representative, presenting an interest session on the 2006 Southern Division ACDA Conference in Charleston, West Virginia.
William A. Grunow
William A. Grunow was born in Portland Oregon, and grew up in Fort Worth Texas. His greatest musical influences were his mother who sang Sunday School songs to him at bedtime, and his father, a radiologist, who practiced the piano and played the pipe organ at church. As a young boy looking through the Sears catalogs, trying to decide on an instrument, his dad informed him, “You’ll play the flute.” So in the 5th grade he began to play the flute. As soon as he could make tones, William was off to a summer music campat TCU. Within six months he was playing Bach with the church choir and taking weekly lessons from Dr. Guenther at TCU. From then until now he has played the flute in orchestra memberships from Junior High School through his residency at the University of Chicago where he played in the University of Chicago Symphony Orchestra.
He received a B.A. from Valparaiso University an M.D. from Washington University (St. Louis) in 1969, and completed a Pathology Residency at the University of Chicago in 1974. While in Chicago he became a Major in the Army as Chief Pathologist in Fort Campbell Kentucky Army Base. From 1976 through 1983 he was Assistant Professor of Pathology in University of Arkansas Medical School. Dr. Grunow, father of two, currently resides in York County, Virginia with his wife Patricia. He moved to the Hampton Roads areain 1984 to become Chief of Pathology at the Veterans Affairs Medical Center in Hampton.
Since then, he has played flute with the York River Band, the Hampton Roads Flute Choir, and the York River Symphony Orchestra where he is principal.
Some critics might describe his playing as accurate, analytical, flexible, and fluid, with a sensitive and subtle passion. Since 2007 he has performed solo parts in Mozart’s Flute and Harp Concerto, Delius’ Sleighride, Bizet’s Galopfrom Jeux D’enfants, In the Steppes of Central Asia, Herbison’s Promenade, and Suite No. 3 for Flute and Oboe, Resphigi’s Botticelli Triptych, Sibelius’ Nocturne from Belshazzars Feast Suite, Mozart’s 2nd movement of Symphonyno. 40.
Dr. Grunow (Bill) faithfully plays flute and sings with the chorus at Resurrection Lutheran Church where he is a member. His invariable response to praise for his outstanding performances is, “God has been very good to me.”
Mary Hellmann
Pianist, Mary Hellmann is an Associate Professor at Elizabeth City State University. She maintains an active performing schedule as both soloist and chamber musician and is a frequent master class clinician and adjudicator for competitions and festivals. Her principal instructors were Menahem Pressler, Ian Hobson, Michel Block, and Noel Engebretson. She has participated in a variety of master classes with some ofthe most renown pianists of our time including: Ward Davenny, Lillian Kallir, Joseph Kalichstein, Rebecca Penneys, Theodore Lettvin, Gyorgy Sebok, and Russell Sherman. Performances in university and festival settings include: the Rutgers International Piano Festival, the International Computer Music Conference, the Midwest Composers Forum, the Festivale Internationale de Todi, Italy and the Society of Electro-Acoustic Music in the United States Conference. She has presented recital programs for the Alabama Public Television series Pianists at Work.
Dr. Hellmann received her Bachelor of Music, from the University of Louisville; a Master of Music, in Piano Performance and an additional Master of Music, in Piano Pedagogy, from the University of Illinois; the Doctor of Musical Arts, was completed at the University of Alabama.
Dr. Hellmann completed additional graduate studies at the Eastman School of Music and Indiana University. Her CD "Favorites" includes Ludwig Van Beethoven’s famous Appassionata Sonata, Op. 57 and works from composers Franz Liszt, Frédéric Chopin, and Claude Debussy. The CD is available at www.amazon.com, www.itunes.com and www.cdbaby.com/cd/hellmann.
