Jason Bahr (b. 1972, Kansas City, KS) B.M. University of Missouri-Kansas City, 1995; also study at Kingston University in London, England; currently masters student at Indiana University-Bloomington. He has studied with Eugene O'Brien, Don Freund, James Mobberley, and Gerald Kemner.

Works by Bahr have been performed throughout the midwest and in Europe. He was featured as a guest composer at the 1996 C. Buell Lipa Festival of Contemporary Music in Ames, IA, where his flute quartet Contrasts was performed. Meditation and Fanfare (organ solo), was recently premiered at the Third Annual CFAMC Conference in Bowling Green, OH. It will be repeated in Bluffton, OH, as a part of the Bluffton Bach Festival. "Carlton" (piano solo from Character Suite) was performed on the Sixth International Review of Contemporary Music in Belgrade, Serbia. Two pieces from Character Suite were performed at the "ppIANISSIMO 98" Festival of Contemporary Piano Music in Sofia, Bulgaria in March. Lacerations (oboe and piano) will be included in a forthcoming book on contemporary oboe techniques being written by Libby Van Cleve.

Bahr is a member of ASCAP, SCI, and CFAMC.

Composer John Beall was born in Belton, Texas, in 1942. He studied composition at Baylor University with Charles Eakin and Richard Willis completing his studies there with a master's degree in 1966. During the years 1971-73 Mr. Beall completed doctoral study at the Eastman School of Music where he was a student of Samuel Adler. In 1972 he received the Louis Lane Prize for his orchestral work, Lament for Those Lost in the War, and in 1973, the Howard Hanson Prize for his Concerto for Piano and Wind Orchestra. Since 1978 Mr. Beall has been Professor of Music and Composer-in-Residence at West Virginia University. Summers since 1992 have been spent teaching at the Interlochen Center for the Arts in Michigan where he chairs the program in theory and composition.

Mr. Beall taught at Southwest Texas State and Eastern Illinois University before his appointment at West Virginia. He has received commissions from the National Endowment for the Arts (two awards), several universities, the West Virginia Music Teachers Association (Composer of the Year, 1981), Radiological Consultants Association of West Virginia, and the West Virginia Symphony Orchestra. Performances have come from the Dallas, Rochester, Pittsburgh, and West Virginia Symphonies, the Bach Choir of Pittsburgh, chamber organizations such as the Interlochen Faculty Players, Pittsburgh New Music Ensemble, Claremont Quintet, Laureate Wind Quintet, Rutgers Wind Quintet, Georgia Wind Quintet, Savannah Wind Quintet, Aeolian Chamber Players, and various university ensembles and professional soloists.

In 1985 John Beall completed his Symphony No. 1 while a fellow at the Rockefeller Foundation's Study and Conference Center at Bellagio, Italy, and at Yaddo, Saratoga Springs, NY. The work was premiered by the West Virginia University Symphony Orchestra under Rachael Worby in 1986. In 1990 he was named Benedum Distinguished Scholar for the Arts and Humanities by West Virginia University. He is an annual winner of Serious Music Awards from the American Society of Composers, Authors, and Publishers (ASCAP). December, 1991, saw the premiere at WVU of Mr. Beall's Anglican Mass, for large choir, soloists, organ and orchestra, his largest work to that date. In the Fall of 1995 he was named to a Fellowship in Music Composition by the West Virginia Division of Culture and History in collaboration with the West Virginia Commission on the Arts. In the fall of 1997 his first opera, Ethan Frome, to a libretto by Jack Held adapted from Edith Wharton's novel of the same name, was premiered as a part of the centennial of the School of Music at West Virginia University. His music is published by MMB Music, Inc., Carl Fischer, and Southern Music Co. He is a member of ASCAP, MTNA, SCI (Region III), and Phi Mu Alpha Sinfonia.

Herbert Bielawa earned his degrees in piano and composition at the University of Illinois and the University of Southern California. He has been a member of the faculties of Bethany College and San Francisco State University where he founded the Pro Music Nova and created the electronic music studio and courses for the Computer Music Major. He has written music for instrumental ensembles, piano, harpsichord, pipe organ, choir, electronics, chamber opera, band and orchestra. His much-performed Spectrum for Band and Tape was composed during his CMP (Contemporary Music Project) residency in Houston from 1964 to 1966.

Since 1991 he has been a free-lance composer and pianist. His interest in American music and the music of women in particular led to a series of concerts in 1986 and 1987 music by Amy Beach and himself. His most recent music commissions were from Meet the Composer, the Minneapolis Convention Center, the San Francisco School of the Arts, the American Guild of Organists and Earplay.

Among the soloists who have performed his works are hornist Barry Tuckwell, sopranos Anna Carol Dudley, Marian Marsh and Judy Hubbell, pianists Margaret Mills and Joel Sachs, and organists Sandra Soderlund, Alex Post, Delbert Disselhorst and Pamela Decker. His Fluxbands for Eleven Instruments was performed by North/South Consonance, Inc. in New York in January 1997.

Hayes Biggs was born in Huntsville, Alabama in 1957 and raised in Helena, Arkansas. He holds the Doctor of Musical Arts degree in composition from Columbia University, a Master of Music degree from Southern Methodist University, and a Bachelor of Music Degree in piano performance from Rhodes College. His teachers have included Mario Davidovsky, Jack Beeson, Fred Lerdahl, Donald Erb, and Don Freund. Biggs has been a fellow in composition at the Composers Conference and Chamber Music Center at Wellesley, at the Tanglewood Music Center, at Yaddo and at the MacDowell Colony. In addition, he has received numerous grants from Meet the Composer. In 1995 he was the recipient of a Fromm Foundation Commission to compose a work for Parnassus, When you are reminded by the instruments, which was premiered by them in March of 1997. Recently, his Fanfare for Brass and Percussion was recorded in Bratislava under the direction of Joel Suben. He teaches at the Manhattan School of Music and is the Associate Editor at C. F. Peters Corporation.

Biggs is particularly known for his writing for solo voice and for chorus. Among his solo vocal works are Northeast Reservation Lines (1984), Songs from Water and Stone (1985), Ave formosissima (1985, rev. 1987), in sad cypress (1989), Sephestia's Song to Her Child (1991), and I pastori (1994). In 1993 his Mass for All Saints won a second prize in the 5e Concours International de Musique Sacree (Festival de Musique Sacree) in Fribourg, Switzerland. On July 3, 1994 this work received its first complete performance in Fribourg by the Choir of the North German Radio (Hamburg) under the direction of Horst Neumann. Biggs' other Choral works, which have been performed by such distinguished ensembles as the Gregg Smith Singers and the Florilegium Chamber Choir, include the motets Der Gerechten Seelen sind in Gottes Hand (1987), O sacrum convivium (1989), O magnum mysterium (1990), and Vidi aquam (1991). His To Becalme His Fever (1995), composed for Edwin London and the Cleveland Chamber Symphony, was premiered in November of 1995, as was A Consuming Fire, for Flute (Alto Flute, Piccolo), Oboe (English horn) and Piano. On March 29 1997 To Becalme His Fever was featured as part of the Composers' Readings of the Riverside Symphony Orchestra, conducted by George Rothman. Other recent premieres include Psalm 23 (1996) for voice and piano, composed for soprano Joan Peterson, and Miserere mei, Deus (1997), a motet for Lent, premiered in an Ash Wednesday liturgy by the men of the choir of All Saints Church, New York City, under the direction of David Hurd. All Saints Church is also commissioning a new work for chorus, 2 flutes, 2 violas, cello and contrabass for a concert this coming Palm Sunday, April 5, 1998. On January 29, 1998 the pianist Geoffrey Burleson premiered Tagrango (1997) on a concert by the Phantom Arts Ensemble at MIT, and will perform the work again on March 14 at Brandeis University. Another solo piano work, E. M. am Flugel (1992), will be featured on a recital by Eliza Garth on a League of Composers/ISCM program on March 17, 1998. And a new festival anthem for chorus and brass, Doth not wisdom cry?, has been commissioned in honor of the 150th anniversary of the founding of his alma mater, Rhodes College, Memphis Tennessee, and will receive its premiere in Memphis at Evergreen Presbyterian Church on May 15, 1998, performed by the Rhodes College Singers under the direction of Tony Lee Garner. Biggs' music is published by C. F. Peters Corporation and Margun Music, Inc. He is a member of BMI.

Natasha Bog composes music for solo instruments, chamber ensembles, symphony orchestra, electronics, new music theater, film, television and commercials. She studied piano with Bojana Djajic at the Mokranjac School of Music and composition with Srdjan Hoffman at the University of Arts, School of Music in Belgrade. She also took summer courses in electronic and computer music as well as completed a Master Class for film music, led by Ennio Simeon of Italy. From 1991-97 she was an Assistant Professor of composition at the University of Arts, School of Music in Belgrade.

In 1984 Natasha Bog founded a group consisting of female artists named Gretchen. Gretchen was dedicated to research in the field of extended media as well as involved in interdisciplinary programs which combined music and visual arts. In 1988 she co-founded The Magnificent Seven, a group of contemporary composers with similar artistic poetics and with a philosophy opposed to integral serialism. The group advertised their music using the latest technology and organized multimedia performances for all kinds of music enthusiasts.

Natasha Bog has received commissions from the European Festival of Experimental Music, Orleans 1988, North-South (8 Radio Stations located in Rome, Athens, Barcelona, Belgrade, Oslo, Stockholm, Copenhagen, and Luxembourg), The Youth Music Forum, Kiev (1992 and 95) and Concerts for Peace,Tokyo (91 and 97).

