Milica Paranosic

Margaret Lancaster, flute

Melissa Grey

Thomas Piercy, bass clarinet

Roald van Dillewijn

Christopher Howard, percussion

Tijs Ham

Cesare Papetti, drum set

Gagi Petrovic

Margaret Lancaster, flute

Robin Koek

Thomas Piercy, bass clarinet

David Morneau

Cesare Papetti, drum set

“New-music luminary” (The New York Times) and “leading exponent of the avant-garde flute” (Village Voice), Margaret Lancaster has built a large repertoire of new works composed for her that employ extended techniques, multi-media, and electronics fusing music, theater and movement. Performance highlights include Lincoln Center Festival, Spoleto Festival USA, Ibsen Festival, Santa Fe New Music, Edinburgh Festival, Tap City, New Music Miami, and Festival D’Automne. A member of Either/Or and Fisher Ensemble, she has been a guest of many groups including Argento, American Modern Ensemble, and the New York Philharmonic. Noted for her interdisciplinary performances, Lancaster, who also works as an actor, dancer, and amateur furniture designer, presents solo and chamber music concerts worldwide. Recent collaborations include projects with Jean-Baptiste Barrière, ArmitageGone!Dance, BMP’s Kocho, and playing Helene in the 7-year worldwide run of OBIE-winning Mabou Mines Dollhouse …www.margaretlancaster.com.

Thomas Piercy is a critically acclaimed musician with orchestral, concerto, solo and chamber music appearances throughout the Americas, Europe and Asia. Described by The New York Times as “Brilliant...playing with refinement and flair…evoking a panache in the contemporary works.” A versatile artist defying categorization – performing on Emmy Award-winning Juno Baby CDs and DVDs; performing with Earl Wild and Frederica von Stade; working with Leonard Bernstein; playing hichiriki in Japan; recording with members of Maroon 5; premiering over 200 works composed for him; performing on Broadway/Off-Broadway, television, radio, and commercial recordings. Performances at acclaimed concerts halls including Carnegie Hall, Lincoln Center, Kennedy Center, Centre Pompidou, Wigmore Hall, Accademia di Santa Cecilia (Rome), and Parthenon (Tokyo). Studied at The Juilliard School and Mannes College of Music; traditional Japanese instruments in Tokyo. Piercy is an official Rossi Clarinet, Forestone Reeds and Silverstein ligatures artist. Recordings: Albany, Capstone, DGI, Changing Tones, NJST, and Tonada Records. www.thomaspiercy.com

Christopher Howard is a percussionist from St. Louis, MO who is currently based in Long Island. He enjoys exploring a wide range of musical styles with many different groups. He has performed in New York City with Iktus Percussion Group and the Stony Brook Contemporary Chamber Players, with a focus on electro-acoustic works which include performances at conferences such as the Percussive Arts Society International Conference, Machine Fantasies, and the New York City Electronic Music Festival. He has played jazz and explored free improvisation with world-renowned trombonist Ray Anderson and others around the Long Island area. He has also performed, toured, and recorded with the award-winning Fountain City Brass Band multiple times in Europe. This varied background has made him a versatile musician interested in crossing the boundaries between these many different genres. Chris has a BM in Percussion Performance from the University of Missouri-Kansas City where he studied with Nick Petrella, and is currently working on his DMA at SUNY Stony Brook under Eduardo Leandro, where he also received his Masters Degree.

Cesare Papetti is a percussionist who lives in Brooklyn and works in and around New York City teaching and performing. He studied classical percussion at Purchase College in New York and Music Education at Hofstra University. Influenced by all sounds resonating from New York’s vibrancy, he pursues a multitude of different performing opportunities. Cesare plays with orchestras, chamber ensembles and bands throughout the city. Additionally, he is a founding member of Occasional Noise Trio (William Lang, trombone, and Derin Oge, piano), Just Music duo (Alice Jones, flute), Firebird Art Rock Ensemble (featuring the compositions of Dana Richardson), and Barbaric Yawp, an indie funk rock band.

Recently released recordings include: Samplestra (NAXOS), a CD featuring his performance of Gene Pritsker's solo percussion and electronics piece entitled “Destined to Shed,” Salamander (Innova) featuring vibraphone work with the Peter Kerlin Octet., and Bonds of Life (Dionysian) featuring drum set work with Firebird Art Rock Ensemble.

Milica Paranosic is a critically and internationally acclaimed composer, performing artist and educator. Her music was described as “Amazing…astonishing,” (The New York Times), “Like liquor-filled pralines,” (Germany’s Morgenpost), and SEAMUS coins Milica “A painter, a musical Jackson Pollack”. Milica’s works range from one-woman multimedia shows and sound installations to operatic and symphonic works. Inspired by her travels and international collaborations, Milica incorporates music of her Serbian homeland in addition to cross-continental muses such as Brazil, Ghana and China.

A recipient of many honors and awards, her recent commission by the American Composers Orchestra's for a debut in the 2012-13 season at the Carnegie’s Zankel Hall, was co-sponsored by the LVMH Moët Hennessy • Louis Vuitton.

Milica earned her Master’s Degree in composition form The Juilliard School, where is a current music faculty. She is also the Music Director of Gallery MC, co-director of Composers Concordance, founder of Give to Grow and founder and director of Paracademia LLC.

