Composer Gordon Getty, when questioned about his style by a Terrace Theater audience member last night, confessed to being "a backward-looking guy."

That seemed a pretty fair description given the program preceding this remark, a collection of melodically rich vocal works and piano miniatures drawn from throughout his career.

Backward in Getty's case means composing tonal music with conviction, stressing clarity above all else. It's an art equivalent to writing prose simply. Conservative, yes; but very effective when communicating poetry.

Sixteen selections from his song cycle "The White Election" -- Emily Dickinson's life story told in her own words -- proved the virtue of simplicity, with soprano Martha Ellison and accompanist Wendy Glaubitz attentive to Getty's rhythmic scheme.

His ear for verse was particularly well displayed in the choral setting of Poe's "Annabel Lee," in which 20 male voices packed a subtle dramatic punch.

Getty described his pieces as showing "no evolution, just an increase in confidence." Confidence that promises there's plenty more where these came from.