Great Lakes

Friday, March 31

8:00 pm SESSION 1

Pruis Hall, Zae Munn (Saint Mary’s College), Chair

CMS-Member Ensembles Performing Works by Region Composers

Jointly Presented by the Ball State New Music Festival and the College Music Society Great Lakes Region 2000 Conference

Suite for Brass Trio (1989) by James Chaudoir
University of Wisconsin Oshkosh Faculty Brass Trio
Bruce Atwell, horn, Charles Isaacson, trombone, Randall Sorensen, trumpet
Concertino (1999) by Marc Satterwhite
Rebecca Jemian, bassoon (University of Louisville)
Kimcherie Lloyd, piano (University of Louisville)
Twelve for Three (1999) by Charles Lipp (Lombard, Illinois)
Alicia Cordoba-Tait, oboe (Benedictine University)
Douglas Spaniol, bassoon (Butler University)
Bradley Haag, piano (Benedictine University)
Dervish (1999) by Chris Rutkowski (Indianapolis, Indiana)
Indiana University Saxophone Quartet
Thomas Walsh, soprano saxophone
Lisa Rhoades, alto saxophone
Michael Duke, tenor saxophone
Karl Hartman, baritone saxophone

An additional work chosen by Ernesto Pellegrini from those chosen for the Ball State New Music Festival

Saturday, April 1


8:30 am SESSION 2 (Split Session)

A) Improvisation: Teaching Issues in Jazz and the Common Practice Period
Alumni Center, Assembly Hall A, David Harnish (Bowling Green State University), Chair

1) Common Practice improvisation: its importance in the music curriculum, and suggestions for teaching it
John Murphy (Western Illinois University)
2) Contextualizing Improvisation: A New Paradigm for Jazz Theory and Analysis
Robert Hodson (University of Wisconsin-Madison)

B) Technology and Pedagogy
Alumni Center, Meeting Room 2, Robert H. Woody (Ball State University), Chair

1) Pedagogy Issues and Online Video Technology
Peter A. McAllister (Ball State University)
2) Interdisciplinary Collaboration with Students in the Technological Based Disciplines: A Unique Opportunity for Music Students
Kristy Bryden (University of Wisconsin-Madison)

9:30 am SESSION 3 Inclusion in the Music Curriculum (examples you can take home and use)
Alumni Center, Assembly Hall A, Larry F. Ward (Central Michigan University), Chair

1) Ragtime in the Theory Class: Three Rags by Scott Joplin
Ralph Lorenz (Kent State University)
2) Including Rock Music in the Aural Skills Curriculum
Barbara E. Bowker (William Rainey Harper College)
3) The Music of the Beatles in Undergraduate Music Theory Instruction
Pandel Collaros (Bethany College)
4) No Time for Jazz
John C. Dressler (Murray State University)

Alumni Center, Assembly Hall A
Christopher Waterman (University of California Los Angeles)
Breaking Music’s Windows

Alumni Center, Assembly Hall B

1:30 pm SESSION 4 Alternative Models to the Traditional Music Curriculum (dreams to share)
Alumni Center, Assembly Hall A, Michael Benson (Oakland University), Chair

1) Music Theory Shaken, Not Stirred: A Fantasia on Future Directions for Music Theory
Bruce Taggart (Michigan State University)
2) Refashioning Music Appreciation for the liberal arts college
Mark Mazullo (Macalester College)
3) An Approach to Integrating World Music, Improvisation, and Music History into a Single Course for First-Year Music Students
Matthew Balensuela, Holling Borne, Eric Edberg, Cleveland Johnson, Julianne Miranda (DePauw University)

3:00 pm SESSION 5 (Split Session)

A) Women composers
Alumni Center, Assembly Hall A, James Chaudoir (University of Wisconsin Oshkosh), Chair

1) An Additional Four: Women Composers and Representative Works, 1921-1962
Joanne Swenson-Eldridge (Beloit College)
2) Piano music of Early 20th Century American Women Composers
Rebecca Sorley (University of Indianapolis)

B) Theory Issues
Alumni Center, Meeting Room 2, Cynthia Benson (Bowling State University), Chair

