< PreviousJOURNAL OF THE IAWM7 female bands. 46 Although he man- aged the Clingers and stood to profit if their band did well, his attitude was disappointing. Debra says, “That would be a constant theme in our career… we came so close so many times. Though we were produced by some of the top names in the record industry and signed to some of the top record labels, we couldn’t break through the glass ceiling / prejudice against women in rock music.” 47 Issues of Gender According to Patsy, gender bias was present, but there was also “the con- stant harassment of some of the men we were working with, and even sometimes our managers suggested to our father that he make himself scarce if any of the stars, or producers, etc. showed interest in any one of us. Evidently they felt [we should do] whatever it took to be success- ful.” 48 Sexual harassment was less of a problem when the girls were very young, although Peggy was only in the ninth grade when a Hollywood promoter spoke to her father about her “raw, sexual appeal” that he could use to propel her to fame, which the family found highly inappropriate. 49 But as the sisters grew older, they felt the issue of sexual harassment always lurking in the background, and they changed management because of it at least once. Patsy states that their 46American Bandstand, season 12, episode 49 (1969). https://www.youtube.com/watch?v= q9c6MY5tpj4 47Debra Clinger, email to the author, June 6, 2022. 48Patsy Clinger, email to the author, April 15, 2022. 49Interview with Patsy, Debra, and Melody Clinger. dad looked out for his daughters, and The Clingers never had to compromise themselves to the unwanted advances of men in the industry. 50 The sisters had to learn to speak up for themselves because their father could not always be there to run inter- ference. Debra recalls when Hugh Hefner approached her after seeing her perform at the Greek Theater. She turned down his invitation to be a Playboy Bunny, saying, “I don’t want to be famous that bad.” She also turned down an edgy movie role; she said: “I can’t portray a character that my mother would be embarrassed to watch.” 51 Patsy, when about to sign a contract, was made aware at the last minute that nudity would be involved and refused the opportunity. The pro- ducer sneered, “I’m sorry you are so inhibited.” Patsy’s comeback was, “What you call inhibitions, I call standards.” 52 End of an Era Christina Feldman-Barrett argues, in a 2014 article in Feminist Media Studies, that “a crucial piece of rock music his- tory has been obscured by failing to thoroughly document the existence” of all-female rock and roll bands in the 1960s 53 and adds that “it is now time to also include the Pleasure Seekers, the Liverbirds, and Dara Puspita” in the documentation. 54 The Clingers are not on this list but they should be. They were an early all-girl rock band, the first to have been signed to a major record label. 55 Kim Fowley has said: “When you see the Clingers on the Smothers Brothers and then you see the Runaways who I pro- duced seven years later in 1975, you realize that in 1968 the Clingers were pioneers.” 56 50Ibid. 51Ibid. 52Ibid. 53Christina Feldman-Barrett, “From Beatles Fans to Beat Groups: A historiography of the 1960s all-girl rock band,” Feminist Media Studies 14.6 (2014), 1041. 54Ibid., 1051. 55Clingers: Soft Bodies, Hard Rock, area251 Records. 56The Clingers: The First All-Girl Rock and Roll Band, DVD, 2015, directed by Lance Mancuso, Hollywood, CA, Mancuso Productions. The Clingers on the Pat Boone Show, L-R: Debra (bass), Melody (guitar), Patsy (drums), Peggy (keys). During their struggle for success, the group began to break apart. Melody got married and moved to Colorado. Debra recalls: “The rest of us tried to keep it going, but it was like a four-legged chair after someone took away one of the legs. It just didn’t work out.” 57 Any hope that the sis- ters might have held about getting their rock group back together were forever dashed by Peggy’s death on August 9, 1975, from an accidental drug overdose. 58 This was a terrible blow. “Not only did we lose a band member, but we lost our best friend, our beloved sister. We were heart- broken,” says Patsy. 59 The remaining sisters continued to perform in dif- ferent iterations; for example, Patsy and Debra teamed with younger sister Leesa to perform in Lex De Azevedo’s touring company of the musical Saturday’s Warrior. They performed in various clubs in Las Vegas and moved into the country idiom for a time, recording an entire album of country/ pop with original music by Patsy as well as a Christian album. As the sisters continued working as musicians, along with some of their younger siblings, the memory of the original rock and roll group faded. In summarizing The Clingers’ career, Patsy says, “There is no doubt in my mind, and in the minds of all those countless wonderful audiences we had the privilege of entertaining, that they came away saying ‘Wow, women can do anything, and do it just as good as their male counterparts.’” 60 57Fiona MacDougall, “Rock Flowers: Young Girls on the Go,” Teen Magazine 16.4 (1972): 6. 58“Utah Singer, Composer Dies at 26,” Salt Lake Tribune, August 14, 1975, 24. 59Patsy Clinger, email to the author, June 9, 2022. 