2008-2009Roosevelt UniversityChicago College of Performing ArtsComposition ProgramStudent PacketDr. Stacy GarropHead of Composition ProgramAUD 1458, [email protected] Kyong Mee ChoiAUD 1461, [email protected] StudiosAUD 1556/1561

ContentsTOPICPAGEI. Our Vision of the Composition Program4II. Degree Requirements1. Bachelors Degree requirementsa. Coursework5b. Mid-Degree Jury6c. Recital62. Masters Degree requirementsa. Coursework6b. Masters Committee7c. Recital7d. Jury8e. Masters Thesis procedures103. Attendance policy for MCMP 225 (Composition Seminar)11III. Recitals1. Degree Recitalsa. How to sign up for a degree recital12b. Programs and Program Notes13c. Program Length and Order13d. Starting Time and Intermissions13e. Stage and Electronic Setup13f. CD Recording132. Student Composition Recitalsa. Dates14b. How to sign up a work for a student composition recital14c. Piece and recital requirements14d. Stage and electronic crews153. Recordings of your works from composition program events215

IV. Opportunities1. Visiting Composers162. CCPA Performance Opportunities163. Reading Session Opportunities16V. Electro-Acoustic Studios (AUD 1556/1561)1. Policies16VI. CCPA Scholarships and Graduate Assistantships1. CCPA Scholarships182. Graduate Half-Assistantships18VII. Miscellaneous1. The comb binding machine182. Piano preparation rules193

I. OUR VISION OF THE COMPOSITION PROGRAMWelcome to the Chicago College of Performing Arts Composition Program at RooseveltUniversity. Our program seeks to challenge dedicated individual composers through our diverseactivities within a unified structure. We would like to emphasize three main goals in order toclearly demonstrate our vision for the composition community.I.We want students to be fully equipped with all the necessary technical skills as acomposer. It covers a wide range of practices such as composing skills, studyingworks in depth, rehearsing, communicating, promoting, publishing, and networking.It is imperative for students to learn the practical issues of being a composer, and toconduct themselves professionally while they are in school. We encourage students tosee the school life not merely as a place to collect knowledge but to have a greatopportunity to live as a real composer. We believe these experiences will providestudents with an invaluable foundation and confidence as a composer.II.We want students to deeply understand what it takes in order to create “art.”Creating art is not a compilation of material but an integrated intellectual exercise ofcraftsmanship, patience, persistence, disciplines, and faith in oneself. It takesenormous effort as a composer to achieve all the necessary components so as totranscend into an art form. Therefore, we want students take every single step ofcomposing sincerely and diligently.III.Finally, and most importantly, we want students to seek for their unique voices.We respect differences among composers, which is the most critical point in art.We do not force or guide students to write a particular style or medium; we supportthem to find originality. Searching for your individual voice is the ultimate core ofthis program. It is crucial to know that each individual has the power to seek andexplore a unique language. We encourage students to have confidence in your ownstrength and to be open-minded, while we try to facilitate substantial learningexperiences on your journey.We hope this helps you to understand the goals of our program. As is true in otherdisciplines, it is extremely significant to encourage, support, and learn from each other.We, as individuals, have a responsibility to contribute to a healthy and productivecommunity. We will share constructive criticism with you openly, while respecting yourindividual viewpoint. We wish that you enjoy your experience in our program and will carryon the skills and tools you learn at Roosevelt University throughout your life.4

