2016 Program Book corrected - NYCEMF

A flagship project of the New York Philharmonic, the NY PHIL BIENNIAL is awide-ranging exploration of today’s music that brings together an international roster ofcomposers, performers, and curatorial voices for concerts presented both on theLincoln Center campus and with partners in venues throughout the city. The second NYPHIL BIENNIAL, taking place May 23–June 11, 2016, features diverse programs —ranging from solo works and a chamber opera to large scale symphonies — by morethan 100 composers, more than half of whom are American; presents some of thecountry’s top music schools and youth choruses; and expands to more New York Cityneighborhoods. A range of events and activities has been created to engender anongoing dialogue among artists, composers, and audience members. Partners in the2016 NY PHIL BIENNIAL include National Sawdust; 92nd Street Y; Aspen MusicFestival and School; Interlochen Center for the Arts; League of Composers/ISCM;Lincoln Center for the Performing Arts; LUCERNE FESTIVAL; MetLiveArts; New YorkCity Electroacoustic Music Festival; Whitney Museum of American Art; WQXR’s Q2Music; and Yale School of Music.

Major support for the NY PHIL BIENNIAL is provided by The Andrew W. MellonFoundation, The Fan Fox and Leslie R. Samuels Foundation, and The Francis GoeletFund. Additional funding is provided by the Howard Gilman Foundation and Honey M.Kurtz.

NEW YORK CITYELECTROACOUSTICMUSIC FESTIVAL__

JUNE 5-7, 2016

JUNE 13-19, 2016

__

www.nycemf.org

http://www.nycemf.org

CONTENTS

ACKNOWLEDGEMENTS 4

DIRECTOR’S WELCOME 5

LOCATIONS 5

FESTIVAL SCHEDULE 7

COMMITTEE & STAFF 10

PROGRAMS AND NOTES 11

INSTALLATIONS 88

PRESENTATIONS 90

COMPOSERS 92

PERFORMERS 141

ACKNOWLEDGEMENTS

THE NEW YORKPHILHARMONIC ORCHESTRA

THE AMPHION FOUNDATION

DIRECTOR’S WELCOME

Welcome to NYCEMF 2016!

On behalf of the Steering Committee, it is my greatpleasure to welcome you to the 2016 New York CityElectroacoustic Music Festival. We have an excitingprogram of 25 concerts taking place at NationalSawdust, in cooperation with the New YorkPhilharmonic’s Biennial, at New York University, and atthe Abrons Arts Center in New York City. We hope thatyou will enjoy all of them!

We would first like to express our sincere appreciation tothe following people and organizations who havecontributed to us this year, in particular:

- The New York Philharmonic Orchestra

- National Sawdust

- The Amphion Foundation

- The Abrons Arts Center

- The Genelec corporation, for providing us withloudspeakers to enable us to play all concerts in fullsurround sound

- Fractured Atlas/Rocket Hub

- New York University, Queens College and BrooklynCollege, C.U.N.Y., and the State University of New Yorkat Stony Brook, for lending us equipment and facilities

- The Steering Committee, who spent numerous hoursin planning all aspects of the events

- All the composers who submitted the music that we willbe playing. None of this could have happened withouttheir support.

Hubert HoweEmeritus Professor of MusicQueens College and the Graduate CenterCity University of New York

LOCATIONS

NATIONAL SAWDUST80 North Sixth StreetBrooklyn, NY 11249Corner of Sixth Street and WytheAvenue. Nearest subway stop: BedfordAvenue

ABRONS ARTS CENTER466 Grand StreetBetween Pitt Street and Willett Street.Nearest subway stop: Delancey Street.

5

STEINHARDT SCHOOLNEW YORK UNIVERSITY35 West 4 Street, Room 303th

Half block east of Washington SquareSouth. Nearest subway stop: West 4th

Street.

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FESTIVALSCHEDULE

SUNDAYJUNE 5

CONCERT 13-5 PMNATIONALSAWDUST

CONCERT 27-9:15 PMNATIONALSAWDUST


MONDAYJUNE 6


CONCERT 58-10:15 PMNATIONALSAWDUST

TUESDAYJUNE 7


CONCERT 7 8-10:15 PMNATIONALSAWDUST

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MONDAYJUNE 13

CONCERT 812:30-1:30 PMPLAYHOUSE

CONCERT 92-3:30 PMEXPERIMENTALTHEATER

CONCERT 104-5:45 PMPLAYHOUSE


TUESDAYJUNE 14

CONCERT 1212:30-1:30 PMUNDERGROUNDTHEATER

CONCERT 132-3:30 PMUNDERGROUNDTHEATER



WEDNESDAYJUNE 15





THURSDAYJUNE 16

CONCERT 2012:30-1:30 PMEXPERIMENTALTHEATER




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FRIDAYJUNE 17

CONCERT 2412:30-1:30 PMPLAYHOUSE




SATURDAYJUNE 18





SUNDAYJUNE 19





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NYCEMF 2016STEERING COMMITTEE

Angelo Bello, composer, New York City

Nathan Bowen, composer, Professor atMoorpark College

Daniel Fine, composer, New York City

Travis Garrison, composer, Music Technologyfaculty at the University of Central Missouri (http://www.travisgarrison.com)

Doug Geers, composer, Professor of Music atBrooklyn College(http://www.dgeers.com/)

Michael Gogins, composer, IrreducibleProductions, New York City(http://michaelgogins.tumblr.com)

Elizabeth Hoffman, composer, professor atNew York University(https://wp.nyu.edu/elizabeth_hoffman/)

Hubert Howe, Professor Emeritus of Music atQueens College(http://qcpages.qc.cuny.edu/hhowe)

Howard Kenty, composer, Stony BrookUniversity, Brooklyn, NY (http://hwarg.com)

Judy Klein, composer, New York City

Eric Lyon, composer, Professor of Music atVirginia Tech University(http://www.performingarts.vt.edu/faculty-staff/view/eric-lyon)

Akio Mokuno, composer and performer, NewYork City. (www.akiomokuno.com)

Dafna Naphtali, composer, performer,educator, New York City (http://dafna.info)

Daniel Pate, percussionist

Tae Hong Park, composer, Music

Technologist, New York University, New York(http://steinhardt.nyu.edu/faculty/Tae_Hong_Park)

Izzi Ramkissoon, composer and performer,New York City

David Reeder, composer, developer,installation artist, New York City(http://mobilesound.org)

Paul Riker, composer, Lead AudioDevelopment Engineer, Visualization Lab, KingAbdullah University of Science and Technology

Meg Schedel, composer, Professor of Musicat Stony Brook University(http://www.schedel.net)

Madeleine Shapiro, cellist, New York City(http://www.modernworks.com/)

Joshua Tomlinson, composer

Mark Zaki, composer, Professor of Music atRutgers University

_____

FESTIVAL STAFF

Hubert Howe, Director and co-founder

Travis Garrison, Chief Audio Engineer andTechnical Director, Playhouse

Howie Kenty, Technical Co-Director,Underground and Experimental Theaters

David Reeder, Installation Manager andTechnical Co-Director, Underground andExperimental Theaters

Angelo Bello, Assistant Technical Director

Akio Mokuno, Assistant Technical Director

Joshua Tomlinson, Assistant TechnicalDirector

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http://www.travisgarrison.com

http://www.dgeers.com/

http://michaelgogins.tumblr.com

https://wp.nyu.edu/elizabeth_hoffman/

http://qcpages.qc.cuny.edu/hhowe

http://hwarg.com

http://www.performingarts.vt.edu/faculty-staff/view/eric-lyon

http://www.performingarts.vt.edu/faculty-staff/view/eric-lyon

http://www.akiomokuno.com

http://dafna.info

http://steinhardt.nyu.edu/faculty/Tae_Hong_Park

http://steinhardt.nyu.edu/faculty/Tae_Hong_Park

http://mobilesound.org

http://www.schedel.net

http://www.modernworks.com/

PROGRAMS &NOTES

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Concert 1June 5, 3:00-5:00 PMNational Sawdust

Program

Thomas Dempstermelt 9'42"

4 channel fixed media

Gerald Eckert Klangräume II 5'30"

Beatrix Wagner, Piccolo

Damon LeeStumm 7'30"

Video

Fernando LaubConsumation 11'24"

Fernando Laub, adhoc electroacoustic device

Andrew BabcockVentriloquy 9'50"


Tania LeónAxon 12'

Maja Cerar, Violin

INTERMISSION

Paul HembreeApocryphal Chrysopoeia 6'

Paul Hembree, laptop

Clelia PatronoTension and Release 3'20"

Video

Jeremie JonesSilver Fox & Complex Systems 3'47"


Aaron EinbondXylography 10'

Madeleine Shapiro, cello

Andrew WaltersRed Plastic Bell Abstract 3'43"


Margaret SchedelQfwfQ 11'

reACT: Francesca Arnone, flute Mikylah Myers McTeer, violin

Program Notes

Thomas Dempster, meltAs water freezes and melts and crystals form or dissolve,interesting sonic worlds take shape. Slowing these downand finding tiny universes in the instants of freezing, Ifound similarities to the overall shapes of tides, sleetfalling, snow being crunched, and streams movingtoward lower ground engorged after heavy rains. Theplayfulness and witty action of some of these sounds isunderscored by the slow (yet accelerating) process ofclimate change, as oceans rise, glaciers and ice fieldsmelt and dissolve into the sea, becoming water again,posing massive challenges and dangers upon the peoplewho continue to hasten the global melt. Humans stillflock to the sea to watch it roll in and out, see its beauty,hear its roar and sonic shapes – but soon the oceans willget to visit us at our homes the world over, whether welike it or not, and we won’t get to escape them so easily.There’s still hope, but each ice field that melts, eachiceberg that becomes the ocean, brings us closer tohearing the permanent, irreversible roars of the oceanand the altered states of the Earth’s climate.

Gerald Eckert, Klangräume IIThe main compositorial aspect of the piece KlangräumeII for piccolo and tape was on one hand the examinationof the instrument and electronics and on the other sideon the combination of graphics and sound/ timbre. Theaim was to set graphical constructions and sound inrelationship. Besides this the graphics should have anaesthetical substance. The focus on the examinationwith graphical structures was the idea, to transformarchitectural static structures in changing musicalprocesses.

Damon Lee, StummThis piece remixes Le locataire diabolique (1909) fromdirector Georges Méliès, one of the first directors in thesilent film era to use stop motion techniques. In thispiece, a “diabolical renter” moves into his new

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accommodation. He unpacks his bag, and somehow allof his possessions are crammed inside: tables, chairs, apiano, even his family. For use in my composition, Ichanged the speed, direction and coloring, and set it tomusic/sound, mostly foley. As the piece progresses, theviewer is gradually pulled into the visual space by way ofsound design. The presence of the virtual space isdynamic and unfurls during the piece, beginning as amono signal, symbolizing one-dimensionality, andsuddenly expands (a tablecloth gesture triggers it) into acontrasting auditory spaciousness.

Fernando Laub, ConsumationSomething like a deafening noise arose from inside theirdeepness and leave them out of breath. A primal fireburned out all their shelters. They were by themselvesthose who got inspired to descend upon the boundariesof their animality, without knowing it. And so on the greyangels trapped inside the oblivion woke up, one by one.Options were simple, to fall even deeper or to take flightwith them to become white again.

Andrew Babcock, VentriloquyVentriloquy centers on the vococentrism of auralperception and how the presence of voice, in its naturaland digitally mediated states, structures the sonic spaceit lies in. The physical characteristics of the humanvoice, in terms of its register, spectrum, and prosody,form a reference point from which all other sounds arecomprehended, often bending the boundaries of what isvoice and what is not.

Tania León, Axon Axon, for violin solo and interactive computer is a work inwhich pulses and impulses travel and refract away fromeach other, thus creating a sound world of new spectralmotivic sound images. The piece was commissionedand premiered at the ISCM World Music Days 2002 inHong Kong by Mari Kimura, who created the originalMax/MSP samples, using sound samples of two of thecomposer's earlier works. Special thanks to NoahCreshevsky for his assistance in compiling the originalsound files used in the work. Axon has been recordedon Bridge Records.

Francesco Galante, Metafonie V (a G. Scelsi) Metafonie V ( a G. Scelsi) is devoted to the memory ofthe Italian composer Giacinto Scelsi (1905-1988). At thecenter of the piece is the nature of sound and the idea ofmusic as organized sound. In the my electronic musicpieces, I use the FM synthesis and It allows me theformation of different adaptive morphologies reallyeffective for music composition into the technologicalfield. Since 1993, I have chosen to use for the differentpieces titled "Metafonie" a vintage synthesis such as FMsynthesis to reach beyond its conventional limits androutine, but to use its potential. It is the heart of agenerative sound machine, very interesting in terms ofboth spectral and morphological results. In this piecethey act perceptually and semantically in a border area,

flexible and ambiguous. It will be up to the composer todecide with what cultural responsibilities he will managesthe results in a music based on the sound andpsychoacoustics.

Paul Hembree, Apocryphal ChrysopoeiaApocryphal Chrysopoeia was implemented in thegraphical programming language MAX/MSP/Jitter. Thetitle means “legendary but dubious alchemicaltransmutation into gold,” referring to the process oftransforming the raw numerical output of severalalgorithms into a visceral and potentially sublimeaudio-visual experience.

Performing with the instrument involves interacting with acollection of sound- and light-emitting objects in a virtualthree-dimensional space. This space is projected forboth the performer and audience on a large screen, anda surround sound system is used to sonically immersethe audience. The collection of objects, or cells,provides a structured resource of potential sound andlight that is activated by a cellular automaton. Thisautomaton gives the instrument a rudimentary,moment-to-moment musical intelligence. The computermusic performer can then manipulate both the long-termactivity of the automaton and the spatial geometry of thecells. In tandem, these two areas of control allow theperformer to create a dramatic multimodal experience forthe audience.

The design of Apocryphal Chryspoeia draws uponresearch in spatial models of pitch perception. Pitchspace theories correlate the experience of relatednessbetween pitches with spatial proximity. This sense ofrelatedness is context dependent, learned throughexposure to a particular musical idiom. The fundamentalpitch space used in this instrument is an altered form ofcognitive scientist Roger Shepard's “double-helix.” Thealterations to this double-helix were made to moreefficiently map spatial proximity to consonance. However, improvisations with this instrument focus onexploring new harmonic possibilities, emergent fromspatially organizing virtual sound sources. The initialemphasis on consonance is simply used as a principledpoint of departure for finding more complex harmonies.

Apocryphal Chryspoeia demonstrates ways in whichpitch space models can be used to create novelmultimedia experiences, creatively departing from theirnormal use in describing the psychological experience ofharmonic relationships in pre-existing music. Itfurthermore shows how cellular automata can be usedas an alternative to other procedures as an aid forcomputer music improvisation. These two abstractsystems are yoked together to serve the intuition of thecomputer musician.

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Clelia Patrono, Tension and ReleaseTension and Release was among the selected works atICMC 2015 - University of North Texas. It is a musicalsoundtrack to accompany “Rhythmus 21” an old silentmovie of the 1920s by German director Hans Richter.The work attempts to give a voice to Richter'sgeometrical patterns and their movement (a dynamicrelationship between black and white) using real soundsrecorded in the port of Bari (Italy). The work uses theconcept of tension and release which was found in thesounds of the port's sea boats tied up with ropes andchains. The bumping of the boats, clanging of themetallic ropes, stretching hawsers, and splashing waterare all sounds triggered by the movement of the sea --simple but profoundly representative. The screening ofthe film is better in a totally dark room. It is alsorecommended that the public wait for one minute in thedark, in silence, before the screening begins.

Jeremie Jones, Silver Fox & Complex SystemsIn his new project, Noordwiijk (Jeremie Jones) exploresthe intimate meeting point of acoustic and electronicmusic. Sailor Boy II is an imaginary soundtrack of a boycrossing the Atlantic ocean on a ship in 1952. The piece"Silver Fox" is here presented in it's new York premiere.

Aaron Einbond, Xylography"To know what you’re going to draw, you have to begindrawing." — Brassaï, Conversations with Picasso

In Xylography for solo cello and electronics, theperformance begins with the cello turned backwards, ablank surface upon which the cellist starts to draw. Thenear-silence is projected around the concert space by anetwork of contact microphones, then analyzed by thecomputer to attempt an improvised response. The cellistin turn responds to this computerized noise improvisationthrough a score inspired by live improvisations of severalcellist collaborators. This game of imitation continueswith a broadening repertoire of sounds, finally coming torest on the detuned fourth string, from which theperformer elicits a flickering spectrum of harmonics andmultiphonics. Xylography follows Graffiti, premiered bySeth Woods, and is dedicated to Séverine Ballon andPierre Morlet.

Andrew Walters, Red Plastic Bell AbstractRed Plastic Bell Abstract allowed me to utilize some ofthe programs that I have recently installed on mycomputer and iPad. It uses sine waves generated fromMax/MSP and recordings of a red plastic tube that Ibought from a teacher’s supply store in St. Louis. Thispiece was partially inspired by the small abstractpaintings of Hope Miller LeVan.

Margaret Schedel, QfwfQQfwfQ takes its name from the inter-dimensional narratorof many of Italo Calvino’s short stories includingCosmicomics (1963-4), which describe the beginnings ofthe world using both scientific hypotheses and comic

language. Like the unknowable, unpronounceableQfwfQ, who has experienced all of time and space, thispiece explores multiplicities of being, paradoxes, andcontrasts. The piece is scored for two alto instruments,or any treble instrument capable of reaching down to theG below middle C. The players read from a two-linescore and can choose to switch parts at bar lines thatdemarcate sections of varying length. The two lines havecontrasting characters and are each treated to differentelectronic manipulations that create multiple voices. Thebottom line is lyrical, almost Romantic in character, andits electronics create a Bulgarian chorusing effectthrough time, pitch and timbre shifting. This chorusingeffect can accrue up to 96 voices and is reset whenperformers switch parts. The top line has an angular,disjunct, and modern character and also includesoccasional percussive sounds. The electronics loopsome of the percussive sounds, and, by the end of thepiece, these create a third drum line. In total, this singlepiece played by two instruments can ultimately evolveinto as many as 99 possible lines, which can be inagreement or in conflict depending on the musicalperformance. Only at the center of the piece do the twoinstrumentalists play the same melody, in a “weeping”fado-like passage that briefly unifies the voices beforethey diverge again. The multiphonic, indeterminate, and polystylisticcharacter of this piece is best described in the story, “ASign In Space,” a kind of parable of the postmoderncondition. In it, QfwfQ makes a mark to note therevolution of the Sun around the Milky Way galaxy (thefirst sign ever made), only to find after many millenniathat many others had also made similar signs and theoriginal sign was gone. QfwfQ ruminates on theexperience of looking at the marks of millions beings inspace: “In the universe now there was no longer acontainer and a thing contained, but only a generalthickness of signs, superimposed and coagulated…constantly being dotted, minutely, a network of lines andscratches and reliefs and engravings...”Special thanks toMatthew Blessing for his help with the chorusing patchand the reACT ensemble for commissioning / inspiring /workshopping the piece.

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Program

Kari VakevaSundog ii 10'34"


Christopher BaileyComposition for S#|††¥ Piano... 12'45"

Shiau-uen Ding, piano

Ari FrankelinErnest 6'12"enCaged 1'12"

Video

HanNa KimYellow Forest 10'

2 laptops

Ken UenoVedananupassana 9'

Maja Cerar, Violin

INTERMISSION

Charles NicholsAt The Boundary 10'50"

Gregor Kitzis, violinFunda Cizmecioglu, violinTina Chang-Chien, viola

Arthur Cook, cello

Lawrence FrittsMusicometry I 6'16"

Esther Lamneck, Clarinet

Eric EvansHomoousios 7'

Kourtney Newton, celloCassie Lear, flute

Phill Niblock and Katherine LiberovskayaTimepiece/Maize 30'

video by Katherine Liberovskaya with music by Phill Niblock

Program Notes

Kari Vakeva, Sundog iiThis multichannel work, Sundog ii for eight loudspeakers,begins in slow-motion with solitary tones, but later onmore voices join in - some with a rougher surface -, andthe texture thickens. Like in an earlier composition, Ifound out that finally there were so many streams ofsound that can be best heard - like independent musicalinstruments - from separate loudspeakers, because thespectra are rich. Therefore, instead of spatial movement,the experience of the sonorities and timbres of the musicis more important. The computer music work Sundog iiis written with C++ and MAL-d synthesis software.

Christopher Bailey, Composition for S#|††¥ Piano...Composition of this piece was funded by an AllenStrange Award from the Washington (State) ComposersForum. As per a request from Shiau-Uen Ding, my goalwas to combine my interests in musique concrète,electronica/techno, and live computer music as part of alarge-scale solo piano work. I decided to work with acrappy piano as sound material. The crappy piano hasinteresting kinds of indeterminacy associated with it. Youknow that some notes are going to be "out", but you'renever sure which ones. The details of this composition,though always following the same basic dramatic andformal outline, are always different at each performance.Every crappy piano is different. The musique concrètesounds can be re-realized in different combinations ateach performance. Because crappy pianos areunreliable in producing exact pitches, I notate much ofthe piano part in a "graphic" way, specifying only generalcontours. Thus, the piece is mostly a “percussion” piece, largely devoid of melody and harmony, but chock-filledwith funky rhythms and general joyous chaos andcacophony.

Ari Frankel, inErnestSome of my 12 Djerassi Resident Artist fellows accusedme this past July of "going morbid" with inErnest. Yes,author Hemingway [1899-1961] and Carl Djerassi painterdaughter Pamela [1950-1978], I discovered, did killthemselves on similar, early July days, albeit years apart. But their death was not at all what was of interest to me;it was their life, their work, their habits. After a long timere-reading and contemplating Hemingway, then being“thrown into” Djerassi’s open ranch, right next to NeilYoung’s, this Video Music Composition formed. Originalvideo, sound and music play sandwiched betweenunexpected edits from Luis Buñuel’s La Chien Andalou.

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Ari Frankel, enCagedJohn Cage collected mushrooms, spoke eloquently andinspired thought, chance and silence in many. I confessto liking him as a philosopher, conversationalist andinvestigator more than as a deep composer, but hiscontributions remain enormous. His poking of materialsinto turntable styluses revolutionized every approach Ihave ever made to an electronic instrument, be it aSynclavier, a Yamaha TX816 or a sampler; humanizing itall, even before it reaches our ears and brains. His shortlecture on a Japanese mushroom Haiku is timeless. IIshare it here https://vimeo.com/111884909. And thenthere were the prepared pianos. Well, Not anymore,John.

HanNa Kim, Yellow ForestThe nature things that surround me always give me richinspirations. I am living in a place where there are a lot oftrees that turn out the colors in a wide spectrum,especially in the fall season. In this piece, I would like tocapture the impression that I get from the natural beautyand interpret that in a musical language in terms of thesensitiveness of the natural pigments of leaves and thespectacular sight of the ground under the trees that isfully filled with fallen leaves. The piece, Yellow Forestwas performed at the laptop Orchestra concert, whichwas held at Charlotte New Music Festival in June 2015.The festival included the one-week long MAX/MSPworkshop. The piece is approximately ten minutes inlength. Ken Ueno, VedananupassanaThis piece was commissioned by the CommunityMusicWorks with support from the MAP Fund.Vedananupassana is the first part of the first movementof a larger work, Four Contemplations. An unusual ideafor a composition, Four Contemplations has multipleaspects. The first aspect/event happened on March 26,2015. Eleven string players, members of the CommunityMusicWorks Players, and I performed while installed invarious spaces of the Asian art galleries in the RISDMuseum. On Saturday, March 28, 2015, the piece wasperformed with an ossia part involving CommunityMusicWorks’s students. Then, we performed the thirdaspect as an hour-long concert piece in the concert hallof the RISD Museum. Those performances alsoincorporated recordings I made during the March 26thevent, documenting the sounds of the audience. Later,iterating a fourth aspect, recordings of the two live eventshas been mixed and now lives an audio installationaccessible via the museum guide. Initially, thecommission was to coincide with the rededication of themuseum’s Dainichi Buddha, which made me think of thepractice of mindfulness and how it related to my practiceas a vocalist. Breathing is not only central to singing andmeditation, but also life itself. Four Contemplations is aninstrumental meditation on breath. Much of my what Icomposed for the string instruments involves techniquesthat evoke different kinds of breath. In regards to theform of the piece, the different constraints suggested to

me by the ensemble and the museum were challenging. When I was in a quandary, composing, I thought of theold parable of the blind men describing an elephant,which has often been used to describe Buddhism itself. Alas, the different aspects are like the different parts ofthe elephant.

Charles Nichols, At The BoundaryAt the Boundary, for amplified string quartet andinteractive computer music searches for the borderbetween technically and rhythmically difficult music, withangular melodies and dissonant harmonies, and musicthat is fun to play and hear. It was inspired by the stringquartets of Bartók and Shostakovich, and the Swedishmetal band Opeth, and is also infused with anxiety aboutthe political military conflict in the Ukraine, that wasbrewing when the piece was composed. In the fourattacca movements, the string instruments accompanyarching sustained melodies and countermelodies, withdriving rhythmic spiccato, half col legno, pizzicato, andflautando passages. Interactive computer processing,controlled by a computer musician, expand the timbre ofthe amplified string instruments, with delay, phaser, fuzz,and flanger effects. Following the quartet, the computermusician triggers delays of different rhythm and duration,phasers and flangers of different speed and depth, andfuzz distortion of different loudness and brightness,affecting the string instrument timbres. The piece wascommissioned by the Third Angle Ensemble, for theirNew Ideas in Music concert.

Eric Evans, Homoousios"Homoousios," literally translated in English as "of thesame substance, or essence," is the Greek word used atthe Council of Nicea to describe the nature of Christ; thatHe was "of the same substance" as God. This councilwas called in 325 CE to develop clarity in relation to theviews of the Arians, which thought of Christ as "like [asopposed to 'same'] in substance" with God. Thiscontroversy - and the doctrine realized out of it, of whichthe word "Homoousios" represents - is best summed upin the idea that Christ was both fully God and fully humanin nature. This piece explores this hypostasis of theDivine and the human - the "otherness" of two distinctlydifferent natures becoming one (yet at the same timeupholding the distinctiveness of divinity and humanity) -through multiple expressions.

The words taken from the first epistle of John in the NewTestament: "[This is] He-who-came-by-water-and-blood,"(speaking of Christ) are spoken by a two-year old in theelectronics. Water and blood speak of the duality ofChrist's nature; water representing His Divinity, andblood representing His humanity. Thus the rest of theelectronics in their entirety are taken only from soundsgenerated by water flowing or striking objects andsounds generated by a tree (representing blood due toits associations with a cross). So through the dual natureof sounds in the electronics, each instrument's timbre,form, and the play of key motivic figures between twoinstruments, Homoousios unifies contrast, reflecting the

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https://vimeo.com/111884909

hypostatization of the Divine and the human.

Lawrence Fritts, Musicometry IFrom Bach to Stockhausen, improvisation andcomposition have been inextricably linked. One of themost important current advocates of improvisation incomposition is the clarinetist, Esther Lamneck, who hasrecently integrated improvisation with fixed mediumelectronic music compositions, including my worksMappaemundi and Doctrine of Chances. In her initialimprovisations that formed the basis of Musicometry I, Ifound that her playing reflected the measure of suchimportant qualities of my musical language as timbraltexture, rhythmic gesture, pitch contour, and harmonicstructure. Using these improvisations as thecompositional basis of Musicometry I, I similarly soughtto represent the measure of these qualities that I found inher own playing. The result is a truly collaborative work,in which the performer and composer adopt the essentialaspects of the musical language of the other, asexpressed in the dedication: “To, from, and for EstherLamneck.”

Phill Niblock, Timepiece/Maizevideo: Katherine Liberovskaya (2015)music: Phill Niblock (2011)

A 30 minute extreme close-up long take of the flow ofsand trickling from the upper to the lower glass chamberof and hourglass to Niblock's composition "FeedCornEar" (2011), featuring Belgian cellist Arne Deforce(available on "Touch Five" TO:91, Touch Records).

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“Ghost Voices”presented by Harvestworks

Program

Annie GosfieldCaptured Signals and Radio Ephemera 20'

Annie Gosfield, samplerRoger Kleier, guitar

Annie GosfieldLong Waves and Random Pulses 13'

Pauline Kim Harris, violinfixed media

Shelley Hirsch and Joke LanzBook Bark Tree Skin Line Stage 1 35'

Program Notes

Annie Gosfield, Captured Signals and Radio EphemeraCaptured Signals and Radio Ephemera is built onoriginal broadcasts of jammed radio signals drawn fromGerman radio archives. Radio jamming is a wartimetechnique used to block an opponent’s radiotransmission by broadcasting noise, speech, or othersonic effluvia on the same frequency. These odd soundsare mixed with electronically altered string sounds thatevoke the unique processes of radio jamming. Thisatmospheric and varied palette of sounds was edited,altered, and sculpted to create a loosely structured duetfor sampler and guitar that draws largely onimprovisation and extended techniques.

Annie Gosfield, Long Waves and Random PulsesLong Waves and Random Pulses is a duet for violin andjammed radio signals that incorporates originalrecordings of jamming sounds that were used to blockradio transmissions in Italy, Germany, and the SovietUnion in World War II. The violin merges and emerges,shifting from music, to noise, to pure signal while fading

in and out of the sounds of intentional radio interference.The electronic backing track includes a repeated six-notefigure that was drawn from original recordings of anItalian radio jamming device, a buzzing pitched pulsefrom a German jamming device, a quote from J. S.Bach’s Chaconne in D Minor as it could have been heardin a jammed broadcast, and many extended techniquesthat evoke the sounds of these otherworldly radiosignals. The violin part alternates between virtuosic andtextural playing, shifting between notes and noise. As forthe title, Long Waves refers to the long wave radiofrequencies that many of these interrupted signals werebroadcast on. Random Pulses represents a method ofradio jamming that uses a random pulse noise tooverride the program broadcast on the target radiofrequency.

Shelley Hirsch and Joke Lanz, Book Bark Tree SkinLine Stage 1Book-Bark-Tree-Skin-Line- Stage 1 is a structuredimprovisation with collaborator/ turntablist ,electronicmusician Joke Lanz . and a query into the process ofcreating Hirsch's Harvestworks AIR Project and newchoral work commissioned by Harvestworks with fundsfrom the New York State Council on the Arts, which willbe presented in 2017. The work is a musing on thewords of the title which are investigated for their sonic/etymological/ poetic properties, where the music oflanguage is celebrated, It is as well a demonstration ofhow songs and stories grow out of primal utterances andvoiced gestures which are intrinsically located in thebody-the recorder Hirsch will be using various electronicdevices to localize and process her "voices" live. Hirschand Lanz would like to dedicate this performance to thelate great Tony Conrad who was an extremelyenthusiastic audience member for the 1st NYCperformance by Hirsch/Lanz which took place just ablock away. They will attempt to honor his sense offreedom and boundless energy.

About Harvestworks(www.harvestworks.org)

Harvestworks presents experimental art in collaborationwith their Technology, Engineering, Art and Music(TEAM) Lab. Since 1977 they have been supporting thecreation of work that explores new and evolvingtechnologies. In line with the historical E.A.T.(Experiments in Art and Technology) they provide anenvironment for experimentation with technicians,instructors and innovative practitioners in the electronicarts. Former Harvestworks’ residents, who have alsoused remixing in their art process, include establishedartists, such as Christian Marclay, Luke Dubois andPauline Oliveros.

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http://www.harvestworks.org


The Scheherazade Projectpresented by

PUBLIQuartetJannina Norpoth, Violin

Curtis Stewart, ViolinNick Revel, Viola

Amanda Gookin, Cello

HOLLANDSJohn-Paul Norpoth - Vocals, Guitar

Jannina Norpoth - Vocals, Electric Violin

Amy Khoshbin

Program

Program Notes

The Scheherazade Project (TSP) "The ScheherazadeProject" takes its inspiration from the feminist iconScheherazade, who crafts well-known folklore to suit herneeds, saving her own life as well as the lives ofthousands of women from a virgin-killing king in theclassical Persian story "One Thousand and One Nights".Re-imagined through a contemporary western "lens",TSP conceives a disillusioned dictator wooed by mediastories, slowly immersed into the realm of the screenwhere "reality" and "fiction" become indiscernible. Thisspecial performance is a multimedia collaboration ofsight and sound between HOLLANDS, PUBLIQuartetand Amy Khoshbin that integrates rock 'n' roll, andclassical music, merging electronic and acoustic genresvia original song and improvisations that pay homage toRimsky-Korsakov's symphonic poem "Scheherazade" accompanied by live storytelling and multi-channel videoprojections.

HOLLANDS captures Scheherazade's stories throughoriginal songs combining vocals, electric/acoustic guitar,electric violin and amplified acoustic string quartet. In thestyle of their MIND | THE | GAP improvisationsPUBLIQuartet integrates musical ideas from bothgenres, integrating Korsakov's original material into thesongs and improvisations. Amy Khoshbin adds theatricsand fantastical imagery, stage-projections with multiplechannels/screens, creating a visual landscape with videoand stop motion animation incorporating elements fromPersian miniature paintings, modern Western media,original artwork and featuring dancer Justin Alensa andcameos from the musicians on stage. Within theframework of the original folk tales, The ScheherazadeProject incorporates elements of each of the artists'cultural identities represented in a modern visual andsonic context. The Scheherazade Project wascommissioned by a 2015 MPower Grant awarded by theSphinx Organization and Music Assistance Fund (MAF).Makeup for the video projections and on stage show iskindly provided by MAC Cosmetics and PUBLIQuartetproudly uses DPA microphones.)

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Program

Mark ZakiWindows 7'02"

Video

Nicholas Clinewater-witching 15'

Jeff Siegfried, Tenor sax

Maurice WrightWo Klingend? 5'


Fred SzymanskiTurbulence - Convections 7'25"

Video

Elizabeth HoffmanFastenings 7'

Maja Cerar, ViolinElizabeth Hoffman, computer

Hubert Howe and Sylvia Pengilly Inharmonic Fantasy No. 4 9'

Video

INTERMISSION

Marc AingerWindswept 4'45"

Madeleine Shapiro, CelloAnn Stimson, flute

Clemens von ReusnerHO 13'06"


Grant LuhmannArborea 6'

Skye Kinlaw, Violin

Jeffrey HassThree Easy Recipes 7'16"

Video

John NicholsThe Pillar II 9'53"

Scott Deal, Percussion

Program Notes

Mark Zaki, Windows“The eyes of our souls only then begin to see, when ourbodily eyes are closing.” (William Law)

Inspired by Mallarmé's poem “Les fenêtres,” Windowssimilarly expresses characteristic symbolist themes ofmysticism and otherworldliness, a heightened sense ofmortality, and awareness of the power of spiritualcorruption. Simultaneously attractive and profoundlydisconcerting, we see the window as an entrance thatinvites us to reflect our own path and the possibilitiesbeyond it. Yet the window as a barrier suggests that wehave limitations, and may never fully transcend thisworld. The piece speaks to the illusion that we cancontrol our life, where in fact unforeseen eventsmercilessly alter its course. In the end, it wonders if it'spossible to escape, recognizing the inability to rise abovehuman deceits.

Nicholas Cline, water-witchingThe dowser offers a system of decision-making in whichthere is no demonstrable connection between theprocess of seeking and the anticipated outcome. Atwitching rod, a swinging pendulum indicates, “dig here.” Often those who turn to this ancient practice of magicaldivination do so not out of a belief that it will work, butthat it must. A dry well is a crisis. “Water witching,” as itis known in rural America, is a way of coping with one’s“environment under conditions of uncertainty andanxiety.” The water witch – like the hydrogeologist – isconcerned with imagining underground flows of water. The basic materials of water-witching are saxophonemultiphonics: fleeting acoustic phenomena that requiresubtle control of embouchure, fingering, andair-pressure. They are unstable and unpredictablesonorities that float between harmony and timbre. water-witching wanders through this acoustic terrain. Frictions emerge from this “in-between-ness.” Stillnessis filled with tension through the hint of something justbelow the surface. water-witching is dedicated to mymother and the memory of her father.

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Maurice Wright, WoKlingend?WoKlingend? is a fixed-media electroacoustic work in 4channels. In its brief (5 minutes) duration, the piece testsour perceptions of near and far, of familiar and strange,and loud and soft. The quadraphonic design isfront-prominent for most of the work, with the rearchannels sneaking up from time to time to ambush thefront focus of the work. Almost all sounds were formed inCsound, but a recording of a jackhammer featuresprominently in several places.

Fred Szymanski, Turbulence - ConvectionsThe starting point for this sound/image piece wasfootage of water flowing in a highly compressed state. Inthis kind of water flow, vortices appear and interact witheach other. The patterns that this creates served as amodel for the transformation and displacement ofparticles in three-dimensional space. The sound is linkedto the image through the particle-based behavior of thegranular synthesis routines. Through the asynchronousfluctuations of the microstates, sound and image interactto produce an environment of intermittent and constantlychanging textures. The single-screen version ofTurbulence - Convections premiered at Nomades, aprogram of video and electroacoustic music at theOnomato Gallery (Dusseldorf), curated by ClaudiaRobles-Angel in July 2015.

Elizabeth Hoffman, FasteningsFastening; Hastening; Listening; Loosening. This piecegrew from a working session with Maja Cerar, and themateriality of the live computer part derives exclusivelyfrom that session. The piece explores spatialization as ameans of projecting the persona of the violinist intomultiple fragments which speak on their own, and whichextend the temporal frame of the piece by merging pastwith present. Techniques used include live analysis ofthe violin timbre to influence the evolution of otherderivative timbres. The points of contact and bindingtogether are the central focus of the piece.

Hubert Howe, Inharmonic Fantasy No. 4Inharmonic partials are sounds that are not harmonicallyrelated to each other, as they are in most instrumental orvocal sounds, because they do not combine to create asense of pitch. This work is another in the series ofpieces I have written in order to create complex, evolvinginharmonic sounds that include many differentcomponents that fade in and out over the course of atone. In this work, the sounds are all compressed intothe very small acoustic space of less than a perfect fifth. While each sound occupies only that small area, thetones within each passage sometimes are alsocompressed within a small space, or are spaced widelyover the acoustic spectrum. The work consists ofnumerous short passages that include different numbersof notes, densities, and rhythmic distributions. Theinharmonic components are presented in ways that bothfade in and out over the course of the tone or areattacked and decay separately. The piece was written in

2014 and synthesized using csound.

After the music was completed, Sylvia Pengilly createdthe video to the music.

Marc Ainger, WindsweptWindswept, for flute and cello with live computerprocessing, is a work that paints an ethereal (windswept)landscape punctuated by silence, using the extendedtimbral resources of the two live instruments. Thesetimbres are, in turn, extended by computer processing.

Clemens von Reusner, HOHO was realized with the sound-synthesis-languageCsound mainly using additive synthesis. Percussiveislands of sound. Spatial movements, modulated noise,lingering sound in a wide space. Moving area.Deconstruction of the sound islands, variation,densification and repetition. Single steps prove thecomposers temporary attendance in a quietful andreclusive location called Ho in western Denmark.

Grant Luhmann, ArboreaThe violin's musical vernacular in Arborea consistsentirely of open strings, natural harmonics, and extendedtechniques based on harmonic phenomena. Thesetechniques, while limited in pitch, allow the violin toaccomplish extraordinary technical feats and leaps thatwould be otherwise be entirely impossible on "normal"stopped tones. Various idiosyncracies in the patterns ofharmonic fingerings are exploited to create unusualcontours and crossed voicings between strings that adda mechanically virtuosic edge while maintaining asubdued dynamic.

The soundtrack extends the violin's voice and limitedpitch content by featuring processed sounds derivedfrom the instrument itself. Rhythmic ambiguity in theaccompaniment throughout contrasts with the soloist'smotoric gestures. Timbres of the soloist and theelectronics blend in a sound world caught somewherebetween the realms of the acoustic and the electronic,with occasional instantly-recognizable "natural world"sounds adding a slight outdoor coloration. Listeners arethus provided with a sort of aural garden in which theyare free to appreciate, explore, and immerse themselvesin a soundscape that blurs the line between the organicand mechanical.

Jeffrey Hass, Three Easy RecipesThree Easy Recipes (2015) is a short music video thattook on an interesting new life as I discovered 3Drendering software (Cinema 4D) and particle systems(Trapcode Suite) after years of working with flat videoonly. It was terrific fun to produce as I discovered theamazing visual transformations one could confer uponeggs, Jello-O and fruit. The project was, in fact, atechnical etude in preparation for a more serious workfor contemporary dance-based video and music. In mylater years of a career primary spent in music

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composition, both electronic and acoustic, the new tricksthis dog has learned have renewed the old feelings ofbeing humbled by a strange, marvelous and complextechnology where one has barely scratched the surface. Special thanks to my wife Sandi for being both chef andhand model.

John Nichols, The Pillar IICompleted in 2015, The Pillar II is a composition forpercussion and electroacoustic sounds. The work utilizestext from the introduction of Vladimir Solovyov’s TheSpiritual Foundations of Life (1885). Initially, thecomposer became interested in Solovyov whenconsidering the parallels between Scriabin’s andSolovyov’s conceptions of “all-unity” and “wholeness.”

According to Solovyov, "Perfect all-unity, according to itsvery conception, requires full equilibrium, equality ofworth, and equality of rights between one and all,between the whole and the parts, between the commonand the individual."

The composer thanks pianist Tatiana Shustova for herassistance with the translation and beautiful rendering ofSolovyov’s text: "religion is a theandric, that is to say adivine- human, activity. With religion, as with everythingelse, it is first of all necessary to master certainfundamental methods and activities without whosepractical background no progress can be made andthese things must not be chosen haphazard andarbitrarily but must be determined by the essence andobject of religion itself. Generally speaking, we liveunworthily, inhumanly, enslaved by temporal things; weare in rebellion against God, we quarrel amongstourselves.

“but man, immersed in this life, has to find some footholdoutside of it before he can begin any process ofcorrection.

“we are self-indulgent-the very opposites of theessentials of what life ought to be, a free submission toGod, a unity with our neighbors, a control of our naturalinclinations."

(Adapted from Paul Valliere’s translation)

The Pillar II was commissioned by percussionist ScottDeal.

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“Immediacy of Nowness”

Patricia Surman, fluteJeffery Kyle Hutchins, alto

saxophoneReiner Krämer and Ted Moore,

computers

Program

Reiner KrämerStück für querflöte, saxofon und computer indrei Teilen 17'

Teil 1: Konstruction (dedicated to JohnCage)

Teil II: Tintinnabulation (dedicated toBjörk and Arvo Pärt)

Teil III: Permutation (dedicated to RuthCrawford Seeger)

flute, alto saxophone and computer

Ted Moorediscreet and discrete 13'02"

alto saxophone and laptops

Paul David ThomasA Thread Unwound 10'

flute, alto saxophoneand two computers

Joshua ClausenJames Carville and Mary Matalin areImpressive 10'20"

flute and electronics

Program Notes

Compositions take on qualities determined by forces thatthough selected by the composer, are inherent to thedevice itself, such as genre, media, instrumentation, orformal aspects. For example, we speak of compositionsas being innately “pianistic” or “orchestral.” Many ofthese choices are determined by the Immediacy ofNowness, in that technological development has afar-reaching role in creation. This program explores theinherent qualities that are observed within givencomputer programming environments. In this sense,software itself displays bias in the artistic thoughtprocess of the composer (and performer.) The concertjuxtaposes pieces composed within differentprogramming environments, by using the followingelectronic chamber music combinations: (1) fixed media+ instruments; (2) reactive media + instruments; and (3)improvisation for laptop + acoustic instruments.Programming environments included in the concert are:SuperCollider, Max, or Max for Live, Pd, OpenMusic,PWGL, Logic, and ProTools. It is the performer’s hopethat the audience will enjoy the sonification of theImmediacy of Nowness.

Reiner Krämer, Stück für querflöte, saxofon undcomputer in drei TeilenTeil I: Konstruktion (dedicated to John Cage)During the first movement the saxophonist and flutistassemble their instruments, and use parts of theirinstruments not normally used for sound production. Theparts are continually live processed by the computer. Theconstruction enables the musicians to perform theTintinnabulation, and the Permutation.

Teil II: Tintinnabulation (dedicated to Björk & Arvo Pärt)Both saxophone and flute play the objective lines, whilethe computer improvises a subjective line. Thetintinnabulation is supplemented by samples from aninterview of Arvo Pärt, conducted by the popularIcelandic electronic musician Björk. Tintinnabulation itselfcan be seen as an algorithmic procedure.

Teil III: Permutation (dedicated to Ruth Crawford Seeger)The flute and saxophone parts have been createdthrough a program running theSteinhaus-Johnson-Trotter permutation algorithm. Thealgorithm creates all possible permutations of a dyadbelonging to set class (01), a trichord belonging to setclass (014), and a tetrachord belonging to set class(0145). The permutation procedure is connected to TeilII, since the first permutation algorithms was developedby the British practice of change ringing during the lateRenaissance period.

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Ted Moore, discreet and discrete for flute, altosaxophone and laptops (2015)discreet and discrete is a structured improvisation forflute, saxophone, and laptop. The instrumentalists aregiven material to explore through different sections of thepiece, while the laptopist uses their sounds as sourcematerial to develop the overall contour of the work. It isintended to serve as a cause for musicians to join increating a new performance each time it is played.

Paul David Thomas, A Thread Unwound (2011/2016) Commissioned by DuoInteraktiv, the genesis of A ThreadUnwound began as an attempt to compose a partnerpiece to an earlier composition entitled Filament for fluteand five crystal glasses. In A Thread Unwound, the fivecrystal glasses are replaced by an instrument created inMax/MSP that can produce a multitude of crystal glasspitches and sounds all triggered by a computer musician.Inspired by the improvisational scores of PaulineOliveros, this piece is a structured improvisation wherethe acoustic and electronic instruments move through avariety of relational states.

Joshua Clausen, James Carville and Mary Matalinare Impressive (2014)I was listening to a radio program the other day. JamesCarville and Mary Matalin, a married couple who are bothpolitical consultants, were the guests. They starteddating while trying to defeat each other professionallyduring the general election of 92' (Carville worked forClinton, Matalin for Bush) and got married in the Fall of'93. The two have worked on opposite sides of the aislefor decades while supporting each other in marriage andraising two kids. Since I'm used to thinking of politics asan ongoing cynical and mean-spirited game their obviouswarmth, good humor and love for one another during thisinterview was startling. This piece begins with thejagged, aggressive presentation of four phrases. At firstboth instruments present this material as a drivingstream of independent fragments – moments ofsimultaneity, congruence or consonance emerge, butonly briefly. After this the two instruments continuallyre-approach these phrases in new ways across a seriesof structural panels. There is a trajectory created bythese shifts, in which the two instruments graduallyconverge rhythmically and harmonically into riff-likearticulations of the four phrases in both parts. Within this developing trajectory there are two solos(flute, then sax) that introduce new “individualistic”material, unrelated to the four initial phrases. Thismaterial is then integrated into the developing trajectoryof the “group” material, creating new textures that aresometimes combative and sometimes supportive. These textures and the changes they undergo mirror thewillingness of couples in mature relationships to share alife, which is difficult and complex, and the act ofattempting democracy which also is. Both are worth theattempt.

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Program

Eric LyonLittle History of Photography 9'30"

Marianne Gythfeldt, clarinet

Stuart CunninghamNoise without Noise 6'


James DashowSoundings in Pure Duration 3 11'12"


Ragnar GrippeSpider’s Web 13'


Tuo WangIDB 4'18"

Emilio Guarino, Double bass

Paolo GattiPoltergeist 5'31"

Maja Cerar, Violin

INTERMISSION

Maja Cerar and Liubo BorissovAutopoiesis 7'

Maja Cerar, Violin

Yasuhiro OtaniReverie 13'

Yasuhiro Otani, Electric guitar

Wuan-chin LiRiver 4'50"

Yi-An Huang, OboeCheng-Yen Yang, computer

Joshua MailmanMaterial Soundscapes Collide 10'

Arthur Kampela, GuitarRhonda Taylor, baritone saxophone

Joshua Mailman, FluxNOISationsaudio-visual interactive system

Michael GoginsScrims 4'

Video

Howard KentyThe Halls Within the Mirror 15'30"

Rebekah Norris, SopranoAdam Rokhsar, video

Program Notes

Eric Lyon, Little History of Photography “...less than ever does a simple reproduction of realityexpress something about reality.”In 1931, five years before The Work of Art in the Age ofMechanical Reproduction, Walter Benjamin published“Little History of Photography,” an essay which is strikingin its subtle grasp of the implications of recenttechnologies for the visual arts, along with an admirabletechnological optimism. Benjamin examines what aphotograph does that a functionally similar paintingcannot do. His essay helped me to revisit what is by nowa long-established genre - the instrument and livecomputer piece. In “Little History of Photography,” themicrophone is considered as a kind of camera thatcaptures and transforms “reality,” creating a situation inwhich the performer addresses herself to themicrophone, aware that transitory moments can becomefixed documents at any time.

Stuart Cunningham, Noise without NoiseThis piece is related to another work by the artist (Noisewith Noise) and is a reinterpretation of that piece. In thiswork, the earlier composition is heavily processed usingnoise reduction tools to the point where, although theoriginal noise is largely gone, the processing steps haveintroduced their own forms of noise that modulate andinteract with the original elements.

James Dashow, Soundings in Pure Duration 3This third in the series of “Soundings” explores furtherpitch-timbre dimensions of my Dyad System, here usingthe guitar as the primary voice. The highly synchronizedinteractions between guitar and the electronic soundscreate various senses of “ensemble”, different for eachsection of the work. The sections are constructed as along cycle of simultaneities and timbres with structural

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“sub-spirals” that carry out the local developments of themusical materials, both for the guitar as well as for theelectronics. Spatialization of the sounds is a significantfactor in these developments, contributing a strongdynamic to the global evolution of the entire work. Eachsection is characterized by its kind of space, generatedby the static positioning of the sounds, or by themovement of sound in space or even creating space viaa movement of space itself by the sounds. And at thecenter of this universe of sonic movement, there’salways the single point off gravitational attraction, theguitar.

Ragnar Grippe, Spider’s WebSpider's Web is my latest composition to date. Voicesare used with major alterations to the sound source.Virtual acoustics where different sounds live in the samespace but with different acoustical rooms, this can'thappen in real life where only one acoustic is present ateach time. Spider's Web is a journey where we see morethan one thing at a time

Tuo Wang, IDBI made this music inspired by IDM (Intelligent DanceMusic), so I called my piece "IDB", which stands for"Intelligent Dance Bass". In this piece I use a lots ofsound samples which I recorded on the Brooklyn Bridgein New York.

Paolo Gatti, PoltergeistPoltergeist is a piece for violin and fixed media, based ona "non linear approach" to "non linear techniques." It isorganized into three movements. In each of them, thecomposer uses sound materials obtained from non linearalgorithms (the first movement is inspired by the RenèThom "catastrophis theory", the second movement takesinspiration from the attractors theory, while in the last isused an algorithm that simulates the double pendulummotion), in a personal way (combining sounds accordinga "conscious atomistic" style, an expressive way to buildharmonies, counterpoints and melodies, on which thecomposer is basing his recent studies).

Maja Cerar and Liubo Borissov, AutopoiesisAutopoiesis, co-created by Liubo Borissov and MajaCerar, is the first part of a trilogy set in the form of aclassical tragedy and narrated by movement, sound, andlight. Autopoiesis deals with questions of beginnings andcreation. It imagines these and is, in part, also ahumorous document of discussions between the twoauthors about the dawn of the universe. It addresses theideas of existing in more than one place at a single timeand coping with a duplicate of oneself. It is also anexploration of degrees in and limits to comprehendingrelations between cause and effect, between mass andvacuum. This is played out in a dialogue between aphysical figure and its virtual (projected) manifestation, inwhich both of them constantly move and change. Thelines projected on the screen become a reality created bymatter and force acting onstage

Yasuhiro Otani, ReverieReverie is the composition series for making extendedsonic harmonic electric guitar. It recorded and edited bycomposer own with a electric guitar and a laptop.Extended sonic harmonic has been realized withMax/MSP programing. It almost makes sounds to isolateany harmonics while playing guitar.

Wuan-chin Li, RiverRiver is a piece for calling the peace for bothenvironment and human societies. The sound of Oboerepresents as river, which reflects the human history inreality; the sound generated by electronic/computertherefore is the irrigation from river, it resonates from theearth to the whole universe - to bless the world return toits original serene.

Joshua Mailman, Material Soundscapes CollideMaterial Soundscapes Collide is a trio improvisationbetween interactive audiovisual technologist-improvisorJoshua Mailman, composer-guitarist Arthur Kampela,and baritone saxophonist Rhonda Taylor. Kampela’sextended guitar playing involves entirely new playingtechniques, combining in a compelling and seamlessmanner, traditional playing with noise oriented,percussive effects. Taylor explores parametric extremes:clear vs. distorted, low vs. high, etc. and varying states ofactivity and intelligibility, through traditional and extendedtechniques. Mailman performs using his FluxNOISationssensor-based full-body audio-visual interactive system,developed by him (with Sofia Paraskeva who alsodesigned the system’s wireless sensor gloves). Usingphysical modeling algorithms, FluxNOISations generatesthree streams of digitally synthesized unpitchedpercussion-noise sounds: wood, metal, and noise (water,sandpaper, pebbles, sticks). These sonic streams arecontrolled through gradual motions of feet, elbows,shoulders, hands, wrists, and torso. Through these samebody motions, the FluxNOISations performer alsosimultaneously manipulates generated visual imagery.The projected graphics present shifting harmonioussymmetries of shape and color, like Oskar Fischinger’sand John Whitney’s “visual music.” Thus, through bodymotions, FluxNOISations coordinates its “visual music”with its “aural noise.” (See “Improvising Synesthesia” inLeonardo Electronic Almanac v.19/3, 2013.) The trio,duo, and solo sections of Material Soundscapes Collidepresent call-and-response interactions, as well asoppositions and trajectories of percussive-noise fromclassical guitar (Kampela), baritone sax (Taylor), andaudiovisual streams of FluxNOISations (Mailman), in anunprecedented style of multisensory improvisation. Kampela’s extended guitar playing involves an entirelynew playing technique, combining in a compelling andseamless manner, traditional playing techniques andnoise oriented, percussive effects. “Kampela's effectswere fascinatingly inventive. The best was his use of aspoon to give the guitar a wavery, underwater sound.” –NY Times, 1993

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Michael Gogins, ScrimsVisual music programmed in JavaScript, HTML, andCsound. A hopalong fractal is used both to generatevideo and to generate a musical score. The piece isinteractive and must be performed. The performercontrols the evolution of the fractals and interactivelyselects chord transformations that are applied to themusic.

Howie Kenty, The Halls Within the Mirror“Nothing has happened. Nothing bad has happened, andit spreads like a noxious plume... There is nothing to donow that it's been done. We're stalked as if by a distantwraith, and there is nothing to do now that it has beendone.”

The Halls Within the Mirror, a short solo semi-operaticwork for soprano and electronics, deals with internalstruggle, childhood memories, and a tragic incident. Itwas commissioned by the Shanghai Conservatory'sInternational Electronic Music Week and premiered inOctober, 2015, performed by Rebekah Norris.

i. Present: Awakening, ii. Driving: First Memory, iii. Childhood: First Memory.iv. Driving: Second Memoryv. Childhood: Second Memory, vi. Present: Despairvii. Driving: Third Memory, viii. Present: Waiting

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Concert 8June 13, 12:30-1:30 PMPlayhouse

Program

Michael MusickPrecuneus; Sonic Space No. 8- Iteration No. 4 8'


Evan Phoenix KentAnthrophony I 5'14"


Anne Sophie AndersenTeru Teru 7'

Ford Fourqurean, clarinet

Yoon-Ji LeeLiquid Noise 10'

8 channel fixed media video

Brian HallerTangential 5'


Derek Kwanairportmusic 12'25"


Taylor D. AckleyFantasy for Buchla No. 1 4'

video

Giuseppe Dante TamborrinoStrange Violin 6'13"


Program Notes

Michael Musick, Precuneus; Sonic Space No. 8 –Iteration No. 4Precuneus Sonic Space No. 8 – Iteration No. 4 (2016)is an environment for exploration in a concert setting.This work is a version derivative from the larger OneDeliberate Day – Sonic Space No. 8. The original SonicSpace No. 8 is comprised of two sonic ecosystems, atraditional central- computer interactive music systemand a single-board computer based system made of 4physically distinct agents. The former is the basis for thispiece. For One Deliberate Day, the composed sonicecosystem, Sonic Space No. 8, progresses through thecourse of a one day in a single hour. The agentscomposed for this sonic ecosystem are active at certaintimes of the day (ie. late afternoon or dawn), and exhibitvarying behavior based on the current time. ForPrecuneus the length of the day is shortened to 10minutes in order to facilitate presentation as a concertwork. The work is composed for a 6-8 channel speakerarray that encircles an audience and requires 4-8microphones, depending on the size of the room. Theperformer/s are encouraged to move around the spacein order to engage different digital agents and connectwith the audience. A performance of this iterationinvolves exploration by one or more human performerswithin the system, playing with, pushing, and reacting tothe digital agents as they inhabit portions of this day.

Evan Phoenix Kent, Anthrophony IAnthrophony I (2015) is an docu-compositional étudethat deals with speech as a part of the urbanenvironmental soundscapes of Prague and NYC. Thespeech-scapes were created with soundscape datagathered by Citygram. It premiered on Czech NationalRadio on April 24, 2015.

Anne Sophie Andersen, Teru TeruTeru Teru uses the Warabe-Uta (Japanese NurseryRhyme) by the same name as source material. TheWarabe-Uta tells the story of a monk who promisedfarmers to stop rain and bring clear weather during aprolonged period of rain which was ruining crops. Whenthe monk failed to bring sunshine, he was executed. Part1 and 2 of my piece introduce the character of the monk.He is interpreted as a somewhat comic figure: full ofhubris and gimmicks, living a comfortable and carefreelife in return for providing the farmers with good weather.However, in part 3, good times abruptly come to an endand the monk faces the burden of having to deliver badnews: rain is coming. In part 4, nemesis (fate) strikesunmercifully, and the monk is hunted down and killed bythe farmers. The güiro and bongos, present since thebeginning of the piece, serve symbolically as omens ofthe sinister doom of the monk. Thus, the final stroke ofthe güiro signals the cutting of his throat.

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Yoon-Ji Lee, Liquid NoiseThis piece explores the act of eavesdropping in relationto the physical proximity of strangers in urbanenvironments. The sound samples are based on secretlyrecorded conversations taking place on New York’spublic transportation system. Relying on an essentiallyoutmoded form of surveillance technology, theserecordings of every day interactions evolve from smallvignettes into something akin to an imaginary Beckettianscreenplay. In this sound work, I try to create a sonicspace in which lines between fiction and nonfictionbecome blurred. I keep navigating boundaries betweenthe original sound samples and the processed samples,the original order of the conversation and manipulatedversions, noises from the original recording and noisesfrom the disparate sound samples, as well as the generalopposition of noise and music. The repetition of thisjuxtaposition makes the conversation both meaningfuland meaningless. This work is a sound installation, acomponent of a larger multimedia installation made incollaboration with visual artist, Bang Geul Han.

Brian Haller, TangentialIn Tangential, the violin's lines spectrally curve around amelody that is never fully realized. Snapshots andfragments of a theme are suspended and manipulatedby the movements of the performer.

Derek Kwan, airportmusicairportmusic marks my first foray into the world ofsonification. The concept of sonification, taking data andturning it into sound, provides an intriguing and naturalextension of the work I've done with indeterminatescores. Data already arranged in a chronological formextends naturally to the musical world. Networks oftransportation have always been a fascinating concept tome. The idea of countless individual agents with theirown agendas and destinations cooperating in onesystem appeals to me. Thus, I chose to sonify thearrivals and departures of the Hong Kong InternationalAirport, whose predecessor Kai Tak occupies my earliestmemories of airports, occurring on December 4, 2015.From the outset, I wanted the sonic world of mysonification to draw upon the ideas of Brian Eno's Musicfor Airports and my interpretation of the data follows. Iuse actual arrival and departure times (rather than thescheduled ones) and each hour of the day iscompressed into thirty seconds. The departures aresonified by FM-sythesis instruments and the gatenumbers correspond to pitch. Because of the model(Eno's Music for Airports), I wanted to keep the pitchmaterial a tonal as possile and thus have mapped thegate numbers diatonically. The samples are stretchedup to four times their original lengths using phasevocoding and in some cases, are transposed a smallamount. My sonification for airportmusic was realizedthrough Pure Data. I retrieved the flight data from theHong Kong Internatonal Airport website and parsed thedata using custom Python scripts. Although my musicalchoices aren't the best for perceiving the data, they result

in a more listenable musical experience and the densityof arrival and departures can still be sensed.

Taylor D. Ackley, Fantasy for Buchla No. 1Fantasy for Buchla No. 1 is a short compositionperformed on (or by?) the Buchla Series 200 synthesizer. While I have used the Buchla to generate sounds for anumber of pieces, this is the first time I have evercreated a single patch which I felt successfully performedan entire piece of music. To accomplish this, I tookadvantage of the Buchla’s incredible combination ofmodules including multiple banks of sequencers, theaptly named “source of uncertainty,” voltage controlledfrequency modulation and band-pass filtering, along witha nifty feature of the Buchla’s envelope generators whichemits a pulse at the end of an envelope (thus triggeringanother event). I sculpted these elements into a carefullystructured patch which at the press of a buttonperformed a nearly four-minute piece of music with noexact repetition. The Buchla was filmed performing thepiece and recorded onto ¼ inch tape. As a final step Idigitized and mixed the recording of the performance andadded in some effects processing. What you are aboutto experience is that performance, with no additionalmaterial. Everything you hear was generated by theBuchla in real time.

Giuseppe Dante Tamborrino, Strange ViolinStrange Violin is recording live with some instrument(violin, flute, wind drone, plastically long tube, rain stick).For creation this track, i have program an virtualcomputer instrument that recording for twenty secondsand put in a cycle the sound that randomly changes thepitch, the duration and other parameters. The result ismixed with a virtual instrument such pad for creation agood relationship between background instrument andfinal sound. The track designer an epic and strangehorror landscape for use it in the future with a mediaproduct.

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Concert 9June 13, 2:00-3:30 PMExperimental Theater

Program

Augusto MeijerThe Starry Night 12'02"


Zhaoyu ZhangNight Snow 6'


Jeffrey BowenIgnition/Convection 7'12"


Richard GarretPenumbra 10'48"


Seth DavisCrystal Ball 4'56"


Jing YinWaiting 7'


Iacopo SinigagliaBuzz 5'47"


Matthew SargentLiving in the Pulsing Light 9'45"


Larry GaabWeird Orbits Need Explaining 5'03"


Katherine HolmesHeaven and Earth 8'


Tonalli NokamuraOptic Nerve 6'20"


Program Notes

Augusto Meijer, The Starry Night The Starry Night is a 12-minute electroacousticcomposition, heavily inspired by Vincent Van Gogh's lifeand work. The piece was completed in 2015, which wasdeclared the “Van Gogh Year”, celebrating 125 years ofinspiration after Van Gogh's death. “The Starry Night” isin essence a musical interpretation from Van Gogh'slike-named masterpiece, completed in 1889. Moreover,this piece attempts to capture the essence of the greatpainter himself.

Zhaoyu Zhang, Night SnowThe work is inspired by Chinese ancient poet Juyi Bai'swork "Night snow". The poem conveys impressiveconception, which related to the characteristics of snow.Snow is silent and odorless that can only be detected bythe color, shape, and the posture. In the dark night, thevisual function of human is extremely weak, unable tocapture the natural image of snow. It is from suchparticular condition that the poet builds up four senses,tactile (cold), visual (bright), feeling (to know), andauditory (hear).

Jeffrey Bowen, Ignition/ConvectionIgnition/Convection derives its sound material exclusivelyfrom a recording of a single match being struck against amatchbox and bursting into flame. In addition to servingas the sole sound source in the work, the striking of amatch guides the formal design of the piece as well, as agestural image. The first third of the piece—the“ignition”—consists of several varieties of noise-basedtextures confronting one another and developing into asound mass which eventually peaks and dissipates. Inthe remainder of the work, new periodic and harmonicstructures are progressively revealed, as flames aredrawn out after a moment of ignition through the dynamiceffects of convection currents in the air. It is in this sense that the idea of convection served as alarger metaphor in the creation of this work. It is throughthe act of composition that immanent musical ideas aredrawn from the material, and it is this persistent “drawingout” that I feel is at the center of my relationship withacousmatic composition, and which becomes the focusof the compositional processes and formal trajectory ofIgnition/Convection.

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Richard Garret, PenumbraOn March 20th 2015, there was a near total eclipse ofthe Sun, visible from my home in North Wales. The skydimmed and birds and animals in the surrounding fieldsfell silent. It was a very eerie experience.

I have seen three such eclipses so far in my life and,unless I move to another continent, it is unlikely that Ishall see more than one other. The Earth and Moon,however, will continue in their orbits and the eclipse cyclewill go on for some time to come.

This piece was inspired by the eclipse and by theintimations of mortality and eternity that accompanied it.

Seth Davis, Crystal BallThe title of this piece, Crystal Ball, comes from the visionof what I heard in my head when I was creating thispiece. For me, this piece creates an almost kaliedescopeeffect because of the different sounds moving in and outand the layers the different sounds create. This piecewas inspired originally by electronic music artists I wasobsessed with at the time, Jon Hopkins and Aphex Twin,the difference being there are no drums on this piece,and also that it ends differently then it begins. Otherelements are creating a driving rhythm, and the piecemorphs and transitions into something completelydifferent from where it started. I wasn't interested increating a return to the piece, I wanted it to becomesomething different and it did on its own. Hopefully itworks for other people as well.

Jing Yin, WaitingVibration of emotion activities when waiting.

Iacopo Sinigaglia, BuzzThe pretext of a duel between a man and a "bionic fly"flows into an electroacoustic fight.

Matthew Sargent, Living in the Pulsing LightLiving In The Pulsing Light is built upon two simultaneousprocesses. 32 loops are generated by the computer frompre-recorded tracks of lap steel (excited by EBow, bow,and transducer-induced sympathetic sustain) - theseloops grow quickly over the opening minutes, formingincreasingly thick sheets of sustained tones.

At the same time, a second process gradually cuts awayportions of each loop on every rotation. These holes,which erase the piece entirely by the end, expose arange of delicate sonorities and slow harmonies insidethe droning walls. This erasure process is felt at first as apulsation in the music – beating tones and wavering inthe panning. By the end, the music is primarily silence,with occasional accumulations of sound quietly moving inthe periphery – the final light of the day.

Larry Gaab, Weird Orbits Need ExplainingThe piece creates bare signals through melodic rhythmicmotions. An abstract commentary on the idiosyncratic,

unconventional transits that conjure curiosity. A courseunto itself begging questions. Unresolved articulationsstand as they are without clarifying the ambiguities. Dynamic gestures generate various appeasementsfalling short of revealing any well-founded identities. Asignal requiring investigation.

Katherine Holmes, Heaven and EarthHeaven and Earth is a musical retelling of the ancientEgyptian creation myth of the sky goddess Nut and theearth god Geb. In the myths, Nut and Geb meet, fall inlove, and get married. However the sun god Ra is also inlove with Nut and does not wish her to marry anyonebesides himself. To thwart their happiness, he interruptstheir wedding and banishes the two of them forever: Nutto be permanently arched in the sky, and Geb to bepermanently on the ground. Thus the domed sky wascreated and separated from the earth. It is said that therainfall is the only way that Nut & Geb can stillcommunicate, as Nut's tears fall to earth.The piece is divided in four movements: firstly theintroduction of Nut and Geb and the establishment oftheir place in the sonic spectrum, their first meeting, theirmarriage which is then interrupted by Ra, and theirseparation and banishment away from each other. All ofthe sounds were recorded specifically for this piece, andare a combination of rain, a fountain, various percussioninstruments, and moving lights.

Tonalli Nokamura, Optic NerveThe optic nerve is the second of twelve paired cranialnerves and is technically part of the central nervoussystem, rather than the peripheral nervous systembecause it is derived from an out-pouching of thediencephalon (optic stalks) during embryonicdevelopment. In humans,the optic nerve extends fromthe optic disc to the optic chiasm and continues as theoptic tract to the lateral geniculate nucleus, pretectalnuclei, and superior colliculus.

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Program

Kyle Shawej Guerrouj 6'20"


Mei-Fang LinEntre le son et la lumière 7'47"


Amanda ColeVibraphone Theories 17'

Daniel Pate, vibraphone

INTERMISSION

Ayako SatoAugust, blue colored green 8'57"


Marco MolteniEffimere Emergenze, Eremi, Eclissi 6'48"


Federico OrticaLandscape for bass clarinet 5'


Stefan MeditzVorspiel 12'35"


Xiao FuLonging 12'

Ming Wang, fluteLin Chen, percussion

video

Program Notes

Kyle Shaw, ej GuerroujI enjoyed participating in track and field during highschool. ej Guerrouj is the surname of one of my favoritemiddle distance runners. Watching him run was anaesthetic experience. Like spectating a 4-lap racearound a track, I structured this piece to have similarsounds in a given depth proximity associated with eachsegment of the track -- depicting, for instance, the "crowdnoise" moving from the background to the foreground ata certain point -- each of which we hear 4 times. But likea runner's psychological state and like the dramaticunfolding of a race, each time we hear these sounds intheir revolving depth proximities, they too evolve and aredifferent each time we return to them. state and like thedramatic unfolding of a race, each time we hear thesesounds in their revolving depth proximities, they tooevolve and are different each time we return to them.