After being recognized by UNESCO's Tribune des Compositeurs as one of the world's top ten composers (Paris,1989-91), music by Natasha Bog has been performed at concerts and festivals of contemporary music and presented by the radio stations throughout the world (Array Music-Toronto, Evenings of New Music-Bratislava, Gedof Festival-Munich, Beyond Biography-Utrecht, MES-Sarajevo, Europhonia-Zagreb, Rostrum of Composers-Opatija and Belgrade, Cervantino International Theater Festival-Mexico City etc.)

Since 1995, Natasha Bog resides in Chicago, Illinois.

Roger Briggs attended the University of Memphis where he received top honors in both piano performance and composition. At the Eastman School of Music he received both the prestigious Bernard Sernofsky Award and the Lois Lane Orchestral Award for excellence in composition. His principle teachers include Don Freund, Joseph Schwantner, Ned Rorem and Peter Maxwell Davies. Since those formative years, Mr. Briggs compositions have received numerous awards and have been performed in many of the worlds most prestigious venues.

Mr. Briggs conducting experience include many chamber ensembles in Memphis and at the Eastman School of Music and eleven years at Saint Marys College, Notre Dame where he conducted the Orchestra and Wind Symphony. He also founded and conducted the Michiana New Music Ensemble for 6 years in South Bend, IN and guest conducted the South Bend Symphony Orchestra. Mr. Briggs is currently the conductor of the Whatcom Symphony Orchestra in Bellingham, Washington and holds a composition/conducting position at Western Washington University where he conducts the Contemporary Chamber Players and the University Symphony. Recently Mr. Briggs conducted the Prague Symphony Orchestra and will conduct the London Symphony Orchestra next year. <?p>

Richard Brooks (b. 1942) is a native of upstate New York and holds a B.S. degree in Music Education from the Crane School of Music, SUC Potsdam, an M.A. in Composition from SUNY Binghamton and a Ph.D. in Composition from New York University. Since 1975 he has been on the music faculty of Nassau Community College on Long Island where he is Professor and Chair of the Music Department.

From 1977 to 1982 he was Chairman of the Executive Committee of the American Society of University Composers (now the Society of Composers, Inc.) on which he continues to serve as Producer of the SCI CD Series. In 1981 he was elected to the Board of Governors of the American Composers Alliance and, after serving two terms as Secretary and three terms as Vice-President, he was elected President in 1993. He is also currently a member of the Community/Junior College Commission on Accreditation of the National Association of Schools of Music.

He has composed over fifty works in all media. His opera for young audiences was commissioned by the Tri-Cities Opera (Binghamton) and premiered in 1971 and has since been mounted by the Opera Theatre of Northern Virginia, Wolf Trap, and the Denver Symphony/Central City Singers. A full length opera, Moby Dick, was completed in 1987. He is the recipient of several awards including a major grant from the State University of New York, a Composer Fellowship from the National Endowment for the Arts, the American Music Center and several Meet the Composer grants. Recent commissions include the New York State Music Teachers Association, the Kent Philharmonia Orchestra in Grand Rapids and several individual performers.

His music has been performed extensively throughout the United States and Europe and is recorded on the Advance and Capstone labels. He is the founder and director of Capstone Records.

Margaret Brouwer is a composer whose rich imagination and flair for musical construction have resulted in a solid and growing body of compositions that have marked her as one of the most notable composers to come to prominence in the 1990s.

Born in Ann Arbor, MI on Feb. 8, 1940, Margaret Brouwer received her BM from Oberlin College and her DMA from Indiana University. Although Brouwer started out as a professional violinist, it is as a composer that she has made her greatest impact. Her composition teachers have included Donald Erb, Harvey Sollberger, and Frederick Fox, as well as George Crumb with whom she studied at the Bowdoin Summer Music Festival. She is currently Head of the Composition Department of the Cleveland Institute of Music, where she hold the Vincent K. and Edith H. Smit chair in composition. Before that, she served as Composer-in-Residence with the Roanoke Symphony Orchestra in Virginia and taught composition at Washington and Lee University. While at Washington and Lee, she was the founding Director of Sonoklect, the University's new music series and festival.

Her music has been hailed in the New York Times, to wit: " . . . Skyriding . . . made no obvious concessions toward the styles of the day and inhabited its own peculiarly bewitching harmonic world. The first movement . . . achieved a marvelous mercurial lyric flow." The Roanoke Times described Remembrances for Orchestra as ". . . lyrical, accessible, powerful and deeply moving."

Brouwer has been performed by such groups as the St. Louis, Julliard and Roanoke Symphony Orchestras, Bay Area Women's Philharmonic, Chamber Music Society of Lincoln Center, Dale Warland Singers, 20th Century Consort, Chestnut Brass Company, and Cassatt String Quartet, among others. Her music is published exclusively by Carl Fischer/Pembroke Music and is recorded on the Crystal, Centaur, and Opus One labels. The Seattle Symphony with Gerard Schwarz, conductor, and Richard Stoltzman, soloist, has recorded her Clarinet Concerto for release on the MMC label. She has held residencies at Bellagio, the Charles Ives Center for American Music and the Virginia Center for the Creative Arts, as well as being resident composer at the Bennington Chamber Music Festival and at the International Conference of Women Composers in Brazil.

Her prizes and awards include an NEA grant, the Lee Ettleson (Opus One) Award, the Carmichael Competition Award and the Virginia Council of Higher Education's Outstanding Faculty in Virginia Award. Her most recent commissions include: Demeter Prelude, premiered by the Audubon String Quartet in June, and under grants by the Knight Foundation, the Ford Foundation and the National Endowment for the Arts, a new orchestral piece, Symphony No. 1 (Lake Voices), commissioned by the Akron Symphony as part of a three-orchestra consortium commission and firs performed by them on October 25, 1997. Recent performances of Brouwer's works also include Skyriding (Chamber Music Society of Lincoln Center), Clarinet Concerto (Richard Stoltzman and the Roanoke Symphony), Crosswinds (Cassatt and Da Vinci String Quartets), Diary of an Alien (Continuum), Chamber Concerto (Dinosaur Annex), and the premieres of both Pluto and Remembrances by the Roanoke Symphony.

A composer and conductor living in Richmond, Virginia, Fred Cohen received his doctorate in music composition from Cornell University in 1987, where his principal teachers were Karel Husa and Steven Stucky. He earned his undergraduate degree from the University of California at Santa Cruz in 1980, where he studied with David Cope and Gordon Mumma. Mr. Cohen has been the recipient of a number of composition awards, including the ASCAP Grant to Young Composers, First Place in the Westfield State College Inauguration Composition Competition, First Place in the Virginia Music Teachers Association Commissioned Composer Contest (most recently in 1997). He has received composition grants from the Virginia Council for the Arts and the National Endowment for the Arts, as well as funding from the Sydney and Frances Lewis Foundation, the Margaret Jury Copying Assistance Program, the University of Richmond, and Meet the Composer, Inc.

His works have been commissioned and performed by such organizations as the Richmond Symphony (most recently the Concerto for Orchestra, premiered Jan/Feb., 1998), the Cleveland Chamber Orchestra, the El Cerrito Youth Orchestra, the Washington Singers (a professional chamber chorus directed by Paul Hill), the Richmond Symphony Chorus, the Twentieth Century Music Forum, the Virginia Commonwealth University Department of Dance, the University of Richmond Dance Company, and the Boston Woodwind Trio. His works have also been commissioned and performed by such artists as soprano Christine Schadeberg, soprano Mimmi Fulmer, flutist Leone Buyse, performance artist Claudia Stevens, clarinetist Charles West, and violinist Sonya Monosoff. His chamber and orchestral works have been performed throughout the United States, in South America, and in Europe. Mr. Cohen's works are published by the American Composers Alliance, where he was elected to the Board of Directors in 1993, by Magna Music Baton, and by Frank E. Warren Music.

As a conductor and artistic director, Mr. Cohen has directed orchestras and new-music ensembles since 1978. Between 1978 and 1980 he was the director of Ensemble Nova in Santa Cruz. He founded the Cornell Contemporary Ensemble and directed it from 1982 to 1986, and founded Currents, the professional new-music ensemble in residence at the University of Richmond, upon his appointment in 1986. As Artistic Director of Currents, Mr. Cohen has commissioned and performed more than fifty works by American composers. Currents made its New York debut in 1992 at the Margaret Tache Miller Theater, and its first compact disc was released on the Centaur label in spring 1995. In addition to frequent appearances as the conductor of contemporary music in Virginia and New York, Mr. Cohen directs the University of Richmond Orchestra and appears as a guest conductor with the Richmond Symphony. Mr. Cohen is currently Associate Professor and Chair of the Department of Music at the University of Richmond.

Judd G. Danby (b. New York, 1966) has composed works for a variety of acoustic ensembles as well as for the electronic medium. His Twelve Can Play That Game (1993), for two-channel tape, has received performances at Ball State University, the Atlantic Center for the Arts, and on a 10th anniversary concert of the Society for Electro-Acoustic Music in the United States. It is included on a compact disc entitled Sound Speculations (EMS 9300), released under the auspices of the University of Illinois. Danby's Till We Intersect Again (1992), for two-channel tape, received its New York premier at Merkin Concert Hall in 1994, on a concert of the Washington Square Contemporary Music Society concert series. His String Quartet No. 1 (1992) received its premiere performance in 1993, at the Krannert Art Museum in Champaign, Illinois. Danby's Mirrors (1991), for percussion quartet, is published by Media Press, Inc. His The Piano's Stuck (1995) is published by Soundout Digital Press.

Danby has attended two interdisciplinary sessions at the Atlantic Center for the Arts as an Associate Artist, and was nominated for a 1993 Charles Ives Scholarship from the American Academy and Institute of Arts and Letters.

