Biographies and
Program Notes
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Title/Composer |
Program Notes |
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Cowboy Songs, 8’00” 1. Lament 2. Creep 3. Whisper Paul Hogan Kathryn Woodard piano |
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I, II, and III, 12’00” I. Interior of the II. Iowa III. The Acrobatic Fly (1911) Alan Tormey |
I wish that we had taken the trip. A moment of vacation, under the sun. smiling together, halfway to the sea. dining together, tasting the tender, sweet corn. This is Indian land. This is God's country. |
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Beta Warp, 8’49” Michael Klingbeil |
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Recorded, 10’00” Billy Gomberg |
a carseat sunlight white takes shapes over eyes, mute I think to
laugh voice as you formed pages ago I read them eager as sugar, it's fine
which when pronounced or lipstitched precision (like the white in the
picture) reflected tender signature / date brilliant above (losing color)
Sept. like hair, the laws of physics the apparent color included between
horizon, plastic duration ...take... (like a mirror) "apparition is the
mold of it" |
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b-i-r-d-r-e-a-m /manipulative quadragonals/, 12’00” Yuri Spitsyn |
"b-i-r-d-r-e-a-m" is a 4-channel interactive
composition for the theremin and Kyma sound workstation. The performing on the theremin is supposed to fulfill four tasks
simultaneously: - playing it as the
conventional instrument - controlling the
score timeflow - governing the dsp
algorithms - 4-channel live
panning of sound objects. The composition is based on the pure "touchless"
principle - during the whole performance player never touches anything. No midi used; audio controls audio. On the raw sound level composition is based solely on the s c o r e s t r u c t u
r e pre movement -> s h
e l l b r e a k e r: feel the border . . . movement [0] -> a l
l o c a t i o n: find the branch . . . movement [1] -> c i
r c u l a t i o n: choose the flight. . . movement [ | ] -> f
r e e z s i n g: walk thru the throat. . . movement [-] -> b r
e e z s i n g: blow the low. . . movement [\] -> d o
w n z s i n g: ride the pitch. . . movement /\/\/\/ d a n c s i n g: catch the pace. . . post movement -> s
h e l l b r e a k e r e c h o . . .
unbreak the shell . . . |
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Improvisation 10’00” |
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ii efil laicifitra, 5’49” Jae Ho Chang |
The series of 'efil laicifitra' is one of the composer's
experimentations since 2001. This is based on the theory of cellular automata
which says simple rules of interaction can make complex pattern of movements.
The composer designs sounds of various characteristics and create rules of
interaction between the sounds. A sound is born and dead at given moments and
builds up the parts of the composition by interacting with other sounds. In
this second piece of the efil laicifitra series, the composer created an
animation program and two kinds of objects, one is chasing and the other is
running away, and each object controls a parameter of the sound synthesis
algorithms the composer has developed. |
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“folksy” part one, 8’00” Luke Fischbeck |
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Title/Composer |
Program Notes |
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No title, 5’00” Owen Osborn |
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5 AM Saturday Paul Botelho, voice |
5 AM Saturday |
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Inklings on the loose, 8’15” Bonnie Miksch |
Inklings on the loose for flute and computer-realized recording,
is an optimistic piece inspired by the absurd amusements entertained in the
delicious privacy of our own heads. To
"free your mind," let those inspired inklings run amuck! |
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Having some doubts about three things (the ego, the time, the
line), 7’30” Minsuk Yang |
I start to think the 'Being consciousness' from question about
form of time and space. The thing of being which we feel is able to see or
not. In some ways, the difference of the sense for the real about an ideal of
consciousness, A form can be nothing but a point or a line. This work is
based on the theory that nobody gets a definition about the police cordon of
real and unreal. I don't give a definition about that either. But, I want to
give a chance -go through this work - to think about the question once. |
