< PreviousJOURNAL OF THE IAWM27 The Tiger and the Clover The Tiger and the Clover Wendy Case, violin, Blue Griffin Recording (2022) DEON NIELSEN PRICE Wendy Case, recitalist and chamber musician currently on the faculty at Youngstown State University in Ohio, is the remarkably flexible solo violinist on the CD The Tiger and the Clover. Case explains in the liner notes that the tiger is a traditional symbol of wisdom and that the common clover flower is a symbol of inner strength. Created during the pandemic of 2020-2021, the album explores converging and con- trasting perceptions through the eyes of a diverse group of composers: Jane O’Leary, Jingchao Wang, Bobby Ge, Sungji Hong, Joseph Jones, Michel Klein, Diana Rotaru, Dominique Le Gendre, Judith Lang Zaimont, and Judith Shatin. The review covers the works by women composers; quotations are from the program booklet. Jingchao Wang, an Assistant Instructor at The University of Texas at Austin, composes music that is eclectic with numerous Eastern elements and a special focus on social justice issues. According to the liner notes, the title of her work, Sugarcoat (2021), meta- phorically references the tendency of life to look perfect from the outside but to taste bitter inside. The com- poser is influenced by the works of Kaija Saariaho, especially in her use of extended techniques and emphasis on color and texture, as in Sugarcoat. The work begins with extreme upper-range, microtonal harmonics. Pure tones follow, which either return to the upper harmonics or lead to unpitched noise. Although the focus is on the acoustics of sound, sweet melodic motives on vibrating strings intercept and lead either to microtonal harmonics or to unpitched utterances on or over the bridge. The pitch mate- rial and intervallic content are derived mostly from the harmonic series, which gives the work an inner integ- rity. The composer and the performer illuminate the title’s metaphor master- fully. This work is well-placed to open the recording. Jane O’Leary, an American-Irish com- poser and pianist, is artistic director and pianist of Concorde, Ireland’s first new music ensemble. The title of her work is No. 19, which is the address on Fishamble Street of The Contemporary Music Centre in Dublin; the composer explores the history of the location in the work. O’Leary explains in the liner notes that the music contains “fleeting references to the busy activities that have taken place in and around No. 19 over the centuries, and also to the dreamy moments that connect us with the past.” No. 19 was premiered by Concorde at the Centre on February 11, 2012. O’Leary later revised the work for viola in 2013 and for cello in 2019. The music contrasts “stark reality and spacious imagination,” and a chaotic-sounding chromatic motif frequently interrupts the quieter sec- tions featuring arpeggios and delicate pizzicati to bring the listener back to today’s hectic reality. O’Leary provides instructions to performers: “There should be a strong contrast between the loud, driving passages which rep- resent physical activity, and the more spacious ‘colourful’ dreamy passages. The latter should be very relaxed and improvisatory in character. Passages in ‘boxes’ can be extended to last as long as the player wishes.…” The initial tempo indication is “Freely,” but the score is meticulously marked with pre- cise bowings, articulations, dynamics, metronome markings, harmonics, string indications, tempo marks, and harmonic glissandi. Although the music is atonal, abstract, and chromatic, the emphasis placed on the related tonal levels of the open strings pro- vides a conventional guidepost that keeps the work grounded. Sungji Hong’s music has been per- formed by leading players and ensembles in over 46 countries and 213 cities, and she has won numerous awards including the IAWM Theodore Front Prize. Her musical language is colorful with a wealth of imagery and exquisite delicacy. Flash for violin solo was commissioned by Kumho Asiana Cultural Foundation to be premiered by Hae-Sun Kang at the Kumho Art Hall in Seoul, Korea, on November 6, 2008. The CD booklet describes the work: “The virtuosic Flash uses extended techniques and ponti- cello to electrify the chaotic soundscape of a lightning storm. The listener can feel the crackle of static electricity in the constant hide-and-seek bound- ary-testing of the instrument’s formal capabilities.” The title suggests sudden bursts of bright light. We hear dashing and flashing gestures in high regis- ters throughout the work interrupted by rich low gestures on open strings. The sul ponticello technique produces the upper partials of the tone, which give the pitch an eerie, metallic, some- what-glassy timbre. In the middle section, the dramatic open D tones provide contrasting depth before the music returns to the glassy high register and quietly dissipates. Dominique Le Gendre is based in London, and she has composed music for the Shakespeare Globe Theatre, Talawa Theatre Company, Theatre of Black Women, and elsewhere. She wrote In Praise of the Fest: For Adam Zagajewski in memory of Zagajewski, world-renowned Polish poet and per- sonal friend of the composer. His poetic voice is varied and rich and explores the complexities and contradictions of the world. Reminiscent of Baroque solo sonatas for violin, In Praise of the Fest begins with an etude-like quad- rant in an undulating diatonic figure. The repetitive pattern is creatively and imaginatively varied, expanding 28VOLUME 28, NO. 3 • 2022 or contracting in different registers and incorporating melodic outlines. In the last