Conference program 41 International Computer Music Conference

Conference program 

41 International Computer Music Conference 

Organized by the Center for Experimental Music and Intermedia (CEMI), 

Division of Composition Studies, University of North Texas 

September 25th to October 1st, 2015 

415 Avenue C, Denton, TX 76201 

Conference Chair: Panayiotis Kokoras 

Music Chair: Jon Nelson 

Paper Chair: Richard Dudas 

Technical Director: Andrew May 

Looking Back, Looking Forward

Looking Back, Looking Forward 

Denton, 09/25 – 10/01 

Support: 

Sposored by: 

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Contents 

Welcome Notes................................................................................................................7 

People........................................................................................................................... 13 

Organizing Committee.......................................................................................... 14 

CEMI and COM staff............................................................................................. 14 

ICMA Board of Directors........................................................................................ 15 

List of previous conferences.................................................................................. 15 

Music Committee and Selection Committee............................................................ 16 

Paper Committee and Selection Committee............................................................ 18 

ICMA Awards........................................................................................................ 21 

ICMC 2015 Official DVD........................................................................................ 22 

Keynote speakers................................................................................................. 23 

Practical Information..................................................................................................... 25 

Schedule Overview....................................................................................................... 31 

Music Program Overview.............................................................................................. 36 

Paper Program.............................................................................................................. 43 

Music Program.............................................................................................................. 55 

Installations................................................................................................................. 135 

Composer/ Performer Biographies............................................................................. 139 

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Denton, 09/25 – 10/01 

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WELCOME NOTES 


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Denton, 09/25 – 10/01 

Welcome from the ICMC 2015 Conference Chair 

I take great pleasure in welcoming you to the 41st International Computer Music Conference (ICMC 2015) from September 

25th to October 1st organized by the University of North Texas, Division of Composition Studies and CEMI. The theme of 

the conference, “Looking Back, Looking Forward,” invites participants to reflect on the innovations, developments, and artistic 

challenges over the past century and to articulate a vision for the future. It also reflects our development here at UNT 

since CEMI has hosted the 7th International Computer Music Conference, 34 years ago, in 1981. At the time, ICMC was 

rather small, with 6 concerts and 52 performances and one keynote address by John Cage, but did not lack diversity and 

excellence. It is our honor to have Larry Austin, ICMC 1981 conference chair, as an honorary member for the ICMC 2015. 

I am really delighted to see the overwhelming response from the computer music community that we received from all 

around the globe. We received 772 music and paper submissions from more than 300 institutions and 48 countries. With 43 

topics, we received 207 music submissions in solo instrument + electronics and 227 in the acousmatic music category. In 

the paper track, the most popular topics were Interaction and Improvisation and New Interfaces for Musical Expression, with 

35 submissions each. This clearly reflects the truly international stature and diversity of ICMC 2015. Among the participants, 

1/3 were students, 2/3 ICMA members, and 1/5 female. All music and paper submissions were rigorously reviewed by 197 

international review committee members. 

I would also like to thank the authors for having revised their papers to address the comments and suggestions from the referees 

and the composers for providing all the necessary information and performance materials. Special thanks to our three 

keynote speakers, Carla Scaletti, Jonty Harrison, and Miller Puckette, for their great and ongoing contribution to computer 

music. Also, special thanks to our featured ensembles, Ensemble Dal Niente from Chicago and UNT’s Nova Ensemble, as 

well as the 66 performers and the 52 composers/performers, a number that seems to be getting bigger over the years. There 

were several people that deserve appreciation and gratitude for helping in the realization of this conference, most of all the 

chairs of the conference, Jon Nelson, Richard Dudas, and Andrew May; the coordinators; and the rest of my colleagues at 

the College of Music. I would like to thank all the reviewers and the Program Committee members for their hard work in reviewing 

all the submissions carefully and rigorously - the volunteers, the CEMI assistants, and the UNT staff, among others. 

I believe that ICMC2015 delivers a high quality, stimulating, and enlightening technical and musical program and endless 

hours of engaging conversations among peers. We are happy to offer you 31 concerts and 10 installations, all projected 

through over 100 loudspeakers at 11 venues across campus and downtown Denton; 23 paper sessions, posters, demos, 

studio reports, 3 workshops, 3 panels, and 3 keynotes addresses. I hope you will find the concerts and the papers 

inspiring and a valuable resource to advance your research and educational activities, whether you are student, academic, 

researcher, performer, or a practicing professional. 

Panayiotis Kokoras 

Conference Chair, ICMC2015 

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Welcome from the Music Chair 

Welcome to the University of North Texas College of Music and the 2015 International Computer Music Conference. We 

hope that you will find the conference to be stimulating, invigorating, and truly enjoyable. We are proud to present superb 

keynote speakers, exceptional performers, and excellent performance environments. Most importantly, I would like to thank 

each of you for participating in this conference. Your music and research represents the most exciting computer music developments, 

most novel incorporation of new media technologies, and most creative new compositions in our field. I look 

forward to seeing old friends, meeting new friends, and sharing this exciting conference experience with each of you. 

Jon Christopher Nelson 

Music Chair, ICMC 2015 

Welcome from the Paper Chair 

We are happy to warmly welcome you to the 2015 International Computer Music Conference, held at the University of North 

Texas in Denton, and pleased to present the proceedings of this year’s conference. As always, the papers presented at each 

year’s ICMC look back in order to develop and build upon previous knowledge and research, and look forward to develop 

new ideas, sounds and paradigms, thus creating a continuum embodying the diverse and highly interdisciplinary nature of 

our international computer music community. 

For this year’s conference, we received a total of 136 paper submissions from 28 countries, of which 90 submissions were 

accepted. The submissions were reviewed using a double-blind review process, and each submission received three conscientious 

and often quite detailed reviews. This year’s review committee was comprised of 128 reviewers from 24 countries 

representing a wide spectrum of specializations in the computer music field. An additional selection committee composed 

of 17 meta-reviewers weighed the decisions of the review committee to make a final selection of papers to accept to the 

conference. 

This year we accepted 17 long papers, 45 short papers (of which 6 are presented in conjunction with a linked concert performance 

for the Piece+Paper category), 17 posters, 5 demos and 6 studio reports (which are scheduled to be presented 

in poster form this year). 

The task of reviewing and adjudicating the many high quality submissions is never an easy one, and our review committee 

and meta-reviewers in the selection committee were often faced with difficult decisions. Nonetheless, we feel that the selected 

papers strongly represent the current research, development and aesthetic thought in computer music today. 

Richard Dudas 

Paper Chair, ICMC 2015 

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Denton, 09/25 – 10/01 

Welcome from the Technical Director 

The Center for Experimental Music and Intermedia (CEMI) was founded as the Electronic Music Center by Merrill Leroy Ellis 

in 1963, and has been one of the most forward-looking centers of its kind ever since. Under Larry Austin’s direction, the EMC 

at North Texas State University was an early adopter of computer music systems, and in 1981 hosted the 7 th annual ICMC; 

I’m delighted that we are hosting ICMC again this year, and grateful to my colleague Panayiotis Kokoras for leading this 

effort. Jon Christopher Nelson’s brilliant coordination of thousands of details of planning, Elizabeth McNutt’s coordination of 

UNT performers, David Stout’s coordination of installation works, the CEMI staff’s tireless efforts in preparing and running 

technological support for the conference, and the assistance of Blair Liikala, Derek Miller, and Ron DiIulio in coordinating 

concert venues outside CEMI, have all been invaluable, and are just the tip of the iceberg of thanks that I wish to express. 

Above all, I am grateful for the opportunity to welcome you to a community of musicians, both faculty and students, that 

nurtures the adventurous spirit and musical engagement that make it such a delight for me to serve as CEMI director. Welcome 

to CEMI! 

Andrew May 

Technical Director, ICMC2015 

CEMI director 

Welcome from the ICMA President 

Dear 2015 ICMC Delegates, 

I am very happy to welcome you to the 41st International Computer Music Conference at the Center for Electronic Music & 

Intermedia at the University of North Texas in Denton. The University of North Texas was one of the early hosts of the ICMC, 

with Larry Austin organizing the seventh conference only 34 years ago in 1981. It is a pleasure to return to UNT and explore 

the conference’s theme: “Looking Back, Looking Forward.” 

I am excited that this year we have a focused, intense conference – with only two concurrent papers tracks, and a more 

selective paper and piece acceptance ratio. But we have not sacrificed scope or diversity, we have had submissions from 

over 300 institutions and 48 countries. I am looking forward to the deep immersion and extended discourse that this exciting 

program will allow. I am also excited to see our friends Carla Scaletti, Miller Puckette, and Jonty Harrison have been chosen 

as the keynote speakers, as they have continually inspired and delighted us with their research, software, and music. 

I would like to thank the hosts of this conference: Panayiotis Kokoras, Jon Nelson, Richard Dudas, and Andrew May. They 

have masterfully and flawlessly organized all aspects of this years ICMC: from the first call for submissions, to the jury 

process, to the events of this week. I am looking forward to a wonderful week of new ideas, new music, and new friends. 

Welcome to the 2015 International Computer Music Conference! 

Tom Erbe 

ICMA President 

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Welcome from the Dean of the College of Music 

As Dean of the College of Music at the University of North Texas, it is my pleasure to welcome you to our campus and our 

city for the 2015 International Computer Music Conference. The theme of the conference, “Looking Back, Looking Forward” 

is particularly meaningful to me as I have observed the development of computer music in higher education in the US for 

about half a century! Innovation in the study and creation of music has nowhere been more apparent than in this field, in 

which early and enormously difficult experimentation is still within the memory of many who are still active. From a time in 

which it was an unimaginably complex task to bring forth a comparatively simple artistic outcome, we have developed to a 

point where exciting and meaningful artistic complexities are within the creative reach of so many. Your field has consistently 

built on its accomplishments, and we celebrate those accomplishments with you. 

At the University of North Texas, we are proud of our history in computer music and indeed all of the accomplishments of our 

students and faculty working through our Center for Experimental Music and Intermedia. I would like to thank my colleagues 

who made the commitment to bring this conference to our campus for all the work they have done to make it successful. 

As you participate in the events of this conference, let me wish for all of you a thoroughly engaging artistic and intellectual 

experience through the stunning technologies of our time. 

James C. Scott, Dean 

College of Music 

University of North Texas 

Welcome from the Chair of the Division of Composition Studies 

On behalf of the Division of Composition Studies at the University of North Texas, it is indeed an honor to welcome the many 

composers, performers, and researchers who have come from around the world to participate in this year’s International 

Computer Music Conference. This event comes on the heels of the 50 th anniversary of the Center for Experimental Music 

& Intermedia (CEMI), which is arguably the core of the UNT Composition Division in that it represents the spirit of experimentation, 

innovation, and forward thinking that has distinguished our program for the past half century. UNT-affiliated 

composers—students, alumni, and current and former faculty—have been regular participants at ICMC over the years, so 

it is particularly gratifying to have this opportunity to host ICMC 2015, the first time in over 30 years. 

I would like to take this opportunity to express my sincerest gratitude to my faculty colleagues, in particular Panayiotis 

Kokoras, Jon Christopher Nelson, and Andrew May, for their tireless efforts over these past several months in coordinating 

what I anticipate will be a successful and memorable conference for all involved. I would also like to thank my colleagues 

Elizabeth McNutt, David Stout, and Kirsten Broberg, along with the extraordinary technical staff of the Center for Experimental 

Music & Intermedia, as well as the members of the UNT Composers Forum, for their invaluable contributions to this 

conference. 

Joseph Klein 

Chair, Division of Composition Studies 

University of North Texas College of Music 

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Denton, 09/25 – 10/01 

12

PEOPLE 


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Denton, 09/25 – 10/01 

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Organizing Committee 

Conference Chair: Panayiotis Kokoras (University of North Texas) 

Music Chair: Jon Nelson (University of North Texas) 

Paper Chair: Richard Dudas (Hanyang University, Seoul, Korea) 

CEMI Director: Andrew May (University of North Texas) 

Installations: David Stout (University of North Texas) 

Concert Coordinators: Joe Klein, Kirsten Broberg 

Director of Nova Ensemble: Elizabeth McNutt 

Honorary Member: Larry Austin (University of North Texas) 

UNT Staff 

Brad Haefner - Information Technology / Computer Systems 

Linda Strube Assistant for Concert Programs 

Laura Ford - Concert and Event Scheduling 

Derek Miller – Murchison Performing Arts Center Audio Technical Director 

Julie Moroney – Murchison Performing Arts Center Technical Director 

Peter Brewer – Recording Services Engineer 

Blair Liikala – Director of Recording Services 

Ron DiIulio – Astronomy Program Director 

Randall Peters – Planetarium Manager 

CEMI Assistants 

Ermír Bejo 

Timothy Harenda 

Stephen Lucas 

Joseph Lyszczarz 

Seth Shafer 

Michael Smith 

Zachary Thomas 

Chaz Underriner 

Jinghong Zhang 

Qi Shen 

Composers Forum 

2014-15 CF Officers 

Michelle Brite, President 

Michael Smith, Vice President (Graduate) 

Michele Newman, Vice President (Undergraduate) 

Ryan Ayres, Records Officer 

Richard Carrasco, Treasurer 

2014-15 CF Board 

Evan Adams 

Miguel Espinel 

Joseph Lyszczarz 

Mary Mixter 

Austin Simonds 

Hua Xin 

Volunteers 

Adrian Loftin Thani Abuhamad Deja Morrison Sam Miyashita 

Rebekah Simon Marlitha Dukuly Summer Mensah Victor Musasia 

Max Davis Teylor Patak Alejandro Sosa Grant Carrington 

Aaron Ibanez Austin Poorbaugh Dahyun Park Heather Hague 

Austin Gibson Delanie Molnar Iman Khajehzadeh 

Steven Starks Danielle Cordray Colin Hilliard

ICMA board of Directors 

ICMA Officers 

President: Tom Erbe 

Vice President for membership: Michael Gurevich 

Vice President for Conferences: Margaret Schedel 

Vice President for Asia/Oceania: Lonce Wyse 

Vice President for the Americas: Madelyn Byrne 

Vice President for Europe: Stefania Serafin 

Treasurer/Secretary: Chryssie Nanou 

Array Editor: Christopher Haworth 

Music Coordinator: PerMagnus Lindborg 

Research Coordinator: Rebecca Fiebrink 

Publications Coordinator: Rob Hamilton 

ICMA Board of Directors 2014 

At-Large Directors: Richard Dudas, Tom Erbe, Chryssie Nanou, Tae Hong Park 

Americas Regional Directors: Eric Honour, Patricio de la Cuadra 

Asia/Oceania Regional Directors: Seongah Shin, Lonce Wyse 

Europe Regional Directors: Stefania Serafin, Arshia Cont 

Non-elected officers 

ICMA Administrative Assistant: Sandra Neal, 

List of previous conferences 

ICMC2014, Athens, Greece 

ICMC2013, Perth, Australia 

ICMC2012, Ljubljana, Slovenia 

ICMC 2011, Huddersfield, UK 

ICMC 2010, New York, USA 

ICMC 2009, Montreal, Quebec, Canada 

ICMC 2008, SARC, Belfast, N. Ireland 

ICMC 2007, Copenhagen, Denmark 

ICMC 2006, New Orleans, USA 

ICMC 2005, Barcelona, Spain 

… 

ICMC 1981, North Texas State University, USA 

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Denton, 09/25 – 10/01 

Music Committee and Selection Committee* 

James Andean* 

Kevin Austin 

Miguel Azguime 

Natasha Barrett 

Françoise Barriere* 

Andrew Bentley 

David Berezan 

Nicolas Bernier 

Gonzalo Biffarella* 

Benjamin Broening 

Ludger Brümmer 

Rodrigo Cadiz 

Joel Chadabe 

Marek Choloniewski 

Marko Ciciliani 

Ricardo Climent 

Ricardo Dal Farra 

Antonio Ferreira 

Jason Freeman 

Mara Helmuth 

Elizabeth Hoffman* 

Christopher Hopkins* 

Vera Ivanova* 

Konstantinos Karathanasis* 

David Kim-Boyle* 

Joe Klein 

Colby Leider 

Elainie Lillios 

Liao Lin-Ni 

PerMagnus Lindborg 

Cort Lippe 

Minjie Lu 

Mario MARY 

Andrew McPherson 

Centre for Music & Technology, Sibelius Academy, University of the Arts Helsinki, Finland 

