Allen Strange (June 26, 1943 in Calexico, California – February 20, 2008 in Seattle, Washington) was an American composer. He authored two books, Electronic Music: Systems, Techniques, and Controls (first published in the 1970s) and Programming and Meta-Programming the Electro-Organism. He co-wrote The Contemporary Violin: Extended Performance Techniques with his wife, Patricia. Career Allen Strange studied composition with Donal Michalsky at the California State University, Fullerton. He received his MA in 1967. He later studied composition with Robert Erickson, Harry Partch, and Ken Gaburo, and composition and electronic media with Pauline Oliveros at the University of California, San Diego from 1967-8 and 1970-71. In 1970, Strange became a professor of music and the director of the electronic music studios at San Jose State University. Strange retired from academia in 2002 and moved to Bainbridge Island, Washington to pursue a full-time career composing, concertizing with his wife, and working with his jazz trio, Cuvée. He died on February 20, 2008.
Sideshow is an "in-progress" collection of "ear-movies" based on oddities, real and imaginary, from turn-of-the l9th century dime museums. Sideshow may be played as a collection, or as individual works. Does a sound have a shadow?
Composer and impresario, Robert Voisey is the Founder of Vox Novus, Vice President of programs at the Living Music Foundation, Director of the 60x60 project, and Director of the Composer’s Voice Concert Series. His mission is the promotion and dissemination of contemporary new music.
Source material for "We are all 60x60" was taken from an interview with Dennis Bathory-Kitsz for the Arts and Answers radio show on WKCR FM New York as well as the composer’s work, “Krikisque”
Elainie Lillios's music reflects her fascination with listening, sound, space, time, immersion and anecdote. Her music explores many sound worlds; sometime referential ones such as the human voice, cars, wind chimes, or water. Other times her materials are less obvious, like crunching branches, walking through snow or pebbles shuffling in water. Her compositional output includes electroacoustic and acoustic works, music for instruments with live interactive electroacoustics, and collaborative immersive multimedia audio/visual installation environments.
Stargazing explores the space between the literal and the metaphorical...
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.
Laurie Spiegel, composer, software designer, and banjo player, is known widely for her pioneering works with many early electronic music systems, including the GROOVE system at Bell Telephone Laboratories, and for Music Mouse, a software-based musical instrument. She founded New York University's Computer Music Studio. Her music has been performed and broadcast throughout the world and she has produced and participated in several CDs. She is currently living and working in New York.
"Remembering Home" for electric banjo with digital signal processing was composed after returning to man-made New York City after a recent visit home to the wonderful ravines of northern Illinois, to a glimpse of a completely different life that might have been but was not, and to a family that will never again be what it was.
Mike McFerron is Professor of music and Composer-in-Residence at Lewis University in the Chicago area. At Lewis University, McFerron teaches music composition and directs the music technology program. He received a DMA in composition from the Conservatory of Music--University of Missouri at Kansas City where his primary teachers were James Mobberley, Chen Yi, and Gerald Kemner. A native of Oklahoma, McFerron also studied composition with Ray E. Luke. He has been on the faculty of UMKC and the Kansas City Kansas Community College, and he has served as resident composer at the Chamber Music Conference of the East/Composers' Forum in Bennington, Vt. McFerron is founder and co-director of Electronic Music Midwest.
Minute Distances was composed in 2005 for the Vox Novus 60X60 project and is 59.721 seconds long. The structure of this work is based upon an iso-rhythm that reduces bit by bit during each repeat. The work was realized entirely using Csound, and it uses only samples of a marimba as its sound source. The marimba samples are at time slightly modified; however, throughout the work, the essense of the marimba remains. Minute Distances is representative of my interest in textural shape, spatialization, balancing macro and micro composition processes, and mono-thematicism.
Democratic, irreverent and traditionally experimental, Curran travels in a computerized covered wagon between the Golden Gate and the Tiber River, and makes music for every occasion with any sounding phenomena -- a volatile mix of lyricism and chaos, structure and indeterminacy, fog horns, fiddles and fiddle heads. He is dedicated to the restoration of dignity to the profession of making non-commercial music as part of a personal search for future social, political and spiritual forms.
Composer/guitarist/rapper/Di.J. Gene Pritsker has written over five hundred compositions. All of his compositions employ an eclectic spectrum of styles and are influenced by his studies of various musical cultures. He is the leader of the eclectic ensemble: Sound Liberation, and co-director of Composers Concordance. Gene's music has been performed all over the world at various festivals and by many ensembles and performers. The New York Times described him as "...audacious…multitalented. "All About Jazz: "Barring the obvious exceptions, much of 21st century composition appears to be thinning in significance, but this might be about to change. Gene Pritsker is one of a very spare handful of composers effecting this change."
"Resolve residue Is taken from an 11 min electronic ballet called 'Resolve X5'. Written for Long Islands Universities dance department. The music has flamenco influences and consists of guitars (me playing) and various electronics and samples."
