My Musical Education and Experience




From 1946-58:  Kathy began her piano training

with Angelon Hoffmeister

 Los Angeles, California




From 1958-62:  her piano studies continued

with Dr. Sherman Storr

La Jolla, California




From 1962-63:  her piano studies continued

with Prof. Howard Brubeck

La Mesa, California




From 1962-66:  Kathy attended San Diego State College

School of Music:

Piano Major with Dr. John D. Blyth, pianist

Orchestration with Dr. David Ward-Steinman, composer

Piano/Strings with Gilbert Back, violinist

San Diego, California




Summer-1965:  Kathy attended and performed in

Piano Master-Class and Performance

with Leonard Schure, pianist

prior piano-tryouts for his Master-Class judged by

Edith Oppens, pianist

Schoenberg Hall, University of California at Los Angeles

Westwood, California




Summer-1966:  Kathy attended and performed in

Piano/Strings Master-Classes and Concert

with Edgar Lustgarten, cellist

Sherwood Hall, Museum of Contemporary Arts,

University of California at San Diego

(our trio performed a Brahms Trio;

 in another concert soon after I was asked to substitute for

Leonard Pennario, pianist, with his trio ensemble playing the

Brahms Trio at Sherwood Hall)

La Jolla, California




From 1966-71:  Kathy was accepted as a Piano Major at

The Juilliard School of Music

(in old & new buildings)

[ B.M.Degree in Music Composition: 1971]

from 1966-68:  she was a Piano Major with

Madame Ania Dorfmann, pianist

from 1968-69:   she was a Composition Major with

Hugo Weisgall, composer

(and, at Mr. Weisgall's request),

from 1969-71:   she studied composition with

 Luciano Berio, composer

(and, when Mr. Berio was in Europe),

she was given private composition-studies with

Vincent Persichetti, composer

also, she had Piano/Strings instruction with

George Macanovitsky, violinist

and, Orchestration with

Jacob Druckman, composer

she attended classes with Roger Sessions, Hal Overton,

Hugh Aitken, Stanley Wolfe, Norman Grossman,

 Renee Longy, among others

 a major premiere-performance was given

of her extended composition



(1969-70; an Enactment of the Transformation of Ioannes the

Initiate for live-Initiate, 19 dancers, 4-Track Electronic Tape,

moving mixed chorus of beings, instruments, rock ensemble,

film, set  and extended lights; 38'00)

This work has the distinction of being the first publicly-

presented production in John Houseman's Drama Workshop,

with his official permission and assistance;

due to the concerned talk that certain questionable

appropriateness in costume-attire of the choir - or lack of -

occurring at the work's ending, the school's dean of music

Gordon Hardy attempted to hinder performance of this work

(even giving Kathy the choice of either graduating or having

the work performed; and, of course, she chose the latter);

the key here being that John Houseman wanted the work

to be performed, and so it was.

subsequently, resulting in all those concerned becoming

overwhelmingly pleased by the evening's performance - after

many long applauses, the majority of the entire audience

came down from their seats upon the stage-proper and

remained there joyously chatting and laughing with people

and performers. for a few hours, in fact. lingering here and

there, until the building-crew finally had to boldly enter and

inform everyone that the school was about to close for the

night, causing everyone to instantly (yet reluctantly) depart;

thusly, and most importantly, Kathy was able to graduate.

New York, New York




Summer-1968:  Kathy attended the

Darmstadt Ferienkurse Fur Neu Musik:

she had Composition studies with

 Karlheinz Stockhausen, composer

(intended Composition studies were to be with

Pierre Boulez, composer,

yet London commitments kept him from attending that year)

she had Composition Analysis with

Gyorgi Ligeti, composer

Darmstadt, West Germany




From1968-70:  Kathy worked as

music-transcriber (one of two able to do this task, she felt)

for Dr. Laura Boulton, Ethno-Musicologist

School of International Affairs at Columbia University

 (this was part-time work for Kathy, while attending

The Juilliard School, along with Electronic-Music studies at

the Columbia-Princeton Electronic-Music Center near-by)

both music-transcribers were given Dr. Boulton's

precious original tapes to work from

of Tribal Music in Africa - especially Ethiopia

(dating from about 1940 onward, Dr. Boulton alone

fearfully lived with the people and recorded their daily music)

and, as the notated-transcriptions finally became completed

and copyrighted, Dr. Boulton fulfilled her years of work

writing two significant books entitled "The Music Hunter"