1) Welcome to Theory Camp! More Than Simple Remediation Jeffrey L. Gillespie (Butler University)
2) Constructivism and Aural Theory: Do They make a Match? Theodore E. Buehrer (Kenyon College)

4:00 pm SESSION 6 (Split Session)

A) Panel discussion
Alumni Center, Meeting Room 2, Mark Harbold (Elmhurst College), Moderator

"You Asked Me to Teach What?: Teaching Outside Your Professional Area"
Claire Boge (Miami University)
Larry F. Ward (Central Michigan University)
Mary Scanlan (Grand Rapids Community College)
Gene Trantham (Bowling Green State University)

B) Perspectives on World Music and Ragtime
Alumni Center, Assembly Hall A, Nico Schuler (Michigan State University, Central Michigan University), Chair

1) A Place for Ragtime in the Music Curriculum
Eric Street (University of Dayton)
2) "The Organic Music" and That Other One": The Post-World War II Modernist Relationship with World Music
Per F. Broman (Butler University)

Great Plains

Friday, March 24

Session I - Chair: Mark Holmberg, University of Kansas

Charlie Parker's Kansas City: 1927-1939
Marc Rice, Truman State University (Kirksville, MO)

Jazz Highlights from the Paseo Recreational Hall, Kansas City, Missouri, 1930-1939
Tony Bushard, University of Kansas (Lawrence)

An Introduction to Romanian Art Song by Female Composers
Paula Boire, soprano; Byrnell Figler, piano, Fort Hays State University (Hays, KS)

Cultural Themes, Myths, and Symbols in Twentieth-Century Hungarian Choral Music: Forging a New National Identity
Karen Wachsmuth, Coe College (Cedar Rapids, IA)

Session II - Chair: Ian Coleman, Manhattan Christian College

A Path Through Time: Analysis and the Temporal Dimension
Hali Fieldman, University of Missouri-Kansas City

Too many Artists: The Redesign of The Threepenny Opera in G.W. Pabst's 1930 Film
Kristie Brandt, University of Missouri-Kansas City

A Lecture/Recital on Suite for Flute and Marimba (1978) by Alec Wilder (1907-1980)
Barry Larkin, marimba; Elizabeth Sadilek, flute, Iowa State University (Ames)

Introducing Arthur Lourié: Russian Writer, Composer, and Associate of Igor Stravinsky
Jana Borchardt, University of Kansas (Lawrence)

Great Plains Chapter Composers' Recital

Andrew Froelich (North Dakota State University), Four Songs on Chinese Prose Poems
Robert Jones, baritone; Andrew Froelich, piano

Raymond Songayllo (Indianola, IA), Ballade-Sonata for piano
Raymond Songayllo, piano

Ian Corbett (University of Missouri-Kansas City), Something Serious for baritone saxophone
Ian Corbett, baritone saxophone

Robert Rathmell (Iowa State University and Drake University), Three Lyric Pieces for Oboe and Piano
Kevin Schilling, oboe; Susan Flaskerud, piano

Ron Albrecht (Simpson College), Chopin Letters
Wayne Crannell, tenor; Ron Albrecht, piano

Kelly Mahon (Avila College), Introduction and Dance for alto saxophone and piano
Kelly Mahon, alto saxophone; David McKamie, piano

Jeff Jordan (University of Missouri-Kansas City, Quintet for brass
Fountain City Brass

Chen Yi (University of Missouri-Kansas City, Fisherman's Song and Romance and Dance for violin and piano
Chen Yi, violin; Kohei Mukai, piano

Session III - Chair: William Everett, University of Missouri-Kansas City

Women on the Verge: Images of Hysteria in Twentieth-Century French Opera
Keith E. Clifton, University of Northern Iowa (Cedar Falls, IA)

Voice of the Angels, Voice from the Ether: The Parallel Histories of the Glass Harmonica and the Theremin
Nathan Smith, University of Missouri-Kansas City

Keynote Address: Personal Voice in Music Creation
Chen Yi, Lorena Searcey Cravens/Millsap Missouri Distinguished Professor, University of Missouri-Kansas City