As a performer on trumpet and flugelhorn, he has been a member of the University of Illinois New Music Ensemble, participating in the premiere performance and recording of Anthony Braxton's Composition No. 165 (for eighteen instruments), released on the New Albion label, and the premiere of Roscoe Mitchell's Star Night at the Krannert Center for the Performing Arts in Urbana, Illinois.

Born in Youngstown, OH, on January 17, 1927, Erb grew up in Cleveland and started his musical training on the trumpet. After serving in the Navy, he toured the country playing jazz and arranging music for big bands. He subsequently earned degress in compoosition from Kent State University, the Cleveland Institute of Music, and Indiana Univesrity, where his principal teachers were Harold Miles, Kenneth Gaburo, Marcel Dick, and Bernhard Heiden. He also studied briefly with Nadia Boulanger in Paris.

Erb has taght at Bowling Green Sate University, Southern Methodist University, Indiana University, and the Cleveland Institue of Music. He has been a visiting professor in universities and conservatiories across the United Sates and in Australia. Erb has also served as composer-in-residence for the Bakersfield, CA, school system, the Dallas Symphony, and the Saint Louis Symphony. He has received numerous fellowships, grants and prizes, including an asard from teh American Academy and Institue of Arst and Letters.

Jack Gallagher's Symphony in One Movement has been called by American Record Guide "a well-written, moving work;" it noted "the Gallagher alone is worth the price of this well-recorded disc." In Tune magazine called his music "enormously inventing." Mr. Gallagher is Professor of Music at The College of Wooster in Ohio. He earned doctoral and masters degrees in composition from Cornell University and received the B.A. degree cum laude from Hofstra University. His principal teachers were Elie Siegmeister, Robert Palmer, and Burrill Phillips. He has attended seminars with Karel Husa, Thea Musgrave, Ned Rorem, and Earle Hagen and participated in master classes with Aaron Copland and George Crumb.

His compositions have been performed or recorded by the Polish Radio and Television Symphony Orchestra of Krakow, the Charleston Symphony, the Ruse Philharmonic Orchestra (Bulgaria), the Koszalin Philharmonic Orchestra (Poland), the Cleveland Chamber Symphony, the Eastman Wind Ensemble, the Gregg Smith Singers, the Indiana University New Music Ensemble, the Air Force Band of Flight, the Heritage Chamber Players, the Florida State University Wind Orchestra, the Albany Pro Musica Chorus, the Spoleto Festival Brass Quintet, and many others. His works haval, Cornell University Wind Ensemble Recordings, Lawson-Gould, Ludwig Music, The Brass Press, Queen City Publications, Manduca Music, and The Piano Teacher's Press. He is listed in the 1996-97 International Who's Who in Music.

Mr. Gallagher's Exotic Dances was nominated by the editor of American Music magazine for the 1997 Pulitzer Prize in Music. In 1996 he was named Ohio Composer of the Year by the Ohio Music Teachers Association. He has received awards, grants, fellowships and recognition from the Ohio Arts Council Individual Artist Fellowship Program, Meet the Composer, the South Carolina Arts Commission, the Virginia/College Band Directors National Association, the Southern Arts Federation Meet the Composer Program, the Petit Jean International Art Song Festival, the Greater Wayne County Foundation, The College of Wooster Henry Luce III Fund for Distinguished Scholarship, and The College of Wooster Faculty Development Fund. He has had residencies at Yaddo, the Atlantic Center for the Arts, the Virginia Center for the Creative Arts, and the Charles Ives Center for American Music.

Compact disc recordings of his works include: Symphony in One Movement; Threnody, on Vienna Modern Masters VMM 3028; The Persistence of Memory (In Memoriam: Brian Israel) on VMM 3036; Proteus Rising from the Sea, commissioned and released by the Air Force Band of Flight; Berceuse, on VMM 3030; and Toccata for Brass Quintet, on Musical Heritage Society MHS 513534.

David Karl Gompper (b. 1954), an Associate Professor of Composition and Director of the Center for New Music at the University of Iowa, studied at the Royal College of Music in London, (MMus, Composition, 1978, ARCM, 1980) and at the University of Michigan (DMA, Composition, 1988). He taught for two years at the University of Nigeria, Nsukka. His principal teachers of composition were William Albright, Leslie Bassett, Jeremy Dale Roberts and Humphrey Searle. He also studied piano with Phyllis Sellick (RCM), and received an BM degree in piano performance from San Diego State University.

Gompper is the President of the Society of Composers, Inc, a national membership organization for composers in the US. Last year, he traveled to Kwangju, South Korea for the United States Information Agency, giving composition and theory master classes at Chonnam University. This past June, he was invited to perform and lecture at the Music College of Thessaloniki, Greece. Gompper's compositions have been performed in this country and abroad, and they have won numerous awards.

Donald Hagar began studying composition with Karel Husa at Ithaca College and with Justin Connolly in London. He continued his studies at Boston University with Theodore Antoniou and Bernard Rands, where he earned a Master of Music degree in composition. Much of his music has been premiered in Boston, in concerts by such groups as the New Boston Composers Collective, the Underground Composers, NuClassix, Neworks, the New Boston Chamber Symphony, the Wellesley Symphony Orchestra, ALEA III, and at the New England Conservatory Extension Division. In addition his music has been performed in New York, Cleveland, Philadelphia and Germany, and has been heard on radio, television and in the theater. His music is published by Earnestly Music in Boston.

Mr. Hagar has received awards from ASCAP, Meet the Composer and the American Music Center. He currently lives in Forest Hills, Queens, where he continues to write and does freelance work.

Donald Harris served on the faculties and as an administrator at the New England Conservatory of Music (1967-77) and the Hartt School of Music, University of Hartford (1977-88), before becoming dean of the College of the Arts and professor of music at Ohio State in 1988. In 1997, after a thirty-year career as a senior-level administrator in higher education and the arts, he stepped down as dean and rejoined the OSU faculty in composition.

From 1954 until 1968, Harris lived and composed in Paris, France, where, among other things, he was music consultant to the United States Information Service, and produced the city's first postwar Festival of Contemporary American Music. Harris earned bachelor's and master's degrees in composition from The University of Michigan, where he was a student of Ross Lee Finney. He also studied with Lukas Foss and Boris Blacher at the Berkshire Music Center (Tanglewood), and with Nadia Boulanger, Max Deutsch, and Andre Jolivet in Paris.

He has received numerous commissions, including the Serge Koussevitzky Music Foundation, Elizabeth Sprague Coolidge Foundation in the Library of Congress, St. Paul Chamber Orchestra, Radio France, the Cleveland Orchestra, and the Cleveland Chamber Symphony. He is co-editor of the W. W. Norton publication of the correspondence between Alban Berg and Arnold Schoenberg, for which he received an ASCAP Deems Taylor Award (1989). He was honored with an award in composition from the American Academy and Institute of Arts and Letters (1991), which led to a retrospective recording of his work on the CRI label (1994). His music is published by the Editions Jobert in France, and in this country by Theodore Presser and GUNMAR Music. In addition to CRI, his compositions have been recorded on the Delos and NEC-Golden Crest labels.

Paul Hayden (b. 1956) received his undergraduate degree in Composition from Louisiana State University and his graduate degrees (also in Composition) from the University of Illinois at Urbana-Champaign. He has taught theory and composition at Louisiana State University and at Eastern Illinois University.

He has received awards, grants, or recognition from ASCAP, the American Music Center, the Charles Ives Center for American Music, Delius National Composition Competition (grand prize winner for A Tre for solo flute), National Flute Association Newly Published Music Competition (winner for A Tre and Grand Mamou for flute and piano), and the Virginia College Band Directors National Association (for Scintilla and Chalumeau Variations, both for wind ensemble). His music has been performed in Europe, Russia, China, and throughout the United States.

Hayden's music is published by Theodore Presser Co., Carl Fischer, Inc., and Magnolia Music Press. His music is recorded on the Centaur and Opus One record labels.

David Heuser (b. 1966) received his bachelor's degree in composition from the Eastman School of Music and his doctorate from Indiana University. His teachers include Samuel Adler, Claude Baker, Joseph Schwantner, David Liptak, Warren Benson, Frederick Fox, Wayne Peterson and Don Freund, as well as Jeffrey Hass in electronic music. He teaches theory and composition courses and runs the electronic music studio at the University of Texas at San Antonio. Before coming to UTSA this year he taught at West Chester University (PA) and Temple University.

Heuser has won various awards, grants and commissions and his music has been performed by various groups and individuals and on festivals and conferences throughout the US and abroad. Heuser's music is published by Carl Fischer, Inc. and Non Sequitur Music.

Originally born in Hong Kong and now residing in Toronto, Alice holds a Bacholer's of Music with high distniction from Indiana University, and a Master's of Music from University of Toronto.

She is a recipient of numerous awards including the du Maurier Arts Ltd. New Music Festival Canadian Composers Competition, Hamilton Philharmonic Young Composers Festival, Percussive Arts Society Composition Competition, Tribune Nationale des Jeunes Compositeurs, PRO Young Composers of Canada Composition Competition, and International League of Women Composers Composition Competition.

She had received commissions from the Ontario Arts Council, the Laidlaw Foundation and the Toronto Arts Council to write music for the Canadian Music Competitions, the new music group Continuum, Ardeleana Trio, Scarborough Philharmonic Orchestra, and a percussion concerto for Beverley Johnston.