Mei-Fang Lin, Entre le son et la lumièreEntre le son et la lumière is an exploration of theconnections between sound and light. Different types ofsounds in terms of their degree of brightness are used,ranging from pitched, non-pitched, to noise-basedsounds. They are meant to evoke different sensations ofdarkness or brightness, which is often controlled throughthe exclusion or inclusion of upper partial harmonics ofeach sound as well as general dynamic shaping. Theevolution of the harmonic content of each individualsound also directly leads to the subtle changes of timbrein the life span of each sound. The piece in generalprogresses from darkness to extreme brightness towardthe end of the piece, taking the audience through ajourney in the mystical land of sound and light.

Amanda Cole, Vibraphone TheoriesVibraphone Theories is a set of three rhythmic pieces forvibraphone and sequenced sine tone interference beats.When the vibraphone plays notes close in pitch to notesin the sine tone part, additional beating is created. Thesine tone and vibraphone parts blend together to soundlike one instrument.

Ayako Sato, August, blue colored greenThe joint project with Tokyo University of the Arts andÉcole Nationale Supérieure des Beaux-arts de Paris, hada performance “nature and me” at Echigo-Tsumari ArtTriennale on August 2015. This piece, August, bluecolored green, is an electroacoustic piece that wasre-construction of “nature and me” by fragments of musicfor above project and sounds recorded during theproject.

Marco Molteni, Effimere Emergenze, Eremi, Eclissi Effimere Emergenze, Eremi, Eclissi is an electronic piecewritten in 2010. It has been made improvising with Live

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Electronics with a large gamma of sound material ofdifferent origins and, in a second moment, using thepatchwork technique.

Federico Ortica, Landscape for bass clarinetLandscape for bass clarinet is the first part of a trilogywritten for bass clarinet. The clarinet is amplified with twocontact microphones and a microphone placed near thekeys, to create a "lens audible" micro gestures of theinstrument. The intrinsic properties of the instrument aredetailed through live electronics in real time. The soundsdescribe an imaginary soundscape.

Stefan Meditz, VorspielStefan Meditz, Fixed audio, 2012.

Xiao Fu, LongingLonging is based on a song of the Huang He Ge fromthe Chinese Han Dynasty (202 BC - 220). Xiang He Geis a traditional form of Chinese music, a genre of dancesand songs. The traditional singer accompanies herselfon a drum and is joined by other orchestral instruments.The text of Longing describes a young lady who showsher admirer her love and longing.

“Thy collar” (Zi Jin) from The Book of Poems

Verdant is your collar; melancholic is my heart.Even if I cannot go to meet you, why do you not give mea message?Verdant is your jade; melancholic is my thought.Even if I cannot go to meet you, why do you not come tomeet me?Wandering back and forth at the gate of the city.Not seeing you for one day; the day feels as long asthree autumns to me.

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Program

Judith ShatinPlain Song 14'35"

Keith Kirchoff, piano

Roberto ZanataBasia 3'15"

Maja Cerar, violin

Georg HajduJust Her - Jester - Gesture 8'

Lin Chen, kalimba

Galen BrownGod is a Killer 9'


Hunter Longthe universe is no narrow thing 10'

Amy Glover, bass clarinet

Takashi MiyamotoGaran for Piano and Computer 10'29"


INTERMISSION

Nobuaki YashimaHomage to Fantasy 8'43"

Michael Laderman, fluteGregor Kitzis, violin

Funda Cizmecioglu, violaArthur Cook, cello

Christopher Oldfather, piano

Hiromi WatanabeAnamnèse 8'05"

Ammon Swinbank, flute

Jelena Dabicsilk_road_reloaded 15'

Ming Wang, fluteLin Chen, percussionJelena Dabic, tambura

video

Madelyn ByrneNorthern Flight 12'

Shiau-uen Ding, piano

Haerim SeokThrough the Contrabass 5'55"

Emilio Guarino, contrabass

Dafna NaphtaliAudio Chandelier 10'

Dafna Naphtali, laptop

Program Notes

Judith Shatin, Plain SongOne day I was driving my car, listening to NPR, when Iheard a voice say “Live life as though you were alreadydead, Che Guevara declared.” My responses, seeminglysimultaneous, were: “fantastic line,” and “wait, I knowthat voice – it’s Charles.” As luck would have it, I knewCharles Wright. While we both taught at the University ofVirginia, we actually met when we were both fellows atthe Rockefeller Center at Bellagio in 1990. I alreadyknew his poetry and remember being taken right awaywith the quality of his voice: gravelly, with a soft southernflavor, not to mention the wryness and wit of hisconversation. I asked if he would consider recordingsome of the poems from his recent collection Caribou,and allow me to compose a piece built around them.Happily, he agreed and I decided to compose PlainSong, named for one of the four poems we recorded,and to score the piece for amplified piano andelectronics. I am grateful to Farrar, Straus and Giroux,LLC, for permission to include the four poems: PlainSong, Lullaby, Shadow and Smoke and I’ve Been SittingHere Thinking Back Over My Life, © 2014 by CharlesWright.

Roberto Zanata, BasiaBasia is a short composition for violin and fixed tapebased in short music gestures. The music travels freelywithin the space in different and similar forms but neveridentical to each other (just as perturbations consciousof the order of the ideas). The end of the pieceextinguishes itself towards the void where the lastsounds of the composition pass imperceptible through

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the silence. For a good interpretation is important thatthe play modality and the dynamics turn out varied, alsoaccidentally, almost at each sound. The fixed tape is verysimple but incisive to accompany the violin. It is theresults of a phase vocoder voice analyzed and modifiedin its bins.

Georg Hajdu, Just Her - Jester - GestureJust Her – Jester – Gesture is a composition inBohlen-Pierce tuning for augmented kalimba andelectronics written in 2010. It was premiered on occasionof my 50th birthday on June 21, 2010 at the EMSconference hosted by the Shanghai Conservatory’sElectro-Acoustic Music Center (EAMC). The piece isdivided in three parts:

Just Her - a (fully notated) kalimba solo withoutelectronics

Jester - a (fully notated) duet between kalimbaand computer running the real-time algorithmiccomposition/improvisation software DJster

Gesture - an improvisatory part in which thekalimba player uses gestures freely to control thecomputer, alternating with short interspersed solopassages.

The Bohlen-Pierce tuning is a non-octave tuning in whichthe just 12th is divided into 13 steps. Serendipitously, thejust and equal tempered versions of the scale only differslightly from each other—the just version consistingexclusively of powers of the odd primes 3, 5 and 7.

Galen Brown, God is a KillerThe source audio for God Is A Killer is a recording of asermon by A. A. Allen, a pentecostal evangelist/revivalistfrom the 50s and 60s. Allen's recording "God is a Killer!"was released on LP in 1965. I came across it severalyears ago on an NPR show about mid-century borderradio--apparently during this time period some of the firstradio with a national audience was broadcast across theborder from Mexico from transmitters with vastly morepower than was legal within the US, and Allen was one ofthe stars. In 2006, inspired by the excerpts I had heardon NPR, I tracked down a recording of the whole thingand built this piece around it.

Hunter Long, the universe is no narrow thingthe universe is no narrow thing is a work for improvisorand live electronics that takes its inspiration from apassage in Cormac McCarthy's novel Blood Meridian:

“The universe is no narrow thing and the order within it isnot constrained by any latitude in its conception to repeatwhat exists in one part in any other part. Even in thisworld more things exist without our knowledge than withit and the order in creation which you see is that whichyou have put there, like a string in a maze, so that youshall not lose your way. For existence has its own orderand that no man’s mind can compass, that mind itselfbeing but a fact among others.”

Takashi Miyamoto, Garan for Piano and ComputerThis work is interactive computer music written for solopiano and a live computer electronics system. The soundof piano on the stage is sampled and processed bycomputer in real time, and diffused along with live pianoperformance in the hall. The piece is divided into fivesections in A-B-A-C-A form. The main theme of thepiano part is the repetition of a single note. This motif isdeveloped and modified, even into clusters, andcharacterizes each section. Ten of real-time signalprocessing techniques such as Amplitude Modulation,Frequency Shift, Granular Sampling, and Glitch effect,are employed. The sound of piano performance is alsoanalyzed, and its attacks and amplitude control some ofthe parameters in Max patch. The signal processingtechnique which has clear pitch structure, and the onewhich is noise base, interact each other, and make theapparent contrast between sections.

Nobuaki Yashima, Homage to FantasyThis is my third work for instruments and computer. I gotthis work completed taking up the image from fantasy.As the music progresses, five players and computergenerated tone will affect each other, forming a certainshape and soon it will get lost. Swaying the floatingboundaries of certain things and uncertain ones, theyonly trace it.

Hiromi Watanabe, AnamnèseAnamnèse for flute and electronic was premiered byKakeru CHIKU in the concert of Regards Ensemble inParis in 2015. This piece is inspired by the concept“Anamnesis” in Plato's epistemological and psychologicaltheory that means humans possession of knowledgefrom past incarnations and rediscovering that knowledgewithin us by learning. From this idea, the two levels ofrecursive procedure in the composition are derived:multipotential melodies and palimpsest of the sound. The multipotential melodies are realized in the globalform of the flute part by the permutation of the motifsderived from one motif. Each motif permutated isdiversified by the extended serial techniques that haveanalogs in traditional conterpoint, that is, uses ofinversion, retrograde and retrograde inversion with thecontraction or dilatation of duration as the case may be.The palimpsest of the sound is associated with vestigesof presence and the electronic part constitutes themultilayered sound of the flute part by the technique ofspectral delays. It is a gap of melody’s presence in thetime and in the frequency. For the spatialization otelectronic sound, the control of sound trajectory is oftenrealized by trigonometric functions which plot rhodoneacurves, leminiscate’s curve, logarithmic spiral, Fermat’sspiral and spring spiral.

Jelena Dabic, silk_road_reloadedAs an allusion to the historic trading route, the world’sfirst and most famous online black market was created in2011 under the name “silkroad.org”. But the tradinggoods here were mostly drugs, weapons and various

35

digital items. The web site was active for almost threeyears before the operators were arrested. In the first partof this composition, the original Silk Road of ancienttimes is represented through quotations from folk songsfrom the Balkans. These are then developed so that themusic moves closer and closer to our time, a time wheretechnology and internet dominate everyday life, whereone can even order drugs online to be delivered at home.A paradox: exotic goods that had to be transported onthe Silk Road over thousands of kilometers centuriesago, today are just a few clicks away...

Madelyn Byrne, Northern FlightNorthern Flight is a composition for piano and computergenerated sounds. This piece is intended to showcasethe beauty of the piano and the technical power andthoughtful expression of the pianist. It also seeks toblend the timbre of the piano with the computerprogram's (SuperCollider) sounds. The power andbeauty of winter holds endless fascination for me,perhaps because I grew up in Florida and New York.This piece is an expression of that fascination.

Haerim Seok, Through the ContrabassThrough the Contrabass is one of my Electro AcousticSeries for solo instrument and computer. When thebassist play the string bass, the sound will be produced,at the same time, the wind is pulled out through theF-holes. The audible sound becomes visible. This pieceis started from the haze of sound which contrabassproduces.

Dafna Naphtali, Audio ChandelierAudio Chandelier is a performance/installationconcept/system, created to use a point-sourcearrangement of sound. Often from of a single audio file,sound is dispersed into 8-16 speakers arranged in(ideally) asymmetrically in a large space. Using granularsynthesis, one “grain” is sent to each speaker. Subtlymanipulating the size and frequency of these loopingsound “points”, and various interpolation times, createsshimmering, moving and elastic effects on various typesof pre-recorded and live audio as compositionalgestures. In performance versions a MIDI keyboard orcontrollers are used to manipulate these gestures and toquickly and rhythmically route additional sounds into thespace, treating the speakers as a virtual gamelanorchestra. The gestures created by the speakers andgrains, create an auditory illusion of movement of soundsfrom speaker to speaker, when in fact they are notmoving at all and are spatially static. Depending on theparameters used, the effect can be anything from simplereverberation (without added reverb) to very electronicsounds -- quick parameter movements-- turning grains into moving oscillators (sonically bearing somerelationship to Stockhausen’s Cosmic Pulses...).

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Concert 12June 14, 12:30-1:30 PMUnderground Theater

Program

Alice ShieldsThe Mud Oratorio 56'35"

Program Notes

The Mud Oratorio is a 56-minute 35-second longcomputer piece and libretto for dance commissioned byDance Alloy of Pittsburgh and Frostburg State University(MD), with support from Pennsylvania Performing Arts onTour.

After a series of artist residencies beginning inSeptember 2002, the work was premiered at FrostburgState University, Maryland on April 4-6, 2003. MarkTaylor was the choreographer, and Barbara Thompson,lighting designer, with the dancers of Dancer Alloy. Photos of the production may be seen onwww.aliceshields.com.

In the music, Shields uses her own recorded andelectronically-manipulated voice, along with manipulatedsounds from two Maryland swamps maintained by theNature Conservancy, and a local biologist's imitations ofswamp-birds, frogs and toads. Other sound sourcesinclude Tibetan ritual conch shells, an Indian shenai andan Indian flute. The piece was created on a MacIntoshG3 computer, with ProTools and GRM plug-ins.

As dream-like as the libretto, the music is in three largesections, opening with a fantasy of the swamp in Spring,continuing into an imaginary Summer, and ending withFall-Winter.

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http://www.aliceshields.com


Program

Josh SimmonsINDRA/NET 7'24"

Hiromi IshiiAquatic 5'52"

Brian KellyWinter Meditation 14'25"

Weilu GeInnerhearing 5'48"

João Pedro OliveiraEt Ignis Involvens 10'

Alexander SigmanNudes 5'18"

Kayoko NakamuraSong for Northern Lights 2'18"

Francisco EmeApparent Movement 6'13"

Eddie FarrErium 9'07"

all works on this concert are videos

Program Notes

Josh Simmons, INDRA/NETWhat would an artificial intelligence unit see while rapidlylearning in its first few picoseconds of life?

Hiromi Ishii, AquaticThis piece was inspired by the memory of my oldcolleague who was a specialist of marine acoustic andthe SONAR- system. Symbolizing the activities ofunderwater-livings was the idea for this piece. Thematerial for moving images is the photo of fishes takenat an aquarium. It was processed to produce totalabstract images which show only its color- tone, light andshadow. It changes its shape and size threedimensionally beginning by a smallest dot to fulfill theframe, and to further transformation. The main part ofmusic has been created from the recording of whales'voices. It was applied for the musical development, fromthe deep sea to the surface, and the difference betweenthe acoustics of underwater and that of in the air wasdeliberately applied to structure the climax. The musichas originally been composed as multi-channelacousmatic. In order to create close-relationshipbetween sound and images, music and moving-imageswere composed in parallel by using several computers.

Brian Kelly, Winter MeditationWinter Meditation is a slow and stark reflection on theisolation that comes with the winter season. It wascomposed using SuperCollider, Logic, and AdobePremiere.

Weilu Ge, InnerhearingInnerhearing explores the dichotomy between what isconsidered traditional and modern piano sounds. Thisalso happens to correspond with external and internalsounds. In weaving a path through initially opponentideas, they come together in a consonant union, openingup doors to new sounds that may only exist within therealm of imagination. The video was conceived by thecomposer and was realized by a group of student visualartists at the Shanghai Conservatory. Following the flowof the music, it combines lights and shadows from bothinside and outside of the piano to create new,otherworldly shapes and patterns.

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João Pedro Oliveira, Et Ignis InvolvensThis piece is inspired on the first vision of the prophetEzechiel (Ezechiel 1:4):

“et vidi et ecce ventus turbinis veniebat ab aquilone etnubes magna et ignis involvens et splendor in circuitueius et de medio eius quasi species electri id est demedio ignis”

“And I looked, and behold, a whirlwind came out of thenorth, a great cloud, and a fire infolding itself; and abrightness was about it, and out of the midst thereof asthe colour of amber, out of the midst of the fire”.

This piece was commissioned by GulbenkianFoundation, and was composed at the composer’spersonal studio and at the University of Keele ElectronicMusic Studio. The audio part of his piece received thefirst prize at Metamorphoses 2006 Competition(Belgium).

Alexander Sigman, NudesShot on analog video and without the aid of digital filters,Nudes is a sensual audio-visual experience of abstractedfigures in slow motion. At once enticing and repellent,unfolding in a strained yet hypnotic gesture, the femalefigures elicit both the siren's call and the monotony offantasy. Though they seem to beckon, one can neversee their true details, their movements in a painful loopof heightened seduction without climax.

--Nicole Brending

Kayoko Nakamura, Song for Northern LightsSong for Northern Lights is an electronic musiccomposition with video installation shot by the composerKayoko Nakamura. It is created on the basis of herpersonal journey to see the Northern Lights inYellowknife in Canada. At midnight, the fantastic lightsappear in the sky. The bright lights in gorgeous colors ofthe aurora appear reflected on the frozen lake. Themysterious lights seem to sing and dance through thenight. Their voices start one by one, sometimes chasingone another, sometimes singing together. At last, theycreate beautiful harmony and disappear. It is a magicaland mysterious phenomenon of the universe. They are afree and inspirational gift of cosmic nature. The musiccomposition depicts their eternal performance by usingsynthesizer sounds on Logic Pro X and GarageBand.

Francisco Eme, Apparent MovementThe apparent movement is a phenomenon of humanperception in which we perceive certain objects in motionwhen in fact they are not moving. An example of this isthe apparent motion of the sky , because what reallymoves is the earth in it ‘s rotation and translationmovement. Another example are the lines of the road,they really do not move, thus they are painted alongmiles and our eyes simply walk thru them. Now I live aperiod of constant road trips, and the apparent

movement of the road continues trapping me . The videowas taken mostly with a phone camera, as there werenot any planning. Whenever I discovered myselfmesmerized by the apparent movement of the lines ofthe way, I took out the camera I had on hand andrecorded . For the audio,the original sound of each shotwas used , but digitally processed. No extra audio orsynth was added.

Eddie Farr, EriumErium, originally written for planetarium, is an explorationof three frequency ranges. From beginning to end thepiece moves from around 220 Hz down to 60Hz and upto 4000 Hz. This is represented visually by threemorphing images.

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Program

Gary DiBenedettoBattle 7'39"


Jennifer Hillz-77 5'


Ronald ParksDeluge 5'


Travis GarrisonNew Directions in Automobile Repair andDemolition 8'11"


Roberto PalazzoloMateria 10'02"


Momilani RamstrumStopped in Time 7'35"

Momilani Ramstrum, voice

INTERMISSION

Brett GordonÉcuelle 7'14"


Joel GresselDeconstructing Maria 8'38"


Dariush MazurowskiDepth of Field (Hidden Dimensions Part 3) 14'


Nathaniel HaeringResplendent Shards 7'55"

Shaun Cayabyab, vibraphone

Azumi YokomizoIn a Dream 7'27"


Program Notes

Gary DiBenedetto, BattleSome things never change. Battle utilizes soundrepresenting three sources: children in playgrounds,political speeches, and military weaponry. The primaryobjective of the piece was to utilize contrasts within thethree sources of sound to express inconsistencies ofhuman sensibility. The piece calls for the power of love topersuade a more compassionate humanity to rejectconflict that leads to war.

Jennifer Hill, z-77Paper is a very convenient and unique noise generator.

Ronald Parks, DelugeIn Deluge I was interested in finding and exploring thespace between polyrhythm and granular coalescence.Individual sound events combine to create multi-layeredpolyrhythmic sound masses and move into and out ofperceptual fusion. Micro and macro structure aremirrored. Evolution of grain content provides an addedlayer of propulsion. Deluge was realized at the WinthropUniversity Computer Music Studio in 2008 and waswritten for the 17th annual Florida Electroacoustic MusicFestival. Special thanks to Dr. LH Dickert for hisassistance in providing sound source materials forDeluge.

Travis Garrison, New Directions in AutomobileRepair and DemolitionThis is not the future.

Roberto Palazzolo, MateriaMateria is an acousmatic composition; it was created instudio through a computer and processing program andaudio mix. The materials has been manipulated withgranular synthesis and FFT program, later the soundswere edited and orchestrated creating musical structuresthat move in stereophonic space. Materia is musiccreated by sounds from recordings of common objectsand material of all kinds: plastic, polystyrene, metal,ceramics, wood. Towards the end of track there are alsoenvironmental sounds.

Momilani Ramstrum, Stopped in TimeStopped in Time for voice and interactive electronics andinteractive multimedia art. Stopped in Time in a voyagethrough a day. Each moment of contact is stopped,shifted and reignited. How long does a fire burn? Howintense is the moment of stillness? In this piece thecomposer is the vocalist, programmer, and instrumentdesigner and visual artist. Her voice is recorded in up to12 tracks using her patented wireless MIDI glove -

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designed and created to trigger real-time vocal recordingand digital signal processing in Pure Data. The piece iscomposed in real-time with voice alone, creating a denselandscape of sounds, bells, and vocal utterings, whichcreate an exploration of time and memory. In this piecethe voice improvises on the visual art and the artresponds to the pitch, density, and intensity of the vocalimprovisation. The voice improvises on the art while theart responds to the voice.

Brett Gordon, ÉcuelleThe idea for this piece was to explore the range ofpossibilities available to me using live electronics withfour individual recordings of Tibetan bowl strikes. SeveralMax patches were created specifically for the purpose oftreating the field recordings I had made. These weretriggered dependent on frequency, resonance, volumeetc.of the original strikes and then manipulated usingpatches written for Lemur, via OSC and MIRA on aniPad. This allowed me the flexibility to control not just theeffect parameters, but the recordings themselves, usinggestures allowed by the patches. Some of these weredeliberate while others were improvised. The results arethat the tonal qualities of the bell are heard in their purestform as well as being totally de-constructed.

Joel Gressel, Deconstructing MariaDuring 2013 and 2014 I wrote several pieces, eachcontaining less and less melodic material, until I hadreached the extreme point of using only one melodicstrand (albeit, forward, upside down and backwards) forentire pieces. I broke away from this constraint for awhile, but returned to it (for the last time?) inDeconstructing Maria. A 31-note melodic strand thatbegins with a three-note Bernstein “Maria” motif cyclesthrough the same row form twice. After one repetition,inversions and retrogrades dominate until the openingreturns five minutes later. The rhythms of all the melodiclines in the piece are shaped (by force of habit) by ratiosthat expand or reduce successive measures as well asthe beats within these measures. The normal 12-tonesquare of 48 row forms has also been distorted byinterpreting the numbers not as members of thechromatic scale, but as indices to three ascendingdiminished-seventh cycles. Transposed rows havesegments in common, but no two are the same. it isquite easy to ask the computer to overlap these melodiclines with different instrumental colors at differentspeeds. Deconstructing Maria was composed in thesummer of 2015 on my home computer using anupdated version of the Music 4BF program, an ancestorof CSound, that presumably no one else has used sincethe 1980s. All the sounds were digitally synthesized.

Dariush Mazurowski, Depth of Field (HiddenDimensions Part 3)Milliseconds, seconds, minutes, hours, days, weeks,months, years, decades, centuries, millenniums... Is timethe fourth dimension? Or just one of many dimensions,parameters of multidimensional spacetime? How manyhidden dimensions are there? According to the linear

concept, time is a measure in which events can beordered from the oldest (past) through the present andeven into the future. We may have memories of the past,but not of the future. But what if? If it's possible to travelacross multidimensional spacetime? If time has notlinear, but much more complex structure? Is a timelinejust a straight line or not? Depth of Field is the third andfinal part of Hidden Dimensions, large-scaleelectroacoustic composition, which may be performed asa separate piece also. The music was composed andrecorded at the De eM Studio between January 2014and April 2015. Main audio sources for this compositioninclude complex analog, digital and hybrid synthesizerpatches, various textures created with the use of phasevocoder technology, analysis and resynthesis of varioussource samples and combinations of all sources. Thecomplete version of Hidden Dimensions was premieredduring Cross-Art Festival 2015 (Saint-Petersburg,October 2).

Nathaniel Haering, Resplendent ShardsIn the tradition of Javanese gamelan, brass instrumentsare forged in a way that creates intentional tuningdiscrepancies between each instrument in the ensemblein order to create a "shimmering" sound. It is oftennearly impossible to create this fluttering clash ofintonation with only one instrument, however, thevibraphone has its own rotating resonators to rectify this.When this mechanical technique is combined withsubtle controlled shifts in the tuning of the electronicsaccompanying the vibraphone, this shimmering effect iseven more amplified. The electronics in this piece act asan extension of the instrument, intricately moving in andout of the expression provided by the live performer. The electronics and performer work together to intensifythe shaping of phrases and interweave to create morefascinating undulating textures. This creates a pairing ofelectronic and acoustic instrument that creates not twoseparate entities but one more powerful malleablevibraphone with enhanced artistic capabilities. Theunique timbre and nuanced changes of pitch that occurwhen striking the vibraphone with the damper fully incontact with the bars is a tantalizing possibility for thevibraphone that is seldom used musically. The use ofthis technique combined with the movement from normalstriking position to playing over the nodes as well as theuse of bows, harmonics, and pitch bending, results in apiece that fully explores the timbral possibilities of thevibraphone.

Azumi Yokomizo, In a DreamThis work expresses a story of a mysterious dream.There are a variety of electronic sounds arranged in arhythmic cadence pattern moving alternately forward andbackward. The intensity of the pattern changes from lightto heavy and back again. We feels like it is an endlessstory when we hear it repeatedly.

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Program

Mark PhillipsWaiting for Lucille 10'10"

Eddie Farr, alto saxophone

Liliya UgayDrawn in the Fog 8'30"'

Ford Fourqurean, clarinet

David TaddieTracer 7'30"


Pierre-Henri WicombSolecism 8'30"

Mathew James, French horn

Douglas Osmunsoliloquy 7'49"

Douglas Osmun, electric guitar

Nicole CarrollHand of Marseilles 9'30"


INTERMISSION

Ted King-SmithSoundtrack of an Open Road 9'

Peter Prosser, cello

Giovanni CostantiniTraccia sospesa 7'35"


Eleazar GarzonInvisible Voices 9'25'

2 channel fixed mediaUna MonaghanThe Chinwag 4'50"

Una Monaghan, Irish harp

David IbbettBranches 6'30"

Transient CanvasAmy Advocat, bass clarinet

Matt Sharrock, marimba

Clelia PatronoBlue4Notes 8'35"


Lou BunkLuna 8'40"

Erin Rogers, alto saxophone

Program Notes

Mark Phillips, Waiting for LucilleFor some listeners, the name Lucille will bring to mind aconnection to American Blues, early Rock ’n’ Roll, an oldTV sitcom, or perhaps even an older relative. Theonce-common name has become increasingly rare.What I like about this title is that it’s difficult to say thename without the beginning of a smile crossing yourface. Whatever you find yourself waiting for as you listento this piece, I hope you have found it by the time theperformance ends. Along the way you will hear a lot ofsamples from my school’s vintage 1927 basssaxophone, including a quasi drum kit made entirely fromrecordings of the noisy key mechanics.

Liliya Ugay, Drawn in the FogDrawn in the Fog was inspired by the famous Sovietanimation film “Hedgehog in the Fog” by Yuri Norstein.Whenever I watched it as a child and as an adult Ialways questioned myself: what if Hedgehog would notbe saved from the river by the secret “someone”, andhow did Bear feel waiting and calling for the Hedgehogwhile the latest was wondering in the foggy forest?Through such thoughts I expressed my personal attitudeto this masterpiece. The timber of a clarinet has aparticular importance in the original score of the“Hedgehog in the Fog”; therefore, it seemed to me veryappropriate to use the clarinet and electronics as theinstrumentation for this idea. I used the sounds from thefilm as the only source for the electronics part of mycomposition.

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David Taddie, TracerUse of the stereo field produced by electronics toincrease the apparent acoustical space of a soloinstrument is a process that has interested me for a longtime. Tracer makes extensive use of digitally processedpiano samples as well as purely synthesized sounds toprovide expanded resonance of the harmonic fieldsimplied by the piano’s lines and to expand the piano’sapparent acoustical sound space. At times, the roles arereversed as the piano supplies harmonic and/or gesturalintensification of the electronics. Overall, the pieceinvolves a kind of developing variation where the materialis developed and varied, those variations providing thebasis for further variation. In addition to “traditional”electronic type sounds, the electronic part often servesan orchestral function. Tracer was commissioned by andis dedicated to pianist Mark George.

Pierre-Henri Wicomb, SolecismThe piece Solecism is a work for horn in F andelectro-acoustic soundtrack (5.0 surround sound). Theimpetus for the piece is the unpredictabilities that occurwhen the composer and the player explore moreuncommon extended playing techniques. I used thenatural horn and focussed on the restrictions of pitch,sound, range etc. of this earlier instrument. This I usedas a hypothesis and superimposed it onto the modernhorn to create a similar predicament. But, here, newrestrictions had to be created. This led to exploringunconventional and unique playing methods as asubstitute for the ‘short comings’ of the natural horn. Theresult was a filtered and/or altered sound-world, butmostly quite unpredictable. The title also refers to thisoutcome in that it implies ‘incorrect’ use of theinstrument, a faux pas or a mistake. I suggested a fewextended ideas to the horn player towards a samplebank of sounds in which I also gave him the freedom toexplore and record ideas of his own. Theunpredictabilities and/ or glitches occurring from applyingunusual playing techniques were used as a basis for thesoundtrack where they were further manipulated anddissected to find unique sonic oddities deeper withinthese glitches. The score also fed off these soundsamples as some of the samples were notated tobecome musical material or the starting point formaterial. The acoustic and electronic mediums of thepiece meet or merge through microtonality, intervalsimplemented over both mediums, timbre, an extended‘harmony’ and synchronisation within rhythmicalmoments, to mention a few. EXTRA: The piece is acommission from the Canadian horn player Mathew SJames, who is in the process of studying this piece, buthas not yet performed it. The world premiere is plannedfor some time in the first half of 2016. The recording I amsubmitting is a MIDI horn rendition of the horn part of thepiece together with the soundtrack.

Douglas Osmun, soliloquysoliloquy'was written as a part of my ongoing experimentin using live processing to extend the performance

capabilities of the electric guitar. In this piece, a gentle,spacious expanse is created. This sound world isexplored through contrasting dense and thin texturallayers occurring throughout the work, until the listener iseventually pulled out of the space through droningtextural swell at the very end of the piece.

Nicole Carroll, Hand of MarseillesStanding upon the precipice we seek answers tounknown questions. Unseen, unheard forces shape thepaths below and before us, drawing us to illuminate thedarkest recesses of our mind. As we navigate throughthe multitudes of our consciousness, serene moments ofnaive clarity and quiet introspection are tangled withdelirium as we are overcome by the chaotic rush of pastand future possibilities. This piece is the first in a seriesusing Tarot as a chance system for composition. Tarotmappings relate to motivic transformations andprocessing parameters. The Fool, representing theprimary motive, is transformed as she journeys to meetother characters of the Major Arcana.

Ted King-Smith, Soundtrack of an Open RoadSoundtrack of an Open Road describes the pursuit forsanctuary, in the form of a calm and open road. From2011-2013 I found myself driving more and more, and itwas during these drives, especially those goingcross-country, I was able to find a kind of mental clarity.Since then the sounds of a car and the road have beeningrained in me. The piece starts aggressively, depictingelements of road rage and anxiety. Gradually the journeybecomes calmer, and the sounds of cars eventually fadeaway, leaving the cellist in a moment of solitude andsanctuary in the form of a solo cadenza. However, thissolitude is brief, as the chaos of cars and roads returnbefore the cellist is able to find their way home.

Giovanni Costantini, Traccia sospesaThe piece evokes events, places, sounds and feelingsrelated to the First World War. The piano is played in a"non-classical" way, exploring new sonorities useful toconvey in the listener pain, dismay, disbelief. Theelectronics consists in a textures created throughelaborations of piano sounds: an alter ego with which thepiano can dialogue, in an atmosphere suspendedbetween memories and uncertainties.

Eleazar Garzon, Invisible VoicesInvisible voices is an acousmatic piece composed in2013. It´s an abstract soundscape where, in due course,we can recognize some sound of piano and harpsichordplayed in an unconventional way. Invisible voices is, thecomposer thinks, music to enjoy without any guidelines.The listener when listens this music could create its ownpoetic feelings.

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Una Monaghan, The ChinwagThe Chinwag is a new piece for traditional Irish harp andlive electronics, based around a conversation betweenthree elderly ladies in a house in rural Donegal, Ireland,in 2012. Over tea and currant bread, they discussfunerals, the rose bushes, emigration, pickingblackcurrants, and the secret to a long life. Snippets ofthe ladies’ voices are manipulated live using pitchdetection and motion sensor. The resultant sound is amerging of melodies and life stories – an impression ofthe chinwag rather than the privilege of the wholeconversation. This piece is dedicated to Rose McCann.

David Ibbett, BranchesI began collaborating with Transient Canvas in early2015, and was immediately drawn to the many deft anddetailed rhythms that emerged organically from clarinetslaps and stabs, marimba tones and resonator clangs. Iwas excited to combine these sounds in complex layers,and thus began a process of electronic sampling andexperimentation. Branches is the result. Over thecourse of the piece, contrasting grooves branch out froma central trunk, interweaving lyrical melodies with dancerhythms in an expanding world of sound.

Clelia Patrono, Blue4NotesBlue4Notes is a piece for guitar and electronic music infour movements. Each movement develops aninteraction between concrete sounds and electric guitarsounds, resulting in an ethereal, intimate soundscape.The sounds used are the reworking of concrete soundsand single notes on the guitar produced by a tool calledE-BOW (Electronic Bow). All the sounds were treatedand processed with the use of granular synthesis,equalizers and filters resonance. Blue is the color of thenight, the perfect backdrop for those long notes, pulling,heartbreaking.

Lou Bunk, LunaCrescent moon - bent to the shapeof the cold.

-Issa

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“Contact”

curated and performed by:

Ursel QuintBarry L. Roshto

Annelie NederbergJohannes Quint

Christian Banasik

Program

Prefix 5'

Barry L. RoshtoPrelude 8'

Christian BanasikKontaktanzeigen/Personals (I Am) 7'

Annelie NederbergFeed Back 7'

Johannes QuintMagische Realismus 10'

Ursel QuintLooking for Contact 6'

Snowkrash, Nederberg, Banasik, ReederPostlude 8'

Program Notes

Prefix5 minutes before the concert begins two videos appear:one of Barry sporadically walking across the left screenand one of Ursel walking across the right screen.

Barry L. Roshto, Prelude5 minutes after the video starts, Ursel and Barry enterthe stage and begin playing the contact microphoneinstruments. The sound is manipulated and mixed over 8output channels using Max/MSP. When their images onthe screen stop, stand and turn, facing the audience, thefirst tones are heard from their perspective melodicas.The piece ends when both of the videos freeze with theimages of U.& B. facing the audience.

Christian Banasik, Kontaktanzeigen/Personals (I Am)Ursel and Barry appear on the video screens, sitting,reading the personal ads. Ursel is on the left screenreading Die Zeit. Barry is on the right side using an iPadto read the New York Personal Ads online. Christian'spiece for two performers, sound objects, electronics andvideo is based on personal ads. Virtual and real voices,reading and writing of the ads are the basis for allacoustic and visual material within the developmentstructure.

Annelie Nederberg, Feed BackA composition involving a special apparatus of intercomspeakers and headsets developed by Annelie, exploitingthe feedback loops encountered when they come intocontact.

Johannes Quint, Magische RealismusBased on a text by Novalis, Johannes composed analeatoric Supercollider piece for two iBooks, two videoprojectors and two Midi keyboards, premiered at theCologne Music Night in Sept. 2015. Ursel plays herkeyboard to type successive letters of the text onto theright screen and to play detuned bell-like electronicsounds. Barry accompanies this action with swellingmicro-tonal sine waves and gradually reveals an arrowapproaching a vertical line on the left screen. It is thecentral point of the entire performance, slow moving andpeaceful; a moment of possible contact.

Ursel Quint, Looking for ContactOn the left screen there is an empty power strip, on theright screen there is a power cable and plug. As Urselplays the first melodica motives, the cable begins todance as if charmed by the tango music. Barryaccompanies the melodies on a second melodica andminimal percussion on the contact microphoneinstruments. The climax and end of the piece coincideswith the plug entering the left screen and finding asocket... and a spark.

Snowkrash, Nederberg, Banasik, Reeder, PostludeThe finale scene is an improvisation by all of the actorsand composers, including images and sounds from theprevious movements, as well as cell phones to sendcontrol data from its camera and gyroscopes (Apps byDavid Reeder) which manipulates the two videos andelectronic audio.

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Program

Navid BargrizanLava Illogica 9'47"


Francisco EmeCuerno de Chivo (“Goat’s Horn”) 4'


Jon AndersonLati 10'40"


George KarstPoem IV 5'22"


David GedoshGuitar Construction #2: Progressive Fracture 6'15"


Benjamin WhitingIllumina! Arabidopsis thaliana 9'17'


Edgar Berdahlrorrirmirror 4'01"


Michael Clemow and John PaulSchlegelmilchWaver: Analemma... 8'

8 channel improvisation

Hanae Azumawatercolor painting 5'30"


Joel Pixley-FinkWeighting 8'35"


Program Notes

Navid Bargrizan, Lava IllogicaWhat gets lost in translating a heavy philosophical textsuch as Wittgenstein’s Tractus Logicus Philosophicus,form German to English? How do we get lost when weare confronted with such a dense philosophical text, forthe first time? Lava Ilogica touches upon these twoissues, by means of processing sounds emerged formrecording four voices, while reciting parts ofWittgenstein’s text in German and in English. Thesepiece applies various techniques of digital soundprocessing and is arranged for sixteen channels.

Francisco Eme, Cuerno de Chivo (“Goat’s Horn”)In 2006 Mexico's President Calderon launched a waragainst the drug cartels. Violence soared to the point ofbecoming a way of life in certain areas of the country,thus creating a "culture" of drug trafficking and violence.One of the strongest symbols of this “culture” isundoubtedly the “goat horn”, the popular name for theAK47 assault weapon, the weapon of choice for druglords and hit men. Weapons have been seized, entirelydipped in gold or encrusted with diamonds belonging tobig capos as amulets or status symbols. There are alsoseveral popular songs that refer to it, and hundreds ofpictures of men and women posing with this gun,including politicians. The piece is based on two types ofsound materials, audio recordings of actual clashesbetween soldiers and drug traffickers, obtained from aninvestigation of journalistic content, and a “narco-corrido”(folk music that speaks of drug exploits) played by theband "Los Dareyes de la sierra" called "goat horn". Thesong talks about the legendary weapon AK47 and its "heroic" use by a Mexican drug lord. In the piece amusical group is interrupted by gunmen and that's whenthe languages are intertwined and start making musictogether, although it´s a music of death. Thiscomposition is not meant to glorify this violence "culture",rather it is meant to provoke awareness of a reality livedby many.

Jon Anderson, LatiThis work is an acousmatic, fixed media study derivedfrom samples of acoustic string bass performed byCharles Paul. We utilized a variety of FFT processingpatches in Max/MSP to construct a sonic environmentthat reveals only the processed audio of the bass.

George Karst, Poem IVThe title of this piece identifies it as the fourth in a seriesof my pieces fashioned from acoustic sounds. Theprevious works in this series included recorded sounds

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of a factory, all-digital synthetic sounds, andmiscellaneous mechanical and motor sounds. Thisfourth piece is composed using birdsong in a pasturelocated two hours east of Chicago in rural Indiana. Incomposing this piece I used a multi-track digital editor,various effects of signal processing, and intricate layersof sound to sculpt the piece. The result is a meditationcomprised of an aesthetic reflection of evening and newsounds that augment the encounter.

David Gedosh, Guitar Construction #2: ProgressiveFractureGuitar Construction #2: Progressive Fracture is thesecond in a series, an homage to my early musical rootsand formative years as a musician.

Benjamin Whiting, Illumina! Arabidopsis thalianaThis piece represents the ongoing artistic and scientificcollaboration between genomic biologist Aleel K.Grennan and myself. Grennan is studying the rate ofphotosynthesis between a natural wild type ofArabidopsis thaliana leaf and three geneticallyengineered mutants with different sizes of chloroplasts. Itook the data she provided me, sonified and incorporatedthe results in an 8-channel surround sound piece ofelectroacoustic music. While the piece is peppered withvarious processed sounds of found objects, I designedthe majority of the sonic material in DISSCO and KYMA,incorporating Grennan’s data into several parameters(such as ADSR envelopes, spatialization within the8-channel acoustic field, &c.), thus creating a wealth ofstylized sounds that represent each different type of leaf.Formally speaking, this piece contains three majorsonification sections, each connecting to the nextthrough transitional passages implementing the sonifieddata in more intuitive, capricious ways. The three majorsections portray respectively the percentage of lightreflected, absorbed, and transmitted when coming intocontact with the wild-type Arabidopsis leaf; themovement of chloroplasts among the starchy membranewithin all forms of the leaf; and the percentage of lightreflected off of, absorbed into, and transmitted throughthe three genetic mutants.

Edgar Berdahl, rorrirmirrorImagine listening through a “sonic mirror” into anotheruniverse that behaves according to different laws ofphysics. rorrimirror is just the kind of music compositionthat would span both universes by straddling this sonicmirror. 62 virtual metronomes bounce on top of 62 virtualresonators. Physical modeling is an intriguing soundsynthesis technique for electroacoustic musiccomposition. Complex virtual physical systems(consisting of springs, masses, dampers, resonators,strings, and more) are designed and interconnected witheach other to realize models for generating intricatelyorganized sounds. The physical model for thiscomposition has been designed to be capable ofleveraging high-density loudspeaker arrays in ways notnormally accessible to electroacoustic music. For this

reason, each of the 62 mechanical resonators isconnected to its own loudspeaker channel. In thismanner, each channel can be metronomically controlled,resulting in an output signal that is completelydecorrelated from the other output signals. ForNYCEMF, the 62 channels have been mixed down to 16individual channels. A stereo version is provided for nowfor convenient listening.

Michael Clemow and John Paul Schlegelmilch,Waver: Analemma...Waver is an improvisational piano and live-sampling duo.Their music explores lush cinematic soundscapes,dense noise, and hypnotic minimalist textures. Themusic is set in motion by the sampler capturing soundfrom the acoustic piano and sending it back transformed,sometimes barely recognizable. A dialogue ensuesbetween acoustic and electronic sounds, musician andmachine. As this process unfolds, sonic landscapesemerge that are simultaneously synthetic and organic. As the live sampling instrument cannot produce sounduntil it has captured a phrase from the piano, in aperformance the pianist must begin the firstimprovisation. Once the live sampling instrument hascaptured a phrase from the piano, that material is usedto create new sounds through a wavetable synthesizer.These can range from echoes of the original phrase toentirely different timbres and surprising textures. Usingsensitive gestural input systems that provide nearlyrealtime control of sound processing, the electronics areable to both respond to and shape the music in amoment to moment flow. In the course of animprovisation the piano and electronics influence eachother and move towards a synthesis, creating a kind of“Meta-Piano”. The next step in the development ofWaver’s performance is to expand the number ofspeaker channels from stereo to give a new spatialelement to the music, and to create a more immersivesonic experience for the audience. The realtime inputsystem allows that the relationship between the speakersin the array can be changed throughout the performanceas a function of the live-sampling instrument. A piecemay begin in mono with only the acoustic piano, andmove through progressively more complex permutations,fractalizing the acoustic sound through various artificialspaces.

Hanae Azuma, watercolor paintingI was trying to create this work thinking how to paint withwatercolor. Like a watercolor painting, I wanted thesound and music to overlap and have layersgradationally. 3D sound space would help the audienceto feel like listening music in a watercolor paintinghopefully.

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Joel Pixley-Fink, WeightingWeighting is a piece that employs ambiguous and slowlymorphing sound sources, repetition as change, andstasis to create tension. The piece is formed from threedifferent sections. The first section introduces the sonicmaterials and realm. A steady foundation allows for safeexperimentation and helps create tension. Following thatis a spacious, contrasting section, with very quick, sharpbursts of sound, designed to break you out of the firstpart and leave you with only a memory of it. The finalsection is in a way a memory of the first part. It’s washedout and all the details have blurred together, it allhappens at once, kind of like how memory works. Itshard to remember the order or how things developed buteasy to remember the events, or in this case the timbresor sounds that were used. I want the last part to feel likea lead weight – super heavy but nothing is happening. Ilike the duality of the concept of ‘nothing happening’. It’skind of like life: Everything is happening, but if we are lostin our mundane routine it can feel like nothing ishappening, like there is a weight on us holding us inplace.

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Program

Jia LiWater Imagination 10'01"


Joshua TomlinsonConvergences 8'15"


Julius BucsisStories from an Alien Pond 1'40"


Fernando EgidoCognitive Dissonance 12'30"


INTERMISSION

Clarence Barlow)ertur( 16'04"

video

Francesco GalanteLet us free the earth from fixed immobility 9'40"


Jerod SommerfeldtDharma in Excelsis 7'07"


Corey CunninghamBind up my Wounds 5'30"


Patrick Long Glyph Tropes 12'

Patrick Long, percussionvideo

Program Notes

Jia Li, Water ImaginationThis piece is inspired by sound of water. The artist hearsand records many sound of water and put them in soundfield through ambisonics. So This piece consists ofsound from water and its variation, reflecting animagination of water. The artist also want to show theconcept of environmental protect. Because some area inthe world are encountering drought, such as Yun Nan inChina, Palo Alto in USA. So the piece begin from dropsof water and end to that. In the processing, there aremany variations coming from water imagination, even therain of cats and dogs. This piece includes multichanneldesign, which shows variant motions and multi-positionaudio material in the listening space.

Joshua Tomlinson, ConvergencesConvergences explores the merging and juxtaposition ofmetal and wood, sound and silence, momentum andstagnation. The electronic medium allows a composer tocreate a unique musical environment in which soundscan simultaneously exist near to and distant from thehearer. In this piece I use these electronic tools to createthat dualistic environment which is an unnatural auditoryoccurrence. The work is composed with two basicelements: metal and wood, which are featured in theirown space at various points in the piece. Where theyconverge, the cold metallic gestures are contrasted withthe warmth of the wood – the metal aggressive, thewood gentle.

Julius Bucsis, Stories from an Alien PondStories from an Alien Pond depicts an imaginaryinteraction between life forms in and around a pond ofliquid on another planet. The piece was inspired by thehaiku poem, Old Pond by Matsui Basho and thestructure of the piece is set according to the traditionalhaiku form. It was composed in 2015.

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Fernando Egido, Cognitive DissonanceThis work tries to inquire about the replacement of theconcept of dissonance associated to material with theconcept of dissonance associated to the cognitive tasksderived from the listening. The advantage of thecognitive dissonance is that the tension of the work is notbased on the material objective properties, but in themanner in which the material is processed. Thus, we finda way of saving the possible depletion of the dialectic ofmaterials. But in order the tension to not depend onmaterial properties associated with a parameter, it isnecessary that any sound parameter is central in thesonorous discourse. To avoid this centrality thecomposer has developed a number of compositionaltechniques that make possible that any parameter worksas central. For this purpose he has created a series ofalgorithms in which the sound objects are treated asdatum axes. The work uses multiple simultaneous datumaxes, none of them determining to others, nor working ascentral. The work is a superposition of several referenceaxes in which the parameters of the sound objects aredetermined by their relative position to other ones (insuch a way that any datum axis can`t be considered ascentral). Each reference axis works as a patternrepeated at a different speed. The position of eachpattern with respect to each other is measured by thephase. We have a very deterministic system, with crossdeterminations, for example, the timbre of a datum axisis determined by the pitch of another axis and the pitches of the events of this axe are determined by theirposition with respect to a third axis.

Clarence Barlow, )ertur(Requested to write music for a showing of AlphonseMucha (1860-1939) paintings, I decided to base themusic on that of Mucha’s contemporary and compatriot,Leoš Janácek (1854-1928), born, like Mucha, in Moravia.Thirty-seven selected Mucha paintings are matched byan equal number of Janácek pieces, many of themmovements of larger works. The larger the paintings arein area, the longer the music excerpts are, matchingspace with time. At first the music is constrained in rangeto a minor seventh, all notes outside this range beingdiscarded. The notes are also redistributed among fiveinstruments – flute, clarinet, violin, cello and piano, widelypanned from far left to far right – and the pitch rangegradually widens to just over four octaves. Analogously,only the most widespread color of each painting is shownat first, the rest being rendered in grey. During the run ofeach Janácek excerpt, the colors of the Mucha worksexpand in range within a rectangle widening from a pointat the image center, to finally include all original coloursin the full-sized rectangle. This work bears the title)ertur(, which – like the widening spaces of pitch, areaand color – could expand to words like aperture,apertura, copertura, abertura/cobertura or obertura, allimplying the spatial act of opening or covering. Themicrotonal tuning derives from the equal division of eachof nine tempered perfect fourths by seven. In this audiotrack, the sounds were generated by the East WestSymphonic Orchestra Platinum sample package.

Francesco Galante, Let us free the earth from fixed immobilityLet us free the earth from the fixed immobility, this is thetitle of the piece. It is the first part of a project divided intothree major parts. It was composed in the 2012 at theelectronic music studio of the Conservatory of Music ofCosenza City. The project was imagined as a kind ofacousmatic theater and all the materials I used arevoices and electronic synthesis. Two kind of sourcevoice were used: few voice fragments recorded instudio, while the other ones are derived from somerecordings coming from the street during the G8 summitin Genoa. The electronic sound blocks were generatedby a very particular additive synthesis. In only one casesome sound blocks (both electronic that voice) aresubjected to a pseudo-granulation. There is no text, buteverything comes from the process of elaboration of thefew fragments of voice that you can hear at thebeginning of the piece. The piece ends with a verydramatic sound of voices, they were strong processed. The music form of the piece oscillates betweencontrasting climates and dramatic accumulation points.The structure consists in a sequence of 8 different soundpanels.

Jerod Sommerfeldt, Dharma in ExcelsisTibetan Buddhist chant, audio artifacts from aliasedsignals, singing bowls, music boxes, small clicks, andfrequency modulation all play a role in this work thatexplores contrasts between sounds that are meditativeand harsh, faint and present, delicate and grating.

Corey Cunningham, Bind up my WoundsBind Up My Wounds, for fixed media, is an adaption of apiece originally written for an interactive dancecollaboration. The work is centered around a monologuetaken from Shakespeare's Richard III, in which the maincharacter, King Richard, reflects on the various acts hehas committed to achieve his throne. Using this text, thework attempts to create a narrative that examines thehuman conscience, and one's own awareness of it. Themonologue is split into several sections, meant to depictboth Richard's consciousness as well as the externalpressures and commentaries that drive his actions.

Patrick Long, Glyph TropesPiece for one solo electronic percussionist andinteractive computer media system (audio and video.)

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Program

Christopher BiggsContraposition 12'

Keith Kirchoff, pianovideo

Christian BanasikTree Blossoms II 9'

Maja Cerar, violin

Barry SchraderRavel 15'30"


Mickie WillisCorpora Nebulae 20'


INTERMISSION

Steven KemperLament for Flute and Computer 9'07"

Wayla J. Chambo, flute

Jocelyn HoSheng 15'

Jocelyn Ho, piano

Yuriko KojimaUndulations for Violin and Max 10'

Maja Cerar, violin

Hans Peter Stubbe Teglbjærg 14'Rippled Reeds

Tony Park, bass clarinet

Program Notes

Christopher Biggs, ContrapositionContraposition was commissioned by and is dedicated topianist Kari Johnson. This work is organized in themanner of a traditional Baroque dance suite. Baroquedance music is almost all binary in its formal structure;however, these movements are not in binary form.Extrapolating from the binary principle, each movementof this work focuses on one or more oppositional ideas,either within and/or between the various media. Any or allmovements of the work can be presented and in anyorder.

Christian Banasik, Tree Blossoms IIThe documentary film Baumbluetenzeit in Werder (1929)by Wilfried Basse describes an old folk festivity whichtook place every spring in Werder, a little town nearPotsdam / Berlin. The violin player is like an observer, a“singer” who makes a journey through the sounds andharmonic levels, images and short stories of individualunknown but real protagonists. The electronicsoundtrack is based on prepared and granulated pianosounds which symbolize the tradition of a silent moviecompanion and original voices from recordings of the1930´s which represents an abstract reminiscence of theThreepenny Opera by Kurt Weill as a blurred music froma far distance. For me this work with its satirical-criticaltexts portrays a supplementary level, a commentary toBasse’s film statement. The director uses documentary-poetic means which can also be understood humorouslyand satirically and which also seemed to him to be inaccordance with this tradition.

Barry Schrader, RavelMaurice Ravel is one of my favorite composers of thepast. I admire his sense of economy with musical ideas,his expansion of developmental writing, and hisextension of traditional structures, and I consider him tobe a master orchestrator who greatly expanded the roleof timbre. In Ravel, for piano and electro-acoustic music,I am not trying to imitate Ravel, but rather to createsomething that captures the spirit of his music. Onlyelectronically generated sounds have been used in theelectro-acoustic music accompaniment; no concretematerial has been employed. Ravel is in threecontinuous movements, each based upon a smallamount of musical material from Ravel’s works: the firstmovement is based on the first two measures of thePrélude from Le tombeau de Couperin; the secondmovement is based on the second, third, and fourthmeasures of the second movement of the PianoConcerto in G; the third movement is based on the firstmeasure of the “dawning” section of Daphnis et Chloéand also the last two measures of La Valse. In creatinglarger musical structures from a very small amount ofmaterial, I continue a musical pursuit that has becomefoundational to my compositional style and thinking. To a

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great extent, the study of Ravel’s music is one of thepaths that has let me to this aesthetic.

“We should always remember that sensitiveness andemotion constitute the real content of a work of art.”Maurice Ravel

Mickie Willis, Corpora NebulaeCorpora Nebulae is a symphonic poem composed ofmusical gestures suggested by images of interstellarformations photographed through the Hubble telescope. The printed score of Corpora Nebulae was created andengraved using Finale 2010 and realized as audio filesfor this recording through playback of Garritan orchestralinstruments samples. Each individual instrument orinstrumental group that shared the same musical partwas edited in Finale 2010, then recorded as a separate.wav sound file. Each of those individual instrumentalparts was imported into Cubase 5 to create a 28-trackVST file. After editing, a 2-channel stereo mixdown wasmade which was then imported into Wavelab 6 for finalprocessing and mastering. The computer used for thisvirtual orchestral performance was an HP Media Centerdesktop PC with an AMD Phenom quad-core processorutilizing eight gigabytes of RAM.

Steven Kemper, Lament for Flute and ComputerLament was commissioned by flutist/poet WaylaChambo as part of her TranScript project that exploresthe intersections and interactions of text and music.Lament is a response to Chambo’s poem “A History ofLament.” The piece engages themes of space andlocation from the text, including the transition betweenindoors/outdoors and death/life, as well as musicalthemes of “lament” from the classical tradition. Lamentunfolds through a series of layers, beginning and endingwith electroacoustic sound. Sung text from the poem isbookended by this electroacoustic texture, with flute andlive processing at the center of the form. This processingreferences the spatial oppositions in the poem byextending the acoustic flute into the virtual realm. Theflute and electronics are set against the backdrop ofprocessed city soundscape created from field recordingsof Downtown Los Angeles.

Jocelyn Ho, ShengThis joint improvisatory piece explores the communalbody through the interaction between the audience andthe pianist. Incorporating mobile technology developedby Drew Petersen, the audience will trigger pre-recordedsounds to emit from the speakers of their mobile phonesthrough their own bodily movements. The pianist will beable to trigger different sections of the piece via her owngestures using Kinect. The piece itself is game-based:rules are set for the audience and performer such thatdifferent kinds of interaction are explored in differentsections, mimicking the differences in bodily interactionwe have with each other in everyday experience. Theresult is a collective, improvisatory performance thatblurs the lines between performer and audience, where

the audience’s creative input drastically influences thedestiny of the piece. The Title "Sheng" means "life" inChinese, and refers to the Chinese philosophy of thelife-generating elements featured in the sections, as weexperience collectively in this piece.

Yuriko Kojima, Undulations for Violin and MaxUndulations is originally scored for solo viola and signalprocessing by Max. The musical idea was conceived bythe notion of undulations of various musical parameters.A piece of music is realized as a result of multi-dimensional undulations of pitches, dynamics, timbres,pulses, rhythms, timings, and so on. In this piece, I havechallenged to combine overlapping layers of musicalparameters in a solo piece setting. While improvisatoryphrases are repeated, they are subtly modulated eachtime and the sound of the instrument is electronicallyprocessed and magnified. As a result, multiplication ofparameters is to be created real-time. Electro-acousticrealization has been done using Max and projectedthrough four speakers: left/right and front/back. Theoriginal version was composed in 2011 for the 80thAnniversary Concert for Japan Society for ContemporaryMusic (Japan section of ISCM) to be premiered duringthe festival in January 2012. The revised version forviolin and Max has been finished in 2016.

Hans Peter Stubbe Teglbjærg, Rippled ReedsThis piece elaborates on the interaction between amusician and his (or hers) woodwind reed instrument.Vibration modes of a single reed instrument are trulymany. Rather than classifying resulting spectra of howwe hear them, I have to organized the piece according tothe way how air pressure / mouthpiece interacts withreed / mouthpiece / pipe. It falls in three sections; firstly,a microscopic look at the relationship airflow and reed /mouthpiece. Then it unfolds at the resonances resultingfrom slamming into a key air pressure barely enough toget out of the normal sounds. Finally it explores variousconfigurations of holes, ie fingerings (eg natural,perforated, crossed) to create virtuoso sequences ofmultiphonics. The title refers to the multiple operationspossible of a single reed. The pieces reveals anaesthetic preference for noisy yet spectral sounds.

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“Spectral Journeys...”

Curated by John Young

Acousmatic Music from the Music, Technology and Innovation

Research Centre at De Montfort University, Leicester, UK

Program

Virginie VielNyx 10'34"


James AndeanDéchirure 7'35"


Louise RossiterRift 7'25"


Simon EmmersonResonances 11'23"


John YoungBrink 13'28"

10.1 channel fixed media

Program Notes

The organic imperative of spectralist thinking finds someof its most fertile ground in acousmatic music. Thenotion of the sound object as an entity whose spectralcontent can be regarded as a ‘pitch-space’ to beexplored, taken apart and reassembled in new waysflows very naturally from the aurally direct way of workingin the electroacoustic studio. This curated concert ofwork by staff and students from De Montfort University’sMusic, Technology and Innovation Research Centreshows some of the ways in which awareness of spectralspace can shape formal thinking—evoking sonicjourneys that are both contemplative and thrilling, lookingforward and to the past.

Virginie Viel, NyxThis piece is an epic poem—a journey through the night,black, dense and mysterious, that ends with theappearance of dawn. It is inspired by Nyx, the goddessof night in Greek mythology. The Theogony of Hesioddescribes Nyx, daughter of Chaos, as one of thefirst-born element gods. The myth says that each day attwilight, she leaves the hells to travel in the sky anddeposits a veil of dark mist drawn forth from theunderworld, blotting out the light of Aither (shining upperatmosphere) until dawn comes. This piece is composedof transparent, slow transformations and strong contrastsin term of sound morphology. Nyx can be perceived as aCubist work, describing an object through differentperspectives. This piece is also dramatic, expressing thedespair of living in a world that refuses to show its reality.I dedicate this piece to those who believe in theimpossible… Thanks to the performers Audrey Riley,Rick Nance, Brona Martin, Evi Manola and DimitrisSavva for their contribution in this project and theirpatience during the recording sessions. Nyx wasnominated as a finalist in the 2015 Musica NovaCompetition (Prague).

James Andean, DéchirureDéchirure: a tearing, a painful separation... This pieceinvolves a number of 'déchirures', both musical as wellas figurative (personal separations: the plaintive cry ofthe distant train, etc...) although the only literal 'tearing' issaved for the final phrase. It is also a reference to thesound materials: through the act of recording, these havebeen ripped from the world and moment which birthedthem; but, further, they have been torn from the originalcontexts and purposes of the artist couple who collectedthem, to be reappropriated in new works by newcomposers. This work was composed using soundsoriginally recorded by Luc Ferrari and his wife, BrunhildFerrari, which were made available to composers for thecomposition of new works as part of Presque Rien 2013,in which it received a Special Mention. All sounds used inthe piece are sourced from these recordings. Déchirurewas awarded second prize in the 2013 Presque Rien

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Competition.

Louise Rossiter, Riftnoun: A crack, split, or break in something.Synonyms: crack, fault, flaw, split, break, breach, fissure,fracture, space, aperture… There are a number ofdifferent meanings of ‘rift’ permeating this work. Thedeliberate destruction of source materials allow for thecreation of gestures that permit the fracturing andbreaking of the sonic space. One of the pieces principalfunctions is an exploration of relationships betweensound and silence. The silences that punctuate the soniccanvas throughout Rift are intended to allow the listenerto reflect on events in the work, and anticipate whatmight follow. Rift was realised during summer 2015 inthe studios of the Music, Technology and InnovationResearch Centre, Leicester, UK.

Simon Emmerson, ResonancesWhat is ‘modernism’? Music was late to have an answercompared with other arts. We hear glimpses of music wethink we know; no melody or rhythm, just an instant of‘colour’, frozen and moving – ‘eternity in a moment’.Colours may be vivid and clear, or sometimes dark andopaque. As Adorno said, it all began with late Beethoven.Then friends and enemies meet in love-haterelationships, Wagner and Debussy, Schoenberg andStravinsky ... there are others. Need the listener knowwho? Of course not! (If it’s too obvious I think I havefailed.) This is a personal choice from my memories of arepertoire I love but which may not last another century.Memory changes perspectives, transforms and shuffles.There are unique resonances in each of us. Resonanceswas commissioned by the Institut International deMusique Electroacoustique de Bourges and realised intheir studios in April 2007.

John Young, BrinkIn Brink I have tried to convey a form projectingcontinuous sonic renewal and evolution. I like to think ofsound as physical matter and, by blending parallelprocesses of transformation and recurrence, this workaims to evoke a sense of material consistently on theverge of leading toward a new physical ‘state’ orresolving into one that may satisfy or defy theexpectations of an imaginative listener. Brink wascomposed in the electroacoustic music studio of BowlingGreen State University, Ohio, on a KlinglerElectroacoustic Residency in April/May 2015 andpremiered in the Limonaia di Villa Strozzi at the RewindFestival, Tempo Reale, Florence, 29 September, 2015. Special thanks to Elainie Lillios and Michael Thompson.

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Program

Brian HernandezF.A.K. Video Triptych 2 5'10"

Lauren Redheadijereja 10'

Lauren Redhead, voice

Quixiao LiSpeak Softly Water 4'49"

Francesc MartiSpeech 2 7'54"

Francesco BossiUrban Landscape - Fractures - Milano 4'53"

Jennifer HuttHe War 5'55"

Bruno Degazio and Christos HatzisHarmonia 30'


Program Notes

Brian Hernandez, F.A.K. Video Triptych 2F.A.K. 120, video triptych is a four-channel audio andvideo work composed in 2015. This is the middlesection, part 2. I chose to focus on the emotive aspectthat can be communicated through the work, carefullyconsidering the color palette and the morphologicalquality of the sonic and visual elements.

Lauren Redhead, ijerejaijereja is a transliteration of the transliteration of theMycenean Greek word for “priestess” in theCretan-Minoan script known as Linear B. The piece

draws from disparate sources including Linear B text,Minoan art, modernist fakeries of Minoan art,cartographic practices, fictional maps, Hörspiel drawnfrom the speech of Countess Geschwitz in Alban Berg'srevision of Wedekind for the opera Lulu, and organimprovisation. The piece uses iterative composition andperformance, over-recording, and notation-as-performance to establish a set of materials that can beused to create performances of different durations andcontent but with the same musical identity. ijereja isinterested in the interrogation of the potentially liminalspace between performance, voice, speech, language,text, writing and notation.

Quixiao Li, Speak Softly WaterThe work inspired by Mr. Su Tong essay - "The secret ofriver"

"The soul of river floated on water of the river. You can not salvage the heart of river no matter what a romanticweb you weave, which is the biggest secret of river."

I apply various samples of percussion and try to showthe infinite variety of water in the whole music.

Francesc Marti, Speech 2Speech 2 is an experimental audiovisual piece createdfrom a series of old clips from the US broadcast publicaffairs interview program The Open Mind. This piece isreflection on the action of communicating, highlighting itslimitations, and can be labelled as “text-sound-art”, or“text-sound-composition” in an audio-visual framework. Technically, in this piece, the author has beenexperimenting how granular sound synthesis techniques,in particular synchronous granular synthesis, can beused for audiovisual creative works. The original moviesare altered and manipulated, generating new images andsonorities. All the piece sounds and images come fromthat series of clip, in other words, no other soundsamples or images have been used to create the finalresult.

Francesco Bossi, Urban Landscape - Fractures -MilanoWhat are the urban spaces conditioned by thealgorithmic laws of ubiquity? What can you see seenthrough these fragmented points of view.? What does itfilter through these fissures? What are gaps andfractures within established systems, institutions, andstructures that seem concrete, guarded and immovable?"Urban Landscape - Fractures - Milano" points out theurban landscape seen through Fractures, discretespaces, by dilating and shorting time and space, andeven occupy them with phenomena that we had seenbefore only in the virtual. Fractures are crevices thatdisrupts or interrupts and suggest alternative ways ofseeing. The work is affected by the Marko Kovac theoryof Transvergens, and by the Marc Augé theory of“non-place”, the ambivalent spaces that have no more ofattributes of familiar places. In this way also the

55

common technique of the Time laps is meant to besubversive. All the footage has been shoot in Milan,which is a city that has recently been affected by a greattransformation.

Jennifer Hutt, He WarHe War is a video and accompanying music soundtrackwhich summarizes a performance of the Franco-Moroccan artist Majida Khattari commissioned by thePrague Quadrennial 2015 and performed in the streetsof Prague in June 2015. The original soundtrack writtenby Jennifer Hutt is 40 minutes long (to accompany aperformance of the same length). It was played throughhidden speakers which accompanied the actors as theymarched and performed through the streets of old-townPrague. This video was shot during the performance. Khattari had been particularly disturbed by a video shesaw of a woman who was executed by decapitation bythe Saudi Arabian government earlier in 2015. Sheasked that the audio of this woman's last words beincluded somehow in the soundtrack of He War. Notfinding an instrument to accompany such a sample, thecomposer decided to use only the audio itself to createthe entire 40-minute soundtrack, apart a few percussivehits."

Bruno Degazio and Christos Hatzis, HarmoniaConcept by Christos Hatzis. Realization by BrunoDegazio.

Harmonia is an audio-visual work which is generatedentirely by a gradual "unfolding" of the harmonic series.This generating process is timed so that it occurs exactlyonce across the duration of the piece. Many fascinatingperceptual effects occur. For example, the opening "BigBang" is a result of the initial alignment of all harmonics;the falling glissandi that can be heard immediatelyafterwards result from the shifting presentation of thehigh harmonics in decreasing order as the processproceeds. Later on, as this generating process nears itscompletion, the glissandi are heard as rising. Visually, arelated effect occurs in the perception of movinghighlights within the main circular outline. These areproduced by the intersections of geometrical shapes(triangle, square, pentagon, etc.) corresponding to theindividual harmonics . Harmonia also implies arelativization of the perception of time, because theunfolding process is equivalent to the microscopicexamination of a fraction of a second of audio, stretchedout by a factor of 90,000 to a length of 29 minutes. Thisrelativization is a statement of Plato's definition of time as"a moving image of Eternity."

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Program

Lucas SmithRati (2015) for fixed media 5'48"


Maximilian YipNightCall 5'57"


Andre BrégégèreOuttake 7'

Mirna Lekiæ, piano

Michael AndrewsCreatures in the Gears 3'16"


Juan VasquezSibelius Collage 4'06"


TM DuplantisDownstream 5'

TM Duplantis, super nintendovideo

INTERMISSION

Luigi Negretti LannerAltre voci (“other voices”) 7'27"


Michael LukaszukPrzypadek 4'


Joshua ArmentaTres Gritos Para Mi Patria 12'

Eric Maul, flute

Kamil KoseckiArtificial Intelligence 10'22"


Jaimie HensleyPermeation 3'13"


Sandra GonzálezAlegorías, para piano y sonidos electrónicos 10'33"

Markus Kaitila, piano

Program Notes

Lucas Smith, Rati (2015) for fixed mediaIn Norse Mythology, Rati is the name of the drill used byOdin to acquire the Mead of Poetry from the giantSuttung. In coordination with Suttung’s brother Baugi,Odin attempted to steal the Mead. Using Rati, Baugidrilled a hole into the side of the mountain where theMead was being guarded by Gunnlod, Suttung’sdaughter. Taking the form of a snake, Odin began toslither through the drill hole. Before Odin was through,however, Baugi double crossed Odin and attempted tokill him by hitting him with the drill, but failed. Odin,having made it through the hole safely, stayed threenights with Gunnlod. Each night he would transform intoan eagle and empty a mouthful of the Mead into a jar. The third night, Suttung found out that Odin wassmuggling out the Mead and, in an attempt to stop Odin,turned into an eagle as well and chased him causingsome of the Mead to drop out of Odin’s mouth and fall tothe earth below. Odin later gave the Mead he collectedto the gods and eventually to men who are gifted inpoetry. Rati (2015) was inspired by this generalprogram.

Maximilian Yip, NightCallThe piece NightCall is all about transformation in aninterconnected world. The composition was created bysounds linked to cell phones such as a ringtones, dialtones and vibration sounds. Additionally, atmospherewas created by frequently changing rooms. The piecewas processed using Metasynth 4 and Cubase 6.

Andre Brégégère, Outtakeout·take \aút-tâk\ n (1902) 1: a passage outward : FLUE, VENT 2: something that is taken out: as a : atake that is not used in an edited version of a film orvideotape b : a recorded musical selection not includedin a record album.

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Michael Andrews, Creatures in the GearsCreatures in the Gears is a piece that grew out of mylove for science fiction and an intimate desire to createan unworldly environment. My hope for this piece is theblending of natural and industrial worlds into a surrealistsoundscape.