Postcards from India (Postcard #1) is a multimedia show in progress, based on my recent travels on India. I have recorded over 100 hours of digital audio and video, which I am re-inventing into a personal multimedia journal. The piece is planned to be performed in the fall of 2015, hopefully at the opening event of my new multimedia education and performance space in Harlem. This is one of the movements which I wrote for, and am dedicating to Margaret Lancaster. Margaret also provided the flute samples, along with the flute player from Varanasi, shown in the opening sequences of the video. Apart from Margaret’s flute in the track, all the media is 100% ‘organic’ (captured on location).

Composer Melissa Grey’s projects include concert works, electroacoustic performances, installations, food and sound events, and collaborations with artists, architectural designers, and musicians. Grey is currently Artistic Director 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.

Hyperlocal is composed for bass clarinet and fixed sound. Sine waves slowly ascend and descend, venturing beyond the range of human hearing. There is a quiet audible beat throughout. Every beat signifies a new frequency. Within this slowly evolving droning texture, the lowest range and darkest timbres of the bass clarinet are explored. The performer is invited to freely consider low frequencies and extended techniques to blend and interact with the electronic sound.

Roald van Dillewijn (1987) is a sonic designer, software designer for music, composer and performer from The Netherlands. ␣␣As of September 2013 he is graduated as Bachelor of Arts and Technology and Master of Arts in Creative Design for Digital Cultures. As bass guitar player in a post-rock band the interest in weird sounds and sound effects keeps him busy for days. These days became longer and longer with the formation of the noise/drone improvisation band Puin+Hoop. This fascination of sound and ultimate control on these sounds led him eventually to his current projects.␣␣ In 2013 he joined the international collective Soundlings to work together with professionals from all kind of disciplines.

Bombus: With the piece Bombus Roald van Dillewijn examined the differences and similarities between improvised drone music and rhythmic patterns composed for percussion. The limitations that arose by using self-made techniques to collect music material gave the composer new views on structured improvisations.

Tijs Ham (1981) is a musician and sound artist with a background in visual arts, a member of the Soundlings collective and founder of the recordlabel Tapeface. Tijs also works at STEIM, The Studio for Electro- Instrumental Music where he organizes workshops and artist residencies, Musically, anything is possible, which is reflected by the broad sonic range of his output. In his artworks he applies programming, live-electronics techniques and system design to explore and expand the possibilities of audible expression. Inspired by artificial intelligence, evolutionary processes and machine learning he incorporates these approaches to create dynamic structures and experiment with their aesthetic results.

KIRI (Kick Ride) is a composition for drums and electronics. All of the drum parts are inspired by digital processes whereas the electronics are based on the analysis and resyntheses of acoustic drum sounds. This results in a framework of sonic interplay in which the roles of the instruments switches back and forth throughout the piece.

Gagi Petrovic (Belgrade, 1986; raised in The Netherlands) is an award-winning composer of music and sound, and active in both autonomous settings and contexts of applied music. He is experienced in creating acoustic-, electronic-, and hybrid music and if necessary, he creates custom software to process and further elaborate his ideas. Additionally, he teaches basics of composition, and organizes concerts for sharing contemporary music.

His music often resembles his big love for all aspects of intensity and his interest for the moments where musicality and performativity are a mutual influence. This usually results in something that balances between contemporary music, digital electronics and alternative pop. For more information, please visit www.gagipetrovic.nl

Robin Koek (Netherlands, 1987) is active as a composer, musician and designer of artistic systems. With a main focus on sound art and interactive systems he was involved in projects that range from installation art to interactive dancepieces. These works were shown amongst others at the STRP Festival, Hermitage and Nieuwe Kerk Amsterdam. His compositions explore the spatial potential of sound in an idiom that merges electronics, field-recordings and acoustic instruments. His recent pieces 'Tuned City' and 'Inner Noises' were performed in concert halls situated in Portugal, Canada and the U.S. Koek earned a Bachelor of Honours and Master of Arts with a specialization in Sound Design in 2011, at the Hogeschool de Kunsten Utrecht, faculty of music technology.

Lines Of Hearing is a composition for bass clarinet and electronics, which investigates the relation between the position of a listener and it's surrounding urban environment. The work explores audible horizons of specific locations of New York and Amsterdam based on open-source geo-tagged field-recordings mapped in a virtual space. Crafting with the softest sounds in a specific acoustic radius, a dynamic structure unfolds that defines the perceptual boundaries of a space, informing about function, scale and the internal organization of a site. Alternating stages of the performer's interpretation of these constructed urban spaces are structured in three movements.

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

Machined Time can be heard as musing on the differences between machine- and human-performed rhythms. It can also be heard as musings on the nature of time, set to a beat (in time, as it were). Or, if one prefers, Machined Time can simply be heard as the sum of its parts: loops, beats and voices. Special thanks to the readers who so graciously contributed their time and voices to this project: Jay Batzner, Andy Christian, Michelle McQuade Dewhirst, Eleanor Dubinsky, Gina Ferris, Lillian Gray, Christina Hourihan, Lana Is, Maria Ljungdahl, Mike McFerron, Melanie Mitrano, JoLayne Morneau, Gagi Petrovic, Lea Rathbun, Jonathan Schnicke, Boris Willis, and Viola Yip.