60Patsy Clinger, email to the author, June 6, 2022. Dr. Myrna Layton is the Performing Arts Librarian at Brigham Young University. Her education includes MA (California State), MLIS (University of Wisconsin) and DLitt&Phil (University of South Africa). Dr. Layton enjoys researching just about anything, but particularly looking into people as performers, composers, and creators.8VOLUME 28, NO. 3 • 2022 Joanna Hersey: Recipient of the Susan Slaughter Award for Leadership EVE R. MEYER Joanna Hersey was the recipient of the prestigious Susan Slaughter Award for Leadership at the 2022 International Women’s Brass Conference, held at the University of North Texas in Denton, Texas, May 24-28. I interviewed her shortly after the conference. Eve R. Meyer: Joanna, congratulations on receiving the award. You have had a broad career as a performer, can you share with us what was it that drew you to the tuba as your instrument of choice? Joanna Hersey: I like to say that the tuba chose me, and I will explain how that happened. I am proud to be from the great state of Vermont, and my hometown, East Haven, has a popula- tion of just 250. Although our school was very small, the state wanted to have a band program in every school. Because my preference for the violin was not possible, the teacher, Mr. Hueling, told me that a sousaphone was available. I thought it would be like the small recorders that were common in elementary schools, so I agreed. Imagine my surprise when Mr. Hueling gave me a white, plastic, bumpy sou- saphone, the type of tuba common in a marching band, which wraps around your body so that you can walk and play. I made the best of it, but I was not especially interested and only prac- ticed once a week. Luckily for my future career, the high school band director provided private lessons. After a year of his inspiring instruction, I changed my mind, and one day he remarked: “You could be one of the best tuba players in the world, if that is what you want to do.” What I find so remarkable today is that the men who helped me along this path never suggested that the tuba was not an appropriate instrument for a girl. They encouraged me and my family was supportive. I will be forever grateful. I won a full scholarship to study with Dan Perantoni at Arizona State University, and there, too, I was met with acceptance. Later in my career, when I began to meet more obstacles, I did not let it deter me. Due to the devotion and care that I received during my student years, I had time to form my identity and to develop a thicker skin. ERM: You served as Principal Tubist in the United States Coast Guard Band, tell us about that experience. JH: It was a wonderful experience. I was attending Arizona State and traveled with a group of students from the tuba studio who decided to take the long trip to the Coast Guard Academy in Connecticut. We sup- ported each other during the taxing audition process, and I won the audi- tion at the unusual age of 19. It was my very first professional audition. One moment from that experience has stayed with me all my life. The night before the audition, my friends and I attended the popular, annual Sousa concert. The concert was outstanding, and I wondered if I would ever have the good fortune to play in a group like that. I thought how amazing that would be! Military band musicians work hard, but it is a very fulfilling career. I credit the leadership in that band for taking a chance on a young player, and I enjoyed the touring and leadership experience I gained while in that posi- tion. We played for royalty and heads of state; I marched in two Presidential inaugural parades and got to play Hail to the Chief at inaugural balls. I sat beside top-notch people who treated me as an equal. One of my favorite moments from my military career was performing for the activi- ties surrounding the 50th anniversary celebrations of the second world war; we traveled to England to perform and marched in parades in commemora- tion. It was very special to be part of that event. Today, I am still so proud of the U.S. Coast Guard and all they do to keep us safe ERM: Were you able to continue your education while you were in the service? JH: The challenge of balancing active duty military service and also finishing my education was difficult because of the demands of my position. I needed to finish my undergraduate music degree, and I hoped I would be able to work on that at the nearby University of Connecticut, but scheduling con- flicts arose because the classes were during the day when I was at work. I discovered that the Women’s Studies program offered courses in the eve- ning. The courses were taught by a team of dedicated faculty who taught in their discipline during the day, and then taught the courses for the Women’s Studies program in the eve- ning. I earned a Bachelor of Arts degree and did all of my projects on women in music. This awakened in me an appre- ciation of gender studies—diversity, inclusion, and belonging—long before they were buzz words. I served in the USCG from 1992 to 1999 and left to earn a Master of Music degree in Tuba Performance from New England Conservatory, and then a DMA from the Hartt School, where my dissertation was on the activities of female brass musi- cians in the American vaudeville days, around 1880-1940. Joanna Hersey in a US Coast Guard paradeJOURNAL OF THE IAWM9 ERM: You are President of the International Women’s Brass Conference. Tell us about the organization and what it has meant to you. JH: The International Women’s Brass Conference (IWBC) was founded with a mission to showcase diversity and belonging in brass performance and to help counteract gender stereotyping of brass instruments. The IWBC is a world- wide, non-profit organization founded in 1990 by Susan Slaughter, one of the first women to hold a Principal Brass posi- tion in an American orchestra. Slaughter became a member of the trumpet sec- tion of the St. Louis Symphony in 1969 and was appointed Principal Trumpet in 1973. As she began her career, she found that few would take an application seriously from a female brass player, especially for a principal position. She saw the need for an organization that could facilitate networking, provide opportu- nities for performance, and showcase diverse role models for students. The first IWBC event was held at Washington University in St. Louis in 1993, and I was invited to perform. This was a life-changing event for me to attend as a young professional, just starting out. I performed as part of an all-female military group which fea- tured members from the U.S. Army, Air Force, and Coast Guard. That confer- ence opened my eyes to the high level of performance excellence, the cama- raderie and warmth we experience in our field, and the potential for growth we each possess as performers and educators. The organization has grown as my own career has grown. Since that first event, we have continued to hold conferences, pro- duce a biannual newsletter, and work in other areas, like