Concordia University, Montreal, Canada 

Miso Music Portugal, Portugal 

Department of Musicology, University of Oslo, Norway 

MISAME, France 

University of the Arts Helsinki/Sibelius Academy, Finland 

University of Manchester, United Kingdom 

Université de Montréal, Canada 

Universidad Nacional de Córdoba, Argentina 

University of Richmond, United States 

ZKM | Center for Art and Media Karlsruhe, Germany 

Pontificia Universidad Catolica de Chile, Chile 

New Music World, United States 

Polish Society of Electroacoustic Music, Poland 

IEM – Institute of Electronic Music and Acoustics/University of Music and 

Performing Arts Graz, Austria 

NOVARS Research Centre, United Kingdom 

Concordia University, Canada 

Freelance, Portugal 

Georgia Tech, United States 

University of Cincinnati, United States 

New York University, United States 

Iowa State University, United States 

Chapman University, ACF LA, Synchromy, United States 

University of Oklahoma, United States 

University of Sydney, Australia 

University of North Texas, United States 

University of Miami / Frost School of Music, United States 

Bowling Green State University, United States 

IReMus – CNRS, France 

Nanyang Technological University, Singapore 

University of Buffalo, United States of America 

Sichuan Conservatory of Music, China 

Académie Rainier III de Monaco, Monaco 

Queen Mary University of London, United Kingdom 

16

Flo Menezes 

Scott Miller 

Andrea Molino 

Adrian Moore* 

Valerio Murat 

Vassos Nicolaou 

Erik Nyström 

Joao Pedro Oliveira 

Felipe Otondo 

Taehong Park* 

Rui Penha 

Michal Rataj 

Michael Rhoades 

Jøran Rudi* 

Federico Schumacher 

Antonio Sousa Dias 

Kurt Stallmann 

Adam Stansbie 

Nikos Stavropoulos 

Pete Stollery 

Martin Supper 

Andrea Szigetvari* 

Robert Thompson 

German Toro 

Dan Tramte 

Graeme Truslove 

Yu Chung Tseng 

Anders Tveit 

Katerina Tzedaki 

Rodney Waschka 

Chapman Welch 

Daniel Weymouth 

Scott Wyatt 

Lidia Zielinska 

Studio PANaroma (Unesp), Brazil 

St. Cloud State University, United States of America 

Italy 

The University of Sheffield, United Kingdom 

Conservatorio di Musica “Licinio Refice”, Frosinone, Italy 

Italy 

SAE Institute London, United Kingdom 

Federal University of Minas Gerais, Brazil 

Universidad Austral, Chile 


FEUP / INESC TEC, Portugal 

Academy Of Performing Arts, Czech Republic 

The Perception Factory, United States 

NOTAM, Norway 

Programa de Investigación Transdisciplinaria en Música Acusmática (PITMA), Chile 

Portugal 

Rice Electroacoustic Music Labs, Rice University, United States 

The University of Sheffield, United Kingdom 

Leeds Beckett University, United Kingdom 

University of Aberdeen, United Kingdom 

Berlin University of the Arts, Germany 

Hungarian Computer Music Foundation, Hungary 

Georgia State University, United States 

Institute for Computer Music and Sound Technology, Zurich, Switzerland 

University of North Texas, United States 

University of the West of Scotland, United Kingdom 

National Chia Tung University, Taiwan 

Norway 

Hellenic Electroacoustic Music Composers’ Association, Department of 

Music Technology & Acoustics Engineering, TEI Crete, Greece 

North Carolina State University, United States of America 

Rice University, United States 

Stony Brook University, United States 

University of Illinois Experimental Music Studios, United States 

SMEAMuz Poznan, Poland 

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Denton, 09/25 – 10/01 

Scientific Committee and Selection Committee* 

Dafna Naphtali 

Anastasia Georgaki 

Paul Doornbusch* 

Andrew Brown 

David Kim-Boyle* 

Tim Opie 

Stuart James 

Leah Barclay 

Cat Hope* 

Marko Ciciliani 

Andreas Weixler 

Flo Menezes 

Johnty Wang 

Andrew Hankinson 

Cory McKay 

Ivan Franco 

John Sullivan 

Ian Hattwick 

Doug Van Nort 

Graham Wakefield 

George Tzanetakis 

M Wanderley 

Cumhur Erkut 

Olivier Lartillot 

Ville Pulkki 

Archontis Politis 

Aaron Einbond 

Juan Jose Burred 

Diemo Schwarz 

Dominique Fober 

arshia cont 

Nicolas Misdaris 

Jérôme Nika 

Jean-Louis Giavitto 

Emmanuel Jourdan 

Axel Roebel 

José Echeveste 

Joseph Malloch 

Mikhail Malt 

Francois Pachet 

Christophe Vergez 

Stephen Sinclair 


University of Athens, Department of Music Studies, Greece 

Australian College of the Arts, Australia 

Griffith University, Australia 

University of Sydney, Australia 

Box Hill Institute, Australia 

West Australian Academy of Performing Arts / Edith Cowan University, Australia 

Griffith University, Australia 

Edith Cowan Unviersity, Australia 

IEM – Institute of Electronic Music and Acoustics/University of Music and 

Performing Arts Graz, Austria 

Bruckner University, Austria 

Studio PANaroma (Unesp), Brazil 

McGill University, Canada 


Marianopolis College, Canada 


Input Devices & Music Interaction Lab – McGill University, Canada 


York University, Canada 

York University, Canada 

University of Victoria, Canada 

McGill, Canada 

Aalborg University Copenhagen, Denmark 

Aalborg University, Denmark 

Aalto university, Finland 

Aalto University, Finland 

IRCAM, France 

France 

Ircam, France 

Grame, France 

Ircam, France 

STMS Ircam-CNRS-UPMC, France 

Ircam, France 

CNRS – IRCAM, France 

Ircam, France 

IRCAM, France 

Ircam, France 

Université Paris Sud, France 

Ircam, France 

Sony CSL, France 

LMA – CNRS, France 

ISIR, UPMC (Paris 6), France 

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Nicolas Castagné* 

Laurent POTTIER 

Chikashi Miyama 

Avrum Hollinger 

Gregorio García Karman 

Miriam Akkermann* 

Alessandro Cipriani 

Maurizio Giri 

Giovanni De Poli 

Johnathan F. Lee 

Cathy Cox 

Hiroko Terasawa 

Kevin Parks 

Alexander Sigman* 

Frank Balde 

Michèl Koenders 

Marij van Gorkom* 

Ted Apel 

Jøran Rudi 

Alexander Refsum Jensenius 

Dobromila Jaskot* 

adriana sa 

lonce wyse* 

PerMagnus Lindborg 

Miha Ciglar 

Sergi Jorda 

Mattias Sköld 

Miller Puckette* 

Thor Magnusson 

Christopher Haworth 

Nuno N. Correia 

Baptiste Caramiaux 

Alessandro Altavilla 

Rajmil Fischman 

Rebecca Fiebrink 

Marco Donnarumma 

Torsten Anders 

Orestis Karamanlis 

Diana Salazar 

Andrew McPherson 

Fearn Bishop 

Peter Manning 

Simon Emmerson 

Alex Harker 

Michael Grierson 

Lauren Hayes 

Paul Fretwell 

Univ. Grenoble Alpes, Grenoble INP, ICA laboratory & ACROE, France 

UJM univ. Saint-Etienne, France 

ZKM Karlsruhe, Germany 

Max Planck Institute for Human Cognitive and Brain Sciences, Germany 

Studio für elektroakustische Musik, Akademie der Künste, Germany 

Berlin University of the Arts, Germany 

Conservatory of Music Frosinone – Scuola di Musica Elettronica, Italy 

Conservatorio di Musica di Campobasso, Italy 

CSC-DEI, University of Padova, Italy 

Tamagawa University, Japan 

Kunitachi College of Music, Japan 

University of Tsukuba, Japan 

Catholic University of Daegu, Korea, Republic Of 

Keimyung University, Korea, Republic Of 

Steim Foundation, Netherlands 

MusicTechnology: University of the Arts Utrecht, Netherlands 

De Montfort University, Netherlands 

New Zealand 

NOTAM, Norway 

University of Oslo, Norway 

Poland 

Goldsmtihs, EAVI, Portugal 

National University of Singapore, Singapore 

Nanyang Technological University, Singapore 

Ultrasonic audio technologies Ltd.,Slovenia 

Universitat Pompeu Fabra, Spain 

Royal College of Music in Stockholm, Sweden 

UCSD, United States 

University of Sussex 

Oxford University, United Kingdom 

Goldsmiths, University of London, United Kingdom 

Goldsmtihs, University of London, United Kingdom 


Keele University, United Kingdom 

Goldsmiths University of London, United Kingdom 


University of Bedfordshire, United Kingdom 

Bournemouth University, United Kingdom 

City University London, United Kingdom 

Queen Mary University of London, United Kingdom 

EAVI, United Kingdom 

Music Department, Durham University, United Kingdom 

De Montfort University, Leicester, United Kingdom 

University of Huddersfield, United Kingdom 

United Kingdom 

Arizona State University, United States 

University of Kent, United Kingdom 

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Denton, 09/25 – 10/01 

Miguel Ortiz 

Jamie Bullock* 

Peter Nelson 

Jason Hockman 

Carl Faia* 

Owen Green 

Pete Furniss* 

Sylvain Le Groux 

Tamara Smyth* 

David Coll 

Juraj Kojs 

Gary Lee Nelson 

Rama Gottfried 

Christopher Burns 

Mihir Sarkar* 

Jean Marc Jot 

Ji Chul Kim 

Tom Erbe 

Michael Gurevich 

Mara Helmuth* 

Rob Hamilton* 

David Medine* 

Michael Zbyszyński 

Roger Dannenberg 

Ilya Rostovtsev 

Stephen Beck 

Julius Smith 

Curtis Roads 

Edgar Berdahl 

John MacCallum* 

Georg Essl 

Chris Chafe 

David Zicarelli 

Cort Lippe 

Steven Kemper* 

David Cope 

Rafael Valle 

Timothy Place 

Carla Scaletti 

Robert Rowe 

Mark Ballora 


Birmingham Conservatoire, United Kingdom 

University of Edsinburgh, United Kingdom 

Birmingham City University, United Kingdom 

Brunel University London, United Kingdom 

University of Edinburgh, United Kingdom 

University of Edinburgh, United Kingdom 

Stanford University, United States 

Department of Music, University of California, San Diego, United States 

United States 

University of Miami, United States 

Oberlin Conservatory, United States 

CNMAT, United States 

University of Wisconsin-Milwaukee, United States 

MIT Media Lab, United States 

DTS, Inc., United States 

University of Connecticut, United States 

UCSD, United States 

University of Michigan, United States 

College-Conservatory of Music, University of Cincinnati, United States 

Stanford University, United States 

University of California, San Diego, United States 

Avid, United States 

Carnegie Mellon University, United States 

CNMAT, UC Berkeley, United States 

Louisiana State University, United States 

CCRMA, Stanford, United States 

UCSB, United States 

Louisiana State University, United States 

CNMAT, UC Berkeley, United States 

University of Michigan, United States 

CCRMA / Stanford University, United States 

Cycling ’74, United States 

University of Buffalo, United States 

Music Department, Mason Gross School of the Arts, Rutgers, 

The State University of New Jersey, United States 

University of California, United States 

CNMAT, United States 

United States 

Symbolic Sound Corp, United States 


Penn State University, United States 

20

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Denton, 09/25 – 10/01 

ICMA Awards 

ICMC 2015 Best Paper Award 

Each year the ICMA recognizes the best paper submitted with the Best Paper Award. The top scoring papers written by 

ICMA members are given to a panel elected by the ICMA Board, and a winner is decided from among these top 

submissions. 

ICMC 2015 Best Paper Award 

Greg Surges, Tamara Smyth & Miller Puckette for 

Generative Feedback Networks Using Time-Varying Allpass Filters 

2015 Paper Award Panel: 

Rebecca Fiebrink, Chair 

Eric Honour 

Margaret Schedel 

Lonce Wyse 

ICMA 2015 Music Awards 

Each year the ICMA recognizes the best music submissions from among three world regions as well as an award for the 

best student music submission. The top scoring musical works composed by ICMA members are given to a panel elected 

by the ICMA Board, and four winners are decided from among these top submissions. 

ICMC 2015 Best Music Submission Award - Americas 

Phillip Sink for Frayed Cities 

ICMC 2015 Best Music Submission Award – Asia-Pacific 

Yu-Chung Tseng for Points of departure with 17 variations 

ICMC 2015 Best Music Submission Award - Europe 

Diana Salazar for Rewind [Modus Operandi] 

ICMC 2015 Best Student Music Submission Award 

Courtney Brown for How to Speak Dinosaur: Courtship 

2015 ICMA Music Award Panel: 

PerMagnus Lindborg, Chair 

Natasha Barrett 

Roger Dean 

Xenia Pestova 

Stefania Serafin 

22

ICMC 2015 Official DVD 

Eli Stine • Ring | Axle | Gear (2014) • video and music • 4:14 

Yu-Chung Tseng • Points of departure with 17 variations (2010) • stereo acousmatic music • 7:45 

Bruno Degazio (video), Christos Hatzis (music) • Harmonia (2010) • video and music • 29:00 

Mark Pilkington • Lens 7 (2015) • video and music • 7:33 

Takuto Fukuda • Beyond the eternal chaos (2014) • flute and electronics • 10:00 

Anaïs Favre-Bulle, flute 

Phillip Sink • Frayed Cities (2014) • video and 5.1 audio (stereo mix) • 5:45 

* Full version in DVD-rom folder: Sink Frayed Cities 5.1 audio-video 

Haruna Waki • Xanadu (2015) • clarinet and computer • 09:20 

Tomomi Inoue, clarinet 

Iacopo Sinigaglia • Buzz (2014) • 2-channel fixed media • 5:47 

Courtney Brown • How to Speak Dinosaur: Courtship (2013) • hadrosaur skull instrument (dinosaur), tuba and fixed 

media • 7:00 

Courtney Brown, hadrosaur skull instrument (Rawr!); David Earll, tuba 

Eleazar Garzon • Invisible Voices (2013) • 2-channel fixed media • 9:25 

Tim Kreger • Firehose (2014) • electric guitar and desktop computer • 10:00 

Diana Salazar • Rewind [modus operandi] (2014) • 2-channel electroacoustic music* • 11:36 

* Full version in DVD-rom folder: Salazar Rewind [modus_operandi] 5.1 audio 

Andrew Babcock • Short of Touch (2012) • 2-channel fixed media • 6:06 

Per Bloland • Solis-EA (2011) • percussion and electronics • 11:00 

Ryan Packard, percussion 

Scot Gresham-Lancaster • Culture of Fire (2011) • 4-channel electroacoustic music • 10:00 

Patrick Long • Chaconne (2014) • vibraphone and tablet computer • 12:22 

Patrick Long, percussion 

Fred Szymanski • Sinking Air (2014) • 2-channel electroacoustic music* • 8:00 

*Full version in DVD-rom folder: Szymanski Sinking Air 8-channel audio 

Robert Scott Thompson • Passage (2009) • clarinet and electroacoustics • 10:00 

Tadej Kenig, clarinet 

23


Denton, 09/25 – 10/01 

Keynote speakers 

Carla Scaletti 

Carla Scaletti is an experimental composer and entrepreneur, designer 

of the Kyma sound design language and co-founder of Symbolic Sound 

Corporation. Each of her compositions originates from a “what-if” hypothesis 

and involves live Kyma electronics interacting with acoustic sources 

and environments. Educated at the University of Illinois (DMA, MCS), she 

studied composition with Salvatore Martirano, John Melby, Herbert Brün 

and Scott Wyatt and computer science with Ralph Johnson, one of the 

Design Patterns “Gang of Four.” She has been guest lecturer at Centre 

de Crèation Musical Iannis Xenakis (CCMIX) in Paris, and co-organizes 

the annual Kyma International Sound Symposium, this year based on the 

theme:Picturing Sound. In addition to her work in software development 

and music composition, she has a special interest in scientific data sonification, 

and some of her work with physicist Lily Asquith on data from the 

Large Hadron Collider at CERN influenced the musical score she created 

for choreographer Gilles Jobin’s piece QUANTUM. 

