Bibliography

Composer in Residence: Meet The Composer’s Orchestra Residencies Program, 1982-92, a special publication of Meet The Composer, Inc. 72 pp. Authored and edited essays, conference transcript, and statistics documenting the largest orchestral program for new music in American history.

Chamber Music in Our Schools: An Overview and Recommendations, a special publication of Chamber Music America, 1990. 36 pp. Authored and edited results of studies conducted by Dr. Roy E. Ernst.

“Who Is Leonard Bernstein?” Stagebill, New York Philharmonic, November 2017, begins p 15.  Introducing Leonard Bernstein to a new generation of Young People’s Concert attendees.

“Confessions of an American Gugak Composer,” essay for Forfest (Czech festival of art and music with spiritual orientation), August 2017.  Explores Korean traditional music’s influence on my recent works.

“YPCs – Anytime, Anywhere,” Stagebill, New York Philharmonic, November 2016, begins p 18.  On the introduction of YPC Play! an online streaming platform for current Young People’s Concerts.

“The Question of Commissioning Fees in the US: A Composer’s Perspective,” Circuit, Vol. 26 No. 2, 2016, pp 63-72.  A survey of six diverse composers’ experience with commissioning fees.

“From the Mouths of Children,” essay for Korea Arts and Culture Education Service, April 2014.  The global proliferation of programs inspired by the New York Philharmonic’s Very Young Composers.

“The View from the Tower: Art with Purpose,” essay for Forfest, March 2013.  On the need for music to go beyond being self-referential, through extra-musical stimuli in composition.

“Sounds Possible,” Symphony magazine, September 2004.  Examines motives and methods of individuals who commission orchestra music.

“Musicians and Composers as Mentors,” The Orff Echo, Winter 2003, pp.22-23.  Examples of composers in classrooms and how creativity informs music instruction.

“On The Money: New Music Funding in the United States,” NewMusicBox, August 2000, In The Third Person.  Extensive hyper-history of funding for new music from individual patrons, government agencies, foundations, and corporations.

“How Exclusive Can You Get? Performance Rights in Commissioning Contracts,” CMA Matters, published by Chamber Music America, June 1999, pp. 1-3. Technical article on exclusive performance rights.

“Global Forecast,” Stagebill, Carnegie Hall, May 1998, pp. 24-26. On Tan Dun and his “orchestral theater” work Red Forecast.

“Composer at Work,” Stagebill, Carnegie Hall, March 1998, pp. 8-12. On Ellen Taafe Zwilich’s residency in Carnegie Hall’s Composer’s Chair.

“Composing to Communicate: Making Overtures with New Music,” Symphony Magazine, September-October 1996, pp. 33-55. On new orchestral music developed in community contexts.

“Changing Students, Changing Schools,” Chalkboard, published by New York Foundation for the Arts, Volume 5, Number 2, Spring 1996, page 2. On long-term effects of composer residencies in schools as sponsored by Meet The Composer’s New Music for Schools program.

“Meet The Composer: Opportunities for Ensembles and Presenters,” CMA Matters, published by Chamber Music America, February 1996, pp. 1-2. On grant programs supporting work with living composers.

“Composer Week,” Stagebill, special issue, “The Bank of New York Salutes Kurt Masur and the New York Philharmonic,” November 1995, pp. 10-11. Includes sidebar, “Lukas Foss.” On the annual series of composer-focused programs at the Philharmonic.

“Interview with Lukas Foss,” Stagebill, New York Philharmonic, October 1995. For a New York Philharmonic Composer Week dedicated to Lukas Foss.

“Pierre Boulez,” Stagebill, Carnegie Hall, April 1995. Sidebar on Boulez’s career for London Symphony Orchestra performances he conducted.

“Music from a Nation’s Soul,” Stagebill, Carnegie Hall, February 1995, pp. 22-30. On Krzystof Penderecki and the Warsaw Philharmonia.

“New and Newer,” Stagebill, Lincoln Center Productions, February 1995, pp. 8-14. On new music from Lincoln Center Productions.

“Face the Nation,” Stagebill, Kennedy Center, January 1995, pp. 18-21. Interview with Leonard Slatkin as he took over the National Symphony.

“The Telltale Heart,” Stagebill, The Philadelphia Orchestra, Spring 1994, pp. 50-54. Interview with Christopher Rouse on a performance of his Symphony No. 1.

“Use Value,” (Cover title, “Is Art for Art’s Sake Dead?”) Chamber Music, Fall 1994, pp. 24-61. On music composed to serve community as well as musical purposes.

“The Concerto Connection,” Stagebill, The Philadelphia Orchestra, Fall 1994, pp. 34-42. On the trend toward commissioning of concerti, on the occasion of Yo-Yo Ma playing three commissioned works.