New York, New York




From 1968-72:  Kathy became very involved in

electronic-music studies at the

Columbia-Princeton Electronic Music Center

Special Studies at Columbia University

with Electronic-Music studies under Vladimir Ussachevsky,

Bulent Arel and Mario Davidovsky

Laboratory Assistance of Alice Shields and Pril Smiley

(Kathy was given her own key to work long hours

 on her electronic-music compositions

 whenever certain studios were unoccupied)

New York, New York




Summer-1969:  Kathy received a Fellowship in Composition,

Tanglewood in the Berkshires

She was one of six International Fellows accepted

(1 of 2 Americans; only female!)

Her given mentor was British composer Alexander Goehr

her written composition while in-residence entitled


(1969; a Large Instrumental Ensemble for clarinet solo, flute,

6 bassoons. 4 string basses, harp and bass drum; 13'00)

being performed in two separate concerts,

 both performances conducted by composer Gunther Schuller:

2nd Composers Forum Concert, and

Tanglewood-On-Parade Concert;

she was asked to be tape-technician for a major performance

of "Differences" by composer Luciano Berio,

conducted by Paul Zukovsky,

on the Contemporary Music Concert in Theatre Concert Hall;

all six International Fellows participated in

on-stage panel-discussions with questions by the public

Lenox, Massachusetts




In 1970:  Kathy participated in 'Aubade Surpris' Concert

presented by The Journey of Dreams & Company

Experimental Theatre of the National Arts Centre

directed by Jaan Krusberg

broadcasted live over CBC National Public Radio -

 organized by Francoys Bernier, head of Canada Council

(entire audience was given

individual earphones for translation!)

her electronic-tape composition


(1970; Electronic-Tape Environment; 23'00)

 was performed on the program;

an Audience/Composer/Performer Question-Answer Period

followed the concert presentation

Ottawa, Canada





(1970; One Live-Female Performer, 7 Speaking-Characters,

4-Track Electronic-Tape, Film and Lights; 25'00)

was Topic of Discussion on CBC Television Program,

Channel 13 (half-hour in length)

organized by Jaan Krusberg;

with Narrator and Members of

The Journey of Dreams & Company, and Kathy;

audio & visual segments of the musical-drama

were used as background to the discussion

Ottawa, Canada




In 1970:  Kathy was Guest-Composer & Lecturer:

 School of Music, University of Ottawa

displaying & explaining her Notated and Visual Scores

(airfare paid from New York)

Ottawa, Canada




In 1971:  Kathy Prepared  2-Track Electronic-Tape Score for

 "Playsongs For Night-Children", a Play by Joseph Scott

 performances, directed by Les Barclay

Main Theatre, The New Dramatists of New York

 New York, New York




In 1971:  Kathy Prepared 2-Track Electronic-Tape Score for

 "La Salon", a Play by Aldo Guinta

 5 performances, directed by Les Barclay

Main Theatre, The New Dramatists of New York

 New York, New York




In 1971; 1973; 1975-76:  Kathy received

 3 Residency-Fellowships in Music Composition to

The MacDowell Colony



(1971; Suite of Nine Pieces for Pianissimo String Orchestra,

with 9 female dancers; 23'00)


(1973, completed in Boston MA 1974; for Bb Clarinet Solo,

a cappella Boy's Choir & Percussion; 11'45)


(1976;'Touch-Me-Not'; Dance Quintet, with lights; 10'00)



(1976, completed in Cambridge MA; for Piano and Orchestra,

with optional stage-set & lights; 23'00)

Peterborough, Massachusetts




In 1973:  An Interview and  Commentary on her


CBC Television Program 'Review',Channel 13

a brief filmed-excerpt of the up-coming musical-drama

production was shown for publicity purposes;

co-directed by Jaan Krusberg

(a different concept than her vision;

the work had been commissioned by

The Journey Of Dreams & Company;

Jaan Krusberg, Director)

Ottawa, Canada




In 1973:  Kathy was Guest-Composer & Lecturer:

School of Music, University of Ottawa

her Notated and Visual Scores  (2nd invitation!)