section, it is inverted and placed in a higher register. Interrupting the otherwise busy texture are poi- gnant melodic phrases and a tender pizzicato ode. The overall expres- sion is one of mourning. The piece ends with fading, sweet harmonics in a high register. Romanian composer Diane Rotaru promotes new music in Romania as Coordinator of the Romanian Music Information Center. Glossolalia (2010), for violin and tape, is dedicated to violinist George Kentros; he pre- miered the work on April 12, 2011, at the EBU Ars Acustica in Malmö, Sweden. The liner notes explain that the term “glossolalia” refers to the “activity of speaking in an unknown language, also known as speaking in tongues. Here, the composer plays on the meaning of the word to empha- size the difficulty of communication between composers and performers through the medium of the printed page, and the varying musical interpre- tations that result.” The eerie, glassy quality of the violin, when it is played simultaneously on two strings (a sustained open E and a fingered A) along with white noise on tape, creates the impression of the transitional state of conscious- ness between wakefulness and sleep called “hypnagogia.” The composer discusses this on her website (dian- arotaru.net) along with “pre-oneiric [dreams] aesthetics.” It encompasses a large range of aesthetic perceptions, including some of the bizarre sounds heard in this compelling work. With double stops, strong bowing attacks, and increasing tape noise, the music builds to an intense climax before sub- siding, still grazing one string while fingering another. Pianist, teacher, and award-winning composer Judith Lang Zaimont com- posed versions of Astral for solo clarinet, alto saxophone, violin, and viola between 2004 and 2009. The liner notes provide the explanatory subtitle: “A Mirror of Life on the Astral Plane.” The work spins an underlying rhythmic motive through eleven stages, and the number eleven is symbolic of the process of “healing the fallen nature, or subduing humanity’s animal nature by means of strength of innocence, faith, purity, beauty, goodness, love, affec- tion” by heightening consciousness. The music explores the chromatic tensions of varying thirds above and below the central pitch of “C.” The work effectively concludes with a juxtapo- sition of the solo violin with a softly hummed countermelody. Judith Shatin is the recipient of four National Endowment for the Arts Composer Fellowships as well as grants from the American Music Center, Meet the Composer, and the Virginia Commission for the Arts. Her work, Rising on the Wings of Dawn (2021), was inspired by Psalm 139, which evokes the peaceful, growing light of sunrise. The music, with hymn-like flavor, confirms the description. The work blends traditional and extended techniques and paints a landscape of exquisitely-nuanced textures and colors. On her website the composer provides additional insight: “I had been partial to this Psalm for some time and…it seemed especially apt while the Covid pandemic was raging and we were in a time of great sorrow to return to these comforting images of the intimacy and ubiquity of God. The structure embodies a rising shape in its melodic design and in the prominence of harmonics. The overtone series itself shimmers, and the individual harmonics glow.” Deon Nielsen Price, composer, pianist, conductor, and author, is a former president of IAWM and the National Association of ComposersUSA (NACUSA). Currently, she curates the Presidio Chapel Sunday Concert Series in San Francisco. Her most recent recording, Rendezvous (Cambria CD, 2022) includes chamber and orchestral music: If Life Were to Sing (strings), Ludwig’s Letter to Eternal Beloved (countertenor, chamber ensemble), Chamber Symphony Inspired by Hildebrando de Melo’s Nzambi Paintings, and Behind Barbed Wire (saxophone, piano). http://culvercrest.com 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 inexpensive rates. Due dates: December 30, March 30, June 30, September 30. Specifications: Ads should be supplied as high resolution Print PDF, or Photoshop TIF or JPG. Images must be 300dpi or larger at 100% size used. 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Credit card or PayPal 2.Send a check, payable to IAWM, to our treasurer: Deborah Saidel 2400 Alycia Ave Henrico, VA 23228 debsaidel@gmail.comJOURNAL OF THE IAWM29 Red Dragonfly Compositions by Saskia Apon, Amy Beach, Hildegard von Bingen, Amy Riebs Mills, Florence Price, Sonya Leonore Stahl, and Barbara York. Jemmie Robertson, trombone. Jasmin Arawaka, piano, with Randolph Lee, trumpet. Mark Masters 56133-MCD (2021) BRITTANY LASCH Containing numerous world premiere recordings, Jemmie Robertson’s fourth solo CD, Red Dragonfly, is a welcome addition to the trombone discography. It is also a welcome change to have a male trombonist releasing a CD with all female composers. Celebrating the virtuosity of these composers has rightfully transcended the previously exclusive realm of outstanding female trombonists’ CDs such as Ava Ordman (It’s About Time) and Natalie Mannix (Breaking Ground); both are thanked in the liner notes. The title work, Red Dragonfly by Amy Riebs Mills (b. 1955), provides a tri- umphant opening. Mills composed the original version for band in 2013 for Megumi Kanda, principal trom- bonist of the Milwaukee Symphony Orchestra. The Japanese folk song “Red Dragonfly” is the foundation of the piece, appearing as dissected motives in the opening movement and in its entirety in the delicate second movement. 