Dan Cooper was born and raised in Manhattan, and educated at Columbia, NEC, and Princeton. The recipient of an Aaron Copland fellowship to Tanglewood, he has received awards, commissions, residencies, and premieres from Absolute Ensemble, Albany Symphony, ASCAP, Cary Trust, Engine 27, ESYO, Fontainebleau, Imani Winds, NARAS, NEA, North River Music, NYYS, Shakespeare & Company, ACO / Sonic Festival, Vox Novus, Walter W. Naumburg Fund, and Zentripetal Duo, among others. As a multi-instrumentalist, he has performed at venues including Berlin Philharmonic Hall, CBGB, Chicago Theater, Davies Hall, Hong Kong City Hall, Irving Plaza, Joe's Pub, LPR, Massey Hall, Rockefeller Center, Royal Albert Hall, Sydney Opera House, The Blue Note, and Town Hall. Cooper is a music professor at SUNY-FIT, and a co-director of Composers Concordance.
Born in Statesville, NC in 1963; related to Daniel Boone; youngest of five sons; lived in eight states - now California; recorded rhinoceros vocalizations in Zimbabwe; Music Manager in New York; plays sax throughout the U.S.A. and Europe; compositions performed all over the world, numerous CD's; teaches theory/composition at California State University, Fresno; loves to play saxophone, compose, read, ski, play with wife and kids; fan of "The Daily Show" and "Modern Family." www.BenjaminBoone.com Hallucinogenic heat rises from the parched asphalt as the sun's rays permeate and evaporate all moisture from your being. Welcome to a summer in Fresno. This work was rendered during an intensive workshop I coordinated for the California State University Summer Arts Festival. The performers are the students, guest faculty and me on saxophone.
Tova Kardonne’s formative choral experiences and her Conservatory training in viola and piano fed into a passion for classical, African, Eastern European and Klezmer music. She earned her Vocal Jazz Diploma from Humber College, where she received instruction of Shannon Gunn, Pat LaBarbera, John Macleod and Don Palmer among others. She composes/choreographs a cappella performance art, sings her Balkan-Jazz fusion compositions with 8-piece band The Thing Is, and performs with the Composers Collective Big Band. Tova holds an Hon. B.A. from the University of Toronto with majors in French Linguistics and Philosophy and a minor in Mathematics.
"Meadow Butter" was composed and sung by Tova, and also sung, and recorded by Amy Medvick, multi-instrumentalist and collaborator. It was inspired by delicious fat.
John Link is a composer and founding member of Friends & Enemies of New Music. His music is available on the New Focus, Bridge, and 60x60 labels and he has published several articles and books on the music of Elliott Carter. He lives in New York City and is a Professor in the music department at the William Paterson University of New Jersey.
The prevailing message of Teleplay's personalized system of interlocking formulas keeps close to the body. Its sumptuous appointments and genuine old-world hand craftsmanship empower enduring elegance with a current sensibility that doesn't have to be hyper-groomed or relentlessly retro. What's showing is our style.
Steve Betts is English. He was in last year’s 60x60 line up, his sole US contemporary music credit to date. He’s cool with that, enjoying as he does, the opportunity to mention New York in any conversation with his fellow countrymen back home in war-torn London
Doctors and Nurses, what’s wrong with being co-dependant?
John G. Bilotta
John Bilotta was born in Waterbury, Connecticut but has spent most his life in the San Francisco Bay Area where he studied composition, theory, and orchestration with Frederick Saunders. A recipient of multiple commissions, grants, and awards, John has concentrated on music for chamber ensembles and orchestra. His works have been performed at concerts and festivals by such outstanding international soloists, ensembles, and orchestras as Rarescale, the Kiev Philharmonic, and the Washington Square Contemporary Music Society. In 2005, his Concerto for Wind Quartet and Orchestra was recorded by the Kiev Philharmonic and released in March 2006, and is available from Amazon.com. Trying to make the break, but unsure how to do it? Finding it hard to hold onto seven (plus-or-minus-two) needing tonality as much as it needs you: you didn’t get here alone. But twelve simple steps, one at a time, taken with care and consistency can sever the irresolvable bond. Step high, it’s a cakewalk.
HyeKyung Lee (born in Seoul, Korea) has written works for diverse genres and media: from toy piano to big concertos, from electronic music to children’s choir. Recent commissions include a 20 minute-long electronic music, Eclipse (a multimedia dance performance piece written for the University of North Texas Dance department), a music for short film, We could be your parents, by Charlie Anderson, and an hour long multimedia piece, Dreaming in Colours,collaborating with Canaletto ensemble and an artist, Christian Faur. She is Associate Professor at Denison University, Granville, Ohio.
The piece reflects my childhood in countryside in Korea where nature was not disturbed.
"milica paranosic is a composer, multimedia artist and educator based in new york city. h=Her work is and eclectic mix that combines different media and cultural influences, often seemingly unrelated. She has performed, had her works performed and lectured throughout the world Milica has been on the faculty of the Juilliard School in New York since the day she earned her Master's Degree in composition there, and an as educator continues to find and fulfill new challenges. She recently founded Give to Grow, and Eduction and Cultural exchange initiative that brings technology and education to the underdeveloped communities. "
"Bojano is a piece inspired by a traditional Serbian tune. Vocal and piano tracks are performed, recorded and produced by Milica Paranosic."
