< PreviousJOURNAL OF THE IAWM37 Discord was an excellent tool for this; one could literally “hang out” in the Discord space and chat, which increased the sense of community. Concerts were of two types: 1. Electroacoustic only (tape music) and video only (the videos were some- times of pre-recorded performances for musicians and electronics) that were livestreamed. 2. Concerts fea- turing electroacoustic and video works with musicians that were livestreamed from different venues by different institutions and ensembles. Those partnering institutions and ensem- bles included The Oberlin Synthesizer Ensemble, Switch~ Ensemble (Chris Chandler, Zach Sheets, and Jason Thorpe Buchanan), The University of North Texas (UNT) Center for Experimental Music and Intermedia and Nova Ensemble, The UNT Free Improv Ensemble, and performers from Georgia Southern University. Also notable was the TWELVE Project from CCRMA (facilitated by Constantin Basica, Hassan Estakhrian, and Stephanie Sherriff), a twelve-hour telematic event of livestreamed works with audience interaction via a chat window. TWELVE selected pieces from around the world that were submitted for the event. In all, well over 100 works were presented via these online platforms that fea- tured many composers and a variety of aesthetics and approaches to music creation and performance. Paper and panel sessions also ben- efited from the absence of location, space, and travel considerations. Demonstrations and performances on bespoke instruments could be done in a composer’s workspace without the accompanying worry of having delicate equipment break during a plane trip. Panel discussions could feature partic- ipants who normally might not be able to travel to an in-person event. The more open-ended nature of the panel discussion call also meant that sev- eral presentations of a documentary nature were featured. We were able to watch an extended video of the edu- cational work of TECHNE, a national arts education organization to build inclusivity and close the gender gap in creative technology fields, and view the entirety of Marjani Forté-Saunders’ Memoirs of…Unicorn. Another exciting conference feature was the “Gala” tour of virtual installa- tions using the AltspaceVR platform (https://altvr.com/). I was able to stroll via my avatar through a virtual space of multiple rooms viewing video works and digital installations. Additionally, Annea Lockwood 2020/21 winner of the SEAMUS Award (renamed from the SEAMUS Lifetime Achievement Award) gave a keynote address, had two works (Buoyant [2013] and Wild Energy [2014]) presented, and partic- ipated in a conversation and Q & A with Tara Rodgers (author of Pink Noises: Women on Electronic Music and Sound [2010]). All of this was done via Zoom, and it was important to have the opportunity to be at such an event with a pioneer in electroacoustic music, sound sculpture, and installation. Also enjoyable and collegial was the fact that during virtual conference livestreaming (via YouTube) online chat was allowed, and audience members enthusiastically com- mented on the music while it was being performed. What struck me as most significant about the entire SEAMUS 2021 virtual event was the sense of the collegiality and com- munity. Everyone seemed to be a bit less guarded and a bit less formal in the digital realm. 2022: Back to “Normal”? The SEAMUS 2022 conference was hosted by Western Michigan University (WMU) both in-person and virtually from March 30 to April 2. Co-hosts for the event were Christopher Biggs, Lisa Coons, and Carter Rice, mem- bers of the composition faculty at WMU. Faculty and student musicians from WMU, flutist Shanna Pranaitis, and the Chicago-based Ensemble Dal Niente were guest performers for the in-person event. The complete schedule of the conference and links to information about each of the perfor- mances is still available as of 6/27/2022 at https://christopherbiggsmusic.com/ seamus2022, and the descriptions of each of the events includes program notes and biographies. Once again, IAWM readers who are interested in expanding their repertoire listening of electroacoustic music will find informa- tion about pieces from a diverse field of composers. This year’s winner of the SEAMUS award is Maggi Payne, a pioneering composer of primarily electroacoustic music, a