Rachel Holland
Soprano, Rachel Holland, is accomplished in both operatic repertoire as well as orchestral repertoire.She made her operatic debut with the role of Madame Lidoine in Francis Poulenc’s 20th century masterpiece,Dialogues des Carmélites. Since then, Dr. Holland has taken on a wide range of genres and periods spanning from Mozartean repertoire as well as 20th century composers. Her operatic credits include two of Mozart’smost stoic heroines, Fiordiligi in Così fan tutte and Donna Anna in Don Giovanni, as well as such 20th century heroines as the title role in Samuel Barber’s Vanessa, Ellen Orford in Benjamin Britten’s Peter Grimes, andPuccini’s most beloved heroines: Madama Butterfly and Tosca.
Dr. Holland’s concert credits also span a wide range of styles, including Verdi’s Requiem, SamuelBarber’s Knoxville: Summer of 1915, Richard Strauss’ Vier Letzte Lieder and Beethoven’s Symphony No. 9.She has performed with such companies as The Virginia Opera Association, Virginia Symphony Orchestra,Cincinnati Opera, Indianapolis Opera, the Buffalo Philharmonic Orchestra, Cedar Rapids Symphony, and theSioux City Symphony.
Dr. Holland currently resides in Newport News, VA with her husband and two children where she serves as Director of Vocal Studies at Christopher Newport University.
Megan Ihnen
Megan Ihnen, mezzo-soprano, Peabody Conservatory MM ’09. Megan’s most recent roles include: Angelina in La Cenerentola (Bel Cantanti & CUA); Mezzo Montague in Roméo et Juliette (Chesapeake Chamber Opera); Senator Orrin Hatch in Gonzales Cantata (American Opera Theater); Mother in Amahl and the Night Visitors (OperaLancaster); Estrelda in El Capitan (Victorian Lyric Opera Company). A champion of new music, Megan was a select vocalist at the Music11 Festival in Blonay, Switzerland. She is also founder and performer in the Federal Hill Parlor Series and blogs for The Sybaritic Singer. Please visit www.meganihnen.com for more.
John Irrera
Praised by critics for his “moving” and “hypnotic” performances, violinist John Irrerais quickly becoming known as an accomplished solo, chamber and orchestral musician. At the age of 23, John made his solo Carnegie Hall debut as the 1st prizewinner of an international competition. In addition, John has taken top prizes in numerous competitions, including the Rochester Philharmonic Orchestra Young Artist Competition, as well as the David Hochstein Memorial Competition. John has been featured as soloist with the Rochester Philharmonic Orchestra, the Penfield Symphony, and the Rochester Philharmonic Youth Orchestra, as well as performing solo recitals at the International Violin Academy in Moulin d’Ande, France, as well as being broadcast live on WXXI. He has also been invited to perform in master classes of Ilya Kaler, Lewis Kaplan, Juliana Athayde, Lynn Blakeslee, and Almita Vamos.
As a chamber musician, John has studied with members of the Grammy Award winning Ying Quartet, and in the fall of 2010, performed an all Shostakovich chamber music program at Syracuse University’s Music of Conflict and Reconciliation Symposium. In the summer of 2008, John was a recipient of a full fellowship to the Music Academy of the West, where John worked with acclaimed chamber musicians Peter Salaff, Donald Weilerstein, and the Takács String Quartet. In addition, John has spent his summers performing at the Bowdoin International Music, and the Niagara on the Lake International Summer Music Festival.
In addition, as an active orchestral musician, John has performed under the batons of conductors including Michael Tilson Thomas, Peter Oundjian, Larry Rachleff, DanielHege, and Thomas Adès, on a concert featuring Adès’ compositions.
John received the prized Performer’s Certificate along with his Bachelor’s degree with High Distinction from the Eastman School of Music in 2007. In 2009, John completed his Master’s degree in violin performance at Eastman where he is currently a candidate for his Doctorate Degree studying under Distinguished Professor of Violin Zvi Zeitlin. John also serves as a Teaching Assistant for Professor Zeitlin, as well as serving on faculty at the Eastman School of Music’s Community Music School, a position he has held since 2008, and recently joined the faculty at the Kanack School of Music.
Eun Kyong Jarrell
Eun Kyong Jarrell earned her Masters in Piano Performance from Yeungnam University in South Korea and a certificat de perfectionnement from Ecole Normale de Musique in Paris, France.