1 Apparent flutters of wings can be heard in both the trombone and the piano parts. The concluding section makes use of glissandos, jazz, and other features that are typ- ical of trombone works. Robertson performs with a compelling sound and technique, and he has recently spearheaded a consortium to commis- sion Mills to write a new version for chamber orchestra. Barbara York (1949-2020) wrote many works for the last row of the orchestra. A Caged Bird, commis- sioned by the International Women’s Brass Conference in 2014, is becoming increasingly popular. The program notes, written by the composer, pro- vide a great deal of context for the work. York describes how “the caged bird,” which is discussed by writers such as Maya Angelou and Paul Laurence Dunbar, refers to any con- cept of “cagedness” in the human condition. 2 Despite the clear refer- ences to the chirping of birds, my ear is drawn especially to pianist Jasmin Arakawa’s excellent pacing of the insistently flowing and occasionally hauntingly simplistic piano lines. Another work by York, Still Waters Running Deep, showcases the canta- bile style of Robertson’s expressive playing. Marvelously suited for the trombone, this work was originally written as a Sonata for Bassoon and was transcribed by the composer for her daughter, a cellist. The prolific Florence Price (1887-1953) composed the solo piano work On a Quiet Lake in 1929. Nature and water, 1Jemmie Robertson, Liner notes, Red Dragonfly. Marl Custom Records (2022), 3. 2Barbara York, A Caged Bird (Cimarron Music Press), 1. Red Dragonfly in particular, inspired her to write a number of pieces. 3 Upon reflection, I find it striking how many works in this CD either evoke or directly describe some kind of natural imagery. Robertson comments in the liner notes that the original work has “a lovely tenor-voiced line throughout,” and he thought it “would work nicely with an added trombone obligato.” 4 With the trombone hovering in a higher tessitura than in the other works in the album, Robertson’s beautiful performance displays his control of the upper register. Originally a piece for solo piano that Amy Beach (1867-1944) composed in 1907, Eskimos, 5 Op. 64, is a four-move- ment work based on Native American folk songs. Arranged by trombonist Ralph Sauer, this work best high- lights the collaboration between Robertson and Arakawa. In the second movement, “The Returning Hunter,” the duo performs with great synchro- nicity on a number of effervescent lines in unison. Perhaps the most consequential recording on this album is the unac- companied work Herfste Triptiek by Saskia Apon (b. 1957). This CD marks the first professional recording of this three-movement piece. While other works by Apon have entered the trom- bone canon, such as her trombone quartet, the challenges of this work have perhaps hindered frequent per- formances. Robertson’s performance captures your attention, sans piano, throughout each of the color-labeled movements. Having worked on the piece myself, I was intrigued to hear Robertson describe the third move- ment, “Oranje,” as having “the character of a boisterous medieval or renaissance dance” (liner notes) as it took on entirely new imagery to me. It is my hope that access to this recording will encourage the trombone community to program it with more regularity. 3John Michael Cooper, On a Quiet Lake (1929), Wise Music Classical, accessed May 5, 2022. https://www.wisemusicclassical.com/ work/60808/On-a-Quiet-Lake--Florence-Price/ 4Robertson, 5. 5Many people now find the word offensive. Perhaps the most consequential recording on this album is the unaccompanied work Herfste Triptiek by Saskia Apon (b. 1957). This CD marks the first professional recording of this three-movement piece. — BRITTANY LASCH30VOLUME 28, NO. 3 • 2022 The Women in Music Anthology BOOK REVIEWS Eugene Gates and Karla Hartl, eds.: The Women in Music Anthology Toronto, Canada: The Kapralova Society, 378 pp. ISBN 978-1-7777795-0-4 (e-book) / ISBN 978-0-9940425-9-0 (softcover) (2021) JUDITH MABARY Song of the Rose, a new addition to the repertoire, is a transcription of a violin solo by Sonya Leonore Stahl (b. 1982). Based on Oscar Wilde’s 1888 short story “The Nightingale and the Rose,” this transcription accentuates the rich tenor range of the trombone. Romantic themes and tension-filled harmonies clearly evoke the journey of love in its beauty, as well as in its pain. The CD concludes with O vis eternitatis by Hildegard von Bingen (1098-1179), which has been arranged for trumpet and trombone by Jacob Hardy. In 1998, musicologist Karla Hartl founded The Kapralova Society, Inc., a non-profit organization based in Toronto, Canada, whose stated mis- sion “is to promote the music of Czech composer Vítězslava Kaprálová (1915-1940) and to build awareness of women’s contributions to musical life.” The Society’s website provides access to current and past issues of The Kapralova Society Journal, which has been in production since 2003. Over the years, numerous excep- tional and well-documented articles by leading scholars have appeared in its biannual releases. The purpose of The Women in Music Anthology—edited by Hartl and retired faculty member of Toronto’s Royal Conservatory of Music Eugene Gates and published in 2021 by The Kapralova Society—is to bring together under one roof the best of these contributions to insure their availability for the long term. The volume is divided into two parts. The first part emphasizes women composers and musicians, opening Trumpeter Randolph Lee joins Robertson in a contemporary and atmospheric performance. The con- trasting instruments invoke different voices, and