< PreviousIAWM Journal Volume 27, No. 2 202146 Winner: Alissa Duryee for Night Sketches Night Sketches is a series of pieces to be experienced in the dark, or with one’s eyes closed. When writing this, she was interested in exploring the relationship of visual stimulation to piano performance. If the player is not seen, what can be under- stood about the space they are in and the sounds they make? Several of the pieces also pay homage to nocturnal situations: the languor of nocturnal marsupials, the busy frenzy of a frog pond on a summer’s night, with a wink to the nocturne as a genre. The performer uses erasers, pencils, and paper to evoke the sounds of writer’s block, as well as a number of extended techniques throughout the series. The fifth piece, “Pond Jam,” may be played by any number of players, none of whom need to be trained pianists. Honorable Mention: Amy Stephens for Scenes of San Francisco Choral/Vocal Ensemble Prize ($300), compositions of any duration for choral or vocal ensemble. Winner: Anna-Louise Walton for the deep glens where they lived the deep glens where they lived, for six singers and PVC pipes, was written be- tween 2020 and 2021. Like many pieces in these strange times, each singer had to re- cord their part separately. They used only a stopwatch to guide their performance, without hearing the other recorded parts. The result is a piece that ebbs and flows, and allows space for the materials to inter- Congratulations to the two first-place win- ners: a tie based on the contest’s criteria. Wisconsin Chamber Choir, “Music She Wrote,” featuring music of women composers spanning six centuries. Clarinetist, Andrea Cheeseman The Programming Award Committee was impressed by the winners’ commitment to programming music by diverse women composers over a period of several years and throughout the pandemic. Special thanks to the jury: Monica Buckland, Dana Reason, and Roma Calatayud-Stocks, chair. The Wisconsin Chamber Choir (WCC), with Artistic Director Dr. Robert Gehrenbeck, is a mixed chorus of approxi- mately 50 members from the South-Central Wisconsin region. Founded in 1998, with then Artistic Director Dr. Gary McKercher, the WCC has established a reputation for excellence in the performance of oratorios, a cappella works from various centuries, and world-premieres. During the pandem- ic, the WCC started exploring new ways of making and disseminating music. In Sep- tember 2020, the choir resumed activity in the shape of the Parking Lot Choir, gener- ating local media coverage from WKOW and Madison Magazine, whose story was headlined, “Forget tailgates, parking lots are for choir practice.” This first Car Carols concert in De- cember 2020 was widely acclaimed and garnered over 5,000 views on YouTube. This format was continued in another con- act with each other only after-the-fact. Each singer extends their voice with a PVC pipe fashioned into a kind of rustic flute, whose resonating frequency very subtly modulates the pitch that the singers sing into the pipe. At other times, the pipe acts as an amplifier, making more audible the small and delicate sounds of the mouth. Most importantly, the pipes help to modify the human voice, making us question, at times, if it is only human voices that we are hearing. “In the deep glens where they lived all things were older than man and they hummed of mys- tery” (Cormac McCarthy, The Road). Honorable Mention: Clara Allison for Kno” For additional information, visit the IAWM website. cert, “Music She Wrote,” presented on May 15, 2021, from the parking ramp of the American Family Insurance (https:// youtu.be/IazowZhuG18). In a year when most concerts were canceled, the WCC found creative ways to perform together. In addition to the two Parking Lot Choir concerts, recordings by four small groups, including a women’s chorus and several pre-recorded pieces, were released. The May 2021 concert was unique, not just be- cause of the rich repertoire but also for the creative and innovative way that the con- cert was performed and recorded. (www. wisconsinchamberchoir.org) Andrea Cheeseman is a clarinetist and teacher from Columbia, SC. Through- out her career, she has been committed to playing outstanding music and collaborat- ing with inspiring composers. Although she regularly performs the traditional repertoire, she is an advocate of new mu- sic, and she is a sought-after performer of electroacoustic works for clarinet and bass clarinet. In order to promote electroacous- tic music, she has toured extensively, giv- ing recitals and masterclasses throughout the country. Additionally, Andrea has been a featured performer at festivals such as the Third Practice Electroacoustic Music Fes- tival and the Electroacoustic Barn Dance, and she has appeared at EMM and SEA- MUS conferences. Her CD Somewhere (Ravello) received an enthusiastic review in the Journal of the IAWM 26/2 (2020): 37-38. (Cheesemanclarinet.org) Virginia Center for Creative Arts The Virginia Center for Creative Arts (VCCA), an artist colony located in Amherst, Virginia, typically hosts nearly 400 artists each year in residencies of two weeks to two months. A residency at Mt. San Angelo includes a private bedroom with private bath, a private individual studio, and three meals a day, as well as access to nature trails and grounds of Sweet Briar College. Composers’ studios feature a desk, chairs, and piano. Three baby grand pianos are available: a Yamaha Disklavier, a Kawaii, and a Knabe. Nestled in the foothills of the Blue Ridge Mountains, VCCA is surrounded by natural wonders and many local sites. Additional inspiration can be found in short drives to Lynchburg (20 minutes), Charlottesville (1 hour), Roanoke (1.5 hours), or Richmond (2 hours). Residencies can be transformative to an artist’s process and the effect on an artist’s career profound. A residency at VCCA gives artists the time and space to explore and go deeper into their work. Away from the constraints of “the real world” and in an ac- cepting environment of talented peers, one can dream and create with the feeling that anything is possible. The next application deadline is January 15. Winners Of The 2021 IAWM Programming Award Recognizing artists and ensembles that bring the music of women composers to their programs and performances.47 to study jazz with racial justice and gen- der justice as guiding principles. Carrington is the first female artist to ever win the GRAMMY Award for Best Jazz Instrumental Al- bum, which she received for her 2013 work, Money Jungle: Provocative in Blue. Over the four-decade- plus span of her career, and 