NEWSLETTER JANUARY, 1968 / VOL. 1, NO. 1

ANNUAL CONFERENCE

The third annual conference of the American Society of University Composers will be held at Temple Uni­versity, Philadelphia, April 5-7. Registration will be Friday morning, with sessions beginning Friday after­noon and ending Sunday morning. Three concerts and three seminar-discusion programs are planned; details will follow in a mailing to the membership.

THE AMERICAN SOCIETY

OF UNIVERSITY COMPOSERS

NEWS FROM REGIONAL COUNCILS

Regional Council VIII had a meeting December 9. A Southwestern Regional Conference was set up, to be held at UCLA's Schoenberg Hall May 25, 1968. The confe'rence will include a panel discussion on new ap­proaches to the teaching of theory, a cocktail party, and an evening concert of works by members of the Council. Scores for the concert will be selected by a committee consisting of Alden Ashforth, Barney Childs, and Peter Racine Fricker. Mr. Ashforth will also be in charge of the panel. Information· from Regional Chair­man Barney Childs, Deep Springs College, Deep ~prings, Calif. Postal Address: Via Dyer, Nevada 89010.

UNIVERSITY PERFORMING GROUPS (alphabetized by name .of school)

The Music Department of Brandeis University pre­sents frequent concerts of contemporary music per­formed by faculty and visiting artists. Recent concerts have included works by Cohen, Kohn, Lerdahl, and Shifrin, as well as Webern and Stravinsky. On May 3, three pieces from Kim's Beckett cycle will have their first performance. Other spring concerts will include the premiere of John Harbison's Shakespeare Songs (April), and works by Davidovsky, Kohn, and Shapero. Robert Helps will be a visiting artist in late March, performing Babbitt's Partitions and Post-Partitions. Further information from Martin Boykan, Music Dept., Brandeis.

The Center of the Creative and Performing Arts in the State University of New York at Buffalo is directed by Lukas Foss and Allen Sapp. Twenty Creative Asso­ciates are awarded fellowships to the Center for one or two years, for intensive study and performance of new music. They present concerts in Buffalo at the Albright­Knox Art Gallery and in New York at Carnegie Recital Hall under the title, Evenings for New Music, and also a series of recitals in the University's Baird Hall. In four seasons they have presented new works by com­posers both well-known and unknown, including mod­ern classics, with emphasis on works which present interesting tasks for the performer. In March they will participate in a Festival of the Arts Today in Buffalo, with Evenings for New Music on March 3, 10, and 17. March 17 will be the date of the American premiere of the "audience-participation" opera Votre Faust by Henri Pousseur, who is currently in residence at Buf­falo. Other Buffalo concerts are Feb. IO and Apr. 27 (Evenings for N ew Music), and Jan. 24 and 31, Feb. 22 and 28, Mar. 24, Apr. 9, and May 6 (Creative Associate Recitals). New York Evenings for New ·Music are on March 26 and April 30.

The University of California at San Diego is offering a graduate seminar in Electronic Sound-Recording ancf the Specialized Use of Electronics in Performance an.cl Musicianship, given by Pauline Oliveros. The seminar will present concerts dealing with the use of electronics in performance, in April, May, and June. Guest artists will include David Tudor, Anthony Gnazzo, Lowell Cross, and Alvin Lucier. Scores are solicited for these · concerts, and may be sent to Pauline Oliveros, Dept. of Music, University of California at San Diego, P.O.B. 109, La Jolla, Calif. 92037.

The Group for Contemporary Music at Columbia University, now in its'. sixth season, recently announced · its formal affiliation with the Coh1mbia-Princeton Ele.c~ tronic Music Center; several tape and computer works

are being presented during . the current season. The Group, which is di:rected by Harvey Sollberger and C,harles Wuorinen, is presenting si)( concerts this sea­son in Mc.Millin Hall; remaining ones are Feb. 12, Ma:rch 18, and May 13. Recent premieres have included works by Benjamin Boretz, William Hibbard, Hubert S. Howe, Jr., Dennis Riley, and David Saperstein. In conjunction with the Music Department of New York University, the Group has begun publication of a Con­temporary Music Newsletter (q.v.).

Hunter College is presenting a series of concerts di­rected by Eric Salzman under the title New Image of Sound. Designed to show a cross-section, geographically and stylistically, of new musical ideas, the series is presenting performers from Juilliard School of Music, University of Illinois Contemporary Chamber Players, the Composers String Quartet, the New York Ensemble under Gunther Schuller, and the Charles Lloyd Quar­tet. Works include music as theatre, chamber music, electronic music, new jazz, a Berio premiere, a 20th century classic by Carl Ruggles, and films with scores by Cage, Partch, and Varese. It is planned to continue the series next season. Remaining concerts this season are on Jan. 25, Mar. 22, Apr. 22, and May 7.