At the age of five, she began her study of piano. During her childhood, she performed recitals including orchestral works in Korea, Japan and China.
In 1995, she came to the United States in order to continue her post-graduate degree, and visited Hampton, Virginia. While visiting the area, she met her husband, Maxton Jarrell, an educator. She started her career in the United States as a performer and an educator. Until 2006, she served on the faculty at Hampton University and Christopher Newport University.
In 2006, she traveled to Paris, France, to continue her study of piano literatures with Michael Wladkowski, a Chopin and Szymanowski specialist. During her residence in Paris, she worked with Devy Erlih, a violinist; her study of ensemble literature included the complete Violin and Piano Sonatas by Beethoven.
She has performed as a soloist and a collaborator throughout the USA, Europe and Asia. She also has given premiere performances of works by Nigel Clarke and Martin Ellerby in the UK and Harvey Stokes in the USA.
Since she returned to the United States, she presented a Literature and Art Project Series with young gifted program students in Williamsburg, Virginia, in 2009. She also performed a tour of concerts which celebrated Chopin's Bicentennial on the east coast of Virginia in 2010. She continued with the Bicentennial Series of Franz Liszt in 2011, a program dedicated to the works of one of the greatest pianists of all time. In 2012, she opened a tour featuring the music of the great impressionist composer Debussy in celebration of his 150th anniversary in Williamsburg, Virginia.
Bokyung Bonnie Kim
Bokyung Bonnie Kim earned the Master of Music degree and Professional Studies degree from Manhattan School of Music. She received First Diploma from the Conservatoire de St. Maur and First Diploma from the Conservatoire du 10em de Paris. Ms. Kim is a winner of the Young Artist Competition in France and Concours l’UFAM, Bellin and Nerini. Ms. Kim has performed numerous concerts in France, Korea, and the United States and has taught master classes in Korea and the United States. Her students have won numerous competitions at regional and national levels. She served as a faculty member at the Manhattan School of Music and Sam Yook University in Korea and is currently on the faculty of Christopher Newport University and the New York Summer Music Festival.
Nobue Matsuoka
Nobue Matsuoka began studying marimba at the age of ten with her aunt, Kayoko Kito in Nagoya, Japan. She came to the United States in 1989 and studied percussion at Loyola University in New Orleans with Jim Atwood of the Louisiana Philharmonic Orchestra. She won the Aspen Music Festival Percussion Competition in 1994, became the national winner of the 1995 Music Teacher National Association Young Artist Competition in Percussion and graduated from Loyola with honors. In 1998, she received a master's degree in percussion performance from Southern Methodist University where she studied with Douglas Howard of the Dallas Symphony Orchestra.
As an active orchestral percussionist, Nobue's professional career includes performances with the Louisiana Philharmonic Orchestra, the New Orleans Opera, the Dallas Symphony Orchestra and the Nagoya Philharmonic Orchestra in Japan. She was a semi-finalist for the Buffalo Philharmonic and the Houston Symphony and a finalist for the Nagoya Philharmonic Orchestra. In 2003, the Gambit Weekly of New Orleans, honored her performance "Sticks and Strings II" with the Tribute to the Classical Arts Award for Best Chamber Performance.
She has worked for Google, Inc. as a Japanese Quality Rater, a Reference/Technical Services Librarian at Notre Dame Seminary and a Public Services Assistant/ILL specialist at Loyola University in New Orleans. Nobue recently moved from New Orleans, LA to become the Music/Performing Arts librarian at American University in Washington, DC.