100-plus recordings, she has played with Herbie Hancock, Wayne Shorter, Lester Bowie, Cassandra Wilson, Dianne Reeves, Stan Getz, Al Jarreau, John Scofield, Pharoah Sanders, and Esperanza IAWM Advisory Board Spalding among countless other jazz lu- minaries. In 2019, Carrington received the pres- tigious Doris Duke Artist Award as recog- nition of her important work in the field. She has curated musical presentations at Harvard University, Schomburg Center for Research in Black Culture, and the John F. Kennedy Center, and has enjoyed multi- disciplinary collaborations with esteemed visual artists Mickalene Thomas and Car- rie Mae Weems. Please join us in welcoming this amaz- ing artist, educator, and trailblazer to the IAWM Advisory Board! To learn more about Jazz and Gender Justice Institute: https:// college.berklee.edu/jazz-gender-justice We are excited to announce that NEA Jazz Master Award winner and distin- guished composer, musi- cian, producer, educator, and GRAMMY award win- ning jazz artist, Terri Lyne Carrington, is joining our IAWM Advisory Board. In addition, IAWM will also partner with the Jazz and Gender Justice Institute at the Berklee College of Mu- sic where Carrington is both the founder of and serves as Artistic Director. The mis- sion of Jazz and Gender Justice Institute is to recruit, teach, mentor, and advocate for young musicians seeking Terri Lyne Carrington (photo credit, Tracy Love) The IAWM Hybrid: In-Person and Virtual Conference will be held on the beauti- ful campus of Oregon State University, in Corvallis, Oregon (USA), June 2-4, 2022, with satellite events in Antwerp, Belgium, and virtual platforms. The keynote speaker will be Dr. Nina Sun Eidsheim. Due to the global pandemic, the IAWM organizing committee and the IAWM Board have arranged to host this conference with options for participation that encourage varying levels of in- volvement no matter where you are on the globe. Oregon State University has put in place Covid-19 restrictions and vac- cination requirements that make it possible to safely gather on the campus. Your safety is top priority. In ad- dition to the in-person sessions, there will be YouTube live concerts, live film scoring sessions, digital poster sessions, and virtual sound galleries, as well as plenty of oppor- tunities to connect and socialize through on- line gatherings and chat rooms. Participation: Open Call We are particularly interested in trans- formative discussions about female and female-identified histories, sounds, prac- tices, research, and music by female and female-identified creatives. We want to hear from and about those taking risks to chart new ground; uncovering unheard voices; advocating for other sound practitioners and makers; those reimagining equity and inclu- sion in the world of making music and cu- ration; those whom history has ignored; and those reaching back to advocate for students, friends, colleagues, and the next generation. We are creating a collective and com- munity-based cultural happening to elevate, celebrate, and situate female and female- identified creatives in music with all kinds of experiences, from all different places and music-making spaces. We welcome inde- pendent researchers, performers, graduate students, non-academic practitioners, and academic and industry professionals. Submission Topics Topics may include but are not limited to the following: ● Curating Change: Feminism, Activism, Identity, and Race in Music ● Music Making in the Anthropocene: Sound, Music, Noise, and Nature ● (It might not be) A Walk in the Park: So- matics, Deep Listening, Embodiment, and the Body Politic ● BIPOC Equity, Bias, and Gender Issues in Music ● Reframing: Visual Music, Film, and Video ● Performance, Radio and Sound Art: LG- BTQ+ Voices, Extended Techniques, His- tories and Topographies ● Hybridity and Intercultural Practices in Music ● Communities in Practice: Improvisation, Songwriting, and Collective Markers of Making ● Remix: Sonification, Computer Music, NFTs and Music Industry, Data Analysis, and Interactivity ● Sounding the Globe: Music Making from Near and Far ● Unheard: Emergent Scholarship, Domes- ticity, Motherhood, and Historical Voices in Music Categories and Details for Submission To be considered for the 2022 Hybrid Conference Call & (HER) Response: Mu- sic in the Time of Change, please review the submission categories requirements. Submissions are open until December 19, 2021. Participants will be notified of ac- ceptance by Dec. 29th. There is no cost to submit, but selected applicants must be up- to-date members of the IAWM or join. All applicants must include a 150- word biography and list any technical re- quirements or requests. Please be aware that this will be a HYBRID conference, and activities will be programmed accord- ingly to accommodate in-person and re- mote participation and attendance. Categories for Submission: Please Select One of the Following 1) Individual Paper Proposal. Paper presentations will be 15 minutes followed by a 10-minute discussion at the end of each session. The program committee IAWM Conference: Call & (HER) Response: Music in the Time of Change Oregon State University Logo IAWM NewsIAWM Journal Volume 27, No. 2 202148 will compile topically-based three-paper sessions after the initial abstract selection process. Maximum Individual Proposal length: 250 words. 2) Workshop Proposal. (a) Workshops can be a live or pre-recorded video per- formance or lecture. Please see specifica- tions for videos below. Not to exceed 45 minutes. (b) Maximum workshop proposal length: 250 words. Be sure to include tech- nical details. 3) Poster Sessions (delivered via Digital Platform). (a) Maximum proposal length: 250 words. (b) If you plan to sub- mit a video poster or PDF, please make sure to include a three-to-five-minute au- dio recording to accompany your poster. We will host the poster sessions online, and authors will be encouraged to comment in the chats to people viewing the works. (c) Due to Covid restrictions, please note that we will have limited numbers of physical posters displayed at the conference. IAWM Conference attendees will be able to view the posters asynchronously to accommo- date time differences. 4) Virtual Listening Room: (a) Submit a link to a URL of a NEW piece or realiza- tion of a historical piece of music that is no longer than 15 minutes in length. (b) Please note that pieces may be paired with a visual element for YouTube (Live) at the discre- tion of the curators. Your selected sounds should be of a high quality (wav or MP4) file. (c) Include a 150 summary about the piece, include title, names of composers/ improvisors, performers, and recorded date, and why this work matters, etc. IAWM con- ference attendees will be able to view asyn- chronously for time differences. 