Bios, Notes & Pieces
DISContact III Competition
CD = faisant partie du CD DISContact! III
CD = part of the DISContact! III CDs
" insignificant or worse" was named after a line from a poem, written one bleak moment in early winter 2002. The song uses two samples from common household artefacts, and attempts to coax them into some semblance of joy. Joy being everywhere.
Freida Abtan is a writer and multidisciplinary artist living in Montreal, Canada. As a musician, she has played with GamTor - the Toronto Gamalan ensemble, as part of the Fletcher Valve Drummers, and as part of the electronic/tribal sound collective Psaphonique, based out of Waterloo, Ontario. Currently she is at work on a book of poems entitled, "the hands of the dancer".
Palpitation under the pulpit. The sound is water from "Fuquene" a Colombian lake that is actually dying. The original shape of the lake was a heart, but it has been contracting over time. Therefore, the first BEAT is stretched so one can hear nature groan.
The piece was composed for a Sound Installation I made for "Not in Our Name Concert", September 14-2002 at Union Chapel, London. When I'm talking about pulpit, is in reference to the one in the Chapel. I covered the space under the pulpit with speaker clothes, to create specific resonance. The sound piece was heard during intervals of the concert in loop. Due to the idea of keeping the rhythm, there are silences in between the sound piece which stretches the length.
Ximena Alarcon, Colombian New Media Artist: was born in Bogota-Colombia in 1972. She has worked with cultural processes and expressive dynamics. Her artistic work has been strongly influenced by community expressive experiences with young people in Bogota, and workshops, exhibitions and concerts, with new media and sound artists in Barcelona, Bogota and London. She has developed individual works such as Metro CD Rom Multimedia 1998, A-Z Sound Installation 1998, Landscape Sound Diffusion 6 speakers 2002, Beat Electroacoustic Composition for Sound Installation 2002.
Interrupted Chatter is a short electro-acoustic piece investigating the potential results of cracking language from its codified symbolism to hear what might lie underneath. Communication through spoken language takes place on many levels and the shared meaning in words is merely one. Here my paraphrase of the Hindu saying 'you seek too much information and not enough transformation' is compressed, broken apart, then set in relief against itself in an attempt to reveal what subtext may exist therein.
N.B.Aldrich is currently completing his Masters of Fine Arts degree in Electronic Music at Bennington College where his work focuses primarily on realizing text and in strategies for gleaning audio and video compositions from field recordings. For the previous fifteen years he has worked as a theatre director and as a composer and sound designer for theatre, dance, video and television. Current projects include a showing of electronic works for 4-point audio and for television upcoming at the University of Maine and preparation of an interview-based web publication on the sound art and artists for the Electronic Music Foundation. Recent collaborations include works for dance with choreographers Keith Thompson and Brendan McCall.
"Sea Spirits" is inspired by stories of mythical creatures prevalent in the seas around the Queen Charlotte Islands. As one listens to the sound of the ocean one also hears - buried within the water - voices of the ancient spirits.
"Sea Spirits" draws its sonic material from the soundscape of the Canadian West Coast, specifically from the surrounding regions of Vancouver and the Queen Charlotte Islands.
Kristi Allik has received degrees from Toronto, Princeton, and University of Southern California. Her awards include Canada Council and Ontario Arts Council grants, Bourges, and Ars Electronica. Allik's works include electroacoustic music, multimedia works, orchestral works, opera, and chamber music. Her compositions have been performed in Europe, U.S.A., South America and Canada. She is currently Director of the Electroacoustic Music Studios at Queens University.
"Ethnography?" stemmed from a web based project initiated by C-sound developer John Ffitch (University of Bath). Participants used sound materials collected by Ffitch at the 2001 ICMC conference in Cuba. Ethnography? is an exploration of the use of phasing and spatial relationships in a stereo image. The piece will be included in a portfolio of submissions for Mphil/PhD work at Dartington College of Arts.Country of origin: United States
10 years independent musician - experimental guitarist/vocalist/songwriter
2 self produced solo CDs released 1996 and 2002, release pending 2003.
MA w/ Distinction Dartington College of Arts 2002
Full time scholarship, MPhil/PhD, Dartington College of Arts, (2002-2005)
ORS award recipient in music 2002-2005
Cette pièce a été composée pour le concours Phonurgia Nova 2001]. Le principe était d'utiliser au moins un des extraits d'archives radiophoniques proposés par les organisateurs. Un enregistrement de Jean-Paul Sartre a immédiatement attiré mon attention, car il évoquait une question fondamentale : la violence. J'ai exploré cette notion musicalement via des variations (dégradations, améliorations ?) par transformation, au moyen de contrastes dynamiques et spatiaux, ainsi que dans le discours et la relation au support.
Roald Baudoux (1970). Formation en techniques de son, puis études de composition électroacoustique (acousmatique) avec Annette Vande Gorne (CRM de Mons, Belgique) et Christine Groult (ENM de Pantin, France). Des idées schaefferiennes, c'est avant tout le projet de "musique la plus générale qui soit" qu'il retient. Outre ses activités de composition (musiques de concert et d'application, installations), il mène d'autres activités professionnelles, telles qu'enseignement et journalisme, et ce toujours dans le domaine des musiques électroacoustiques.
Lamentus (for robert cogan and pozzi escot) is a computer generated work which is a part of my "Portraits: Computer Generated" series. This work - which is made with purely electronic sounds (i.e. no sampling of acoustic material) - is a reflection on long ago life changing events for me which will perhaps forever remain unfinished.
Paul Beaudoin is a Boston based Composer/Theorist born in Miami, Fl. of French-Canadian descent. He is on the faculty of Northeastern University and the Boston Conservatory where he teaches theory, composition and music history. He received his Ph.D. in Music Theory and Composition from Brandeis University for his work on rhetoric and Beethovens Third Sonata for Cello and piano.
Distorturing the Prophet uses a variety of sounds from basically unrelated sources. It derives its name from one of those sources, a KORG Prophet on loan, which I took great pleasure in wrenching, twisting, grinding, distorting and, well, torturing. She clearly enjoyed it, and I miss her greatly.
Nik Beeson is a writer, performer and producer of sonic theatre, prose and poetry, and music ranging from grunge folk to electronica to improvs exploring evolutionary theory. He also conceives digital throughfares, directs digital traffic, and collaborates to develop intelligent systems of information distribution. Nik derives huge satisfaction from mashing, melting, melding and sculpting apparently unrelated sound sources. The results of these largely unplanned surgical improvisations have proven to be unexpectedly intimate and expressive.
Noise-space, completed during November 2002, presents a dialog between sounds which may be perceived as "heavy" or "light," based on their amplitude, duration, and spectra. These qualities determine how sounds are permitted to move about the acoustic space; while heavier sounds usually remain more localized, lighter ones may move and accelerate more quickly within the stereo environment. The works brevity represents a break from the composers usual tendency toward slowly evolving environments.
Michael Berkowski is pursuing graduate work composition at the University of Minnesota, where he studies with Douglas Geers and Alex Lubet. His acoustic and electroacoustic works most often focus on our perceptions of sounds in time, favoring droning pitches in absence of the temporal "landmarks" we typically use to determine form.
Electriclip is Chris Bird, a musician, sound and video artist, based in Birmingham, England. Chris uses various techniques including sampling, sound manipulation and live instrumentation to create the unique and experimental sound of electriclip.
Chris has just completed a commission for an art radio station under the name Autonomy group no 7, an artist/musician collective he formed earlier this year, and is currently looking for a means of distributing his work.
A Few Moment's Peace (2002) refers to both the desire for and experience of personal and political peace. It was inspired by my experience of praying in a Synagogue during the Jewish High Holidays, and my recent memories of a world less involved in Terrorism and War. It was composed using Sawtooth, Sine, Square and Triangle waves transformed with an editing tool, a prolonged low piano timbre, MIDI files, and a recording of a Peace Prayer in Hebrew.
Scott Brickman (b. 1963, Oak Park, Illinois) holds a B.M. from the University of Wisconsin and a Ph.D. in Music from Brandeis University. His music has been performed throughout the United States as well as in Brazil, Portugal, the UK and Yugoslavia. He is an Associate Professor of Music at the University of Maine at Fort Kent. Brickman's Sketches of Maine (1999) is recorded by pianist Jeffrey Jacob and available on New Ariel CD AE 005.
Baby Nest (August 2002) features a chorus of embryonic life-forms huddled at the nether reaches of light and sustenance. Though their presence is virtually undetectable, their survival bears direct consequence for all life.
Under the moniker of Future Brown, composer Melissa Grey merges her classical training with a broad palette of retro and cutting-edge technologies, including acoustic instruments, electronic and analog media. In January 2002, the artist/anthropologist Dan Rose commissioned Brown to compose music for Farewell to Earth, a large-scale installation site-specific to the Merwin and Wakeley Galleries at Illinois Wesleyan University. Vertical Terrain (September 2002), the subsequent collaboration between Rose and Brown, was included in the group show "I Want to be Part of the Scenery" at Nexus Gallery in Philadelphia. Grey lives in New York City.
