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Publication Date
3-1-2018
Year of Release
2018
Note(s)
Sponsored by Marshall University School of Music, College of Arts and Media, and MUsic Alive Concert Series Featured Artists 2018
Festival Guest Composer:
Elainie Lillios
Featured Composers:
Anthony Almendarez, Marshall University
Zach Browning, Emeritus, University of Illinois
Lars Brondrum, Lector Skovde University, Se
Cosimo Caiazzo, Conservatory at Trento, It
Christopher, Frye University of Wisconsin La Crosse
Nancy Galbraith, Carnegie Mellon School of Music
Matthew Harder, West Liberty University
Matthew Heap, West Virginia University
Jocelyn Morlock, Composer in Residence, Vancouver Symphony
Lawrence Moss, Emeritus, University of Maryland
Matthew Murchison, Faculty, Marshall University
Claudia Robles-Angel, Independent, Cologne, de
Harvey J. Stokes, Hampton University
Lamont Thomas, Marshall University
Andrew Walters, Mansfield University
Symeon Waseen, Black Hills State University
Chih-Chen Wei, Chapman University
Mark Zanter, Festival Host, Marshall University
Lindsey Goodman, flute
Trifecta!
Lori Baruth, clarinet
David Oyen, bassoon
Chialing Hseih, piano
Thursday, March 1, 2018
Concert One: Khasma Piano Duo
7:30PM Smith Music Recital Hall
A concert of new works for two pianos
Friday, March 2, 2018
Concert Two: Guest Artists Lindsey Goodman, flute
Trifecta!
12:00 Noon MUsic Alive
Fifth Avenue Baptist Church
1135 5th Avenue, Huntington, WV.
A chamber music concert featuring the music of Festival guest composer. Elainie Lillios.
Concert Three: Collage
3:30PM Marshall University Smith Music Hall room 143.
Multi-media works by U.S. and international composers.
Concert Four: Collage
7:30PM, Marshall University, Smith Recital Hall
New chamber works by Elainie Lillios, and festival composers.
Featured Guest Composer
Elainie Lillios, Bowling Green State University
Acclaimed as one of the "contemporary masters of the medium" by MIT Press's Computer Music Journal, electroacoustic composer Elainie Lillios creates works that reflect her fascination with listening, sound, space, time, immersion and anecdote. Her compositions include stereo, multi-channel, and Ambisonic fixed media works, instrument(s) with live interactive electronics, collaborative experimental audio/visual animations, and installations.
Her work has been recognized internationally and nationally through awards including a 2016 Barlow Endowment Commission a 2013-14 Fulbright Award, First Prize in the Concours Internationale de Bourges, Areon Flutes International Composition Competition, Electroacoustic Piano International Competition, and Medea Electronique "Saxotronics" Competition, and Second Prize in the Destellos International Electroacoustic Competition. She has also received awards from the Concurso Internacional de Música Electroacústica de São Paulo, Concorso lnternazionale Russolo, Pierre Schaeffer Competition, and La Muse en Circuit. She has received grants/ commissions from INA/GRM, Rèseaux, International Computer Music Association, La Muse en Circuit, NAISA, ASCAP/SEAMUS, LSU's Center for Computation and Technology, Sonic Arts Research Centre, Ohio Arts Council, and National Foundation for the Advancement of the Arts. She has been a special guest at the Groupe de Recherche Musicales, Rien à Vair, festival l'espace du son, June in Buffalo, and at other locations in the United States and abroad.
Reviews of Elainie's debut solo electroacoustic compact disc Entre Espaces (Empreintes DIGITALes) praise her work for being " ... elegantly assembled, and immersive enough to stand the test of deep listening" and as" ... a journey not to be missed:' Her fixed and instrumental works also appear on Centaur, In nova, MSR Classics, Ravello Records, StudioPANaroma, La Muse en Circuit, New Adventures in Sound Art, SEAMUS, Irritable Hedgehog and Leonardo Music Journal.
Elainie serves a Director of Composition Activities for the SPLICE institute (www.splice.institute) and is Professor of Composition at Bowling Green State University in Ohio.elillios.com
Featured Guest Performers
Khasma Piano Duo
The Khasma Piano Duo was formed in 2012 by Ashlee Mack and Katherine Palumbo, who have been playing together since meeting as undergraduates at Bucknell University in 2000. Because they share a passion for contemporary music, the duo has dedicated themselves to the performance of works from the 20th and 21st centuries. Their concert tours have taken them to Illinois, Indiana, New York, Pennsylvania, West Virginia, and Wisconsin. They recently performed at the SCI National Conference at Ball State University and presented a program of American contemporary works for the Illinois College Fine Arts Series. In 2015, Khasma presented the world premiere of Robert Morris' Forty Fingers for eight hands at the Eastman School of Music. They have also premiered James Romig's Time Seems to Pass (album is available at CD Baby, iTunes, and Amazon), David Vayo's Times and Places, Matthew Heap's And the Earth Sang to Me Through the Wind, and Lawrence Moss' De Profundis (upcoming release on In nova in 2018). Their debut album, Switchback, is available at CD Baby, Amazon, Google Play, and iTunes, among others. Please visit www.khasmapianoduo.com for more info.
Pianist Ashlee Mack has given recitals in Germany, Italy, and across the United States. Specializing in contemporary music, she has performed solo and chamber music with organizations such as the Society for Chromatic Art, Vox Novus, Iowa Composers Forum, New Music Festival at Western Illinois University, Bowling Green New Music Festival, Aspen Composers Conference at the Aspen Institute, PASIC, and SCI. Mack is co-founder of the Khasma Piano Duo, and their albums Switchback and Time Seems To Pass are available on CD Baby, Amazon, and iTunes. Other recordings include works by Robert Morris and Christian Carey, both featured on the Milton Babbitt a composers' memorial CD set published by Perspectives of New Music/Open Space, and James Romig's Transparencies on the Mosaic: Society of Composers album. An avid hiker and nature enthusiast, she has been an artist-in-residence at Wupatki National Monument, Everglades National Park, Grand Canyon National Park, and Centrum in Fort Worden State Park, WA. In collaboration with composer and husband, James Romig, Mack presented the world premiere of his 60-minute solo piano piece, STILL, at the Clyfford Still Museum in Denver in 2017, and New World Records will release the full-length recording in 2018. She will also premiere Romig's new work for piano and orchestra, commissioned by the Waterloo-Cedar Falls Symphony, in 2019. Mack is currently Director of Piano Studies at Knox College in Galesburg, Illinois.