facilitating internships and mentoring programs, and providing music in schools and for community events nationwide. I first volunteered for the organization, serving as Chair of the History and Awards Committee, and then was appointed to the Board of Directors. I was honored to be elected IWBC President in 2016, and since then we have held events at Rowan University in New Jersey, Arizona State University, and recently at the University of North Texas. The League of American Orchestras reports both a lack of racial diversity and a gender imbalance among the top American orchestras, with the per- centage of female brass performers around 3% for instruments such as trumpet, and the percentage of musicians of color around 13%. The IWBC is working to change this reality through our activities. The 2022 event at the University of North Texas welcomed more than 750 attendees who gathered for discussion, lead- ership development, diverse historic presentations, competitions, and performances. My deepest thanks to the team that made this happen! ERM: Your work as a music educator has been a large part of your life, and you have recently been promoted to Associate Dean of Student Success and Curriculum, for the College of Arts and Sciences at University of North Carolina Pembroke. Congratulations! Tell us about your work. JH: After teaching at the university level for twenty years, fifteen of them here in North Carolina, I was ready for something new. I still do a good bit of teaching and mentoring, but now as Associate Dean I have found new challenges. Our office oversees logistics for fourteen departments in areas from art to zoology and everything in-between. We are the largest college at the university, and serve more than 3,000 students and hundreds of faculty and staff. It is fast-paced, and each day brings something new. Because I have taught for such a long time, I understand the system. Focusing on student success means I frequently talk to students about their experience and help to smooth their paths toward graduation and beyond. I have been able to main- tain a practice routine in the evenings, and am still able to perform. Higher education is far from perfect, but UNC Pembroke is very special. It was founded in 1887 by Native American leaders to educate their young people and provide teacher training, and we are proud of our her- itage. The student body is extremely diverse, with many of our students the first in their families to attend col- lege, and we are a center for Native American studies. I love that I can work alongside such inspiring colleagues in a place that provides a truly inclusive environment for study and growth. ERM: As a composer your works highlight the experiences of women and women’s stories. I would like to know more about your recent composition for solo tuba and electronics, ElevenTwelve, which was composed in honor of Hildegard von Bingen. JH: ElevenTwelve is my favorite of all of my compositions thus far. I composed it in 2019 for a recital presentation on the performance of graphic scores for tuba, for premiere at Arizona State University at the IWBC. My friend Bill Pritchard wanted to present a recital that showed students that graphic scores are not as scary as they might think. He gathered some exam- ples for tuba and realized he didn’t have any by women, so he called and commissioned one. That conference opened my eyes to the high level of performance excellence, the camaraderie and warmth we experience in our field, and the potential for growth we each possess as performers and educators. —JOANNA HERSEY10VOLUME 28, NO. 3 • 2022 Graphic scores are sets of musical instructions that are not presented in traditional musical notation format, but rather involve pictorial and artistic elements, and they often leave much to the improvisation and imagination of the player. In the twentieth cen- tury, graphic scores became a way to share the compositional process more equally between the composer and the performer, and to involve concepts of improvisation and chance elements in the musical presenta- tion. I liked the idea and was pleased to learn that Pritchard likes electronic music. Much of the music for tuba, as you might imagine, is loud, heavy, and often harsh. In my previous works. I have tried to show a softer and more contemplative side of compositions for low brass and electronics, so this was a wonderful chance to experiment. The work is centered around the Disibodenberg Convent where medi- eval nun, composer, author, and theorist Hildegard von Bingen (1098- 1179) lived and became Abbess in 1136. The performance of ElevenTwelve involves the player making choices between elements of melodic material placed within a map of the convent. The performer can traverse the con- vent in any manner and choose the musical elements found at each place along his or her journey through the community. These melo- dies bring to mind Hildegard’s chant music, sung by the nuns during wor- ship, honoring their lives and work, worship, and community. The medi- eval convent at this time would have been a bustle of activity, with a large main church, smaller chapel areas for townspeople and visitors, dormi- tories, meeting and working spaces, and kitchens, bake houses, gardens, vineyards, a guest house, and hos- pital. I wrote melodies for each area, and had fun imagining the nuns going about their days. I have since been commissioned by euphonium star Dr. Gail Robertson, Associate Professor of Tuba and Euphonium at University of Central Arkansas, to compose a duo for tuba, euphonium, and electronics for her and Dr. Stacy Baker, Professor of Tuba and Euphonium at Morehead State University. My second work in the graphic map series is now finished. I chose a female figure of color from music history, and again investigated how I could show the importance of her life through visual and sonic ele- ments on a musical score. Every performance becomes a widening of our musical space, a way to highlight the work of under-represented com- posers, and a way to welcome the work of all into our consciousness. ERM: You were recently presented with the Leadership