"Prayer (for John Pierce)" was composed for the memorial service at Stanford University's CCRMA of one of the 20th century's greatest engineers, John Pierce who died in 2002. Pierce, best known for inventing the transistor, made enormous contributions in the fields of satelite communications and digital music. The composition is made from a single strike on the body of a physical model singing ("prayer") bowl by Stefania Serafin. The physical model bowl allows the shape and material properties to be altered continuously as it resonates. In "Prayer", the bowl undergoes continuous transformation, seeking modal harmonicity.
Matthew Burtners music and sound art explores ecoacoustic processes, and extended polymetric and noise-based musical systems. He is currently Assistant Professor of composition and computer music at the University of Virginia where he is Associate Director of the VCCM Computer Music Center. A native of Alaska (b.1970), he studied philosophy, composition, saxophone and computer music at St. Johns College, Tulane University (BFA 1993), Iannis Xenakis's UPIC/CEMAMu (1993-94), the Peabody Institute of the Johns Hopkins University (MM 1997), and Stanford University's CCRMA (DMA 2002 forthcoming). He has been composer-in-residence at the Banff Centre for the Arts, Simon Fraser University in Vancouver, and the IUA/Phonos Institute in Barcelona.
Burtner has received numerous prizes and grants for his work including first prize in the 2000 Musica Nova Internation Electroacoustic Music Competition. His music has been commissioned for performers such as the Spectri Sonori Ensemble, MiN Ensemble, Phyllis Bryn Julson, the Peabody Trio, Ascolto, Ensemble Noise, Haleh Abghari and others. His commercial recordings include Incantations on the German DACO label (DACO 102), Portals of Distortion, on Innova Records (Innova 526), and Arctic Contrasts, on the Norwegian Euridice label (EUCD 012-2000).
De l'ombre des souterrains, vers la lumière des hauteurs. Des écritures enfouies du passé vers l'éphémère du passage du temps. Ce panoramique au travers des croyances et quelques unes de leurs manifestations, comme un chant continu.
artiste sonore, auteur radio
Vit à Montréal… travaille comme artiste indépendant… explore les modalités de l'audible… contextes de l'écoute… mise en espace des formes sonores… s'intéresse à l'art radiophonique et aux formes sonores narratives… espaces acoustiques et dramaturgie spatiale… fabriquer du sens… son travail explore le thème du temps…
Free-lance artist… lives in Montreal… exploration of the listening experience… sound shapes projection… listening contexts… interest in the narrative forms through sound… writes for the radio medium… acoustic space and spatial dramaturgy… present work focuses on the idea of time
To listen to the sound of leaves falling always makes us a little sad.
Autumn has arrived! In this piece I have tried, playing a little, to build " images of sound" : with the same emotions. The clarinet has been used: for its versatile timbre, in the harmonic part; not tranquil and mysterious, in the bass register. The electronic sounds are related to the instrument, in so much as they develop counterpoint styles in the bass register, and glue- like aspects like harmonic strips to sustain the leaves too.
The piece tells through the various phases, the epilogue.
THE ELECTRONICS SOUND
00.00 - 00.49
Random freezer sound
Melodic pedal sound
Random freezer sound
Four nodal input:
The composer has the pleasure to thank Carmelo DellAcqua.
Carmelo Dell'acqua, clarinet
Rita Amore, dry leaves
Carlentini completed his studies in piano and took his final diploma . He also completed his studies in Electroacoustic music with Alessandro Cipriani. He has studied composition and he has attended several masterclasses with E. Morricone, K. Stockhausen, B. Truax etc.
Mr, Carlentini’s music has been selected and performed at various festivals: "Corpi del Suono" (L’Aquila, 1998), at various musical events, in collaboration with the University, the "V. Bellini" Istituto Musicale and Theatre Massimo (Catania 1999/2002), "Musica Verticale" (Roma 2000), "Paz Para Viequez" (Puerto Rico 2000), "Universidad de Chile" (Santiago del Cile 2000), "International Computer Music Conference" (L’Avana 2001), "Maxis Festival/Symposium" (Sheffield, England 2002), "Cycle concerts de Musique par ordinateur 2001/02" (Parigi 2002), "32° Festival Sintyhese" (Bourges 2002), "Seoul International Computer Music Festival" (Seoul 2002), "The Ninth Biennal Symposium on Arts and Technology" (New London, CT USA 2003).
Furthermore he has collaborated as a composer with video makers resulting in the production of two videos, projected at "Suonimmagine" (Catania 2000) and "Senza parole immagine e musica" (Parma 2001).
Mr. Carlentini won second prize at the XXIInd International Competition "Luigi Russolo" (Varese 2000), Honorary Mention at the International Electroacoustic Music Competition "Musica Nova 2001" (Praga 2001) and finalist at the 29° Councours International de Musique et d’Art Sonore Electroacoustiques (Bourges 2002).
His pieces have been published by Ars Publica label, Fondazione "Russolo-Pratella"/ C E C M, ICMC 2001, Suvini Zerboni and Society for Electroacoustic Music.
Oceangreen of Shadow is based only on the opening text of the Siren chapter of Ulysses by James Joyce, which is narrated by Bob Shechtman, composer-in-residence at Grand Valley State University. This piece is developed from clearly identifiable text or syllables to unrecognizable text or syllables. The opening first minute functions as a prelude to the entire piece in the same way as the text used functions in its chapter.
Chin-Chin Chen, composer, teacher, and Director of the Grand Valley State University Music Technology Center, joined the music faculty in 1999. She holds the degree D.M.A. in Composition/Theory, the degree M. Mus. in Music Theory, as well as M. Mus. in Piano Performance at the University of Illinois (Urbana/Champaign), and the degree B. A. in Social Work from Fu-Jen Catholic University in her native Taiwan.
Three different naturally occuring sounds are used in the construction of Triptych. All sounds are associated with dining. Each sound occurs in its true form at least once. The exact sound descriptions are left as an exercise for the listener. Triptych is the result of a "can you do this in a week? kind of dare"...to compose a piece of more than one minute using three sounds disguised and unrecognizable.
Darlene Chepil Reid is a undergraduate music student at Lakehead University and has studied composition with Aris Carastathis. Her compositions have been performed by many artists including the Thunder Bay Symphony Orchestra, the Lakehead University New Music Ensemble, and her electroacoustic works have been performed during the New Music North Festival in Thunder Bay and Groundswell Concert Series in Winnipeg.
Donisi is a Greek word meaning oscillation, jolt, or vibrancy and is an apt description of the rhythmic motifs present throughout the piece. The work was created algorithmically using MAX and its orchestration was inspired by the "metal, wood, skin, and plucked" timbres and tone colours of Pierre Boulez's Phi Selon Pli - a vocal-instrumental work of improvisations based on the poems of Mallarmé.
Alison Chung-Yan (Trinidad, 1971) is a composer and media artist based in Ottawa, Canada. Classically trained in piano performance, she also holds a diploma in Sonic Design from Carleton University and a degree in Electrical Engineering from the University of Waterloo. She has scored music for independent short films that have premiered at the National Arts Centre and on the WTN television network, and is currently creating interactive sound art installations for galleries and the Internet.
Gustav Ciamaga - Possible Spaces no.6 - 4:02 (2001) SOCAN - CD
Possible Spaces no.6 is one of a continuing series of electroacoustic journeys through various compositional spaces. Composed in February 2001, the work is dedicated to my colleague Christos Hatzis.
Gustav Ciamaga, Professor emeritus, Faculty of Music, University of Toronto, is an honorary member of the Canadian Electroacoustic Community.
Comme le suggère le titre, cette courte pièce commence de façon très régulière, de façon inexorablement mécanique et cet ordre est progressivement remplacé par l'irrégularité, l'imprévisibilité, le chaos. Opposition classique entre l'univers machinique et le foisonnement de la vie et de la nature.
Tous les sons proviennent d'enregistrements de séquences-jeu réalisées avec quatre bouteilles en plastique.
Né le 4/5/49 à Léopoldville (ex-Congo Belge).
Etudes de biologie à l'Université Libre de Bruxelles (obtention d'une licence).
Etudes de peinture et sculpture à Bruxelles. Expositions diverses.
Réalisation de trois ouvrages consacrés aux techniques de la sculpture.
Entreprend des études de Musique Electroacoustique à Musiques et Recherches, à Ohain, depuis 1999.
Rostock est une ville portuaire située sur la mer Baltique, dans la partie est de l'allemagne. Etude Rostock est une simple et courte évocation de cet étrange et fantômatique pays qu'était la République démocratique Allemande. La pièce s'articule autour d'extraits d'un fameux et étrange discours de l'ancien président de la RDA, E. Honnecker.
- né en France en 1971. débute ses études musicales à l'âge de sept ans par l'étude du hautbois, du saxophone et de la guitare classique.
