Great Lakes

Session Ia: Music Theory and Performance Pedagogy

"Texture, Heterophony, and Pitch-Cell Treatment in the Compositions of William Albright"
James Perone (Mount Union College)

"Music Theorists as Music Educators: A Case for Collaboration"
Bruce Taggart (Michigan State University)

"Performance Pedagogy Research: A Review and Update"
Richard Kennell (Bowling Green State University)

Session Ib: College Music Pedagogy

"Encouraging Student Reflection in Music Classes: Using Student Portfolios"
Brenda Mitchell (Miami University)

"Music Appreciation Through Composition for Non-Music Majors"
Timothy Kloth (The Linton Music Series)

"Speaking Drums and (Im)mute(able) Books: Jazz as a Bridge Between West African and Western European Cultural Paradigms"
Benjamin Yost (Goshen College)

Session IIa: Great Lakes Composers

"Performance of Fiddletunes for Solo Violin and Synthesized Strings by Phillip Rhodes"
Hector Valdivia and Phillip Rhodes (Carleton College)

"Leo Sowerby-Great Lakes Composer"
M. J. Zank (Ohio Northern University)

Session IIb: Musicology

"The Life and Musical Contributions of Joachim Andersen"
Kyle Dzapo (Bradley University)

"The Wanderer as Topic and Trope in Early Nineteenth-Century Culture"
David L. Mosley (Goshen College)

Session III:

"Divisional Community Music Schools: Looking Toward the Future"
James Forger, Director (MSU School of Music); Cynthia Taggart, Associate Di- rector (MSU School of Music); John Martin, Director MSU Community Music School

Session IV:

Performance by the Oakton Community College Six-Piano Ensemble
Glenna Sprague, Conductor (Des Plaines, Illinois

Great Plains

Session I:

"'Dulcisimo dueno' by Sebastian Duron: A Poster Child for the Baroque Villancico"
Paul R. Laird (Kansas University)

"Evolution of Alban Berg's Early Vocal Composition Style as Seen Through Text-Music Relationships in Three Selected Lieder from the 'Jugenlieder'"
Robert J. Jones (North Dakota State University)

"The Synthesizer as a Pedagogical Tool in the Music Classroom"
John Benoit (Simpson College)

"'Clarieres dans le Ciel' by Lili Boulanger: Art Reflects Life"
Sue Haug (Iowa State University)

Invited Presentation: "Teaching Music History-Principles, Problems, and Proposals"
Douglass Seaton (The Florida State University)

"The Philadelphia Version of Romberg's 'The New Moon'"
William A. Everett (Washburn University)

"Grand Opera in Nebraska in the 19th Century"
Harlan Jennings (Michigan State University)

Session II: CMS Composers' Concert

Four American Songs, op. 1 by Cory Hall (Lawrence, KS),
Sonata for 'Cello and Piano by Jeremy Beck (University of Northern Iowa),
Fillet of SchoolBus: A concert Art Video by Tayloe Harding (North Dakota State University),
Nine Short Etudes by Raymond Songayllo (Indianola, IA),
Broken Ground by Jonathan L. Chenette (Grinnell College)


Session I: 19th and 20th Century American Music

"The Genesis of Cultural Hierarchy in American Music History c. 1830-1865"
Christopher Wilkinson (West Virginia University)

"The Chautauqua Institute 1874-1920: Art Music Symbolizing High Culture to the Middle Class"
Sarah Schmalenberger (West Virginia University)

"American Pianist Amy Fay and the Sacralization of the European Tradition of Art Music in the United States, c. 1870 - c. 1914"
Vanessa Cornett (West Virginia University)

"Inroads for Analysis: Roger Sessions's When Lilacs Last in the Dooryard Bloom'd"
Peter Black (Santa Rosa Junior College)

Session II: Lecture/Recitals

"Theodor Leschetizky: The Compositions of the Great Nineteenth-Century Piano Pedagogue"
James Douthit (Shepherd College)

"Leonard Bernstein's Sonata for Clarinet and Piano"
David H. Evans and Paul Nitsch (Queens College)

"Ernest Bloch's Piano Sonata"
Shuko Watanabe (Washington and Lee University and Roanoke College)

