M u s i c   E d u c a t i o n  /  E x p e r i e n c e
early piano training with Angelon Hoffmeister; Los Angeles CA    1946-58
Audubon Jr.High School; Los Angeles CA    1953-55
Dorsey High School; Los Angeles CA    1955-58
(Choinard Art Institute; Los Angeles CA    S-1955-58)
La Jolla High School; La Jolla CA    1958-60    [Diploma:    1960]
further piano training with Dr. Sherman Storr; La Jolla CA    1958-62
further piano training with Prof. Howard Brubeck; La Mesa CA    1962-63
San Diego State College, School of Music; San Diego CA    1962-66
   Piano Major with Dr. John D. Blyth, pianist 1962-66;  Orchestration with Dr. David Ward-Steinman, composer;  Piano/Strings with Gilbert Back, violinist
University of California at Los Angeles, Schoenberg Hall; Westwood CA    S-1965
   Piano Master-Class with Leonard Schure, pianist; piano-tryouts for Master-Class judged by Edith Oppens, pianist
University of California at San Diego, School of Music/Sherwood Hall, Museum of Contemporary Arts; La Jolla CA    S-1966
   Piano/Strings Master-Classes and Concert with Edgar Lustgarten, cellist  (our particular trio performed a Brahms Trio)
   [another concert soon after: I was asked to substitute for Leonard Pennario, pianist, with his trio ensemble playing the Brahms Trio at Sherwood Hall]
Juilliard School of Music (old & new bldgs.); accepted as a Piano Major; New York NY    1966-71;    B.M.Degree in Music Composition:    1971
   Piano Major with Mme. Ania Dorfmann, pianist 1966-68; Composition Major with Hugo Weisgall, composer 1968-69, and with Luciano Berio, composer 1969-71
   (at Mr. Weisgall's request); Piano/Strings with George Macanovitsky, viiolinist; Orchestration with Jacob Druckman, composer; private composition-studies
   with Vincent Persichetti (when Mr. Berio was in Europe); classes with Roger Sessions, Hal Overton, Hugh Aitken, Stanley Wolfe, Norman Grossman,
   Renee Longy, and others; my  THE REVELATION OF ST.JOHN THE DIVINE:  A MULTI-MEDIA MASQUE IN 7 ACTS  (1970)  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
   word moving around that certain questionable appropriateness in costume-attire - or lack of - would be occurring at the work's ending, the dean of music
   Gordon Hardy tried to hinder the work from being performed (even giving me the choice of either graduating or performing the work; and, of course, I chose
   the latter), yet John Houseman wanted the work performed and so it was... subsequently, resulting in all-concerned being overwhelmingly pleased by the
   evening's performance (after many long applauses, the majority of the audience came down upon the stage and remained there joyously chatting with
   people and performers...for a few hours, in fact...lingering here and there, until the building-crew 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), I was able to graduate.
Darmstadt Ferienkurse fur Neu Musik; Darmstadt, West Germany    S-1968
   Composition studies with Karlheinz Stockhausen; Composition Analysis with Gyorgi Ligeti
   (intended Composition studies was with composer Pierre Boulez, yet he was unable to attend the event that year)
School of International Affairs, Columbia University; New York NY    1968-70
   worked as one of two music-transcribers for Dr. Laura Boulton, Ethno-Musicologist and Writer on Tribal Music (of Africa; especially Ethiopia);
   we were given her original tapes to work from... as the notated-music became copyrighted, a few books were then written by her entitled "The Music Hunter"
   (part-time work: while attending Juilliard, also while taking electronic-music studies at the Columbia-Princeton Electronic-Music Center near-by)
Columbia-Princeton Electronic Music Center; Special Studies, Columbia University; New York NY    1968-72
   Electronic-Music studies with Vladimir Ussachevsky, Bulent Arel, Mario Davidovsky; Laboratory Assistance of Alice Shields, Pril Smiley;
   (I was given my own key to work on my electronic-music compositions in their studios whenever certain studios were unoccupied)
Fellowship in Composition, Tanglewood in the Berkshires; Lenox MA    S-1969
   one of six international fellows (1 of 2 americans; only female!); Composition studies with British composer Alexander Goehr; THE CAGE (1969), my com-
   pleted composition while in-residence, was performed in two separate concerts conducted by composer Gunther Schuller: 1) 2nd Composers Forum Concert,
   and 2) Tanglewood-On-Parade Concert; was asked to be tape-technician for a performance of "Differences" by composer Luciano Berio, conducted by
