AMERICAN MUSIC SERIES                                                                  337 a-e

Lois Vierk

With Libby Van Cleve

West New York, N.J.

Feb. 25, 2004

TABLE OF CONTENTS

Sida a                                                                                                             pp. 1-21

DAT 1                                                                                                            pp. 1-58

Earliest musical memories:  Lutheran church and Sunday school--learning piano; improvising at the keyboard--parents'  background--taking tap and ballet lessons--piano lessons--love of Beethoven's music--decision to go to Valparaiso University--interest in non-Western music--attending UCLA: taking courses in ethnomusicology, special interest in gagaku [Japanese Court Music]--studying piano at UCLA--studying composition with Dean Drummond (Leonard Stein's student)--early urge to create, compose--study with Leonard Stein--meeting people at Monday night concerts--attending Cal Arts--study of Japanese gagaku with Suenobu Togi--study with Lucky Mosko, Morton Subotnick, Mel Powell--working with the Buchla--"multiple" idea--early pieces.

Side b                                                                                                                        pp. 21-43

Mel Powell as composition teacher--Go Guitars--concert by Independent Composers Association--working back and forth between sounds and structure--exponential structure--Vierk's daughter and husband--relationship between the cerebral and the visceral in music--Simoom--Red Shift--gender and music--rock 'n' roll--tempo of Japanese gagaku--influence of gagaku on her music--memorization and non-Western cultures--importance of oral tradition--other Westerners studying gagaku--teacher in Tokyo: Sukeyasu Shiba--moving back to New York--influence of the work of Phill Niblock--Manhattan Cascade--accordion piece for Guy Klucevsek--glissando as signature sound for Vierk--studying ryuteki (flute)--Into the Brightening Air--Red Shift.

Side c                                                                                                             pp. 43-64

String quartet River Beneath the River--Red Shift--different versions of Red Shift--Cloud Nine Consort--Cirrus--live performance vs. the control of the studio--HEXA (collaboration with Anita Feldman)--Pilot--tap dance--constructing a modular performance floor--Timberline--working with Relâche--River Beneath the River--substitute teaching for Annea Lockwood--[DAT 2--pp. 58-end]--book Women Who Run with the Wolves--writing for the Kronos Quartet--Into the Brightening Air--more on use of glissandi.

Side d                                                                                                                        pp. 64-83

To Stare Astonished at the Sea--working with Margaret Leng Tan--university teaching--self publishing--conventional publishing--daughter Wendy Shu Fen--

Motherhood--Vierk's autoimmune disease--seeking answers about her illness--Deep Water Waves--9/11--In Memory--For The City--future piece for Sarah Cahill--piece for Bavarian Radio--more on Vierk's illness--future commissions.

Side e                                                                                                             pp. 83-85

Piece for Brass Quintet.