II. DEGREE REQUIREMENTS1. Bachelors Degree Requirements1a. CourseworkThe program in composition requires 127 semester hours. It is designed to develop technique andan expressive voice in students with creative ability. Students are required to have at least onework performed in a student composition recital each year. To be admitted to the upper division,the student must have completed MCMP 211-214 with a minimum grade of B in each class, andshould have completed the musicianship sequence. The student will also submit a portfolio ofworks, including scores, recordings, or other media for review by the department. During thesenior year, the student will present a recital of original compositions including program notes.The recital must consist of at least 40 minutes of music representative of the student’s work inthe program and approved by the primary composition instructor. Grades of A or B are requiredin all 300-level MCMP courses. The grade of D in any 300-level course in the department isconsidered a failing grade.Coursework leading to the Bachelor of Music degree in CompositionPERF 099 Performance AttendanceMUTC 121 Musicianship A-C (20)MUTC 122 Musicianship A-CMUTC 221 Musicianship A-CMUTC 222 Musicianship A-CMCMP 225 Composition Seminar (eight semesters) (0)PIA 201-204 Piano (or other instrument with permission) (8)MCMP 211-212 Composition (6)MCMP 213,214, 311-314 Composition (24)MUHL 251 History of Music I (3)MUHL 252 History of Music II (3)MUHL 253 History of Music III (3)MUHL 254 History of Music IV (3)MUTC 309 Musical Perception (3)MUTC 306 Baroque Counterpoint (3)MUTC 305 Form and Analysis (3)MTA 301 Instrumentation/Orchestration (3)MTA 302 Advanced Orchestration (3)MTA 325 Electro-Acoustic Music I (3)MTA 326 Electro-Acoustic Music II (3)ME 240 Elements of Conducting (2)Music elective (4)Ensemble electives (4)ENG 101 Composition I (3)ENG 102 Composition II (3)HIST 111, HIST 112 World History (6) orLIBS 111, LIBS 112 Great Ideas(6)LIBS 201 Writing Social Justice in the Academy (3)Academic (non-music) electives (15)Recital of original compositions (min. length, 40 minutes) (0)5

1b. Mid-Degree JuryThis jury is held when an undergraduate completes the core music theory program (typically atthe end of the sophomore year). The purpose of the jury is to determine if the student should beadmitted to the junior level of the degree program.You are required to turn in THREE COPIES OF YOUR ENTIRE PORTFOLIO, dividedinto 3 separate packets (one for each juror) one week prior to your jury. Your portfoliowill consist of:1. Your Curriculum Vitae of all of your compositional activities (performances, pieces,awards, publications, recordings) while in residence at the CCPA.2. All acoustic and electronic works written while you are in residence at the CCPA.Include scores (for acoustic works) and recordings (as much as possible) for every work.You are expected to have composed three to four works with a cumulative duration of atleast 15 minutes by the end of your sophomore year.The jury members consist of both CCPA composition faculty members as well as the chairpersonof the Music Academic Studies Department. The candidate is encouraged to seek advice fromthe jury members during the semester before the jury. The composition faculty will scheduleyour jury for you.1c. RecitalThe bachelors recital must include a minimum of 40 minutes of music written in conjunctionwith the degree. Music written prior to entering the CCPA may not be counted towards therequired 40 minutes. Transfer students may include music from their prior university as long asthe work was in a commensurate degree program. Arrangements of compositions that are notyour own may not be counted towards the required 40 minutes.Prerecorded performances or MIDI renditions may not be played. Fixed electronic media andlive electronics mixed with acoustic instruments are permitted.Performance notes must be supplied for every work on the recital (100 words or more per work).2. Masters Degree Requirements2a. CourseworkThe student who wishes to work on this degree must have completed a bachelors degree incomposition, or prove that he or she has commensurate experience. Prospective majors must beapproved by the Department Chair and the Composition Faculty. In addition to the requiredclasses, masters students must present a recital of their own original compositions, includingprogram notes, of at least 30 minutes of music and at least two works. All music on the recital isto be written during the student’s residency at CCPA. The program for the recital must beapproved by the primary composition teacher no later than six weeks in advance of the recital6

date. The candidate for the Master of Music in composition must compose a thesis. The thesismust be a 10-12 minute work for large ensemble, a 15-20 minute work for large chamberensemble, or a 15-20 minute electro-acoustic work. The thesis composition may be programmedon the recital. Two copies of the full score of the thesis (or recordings and programming ifappropriate) must be submitted to the student’s committee by October 1 for fall graduation orMarch 1 for spring graduation (see specific deadlines in section 2e).Coursework leading to the Master of Music degree in CompositionPERF 099 Performance attendance (two semesters)MCMP 411-414 Graduate Composition I-IV (16)Music electives selected from courses offered in the department (6)MTA 402 Advanced Orchestration (3)MTA 425 Electro-Acoustic Music I (3)MAS 474 Studies in Music 1900 – 1950 (3)MAS 475 Studies in Music Since 1950 (3)PIA 401, 402 (4)MCMP 490 Thesis (2)2b. Masters CommitteeEach masters candidate will be assigned an examining committee that will evaluate the student’srecital, thesis, and jury. The examining committee shall consist of two CCPA compositionfaculty members, one faculty member from the theory faculty, and one faculty member fromthe history faculty. The candidate is encouraged to seek advice from this committee in fulfillingthe requirements of the degree in throughout the year prior to the jury.If this committee deems any component of the degree program to be inadequate orunsatisfactory, graduation will not be approved. The candidate will be given a detailed report ofnecessary improvements and will have one year to rectify.2c. RecitalThe masters recital must include two or more works and be a minimum of 30 minutes of musicwritten while a candidate for the degree. Music written prior to entering the masters programcannot be counted towards the required 30 minutes. Masters students who received theirbachelors at the CCPA may not use music written while working on their bachelors.Arrangements of compositions that are not your own may not be counted towards the required 30minutes.Prerecorded performances or MIDI renditions may not be played. Fixed electronic media andlive electronics mixed with acoustic instruments are permitted. The thesis may be included onthe degree recital, but this is not required.Performance notes must be supplied for every work on the recital (100 words or more per work).7