Katherine Palumbo is a pianist, vocalist and advocate for the performance of contemporary music. As a founding member of both the Khasma Piano Duo and Trillium Ensemble (flute, clarinet and piano trio) she is passionate about collaborating with others on uniquely programmed concerts and has premiered pieces by notable composers such as James Romig, Robert Morris, Federico Garcia, Efrain Amaya, Nathan Hall, Matthew Heap, and Mark Fromm. A native of Pittsburgh, Pennsylvania, Palumbo has performed with the Opera Theater of Pittsburgh, Alia Musica, OvreArts and has performed live on Classical WQED 89.3 FM. She has been an accompanist at Duquesne University, a vocal coach and accompanist for Chatham University's Minna Kaufmann Ruud Scholars, and director of music for Incarnation of Lord Catholic Church. Most recently she performed The Silent Spring Project with the Trillium Ensemble as part of the New Hazlett Theater's 2015/2016 CSA (Community Supported Art) Performance Series, and released debut albums with both Khasma (Switchback in November 2015) and Trillium (Silent Spring in April 2016). Palumbo earned her degree in piano performance from Bucknell University where she studied with Barry Hannigan. Other notable piano teachers include Maria Caruso and Ralph Zitterbart of Pittsburgh, PA. She received her Alexander Technique teaching certificate from the Philadelphia School of the Alexander Technique under the instruction of Martha Hansen Fertman. She currently teaches piano and the Alexander Technique from her home in Pittsburgh.
Lindsey Goodman, flute
Lindsey Goodman is known throughout North America as a soloist, recording artist, chamber collaborator, orchestral musician, educator, and clinician. Renowned for her "generous warmth of tone and a fluid virtuosity" (Charleston Gazette), "impressive artistry" (Tribune-Review), and "agility and emotion" (Pittsburgh Post-Gazette), Lindsey has performed solo and chamber concerts, taught masterclasses, and given presentations at countless series, festivals, and universities. Her "brilliant': "bravura performances" (TribuneReview) "played with conviction" (New York Times), "flair, and emotion" (Gazette) have been heard in three countries, including at Carnegie Hall, Eastman School of Music, University of Cincinnati College-Conservatory of Music, Edinburgh Festival Fringe, New York City Electroacoustic Music Festival, Google headquarters, and several National and Canadian Flute Association conventions.
A committed advocate for living composers and electroacoustic music, Lindsey is an active commissioner of new works with over one hundred world premieres to her credit. Her debut solo album, reach through the sky, is available from New Dynamic Records, and she can be heard in solo, chamber, vocal, and orchestral performances on the New World, Navona, and Albany labels, among others. Lindsey has given multiple professional recitals in New York City, performed concertos from Mozart to commissioned works in the United States and Canada, and been featured in live and recorded radio broadcasts on stations across the country.
Lindsey is solo flutist of the Pittsburgh New Music Ensemble, principal flutist of the West Virginia Symphony Orchestra, and adjunct lecturer at West Virginia State University and Marietta College. She is a founding member of flute quartet PANdemonium4, the Leviathan Trio (flute, cello, and piano), and ASSEM3LY (flute, piano, and percussion). Classically trained as a mezzo-soprano, Lindsey is also one-half of Chrysalis, a singing flutist and singing pianist duo. A student of Walfrid Kujala and Robert Langevin, Lindsey received degrees from the Manhattan School of Music, Northwestern University, and Duquesne University. She resides in Ohio with her husband, percussionist, composer, and educator Chris Carmean, and their dog Jack. www.LindseyGoodman.com
Trifecta!
Trifecta! is a trio consisting of Dr. Lori Baruth, clarinet, Dr. David Oyen, bassoon, and Dr. Chialing Hsieh, piano. As advocates of new music, they have commissioned new works from several composers, including Mark Zanter, Christopher Weait, Michael Young, and Chih-Chen Wei. They released their debut album, "Cumulus Accumulation;' in 2015, which is available on iTunes and CD Baby. Trifecta! has performed at the Kentucky Music Educator's Association's conference in February, 2015, the International Clarinet Association's ClarinetFest in 2014, the 2014 International Clarinet Association's Mid-America Festival in Columbus, OH, the 2013 Kentucky Music Teacher's Association's conference, and the 2013 New Music Festival at Marshall University. Trifecta! has been invited to perform at the ICA ClarinetFest in Lawrence, KS in August 2016 as well as at the SCI Region Ill Conference at Marshall University in Huntington, WV. Trifecta! has given recitals at universities and other venues across the country. All three members of Trifecta! are on faculty at Morehead State University in Morehead, Kentucky and perform as resident artists at Lutheran Summer Music each summer in Decorah, IA. Learn more about Trifecta! on their website, www.trifectaensemble.com or on Facebook at www.facebook.com/trifectamusictrio.
Concert One:
Khasma Piano Duo
7:30PM, Thursday, March 1, 2018
Smith Music Recital Hall
Notes
And the Earth Sang to Me Through the Wind was inspired by my love of mountains-particularly Yosemite Falls and Cooper's Rock. In places like that where you can see for miles there is an almost spiritual connection to the Earth under your feet. This piece attempts to capture that feeling which can range from comforting to immense and terrifying. There is a musical line that passes between the two pianos and never stops, outlining a series of chords that come in and out of focus. In the two slower sections, these chords grow from 3 to 6 to (finally) all 12 chromatic pitches. While there isn't exactly a tonal center, the end of the piece brings clarity (transcendence?) through a chord that has been hinted at (but never stated) since the beginning, and links all the other chordal material.
Stanze is based in a single field of sounds, which totally surround it. The form is punctuated by a series of strophes which evolve from less dense states—rich in linear articulations--towards much denser, concentrated chordal ones. The strophes are traversed by a single long breath which is sustained through the entire piece. The music reaches its peak and then descends to its own level, reducing itself to the expression of intimacy, minute detail, and solitude, until the last resonant notes surround the silence.
Clockwork 014589 II consists of a clock-shaped score with segments in which musical material is freely distributed by the pianists. Complimentary hexachords are fully exchanged at the mid-point, where the pianists play a 12-tone chord, the only "coordinated" point in the piece. (1960-1968) and the University of Maryland (1969- ) retiring as Professor Emeritus in Music Composition in June 2014. He received a Distinguished Scholar/Teacher Award from the University in 1982. His works are recorded on C.R.I., E.M.F., Albany Capstone and In nova. A new CD on lnnova featuring his most recent works performed by the VERGE Ensemble of Washington, DC, Khasma, and others is in progress.