Juan Vasquez, Sibelius CollageSibelius Collage is an electroacoustic rendition of JeanSibelius’ Romance Op. 24 No.9 , commissioned in 2014by the The Sibelius Birth Town Foundation, Sibhack andthe Ateneum Museum (Finnish National Gallery) as partof the official 150th anniversary of the Finnishcomposer’s birth. The Sibelius Collage received theeuropean premiere at the Ateneum's auditorium inOctober 2014.

TM Duplantis, DownstreamDownstream is an art game developed for the Game Boyhandheld console and performed live for an audience onthe Super Nintendo Entertainment System by way of aSuper Game Boy cartridge. It is a simulation andexpression of helplessness in the face of overwhelmingtragedy.

Luigi Negretti Lanner, Altre voci (“other voices”)For electronic and sampled sounds, Sound synthesis:Csound.

Michael Lukaszuk, PrzypadekPrzypadek is the Polish word for “accident” or for“chance”. It is also the title of a film by KrzysztofKieslowki that partly inspired this piece. The film exploreshow a seemingly insignificant event can drastically affectone's future. I tried to explore this idea in a few differentways. The piece should take the listener through anelaborate sonic journey starting with a sound as banal asthe carbonation heard from opening a pop bottle. Theidea of accidents or chance is also represented in theuse of randomness and probabilistic devices in theprogramming used to create the piece.

Joshua Armenta, Tres Gritos Para Mi Patria“Our age is dying of moral skepticism and of a spiritualvoid. The lazy dreamer (committed to the pseudo-progressive mechanical, momentary materialism of thepost war period) has devalued his spirit. He has beendisarmed and dishonored before death and eternity. Themechanical civilization will be destroyed by war. Themachine is destined to crumble and rust, stuck in thebattle6elds, and the young and energetic masses whobuilt it are doomed to serve as fodder for the cannons.”– Salvador Dali

Kamil Kosecki, Artificial Intelligence“It's difficult to live like this .I want to live like a normalhuman being. I try and I know that there is a way to dothis. I know everything about feelings but I can't smileand I can't cry. I only hear this music. Wherever I go,whatever I see, I hear this music. I know that this is

artificial music composed by me in my artificial brain butthis is the only way to show my emotions now. I send thismusic to the past. “ humanoid XY, Anno Domini 2500

Jaimie Hensley, PermeationRegrets, trauma, wrongdoings. There are things weignore. There are things we want to forget. Effort spentpushing the beast into the darkness feeds it. No matterhow tightly it is locked away, it seeps through in ouraching throats. Our racing minds. Our turning stomachs. Permeation is composed entirely from original recordingsmanipulated in CSound.

Sandra Gonzalez, Alegorías, para piano y sonidoselectrónicosThe work is inspired by three paintings by the artistAdriana Brito. It was composed originally for piano andvideo and to be performed by the renowned pianist InésSabatini in the “II Festival Internacional MuchasMúsicas”, held in September 2013 at the QuilmesNational University (Buenos Aires – Argentina). Theversion for piano and electronic sounds in quadraphonicwas composed especially to be premiered by thementioned pianist in “Ciclo Pianos Múltiples 2014”, heldin the Auditorium Nicolas Casullo of the QuilmesNational University. To compose the piano part is usedthe Pitch Class Sets and Combinatorial Matrices throughexternal objects PCSlib library for Pure Data (MillerPuckette) created and developed in the research project"Musical Applications of Sets and CombinatorialMatrices of Pitch- Classes" by Dr. Pablo Di Liscia and Dr.Pablo Cetta at the Quilmes National University. Thetimbre bank to compose the electroacoustic music wascreated from recordings of extended techniques on thecello, cellist shots taken by Martín Devoto in thatUniversity. So by extended piano techniques, shotsbelonging to the world premiere of the work. In the threenumbers that make up the work, the electronic soundscontinue and spatially project the resonances generatedby the piano.

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Program

Chia-I LinSound in the glass jar 8'20"

Markus Kaitila, piano

Yuri SpitsynToccata (from Ignis Fatuus) 3'28"


Michael LukaszukAll the moon long... 8'

laptop ensemble

Hibiki MukaiEgomaniac II 6'48"

Gregor Kitzis, viola

Tyler GilmoreSolo Set Piece Three - for MicrophoneFeedback & Samples 10'

laptop

Ai NegishiRainbird 7'13"

Cody Hosza, alto sax

Naotoshi OsakaHybridization Collage 13'45"

Julia Den Boer, piano

INTERMISSION

Gina BiverThe Cellar Door 7'

Ina Mirtcheva, pianoPam Clem, cello

Martina Claussendots&lines 6'34"


Douglas GeersRipples 7'30"

video

Cort LippeIn the Shadow of Vulcan 8'30"

David Durant, piano

Tim ChatwoodFlicker for Vibraphone Light and Effects 5'

Tim Chatwood, vibraphone

Nathan BowenElevator Inspection 5'48"

Nathan Bowen, iphone and laptop

Joshua MailmanFluxations Full Body Comprovisation No. 1 6'52"

video

Program Notes

Chia-I Lin, Sound in the glass jarWhen the light pass through to the glass jar, the lightchange its way, we call this physical phenomena "Snell'sLaw." It also reflect that no matter what the thingschange, everything is connected each other. I use thesound of glass jar, put it inside the piano, and makesome sound to compose. There are four paragraphs inmy work (ABCA'). I regard the piano as the light, and themusic pass through the glass jar, they react upon eachother to make the different sound, just like the refraction.

Yuri Spitsyn, Toccata (from Ignis Fatuus)Toccata is the fourth movement of a corpus-basedalgorithmic composition called Ignis Fatuus. Thismovement was composed to showcase temporalsynchronization capabilities of sEl - a recombinantalgorithmic composition framework written by the authoras part of his Ph.D. thesis at the University of Virginia. As other movements of the piece, Toccata draws soundelements from database and its composition is based onthe process that comprises four stages: navigation,ordering, temporalization and adaptation.

Michael Lukaszuk, All the moon long...All the moon long... is a structured improvisation forlaptop ensemble that explores sleep as its main theme.This piece is not just about sleep in relation to relaxationand dreaming but also the many ways that our minds

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and bodies are quite active while we are out. This piecealso makes some references to certain works which areor have become associated with sleep.

Hibiki Mukai, Egomaniac IIThe electronic sound made by the viola is liken to thestring orchestra. Soloist accompanies the sound imagelike a viola concerto. The virtual orchestra shares thesong with the soloist. The sound from speakers is allgenerated in response to the viola. Therefore, the violacontrols all of this music.

Tyler Gilmore, Solo Set Piece Three - for MicrophoneFeedback & SamplesThis piece is taken from a larger suite written to exploremicrophone feedback possibilities combined withsamples from popular music.

Ai Negishi, RainbirdRainbird was composed for alto saxophone and a livecomputer electronics system in 2015. The piece iscomposed by Twelve-tone music, and consists ofA-B-C-A’. The computer performs audio signalprocessing such as pitch shift, granular sampling andamplitude modulation with Max. The first of the piece, thequiet phrase of alto saxophone is transformed with delayand pitch shift, and played as if played by twosaxophones. The next section is with a focus on multi-phonics, and the computer expands this acoustics. Thepiece gradually gather strength and the harsh phrase isplayed with electronics sounds. In the final section, theopening phrase recurs, and the music is dying away.

Naotoshi Osaka, Hybridization CollageThe electroacoustic part of this piece tries to express thetimbre hybridization of string timbre. Sound hybridizationhas long been my sound synthesis research theme,together with sound morphing and sound by sound. Idefine these as structured timbre. Such timbre is anextension of a sound stream, that is a border of onesound and multiple sounds. I believe such timbre willgive a rich timbre music. An old Japanese poem“Iroha”, in which all the Japanese phonemes are usedonly once is selected and read aloud, recorded and pitchanalysis was done, (attached as a sonogram) F0 (pitch)pattern was traced and assigned as notes without usingany micro tones, Thus reading intonation is transcribedinto a string melody theme. This was taken into a maintheme of an orchestral piece premiered in 2014. Thistime, moreover, phoneme was also hybrid. In some partintelligibility is high, while the other part low. Piano has adialogue with the electroacoustics. In the first and thelast part, electroacoustics hybridization between FMsound and bird singing is done. Again the timbre ofthose synthesized are set close to the timbre of piano.

Gina Biver, The Cellar DoorThe Cellar Door -- first in a new set of music by GinaBiver -- was inspired by the recent publishing of CarlJung’s Red Book. In it she explores Jung’s theory of

Individuation, the process by which the psyche becomesfully integrated and whole. The audio track representsthe unconscious, with its live sounds of waterphone; thepiano and cello represent the conscious life. The audiotravels from the rear to the sides and finally the front ofthe listener in a deliberate confrontation between theconscious and unconscious lives.

Martina Claussen, dots&linesAs a classically trained singer I´m used to spending mostof my time creating a specific quality of sound and colorin my voice. The use of electroacoustic tools allows meto extend the voice into new areas of expression and todevelop another sonic language for the human voice.The piece consists only of my own voice. The voice isplaced in a completely new context, alienated andpossibly robbed of its identity.

Doug Geers, RipplesRipples is a fixed media computer music piece thatexplores qualities of pulse and timbre. It begins with 16synthesized musical lines, separated by pitch register,pulsing together at a steady rate. Soon the speeds ofthese voices increase at different but related rates,creating a complex rhythmic texture. After all voices hittheir peak rhythmic densities, all of them slow backtoward the original shared pulse, again each at its ownrate. This process of increasing and decreasingrhythmic density happens several times through thepiece, resulting in “waves” of pulsed texture. Each waveuses a different start tempo and peak tempo, and thesegenerally increase through the piece. Eventually thepulses reach speeds so fast that the individual note linesblend into composite timbres, exploring the boundariesbetween listeners' perceptions of line versus texture. Please see http://www.dgeers.com/ripples.html for more information.

Cort Lippe, In the Shadow of VulcanIn the Shadow of Vulcan was originally co-improvised bythe Red Mountain Boys, a duo consisting of Cort Lippeon computer and David Durant on piano. Due tonon-legal issues completely unrelated to copyright, andwhich do not include a famous and highly complicated"Fair Use" trial, the piece is now solely attributed toLippe, who is mysteriously listed as the composer. Thisappears to be due to the nature of our modern sense ofso-called artistic ownership.

Tim Chatwood, Flicker for Vibraphone Light andEffectsFlicker for Vibraphone, Lights and Effects explores theuse of lights with music. With each musical idea, a newemotion is experienced. The use of lights and othereffects helps theaudience see the possibilities of pairingmusic with different elements. The flicker of an ideacould be the key to experiencing an unexplored emotion.

Nathan Bowen, Elevator InspectionWhile doing graduate work in New York City I worked for

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http://www.dgeers.com/ripples.html

a while as a doorman. The elevators in the buildingwould need routine inspection. This piece is anexploration of elevator sounds through live improvisationusing the mobile phone as controller. I am mainlyinterested in developing a mobile phone instrument thatrequires practice and does not require the performer tolook at the screen, similar to traditional instrumentalperformance practice.

Joshua Mailman, Fluxations Full BodyComprovisation No. 1Full Body Comprovisation No.1 is an aural-visualimprovisation made through sensor motion- trackeddance-like movement which steers generative algorithms(a system called Fluxations). Flux of texture, rhythm,timbre and harmony in the music correlates (sometimesindirectly) with flux of color, size, position, and density ofobjects seen in the visual field. All of these swerves andtrajectories of flux that are seen and heard are createdthrough the body positions and motions of the dancer-improvisor, who, absent from the video, merely leavestraces like a ghost, since the video omits thedancer-improvisor whose movements affect theaudio-visual composition—it’s a bit like watching ClaudeRains spookely shift furniture in the film The InvisibleMan (1933).

Here are some examples: Lateral movement of thedancer's body affects the hue of the flat backgroundcolor and the pitch content of the arpeggiated chords.Also, when the body (ghost) moves, the particles aredisturbed and move too. When you see particles movingmostly sidewise you'll also tend to see the backgroundhue shift and the aural harmonies shift as well. There arenumerious other facets of the sound and visual field thatare steered through other body motions. It's all smooththough, subtle like physiological or meteorological flux.

The viewer-listener’s feeling of causation of his/hersense experience is disrupted because the source of fluxis hidden. The flux experienced through the eyes andears is an artifict of human performance (detected bymotion tracking technology) interacting with algorithmicgeneration (real-time generated sound+graphics), thetwo biological and technological systems bound in acybernetic tangle only the residue of which is evident tothe observer.

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“Gestures and Frames”

Presented by Alessandro Cazzato, violinistPaolo Geminiani, electronics

Program

Alfred SchnittkePraeludium in memoriam Dimitri Shostakovich 5'

violin and fixed media

Philip GlassStrung Out 15'

amplified violin

Paolo GeminianiRisonanze errantiMultivision by Giulia Zoli Carlo Conti

video and fixed media

Paolo GeminianiGesture without motion 12'


João Pedro OliveiraMagma 12'


Program Notes

Alfred Schnittke, Praeludium in memoriam DimitriShostakovichAlfred Schnittke has pursued a “polystylistic” music formany years, drawing upon the melodic and harmonicgestures of different periods, pulling them together insuch a way as to project the unities that lie behind thediversity. Like all Russian composers of his generation,Schnittke works in the shadow of Dmitri Shostakovich,one of our century's greatest composers. It can hardly besurprising, then, that Schnittke would have composed amemorial tribute to Shostakovich within a short time ofthe older composer's death, and even less surprisingthat the tribute should quote the musical motto thatShostakovich often used for himself. Shostakovich'sinitials require four letters to spell them out in German:"D.SCH." (the “sh” sound being a single letter in theCyrillic alphabet). It happens that all four of those letterscan be represented by pitch names in German notation:D, E-flat, C, B-natural. In many of his most famous works(the Tenth Symphony and the Eighth String Quartet, forexample) Shostakovich used those four notes topersonalize the music. A composer seeking to do himhomage is no less likely to create his portrait with thatsame figure.

Philip Glass, Strung OutStrung out for solo amplified violin composed by PhilipGlass gets its name from the way the original manuscriptscore of some twenty pages was bound. It unfolded insuch a way that it could be “strung out” around theperforming space on music stands, or even pasted onthe walls. Linking the piece in a clear way with otherkinds of performance art being made at the time, theviolinist’s manoeuvres round the space thus became partof the event; a contact microphone was used in order toamplify the sound while giving the player completefreedom of movement. With the exception of two shortsections, the work consists of a continuous string of fastquavers, marked”‘mechanically.” This work is one of atleast eight which Glass composed between the summersof 1967 and 1968 when, now just into his thirties, hereturned to New York following three years abroad,including study in Paris with Nadia Boulanger and travelsin the East.

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Paolo Geminiani, Risonanze errantiRisonanze erranti for tape and video was written by theItalian composer Paolo Geminiani, who received hismusical education in Bologna. This composition ischaracterized by the uniformity of the sound source andis divided into two parts: the first one (1’ – 2’45”),consisting of two sections, is based mainly on a slightelectronic processing (such as time stretching or lowtransposition on a texture structure) and on a primarilygestural behavior; the second one (2’ 45” – 5’52”),consisting of only one section, heavily elaborates soundmaterial to diversify the different types of movementvarious (upward, descending, vertical) and to employ thedifferent envelopes that characterize all types soundproposals (morphing). The video in multivision is curatedby Giulia Zoli and Carlo Conti.

Paolo Geminiani, Gesture without motionGesture without motion is a piece for violin and recordedelectro-acoustic sounds composed by Paolo Geminiani.The work is inspired by the words of Thomas S. Eliot –“shape without form, shade without colour, paralyzedforce, gesture without motion.” In a seemingly motionlessthree-part structure, antithetical themes are developedwherein the sound of the violin blends with electro-acoustic sounds in a consciously organized structure, allin a perfect harmony of sound and intent. The violinsound moves from solo cadences to polyphonic textures,and, starting from a medium-low register, it thenculminates in acute harmonics (such as sul ponticello ortremolo), overlaying pedal tones in the low register. It is apiece of great impact, where musical timbres andelectroacoustic resonances are sensibly blended.

João Pedro Oliveira, MagmaMagma is a piece for violin and recorded tape, written bythe Portuguese composer João Pedro Oliveira (1959-).The piece (which is part of a four-work series inspired bynatural elements) is a musical experiment, attempting toshow the resonances between the violin and electroacoustic sounds: as volcanic magma transforms itselfover time, acquiring various hues (red, yellow, grey, andfinally black), so the timbre of the violin is changed by theaction of electronics, resulting in an embracing, plasticmass of sound. But even once it is solidified and itssurface appears to be stable, the inner core of themagma is still boiling and its constitutive elements arestill agitated. Compositionally, the piece is structuredupon large phases containing many musical gestures(also of high technical difficulty); each phase attempts toreach its climax, and each is increasingly emphasized.The electronic part acts like an actual (virtual)instrument, creating a dialog with the violin, andexpanding its physical limits: therefore, supposing thatone day it will be possible to overcome the“two-dimension” antinomy is not an outlandish thought.

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Program

Jason MitchellEnd of Message 5'23"


Edmar SoriaLasciate Ogne Speranza Voi Ch’e Intrato 11'17"


Massimo AvantaggiatoVana Imago 6'50"


Maria Mykolenkosilence and steel 10'54"


Yiannis ChristofidesOdas 9'01"


Brian Sears ...and veiled between 10'10"


Gerriet K. Sharmagrrawe 10'26"


Christopher CookThe Blue Marble 9'34"


Program Notes

Jason Mitchell, End of MessageEnd of Message was realized at the University of IllinoisExperimental Music Studio during the 2008-09 schoolyear. The title marks an end of an era, a time thecomposer does not wish to revisit. To write of it herewould be missing the point entirely.

Edmar Soria, Lasciate Ogne Speranza Voi Ch’eIntratoThe work stands as an exploration of the possibility ofdialogue between two apparent distinct worlds: thehuman-gesture and the algorithmic-gesture; this is, thedevelopment of algorithmic sound processing andspatialization of physical gesturally recorded soundsources.

Massimo Avantaggiato, Vana ImagoThis work is a csound remix of Dall'alto dei giorniimmobili by the Italian composer Fausto Romitelli, whichchallenges the traditional patchwork or remaketechniques, and shows a new perspective in the use ofan existing piece of music. The resulting piece is acompletely new track, which doesn't have anything incommon with the original one.

Maria Mykolenko, silence and steelSilence and steel is a soundscape that utilizes a varietyof live instrumental sounds including a series of motifsfor solo clarinet composed for this piece. It also usesconstruction sounds, processed and unprocessed. Thispiece is about the multiple layers of reality, representedby the various sounds, in a contemporary urbanlandscape. The various sounds are juxtaposed againstthe sound of a radio interview concerning military dronesand the social and political questions that arise from theiruse in modern warfare. As the piece progresses thesounds of the city are slowly peeled away to revealspoken text about a social and political phenomenon thatis soundless yet powerful.

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Yiannis Christofides, OdasOdas was composed as a site-specific sonic interventionfor the main reception room of the house of dragomanHadjigeorgakis Kornesios (1750 - 1809), now housingthe Ethnological Museum in Nicosia, Cyprus. The piecewas commissioned by Re Aphrodite (Chystalleni Loizidesand Evanthia Tselika) and the Nicosia Municipal ArtsCentre (NiMAC), as part of the group exhibition AtMaroudias (July 4 - December 30, 2012), which formedpart of the contemporary art program TERRAMEDITERRANEA / IN CRISIS, organised by NiMAC andthe Pierides Foundation under the auspices of theCyprus Presidency of the Council of the European Union. Concerned with the untold histories of women, or“herstories,” At Maroudias consisted of a series of subtle,often minimal interventions to the permanent exhibitionof the museum, assigned to artists in an attempt to retellthe history of the dragoman Hadjigeorgakis Kornesiosfrom the mostly inexistent in the official historical recordfemale perspective. The title of the piece refers to acertain type of room in Ottoman era upper-class houses.The specific room for which the piece was composed isthe only one in the 1793 building that has been restoredto be suggestive of Ottoman luxury. A lavishly decoratedspace, it combines stylistic elements from across theboard: previously a colonial-style living room, thenrenovated to an Ottoman aesthetic utilizing contemporarymaterials, it is now a museum space whose access isstrictly controlled and limited to viewing. Mirroring theroom's history, through which these stylistic ruptureswere produced, the audio piece is loosely based on animprovisation, or “taqsim” performed by AndreasVrahimis on the kabak kemane — a stringed bowedinstrument whose main body is made of vegetablemarrow — purchased at a nearby souvenir shop inNothern Nicosia. The piece incorporates field recordingsmade at the site, the city of Nicosia and the village ofLefkara. It is in tune with the adhan, the Islamic call toprayer, one of the most distinct sounds of thesoundscape of old city Nicosia.

Brian Sears, ...and veiled betweenWe have all felt the tug of our conscience at one time oranother in our lives. ...and veiled between is a sonicrealization of the battle that rages between our pride andour conscience as we struggle to make the rightdecisions in our lives. Memory and morality can becomesubjective as the voices in our head jockey for control ofour soul. The text was sourced from the poem“Conscience” by Madison Julius Cawein, and BeyondGood and Evil by Friedrich Nietzsche.

Gerriet K. Sharma, grraweThe composition tries to investigate the sculpturalpresence of 3D sound objects using primarily the IEMicosahedral loudspeaker. How can we compose andreproduce the “musical counterpart” in space? How canwe help the plastic sound object to emerge? Thecomposition raises the question of the self-localisation ofindividuals in their (sonic) environment or world. It is a

continuous play with the perception of movement,distance and perspective. Where is the composer, whereis the listener? Who is the composer and when does“world” come into being respectively when does itwithdraw itself from the composer and or the listener?Can we look forward to finding an answer?

Christopher Cook, The Blue MarbleThe Blue Marble is inspired by the spectacular “bluemarble” image. It is NASA’s most detailed true-colorimage of the entire Earth to date. Using a collection ofsatellite-based observations, scientists and visualizersstitched together months of observations of the landsurface, oceans, sea ice, and clouds into a seamless,true-color mosaic of every square kilometer (.386 squaremile) of our planet. The composition follows a simplemelodic idea through its evolutionary journey.

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Program

Charles XavierDollar Brand 10'

Charles Xavier, MX-49 synthesizer,percussion

Dillon HenryCog 9'48"


Brad MeyerHummingbrrd 3'07"

Brad Meyer, vibraphone

Cesare SaldiccoI Camminatori, Resconto, audiovisio per isoleerranti 22'45"


INTERMISSION

Tom WilliamsHome (Breath Replaced) 10'58"


Bret BohmannTraces 9'30"

Scott Bartlett, bassoon

Leonardo CicalaIdeogrammi ad Anello 11'25"


Timothy PolashekEngravings for Prepared Snare Drum, ipad andcomputer 10'

Brad Meyer, percussion

Program Notes

Charles Xavier, Dollar BrandThis piece titled Dollar Brand is from the Bosco Series2015 that the Xman composed and performed theexperimental electronic music at his studio, Happy Mediaand then the ensemble rehearsed and elaborated uponthe melody. “The Bosco Series” are original electronicmusic cues that the Xman recorded summer 2014 asmusical stems to be performed and manipulated live onhis X-computer allowing the artist to accompany thetracks solo or with his trio interacting with his pianistTerry Rodriquez and bassist Jim Shearer on variousinstruments that the Xman performs with. Xavier’smusic is “a total sensory experience that immerseaudience members in layers of textured sound, allowingthe mind to escape to new realms of serenity.” Join theXman, in creating “The Bosco Series.” Let's partnertogether to show your support to help Happy Note finishthis experimental and vital music in 2015!

Dillon Henry, CogCog is reflective of an increasingly mechanized andimpersonal society. Uncanny domestic sounds in thepiece’s beginning give way to the rhythmic motion oftransportation, which in turn leads to unrelentingindustrial noise. After a brief respite, the machinery startsup again, climaxing in a final cacophonous gurgle.

Brad Meyer, HummingbrrdSteven Bryant wrote, “Hummingbrrd began life as apurely electronic track consisting of only sounds I madewith my own voice, tuned, transposed, and processed.”Upon Bryant’s visit to Stephen F. Austin State Universityin the fall of 2013, Dr. Brad Meyer asked Bryant toarrange his “Hummingbrrd” for vibraphone andelectronics, which was originally for electronics only, andthen was arranged by Bryant to be for euphonium andtape. Much to Meyer’s surprise, Bryant allowed Meyer toarrange the piece and add in vocals to help blend thefixed tape part with the live performance. Thiscomposition is whimsical and catchy, and only lastingthree minutes. It is sure to capture the audiences’imagination of what it was like for Bryant to be at hiscomputer, originally creating this quirky composition.

Cesare Saldicco, I Camminatori, Resconto,audiovisio per isole errantiHalfway between imaginative dimension and sound,between documentary and time-lapse, frames andsounds that inhabit the pictures of "I camminatori" (Thewalkers) bring into resonance the words of Testa'spoems, framing each verse in a kind of instant sound.Conceived as a musical score, the film-installation ischaracterized by the double dialectic between sound andimage: from one hand, the audio text alternates readingsto actual soundtracks acousmatic poem, the image, fromthe other hand the visual part is played on the contrast

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between static and plasticity; slow movements of themachine that linger on landscapes where there is anabsence of man, alternate with sequences in time-lapseand characterized by a frenetic pace and tight. A collageof stories and improvisations sequence where image andsound come together in a poietic and abstractdimension, while the rhythm, punctuated by thealternation of film shot and time-lapse, characterizes theformal symmetry. One possible reading of an archetypeas widespread as mythological: the journey, the journeyundertaken by hikers, explorers, the dreamers, theemigrants, to all those that move like real islandswandering between water and land borders in the world.A trip, then, driven by the desire to explore the world thatlies beyond the veil of everyday life behind and which aregathered and amplified anxieties, instincts andpsychology that belongs to the man of every time andevery place.

Tom Williams, Home (Breath Replaced)Home (Breath Replaced) explores the inner, intimatesonic life of the body as home through electroacousticallytransformed binaural recordings captured from headrecordings of the breath of dancers dancing. All thecomposed sound material that is heard in the piece wasoriginally either of the dancers breathing or theextraneous sounds of their movement as they work inthe space. The sonic imagery emphasizes breathing andresting, waiting and weight, alongside emergent abstracttransformations. Giving space and evoking movement atplay, here the body is conceived as (an ever changing)home. This piece is part of an ongoing collaborativeproject with the dancer and dance academic, VidaMidgelow.

Bret Bohmann, TracesThe conception for Traces started with the sound qualityof the bassoon. For me, the timbre of the instrument hasthe ability to evoke an ancient sound world. I ruminatedon this quality and began by asking the question: how didancient humans react to their own echo? Before theadvent of recording technology and the use of analogueand digital sound playback this was the only instancewhen sound was disconnected from it ’s source; able tobe heard by the maker but disconnected from theinstance of vocalization. Humans could actually hear thesound of their own voices separated from their bodies.There has been quite a bit of interest recently in theresearch of acoustic properties of ancient sites. StevenJ. Waller, a researcher of archeoacoustics, proposesthat the echoes in caves may have conjured ancestralspirits for early humans. Other research in this fieldincludes mapping the acoustics of the undergroundtunnels of Lanzon in the Chavín de Huántar of Peru,though to shaped as part of a rite of passage ritual,which included inducing audio hallucinations. Readingabout this research helped give shape to this work as Iimagined an ancient sound world with magical acousticproperties yielding unnatural echoes as the bassoontraverses through this sonic landscape.

Leonardo Cicala, Ideogrammi ad AnelloTwo elements of this piece: the first element is theproximity of a presence. After appears a vastatmosphere, fluid, imaginary, this atmosphere means thepower of imagination, the infinite power of open thedivine. The second element of the piece is the wheat thatfigure the loss of memory, the holes of the image, theconfusion, the inability to find oneself.

Timothy Polashek, Engravings for Prepared SnareDrum, ipad and computerEngravings for Prepared Snare Drum, iPad, andComputer was composed by Timothy Polashek forpercussionist Brad Meyer using a jointly createdelectro-acoustic and interactive musical instrument.During performance, the percussionist equallymanipulates and expresses through two surfaces, aniPad displaying an interactive touch screen and a snaredrum augmented with various foreign objects, including acontact microphone adhered to the drumhead’s surface.A computer program created for this composition runs ona laptop computer in front of the percussionist. Thesoftware captures sound from the contact microphoneand transforms this sound through audio signalprocessing controlled by the performer’s gestures on theiPad. The computer screen displays an animated graphicscore, as well as the current states of iPad controls andaudio signal processing, for the performer. Manycompositional and technological approaches used in thisproject pay tribute to composer John Cage, since thepremiere performance of Engravings for Prepared SnareDrum, iPad, and Computer took place in 2012, thecentennial celebration of Cage’s birth year.

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Program

Angelo BelloLorem Ipsum 8'31"

Angelo Bello, sound, video, conceptKim Whittam, choreographer

Caroline Louise MillerSadismusic I 10'34"

Maja Cerar, violin

Stephen Dydo and Susan HaireTipping Point 12'

Stephen Dydo, electric Guqin

Joshua GroffmanLandscapes 13'30"

Joshua Groffman, piano

Robin CoxStart 5'

Robin Cox, violin

David DurantThe Crystalline, Radiant Sky 7'

Esther Lamneck, tarogato

INTERMISSION

Alba BattistaLes Axiomes de la Tentation 13'56"


Jeff Morris and Joe HertensteinShankcraft 8'

Joe Hertenstein, percussion

Kyle JohnsonI’m really not much of a talker 20'

video

Program Notes

Angelo Bello, Lorem IpsumFor fixed media, video projection, and choreographedmovement.

“We are…summoned to hope in the growinglight of the saving power. How can this happen? Hereand now and in the humble things, that we may foster thesaving power of its increase.” (Martin Heidegger, TheQuestion Concerning Technology, translation by HubertL. Dreyfus)

The origins of this work are in a walking regimethroughout various neighborhoods of midtown ManhattanNew York City, to and from Penn Station and the officewhere I spend the day. These walks provide a space formeditations on movement, sound, image and dialogue,and the interrelationships and dependencies amongthem. While developing the scope and plan for thispiece I approached choreographer Kim Whittam for herpartnership, with whom I had previously collaborated onmultiple projects, and who graciously accepted to join. Iam grateful for the enthusiasm the Kim Whittam DanceCo. brings to this project. In this work, I take a promptfrom Peter Hoffmann, developer of The New GENDYNProgram, when he suggested that “the New GENDYNProgram, in addition to being a customized tool for theanalysis of a single musical piece, [is] a generic‘stochastic composition instrument’, much in the sense ofinteractive computer composition.” For this piece LoremIpsum, I implement the GENDYN’s capacity to generatewhat could be described as “Cantus Firmi” of melodiesand events (of stable pitches, as opposed to thecharacteristic and sometimes unwieldy constantlyvarying tones), of which the center of tonal or modalgravity and the manner of construction of the resultingpitch clusters resides in the precise definition of initialconditions of the system, selected á priori and applied tothe algorithm.

Caroline Louise Miller, Sadismusic IThis work explores power dynamics between twopersonalities, enacted by one violinist. The firstpersonality is icy, poetic, nostalgic, romantic, reclusive,and delicate. The second personality is playful, sadistic,aggressive, chaotic, capricious, rambunctious, anddevilish. The electronics function as an insidiousengorgement of personality 2's presence, graduallycreeping in to terrorize, mimic, and falsely contextualizepersonality 1. This piece was originally written for 2violinists; this solo violin version explores conflictingpower dynamics within a single body (electronicsfunctioning as an extension of one of these bodies.)

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Stephen Dydo and Susan Haire, Tipping PointTipping Point is part of Vanishing Point, a series ofinstallations and videos Dydo and Haire have beendeveloping since 2013. Their focus is on the urgent needfor us to learn from the sustainable cultures, representedin this video by the untouched Earth, that aredisappearing in the face of resource-devouringdevelopment, using the special concentrated power ofart and music. The music technology, whilecomputer-created, references ancient melodies fromChina and Japan, as well as complex rhythmic structuresgathered from the Tibetan Plateau. When we considerthe history of human development, we typically regardour most remarkable feats to have been agriculture,industrialization and globalization. These enabled man tomultiply across the globe, harness nature, and evenreach to the heavens. But long before that, we createdlanguage, literature, painting, sculpture, music, danceand spirituality. Vanishing Point explores how we cancontinue to evolve mankind's greatest creations –spirituality, literature and the arts – while letting go of thepost-industrial activities usually grouped under theheading "Progress" which are destroying the ecologyupon which we all depend for our physical survival.

Joshua Groffman, LandscapesLandscapes (2014) for piano and live electronicsdeconstructs and repurposes the sounds of the NewYork’s Hudson Valley. In an American landscape inwhich sounds and geography are increasinglyhomogenized, I sought out aural markers that wereparticular to the area: place names in familyconversation, discussions of local politics, the accentsand inflections of New Yorkers. Such sounds are thenused as pivots from the everyday into new sound worlds.The piece is polystylistic – field recordings and foundsounds mix with the traditions of the classical pianorepertoire, electronic dance music, and snippets from thelate- ‘90s pop punk scene, soundtrack of myadolescence.

Robin Cox, StartStart is an intense work of rhythmic relationships comingclose, but never quite settling into stable pattensbetween live acoustic and electronic elements. It placesupon the live violinist any temporal grounding orstructural foundation sensed in relation to very quick,fleeting, and highly syncopated rhythmic gestures of theelectronic parts. The performer's use of bone conductionclick track monitoring also ensures accuracy in executingthese tightly integrated rhythmic relationships, at timeseven allowing for the sense of the live musiciananticipating or leading the electronics in performance.

David Durant, The Crystalline, Radiant SkyThe Crystalline, Radiant Sky for tarogato and audio file(2015) is composed using only the sounds of thetarogato as played by Esther Lamneck. The audio filewas created by using a recording of Dr. Lamneck inwhich she played anything from single long tones to

extended improvisations. The recorded sounds wereused unaltered and with many manipulations. Dr.Lamneck is also performing a live improvisation with theaudio file. The title refers to the past as represented by acrystal, something formed and set. The crystal imagerepresents the recordings of the tarogato. Radiantrepresents the present and the live improvisation. Thesky represents the audience. The title is taken from F.Scott Fitzgerald’s first novel, This Side of Paradise,where the narrator says about the protagonist: Hestretched out his arms to the crystalline, radiant sky. “Iknow myself,” he cried, “but that is all.”

Alba Battista, Les Axiomes de la TentationNon-dialectical culture that is forming is still in its infancy,but it had a special place to arise, which is music. And itis music that tells us this growing thought doesn’t wondernature or existence, but what does it mean to know. Thelanguage of music says what we do not know: itdiscovers the field of experience, uses the freedom ofthe poets, moves in the network of our knowledge,inhabits the dreams. Its dazzling clarity erases theborders of our mind’s provinces, and rises again for thefirst time in other times and other places. There, inlistening, we recognize what is born in the heart of everyman and in his bright imagination. Then, we will betempted to fix new axioms.

Jeff Morris and Joe Hertenstein, ShankcraftThis improvisatory performance environment isconstantly finding itself through introspection: all theelectronic sounds are sampled from the foundpercussion live during the performance, and all of thevisual material is taken from percussionist JoeHertenstein's movements as he plays, transformed into asound-reactive visual counterpoint by custom softwareinstruments created and performed by Jeff Morris.

Kyle Johnson, I’m not really much of a talkerI'm not really much of a talker is not based on a truestory. Premiered at Harvard University in Spring 2015,the collection of multimedia songs about lies, narrative,fiction and reality is presented live by Kyle Johnson withvideo and audio accompaniment. During performance, Iperform an original text while standing next to a largetelevision (or projection screen) playing coordinatedsound and images. Some songs tell stories, some takeemotive, potent cultural traditions and remix them tomake them cold and mechanic. Some are beautifullyabstract and wordless, some are documentary piecesabout real people, some connect to form larger sectionswhile some are independent. Across the performance ofthe entire piece the perspective of the audience isconstantly shifting, wondering how one part of the storyconnects to the other, what is fiction and what is fact,and what will come next. The entire work is 65 minuteslong, but because it’s a collection of separate songs,shorter performances are also possible.

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Music from theDiapason Archive

curated by Michael Schumacher

Program

Alvin LucierPlaces 10'


Roc Jimenez de CisnerosHands in the Air, Reach for the Laser 5'


Bruce Andrews and Michael SchumacherUnintending 7'


Al Margolis IIIWhat Makes a Sound (argument)? 7'


Carl StoneCantipur 5'


Alan LichtToday I am a Fountain Pen 5'


Stephen VitielloWinds After Hurricane Floyd 7'

5.1 channel fixed media

note: all works on this concert areexcerpted

Program Notes

Alvin Lucier, PlacesDuring the summer of 2003, the composer captured theacoustic signatures of 21 indoor and outdoor spaces inOstrava, Czech Republic, by bursting balloons in eachspace and recording the results. Later, in the fall of2003, he made 12 5-minute field recordings in indoorand outdoor places in New York City. Listening throughheadphones, 5 musicians from Ensemble Sospeso,including violin, cello, oboe, clarinet, and percussion,imitated the sounds of field recordings, recording themas they did so. Using the technique of ImpulseResponse, each recording was played into one of theacoustic signatures, stored in a computer. For example,the sounds of Grand Central Station are heard in a hotelroom sink. The results were subject to reiterativeprocess until all vestiges of the instrumental sounds wereeliminated. All that remained were the resonances of thestored spaces. Places was commissioned by Meet TheComposer for The Ensemble Sospeso in conjunctionwith Engine 27 and engineered by Joe. This installationis the New York premiere.

Roc Jimenez de Cisneros, Hands in the Air, Reachfor the LaserIn physics, a multistable system is neither stable norentirely unstable and constantly shifts between variousstates as the result of the coexistence of several systemattractors. Hands in the air, reach for the laser usesgenerative algorithms to implement these behaviors inthe synthesis, organization and diffusion of sounds. Theoutput of each speaker constantly shifts betweendifferent states, thus changing the listener’s perception ofthe system, which sometimes appears as a whole, andother times as a juxtaposition of isolated, independentsources engaging in complex trajectories.

Bruce Andrews and Michael Schumacher,Unintending...consisting of the following sound sources: 1. a fryingpan dragged along a stove-top 2. a fender rhodes 3.walking along 34th Street with a plastic (B&H) bagrhythmically slapping a leg 4. a casio electroniccalculator being turned on and off 5. Malcolm Goldstein'sviolin playing 6. Jane Henry's violin playing 7. a Sergesyn- thesizer 8. a Thalys train 9. a Pelikan 100 fountainpen 10. sleeping 11. a hallway in the Museum of NaturalHistory 12. various steam radiators on the LES 13. arecording of Michael Harrison's raga singing class 14.the motor of a Panasonic hand held cassette recorder15. a construction site in a small town somewhere insouthern Italy 16. David Shively playing the melodica 17.a landscape in the south of Italy near Salerno, at night...All created by Bruce Andrews' voice.

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Al Margolis, III, What Makes a Sound? (argument)Coming at composing from the recording medium, mostof my works begin in a "fixed" form. Having recently beengetting back into live performing, many of the recordedcompositions are used as the basis for the performance.They are stripped backwards into their componentelements and the elements become the backing tracks,the canvas, on which the rest of the performance is"painted". (I have been describing my work as soundpainting for years). Every work devolves into multipleversions and are often combined with other works. Thusleaving the recorded version as the "true" version, yetleaving space for many variations of a work. The work(s)heard here are all parts of larger compositions. Thesounds that you hear are either removed from theiroriginal contexts or combined with sound sources fromdifferent compositions. The compositions or portions ofare Gitkleingit, What Makes a Sound Argument 2, Xylo2, Lisa flutes, Linguido, and Tattooed Love Muffins. Thesource materials include the voices of Lisa Barnard,Laura Biagi, Dan Andreana, and Joan from Barcelona.

Carl Stone, KantipurKantipur is a sound installation wherein the urbansoundscape of Tokyo is smashed like glass andrearranged in mosaic. Programmed in Max/MSP, it isgenerated in real time. This excerpt has been recorded.

Alan Licht, Today I Am A Fountain PenMy Bar Mitzvah re-configured as a sound environment.Today I Am A Fountain Pen is the first full-fledged soundinstallation by improviser and guitarist Alan Licht. Thesound source is a tape of Licht chanting haftorah Naso athis Bar Mitzvah, June 6, 1981, Congregation Bnai Israel,Millburn, NJ. Licht has selected twelve consonantmelodic fragments that are looped and layered in variouscombinations and permutations. This echoes the trope,or cantillation system of Torah reading, which employs afixed set of melodic accents, and pays homage to theprocesses and techniques of contemporary minimalistcomposition. By using this unusual personal documentas source material, Licht allows an autobiographicalinsight normally absent from musique concrete, andmore in keeping with his background as an egocentricrock guitar hero.

Stephen Vitiello, Winds after Hurricane FloydSounds recorded from a 1999 WorldViews residency(LMCC/Thundergultch) on the 91st floor of the WorldTrade Center, Tower One. Contact microphones wereaffixed to the windows, picking up the sounds of windand the movement of the building, passing helicoptersand planes, people down below.

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Program

Ian ClarkeThe Laws of Nature 5'48"

Christian Eloy and Krunoslav PticarSoupir bleu 14'

Thomas BeverlyDancing Tree 6'54"

Eric Sheffield and Anna WeislingArbor I-V 9'45"

Claudia Robles-AngelCologne: transformations 6'

Carlos Johns-DavilaNosotros, Criaturas Pintadas 7'32"

Tommassi RosatiResound Nature 5'59"

Roberto MusantiRotational Chaos 4'

Samuel Pellman and Ella GantMind Meld 11'20"

Antonio D’AmatoOpus III 3'34"

Alejandro BrianzaMikrokosmika 4'48"


Program Notes

Ian Clarke, The Laws of NatureHeads, The (F)Laws of Nature: Plato believed that themost fundamental basis of order in the universe is theForm of the Good, "the brightest region of Being". It issimultaneously the cause and result of Nature, andanything created in accordance with it is intrinsicallybeautiful. A paragon utopia is, to Plato, "...a city whichwould be established in accordance with nature." Howpeculiar, then, that his "On the Good" speech was soconfusing that most abandoned the lecture before hecould finish, and yet, how fitting that it would be sodifficult to define a set of conditions that are profoundlyaffected by all human interference, including the very actof definition.

Tales, Aims: What then is natural beauty, when thenature that bounds it to real parameters is so fluid andunpredictably subjective, when the consistent loss of atraditional sense of Nature continuously redefines theLaws of Nature? Does it matter? Probably not. If I left itat that and called it a day, though, this would be a prettydisappointing piece. In trying to provide an answer to thequestion posed at the head of the tale, I found that, forme, if beauty is the perfection of Nature, but Nature ismade imperfect in the pursuit of perfection, then it mustbe adequately self defeating. Failure to meet theunreasonable standards of natural perfection is in itself aform of perfection.

Flaw is beauty. Mistake is beauty.I have chosen to communicate this alternative perfectionthrough both a heavily glitched time lapse of forest andbramble landscapes, and through a brief nightscapeviewed through the eyes of a psilocybonic mind.Please enjoy or don't.

Christian Eloy and Krunoslav Pticar, Soupir bleuSoupir bleu is a pure videomusic work: ... some blue ...some sounds ... some breaths ... ? no story, only yourown story with blue and breaths !? Soupir bleu is bornfrom a very free interpretation of Marc Vappereau'sinstallation at Sous La Tente gallery in Bordeaux.I was very happy to be completly free to compose a fullelectroacoustic music on this very personnal video ofKrunoslav. I didn't ask any information about the originalidea or the story of this installation; I was fascinated byan aesthetic reading of this video and I wanted to make amusic translating this very intimate emotion.

Thomas Beverly, Dancing TreeDancing Tree is product of my fascination with slowgrowth. The tree in this time-lapse video is about 300years old, but is only 15 feet tall because of the desertenvironment where it grows. The music in this piece is asonification of the subtle, but often frenetic movement ofthe dancing tree on one windy day in the desert of west

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Texas.

Eric Sheffield, Arbor I-VIn keeping with the spirit of the original commission, themusic for these multimedia pieces was derived solelyfrom recordings of saxophone sounds played by Nick,many of which were improvised in the studio. The visualelements and overall aesthetic were inspired by a singleday shooting video at the UW-Madison Arboretum. Theprimary sections of footage from which each section wasderived seemed to present themselves to us withoutmuch provocation on our part, and individual shotstended to explore a relatively small range of space. Westrived to maintain the unexpected natural beauty of thesource material throughout this work, both aural andvisual, by allowing the original subjects to maintain theirintegrity even as they are manipulated anddeconstructed.

Claudia Robles-Angel, Cologne: transformationsThis audiovisual composition shows the transformationfrom old plans of the city transformed into an imaginarymap obtained from the convergence of natural structuressuch as tree branches and a new satellite image of thecity. The visual element of this composition is inspired bythe book Invisible Cities by Italo Calvino and the sonicelement was composed using the original soundscape ofCologne.

Carlos Johns-Davila, Nosotros, Criaturas PintadasThe video opens with a picture of human DNA. Its titledepicts humans as painted objects in a canvasrepresented throughout the video. Superimposed on theillustrations are videos of sympathetic individuals whoare simple representations of the Genesis charactersAdam and Eve.

Tommassi Rosati, Resound NatureNature has its own sound, rich, sometimes gentle, otherimperious. It wakes up us in the night, or it’s abackground that is quickly forgotten. Nature has a soundthat is always new, even if it is substantially the same.Has whistles, melodies, sounds and rhythms. Nature hasa sound. And what if it had another?

Roberto Musanti, Rotational ChaosRotational Chaos is an audiovisual work that exploresthe relationship between images and sounds, inparticular through the relationship of the forms of solidsof revolution and the sounds of chaotic generators. Inthe foreground, the solids of revolution, whose profile ispartially determined by the harmonic components ofsome sounds produced by chaotic generators, highlightthe contrast between the symmetries of their forms andthe timbre of the sounds. In the background, a particlesystem evolves through the interaction of forces ofattraction / repulsion, acting as a "backdrop" of thecomposition. Although the composition is abstract,because it is based mainly on the relationship betweenforms, and between them and the sounds, the graphic

materials chosen and their assembly even with thesounds, lead us to a narrative interpretation of the work,constituting a sort of geo/math-fiction .

Samuel Pellman and Ella Gant, Mind MeldA collaboration can occur when the patterns of thought inone mind first find resonance in the patterns of thoughtof another mind. As these patterns of thought converge,a unity of expression emerges, and the constituent mindsbecome indistinguishable. Artists Gant and Pellman havecollaborated on a number of image/sound works over theyears and have team-taught several classes. Often theycomplete one another’s sentences. In the piece MindMeld they seek to bring themselves and the members ofthe audience into a state of unitary consciousness. The sounds, performed live on a Symbolic Sound Kymasystem, are tuned in 7-limit just intonation in a texturecomprised of polymetric Euclidean rhythms (i.e., acounterpoint of irregular mixed meters). The video is alsoperformed live, with Resolume's Avenue VJ software.

Antonio D’Amato, Opus IIIThis piece is a soundtrack composed expressly for ashort abstract movie by Walter Ruttmann, titled LichtspielOpus III (1925). The first idea came up while I wasvisiting an exhibition on Italian futurism at theGuggenheim Museum in New York. Unfortunately thework by Arnaldo Ginna and Bruno Corra, who were twofilmmakers associated with the futurist movement, hasbeen lost. We just have an article (Abstract cinema –Chromatic music, 1912). The abstract movies by HansRichter and Walter Ruttmann, dating around the 1920sseem to be an expected evolution of the abovementioned research. We could really call their artworkvisual music, because of their emphasis on qualities asrhythm, tempo, movement, counterpoint and harmony, inthe kinetic of colours and forms. Ruttmann followed thefuturists' idea of coordinating music with colours andmoving shapes. Though Opus III was created as a silentanimated film without soundtrack, few years later HannsEisler wrote the music for this film, for a performance atthe Baden-Baden music festival in 1927.Here I propose my piece composed as a soundtrack forthe original silent movie. I adopted a free association offorms and sounds, working mostly on progressive timbremutations, where the same shape appears many a time.The dislocation of the shapes is mostly reflected in apitch change, but the behaviour is occasionally reversedor more complex. The goal is to achieve the merging ofcommunicative strengths from different art forms.

Alejandro Brianza, MikrokosmikaMany events happen and we do not give themimportance. Miniature worlds escape our sight (and allsenses) daily. MIkrokosmika tries to evoke the feeling ofattending one of these miniature universes and casualbehaviors that offer their habitants in their fast-pacedlives. Imagine... How interesting it would be to listenthrough a microscope?

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Program

Thommy Wahlström2015 invention for EA no. 22 7'


Selena WellingtonFlowers don’t do anything 5'12"


Wil OffermansTsuro-no-Sugumori 10'

Nina Assimakopolous, flute

Kevin GironnayCe vide qui déborde 6'30"


Daniel Holmesa quiet walk in a siren park 4'

Daniel Holmes, iphone

INTERMISSION

Chin Ting ChanRituals 8'


Chet UdellGjallarhorn 7'30"

Lydia Van Dreel, horn

Kyle VanderburgRemnants of Creation 10'


Edgar BerdahlthROW 6'30"

laptop quintet

Program Notes

Thommy Wahlström, 2015 invention for EA no. 222015 invention for EA no. 22 is created with the idea ofthe corresponding between sounds with differentnarrative function. Sounds from the same category in forexample intensity or percussivity but with differentcategory of narrativity. It is obvious that the sounds kindof work together musically but the story…?

Selena Wellington, Flowers don’t do anythingThis piece was composed in response to the 2015Syrian refugee crisis and the November 2015 Parisattacks. It incorporates sampled material with audio clipsfrom news reports and interviews with various UnitedStates politicians commenting on the refugee situation.The title comes from a CBS News report that intervieweda French citizen and his son. During the interview, as thefather explains why there are flowers put out in the city,the child says, “But flowers don’t do anything, they’re for,they’re for…” Composed using Logic and SuperCollider.

Wil Offermans, Tsuro-no-SugumoriTsuro-no-Sugumori is a piece fool solo flute andamplification inspired by the Japanese Shakuhachi andemploys a vast array of contemporary extended playingtechniques on the flute.

Kevin Gironnay, Ce vide qui débordeCe vide qui déborde (This emptiness that overflows) is abrutal expression of these moments when you feelovercome by so many problems, you just end upexperiencing a deep emptiness in the accumulation.

Daniel Holmes, a quiet walk in a siren parka quiet walk in siren park is a work for solo performerdual-wielding iPhones. The work is minimalistic in nature,featuring six identical instances of a single short soundfile. Each are interacted with via touch screen andaccelerometer/gyroscope gestures. The musicaldevelopment is also minimalistic and features only a fewdifferent pitches. Ultimately, the performer realizesmusical motive and gesture via stereo space and subtlechanges in dynamics and granular (and non-granular)textures.

Chin Ting Chan, RitualsRituals is inspired by various ritual processes of differentcultures. Some rituals involve elaborate processes, whileothers are simply daily rituals inherited from the tradition.While most rituals are diversely different, they all engagea sequence of actions according to a prescribed orderguided by a mythical belief. This piece takes inspirationsand sonic elements reminiscent of the ritual processesand forms a sonic collage that alternates constantlybetween hyper-real and surreal soundscapes, andcreates a multi-layered texture of timbral and rhythmiccomplexity. Some of the sound sources include air, wind

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chimes, metals, water, piano resonance and variousdrum patterns, processed almost exclusively with Cycling74’s Max program.

Chet Udell, GjallarhornGjallarhorn (old Norse "Yelling Horn" or "theloud-sounding horn") is the enchanted horn blown byHeimdallr to herald the beginning of Ragnarök, or theend of times when the gods die, the world is destroyed,and reborn. This piece isn't about depicting Ragnaröknor a symphonic poem illustrating Norse mythologicalstories. Gjallarhorn, instead, is a celebration of thisenchanted musical instrument and its awesome powersto create, transform, and destroy. Various physicalgestures of the horn create a variety of musical effects,each inspired by personalities of Norse gods. Wandering around in the woods, something brassglimmering in the sun in the middle of a freshly plowedfield catches your eye. You wander over; using yourhands to brush the soil, uncovering the glowing brassobject. It's an ancient musical instrument. Carefully, youpick it up and feel a strange tingling sensation flow fromyour fingers, down your arms and into your shoulders asyou raise the horn to your face and…

Kyle Vanderburg, Remnants of CreationRemnants of Creation is a commentary on waste,exclusively utilizing field recordings from Tulsa Recycleand Transfer's Material Recovery Facility. In the piece,hundreds of thousands of pounds of recycling introducecreation as a mechanical process rationally designedfrom random detritus.

Edgar Berdahl, thROWIn our day-to-day lives, we send and receive things of allsorts. Where do these things come from and where dothey go? They have to go somewhere. In thrOW, eachperformer uses a FireFader force-feedback device tothrOW things back and forth, as mediated by anotherentity. When an object falls on a performer’s device, sheor he has the option of thrOWing the thing away or ofholding it, which causes musical sound to besynthesized. What would happen if gravity were suddenlyincreased? Or what would happen if gravity weresuddenly decreased? What if, collectively, we had tocatch everything that we threw away? thrOW is believedto be is the first music composition in which multipleperformers use haptic technology to touch the samevirtual things.

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Program

Antonio BonazzoViolin Shake 9'

Maja Cerar, violin

Michael RhoadesReflections and Refractions 12'35"

video and 8 channel fixed media

Gustavo ChabEtérea Ethereal 12'54"

Maja Cerar, violin

Giorgio NottoliEllenikà 6'


Sylvia PengillyThe Syntax of Chaos 8'11"

video

Takayuki RaiLucent Aquarelle for harp and computer 11'

Arielle, harp

INTERMISSION

Hubert HoweHarmonic Fantasy No. 2 for Piano and Fixed Media 10'

Jonathan Howe, piano

Stephen BeckVale Veneto Remix 2'


Hiroshi Ebinauntitled_work_November 6'42"

Hiroshi Ebina, performer

Joel ChadabeOne World 1 9'


Boris NazarovEast is the West Radio 5'50"

Boris Nazarov, kalimba

Michael GoginsSevier 9'


Brian BeletIon Trails (Cloud Chamber Storms) 11'

Daniel Pate, percussion

Program Notes

Antonio Bonazzo, Violin ShakeViolin shake belongs to a cycle of pieces for soloinstruments and electronics. At the moment I've writtenfor violin, for viola d'amore, for double bass, for bassclarinet and for bass drum. The next one I'm going towrite will be the octobass shake. The purpose of theentire cycle is to investigate new directions in theinteractions between the instrument player and themachine (electronics). In this case the violin player has tointeract with the machine listening to it while playing hispart and the computer uses parts of the violin to play itback warped by means of stochastic processes.

Michael Rhoades, Reflections and RefractionsReflections and Refractions, in four movements, wasproduced in the spring of 2015. As the title suggests, it isa study of light reflecting and refracting multiple timesthrough a virtual 3d sculpture, made of thick glass, in aspace consisting of multi-sided mirrored walls, floors andceilings. (The exception to this is the third movement,which takes place in “empty” space.) The musicalaspect of the piece was composed for 3d diffusion overan 8.1 sound system. The audio and visual elementswere designed to interact in a choreographic fashion.They collaborate in unison and in harmony, incounterpoint and independently to create an immersivedance of light and sound. To accomplish this, atdifferent times throughout the composition, the sculpture,the walls and the camera each spin, rotate, dolly and etc.at varying angles and rates. The spatial aspect of themusic was specifically composed to accompany thesemovements. Maya was used to create the visualcomponents. Csound and Cmask were used tosynthesize the music.

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Gustavo Chab, Etérea Ethereal Etérea Ethereal is a speculative composition, a creativeform of working with sonic material, is an open source /is a mental process that assemble ideas and series thatnot always is necessary to be hear / prototype is amusical systems / Intuitive improvisation with interactiveelectronics - graphic notation with electronic patchesnavigating scores with cartography and creative musiccombining live performance Prototype will seek toexplore image, ideas, concept, geometries, musicnotation and other combinations

Giorgio Nottoli, EllenikàThe work is constructed from recordings made in Greeceduring two living on the island of Thassos, 2012-2013 .The records include both sounds from nature, which,although really Greek, could come from anywhere in theMediterranean sea, and events spoken in the Greeklanguage. Some of the latter have been taken up incrowded places such as markets of the country and, inparticular, where the calls of vendors prevail over thebuzz of people, others by reading poems of classicalantiquity as those of Sappho and Alcaeus. The speechmaterial was analyzed in order to extract elementarytrends, in terms of durations and intonation, whichconstitute the basic articulation of the piece. The pitchesare used to filter the concrete material getting complextonal changes. For example, the sound of the sea filteredby means of resonators tuned on the pitches of a canon,in the first part of the piece, it gradually changed into aclear and varied timbre. The form of Ellenikà is dividedinto two parts, in the first dominate the sounds of nature,in the second human voices, gradually morerecognizable. Then the musical result plays betweenabstraction and revelation, slowly and gradually, of theelements of the soundscape.

Sylvia Pengilly, The Syntax of ChaosHow can Chaos have syntax? That's ridiculous! Thismay well be your reaction to the title of this piece,however, in a scientific context, Chaos, with reference toChaos Theory, refers to an apparent lack of order in asystem that nevertheless obeys particular laws or rulesknown as sensitive dependence upon initial conditions. In his ground-breaking book, A New Kind of Science,Stephen Wolfram expands on this idea by demonstratingthat a very simple system, such as a two-line computerprogram, can produce something extremely complex,which can even cross the borderline into Chaos. In anattempt to apply these ideas to composition, I selectedsamples that were as different from each other as I couldimagine: snippets from an early string quartet, a short,quasi-modal exercise designed to test my student'smusic reading ability, and some percussive, granularsounds. These were then processed several times untilthey sounded nothing like the originals. Then, beginningwith the chaotic distortions, the piece slowly worksbackwards, albeit non-linearly, to finally reveal thesamples in their original form, the "initial conditions" fromwhich the "Chaos" emerged.

Takayuki Rai, Lucent Aquarelle for harp andcomputerThis work was composed for harp and live computerelectronics system, consisting of a Macintosh computerrunning Max/MSP. A live computer electronics systemperforms real-time signal processing on harp soundplayed on the stage. Diverse signal processingtechniques are employed, including time and frequencydomain manipulation and real-time grain-basedfrequency modulation technique. The pitch and intensitydata of harp performance are also detected and controlreal-time sound synthesis routines as well as signalprocessing in particular parts. The live computerelectronics system acts as if it is a part of the instrument,expanding its timbre, and creating a novel musical spacein combination with the instrument. Lucent Aquarelle,commissioned by and premiered during the Media ArtFestival 2001 in Hamamatsu, was selected at the ICMC2002 in Gothenburg. Its recording is included incomposer’s solo CD album “Takayuki Rai: InteractiveComputer Music” [FONTEC: focd2574] and its videorecording was included in the DVD program of ComputerMusic Journal vol.28 number 4.

Hubert Howe, Harmonic Fantasy No. 2 for Piano andFixed MediaThe basic idea behind my Harmonic Fantasy No. 2 forPiano and Fixed Media is that the fixed media part,generated by computer, resonates and complements thesounds of the piano. There is never any opposition, oreven any counterpoint, between the two forces in thework. There are four sections to the piece, which are likefour separate movements. In the beginning, the pianoplays a few notes, and the computer sustains them,while emphasizing certain upper partials in a repeatedpattern. This idea continues in the second section,which is a slow passage that builds increased complexitythrough accretion, by adding more notes to the passagethat it began with. The third section begins when thepiano starts playing fast scale-like passages in the higherregister. These notes are actually the same resonancesthat have been used in the opening, only now thecomputer plays the lower fundamentals to which theseare the resonances. These roles exchange in the lastsection, where the piano returns to playing low, sustainedtones while the computer resonates the upperharmonics. The term “harmonic” does not refer toharmony in the traditional sense, but to overtones, whichare the focus of the sounds. The score shows only thefundamental frequencies, not the resonances of theupper partials which are such an important part of thepiece’s surface texture. The piece was commissioned byNancy Bogen and is dedicated to her and to herhusband, Arnold Greissle-Schoenberg.

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Stephen Beck, Vale Veneto RemixVale Vêneto Remix was composed during my residencyat the 2013 Festival de Internacional de Inverno UFSM inVale Vêneto, Brasil. All of the sounds in the piece werecollected, processed and recomposed during theweek-long festival. I am personally fond of two specificsounds. The first is the siren, which came from the townpolice car. Near the end of our sound walk that day, oneof the students went up to the policeman and asked if hewould play the siren so that we could record it. Thepoliceman was reluctant at first, and I didn’t want tocause any kind of commotion. But he went ahead andplayed the siren, much to the delight of the kids in thetown square. The other sound is the background “pop”music heard near the end of the piece. The winterfestival coincides with the Italian Heritage festival in ValeVêneto, and the town plays a variety of Italian pop/folksongs across loudspeakers throughout the town square. You can hear it almost everywhere outside, and it is apersistent part of the audio landscape. I felt it wasimpossible to create a soundscape of the town without it.

Hiroshi Ebina, untitled_work_NovemberWhat I tried to create this work is to create fullsoundscape with a minimum elements, sounds ofacoustic instruments processed through electronics.

Joel Chadabe, One World 1One World 1 is based on sounds from New York andNew Delhi, as if the world were one large crowded city,overwhelmed by urban noise and discord, yet a spaceshared through a common human bond. The sounds inNew York were recorded by Benjamin Chadabe. Thesounds in New Delhi were recorded by Shankar Barua.One World 1 was composed with support from the NewYork State Council on the Arts.

Boris Nazarov, East is the West RadioThe main idea is a traveler who is listening to the radio,for example in his car. At some point, he comes into thereality when all the stations are broadcasting exclusivelyelectro-acoustic acousmatic music. The compositionreflects changes of the stations by a clear and suddenshift of the acoustic images. Some sound textures areflowing smoothly one into another – probably these aresounds which are penetrating into the car from outside.The song lasts five minutes and includes some episodesof the travel, which lasted perhaps more than one hour.

Michael Gogins, SevierProgrammed in JavaScript, HTML, and Csound togenerate both notes and chords, and to rendersynthesized sounds.

Brian Belet, Ion Trails (Cloud Chamber Storms)Ion Trails (Cloud Chamber Storms) was composed in2012. The percussion performance drives the livecomputer-processed sound layers, leaving traces of theoriginal material as it undergoes sonic change and

eventual information decay. The score indicates setintroductory and concluding gestures, with interiorsections containing several related, yet independentgestures. The gestures in a given section may beperformed in any order, including repetition andomission. The performer is invited to modify or improvisewithin any gesture, and to also respond to the computermusic as it occurs. The Kyma environment generatesreal-time modification and resynthesis of the percussionmusic. Both environments relate to, are affected by, andrespond to each other, resulting in a unique realizationfor each performance.

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Fresh Minds FestivalHighlights

Curated by Jeff Morris

Program

Cedric Kieferunnamed soundsculpture 4'56"

gruppoGruppoSecret Lives 6'09"

Ryo IkeshiroConstruction in Zuangzhi 7'16"

Per BlolandGraveshift 4'52"

Sylvia PengillyMaze 7'41"

Jaroslaw KapuscinskiOli’s Dream 3'23"

Bret BatteyClonal Colonies I 6'56"

Dennis H. Millerpoint.line.plane 6'44"

Program Notes

The Fresh Minds Festival is a public performance ofaudiovisual artworks by professional artists,student-curated under the direction of a multi-disciplinaryteam of faculty.

IN THE ART WORLDFor professional artists worldwide, Fresh Minds Festivalis an internationally prominent juried venue for their workwith a unique angle: knowing the selected works areones that reach out to informed newcomers to newmedia art. This festival is a unique presence betweenfestivals “by specialists, for specialists” that tend to leavenewcomers behind, and “people’s choice” festivals thattend to value light entertainment over artisticallyengaging, thought provoking works.

OUR STUDENTSTAMU students do for artists what artists can’t do forthemselves: contemplate their creations with a fresh setof eyes and ears, Fresh Minds! Students have personaland thoughtful encounters with artworks being madenow, in their own time, using modern tools. They gainan understanding of how they may evaluate andcommunicate about expressive works in the visual andperforming arts and with it, gain a better understandingof how the arts fit, contribute, and can be evaluatedwithin academe. This activity equips and encouragesstudents to become lifelong learners, enriched with anappreciation and understanding of creative expression.

EVENTSConcert screenings are held in the black box theatre inour new Arts & Humanities building, located in the centerof the Texas A&M University flagship campus in CollegeStation, Texas. Our innovative performance spacefeatures a 22.2 channel surround sound system andmultitouch interface to allow sound to be moved throughspace expressively, live during the performance, in thelong-standing tradition of electroacoustic concert music.Installations are presented in nearby rooms on the maincorridor.

PROCESSFresh Minds is a novel competition and festival. Wesolicit submissions from artists worldwide. Allsubmissions are crowd-curated by hundreds of TAMUstudents, supervised by a faculty panel. Our studentcurators complete an orientation course, which iscarefully crafted to equip students with a unifiedvocabulary to discuss visuals and music/soundintelligently, and their evaluations of your work arecalibrated based on their performance in the orientationassessment to ensure quality results.

HONORWith our high selectivity, novel approach, and prestigioussetting, selection for the Fresh Minds Festival means thata work is among the most accessible and engaging tovital young minds in our prestigious academic setting:these informed newcomers to new media art at aCarnegie Tier 1 Research Institution, a member of theelite Association of American Universities.

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Cedric Kiefer, unnamed soundsculptureThe basic idea of the project is built upon theconsideration of creating a moving sound sculpture fromthe recorded motion data of a real person. Using 3microsoft kinect cameras the movement of the dancerwas recorded into 3d pointclouds that were synced andexported as one large dataset to be loaded into 3ds maxfor further rendering and creation of the soundsculptureanimation.

gruppoGruppo, Secret LivesThe work is a tryptich dedicated to the three italiancomposers Luciano Berio, Bruno Maderna and FrancoDonatoni. In this work gruppoGruppo sets up threedifferent paths of manipulations in the domain of soundand image, in different ways according to the composersto which the three videos are dedicated. In the videoabout Berio, his portrait reveals to be a multi-layeredconstruction, also connected to the ideas of showing andhiding. The musical part is built using his voice andsamples from his masterpiece “Sinfonia”. Donatoni issurrounded by the ghosts of his musical handwriting,taking the form of little insects or particles, recalling the“cells” of his compositional process. A reference to hislove for jazz music is evident in both the imagery and thesound. All the sounds are derived from a sample takenfrom his piece “Hot”. The video dedicated to Madernaplays with the concept of controlling or being controlledby an abstract structure. Various processed versions ofVenice’s map are used to model different landscapes,while the music (the sounds are taken from Maderna’s“Venetian journal”) tries to retrieve the hidden origin ofthe whole work.

Ryo Ikeshiro, Construction in ZuangzhiConstruction in Zhuangzi is a simultaneous sonificationand visualisation of a modified Lorenz dynamical system,a three-dimensional model of convection that isnonlinear, chaotic and sensitive to initial conditions. It isimplemented in Max/MSP/Jitter. A performance takesthe form of an improvisation involving the modification ofparameters of the dynamical system, these humaninteractions being indicated by momentary colourinversions. The real-time, generative audiovisualsestablish a perceptual feedback loop between theperformer and the near-autonomous algorithm, orperhaps a duet/duel between these two elements due tothe ‘butterfly effect’ and the emergent behaviour of thedynamical system. Interesting results are obtained asaudio, either as signal data in nonstandard synthesis orcontrol data such as rhythm, pitch and panning (nopre-recorded samples or conventional oscillators areused apart from sine waves) and as OpenGL 3D visuals.Being representations of the same data source,coherence between these two domains are maintainedwithout either being subservient to the other as it isneither the audio triggering the visuals nor vice versa asis often the case. The outcome is an integratedaudiovisual, real-time, generative, interactive, andimprovised live performance.

Per Bloland, GraveshiftThrough a rain-streaked café window, surveillance of astreet scene is digitally transformed into a fluid chaoscomprised of paranoia, ghostly figures, and alterations ofreality. Echoes of a forgotten song float above the milieu,now gaining and now loosing coherence. It is an imageplagued by distortion, but this distortion emerges fromquietness, and recedes once again into the same. Graveshift was conceived as a cross-disciplinecollaboration including video, music, and dance.

Sylvia Pengilly, MazeAs a child I vividly remember my parents taking me toHampton Court, where the major attraction for me wasnot the palace, but the maze. We would wander throughit, often taking wrong turns and having to retrace oursteps, and soon were completely disoriented. Eventuallywe would hit on right combination of turns and find ourway to the exit, having been pleasantly scared. Later, Iread the legend of Ariadne, holding a ball of thread forTheseus so that he could find his way out of the mazeafter slaying the Minotaur. Both these experiencescombined to suggest the form for “Maze.” After the titlesequence, the next segment represents the entire “map”of the maze, but following this there is a series of “wrongturns,” represented by the black and white segments,that lead to dead ends. These finally return to the “mainpath,” represented by the color segments, each of whichleads a little further into the heart of the maze. There, themonster appears, but is vanquished, ironically bythe “wrong turns,” after which the “wrong” and “right”turns are combined and presented in retrograde, forminga type of palindrome which, like all good palindromes,ends as it began. Musically, each visual segment is firstpresented with its own unique music, which issubsequently combined and retrograded in the samemanner as the visual segments.

Jaroslaw Kapuscinski, Oli’s DreamOli’s Dream is a playful collaboration between music andwriting, between a piano keyboard and a typewriterkeyboard, and, above all, between a composer and apoet. It is an experiment in synaesthesia, an attempt tofuse the temporal modes of music with the spatial andtemporal domains of words. In the process, the audiencefinds itself in the presence of a perceptive, purely awarebeing, Oli, who creates himself through his encounterwith words. Words here make and unmake themselvesfrom the outside in or the inside out, transformingthemselves as they discover their own direction in time.

