In 1974 Foley became an instructor of theory and history at NCSA. In 1976 he began graduate studies at the University of Toronto with John Weinzweig and Lothar Klein. Summer sessions at the Banff CA allowed him the opportunity to study with Violet Archer, Serge Garant, Oskar Morawetz, Bruce Mather, and Gilles Tremblay.
In 1980 Foley joined the music department at the University of Guelph, a position he held until 1986 when he decided to devote more time to composition.
Foley attributes the formalist emphasis in his compositions of the 1970s to his exposure to teachers such as Garant and Tremblay. His more recent works, which he describes as a form of 'humanist expressionism,' have been influenced by his self-directed studies in ethnomusicology.
Athabascan Dances. 1987. Ms.
Departures. 1988. Ms.
Menagerie. 1989. Ms
Also Carmina Antiqua (1979) for concert band and Serenade (1977) for tenor saxophone and wind ensemble. Both manuscript
Reciprocal Accord. 1980. Db, piano. Ms
Hommage à Klee: Perspectives no. 3. 1981. Va, accordion, vibraphone. Ms
Rabelaesiana. 1981. Db, percussion, piano (harp, harpsichord). Ms
Tetrakys. 1982. Fl, violoncello, piano. Ms
Saint George Blues. 1984. Va, keybd. Ms. Canaccord CONA-3 (CD) (Perry viola, Petric accordion)
Hommage à Henri Rousseau. 1985. Cl, piano. Ms
Athabascan Suite. 1986, rev 1987. Acc. Ms
De Rerum Natura. 1986. Tpt, organ. Ms
Wanagi wacipi olowon: ghost dance. 1987. 3 clarinet, bass clarinet. Ms
Hommage à Mondrian: Perspectives no. 5. 1990. Acc, piano. Ms
Squeeze Play. 1990. Acc. Ms
Also works for piano and two for voice.
Author Mark Hand
All manuscript MacMillan, Rick. 'Daniel Foley: writing for performers, not composers,' MSc, 355, May-Jun 1987
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