I NCLUSION

At this point, the present is too close to know who the great composers will be of the future. Women and minorities have gradually taken their rightful way in music making. Most European and North American orchestras contain a large number of female musicians. Although, there are two orchestras in Europe that still do not hire women. Representation for African – American musicians still lags behind. There are a few African – Americans in orchestras, conductors and even fewer well-known composers. The four pieces that will be heard today simply show that the difference between male and female or black and white in music disappear in the mass of qualities that humans share.

P AULINE O LIVEROS ( B. 1932) Has composed numerous works, served as composer-in-residence at several colleges and toured the country in performances of contemporary music. Sound Patterns Composed in 1964 for Mixed chorus (sopranos, altos, tenors, and basses This piece involves no text. The composer calls for a huge range of nonverbal sounds from the singers, including clicking, trilling, hissing, sliding, screeching, whooping, popping, ow -ing, zz - ing. The music mixes men’s and women’s voices, loud and soft, group and separate textures, high and low in a kaleidoscope of sound.

O LLY W ILSON ( B. 1937) Born in St. Louis, Missouri He is currently the professor of music and chairman of the music department at the University of California at Berkeley. He has published a book on black music in America He has specialized in electronic music. Sometimes Composed in 1976 for Tenor and taped electronic sounds Based on the spiritual “Sometimes I Fell Like a Motherless Child.” The tape uses electronic sounds and manipulated snippets of the tenor’s voice.

J OAN T OWER (1938) Born in New York, but was raised in South America. She was the first woman to win the Grawemeyer Award for music Composition She is professor of music at Bard College. Wings Composed in 1981 for Solo Clarinet The image behind Wings is that of a falcon, at times gliding high along the air currents and at other times, “going into elaborate flight patterns that loop around, diving downwards, gaining tremendous speeds.”

E LLEN T AAFFE Z WILICH ( B. 1939) Born in Florida and studied with Elliott Carter and Roger Sessions at Juilliard School of Music She was the first woman to win a Pulitzer Prize in music She was also the first appointed composer-in- residence at Carnegie hall Third Movement ( Rondo ) from Symphony No. 1 Composed in 1983 for Piccolo, 2 flutes, oboe, English horn, clarinet, bass clarinet, bassoon, contrabassoon, 4 horns, 2 trumpets, 2 trombones, tuba, piano, harp, strings, and percussion, including timpani, cymbals, tambourine, bass drum (small and large), orchestral bells, vibraphone, tubular bells, snare drum, and suspended cymbals The main thematic material, instead of being identical on each recurrence, is varied every time it returns. See the listening guide on pg. 395 to see how the main theme is altered.