CONCERT
ONE:
Ghostbusters
One of
my interests as a composer is the way we experience sounds in three-dimensional
space. In Ghostbusters four electric guitarists with mini-amps and effects
boxes strapped to their bodies circulate through the concert hall, gently
illuminating its acoustic properties and creating a web of echoing harmonies. A
percussionist adds to the sonic texture by playing tuned flower pots, a
sampler, and a bass drum played with coils made from old piano strings.
David
Claman holds
degrees from Wesleyan University where he studied the music of South India,
from the University of Colorado, and from Princeton where he completed his
Ph.D. in 2002. He is an adjunct professor at Lehman College CUNY in the Bronx.
He received a fellowship from The American Institute of Indian Studies in 1998
and has held residencies at the MacDowell Colony and the Rockefeller
FoundationÕs Bellagio Center. He has received commissions from The American
Composers Forum, the Cygnus Ensemble, Tara Helen OÕConnor, Noa Even, John
McDonald and Tufts Univesity, and The New Millennium Ensemble. Recordings can
be found on the Innova, Capstone and Bridge labels.
Sequitur
is a series of compositions for solo instruments and live-electronics which are
written for outstanding soloists. The aim is to create various pieces which
uses the same computer program - the so-called Sequitur-Generator which is
written in MaxMSP. It generates a complex 8-part canon from the instrument's
live input as an accompaniment. Unlike traditional canons, the individual
canonic layers do not enter at regular intervals but in a sort of acceleration
which results in an increasing structural density. Moreover, the single canonic
layers are getting gradually distorted - as if the were decaying. And at last,
the 8 parts do not always play together, but are constantly cross-faded by
using random operations, which results in every-changing and unforeseeable
structural interactions where the canon can vary between 1 and 8 voices.
In
other words: A strict and mechanical construction principle of the canon (hence
the title Sequitur from the Latin word which translates into "it
follows") is subversively excavated. This finally results in an
unpredictable system that in fact uses the input of the soloist as its basic
material but also shows an autonomous and secret behavior.
This
dichotomy challenges the soloist who is performing a score, which consists of
accurately notated musical actions, which are separated by fermatas. As the
lengths of those fermatas is not indicated, the performer decides how long they
lasts - according to output which the computer creates in real time.
Finally,
the computer-generated canon structures run through a series of sound
transformers (like ring modulator, harmonizer and pitch shifter) where the
sonic shape of the sound can be altered. These processes can either be
controlled by the instrumentalists themselves by employing external controllers
like pedals, stomp buttons or MIDI faders, or by a second musician who operates
the live electronics independently.
The
title Sequitur advertently relates to the famous "Sequenze" of
Luciano Berio. It is an attempt to write a series of pieces, which take
advantage of the idiosyncratic instrumental possibilities - and confront them
with a real-time sound processing environment that has its own life.
Karlheinz
Essl:
(b Vienna, 15 Aug 1960). Austrian composer, improviser and performer. He
attended the Vienna Musikhochschule (1979--87), where he studied with Friedrich
Cerha and Dieter Kaufmann, among others. He also studied musicology and art
history at the University of Vienna (doctorate 1989; thesis published as Das
Synthese-Denken bei Anton Webern, Tutzing 1991). Active as a double bassist
until 1984, he played in chamber and experimental jazz ensembles. As a composer
he has contributed to the Projekt 3 composition programming environment of
Gottfried Michael Koenig at Utrecht and Arnheim (1988-89), which later
transformed into his own Real Time Composition Library (RTC-lib) for Max/MSP/Jitter.
Essl also served as composer-in-residence at the Darmstadt summer courses
(1990-94) and completed a commission for IRCAM. Between 1995-2006 he taught
Algorithmic Composition at the Studio for Advanced Music & Media Technology
at the Bruckner University, Linz. Professor of composition for electro-acoustic
and experimental music at the Vienna University of Music and Performing Arts as
of 2007.
For
electric guitar & live-electronic
(the
title is a -nonexistant- comparative of the german word "dazwischen"
- "between" and is meant to signify the position of the piece
somewhere between a concert piece and an installation)
The
length of a delay-line is bound to the intensity of the feedback resulting from
an electric guitar lying on an amplifier. after a period of oscillation, the
resulting feedback system settles into stable conditions.
At
this point, the role of the musician is to destabilize the system again by
slightly tuning down one of the strings (only the 3 lower strings are used, the
others are muted). when the system has then stabilized again, the process
continues. the piece ends, when all strings are hanging loose.
Hans
W. Koch (*1962)
studied music, history and physics from 1984-88 at the pedogical university of
Weingarten/Wuerttbg. and from 1988-95 composition at the Cologne Cniversity of
music with Johannes Fritsch. Besides the creation of open musical forms for
various ensembles, often including live-electronic and interdisciplinary
aspects, he develops installations in mixed media. Often the search for hidden
aspects of everyday-tools leads to sounds and musical structures. This also
extends to the use of computers as musical instruments in a rather physical
manner. his artistic work brought him to many countries in Europe, Japan and
the USA. In the spring 2007 he was visiting professor for composition and
experimental sound practices at the California Institute of the Arts. More
information in the internet: <www.hans-w-koch.net>.
This
Is Not A Guitar is
a performance-oriented composition that exploits the electric guitar as an
instrument that is necessarily mediated by amplifiers, numerous processors that
remain mysterious "black boxes" to the audience, and physically
displaced speakers. Audiences have come to overlook the disembodiment of the
resulting sound from the physical actions that create it. As this disembodiment
spreads to other parts of musical experience, e.g., YouTube, Second Life,
iPods, etc., audiences continue to become desensitized to the effects of mediation
on live performance. Instead of assuming equality between live and mediated
forms, this work highlights "liveness" and mediation as a new
dimension in which musical structure, tension/release, and meaning can be
built. All sounds heard come from the live guitarist during performance, but in
many moments, the live act of playing is sliced away from the resulting sound
and recombined with the sight of other live acts, establishing a counterpoint
in this new dimension of musical expression.