5) Live Film Scoring: (a) Maximum proposal length: 150 words. (b) If you are interested in performing to pre-selected live silent films (which may be solo or with a small ensemble), please submit a URL link to a short audio/visual example of your work in this area (one-to-two minutes are fine). We will provide a keyboard/amp, but musicians are encouraged to bring their own instruments. (c) Please list your expe- rience, instrument, and availability. Please note, participation in the ensemble is most- ly in-person at OSU but remote options can be explored, too. Registration opens February 1, 2022. For details about fees and travel, see the IAWM website. For questions, please con- tact: iawm2022conference@gmail.com. We look forward to gathering as a commu- nity both in person and on-line. Dana Reason, Conference Chair, Oregon State University. Program Committee: Maria Gabri- ela Alvarado, Independent. Eline A. Cote, Roy- al Conservatory of Music, Antwerp, Belgium. Morgan Davis William and Mary Deborah Nemko, Bridgewater State University. Christina Reitz, Western Carolina University. Jane Rigler, University of Colorado, Colorado Springs. Deborah Saidel, Independent. Awards Congratulations to the following award winners! Gyuli Kambarova Gyuli Kambarova received the following composition awards in 2021: Best Soundtrack for You Are Not Alone, Los Angeles Film Awards (CA, USA). Best Film Score Soundtrack for You Are Not Alone by Cult Critic Movie Awards (Kolkata, India). Best Jazz Track for the soundtrack of Californian Vacation by the International Music Contest, “Tracks Music Awards” (CA, USA). First Place Laureate in the International Composition Competition named after S. Prokofiev (Chelyabinsk, Russia). She received the following teaching awards in 2021: “Top-Ranked Teacher” by the European Association of Culture for commend- able contributions in 2021 as a music teacher (Russia). Diploma “For Outstanding Work as a Teacher” by the International Composition 2021 Competition named after S. Prokofiev (Chelyabinsk, Russia). Diplomas for the Teacher of the National Winner and National Final- ist in the Composition Competition by the Music Teachers National Association (USA). Julia Mortyakova Julia Mortyakova, IAWM Board Member, is the recipient of the 2021 Mississippi Arts Commission (MAC) Performing Arts fellow- ship for piano. Vojna Nesic Vojna Nesic was one of six women in the Femmes du monde‒sur les traces de Stravinsky composer competition whose work was selected to be performed in Brussels on October 23. Her Toccata was performed by pianist Charlotte Otte, and the work was dedicated to Gerthrud Firnkees (1986). Leah Reid In recent months, Leah Reid was awarded the American prize in Composition—Professional Vocal Chamber Music Division for her pieces Apple and Single Fish;First Prize in the KLANG! 8ème concours international de composition électroacoustiqe for her piece Reverie; Second Prize in the Iannis Xenakis International Electronic Music Competitionfor her piece Reverie; and Second Prize in the Gaetano Amadeo Prize for her work La Ballata. Ania Vu In April, Ania Vu was the winner of the 9th Annual Commissioning Competition by the Boston New Music Initiative (BNMI). Her piece Tik-tak was selected by an outside panel of industry professionals from an anonymous pool of almost 100 compositions. She will be writing a new work for BNMI to premiere in 2022. For additional information, see https://www.bostonnewmusic.org/. She received a composer fellowship to participate in the American Opera Project’s “Composers & The Voice” two-year program. Rain Worthington The Global Music Awards 2021 were announced in February. Rain Worthington received the Silver Award for Within Deep Currents, for string orchestra. It was recorded on the SPARKS Vol II album, Navona Records. She received the Bronze Global Music Award for Shadows of the Wind, for orchestra. It was recorded on the PRISMA Vol 4 album, Navona Records.49 Members’ News ANITA HANAWALT News items are listed alphabetically by member’s name and include recent and forthcoming activities. Submissions are always welcome concerning appoint- ments, honors, commissions, premieres, performances, and other items. NB: The column does not include radio broadcasts; see Linda Rimel’s weekly “Broadcast Up- dates.” Awards and recent publications and recordings are listed in separate columns. Send this information to the editor in chief, Eve R. Meyer, at evemeyer45@gmail.com. We recommend that you begin with the most significant news first and follow that with an organized presentation of the other information. Due to space limita- tions, information such as lengthy descrip- tions, lists of performers, long websites, and reviews may sometimes be edited. The deadline for the next issue is De- cember 30. Please send news about your activities to Members’ News Editor Anita Hanawalt at anita@hanawalthaus.net. Ani- ta does not monitor announcements sent to the IAWM listserv; be sure to send the information directly to her. Katy Ambrose joined the faculty at the University of Iowa School of Music as the Visiting Assistant Professor of Horn in August 2021. Ambrose was a founding member of the all-female brass ensemble, Seraph Brass, the all-female horn quartet Izula, and the Lanta Horn Duo. She is ded- icated to commissioning and performing works by female composers. Pianist, composer, and recording art- ist for Parma recordings/Navona records Marta Brankovich recently completed a recording project with American movie director Donna Cameron, featuring Fred- rick Kaufman’s extremely difficult and complex piano piece, The Whole in Parts. When Cameron heard Brankovich’s per- formance of the piece, she was inspired to make an experimental/New Age movie centered around the performance. The film premiered on August 25, 2021, and it is already featured in the Museum of Mod- ern Art in New York (see https://youtu. be/984EgNAlWWA). The short, twelve- minute film is currently listed to be per- formed at twenty international festivals, the Cannes short film festival, and the Sun- dance film festival. Jerry Casey was named a finalist in two categories of The American Prize: Choral Composition (shorter works) for Yet, I Will Rejoice and Vocal Chamber Composition for Bird Raptures (soprano/solo flute). The Fourth International Music by Women Festival, held at Mississippi University for