Chris Mooney
Mr. Mooney has been delighting American audiences since his debut as Marcello in La Boheme at the Aspen Music Festival. He has since appeared nationally with NewYork City Opera, Santa Fe Opera, the Santa Fe Chamber Music Festival, the Aspen Opera Theatre, Opera Northeast, Connecticut Grand Opera, State Repertory Opera of New Jersey and the Caramoor Festival. While still a student at Julliard, Mr. Mooney was chosen to star with Vivica Geneaux in La Cenerentola at the Caramoor Festival, directed by Will Crutchfield, which drew rave reviews in The New York Times. He has shared the stage with such notables as Sherrill Milnes, Jerry Hadley, Jerome Hines, Renee Flemming and Marcello Giordani. He made his Carnegie Hall debut in Opera Orchestra of New York’s production of Lucrezia Borgia. Recent New York engagements included a return to Carnegie Hall in Adriana Lecouvreur, and Polydorus with Sir Charles Mackerras in L’Enfant du Christ . Mr. Mooney received his Bachelor’s Degree from the University of Texas at Austin and his Master’s Degree from The Julliard School. He is currently on the voice faculty of Christopher Newport University, residing at the Ferguson Center of the Performing Arts. Locally, he regularly sings with the Virginia Opera, the Virginia Symphony and the Norfolk Chamber Consort, as well as a popular Broadway “pops” events at the Kimball Theatre in Williamsburg to benefit the Youth Orchestra. Local credits have included Samuel in The Pirates of Penzance and Tosca with the Virginia Opera and The Messiah , Puccini’s Messa di Gloria and Dvorak’s Te Deum with the Virginia Symphony. Mr. Mooney will once again spend the summer on faculty with Opera Festival di Roma, directing opera scenes and helping to produce Die Zauberflote by Mozart.
Eric Musselwhite
Eric Musselwhite is a professional freelance musician, composer, arranger, adjudicator, clinician, and educator. He has been an active performer for over twenty-five years and has performed with national artists including J.J. Johnson, Ed Neumeister, Kevin Mahogany, The Four Tops, Dave Matthews, Indigo Girls, Everything, Frank Foster, and the O’Jays. In the summers of 2010 and 2011 he was a featured performer and clinician at the Jazz en Vercors Festival in the French Alps near Grenoble, France. Mr. Musselwhite earned the Bachelor of Music degree in music business from James Madison University and the Master of Music degree in jazz studies and saxophone from Georgia State University, and currently is a member of the music faculty at Christopher Newport University where he also served as interim Director of Jazz Studies. He currently resides in Newport News VA.
Jesse Newby
Jesse Newby is an American composer & vocalist (tenor). Jesse was born on October 31st, 1991 in Kent, New York. At the age of 10, he moved to Wilmington, DE, where he began his formal vocal training at the age of 14 under the direction Dr. Michael Larkin, at The Music School of Delaware. Jesse Newby is currently a student of music and film-studies at The University of Delaware, where he studies voice with Dr. Blake Smith and composition with Dr. Jennifer M. Barker.
Kristen Pellegrino
Dr. Kristen Pellegrino teaches undergraduate and graduate music education courses, teaches writing intensive courses, and conducts the orchestra at Christopher Newport University. She also gives weekly string master classes, supervises student teachers, and advises both individual students and the CMENC Chapter. Two years ago, she taught full-time at Central Michigan University in a one-year position while completing her doctoral degree at the University of Michigan. Previous degrees include a bachelor of music in music education and applied violin from the Eastman School of Music and a masters degree in violin performance (chamber music) from the University of Michigan.
Her research interests include music teacher identity, teacher education, community, and professional development. Her research includes her dissertation, “The Meanings and Values of Music-Making in the Lives of String Teachers: Exploring the Intersections of Music-making and Teaching” and articles that have been published in the Journal of Research in Music Education (JRME), Bulletin of the Council for Research in Music Education (CRME), Arts Education Policy Review (AEPR), and Journal of Music Teacher Education (JMTE). She is currently writing a chapter for The Oxford Handbook of Qualitative Research in American Music Education.
Kristen has presented at several conferences, including American Educational Research Association (AERA), American String Teachers Association (ASTA), Biennial Colloquium for Teachers of Instrumental Music Methods (IMTE), Biennial Music Educators National Conference (MENC), MENC’s Eastern Conference, and Society for Music Teacher Education (SMTE). She co-taught a week-long Music Education Summer Workshop with Professor Robert Culver titled “Chamber Music for an Orchestra Program” at the University of Michigan and conducted Rhode Island’s Junior All-State Orchestra.
