Jeremy Baguyos explores artistic expression and creativity at the intersection of technology and the performing arts. Most of his activities can be classified as composition, realization, and production/performance of academic computer music, especially interactive computer music, algorithmic music, improvisation environments, and sound installations. He is Associate Professor of Music Technology and Artist Faculty of Double Bass at the University of Nebraska (Omaha). He earned a MM in Computer Music as a student of McGregor Boyle at the Peabody Institute of Johns Hopkins University.
"Snowmass" was conceived while climbing up Snowmass Mountain near Aspen, Colorado in August of 2008 and realized in a makeshift studio near Castle Creek. It is a bittersweet work because I knew that climb would be one of the last activities I would be able to do during the last of my visits to Aspen, Colorado. "Snowmass" is an optimistic work in that I hope to return again, but under more ideal circumstances. The work exhausts all relevant compositional possibilities of one customized timbre and one motive.
Jay C. Batzner is a composer, sci-fi geek, comic book reader, amateur seamster, home brewer, and juggler on the faculty of Central Michigan University where he teaches music technology, theory, composition, and electronic music courses. He has been many places and has done several things, some of which are rather impressive. Wagner meets Blipverts.
The 14 hour Ring cycle compressed into 60 seconds. Even at this superhyper speed I think it is boring...
Brian Belet & Stephen Ruppenthal
Brian Belet lives in Campbell, California, with his partner and wife Marianne Bickett. He performs with the SoundProof ensemble, and is Professor of Music at San Jose State University.
Stephen Ruppenthal is Principal Trumpet with Redwood Symphony, the Brass Act Quintet, and co-founded the SoundProof Ensemble. He is recording a CD of new trumpet/electro-acoustic works composed for him. By day he is Director, Technical Communications at Sony Entertainment." Vocal Point stretches the linguistic dichotomy of the written and spoken word. Interjecting digitally-processed, contrapuntal speech patterns provides a sonic platform for communicating different contexts and structures. Disintegrating words are juxtaposed within sonic gestures; infused with strangeness disguised as meaning.
“Vocal Point” dislocates meaning in favor of sonic fragmentation, and focuses not so much on linguistic minimalism as on a canvas or palette for sonic reconstruction.
Kari Besharse is a composer of acoustic and electroacoustic music, a guitarist, an educator, a sci-fi nut, and an outdoors enthusiast. She has taught music theory, music history, and electronic music courses at Illinois Wesleyan University and music theory courses at Univeristy of Illinois at Urbana-Champaign. Her education includes undergraduate studies at the University of Missouri at Kansas City (B.M. â€˜98), and graduate work at the University of Texas at Austin (M.M. â€˜02) and University of Illinois at Urbana-Champaign (D.MA. â€˜09). Her music has been presented around the world by venues and organizations such as The California Ear Unit, Society of Composers, Inc., Texas Computer Musicians Network, The LaTex Festival, The Florida Electroacoustic Music Festival, Electronic Music Midwest, ICMC, SEAMUS, Bourges, Elektrophonie, Third Practice, 60X60, The Electroacoustic Juke Joint Festival, New Music Forum, Pulse Field, and the Art of Sounds Festival at Belgrade, Serbia.
“On a Wire was” created from various scraps and pieces of material from several different pieces. Almost every sound in this miniature comes from noises and fragments improvised on classical or electric guitar. These sounds were then processed in many ways to create an intense sixty-second tapestry.
Marita Bolles is a composer whose music has been commissioned by and for performers who share a commitment to newly composed and experimental concert music. Her works frequently include theatrical elements, sound spatialization, the incorporation of original texts, and graphic notation. In addition to composing music, she is exploring music and its intersection with visual art through the production of “objets de la musique”—art objects that play music when interacted with by the user. For more information: www.maritabolles.com
“Hallelujah,” is for two channel spatialized voice, using materials I did not incorporate into a piece for mixed ensemble and 6-speaker sound spatialization, entitled What Exit (2002). I had about two hours of left over sound sources for voice, performed by composer/tenor Derek Keller. I took the opportunity to make a miniature using some of the remaining material in a gesture that is related to--but not specific to--its use in the original work. A sort of variation..
Jason Bolte is an Assistant Professor of Music at Montana State University where he teaches courses in composition and music technology. Jason is a member of the organizational board of the Electronic Music Midwest Festival, and a founding board member and past President of the Kansas City Electronic Music and Arts Alliance. Jason earned a B.M. with an emphasis in Music Engineering Technology and a M.M. in Music Composition from Ball State University. Jason's music is available on the Vox Novus and Miso Records labels.
“Transferred” is a 60 second work derived from samples of a Mancala board game for his Unsafe Bull Podcast.
Brunner is a composer and performer, researcher/writer, recording engineer/producer and teacher. Brunner has served as composer-in-residence three times at EMS (Electoacoustic Music Studios) in Stockholm, Sweden and in 2001 at Kungliga Musikhögskolan I Stockholm, Sweden. He is at present writing a book on Text Sound Composition and is considered an authority on the subject. Brunner was Co-Director of the first Electroacoustic Music Festival in Istanbul, Turkey sponsored by Bilgi University. Brunner serves as the Director of Music Technology for the Conservatory of Music at Brooklyn College, and is the founder of the Brooklyn College Electroacoustic Music Ensemble, which under his direction produces an annual CD. He is the founder and coordinator of the biannual International Electroacoustic Music Festival at Brooklyn College, New York City. For more information visit Brunner's personal page on Vox Novus.