   Paul Zukovsky, on the Contemporary Music Concert in Theatre Concert Hall; all six fellows participated in panel-discussions with questions by the public
 'Aubade Surpris' Concert presented by The Journey of Dreams & Co.; Experimental Theatre, National Arts Centre; Ottawa CAN    1970
   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!); my electronic-tape composition A VISION OF THE ETHEREAL COSMOS (1970) was performed on the
   program; an Audience/Composer/Performer Question-Answer Period followed the concert presentation
My OPHELIA:  A POETIC DRAMA (1970)  was Topic of Discussion on CBC Television Program, Channel 13 (half-hour in length); Ottawa CAN    1970
   organized by Jaan Krusberg; with Narrator and Members of The Journey of Dreams & Co., with myself; audio & visual segments of the musical-drama
   were used as background to the discussion
Guest-Composer & Lecturer:  my notated and visual scores; School of Music, University of Ottawa; airfare paid from New York; Ottawa CAN    1970
Prepared and executed 2-track electronic-tape score for the New Dramatists; directed by Les Barclay, in Main Theatre; New York NY    1971
   music-score for "Playsongs For Night-Children", a Play by Joseph Scott  (5 performances)
Prepared and executed 2-track electronic-tape score for the New Dramatists; directed by Les Barclay, in Main Theatre; New York NY    1971
   music-score for "La Salon", a Play by Aldo Guinta  (5 performances)
Residency-Fellowship(s) in Music Composition, The MacDowell Colony; Peterborough NH    1971;  1973;  1975-76
   THE SACRED MOUNTAIN  (1971; Suite of Nine Pieces for Pianissimo String Orchestra, with 9 female dancers; 23'00)
   THE DEVIL-BIRD:  A SOUTH-AMERICAN MYTH  (1973, completed in Boston MA 1974; for Bb Clarinet Solo,a cappella Boy's Choir & Percussion; 11'45)
   MIMOSA PUDICA  (1976; 'Touch-Me-Not'; Dance Quintet, with lights; 10'00)
   FRAGRANCES  (1976, completed in Cambridge MA; for Piano and Orchestra, with opt stage-set & lights; 23'00)
Interview and Commentary on my OPHELIA:  A POETIC DRAMA (1970): CBC Television Program 'Review', Channel 13; Ottawa CAN    1973
   a brief filmed-excerpt of the up-coming musical-drama production was shown, for publicity purposes; co-directed by Jaan Krusberg
   (different concept than my vision; the work had been commissioned by The Journey Of Dreams & Co.; Jaan Krusberg, Director)
Guest-Composer & Lecturer:  my notated and visual scores (2nd time!); School of Music, University of Ottawa; airfare paid from New York; Ottawa CAN    1973
Guest-Composer, with Members of The Music Project Contemporary Ensemble: Radio-Station WQXR, New York Times Building; New York NY    1976
   on 'The Listening Room' with Robert Sherman; about the up-coming premiere performance of my THE SIBYL, IN CONTEMPLATION  (1976)
Residency-Fellowship in (Electronic-Music) Composition, Johnson State College Composers Conference; Johnson VT    S-1976
   Composition classes with Milton Babbitt, Bulent Arel, and Mario Davidovsky; Ephraim Guigui, General Director
Guest-Composer & Lecturer:  Governor's School For The Gifted at Randolph-Macon College, School of Music; Lynchburg VA    1976
   Allan Miller, Program Director; score-samples exhibited, with philosophical lecture-presentation "Aspects of Greek Mythology in Musical Composition"
Residency-Fellowship in Composition, The Virginia Center For The Creative Arts; William Smart, Director; Sweet Briar VA    1976-77
   work-in-progress public studio-showing of extensive wall-hanging creating & preparation for my 16' x 4' music-score of THE DELIRIOUS CAITANYA  (1977)
Instituut voor Sonologie, Van de Rijksuniversiteit te Utrecht, The Netherlands    1976-77
   Fellowship for Electronic-Music Study with Gottfried M. Koenig; Technical Assistance and Study with Jaap Vink, Luctor Ponce; Sound Analysis with
   Fritz Weiland, W.Templaars, Werner Kaegi; my study  PROJECT 1  (1976)  from classes; Preparation of Sound Material for up-coming Exhibit and  
   Audio-Environment for THE BRONZE (1976-77; a garden of life-size bronze-statues, with electronic-tape): a grande vision and collaborative project of 
   American sculptor Rhoda Sherbell Honig, and myself; Studios 2, 3, and 4
Writer Membership:  American Society of Composers, Authors, and Publishers (ASCAP); Stanley Adams, Pres.; New York NY    1977
Guest-Composer & Lecturer:  my notated and visual scores; Course of Music Theory in Department of Music, Sweet Briar College; Sweet Briar VA    1977