The Center for New Music at the University of Iowa presented the American premiere of Messiaen's Cou­leurs de la Cite Celeste at its opening concert in Octo­ber. The Center has scheduled concerts at Iowa on Feb. 18, Mar. 15, and May 4, and on tour in the Midwest in March and April (cf. Calendar). It plays a continuing role in the Theory-Composition Depart­ment, with frequent seminars on performance prob­lems and readings of student and faculty works; its presence has stimulated the composition of many new works. Chamber music scores (up to about IO players)

: may be submitted for performance to William Hibbard, Director, Center for New Music, University of Iowa, Iowa City, Ia. 52240. A limited number of orchestral scores may also be performed; submit to James Dixon, conductor, U. of Iowa Symphony Orchestra. The Uni­versity of Iowa has an annual Symposium· of Contep:­porary Music in May; this ye.ar's guest composer will be Mel Powell.

The University of Michigan's series, Contemporary Direetions, wiU present works by Stockhausen and . Boulez Feb. 24. These concerts reflect the activities of a project aimed at providing greater practical knowl­edge of recent creative thought an·d typology. The proj­ect was made possible through a faculty research grant enabling the composition staff to sustain a group of instrumentalists. Four other chamber music concerts in this series were given during the 1967 summer ses­sion, and a similar series is contemplated for summer, 1968. Premiered during 1967 were works by Perlongo,

Castiglioni, and Winsor; works by Davidovsky, Bolcom, Albright, Crumb, and Feldman were also performed. Chamber music scores for consideration in the 1968 summer series should be sent by June 1 to George Balch Wilson, School of Music, U . of Michigan, Ann Arbor, Michigan.

The Mills College Performing Group and Tape Music Center is a workshop for composers in electronic music as well as a place for new works, both electronic and instrumental, to have a hearing. This season's con­certs include music of Balcom, Ber io, Kirchner, Mil­haud, Ichiyanagi, Castiglioni, and others. A reading of works by young composers in the Bay area is scheduled for May. Another special concert will include two works commissioned for the group. The Tape Music Center, now under the direction of Anthony Gnazzo, is being rebuilt, and by mid-spring will have two oper­ating studios connected by a central control room. Classes are offered in electronic music techniques, and the studio is used by twenty composers. Tape Center concerts this year include music by Wolfe, Cage, Lucier, Behrman, Mumma, Ashley, and Rzewski. David Tudor, who is a visiting lecturer, performs in the concerts and holds a weekly seminar in live electronic performance. Scores for performance by the Performing Group and Tape Music Center, limited to about 8 players with or without tape, may be sent to Charles Boone, Co­ordinator.

New York University is inaugurating a series of con­certs of contemporary music to be held in Town Hall. The emphasis will be on chamber orchestra and large chamber ensembles, works with chorus, and stage works. Not only new music, but seldom-performed classics of the 20th century, will be included. The opening con­ce'rt, in collaboration with the Group for Contem­porary Music at Columbia University, will take place May 12. A series of four concerts is projected for next season, with performers drawn from several contem­porary performing groups in the New York area.

The Contemporary Chamber Ensemble at Rutgers University, directed by Arthur Weisberg, presents work. shops, open rehearsals, seminars, and public ·concerts at the University, a concert series in Carnegie Recital Hall (remaining dates: Feb. 8 and May 9), and concerts on tour. Composers are invited to submit scores for workshops and possible concert performance. The en­semble consists of flute, oboe, clarinet, bassoon, horn, trumpet, trombone, percussion, violin, viola (doubling on mandolin), cello, and double bass, one each, with woodwinds doubling on auxiliary instruments. Scores are chosen on the basis of suitability of instrumenta­tion, with larger ensembles generally preferred, and the presence of notational, compositional, or perform-

ance problems requiring an ensemble of this calibre. Composers are expected to be present at workshops where their works are played. Submit scores, with stamped, addressed return envelope, to Prof. Robert Moevs, Workshop Director, Dept. of Music, Rutgers College, Rutgers University, New Brunswick, N. J. 08903. (An extended report on the Rutgers Ensemble appeared in the 1966 College Music Symp.osium.)

The Aeolian Chamber Players at ·Sarah Lawrence College present monthly seminars open to the public, each devoted to one composer . Coming programs will be devoted to Edmund Haines (Feb. 12), Elliott Schwartz (March 13), Luciano Berio (April), and David Burge (May). The Players also tour off-campus, and will per­form at the Bowdoin College Contemporary Music Festival (q.v.). Instrumentation consists of violin (or viola), cello, flute, clarinet, and piano, with doubling on auxiliary instruments. Scores for performance may be submitted to Lewis Kaplan, Director, Aeolian Cham­ber Players, Sarah Lawrence College.