Madelyn Byrne is an active composer of both acoustic and electro-acoustic music. Her work has been recorded on Innova, Everglade, and New World/CRI Records and has been presented on a wide range of new music festivals. Madelyn joined the Palomar College Faculty in 2000.
“Blue” is inspired by an art collaboration with Lily Glass, which is based on environmental elements.
My Life Is Meticulously Random
Jen-Kuang Chang, a native of Taiwan, is the recipient of the Music Omi International Musicians Residency Award, the First Prize winner of the Yorgos Foudoulis Composition Competition in the orchestral ensemble category and the Second Prize winner in the music technology category, the CLIC Foundation Digital Art International Contest Award, and the Second Prize winner of the JIMS International Composition Contest for Improvised Chamber Music “Stadtpfeifer” in Salzburg. His music has been featured in Spark Festival, FEMF17 Festival, EMM Festival, SMart Multimedia Art Festival, Transhift08 Festival, SCI Region VI Conference, Electroacoustic Juke Joint Festival, Symposium for Arts and Technology, Summer Studies for Jazz & Improvised Music Salzburg, Sonoimágenes Festival, Expo Brighton 2008, ElectroMediaWorks ’08, FONLAD’08 Festival, Signal and Noise Festival, Australasian Computer Music Conference 2008, FILE Electronic Language International Festival 2008 in Sao Paulo, and ASTAS ROMAS 404 Festival in Trieste.
Da Jeong Choi
Da Jeong Choi was a teaching fellow (ABD) in the Division of Composition Studies and in the Division of Music History, Theory, and Ethnomusicology at the University of North Texas. Also Choi is the president of the Composers Forum at UNT. Her works have been broadly performed at ICMC, SEAMUS, NMFW, BCM, SCI, KNM, EMM, CFAMC, NASA, the International Review of Composers, Rarescale, ISCM, Seoul Contemporary Music Festival, Pusan Contemporary Music Festival, Society of Music Research, Sung Nam Choir Festival, Pan Music Festival, etc. Furthermore, Choi received various awards including the second prize at Percussive Arts Society Composition Contest, the first prize at Joong Ang Competition, and Gold Prize at MunHwa Broadcasting Corporation Composition Contest for Young Composers. Choi received BA from Dankook Univ. and MA from Rutgers Univ. Previous teachers include Jung Sun Park and Gerald Chenoweth. Choi has studied composition with Joseph Klein, Cindy Mc Tee, and Jon Nelson at UNT. Cantus Curatio describes the
“healing process” in our bodies by using granular synthesis, max msp, original sound, voice (choir) and percussion instruments.
Andrew Seager Cole is a composer, guitarist, and media artist splitting his time between Appleton, Wisconsin and Kansas City, Missouri. He has written contemporary acoustic and electro-acoustic music, collaborated with film makers, directors, artists, dancers, and taken part in a number of interactive instillations. He is a founding member of the Baltimore based new music group AfterNow and the vice president of the Kansas City Electronic Music and Arts Alliance. Andrew is currently a Chancellor's Doctoral Fellow at the University of Missouri Kansas City. He has a BA in philosophy and music at Goucher college, and MM's in both Computer Music and Composition at Peabody Conservatory. Until the summer of 2008 he worked as the Johns Hopkins Unversity Digital Media Center's Digital Audio Specialist and taught digital media at Johns Hopkins University and electronic music at Loyola College of Maryland.
"Moog of Destruction" was written using a Moog synthesizer. The title really just says it all.
Christopher Cook has received awards and honors from the Fromm Music Foundation, the NEA, ASCAP, MTNA, and the National Assembly of Local Arts Agencies. His compositions are widely performed in university and festival settings, including June in Buffalo, Music of Our Time, the Utrecht Music Festival, the International Computer Music Conference, and the Society for Electro-acoustic Music in the United States Conference. He is director of theory and composition at Christopher Newport University. Siren Song is largely created from recordings of soprano Rachel Holland. The recorded material has been manipulated through a variety of processes to construct the sonic landscape of the piece. The work recreates the Song of the Sirens from Greek mythology, luring sailors with their seductive voices to shipwreck on the rocky coast of their island. The harmonic overtones of a specific pitch are used to create a harmonic pallet throughout the work.
Play Maceo, Play (Drum & Mess Mix)
Dr. Ian Corbett is the Coordinator of the Audio Engineering Program, and Assistant Professor of Music Technology and Audio Recording at Kansas City Kansas Community College. He also owns and operates "off-beat-open-hats - recording and sound reinforcement", specializing in servicing the needs of classical and jazz ensembles in the Kansas City area. Ian's composition credentials include a Doctor of Musical Arts degree from the University of Missouri-Kansas City, a Fellowship Diploma from the London College of Music, and an M.M. degree from Emporia State University, KS. For more information please see www.offbeatopenhats.com.
Originally a movement from “Three Improvisatory Groovescapes for multi-channel surround sound and instrument”, the work was intended to explore particular aspects of the 360o soundstage. This stereo rehash, sped up, presents the grungy grooves as more drum & bass like, and is intended to be humorously entertaining.