this transcription will undoubtedly find itself a staple in future duo recitals. Red Dragonfly is a significant con- tribution to not only the trombone community but also to the musical world. Jemmie Robertson is no stranger to championing new works for the trombone, and I hope he continues to commission, uncover, and arrange pieces not only by female composers but also by many other underrepre- sented artists. I look forward to his future projects. Brittany Lasch is Assistant Professor of Trombone at Bowling Green State University in Ohio, and she is Principal Trombone of the Detroit Opera Orchestra. An award-winning soloist on the roster of Astral Artists, she frequently per- forms around the country. Her recent recording of Theme and Variations for Trombone and Orchestra by Martin Kennedy (Albany) has received critical acclaim. As an advocate for new music and female composers, Lasch has commis- sioned a number of works, most recently a new Sonata for Trombone and Piano by Reena Esmail. (www.BrittanyLasch.com) with two essays by Gates in which he establishes a backdrop for understanding from philosophical, psychological, and historical perspec- tives the gender-related challenges faced by women composers in the nineteenth and twentieth centuries. The remaining essays in this section are devoted to individuals who experienced these challenges but were, nevertheless, remarkably suc- cessful in their careers, namely Fanny Mendelssohn; Clara Schuman; Norwegian pianist, composer, and teacher Agathe Backer Grøndahl (1847- 1907); English composers Maude Valérie White (1855-1937) and Dame Ethel Smyth (1858-1944); American pianist and composer Amy (aka Mrs. H.H.A.) Beach (1867-1944) and teacher and composer Florence Price (1887-1953); and English singer and entertainer Dame Vera Lynn (1917- 2020), plus a chapter on early women orchestras and their conductors. Eight of the thirteen chapters were invitingly written by Gates.JOURNAL OF THE IAWM31 The second portion of the book focuses entirely on Kaprálová, with essay topics ranging from the Society’s part in disseminating her work and the two-way role of muse shared between Kaprálová and Bohuslav Martinů to directed studies of her compositions: the song “Smutný večer” and the Trio for Oboe, Clarinet, and Bassoon as well as her Two Dances for Piano, Op. 23. The book closes with the complete transcript of the inter- view regarding Kaprálová granted by Karla Hartl to the BBC Radio 3 as part of their October 12-16, 2015 Composer of the Week series. Not only is this volume valuable for its information on Kaprálová, which is to be expected from a collection pub- lished by the Society, but as a means to fulfill the mission of the organization: through the insights its authors provide on other women composers, including women of color, who are both well- known and only now being rediscovered. Within the societal and cultural lim- itations imposed on women in the nineteenth century, creative artists such as Fanny Mendelssohn and Clara Schumann worked as best they could. The challenges faced and negotiated by both women are examined in this volume. Schumann, for instance, expe- rienced and expressed self-doubts about her abilities as a composer while confident in her status as a pianist. Fanny Mendelssohn expressed similar gender-enforced doubts commen- surate with her social position as an upper middle-class woman. She refrained from publishing her music for some time after receiving stern crit- icism from both her father and brother, the former of whom wrote of his dis- pleasure at the prospect, admonishing her to “prepare earnestly and eagerly for your real calling, the only calling of a young woman—I mean that of a housewife.” 1 Even when she decided to publish some of her best works, she was not entirely convinced of her 1Quoted in Eugene Gates, “Fanny Mendelssohn Hensel: A Life of Music within Domestic Limits,” The Women in Music Anthology, eds. Eugene Gates and Karla Hartl (Toronto: The Kapralova Society, 2021), 53. abilities nor of any lasting good for- tune. As Gates quotes from Rudolf Elvers “Bote & Bock [Berlin publisher] have made offers to me [date: 1846] the likes of which have perhaps never before been given to a dilettante composer of my sex, whereupon Schlesinger [another Berlin publisher] even outdid them. I do not in the least imagine that this will continue but am pleased at the moment.” 2 It is an abun- dance of quotations such as these that provide primary source docu- mentation for the topics addressed in these essays and further their already exceptional value. The lesser-known composers addressed in the pages of this collection receive no less rigorous attention, and arguments regarding their standings historically, along with the associated implications of whether they should be studied presently, are convincingly made. For example, in the case of Agathe Backer Grøndahl, the author confirms that as a pianist she was compared favor- ably to the likes of Anton Rubinstein and Hans von Bülow; but for Swedish composer and critic Wilhelm Peterson- Berger, she was too blonde and friendly, not to mention that her own compositions were tiring and could be likened to needle work and baking. On the other hand, George Bernard Shaw felt her works exceeded those of Grieg. And at her death, she was described as “the man” among numerous “lady pia- nists.” Should she be better known today? After reading this essay, the answer must be: “Yes, and that there is more work to be done here.” 2Gates, “A Life of Music,” 65. Advocacy through simply stating the facts in the remainder of the essays