- Etudie la direction d'orchestre à l'Ecole Normale de Musique de Paris (professeur Dominique Rouits)
- Classe de composition, harmonie et contrepoint au Conservatoire international de musique de Paris (Diplôme de composition 1992) (professeur Françoise Levechin)
- Etudes de musicologie à l'université de Paris IV-Sorbonne
- Participe à l'académie d'été 1996 de l'IRCAM (institut de recherche/coordination acoustique/musique Paris)
- Diplôme d'arts et techniques sonores à l'Ecole Nationale de Musique de Bourges
- Classe de composition électroacoustique de l'Ecole nationale de Musique de Bourges : Diplôme d'études musicales (1er prix) en composition mixte, et Diplôme d'Etudes Musicales (1er prix) en composition électroacoustique de studio (professeur Roger Cochini)
- Classe de composition électroacoustique et informatique musicale du département Sonvs du Conservatoire National Supérieur de Musique de Lyon (professeur Marco Stroppa)
- Récompenses : Prix de da SACEM (Société des auteurs, compositeurs et éditeurs de musique) des lauréats en composition des conservatoires, Prix du concours international de composition électroacoustique de la fondation Russolo (italie)
The soundtrack Illusion consists of an audio-composition. Illusion deals with the relationships between communication and perception, between the spoken words and the visual. The voice can convey impressions of emotional phenomena, applying psychological and verbal techniques in order to arouse emotions in others and stimulate the imagination of the audience. I want to develop thinking spaces whose principal interest is the relation of the sound to its modes of representation.
Studied at the Hellenic College of Music and Athens School of Fine Art, and undertook research at the Ecole Nationale Superieure des Beaux Arts in Paris and the Slade School of Fine Art. Multimedia artist predominantly engaged with the properties of sound, colour and space. Recent installations at Huddersfield Art Gallery, UK and Collective Jukebox, Mamco Museum, Geneva. Has published four CDs and 7 vinyl editions. Work in public and private collections worlwide.
O. de Lanzac - Jeux damour (étude 1) - 3:55 (2000)
This piece was performed written and produced by the artist and is from a collection of French songs. It's music which should be out there for people to listen to, enjoy and find their own experience of/to.
O. de Lanzac (London, U.K.) is a French House music producer and is currently creating mood generating atmospheric music, the genre a.k.a "Chillout". The artist also DJs underground dance music, specializing in the West Coast sound.
All the sounds were recorded in the open air in Ayr Scotland, no computer involvement and the shortest piece I have ever written!
Here is one day compressed into two and a half minutes!
Born 1948. Read Philosophy, Politics and Economics Queen's College Oxford in 1960s. Studied electronic music Morley College London in 1970s. His piece 'Hannele Overture Parts 1 & 2' can currently be heard on http://cec.sonus.ca/Radio/Long/Long.html His piece 'Winter' was played at Bourges Festival International des Musiques et Creations Electroniques 31 May - 9 June 2002. www.imeb.net/english/2002/festival/saisons/liste.html and his piece 'The Shout' has been selected for Bourges 2003.
Your 3 minute Mardi Gras is a rapid-fire portrait of New Orleans' 2001 Mardi Gras. My aim is to preserve the meaning and the melody of speech, as well as unearth the unintended polyphony of the event. No layering, overdubbing, or time juggling, just lots of aggressive old-fashioned linear 2-track (left and right channel synchronous throughout) editing.
Christopher DeLaurenti (1967-2071 USA) is a composer, improvisor, phonographer, and music writer. About his work, he writes, "My music, the offspring of my love affair with sound, incorporates murky atmospheres, unusual field recordings, everyday speech, and an array of instruments deployed in maniacal recombinant polyphony." His music resides at http://www.delaurenti.net/ along with music-related essays and other resources of interest to adventurous musicians.
To me, the sound of a ciné projector is evocative of childhood memories. It evokes positive recollections, pleasing images of youth, memories of happy times, but it is a sound that is ingrained in a different era. This composition explores the physical sonic world of the projector and the imaginary sonic images of landscapes held within.
Paul Dibley is a Lecturer in Music and Director of the Electroacoustic Studios at Oxford Brookes University, UK. Paul gained a distinction in his MA in Digital Music Technology from Keele University in 1996 and is in the processes of completing a PhD in composition with Professor Jonty Harrison at the University of Birmingham, UK.
His work has been performed both in Europe and in America and includes Thalis which received a mention at the 26th International Electroacoustic Music Competition, Bourges, France.
twinkle is an electroacoustic work utilizing recordings of a disklavier and a young childs vocalization of a familiar nursery rhyme. The vocal elements of this composition "twinkle" in and out of the soundscape creating a playful mingling of both sound worlds.
Patricia Lynn Dirks (1972) is a Canadian composer. She earned her Master of Music degree in composition, with a special emphasis on electroacoustic music, from the University of Calgary. Ms. Dirks has won various awards for her compositions. She enjoys creating works that involve the integration of computer music and acoustic elements.
In 'snowdrum' I utilize a small number of sound sources to their maximum potential. We are exposed to the world of snow and the world of drum. The two worlds merge for a while and dance with each other. The drums cease. we are left in the world of snow for a short while, but a transformation has taken place. With tghe closing of the piece we have entered a new sound world...
Ruth Duckworth studied with Frank Denyer and David Prior at Dartington College of arts. She is currently studying for an M.A. at Huddersfield University. She is interested in collaborating with artists from other at forms. She is currently working with dance practitioner Lati Saka on a movement and sound piece which will be performed at Huddersfield's 'Elecric Spring' Festival.
SEND traverse l'espace aérien chargée de l'émotion qui habite nos vies.
Elle est tantôt vive, tantôt calme, inconfortable ou sereine mais jamais indifférente.
SEND fut composée à la demande de Cinimage, maison de production télévisuelle de Moncton, pour la série télé Artistes dans l'âme. Cette pièce fut inspirée par le travail de la chorégraphe Gwen Noah (Nouvelle-Écosse).
Artiste sonore et de la radio, compositrice, Chantal Dumas oeuvre dans le domaine sonore. Depuis 1993, elle a conçu et produit plus de 25 oeuvres qui explorent de nouvelles possibilités de narration. Ses pièces sont diffusées sur les ondes des radios publiques à l'étranger et au Canada et lors de festivals internationnaux.
Son travail a été récompensé. A Écouter sur cd chez Ohm Éditions/Avatar, (Qc, Qc) et 326music (France).
This piece is intended for children and for adults who are young in spirit. As its title implies, it tells a short story using sonic material. The actual plot of this tale is left to the listener's imagination. My own version begins as follows:
A strange thing happened to me the other day.
I was walking on my own. Layers of fog were swirling around me.
Suddenly, I heard a distant howl ...
Rajmil Fischman (b. Lima, Peru, 1956). He is a Reader and Music Technology Programmes Director at Keele University, where he established the MA/MSc in Digital Music Technology and a Computer Music Laboratory. He was artistic director and principal conductor of the Keele Philharmonic Society (1990-1995), director of music (1998-2000). His main activities focus on instrumental and electroacoustic music composition, electroacoustic music theory and music software development. His compositions are regularly performed and broadcast worldwide.
This piece was made at home, with a basic midi software and various samples of natural and electronic sounds, wroughts with sense and with coincidence.The sense of the work was finded at the same time the chance were made... The time and the space of a hunting party, the insanity and the sanity of the actions of men...
I was born and live in the South of Spain, I am not a musician, I am only a writer who works with the graphic art and loves the painting, but for this reasons I understand very well the nature of the sound art, and the way of music. So, I am on the way
Muse is a short work created entirely from samples of a pencil and paper. As the sound was processed in SoundEdit16, the digital aliases that resulted were separated using Soundhack and mixed with the original samples in ProTools. Thus, the "muse" which inspired the work is the actual sound representing the muse depicted within the work itself.
Robert Frank was born in 1961 in Mankato, Minnesota, USA and received his Doctorate in Composition at the University of North Texas. His music has been selected for numerous performances on conferences by ICMC, SCI, CMS, SEAMUS and has received awards from ASCAP, the Civic Orchestra of Chicago, Theodore Presser/Ithaca College. He is an Assistant Professor of Composition and Theory at Southern Methodist University in Dallas, Texas.
An acoustic "roaring wind" sound occurs in the beginning of the song, yields to the other acoustic sounds, and then eventually to pure electronic sound. The flute improvisation is first slow-moving, accelerates, and then is transformed into cascades created with a computer list-sorting algorithm. The same algorithm generates a series of cascading granular pitches that complement those of the flute and bird. In the end the song returns to a pure acoustic birdsong response.
Judy Franklin is an Assistant Professor of Computer Science at Smith College, in Northampton, MA U.S.A. Along with courses in the regular computer science curriculum, she teaches a seminar on digital sound and music processing. Her computer research area is using recurrent neural networks and reinforcement learning for improvisational time series. She has a special artistic interest in using computer science algorithms, designed for analytic/scientific purposes, to manipulate sound and create electro-acoustic music compositions.
"CS" was produced in 2002 in my private studio by using Eduardo Reck Miranda's Chaosynth and also with SuperCollider. Most of the piece uses granular synthesis and in many cases, driven by cellular automata, taking advantage of the Chaosynth features.
