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*The Murray Louis Dance Company has earned itself the reputation of being one of the most vibrant, cohesive and elegant modern dance companies in America and Europe. It performs with great charm and pizzazz the works of its talented choreoâ€" grapher â€" dancer Murray The Company will present a varied programme at the Humanities Theatre on Monâ€" day, March 27, which will include a funny, jazzy number entitled ‘"Glances" which is danced to a speâ€" ciallyâ€"commissioned â€" score by jazz great Dave Brubeck. Although Louis himself will not be performing in Waterloo, â€" his _ presence will be strongly felt in the exciting choreography preâ€" sented by his Company. He is a prolific choreographer and is a rarity in American modern dance in that he is Rape of Lucretia at debut of opera studio Opera is becoming an important event in Kitchâ€" enerâ€"Waterloo and region. A precedent is being set in Canada with the formation of the country‘s first Opera Studio. Sponsored by the Kitchenerâ€"Waterloo _ Symâ€" phony Orchestra, the Studio will provide, with the asâ€" sistance of the Canada Council, extensive training sessions for eight selected music students from across the country. Director of the Centre Opera Studio is Jacqueline Richard. interâ€" nationally â€" known opera coach and conductor. e . Jacqueline Richard brings The debut presentation outstanding qualifications by the Studio will be Benâ€" to her role as director of By Liz Papas Smiith March 1: I attended a fascinating lectureâ€"demo on computers and music at Conrad Grebel, given by William Buxton from the U of Toronto. 1 had anticipated what my son calls an‘ Artsie, but to my pleasant surprise Buxton is literate, articulate, and accessible, and I was sorry I had to leave this noonâ€" hour presentation at 3: 00. Buxton can talk to a great range of people beâ€" cause of his background encompassing music, engineering, mathematics, computer science, lin guistics, electronics, and psychology. He himself is principally interested in composing and in making the computer accessible to composers. In speaking of the motivation for using the comâ€" puter for making music, he said that it is better to use technology as a tool rather than to be controlled by it. Also one can hardly ignore the computer: it is aâ€" part of society. It is being used for many apâ€" plications in the humanities. â€" 'He'g'ave a brief outline of early computerâ€"music experiments, beginning with manipulating lineâ€" printers to play melodies, and Lejaren ‘Hillel_"s "Illiac Suite‘" (1956), part of which was done by feeding the rules for writing thirdâ€"species counterâ€" point into the computer and thereby generating thirdâ€"species counterpoint. However, this music was generally thought to be quite awful, and peoâ€" ple began to wonder why, which led to a study of the composing process. In turn the tasks of comâ€" posing were converted into an ordered series of commands to the computer. At first there was no Murray Louis dancers to perform at UW _ Music wherever she goes not a descendant of the Deniâ€" shawnâ€"derived _ traditions of Martha Graham and the Humphreyâ€"Weidman school. He came to dance late, at 21, as a college student in California and shortly after, began to train with Alwin Nikolais, a discipline of Mary Wigman, the German expressionist choreographer of the 1920‘s and 30‘s conâ€" sidered by many to be the founder of European modâ€" ern dance. Mr. Louis‘s style is much nearer pure dance however, than the mixedâ€" media theatreâ€"dance of his mentor. Louis has been touring the U.S. with his own comâ€" pany for the last 14 years. After a long European tour in 1974, the German critic Klaus Geitel suggested he set some of his pieces on European dancers, specifiâ€" cally the dancers ofthe Berâ€" lin Opera Ballet, the Royal jamin Britten‘s The Rape of Lucretia in a fullyâ€"staged production, _ accompanied by the Stratford Ensemble. It is intended to showcase the talents of these young singers who are on the threshold of professional musical careers. The opera will be presented on Wedâ€" nesday _ and _ Thursday. March 29 and 30 in the Humanities Theatre at 8 pm. It is being directed by Philip May with Jacqueâ€" line Richard conducting. production design by Earl Stieler. Danish Ballet and Rudolf Nureyev. Mr. Louis did inâ€" deed create works for the Berlin and Danish companâ€" ies and choreographed a number for Mr. Nureyev which he premiered in Madâ€" rid, later performed in New York in 1975 and in London in 1976. According to the New York Times, Louis‘ name ‘"is becoming a houseâ€" hold word in the dancing world of Europe®"‘. The programme The Murâ€" ray Louis Dance Company will present on March 27 inâ€" cludes the above mentionâ€" ed ‘"Glances"‘, a jazzy, jolly, quirky and casual piece