Joan La Barbara
Joan La Barbara, composer, performer, sound artist, renowned for her unique vocabulary of experimental and extended vocal techniques, composes for multiple voices, chamber ensembles, theater, orchestra, interactive technology, dance, video and film. Awards: 2011 Demetrio Stratos Prize; DAAD Artist-in-Residency Berlin; Music Composition Fellowships: NYSCA and Guggenheim; 7 NEA grants; American Music Center's 2008 Letter of Distinction for her significant contributions to American music. Recordin
In quiet moments one finds peace. Lizzie (our elegant snow-white Samoyed/Lab mix) graced this earth for nearly 15 years and joined our lives for almost 11 of those years. With this work I honor her life and her dignity and try to bring some solace to myself on her passing. Her voice joins mine, mingled with layers of modified bells and sighs. She had a lovely way of taking little breaths and then releasing a deep sigh of peace when she felt totally relaxed and calm. I reflect that gesture in
Composer Melissa Grey’s projects include concert works, electroacoustic performances, installations, food and sound events, and collaborations with artists, designers, and musicians. Grey is Artistic Director and Curator of Circuit Bridges (Vox Novus), a monthly electroacoustic concert series presented in NYC and in communities around the world, and teaches Sound Studies at The New School.
Colony explores the acoustical perception and symbolic communication of the honeybee. Field recordings from hives in Nova Scotia, summer 2010.
Annea Lockwood (b. NZ) is known for her explorations of the rich world of natural acoustic sounds and environments, in works ranging from sound art and installations to concert music. Her music has been performed in many venues and festivals including: MACBA Barcelona, the Other Minds Festival, San Francisco, the Walker Art Center, Queen Elizabeth Hall, London, the WestdeutscherRundfunk, Sonic Acts XIII and the Tectonics Festival 2015, New York.Recent work includes Wild Energy, a collaboration with Bob Bielecki: A site-specific multi-channel installation focused on geophysical, atmospheric and mammalian infra and ultra sound sources, currently running in the exhibition, A Garden of Sonic Delights at theCaramoor Festival of the Arts. She is a recipient of the 2007 Henry Cowell Award and a professor emerita, Vassar College.
This excerpt is from her sound installation, A Sound Map of the Danube (2005).
Lynn Job (long "o"), DMA, born in South Dakota, USA owns Buckthorn Music Press (ASCAP/MPA). She is an active professional composer (serious "non-pop" acoustic genres & sonic e-art, stage and broadcast). She is also a published poet/author, actress, professor, Biblical archaeology hobbyist, faith studies community leader, and more. Her production studio is in North Texas: buckthornstudios.com. Coming next year is Job's publication edition of the score, media, poetry and parts for "Woods Walker" (marimba and soundscape) commissioned by consortium and premiered on Focus Day at the Percussive Arts Society International Conference. Her 2014 (14th) ASCAP award includes recognition of her popular live-tour solo guitar piece "The Sixth Night" (commissioned by Aaron Larget-Caplan, Univ. of Mass., Boston), New Lullaby CD. 2nd time Composer-of-the-Month, May 2015, Christian Fellowship of Art Music Composers, streaming webcast featured mention of Job's long history with 60x60.
"Lily" was first requested for a collection of new electronic 60-second miniatures to memorialize the late UNT composition student and Colombian composer Nicolas Useche (1974-2004) as a CD gift for his family from his colleagues. Lily captures the spirit of Useche's bright, happy personality and evokes his homeland through the required programmatic common theme element of the use of "bells" as the foreground instrumentation in all the works. Without using actual Colombian folk instruments, Job succeeds in this sonic portrait by blending ocean waves, nightingale song, an Indian percussion ensemble, and custom midi instruments."
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."
Rodney Waschka II, composer, is best known for his algorithmic compositions, his unusual operas and theater pieces. He frequently composes music for traditional ensembles. His works often include electronic computer music or other media: visuals, theater, or poetry. Recent premieres include a trumpet concerto in London, a piano concerto in St. Petersburg, Russia, and a piece on the psychology of pick-up lines for flute and tape. Recordings are available on Capstone, Centaur, and other labels. Waschka teaches at North Carolina State University.
One definition of the word, "aubade" is "a song or instrumental composition concerning, accompanying, or evoking daybreak." This aubade uses only a very short recording of songbirds at dawn (heard at the beginning of the piece) to create the music. Many songbird species are threatened with extinction in various parts of the world. Here, the songbirds become a human female chorus of lamentation.
