Jay C. Batzner is currently an Assistant Professor at the University of Central Florida where he teaches theory, composition, and technology courses as well as coordinates the composition program. He holds degrees in composition and/or theory from the University of Missouri Kansas City, the University of Louisville, and the University of Kansas.

Jay's music is primarily focused around instrumental chamber works as well as electroacoustic composition. His music has been recorded on the Capstone, Vox Novus, and Beauport Classical labels and is published by Unsafe Bull Music.

Jay is a sci-fi geek, an amateur banjoist, a home brewer, and juggler.

This is what I'm talking about

No, I'm not pimping my Mancala Variations this time. It is over, it is posted, you all know where to find it if you want it.

I'm back on the cause of rejection letters. I got a great one today from Keys to the Future:

"Dear Dr. Batzner,

Thank you very much for sending your very interesting (and well-played) 'Toccata' and 'Deconstructionist Preludes' for review. There were many strong compositions (yours among them) submitted for consideration for only a few spaces in the Keys to the Future Festival, and although yours were not chosen for performance this time around, we very much appreciate your sending us your music, and would like to wish you continued good fortune in your creative life.


Joseph Rubenstein
Executive and Artistic Director
Keys to the Future"

You see? This is a great email. It could be a mail merge. The tone of the email is so personal, though, that I don't believe it is a form letter. It also came in a timely manner (I sent the stuff on January 10). The letter leaves me with the feeling that they really looked at and seriously considered my music, even if my pieces just bounced off of them like so many peanut shells against the wall (sorry, I'm having analogy troubles this morning).

I wish they could all be like that. Except, you know, the not programming my music part.