video artist, and a flutist. Payne received her award by joining the conference virtually, and two of her recent works—Coronal Rain, fea- turing sounds produced by Moog IIIP and Buchla 100 analog synthesizers, and 2020, also including sounds from vintage analog synths as well as other resources—were presented in con- cert. SEAMUS/ASCAP and Allan Strange Awards for student composers were also given. IAWM Listserv To subscribe to the IAWM Listserv online, visit http://lists.unt.edu/mailman/ listinfo/iawmlist. You can also unsubscribe from iawmlist, get a password reminder, or change your subscription options on this site. If you have a problem, send an email to iawmlist-request@lists.unt.edu with “help” in the body or subject of the email. To post a message to all the list mem- bers, send email to iawmlist@lists.unt.edu. If you experience any issues with posting or receiving listserv messages, please try unsubscribing and re-subscribing. The IAWM wishes to thank Elizabeth Hinkle-Turner and the University of North Texas for hosting this list.38VOLUME 28, NO. 3 • 2022 One consideration for the SEAMUS board and the conference hosts was determining what we want to keep from the virtual event for a hybrid event moving forward. We agreed that the online chat during livestreamed performances was worth retaining, as was the community setup in Discord. We agreed that the low fee/no fee virtual conference option was desir- able. The registration fee for attending virtually was only $10. Fortunately, we could make all conference events avail- able virtually, which was important for those of us who could not attend the live events, and these were streamed live using the Deck10 media platform (https://deck10.media/). Once again, Discord was selected for meet-ups and chats. The Deck10 platform allowed for the same sorts of audience com- mentary and discussions during the livestreams, and Discord provided even more of a sense of community. WMU and the conference hosts are to be greatly commended for their accommodation of a hybrid format. Even though the momentum for some of the more inclusive events of an in-person conference—a big, inclu- sive party instead of the expensive banquet and the community outreach and collaborations—that were to be a part of the 2020 SEAMUS event at UVA did not happen, it is to be hoped that as we all get very comfortable living in a hybrid live/virtual world that such ideas will thrive and be real- ized again. But I would like to banish the banquet forever in favor of a big, inclusive party. Some Thoughts for Moving Forward I am pleased with the transparent and expanded breadth of our adjudication processes for the many opportuni- ties and events that we offer. This has allowed for the inclusion of so many fascinating styles and genres of electro- acoustic music: music with and without beats; videos, installations; robotic and AI instruments; and improvisation. I am proud of our board, which con- tinues to attract a varied panel of leaders to steer the organization onward. I am happy with our great panel discussions and conversations, which provide safe spaces for par- ticipants to speak and call attention to ways that all of us can do better. I am hopeful that with expansion in the proposed areas of a greater variety of awards and commissioning opportunities for our membership (not just for students) and new grant programs for community outreach and education (the SEAMUS CREATE grants) these efforts will continue. Elizabeth Hinkle (Hinkle-Turner) is a director of instructional technology at the University of North Texas. She is the Diversity, Equity, and Inclusion Officer on the board of the Society for Electro-Acoustic Music in the United States (SEAMUS) and as such, works on a variety of proj- ects including updating organizational materials, structures, policies, and procedures to reflect inclusivity and the desire to broaden the reach of SEAMUS and its initiatives. She is the admin- istrator of the IAWM listserv and is a composer, researcher, and award-winning author.JOURNAL OF THE IAWM39 LunART Festival: The Identity of Women in the Arts AVA WOJNOWSKI The annual LunArt Festival was held in Madison, Wisconsin, May 31 to June 5, 2022. Dr. Iva Urgčić, founder and executive director of the festival, believes it is important to give women in the