60x60 360 degrees of 60x60 Home Mixes Events Composers Collaborations Audio/Video Press FAQs Call_for_Works VermilionMix This version of 60x60, called 360 degrees of 60x60, is sponsored in part by the International Computer Music Association (ICMA) – www.computermusic.org The works included in the mix were created specifically for the 2010 ICMC RED Edition (International Computer Music Conference) presented by Stony Brook University in New York City and Stony Brook. Six 60x60 mixes featuring 360 pieces from different composers throughout the world will presented during the conference and at remote concerts around the globe. The 6 different mixes are all named a different shade of red to honor the RED edition of ICMC: 60x60 Burgundy mix, Crimson mix, Magenta mix, Sanguine mix, Scarlet mix, and Vermilion mix. Each mix is one hour long and contains different composers totaling to 360 different works each by different composers from many different countries around the world. TITLE Composer 1 ) Displaced Fernando Leppe 2 ) Éphémère II Yves Gigon 3 ) Like empty space Juan Pablo Medina 4 ) I change, destroy, rebuild, replace, destroy and delete Svetlana Maras 5 ) Skitter Ron Herrema 6 ) Little Mechanical Box Kotoka Suzuki 7 ) basking in the copper look Thomas Dempster 8 ) Adrift Samuel Pellman 9 ) Europa David Krajic 10 ) the shopping brain relieved container piece John Maters 11 ) BENEATH THE TOR (excerpt) Barry Truax 12 ) KlangTraumMusik or Dumky Dream (2009) Hildegard Westerkamp 13 ) Em see Pea Lou Bunk 14 ) Rust Alex Olsen 15 ) Trump Study Jeffrey Mettlewsky 16 ) concretisations graeme truslove 17 ) Soft minute Guillaume Loizillon 18 ) Words through the Worlds Ricardo Dal Farra 19 ) Harmonic Hypercube [6-8-9-12] Daryn Bond 20 ) Revisit 1-10: pianoply Steven Naylor 21 ) Tettigoniid (60x60) Julian Stein 22 ) Hexagonal (Facet 1) Josh Goldman 23 ) Screen murmurs Fabian Racca 24 ) Chilling Effects Kala Pierson 25 ) Fanfare for the Common Cold Bonnie Miksch 26 ) Kiss Dancing Diana McIntosh 27 ) camp de feuilles Douglas DaSilva 28 ) Let's talk about it Ioannis Kalantzis 29 ) In Transit Jorge Sosa 30 ) Water Mary Beth Farmer 31 ) Due diligence checklist Hrayr Eulmessekian 32 ) Transgression of Being Victor Valentim 33 ) Fragments of memory Rosemary Mountain 34 ) Les yeux crevés du soleil Roxanne Turcotte 35 ) invisible sample David Power 36 ) Abstract Wind 1 John Oliver 37 ) starcloud Steel Stylianou 38 ) Against Silhouettes Michael Olson 39 ) Trip Hop Double'O'Zero Kwesi Awotwi 40 ) Prelude on IV String Pasquale Mainolfi 41 ) untitled Grant Pittman 42 ) Spare Time Mitch Curtis 43 ) Gaiuranos Andrew Heathwaite 44 ) Life is analog - play loud! [ICMC-Version] Penko Stoitschev 45 ) Twinkle Mensurate Experiment Stephen Howden 46 ) Doggy Trot (4KK) Kevin Austin 47 ) Bi Yu Banter Stephen Schedra 48 ) The Arrow Gilberto Assis Rosa 49 ) Path to Inspiration Michael Pionsonneault & Alexandre Matheson 50 ) Increate 51 Arnold Brooks 51 ) mer Mark Hannesson 52 ) At the Beach Michael Weinstein Reiman 53 ) Footsteps with Context David Ogborn 54 ) Ping-Pong Guang-Jie Ho 55 ) Fenestration David Litke 56 ) Il Pianoceano Roberto Terelle 57 ) Bellwoods Ambrose Pottie 58 ) Spelunkextract Mark Corwin 59 ) Tanja Ioannis Kourtis 60 ) The End? Daniel Houglum 1) Displaced Fernando Leppe Alvarez Fernando Leppe-Alvarez’s origins begin in Santiago Chile, but has since relocated to Montreal. His work lies at the intersection between music, sound and digital media. He has produced sound work for painter Randy Hryhorczuk as well as the Co[re]late team of architects for which it was awarded First Prize at the DigiFest Interactive City Showcase in Toronto. Fernando blurs the boundaries of melody, noise and dissonance while exploring concepts of the individual in relation to social, cultural and technological shifts. Displaced alludes to the cultural reciprocation of a people. The charango instrument was invented in Bolivia only after arrival of Spaniards. It has since become one of the main instruments for traditional Andean music. The piece begins with a melodic line played by the charango, but as the piece progresses the melody begins to transform until it becomes unrecognizable and is morphed into something foreign. The charango represents an appropriation and/or invention of a stringed instrument and in turn the effects of the larger cultural shift that was responsible for the invention of instrument in the first place. 2) Éphémère II Yves Gigon Yves Gigon has been the webmaster and Administrative co-Director of the CEC since 1997. He is the manager of CAP and SONUS. In addition to coordinating most of the audio production tasks of the CEC’s three CD series (Cache, PRESENCE and DISContact!), he is one of two Coordinating Editors for eContact! and is today largely responsible for the management of the Jeu de temps / Times Play (JTTP) project, the CEC’s annual project to support and promote young and emerging sound artists in Canada. He is also part of the DIFFUSION i MéDIA / electrocd.com team since 2007. This is a remix, reworked version (2010 – 1:00) of Éphémère (1997 – 2:33). It was originally created almost exclusively using recordings from the Primordium, a large sound sculpture in one of the electroacoustic studios at Concordia University, Montréal. 3) Like empty space Juan Pablo Medina Born in Mexico City, in 1968. Studied composition in Mexico City at CIEM school of music and, afterwards with composer-conductor Juan Trigos, among others. Attended master classes with: Franco Donatoni, Roberto Sierra, Javier Alvarez, Mauricio Sotelo, Toshio Hosokawa, José Manuel López López, Beat Furrer, Salvatore Sciarrino. In 2003 won a composition contest at the “Encuentro de Composición Injuve”, in Spain. Was awarded a price at the film festival of Chiavari, Italy, for the score of the documentary “Secretos desde el Malecón” And became finalist at the 7th International Electroacoustic Miniatures Competition 2009 (in Spain). This work is based upon a numeric matrix representing the first eleven partials of the harmonic series. It shows the structural place where the periods of the various partials coincide. This data is then used to deliver an automated sequence of controlled drones, by means of overlapping different sine waves a few hertz apart from each other. Finally, the resultant beats of the drones serve as triggers for different audio samples, in this case the percussive sounds of a flute. 4) I change, destroy, rebuild, replace, destroy and delete Svetlana Maras Svetlana Maras is composer and sound artist. She studied composition at Belgrade University of Art with Zoran Eric, and at the moment, she is a student at Media Lab Helsinki. “They say that time changes things, but you actually have to change them yourself.” Andy Warhol 5) Skitter Ron Herrema Ron Herrema is a composer, teacher and researcher working at De Montfort University’s Music, Technology and Innovation Research Centre in Leicester, England. He is a native of Grand Rapids, Michigan and received his PhD in composition (2001) from Michigan State University, where he studied with Mark Sullivan, Charles Ruggiero, and Jere Hutcheson. He has also studied with Gerard Pape and Julio Estrada at the Center for Computer Music Iannis Xenakis in Paris. He composes both acoustic and electroacoustic music, specializing in algorithmic composition and in interdisciplinary approaches to music composition. In recent years he has also been producing photographic art and generative graphics. He has presented papers and published articles on the relationship between music and architecture, on music technology and politics, and on the evolving relationship between composers and programming. His solo CD “Changing Weights” is available through Capstone Records. skit-ter v. intr. 1. To move rapidly along a surface, usually with frequent light contacts or changes of direction; skip or glide quickly. 