The Contemporary Group at the University of Wash­ington, directed by William 0 . Smith, has received a Rockefeller grant to expand its activities and increase its personnel, a grant matched by the University, which will gradually take over the complete support of this Group on a permanent basis. Besides full professional chamber orchestra on permanent faculty status, there are yearly awards in student scholarships for perform­ance with the Group. Each season, the Group gives 6 concerts in Seattle, 3 in Spokane, 3 elsewhere in the state, IO or more on the University campus by student personnel, and weekly readings of student works. Special events of the current season include appearances at the CMS and MENC national conventions, and premieres of works by Bartolotti, Nono, Stockhausen, and Verrall. New works by Crumb and Rochberg will be premiered next season. Coming Seattle dates are Feb. 4 and 25, Apr. 21, and May 12. The Group "would be most happy to receive scores in abundance," up to 25 play­ers, any combination. Send to Robert Suderburg, Asso­ciate Director, The Contemporary Group, University of Washington, Seattle, Wash. 98105.

SYMPOSIUMS AND FESTIVALS

The University of Alabama will hold its 19th annual Regional Composers Forum April 26-28. The Forum alternates between orchestral and chamber music, with this year's Forum devoted to chamber music; works are mostly by composers living in the Southeast. This year's guest composer is Roque Cordero, a Panamanian com­poser now in residence at Indiana U .; his string quartet,

commissioned by the U. of Alabama String Quartet, will have its premiere at the Forum. Information from Forum Committee, Box 2886, University, Ala. 35486.

A symposium, "Chamber Music of Our Time," will be held at the State University of New York at Bing­ham.ton Feb. 10-13. The New York Woodwind Quintet and the Guarneri String Quartet will participate in concerts, discussions, open rehearsals, and demonstra­tions of performance problems. Also participating in discussion will be composers William Klenz, Karl Korte, and William Sydeman, whose works are among those program.med. Open to the public free of charge; sched­ule from Karl Korte, Harpur College, State U. of New York at Binghamton.

Bowdoin College will present its Contemporary Music Festival May 3-4, with the Aeolian Chamber Players performing. The program includes premieres of works by Luciano Berio and David Burge, and also of a work selected in recent competition. The winning work (to be announced) will also be published by the Bowdoin College press. The English composer Richard Arnell is visiting composer at Bowdoin this year; a program of his works is scheduled for Jan. 21.

The 3rd Festival of Contemporary Music at the Uni­versity of Colorado, March 1-8, will have as guests Bethany Beardslee, George Crumb, and Eric Salzman. Among the works to be performed are Babbitt's Philo­mel, Crumb's Echoes of Time and the River, and Burge's Song of a Sixpence.

The University of Colorado is also having an orches­tral symposium., sponsored by the Rockefeller Founda­tion, with the Denver Symphony in residence, April 24-30. Scores for full orchestra by American composers are sought for performance. Send scores, and inquiries on both events, to David Burge, P.O.B. 489, Boulder, Colo. 80302.

Georgia State College, in conjunction with the South­eastern Composers League, will holds its annual Sym­posium of Contemporary Music for Brass Feb. 16-18 in Atlanta. The College Brass Ensemble, directed by Wil­liam. H. Hill, will premiere new works for brass, alone or combined with other media; several works this year include tape. The New York Brass Quintet will be guests and will premiere a work by Robert Stewart com.missioned at last year's Symposium. (A detailed account of this Symposium appears in the Fall 1967 issue of The Brass World.) The Georgia State College Brass Ensemble will also include many Symposium works on its 2 programs at the MENC national con­vention. Information from William H. Hill, Dept. of Music, Georgia State College, 33 Gilmer St. S.E., At­lanta, Ga. 30303.

The University of Oklahoma will present an Okla­homa Composers Symposium Feb. 28-29, with Halsey

Stevens and the Iowa Woodwind Quintet as guests. Symposium chairman is Charles K. Hoag.

The University of Tennessee, with the Southeastern Composers League and the American Choral Directors Assn., announces the establishment of an annual sym­posium of unpublished choral music, the first to be held May 17-19. Works may be submitted for mixed chorus, men's or women's glee club, madrigal singers, or collegium musicum. Soloists and limited instrumen­tal accompaniment (piano, organ, brass, woodwinds, percussion) are available. Composers from the South­east will be given preference, though all may submit scores; composers are expected to attend if performed. Scores should be submitted by Feb. I to Symposium Committee, Dept. of Music, U. of Tennessee, Knox­ville, Tenn. 37916.

ACTIVITIES OF OTHER SOCIETIES The American Music Center is a non-profit organ­

ization founded in 1939 to foster and encourage the composition of contemporary music, and to promote its production, distribution, publication, and perform­ance. Composers in any style and with any professional affiliation may join the Center and receive many bene­fits through membership.

