Free ebooks ==> www.Ebook777.com www.Ebook777.com Free ebooks ==> www.Ebook777.com Women of Influence in Contemporary Music Nine American Composers Edited by Michael K Slayton The Scarecrow Press, Inc Lanham • Toronto • Plymouth, UK 2011 www.Ebook777.com 10-525_Slayton.indb i 11/29/10 7:01 AM Published by Scarecrow Press, Inc A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 http://www.scarecrowpress.com Estover Road, Plymouth PL6 7PY, United Kingdom Copyright © 2011 by Michael K Slayton All rights reserved No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review British Cataloging in Publication Information Available Library of Congress Cataloging-in-Publication Data Women of influence in contemporary music : nine American composers / edited by Michael K Slayton p cm Includes bibliographical references and index ISBN 978-0-8108-7742-9 (cloth : alk paper) — ISBN 978-0-8108-7748-1 (ebook) Women composers—United States—Biography Women composers— United States—Interviews Music by women composers—United States— 21st century—Analysis, appreciation Music by women composers—United States—20th century—Analysis, appreciation I Slayton, Michael ML82.W676 2011 780.92'273—dc22 [B] 2010028110 ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992 Printed in the United States of America 10-525_Slayton.indb ii 11/29/10 7:01 AM And now we who are writing women and strange monsters Still search our hearts to find the difficult answers, Still hope that we may learn to lay our hands More gently and more subtly on the burning sands To be through what we make more simply human, To come to the deep place where poet becomes woman, Where nothing has to be renounced or given over In the pure light that shines out from the lover, In the pure light that brings forth fruit and flower And that great sanity, that sun, the feminine power —May Sarton, from “My Sisters, O My Sisters,” The Lion and the Rose 10-525_Slayton.indb iii 11/29/10 7:01 AM Free ebooks ==> www.Ebook777.com www.Ebook777.com 10-525_Slayton.indb iv 11/29/10 7:01 AM CONTENTS Foreword: “Who Are These Women?” Karin Pendle Editor’s Preface ix xiii Acknowledgments xv ELIZABETH R AUSTIN Michael K Slayton A Conversation with Elizabeth Austin Analysis: Symphony no 2, “Lighthouse” (1993, rev 2002), Movement I: Lighthouse/Watertower Mannheim/Watch Hill Coda Notes Appendix A: List of Works Appendix B: Discography Sources 23 30 44 46 48 51 52 53 SUSAN BOTTI Carson Cooman A Conversation with Susan Botti Analysis: Echo Tempo (2001) Coda Notes Appendix A: List of Works Appendix B: Discography Sources 64 69 79 80 81 82 82 v 10-525_Slayton.indb v 11/29/10 7:01 AM vi Contents GABRIELA LENA FRANK Deborah Hayes A Conversation with Gabriela Lena Frank Analysis: Leyendas: An Andean Walkabout, for string quartet (2001) Coda Notes Appendix A: List of Works Appendix B: Discography Sources JENNIFER HIGDON Donald McKinney A Conversation with Jennifer Higdon Analysis: Concerto for Orchestra (2002) Coda Notes Appendix A: List of Works Appendix B: Discography Sources LIBBY LARSEN Tina Milhorn Stallard A Conversation with Libby Larsen Analysis: Try Me, Good King: Last Words of the Wives of Henry VIII (2000) Coda Notes Appendix A: List of Works Appendix B: Discography Sources TANIA LN James Spinazzola A Conversation with Tania Ln Analysis: Indígena (1991) Coda Notes 10-525_Slayton.indb vi 85 111 119 132 133 135 137 138 141 152 163 182 184 184 188 189 191 202 212 228 230 233 244 249 251 266 271 283 284 11/29/10 7:01 AM Contents vii Appendix A: List of Works Appendix B: Discography Sources 286 295 296 CINDY MCTEE Michael K Slayton A Conversation with Cindy McTee Analysis: Symphony no 1: Ballet for Orchestra (2002) Coda Notes Appendix A: List of Works Appendix B: Discography Sources 299 MARGA RICHTER Sharon Mirchandani A Conversation with Marga Richter Analysis: Qhanri (Snow Mountain): Tibetan Variations for Cello and Piano (1988) Coda Notes Appendix A: List of Works Appendix B: Discography Sources 323 333 350 351 353 355 356 357 372 381 395 396 398 402 403 405 JUDITH SHATIN Judith Lochhead A Conversation with Judith Shatin Analysis: Penelope’s Song (2003, rev 2005) Coda Notes Appendix A: List of Works Appendix B: Discography Sources 422 433 443 444 445 448 450 Index Index of Musical Works by Composer About the Editor and Contributors 451 471 475 10-525_Slayton.indb vii 11/29/10 7:01 AM 10-525_Slayton.indb viii 11/29/10 7:01 AM Free ebooks ==> www.Ebook777.com Karin Pendle FOREWORD: “WHO ARE THESE WOMEN?” Who are these women, these “women of influence?” Why have they been chosen to represent not “women composers,” but “American composers,” and why have they been brought before us as people who have something important to say, something perhaps that we need to hear? Who are these women? The answer—they are living, active, professional composers whose lives span nearly three generations of music history Some are the products of musical families, where they