6) Little Mechanical Box Kotoka Suzuki Kotoka Suzuki composes for instrumental and electro-acoustical music, large multi-media production works, and music for dance and film. Her works have been performed at numerous festivals in Canada, U.S., Europe, and Asia, including Inventionen, Melos Etos, Ultraschall, World Music Days, Music At the Anthology, MusMix, Pan Music Festival, VideoEx, and Klangwerktage, by performers such as Arditti String Quartet, Earplay Ensemble, Pacifica Quartet, Continuum, Penderecki String Quartet, and Nouvel Ensemble Modern (Montréal). Among her awards include DAAD Künsterporgramm Residency, George A. and Eliza Gardner Howard Fellowship, the Bourges International Electroacoustic Music and Sonic Art Competition Prize in multimedia category (IMEB), Musica Nova International Electroacoustic Music Competition Honor Prize, Robert Fleming Prize from Canada Council for the Arts, and Gerald Oshita Fellowship Award from Djerassi Resident Artists Program. Suzuki has been an Assistant Professor of Music at the University of Chicago since 2004. This miniature piece was composed as a gift for Folkmar Hein to celebrate his 65th birthday as well as his retirement from his long standing position as the Director of the Electronisches Studio at the Technical University in Berlin, Germany, since 1974. This version is slightly modified and shortened to 60 seconds: the original version is 65 seconds to reflect his birthday. 7) basking in the copper look Thomas Dempster Thomas Dempster is the recipient of numerous honors for his work, and his music has been performed and broadcast throughout the world and has been featured on many national conferences. He has taught at the University of Texas, the University of North Carolina at Greensboro, and the Governor's School of North Carolina. "The Copper Look," according to Daniil Kharms, is the look on our faces when a "delicate porcelain cup is falling from a cupboard and flying downwards" and we already know it will break into pieces as we stare helpless. The copper look is also an invention for when one mourns the loss of a dear friend: in this case, a 16-year-old pocketwatch. 8) Adrift Samuel Pellman Samuel Pellman studied at Miami University and Cornell. His works can be heard on the Musical Heritage Society, Move Records, and innova labels, and much of his music is published by the Continental Music Press and Wesleyan Music Press. Recently his music has been presented at the International Symposium of the World Forum for Acoustic Ecology in Melbourne and the Musicacoustica Festival in Beijing. Pellman is the author of An Introduction to the Creation of Electroacoustic Music, a widely-adopted textbook. At Hamilton College he is co-director of the Studio for Transmedia Arts. Further information can be found at: http://www.musicfromspace.com This work was inspired by a Hubble telescope image of the nebula NGC 6357. An algorithm for generating cellular automata has shaped the voicing of the repeated chords in the piece and has determined the selection of pitches in the clouds of sound that drift above this stream. The pitches are tuned in a 5-limit just intonation and are sounded by physical modeling instruments developed for the Kyma system by Harm Visser. 9) Europa David Krajic Born in Trencin, Czechoslovakia, David Krajic is a wannabe spiritual intellectual with a knack for music composition and a profound lack of direction. Renown for his mad tambourine skills and ear piercing whistling (acquired in early childhood to call his friends because he had no phone - like not even a hardline), he's left an often favourable impression on those who cross his winding path. In the last few years, he's been looking for a challenge that would measure up to his electrifying eagle and believes the 60x60 project will cement his overall superiority over his peers. A tribute to Arthur C. Clarke, 'Europa' utilizes the ancient Solfeggio frequencies to create a sound reminding us that 'the only way of discovering the limits of the possible is to venture a little way past them into the impossible'. 10) the shopping brain relieved container piece John Maters John Maters born in Nijmegen, Netherlands, 1956. He attended the Royal Academy of Arts in Hertogenbosch, Netherlands. His group presentations include: 2010 Shoah, European Media Art Project, Network Cologne (D) Edicion 2010, Zona 9 Video Festival Araucania (Chili) 2009 Aferro Gallery Newark / East End Arts Club London The noise of art / Digital Art Festival, Valencia (ES) Vegetable Man, curated by Dario Antonetti CD-participation vol.6 (I) FILE - Sao Paulo Soundlab VI / 2008 Fundación Bilbao T-shart (E) Another Roadside Attraction. London , Caos/Zeppelin Centre de Cultura Contemporània Barcelona (E) 2007 Soundlab, Know Future Festival Rome , Fonlad Digital Art Festival, Coimbra (PT) Zona 9 Video Festival, Araucania (CL), Pendu Gallery online, New York The shopping brain relieved container piece describes in an audio way the existence of a situation which shopping on the short term gives. It starts with a -electronic- voice on a pressured melody, the state of the brain. To find solution, relieve, the melody gets involved into sounds and circumstances of a real shopping situation, regular sounds of scanning articles, rumour, then, a short lightness: while shopping the sound of a floating wise evolves towards sounds of caged birds, probably, overruled by the pressured melody, in which the quelled inner voice of the shopping brain comes up again. 11) Beneath the Tor (excerpt) Barry Truax Barry Truax is a Professor in the School of Communication at Simon Fraser University where he teaches courses in acoustic communication and electroacoustic music. He has worked with the World Soundscape Project, editing its Handbook for Acoustic Ecology, and has published a book Acoustic Communication dealing with all aspects of sound and technology. As a composer, Truax is best known for his work with the PODX computer music system which he has used for tape solo works and those which combine tape with live performers or computer graphics. In 1991 his work, Riverrun, was awarded the Magisterium at the International Competition of Electroacoustic Music in Bourges, France. Beneath the Tor (2010) takes the listener to an imaginary underground cavern beneath Glastonbury Tor in the UK. This chamber complements those visited in Chalice Well (2009), and thus is a masculine counterpart to the feminine symbolism of that work. 12) KlangTraumMusik or Dumky Dream (2009) Hildegard Westerkamp Westerkamp's compositional work draws attention to the inner, hidden spaces of the environment we inhabit. On the edge between real and processed sounds she creates sonic journeys in her compositions that may not be so dissimilar to our daily-life listening journeys. Her website offers more detailed information about her various activities in the areas of soundscape composition, acoustic ecology and soundscape studies: http://www.sfu.ca/~westerka For an extensive exploration into her compositional work see Andra McCartney’s Sounding Places: Situated Conversations through the Soundscape Work of Hildegard Westerkamp, York University, Toronto, 1999, and in the internet at: www.sfu.ca/~westerka/compositions.html Composed for Folkmar Hein's 65th birthday, these 65 seconds came into being inexplicably in a moment of playful sound dreaming. May moments of similar inspirational dreaming accompany Folkmar's ongoing life. With happy birthday wishes and musical greetings also from Antonin Dvorak. 