Zlatko cosic is a video artist born in Banja Luka, Bosnia and Herzegovina. Cosic earned a Master of Fine Arts in Visual Art from Washington University and a Bachelor of Arts in Video Production and Interactive Digital Media from Webster University. Cosic's work spans from short films, video and sound installations to theater projections and live audio visual performances. His artwork was shown in over twenty countries for which he has received a variety of recognition. Cosic currently lives in St. Louis and works as a multimedia producer, professor and artist.
"Song for 180" was created for video entitled "180". Each video within "180" was originally created for three different sets of the 60x60 Project which is comprised of Cosic's 60 videos with 60 second compositions by 60 different composers. These one hundred eighty videos formed a new visual structure which inspired the creation of "Song for 180." www.zlatkocosic.com
Brad Decker’s music has been acknowledged and performed both nationally and worldwide. He was selected finalist for the 2005 ASCAP/SEAMUS Student Composer Competition, the Bourges 31e Concours International de Musique et d’Art Sonore Electroacoustiques, the IV Edition Pierre Schaeffer International Competition of Computer Music, and the 2004 Concurso Internacional de Música Eletroacústica de São Paulo. His music has also been performed at numerous American festivals. Dr. Decker is Visiting Assistant Professor of electronic music at Illinois Wesleyan University, and Visiting Lecturer at the University of Illinois. His dissertation on Franco Donatoni was deposited in January 2006.
“Lo siento” (2007) “I have discovered that all human evil comes from this, man’s being unable to sit still in a room.” -Blaise Pascal
Greg Dixon earned his Bachelor's degree in Music Engineering Technology and Master's degree in Music Composition from Ball State University. He has studied music composition with Keith Kothman, Jody Nagel, Michael Pounds, David Foley, and Cleve Scott. His electro-acoustic music has been performed at Threshold Fall 2004 and Spring 2005, Ball State's DISCUS 2005 and Electronic Music Midwest 2005.
"Minutia" consists of many small and unimportant details. However, what initially starts as small and unimportant soon becomes overwhelming. I find this to be analogous to many different kinds of experiences; one seemingly unimportant emotion is followed by many different others until finally a much stronger, more palpable emotional response is invoked.
Ben Dorfan is studied music and biology at Oberlin College. His work has become increasingly focused on exploring the relationship between natural and developed spaces; he is working on a series of multimedia compositions drawing inspiration and source material from outdoor environments in northern Ohio. In the past year, Ben’s music has been performed at the Spark Festival of Electronic Music and Arts in Minneapolis, MN, the SEAMUS National Conference in Salt Lake City, UT, and in Wilmington, DE, Oberlin, OH, Boston, MA and New York, NY as part of Avian Music’s Spring 2008 east-coast tour.
Matthew Dotson received a PhD in Composition at the University of Iowa where he has studied with Lawrence Fritts, John Eaton and David Gompper in addition to assisting in the operations of the Electronic Music Studios. Performances of his music include New York City (New York City Electroacoustic Music Festival), Romeoville, Illinois (Electronic Music Midwest), Cleveland, Mississippi (Electroacoustic Juke Joint), Gainesville, Florida (Florida Electroacoustic Music Festival), Belgrade, Serbia (Art of Sounds Festival), and Santiago, Chile (Festival Ai-Maako).
“60 Morneaus” is a collage of 60 samples taken from David Morneau’s 60x365 project in which Morneau produced a new work every day for one full year. The samples I utilized were determined by randomly selecting a date and then extracting a small motive from the composition of that particular day.
Ivan Elezovic’s compositional output ranges from acoustic to electroacoustic works including mixed media, and has been recognized by numerous competitions and festivals: SEAMUS VI International Electroacoustic Music Festival of Santiago de Chile; Seoul International Computer Music Conference SICMF; International Festival of Acousmatics and Multimedia; North Carolina Computer Music Festival (North Carolina State University); the 10th Biennial Symposium for Arts and Technology; the 36th Annual College Music Society-Mid Atlantic Chapter Conference; the Canadian Electroacoustic Community CEC; GroundSwell-New Music Series; Global Stage Concert Project; Vox Novus 60x60 Project; Palmarès du 32e Concours International de Musique et d'Art Sonore Electroacoustiques de Bourges; and the International Tribune of Composers.
Creating this piece apropos 20th anniversary of Giacinto Scelsi’s death gives me a great opportunity to emphasize some of the most important highlights of the composer’s life and his music. What captured my attention is what Scelsi called the “third dimension” of the sound, a definition that is more metaphorical than scientific. What Scelsi implies by the “third dimension” is the analytic attributes of musical elements other than pitch and duration most notable in Quattro Pezzi (su una nota sola) [Four Pieces (each one on a single note)].
Loretto Alfresco (piccolo)
Robert Fleisher attended the HS of Music and Art (NYC), graduated with honors from the University of Colorado, and earned the MM and DMA in composition at the University of Illinois at Urbana-Champaign, studying with Salvatore Martirano, Ben Johnston, and Paul Zonn. Since 1983, he has been on the music faculty of Northern Illinois University (DeKalb), where he currently coordinates the music theory and composition area. His music has been heard in Australia, Canada, France, Germany, Italy, Mexico, Spain, Taiwan, the UK and throughout the USA. The author of 'Twenty Israeli Composers' (1997), he is also a contributing composer and essayist in Theresa Sauer's 'Notations 21.' "This brief bit of musique concrete was created in 1970. Sound sources include assorted pots, pans, pipes and other objects played by my childhood friend, Tom Loretto, under a tree on the small Wisconsin farm then owned by my sister. After resting comfortably in my archives for nearly 40 years, LORETTO ALFRESCO (lasting just over one minute) was premiered at the NYC Electroacoustic Music Festival in 2009.