were introduced to music making at early ages; some came to music later in life and in ways that might have seemed irregular to even the best-known women composers of the past century Some have had to deal with sexism in pursuit of their goals, but none was denied advanced professional training because of her gender They studied at major music schools or at public universities They learned their craft in New England, in Europe, on the West Coast, in New York, in the south, or in the midwest They write songs and music for piano; they also write chamber music, operas, symphonies, and concert pieces for major orchestras, concertos for celebrated soloists, works that involve electroacoustic media, and more They create large forms or miniatures They draw on European traditions or on the latest idioms from the worlds of jazz or pop They write on commission; their music is performed For them, the only boundaries are those set by the requirements of the piece and its performers Finally, most have an interest in passing on what they have learned, by teaching, coaching, conducting, or serving on local and national committees and boards as advocates for their art And yet, how different they are In Elizabeth Austin we see the clear, gradual development of an individual style over time, grounded in the best elements of the Western musical heritage Susan Botti emerges from the world of the theater, conveying her ideas in a method of notation that links the compositional process to the desired outcome, the performance World music comes into play strongly and personally in the music of Gabriela Lena Frank and Tania León, their works presenting a multitude of colors and infinite variety heretofore unrevealed to their American ix www.Ebook777.com 10-525_Slayton.indb ix 11/29/10 7:01 AM 464 Index 368–69, 372–78, 381, 384–86, 388–89, 391–95, 397n10, 397n17, 413, 417, 419, 424, 426, 428, 431, 443–44 Piano Concerto(Copland), 343 Piano Concerto (Higdon), 152 Piano Trio (Higdon), 142 Picnic (Larsen), 229 pinkillo, 95 pipa, 105 Piping the Earth (Shatin), 405, 411, 413, 415 Pisani, Michael, 71 pitch class, 6–7, 25, 274, 276, 338, 341, 347, 437–38, 442 Pittsburgh New Music Ensemble, 311 Pittsburgh Symphony Orchestra, 152 Plymouth Philharmonic Orchestra, 350 poem/poet/poetry, 1, 10, 12–13, 44, 48n28, n34, 54–62, 72, 75, 78, 86, 90, 92–94, 103, 107, 113, 119–20, 125, 150, 152, 194–95, 198, 200, 221, 232n42, 328, 334, 351, 357–59, 362, 367, 379, 397n15, 408, 412, 444 Polish Requiem (Penderecki), 335 Pollack, Howard, 346 PolleritaRoja (Frank), 107 polychord / polychordal, 8–9, 40, 151, 172–73, 175, 178 popular music, 85, 121, 142–43, 252, 257, 285n30, 302, 323, 341, 348, 427 postmodern, 319, 323, 342 Praetorius, Michael, 213, 221–22 Prelude for Instruments (Botti), 59 Prelude on “Veni Creator Spiritus” (Larson), 199 Prelude, Fugue, and Riffs (Bernstein), 343 Preserving the Rural Soundscapes, 407 Princeton University, 406, 427 Psalm 100 (McTee), 304 Psalm 42: Threnody (McTee), 305 Psalm 91 (Richter), 365 Pulitzer Prize, 132, 182, 229 pututu, 124 Puzzle Preludes (Austin), 20–22 Pythagoras (of Samos), 301 10-525_Slayton.indb 464 Qeros, 114 Qhanri (Snow Mountain): Tibetan Variations for Cello and Piano (Richter), 381–95 Quantum Quirks of a Quick Quaint Quark (Richter), 368–69, 375 quartal/quartal-quintal, 265, 302 Quartet for the End of Time (Messiaen), 89, 306 Quechua, 85, 90, 92–94, 97, 103–4, 107, 113–14 quena, 97, 103, 105, 112, 122, 124–25 Quijotadas (Frank), 103, 109–10, 121 quipus, 119, 124 quote/quotation, 13–14, 19–22, 26–27, 32–35, 39–40, 44, 48n28, n29, 218, 300, 308, 334, 358, 368, 373 Rahbee, Dianne Goolkasian, 365, 397n22 Randall, J K., 406, 427 rap (music), 162, 208 rapid.fire (Higdon), 158 Ravel, Maurice, 300, 324, 336 Reed, Jerome A., 45 Reich, Steve, 96, 308, 380 Remembrances (Richter), 368 Requiem,“Lacrimosa”(Mozart), 36, 38 Requiem (Richter), 368, 377 Requiem for a Magical America: El Día de los Muertos (Frank), 105, 114, 126 Respighi, Ottorino, 324 Rhapsody in Blue (Gershwin), 343 Rhythm Stand (Higdon), 158 Rice University, 89–91 Richard, Frances, 101 Richter, Paul, 358 Richter, Richard, 358 Riders to the Sea (Richter), 357, 371–72, 398n31 Rilke, Rainer Maria, 2, 13, 18, 48n28 Rimsky-Korsakov, Nikolai, 204, 338 The Rite of Spring (Stravinsky), 319, 336–37 Ritmos Anchinos (Frank), 103, 105–6 Rituál (Léon), 255 11/29/10 7:02 AM Index Riu, Elena, 255 Robatto, Lucas, 100, 104 Robbins, David, 303 rock and roll, 28, 91 Rock and Roll (Eric Stokes), 204 Rohrig, James, 430 Rome Prize, 54, 406 Romero, Raúl, 133 rondo, 158 Rondure Music, 300 Rorem, Ned, 146, 156, 375 Rose Sonata (Austin), 8, 10, 13–14, 18–19 Rotunda (Shatin), 443 A Row of Buttons (Léon), 255 Royal Liverpool Philharmonic Orchestra, 182 Rubalcaba, Gonzalo, 59 Rutgers University, 406 Saariaho, Kaija, 428 Salamon, Babette, 87 Salt Lake City Symphony, 103 Salzman, Tim, 350 Samarkand (Léon), 255 San Francisco Conservatory of Music, 