Neely Bruce

with Vincent Plush

Middletown, Connecticut

November 6-7, 1983

TABLE OF CONTENTS

Tape A                                                                                                                         pp. 1-22

Childhood in Tennessee, Georgia, Alabama -- family tree -- religion -- interest in hymns -- piano lessons -- musicians in family -- hymn -- playing contest -- jazz -- rock and roll -- Indian Springs School -- early composing, interest in theory -- songs -- parents’ attitude toward career plans -- plans for college.

Tape B                                                                                                                         pp. 22-43

One year at Eastman -- move to University of Alabama -- quality of musical education -- conducting -- leave of absence -- Southeastern Regional Composers’ Forum -- Milton Babbitt, Henry Cowell, Jean Eiche Therger Ivey -- orchestral, jazz experience -- graduate school at University of Illinois -- piano study with Soulima Stravinsky -- Festival of Contemporary Arts -- music of Lejaren Hiller -- switch to composition -- study with Ben Johnston -- Vietnam -- computer music -- incidental music, The Tempest, “Au Clair de la Lune,” Membrane -- electronic music -- Housecleaning Music -- Real Art Ways.

Tape C                                                                                                                         pp. 43-58

Interest in Americana -- minor in philosophy -- choir conducting -- interest in Southern Harmony, Sacred Harp singing -- Anthony Philip Heinrich -- Temperance music -- Heinrich, Benjamin Carr -- American Music Group -- early 19th-century vocal style -- Perfumes and Meanings -- London Voices -- incorporation of early American musical styles into his work -- thesis on Heinrich -- opera The Trials of Psyche -- living exegesis of myth.

Tape D                                                                                                                         pp. 58-72

Psyche -- Grand Duos -- idea of process and structure -- ”narrative music” -- Americana, or, A New Tale of the Genii -- mythological account of the American Revolution -- John Brown, the Making of a Hero -- move to Wesleyan -- American Music/Theater Group -- early American piano styles -- interest in writing articles -- Ives -- Percy Grainger -- diverse interests -- Henry Brant’s approval.

Tape E                                                                                                                         pp. 72-93

Choir music -- commissions -- Meteor Farm, Brant -- Lies on the Roof of 110 Thompson Street -- Rondo for Flute, Tuba, and Piano -- process and structure -- collage -- Plague piece for Electric Phoenix -- rock elements -- HPSCHD -- Music for Dancing -- Leibnitz and the Bassoon -- Richard Corey -- film music -- writing for piano.

Tape F                                                                                                                         pp. 93-108

“Minimalist” pieces -- relationship of one’s art to one’s cultural background -- need for sense of regional identity -- Ives, Heinrich -- Copland, Thomson -- future of renewed interest in Americana -- songs -- The Blades of Bluegrass Songbook -- Whitman Fragments -- Chinese Love  Poems.