David Morneau

Doug Geers

[Maja Cerar, violin]

Barry Sharp

Douglas Cohen

Ana Paola Santillan Alcocer

Christian McLeer

George Brunner

Robert Voisey

Dan Henry Bøhler

Joel Gressel

Nicholas R. Nelson

Melissa Grey

Whitney George

[Joe Tucker, drum set]

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 Artistic Director of Circuit Bridges and Composer-In-Residence at Immigrant Breast Nest. Find out more at http://5of4.com

King of Iniquity - In 2012 I curated a compilation album for I.B.N. called B'ak'tun Waning. Each month that year, on the 21st, we released a new track by a different artist as a countdown to December 21, 2012—the much hyped Mayan apocalypse. King of Iniquity is my contribution to the album, released on February 21, 2012, which was also Mardi Gras. It's a potent mixture of bass trombone drones, swirling synths, and splintered dub-step beats "bursting into a million ruined colors that that let you see forever."

Doug Geers began composing music with computers shortly after his Dad brought home an Atari 800 in 1983. Since then, he has used technology in nearly all of his works, whether in the compositional process, as part of their sonic realization, or both. He has created concert music, installations, and large multimedia theater works. Reviewers have described his music as "...glitchy... keening... scrabbling... contemplative" (New York Times), "kaleidoscopic" (Washington Post), and "...Powerful..." (Neue Zürcher Zeitung). Geers is an Associate Professor of Music at Brooklyn College, City University of New York. www.dgeers.com.

Maja Cerar, violin. Solo performances at the Davos “Young Artists in Concert” Festival, Gidon Kremer’s Lockenhaus Festival, ISCM World Music Days (soloist in European premiere of John Zorn’s concerto Contes de Fées), and "American Mavericks" recital in Miller Theatre. Repertoire ranges from the Baroque to the present and includes performances with dance (Merce Cunningham Studio, Joyce SoHo), theater (Theater an der Sihl), and laptop orchestra (Princeton). Multimedia works in collaboration with Liubo Borissov featured at the 250th anniversary of Columbia University, the ICMC in Barcelona and the opening of SIGGRAPH 2007. M.A., M.Phil, and Ph.D. in Historical Musicology at Columbia University. www.majacerar.com

Cumulonimbus: Oftentimes we see the clouds and sense a storm. What butterfly has beaten its wings to make each event that dots life?

American composer Barry Sharp received his B.M. in Composition from Murray State University, and is currently pursuing his M.A. at the University of Iowa. His compositions exploit the gravity of a single note or notes to bring about a variety of textures and atmospheres from which narrativity and thematic materials arise. In working with both acoustic and electronic mediums, Barry’s music always strives to paint an expressive and evocative landscape for the listener. Barry’s composition teachers have included Mike D'Ambrosio, Brian Ciach, Lawrence Fritts, and David Gompper. More of his work, including scores and recordings, can be found at www.barrysharpmusic.com.

Differentiating between musical tone and noise lies in the inherent abilities as a listener to perceive alterations between sounds. Ideally, Sonance and Excursus (sound and digression) utilizes sounds that are typically associated with noise and intends to create musical textures, structures, and expression. Using a central core of tones throughout, ideas "sound and digress" from commencement.

Ana Paola has been the recipient of several awards and fellowships including the Fulbright Scholarship; the UNESCO-­‐Aschberg Bursaries for Artists Programme; resident composer at the VCCA. Her piece NEMESIS, was selected to represent Mexico at the UNESCO 57th International Rostrum of Composers. She holds the LTCL Licentiate in composition, with distinction, from TRINITY COLLEGE LONDON and her Master of Music degree from Rice University. She is pursuing a doctorate degree at McGill University. She has been performed by such ensembles as th Duo Harpverk, The Het Trio, the Enso String Quartet, Speculuum Musicae, the New York New Music Ensemble and Mexico’s National Symphony Orchestra.