Website: http://www.carlascaletti.com/ 

24 

Jonty Harrison 

Jonty Harrison (born 1952) studied with Bernard Rands, Elisabeth Lutyens 

and David Blake at the University of York, graduating with a DPhil in 

Composition in 1980. Between 1976 and 1980 he lived in London, where 

he worked with Harrison Birtwistle and Dominic Muldowney at the National 

Theatre, producing the electroacoustic components for many productions, 

including Tamburlaine the Great, Julius Caesar, Brand and Amadeus, 

and at City University. In 1980 he joined the Music Department of the 

University of Birmingham, where he is now Professor of Composition and 

Electroacoustic Music, and Director of BEAST (Birmingham ElectroAcoustic 

Sound Theatre); between 1980 and 2013 he was also Director of the 

Electroacoustic Music Studios. At Birmingham he has taught a number of 

postgraduate composers from the UK and overseas; many are now themselves 

leading figures in the composition and teaching of electroacoustic 

music in many parts of the world. For ten years he was Artistic Director 

of the department’s annual Barber Festival of Contemporary Music and 

he has made numerous conducting appearances with the Birmingham 

Contemporary Music Group (including in Stockhausen’s Momente in Birmingham, Huddersfield and London), the University 

New Music Ensemble and the University Orchestra. He was a Board member of Sonic Arts Network (SAN) for many 

years (and Chair in 1993-96). He has also been on the Council and Executive Committee of the Society for the Promotion 

of New Music and was a member of the Music Advisory Panel of The Arts Council of Great Britain. As a composer he has 

received several Prizes and Mentions in the Bourges International Electroacoustic Music Awards (including a Euphonie 

d’or for Klang in 1992 cited as “one of the most significant works” in the Bourges competition’s history), two Distinctions 

and two Mentions in the Prix Ars Electronica (Linz, Austria), First Prize in the Musica Nova competition (Prague), the 

Destellos Competition (Argentina), a Lloyds Bank National Composers’ Award, a PRS Prize for Electroacoustic Composition, 

an Arts Council Composition Bursary and research grants from the Leverhulme Trust and from the Arts and Humanities 

Research Board/Council. Commissions have come from many leading performers and studios — including two each 

from the Groupe de recherches musicales (Ina-GRM, Paris) and the Institut international de musique électroacoustique 

de Bourges (IMEB — formerly the Groupe de musique expérimentale de Bourges) — such as the International Computer 

Music Association (ICMA), MAFILM/Magyar Rádió (Budapest), Electroacoustic Wales/Bangor University, IRCAM/Ensemble 

Intercontemporain (Paris), KLANG Acousmonium (Montpellier), BBC, Birmingham City Council, Birmingham Contemporary 

Music Group, Fine Arts Brass Ensemble, Nash Ensemble, Singcircle, Thürmchen Ensemble (Cologne), Compagnie 

Pierre Deloche Danse (Lyon), Darragh Morgan, John Harle, Beverly Davison, Harry Sparnaay, and Jos Zwaanenburg. Despite 

renouncing instrumental composition in 1992, he wrote Abstracts (1998) for large orchestra and 8-track tape, Force 

Fields (2006) for 8 instrumentalists, and fixed sounds for the Thürmchen Ensemble and Some of its Parts for violin and 

fixed sounds for Darragh Morgan (piano and percussion versions to follow, together with duo and trio options). He has 

undertaken a number of composition residencies, including in Basel (Switzerland), Ohain (Belgium) and Bangor (Wales,

UK), and has been guest composer at numerous international festivals. In 2010 he was Guest Professor of Computer Music 

at the Technische Universität, Berlin. In 2014 he will be a Master Artist-in-Residence at the Atlantic Center for the Arts 

in Florida and in 2015 will the KEAR composer in residence at Bowling Green State University, Ohio. During 2014-15 he 

will hold a Leverhulme Emeritus Fellowship. His music is performed and broadcast worldwide. His music appears on 

three solo albums on empreintes DIGITALes, as well on compilations on SAN/NMC, Cultures électroniques/Mnémosyne 

Musique Média, CDCM/Centaur, Asphodel, Clarinet Classics, FMR, Edition RZ and EMF. 

Website: http://www.electrocd.com/en/bio/harrison_jo/ 

Miller Puckette 

Miller Puckette is the well-known creator of the Max and Pure Data 

real-time computer music software environments, which are ubiquitously 

taught and used in electronic music and multimedia practice worldwide. 

Originally a mathematician, he won the national Putnam mathematics 

competition in the United States in 1979, and received a PhD from 

Harvard University in 1986. He was a researcher at the MIT Media lab 

from its inception until 1986, then at IRCAM (Paris, France), and is now 

professor of music at the University of California. He has been awarded 

two honorary doctorates and the SEAMUS prize. Website: http://msp.ucsd. 

edu/ 

25


Denton, 09/25 – 10/01 

PRACTICAL INFORMATION 


26

UNT Campus 

27


Denton, 09/25 – 10/01 

Music Building 

28

Murchison Performing Arts Center 

29


Denton, 09/25 – 10/01 

College of Music UNT campus to Downtown Denton 

30

31


Denton, 09/25 – 10/01 

SCHEDULE OVERVIEW 


32

Schedule Overview 

Wednesday, 30 September 2015 

MPAC IRR MPAC 021 

MPAC Brock 

Grand Lobby 

Lyric Theatre Recital Hall Voertman Hall MEIT Sky Theatre Green Room Installations Rubber Gloves 

09:00-‐09:30 

09:30-‐10:00 Demos Paper Sessions 

10:00-‐10:40 

Soundcheck 

10:40-‐11:00 Coffee Break Coffee Break 

Soundcheck Soundcheck 

11:00-‐11:30 

Demos 

piece+paper 

UNT on the 

11:30-‐12:00 

CrossLoop 

Concert 

Square 

12:00-‐12:30 

group-‐B 

12:30-‐13:00 

Music Commons 

Posters 

Registration 

13:00-‐13:30 

Soundcheck 

group-‐A group-‐C 

13:30-‐14:00 

CEMI Studio 

14:00-‐14:30 

14:30-‐15:00 

15:00-‐15:30 

group-‐B 

group-‐C 

group-‐A 

MPAC Lobby 

15:30-‐16:00 

Coffee break 

16:00-‐16:30 -‐> to Lyric Theatre 

16:30-‐17:00 

17:00-‐17:30 

17:30-‐18:00 

18:00-‐18:30 

18:30-‐19:00 

19:00-‐19:30 

19:30-‐20:00 

20:00-‐20:30 

20:30-‐21:00 

21:00-‐21:30 

21:30-‐22:00 

22:00-‐22:30 

22:30-‐23:00 

23:00-‐23:30 

23:30-‐24:00 

Acousmatex 

-‐> to Banquet 

Banquet @ 

Buffalo Valey 

load up 

Soundcheck 

Club Electro 



MPAC Brock 

Grand Lobby 


09:00-‐09:30 


10:00-‐10:40 

Soundcheck 



11:00-‐11:30 

Demos 

piece+paper 

UNT on the 

11:30-‐12:00 

CrossLoop 

Concert 

Square 

12:00-‐12:30 

group-‐B 

12:30-‐13:00 


Posters 

Registration 

13:00-‐13:30 

Soundcheck 


13:30-‐14:00 

CEMI Studio 

14:00-‐14:30 

14:30-‐15:00 

15:00-‐15:30 

group-‐B 

group-‐C 

group-‐A 

MPAC Lobby 

15:30-‐16:00 

Coffee break 


16:30-‐17:00 

17:00-‐17:30 

17:30-‐18:00 

18:00-‐18:30 

18:30-‐19:00 

19:00-‐19:30 

19:30-‐20:00 

20:00-‐20:30 

20:30-‐21:00 

21:00-‐21:30 

21:30-‐22:00 

22:00-‐22:30 

22:30-‐23:00 

23:00-‐23:30 

23:30-‐24:00 

Acousmatex 


Banquet @ 

Buffalo Valey 

load up 

Soundcheck 

Club Electro 

33


Denton, 09/25 – 10/01 



MPAC Brock 

Grand Lobby 


09:00-‐09:30 


10:00-‐10:40 

Soundcheck 



11:00-‐11:30 

Demos 

piece+paper 

UNT on the 

11:30-‐12:00 

CrossLoop 

Concert 

Square 

12:00-‐12:30 

group-‐B 

12:30-‐13:00 


Posters 

Registration 

13:00-‐13:30 

Soundcheck 


13:30-‐14:00 

CEMI Studio 

14:00-‐14:30 

14:30-‐15:00 

15:00-‐15:30 

group-‐B 

group-‐C 

group-‐A 

MPAC Lobby 

15:30-‐16:00 

Coffee break 


16:30-‐17:00 

17:00-‐17:30 

17:30-‐18:00 

18:00-‐18:30 

18:30-‐19:00 

19:00-‐19:30 

19:30-‐20:00 

20:00-‐20:30 

20:30-‐21:00 

21:00-‐21:30 

21:30-‐22:00 

22:00-‐22:30 

22:30-‐23:00 

23:00-‐23:30 

23:30-‐24:00 

Acousmatex 


Banquet @ 

Buffalo Valey 

load up 

Soundcheck 

Club Electro 



MPAC Brock 

Grand Lobby 


09:00-‐09:30 


10:00-‐10:40 

Soundcheck 



11:00-‐11:30 

Demos 

piece+paper 

UNT on the 

11:30-‐12:00 

CrossLoop 

Concert 

Square 

12:00-‐12:30 

group-‐B 

12:30-‐13:00 


Posters 

Registration 

13:00-‐13:30 

Soundcheck 


13:30-‐14:00 

CEMI Studio 

14:00-‐14:30 

14:30-‐15:00 

15:00-‐15:30 

group-‐B 

group-‐C 

group-‐A 

MPAC Lobby 

15:30-‐16:00 

Coffee break 


16:30-‐17:00 

17:00-‐17:30 

17:30-‐18:00 

18:00-‐18:30 

18:30-‐19:00 

19:00-‐19:30 

19:30-‐20:00 

20:00-‐20:30 

20:30-‐21:00 

21:00-‐21:30 

21:30-‐22:00 

22:00-‐22:30 

22:30-‐23:00 

23:00-‐23:30 

23:30-‐24:00 

Acousmatex 


Banquet @ 

Buffalo Valey 

load up 

Soundcheck 

Club Electro 

34



MPAC Brock 

Grand Lobby 


09:00-‐09:30 


10:00-‐10:40 

Soundcheck 



11:00-‐11:30 

Demos 

piece+paper 

UNT on the 

11:30-‐12:00 

CrossLoop 

Concert 

Square 

12:00-‐12:30 

group-‐B 

12:30-‐13:00 


Posters 

Registration 

13:00-‐13:30 

Soundcheck 


13:30-‐14:00 

CEMI Studio 

14:00-‐14:30 

14:30-‐15:00 

15:00-‐15:30 

group-‐B 

group-‐C 

group-‐A 

MPAC Lobby 

15:30-‐16:00 

Coffee break 


16:30-‐17:00 

17:00-‐17:30 

17:30-‐18:00 

18:00-‐18:30 

18:30-‐19:00 

19:00-‐19:30 

19:30-‐20:00 

20:00-‐20:30 

20:30-‐21:00 

21:00-‐21:30 

21:30-‐22:00 

22:00-‐22:30 

22:30-‐23:00 

23:00-‐23:30 

23:30-‐24:00 

Acousmatex 


Banquet @ 

Buffalo Valey 

load up 

Soundcheck 

Club Electro 



MPAC Brock 

Grand Lobby 


09:00-‐09:30 


10:00-‐10:40 

Soundcheck 



11:00-‐11:30 

Demos 

piece+paper 

UNT on the 

11:30-‐12:00 

CrossLoop 

Concert 

Square 

12:00-‐12:30 

group-‐B 

12:30-‐13:00 


Posters 

Registration 

13:00-‐13:30 

Soundcheck 


13:30-‐14:00 

CEMI Studio 

14:00-‐14:30 

14:30-‐15:00 

15:00-‐15:30 

group-‐B 

group-‐C 

group-‐A 

MPAC Lobby 

15:30-‐16:00 

Coffee break 


16:30-‐17:00 

17:00-‐17:30 

17:30-‐18:00 

18:00-‐18:30 

18:30-‐19:00 

19:00-‐19:30 

19:30-‐20:00 

20:00-‐20:30 

20:30-‐21:00 

21:00-‐21:30 

21:30-‐22:00 

22:00-‐22:30 

22:30-‐23:00 

23:00-‐23:30 

23:30-‐24:00 

Acousmatex 


Banquet @ 

Buffalo Valey 

load up 

Soundcheck 

Club Electro 

35


Denton, 09/25 – 10/01 



MPAC Brock 

Grand Lobby 


09:00-‐09:30 


10:00-‐10:40 

Soundcheck 



11:00-‐11:30 

Demos 

piece+paper 

UNT on the 

11:30-‐12:00 

CrossLoop 

Concert 

Square 

12:00-‐12:30 

group-‐B 

12:30-‐13:00 


Posters 

Registration 

13:00-‐13:30 

Soundcheck 


13:30-‐14:00 

CEMI Studio 

14:00-‐14:30 

14:30-‐15:00 

15:00-‐15:30 

group-‐B 

group-‐C 

group-‐A 

MPAC Lobby 

15:30-‐16:00 

Coffee break 


16:30-‐17:00 

17:00-‐17:30 

17:30-‐18:00 

18:00-‐18:30 

18:30-‐19:00 

19:00-‐19:30 

19:30-‐20:00 

20:00-‐20:30 

20:30-‐21:00 

21:00-‐21:30 

21:30-‐22:00 

22:00-‐22:30 

22:30-‐23:00 

23:00-‐23:30 

23:30-‐24:00 

Acousmatex 


Banquet @ 

Buffalo Valey 

load up 

Soundcheck 

Club Electro 

36

Music Program Overview 

Friday, September 25 

Concert 1: Lyric Theater, 4:30 PM 

Name 

Title 

Anna Mikhailova 

PONTE DEI SOSPIRI [ BRIDGE OF SIGHS ] 100 STEPS 

David Berezan 

Moorings 

Michael Musick Sonic Space No. 5 - Iteration No. 2 

Fred Szymanski 

SINKING AIR 

Andrew Garbett 

DIFFERENT STREAMS II 

Adrian Moore 

Counterattack 

Yu-Chung Tseng 

Points of departure with 17 variations 

Chi Wang 

Magic Fingers 

Concert 2: Voertman Hall, 8:00 PM 

Name 

Title 

Sami Klemola 

Blackbay Swing 

Joshua Armenta 

Tres Gritos Para Mi Patria 

Kyong Mee Choi 

Freed 

Peter McCulloch 

Rust Belt 

Xihao Wang 

Xuan Wu 

Marcin Pączkowski Electronic Study No. 1 

Jeffrey Stolet 

Imagined Destinies 

Patrick Long 

Chaconne 

Timothy Roy 

Wunderkind 

37


Denton, 09/25 – 10/01 

Saturday, September 26 

Concert 3: MEIT, 1:30/2:30/3:30 PM 

Name 

Title 

Michael Polo 

Warped Metals 

Michael Olson 

Emergence 

Hoyong Lee Habits of 0&1 

Michael Thompson 

Pressure 

Ryan Maguire 

moDernisT 

Jerod Sommerfeldt 

kernel_panic 

Shu-Cheng Allen Wu 

Le Chute 

Concert 4: Sky Theater, 1:30/2:30/3:30 PM 

Name 

Title 

Stephen Lucas 

S/P 

Brett Gordon 

Cyclism 

Jeffrey Hass 

Three Easy Recipes 1. Over Easy 2. Jellofish 3. Fantasy Fruit Salad 

Jinshuo Feng 

Dance of Three Folk Singers 

Bruce Hamilton 

elegy (wc) 

Mark Pilkington Lens 7 

Diana Salazar 

Rewind [Modus Operandi] 


Name 

Jason Fick 

Ethan Hayden 

Douglas Geers 

Michaela Palmer 

Akiko Hatakeyama 

Jesse Allison 

Thomas Ciufo 

Yemin Oh 

Richard Graham 


Name 

Ai Negishi 

Russell Pinkston 

Nick Fells 

Keith Kirchoff 

Brian Sears 

Jon Nelson 

Takashi Miyamoto 

Jorge Gregorio Garcia Moncada 

Concert 7: UNT Library Mall, 10:30 PM 

Name 

Greg Dixon 

Doug Van Nort 

Adam Vidiksis 

Joo Won Park 

Daichi Ando 

Dominic Thibault 

Charles Roberts 

Greg Surges 

Title 

TransFantasies 

“…ce dangereux supplément…” 

Inanna’s Descent 

Gandharam, Lullaby for Max Mathews 

Soak 

Nocturne 

Ujjayi 

Synesthetic Moment 

Quiet Arcs 

Title 

Tanpopo 

Manderleone 

o ire 

Seeing the Past Through The Prism of Tomorrow 

Reverberance 

Bebop in the Forest of Lonely Rhythms 

Garan for piano and computer 

La historia de nosotros, Parte III: Yuai Buinaima 

(Main Auditorium in the event of rain) 

Title 

Fractures 

Improvisation, ICMC #1: Manual Sculpting and Vocal Shaping 

synapse_circuit 

Large Intestine 

Softstep 

inner_wires: A Digital Audio Feedback Performance 

Blinky Gibberings 

Feld 

38

Sunday, September 27 


Name 

Andrew Walters 

Judy Klein 

Clelia Patrono 

Elsa Justel 

John Nichols 


Name 

Dan Tramte 

Lee Weisert 

Scott Barton 

Michael Pounds 

Ewan Stefani 

Paul Fretwell 


Name 

Yuanyuan (Kay) He 

Paul Duffy 

Cody Kauhl 

Javier Alejandro Garavaglia 

Louis Goldford 

Eli Stine 

Steven Naylor 

Samuel Wells 

Robert Seaback 

Lily Chen 


Name 

Curtis Bahn, Thomas Ciufo 

Takuto Fukuda 

Michael Payen 

Matthew Burtner 

Paul Wilson 

Cristyn Magnus 

Timothy Harenda 

Andrew May 

Jens Hedman, Eva Sidén 


Name 

Elizabeth Hoffman 

Jorge Variego 

Tim Kreger 

Michael Rothkopf 

Rolf Wöhrmann 

Christopher Jette 

Jason Palamara 

Takuro Shibayama 

Thomas Beverly 

Eldad Tsabary, David Ogborn, Ian Jarvis, Alex McLean and Alexandra 

Cárdenas 

Title 

Within and Without 

Railcar 

Tension and Release 

Cercles et Surfaces 

Nothing That Breathes 

Title 

e u t h a n a s i a 

Replika 

Opus Palladianum 

Breathing 2: Re/Inspiration 

DT/P 

King’s Cross 

Title 

Softie’s Volcano 

Floor Exercise 

Excursus: Three Art Songs 

Duo Spectralis 

Giffen Good 

Ring | Axle | Gear 

blue, ballade, blow 

stringstrung 

illusionOfSpace 

Hypochondriasis 

Title 

Sonic Constructions 

Beyond the eternal chaos 

Somnum 

Sonic Physiography of a Time-Stretched Glacier 

Audley’s Light 

Pitch vs. Computer 

Myrrh 

Unsettled Questions (shadow and shape) 

Wu Xing: Metal 

Title 

frôTH 

La jungla 

Firehose 

Two Wings 

unfold 

v->t->d 

past every exit... 