MARTIN FUMAROLA is one of the most internationally performed composers of electroacoustic music from Argentina. He has been a Composer in Residence in the LIEM-CDMC Studios in Madrid, Spain, and in the "Theremin Center for Electroacoustic Music and Multimedia" in Moscow, Russia. For several years, he was an Associate Composer in the LEIM Studios of the University of Cordoba. His electroacoustic music is available in CD releases produced in Malaysia, Russia, Argentina, the USA, and Canada
per Carlo GiulianiBorn in Cagliari (Sardinia) 1959. At the moment is involved in electroacustic and in a speculation upon the concept of the so called "improvisation".
As composer he is particularly interested in studying means of expressions such as gesture, visual images , movements and verbal language in an attempt to give life to theatrical and visual music, which forsee the use of multimedial techniques and live technologies.
Demons is a brief computer music setting of a poem of the same name by New York poet Guillermo Castro. All sounds in this piece are derived from a recording of Mr. Castro reading his poem.
The text to the poem Demons is:
They wake me before morning
To partake in their weary arguments
Regarding my inadequacy
In just about everything.
For emphasis they twist and tug
At my back muscles
As if I, too, ought to know what it`s like
To sport reptilian wings.
Praised for its "shimmering electronic textures" (Kyle Gann, Village Voice), the music of Douglas Geers utilizes technology extensively, often in multimedia contexts. Mr. Geers' works have been performed worldwide, and he has won many grants and awards, including a Fulbright Scholarship, a 2001 American Composers Forum Composers Commissioning Project prize, and others from sources including Meet the Composer, ASCAP, and the Mellon Foundation. His works have been recorded on the Innova and SEAMUS labels. He teaches composition and electronic music at the University of Minnesota, Minneapolis, USA.
The Liberation of Europe was composed 2001 for Phonurgia Nova, France. The material for this piece consisted solely of the voices of prominent politicians and important individuals - such as Nelson Mandela, Jean-Paul Satre, Pelé, Boris Jelzin, Mao Tse-Toung, Eisenhower, Jean Gabin, King Baudoin and others - spoken in very important moments in history of the 20th century. Although each single one utters words that weight heavy and reach far, together they start to s(w)ing.
Thomas Gerwin (*8.2.1955) is a classically educated composer and musicologist and came into the field of electroacustic music very early. Later he intensively worked with soundscape composition. Today he creates inter media works, sound and video installations and composes for radio and concert performances - with and without instruments. He is director of inter art project - studio for media art. His works are released worldwide on 14 CDs and has won some international prizes.
Made from sound material recorded at an outdoors market in Havana Cuba by John Ffitch for the 'Money Project'. I tried to use as much of the inherent musicality of the original sounds as possible. The voices had an amazing quality, sad and strong and tired from repetition and the daily tourist circus. Well, this proud sadness generating strength and still sounding beautiful and foolish is what inspired me the most.
Stelios Giannoulakis born in Athens Greece, 1971. MA in Digital Music Technology, Keele; Ph.D. in Electroacoustic Composition, Bangor. He is working mainly with music for Tape and free Improvisation. Collaborations leading to works with video, music for theatre and installations. He has been playing with various bands in Greece and the UK. His music has won international competitions and is being regularly performed at international festivals and conferences as well as on the radio.
The origins of this instrumental were from an improv session involving two analogue synthesisers and a drum machine. Since then, it has been mixed with another sequencer and a log-drum. There was a characteristic about this composition, that was to suggest a possible soundtrack for a surreal intergalactic cartoon, involving a couple of dysfunctional alien teenagers, experiencing what manual pilot is all about with the latest version of a sporty Mach-1000 on overdrive.My formal interest with electronic music began about twenty years ago, as a supportive back drop for ideas that were occurring with my poems and monologues for public performances. The basic orientation, in the interest of my audio art and its direction, is with the phenomenon called synaesthesia: by which the excitement of vision can occur with sound and the exponents of sound. Like a painter, my audio work is studio oriented. Where the compositional arrangement of my analogue recordings are later enhanced by the use of a software program.
The combination of my music interests and performance experience has contributed to local theatre, providing soundtracks for the interpretation of Claude Gauvreau's La Jeune Fille et la Lune ('98 and '99) for Radio - Canada and Metamorphose-Theatre, and Les Ateliers L'Aquarium et le Globes' production of Jonas ( Monument-National (Dec. '99) here in Montreal. I have a formal international release as a co-composer with Horizon 222 ( aka Zoviet France/ (Spirit Level) Midsummer's Night Dream England '93 ). Currently completing an anthology of my audio art co- produced with PRIM centre d'arts mediatiques and developing an independent label.
The title plays with the ambiguity of the word: referring to both the act of fleeing and of flying and the synonym for a set of stairs. The composition was entirely derived from only two recordings: the interior of a passenger aircraft landing in Bahrain and the composer running down an office building stairwell. Commissioned by the CBC as a reflection upon Sept. 11th, 2001. Completed August 2002.
Martin Gotfrit teaches at the School for the Contemporary Arts, Simon Fraser University where he currently holds the position of Director. His work in electroacoustic music began in 1970 at both Concordia and McGill University where he studied with Keven Austin, Bengt Hambraeus and Alcides Lanza.
As liquid distorts and clings to the side of a glass, so frequencies morph and blend in seemingly unnatural ways, ever watchful of their origin. This work began with simple fragments of modelled electric piano, performed with my own alternate tuning. The audio was then processed many times. The aim was to extract new resonances, while promoting an organic growth of timbres, still related to the original, but often curved in unexpected directions.
John Arthur Grant is a composer, sound artist, and musician based in Melbourne, Australia. He has produced sonic installations, improvised ambient soundscapes, conducted synthesis and electronic music training and seminars throughout Asia and Australia, and composed/performed music for wide audiences. Synthesizers and treatments are chosen for their depth of expression. This work sees a continuation of his interest in nature and the unnatural, sound and un-sound.
This piece was composed with the spur of a request for a piece of one-minute duration for the 50th birthday of Jonty Harrison. One of the conditions of the submission was to take at least one sample from one of Harrison's works.
Klink......! combines two very short samples taken from his seminal work Klang with sources taken from the Javanese gamelan of Birmingham Conservatoire and wine glasses. The title seemed appropriate for a birthday piece.
Simon Hall is a composer, trombonist, producer, engineer and educationalist based in Birmingham, England. His musical interests are wide-ranging, having worked with ensembles as varied as the Royal Shakespeare Company, European Chamber Opera and the BBC Big Band; and artists as diverse as Karlheinz Stockhausen, Barry Manilow and Don Weller. This range is reflected in his composition, which draws on a cross-section of sources and styles, cross-pollinated within the electroacoustic genre.
He is currently a Lecturer at Birmingham Conservatoire, where he teaches a range of courses both in and out of the studio environment.
Tragic events continue to affect us long after the initial blow has past. A word, an image or a chance encounter can bring about a return to the grief and pain that had faded since the initial event. These recurring shock waves of memory reverberate through our lives, unavoidable, unforeseeable, never ending.
Mark Hannesson is a composer of both electroacoustic and acoustic music. Originally from Winnipeg he now makes his home in Vancouver where he is pursuing an academic career in music.
The perceptible signs, the aural footprints of what has existed or happened. Emerging from the music of the stars, the aureate harmony immerses the earth. Filtering through time an old conversation, old questions we ask of the sky and the land.My electro-acoustic works explore the concept of the meta-narrative and intertextuality. My music for traditional instruments explores melody and harmony within an intertextual context.
I have a BA in Fine Art (Gwent College, Wales) also I have studied Composing for Film & Television (Goldsmiths College, London). I will complete my MA in Music (Colchester Institute, England) in 2003.
NightWind is constructed from vocal samples and resynthesized vocal passages. It was originally mixed using Digital Performer in 5.1 surround and remixed for this recording in stereo.
NightWind is a subjective impression of the sensations and emotions of the air on a warm winter night in a tropical climate. It is the impression I get when I step off an airplane into the warm air of Florida or Southern California after leaving a cold January day in Chicago. It is about driving in an open convertible through the darkness on a winding road, or along the coast, alone, with only the stars and the wind.
Hegarty's works have been performed in New York, Montreal, San Francisco, Chicago, St. Louis, Brisbane, Marseilles, and Barcelona. He has received several awards and grants including a NEA grant to develop and produce his multimedia opera, The Soul of the Rock in New York in 1997.
Hegarty's electronic recreation of history's the first opera, Euridice Remix was performed to a standing-room-only audience at the Contemporary Art Museum St. Louis in the spring of 2002. He was a featured composer at the 2002 Bonk Festival of New Music in Tampa, Florida. He has performed recently in St. Louis at the Galaxy and at the St. Louis Art Museum on concerts presented by the New Music Circle.
Other multimedia works include Talking to Myself, premiered in St. Louis in 1998. The video ballet Thin Girls Dancing premiered in St. Louis in 2000. He is the recipient of arts grants for works including Steal Away for orchestra and children's chorus.