is equally compelling. Some com- posers, such as Dame Ethel Smyth and Florence Price are already enjoying increased attention from performers and scholars today, even though not solely because of these articles. Nevertheless, the information pre- sented in The Women in Music Anthology on these and other female artists only emphasizes that such attention is the only judicious decision to be made. There is very little missing from this collection. A minor point, and it is truly minor, is that it would be useful to have the author of each essay presented with the essay itself instead of only in the table of contents. In the end, it must be said, however, that this book contains solid, efficient, and effective introductions to the contributions of lesser-known women composers and performers and, at the same time, solidifies and amplifies our knowledge of the “wives” of master composers in the Western canon (Fanny and Clara). Kudos to the authors and editors for bringing this scholarship together in a single volume. Judith Mabary is Associate Professor of Musicology at the University of Missouri. Her research centers on Czech music of the 19th and early-20th centuries. Her book on Czech melo- drama, Contextualizing Melodrama in the Czech Lands: In Concert and on Stage, was released in 2020. She is currently editor of a Festschrift in memory of Michael J. Budds that will be published by the College Music Society through Routledge Press. A version of this review was first published in The Kapralova Society Journal 20, no. 2 (Summer 2022), 22-23. It is published here with permission. Not only is this volume valuable for its information on Kaprálová, which is to be expected from a collection published by the Society, but as a means to fulfill the mission of the organization: through the insights its authors provide on other women composers, including women of color, who are both well-known and only now being rediscovered. —JUDITH MABARY32VOLUME 28, NO. 3 • 2022 New Recordings and Publications Libby Meyer: To What Listens Cappella Clausura, conducted by Amelia LeClair and the Juventas New Music Ensemble. Albany Records, Troy 1887 (March 2022) The recording contains seven works by Libby Meyer. Her music reflects the natural rhythms and patterns of the world around her. Kerry Politzer: In a Heartbeat Thomas Barber (Pink Martini), trumpet; Joe Manis, saxophone; Garrett Baxter, bass; and George Colligan, drums. PJCE Records (October 2022) Jazz pianist Kerry Politzer will be releasing her seventh album this fall; it will feature original compositions about life during the pandemic. Tsippi Fleischer: Matti Caspi–The Magic and the Enigma Online revised edition in Hebrew (June 2022) The book about the Israeli composer and singer Matti Caspi was first published in 2013. It featured an analysis of 40 of Caspi’s songs. The updated, expanded version includes many musical examples and explanations plus additional background information. It is available on the author’s website at http://www.tsippifleischer.com/ maty2022h.html. Vilma Campitelli: Compendium Musicae Flauta Catalogue of Flute Music by Women Composers Mesina, Italy; Edizioni Smasher, 633 pp., index, women composers, listing of flute works, sources, bibliography. ISBN 978 88 6300 162 4 (2018) PABLO E. RAMÍREZ CÉSPED The Compendium Musicae Flauta (Catalogue of Flute Music by Women Composers) by Vilma Campitelli is the first major work of its kind to offer detailed information about the flute music of female composers world- wide. Due to the meticulous work by the author, this study will surely become an essential resource for performers, programmers, students, and scholars. It is an important addition to the excel- lent flute repertoire catalogues that were published in the 20th century. 1 The project was initiated and sponsored by Donne in Musica (Women in Music) Fondazione Adkins Chiti in 1978. The catalogue, a product of more than twenty years of research, covers music from the 16th to the 21st century and lists more than 15,000 works for 1For example, Frans Vester, Flute repertoire cat- alogue (London: Musica Rara, 1967); Flute Music of the 18th Century (Monteaux, France: Musica Rara, 1985); Bernard Pierreuse, Flute Litterature (Paris: Editions Musicales Transatlantiques, 1982). the instrument, including ensembles of different sizes, by 2,800 women composers from five continents and 100 countries. The first part (pp. 25-332) is dedicated to the individual composers who are listed in alphabetical order and by nation- ality. The section includes biographies and information about the composers’ works: titles, instrumentation, publi- cations, and research centers. In part two (pp. 333-593), instrumental com- binations are listed in ascending order of size: one flute (or piccolo, flute in g, bass, or contrabass); two to twelve-part instrumental ensembles; choirs or flute orchestras; flute with orchestral accom- paniment; and choir with flute. Each of these instrumental combinations is fol- lowed by a list of the composers who wrote for them. The third section (pp. 595-623) is dedicated to the sources, which include, alphabetically: research centers, libraries, websites, universities, and publishing houses, each of which is assigned an acronym. Finally, the fourth section (pp. 625-633) is a bibliography. Campitelli is a flautist, performer, and musicologist. Born in Lanciano, Italy, she has an extensive international con- cert career with a repertoire that ranges from classical to contemporary music. She was chosen by the Fondazione Adkins Chiti to be a resident scholar for the European WIMUST (Women in Music Uniting Strategies for Talent) project. She is currently Professor of Flute at the Conservatory of Music of Foggia, Rhodes Garganico, Italy. In her introductory remarks (p. 8), Campitelli trusts that the compen- dium “will be a useful starting point of reference about an important cul- tural heritage created by women yet to be included in music history books.” Patricia Adkins Chiti writes in the preface (p. 11) that with this volume the dream has come true for programmers, soloists, and ensembles that want to include music by women in their concerts but rarely know where to find the information. She is certain that Campitelli’s book will significantly advance the knowledge of musical literature written by women. Compendium Musicae Flauta Pablo E. Ramírez Césped, a Chilean flautist, holds a PhD in Musicology from the Universidad Autónoma de Barcelona, Spain (2021). He has performed throughout Chile and also in Argentina, Venezuela, Spain, and Finland. His research activity centers around the history of the transverse flute and its music, mainly during the 19th century in Latin America. He has pre- sented his research at conferences and seminars in Helsinki, Barcelona, Valladolid, Buenos Aires, and Santiago de Chile.JOURNAL OF THE IAWM33 Elaine Radoff Barkin: e 2 : an anthology : music texts & graphics [1980–1995] ‘Are we nearly there?’ Edited by Mark So. Red Hook, NY: Open Space, vi, 202 pp., bibliography, illus., drawings, photo- graphs, musical examples. ISSN 1525-4267 (2020) DEBORAH HAYES In 1997, when Elaine Barkin retired from the music faculty of the University of California at Los Angeles, she pub- lished e : an anthology : music texts & graphics (1975–1995), a sampling of her work during her UCLA years. Now she has published a sequel, e2 : an anthology : ‘Are we nearly there?’, music texts & graphics, with 55 selec- tions from 1980 to 2020. Published texts, unpublished talks, drawings, col- lages, photographs, and four scores are reprinted in an attractive variety of typefaces, layouts, and formats. Issued under the umbrella of The Open Space Magazine, both anthologies are maga- zine-size. Barkin credits Russell Craig Richardson for the cover graphics and creative design. She credits her editor, Mark So, himself a com- poser and performer, for improving each text in e2 as well as the scope of the book. Most of the items are reprinted from Perspectives of New Music and, since 2001, The Open Space Magazine. Barkin writes about what she has heard in concert or, most often, on record- ings—over three dozen CDs. In her vivid and often humorous descrip- tions, she typically employs a stream of consciousness style with wide- ranging literary and other associations. The anthology’s subtitle, “Are we nearly there?” from Lewis Carroll’s Through the Looking Glass, is Alice’s breathless query as the Red Queen (chess piece) urges her to run faster and faster. When they stop, Alice sees that they are still sitting under the same tree. The scores in e2 exhibit some variety. The 1988 work “…out of the air…” is a graphic score for performance on basset horn with four-track tape and was co-composed with its performer, Georgina Dobrée; Barkin made the tape. She provides the fascinating details about the work in “For Georgina Dobrée.” The 1990 work “…typescript… (on J.K. Randall)” is a text composition, which Barkin read, that was performed at the Society for Music Theory’s national conference with accom- panying tapesound. It was recently recorded on an Open Space CD as Soundtext. The other two scores use traditional notation: blanc for piano, 2008, illustrated with a frame from Robin Richardson’s video for blanc; and Tune for Bobbie, midi piece, 2012. Her Journey Barkin’s roots are in New York, and, as e2 shows, she maintained her East Coast connections with her move to the West Coast. Born and raised in the Bronx, New York, Elaine Radoff graduated from Queens College of the City University of New York in 1954, then earned a Master of Fine Arts degree at Brandeis University in Waltham, Massachusetts, in 1956. In 1957, she married George Jean Barkin (1928–2020), and over the next six years gave birth to Victor, Jesse, and Gabriel Barkin. She dedicates e2 to “my beloved husband of 63 years” and acknowledges the “enduring support” of her family. In 1962, Benjamin Boretz, who had been a fellow MFA student at Brandeis, asked the “stay-at-home-mom” to help launch Perspectives of New Music (PNM) as a journal committed to “composing, composers, compositional thought and discourse.” As she relates in “Telling it SLANT, or, The Early Years,” through PNM’s first decade she was the only woman on the editorial staff and the articles were “98.6% by or about males.” Barkin became associate editor, then co-editor with Boretz in 1972. She returned to academia to teach at Queens College and elsewhere. She resumed composing after a ten-year silence, and in 1971, earned a PhD at Brandeis. In 1974, after four years teaching music theory at the University of Michigan, she moved to UCLA. Her work for PNM continued for 22 years, until 1984. She began exploring collaborative composition and inter- active performance. In 1988, Barkin, Boretz, and James (J.K.) Randall founded The Open Space, “a commu- nity for people who need to explore or expand the limits of their expressive worlds.” Boretz has written that “it was her idea to begin with.” At UCLA, with its extensive ethnomu- sicology program, Barkin’s musical world expanded west and south across the Pacific. She connected with musi- cians in New Zealand and Australia. From 1989 to 2000, she made six trips to Bali to study gamelan performance, as she reports in “there’s a whole lot of schmoozing going on.” In 1996, she sailed with the Semester at Sea pro- gram. In “A Talk for CORE – Our Music,” she advises her shipmates to open themselves to whatever they hear. “Each music has a history, a purpose, a group of followers, a social behavior associated with or elicited by it.