Women in Columbus, Mississippi, fea- tured three of her works: O, Death, Rock Me Asleep, performed on March 6, 2020, by soprano Marika Kyriakos and violinist Guy Harrison; Bird Raptures, performed by soprano Cheryl Coker and flutist Tara Schwab; and Three Moods, performed by Elle Jenkins (horn) and Ania Sundstrom (piano) on March 7. The Virtual Conference of Chris- tian Fellowship of Art Music Composers (CFAMC), held October 17, 2020, played recordings of two works, Life and Love, performed by Rebecca Keck, soprano, and Eileen Huston, piano; and Suite for Brass and Percussion, performed by Amy Baker and Tom McKay, trumpets, Helen Doer- ring and Vivian Baker, horns, and Linda Dauwalder Dachtyl, percussion. The Octo- ber 23, 2021, Virtual Conference of Chris- tian Fellowship of Art Music Composers (CFAMC) played the recording of What Shall We Bring? (SSAATTBB a cappella) performed by the Concert Choir of Otter- bein University (Westerville, Ohio) under the direction of Gayle Walker. Tamara Cashour recently invigorated her opera company, OperAvant, Inc., with a post-Covid launch presented on Halloween (October 31) at the National Opera Center in New York City. The performance fea- tured highlights from OperAvant’s upcom- ing season, featuring new works as well as deconstructions of repertory operas; Cashour is also trained as a stage director. This performance was made possible by a New York City Arts Grant of $5,000 for performing and visual artists whose work was negatively impacted by the pandemic. Cashour passed the first round of the Bronx Council on the Arts Project Grants, which totals $20,000 for new operas produced by Bronx-based companies. Another grant from Bronx Council on the Arts funded Forbearance for SATB chorus and bird- callers. The work was launched by Juhl Media as a film project featuring the New York City Choral Collective C4. Tenor Andrew Fuchs and pianist Laura Ward gave the world premiere performanc- es of Juliana Hall’s Piano Lessons on Oc- tober 2, 2021, at The Presbyterian Church of Chestnut Hill in Philadelphia, Pennsyl- vania and on October 3 at the Academy of Vocal Arts, also in Philadelphia. Tenor Dan- iel Shirley and pianist Eric Stellrecht gave the world premiere performance of Bredon Hill October 4 at Eastern Carolina Univer- sity in Greenville, North Carolina. A Bold Beauty CD Launch Concert is scheduled for November 15, 2021, at the University of North Texas in Denton, Texas, includ- ing selections from song cycles: Cameos, Theme in Yellow, Letters from Edna, and Syllables of Velvet, Sentences of Plush, per- formed by soprano Molly Fillmore and pia- nist Elvia Puccinelli. Other new recordings include an ARSIS Audio Digital Release, A Donations The IAWM thanks all the members who made financial donations to our organi- zation over the past year. Portions of this funding will support IAWM’s new BE- YOND THE NOTES Webinar Series, an Internship Program, a five-year endow- ment for the Pauline Alderman Awards, and the Journal of the IAWM. We also thank those who generously gave to IAWM in memory of the late Lucille Field Goodman, and we thank the per- son who contributed an anonymous do- nation of $10,000. In addition, we are very appreciative of the countless hours our many volunteers spent to further the work and aims of our organization. Donations: November 2020 to Novem- ber 2021 Amy Brandon Jennifer Famous Natalie Gangbar Denise Von Glahn Marta Greanleaf Katya Heldt Veronika Kransas Patsy Rogers Beverly Schanzer The IAWM thanks the sponsors who provided funding for the various Search for New Music Awards: Ruth Anderson Claire Chase Christine Clark of Theodore Front Musical Literature, Inc. Libby Larsen Patsy Rogers Alex Shapiro Judith Lang Zaimont Members' NewsIAWM Journal Volume 27, No. 2 202150 World Turned Upside Down (seven songs on excerpts from The Diary of a Young Girl by Anne Frank), recorded by On Site Op- era, New York City; Beneath the Sky (songs of 12 American composers) by Shokat Projects; and Komponistinnen (songs of 24 women composers) by Solo Musica. “Sonnet” from Night Dances was performed by tenor Thomas Cooley and pianist Donald Sulzer at the Carmel (Cali- fornia) Bach Festival on November 5. “A Poet’s Presence,” a Faculty Concert fea- turing Guest Composer Juliana Hall, took place on October 24 at the Hartt School of Music in West Hartford, Connecticut. World premieres on the program included: A Certain Tune, Janet Arms, flute; The Bal- lad of Barnaby, Rita Porfiris, viola; Thir- teen Ways of Looking at a Blackbird, Cherie Caluda, soprano, and Carrie Koffman, alto saxophone; and Upon This Summer’s Day performed by Cherie Caluda, soprano, with the composer at the piano. Soprano Franziska Andrea Heinzen and pianist Benjamin Mead performed “Sleep, Mourner, Sleep!” from Night Danc- es at the International Song Festival Zeist (Netherlands) on October 22. Soprano Na- dine Benjamin and pianist Nicole Panizza performed Upon This Summer’s Day at the Oxford Lieder Festival held October 17 at St Hilda’s College, Oxford University (England). Soprano Victoria Lawal and pia- nist Mark Robson performed Night Dances at an Emerging Artist Recital on October 7 at Boston Court in Pasadena, California. Soprano Zoe Allen and pianist Christopher Allen performed “Silly Sallie” from Songs of Enchantment on September 11 at the Ojai Music Festival. Mark Lawson, President of the ECS Publishing Group, interviewed Juliana Hall and Eric Einhorn on September 9; the in- terview included A World Turned Upside Down, a song cycle on The Diary of a Young Woman by Anne Frank. On Site Op- era (New York City) performances aboard the tall ship Wavertree at the South Street Seaport Museum, August 28-31, 2021, in- cluded Ahab, performed by bass-baritone Zachary James and pianist Charity Wicks. The New York Women Composers spon- sored “Juliana Hall: Writing Music for Voice” on July 15. Students of the Orvieto (Italy) Musica Festival performed Music like a Curve of Gold on July 6. Pianist Rebeca Píriz gave the world pre- miere of María Eugenia León’s Astros as part of the “Hoy, compositoras” concert performed at the Museum of Science and Cosmos in Tenerife, Spain on June 22. Pro- grammed by the composer Marisa Mancha- do through the Spanish Society of Authors and Publishers (SGAE) organization and performed by pianist Rebeca Píriz, the full program was inspired by science and cos- mos; constant images and videos of the mu- seum were shown while the performance was transmitted live through YouTube and the Museos de Tenerife website. A video of the performance is available at: https:// youtu.be/sJ9SSxCsmHY?t=2637. The