Award from the International Women’s Brass Conference in honor of your service as president. How has your non-profit work shaped your life? JH: I was incredibly grateful to receive the Susan Slaughter Award for Leadership, which was presented for the first time in 2017 to Marin Alsop, in recognition of her career as Music Director Laureate of the Baltimore Symphony Orchestra and Director of the Vienna Radio Symphony Orchestra, and her service as a role model for music education. Twenty-nine years after joining the IWBC at the beginning of my career, I was presented with the second leadership award by Susan Slaughter herself on the final evening of the conference in recognition of my “inspirational and unwavering global, unifying service.” Working for a non-profit is a sacrifice in so many ways, as is any leadership position if it is done well. You must serve as a steward of the finances and lead the group through decisions that can alter the financial health of the organization now and into the future. You are responsible for growing leaders and finding a team that can work on issues promoting the mission. Everything comes back to the mission. As a leader, in my position as Associate Dean, or as President of a non-profit, I must stand above the individual needs of people on the team and work outward, facilitating planning and financial support dictated by the mission. This sounds fine, but it can create barriers to friendships, and makes it difficult when one set of plans becomes preferred over another. Not everyone in the non-profit world is there to serve the mission; sometimes they are there only to serve them- selves. In the long run, those people can never work toward meaningful change, because that only comes with sacrifice and being true to your vision. I have found this to be one of the most difficult aspects of leadership, working to embrace positivity with the team, and steering the ship around those who bring in a negative energy for their own gain. The wonderful thing about jumping into the ring, though, is that I can see progress and inspi- ration around me in the people I am working with, and that gets me up and running every day. The mentor- ship of the generations ahead of me have turned back, and held out their hands, as I try to do for those coming behind me. Dr. Eve R. Meyer is editor in chief of the Journal of the IAWM. She was formerly chair of the Music History Department of Temple University. Joanna Hersey with the graphic score to ElevenTwelveJOURNAL OF THE IAWM11 Teaching Composition: Feminist Pedagogy, Equity, and Inclusion LINDA DUSMAN In the early 2000s, I began teaching composition at racially and ethni- cally diverse University of Maryland Baltimore County (UMBC), where I eventually became head of the composition major. At that time com- position majors, in contrast to the university, were primarily a homoge- neous group of students who were straight, white, and male. As in many universities at that time, students were trained to compose in the style of their instructor; I was struck by how inau- thentic that music felt in many cases. It appeared that the students were not wholly themselves as they struggled to model their teacher’s style in their music. Even though imitation has been a time-honored approach to compo- sition pedagogy, it was difficult to see these young minds attempting to find their own path through imitating one stylistic model. In private lessons with one of these students who was composing a string quartet, I grappled with what he was trying to say. As a metal guitarist, his attempts to use a musical language that was not his own weakened the piece. Finally, I asked him to play recordings of his successful heavy metal band, for which he had composed extended works. Hearing these recordings revealed his true voice. There was no reason he could not compose in that style for string quartet, so we changed course in our lessons. He transcribed one of his heavy metal compositions for string quartet, creating a noisy, rhyth- mically-complex counterpoint that was true to his voice. While technically difficult, his quartet was performed successfully in his senior recital. Since that experience, I determined to create space at my university for every sort of compositional voice and to foster in my students what I have come to think of as honest musical expression. Today, UMBC has 15 composition majors in a student body of around 150 music majors. They are gender and ethnically diverse. They form a supportive community of students expressing many different composi- tional styles. I wrote this paper to track that journey; to think through what made it possible to diversify my studio; and to examine how my students have benefited from this approach. As both chair of the department and head of the composition area, I led initia- tives to address diversity and inclusion issues in department auditions, in the curriculum, and in the culture of the composition area. Many UMBC students are first gen- eration, having had access solely to public high school music programs. Most UMBC composition majors have had little or no compositional instruc- tion in high school and are self-taught. They often have not had the benefit of private instrumental or vocal lessons. Often, applicants’ families possess lim- ited knowledge of what college music study entails. Especially for music students, the college application pro- cess becomes doubly complex, as it requires portfolios and auditions in addition to the regular application. Though we recruit from some fine public high school music programs, the quality of music instruction varies widely across the state. Our departmental response to these circumstances involved changing our audition days to include a parent and student information session, during which we describe the wide variety of educational styles available for higher education music study in the United States. We explain the dif- ferences between a liberal arts degree, a Bachelor of Music at a school of music, and a Bachelor of Music at a conservatory. We discuss attitudinal changes from high school music expe- riences as