…As we journey around the world, we will be mystified, turned on, turned off, transformed, repelled, exhilarated and ultimately affected.” The Anthology How a composition teacher or stu- dent is to maintain individuality while conforming to academic and other Elaine Radoff Barkin | Photo by Jon Forshee34VOLUME 28, NO. 3 • 2022 “authoritarian” musical expectations is a continuing concern in e2, beginning with Barkin’s 1980 talk to music stu- dents and faculty, “A Small Fire Burns.” She further develops the theme in a richly illustrated essay, “Conjunctions and Affinities,” written in 2003 for the online journal G.E.M.S. (Gender and Equality in Music Education). She is dis- missive of Alex Ross’s The Rest Is Noise (discussed in “the history you make”) and his focus on “First-Tier Major League Iconic Insider Headliners” such as Thomas Adès and Iannis Xenakis (discussed separately). The “rest”— minor players, mavericks—warrant “re/dis/un-covery,” she observes, if the whole story is to be told (p. 137). Barkin devotes much attention to the work of her longtime colleague Ben Boretz. A one-page item, “Four Quartets,” was first published in the 1983 News of Music from Bard College where he was teaching. In other items in e2 she “reexperiences” his text composition Language, as a music, and provides CD liner notes for Postlude. She includes in e2 her col- lages and text fragments “for Ben at 70” and a brief recollection “for Ben at 80.” She writes about music by earlier composers, including Irving Fine (her MFA thesis advisor), Arthur Berger (her PhD thesis advisor), Milton Babbitt, Galina Ustvolskaya (an “ascetic wild woman”), Pauline Oliveros, Nazir Ali Jairazbhoy (a UCLA colleague), Morton Feldman, and John Cage. Composers of her generation and younger whose work interests her include Ruth Anderson, Karin Rehnqvist (for her “wit and staunch feminism”), John Psathas in New Zealand, Robert Paredes and Chris Mann in Australia, John Rahn (another PNM editor), Annea Lockwood, Madelyn Byrne, and Linda Montano. In “Things That Matter” (2017), she advo- cates better policies on immigration and related political issues raised in Lin-Manuel Miranda’s Hamilton. Barkin is fascinated with new sounds, especially electronic sounds, and with group improvisation—where the musi- cian is “ever on the wait to absorb and reinvent; what just happened, what Celebrating Elaine Barkin's 90th Birthday! BRENDA M. ROMERO During my doctoral studies in ethnomusicology at UCLA in the 1980s, I studied composition with Elaine Barkin. Before UCLA, I belonged to the New Mexico Women Composer’s Guild and was mentored by women composers, but I then decided that fulfillment of my personal and spiritual obligations was more easily accomplished through ethnomusicology. I credit Elaine—first-name basis between graduate music students and faculty was standard at UCLA at that time—for my still wanting to compose music. My last formal composition course was with her. In 1987, she heard my Native Winds for Woodwind Quintet, the last truly formal work I have composed. Reflecting my research interests, it recalls the Ghost Dance and the Battle at Wounded Knee in 1890; the New Mexico Woodwind Quintet commissioned and pre- miered the work for the 50th anniversary of the Wheelwright Museum of the American Indian. Elaine subsequently recruited me into her group composition class. Among our assignments was an open improvisation at her home studio. I also wrote a text composition, and music for a collaboration with a dance graduate stu- dent. Elaine was a student’s closest friend, while at other times we were old crones (women of magic) destined to cross paths. In 1987, I was hired by the University of Colorado Boulder (CU) to develop an ethnomusicology area in musicology. In 1992, when Elaine came to CU for a George Crumb Symposium, we got a chance to talk, and she was as ever a shining beacon of encouragement. Indeed, composition brings together many dimensions of thought, and I find I am still learning from our dearest Professor Elaine Barkin, fellow crone and lover of musical expressions of wonder everywhere. Happy 90th Birthday, dear Elaine! Brenda M. Romero is professor emerita and founding coordinator of ethnomusicology in the College of Music at the University of Colorado Boulder. Dr. Romero is currently completing a book, Matachines Transfronterizos, Warriors for Peace at the Borderlands (University of Illinois Press, forthcoming). She is coeditor of Dancing across Borders: Danzas y Bailes Mexicanos (University of Illinois Press, 2009), and of At the Crossroads of Music and Social Justice (Indiana University Press, forthcoming, 2022), a project that she originated. did I hear, where am I now, now just listen,…no matter if it-all, you-all, I-all, we-all disconcert or disturb” (p. 62). She discusses improvisation and audi- ence response with the performance artist Rachel Rosenthal. She reviews a book and DVD by Hollis Taylor (American) and Jon Rose (Australian) who create music by bowing, plucking, and striking Australia’s rabbit-proof fences. She writes about instruments created by Ron M. George, about David Dunn’s outdoor sound chronicles, and about Burmese piano music. She reviews CDs of improvised and