The first movement of De Profundis, "Khasma," refers of course to the Khasma Duo, to whom this piece is dedicated. It is also a play on words, since Khasma, ("chasm" in Greek), turns into "De Profundis" (Latin for "Out of the Depths"). Which, to complete the word-play is the title of the medieval hymn quoted in the last movement. Musically, high to low is reflected in the abrupt fall from the high opening chord in Piano I to the answering low chord in Piano II. The play between these two extreme registers – sometimes playful, sometimes violent - provides the basis for this movement (and indeed the entire piece). To this dialogue the second movement adds church bells, which in turn set the mood for the last movement: "In memoriam Josquin." Josquin des Pres is one of my favorite composers. The austere early Renaissance harmonies of his setting of the medieval hymn "De Profundis Clamavi" ("Out of the Depths I cried to Thee, 0 Lord") become considerably more dissonant in my 21st century rendition. But the tune is still there – look for it in Piano I after the opening measures. This is a gesture on my part to the great Western tradition extending from the early 1500s right down to the early 2100s and - hopefully - beyond.
half-light, somnolent rains was inspired by the hazy, gloomy light of winter, by memories wafting through the subconscious, and recollections which are starting gradually to fade. It is meant to have something of a stream-of consciousness mood about it.
In 2010 I began writing Gestures, a series of works exploring various aspects of formal process, rhythmic notation, and improvisation. With the express goal of creating musical contexts that invite performers to be collaborators or co-creators and to capture the immediacy of improvisation in chamber music performance. Gestures IV incorporates structured improvisation, and rhythmic notation that requires performers to coordinate events based on their visual placement in the score and temporal relationship in performance rather than adhering to 'strict' metric time. The work was written for the DiPaula-Umbelino piano duo and was premiered in 2012 in Goiania, Brazil.
Concert Two:
MUsic Alive Chamber Series
Guest Artist Recital Lindsey Goodman, Flute;
Trifecta!:
Lori Baruth, clarinet
David Oyen, bassoon
Chialing Hseih, piano
Festival Guest Composer: Elainie Lillios, Bowling Green State University
12:00 Noon, Friday, March 2, 2018
Fifth Avenue Baptist Church, 1135 5th Avenue, Huntington, WV
Notes
Sleep's Undulating Tide takes its inspiration from Margaret Atwood's poem Variations on the Word Sleep. Her expressive text reveals desire, intimacy, and longing -- "I would like to sleep with you, to enter your sleep as its smooth dark wave slides over my head." Atwood’s imagery progresses through a dream-like state where she desires to accompany her lover through the beauty of a " lucent wavering forest of bluegreen leaves" and then into a foreboding darkness "towards the cave where you must descend, toward your worst fear." Her continuing journey references Orpheus's descent into hell to rescue Eurydice by yearning to "become the boat that would row you back carefully." At wood's evocative poem ends with a simple yet profound expression to "be the air that inhabits you for a moment only", with its intent to be simultaneously unimportant yet vital. Sleeps Undulating Tide was commissioned by Phoenix Concerts for Lindsey Goodman and is dedicated to her with appreciation and admiration.
Among Fireflies (201O) for alto flute and live, interactive electroacoustics takes its inspiration from a haiku by poet Wally Swist who generously granted permission to use it for the piece:
Dense with fireflies
The field flickers
Through the fog
Swist's imagery inspired me to consider texture and perspective, which became two focal aspects of the piece. The piece's opening gestures place the performer in a field surrounded by a multitude of fireflies - perhaps the performer is a person, or perhaps the performer is a firefly him/herself. The piece's progression slowly separates the performer (and listeners) from the masses of fireflies, the increasing distance changing our perspective on their activity and brilliance. By the piece's end, we view the fireflies through the fog from a great distance, where only the smallest, blurred flickers persist, but the memory of their presence remains. Among Fireflies was commissioned by the Lipa Festival of Contemporary Music at Iowa State University in Ames, Iowa.
In Earth endures; Stars abide I explore John Beaulieu's Music and Sound in the Healing Arts, which correlates Greek elements: Earth, Fire, Water, Air, and Ether with musical intervals, tempi, and timbre as a diagnostic tool and to describe musical affect.
For Beaulieu's each element has qualities, which are modified when elements are combined, or in an active state of change. The possibilities are rich especially when one begins combining the elemental qualities. My application had profound implications with regard to the musical material, and the structure of the work from the watery texture of the opening, the slow steady rise of the earth theme, the energy of fire and air section.
At first Earth Song after Ralph Waldo Emerson's poem seemed a good title, but the meaning of the poem didn't quite tit; instead I used a line from the poem, which captured the essence of the music.
Aeolian Muses was commissioned by Trio Neos in 1993 with a grant from Fideicomiso para la Cultura Mexico/USA. The work is divided into two large sections. The first section is 'allegro' with a lyrical duet between the clarinet and bassoon, accompanied by rhythmic motives in the piano. This section is preceded by a slow introduction which presents material that will also be used to link the two larger sections. The second section is ‘presto’ with a repeated note figure in the piano, and staccato motives in the clarinet and bassoon. (As listed on nancygalbraith.com).
Trio Ruvido was composed during the Spring/Summer of 2016 in Hampton, Virginia for pianist Chialing Hsieh and the chamber trio Trifecta! (which includes clarinetist Lori Baruth and bassoonist David Oyen). This work contains a wide range of "ruvido impressions" in an undoctrinaire style. Aspects of architectonic form, while somewhat traditional, are articulated with great freedom--with allowances for recapitulative gestures. A projection of a variety of tense and calm gestures of tonal relations is presented in a postmodern framework.
Concert Three: Collage
3:30PM, Friday March 2, 2018
Marshall University Smith Music rm.143
Elainie Lillios
Lars Brondrum
Claudia Angel-Robles
Matthew Murchison
Matthew Harder
Brigid Burke
Notes
Amber Glow Radio: The Burning City is the second collaboration between the three artist, and the first of a monologue driven, three part web series.
Part two is set to be released in the coming month.
Veiled Resonance
i. The Beauty of Inflections
ii. The Blackbird Whistling (or just after... )
iii. The Beauty of Innuendos
Veiled Resonance is a composition for soprano saxophone and live, interactive electroacoustics inspired by the fifth stanza of "Thirteen Ways of Looking at a Blackbird" by Wallace Stevens:
I do not know which to prefer,
The beauty of inflections
Or the beauty of innuendoes,
The blackbird whistling
Or just after.