At its New York headquarters, the Center maintains a library of members' scores for examination by con­ductors, performers, and other interested persons. It also acts as an information bureau, and its files of com­poser biographical material, publishers' catalogs, infor­mation on grants and festivals, and the like, may be freely consulted. Current information of this nature is made available 6 times a year in the AMC News­letter, Music Today, and in assorted other mailings. Music Today also publishes information on members' activities, their performances, publications, awards, etc.

The American Music Center has valuable interna­tional contacts through its membership in the Inter­national Committee of Music Information Centres of the International Assn. of Music Libraries, and through its position as the Official Information Center of the National Music Councils, which is chartered by the U.S. Congress. Music Today is distributed abroad to all USIA posts.

From time to time, the Center has been chosen to administer various grants, awards, and performance projects. Recently, in conjunction with the American Composers Alliance, the Center has formed a corpo­ration called Pioneer Editions, Inc., for the duplica­tion, dissemination, and sale of members' unpublished scores. Through membership, composers can also re­ceive substantial discounts on the reproduction of

manuscripts, recording services, and the purchase of music, books, records, and supplies.

Membership for composers is $10 a year. Other cate­gories of membership are open to orchestras, perform­ers, publishers, institutions, and patrons. Further in­formation from James Browning, General Manager, American Music Center, Inc., 2109 Broadway, Suite 1579, New York, N. Y. 10023.

The League of Composers-ISCM, the U.S. section of the International Society for Contempora:ry Music, announces the submission of 7 works to the ISCM International Festival to be held in Warsaw, Sept. 21-26. Orchestral selections are Echoes of Time and the River by George Crumb, Siren by Robert Erickson, Orchestra Piece I96I by Richard Hoffman, and Struc­tures Sonores by Henri Lazaro£; chamber works are William Kraft's Double Trio, Roger Reynolds' Quick are the Mouths of Earth, and Harvey Sollberger's Chamber Variations. Selection was made by a jury composed of Ross Lee Finney, Gunther Schuller, and Leonard Stein.

In New York, the League has scheduled three Sun­day evening concerts at Carnegie Recital Hall: March 31, a 70th birthday concert for Roger Sessions; April 14, the Composers Quartet in all new repertoire; May 5, recent American and European vocal music performed by Neva Pilgrim and Easley Blackwood. There will also be several special events, including a symposium and a concert of electronic music.

Membership brochures will be available in February, and may be obtained from Henry Weinberg, Exec. Sec., League of Composers-ISCM, Queens College, Dept. of Music, Flushing, N. Y. 11367. Contemporary music groups throughout the country interested in possible ISCM affiliation should contact the same address.

The sessions of the College Music Society Annual Meeting, Dec. 28-29 at Santa Barbara, California, were devoted to demonstrations and discussions of the Insti· tutes for .Music in Contemporary Education established in selected colleges and universities (see College Music Symposium, Vol. 7, 1967) under the MENG Contem­porary Music Project, Grant Beglarian, director.

In an introductory statement, Mr. Beglarian out­lined the history of the project beginning with the Ford Foundation subsidized project of placing com­posers in residence in public schools, which led to the IMCE, designed to provide two-year basic musicianship courses integrating performance, theory, composition, history and literature, especially as related to the con­temporary educational scene.

Demonstrations of some of the activities of first and

second year students in IMCE courses were provided by two or three students from each of three schools: the California State Colleges at San Diego <ind San Jose, and the U . of Southern California. These students, together with their project directors and others con­nected with IMCE, served as a panel for the discussions in the several sessions which were, in effect, variations on the theme of forming critical judgment.

In the first session, student performance projects were shown (from a Strauss Horn Concerto and a Hin­demith Clarinet Sonata) and discussed in the light of theoretical/stylistic/historical considerations. In the sec­ond session, there was a demonstration of a composi­tional project-a performance and discussion of an expansion of a Bach chorale into a chorale-variation cantata movement in the Bach style. The third session presented the student panel with the difficult task of making appropriate comments on unfamiliar contem­porary music after hearing it played by professionals­the University of Washington Contemporary Group, who performed part of Schoenberg's Op. 10, William 0. Smith's improvised canon for clarinet and 2 tape

·machines, songs of Dallapiccola and Martirano, and a string quartet by Robert Suderburg.

A final session with IMCE directors as panel was given to a tentative evaluation of the IMCE program to date (generally laudatory) and speculation as to its futu're portent for colleges and universities, especially in matters relating to the improvement of methods of developing comprehensive musicianship, better in­formed attitudes towards contemporary music, and revitalization of public school music training and prac­tice. (Submitted by Philip F. Nelson, Editor, College Music Symposium.)