extracurricular to centering music in students’ college academic lives, and the commitment that change requires. We coupled auditions with interviews to better understand a stu- dent’s preparation for college-level study. As a result of this process, we can better assess if a weaker audition reflects limited training as opposed to limited potential. In response, we created a “provisional acceptance” status for talented students who need a semester or year of serious mentor- ship and support before they can be fully accepted as majors. One such student was a young woman of color who attended a competitive public technology high school with no music program. Her audition on violin was not strong, but she noted during her interview that she had started a music program at her school. She taught herself to play the violin, and then transcribed game music to play in a string ensemble with her friends. She also conducted the group, and her transcriptions clearly showed that she had an ear and notation skills. We accepted her “provisionally,” and after one semester this student, who in the past would have been inadmis- sible, excelled in our program. This alumna is now a game composer and one of the youngest ever accepted to the American Composers Orchestra reading sessions. In reviewing applicants’ composition portfolios, I look for indications of stu- dents listening past the coarseness of midi playback. I seek students who compose from knowledge of their own instrument or voice. Most importantly, I look for the beginnings of musical Linda Dusman12VOLUME 28, NO. 3 • 2022 ideas—the one thing that I feel cannot be taught. Example 1, entitled New Beginnings, was a portfolio submission from a violinist, a daughter of Nigerian immigrants. Far from standard, the orchestration includes a string sec- tion with harp, sopranino recorder, timpani, and drum set. To me, this demonstrated an awareness of tone color and its potential for impact on musical meaning. She included a striking key change with the recorder entrance, again revealinga young, self-taught composer with an imagi- nation for harmonic color and form. If I had been looking only at the basic rhythm and harmony, the piece might be considered quite simplistic. But, observing the strengths of her work rather than focusing on specific weak- nesses encouraged me to admit her, and she became a successful student in our program. Another applicant of color submitted a piano solo entitled Rosewood. A quick look at the score showed a limited harmonic and rhythmic pallet, but after listening to the recording he sub- mitted, I found there were many layers to this piece that were not notated. In the recording, the midi playback mixed with sounds of a distant train and muttered dialogue. This was clearly a student who had been influenced by film scores and diegetic sound. As the piece progressed, his lack of scoring knowledge for piano became more evident, but he had a clear sense of design. A keen ear for time and its role in structuring the trajectory of a composition made Rosewood a com- pelling sonic experience. If I had only judged the score, I would never have recognized that. This student double majored in composition and music technology in order to blend his love of both. Departmentally, we recognize that entering students often require a good deal of support. In the composition area, I work hard to have the student composers feel connected to a larger community by inviting guest com- posers working in a wide variety of styles, including film and media com- posers (Greg Kalember, CK Barlow, Karena Ingram in recent years), hard core experimentalists (Robert Morris, Pamela Z, and Seth Parker Woods) and traditionalists (Stephen Caracciolo this past year). I schedule regular composer brown bag lunches where students New Beginnings, p. 1. The composition was submitted for an application portfolio. It is used with permission of the composer. present their music to one another. We work to become articulate about requesting useful feedback, guiding discussions together in a friendly way to make the distinction between criti- cism and critique. During the COVID-19 remote experience, I initiated a Zoom exchange with Dr. Ruby Fulton and her composition students at the University of Idaho. Students from these two dis- tinct geographical regions presented their work to one another and in the process learned about differences and similarities in their approaches, while creating an online community. I seek students who compose from knowledge of their own instrument or voice. Most importantly, I look for the beginnings of musical ideas—the one thing that I feel cannot be taught. —LINDA DUSMANJOURNAL OF THE IAWM13 instrument on staff paper without a meter signature. The pitches they select are telling. Some are tonal; some are dissonant; some are a mix- ture of both. Writing without meter on paper helps to work against the nota- tion software temptation of cutting and pasting. In these initial classes, they enjoy listening to one another’s work and begin to create a supportive com- munity for critique and progress. I intentionally provide very loose instructions for these compositional etudes, which sometimes makes the students uncomfortable. Generally, they are good students, and they want to do it “right.” When they ask, “What exactly do you want us to do?” I respond by describing the class as process-oriented, an opportunity for me to learn how they think and hear while they learn about themselves and one another. I express interest in discovering what they bring to the project, and then I base the next lis- tening assignments and etudes on that work. I emphasize the importance of an honest and thoughtful process, explaining that a successful etude demonstrates focused attention, honest engagement, and daily work. I am not looking for a “right answer.” I can tell when they have thrown some- thing together the night before, and those who choose this route gener- ally admit it in class. They notice the difference between their work and the more consistent work of others. In this way, I foster a kind of gentle competition focused on composing