1998 Annual Report

1998 Report

We directed almost half of the grant monies toward scholarships for seven graduate students (the most we have ever had in the program). Five of these seven received their degrees during the year. Two of those five produced exceptionally fine masters thesis compositions, and both are now in excellent doctoral programs. (Incidentally, this year we accepted no new masters students–we have two in the program currently.)

About $2,500 funded the visits of guest artists. The primary artist was Thomas Moore, a fine new-music pianist who spoke to several classes about contemporary piano composition and performed a stunning version of Morton Feldman’s 90-minute long “Triadic Memories” at a Group for New Music concert. Other guests included alumni students who gathered and performed a reunion concert of their recent works. This recital occasioned a visit from the University of Utah faculty composers, with whom we re-established good working relationships.

Approximately $1000 was allocated for one of our very best undergraduate students, Melanie Gunsay, to travel to two composition symposia (both in Florida) for performances and critiques of her recent work. Nearly $600 more was spent on a variety of trips by faculty composer Stephen Jones to hear his work performed. (Stephen’s visibility and networking have contributed to his receiving a commission for a new work from the Chicago Symphony.)

The rest of the budget money was applied to wages paid to student performers (for reading of new student compositions); copying costs (to distribute scores by faculty); and our latest CD project, Murray Boren’s “Partial View.”

Again, our profuse thanks to Milton Barlow and the administrators of the Endowment for making this grant available to us. The texture of the department

remains forever enhanced because of it, and its accomplishments gain in strength each year. Thank you so very much, from all of us.