Jeff
Morris
is an Assistant Lecturer in computer music and coordinator of technology
facilities for the Department of Performance Studies at Texas A&M
University. He has studied at the Florida State University and the University
of North Texas, where he served on the staff of the Center for Experimental
Music and Intermedia. Dr. Morris composes for traditional instruments, fixed
electronic media, and interactive electronics. His works have been performed
internationall and include multimedia works and collaborations with dance
artists. Notable events include the eXtensible Toy Piano Pro ject, the Bonk
Festival of New Music, Electronic Music Midwest, and the Ybor Festival of the
Moving Image. He has also given presentations and performances at conferences
including the International Computer Music Conference and International Society
for Improvised Music.
CYCLIC
MATH SHRED
is a controlled improvisation in four parts created in the MAX/MSP environment
incorporating two vernacular styles:
heavy metal and psychedelic rock and roll. Rather than try to emulate these styles, the essence or
remnants of the styles are incorporated rarefying the comic and the
quasi-mystic elements of heavy metal and psychedelic rock respectively.
Chapman
Welch
received his M.M. in music composition and electronic music from the University
of North Texas where he worked at the Center for Experimental Music and
Intermedia (CEMI) from 2001 through 2006 and is currently serving as the
support specialist for the Rice Electro-Acoustic Music Labs (REMLABS) at Rice
University while pursuing his doctoral studies with Andrew May and Jon
Christopher Nelson. Other
influential teachers include Joseph ÒButchÓ Rovan, Cindy McTee, and Joseph
Klein. He received his undergraduate degree in philosophy from Mississippi
State University where he studied composition and jazz piano with Mark
Applebaum and composition with Andrew May. WelchÕs music has been presented at
numerous festivals in the United States and abroad including the LaTex
festival, June in Buffalo, SPARK, Hawaii International Conference for the
Humanities, the Florida Electro-Acoustic Music Festival, ICMC 2004, and the
2004 and 2005 SEAMUS conferences.
Mr. Welch was also chosen as a finalist for the 2003 Bourges
electroacoustic prize (Degree I).
Transit of
Venus
(for
electric guitar with four virtual guitars): Back in June 2004 much of the world
saw the planet Venus drift between the Earth and the face of the sun. What a sight it was! This piece is
inspired by the sense of scale, operational complexity and majesty of that
event.
Matthew
Malsky's
(b. 1961) compositional style is characterized by its rhythmic vitality,
dramatically crafted gestures, melodic angularity, and irony. His music has
been described as economical and elegant in both its technical and intellectual
rigor, and in the way cutting-edge electronics are fully integrated with live
performance. Malsky's compositions speak with intensity, seriousness and an
underlying inquisitiveness about the boundaries between a complex world and a
searching interior voice. His compositions have been performed and acclaimed
internationally at the Ultima Festival in Oslo, Norway, the Bytes of Art
Festival @ Ylem in San Francisco, the En red 0-2000 Festival in Barcelona, the
iChamber performing series at Arizona State University, national Society for
Electro Acoustic Music-US conferences, the Australasian Computer Music
Conference in Wellington, New Zealand, the International Computer Music
Festival in Kobe, Japan, the Bowling Green New Music and Art Festival and
others. His virtuosic compositions for acoustic instruments with live computer
processing have attracted the interest of outstanding soloists including John
Bruce Yeh (Chicago Symphony), Esther Lamneck (NYU), Frank Cox (c-squared), and
Patti Monson (Sequitur). His second string quartet, Lacan, was recently
premiered by the Penderecki String Quartet and will soon be recorded for
release on the EMF Media label by the Boston-based quartet, QX.
Extended in
All Directions:
The relatively short history of the electric guitar has been extremely rich in
sonic innovation. This piece, a solo improvisation on the electric guitar
with live electronic signal processing, draws on this history and attempts to
bring something new to the repertoire. The piece features an array of
extended techniques for the instrument, including preparations and non-standard
playing techniques (e.g. scraping strings with tools such as letter openers or
files. Another technique involves pouring drops of water into a container
resting on the guitar strings.)
The electric guitar carries with it the baggage of the
rock Ôguitar hero.Õ I will make reference to some of these sounds and
recontextualize them within this piece by juxtaposing and integrating these
references with non-idiomatic improvisational music. I aim to find
connections between the sonic explorations of artists like Jimi Hendrix and
trends in contemporary art music, to draw on the richness of popular traditions
but to also subvert some of their assumptions. Likewise, I will make
references to the classical guitar tradition and recontextualize this sound
within this setting. As well, by integrating idiomatic playing as another sound
resource in the array of different sounds used in this piece, I challenge the
divide between ÔmusicÕ and ÔnoiseÕ that is sometimes made even in avant-garde
music. ÔMusicÕ becomes another Ônoise.Õ
Sundar
Subramanian,
28, is a Canadian composer and guitarist completing coursework for the PhD in
music composition at SUNY Buffalo. He completed his undergraduate studies at
Carleton University in Ottawa and his MA in composition at York University in
Toronto, where for his thesis, he wrote a series of pieces that synthesize
composition with improvisation, often by using elements of graphic notation.
Sundar has worked extensively with extended techniques for the electric guitar,
including alternate tunings, preparations, and effects pedals, and, most
recently, real-time Max/MSP processing. He has had works performed by
performers including the Barton Workshop, Seth Josel, David Mott, Christina
Petrowska-Quilico, the Madawaska String Quartet, and Arraymusic. A
highlight of his musical career was playing in the premiere of Glenn BrancaÕs
13th symphony Hallucination City in New York in the summer of 2001 (on the roof
of the still-standing World Trade Centre).
Push - John Fitz Rogers
(solo electric guitar)
My collaboration with John Fitz Rogers is a perfect example of the old adage
Òbe careful what you wish for...ÉÓ. When John was first forming ideas
about Push he asked if I had any general requests for the piece and I foolishly
asked him to make it fast and virtuosic. A request he obviously took as a
challenge. When I received the first draft of this wonderfully aggressive
assault, I was astonished by the shear number of black dots. John
confided that this was the most he ever had to work to compose five and a half
minutes of music to which I responded comfortingly that this was the most I
ever had to work to play five and a half minutes of music.