88 San Francisco Opera, 183 Sánchez, Trinidad, Jr., 107 Sans Souci Souvenir(Austin), 5, 48n29 saxophone, 105, 302, 310, 323, 326, 412, 433 Scarlatti, Domenico, 87 Scheherazade (Rimsky-Korsakov), 204 Scheidel, Elizabeth, Schenkerian analysis, 428 scherzo/scherzi, 125, 165, 266, 335, 381, 392, 395 Schirmer, E C., 405 Schoenberg, Arnold, 26, 427 Schubert, Franz, 21, 35–36, 40 Schuller, Gunther, 333, 406 Schumann, Clara, 210 Schumann, Robert, 19, 35, 40, 44, 47n15, 48n29 Schutz, Mike, 431 Schwantner, Joseph, 66, 80n15 10-525_Slayton.indb 465 465 scordatura, 92, 108 Scott, James, 426 Scott, Monica, 115 Scottish Voices, 444 The Scourge of Hyacinths (Léon), 255, 263 Scriabin, Alexander, 24 Sea of Reeds (Shatin), 412 SEAMUS See Society for ElectroAcoustic Music in the United States Second Viennese School, 26, 40, 268 Seek Him (Richter), 365 Semester at Sea, 410 Sendero Luminoso, 108 September 11, 2001, 71, 164, 335 serial/serialism, 268, 305, 319, 337–39, 341 sesquiáltera rhythm, 98 set class, 276, 338, 342, 436 Seven Studies on Themes of Paul Klee (Gunther Schuller), 333 sexism, 161 Seymour, Jane, 217, 220–22, 232n41 Shakespeare, William, 59 Shapiro, Madeline, 431, 435 Shaw Center for the Performing Arts, 255 sheng, 105 Sheng, Bright, 54 Shepherd College, 407, 429 Shine (Higdon), 148–49 Shining Path See Sendero Luminoso Shostakovich, Dimitri, 142, 357, 368 Shrude, Marilyn, 155 Silk Road Ensemble, 105–6 The Singing Rooms (Higdon), 152 Singing the Blue Ridge (Shatin), 407–9 Sirota, Jonah, 122 Skelly, Alan, 363 Skelly, Maureen, 363, 398n28 Skelly, Michael, 3636, 397n17 Skelton, Logan, 90–91 Sky Above Clouds II (O’Keeffe), 366 Slatkin, Leonard, 315, 322–23, 328, 334, 350–51 Smith, William, 363 11/29/10 7:02 AM 466 Index Society for Electro-Acoustic Music in the United States (SEAMUS), 310 Society of Women Artists in Germanspeaking Countries (GEDOK), 5–6, 29, 46n10 Solisti New York Chamber Players, 271 Sollberger, Harvey, 155 Solstice (McTee), 320–22 son clave, 258, 280 Sonata Andina (Frank), 94–101, 103, 107, 111, 122–24 Sonata for Clarinet and Piano (Richter), 361–62 Sonata for Piano (Richter), 363, 368, 397n10 sonata form, 47n26, 367 See also form Sonata no in C minor, Op 13, “Pathétique”(Beethoven) See Pathétique Sonata song, 23, 48n29, 56, 59–61, 69–71, 73, 75, 77–78, 86–87, 91, 93, 100, 107–9, 119, 122, 129–30, 132, 152, 157, 207, 212–13, 215, 217–18, 223, 226, 301, 304, 311, 313, 344, 347, 357–58, 361, 371, 374, 397n14, 397n15, 406, 4419, 423, 429, 431 song cycle, 8, 119, 205–6, 212–13, 362 The Song of Simeon (NuncDimittis) (Austin), Songs from Letters: Calamity Jane to Her Daughter Janey, 1880–1902 (Larson), 195–96, 200–201 Songs of Cifar and the Sweet Sea (Frank), 103, 107–8, 119 Songs of Spring and the Moon (McTee), 304 Sonneck Society, 304–5 Sonnets from the Portuguese (Larson), 206 Sonoma State University, 443 soprano, 5, 45, 54, 56, 61–62, 66, 69–70, 72–76, 78, 107, 133n7, 195, 213, 231n27, 304, 358, 372, 426 Soroka, Katharine, 426 The Sorrows of Young Werther (Goethe), 413 Soundings (McTee), 313–14, 320, 333 10-525_Slayton.indb 466 soundscape, 151, 410, 424 South American, 115, 129 South Carolina, University of, 229 Soyinka, Wole, 255 Spain, 103, 109, 214, 417 Spanish, 85, 87, 90–91, 93, 97, 103–4, 107, 109, 113, 119, 251, 256, 267, 282, 285n30, 413 Spano, Robert, 146, 150–52, 156, 164, 175 Spectral Chimes/Enshrouded Hills (Richter), 367 Spencer, Patricia, 431 Sprechstimme, 62, 93, 359 Spring Tides (Shatin), 433, 443 St Luke Passion (Penderecki), 325 St Mark’s Episcopal Church (New York City), 372 St Paul Chamber Orchestra, 132, 229 St Vartan Symphony (Hovhannes), 368 Stachowski, Marek, 303 Stampa, Gaspara, 54, 59 State University of New York, 254–55 Stearns, David Patrick, 163 Stepping Out (McTee), 311 Stock, David, 311 Stokes, Eric, 204 Stokowski, Leopold, 360 Stone, Dorothy, 430 Stone, Oliver, 335 Straus, Joseph, 274–75 Stravinsky, Igor, 159, 267–68, 275–76, 281, 286n47, 300, 319, 324, 327, 336–38, 343, 368, 427 string quartet, 5, 89, 100, 103–5, 109, 112, 114, 118–19, 121–22, 133n8, 142, 144, 146, 177, 270, 335, 365, 419, 444 String Quartet No (Frank), 89, 121 String Symphony (Larson), 193, 196–97 Stringing the Bow (Shatin), 418, 420 strings, 19, 32, 35, 56, 70, 73, 78, 92, 107, 112, 114, 119, 122, 125, 131, 151, 160, 165, 169, 173–75, 177–79, 181, 193–94, 198, 211, 231n6, 260–61, 263, 281, 318, 321, 335–36, 349, 351, 411 Sueños de Chambi: Snapshots for an Andean Album (Frank), 100–101 11/29/10 7:02 AM Index Suite [for violin and piano] (Richter), 365 Swenson, May, 60–61 The Swingle Singers, 365 Symphony in Three Movements (Stravinsky), 275 Symphony no 1, “Wilderness” (Austin), Symphony no 1: Ballet for Orchestra (McTee), 316, 333–50, 353n29 Symphony no 2, “Lighthouse” (Austin), 30–44 Symphony of Psalms (Stravinsky), 368 Symphony of the New World, 253 Symphony Orchestra of Marseille (France), 254 syncopate/syncopation, 261–62, 281, 308, 360, 368, 390, 392 Synge, John