Stevens' text hints at subtle relationships between sound/silence and statement/innuendo, suggesting the infinite detail found in positive (sounding) and negative (silent) space. Stevens' ideas in this text and in others, further intimate the vague continuum between reality and imagination, consciousness and dreaming, and viewing a single moment as a profusion of details. Veiled Resonance applies these concepts to a composition exploring sonic and temporal relationships between the soprano saxophone and a live, interactive sonic component. Veiled Resonance was commissioned by saxophonist Steve Duke and premiered at the 2008 Society for ElectroAcoustic Music in the United States National Conference. It app ears on Centaur's CDCM Series Volume 38, Music from Bowling Green, and on the SEAMUS CD Series, Volume XVIII, Veiled Resonance won first prize in the 36e Concours Internationale de Bourges (2009).
Encircled was created using three sound sources: modular analog synthesizers, theremin and percussion. The percussion instruments (tam tam, finger cymbals and cymbals) were used both as audio source, as "triggers" and source for envelope followers. Some sounds has also been slightly treated with digital spectral synthesis. The title "encircled" refers to the idea that the listener is surrounded by sound.
Hinein (inwards) is an invitation to travel inside the world of natural microstructures, combining subtle sounds and extreme close-up images of diverse natural surfaces whose micro-dimensions are not perceived in our daily life. Both visual and auditory layers of the composition suggest the idea of a tactile/haptic feeling, inviting the audience to use their eyes/ears also to feel and not only to see/listen to, based on the following words by French philosopher Deleuze: 'Where there is close vision, space is not visual , or rather the eye itself has a haptic, non optical function: no line separates earth from sky, which are of the same substance; there is neither horizon nor background nor perspective nor limit nor outline or form nor center; there is no intermediary distance, or all distance is intermediary.’
Disquiet is a dark piece with disturbing sounds meant to conjure images and feelings of unease. Think about what makes you uncomfortable as you listen Sweeping Memories: Memory is unpredictable, with our remembrances often transforming and warping from their original form. Sweeping Memories travels through recollections as they alter and recombine, entangling reality, fiction, and fantasy to the piece.
"Power", for gyil and fixed media, was written for Dr. Mike Vercelli, Director of World Music at West Virginia University. Mike and I traveled to Ghana in 1998 as Masters students at Bowling Green State University. His long red hair earned him the unofficial title "Power Mike" amongst some of the villagers with whom we were staying. The piece explores the idea of power from two sources, tradition and modern technology. The gyil is an instrument of tradition, whereas the fixed media component is the products of an international dance music scene. The former used at Ghanaian ceremonies such as weddings and funerals, the latter at night clubs in the West. Both scenes bring large numbers of people together into environments controlled by music.
Hands Feed Roots, Brigid Burke (2017) is based around 4 spaces in 4 movements. Each depicting an element taking you on a complex interactive journey. Echo - cavernous empty space with emphasis on reflection the use of synthesis and acoustic reverbs is the emphasis of the sounds Ping - mirrors and glass with the audio from the clarinet and guitar transformed into brittle percussive sounds Layers - books stacked, opened in boxes exploring layers of lines with infinite textures from the audio Pulse- a collection snap shots of abstract people with the audio forming layered rhythms in distorted rapping voices, transformed by clarinet and guitar. The creative process evolves from reflection upon these rooms. Hands Fed the Roots is an audio-visual performance work for clarinet, guitar and real-time electronics with live video feed and pre-recorded visuals. The conversation between the clarinet, guitar, electronics and visuals will be intricate and thought provoking as the work progresses through each of the rooms. Hands Fed the Roots imagery is based on the performer's interactions conversing with abstraction and realism of the rooms.
Concert Four: Collage
7:30PM, Friday March 2, 2018
Marshall University Smith Recital Hall
Evan Grover, vibraphone
Lamont Thomas, euphonium
Wendell Dobbs, flute
Mark Zanter, electric guitar
John Bates, piano
Notes
After Long Drought (2016) for vibraphone and live, interactive electroacoustics takes its inspiration from a poem with the same title by Wally Swist:
The sky rips open
after days of grinding heat,
waves of meadow grass
shift in the blowing rain,
and floating on the breadth
of its extended wings,
as bright as a vision,
the great blue heron
strokes through the storm.
The percussionist's virtuosic foray through Swist's evocative work conjures images of an aggressive summer squall, with its torrential driving rain and gusting wind reflecting life's unpredictability and tumult. As the piece progresses, the storm fades into the background as our focus is directed to a peaceful calm discovered amidst the storm - a heron majestically gliding through the gale. After Long Drought was commissioned by Scott Deal. After Long appears with the author's permission and is published in Winding Paths Worn through Grass (Chicago, IL: Virtual Artists Collective, 2012).
Soul Doctrine (2016) was commissioned by Emilio Galante and the Sonata Islands Trio. The composition derives its musical material from the conflict between the Reformation and the Counter-Reformation. The composition is in three parts. Part I is a free interpretation of a searching soul. Part II applies feng shui to the birth date of Martin Luther (November 10, 1483) and to the start date of The Council of Trent (December 13, 1545) to produce its structure. Seven themes are juxtaposed according to this structure. Musical sources include Luther’s “Ein feste burs ist unser Gott "(Reformation Theme), Palestrina's "Missa Pape Marcelli" (Counter-Reformation Theme), the plain chant "Alma Redemptori s" (Virgin Mary Theme), and Jethro Tull's "Cross-Eyed Mary " (Mary Magdalene Theme). In addition original themes "God's Music" based on pure major triads, and “Devil’s Tune" based on the number six are presented. Part III offers a physical and spiritual union of the opposing forces. ZB.
Performer/Composer Bios
Anthony Almendárez is a musician, composer, educator and self-taught video artist who investigates the inextricability of audio and visual components within the medium of video. His early works comprise musical compositions that experiment with narrative structure within the auditory medium. In more recent work, Almendárez applies his musical expertise to his video and installation work, examining characteristics of the human condition such as alienation, anxiety and inner-conflict while simultaneously isolating his audience in site-specific acoustic environments. Challenging the hierarchy between audio and visual, and confronting their respective stereotypes in relation to identity and within the frame of narrative, Almendárez ultimately seeks to inject new modes of storytelling that are inclusive of histories and collective memories of those thriving along the margins of society. Almendárez 's compositions have been performed and premiered at various events and venues including the West Fork New Music Festival , Marshall Composer Series, Marshall New Music Festival, SCI Region III Conference of New Music, Florida School of the Arts, DANCE, SPLICE, the Conservatoire Maurice Ravel Flute Convention in Paris, France, and at Goldsmiths, University of London, UK.