Lincoln Land Community College Choir, under the direction of Laurie Lewis- Fritz, was invited to perform at the Illinois American Choral Directors Association (ACDA) Fall Conference in Chicago, Illi- nois in October. Janice Macaulay has had two premieres on the Baltimore Composers Forum vir- tual concert series. “Why So Pale and Wan, Fond Lover?” from Love Poems from the English Renaissance was performed by baritone Jason Buckwalter and pianist Bonghee Lee on the July 17, 2021, Sonitus concert. Chorale, Fanfare, and Prayer was performed by the Parkway Brass Quintet on the “Four Colors, Four Elements” con- cert held September 4, 2021. Both concerts are available on the Baltimore Composers Forum website. Sonia Megías, along with Eva Guillamón, her partner in the vocal duo Dúa de Pel, pre- sented a performance on October 15 at the National Auditorium of Madrid in Spain. The concert featured works for voice and a variety of percussion instruments com- posed or arranged by Megías. (For ex- SPLICE Institute 2022: Interactive Multimedia Practices CALL for APPLICATIONS SPLICE Institute is a week-long, intensive summer program for performers, composers, and composer-performers interested in music that combines live performance and electronics. Apply by January 15, 2022, for SPLICE Institute 2022, which will take place in person June 26-July 2. Guest artists will be composer and multimedia artist João Pedro Oliveira and pianist Vicki Ray. SPLICE Institute 2022 Features: Introductory, intermediate, and advanced workshops on a variety of musical topics and technologies, including Max, Digital Au- dio Workstations, Aesthetics, SuperCollider, Performing Using Technology, and more. Workshops focusing on multimedia, including video editing, processing, and live video manipulation. Performances by Vicki Ray, SPLICE faculty, and performer participants. Presentations by Institute guests and panels on multimedia and performing with technology. Participants have the opportunity to collaborate and create a new work to premiere at the Institute. Community-building and collaboration are at the heart of SPLICE Institute. Attendees become part of a growing community of musicians inspired by technology-mediated composition, and performance. Alongside daily workshops, presentations, and concerts, the Institute features post-concert hangs and other social events. SPLICE Institute 2022 fee for collaborating composers and performers is $670, and for participants is $470. SPLICE Institute of- fers numerous scholarship opportunities including scholarships specifically for individuals who identify as woman, non-binary, gen- derqueer, black, person of color, or indigenous to the Americas. Additional scholarship opportunities are available and may be contin- gent on the recipient assisting with production and/or administrative tasks. APPLICATION DEADLINE: Saturday, January 15, 2022, at 11:59 PM EST TO APPLY: Review SPLICE Institute application information and then apply at www.splicemusic.org/institute/apply. Visit www.splicemusic.org/institute for more information. Please direct questions to: institute@splicemusic.org.51 cerpts, see: youtu.be/BsGUL4DYWk.) Marisa Manchado Torres, one of the lead- ing women composers in Spain, wrote an article about Megías’ many accomplish- ments for the Spanish magazine Con la A (September 2021). She described Megías’ music as unorthodox, brave, and risky in her search for a balance between “the most primordial oral traditions” and the “boldest contemporary expressions.” Torres praised her imaginative creation of special graphic scores and development of extended nota- tion for video, audio, sculpture, etc., as well as her leadership skill in founding the ex- perimental vocal group CoroDelantal and the publishing house EdicionesDelantal. Janice Misurell-Mitchell performed at the Green Mill in Chicago, Illinois in May 2021, presenting her work for solo flute, una voce perduta, in memory of those in the Chicago music community lost to Co- vid-19. She also performed Hugo Ball’s gadji beri bimba, a poem from the Dada period. In June, she and three colleagues presented “Quarantine Puzzles,” a live stream concert through HotHouse, a Chi- cago presenting institution. The concert featured Misurell-Mitchell’s work, The Art of Noise, for flute/alto flute/voice and percussion with John Corkill, percussion. On the same concert, she and flutist Su- zanne Hannau presented an improvisation for voices and flutes on gadji beri bimba. The next evening, the 6Degees Composers presented a video concert for Juneteenth, including Misurell-Mitchell’s Mamiwata for solo marimba, performed by John Corkill. She performed her piece, The Light that Burns: in memoriam Gabriel Mitch- ell, for alto flute/voice in a Preview Con- cert for Chicago’s Ear Taxi Festival at the DePaul Art Museum in July (available on YouTube). In August, Misurell-Mitchell performed on flute and voice in the first live concert of “Freedom From and Free- dom To #5,” improvised music and dance at the Elastic Arts Foundation in Chicago. The Ear Taxi Festival featured numerous concerts over four days in October, includ- ing Lisa Goethe’s flute recital, where she performed Misurell-Mitchell’s Sometimes the City is Silent. On October 3, the Fes- tival presented Misurell-Mitchell’s newly commissioned work, Resistant Noise, for chorus, instrumental ensemble, and elec- tronics at Constellation-Chicago (available on the Ear Taxi YouTube site). Deon Nielsen Price spent several days at St. Ann’s Church in historic Brooklyn Heights, New York, rehearsing and, on June 23, 2021, recording three of her works with the Brooklyn Chamber Orchestra, Phil Nuzzo, Artistic Director and Conductor, and Darryl Taylor, countertenor. The release of the audio and video recordings is antici- pated in spring 2022 on the Cambria label. The works, composed in 2020, include: 1) Chamber Symphony: Inspired by the NZAMBI (God) Paintings by Angolan artist Hildebrando de Melo, in five movements, four of which were recorded; 2) If Life Were to Sing for String Orchestra; and 3) Lud- wig’s Letter to Eternal Beloved, Song Cycle for Countertenor and Chamber Ensemble. Andrea Reinkemeyer heard the premiere performance of Wings to Air for flute on Meerenai Shim’s virtual recital, broadcast from the San Francisco Center for New Music during November 2020. From Cy- cles of Eternity for Treble Voices was pre- sented during fall 2020 with the artwork of Rita Robillard as a part of In Mulieribus’ virtual season. While on sabbatical, she launched the Lacroute Composer Readings and Chamber Music Masterclass