Bret Battey, Clonal Colonies IClonal Colonies was commissioned by New York’s AvianOrchestra for their botany-themed concert VegetativeStates in 2011. The first movement, “Fresh Runners”, isa fast romp of densely interlocked textures, thrilling in theprocess of transformation itself. A “clonal colony” is agroup of genetically identical plants. Child plants arepropagated by “runners” that emerge from a parent plant.Thus colony members may appear as individual plants

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above the ground, but are interconnected underground.This is analogous to the computer algorithms used in thecreation of the music.

Dennis H. Miller, point.line.planepoint.line.plane is a series of three studies that wasmotivated by Kandinsky’s treatise of the same (similar)name. Each of the three uses a single process forgenerating the imagery. The music for the studies addsan affective layer and contributes a spatial/ambientdimension and was created using a variety of modernsound-synthesis techniques including granular synthesisand convolution. (Thanks to the developers ofX-Particles for use of a model used to generate the firststudy.)

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Program

James CorreaThe Italo Calvinbo Cities I: cities and the memory 7'40"


Javier GaravagliaSpatial Grains - Soundscape No. 1 22'


Nicoletta AndreuccettiLiving Voices 8'36"


Miles WarringtonAcross || Lines 15'


David ReederLed Ohm Roll 3'


Hugh LynchAnother September 12'30"


Program Notes

James Correa, The Italo Calvinbo Cities I: cities andthe memoryThis is the first piece of a cycle of works for electronicssolo and instruments with live electronics inspired byItalo Calvino's book The Invisible Cities.

Javier Garavaglia, Spatial Grains - Soundscape No. 1Work composed during a residence in August 2015(CUBE at Virginia Tech, US), where a new diffusionsystem by the author (spatial granulation, alreadypresented in its 1st stages during the BEASTFEAST2015) was further developed and applied together withambisonics to the CUBE’s large system. A joint paperabout the Virginia Tech’s residencies will be alsosubmitted by Eric Lyon to the BF 2016.

Nicoletta Andreuccetti, Living VoicesLiving voices is an 16-channel fixed media compositionthat uses sound materials of pure synthesis and concretenature, processed, mixed and assembled in studio.Sung and spoken voices intersect being withdehumanized digital world, but singing is transformedinto gasp, while words cannot express that pure sound, apure signifier in which the communicative dimension islost. Between “speakability” and “unspeakability”,between life and thought, the living voices are heartbeatof an astral and inhuman digital background, in which thepossibility of representation opens to the world and thencloses to the world in the moment itself of itsappearance.

Miles Warrington, Across || LinesThe initial idea behind this work was to create a linkbetween musical gestalts or sound objects whosestructure and result could be inextricably linked with theway in which the sounds themselves were produced.Drawing various materials, such as a serrated metaledge, knife, wooden and plastic spatulas and a heavythick wooden log across parallel upright gate bars ofvarious sizes, the sounds produced formed timbralcategories that could undergo a linear composition withthe visual score. The visual score, intended to createvarious forms and possibilities of parallel lines bothinferring the upright bars themselves and also the visuallines of the score, creates structure and form from thebanks of sounds. Each of the sounds were thenassigned colours depending on their timbral density(ranging from yellow - least dense to orange - mostdense), and then the visualisations coloured in over thetiled mosaic form to create a “score”. This idea drawsinspiration from Iannis Xenakis’s self analysis of his epicballet work Kraanerg (1968) for large ensemble andtape, where he used a non-linear mosaic form tostructure it. The work is comprised of 5 sections, each 3minutes long that flow into each other. They are: Accentsfrom Lines—Lines Behind Lines—Horizon

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Lines—Shattered Lines—Ends of the Lines. The sectiontitles refer to the visual representation of the score andprovide some form of narrative as a macro structure tothe work. The work, the composer's first acousmaticwork is for 8 channel speaker system (with or without livevisualisation of the score).

David Reeder, Led Ohm RollSuperCollider processes and live-coding create anorchestral narrative of shaped noise and stochasticpatterns.

Hugh Lynch, Another SeptemberAnother September is an electroacoustic work inspiredby the poem of the same name. The poem was writtenby Irish poet Thomas Kinsella. The piece is an attempt tocommunicate my interpretation of this poem throughsound. The poem deals with themes such as regret,despair, loss, violence, struggle, contempt, truth andfinally hope. The piece follows the narrative of the poemand has a specific focus on how sound space evolvesand develops over time. The work explores how aspectsof space can be used to communicate sonic ideas andconcepts. Novel spatial techniques derived anddeveloped from sound perception research are used tocreate enveloping and engulfing sound spaces.

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Program

Patricia MartinezPure Consciousness of Invention 8'37"


Kyle StewartConflux 6'23"


Adam LenzA Collapsing Field of Long-Dead Stars 10'12"


Jonathan WilsonRotations III. 1080 12'

Jonathan Wilson, tenor

INTERMISSION

Marco FerrazzaOmen 7'50"


Guillaume ChappezForêt-Noire 4'56"


Tyler KlineTwo Songs after Dylan Thomas 9'48"


Bryce CraigCrystal Ballet 11'15"

Bryce Craig, percussion

Davide WangUnfolding 6'13"


Program Notes

Patricia Martinez, Pure Consciousness of InventionPure consciousness of Invention is an electroacousticpiece based on theatrical experiences. Music is nottelling a “story” but, it is itself a narrative journey througha sonorous experience. Music materials were processedfrom original acoustic samples. This piece wascomposed at my personal studio with an Imac computer,and the software peak, sound hack and cubase.

Kyle Stewart, ConfluxConflux is an electroacoustic piece comprised ofspectrally manipulated water sounds, water soundsconvolved with conventional instruments, and soundswhose spectromorphologies follow a liquid-like pattern.Beginning with a descending spectral motif, the piecesuggest that the listener is flowing down a stream, whilethe bass impacts throughout seem to act as violent tidesthat throw us into new sonic areas. The piece isstructured through contrasting sections; themacrostructure of the piece therefore suggests anarrative of traveling down a stream, through differentbodies of water with unique characteristics. Certainmotifs are repeated within different sections in order toact as a reference within the logic of the sonic world,suggesting, not only that we are traveling throughdifferent bodies of water, but also that these bodies ofwater are meeting, hence the title “Conflux”.

Adam Lenz, A Collapsing Field of Long-Dead StarsAt points in our lives we find ourselves confrontingmoments of great loss. These situations draw out oldwounds that have remained harbored from our past andoverwhelm us. But once these moments have inflictedtheir pain, we are able to look back, understand them,and appreciate the glimmers of life that surround us.Although the pain still lingers, it somehow loses its gripon us and affords us the chance to enter into quieterspaces.

Jonathan Wilson, Rotations III. 1080Rotations was inspired by the 2015 SEAMUS NationalConference. As a whole, it explores rotation in a musicalcontext. It is a three-movement work, where eachmovement is conceived as a complete rotation of role ofperformer and electronics. The third movement ofRotations is the culmination of entrainment, liveprocessing, and the body-machine relationship. All theseideas were explored in the previous movements. Therelationship to the body is expanded to include bodies ina phenomenally larger realm: space. Space isrepresented abstractly through fixed media, while thebody and the machine are the vehicles of live soundproduction. The source material for the fixed media inthe third movement includes recordings of radioemissions of Jupiter, Saturn, Uranus, and Neptune,which were made by the Voyager spacecraft and the

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Cassini orbiter. Unlike the previous movement, the formbecomes more tightly structured, and I relinquish controlover most of the compositional decisions from thecomputer, which is given instructions on the functions itwill perform. The performer continues to improvise incounterpoint to the electronics.

Marco Ferrazza, OmenThe piece Omen shows a composition strategy made ofanticipations, retakes and reiterations. All timbricsolutions involved will be mentioned in gestures, andthen developed in textures. But every good omen thatyou respect is also repetition of the message, so thesame organizational structure will recur during the pieceto confirm every time its informational content.

Guillaume Chappez, Forêt-NoireForêt-Noire is an electroacoustic drone musiccomposition through sounds of nature immersing into adark and eerie soundscape crossed by nocturnal noises,unidentified fauna and forest spirits.

Tyler Kline, Two Songs after Dylan ThomasComposed in 2014 for fixed quadraphonic playback, TwoSongs after Dylan Thomas is a two-movement textsetting of Thomas’ poem “Being But Men.” The entirework uses a recitation of the poem as its only soundsource, manipulated in various ways with Logic Pro X,Soundhack, and SPEAR. The two movementsdichotomize one another, the first presenting the fullpoem (nearly) in tact in front of a backdrop of whispers,and the second outright destroying the spoken voice.Two Songs represents an ongoing interest in the body ofmy work of drawing guidance and influence from avariety of literary sources.

Bryce Craig, Crystal BalletThe Crystal Ballet is the musical result of a collaborationbetween composer Bryce Craig, choreographer LauraDonnelly, and physicist Amit Chakrabarti. The work is based on the physical process of a solid crystal melting,then re-solidifying into a glass structure. Although basedon scientific principles, the ballet does not attempt toliterally depict the processes. Instead, they are used bothas an overall theme and as a source of musicalinspiration, guiding the harmonic, melodic, and formalcontent of the piece.

Davide Wang, UnfoldingUnfolding is an acousmatic music piece based on animage that becomes. Very often, in music generally,buteven more so in the electro-acoustic music, it is verydifficult to go back to what the composer wants to sayfrom only listening. This makes it even more interestingthe acousmatic experience, because every person filtersthrough its being what you listen to, creating an infinitenumber of different meanings that in most the cases aretotally inconsistent with the idea had by the composer.The title is an help to understand the meaning of themusic piece, but is at the same time misleading, as

unfolding has several meanings, some totally opposed toeach other.

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Program

Ying-Ting LinWhen the Wind Rises 8'57"

Zack Osinski, alto flute

Dante TanziSurveillance 6'50"


Per BlolandShadows of the Electric Moon 13'

Bill Solomon, percussion

Felipe OtondoNight Study 2 9'05"


Hunter BrownIO 7'


INTERMISSION

Nichola ScruttonAt First Light 8'49"


Akio MokunoIn the Sonorant 5'30"

Hannah Selin, viola

Ana Santillan Alcocer6 Études électroniques 6'27"


Jason Bolteswish-swoosh 7'42"


Program Notes

Ying-Ting Lin, When the Wind RisesWhen the wind blows, to feel it, when it stops, all you dois waiting, for the next coming. This piece is my firstexperimental work for electronic music. In the piece, Itreat tape as extension of alto flute, augmenting andexaggerating the original sound of alto flute. The purposeis to transform alto flute into a more imaginativeinstrument. I also intend to build an intimate relationshipbetween acoustics, amplification, and electronics, and tocreate different scenarios and multiple layers of musicalenvironments.

Dante Tanzi, SurveillanceIt is an acoustic representation of a claustrophobic,intrusive space: a texture based on linear trajectoriesand imitations, sometimes interrupted, intertwined withimpulsive events, striated sounds, nervous reiterations,resonances and acoustic alarms.

Per Bloland, Shadows of the Electric MoonIn Shadows…, the timbral palate of the snare drum isaltered in a number of ways. For the duration of the piecethe drum is upside down, with the snare exposed. Amedium cymbal and a single crotale are brought intocontact both with the drumhead and this exposed snare.In addition a sound exciter rests on the snare for themuch of the piece. This exciter receives an audio signalfrom a computer, and attempts to reproduce that signalby vibrating the snare at the frequencies it receives. Thesuccess of this endeavor is, of course, inherently limited. The piece is essentially cyclical, with the first cyclerevealing the theme. The sound types emphasized in thistheme tend to be abrupt and mechanical, with rapidshifts in playing technique. Subsequent cycles introduceincreasingly long and static interruptions to this material,becoming ever more obsessively transfixed. Furthervariations on the theme are introduced in later cycles asthe material types begin to shuffle. This piece, as aremany of my recent pieces, is based on a novel by theNorwegian author Pedr Solis. Den Elektriske Månen(The Electric Moon) is one of his earlier novels, writtenwell before his better-known work Stillaset. It takes placein the northern reaches of Finnmark, the northernmostcounty of Norway. The writing is lyrical and dreamlike,with similar but slightly varied passages of text oftenrecurring. This piece is dedicated to Patti Cudd.

Felipe Otondo, Night Study 2‘Oh, night more lovely than the dawn…’(John of the Cross)

This piece was conceived as a sonic journey through realand imaginary nocturnal landscapes using as a timbralframework the wide palette of percussive and tonalsounds of a Javanese gamelan orchestra. Various kindsof recordings of individual gamelan percussion

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instruments were used as a basis to develop an organicsonic framework where natural and synthesised soundswere blended and contrasted with nocturnal wildlife fieldrecordings carried out in Chile, Mexico and England.This piece was composed during a residency at theMexican Centre for Music and Sound Arts (CMMAS) andis sister piece of the award-winning composition ‘Nightstudy 1’.

Hunter Brown, IOIo is one of the four Galilean Moons of Jupiter. With over400 volcanoes, Io is the most volcanically active object inour solar system. The volcanic plumes and lava flowsproduced by Io's many volcanoes paint the surface of Ioin various subtle shades of yellow, red, white, black, andgreen, largely due to allotropes and compounds of sulfur.In my piece IO, I want to aurally express the fascinatingvolcanic nature of Io as well as the beautiful landscape ofcolors produced by Io's volcanoes.

Nichola Scrutton, At First LightArising from a current strand of exploration around ideasof impermanence and the ephemeral, At First Light, avocal meditation, was inspired by the play of light atsunrise and a notion that each moment may be filled withthe past, present and future. The process of making thepiece involved repeated exploration of the material ideasusing a simple MAXMSP patch, with the final work beingcreated in a single real-time improvisation. While aversion of the piece was ultimately fixed to become AtFirst Light, inherent in the process and the material is anidea of transient evolution – emergence, cycle anddecay.

Akio Mokuno, In the SonorantWhen I fiddled the first time, I was simultaneouslystunned and impressed by the distinct resonance, theexcitation from the vibration of the strings, whichconducted through my bones and transmitted thepulsations into my brain. The fullness of the sonic texturereminded me of the vibrations in my vocal chords whenarticulating vowels. Inspired from the cellular level ofthose experiences, for this piece, I extend theimagination on transmissions of acoustic energy.

Ana Santillan Alcocer, 6 Études électroniquesThe 6 miniature études for electronics are mixed stereosequences of sound objects that concentrate onparticular techniques. However, the material of eachminiature is meticulously composed in order to findaccurate relationships between sounds and hencedeveloping appropriate musical elements as the mainemphasis. The techniques used in each of the etudesare as follows:

Étude 1: Micro-montage- Longer sounds to then createfragmented sounds, in isolation or in sequence with eachother. Looping: Repeat copies of the same sound eventwith different manipulations and slightly differentvariations.

Etude 2: Moving particles/Accumulation- Short sounds,densely textured, and governed by a global movement.

Étude 3: Figure-Ground- The relationship betweenmusical figures and foreground, middle-ground andbackground.

Étude 4: Bursts- Energy profile of sudden, dense,energy, quickly decaying. Fragmentation: Abrupt edits,cutting small fragments from a larger sound Compound attack: Multiple attacks together to createcomplex articulation of a sound event.

Étude 5: Narrative and Layering: The idea ofprogrammatic music together with different layering. Thetheme to describe is bereavement.

Étude 6: The idea of using a single object to createdifferent fragmentations as well as layers of sound,through convolution, to create composite drones.

Jason Bolte, swish-swooshSwish-Swoosh was composed using a vintage Minimoogsynthesizer owned by the Butte, MT school district(BSD#1). The work is the first in a series of works thatexplore my renewed interest in analog and modularsynthesizers.

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Installations

Lee Weisert and Jonathon KirkGranular Wall

Granular Wall is a sound installation created by JonathonKirk and Lee Weisert (aka PAML, the Portable AcousticModification Laboratory). The piece incorporatesconcepts and strategies from fluid dynamics,data-mapping, robotics, and sculpture to create anarresting and direct engagement with the beauty ofkinetic energy and sonic motion. A 4' by 4' tank is filledwith water and several thousand neutrally-buoyant,fluorescent, “microspheres,” which hover like stars in thewater. Fluid motion is driven by mounted propulsion jets,synchronized to create spiraling eddies and collidingcross-currents, as well as dramatic shifts from meditativestillness to instantaneous bursts of activity. A spatializedmusical soundscape is generated in real-time throughthe mapping of motion tracking data captured fromcameras. As in the artists’ previous projects, thetechnological aspects of the piece—though essential tothe work and hopefully interesting in their ownright—serve a secondary role: as facilitators of a veryprimitive and basic human experience. "Granular Wall"seeks to expose, both visually and sonically, the beautifuland often terrifying flux that we inhabit.

Video Documentation Link:https://vimeo.com/121798133

Andrew DemirjianColor Yourself Inspired

Color Yourself Inspired™ creates a sonic and visualpoem from unexpected combinations of languagerepurposed from Benjamin Moore’s color gallerydatabase. Built from an online collection of over 1000unique color names and shades, this net art piecereframes the commercial language of color as poeticlanguage. The work uses a computer program written bythe artists to build surprising phrases that generate theimagery and sound. The piece uses new developmentsin Web Audio, JavaScript, Natural Language Processingand the D3 library to create the interplay betweenlanguage, sound and graphics. The hue, saturation andbrightness of the selected colors determine the pitch,volume and duration of the notes using a sonochromaticscale. These same variables determine the location andsize of the circle graphics. Color Yourself Inspired™ (amarketing slogan from the Benjamin Moore website)explores the interplay between vision, consumption,psychology, chance and language to create a uniqueframework for sound composition.

Michelle JafféSoul Junk

Soul Junk is a 2 or 3-channel video and audio installationthat explores raw emotions, power and intent conveyedand betrayed by the human voice and facial expression.SJ places people inside a metaphoric mind at work. Isplice and overlay close-up video clips of my face.Emotionally raw confessions about family trauma arejuxtaposed with observations about the cocksureattitudes of those in power. Narcissistic and patriarchalbehavior is probed in an effort to shed light on howdecisions of power brokers in government orcorporations, prevail at the expense of individuals,families, and communities. Special speakers focussound in a physically disorienting way. The experience isfelt viscerally in the body, as well as aurally. The visualand sonic structure amplifies the narrative juxtapositionsexpressed by the me in the video. You compose thework as you move within the space. Navigating thespace is akin to witnessing synaptic firing in the brain. Opposing ideas are hurled against one another in rapidfire. New neural pathways are forged. SJ exposes thelimits of personal choice as it intersects with thecollective choices made by a society. When and whereare the borders between terror, abuse and negligenceblurred and crossed? How do personal behavior,corporate and national interests, and armed terroristgroups drive politics? I expose my pain, doubts andfrustration in an effort to make sense of the world we livein, and to stimulate conversation for change. SJ is acatalyst for social justice.

Michael MusickFour Deliberate Agents; Sonic Space No. 8 –Iteration No. 3

Four Deliberate Agents; Sonic Space No. 8 - IterationNo. 3 (2015) is a sonic ecosystem, whose composedinteractions create a complex emergent composition thatunfolds in consort between the small ensemble of digitalagents, visiting human participants, and the physicalspace of the chamber that it is installed within. SonicSpace No. 8 – Iteration No. 1 was composed as a large,sonic ecosystem installation for the performance of theopera, One Deliberate Day to occur within. The premierperformance was presented in New York City, in Augustof 2015. For the composition of Iteration No. 1, I took theinspirations of Henry David Thoreau that my collaboratorErin Heisel brought to this process. This inspiration drovethe composition of interactions that has given distinctcharacter to the digital agents of the sonic ecosystems. Iworked to create an environment that allows for a groupof musicians to play and explore within, being inspired bythe sounds of the digital species, and influencing theactions of the ecosystem itself. The goal was to capturesome of the wonder that Thoreau experienced whileobserving the music of nature. This system is comprisedof a set of physically distinct agents. Each agent is

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https://vimeo.com/121798133

housed in a wooden structure, runs from a single-boardcomputer, in this case, a Raspberry-Pi, and has its owndedicated microphone and speaker. This change instructure and technology, has created exciting newopportunities for the exploration of group interactionsbetween individual agents, each with their ownunderstanding and awareness of the physical world.Iteration No. 3 takes just the physically distinct agents.They have been adapted for presentation as a interactiveinstallation to be presented in a gallery-type space.

Takafumi Idedebacle 2015

“debacle, 2015” is influenced by “Tsunami” of Sumatraand East Japan Earthquake. The artist, Takafumi Ide, isnot a survivor or a family member of the victims, but anobserver. He visited the site in Tohoku, Japan andthought what his role is to this event as an artist. Throughthe work, he would like the audience to feel the effect oftsunami and to remember that the event is stillundergoing. Through a pair of headphones, the audiencelistens to a prerecorded piano sound, representingeveryday life. A drop of water falls to the Washi paperfrom a high place. When the water hits the paper, asensor captures the vibrations, which are turned intosignals in real-time. The audience hears the sound ofrandom tones based on the signals that are composedby the artist. It breaks the “ordinary” moment fragilelyand sometimes violently. The sound is similar to thesound of “Suikinkutsu” (???, literally "water koto cave” atype of Japanese garden ornament and music device),which is soothing. At that same time, the cold andtranslucent sound may frighten the audience.

Douglas GeersFather’s Dream Reliquary

Father's Dream Reliquary is an interactive installationhoused in the body of a vintage 1940s wooden radio. The work is intended to address issues of memory,ephemerality, and intimate engagement versus masscommunication--in particular commercial radio’sintroduction of real time, one-way broadcasts to humanculture, and its placement in home spaces. The pieceuses a sensor to gauge the distance of visitors from itselfand changes its behavior based on this information. When no one is present, it falls silent. As listenersapproach, it moves between radio static and snippetsfrom the first radio “fireside chat” delivered by UnitedStates President Franklin Delano Roosevelt in 1933. When listeners come closer, the sound materials beginto include more personal recordings, mixing the firesidechat and audio of Clifford F. Geers, the artist’s latefather, playing with his grandchildren. At closestproximity only recordings of Clifford Geers are heard.

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Presentations

All presentations take place at:New York University35 West Fourth Street, room 303

June 14, 10:30-11:30Michael Musick and Tae Hong ParkComposition Techniques for Feedback-BasedSonic Ecosystems

The composition of sonic ecosystems has beenoccurring in small pockets of the electroacoustic musicand creative arts technology communities. Identifyingtechniques for the composition of these systems bythose outside of the pockets, however, has been difficult.This problem is further hindered because, as an ideawithin music, ‘sonic ecosystems’ can refer to two maintypes of compositional approaches; evolutionary-basedor feedback-based. Through lessons learned withpractice-led research, I discuss techniques andguidelines for engaging in feedback-based sonicecosystem compositions. This also includes a cleardefinition with delineations for feedback-based sonicecosystem, as viewed within this research group. Theremainder of the talk is devoted to the presentation ofinitial high-level compositional practices and low-levelprimary techniques.

June 15, 10:30-11:30 AMMassimo AvantaggiatoDonatoni: A Reappraisal of Quartetto III

This paper provides an analysis of Quartetto III, a workcomposed by the Italian musician Franco Donatoni thathas often been underrated and has been consideredephemeral (Lanza, 2014, p. 135, pp. 231-240) by someItalian musicologists. It is Donatoni’s third Quartet:unlikethe other quartets, it was produced, under the guide ofMarino Zuccheri, at the “Studio di Fonologia” in Milan, byusing only electronic instruments. We’ve studied thehistorical, musical, and technological context in whichthis work was conceived by using different historicalsources such as texts for broadcasting, documents,letters from the archives of the Studio di Fonologia aswell as notes and documents preserved at Paul SacherStiftung. These documents offer an interestingperspective into historical analyses, considering that theStudio di Fonologia musicale of Radiotelevisione Italiana,like similar studios in Europe and America, was the resultof a meeting of music and new opportunities of analysesand treatment of sound. This paper also highlights somespecific ideas of Quartetto III, the composer’s originalityand importance not only in his work, but also in theproduction of the Studio di Fonologia and in the history ofelectroacoustic music. We have analysed Quartetto IIIunder different points of view, by using stereophonic and

quadraphonic versions of this work-recording “E018” and“Q002” respectively. In particular, we have pointed outthe relationship between ministructure and macroform,underlining the progressive aggregation process, from“Elements” to “Groups” and “Columns”. This objectivehas been achieved by means of: a) a partial Geneticanalyses by using PWGL; b) a Listening Analysis, byfollowing different musicological approaches: Smalleyand the spectro-morphology; Roy’s Functional Analysis;Temporal Semiotic Unit (M.I.M.); Sloboda’s, andMcAdams’ Perceptive and Cognitive Studies. Thisapproach can give us some information about themacrostructure: Quartetto III, that lasts about 5 minutes,is structured in panels which are sections with differentmetronomes, but with an internal coherence ofarticulation and musical development. Much attentionhas been paid to the structural and poetical use ofquadraphonic space: Quartetto III seems to pave the wayfor the later electroacoustic works because of the use ofspatial figures and “structured” electronic gestures. Thehistorical recalling of the 60s, when Quartetto III wasconceived at the Studio di Fonologia, has shown the veryhigh level of the Italian research carried out at the Studio.

June 16, 10:30-11:30 AMJohn YoungOral History as Form in Electroacoustic Music

This paper examines the use of oral history soundrecording as a core element in electroacoustic music.Two main examples are used, both works by this author:‘An Angel at Mons’, a 16-channel acousmatic work, and‘Red Sky’, a work for alto flute, clarinet, piano and14-channel electroacoustic sound. The phenomenon ofsound recording has profound ontological consequencesfor artistic work. Recording captures sound events in anintact form, allowing traces of real-world experience to beobjectified into artefacts for contemplation and analysis.The advent of recording medium has thus radicallyenhanced our engagement with sound—not only makingall sound available as material for creative intervention,but offering a virtual mirror to be held up to the naturalenvironment and the world of human constructs andinteraction. Recording gives us the magic of beingconnected to a ruthlessly objective electronically-mediated ‘memory’, affording us a view of reality which issimultaneously heightened in that we can review andshift the focus of our attention as we replay events, andalso less ‘real’ because of the inevitable loss of theimmediacy of the unstoppable and irretrievable presentof daily experience. Stylistic differentiation can bemarked in this creative realm. Charles Dodge’s AnyResemblance is Purely Coincidental can be read as awindow on a voice, and a persona that no longer exists,while Luc Ferrari’s Presque Rien no. 1 presents itself asa self-contained experience of location, a wanderthrough space and the sense of proximity of objectsrather than, specifically, a snapshot of a 1960sYugoslavian fishing village. Herbert Eimert’s Epitaph fürAikichi Kuboyama has historical significance summoning

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feelings about the mechanics of its remarkable audiotransformation techniques alongside empathy forindividual human suffering within a international incident.In electroacoustic music we typically think of soundtransformation as an integral part of the compositionalprocess: the manipulation of the form and fabric ofsound, that is to say: technical methods of shaping andrefashioning sonic objects. For most musicians workingin electroacoustic music, transformation in this sense isemblematic of what is really innovative in the genre.However, the fundamental fact of recording as a meansof interrogating the nature of lived experience is one ofthe most ontologically original elements of theelectroacoustic genre. Recorded oral history powerfullydemonstrates this: it is a conduit for the storage andtransmission of memory, but also a platform for memoryrecall and storytelling. The two works focused on in thispaper offer practical insights into the expressive andformal potentials of oral histories in musical contexts.Both deal with First World War themes. In ‘An Angel atMons’, a 101 year old man, recorded by the BBC in1980, recalls the vision of an angel on the battlefield atMons in August 1914. The structure and tempo of theverbal delivery of his memories shapes the pace andform of the piece, while electroacoustically transformedmaterial function as stand-ins for underlying emotionsand phases in the recall of memory. ‘Red Sky’ is a largerscale work, and integrates the oral histories of twentyWorld War One veterans, sourced from the soundarchives of the Imperial War Museum. In developingthese into a coherent form, a set of core themes wasderived from the content of their histories and used asthe basis for a series of episodes in the piece’s hour-longduration. In ‘Red Sky’ instrumental figures andelectroacoustically-realised sound forms interact toamplify and support the charged emotional content of theverbal narratives. In summary, this paper aims todemonstrate the emotive potential of oral history relayedas recorded artefact in electroacoustic music. In thiscontext the recording has value beyond mereconvenience—it functions as a conduit for memory andthe _process_ of memory recall capable of allowing thevivid imagery of reminiscence to interact with and colourcomplex spectromorphological sound design.

June 17, 10:30-11:30 AMMassimo AvantaggiatoOrient Occident: An Alternative Analysis

This proposal provides an analysis of Orient/Occident,commissioned by UNESCO as music for a film by E.Fulchignoni, which describes the development ofcivilizations: the cultural backgrounds are evoked byXenakis through various timbres and specific rhythms: awide range of unusual sound sources are used , from thesound of a violin bow drawn over various objects tosounds from the ionosphere, and excerpt from Xenakis'work Pitoprakta. Interdisciplinary criteria: We’ve studiedthe historical and technological context in which this work

was conceived by using some historical sources. We'veunderlined some specific ideas of this compositon, thecomposer’s originality in Xenakis production and in thehistory of electroacoustic music. We've investigatedaspects of correspondence among the constituent soundmaterials, illuminating the temporal relationships existingamong them, exploring sound identity correspondencesand variations and providing a taxonomy of recurrentphenomena to help to rationalize compositionalstructuring processes. In this way we can point out therelationship between ministructure and macroform,underlining the progressive aggregation process. Thisobjective has been achieved by means of: a) a GeneticAnalysis based on the stcomposer's sketches b) alistening Analysis, by following different musicologicalapproaches: P. Schaffaer's and F.Bayle's approach;D.Smalley's approach and the spectro-morphology;Functional Analysis; T.S.U.; Clarke's paradigmaticapproach; Perceptive and cognitive studies (Sloboda,McAdams). For each technique we made some graphicrepresentations and we coordinated them: we divided thework in sections, characterized by a certain timbral anddynamic profiles homogeneity. We've also studied thepossible strategies for a live performance. (A.VandeGorne).

June 18, 10:30-11:30 AMChet UdellWorkshop: Wireless Sensing

Come experience the latest developments in wirelesssensing for musical performance. This hands-onworkshop provides a fun, easy introduction to translatingperformance gestures into musical control data witheMotion Wireless Sensors. No previous experiencerequired. Participants are invited to bring computers(Mac supported only) and follow along with eMotionsensor kits (provided, or bring your own) as Chet Udellconducts engaging step-by-step demonstrations. A freedownload of the latest eMotionSoft will be provided. Anew toolkit for rapid prototyping of sensor data (or yourown control data) will be unveiled that will blow yoursocks off (Max6 or Max7 required for toolkit).

Topics covered include:

Sensors: how they work, what they doGesture tracking toolsMaxMSP toolsData MappingMIDI, OSC, Network, DMX, and other control options

See what composers have already done with eMotion atwww.unleashemotion.com/projects/.

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Composers

#000000 (pronounced RGB black) is an audiovisualperformance duo based in Providence, Rhode Island,consisting of Kristin Hayter on vocals/electronics andAlexander Dupuis on video. Through manipulation oftheir respective materials in real-time, the two performerscreate a space for pareidolic summoning, bring forthaudiovisual Rorschachian dreams and nightmares.Kristin Hayter is completing an MFA in Literary Arts fromBrown University, while Alexander Dupuis is pursuing aPhD in Brown’s Multimedia and Electronic MusicExperiments program.

Taylor D. Ackley is a performer and composer ofClassical, Jazz and Traditional American Music and iscurrently a graduate student at Stony Brook University,where he has studied composition with Daria Semegen,Perry Goldstein, Margaret Schedel and Ray Anderson.He has been commissioned by a number of choirs,ensembles and jazz bands including significant projectsfor The Peninsula Singers and Discernment Music. Taylor has composed over 40 original works. His recentcompositional output simultaneously liberates andchallenges musicians through a unique combination ofguided improvisation and nontraditional notation coupledwith an intense reliance on the performer’s own ears.

Marc Ainger has written for a variety of media, includingworks for orchestra, chamber music, computer music,film and video, and dance. Recent performances haveincluded the Aspen Music Festival, the American FilmInstitute, INA/GRM,the KlangArts Festival, Gageego NewMusic Ensemble, Guangdong Modern Dance, the RoyalDanish Ballet, the New Circus, Streb, and Late Night withDavid Letterman. Awards include the BoulezComposition Fellowship, the Irino International ChamberMusic Competition, Musica Nova, Meet the Composer,the Esperia Foundation, and the Ohio Arts Council. As asound designer, Ainger has worked with such institutionsas the Los Angeles Philharmonic, Tempo Reale, IRCAM,the Olympic Arts Festival, and Pacific CoastSoundworks.

Ana Paola Santillan Alcocer is pursuing a doctoraldegree with John Rea at the Schulich School of Music,McGill University. Simultaneously, she has also beenexperimenting with electronic mediums at the McGillDigital Composition Studios, studying with PhilippeLeroux. She received her Master of Music from RiceUniversity, studying composition with Arthur Gottschalk. She holds the AMus TCL Diploma in music theory,criticism & literature and the LTCL Licentiate in musiccomposition from TRINITY COLLEGE LONDON, havingstudied with Vincent Carver. Her piece “Fractum” forflute, Bass Clarinet & Piano is published by ALEAPUBLISHING & RECORDING. She has been premieredor performed by Gail Archer, The Het Trio, the Enso

String Quartet, Speculuum Musicae, the New York NewMusic Ensemble and Mexico’s National SymphonyOrchestra, among others. She has been the recipient ofseveral awards and fellowships including the FulbrightScholarship; the UNESCO Aschberg Bursaries for ArtistsProgramme; resident composer at the Virginia Center forthe Creative Arts, among others. Her piece NEMESIS,for orchestra, was selected to represent Mexico at theUNESCO 57th International Rostrum of Composers(2010). www.anapaolasa.com

Musician and sound artist James Andean is Lecturer inMusic, Technology and Innovation at De MontfortUniversity, Leicester. He is active as both a performerand a composer in a range of fields, includingelectroacoustic composition and performance,improvisation, sound installation, and sound recording. Primary research interests include acousmatic music,sound diffusion, free improvisation, cognitive narratology,and ecological psychology. James is a founding memberof improvisation and new music quartet Rank Ensembleand interdisciplinary improvisation ensemble TheTuesday Group, and one half of audiovisual performanceart duo Plucié/DesAndes. He has performed throughoutEurope and North America, and his works have beenperformed around the world.http://www.jamesandean.com/

Both an accomplished composer and violinist, AnneSophie Andersen's music draws inspiration from avariety of influences and her output ranges fromtraditional acoustic composition to more experimentalworks involving electronics. Her musical aesthetic ismostly non-hierarchical and timbrally focused, favoringsubtle expression within dense layers of complextextures. Ms Andersen's music has been performed inScandinavia, South America and the US East coast.Residences include Future Music Lab at AMF 2015 andBanff Centre Concert as Theatre 2016. Anne SophieAndersen is the artistic director and a faculty member ofthe festival “New Music for Strings” in Aarhus, Denmarkand the founder of Stony Brook Chamber Ensemble. Sheis currently completing the Doctor of Musical Arts Degreein violin and the Master of Arts degree in composition atStony Brook University.

Jon Anderson is an Assistant Professor of Music atWayne State University (Detroit, MI).

Nicoletta Andreuccetti is a versatile musician, with avariety of interests ranging from musicology tocomposition, she has recently developed theelectroacoustic research. After the awards in severalinternational competitions (I prize at the InternationalElectroacoustic Music Competition MUSICANOVA inPrague, I prize at Dutch Harp Composition ContestUtrecht etc.) her music has been performed in the mostsignificant international festivals: Achantes 2009 (Metz,Paris), ISCM World New Music Days 2011 (MusicBiennale Zagreb), International Gaudeamus Music Week

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http://www.jamesandean.com/

2012, Biennale di Venezia 2012, New Horizons MusicFestival (USA 2013), Festival Music and Performing Arts(New York University 2013), Symphonic Orchestra ofLecce, Mixtur 2014 (Barcelona), ICMC|SMC|2014Conference (Athens) 2014, Bienal de fin del mundo(Chile), Expo 2015 (Milan), MUSLAB 2015 (Mexico).Michael G. Andrews is a senior in the Music TechnologyDepartment at MSU.

Bruce Andrews has maintained a consistentlyuncompromising position at the most radical extreme ofthe literary avant-garde. He is a central figure in what hasbecome known as Language Writing, the majorinnovative movement in U.S. poetry in recent decades. He has published poetry, performance scores andliterary theory widely, and has been frequentlyanthologized and the subject of numerous critical articlesin recent years (including a panel at the ModernLanguage Association convention, 'Bruce Andrews andthe Social Politics of the Avant-Garde'). He co- edited thejournal L-A-N-G-U-A-G-E and The L-A-N-G-U-A-G-EBook with Charles Bernstein, which sought to emphasizethe type of work that has made Andrews's own texts sodistinctive: "a spectrum of writing that places its attentionprimarily on language and ways of making meaning, thattakes for granted neither vocabulary, grammar, process,shape, syntax, program, or subject matter." Andrewslives in New York City. As Musical Director of SallySilvers & Dancers, he has created compositions,collages and performance mixes of music and texts forover a decade and a half. Along with scores forimprovisers and co-created multi-media theater works,some texts from these collaborations appear in Ex WhyZee, one of over two dozen of his published literaryworks most recent are Lip Service (a reworking ofDante's Paradiso) and The Millennium Project (severalhundred pages online at: www.princeton.edu/eclipse).Northwestern Univ. Press published his collection oftheoretical essays, Paradise & Method: Poetics & Praxis.Lots of stuff (on and by him) on his Electronic PoetryCenter page: epc.buffalo.edu/authors/andrews, forinstance, video of a performance with Silvers from theWhitney Museum of American Art's 'Impulsive Behavior'series. He has created collage materials (processing hisinstrumental playing) in the 1990s in a Residency atHarvestworks and deployed those materials as thesound for Silvers' choreography (and in instrumentalmixing in performance with other improvisers). Withlanguage, he has worked with improvising musicians topresent poetry 'edited live' in performance, including'Mistaken Identity' with Vernon Reid. Two years ago, hisFellowship/Residency at Engine 27, with Michael J.Schumacher as his engineer, orchestrated several digitaltransformations (via multi-effects processing andMax/SP of an hour-long poetic text, 'Spaced Out', thekernel for May's Diapason installation.

Composer Josh Armenta writes music of and about ourtime. He finds inspiration in themes such as worker’srights, urban tragedy, loss of life and the juxtaposition ofthe sacred and profane. Josh earned his Bachelor of

Music degree in composition from the Catholic Universityof America in Washington, DC, where he studiedconducting with Murry Sidlin, David Searle and LeoNestor, and composition with Steven Strunk andStephen Gorbos. Additionally, he holds Masters Degreesin Music Composition and Computer Music Researchfrom the Peabody Institute of the Johns HopkinsUniversity, where he studied with Michael Hersch andGeoffrey Wright.

Massimo Avantaggiato is an Italian sound engineerand composer. Since his mid teens he has concentratedon expanding his musical landscape using electronics,unusual recording techniques and computer basedtechnology, all of which help him to develop his idea ofsound and composition. He took a degree in Economics(Università Cattolica del S. Cuore), a degree in SoundTechnology with full marks at “Giuseppe Verdi”Conservatoire in Milan and a degree as a SoundEngineer (Regione Lombardia). He has written music forshort films and installations and also music for TVadverts; he has recorded several CDs for various Italianand foreign labels.Recently his interest has movedtowards Multimodal Interaction in Virtual Environments(selected for a stage @ Aalborg University, Denmark,2011) and towards adaptive sound design and music(Music and Screen Media Conference 2014, Liverpool;ATMM2014, Ankara University, Turkey). Finalist in somecomposition and video competitions, he has recentlyparticipated in: Csound Conference 2015, SaintPetersburg, Russia; LINUX Audio Conference 2015,Mainz, Germany; Giordano National CompositionContest 2014 (finalist), Conservatorio di Foggia, Italy;CIM14 Conference on Interdisciplinary Musicology,Berlin, Germany; CIM 2014, Conservatorio S. Cecilia,Rome (Italy); ATMM 2014, Ankara, Turkey; InternationalComputer Music Conference 2014, Athens, Greece;ICMPC APSCOM2014, Seoul, South Korea; SlingshotFestival 2014 (Athens, South Georgia, USA); EMS 2014(Universität der Künste, Berlin); Music and Screen MediaConference 2014 (Liverpool University); Music as aProcess (Christ Church University, Canterbury, England); FAS2013 (San José Costa Rica); Contemplum 2013(Philadelphia, USA); Premio Nazionale delleArti/composition contest 2013, Avellino, Italy; EMUFestival 2010 and 2013 (Rome, Italy) ; Distanze 2012(Catania, Italy) ; Segnali 2012 (Perugia, Italy); CSoundMusic Conference 2011 (Hannover, Germany); IFIMPAC2011 (Leeds, England).

Hanae Azuma is a composer from Japan, completedboth her BM and MM at Tokyo University of the Arts,Department of Musical Creativity and the Environment.During her studies in Japan, she mainly concentrated onthe relationship between music and other visual/performing arts such as dance and films and has beencollaborating with contemporary dancers on variousprojects as a composer. She also completed her MM ofmusic technology at New York University in 2014.Andrew Babcock Born in Buffalo, NY, Andrew Babcockhas been working in a variety of contexts with music and

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multimedia for over 15 years. As a composer, Andrew’smain interest lies in the transmission and perception ofvoice in the electroacoustic medium. His works havereceived several international prizes and honorsincluding Metamorphoses (Belgium, 2012), Música Viva(Portugal, 2015), Prix Destellos (Argentina, 2015), andSound in Space (United States, 2011). Andrew iscurrently working towards his PhD in composition at theUniversity of Florida, studying with Paul Koonce.

Born outside of Philadelphia, PA, Christopher Baileyturned to music composition in his late 'teens, and toelectroacoustic composition during his studies at theEastman School of Music, and later at ColumbiaUniversity. He is currently based in Boston, but frequentlyparticipates in musical events in New York City. Hismusic explores a variety of musical threads, includingmicrotonality, acousmatic and concrete sounds, serialistjunk sculpture, ornate musical details laid out in flatforms, and constrained improvisation. Recentcommissions include "Empty Theatre" for piano andstring orchestra, commissioned for a portrait concert ofhis music as part of the Sinus Ton Festival inMagdeburg, Germany (October 2014) and a chambermusic version of Mergurs Ehd Ffleweh Bq Nsolst,featured on MATA's 2013 festival in New York City.

Christian Banasik (*1963) studied composition withGunther Becker and Dimitri Terzakis at the RobertSchumann Academy of Music in Dusseldorf and withHans Zender at the University of Music and PerformingArts in Frankfurt. His instrumental and electronic workshave been featured in concerts and radio programsthroughout Europe as well as in the Americas, Asia, andAustralia. He has received national and internationalmusic awards and scholarships. Banasik is lecturer forAudio Visual Design at the University for AppliedSciences / Peter Behrens School of Arts and the artisticdirector of the Computer Music Studio and the EMcomposition class of the Clara Schumann Music Schoolin Dusseldorf/Germany. Beside live electronics andcomputer music, he has produced works for tape, radioplays and film soundtracks.

Navid Bargrizan is a Ph.D. fellow in historicalmusicology at University of Florida, pursing a cognate incomposition. As a musicologist, he conducts research onintersections of science, philosophy, and music. He haspresented papers on music and aesthetic of ManfredStahnke, Harry Partch, and Mozart, in Berlin, Salzburg,Istanbul, Ottawa, Washington DC, New York, Boston,Sacramento, Dallas, and Gainesville, in conferencessuch as Society for American Music, German StudiesAssociation, Canadian University Music Society, andAmerican Musicological Society chapter meetings. As a composer, Navid experiments with microtones,tunings, tone systems, intonations, and electronics. Hismusic is performed in USA, Germany, and Italy, invenues such as Stacks/Collapss concert series inGreensboro North Carolina, Midwest Graduate Music

Consortium 2015 at Northwestern University, 3rd FloridaContemporary Music Festival, and the 2015 concert ofthe Society for Composers Inc. at University of Florida. Navid’s papers are published in the proceedings of the9th Conference of Interdisciplinary Musicology at theNational Institute of Music Research Berlin and theMUSICULT ‘15 Music and Cultural Studies Conferencehosted by Istanbul Technical University. One of hisarticles is forthcoming in Müzik Bilim Dergisi, The Journalof Musicology in Turkey, in their spring 2015 issue. HisInterview with Don Freund, the composer in residence ofSCI’s 2016 fiftieth anniversary conference, is publishedin SCI’s website. Recently, DAAD has awarded Navid agenerous German Studies scholarship which hasenabled him to conduct his pre dissertation research inGermany. He was awarded the University of Florida’sCollege of Arts 2015 Best of College Creative ResearchAward for his composition 10 Aphorisms for SaxophoneDuo.

Bret Battey (b. 1967) creates electronic, acoustic, andmultimedia concert works and installations. He has beena Fulbright Fellow to India and a MacDowell ColonyFellow, and he has received recognitions and prizes fromAustria’s Prix Ars Electronica, France’s BourgesConcours International de Musique Electroacoustique,Spain’s Punto y Raya Festival, Abstracta Cinema ofRome, and Amsterdam Film eXperience for his soundand image compositions. He pursues research in areasrelated to algorithmic music, digital signal processing,image and sound relationship, and expressive synthesis,with papers published in Computer Music Journal andOrganised Sound. He completed his masters anddoctoral studies in Music Composition at the University ofWashington and his Bachelors of Music in Electronic andComputer Music at Oberlin Conservatory. His primarycomposition and technology teachers have been ConradCummings, Richard Karpen, and Gary Nelson. He alsoserved as a Research Associate for the University ofWashington’s Center for Digital Arts and ExperimentalMedia. He is a Senior Lecturer with the Music,Technology, and Innovation Research Centre at DeMontfort University, Leicester, UK.http://www.BatHatMedia.com/

Alba Francesca Battista (1987) graduated in MusicaElettronica, Piano and Physics. Her compositions andpapers are selected for many international contests(ICMC2015 International Computer Music Conference,Denton, Texas; ICMC 2014 International ComputerMusic Conference, Athens, Greece; EMS14Electroacoustic Music Beyond Concert Performance,Berlin, Germany; KEAMSAC 2014 Korean ElectroAcoustic Music Society's Annual Conference, Seoul,Korea; ICMC 2013 International Computer MusicConference, Perth, Australia; Vernice Contemporanea –55ma Biennale d’Arte, Venice, Italy; ...). Herelectroacoustic work Nueva Luz won the third prize of theInternational Competition of Festival Internacional deArte Sonoro Monterrey SONOM 2014 (Mexico).She isthe author of “Elementi di Acustica Fisica e sistemi di

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diffusione sonora” (2012) and “Elettrotecnica edElettronica. I nuovi strumenti che hanno rivoluzionatol’estetica della musica” (2014).She works asElectroacoustic Composition Full Professor for theBachelor and Master’s Degree in ElectroacousticComposition at “D. Cimarosa” Conservatory of Avellino,Italy.

Stephen David Beck is the Derryl and Helen HaymonProfessor of Composition and Computer Music at theLSU School of Music. He currently serves as AssociateVice President for the LSU Office of Research andEconomic Development. He received his Ph.D. in musiccomposition and theory from the University of California,Los Angeles in 1988, where he studied with HenriLazarof, Elaine Barkin, Alden Ashforth, Paul Reale andRoger Bourland. From 1985 86, he held a FulbrightFellowship as a researcher at the Institut de Rechercheet Coordination Acoustique/Musique (IRCAM) in Paris,France. His current research includes sound diffusionsystems, high performance computing applications inmusic, music interaction with alternative interfaces,music software for laptops and mobile devices, andvirtual music instruments.

Brian Belet lives in Campbell, California (USA), with hispartner and wife Marianne Bickett. He performs with theensemble SoundProof using Kyma, viola, and bass. Hismusic is recorded on the Centaur, Capstone, Frog PeakMusic, IMG Media, Innova, SWR Music/HänsslerClassic, and the University of Illinois CD labels; withresearch published in Contemporary Music Review,Organised Sound, Perspectives of New Music, andProceedings of the International Computer MusicConference. To finance this real world Dr. Belet works asProfessor of Music at San Jose State University.www.BeletMusic.com

Angelo Bello has a multidisciplinary background inengineering, science and music, with a focus onalgorithmic composition. He received his MS inElectrical Engineering from Drexel University, and a BSin Electrical Engineering from Penn State University,while also studying piano and electronic musiccomposition. During a three year study and researchresidency at Les Ateliers UPIC, now the CIX, CentreIannis Xenakis, he researched the UPIC system, whileearning a Diplôme d’Étude Aprofondies (Diploma ofAdvanced Studies) from the University of Paris 8 underthe direction of composer Horacio Vaggione. He iscurrently employed at the United Nations in New York asa broadcast systems engineer and media asset dataanalyst.

Edgar Berdahl is an Assistant Professor in ExperimentalMusic and Digital Media (EMDM) at Louisiana StateUniversity (LSU). His work is motivated by the intimateand immediate qualities of acoustic music performance.He aspires to endow novel digital instruments with thesesame qualities by leveraging high fidelity force feedback

and physical modeling. Berdahl spends half of his timeworking within LSU's Cultural Computing group at theCenter for Computation and Technology (CCT). His workthere aims to advance insights into the evolving forefrontof EMDM research.

American composer Thomas Rex Beverly is a graduateof Trinity University in San Antonio, Texas where hereceived a bachelor’s degree in music composition. AtTrinity, he studied with Timothy Kramer, David Heuser,Jack W. Stamps, and Brian Nelson. He has had piecesperformed at the 2013 Electroacoustic Barn DanceFestival, the 2014 Biennial Symposium for Arts andTechnology at Connecticut College, the 2014 SCI IowaNew Music Symposium, the 2014 TransX TransmissionsArt Symposium in Toronto, Canada, the 2014 SweetThunder Electroacoustic Festival, 2014 New York CityElectroacoustic Festival, the 2014 InternationalComputer Music Conference and the 2014 SoPercussion Summer Institute. In addition, he won secondprize in the 2015 ASCAP/SEAMUS StudentCommissioning Competition for his piece Ocotillo. He isa recent graduate of Bowling Green State University intheir Master of Music Composition degree programwhere he studied with Elainie Lillios, Christopher Dietzand was a Music Technology Teaching Assistant.

Christopher Biggs is a composer and multimedia artistresiding in Kalamazoo, MI, where he is AssistantProfessor of Music Composition and Technology atWestern Michigan University. Biggs’ recent projectsfocus on integrating live instrumental performance withinteractive audiovisual media. In addition to collaboratingwith artists in other disciplines on projects, he treats all ofhis works as collaborations between himself and theinitial performing artist by working with the performersduring the creative process and considering their specificskills and preferences.

Gina Biver is a composer of electro acoustic music forchamber ensemble, choir, multimedia, dance and film. She has won numerous grants and awards includingthose from the American Music Center and AmericanComposers Forum. Her music has been performedworldwide through her collaborations withchoreographers, filmmakers, and multimedia artists, andhas been performed in venues such as the KennedyCenter and the Corcoran Gallery in Washington DC, theFirehouse Space in Brooklyn NY, IUPUI in Indiana,UMBC Baltimore and Andrea Clearfield’s Salon inPhiladelphia and several others. Gina recentlyperformed with the National Gallery of Art New MusicEnsemble in the atrium of the National Gallery East Wingas part of the John Cage Centennial in September 2012,and as electric guitarist with the National Gallery of ArtModern Music Ensemble at the National Gallery of Art inWashington DC as part of the Andy Warhol: Headlines2011 2012 exhibit. She is the Composer/Director ofFuse Ensemble, a performing group based inWashington DC that actively promotes new music as

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well as the work of video artists, kinetic sculptors andother visual artists. She lives in Falls Church, VA, withher husband Steve Biver, photographer and author, andtheir three children.

Per Bloland is a composer of acoustic andelectroacoustic music whose works have been describedby the New York Times as “lush, caustic,” and“irresistible.” His compositions range from solo pieces toworks for large orchestra, and incorporate video, dance,and custom built electronics. He has received awardsand recognition from organizations including IRCAM,SEAMUS/ASCAP, Digital Art Awards of Tokyo, theMartirano Competition, and ISCM. He is currently anAssistant Professor of Composition and Technology atMiami University, Ohio, and in 2013 completed a MusicalResearch Residency at IRCAM in Paris. A portrait CD ofhis work was recently released on Tzadik.For information see: www.perbloland.com, for scores:www.babelscores.com/perbloland. Bret Bohman is an Ann Arbor based composer ofinstrumental and electronic music who strives tocompose concert music infused with the visceral energyof his musical experiences in rock, jazz and electronicgenres. A native of Rochester, New York, he hascomposed music for orchestra, string quartet, choir,various mixed chambers ensembles and electro acousticworks as well as collaborative, interdisciplinary projectsincluding dance. His music is characterized by a strongrhythmic vitality often juxtaposed with ethereal, statictextures that support long melodic lines with a lyricalbent. Recently, he co founded the Khemia Ensemble, achamber music group dedicated to commissioning andperforming new works and educating the public aboutcontemporary concert music. The ensemble recentlyfinished a tour in South America, visiting universities inArgentina and Colombia where they performed concerts,held masterclasses and read student works. Mr.Bohman's compositions have been heard throughout theUnited States and various venues and festival includingthe Aspen Music Festival and School, Bowling GreenNew Music Festival, Fresh Inc. Festival, SCI NationalConference, SEAMUS National Conference, ElectronicMusic Midwest, Atlantic Music Festival, Society for NewMusic, 3rd Annual TUTTI Festival and more.

Jason Bolte is a composer of acoustic andelectroacoustic music. He currently resides in Bozeman,Montana with his wonderful wife Barbara and their twobeautiful daughters, Lila and Megan. Jason teachesmusic technology and composition at Montana StateUniversity where he also directs the Montana StateTransmedia and Electroacoustic Realization (MonSTER)Studios. Jason’s music is available on the ABLAZErecords, ELECTRO<>ACÚSTICO, SEAMUS, IrritableHedgehog, Vox Novus, SoundWalk, and Miso Recordslabels.

Antonio Bonazzo is graduate in both piano and

composition at the italian Conservatory. He also studiedjazz with R. Sportiello and P. Birro. In 2011 he graduated from the Master of Arts in Composition &Music Theory of the Lugano's Conservatory (CH). Afterworking as a piano soloist all over Europe he started toteach piano, electronic music, composition and musicensemble in Italy and in Switzerland. He is member ofthe composer collective M()A (www.moaproject.com)developing site specific musical projects. He has writtenmusic for movies, video art, theatre and multimedia. Hismusic is published by Soundiva (Cologno M. MI). In 2009he founded the ABQ, a jazz quartet working mainly inEurope with an original repertory between contemporarymusic and jazz. He issued some CDs of jazz, classical,electronic and soundtrack music. He is also a co authorof the orchestration book "La nuova liuteria" (SuviniZerboni 2012). Since 2014 he is a member of the ASM(Association Suisse des Musiciens).

Liubo Borissov is a multimedia artist working at theinterface between art, science and technology. Hereceived a doctorate in physics from Columbia Universityand was a Fellow in the Performing Arts at NYU’sInteractive Telecommunications Program. Hismultimedia collaborations, performances andinstallations have been exhibited internationally. He iscurrently an associate professor at Pratt Institute'sDepartment of Digital Arts.

Francesco Bossi is a musician, composer, and sounddesigner whose work includes acoustic andelectroacoustic music, video and multimedia installation.He holds degrees from Conservatorio di Genova,University of Bologna and Conservatorio di Milano wherehe graduated with highest honors in Electronic Music.His aesthetic research is currently focused on theproduction of algorithmic/computer based customsynthesizers and new user interfaces. His effort is toshare contemporary music beyond academic audiences.Francesco is also skilled in the use of the Arp Odysseysynthesizer, which owns an exemplar of 1977. He hasmanaged for twelve years the Palazzina Liberty ConcertVenue in Milan. His works are performed by orchestrasand ensembles of international renown, sometimesunder the alias Vernon Buckler, and frequently selectedby international festivals and concerts, film music live onstage. The Edge of the Chaos has been awarded firstprice in The Sounds of Music Sound Design competition,sponsored by the Villa Arconati Music Festival in Milan(2012). Recently he has been invited to Florence, Padua,Venice (2014), New York City NYCEMF (2015) andDenton (TX Usa) ICMC 2015. His installation LivingPortrait: FM Mona Liza has been chosen for theexhibition Sankta Sango Palace of Arts, Naples (2013),and for Soundislands Festival 2015: SI15 2ndInternational Symposium on sound and Interactivity,Singapore (2015). His video Urban Landscape Fractures Milano has been chosen for the XII FestivalInternacional de Arte Sonoro y Música Electroacústica“Punto de Encuentro sezione “Sinchresys seleciòn de

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obras de videomùsica Valencia, Granada, Canarias(Spain), November 2015, and for the Society of ElectroAcoustic Music in the United States (SEAMUS) 2016National Conference, February, 11 – 13, 2016 (GeorgiaSouthern University, Statesboro, Georgia).

Jeffrey Bowen is a Seattle based composer of acousticand electroacoustic music, whose gradually evolvingcompositional structures explore how memory works toestablish musical perspective and musical space. Hiscompositions have been performed by Pascal Gallois,Beta Collide, Ensemble DissonArt, and the NebraskaChamber Players, among other ensembles, and his workhas been honored by Stanford’s Quarterly Arts Grant andthe William Bergsma Endowment for Excellence in MusicComposition. In 2013 conductor Ludovic Morlot chosehis orchestral work Stalasso for the Seattle SymphonyOrchestra’s New Music Works program. He has alsopresented work at the Darmstadt Summer Courses forNew Music, with his piece Stalasso II selected for the2012 boost! reading sessions. Stalasso II was alsofeatured at the University of Nebraska’s 2015 New MusicFestival. Jeffrey holds a BA in Music from StanfordUniversity and recently completed a DMA in compositionat the University of Washington under Professor JoëlFrançois Durand.

Nathan Bowen, received his doctorate in musiccomposition at the CUNY Graduate Center, studying withDouglas Geers, Amnon Wolman, and Tania León. Hisdissertation on mobile phone music received the BarryBrook Dissertation Award. His work on mobile phonemusic has garnered invitations to conduct research atIRCAM with the Real Time Interactions Team in Parisand Goldsmiths in London. He has presented at Expo’74 Brooklyn, SEAMUS, ICMC, and NYCEMF, where heis an original member of the steering committee. Hecurrently teaches music technology and theory atMoorpark College (CA).

André Brégégère is a composer, music scholar, andeducator active in the New York metropolitan area. Hismusic has been performed in recent years by leadingensembles including Cygnus, Second Instrumental Unit,MIVOS Quartet, Cadillac Moon Ensemble, and Transit,in major venues including Carnegie/Weil Hall andSymphony Space. As a founding member andco-director of Dr. Faustus (www.drfaustus.org), Mr.Brégégère is also an active advocate for new music,overseeing the commission and performance of morethan twenty works by emerging composers since 2008.

Argentinian composer, researcher and teacherAlejandro Brianza has a Bachelor in Audiovisual Artsand is currently pursuing master’s degrees inMethodology of Scientific Research. Is sound technician,student of Composition and Recorder in the MusicConservatory Julián Aguirre. He teaches at the Universityof Salvador and the National University of Lanús, whereis also part of researchs related to sound technology,

electronic music and contemporary languages, of whichhe has lectured at conferences and various academicmeetings. Since 2012 is the programming coordinator atSonoimágenes International Festival of acousmaticmusic and sound and multimedia art. He is member inRedASLA (Latinoamerica's sound artists network) andhis work has been heard in the UK, Ireland, France,Finland, Spain, Canada, Colombia, Brazil, México andArgentina.https://alejandrobrianza.wordpress.com/

Galen H. Brown lives in New York City where he worksin the IT department at the New York Philharmonic. Hehas studied composition with David Rakowski atBrandeis University, Jon Appleton and Kui Dong atDartmouth College, and Lee Hyla at New EnglandConservatory, where he completed a Masters Degree incomposition in 2004. In addition to his activities as acomposer, he is a former Senior Editor at Sequenza21and his musicological research on minimalism hasappeared in Perspectives of New Music. For moreinformation, including scores and recordings, please visitwww.galenbrown.com. Hunter Brown is a composer, electronic musician, audioengineer, improviser, and percussionist based in Oberlin,Ohio. Hunter is currently earning his Bachelor’s of Musicin Percussion Performance with a Minor in Technology inMusic and the Related Arts at the Oberlin Conservatory.He studies electronic music and composition with JooWon Park, and percussion with Michael Rosen. Hiscompositions range from works incorporating analogsynthesizers, the live processing of acoustic instruments,acousmatic fixed media, and multichannel diffusion. Afluent improvisor, Hunter is a member of the OberlinImprovisation and New Music Collective (OINC), a 12piece ensemble that focuses on free improvisation usingelectronics. Since enrolling at Oberlin, Hunter has beenemployed as an audio engineer at The OberlinConservatory Audio Department. His duties working forThe Oberlin Conservatory Audio Department includerecording live performances, live mixing, soundreinforcement, and studio recording of music of anygenre.

Matthew Bryant is a composer, multi instrumentalist,and multimedia artist. Bryant is currently an adjunctprofessor at the University of Alabama Birminghamwhere he teaches music technology and directs theComputer Music Ensemble. He received his B.A. inMusic Technology at the University of Alabama atBirmingham (UAB). There, he held leadership positionsin multiple ensembles and graduated with multiplehonors including Most Outstanding Student in theDepartment of Music. Bryant received his M.M. in MusicTechnology at Georgia Southern University under JohnThompson and Derek Larson. He has performed andpresented at multiple festivals and conferences includingN_SEME, Root Signals, ICMC, and ArtFields SC.Julius Bucsis is an award winning composer, guitarist,

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and music technologist. His compositions have beenincluded in many juried concerts, conferences andfestivals worldwide. He also frequently performs a set oforiginal compositions featuring electric guitar andcomputer generated sounds. His artistic interests includeusing computer technology in music composition,developing musical forms that incorporate improvisation,and composing music for traditional orchestralinstruments. He will begin pursuit of a DA in MusicComposition at Ball State University in the spring of2016.

Lou Bunk (b. 1972) is an American composer andimproviser inspired by many forms of avant garde artisticexpression. Educated in classical composition, anddeeply influenced by the vibrant electro acoustic improvscene in and around Boston and New York, Lou’s musicoccupies a space between and among concert halls andfringe performance galleries. His sonically rich andintricate music investigates sound and silence throughextended instrumental techniques, microtones, amplifiedfound objects, electronics, and generative approaches totexture and form. In his home town SomervilleMassachusetts, Lou produces the concert seriesOpensound, and has chaired the Somerville ArtsCouncil. He co directs Collide O Scope Music, a NewYork City based new music ensemble, and is AssociateProfessor of Music at Franklin Pierce University in NewHampshire where he teaches electronic music andcomposition. Lou received A Ph.D. in Music Compositionand Theory from Brandeis University

Madelyn Byrne is a Professor of Music at PalomarCollege where she has been on the faculty since 2000.She is an active composer of both acoustic andcomputer music. Some recent pieces include TheDecorah Eagle Violin Concerto (composed for Ulli Reinerand the Palomar Symphony Orchestra), In A WinterLandscape (for bass flute and computer, commissionedand recorded by Peter Sheridan for MOVE Records),Arrival (computer music with video art by Lily Glass,recorded to DVD for Everglade Records), and NorthernFlight (for piano and computer, recorded by Peter Gachfor Innova Records). Her music has been presented in avariety of venues in Europe, Asia, Australia and NorthAmerica. Some recent performances include the Societyof Composers, Incorporated’s National Conference inMarch 2014 and the Morningside College CompositionCompetition in April 2014, where her composition, Windsof May took first place. Madelyn's music has also beenselected for a wide range of new music festivals such asThe International Computer Music Conference, TheAries New Music Festival, The Australasian ComputerMusic Conference, College Music Society Conference,Electronic Music Midwest, Kansas City Electronic MusicAssociation, Western Illinois University’s New MusicFestival, Imagine II, and Merging Voices among others.Madelyn completed her DMA in Composition at TheGraduate Center in 1999. Her composition teachersinclude Charles Dodge, John Corigliano, and David Olan.The compositions for her dissertation were done while

she was a guest composer at Columbia University’sComputer Music Center.

Nicole Carroll is a composer, performer, sounddesigner, and builder based in Providence, RI. Her workspans installation, improvisation, and fixed mediaperformance. She is active as a sound designer andcomposer in theater, performs electronic music underthe alias “n0izmkr”, and builds custom synthesizers andperformance sensor systems. She is also a bassoonist,currently developing a sensor system for augmentedbassoon. Other research interests include soft circuitsand wearable sensors, and AV synthesis on mobiledevices and embedded systems. Through her work, sheseeks to reconcile the natural world with technology.Themes found in her work derive from reflections onnature, supernatural phenomenon, literature, and thehuman psyche. Nicole holds an M.M. and B.M. inComposition from Bowling Green State University andArkansas State University, respectively. She is currentlypursuing a Ph.D. in Computer Music and Multimedia atthe Multimedia & Electronic Music Experiments (MEME)program at Brown University. Her instructors includeButch Rovan, Todd Winkler, John Ferguson, ElainieLillios, Mikel Kuehn, Burton Beerman, Tim Crist, JaredSpears, and Dan Ross. www.nicolecarrollmusic.com

Alessandro Cazzato (1988) graduated and specialized"cum laude" in Violin with Franco Mezzena and FelixAyo. He attended also masterclasses in Conducting withM? Nicola Samale. Cazzato has performed solo concertsin major Concert Halls and Festivals, in Italy (CamerataMusicale Barese, Festival Valle d’Itria, Festival “Estate aPalazzo” of Mantua, Goethe Institut Rome, Telethon,F.A.I., “Italian National Meeting of Music Education”,Festival of European String Teachers AssociationE.S.T.A., Academia Gustav Mahler, etc.) and abroad(“Flatus – Intenational Festival Music” of Sion Switzerland, “Euro Arts – International Music Fondation”,“Hochschule für Musik und Tanz” Leipzig and Köln,Teatro Euskalduna Bilbao, University of Arts BuenosAires, etc.). As soloist, he has recently performed theintegral of J. S. Bach's Sonate und Partite. He funded theEntr'Acte Strings Orchestra with which he recorded CDsdedicated to A. Vivaldi and J. S. Bach (SoundiffRecords). His repertoire spans from baroque tocontemporary music, collaborating with well knownItalian and foreign composers. Graduated “cum laude” inLiterature and Modern Philology at the University "AldoMoro" of Bari, he has written appreciated essays andpapers on Music and Literature. His publications arereviewed on important magazines. He devotes also toteaching. He held seminaries on Baroque music,Mozart's interpretation and performance, relationshipbetween Music and Poetry. He held also courses ofViolin, Chamber Music and Contemporary ViolinPerformance for the International Music Festival"RuidalSud" (2014 & 2015) in Argentine. He has beeninvited to take part in juries of International Competitions.He teaches Violin in Italian Conservatories of Music. Heplays a prestige Ferdinando Garimberti violin (1954).

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Gustavo Chab born in Buenos Aires, 1964, attended theJuan Jose Castro Conservatory. Studied guitar withDolores Costollas; harmony, counterpoint and piano withDaniel Montes; composition and musical analysis withFrancisco Kropfl y Oscar Edelstein. He was an activemember of Otras Musicas Group and FARME of BuenosAires. He composed his first electroacoustic pieceMirada Roja in 1993, specializing in compositiontechniques in electroacoustics. He has received amongmany awards a special mention of the Municipality ofBuenos Aires, first prize of the FNA, and honourableresidence in the International Electroacustic MusicCompetition at Bourges. His compositions, includingworks for instrumental, digital and mixed media,electronic music, acousmatic art, visual poetry, musictheatre, performances and sound installation. Frequentlyexplores the spacialisation of sound in compositionmixing electroacoustic sounds, vocal sounds andacoustical instruments. From 2014 is active member ofSonoridades Alternativas of Buenos Aires. AttendedStockhausen Courses in Kurten 2011, 2013 and differentseminar like Intuitive Music (Ensemble Weimar) SoundProjection (Bryan Wolf) – Stockhausen workshop andlectures. Attended at Internationales Music InstituteDarmstadt IMD in 2012 Summer Courses, Workshopand lectures.

Joel Chadabe, composer, author, is an internationallyrecognized pioneer in the development of interactivemusic systems. He has performed at the VeniceBiennale, Wellington Festival (New Zealand), New MusicAmerica, Inventionen (Berlin), IRCAM (Paris), ArsElectronica (Linz, Austria), Electronic Music Festival(Stockholm), and other venues and festivals worldwide.He is the author of Electric Sound, a comprehensivehistory of electronic music. HIs articles have beenpublished in leading journals. His music has beenrecorded on EMF Media and other labels. He hasreceived fellowships and grants from NEA, New YorkState Council on the Arts, Ford Foundation, RockefellerFoundation, Fulbright Commission, and otherorganizations, and he is the recipient of the SEAMUS2007 Lifetime Achievement Award. Mr. Chadabe iscurrently Professor Emeritus at State University of NewYork; Adjunct faculty at New York University; founder ofEar to the Earth and New Music World; and president ofIntelligent Arts.