13) Em see Pea Lou Bunk Sound and silence are allies in the minimal yet intricate music of Lou Bunk. Educated at Brandeis University (PhD Composition and Theory) and Washington University (MA Composition), he has studied with Eric Chasalow, Michael Tenzer, Marty Boykan, and David Rakowski. In his home town Somerville, MA, he chairs the board of the Somerville Arts Council and co-produces the concert series Opensound. Lou composes both acoustic and electro-acoustic music that is programmed on an eclectic variety of local, national and international venues. Lou is currently Assistant Professor of Music at Franklin Pierce University in New Hampshire where he teaches electronic music and composition. Some current projects include a new piece for toy piano and electronics, working with high school students in Dorchester Massachusetts on a Hip Hop Opera, a tower of electro-acoustic flim-flammery (ask me), and formulating innovative ways to teach the world to sing a happy song. Em see Pea is a short Musique Concrète Pea using the sound of water. 14) Rust Alex Olsen Alex Olsen is a composer, songwriter, singer, musician, and producer from Montréal. She variously creates electroacoustic music, avant-pop, and music and sound design for theatre. "Rust" is an exploration of resonant and percussive qualities of metal. Based on recordings and inspiration from the Orford Sound Creation workshop, 2009. No sculptures or other metal surfaces were harmed during the making of this piece. 15) Trump Study Jeffrey Mettlewsky Jeff Mettlewsky holds a Bachelor of Fine Arts degree from Simon Fraser University, British Columbia, Canada and a Master of Arts (Music, Technology and Innovation) from De Montfort University in Leicester, UK. He is a composer and musician, implementing uses of technology at various levels throughout his practice. Notable projects include ongoing solo performances involving live electronics and mixed media. He has a background in instrumental composition and songwriting. See his personal site at www.vocaldrifts.com. One of the world's oldest instruments, this short composition explores the extended sounds of the trump (or Jew's harp) discovered while developing a notation method. Some of these sounds involve using the voice and various types of patterned breathing. In the studio my aim was to portray these secondary sources as hidden within an acousmatic texture of metallic, plucked and resonated materials. As originally a small instrument played at the mouth, the trump's size now becomes transformed through varied projections within the stereo field. 16) Concrètisations Graeme Truslove Graeme Truslove is a composer and performer based in Glasgow, Scotland. His output includes: Electroacoustic and Instrumental Composition, Live Sound Design for Theatre, Sound-Art Installations, Audio-Visual Art, and Improvisation - performing on guitar and laptop in a variety of small ensembles. His work is largely concerned with conflicts between intuitive performance and the fixed-medium, often exploring how fixed-medium expressive and structural possibilities can be integrated into improvised performance and vice versa. His approach integrates multiple strata of musical time, ranging from macrostructure down to the formation of timbre itself, conceived in terms of the sonic grain. Graeme has a PhD in composition from the University of Glasgow, where he studied with Nick Fells. He has held a compositional residency at L'Institut Universitari de l'Audiovisual, Barcelona. His music has won awards from: The Dewar Arts Awards, The Scottish Arts Council, The Performing Rights Society Foundation, The Phonos Foundation, Sociedad General de Autores y Editores (S.G.A.E), The Prince’s Trust and others. His work has been performed both in the UK and internationally. Recent performances include: FILE Electronic Language International Festival, Sao Paulo, Brazil 2010; The International Computer Music Conference (ICMC) 2010, Stony Brook University, New York; “Music Under The Influence of Computers”, Center for Research in Computing and the Arts (CRCA), University of California, San Diego 2010; “N.one-8”, Leeds College of Music 2010; GLEAM Electroacoustic Event, University of Glasgow 2010; Zeppelin “Sounds of Power, Listening of Fear”, Festival of Sonic Art, Barcelona 2009; ICMC 2009, McGill University, Montreal; and Transformations III, Royal Scottish Academy of Music and Drama 2009, Glasgow. For me, one of the salient features of acousmatic composition is the ability to create a ‘definitive performance’ – a concrete and unchangeable musical structure, whose every detail can be reproduced from one concert to another. The ability to work in the micro-temporal domain extends this capability, allowing composers to sculpt sound to the point where they can prescribe the expressive nuances for every sound object within a work. Computers can also capture the expressive nuances of a performance, analysing and recording the live manipulation of sound in great detail, allowing the composer-performer to reflect upon (and modify) his spontaneous endeavours at a later stage. In using spontaneously created materials, what I often find compelling is not only the point of arrival at a particular musical ‘state’ or ‘zone’, but also the audible process of finding it. I began the process of composing Concrètisations by editing and combining several recorded improvisations. I sought to preserve the performative energy of the original recordings, whilst further enhancing them using combinations of montage and real-time signal processing techniques. The improvisations were performed on an interactive software instrument, which is the real-time embodiment of compositional processes established in some of my earlier pieces. 17) Soft minute Guillaume Loizillon Guillaume LOIZILLON lives and works in Paris. He is teaching at the music department of the University Paris 8 and cofounder of the independent label "Trace Label". Composer and musician attracted by many other media, he remains independent and unceasingly attracted towards new experiments and artistic developments. Electronic music, sonic arts, improvisation, poetry, dance, intermedia meetings, net art... The piece « Soft minute » uses a set sounds programmed with « Modalys » , a language dedicated to physical modeling synthsesis. And can be seen as An elastic browsing of a digital “musique concrète” piece 18) Words through the Worlds Ricardo Dal Farra Dr. Ricardo Dal Farra is Associate Professor and Chair at the Music Department of Concordia University, Canada; and Founding Director of the Electronic Arts Experimenting and Research Centre (CEIArtE) at National University of Tres de Febrero, Argentina. He has been national Coordinator of the Multimedia Communication program at the National Ministry of Education, Argentina, and Consultant and Researcher at the Daniel Langlois Foundation in Montreal and UNESCO's Digi-Arts program. His compositions have been performed in over 40 countries and featured in 18 international recordings. Ricardo Dal Farra holds a Ph.D. in arts from Université du Québec à Montréal. http://leonardo.info/rolodex/dalfarra.ricardo.html ; http://www.fondation-langlois.org/flash/e/index.php?NumPage=1601 "Words through the worlds" was composed by Ricardo Dal Farra in February, 1997, as part of the Frog Peak CD Collaborations Project. It is based on a 66 seconds soundfile of a text written and read by Chris Mann. And it was created using multiple layers of time expanded and compressed fragments of the original recording, mixed together with that first version too. Except for editing and assembling, all digital sound processings were done using Tom Erbe's SoundHack Phase Vocoder capabilities. 