Session IV - Chair: Paul Laird, University of Kansas

Special Guest Presentation
Frances Richard, Vice-President of Concert Music, ASCAP

Szymanowski, Kochánski, and the Creation of 'A New Mode of Expression'
Penny Thompson Kruse, violin, William Jewell College (Liberty, MO), Patricia Higdon, University of Missouri-Kansas City

'For instruments not intended': J.C. Bach Resolves a Point of Orchestration
Ann Van Allen-Russell, Goldsmiths College, University of London


Friday, March 10

Session I

Unmeasured Preludes in England
Candace Bailey (North Carolina Central University)
Guitar Topics in Mozart's Piano Sonata K. 332
Alexander Silbiger (Duke University)

Session II

Valloti, Bach and the Temperament Conundrum
Ross Duffin (Case Western Reserve University)
Sonata No. 1 for piano Solo by Charles Ives
James Nalley (George Mason University


A Contemporary pedagogy of Harmony: Figured Bass (Historical) or Chords and Chord Changes (Synchronic)"

Session III

Levels of Acculturation that Have Occurred in the Music of the Italian and Greek Communities of Morningbridge, Pennsylvania
Julie Ann Throckmorton (W. Virginia University)
Italian opera, Blackface Minstrelsy, and the Antebellum Popular Culture
Renee Lapp Norris (University of Maryland)

Saturday, March 11

Session I

Better Performances by Using the Score
Robert McFadden (Southeastern Oklahoma University)
Syrinx or La Flûte de Pan?: The Original Performance Context for Debussy's Work for Solo Flute
Laurel Ewell (West Virginia University)

CMS Composers' Concert

Session II

The Cembalo Cromatico and Its Repertoire
Christopher Stembridge
Chopping Down the Joshua Tree: Irony, Postmodernism, and 'New' U2
Tim Striplin (University of North Carolina at Chapel Hill)

Session III

Mathilde Marchesi's Tips for Tomorrow's Vocal Pedagogy
Bonny H. Miller (Southeastern Louisiana State University)
The Piano music of Sophia Gubaidulina
Barry Salwen (University of North Carolina at Wilmington)


Friday, March 31

Session I - Lecture Recitals
(Loudis Recital Hall) 1:00-5:00 p.m.
Chair: Professor Russell Murray

Beyond Set Theory: Centricity and Symmetry in Galina Ustolskaya's Fifth Piano Sonata (1986)
Steven Ballard
Persichetti's Twelfth Piano Sonata: A Contrapuntal Marvel
Max Lifchitz
Theme as Structural Microcosm in Copland's Piano Variations (1930)
Nelly Maude Case
Aspects of Olivier Messiaen's Compositional Style Found in La Bouscarle from Catalogue d'Oiseaux
Edward C. Bedver
The Ripening Field for Soprano and Tape
Gladys Johnson and William D. Pardus

Session II - Pedagogical Issues
(Room 207) 1:00-5:00 p.m.
Chair: Professor William Melin

Bridging the Gap: Small Group Jazz as a Method for Teaching Jazz Improvisation
Stephen Brooks and Jason W. Berg
Teaching Musicality from the Beginning: An Approach to String Pedagogy
Caroline Medford
Aural Skills is for the Birds? Applying Birdsong Recognition Strategies to the Teaching of Tonal Harmony
Matthew Bribitzer-Stull
Playing Piano Comfortably: The Practical Application of Fingering
Luba Sindler
The Body Language of Music Making
Jacques Voois

Saturday, April 1

Session I - Music and Technology
(Room 207) 9:00 a.m.-12:00 p.m.
Chair: Professor Larry Peterson

Audio Production for Interactive Media: Tools, Techniques and Growing Career Options
Alejandro Tkaczevski
Classroom Rhythm Drills Using Director Software
William Pelto
A Multimedia Comparison of Verdi's Otello and Shakespeare's Othello
Megan Jenkins
A Web Toolkit for Music Educators
Steven G. Estrella
Using Sound and Notation in Web-Based Music Courses
Sy Brandon

Session II - The Western Art Tradition—Past, Present and Future
(Room 211) 9:00 a.m.-12:00 p.m.
Chair: Max Lifchitz

