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 Music of Robert Coburn
with Glen Moore, composer/bassist
and Miriam English Ward, viola
Friday, November 7, 8 p.m.
Evans Auditorium
Lewis & Clark College
Join us for an exciting program of music written for both acoustic and multimedia genres, including Coburn’s “Fragile Horizon” for viola, computer, and video, the premiere of “A Window A Door” for bass, computer, and video, and two solo works for bass by composer/bassist Glen Moore
Admission and parking are free
Music of Robert Coburn
Robert Coburn is a composer and sound artist. His creative work includes concert music, both acoustic and electroacoustic; live, interactive computer music pieces with video; temporary sound environment installations; and permanent soundworks as public art. His music has been performed throughout North America and Europe. Recent compositions include Fragile Horizon for viola, speaking voice, computer, and video, commissioned by the Dave Brubeck Festival 2007; In Stillness for violin, computer, and video; TranquilTurmoil Dreaming II for shakuhachi, computer, and video; and PatternsLuminous for shakuhachi and computer.
His permanent soundworks are installed across the landscape of the Oregon Convention Center (Portland, Oregon) and along the Avenue of the Arts (Philadelphia, Pennsylvania). In 2002 his installation piece between…beyond was exhibited at the Marjorie and Richard Reynolds Gallery. Documentation of his soundworks was exhibited as part of “nada – an experience in sound” at the Indira Gandhi National Centre for the Arts, New Delhi, India.
He has presented papers about his work at a wide variety of conferences including the Music Cognition and Behavior Symposium (Rome); the AustralAsian Computer Music Conference (Melbourne); and the SoundAxis, Architecture/Music/Acoustics Conference and Festival in Toronto where he spoke on Music in Architectural Time. In May 2007 he was a guest of the Intermedia Institute of the Tokyo National University of Fine Arts and Music (Tokyo Geijutsu Daigaku).
Dr. Robert Coburn is Chair of the Music Studies Department and Program Director of Music Composition and Theory at the Conservatory of Music, University of the Pacific where he also directs the Conservatory computer music studios, Ensemble 20/21, and the SoundImageSound Festival.
 Glen Moore, Jazz Bassist
Glen Moore is a jazz bassist with early classical training in piano until age 13. He played bass in the school orchestra, experimenting with jazz and free improvisation on his own. His performing career began at age 14 with the Young Oregonians in Portland, Oregon where he met and played with American Indian saxophonist, Jim Pepper. He graduated with a degree in History and Literature from the University of Oregon where he also studied cello.
His formal bass instruction started after college with Jerome Magil in Portland, James Harnett in Seattle, Gary Karr in New York, Plough Christenson in Copenhagen, Ludwig Streicher in Vienna and Francois Rabbath in Hawaii. For the past 30 years, Glen has played a Klotz bass fiddle crafted in the Tyrol circa 1715 on which he has made extensive use of a unique tuning with both a low and high C string.
Moore has worked with many great jazz artists including pianists Paul Bley, Larry Karush, Jan Hammer, Bill Evans and John Taylor; saxophonists, Zoot Sims, Benny Wallace, Lew Tabakin, Sonny Fortune, Nick Brignola, Rob Scheps, Charlie Mariano and Michael Brecker; flutist Jeremy Steig; violinists Stuff Smith, Zbigniew Seifert, Rob Thomas, Hollis Taylor and Jim Nolet; vibraphonists Gary Burton and Michael Mainieri; drummers Elvin Jones, Tony Williams, Beaver Harris, Peter LaRoca and Jimmy Cobb, Barrie Altschul, Elliot Zigmund; bassists Anthony Cox, Charlie Haden, Gary Peacock, Dave Holland, Jamie Faunt, Steve Swallow, David Friesen, Mark Dresser and Barre Phillips; and tap dancer Peg Leg Bates.
 Miriam English Ward, Viola
After getting started on the viola in the active musical community in her hometown of Fairbanks, Alaska, Miriam English Ward began her collegiate studies at the Manhattan School of Music. Her adventurous curiosity next took her to Japan where she played in various orchestras, recording studios, bands and chamber ensembles in the Tokyo area.
On her return to the US, she entered the studio of Victoria Chiang at the Peabody Conservatory of Johns Hopkins University where she completed a Masters in performance. While in Baltimore she was the Assistant Principal violist of the Maryland Symphony Orchestra and principal of Gustav Meier’s renowned conducting program orchestra. She also holds a Doctorate in performance from the University of Wisconsin, Madison, where she won the Strelow Graduate Teaching Fellowship with the Pro Arte Quartet.
Dr. Ward had always hoped to return to the Northwest and is thoroughly enjoying playing with the region’s orchestras, including the Oregon Symphony and the Portland Opera. An accomplished improvising musician, she is at home in a diversity of styles. When not performing, practicing, teaching or discovering new music, Dr. Ward likes to take photographs, study theology and get outdoors. She lives in Beaverton with her son and husband. Dr. Ward teaches at Lewis & Clark College.
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