Session III: Orchestral Music of Roger Sessions

"Sessions's Duo for Violin and Violoncello: Aspects of 12-tone Writing and the Compositional Process"
Richard Alda (San Jose State University)

Session IV: Bach and Bartók

"Bach's Two-Part Invention: A pedagogy of a Musical Dialectic"
Jack Crotty (West Virginia University)

"Stylistic Clues Concerting Degrees of Rhythmic Freedom and Choices of Temp in J. S. Bach's Allemandes"
Victor Mansure (Appalachian State University)

"A Multimedia Introduction to Set Theory with Examples from Bartók's Mikrokosmos"
J. Kent Williams (University of North Carolina at Greensboro)

Session V: The Piano Sonatas of Roger Sessions

Lecture-Recital: "Melodic Construction in Roger Sessions Piano Sonata No. 1"
Stephen W. Sachs (East Mennonite University)

"Harmony, Neighbor-Note, and the 'Long Line' Piano Sonata No. 2 of Roger Sessions"
Alan Campbell (New York University)

Lecture/Recital: "The Second Sonata of Sessions: Tradition and Evolution"
Lynne Mackey (Bluefield College)

Session VI: Sessions

"Sessions, Schoenberg, and the Twelve-Tone Method"
Ethan Haimo (University of Notre Dame) presented by Barry Salwen (University of North Carolina at Wilmington)

"Roger Sessions and Arnold Schoenberg"
Andrea Olmstead (Boston Conservatory)

"Roger Sessions's Symphony No. 3-First Movement: Form, Hexachordal Polarity and Harmonic Language"
Donald McDonnell (Berklee School of Music)

Session VII: Music in General Studies

"Music and Words: A Quest for Expression and Meaning"
Margaret Boudreaux (Western Maryland College)

"Creation, Fertility, Forbidden Fruits, and Heroes-An Interdisciplinary Approach to Music in General Studies"
Renee McCachren and Charles McAllister (Catawba College)


Session I: The College Music Department and the Community

"Music and Community Service: A Bridge Across Generations"
Nancy Theeman (The Masters School)

"A New Way for Music To Reach Out To Community"
Alastair K. Cassels-Brown (Episcopal Divinity School, Emeritis)

Session II: Music for Piano

"Liszt, Minimalist?"
Arthur A. Jannery (Westfield State College)

"Two-Piano Music by American Composers"
Arianna Goldina (New York University and Romy Loumbrozo)

Session III: Reaching Out to the New Generation

"Peering Into the Popular Music Scene: Billy Joel's 'Scenes From an Italian Restaurant'"
Carol A. Traupman-Carr (Moravian College)

"Teaching Rap to Those Outside Hip-Hop's Cultural Mainstream"
Gail Hilson Woldu (Trinity College)

Session IV: CMS Composers' Concert

Sunburst by Stefania de Kenessey,
Two Scenes from the Paradise Cafe by Ting Ho,
The Dove Descending by Gary Washington,
Scherzo for Marimba and Piano by Douglas Ovens,
Waltz-Fantasy by Larry Lipkis

Session V: Music in the 20th Century

"Technology and Musical Delay"
Paul Steinberg and Alan Woy (SUNY Potsdam)

"Rhyming Retrogrades: Sonnet Structures in Rilke and Rautavaara"
David A. Moore (SUNY Cortland)

"Rhythm and Pitch Structure Symmetry in Bart?k's 'Sonata for Two Pianos and Percussion'"
Geoffrey Kidde (University of Bridgeport)

"Limited Aleatory Technique in Lutoslawski's 'Partita' for Violin and Piano"
Michael L. Klein (SUNY Buffalo)

Session I

"20th Century Music: The Founding and Operation of a Monthly Journal of Recent Music"
Mark Alburger

"Inroads for Analysis, 'When Lilacs Last in the Dooryard Bloom'd' by Roger Sessions"
Peter Black

"Rhythmic Distributions and Applications"
Jim Hearon

Session II

"World Music in the Western Classroom: A Model for Integrating Non-Western Classical Studies Into Traditional Western Classical Music Courses"
Sharon L. Gorman

Panel:" Teaching Music Theory in California: One Year later-A Follow-up Discussion"
Brian Bel?t

Session III: Concert

North Beach Rhapsody by Martin Rokeach,
Bifurcations (1995), for tape by Robert Strizich,
Expressions for Piano by Herbert Bielawa,
and New and Experimental Electronic Instruments by Offramp (Jim Hearon-electric violin, Doug Carroll-electric cello, and Tom Nunn-original electroacoustic percussion boards).