Several papers on electronic music were presented at the 33rd convention of the Audio Engineering Society in New York in October in a session entitled "Speech and Music" IJnder the chairmanship of Rob­ert A. Moog. Three were of special interest.

Hugh LeCaine described the Serial Sound Structure Generator which he recently designed for the Univer­sity of Toronto Electronic Music Studio, in a paper called, "Apparatus for Generating Serial Sound Struc­tures." The device applies serial logic to a number of parameters, and presents the result as short sequences of sound for evaluation by the composer. '

A paper by James Gabura and Gustav Ciamaga, "Computer Control of Sound Apparatus for Electronic Music," described a method of sound generation by computer which the authors have developed at the U. of Toronto. The computer does not generate the actual waveforms, but provides voltages for controlling

the patterns of existing oscillators and level-control amplifiers_

Gordon Mumma's paper, "Creative Aspects of Live­Performance Electronic Music Technology," contrasted live electronic music with the studio variety, referring to its combination with instruments, and to special electronic devices useful in performance. He described in some detail devices used in his composition Mesa.

Preprints of the latter 2 papers may be obtained from the Audio Engineering Society for 85¢ each (50¢ for AES members). The LeCaine paper was not available as a preprint but is expected to appear in the journal of the Audio Engineering Society.

The Society's West Coast convention, in Los Angeles April 29-May 2, will also include a session on "Speech and Music," under the chairmanship of M. V. Mathews. Individual papers have not yet been announced.

While primarily an organization of sound engineers, the Audio Engineering Society accepts as Associate mem­bers others, such as composers, who are interested in some of its activities. For information and preprints, address the Audio Engineering Society, Room 428, Lin­coln Building, 60 East 42nd St., New York, N . Y. 10017.

The International Alban Berg Society, Ltd., has re­cently been formed to promote the performance, pub­lication, and study of Berg's works. The Society plans to distribute information regarding Berg-studies, as well as matters of publication and performance, in an an­nual newsletter, and to make available to members reprints of articles containing important Berg research. Annual membership $10. Claudio Spies, Sec.-Treas., c/o Music Dept., Swarthmore College, Swarthmore, Pa. 19081.

The topic for the 1968 meeting of the American Society of Aesthetics will be: "Performing Artists and their Media." Papers and performances will relate to current problems of dance, music, and theatre, rela­tions between media, relations of composition to per­formance, etc. The meeting will be held at the Univer­sity of Texas, Austin, Oct. 24-26. An announcement appears in the Winter 1967 issue of the journal of Aesthetics and Art Criticism, p. 280; the same issue contains an article by Van Meter Ames, "What is Music?" on the new music aesthetic as seen by Boulez, Stockhausen, Brown, Cage, Foss, Briin, et al.

SPECIAL COURSES; CURRICULUM INNOVATIONS

A workshop, "Electronic Synthesis of Music," will be presented at Southern Illinois U. at Carbondale June 10-22. It will concern computer synthesis and sound

as created in the classic tape studio; those with special interest may concentrate in either area. On the faculty will be Hubert S. Howe, Jr., Will Gay Bottje, and Gordon Chadwick; Lejaren Hiller and Robert A. Moog will give single lectures. Further information from Will Gay Bottje, Music Dept., Southern Illinois U., Carbon­dale, Ill. 62901.

"Electronic Music in the Classroom," an introduc­tory workshop for school music teachers, will be pre­sented at Peabody Conservatory July 29-Aug. 2. The course, given by Jean Eichelberger Ivey, will feature recordings and readings in electronic music, simple tape experiments, the planning of a school studio, and sug­gestions for classroom applications. Further informa­tion from Ray Robinson, Director, Summer Session, Peabody Conservatory, Baltimore, Md. 21202.

The Yale School of Music is instituting two new degrees in composition and performance: M.M.A. for the three years of pre-doctoral course work, a degree not now given anywhere; and a D.M.A. awarded with­in five years after receiving the M.M.A., upon approval of the candidate's off-campus professional achievement.

PERIODICALS

The Music Forum, an annual publication edited by William J. Mitchell and Felix Salzer, has just issued its first volume. Articles will include analysis, theory, his­tory, performance practice and criticism. Many will stress Schenkerian analysis. Musical manuscripts will be reproduced and published accompanied by articles discussing them. The first volume contains articles ranging from the Middle Ages through the 20th Cen­tury. Of special interest is George Perle's article, "The Musical Language of Wozzeck." This is an expanded version of the paper Mr. Perle read at the first confer­ence of the American Society of University Composers in New York. Order f.rom Columbia University Press, 136 South Broadway, Irvington, N. Y. 10533.

