Phil Winsor

with Vincent Plush

Denton, Texas

September 29, 1980

TABLE OF CONTENTS

Side a:                                                                                                                                    pp. 1-19

Family background and description of Morris, Illinois--early musical experiences--first exposure to contemporary music (Ernst Krenek)--piano lessons--learning to improvise--expected to pursue a military career--decided to pursue music at Illinois Wesleyan--from Music Education major to Composition major--John Silber, first brass teacher--Sonata for Trumpet and Piano--orchestra vs. smaller ensemble groupings--American music at Illinois Wesleyan--Cage--Song Cycle on Poems of William Blake--Dionysus for Mixed Choir--Trio for Violin, Clarinet, and Cello--private study with Robert Erickson.

Side b:                                                                                                                                   pp. 19-39

Study with Robert Erickson--enrollment at UC Berkeley--master’s degree from San Francisco State--involvement with Tape Music Center--Space Theater--Sound Study I for Stereo Tape--Fulbright scholar to Milan--study with Luigi Nono-- Sound Study II for Stereo Tape--Quartet for Piano and Percussion--teaching at the San Francisco Music and Arts Institute--fellowship at University of Illinois at Urbana--Piano Schema--description of Milan Studio--Tanglewood--Coronation--Sound Study III--Darmstadt--the Rome Prize--Conflations--Melted Ears--mixed feelings about the virtuoso tradition.

Side c:                                                                                                                                    pp. 39-57

Photography--application of visual-structural principles to music--influence of Paul Klee--experimentation in photography--teaching at Moorhead, Minnesota State University--Orgel I and Il--Missa Brevis for Tape, Slides, Dancer, and Three Percussionists--Gorge--Flos Harmonicus I--The Bride Stripped Bare--working with filmmaker Tom Palazzolo--Phantasma--Nothing is the Thing to Fear--Lullaby--City--building an electronic music studio at DePaul--new music scene in Chicago--conductor/director of New Music Ensemble at DePaul--forming the Chicago Interarts Ministry with Peter Gena--Rage, Rage Against the Dying of the Light.

Side d:                                                                                                                                   pp. 57-74

Rage, Rage Against the Dying of the Light--effect of social environment on pieces--America:  New and Used--music can be political--low-technology movement--Rondelet Concertant--Honeycomb for Orchestra and Tape--Asleep in the Deep for Five Tubas--Flos Harmonicus III--Cindy--STOC--Kyrie Eleison--more recent pieces less open-ended--teaching at North Texas State University--Str. Gam--Muzak--plans for compositions over next few years.

Side e:                                                                                                                                    pp. 74-80

Composition prospects in near future--composition as a personal vision--influence of San Francisco in the sixties--Ramon Sender--Terry Riley--individual art and vision vs. pop culture--new music world in U.S.--American composers today.