19) Harmonic Hypercube [6-8-9-12] Daryn Bond Performer, composer, writer, video hack under siege at landsLide hermitage studios, bondinstitute.net. Mastermind of the 'Disposable Music Project' & THE FROZEN LIBRARY©, discoverer of the Harmonic Matrix, Harmonic Hypercube, Iterative Power Matrix, and Prime Pyramid, he studies and develops alternate musical devices while constructing a multi-disciplinary project under the working title 'PLease DO not **use Wet Paint.' A complete systematic articulation of the 4-dimensional harmonic hyper-cube [6-8-9-12] applied to pitch, with complementary inversion. 1/1=293.664764 Hz. [(4^2)^2]*2 @ 600 bpm = 51.2 seconds. 20) Revisit 1-10: pianoply Steven Naylor Steven Naylor composes for concert performance, and creates scores and sound designs for professional theatre, television, film, and radio. His personal electroacoustic work is presently centred on radiophonic and acousmatic works. Naylor also performs (piano, willowflute, electronics) with his ensemble subText, exploring music that blends improvisation and through-composition, using instrumental and electroacoustic resources. Steven Naylor completed the PhD in Musical Composition, supervised by Jonty Harrison, at the University of Birmingham, UK. For further information, please go to www.sonicart.ca “pianoply” is based on excerpts from a collection of piano-based materials that I developed while composing “The Thermal Properties of Concrete” (2006). “Pianoply” is the second piece of “Revisits”, a series that re-explores selected material from previous works. 21) Tettigoniid (60x60) Julian Stein Julian Stein is a third-year undergraduate student in Concordia University's program of Electroacoustic Studies, and is a founding member of both the Concordia Electroacoustic Studies Student Association (CESSA) and the Montréal Sound Map. His interests reside primarily in the classification of sound and compositional structure in electroacoustic music. Tettigoniid was composed as part of the 2009 Concordia Quodlibet, an electroacoustic medley consisting of one-minute student works assembled in a single movement. The composition features voice as the sole sound source, and is a study at the sample level limited only to the techniques of cut, copy, paste, and amplitude change. The piece was originally composed for four channels. 22) Hexagonal (Facet 1) Josh Goldman Josh Goldman composes / improvises / performs music, using acoustic and electronic sources, for various ensembles and settings. Much of his music combines sound and visual elements. His compositions and performances have been presented at a number of international festivals and conferences. He has received awards from Miso Music Portugal, Institut International de Musique Electroacoustique de Bourges, Accademia Musicale Pescarese, Madrid Abierto, Delaware Valley Arts Alliance, ASCAP and others. In 2007, he was an Artist-in-Residence at the Kimmel Harding Nelson Center for the Arts, the Montana Artists Refuge and the Prairie Center of the Arts. Mr. Goldman holds degrees from New England Conservatory of Music (BM in music performance) and Brooklyn College, CUNY (MM in music composition). Currently, he is pursuing a doctoral degree in music composition at the University of Cincinnati College-Conservatory of Music where he is employed as a Graduate Assistant at the Center for Computer Music. Hexagonal (Facet 1) is a stereophonic sound structure composed entirely of sounds produced by an electric guitar. 23) Screen murmurs Fabian Racca Born in 1966, at La Pampa province, Argentina, where he lives nowadays. Mostly self-taught, he started by 1989 to explore several languages and possibilities at radio broadcasting in Santa Rosa (main city of La Pampa). As years went by, such interests widened to include recording and research of different types of soundscapes, musical improvisation and experimentation with diverse sound sources, among other practices, composing theatre and creative advertising soundtracks. By late 1998 he started with Carbonoproyecto, a space for the development of such practices, which is still going on. More on http://myspace.com/fabianracca ; http://carbonoproyecto.wordpress.com/ ; http://myspace.com/carbonoproyecto Screen murmurs is a composition generated from the recording of a stereo microphone sound of field recorder rubbing against the TV screen. The TV set was on, and set on an empty channel. I wanted to work with different possible voices within this very material and listen to the results to make a final sequence. For this purpose, some fragments of that recording were selected and manipulated through diverse digital processing techniques, interacting, in real time, with parts of the original sound. 24) Chilling Effects Kala Pierson Kala Pierson is a U.S.-born, NYC-based composer and sound/media artist. Her long-term projects include Axis of Beauty (setting texts by living Middle Eastern writers, in an ongoing answer to her government's "Axis of Evil" propaganda) and Illuminated (setting texts about sex and sexuality by living writers from western and non-western cultures). Trained at Eastman School of Music and Bard College at Simon's Rock, she focuses on multi-country projects and collaborations. She co-founded the annual composition seminar Summer in Sombor in northern Serbia, and in 2008-09, her pieces were performed and installed in twelve countries. More at unfurl.org. Chilling Effects is made of sounds from my ongoing Axis of Beauty project. This audio-only version is the shortest of several modular versions; in live performance, this audio can be combined with text and/or with further audio layers played on piano strings. There are three types of sound sources: unprocessed vocals by my collaborator Sukato; processed shimmering sounds made from my voice saying "shhh"; and unprocessed metal sounds and changing-harmonics I recorded using a piano's strings, keys, and metal frame. 25) Fanfare for the Common Cold Bonnie Miksch Bonnie Miksch, a composer and performer whose music embraces multiple musical universes, creates both acoustic and electroacoustic works. An avid consumer of musical possibilities, she strives to create coherent musical environments where diverse musical elements can coexist. Her computer music and vocal improvisations have been heard in Asia, Europe, Canada, and throughout the United States. Every tendril, a wish, a recording of her electroacoustic music, will soon be released on North Pacific Music. On most days she can be heard whistling or singing in the halls at Portland State University where she teaches composition, theory, and computer music. Fanfare for the Common Cold could not have been created without Hyperupic, an application created by Christopher Penrose which creates music from two dimensional images. Large orchestral textures can be created by using a simple sample input and tuning the frequency output to the composer’s specifications. One such texture created with a short sample of a shawm and tuned in open fifths reminded me of an orchestral fanfare. Fanfare for the Common Cold grew out of this texture. 