Betty Jackson King: African-American Composer of Note (1927-1994)
Beverly Vaughan
Classical Radio's Role in the New Millennium
Marvin Rosen
The Paradox of Key Symbolism and Tuning in the Late German Baroque Era
Edward McIrvine
The History of the Third Street Music School Settlement, 1894-1984
Mary Jo Pagano

Business Meeting - Room 118, 12:00-1:30

Session III - Jazz—Past, Present and Future
(Room 207) 1:45-4:15 p.m.
Chair: Professor Russell Murray

The Lower East Side Movement: Jazz in the Next Millennium
Robert P. Smith
Maria Schneider
Bruce Samet
It Don't Mean a Thing . . . or Does It? Swing and the Signification of Authentic Jazz
Edward Flanagan
Color Your Blues with Syle! Keyboard Performance Practice to Create an Authentic Jazz Style
Joe Utterback

Session IV - Looking to the Future: Curricular Issues
(Room 211) 1:45-4:15 p.m.
Chair: Professor Larry Peterson

Hard Core Musicianship: Designing the Ideal 21st-Century Curriculum
Robert Shankovich
Is There a Place for World Music in the "Traditional" Music Theory Curriculum?
Marianne M. Murawski
NASM Institutions in the Mid-Atlantic and Northeast States: A Summary of Practices and Issues Regarding Recruitment and Admissions, Evaluation of Full-Time Faculty, and the Role of the B.A. Degree in Music
Ronald Lee

Recital of Compositions
(Loudis Recital Hall) 4:30-6:00 p.m.

Play Within a Play (for solo piano)
Eleanor Cory
When We Two Parted (for soprano and piano)
Clive Eric Davis
Nocturne and Dance of the Honey Monkey (for solo piano)
Eric Moe
Two for Two - Series II (for two flutes)
Alejandro Tkaczevski
Dithyramb (for solo piano)
Matthew Harper
No Secret Hidden (for baritone and piano)
Delvyn Case
Affinities (for solo piano)
Max Lifchitz

Pacific Central

Keynote Speaker

Experiments in Musical Intelligence
David Cope

Lectures and Musical Presentations

Del Tredici's 'Vintage Alice': Theme and the Creation of Wonderland
L. Christine Amos
Journeys (2000), a song cycle for soprano, horn, and piano: Open reading and remarks
John Marvin
Chopin's Prelude in Ab Major, Op. 28, No. 17: A Critical Comparison of Sources and Early Editions
Paul M. Ellison

Panel/Open Forum

You Asked Me to Teach What?: Teaching Outside Your Professional Area
led by Ellen Amsterdam-Walker and Faun Tidge


Four Selections from Five Songs (1996) by David Cope
Ich lad' euch selbst (after Bach)
In der Fremde (after Schubert)
My Secret (after Puccini)
Tomorrow (after Strauss)

Deborah Kavasch, soprano
Stephen Thomas, piano

When in Disgrace (1996) on a text by William Shakespeare - by Denis Floyd

Deborah Kavasch, soprano
Stephen Thomas, piano

Schematic Nocturne (1997) for solo piano by Bruce Christian Bennett

Lee Alan Nolan, piano

Self-Expression (1995) by Stacy Garrop

Deborah Kavasch, soprano
Stephen Thomas, piano

Interpose (1995-1999) for guitar and computer-generated tape by Charles Nichols

Cem Duruoz, guitar

The Ant and the Grasshopper (1998) by Deborah Kavasch

Deborah Kavasch, soprano
Leah Carl, violin
Parke Burgess, cello
Dale Wolford, soprano sax

Mice Suites (1998)
A Chamber Opera in 13 Songs for Voices and Instruments
(Libretto after John Steinbeck) by Mark Alburger
Dreamsong I
Tartsong I
Tartsong II
Deathsong I
Deathsong II
Fuguesong (Triple Fugato of Vengeance)
Dreamsong II

Deborah Kavasch, soprano; Mark Alburger, tenor
Thomas Goss, baritone; Byron Jones, bass
Diana Tucker, flute; Andrew Shapiro, clarinet; Jab, trumpet
Stephen Thomas, piano