He has had several electroacoustic compositions presented at the national conferences of the Society for Electroacoustic Music in the United States. Noixe was presented at the Australasian Computer Music Conference in Brisbane in 2000 and at the Bonk Festival of New Music in 2001.
Since 1997 he has been the head of the music department at St. Louis Community College at Forest Park. Hegarty studied with James Phelps at Northern Illinois University.
This piece is about the earthquake, that took place in Turkey, August 17, 1999. It starts with an old song, coming from a record. The peaceful and nostalgic feeling is soon shaken, with the trembling and terrifying sounds resembling the earthquake. There is hope for life until the end, where the record player is crushed and all we have left afterwards, is the faint echo of our dead ones.
Erdem Helvacioglu(Istanbul, 1975) is a professional composer, arranger and sound engineer. His music is an integration of intriguing electroacoustic textures, electronic beats and sounds of traditional Turkish instruments.
Recently, he got the 3rd prize for his composition "Blank mirror" at the 2002 Luigi Russolo Electroacoustic Competition.
"Locustmusic" from Chicago will be releasing an album of his by April 2003.
Snip, chop and gel, the underworld of scissors and style brought to you direct from the salon by circlode.
circlode are Zoë Irvine and Mark Vernon, audio artists based in Scotland. Both artists engage with the "everyday" soundscape recording, found material and obsolete technology. They have recently collaborated on broadcasts, performances and CDs.
Attiphon is composed of four pairs of readings of a specific space superposed and juxtaposed. The individual readings are actualized as linear and nonlinear feedback and feedforward processes through convolution and room resonance, respectively.
In short - a space sonified.
And - a space specific piece.
Christian Jaksjø (b. 1973) is currently studying electro-acoustic music at Dartmouth College. His musical background includes an extensive performing career, work as a composer and arranger, and studies of composition and improvisation in Oslo and Trondheim.
Kyoko Kobayashi (b. 1979) graduated Berklee College of Music as a Music Synthesis Major. She is currently pursuing graduate studies in the Electro-Acoustic Music program at Dartmouth College.
Papillon qui exhale un soupir de fleur à chacun de ses arrêts.
Un parfum accompagne ton vol, comme un souvenir caressé par la mémoire, emplissant le corps de légèreté.
Born in 1944 in Mar del Plata, Argentine, she studied composition and electroacoustic music in Buenos Aires. She is established in France since 1988, where she had her Doctor degree in Computer music at the University of Paris VIII. She has been teaching Avant-garde techniques of music at the Conservatory of Mar del Plata since 1980. Nowadays she is professor of electronics arts in the University of Marne la Vallée in France.
She has received composition awards such as: Prix Ars Electronica, Linz, Austria (1992, by "Fy-Mor" computer music), Stipendienpreis of Darmstadt, Germany (1990), International electroacoustic competition of Bourges, France (1989, by "Ichihualasto", electroacoustic and 2002 by her video "Destellos"), Tribuna de Música electroacústica de Argentina (1996, by « Fy Mor » for tape) and Tribuna Nacional de compositores of Argentina (1987, by "Abismos" for voice and live electronics, 1999 by "Feuillage de Silence" for flute, oboe and electronics), Prix Phonurgia-Radiomix, France (2001, by "La Radio, ça détend"), Video Evento d'Arte, Locarno, Italie (2002, by "Destellos")
Her music was played in most of the international festivals of electroacoustic music and concerts in United States, Europe, Canada, Australia, Asia and latinamerican countries.
Recordings: « La ventana deshabitada » harpsichord: Vivienne Spiteri in « Comme si l’hydrogène... the desert speaks », J&W, Ontario, Canada, CD931, « Haricots et petits bâtons » in CD-ICMC ‘96, Hong Kong, « Chi-pa-boo » in « Miniatures Concrètes », Diffusion i MéDIA, Canada, IMED 9837, « Fy mor » in « Desde el otro lado » 00Discs-USA-0045, "Mâts" in Acousmatica, France, "Au loin... bleu" in Organised Sound, Vol.3, Cambridge University Press, England, "Alba Sud" Computer Music Journal-Vol.25-N°4-2001
Frédéric Kahn - ...de la matière première des saisons - 5:00 (2002) SACEM - CD
Aller scruter, de très près, le très petit, en macrophonie, nous invite à nous perdre dans l'illimité du paysage, dont on ne distingue même plus la nature ni le bord, comme si nous nous promenions dans l'herbe avec une loupe. Renversement sur la matière, jeu de simulacre produit dans un simulacre de jeu, diversité des possibles.
Cette pièce a été réalisée au studio ACT'SONS, studio du compositeur, et a été créée au Festival Synthèse (2002) (Bourges).
Étudie la composition acousmatique en France à Lyon, notamment avec Denis Dufour (1989-93) et Bernard Fort (1993-95).
Dans son travail, Frédéric Kahn intègre notamment l'espace (univers temporel multi-plan) et les nouvelles technologies, et tente d'établir des liens entre l'écriture au sens large, les traitements électroniques et les morphologies sonores au sein de formes musicales cohérentes qui laissent aussi discrètement entrevoir ce qu'on pourrait appeler une poétique musicale.
This piece is based on two piano sounds of 5 seconds. The sound material comes from a Key, scratched to the strings close to the bridge. The work has been made by successive transpositions that were elaborated with reverberation techniques and spatialisation. The title refers to "Ades", the god of death according to the Greek mythology.
Born on January 6, 1966 in Halkida, Greece.
He studied composition and computer music in CNSM de Lyon, France with Philippe Manoury, Marco Stroppa, Dennis Lorrain and Robert Pascal.
He received distinctions and prizes in contests as, CIMESP 1997, (Sao Paulo, Brazil), "Papayioannoy" 1999, (Athens, Greece), "Pierre Schaeffer" 1999 (Pescara, Italy) and Grame/EOC 2002 (Lyon, France). His pieces has been performed worldwide in many major events as ICMC'99 (Beijing, China), ICMC'2001 (Havana, Cuba), ACMA '98 (Fitzroy, Australia), (SICMF 2001 & 2002,Seoul Korea), FEMF2002 (Florida, USA), etc.
Kim Cascone spent a month at STEIM (Studio for Electro-Instrumental Music in Amsterdam, the Netherlands) developing a sound library based on software bugs. He distributed the samples to the microsound community, inviting members to create short pieces from the sound patterns and loops he created. I molded the audio samples into what I imagined was the whispering of my computer, declining to mask any hisses, clicks, and pops that were part of the sounds.
Aya Karpinska is currently enrolled in the influential Interactive Telecommunications Program at New York University. Her research and creative work focus on the impact of technology on artistic practice, in particular computer-mediated literature and music. She recently presented her 3D-poem contract at the Fourth International Exhibition of Digital Art in Havana, Cuba; her work has also been featured in such venues as the E-Poetry 2001, an international digital poetry conference, and Audiophfile, nomadnet.org's bi-monthly exhibition of sonic art.
The sound source of Stroke of a Wing, composed in 2001, was derived from my sound collection of visiting Tabor, Czech Republic in Summer 2000. The peaceful sounds of one afternoon, were transformed into the surrealistic soundscape in the first half of the piece. The second half is the juxtaposition of the surrealistic imageries of the first half, and gives some nostalgic feeling, which we sometimes dream of.
Born in Japan, Hideko Kawamoto, started piano study at the age of nine. She is an active composer of both acoustic and electroacoustic music. Her works have been awarded from Concorso Internazionale "Luigi Russolo" (1st Prize, Italy), Pierre Schaeffer International Computer Music Competition (2nd Prize, Italy), Bourges International Competition of Electroacoustic & Sonic Art (Mention Award, France), Ear 01 International Electroacoustic Music Composing (Honorable Mention, Hungary) and Sonic Circuits VII International Festival Electronic Music Art (Composition Award, USA).
Her composition works have been receiving international attention: Synthèse Festival (France), ICMC (Cuba), CIM XIII (Italy), Brazilian Symposium for Computer Music (Brazil), Seoul International Computer Music (South Korea), CESTA (Czech Republic), Zeppelin 2001 (Spain), Musica Nova Sofia (Bulgaria), SEAMUS (USA), UNESCO 4e rencontres internationales de compositeurs de musique acousmatique (France), Euromicro 2000 (Holland), Logos Foundation (Belgium), First Conference on Music Technology in Third Millennium (Malaysia), Bonk Festival of New Music (USA) among many others.
She holds D.M.A. in Composition (studied with Phil Winsor), M.M. (with Joseph Banowetz) and B.M. (with Steven Harlos) both in Piano Performance at the University of North Texas. Currently she serves as Chair of the Department of Music at St. Andrews Presbyterian College in North Carolina, USA.
Miss Kawamoto‚s music is published by the Whole>Sum Productions (C. Alan Publications) and can be heard on the Innova, CDNOW, Bonk, Acousmatica, SEAMUS, and ICMC 2001 labels.