arts a safe place to express themselves and to share their many talents with others. She said: “With our wide array of arts disciplines, LunART builds lasting relationships and collab- orations, and creates a vibrant, safe space for women where creativity is queen.” The festival was in-person this year, after two years of virtual festivals due to Covid. Since the pandemic is ongoing, Urgčić explained: “I was ready with alternative programming in case some of the guest artists needed to cancel the performance, and I had a list of performers that were ready to jump in at the last min- ute….I was ready for every possible scenario, but thankfully everything went smoothly and as planned.” She described the festival in a press release: “The 2022 season brings eight events to six venues in the Madison area, providing accessible, high-quality, engaging concerts and events with diverse programming from various arts fields.” This year’s events included two gala chamber music concerts presenting five world and three U.S. premieres, a premiere of “Threads,” a new theater show; a jazz concert by the Ellen Rowe Jazz Trio; “Identity Crisis,” an all-women comedy show; a Composers Hub chamber music concert featuring works by six exceptionally-talented emerging composers; a lecture titled “Timeless Music, Timeless Disease; Classical Composers and Consumption,” which draws the connection between the composers and development and treatment of tuberculosis through his- tory; and a panel discussion: “Identity In and Through Art.” Urgčić explained the importance of identity and said that the festival “is centered around our identities: who we are, how we fit within this world, how we are using our artistic voice to express ourselves in relation to other people, events, and experiences. The question is: What makes us, us?” She told the attendees: “Throughout the festival, you’ll be introduced to a remarkable range of women, diverse and varied in their artistic vision, but with the shared passion and desire to make their voices heard.” Dr. Stacy Gorrop, 2022 Composer in Residence, said: “While I’m still sur- prised by the low number of women composers making their way up through the ranks, I am greatly heart- ened by the efforts of LunART to give women creators a space where they don’t need to question if they should be in the room or not.” Two of her most recent works were performed at the gala chamber music concerts, and she led the Composers Hub educa- tional program, which was created to support and nurture emerging women composers in the early stages of their professional careers. During this week- long program, six women composers were selected to attend the festival, and they received private lessons and masterclasses with Garrop. They workshopped their pieces with festival musicians, and attended lectures and training in the fields of publishing and finance for musicians. LunART Chamber Music Collective: Iva Urgčić, flute; Kaleigh Acord and Paran Amirinazari, violin; Lindsey Crabb, cello; Marie Pauls, viola. They are performing Amy Beach’s Theme and Variations for Flute and Strings (1916). | Photo by Beth Skogen Urgčić explained the importance of identity and said that the festival “is centered around our identities: who we are, how we fit within this world, how we are using our artistic voice to express ourselves in relation to other people, events, and experiences." —AVA WOJNOWSKI40VOLUME 28, NO. 3 • 2022 New York Women Composers: 2022 Seed Money Grants MYKEL MARAI NAIRNE We are pleased to present the winners of our 2022 Seed Money Grants. We have awarded seven grants, two for- eign (Belgium and Argentina) and five domestic, including a concert that will be performed in both New York and Tokyo. One grant is in a dissemi- nated format, and the rest are focused grants. One concert will initially be streamed online, with subsequent per- formances being planned, and other concerts will be either streamed or available later on YouTube, Instagram, and elsewhere. All of the projects will include open calls for some or all the NYWC composers to be rep- resented. The winners are listed alphabetically below. Donna Weng Friedman, pianist: She will present a two-part concert event called “Five Composers and a Pianist.” The first portion will be a 50-minute concert of works by NYWC com- posers: Beata Moon, Kim Sherman, and Stefania de Kenessey, with an additional two composers to be selected through an open call. The second portion of the event will be a 30-40-minute panel discussion with the composers in New York City, most likely in March 2023. Her website is: www.newschool.edu/mannes/faculty/ Donna-Weng-Friedman. Javier Oviedo, saxophonist: He is the Executive Director of the Classical Saxophone Project, and he will present a 90-minute solo recital entitled “New York Faces” at the National Opera Center’s Scorca Hall, accompanied by Dr. Suk Hee Hong. The live concert will be supplemented by a videotaping that will be available to view on the Saxophone Project’s YouTube and Instagram platforms. For information about the Classical Saxophone Project, see: www.classicalsaxproject.org. Milica Paranosic, composer (with NYWC composers Lynn Bechtold and Ann Warren): This unique concert, in coordination with Paranosic’s “Secret City” art projects, will be in four parts, with compositions by Lynn Bechtold (played by Miolina, her violin duo with NYWC member Mioi Takeda), Ann Warren, and Paranosic, along with a fourth composer chosen through an open call. Each segment will include a mini “set design” created out of abandoned or discarded objects. It will be co-coordinated by Paracademia. Paranosic’s multifaceted website is: https://milicaparanosic.com/. Thomas Piercy, clarinetist and hichiriki player: He, along with pianist Tengfu Irfan and a cellist, will perform twin 90-minute concerts in New York and Tokyo, including the works of Tokyo- based composers Kyoko Hirai, Miho Sasaki, Yu Kuwabara, and already selected NYWC composers Elisenda Fabregas, Nina Siniakova, and Lora Al-Ahmad, as well as two more NYWC composers to be selected from an open call. His website is: www.thomaspiercy. com/, and his project information is: www.tonadaproductions.com/tokyo- to-new-york-home.html. Sergio Puccini, guitarist: Puccini, whose celebrated career spans 45 years, will present a concert in Rosario, Argentina, at the Museo Castagnino or similar venue, which will also be streamed live. The concert is tentatively scheduled to take place in October 2022. He will be choosing his repertoire for the concert through an open call. For information, see: ppsites.wixsite.com/sergiopuccini. Françoise Vanhecke, soprano: Her project is an online streamed concert for the coming season at toitoiDROME (http://drome.wtf/), an artist-run media space and collective based in Antwerp, Belgium. It consists of a physical space and headspace for experimentation and critical thinking, with additional plans for a series of live concerts in Belgium, France, Luxembourg, Brazil, and the U.S. The instrumentation will consist of voice, either solo works or with the addition of piano and electronics, to be chosen through an open call. Her website is: www.francoisevanhecke.com. Alexander Wu, pianist and chamber ensemble director: Wu, who is a pia- nist and the Co-Founder/Artistic Director of the Millennium Chamber Players, will curate a disseminated series of concerts from this summer through spring of 2023 called “Made in America — Music Then and Now.” The concerts will include the works of five NYWC members that his group has not previously performed. The project essays the evolution of America’s musical roots, tradition, and popular culture of the past three centuries, up to and including current compositions. His group’s website is: www.millenniumchamberplayers.org/. Women in the News This year, Gemma New was appointed Artistic Director and Principal Conductor of the New Zealand Symphony Orchestra. She was appointed principal guest conductor of the Dallas Symphony Orchestra in 2018 and was reappointed for the 2022-23 season. In 2021, she was the recipient of the Sir George Solti Conducting Award. The Detroit Symphony named Robyn Bollinger (1991) as concertmaster starting in the fall. She is the youngest female concertmaster in the United States, and she frequently served as guest concertmaster with the Pittsburgh Symphony. Bollinger is a former member of the Boston-based chamber group, A Far Cry.Submissions are always welcome concerning appointments, honors, commissions, premieres, performances, and other items. The deadline for the next issue is September 30. —ANITA HANAWALT MEMBERS’ NEWS AND AWARDS