Imaginary Universe 

Telepresent Storm: Rita 

Shared Buffer 

39


Denton, 09/25 – 10/01 

Monday, September 28 


Name 

James Caldwell 

Konstantinos Karathanasis 

John Thompson 

Kyle Vanderburg 

Jonathan Fielder 


Name 

Zuriñe F. Gerenabarrena 

Bruno Degazio, Christos Chatzis 

Larry Gaab 

Title 

Deep Pocket Music 

Trittico Mediterraneo 

Accretion Flows 

Reverie of Solitude 

Wind Chimes Clatter through the Mist and Fog 

Title 

Flaxa 

HARMONIA 

The Metaphors Were Unclear 


Name 

Title 

Mikel Kuehn 

Colored Shadows 

Andrew Babcock 

Short of Touch 

Valerio De Bonis 

COME MORSO IN CORPO 

Kari Besharse 

The Anemone Fragments 

Joong-Hoon Kang The Crow’s-Eye View: Poem No. 6 

John Gibson 

Red Plumes 

Christopher Biggs 

Decoherence 

Richard Johnson 

Musashi 

Jonty Harrison 

Unsound Objects 


Name 

Johannes Kretz 

Robert Scott Thompson 

Clarence Barlow 

Jason Bolte 

Kuei-Fan Lin 

Jorge Sosa 

David Taddie 

Haruna Waki 

Cort Lippe 

Concert 17: Rubber Gloves, 10:30 PM 

Name 

Joel Hunt 

Robert Ratcliffe 

Keith Kothman 

Hua Sun 

Jonathan Higgins 

Ezequiel Esquenazi 

Ryoho Kobayashi 

Clay Chaplin 

Sang Won Lee, Michael Gurevich 

Title 

timbre tunnel 

Passage 

Für Simon Jonassohn-Stein 

With My Eyes Shut 

Immayah 

Enchantment 

Triptych 

Xanadu 

Music for Vibraphone and Computer 

Title 

Material 

(The Best Part of) Breaking up 

[un]wired fantasies 

The Soul of Canton 

Inaudible Soundscapes 

Forclusión XI 

auditomino solo 

Potential Artifact 

Aural Cavity 

40

Tuesday, September 29 


Name 

Title 

Leah Reid 

Ring, Resonate, Resound 

Linda Antas 

All That Glitters and Goes Bump in the Night 

Francesco Bossi First I was afraid #8 

Bret Battey 

Clonal Colonies 

William Price 

Triptych: Three Studies in Gesture and Noise 


Name 

Francesco Galante 

Christopher Poovey 

Heather Stebbins 

Phillip Sink 

TinYun Wang 

Benjamin Fuhrman 

Bihe Wen 


Name 

Ivan Voinov, Wuan-Chin Li, Cheng-Yen Yang, Toshimasa Arai 

Samuel Gillies 

Steven Ricks 

Jason Mitchell 


Sandra Elizabeth González 

Butch Rovan, Ami Shulman 

Title 

Metaphonie V (to G.Scelsi) 

The Art of Siphoning Souls 

minim 

Frayed Cities 

Oblivion linearity 

Reflections in a Gasoline Rainbow 

Regression 

Title 

Dirge 

Snowden (Social Network) 

Medusa in Fragments 

Ricochet Orbit 

Contemplating Larry 

Alegorías 

of the survival of images 


Name 

Title 

Paul J. Botelho, Jon Appleton 

N’air sur le lit 

Ying-Jung Chen 

Trick of Goblin 

Yian Hwang 

Strike I 

Daniel Fawcett 

Riotous Thrashing 

Jacob Sudol Vanished into the Clouds ( ) 

Eli Fieldsteel 

Fractus V: Metal Detector 

Xiaojiao Dong 

Trickle 

Marta Gentilucci 

Lob der Ferne 

Ioannis Andriotis 

Lokasenna 

Linghsuan Feng 11100100 10111010 10001100 

Per Bloland 

Solis-EA 


Name 

Title 

Ryan Carter 

Latency in the System 

Christopher Burns 

Xenoglossia 

Kazuaki Shiota 

Resonance 

Kristina Warren 

Look the Other Way 

Jon Bellona 

CDM 

Jonghyun Kim Spielzeug #1 - poco a poco accelerando al sinus - 

Kerry Hagan 

s/d 

Victor Zappi 

untitle_black_green 

Peter Hulen 

Sitting 328b 

41


Denton, 09/25 – 10/01 

Wednesday, September 30 

Concert 23: Voertman Hall, 10:00 AM 

Name 

Title 

David Wessel, John MacCallum, Matthew Goodheart, Adrian Freed Antony: A Reimagining 

Marco Buongiorno Nardelli Ricercare #1 

Lindsay Vickery 

The Semantics of Redaction 

Richard Garrett 

crunch! 

Scot Gresham-Lancaster 

Culture of Fire 


Name 

Title 

Simone Sbarzella 

One Day 

Aaron Anderson Studio Study No. 1 

José Ricardo Neto 

Berimbau Acusmático 

Damian O’Riain 

Configurational Energy Landscape No.9 

Ethan Greene Environmental Rhythm Etude No. 1 

Benjamin O’Brien 

along the eaves 


Name 

Dimitrios Bakas 

Michael Spicer 

Ayako Sato 

Juan Vasquez 

Alba Francesca Battista 

Benjamin Whiting 


Name 

Mara Helmuth 

Rob Hamilton 

David Durant 

Charles Nichols 

Chin Ting Chan 

Ewa Trebacz 

Iacopo Sinigaglia 

Steve Wanna 

Seth Shafer 

Rodolfo Vieira, Chris Mercer 

Daniel Blinkhorn 


Name 

Nicholas Cline 

Matthew Bryant 

Atsushi Tadokoro 

Nathan Asman 

Robert McClure 

Haruka Hirayama 

Victor Shepardson 

Andrew Telichan-Phillips 

Simon Fay 

Title 

The Other Side Of The Coin 

A Painting in Sound 

A membrane of membranes 

Collage 3 (After E. Ysaye) 

Les Axiomes de la Tentation 

Melodía sin melodía 

Title 

from Uganda 

alone+easy 

Occhio pero all’acqua alta! 

Il Prete Rosso 

Katachi I 

“Minotaur” 

Buzz 

Abeyance 

Pulsar [Variant II] 

Solo Violin and the Acousmatic String Orchestra 

frostbYte - chalk outline 

Title 

Homage to La Monte Young 

WaveParticles 

Membranes 

Crayonada’s Hat 

untangle my tongue 

FRISKOTO 

Studies 

endNoIn (voiceWork4) 

There is pleasure… 

42

Thursday, Woon October Seung Yeo, 1 Ji Won Yoon 

Concert 28: MEIT, 1:00/2:00 PM 

Name 

Ali Nader Esfahani 

Carter Rice 

James Andean 

Clemens von Reusner 

Mark Ballora 

Concert 29: Sky Theater, 1:00/2:00 PM 

Name 

Tae Hong Park, Tony Lee 

Gonzalo Varela 

Stephen Lilly 

Daehoon Jang 

Tyler Kline 

Eleazar Garzón 

Hyeonhee Park, Jaeseong You 

Rainy Scenery - UNT on the Square 

Title 

Sonances of the Bizarre 

Launch Sequence 

Hyvät matkustajat 

Topos Concrete 

Rhythms of the Universe 

Title 

Machine Stops 

Henry’s Cowbell 

statics: congruent 

Kiwooje 

Two Songs after Dylan Thomas 

Invisible Voices 

Butoh Music 


Name 

Title 

Hua Sun 

The Soul of Canton 

Annette Vande Gorne 

Au-delà du réel (beyond the Reality) 

Felipe Otondo Night Study 1 

Benjamin Sabey 

Phoenix 

Damian Anache 

Capturas del Unico Camino: First Landscape 

João Castro Pinto 

PAREIDOLIA - or of the dreamt gardens 

Anna Terzaroli Dark Path #2 

David Stout 

Janus forward & back 


Name 


Kazuya Ishigami 

Jaeseong You, Hyeonhee Park 

Kurt Stallmann 

Panayiotis Kokoras 

Chris Peck 

Masataka Ishikawa 

Larry Austin 


Panel: MPAC, Room IRR, 11:00 AM 

Title 

The Rush of the Brook Stills the Mind 

Dedication song to OMODARUNOKAMI ver3 

Not Too Bad 

Change Course 

T-Totum 

Bellows 

the throne for sheep 

ReduxTwo 

Title: Looking Back, Looking Forward 

Friday, September 25 - Thursday, October 1 

Installations 

Jonathan Forsyth, Michael Musick, Rachel Bittner 

Katsufumi Matsui, Tatsuya Ogusu, Seico Okamoto, Seiichiro 

Matsumura, Cuichi Arakawa 

Jonathon Kirk, Lee Weisert 

Margaret Schedel 

Chaz Underriner 

Nicole Carroll 

Ivica Ico Bukvic, Aki Ishida 

Evan Kent, Tae Hong Park, Michael Musick, Andrew Phillips, 

Michael Musick, Andrew Phillips 

Ji Won Yoon, Woon Seung Yeo 

Title & Location 

The Harmonically Ecosystemic Machine; 

Sonic Space No. 7 - CEMI MU2009 

Boundary Synthesizer II - UNT on the Square 

Granular Wall - CEMI MU2012 

Hawala - Music Commons 

Backroads - UNT on the Square 

Star Dust - UNT on the Square 

Cloud - MPAC Lobby (only on September 29th) 

Interactive Soundscape Environment (InSeE) - MPAC Lobby 

Pointillistic Illusion - UNT on the Square 

43


Denton, 09/25 – 10/01 

PAPER PROGRAM 

Saturday, September 26, 2015 

9am–10:40am Murchison Performing Arts Center – 

IRR 

Paper Session 1A – Composition and Improvisation I 

Chair: Margaret Schedel 

SIG~: Performance Interface for Schaefferian Sound-Object Improvisation 

Israel Neuman 

Building a Harmonically Ecosystemic Machine: Combining Sonic Ecosystems with Models of Contemporary Harmonic 

Language 

Michael Musick, Jonathan P. Forsyth, Rachel Bittner 

Using Singing Voice Vibrato as a Control Parameter in a Chamber Opera 

Anna Einarsson, Anders Friberg 

Architecture in Motion: a Model for Music Composition 

Jorge Variego 

9am–10:40am Murchison Performing Arts Center – 

021 

Paper Session 1B – History and Education 

Chair: Tom Erbe 

An Online Interactive Course on Computer Music 

Roger B. Dannenberg, Jesse Stiles, Yuezhang Li, Qiao Zhang 

Another Take on Renovating Dated Technology for Concert Performance 

Richard Dudas 

The Just Intonation Automat – a Musically Adaptive Interface 

Jøran Rudi 

Witold Lutosławski – An Algorithmic Music Composer? 

Stanisław Krupowicz 

– break – 


44

Paper Program 


9am–10:40am 



Murchison Performing Arts Center – IRR 


Israel Neuman 

Building a Harmonically Ecosystemic Machine: Combining Sonic Ecosystems with Models of Contemporary Harmonic 

Language 





Jorge Variego 

9am–10:40am Murchison Performing Arts Center – 021 






Richard Dudas 


Jøran Rudi 



– break – 

45


Denton, 09/25 – 10/01 

Paper Program 

Saturday, September 26, 2015 (continued) 

11am–12pm 

Paper Session 2A – Languages and Coding 

Chair: Jorge Variego 


Music Programming in Gibber 

Charles Roberts, Matthew Wright, JoAnn Kuchera-Morin 

Dynamic Message-Oriented Middleware with Open Sound Control and Odot 

John MacCallum, Rama Gottfried, Ilya Rostovtsev, Jean Bresson, Adrian Freed 

11am–12pm Murchison Performing Arts Center – 021 

Paper Session 2B – Music Information Retrieval and Perception I 

Chair: David Medine 

Rhythmic Similarity Based on a Descriptor Balancing between Meter and Tempo 

Sébastien Juchs, Pierre Hanna, Matthias Robine, Myriam Desainte-Catherine 

Genre-specific Key Profiles 

Cian O’Brien, Alexander Lerch 

Sonification of Medical Images Based on Statistical Descriptors 

Rodrigo F. Cadiz, Patricio de la Cuadra, Aarón Montoya, Veronica Marín, Marcelo E. Andia, Cristian Tejos, 

Pablo Irarrazaval 

46

Paper Program 

Sunday, September 27, 2015 

9am–10:40am 

Paper Session 3A – Digital Signal Processing and Effects I 

Chair: John MacCallum 


Generative Feedback Networks Using Time-Varying Allpass Filters 

Greg Surges, Tamara Smyth, Miller Puckette 

Audio Processing by Means of FM Synthesis Parameters: Fundamentals, Real-Time Implementation, and Preliminary 

Compositional Applications 

Sérgio Freire 

Unsampled Digital Synthesis: Computing the Output of Implicit and Non-Linear Systems 

David Medine 

Morphing Sound in Real Time through the Timbre Tunnel 

Johannes Kretz 


Paper Session 3B – New Instruments for Musical Expression I 

Chair: Steven Kemper 

Haptic Control of Multistate Generative Music Systems 

Bret Battey, Marinos Giannoukakis, Lorenzo Picinali 

Feature Extraction and Expertise Analysis of Pianists’ Motion-Captured Finger Gestures 

Mickaël Tits, Joëlle Tilmanne, Nicolas d’Alessandro, Marcelo M. Wanderley 

Audio Collage as an Instrument for Musical Expression: Combining Freehand and Tangible Controllers 

Vanissa Law 

Towards an Interactive Argentine Tango Milonga 

Courtney Brown, Garth Paine 

Musical Acoustics & Instrument Design: When Engineering Meets Music 

Thibault Bertrand, Konrad Kaczmarek, Larry Wilen 

– break – 

47


Denton, 09/25 – 10/01 

Paper Program 

Sunday, September 27, 2015 (continued) 

11am–12pm 

Paper Session 4A – Virtual Reality 

Chair: McGregor Boyle 


Interactive Virtual Soundscapes: A Research Report 

Dr. Anıl Çamcı, Zeynep Özcan, Damla Pehlevan 

Measuring the Effectiveness of Sonified Crossmodal Attribute Pairings Using Contour Matching, 

Symmetry and Perceived Similarity 

Rob Hamilton 

11am–12pm Murchison Performing Arts Center – 021 

Paper Session 4B – Music Information Retrieval and Perception II 

Chair: Chryssie Nanou 

Fuzzy Equalization of Musical Genres 

Marie González, Patricio de la Cuadra, Rodrigo F. Cadiz 

The Effects of Early-Release on Emotion Characteristics and Timbre in Non-Sustaining Musical Instrument Tones 

Chuck-jee Chau, Bin Wu, Andrew Horner 

VizScore: An On-Screen Notation Delivery System for Live Performance 

Seth Shafer 

12pm–2pm 

Poster Session I – Studio Reports 

Murchison Performing Arts Center – Brock Grand Lobby 

Brooklyn College Center for Computer Music 

Douglas Geers, Nicholas R. Nelson, Red Wierenga 

Studio Report 2015: New York University (NYU) Music Technology Program 

Jaesong You, Andrew Telichan, Michael Musick, Tae Hong Park 

Studio Report: Music Technology at the Pennsylvania State University 

Mark Ballora 

Peabody Computer Music: 46 Years of Looking to the Future 

Dr. Geoffrey Wright, Dr. McGregor Boyle, Mr. Joshua Armenta, Mr. Ryan Woodward, Ms. Sunhuimei Xia 

Studio Report: Arizona State University 

Garth Paine, Barry Moon 

Wesleyan University Electronic Music Studios Report 

Ron Kuivila, Paula Matthusen 

fXfD, A Digital Approach to the No-Input Practice 

Dominic Thibault 

48

Paper Program 

Monday, September 28, 2015 

9am–10:20am 

Paper Session 5A – Physical Modeling 

Chair: Rob Hamilton 


The Intrinsic Value of Timbre in Doppelganger 

Asbjørn Blokkum Flø, Hans Wilmers 

State Space Models: Virtual World for Composition 

Rosalia Soria-Luz 

Specifying Sounding Frequency of a Voice Model during Live Interactive Saxophone Performance 

Jennifer Hsu, Tamara Smyth 


Paper Session 5B – Computer Music Aesthetics and Theory 

Chair: Douglas Geers 

Cross-Modality in Multi-Channel Acousmatic Music: The Physical and Virtual in Music Where There Is Nothing to See 

Adrian Mooore 

Low-Level Topology of Spatial Texture 

Erik Nyström 

Developing a Socio-Historical Model for Electro-Acoustic Music Analysis: The Challenge from an Adornian Perspective 