-Michael Nicolella
grey angel
- Christopher DeLaurenti
(electric guitar and pre-recorded sound)
grey angel
reflects my interest in updating the musician-plus-tape genre of
electroacoustic music by distorting and blurring the perceptible distinction
between what is 'live' and prerecorded, two categories which are ultimately
meaningless to a truly attentive and absorbed listener. Through the use of
deeply reductive materials, I intended the score of grey angel to foster
imaginative, out-of-the-box interpretation and improvisation with electronics.
-Christopher DeLaurenti
GRAB IT! (for electric guitar
and boombox)was originally composed for tenor saxophone and boombox, is heard
here in an arrangement for electric guitar. Growing up in the Netherlands
during the sixties with blues, jazz and rock, American music had a strong
impact on my own music. In my opinion, the roots of all these different musical
styles can be found in the American language, in the spoken word. I think
that language is one of the origins of music. The more emotional the
spoken word, the more it starts ÔsingingÕ and becomes ÔmusicÕ.
In GRAB IT! I tried to explore the Ôno-manÕs-landÕ between language and music.
I selected voice samples from life-sentenced prisoners. Their world, on the
fringe of society, with its heartbreaking verbal assaults moved me deeply and
inspired me to write the piece. The rough vital sound of these shouting men
formed a perfect unity with the harsh and powerful sound of the tenor sax (or
in this case, electric guitar). GRAB IT! is a kind of duet, a ÔduelÕ if you like: The guitar competes unisono with a
perpetual range of syllables, words and sentences. The meaning of the
lyrics becomes gradually clear during the piece, as well as the hopeless
situation for the prisoners, where suicide is not uncommon: ÒHe tied one end
around the pipe, and he hung himself. So he went out the back door rapped up in
a green sheet with a tag on his toe....You lose everything!Ó In a way death row
is a metaphor for life here. Yet the piece is not just sad, but can also be
understood as a Ômemento vivereÕ. Life is worth living: Grab it!
-Jacob Ter Veldhuis
Michael
Nicolella
is recognized as one of America's most innovative classical guitarists. He has
received wide critical acclaim for his performances, recordings and
compositions. Classical Guitar magazine recently referred to him as ½one
of the contemporary guitars
most gifted starsÉ;
while the Washington Post stated ÒSince the passing of Andres Segovia the
guitar world has needed an advocate... perhaps Michael Nicolella is that
personÓ.
A
uniquely eclectic and versatile artist, Michael blurs the lines between musical
styles and disciplines. He is part of a growing trend in classical music to revitalize
the role of the composer/performer. As a concert artist he frequently programs
his own works for guitar in solo, chamber and orchestral settings. His latest
orchestral work, "Ten Years Passed," for electric guitar
and orchestra, was premiered in 2007 by the Northwest Symphony Orchestra. Known
for his creative programming, he has introduced electric guitar into his
"classical" programs and extended the repertoire and audience of his
instrument not only with his own compositions and transcriptions, but also by
premiering and commissioning works by some of today's most exciting emerging
composers.
His most recent recording, "Shard," features his
composition for classical guitar and orchestra, "Guitar Concerto,"
along
with music by Reich, Carter, ter Veldhuis, DeLaurenti, Mesler and Kohl.
It is the stylistic follow up to Nicolella's critically acclaimed
release of contemporary music for classical and electric guitar entitled Push. In Gramophone John Duarte called Push Òa display of stunning
technical skill and unfailing musicality over a very broad spectrum";
while Shard
was described in a recent issue of Frets magazine as Òan exciting textbook
on how to honor the classical tradition and kick it in the ass at the same
timeÓ.
CONCERT
TWO:
Electro-acoustic
Improvisation
Outof Time (Energy is Form) is an electro-acoustic improvisation (for Electric Guitar,
Drums, Lap-Top and Real-Time 3D Graphics) structured in time by the
consideration of ÒenergyÓ as a formal device. Electric guitar and
acoustic drums provide the primary sound sources for real-time computer driven
processing and analysis-based re-synthesis. Almost all of the resultant multi-layered electronic sound
is derived from these two sound sources in real-time via custom software
created by the composer in Max/MSP.
In addition, other carefully prepared samples provide the performers
with catalysts for interaction over the course of the improvisation. The
composite sound also provides control data (after sonic-analysis and mapping)
for real-time visual graphics manipulation in another custom software system
(created by the composer) utilizing the Jitter OpenGL framework.
Brian
Knoth
is a composer/musician and digital media artist/researcher specializing in the
use of sound, moving image and new interfaces. His work explores cross-sensory dynamics and computer
mediated interaction. This work is
realized in several formats including installation, fixed media audiovisual
composition, and live performance.
He is currently a graduate student studying Computer Music and
Multimedia Composition at Brown University.
R.
A. Fish
started playing drums in 1961 and studied with Alan Dawson at the Berklee
College of Music. He has performed with Perry Robinson (10 time Downbeat
Critics' Poll winning jazz clarinetist), Mary Travers of PP and M, the
Drifters, Reeve Little, John Payne, The Puosette-Dart Band, Chet Baker, Victor
Assis Brasil, as well as pianist/composer Michael Harrison in collaboration
with Rumi scholar Sharam T. Shiva. He has recorded two CDs for Lyrichord
Discs <www.lyrichord.com>.
Book of Sins was started in 1999 as a work-in-progress
piece. The idea was that through performances the pieces develop and change -
unlike a fixed composition that only is being played good or not so good. The
final set will be seven pieces for electric guitar (or multiple guitars) and
live-electronics, each one titled after one of the Ô7 deadly sinsÕ and a famous
erotic and rule-breaking, and therefore political, book. Book of Sins refers to
the electric guitar as the revolutionary instrument of the second half of the
20th century. The electric guitar (players) broke many rules and committed
therefore many Ômusical sinsÕ. It became an expression and icon of sexual and
political liberation since it entered the main stage in the 1950s (replacing
the saxophone), combining (loud) political expression with hedonism. Each piece
exists in its written form in a state of Ôquantum fluxÕ, allowing for an
infinite, but limited number of realizations. And only a performance
determinates its momentary ÔgestaltÕ, which will be different again in the next
performance. Therefore the work-in-progress character - although sometimes it
wouldÕve been easier to just write a version down to be playedÉ
The just-intonation tuning of the guitar is an ideal, which as soon as the
first note is being played is being Ôdirty-fiedÕ. So again the illusion of a
Ôstate-of-paradiseÕ is being destroyed by the sin of playing and the search for
knowledge and self-knowledge. But again as in quantum theory, the ideal state,
although theoretical there, is for us humans non-existent, because we only
experience ÔobservedÕ reality. This is not music about semantics, or
gestures, it is not about emotions, nor does it tell a story, it simply wants
to exist and grow. Dedicated to Seth Josel.