26) Kiss Dancing Diana McIntosh Winnipeg’s composer/pianist, Diana McIntosh, has been described on Bravo-TV News as a “national treasure”. She holds a Bachelor of Music in Performance from the University of Manitoba where she was composer-in-residence for many years. In 1978 she and Canadian composer Ann Southam, organized Music Inter Alia, western Canada's first contemporary music series, centered in Winnipeg, and she was its Artistic Director for 14 years, until she joined two smaller groups to create GroundSwell, of which she continues to be a co-artistic director. In 1982 she was named “Woman of the Year in the Arts” in Manitoba, by the YWCA. She has received commissions and grants through Meet the Composer, the Manitoba Arts Council, the Canada Council and the CBC. As a performer she has given concerts throughout Canada, widely in the USA, including eight in New York, and in other major capitals - London, Paris, Nairobi and Ottawa. She is a founding member of the Canadian Electroacoustic Community. Visit her comprehensive website: www.dianamcintosh.com Kiss Dancing was created using sampled sounds on an Emax keyboard sampler. “I visualized some of the dancers rhythmically and gleefully moving in and out of kissing positions while other dancers, with serious facial expressions, hold various embraces”. 27) camp de feuilles Douglas DaSilva Douglas DaSilva is a composer, guitarist, educator and Artistic Director of the Composer's Voice concert series in New York City. He composes in various styles including jazz, pop, children’s music, chamber music and experimental. Much of his writing is influenced by Brazilian music and self-inflicted stress. His Suite Brasileiro has been performed frequently by the guitar and flute duet, Duozona. Douglas is best known by his nom de guerre: Mr. Doug. His pieces “Sarabande,” ”How to Build a Totalitarian State” and “Contrails” have been included in 60x60 projects. Most recently, his piece Crows was performed by harpist Amy Berger and saxophonist Alex Stein at the Jan Hus Church in New York City. www.myspace.com/douglasdasilva camp des feuilles is about the relationship between words and their settings. The recording of soprano, Angela Sherrar and pianist Alexandra Frederick performing my arrangement of Robert Buchanan’s poem Song of the Slain, is sentenced to take place in an unidentified space, accompanied by electronic sounds and filtered through what sounds like a storm-drain, creating a quasi-psychedelic or nightmarish existence. Prison camp? Labor camp? Concentration camp? Summer camp? Nudist camp? Andy Warhol camp? The nature of this “camp of leaves” is never clearly identified; but points to the questionable seriousness and undeniable satire of Robert Buchanan’s poem. 28) Let’s talk about it Ioannis Kalantzis He studied composition and computer music at the Conservatoire National Supérieur de Musique of Lyon with Philippe Manoury, Marco Stroppa and Dennis Lorrain. He has received distinctions and prizes in contests as CIMESP'97 (Brazil), Papayioannou '98, (Greece) Pierre Schaeffer '99 (Italy), Arts 2001 (Spain), Grame/EOC 2002 (France) and Miniaturas Electroacústicas 2008 (Andalucia). His work has been selected for the official concerts of the International Computer Music Conference (ICMC'99 Beijing), (ICMC 2001 Havana), (ICMC 2003 Singapore), (ICMC 2005 Barcelona), (ICMC2007 Copenhagen). His pieces has been performed worldwide in many other international events in France, England, Germany, Italy, Switzerland, Belgium, Poland, Ukraine, S. Korea, Chile, Australia, Canada and USA. His work has been released on CDs in Brazil by UNESP/FASM and Canada by PeP/CEC. His music explores the realisation of sound organisms, which lead across their movements and their unusual logic to a particular type of energy. Sound organisms meet and challenge their presence in a musical dialog. 29) In Transit Jorge Sosa Jorge Sosa is a Mexican born composer currently residing in the US. Jorge received a Doctor in Musical Arts degree from the University of Missouri at Kansas City. Jorge's works have been performed in Mexico, the United States and Europe. Jorge was one of the winners of the Chanticleer Student Composers Competition in 2006 with his choral work The Fly. His piece Bounce for solo sax was performed in the Prestigious Carnegie Hall in New York City in 2007. His piece Ariel was recently premiered in London by the group Rarescale and was also performed at Electronic Music Midwest and New York Electronic Music Festival. Jorge was selected as an artist in residence at the American Lyric Theatre’s Composer and Librettist Development Program in New York City. He is currently Assistant Professor at Lemoyne Owen College. Please visit Jorge’s website, www.jorgesosa.com I hate being in transit. 30) Water Mary Beth Farmer Mary Beth Farmer is a Music major at Texas A&M University. This ternary composition is inspired by the blend of natural and synthetic sounds in Jean-Claude Risset's work, Sud. 31) Due diligence checklist Hrayr Eulmessekian Born Anmahouni in 1958 then Eulmessekian in 1959, both in Beirut- Lebanon. A graduate of Nishan Palandjian Djemaran, attends the Academie Libanaise des Beaux Arts for two years. Leaving behind the ravages of the first ten years of the civil war in 1984 moves to San Francisco and receives his B.F.A. and M.F.A. from the San Francisco Art Institute. Considered a post disciplinary artist often making ephemeral works, he employs varied media as film, video, silkscreen, photography, painting to interrogate the nature of representation, subjectivity, language, identity and history as constructs. His works have been exhibited, screened or broadcast in the San Francisco Bay Area, Los Angeles, New York, Yerevan and Dubai. A founding member of the San Francisco Armenian Film Festival, he serves on its curatorial team. Left San Francisco for Los Angeles in the summer of 2005. http://www.ehrayr.com A down-mix of all 60X60 tracks of '06 32) Transgression of Being Victor Valentim Percussionist and Composer (Brasília - Brazil), researcher in art and technology, and semiotics areas in which studies media and interactive processes to computational contemporary music, with that, its production is related to different segments, ranging from electro-acoustic music, the contemporary instrumental music, the multimedia installation, the performance, the soundtracks for contemporary dance and movies. Piece composed especially for the mix 60x60 ICMC in 2010. Attempts to trace the relationship between digital and analog audio in contrast, retranslated the act of putting a pickup on vinyl and listen to digital audio, which occurs today with the production of vinyl in the twenty-first century. 