Charles Norman Mason
Mason has received many awards for his compositions including 2006 Rome Prize, Dale Warland Commission Prize, ACO “Playing it Unsafe” commission prize. His music has been performed throughout the world including the FORO INTERNACIONAL DE MUSICA NUEVA in Mexico City, Quirinale in Rome, the Aspen Summer Music Festival, and Nuova Musica Consonante in Romania. His music has been featured on “Performance Today” on NPR. Recently he was an invited composer for the 2015 VISIONES SONORAS XI Festival Internacional de Música y Nuevas Tecnologías, won the audience favorite award in the FETA Cellotronics competition, and his Bassoon and Digital Audio work Swagger was premiered in August 2015 in Tokyo at the International Double Reed Conference. He is chair of the Department of Composition at the Frost School of Music of the University of Miami.
“The Starling Clock Wound” was composed while I was a fellow at the American Academy in Rome. It uses only two sounds: a single chirp from a starling and the sound of a flock of starlings.
Monroe Golden is a composer from rural Alabama whose works explore microtonal systems. Critics have described his compositions as “delightfully disorienting,” “lovely, sumptuous, yet arcane,” and “irresistible music, full of wit and beauty.” In 2011, his work “Incongruity” (piano/fixed media) was the first prize entry in the Chicago-based UnTwelve Competition. Beyond his artistry, Golden has actively encouraged and promoted the innovative arts in his resident community. A founding member of the Birmingham Art Music Alliance, he served as President from 2003-2005 and 2014-2015, and has also led the Birmingham Art Association, Artburst performance series, and City Stages' New Arts Stage. He co-founded/directed the inaugural Birmingham New Music Festival in 2014 and will again serve as festival director October 8-11, 2015. He graduated from the University of Montevallo and earned a doctorate in Music Composition from the University of Illinois.
There are three complete audio releases of his music: A Still Subtler Spirit (Living Artist Recordings, 2003), Alabama Places (innova Recordings, 2007), and Incongruity (self-published, 2011). Pianist Aron Kallay recently performed Golden's microtonal piano composition "I'm Worried Now" on a 7-concert tour, and will release it on his "Beyond 12, Volume II" CD (MicroFest Records) in 2016.
"Turkey Branch is a one-minute composition for fixed media. The sound sources are turkey calls and cello open strings played snap pizzicato and jetÃ©. Cello sounds are tuned to an overtone-based collection representing partials 6-27, whereas selected turkey calls -- putt, cutt, cackle, kee-kee, purr, rattle, gobble, and hush -- are modified temporally, if at all. Turkey calls were provided by Glenn Howard, and cello samples by Craig Hultgren. "
Warren A Burt
Warren Burt is a composer, performer, writer, video artist, etc. based in Melbourne, Australia, where he has mostly lived and worked since 1975. He currently teaches at Box Hill Institute in Melbourne. His recent work can be seen at his website www.warrenburt.com. In 2014 he was selected to deliver the annual Peggy Glanville-Hicks Address, a talk by a member of the Australian musical community on the state of music in Australia today.
“Finnegans Wake vs The World's Longest Prime” has electronic bells in one channel, playing melodies based on the digits of the worlds longest prime number. In the other channel a demented microtonal folk band plays melodies based on the letters of Finnegans Wake. Potentially lasting months, this is the one minute version.
Pauline Oliveros, composer, performer and humanitarian is an important pioneer in American Music. Acclaimed internationally, for five decades she has explored sound -- forging new ground for herself and others. Through improvisation, electronic music, ritual, teaching and meditation she has created a body of work with such breadth of vision that it profoundly effects those who experience it and eludes many who try to write about it. "On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level." John Rockwell Oliveros has been honored with awards, grants and concerts internationally. Whether performing at the John F. Kennedy Center in Washington D.C., in an underground cavern, or in the studios of West German Radio, Oliveros' commitment to interaction with the moment is unchanged. She can make the sound of a sweeping siren into another instrument of the ensemble.
"According to the Los Angeles Times, composer and performer Eve Beglarian "is a humane, idealistic rebel and a musical sensualist." She recently completed a journey down the Mississippi River by kayak and bicycle. For more information, please visit www.evbvd.com. "
The Sirens of Plaquemine (2011) uses a recording of the warning sirens in the town of Plaquemine, Louisiana as the source material for an odd little dance. It should be played quite softly, as if you're hearing it from a long distance away.
Hans Tammen creates sounds that have been described as an alien world of bizarre textures and a journey through the land of unending sonic operations. He creates rapid-fire juxtapositions of radically contrastive and fascinating noises, with micropolyphonic timbres and textures, aggressive sonic eruptions, but also quiet pulses and barely audible sounds.
The Blippoo Box is an audio sound generator that operates according to the principles of chaos theory. By using a nonlinear feedback system, patterns are created that exhibit chaotic properties like attractors, bifurcations, etc. Second, the filter also uses a nonlinear feedback system that can go into ranges where bifurcations occur, which results in the creation of ‘undertones’, where the period doublings create harmonic partials that are lower in frequency as the signal fed into the filter.