Ulrich
Krieger
is a composer, performer, improviser and experimental rock musician.
He calls his style of working Ôacoustic electronicsÕ, using sounds, that appear
to be electronic, but are produced on acoustic instruments and then
sometimes treated electronically, blurring the borders between the
fields. Krieger transcribed Lou Reed's (in)famous Metal Machine Music for
chamber ensemble, and works with groups like Text of Light (with Lee Ranaldo
and Alan Licht) and zerfall–gebiete (with Thomas Koner) in the nirvana
between experimental rock, ambient, noise and contemporary composition.
Born 1962, in Freiburg, Germany, he lived in Berlin from 1983-2007 with longer
residencies in the USA and Italy between 1991-97. In September 2007 he moved to
California, where he is professor for composition and experimental sound
practice at the 'California Institute for the Arts'. He studied classical
saxophone, composition, electronic music and musicology at the Manhattan School
of Music (NYC), the Universitþt der KŸnste (Berlin) and the Freie Universitþt
(Berlin), as well as pursuing independent studies and research in the didjeridu
and Australian Aboriginal music and culture.
Krieger has worked with Lou Reed, Lee Ranaldo, Phill Niblock, David First,
Thomas Kšner, Alan Licht, Michiko Hirayama, Witold Szalonek, Mario Bertoncini,
Miriam Marbe, Seth Josel, Zbigniew Karkowski, Merzbow, zeitkratzer and many
others performing in Europe, North-America, Asia and Australia.
His works are being performed by the California EAR Unit, zeitkratzer,
KontraTrio, Soldier String Quartet, Wandelweiser Ensemble, Ensemble
UnitedBerlin and many others.
Krieger received grants from the German DAAD program, the Darmstadter Summer
Courses for New Music, the city of Berlin and many others and was a
Composer-In-Residence at Villa Aurora (Los Angeles), Villa Serpentara (Rome),
German Research Centre Venice (Italy), University of East Anglia (England), the
City of Bologna (Italy) and the Music Centre North Queensland (Australia). He
has released over 50 CDs of his original compositions, improvisations, with his
groups and as a collaborator with many musicians.
Transmission for electric guitar and
live electronics was commissioned by ELISION and is dedicated to Daryl Buckley.
Its main point of departure is a system of composed movements across the guitar
which generate changing harmonic fields: this ÒfabricÓ is used to produce the
notated materials, by diverse means of compositorial derivation, and also the
sound-materials played out of the computer (in the second, fourth and last of
the six sections), which are derived from a recording of the ÒfabricÓ. The
processes of derivation (of transmission of the original ÒmessageÓ) continue
during live performance: the compositional process by means of improvisational
playing which emerges from ÒlacunaeÓ in the score of the fourth section, and
the technological process by means of live electronic processing of the guitar
throughout. The original ÒfabricÓ underlies the entire performance as if it
were a deep archaeological stratum, whose transmission to the surface of the
music proceeds through distortions, elucidations, losses and reconstructions,
and so forth.
Another
point of departure was an attempt to reconceive the electric guitar itself,
neither as an expanded (or impoverished, depending on oneÕs point of view)
version of its ÒclassicalÓ forebear, nor as a medium for effecting a
fashion-conscious fusion with its familiar contemporary vocabulary.
transmission uses a ÒhybridÓ instrument equipped with both ÒelectricÓ and
ÒacousticÓ outputs, and uses playing techniques related to both of the above
traditions as well as (probably most importantly) what Derek Bailey calls
Ònon-idiomatic improvisationÓ (to which I would prefer the term Òradically
idiomaticÓ). Each of the six sections embodies a different angle of view on the
instrument itself (as well as on the aforementioned compositional material,
which in the end comes to the same thing); each also uses a different relationship
between the instrument and its electronic ÒenvironmentÓ, which in each case
involves notated parts for one or more footpedals, affecting such dimensions as
pitch-shifting and timbral modulation as well as volume.
The
original guitar timbres were devised in collaboration with Daryl Buckley; the
electronic sounds are performed using the LiSa sampling software developed by
Frank BaldŽ at STEIM in Amsterdam. The first complete performance was given by
Daryl Buckley and the composer in Oldenburg in August 2000.
Richard
Barrett,
born in Swansea in 1959, studied composition principally with Peter Wiegold. He
taught electronic composition and performance in the Institute of Sonology in
The Hague from 1996 to 2001; during 2001-02 he was a guest of the DAAD Berlin
ArtistsÕ Programme, remaining in Berlin until 2006 when he became a professor
at Brunel University in London.
His work encompasses both composition and improvisation, ranging from chamber
music to innovative uses of live electronics and collaborations with visual
artists. Recent projects include NO, commissioned by the BBC Symphony Orchestra
and premiered in February 2005 at the Barbican Hall in London, conducted by
Tadaaki Otaka, the ensemble pieces Melos and Island, both premiered by the
Elision ensemble in November 2006 and both part of CONSTRUCTION, a two-hour work for
voices, ensemble and electronics currently in progress. Current commissions
also include new works for the London Sinfonietta and for the Bavarian Radio
Symphony Orchestra.
Richard Barrett also continues his twenty-two-year collaboration with Paul
Obermayer in the electronic duo FURT and performs regularly with vocalist Ute
Wassermann, saxophonist Evan Parker, cellist Arne Deforce and numerous
ensembles from both compositional and improvisational areas, including the
vocal/instrumental/electronic octet fORCH which he and Paul Obermayer formed in
2005. His work as composer and performer is documented on over 20 CDs,
including four discs devoted to his compositions and seven by FURT.