Dr. Johan Botes is known for his extraordinary versatility as a soloist, collaborative musician, and teacher; a career which has brought him recognition in concerts around the world.
A native of South Africa, Bates was awarded 2007 First Prize Winner of the Third UNISA/Vodacom National Piano Competition playing Rachmaninoff's Third Piano Concerto to a standing ovation; a performance for which he also won the Desmond Willson Memorial Prize for best concerto in the final round.
In 2008, Botes moved to Europe and continued his studies in London with British pianist Martin Roscoe at the Guildhall School of Music and Drama. That year also resulted in master classes with Imogen Cooper, Alexander Rudin, Paul Lewis, Leslie Howard, Leon Fleisher and Richard Goode as well as regular coaching classes with pianist Graham Johnson and soprano Margaret Humpfrey-Clark.
As a soloist, Bates has performed in venues worldwide. He has appeared as soloist with the Chamber Orchestra of South Africa, Pro Musica Orchestra in Johannesburg, the KwaZulu-Natal Philharmonic Orchestra in Durban, the University of Pretoria Symphony Orchestra as well as the Texas Chamber Orchestra at UT Austin. He has also performed in Prague with the Hadrec Kralove Orchestra in 2003 and in 2005 he toured to Bulgaria where he played with the Varna Philharmonic Orchestra in Varna.
In 2010, Botes won the Sidney M. Wright Presidential Scholarship Competition in Piano Accompaniment and in the same year began collaborative Piano Trio work with cellist Francesco Mastromatteo. Their first performance in October 2010 resulted in critical acclaim, winning them Prize for the best Chamber Music Recital at The University of Texas at Austin in 2011. An equally accomplished organist, Bates won many awards in South Africa, including an Overseas Music Scholarship in Organ.
Dr. Botes holds a D.M.A in Piano Performance from the University of Texas at Austin and a M.M. from the Guildhall School of Music and Drama in London. He received another M.M. as well as his B.M. from the University of Pretoria in South Africa. He is currently Assistant Professor of Piano at Marshall University in Huntington, WV where he leads the Class Piano program. Before Marshall, Bates was lecturing in Piano, Group and Collaborative Piano at The University of Arkansas in Fayetteville.
Lars Bröndum, PhD, is a composer, performer of live-electronics, theorist and guitarist. His music has been performed in Sweden, Japan, Scotland, Lithuania, Russia, Latvia, England, USA, Spain and Mexico. His music often explores the interaction between acoustic and electronic instruments and lives on the border between written music and improvisation. The compositions are structured around cyclical processes, irregular ostinatos, fragmented gestures and microtonal clusters. Lars performs live using an analog modular system, a Theremin, effect pedals and sometimes a laptop with Max/MSP. Bröndum often compose for (and plays with) the ensembles Resurge, ExSurge, AGAIG and Spiral Cycle. Other projects that he is involved in are the "Ensemble SFW" and a duo with Sten-Olof Hellström. He has received composer grants from Konstnärsnämnden (Swedish Art Council), STIM (Swedish Performing Rights Society) and awards from FST (Swedish Composer's Society). Bröndum is the founder of the independent record label Antennae Media and his cd "Fallout" was awarded a winning prize in the Experimental Music Category by SOM (Swedish Independent Music producers) at the Manifest 2016 gala. He recently released the CD The Text and Sound Project. Lars is currently a Lector in Music at Skövde University.
Zack Browning (b. 1953) is a composer whose music has been described as "way-cool in attitude...speed-demon music" (The Atlanta Journal Constitution) and "propulsive, giddy, rocking... a rush of cyclic riffs and fractured meters" (The New York Time s). The Irish Times has proclaimed he is "bringing together the procedures of high musical art with the taste of popular culture''. His solo CD Banjaxed on Capstone Records contains eight of his original compositions for voice, instruments and computergenerated sounds and has been called "dramatic, exciting, rhythmic, high-energy music''. Browning's recent composition awards include finalist for the Apollo Chamber Player's 2014 International Commissioning Contest, the 2013 Directors Choice Award from Boston Metro Opera, a 2011 Individual Artist Project Grant from the Illinois Arts Council for a CD of his music titled Secret Pulse (Innova Recordings, released in January 2012), and a 2010 University of Illinois FAA Creative Fellowship for research and performances in China, Taiwan, and South Korea. In 2010 Innova Recordings released his solo CD Venus Notorious and the San Francisco Chronicle called it "ebullient, infectiously bright" and "bouncy and exuberant - some of the music sounds like dance tracks for androids with varying numbers of feet". New recordings include Decade of the Dragon on Starkland Records by the NakedEye Ensemble, and Sol Moon Rocker on Aerocade Records by the A/B Duo. Browning is an Associate Professor Emeritus of Music at the University of Illinois and the director of the Salvatore Martirano Memorial Composition Award. More information is available at www.zackbrowning.com
Dr. Brigid Burke is an Australian composer, performance artist, clarinet soloist, visual artist, video artist and educator whose creative practice explores the use of acoustic sound and technology to enable media performances and installations that are rich in aural and visual nuances. Her work is widely presented in concerts, festivals, and radio broadcasts throughout Australia, Asia, Brazil, Europe and the USA. Dr. Burke has earned degrees from the University of Tasmania, and the University of Melbourne. More information can be found at: www.brigid.com.au
Cosimo Colazzo is Professor of Composition at the Conservatory of Trento. He earned his degree in Piano at the Conservatory of Lecce (Italy), in Composition at the Conservatory of Roma (Italy), and Conducting at the Conservatory of Milano (Italy). He has studied conducting with Pierre Boulez and Peter Eötvöss and composition with Luigi Nono. His works have been performed in Italy, Europe, United States, South America and Japan. Rai Trade publishes his musical works. From 2005 to 2011 he was director of the Trento Conservatory.
Dr. Wendell Dobbs performs regularly with the Huntington Symphony Orchestra and the Ohio Valley Symphony (principal flute in both) to Blackbirds and Thrushes, a Celtic band. During a seven-year stint as flutist in the United States Army Band (Pershing's Own) in Washington, D.C., Dr. Dobbs received two Certificates of Achievement for contributions as soloist and principal flutist of the United States Army Chamber Orchestra. He joined the Marshall University faculty in 1985 after two years in Paris as a French Government Scholar studying with Michel Debost and Alain Marion. At Marshall he received the Pan Hellenic Society's Teacher of the Year award in 1993 and was selected the John Deaver Drinko Fellow for the 2007-08 academic year. In that capacity he studied flute music in America in the early 19th century and founded the John Marshall Fife and Drum Corps. His articles regularly appear in Flute Talk; he authored a Study Guide to Rubank Selected Studies for Flute which included instructional text and CD demo recording for West Virginia's high school flutists.