Millington, 371, 398n31 synthesizer, 307, 352n16, 361, 407, 412 See also Buchla synthesizer Tabuteau, Marcel, 144 Tagore, Rabindranath, 54 Talma, Louise, tambor, 94, 97, 107 Tan Dun, 54, 66 Tanglewood, 164, 229, 253, 406, 432 tarka, 94, 100, 122–23 Tatum, Art, 257 Tchaikovsky, PytorIlyich, 182, 324 Technique de Mon Langage Musical(Messiaen), 275 Telaio: Desdemona (Botti), 57–59, 74, 80 Telarc Records, 152, 164 Tennyson, Alfred Lord, 334 tertian, 263, 265, 274 Tess of the D’Urbervilles (Thomas Hardy), 367 tetrachord, 276, 435, 437–42, 445n21, 445n22 Texas, University of (Austin), 61 texture/textural, 56, 61, 72–74, 90, 92, 120–21, 129, 147, 157, 159, 164, 166, 171–79, 182, 195, 208, 212, 214, 222, 227, 230, 258, 261, 266, 272–73, 280, 285n43, 304, 311, 324–25, 329, 10-525_Slayton.indb 467 467 331–32, 338–39, 344, 367–68, 388, 391, 413, 435 theory/theoretical, 3, 27, 47n24, 89–90, 111–12, 120, 159, 252, 277, 301–3, 306, 315, 317, 328, 341–42, 375, 406, 410, 426 Thompson, Virgil, Thoreau, Henry David, 367 Three Christmas Songs (Richter), 365 Three Latin American Dances (Frank), 103, 129, 131 Threnody (Richter), 395 Threnody for the Victims of Hiroshima (Penderecki), 325 Time for Three, 152 Time to Burn (Shatin), 416–17, 423, 431, 433 Timepiece (McTee), 315, 317, 353n28 timpani, 131, 147, 169–70, 173–74, 198, 411 Tingo Maria, 114 tinya, 95 To Begin (Austin), 5, 48n29 To Whom? (Richter), 368 tonal/tonality, 6, 8, 12, 20, 24, 26, 28, 30, 39–40, 56, 89, 120, 124, 156, 158–59, 162, 166, 168, 177, 181,196, 198–99, 207, 214, 259–60, 265, 268, 273–74, 277, 313, 339, 347, 351, 357, 367–68, 384, 391, 394 Tones (Léon), 252 Topper, David, 430 Tormis, Veljo, 424 Tower of the Eight Winds (Shatin), 405, 424 Tower, Joan, 161 Translucence (Botti), 60–61, 70 Transmutation (Richter), 362 triadic, 8–9, 12, 56, 167, 265 Trio PianOVo, 10 trombone, 70, 91, 131, 167, 169, 174, 230, 231n27, 253, 320, 348, 366 Trombone Concerto (Higdon), 152 Trumka, Richard, 429 trumpet, 70, 124, 131, 168–69, 175, 177, 179, 271–72, 279, 281, 286n51, 302, 319, 323 11/29/10 7:02 AM 468 Index Try Me, Good King: Last Words of the Wives of Henry VIII (Larson), 212–28 Tucson Symphony, 366 tumbaó, 258 Tumbao (Léon), 255, 257 Tureck, Rosalyn, 360, 373–74 Turner, J M W (Joseph Mallord William), 39 Twain, Mark, 86, 117 twelve-tone See serial twentieth century, 3, 88, 120, 141, 147, 164, 170, 275, 285n26, 397n6, 419, 429 Twentieth-Century Harmony (Persichetti), 361 twenty-first century, 29, 86, 119, 121, 152, 161, 170, 182–83, 210–11, 233, 348, 351, 431 The Twittering Machine (Klee), 311 The Twittering Machine (McTee), 311–12 Two American Portraits (Frank), 103, 109 Ueland, Brenda, 212 Ulehla, Ludmila, 54 The Unanswered Question (Ives), 319 University of Washington Wind Ensemble, 350 University of Washington Wind Symphony, 320 Upshaw, Dawn, 107, 132, 255 Urban, Ulrich, 23, 45 Uribe, Ed, 280 Vanderbilt University, 66 Variacíon (Léon), 255 variation (technique), 23, 208, 213, 260, 280, 358, 369–70, 375, 381–95, 431 Variations and Interludes on Themes from Monteverdi and Bach (Richter), 369–70 Variations on a Sarabande (Richter), 363 Venzago, Mario, 182 Verizon Hall, 163 vernacular, 26, 91, 193, 195, 229, 319 10-525_Slayton.indb 468 vibraphone, 150, 169–70, 176, 180, 182, 313 View from Mt Nebo (Shatin), 419 Vinci, Jan, 143 viola, 5, 34, 48n29, 101, 105, 112, 113, 117, 120, 122, 144, 166, 169, 198, 260–61, 271, 306, 347, 363–65, 376, 412, 433 violin, 35, 38, 57, 66, 70, 80n14, 88, 100, 102, 104, 109, 114, 122–23, 125–26, 130–31, 133n7, 144, 152, 159, 166–67, 169, 182, 252, 260–61, 271, 311, 313, 319, 334, 347, 364–66, 369, 378, 395, 412–13, 433, 443–44 Violin Concerto (Higdon), 152, 182 violoncello See cello Virginia Center for Computer Music, 406, 412, 430 Virginia Center for the Arts, 405 Virginia, University of, 406, 423, 428, 430–31, 433, 443 virtuosic/virtuosity/virtuoso, 3, 86, 91, 94, 120, 152, 159, 164, 172, 195, 266, 304, 361, 391, 427, 431 vocal/vocalist, 8, 16, 53–55, 57, 59, 61, 64–70, 72, 74, 78, 101, 120, 132, 146, 195, 199–200, 207, 209, 212–13, 215, 217–18, 224, 226–27, 255, 279, 304, 358, 361 Voices (Higdon), 146 Voices of Change, 300, 313 Wagner, Richard, 358, 396n2 Walker, Nick, 115 The Wanderers (Richter), 368 Ward, Charles, 308, 321 Warren, Alison, 430 Wasserturm (Mannheim), 31 Watch Hill lighthouse, 30–32, 35, 41, 43 Water Music (Larson), 198 Watteau, Jean Antoine, 35, 48n38 Webern, Anton, 26, 365 Weep No More(Austin), 44 Weimar (Germany), 10, 47n18 Wells, David, 366, 381 11/29/10 7:02 AM Index The Well-Tempered Clavier (Bach), 369 Wendigo Music, 405 Werther (Shatin), 413–14 Westerkamp, Hildegard, 424 Western (music/culture), 71, 85–86, 90, 94, 115, 119, 120, 122, 130–31, 301, 366, 431 Western Wind Vocal Ensemble, 255 “When I Was a Boy” (Dar Williams), 304 Whiting, Steven, 90 Whitman, Walt, 152, 398n28 whole-tone, 24, 177, 179, 263, 266, 338 Why Am I So Brown (Frank), 107 Widdershins (Shatin), 444 