A new Contemporary Music Newsletter is being pub­lished jointly by the Group for Contemporary Music at Columbia and the Dept. of Music at NYU. The January issue has a survey of computer synthesis of music in the New York area, at Bell Telephone Lab., IBM Watson Research Center, Columbia, Brooklyn Polytechnic, NYU, Queens College, and Princeton. It also lists coming programs by the Group at Columbia and by several other New York groups. Mailing address: Contemporary Music Newsletter, 632 West !25th St., New York, N. Y. 10027.

The Gaudeamus Foundation, Postbox 30, Bilthoven, Netherlands, issues an information bulletin free of charge with brief notices (in English) of European com­petitions, contemporary music festivals, premieres, etc.

CURRENT RESEARCH

A book on new systems of music notation is being compiled by Gardner Read. He would welcome cor­respondence from composers working with experimen­tal systems, including examples of new symbols, so as to make the survey as complete as possible. All such contributions will be gratefully acknowledged in the book. Address communications to Dr. Gardner Read, School of Fine and Applied Arts, Boston University, 855 Commonwealth Ave., Boston, Mass. 02215.

A program of computer synthesis of music has been initiated at New York University, under the direction of Benjamin Boretz. The Music 4BF program has been adapted to the CDC 6600 computer by Hubert S. Howe, Jr. and Richard Friedman; the adapted program is called Music 66.

COMPETITIONS (deadline dates are all 1968)

Contest for Percussion Quartet, 10-15 min. $1000 and publication; 1 year's performance rights by New Per­cussion Quartet. Deadline for score and parts May 1. Composition Contest, Center of the Creative and Per­forming Arts, State U. of N. Y. at Buffalo, Music Dept., Baird Hall, Buffalo, N. Y. 14214.

Joseph H. Bearns Prize. American composers be­tween 18 and 25, incl. $1200 for work in one of the large media; $900 for work in one of 1the smaller media. Deadline March 1. Bearns Prize Committee, 703 Dodge Hall, Columbia U., New York, N. Y. 10027.

Prince of Monaco Prize. Annual. Features chamber and sacred music in 1968 and 1971, orchestral music in 1970. 20,000 francs. General Secretary, Composi­tion Prize "Prince Pierre de Monaco," Palais Princier, Monaco.

Queen Marie-Jose Prize. Organ work in 1 to 4 mvts., 12-16 min. Composers not over 50 on Jan. l, 1968. 10,000 Swiss francs and radio performance. Deadline for score and tape May 31. Secretariat of the Musical Prize Contest "Queen Marie-Jose," 1249 Merlinge (Gy), Geneva, Switzerland.

Oscar Espla Prize. Unperformed symphonic work (may incl. chorus). 100,000 pesetas and performance. Deadline March 15. Office of the Secretary, Oscar Espla Prize, Town Hall, Alicante, Spain.

Sigma Alpha Iota. Work for mixed or women's chorus. Composers from North, Central, and South America between 22 and 35. $300, premiere at SAI

convention, and publication. Deadline March 1. Rose Marie Grentzer, 3021 Rowland Place N.W., Washing­ton, D. C. 20008.

Student Composer Awards, BMI. Western hemi­sphere composers under 26 on Dec. 31, 1967, who are regular students of composition. $250 to $2000. Dead­line Feb. 15. Oliver Daniel, SCA Project, Broadcast Music, Inc., 589 Fifth Ave., New York, N. Y. 10017.

Harvey Gaul Contest. Art song with Sandburg text; or Christmas composition for two harps and organ. Composers must be U. S. citizens. $250, $150, $100. $5 ent:ry fee. Deadline June 1. Mrs. David V. Murdoch, Contest Chairman, 5914 Wellesley Ave., Pittsburgh, Pa. 15206.

Anthem Competition, Rochester Festival of Reli­gious Arts. Solo anthem category for vocal solo, duet, trio, OT quartet; congregational anthem category pref­erably unison; either may be accompanied or not. $100 and performance at Festival, Apr. 26-May 5. Deadline Feb. 15. Music Committee, Rochester Festival of Reli­gious Arts, Central Presbyterian Church, 50 Plymouth Ave. N., Rochester, N. Y. 14614.

Southern California Vocal Assn. Contest. Choral composition suitable for high school. $250 and publi­cation. Deadline Apr. 1. Mrs. Russell Gerow, Exec. Sec., Southern Calif. Vocal Assn., P.0.B. 5522, Pasadena, Calif. 91107.

National Society of Arts and Letters. Non-serial work for solo voice and chamber ensemble, with American text, 8-15 min. Composers 18 through 29 on June 19, 1968. $1000. Deadline Feb. 20. Mrs. James P. Wilson, 325 N. Mosley, St. Louis, Mo. 63141.

National Federation of Music Clubs Young Compos­ers Contest. Composers between 18 and 25 who are NFMC members. Deadline Apr. 1. NFMC, Suite 1215, 600 S. Michigan Ave., Chicago, Ill. 60605.