LORETTO ALFRESCO (piccolo), with a duration of 59 seconds, was created for 60x60 (Crimson Mix), and premiered during the 2010 ICMC in NYC."
Larry Matthew Gaab
Larry Matthew Gaab (b. 1950) is a native of the United States. His body of works are for tape alone and for mixed acoustic and electronic instruments. His works have been selected at electro acoustic festivals and concerts in the United States and in Europe.
“Gladly Beyond” represents raw energy extending and expanding. Propulsive waves thrust against and over the boundaries. Temporal limits abate all the excitement.
Jason Ernest Geistweidt
Jason E. Geistweidt is a multimedia tinkerer, experimenter, and hacker living in Chicago, where he teaches in the Interactive Arts and Media department at Columbia College. His most recent work focuses upon interactive performances and installations that, in some way, are realized over networks. Currently he is developing/rolling-out the netChimes project (www.netchimes.org), a globally-distibuted wind instrument.
“Méchanique” is the first in a series of one-minute sketches for stereo presentation. The overwhelming majority of the original source material is derived from contact microphones affixed to a large cast iron bathtub located at my father's house in Hilda, Texas. Other recordings include my grandparent’s old upright piano which sits in the living room as well as sounds of our aluminum kitchen sink here in the Chicago apartment. These sources all possess a very intimate, organic quality that comes across in the work as childlike and playful – beginning with intensive energy, becoming exhausted, reflecting, reiteration transitioning to abandonment.
Peter Gilbert's music has been performed in the US and abroad in venues ranging from the Kennedy Center to the Rock and Roll Hall of Fame. He directs and is on the faculty at The Young Composers Program at the Cleveland Institute of Music, where he received Masters in composition. He has taught at Harvard University while learning to play the drums.
“Rituals Minipod” is 1 of 4 pieces assembled during a residency in Bourges, France at the Insitut International de Musique Electroacoustique Bourges. They are reshufflings of pieces which themselves are reshufflings of other music by the composer.
Jacob Gotlib is a junior TIMARA major at Oberlin College. His primary studies are with Tom Lopez. He has written music for solo instruments, chamber ensembles, electronics, and multimedia. His music has been performed in Oberlin OH, at the 2005 Threshold Electro-Acoustic Music Festival in Bowling Green OH, by the California EAR Unit at Arcosanti AZ and Los Angeles CA, and at the Imagine2 Festival in Memphis TN. Outside of school, he plays with the band Ayin, who have released two albums and have toured nationally.
“Character Sketch” was inspired by a short video of a man staring at himself in the mirror -- the source of the spoken word sample, "My character...personality..." The piece is a musical response to the video, in which I perceived the man to be in a state of intense apprehension and self-doubt.
His music is described as “brainy and jazzy” (American Record Guide) and “fascinatingly strange” (BBC Music Magazine); Arthur Gottschalk is Professor of Music Composition at Rice University’s Shepherd School of Music. Among many awards, his Concerto for Violin and Symphonic Winds won First Prize in the XXV Concorso Internazionale di Composizione Originale (Corciano, Italy), and in 2011 he was awarded a prestigious Bogliasco Fellowship for further work in Italy. Other awards include the Charles I The composer had the honor of working with the late Dizzy Gillespie on a number of occasions, including a Fantasy Records release featuring Gillespie and legendary tenor man Arnett Cobb.
Many of the trumpet sounds heard in this piece came from the out-takes of that session; others were provided by trumpeter Reynaldo Ochoa. These sounds were assembled, edited, and layered, and each layer was then processed and staggered in relation to other layers - creating a momentary glimpse of the trumpet.
Guillaume Côté is a young sound artist with a marked preference for a musical discourse based on contrasts, leaving full liberty to noisy sounds and acoustic instruments. His artistic process essentially rests in the search for beauty in things’ imperfections. He is presently a student of electroacoustic composition and teacher assistant at Université de Montréal. Apart from acousmatic music, Guillaume have a deep interest in free jazz and have his own trio with Mathieu Frenette (alto and sopranino saxophone) and Philippe Roy (contrabass). His works have been played around the world, including Musiva Viva Festival (Portugal, 2010), Electronic Music Midwest Festival (USA, 2010), Longueur d’ondes (France, 2010), NoiseFloor Festival (UK, 2011) and SEAMUS national conference (USA, 2011).
James Hegarty’s works have been performed throughout the US and in several countries abroad. He has contributed works to programs at numerous universities and festivals including the 60x60 project. He has received grants from state arts agencies and the NEA. Hegarty founded the music technology program at St. Louis Community College at Forest Park and the Associate Professor of Music at Principia College where he teaches music composition. He holds degrees from Principia College, the American Conservatory, and Northern Illinois University where he studied computer music with James Phelps.
Sounds of an amplified violin, electronic beats, synth tomes, and shortwave broadcasts are scratched and glitched with a wacom tablet in MSP.