Dobbs premiered Katherine Hoover's Dances and Variations for flute and harp at the Kennedy Center for the Performing Arts. Dobbs' interpretation of Dances and Variations and other works by Hoover can be heard on the critically acclaimed CD Flute & Company on the Leonarda label.
He performs on the Halsey Stevens Quintet, released on Koch International Classics CD, a disc that was selected as best pick of 1996 by Tower Record's Classical Pulse! Magazine. He premiered James Kessler's Appalachian Folksong Suite for flute and orchestra, commemorating the 25th anniversary of the Huntington Chamber Orchestra. In spring, 1999 he premiered Paul W. Whear's Celtic Concerto and in fall, 2003 Scott Michal's Concerto for flute and orchestra both with the Huntington Symphony Orchestra. With colleague Kay Wildman he provided the music for Marshall University and Motion Masters documentary on the life of Supreme Court Chief Justice John Marshall. He followed that project up with a CD recording entitled Rallying Round Our Liberty, devoted to American flute music and songs from John Marshall's era. On these two projects he performs on the historically accurate 8-key simple system flute of the 19th century. He spins Irish traditional jigs and reels as a member of Blackbirds and Thrushes on two CDs, Calamity Nights and New Heights and regularly performs with his colleague, guitarist Julio Alves in the Violauta Duo.
Composer Nancy Galbraith is Professor and Chair of Composition at Carnegie Mellon University. In a career that spans three decades, her music has earned praise for its rich harmonic texture, rhythmic vitality, emotional and spiritual depth, and wide range of expression.
Galbraith's symphonic works have enjoyed regular performances by the Pittsburgh Symphony Orchestra, including premieres led by Gennady Rozhdetsvensky and Mariss Jansons. Her Piano Concerto No. 1 was recorded by Keith Lockhart and the Cincinnati Chamber Orchestra. Chamber Music Magazine hailed Galbraith's Rhythms and Rituals as "the kind of piece that should be the 'sound of classical music’ on today's radio stations.” Her chamber works have been performed by members of the New York Philharmonic and the Pittsburgh Symphony Orchestra, and by Mexico's Sinfonietta Ventus and Cuarteto Latinoamericano. Galbraith's popular works for wind orchestras have become standard repertoire for concert bands around the world, and are recorded often by American college ensembles.
In recent years, Galbraith has produced a substantial body of major choral works, beginning with commissions from Robert Page and the Mendelssohn Choir of Pittsburgh to compose Missa Mysteriorum and Requiem, a landmark achievement that was declared a 'masterpiece' by the Pittsburgh Tribune -Review . These successes have led to commissions from the National Endowment for the Arts, the Providence Singers, Pittsburgh Camerata and many others.
Born into a musical family in Pittsburgh in 1951, Galbraith began piano studies at age 4. She later earned degrees in composition from Ohio University (BA) and West Virginia University (MA). Her works are published by Subito Music in Verona, New Jersey.
Evan Grover is a percussionist who is currently residing in Huntington, West Virginia. He has performance experience in solo percussion, chamber music, orchestral music, and popular forms. He has performed and taught in venues such as Le Laboratoire at M.I.T., Sanders Theatre at Harvard University, and in various community centers across Boston for community outreach. Evan Grover was also a soloist at the West Virginia State Percussion Arts Society convention in 2013 and at the 2014 New Music Festival at Marshall University. Evan has most recently performed with the New England Philharmonic, the Brockton Symphony, and the Amid the Noise Percussion Project. Evan Grover received his M.M. in percussion performance from the Boston Conservatory and his B.F.A. in percussion performance from Marshall University. His former private teachers include Kyle Brightwell, Nancy Zelt sman , Casey Cangelosi , Steve Hall, and Dr. Ben Miller.
Dr. Matthew Harder is Dean of the College of Arts and Communication at West Liberty University where he oversees the art, music, theater, and communications programs. He is also active as a composer of acoustic and electro-acoustic works and his music has been performed at numerous festivals and conferences around the U.S. See his website for more information: matthewharder.com.
Matthew Heap is an internationally performed composer whose music has been featured in several American and English cities and on WQED and WCLV radio. Matthew received his BFA from Carnegie Mellon University, MMus from the Royal College of Music in London, and Ph.D. from the University of Pittsburgh. He has studied with Leonardo Balada , Eric Moe, Nancy Galbraith, Mathew Rosenblum, Amy William s, and Timothy Salter and has recently written works for the Talea Ensemble (NYC), Duo Scordatura (TX), Contemporary Enclave (Thailand) , TEMPO (LA), Trillium (PA) and Khasma.
Canadian saxophonist Justin Massey is a contemporary artist currently based out of Morgantown, West Virginia. Passionate for new music, Justin strives to present modern music in all his performances, often performing on the entire battery of saxophones. To this end, Justin constantly seeks out new repertoire and enjoys working with composers in order to recreate their visions into live performances. Recent commissions include Scrap Metals by Jason Charney and 9 Rhymes by Jacob Sachs-Mishalanie.
Justin is currently pursuing his Doctorate of Musical Arts Degree at West Virginia University. He has studied at the Conservatoire de Bordeaux, Bowling Green State University, and the University of Alberta. His primary teachers have included Dr. Michael Ibrahim, Marie-Bernadette Charrier, Dr. John Sampen, Dr. Allison Balcetis, and Dr. William Street.
Justin has received grants from the Edmonton Arts Council, and is a multi year recipient of the Winspear Fund Scholarship and the Anne Burrows Music Foundation Scholar ship. Justin-massey.com
Juno-nominated composer Jocelyn Morlock is one of Canada's most distinctive voices. Morlock's music has received accolades including Top 10 at the 2002 International Rostrum of Composers, four nominations for Classical Composition/Recording of the Year at the Western Canadian Music Awards (2006, 2010, 2014), and a Juno Nomination for Classical Composition of the Year (2011). Recent CD releases include her orchestral CD, Cobalt; Couloir's Wine Dark Sea; Standing Wave's Liquid States; Mark Takeshi McGregor’s Sins and Fantasies; and Neal Bennett's Ziggurat. Much of Jocelyn's music has been inspired by birds, insomnia, or a peculiar combination thereof. www.jocelynmorlock.com
Lawrence Moss was born in Los Angeles and received his doctorate from the University of Southern California in 1957. He has been a professor of composition at Mills College (1956-1958), Yale University (1960-1968) and the University of Maryland (1969-) retiring as Professor Emeritus in Music Composition in June 2014. He received a Distinguished Scholar/Teacher Award from the University in 1982. His works are recorded on C.R.!., E.M.F., Albany Capstone and lnnova. A new CD on lnnova featuring his most recent works per formed by the VERGE Ensemble of Washington, DC, Khasma, and others are in progress.