WieeineBlume (Austin), 17–19 Wilheim, Imanuel, 28 Williams, Dar, 304 Wilson, Ransom, 271 windowpaning, 19–22, 26, 30, 33–36, 39 Winona Symphony, 229 Wintergreen Performing Arts, 407, 429, 443 Wir glauben all’ an einen Gott (Martin Luther), 318 Within Darkness (Botti), 66, 70, 80 Wolff, Christian, 408 10-525_Slayton.indb 469 469 woman composer, 68–69, 270, 330, 374, 422, 431–32 See also female composer Women’s Philharmonic Orchestra, 143 Wonderglass (Botti), 58, 66 Woodruff Arts Center, 154 Woods, Simon, 163 Woods, William, 205 woodwinds, 35, 61, 142, 167, 169, 173– 75, 177–79, 281, 321, 367 World Association for Symphonic Bands and Ensembles, 313 world music, 28, 54, 211 Wu Han, 121 Xenakis, Iannis, 426 Yaddo, 405 Yadlowsky, Pete, 430 Yale University, 255 Yeats, William Butler, 204 Yoon, Julie, 122 Yo-Yo Ma, 105 zampoña, 96, 98, 100, 122–24 Zhuangzi See Chuang Tzu Zinman, David, 255 Zodiac Suite (Austin), 3–5 11/29/10 7:02 AM 10-525_Slayton.indb 470 11/29/10 7:02 AM INDEX OF MUSICAL WORKS BY COMPOSER Names in boldface indicate the nine female composers highlighted in this collection Austin, Elizabeth: An American Triptych, 19; An die Nachgeborenen, 5; A Birthday Bouquet, 19; Brainstorm, 44; Cantata Beatitudines, 5, 46n8, 48n29; A Celebration Concerto, 19; Christ Being Raised, 2; Christmas the Reason, 5; Frauenliebe und -leben, 8–9, 47n15; Ginkgo Novo, 10–13; Hommage for Hildegard: “Star Equilibrium,” 5, 7, 15, 17, 46n12; Inscapes, 5, 46n6; Klavier Double, 5, 48n29; Lighthouse I (Austin), 5; “Lighthouse” Symphony SeeSymphony no 2, “Lighthouse”; Litauische Lieder, 5; The Marquise of O, 44; Puzzle Preludes, 20–22; Rose Sonata, 8, 10, 13–14, 18–19; Sans Souci Souvenir, 5, 48n29; The Song of Simeon (Nunc Dimittis), 5; Symphony no 1, “Wilderness,” 5; Symphony no 2, “Lighthouse,” 30–44; To Begin, 5, 48n29; Weep No More, 44; WieeineBlume, 17–19; Zodiac Suite, 3–5 See also the appendix on pages 48–50 Bach, Johann Sebastian, The WellTempered Clavier, 369 Barber, Samuel: Adagio for Strings, 335; Dover Beach, 33 Bartók, Béla: Concerto for Orchestra, 164; Mikrokosmos, 376; Music for Strings, Percussion, and Celesta, 368 Beethoven, Ludwig van, Sonata no in C minor, Op 13, “Pathétique,” 22 Bernstein, Leonard, Prelude, Fugue, and Riffs, 343 Brahms, Johannes, Intermezzo No 2, 13 Botti, Susan: Cosmosis, 61–63, 68; Dido Refuses to Speak, 54; EchoTempo, 66, 69–79; The Exchange, 60; Gates of Silence, 54, 66; Impetuosity, 59–61, 70; Jabberwocky, 56–58, 65; listen, it’s snowing, 55; Prelude for Instruments, 59; Telaio: Desdemona, 57–59, 74, 80; Translucence, 60–61, 70; Within Darkness, 66, 70, 80; Wonderglass, 58, 66 See also the appendix on pages 81–82 Campion, Thomas, I Care Not for These Ladies, 223 Coltrane, John, Giant Steps, 326 Copland, Aaron: Clarinet Concerto, 343; Music for the Theatre, 343; Piano Concerto, 343 Debussy, Claude: L’islejoyeuse, 35, 48n38; La Mer, 32, 35 Dowland, John: If My Complaints, 218–19; In Darkness Let Me Dwell, 215–16, 226, 228 Frank, Gabriela Lena: An American in Peru, 102; BarcarolaLatinoamericana, 107; BarcarolaNicaragüense, 107; Book 471 10-525_Slayton.indb 471 11/29/10 7:02 AM 472 Index of Musical Works by Composer of Quipus, 119; Ccollanan María, 106; CincoDanzas de Chambi, 101; Cuatro Canciones Andinas, 93, 107, 134n15; Danza de los Saqsampillos, 97; Elegía Andina, 94; Havana Gila, 103; Hypnagogia, 103, 108; Illapa: Tone Poem for Flute and Orchestra, 103–4; Inca Dances, 132; Inkarrí, 89, 103–6, 121, 126; Jalapeño Blues, 103, 107, 111; Khazn’s Recitative: EluD’vorim, 102; La Llorona: Tone Poem for Violin and Orchestra, 103, 105, 117, 120, 125; Las Sombras de los Apus, 92–93, 101, 103; Leyendas: An Andean Walkabout, 100–101, 103, 112, 119–32; Los Rios Profundos, 93; Manchay Tiempo, 103, 107; Manhattan Serenades, 89; Peregrinos, 103, 110; PolleritaRoja, 107; Quijotadas, 103, 109–10, 121; Requiem for a Magical America: El Día de los Muertos, 105, 114, 126; RitmosAnchinos, 103, 105–6; Sonata Andina, 94–101, 103, 107, 111, 122– 24; Songs of Cifar and the Sweet Sea, 103, 107–8, 119; String Quartet No 3, 89, 121; Sueños de Chambi: Snapshots for an Andean Album, 100–101; Three Latin American Dances, 103, 129, 131; Two American Portraits, 103, 109; Why Am I So Brown, 107 See also the appendix on pages 135–37 Gershwin, George, Rhapsody in Blue, 343 Glass, Philip, Einstein on the Beach, 344 Handl, Jakob, O magnum mysterium, 37 Higdon, Jennifer: Autumn’s Cricket, 144–45; blue cathedral, 150–51; City Scape, 147, 152, 158; Concerto 4-3, 152; Concerto for Orchestra, 151, 159– 60, 163–68, 170–82; Dooryard Bloom, 152; Fanfare Ritmico, 143, 171; Loco, 158; O Magnum Mysterium, 148; On a Wire, 183; Percussion Concerto, 152; Piano Concerto, 152; Piano Trio, 142; 10-525_Slayton.indb 472 rapid.fire, 158; Rhythm Stand, 158; Shine, 148–49; The Singing Rooms, 152; Trombone Concerto, 152; Violin Concerto, 152, 182; Voices, 146 See also the appendix on pages 184–88 Ives, Charles, The