Biography
Elaine Barkin has composed for solo instruments, small and large chamber ensembles, chorus and solo voice, and for Balinese and Javanese gamelan. She has also composed a chamber opera, text-scenarios designed to serve as stimuli for real-time interactive music-making, and tape collages deriving from her interest in collaborative, mixed-media work. Elaine has been deeply committed to discovery of one's "voice" within as many milieus and environments as possible, the more autonomous or communal the better. Before ing the UCLA music faculty in 1974, she taught at Queens College, the University of Michigan, and Princeton University. In 1994, on a UC faculty exchange, she taught at Victoria University, Wellington, New Zealand and in Fall 1996 she journeyed around the world teaching a Semester at Sea. From 1987-2000 Elaine was actively involved in UCLA's Balinese (and Javanese) Gamelan. In 1997 she retired and is now UCLA Professor Emerita.
ElaineÃs works have been recorded on CRI and OPEN SPACE. She and Lydia Hamessley co-edited Audible Traces, a volume of texts concerning music and gender (1999).ElaineÃs writings have been published in many journals; for 20 years she was an editor of Perspectives of New Music. Since 1990 Barkin, Ben Boretz, and Jim Randall have been co-producing the OPEN SPACE series of CDs, scores, and books.
Awards have given by the Fulbright Commission, NEA, Rockefeller Foundation (Bellagio), International Society for Contemporary Music, American Composers Alliance, New York State Council for the Arts, Meet the Composer, as well as art colony residencies. Education: Ph.D. (1971) and M.F.A. (1956) from Brandeis University; Certificate in Composition & Piano from Berlin Hochschule f¸r Musik (1957); B.A. (1954) from Queens College, NYC. Composition teachers include: Karol Rathaus, Irving Fine, Arthur Berger, and Boris Blacher.
Selected Compositions: 6 Compositions for Piano (1968); String Quartet (1969); Sound Play (violin, 1974); For SuiteÃs Sake (harpsichord, 1975); Mixed Modes (bass clarinet, violin, viola, violoncello, piano, 1975); Plein Chant (alto flute, 1977); Ebb Tide (2 vibraphones, 1977); The Supple Suitor (song cycle, soprano & chamber ensemble, Emily Dickinson texts, 1978); De Amore (chamber opera, 1980); At the Piano (piano, 1982); To Piety More Prone (feminist theater piece, 4 women and tape collage, 1982); 5 Tape Collages (On the Way to Becoming, Out Back, etc.1984-6); 3 Rhapsodies (flutes, clarinet, 1986); Encore (Javanese Gamelan, 1988); Legong Dreams (oboe, 1990); Exploring the Rigors of In Between (flute, French horn, violin, viola, violoncello, 1991); GamÈlange (harp, Balinese gamelan, 1993); for my friends' pleasure (soprano, harp, 1995); touching all bases/di mana-mana (Balinese gamelan, electronic contrabass, midi percussion, 1996); Poem (Symphonic Wind and Percussion Ensemble, 1999); Song for Sarah, (solo violin, 2001).
ElaineÃs works have been recorded on CRI and OPEN SPACE. She and Lydia Hamessley co-edited Audible Traces, a volume of texts concerning music and gender (1999).ElaineÃs writings have been published in many journals; for 20 years she was an editor of Perspectives of New Music. Since 1990 Barkin, Ben Boretz, and Jim Randall have been co-producing the OPEN SPACE series of CDs, scores, and books.
Awards have given by the Fulbright Commission, NEA, Rockefeller Foundation (Bellagio), International Society for Contemporary Music, American Composers Alliance, New York State Council for the Arts, Meet the Composer, as well as art colony residencies. Education: Ph.D. (1971) and M.F.A. (1956) from Brandeis University; Certificate in Composition & Piano from Berlin Hochschule f¸r Musik (1957); B.A. (1954) from Queens College, NYC. Composition teachers include: Karol Rathaus, Irving Fine, Arthur Berger, and Boris Blacher.
Selected Compositions: 6 Compositions for Piano (1968); String Quartet (1969); Sound Play (violin, 1974); For SuiteÃs Sake (harpsichord, 1975); Mixed Modes (bass clarinet, violin, viola, violoncello, piano, 1975); Plein Chant (alto flute, 1977); Ebb Tide (2 vibraphones, 1977); The Supple Suitor (song cycle, soprano & chamber ensemble, Emily Dickinson texts, 1978); De Amore (chamber opera, 1980); At the Piano (piano, 1982); To Piety More Prone (feminist theater piece, 4 women and tape collage, 1982); 5 Tape Collages (On the Way to Becoming, Out Back, etc.1984-6); 3 Rhapsodies (flutes, clarinet, 1986); Encore (Javanese Gamelan, 1988); Legong Dreams (oboe, 1990); Exploring the Rigors of In Between (flute, French horn, violin, viola, violoncello, 1991); GamÈlange (harp, Balinese gamelan, 1993); for my friends' pleasure (soprano, harp, 1995); touching all bases/di mana-mana (Balinese gamelan, electronic contrabass, midi percussion, 1996); Poem (Symphonic Wind and Percussion Ensemble, 1999); Song for Sarah, (solo violin, 2001).