Marie Incontrera, composer and pianist, is a native of Brooklyn, New York. Her music has been performed throughout the United States and internationally at respected venues including Symphony Space, Christ and St. Stephen's Church, Galapagos Art Space, Roulette, the Kaufman Cente, and at the Meridian Festival in Bucharest, Romania. She has been a featured composer on the New York City Electroacoustic Music Festival, Electronic Music Midwest, the International Electroacoustic Music Festival, the Hartford Women Composers' Festival, as part of Max Lifchitz's North-South Consonance Series, and won Remarkable Theater Brigade's Art Song Competition. Her Music has also been performed and read by the New York Miniaturist Ensemble, New York Youth Symphony's Symphony Singers, Remarkable Theater Brigade, American Composers' Orchestra, and New York Youth Symphony Players and Basso Moderno. Marie serves as Opera Liaison for the New York Chamber Virtuosi, and is the General Director and Composer in Residence of Alphabet soup Productions. She has been a recipient of the Miriam Gideon Composition Award for women composers. Android's Waltz is a tiny waltz whose time contraint corresponds to the attention span of the internet generation.
Aaron Krister Johnson
Aaron Krister Johnson is a Chicago-based multi-keyboardist, teacher and composer. His work has received glowing words from Keyboard Magazine, Chicago Sun-Times, Chicago Tribune, Windy City Times, Chicagocritic.com, and Tokafi.com. Passionate about the past and future possibilities of pitch, he founded UnTwelve, a concert series and website which explores music beyond the standard 12-note system. His compositions are heard internationally, including the 2009 60x60 International Mix. He is the pianist, organist and choir director at Temple Sholom of Chicago, a post held since 1998. Active in Chicago theatre, his score for Ibsen's Peer Gynt received a 2005 Jeff nomination. Other theatrical scores include Modigliani, Petrified Forest, Clash by Night, Madwoman of Chaillot, Natural Affection, Twelfth Night and Julius Ceasar. He is also responsible for all the fabulous content at akjmusic.com. He is a graduate of both SUNY Purchase and Northwestern University in piano performance. Finally, he is the proud husband to Lorna and father to his precocious 4 year-old daughter Annika.
'Fast Prelude' is a neo-baroque composition in 19-tone equal temperament. One can think of it as a "Bach invention seen through shattered glass". It modulates quite rapidly in a devil-may-care manner, and the synthesizer sound was realized using Csound on the author's Linux system.
Noah Keesecker is a multi-disciplinary artist with an extensive background in composition. His work expands into the realm of video, installation, text, interactive and performance art, and animation. Coming from a background in music performance and composition, his work has evolved into a diverse blend of high-energy image-heavy works fused onto musical structures of his own creation. His source materials range from found video, to gesture based digital abstractions, to frame-by-frame animation techniques. In addition to his work in video and music, Keesecker is continually exploring more physical design mediums as well, such as, graphic design, clothing, and bicycles with the goal of forging the sight and sound of his current creative work with more physical, tactile, interactive and object-oriented performance pieces.
“Aquarelle” is a recording of a work for mbira and live DSP performed using MAX/MSP. The performances of this piece were done in small installments at various locations using a portable set-up so the performances could happen and then disappear. This enabled the performance to exist briefly in a unique space and then fade away. The title refers to the wash technique used in watercolors in relation to the soft layering of textures, as well as the "running" performance aspect.
Kevin Kissinger is an electronic musician and classically-trained organist from Kansas City, Mo. His interest in electronic music started in the 1960s when he worked with electronic project kits, a Hammond Organ, and whatever tape recorders he could get his hands on. In the 1970s, Kevin built a large modular synthesizer. Kevin built his first theremin in 2005 and acquired a Moog Theremin shortly thereafter. Since that time, Kevin has created many compositions for the theremin and performs throughout the USA. Kevin earned a BMus degree in Organ Performance from the University of Missouri at Kansas City Conservatory of Music.
"Molasses" is a multi-track theremin work that creates the sound of a theremin-ensemble. The inventor of the theremin, Leon Theremin, envisioned complete theremin orchestras. However, attempts at large theremin ensembles didn't work out too well -- the instruments' radio-frequency oscillators interfered with each other and, lacking keyboards, fretboards, or any tactile references, the thereminists had difficulty to hear themselves and play in tune. "Mollasses" utilizes multiple tracks -- fifteen of them -- to create a theremin ensemble sound that Theremin himself could only imagine.
Laura M. Kramer (b. 1984) studied at the University of Southern California, where she studies with Frank Ticheli and James Rötter. She holds a Master of Music in Composition from Indiana University (2008), and a Bachelor of Music in Saxophone Performance and Music Theory/Composition from West Chester University of PA (2006). Laura’s works have been featured at the International Electroacoustic Listening Room Project, Midwest Composers Symposium, Midwest Graduate Music Consortium, North American Saxophone Alliance Conferences, SEAMUS National Conferences, and the Western Illinois University New Music Festival. She has composed incidental music for the IU Theatre Department's production of Oscar Wilde's An Ideal Husband, and was awarded honorable mention in the 2009 Margaret Blackburn Biennial Composition Competition by the Pittsburgh Alumnae Chapter of Sigma Alpha Iota. Laura has served as graduate assistant director of the Indiana University New Music Ensemble, as well as guest production manager for Alarm Will Sound. www.laurakramermusic.com
An active composer/pianist, HyeKyung holds a D.M.A in Composition and Performance Certificate in Piano from the University of Texas at Austin. Her works are available on Vienna Modern Masters, Innova, New Ariel, Equilibrium, Capstone, MSR Classics, and SEAMUS CD Series Vol.8. Currently she is Associate professor at Denison University, Granville, Ohio.