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 / performances have been professionally presented within 32 countries on all 7 continents. He has received awards from Miso Music Portugal, Institut International de Musique Electroacoustique de Bourges, Accademia Musicale Pescarese, Madrid Abierto, Delaware Valley Arts Alliance, Ministerio de Cultura de la Junta de Andalucia, and ASCAP, among others. Dr. Goldman holds degrees from New England Conservatory of Music (BM in music performance), Brooklyn College CUNY (MM in music composition), and the University of Cincinnati College-Conservatory of Music (DMA in music composition). In early 2016 his composition "Biomes" - a 45 minute sound structure composed for electric guitar and digital audio soundscape (comprised of 7 shifting biome soundscapes: urban, desert, tropical forest, grassland, temperate forest, tundra, and aquatic) - will be internationally published and available for purchase.
Hexagonal (Facet 2)" is a stereophonic sound structure composed entirely of sounds produced on a prepared electric guitar.
Juraj Kojs is a Slovakian composer, performer, multimedia artist, producer, researcher and educator permanently residing in the US. His compositions received awards at Europe—A Sound Panorama, Miami New Times Best Off Award, Eastman Electroacoustic Composition and Performance Competition and the Digital Art Award. Kojs has received commissions from The Quiet Music Ensemble, Miami Light Project, the Deering Estate Ensemble and Meet the Composer. His research articles appeared in journals such as Organized Sound, Digital Creativity, Leonardo Music Journal, Journal of New Music Research and International Journal of Arts and Technology. Kojs is the director of the Miami-based Foundation for Emerging Technologies and Arts (FETA). He holds a Ph.D. in Composition and Computer Technologies from University of Virginia. Kojs taught at Medialogy Department Aalborg University (Copenhagen, Denmark), Yale University and University of Virginia. Kojs is currently a full time faculty in the Audio Production Department at Miami International University of Art and Design in Miami, FL.
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
Serban Nichifor, born in Bucharest, Romania on August 25, 1954. He received his Doctorate in Musicology at National University of Music, Bucharest. He is the Vice-president of the Romania-Belgium, cellist of the Duo Intermedia and co-director of the Nuova Musica Consonate - Living Music Foundation Inc. Festival. He is presently a professor at the National University of Music, Bucharest.
In Memory of my very dear wife, the distinguished composer Liana Alexandra
Dr. Eldad Tsabary is a professor of electroacoustic music at Concordia University (Montreal), founder and director of the Concordia Laptop Orchestra, and president of the Canadian Electroacoustic Community (CEC). Since 2005, he has also been the primary developer of a new aural training method designed for electroacoustics at Concordia.
Decay Date 14 April 1966 begins with a recording of radio transmissions from the soviet surveillance satellite Cosmos 114 (near Stockholm, April 8, 1966 by Sven Grahn) treated with a varying modulation frequency ring-modulator and a stereo delay. The decay of the satellite on the following April 14th is portrayed by a cross-fade into an ambient chord progression treated with a varying resolution chopper (incorporating the same automation envelope of the ring modulator)
Musician and composer Lin Culbertson’s experience as an improvisor greatly informs her sound work. Her compositions are comprised of synthesized sounds, field recordings, and conventional instruments, and incorporate aspects of indeterminacy in their arrangement and performance. She is a member of the group White Out. www.whiteoutinc.com
"Equal To Or Less Than Visible Light" is an amalgamation of various short wave radio broadcasts. The blending together of these discrete transmissions creates a kind of multinational sonic tapestry featuring signature sounds from around the world that were captured via the airwaves.
A flutist whose technical resources and imagination seem limitless. – New York Times
Robert Dick has utterly dispensed with preconceptions about what a flutist should sound like and what a flutist should play. Since he began composing and improvising in the 1970s, he has pursued the core idea that acoustic instruments are capable of sonic vocabularies and musical expression extending far beyond their traditional sonorities and musical roles. Robert’s music carries this vision of continuous transformation into his approach to aesthetics and style. He draws from the jazz tradition, world musics (especially Indian and African), electric and electronic music and natural sounds. Hallmarks of his work are clarity of structure and vivid timbre.
Clifford J. Simak was an influential master of 1950s and 60s science fiction. His atmospheric, philosophical works include the masterpieces City and Way Station. This little piece, created with tiny sound toys, is meant to conjure the apparitions floating about in the magical dusk at the shore of a pond, on Earth, but in Simak's special land, where memory, sentiment, conjecture, fear and joy all play together where this and other dimensions overlap.
Margaret Anne Schedel
"Margaret Anne Schedel is a composer and cellist specializing in the creation and performance of ferociously interactive media. She sits on the boards of 60x60 Dance, the BEAM Foundation, the EMF Institute, the ICMA, NWEAMO, and Organised Sound. Her work has been supported by the Presser Foundation, Centro Mexicano para la Musica y les Artes Sonoras, and Meet the Composer. In 2009 she won the first Ruth Anderson Prize for her interactive installation Twenty Love Songs and a Song of Despair. As an Assistant Professor of Music at Stony Brook University, she serves as Co-Director of Computer Music and is a core faculty member of cDACT, the consortium for digital art, culture and technology. In 2010 she co-chaired the International Computer Music Conference. "
Araxty uses samples from a piece commissioned by the dance collective Animal Mechanical. It uses the sound of weaving to create a polyrhythmic thrum over a more straightforward techno beat.