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Current Events, 4’00” |
Composed in 2003, "Current Events" is an eight channel
alternative soundtrack to David Ehrlich's animated film of the same name
(2002). The original score was composed by Laurie Spiegel. The source material
is yet another score to the same film, which I also composed, using Apple's
"Soundtrack" program. Those tracks were then exported, processed in
various ways, then recombined and placed in the multi-channel space
algorithmically. The system employed for recombining the sounds is a Java
program that I wrote which operates on very coarse grains. I like to think of
this as "whole-grain composition". Hearty, robust, and fiber-rich. |
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Deconstructed Symbologies 10’00” Johnathan Lee |
"Deconstructed Symbologies" is the latest in a series
of collaborative works between composer Johnathan F. Lee and choreographer
Theresa Ling. Performed by Claire Benton, Posy Knight, Theresa Ling. |
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Sextuple Entendre, 12’48” Chris Penrose |
Eric Asimov on Sextuple Entendre: "Experiencing Sextuple
Entendre is much akin to visiting a thoroughly imaginary, decadent
salon. Consider the following
regimen: while hovering in gently
stirring air, you are smeared with luscious oil by way of silky sponges and
ginger strokes. You begin to drift and
fall; soon you find that you are inside a vast porous maze with an enticing
scent. It is uncanny -- you are inside
a vast mountain of fine cheese. The
maze walls begin to gently throb and squirt in complex rhythm and you begin
to glide and surge through these willing, undulating pores -- your body
exquisitely massaged by your passage.
Some pores fit your entire body contour so tightly that you inch
through them ever so slowly while experiencing the thrill of intense viscous
suction. You lunge, spin and turn
until you are in a decadent trance." |
| Study III: Traps, for string quartet and electric violin/laptop,
7’00” Dan Trueman |
I don't usually get technical in program notes, but here goes_ Study
III is a delicate exploration of a simple process I call "traps". A
trap is a way of forcing whatever note I play to be transposed to a single
pitch (or set of pitches); while I play, the computer remembers that last
couple seconds of what I have played and then, depending on the note that I
play, transposes it_s memory to the "trap" pitch. So, for instance,
when the trap is a high F, if I play an A below that, the "trap"
will, some short time later, transpose my remembered A up a minor-sixth, so
it sounds a high-F. The only "problem" is that sometimes the trap_s
memory might be long enough to remember other pitches I had played prior to
the A, say, a low open D-string, so that D will also get transposed up a
minor-sixth, to B-flat, yielding a not-quite-simultaneous sonority
D--B-flat--A--F. This is precisely how Study III begins, and it continues
slowly through a series of ascending traps, some of which are single notes,
others two-note traps. Traps was written in the opening days of the 2nd Gulf
War; March 2003. Shocked and awed, indeed. |
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Imagery Gagok, 12’00” Sung Ho Hwang Hyun Moon, voice |
This piece is based on JUE Eui Sik's sizo(a genre of korean
traditional poetry), "Bakok from If I show people the Bakok from Mt.Hyungsan. For it is a stone, who can know the inner essence? Let it be. Won't there be someone who will know? Leave alone as if a poor stone. |
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Title/Composer |
Program Notes |
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interpel, 10’00” Shawn Greenlee |
As a composer engaged in the use and creation of digital tools,
I have found that my working process (as well as that of others) has resulted
in dense catalogs of audio fragments. This catalog of sonic traces is
constantly in flux, the items reclassified, recycled, resuscitated. Timbrel
transformations span the continuum from subtle variations to complete
untraceability, and may reveal the interference embedded within common and/or
self-designed computer programs. Often these remnants remain forgotten, until
such time that an archaeology of the hard drive in undertaken.
"Interpel" is the second stage in an ongoing work navigating and
transforming these personal (and often forgotten) histories in sound creation
through the computer agent, who acts both as the performer’s extension
and his impetus for action. Digital encoding enables nonlinear access to
sonic databases and the possibility for addressing that data at any point.