Alice is also an advocate of contemporary music and active pianist. Her solo recital featuring piano works by contemporary Canadian and Chinese composers was recorded for CBC's Two New Hours. Her music had been featured nationally and internationally at many festivals by various ensembles and orchestras such as the Sendai Asian Music Festival in Japan, Stella Nova Tokyo, Hong Kong Festival in Munich, Inter-Artes Week in England, Asian Contemporary Music in Seoul, '97 Asian Composers Leaque Conference Festival in Manila, International Women Composers Festival in Pennsylvania, New Works Calgary, Groundswell Concerts in Winnipeg, Nouvel Ensemble Moderne in Montreal, Vancouver International New Music Festival, Toronto New Music Concerts, Canadian Chamber Music Ensemble, Toronto's Composers' Orchestra, Winnipeg Symphony, CBC Vancouver Orchestra, and Hamilton Philharmonic Orchestra.

Laura Hoffman was born in Lynchburg, Virginia. She received the Bachelor of Arts and Master of Arts degrees from Radford University in Radford, Virginia and the DMA in Composition from the University of Memphis, Memphis, Tennessee, where she studied with Don Freund. Dr. Hoffman's music has been performed in Canada, the United States and Australia. Since moving to Halifax, she has received commissions from Upstream, Dalhousie University, and CBC radio and the Aeolian Singers. A founding member of the Memphis Composers' Alliance, Inc., Dr. Hoffman served as its President and Secretary. She has been an active member of the Southeastern Composers' League and is currently Secretary of the Atlantic Canadian Composers' Association, and a member of the Association of Canadian Women Composers, and the Canadian League of Composers.

Dr. Hoffman is currently an Assistant Professor in the part time faculty of the Dalhousie University Music Department, Halifax, Nova Scotia. She also teaches piano and composition privately in the area.

Born in Prague in 1921, Karel Husa began his musical education at the Prague Conservatory, where his composition teacher was Jaroslav Ridky and his conducting teachers were Pavel Dedecek and Vaclav Talich. He later spent 6 years studying in Paris on a scholarship from the French government. In Paris, his teachers were Nadia Boulanger and Arthur Honegger in composition and Eugene Bigot, Jean Fournet and Andre Cluytens in conducting.

Husa's international recognition reached prominence in 1948, when his String Quartet No.1 had its premiere in Paris. The work proved so popular that it was repeated at the ISCM Festival in Brussels in 1950 and at Darmstadt in 1951, and was ultimately awarded the First Prize in the Gaudemus Festival later that year. Husa lived in Paris until 1954, and his composing and conducting careers flourished.

In 1954 Karel Husa was apppointed to the music faculty of Cornell University. While at Cornell he was professor of conducting and composing and conducted the university's orchestra. During this time he also served as the musical director of the Ithaca Chamber Orchestra. He has made many guest conducting apperances in the United States and abroad.

Husa's compositions are numerous and varied. Among the many composition awards he has received are the Lili Boulanger Prize in 1950, a Guggenheim Fellowship in 1964, and the Pulitzer Prize in 1969 for his String Quartet No.3. His two works for concert band have become staples of the repertory: Music for Prague and Apotheosis of This Earth.

According to The New Grove Dictionary of Music and Musicians, Karel Husa's musical style, "while structurally classical in orientation, is nevertheless fresh and individual. His rhythms are powerful and his use of dramatic ostinato patterns reflects the influences of Honegger and Bartok. He is a brilliant orchestrator, and his writing for strings...contains novel devices and techniques."

The 1998 Conference of the Society of Composers, Inc. is pleased to welcome Karel Husa as its keynote speaker.

Since the premiere of Second Composition for Large Orchestra by the Seattle Symphony in 1968, David Kechley has produced more than 60 major works with well over 700 performances in the United States and Canada as well as Japan, England, Germany, Austria, Italy, Egypt and Albania. His compositions have been performed and commissioned by the Minnesota Orchestra, Cleveland Orchestra, Boston Pops, Seattle Symphony, North Carolina Symphony, Colorado Symphony, St. Paul Chamber Orchestra, Kronos Quartet, Lark Quartet and a number of others. Kechley's works have also been featured at national and international conferences including the Music Educators National Conference(1968), American Harp Society(1974), American Society of University Composers(1981), College Music Society National Conference(1990), World Saxophone Congresses(1985, 1988, 1992, 1997), Fifteenth Annual New Music and Art Festival at Bowling Green State University, North American Saxophone Alliance(1996), and Guitar Foundation of America International Festival(1993). The Skylark Sings, one of his most recent works was performed at the New England Conservatory on a special concert sponsored by the Massachusetts Cultural Council featuring the recent grant recipients in that state. Winter Branches: Music by David Kechley, a compact disc of chamber works, was recently released by Liscio Recordings, Inc.

Kechley has twice received grants from the National Endowment for the Arts and, in 1979, was awarded a Fellowship from the John Simon Guggenheim Memorial Foundation. His Five Ancient Lyrics on Poems by Sappho was first prize winner of the 1980-81 Shreveport Symphony Composers' Competition and Concerto for Violin and Strings won the 1979 Opus I Chamber Orchestra Contest for Ohio Composers. In the Dragon's Garden was a winner of the 1995 Lee Ettelson Prize and his orchestral work, Lightning Images, received honorable mention in the 1994 ASCAP Nissim Competition. He received the only Artist Fellowship awarded to a composer in 1985-86 by the North Carolina Arts Council and in 1995 received an Artist Grant from the Massachusetts Cultural Council. A recipient of ASCAP awards since 1979, he has most recently been commissioned by the Ryoanji Duo to create a new work, Driveline: A Powerwalk for Guitar and Alto Saxophone for premiere at the World Saxophone Congress in Valencia Spain.

David Kechley was born in Seattle, Washington, March 16, 1947. He received a Bachelors Degree in 1970 from the University of Washington, and he completed a Doctorate in Composition at the Cleveland Institute of Music in 1979. He is presently Professor of Music at Williams College in Williamstown, Massachusetts where he lives with his wife, Jerilee and his three children, Aaron, Benjamin and Anthea.

Frank LaRocca (b. 1951, Newark, New Jersey) earned his B.A. in Music from Yale University, and the M.A. and Ph.D in composition from the University of California at Berkeley. The recipient of an NEA Composer's Fellowship, a California Arts Council Artist's Fellowship and a Young Composers' Award from the ASCAP Foundation, he has also received grants and prizes from the American Music Center, Meet the Composer, the California State University Foundation, Amherst College, the University of California, as well as four awards for outstanding teaching and professional accomplishment from California State University.

His music has been performed in major cities throughout the United States, Canada and in Europe by the California Symphony, Marin Symphony, San Francisco Concerto Orchestra, San Francisco Contemporary Music Players, Camellia Orchestra, SFSU Orchestra, Northern Illinois University Wind Ensemble, Pierce College Symphonic Band, North/South Consonance, Washington Square Series and the Alexander String Quartet, among others. No Strings, a work symphonic band, has received over 40 performances in the U.S. and Canada since its premiere in 1993, and was recently recorded by the NIU Wind Ensemble for the sixth CD in their series devoted to significant repertoire for winds. Mr. LaRocca's most recent orchestral work, The Right Road Lost, was premiered last April by the Redwood Symphony.

He is published by Fallen Leaf Press and Dorn Publications, and has been recorded on CRI (String Trio, Secret Thoughts), ME Digital Recordings (No Strings) Johnson Digital (No Strings) and CRS (Canti d'Innocenza). Mr. LaRocca is a founding member and past Executive Director of COMPOSERS, INC. of San Francisco and teaches at California State University, Hayward, where he is Head of Composition and Theory.

Italian-Brazilian born composer and conductor, Orlando Legname has been student and assistant of the composer Hans-Joachim Koellreutter for the last 14 years. He was Professor at the Sao Paulo State University UNESP, Brazil from 1988 to 1993, where he taught Composition and Acoustics. Between 1986 and 1996 he was the director of ARTIUM Recording Studio and School of Arts in Sao Paulo, Brazil, where he produced several CDs, music for theater and coordinated the music courses.

His compositions have been performed in USA, Brazil and European countries, and have received several prizes, including the Best Music for Theater of 1991 from APCA (Sao Paulo Art Critics Association). In 1985 his electronic work Cronus I was performed in the Foreigner Contemporary Music Program of The Swedish Radio Company, Stockholm, Sweden as the representative of Brazilian composers. He used to be conductor of several choirs and was guest conductor of the UNESP Chamber Ensemble in recordings and concerts.

For 15 years, he has done a research in Physics of Music always applied in his compositions. His theory of Density Degree of Intervals and Chords was published in a recent issue of 20th Century Music Magazine. Now, he is living in Washington D.C. and continues this work in doctoral course at University of Maryland financed by CAPES Brazilian Agency.

Dr. Robert Lemay, born in Montreal in 1960, holds a Doctorate degree in composition from the Universite de Montreal where he studied with Michel Longtin, and Master and Bachelor degrees from Universite Laval in Quebec where he worked with Francois Morel. During 1987-1988, he studied at the State University of New York at Buffalo as part of the Quebec - New York exchange program. He has worked with David Felder and taken part in seminars with Brian Ferneyhough, Louis Andreissen and Donald Erb, as well as having studied in France with Francois Rosse and Georges Aspergis at the ATEM in Paris.

His music, which often employs virtuoso performance techniques, is characterised by an imaginative and unconventional use of the concert hall space. Dr. Lemay's music has been performed in Canada, the USA, Japan, France, Denmark, Germany, Italy and the Netherlands, as well as receiving broadcasts on Radio-Canada, the CBC and Bavarian State Radio. He is an associate composer of the Canadian Music Centre and the Canadian League of Composers, a three-time winner of the CAPAC competition, and the recipient of numerous grants from the Canada Council, the Ministere des Affaires Culturelles du Quebec and the Conseil des Arts et des Lettres du Quebec. An analyse of his piece Solitude oubliee for tenor saxophone entiled, "Gesture, Space and Virtuosity" will be published in the forthcoming Saxophone Symposium (North American saxophone alliance).