Her background in music education includes eight years of public school string teaching at the elementary and high school levels (Fairfax County Public Schools and Warwick Public Schools) and collegiate teaching experience at Rhode Island College. Before teaching full-time, she was a full-time performing musician. She continues to perform as a member of RI’s Music on the Hill. http://www.musiconthehillri.com/
Rich Peltz
A native of Newport News, Rich attended local schools and studied the piano privately under two teachers, one of whom, band leader Jett Rollo, taught him clarinet, which was wisely put aside in favor of the piano. A graduate of ColumbiaUniversity with a concentration in German language, Rich returned to his hometown to be near his family. Along the way he has served as a theater pianist and conductor, and has taught the piano privately.
He has held positions with the local newspaper as well as with the scholastic testing subsidiary of Pearson International. A strong interest in foreign languages spurred him to complete an intensive immersion study of French at Middlebury College in the summer of 1998. Self-taught on the organ, Rich has served regularly as either organist or organist/choir leader in Episcopal, Methodist and Lutheran churches in the region, joining the staff of Resurrection as Senior Organist in 2003.
A year later he began his work as Parish Administrator here, leaving no doubt as to his full-time presence on the premises! Rich is a composer/arranger and is currently introducing several organ reductions of music from the era of Mozart.
Brian Peters
Brian Peters is currently studying music education at Radford University. He is a percussionist under the direction of Dr. Robert Sanderl. Peters has performed as a soloist in the University Percussion and Jazz Ensembles. He has also performed as a percussionist in the Roanoke Symphony Orchestra and as a vibist and drummer with various local jazz ensembles. He is a five-time participant in the University Honors Recital and recipient of the Presser Scholarship. Peters teaches private lessons and a percussion methods class at Radford High School. He hopes to continue his education at the graduate level and eventually teach percussion at a college or university.
Mark U. Reimer
Dr. Mark U. Reimer is conductor of the CNU Wind Ensemble and Director of Music at Christopher Newport University. He teaches undergraduate and graduate conducting, wind literature, and aural skills and serves frequently as a guest conductor, clinician, and adjudicator in the United States and abroad. Dr. Reimer conducts the CNU Contemporary Music Ensemble and the CNU Chamber Performers on their international tours that have included performances in Germany, The Netherlands, Italy, France, Austria, Slovenia, and Scotland.
A recipient of an Indiana University Fellowship to Germany, Dr. Reimer has published articles in the leading international wind band magazines and journals, including the Journal of Band Research, Journal of the College Band Directors National Association,Music Educators Journal, The Instrumentalist, Journal of the World Association of Symphonic Bands and Ensembles, Alta Musica of the International Society for the Promotion and Investigation of Wind Music, TUBA Journal, and Conference Proceedings of the Global Awareness Society International. He has presented papers in Germany, Hungary, Italy, Turkey, New York, New Orleans, Norfolk, Washington, D.C., and Williamsburg.
Dr. Reimer is the USA Southern Region Representative for the World Association of Symphonic Bands and Ensembles and a member of the International Society for the Promotion and Investigation of Wind Music, the College Band Directors National Association, the National Association for Music Education, the College Music Society, and the Council of Arts Administration in Virginia Higher Education. He is PresidentElect of the College Division of the Virginia Music Educators Association and served six years as Province 18 Governor of Phi Mu Alpha Sinfonia.
Dr. Reimer earned the Bachelor of Music Education degree from Drake University where he was voted “Most Outstanding Senior” by the music faculty, the Master of Music degree in wind conducting and literature from the University of Cincinnati CollegeConservatory of Music where he served as the Assistant Conductor of the CCM Brass Choir, and the Doctor of Music degree in wind conducting and literature from Indiana University, the first student to earn this degree. His conducting teachers include Ray Cramer, Terrence Milligan, and Don Marcouiller, and his brass teachers include Harvey Phillips, Sam Green, and Robert Weast.