Jaeseong You, Andrew Telichan, Tae Hong Park 

Exploratory Analysis on Expressions in Two Different 4/4 Beat Patterns 

Kyungho Lee, Michael J. Junokas, Mohammad Amanzadeh, Guy E. Garnett 

– break – 

10:40am–12pm 

Paper Session 6A – Composition and Improvisation II 

Chair: Cat Hope 


Improving the Musical Expressiveness of Tesla Coils with Software 

Jason Long, Josh Bailey, James McVay, Dale A. Carnegie, Ajay Kapur 

Automatic Transcription of Japanese Taiko Drumming Using the Microsoft Kinect 

Willian Hua, Andrea Salgian 

Neural Versus Symbolic Rap Battle Bots 

Dekai Wu, Karteek Addanki 

Piece Description: Growth of the Universe (in log time) 

Mark Ballora 

49


Denton, 09/25 – 10/01 

Paper Program 

Monday, September 28, 2015 (continued) 

10:40am–12pm Murchison Performing Arts Center – 021 

Paper Session 6B – Distributed and Mobile Music 

Chair: Michael Musick 

Simple Synchronisation for Open Sound Control 

Sebastian Madgwick, Thomas Mitchell, Carlos Barreto, Adrian Freed 

Computer Music through the Cloud: Evaluating a Cloud Service for Collaborative Computer Music Applications 

Antonio Deusany de Carvalho Junior, Marcelo Queiroz, Georg Essl 

iSuperColliderKit: A Toolkit for iOS Using an Internal SuperCollider Server as a Sound Engine 

Akinori Ito, Kengo Watanabe, Genki Kuroda, Ken’ichiro Ito 

12pm–2pm 

Poster Session II 


Flatter Frequency Response from Feedback Delay Network Reverbs 

Hans Anderson, Kin Wah Edward Lin, Clifford So, Simon Lui 

Hierarchical Genomes in a Genetic Algorithm for Control of a Guitar Synthesizer 

Timothy M. Walker 

Spatial Modulation Synthesis 

Ryan McGee 

Initial Survey Results from The LilyPond Consortium 

Michael Solomon, Urs Liska, Trevor Bača 

Physical Modeling Synthesis of the Stone Chime Instrument “Pyeongyeong” 

Jae hyun Ahn, Richard Dudas 

Building the Erbe-Verb: Extending the Feedback Delay Network Reverb for Modular Synthesizer Use 

Tom Erbe 

Noisebox: Design and Prototype of a New Digital Musical Instrument 

John Sullivan 

50

Paper Program 

Tuesday, September 29, 2015 

9am–10:20am 

Paper Session 7A – Spatialisation 

Chair: Ilya Rostovtsev 


Twenty Years of Ircam Spat: Looking Back, Looking Forward 

Thibaut Carpentier, Markus Noisternig, Olivier Warusfel 

Spectromorphology and Spatiomorphology of Sound Shapes: Audio-Rate AEP and DBAP Panning of Spectra 

Stuart James 

Binaural Navigation for the Visually Impaired with a Smartphone 

Lee Tae Hoon, Manish Reddy Vuyyuru, T Ananda Kumar, Simon Lui 


Paper Session 7B – Algorithmic Composition I 

Chair: Cian O’Brien 

Improving and Adapting Finite State Transducer Methods for Musical Accompaniment 

Jonathan P. Forsyth, Rachel M. Bittner, Michael Musick, Juan P. Bello 

Automatic Piano Reduction from Ensemble Scores Based on Merged-Output Hidden Markov Model 

Eita Nakamura, Shigeki Sagayama 

Composing with Kulitta 

Donya Quick 

– break – 

10:40am–12:00pm 

Demonstrations I 


Wearable Sound System for Dance and Music 

Felipe Otondo, Rodrigo Torres 

The Decibel ScorePlayer: New Developments and Improved Functionality 

Cat Hope, Lindsay Vickery, Stuart James 

(n.b.: Participants are invited to bring their iPad and encouraged to bring their laptops to the demonstration!) 

51


Denton, 09/25 – 10/01 

Paper Program 

Wednesday, September 30, 2015 

9am–10:40am 

Demonstrations II 


Network Gyre - Exercising the Network’s Rhythmic Potential 

Ethan Cayko 


Paper Session 8 – Digital Signal Processing and Effects II 

Chair: Arshia Cont 

The XQIFFT: Increasing the Accuracy of Quadratic Interpolation of Spectral Peaks via Exponential Magnitude Spectrum 

Weighting 

Kurt James Werner 

Augmenting Room Acoustics and System Interaction for Intentional Control of Audio Feedback 

Seunghun Kim, Graham Wakefield, Juhan Nam 

Extending Brass & Woodwind Instruments with Acoustic-Aggregate-Synthesis 

Paul Clift, Adrien Mamou-Mani, René Caussé 

– break – 

10am–12pm 

Piece+Paper Concert and Presentations 

Chair: TBA 

Paul Voertman Concert Hall 

Antony: A Reimagining 

John MacCallum, Matthew Goodheart, Adrian Freed 

Notes on “Culture of Fire” for Analog Neural Network Synthesizer, Geiger Muller Counters and Computer 

Scot Gresham-Lancaster 

Audio Spray Gun 0.8 – the Generation of Large Sound-Groups and Their Use in Three-Dimensional Spatialisation 

Richard Garrett 

materialssoundmusic: a Computer-Aided Data-Driven Composition Environment for the Sonification and Dramatization of 

Scientific Data Streams 

Marco Buongiorno Nardelli 

An Approach to the Generation of Real-Time Notation via Audio Analysis: The Semantics of Redaction 

Lindsay Vickery 

Sound Spatialisation from a Composer’s Perspective 

Hans Timmermans 

52

Paper Program 

Wednesday, September 30, 2015 (continued) 

11am–12pm 

Demonstrations III 


In and Out, Over and Under: An Interactive Audio-Visual Installation Responding to Percy Grainger’s Free 

Music and the Grainger Museum 

Roger Alsop 

12pm–2pm 

Poster Session III 


ToscA: an OSC Communication Plugin for Object-Oriented Spatialization Authoring 

Thibaut Carpentier 

The Effects of Pitch and Dynamics on the Emotional Characteristics of Piano Sounds 

Chuck-jee Chau, Andrew Horner 

Media Modules: Intermedia Systems in a Pure Functional Paradigm 

Mark Santolucito, Donya Quick, Paul Hudak 

Gesture Capture, Processing, and Asynchronous Playback within Web Audio Instruments 

Benjamin Taylor, Jesse Allison 

Rasping Music: Remodeling Early Minimalist Music through Mechatronic Sound-Sculpture 

Mo H. Zareei, Ajay Kapur, Dale A. Carnegie 

Mapping Tone Helixes to Cylindrical Lattices Using Chiral Angles 

Hanlin Hu, Brett Park, David Gerhard 

Mirror Mind: New Possibilities for Overall Interactive Design in New Music-Media Theatre 

Yi Qin, Da-Lei Fang, Zhi-Bo Xu, Yan Da 

Brain-Computer Interfaces and Their Application as an Audiovisual Instrument 

Yago de Quay, João Beira 

53


Denton, 09/25 – 10/01 

Paper Program 

Thursday, October 1, 2015 

9am–10:20am 

Paper Session 9A – Algorithmic Composition II 

Chair: Donya Quick 


“There is pleasure...”: An Improvisation Using the AAIM Performance System 

Simon Fay 

RCCM Canons: Not Only a Problem of Cage 

Alba Francesca Battista, Carlos Maximiliano Mollo, Nicola Monopoli 

Minimal Fitness Functions in Genetic Algorithms for the Composition of Piano Music 

Rodney Waschka II 


Paper Session 9B – New Instruments for Musical Expression II 

Chair: Mark Ballora 

Kinesonic Composition as Choreographed Sound: Composing Gesture in Sensor-Based Music 

Aurie Hsu, Steven Kemper 

Adaptive Music Technology: History and Future Perspectives 

Kimberlee Graham-Knight, George Tzanetakis 

Composition Techniques for the Ilinx Vibrotactile Garment 

Ian Hattwick, Ivan Franco, Marcello Giordano, Deborah Egloff, Marcelo M. Wanderley, Valerie Lamontagne, 

Ian Arawjo, Chris Salter, Maurizio Martinucci 

– break – 

54

55


Denton, 09/25 – 10/01 

MUSIC PROGRAM 


9am–10:40am 





Israel Neuman 

Building a Harmonically Ecosystemic Machine: Combining Sonic Ecosystems with Models of Contemporary Harmonic Language 





Jorge Variego 







Richard Dudas 


Jøran Rudi 



– break – 


56

2015 ICMC Concert 1 

Friday, September 25, 2015 

4:30 pm, Lyric Theater 

PROGRAM 

PONTE DEI SOSPIRI [BRIDGE 

OF SIGHS] 100 STEPS (2010).................... Anna Mikhailova (b. 1984) 

Cassie Lear, flute+ 

Moorings (2014)................................................... David Berezan (b. 1967) 

5.1-channel electroacoustic music 

Sonic Space No. 5 - Iteration No. 2 (2014)......... Michael Musick (b. 1984) 

tingsha bells • sonic ecosystem 

SINKING AIR (2014).......................................... Fred Szymanski (b. 1956) 

8-channel electroacoustic music 

DIFFERENT STREAMS II (2012)....................... Andrew Garbett (b. 1980) 

Brittney Balkcom, flute+ • 8-channel electroacoustic music 

How to Speak Dinosaur: Courtship (2013)...........Courtney Brown (b. 1979) 

Courtney Brown, hadrosaur skull instrument (Rawr!) • David Earll, tuba 

Counterattack (2014)..............................................Adrian Moore (b. 1969) 


Points of departure with 17 variations (2010)....Yu-Chung Tseng (b. 1960) 


Magic Fingers (2013)...................................................Chi Wang (b. 1987) 

Chi Wang, kyma • leap motion 

+UNT’s Nova Ensemble 

Photography and videography are prohibited. 

57


Denton, 09/25 – 10/01 

Ponte dei sospiri. 100 steps. piece for flute and electronics Story Bridge of Sighs is a way, which exist between important 

periods of life. If we will look at history - Ponte dei Sospiri (italian) is one of many bridges in Venice. The enclosed bridge is 

made of white limestone and has windows with stone bars. It passes over the Rio di Palazzo and connects the old prisons 

to the interrogation rooms in the Doge’s Palace. The view from the Bridge of Sighs was the last view of Venice that convicts 

saw before their imprisonment. Content of composition. With every step the flute player shows his decision towards which 

point he wants to go. This piece shows the way, which reminds us that every process, whether thinking or living, has begun 

already with it’s future or final point. If you want to come at the place you feel to be, just know that every situation already 

started and exists in the future and with every step you visualize your choice. This piece is 87 sounds, 13 pauses and 

electronics. 

Moorings is the second piece in my series of works that explores maritime soundworlds. The first, Buoy (2011), was 

concerned with sounds, environments and concepts arising from sea buoys. Moorings, on the other hand, develops a music 

and soundworld out of the sounds of maritime vessels’ mooring rings, lines (or hawsers) and chains, as well as the sounds of 

boat hulls moving against the different kinds of bumpers found alongside docks and piers, boat engines and the interaction 

of water in, around and underneath harbour berths and vessels. All sound material used in the work was recorded in 

Visby Harbour (Gotland, Sweden) in 2012 and the work was completed in the electroacoustic music studios at the Visby 

International Centre for Composers (VICC, Sweden), EMS in Stockholm (Sweden) and University of Manchester (UK). 

Sonic Space No. 5 is part of ongoing Sonic Spaces Project. These interactive performance systems are more specifically 

defined as Sonic Ecosystems. Ecosystemic performance systems are coupled to the physical space in which they are 

installed by having microphones throughout the space capture all sounds, and by having speakers return sound to the 

entirety of the space. In this way the acoustical properties of the space, the human agents within the space, any other sound 

making agents in the space (background machinery, outside sounds such as trucks or trains, etc.), and the digital agents 

programmed into the Sonic Space system become reliant upon each other and affect the final experienced performance. 

The digital agents are composed to only come to life if particular types of energy are present in the space. When this occurs, 

they consume the energy and in so doing transform the sonic energy before returning it back to the physical space. This is 

similar to the way species of our own ecosystem survive off certain types of energy, and then become or create energy for 

other species to consume. One could consider these systems as complex feedback systems. All of the musical elements 

that create the final presented performance have originated from the physical space and are processed within the system; 

no sounds are synthesized or pre-recorded prior to this performance. Originally intended as an installation work in which 

participants are free to explore the space and contribute sounds themselves, Iteration No. 2 of Sonic Space No. 5 is adapted 

and intended as a fixed duration concert presentation. In this presentation, the audience is asked not to purposefully 

contribute sonic energy to the system. However, their presence greatly affects the final composition. This is because the 

mere addition of bodies to the room changes the acoustic characteristics of the space thereby resulting in significant 

changes to the ecosystemic properties. Additionally, many of them will inadvertently create sounds that the system will use. 

For the performance of this piece the performer introduce sonic energy into the space from a central position in the hall 

near the mixing console. Using a pair of Tingsha bells to the wake agents in the system up. This will in turn cause further 

responses from additional agents. The presentation of the piece is timed to last 10-minutes, and will complete a full cycle 

of energy usage within the ecosystem. 

Sinking Air is inspired by the sudden downdrafts in rainstorms that are sometimes called microbursts and involve three 

stages: Downburst, outburst, and cushion. These three stages are reflected in the non-linear behavior of the sound 

phenomena of the piece. To create the piece, I treated certain sounds interactively, using a micro-compositional approach 

to the sound field. The texture was built from particle format synthesis routines. An instrument was built that could be used 

to extend the mechanical-energetic conditions of the sound from recordings of acoustic strings being bowed, scraped, hit, 

and rubbed. The piece has been diffused for eight channels. 

Written for Gavin Osborn, Different Streams II is the second piece to have developed out of my acousmatic work “From The 

Dark Waters” and is part of an ongoing cycle. Whilst indicating the use of water sounds, the title itself has many meanings, 

which can be seen as summarizing the work: The juxtaposition and interweaving of different characteristic musical lines; the 

establishment and interrelation of different typologies of sonic material (incorporating the full range of instrumental playing 

techniques); the interweaving of numerous electronic morphological processes; the layering and interpolation of varying 

time-strata and the resultant perceptual distinctions and ambiguities; the deployment of contrasting spatial strategies; the 

use of various approaches to the frequency continuum, especially microtones. 

58 

How to Speak Dinosaur: Courtship’ is an exploration of extinct Cretaceous sounds, playing with our conceptions of 

dinosaurs and the long distant past. This work proposes a hypothetical meeting between dinosaur and tuba: romantic hijinks 

ensue. The hadrosaur skull instrument performer gives voice to an extinct Corythosaurus by blowing into the larynx of a long 

extinct dinosaur, thereby giving voice to the lambeosaurine hadrosaur Corythosaurus. Hadrosaurs are duck-billed dinosaurs 

known for their large head crests, hypothesized to be resonators for vocal calls. This skull was fabricated from CT scans 

of a subadult Corythosaurus with models provided by Lawrence Witmer, Ohio University. The hadrosaur skull instrument 

was made in collaboration with Sharif Razzaque. We would also like to acknowledge Carlo Sammarco, who model and 3d 

printed the nasal passages for the first protoype, as well as Garth Paine, Brent Brimhall, Lawrence Witmer Gordon Bergfors,

Sallye Coyle for their assistance and guidence, and the ASU GPSA for supporting this project. This work is dedicated to 

David Earll, who premiered this work, and also worked with me in developing tuba sounds. 

Counterattack is a follow-up work to The Battle. The Battle was an acousmatic work in surround format which was broadly 

in two sections: one, quite ‘granular’ and edgy; the other more pitched and pulsed, with an increasing fascination for layering 

sounds inspired by the works of Horacio Vaggione. Counterattack is similarly structured from a complex set of multichannel 

transformations developed from a variety of sources, taking the words of The Battle’s programme as inspiration. In the 

programme notes for The Battle, I ‘visualise’ the work as a number of ‘scenes’, ‘feints’ and ‘attacks’. Counterattack expands 

these scenes even further and attempts to create complex polyphonies through division of the multichannel space. Alongside 

development of materials in surround sound using a variety of techniques, an understanding of the concept of war and the 

historical practicalities of battlefield combat was gained through reading key texts: The Art of War (Sun Tzu), On War (Carl 

Von Clausewitz), and first-hand accounts of war by service personnel, War (Lawrence Freedman). Whilst these texts were 

never rendered musically, their combined effect, augmented by an increased sense of ‘the fight’ within academia can be 

heard in a number of places, notably the final ‘scream’ passage. Compositionally, Counterattack takes the idea of 

Multichannel (loudspeakers) and multiChannel (sounds) further than The Battle. Counterattack can exist in a number of 

surround formats but was composed in 7.1and presents a fuller spectrum of materials. It relies heavily upon multichannel 

granulation and spatialisation but more importantly, uses the multichannel space to contextualise different sounds in different 

loudspeakers, beginning to create a polyphony of sound sources, whilst maintaining a coherent scene. Counterattack was 

written in the composer’s personal studio during the summer of 2014. 