seriously, but lightly, without fear of doing it “wrong.” By the end of two semesters, most students have begun to develop a compositional point of view that varies widely from student to student. They want to explore an interest in abstraction, or in tonality, or in jazz harmony, or in expanding their palette of compositional possibilities, etc. This variety of viewpoints creates a healthy and diverse atmosphere for performing one another’s compositions in recitals, and they willingly attend reading sessions of one another’s works. The music department changed the core music requirements for composers to allow more flexibility. After two initial semesters of traditional music theory and musicianship, composers elect either jazz theory or classical chro- matic harmony to complete their core requirements. Students with an interest in composing using technology may elect an additional semester of a cre- ative music technology class in lieu of a semester of private composition lessons. And students who compose for ensembles outside the university may elect to include these groups in their senior recitals, be they rock, jazz, religious, or other styles. This has the benefit of blurring the lines between “academic” composing and the music they are involved in outside of school. All of this amplifies our mes- sage that our program encourages and values composing in whatever ways are meaningful to them. At the end of each semester, per- formance faculty and professional ensembles in the area prepare reading sessions of student composers’ music. I have worked hard to find ensem- bles that take this seriously and are supportive of young composers by providing thoughtful commentary while interpretating their work. This has proved extremely important in building student confidence. Knowing that I take them seriously and that the musicians take them seriously results in the students taking them- selves seriously. I emphasize careful score and part preparation as a way of Recently, I have started using Liz Lerman’s Critical Response Process 1 to help students better understand one another’s very different creative pro- cesses and values. Lerman’s concept of “neutral questions” has been par- ticularly helpful. In her methodology, questions are neutral when they are not couched in opinion. One of the examples she offers in her book Critical Response Process: a method for getting useful feedback on anything you make, from dance to dessert centers on the difference between asking “Why is the cake so dry?” and “What kind of texture were you wanting to bake into the cake?” In the first instance, it is clear that the questioner thinks a different cake texture would be more successful; in the second, it is more about clarifying the baker’s process and tastes. Developing these kinds of questions can be challenging, but it has helped my students to avoid defen- sive positioning and to become more accepting of individual differences. Curricular changes have also proven critical to stylistic inclusivity in the composition major. In the first year, students take two courses that foster small group learning and build their individual confidence. To demonstrate different approaches to compositional issues in the second semester, I use as a textbook a compendium of short complete works (not excerpts) so they can study coherent whole works. In discussing time, for example, we study a Fauré song, a Cage percussion trio, one of the Feldman Durations, and the Philip Glass Two Pages to examine various concepts of composing expres- sive rhythmic and time-based work. Another assignment involves a one- minute etude either modelled after a piece to which they feel connected, or one that feels quite alien. This gives students the choice of writing from a place of comfort or of trying some- thing new. These short etudes enable me to get to know the students. I begin to see their affinities and where their imaginations go. Another etude involves selecting six pitches and composing a melody for a particular 1https://lizlerman.com/critical-response-process/ By the end of two semesters, most students have begun to develop a compositional point of view that varies widely from student to student. —LINDA DUSMAN14VOLUME 28, NO. 3 • 2022 honoring the commitment performers are making to their music. I make it clear that readings are a privilege. If the score and parts are not prop- erly prepared, their work is not read. Younger composers are required to attend senior composition recitals. I tell them that these successful stu- dents started where they were, setting the expectation that they can and will be equally successful. Importantly, all students have equal access to these opportunities. Access to performers and to performances is of great sig- nificance for young composers, and though they compose in diverse styles for diverse ensembles, I work hard to make sure each student has at least Busca la Alegría (Look for Joy) MARÍA EUGENIA LEÓN It is an honor to have had my work, Busca la Alegría (Look for Joy), selected as the winner of the 2022 inaugural Orchestral Competition for Female Composers in the Canary Islands, where I was born. I composed the work specifically for this competition, and being able to have the world premiere María Eugenia León | Photo Credit: Rebeca Dourado moments interwoven with energetic and powerful passages, which provide a balanced contrast. The piece is in rondo form (ABACABA). The first theme expresses the joy that I believe we all have inside of us, although the feeling is not always readily apparent. The principal theme is relatively brief, but it keeps growing each time it reap- pears. An important feature of the theme is a rhythmic motif (eighth note, two sixteenths, dotted-half note) that plays constantly throughout the entire work. It is in the foreground in the prin- cipal theme and in the background in the other sections. The B theme is more delicate, it has longer melodic lines played by various instruments using the call and response pattern. Section C is modulatory and corresponds to a transition. Throughout the work, dif- ferent sections of the orchestra take