---(Some people have asked, "Why the rare Greek-derived term 'neoteric,' rather than the standard synonym 'modern'?" Quite simple, really: the phrase "modern music" has been overworked and abusde to the point where it no longer means anything! Applying it to Ivor Darreg's works would guarantee misunderstanding.)

-----Information on availability of these compositions may be obtained from: Ivor Darreg, Composer &. Electronic Music Consultant, 3426 Winslow Drive, Los Angeles, California 90026, area code 213, Telephone 664-8893.

>>> EARLIER AND MORE CONSERVATIVE COMPOSITIONS ARE DESCRIBED IN OTHER LEAFLETS.<<

-----compound counterpoint '67 The new superposed, electronically manipulated tape recordings, now coming into prominence round the world, are grounded in the traditional princip]es of cotnterpoint, canon. and fugue. They represent a logical consequence of those concepts. // This very recent composition is based on a two-part counterpoint of pizzicato violoncello tones, based on a novel quartertone melodic theme in atonal--but not serial--idom. This is then permuted against itself in such a manner as literally to encompass the entire musically useful audio spectrum.

-----in limbo Rhapsodic treatment of ideas inspired by George Bernard Shaw's play Don Juan In Hell (contained in Man and Superman), to which it provided accompaniment during a recent performance series. Almost the entire composition is performed on specially-built electronic instruments, using twelve-tone atonal, enharmonic, conservative, and polytonal idioms. Certain portions of this composition are available as standard piano and organ arrangements.

-----automation march The only electric keyboard snare-drum in existence (at the time of writing) is used to perform this brief composition, based on polyrhythmic motifs

-----endopsychic quartet This definitely neoteric work lies on the borderline between music and speech, being made up entirely of spoken syllables, yet resulting in rhythmic configurations of an unexpected nature. Four layers of speaking voice are used, embracing a wide phonetic gamut and thus virtually creating an International Language of the Subconscious. The master tape is so arranged that excerpts and adapted patterns can be produced from it to any desired length.

prelude to an afternoon with the dentist An electronic organ composition celebrating the composer's 30th panexodontic anniversary. Ultramodern idiom, naturally!

lullaby for a baby computer In the relatively little-explored 17-tone system. Sung by a group of blocking-oscillator circuits.

-----robot's serenade In this piece the electric keyboard snare-drum plays a melody of timbres of noises, rather than a melodic line of pitches. This required the development of a special notation in which staff degrees represent timbre rather than pitch. Engineers in the audience will be interested to know that a use has at last been found for relay chatter, that perennial bane of automatic-machine designers!

excursion into the enharmonic When Plato and Aristotle flourished, the Ancient Greek Enharmonic Genus was already old--indeed, it is possible that enhnrmonic scales using intervals smaller than the semitone are 3000 years old or more! (We are here using the term enharmonic, derived from the Greek enarmonikon, in the earlier sense, not in the recent sense of 'same in pitch but different in notation', which latter sense is the result of using the sharp-and-flat naming system on the 12-tone keyboard's scale.) The widespread use in recent centuries of harpsichord and organ, then of the piano and fretted instruments, has caused the neglect and virtual forgetting of the Greek enharmonic genus, although it was highly esteemed in ancient times, the very name enharmonic originally signifying 'suitable, 'fitting', 'in order'. Just in the last few years, it has become possible to produce keyboard and other instruments that can be tuned to these intervals without entailing awkward finger-techniques or prohibitive expense A wide new world of musical experience is thus opened up for the contemporary listener.

----The Excursion include passages in the 17-, 19-, 22-, 24-, 31-tone, and just systems. Certain selections will be available separately, or system-by-system.

----***For example, on the enharmonic tetrachord, a series of pieces based on a characteristic Ancient Greek scale-building-block (but not necessarily emulating all the other aspects of their music), is available separately. This set was played on a special electronic organ, but would be eminently suitable for an ensemble of cellos.

fantastic reverberations Although the performance of this composition does involve a small measure of electronic trickery, despite its name and effect, it has nothing to io with artificial reverberation units. The so-calle& 'prepared pianos' remotely approximate this effect, but Fantastic Reverberations has a closer affinity with Oriental drums and percussion instruments.

five subminor sketches For those who prefer the quartertone approach, this suite would be a very good introduction to the quartertone system, and perhaps to other systems. It is notated for violin, the most ready means of performance, but could be performed on cello, Hawaiian guitar, trombone, and several other instruments; quartertones appear in various roles, from timid passing-notes to essential parts of the melody.

ultra-oriental The new advances in communications and air transport are 'Westernizing' the travel-book, formerly-exotic Orient at an alarming rate. Jukeboxes, rajios, and Western instruments are making inroads on the old oriental music, to the point where it faces danger of extinction, and a dedicated few are working to preserve it before it is too late. Now, take a look at your globe. The International Date Line is only an imaginary line, and does not contradict the fact that Los Angeles is quite a distance east of the so-called 'Far East'! Hence the title Ultra-Oriental was given to this selection in the 22-tone system. The tape recording features an oboe-like tone quality.

rhapsody in the 19-tone system Musical literature of recent decades contains fragmentary references to Busoni's experiments with a 'tripartite tone', which implies an 18-tone scale, and to Yasser's Theory of Evolving Tonality, an all-map-and-no-territory affair which purports to offer a 19-tone escape from Schoenberg's 12-tone cul-de-sac. A specially-built electronic organ that can be tuned to the 19-tone as well as other systems, has revealed unexpected dimensions of expression in the 19-tone system which the theorists had not forseen.

This list is not complete. Other compositions will be announced.