The music of Chin Ting (Patrick) Chan (b. 1986) stemsfrom an interest in representing his impressions of thevisual world with sonic images. It is often inspired bypatterns and shapes he discovers in daily objects, aswell as imaginary landscapes he sometimes encounters.These abstract concepts are projected to a music that ischaracterized by complex harmonic progressions withina multi layered texture. Chan has been a fellow andguest composer at the International Computer MusicConference, the International Rostrum of Composers,

IRCAM’s ManiFeste, the ISCM World Music Days, Junein Buffalo and the Wellesley Composers Conference,and has held residencies with the Charlotte StreetFoundation and the Virginia Center for the Creative Arts.He has received commissions from the Hong KongComposers' Guild and the Music Teachers NationalAssociation, as well as performances by EnsembleSignal, the Nouveau Classical Project and the S.E.M.Ensemble, in venues such as the Darmstadt StateTheatre and the Seoul Arts Center, among many others.Awards and other recognition include those from theInterdisciplinary Festival for Music and Sound Art, theSoli fan tutti Composition Prize, the American Prize,ASCAP, Association for the Promotion of New Music, theCortona Sessions for New Music, Foundation Destellos,Foundation for Modern Music, the MidAmerican Centerfor Contemporary Music, newEar, the New MusicConsortium, the Portland Chamber Music Festival, theRED NOTE New Music Festival and others. Raised inHong Kong, Chan has held faculty positions at theUniversity of Missouri–Kansas City and Kansas CityKansas Community College. He holds degrees from SanJosé State University (B.M.), Bowling Green StateUniversity (M.M.) and the University of Missouri–KansasCity (D.M.A.). His works are published with the ABLAZERecords, Darling’s Acoustical Delight, Melos Music,Music from SEAMUS, Navona Records, the SCI Journalof Music Scores and Unfolding Music Publishing(ASCAP).

Guillaume Chappez is a young French composer andsound artist. His work on sound/media (electroacoustic,audio design, sound installations, interactive and multimedia sets...), aims to express ambient and resolutelyfuturistic qualities that reach out to new musical andtechnological territories. Its works and compositions areshown internationally: Nuit Blanche Paris (France),Moscow International Biennale For Young Art (Russia),Art Souterrain Montréal (Québec), Center For Art andMedia Karlsruhe (Germany), etc.

Tim Chatwood (ASCAP) is an American composer/sound designer and percussionist. He received hisMasters in Music Composition from the University ofNevada, Reno. He has studied composition under Dr.James Winn, Dr. Jean Paul Perrotte, Dr. StephenBlumberg and recording arts under Tom Gordon. Hisworks have been performed by the Central MichiganUniversity New Music Ensemble and the University ofNevada, Reno Contemporary Music Ensemble. He isalso an intern at Imirage Sound Lab Recording Studio inSparks, Nevada. He continues to compose new works inhis studio and is proudly endorsed by InnovativePercussion Sticks/Mallets.

Yiannis Christofides (b. 1985, Cyprus) is a composerand sound designer based in Los Angeles. Much of hispersonal work investigates our experience of placethrough the use of field recordings as principal material.His particular interest in field recording is in relation to

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the contextual aspects of sound and the inter sensoryexperience that it affords. Thus, it often extends beyondthe auditory in order to take into consideration theinterdependences and interactions between differentsensory perceptions, the multitude of subjectiveinterpretations, memories and personal narrativesassociated with a particular soundfield and its social andpolitical context. Yiannis' work for art installations, stageand performance pieces, new media art, curatorial andmultimedia productions has been presented at variousfestivals, galleries and venues across Europe and theAmericas. He is co founder of PHYSICAL PLASTIC, aLos Angeles based theater project.www.yiannischristofides.com

Leonardo Cicala graduated in Electronic Music andinstrumentation for band at the Conservatory "T.Schipa"of Lecce. He studied sound projection with JonathanPrager at the acousmonium. Since 2007 he is a regularmember of the acousmatic performers “M.a.re” playing inall the concerts at the acusmonium of Bari. Since 2011he is the curator of the international festival ofacousmatic music "Silence". He also took a degree inBiology and studied Drums and Jazz Music. Hiscompositions have been performed at the Syntax 11.1Festival in Perpignan, during the electroacousticcomposition workshops “Musiques a reaction 3.2” at theCRR of Paris, in the “Silence” festivals in Bari, in theCircus Art Festival in Osaka, at “Tor Vergata University”in Rome, at the Conservatory of Lecce in the acousmaticweek "Play French" in the international day of concertactivities during the 60th anniversary of the broadcast ofthe Concert de Bruits Pierre Schaffeur, in Milan inS.Fedele Cultural Center, in Root Signals ElectronicMusic Festival in Florida and he winning the DylanThomas Electroacoustic Composition Prize in UK.

Roc Jiménez de Cisneros is an artist and composer.Since 1996 he has been the core member of thecomputer music project EVOL. His work has beenreleased on internationally acclaimed record labels suchas Entr’acte, Mego, Presto!?, Diskono, Lucky Kitchen,and his own Alku among others. de Cisneros hasfollowed the ’computer music for hooligans’ motto sincethe late nineties, giving birth to musical forms built upona collision of structural ideas inspired by fractalgeometry, glimpses of quantum theory, noise and raveculture. From impossible synths to glowsticks, air horns,elastic bass lines, and mathematical equations, his workdisplays a radical and playful approach to algorithmiccomposition, somewhere in between Denis Smalley’sconcept of :spectromorphology,” black magic and whatAgostino Di Scipio called “functional iteration synthesis.”

Ian Michael Clarke is a composer pursuing an MM inComputer Music and Composition at the PeabodyInstitute where he studies with McGregor Boyle andJason Eckardt. He completed his BM in Composition atthe Indiana University Jacobs School of Music, where hisprimary professors were Aaron Travers, Claude Baker,

Sven David Sandström, Don Freund, John Gibson, andJeffrey Hass. Ian has been recognized for hiscompositional efforts as a 2010 California Arts Scholar inMusic Composition and in conjunction with his academicachievements as a 2011 recipient of the prestigiousWells Scholarship. Through his affiliation with the WellsScholars program, he secured a grant in the summer of2012 which he used to travel to Australia and conductresearch on the 20th century composer John Antill,uncovering and retrieving several rare and otherwiseundiscovered scores. Ian’s music has been featured atN_SEME 2013 and 2014, Electronic Music Midwest2014, the 2013 Atlantic Music Festival, the 2013Electroacoustic Barn Dance Festival, the 2013 and 2014Midwest Composers Symposiums, ICMC SMC 2014,SEAMUS 2015, and Princeton University, where he hadthe opportunity to write for the So Percussion quartet.Over the course of June 2013, Ian studiedelectroacoustic composition at IRCAM, participatingadditionally in IRCAM’s Manifeste Music Festival.

Joshua Clausen is a Minneapolis-based composer,music producer and educator. Clausen’s works ofteninhabit stylistic interstices between chamber concertmusic, electronic music and varied popular formsexerting “a dynamic intensity to [their] influence ofpopular culture” (Computer Music Journal). Clausen hasbeen commissioned by Wild Rumpus new musiccollective, the Antithesis Project, AVIDduo, theRenegade Ensemble, the pianist Keith Kirchoff,saxophonist Kyle Hutchins and clarinetist SarahPorwoll-Lee and his recent works have been supportedby the Jerome Foundation, the MacPhail Center forMusic and the Minnesota State Arts Board. Clausen’swork has been presented at numerous festivals andconferences of new music including the InternationalComputer Music Conference, Society for ElectroacousticMusic in the United States, New York CityElectroacoustic Music Festival, Electronic Music Midwestand the Spark festival. Clausen is director of CommunityPrograms at Slam Academy, a business he co-foundedthat is dedicated to community education in theelectronic arts and was a composition mentor in theinaugural season of American Composers Forums’NextNotes workshop and concert series for youngcomposers. Clausen earned a Bachelor of Music degree(theory/composition, minor in philosophy) fromConcordia College in Moorhead, Minnesota and a Masterof Arts (composition, minor in art – time & interactivity)from the University of Minnesota. His mentors at theUniversity of Minnesota included Douglas Geers, AlexLubet and Judith Lang Zaimont.

Martina Claussen is a vocal artist, composer andcomposer performer. The focal point of her work lies inthe interaction of the voice and live electronics and thevoice as the main sound source of her electroacousticcompositions. She studied classical singing andelectroacoustic composition at the University of Musicand Performing Arts, Vienna. Concert tours in Europe,Asia and in the USA as well as participation at various

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festivals such as Wien Modern, Steirischer Herbst undFestwochen Wien. Her compositions have been playedat international Festivals such as Festival Futura 2015(Crest, France) or Soundscapes & Sound Identities 2015(Italy) and broadcasted by various Radiostations inEurope. Since 2009 Professor of Classical Singing atthe University of Music and Performing Arts, Vienna. http://www.martinaclaussen.at

Michael Clemow is a composer of experimental noiseand electronic music and creates his own instruments. He has played in New York at The Stone, River to RiverFestival, Glad Café in Glasgow, and MOD Festival inGuadalajara. He is a member of CAN D, a Sci Fi rapduo, with Amy Khoshbin.

Nicholas Cline (b. 1985) writes acoustic andelectroacoustic music – often a quiet music with anemphasis on subtle, nuanced sounds. Deeply influencedby the natural world, his music often draws on sensuousas well as intellectual experiences of nature with thebelief that music should reveal, challenge, and shape thelistener’s understanding of the world. His music has beenperformed by the International Contemporary Ensemble,Northwestern Contemporary Music Ensemble, amongothers and has been presented at festivals in the US andin Europe. He is featured on the SEAMUSelectroacoustic miniatures recording series: Re Cagedand is a High Concept Labs sponsored artist. He holdsdegrees from Columbia College Chicago and IndianaUniversity. He is currently studying and teaching atNorthwestern University.

Amanda Cole’s compositions feature microtonalstructures, interference beats and fusions of electronicand acoustic timbres. She has a BMus(Hons.1) and aPh.D. in composition from the Sydney Conservatorium.Amanda’s microtonal compositions include fourpercussion trios for a purpose built Microtonal GlassHarmonica, a microtonal string quartet for stringharmonics and sine tones and has made an audio visualinstallation that maps pitch to hue. Her microtonalcomposition Vibraphone Theories was performed byKroumata in Sweden for the 2009 International Society ofContemporary Music (ISCM) festival. This piece wasalso recorded by Portuguese percussionist Nuno Arosofor his CD Technicolor. Amanda also works in the NewMedia area and creates works in collaboration with visualartists.In 2008, Amanda created THE ELASTIC BAND,an interactive sound installation with artists Jo Cuzzi andPatsy Black, that was exhibited at FirstdraftGallery(Sydney). In 2010 Amanda collaborated with NewMedia artist Warren Armstrong to create the TwitterHymn Book, an endless, self generating soundinstallation created entirely from Twitter updates. Thispiece was selected as a finalist for the 2010 Blake ArtPrize and was exhibited at the National Arts Schoolgallery. She is currently working with Visual ArtistMichaela Gleave on a new work that sonifies live stardata.

Christopher Cook received the Doctor of Music degreefrom Indiana University where he served as assistantdirector of the Center for Electronic and ComputerMusic. He is a recent recipient of a Fromm MusicFoundation commission from Harvard University and hasreceived awards from the National Endowment for theArts, ASCAP, MTNA, and the National Assembly of LocalArts Agencies. He has served as Composer inResidence at James Madison University, AmherstCollege, the University of Evansville, the Monroe CountyCommunity Schools Corporation (Indiana) and for thecity of Somerset, Pennsylvania. He is Director of Theoryand Composition at Christopher Newport University.

James Correa has a Doctor degree in composition(SUNY Buffalo), Master in composition and Bachelor inguitar (UFRGS). His works have been performed inUnited States, Canada, Europe, and in the mostimportant concert halls and Contemporary MusicFestivals in Brazil. Correa was co founder and the firstdirector of NMC POA (a centre for contemporary musicin Porto Alegre Brazil); Associated Composer in the CME(Electronic Music Centre at the Federal University of RioGrande do Sul, Brazil); founder member of themultimedia ensemble Sons Transgênicos. He have beena guest composer in contemporary music festivals inBrazil and United States. In the last few years Correa isworking in collaboration with the visual artists MarceloGobatto and Claudia Paim. He was adjunct professor ofcomputer music in the music department at University atBuffalo, and he is now tenure professor of composition,computer music, and director of the LabComp, thecomputer music studio at Federal University of Pelotas,Brazil.

Giovanni Costantini (Corigliano d’Otranto Lecce,1965) Since 1995, he do research at the Faculty ofEngineering of University of Rome Tor Vergata, wherehe teaches courses in Sound Processing and ElectronicMusic. He is also associate researcher at the Institute ofAcoustics "O. M. Corbino" of Rome.At the University TorVergata, he is Director of the Master in SONIC ARTS.His musical research is currently focused on the creationof the microstructure and macrostructure of soundthrough the exploration and real time processing ofacoustic material.

Robin Cox is a composer, violinist, and collaboratorknown for performance of his own works and that ofother contemporary artists. With the Robin CoxEnsemble, he led over 170 performances, producedthree critically acclaimed CD recordings, and premieredworks by over eighty composers. He also led a mixedmedia performance series as Executive Director ofIridian Arts, Inc. and is on the Board of Directors of theSwitchboard Music Festival on San Francisco. His latestlarge scale ventures are the community participationevent HOURGLASS and the immersive audio/videoperformance environment BIG TENT. Cox has receivednumerous awards, including multiple Lester Horton

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Awards for Outstanding Achievement in Music for Danceand an ASCAP Deems Taylor Award for the founding ofIridian Radio. He holds degrees from the Univ. of Texasat Austin, Univ. of Michigan, and the Univ. of Miami, andafter many years on faculty at California St. Univ. LongBeach Bob Cole Conservatory and California Institute ofthe Arts, Dr. Cox joined the Music and Arts Technologyfaculty at Indiana University Purdue UniversityIndianapolis (IUPUI) in fall of 2013. www.robincox.net

Bryce Craig earned a B.M. in Music Compositionsumma cum laude from Kansas State University and anM.M. in Music Composition at Central MichiganUniversity. His previous composition teachers includeKeith Larson, Craig Weston, David Gillingham, and JayBatzner. He works as a free lance composer, privatetheory/composition instructor, and as an engraver/audiospecialist for C. Alan Publications in Greensboro, NorthCarolina. Bryce's works have been performed nationwideat events such as the 2013 National Conference onPercussion Pedagogy, the 2015 PARMA New MusicFestival, and numerous Society of Composers, Inc.regional conferences. Bryce is also active as a freelancepercussionist and percussion instructor, performingprimarily on the MalletKAT MIDI controller. He maintainsan active teaching studio and additionally works as FrontEnsemble Arranger for the Blue Valley SouthwestEmerald Regiment Marching Band.

Corey Cunningham is a composer and multiinstrumentalist whose music covers a wide range ofstyles and genres, and includes both acoustic andelectronic works. He has been a featured composer atthe highSCORE Contemporary Music Festival, ElectronicMusic Midwest, and the LaTex festival. Corey receivedhis Master of Music degree from the University ofMichigan, where his primary teachers were MichaelDaugherty and Kristin Kuster, with further studies inelectronic music with Evan Chambers. Before that, hereceived a Bachelor’s degree from the University ofWisconsin Eau Claire, where he studied with EthanWickman. He is currently pursuing his Doctor of MusicalArts degree at the University of Texas at Austin, wherehis primary teachers have been Donald Grantham, DanWelcher, Russell Pinkston, and Yevgeniy Sharlat. Inaddition to composing, Corey is also an active performeras both a saxophonist and guitarist.Stuart Cunningham is an academic who works atGlyndwr University in North Wales, UK. He has interestsin person centred approaches to sound design and waysin which biofeedback sensors from humans can beanalyzed to determine their emotional states. To date,his work has been predominantly technical andscientifically driven, but he has recently been producingcreative works such as music, sound and images, inrelation to these fascinations. In a recent period ofcollaborative research, these artistic outputs have beenfocused upon altered states of consciousness and howsuch hard to document, personal experiences might berepresented to a wider audience in an accurate and

effective way.

Jelena Dabic was born in Serbia, and studiedcomposition and music theory at the Novi Sad Academyof Arts. A scholarship from the Bayhost allowed her topursue further studies at the University of PerformingArts in Munich. She attended many composition coursesand workshops with composers such as Wolfgang Rihm,Peter Michael Hamel, James Clarke, Pascal Dusapin,Frederik Durieux, Isabel Mundry, Beat Furrer, and manyothers. Her catalogue of compositions includes severalsolo, chamber and orchestral works as well as an opera,and in recent years her music has been performed inEurope, South America and Asia. She also studiedmultimedia art and electronic music composition at theUniversity of Music and performing arts in Hamburg andis currently writing a doctoral thesis about contemporarymusical theater. She has been granted severalscholarships from many institutions such as theFoundation for young talents RS (2007), the “Privrednik”Foundation in Novi Sad (2003 08), BAYHOST (2008 10),the University of Performing Arts in Munich (2009), theOtto Stoterau Fellowship, the Teodor Rogler Fellowships,DAAD (2012) and Pro Exzellenzia (2015).Her catalogue of compositions includes several solo,chamber and orchestral works as well as an opera, andin recent years her music has been performed in Europeand Asia. Her latest works reveal, amongst otherqualities, a strong interest in the theatrical aspects ofmusic. Her opera “SpiegelSpiel” was premiered in May2010 during the Munich biennial festival forcontemporary music theatre. She also received furthercommissions from the Kassel Music Days, the SiemensArts Program, the Hamburg University of Music and theYoung Euro Classic Festival in Berlin, for which shecomposed the orchestral piece In Circle (2011). Hercomposition “Beethaphase” was recently awarded aprize at the Vojvodina Young Composer’s Competition, and was performed in May 2014 conducted by theBrazilian conductor Claudio Cohen. She was recentlyawarded a scholarship from the German Society ofWomen Artists and Art Patrons (GEDOK) and in 2015she was composer in residence in Sondershausen(Germany). For more information please visit:www.jelenadabic.com.

Antonio D’Amato He is intoxicated by music. Hegraduated at conservatory in Piano, Harpsichord, Musicfor multimedia, Music Pedagogy and Electronic music.He also studied composition for eight years, bassoon forthree years, baroque organ and audio engineering. In2010 he was Ondes Martenot student in Strasbourg andParis. At the moment his main interest is joiningtraditional composition procedures and the wideopportunities of computer based music. Some of hisinstrumental works are published by Forton Music, U.K.His first electronic composition was selected for aperformance during the ICMC 2012 Conference. Insummer 2015 he was trainee at ExperimentalStudio desSWR in Freiburg. His works have been performed inAustralia, Austria, Belgium, Brazil, Canada, Greece, Italy,

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Mexico, Slovenia, Sweden, Taiwan and USA.

James Dashow has had commissions, awards andgrants from the Bourges International Festival ofExperimental Music, the Guggenheim MemorialFoundation, Linz Ars Electronica Festival, the FrommFoundation, the Biennale di Venezia, the USA NationalEndowment for the Arts, RAI (Italian National Radio), theAmerican Academy and Institute of Arts and Letters, theRockefeller Foundation, Il Cantiere Internazionale d'Arte(Montepulciano, Italy), the Koussevitzky Foundation,Prague Musica Nova, and the Harvard MusicalAssociation of Boston. In 2000, he was awarded theprestigious Prix Magistere at the 30th FestivalInternational de Musique et d'Art SonoreElectroacoustiques in Bourges. In 2011, Dashow waspresented with the distinguished career award "Il CEMATper la Musica" from the Federazione CEMAT (Roma) forhis outstanding contributions to electronic music. Apioneer in the field of computer music, Dashow was oneof the founders of the Centro di SonologiaComputazionale at the University of Padova, where hecomposed the first works of computer music in Italy; hehas taught at MIT, Princeton University, the Centro parala Difusion di Musica Contemporanea in Madrid, theMusica Viva Festival in Lisbon, and the Conservatorio diMusica Benedetto Marcello in Venezia. He wascomposer in residence at the 12th FloridaElectroacoustic Music Festival, and he continues tolecture and conduct master classes extensively in theU.S. and Europe. Dashow served as the first vicepresident of the International Computer MusicAssociation and was for many years the producer of theradio program "Il Forum Internazionale di MusicaContemporanea" for Italian National Radio. He is the author of the MUSIC30 language for digitalsound synthesis, and the Dyad System, a compositionalmethod and technique for developing pitch structuresand integrating them in electronic sounds. Dashowmakes his home in the Sabine Hills north of Rome.

Seth Davis’ main goals as a musician and composer iscreate original work within many different musicalcontexts, from solo electronic works, to rock bands, tosymphony orchestras. As well, he wishes to continue tocreate a synergy to his roles as both a performer andcomposer. As an artist, Seth’s process can be closelyrelated to that of an auteur, the film critic term for adirector whose work reflects their creative vision andfingerprint, such as film directors like Orson Welles,Martin Scorsese, Woody Allen, Quentin Tarantino, andAlejandro Jodorowsky. Seth wishes to use his music tocreate a sense of ceremony, concept, and message.

Bruno Degazio is a film sound designer, composer,researcher and educator based in Toronto, Canada. Hisfilm work includes the special-effects sound design forthe Oscar-nominated documentary film, The Fires ofKuwait and music for the all-digital, six-channel soundtracks of the IMAX films Titanica, Flight of the Aquanaut

and CyberWorld 3D as well as many other IMAX films,theatrical feature films, and television dramas.

Thomas Dempster is a composer of chamber,electroacoustic, and multimedia works. His music hasbeen performed widely throughout North America andEurope, including the Toronto InternationalElectroacoustic Symposium, the San Francisco NewMusic Festival, Electronic Music Midwest, NYCEMF,Studio 300 Festival, ICMC, SEAMUS, SCI, CMS, theNational Flute Association, the North AmericanSaxophone Alliance, and more. Dempster is a recipientof awards, honors, and grants from BMI, ASCAP, theSouth Carolina Arts Commission, and others. He hasheld residencies at the Osage Arts Community and theKimmel Harding Nelson Center. He has beencommissioned by the Blue Mountain Ensemble, theGovernor’s School of North Carolina, the LamarUniversity Wind Ensemble, Ohio State University NewMusic Ensemble, the SC Music Teachers Association,and others. His works are commercially available fromPotenza Music Publishing, MusicSpoke, Quiet DesignRecords, and Navona Records. He is an affiliatecomposer of Broadcast Music, Inc.

Gary DiBenedetto is a composer, Installation Artist and creator of Interdisciplinary Performance Works. Duringthe past 15 years he created over 30 Interdisciplinary Performance, Multimedia Installations and Video Works exhibited and performed in over 40 local, national andinternational venues. During the same period, hecomposed 12 compositions with over 100 performancesand radio broadcasts. His electroacoustic music, derivedfrom environmental and industrial sound sources, is heavily influenced by Arnold Schoenberg and KarlheinzStockhausen. Most of his multimedia installations consistof kinetic sound generating sculptures that reconfigureantique tools. His most recent efforts encompasscreating interdisciplinary performance works. “Exploitation” is a performance piece incorporating ascript, actors, dancers, kinetic sculptures andelectroacoustic composition. The work will highlight thepsycho social and financial degradation of workers bycontrasting capitalism with socialist theology.

TM Duplantis is a Louisiana born composer ofelectronic music, designer of artistic systems of play, andperformer of assorted instruments both physical anddigital. TM has performed as part of the LaptopOrchestra of Louisiana, and their music and installationshave been featured at national electronic musicconferences such as SEAMUS and N_SEME. They arecurrently exploring the San Francisco Bay Area whilestudying electronic music at Mills College.Alexander Dupuis: see RGB Black.

David Z. Durant (b. 1957, Birmingham, Alabama,U.S.A.) is a Professor of Music at the University of SouthAlabama where he is the Director of the Music Theoryand Technology Program. Durant received his BM and

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MM from the University of Florida and his DMA from theUniversity of Alabama. His composition teachers haveincluded Andrew Imbrie, Edward Troupin, John D. White,Fred Goossen, Harry Phillips, Marvin Johnson, andJames Paul Sain. Durant is also active as a pianist andhas premiered and performed several of his own worksfor the piano.

Stephen Dydo, from New York, has written for virtuallyall musical media, including his own invention, theelectric qin. He has also appeared as a guitarist andconductor with many new music groups. His awardsinclude the Bearns Prize, a BMI award, and a Fulbright.Dydo has taught at Columbia University, the New Schooland William Paterson College; he now teaches at theGreenwich House Music School. He is a founder andformer president of the New York Qin Society.

Hiroshi Ebina is the ambient musician who started hiscareer in Tokyo. He's now based in Brooklyn to composeand perform his minimal electro acoustic sounds. Healso plays gaga, the Japanese traditional music.

Gerald Eckert, born 1960 in Nuremberg. He studiedMathematics at the University of Erlangen, violoncelloand conducting at the conservatory of Nürnberg,composition with Nicolaus A. Huber and electroacousticcomposition with Dirk Reith at the Folkwang HochschuleEssen. Further he attended composition courses withJames Dillon, Brian Ferneyhough und Jonathan Harvey.1996/97 work as visiting scholar at the CCRMA of theStanford University/ USA. 1998 he was guest professorat Darmstadt and at Akiyoshidai/ Japan, 2000/ 01lecturer at the TU Darmstadt. 2006 he was composer inresidence at the festival for contemporary music atZurich/ Switzerland. Gerald Eckert realized differentintermedia works, i.a. for dance, video installation orprojects with interactive light control. He received variousprizes and awards, i.a. the Gulbenkian Prize/ Portugal'93, the Kranichstein Prize '96, a 1st prize of Bourges2003, the 1st prize of Stuttgart 2005 and receivedscholarships for Venice 2006, Villa Aurora / Los AngelesUSA 2010 and for Villa Serpentara/ Rome (OlevanoRomano) 2010. From 2012 to 2014 Gerald Eckert wasprofessor for composition at the Chung Ang UniversitySeoul/ Anseong Korea.homepage: http://www.geraldeckert.de

Fernando Egido studied composition with José Luis deDelás and received musical training in workshops withcomposers, analysts and interpreters around the MusicSchool of Alcalá de Henares University, the LIEM or theGCAC. He studied Electronic Music around LIEMcourses especially with Emiliano del Cerro. For severalyears he taught the subject Fundamentals ofElectroacoustic and Computer Music in a SuperiorConservatory and gave courses about Networks andNetwork services at IMEFE. Dedicated to theexperimental field, instrumental and electronic music, hestudies all the determinants that make a sound event to

be perceived in different ways. He investigates the rolethat the concept of parameter plays, or can play, in themusical discourse. Why there must be a centralparameter? His music is like a radio dial in which thereare several broadcasts and the listener can choose one,obviating the author's intention. Everything starts with thereflection about music and its social function. All thisthinking has led him to develop the basis of acompositional system in which the parameter concept istreated as a musical material. He calls this kind of music:Cognitive Parametric music. He has composed a set ofthree works called “the studies” as an example of thiscompositional method; he refers to as Parametric music.He has written a book Towards an Aesthetic of CognitiveParametric Music that explains the techniques used inhis works. His works have been performed at festivalssuch as the JIEN at the Reina Sofia Museum, SMASHFestival in Salamanca, Encontres Festival in Palma deMallorca, ACA and the Fundaçió Pilar i Joan Miró inMallorca. His work Three Chants for Computer waspremiered in the 2015 Sid Conference In the New YorkSteinhardt University. His work Cognitive Dissonancewas awarded in the II International Conference SoundSpaces and Audiovisual Spaces in 2014.

Aaron Einbond’s work explores the intersection ofinstrumental music, sound installation, field recording,and technology, bringing the spontaneity of liveperformance together with computer interactivity toimpact and challenge the listener. He is currently a JohnSimon Guggenheim Memorial Foundation Fellow and CoArtistic Director of Qubit New Music Initiative with whomhe curates and produces experimental media in NewYork. Recently Chicago based Ensemble Dal Nientereleased his portrait album Without Words on CarrierRecords, and SWR ExperimentalStudio produced hisGiga Hertz prizewinning Cartographies for piano with twoperformers and electronics for the 43 loudspeakerKlangdom at ZKM in Karlsruhe.

Christian Eloy was born in Amiens where he studiedflute and composition at the conservatoire national ofregion and at the conservatoire national superior ofParis. Flutist in an orchestra, then director of a musicschool, before his meeting with Ivo Malec and the GRMat Radio France.He was in charge of the electroacousticdepartment of the conservatoire national de region inBordeaux and of the workshop at the Groupe deRecherches Musicales /City of Paris. Lecturer in theuniversities of Paris IV and Bordeaux. Christian Eloy wasthe founder and the artistic director of the SCRIME,research and creation studio in the University ofBordeaux I. Several awards: prize of the europeencommunity poetry and music prize “ François deRoubaix “Composer of over fifty pieces, instrumental,electroacoustic, vocal and pedagogical. Published byBillaudot, Fuzeau, Lemoine, Combre, Notissimo andJobert.Publications at PUF (France), JohnstonEd.(Irlande), MIT press (US), Le mensuel littéraire etpoétique (Belgique). Confluences (France)

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Francisco Eme In my work I try to use sound andimage, to generate spaces, moments and situations,both physically and into people´s mind, so that thisplaces, moments and situations could generate emotionsand thoughts about the experience of living social andpersonal situations. I try to make my creations rich insymbols and poetics. Born in Mexico CIty, based in SanDiego California, Francisco Eme works as a composerand sound and multimedia artist. His work hasdeveloped in the areas of sound art and electroacousticmusic, performing pure electronic, instrumental andmixed compositions, sound acts, sound installations andvideo. He has also done works for dance, theater andmedia. His works have been presented in México, UnitedStates, Spain, Italy, Czech Republic, Canada, Argentinaand El Salvador. Participating in Festivals such as TheSan Francisco Tape Music Festival, In Sonora, Distanze,Fetival Internacional Cervantino, among others. Hisformation is primarily self taught but Francisco has alsoundergone studies in the Mexican Centre for Music andSound Arts CMMAS and the Laboratory of MusicalInformatics and Electroacoustic music at the UNAM. Asa teacher he has taught several courses in different artschools in México, teaching electronic musicalcomposition, video making, sound engineering andmusic production.

Simon Emmerson is Professor of Music, Technologyand Innovation at De Montfort University. He worksmostly with live electronics including works for JaneChapman (harpsichord), the Smith Quartet, PhilipSheppard (electric cello), Philip Mead (piano) with theRoyal Northern College of Music Brass Quintet, DarraghMorgan. Also purely electroacoustic commissions fromthe IMEB (Bourges) and the GRM (Paris). His workshave been issued on Continuum, Le Chant du Monde,Emanem and Isidorart and he has contributed to andedited The Language of Electroacoustic Music(Macmillan, 1986) and Music, Electronic Media andCulture (Ashgate, 2000). His book Living ElectronicMusic was published by Ashgate in 2007 as well as twosolo CDs of live electronic works with Sargasso (2007 &2008). He was founder Secretary of EMAS/Sonic ArtsNetwork in 1979, served on the Board until 2004. In 2008he was asked to join the Board of its successororganisation Sound and Music. In 2009-2010 he wasEdgard Varèse visiting professor at the TechnischeUniversität Berlin.

Eric Evan desires to be an artist who interprets the giftof existence through the creative act with authenticityand integrity. To him, the creative act is not a means toan end but is free, bearing no justification. Eric hasreceived a Bachelor of Music degree in Compositionfrom Baylor University while studying under Dr. ScottMcAllister and a Master of Arts degree in MusicComposition from the University of North Texas whilestudying under Dr. Panayiotis Kokoras, Dr. Andrew May,and Dr. Kirstin Broberg. His music has been performedby ensembles such as the NOMOS Group, Dead

Language, and The Baylor University Graduate StringQuartet. Some of his compositional and researchinterests are the intersection of acoustic instrumentationand recorded sound, meaning and the semiotics ofsound, ontologically transformative processes of ritualand ritual music, the implications of the aural experienceof “otherness” on the sense of self, and the incorporationof the innovative and the sacred.

Eddie Farr graduated from Georgia Southern Universitywhere he received a B.A. in Music and an M.M in MusicTechnology. His compositions draw on elements ofambience, noise, minimalism, pop, jazz, and nostalgia.His works have been presented at N_SEME and theRoot Signals Electronic Music Festival. He hasperformed at the U.S. Navy International SaxophoneSymposium, the NASA Region 6 Conference, N_SEME,and the Root Signals Electronic Music Festival. Checkfor upcoming projects at www.eddiefarr.com.

Electroacoustic music composer and multimediaperformer Marco Ferrazza studied contemporary art andelectronic music. His work, performed in severalcompetitions and festivals, constantly looks intorelationships between concrete sounds and computermusic, electronic arts and field recording, improvisationand new technologies.

Ari Frankel composes and writes opera, electronic andvideo, dance, theater, film, and site specific installations. He has explored The Old Testament, The Tibetan BookOf The Dead, T.S. Eliot, Anne Sexton, Primo Levi, andSamuel Beckett, among others. Collaborators haveincluded Suzanne Ciani, John Kelly, Muna Tseng,Elizabeth Kemp and Fiona Shaw. His music has beenheard around the word, including China, Japan, Israel,Britain, and France. New York performances includeThe Kitchen, Dia Center For The Arts, The Actors Studioand SummerStage at Central Park. The New YorkTimes described his Spirit Ruins as a “haunting collageof sounds, original and popular music”. The GlasgowHerald felt "true passion" in R/S ReSettlement and TheLondon Times marveled at "light seeming materialsbuild[ing] an overwhelming effect” in the piano premiereof SHATTERED, hymns for mortal creatures. The VillageVoice determined his "emotionally charged originalmusic" is "wonderfully poignant and plangent”. To hearmore, please visit www.arifrankel.com.

Lawrence Fritts is an American composer born inRichland, Washington in 1952. He received his PhD inComposition at the University of Chicago, where histeachers included Shulamit Ran, Ralph Shapey, andJohn Eaton. He is currently Professor of Composition atthe University of Iowa, where he has directed theElectronic Music Studios since 1994. His recent workscombine instruments and voice with electronics. Thesehave been performed throughout the world and arerecorded on the Albany, Innova, Frog Peak, SEAMUS,and Tempo Primo labels. He has received awards from

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SEAMUS, the Bourges Electroacoustic MusicCompetition, International Look and Listen Festival,International Society of Contemporary Music,International New Music Consortium Competition, andthe International Institute for Advanced Studies inSystems Research and Cybernetics. As a composer, heis interested in musical applications of mathematicalgroup theory and has written a number of papers on thesubject. He serves on the Editorial Board of the Journalof Mathematics and Music.

Xiao Fu is a multimedia composer and sound designer.She was born in Zhengzhou, China. After obtaining herbachelor's degree in electronic composition from theWuhan conservatory with Prof. Liu Jian and working atthe Henan State Radio as a music editor, she studiedfrom 2010 to 2013 in the master program in multimediacomposition at the Hamburg University of Music andTheater. There, she studied with Professor Peter MichaelHamel and Professor Georg Hajdu. Currently, Xiao iscontinuing her studies in Hamburg in a joint doctoralprogram in musicology and composition focusing ongesture controlled instruments. Her compositions andinstallations were shown in China, Europe and NorthAmerica.

Larry Matthew Gaab is a native of the United States. He composes in his music studio in Chico, California,U.S.A.. His body of works are for tape alone and formixed acoustic and electronic instruments. The piecesutilize improvisation, composition, and computergeneration. His works have been selected for musicfestivals and concerts in the United States, the Americasand in Europe.

Francesco Galante is an Italian electroacoustic musiccomposer (Rome,1956). He studied in Italy (G.Nottoli)and in France (P.Boeswillwald, G.Baggiani,D.Keane) Hewas artistic director of "Musica Verticale" Association(Rome, 1980 1982) and co founder of SIM computermusic society (Rome,1982 1990). He has been aresearcher and designer of VLSI digital technologies formusical research (ICMC 1984 and 1986). He publishedsome books devoted to the history of electronic music"Musica Espansa" (co author N. Sani ) and "Metafonie"(co author L. Pestalozza). In 1997 he was "composer inresidence" at IIME Bourges (France). From 1998 to 2000at Teatro "Alla Scala" in Milan, he cured a biennal cycleof electroacoustic music "Metafonie" and theinternational scientific conference "Music andTechnology, Tomorrow" (1999). His music works areworldwide performed in important international festivals,including the ICMCs in Barcelona, Ljubljana, Perth,Athene, Denton. He has held several conferences on thetheme of music and technology, particularly in Italy,Spain, Cuba, France, Netherlands, Russia. His Music ispublished from the labels Fonit Cetra, Ricordi edts,Eshock edts Moscow, Twilight EMI Italy, LIMEN andCEMAT. He is professor of electroacoustic musiccomposition at the Conservatory of Music of Cosenza

city. Angeles and San Francisco GLBT International filmfestivals.

Dr. Javier Alejandro Garavaglia, Composer andperformer (viola/electronics) born in Buenos Aires,Argentina; he shares also the Italian and Germancitizenships. He lives between London (UK) and Köln(Germany). Associate Professor at the Sir John CassFaculty of Art, Architecture & Design, LondonMetropolitan University (UK). Several publications aboutdifferent topics of his research in journals, books andonline (Spanish, German and English). His compositionsare performed in several places of Europe, the Americasand Asia and include works for solo instruments, audiovisual, ensembles, big orchestra with or without theinclusion of electronic media and acousmatic music.Electroacoustic works on commercially available CDreleases in Germany, USA, Argentina and Denmark.http://icem.folkwang-uni.de/~gara/

Richard Garrett (1957) is a composer specialising in theuse of computers for algorithmic composition, audioprocessing and manipulation. His past works includeWeathersongs, a real time installation that generatesmusic from the weather, and nwdlbots (pronounced“noodle bots”), a suite of generative compositionmodules for Ableton Live. His music has been presentedin numerous locations including Austria (Ars Electronica),Canada (TIES), Germany, Italy, Greece (ICMC), the UKand the USA. Richard has studied with David Cope,Peter Elsea and Patricia Alessandrini, and is currently anAHRC PhD scholar, working with Andrew Lewis atBangor University, Wales.

Travis Garrison is a composer, theorist, audioengineer, and performer of electroacoustic music. Acommon thread throughout his work is a blurring of theboundaries between things organic and things electronic,between the actual and the imagined, and between thereal and the hyperreal. Current research interests includecomputer-based improvisational systems and theaesthetics, history, and theory of electroacoustic music.This fall, Dr. Garrison will join the School of Music at theUniversity of Nebraska Omaha as Instructor of MusicTechnology. He previously taught and worked as anaudio engineer at the University of Central Missouri, EastCarolina University, and Bennington College. His workshave been performed at many festivals and conferencesincluding the International Computer Music Conference(ICMC), the Society for Electroacoustic Music in theUnited States (SEAMUS) conference, the New York CityElectroacoustic Music Festival, the Symposium on Artsand Technology at Connecticut College, and theElectronic Music Midwest (EMM) Festival. He currentlyserves as Technical Director of the New York CityElectroacoustic Music Festival and as the CD SeriesEditor for the Society of Composers, Inc. Garrison holdsa Ph.D. in Music Composition with a cognate in HistoricalMusicology from the University of Florida, an MA inElectroacoustic Music from Dartmouth College, and a BA

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in Computer Music and Composition from the Universityof California, San Diego.

Eleazar Garzon was born in the province of Córdoba.He graduated of Superior teacher in Harmony andcounterpoint in the School of Arts of the NationalUniversity of Córdoba (UNC). He studied stochasticcomposition and new compositional algorithms withProfessor Cesar Franchisena. At the present time He isPhD in music, specialty in composition and He’s TitularProfessor of Composition, as well as Counterpoint in theFaculty of Arts at National University of Cordoba,Argentina. He is mainly, an electro acoustic composer,his music was performed in Argentina, Chile, Mexico,United States of America, Canada, United Kingdom,Spain, France, Switzerland, Germany, Sweden, Italy andSingapore.

Paolo Gatti was born in Rome in 1982. He studiedelectric guitar with V. Grieco, classical guitar with M.Bonesi, piano with R. Magni. He is graduated inenvironmental engineering at “Tor Vergata” university ofRome and in 2008 he took a post graduate degree insound engineering at the same university (with a thesistitled “automatic transcription of polyphonic music basedon Elman neural networks”, relator G. Costantini). Hetook the B.A. degree in computer music (thesis:“aesthetics for composition of laptop music”) at theconservatory of Rome, “Santa Cecilia”, under theguidance of G. Nottoli and the M.A. degree under theguidance of M. Lupone and N. Bernardini. He hasstudied computer music with R. Santoboni, C. Cella, S.Petrarca; from 2008 to 2009, he worked as assistantengineer in some production studios. he also worked ascomputer music teacher in various music schools likenon profit association “Progetto Laboratorio”, “Ro.gi”music school, “Ecmusic” school, “Virtual studio”,“Euterpe” musical academy, “Absonant” training center.he is a Siae member since 2008 and in 2009 herecorded the audio cd “Concreto e Astratto” with“Videoradio” label. he played guitar and electronicinstruments in various musical bands and at themoment, he works as composer and performer ofelectronic and electroacoustic music. He has writtenmusic for dance performances, theatrical show (incollaboration with national academy of recitation “SilvioD’Amico) and poetry events (such as the internationalpoetry Festival “Palabra en el Mundo”). Some of hiscompositions were performed at Emufest, (internationalelectroacoustic music festival of “Santa Cecilia”,Conservatory of Rome), at “R. Bianchini” music festival,at the MAXXI, national museum of XXI century arts, atthe Conservatory of Avellino “D. Cimarosa”, at the“Orsini” castle in Avezzano. He studied C programminglanguage with S. Petrarca, working on development ofaudio softwares and in 2011 he attended as visitingstudent, “Tempo Reale”, a research center situated inFlorence. In 2011, he worked as programmer for “N Track, audio software”, a small company based in Rome.he is a member of the “Emufest” team. In 2015 he hasfounded a duo of laptop music called “Frei” recording the

piece “Poetics” for “StudioloLaps Netlabel”. Currently heworks as editor and writer for a musical webzine calledNucleo Art Zine, he is involved in various musical projectconcerning electronic music production, while hisresearch topics are focused on the strict relationbetween acoustic sources and electronic sounds in theelectroacoustic music composition.

Weilu Ge is a multimedia composer earning an MM inComputer Music at the Peabody Conservatory, whereshe studies with McGregor Boyle. She graduated fromthe Shanghai Conservatory, where she studied withWeiyi Dai and Martin Supper. Weilu's music ofteninvolves collaboration with visual artists working in light,video, painting, photography, and other mediums. Shehopes to continue expanding her compositional languageacross multiple disciplines.

David Gedosh is a composer on the faculty of RoseState College, where he directs the Music Engineeringand Industry program. His works include acousmaticmusic, electroacoustic music with live performance,interactive computer music, video, and dance, and havebeen performed throughout North America and Europe. He has received awards from ASCAP, Bourges, and theGreater Denton Arts Council.

Douglas Geers is a composer who has used technologyin nearly all of his works, whether in the compositionalprocess, as part of their sonic realization, or both. Hehas created concert music, installations, and severallarge multimedia theater works. Reviewers havedescribed Geers’ music as "glitchy... keening...scrabbling... contemplative" (New York Times),"kaleidoscopic" (Washington Post), "fascinating...virtuosic...beautifully eerie" (Montpelier Times-Argus),"Powerful" (Neue Zuericher Zietung), and have praisedits "virtuosic exuberance" (Computer Music Journal) and"shimmering electronic textures" (Village Voice.) Geerscompleted his doctorate at Columbia University, wherehe studied with Fred Lerdahl, Tristan Murail, BradGarton, and Jonathan D. Kramer. He is an AssociateProfessor of Music Composition at Brooklyn College, acampus of the City University of New York (CUNY). He isDirector of the Center for Computer Music at BrooklynCollege, and serves on the Ph.D. composition faculty ofthe CUNY Graduate Center. Additionally, he is Directorof the MFA programs in Sonic Arts and Media Scoring atBrooklyn College. For more information, please seewww.dgeers.com.

Paolo Geminiani (1960) studied Composition, ElectronicMusic, Choral Music and Choral Conducting, BandInstrumentation with Azio Corghi, Franco Donatoni,Alessandro Solbiati, Adriano Guarnieri, Alvise Vidolin,Gyorgy Ligeti, Gerard Grisey, Goffredo Petrassi, NiccolòCastiglioni. He has won and received commendations atvarious competitions including: Gustav Mahler,Counterpoint International Competition, SuonoSonda,Daegu Contemporary Music Orchestra, Valentino Bucchi

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Prize, Florence String Quartet, Pierre Schaeffer, etc. Hisworks performed in Slovenia (ISCM World Music Day),UK (Saint Giles’ Cripplegate London), USA (SteinwayHall and Legacy Hall New York, Columbus StateUniversity, Isaacs Auditorium Selingrove), Argentina(Auditorium “Juan Victoria”), Brazil (49th Festival MusicaNova "Gilberto Méndes" Ribeirão Preto Brazil), Japan(Hagi Origami Museum), South Corea (ICMF di Deagu)and Italy: MiXXer Musiche del Secolo XX Ferrara 2015,Rebus 2014, SIMC Composers 2014, Chamber MusicFestival Lucca, Cluster–Compositori Europei, “Settimanadel contemporaneo”, Risuonanze, etc. Scores publishedin Italy by Ut Orpheus, Sconfinarte, MAP Editions,Agenda, TEM-Taukay, ArsPublica; CDs edited by RMNLabel, Sheva Collections, SuonoSonda, AccademiaPescarese. He actually teaches in Conservatory “N.Piccinni” of Bari (Italy). Info: www.paologeminiani.it

Tyler Gilmore is a composer and electronic musician.He has worked with Cuong Vu, Jenny Hval, Matt Wilson,Ron Miles, Peter Sommer, Ken Filiano, John Fedchock,and many others. Gilmore founded Brooklyn basedrecording label Not Art Records. He has recorded twoalbums with his ensemble Ninth and Lincoln, includingStatic Line. In addition, he has composed for projectswith WhoThroughThen, Small Dream Ada, vocalist ClareWheeler, and Beaker with Alec Harper. He won the 2009ASCAP/Columbia College Commission in Honor of HankJones and won the ASCAP Young Jazz Composer'sAward in 2008, 2009, and 2010; and has been a fellow atthe Kimmel Harding Nelson Center and Music OMI. Hismusic has been reviewed in DownBeat and performedinternationally by groups including Jon Faddis’s ChicagoJazz Ensemble, the New England Conservatory JazzComposer's Orchestra, Bobby Watson and The UMKCConcert Jazz Ensemble, The University of NorthernColorado Jazz Band I, The Playground Ensemble, TheHenry Mancini Institute Overture Orchestra, and others. Tyler grew up in rural Wyoming, attended the Universityof Northern Colorado and the New EnglandConservatory, and is now based in Brooklyn, NY.

Kevin Gironnay is a French composer ofelectroacoustic and mixed music, born in 1989. Formersound engineer, he studied composition with HoracioVaggione in Paris VIII and with Jacopo Baboni Schilingiand Lorenzo Bianchi in Montbeliard Conservatory. He’snow studying at Université de Montréal under thedirection of Nicolas Bernier. He regularly works with theEnsemble de Musique Interactive and is an activemember of the collective of composers Unmapped,dedicated to improvised electroacoustic music. Hismusic has been played throughout Europe, NorthAmerica and China, and more recently at the ManifesteFestival of IRCAM at Centre Pompidou. He woncomposition prizes at Shanghai Electronic Music Weekand at the CéCo concert in Montreal.

Michael Gogins: “I was born in 1950 in Salt Lake City.My father was an inventor, my mother an artist. I have a

BA in comparative religion from the University ofWashington, 1984, where I also studied computer musicwith John Rahn. In the 1980s, I was in the ColumbiaPrinceton Electronic Music Center's woof user group andconcerts. I contribute to Csound, maintain its Windowsversion and Android app, wrote its algorithmiccomposition system, and host the New York CsoundUsers Group. Currently, I'm translating mathematicalmusic theory into compositional algorithms. I'm marriedto Heidi Rogers.”

Argentine composer Sandra Gonzales graduated fromthe Conservatory of Music "Manuel de Falla" with aspecialization in Symphonic and Chamber Music, andSenior Lecturer in Music with a specialization incomposition. Degree in Electroacoustic Composition bythe National University of Quilmes in Argentina, whereshe obtained a Training Fellowship in Teaching andResearch. Participates in the research program"Temporal systems and spatial synthesis at sound art"(Director: Dr. Pablo Di Liscia). Among her teachers,recognized composers stand out such as CarmeloSaitta, Dr. Pablo Di Liscia, Dr. Pablo Cetta and Dr.Rodrigo Sigal. She has composed works for soloinstruments, ensembles, orchestra, chamber choir,electroacoustic and mixed media works. Her works wasplayed by Elias Gurevich and Haydée Schvartz, ArdittiQuartet and Chryssie Nanou, among others.Her works are released by renowned musicians andpresented in prestigious venues in Argentina in majorconcert series, Brazil “Música de Agora na Bahía(MAB)” , Spain Undae! Radio and USA 41stInternational Computer Music Conference .

Brett Gordon is a Doctoral candidate entering the finalyear of his PhD at the University of Hull undersupervision from Dr. Rob Mackay and Dr. Mark Slater.He is a composer and performer of electroacoustic andacousmatic music that sometimes incorporate visualelements. The use of interactive controllers plays asignificant role in both his compositions andperformances. His research into the composer,performer and sound material relationship inelectroacoustic music is ongoing. He has performed andpresented papers at numerous conferences andseminars including ICMC2013 in Perth, Australia,ICMC2015 in Denton, USA, MusLab 2015 in SouthAmerica, The RMA Conferences 2014 & 2015, IFIMPaC2014 and iscMME2015 among others.

Annie Gosfield, whom the BBC called "A one womanHadron collider" lives in New York City and works on theboundaries between notated and improvised music,electronic and acoustic sounds, refined timbres andnoise. She composes for others and performs with herown group, taking her music on a path through festivals,factories, clubs, art spaces, and concert halls. Dubbed “Astar of the Downtown scene” by the New Yorkermagazine, her music is often inspired by the inherentbeauty of found sounds, such as machines, destroyed

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pianos, warped 78 rpm records and detuned radios. A2012 fellow at the American Academy in Berlin, and therecipient of the Foundation for Contemporary Arts’“Grants to Artists” award, Gosfield’s essays oncomposition have been published by the New YorkTimes and featured in the book Arcana II. Active as aneducator, she held the Darius Milhaud Chair at MillsCollege, and has taught composition at PrincetonUniversity, and California Institute of the Arts.

Joel Gressel (b. Cleveland, 1943) received a B.A. fromBrandeis University and a Ph.D. in music compositionfrom Princeton University. He studied composition withMartin Boykan and Milton Babbitt, and computer musicwith Godfrey Winham and J.K. Randall. His computermusic has been recorded on the Odyssey and CRIlabels. He currently lives in New York, working as acomputer programmer, maintaining and extendingsoftware that models tax exempt housing bond cashflows.

Ragnar Grippe studied cello at the Royal Academy ofMusic in Stockholm Musicology at Stockholm UniversityGroupe de Recherches, Musicales in Paris composition,Private studies with Luc Ferrari in Paris, compositionElectronic Music at McGill University Montreal Canadacomposition. Grippe has worked mostly in the electroacoustic field, but also composed music for chambermusic ensembles and a piano concerto. Film scores forcomedy and drama, modern dance pieces withchoreographers such as Carolyn Carlson, PaoloBortoluzzi and Oscar Araiz. His work has been presentedat La Scala Milan bi centennial, Espace Cardin Paris, theRoyal Opera in Stockholm and in numerous festivals ofcontemporary music. Some works Genesis, SwedishNational Television with the late video artist Ron HaysHuman Confetti based on paintings by the late UnoSvensson presented in Modern Art Museum MalmöKonsthall, Malmö Sweden and Swedish Institute in ParisOmaggio a Picasso La Scala bi centennial Spar choreographed by Carolyn Carlson Espace Cardin,Paris Grippe’s electronic music use virtual acoustics as acomposition parameter, lending it a vast and deeplistening experience. Grippe often uses harmonicmaterial in his compositions, where the pure electronicsounds meet something we recognize. Grippe haslectured at California Institute of the Arts, University ofCalifornia Santa Barbara, University of California SanDiego, San José State University, Royal Music Academyin Stockholm to name a few.

Joshua Groffman (b. 1984) graduated magna cumlaude from Cornell University in 2007, where hecompleted double majors in music and history. While atCornell, he studied composition with Roberto Sierra andSteven Stucky and piano with Xak Bjerken and MalcolmBilson. Groffman holds Doctor of Music (2012) andMaster of Music (2009) degrees from the IndianaUniversity Jacobs School of Music, where he studiedcomposition with Sven David Sandström, P.Q. Phan,

Claude Baker, Aaron Travers, and Don Freund andcomputer music with Jeffrey Hass and John Gibson. Heis currently Assistant Professor of Music at the Universityof Pittsburgh at Bradford and has taught previously atSarah Lawrence College, the John J. Cali School ofMusic at Montclair State University, and the JacobsSchool of Music. A native of New York’s Hudson Valley,he is founder of One Quiet Plunge, a group devoted tothe promotion and performance of new music in thatarea.

Joshua Groffman’s music draws on experiments intime and form, a background as a performer of rock,jazz, and art music, and a strong sense of the specificityof place. His works have been performed by groupsincluding the American Composers Orchestra, EnsembleLaboratorium, Aspen Contemporary Ensemble, NewYork New Music Collective, Delaware Valley Chorale,Ars Musica Chorale, Duo 231, the Bard College VocalArts Program, Indiana University Contemporary VocalEnsemble, and the Cornell University Chamber Singers,and selected for performance at the Aspen MusicFestival, June in Buffalo, SEAMUS National Conference,Florida State University New Music Festival, Cal StateFullerton New Music Festival, the CUNY POP!Conference, Midwest Composers Symposium, and the60?60 VoxNovus East Coast Mix. Projects for 20152016 include Vertigo Rounds, a multi composer settingof Psalm 119, and Unfinished, a new opera andcollaboration with poet Sarah Heady.

gruppoGruppo is a new research collective betweenItaly and Sweden, the core of which is constituted byAlessandro Perini and Fabio Monni, Italian artists andmusicians. Its aim is to produce artworks andperformances in the field of multimedia art andcontemporary music,both instrumental and electronic,with a professional approach. www.gruppogruppo.org

Nathaniel Haering is an undergraduate composer aswell as multi media arts technology student at WesternMichigan University. His works have most recently beenfeatured at "Electronic Music Midwest" in Kansas City, "Root Signals" electronic music festival in JacksonvilleFlorida, "SPLICE institute" in Kalamazoo, and a numberof venues throughout the Kalamazoo community.

Susan Haire, from London, has had twenty solo shows;in the majority of them she collaborated with composers.She has also collaborated with numerous poets andsome half dozen theatre productions. Haire’s shows takethe form of installations for specific gallery spaces,usually involving music. Haire lectured at the KentInstitute of Art and Design in Canterbury, the College ofArt and Design in Dublin and the School of Art inLimerick. She is President of The London Group, whichhas a membership of over 90 artists. Dydo and Hairehave been creating installations together since 2006.Their work was shown at Borealis 2014, SEAMUS 2015and NYCEMF 2015. In 2012, they filled Peterborough

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Cathedral with 15 installations, in their monumental work"Reflection".

Georg Hajdu was born in 1960. He grew up in Colognewhere he obtained diplomas in molecular biology andmusical composition from the University of Cologne andthe Cologne Musikhochschule. He obtained a Ph.D. in1994 from UC Berkeley. His list of teachers includesGyörgy Ligeti, Krzysztof Meyer, Clarence Barlow, AndrewImbrie, Jorge Liderman and David Wessel. In 2010 hewas composer in residence with the Goethe Institute inBoston as well as visiting professor at NortheasternUniversity, and master minded the first conferenceentirely dedicated to the Bohlen Pierce scale. He wasalso involved in a number of large international projectssuch as CO ME DI A—a European Culture 2007 projectfocusing on networked music performance andcontributed to the installation of the Hochschule's wavefield synthesis system in 2011. He currently is professorof multimedia composition at the Hamburg University ofMusic and Theater.

Researcher and composer Rob Hamilton explores theconverging spaces between sound, music, andinteraction. His creative practice includes mixed realityperformance works built within fully rendered, networkedgame environments, procedural music engines andmobile musical ecosystems. His research focuses on thecognitive implications of sonified musical gesture andmotion and the role of perceived space in the creationand enjoyment of sound and music. Dr. Hamiltonreceived his PhD from Stanford University’s Center forComputer Research in Music and Acoustics (CCRMA)and currently serves as an Assistant Professor of Musicand Media at Rensselaer Polytechnic Institute in theDepartment of Arts.

Brady Hanson was born 1985 in Helena, Montana. Hestarted his musicals ventures at the age of 12 by learningto play classical guitar then later piano and cello. Hisfirst ventures in composing were writing contrapuntalmelodies for the metal band he was in at 16. Throughoutthe years he also picked up several more instrumentssuch as the banjo, mandolin, and trumpet. Aftercomposing for these various instruments for severalyears, he decided to seek out a profession incomposition. This decision lead him to the University ofMontana, where he currently studies and also serves asthe student president for the UM Composers Club.

Jeffrey Hass composes music for electronics combinedwith large and small acoustic ensembles, video anddance. His recent work involves design of wirelesssensor systems for performers and dancers, and 3Dvideo works. His music, dance and video works havebeen premiered at International Computer MusicConferences, SEAMUS, NYCEMF, AustralasianComputer Music Conference, Pixilerations, SparkFestival, American College Dance Festival and manymore. Awards include ASCAP/Rudolph Nissim Award,

National Band Association Competition, Walter BeelerMemorial Award, Lee Ettelson Composer's Award,United States Army Band's Composition Award,Heckscher Orchestral Award, Bogliasco FoundationFellowship and the Utah Arts Festival OrchestralCommissioning Award. Recordings of his works havebeen released by the Indiana University Press,SEAMUS, Arizona University Recordings, AlbanyRecords and RIAX Records. His works are published byMagnetic Resonance Music, Ludwig Music Company,Manhattan Beach and MMB Music Publishers.

Christos Hatzis was born in Volos, Greece and receivedhis early music instruction at the Volos branch of theHellenic Conservatory. He continued his musical studiesin the United States, first at the Eastman School of Music(B.M 1976 and M.M 1977) and later at the StateUniversity of New York (SUNY) at Buffalo (Ph.D. 1982).He immigrated to Canada in 1982 and became aCanadian citizen in 1985. Hatzis' music is inspired byChristian spirituality, particularly his Byzantine heritage,and the Canadian Inuit culture. In addition to composingand teaching, Hatzis has written extensively aboutcomposition and contemporary music. His compositionteachers include Morton Feldman, Lejaren Hiller,Wlodzimierz Kotonski, Samuel Adler, Russell Peck,Joseph Schwantner and Warren Benson. He is amember of the Canadian Music Centre.

Kristin Hayter (see #000000 (RGB Black)).

Paul Hembree's research and composition activitiesinvolve the creation of audio visual software and itsincorporation into electroacoustic chamber works, whilethematically drawing upon human machine relationships. He explores the perceptual categories of audio visualmaterials, navigating the space between the organic andthe synthetic in a search for uncanny or sublime hybrids. Recent projects include Ouroboros (2014 15), forensemble and audio visual media, a La Jolla Symphonyand Chorus commission, Ikarus Azur (2013), and Light:Frozen and Refracted (2012), premiered by EnsembleIntercontemporain. Hembree's works have beenperformed at events including IRCAM's ManiFeste, Junein Buffalo, the SEAMUS and NIME conferences, theCalifornia Electronic Music Exchange, and the New WestElectronic Arts and Music Organization festival. Since2011, Hembree has collaborated with composer RogerReynolds as a computer music researcher andperformer, working alongside Irvine Arditti, EnsembleSignal, and others.

Brian Hernandez is an artist who works with video,electronic music, and writes for large and small acousticensembles. His works have been selected forperformance across the USA, Europe, China, andCanada, in festivals and conferences such as SEAMUS,WOCMAT, SCI, and Cinesonika, to name a few.He holds a B.A. in philosophy from St Mary’s Universityand an M.A. in music composition, from the University of

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North Texas. Currently, he is completing his doctorate ininterdisciplinary digital media and performance at theHerberger Institute for Design and the Arts, School ofMusic, at Arizona State University, Tempe, AZ.

Dillon Henry received his BFA in composition fromCarnegie Mellon University, where he studied with NancyGalbraith and Reza Vali, and received first prize in theundergraduate Orchestral Composition Competition. Hereceived his MM from the University of Michigan, wherehe studied with Michael Daugherty and Kristin Kuster.His works have been performed by the Carnegie MellonPhilharmonic, the University of Michigan SymphonyOrchestra, and the Donald Sinta Quartet, and he hasattended such festivals as the European AmericanMusical Alliance in Paris, France, the highSCOREFestival in Pavia, Italy, and the Thailand InternationalComposition Festival in Bangkok, Thailand. He iscurrently pursuing a DMA at UMKC, where he hasstudied with Paul Rudy, Zhou Long, Jim Mobberley, andChen Yi.

Jaimie Lynn Hensley is a band geek and video gamejunkie who is combining her passions to create music,character voices, and a lot of noise for games, apps, andfilm. She has a strong interest in adaptive music,soundscapes, and getting unusual and uncharacteristicsounds from musical instruments and other objects. Shedraws from her background in literature and fine art toconnect sound and story.

Jennifer Hill (b. 1993) is a composer and sound artistliving and working in Denton, Texas. Her compositionsexplore the formal and conceptual dichotomy betweenthe individual (event) (self) (isolation) and the whole(ecosystem) (society) (engagement) and examinetheconstruction of /musical impossibilities/ that challengepracticed listening techniques. Hill has had worksperformed across the United States and has beenpraised by Zachary Woolfe (New York Times) for a“subtle, ominously hushed” voice and by conductorChristopher Rountree as “angsty and brutal.” Hill alsoperforms regularly with her Denton based projects *~~, EC H O N O M I S T, and Gin Hell while remaining activein the local new music community through the ErrantNew Music Collective, which she co founded in 2013.

Shelley Hirsch is an award winning, critically acclaimedvocalist, composer, and storyteller whose mostly solocompositions, staged multimedia works, improvisations,radio plays, installations and collaborations have beenproduced and presented in concert halls, clubs, festivals,theaters, museums, galleries and on radio, film andtelevision on 5 continents. Hirsch can be heard on 70recordings including her own projects . Hirsch has taughtworkshops, given seminars and private lessonsinternationally.

Hailed as an artist possessing “a surprisingly unrelentingphysical technique” (The Australian) and “drawing

unbelievably beautiful sonorities from the piano” (2MBSMagazine), Australian pianist and Young Steinway ArtistJocelyn Ho has won major piano competitionsworldwide, including the first prize in the 2010 AustralianNational Piano Award, the Kawai Award, prizes at theBradshaw and Buono International Piano Competition,and has performed at venues such as Radio France, theSydney Opera House, the Melbourne Recital Centre,New York Symphony Space, Spectrum NYC, the NSWParliament House, the Victorian Governor’s House, andthe Boston Isabella Gardner Museum. Her album“Luminous Sounds,” released by Master Performers,received a five-star review in Fine Music Magazine andwas featured in her interview in Limelight. She is afounding member of Sydney Piano Trio. Also acomposer-pianist, her compositions have been featuredinternationally, including in France, Germany, Australia,and the USA. Her most recent works include anart/sound installation with visual artist Nobuho Nagasawafeatured at Stony Brook University Faculty Exhibition. Asa performing scholar, Jocelyn Ho has published andpresented papers at international conferences in thearea of performance analysis, embodiment theory,Debussy studies, and mathematics and music. She iscurrently completing her book on Debussy performingpractices, which will be appear in the Springer series.She holds a DMA from Stony Brook University, whereher mentors included Gilbert Kalish (piano) and ArthurHaas (historical keyboards). Jocelyn Ho is currentlyresiding in New York, and will commence her position asAssistant Professor of Performance Studies at UCLA inthe Fall. You can visit her website athttp://www.jocelynho.com.

Elizabeth Hoffman composes in acoustic and computerdriven media. She also writes on facets of analysis andrepresentation in electroacoustic and avant garde musicswith articles in The Computer Music Journal, OrganizedSound, and Perspectives of New Music. Compositionalinterests include a focus on timbre, texture andspatialization as expressive signifiers. Her musicappears on empreintes DIGITALes, NEUMA, Centaur,World Edition, Capstone, Innova, and Everglade labels.Recent reviews cite her “visionary sound collages”(Chain DLK USA, Reviews). Prizes have come from theBourges, Prix Ars, and Pierre Schaeffer competitions,the Seattle Arts Commission, ICMA, and the JeromeFoundation. She teaches in the Department of Music atNYU. Recent collaborative computer music projectsinclude those with Jane Rigler, Anna Weisling, MarianneGythfeldt, Andy Kozar, Jay Crone, and Patti Cudd.

Danny Holmes is a composer, sound artist, researcher,software developer, and music educator. Danny holdsdegrees in classical guitar and electronic musiccomposition. He is currently a candidate for the PhD inExperimental Music and Digital Media at Louisiana StateUniversity and an Adjunct Professor of Music Technologyand Music Theory at Southern University in BatonRouge. Danny also works for the LSU Sea Grant College

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leading the design and development of mobileapplications. Danny has presented work at variousconferences including the Texas Music Educator’sAssociation (TMEA), Southeast Music LibrarianAssociation (SEMLA), Society of Electroacoustic Musicin the US (SEAMUS), New Instruments for MusicalExpression (NIME), and the Sound and MusicComputing and International Computer MusicConferences (SMC/ICMC). His major research areasinclude mobile music, gesture and performance, andmusic technology in education.

Katie Holmes is a junior guitar performance major atColumbus State University. They have interest inclassical guitar, composition, and musical theatre, aswell as Spanish and Medieval Studies. Their works havebeen premiered at the CSU Nightcap Composers'Concerts and the 2015 Composers' Symposium held atColumbus State University.

Hubert Howe was educated at Princeton University,where he studied with J. K. Randall, Godfrey Winhamand Milton Babbitt, and from which he received the A.B.,M.F.A. and Ph.D. degrees. He was one of the firstresearchers in computer music, and became Professorof Music and Director of the Electronic Music studios atQueens College of the City University of New York. Healso taught at the Juilliard School from 1974 to 1994. In1988-89 he held the Endowed Chair in Music at theUniversity of Alabama in Tuscaloosa. From 1989 to1998, 2001 to 2002, and Fall 2007, he was Director ofthe Aaron Copland School of Music at Queens College. He has been a member of the Society of Composers,Inc. since its founding in 1965 and served on theExecutive Committee from 1967 to 1971. He served asPresident of the U.S. section of the League ofComposers/International Society for ContemporaryMusic from 1970 until 1979, in which capacity he directedthe first ISCM World Music Days in 1976 in Boston, thefirst time that festival was ever held in the United States. He has been a member of the American ComposersAlliance since 1974 and served as President from 2002to 2011. He is also a member of the InternationalComputer Music Association, and SEAMUS. In 2009, hefounded the New York City Electroacoustic MusicFestival, and he continues as Director. In 2013 hebecame Executive Director of the New York ComposersCircle. Recordings of his computer music have beenreleased by Capstone Records (Overtone Music,CPS-8678, Filtered Music, CPS-8719, andTemperamental Music and Created Sounds, CPS- 8771)and Ravello Records (Clusters, RR 7817).

Jennifer Eliz Hutt is a musician and composer originallyfrom Baltimore who has been living and working in Parisfor 10 years. She writes music for film, documentary andperformance and records and plays live around the worldwith various rock, electronic and world music projects

David Ibbett is a British composer based in Boston,

USA. His music explores a fascinating conflux betweenthe worlds of the classical, contemporary, acoustic andthe electronic. By working to fuse key elements from ahost of contrasting styles, David aspires to create a formof art music that is rich, diverse, direct and dramaticallydeep. In 2004, he won a scholarship to attend ClareCollege Cambridge, studying composition with GilesSwayne and Robin Holloway. He then went on toundertake a Masters and Artist Fellowship at theGuildhall School of Music & Drama with Julian Anderson.He is now in the final year of a Ph.D. from the Universityof Birmingham with Jonty Harrison and Scott Wilson.Moving to Boston in 2014, he frequently travels betweenthe US and the UK. Over the course of these journeys,David has written works spanning many forms: fromtraditional ensembles to inter arts collaborations,installations, digital releases and works with liveelectronics. David’s music increasingly reflects apassion for working with electronics, both as a voice anda tool in composition. This fascination began in 2008,when he undertook a residency at the Aldeburgh MusicFestival, studying with Jonathan Harvey, composingCellosamper for Olly Coates. The work was laterselected for performance at the Faster Than Soundfestival. From this moment, electronics have been thekey to unifying the diverse influences that permeateDavid’s work – allowing sounds to be shaped, juxtaposedand transformed with seamless precision. His Ph.D.research focuses on sampling as a tool for bridging thedifficult gap between live, breathing musicians and thesoftware controlled speaker cone of electronic music. David’s electroacoustic compositions aim to combine thedepth and expression of a live performer with the power,control and rhythmic energy of electronic music. Projectsare often collaborative as, to truly explore the sound ofan instrument, who better a guide than theinstrumentalist. Recent collaborations include ImpulseImagined [2010] and Islands [2014] for cellist GregorRiddell, Branches [2015] for the Transient CanvasEnsemble, and Europa [2015] for flautist Karin de Fleyt.

Ryo Ikeshiro is a London-based musician working in thefields of audiovisual composition, improvisation,interactive installations and theory. Research interestsinclude the use of emergent dynamical and fractalsystems in generative works and nonstandard synthesis,glitch/noise/punk aesthetics and new forms of interactionand presentation. He is currently studying for a PhD instudio composition at Goldsmiths College. He haspresented work at: venues such as the SouthbankCentre and Wilton’s Music Hall, London; festivals suchas Redsonic, London, Festival di Nuova Musica, Udine,and re:new, Copenhagen; and conferences on Xenakis,Deleuze, noise, computer and visual music. Tracks byhis duo ry-om have been featured on Resonance FMand released on Creative Sources Recordings. Hisorchestral works have been performed by the BrittenSinfonia. As an events organiser, he runs a seriesentitled A-B-A. He is a visiting tutor and also runsworkshops challenging preconceptions about music.