"And Time Stands Still..." is a sketch that came about unexpectedly, while composing another composition. As the title suggests, it is a metaphor for images, moments, and experiences, where our perception of time often seems to slow, and even come to a momentary stand still. Inspired by powerful CBC news media images from sporting events to 09/11, this piece explores this notion of timelessness, through the use of minimalist computer processing.
Michael Konkin has composed various electroacoustic, instrumental, and electronica works, and currently attends the School for the Contemporary Arts at Simon Fraser University in Vancouver, BC.
Living in Canada, it is not easy to forget the harshness of winter. Winter's edge is formed from 2 contrasting elements - clusters of violin tones in the high register and treatments of a girl's choir singing the phrase "Winter was hard". Winter's edge was premiered at the 32nd Festival Synthèse Bourges 2002.
Tony K.T. Leung is a Hong Kong born, Toronto based composer engaged in the western, Chinese and electroacoustic practices. In 2000, Luxembourg Sinfonietta recorded his chamber piece "Seven Trumpets of the Seven Angels". His electroacoustic music has been presented at the Festival Synthèse Bourges 2001/2002, Seoul International Computer Music Festival 2001, and appears on CEC's Presence III CD.
This work marks the first in a series of aural diversions: signs of life that have been lifted from untouched field recordings made during wonderings, without any further manipulation. This one was captured in Exeter Cathedral, Devon, England, on a Saturday afternoon in November 2000.
John Levack Drever is a freelance composer based in Devon. In October 2001 he was awarded a PhD from Dartington College of Arts for a programme of study titled 'Phonographies: Practical and Theoretical Explorations into Composing with Disembodied Sound'. He is a co-founder of the UK and Ireland Soundscape Community (affiliated to the World Forum for Acoustic Ecology), for whom he chaired Sound Practice: the 1st UKISC Conference on sound, culture and environments.
Cyprian Li - Elluxion - 2:28 (2002)
Elluxion employs rapid changes of pitch and sound quality for an unusual audio impression.
Cyprian Li, Chinese, graduated from The University of Hong Kong and worked for many years as a science teacher. With no formal music training he started to make music over ten years ago with a synthesizer and the help of computer softeware. His current interest is digital audio and sigal processing to produce unusual sound and music, and an attempt at video production with music and digital images he has created.
The constituent sounds for Global Eyes were generated with oracular synthesis and spectral tuning techniques as developed by the composer. With the exception of short bookend sections, all sounds have been bleached of their original semantics. Denatured, but still complex and potent, the sounds take their conflicts to the abstract world of music.
Eric Lyon composes in digital, acoustic and hybrid media. He has created and released freeware virtual drum machines and spectral manipulation programs. His compositional aesthetic is dedicated to non-linearity and extra-terrestrial reference. Lyon has taught computer music at Keio University, IAMAS (Gifu, Japan), and currently teaches in the Dartmouth Music Department. Some of his music and sound manipulation programs are available from http://arcana.dartmouth.edu/~eric.
This piece is from a multi-media opera. Text by Tania ap Siôn. The opera is based on the lives and writings of Abelard and Heloise. Two real-life characters, whose tale echoes down from the 12th Century as one of the world's great love stories. At this point in the story, Abelard sleeps before he travels back to Paris to ask for Heloise's hand in marriage.
Robert Mackay is a composer and educator based at the University of Hull, Scarborough Campus,UK. His work has gained international recognition in the form of prizes and mentions; Bourges 'Synthèse' Festival (1997 and 2001), EAR99 from Hungarian Radio in 1999. As well as composing in various genres, he is an actor, singer and instrumentalist.
Big Band (4:56) is a work based on live recordings of a jazz big band.
Philip Mantione's music has been described as "austerely impressive" (Paris Transatlantic Monthly Nov. 2000) and Innova Recordings calls his Sinusoidal Tendencies, "a searing study in form and color." He has written music for multi-media performance art, experimental video, computer interactive projects, sound installations, as well as acoustic pieces for orchestra and chamber ensembles.
Gibberish Puzzle was composed in the fall of 2002. It was originally created to accompany a visual poem I shaped which was published in name poetry magazine. The source material is comprised of 25 words which I made up and then arranged using the layout of typical cross- word puzzle. The words underwent a series of spectral analysis and transformations using GRM Spectral Tools. The sounds were then edited, assembled, and spatialized using ProTools software.
Brett Masteller is graduate student in composition and music technology at the State University of New York at Buffalo. He is currently studying electro-acoustic and interactive computer music with Cort Lippe.
Andra McCartney - Move Slowly (Prelude) - 4:30 (2002) SOCAN
hot, sticky as fresh asphalt
move slowly... courage.
Based on sound excursions in the Toronto transit system, 1999; and at the Lachine municipal pier, 2001-2002.
Andra McCartney teaches Sound in Media for the Communication Studies department at Concordia University in Montréal. Current soundscape work focuses on the area surrounding the Lachine Canal (Journées Sonores, canal de Lachine). This, and more sound projects can be found at http://andrasound.org.
"Galets" (novembre 2002) est ma première pièce faite après mes études de MEA. Elle est née d'une envie d'utiliser des matières des sons propres à la région dans laquelle j'habite : des galets fruits de l'érosion des falaises de la cote d'albâtre. J'ai choisi des galets de Dieppe, Ils m'évoquent et remercient les Canadiens qui ont débarqué sur cette plage le 19 août 1942.
Hubert MICHEL, né à Lagny sur Marne (France),1976. Enfance en Normandie. Etudes techniques. Découvre la musique électroacoustique, s'inscrit aux cours de Roland Cahen, et à l'université technologique, mesures physiques (1998). 2000, classe de Christine Groult. 2001-2002 collabore à L'IMEB (assistant pédagogique) et termine ses études de MEA avec Roger Cochini. Décembre 2002, reçoit le prix Sacem pour sa pièce "Rayures". Septembre 2002, revient en Normandie.
This piece is the second of six compositions, ranging from three to eight minutes, extracted from the Ancient Chinese Enclosing Game Compositional Matrix. The matrix contains layers of prepared sound derived from readings of a text. The layers can be looped and shifted independently by predetermined increments. The structure remains constant while contents shift. This constant aspect of evolving cycles speaks more to my experience than the variations upon them that often dominate our attention.
Born in 1949 in the USA, Mooney is a self-taught composer of computer music. After early experimentation with tape recorders, he digressed for two decades through the visual arts before returning to music in the early 1990s. Since 1998 his works have been performed and broadcast in North America, Europe and Asia. Mooney's 24 part work Rhythmiconic Sections is available on the Arizona University Recordings (AUR) label. See www.city-net.com/~moko/ for additional information.
This piece was composed using a set of sounds from the electric guitar. These sounds provide the sonic field within which the stronger and more prominent gestures are distributed. As a whole, it is an exploration of my drive toward a smoothness of form, in which gesture may only occur within a field of unifying activity rather than escape it.
Adam Moore (b.1980)
Adam is a twenty-two year old musician living and working as a composer, performer and teacher in the east of England. His compositional interests include projects for cheap soundcards, expensive orchestras, competitively priced theatres, choirs, and rock bands, for installations and for various small ensembles. He studies at the University of East Anglia where he is currently reading for an MMus degree in composition by research.
"sex machine" was commissioned for a performance entitled "Strip Show", which was co-produced by Dance Theatre David Earle and NUMUS in Waterloo, Ontario.
Jascha Narveson studied composition at Wilfrid Laurier University with Glenn Buhr and Omar Daniel. He was also WLU's first (and possibly last) student of North Indian tabla. He has since been working as a freelance composer and technical person.
Autumn Nocturne (October, 2002) [2 minutes, 55 seconds] is a short character piece reflecting 19th Century aesthetics. It is simply an exploration of timbre and short motifs. The work was created with the software program, MetaSynth, specifically utilizing the sequencing function of Xx.
Rodney Oakes taught at Los Angeles Harbor College where he currently is an Emeritus Professor. His awards include a Rockefeller Grant; an NEA grant; a Fulbright Senior Lectureship to the Academy of Music in Krakow, Poland; and ASCAP Standard Awards since 1987. Oakes was the founding editor of Journal SEAMUS. His works are available on the Cambria, Living Music, and Innova labels. His latest CD, Music for the MIDI Trombone, has received excellent reviews.
An intimate retrospective of the Summer (Southern hemisphere) of 1999-2000 spent at my fathers in the small town of South Tweed Heads, Australia. An aural encapsulation of a world that stood at the crossroads between river and ocean (Tweed and Pacific), one state to another (NSW, Queensland), urban and rural, one year to another, one century to another. "Turn of the Century Tide" is a 3 minute reflection on this juncture.