Program at Linfield University, which provides the opportunity for undergraduate composers to work directly with professional musi- cians to write, revise, and record new piec- es for their portfolios. The world premiere of Faye-Ellen Silver- man’s The Song of the Trees (woodwind quintet), in a live performance, took place on November 5, 2021, by the Sylvan Quin- tet plus dancers, for a Composers Concor- dance Woodwind Motion concert at the Greenwich House Music School in New York City. Musicians of the Air for solo violin, performed by violinist Darragh Morgan, was streamed for Concert no. 4 of the John Donald Robb Composers’ Sympo- sium “House Music” on the University of New Mexico Robb Trust’s YouTube chan- nel: https://www.youtube.com/channel/ UCu1AERy2Go6kAxGWAcZ6jw on May 2, 2021. A recording of Protected Sleep with David Jolley and Michael Lipsey, used in a film by Luc Gobyn, was shown in the Art Container film festival in Bergamo, Italy from June 23 until June 27. An audio version of a performance of Let’s Play (string quartet) given by The Momenta Quartet (Miranda Cuckson, Annaliesa Place, Stephanie Griffin, and Joanne Lin) was offered on the Virginia Advertise in the Journal of the IAWM As a benefit of membership, you can place an ad at a reduced rate! And if you are a member of any organizations that would benefit from the exposure the Journal can provide, please encourage them to take advantage of our inexpen- sive rates. Guidelines: Ads should be camera-ready, in a graphic file. Graphic files should be 300 or higher resolution and saved at the highest quality; do not use rzw compression. Page Size: 8 ¼ x 11 Typical Ad Sizes: Full Page:7½x 9½ Half Page 7½ x 4¾ or 5 (2 columns wide) x 6½ to 7 Quarter Page: 4¾ x 3½ Ad prices: Full page For non members $300 For members: $175 Half page For non members: $175 For members: $100 Quarter page For non members: $100 For members: $ 60 Eighth pageFor members only: $ 30 Please send your ad as an attachment to the editor: evemeyer45@gmail.com Deadlines: December, March, June, and September 30 Payment: 1) Pay online through the IAWM website: iawm.org under Journal. Credit card or PayPal 2) Send a check, payable to IAWM, to our treasurer or request an invoice: Deborah Saidel 2400 Alycia Ave Henrico, VA 23228 debsaidel@gmail.com Members' NewsIAWM Journal Volume 27, No. 2 202152 Center for the Creative Arts Composer Playlist for the month of August: https:// www.vcca.com/composer-playlist. Todd Rewoldt, alto saxophone, gave a live per- formance of Interval Untamed: Five Min- iatures for solo alto saxophone on Octo- ber 20 for the Composers Concordance at Kostabi World in New York City. Subito music created an extensive interview with Silverman for their Composer’s Corner ap- pearing online https://www.subitomusic. com/silverman-composers-corner-q-a/ and also linked with the Subito Newsletter. Elizabeth Start’s new work for the en- semble Unsupervised, O, Aedificatio for 10 players, was premiered at New Music Chicago’s Ear Taxi Festival held at the Kehrein Center for the Arts in Chicago, on October 4, 2021. Traces, commissioned for the 100th Anniversary of the Kalamazoo Symphony (originally scheduled for Sep- tember 2020), was premiered on October 16. On July 20, Start performed her Verdi- similitude and Timothy Dwight Edwards’ Cycles at an in-person and live-streamed concert presented by New Music Chicago, representing the Chicago Composers’ Con- sortium, at Nevermore Performance Space in Chicago. On July 24, Thomas Mesa performed Echoes in Life on the Extensity Concert Series at Uncommonly Studio at the Box Factory in Ridgewood, New York. The Spektral Quartet will premiere Conclusions on March 2, 2022, as part of a Chicago Composers’ Consortium concert including ten premieres of works by Ber- nard Rands and C3 members. This concert was originally scheduled for April 19, 2020, and will be repeated March 7, 2022, in Ka- lamazoo, Michigan and April 2 in Madison, Wisconsin. Start also has works on two al- bums soon to be released: Thomas Mesa’s album Division of Memory includes Start’s Echoes in Life; in November, PARMA Re- cording’s Dashing 2 includes Start playing four of her arrangements of seasonal tunes. On June 29, 2021, three of the five move- ments of Evelyn Stroobach’s 20-minute string quartet, The Negotiations, were work- shopped by the Ligeti Quartet in London, UK. Stroobach is composing a six-move- ment work for orchestra and SATB chorus, entitled Holocaust – Remembrance. With this work, Stroobach wishes to honor and respect those in her family and millions of other families who were murdered during the Shoah, simply because they were Jews, remembering them with respect and dignity. On October 25, Movement VI, “Lament,” was workshopped by the Sheffield Univer- sity Symphony Orchestra in the UK. Now retired from Union College, Hilary Tann has recently had an oboe quartet pre- miered at the Presteigne Festival in Wales (scheduled to be streamed live in Octo- ber). Her string orchestra piece, Water’s Edge, was performed by Orchestra Vitae at St. John’s Smith Square in London on October 1. She is currently working on a clarinet and piano (quartet) quintet for the 21st Century Consort, to be performed in Washington in April 2022. Beginning mid- October, she is resident at Virginia Tech with two public lecture-discussions, mas- terclasses, and two concerts dedicated to her music and including the premiere of a commissioned work for tenor, violin, and cello (for Ensemble Slancio). Sabrina Peña Young’s Libertaria Song Cycle was released as part of the Cintas Foundation’s Grammy-nominated Sonidos Cubanos anthology series with Neuma Re- cords. Light was performed at Cosmos to the Soul: A Celebration of Women’s Music by soprano Rose Hegele and pianist Julia Scott Carey. Patricia Van Ness’s “So I Pray” from her work, The Voice of the Tenth Music, was performed by the famed St. Martin’s Voic- es at St. Martin in the Fields church, Lon- don, conducted by Anna Lapwood. Van Ness was interviewed in conjunction with the performance. Mythologies, a new album by Danaë Xanthe Vlasse, has been released and is reviewed in this issue. “Poseidon & Od- ysseus,” a live, invitation-only concert, featured music from the Mythologies al- bum performed by Sangeeta Kaur and Friends on September 15 at the Los Ange- les GRAMMY Museum. A national PBS television broadcast featuring Penelope from Mythologies, performed by Sangeeta Kaur and Friends, airs on Season 10 of the award-winning series “Front and Cen- ter” on September 19, 2021, and it will be available for the next 12 months. Check