Jane Wang, composer/musician, is a member of the Mobius Artists Group. Received 2013 Drama Desk Nomination for Outstanding Music in a Play.
Rendering involving a clock, refelted and sanded Schoenhut toy piano with red felted hammers and Honeytone amplifier using a constructed contact mic.
Paul Clouvel is an electroacoustic and contemporary music composer living in France. He studied orchestra conducting, then he graduated twice in electroacoustic composition at the National Music Conservatory in Bourges (France) and studied composition and computer music at the Conservatoire National Supérieur de Musique in Lyon. He also studied sound design, music management and computer music (Ircam, Berklee College of Music) He received several prizes, including Russolo International Electroacoustic composition prize. Paul Clouvel works as a freelance composer, editor, and is the artistic director of Elektramusic.
I'm a singer from New Mexico who moved to LA for the big dream. I work for Studio Pros as their new Spanish Singing vocalist and I'm in the process of putting together a children's show with puppets.
It's in Spanish and the main lyrics are "I would like to tell you that I love you."
Stephen Lias is becoming more and more focused on being an adventurer-composer. Primarily active in concert and chamber music, his passion for travel and the outdoors has recently led him to compose such works as "On the High Chisos," "Prince William Sound," "Songs of a Sourdough," and, most recently, "River Runner." Stephen has numerous awards, commissions, and publications to his credit, and his pieces are performed frequently in the US and abroad. He is the founder of composerssite.com and lives in Nacogdoches, TX, where he teaches composition at Stephen F. Austin State University.
One of the strangest, most interesting, and most useful things that computers do for us as composers is that they allow us to blend sounds from completely disparate worlds. Indigenous instruments, sometimes sampled from performers in remote and undeveloped cultures, can be mixed with western instruments, sounds from popular culture, industrial noise, and synthetic sounds. This inevitably creates sonic spaces that are culturally and geographically ambiguous or even contradictory. While this ambiguity has been exploited extensively within the context of film and game scoring, the cultural contrasts are often more exposed in purely sonic works ' leading the listener to wonder "Where Am I This Time?".
George Brunner is a composer and performer, researcher/writer, recording engineer/producer and teacher. He is a recent recipient of a research grant from the American Scandinavian Foundation and the Svenska Institutet of Sweden. Brunner is the founder of the Brooklyn College Electroacoustic Music Ensemble, which produces an annual CD under his direction. He is the founder and coordinator of the biannual International Electroacoustic Music Festival at Brooklyn College, New York City.
Paula Matthusen is a composer, currently living between Berlin and New York. She performs with, the electroacoustic duo ouisaudei, Groundwave New Music Collective, Object Collection, and Gamelan Dharma Swara. Her music has been performed by orchest de ereprijs, Ballett Frankfurt, International Contemporary Ensemble (ICE), Alarm Will Sound, Ensemble Sirius, noranewdanceco, Kathryn Woodard, Diesel Lounge Boys, and Jody Redhage. She is currently pursuing her Ph.D. at NYU-GSAS as a MacCracken Fellow, where she studies with Elizabeth Hoffman and Lou Karchin. She has also studied with Martin Supper, Stephen Dembski, Joel Naumann, Tobias P.M. Schneid, and Tom Zelle.
“anthracite” was composed during a residency at STEIM (Studio for Electro-Instrumental Music) in Amsterdam during January 2006. This short piece is a recorded improvisation, taking the smallest samples of the sounds of objects in the room as well as the room itself, and using them to fuel the trimbrel exploration
Iris Garrelfs is a sound artist working on the cusp of music, art and sociology. Her practice includes fixed media, installation, improvised performance and has been included in major institutions worldwide, including Tate Britain (UK), Visiones Sonores (Mexico), Sonic Circuits Festival (US). Several of her works have just been nominated for the British Composer of the Year Award (Sonic Art).
Elsewhere she is the commissioning editor of the online journal Reflections on Process in Sound and the co-curator and director of Sprawl, a London based experimental music organisation. Iris has a PhD in Sound Art from University of the Arts London where she also works as a researcher and lecturer.
Iris Garrelfs' “60x60 edit” was made from voice sounds recorded at hotel room practice sessions during her Mexico tour in 2006. Another piece from the same tour has since been released on Bedroom Symphonies by the Linear Obsessional Label.
Maggi Payne is Co-Director of the Center for Contemporary Music at Mills College, Oakland, CA, where she teaches recording engineering, composition and electronic music. She also freelances as a recording engineer and editor. She has received two Composer's Grants and an Interdisciplinary Arts Grant from the National Endowment for the Arts, and video grants from the Mellon Foundation and the Western States Regional Media Arts Fellowships Program. Her works are available on Lovely Music, CRI, Digital Narcis, Music and Arts, Centaur, MMC, Asphodel, Frogpeak, and Starkland labels.