Oneirophrenia is based on this serious mental disorder. A type of schizophrenia, its symptoms include deliriums, disorientations and other instabilities. It is linked to the extended lack of sleep, hence causing loneliness and isolation.

The music and video is divided into 3 main sections: The first section reflects and leads you to experience the actual view and schizoid state of anguish, confusion and delusion of a patient with this detrimental illness.

The second section encompasses a debate of certain groups of people against forced mental illness treatment and medication, asserting that they cause even more harmful mental effects to patients.

The third section reflects the losing battle of the patient.

The interaction between the music and the images aids the overall atmosphere of this clinical profile.

Christian McLeer, an American Composer is a graduate of the Manhattan School of Music. Christian has composed a number of works that have been commissioned and recorded including 12 operas, the ballet The Grandfather Clocks, and the opera Haibo. His work, Black Lung was included on the 60x60 project. As a concert pianist Christian has performed at many respected venues including Weill-Carnegie Hall, Steinway Hall, Merkin Concert. He co-founded the Remarkable Theater Brigade, he is the musical director at Jan Hus Presbyterian Church, and co-directs the Composer's Voice Concert Series in New York City with Vox Novus.

Kitty Nord is inspired by the nordic tale of the Kitty that licked radio active milk from the frozen tundra. The Kitty becomes radio active and begins to grow larger than the really big frozen mountain that it was standing next to. It gets so big that it can not withstand its own gravitational forces and begins to collapse into a singularity and just like that the Kitty is gone like a poof of dust.

George Brunner is an American composer recognized for electroacoustic and acoustic music. Significant residencies include Institut International de Musique Electroacoustique de Bourges (2003 & 2009), Electronic Music Studios of Stockholm (1996, 1998 & 2001), and Istanbul Bilgi University, Turkey (2002 & 2004). Significant commissions include the Royal Irish Academy, Dublin Ireland (2003 & 2004), Morris Lang, percussionist-The New York Philharmonic (1997, 2007, 2012), Relache Ensemble (2001), and various individual performers and chamber groups. He composed 2 Short Operas produced by Remarkable Theatre Brigade for their Opera Shorts Program (2009, 2010).Brunner is the Director of the Music Technology Program and Composition Faculty for the Conservatory of Music at Brooklyn College.His music has been released on Chrysopée Electronique 25 (2003), MSR Classics (2009), and MSR Classics (Autumn 2010).

The Call is a collage that is an abstraction of multiple telephone calls that tell different versions of a story at one time, jumping from call to call and somehow making sense (hopefully) of the composite information. The samples were all taken from existing recordings except for two sounds that I created. There were a few thousand samples. The work was compiled by subtracting samples to a few hundred and then making the final mix based upon a planned narrative. There was a conscious choice to take most samples from Rock and Opera because of specific similarities that exist in these two types of music. The Call was composed at the Electronic Music Studios of Stockholm (Sweden) in 2001 and remixed in New York in 2011.

“With few opportunities and much competition,...composers show creativity in just getting heard.” And in Chris Pasles’s article in the Los Angeles Times, Robert Voisey is highlighted as one of those composers. Composing electroacoustic and chamber music, his aesthetic oscillates from the Romantic to the Post Modern Mash-Up. His work has been performed in venues throughout the world including: Carnegie Hall, World Financial Center Winter Garden Atrium, and Stratford Circus in London. Voisey has been profiled and music broadcasted on HEC-TV public television in St Louis, Elektramusik in France, as well as radio stations all around the world including: Cityscape NPR St. Louis Public Radio; Arts & Answers & Art Waves on WKCR, Upbeat with Eva Radich on Radio New Zealand; and Kol Yisrael Israeli Radio.

Dan Henry Bøhler is a Norwegian composer, producer, performer and multimedia designer. In addition to designing and composing for video games, Dan recently produced, narrated and composed the music for an audiobook called "The Easter-eggs" by Gabriel Scott. He created, directed and produced "The Witness", an educational music video about the Holocaust featuring a survivor of the concentration camps - used as important educational material in Norway. Dan recently wrote a children's opera Jack and the Beanstalk for Nevada Opera including an animated backdrop where the giant appears 20' tall. Future engagements include an Opera Short for RTB's performance at Carnegie Hall.