This serves as a framework for improvised composition that draws from issues
of antagonism and interruption in the interaction design. |
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Saraswati's Electro Magic, 10’00” Ajay Kapur/ Phil Davidson |
Ajay Kapur (esitar), Phil Davidson (audio visualizations), Ari
Lazier This is the
world premiere of the Electronic Sitar (ESitar), a digitally modified version
of the Saraswati's (the Hindu Goddess of Music) 19-stringed, pumpkin shelled,
tradional North Indian instrument. The ESitar uses sensor technology, to
extract gestural data from the performer, deducing music information such as
pitch, pluck timing, thumb pressure, and 3-axises of head tilt to trigger
real-time sounds and graphics. The graphics response system is a custom built
framework, known as veldt, built by Phil Davidson. Computer sound is
generated by a pure data patch written and composed by Ajay Kapur and Ari
Lazier. The piece being presented is based on Raga Jog. This is a joint
project between |
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Congas, 5’00” Irina Chernova |
Congas was played in 2000, June 7th at the Barcelona
International Festival of Advanced Music and Multimedia Arts. |
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"On-the-fly Counterpoint", 6’30” Ge Wang, laptop |
This is a preliminary study of the technical and aesthetic
aspects of "on-the-fly" audio programming for synthesis and
performance. We use the new ChucK synthesis language, which supports
real-time, sample-synchronous, concurrent audio programming, and a highly
"on-the-fly" style of programming, in which the composer | performer
| programmer augments and modifies the program while it is running, without
ever stopping or restarting. "On-the-fly Counterpoint" begins with
a blank ChucK program. We construct the counterpoint piece-by-piece in
real-time, using the facets of concurrent audio programming and on-the-fly
programming in ChucK. Contrapuntal
simultaneities can be separated and compartmentalized into autonomous,
concurrent entities. We can program
and reason about each entity independently, as well as interactively with
other entities and with the program as a whole. Using various aspects of on-the-fly
programming, we can do so interactively, and with improvisation. This is part
of our ongoing investigation into using code as an interactive and expressive
musical instrument. ChucK is freely available from Ge Wang and Perry Cook at http://chuck.cs.princeton.edu/ |
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No title, 10’00" Terry Pender, James Fei, Luke Dubois |
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Charla de los Calderos, 8’00” Bill Haslett |
Emotionally, the piece aims to communicate an embrace of both
the "do everything and do it now" and the "do one thing and do
it with mindfulness" approaches to life-loving. Structurally, rhythm and
timbre are assigned as representatives of these approaches, respectively. At
first you hear the physical instrument dry, providing a reference frame for
processed timbres. Rhythmically, the piece aims to provide a stable tactus
while maintaining some metrical ambiguity. Streams within a polyrhythm fade
in and out directing attention accordingly. In monorhythmic sections, time
signature stability is varied. In the relatively arrhythmic passages, the
piece gravitates toward reflective timbral exploration. Resonant comb filters
and small-scale loops (< 100 ms) sent through envelopes provide the event
durations required for substantial timbral variation, yet preserve the
signatures of individual pots and individual events. Crosstalk between the
pots was maximized by using a minimally damped structure. This encourages
sympathetic voices in all but the quietest of excitations. There are six
cooking pots with eight contact microphones -- two microphones each for the
largest pots. MAX/MSP and a foot controller handle the processing. |
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Black/Noise III, 19’00” |
words, sounds, images for video (1998). sources: a solo piano session (echoic/anechoic; BAB 1997); a bass/keyboard session (MaryLee Roberts, BAB, 1995); a text-reading/keyboard session on poems of Emily Dickinson
(Laurel Hoyt, Willa Roberts, BAB, 1997); readings of texts from Deleuze and Gattari: A Thousand Plateaus
(BAB, 1996); video photographs of artworkms and domestic objects (BAB, 1996).