Matthew Murchison has a varied career as a performer, composer, arranger, educator, conductor, and producer. Matthew has been called one of the finest players of his (or any) generation. He has also been called other things, which should not be repeated here.
Matthew was a member of River City Brass in Pittsburgh, PA from 2002-2015 where he was a featured soloist hundreds of times. His solo performances with the River City Brass have been broadcast across the country. His comedy songs have been enjoyed by tens of people from every dark corner of the internet. As a brass musician Matthew plays euphonium, tuba, and trumpet. Matthew has served as producer for CD recordings and can be heard on solo, chamber, large ensemble, and rock band albums. He has also been hired to write jokes and perform as the emcee for concerts. Matthew has performed solo and chamber music concerts all across the United States as well as in South America, Europe, and Asia. He has been able to perform with groups such as the Pittsburgh Symphony, Brass Band of Battle Creek, United States Army Band Pershing's Own, and the Dallas Wind Symphony. Matthew selfpublishes a number of his compositions though his website while others may be obtained only after completing a series of magical quests. Recent performances of his compositions have taken place across the US as well as in Japan, South America, and Europe. He released his solo CD entitled Everyone But Me in 2003 on his own Mulholland Records and Music label.
Claudia Robles-Angel is an audiovisual artist born in Bogota-Colombia, currently living in Cologne-Germany and active worldwide. Her work and research cover different aspects of visual and sound art, which extend from audiovisual fixed-media compositions to performances interacting with bio-data via the usage of interfaces such as, for example, the EEG (electroencephalogram, measuring brain waves activity).
Her work has been presented in festivals and in group and solo exhibitions around the globe, for example, the ZKM Center in Karlsruhe (2005); Enter3 in Prague (2007), at the European Capitals of Culture Luxembourg and Romania (2007); 2008 at KIBLA Multimedia Centre in Maribor ; at the ICMC in Copenhagen and Montreal (2007 / 2009); at the Skulpturenmuseum Glaskasten Marl (2009), the SIGGRAPH Asia in Yokohama (2009), ESPACIO Fundaci6n Telefónica in Buenos Aires (2010), the New York City Electroacoustic Music Festival NYCEMF in 2010 and every year since 2013; the SIGGRAPH Asia in Yokohama (2009); the ReNew Festival in Copenhagen (2011); the NIME Conference in Oslo (2011); ISEA Istanbul 2011, ISEA Manizales 2017, at LEAP Space for media Art in Berlin (2012), Noisefloor Stoke-on -Trent (2012), CMMR Marseille and Plymouth (2013/2015), at the Salon Suisse, an official collateral event of the 55th Venice Biennale (2013), at the Audio Art Festival Cracow (2013) at Harvestworks Digital Media Arts Center New York City (2014 and 2017), at SKOP Festival Frankfurt (2014) at Nabta Art Center Cairo (2015) , Museum of Contemporary Art Bogotá (2011/2015), MADATAC Festival in Madrid (2016), IK Stichting in Vlissingen (2016), ICMC 2016 in Utrecht and more recently at Die Digitale Düsseldorf. www.claudearobles.de
Harvey J. Stokes is Professor of Music at Hampton University, where he also is the Founder and Director of the Computer Music Laboratory. He has taught also at Miami University, Christopher Newport University, and the College of William and Mary. His degrees are from Michigan State University (Ph.D.), The University of Georgia (M. M.), and East Carolina University (B. M.)
Currently, Dr. Stokes serves on the National Council of the Society of Composers as well as the National Association of Composers USA, and is a board officer of the Southeastern Composers League. He has served also as a consultant for the North Carolina Arts Council, The College Board, the Educational Testing Service, and the Educational Policy Improvement Center for the Advanced Placement (AP) in Music Program.
The oboe performance experiences of Dr. Stokes include those with the Tidewater Winds, Symphonicity Orchestra of Virginia Beach, the Virginia Symphony, Millennium Symphony, Norfolk Chamber Consort, and the Royal Ethiopian Philharmonic. Additionally, several composer residencies have been completed at West Chester University, Chowan University, and the University of Tennessee at Chattanooga. He is the author of two books on music as well as an award-winning composer of numerous works, and these works are available from Subito/Seesaw Music, Ars Nova Music Press, Centaur Records, Albany Records, and Harkie Music. His works have been performed recently in Hong Kong, Argentina, France, Canada, and the United States.
Christian L. Thomas was born in Waldorf, Mayland in 1996. Thomas began composing his freshman year of high school, under the influence of his band director, Susan Eckerle. Upon graduating in 2014, he went to Marshall University to obtain his Bachelor's of Fine Arts with an emphasis in Music Composition under the instruction of Dr. Mark Zanter. He will graduate in the year of 2018.
During his time at Marshall University, Thomas had works performed and premiered at the Westfork New Music Festival at Fairmont State University, the Region VII SCI Conference at Arizona State University, and the West Virginia public radio. Thomas has received commissions from Dr. Michael Stroeher on behalf of the Marshall University Trombone Choir and Dr. Elizabeth Smith.
Dr. Michael B. Vercelli is the director of the World Music Performance Center at West Virginia University. Michael holds a Doctor of Musical Arts degree in Percussion Performance with a minor in Ethnomusicology from the University of Arizona. Michael's research focuses on the transmission and performance practice of percussive traditions of Africa and African Diaspora. He has conducted long-term fieldwork on the xylophone traditions of Ghana and has studied in Brazil, Guinea, Uganda, Cuba, and Bali.
Dr. Vercelli has received many awards for both his performance and study of indigenous music and has released recordings with master Ghanaian xylophonists Tijan Dorwana and Bernard Woma. Michael has received the Snowshoe Institute Award of Excellence for Scholarship in the Arts and the WVU College of Creative Arts awards for Outstanding Service and Internationalizing the College. At WVU, Dr. Vercelli directs summer study abroad courses to Ghana, Brazil, and Belize, focusing on music, dance and cultural immersion. Dr. Vercelli has published in the Percussive Arts Society's journal, Percussive Notes, and in the third edition of Gary Cook's Teaching Percussion. He is a participating member in the Percussive Arts Society, the Society for Ethnomusicology, and the International Council for Traditional Music. Michael has given lectures, performances, and workshops across the United States, Mexico, Brazil, China, and Europe. Dr. Vercelli is a Meinl Percussion Artist and a member of the Vic Firth Educational Team.