James Richmond
James Richmond received the Bachelor of Music Education degree from James Madison University and the Master of Music degree in saxophone performance from Virginia Commonwealth University. His teachers include Edward Fraedrich, Skip Gailes, and Gunnar Mossblad. Richmond is active in teaching throughout southeastern Virginia. In addition to teaching applied saxophone, woodwind techniques, and woodwind literature and pedagogy at Christopher Newport University, he is also a woodwind specialist for Bruton and Hampton High Schools and has taught applied saxophone at Virginia Commonwealth University. He has presented masterclasses on subjects including big band techniques and woodwind pedagogy. An active performer, Richmond plays in several area ensembles including the Williamsburg Classic Swing Orchestra, the Tidewater Saxophone Quartet, and the Hotel Paradise Roof Garden Orchestra.
Helga Elizabeth Roth
Helga Elizabeth Roth spent many years working a desk job and raising a family before returning to the University of Delaware to study music composition. Her interests range widely from art and drama to horticulture and outdoor sports, and she brings this versatility to bear in her work as a composer and student. She began acting in local plays when she was four years old, and has enjoyed roles in various staged works over the years. She is currently a sophomore at the University of Delaware.
Annie Stevens
Ms. Annie Stevens earned the Bachelor of Music degree in percussion performance from Northwestern University and a Master of Music degree from Rutgers University. She is currently completing the Doctor of Musical Arts degree in percussion performance and literature from the Eastman School of Music. Ms. Stevens has performed as both a soloist and chamber musician throughout the U.S. and internationally. In 2011, she was a featured solo performer at the International Computer Music Conference inHuddersfield, U.K. In 2009, she performed with the Eastman Percussion Ensemble at the Paris Conservatory and, that same year, was one of four Eastman graduate students invited to tour four Chinese music conservatories as part of the China Connection Ensemble. In 2004, she was awarded as a finalist for the Percussive Arts Society’s International Vibraphone Competition and performed at the PAS convention in Nashville, TN. She has performed with the festival orchestras of the Music Academy of the West in Santa Barbara, the National Orchestral Institute in College Park, Maryland, and the Aspen Music Festival. As an advocate for new music and percussion repertoire, she participates with many chamber groups engaged in commissioning new works such as New York City’s Grammy nominated Metropolis Ensemble. Her teachers include Michael Burritt (EastmanSchool of Music), Bill Cahn (Nexus, Eastman School of Music), Chip Ross (Rochester Philharmonic Orchestra), She-e Wu (Northwestern University), and Alan Abel (Philadelphia Orchestra, emeritus). Prior to her appointment at CNU, Ms. Stevens served as the assistant director of bands at the University of West Georgia. Ms. Stevens assists with the Marching Captains, directs the percussion ensemble, and teaches percussion techniques, percussion literature and pedagogy, music technology, and applied percussion at CNU.
Please use the following link for online registration:
$65 SCI Members
$35 SCI Student Members
Online registration closes on March 1, 2012. Guest performers do not need to register for the conference. (provided meals will be offered to registered attendees only)
As time is limited, Rehearsal/Sound Checks will provide an opportunity for non-CNU performers, composers with technical set-ups, and the CNU ensembles to get a brief time on the stage.
Saturday
Concert 1, 2:00 PM (Music and Theatre Hall)
1:00 -Herbison
1:10 -Wells
1:20 -Stokes
1:30 -Kasparov
Concert 2, 7:30 PM (Music and Theatre Hall)
Please come a few minutes before your time, as we may be able start earlier
4:15 -Wright
4:22 -Kallstrom
4:29 -Oliver
4:36 -Clue
4:43 -Mahin
4:50 -Choi
4:57 -Cook
5:04 -Oehlers
5:11 -Zanter
5:17 -Snyder
Sunday
Concert 3, 1:00 PM (Music and Theatre Hall)
8:15 -Sorkin
8:30 -Barker
8:45 -Sain
Concert 4, 4:00 PM (Concert Hall)
2:00 -CNU wind ensemble
2:45 -CNU percussion ensemble
3:00 -CNU orchestra
3:15 -CNU chamber choir
3:25 -Shatin video check
The Conference Hotel is the Comfort Inn Newport News.
We have negotiated a rate of $69/night (Double Double Beds). Please mention the SCI conference when making your reservations. Reservations must be received by March 15, 2012.
Comfort Inn Newport News