that Louis does best. Dave Brubeck‘s music, arâ€" ranged for it by Darius Bruâ€" beck, is largely jazz or blues but it has a wide variety of mood, as does the half dozen sections of Louis‘ choreoâ€" graphy. Also on the proâ€" gramme is ‘"Porcelain Diaâ€" interaction between the composer and the comâ€" puter: he fed in keypunched cards and got his printâ€" out. Various types of hardware were developed to generate sounds (Bell Labs, MIT), but the deâ€" velopment of the interactive terminal gave the composer handsâ€"on access. From the development of programmes for organizing sounds, i.e., comâ€" posing, it was only a step to having the computer perform the music. It is hoped that a byâ€"product of computer comâ€" position will be a better understanding of the comâ€" posing process. However, not many North Ameriâ€" can composers are using computers because they do not have easy access. If a computer is physically unavailable, or expensive or difficult to use, one is not likely to use it. Buxton is developing a selfâ€"exâ€" planatory, interactive computerâ€"terminal system for composers. That means that you can sit at a keyboard with a CRT (cathodeâ€"ray tube, which looks like aâ€"green TV screen) before you, and, once signed onto the system, give the command calling for a music staff and it will appear on the screen. ‘Then the machine will offer you a menu of clefs. In other words, you make all} the decisions but the the Centre Opera Studio. She received her initial training in Canada and in 1967 left for Europe to work, for close to a decade, with the great artists of the operatic stage in some of the most prestigious opera houses â€" Deutsche Oper am Rhein, Staatsoper in Hamburg, Opera de Paris. Tickets for the perforâ€" mances are $6.00, with reâ€" served seating, and are available at the UW Arts Centre Box Office, 254 Modern Languages buildâ€" ing. UW campus (885â€"4280) or at the KW Symphony Office, 56 King St. N.. Wateriloo (886â€"3850). sequenced choices. On the interactive system at U of T you can request instant playback of any part of your comâ€" position at any time. You can write notes directly, change them directly, and the music can be printed out in standard notation (or other, if you design it). The equipment permitting this is cheaper and more compact than that used by a rock band. lyrical number, and ‘"Index"" which is Mr. Louis‘ view of a notâ€" sionist mood, â€" although, ingeniously, it does not use the usual expressionist vocabulary. Mr. Robert Samil, a memâ€" ber of the LQ%: company since 1971 will the lead Murray Louis Dance Company will perform at UW, March 27 dancer in the Waterloo perâ€" formance. Mr. Small has performed all across the U.S. ~and ..Canada and in twentyâ€"two countries with the Company. He has been Mr.. Louis‘ assistant in formance. Mr. Small has performed all across the U.S. ~and ..Canada and in twentyâ€"two countries with staging works for the inâ€" ternational companies and was named ‘"best young dancer of the year by the Ballet Annual 1974 (Gerâ€" room. His words were helpful to me because his composition presented the problem of noiseâ€"versusâ€" sound, and I was in fact able to focus on the sounds coming from widely spaced speakers. (I began ‘"wondering how it would sound if a fourâ€"voice Bach fugue were recorded with one voice to a channel, and then played with the speakers separated). _ LET US ENTERTAIN YOU &umuamdmaumw contemporary music, ing computerâ€"generated, and he told us before playing the tape of his comâ€" position ‘"For Dance‘‘ (1975) that we should listen to the sounds themselves if we got bored with the music. He also said that he was interested in the sound of sounds in different spatial arrangements (consider the seating of a symphony orchestra), and he had a speaker in each of the 4 corners of the to contemporary music. He said that composers need to hear their musie performed: that is how they learn. So he asked for us to lower our expectâ€" ations and be patient. He invoked Chomsky‘s notion of competence, and said that a listener (as opposed to a hearer) utilizes his own competence while listening to music by bringing to it an idea of strucâ€" ture. This led me right back to my request in this column of Feb. 22 for a few clear words from the composer about his process of organizing sounds into music. are: Roenig, Ubung IUr RI@VIET, DoN@lQ DBYT0, Xenakis and his cloud theory; Machlis; Salzman; William Austin. I asked Buxton how we can gain greater access A few names for further listening and reading e: Koenig, Ubung fur Klavier; Donald Byrd; Ft many). Tickets for the performâ€" ance are $6.00 . (Stu./Sen. _ $4.00) available at the: UW : > Arts Centre Box Office, guages building (885â€"4280) and at Bishop‘s Style Shop, Stanley Park Mail, Kitchenâ€" er and the KW Symphony Office, 56 King St. N. in Wateriloo‘