Lulu has a day job implementing information systems for high-tech manufacturing but is really a composer of audio-visual and electronic music pieces: A product of the Sydney Conservatorium of Music and the Center For Research in Electronic Art Technology (University of California, Santa Barbara). She now resides in her native Singapore where the heat and humidity are a constant threat to her analog media and analog thoughts.
tclinke tcrano is one of an occasional series of works I primarily make for my own amusement, featuring a wide set fo sounds generated from a single source. Although this approach is not exactly original, most pieces of this sort are primarily exercises in showing off the composer's facility with audio-manipulation software. Rather than go completely opver the top with studio techniques, I have chosen to keep the processing relatively transparent to encourage a more tactile relation to the source. The object is stimulated, provoked, violated, eventually destroyed, and it is through the medium of these wounds, or rather, the responses of the object to these wounds, that it' s nature as an organism is unfolded and revealed.
A New York City native, Matthew Ostrowski works in improvised music, multimedia music-theater, and audio installations. His works have been heard in venues ranging from 2000 to 20 seats, in the U.S., Europe, and Australia. He has collaborated with others in fields ranging from improvised music (with people more famous than him, too many to name), to neo-Vaudeville (with the Flying Karamazov Brothers) to radical modern dance (with Elizabeth Streb). This year, he resting on his laurels as a New York Foundation for the Arts fellow in Computer Arts.
Une courte fugue sans prélude qui nous mène de l'extérieur du brouhaha à l'intérieur de la parole. Voix familières, familiales, amicales. S'écoute dans les deux sens, avec les deux oreilles. Les relations est composée de fragments de relations tirés de mon quotidien.
Je complète présentement une maîtrise en Communications à l'université Simon Fraser, sous la supervision de Barry Truax. Il est vrai, comme le disent les rumeurs, que je me plains souvent de l'absence de vent ; aussi véridique est le fait que j'ai lu Citadelle probablement au moins cinq fois, sinon six. Peut-être même sept fois. Mais là n'est pas l'essentiel.
Guirlandes ("Garlands") is based closely on the motivic and harmonic patterns of a piano work of the same name composed in 1914 by Alexander Scriabin. This music, however, is scored primarily for the sounds of mallet instruments and consists of masses of rapid tremolos that have been extensively processed with granular synthesis techniques. This texture is then embellished by streams of slower tremolo figures that weave through the space of the music like planetary rings.
Samuel Pellman studied composition with David Cope, Karel Husa and Robert Palmer. Many of his works can be heard on recordings by the Musical Heritage Society and other labels. He is also the author of An Introduction to the Creation of Electroacoustic Music, a textbook published by Wadsworth, Inc. Presently he is a Professor of Music at Hamilton College, in Clinton, New York.
Creating 'Holiday Snap'... was originally an attempt to create a definitive document using sounds that emanated from the small seaside town of Whitby. The more I listened to my sound collection, the more I composed and considered musical form. I was creating memories, interpretations and atmospheres: A POINT-OF-VIEW. There is no one definitive document, only those that represent the subjective; the document is amorphous, it changes when our presence tries to take away the definitive.
Dale Perkins (1964, UK) is Assistant Head of Higher Education at Leeds College of Music and is currently undertaking a PhD in music composition (University of Leeds, UK). Areas of interest include, sonic modulation, extending the performance potential of acoustic instruments and exploring the gestural and contextual performance possibilities of concrete sounds in computer assisted composition. He also enjoys and looks forward to spending time with his wife and young daughter.
Ah...the tales a verb can tell. The resonance of its voice, its call to awaken and engage, to activate. It pushes and pulls reluctant time, harries and prods fickle memory. The root of action, the key to energy's heart and borders, it is both attack and decay, beginning and end.
Laurie Radford is a Canadian composer creating music for instrumental and vocal ensembles as well as a variety of electroacoustic and interactive media. His music has been performed and broadcast throughout North and South America, Europe and Asia. He has taught at Concordia University, Bishop's University and McGill University. He currently teaches electroacoustic music, music technology, and composition at the Department of Music, University of Alberta.
FRDM is a piece that speaks about liberty of word, liberty of expression. But it also speaks about how the liberty is betrayed by the human beings. Sometimes the word liberty is empty, unpronounceable, it doesn't exist; for this reason I chose the title FRDM: it is not an acronym, it is FREEDOM without its vowels.
Giuseppe Rapisarda graduated in Piano and Electroacoustic Music at Istituto Musicale Vincenzo Bellini (Catania - Italy). He took part in masterclasses with Barry Truax, Giacomo Manzoni, Alexander Chaikovsky, Trevor Wishart.
His compositions have received honors and/or have been performed in Italy, New Zealand, Australia, Greece, Argentina, Belgium, USA, Korea, Germany, France, UK. His recent reviews have been published in Computer Music Journal (MIT).
At present he teaches Musical Informatics at Istituto Musicale in Modica (Italy).
A short intervention on the fragmentation and disruption of instrumental noise.
Pedro Rebelo is a composer/digital artist based in Edinburgh. His approach to music making is informed by the use of improvisation and interdisciplinary structures. He has been involved in several collaborative projects with visual artists and has created a large body of work exploring the relationships between architecture and music in creating interactive performance and installation environments.
In the duo laut with saxophonist Franziska Schroeder he investigates the extension of interfaces and control in interactive performance practices.
Il m'interpèlle et m'invite au songe! Je ronge mon frein et y sombre en scaphandre décousu.
je m'entoure de bulles à son qui révèlent son secret: il s'imprègne de mes rêveries pour en faire une musique de typhon!
Calling me up and casting me in a dream. I hold on tight and splash with a crash. One...two...three...
I'm surrounded my vociferous bubbles leading me to find out that the sourde oreillée bathes in my dreaming to compose typhoon music!
Emule de la danse sociale à ventouse et des sets d'ondes carrées, jean routhier s'affaire à retranscrire sur des plages sonores ses vacances imaginaires passées à l'écoute.
A succioncup boogie and square wave dancing aficionado, Jean Routhier translate his recorded mood swings into audio tracks for after hours drinking in designer clothes.
"It Has Come Full Circle" was composed using the Proteus EMU 2000. Static sustained notes have parameters such as tonal quality, presence, stereo image and sound shape altered by midi controller data shaped according to mathematical structures. The piece was composed between October and November 2002.
Bruce Schneider has a Diploma in Audio Engineering from SAE Brisbane, Diploma of Music Technology from QCM Brisbane and a B.Mus Sonology from Griffith University Brisbane. Bruce currently resides in Maitland New South Wales Australia and teaches studio recording and sound reinforcement at Newcastle TAFE and maintains a recording studio Avantgarde Audio Productions and is an active member of the Australasian Computer Music .
Using Pierre Schaefer's La Musique Concrète as a source text, two passages were selected describing the work of Schaeffer and his collaborator Pierre Henry. This original, French source text was used to generate a poetic translation based on visual associations. The musical material for the score was generated entirely from the original source text using letters, punctuation marks, table of contents and page numbers to determine pitch, dynamics, articulation, rhythm, etc.
Brian Schorn was born in Alpena, Michigan in 1961. His education includes a BFA degree in Photography and MFA degrees in Photography, Creative Writing (Poetry), Graphic Design and Electronic Music and Recording Media (expected May 2003 from Mills College). His improvisations and graphic scores of electronic and computer music have been performed nationally and internationally including the "Literature Sound Barrier" festival in Vienna, Austria. Currently, Schorn is also exploring digital video and sound sculpture.
Recherche sur la respiration et la manière dont un son peut tressauter, dont la langue peut bégayer, il y a l'élaboration d'une suite à partir de deux extrèmes, les graves et les bruits blancs, ces deux ensembles sont ensuites considérés et amplifiés pour dessiner une gamme, il s'agit ensuite de trouver des modalités de vibrations, auxquelles les interférences de micro événements s'ajoutent pour réactualiser la respiration, le rythme qui s'affole sur les dernières secondes. Le coeur parcourut par un flux d'agressions.
Artiste pluridisciplinaire, vit et travaille à Paris, France. Après avoir étudié la musique, la vidéo et les installations interactives audiovisuelles avec Anne-Marie Duguet et Jean-Louis Boissier, il intègre la plateforme expérimentale "Incident.net". Il travaille sur les relations sonores et visuelles entre corps, espace, temps, et recherche les possibilités de perception, d'appréhension et le pouvoir de discernement des spectateurs et auditeurs dans un dialogue avec l'ordinateur. Les nouvelles technologies lui permettent alors d'interroger, de définir ce dialogue possible au delà de la description et d'en proposer un esthétique.
In ELECTROCLIPS I am combining, traditional western song harmony with EAM-aesthetics. The harmonic progression of the piece is based on the 18th century Swedish folk song "Liksom en herdinna högtidsklädd". The idea was to see if I could use the song harmony as a foundation for an electro-acoustic piece without the harmony becoming too obvious to the listener or interfering with the listener´s perception of the piece as being EAM.
Paulina Sundin is one of the few Swedish female composers to devote herself purely to electro-acoustic composition. Her music has been played and broadcast all over the world. In 1999 she was chosen by the Rotary Foundation to be their goodwill ambassador in England where she is currently pursuing post-graduate research at the University of East Anglia in Norwich.