Unanswered Question, 319 Larson, Libby: Aspects of Glory, 195, 231n14; Aubade, 195; Blue Third Pieces, 197, 231n19; Bronze Veils, 230; Cowboy Songs, 207; Dancing Solo, 194–96, 231n12, 231n13; Four on the Floor, 197–98; Frankenstein: The Modern Prometheus, 193, 231n7; Gavel Patter, 230; Love After 1950, 206; May Sky, 194, 200; Picnic, 229; Prelude on “Veni Creator Spiritus,” 199; Songs from Letters: Calamity Jane to Her Daughter Janey, 1880–1902, 195–96, 200–201; Sonnets from the Portuguese, 206; String Symphony, 193, 196–97; Try Me, Good King: Last Words of the Wives of Henry VIII, 212–28; Water Music, 198 See also the appendix on pages 233–44 Léon, Tania: Ácana, 254; Bailarín, 257; Batá, 258–59, 285n32, 285n35; Batéy, 255; The Beloved, 252; Concerto Criollo, 254; CumbaCumbakín, 270; Desde , 254; Dougla, 252; Esenciapara Cuarteto de Cuerdas, 255; Fanfarria, 255; Four Pieces for Violoncello, 257–58, 264, 266; Haiku, 252; Hechizos, 255; Horizons, 254, 269; Indígena, 255, 260, 262–65, 271–82; Kabiosili, 254; Metisse, 255; Mistica, 255; Momentum, 261–62, 265; O Yemanja, 255; Para Noah, 255; Para Viola y Orquestra, 254; Parajota Delaté, 255, 261; Rituál, 255; A Row of Buttons, 255; Samarkand, 255; The Scourge of Hyacinths, 255, 263; Tones, 252; Tumbao, 255, 257; Variacíon, 255 See also the appendix on pages 286–95 11/29/10 7:02 AM Index of Musical Works by Composer Liszt, Franz, Mephisto Waltzes, 103 Luther, Martin, Wir glauben all’ an einen Gott, 318 McTee, Cindy: Adagio, 328, 334–35, 339, 350; Agnus Dei, 335; Ballet for Band, 334, 350, 353n28, 353n32; Bricolage, 321–22; California Counterpoint: The Twittering Machine, 311; Capriccio per Krzysztof Penderecki, 311, 313; Changes, 313, 315; Chord, 304; Circle Music I–IV, 306; Circuits, 308–10, 321, 326, 333, 341; Double Play, 322, 350–51; Eatonville, 303; Einstein’s Dream, 315, 317–20, 323, 333, 341, 350; Einstein’s Dreams, 313, 316; Études, 310, 316, 329; Finish Line, 315, 319–21, 353n28; Images, 305–6; “M” Music, 310, 316, 329; Metal Music, 307, 310; Psalm 42: Threnody, 305; Solstice, 320–22; Songs of Spring and the Moon, 304; Soundings, 313–14, 320, 333; Stepping Out, 311; Symphony no 1: Ballet for Orchestra, 316, 333–50, 353n29; Timepiece, 315, 317, 353n28; The Twittering Machine, 311–12 See also the appendix on pages 353–54 Messiaen, Oliver, Quartet for the End of Time, 89, 306 Monteverdi, Claudio, Orfeo, 369 Mozart, Wolfgang Amadeus, Requiem, “Lacrimosa,” 36, 38 Penderecki, Krzysztof: Dies Irae, 325; Polish Requiem, 335; St Luke Passion, 325; Threnody for the Victims of Hiroshima, 325 Praetorius, Michael, Lo, How a Rose E’re Blooming, 221 Ravel, Maurice, Daphnis et Chloe, 145 Richter, Marga: Abyss, 365–66, 376; All Desire Is Sad, 363, 368; Aria and Toccata, 363, 376; Ballet of the Pixilated Penguins, 359–61; Bird of 10-525_Slayton.indb 473 473 Yearning, 366; Blackberry Vines and Winter Fruit, 367; Concerto for Piano and Violas, Cellos and Basses, 363; Darkening of the Light, 365; Eight Pieces, 365, 375; Fandango Fantasy, 395; Fragments, 365; Into My Heart, 368, 398n28; Jabberwocky, 358–59, 396n4; Lament, 363–65, 395, 397n19; Landscapes of the Mind, 366–67; Melodrama, 363; Out of Shadows and Solitude, 367; Psalm 91, 365; Qhanri (Snow Mountain): Tibetan Variations for Cello and Piano, 381–95; Quantum Quirks of a Quick Quaint Quark, 368– 69, 375; Remembrances, 368; Requiem, 368, 377; Riders to the Sea, 357, 371– 72, 398n31; Seek Him, 365; Sonata for Clarinet and Piano, 361–62; Sonata for Piano, 363, 368, 397n10; Spectral Chimes/Enshrouded Hills, 367; Suite [for violin and piano], 365; Three Christmas Songs, 365; Threnody, 395; To Whom?, 368; Transmutation, 362; Variations and Interludes on Themes from Monteverdi and Bach, 369–70; Variations on a Sarabande, 363; The Wanderers, 368 See also the appendix on pages 398–402 Rimsky-Korsakov, Nikolai, Scheherazade, 204 Schubert, Franz, Die schöne Müllerin, 35–36 Schuller, Gunther, Seven Studies on Themes of Paul Klee, 333 Schumann, Robert: Du bistwieeineBlume, 19; Liederkreis,“Mondnacht,” 35, 44; Myrthen, 19 Shatin, Judith: 1492, 417–18; Chai Variations on Eliahu HaNavi, 431; Chanting to Paradise, 444; Cherry Blossom and a Wrapped Thing, 418–19, 444; Civil War Memories, 412; COAL, 407–8, 429, 445n23; Dreamtigers, 405, 412–13; Elijah’s Chariot, 412, 419, 421; Fledermaus 11/29/10 7:02 AM 474 Index of Musical Works by Composer Fantasy, 444; Follies and Fancies, 432; For the Birds, 407, 416; Glimmerings, 412; Grito del Corazón, 432; Icarus, 444; Ignoto Numine, 428; Jefferson in His Own Words, 443; Kairos, 412; Penelope’s Song, 412, 418, 432–44; Piping the Earth, 405, 411, 413, 415; Rotunda, 443; Sea of Reeds, 412; Singing the Blue Ridge, 407–9; Spring Tides, 433, 443; Stringing the Bow, 418, 420; Time to Burn, 416–17, 423, 431, 433; Tower of the Eight Winds, 405, 424; View from Mt Nebo, 419; Werther, 413–14; Widdershins, 444 10-525_Slayton.indb 474 See also the appendix on pages 445–48 