The piece reflects my childhood in countryside in Korea where nature was not disturbed.
Tiny Yellow Chicks Fifth And Tiny Yellow Chicks Octave
Patrick Liddell, aka ontologist, lives and breathes in Oakland CA. His work combines music, video, and other kinesthetic experience to discuss ideas pertaining to philosophy of mind and the root of consciousness. Please write to email@example.com for discussion and collaboration.
The tonal sound in this piece comes from two central Javanese instruments, the gender barang and the slenthem. Each of them are playing two standard musical fragments whose names translate from Indonesian as "Tiny Yellow Chicks Fifth" and "Tiny Yellow Chicks Octave". I granularly processed the original tones and merged them with the massive bird canopy.
Lillios Elainie Lillios likes to listen between the lines...
Composer Stan Link married musicologist Melanie Lowe. Tribal differences aside, they had a daughter named Wednesday. Her parents support her chocolate habit by teaching at Vanderbilt. A disk of Stan’s music, In Amber Shadows, appears on Albany Records. Published in journals whose combined readership numbers well into the single digits, Stan is slowly perfecting ineffectuality. Turn Ons: aesthetic failure. Turn Offs: certainty[.] Favorite Position: Difficult. Astrological Sign: “Lane Ends”
My brother-in-law sent my daughter a toy piano whose main purpose was actually just to irritate me. I foiled his plot by being delighted. Joyful to the point of becoming speechless, this piece has no idea what it’s saying.
David D. McIntire began composing electronic music in the 1980s using an old English synthesizer, some sine wave generators and bits of tape sliced up with razor blades, which he purchased in bulk quantities. He composes electronic music with a computer now, but his music sounds pretty much the same. So you can’t really blame the computer.
“Small World IV” is one of a series of pieces that explore highly restricted realms of material. Here, the sonic palette is confined to a couple of timbres and the melodic compass is extremely narrow.
Christian McLeer is artistic director and founder of Remarkable Theater Brigade (RTB), a company that creates and produces new musical works. His musical success began as a youth, winning piano competitions and commissions while still in high school. He received his first commission at the age of 14 for the American Cancer Society for which he wrote and performed HOPE, later included on the CD Encores 2 by the renowned pianist Anna Marie Bottazzi. He attended Julliard Pre-College and worked his way through Manhattan School of Music where he acquired his Bachelor’s degree, composing and performing professionally for classical, jazz and rock ensembles.
Dohi Moon is in doctoral study of music composition under Prof. Mark Sullivan in Michigan State University, where she is teaching the course, 'the Foundations of Music Technology', as a graduate assistance. Her music were selected by the2007 Electronic Music Midwest Festival in Kansas city, the 5th Annual festival of contemporary music in San Francisco, the 34th international competition of electro-acoustic music and sonic art Bourges in France, LA MELANCOLIE in France, MusicByte 5.1 Concert in Illinois, the 5th Cello Plus International Chamber Music series in Michigan, and New music Project by Western Michigan Orchestra in Kalamazoo.
David R Mooney (b. 1949) is a self-taught composer of fixed music on disc. Mooney can be found riding his bicycle up and down the hills of Pittsburgh, listening to the sounds of the city. Sometimes these sounds make their way into his compositions. Works have been played at concerts, festivals and conferences including ICMC, SEAMUS, Electronic Music Midwest, Logos Foundation Summer Concerts, the Shy Anne Film and Video Festival, EuCue Concerts, Bourges Festival Synthese, Zeppelin2004/2009, Vox Novus’s 6 Some elevators go in and out more than up and down.
David Morneau is a composer of an entirely undecided genre, a provider of exclusive unprecedented experiments. In his work he endeavors to explore ideas about our culture, issues concerning creativity, and even the very nature of music itself.
We're all doomed.
Mike McFerron is professor of music and composer-in-residence at Lewis University, and he is founder and co-director of Electronic Music Midwest (http://www.emmfestival.org). His music can be heard on numerous commercial CDs as well as on his website at http://www.bigcomposer.com.
hommage to the founder of 60x60
Rick is originally from the Southeast US, studying composition early with Charles Norman Mason, and Michael Angell, then going to the UK to study with Jonty Harrison, Andrew Lewis and John Young. He is now an independent composer and researcher working in the UK.
“Click Glut” is a cello realisation of a electroacoustic model. This aural model serves to replace a written score. By routing the signal via headphones through the cellist (Craig Hultgren) the audience is left hearing only acoustic cello. You might try thinking of the performer being treated as a very complex (wet-ware) distortion box.
This is not a type of improvisation. If anything, it is closer to New Complexity. An honest attempt at accuracy is essential. James Mooney refers to this as a 'special case' of electroacoustic music being that the performance is entirely acoustic, but could not exist without the EA model.
“Click Glut” is a performance, by Craig Hultgren, of a studio-built electroacoustic model that serves as an alternative to a written score. The audio signal is routed to the headphones or in-ear monitors of the performer. The performer is asked simply to mimic the model, which is made of a mix of metals being stressed by quick freezing and various cello detritus. In his dissertation James Mooney refers to this as a 'special case' of electroacoustic music being that the performance is entirely acoustic, but could not exist without the EA model.