33) Fragments of memory Rosemary Mountain Rosemary Mountain is a composer, musicologist, and researcher currently based at Concordia University in Montreal, teaching courses in composition, 20th-century history, analysis, electroacoustics, and sound for cinema. She incorporates perception & cognition research into tools and strategies for analyzing rhythm, multiple-layered works, electroacoustics, and music in multimedia contexts. She continues to compose acoustic and electroacoustic works in her spare time, and is exploring means of guiding the listener's temporal perception into less straightforward paths. As I have digital copies of most of my acoustic compositions, I find it a great source of copyright-free complex sounds. I add to this collection by recording other sounds I produce at home, whether on santur, violin, voice, or household items. In my spare time, I play with manipulation of these sounds, and thus produce another set of elements which I can then quickly juxtapose and superimpose to create little compositions. The reference to memory in the title stems from the fact that many of the sounds evoke their original composition date. 34) Les yeux crevés du soleil Roxanne Turcotte After piano studies at the Conservatoire de musique de Montréal, Roxanne Turcotte focused on composition and music technology, earning a master’s degree in electroacoustic composition from the Université de Montréal, where she studied under Marcelle Deschênes, Francis Dhomont and Serge Garant. Active as a composer and sound designer, Turcotte has built her aesthetics around a cinema-like art of integration. She also creates and performs music for television, cinema, radio, the stage, the Internet, and circus arts, in addition to creating sound, music, and visual installations. She has received grants from the Canada Council for the Arts and the Conseil des arts et des lettres du Québec. The music of Roxanne Turcotte has won numerous awards and distinctions: International New Music Composers Competition (USA, 1987, ’89), Hugh Le Caine Award from SOCAN (Canada, 1985, ’89), Luigi Russolo International Competition (Italy, 1989), 6th “Villes manifestes” Radio Art Competition (La Muse en circuit, France, 2005), and Bourges Electroacoustic and Sound Art International Competition (France, 2005, ’07, ’08). Her electroacoustic works have been programmed by several events, such as: Festival Montréal en lumière (with lighting engineer François Doyon, 2000), Synthèse in Bourges (France, 2000, ’03), Aujourd’hui Musiques in Perpignan (France, 2000), Futura in Crest (France, 1999 & 2006), GMEM in Marseille (France, 2002), Zeppelin in Barcelona (Spain, 2004), Archipel in Geneva (Switzerland, 2005), Akousma (5) in Montréal (with lighting engineer François Doyon, 2005), Flora International in Montréal (with composers André Hamel and Diane Labrosse, 2006), Musique dans la rue in Aix-en-Provence (France, 2007), and the ensemble Erreur de type 27 in Québec (2008). Electroacoustic sound poetry; Text by : Étienne Lalonde; Spoken voices : Pierre Lebeau and Céline Bonnier 35) invisible sample David Power David Power’s initial interest was rock music. However, the electronic instrumentals on Bowie’s albums “Low” and “Heroes” led him to more experimental music. He studied composition with Richard Steinitz, Steve Ingham and Roger Marsh. His Three Chamber Pieces was premiered at the 1987 Huddersfield Contemporary Music Festival and since then his work has been performed widely. He has received a number of commissions over the years and been broadcast on BBC Radio Three. In 1995 He co-founded the Late Music Festival and in 2008 he founded the Grimsby St Hughs Festival of which he remains Artistic Director. The Festival’s first live CD- which includes David Power’s Eight Miniatures - has just been released. In 2009 his music was used in two short films by Annabel McCourt “Spooky and The Identity Crisis.” These can been seen on www.cutlimited.co.uk; www.myspace.com/davidpower "This short piece was recorded around a sample from a track called 394 by Robin Rimbaud aka Scanner. Two Yamaha synthesizers – a CS5 and a PSR 1000 - were then used to create accompanying music. The piece was recorded and edited on Cubase. However, I soon realized I could get the same effect as the sample by using the gothic voices setting on the PSR 1000 synthesizer so I removed the sample and replaced it with a new recording. This worked just as well, and saved me the bother of having to track down Robin Rimbaud and secure his permission to use his sample. Thus the sample around which the piece had initially been created had been rendered “invisible,” hence the title. 36) Abstract Wind 1 John Oliver Oliver writes and performs music for acoustic instruments and electroacoustic media. He won six prizes in late 1980s for five compositions ranging from chamber to orchestral to electroacoustic music including the Canada Council‚ Grand Prize at the 8th CBC National Competition for Young Composers for his live electronic work with tape, "El Reposo del Fuego." Oliver performs on special nylon- stringed MIDI-capable guitars made by Quebec luthier Godin, specializing in their transformation by electronic and computer processing (MAX/MSP) and is also known to conduct his own music or mix a show of electroacoustic music. Music on CDs from empreintes DIGITALes, earsay, CBC Records, ZaDiscs, SNE and McGill University Records. In some of my instrumental music, I try to infuse the writing with the same "light" that I get from DSP. In ABSTRACT WIND 1, I took recorded excerpts from two of my orchestral works, (one measure from FACE IN THE ABSTRACT, and a one-minute stretch from the end of UP WIND) to create an accelerated version of what I achieve in the last movement of UP WIND, namely the infusion of light surrounding a trumpet melody. In ABSTRACT WIND 1, there is a kind of echo chamber of this melody that the listener retains in memory as the trumpet becomes covered in a microtonal undulating mass. 37) starcloud steel stylianou Born London UK. after various rock-art and other electropunk concert and touring activities in the UK and Germany, studied composition with P. H. Dittrich, theory - G. Tittel. and electronics/electroacoustics - A.Bartetsky at “Hochschule für Musik Hans Eisler” & T.U. Berlin. Has worked and is working with various ensembles and soloists with and without electronics, as well as on his own electroacoustic projects. STARCLOUD is derived from simple platonic mathematical frequency proprtions expressed as "suspended time" generating similars from themselves developing to the beginning something "different". 38) Against Silhouettes Michael Olson Michael James Olson is a composer and media artist living in Indiana. Michael has composed for a variety of ensembles and fixed media, and is currently interested in works that integrate electronics with live performance. His works have been presented at the New York City Electroacoustic Music Festival (New York), International Saxophone Symposium (Virginia), FEASt Festival (Florida), Electroacoustic Juke Joint (Mississippi), Channel Noise (Georgia), and Asim'tria Festival (Peru), among others. Michael holds an M.M. from Georgia Southern University, and is currently pursuing his doctorate at Ball State University. Against Silhouettes transforms the sounds of everyday tools (hammers, wrenches wire cutters, bolts, screws, and sheet metal) into a dense sonic landscape. The resulting texture finds each tool struggling to assert itself through the din. 39) Trip Hop Double'O'Zero Kwesi Awotwi I'm a returning student studying Radio/TV at Lewis University and have worked in the fields of radio and marketing in the city of Chicago over the last 8 years. The piece was used for a EMT class project in which we had to produce a 60 second piece only using one sound source, which was the breaking of a glass jar. 40) Prelude on IV String Pasquale Mainolfi Mainolfi Pasquale was born in Naples on 14/04/1984, he began his musical studies at the age of 13 years with the study of the guitar before switching to the study of musical composition, now attending the fifth year of Composition at the Conservatory of Benevento (IT). He graduated in Music and new Technologies with the highest grades and is now specializing in Composition with the Electroacustics Media. Main idea of the project is the mechanical stress, defined as the force exerted on a unit surface. Given this, were recorded several types of power exercised by the arch on the IV string of a cello: from a zone of quiet to one of extreme tension and return to the quiet. Electronics, derived from the recording was build with KymaX (with PacaRana). The composition was mounted with ProTools 8.0.3. 