Seth Josel is active as a soloist,
chamber music partner, ensemble player and as an improviser. His instrumental
versatility, as well as his ability to adapt rapidly to the ever-shifting
musical climate around him, makes him one of the most sought after guitarists
in the New Art Music arena.
During
the five-year period 2002-07 he premiered over 40 compositions spanning various
genres and contexts.
During
the past five seasons he has performed as a soloist with the Hilversum Radio
Orchestra, the Radio Chamber Orchestra Hilversum, the Konzerthaus Orchester
Berlin, the Stuttgart Radio Symphony, the Southwest German Radio Orchestra and
the Ensemble musikFabrik; as well, he was a guest performer with several major
European ensembles and orchestras, including KNM Berlin and Ensemble SurPlus of
Freiburg as well as the DSO Berlin under the direction of Kent Nagano.
With
colleagues Wiek Hijmans, Patricio Wang and Mark Haanstra from Amsterdam, he is
co-founder of the quartet, Catch, which, in 2007, gave a week-long workshop at
Princeton University in addition to appearing as part of the
"concertino" in the U.S.-premiere of Steve Mackey's
"Dreamhouse" with the Boston Modern Orchestra Project. Catch had a
featured slot in September '07 at the second "Output" festival in
Amsterdam.
In
recent year Seth Josel has been a welcome guest on University and College
campuses for his stimulating and diverse presentations regarding New Art Music.
A
number of recording projects are in the works, including Peter Ablinger's
magnus opus for electric guitar "33-127", which is now in preparation
on Mode Records. Also in preparation is a recital of electric guitar music for
New World Records with works by Beglarian, Curran, Dramm, Fiday, T. Johnson and
Matamoros
GreyCode
Kevin
Patton (guitar+electronics), Butch Rovan (clarinet+electronics) and Frederick
Kennedy (percussion) form the experimental jazz trio GrayCode. They explore the
physicality of sound through layered rhythmic patters, complex sound collage,
and computer manipulation of their instruments. At the heart of GrayCode's
practice is the extension of their instruments through custom sensor systems
that track performance gestures to
control real-time sound synthesis and audio processing.
GrayCode's
unique musical style weaves composed sections with improvisation to explore
less common aspects of musical sound such as timbre and bizarre instrumental
techniques. This approach creates atmospheric sound worlds that oscillate
between quiet serenity and aggressive chaos. GrayCode deconstructs musical
textures to reveal hidden structures and often generates wild patterns in an
unrelenting pursuit of new approaches to musical expression.
SilentMovies
is an attempt to explore and confront some of the possible relationships /
interdependencies between visual and sonic perception. In collaboration with a variety of
moving image artists, this performance piece complicates visual engagement
through performed / improvised sound.
In a sense, Silent Movies plays with the live soundtrack idea, but from
a somewhat different vantage point.
Or maybe it is an inversion; a visual accompaniment to an improvised
sonic landscape? For this
performance, I will use a hybrid extended electric guitar / computer
performance system, which allows me to explore extended playing techniques and
sonic transformations provided by sensor controlled interactive digital signal
processing. For tonight's
performance, the moving image composition is by Mark Domino (fieldform.com).
Thomas
Ciufo
is an improviser, sound / media artist, and researcher working primarily in the
areas of electroacoustic improvisational performance and hybrid instrument /
interactive systems design. He has
been active for many years in the areas of composition, performance, installation,
audio and video work, as well as music / technology education, and is currently
serving as artist-in-residence in arts and technology at Smith College. Recent and ongoing sound works include,
three meditations, for prepared piano and computer, the series, sonic
improvisations #N, and eighth nerve, an improvisational piece for prepared
electric guitar and computer.
Recent performances include off-ICMC in Barcelona, Visione Sonoras in
Mexico City, the SPARK festival in Minneapolis, the International Society for
Improvised Music inaugural conference in Ann Arbor, the NWEAMO Festival in
Boulder, and the Enaction in Arts conference in Grenoble.
DitherGuitar Quartet:
Taylor Levine, James Moore, Josh Lopes, Simon Kafka, guitars. Dither = A
quartet that explores the sonic possibilities of electric guitars manipulated
through a galaxy of stomp-boxes, cables, amps and more. Individual members have
more experience in jazz, others in classical, others in rock. Dither collides
these disparate sensibilities to attempt a coexistence that challenges us, and
hopefully, our audiences. The guitar works of Fred Frith, which inspired our
formation, are regularly performed at our concerts along with original
compositions, commissions, arrangements and improvisations. Dither had their
debut concert at John ZornÕs experimental music venue The Stone (NY). Since
then, their performances have brought them to a number of venues including The
Tank (Eat It Festival), The Rattlestick Theater and William Paterson University
(NJ).
Taylor
Levine
is a guitarist in the NYC area. He is the co-founder/co-director of Kyklos, a fantastically
raucous sextet and the founder of Dither. He also performs regularly with the
new-music/rock band Newspeak and Yes is a World, which just finished
their recent tour and recording project of Ted HearneÕs Katrina Ballads.
He
has worked with Meredith Monk, Theo Bleckmann, Ridge Theater, The New York
Soundpainting Orchestra, Newband (A Harry Partch Ensemble), Bang on a Can,
including the UK production of The Carbon Copy Building, the Obie-winning opera
co-composed by Michael Gordon, David Lang, and Julia Wolfe, and with the Dutch
dance company Emio Greco | PC in a new work which will premiere at the Holland
Dance Festival in June of 2008. Recent events include a series of performances
of Harry PartchÕs Delusion of the Fury with Newband at the New York Japan
Society and an Artist In Residence at the Massachusetts Museum of Contemporary
Art. His performances have opened him to an international community, which
includes the United Kingdom, Italy, Netherlands and France.
Taylor
also pursues an active role as an educator in the NYC area. He studied at The
Manhattan School of Music and The Amsterdam Conservatory. Taylor currently
resides in Brooklyn, with a wonderful community garden for a backyard.
Joshua
Lopes,
a citizen of New Jersey is establishing himself as a guitarist, bassist,
composer and educator. Graduating
cum laude from William Paterson University with a Bachelor's degree in jazz
studies, Joshua studied guitar with Gene Bertoncini and Paul Meyers and
composition with John Link and Kevin Norton.