Judith Shatin is a composer whose music draws on expanded sonic palettes, from machines deep in a coal mine, to the calls of animals, as well as expanded techniques of acoustic instruments. Called ‘powerful and most distinctive’ by Fanfare, and ‘marvelously inventive’ by the Washington Post, her music has been commissioned by organizations including the Barlow and Fromm Foundations, the Library of Congress, and by ensembles such as Kronos Quartet, the Dutch Hexagon Ensemble, the National Symphony, Scottish Voices and many others. She is William R. Kenan, Jr. Professor of Music and Founding Director of the Virginia Center for Computer Music at the University of Virginia.
"Glimmerings bounces" through time with harmonies that shimmer in rhythmic whirls, sweeping into higher spaces before gliding to a stop. She created it using RTcmix from samples she recorded of sculptor Emilie Brzezinski carving tree trunks.
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.
David Morneau is a composer of an entirely undecided genre. Described by Molly Sheridan as a "shining beacon" of inspiration, his diverse work illuminates ideas about our culture, issues concerning creativity, and even the very nature of music itself. His eclectic output has been described variously as "elegantly rendered", "happily prissy", "impressive", "unusual, esoteric, and offbeat". His recent album, Broken Memory, "absolutely wrecks shop.… For that, David Morneau wins." Morneau is Composer-In-Residence at Immigrant Breast Nest.
"Here, I'll Play It Again" grew out of sketches for another project. I liked the idea of having a voice gradually emerge from noise—chaos into order, randomness into meaning, confusion into clarity.
Man Unseen (Theme) is a tribute to Henry Mancini and other TV and film composers of the era. Jeff Morris is an Assistant Lecturer in computer music and coordinator of technology facilities for the Department of Performance Studies at Texas A&M University. He gives improvised performances with interactive electronics in addition to composing for traditional instruments and electronic media.
A founding director of Composers Concordance, Joseph Pehrson has for three decades worked on behalf the organization while pursuing his own varied and distinctive music. Originally from Detroit, Joe studied at the Eastman School of Music and the University of Michigan (Doctor of Musical Arts 1981). Joe's teachers included composers Leslie Bassett, Joseph Schwantner, and, informally, Otto Luening and Elie Siegmeister in New York. Joe has written works for a wide variety of media which have been performed at numerous venues including Merkin Hall, Weill Recital Hall, Symphony Space in New York and throughout the United States, Eastern Europe and Russia. In Moscow, Joe had five chamber pieces presented at the "Jurgenson Salon," and Linda Past-Pehrson danced to six electronic pieces in alternate tunings at the "Fireplace Hall" of the "Central Building for Workers of Art, (TsDRI). In 2008, 2009, 2010, and 2011 several chamber works were presented by the Composers Concordance, the New York Composers' Circle and Dan Barrett's 'International Street Cannibals.' Pehrson has works recorded on Capstone and New Ariel CDs and several pieces are published by Seesaw Music, Corp., a division of Subito Music. In 2012, Pehrson had performances on the Composers Concordance Festival, with his "Night Crawler" performed at the Nublu club in January and his "Sound Vessel" performed at William Paterson College in February. www.composersconcordance.org
“crawlerbaby” is a piece which features the horn and emphasizes a rhythmic reggae-like sound.
Douglas DaSilva is a composer, guitarist and educator in New York City. He composes in a multitude of styles including Jazz, Brazilian and pop. His most recent efforts have focused on chamber music including a sonata for Harp, Oboe, Viola and Guitar.
Kathleen Nester plays flute and piccolo for the New Jersey Symphony Orchestra. Kathleen has also performed with the New York Philharmonic, the Orchestra of St. Luke’s, and the New York City Opera. She has been a concerto soloist with Solisti New York, the Stamford Symphony and Bargemusic and toured Japan as soloist with the New York Symphonic Ensemble.
“SARABANDE #2” For Flute & Guitar is a modern meets baroque fusion that takes an unusually long journey in such a short time.
Post-Fluxus artist Dennis BÃ¡thory-Kitsz has written more than 1,000 pieces of nonpop, including the vampire chamber opera ErzsÃ©bet. He uses his own electronic/acoustic instruments, software/hardware, synthesizers, e-boxes, electronic costumes, and extended voice. He created the 2007 'We Are All Mozart' composer productivity project and co-founded the NonPop International Network.
The Amtrak comes and interrupts the composition, and the composition capitulates.
John Biggs was born in Los Angeles in 1932. His father was organist Richard Keys Biggs, and his mother was singer Lucienne Gourdon. He was number 8 in a family of 11 children.. During his youth he received training in acting, singing, piano, bassoon, and violin, and was a member of his father’s church choir. As a performer, he founded the John Biggs Consort, which specialized in vocal chamber music from the Middle Ages to the 20th Century. As a composer, his output is varied, and includes chamber music, vocal music, choral music, orchestral music, and music for the stage.