   Fine Arts Building, Babcock Hall; Jane Perry Camp, Professor of Theory
Sole Stage Manager/Lighting Technician for theatre-production "Alley Cats":  Bistro Patio, Wailes Center of Sweet Briar College; Sweet Briar VA    1977
   a one-man afternoon-performance by New York Playwright Tom Coble; sponsored and organized by The Virginia Center For The Creative Arts, For The Creative Arts;
   William Smart, Director
California Institute of the Arts, School of Music; Valencia CA    1977-79    [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 my works performed,
   including the (partial) premiere-performance of my THE SACRIFICE OF IPHIGENIA  (1978) and a Student Council/William H.Ahmanson Foundation Grant
   for the presentation of my THE REVELATION OF ST.JOHN THE DIVINE:  A MULTI-MEDIA MASQUE IN 7 ACTS  (1970)
Guest-Composer:  Radio-Station KPFK-FM, program 'Imaginary Landscape' with Carl Stone; University City CA    1978
   Recording Room; Independent Composers Association Interview re: up-coming Concert to include first-hearing of my recently-completed score of
   THE SACRIFICE OF IPHIGENIA  (1978; an Epic Instrumental Drama in 13 Movements),  for Bb Clarinet and Piano;
   written for clarinetist William Powell and pianist Zita Carno
Pianist-Member, CalArts Twentieth-Century Players Ensemble; School of Music, California Institute of the Arts; Valencia CA    1978-79
   directed by Morton Subotnick/Leonard Stein; Dr. Nicholas England, Dean of Music
Teaching-Assistant of pianist Leonid Hambro; School of Music, California Institute of the Arts; Valencia CA    1978-79
Faculty (Composition & Piano):  School of Music, California Institute of the Arts; Valencia CA    1979-80
   Theory I Workshop, under Professor Alan Chaplin; Class Piano I; Piano, Private Instruction
Guest-Composer, with CalArts Musicians:  Radio-Station KPFK-FM, program 'At The Keyboard With Leonid Hambro'; Universal City CA    1980
   Recording Room; my NIGHT MUSIC  (1979; 6 Noctures for the Piano), performed live by pianist Lorna Little
Resident-Composer, American Dance Festival at Duke University; Durham NC    1980
   Music & Dance Project; Morton Subotnick, Musical Director; various ensemble-works (with dancers) written and performed, such as:
Guest-Composer, with Music-Historian Jeannie G. Pool:  Radio-Station KPFK-FM, program 'The Carl Stone Show'; Universal City CA    1980
   Recording Room; with Los Angeles musicians, a live performance of my  A PRAYER  (1979; Orchestral Strings, acappella)
Resident-Composer, Charles Ives Center For American Music; The Cantebury School; New Milford CT    1980
   segment-readings of String Quartets by American Composers were rehearsed and presented to the public in an informal-concert in the School's Chapel;
   my QUARTET OF A PROPHECY (1979-80; String Quartet, and Soprano-Obbligato; 3 of 9 movements only) was heard:  I. Harmony of the Shattered;
   Oh Thy Force Profound...              II. The Plane of Energy: Domaine of the Good...              III. Consumed by a Vision, a Conscience Bright...
Guest-Composer, with other CalArts composers:  Radio-Station KPFK-FM, program 'At The Keyboard With Leonid Hambro'; Universal City CA    1980
   involving composers Michael Fink, Arthur Jarvinen, and Randall Packer
Invited-Composer:  3rd International Congress on Women in Music; Jeannie G. Pool, Coordinator; airfare paid from New York; Mexico City MEX    1984
   my CALLIOPE'S SONG TO APOLLO (1980; Piano Solo) was performed in Concert of Contemporary Piano Music By Women, by pianist Mildred Chase;
   Auditorium, School in Zacatecas; Zacatecas State MEX  (my father passed-away while I was here; after concert they flew me back to San Diego)
Invited-Composer:  1988 Festival of Contemporary Music; School of Music, California Institute of the Arts; airfare paid from New York; Valencia CA    1988
   Dr. Nicholas England, Dean of Music; my  HELIOTROPE  (1981; Suite of Six Dances for Woodwind Quintet) was performed in Festival Concert:
   Concert of Composers From Los Angeles; performed by Quintet from the CalArts Twentieth-Century Players Ensemble; Main Gallery, California
   Institute of the Arts; participated with other Invited-Composers (representing from serious to the cinematic) in Panel-Discussion, moderated by
   Music-Critic Alan Rich
Invited-Composer:  School of Music Alumni Mentoring Program, California Institute of the Arts; Valencia CA    1997-98
   to share wisdom, experience and knowledge with current Composition students