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Hiromi Ishii studied composition in Tokyo,electroacoustic music in Dresden and later at CityUniversity London where she was conferred her PhD.Her pieces have been presented at music festivals worldwide such as Musica Viva Lisbon, MusicAcousticaBeijing, EMF Florida, EMUfest Rome, Cynetart Dresden,Punto y Raya, NYCEMF and broadcast by the WDR,MDR. In 2006 (ZKM grant) and 2013 she was GuestComposer at ZKM Karlsruhe. Her recent works focus onmulti channel acousmatic, and visual music for whichshe compose both music and moving images in parallel.She has a portrait CD from Wergo (Wind Way ARTS8112 2). Ishii is currently living in cologne giving lectureson visual music for which she also works as a curator.

Carlos Johns-Davila is a composer whose musicalinterest lies in the recognition of Peruvian aesthetics inthe contemporary world. There is little representation ofthe Peruvian culture amongst North Americans. Hebelieves that Quechua, the Incan language, has dialecticinfluences in the make up of its folk music which couldbe used as academic examples in compositionpedagogy. Carlos started this mission at the InterlochenArts Academy where he the continued musiccomposition at Temple University. In efforts to endorsethe idea of innovative performances he interned atBowerbird Inc. and has taken up the position of presidentat his school's composition association where he revivedweekly seminars for composition advancement. His studies in Philadelphia has introduced him toelectronic music which has led him to be performed allaround the city and New York. Upon completing hisdegree he wishes to continue his studies outside theUnited States in order to collaborate with other artistswho share the same interests.

Kyle Johnson is a composer, filmmaker and video artistwhose creative work is presented internationally. Hisdocumentary work has been collected by the Library ofCongress and released by Mode Records. He grew up insuburban San Diego. It's not that all the houses lookedthe same, it's that I could walk in to any one of them andknow exactly where all the bathrooms were. His work iscollected at www.exceptionallydecent.com.

Jeremie Jones aka Noordwiijk is a Montreal based,composer, sound artist and musician, played upright andelectric bass for the last 20 years and recorded morethan 15 albums with different artists. Some of thosesalbums where nominated for Canadian Juno awards andBest experimental album of the year (Bande a` PartRadio Canada, Gamiq). Featured in top charts andreceived good press reviews. Studied at MontrealUniversity and Quebec Music Conservatory. Presentedhis music in experimental and electroacoustic festivalsuch as BEAST FEaST 2015 (Birmingham UK),Montreal VideoMusic Festival and many more. Touredover 5oo shows in Canada, US, England, Ireland,Scotland, Poland, Slovakia, Hungria, France, Austria,Germany, Italy, Haiti and Central America.

www.noordwiijk.com

Jaroslaw Kapuscinski is an intermedia artist, composerand pianist whose work has been presented at NewYork’s MoMA; ZKM in Karlsruhe; the Museum of ModernArt, Palais de Tokyo, and Centre Pompidou in Paris; andReina Sofia Museum in Madrid, among others. He hasreceived numerous awards, including at the UNESCOFilm sur l’Art festival in Paris (1992), VideoArt FestivalLocarno (1992, 1993), and the Festival of New Cinemaand New Media in Montréal (2001). A graduate fromChopin Academy of Music in Warsaw (1987 & 1991) heexpanded into multimedia during a residency at the BanffCentre for the Arts in Canada (1988) and throughdoctoral studies at the University of California, San Diego(1997). Currently, he is Assistant Professor ofComposition and directs the Intermedia PerformanceLab at Stanford University.

George L. Karst lives in Indianapolis and is a doctoralstudent at Ball State University. As a polystylist hecomposes varying works. His opus includes chambermusic, works for cathedral organs, small and largechoral pieces, chant, music for solo instruments, andelectronic music. His works have been featured at the2015 Society of Composers Conference at University ofFlorida, the 2015 Ball State 45th Annual Festival of NewMusic, and at other events. The latter sometimesincludes digital audio sculpting of textures. At other timesthere are algorithms controlling sound synthesisparameters and gestures. In some work he hascombined electronic and acoustic voices while blendingpitched and non pitched textures. His music attempts toconvey varying impressions, including heraldry,solemnity, and meditative ecstasy. On the other handsome of his works demonstrate grotesque themes andhorror. A less obvious but important contrasting elementis humor. His style has changed with time. His earlierwork bore retrospective views of post Wagnerianharmony and its eventual liberation during the time ofexpressionism. Karst’s later music explored retrofuturism in the form of the octatonic found in Messiaen’searly works. However his most recent work andkeyboard improvisations have drifted toward polychordalharmony outside of such modes of limitedtransposition—sometimes with alternating chords of chromatic and diatonic relationships. Yet anotherelement is the fusion different medieval and non Westernmelodic shapes with modernist textures. His otheractivities have included teaching at Ball State Universityand directing music at St. Matthew Episcopal Church inIndianapolis. From 2006 2012 George worked in the pipeorgan building industry.

Brian D. Kelly is an internationally performed and openlyqueer composer of sound works that are polystylistic andpolymedia in nature. Noise, visuals, poetry, and dramaare freely combined in creations that evoke a large rangeof human emotions and natural phenomena. Brianreceived his Bachelor of Arts in Music Education from

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Ottawa University (2011), his Master of Music inComposition from the University of Georgia (2013), andis currently pursuing his DMA in Composition at theUniversity of Colorado Boulder (2017). His music hasbeen featured at conferences such as SEAMUS (2015),Fresh Minds Festival (2015) and MuMe (Sydney, 2013).He has been the recipient of numerous commissions andawards, including the 2014 ATLAS Fellowship, the 2014University Composers Collective composition award atthe University of Utah, and first place in the 2012Southeastern Composers League graduate studentcomposition competition. Brian's preferred methods ofsound and video generation include SuperCollider,MaxMSP, Sibelius, Logic, Reason, and Adobe Premiere.He currently lives in Boulder, CO, United States.

Steven Kemper (www.stevenkemper.com) createsmusic for acoustic instruments, instruments andcomputers, musical robots, dance, video, and networkedsystems. His compositions have been presented atnumerous concerts and festivals around the world. In2010, he won the ICMA 2010 Student Award for BestSubmission for Shadows no. 5, part of a collaborativeseries of pieces for belly dance, electroacoustic music,and RAKS System. Steven’s research has beenpresented at ICMC and KEAMSAC, and published inOrganized Sound. He is a co founder of ExpressiveMachines Musical Instruments, a musical roboticscollective, and co designer of Movable Party, a bicyclepowered system for interactive electroacoustic music.Steven received a Ph.D. in composition and computertechnologies from the University of Virginia and iscurrently Assistant Professor of music technology andcomposition in the Music Department at the MasonGross School of the Arts at Rutgers University.

Howie Kenty, occasionally known by his musicalalter-ego, Hwarg, is an award-winning Brooklyn-basedcomposer. His music is stylistically diverse,encompassing ideas from contemporary classical,electronic, rock, sound art, and everything in between,sometimes using visual and theatrical elements.Throughout all of his creations runs the idea that theexperience of a piece is more than just listening to themusic; he strives for a wholeness of vision and anawareness of environment that attempts to fully draw theaudience into his works. Besides regularly premiering hispieces at numerous international forums and venues withamazing performers, helping organize the NYCEMF andother concerts, teaching, and working with artists like DJSpooky and Amanda Palmer, Howie plays guitar in theprogressive rock band The Benzene Ring. Havingrecently earned his MA in Composition from the AaronCopland School of Music, he is currently a GraduateCouncil Fellow PhD student at Stony Brook University.Check out music and more at http://hwarg.com.

Cedric Kiefer works as an artist and designer in Berlin.Together with Julia Laub in 2010 he foundedonformative, a design studio specialized in generative art

and design. For him the generative design processpresents a new way of thinking and a new approach onhow to bring ideas to life in a more effective and efficientway. At the intersection of design, technology and artthey develop innovative, cross-media solutions forcustomers in the domains of culture, economical andeducation that ranges from data visualizations tointeractive installations to experimental generativeprojects. Driven by curiosity and a love ofexperimentation they are always in search of new formsof expression. Through interdisciplinary collaborationsand working on self-initiated and experimental projectsthey draw new inspiration and knowledge which theyshare with others through lectures, publications andworkshops.

Composer and pianist Hanna Kim (b. 1984)encompasses a wide range of traditional, neo romantic,minimalistic, and improvisational styles for hercompositional work. She is the recipient of severalawards, including the 2013 Joseph Dorfman CompetitionComposition Award (Germany), the 2005 Seoul CityChoir Award (South Korea), and the 2004 NanpaComposition Award (South Korea). Ms Kim has also wonnumerous score calls, and has been asked to composenew works for various instrumentation for concertperformances in venues including school concert halls,local concerts and music festivals, and at compositionworkshops and competitions. Individual musicians andprofessional ensemble groups for whom she has writteninclude the Khorikos Ensemble (New York), the HarttSchool of Music's Foot in the Door contemporary musicensemble and 20/20 Honors chamber ensemble,Charlotte New Music Festival, and CPP Ensemble(resident contemporary ensemble of the ManhattanSchool of Music). In addition to playing her own solo andchamber works, Kim specializes in the performance ofboth traditional and contemporary music by composersof diverse styles, including early and modern churchmusic, works composed by colleagues andcompositional faculty, as well as piano accompanimentfor choral ensembles. Apart from her love of pianoperformance, Kim has also written several pianoinstruction books for children, at the publication requestof KMS Music Publications (also known as EumakSegye). A native of South Korea, Kim's early musictraining included studies in both music and the fine arts.She received her Bachelor of Music Composition fromKyungwon University, South Korea, a Master of Musicfrom the Manhattan School of Music, and the ArtistDiploma from the University of Hartford, Hartt School ofMusic. Her composition teachers include Hae Sung Lee,Soo Jung Shin, Marjorie Merryman, Elizabeth Brown,and David Macbride. Currently Ms Kim has been offeredthe position of a visiting scholar at Penn State University,Pennsylvania. Her focus of research will be on early midtwentieth century American music. University,Pennsylvania. Her focus of research will be on early midtwentieth century American music.

Ted King-Smith is a composer, educator, and

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saxophonist currently based in Kansas City, Missouri.Described as “off beat, jazzy, and? convincing,” Hestrives to synthesize several different influences, musicaland otherwise, into engaging works that emphasizevariety and virtuosity. Recent recognition for his musichas come from the American Prize and the WashingtonIdaho Symphony. Ted’s music has been featured atseveral festivals and conferences across the UnitedStates and Canada, the Kauffman Performing ArtsCenter in Kansas City, and the Florida State UniversityNew Music Festival. He holds degrees from the HarttSchool of Music, Washington State University, and iscurrently attending the University of Missouri – KansasCity. His composition teachers include Chen Yi, JamesMobberley, Paul Rudy, Scott Blasco, Stephen Gryc, andRyan Hare; as well as Carrie Koffman and GregYasinitsky on saxophone. Ted is also an active memberof the Kansas City new music community as a memberof Mnemosyne Quartet, an improvisation basedensemble, and the Fusebox New Music collective. Bothof these groups have received grant funding from localentities ArtsKC and the Downtown Arts Council for new,conceptual performances in and around the Kansas Cityarea.

Tyler Kline (b. 1991) is an active composer andperformer currently based in Tampa, FL. His music hasbeen performed across the United States andinternationally in Brazil and Romania. His compositionalinterests encompass a wide variety of styles andmediums, from acoustic chamber and large ensemble toelectronic/electroacoustic works. His works have beenpresented at various festivals and conferences and by avariety of ensembles, including the Atlantic MusicFestival, the International Computer Music Conference,Lexington Philharmonic Orchestra (KY), NationalAssociation of Composers/USA Conference, MidwestRegional Tuba Euphonium Conference, National FluteAssociation Conference, Seattle Metropolitan ChamberOrchestra, and the Southeastern Composers’ LeagueForum.

Yuriko Hase Kojima was born in Japan in 1962.Completing her studies for B.F.A. in piano in Japan,Yuriko Hase Kojima studied composition in the UnitedStates for ten years, and got B.M. from the BostonConservatory, M.M. and D.M.A. (2000) from ColumbiaUniversity where she was given the Andrew W. MellonFellowships. She studied composition, computer music,theory, aesthetics and philosophy with Tristan Murail,Jonathan Kramer, Fred Lerdahl, Brad Garton, amongothers. Her works have been selected and presented atthe international festivals including the ISCM, the ICMC,the IAWM, and the ACL, performed by the EnsembleModern, the Pearls Before Swine Experience, the AzureEnsemble, and the New York New Music Ensemble, toname a few. Currently, Dr. Kojima serves as a Professorof Composition at Shobi University, specializing incomposition, computer music and music theory. Alongwith her career as a composer, she conducts researchesin music theory and electroacoustic music. She is also

active as the founder and the artistic director of a nonprofit organization Glovill (www.glovill.jp) aimed tointroduce new music to Japan.

Kamil Kosecki is a Polish composer born in 1984. Hegraduated from the F.Chopin University of Music InWarsaw. He received the Mayor of Kielce Prize, award ofthe Marshal Office of Kielce and the Scholarship of theCulture Ministry, 4th prize and Special Prize at the‘Musica Sacra’competition, finalist at the Z.HerbertCompetition and the I.J.Paderewski Competition. He wonthe Competition for a bugle call of Warsaw district,Wilanów, and Competition for the children’s opera. 1stprize at the: T.Ochlewski Competition, T.BairdCompetition, A.Didur Competition. An honourablemention at the: K.Komeda Competition, K.SzymanowskiCompetition,‘Garden Music’ Competition. His works havebeen performed in Poland and abroad. His compositionswere performed at numerous concerts and festivals:Noise Floor in Staffordshire UK,Electronic Music Week inShanghai, Trondheim Symfoniorkester inNorway,Swietokrzyskie Dni Muzyki in Kielce,GaudeMater in Czestochowa, Festival A. Didura in Sanok,Festival Musica Moderna in Lodz and many others.

Reiner Krämer is a composer, music theorist, teacher,and programmer (or music algorist for short) fromCologne, Germany. He earned a Ph.D. in Music Theorywith a related field in Computer Music at the University ofNorth Texas (UNT), U.S.A. Reiner’s dissertation was on“From Darkness, Light” an associate networkcomposition by David Cope. Reiner’s research interestsinclude computational music analysis, interactive musicsystems, computer music, algorithmic composition, andcompositional theory. Reiner currently works as aSIMSSA (Single Interface for Music Score Searching andAnalysis) Postdoctoral Fellow at McGill University inMontréal, Québec, Canada, where he leads a researchteam of doctoral, master’s, and undergraduate students.Reiner is a member of CIRMMT (Centre forInterdisciplinary Research in Music Media andTechnology). Reiner has previously taught musictechnology, and music history courses at NortheasternState University (Tahlequah, OK, U.S.A.), and musictheory, new media and music technology courses at theUNT. Also at UNT, Reiner was a researcher at theHybrid Arts Lab as part of the Initiative for AdvancedResearch in Technology and the Arts. In a previous life,he played in various rock’n’roll ensembles, and lived in avan while touring throughout the Midwestern andSouthern United States.

Luigi Negretti Lanner Graduate at S. Cecilia'sConservatory of Rome (Italy) in Electronic Music (2003),Cello (1992) and Chamber Music (1995), he's author ofworks for orchestra, chamber music, solo music, andelectronic. Pupil of David Macculi, he attended MasterClasses with Giacomo Manzoni (Scuola di musica diFiesole, 1993 1998), Franco Donatoni (AccademiaChigiana di Siena, 1996 1997, Centro Musica di Modena,1997 1999), Chinary Ung and Harvey Sollberger (Round

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Top Music Festival for composers, 1998). He wrotesome software for music composition which generatesmusic sequences in csound / lilypond code, available fordownload at sourceforge.net. Under his label "LannerEdizioni", active between 2005 and 2008, he published aCD together the italian poet Annalisa Comes, and a CDdedicated to the italian composer Fausto Razzi. He livesin Rome.

Fernando Laub (Argentina, Austria). Composer andvisual artist mainly orientated to avant garde,experimental and electroacoustic music. His work hasreceived several prices and mentions at many nationaland international contests. His music also isprogrammed at numerous festivals and concerts aroundthe globe. In addition to his activity as a musician heproduces and exhibits visual and installation worksamong the international contemporary art circuit. As aperformer his most recent activities includes a Europetour where he played a sound art performanceinteracting with current street sounds in cities likeLondon, Amsterdam and Berlin. With the aim ofcompiling sonic substance and creating new devicesfrom old industrial scrap, he spent several years livinginto an abandoned factory reconditioned as a soundlaboratory. Besides those post industrial quests he usesto travel around the world documenting sonic and visualmaterial. Combining that stuff with the research of newsynthesis methods, his music not only describespictures, it will transport you to a sort of surreal and SciFi scenarios, images that are quite difficult to define.www.flaub.net and www.soundcloud.com/flaub Damon Lee (b. 1975), composer of instrumental, electroacoustic and audiovisual works, studied at the EastmanSchool of Music and Cornell University. He received aChancellor Fellowship from the Alexander von HumboldtFoundation, enabling him to work with Thomas Troge,Sandeep Bhagwati and Wolfgang Rihm. As composerand educator, he has served as artist in residence at theVisby International Centre for Composers; theKlangRaumKrems Minoritenkirche in Krems an derDonau; guest artist at ZKM (The Center for Art andMedia Technology) | Institute for Music & Acoustics,Karlsruhe; lecturer in the department of MusicInformatics at the University of Music Karlsruhe; andlecturer in the department of Music Technology at theUniversity of Huddersfield, England. His concert,audiovisual, and collaborative works have beenpresented by leading groups and institutions worldwide,and his sound design works made in collaboration withLida Abdul have been exhibited extensively, including atdOCUMENTA (13) in Kassel, Germany. Honors andprizes for his artistic and academic activities include:winning Wright State University’s Horn CompositionContest; semi finalist in the The American Prize:Orchestra; ASCAP Plus Award (two times); the“Landesgraduiertenförderungspreise,” for electroacousticcomposition from the state of Baden Württemberg,Germany; the Clinker Foundation Scholarship, MexicoCity; ASCAP’s Plus award (two times), the Morton Gould

Young Composer Award (two times); the Brian IsraelPrize; First Prize from the Americas Vocal Ensemble’schoral music competition; First Prize from the Museum inthe Community for String Quartet; a German AcademicExchange Scholarship for study in Dresden; the SageFellowship for Graduate studies from Cornell University.Adam Lenz is an artist currently based in Hartford,Connecticut. He holds an Artist Diploma in Composition(2015) from the Hartt School of Music, a BM inComposition (2012) from Western Michigan University,and a MA in Music Research (2013) from WMU. Hiswork has been presented in Germany, Romania, Iceland,Mexico, Japan, the UK, The Netherlands, the UnitedStates, and online. In 2013 and 2014, Adam was aparticipant in avant garde director and designer RobertWilson's Watermill International Summer Program inWater Mill, NY. Since attending Watermill, Adam hasworked alongside Wilson as a collaborator andconsultant. These projects have included a radio dramaMonsters of Grace II, which premiered at the Zentrum fürKunst und Medientechnologie (ZKM), and a production ofEugene Ionesco's Rhinoceros for the Teatrul National"Marin Sorescu" in Craiova, Romania.

Tania León, (b. Havana, Cuba) is highly regarded as acomposer and conductor and recognized for heraccomplishments as an educator and advisor to artsorganizations. She has been profiled on ABC, CBS,CNN, PBS, Univision, Telemundo, and independentfilms. A founding member of the Dance Theatre ofHarlem, León instituted the Brooklyn PhilharmonicCommunity Concert Series, co founded the Sonidos delas Américas festivals with the American ComposersOrchestra, and is the founder of Composers Now festivalin New York City. León has also received HonoraryDoctorate Degrees from Colgate University, Oberlin, andSUNY Purchase College, and has served as U.S. ArtisticAmbassador of American Culture in Madrid, Spain. AProfessor at Brooklyn College since 1985 and at theGraduate Center of CUNY, she was namedDistinguished Professor of the City University of NewYork in 2006. In 2010 she was inducted into theAmerican Academy of Arts and Letters. Her honorsinclude the New York Governor's Lifetime AchievementAward, Symphony Space's Access to the Arts, theAmerican Academy of Arts and Letters Award, and theFromm, Koussevitzky, and Guggenheim Fellowships. In2012 she received both a Grammy nomination (for "BestContemporary Classical Composition") and a LatinGrammy nomination (for "Best Classical ContemporaryComposition") and in 2013 she was the recipient of theprestigious 2013 ASCAP Victor Herbert Award.Jia Li is a composer who also works as an associateprofessor at Shanghai Conservatory of Music and avisiting scholar at Stanford University. She has devotedherself to create compositions of electronic music andtraditional music, which has produced many works ofunexpected and unusual combinations of materials andmedia. Her works has been performed in Asia, Europeand USA.

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Li Qiuxiao is currently a lecturer at the ZheJiangConservatory of Music. She received a DMA in CentralConservatory of Music. In 2014 she came to UnitedState to study composition as a visiting scholar atUniversity of Missouri of Kansas City. Her works havebeen presented multiple times in various major musicfestivals, such as the Central Conservatory of MusicFestival, Beijing Modern Music Festival,MUSICACOUSTICA-BEIJING, Root Signals ElectronicMusic Festival, New Horizons Music Festival,MusicaElecreonica NOVA,Seoul International Computer MusicFestival and Audio Art Festival. Her work “Bristle withAnger” was performed in Rutgers, Sate University ofNew Brunswick in 2009. “The Dancing Shadow” wascommissioned by ELECTROACOUSTIC-BEIJING in2013. Li Qiuxiao creates “Wu song fights the tiger” forDr. Jun Qian’s “ East Meets West” recording project andsigned to Babel Score—Contemporary music online in2014. She has got Residency Reward of Kimmel HardingNelson Center for The Arts in 2015.

Of the Siraya people, Wuan chin Li (Sandra Tavali) is aformer keyboardist of the classical ensemble "Indulge"and the well know metal band "Chthonic". She is thecomposer for the TV documentary "Unknown Taiwan"produced by the Discovery Channel. Also, she was theartistic director of the musical "Dark Baroque”. ?Liearned the Master of Music degree in Computer Musicfrom the Peabody Conservatory of the Johns HopkinsUniversity in Baltimore, Maryland, USA. Where shestudied Computer Music with Dr. Geoffrey Wright. Li’s musical works crossover between classical and fineart, film and documentaries.http://sandrawcl.wix.com/demo

A musician and writer, Alan Licht's sound installationshave been exhibited in the US and Europe since themid-1990s. He has lectured widely on sound art, servedon faculty in the music/sound department at the BardCollege Milton Avery Graduate School of the Arts andcurated several sound art exhibitions. Licht hasappeared on over 100 recordings that range from indierock to minimalist composition to free improvisation. Asa solo artist, Alan has released eight albums ofexperimental guitar including ‘Sink the Aging Process’, ‘ANew York Minute’, and ‘Four Years Older’. Currentaffiliations include Lee Ranaldo and the Dust and "talkrock" band Title TK with Cory Arcangel and Howie Chen.A contributing music editor at BOMB magazine who haswritten frequently for Artforum, Art Review, ModernPainters, Parkett, and many other publications, he is alsothe author of Sound Art: Beyond Music, BetweenCategories (Rizzoli, 2007) and the editor of Will Oldhamon Bonnie 'Prince' Billy (Faber & Faber/W.W. Norton,2012). www.alanlicht.com Chia l Lin was born on August 24, 1992, in Keelung,Taiwan . She studies a master’s degree at NationalChiao Tung University and majors in Computer Musicinstructed by Yu Chung Tseng professor. Her piece of

work «Birdcage» was selected for Taiwan ChoralAssociation in 2014. Her orchestra work «Follow to theocean» had been chosen and performed in the Jing Chun Lai conductor Master Class. Her piece of workGravity for Electronic Music had been selected forFrance Taiwan 2014 composition competition and 2015 musicacoustica Beijing. It also had been invited toperform in France for several concerts during February2015 in France Taiwan 2014 composition competition.

Mei Fang Lin received her Ph.D. in composition fromthe University of California at Berkeley and her master’sdegree from the University of Illinois at UrbanaChampaign where she also taught as Visiting AssistantProfessor of Composition from 2007 2009. From 20022005, she lived in France and studied composition withcomposer Philippe Leroux and participated in the oneyear computer music course “Cursus de Composition” atIRCAM in Paris on a Frank Huntington Beebe Fellowshipand Berkeley’s George Ladd Paris Prize. She is currentlyAssociate Professor of Composition at the Texas TechUniversity. Lin’s music has won awards from the MusicaDomani International Competition, American ComposersForum, Seoul International Competition for Composers,Fifth House Ensemble Composer Competition, BourgesCompetition, Look & Listen Festival, Pierre SchaefferCompetition, SCI/ASCAP Student CommissionCompetition, Luigi Russolo Competition, Prix SCRIME,NACUSA, Music Taipei Composition Competition?etc.Her music has received performances and broadcastsinternationally in over 30 countries.

Ying Ting Lin, born in Pingtung, Taiwan, is a composerexploring timbral potentials of both acoustic andelectronic music. Her work is often informed by thediverse of articulations of time and space in variousdomains such as arts, literature and culture, and maybeviewed as a process of transfiguring these into music,providing audience with a contemplative medium. Activeas a composer and pianist, Ying Ting's music has beenawarded several prizes, including the National SymphonyOrchestra of Taiwan competition in 2011, the TaiwanNational Ministry of Education Composition Award in2010, and the Chai Found Chinese Musical InstrumentsCompetition in 2011. Her music has also been played atseveral international festivals in USA and Asia, includingthe June in Buffalo Festival, Hong Kong ModernAcademy, and New Music Week of ShanghaiConservatory of Music. Ying Ting is currently pursuingher PhD at the State University of New York at Buffalo,where she studies composition with Cort Lippe andJeffrey Stadelman. Previously, she earned her mastersdegree studying with Ching wen Chao at National TaiwanNormal University, Taiwan.

Cort Lippe studied composition and computer musicwith Larry Austin; followed composition seminars withvarious composers including Boulez, Donatoni, K. Huber,Messiaen, Penderecki, Stockhausen, and Xenakis; spentthree years at the Institute of Sonology working with G.M.

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Koenig and Paul Berg, three years at Xenakis’ studioCEMAMu; and nine years at IRCAM. His compositionshave received numerous international prizes, beenperformed at major festivals worldwide, and are recordedon more than 30 CDs. His research includes more than35 peer reviewed publications on interactive music,granular sampling, score following, spectral processing,FFT based spatial distribution/delay, acoustic instrumentparameter mapping, and instrument design. He hasbeen a long term visiting professor at universities/conservatories in Japan, Denmark, Austria, Greece, andthe USA, and since 1994 he has taught in theDepartment of Music of the University at Buffalo, wherehe is an associate professor of composition and directorof the Lejaren Hiller Computer Music Studios.

Hunter Long is an active Kansas City basedcomposer/performer/producer. Most recently, he wasselected as a Charlotte Street Generative PerformingArtist fellow, a resident composer in the 2015 BanffCentre Performance Today classic music residency andthe 2014 Montreal Contemporary Music Lab.Long's new music organization, Black House Collective,was awarded a Robert Rauschenberg Foundation SEEDGrant in 2013. Long founded Black House Collective in2009, when he was awarded a studio residency with theCharlotte Street Foundation Urban Culture Project, andhas served as the artistic director of the collective for thepast five years, managing a range of new music projects,including workshops, composition competitions, guestartist programs and stage productions.

Patrick Long, a composer, percussionist and teacher,Patrick Long (b.1968) grew up in Annapolis, Marylandand received degrees in composition from SyracuseUniversity (B.M.) and the Eastman School of Music(M.M., D.M.A.). He has completed over 80 premieredworks for orchestra, band, chamber ensembles, soloists,young players, theatre and film. He is best known for hispercussion music and for his works that combine liveperformers with fixed media or interactive electronics. His pieces have been performed in almost all 50 statesand throughout Europe and Asia. He is currentlyAssociate Professor of Composition and MusicTechnology at Susquehanna University in Selinsgrove,Pennsylvania.

Alvin Lucier was born in 1931 in Nashua, NewHampshire. He was educated in Nashua public andparochial schools, the Portsmouth Abbey School, Yale,and Brandeis and spent two years in Rome on aFulbright Scholarship. From 1962 to 1970 he taught atBrandeis, where he conducted the Brandeis UniversityChamber Chorus which devoted much of its time to theperformance of new music. Since 1970 he has taught atWesleyan University where he is John Spencer CampProfessor of Music. Lucier has pioneered in many areasof music composition and performance, including thenotation of performers' physical gestures, the use ofbrain waves in live performance, the generation of visual

imagery by sound in vibrating media, and the evocationof room acoustics for musical purposes. His recentworks include a series of sound installations and worksfor solo instruments, chamber ensembles, and orchestrain which, by means of close tunings with pure tones,sound waves are caused to spin through space. Mr.Lucier performs, lectures and exhibits his soundinstallations extensively in the United States, Europe andAsia. He has visited Japan twice: in 1988 he performedat the Abiko Festival, Tokyo, and installed MUSIC ON ALONG THIN WIRE in Kyoto; in 1992 he toured withpianist Aki Takahashi, performing in Kawasaki,Yamaguchi and Yokohama. In 1990-91 he was a guestof the DAAD Kunstler Program in Berlin. In January1992, he performed in Delhi, Madras, and Bombay, andduring the summer of that year was guest composer atthe Time of Music Festival in Vitaasari, Finland. Heregularly contributes articles to books and periodicals.His own book, Chambers, written in collaboration withDouglas Simon, was published by the WesleyanUniversity Press. In addition, several of his works areavailable on Cramps (Italy), Disques Montaigne, Source,Mainstream, CBS Odyssey, Nonesuch, and Lovely MusicRecords. In October, 1994, Wesleyan Universityhonored Alvin Lucier with a five-day festival, ALVINLUCIER: COLLABORATIONS, for which he composedtwelve new works, including THEME, based on a poemby John Ashbery and SKIN, MEAT, BONE, acollaborative theater work with Robert Wilson. In April,1997, Lucier presented a concert of his works on theMAKING MUSIC SERIES at Carnegie Hall and inOctober of the same year his most recent soundinstallation, EMPTY VESSELS, was exhibited at theDonaueschingen Music Festival in Germany. Recently,DIAMONDS for three orchestras was performed underthe direction of Petr Kotik at the Prague Spring Festival,1999. In March 1995, REFLECTIONS/REFLEXIONEN, abi-lingual edition of Lucier's scores, interviews andwritings was published by MusikTexte, Köln.

Minnesota born composer Grant Luhmann's workshave earned performances by ensembles such as theGRAMMY® winning Parker String Quartet, the DuluthSuperior Symphony Orchestra, the Encore WindEnsemble, and many others. A frequent recipient of stateand national honors, he has earned a 2014 BMI StudentComposer Award, a 2013 ASCAP Foundation MortonGould Young Composers Award, three ASCAP finalistdesignations, and more. In summer 2015, Grant spent amonth studying at Institut de Recherche et CoordinationAcoustique/Musique (IRCAM) in Paris, learning fromsome of the world's leading composers, acousticians,programmers, and philosophers while creating a newwork. Grant currently attends Indiana University’s JacobsSchool of Music, pursuing a B.M. in composition with aconcentration in oboe performance. Primary teachersinclude Sven David Sandström, Aaron Travers, DonFreund, and Libby Larsen, and he also studies oboe withRoger Roe and Linda Strommen. His recentcommissions include a new tuba concerto for theBrazosport Symphony, a wind band piece for the

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Shorewood Wind Band Consortium, a major work forbassoon and string trio for CD release in fall of 2015, andmore.

Michael Lukaszuk (b.1989) is a Canadian composerand laptop performer based in Cincinnati, Ohio. He iscurrently pursuing a DMA in Composition at theUniversity of Cincinnati’s College Conservatory of Musicwhere he is in Mara Helmuth’s studio. Michael holdsdegrees in composition from the University of WesternOntario. His music has been played at events such asthe Toronto International Electroacoustic Symposium,the New York City Electroacoustic Music Festival, theSEAMUS National Conference, Electronic MusicMidwest and New Music Edmonton’s Now Hear ThisFestival of New Music. In 2015, Michael received 1stprize in the SOCAN Foundation's Hugh Le Caine Awardsfor electroacoustic music. He is currently the director ofthe Cincinnati Composers Laptop Orchestra Project(CiCLOP).

Hugh Lynch is an electroacoustic composer fromIreland. Recently, he graduated (2015) with a PhD inMusic Technology from the Digital Media and ArtsResearch Centre (DMARC) located at the University ofLimerick, Ireland where his research concentrated in theareas of spatial audio, psychoacoustics and multichannelelectroacoustic composition. Hugh has presented hisresearch and music works at a number of conferences;Electroacoustic Music Networks conferences (2011) andthe International Computer Music Conference (2011,2013, 2014) and performed music works in concert atthe Totally Huge New Music Festival in Perth (2013) andthe New York City Electroacoustic Music Festival (2014).Also, his music has been played on Irish national radio RTE's Lyric FM Nova show.

Eric Lyon is a composer and computer musicresearcher. His work focuses on articulated noise, spatialorchestration and computer chamber music. Hissoftware includes FFTease and LyonPotpourri,collections of audio objects written for Max/MSP and Pd.He is the author of “Designing Audio Objects forMax/MSP and Pd”, which explicates the process ofdesigning and implementing audio DSP externals. Hismusic has recently been selected for the Giga Hertzprize, MUSLAB, and World Music Days. Lyon hascomposed for such artists as The Biomuse Trio,Margaret Lancaster, The Noise Quartet, Ensemble miseen, String Noise, The Crash Ensemble, Esther Lamneck,Kathleen Supové, Marianne Gythfeldt, and Seth ParkerWoods. Lyon has taught computer music at KeioUniversity, IAMAS, Dartmouth College, ManchesterUniversity, and Queen’s University Belfast. Currently, heteaches in the School of Performing Arts at VirginiaTech, and is a faculty fellow at the Institute for Creativity,Arts, and Technology.

Joshua Banks Mailman is a theorist, analyst, critic,philosopher, performer, technologist, and composer of

music, teaching at Columbia University, UCSB, NYU,and University of Alabama,. He researches form fromflux: dynamic form. His writings appear in Perspectivesof New Music, Music Theory Spectrum, Music Analysis,Journal of Sonic Studies, Psychology of Music, MusicTheory Online, Open Space Magazine, and LeonardoElectronic Almanac. His essay “Improvising Synesthesia”appears in Leonardo Electronic Almanac v.19/3, specialissue on Live Visuals. He is co chair of the Analysis ofPost 1945 Music Interest Group of the Society for MusicTheory. He developed interactive music technologiespresented at the 9th Sound and Music ComputingConference (Copenhagen, 2012) and InternationalConference on Music Perception and Cognition(ICMPC), the European Society for the CognitiveSciences of Music (ESCOM) (Thesseloniki, Greece,2012), and the New York City Electroacoustic MusicFestival (NYCEMF 2015).

Al Margolis was one of the prime movers in thelegendary cassette underground scene of the 1980s(between 1984 and 1991 his Sound Of Pig label releasedover 300 cassettes of music by the likes of Merzbow,Costes, Amy Denio, John Hudak and Jim O'Rourke) andis the eminence grise behind twenty years of musicunder the name If, Bwana. He is the man behind thePogus label, as well as label manager for DeepListening, XI Records, and Mutable Music. He hasrecorded and/or performed with Pauline Oliveros, Ione,Joan Osborne, Adam Bohman, Ellen Christi, FredLonberg-Holm, Jane Scarpantoni, Ulrich Krieger, DavidFirst, Dave Prescott, Hal McGee, Sarah Weaver,Hudson Valley Soundpainting Ensemble, and Amoeba(Raft) Boy, among others.

Francesc Martí is a mathematician, computer scientist,composer, sound and digital media artist born inBarcelona and currently living in the UK. He has abachelor’s degree in Mathematics from the AutonomousUniversity of Barcelona, and two master’s degrees, onefrom the Pompeu Fabra University in Digital Arts, and theother in Free Software from the Open University ofCatalonia. He also obtained a scholarship for furtheringhis studies in Music Technology at IRCAM (Paris).Simultaneously, he studied music at the Conservatory ofSabadell, where he obtained the Professional Title ofPiano with honours. In 2014 he starts his project“Granular synthesis video”, with which he has alreadyparticipated in more than 30 exhibitions and concertsaround the world, including China, Brazil, USA, UK,Russia, The Netherlands, Spain, France, Ireland,Germany, Colombia, Mexico and Italy.

Patricia Martinez (Argentina) is composer, improviser,pianist, interdisciplinary artist and researcher. Her workshas emerged, in part, from an experimental process of'stripping down,' which involves a degree of risk taking, inthat the resulting piece is left somewhat vulnerable interms of its expressive identity. She conductedexperimental ensembles for about twenty years. She has

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a Doctoral and Master degree in Music Composition(Stanford University) and she completed the annualcourse in Computer Music (Ircam). Her works won prizessuch as the Argentinean Government’s artist life grant;Casa de las Américas (Cuba); International YoungComposers' Meeting (Apeldoorn); Ibermúsicas/Iberescena; Diffusion; GMEB; Pierre Schaeffer;American Prize; Deutsche Gesellschaft; ArgentineSociety of Music Authors and Composers; Juan C. Paz;TRINAC/TRIME. She received fellowships andcommissions from: VCCA/UNESCO Aschberg; YvarMikhashoff Trust for New Music Foundation; Bang on aCan Music Festival; International Music TheatreCompetition / Staatstheater/ Internationales MusikinstitutDarmstadt (IMD); FNA; SU; UNQ; Luigi Russolo;Antorchas Foundation; General San Martin Theatre;American Composers Forum; CESARE; Culture FundBA; Experimental Center of The Colón Theater. Manyensembles performed her works: Arditti and The JackQuartet, Surplus, Seth Josel trio, C2, ACME, SFSounds,Cepromusic; Compañía Oblicua. Her works wereperformed in Europe, North, Central, Latin America andSouth Africa. www.patriciamartinez.com.ar

Dariusz Mazurowski is a Polish electroacoustic musiccomposer born and residing in Gdansk. While themajority of his compositional activity has focused onelectronic / acousmatic works, he has also composedinstrumental music in conjunction with electronics andimprovised electroacoustic music. His works combinetraditional analog instruments with the sonic potential ofdigital technology and computers, concrete sounds andsamples. His compositional approach is dynamic in thatit involves live electronics and live sound diffusion acrossmulti-speaker systems. Dariusz Mazurowski employs acomplicated system of digital, analog, and sometimeseven homemade sound generators in both fixed andimprovised presentations of his music. Mazurowski’smusic has been broadcast all over the world, performedat festivals and other events in Europe, South America,North America, and Asia. Recent performances /exhibitions include : Audio Art (Krakow 2012 / 2013 /2014 / 2015), MUSICACOUSTICA (Beijing 2012),Resonance (Krakow 2013), ohrenhoch derGeräuschladen (a sound gallery in Berlin, 2012 and2014), Echofluxx14 (Prague 2014), LEMESG (SaintPetersburg 2014), Music for No Tape / ERARTA (SaintPetersburg 2014), ICMC / SMC (Athens 2014), Cross-Art2015, CIME (Lisbon), MUSLAB 2015 (Buenos Aires),New Music in the Old Town Hall (Gdansk 2015).Website: http://deemstudio.com/

Stefan Meditz was born 1970, raised in Vienna/Austria,son of a conductor and a violinist, and graduated fromStaedelschule Art School, Frankfurt/Germany (Film classProf.Peter Kubelka), Student at Cooper Union, NYC,lives and works in Frankfurt/Germany.

Augusto Meijer (1988) is an electronic music composerfrom the Netherlands. He obtained a Master of Music

degree at the Utrecht School of the Arts, aftersuccessfully completing the European Media Master ofArts degree. During these studies, he focused stronglyon electroacoustic music, and composition techniques.His compositions are presented at various internationalvenues, including the San Francisco Tape MusicFestival, International Computer Music Conferences, andmany more. He collaborates with other disciplines, i.e.light artists/instrumentalists, creating multidisciplinary artprojects in which his recognizable electroacoustic soundcreations play a key roll. His work is strongly andinevitably based on personal experiences andfascinations.

Dr. Brad Meyer (www.BradMeyer.com) is a percussionartist and composer with an extensive and diverseteaching background. Currently, Brad is the Director ofPercussion Studies at Stephen F. Austin State University(Nacogdoches, TX) where he directs the percussionensemble, steel band (“Jacks of Steel”), and marchingband percussion section. He also teaches the privatepercussion lessons and percussion methods course atSFA. Dr. Meyer was recently the Visiting Instructor ofMusic in Percussion/Percussion Ensemble Director atCentre College (Danville, KY) and the Adjunct Professorof Percussion at Tennessee Technological University(Cookeville, TN) during the fall of 2011. Brad recentlytaught as a percussion faculty member at the InterlochenArts Camp. Dr. Meyer frequently tours to universities andhigh schools throughout Southern and Midwestern statespresenting recitals, workshops, and clinics on topicssuch as electro acoustic percussion, contemporarymarimba, concert snare drum, marching percussion, andworld music. Brad is a member of the Percussive ArtsSociety’s Technology Committee and Health andWellness Committee. He is currently the Secretary forthe TX Chapter of PAS and was the Vice President ofthe Kentucky Chapter of PAS (2011 2013). Bradcompleted his Doctorate of Music in PercussionPerformance and Pedagogy of Music Theory Certificatein the Spring of 2011 under James Campbell at theUniversity of Kentucky, where he also graduated SummaCum Laude with a Bachelor’s Degree in MusicPerformance in 2006. Brad is a proud endorsee ofYamaha Instruments, Zildjian Cymbals, Vic Firth Stickand Mallets, Evans Drumheads, and Tycoon Percussion.

Jeffrey J. Meyer is the Director of Bands at Sul RossState University, where he teaches Music Theory andEar Training in addition to applied brass study. Hepreviously served on the faculties of El Paso CommunityCollege, University of Guam, Cleveland Institute ofMusic, and the ISMEV in Veracruz, Mexico. He receiveda Bachelor of Music from the Eastman School of Musicin Tuba Performance and Literature. He continued hisstudies in music, earning a Master of Music inInstrumental Conducting and Tuba Performance fromKent State University in 2006 and a Doctor of MusicalArts degree from the Cleveland Institute of Music in2010. In 2011 he completed a residency in electronicmusic composition and production at CMMAS in Morelia,

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Michoacán, Mexico. His composition, MetroChapultepec: for flute/piccolo and electronics, waspremiered at the 2015 New York City ElectroacousticMusic Festival by Dr. Mary Elizabeth Thompson. He hascontributed several articles and compositions to theInternational Tuba Euphonium Association Journal. Hiscomposition teachers include Todd Coleman, KenEberhard, Matt Barber, and Thomas Janson.

In June of 2013, Caroline L. Miller embarked on aresearch expedition in the Philippine Sea, sailing fromTaiwan to the Republic of Palau as part of anoceanographic science party. The class politics of shiplife, hours of physical labor in the tropical humidity, andexploring the deck alone at night fundamentally changedher attitudes toward music and life. Since that time,much of C.L.M.’s research has been devoted to thesocial and political study of aesthetics, biomusic, andkinesthetic and tactile models of composition. Since 2012, she has organized and curated annualconcerts at the Birch Aquarium at Scripps Institution ofOceanography. C.L.M.'s music has appearedinternationally. She has recently enjoyed performancesby WasteLAnd, Wild Rumpus Ensemble, members ofthe Lyris Quartet, and the Inoo Kallay Duo; and herworks have appeared at SEAMUS, SoundSCAPE,Studio 300 Digital Art and Music festival, ElectroacousticBarn Dance, Electronic Music Midwest, Fresh MindsFestival, and UCSD's own Springfest. Elliptic forpercussion, piano and electronics is published onpopulist records. C.L.M. recently began the Ph.D.program in music composition at UC San Diego, aftercompleting the master’s degree at UCSD in June 2014.Her internal committee consists of KatharinaRosenberger, Miller Puckette, and Amy Cimini.

Dennis Miller received his Doctorate in MusicComposition from Columbia University and is currentlyon the Music faculty of Northeastern University inBoston. His mixed media works have been presented atnumerous venues throughout the world, most recentlythe DeCordova Museum, the New York Digital SalonTraveling Exhibit, the Art in Motion screenings, Imagesdu Nouveau Monde, CynetArts, Sonic Circuits, theCuban International Festival of Music, and the NewEngland Film and Video Festival. Recent exhibits of his3D still images include the Boston Computer Museumand the Biannual Conference on Art and Technology, aswell as publication in Sonic Graphics: Seeing Sound(Rizzoli Books) and Art of the Digital Age (Thames andHudson). Miller’s music and artworks are available atwww.dennismiller.neu.edu.

Jason H. Mitchell is a classically trained guitarist and acomposer of instrumental and electro acoustic music.Currently based in upstate New York, he grew up on thelower Rio Grande, where the rich cultural heritage of theTexas Mexico border region influences much of hismusic. Jason graduated from the University of Illinois atUrbana Champaign and his music has been played

throughout the United States, the Philippines, andEurope. For more information, please visitwww.jholtmusic.com.

Takashi Miyamoto was born in Japan in 1992. Hegraduated in computer music with the Arima Award fromKunitachi College of Music, and is currently studyingcomposition and computer music with Takayuki Rai,Kiyoshi Furukawa and Shintaro Imai in the mastercourse of Sonology Department, Kunitachi College ofMusic. He won the ICMC 2015 and the third place atEMW 2015 (The Shanghai Conservatory of MusicInternational Electronic Music Week 2015).

Akio Mokuno is an electroacousitc music composer,audio engineer, singer songwriter, noise bassist andmultimedia performer. After exploring psychedelic/newwave bands in Nagoya, Akio moved to New York, in1994, and joined the post no wave/noise bandElectoputas, as a bass and voice performer. Inspired bymusique concrète (concrete music) and electronicmusic, in the late 1990s, Akio started improvising asampler (Yamaha SU10 + Akai S2000) using an opticalMIDI controller. He has performed with a number ofrenowned free jazz/experimental musicians and visualartists, including Damo Suzuki, Sabir Marteen, TatsuyaYoshida (Ruins), Frank Marino, 99 Hooker (Rev.99), RonAnderson, Chris Forsyth, Kenta Nagai, Maria Chavez,Angie Eng, and Benton C Bainbridge. Akio earned a BFA(Sonic Arts) from the City College of New York and anMFA (Performance and Interactive Media Arts) fromBrooklyn College. He studied under Paul Kozel, JohnJannone, David Grubbs, Douglas Geers, Vito Acconci,and Morton Subotnick. Currently, he is enrolled in theMaster of Music Program for Music Composition atBrooklyn College, CUNY. He was the commissionedartist for the 13th Biennial Arts and TechnologySymposium at Connecticut College (2012). Hiscomposition, Mullaly Park 9/10, was selected for the NewYork City Electroacoustic Music Festival (2014) andreceived the Max Mathews Award for Excellence inSonic Arts from the Conservatory of Music as well.

Marco Molteni (Italy – 1962) studied composition withL.Chailly and G.Giuliano at the Conservatory of Music ofMilan; electronic music with R.Sinigaglia. He attendedseveral perfectioning courses like : Accademia Chigiana/ MC2 Musique Contemporaine (F.Donatoni); Atelier deRecherche Instrumental IRCAM Paris; DarmstadtFerienkurse. His music has been rewarded andrecognized in important international concourses(Gaudeamus Music week Concorso Internazionale"Casella" Siena – Conc. Internazionale G. d’Arezzo ecc.)and played in several places like IRCAM, ChigianaNovità Siena, Festival Antidogma Torino, Ferienkurse furNeue Musik Darmstadt, Gaudeamus Musik WeekAmsterdam, Internat. Review of Composers Belgradeecc. His music has been broadcasted by Radio France,RAI, ABC Sidney, CBC Toronto and it has beenpublished by BMG Ricordi, Arspublica.

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Úna Monaghan is a harper, composer, and sound artistfrom Belfast, interested in combining traditional Irishmusic practices with live electronics. Her recent work hasmerged traditional music with bronze sculpture, soundart and movement sensors. Úna is co founder of QuietMusic Night, an evening dedicated to performing quietmusic of all genres, especially new and experimentalmusic. She graduated from Cambridge University in2005 with a degree in Astrophysics and in 2014completed a PhD at the Sonic Arts Research Centre,Belfast, on new technologies and experimental practicesin contemporary Irish traditional music. In 2012 shedirected Owenvarragh, a new realization of a John Cagescore, and in July 2013 was selected as a Future MusicPerformance Fellow with violinist Mari Kimura at theAtlantic Music Festival, Maine, USA. Úna also works as asound engineer specializing in Irish traditional music andexperimental, live electronic and multichannel music, arole in which she travels worldwide. Úna was Artist inResidence at the Centre Culturel Irlandais, Paris inSpring 2015, and in 2016 is Artist in Residence at TheInstitute for the Public Life of Arts and Ideas (IPLAI) inMontréal.

Ted Moore is a composer, sound designer, andeducator living in Minneapolis. His work has beenreviewed as “an impressive achievement both artisticallyand technically” (Jay Gabler, VitaMN), “wonderfullycreepy” (Matthew Everett, TC Daily Planet), and “epic”(Rob Hubbard, Pioneer Press). Moore’s work focuseson live electronic processing with live performers usingthe programming language SuperCollider. His music hasbeen performed by the International ContemporaryEnsemble, Spektral Quartet, Yarn/Wire, AVIDduo,Firebird Ensemble, RenegadeEnsemble, and the EnkiduQuartet, and has been performed across the countryincluding Fredericksburg, VA (Electroacoustic BarnDance); Berkeley, CA (Festival of Contemporary Music);Chicago, IL (Access Contemporary Music); Kirksville,MO (New Horizons Music Festival); Champaign-Urbana,IL (NASA); Denton, TX (Univ. of North Texas); Lubbock,TX (Texas Tech Univ.); Minneapolis, MN (Cedar CulturalCenter, The Southern Theater); Decorah, IA (LutherCollege); and Richmond, KY (Eastern Kentucky Univ.).Moore has been Composer-in-Residence at KimmelHarding Nelson Center for the Arts (Nebraska City), andhas been featured as a sound installation artist by the St.Paul Public Library, TC Make, and notably at theNorthern Spark Festival in Minneapolis. He is also onehalf of Binary Canary, a woodwinds-laptop improvisationduo (www.binarycanarymusic.com). Contact him atwww.tedmooremusic.com.

Jeff Morris has presented live sampling improvisations,compositions, and interactive installations in venuesranging from the Triennale museum in Milan andOnassis Cultural Center in Athens to the Lyndon B.Johnson Presidential Library and Museum, from anundeveloped plot of land in Connecticut to the last jookjoint in Mississippi. Jeff Morris creates experiences that

engage audiences’ minds with their surroundings. Hehas presented work in the Trienniale Museum (Milan),Onassis Cultural Center (Athens), D 22 (home ofBeijing’s avant garde music scene), InternationalSymposium on Electronic Art (Vancouver, Canada), theLyndon B. Johnson Presidential Library and Museum(Austin), and the Chicago Architecture Foundation’s“Open House Chicago.” His genre bendinginterdisciplinary work has won awards in the “Music inArchitecture” International Symposium (Austin), theUn“Cage”d Toy Piano Competition (NYC), and the“Radio Killed the Video Star” Competition for radio basedperformance art (NYC). Writings about his works andtheir aesthetics have been presented at the InternationalComputer Music Conference, Generative ArtInternational Conference, and Computer Art Congressand are published by Leonardo Music Journal, Springer,and IGI Global. He curates the Fresh Minds Festival ofaudiovisual art from all over the world and directs thePerformance Technology program at Texas A&MUniversity (a Carnegie Tier One Research University andmember of the elite Association of AmericanUniversities).

Hibiki Mukai was born in 1993 in Shizuoka, Japan. Hehas studied composition with Midori Okubo, ShirotomoAizawa, and currently studies at the Toho GakuenSchool of Music under Professor of compositionMasahiro Ishijima and Takayuki Rai.His reputationstands high at school, and he was awarded scholorshipsfrom the Meiji Yasuda Life Insurance Compony and theToho Gakuen.

Roberto Musanti, born in Cagliari (Italy) in 1964,teacher of IT, electronic, computer music andmultimedia; Electronic musician and media artist,graduated in Electronic music but mainly self taught, it istaken care of computer music and media art from thefirst eighties, currently teaches multimedia programmingat the school of music of Sassari. He has made concerts,performances and installations in Alghero (ItalianChapter of ACM SIGCHI), Amsterdam (Galleria “OperaNuda”), Barcelona ( Festival “Zeppelin” – CCCB),Brasilia (“UVM Symposium”), Cagliari (Festivals“Kontakte”, “Music in touch”, “Polartist”), Lisbon (Festival“Musica Viva”), Marseilles (Festival “Electronicittà” ) ,Naples (Festival “Evenienze – Konsequenz” ), Rome(“Decennale CEMAT”, Festival “Saturazioni”, “EMUFest” 2010 2012 2013), Sau Paolo (“Hypersonica” 2012, “File”Festival” 2013, “File Festival 2015”), Timisoara (Festival“Simultan” #6 #7 #8 2013 ), Ljubljana (“Video Evening#4? – Photon Gallery), Lviv (” MediaDepo”).

Maria Mykolenko is active as a sound artist, composerand violinist in New York City, southern New Englandand the upper Midwest. She holds an M.A. incomposition from the Aaron Copland School at QueensCollege and and MFA in music/sound from Bard College.She is in the process of completing the requirementstowards the Artist Diploma in Composition at the Hartt

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School of Music. Her composition teachers haveincluded, Jonathan Kramer, Hubert Howe, MaryanneAmacher, Brenda Hutchinson, David Macbride, RobertCarl, Ken Steen, David Behrman and John McGuire. Shestudied violin with Dorothy Delay and chamber musicwith Robert Koch. Her interests include electroacousticmusic, chamber music, choral music and political soundart. She has worked as an instrumental teacher,chamber music and orchestral coach as well as acurator.

Kayoko Nakamura is a composer, music performer andfilmmaker, based in New York City. She has exploredher world from classical to electronic music since anearly age. She has long performed music through thepiano, synthesizer, electric organ, and pipe organ, andlately she has taken up the Theremin and the Matryomin.Her music compositions are performed in New York andJapan. She has also composed music and sound forfilms and for her own films as well. She has received theTelly Award and CINE Golden Eagle Award for her shortfilm.

Dafna Naphtali is a composer/performer singer/instrumentalist/electronic musician from aneclectic musical background (jazz, classical, rock, neareastern music). Since the mid 90’s shecomposes/performs experimental, interactive electroacoustic music using her custom Max/MSPprogramming for live sound processing of voice andother instruments, as well as multi channel audio works.As a performer, she also interprets the work of Cage,Stockhausen and contemporary composers.Commissions and awards include: NY Foundation for theArts (’01 and ’13), NY State Council on the Arts, Meet theComposer, Experimental TV Center, AmericanComposers Forum (’99, ’09), Brecht Forum, FranklinFurnace, American Music Center and Foundation forContemporary Arts, and awarded residencies at STEIM(Holland), Music OMI, Djerassi and Create @iEAR(Rensselaer Polytechnical Inst.) Dafna Naphtali hascollaborated and performed with well regarded musiciansin the US, Europe, Israel, Russia and India, includingLukas Ligeti, David First, Shelley Hirsch, Joshua Fried,Ras Moshe, Alex Waterman, Kathleen Supove´,Gisburg, Hans Tammen, classical Indian vocalist VidyaShah, the late sarodist Stephen James, among others.She co led the digital chamber punk ensemble, What is itLike to be a Bat? with Kitty Brazelton (http://www.whatbat.org) ‘97 –‘05 and continuing. Dafnahas performed at festivals/venues in the U.S., Europe,Israel, Canada, Africa, Australia/New Zealand, Russia.She teaches /gives workshops at universities in the USand in Europe (New York Univ., New School, BrooklynCollege, Bloomfield College, Bard College, ColumbiaUniv., U. Miami, Pratt Institute, U. Mass, U. Nijmeganand Institute of Sonology in Holland, Hochschule fu¨rMusik und Theater in Hamburg among others). At NYU,she teaches Electronic Music Performance and theLaptop orchestra. She teaches/programs/consults aboutMax/MSP since 1995, having done sound design and/or

programming work for the projects of Jin Hi Kim, PamelaZ, Phoebe Legere, Fred Frith, Jim Staley, HenryThreadgill, Steve Coleman, Chico Freeman and others.Her compositions have been performed by pianistKathleen Supove´, flutist Margaret Lancaster, MagicNames vocal sextet and others. Recordings: Chatter Blip(Acheulian Handaxe, w/Chuck Bettis), Mechanique(s)(Acheulian Handaxe, w/Hans Tammen, Martin Speicher),What is it Like to be a Bat? (Tzadik/Oracles ‘03 4Stars, All Music Guide) with Kitty Brazelton. DannyTunick).

Boris Nazarov is an underground electronicproducer/musician and noise maker, head of one of thewell respected Russian electronic label Citadel records,he started his musical career more than 20 years ago. He is a successful remixer of the top Russian performersand wrote music for several television films andadvertisements for famous international brands likeHead and Shoulders and Wrigley. He also played severalhundred concerts with his music band Moscow GroovesInstitute (electro) and opened concerts for such projectsas Massive Attack and Dave Gahan. In addition toworking with prominent musicians such as Pete Lockett(Bjork) and Tony Levin (King Crimson, Peter Gabriel) heparticipated in countless musical projects in variouscapacities, including Russia's first stadium concert inLive Surround format. These days he is exploringboundaries of an electroacoustic music and it’s greatpotential to perform it live. Moscow Grooves InstituteSoundcloud link:https://soundcloud.com/moscowgroovesinstitute.

Annelie Nederberg is a Swedish composer andperformer currently based in the UK where she ispursuing an AHRC funded PhD in Musical Compositionat University of Surrey. Her research is focusing oncorporeality in electronic music and explores the role ofthe body and a fluid self in music creation andperformance. Because of her approach to music asmovement, Annelie has a passion for the performing artsand composes for contemporary dance and drama aswell as acousmatic music, music for film and soundinstallations. She also performs with her gesturalfeedback instrument and other sounding objects andsubjects. Her work has been represented at ICMC,iFIMPaC, INTER/actions, SSSP, NYCEMF and atconcerts and performances nationally and internationally.In 2014-15 she was touring internationally with her soloperformance Seeress in collaboration with live videoartist Brian Curson of alKamie. She has been awardednumerous scholarships and grants and is a member ofthe Swedish Society of Composers and SEAMS, theSwedish Electroacoustic Music Society.

Ai Negishi was born in Japan in 1993. She is currentlystudying composition and computer music with TakayukiRai, Kiyoshi Furukawa and Shintaro Imai at SonologyDepartment, Kunitachi College of Music in Tokyo.

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Phill Niblock (born 2 October 1933, in Anderson,Indiana) is a composer, filmmaker, videographer, anddirector of Experimental Intermedia, a foundation foravant-garde music based in New York with a parallelbranch in Ghent, Belgium. Niblock's first musicalcompositions date from 1968. Unusually, even amongthe avant-garde composers of his generation, he has noformal musical training. He cites the musical activities ofNew York in the 1960s (and occasional memorableperformances, such as the premiere of MortonFeldman's Durations pieces) as a stimulus. All hiscompositions are worked out intuitively rather thansystematically. His early works were all done with tape,overdubbing unprocessed recordings of precisely tunedlong tones played on traditional instruments in four, eight,or sixteen tracks. Since the late 1990s his music hasbeen created with computer technology, notably with ProTools on a Macintosh computer. His later works arecorrespondingly more dense in texture, sometimesinvolving as many as forty tracks. Niblock's music is anexploration of sound textures created by multiple tones invery dense, often atonal tunings (generally microtonal inconception) performed in long durations. The layering oflong tones only very slightly distinct in pitch creates amultitude of beats and generates complex overtonepatterns and other fascinating psychoacoustic effects.The combination of apparently static surface texturesand extremely active harmonic movement generates ahighly original music that, while having things in commonwith early drone-based Minimalism, is utterly distinct insound and technique. Niblock's work continues toinfluence a generation of musicians, especially youngerplayers from a variety of musical genres. Phill Niblock'smusic is available on the XI, Moikai, Mode Records, andTouch labels. A double-sided DVD of films and music,lasting nearly four hours, is available on the Extremelabel.

Composer, violinist, and computer music researcher,Charles Nichols explores the expressive potential ofinstrumental ensembles, computer music systems, andcombinations of the two, for the concert stage, andcollaborations with dance and video. His researchincludes motion capture for musical performance,telematic performance, data sonification, and hapticmusical instrument design. He teaches Composition andComputer Music at Virginia Tech, and is a faculty affiliateof the Institute for Creativity Arts and Technology. Hehas earned degrees from Eastman, Yale, and Stanford,and previously taught at the University of Montana,where he directed the Mountain Electroacoustic LaptopEnsemble and Composers Workshop Pierrot Ensemble. He has conducted haptic musical instrument research asa visiting scholar at the Sonic Arts Research Centre atQueen's University Belfast, taught computer musicworkshops at the Banff Centre, Charlotte New MusicFestival, and the University of Rome, and composed asa resident at the Ucross and Brush Creek artist retreats. His recent premieres include Il Prete Rosso, for amplifiedviolin, motion sensor, and computer, that controls audioeffects with a wireless motion sensor on the bow hand of

the violinist, Sound of Rivers: Stone Drum, a multimediacollaboration, with sonified data, electric violin, andcomputer music, accompanying narrated poetry, dance,animation, and processed video, based on scientificresearch into the sound of rivers, and Nicolo, Jimi, andJohn, a three movement concerto, for amplified viola,orchestra, and computer, inspired by the virtuosity ofPaganini, Hendrix, and Coltrane.Confronting the immediacy of life, the compositions ofJohn Nichols III have been described by listeners as“cosmic,” “seismic,” and “tectonic.” His compositions areinternationally recognized with awards such as the GrandLuigi Russolo Prize & 1st Luigi Russolo Prize (2014,France, Spain), First Prize in the 2014 ASCAP/SEAMUSStudent Composer Commission Competition (USA), FirstPrize Absolute in the International CompositionCompetition “Città di Udine” (2014, Italy), and First Prizein the WOCMAT International Phil Winsor ComposersAwards (2013, Taiwan). The winner of the 2013 ConlonMusic Prize for Disklavier Plus (Netherlands), Nichols isengaged in a new composition for computer controlledacoustic piano (Disklavier) and electroacoustic sounds atthe Virginia Center for the Creative Arts. Most recently,his composition “Amovi Alaan” was selected as a Finalistfor the Exhibitronic #5 event in Strasbourg, France andwill be pressed to vinyl (2015). Nichols has also receivedrecognition from Prix Destellos (Argentina),Métamorphoses (Belgium), and the Morton GouldASCAP Young Composer Competition (USA). Hiscompositions are published on Musique & Recherches(Belgium), SEAMUS (USA), Monochrome Vision(Russia), and ABLAZE Records (USA/Australia). He iscurrently completing his doctorate at the University ofIllinois, Urbana Champaign, where he won theFourteenth Annual 21st Century Piano CommissionCompetition.

Tonalli Rufino Nakamura is a Mexican composer bornin 1991, has taken clases with composers like, HebertVázquez, German Romero, Kevin Patton, Ken Ueno andRicardo Climent, member of Andamio colective who haspremiered pieces in Mexico and South America, Thirdplace winer of the composition contest in theinternational festival of contemporary music VI of Moreliain 2010, Worked as a composer in several dancecompanies, Composer of the video-game companyFugitive Pixel in 2011- 2012 launching two videogamesfor iOS, Internship of “ Visiones Sonoras 2012 and 2013” and worker at CMMAS (Centro mexicano para lamusica y las nuevas tecnologias/Mexican Center formusic and new tecnologies).

Giorgio Nottoli (composer, born 1945 in Cesena, Italy)he was Professor of Electronic Music at theConservatory of Rome "Santa Cecilia" until 2013. Hecurrently teaches electroacoustic composition at theUniversity of Rome "Tor Vergata". The major part of hisworks are realized by means of electro acoustic mediaboth for synthesis and processing of sound. Theobjective is to make timbre the main musical parameter

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and a "construction unit" through the control of soundmicrostructure. In the works for instruments and liveelectronics, the aim of Giorgio Nottoli is to extend thesonority of the acoustic instruments by means ofcomplex real time sound processing. He has designedboth analog and digital musical systems in conjunctionwith various universities and research centers. In 2008,Giorgio Nottoli founded the Electro acoustic MusicFestival (EMUfest) of the Conservatory “S.Cecilia” ofRome. Actually, he direct, along with Giovanni Costantini, the new event “Spring time Study Concerts” at theUniversity of Rome “Tor Vergata”.

The Dutch-born flutist-composer Wil Offermans isknown as an acclaimed expert on promoting theextended flute techniques to a wider audience throughhis compositions, concerts, workshops, courses andwebsite forthecontemporaryflutist.com. He broadened hiscreative and contemporary approach during his toursaround the world, especially to Asia and Japan. Hiscompositions have been performed by distinguishedflutists and flute ensembles around the world.http://www.wiloffermans.com/en/index.html.

João Pedro Oliveira studied organ performance,composition and architecture in Lisbon. He completed aPhD in Composition at Stony Brook University. His musicincludes one chamber opera, several orchestralcomposition, a Requiem, 3 string quartets, chambermusic, solo instrumental music, electroacoustic musicand experimental video. He has received numerousprizes and awards, including three Prizes at BourgesElectroacoustic Music Competition, the prestigiousMagisterium Prize in the same competition, the GigaHertz Special Award, 1st Prize in Metamorphosescompetition, 1st Prize in Yamaha Visiones SonorasCompetition, 1st Prize in Musica Nova competition, etc..He is Professor at Federal University of Minas Gerais(Brazil) and Aveiro University (Portugal) and teachescomposition, electroacoustic music and analysis. Hepublished several articles in journals, and has written abook about analysis and 20th century music theory.

Konstantina Orlandatou (*1980) studied composition,music theory and piano at the Conservatory of Athens(Greece) Nikos Skalkotas (graduated in 2005). Shestudied multimedia composition with Prof. Dr. GeorgHadju at the University of Music and Theatre in Hamburg(M.A. in 2009). In 2014 she completed her doctoraldissertation with the title “Synaesthetic and intermodalaudio visual perception: an experimental research” in theUniversity of Hamburg (PhD in systematic musicology). She has composed several works for electronicensemble (Music in the Global Village, Budapest 2007),solo compositions (next_generation 3.0, Karlsruhe 2008 /NYCEMF 2014), music for documentaries (ISFF 2007,Hamburg) and interactive sound installations. Hercomposition "Speechless" was premiered in 2003 by the"Camerata" orchestra under the direction of TheodoreAntoniou in the Athens Concert Hall. Her works are

described through their meditative atmosphere offeringto the listener a pleasant music experience.

Federico Ortica studied at Conservatory of Perugia,specifcally attending percussions classes. He studiedelectronic music with Mr Luigi Ceccarelli at theConservatory of Music in Perugia and Institute ofSonology in Den Haag (NL). He have been playing aspart of Frost band in various venues in Europe sharingthe stage with: Karate, Yuppy Flu, Soul II Soul, GrooveArmada, Z star, Louie Vega, Incognito, Erlend Oye (Kingof Convenience), Robben Ford, Shit disco etc. He playedfrom 2007 to 2010 at Red Zone club in Perugia. He canalso claim to have attended courses taught by AndrewBentley, Bob Ostertag, Francis Dhomont, DomenicoSciajno, Poul Berg, Peter Evans, Trevor Wishart, JoelRyan. He participated in some prestigious musiccompetitions, such as Emufest, LPM, NYCEMF, ICMC,Prize National of the Arts, Destellos Foundation. He is acomposer for theatre and dance show with multimediatechnologies (sensor, kinect staff ). He worked forChanging Permormings Arts in Milan with “Opera”. Heplayed at many Festivals with audio/video project P/XLbased on improvisation. He Composed soundtrack forDelhi Commonwealth and AsianCup Qatar, Ferrari andpodcast IBM.com. Currently working on live electronicsimprovisation.

Naotoshi Osaka is a composer and an acousticsresearcher. He received an M.S. degree in electricalengineering from Waseda University in 1978. He alsoreceived a Doctor of Engineering in 1994. His mainresearch interest is timbre synthesis for both sound andspeech. Since 1990, he has focused mainly oncomposing computer music. He joined the ICMC'93 atWaseda University in Tokyo. Succeeding works include:“Prosody++” for chamber instruments with liveelectronics, performed at the Louisiana museum, inDenmark, (’95), “Shizuku no kuzushi” for violin, computerand orchestra (’99). And “Kibi Takib?”, for computer andorchestra (‘09). From 1996 to March of 2003, he led acomputer music research group at NTT CommunicationScience Laboratories in Atsugi, Kanagawa. He ispresently a professor at Tokyo Denki University. He iscurrently a president of JSSA (Japanese Society of SonicArts) after experience of an ICMA (InternationalComputer Music Association) Asia/Oceania RegionalDirector.

Douglas Osmun was raised on the western side ofMichigan, never far from the shores of Lake Michigan.He is currently finishing his undergraduate degree inMusic Composition at Western Michigan University,where he is also pursuing a minor in Multimedia ArtsTechnology. This minor encompasses training in audioengineering, creative projects with digital media, andcomputer programming. His primary teachers includeLisa Rene´e Coons, Christopher Biggs, and RichardAdams. As an undergraduate student, Osmun alreadyhas a number of awards and accomplishments, including

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the Ron Nelson Award and Symphonic BandCommission, an international premiere of his work at thehighSCORE Festival in Italy, a mini grant from the ArtsCouncil of Greater Kalamazoo, and a former position asthe Region V Student Representative for the Society ofComposers, Inc. He has also been named a Beulah andHarold McKee Scholar, one of three top awards forstudents within the WMU School of Music.