"As director of the John Biggs Consort, which specialized in music of the Medieval and Renaissance periods, I often included krumhorns in our instrumentation. They are a double reed instrument where the reeds are sheltered within a cap, much like the chanter of a bag pipe. The wood body travels down, then bends back up in a crook (krumm), and looks like an upside down walking cane. Their tone might be likened to a raucous modern day oboe. They were popular from c.1400-1600 in Europe. The piece is for soprano, alto, tenor, & bass instruments plus voices, all performed by yours truly. "
David Gunn composes mostly acoustic music. Since he acquired a professional flutist spousal unit 2,000 days ago, his output has been largely flute-centric, no surprise there. In 2003, Albany Records released a CD of his chamber music titled Somewhere East of Topeka. Brisk sales are anticipated any day now. For 10½ years, he co-hosted Kalvos & Damian’s New Music Bazaar, which won an award once. Or twice, actually.
“Lois” is a true story, as much as any story nowadays can be considered true. It was recorded using an Audio Technica microphone adapted to withstand dinosaur ejecta. The plucky recording engineer regrettably was not so adapted. Nonetheless, he is scheduled to be released from hospital any day now.
< a href="http://www.davidgunn.org/">www.davidgunn.org
54) Downtown AtlantisGreg Bartholomew
Frequently performed throughout North America, Europe and Australia, the music of award-winning composer Greg Bartholomew is available on recordings by the Czech Philharmonic, the Kiev Philharmonic, Connecticut Choral Artists, the Ars Brunensis Chorus, the Langroise Trio, trumpeter James Ackley, and cellists Suzanne Mueller and Ovidiu Marinescu. More: www.gregbartholomew.com.
"Downtown Atlantis" is an audio collage that evokes wandering the streets of El Dorado.
~chromatik_d_zabu.tmp, or CDZabu for the dactylographically disinclined, is a growing collective of musicians from across North America that compose collectively using the Internet. Its mission is to write music that is cathartic, engaging, and free from commercial aspirations.
CDZabu’s very nature is based on the exploration of genres and how they can mutate in the presence of various influences. Every month, the members collectively produce a new batch of pieces using a specific theme (pop music, classical instruments or Christmas carols, for example). Each artist must add track of his own to each piece. Egos are set aside as the piece passes hands, careening wildly into uncharted musical territory. The collective is continually accepting new members.
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
Raised in Warm Springs, Georgia (population <475), Alan Shockley holds degrees in composition from the University of Georgia, Ohio State, and Princeton University (M.F.A., Ph.D.). He's held residencies at the MacDowell Colony, the Atlantic Center for the Arts, the Centro Studi Ligure, and the Virginia Center for the Arts, among others. He's currently Associate Professor and Director of Composition/Theory in the Cole Conservatory of Music at California State University, Long Beach.
Editing the live recording of my piece "glint in river's bed"in two different editing programs generated these overdriven sounds. I extracted this miniature from this happy accident giving it the title _die Tiefen des Rheins_, since both works draw on the opening of Wagner's music drama _Das Rheingold_.
Andrew Hasenpflug is currently the music director for the dance department of Slippery Rock University in Pennsylvania. He has been composing and performing professionally for 24 years.
"4006" is a 1-minute microtonal piece derived from synthesizers, finger cymbals, and garbage cans. The harmonic material is organized in 7 equal pitches per octave with larger structures being transposed either up or down 3.5 semitones.
Aaron Krister Johnson is a Chicago-based multi-keyboardist, teacher and composer. The Chicago Sun-Times called his composition 'evocative', and Keyboard Magazine labeled his work 'challenging and creative'. As a theatre composer, his score for 'Peer Gynt' was nominated for a 2005 Joseph Jefferson award. Primary among his compositional interests is the expansion of the pitch palette. Realizing a sense of mission, he founded UnTwelve, a concert series dedicated to exploring the frontiers of music beyond the 12-note system. He is a graduate of SUNY Purchase and Northwestern University, both in piano performance.
Funky Transmission is a capture of a signal recorded June 3rd, 2012 from a radio telescope pointed at the center of the Milky Way. Curiously, it bears the signatures of intelligent life, since no known natural source would possibly transmit the "Divine Proportion" in the varied ways it is embedded in the signal, as our scientists have uncovered. And, we can now only wonder how "they" knew about the Winstons, since our radio broadcasts of "Amen, Brother" would not have reached them yet. What does this all mean?
While sitting in a cafe at 8:30 am, I noticed a mother and her 3-year-old daughter. The girl happily wore a whipped cream mustache from the hot chocolate she was drinking. Realizing, however, that the offered donut was nor of adequate size, she began to complain. Her dissatisfaction quickly escalated into a full-blown kicking-and-screaming tantrum, while her mother--scratched and fully distressed--had to make a hasty exit. From an early age, David Hahn was forced to wake up before dawn to begin an hours-long trudge through frost-bitten and dilapidated industrial ghettos to get to his job making donuts in a major American metropolis. Despite all odds--or perhaps because of it--he was able to learn the basics of music composition from a fellow survivor and trans-fat connoisseur