41) untitled Grant Pittman Grant Pittman is a music technology student at Texas A&M University. This piece is a study in attention, an attempt to maintain the audience's focus steadily throughout. 42) Spare Time Mitch Curtis Mitch Curtis is a Music major at Texas A&M University. This piece reflects how little spare time I actually have. At first, it seems to be moving long well, but it soon gets hectic. In the middle, it becomes difficult to focus on just one thing. By the end, there is just a fleeting echo of what just passed. 43) Gaiuranos Andrew Heathwaite 44) Life is analog - play loud! [ICMC-Version] Penko Stoitschev Born 1963 in Bulgaria, grown up in Germany. Started music 1978 as hardrock-singer. Studied jazzpiano + bigband-arrangement with Götz Tangerding at jazzschool Munich. Build own mechanical instruments with free harmonic possibilities. Since 1984 exploring electronic music, specialized in improvisation-models & [interactive] sound-installations. 1994 first interactive sound-installation together with Gerhard Behles [now CEO Ableton] realized with FM-synth controlled by manual gestures of visitors [MAX]. Studied media-art with Valie Export at University of Art Berlin. Worked at Electronic Studio with Folkmar Hein at Technical University Berlin. Last years creating sound- & room-installations in protected monuments or in public spaces. The sound material stems from a live-recorded session with an analogue semimodular synth [Cwejman-S1mk2] patched to two additional synth-modules [Bananalogue/Serge-VCS & Cwejman-Res4]. There are no other sound-effects, reverb or post-productions. The composition is based on a communication-idea between channel one and two, so it is 2-track not stereo. My aim was to use common [contemporary] structures, gestures and sounds we know from computer music or new music, to provoke in a humorous way and to reflect on the aesthetics of computer music or computer generated sound. A related aim was to show how “haptic” analogue sounds can be and how present they can feel in the specific room where they are projected; this I why I did not use artificial reverb. 45) Twinkle Mensurate Experiment Stephen Howden Stephen Howden is a Music major at Texas A&M University. 46) Doggy Trot (4KK) Kevin Austin Soundtrack to a pooch trotting along on a treadmill. 47) Bi Yu Banter Stephen Schedra Mr Schedra has been active in music as a performer since the 60's in various choirs, theatre groups and bands. An avid composer, Mr Schedra engages all styles from Rock to Bach as well as venues as diverse as Worship to Film Scoring. A graduate of Recording Engineers Institute, Mr Schedra spent time with Kingdom Sound Studios as an Engineer as well as lighting and Sound and Light technician on their road productions. Recently, Mr Schedra has been very active in music production via the computer. Orchestral piece using the Bi Yu mode and featuring Chinese Erhu. Oriental Bassoon melody, modified by the oboes to restless string accompaniment. Basses and chelli do counterpoint to the march of percussion, clarinets join and the Erhu spells the climax. 48) The Arrow Gilberto Assis Rosa Gilberto Assis works professionally as a Music Producer, Music Teacher, Composer and Arranger besides performing as a Bass Player. He has finished his Master Degree (MFA) at the Pontifícia Universidade Católica (PUC) in São Paulo since 2000 based in a research about the Composer Edgard Varèse that has culminated in the thesis titled: Edgard Varèse: the search for a sound liberation. His works has been presented in Brazil, Italy, Chile and EUA. The central idea of the piece is to use sound gestures to build a teleological sense. "The Arrow" is an attempt to give us the idea of beginning, middle and ending in just one minute. 49) Path to Inspiration Michael Pionsonneault & Alexandre Matheson Michael Pinsoneault is a professor at Concordia University and a freelance sound designer/composer/performer. This piece was composed by Michael and Alex initially for a 7.1 system and solo trombone. This is a reduced stereo version. 50) Increate Arnold Brooks Arnold Brooks is and artist and musician. He teaches art at Brooklyn College CUNY, and New School University. His sound work takes as its starting point the treasure trove of possible field recordings in New York City. A major component of his audio work is using a simple hack to transpose entire sound files into one static two-dimensional visual image, which looks much like a piece of cloth. Once the entire sound file is transposed into a static visual image, he uses the tools of the image-based software (type tool, brush, dragging and dropping sound files, etc.) to alter/corrupt the data to create new sounds. The visual editing, via an image-based software, results in a “record” of his alterations that can be printed, and is simultaneously the sound file. 51) mer Mark Hannesson Mark Hannesson (http://www.ualberta.ca/~mjh7/Hannesson/Welcome.html) is a composer who writes instrumental, electroacoustic and mixed works. Many of his works explore and attempt to develop the connections between instrumental and electronic music. He completed a doctorate in Composition at the University of British Columbia under the supervision of Keith Hamel. Works of his can be heard on the CEC compact discs Cache 2000 and Discontact III and on the Boreal Music Society (BEAMS) compact disc Unsound and on the Modisti Netlabel release, expansion sonora. He is an Assistant Professor at the University of Alberta (Canada) teaching courses in Composition and Music Technology. “I have heard the mermaids singing, each to each... Till human voices wake us, and we drown.” T.S. Eliot from The Lovesong of J. Alfred Prufrock 52) At the Beach Michael Weinstein-Reiman Michael Weinstein-Reiman (composer) was raised in East Brunswick, New Jersey, and received his formative musical training as a pianist. Initially encouraged to compose by his high school’s choir director, he has since amassed a large catalogue of works in a variety of idioms, including music for chorus, chamber ensembles, electronics, and orchestra. Mr. Weinstein-Reiman holds the bachelor’s degree in music from Brandeis University, where he studied composition, counterpoint, and orchestration privately with Martin Boykan and David Rakowski. He is the recipient of two consecutive Reiner Prizes in Music Composition (2003 and 2004) and the Emidia Meloncelli and David John Boros Award in Music (2002). His Senior Honors Thesis, three settings of poems from Baudelaire’s “Les Fleurs du Mal” for mezzo-soprano, piano, cello, and flute was awarded highest