Points of departure with 17 Variations, in duration of 7:45, has received the 1st prize at Category A from Musica Nova 

2010 Competition (Prague, Czech). The sound source of the work was mainly drawn from the Chinese plucked Stringed 

instruments-- Pipa. The main ideas of the composition is to abstract the sound object, to suspend listeners’ ears through 

overwhelmingly sonic transformation. As a result, it’s only until the last moment of the piece which the original material was 

revealed. The idea of proposing the appearance of original source to the last moment of the composition was drawn from a 

Chinese poem ”Song of Pipa” by Po-chui I in Tang Dynasty. In the poem, a mysterious lady Pipa player finally appears after 

audience ‘s thousand calls after her amazing performance. The compositional technique similar to “developing variation” 

used by Brahms and others was employed here to work out all the transformation possibilities of material. As a result, 17 

variations were then created. Each variation departs for its own new sound journey with a punctuated percussive sounds, 

taken from Pipa’s plucked sound with transformations. 

Magic Fingers is a multichannel interactive performance for the Leap Motion controller, customized software and the sound 

synthesis system. The Leap Motion reports various data streams, in this composition, the composer chose to use hands’ 

and fingers’ position in 3D space, distance between two hands and two fingers, then use those accessed data to modify 

synthesized and recorded sounds. Therefore, the interactive composition is performed with two hands’ real-time actions. 

The hands’ movements in the air and music expression create mysterious yet lively musical experience. 

59


Denton, 09/25 – 10/01 


Friday, September 25, 2015 

8:00 pm, Voertman Hall 

PROGRAM 

Blackbay Swing (2012)...........................................Sami Klemola (b. 1973) 

UNT’s Nova Ensemble 

Cassie Lear, flute • Ryan Espinosa, clarinet 

Eston D. Bell, tenor trombone 

HyunJae Lee, piano • Kurt Doty & Rebekah Ko, percussion 

Mia Detwiler, violin • Michael Capone, viola 

Kourtney Newton, cello • Mariechen Meyeri, double bass 

Joseph Lyszczarz, conductor • audiotrack 

Tres Gritos Para Mi Patria (2013).......................Joshua Armenta (b. 1989) 

Laura Pillman, flute+ • computer 

Rust Belt (2011)................................................. Peter McCulloch (b. 1979) 


Freed (2014)......................................................Kyong Mee Choi (b. 1971) 

Shanna Gutierrez, bass flute • electronics 

Xuan Wu (2014).......................................................Xihao Wang (b. 1988) 

Jeremy Muller, Chinese traditional percussion • electroacoustic music 

Electronic Study No. 1 (2014).......................Marcin Paczkowski (b. 1983) 


Imagined Destinies (2014)..................................... Jeffrey Stolet (b. 1960) 

Jeffrey Stolet, kyma • music sensing book 

Chaconne (2014)......................................................Patrick Long (b. 1968) 

Patrick Long, vibraphone • tablet computer 

Wunderkind (2012).................................................. Timothy Roy (b. 1987) 

Keith Kirchoff, toy piano • computer 



60

Blackbay Swing (2012) is a restless piece of music that follows certain absurd form which is right for this piece. The 

name comes form the swing loop that is used at one point in the audiotrack combined with a former part from the city of 

Helsinki (Finland) where i used to live (Blackbay). This performance at ICMC is the first performance of this piece. This 

composition was made by a grant from the Finnish Arts Council. 

Tres Gritos Para Mi Patria: “Our age is dying of moral skepticism and of a spiritual void. The lazy dreamer (committed to 

the pseudo-progressive mechanical, momentary materialism of the post war period) has devalued his spirit. He has been 

disarmed and dishonored before death and eternity. The mechanical civilization will be destroyed by war. The machine 

is destined to crumble and rust, stuck in the battlefields, and the young and energetic masses who built it are doomed to 

serve as fodder for the cannons. 

- Salvador Dalí” 

Rust Belt is a meditation on the decay of American heavy industry. 

Freed portrays a state of mind that is free from all notions, concepts, belief, and memories, and that is capable of 

observing its own desire and fear. The piece has three sections—the first section describing entering stillness in mind, the 

second section illustrating desire and fear, and the last section depicting the mind coming to understand true freedom. The 

piece was commissioned by Shanna Gutierrez’s Open-Hole Bass Flute project supported by a New Music USA grant. 

Xuan Wu, as a meaning of god in Chinese culture, represents the combination of “Yin” and “Yang”. This conception has 

always been applied in sacrifice or courtesy ceremonies. Such a deep connotation demonstrates the same deep meaning 

of Chinese culture. Just as a coin has two sides, everything in the universe exists in the argument of “Yin” and “Yang”. The 

composer intend to express the inner thought towards the title “ Xuan Wu”. The structure refers to a special format which 

lived in Tang Dynasty and has eleven small parts. The electronic acoustic music stands at the side of “Yin”. Oppositely, the 

traditional percussion performs as the other side of “Yang”. The work was completed on Logic Pro. The sound materials 

came from samples of real percussion instruments and were transformed and synthesized allied with Max/Msp and GRM 

Tools. Composer fully exploited the timbre and expression power of each kind of sound. As to the performing techniques 

of percussion instruments, composer created some new methods on the purpose of pursuing a more fascinating effect on 

performance. Of course, the percussion performer plays the key role on controlling the flexibility and contrariety. 

A Study, or an Étude, is usually composed with a certain goal in mind: perfecting particular technique or skill. Electronic 

Study No. 1 explores positioning of sound in space using Ambisonics technique, with particular consideration for the 

change of pitch associated with moving sound sources (know as the Doppler effect) and changes in sound intensity, 

depending on the simulated distance from the listener. The other technique explored is a sound synthesis process called 

wave-shaping, allowing for particular kind of distortion and cross-synthesis effect. 

Imagined Destinies is a real-time interactive performance composition for Kyma and two microphones. One microphone 

is an inexpensive contact mic that picks up percussive impulses that control the sonic fabric of the composition; the other 

mic receives my voice as input and is processed in real-time. The Chinese text used in the composition focuses on the 

challenges of two countries working towards a deep and lasting friendship. The text comes from the Book of Imagined 

Destinies and its translation is given below: Though the torments of life have antagonized us as we trudged through our 

experiential miseries, our common humanity, our passions, our loves, will melt away the jagged rocks along our paths that 

have bloodied our feet enveloping and uniting us in the deepest of friendships as our souls entwine. 

Chaconne: My intention was to write a piece for vibraphone and fixed media in which the live performer is the dominant 

musical element and is in no way overshadowed by the recorded electroacoustic track. I have found that the standard 

methods used to facilitate synchronization between live performers and fixed media can be problematic in this regard. 

When using a click track, the performer experiences both a sonic and a metric reality that is quite different from that of the 

audience. Aligning without a click track is certainly possible, although the recorded part must be both loud and continuous. 

In these cases the recorded track will tend to take on a dominant role, and pieces like this often seem to me to be works 

for solo tape 

with instrumental obligato. In this piece, an iPad (or other similar device) is used. It is placed on the music stand and 

plays back a video that only the performer sees. The visual component of the video is an animated score, in which notes 

light up as they are to be played. The audio component of this video is the recorded electroacoustic track, which is simply 

routed to the loudspeakers for the audience to hear. This method provides for a tight synchronization between player and 

electroacoustic part without a click track, even if the “tape” part is silent for long periods, as it often is here. In this piece, 

although the electronic sounds are integral, the focus is always on the player, the instrument and the melodic/harmonic 

materials. An additional benefit to this score-video approach is that it makes page turning unnecessary, which allows for 

continuous playing, a clearer view of the performer, and an enhanced sense of theatricality. 

Wunderkind is a well-known German term historically applied to a person who possesses an extraordinary talent or 

brilliance (particularly musical) at an early age. The creative impetus for this work was the desire to explore the intellectual 

workings of a developing child prodigy, the electronic component used to expand the palette of such a restricted 

instrument while representing the mind’s ear of the child. The opening cadenza begins clumsily as the “child” seemingly 

explores the instrument for the first time. Musical ideas begin to mature, congeal, and find meaning. The fixed media 

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Denton, 09/25 – 10/01 

playback begins after two minutes of solo, and a complex and harmonically-saturated sound world emerges from and 

interacts with performed gestures, meant to be perceived as imagined musical structures, astonishingly advanced for 

a mere child. All of the sounds in the fixed media were created by recording and processing my own toy piano. I did 

in fact sit on the six-inch-high bench while doing so. Wunderkind was awarded First Prize in the 2013 “Prix Destellos” 

International Competition of Electroacoustic Composition and Visual-Music, mixed media category. 

62



1:30/2:30/3:30 pm, MEIT (M1001) 

PROGRAM 

Warped Metals (2014)............................................. Michael Polo (b. 1985) 


Emergence (2014)................................................. Michael Olson (b. 1991) 

video • music 

Habits of 0&1 (2015)................................................ Hoyong Lee (b. 1985) 

world premiere • 2-channel electroacoustic music 

Pressure (2014)..............................................Michael Thompson (b. 1968) 


moDernisT (2014)..................................................Ryan Maguire (b. 1986) 

video with sound 

kernel_panic (2011).......................................Jerod Sommerfeldt (b. 1982) 


Le Chute (2015).........................................Shu-Cheng Allen Wu (b. 1973) 



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Denton, 09/25 – 10/01 

Warped Metals was composed with the audio software Max/MSP, SuperCollider, and PVC. Recordings of bowed crotales 

served as the main source materials for the work. Other recordings of brass instruments, pianos, and various plucked 

stringed instruments are also relevant in this work. Various digital signal processing techniques were applied to the source 

materials to distort their original audio image. The bowed crotales were processed and placed into three different categories: 

whipped, digitized, and continuous. These three categories served as the thematic material for this work and were 

organized as melodies and countermelodies. 

Emergence is a piece that chronicles a journey from multiple perspectives. a split screen narrative juxtaposes competing 

strains of thought; a process that converges, diverges, and reforms into new pathways. 

The twentieth century gave us to ability to dislocate sounds in time as well as in space. Especially invention of digital 

processing skills facilitated ‘Schizophonia’ which means separation between an original sound and its electroacoustical 

reproduction named by R.Murray Schaffer. In this context, this piece Habits of 0&1 reflects the Schizophonia in order to 

represent the invisible digital relationship including conversations in our isolated daily life. By means of delay feedback and 

panning effect, tiny grains of sound components describes the auditory realization of fragmentary ‘communications’ with 

conversations which are separated and disconnected each other easily, like ‘0 and 1(off & on)’. Its basic idea was inspired 

by Georges Aperghis’s piece “Retrouvailles” which contains various metaphors for communication through the two men’s 

body action and voice performance. This work reminded me of ‘pingpong’ game between two people with small talk and 

jokes. Depending on development of pingpong ball sound transformation, this piece has narrative arcs which are linked in 

a mixed form of fragmented components and played with the ground voice modulated by using Audiosculpt. In the process 

of finding ‘breakthrough’ of conversations, the first and the last parts of this piece form symmetrical structure with respect 

to stationery sounds. 

Pressure is an exploration of sound from a physical model of a tube under high pressure. 

moDernisT was created by salvaging the sounds and images lost to compression via the mp3 and mp4 codecs. the audio 

is comprised of lost mp3 compression material from the song “Tom’s Diner”, famously used as one of the main controls in 

the listening tests to develop the MP3 encoding algorithm. Here we find the form of the song intact, but the details are just 

remnants of the original. the video was created by takahiro suzuki in response to the audio track and then run through a similar 

algorithm after being compressed to mp4. thus, both audio and video are the “ghosts” of their respective compression 

codecs. version one. theGhostInTheMP3.com 

kernel_panic is a fixed-media work that explores the use digital audio artifacts as musical material: The byproducts of aliasing, 

quantization noise, and clipping are liberated to the forefront of the compositional process. Tiny grains of nearly inaudible 

sounds collide and mix with one another in a sonic collage that follows a trajectory from quietude to loud fervor. 

20th century is a time of believes and -isms. Composers white music to support their believes. Standing in between in 

the past and future, composers are somehow inheriting the stream of values from their past. However in the new century 

when all those values, politics, religions and aesthetics were proven failing. What does a composer write to, or write for? 

La Chute (The Fall) is inspired by the last novel written by Albert Camus (1913-1960) published in 1956. This philosophical 

novel applies a stream of conscious monolog talking about his judgement of confessions. Under the surface of confession 

and self analyze, the narrater argued and derided all the ethical values. In the mean time he also derided himself as one 

with all different annoyance and contradicts without guidance of ethics. The music, like the novel, applies a “stream of consciousness 

style” of form, and experimenting on sounds that I wasn’t using in the past. Including dealing with artifacts and 

unwanted noises. Also some music information retrieval techniques is used. 

64



1:30/2:30/3:30 pm, Sky Theater 

PROGRAM 

S/P (2013)............................................................Stephen Lucas (b. 1978) 


Cyclism (2015)........................................................ Brett Gordon (b. 1965) 

field recordings of a bicycle and its individual elements 

Three Easy Recipes (2015)......................................Jeffrey Hass (b. 1953) 

1. Over Easy 

2. Jellofish 

3. Fantasy Fruit Salad 

video • 5.1-channel electroacoustic music 

Dance of Three Folk Singers (2015)...................... Jinshuo Feng (b. 1986) 


elegy (wc) (2010).................................................Bruce Hamilton (b. 1966) 


Lens 7 (2015)......................................................Mark Pilkington (b. 1966) 


Rewind [Modus Operandi] (2014).........................Diana Salazar (b. 1982) 



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Denton, 09/25 – 10/01 

Have you ever been so frustrated with something that you wanted to strongly express how tired you were of it in a prepositional 

relationship to the place that you were occupying? In S/P, primordial building blocks are collided in a virtual science 

experiment that is both instructional and mystifying in its unfolding. Collision physics and audio physical modeling combine 

to distort your perception of reality and space. 

Using nothing but field recordings, Cyclism is an examination of the sounds produced by a bicycle and its individual parts. 

The idea was to create an auditory experience that challenged our perception of how a bicycle actually sounds. The bicycle 

was recorded being ridden and dropped as well as freewheeling. I then recorded individual parts of the bicycle being 

‘played’. Examples of the methods used are the wheels’ metal rims being bowed while spinning, a playing card in the back 

wheel while spinning, a flip flop being rubbed against a tyre when moving and the bell recorded both with the cover and 

without. Some of these sounds were then treated using different methods and effects as well as one of the recordings being 

manipulated in Max. 

Three Easy Recipes is a short music video that took on an interesting new life as I discovered 3D rendering software (Cinema 

4D) and particle systems (Trapcode Suite) after years of working with flat video only. It was terrific fun to produce as 

I discovered the amazing visual transformations one could confer upon eggs, Jello-O and fruit. The project was, in fact, a 

technical etude in preparation for a more serious work for contemporary dance-based video and music. In my later years 

of a career primary spent in music composition, both electronic and acoustic, the new tricks this dog has learned have renewed 

the old feelings of being humbled by a strange, marvelous and complex technology where one has barely scratched 

the surface. Special thanks to my wife Sandi for being both chef and hand model. This work was made possible by a grant 

from Indiana University’s New Frontiers in the Arts and Humanities program. 

Dance of Three Folk Singers was based on the audio recording of a woman speaking three words. By using Kyma sound 

synthesis system these original audio recordings are modified and transformed using the powerful algorithms the Kyma 

environment offers. Using these modified sounds the composer maintained the original cultural characteristics of southern 

Chinese folk dance. The piece begins with the sound of one voice, then the textures and groove evolves to a more complex 

texture with the rhythm and emotion intensifying. 

elegy (wc) is a simple xenharmonic piece that explores consonance, resonance, space and timbre. For Alice, a white cat. 

Lens 7 investigates audio-visual synthesis through the multi-disciplinary practice of fabrication, analogue modular synthesis 

and generative digital image processing. The starting point was the fabrication of a ‘bricolage’, entitled Texture 1 (2013) 

providing a physical framework. A single photographic image of Texture 1 (2013) is digitally transformed using generative 

and animation processes to form a graphic score-in-motion. The motion-image reveals temporal virtual landscapes containing 

spatial, textural and spectromorphological properties associated with the composition of electroacoustic music. The 

sound material for Lens 7 consists of improvised recordings made with a Buchla 200 modular synthesiser at Stockholm 

EMS, May 2014. The analogue sounds were left untreated and repositioned to correspond to inherent musical properties of 

the graphic score-in-motion. Composing with modular synthesisers shares many similarities to the creation of visuals; the 

modular synthesiser acts as a tactile surface in which composer/performer produce sound by altering sonic architecture. 

The performer listens and responds to sound emitted by making parametric changes: listening is inherently combined with 

physical gesture. Similarly, visual transformations occurred through interaction between performative or generative systems. 

Throughout, the composer’s aesthetic judgement is contained between nodes of audio-visual contact with systems 

requiring programmed (no-input) and/or active participation (input) system. In the audio-visual realm, the predominate factor 

is the appliance of ‘motion’ to promote cross-modal correspondences between sound and image. Realised at Stockholm 

EMS, Thought Universe, LICA Lancaster university and NOVARS the university of Manchester. 

Rewind [modus operandi] is a 5.1 electroacoustic work that uses the operational sounds of vintage and obsolete recording 

machinery as its primary source material. This material was recorded with kind assistance from the British Library, who 

granted me access to all of their on-site collection of recording and playback equipment at their Kings Cross site (although 

this was only a fraction of their full range of acquisitions, most of which are stored at Boston Spa site in Yorkshire). The 

devices I recorded ranged from wax cylinders and wire recorders through to more recent technologies such as vinyl, tape, 

cassette, compact disc and mini-disc. I chose not to focus not on the playback of sound recordings stored on the different 

media, but instead the operational sounds of the technology, the sonic by-products of mechanisms such as dials, switches, 

reels winding, and also the evidence of technological mediation brought about during playback, such as noise, hiss and 

crackle. By utilising these supposedly routine, disregarded and incidental sounds of recording devices as musical material, 

the composition seeks to explore parasitic sound and metanoise as fundamental compositional devices. 