DVD masdtered by Reuben De Lautour. |
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Title/Composer |
Program Notes |
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Improvisation Curtis Bahn |
Curtis Bahn will perform during the Friday Night improvisations
with his "sBass" a sensor extended string bass and interactive
performance system. He began the
composition of this system as a graduate student at |
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Improvisation |
This evening marks the debut of a new instrument and controller,
"The COWE," (Controller, One With Everything). I will use the COWE
to control a number of vocal models, including BelCanto singers, crying
babies, Tibetan and Tuvan singers. |
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Improvisation Pauline Oliveros |
Meetings in the wave function. |
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Liberation #1, 9’00” Eric Lyon |
Liberation #1 reflects the trend towards globalized
decentralization. The computer that creates the music is increasingly
powerful, but increasingly finds its main significance as a node in an
expanding network. The music emanating from this technology resembles its
generative system, incoherent, radio-like, pulling in transmissions,
performances, rants, improvisations, automata, political speeches and beyond. |
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Autopoieses, 10’00” Liubo Borissov |
Autopoiesis (2003) is an interactive multimedia work for violin
with live sound- and visual-processing. Created by Liubo Borissov and Maja
Cerar, this piece enables a solo musician to improvise with her own
transformed sounds and visage. In performance, the hall is darkened as much
as possible and the violinist wears a uniquely designed set of glowing
elwires. A video camera is trained on the violinist, and a computer tracks
her movements. As she moves, the computer uses the information of her
location to process the sound of the violin and the moving image of her
figure. These computer-generated materials are then projected back into the
performance space via loudspeakers and a large video screen located onstage
behind the violinist. The projected moving image depicts motions of the
violinist, but altered by the computer and, because of the darkened room,
only the glowing shape of the elwires is visible onscreen. Thus, the video
image and sound processing create a second, abstracted, presence on stage
that becomes a performing partner with the violinist, reacting to her
performance and her motions. Moreover, the violinist, through her musical and
choreographic improvisation, can create and develop a dialogue with the
"ghost" image and amplified sound.
In concert, the interplay of the live violin and the glowing elwires
with the processed video and sound creates an enthralling, immersive
imaginary world, one generated by a set of sophisticated software
instruments. These instruments were built by Liubo Borissov in the
Max/MSP/Jitter environment specifically for this work. It is possible for the
violinist to have complete control of all the computer parameters herself
during performance via her choreograpyh and a wireless microphone system.
Performed this way, her entire body as well as her violin performance combine
with the computer processing to become one integrated musical and visual
hyperinstrument. She can use all of these resources simultaneously to follow
her spontaneous artistic vision and share these with the audience. In
addition to the solo performance method just described, the computer
instruments of this system can also be played by a second improvising artist.
When used this way, a performance of Autopoiesis exhibits a dynamic energy
between the two personalities as they lead and react to each other, in a
manner akin to free improvisation or jazz. |
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Title/Composer |
Program Notes |
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“trebly”, 10’00” Nathan Michel |
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Sound/Machine, 10’00” Jason Moore |
Having little or no experience working with actual (as opposed to
inactual) electronics did not deter Jason from purchasing several aging
pieces of photographic equipment and modifying them to be used in live
performance. The work will feature a small number of these modified
electronics being used to create and manipulate sound through max/msp. |
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Linger, 15’00” Betsey Biggs |
I spent much of 2001 travelling through |
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No title, 35' |
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No title, 35' |
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No title, 35' |
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Concert VI |
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Title/Composer |
Program Notes |
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"Rilke Remix", 15’00” Bill Matthews |
"Rilke Remix" is a suite of sound poems using texts in
German from |
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Ted Coffey |
An assemblage of electroacoustic spaces and gestures, and
recordings of environments on Earth, mediated by selections from a well-known
track by Ray Charles-Georgia On My Mind. |
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alien productions, 25’00” Martin Breindl Norbert Math |
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A Moment, 7’30” Seung-Hye Kim |
Time, the domain of music, is eternity without beginning and
end. A standard judging length of time is ambiguous because it is subjective.