2d. JuryThe Masters Jury must be held at least two weeks prior to the end of the semester of intendedgraduation and will contain three components:PART I: Student’s portfolioThe candidate shall also assess his/her development as a composer while in residence at theCCPA and demonstrate evidence of synthesis and the emergence of a personal voice. Thisassessment shall include a comprehensive discussion of his/her compositions citing influences ofspecific composers, compositions, and compositional techniques also including historicalsignificance and theoretical analysis.You are required to turn in FOUR COPIES OF YOUR ENTIRE PORTFOLIO, dividedinto 4 separate packets (one for each juror) one week prior to your jury. Your portfolio willconsist of:1. Your Curriculum Vitae of all of your compositional activities (performances, pieces,awards, publications, recordings) while in residence at the CCPA.2. All acoustic and electronic works written while you are in residence at the CCPA.Include scores (for acoustic works) and recordings (as much as possible) for every work.Your masters thesis must be included.PART II: General overall knowledge of contemporary music trendsThe candidate will demonstrate broad knowledge and understanding of contemporary musictrends. For each trend, the candidate should be able to successfully provide the followinginformation:- years in which the trend emerged and was predominately used- main composer(s) who used the trend, and what works best demonstrate it- the main characteristics that comprise the trendThe trends to study are: Atonality, Serialism, Integral Serialism, Texturalism (cluster andrhythmic developments), Timbralism and Tuning, Indeterminacy, Experimentalism,Electroacoustic Music, Algorithmic Composition, Minimalism, and Integration.You will need to purchase New Directions in Music, 7th edition, by David Cope. This bookoutlines these trends.Other reference books that you should consult:Music Since 1945 by Elliott Schwartz and Daniel GodfreySoundings by Howard WatkinsModern Music and After: Directions since 1945 by Paul GriffithsTwentieth-Century Music by Eric Salzman8

PART III: Specific knowledge of a single composerThe candidate will choose a single composer from the list provided below, and will perform anin-depth study of that composer. The candidate will need to know:- composer’s biography- composer’s work list- an overall understanding of the composer’s musical style(s) from throughouthis/her career- in-depth theoretical and historical analysis of two of the composer’s works, eachexhibiting a different style or phase of the composer’s outputThe candidate is required to provide the name of his/her chosen composer to the masterscommittee at the end of the 3rd semester of the masters degree program. The student mustprovide each committee member with a CD or MIDI files of both chosen works, as well as paperor PDF copies of both scores.Students may petition to study another composer that is not on this list; to do so, the student mustobtain permission from ALL members of his/her committee by the end of the 3rd semester.Composer List for Part IIIJohn AdamsThomas AdésLouis AndriessenJohn AppletonLarry AustinMilton BabbittLuciano BerioWilliam BolcomPierre BoulezJohn CageElliott CarterJoel ChadabeJohn ChowningJohn CoriglianoGeorge CrumbSebastian CurrierMichael DaughertyMario DavidovskyPeter Maxwell DaviesCharles DodgeJacob DruckmanPhilip GlassOsvaldo GolijovHenryk GoreckiSofia GubaidulinaJohn HarbisonMauricio KagelAaron KernisMax MatthewsJames MobberleyTristan MurailPauline OliverosArvo PartKrystof PendereckiMarta PtaszynskaDavid RakowskiShulamit RanEinojuhani RautavaaraSteve ReichRoger ReynoldsJean-Claude RissetCurtis RhoadsFrederic RzewskiGiacinto ScelsiAlfred SchnittkeBright ShengMorton SubotnickKarlheinz StockhausenJohn TavernerJoan TowerMark-Anthony TurnageGalina UstvolskayaMelinda WagnerIannis XenakisChen YiJohn Zorn9Zhou LongWitold LutoslawskiDavid LangGyorgy Ligeti