Pacific Northwest

The Pacific Northwest Chapter held its annual meeting at the University of Oregon in March. The chapter met concurrently with the Society for Ethnomusicology; the chapters met jointly in two sessions.

The keynote address was given by Bruno Nettl, Professor Emeritus of the University of Illinois, Urbana-Champaign, and author of several books, including Heartland Excursions: Ethnomusicological Reflections on Schools of Music.1 In his address, which he titled "Second Thoughts: Getting in and out of Heartland," Professor Nettl spoke of how he came to write the book, gave a brief summary of it, and talked about issues of ethnomusicology, particularly as they relate to Heartland Excursions.

A panel discussion, with audience participation, on the topic "Mozart, Myths, and Music Schools" followed Professor Nettl's speech. Panel members were Bruno Nettl, Anne Dhu McLucas, Geoffrrey Block, and Michael Coolen. The bases for this discussion were: a) a Blackfoot Indian myth, the myth of the Beaver Man-about the source and nature of music in the Blackfoot culture; b) myths of Mozart and Beethoven, as reported in Heartland Excursions; and c) ways these myths reveal values in their respective cultures. These questions were posed: Do the myths of Mozart and Beethoven still inform the societies comprising schools of music? Are these myths changing? If so, how? How will they change as we enter the 21st century? What are the implications for teachers and administrators in schools of music?

As is common, the chapter meeting reflected the general excellence one finds at the national meetings. There were many fine papers and performances by CMS chapter members.

Moreover, the relaxed ambiance and collegiality of chapter meetings provide excellent opportunity for chapter members to enjoy each other. I urge all CMS members to become active or to remain active in their respective chapters.

Ray Morse, Past President

1 Editor's Note: James Parakilas's review of this book was published in the March 1996 issue of The CMS Newsletter.

Pacific Southern

Session I: Papers

"Odes on St. Cecilia's Day: A Re-discovered Treasure"
Graydon Beeks (Pomona College) and Barbara J. Durost (Claremont Graduate School)

"Johana and Roy Harris: Whose Music is It, Anyhow?"
Louise Spizizen (Tucson, Arizona)

"The Creation of Copies: Aspects of Non-originality in Music and the Arts"
Doug Dunston (Claremont Graduate School)

Session II: Performance-Demonstrations

"The Prepared Classical Guitar"
Darren Robert Buzz Gravelle (University of California, Los Angeles)

"Schumann's Compositional Process for Etudes on Forme de Variations"
Anita Chang (San Pedro, California)

"Radio Rodia"
Peter Yates (University of California, Los Angeles)

Session III: Cultural Studies

"Bridging the Cultural Gap Through Music"
Nohema Fernández , CMS National President

"Encounters at Ohkay Owingeh: Learning the Oekuu Shadeh with Peter Garcia"
Hao Huang (Scripps College)

"On Miles and the Modes"
William Thomson (Pasadena, California)

Session IV: Performance-Demonstrations

"Practice Methods: Theoretical Preparations and 'Practical Practice'"
Tess Remy-Schumacher (James Cook University, Townsville, Australia)

"Vocal Techniques in the Performance of as if as, (fea, n(o)w"
Jacqueline Bobak (California Institute of the Arts) and Mark Bobak (California State University, Northridge)

"Marie Jaell's Fingerprints"
Lea Schmidt-Rogers (Southwestern College)

Session V: Performances

Three Miniatures for Violin and Piano by Bernard Gilmore,
Circle Music by Daniel Kessner,
Kure Beach, N.C., 3:21 am. by Barbara Bennett

Rocky Mountain

Session I: Issues in Twentieth-Century Music

"Beyond the Score: Music and Meaning in Rhian Samuel's Clytemnestra"
Antonia L. Banducci (Lamont School of Music, University of Denver)

"Music for Strings, Percussion, and Celesta: Beyond the First Movement"
Paul Metz (Colorado State University)