Pacific Northwest

Session 1 - New Approaches to Pedagogy (8:40am-10:30)

Applying the Principles of the Alexander Technique to Music Performance Through the Teaching of Ear Training
(Anita King, Willamette University)

Native Music of North America in the General Education Curriculum
(Judy Jones, Washington State University)

The Composers' Studio: A New Paradigm
(Tom Baker,University of Washington)

Teaching for Musical Meaning: Semiotic as an Instructional Tool
(J. Scott Goble, University of Washington)

Session 2 - Style and Interpretation (10:40am-12:00)

Much Ado About Humming
(Sean Malone, University of Oregon)

Problems of Tempo in Puccini's Soprano Arias
(Mie Zhong, Idaho State University)

Biography, Proportion, and Interpretation in Brahms' Horn Trio, Op. 40
(Carol Padgham-Albrecht, University of Idaho)

Session 3 (12:50pm-1:30) - The Role of the Artist in the Community

Keynote Address (Janice Giteck, Cornish College of the Arts)

Session 4 (1:40pm-3:00) - 20th Century Music

Arnold Schoenberg as Composer and Theorist
(Bernard Scherr, University of Oregon)

Joni Mitchell's Court and Spark: The Song Cycle in a Popular Guise
(Sue Niemoyer, University of Washington)

Structure and Syntax in the Music of Gyorgi Ligeti
(Robert Dickow, University of Idaho)

Session 5 (3:10pm-3:50) - You Want Me To Teach What?: Teaching Outside Your Professional Area

Panel Discussion (David Hebert, University of Washington; Peter Gries, Central Washington University; Anne Dhu McLucas, University of Oregon)

Session 6 (4:30-5:30) - Pacific Northwest Opera

Elmer Gantry
(Robert Aldridge, Western Oregon University)

Seed of Sarah
(film opera composed by Mark Polishook, Central Washington University; directed by Andrea Weiss)

Session 7 (6:40pm-8:20) - Pacific Northwest Chamber Music

Transformations for Soprano Saxophone and Piano by Todd Barton
Rhett Bender, Saxophone; Alexander Tutunov, Piano

New Wave for Alto Saxophone and Piano by Gregory W. Yasinitsky
Rhett Bender, Saxophone; Alexander Tutunov, Piano

SoundMovesBlues by Robert Livingston Aldridge
SoundMoves: Diane Baxter, piano; Tom Bergeron, alto saxophone; Marion Schrock, clarinet
Fantasy for Trombone and Piano by Adriana Figueroa
James Michael Bicigo, trombone; Dan Ingram, piano
Moto (for tape) by Bruce Hamilton
Still Life by Bruce Hamilton
Beth Berends, clarinet
Syllogism - The Evolution of a Virtuoso by Joe Brooks
Joe Brooks, clarinet
Knotty Ensemble
Jared Burrows, guitar; Sonya Lawson, viola; Alex Kelly, violoncello; Rob Kohler, contrabass

Session 8 (8:30-10:00) - Keynote Film Presentation

Rabbit in the Moon (music by Janice Giteck)
directed by Emiko Omori

Pacific Southern

Friday, March 3rd

Session I

Community Investment: Collegiate Outreach Programs for the New Millennium
J. Dianne Anderson-Nickel
Fantasy for Piano and Electronics by Rod Oakes
Anita Chang, piano
Kissin’ Cousins: The Shared Lineage of String Band Music and Western Swing
David Brock
Alchemy: Visions
Daniel Hosken
Academic Canticle
David Bradfield
“You Asked Me to Teach What?: Teaching Outside Your Professional Area.”
Discussion topic, Marshall Bialosky, Moderator

Saturday, March 4th

Session II

Jester Hairston 1901-2000
Hansonia Caldwell
Musical “Mutts”: No Longer Out of Step
David Kopplin
Of Breath and Touch (1999) by Alex Shapiro
Carolyn Beck, bassoon; Delores Stevens, piano
Deep Structure in the Arts: Musical form in Two Recent Literary-Dramatic Works
David Ward-Steinman
Four Piano Pieces by Jeremy Beck
Delores Stevens, piano