Paul A. Oehlers is most recognized for his "extraordinarily evocative" film scores. (Variety) Films incorporating his music have screened at the Berlin International Film Festival, the Philadelphia Festival of World Cinema, the Indiefest Film Festival of Chicago, and the Hamptons International Film Festival, where the film Paul scored, Most High , captured the Golden Starfish, the largest independent film award in the United States. The film has gone on to win the Grand Jury Prize at the Atlanta International Film Festival and the Prism Award for Outstanding DVD of the Year.
Michael James Olson is a composer and media artist residing in Indiana. His work focuses on the intersections of traditional instrumentation with various media such as video, interactive electronics, and multi-channel audio. His works have been performed at festivals and venues such as IIT Technology Festival (Mumbai), Noisefloor Festival (UK), SEAMUS, and ICMC. Michael holds a M.M. from Georgia Southern University, and is presently a doctoral student at Ball State University.
“Florentine” chronicles a brief journey through a vast landscape populated by swirling textures of bells, strings and percussion.
Ken Paoli received his undergraduate training at DePaul University, studying composition with Phil Winsor. His graduate degrees are from Northwestern University, where he studied composition with Lyndon DeYoung and M. William Karlins. He is currently a professor of music at College of DuPage in Glen Ellyn, IL. Prior to his current position Ken was a faculty member at DePaul University and chairman of Music Theory and Composition at Western Illinois University. Ken resides in Wheaton, IL and maintains a busy schedule of teaching, performing, composing and arranging.
“Slices” uses audio samples to provide sound “slices” of around one second or less. These samples are combined and recombined, stretched and shortened, to make rhythmic and melodic material that is expanded to make compositional “motives.” The result is a timbre and textural patchwork with variation and continuity.
After a relatively short career as a mechanical engineer, Michael Pounds turned his energies toward composition, studying at Bowling Green State University, Ball State University, the University of Birmingham in England, and the University of Illinois, where he completed his doctorate. His awards include the ASCAP/SEAMUS Student Commission Award, a Residence Prize at the Bourges International Electroacoustic Music Competition, a Rotary Foundation Ambassadorial Scholarship for studies in England, and residencies at the MacDowell Colony and I-Park. His music has been performed throughout the United States and in Canada, Mexico, England, Ireland, France, Spain, Austria, Korea, Australia and New Zealand. He was a co-host of the 2005 national conference of the Society for Electro-Acoustic Music in the U.S. (SEAMUS). Michael is currently the Assistant Director of the Music Technology program at Ball State University, where he teaches courses in composition, acoustics, music perception, recording and computer music.
"Licks" was created using only recordings of a 1960s Les Paul guitar playing through a ca. 1954 Supro tube guitar amp, using only a Shure SM58 microphone. The piece was composed for the 60x60 project
Christopher Preissing creates music for concert, stage, and installation. He has received awards from numerous residency programs and the Jerome Foundation, Meet the Composer, Illinois Arts Council, City of Chicago, ICMC 60x60, and American Composers Forum. His recent composition for The Waking Room was called a “brilliant - sound-crazy score" by the Chicago Tribune. Preissing's approach to art-making investigates non-hierarchical relationships among sources and collaborators. A powerful directed stroke or physical attack with an inanimate object or part of the human body intended to cause blunt impact injury or penetrating trauma. BLO was created from edited and processed field-recorded samples collected in an abandoned apartment complex and an old warehouse in Chicago's Bronzeville and Bridgeport neighborhoods, and from the remains of a piano discovered at the bottom of a silo located outside Beloit, Wisconsin.
Tim Reed was born in May of 1976 weighing 11 pounds and 9 ounces. During the following fifteen years, his weight steadily increased, reaching approximately 170 pounds in 1991. Tim's height also increased during this time, reaching 6 feet and 4 inches in 1991. Between 1991 and 2007 his height remained steady at 6 feet and 4 inches while his weight fluctuated between 165 and 210 pounds. Tim is currently 6 feet and 4 inches in height and weighs 179 pounds (May 2012).
A pushup is a little thing. But, little things add up.
M. Anthony Reimer
Originally an orchestral French Horn player, Tony has worked most of the last 20 years as a freelance composer and sound designer mostly for live theatre. His work has been heard on stages and at festivals across the country and abroad. He completed his undergraduate work at Ball State University, received a Master's in Computer Music from Northern Illinois University and is currently pursuing a doctorate in Music Composition at the University of Illinois.
“earth” is part of a larger dance piece called Blindness that explores the intersections between art, the planet, and conflict. The sonic elements of earth are inspired from text used elsewhere within the larger work, sounds made by the human body, as well as literally sounds of the earth.
Philip Schuessler received his BA at Birmingham-Southern College in Birmingham, Alabama where he studied music composition under the tutelage of Dr. Charles Mason and Dr. Dorothy Hindman. He received his M.A. from the University of Miami while studying with Dennis Kam and Keith Kothman. He studied at the State University of New York at Stony Brook.
“Peptyde Hallucination” is a cinematic electro-acoustic miniature that pillages from and expounds upon samples from the larger work entitled Fairfax that was composed at the same time. The piece is a study in the depiction of mice in a scene from an imaginary film and incorporates singing, vocal gestures as textural drama.
Steven Snowden creates music for a diverse array of media including theater, dance, film, installations, and the concert stage. Along with composition, he performs and promotes new music for horn, and constructs instruments from found objects for use in electro-acoustic improvisation and interdisciplinary projects. He is the recipient of a 2012-2013 Fulbright Grant to Portugal in music composition/technology where he will utilize and augment motion tracking systems to facilitate interactive collaboration between music and movement.