Dr. Lemay was Visiting Assistant Professor in composition at the University of Saskatchewan during 1996-1997.

Mr. Lemay's participation to the SCI National Conference is made possible with a grant from the Conseil des Arts et des Lettres du Quebec.

Carleton Macy (b. 1944) is a composer of works ranging from vocal and orchestral to jazz and music for non-western instruments. Macy's music often integrates a variety of historical and ethnic stylistic influences. His compositions have been performed throughout the US, in Europe, and are recorded on the ACF Innova series, Dapheneo, Access Records, and ACA Digital Recordings. His Faust (concerto for Alto Sax and String Orchestra) was recently recorded by Jean-Pierre Baraglioli and the Orchestre Phiharmonique de Chambre de Lettonie (Latvia).

His Composition teachers have included William Bergsma, Robert Suderberg, and Donal Michalsky. Macy is Professor and Chair of Music at Macalester College where he has taught since 1978. He teaches Music Theory, Composition, Music Education, and directs the Jazz Band, the Collegium Musicum, and a New Music Ensemble. Dr. Macy has an active interest in Non-Western music, presently serving as Artistic Director, conductor and performer with the Minnesota Chinese Music Ensemble.

"McCarthy's Music", writes David Patrick Stearns of U.S.A. Today, "is intriguing, inviting, shimmering...with the vigor of pop and the spontaneity of jazz". The Music Connoisseur refers to McCarthy as "one of the hottest young composers on the contemporary music scene today...contemporary in the very best sense of the word". Daniel McCarthy has become one of the most admired and respected composers of his generation.

Numerous performances throughout the world, recordings, prizes and publications of his work has won him international acclaim for a diverse genre of music. His music has been performed and recorded by organizations such as the Slovak National Symphony Orchestra, The Amarillo Symphony Orchestra, Rhythm & Brass (formerly the Dallas Brass), marimba soloist Michael Burritt, and the Cleveland Jazz Orchestra. He has been the recipient of composition grants and commissions from the National Endowment for the Arts, Ohio and Indiana Arts Commissions, the Mary Anderson Center for the Arts, and four Indiana State University Arts Endowment Grants. He has written music in many genres including jazz, orchestra, electroacoustic, wind ensemble, and percussion ensemble.

McCarthy is a former lead trumpet player with the Cleveland Jazz Orchestra and, before his graduate study, has been a staff arranger for MCA Records and recorded numerous jingles and film score for Perfect Pitch, Inc., of Cleveland, Ohio. Dan also was director of the Lakeland Jazz Orchestra and produced a Cleveland Composers compact disc recording with the group in 1991. He has performed and arranged for artists such as The Temptations, Spyra Gyra, Kool and the Gang, and Pat Boone.

Currently, Daniel is Associate Professor of Composition and Theory at Indiana State University, Visiting Associate Professor of Composition at DePauw University, and Instructor of Composition, Theory, and Computer Music at the Interlochen Arts Camp.

Edward J. Miller, Professor of Composition and Music Theory, has been on the Oberlin faculty since 1971. He was a faculty member at the Hartt School of Music form 1959-71. He has a BM from the University of Miami, 1953, and an MM from the Hartt School of Music, 1955.

He has studied with Carlos Chevez, 1953, and Boris Bacher, 1955, at Tanglewood where he won the Koussevitzky Prize. He was a Fulbirght Scholar to Berlin, 1956-58, where he studied with Boris Bacher and Josef Rufer. In addition, he has received the following awards: Guggenheim Fellowship to Rome, 1967-68; Library of Congress/Koussevitzky Foundation Commission, 1969; Ohio Arts Council Individual Composer's Award, 1988; National Endowment for the Arts Two-year Composition Award, 1990-91l and Resident Scholar at Rockefeller Foundation's Bellagio, Italy Study and Conference Center, spring 1993.

His orchestral music has been performed by the Berlin Philharmonic, Buffalo Symphony, Cleveland Orchestra, Dallas Symphony, Hartford Symphony, Minnesota Orchestra, San Francisco Symphony, Indianapolis Symphony, and others.

He has publications with Bote & Bock (Berlin), McGinnis & Marx, Music for Percussion, Ione Press, and Associated Music Publishers; and recordings with CBS, Orpheus, CRI, Advance, Opus One, Owl, and NMC, and New World Records.

Jerome Miskell was born in Newark, New Jersey in 1962. He began violin studies at the age of nine, switching to viola a year later. By high school he was studying horn with Richard Brownlee (New Jersey Symphony), voice, and composition. Upon entering college, Mr. Miskell decided to concentrate his studies on viola and composition, earning undergraduate degrees in composition/theory and viola performance and, later, a master's degree in composition at the University of Akron. He completed a DMA in Composition at the University of South Carolina in December of 1995.

Mr. Miskell's viola teachers have included Jerzy Kozmala, Ronald Gorevic, David Schmuckler, Fritz DeJonge, Larry Shapiro, and Alan Bodman, and he studied composition with David Bernstein and Gordon Goodwin. Mr. Miskell is engaged at Mount Union College where he serves as the Director of the Music Computer Lab, and Ashland University. In addition to his work as an active free-lance musician and performer of new music he is also contracted by the Akron Symphony Orchestra as a Section Violist and Personnel Manager. Recent chamber music appearances include a performance of Fred Lissauer's Quintet, The Journey, on a Cleveland Composer's Guild Concert at Gartner Auditorium in the Cleveland Museum of Art. Mr. Miskell also had the honor of sharing the stage on a chamber music recital at the College of Wooster with two of the world's leading bassoonists, Per Hannevold and John Miller . His piano quintet, Of Summer and Eternity, performed at the University of Akron with the composer as violist, has been arranged by the request of Roger Zahab, Director of the University of Akron New Music Group and the University of Pittsburgh Symphony Orchestra, as an orchestral work for a Pittsburgh concert in February, 1998. In 1994, and again in 1995, Mr. Miskell performed on stage with Robert Plant and Jimmy Page for 26,000 screaming fans at the Gund Arena in Cleveland.

Jerry Miskell's compositions have been performed extensively by the University of Akron New Music Group and the Dedalus String Quartet and Mr. Miskell has appeared frequently with both ensembles throughout Northeastern Ohio since 1989. Mr. Miskell's orchestral music has been performed by the Conductors' Institute Orchestra and the Akron Symphony Orchestra, the Bloomfield Symphony (NJ), and the University of Akron Symphony. Other works receiving recent performances include The Winds are Aloft in the Western Reserve, a violin/viola duo, and Puzzles and Canons for three instruments.

Mr. Miskell is a recipient of an Ohio Arts Council Individual Artist Fellowship, and a past US finalist for the LINK international commissioning project. Ode to a Painter's Friend, his work for string quartet and three screaming women is published by NEW MUSIC Publications. Mr. Miskell resides in Akron, Ohio with his wife Debra, and his son Alex.

Allen Molineux (b.1950) received a B.M. degree in composition from DePauw University, a M.M. degree in composition from the Eastman School of Music and a D.M. in composition from Florida State University, where his teachers were, respectively, Donald H. White, Warren Benson and John Boda.

He has been teaching theory, composition, applied winds and brass and jazz band at Chipola Junior College , one of the twenty-eight community colleges of Florida, since 1988 and prior to that, for eleven years at Barton College (formally Atlantic Christian College) in North Carolina.

The composer currently has twelve published works. They range from solos and ensembles for woodwinds, brass, and percussion to choral works and one of them, Encounter, was recorded by the Annapolis Brass Quintet in 1979 for Crystal Records.

Alfonso Montecino was born in Osorno, Chile. After graduating from the National Conservatory of Chile, he came to the US to study piano with Claudio Arrau and composition with Roger Sessions, Edgar Varese, and Bohuslav Martinu. After a successful Carnegie Hall debut, he embarked on a long and intense international concert career. He joined the Indiana University piano faculty in 1963 and retired in 1988.

As a composer, he has written over 40 works, mainly for chamber music groups. His last work is a concert for piano and orchestra that he started in the fall of 1994 at the Villa Serbelloni of the Rockefeller Foundation in Bellagio, Italy. The concerto was finished in 1996 and it will be premiered at the next Festival of Contemporary Music in Caracas, Venezuela. It will also be performed with the National Symphony Orchestra of Chile in November.

Douglas Ovens has had recent performances of his music in New York City, Berlin, Chapel Hill, Philadelphia and Salt Lake City. He has received commissions from the Allentown Symphony, the Lehigh Valley Chamber Orchestra, the Asheville Symphony, the University of California, Santa Barbara Symphony, and dance companies in Philadelphia and North Carolina. He recently completed a work for vibes and wind ensemble that was premiered by Grammy award winning vibist, Gary Burton.

Ovens' Moving Image for piano solo has been released on the North/South Recordings label and his Play Us A Tune for soprano and orchestra is available on the Vienna Modern Masters label. Moving Image was described in the New York Times as a work of "special appeal...that has an almost conversational shape and pacing and some wonderful textural detail."

Ovens is Associate Professor and chairman of the Music Department at Muhlenberg College in Allentown, PA. During the 1996-97 academic year he was the Donald B. Hoffman Research Fellow, devoting his time to creating new works for percussion controllers.