ANITA HANAWALT News items are listed alphabetically by member’s name and include recent and forthcoming activities. Submissions are always welcome concerning appoint- ments, honors, commissions, premieres, performances, and other items. NB: The column does not include radio broadcasts; see Linda Rimel’s weekly “Broadcast Updates.” Awards and recent publications and recordings are listed in separate columns. Send this information to the editor in chief, Dr. Eve R. Meyer, at evemeyer45@gmail.com. We recommend that you begin with the most significant news first and follow that with an organized presentation of the other information. Due to space limita- tions, information such as lengthy descriptions, lists of performers, long websites, and reviews may sometimes be edited. The deadline for the next issue is September 30. Please send news about your activities to Members’ News Editor Anita Hanawalt at anita@hanawalthaus.net. Anita does not monitor announcements sent to the IAWM listserv; be sure to send the information directly to her. soprano Amy Petrongelli and pianist Blair Salter (Baylor University). On February 24, “To Mother” from Letters from Edna was performed by mezzo Helen Charlston and pianist Sholto Kynoch at Royal Holloway, University of London, with addi- tional performances at Wigmore Hall in London on March 20 and Het Concertgebouw in Amsterdam, Netherlands on April 10. Baritone Robert Bukovic and pianist Rebecca Edmiston performed The New Colossus on March 6 (Florida State University). A Northeast Storm was performed by soprano Zheng Qihua and pianist Cai Qiaoyi on March 18 (National Taipei University of the Arts). Rilke Song was performed on April 18 by Ger Vang, English horn, and Inara Zandmane, piano (University of North Carolina). The Tailleferre Ensemble also per- formed the piece at St. John’s ARC in Old Harlow, Essex, England and at St. Anne’s Parish Church, Kew Gardens, London on May 15. Cameoswas per- formed on May 7 by Voices of Change at Sammons Center for the Arts (Dallas, Texas). Night Dances (“Sonnet”) was performed by soprano Amy Petrongelli and pianist Kathleen Kelly at the Collaborative Piano Institute in Baton Rouge, Louisiana on June 10. Letters from Edna was performed by students of the Royal Academy of Music in London on June 30. Juliana Hall has participated in interviews, classes, and lecture recitals at James Madison University (January 2022), Vanderbilt University vocal student class (February 2022); Music by Women Festival (March 2022); Southeastern Regional NATS Conference (March 2022); Boston New Music Initiative: Online Composer Interview (April 2022); Living Legacy Series: Online Interview (May 2022); Hartt School of Music (May 2022); and an interview with Director Vivian Säde about a film version of Sentiment, a monodrama in progress (May 2022). A number of live performances of Hall’s works were given between February and June 2022. Soprano Laura Strickling and pianist Daniel Schlosberg premiered Two Old Crows on March 2 (University of Notre Dame). Sentiment was performed by soprano Jennifer D’Agostino on February 1 (University of Tennessee), and Rachael Bell pre- miered the mezzo version on April 15 (Vanderbilt University). Baritone Chris Turner and pianist Ron Petti per- formed AHAB on February 7 (Stephen F. Austin State University, Nacogdoches, Texas), baritone Joel Brown and pianist Wei-Chun Bernadette Lo performed it on March 12 (University of Tennessee), and Devon Russo, bass baritone, and Mengyin Kimly Wang performed it on May 6 (Boston University). Night Dances was performed on February 20, by 42VOLUME 28, NO. 3 • 2022 Stefania de Kenessey’s Menstrual Rosary Winner of Eleven Awards this Year Stefania de Kenessey’s Menstrual Rosary (2021) is a theater-performance piece for two singers and piano in which two women, dressed like nuns but wearing bright red lipstick, recite a rosary—which veers off periodically into bits and pieces of ads for feminine care products. The text is co-authored by feminist- philosopher Chiara Bottici and poet-provocateur Vanessa Place. The work was commissioned for the launch of the Gender and Sexuality Studies Institute (GSSI) at The New School in New York City. It received its video premiere on April 29, 2021, on a panel entitled “The Art of Feminism.” The filmed version (duration 