Electroacoustic composer and Guitarist Yasuhiro Otaninavigates trough live electronics, installations, musiqueconcrète, visual, performance, music for dance, theatreand cinema.The artistic concerns remain constant: thebalance between the cerebral and the sensual, andbetween biology sound sources and digital processing.As performer, collaborating with a lot of artists across theworld and created imaginative sound and visual works.The works would consist of many elements, such as lowand high technology, Programming, Guitar, CircuitBending, SoundScape and Spatial vector algorithm.Member of THE JAPAN FEDERATION OFCOMPOSERS inc.

Felipe Otondo studied acoustics in Chile where hestarted composing and performing music forexperimental theatre developing several performanceprojects with actors and musicians. In 1999 he moved toDenmark to do post graduate studies in soundperception at Aalborg University focusing on spatialsound and timbre perception. He studied composition atthe Carl Nielsen Academy with the Anders Brødsgaardwhere he composed and premiered variouscompositions and took part in several interdisciplinaryprojects with visual artist. In 2005 he pursued hiscomposition studies at the University of York in Englandwith Ambrose Field and Roger Marsh focusing inelectroacoustic composition and music theatre. Hismusic has been widely played in festivals across Europe,North and South America, as well as in Australia. He hasreceived awards and composition prizes in Austria,Bulgaria, Brazil, China, Czech Republic, England,France, Italy and Russia. Felipe is currently a seniorlecturer at the Institute of Acoustics at UniversidadAustral in Chile and his music is released by the Britishlabel Sargasso.More information at:http://www.otondo.net. Roberto Palazzolo: “My career with acousmatic musicstarted in 2009 at the Conservatory of Music VincenzoBellini in Palermo, where I had the opportunity to studywith Emanuele Casale and Giuseppe Rapisarda who ledme to the achievement of the BA in electronic music.During this study experience i took part in the making ofsound installations inside the programme ofcomtemporary music festivals such as ‘Suona Francese’(Palermo, spring 2011 and 2012) and "Orestiadi"(Gibellina, summer 2014): in this occasion I presentedmy first acousmatic work ‘Joke’. I attended at the EMM(Electronic music midwest) in Kansas city (November2015). The discovering of the micro articulation of sound

through microphone inspires me for composition, that isbasically influenced by the listening of authors such JontyHarrison, Trevor Wishart and Horacio Vaggione.

Composer Ronald Keith Parks’ diverse output includesorchestral, chamber, vocal, electroacoustic, andinteractive computer music. His music been featured atnumerous venues including SCI conferences, FEMF,SEAMUS, ICMC, and numerous performers' recitals andconcerts. Recent honors include the Aaron CoplandAward, the Winthrop Outstanding Junior Faculty Award,a NeXT Ens commission, and an SCMTNA Commission.His music is available on the EMF label and the UF SCIStudent Chapter CD vol. 1. Dr. Parks is professor ofmusic composition and technology and Director of theWinthrop Computer Music Labs at Winthrop University.

Clelia Patrono is a musician and composer who beganher musical journey as a guitarist and songwriter at theAcademy of Music "Saint Louis" College in Rome.Her passion for electronic music and music toaccompany image drove her to carry out a year of studyin the class of "Media Art" at the Academy of "HochuleFur Grafik ind Buchunst" in Leipzig, Germany in 2013.She is currently finishing a three year degree inElectronic Music at the Conservatory "Linicio Refice" ofFrosinone, Italy, in particular cultivating a passion foraudiovisual works and synchronisation of music toimage. In addition, she continues her work as a livemusician, with concerts around the world includingWOMADelaide (Australia) 2013, WOMAD NEWZEALAND 2013, and WOMAD Ca´ceres (Spain) 2013.She is composer and guitarist and director of the firstalbum of her band, Atome Primitif, entitled "Three YearsThree Days." She works as a sound designer andcomposer for documentaries at RAI (Italian television).

Samuel Pellman has been creating electroacoustic andmicrotonal music for nearly four decades, and many ofhis works can be heard on recordings by the MusicalHeritage Society, Move Records, innova recordings, andRavello Records. Recently he has presented his musicat festivals and conferences in Melbourne, Paris, Basel,Vienna, Montreal, New York City, Beijing, Capetown,Buenos Aires, Hsinchu, Perth, Prague, and Rome (NY).Pellman is also the author of An Introduction to theCreation of Electroacoustic Music, a highly regardedtextbook. He currently serves as an Associate Dean ofthe Faculty at Hamilton College, in Clinton NY, and is aco founder (with Ella Gant) of its Studio for TransmediaArts and Related Studies (STARS). Further informationabout his music can be found at:http://www.musicfromspace.com.

Sylvia Pengilly has always been fascinated by thecorrelation between what the ear hears and what the eyesees. Because of this, many of her works integrate bothmusical and visual elements. Mathematics and physics,including Chaos Theory, Quantum Mechanics, andSuperstrings, are of particular interest and frequently

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provide the basis for her works. These have beenpresented both nationally and worldwide at severalfestivals, including many SEAMUS NationalConferences, the Medi@terra festival, ICMC, the “NotStill Art” Festival, the “Visual Music Marathon,”"MUSLAB," and she recently had a screening of "Maze"at the Downtown Film Festival in Los Angeles. She wasrecently awarded first prize in the "Fresh Minds" festival.She was formerly professor of theory and composition inthe College of Music at Loyola University, New Orleans,where she also founded and directed the electronicmusic composition studio. She is now "retired" andpresently lives in Atascadero, California, where shecomposes music and creates “Visual Music” videos.

Goffredo Petrassi (16 July 1904 – 3 March 2003) wasan Italian composer of modern classical music,conductor, and teacher. He is considered one of themost influential Italian composers of the twentiethcentury. Petrassi was born at Zagarolo, near Rome. Atthe age of 15 he began to work at a music shop tosupply his family's financial needs, and becamefascinated by music. In 1928, he entered the SantaCecilia Conservatory in Rome to study organ andcomposition. In 1934, composer Alfredo Casellaconducted Petrassi's Partita for orchestra at the ISCMfestival in Amsterdam. Later, Petrassi became musicaldirector of the opera house La Fenice, and from 1959taught composition at the Santa Cecilia Conservatoryand at the Salzburg Mozarteum. Petrassi had manyfamous students, including Franco Donatoni, AldoClementi, Cornelius Cardew, Ennio Morricone, KarlKorte, Boris Porena, Norma Beecroft, Mario Bertoncini,Ernesto Rubin de Cervin, Eric Salzman, KennethLeighton, Peter Maxwell Davies, Michael Dellaira,Armando Santiago, and Richard Teitelbaum. See: List ofmusic students by teacher: N to Q#Goffredo Petrassi.Petrassi died in Rome at the age of 98.

Ohio University Distinguished Professor Mark Phillipswon the 1988 Barlow International Competition forOrchestral Music, leading to collaborations withconductor Leonard Slatkin. Following a nationalcompetition, Pi Kappa Lambda commissioned him tocompose a work for their 2006 national conference inSan Antonio. His music has received hundreds ofperformances throughout the world —including dozensof orchestra performances by groups such as the St.Louis Symphony Orchestra and the Cleveland Orchestra— and has been recorded by Richard Stoltzman and theWarsaw Philharmonic Orchestra, the Lark Quartet, andseveral solo artists.

Joel Pixley Fink: “I was born and raised in KalamazooMI. I got my first bass when I was 14, and started takinglessons, learning tunes, and playing in bands. Aftergraduating high school I moved to New York City topursue music. I played in ensembles at school, barbands, private parties, any gig I could get. I also spent 4years in that time working at Village Vanguard. In 2011 I

left New York to backpack South America and theCaribbean. After two years of travel on and off I enrolledat WMU to study audio engineering with John Camposand intern at Double Phelix Recorders with Ben Lau andAndy Catlin. I am currently interning with Ian Gorman,playing keyboards in Zion Lion, producing for MNOE,and working on my capstone project and numerous otherprojects.”

Timothy Polashek writes in a variety of media andstyles, including vocal, instrumental, electro acousticmusic, text/sound compositions, and interactiveperformance systems, and his music has beenperformed throughout the Americas, Europe and Asia.He is the author of The Word Rhythm Dictionary: AResource for Writers, Rappers, Poets, and Lyricists.Prior to earning the Doctor of Musical Arts inComposition degree from Columbia University, Polashekearned the M.A. in Electro Acoustic Music fromDartmouth College, and a B.A. in Music from GrinnellCollege. He is the Music Technology Studies Coordinatorand an Associate Professor of Music at TransylvaniaUniversity. www.tdpmusic.com

Krunoslav Ptitchar, video artist from Croatia, living inFrance since 2003, graduated from the School of FineArts at Bordeaux. From 2006-2009 -following studies ofelectroacoustic music with Christian Eloy in the CNR ofBordeaux. He participates in exhibitions and festivals inFrance and abroad, and collaborates on variousmultidisciplinary audiovisual projects (theater, literature,photography, installation, video, VJ ...).

Johannes Quint (* 26. October 1963 in Bonn ) is aGerman composer. He studied in1990 with Hans Zenderat the Frankfurt University of Music and Performing Arts,where he received his diploma in composition in 1993 inthe art. From the 1990s Quint received numerousscholarships that enabled him to deepen inter alia hiscompositional skills and to develop their own projects.Among them were 1992 grant from the Hessian CulturalFoundation, 1993-94 a grant from the Berlin Senate, in1995 a scholarship from the Association Frankfurt artistse. V., earmarked for participation in the Wittlicher weekNew Vocal Music, and 2000/2001 a grant from the Landof Bavaria for annual stay at the InternationalKünstlerhaus Villa Concordia in Bamberg. In these years,Quint also received numerous commissions, so amongother things for the Camerata Quartet Warsaw during theFrankfurt Festivals 1992 for the Ensemble Modern in1993 and for the Musikfabrik NRW at the Berlin MusicBiennale 1995th In 1998, Quint belonged to one of thewinners from the composer Seminar of Klangforum Wienand a year later he was selected for the composersseminar in the Künstlerhaus Boswil. In addition, hisworks are of major ensembles in the field of new musicbrought to the stage and performed for both the radioand as well as for creating CDs. Meanwhile Quint wasestablished in 1996 as a teacher of music theory andcomputer music over at the Frankfurt Conservatory and

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also from 1998 at the Cologne Music Academy, wherehe was appointed in 2009 as professor of music theoryand at the Department Aachen teaches. The focus of hismusic theoretical work are the musical works of the 20thcentury, particularly in this case works from NorthAmerica, as well as the works of Frédéric Chopin .

Ursel Quint: see Snowkrash.

Takayuki Rai was born in Tokyo in 1954, studiedcomposition with Y.Irino in Japan and H.Lachenmann inGermany, and computer music with Paul Berg at theInstitute of Sonology in the Netherlands. He worked atthe Institute of Sonology as a guest composer in the1980s. Since 1991 he is teaching computer music andcomposition at Sonology Department, Kunitachi Collegeof Music, since 2014 at Toho College of Music, and from2015 at Sichuan Conservatory of Music, as well astaught at Lancaster University in The United Kingdombetween 2006 and 2013. His works have been selectedat numerous international competitions. He also won thepremier award at 13th International ElectroacousticMusic Competition Bourges, the Irino Composition Prize,and 1st prize at the NEWCOMP International ComputerMusic Competition. In 1991 he received the ICMACommission Award. His scores are published byDONEMUS in The Netherlands and recordings of hisworks are included in various CDs released by such asWergo, le Chant de Monde, CENTAUR, Digital ArtCreation, and FONTEC.

Momilani Ramstrum is a composer, singer, visual artist,PD programmer, and interface designer. As a vocalimproviser she performs with live electronics using herpatented MIDI glove that she designed and created. Sheauthored a DVD ROM entitled "From Kafka to K...."documenting and analyzing Manoury'selectronic operaK... published by IRCAM. She wrote a chapter inSimoni's Analyzing Electroacoustic Music published byRoutledge. Wave Media LLC has published her fivemusic theory textbooks with interactive website drills andtournaments that create and evaluate student learningbased on gaming theory rather than traditional academicmodels. Dr. Ramstrum is Professor of Music at MesaCollege.

Lauren Redhead is an experimental musician from theUK. Her work includes composition, performance fororgan and electronics, sound art, sound poetry, andinstallations. She often works collaboratively and isinterested in creating work that is multi layered, multimodal and constantly shifting. Lauren’s compositionalwork increasingly focuses on graphic, conceptual, andopen approaches to music and performance, and workwith other composers and artists forms an important partof this approach. In the last few years her work has beenperformed or shown at the Prague Quadrennial, theSidney Cooper Gallery in Canterbury, Salford SonicFusion Festival, Huddersfield Contemporary MusicFestival, London Contemporary Music Festival, Firenze

Suona Contemporanea, the London Ear Festival, theMarathon V Festival (Vienna), Gaudeamus Muziekweekand the Ainslie+Gorman Arts Centre (Canberra). Herscores are published by Material Press (Berlin) and hermusic has been released on the engraved glass, pan yrosas discos and sfz music labels. As a composerperformer she specialises in experimental music as anorganist and a vocalist. In 2014 she toured a programmeof specially commissioned?works for organ andelectronics, supported by Sound and Music, to 8 venuesthroughout the UK. She is a founder member of thecollective ‘Automatronic’ who produce a concert seriesfor organ and electronics in London each autumn andwho commission and collaborates with composers tocreate new works. Lauren also regularly performs withthe group Vocal Constructivists who present all voiceperformances of graphic notation and with whom shehas toured in the US.David Reeder (http://mobilesound.org) combinessoftware design with music composition, sound inventionand inter-media installations. He is co-organizer of NYCSuperCollider, serves on the executive steeringcommittee of the New York City Electroacoustic MusicFestival (NYCEMF) and is co-founder of the NYCEMS. His work been performed and shown at Darmstadt andin cities around the US. Current research includesbuilding a musical platform from pocket computers,allowing formal presentation of electro-acoustic works inaddition to ad hoc improvisation. This work includes anupdate to the Open Sound Control standard andcombines ubiquitous computing with gestural control in adistributed, zero-configuration performance environment.

Composing from a contemporary Musique Concrèteperspective augmented by various score synthesistechniques, Michael Rhoades elicits musical eventsfrom generative algorithms and an ever expandingCsound sample playback instrument. Numericalrepresentations of aural quanta are mixed and blendedinto formal elements via a variety of catalysts such astendency masks, mathematical equations, sonifications,cellular automata, score based sampling and otherparadigms in an unbending quest for emergent quanta. Michael is honored to have served as a SEAMUS boardmember and hosted SEAMUS 2009. He curated themonthly Sweetwater Electroacoustic Music ConcertSeries and numerous other concerts, exhibits andinstallations. His works have been presented in concertworldwide as well as used for pedagogical purposes. Heis a published writer and also gives lectures on thesubjects of algorithmic composition, score basedsampling, sonification, spatialization and creativity. Herecently published his 21st CD/DVD titled "Amber Orbsin a White Infinity." Michael is currently a Visual Artsstudent at Virginia Tech where he is also conductingpersonal research in the area of 3D spatialization.

Claudia Robles Angel is an audio visual artist born inBogotá Colombia, currently living in Cologne Germany

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and active worldwide. Her work and research coverdifferent aspects of visual and sonic art, which extendfrom audiovisual fixed media compositions toperformances interacting with bio data. She was artist inresidence in Germany at the ZKM Centre (Karlsruhe,2004 2007). Her work has been presented in festivalsand in group and solo exhibitions around the globe, forexample, at the ZKM Karlsruhe, the ICMC 2007 inCopenhagen and ICMC 2009 in Montréal, theSIGGRAPH Asia 2009 in Yokohama, the NYCEMF(2010,2013 and 2014) in New York, the Re New Festival2011 in Copenhagen, the NIME 2011 in Oslo, at theSalon Suisse 55th Venice Biennale 2013 and atHarvestworks New York among others. She is thecreator of NOMÁDES? an international concert series ofelectroacoustic and audiovisual compositions.www.claudearobles.de

Tommaso Rosati is an Electronic musician andElectroacoustic composer from Italy. He achieved thebachelor in jazz drums and the master degree inElectronic Music. As creator and developer he works onseveral projects from installation art to electronic musicperformance. Builds up ad hoc music for shorts anddocumentaries. He is currently teaching classes andseminars on specific topics as augmentation ofinstruments with sensors, live electronics, Max andAbleton Live. He played in different contexts as theHomework Festival in Bologna and at the Loewe Theaterin New York and has collaborated with NicolettaAndreuccetti, Riccardo Onori, Elias Nardi, Teresa Paoliand more.

Adam Rokshar is an artist, founder of Utami, andcreator of GlitchGIF.

Barry L. Roshto: see Snowkrash.

Louise Rossiter is an acousmatic composer based inLeicester, UK. Her research interests lie in acousmaticmusic composition and performance, acoustic ecology,silence, and expectation. She is currently completing aPhD at the Music, Technology and Innovation ResearchCentre, De Montfort University under the supervision ofJohn Young and Simon Emmerson, having studiedpreviously under Pete Stollery, Robert Dow and RobertNormandeau. Louise’s music has been performed andbroadcast around the globe. In 2012 Louise wasawarded first prize in the prestigious Concoursd’interprétation spatialisée ‘L’espace du Son’ in Brusselsand, in 2015, her work Tout Autour de la Montagne wasawarded a mention in the Destellos InternationalComposition Competition. Louise’s music is released onthe Xylem record label (http://www.xylemrecords.co.uk).http://louiserossiter.com/

Cesare Saldicco (*1976) starts to playing the pianoduring his childhood and receives the superior diploma atPerugia’s Conservatorio in 1999. He achieves theElectronic Music diploma with Luigi Ceccarelli in 2004.

Under the expertise of Fabio Cifariello Ciardi, hegraduates in Composition, Counterpoint and Fugue in2007. For his artistic development have been veryimportant his encounters between 2005 and 2006 withAnders Hultqvist and Ole Lützow Holm during theErasmus scholarship in Sweden. Soon afterwards heattends lessons and master classes with Philippe Hurel,Unsuk Chin, Oscar Strasnoy, Helmut Lachenmann,Gavin Bryars, Salvatore Sciarrino and Ivan Fedele, withwhom he obtains the PhD in Composition at theAccademia Nazionale di Santa Cecilia in Rome.Winner of several scholarships he has been awarded inimportant composition competitions such us Bourges(2009) EmuFest (2009, 2010. 2011 and 2013) andMùsica Viva Poutugal which selects the work"Digressione Ipertestuali N.10" for the installation “SoundWalk 2012” at the Goethe Institut in Lisbon. In the sameyear “La Biennale di Venezia” invites him to produce anew electroacoustic work “Still Life” staged during the56th edition of the festival. His music is edited andpublished by ArsPublica, Philology and Sconfinarte. Hisworks have been performed in Belgium, Bulgaria, Chile,England, Finland, France, Germany, Greece, Italy,Portugal, Spain, Sweden, Switzerland, U.S.A. andbroadcasted by Italian National RadioRAI. Currently heteaches Electroacoustic Music Composition atConservatorio Antonio Vivaldi in Alessandria.

Matt Sargent is a musician based in rural New York. Hismusic grows out of an appreciation of naturalresonances, recursive structures, computer modeling,and outdoor listening. His music has recently been heardin performances and installations at the Wulf (LosAngeles), the Machine Project (Los Angeles), HemphillFine Arts (Washington D.C.), the Stone (New York),Constellation (Chicago), MOCA Cleveland, SEAMUS,and the Yale University Haskins Laboratory, along withresidencies at the Goldwell Open Air Museum (Rhyolite,NV), Atlantic Center for the Arts, and University ofNevada Las Vegas. Matt is a visiting assistant professorof electronic music and sound at Bard College. He is alecturer of computer music at the Hartt School of theUniversity of Hartford. He has studied composition withDavid Felder, Cort Lippe, Robert Carl, Ingram Marshall,Ken Steen, and David Froom.

Ayako Sato is a doctoral student in Tokyo University ofthe Arts. She composes and researches electroacousticmusic. Her works have been selected for performancesat international conferences and festivals includingFUTURA, WOCMAT, NYCEMF, SMC, ICMC, ISSTC,ISMIR, and so on. She was awarded the third prize ofInternational Electroacoustic Music Young ComposersAwards at WOCMAT 2012 (Taiwan), the honorarymention at WOCMAT 2013 (Taiwan), the honorarymention of CCMC 2012 (Japan), the honorary mention ofDestellos Competition 2013 (Argentina), the third prize ofPrix PRESQUE RIEN 2013 (France) and Acanthus Prizeat Tokyo University of the Arts (Japan). She is a boardmember of Japanese Society for Sonic Arts (JSSA), amember of Japanese Society for Electronic Music

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(JSEM) and International Computer Music Association(ICMA).

Margaret Anne Schedel is a composer and cellistspecializing in the creation and performance offerociously interactive media whose works have beenperformed throughout the United States and abroad.While working towards a DMA in music composition atthe University of Cincinnati College Conservatory ofMusic, her interactive multimedia opera, A King Listens,premiered at the Cincinnati Contemporary Arts Centerand was profiled by apple.com. She holds a certificate inDeep Listening with Pauline Oliveros and has studiedcomposition with Mara Helmuth, Cort Lippe andMcGregor Boyle. She sits on the boards of 60x60 Dance,the BEAM Foundation, Devotion Gallery, theInternational Computer Music Association, andOrganised Sound. She contributed a chapter to theCambridge Companion to Electronic Music, and herarticle on generative multimedia was recently publishedin Contemporary Music Review. She is a joint author ofElectronic Music and is working on an issue ofOrganised Sound on sonification. Her work has beensupported by the Presser Foundation, Centro Mexicanopara la Música y les Artes Sonoras, and Meet theComposer. She has been commissioned by thePrinceton Laptop Orchestra and the percussionensemble Ictus. In 2009 she won the first Ruth AndersonPrize for her interactive installation Twenty Love Songsand a Song of Despair. Her research focuses on gesturein music, and the sustainability of technology in art. Asan Assistant Professor of Music at Stony BrookUniversity, she serves as Co-Director of Computer Musicand is a core faculty member of cDACT, the consortiumfor digital art, culture and technology. In 2010 sheco-chaired the International Computer MusicConference, and in 2011 she cochaired theElectro-Acoustic Music Studies Network Conference.

JP Schlegelmilch is a pianist, accordionist, electrickeyboardist and composer. He is a member of thebands Old Time Musketry and Hearing Things. He alsoplayed on the soundtrack to the Oscar nominated filmBeasts of the Southern Wild. In 2013 JP released hisfirst solo piano recording, “Throughout”, which focusedon the compositions of guitarist Bill Frisell.

Alfred Schnittke (1934-1998) was a Russian composer.Noted, above all, for his hallmark "polystylistic" idiom,Schnittke has written in a wide range of genres andstyles. His Concerto Grosso No. 1 (1977) was one of thefirst works to bring his name to prominence. It waspopularized by Gidon Kremer, a tireless proponent of hismusic. Many of Schnittke's works have been inspired byKremer and other prominent performers, including YuryBashmet, Natalia Gutman, Gennady Rozhdestvenskyand Mstislav Rostropovich. Schnittke first came toAmerica in 1988 for the "Making Music Together"Festival in Boston and the American premiere ofSymphony No. 1 by the Boston Symphony Orchestra. He

came again in 1991 when Carnegie Hall commissionedConcerto Grosso No. 5 for the Cleveland Orchestra aspart of its Centennial Festival, and again in 1994 for theworld premiere of his Symphony No. 7 by the New YorkPhilharmonic and the American premiere of hisSymphony No. 6 by the National Symphony. In 1985,Schnittke suffered the first of a series of serious strokes.Despite his physical frailty, however, Schnittke sufferedno loss of creative imagination, individuality orproductivity. Beginning in 1990, Schnittke resided inHamburg, maintaining dual German-Russian citizenship.He died, after suffering another stroke, on 3 August 1998in Hamburg.

Barry Schrader has been acclaimed by the Los AngelesTimes as "a composer born to the electronic medium",named "a seminal composer of electro acoustic music"by Journal SEAMUS, and described by Gramophone asa composer of "approachable electronic music with adistinctive individual voice to reward the adventurous". Computer Music Journal states that Schrader’s “musicwithstands the test of time and stands uniquely in theAmerican electronic music genre.” “There’s a greatsweep to Schrader’s work that puts it more in line withambitious large scale electronic works by the likes ofStockhausen (Hymnen), Eloy (Shanti) and Henry (takeyour pick), a line that can be traced backwards toMahler, Bruckner and Beethoven.” writes the ParisTransatlantic Magazine. Computer Music Journaldeclares Schrader’s The Barnum Museum ”? a tour deforce of electroacoustic know how by a master andpioneer in the field.” Barry Schrader's compositions forelectronics, dance, film, video, mixed media, live/electroacoustic music combinations, and real time computerperformance have been presented throughout the world. Schrader is the founder and the first president ofSEAMUS (The Society for Electro Acoustic Music in theUnited States), the author of the book Introduction toElectro Acoustic Music, and has written for severalpublications including the Grove Dictionary of Music andMusicians, Grolier’s Encyclopedia, Contemporary MusicReview, and Computer Music Journal. In 2014,Schrader was given the SEAMUS Lifetime AchievementAward. Active in the promotion of electro acoustic music,Schrader is the founder and was director of such concertseries as Currents at the Theatre Vanguard in LosAngeles, The CalArts Electro Acoustic Music Marathon,and SCREAM, The Southern California Resource forElectro Acoustic Music. He has been a member of theComposition Faculty of the California Institute of the ArtsSchool of Music since 1971, and has also taught at theUniversity of California at Santa Barbara, the CaliforniaState University at Los Angeles, and The University ofNevada at Las Vegas. He will retire from CalArts at theend of the 2015 2016 academic year.

Michael J. Schumacher is a composer, performer andinstallation artist based in Brooklyn, NY. With Liz Gerring,he founded Diapason Sound Art, that ran from2001-2011. He works predominantly with electronic anddigital media, creating computer generated sound

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environments that evolve continuously for long timeperiods. In their realization, Schumacher uses multiplespeaker configurations that relate the sounds of theinstallation to the architecture of the exhibition space.Architectural and acoustical considerations therebybecome basic structural elements.www.michaeljschumacher.com

Nichola Scrutton is a composer/performer and soundartist based in Glasgow. Some recent self directedprojects and interdisciplinary collaborations include:Choreographers and Composers Lab, Phoenix DanceTheatre; Radiophrenia live to air commission; CreativeScotland Artists' Bursary Award; sound design, MartinO'Connor’s Theology (CATS Award nomination for BestMusic and Sound); HearAfter (GoMA, Glasgow;Ohrenhoch, Berlin; The Auricle, Christchurch); winner2013 IAWM Pauline Oliveros Prize and featured on 2014Framework Radio CD Seasonal Issue #7 (Post IndustrialBroadcast #1); vocalist, Hanna Tuulikki's Away with theBirds (Tramway, Tectonics Festival, Isle of Canna);Sonic Bothy ensemble. In other work, Nichola was aTeaching Fellow for two years in Music, University ofGlasgow; sound artist, Hooks + Bites, Curriculum forExcellence; co leader, HumDrum, drumming/singingevents for women. Nichola was awarded her AHRCfunded, practice based PhD in electroacousticcomposition in 2009 (University of Glasgow).

American Composer Brian Sears’s music is based onhis attraction to timbre, space, color and shape. Hiscompositions use these forces to weave complex sonictapestries that communicate intimate emotionalconnections. Brian is currently pursuing his Mastersdegree at Bowling Green State University where hestudies with Dr. Elainie Lillios. He is from San José,California and holds a Bachelors degree in MusicComposition from San José State University, where hestudied with Dr. Pablo Furman and Dr. Brian Belet. Hismusic has been performed Nationally at festivals andconferences like SEAMUS, NYCEMF, CEMICircles,N_SEME, SICPP at The New England Conservatory andSplice Summer Institute as well as by the ToledoSymphony Orchestra and the San José ChamberOrchestra. Brian is a proud supporter of InnovativePercussion sticks and mallets.

Born in Seoul, South Korea, Haerim Seok is a Cincinnatibased composer of acoustic and electroacoustic music.Recently, she has been developing a series of solopieces that explore the sonic possibilities of singleinstruments. Her interest in computer music stems froma never ending search for unique sounds and a desire tobroaden her horizons. Ms. Seok holds degrees in musiccomposition from Yonsei University. She is currentlyworking on a DMA at the College Conservatory of Musicat the University of Cincinnati. Her works have beenperformed in Korea, Japan, Croatia and across theUnited States.

Seth Shafer is a composer and researcher fromSouthern California with interests in pseudo autonomousperformance environments, interactive soundinstallations, data mining and sonification, and deepspace exploration. His piece for trumpet and computertitled Pulsar [Variant II] was a finalist for The EngineRoom's International Sound Art Exhibition 2015 (London,UK). His music was recently performed at the 2014International Computer Music Conference (Athens, GR),and in the Festival dei Due Mondi 2013 (Spoleto, IT) incollaboration with South Korean director Brian ByungkooAhn. His sound installations have been shown at thePerot Museum of Nature and Science (Dallas), the LongBeach Museum of Art’s Pacific Standard Time Exhibit,and the Long Beach Soundwalk. Seth has taughtcourses in music technology, audio production, and filmscoring at Cypress College (CA), and he holds a BM andMM from California State University, Long Beach. He iscurrently a Ph.D. candidate in composition at theUniversity of North Texas where he teacheselectroacoustic music and works for the Center forExperimental Music and Intermedia. Seth also performedon the 2014 Grammy winning album Vampires of theModern City by Vampire Weekend.

Gerriet K. Sharma is a German composer and soundartist. He studied Media Arts at the Academy of MediaArts Cologne and MA Composition/Computermusic atthe at the Artistic Doctoral School of the KUG. His thesisis titled “Composing Sculptural Sound Phenomena inComputer Music”. Since 2004 he is deeply involved inspatialisation of electroacoustic compositions inAmbisonics and Wave-Field Synthesis. 2009 to 2015 hewas curator of signale-graz, a concert series forelectroacoustic music, algorithmic composition, radio artand performance at the MUMUTH Graz. His workswhere presented at SPARK Festival of Electronic Musicand Art 2006, Minneapolis, DAFx-10 Int. Conference,Graz, 2010; Int. Conference for Spatial Audio (ICSA)Detmold 2011, New Musical Interfaces Conference(NIME), Oslo, 2011; ELIA-Art Schools NEU/NOWFestivals 2009 and 11, Int. Computer Music Conference(ICMC) 2012. He was scholarship holder of the GermanAcademic Exchange Service (DAAD) 2007 and 2009.2008 he was awarded with the German Sound ArtAward. 2007 and 2010 he was artist in residence at PactZollverein Essen. 2014 he was composer in residence atZKM Karlsruhe. Since 2015 artistic researcher at IEMGraz (KUG) within the three-year artistic research project“Orchestrating Space by Icosahedral Loudspeaker”(OSIL) funded by the Austrian Research Fund (FWF)/Programme for Arts-based Research (PEEK).

Judith Shatin (www.judithshatin.com) is a composerwhose music, called “something magical” by Fanfare,reflects her fascination with the arts, the sounding world,and the communicative power of music. Shatin has beencommissioned by organizations including the Barlow andFromm Foundations, the Library of Congress, LilaWallace Readers Digest Arts Partners Program, and was

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featured composer at SMC in Copenhagen. Recent workfocuses on conductor controlled electronics, sonics ofeveryday objects, and extended acoustic palettes. A fourtime NEA fellowship recipient, Shatin is William R. KenanJr. Professor at the University of Virginia, where shefounded the Virginia Center for Computer Music.

Kyle Shaw earned a BM from Brigham YoungUniversity, studying composition with Michael Hicks,Steven Ricks, Christian Asplund, and Neil Thornock. In 2015, he won the 17th annual 21st century PianoCommission Competition, presented his work at theSEAMUS and the Grawemeyer 30th anniversaryconferences, and was selected as a participant in theSPLICE Institute. In 2014, he was selected as a fellow ofthe University of Nebraska’s Chamber Music Institute. In2013, his wind ensemble piece “Sylph” won the VeraHinckley Mayhew music composition contest; his piece“Center Panel” won the Iowa State carillon compositioncontest; and his piece “Wall Flower” was selected forinclusion on the SEAMUS miniatures recording series. He is currently pursuing his DMA at the University ofIllinois, where he has studied composition with CarlosCarrillo, Stephen Taylor, Heinrich Taube, Reynold Tharp,and electroacoustic music with Scott Wyatt. He lives inSavoy, IL with his wife Tess and two daughters.Www.kyleshawmusic.weebly.com Eric Sheffield is a musician and maker focused onphysical computing, interactive multimedia, andaugmented non traditional instruments. He has aMaster’s degree in Media Arts from the University ofMichigan and is pursuing a PhD in the ExperimentalMusic and Digital Media program at Louisiana StateUniversity. Eric is also a founding member of the groupbell monks, which has several releases available atmusic.bellmonks.com and on Mine All Mine Records.

Alice Shields is known as a pioneer of electronic music.Her works include operas, vocal, chamber and electronicmusic, influenced by world music, dance and theater.Upcoming performances include the mini opera Komachiat Sekidera at Opera America, Dec.1 2015d andelectronic/computer works as featured composer atMoogfest, May 19 – 22, 2016 in Durham, NC. Works forlive instruments and fixed audio media include The Riverof Memory (2008) and Mioritza — Requiem for RachelCorrie (2004) with live trombone (Symphony Space);Kyrielle with live violin (Albany Records); Azure with liveflute, violin, viola & cello (Azure Ensemble, Merkin Hall,2003). Computer music for dance includes Shenandoah(2002) for James Madison University and Dust (2001) forDance Alloy of Pittsburgh & Arangham Dance Theatre ofMadras, India (toured India in 2002). Electronic operasinclude Apocalypse (New World Records); Mass for theDead (American Chamber Opera Co., NYC); andShaman (American Chamber Opera Co.).www.aliceshields.com

Alexander Sigman’s award winning instrumental,

electroacoustic, multimedia, and installation works havebeen featured on major international festivals,exhibitions, institutions, and venues across Europe, Asia,Australia, and the US. In June 2007, Sigman wasComposer in Residence at the Musiques Démesuréesfestival in Clermont Ferrand, France. Subsequently, hewas awarded residency fellowships by the AkademieSchloss Solitude (Stuttgart, Germany), the DjerassiFoundation, the Paul Dresher Ensemble ArtistsResidency Center, and Gullkistan (Laugarvatn, Iceland).In 2013 2014, he undertook a musical researchresidency at IRCAM. He is currently Associate Professorand Chair of the Music program at the InternationalCollege of Liberal Arts (iCLA) of Yamanashi GakuinUniversity in Kofu, Japan. More information may befound here: www.lxsigman.com.

The internationally performed works of multimedia artistJosh Simmons are an immersive experience foraudience members and performers. Josh aims toengage all of the senses through use of digitalmultimedia, believing that it is an unnatural phenomenonto hear sound divorced from spectacle. Throughemploying aural and visual semiotics, Josh plays on theexpectations and emotions that the audience hasassigned to various well known symbols. His multimediaworks have been featured at the Joint ICMC SMC 2014Conference in Athens, and at ACMC 2014 in Melbourne,his music has been read by members of the ToledoSymphony Orchestra, and he was commissioned tocreate animations for the entirety of Olivier Messiaen’stwo hour, piano tour de force, Vingt regards sur l’enfantJésus.

Born in 1990, Iacopo Sinigaglia is a Composer,Producer and Sound Engineer. Graduated with a degreein Sound Engineering and Music Technology at SaintLouis College of Music and in Electronic Music at theConservatory of Frosinone. Interested in sounds and inthe relation between different kind of arts, he applieselectroacoustic elaborations and technology in bothexperimental and non experimental fields.

Lucas Marshall Smith (b.1989) is a composer ofcontemporary art music who hails from New London,Ohio. He holds degrees from Bowling Green StateUniversity (B.M. 2012) and the University of Illinois atUrbana Champaign (M.M. 2014). Smith is currentlypursuing his Doctorate of Musical Arts at the Universityof Illinois where he is working as the OperationsAssistant in the Experimental Music Studios under thedirection of Scott A. Wyatt. During his studies, Smith hasalso served as choirmaster at a local church and ateaching assistant for Aural Skills and Music Theorycourses. Active in both acoustic and electroacousticcomposition, Smith has had his music performed at theSEAMUS National Conference (2015), the New York CityElectroacoustic Music Festival (2015), and has receivedpremieres and commissions from numerous new musicgroups including the New York based ensemble

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loadbang, Illinois Modern Ensemble, and the HeartlandSings chorale. Some of his prominent compositionteachers have included Burton Beerman, Carlos Carrillo,Christopher Dietz, Erin Gee, Marilyn Shrude, StephenTaylor, Reynold Tharp, and electroacoustic studies withElainie Lillios and Scott A. Wyatt.

Michael Sterling Smith is a composer and guitaristbased in Denton, Texas. He holds a Bachelor of Musicfrom the University of Delaware and a Master of Musicfrom the University of Florida. His works have recentlybeen performed by the Quanta Quartet on theirAustralian tour, at the SCI conference at EKU, the NASAconference, the International Saxophone Symposium,the Westfield New Music Festival, and by the Dissonartensemble in Greece. In 2010 he was awarded with anIndividual Artist Fellowship from the Delaware Division ofthe Arts. Michael also maintains an active performingcareer, consisting heavily of contemporary music.Michael has studied composition under Jennifer Barker,Paul Richards, and Panayiotis Kokoras. He is currentlypursuing his doctoral degree at the University of NorthTexas.

SnowKrash: Ursel Quint (DE) and Barry L. Roshto(USA/DE) are the Media Art Duo SnowKrash; bothcoming from conventional music performance studies.They have been working together since the 1990's,organizing and producing concerts of contemporary andexperimental music. In the summer of 2009, they begancollaborating as SnowKrash. Their projects examine thecorrelation of sound and image, the audible and theinaudible, live performance and fixed media, as well asimprovisation and composition. They have presentedperformances. installations, videos and compositions inGermany, NYC, UK, Greece and Slovenia.www.snowkrash.org Jerod Sommerfeldt’s music focuses on the creation ofalgorithmic and stochastic processes, utilizing the resultsfor both fixed and real time composition andimprovisation. His sound world explores digital audioartifacts and the destruction of technology, resulting inwork that seeks to question the dichotomy between theintended and unintentional. An active performer as bothsoloist and collaborator in interactive digital music andlive video, he currently serves as Assistant Professor ofElectronic Music Composition and Theory at the StateUniversity of New York at Potsdam Crane School ofMusic, and as director of the SUNY Potsdam ElectronicMusic Studios (PoEMS).

Edmar Soria was born on April 11th of 1983 in MexicoCity. He has a master degree on Economics at UNAM(Universidad Nacional Autonoma de Mexico), a masterdegree on Music Technology at UNAM and anundergraduate degree on Mathematics at IPN (InstitutoPolitécnico Nacional). He is actually working on hisdoctoral research on Music Technology at UNAM in thefield of algorithmic parametric control for acousmatic and

electroacoustic music and technology and new mediaaesthetics. He studied sonic art with Manuel RochaIturbide and multichannel acousmatic composition withElizabeth Anderson. He is studying algorithmiccomposition and live electronics under the tutorship ofRoberto Morales Manzanares and acousmaticcomposition under the tutorship of Rodrigo Sigal. He hasmade composition residences at CMMAS (CentroMexicano para la Música y las Artes Sonoras), MoreliaMexico and Musique&Recherches, Belgium. He won thefirst prize of the Festival Internacional de Arte Sonoro,SONOM 2014 and was a finalist for that same festival atthe 2015 edition. His work has been presented at RootsElectronic Music Festival, Jacksonville 2014 (USA), ForoInternacional de Musica Nueva Manuel Enriquez 2015(Mexico), MUSLAB 2014, MUSLAB 2015 (France andArgentina), WOCMAT 2015 (Taiwan), SOUNDLabCollective (Cologne, Germany) and MonacoElectroacoustique 2015 among others. He studiedclassical guitar at Instituto Nacional de Bellas Artes(INBA) and electric jazz guitar with Julio Revueltas. He isan active academic researcher with publications andparticipations at several important international eventsfocused on mathematics, music and technology.

Yury Spitsyn is an electronic and instrumental musiccomposer/performer who has recently received hisdoctoral degree from the University of Virginia. Of hisprime interests are corpus based compositiontechnologies, real time performative systems, concurrent temporalities, volatile perceptual regions and tangibility ofelectronic music performance

Kyle Stewart is a sound and audiovisual composerbased in Glasgow, Scotland. He is a graduate of TheUniversity of Glasgow, having completed anundergraduate Music degree in 2014 and a postgraduateSonic Arts degree in 2015. His work has beenshowcased at festivals, exhibitions and broadcaststhroughout Europe, including the Glasgow Electronic andAudiovisual Media (GLEAM) festival and the CCA’sRadiophrenia in Glasgow, SOUNDkitchen’s EARspace inBirmingham and Resonance FM in London, andEUROMicroFest’s Forgotten Spaces in Germany.

Carl Stone is an American composer, primarily workingin the field of live electronic music. His works have beenperformed in the United States, Canada, Europe, Asia,Australia, South America, and the Near East. Stonestudied composition at the California Institute of the Artswith Morton Subotnick and James Tenney and hascomposed electro-acoustic music almost exclusivelysince 1972. As an undergrad at CalArts, he had awork-study job in the Music Library, which had manythousands of LP records in the circulating collection (thiswas 1973). The collection included a lot of westernclassical music of course but also a reallycomprehensive world music collection, avant-garde,electronic music, jazz and more. Because the librarianswere concerned that the LPs, many of which were rare,

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would soon become unlistenable at the hands of thestudents and faculty, his job was to take every disc andrecord it onto cassette, a kind of back-up operation. Hesoon discovered that he could monitor the output of anyof the recordings he was making and even mix themtogether without disturbing the recordings. So, he beganto experiment, making musical collages, and started todevelop habits of combining disparate musical materials.In addition to his composition and performance schedule,he is a faculty member in the Department of InformationMedia, School of Information Science and Technology atChukyo University in Japan. Stone utilizes a laptopcomputer as his primary instrument and his works oftenfeature very slowly developing manipulations of samplesof acoustic music, speech, or other sounds. Because ofthis, as well as his preference for tonal melodic andharmonic materials similar to those used in popularmusics, Stone's work has been associated with themovement known as minimalism.

Fred Szymanski is a New York based sound and imageartist. His sound and image works have received awardsand recognition from, among others, Musica Nova(Prague), Bourges, and the CICEM (Monaco). His workhas been performed at many festivals, including the2015 Monaco International Electroacoustic Festival,NYCEMF 2015 (New York), ICMC 2015 (Denton,Texas), SonicLIGHT (Amsterdam), Abstraction Now(Vienna), the European Media Art Festival (Osnabruck),the 9th Biennale of the Moving Image (Geneva), Mutek(Montreal) (as part of RML's CineChamber), and ClubTransmediale (Berlin). He has participated in the shows"What Sound Does a Color Make" at the EyebeamCenter (New York) and "Bit Streams" at the WhitneyMuseum of Art, and has exhibited at the DiapasonGallery for Sound (New York). His piece "Flume" wasincluded in the third a chronology, “An Anthology ofNoise and Electronic Music,” released by Sub Rosa(Belgium) and, under the name Laminar Project,Szymanski has released work with Asphodel Ltd., JDKProductions, Soleilmoon, and Staalplaat.

David Taddie has written music for band, orchestra,choir, solo voice, and a wide variety of chamberensembles as well as electroacoustic music. His musichas been widely performed in the United States, Europe,Asia, and Australia by numerous soloists andensembles. His principal teachers were Bain Murray,Edwin London, Donald Martino, Bernard Rands, andMario Davidovsky. He has received several prestigiousawards including ones from the American Academy andInstitute of Arts and Letters, the KoussevitzkyFoundation, the Fromm Foundation, and the MusicTeachers National Association. He is Professor of Musicat West Virginia University and director of the ElectronicMusic Studio

Joseph Dante Tamborrino was born in Putignano (BA)on 20 September 1986. He began his musical studies atthe age of 10 years at the Conservatory of Matera.From

an early age he decided to devote his life to music bylaunching the activities of producing electronic music.In2004 he decided to study processes of electroniccomposition being inscribed at the Conservatory of Bariand attending the course "Music and new technologies"resulting in an excellent command of the systems ofmusic programming Csound. In 2006 he won the prize of"Electronic Music" in the competition Musical Waves ofTaranto. Since 2007 until today is devoted to thecomposition of music Acusmatica, Electroacousticexperimental videos and feature films such as "7 ARITROSO SORTIRA' 7".

After majoring in Philosophy, Dante Tanzi went on tostudy composition, electroacoustic music and musicalinformatics. From 1985 to 2009 he worked at L.I.M., theMusical Informatics Laboratory of the University of Milan.In 2009 he attended a course of acousmaticinterpretation, held in the frame of Festival FUTURA(Crest, Drôme, France). His compositions have beenperformed in Rome (Colloquium on Musical Informatics 1988), Milan (Musica Nel Nostro Tempo 1988); Zurich(Euromicro 1988); Genova (Music and ArtificialIntelligence 1988); Moscow (Italia 2000 1988); Lugano(Computer Music Concert 1991), Milan (Colloquium onMusical Informatics 1993); Collective JukeBox (from2000 to 2004); Montreal (ÉuCuE 2001), Como(Elettrosensi 2004), Paris (Festival LICENCES Brûluresde langues editions 2006, 2007, 2008, 2009 and 2014),Huddersfield (ICMC 2011); Flix (Nit Elettro Sonora2013); Crest (Festival FUTURA editions from 2008 to2015); Lille (SIME 2015) and Belfast (Sonorities 2015,New York (NYCEMF 2015) and Vitoria Gasteiz (FestivalBernaola 2015). He also published essays on CTheory,Leonardo Music Journal, Leonardo, Cogito, Crossings,De Musica, Organised Sound and Contemporary MusicReview. Since 2012 he has been performing acousmaticmusic (both repertory and premieres) on theacousmonium SATOR (Centro San Fedele, Milan, Italy)and on the acousmonium mobile AUDIOR.

Hans Peter Stubbe Teglbjaerg was born 1963. Hegrew up in an artistic home with music, art, ceramics andsculptures as a daily diet. He studied instrumental andelectronic composition at the Royal Danish Academy ofMusic (Ib Nørholm and Ivar Frounberg), private with J.W.Morthenson and computer composition at the Institutvoor Sonologie in The Hague and at IRCAM in Paris,where he also worked as a composer, researcher andteacher. In 1996 he received the National ArtsFoundation 3-year grant and is working since then as acomposer. He has a keen interest in the instrumentsphysical / acoustic nature, and the phenomenologybehind natural sounds. "To penetrate the sound, tocompose the timbre" constitutes his real motivation touse modern technology in composing. He also likes towork with other artforms and has composed chamberand orchestral music, instrumental and vocal works,works for instruments and electronics, pure soundartworks, music, drama and music to art videos and artinstallations. In 2009-2011 he was composer-in-

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residence for the Aarhus Symphony Orchestra, for whomhe wrote two new orchestral works. He teaches since2001 at the Royal Danish Academy of Music inElectro-acoustic composition and since 2007 at theSouthern Academy of Music in 3D sound. A CD releaseof his main electro-acoutic works is available from hisweb site, http://www.hpst.dk/frontpage.html.

Paul David Thomas is a composer whose manyinterests include writing for performer and electronics,working with choreographers, group improvisation, andcreating ways to explain new music to middle schoolers.Having received his Ph.D. in composition from theUniversity of North Texas, Paul's acoustic and electronicmusic has been presented throughout the United Statesand Europe, including the SCI Student NationalConference, Florida Electroacoustic Music Festival,Electronic Music Midwest, Most Significant BytesFestival, Threshold Electroacoustic Music Festival,OWU/NOW Festival, NACUSA Texas Conference,Electric Pacific, Chamber Music in Grantham, WesternIllinois New Music Festival, New Music Hartford,Soundcrawl: Nashville, Greater Denton Arts Council,Música Viva Festival Soundwalk in Lisbon, Portugal,Electroacoustic Juke Joint, American ComposersForum/Los Angeles Chapter, Dallas Festival of ModernMusic, Fort Worth Museum of Modern Art, and theConservatorio Luigi Cherubini in Florence, Italy. He hashad the privilege of having his works performed by suchensembles as the Mendelssohn Piano Trio, EnsembleGreen, Juventas Ensemble, Zen Franglais, Ars NovaDallas and the Delta State University New MusicEnsemble, along with performers including JohnSampen, Virginia Broffitt, Rick Kurasz, Chris Buckley,Rachel Yoder, Patricia Surman, and Jeremy Blackwood.??Originally from northeastern Ohio, Paul receiveddegrees in composition from Cedarville University andBowling Green State University and has studiedcomposition with Marilyn Shrude, Elainie Lillios, MikelKuehn, Cindy McTee, Andrew May, David Bithell, andJoseph Klein and piano with John Mortensen. Paul alsoplays accordion in the improvisation ensemble Impulse,is an active accompanist and serves as the associateminister of music at Trinity United Methodist Church inDenton, Texas.

Originally from the Outer Banks of North Carolina,Joshua Tomlinson is currently working on a D.M.A. inComposition at the University of Oklahoma. He receivedhis M.M. in Music Theory and Composition from EastCarolina University in 2014, and his B.M. in Voice fromLiberty University in 2010. His compositions have beenfeatured at NYCEMF, Electronic Music Midwest,N_SEME, and PARMA music festivals. He served as thefounding president of the ECU chapter of the Society ofComposers, and is a member of Pi Kappa LambdaMusic Honors Society. When he isn’t composing orteaching music he enjoys surfing, diving, and travelingwith his wife.

From the ancient cypress swamps of Wewahitchka,

Florida, Chet Udell earned a PhD in Music Compositionwith Electrical Engineering from the University of Floridaand now serves as instructor of music technology at theUniversity of Oregon. His music is available on theSummit and SEAMUS record labels. Creative interestsencompass electroacoustic and acoustic musiccomposition, designing new wireless gestural controlinterfaces for musical instruments, mobile performancetechnologies, and constructing autonomous roboticmusical agents (robots). His dissertation research onnovel musical interface design resulted in a registeredU.S. patent and a technology startup company. eMotionTechnologies provides easy to use plug and playwireless sensing hardware and software:www.unleashemotion.com

Rome Prize and the Berlin Prize winner, Ken Ueno is acomposer/vocalist/sound artist who is currently anAssociate Professor at UC Berkeley. His music has beenchampioned by Kim Kashkashian, Wendy Richman,Greg Oakes, BMOP, Eighth Blackbird, Alarm Will Sound,Steve Schick with the San Francisco ContemporaryMusic Players, and Frances Marie Uitti. Ken’s piece forthe Hilliard Ensemble, Shiroi Ishi, was featured in theirrepertoire for over ten years with performancesworldwide. He has performed as soloist in his vocalconcerto with the orchestras in New York, Boston,Warsaw, Lithuania, Thailand, North Carolina, andPittsburgh. His bio appears in The Grove Dictionary ofAmerican Music.http://kenueno.com.

Liliya Ugay is an award-winning composer and pianist.Among her competitions prizes are: Edward GriegInternational Composers Competition, National MTNAYoung Artist Composition Competition, Pre-artInternational composition competition (Switzerland),Crystal Camerton International Competition of YoungComposers (Moscow Conservatory/Union of Composersof Russia), 14th International Beethoven Piano SonatasCompetition and many more. Her compositions expandfrom traditional classical ensembles to musical theaterand electronic music. Ugay’s works have been featuredat many festivals including 45th Darmstadt SummerCourses of New Music, June in Buffalo, OsloInternational Grieg Festival, Boston New Music Initiativeseries and 52nd Venice biennale. Originally fromUzbekistan, Liliya studied composition and piano atUspensky Special Music School prior to coming to theU.S. to study piano with renowned pianist AlexanderKobrin as a Woodruff sc holarship recipient at ColumbusState University. Currently, she is a MM candidate atYale School of Music studying with Martin Bresnick,Christopher Theofanidis and Aaron Kernis.

Kari Vakeva (b 1957) is a Finnish composer whoseoeuvre includes orchestral works such as Symphony(1976 1979) which was partly recorded by FinnishRSO/Jorma Panula in 1982 and Elegia (1989 1990)performed by RSO Frankfurt/Diego Masson in 2005, andelectroacoustic works like Ray 6 (2002) performed in

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New Orleans at ICMC 2006, Halo (2005 2007)performed in Belfast at ICMC 2008, p(X) (2011)performed in Ljubljana at ICMC 2012, and Sundog i(2012 2015) performed in Kansas City at EMM2015.Early works are acoustic. From 2001 onward theelectroacoustic works use computer to synthesize thesound: Csound, and from 2003 with MAL d, an evolvingsynthesis software. He is selfeducated as a composer.Clemens von Reusner (b. 1957) is a composer andsoundartist based in Germany, who is focused onacousmatic music. He studied musicology and musiceducation, drums with Abbey Rader and Peter Giger.Since the end of the 1970s he has been engaged inelectroacoustic music, radio plays and soundscapecompositions. At the end of the 1980s development ofthe music software KANDINSKY MUSIC PAINTER. 20062009 member of the board of the EUROPEAN FORUMKLANGLANDSCHAFT (FKL). 2010 2013 member of theboard of the German Society For Electroacoustic Music(DEGEM). Numerous national and internationalbroadcasts and performances of his compositions inAmericas, Asia, Europe, i.a.: Musica Nova 2009, Prague;Seoul International Computer Music Festival 2010/2014,Seoul; International Csound Conference 2011,Hannover; International Computer Music Conference2011, Lubljana; Noise Floor Festival 2010/2011/2015,Stafford (UK); ISCM World New Music Days 2011,Zagreb; Opus Medium Project 2011, Tokyo; AaronCopland School of Music 2011, New York; EMUFest2012/2013/2015, Rome, Italy; Electro Arts Festival 2013,Cluji Romania; Network Music Festival 2013,Birmingham; ZKM Karlsruhe, 2014; Linux AudioConference 2014/2015; ICMC 2015 Denton, Texas USA;Auricle Sonic Arts 2015, New Zealand; ConciertoOctofonico, Montevideo, Uruguay 2013/2015; FestivalKONTAKTE, Academy of the Arts, Berlin, 2015; NewYork City Electroacoustic Music Festival 2014/2015;International Csound Conference 2015, St. Petersburg,Russia,

Kyle Vanderburg (b. 1986) composes eclecticallypolystylistic music fueled by rhythmic drive and melodicinfatuation. His acoustic works have found performancesby ensembles such as Brave New Works, AccessContemporary Music, and Luna Nova, and his electronicworks have appeared at national and internationalconferences including ICMC, EMUfest, SCI, CICTeM,and NYCEMF. Kyle holds degrees from Drury University(AB), where he studied composition with Carlyle Sharpeand the University of Oklahoma (MM, DMA), where hestudied with Marvin Lamb, Konstantinos Karathanasis,Roland Barrett, and Marc Jensen. He has alsoparticipated in composition masterclasses with DavidMaslanka, Chris Brubeck, Eric V. Hachikian, BenjaminBroening, and Daniel Roumain among others.

Juan Carlos Vasquez is a Helsinki based composerand sound artist from Colombia. Vasquez participatesconstantly as a sonic artist, composer and/or performerin events within Europe, Asia and America. In 2014 hiscritically acclaimed series of electroacoustic pieces

inspired on classical composers, “Collages”, wasreleased by American label Important Records /Cassauna, selling out shortly afterwards. Vasquezcurrently works at the Media Lab Helsinki, AaltoUniversity.

Virginie Viel is a composer of acousmatic music and avisual artist. Her artistic career began when she startedstudying visual arts at the Ecole des Beaux-Arts de Caenin France in 2003, where she completed a master’sdegree. In 2008 she extended her work into soundinstallations and acousmatic music and has collaboratedwith several artists on audiovisual and musical projectsin France and Belgium. She obtained a master’s degreein acousmatic composition at the Conservatoire deMons, studying with Annette Vande Gorne, Ingrid Dreseand Philippe Mion and is presently a PhD candidate inmusic at De Montfort University in Leicester. Herresearch explores the relationships between acousmaticmusic, visual arts and the role of multi-sensorialperception in the compositional practice of acousmaticmusic. She aims to compose music that exploits thetrans-sensorial side of the listening experience throughinvestigations into sound morphology and space. She isa member of Séneçon, a collective of composers basedin Brussels. Her works have been performed in Europe,Mexico and Australia. http://virginieviel.com/

Stephen Vitiello is an electronic musician and mediaartist. His sound installations are in the permanentcollections of the Museum of Modern Art, the WhitneyMuseum, the Smithsonian American Art Museum, andthe Museum of Contemporary Art, Lyon. Exhibitionsinclude a site-specific work for NYC’s High Line and the2006 Biennial of Sydney. Vitiello has been awarded aGuggenheim Fellowship for “Fine Arts,” Creative Capitalaward in the category of “Emerging Fields,” and anAlpert/Ucross Award for Music. CDs has have beenpublished by New Albion, Sub Rosa, Room 40 and 12k.In 2012, Australian Television produced thedocumentary, Stephen Vitiello: Listening With Intent.Originally from New York, Vitiello is now based inRichmond, VA where he is a professor of Kinetic Imagingat Virginia Commonwealth University.www.stephenvitiello.com

Thommy Wahlström, Uppsala Sweden. Composer andmusician. Educated in Composition/EAM at Gotlandstonsättarskola and the Royal College of music inStockholm. Teachers Bill Brunson, Karin Rehnkvist,Henrik Strindberg, Lars Ekström, Johan Hammerth, PerMårtensson. His music has been performed in severalplaces in Sweden, Estonia, Germany, Ireland and USA.The music of Wahlström is often a combination betweenacoustic and electroacoustic and can be described asmulti faceted and multi structured. In every piece fromrecent years he have been concentrating on combiningtraditional notation with ”alternative representation ofsound and music” which refers to the development ofgraphic scores to achieve a higher level of musicians

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individual presence in the pieces. As musician onSopranosaxophone he is a member some bands, TvåCirklar (Improvised music), Barkbröder (Swedishfolkmusic), Wahlström/Allard Duo (jazz) and TrioQuatuor (Early). He have performed in Europe, USA andIndia.

Andrew Walters was born in Topeka, Kansas but spentmost of his beginning years in Farmington, Missouri. Walters has received degrees from Millikin University,Northern Illinois University, and a Doctor of Musical Artsdegree in composition from the University of Illinois. Walters’ music has been performed at variousconferences throughout the United States and Canadaincluding SEAMUS, SCI, ICMC, Spark, Imagine II,Electronic Music Midwest, Electroacoustic Juke Joint. His piece “Before Clocks Cease Their Chiming” waspremiered by Duo Montagnard at the 2009 WorldSaxophone Congress in Bangkok, Thailand. His musicappears on volume nine and sixteen of the “Music fromSEAMUS” compact discs. Currently he is AssociateProfessor of Music Theory and Music Technology atMansfield University in Mansfield, Pennsylvania.

Davide Wang is an Italian Chinese cellist and anelectroacoustic composer, born in Bari (Italy) in 1997.Begins studying electro acoustic music with M. AlbaBattista, and currently attends the bachelor in "ElectronicMusic" at the Conservatory “Umberto Giordano” ofFoggia, where he studies electroacoustic compositionwith M. Nicola Monopoli. He also studies cello with the M.Francesco Montaruli. He attended masterclasses ofcomposers among the most important in the internationalscene, like Giorgio Nottoli, Michael Oliva, Alvin Curran,Mauro Lanza and Denis Dufour. His works was select ininternational context, at the festivals "Art & Science Days Music and Light 2015" in Bourges (France) and“Electroacoustic Music Week 2015” in Shanghai.

Born in 1990, Tuo (Alex) Wang is a composer andMusic producer from Beijing, China. He was admitted tothe Central Conservatory of Music in 2008, majored inRecording Arts. In Sep 2015, he started pursuing MM inComputer Music in the Peabody Institute of Music,studying with Dr. Boyle.

Miles Warrington (1977) holds a B.MUS (composition)and M.MUS (composition) from the University of KwaZulu Natal, Durban, South Africa. He is currently adoctoral candidate at the South African College of Music,University of Cape Town, South Africa. Miles isinterested in the mergence of technology and music,especially in the field of new media and composition inthe context of Western art music. He is passionate aboutresearch and involvement in electro acousticcomposition and pedagogy. His goal is to establish agestural heuristics division at a tertiary institution in SouthAfrica, that focuses on experimental composition as anintegral part of theoretical research. The latter fieldformed the focus of his doctoral undertakings. His

planned future work includes extensive artistic projects inAfrican Music and Dance with electro acoustics. Mileshas worked with several leading artists and groups in SA,including the Sontonga Quartet, Kwa Zulu NatalPhilharmonic Orchestra, The Cape PhilharmonicOrchestra and many others.

Born in Shizuoka (Japan), Hiromi Watanabe obtained amaster’s degree in musicology at the Tokyo University ofFine Arts and Music. After moving to Paris in 2007, shebegan to study the composition of electroacoustic musicwith Régis Renouard Larivière at the Conservatory ofErik Satie and with Christine Groult at the CRD of Pantinwhere she obtained a diploma of DEM with a SacemAward in 2012. She obtained master’s degree incomputer music at the University of Saint Etienne. She iscurrently student at the University of Paris 8. She was arecipient of the Rotary Foundation scholarship from 2007to 2009. In addition, she participated in severalworkshops for electroacoustic music including thespatialization workshop at Musiques et recherches in2009, the computer music workshop of the AcademyManifeste at IRCAM and the acousmatic interpretationworkshop in 2012 and 2014 at Futura. HiromiWatanabe’s music, based on acousmatic music,develops illusionary spaces and sound colors. She wasawarded the Prix ACSM116 at the CCMC2011 by thechairman of the jury, Bertrand Dubedout., and selectedfor the concert “Banc d’essai” organized by Ina.

Selena Wellington is a sculptor of sound, artist ofpeople, storyteller, healer, goddess, witch, activist, anddreamer, among other things. Finding music at the ageof 6 through piano, Selena began composing as a way toexpand her heart and honor her shadows. Avidlyinterdisciplinary, Selena likes to combine music withother art mediums, be that spoken word, visual art, ritualperformance, loud and fiery eye contact, otherworldlyand melting trysts, or something else entirely. Selenaattends the University of Colorado Boulder, where she ispursuing an undergraduate degree in music compositionand psychology. She has studied with Patricia Burge,John Drumheller, and Daniel Kellogg. Besides writingmusic, Selena enjoys writing poetry, harvesting stories,continual transformation, unhinged unfetteredunapologetic dance, gender bending, and surprisingherself.

Benjamin D. Whiting received his BM in MusicComposition and his MM in Music Theory andComposition from Florida State University, and is nowpursuing his DMA at the University of Illinois at UrbanaChampaign. He is an internationally award winning,active composer of both acoustic and electroacousticmusic, and his works have been performed in festivalssuch as TUTTI, N_SEME, SEAMUS, NYCEMF, TIES,EMUFest, eviMus, the College Music Society’s regionaland national conferences, Sonorities Festival ofContemporary Music, and concerts put on by theorganizations Soundiff and Pas e. Whiting has studied

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with Scott Wyatt, Sever Tipei, Erik Lund, Erin Gee, andLadislav Kubik. Recordings of his work can be found onthe ABLAZE Records and the University of IllinoisExperimental Music Studios labels.

Pierre Henri Wicomb (1976) completed a MastersDegree in composition at the University of Cape Town in2004. From 2004 2006 he studied composition at theRoyal Conservatory in The Hague. His pieces have beenperformed in Brazil, The Netherlands, Germany, Austria,France, Switzerland, Sweden, South Africa andMozambique and played over Radio France, the Dutchradio station Concertzender, Swiss, South African,Portuguese and Swedish radio stations. Pierre Henri received the Pro Helvetia artist residency in2011 (Switzerland). His piece for trumpet and piano,'Domicilium', and the piece 'Later than Yellow' waschosen as one of the two pieces by NMSA to representSouth Africa at ISCM festivals. He was invited in 2013 tothe Autumn Festival in Paris where he worked with theensemble L’Instant Donne. In 2016 he will collaboratewith Swiss musicians on an opera as part of his PhD andPro Helvetia residency in Berne. He co founded thePurpur Festival for transgressive arts in Cape Town,South Africa. Except for the release of a cd of SouthAfrican electro acoustic music on his label Peer Music,he also released a cd with the improvising trio Potage duJour on the London record label, Leo Records. His pieceYour Mother`s Molecules was recorded on the labelOrlando Records. The ‘soundtrack’ to the acclaimedtheatre piece Samsa masjien was released as anaccompanying cd with the play, by the South Africanpublishers Protea.GRM.

Tom Williams is an award winning composer, musiccomposition course director and leader of INTIME, theexperimental music research group at CoventryUniversity. He studied composition at Huddersfield andKeele Universities and has a DMA in composition fromBoston University. His music has received numerousinternational performances and broadcasts. In 1993ALEA III competition Ironwork for piano and tape was aprizewinner; In 2010, Can won the medal of the Senatodella Repubblica Italiana Music Contest "Città di Udine”.Dart for cello and electronics, premiered in NYC in 2013,and since performed ICMC, NYCEMF and IFAI andSEAMUS and was recently released on Albany Recordswith the cellist Madeleine Shapiro; Dart was a finalist forthe British Composer Awards 2013, Sonic Art Category. His electroacoustic music song cycle Meditations on aLandscape for the soprano Juliana Yaffe waspremiered at INTIME2015; and Home (Breath Replaced)was performed at MUSLAB2015 in Mexico City.www.twhear.com

Mickie Willis, composer and jazz pianist, received hisD.M.A in Music Composition from Louisiana StateUniversity, studying with Kenneth Klaus, James Drew,Don Freund, and Dinos Constantinides. He composes

for live concert performance and also has created musicfor films and videos using MIDI instruments andcomputer generated sounds. His concert works includean oratorio, three symphonies, three symphonic poems,six works for chamber or string orchestra, four stringquartets, two sets of piano variations, one oboe sonata,compositions for various other chamber ensembles,songs, and jazz compositions. His commercial worksinclude a one hour suite for synthesizer, music for tenfilms and videos, and television commercials. He is alsoa writer with many published articles on music and othersubjects, and one book in print. Now semi retired, hedevotes his full time to composing, playing and writing,and also teaches fine arts music courses at ArkansasState University.

Jonathan Wilson is a candidate for the doctorate inmusic composition at the University of Iowa. His workshave been performed at the Experimental SuperstarsInternational Film Festival, the 2015 and 2016 SEAMUSNational Conferences, the National Student ElectronicMusic Event, the Iowa Music Teachers Association StateConference, and at the Midwest Composers Symposium. He is the winner of the 2014 Iowa Music TeachersAssociation Composition Competition and a runner upfor the 2014 Donald Sinta Saxophone Quartet NationalComposition Competition. Receiving his Master of Musicand Bachelor of Music degrees in music compositionfrom Western Illinois University, Jonathan has studiedcomposition with Josh Levine, David Gompper,Lawrence Fritts, James Romig, James Caldwell, PaulPaccione, and John Cooper. In addition to composition,Jonathan has studied conducting under Richard Hugheyand Mike Fansler. His compositional process is conceptoriented, and each concept, in turn, generates thestructural ideas that unify his works. Jonathan is amember of the Society of Composers, Inc., SEAMUS,the Iowa Composers Forum, and the AmericanComposers Forum.

Maurice Wright was born in 1949 in Front Royal,Virginia. A Mary Duke Biddle Scholar at Duke University,he graduated Magna Cum Laude with Distinction inMusic, and became a President's Fellow and HarrimanScholar at Columbia University, from which he receivedhis doctorate in 1988. At Columbia, he studied electronicmusic with Mario Davidovsky and Vladimir Ussachevsky,computer music with Charles Dodge, instrumentalcomposition with Chou Wen Chung and CharlesWuorinen, music theory with Jacques Louis Monod, andopera composition with Jack Beeson. Outstandingensembles and soloists have commissioned his work,including the Philadelphia Orchestra, the BostonSymphony Orchestra, the Emerson String Quartet, andthe American Brass Quintet. His visual music andelectroacoustic music compositions have beenperformed on five continents. The American Academy ofArts and Letters, the Guggenheim Foundation, theFromm Music Foundation, the Pennsylvania Council onthe Arts, the Independence Foundation, and the NationalEndowment for the Arts have recognized and supported

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his work. Recordings of his work appear on New World,Innova, Equilibrium, everglade, CRI, and other labels.His compositions are published by APNM, TheodorePresser, Schott, and by the composer.

Currently a Ph.D. Candidate in Music Composition at theUniversity of California San Diego, Yiheng Yvonne Wureceived a B.A. in Music from Yale University in 2003and an M.A. in Music Composition from UCSD in 2011.Her works have been performed in the US, Canada,Taiwan, and Germany. She has received commissionsfrom Steven Schick with the La Jolla Symphony,Palimpsest, Timothy Dwight Chamber Players,Arraymusic, Bonnie Whiting, Rachel Beetz, DustinDonahue, and Jessica Aszodi. Her works have also beenpremiered by Ensemble SurPlus and at the Aspen MusicFestival. As this year’s winner of the Mivos/Kanter StringQuartet Composition Prize, her string quartet Utterancewill be performed by the Mivos Quartet in New York inthe spring of 2016. She was a prize winner in the 2004Formosa Composition Competition and was awarded theAbraham Beekman Cox Prize at Yale. Primarycomposition teachers have included KatharinaRosenberger, Kathryn Alexander, John Halle, SophiaSerghi, and Steven Takasugi.