Mark Phillips (b. 1952) won the 1988 Barlow International Competition with his orchestral composition Turning, which has been performed by the St. Louis Symphony Orchestra, the Cleveland Orchestra, and the NHK Symphony Orchestra of Japan, with Leonard Slatkin conducting, as well as by the Chautauqua Symphony Orchestra, with Uriel Segal conducting. His String Quartet No. 2 was premiered by the Lark Quartet, which commissioned the work. Other significant recent performances of his music have taken place at Merkin Hall in NYC, Wigmore Hall in London, and in Chicago, Krakow, Warsaw, Graz, Greece and Holland. His works have been performed by the Kansas City Symphony, the San Antonio Symphony Orchestra, the Columbus Symphony Orchestra, the Pro Musica Chamber Orchestra, the Bahia Blanca Symphony Orchestra, the Pittsburgh New Music Ensemble, the Ensemble Eclipse (Beijing), and the Icelandic Symphony. Rain Dance for flute and electronic tape won the 1994 Newly Published Flute Music Competition and has been recorded by flutist Jill Felber on the Neuma label. Richard Stoltzman recorded Three of a Kind with the Warsaw Philharmonic conducted by George Manahan for the MMC label. Other awards and distinctions include the 1990 Delius Chamber Music Award, ASCAP Standard Awards, an ASCAP Raymond Hubbell Award, grants from Meet the Composer, and fellowships from the Ohio Arts Council, the Indiana Arts Commission, Ohio University and Indiana University. His music has been featured at the Blossom Festival, Chautauqua Summer Music Festival, Bowling Green New Music and Art Festival, Memphis State New Music Festival, Florida State University Festival of New Music, National Flute Association Conference, International Double Reed Society Conference, World Saxophone Congress, and the national conferences of both the Society of Composers, Inc. and the Society of Electro-Acoustic Musicians in the United States.

Mr. Phillips joined the composition faculty at the Ohio University School of Music in the fall of 1984. From 1982-84 he was a Visiting Instructor of composition at the Indiana University School of Music. Born in Philadelphia, he holds a B.M. degree from West Virginia University and both an M.M. degree and a D.M. degree from Indiana University.

Alfred Prinz was a memeber of the clarient section of the Vienna State opera, and the Vienna Philharmonic for 50 years, most of which was as solo clarinetist. Joining the Vienna State Opera Orchestra in 1945, at the age of 15, Professor Prinz played for most of the great artistic personalities of his time: Furtwangler, Mitropoulos, Bruno Walter, Knapperstsbusch, Schurickt, Krips and Bernstein.

As a memeber of the Wind Soloists of the Vienna Philharmonic (1954-1970) and the Vienna Chamber Ensemble (1971-1986), Alfred Prinz has performed and recorded all of the standard clarinet chamber music. In addition to his clarinet activities, Mr. Prinz completed his piano studies with Bruno Seidlhofer at the Hochschule in Vienna from 1942-1949, and continued to compose (principally on vacations!) during his half century with the Vienna State Opera. Prinz has composed in all genre except opera: six symphonies, two clarient concertos, single concertos for violin, piano, bassoon, and flute, five piano sonatas, many chamber music works, a few songs and many clarinet pieces (duets, trios, quartets, quintets). In his own words, "My style has been somewhere between Bartok, Prokofiev and Hindemith, but in the last few year I have gone more and more back to tonality. It is very important to me as a composer to create works which allow the performers to make music in as vigorous and natrual way as possible. I believe the natrualness in performance was a qulity which had been lost during the period of dodecophony."

Scott Robbins' music has been gathering increasing attention in recent years in the form of awards, commissions, performances, and recordings. Among Scott's prizes are an ASCAP Foudation Grant for Young Composers, as well as several ASCAP Standard Awards, Yale University's Norfolk National Composition Prize, the NACUSA Young Composers Award, a Florida Individual Artist Fellowship, and awards from Britten-on-the-Bay, Composers Guild, and Thamyris. Most recently, Scott's Fantasy in F Minor for piano received second prize in the International Sergei Prokofiev Composition Competition. In 1996, the choral work Sliver Moon was commissioned by the Dale Warland Singers as part of their New Choral Works Commissioning project. Robbins' compositions have been performed and/or recorded by the Czech Radio Symphony Orchestra, Dale Warland Singers, Moyzes Quartet, New York Camerata, Norfolk Artist Faculty, Thamyris, and the Warsaw Philharmonic Orchestra. Recordings of his music appear on or have been scheduled for release by Col Legno-Aurophon, CRS Recordings, "4-Tay" Recordings, and MMC Recordings.

Since 1995, Scott Robbins has been composer-in-residence and coordinator of music theory and composition at Southwestern Oklahoma State University. He holds degrees from Wake Forest University, where he studied with Dan Locklair, Duke University, where his principal teachers were Stephen Jaffe and Thomas Oboe Lee, and the Florida State University, where he studied with Edward Applebaum and Ladislav Kubik. He lives with his wife Shelley and daughter India.

Morris Rosenzweig (b. 1952) received his professional training at the Eastman School of Music, the University of Pennsylvania, and Columbia University. In recognizing his achievements, the Department of Music of the American Academy of Arts and Letters wrote: "Morris Rosenzweig's music displays images and projects narratives rich with rhythmic energy, orchestral wit, and intense expressiveness. The moment-to-moment events are crafted with laser-like precision that allows the listener immediate access to a surface full of color and motion. Those moment-to-moment events securely compound into formal designs of great elegance." His works have been performed by many noted ensembles and soloists throughout the U.S. and abroad, including Philippe Entremont with the New Orleans Symphony, Joseph Silverstein with the Utah Symphony, Emerson Quartet-violist Lawrence Dutton, hornist William Purvis, Earplay, and Speculum Musicae.

He has received honors from the Guggenheim Foundation, the American Academy of Arts and Letters, the Koussevitzky Foundation in the Library of Congress, the Fromm Foundation at Harvard University, the Utah Arts Council/NEA, the MacDowell Colony, and the Composers Conference, and has been awarded the McCurdy, Nietche, Rappoport, and the International Horn Society prizes in composition.

Formerly on the faculty at New York University, he has taught at the University of Utah since 1987 where he also directs the university's new-music ensemble, Canyonlands, and the Maurice Abravanel Visiting Distinguished Composers Series.

In addition to directing Canyonlands, Mr. Rosenzweig conducts the Chamber Players of the League-ISCM in New York and guest conducts many other ensembles. His music may be found on Centaur CD CRC 2103, CRI CD 705 and CRI CD 787, where he also appears as conductor.

Composer and bassist Marc Satterwhite is a native of Texas, where he began his musical training on the piano, later concentrating on the double bass and on composition. His undergraduate degree is in double bass from Michigan State University, and his graduate degrees from Indiana University are in composition. At both universities, he was the recipient of the most prestigious awards, scholarships, and fellowships both for his composing and bass playing.

His principal teacher in composition has been John Eaton, and he has also studied with Eugene O'Brien, Ramon Zupko, and Earle Brown. He has studied double bass with Murray Grodner and Virginia Bodman.

He was for several years a professional orchestral bassist, including two years as assistant principal in the Mexico City Philharmonic, with whom he participated in a Grand Prix du Disque-winning series of recordings and toured the principal concert halls of the United States and Canada, as well as Mexico. His experiences in Latin America have had a profound impact on his thinking and his music.

His compositions have been performed in diverse venues all over the United States, as well as in Australia, Europe and Latin America. He has received many commissions and grants, including a Kentucky Arts Council fellowship, and residencies at the MacDowell Colony and the Atlantic Center for the Arts.

He was a bassist/actor in Tales and Scales, a professional new music ensemble that introduces children's audiences to contemporary music with presentations of musical stories written especially for the group. He has taught at Indiana University, Western Michigan University, and Lamar University, where he was also the producer and host of a weekly radio show devoted to contemporary music. He has worked with activist groups concerned with Latin American issues, and has been an Amnesty International Freedom Writer.

He is currently on the faculty of the School of Music at the University of Louisville.

Chicago-born composer Marilyn Shrude received degrees from Alverno College and Northwestern University, where she studied with Alan Stout and M. William Karlins. Her works have been performed by the Toledo, Fox Valley, Chicago Civic, Curtis Institute, Bowling Green, South Dakota, Interlochen World Youth, and Daegu (Korea) Orchestras; at the Kennedy Center, Carnegie Recital Hall, Merkin Hall, and Brussels Town Hall; on the Chamber Music Society of Lincoln Center Series, Fromm Music Series, St. Louis Orchestra Chamber Series, Music Today, and New Music Chicago; and at meetings of the World Saxophone Congress, Society of Composers, International Harp Congress, MENC, CBDNA, and MTNA.

Her honors include The Academy Award in Music from the American Academy of Arts and Letters (1997), the Ohioana Award (1997), the Kennedy Center Friedheim Awards for Orchestral Music (l984), the Faricy Award for Creative Music, the Phi Kappa Phi Creative Achievement Award (1985), two Ohio Arts Council Individual Artist Fellowships, a Distinguished Teaching Award (1988), Alverno College Alumna of the Year Award (1988), the 1989 Women of Achievement Award from the Toledo Chapter of Women in Communications, a Composer Fellowship from the National Endowment for the Arts (1992), the Chamber Music America/ASCAP Award for Adventuresome Programming (1993), and the Dean's Award for the Promotion of Contemporary Music on the Campus of BGSU (1994).

Her works have been recorded for New World, Capstone, Orion, Centaur, Neuma, Access, and Ohio Brassworks and are published by American Composers Alliance, Editions Henry Lemoine (Paris), Neue Musik Verlag Berlin, Southern Music, and Thomas House. Since 1977 she has been on the faculty of Bowling Green State University, where she teaches, directs the MidAmerican Center for Contemporary Music and co-directs the Annual New Music & Art Festival. She is also active as a pianist and clinician with saxophonist John Sampen.

Cleve Scott is a professor of music at Ball State University and Director of the Music Engineering Technology Program. He was raised in California and his early influences were the musics of Hollywood and jazz. He was trained in trumpet and composition and attended College of the Pacific, California State University at Long Beach and the University of Southern California. His graduate degrees are from the University of Iowa.