66




PROGRAM 

TransFantasies (2013)................................................Jason Fick (b. 1978) 

Kimary Fick, baroque flute • Ilana Morgan, dancer 

computer music with motion tracking 

“...ce dangereux supplément...” (2015)................. Ethan Hayden (b. 1984) 

Ethan Hayden, voice • video • electroacoustic music 

Inanna’s Descent (2010)......................................Douglas Geers (b. 1968) 

Maja Cerar, violin • live processing • interactive computer music 

Gandharam, Lullaby for 

Max Mathews (2015).................................... Michaela Palmer (b. 1971) 

Rachel Woolf, flute+ • electronics 

Soak (2014)................................................... Akiko Hatakeyama (b. 1987) 

live audio • Akiko Hatakeyama, afterglow (custom-made instrument) 

analog TV • live video 

Nocturne (2013)..................................................... Jesse Allison (b. 1978) 

Brett Dietz, glockenspiel • computer 

Ujjayi (2014)..........................................................Thomas Ciufo (b. 1965) 

Jane Rigler, flute • computer 

Synesthetic Moment (2014).........................................Yemin Oh (b. 1977) 

David Falterman, piano+ • electronics 

Quiet Arcs (2015)..............................................Richard Graham (b. 1985) 

Richard Graham, augmented electric guitar • laptop electronics 



67


Denton, 09/25 – 10/01 

TransFantasies is a work that addresses intimacy- through the relationships the performers have amongst themselves, and 

the relationships the performers have with the audience. 

…ce dangereux supplément… is a set of phonetic studies for voice, video, and electronics. A suite of three pieces [(tRas) / 

(spɛktʁ) / (sɑ̃dʁ)] the work is based on a close examination of the sounds used in everyday linguistic activity, which are 

juxtaposed against more extreme vocal effects. The live performance is supplemented with electronic voices which stretch 

and transform this common vocality. The visuals range from rapid-fire successions of symbols from the International 

Phonetic Alphabet, to more suspended meditations on elaborately arranged orthographic tapestries made from the same 

symbols. “…ce dangereux supplément…” is a poetic rehearsal of the Derridean supplement, in which the performer acts 

out a futile search for the primary referent (or “master signifier”), but eventually realizes all that is to be found is an infinite 

chain of traces, specters, and cinders. 

Inanna, an ancient Sumerian goddess known as “Queen of Heaven and Earth,” is an intriguing mythological figure associated 

with the city of Uruk, located in present-day Iraq. The stories of Inanna have received increased study in recent decades 

as more sources have been discovered and translated. Among these, the tale of Inanna’s descent into the Underworld is one 

of the most renowned. As she descends, Inanna gives up her godly protections one by one until she stands naked before 

her sister, Erishkigal, the Queen of the Underworld. Without warning, Erishkigal strikes Inanna dead and hangs her from 

a hook on the wall. Moved by the pleading of Inanna’s assistant Ninshubur, the god Enki eventually sends two creatures 

the size of flies into the Underworld to convince Erishkigal to allow Inanna to return to life. This work draws upon impressions 

of the Inanna narrative and psychological states of its characters, but the music is not literally programmatic. The 

electroacoustic elements of the music are realized using Max/MSP. The electronics create a sonic environment, color the 

violin’s timbre, and dialogue with the violin’s performance. The flute begins its expose in raga Anadabhairavi, an ancient 

raga said to have originated from the South Indian folk music tradition; still present today in wedding songs, lullabies and 

other compositions. The raga is said to evoke compassion with its blissful and ethereal characteristics. Some musical key 

features of this raga are the stress of the swara (note) gandharam, the prevalence of some swaras throughout the piece 

as well as certain swara combinations in the ascending melody line. Gandharam, Lullaby for Max Mathews, and the earlier 

flute parts in particular, follow the traditional compositional guidelines of Anadabhairavi, however as the piece progresses 

this dissolves. The piece is somewhat tonal in nature, however this is a necessity as flute and electronics communicate with 

each other through the key swaras of Anadabhairavi. Often the electronics use a long-held flute note to start new material or 

a flute phrase emerges from the material the electronics play. In that way the characteristics of Anandabhairavi can be maintained 

in essence rather than in form. There are many other connection points between present and past as well as East 

and West. The flute is the standard metal instrument with ringkeys used in Western music, not the traditional bamboo one. 

However, to produce the ornamentation (gamakas) and microtonal slides, ringkeys are a necessity. The electronics create 

tanpura-like drones to accompany the flute, as it would be the tradition, but at times the electronics deviate and generate 

their own musical textures. These then carry the marks of electronic processing techniques such as granular synthesis, 

convolution and others. 

Soak is a live interactive piece composed for a custom-made instrument called “afterglow - ざんぞう”. A performer (myself) 

plays music by creating black and white drawing using grains of salt. The 27 photocells of the instrument distributed onto 

the analog TV screen react to various light intensities emitted from the TV screen – the contrast created with salt on a black 

background. The performer creates a live-interactive loop of visual and aural outcomes by using her perceptions. Soak is 

partially inspired by sand box therapy. Instead of placing objects inside of a sand-filled box, I use sea salt (another type of 

grains) to reflect non-verbal thoughts and feelings at the moment. Salt has been used in rituals and ceremonies in many 

cultures with beliefs of power in cleansing. My belief in this power is neutral, but I have experienced tranquilizing feelings 

interacting with sea salt with my bear hands. The sound is a series of audio samples of a metal bowl in various pitches. 

Some frequencies are tuned close from each other, so when they are triggered at the same time by the drawing, audible 

beatings happen. This is inspired by gongs such as gamelan. 

Nocturne is an algorithmic composition performed on the fly by the percussionist. With only a few very simple stylistic 

guidelines, the performer interprets the pitches he sees and how they are presented to him. With the computer as partial 

composer handling note selection, processing, and stylistic choices, my role has become the creator of the system out of 

which the composition arises. Guidelines are set for the musical decisions and framework for the structure of the piece so 

that no matter what the computer chooses to do, the work will unfold somewhat in the manner that was envisioned. This 

Nocturne is composed as a series of Vigils - defined as “a period of purposeful sleeplessness, an occasion for devotional 

watching, or an observance.” It was composed during the impending arrival of a friend’s first child. As such, it is dedicated 

to the best of all sleepless nights. 

Ujjayi is a collaborative project by flutist Jane Rigler and sound artist Thomas Ciufo. This project focuses on sound and 

gesture, while engaging improvisational approaches and real-time sonic transformations. Through extended playing techniques, 

interactive sound processing, constructed sonic materials, and immersive sound projection, this duo performance 

explores the unfolding of sound, gesture and form through collaborative interaction - listening / responding - give and take, 

breathing in / breathing out - Ujjayi. The musical gestures represent a nostalgic reflection of ancient sounds, breaths, and 

vocals of the flute while the interaction between the musicians simultaneously glance toward future memories not yet lived. 

68

Synesthesia, a condition in which one type of stimulation evokes the sensation of another, is an interesting topic for artists 

and musicians because it can stimulate their artistic inspiration. Unfortunately only a few people have the sense, and I assume 

most of you do not. Even though we do not have the sense, I believe that we can design a similar environment that 

can create a congruence between music and visuals. In Synesthetic Moment I attempt to magnify the meaning of body 

movements and project it to the screen with visual effects. We cannot experience the strong feelings of the condition, but 

we might imagine it through this piece. 

Quiet Arcs is a live performance and fixed media piece for multichannel electric guitar and eight loudspeakers. This piece 

explores the notion of a dynamic pitch space and the bodily metaphors which underpin it. The guitarist’s melodic choices 

are analyzed, scaled, and mapped in real-time to determine the spatial position and timbral shape of the live multichannel 

source relative to the accompanying drone-based tape part. Macro-level spatialization relationships between the ‘stage’ and 

‘arena’ space frames are determined by the performer’s larger body movements. The real-time instrumentation is largely 

improvised with the fixed media element providing a series of morphing pedal points as a basis for the improvisation. Quiet 

Arcs featured at SEAMUS and NYCEMF in 2015. 

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Denton, 09/25 – 10/01 




PROGRAM 

Tanpopo (2014)............................................................Ai Negishi (b. 1993) 

Ieng Wai Wong, bass flute+ • Rebekah Ko, percussion • computer 

Manderleone (2012).......................................... Russell Pinkston (b. 1949) 

Elizabeth McNutt, flute^ • electronics 

o ire (2015)................................................................... Nick Fells (b. 1971) 

Nick Fells, laptop • ambisonic spatialisation 

Seeing the Past Through the Prism 

of Tomorrow (2014)............................................Keith Kirchoff (b. 1981) 

Keith Kirchoff, piano • live electronics 

Reverberance (2014)............................................... Brian Sears (b. 1981) 

Brian Sears, tam-tam • live interactive electronics 

Bebop in the Forest of Lonely Rhythms (2012)......... Jon Nelson (b. 1960) 


Garan (2015).................................................. Takashi Miyamoto (b. 1992) 

Keith Kirchoff, piano • computer 

La historia de nosotros (2012)..Jorge Gregorio Garcia Moncada (b. 1975) 

III. Yúai Buinaima 

Federico Demmer Colmenares, percussion • fixed audio media 


ÛNT Faculty 


70

Tanpopo’ was composed for flute/bass-flute, solo percussion and a live computer electronics system. The title ‘Tanpopo’ 

means a flower of dandelion in Japanese. The percussion set consists of 6 plant-pot, 3 woodblock, 3 triangle, 3 tom-tom, 1 

cymbal, and 1 tam-tam. The piece starts with the plant-pot solo, which characterizes the entire piece. The melodic phrase 

by 6 plant-pot is gradually transformed with audio signal processing such as cross-synthesis and granular sampling in real-time. 

After this first section, bass-flute joins and envelops the sound of plant-pot. Triangles and tam-tam are introduced 

as well. Then, flute and percussion develop dialogue dynamically, and the computer expands their acoustics. In the final 

section, the opening plant-pot phrase is recurred, and the music is dying away in the metallic sound. This work was selected 

at New York City Electroacoustic Music Festival in 2015. 

Manderleone, for flute and computer, was commissioned by Leone Buyse. It is the sixth in a series of interactive pieces I have 

written for instruments and computer, the first of which was called Gerrymander, written for the clarinetist, F. Gerard Errante. 

Most of my subsequent pieces in the series have borrowed from that name, as well as from the original conception. The 

focus of these works is on exploring various kinds of interaction between a live performer and a computer “accompanist.” 

The computer captures material played by the solo instrument during the performance and uses that material (as well as 

some pre-recorded sounds) to build a musical accompaniment that is always similar, but never exactly the same, from performance 

to performance. The software relies heavily on pitch tracking throughout the piece, not only to follow the score and 

keep pace with the performer, but also for sample triggering, contrapuntal harmonization, and other “intelligent” effects. In 

all of these pieces, I have tried to take advantage of the full range of sounds that these wonderful acoustic instruments can 

make in the hands of great performer. Like a good accompanist, the computer supports and enhances the performance of 

the soloist, but hopefully, never obscures or overshadows it. 

o ire is a performance piece based on live manipulated field and archival recordings presented through ‘waves’ of spatialisation 

- inward/outward, here/there, through and between. The performance comprises an improvised exploration of the 

spaces and surfaces inherent in a collection of old vinyl and gramophone records of my father’s, and old dictaphone tape 

recordings found from my childhood, combined in various ways with field recordings and found sounds drawn from a range 

of locations in Glasgow and Scotland more widely. A sense of nostalgia and place is explored through these old and ‘anecdotal’ 

recordings, and the layering of fragments, textures and resonances. At the same time, I’m interested in the way the 

media themselves have other hidden spaces and voices that are waiting to be revealed. The title of the piece is a redaction 

of the title of one of the gramophone records used. Technically, the piece is realised in Max with the ICST ambisonic tools. In 

performance, I use the iPad running Mira to improvise with spatialisation, routing and spectral filtering, and two foot pedals 

plus my own little DIY arduino controller for manipulating loops and granulation. The performance is flexible in duration – the 

piece can last from around 15 minutes to several hours if desired. It is also adaptable to a range of playback scenarios –it 

can be played back via a horizontal only ambisonic setup with as few as four loudspeakers, or via a fully immersive withheight 

setup with more channels. The piece is dedicated to the memory of my father, Alan George Fells, who loved life. 

Seeing the Past Through The Prism of Tomorrow: The summer of 2014 was a very challenging time for me, as I went through a 

period of great loss and an unexpected life change. As a result, I found myself channeling anxiety for events that had not 

yet happened as a vehicle for reinterpreting events that had already taken place. In essence, I was rewriting the past to 

better accommodate a fictitious future. Though in part an expression of this experience, this piece is more a reflection of my 

paradigm as I dealt with this massive change. Sounds, gestures, rhythms, and motifs that are heard early in the piece are 

repurposed and reimagined throughout the work. Despite the piece’s stylistic diversity, every sound is derivative of these 

opening gestures; the piece is continually being rewritten to accommodate the new. 

Reverberance is an exploration of the many timbres and textures that the Tam-Tam can produce. Through the use of a variety 

of implements and techniques, the performer takes us on a journey beyond our normal perception of the Tam-Tam, and with 

the help of Max/MSP creates a lush world full of color, warmth, and light. Rather than using traditional score notation, Reverberance 

uses notes and cues hosted directly in Max/MSP to instruct the performer which gestures to perform throughout the 

piece. This allows the live performer and the electronic elements to remain organically and seamlessly intertwined. Through 

the use of electronics, the reverberant qualities of the Tam-Tam have been isolated from their attacks, and augmented to 

show their range and depth. Decays have been impossibly extended to create rich harmonic textures and often overlooked 

sonorities have been moved into the spotlight. Reverberance is truly an expansion of the under-utilized characteristics of 

the Tam-Tam. 

Bebop in the Forest of Lonely Rhythms (2011-12, dur. circa 13:30”) for flute and interactive electronics was commissioned by 

Elizabeth McNutt. This work, inspired by a Robert Gregory poem, explores sonic ideas involving wind and metal. In addition 

to sampled audio, the composition makes extensive use of physical modeling of metal plates and flute multiphonics. This 

gestural work capitalizes on McNutt’s virtuosic capabilities. 

Garan is interactive computer music written for solo piano and a live computer electronics system. The sound of piano on 

the stage is sampled and processed by computer in real time, and diffused along with live piano performance in the hall. 

The piece is divided into five sections in A-B-A-C-A form. The main theme of the piano part is the repetition of a single note. 

This motif is developed and modified, even into clusters, and characterizes each section. Ten of real-time signal processing 

techniques such as Amplitude Modulation, Pitch Shift, Frequency Shift, Granular Sampling, and Glitch effect, are employed. 

The sound of piano performance is also analyzed, and its attacks and amplitude control some of the parameters in Max 

patch. The signal processing technique which has clear pitch structure, and the one which is noise base, interact each other, 

and make the apparent contrast between sections. 

71


Denton, 09/25 – 10/01 

La historia de nosotros is inspired in a corpus of mythological and historical chronicles from the Huitoto nation, an ethno-linguistic 

group based on the Amazon region, depicting ontological stories that bring together the foundations of their culture. 

Four ancestral mythical beings are mirrored by the main pillars of the maloca, gathering sanctuaries for the Amerindian Amazonian 

culture. These Cathedral[s] of the jungle shelter the ancient rituals known as the “Historias de Nosotros” [Histories 

of us], cosmogonic stories in which the re-enacting of the origins by the fathers of the community build the entire cultural 

web that keep society together. The shaman’s body transmutes in each one of the four ancestral characters by means of 

performing their corresponding ritual dance until acquiring the strength of the ancestral shaman. (William Torres, 1998). 

‘The third pillar, daámani, faces south. Its colour, yellow, represents the alimentary coloration of the fruit. [...] [Related is] 

the third dance, the Yuái Dance, performed in order to reach access to the body’s fundamental nourishment: the domestic 

and savage alimentary fruits. This dance is directly associated with the yucca, primordial fruit of the basic diet. The shaman 

becomes Yuái Buinaima - the youngest son.’ (William Torres – Pakado, Danza del numerar Huitoto, 2005). ‘[...] Amongst 

the Uitotos and Muinanes there are two types of maguaré. The small one is called juábiki [...]. The enlightened one that 

owns this type of maguaré “does not have yet too much reach”, what is equivalent to say that “his voice still lacks strength”. 

Someone in this position is required, in principle, to perform the «Dance of the fruits» (Yuai), given that is one of the simple 

dances’ (Fernando Urbina Rangel – Las palabras del origen, breve compendio de la mitología de los Huitotos, 2010). 