Session III

Fabricated Laughter: Wit and Humor in Renaissance Music
Hiroyuki Minamino
Icnocuicatl, Song of Bereavement
Cesar Ivan Potes
Music, the Unknown: A Personal Experience with the Relearning of Music
Mark Hertica

Composers Concert

Prisms and Reflections (1995-96) by David Ward Steinman
1. Projection (for piano interior)
2. Facet I: Dramatically
3. Reflection (for piano interior)
4. Facet II: Slow and pensive
5. Refraction (for piano interior)
6. Facet III: Precipitously; Presto

David Ward-Steinman, piano

Eleven Jewish Melodies for solo Viola by Marshall Bialosky

Carole Mukogawa, viola

Strewn (for piano) by Mark Bobak

Bryan Pezzone, piano

Sonata Allegro by Larry Mumford

Bryan Pezzone, piano

Meditations for Viola and Celloby David Kopplin
Fugetti duetto

Frances Moore, viola; Manon Robertshaw, cello

Rocky Mountain

Friday, 14 April

1:00-2:00 Session I: The Classical-Popular Music Divide

Did Brahms Compose the Star Wars Theme? Subconscious and Intentional Uses of Classical Motives in Background Music
Hidemi Matsushita, Minnesota State University at Akita, Japan
Techno, Metal, and the Five-String Banjo: Carmina Burana as a Pop-Music Phenomenon
Luke Howard, Moorhead State University

2:15-3:15 Session II: Theoretical Considerations

The Origins & Integration of Theories of Dissonance and Chord Inversion in the French Baroque
Timothy J. Brown, University of Northern Colorado
Textural Progressions: The Role of Texture and Timbre in the Articulation of Musical Form
Brent Lee, Mount Royal College

3:15-3:45 Session III: American Music History, 2000

A Look at American Music History for the New Millennium
William Kearns, University of Colorado

4:00-5:00 Session IV: The Feminine Perspective

The Feminine Influence in Music
K Marie Stolba, Indiana University-Purdue University Fort Wayne
Melisande Meets Lulu: Operatic Heroines from the Feminine Perspective.
Diane Follet, University of Northern Colorado

7:30-9:00 Session V: Lecture-Recitals

J. Frederic Goossen's Musical Responses to the Literary Impressionism of Robert Browning's "Cavalier Tunes"
Robert Jones, North Dakota State University
Andrew Froelich, North Dakota State University
Aspects of Olivier Messiaen's Compositional Style Found in La Bouscarle from Catalogue d'Oiseaux
Edward Bedner, Berklee College of Music


Saturday, 15 April

All-Day Poster Session: Online Pedagogy

The Role of Interactive Listening Software in Online Music Appreciation Courses
Larry Worster, The Metropolitan State College of Denver

8:30-10:00 Session VI: New Directions in Music Education

Comprehensive Performance Evaluations in Instrumental Pedagogy Courses
Emery C. Warnock, University of Utah
A University Music School Assessment Strategy: A Comprehensive Approach for Music Majors
Tracy Carr, Eastern New Mexico University
Gretchen Foley, Eastern New Mexico University
Jean Wozencraft-Ornellas, Eastern New Mexico University

10:15-11:45 Session VII: Looking at the Composers

The Copland Clarinet Concerto
Christopher Ayer, Eastern New Mexico University
Jón Nordal, Dean of Icelandic Composers
John White, University of Florida
The Process of Transcription for Guitar of the Chaconne from the Second Partita for Violin Solo by J.S. Bach
Rodolfo Betancourt, Arapahoe Community College

11:45-1:15 Annual Business Luncheon

Virginia Giglio: Keynote Address

1:30-3:00 Session VIII: World Music Workshop

Workshop Presentation: Balinese Gamelan Performance Practices
Participants will learn and perform a short piece using instruments of the Wyoming Gamelan Chandra Wyoga. Techniques of playing will be introduced and the parts will be taught aurally and using some basic notation. Members of Chandra Wyoga will be on hand to help learn parts and to answer questions you might have about the Wyoming gamelan.