interac- tive performances by the saxophonist Robert Reigle, by the electro-acoustic trio Nyquist, by the Banned Rehearsal group, and by two contemporary North American gamelan ensembles. In his editor’s note, Mark So sums up e2 with poetic clarity: “Again and again, in dazzling word-performances that record not only successions of sounds and affect but labyrinthine turns of mind and all else gained and lost by each encounter, Elaine somehow musters language adequate to these deepest areas of experience—at once the most difficult to communicate and perhaps the most commonly shared.” Deborah Hayes is a professor emerita of musi- cology and former associate dean at the University of Colorado Boulder.JOURNAL OF THE IAWM3536VOLUME 28, NO. 3 • 2022 REPORTS With a Great Crisis Comes a Great Opportunity COVID forced so many of us in the creative community to find solu- tions. Next was the decision about how to (or even if to) hold a confer- ence, and if we did, how could we do it. Fortunately, since SEAMUS mem- bers are tech-savvy, the concept of a virtual online conference was not out of the question; the format and extent of such an offering was all that needed to be decided. Eventually, many aspects of the conference (the pieces, the video works, and video recordings of the installations) could be showcased. Anyone interested in the activities can access them at https://2020.seamusonline.org/. For those of you who want to feature more electroacoustic music by women in your courses, I draw your attention to pieces on the site by Lyn Goeringer (Michigan State University), Julie Herndon (Stanford), Elizabeth Hoffman (NYU and newly-elected president of SEAMUS), Anne Neikirk (Norfolk State), Olga Oseth (composer, Seattle, WA), Leah Reid (UVA, recent Guggenheim Fellowship and Luigi Russolo winner), Heather Stebbins (George Washington University), Elainie Lillios (Bowling Green State University), Aurie Hsu (Oberlin Conservatory), and many others. A special online treat is the inclusion of the full recordings of SUM (State of the Union Message) from 1973, Points (1973-74), and I come out of your sleep (1979) by pioneering composer Ruth Anderson. These sub- stantial and ground-breaking works by Anderson should be studied by all. (Note that IAWM has a com- position award that is named in Anderson’s honor.) In addition to the publicly-available virtual conference, the annual awards and commissions (ASCAP Fellowship and the Allen Strange Award), which provide important creative and career oppor- tunities for SEAMUS student members, were adjudicated. The honoring of Annea Lockwood, which included her acceptance of the SEAMUS Award and the accompanying concert and panel sessions, was postponed until 2021. SEAMUS 2021 CONFERENCE: Panels, Concerts, Discussions, and Fun The SEAMUS 2021 Digital Conference (S21 Virtual National Conference), April 23-25, was a great success. With almost no economic or distance boundaries in the virtual realm, par- ticipation in events was basically wide open to all (the caveat being: all with sufficient internet and online-meeting technology), and we encouraged this with a fairly open-ended call for ideas, presentations, pieces, and experi- ences. The conference was free to all SEAMUS members. In addition to utilizing Zoom for many of the paper and panel sessions, the conference created a strong sense of community and social interac- tion utilizing Discord, YouTube, and AltspaceVR. Socializing and interac- tion of an informal nature was done in Discord (discord.com), a platform quite familiar to those who use it interac- tively to play and discuss video games. Different chat channels in Discord were opened for general announce- ments, Diversity-Equity-Inclusion (DEI) discussions, student-only chats, and other conference events. Direct links to the concerts presented via YouTube and the Zoom panel and paper discussions were available at the conference website and also in the general announcement text channel. Expanding the Beats That We Value: Inclusion, Growth, and Change in SEAMUS During the COVID Era and Beyond ELIZABETH HINKLE-TURNER It is typical of the delays, reboots, reschedules, and general COVID chaos of the last two years that I am just now reporting on the 2020 conference of the Society for Electro- Acoustic Music in the United States (SEAMUS). Most of the elements of the 2020 conference did not occur until 2021, including honoring com- poser Annea Lockwood as the annual winner of the SEAMUS Award, which acknowledges the important contri- butions of its recipients to the field of electroacoustic music. And due to the continued pandemic in 2021, that particular conference ended up as a quite unique experience in many ways, inadvertently (and some- times very deliberately) expanding the diversity and inclusivity of the organization and the entire music conference experience. The following article describes the evolution of inclusion and participation in SEAMUS conferences through three such events occurring between March 2020 and April 2022. I was ready to attend the 2020 conference, which was to be held March 12-14 at the University of Virginia in Charlottesville. The con- ference had been carefully planned and curated by the conference orga- nizer and president of SEAMUS, Ted Coffey, along with UVA colleague and composer Leah Reid. My role as a member of the board was to guide the Diversity, Equity, and Inclusion (DEI) Committee. In March, COVID was spreading quickly and everyone was rightfully deeply con- cerned about holding a potential super-spreader event, therefore the conference was cancelled. Next >