Jorge Sosa is a Mexican composer. His works have been widely performed in Mexico, the United States and Europe, including performances in New York, Paris, Barcelona and Mexico City. Jorge received his DMA in composition from the University of Missouri at Kansas City. Jorge was selected for the American Lyric Theater’s Composer and Librettist Development Program. His piece Bounce for Solo Saxophone was performed at Carnegie Hall in 2007. Jorge’s Refraction III selected for the Festival de Música Nueva Manuel Enriquez. Jorge’s music is available in his website, www.jorgesosa.com.
An Evening of Opera Based on the play “The Massive Anual” by Emily Combere:
As an Indian-American composer, Asha Srinivasan draws from her Western musical training and her Indian heritage to create her compositional language. Her music has been presented at various national and international venues including SEAMUS, ICMC, June in Buffalo, SCI, and the National Flute Convention. Recently, she won the Ruam Samai award at the 2011 Thailand International Composition Festival for Dviraag (flute and cello) and she has been selected for the 2012 Mizzou New Music Summer Festival where a new work will be premiered by Alarm Will Sound. She has also won national commissioning competitions, including the BMI Foundation's Women's Music Commission and the Flute/Cello Commissioning Circle. Other honors include: multiple ASCAPlus Awards, the Walsum prize for Kalpitha (string quartet), and the Prix d'Eté 2nd prize for Alone, Dancing (flute and electronics), which was recently released on the album Ambiance: Collaboration IV under the Beauport Classical label. Her studies include: D.M.A. in Composition at University of Maryland, College Park; M.Mus. in Computer Music Composition and Music Theory Pedagogy at the Peabody Conservatory, and B.A. at Goucher College. Ms. Srinivasan is currently an Assistant Professor of Music at Lawrence University in Wisconsin. More details at www.twocomposers.org.
Food for thought: The average life span of a gastrotrich is three days. "Analogy"'s analogy is probably pretty clear and doesn't need much more explanation.
Samuel Tymorek is a musician and programmer currently living in Boston, Massachusetts. A primary concern in both his lines of work is the use of technology to create things of beauty. He received an MA in Music Composition from SUNY Buffalo, where he studied composition and computer music with Cort Lippe. He received a Bachelor of Science in Music at the University of Oregon, where he studied electronic music composition with Jeffrey Stolet and acoustic composition with Robert Kyr, David Crumb, and Terry McQuilken.
“Spring Ahead” is a work based on Henry Cowell’s Rhythmicon. As in that invention, pitches are mapped to rhythms based on their relationship to a base pitch and tempo. In this realization, the base pitch/tempo is present throughout in one static “voice”; while another “voice” starts below, then rises above the static voice, its rhythms changing accordingly. The piece marks the passage of time in a precise manner, as the static voice moves at exactly one beat per second. However, this passage through time is obscured by the moving voice as it overtakes the base voice.
Bert Van Herck
Bert Van Herck was trained as a pianist and composer at the Lemmensinstitute in Belgium and obtained a PhD in composition from Harvard University Harvard University, where he worked with Helmut Lachenmann, Brian Ferneyhough, Julian Anderson, Magnus Lindberg, Chaya Czernowin, Cristopher Hasty; and at Columbia University with Tristan Murail. His music explores a variety of genres, with special interest in electronic music, microtonal music, and large ensemble/orchestra.
During May 22 in Quincy MA I recorded sounds and made a small soundscape with them. May this little piece make me more aware of the unintentional sounds that surround us all the time!
Joseph M. Vogel is a composer of acoustic and electronic works for all kinds of instruments and ensembles. He is interested in acoustics and in collaborating with other artists of all types. He can also be found performing around the Twin Cities and is a founding member of the group Toma. He lives in Minneapolis with his two cats; Gwenhywfar & Morgaine.
My first experiment with no-input mixing. No-input mixing is where you take an output of the mixer and feed it back into an input. I then played with the volume sliders, and the EQ to create the different tones.
"The word ‘viral,’ comes to mind as a trendy but disquietingly accurate image for Robert Voisey’s infectious enthusiasm. He is always ready to mutate and reinfect the process as indicated to maintain the highest degree of project fever" -60x60: netsuke for the musical mind, Richard Arnest, Sounding Board, Spring 2011
“Nevada” is part of Rob Voisey's States project inspired by Jon Nelson's 50/50
Andrew Walters was born in Topeka, Kansas but spent most of his beginning years in Farmington, Missouri. Walters has received degrees from Millikin University, Northern Illinois University, and a Doctor of Musical Arts degree in composition from the University of Illinois. Walters’ music has been performed at various conferences throughout the United States and Canada including SEAMUS, SCI, ICMC, Spark, Imagine II, Electronic Music Midwest, Electroacoustic Juke Joint. His music also appears on volume nine and sixteen of the “Music from SEAMUS” compact discs. Walters is Assistant Professor of Music Theory and Music Technology at Mansfield University in Mansfield, Pennsylvania.
Toying With Time uses the sounds of a toy piano to create chime-like and gear-like sounds that one might hear when time is up and the seconds are slipping away.
Tom Williams is an award winning composer and principal lecturer at Coventry University, UK. He studied composition at Huddersfield and Keele Universities and completed a doctorate in composition at Boston University.
“Rewire” uses some of the sound material from my work Wire & Wind and reworks it.