Symeon Waseen holds a doctorate degree in composition from Eastman School of Music. He has performed or had works performed at events such as the national SEAMUS conference, Heidelberg New Music Festival, Bowling Green New Music Festival, Western Illinois University New Music Festival, College of Southern Nevada New Music Festival, 0 lnstituto Villa-Lobos da Universidade Federal do Estado do Rio de Janeiro. He was awarded the Eastman School of Music "Wayne Brewster Barlow Prize" for his Concerto for Voice and Voices, and was the South Dakota Music Teachers Association 2012 commissioned compo ser. Symeon teaches theory, composition, and piano at Black Hills State University.
Andrew Walters studied composition with Robert Chamberlain at Millikin, where he received his Bachelor of Music Education degree. He has also studied with Jan Bach, James Phelps and Robert Fleisher at Northern Illinois University. He received his OMA in composition at the University of Illinois where he worked in the EMS studios under the guidance of Scott Wyatt and James Beauchamp. His dissertation was on the use of texture in the music of Louis Andriessen. While working at the University of Illinois, his primary teachers were William Brooks, Zack Browning, Erik Lund, and Paul Zonn. Walters' music has been performed at various conferences throughout the US and Canada, including SEAMUS, SCI, ICMC, Spark, Imagine II, Electronic Music Midwest, and the Electroacoustic Juke Joint. His piece "IN-EX" won Honorable Mention at the 1998 Russolo Pratella International Electroacoustic Composition Competition and is featured on the "Music from SEAMUS, Volume Nine" compact disk. "Pushing Buttons", a piece for alto saxophone and 2-channel electroacoustic music is featured on the "Music from SEAMUS Volume Sixteen" CD and was performed at the International Computer Music Conference in New Orleans, in 2006. Dr. Walters has taught at Millikin University, Brookhaven College, and the University of Texas at Arlington.
Chih-Chen Wei is an active composer. Her composition "Between Stream and Hills V - Odyssey" is available in the album "Viola Works by American Female Composers" Centaur Records (CRC 3332), recorded by violist Hsiaopei Lee and pianist Chialing Hsieh; "Farewell" in the album "Ten Poems'; recorded by flutiest Cheng-Yu Wu (Ho Kuan; TAS001).
Her abstract, "Synergy: Western Musical Practice and Asian Aesthetics" was selected by American Viola Society 2016, and was presented at Oberlin Conservatory. Her composition "Odyssey" was featured in the lecture recital "New Music for Viola by Victoria Bond and Chih -Chen Wei," in Music by Women Festival 2017. Her proposal, "Old Wine, New Bottle?" was invited to a lecture-recital in 45th International Viola Congress, and will be presented in 2018 in Rotterdam, Holland, hosted by The Dutch Viola Society.
Her compositions has been played by Taipei philharmonic Youth orchestra, HsinYi Symphony Orchestra, Giant Chinese Chamber Orchestra, Yichih trio, soprano Stacey Fraser, tenor Andrew Crane, flutiest Glendy Chien, percussionist Nick Terry, clarinetist Lori Baruch, bassoonist David Oyen, harpist Cindy Chen, pianist Slawomir P. Dobrzanski , Charleen Liu, Kelly Anderson , Jocelyn Hua-Chen Chang, Amber Liao and among others.
Her works have been selected and performed in the concert of Clarinetfest 2016 by Trifecta! at the Swarthout Recital Hall, Lawrence, Kansas; the American Viola Society Festival 2016 in Oberlin Conservatory; Sound of Dragon Music Festival 2015, Toronto, Canada; Society of Composers, Inc., Region VI Conference at Oklahoma City University and Kansas State University (2010), UCM New Music Festival 2011 at University of Central Missouri; 7th Annual Festival of Contemporary Music in San Francisco (2009); Asian Composers League in Korea (2009); New Music Concert , All Faiths Chapel, School of Music, Theatre and Dance, Kansas State University (2015); National Association of Composers/USA in Los Angeles; Cantai Music Festival in Taipei; Thailand International Composition Festival (2008); National Taiwan Symphony Orchestra Composition Festival (2010), and among others.
Born in Taiwan, Chih-Chen Wei completed Doctor of Musical Arts with academic honors and distinction, Pi Kappa Lambda, from the University of Southern California. Her composition mentors include Chinary Ung, Stephen Hartke, Donald Crockett, Paul Chihara, Ian Krouse, Fang -Long Ko, Shyh-ji Chew, and Ting -Lien Wu. Currently, she teaches Music Theory at Chapman University in Southern California.
Festival Host
Mark Zanter, composer/performer, has been commissioned by the UIUC Creative Music Orchestra, CU Symphony, the American Composers forum, the WV Commission on the Arts, WVMTA, Due East, Şőlen Dikener, Rick Kurasz, Çetin Aydar, Ankara University Soloists, Lindsey Goodman, Trifecta!, Awea Duo and many others. He has appeared on NPR's Live at the Landmark, WILL, IPR, on WVPN In Touch With The Arts, is published by Les Productions d'OZ, Schott European American and MJIC, and his works have been performed nationally and internationally at festivals including, MUSIC X, June in Buffalo, Soundscape (Maccagno, Italy), NYCEMF, Echofluxxl 4 (Prague, Czech Republic), SEAMUS, Atlantic Center for the Arts, Seensound (Melbourne, AU), NFA and ICA International Conferences. Zanter has received awards from ASCAP, AMC, ACF, Meet the Composer, WV Division Culture, WVMTA; Lament and dream for string orchestra, piano and percussion received special distinction for the ASCAP Rudolph Nissim Prize. Zanter's music has been issued on the Ablaze, Navona, and innova record labels. Dr. Zanter is professor of music; and Distinguished Artist and Scholar at Marshall University.
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Smith Music Recital Hall
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Smith Music room 143
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Fifth Avenue Baptist Church, 1135 5th Avenue, Huntington, WV.
Disciplines
Arts and Humanities | Fine Arts | Music | Music Performance
Recommended Citation
Zanter, Mark, "Marshall University Music Department Presents the Ninth Annual Festival of New Music" (2018). All Performances. 949.
https://mds.marshall.edu/music_perf/949