Dr. Scott has been working with real-time electroacoustic performance for over thirty years. His Dissertation and subsequent compositions involve the real-time processing of acoustic information along with the invention of new music notation for the coordination of acoustic instrument and live electronic performance.

His career has been dedicated to the principle of science in the service of art. His interest in applied science has led to numerous requests for consultation in the electronic modification of music information, acoustics, microphonics, sound reinforcement and the development of music distribution systems.

For the past twenty years Dr. Scott has been involved in curriculum development in music technology and how this technology services the music community. He is the architect of the Music Engineering Technology program at Ball State University and is currently designing a program for intermedia engineering. Dr. Scott has presented papers in both national and international venues and has several articles that define his aesthetic views.

His current composition involves real-time elctroacoustic performance environment with the Buchla Thunder, a MIDI controlling hyper-instrument and a computer moderated composition program that mediates aspects of the real-time performance of the composition. Once Mediated Generators (Oh My Gosh) has been demonstrated and performed at regional and national conferences. Good Bye Orpheus, for chamber orchestra, electronic soundtracks and video projection represents a new direction for the involvement of the live interaction of traditional music performance with the resources of music technology.

Elliot Schwartz was born in New York City and studied composition with Otto Luening and Jack Beeson at Columbia University. He has been a member of the Bowdoin College faculty since 1964, and was recently named to the Robert K. Beckwith Professorship of music at Bowdoin. He has also held extended visiting residencies at the University of California (Santa Barbara and San Diego), The Ohio State University, Trinity College of Music (London, UK) and Cambridge University (UK). Schwartz has served as president of the College Music Society, vice-president of the American Music Center, and national chair of the ASUC (now SCI). He and Daniel Godfrey are co-authors of the recently published book Music since 1945: Issues, Materials, Literature.

Schwartz's compositions have been performed by such groups as the Indianapolis Symphony, Cincinnati Symphony, Minnesota Orchestra, Chicago Chamber Orchestra, Atlanta Virtuosi, and New York Chamber Soloists, and featured at numerous international music centers and festivals including Tanglewood, the Library of Congress, Monday Evening Concerts (Los Angeles), the Bath Festival (England), De Ijsbreker (Amsterdam, Holland), Music of the Americas (London), and the Leningrad Spring (Russia). His works are published by Carl Fischer, Margun, Theodore Presser, MMB/Norruth and Fallen Leaf Press; CD recordings of his music can be heard on the CRI, Capstone, Vienna Modern Masters and GM labels.

In recent years he has appeared as visiting composer at the University of the Pacific, the University of Minnesota, the College of William & Mary, the Spoleto Festival (Charleston), Los Angeles (the LA County Museum of Art), New York City (Merkin Hall and the Museum of Modern Art), the International Double Reed Festival (Rotterdam), and the European Youth Orchestra Festival (Copenhagen). 1997-98 Performances include London, Cambridge, the Weimar Hochschule, Pablo Casals Festival, the Paris Conservatoire, and Netherlands National Youth Orchestra.

Since 1980, Hilary Tann (b. 1947) has lived south of the Adirondacks in upstate New York where she chairs the Department of Performing Arts at Union College, Schenectady. She holds degrees in composition from the University of Wales at Cardiff and Princeton University (Ph. D. 1981). In 1989 she was accepted as a house composer by Oxford University Press. Four chamber works are available on CD and another is due for release in Spring, 1998.

From her childhood in the coal-mining valleys of South Wales she developed the deep love of nature which has inspired all of her work, whether written for performance in the United States (for example, Adirondak Light, for narrrator and orchestra, written for the 100th Anniversary of the Adirondack State Park, 1992) or for her home in Wales (for example, With the Heather and Small Birds, commissioned by the 1994 Cardiff Festival).

From 1982 to 1995 Hilary Tann was active in the International League of Women Composers. She was Editor of the ILWC Newsletter from 1982 to 1988 and served in a number of Executive Committee positions. Her interest in the music of Japan led her to undertake a study of the ancient Japanese vertical bamboo flute (the shakuhachi) from 1985 to 1991 and to co-edit a symposium of articles called "Tradition and Renewal in the Music of Japan", published in Perspectives of New Music, Vol. XXVII/2. This interest also led to a large orchestral piece, From Afar (premiered November 1996 by the Knoxville Symphony Orchestra, conducted Kirk Trevor).

Numerous organizations have supported her work, including the Welsh Arts Council, the New York State Council on the Arts, the Meet the Composer/Reader's Digest Consortium Commissioning Program, and Meet the Composer/Arts Endowment Commissioning Music/USA. Recent works include The Moor (soprano and mezzo-soprano) for the Madog Center for Welsh Studies in Rio Grande, Ohio; Nothing Forgotten (piano trio) for the Adirondack Ensemble; and Here, the Cliffs, a violin concerto premiered soloist Corine Cook with the North Carolina Symphony Orchestra, October 17, 1997.

Bruce J. Taub was born in New York City on February 6th, 1948. He began studying the bassoon at an early age with David Manchester of the Metropolitan Opera Orchestra and attended the High School of Music and Art. He was an active performer for many years as a member of the Composers Ensemble in New York. He has studied composition with Mario Davidovsky, Vladimir Ussachevsky, Jack Beeson, Chou Wen-chung and Charles Dodge at Columbia University, School of the Arts where he was one of the first two recipients of the Doctor of Musical Arts degree in 1974.

Mr. Taub's prizes and awards include: the Marc Brunswick Award in Musical Composition (for String Trio, 1969); Columbia University Fellow of the Faculty, National Defense Education Act Fellowship, 1969-71; the Joseph H. Bearns Prize in Music (Variations 11.7.3.3.4, 1971); BMI Award (Six Pieces for Orchestra, 1973); National Endowment for the Arts Fellowship (chamber opera, Passion, Poison, and Petrifaction, 1975); Fellowship to the 1975 Composers Conference in Johnson, Vermont and the 1985 Composers Conference in Wellesley, Massachusetts; Commission from the Criterion Foundation (Of Things Past, 1976); Fellowship from the National Endowment for the Arts (full length opera, Waltz on a Merry-Go-Round, 1981); Fellowship to the Charles Ives Center for American Music, 1984 and 1985; Friends of Harvey Gaul Composition Contest (Extremities II, 1984); Finalist, the 1987 Kucyna International Composition Contest (Extremities II, 1987); Commission from Sigma Alpha Iota (Inter-American Music Awards)(Three Preludes, 1987); Commission from the Cleveland Chamber Symphony (Edwin London, Conductor)(An Often Fatal Malady, 1990 and Lady Mondegreen Sings the Blues, 1995); Commission from the Fromm Foundation (Adrian's Dream, 1995).

From 1974-76 he served as the Chairman of the Executive Committee of the American Society of University Composers and from 1977 through the present he has been the Editor of the SCI (A.S.U.C.) Journal of Music Scores. Mr. Taub has taught at the City College of the City University of New York and at Columbia University. In 1974 he served as a Delegate to the International Conference on New Musical Notation at the University of Ghent in Belgium and was Assistant to the Director of the Index of New Musical Notation at Lincoln Center.

Mr. Taub has written over sixty compositions including pieces for orchestra, solo instruments, chamber ensemble, tape, computer, the ballet and two operas. His compositions have been performed by many contemporary music ensembles and at universities throughout the United States. His music is published by Music for Percussion and C.F. Peters Corporation. He is a member of BMI, the American Music Center, NACUSA and has been a member of the Board of Govenors of the American Composers Alliance. In 1990 he was made a National Arts Associate of Sigma Alpha Iota.

Mr. Taub is currently the Editor in Chief for C.F. Peters Corporation, Music Publishers.

Augusta Read Thomas (born in 1964 in New York) studied at Northwestern University, Yale University, and at the Royal Academy of Music. She is a member of the composition faculty at the Eastman School of Music and has been appointed to a three-year term as Composer-in-Residence with the Chicago Symphony Orchestra starting June, 1997. Her work was published by Theodore Presser Company and is now published by A.R.T. Musings Publishing Company. Seven years after graduating from the Royal Academy of Music, she was elected an Associate of the Royal Academy of Music (ARAM, honorary degree).

Conductors including Mstislav Rostropovich, Pierre Boulez, Seiji Ozawa, Hans Vonk, Gerard Schwarz, Lawrence Leighton Smith, George Manahan, Jac Van Steen, Gianpiero Taverna, Peter Jaffe, David Gilbert, and Grant Llewellyn have programmed her work.

Ms. Thomas' chamber-opera Ligeia, (Librettist: Leslie Dunton-Downer/ based on a short story by Poe) won the prestigious International Orpheus Prize and was performed in Spoleto, Italy. Ligeia, commissioned by Mstislav Rostropovich and Rencontres Musicales d'Evian, was premiered by Maestro Rostropovich in the 1994 Evian Festival. The American Premiere took place at the Aspen Music Festival in Aspen, Colorado, July 1995. Rostropovich is giving the Russian premiere in 1997 with the Moscow Opera Company.

Her discography includes Vigil, for cello and chamber orchestra which is recorded by The Cleveland Chamber Symphony on the Sound Encounters Series. Her work Meditation for trombone and orchestra was recorded by world renowned trombonist, Christian Lindberg and is available on the Grammofon AB BIS (Sweden) label. Wind Dance for orchestra and Nights Midsummer Blaze for flute, viola, harp and large orchestra are recorded by the Louisville Orchestra on the New Dimensions Series. Whites for solo piano is recorded on a Czech national CD label by Patricia Goodson. Spring Song for solo cello is being recorded on CRI by cellist Scott Kluksdahl; and Angel Chant for piano trio is being recorded this season by the Kapell Trio for the Gasparo label as well as by the Loinsgate Trio for CRI.