14:07), featuring Jasmine Holland and Aiyana Greene as the nuns, was directed by Cecilia Rubino. The video was cre- ated and edited by Anomie Williams, with additional images courtesy of Christen Clifford. The filmed version of Menstrual Rosary is available on YouTube. Awards In 2022, it won recognition in eleven different film competitions worldwide: 1.Merit award in the LGBTQ Unbordered International Film Festival 2.Semi-finalist in the London Indie Short Festival 3.Paris Women Film Festival of Ontario 4.Rotterdam Independent Film Festival 5.San Francisco Indie Short festival 6.Madrid Arthouse Film Festival 7.Nashville Independent Filmmakers Festival 8.Dublin World Film Festival 9.Paris International Short Festival 10.Nominee in the Milan Arthouse Film Awards 11.Portland New Alternative Voices Film Festivals. De Kenessey is committed to helping women composers and musicians achieve parity. She serves on the advisory board of The New Historia, an organization dedicated to recovering the unmarked legacies of women throughout the world. For The New School’s 100th anniversary, de Kenessey scored The Women’s Legacy project, honoring a group of long-forgotten, newly-discovered women who were central to establishing the university. She is founding president of the IAWM. Stefania de Kenessey | Photo by Whitney Brown Marilyn Herman’s 100 Full Moons of Autumn (fusing folk music and classical styles) was performed at a London Symphony Orchestra Discovery con- cert on June 15, 2022, presented by LSO Soundhub Associates, in collab- oration with LSO musicians. Herman co-curated the performance. Libby Meyer’s The Beauty of the Fields and Christina Rusnak’s The Forest and the Architect were performed, along with works by six other composers, as part of the Lungs of the City concert series celebrating the 200th anniversary of Landscape Architect Fredrick Law Olmsted’s birth, the legacy of his work, and that of his sons. The pieces were co-commissioned by Landscape Music, American Wild Ensemble, Juventas New Music Ensemble, and Michigan Technological University Department of Visual and Performing Arts. Both pieces were premiered March 26 and performed again on June 4 in Boston. Meyer’s piece is inspired by Belle Isle Park in Detroit, Michigan, designed in 1879. Rusnak’s piece sprung from the inception and sounds of Forest Park in Portland, Oregon, the largest urban forest in the United States. American Wild Ensemble performed the pieces on May 27 and May 28 in New York City and again on August 7 in Rochester, New York. The final performance by Michigan Technological University will be on October 9 at the campus in Houghton. Deon Nielsen Price’s song cycle Ludwig’s Letter to Eternal Beloved, on a text by Beethoven, was premiered by Darryl Taylor, countertenor, with the Brooklyn Chamber Orchestra, Philip Nuzzo, artistic director, for a standing-room-only audience at his- toric St. Ann’s and the Holy Trinity in New York City on May 21. On a pro- gram entitled “Music She Wrote” to celebrate Women’s History Month, her Silver and Gold duo for flute and piano, as well as her song cycle To All Women Everywhere was performed by soprano Amy Goymerac, flutist Suzanne Duffy, and pianist Susan Azeret Davies in the San Luis Obispo Performing Arts Center at California Polytechnic University on March 8. 43JOURNAL OF THE IAWM Price played her Angelic Piano Pieces as well as Zenobia Powell Perry’s Sonatine. On March 20 at Presidio Chapel on the Concert Series of Interfaith Center at the Presidio of San Francisco. Two songs from her Spiritual Songs: “Whither Can I Go from Your Presence?” and her arrangement of “Nobody Knows De Trouble I See” for countertenor and piano were performed. Sharon Guertin Shafer’s Two Solo Piano Variations on Hymns: “For the Beauty of the Earth” and “O God Our Help in Ages Past,” were premiered on April 21, at Old Town Hall, Fairfax, Virginia. The concert also included the premiere of her song cycle, Onion Soup and More, a setting of poems related to rec- ipes and food by four different poets, with Shafer accompanying soprano Liana Valente and also performing the piano variations. On June 4, Lish Lindsey gave the world premiere performance of Fay-Ellen Silverman’s Healing Hands for solo flute (for Dr. Ruth Oratz) on a Zoom concert to raise funds for St. Jude Children’s Research