turns, depending on the theme, but in the third A section, the full orchestra brings the work to a joyful climax. I thank the orchestra and the con- ductor for granting permission to make the recording of the concert available on streaming platforms such as Spotify. (https://open.spotify.com/ track/2Eq2U8EZlneKfjsfooBh72?si=- 1c347a572e344ba6) this past March, with the Gran Canaria Philharmonic Orchestra, conducted by maestro Karel Mark Chichon, was a dream come true, especially since this was the first time that I had an orches- tral piece performed by a professional orchestra. The competition was a won- derful opportunity that forced me to leave my comfort zone, and the piece came from my heart. I wrote the work during the Christmas holiday season as Covid was sweeping through Los Angeles, where I am now living, and I was isolated and separated from friends and family. I wanted to create a work that reflected my feel- ings, and what I did not realize at the time was that many others identified with my experience. I reached inside myself, which led me to my message: “Look for Joy.” My main goal for Busca la Alegría, even before I began com- posing, was to write a work that could be compared to a piece of chocolate with liquor, truffles, and cream but with exactly the right amount of ingre- dients, which would create a strong flavor and would leave people wanting more. This is the reason my compo- sition is so short—approximately six minutes. It is also why the orchestra- tion is not excessive; it has its delicate one reading session and one perfor- mance every year. I discipline myself not to show favoritism to the more advanced composers by providing them with more opportunities. Instead, I encourage them to apply to score calls, and to compose for their friends. In this way, they may gain more per- formances and contacts to begin their professional lives. In all these ways, I focus on building confidence and community in a diverse and inclusive composition studio on a diverse and inclusive campus, with students creating music that expresses their tastes, their identities, and their politics. After 15 years of development, the composers reflect the campus at large. This does not mean there are never disagreements, of course. But I am proud that my students inspire one another to find their own voices and that they have come to expect that every compos- er’s music will sound distinctly their own, highly valuing everyone’s honesty of expression. Linda Dusman’s compositions and sonic art explore the richness of contemporary life, from the personal to the political. Her frequent collab- orations with the Trio des Alpes have resulted in multiple commissions, including Thundersnow and Dancing Universe for piano trio. She founded I Resound Press, a digital archive of music by women composers in 2008. Dr. Dusman is currently Professor of Music at University of Maryland Baltimore County (UMBC). See complete information at www.lindadusman.com.JOURNAL OF THE IAWM15 New Arts Collaboration: Communicating through Sound and Sight CHRISTINA L. REITZ New Arts Collaboration (NAC), an orga- nization that presents contemporary works for piano and multimedia, is the brainchild of pianist Ting Luo. From its relatively recent inception a few years ago, Luo has been the driving force for this exciting, new venture that combines solo piano with visuals and electronics to present a truly interdis- ciplinary experience for the audience while fostering a collaborative spirit for the artists. NAC has already been featured in several significant venues due to Luo’s leadership and fine skill at the piano. Her vision has captured the imagination of artists across disciplines while simultaneously giving a voice to underrepresented communities. Luo’s unique background informed her musical preferences from an early age. Raised in Southern China, her grandfather, a composer, lived nearby and was teaching composition at the Guangxi Arts Institute. She recalls that in his works, she could “hear both Chinese traditional music tunes and contemporary compositional skills.” 1 1Ting Luo, e-mail message to author, June 21, 2022. As she began junior high, her interest and exposure to 20th-century music continued to evolve, and through her piano studies, she was introduced to the literature of Sergei Prokofiev and Dmitri Shostakovich. Luo subse- quently studied at XinHai Conservatory of Music (Guangzhou, China) with pianist Jin Lai, through whom she became acquainted with contemporary Chinese composers Chen Yi, Tan Dun, and Zhang Chao. She earned a Master of Music degree in solo piano perfor- mance at the University of Southern California’s well-known Thornton School of Music, but there was little time to explore collaborative efforts in grad- uate school. Typical of pianists, Luo has worked with other musicians in solo, chamber, and ensemble settings, but her collaborations had been exclu- sively restricted to music. Luo’s artistic interests extend to all disciplines, and she is “always fasci- nated by art shows and events that combine more than one method.” 2 After graduation, she moved to San Francisco and began frequenting con- certs at the Center for New Music. These events proved to be an oppor- tunity to connect with composers such as Belinda Reynolds, with whom she would subsequently work through NAC. 3 Luo’s access to other artists in the San Francisco Bay Area sparked conversations about interdisciplinary collaborations, the seed that germi- nated into NAC. NAC originated in 2020 as the sole vision of Luo. She says that each word in its name, New Arts Collaboration, holds great significance. “New,” as in contem- porary, 4 but also because NAC creates a new form of collaboration, while “‘Arts’ states that NAC is for interdisciplinary art works which incorporate many of the disciplines without boundaries. The last word, ‘Collaboration,’ stands for the core value of the project.” 5 Having a creative vision was only the beginning of a long, arduous process to formally establish NAC. Luo attended 2Ibid. 3Ibid. 4Luo, e-mail message to author, June 29, 2022. 