2e. Masters Thesis ProceduresYou must choose among three options for the thesis. Any of these may be included on yourmasters recital, although this is not a requirement. You are solely responsible for finding allperformers if you program option #1 or #2 on your recital.1. Write a work for a large ensemble, such as orchestra or wind ensemble. Its minimum durationis to be 10 minutes.2. Write a work for a large chamber ensemble (10-15 performers). Its minimum duration is to be15 minutes.3. Write an electroacoustic work. It can be fixed electronic media, live electronics with acousticinstrument, interactive work, or multimedia work. Its minimum duration is to be 15 minutes.Thesis PresentationAt least two weeks prior to the end of the semester of intended graduation, you must a publicpresentation of compositions and composition techniques. The presentation will focus on thethesis and will be at least 25 minutes in length, with an extra five minutes reserved for aquestion-and-answer period. Up to 40% of the presentation may be live or recorded examples. Ahandout is required (make 20 copies), and should contain an analysis of the piece in some format(you can trace the development of themes, show the formal structure of the entire work, etc.).The candidate is encouraged use audio and visual media. An opportunity for this presentationwill be made available in the composition seminar in the last semester of residency.Due Dates for Theses:Your thesis will have TWO deadlines. The first deadline is for when you will turn in two boundcopies to Dr. Garrop and Dr. Choi for review and corrections, and the second deadline is forwhen your document must reach the Vice Provost’s Office. After both Dr. Garrop and Dr. Choihave reviewed your thesis and returned their copies to you, you’ll need to make correctionsbefore it is ready for the Vice Provost.December Graduation:October 1, 2008 – Composition professorsNovember 1, 2008 – Vice Provost’s Office (actually due 11/3/08 as 11/1/08 is a Saturday)May Graduation:March 2, 2009 – Composition professorsApril 1, 2009 – Vice Provost’s OfficeGuidelines for the Thesis Document:Theses are due to the Office of the Vice Provost and Graduate Dean on the above dates (or thefollowing Monday). They must be submitted by the Committee Chair with the appropriatetransmittal form – you CANNOT turn in the piece yourself. Revisions requested by theGraduate Dean and copies for the Roosevelt Library and for ProQuest are due no later than 10days prior to the actual graduation date.10

Go to: You can download PDFs of theTransmittal Form (MA) and Thesis Guidelines. Also click on the link for “Fees for Thesis andDissertations Payments to Cashier” and follow their instructions.Since the Thesis Guidelines are not written with composers in mind, the Vice Provost hasapproved of a few changes for our program. There changes are: Use your program notes in place of the required Abstract. Your document is only to be single-sided, but you can use any size paper you wish. Do NOTbind the document. You MUST leave a 1.25 inch margin on the LEFT side of each sheet. All other margins can be1 inch or bigger. You are not required to register your piece with ProQuest, which is a duplication agency(basically a publishing house) that specializes in theses and dissertations. If you write anorchestra piece, ProQuest will not be equipped to send out full and part scores to an orchestra.You are highly encouraged to find a music publisher for your thesis instead of using ProQuest.3. Attendance Policy for MCMP 225 (Composition Seminar)Students are required to attend all MCMP 225 classes (14 total per semester), compositionprogram student recitals, composition bachelors and masters degree recitals, faculty compositionrecitals, and other specified recitals featuring modern music. You will be emailed a list withinthe first few weeks of each semester of the required events.Your grade in MCMP 225 will be based on the number of events you attend. You will have a1/2 letter grade reduction for every missed event (2 misses 1 full letter grade reduction), asfollows:ABCDF0 – 1 missed events2 – 3 missed events4 – 5 missed events6 – 7 missed events8 or more missed eventsWhen you arrive at the required composition concerts, you must check in with the compositionprofessor who is teaching MCMP 225 that semester in order to be counted as being inattendance.Students can make up concert absences by attending various new music concerts in the Chicagoarea and by writing a one to two page report on each concert. You must also turn in a programof the concert. One concert in the city equals one absence. Students are allowed only TWOsubstitutions for absences per semester. You MUST get approval for each substitution PRIOR tothe concert that you will miss from the professor who is teaching MCMP 225 that semester.No missed MCMP 225 classes can be made up.11