Stokes, Eric, Rock and Roll, 204 Stravinsky, Igor: Ebony Concerto, 343; L’Histoire du Soldat, 275; The Rite of Spring, 319, 336–37; Symphony in Three Movements, 275; Symphony of Psalms, 368 Tan Dun: The Banquet, 54; Marco Polo, 54; Orchestral Theatre III: Red Forecast, 54 Williams, Dar, “When I Was a Boy,” 304 11/29/10 7:02 AM ABOUT THE EDITOR AND CONTRIBUTORS EDITOR Michael K Slayton is associate professor and chair of the Department of Music Composition and Theory at Vanderbilt University’s Blair School of Music in Nashville, Tennessee His music is regularly programmed in the United States and abroad, most recently in Leipzig, Droyssig, and Weimar, Germany; Paris, Tours, and Marquette-lez-Lille, France; Brussels, Belgium; Johannesburg and Potchefstroom, South Africa; London, UK; and New York, NY In recent years, he has contributed articles for the Journal of the International Alliance for Women in Music, presented scholarly papers on the music of Elizabeth R Austin, and been invited to serve as a forum panelist to discuss issues facing women in contemporary composition Slayton is a member of the American Composers’ Alliance, Society of Composers Inc., the College Music Society, Connecticut Composers Inc., and Broadcast Music Inc CONTRIBUTORS Carson Cooman is an American composer with a large catalog of music in many forms; his work has been performed on all six inhabited continents Cooman’s music appears on over twenty-five recordings, including ten complete CDs on the Naxos, Albany, Artek, and Zimbel labels Cooman’s primary composition studies have been with Bernard Rands, Judith Weir, Alan Fletcher, and James Willey, and he holds degrees from Harvard University and the Carnegie Mellon School of Music As an active concert organist, Cooman specializes exclusively in the performance of new music Over 130 new works have been composed for him by composers from around the world, and his performances of the work of contemporary composers can be heard on a number of CD recordings Cooman’s musicological writing has focused primarily on living American and Australian composers, and he has written articles and reviews for a number of international publications Cooman serves as an active consultant on music business matters to composers and performing organizations For more information, visit www.carsoncooman.com 475 10-525_Slayton.indb 475 11/29/10 7:02 AM 476 About the Editor and Contributors Deborah Hayes, musicologist, is a professor emerita and former associate dean for graduate studies in the College of Music, University of Colorado at Boulder Her publications include studies of the theoretical writings of J.-P Rameau and new editions of the music of several late-eighteenthcentury European composers, including Marie-Emmanuelle Bayon Louis (1746–1825) and Francesca LeBrun (1756–1790) Hayes was an associate editor of Women and Music in America Since 1900: An Encyclopedia (2002), to which she contributed many entries on gender issues She has written bio-bibliographies of Peggy Glanville-Hicks (1912–1990) and Peter Sculthorpe (1929– ), and she is completing a book about the life and works of Ruth Shaw Wylie (1916–1989) Donald McKinney is the wind ensemble conductor at Interlochen Arts Academy, where he guides the band program, coaches chamber music, and instructs conducting students From 2004 to 2007, he was associate conductor of ensembles at Duquesne University’s Mary Pappert School of Music, during which time he served as the assistant to violinist and conductor Sidney Harth, teaching courses in undergraduate conducting McKinney has published articles in volumes 5, 6, and of Teaching Music through Performance in Band, a project which led to his performing and recording with the North Texas Wind Symphony Further, he has participated in numerous conducting symposiums, including New England Conservatory, University of North Texas, University of Minnesota, and the Conductors Institute of South Carolina In the summer of 2010, he will begin conducting at Interlochen Arts Camp McKinney received the D.M.A in conducting from the University of Michigan in 2010; his primary conducting teachers have been Michael Haithcock, Jack Stamp, and Robert Cameron He has completed additional study with H Robert Reynolds and Frank Battisti Tina Milhorn Stallard maintains an active career as a soprano soloist, chamber musician, researcher, and teacher She has sung with Opera Omaha, Central City Opera, Opera Theatre of Lucca (Italy), Cincinnati Opera, Kentucky Opera, Cincinnati Chamber Orchestra, Lexington Philharmonic Orchestra, Johnson City Symphony, Louisville Orchestra, South Carolina Philharmonic Orchestra, and Bowling Green Western Symphony As part of the cultural prelude to the 2008 Summer Olympics, she performed the soprano solos in Vivaldi’s Gloria with the Shanghai Philharmonic Orchestra and members of the Beijing National Ballet Orchestra A frequent recitalist, Stallard has presented