Session II: Music History and Musicology

"Connections between Beaumarchais's Play, Mozart's Opera, and the American Revolutionary War"
Ann Reagan (United States Air Force Academy)

"The Role of Instruments in Mozart's Operas"
Michael T. Roeder (University of Alberta, Edmonton)

"The Status of Research on the Ospedali Veneziani: The Berdes Archive for Women in Venetian Music, A New Source"
Joan Whittemore (Metropolitan State College of Denver)

Session III: Lecture Performances

"Through to Something New: Innovation in the Musicals of Stephen Sondheim"
Matt Bean (Brigham Young University)

"Arnold Schoenberg-Lied der Waldtaube aus den Gurreliedern (1900/1922) Bearbeitung von fhr Kammerorchester vom Komponisten"
William Burkhart (University of Colorado at Boulder)

Session IVa: Concert of Contemporary American Music

Accounts of the Central Coast (1995) by Mark Joseph Connor,
Shadows (1994-95) by Thomas D. Brosh,
Ariel: Five Poems of Sylvia Plath (1972) by Ned Rorem,
Three Songs of Innocence (1957) by Arnold Cooke,
Incidental Music from The Tempest (1995) by David Wilhelm,
Three Chromatic Pieces (1992) by Nancy Gunn,
Crazy Horse Monument by Richard Corbet,
Wedges by George Arasimowicz

Session IVb: American Music

"Stylistic Development in the Fuging-Tunes of William Billings"
Maxine Fawcett-Yeske (University of Colorado at Boulder)

"Virgil Thomson's Filling Station: First Successful 'American' Ballet?"
Hidemi Matsushita (University of Colorado at Denver, Extended Studies Program) and (Director, Academy of Dance/Academy of Colorado Ballet North, Arvada, Colorado)

"Benny Goodman's Influence on 20th-Century Clarinet Concertos"
John Snavely (Pima Community College, Tucson, Arizona)

Session V: Issues in Music Education

"Music and Music Education in Contemporary Japan"
Janeen Larsen (Black Hills State University)

"Learning Theories vs. College Music Curriculum: Implications for Change"
Charles Boyer (Adams State College)

Session VI: Normand Lockwood Birthday Celebration Concert (All compositions by Normand Lockwood unless indicated; * premieres)

Sonata in One Movement* (1995-96),
Indian Woman Down in the Marketplace* (1984),
A Sequence of Preambles for Solo Flute (1987),
Pieces for Flute and Guitar (1980),
Three Verses of Emily Dickinson (1938),
The Red Cow is Dead (1942),
Sonatina No. 4,* "To Normand Lockwood for His Ninetieth Birthday" by Karl Kroeger (1996),
String Quartet (1992/94)*,
Three Movements for Piano* (1994),
Missa* (1996),
To Margarita Debaye (1977)

South Central

The annual meeting of the South Central Chapter was held March 15 and 16, 1996, at the University of Tulsa. The agenda for the highly successful meeting included 1) paper presentations by Daniel Adams (Houston), Ken Johansen (Dallas), Sam Magrill (Durant, Oklahoma), Anne Patterson (Conway, Arkansas), Melanie Foster Taylor (Shreveport), and students Christiana Leonard (Little Rock) and Gregory Briggler (Denton, Texas); 2) lecture recitals given by Leonard Garrison and Shannon Scott (Tulsa), The Edmond Quartet (Doris Morris, Ralph Morris, Jim Shelley, Sam Magrill, and Barbara Geary (Tulsa); 3) performances of compositions by Tom Muncy, Blaise Ferrandino, Thomas Clark, William Heinrichs, Mark Hollingsworth, Sam Magrill, Daniel Adams, Mark Francis, Roger Price, Joseph Rivers, and Deanna Walker-Tipps. A performance of the Tulsa Philharmonic was also featured.

Roger Price and William Heinrichs did an outstanding job of organizing the many University of Tulsa School of Music resources involved in the meeting, with the generous support of Ronald Predl, School of Music Director.