III. RECITALS1. Degree Recitals1a. How to sign up for a degree recitalAll signups for degree recitals given in either semester of the academic year occur in the verybeginning of the fall semester. If you plan on giving a degree recital this academic year, youmust visit the Performance Activities Office in room 927a. They will give you a guidelinessheet, as well as a list of available degree recital dates for Ganz Hall and Marks Hall.UNDERGRADUATES:In order for your sheet to be complete, you MUST check your prospective recital dates with Dr.Garrop and Dr. Choi. BOTH of us must sign your degree recital form before you can turn in yourpaperwork to the Performance Activities Office. Plan ahead, as these dates (particularly inGanz) go extremely quickly, and the faculty are not on campus all five days of the week.If you have any questions about the guidelines, please visit the Performance Activities Office inroom 927a.GRADUATES:In order for your sheet to be complete, you MUST check your prospective recital dates with Dr.Garrop, Dr. Choi and the Chair of the Academic Division. ALL THREE of us must sign yourdegree recital form before you can turn in your paperwork to the Performance Activities Office.Plan ahead, as these dates (particularly in Ganz) go extremely quickly, and the faculty are not oncampus all five days of the week.If you have any questions about the guidelines, please visit the Performance Activities Office inroom 927a.1b. Programs and Program Notes Two months prior to your recital, visit the Performance Activities Office to get a program form.Use this template for your recital. Your Recital Program is DUE one month prior to your recital. Turn this in to the PerformanceActivities Office. If you need to make any changes to your program (such as a different performer or re-arrangingthe program order), you MUST take these changes in person to the Performance ActivitiesOffice two weeks prior to your recital. Program Notes are due to the Performance Activities Office two weeks prior to your recital.You can send these electronically or hand-deliver them. You are required to have program notesfor each piece (100 words or more per piece).12

1c. Program Length and Order Undergraduate recitals must be a minimum of 40 minutes; masters recitals must be a minimumof 30 minutes. See the Degree Requirements section above for more details. Your recital cannot be longer than 90 minutes, including time for stage changes and bows.There are NO exceptions to this! This means you should have no more than 70 minutes of musicprogrammed on your recital, as set changes and instrument tuning can easily take up 15-20minutes. Only material written while in residence at Roosevelt University can be included on yourrecital. The program must consist solely of your own compositions; however, joint compositionswritten with another student are fine. Go over your program order and program notes with your composition professor before turningit in to the Performance Activities Office.1d. Starting Time and Intermissions All dress rehearsals must end 15 minutes prior to the starting time for your recital. The usherswill open the doors at this time for the audience to come in. Your recital is to start on time. Make sure you prep all your performers to be early for theirperformances. If there are long, unexplained pauses going on between your pieces, make it yourresponsibility to go behind stage and find out what is going on. Intermissions are not necessary for a recital under 90 minutes.1e. Stage and Electronic Setup Our Composition Assistant is in charge of all stage crews for degree recitals (the crewsthemselves will consist of ushers supplied by the Performance Activities Office). You areREQUIRED to meet with the Composition Assistant one week prior to your recital to go overyour setups for every piece on your recital. The purpose of this is to keep your recital flowingsmoothly, without long pauses between works. Send Dr. Choi a list of electronic equipment two weeks prior to your recital. You need to listthe exact equipment you need for your piece.1f. CD Recording Dr. Choi will make a raw recording of your degree recital. You will need to contact her withina week of your degree recital to obtain a copy (and let her know if you want something otherthan a raw recording). If you would like part or all of your degree recital to be put on theComposition Program website, please contact Dr. Choi.13