programs in Puerto Rico, Hawaii, New York, Indiana, Texas, Florida, Louisiana, Georgia, Tennessee, and throughout South Carolina In 2010, she joined the faculty of the Varna (Bulgaria) Music Academy Stallard also serves as a clinician 10-525_Slayton.indb 476 11/29/10 7:02 AM About the Editor and Contributors 477 and researcher, with special interests in the music of living American composers and voice pedagogy She holds the doctor of musical arts degree from the University of Cincinnati College Conservatory of Music and is an alumnus of the University of Kentucky (Haggin Fellow) and Belmont University She is a member of the voice faculty at the University of South Carolina, where she teaches applied voice and vocal pedagogy James Spinazzola is associate professor of music and director of instrumental activities at the University of Indianapolis, where his responsibilities include the direction of the Symphonic Wind Ensemble and Chamber Orchestra, and the instruction of courses in conducting and woodwind pedagogy He also serves as conductor of the New World Youth Philharmonic and as music director of the Indianapolis Youth Wind Ensemble He frequently appears as a guest clinician and has conducted local, regional, and all-state ensembles in eight states Spinazzola’s publications include articles in Teaching Music through Performance in Band (GIA) and a wind ensemble transcription of John Adams’s Lollapalooza (Boosey & Hawkes) His arrangements and compositions have been performed throughout the world, at conferences of the College Band Directors National Association and the Percussive Arts Society, and by the Nashville Ballet Also active as a saxophonist, he has recorded a compact disc for the Mark Custom label Spinazzola holds degrees from Duquesne University (B.S.), the University of Colorado (M.M.), and Louisiana State University (D.M.A.) Sharon Mirchandani is associate professor of music history and theory at Westminster Choir College of Rider University She received her bachelor of music degree in piano performance (with a pedagogy emphasis) from Bowling Green State University, master of music degrees in both music history and piano accompanying and chamber music from Temple University, and her Ph.D in musicology from Rutgers, the State University of New Jersey She has presented research papers at the annual meeting of the American Musicological Society, the annual meeting of the Society for American Music (formerly the Sonneck Society), the American Musicological Society GNYC chapter meeting, and a College Music Society workshop She has also served as a panelist at conferences of the College Music Society and the Mid-Atlantic Women’s Studies Association, as a board member of the International Alliance for Women in Music, and on the AMS Committee on the History of the Society Mirchandani’s publications include articles in Notes, Historical Anthology of Music by Women, Choral Journal, Women and Music in America Since 1900: An Encyclopedia, The Hymn, and Journal for the International Alliance for Women in Music She is currently working on a biography of American composer Marga Richter 10-525_Slayton.indb 477 11/29/10 7:02 AM Free ebooks ==> www.Ebook777.com 478 About the Editor and Contributors Judith Lochhead, Stony Brook University, is a theorist and musicologist whose work focuses on the most recent musical practices in North America and Europe Utilizing concepts and methodologies from postphenomenological and poststructuralist thought, she develops modes of thinking about recent music that address the uniquely defining features of this repertoire Her work distinguishes between the conceptions of musical structure and meaning that derive from the differing perspectives of performers, listeners, and composers Some recent articles include “Refiguring the Modernist Program for Hearing: Steve Reich and George Rochberg” (2004), “Visualizing the Musical Object” (2006), “‘How Does it Work?’: Challenges to Analytic Explanation” (2006), and “The Sublime, the Ineffable, and Other Dangerous Aesthetics” (2008) With Joseph Auner, Lochhead coedited Postmodern Music/Postmodern Thought (Routledge 2001) She is currently completing a book on the analysis of recent music entitled Reconceiving Structure: Recent Music/Music Analysis www.Ebook777.com 10-525_Slayton.indb 478 11/29/10 7:02 AM ... quote passages in a review British Cataloging in Publication Information Available Library of Congress Cataloging -in- Publication Data Women of influence in contemporary music : nine American composers... distinct sonorities pervasive to much of Austin’s music are born of her penchant for a harmonic system derived from the intertwining of minor sixths and minor thirds Austin’s minor sixth/minor... 10-525_Slayton.indb 11 11/29/10 7:01 AM 12 Women of Influence in Contemporary Music double” of Goethe’s image; the instruments are distinct entities within an integrated whole Here it is the fusion of tonal