3:15-3:45 Session IX: Panel/Roundtable Discussion

"You Asked Me to Teach What?": Teaching Outside the Professional Area.

4:00-4:45 Session X:

Organ Recital
Robert Cavarra, Colorado State University

South Central

Friday, February 25, 2000

8:00-9:00am Registration

9:00-9:15 Welcome

9:15-10:45 Session 1

"The Tonic Function Expressed by Dominant Harmony"
John Crotty, West Virginia University
"Style and Structure in Nexus: Portfolio for Snare"
Daniel Adams, Texas Southern University
"Epiphanic Form: Continuity and Interruption in Elliott Carter's Gra"
Richard Power, Austin, TX

10:45-11:00 Break

11:00-12:30 Session 2

"Contrapuntal Music for Solo Voice"
Stuart Hinds, Houston, TX
"The Merger of Technology and Nature: Performing Works with Computer-Generated Tape Accompaniment"
Jeremy Kushner, Laredo Community College
"Trumpet Ensemble Music from Three Centuries"
James L. Klages, University of Central Oklahoma

12:30-2:00 Lunch

2:00-3:00 Session 3

"The Case for Haydn's Operas"
Laurel E. Zeiss, Baylor University
"Offenbach's Les Contes d'Hoffmann and its Parallels in Saint-Saëns's Le Timbre d'Argent"
Mary Jean Speare, Baylor University

3:00-3:15 Break

3:15-4:45 Session 4

"Is it Time for a Change? A Hard Look at, and Hard Questions Concerning, the Traditional Model of Music Education"
Brian K. Leavell, University of North Texas
"Better Performances by Using the Score"
Robert McFadden, Southeastern Oklahoma State University
"Developing a Multimedia and Hypermedia Based College Music Literature Learning Environment"
Suna Chung, Indiana University, and Sam Chung, University of Texas at Permian Basin

5:00-6:00 Concert of Music by CMS Composers

Works by Sam Magrill, Richard Power and Anthony Brandt

Saturday, February 26, 2000

8:00-9:00am Registration

9:00-10:30 Session 5

"Unami and Munamukami: Two Flute Works of Mexican Composer Arturo Salinas"
Merrie R. Siegel, Houston Community College
"Yrjö Kilpinen: Songs in the Shadow of Giants"
Richard Davis, University of Texas Pan American
"Pantcho Vladigerov and the Neglected Beauty of the Bulgarian Musical Folklore"
Krassimira Jordan, Baylor University

10:30-11:00 Break

11:00-12:00 Session 6

"Interpreting the Negro Spiritual from the Accompanist's Point of View"
Fennoyee Thomas, Texas Southern University
"The Life and Works of John Duke (1899-1984)"
Deborah Bussineau-King, University of the Incarnate Word

12:00-1:30 Luncheon and CMS Business Meeting

1:30-3:30 Session 7

"The Medieval Content of Samuel Barber's Hermit Songs"
Andrew Hudson, Baylor University
"Piano Works of Archer, Coulthard, and Pentland: A Reflection of the Canadian Landscape"
Jane Perkyns, Texas Southern University
"Amy Beach: An Investigation and Analysis of the Theme and Variations, op. 80, for Flute and String Quartet"
Carolyn Marie Treybig, Bowling Green, OH

3:30-3:45 Break

3:45-5:00 Concert of Music by CMS Composers

Works by Mark Dal Porto, David Heuser and Tom McCullough


Thursday, February 24, 2000

11:30-12:15 Registration

12:15 Welcome and Introduction
• Thomas King, Austin Peay State University, President, College Music Society, Southern Chapter
• Robert Schmalz, University of Louisiana at Lafayette, Conference Host

Session A Native American Music, African-American Music, Pedagogy

12:30 Native Flute Music
Karen Garrison, Auburn University
1:00 Frederick J. Loudin: Exceptional Musician and Dedicated Civil Rights Activist
Toni Passmore Anderson, LaGrange College
1:30 Behind Closed Doors: What Really Goes on in the Practice Room
Nancy Barry, Auburn University