2. Student composition recitals2a. DatesThere are four composition recitals in the academic year:Recital #1: Wednesday, October 29, 2008Recital #2: Wednesday, December 3, 2008Recital #3: Wednesday, March 4, 2009Recital #4: Wednesday, April 22, 2009All recitals are held in Ganz Hall at 7:30 p.m.Dress rehearsal times in Ganz Hall will occur between 4:00 – 7:15 p.m.Sign-up times for dress rehearsals will be announced and students can sign up outside Dr.Garrop’s office (room 1458).2b. How to sign up a work for a student composition recitalAll program information is due three weeks prior to the date of the recital. You will be sent anemail approximately 5 weeks prior to each recital calling for the submission of pieces. This year,the deadlines for submitting pieces are as follows:12:00 p.m., Wednesday, October 8, 2008 for Recital #112:00 p.m., Wednesday, November 12, 2008 for Recital #212:00 p.m., Wednesday, February 11, 2009 for Recital #312:00 p.m., Wednesday, April 1, 2009 for Recital #4Email: [email protected]: [email protected]: [email protected]: [email protected] the deadline, you must email ALL of the required information to Dr. Garrop. If you aremissing ANY information, such as a performer’s name, your piece will not be programmed.REQUIRED INFORMATION:Title of pieceFull names (first and last) of all your performers and what instruments they playDuration of the pieceAll electronic equipment needed to perform your pieceProgram notes (not required, but you can include them)2c. Piece and recital requirementsAll students are required to have at least one of their compositions performed per academicyear. This piece must be a work that has been developed in studio lessons and has the approvalof their composition teacher to be put on a recital. Students are encouraged to exceed thisminimum requirement.14

Students who do not have a piece performed on either of the two fall recital dates areREQUIRED to have a piece performed on the FIRST recital in the spring semester.In addition, continuing students are required to have a piece on the FIRST recital in the fallsemester if they did not have a piece performed on either concert in the prior spring semester.There is a limit of 90 minutes of music on each recital, and a maximum of 10 minutes on eachpiece. Students will be assigned time on each recital in the order that their requests are submittedto the faculty member coordinating the recital, with preference given at each recital to thosestudents receiving their first performance of the academic year. Students may request that worksexceeding the 10-minute maximum be programmed, or that more than one of their pieces beprogrammed on the same recital, and these requests will be considered in the order in which theywere received if there is time remaining after all first performances have been programmed.2d. Stage and electronic crewsSTAGE CREWSStage crews are employed for all of our composition program recitals (four student compositionrecitals, one faculty composition recital, and all degree recitals). This crew helps moveequipment (chairs, stands, pianos, electronic devices) on and offstage between pieces to keep theconcerts running as smoothly and quickly as possible. You should hopefully never work on crewon the same student composition recital in which you have a performance, but if you have apiece performed on every recital, you will need to. All students will serve 1-3 times on stagecrew per year; you will be assigned to the crew by the composition faculty and will receivenotification in the weeks prior to a recital. All stage crews are to report to Ganz Hall no laterthan 10 minutes prior to the beginning of the recital to which you’re assigned.All stage and electronic crews work under the direction of the Composition Program Assistant.ELECTRONIC CREWSIf you are having an electronic piece performed on a student composition recital or degreerecital, you are AUTOMATICALLY on electronic crew. Electronic crews are to check in withDr. Choi several days prior to the recital; you are responsible for the bringing of equipment fromthe studios, setting up/take down, and returning all equipment to the studios.All stage and electronic crews work under the direction of the Composition Program Assistant.3. Recordings of your works from composition program eventsDr. Choi will be recording (and/or overseeing students) for all composition program events. Thisincludes student composition recitals, degree recitals, and reading sessions. After each event,she will supply you with an unedited CD on which you have something performed.15

IV. OPPORTUNITIES1. Visiting ComposersEach year, we have 3-4 guest composers who each teach either group or private lessons forstudents enrolled in the composition program (usually two in the fall semester, two in thespring). We highly encourage ALL students to make use of this!Several weeks prior to their visits to our campus, the composition professors will send an email,inviting students to sign up for lessons. If more students would like a lesson with a particularteacher than there are available spaces, there will be a random drawing to determine the selectedstudents. No student will be allowed to have a second lesson with a different composer unlessnot enough students (who haven’t had a lesson yet with anyone) sign up for lessons.It is your choice what you would like to do in the lesson – you can show him/her a piece you’recurrently working on, or you c

Roosevelt University Chicago College of Performing Arts Composition Program Student Packet Dr. Stacy Garrop Head of Composition Program AUD 1458, 312-341-2181 [email protected] Dr. Kyong Mee Choi AUD 1461, 312-322-7137 [email protected] Electro-Acoustic Studios AUD 1556/1561