Jason is currently an M.F.A. candidate at California Institute of the Arts, after having completed previous studies at Berklee College of Music. His teachers have included Morton Subotnick and Sir Harrison Birtwistle. He now writes mostly electronic music and has is interested in the passing of time in music, as well as our perception of it.
Earth Renascence arose out of various images of rebirth, including the resurrection and environmental rebirth. Thus, the earthy sounds of the majority of the piece eventually give way to the timeless, hovering environment of the final section. Various passages reflect specific programmatic ideas related to the germinating concept.
Neil Thornock is a graduate student at Brigham Young University in music composition. The majority of his work is for solo or chamber instruments. His undergraduate training was in organ and carillon performance. He has been assistant carillonneur for three years and became a carillonneur member of the Guild of Carillonneurs in North America in June 2002. Several of his carillon works have gained national recognition. Earth Renascence is his first work for electroacoustic music.
Composer intends to create a kind of landscape through a approach that is almost a reverse to what P. Schaeffer had done (took concrete sounds to create abstract imagine); Composer transforms some of non-environmental sounds like sounds of piano, of cymbals etc to build a "more concrete" images, as scenes you can see at the river side in a summer afternoon.
Yu-Chung Tseng ( Taiwan) completed his DMA at the University of North Texas(1998) . His music have received several performances at festivals and conferences from organisations including TCMA 992000, ICMC9899, SEAMUS98 , TCMN 96 9798, and SICMF2002. Curently, he serves as a sectary to TCMA and an full-time assistant professor at National Taipei Teachers College, Music Education Department .
Attempting to create sonic art (which can be done in the bedroom thanks to the computer) can "reveal" possible worlds and take the composer and listener on paths through them. This piece, constructed from samples of instruments and field recordings, explores the border between the "real" and the invented.
Shane Turner (Peace River, Alberta, 1979) became interested in computer music at a young age. He is currently majoring in Electroacoustics at Concordia University.
Est-ce parce qu'elle est la signature, l'empreinte sonore à laquelle chaque être vivant s'identifie et par laquelle il repère l'autre, et détecte ses intentions ? La voix reste le premier vecteur émotionnel et musical, le support ancestral de toute communication directe.
"Vox Alia" est une suite de courtes études vocales qui, à travers les traitements électroacoustiques, conservent traces des qualités mélodiques, rythmiques, timbrales de ce merveilleux médium, au service d'un caractère, d'un affect particulier.
Innocentemente retrouve la temporalité immédiate, contrastée et insaisissable, et la spatialité diffuse, informelle de l'enfance.
Is it because it is the signature, the audible trace by which each living being identifies itself and by which it marks the other and detects his intentions ? The voice remains the first emotional and musical vehicle. It is the ancestral medium of all direct communication.
"Vox Alia" is a suite of short studies based on the voice which via electroacoustic treatment conserves the traces of the melodic, rhythmic and timbral qualities of this marvelous medium so immediately at the service of a particular character or feeling.
Innocentemente rediscovers immediate temporality with its contrasting, elusive nature and its diffuse, internal sense of space, qualities all of which are germane to childhood.
Charleroi (Belgique). 1946
Après ses études classiques aux Conservatoires Royaux de Mons et de Bruxelles et avec Jean Absil, elle découvre par hasard l'Acousmatique au détour d'un stage en France. Immédiatement convaincue, grâce aux œuvres de F. Bayle et P. Henry, du caractère révolutionnaire de cet art, elle s'y initie en quelques stages, entreprend la musicologie (ULB, Bruxelles) et la composition électroacoustique avec G. Reibel et P. Schaeffer au conservatoire de Paris. Constatant la nécessité d'implanter en Belgique une structure de création et de diffusion de l'Acousmatique elle fonde l'asbl "Musiques et Recherches" et le studio Métamorphoses dOrphée (1982), organise un Festival Acousmatique International "l'Espace du Son" grâce au système de spatialisation qu'elle a constitué (50 HP), édite la revue d'esthétique musicale "Lien" consacrée à la musique électroacoustique, et constitue peu à peu le seul centre belge de documentation sur cet art, bientôt accessible sur le Net.
Classical music studies at the Royal Conservatoires of Mons and Brussels and with Jean Absil. Electroacoustical composition with G. Reibel and P. Schaeffer at the Paris Conservatory
Organises the International Acousmatic Festival of Brussels. Creates ans leads the non-profit making association "Musiques et Recherches" and the "Métamorphose d'Orphée" studio. Wins the SABAM price in 1985 and 1995. Teaches electroacoustic composition at the Liège, Brussels and today Mons Conservatories.
Presently, her music studies various types of sound energies of nature; she uses these as they are or transforms them in the studio to create an abstract and expressive non-anecdotic musical language. Several of her works represent different stages of research into the various methods of weaving together text and music offered by electroacoustics today.
Scented Product is a media composition fantasy based on elements of a painting by Brian Clark. The sonic program is an electronic transformation of a small number of acoustic sound events. Sonic elements are processed by using contemporary computer technology.
John Villec is an instructor of music technology at Sacramento City College and is pursuing a PhD in music at the University of Oregon. He received his Master of Music and Bachelor of Music degrees from California State University, Sacramento and has studied composition with Robert Kyr, Jeffery Stolet, David Crumb, and Chris Brown. He is a frequent collaborator with visual artists Charles Aitken and Brian Clark. His sound and video works have been performed at new music, film, and multimedia festivals worldwide. He is a member of SCI, SEAMUS, EMF and has received grants from ASCAP.
Essence seeks to appreciate the cause and effect relationship between two seemingly simple and unrelated things. It is essentially(forgive the pun), based on the duality between the human need for food (nourishment) and the automobiles need for gas (nourishment), that extends into realms of complex sub-textual relationships and double entendres.
Originally hailing from Victoria BC, Michael is a student and composer living and working in the diverse city of Montreal, Quebec Canada. He started composing at a very young age and has been a self-confessed devotee to the never-ending pursuit of sound and music. Michael is currently finishing a BFA degree in Music Theory and Composition at Concordia University.
"The Observation of Curio No. 19" was created with computer generated sound sources which were then clipped, rearranged and modified via audio software and equipment. The resulting pieces were recombined for textual, structural and timbral reasons. Although there is a score for the piece, the composer took a free hand at the finishing stage.
Meri von KleinSmid has worked for many years in the field of sound art. Her diverse pieces range from 1986's "Have a Spinach Salad" (Latibulum Records), which was only available in cassette form; to 2002's CHI-TAPE (American Archive Recordings), a 62 minute odyssey through the dregs of Chicago; to her more recent experiments along more electronic lines. There will be a lot more to hear from this composer.
What happened to the myth of 2001? This piece contrasts the vision of a perfect future of tourist trips to the Moon and smart AI with the reality of the daily grind of technology. All the source sounds have a spoken or sung vocal origin, processed beyond recognisability. The voices of the various contributors blend into slowly evolving textures that frustrate development and are heavy with quasi-tonal and timbral tensions.
Richard Wentk (1963) studied electronic engineering at York University and composition with various private teachers. He currently composes and works with video and other media in his private studio in England, and also writes for various music and music technology publications.
Shelter 1 is the first work to come out of a collaboration between the composer and designer, Derek Attenburrow, on the theme of shelter. The work is in response to some of the ideas and images that have been discussed in the initial stages of this project. TW.
Tom Williams has been composing electroacoustic music for over 20 years. He completed his doctorate in composition at Boston University, Massachusetts in 1995 and he is now a senior lecturer and director of the sound studios at University College Northampton, UK.
Arthitexture is my sonic meditation on Johan Wolfgang Von Goethe's quote, "Architecture is frozen music". I tried to freeze the musical ideas by manipulating repetition and suspension of the musical gestures. Unlike the physical architectures, the musical walls and windows are created, evolved, and transformed as the time passes; Changing the texture over time is a musical character that can hardly be imitated by the architecture.
Joo Won Park (b.1980) is currently pursuing Master of Music Composition degree at University of Florida. He graduated from Berklee College of Music majoring in Music Synthesis, under the direction of Richard Boulanger. Recently, Park has worked on new editions of The Csound Book, Csound Catalog, and interface design for Radio Baton. His music application, CsoundMax has been featured in several festivals and publications, including Florida Electroacoustic Music Festival and Electronic Musician magazine.
The premise behind Dreams is derived in part from the notion that sleep gives us opportunity to inventory our inner mental states through fantasy and dreaming. Time-point procedures were used to create durational sets that invoked particular spatial and temporal trajectories which could allude to different and passing states of mind. Dreams was realized in the composer's studio on a Macintosh G4, employing mixing and processing techniques in Logic Audio and MAX/MSP.
A prolific composer and violinist, Mark Zaki's music incorporates and transforms elements from traditional and popular forms, serial procedures, improvisatory contexts and acousmatic practice into a highly idiosyncratic approach. Holding a Ph.D. from in composition from Princeton, his composition teachers have included Paul Lansky, Steven Mackey and Charles Wuorinen. Currently, he is a lecturer in electronic music at the University of California in Irvine and he divides his time between Los Angeles and New York City.