Joshua
has been commissioned to write pieces ranging from solo vibraphone to big band
suites. He is the bassist for the Brooklyn based experimental sextet Kyklos and
guitarist/composer for Tell the Audient Void, a mean-spirited jazz-fusion
quartet.
Simon
Kafka
was born in San Diego, California and began playing guitar at the age of ten.
After attending the San Diego School for Creative and Performing Arts for six
years, he became a student of The Manhattan School of Music where he received
his Bachelors Degree in Jazz Performance in 2005.
Simon
has played and studied with some of the most prestigious musicians in the world
today. These artists include Christian McBride, George Coleman, Barney Kessell,
Benny Green, Chris Rosenberg, Geoff Keezer, Peter Bernstein, Eric Alexander and
Russell Mallone among others. He received a full scholarship invitation to the
Jazz Aspen Snowmass music academy in the summers of 2004 and 2005 where he had
the opportunity to perform a live concert for National Public Radio with his
jazz/rock collective "The East West Quintet," who recently signed on
with Sounden Records. Look for their first full-length album in the spring of Ô08.
James
Moore
is a versatile classical guitarist with many musical personalities. Performing
on a wide variety of acoustic and electric guitars, banjos, and homemade
instruments, James combines the sensitivity and lyricism from his classical
training with a healthy dose of improvisation, theatrics and experimentation.
James's
solo and chamber performances have brought him to concert halls and
experimental music venues across the country, including shows with the Merkin
Hall Ear Department Series, Northwestern University, Santa Cruz New Music
Works, D'Addario Strings, The Connecticut Classical Guitar Society, Manhattan
School of Music's TACTUS ensemble, Newspeak, Anti-Social Music, and the Bang on
a Can Summer Festival. As an orchestral guitarist, James has performed with
Ridge Theater Productions' run of Michael Gordon's Decasia, The Julliard School's
"New Music/New Dance" and FOCUS! Festivals, and the Bang on a Can
Marathon. In addition to collaborating with gifted musicians and composers from
his own generation, James has worked with many of today's leading artists,
including David Lang, Steve Reich, Ingram Marshall, and Meredith Monk.
James
is the guitarist for Mohair Timewarp, a pop-art-concept ensemble. James's
experimental band "Passenger Fish" has been actively performing in
and around New York, while preparing for their opera. Their opera will premier
at the Flea Theater's Music with a View series early next year.
James
grew up in the San Francisco Bay Area, received is BA in guitar performance and
electronic music from The University of California, Santa Cruz, and his MM in
guitar performance from the Yale School of Music. His primary teachers have
been Mesut …zgen and Benjamin Verdery. He currently resides in Brooklyn, NY.
***********
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Butch
Rovan
(reeds + live electronics ) is a composer and performer on the faculty of the
Department of Music at Brown University, where he co-directs MEME (Multimedia
& Electronic Music Experiments @ Brown) and the Ph.D. program in Computer
Music and Multimedia. Prior to joining Brown he directed CEMI, the Center for
Experimental Music and Intermedia, at the University of North Texas, and was a
compositeur en recherche with the Real-Time Systems Team at the Institut de
Recherche et Coordination Acoustique/Musique (IRCAM) in Paris.
Rovan
has received prizes from the Bourges International Electroacoustic Music
Competition, the Berlin Transmediale International Media Arts Festival, and his
work has been performed throughout Europe and the United States.
RovanÕs
research includes new sensor hardware design and wireless microcontroller
systems. His research into gestural control and interactivity has been featured
in Electronic Musician, IRCAMÕs journal Resonance, Computer Music Journal, the
Japanese magazine SoundArts and is featured on the CDROM "Trends in
Gestural Control of Music", published by IRCAM (2000). More of his work
can be seen at http://www.soundidea.org.
Kevin
Patton
(guitar + live electronics ) is a composer, guitarist, and experimental sound
performer who explores the increasingly nebulous borderlands between humans and
machines in performance. The integration of interactive electronic music and
machine improvisation into traditional performance contexts is at the center of
his practice. The Wire magazine described Kevin as genre bending: "Guitar
based free playing morphs into feedback avalanches, or vice versa, and labels
like jazz, noise, or rock become meaningless." (The WIRE, 11/4/05) Kevin
often performs his own work in both instrumental improvisation and interactive
chamber music and has performed in Europe, Japan, and throughout North America.
The Aphasia Project, a multi-media performance art duet with visual artist
Carmen Montoya, integrates video, interactive and generative environments, and
performance art in both a concert and installation setting. "The audio and
video components of Aphasia Project from intertwined frameworks for
interpretation. Mutually dependent on each other for meaning, the sounds and
visuals of Aphasia Project pieces form a semiotic synergy that comes alive in
performance" (The WIRE, 11/4/05) Kevin's music and ideas have been
presented at the Electronic Music Studies (EMS) International conference in
Beijing, China, and the Visiones Sonoras festival in Morelia, Mexico, among
many. See http://lajunkielovegun.com/KevinPatton for more information.
Originally
from Halifax, Nova Scotia, Canada, drummer and sound designer Frederick
Kennedy now
makes his home in New York City. In the last few years, Fred has completed
tours to France, Belgium, the United Kingdom, Ecuador, Canada, the Southwestern
United States, and California. Fred is fortunate to have had the opportunity to
perform with many fantastic artists, including David Krakauer, Tim Hagans, JD
Walter, Bobby Shew, Sheryl Bailey, Joe LoCascio, Lynn Seaton, Dan Haerle,
Philip Glass, Iva Bitova, and Andrew DÕAngelo. Fred has also worked extensively
collaborating with theatre and dance artists on such projects as TigerÕs Heart
(97), The Secret Place (02), Trout Stanley (04), and Brighter Than the Light of
the Sun (05), for which Fred received a Robert Merrit Award for Best Sound
Design.