John D. White, currently Chair of the Philosophy Department at Talladega, is a pianist and composer whose works have been selected for performance at numerous regional, national and international conferences of composer and performers. His music calls for the very finest in player virtuosity and expressivity. Composing seriouly since 1968, Dr. White has written for all combinations of vocal and instrumental genres--from short unaccompanied wind solos to chorus and orchestra compositions.

Dr. White holds the Ph.D in Music with a composition thesis from in the University of Iowa where he studied with Richard Hervig, the Master of Music in Composition for the University of Idaho; the Bachelor of Music in Applied Piano for the University of Kentucky. He currently teaches humantities, philosophy and logic, and maintains an active schedule of concertizing thoughout the United States performing, in addition to his own works, twentieth centruy chamber literature by composer colleagues. In the summer of 1991, he was recipient of a Lilly Foundation Grant to underwirte expenses for rehearsals of H, a piece for two percussionists and piano; Courtly 'Addio', Neon Sien Leo, a recent piece for horn, percussion and piano; and to complete two philosophy papers.

Sadly, Richard Willis died last year, July 15, 1997 at his home in Waco, TX. The performance of his Sun Circles is decdicated to his memory.

Mr. Willis recieved his bachelor's degreee from the University of Alabama, and both his master's degree and doctorate from the Eastman School of Music. Richard Willis was a prolific composer whose works were performed throughout the United States and around the world. In 1956 he received the Prix de Rome, a prestigious award which took him to Italy for a year of residence at the American Academy in Rome. Among his many awards for orchestral compositions were the Joseph Bearns Prize (for Symphony No. 1) and the Howard Hanson Prize (for Symphony No. 2). He was also a recipient of the Ostwald Composition Award (for Aria and Toccata for band).

At the time of his death, Mr. Willis was Emeritus Professor of Music Composition and Composer-in-Residence for Baylor University.

Howard Yermish was born in Philadelphia and is currently a doctoral student and graduate assistant at the University of Southern California, teaching Aural Skills and Composition for Non-Majors. He has a Bachelor of Music from the Eastman School of Music (1994) where he graduated with highest distinction, and a Masters of Music from U.S.C. (1996) where he was named the outstanding student in composition at that level.

Recently named the regional winner and national finalist of the Society of Composers student composition competition, his work Five Images has been performed by the Kansas City NewEar Contemporary Music Ensemble (1997), by the New York New Music Ensemble at the California State University Summer Arts Festival (1997), by members of Continuum and the Debussy Trio at the Oregon Festival of American Music (1997), and by the U.S.C. Contemporary Music Ensemble (1997). He has won many composition prizes including the Halsey Stevens prize (1997), the Jimmy McHugh prize (1996), the Hans J. Salter prize (1995), the Louis Lane prize (1994), as well as awards through ASCAP including a Young Composer's Award (1993) and the Max Dreyfus Scholarship (1991). He has been nominated for awards by the American Academy of Arts and Letters (1993), and has received a Composition Fellowship for the Norfolk Chamber Music Festival through the Yale School of Music (1993). His work for bowed piano and percussion, Ritual, was performed by the U.S.C. Percussion Ensemble at the Percussive Arts Society International Convention (1997).

Yermish's teachers have included Samuel Adler, Warren Benson, Donald Crockett, Stephen Hartke, Christopher Rouse, Allan Schindler, Joseph Schwantner, and Frank Ticheli. Currently, he is completing work on a chorus and orchestra piece for conductor Allan Scott of St. Joseph's University in Philadelphia.

Yang Yong was born in Beijing, China. The earliest musical influence on him came from the Peking Opera, folk songs and many kinds of folk story tellings in northern China. Yang Yong received a Ph.D. in composition from Brandeis University and is a faculty member at the New England Conservatory of Music.

Yang Yong has received grants and commissions from the National Endowment for the Arts, Meet the Composer, Massachusetts Cultural Council, the Pittsburgh New Music Ensemble, and Chinese Opera & Ballet House and is currently working on piece for the San Jose Symphony and a piece for the American saxophonist Kenneth Radnofsky and the Shanghai Symphony in China and the New England Conservatory Symphony. Yang's compositions have received awards including several ASCAP Standard Awards, the first prizes for the 1995 International Award for Musical Composition Ciutat de Tarragona in Spain, the 1992 Valentino Bucchi Prize in Rome, Italy, the 1991 Washington International Composition, the 1991 ALEA III International Composition Competition, the 1993 Marian & Iwanna Kots Prize in Ukraine, among others.

Many of his recent compositions were influenced by either the Chinese folk music or musics of other cultures. His music has been played in the United States, Italy, England, Australia, Spain, Korea, Yugoslavia, Canada, China, and the former Soviet Union by the Barcelona Symphony Orchestra, Dniepropetrovsk Symphony Orchestra in Ukraine, the China Radio Symphony Orchestra, the Korean Chamber Ensemble, the ISCM World Music Days, the Pittsburgh New Music Ensemble, ALEA III, the Lydian String Quartet, Sydney Alpha Ensemble in Australia, Belgrade TV in Yugoslavia, among others, and has attracted considerable attention both locally in Boston and internationally.

His music is described by Richard Buell of the Boston Globe as "the freshest compositional 'ear' in evidence", "teemed with fresh and unusual combinations of tone color - a decorative, poised undertaking with nothing meretricious about it".

Internationally-recognized composer with an impressive catalogue of close to 100 works, many of which are prize-winning compositions. Her many composition awards include a Guggenheim Fellowship (1983-84); Maryland State Arts Council creative fellowship (1986-87); and commission grants from the National Endowment for the Arts (1982) and Minnesota Composers Forum (1993). Her orchestral music has been repeatedly recognized through prizes: First Prize - Gold Medal in the Gottschalk Centenary International Composition Competition (1972); First Prize in the Chamber Orchestra Composition contest to honor the Statue of Liberty Centennial (1986); and First Prize in the international 1995 McCollin Competition for Composers (for Symphony No. 1, performed by the Philadelphia Orchestra in 1996). Recently, she was Composer of the Year at Alabama University (1994), Featured Composer at the 1995 Society of Composers International American meeting, and Filene Artist-in-Residence for the 1996-97 year at Skidmore College.

Zaimont's works are frequently played in the United States (Carnegie Hall, Lincoln Center) and abroad; they are published (Galaxy/ ECS, Peters, Broude, Sounds Alive!, Vivace, Walton) and recorded (Arabesque, Leonarda, Northeastern). Her music is the subject of nine doctoral dissertations, and several of her works serve as repertoire for performance competitions. Her biography is found in most standard reference works, and she is the subject both of individual chapters in specialist volumes and major articles in professional journals.

She is also creator and editor-in-chief of the critically acclaimed book series, The Musical Woman: An International Perspective (3 vols., Greenwood Press). For this, she received a research grant from the National Endowment for the Humanities (1989), and the 1993 First Prize in the international musicology awards, the Pauline Alderman Prizes.

Formerly a member of the faculties of Queens College and Baltimore's Peabody Conservatory of Music, where she was named "Teacher of the Year" in 1985, Judith Zaimont is a distinguished teacher, and held the post of Professor of Music and Chair of the Music Department at Adelphi University from 1989-91. Since 1992 Zaimont has been Professor of Composition at the University of Minnesota School of Music.

Born in Memphis, Tennessee, and raised in a musical family in New York, Zaimont holds degrees from Queens College of the City University of New York and Columbia University. She studied composition with Hugo Weisgall, Otto Luening and Jack Beeson. After receiving her Master's Degree, Zaimont studied orchestration in Paris, on a Debussy Fellowship from the Alliance Francaise de New York, with Andre Jolivet.

Born in 1962, in Guadalajara, Mexico, Ricardo Zohn-Muldoon received his B.A. in Music from the University of California, San Diego, and his M.A. and Ph.D. in Composition from the University of Pennsylvania, where his principal teacher was George Crumb.

Mexican literature has provided the point of departure for many of his compositions. Previous works have been based on the pre-Hispanic myth of Quetzalc-atl. More recently, many of his works have been based on the novel Pedro Paramo, by the great Mexican writer Juan Rulfo. About this novel, Gabriel Garcia Marquez has succinctly stated: "I will repeat what I have always said everywhere: Pedro Paramo is the most beautiful novel that has ever been written since the birth of literature in the Spanish language." (Rulfo en Llamas: Universidad de Guadalajara-Proceso, 1988).

Zohn-Muldoon's music has been selected for various international festivals, including the Gaudeamus International Music Week (prize finalist, Holland), Festival A*Devantgarde (Germany), ISCM World Music Days (Mexico), June in Buffalo (U.S.A.), Society of Composers Inc. (U.S.A.), Foro de Musica Nueva (Mexico), Festival Internacional Cervantino (Mexico), among others.

Throughout 1996 he was a Visiting Scholar at Harvard University, where he realized a composition project, under the auspices of a fellowship from the Guggenheim Foundation. Previous distinctions include an Associate Composer Fellowship to attend the 2nd Inter-American Composition Workshop at Indiana University (U.S.A), Mexico's prestigious Mozart Medal, and fellowships from the Tanglewood Music Center (Omar del Carlo Fellowship, U.S.A.), Fondo Nacional para la Cultura y las Artes (Mexico), Composers Conference (U.S.A.), Fondo para la Cultura y las Artes de Jalisco (Mexico), and the Bowdoin Music Festival (U.S.A.). During the Fall of 1992, he was composer-in-residence at the Camargo Foundation, in Cassis, France.

From 1993 to 1995, he taught composition and theory at the School of Music of the University of Guanajuato, in Mexico, where he also co-directed the international festival and conference of new music Callej-n del Ruido. In January of 1997, he joined the faculty of the College-Conservatory of Music of the University of Cincinnati, as Assistant Professor of Composition.