lo- cal listings for broadcast times. The show is also available on the “Front and Center” YouTube page. Black Pearl Chamber Orchestra Jeri Lynne Johnson, Artistic Director of the Black Pearl Chamber Orchestra, founded Black Pearl in Philadelphia, PA in 2008 as a model for the 21st-century American orchestras, combining artistic excellence with cultural diversity and meaningful community engagement. Black Pearl has been recognized nation- ally and internationally as an award- winning leading innovator in social justice and racial equity. In recognition of its world-class performance qual- ity, Black Pearl has received numerous grants from the National Endowment for the Arts. Maestro Johnson’s innovative projects have made Black Pearl the only organization in the country to have been awarded three prestigious Knight Arts Challenge grants from the John S. and James L. Knight Foundation. In 2005, Johnson made history as the first Black woman to win an international conducting prize when she was awarded the Taki Alsop Conducting Fellowship. She has broken barriers in Europe and the US as the first African-American woman on the podium for many orches- tras; she has conducted the Philadelphia Orchestra, Dallas Symphony, the Bour- nemouth Symphony (UK), the Weimar Staatskapelle (Germany) among others. Music Director Eun Sun Kim Eun Sun Kim is the first woman and the first Asian to serve as music director of one of America’s largest opera compa- nies, San Francisco Opera. She will also lead the Metropolitan Opera Company when she directs a performance of La Bohème this season. Born in South Korea, she be- gan studying piano at an early age but switched to composition in college. She was interested in conducting, but her teacher warned her that she might have difficulty because she was a woman, and she was subjected to sexist remarks ear- ly in her career. She studied conducting in Germany and made her professional debut with the Frankfurt Opera. Her US debut was with the Houston Grand Op- era, and they were so impressed with her expertise that they named her principal guest conductor in 2018. When she con- ducted a production of Fidelio with San Francisco Opera in October 2021, she re- ceived a prolonged ovation. 53 NEW IAWM BOARD MEMBERS for 2022-2024 In February, Ania Vu performed and re- corded a short piano recital of her solo pi- ano works on the Illuminate Women’s Mu- sic YouTube Channel. Recently, Illuminate Women’s Music posted her blog in which she discusses her work. This November, she will be joined by soprano Paulina Swierczek and percussionist Alyssa Resh when she gives a recital featuring her own music at the Wolf Humanities Center at the University of Pennsylvania. Andrew White and Nathan Buckner pre- miered Beth Wiemann’s The Chemistry of Common Things at the University of Ne- braska-Kearney for broadcast on Facebook on September 30. No Matter What was per- formed by clarinetist Thiago Ancelmo at the 2021 New Music Gathering festival held in St. Paul, Minnesota. The Byrne:Kozar Duo recorded her settings of Marianne Moore’s poem, It Floats Away from You, and they will include the work on their next full al- bum. Spring projects Wiemann is complet- ing include a piece for Guerilla Opera to be performed at the Nichols Museum in Bos- ton and a piece for the Sebago-Long Lake Music Festival for its 50th anniversary. Betty Wishart’s Prelude No. 9, Prelude No.10, and Vibes suite were premiered by Jeri-Mae G. Astolfiat the Living Compos- ers Concert at Campbell University in Blues Creek, North Carolina on October 21. Max Lifchitz conducted the North/South Consonance strings in the North Ameri- Afghanistan All-Female Orchestra Most of the members of Afghanistan’s all-female Zohra orchestra escaped the country and reassembled in Doha, Qa- tar, in October 2021. The orchestra was established in 2016 and consisted of 35 young musicians aged 13-20. They feared they would be persecuted because when the Taliban last ruled Afghanistan from 1996 to 2001, and since their re- turn, women’s freedoms and education have again been curtailed. The musicians had to leave their in- struments behind but were able to get new instruments and plan to rebuild their orchestra. Qatar is hosting about 100 stu- dents and teachers from the Afghanistan National Institute of Music (ANIM), which includes the Zohra orchestra, until they leave for Portugal. can premiere of Rain Worthington’s Within Deep Currents for the “Season Fi- nale” concert in New York (webcast and limited in-person audience) on June 29, 2021. The Croatian premiere of In Pas- sages (violin soloist and string orchestra) was performed by the Zagreb Philharmon- ic Orchestra, Miran Vaupotić, conductor, with soloist Orest Shourgot in an Au- gust 26 virtual concert on PARMA Live Stage. On September 17, Resolves was performed by cellist Roger Morelló Ros for an in-person audience at Florinskirche (St. Florin’s church) in Koblenz, Germa- ny. Jilted Tango (double bass and piano) and Steps in the Night (double bass) were performed by Joel Braun, double bass (in person audience and live stream), at the Butler School of Music and the University of Texas at Austin on October 25. Kas- sandra Ormsby, bassoon, performed BaD- aBaDaDa and Afternoon Reflections at the Greensboro Project Space in Greensboro, North Carolina on October 31, 2021. The Composer’s Studio Podcast, with hosts Tarik Ghiradella and Anna Linvill, offered “Magical Realism, Reflective, Musical Angels”…A Conversation with Composer Rain Worthington, on May 30. The IAWM membership recently elect- ed the following women to serve on the Board of Directors for a three-year term. All of them have years of experience ad- vocating for women in the various facets and disciplines of music worldwide. Teil Buck, an oboist, is the founder and Executive Director of Phoenix Down RPB woodwind ensemble. A former V.P. for Women in Music, Columbus, she cur- rently works for the Charlotte Symphony Orchestra in North Carolina as Personnel Manager. She is chair of the IAWM Mar- keting Committee. Eline Cote is a double bass performer and lives in Antwerp, Belgium. She is the founder of the Virago Symphonic Orchestra, an all-women’s orchestra. She and her orchestra were featured in the Journal of the IAWM, vol. 26, no. 2 (2020). She is in charge of IAWM’s de- velopment in Europe. Morgan Davis is the Music and Arts Librarian at the College of William and Mary in Virginia. She leads the college’s Library Diversity and Inclusion Recruit- ment Program (B.L.O.O.M). She is in charge of IAWM’s Global Initiatives. Sarah Horick, a composer living in