Time is considered as if it was contrasted with an instant, but it is just an
instant from time's view. Consequently, the fact that music is based on tempo
implies that it is a state and a presentation of instant. In this piece, I
tried to describe the most significant moment in the whole piece and control
even the shortest fragment of pre-recorded saxophone and piano sound. |
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"Wunderbra!", 20’00” Jon Appleton/Achim Treu |
Jon Appleton and Achim Treu will play a live version of one of
their tracks from their recent album Wunderbra! |
| Title/Composer |
Program Notes |
| 48 13 N, 16 20 O, 14'00" |
48 13 N, 16 20 O is the first of a series of pieces that deals
with sonic attributes of a particular place, specific geographical location,
and regional auditory entities. The sonic objects that were recorded
during the period of approximately 1 month in one city in the summer
of 2002 comprise the basis of the piece. This composition is the outcome
of walking the path of the reporter and the composer. |
| Absinto
Redux , 10'00" Jonathon Kirk |
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| Improvisation, 20’00” Larry Polansky, Kui Dong, Christian Wolff |
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| Pikapika, 12’00” Tomie Hahn |
Meet Pikapika ("peeka peeka")--a character influenced
by anime and manga; Japanese pop animation and comics. Pikapika embodies
movements from bunraku (puppet theater), a movement vocabulary Hahn
studied while learning nihon buyo (Japanese traditional dance) pieces
derived from the puppet theater. The concept of the sonic punctuation
of Pikapika's movements is drawn directly from the bunraku musical tradition.
However, the actual sounds are not drawn from bunraku musical vocabulary.
Pikapika dons a wireless interactive dance system, "SSpeaPer,"
the Sensor/Speaker Performance interface, created by Curtis Bahn. SSpeaPer
naturally locates and spatializes the electronic sounds to emanate from
the speakers mounted on her body. As Pikapika moves her gestural information
is sent by radio to an interactive computer music system. The sounds
are then broadcast back to her body, creating a new sort of audio "alias"
for her character; a sonic mask. |
| Tired, 5’01” Sawoo Lee |
Boring afternoon, the long lecture tires students. In this piece.
I used mostly sounds that are made up of hands, notebooks(paper) and
pens as sound materials and realized a delicate changes of psychology
of students. |
| Fog, 7’00” Brad Garton |
Computer folk music! |
| In the Moment, 15’00” Paul Lansky |
'In the Moment' is a collaborative work between composer Paul Lansky
and dancer/choreographer Mark Haim. It was created for and first performed
at the Interface Culture festival at |
| Title/Artist |
Program Notes |
| "The Tipping Point" Betsey Biggs |
The piece was constructed
using Force Sensing Resistors, a Basic Stamp microcomputer and Max/MSP/Jitter.
It could not have been achieved without the technical wizardry of Dan
Trueman, Perry Cook, and Paul Botelho. |
| “Variations” Daniel Biro |
"Variations" is a sound installation commissioned by
the Villa Bernau in |
| portraits Paul Botelho |
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| Ted Coffey |
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| No title Jonathon Kirk |
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| NYC I love you too! Jeannie Lee |
Breaking into the |
| "Breaking
Gridshape" Thomas Owen |
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| CubeScreen Tristan Perich |
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| "Happiness, Too, Is Inevitable." Douglas Repetto |
"Happiness, Too, Is Inevitable." is an ambient audiovisual
installation driven by environmental sensors installed around a space.
Light, temperature, and pressure sensors influence the installation's
output. The source of the sounds and images is the word "happiness." |
| No title Andrew Tomasulo |
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| Titlipur Performance and Design: Anemone Dance Theater / Sara Baird Video Artist: Lee Whittier, courtesy of the Paul Sharpe Gallery Sound Design: Miriama Young |
"The gardens were deep in the mist, through which the butterfly
clouds were swirling, one mist intersecting another." -Salman Rushdie, 'The Satanic Verses' |