honors at commencement. An active chorister, Mr. Weinstein-Reiman has performed extensively throughout the tri-state area with many ensembles, including the New York City Gay Men’s Chorus, the Ambassador Chorus,the Collegiate Chorale, and most recently with the Cerddorion vocal ensemble. He currently studies with Jason Eckardt at the Conservatory of Music at Brooklyn College, where he is pursuing the Master of Music degree in composition. This work was inspired by a week at the beach with my family. The sounds were collected over a 4-day period 53) Footsteps with Context David Ogborn Dr. David Ogborn is a creator, performer and producer who combines the traditional performing arts with electronic media. Highlights have included Metropolis (New Wave Festival, 2007), Opera On The Rocks (in the Toronto Star's 2008 list of "boffo opera") and Emergence for singing robot and guitar (2009). He teaches digital audio, sound+image, and interaction at McMaster University and is the president of the Canadian Electroacoustic Community (CEC). A habitual instigator of collective art initiatives, he is a founding member of the angelusnovus.net (Toronto), holophon.ca (Regina) and imaginary landscapes (Hamilton) groups. Footsteps with Contexts combines soundscape recordings from various locations and times (northern British Columbia, Morrocco, and southern Italy) with the presence of the sound of footsteps as a thread running through the whole. 54) Ping-Pong Guang-Jie Ho Guang-Jie Ho was borned in Kaoshiung in Taiwan. Learned music from the age of four, began attending music classes from the age of eight. In the period of university she was interested in computer music and start to learn by self. When the fall 2009, she entered Chiao-Tung University Institute of Music, majoring in multimedia. Ping-Pong is a mixdown version of an eight chanel original version. All material is the sound of ping-pong ball’s bouncing. The content of Ping-Pong is an imagination of ping-pong ball’s talking and activity. 55) Fenestration David Litke David Litke (b. 1977) holds degrees in composition from the University of Toronto and the University of British Columbia, having completed doctoral studies in 2008 at the latter under Dr. Keith Hamel. He has been the recipient of numerous awards for his work in composition, including a first prize in SOCAN’s Young Composer Competition as well as commissions from the Ensemble Contemporain de Montréal and the National Arts Centre Young Composer’s Program. His music has been performed across Canada and abroad, including performances at Vancouver’s Sonic Boom festival, Toronto’s New Waves festival, and at the SMC ‘07 conference in Greece. He has taught courses in electroacoustic music and theory at UBC, and is active in the field of gesturally-controlled electroacoustic music. 56) Il Pianoceano Roberto Terelle Roberto Terelle was born in Fondi, Italy, in 1977 and completed his musical studies at the Ottorino Respighi Conservatory of Music in Latina—graduating in 2003 with a diploma in Clarinet (under the guidance of Dario Bellardini) and in 2009 in Electronic Music (studying with Sylviane Sapir and Serena Tamburini). As a clarinetist, Terelle has performed in numerous concerts, both as a soloist and as a member of various ensembles, including the National Symphony Orchestra of Kiev, the Blue Sinfonica Orchestra, the Symphonic Orchestra of the Latina Conservatory, and the clarinet quartet “Quartetto Darius.” He participated in the “Workshop on the State of the Art of Real-Time Sound Elaboration and the Use of the Computer in Contemporary Music,” which was held by Alvise Vidolin at the Santa Cecilia Conservatory of Music in Rome in conjunction with the renowned new music organization Nuova Consonanza. Terelle has been the sound engineer for the Conservatory of Latina, recording such events as the pianist Charles Rosen in concert, the International Symposium on Instrumental Instruction, and La fabbrica illuminata by Luigi Nono. As a sound engineer, he has also collaborated on the recording of film music for CAM Original Soundtrack and Warner/Chappell Music. In this work – an initial foray into the world of electronic music – I used assigned sonic objects, which I sampled and manipulated. At the beginning, a sonic object is intoned over a rhythmic excerpt that is heard throughout the piece. Next I imagined the way that a piano is tested before a concert; then as an echo these strings re-sound far away, vibrating continuously and sounding together with a mass of instruments that produce a glissando. After a brief silence, the concert of the piano at the bottom of the ocean begins. The rhythm that follows causes the piano to stop, ceding to a rhythmic section that ends in a coda, which leaves a sense of incompleteness with four impulses. 57) Bellwoods Ambrose Pottie Ambrose Pottie is a Toronto based musician, phonographer and graphic designer who has recorded and/or performed with Parmella Attariawala, Bob Becker, Anne Bourne, Eugene Chadbourne, Andrew Cyrille, Fred Frith, Bill Grove, Guy Klucevsek, Evan Lurie, John Millard, Tom Walsh, Richard Sacks, Andrew Staniland and Bob Wiseman. Bellwoods is a one minute urban soundscape recorded in Trinty Bellwoods Park, Toronto. The recording was made using a pair of omnidirectional microphones in a Jecklin disc array. The result was treated with a resonator filter manipulated in real time. 58) Spelunkextract Mark Corwin Mark Corwin is an Associate Professor of Music and Director of the Electroacoustic Studios at Concordia University in Montreal, Canada where he teaches courses ranging from introductory electroacoustics and recording studies to electroacoustic composition and advanced recording techniques. He has engineered, edited and produced over 35 commercial CD recordings spanning the gamut of the music industry from folk, pop, ethnic, contemporary, musical theatre, spoken word, orchestral and children’s audio books. Spelunkextract is composed from FM synthesis objects created in the early 1980's using Simon Fraser University's (Barry Truax) POD system. These sound objects wandered around in my mind for years until set in this somewhat narrative abstraction of a spelunking experience. 59) Tanja Ioannis Kourtis Ioannis Kourtis was born in Greece. He is mostly a film music composer as he has composed the music of a lot of films. He has written also many works for orchestra and room ensembles and some of them were recorded by Greek and French radios. He is actually living in France where he continues his Ph.D in film music at the University of Montpellier. Tanja is an moment inspiration of some beautiful images from horror tales... 60) The End? Daniel Houglum Daniel Houglum, from Soldotna, Alaska, is currently in the Ph.D. in Music Composition program at the University of Iowa. He received his B.A. degree from Gonzaga University in Spokane, Washington and his M.Mus. degree from Northern Illinois University. Houglum has served as an instructor for Kishwaukee College and currently teaches at the Preucil School of Music as theory instructor for the Certificate Program. His composition teachers include Kevin Waters (S.J.), Robert Fleisher, David Maki, John Eaton and David Gompper. Houglum has recently composed music for the Alverno College Women's Chorus in Milwaukee, saxophonist Stephen Page, and Chicago-based pianist Mabel Kwan. For more information please visit www.houglum-music.com The End? is an unaltered single-take recording.