International Piano Contest for Contemporary Music, "Concours Olivier Messiaen." Pianists not over 33 on April 4, 1968. Apply by March l; the competition takes place in Royan April 4-7. Contest Secretariat, Bureau de Concerts, Maurice Werner, 11 Avenue Delcasse, Paris Se, France.

REMINDER

1968 membership dues may now be paid. Checks for $25 ($10 for student members) should be sent to Harvey Sollberger, Treasurer, American Society of University Composers, c/o Department of Music, Columbia University, New York, N. Y. 10027.

CALENDAR

(Check elsewhere in this Newsletter for more details

on many listings.)

JANUARY

16 - Contemporary Music Soc., Guggenheim Museum, New York.

17 -American premiere, The Mines of Sulphur, opera by R. R. Bennett, at Juilliard.

20 - Composers Forum, Donnell Library, New York.

21 - ·works of Richard Arnell, Bowdoin College.

22 _:_Monday Eve. Concert, Los Angeles Co. Museum of Art.

23 - Greenwich House Contempornry Series, New Yo'l:k.

24 - Creative Associates Recital, Buffalo.

25 - New Image of Sound concert, Hunter College.

31 - Creative Associates Recital, Buffalo.

FEBRUARY

4- Concert, U. of Washington Contemporary Group, Seattle.

5 -Monday Eve. Concert, Los Angeles Co. Museum of Art.

7 - Composers Theatre, Studio 58, New York.

8 - Rutgers Contemporary Chamber Ensemble at Car­negie Recital Hall, New York.

10 - Evening for New Music, Buffalo.

10 - Symposium, Chamber Music of Our Time, SUNY/ Binghamton. Through Feb. 13.

12 - Group for Contemporary Music at Columbia Uni­versity, MacMillin Theater, New York.

12 - Works of Edmund Haines, Sarah Lawrence Col.

12 - Monday Eve. Concert, Los Angeles Co. Museum of Art.

12 - NAACC concert, Town Hall, New York.

16 - Brass Symposium, Georgia State College. Through Feb. 18.

17 - Composers Forum, Donnell Library, New York.

18 - Concert, U. of Iowa Center for New Music.

20 - Contemporary Music Soc., Guggenheim Museum, New York.

22 - Creative Associates Recital, Buffalo.

24 - Contemporary Direction series, U. of Michigan.

25 - Concert, U. of Washington Contemporary Group, Seattle.

26 - Monday Eve. Concert, Los Angeles Co. Museum of Art.

27 - Greenwich House Contempornry Series, New York.

28 - Creative Associates Recital, Buffalo.

28 - Oklahoma Composers Symposium, U . of Okla­homa. Through Feb. 29.

MARCH

I - Festival of Contemporary Music, U. of Colorado. Through Mar. 8.

3 - Evening For New Music/Festival of the Arts To­day, Buffalo.

6 - Composers Theatre, Studio 58, New York.

9 .,-- U. of Iowa Center for New Music concert at Cedar Rapids, Ia.

10 - Evening for New Music/Festival of the Arts Today, Buffalo.

11 -Monday Eve. Concert, Los Angeles Co. Museum of Art.

13 - Works by Elliott Schwartz, Sarah Lawrence Col.

14 - NAACC chamber music concert, New York.

15 - Concert, U. of Iowa, Center for New Music.

16 - Composers Forum, Donnell Librnry, New York.

17 - American premiere, Votre Faust, opera by Pous-seur, Buffalo.

17 - U. of Iowa Center for New Music concert at Illi­nois Wesleyan U.

18 - Group for Contempmary Music at Columbia Uni­versity, MacMillan Theater, New Yorrk.

20 - N. Y. premiere, Bomarzo, opera by Ginastera, New York State Theatre.

22 ....:.New Image of Sound concert, Hunter College.

/}

24 - Creative Associates Recital, Buffalo.

25 - Monday Eve. Concert, Los Angeles Co. Museum of Art.

26 - Evening for New Music, Carnegie Recital Hall, New York.

28 - N. Y. premiere, Carrie Nation, opera by Douglas Moore, N. Y. State Theatre.

31 - ISCM birthday concert for Roger Sessions, New York.

APRIL

2 - U. of Iowa Center for New Music concert <lit Mt. Vernon, Ia.

3 - U. of Iowa concert at Northern Illinois U.

3 - Composers Theatre, Studio 58, New York.

5 - Annual conference, American Society of Univer­sity Composers. Through Apr. 7.

5 - U. of Iowa concert at Southern Ill. U./Edwards­ville.

6 - Composers Forum, Donnell Library, New York.

9 - Creative Associates Recital, Buffalo.

9. - NAACC concert of chamber music, New York.

14 - ISCM concert, Composers Quartet, New York.

17 - Greenwich House Contemporary Series, New York.