Session I: Music Advocates

"Claire Reis: Advocate for Contemporary Composers"
Penny Thomas (University of Florida)

"Nena Plant Wideman: Her Life and Her Work with Student Concerti Performances 1949-1983"
Karen McBee (Panola College)

Session II: Lecture/Recitals

"Expressionist Excursion: Rorem's Setting of Plath's Ariel"
James Fairleigh (Jacksonville State University) and Gerald Farmer (West Georgia College)

"Chamber Music with Percussion"
Randall E. Faust, Gregory Byrne, percussion and Karen Garrison, flute (Auburn University)

"Counter-tenor and Falsetto: There Is Nothing False about Them!"
Thomas King (Austin Peay State University)

Session III: Music Education 1

"Cooperative Learning for the Music in General Studies Classroom"
Karen Fosheim (Delta State University)

"Hierarchical Strategies for Improving Sight Singing and Dictation Skills"
Laurdelia Foulkes-Levy (University of Mississippi)

Session IV: CMS Composers' Concert and Outstanding Student Paper AwardCMS Composers' Concert and Outstanding Student Paper Award

Works by Al Benner, David A. Caudill, Dinos Constantinides, David Z. Durant, Kenneth Jacobs, and Stephen Lias

Session V: Musicology I

"One Race, Two Worlds: Music in African-American Chicago from 1920-1940"
Lawrence Schenbeck (Spelman College)

"The Atlanta Symphony Orchestra at 50 Years: Perspectives on the Past and Prospects for the Future"
Karen Garrison (Auburn University)

"Opera In Charleston, South Carolina from 1735-1800: Chronology, Theaters, and Types of Operas"
Timothy M. Crain (Florida State University)

Session VI: Ethnic Music/Ethnic Composers

"Three Prominent Composers from Argentina"
Michelle Tabor (Tallahassee, Florida)

"The Importance of the Guitar In Spanish Nationalism"
Lawrence Newcomb (University of Florida)

"The Flute Music of Two Twentieth-Century Czech Women Composers: lvana Loudova and Sylvie Bodorova"
Lana Johns and Joel Harrison, piano (Mississippi State University)

Session VII: Music Education 2

"Baroque Music in an Interdisciplinary Humanities Course"
Ann L. Silverberg (Austin Peay State University)

"Proposal for a Barrier System for Evaluating Progress in College Level Melodic/Rhythmic Recognition and Aural Awareness Skills"
G.B. Lane (University of South Carolina)

Session VIII: Symbols in Music

"Mystic Symbols: The Composer Philip Wilby and His Symphony for Wind Orchestra"
M. Scott McBride (West Georgia College)

"Saints and Elves In the Now World: A Look at the Non-pedal Harp and its Symbolism in America"
Pamela J. Winkler (University of Southwestern Louisiana)

Session IX: Additions to the Repertoire

"Harmonlemusik: First Transcriptions for Wind Band"
Richard Murry (Auburn University)

"A Now Standard Repertoire: The Clarinet Music of Robert Muczynski"
William Nichols, Donald Cornell, piano, Mark McCleery, cello (Northeast Louisiana University)

"An Addition to the Traditional Recital: Music for Voice and Alto Trombone"
Margaret H. Daniel and Robert Schmalz, alto trombone (University of South western Louisiana)

Session X: CMS Composers' Concert

Works by Chris Culver, Mark Francis, Carl Johnson, Kari Henrik Juusela, Mark Prince Lee, Richard Montalto, Robert Placek, Rebecca Danner Remley, and Roger Vogel

Session XI: Musicology 2

"Scandinavian Scandal: The Life and Times of Elfrida Andre"
Karrin Ford (Belmont University)

"The World of Julie Calve, Prima Donna"
Anne Simpson (University of Southwestern Louisiana)

Session XII: Musicology 3

"Alexander Gretchaninoff: Forgotten Composer of Solo Piano Collections"
Sandra Stewart (Jacksonville University)

"Organized Labor and the American Orchestra, 1890-1920: A Preliminary Study"
Robert F. Schmalz (University of Southwestern Louisiana)

Session XIII: Multicultural Aspects

"CMS Multicultural Attitude and Awareness Inventory: Results and Implications for the Profession"
Gerald Farmer (West Georgia College) and Nancy Barry (Auburn University)

"Emerging Feminism as Portrayed in American Operas of the 1950's"
Thomas A. Gregg (University of Mississippi)

"Piano Teaching In the People's Republic of China"
Vicki King (Clarksville, Tennessee)