“Luciano Berio,” Stagebill, 1993. Sidebar on Berio’s career.

“Composer Residencies,” Stagebill, Saint Louis Symphony Orchestra, Spring 1992. On a decade of classical and jazz composer residencies and premieres.

“Bright Spot on the Horizon,” Stagebill, Salute to the Lyric Opera of Chicago, Fall 1991, p. 14. On Lyric Opera’s residency program and Bright Sheng’s tenure there.

“Mission: Commission,” Stagebill, The Philadelphia Orchestra, Fall 1991, pp. 26-36. On the Philadelphia Orchestra’s history of commissioning and new works for 1991-92.

“Breaking the Sound Barrier,” Stagebill, Carnegie Hall, February 1991, pp. 22-28. On Pierre Boulez for his conductors’ workshop and performances of the Ensemble InterContemporain.

“Arias and Barcarolles,” Stagebill, New York Philharmonic, December 1990. On the Bernstein vocal quartet and its interpreters.

“Loebel Breaks In,” Stagebill, Saint Louis Symphony Orchestra, Fall 1990, pp. 12-15. Profiling the new Associate Conductor.

“Milton Babbitt Writes For His New Old Friends, The New Music Consort,” Chamber Music, Summer 1990, pp. 16-17. On the genesis and premiere of Consortini.

“Alexei Sultanov,” Stagebill, Carnegie Hall, April 1990, p. 40. On the coming debut of the Cliburn Competition winner.

Flying Together, published by Chamber Music America, three issues: March 1998, November 1998, February 1999. 12 pp. The education newsletter of CMA, supporting chamber music programs in primary and secondary schools. Created issue themes: conservatory-school partnerships; presenter-school partnerships; chamber music instruction abroad. Authored opening essays and edited contributed stories and resource lists.

The Arts & Community Partnership, published by Meet The Composer, Inc., semi-annually, 1995-1997. Large format, equivalent of 12 pp. Lessons and case histories and essays related to New Residencies, Meet The Composer’s landmark program to put composers to work in community settings. Distributed throughout the human services, community development, youth, and arts fields. Edited contributed essays and authored news items.

Orchestra Residencies Newsletter, published by Meet The Composer, Inc., five issues from 1990 to 1992. 8 pp. News of resident composers among 21 major and mid-sized American orchestras, sponsored by Meet The Composer’s Orchestra Residencies Program. Authored all news items.

Commissioning Music: A Basic Guide, published by Meet The Composer, Inc., 1993. Researched and authored complete revision and expansion of earlier Meet The Composer publication, Commissioning Music (1986).

Composer/Choreographer Handbook, published by Meet The Composer, Inc., 1995. Researched and authored a guide to business arrangements and financial considerations between collaborating artists.

CMSLC=Chamber Music Society of Lincoln Center
LCDS=Lincoln Center Discovery Series
GPLC=Great Performers of Lincoln Center

Alban Berg, Lyric Suite for string quartet (LCDS, 1995)
Luciano Berio, Duets for Two Violins (CMSLC, 1991)
Benjamin Britten, String Quartet No. 3 (GPLC, 1995)
Elliott Carter, String Quartet No. 5 (GPLC, 1995)
Pascal Dusapin, Quatour III for string quartet (GPLC, 1995)
Henri Dutilleux, Ainsi la Nuit for string quartet (LCDS, 1995)
Paul Hindemith, Duett for Viola and Cello (CMSLC, 1992)
Gyšrgy Ligeti, Trio for Horn, Violin, and Piano (CMSLC, 1992)
Bohuslav Martin, First Piano Quartet (CMSLC, 1991)
Darius Milhaud, La CrŽation du Monde (CMSLC, 1993)
Dmitri Shostakovich, Prelude and Scherzo for String Octet, Op. 11 (CMSLC, 1991)
Igor Stravinsky, Elegy for JFK (CMSLC, 1991)
—Divertimento for Violin and Piano (CMSLC, 1993)
—Double Canon, Raul Dufy In Memoriam (CMSLC, 1993)
—Epitaphium for the Tombstone of Prince Egon zu Furstenberg (CMSLC, 1993)
—ƒlegie for Solo Viola (CMSLC, 1992)
—Pastorale (CMSLC, 1992)
—Concertino for string quartet (LCDS, 1995)
Toru Takemitsu, Landscape for string quartet (GPLC, 1995)
Charles Wuorinen, Piano Quintet (LCDS, 1995)

Many program audits for New York State Council on the Arts, 1990-present.
Program audits for the Jerome Foundation, 1999.
“Atlanta Symphony: Sans Spirit,” New York Newsday, April 12, 1990, Part II, p. 7.
“The Voice Behind ‘Madama Butterfly’,” New York Newsday, May 1, 1990, Part II, p. 13.