The artistic demands of jazz have always been thedriving force behind vibraphonist, drummer, andcomposer Charles Xavier, even though his eclecticmusic evades generic category. A jazz drummer fromthe age of sixteen, San Francisco Bay Area based Xavierwas born and raised in New Bedford, Massachusetts,where the East Coast jazz scene shaped and defined hismusical tastes. Xavier studied arranging and compositionat Berklee College of Music in Boston. At the CreativeMusic Studio in Woodstock, New York, he studieddrumming with Jack DeJohnette, Bobby Moses, StuMartin, and Jumma Santos, and creative ensembleperformance under the guidance of Karl Berger, DaveHolland, Kalaparusha, and John Abercrombie.

Nobuaki Yashima, composer and pianist, was born inYokohama, Japan. He started to study piano at the ageof three. He has performed so many place includingMinatomirai Hall(Yokohama, Japan), Kioi Hall(Tokyo,Japan), and so on. He participated in piano master classwith Marie Catherine Girod. At Toho Gakuen School ofMusic, he is studying piano with Yamada,F. and studyingcompose with Missé,K. and Kukiyama,N.

Jing Yin is a composer and sound designer fromShanghai. Graduated from Yale School of Drama (MFAin Sound Design) and Shanghai Conservatory of Music(BA in Music Technology). Theater credits include MyChildren My Africa, The Island, The Train Driver, DonJuan, As You Like it. Her soundscape composition"Awakening" was presented at 2015 Sound Kitchen,Prague Quadrennial of Performance Design and Space.

Maximilian Yip was born in 1988. In 2003 he started to

play the violin. From 2005 to 2008 he received lessons inmusic theory. In 2006 he began to play piano. He startedcomposing at the Clara Schumann School of Music withChristian Banasik since 2008. In 2009 he finishedschool with the german Abitur majoring in music andhonored a special appreciation for composing.He Holds Bachelor of Science from Ruhr UniversitätBochum and is attending his master degree inEconomics. His work were performed amongst others atMuestra Internacional de Musica ElectroacusticaMUSLAB 2015 in Mexico City, The 2014 Irish Sound,Science and Technology Convocation in Maynooth andat the 2013 International Electroacoustic Music Festivalof the Conservatorio S. Cecilia in Rome

Azumi Yokomizo (b.1987) is a Japanese composer.She received her master's degree in Music Compositionfrom the Graduate School of Informatics for Arts of ShobiUniversity in 2012. She studied contemporary music andelectroacoustic music using Max/MSP under YurikoKojima. Her works have been accepted by theInternational Computer Music Conference (New York,2010; Ljubljana, 2012; Perth, 2013), Spark Festival(Minnesota, 2010), Asia Computer Music Project (Tokyo,2011), Ars Musica (Brussels, 2012), and the ComputerMusic Modeling and Retrieval (London, 2012). She is amember of the International Computer Music Associationand Japanese Society for Sonic Arts.

John Young is Professor of Composition the Music,Technology and Innovation Research Centre at DeMontfort University, Leicester, having previously beenDirector of the Electroacoustic Music Studios at theVictoria University of Wellington, New Zealand. Hisoutput includes multi channel electroacoustic pieces,large scale radiophonic work, and music combininginstruments and electroacoustic sounds. His musicfocuses on the use computer technology to transformand combine sounds in innovative ways to create sonicdrama and musical development. Awards include FirstPrize in the 1996 Stockholm Electronic Arts Award andFirst Prize with a Euphonie d’Or of the BourgesInternational Electroacoustic Music and Sonic ArtCompetition. He has been a guest composer and/orteacher at numerous institutions around the world,including the GRM, the Institut International de MusiqueElectroacoustique de Bourges, EMS and KungligaMusikhögskolan (Stockholm), the iMPACT Center at theUniversity of Missouri Kansas City, San Jose StateUniversity, Bowling Green State University, Simon FraserUniversity, the University of Montréal, the University ofLanús (Buenos Aires) and the University of Auckland. Two solo discs of his work are available on theEmpreintes Digitales label.http://www.electrocd.com/en/bio/young_jo/discog/

Building on his many diverse interests, composer andviolinist Mark Zaki’s work ranges from historicallyinformed and traditional chamber music toelectroacoustic music, mixed media composition, and

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music for film. He is an associate professor at RutgersUniversity Camden where he is the director of the MusicProgram and the Rutgers Electro Acoustic Lab (REAL).In 2012 13, Mark was a visiting professor at theUniversity of Sheffield as the recipient of a FulbrightScholar Award to the United Kingdom. He also hasserved as the president of the Society for ElectroAcoustic Music in the United States (SEAMUS).

Roberto Zanata was born in Cagliari, Italy, where healso graduated in Philosophy. A composer, musician andmusicologist in electronic music, he studied andgraduated in composition and electronic music at theConservatory of Cagliari. In the middle of ninetiesRoberto became active in Italy and abroad. He wrotechamber music, music for theatre, computer music,electroacoustic and acousmatic music as well asmultimedia works. He actually teaches Mulimedia at theConservatory of Ferrara and he works for AssociazioneSpaziomusica.

Zhaoyu Zhang (b. 1988) is a composer trying toincorporate experimental elements into his compositionsby using simple and creative way that produce highquality sounds. Based in Mainland of China, he grew upin Inner Mongolia, where the rich cultural heritage of theHan-Mongolian border region influences much of hismusic. His work Power of the script (Trombone and fixmedia), was selected in WOCMAT conference atTaiwan, IcM at San Diego and SCI Chapter New MusicSymposium at Iowa City. In 2016, his four channel workNothing is lost was selected in National StudentElectroacoustic Music Event at Oklahoma City. Havingreceived undergraduate degree in composition andtheory from Central Conservatory of Music, China,Zhaoyu is currently a doctoral degree candidate in musiccomposition at the University of Illinois at Urbana-Champaign, where he received his master degree andworks as Teaching Assistant of Computer Music Project.

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Performers

Featured performer: Maja Cerar

Violinist Maja Cerar's repertoire ranges from theBaroque to the present, and her stage experienceincludes performances with live electronics as well astheater and dance. Since her debut in the ZürichTonhalle in 1991, she has performed internationally as asoloist with orchestras and given recitals withdistinguished artists. She has played at festivals such asthe Davos "Young Artist in Concert," Gidon Kremer'sLockenhaus Festival, the ISCM World Music Days inLjubljana, and the ICMC festival in Barcelona andSingapore, the "Viva Vivaldi" festival in Mexico City, andnumerous others. Her collaborative works have beenfeatured at the "Re:New Frontiers of Creativity"symposium celebrating the 250th anniversary ofColumbia University, "LITSK" festival at PrincetonUniversity, and the SIGGRAPH 2007 multimediaconference/festival in San Diego. Since 2014 she hasalso created her own works, fostered by The TribecaFilm Institute’s “Tribeca Hacks” and by the Future MusicLab at the Atlantic Music Festival, involving robotics andwearable motion sensors. Maja Cerar has premieredand recorded numerous works written for and dedicated

to her. She has worked with many composers, includingJean-Baptiste Barrière, Sebastian Currier, Beat Furrer,György Kurtág, Alvin Lucier, Katharine Norman, MortonSubotnick, and John Zorn. She graduated with honorsfrom the Zurich-Winterthur Conservatory, and earned aPh.D. in Historical Musicology from Columbia University,where she is currently a member of the Musicperformance faculty. www.majacerar.com

Amy Advocat, bass clarinet (see Transient Canvas)

Harpist Arielle is a multifaceted artist whose inspirationconstantly seeks balance among visual, sonic, andphysical elements. Forging a dynamic career in bothmusic and fashion design, she explores the convergenceand interdependence of many art forms while striving toachieve the aesthetic pleasure of striking form, highimpact, and refined contrast. Being a collaborativeharpist and contemporary music aficionado, Arielleenjoys commissioning and performing new works bycomposers across the globe, and has played over 75world premieres. In addition to music performance,Arielle can be found fusion dancing with her partner to adiverse range of live and recorded music in in variouslocations all over the city. Arielle is a graduate of Juilliardand the Fashion Institute of Technology. For more info,please visit www.arielleharp.com and www.pearling.org.

Francesca Arnone is the flute professor at BaylorUniversity in Texas. A veteran of regional and operaorchestras in the US and Mexico, she's also been aconcerto soloist on flute, alto flute, and piccolo, onrepertoire ranging from Bach to Chen Yi. Recordings onMSR Classics. www.francescaarnone.com

American born flutist Nina Assimakopoulos is creditedwith over 84 new music commissions and world-premiere performances and five solo CDs. She is therecipient of numerous grants and awards, including theAaron Copland Fund Grant for New Music Recording,two Fulbright Grants, and the National Society of Artsand Letters Career Award, and has performed with theMunich City Opera, Bavarian Radio Symphony AcademyOrchestra, Pittsburgh Symphony Orchestra, and ToledoSymphony Orchestra. Assimakopoulos is flute professorat West Virginia University, West Virginia, USA.www.ninaassimakopoulos.info

Baltimore bred bassonist Scott Bartlett is an activeperformer and collaborator based in Ann Arbor. He is apassionate advocate of new music and has collaboratedwith many composers from the University of Michigan,frequently premiering works on a national andinternational stage. He enthusiastically promotes thecomposition of new works for the bassoon as a chamberinstrument, tirelessly commissioning works that combinethe bassoon with a variety of innovative ensembles. Most recently Scott has premiered solo works written forhim at the University of Miami, as well on the Universityof Michigan Museum of Art concert series. A dynamic

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chamber musician, he has been a member of theContemporary Directions Ensemble and the Early MusicEnsemble at Michigan. As part of the Berio SequenzaProject of University of Michigan, Scott had the honor ofperforming the Berio Sequenza XII for solo bassoon. Hehas recently finished a specialist degree with Dr. JeffreyLyman at the University of Michigan, where he alsoattained two masters degrees, one in bassoonperformance and one in chamber performance. Previously he had studied at West Virginia Universitywith Peter Kolkay and Lynn Hileman, where he soloedwith the West Virginia University Symphony Orchestrawith Francisco Mignone’s Concertino for Bassoon andSmall Chamber Orchestra as one of the winners of theschool concerto competition.

Shaun Cayabyab is a percussionist and composer fromsouthern New Hampshire with an interest incontemporary, electronic, and electroacousticcomposition and performance. As a performer, Shaunhas performed in concerts alongside ensembles such asthe United States Coast Guard Band, So Percussion,and Roomful of Teeth. Other notable performancesinclude clinics at the Percussive Arts SocietyInternational Convention (PASIC), a concert at theSEAMUS 2016 National Conference, and a performanceof Steve Reich's Music for 18 Musicians with the UCONNPercussion Ensemble. As a composer, Shaun has hadcompositions performed throughout the New Englandarea. Shaun's works have also been performed at theUniversity of Miami Frost School of Music, the 2015SPLICE summer electroacoustic institute, and at theBoston nighttime public arts festival ILLUMINUS. Shaunis interested in collaborations between musicians andartists from all creative mediums, and aims to pursueperformance and composition that incorporates musicinto such mediums. Shaun holds a B.M in MusicComposition and a B.A in Computer Science from theUniversity of Rhode Island, and is currently pursuing anM.M in Percussion Performance at the University ofConnecticut.

Violinist Alessandro Cazzato (1988) graduated andspecialized "cum laude" in Violin with Franco Mezzenaand Felix Ayo. He performed solo concerts in majorConcert Halls and Festivals in Italy and abroad(Germany, Switzerland, Spain, Argentine, Portugal, etc.).As soloist, he has recently performed the integral of J. S.Bach's Sonate und Partite. He funded the Entr'ActeStrings Orchestra with which he recorded CDs dedicatedto A. Vivaldi and J. S. Bach (Soundiff Records). Hisrepertoire spans from baroque to contemporary music,collaborating with well-known Italian and foreigncomposers. Graduated “cum laude” in Literature andModern Philology at the University of Bari (Italy), he haswritten appreciated essays and papers on Music andLiterature. His publications are reviewed on importantmagazines. He devotes also to teaching. He heldseminaries on Baroque music, Mozart's interpretationand performance, relationship between Music andPoetry. He held also courses of Violin and Contemporary

Violin Performance for the International Music Festival"RuidalSud" (2014 & 2015) in Argentina. He has beeninvited to take part in juries of International Competitions.He teaches Violin in Italian Conservatories of Music. Heplays a Ferdinando Garimberti violin (1954). Info:www.alessandrocazzato.com.

Wayla J. Chambo is a versatile, committed performer ofnew and experimental flute music alongside thetraditional repertoire. She has performed with the DallasFestival of Modern Music, the Allen PhilharmonicOrchestra, the Dallas Wind Symphony, and the NorfolkChamber Consort, and maintains an active presence atnational and regional conventions. Chambo serves onthe National Flute Association's New Music AdvisoryCommittee and was Program Chair of the 2016Mid-Atlantic Flute Convention. She is a faculty memberat Thomas Nelson Community College in Hampton, VA,and a classical radio announcer on WHRO-FM. Recentappearances as a performer, teacher, and adjudicatorinclude the Richmond Flute Fest, Hampton Roads FluteFaire, East Carolina Univ. Flute Symposium, CaliforniaSt. Univ.-Monterey Bay, the Univ. of California atBerkeley, the Univ. of North Carolina at Chapel Hill,Sweet Briar College, and June in Buffalo. Also active asa dancer and writer, Chambo has been recognized forher inter-media performances involving dance andmusic, and has published poems and articles in TheGreensboro Review, Artizen, Cellar Door, and Harmonia.She holds degrees from the Univ. of North Carolina atChapel Hill (BM), CalArts (MFA), and the Univ. of NorthTexas (DMA).

Lin Chen, percussion (see Duo Soie Plus)

A native of Taiwan, violist Ting-Ying (Tina)Chang-Chien enjoys a versatile performing careerbased in New York City. She came to New York at age12 when she was accepted into the Juilliard School thePre-College Division. She made her Carnegie HallDebut at the age of 17. Ms. Chang-Chien was featuredon the WQXR young artist radio showcase, "From theTop" in 2000. She appears regularly on the stage ofLincoln Center and Carnegie Hall. She performed asprincipal violist with the Grammy-winning AlbanySymphony in Carnegie Hall in 2013, where she hasperformed with such artists as Joshua Bell, Yo-Yo Ma, toname a few. She has also collaborated with members ofthe New York Philharmonic and Metropolitan OperaOrchestra. In the 2008 Latin Grammys, she wasfeatured with pop artists including John Legend, GloriaEstefan, Patti LaBelle, and Carlos Santana. Outside ofperforming, Ms. Chang-Chien is a passionate musiceducator who teaches in the tri-state area schools andstudios.

Violinist Funda Cizmecioglu began her musical journeyin Istanbul at the age of 5, inspired by her grandfather, atraditional Turkish Saz player. Currently in New YorkCity, she has had the opportunity to serve as concert-

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mistress under renowned conductors such as KurtMasur and Leonard Slatkin, and collaborate withmusicians such as Itzhak Perlman, Joshua Bell, SharonIsbin, and Yo-Yo Ma. She has also joined United Stateseast cost tours with Peter Gabriel, Frank Sinatra Jr., andJohnny Mathis, and appeared on Saturday Night Livewith Kanye West. Funda has performed solo recitals atCarnegie Hall’s Weill Recital Hall as well as at LincolnCenter’s Alice Tully Hall, and is currently principal secondviolinist in the Albany Symphony Orchestra. Funda has aBachelors in violin performance from the Mimar SinanFine Arts University State Conservatory in Istanbul, and aMasters of Music as well as a professional studiesdiploma from Mannes College The New School for Musicin New York City and performance diploma frominternational Summer Academy at Mozarteum inSalzburg.

Pam Clem has been playing cello since the age of 10and has studied with Robert Hofmekler and then underRobert Ashby at James Madison University. A NorthernVirginia native, she has performed with McLean andLoudon Community Orchestras for the past twenty fiveyears. In addition to Fuse Ensemble, she also plays inseveral trios, performing classical music and jazz invenues such as Wolftrap, The Lyceum and Blues Alley inWashington, DC.

Cellist Arthur Cook has appeared as a chambermusician and soloist in summer festivals at Sandpoint,Meadowmount, Taos,Yale at Norfolk, Rutgers and AppleHill. He has served as artistic director for Lyrica andArtists in the Hall as well as principal cellist and soloistfor the Wayne Chamber Orchestra, the NewPhilharmonic and the New York Symphonic Ensembleon its Japan tour. Mr. Cook won First Prize in the NewYork Studio Club Awards as well as in competitions atthe Metropolitan YMHA (NJ) and the Wayne YMHA (NJ),and he has appeared as soloist with orchestras at AliceTully Hall and Carnegie Hall. He holds degrees fromTexas Tech University and the Mannes College of Music,where he was a recipient of the George Szell Award andthe Graduate Performance Award. His teachers includedArthur Follows, David Geber, Felix Galimir, and LouisKrasner. He has been on the music faculties of bothSeton Hall University and Smith College. Mr. Cook playson a 1798 Josef Gagliano cello presented to him by theGandolph Foundation.

Performer, composer and media artist Scott Dealengages new works of computer interactivity, networkedsystems, electronics and percussion. His recordingshave been described as “soaring, shimmeringexplorations of resplendent mood and incrediblescale”….”sublimely performed”, and his recent recordingof Pulitzer Prize/Grammy Award-winning composer JohnLuther Adams’ Four Thousand Holes, for piano,percussion, and electronics was listed in New YorkerMagazine’s 2011 Top Ten Classical Picks. He hasperformed at venues worldwide, including

Musicacoustica Beijing, Almeida Opera London, ArenaStage Washington, Supercomputing Global, VancouverNew Music Festival, Zerospace, SIGGRAPH, ChicagoCalling, IEEE CloudCom, Ingenuity Festival, ICMC,NIME, PASIC and with groups that include ART GRID,Another Language, Digital Worlds Institute,Callithumpian Consort, Percussion Group Cincinnati, andthe Helsinki Computer Orchestra. He is the percussionistfor the computer-acoustic trio Big Robot, who haveperformed to audiences worldwide. In 2011, Deal andcomposer Matthew Burtner won the coveted Internet2IDEA Award for their co-creation of Auksalaq, a telematicopera called “an important realization of meaningfulopera for today’s world”. Deal’s work has receivedfunding from organizations that include Meet theComposer, Lilly Foundation New Frontiers, Indiana ArtsCouncil, Clowes Foundation, IUPUI Arts and HumanitiesInstitute, and the University of Alaska. He resides inIndianapolis, Indiana where he is a Professor of Musicand Director of the Donald Louis Tavel Arts andTechnology Research Center at Indiana UniversityPurdue University Indianapolis (IUPUI).

French-American pianist Julia Den Boer is a strongadvocate of contemporary music. Based in New Yorkcity, she performs internationally and has commissionedand premiered numerous works. She is committed toexploring and pushing her instrument’s boundariesthrough close collaboration with composers and has hadthe opportunity to work with some of the most prominentcomposers of our time such as Heinz Holliger, PhilippeLeroux, Ned Rorem, Martin Matalon and Kaija Saariaho.

A native of Taiwan, pianist Shiau-uen Ding is anenergetic performer of traditional and contemporaryrepertoire. She studied piano with Eugene Pridonoff,Elizabeth Pridonoff, and Lina Yeh, computer music withMara Helmuth and Christopher Bailey, and contemporaryimprovisation with Alan Bern at National Taiwan NormalUniversity and University of Cincinnati, where shereceived her doctoral degree. She lives in New York City. She has performed in France, Germany, Belgium, China,and throughout the US and Taiwan. Most recently, shepremiered Christopher Bailey's Empty Theatre, aquasi-concerto for piano and orchestra, at SinusTonFestival in Germany. She was called a daredevil by TheNew York Times for her performance at Bang on a CanMarathon and a powerful force on the new music sceneby Array for her recital at Spark Festival in Minneapolis.She has collaborated with internationally renownedperformers and composers, including Steve Reich,Michael Kugel, George Tsontakis, who refers to herrendition of his Ghost Variations as a monsterperformance, and Moritz Eggert, who dedicated hisHämmerklavier XIX: Hymnen der Welt (Afghanistan bisZimbabwe) to her. She has recorded for Capstone,Centaur, Innova, and New Focus.

Associate Professor of horn, Lydia Van Dreel joined theUniversity of Oregon faculty in 2006. Ms. Van Dreel

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maintains an active performing career as an orchestral,chamber, solo and recording artist. A member of TheEugene Symphony Orchestra, The IRIS Orchestra(Memphis, TN) the UO's Faculty Brass and WindQuintets, The Oregon Bach Festival Orchestra, andQuadre: The Voice of Four Horns, Ms. Van Dreel can beheard in concert halls worldwide, and is featured on adiverse number of recordings projects such as TheCherry Poppin' Daddies "Susquehanna" and the 2012Chrysler Super Bowl ad "It's Halftime in America". Ms.Van Dreel's first solo CD, "New Millennium Music forHorn" was released on the Quadre Records label in2014. Before joining the Oregon faculty, Van Dreel held aten-year tenured position as co-principal horn of theSarasota Orchestra.

The Duo Soie PLUS – Ming Wang (flute) and Lin Chen(percussion) plus Xiao Fu (multimedia, electronics andcomposition) and Jelena Dabic (composition andtambura) – is a new fresh-cheeky voice of contemporarymusic in Hamburg (Germany). The two native Chinesemusicians, who studied in Germany, convince throughtheir virtuosity, precision and theatrical gesture. Since2014, the Duo Soie has been collaborating with Xiao Fuand Jelena Dabic, forming the extended ensemble DuoSoie PLUS. For more information please visitwww.duo-soie.com.

Eddie Farr, alto saxophone (see Composers)

Ford Fourqurean is an award-winning clarinetist andscholar based in New York. Known for his “ability toconnect and introduce students to contemporaryliterature,” he is in high demand as a guest artist andclinician at universities throughout the United States. Hehas earned recognition as one of six national winners ofthe Honor Society of Phi Kappa Phi’s Marcus L. UrannFellowship. As a versatile performer, he performs as amember of the renowned Contemporary ChamberPlayers and as a recitalist along with numerousindependent projects. Fourqurean has been recentlyselected as the Contemporary Ensemble Fellow for theAtlantic Music Festival. As a scholar, he has givenconference presentations at the International ClarinetAssociation's ClarinetFest, Southern Regional HonorsCouncil, and Society of Composers, Inc. NationalStudent Conference. Fourqurean currently studies atStony Brook University as a Master of Music student ofAlan R. Kay.

Paolo Geminiani (1960) studied Composition, ElectronicMusic, Choral Music and Choral Conducting, BandInstrumentation with Azio Corghi, Franco Donatoni,Alessandro Solbiati, Adriano Guarnieri, Alvise Vidolin,Gyorgy Ligeti, Gerard Grisey, Goffredo Petrassi, NiccolòCastiglioni. He has won and received commendations atvarious competitions including: Gustav Mahler,Counterpoint International Competition, SuonoSonda,Daegu Contemporary Music Orchestra, Valentino BucchiPrize, Florence String Quartet, Pierre Schaeffer, etc. His

works performed in Slovenia (ISCM World Music Day),UK (Saint Giles’ Cripplegate London), USA (SteinwayHall and Legacy Hall New York, Columbus StateUniversity, Isaacs Auditorium Selingrove), Argentina(Auditorium “Juan Victoria”), Brazil (49th Festival MusicaNova "Gilberto Méndes" Ribeirão Preto Brazil), Japan(Hagi Origami Museum), South Corea (ICMF di Deagu)and Italy: MiXXer Musiche del Secolo XX Ferrara 2015,Rebus 2014, SIMC Composers 2014, Chamber MusicFestival Lucca, Cluster–Compositori Europei, “Settimanadel contemporaneo”, Risuonanze, etc. Scores publishedin Italy by Ut Orpheus, Sconfinarte, MAP Editions,Agenda, TEM-Taukay, ArsPublica; CDs edited by RMNLabel, Sheva Collections, SuonoSonda, AccademiaPescarese. He actually teaches in Conservatory “N.Piccinni” of Bari (Italy). Info: www.paologeminiani.it

Clarinetist Amy Glover is a chamber musician, recitalist,and teacher based in New York City. Amy is passionateabout all musical styles—classical, improvisational, andcontemporary. As co-founder of the clarinet and pianoteam Duo Ephelia, she has performed at Carnegie’sWeill Recital Hall, the Nicholas Roerich Museum, theCzech Center New York’s Bohemian National Hall’sSounds of Serendipity series, and the Hewlett-Woodmere Public Library’s New Talent New Ideasseries. She has also appeared with the Texas NewMusic Ensemble, the Light Opera of New York, and theLucerne Festival Academy Orchestra as well as theBanff Centre’s Performance Today as a musician-in-residence. She was a finalist in the International ClarinetAssociation’s Orchestral Competition in 2011 and asemi-finalist in the CAG Victor Elmelah Competition in2015. Amy is on the faculty at the Mozartina Musical ArtsConservatory and the JCC on the Hudson’s MusicWorks program in addition to maintaining her ownclarinet and saxophone studio. She holds a Master ofMusic Degree from the Mannes College of Music whereshe received the James E. Hughes, Sr. MemorialPerformance Award and a Bachelor of Music summacum laude from the University of Houston.

Amanda Gookin, cello (see PUBLIQuartet)

Emilio Guarino is a bassist and producer with intereststhat range from orchestral performance practice tocontemporary electronic music, jazz, and freeimprovisation. His willingness to experiment and explorewhile staying dedicated to the deep traditions of his craftis quickly distinguishing him as a uniquely eclecticmember of the global music scene. He is an alumnus ofPierre Boulez's venerable Lucerne Festival Academy,where he had the opportunity to work with a number ofinternationally celebrated composers and conductorsincluding Sir Simon Rattle, Matthias Pintscher, HeinzHolliger, and Tod Machover of the MIT Media Lab. Inaddition to his work abroad, Emilio keeps busy at homeboth with his own projects and freelances in New YorkCity. He frequently appears with The Curiosity Cabinet,Ensemble Moto Perpetuo, and Ensemble Mise-En. As a

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producer, Emilio's experimental electronic music projectmonat mai has a number of releases available onBandcamp.

Justin Gunter is a percussionist currently residing inOberlin, OH. Originally from Albuquerque, NM, Justingraduated from the Oberlin Conservatory of Music inDecember of 2015 where he majored in PercussionPerformance. During his time as a student, Justinexplored a wide range of musical styles, performing withthe Oberlin Orchestra, the Oberlin Chamber Orchestra,the Contemporary Music Ensemble, the OberlinSinfonietta, the Oberlin Percussion Group, thePerformance and Improvisation Ensemble (PI), theOberlin Improvisation and New Music Collective, and theOberlin Dance Company. Justin was selected to performwith Oberlin ensembles in New York City and Chicagoand can be heard on a number of Oberlin Music Labelrecordings. Justin has always had a passion forcollaborating with composers on new works and wasinvolved with dozens of world premiers during his time atOberlin. Justin has also studied various types of handpercussion and drum set under the guidance of JameyHaddad. In 2012, Justin was awarded the Avedis andArmand Zildjian Scholarship by his primary teacher,Michael Rosen. In addition to his performance practice,Justin has worked as a percussion teacher and clinicianwith students of all ages.

Clarinetist Marianne Gythfeldt has distinguished herselfin chamber music, orchestral and contemporary musicperformance on the international stage. Her professionalchamber music career was launched when she won theNaumburg Chamber Music award in 1995 as a memberof New Millennium Ensemble. Marianne is especiallyrecognized in the fields of electro acoustic music,contemporary chamber music and performanceeducation. She is equally at-home in traditional,contemporary and alternative genres as clarinetist ofZephyros Winds, Talea Ensemble, Consortium Ardesia,Collide-O-scope, and SEM Ensemble. She was recentlyappointed Assistant Professor of clarinet and head ofwoodwinds at Brooklyn College Conservatory and shespent eight years as clarinet and chamber musicprofessor at the University of Delaware where she wonthe Delaware Division of the Arts established artistaward, producing a 4-piece commission project ofelectroacoustic pieces presented in the US and Korea.Ms. Gythfeldt has recorded with CBS Masterworks, CRI,Albany, Koch and Mode Records.

German born drummer/percussionist Joe Hertenstein isan improviser/composer who lives in NYC. He leadsseveral bands and has released five albums under hisown name and many more as a sideman on labels suchas MoersMusic, Cleanfeed, Red Toucan, jazzwerkstattBerlin, Creative Sources, 2nd Floor/Loft-Cologne, Skirl,Leo, Engine, and Konnex. His recent performancesinclude concerts at the John F. Kennedy Center for thePerforming Arts in Washington, DC, Carnegie Halls'

Weill-Recital-Hall, Roulette and The Stone in New YorkCity, the Philharmony in Cologne and the MOERSFestival in GER, Warsaw Jazz Summer Days in Polandand the Cleanfeed Festival in Portalegre, Portugal. 2005”All about jazz" magazine praised his performanceobserving that "Joe Hertenstein's drums seem to beshaping the music from the bottom up", and Stef Gijsselsof the freejazzblog listed Joe’s album HNH on his10-Best-of-2015 as “Fantastic trumpet, bass, drums trioredefining the format through inventive music”. In May2015 Joe was composer in residence at the AtlanticCenter for the Arts in Florida, where he met Jeff Morris.Since moving to New York in 2007, Joe has developedhis Stone-Table-Percussion-concept. Having alwaysbeen interested in electro-acoustic processes, hiscollaboration with Morris as Shankcraft! is his latestoffering.

L. Cody Hosza is a multi-instrumentalist with experiencein a wide range of genres, including classical, jazz, andcontemporary music. Since pursuing the saxophone atage 8, Cody has had countless performances with anumber of groups including the Leon Petruzzi JazzOrchestra, the Manhattan School of Music SaxophoneEnsemble, and has even recorded with the SooyoungChin Jazz Orchestra, in addition to many soloperformances, including the premieres of works by WeiDai and Ted-King Smith at the 2015 New York CityElectroacoustic Music Festival. Cody is currently a seniorat the Aaron Copland School of Music at QueensCollege, and has studied with world-renownedsaxophonists Billy Drewes and Paul Cohen.

Pianist Jonathan Howe grew up in Armonk, NY. Heearned a BA in Music from Princeton University in 2001,an MA in Music Education from Queens College/CUNYin 2005, and Educational Administrative Certificationfrom LIU Post in 2008. He began taking piano lessons atage 4, and now studies with Teresa Dybvig. He teachesInstrumental Music in the East Hampton School District. When he is not playing the piano, he enjoys bridge andsquash.

A professional oboist based in Asia, Yi-An Huang iscurrently studying for her Master degree of Music (Oboe)with Ms. Li-Yueh Lin in the Department of Music ofNational Taiwan Normal University. Huang began hermusic learning in piano in the age of 5, she is also askillful piano accompanist. Recently Huang had joinedmany contemporary theatre sound projects, alsoleveraged her music study with special educationprogram for children.

Yamaha Performing Artist Dr. Jeffery Kyle Hutchins isactive as a soloist, chamber musician, improviser, andperformance artist. Praised for his “formidable technique”and “enviable uniformity of tone” (The SaxophoneSymposium), Hutchins has performed in the CzechRepublic, Scotland, South Korea, and all across theUnited States. He has recorded on Avid Sound Records,

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Emeritus Records, GIA Publications, Farpoint Recordings, and Klavier Records, and has been awardedgrants and competition prizes from DOWNBEAT, MusicTeacher’s National Association (MTNA), Mu Phi EpsilonFoundation, and New Music USA, among others. As anadvocate of new music, Hutchins has premiered over 70new works the saxophone and regularly performs withgroups 113, AVIDduo, Binary Canary, RenegadeEnsemble, and Strains New Music Ensemble. Hutchinsreceived the Doctor of Musical Arts from the University ofMinnesota and currently teaches at Bemidji StateUniversity and the University of Northern Iowa. Visitwww.JefferyKyleHutchins.com for more information.

Iron Giant Percussion, or abbreviated in the mostconfusing manner possible, FeGP, is an emergentcontemporary ensemble based in Birmingham,consisting of Sam Herman, Brett Huffman, Seth Noble,and Justin Wallace. Established in 2011 to perform acollaborative piece with Sanspointe Dance Company,they subsequently presented multiple ambitious concertsin Alys Stephens Center's Sirote Theater – eachfeaturing some of the most influential and challengingpercussion music from the 20th and 21st centuries. Thegroup won the 2013 Clefworks Festival competition inMontgomery, where they performed with internationallyacclaimed So Percussion group for the premiere ofJason Treuting and Josh Quillen’s Montgomery DoubleMusic. In addition to formal concerts, Iron GiantPercussion regularly participate in community andoutreach programs through organizations such asBAMA, Children's Dance Foundation and MetropolitanYouth Orchestra's Scrollworks. With each performance,Iron Giant aims to bring an answer to the most commonquestion regarding percussion music: “Is that actually athing?” That answer is a resounding, unequivocal “Yes itis!”

Based out of Calgary, Mathew James is a hornist knownfor radical performance and an advocate for new music.His training began at the University of Calgary where hecompleted his undergraduate degree. Following that hemoved to Chicago, IL. where Mathew completed both aMasters degree and a Postgraduate certificate inperformance. Mathew has performed with orchestras inthe USA and Canada. He served as the fourth horn withthe Saskatoon Symphony during their 2015/2016season. Mathew is a founding member and the artisticdirector of Calgary's Timepoint ensemble an ensemblededicated to performing works by living composers. Theirreputation for the performance of radical new works andchallenging many conventions of traditional musicmaking is rapidly growing.

Arthur Kampela, is a composer, virtuosi guitarist, singerand performer. As a composer he received commissionsand awards from the Guggenheim Foundation (2014),Collegium Novum Zurich (2013), DAAD (Artist-in-Residence Berliner Künstlerprogramm 2012-13), TheNew York Philharmonic (2009), Koussevitzky Foundation

(2007), Fromm Music Foundation (1998), ISCM/WorldMusic Days Stuttgart 2006, Germany, Rio-ArteFoundation, Brazil (1999) and fellowships from theBrazilian Government (CNPq) and Columbia University(1990-1998), among many others. Kampela was thewinner of the 1995 International Guitar CompositionCompetition Rodrigo Riera (Caracas, Venezuela) andwinner of the 1998 Lamarque-Pons Guitar CompositionCompetition (Montevideo, Uruguay).http://www.kampela.com.

American pianist Craig Ketter is rapidly distinguishinghimself as a leading pianist of his generation, performingas soloist and chamber musician throughout the world.Critically acclaimed for “transporting the listeners toextraordinary heights” and “into a world beyond time andspace,” Mr. Ketter is known for playing with powerhousesonority combined with longlined dulcet lyricism. He hasperformed as soloist with the Grant Park SymphonyOrchestra, the North Carolina Symphony, theSacramento Philharmonic, the Oakland East BaySymphony, the South Orange Symphony, the GardenState Philharmonic, the Raleigh Symphony, the DurhamSymphony, the Rocky Ridge Music Festival Orchestra,and the American Festival for the Arts Orchestra. Hissolo concerts have taken him to Mexico, Argentina,Barbados, France, Germany, and Japan, and across theUnited States and Canada. Mr. Ketter regularly joinsforces with international singers and chamber groups.Venues include NPR’s Performance Today series, CBSSunday Morning, Sirius Satellite Radio, Carnegie Hall,Avery Fisher Hall, the Teatro Colón in Buenos Aires, LaHuaca, Atlapa in Panama City, the Savannah MusicFestival, Bay Chamber Concerts in Rockport, Maine,Music in the Mountains in Colorado, and The MarilynHorne Foundation. Musicians he has collaborated withinclude flutist Eugenia Zukerman, clarinetists StephenWilliamson, Ricardo Morales, and Jon Manasse, cellistsRobert deMaine and Eric Bartlett, violinists KellyHallTompkins and Roy Malan, and singers DeborahVoigt, Margaret Jane Wray, Cynthia Lawrence, SamuelRamey, Paul Plishka, Ben Heppner, Cliff Forbis, andRobert White. Mr. Ketter is currently on the piano facultyof New Jersey City University.

Skye Kinlaw first began studying the violin at age 3 inher hometown of Orlando, Florida. Since then, she hasperformed solo at Carnegie Hall's Weill Recital Hall inNew York City and has been a part of NorthwesternUniversity's String Pedagogy Weekend. She hasadditionally performed with the Peabody Preparatory'sPre-Conservatory Violin Program at the Kennedy Centerin Washington, DC, and at Bryant Park in New York City.In 2014, she attended the Domaine Forget InternationalMusic and Dance Academy in Quebec. Last summerfrom June-August 2015, she attended the renownedHeifetz International Music Institute in Staunton, Virginia.Skye is currently a student at the Jacobs School of Musicat Indiana University, where she pursues a Bachelor ofMusic degree in Violin Performance under the tutelage ofMimi Zweig. Prior to enrolling at IU, she was a student of

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Rebecca Henry at the Peabody Preparatory of the JohnHopkins University in Baltimore, Maryland. Outside ofmusic, she enjoys hiking, reading and painting.

Pianist and composer Keith Kirchoff has performedthroughout all of North America and much of Europe. Astrong advocate for modern music, Kirchoff haspremiered over 100 new works and commissioned overtwo dozen compositions. As part of his commitment tofostering new audiences for contemporary music,Kirchoff has appeared at colleges and universities acrossthe United States as a lecture-recitalist. He has playedwith orchestras throughout the U.S., performing a widerange of concerto, including the Boston premiere ofCharles Ives's Emerson Concerto and the world premierof Matthew McConnell's Concerto for Toy Piano. Kirchoffhas won awards from the Steinway Society, MetLife Meetthe Composer, the Foundation for Contemporary Arts,and was named the 2011 Distinguished Scholar by theSMSA. Specializing on works which combine interactiveelectro-acoustics with solo piano, Kirchoff'sElectro-Acoustic Piano Tour has been presented in sixcountries, and the first album in the Electro-AcousticPiano series was released in 2011 on Thinking outLOUDRecords. He has also recorded on the New World, Zerx,Bridge, and SEAMUS labels.

Violinist Gregor Kitzis plays regularly with TheOrchestra of St. Luke's at Carnegie Hall and is afounding member of The Ouluska Pass Chamber MusicFestival in Saranac Lake, New York. He has performedearly music on period instruments with The AmericanClassical Orchestra, premiered and recorded countlessnew works with ensembles including Orchestra of OurTime and CollideOScope, arranged, performed, andrecorded with David Bowie, been the string contractor forTV appearances with Enya, and performed with artistsranging from Anthony Braxton to John Cage, playingeverything from solo and chamber music recitals to rockand tango in venues ranging from Carnegie Hall and thelate CBGB's to Saturday Night Live and David Lettermanand new music and jazz festivals throughout the UnitedStates, Canada, and Europe. He plays an old Italianviolin made in the 1690s by Giovanni Grancino. Of hisperformance of Vigeland's Ives Music, The New YorkTimes wrote "scratchier and more mistuned than evenIves would have found amusing." And in a later review:"The important violin solos were excellently projected byGregor Kitzis, sometimes with whistling purity, alwayswith vivid presence" (Paul Griffiths, The New YorkTimes). More recently, newmusicbox.org reviewed a soloperformance with the Albany Symphony at Carnegie Hallin May of 2010 as “authentic, jawdropping fiddling,” andAmerican Record Guide reviewed the sameperformance, saying “Kitzis stole the show in hisprocession from one end of Carnegie Hall to another, hisviolin resonating brilliantly and vanishing with ghostlyshivers in Carnegie’s remarkable acoustic.”

Clarinettist Esther Lamneck is known for her

performances on the Hungarian Tárogató, a single reedwoodwind instrument with a hauntingly beautiful sound.The instrument's aural tradition has led her to perform italmost exclusively in new music improvisation settings.She is recognized for her collaborative work withcomposers on both the clarinet and the tárogató increating electronic music environments for improvisation.Dr. Lamneck is Music Professor at NYU and currentlyserves as Program Director of Woodwind Studies andthe Clarinet Studio at New York University. She is artisticdirector of the NYU New Music and Dance Ensemble, animprovising flexible group which works in electronicsettings using both fixed media and real time sound andvideo processing. Ms. Lamneck has worked togetherwith choreographer Douglas Dunn for many yearscreating multimedia productions for Festivals in the USand Italy. Ms. Lamneck is involved in many projects,several concerned with creating compositions for theflute and clarinet in diverse settings. Her latest CD withNYU faculty Trio, Phenomenon of Threes on INNOVA,makes a significant contribution to the repertoire andpresents five new and recent works for flute. clarinet andpiano. The Tornado Project has commissioned works forflute and clarinet for Esther Lamneck and ElizabethMcNutt in interactive real time computer music settingsand their new CD was released by Parma records. Ms.Lamneck is involved in current collaborations withnumerous composers creating new works for the clarinetand tárogató in electronic music settings. Aninternationally renowned recording artist she hasrecorded for Amirani Records, Capstone, Centaur, CRI,EMF, INNOVA, Music and Arts, Opus One, SEAMUS,Romeo/Qualiton, New World Records, and Parma.

Flutist Cassie Lear is a performer and teacher based inDenton, TX. She has performed at the 2014 ElectricLaTex Computer Music festival, where her performanceof Eli Fieldsteel's Aerophoneme was voted AudienceFavorite, and at the 2015 International Computer MusicConference. She has also performed with Nova, the newmusic ensemble at the University of North Texas, withthe Oregon-based woodwind quintet Five, which wasawarded first place in the 2010 Areon Flutes InternationalChamber Music Competition, and with the University ofOregon Symphony, the Oregon Wind Ensemble, theOregon Coast Chamber Orchestra, and the EugeneContemporary Chamber ensemble, and was featured onthe soundtrack of two short films, several plays, and onefeature-length horror film. She has participated in theOregon Bach Festival Composer’s Symposium and thenief norf Summer Festival, won third place in the 2013Seattle Flute Society Young Artists Competition, and wasa 2012 finalist in the University of Oregon Concerto/AriaCompetition. She received her BM from the University ofOregon and is currently working on her MM at theUniversity of North Texas.

Pianist Mirna Lekiæ is active as a recitalist, chambermusician and educator. Mirna plays a wide range ofrepertoire that reflects both her interests in the music ofliving composers, celebrated through premiere

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performances and commissions, and her study of earlymusic practices, particularly works for fortepiano. Afounding member of Ensemble 365 and Duo RoMi, shehas presented premieres at the Queens New MusicFestival, Princeton University Sound Kitchen,International Festival for Contemporary Performance,The Firehouse Space, Boston College, Composer’sVoice series in New York, and in collaboration with Dr.Faustus and the Composers Now Festival. Mirna’s soloperformances have been broadcast on WQXR, WNYC,WFMT, WPRB, and Bosnian TV and radio stations, andher debut solo album, Masks, is scheduled for release in2016. A graduate of the Eastman School of Music, theMannes College of Music, and the Graduate Center ofthe City University of New York, she is currently AssistantProfessor of Music (Piano) at QueensboroughCommunity College, City University of New York.(www.mirnalekic.com).

Baltimore-based flutist Eric Maul has enjoyed a variedcareer as a citizen-artist. As a Community Partnershipsand Performances Fellow in Boston, Eric worked to bringclassical music to spaces where music wasn't; pediatricpsychiatric wards, bilingual schools in East Boston, andother community spaces. By volunteering with 'Music ForFood', a program designed to fight local hunger, Eric sawfirst hand how art could help make an impact in localcommunities. Eric has also worked with the developersof "Cadenza, the orchestra that listens to you", by testingand demoing the app in 2015. In the past, Eric hasappeared as soloist with the Baltimore Symphony, winnerof their Young Soloist competition. He has attended theEastern Music Festival, where he played under GerardSchwarz and Jose-Luis Novo. Eric has played under thebatons of conductors such as Marin Alsop, Hugh Wolff,Steven Lord, and David Loebel. His teachers includeMelinda Wade-English, Laurie Sokoloff, Marina Piccinini,and Paula Robison. Peabody Institute, B.M. '13, NewEngland Conservatory, M.M. '15.

An award-winning chamber musician, Miklyah MyersMcTeer is Associate Professor of violin at West VirginiaUniversity and Coordinator of the String Area. She wasformerly concertmaster of the San Juan Symphony inDurango, Colorado, and a member of the Moores PianoTrio in Houston, Texas, which was the silver prize winnerat the 2000 Carmel Chamber Music Competition. Shehas performed internationally as a soloist, chambermusician, and orchestral player in Japan, Korea, Taiwan,Italy, Germany, Austria, Slovakia, and Hungary, and is amember of the Britt Festival Orchestra in Jacksonville,Oregon.

Dr. Brad Meyer (www.Brad-Meyer.com) is a percussioneducator, artist, and composer with an extensive anddiverse background. Currently, Brad is the Director ofPercussion Studies at Stephen F. Austin State University(Nacogdoches, TX). Dr. Meyer frequently tours touniversities and high schools both nationally andinternationally to present recitals, workshops,

masterclasses, and clinics on various topics, including:electro-acoustic percussion, contemporary marimba,concert snare drum, marching percussion, percussionensemble, steel band, and world music. His internationalperformances and clinics have taken him to Austria,Taiwan, France, South Africa, and Slovenia. Brad hasbeen an active presenter/performer at numerousfestivals and conventions, including: Texas MusicEducators Association’s national convention, PercussiveArts Society’s International Convention, InternationalComputer Music Conference, Society for ElectroacousticMusic in the United States’ Convention, New York CityElectroacoustic Music Festival, Graz’s (Austria) Night ofPercussion, Chiayi’s (Taiwan) International BandFestival, Indiana University-Purdue UniversityIndianapolis’s Intermedia Festival, and TransylvaniaUniversity’s Studio 300 Festival. Brad is a composer withseveral compositions for snare drum, multi-percussion,and percussion ensemble published through BachovichPublications. Dr. Meyer is a proud endorsee of YamahaInstruments, Zildjian Cymbals, Vic Firth Stick andMallets, Evans Drumheads, and Tycoon Percussion.

Ina Radeva Mirtcheva started playing the piano at fiveyears old. She attended L. Pipkov Music School in Sofia,Bulgaria studying piano with K. Karadimchev. In 1998she moved with her family to the United States and waspart of the honors program at Levine School of Music inWashington DC. Ms. Mirtcheva earned her Bachelorsand Masters of Music in Piano Performance fromGeorge Mason University studying piano with Dr. AnnaBalakerskaia, and a second Masters in InstrumentalCollaborative Piano at the University of CincinnatiCollege-Conservatory of Music, where she had a fullgraduate scholarship and studied with James Tocco andSandra Rivers. She has performed in venues includingthe Kennedy Center, Polish Embassy, SmithsonianInstitute, Knuth Hall, Werner Recital Hall, and TheLyceum and in venues throughout Italy, Holland, Poland,Bulgaria and Canada. She is a recipient of a StrathmoreHall Award, J.C. Cook Scholarship, and a PetersonAward. In 2003 Ms. Mirtcheva was a GMU ConcertoCompetition winner and in 2007 won the Ohio Federationof Music Clubs Best Collaborative Artist Award.Ms.Mirtcheva and her trio D’Anciana were FellowshipArtists at the 2003 and 2004 Yehudi Menuhin ChamberMusic Seminar in San Francisco, CA, and hasparticipated in numerous international music festivals.

Kourtney Newton is currently pursuing a Doctorate ofMusical Arts degree in cello performance from theUniversity of North Texas where she studies with NikolaRuzevic. As an experienced orchestral player Kourtneyhas enjoyed performing with symphony orchestras inColorado, Louisiana, Oklahoma, Texas, Vermont,Virginia and Wyoming. She has performed at CarnegieHall in New York, as well as other notable concert hallsin Graz, Salzburg, Vienna and London. In 2012Kourtney’s string quartet KAZM accepted an invitation toperform and teach at Mahidol University in Bangkok,Thailand. Kourtney is particularly passionate about

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improvisation and was a founding member of the “By theNumbers” Sound Painting Improvisation ensemble,based in Greeley, Colorado. She was a guest artist in theAquila Contemporary Music Recital Series in 2012 and2013, and the Sounds Modern Series at the Modern ArtMuseum of Fort Worth in 2014, 2015 and 2016. Kourtneywas also a featured performer in the 2014 ElectricLaTex: Electroacoustic Music Festival, the 41stInternational Computer Music Conference, and the 2016International SEAMUS Conference. She has performedin masterclasses for the JACK string quartet, eighthblackbird, and Madeleine Shapiro, among others. She isactive in UNT’s new music ensemble NOVA and enjoysworking with student composers.

Aimée Niemann is a Colorado born violinist, dancer, andnoise artist based in Brooklyn. She seeks to blur the linesbetween sound and movement both in construction andperception. She is a founding member of Quartet Do,who through the timeless vessel of the string quartetbridge the gap between old and new music. Aimée isalso the violinist in Echo Chamber, an ensemblededicated to performing new works speciallycommissioned for its distinctive instrumentation. Aiméeholds a Bachelor of Music degree from the University ofNorthern Colorado and is currently pursuing her Masterof Music degree from New York University where studieswith Anton Miller.

Jannina Norpoth, violin (see PUBLIQuartet)

Soprano Rebekah Norris has performed in Vienna,Austria, focusing extensively on the works of Schubertand Strauss, and throughout St. Louis, Missouri, as amember of Union Avenue Opera. A graduate of WebsterUniversity, she specializes in art song, and has won fourNATS Artist Awards. Her operatic roles have includedMrs. Gobineau in Menotti's The Medium, Euridice inGluck's Orfeo ed Euridice, and Mercedes in Bizet'sCarmen. Most recently, she premiered Howie Kenty'scommissioned work “The Halls Within The Mirror” at the2015 Shanghai Electronic Music Week. She currentlyresides in New York City.

One of New York’s most gifted, trusted, respected,often-requested, and well-liked pianists, ChristopherOldfather has devoted himself to the performance oftwentieth-century music for more than thirty years. Hehas participated in innumerable world-premiereperformances, in every possible combination ofinstruments, in cities all over America. He has been amember of Boston’s Collage New Music since 1979,New York City’s Parnassus since 1997, New YorkPhilomusica since 2007, and as a collaborator has joinedsingers and instrumentalists of all kinds in recitalsthroughout the United States. In 1986 he presented hisrecital debut in Carnegie Recital Hall, which immediatelywas closed for renovations. Since then he has pursueda career as a free-lance musician. This work has takenhim as far afield as Moscow and Tokyo, and he has

worked on every sort of keyboard ever made, including,of all things, the Chromelodeon. He is widely known forhis expertise on the harpsichord, and is one of theleading interpreters of twentieth century works for thatinstrument. As soloist he has appeared with the METChamber Players, the San Francisco Symphony, andEnsemble Modern in Frankfurt, Germany. His recordingof Elliott Carter's violin-piano Duo with Robert Mann wasnominated for two Grammy Awards in 1990. Hecollaborated with the late Robert Craft, and can beheard on several of his recordings.

Zack Osinski, a native of North Carolina, is in his junioryear pursuing a Bachelor's Degree in flute performanceat the Eastman School of Music, studying with renownedflute pedagogue Bonita Boyd. Zack received his highschool diploma from the University of North CarolinaSchool of the Arts, where he studied with Dr. TadeuCoelho. Recently, Zack was a fellow for the 2015 HotSprings Music Festival where he apprenticed to Dr.Virginia Broffitt, and was a finalist for the principal fluteaudition of the New Haven Symphony Orchestra. Zack isan active supporter of new music, performing in theEastman ensembles OSSIA New Music and MusicaNova, and has worked with composers such as JoKondo, Georg Friedrich Hass, and Robert Morris. Zackalso performs regularly with the Eastman WindEnsemble (recently sharing the stage with banjo virtuosoBela Fleck) and will be heard on the ensemble'supcoming release of works by Jeff Tyzik. Additionally,Zack engages his love for early music by performing inEastman's student run Bach Cantata series.

Tony Park is a sought after clarinetist for his “sensitive,”“artful,” interpretations and “beautiful” playing. Mr. Park iscurrently based in Queens, NY and is busy playing withensembles such as New York Wind Orchestra,Queensboro Symphony Orchestra, emsemble mise-en,and the New York Korean Saxophone Ensemble, toname a few. An eager bass clarinetist, Mr. Park iscurrently working on a recording project of solo bassclarinet pieces, all of which he commissioned. Mr. Parkreceived his Advanced Diploma from Queens Collegewhere he studied with Charles Neidich, and his Master ofMusic Degree from McGill University, where he studiedwith Simon Aldrich.

Percussionist Daniel Pate (b. 1984) is an activeperformer in New York City and the surrounding areas.He has presented performances on the Green UmbrellaConcert Series held at Walt Disney Hall in Los Angeles,The Ojai Music Festival, the Mondavi Center, SymphonySpace in New York, and The Abrons Center in NewYork. He has also presented concerts andmasterclasses at Southeastern Louisiana University,New York University, Gettysburg University, DenverMetropolitan University and Mesa College. As anadvocate of contemporary music, Mr. Pate haspresented premieres by Paula Matthusen and AdamBeard, and has been a guest performer with the

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contemporary ensemble “Red Fish, Blue Fish.” Currently,he serves as percussionist and a member of the steeringcommittee for the New York Electroacoustic MusicFestival as well as a member of the faculty at Blue LakeFine Arts Camp where he performs frequently as asoloist and chamber musician, and with the Blue LakeFestival Orchestra and Band. Mr. Pate is pursuing adoctorate in Contemporary Music Performance at StonyBrook University, where he is a student of EduardoLeandro and a member of the Contemporary ChamberPlayers. Mr. Pate received his Master’s Degree inPercussion Performance from The University ofMassachusetts in Amherst under the instruction ofEduardo Leandro and Thom Hannum, as well as aBachelor’s Degree in Percussion Performance from SanDiego State University. During his studies, Mr. Pateworked with such performers as marimbists Robert VanSice, Gordon Stout, Christopher Norton, NancyZeltsman, and Michael Burritt, and percussionists StevenSchick, Jack Van Geem, and Raynor Carroll.

Dubbed "independent-minded" by The New Yorker,PUBLIQuartet, presents creative, interactiveprogramming, and through a deep commitment toaudience inclusion, brings a fresh perspective toclassical music. Since their inception in 2010,PUBLIQuartet has been dedicated to presentinginnovative programs spanning music from the classicalrepertoire to contemporary works, original compositions,and open-form improvisations that expand the role andtechniques for the traditional string quartet. It wasrecently announced that they will hold the prestigious titleof Quartet in Residence at the Metropolitan Museum ofArt for the 2016-2017 season. PUBLIQuartet was namedthe "New Music/New Places Ensemble", and awardedthe Sylvia Ann Hewlett Adventurous Artist Prize at the2013 CAG Victor Elmaleh Competition, and wasrecognized by CMA/ASCAP with the 2015 Award forAdventurous Programming, for their outstandingprogramming of contemporary classical, jazz, and worldchamber music. PUBLIQuartet's original program,MIND|THE|GAP, which was heralded as "ingenioushybrids" by Strad Magazine and "innovative musicmaking without any condescension or compromise" bymusic blog "Feast of Music", touches on deeperconnections between traditional, modern andcontemporary music by juxtaposing compositions fromdiverse genres through improvisation and groupcomposition. Their commitment to supporting emergingcomposers inspired the development of their innovativeprogram, PUBLIQ Access. PQA is a genre-independentprogram designed to promote under-represented musicfor the string quartet and supports composers at themost formative point in their careers. The quartet hasperformed in a diverse range of venues from CarnegieHall and Lincoln Center to SubCulture, and the DetroitInstitute of Arts and Rockwood Music Hall. They havebeen presented by such organizations as The AmericanComposers Orchestra, Great Lakes Chamber MusicFestival, Queens College, Music of Now Marathon atSymphony Space, and The Under the Radar Festival

presented by the Public Theater. PQ recently releasedtheir debut album which was produced and engineeredby Q2 Radio's Alex Overington and Nadia Sirota.

Nick Revel, viola (see PUBLIQuartet)

Erin Rogers is a Canadian saxophonist and composerbased in New York City. Her works have been performedby the Lost Dog Ensemble, IKTUS, Project Fusion,Anubis Quartet, Stony Brook Contemporary ChamberPlayers, and Madrid's Tribuna Sax-Ensemble. She hasplayed with International Contemporary Ensemble (ICE),Music from Copland House, Lost Dog, mise-en, andPRISM. Erin is co-artistic director of the experimentalperformance ensemble, thingNY, founding member ofthe New Thread Saxophone Quartet, and core memberof IKTUS Combo, a 4-piece chamber ensemble ofsaxophone, electric guitar, piano and percussion. In2013, Erin was awarded a Jerome Fund Commissionfrom the American Composers Forum for Mother Earth,a work for flute, sax quartet and electronics, that shepremiered with the New Thread Quartet at Carnegie Hallin June, 2014. Her work Trajectories was performed forNew York City Mayor Michael Bloomberg in 2013 andfeatured at the 2015 Ecstatic Music Festival. Erincompleted undergraduate studies at the University ofAlberta and received Masters Degrees in compositionand performance from Bowling Green State University.www.erinmrogers.com.

Composer and violist Hannah Selin juxtaposes acousticinstruments with electronic sounds, field recordings andrecorded interviews to imagine new and unlikely spaces.Hannah brings new music to life in performancesthroughout New York City as a soloist and withensembles including Ensemble Mise-En and AEONMusic Ensemble. Her compositions include soloinstrumental and chamber music with and withoutelectronics; songs; music for dance; one work for fullorchestra; and sound installations. Hannah received herBachelor of Music in Viola Performance and Bachelor ofArts in Comparative Literature from Oberlin College andConservatory, where she studied with Karen Ritscher.Hannah has studied composition with Wang Jie andMissy Mazzoli, and sound art with Julia Christensen,Tom Lopez and Paul Dresher. Hannah performsfrequently as a vocalist and violist with her bandGADADU, which she co-founded with pianist-composerNicki Adams in 2013. Hannah was selected asComposer-In-Residence with the Brooklyn CollegeOrchestra for the spring of 2016.

Matt Shamrock, percussion (see Transient Canvas)

Called a "cello innovator" by Time Out NY, MadeleineShapiro presently directs ModernWorks and performsas a solo recitalist throughout the United States, Europeand Latin America. In addition to her recital work,Madeleine has been in residence at numerousinstitutions where she has presented masterclasses and

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workshops. Her work has been called “focused andcohesive” (Time Out New York), “powerful andcommandingly delivered..." The Strad (UK) and "playedwith great skill and sensitivity..." The Washington Post. Awards include: three Encore Awards from the AmericanComposers Forum, and a Barlow Award, all to assist inthe presentation of new works; First Prize in AdventurousProgramming awarded by ASCAP Chamber MusicAmerica. She has been a three time Visiting Artist at theAmerican Academy in Rome and directs theContemporary Music Ensemble at The Mannes Collegeof Music. Her two solo CDs, Electricity: works for celloand electronics and SoundsNature: works for cello andelectronics appear on Albany records. She has alsorecorded for Naxos, New World Records, C.R.I., Mode,SEAMUS and HarvestWorks.

Saxophonist Jeff Siegfried combines a commandingmusical presence with “beautiful and delicate playing”(Michael Tilson Thomas) to deliver “showstopperperformances” (Peninsula Reviews). Siegfried hasreceived first prize at the Luminarts fellowshipcompetition and the Frances Walton Competition. Hewas runner up in the Carmel Music Society Competition,the North American Saxophone Alliance QuartetCompetition, and the Music Teachers NationalAssociation Chamber Music Competition. Siegfried hasappeared as a soloist with the University of PortlandWind Ensemble, the Oregon State University WindEnsemble, and the U.S. Army Band “Pershing’s Own.”His orchestral ensemble credits include work with theChicago Symphony Orchestra, the New WorldSymphony, and the Schleswig-Holstein Musik Festival.Siegfried has performed with the Fonema Consort,Trikaya, the ECHO Klassik winning Casal Quartett. Hissaxophone quartet, the Estrella Consort, has performedfor diverse audiences around the world, from Ecuador toTennessee.

John Smigielski is a percussionist currently based inBuffalo, NY. He is a passionate advocate for new music,with a particular focus on emerging composers. Hisinterest in interdisciplinary collaboration has led him towork with dancers, poets, and visual artists. Currently,John performs with Ensemble Suplex, the BuffaloPercussion Collective, and was a founding member ofEighth Nerve Digital Music Ensemble. He also performswith BuffFluxus, an Avant-Garde ensemble whichperforms in the Fluxus tradition of the 1960s as well ascontemporary fusion of music, visual art, poetry, andvideo. John has performed with Ensemble Signal,Talujon Percussion Group, electronic music pioneer EmilSchult, and Hans Tammen’s Third Eye LaptopOrchestra. Additionally, he has performed at June inBuffalo, and SUNY Conference on InstructionalTechnology. John is currently pursuing his M.M. degreeat University at Buffalo.

Hailed as a "fine soloist" (NY Times) and a "stand out"(The Boston Globe), percussionist Bill Solomon

performs with Ensemble Signal, having appeared atLincoln Center, Tanglewood, LA Philharmonic,Guggenheim, Miller Theatre, Big Ears Festival, June inBuffalo and the Stone. He's worked composers includingSteve Reich, Helmut Lachenmann, Oliver Knussen,Georg Friedrich Haas, Unsuk Chin, Roger Reynolds,Brian Ferneyhough, Charles Wuorinen, Hilda Paredesand Michael Gordon. He performed the solo vibraphonepart for Pierre Boulez's Répons in collaboration with theLucerne Festival, IRCAM and EnsembleInterContemporain with Mr. Boulez as conductor. Heappeared with the Liz Gerring Dance Companyperforming Michael S. Schumacher's solo percussionscore for Horizon. Other solo appearances have includedthe New York City premiere of Unsuk Chin's DoubleConcerto, Harvard University, Victoriaville Festival, andas featured soloist at SEAMUS National Convention. Heperformed at BAM Next Wave Festival with DawnUpshaw, Gil Kalish and Talujon Percussion. Mr.Solomon has also performed with Hartford Symphony,Alarm Will Sound, Talea Ensemble, Wet Ink, AmericanModern Ensemble, Sound Icon, Callithumpian Consort,Yale Repertory Theatre and Philadelphia Chamber MusicSociety. His recordings can be found on HarmoniaMundi, Mode, EUROArts, Cantaloupe, Naxos, NewWorld, Capstone, Tzigane and Equilibrium labels, thefilm score to Philip Glass' Project Rebirth.

Curtis Stewart, violin (see PUBLIQuartet)

Ann Stimson made her professional debut at the age ofeighteen as a member of the Debut Orchestra in LosAngeles, and has gone on to perform with variousensembles and as a soloist throughout the US andEurope. Although she performs both traditional andcontemporary repertoire, she has long been an advocatefor new music. Her work explores the extension oftraditional instruments and modes of performance intonew, imaginative realms of action and interaction. Sheholds an MM in flute from USC, and a PhD in musictheory from The University of California, Santa Barbara.She has received performance/research grants from theEsperia Foundation and the Interdisciplinary HumanitiesCenter for research at the Getty Center, and in Florenceand Paris. Ms. Stimson currently teaches music theory atThe Ohio State University and flute at Kenyon College.She has also served on the faculties of UCSB andWestmont College.

Yamaha Performing Artist Dr. Patricia Surman is anactive solo, chamber, and orchestral flutist. In demandas a soloist, Patricia has recently performed and givenmasterclasses in Taiwan, Korea, Canada, across Europeand the United States at esteemed institutions includingthe Venice Conservatory, Janacek Academy, the StateConservatory of Greece, Baylor University, the Universityof Nevada Las Vegas, the University of North Texas, andOklahoma State University. Patricia has been a featuredperformer and clinician for flute festivals, including theNational Flute Association Convention, Florida Flute Fair,

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Rochester Flute Fair, Oklahoma Flute Society Flute Fair,Kentucky Flute Festival and the Flute Society ofMid-South. Patricia served on faculty at the University ofMacedonia in Thessaloniki, Greece and researchedcontemporary Greek flute repertoire. Her article on IdaGotkovsky is featured on Oxford Music Online. She wasrecently featured in the International Alliance for Womenin Music Journal, interviewed in The Flute View and haspublished articles in the Journal of the NationalAssociation of College Wind and Percussion Instructorsand Flute Talk Magazine. As co-founder of DuoInteraktiv,Patricia has collaborated with computer musician ReinerKrämer, performing music for flute and interactivecomputer across the nation. Patricia joined theMetropolitan State University of Denver faculty asAssistant Professor of Flute and Director of WoodwindStudies and has previously taught at Northeastern StateUniversity, Southwestern Oklahoma State University,and Southwestern Adventist University and has heldresidencies at Bates College and the Taipei MunicipalUniversity of Education. She can be heard in recordingson the GIA and Mark Custom labels and as a soloist onthe GIA Choralworks CD series. Her debut CD, TheAmerican Album, will be released in July 2016 onCentaur Records.

Originally from Colorado, Ammon Swinbank obtainedtheir Bachelor of Music at Cornish College of the Arts inSeattle in 2014. She is currently a graduate student atNew York University under Robert Dick. Passionateabout new music for the flute, Ammon is also acomposer and currently resides in Brooklyn, New York.

Rhonda Taylor is a saxophonist dedicated to thecreation of meaningful sonic art. She has commissioned,premiered, and/or recorded music by such composers asChris Arrell, Rick Burkhardt, Ben Leeds Carson, MichaelColgrass, Nathan Davis, Ben Grosser, Bernard Rands,Justin Rubin, and Avi Tchamni. Recent activities includelecture recitals on Gérard Grisey’s Anubis et Nout atinstitutions in the U.S. and abroad, and performances atnew and experimental music festivals throughout theUnited States. Currently she is working closely withGuggenheim Award winner Steven Takasugi on a newwork for saxophonist and electronics. In recent years shehas expanded her artistic activity to include freeimprovisation. She released her first album of fullyimprovised solo music with electronic processing usingAbleton Live 9, Nocturne, in 2013. Her second soloalbum of solo improvisations, Necropolis, debuted at the#1 rank for Avant Garde/Free Jazz on Amazon.com onAugust 1, 2015. Dr. Taylor has been on faculty at NewMexico State University since 2003, where she is theCollege Assistant Professor of Saxophone and MusicTheory. Rhonda Taylor is a Conn-Selmer artist and playson Selmer Paris saxophones exclusively.https://soundcloud.com/rhondataylor.

Praised by the Boston Globe as "superb", the dynamicbass clarinet/marimba duo Transient Canvas (Amy

Advocat, bass clarinet and Matt Sharrock, marimba) hasbeen blazing its own trail in the world of contemporarymusic since 2011. In under five years, they havepremiered over 60 new works, essentially creating anentirely new repertoire for their unique instrumentation.Fearless in their programming and hungry for newcollaborations, TC has performed anywhere frommicrobreweries to Jordan Hall and actively seeks outnew composers who will stretch their instrumentation toits limits. Transient Canvas performs almost exclusivelyworks written for them. Their mission is to provide ablank slate or canvas for composers to explore whilesimultaneously making bass clarinet and marimba a newstandard ensemble. They have worked with a widevariety of composers, including well established artistssuch as Marti Epstein, Curtis Hughes, John McDonaldand Andy Vores and emerging voices such as VictoriaCheah, Peter Van Zandt Lane, Adam Roberts, and TinaTallon. Dedicated to spreading their repertoire, TransientCanvas has performed across the United States. Their2014-15 season included a featured performance on theclosing concert of the first annual New Music Gatheringat the San Francisco Conservatory, a shared recital withpianist Taka Kigawa on the Firehouse New Music Seriesin Brooklyn, and a collaborative concert with ChamberCartel and the artwork of Igor Korsunskiy at the GoatFarm Arts Center in Atlanta. Their 2015-16 seasonincludes two USA tours and a commissioning projectwith the Guerrilla Composers Guild in San Francisco. Intheir hometown of Boston, they have been featuredperformers with the Equilibrium Concert Series, NewGallery Concert Series, Open Sound, and the innovativenew Original Gravity Concert Series which pairs localcomposers with local beers at Aeronaut BrewingCompany. Transient Canvas's recording of Andy Vores'"Fabrication 10: Itch" appears on his latest CD "OneHead", released in January 2013. Their debut album"sift" will be released in Spring 2016.

Ingo Nagel from www.kazu.org wrote about BeatrixWagner: "....The warm and vivid timbre thatcharacterises her playing keeps the listener attentive atall times. Her rich and full tone has a powerful, touchingquality that is rarely to be found with other players andshe has the energy and the courage to go all extremeswith the music..." Beatrix Wagner studied flute withRichard Mueller-Dombois in Detmold (D) and withPhilippe Racine in Paris (F). She is founder of ensemblereflexion K and gives solo recitals, chamber musicconcerts and workshops on new flute techniques inEurope, North and South America and Asia. BeatrixWagner has appeared in numerous radio and televisionbroadcasts on such stations as BR, WDR, SWR, RB,DLF and DeutschlandRadio Berlin. Solo-flute-CDs:positions (2003) and Alpen-Ostsee-Spiegelung (Balticalpine reflection, 2010), both recorded with BR (Bavarianbroadcasting). Recently a new CD of the ensemblereflexion K with large ensemble pieces by Gerald Eckerthas been released at mode records.www.beatrixwagner.de.

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Ming Wang, flute (see Duo Soie Plus)

Choreographer Kim Whittam received her MFA inDance from New York University’s Tisch School of theArts, and her BFA in Dance from Montclair StateUniversity. She is currently on the faculty at MontclairState, where her responsibilities include teaching,choreographing and facilitating the newly developedlow-residency MFA in Dance. She is also on the facultyat the Capezio Peridance Center in NYC, where she hasbeen a teacher and choreographer for the past tenyears. Kim has been fortunate enough to produce,perform, choreograph and teach extensively throughoutthe country, and is happy to be working again withAngelo Bello, with whom she has collaborated on manyinteresting projects in the past.

Cheng-Yen Yang comes from Taiwan. He graduatedfrom the Department of Fashion Design, Shih ChienUniversity. As a music/sound/fashion artist andperformer, he has been focusing on discovering the newsound and materials for his compositions, in his work"Machine Product" (2013, for Real-time soundprocessing and Swelling Machine), he redefined thesound of a swelling machine to represent the depressionof textile industry in Taiwan.

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2016 Program Book corrected - NYCEMF

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