(airfare paid from New York)

Ottawa, Canada




In 1976:  Kathy was Guest-Composer,

with Members of The Music Project Contemporary Ensemble:

Radio-Station WQXR, New York Times Building

 on 'The Listening Room' with Robert Sherman

about the up-coming premiere-performance of her


New York, New York




Summer-1976:  Kathy received a

 Residency-Fellowship in Music Composition:

Johnson State College Composers Conference

Ephraim Guigui, General Director

Composition classes with

Milton Babbitt, Bulent Arel, and Mario Davidovsky

Johnson, Vermont




In 1976:  Kathy was Guest-Composer & Lecturer:

Governor's School For The Gifted

at Randolph-Macon College, School of Music

Allan Miller, Program Director;

 a few of her Visual Scores were exhibited,

along with a philosophical lecture-presentation entitled

"Aspects of Greek Mythology in Musical Composition"

Lynchburg, Virginia




In 1976-77:  Kathy received a

Residency-Fellowship in Music Composition:

The Virginia Center For The Creative Arts

William Smart, Director;

work-in-progress public studio-showing of extensive wall-

hanging creating & preparation for her 16'x4' music-score of


 Sweet Briar, Virginia




From 1976-77:  Kathy received a

Fellowship for Electronic-Music Study at the

Instituut voor Sonologie, Van de Rijksuniversiteit te Utrecht

Gottfried M. Koenig, Director;

Technical Assistance and Study with

Jaap Vink and Luctor Ponce;

Sound Analysis with

Fritz Weiland, W. Templaars, and Werner Kaegi;

her brief PROJECT 1 (1976) written in analysis class;

Studios  2, 3, and 4:  Preparation of Sound Material for

up-coming Sculpture-Exhibit and Audio-Presentation for


(1976-77; a Garden-Presentation of Life-Sized Bronze-Statues

of Prominent Americans,

 with 2-Track Electronic-Tape Environment; 20'00)

a grande vision and collaborative project of

 American sculptor Rhoda Sherbell Honig, and Kathy

Utrecht, The Netherlands




In 1977:  Kathy was granted Writer-Membership:

American Society of Composers, Authors, and Publishers

(ASCAP); Stanley Adams, President

 New York, New York




In 1977:  Kathy was Guest-Composer & Lecturer:

 Babcock Hall, Fine Arts Building of Sweet Briar College

her Notated and Visual Scores;

Course of Music Theory, Department of Music

Jane Perry Camp, Professor of Theory

Sweet Briar, Virginia




In 1977:  Kathy was Sole Stage Manager/Lighting Technician

for one-man theatre-production of "Alley Cats"

by New York Playwright Tom Coble

Wailes Center of Sweet Briar College

an afternoon-performance in The Bistro Patio

sponsored and organized by

The Virginia Center For The Creative Arts

William Smart, General Director;

Sweet Briar, Virginia




From 1977-79:  Kathy pursued Graduate Studies:

 School of Music, California Institute of the Arts

Dr. Nicholas England, Dean of Music

 [M.F.A. Degree in Music Composition: 1979]

Composition studies with composer Mel Powell

 classes with Leonard Stein, Alan Chaplin,

Alan Rich, among others;

many of her works performed,

including the (partial) premiere-performance of her



a Student Council/William H. Ahmanson Foundation Grant

for the West-Coast premiere-performance(s) of her



Valencia, California




In 1978:  Kathy was Guest-Composer:

program 'Imaginary Landscape' with Carl Stone

Recording Room, Radio-Station KPFK-FM

Independent Composers Association Interview

 on up-coming Concert to include first-hearing of her

recently-completed score of


(1978; an Epic Instrumental Drama in 13 Movements,

 for Bb Clarinet and Piano; 25'00)

 written for the duo of

clarinetist William Powell and pianist Zita Carno

Universal City, California




From 1978-79:  Kathy was Pianist-Member:

 CalArts Twentieth-Century Players Ensemble

 directed by Morton Subotnick and Leonard Stein

School of Music, California Institute of the Arts

Valencia, California




From 1978-79:  Kathy was Teaching-Assistant

 of pianist Leonid Hambro:

School of Music, California Institute of the Arts

 Valencia, California




From 1979-80:  Kathy was Member of Music Faculty

in both Music Composition and  Piano:

 Theory I Workshop, under Professor Alan Chaplin

Class Piano I; Piano, Private Instruction

School of Music, California Institute of the Arts

Valencia, California




In 1980:  Kathy was Guest-Composer,

with CalArts Musicians:

 program 'At The Keyboard With Leonid Hambro'

Recording Room, Radio-Station KPFK-FM

 in a live-performance of her


(1979; Six Nocturnes for the Piano; 10'00)

performed by pianist Lorna Little

Universal City, California




In 1980:  Kathy was Resident-Composer:

American Dance Festival at Duke University

Music & Dance Project: Morton Subotnick, Musical Director

her music-ensemble & dance works written and performed:

ADAM AND EVE  (1980)

HARVEST (1980)




Durham, North Carolina




In 1980:  Kathy was Guest-Composer,

with Music-Historian Jeannie G. Pool:

program 'The Carl Stone Show'

 Recording Room, Radio-Station KPFK-FM

in a live-performance of her


(1979; Orchestral Strings, acappella; 3'00)

performed by Los Angeles musicians

 Universal City, California




In 1980:  Kathy was  Resident-Composer:

Charles Ives Center For American Music,

at The Cantebury School

String Quartets by American Composers

segment-readings of each Resident-Composer's Work

were rehearsed and presented by a fine Quartet of Musicians

in a live Afternoon-Concert to the public

 in the School's Chapel


(1980; String Quartet in 9 Epic Movements,

 with Soprano-Obbligato; 36'00)

3 of 9 movements (partial) were heard:

Harmony of the Shattered; Oh Thy Force Profound.

 The Plane of Energy: Domaine of the Good.

Consumed by a Vision, a Conscience Bright.

New Milford, Connecticut




In 1980:  Kathy was Guest-Composer,

 with other Cal Arts Composers:

program 'At The Keyboard With Leonid Hambro'

Recording Room, Radio-Station KPFK-FM

also involving composers Michael Fink,

Arthur Jarvinen and Randall Packer

Universal City, California




In 1984:  Kathy was Invited-Composer:

3rd International Congress on Women in Music

Jeannie G. Pool, Coordinator;

Event Presented in Mexico City, Mexico

(airfare paid from New York)

 Concert of Contemporary Piano Music By Women:


(1980; Piano Solo; 10'00)

was presented in a live-performance

by pianist Mildred Chase

in the School Auditorium of Zacatecas

[Kathy's father passed-away while she was attending the

Congress in Mexico; the morning after her piano work was

performed in Zacatecas,  they kindly paid for Kathy's

 taxicab-ride and Mexicana flight back to San Diego]

Zacatecas State, Mexico




In 1988:  Kathy was Invited-Composer:

1988 Festival of Contemporary Music

School of Music, California Institute of the Arts

 Dr. Nicholas England, Dean of Music

(airfare paid from New York)


(1981; Suite of Six Dances for Woodwind Quintet; 6'30)

 was performed in Festival's

Concert of Composers From Los Angeles

performed by Quintet from the

CalArts Twentieth-Century Players Ensemble

 Main Gallery, California Institute of the Arts

she participated with other Invited-Composers in

On-Stage Panel-Discussion

(representing serious-to-cinematic)

moderated by Music-Critic Alan Rich

Valencia, California




From 1997-98:  Kathy was Invited-Composer:

 Alumni Mentoring Program

School of Music, California Institute of the Arts

to share wisdom, experience and knowledge

with current CalArts Composition students

Valencia, California