21 - Concert, U. of Washington Contemporary Group, Seattle.

22 - New Image of Sound concert, Hunter College.

23 - Contemporary Music Society, Guggenheim Mu­seum, New York.

24 - U. of Colo. Rockefeller Symposium wit h Denver Symphony. Through Apr. 30.

26 - U. of Alabama Composers Forum. Through Apr. 28.

27 - Evening for New Music, Buffalo.

29 - Audio Engineering Soc. convention, Los Angeles, through May 2.

30 - Evening for New Music, Carnegie R ecital Hall, New York.

MAY

I - Composers Theatre, Studio 58, New York.

3 - Contemporary Music Festival, Bowdoin College.

Through May 4. 4 - U. of Iowa Center for New Music concert.

5 - ISCM concert, American and European vocal mu­sic, New York.

6 - Creative Associates Recital, Buffalo.

7 - New Image of Sound concert, Hunter College.

9 - Rutgers Contemporary Chamber Ensemble, Car­

negie Recital Hall, New York. 12 - Concer.t, U. of Washington Contemporary Group,

Seattle. 12 - NYU Contemporary Music Series, Town Hall.

13 - Group for Contemporary Music at Columbia Uni­versity, MacMillin Theater, New York.

17 - U. of Tennessee Symposium of Choral Music. Through May 19.

25 -'-ASUC Southwestern Regional Conference at UCLA, Schoenberg Hall.

JUNE

IO - Electronic music workshop, Southern Ill. U. Through June 22.

JULY

29 - Electronic music workshop, Peabody Conserva­tory. Through Aug. 2.

SEPTEMBER

6 - International Music Week of Gaudeamus Foun­dation, Bilthoven, Holland. Through Sept. 13.

21 '- ISCM International Festival, Warsaw. Through Sept. 26.

EDITORIAL COMMENT

With this issue, the Newsletter of the American So­ciety of University Composers begins publication. Its aim will be to present current information of general membership interest, information not readily available in other publications. It will report on the activities of the Society and its Regional Councils, on contempo­rary performing groups, current research, curriculum innovations, government and foundation activity, com­petitions, pertinent reference to other professional so­cieties and publications, and the like. Symposiums, fes­tivals, and important premieres will be reported, where possible, well in advance, with specific dates and loca­tions. Reports will be brief and up to date, with data on where more complete information may be obtained. It is not planned to include long articles, or routine announcements of the compositions and performances of members. (For further details of policy, see recent Society mailings, especially Plans for the Newsletter.)

A special feature is the Calendar of events all over the country; it is hoped that this will grow in com­pleteness and usefulness to members. The apportion­ment of space in this first issue reflects the information available; university performing groups, for instance, responded particularly well with information this time. In a later issue, the balance may be quite different.

The publication of a good Newsletter depends on the cooperation of the membership in contributing appropriate items which, be it remembered, need not

be lengthy. A post card, a short note, a brochure or newspaper clippings-none of these takes much time to mail, and yet much helpful information can be pooled in this way. In particular, regional chairmen, college music departments, directors of festivals and perform­ing groups, sponsors of competitions, and the like, are urged to keep the Newsletter on their regular mailing lists. It has also been suggested that regional chairmen appoint someone specifically to report on activity of interest within the region; this need not be confined only to events sponsored by the Regional Councils.

Send material at any time for use in a subsequent

issue to the Newsletter Editor:

Jean Eichelberger Ivey

13 Duzine Road New Paltz, N. Y. 12561

Special gratitude is extended to the other members

of the Newsletter committee for their efforts in plan­

ning this document:

David Cohen, Arizona State University

Carlton Gamer, Colorado College

Gilbert Trythall, Peabody College for Teachers

Rolv Yttrehus, University of .Missouri

•

THE AMERICAN SOCIETY OF UNIVERSITY COMPOSERS, INC.

A non-profit cmporation in the state of New York

c/o Department of Music

Columbia University

New York, N. Y. 10027

Executive Committee

Richmond Browne, Yale University

David Epstein, Massachusetts Institute of Tech-nology

William Hibbard, University of Iowa

Hubert S. Howe, Jr., Queens College

Ben Johnston, University of Illinois

Joel Mandelbaum, Queens College Harvey Sollberger, Columbia University

Roy Travis, University of California, Los Angeles

Nati.anal Council

I Robert Cogan, New England Conservatory Martin Boykan, Brandeis University

II Leo Kraft, Queens College

IV Donald Maclnnis, University of Virginia

V Randolph E. Coleman (Chairman), Oberlin College

VII Carlton Gamer, Colorado College

VIII Barney Childs, Deep Springs College

Jean Eichelberger Ivey, Newsletter Editor

Materials should be sent to:

13 Duzine Road

New Paltz, New Yark 12561

..