Circle of Light: Love does not hurt; it is the absence of love that hurts. Our shadow is an empty outline of who we are on the other side; dare to turn around. If the truth does not set you free you have most definitely been lied to; those who remember come full circle. Don't give advice, and don't contradict yourself.

Joel Gressel (b. Cleveland, 1943) received a B.A. from Brandeis University and a Ph.D. in music composition from Princeton University. He studied composition with Martin Boykan and Milton Babbitt, and computer music with Godfrey Winham and J.K. Randall. His computer music has been recorded on the Odyssey and CRI labels. He currently lives in New York, working as a computer programmer, maintaining and extending software that models tax-exempt housing-bond cash flows.

More Serious is the second in a set of three pieces (after Is it Serious?, before Too, Serious) that share common themes. I was reluctant to move on to new material before fully exploring what could be done with the ideas in Is It Serious?, and I was intrigued by the parallel to art exhibitions where several paintings have common elements. The piece was composed in 2012 on my home computer using an updated version of the Music 4BF program that presumably no one else has used since the 1980s. All the sounds were digitally synthesized.

Nicholas R. Nelson, has been composing vocal, choral, orchestral and experimental music since his early years, receiving his international premiere at the Edinburgh Fringe festival in 1998. After moving to Brooklyn to study at Brooklyn College and with Morton Subotnick and George Brunner, Nick then joined the City University of New York Graduate Center as a doctoral student, studying with Douglas Geers and Jason Eckardt, and remains engaged as a lecturer in Music Technology at Brooklyn College.

Nelson’s music has been performed all over New York City—in addition to performances in The Netherlands, Germany, Austria, Prague and Hong Kong. Performers who have collaborated with Nick include violinist Sarah Saviet, trombonist David Whitwell, organist Clio∂na Shanahan, and flautist Katie Cocks, and he is engaged for future endeavours with ensembles in the UK, The Netherlands and Germany.

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Composer Melissa Grey’s projects include concert works, electroacoustic performances, installations, food+music events and collaborations with artists and architectural designers. Grey is currently Artistic Director of Circuit Bridges, a monthly electroacoustic concert series held at Gallery MC in New York City. Previous curatorial work includes 60x60 New York M

inutes Mix (2012), Transrevelation (2007) and Sonic Channels (2006). www.melissagrey.net

Colony explores the acoustical perception and symbolic communication of the honeybee. Field recordings from hives in Nova Scotia, summer 2010.

Whitney George is a composer and conductor who specializes in the use of mixed media to blur the distinctions between concert performance, installation art, and theater. Utilizing a wide variety of material including literary texts, silent film, stock footage, and visual arts, George's compositions are characterized by an immersive theatricality that thrives on collaboration in all phases of the creative process. Her affinity for the macabre, the fantastic, and the bizarre frequently gives rise to musical programs that evoke the traditions of phantasmagoria and melodrama, challenging musicians to experiment liberally with their stage personae, and audiences to widen the scope of their attention.

According to the Shinto religion and general Japanese mythology, Raijin is the demon god of thunder. A red skinned, horned and tusked sky god, typically depicted in the company of the wind god, Fuijin, and with taiko like drums swirling around him. Scored for solo percussion and centered on the drum set, the work expands the otherwise expected percussive timbres with the addition of various metallic instruments, picked individually by the performer. In an even further break from traditional repertoire, a small mallet or keyboard instrument is also included to play the obsessive and repetitive melodic figure prominent at the beginning and end of the work. After a wash of metallic sounds representing thunder rolling in from the distance, Raijin emerges with a ravenous heartbeat as the timbre moves from metallic sounds to the drum set. While improvisation is not at the heart of this work, there remains a section for the performer to work in his own rhythmic ideas over a set pattern. With such flexibility in both the notated score and instrumental choice, each performance of Raijin is truly unique.