5Luo, e-mail message to author, June 21, 2022. webinars and workshops for a broader understanding of the business aspect; additionally, the non-profit organiza- tion, Intermusic SF (of which NAC is a fiscally-sponsored affiliate), has been of assistance. NAC is not funded by grants or foundations but entirely by donations and ticket sales, 6 a testa- ment to the interest in Luo’s work. A fundamental goal of NAC is to pro- gram underrepresented composers, specifically womxn and people of color. As mentioned previously, Luo was raised in China; when she moved to the USA, she gained a better under- standing of American gender and racial dynamics. This motivated her to focus on inclusion from underrepresented communities, 7 as evidenced by NAC’s benefit concert on September 30, 2021. That program’s theme was advoca- tion for BIPOC and/or female artists. A subsequent webinar in March 2022 presented by NAC, “New Music by Underrepresented Composers and Performers,” featured a diverse panel that included Luo, Chen Yi, Eunmi Ko, Thomas Schuttenhelm, Nicole Brancato, Juhi Bansal, Chatori Shimizu, Emily Koh, Jean Ahn, and Vera Ivanov. The collaborative process of NAC can best be explored by considering one concert in detail. POETIC MOVE occurred on Sunday, November 7, 2021, at Old First Church in San Francisco, and pre- sented a program with a theme based in part on poetry (hence the title) because Korean and Chinese poetry inspired several of the works. As early as two years prior to the concert, composers began their involvement; they sent a description of their works that Luo then shared with visual artists to consider appropriate pairings. Conversations to initiate and understand the collabora- tion were fundamental, and throughout the creative process, subsequent group discussions transpired between Luo, the composers, and visual artists. 8 The extensive program demonstrates the diversity of collaborations, musicians, and mediums: How Deep is the Valley 6Ibid. 7Ibid. 8Ibid. Ting Luo16VOLUME 28, NO. 3 • 2022 for piano and interactive electronics (Brett Austin Eastman with visual artist Joshua Curry), Six Threads for piano and multimedia (Danny Clay), Around for piano and audio play- back (Julie Barwick) with The Corner (Barwick with visual artist Nicki Davis), LE NUOVE FORME for piano and multi- media (Valerio Sannicandro and visual artist Wioleta Kaminska), Cornkind for piano and tape (Christopher Cerrone), Mu Absence for solo piano and multi- media (Chatori Shimizu), FOOTSTEPS for solo piano and multimedia (Jean Ahn and visual artist Jo Ho), Hypothesis for piano and multimedia (Ting Luo and visual artist Loraine Wible), and WORDS for piano and multimedia (Belinda Reynolds and visual artist Charles Woodman). Although Luo composed and also con- tributed her poetry for WORDS, her primary role during the performance was as pianist. Stephen Smoliar favor- ably reviewed the concert in his blog, The Rehearsal Studio, where he stated that the program “offered a wide variety of different technical and rhe- torical approaches to composition, and the variations in media design were just as extensive.” He called the con- cert a “richly absorbing experience.” 9 Two intriguing aspects of contempo- rary music are the unorthodox musical notation and the freedom to impro- vise. Both were features of the POETIC MOVE program. In “Video Game,” the third movement of Six Threads, Danny Clay used digital animations and shapes, such as dots, circles, and punctuation marks. It was Luo’s task to respond to the images through impro- visation; she particularly liked when the video used many question marks, which she performed as tone clusters with her palms and arms. Meanwhile, on the same program, both Mu Absence and LE NUOVE FORME gave the performer freedom in determining note duration. 10 9Stephen Smoliar, “NAC Presents its Piano and Multimedia Concert,” The Rehearsal Studio, Nov. 8, 2021. https://therehearsalstudio.blogspot. com/2021/11/nac-presents-its-piano-and- multimedia.html 10Luo, e-mail message to author, June 21, 2022. Another 2021 highlight took place in April when NAC was featured at the San Luis Obispo Museum of Art’s Digital Shorts Film Festival with “Snow,” a movement from Jean Ahn’s suite FOOTSTEPS (with visuals by Jo Ho). Other significant concerts include the “Music at Noon” series at Westminster Presbyterian Church in Sacramento, California, where Luo performed world premieres of two movements of her own composition, Green, and the world premiere of Daniel De Togni’s Ritual and Evocation at the Stone Garden. Luo performed her Hypothesis in collaboration with visual artist Loraine Wible at the Hot Air Music Festival at the Barbro Osher Recital Hall in San Francisco. NAC has also been fea- tured on the international stage with an audiovisual exhibition and presen- tation at the Bangkok Arts and Culture Center as part of the Thailand New Music and Arts Symposium 2021. Luo would like to continue to explore collaborative possibilities with instal- lation artists and to work with specific materials such as metals, cotton, and glass. 11 NAC’s most recent performance event was a collaboration with Aries Mond in early August 2022, as part of the “Mosswood Sound Series,” an experimental weekly event in Oakland, California. NAC maintains an open call for collaborators with a simple appli- cation process available on its website (newartscollaboration.org/) with a fairly quick response time from Luo and a small committee of artists. With possibilities seemingly endless, there is really no limit to what NAC might accomplish, particularly with the energy, determination, and vision of Ting Luo. 11Ibid. Ting Luo performing “Breath” from her suite for piano and electronics Hypothesis at the Hot Air Music Festival in San Francisco (March 7, 2022). The collaborative visual is by Loraine Wible. Christina L. Reitz is a Full Professor of Music at the Western Carolina University, where she teaches undergraduate courses in music his- tory and American music. Her first monograph, Jennifer Higdon: Composing in Color, was pub- lished in 2018 and was the recipient of the 2020 Pauline Alderman Award for Outstanding Scholarship in Music.Next >