As
a regular collaborator with New York video artist Pierre St-Jacques, Fred has
also written, recorded and edited numerous scores for video, including Clouds
and Raindrops (04), featured at the Bronx Museum of Art in April of 2004, Token
of My Affection (04), which has been shown in Tokyo and New York, and Project
for a Grey Dress (06). Recent projects include the Suite Unraveling, a group
blending elements of minimalist chamber music, free jazz, and indie rock; and
Randal, a quartet that Fred co-leads with Norwegian guitarist Jostein
Gulbrandsen. For more information, visit http://www.fredkennedy.org.
***********
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LISTENING
SESSION:
Mark
Cooley
Recomposition
#4
represents an ongoing interest in exploring and building precarious musical
structures over the borders that define and differentiate diverse cultures of
music making. The goal is not to rationalize contradictions or to seek out
universal threads with which to mend the rifts, tensions and conflicts that
exist between divergent practices. The goal is to subdue compositional desires
for stability, continuity and predictable points of entry in favor variability,
Mark
Cooley
is an artist and educator whose work generally explores aesthetics of
Interdisciplinarity, deconstruction and juxtaposition. MarkÕs work has been
exhibited, screened and performed internationally at venues and events such as
Exit Art, NY; NWEAMO Festival, San Diego; SEAMUS National Conference, Salt Lake
City; MediaLabMadrid, Madrid; Anthology Film Archives, NY; and many others. In
2004 MarkÕs Recomposition #4 appeared on Electroshock Presents:
"Electroacoustic Music. Vol. IX. Mark is currently an Assistant Professor in
the Department of Art and Visual Technology at George Mason University.
Wes
DeMarco
No
acoustic instruments were harmed in the making of this recording. It consists of MIDI guitar (cello,
strings, percussion) and digital construction (piano, strings, drums) driving
virtual instruments. The one
exception is the electric guitar in Rejoinder which is, surprisingly enough,
electric guitar. Sometimes a cigar
is just a cigar; today often enough it just may turn out to be a digital
simulacrum.
I
had been working several evenings on a chromatic melody that would expand and
contract gently to swim in and out of the spiraling chord progression from
which Nautilus finds its name. I
was trying hard to make it a pretty melodyÉtrying rather too hard, perhaps, and
getting frustrated. At one point,
in a bit of a fit, I isolated the electric guitar and piano tracks and in a
very few minutes mangled these as one might twist and compress and stretch a
soft clay figure into something other than a figure (using CelemonyÕs Melodyne,
which is usually used for pitch and time ÒcorrectionÓ). I liked it. Sustaining a mischievous spirit, in a few more hours I added
the strings to this Rejoinder, then the next evening added the drums and
copy/pasted a few emergent motifs to provide some continuity and emphases. Voila! Instant musical Gehryism.
Wes
DeMarco
(PhD, Vanderbilt University) currently serves as Visiting Assistant Professor
of Philosophy at Clark. WesÕ
philosophical work has been called Òbold and exciting,Ó Ògenuinely creative,Ó
and Òextraordinarily rich.Ó His
musical ritual for many years consisted of hours of solitary free
improvisation, striving to be unaffected while secretly prey to a Keith Jarrett
fantasy. Wes had never been a
performer, though he was seen a few times in public in the early 80s, tangled
in a web of cables fixed to early ARP and Roland guitar synthesizers and an
excess of other devices, lost in his own world just as he had trained himself
to be, and playing too fast for most to enjoy. He is musically illiterate, has no repertoire, and had no
training or coursework in music theory or practice after Mrs. ReynoldÕs
grade-school recorder class (for which he thanks her). Two collections of his works, Shelf
Life
and Invisible Children, have been privately circulated. Wes is married to May Sim, Associate Professor of Philosophy
at Holy Cross (organ, cello). They
have two children, Aris (violin) and Ambrose (cello). He is currently, as they say, Ôout of practice.Õ
Many
thanks to David and especially to Matt for allowing me to share in the
festivities!
Nolan
Stolz
Guitar
and Newspaper (for Juan Gris) was composed in 2005 in Future Music Oregon,
the electronic music studios at the University of Oregon. The source material
includes crumbling, ripping, and turning of newspaper pages and guitar samples
that were recorded by John Miner in the studios of the Tributary Record Label
in Las Vegas, NV. The inspiration for the piece came from the 1925 painting by
cubist Juan Gris, also titled Guitar and Newspaper. Much of the melodic
and harmonic material in the guitar samples comes from Tell a Vision, the 2005 release from
Art Rock Circus, the band that Miner and Stolz both have composed for, recorded
and performed with. Using the program Kyma, Stolz created a piece that
integrates the sounds of the newspaper and the guitar in such a way that is
analogous to GrisÕs cubist distorted visual interpretation of a guitar and a
newspaper. As of February 2008, Guitar and Newspaper has been presented at
Dartmouth College, the 2007 Electroacoustic Juke Joint at Delta State
University (Cleveland, MS), University of Oregon, Downtown Initiative for the
Visual Arts (Eugene, OR), and was premiered at a Eugene Composers Collective
concert.
Stolz teaches at Three Rivers Community College in Norwich, CT and at The Hartt
School, where he is pursuing a doctorate in composition and theory, studying
composition with Larry Alan Smith and electronic music with Robert Carl. He
holds degrees from the University of Oregon and the University of Nevada, Las
Vegas. His previous composition teachers include Virko Baley, David Crumb and
Robert Kyr.
Stolz is also active as a drum set performer and studio musician in both the
rock and jazz idioms. He appears on several commercial recordings, one which
includes jazz greats Ron Carter, Phil Woods, Monty Alexander and several others.
A list of works, discography and sound samples are available at www.nolanstolz.com.
Peter
Terry
A
Sky of Almost Infinite Shadow is a meditation on the dome of the sky as
distorted by both the lens and the imagination. It is inspired by the Sphaera Mundi of the Middle Ages. This
model of the universe places the earth as a tiny spot in the center, surrounded
by the sea, the air, and a ring of fire, then a sphere that "bears"
the moon, and other spheres, like layers of an onion, each bearing planets,
stars and everything beyond. In my
view, the first sphere is the sphere of the eye, enclosed by the sphere of the
mind, which is neither limited to, nor particularly interested in mere reality,
but creates its own universe unattached to any other sphere of reference.