Mary- land, has a long history of promoting new music, including serving as concert orga- nizer for WOCO Fest with the Boulanger Initiative in 2019. She is chair of the Search for New Music Committee. Migiwa Miyajima is a New York City- based jazz pianist, composer, and producer. Leader of the Miggy Augmented Orches- tra, she is a voting member of the Grammy Awards. She is chair of the IAWM Webinar Committee. Elizabeth Blanton Momand is a vocalist and professor at the University of Arkansas in Ft. Smith, and she also directs the Opera and Musical Theater Workshop. She is chair of the IAWM Membership Committee. Sabrina Peña Young currently works as Creative Director for Bandwidth Media and Film in New York State. With a background in music technology, she was awarded the Lois Weber Filmmaker Award for Out- standing Women in Film in 2019. She is chair of the IAWM Media Committee. Riikka Pietilainen-Caffrey is a cho- ral conductor and Professor of Music at Bunker Hill Community College in Boston, Massachusetts. Born in Finland, she has toured Europe and South Amer- ica with the acclaimed Finnish women’s choir, Philomela. She is chair of the IAWM Advocacy Committee. Leah Reid teaches composition at the University of Virginia. Co-chair for the 2020 SEAMUS Conference, she won the American Prize for the Vocal Chamber Division in 2021. She is the IAWM Web- site Content Manager. Christina Reitz, is a musicologist and professor at Western Carolina Univer- sity in North Carolina. She won the 2020 Pauline Alderman Award for her mono- graph: Jennifer Higdon: Composing in Color. She is assistant editor of the Jour- nal of the IAWM. Members' NewsIAWM MEMBERSHIP INFORMATION IAWM membership includes a subscription to the Journal of the IAWM (issued four times a year), participation in the optional IAWM e-mail list, eligibility to participate in IAWM competitions, and eligibility to apply for par- ticipation in the IAWM congress and annual concert. For information on joining, please see the IAWM website at iawm.org or con- tact the membership chair at membership@ iawm.org JOURNAL: BACK ISSUES For information on purchasing back issues, contact membership@iawm.org. GUIDELINES FOR CONTRIBUTORS Articles Before submitting an article, please send an abstract (two or three paragraphs), the approximate number of words in the ar- ticle, and a brief biography to the editor in chief, Dr. Eve R. Meyer, by e-mail at eve- meyer45@gmail.com. Most articles range between 1,500 and 5,000 words. The subject matter should relate to women in all fields of music, either contemporary or historical. If the proposal is approved, the editor will send detailed information concerning the format, illustrations, and musical examples. Musical examples and photos should be in high resolution (300 dpi minimum) and must be sent in separate attachments. For ques- tions of style, refer to the Chicago Manual of Style. Authors are responsible for obtain- ing and providing copyright permission, if necessary. Reviews Compact discs and books for review should be submitted to the Journal's Review Editor, Laura Pita. Scores will be considered for re- view if accompanied by a recording . If you wish to be included on the list of reviewers, send Dr. Pita a brief sample of your writing plus your areas of specialization. For detailed information, contact Review Editor Laura Pita at laurapita830@gmail. com Members’ News Please send your news items to the Members’ News Editor, Anita Hanawalt, at anita@ hanawalthaus.net. Submissions are always welcome concerning honors, appointments, commissions, premieres, performances, and other news items, except for radio broad- casts. We recommend that you start with the most significant news first, followed by an organized presentation of the other informa- tion. Please note that Anita does not monitor the listserv for members’ activities. Awards, recent publications, and recent CD releases are in separate columns, and that informa- tion should be sent to the editor in chief at evemeyer45@gmail.com. Reports and Announcements Reports on women-in-music activities from our sister organizations and IAWM commit- tees as well as reports on music festivals and other special events should be sent to the editor in chief, Dr. Eve R. Meyer, by e-mail: evemeyer45@gmail.com. Announcements of future events and of recently released CDs and publications should also be sent to the editor in chief. Deadlines Articles: December 15, March 15, June 15, and September 15. Reports, short articles, and advertisements are due the 30th of the above months. Reviews are due the first of the above months. IAWM WEBSITE Please visit the IAWM Website at www. iawm.org. PUBLICATION Copyright © 2021 by the International Alliance for Women in Music. All rights reserved. ISSN 1082-1872 No part of this publication may be repro- duced or transmitted in any form or by any means without permission. Any author has the right to republish his or her article in whole or in part with permission from the IAWM. Please contact the editor. The Journal of the IAWM is printed by Cheetah Graphics, Sevierville, TN. Journal of the IAWM Staff EDITOR IN CHIEF evemeyer45@gmail.com ASSISTANT EDITOR Christina Reitz PRODUCTION MANAGER Lynn Gumert MEMBERS’ NEWS EDITOR Anita Hanawalt anita@hanawalthaus.net REVIEW EDITOR Laura Pita laurapita830@gmail.com EDITORIAL BOARD Samantha Ege Lynn Gumert Anita Hanawalt Deborah Hayes Eve R. Meyer Laura Pita Christina Reitz IAWM Board of Directors PRESIDENT Christina Rusnak VICE PRESIDENT Dana Reason TREASURER Deborah J. Saidel SECRETARY Wanda Brister SUPPORTING MEMBERS Gaby Alvarado Kerensa Briggs Wanda Brister Teil Buck Monica Buckland Christina Butera Roma Calatayud-Stocks Michele Cheng Eline Cote Morgan Davis Carolina Hengstenberg Sarah Horick Natalia Kazaryan Lil Lacy Migiwa Miyajima Elizabeth Blanton Momand Julia Mortyakova Nicole Murphy Deborah Nemko Sabrina Peña Young Riikka Pietilainen-Caffrey Leah Reid Christina Reitz Jane Rigler Sarah Westwood The International Alliance for Women in Music (IAWM) is a global network of women and men working to increase and enhance musical activities and opportuni- ties and to promote all aspects of the music of women. The IAWM builds awareness of women’s contributions to musical life through publications, website, free listserv, in- ternational competitions for researchers and composers, conferences, and congresses, concerts, the entrepreneurial efforts of its members, and advocacy work. IAWM activi- ties ensure that the progress women have made in every aspect of musical life will con- tinue to flourish and multiply.Next >