Session B Woodwind Music

2:15 Lucie Robert’s Cadenza for alto saxophone and piano
John Bleuel, State University of West Georgia
Linda Li-Bleuel, Clemson University
2:45 Mozart, Süssmayr, and the Clarinet
Keith Koons, University of Central Florida
3:15 The Flute Music of Luigi Zaninelli
Julie M. Maisel, Millsaps College, Hinds Community College

Session C Vocal Music

4:00 Pre-Romantic Spanish Song: An Historic Perspective
Carol Mikkelson, Lyle Indergaard, Valdosta State University
4:30-5:30 Robert and Clara Schumann’s Liebesfrühling Reborn
Bonny H. Miller, Emily Truckenbrod and Dirk Garner, Southeastern Louisiana State University

8:00 Concert #1

Friday, February 25, 2000

ALL DAY Audio Room for Sampling of Composers’ and Performers’ Recordings

Session D Music Technology/A Jazz Legend

9:00 Grout Revisited: New Perspectives on a Well-worn Path
Patricia Gray, Rhodes College
9:30 Teaching Music Appreciation Online
Brent Weaver, Clayton College & State University
10:00 Duke Ellington in England
Gerald Farmer, State University of West Georgia

Session E Hispanic Music

10:45 Achieving the Impossible: Balance in Joaquin Rodrigo’s Works for Guitar and Orchestra
Ken Keaton and Aaron Kula, Florida Atlantic University
11:15 Villa-Lobos and Popular Music in the Compositional Process: The Choros and the Bachianas Brasileiras
George Caracas Garcia, State University of West Georgia

Judith Coe, Speaker, Mississippi University for Women Academic and Recording Industry Alliances (ARIA)

Session F Student Papers

1:45 Ernst von Dohnányi and Andrew Schulhof - Friends and Mutual Lifesavers
James A. Grymes, Florida State University
2:15 The Beautiful in Strangeness: Some Extended Vocal Techniques of Joan La Barbara
Linda Ann Brown, University of Florida
2:45 The Ford Foundation, Music Educators National Conference, and Louisiana State University: Examples of Forward Thinking in Arts and Education Private Philanthropy
Patrick Tuck, Louisiana State University


You Want Me to Teach What? Teaching Out of Your Area
Keith Koons, Chair
Junior College/Community College Concerns, Are They Unique?
Vicki King, Chair
Mentoring Students and Faculty
Nancy Barry, Chair

4:30 Concert #2

8:00 Concert #3

Saturday, February 26, 2000

8:00 Southern Chapter Business Meeting and Elections

Session G Student Paper/Compositon

9:00 Elliot Carter’s String Quartet No. 3 as Predicted by, and Predictive of, the Composer’s Other Works
Sarah Satterfield, University of Florida
9:30 An Archetypal Model of Renaissance Imitation Masses: A Lecture Demonstration
Julia Thorn, Centenary College
10:00 Harmonic Motion and Surface-Level Compositional Design
Laurdella Foulkes-Levy, University of Mississippi

9:00-11:00 Mock Job Interviews
by David Z. Kushner, University of Florida, Daniel Taddie, Columbus State University, Judith Coe, Mississippi University for Women for Student members Grymes, Brown, Satterfield, Tuck and Smith

Session H Music Theory and Composition

10:45 Carl F. Weitzmann’s Theory and Its Pedagogical Value Today
Linda J. Popovic, Vanderbilt University
11:15 Harmonic Voicing Relations in Set Theory
Greg Danner, Tennessee Technological University
11:45 Making Sense Out of Postmodern Music?
Garth Alper, University of Louisiana at Lafayette

12:15 LUNCH

Session I Musicology

2:00 Grieg: Attitudes Toward the Artistic and the Folk
Frederick Key Smith, University of Florida and Outstanding Student Paper Award Winner 1999 Southern Chapter
2:30 Franz Liszt and Niccolò Paganini: Spectacular Virtuoso
David Z. Kushner, University of Florida
3:00 Anthony Philip Heinrich: America’s Beethoven of the Log House
Vicki King, Volunteer State Community College
3:30 A Biographical and Analytical Study on Selected Compositions of Julian Cassander Work: A Twentieth-Century African-American Composer of Wind Band Literature
Paxton Girtmon, Texas Southern University