The
score to Shadow is composed entirely of processed electric guitar. The 3D animation was created in Bryce.
The
Los Angeles Times describes Peter Terry as a composer with a Òprodigious
ability to write virtuosic melodic lines and ostinatos.Ó Journal SEAMUS writes,
"Terry has developed an individual style, both as a composer and a
performer, for the electronic wind instrument. He is a master in creating and
performing in this medium." Peter is the recipient of numerous honors and
awards, including an Ohio Arts Council Individual Artist Fellowship in
composition, two Composition awards from the ASCAP Foundation and honors from
the Austin Open Theater. Peter
Terry's music has been performed on prestigious festivals, concert series, and
in alternative galleries and concert halls throughout the United States, Asia
and Europe. His teachers include Christopher Rouse, William Kraft and Russell
Pinkston, and he has served on the faculties of the University of Texas at
Austin, Cal-State-LA, Bowling Green University and Bluffton University. He is
recorded on the Cambria CD-1089, SIMPLE REQUESTS and has a solo CD of his
electronic and acoustic works on Cambria CD-1103 "A HALO of DARK
STARS", performed by his ensemble, Electro-Metamorphosis. A video and multi-media artist, Dr.
Terry is Associate Professor of IT and music at Bluffton University, Bluffton,
Ohio. As JOURNAL SEAMUS states, "Terry has clearly integrated technology
into his creative life, expanding concepts of performance, composition, and
system design and blurring the lines between them.
PAPER
SESSION:
Thomas
Ciufo
Rethinking
Virtuosity: Computer-Mediated Performance & Extended Instruments
This
presentation will explore some of the ways that current and emerging
technologies can be used to enable or redefine musical performance
practice. Many artists are
pursuing a musical practice that combines the roles of composer, system /
instrument designer, and performer / improviser. In addition to integrating these often overlapping roles, it
is also possible to use computation and interactive systems to refashion the very
nature of performance practice, and more specifically, redefine the concept of
virtuosity. Many practitioners
feel that their musical intuition and ideas are more developed than their
physical skills or instrumental technique. Granted, some of this could be reduced by long term, single-
minded devotion to one specific instrumental practice regiment, but for many
musicians, no amount of practicing can make up for their physical
limitations. Many current artists
share the idealistic notion that somehow, we should be able to focus our energy
on the higher-level conceptual aspects of music/sound making, and use the
available technology to reduce some of the physical constraints and manage the
low-level necessities. This is not laziness or naive 'better living through
technology' rhetoric. The history
of instrument building and musical performance has followed a path of
developing better, more expressive, easier to play instruments using available
technologies. In acoustic
instrument design, this has been a relatively slow evolution and is usually a
refinement of an existing instrument or performance practice, rather than a
total paradigm shift. I am
following this evolution using computer technology, but the opportunity to
radically redefine the composer- performer-instrument relationship is
unprecedented. This involves
designing performance systems that reflect our own aesthetic and conceptual
orientation towards music making, and encoding in the software / hardware the
features and functionality that are important to us as composer / performers.
One clear advantage of designing systems for our own use is the opportunity to
design for our particular strengths, and around certain weaknesses. Ideally, this allows one to sidestep or
redefine some of the more problematic aspects of traditional virtuosic
performance, or at least reorient some of the particular physical
concerns. This is an idealistic
notion, given that most mediated instruments introduce their own unique
performance demands. The untold
hours of practicing an acoustic instrument are often substituted for a similar
numbers of hours designing, building, programming, and learning to play a
mediated instrument. This presentation will explore these complex and
compelling concerns, using various personal performance projects as
examples. The eighth nerve
performance system, a computer enhanced hybrid electric guitar will be
discussed and demonstrated.
Jeff
Morris
The
Maturation of Electronic Instruments as Posthuman Computation Instrument
Like
artists in the early twentieth century responding to industrialization, we are
led to find ways to reconcile our humanity with the posthuman and hyperreal
media. One approach taken by sound
artists to reconcile their humanity with the machinehood of their tools is to
use these tools as artistic instruments themselves, especially in the form of
feedback systems. This includes
works by David Tudor, Alvin Lucier, Nicolas Collins, and Augustino Di Scipio.
My approach has been to incorporate digital systems in electracoustic feedback
loops in such a way that the recursive processing causes the software to
"resonate" as well, not in the form of Larsen tones (the common
squeal of an open microphone), but in new timbres and textures that illuminate
the character of digital processes.
From small stimuli, the voice of the computer emerges, and the
stimulus---the human element---erodes.
These systems sonify the process of computation instead of merely
displaying the result of it. Form can be created independently of content,
resulting in something that is a unique blend of the human and computerized
performers. Inspired by the work
of computer scientist Stephen Wolfram and his associates, I have come to think
of these systems as computation instruments, in which sound is an artifact of a
digital process in action---not the final result of a completed process seeking
a fixed solution.
In
performances with my feedback system, Tappatappatappa, I stand holding a small
speaker (used as an input to the computer), stimulate it tapping or stroking,
and aim it in the direction of certain resonant modes of the performance
space. The performer sculpts the
resulting sound, guiding it toward certain qualities, instead of dictating
exact results. The resonant
responses of the room create an almost tactile sense of the critical positions
and angles that are required to excite each resonant mode.
The
experience of these developments has led me to believe that embracing chaotic
elements will enable electronic tools to mature in their own right and become
as robust in application and deep in sensation as acoustic instruments.
Non-linearity in acoustic instruments gives them their character, detail,
natural sound, and, while increasingly understood, still must in some areas
still be approached only with experimentation and experience. Whereas in acoustic instruments, the
challenge is to bring order to naturally chaotic systems, with electronic
instruments, in order to achieve the same level of depth, we must find
approaches to bringing chaotic elements to the excessive order of the digital
computer.
Kevin
Patton
The
TaurEx: A Sensor Modified Electric Guitar
This is an explanation of the how the TaurEx sensor guitar functions and
the motivations for building it. The TaurEx provides an interface for effects
control
that takes advantage of the kinematics of guitar playing. More than controlling
traditional guitar effects, the TaurEx is also a gestural controller for synthesis
and an improvisational tool.