Hospital. The CompCord Ensemble gave the world premiere performance of Channeling Mark Twain: Advice for Our Time for soprano, tenor, Bb trumpet, and piano for Composers Concordance Presents: Operas, Songs & Poems, at the Howland Cultural Center in Beacon, New York, on June 25. Summer 2022 publica- tions by Subito Music include: A Time to Mourn for flugelhorn; Channeling Mark Twain: Advice for Our Time for soprano, tenor, Bb trumpet, and piano; Healing Hands for solo flute; Reflections of a Distant Love for mezzo-soprano, viola, and piano; Singing to my Mother for solo horn; To a Quiet Place for solo vibraphone; and The Story of the Trees for woodwind quintet. An article on Silverman’s Translations for viola and cello appears in the Cello Museum’s Monthly New York Women Composers Spotlight. (https://cellomuseum.org/ nywc-spotlight-faye-ellen-silverman/) Evelyn Stroobach’s Petition (solo guitar) was performed at a concert given by doctoral candidate Razvan Benza at McGill University in Montreal, Canada, on May 31. For this concert, Stroobach prepared a short video in which she discussed the work. A recording of the work by Ottawa guitarist Garry Elliott can be found on her Aurora Borealis CD, available from the Canadian Music Centre. Rain Worthington announces three recent 2022 performances—live concerts and virtual broadcasts. The world premiere broadcast of Dream Vapors Suite for orchestra was given via PARMA Live Stage on YouTube on June 29 by the Armenian State Symphony Orchestra, Elias Brown, conductor, in Aram Khachaturian Hall, Yerevan, Armenia. (https://www.parmarecordings.com/ event/armenian-state-symphony- orchestra-06-29-22/) On June 22, Steps in the Night for double bass received its South American premiere performance by Sergio de Oliveria, double bass, at IX Encontro Internacional de Cordas, Limeira, Brazil, including both an in-person audience and webcast via Instagram. Sally Shorrock, flute, and Karen Lindquist, harp (Canta Libre Chamber Ensemble) performed Imagined Tango for flute and harp at Woolworth Hall at Woodlawn Cemetery in Bronx, New York on May 22. Tracy Yang’s BMI/New York Jazz Orchestra, a seventeen piece modern repertory ensemble of leading New York musicians, performed eight new compositions that were developed in the BMI Jazz Composers Workshop last season. She premiered her Manny Albam commissioned work, Sea Swell, at Dizzy’s Club in New York City on June 13th, with the BMI/New York Jazz Orchestra. Awards LEAH REID: Sound of the Year’s 2021 Composed with Sound Award The award is for Reverie, an acous- matic composition that leads the listener through an immersive fantasy centered around decon- structed music boxes. The work’s eight sections alternate between explorations of the music boxes’ gears and chimes. The awards are presented by the Museum of Sound in partnership with The New BBC Radiophonic Workshop and others. Reid was also awarded a 2022 Guggenheim Fellowship in music composition, which she will use to complete a series of electroacoustic and acousmatic works—specifically, new solo works for piano, saxophone, and percussion with electronics. Time permitting, Reid will also compose two or three acousmatic pieces that focus on kitchen/cooking sounds, gardening, and envi- ronmental soundscapes. These pieces will be added to an existing body of work that examines a timbral approach to composi- tion, and they will be released on an upcoming album. TRACY YANG: Charlie Parker Jazz Composition Prize The prestigious jazz prize is awarded annually to the composer of the best original work created in the BMI Jazz Composers Workshop. Tracy Yang shared the top 2021 prize with Chuck Iwanusa for her work Sea of Clouds. Yang was also awarded the 2022 NYFA (New York Foundation for the Arts) grant in the general music category. This grant will support the debut recording of her 17-piece BMI/New York Jazz Orchestra album.OUR MISSION The International Alliance for Women in Music (IAWM) fosters and encourages the activities of women in music. THE VISION The IAWM is the world’s leading organization devoted to the equity, promotion, and advocacy of women in music across time, cultures, and genres. Let’s Connect www.iawm.org www.twitter.com/iawmcommunity www.instagram.com/iawmcommunity www.facebook.com/IAWMusic YouTube: Coming in 2022!Next >