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10:30 pm, UNT Library Mall 

Lyric Theater (in the event of rain) 

PROGRAM 

Fractures (2012).........................................................Greg Dixon (b. 1980) 

Rachel Yoder, clarinet • computer 

Improvisation, ICMC #1: Manual 

Sculpting and Vocal Shaping (2015)............... Doug Van Nort (b. 1979) 


synapse_circuit (2012).......................................... Adam Vidiksis (b. 1979) 

Adam Vidiksis, found percussion • live processing 

Large Intestine (2013)........................................... Joo Won Park (b. 1980) 

Joo Won Park, no-input mixer • computer 

Softstep (2010; rev. 2014)........................................ Daichi Ando (b. 1978) 

Alexander Richards, baritone saxophone+ 

Miguel Espinel, electric guitar+ live interactive computer system 

inner_wires: A Digital Audio Feedback 

Performance (2014).................................... Dominic Thibault (b. 1984) 

Dominic Thibault, laptop • controllers 

Blinky Gibberings (2015)....................................................Charles Roberts 

Charles Roberts, laptop computer 

Feld (2012)..............................................................Greg Surges (b. 1984) 

Greg Surges, laptop • analog electronics 



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Denton, 09/25 – 10/01 

74 

Fractures celebrates nostalgia and the past, while recontextualizing the past into something completely new. The work appropriates 

ideas from acoustic works for clarinet by composers such as Gershwin, Tchaikovsky, and William O. Smith. At 

times, the work is a rhapsodic fantasy inspired by the many popular synthesizer albums from the 60’s and 70’s created in the 

wake of Wendy Carlos’ seminal album Switched on Bach. These sections contain very brief sampled quotations from LPs 

of electronic works that explore the synthesis of clarinet-like tones. These quotations are borrowed from popular recording 

artists of the time, such as Wendy Carlos, Dick Hyman, Ruth White, and Mort Garson, along with many others. Samples of 

vintage synthesizers are also a part of this sonic palette. Mannerisms and styles from these works also influence the score 

for the clarinetist. 

Improvisation, ICMC #1: Manual Sculpting and Vocal Shaping is a proposal for an improvised set of music, as performed on the 

evolution of my instrumental performance system. This work builds upon two key themes: 1) ways to manually sculpt 

recorded sound (environmental as well as instrumental) using surface controllers (wacom, quneo) as well as using audio 

mosaicing with voice. 2) allowing for the instrumental system to have an element of agency (machine learning/listening) 

which then becomes a partner in the structuring of musical information over time. This approach to laptop-based improvised 

music has been presented at many venues in recent years such as the Stone, Roulette, Experimental Intermedia, Issue 

Project Room, and various other venues and festivals for experimental music. Please note that I can work in stereo, though 

am often accustomed to working with a quad system. Combined with a subwoofer, this makes for a particularly effective 

presentation context. 

What is the voice inside the machine? While computers perform tasks that extend the abilities of our own minds, they increasingly 

act as independent entities. Synapse_circuit serves not as a direct analogy between these two ideas, but rather as 

a symbol of human-machine interaction. The computer augments the percussionist’s performance, and improvises sounds 

based on his or her playing using algorithmic processes in Pure Data. The percussion performance consists of glasses, 

bottles, and a bowl, which the performer hits, scrapes, blows and sings into. All sounds produced by the computer are derived 

from the real time performance. Both human and machine performers work from a score, but listen and respond to 

the performance of the other. Synapses and circuits – human and computer – together find the music inside the machine. 

This work honors the complexity both of the human mind and its digital counterpart, taking us from wonder, to discovery, to 

celebration. 

In no-input mixing, a performer controls an audio mixer by creating and manipulating feedback loops without the external 

sound source. With proper patching and some practice, a no-input mixer becomes powerful and expressive electronic 

instrument. Large Intestine (2013) uses such instrument to narrate the following story: I am a taco on a journey to a man’s 

digestive system, and this is what I heard inside the bowel. 

Softstep is an interactive-performance piece for Baritone Sax, Electric Guitar and interactive computer system. The piece 

consists of two parts, a instruments part and a computer part. Musical interactions between two parts initiate the progress 

of the piece. The motives and connection-tree of motives of instruments part are composed by a computer-adied composition 

system constructed by the composer. The software “CACIE” is a program for computer-aided composition by means 

of interactive evolutionary computation, a kind of an interactive optimization system modeled after biological evolution. The 

system composed the piece that resulted from natural selection and reproduce. The computer part consists of sound effects 

generated in real-time by Max/MSP. For the sound effects, stochastic techniques and biological emergence are often used. 

inner_wires is an audio performance utilizing the concept of digital audio feedback. It is a 15 minutes solo set of electroacoustic 

improvisation. It is performed on a software instrument that explores the sonic and musical possibilities of the 

computer as a self-oscillating sound generator. Using the internal routing functionalities of Ableton Live, I create feedback 

loops that are altered by digital effects. The internal mechanisms of the software are instantly being exposed, hence the 

title inner_wires. The resulting sound is the machine that begins to self-oscillate, to sing. I call this practice no-input DAW. It 

is highly inspired by the no-input mixer practice of renowned artists Toshimaru Nakamura & Marko Ciciliani. The aforesaid 

musical performance offers an innovative aspect both technologically and musically. The public witness the creation of a 

musique concrète that is a dialogue between the machine and the musician. The musical gesture becomes a sensitible and 

human incarnation of the purely electronic sounds. The result is a music at the crossroad of styles, inspired as much by the 

minimal techno of Pan Sonic then by the sonic explorations of Hannah Hartmann, always in line with the live electronics 

legacy of David Tudor. 

Blinky Gibberings uses recent research on pattern manipulation and representation in live coding performance practice. 

Using Gibber, a browser-based live coding environment, I create rhythmic and melodic patterns and sequence their subsequent 

transformations. These transformations are visualized in the source code itself, alongside visualizations of the phase 

of musical sequences and their triggered output. 

The Feld system was designed, in part, to experiment with long-duration works which evolve in a continual fashion and avoid 

repetitions. Each performance of Feld begins with a small number of pre-compositional decisions (described in greater detail 

below). After these decisions are made, the system is set into motion and the music evolves from those initial conditions. 

The system couples custom analog and digital synthesis hardware with a complex DSP network, drives synthesis and signal 

processing with a suite of compositional algorithms, and performs feature extraction on its own output in order to inform 

the development of the work. There are many theories about ways in which the computational worth of an art object might

e objectively measured, but almost all of them involve a ratio between order and complexity. During the design of Feld, 

special care was taken to ensure that this balance lead to a satisfying aesthetic experience. Feld was designed to function 

as an autonomous musical system, and to produce aesthetically pleasing musical output without human intervention. Feld 

attempts to straddle the midpoint between too much complexity and too much order. This was accomplished in a few ways: 

by constraining the sound generating materials using hardware, choosing a subset of available sound processing algorithms 

for each section, a simple but evolving synthesizer patching system, a set of compositional algorithms with their own constraints, 

and a self-analysis module that attempts to produce contrasting sections. The sound world of Feld is rich, detailed, 

and varied without being overwhelming. The gestures and micro-formal details are interesting and have a distinct sense of 

unity. The large scale form results in a continually evolving experience with both sharp cuts and smooth transitions, which 

does not become repetitive, and does not overwhelm with novelty. A full recording of Feld is available at music.gregsurges. 

com. 

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Denton, 09/25 – 10/01 



1:30/2:30/3:30 pm, MEIT (M1001) 

PROGRAM 

Within and Without (2012)...................................Andrew Walters (b. 1967) 


Railcar (2008).............................................................. Judy Klein (b. 1943) 


Tension and Release (2013)................................. Clelia Patrono (b. 1982) 


Cercles et Surfaces (2013)......................................... Elsa Justel (b. 1944) 

acousmatic music • 8-channel electroacoustic music 

Nothing That Breathes (2015).............................John Nichols III (b. 1983) 



76

With a nod to Cage and Cowell, Within and Without, features only sounds from the piano that do not involve actually playing 

the piano. This piece came to mind as I was giving dictation exercises and found myself alarmed with all the extraneous 

sounds I was making while I was playing: the creaky bench, the squeaky pedals, etc. I took these sounds that we normally 

do not notice or try to eliminate and created this piece. 

Railcar: At one end of the railcar was a glass bin, filled with paper clips. I added the few I had brought with me, in memory 

of the lives of so many. The piece was commissioned by the Institut International de Musique Electroacoustique de Bourges 

(IMEB) and was premiered at the 2008 Festival Synthèse. 

Tension and Release is a musical soundtrack to accompany “Rhythmus 21” an old silent movie of the 1920s by German director 

Hans Richter. The work attempts to give a voice to Richter’s geometrical patterns and their movement (a dynamic 

relationship between black and white) using real sounds recorded in the port of Bari (Italy). The work uses the concept of 

tension and release which was found in the sounds of the port’s sea boats tied up with ropes and chains. The bumping of 

the boats, clanging of the metallic ropes, stretching hawsers, and splashing water are all sounds triggered by the movement 

of the sea -- simple but profoundly representative. The screening of the film is better in a totally dark room. It is also recommended 

that the public wait for one minute in the dark, in silence, before the screening begins. 

Cercles et Surfaces answers to the principle of musical gestures in space, creating a flow of seemingly chaotic sound patterns 

that approach each other and meet in arborescence creating a new order. The multitrack discurse contributes to create a 

polyphonic texture that accompany the gestural movements in the space. Commissioned by French State and GRM 

Nothing That Breathes is an electroacoustic composition with underlying references to wind and breath. The composition reflects 

the relationship between the “wind among the deities and the breath among vital functions” (Chandogya Upanishad, 

trans. Patrick Olivelle). This universal theme is also suggested in the book of Ezekiel, “Say to the wind... Come from the 

four winds. O breath, and breathe upon these slain, that they may live...” (Chapter 37). The title, derived from Deuteronomy, 

evokes a sense of breath that is indistinguishable from life. The sustained sonorities in Nothing That Breathes, which may 

be construed to symbolize the omnipresence of wind, are integrated with fugacious events. As the composition progresses, 

pulsing elements resembling the rhythms of breathing are introduced. Moreover, much of the sustained material is derived 

from the human breath in the form of wind instruments and singing. The composer is grateful to the many musicians that 

participated in studio recording sessions and contributed to this composition. 

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Denton, 09/25 – 10/01 



1:30/2:30/3:30 pm, Sky Theater 

PROGRAM 

e u t h a n a s i a (2014)............................................ Dan Tramte (b. 1985) 


Replika (2014)...........................................................Lee Weisert (b. 1978) 


Opus Palladianum: voice and drums (2013)............ Scott Barton (b. 1975) 


Breathing 2: Re/Inspiration (2014)..................... Michael Pounds (b. 1964) 


DT/P (2015)............................................................ Ewan Stefani (b. 1971) 


King’s Cross (2014)................................................ Paul Fretwell (b. 1972) 



78

e u t h a n a s i a: You’re on your death bed. The only two sounds you hear—your nervous system and the machine keeping 

you alive—are now your entire world. 

Replika is a short experimental film by the Polish filmmaker Kazimierz Bendkowski. The film—made in 1975—is a time-lapse 

capture of a children’s playground in Warsaw, shot from a single angle from dawn to dusk. Within this relatively minimal 

framework, Bendkowski artfully inserts pauses of various lengths, creating a level of unpredictability in an otherwise hypnotic 

flurry of activity. The original soundtrack by Mieczyław Janik is fittingly minimal and static, consisting entirely of layered 

recordings of children laughing. In my newly-composed soundtrack, brief excerpts from Janik’s soundtrack appear, altered 

into low-frequency drones which are heard in the opening montage sequence as well as once later on in the film. The 

majority of the sounds in my piece were created on a computer using a technique called pulse train synthesis. Tiny filtered 

“grains” of noise are generated in rapid fire iterations, creating the impression of a more-or-less continuous textured line. 

This technique was chosen because of its obvious structural similarities to film, in which individual frames are shown in rapid 

sequence, creating the illusion of continuity. In “Replika,” both the time-lapse effect as well as the added pauses heighten 

our awareness of this dual nature (static/continuous) of film. Similarly, the activities of the people on the playground, when 

viewed at this angle and speed, seem to occupy a space somewhere between conscious deliberation and automated reactive 

process. After creating all of the sounds that were to be used in the piece, a painstaking process of synchronization 

followed, in which individual sound grains were matched frame-by-frame to the film. The unceasing activity of the grains is 

sometimes accompanied by recordings of modern-day Warsaw, offering another, more elusive, access point to the images 

on the screen. In addition, the grains themselves take on different characteristics (noise bursts, metallic percussion, sine 

tones, clicks), mirroring the mid-level structure that emerges as a result of the various activities that occur throughout the 

day. 

Opus Palladianum: voice and drums explores relations and contrasts, from those that are clear, such as the juxtaposition of 

opposites (soft, loud), to those that are ambiguous, such as the juxtaposition of synthetic and intimate. Contrast is created 

by presenting the voice and percussion elements in a variety of rhythmic, harmonic and technological settings. These 

organizations illuminate timbral identities, associations that are connected to production processes, and the relationship 

between an object and its realization. Such juxtapositions and superimpositions invite listeners to consider how context, 

and not just timbre, influences the aesthetics of recorded, sampled, and synthesized sound. The piece creates unity and 

connections among these disparate elements through its formal construction. As a result, there is connection despite 

heterogeneity; there is fluidity despite disruption; there is peace despite agitation; there is continuity despite discontinuity. 

Breathing 2: Re/Inspiration has its origins in a piece I composed roughly 20 years ago entitled “Breathing.” That was a very 

early work for me, and I have wanted to revisit the idea for a long time. This new work uses some of the original source recordings 

of toys and whistles (which I have been using for teaching demonstrations for years), combined with breath sounds 

made by my wife that I recorded nearly 10 years ago, and just a few small portions of the original piece. The composition 

is inspired by various aspects of breath: breath as necessary for the functioning of the body, breath as related to life force/ 

energy, breath as meditation, breath as rhythm, and breath as self-expression. 

DT/P represents three applications of Duty Cycle: 

1. Firing neurons, muscle fibres, and cellular activity. 

2. Electrical motors: overheating and cooling-down. 

3. Variation of pulse-width: cyclical modulation of time and density. 

King’s Cross (2014) is an electro-acoustic work that explores technology’s relationship with the mediation of our memories. 

It uses interviews selected from the King’s Cross Voices oral history archive, which was established in 2004 to record the 

memories of local residents from this famous area of London. From the hundreds of hours available, I chose to focus on 

particular female residents. The range of memories is surprisingly wide and varied – from the time of horses and carts, 

playing marbles in the road, to the tragic fire in the underground station and the warehouse dance clubs of recent times. 

Fragments of these interviews are combined with audio recordings from around the King’s Cross area. Road names are 

also picked out from the interviews and reassembled to suggest fragmented aural maps, offering a collapse of geographical 

space as a counterpart to the collapse of temporal space that occurs in the piece. The piece begins with distortion and 

glitches, suggesting that just as our memories are imperfect and can decay over time, the technology we use to store such 

things is also liable to decay, fragmentation and error. 

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Denton, 09/25 – 10/01 




PROGRAM 

Softie’s Volcano (2012)..................................Yuanyuan (Kay) He (b. 1985) 

Yuanyuan (Kay) He, piano • Emily DiFranco, choreographer/dancer 

electronics 

Floor Exercise (2015).................................................. Paul Duffy (b. 1989) 


Excursus: Three Art Songs (2014)............................ Cody Kauhl (b. 1988) 

Mikaela Sullivan, soprano • flexible media 

Duo Spectralis (2015).......................Javier Alejandro Garavaglia (b. 1960) 

Javier Alejandro Garavaglia, viola • Esther Lamneck, tárogató 

live electronics in 5.1 surround sound 

Giffen Good (2014)...............................................Louis Goldford (b. 1983) 

David Whitwell, trombone • live electronics 

Ring | Axle | Gear (2014)................................................ Eli Stine (b. 1991) 


blue, ballade, blow (2005).....................................Steven Naylor (b. 1949) 

Steven Naylor, piano • pre-recorded stereo soundtrack 

stringstrung (2014)............................................... Samuel Wells (b. 1989) 

Benjamin Wedeking, guitar • video with 5.1 surround audio 

illusionOfSpace (2015)...................................... Robert Seaback (b. 1985) 


Hypochondriasis (2014)............................................... Lily Chen (b. 1985) 

Lily Chen, chin (7-string zither) • live electronics 


80

Softie’s Volcano for Piano, Dance and Electronic elements was inspired by my poem with the same name. The poem explains 

that the human body’s physical existence is not independent from mental feeling. Rather, they are tangled together. Each 

supports and, in some instances, destroys the other. This piece mixes these elements, which are both reachable materials 

and extreme untouchable emotions. The pianist is on the side of the stage alone, which is the reality of how we individually 

exist in this world. The dancer, electronic music, and visual elements reveal an indefinite universe that is powerful but vulnerable. 

All the elements twist with each other, emerge together, fight, some explode like a volcano, and some die away like 

a firework. One cannot hold them. One cannot avoid them. One can only feel them because they are you. They are in you. 

Softie’s Volcano 

The world is too quiet to ignore the heart beating, 

That makes me feel heavy, stifling, and unbearable. 

I am struggling to get up from the floor, 

Like shaking off the weight of a mountain. 

The murmur in the fireplace, 

The raindrops dripping on the leaves of the palm trees, 

Shallow the clouds flowing through memory. 

The sky shrouded by the fog is your sketch of my dream. 

However, the rain in my eyes starts the dances of despair, 

Then ignites my tears. 

I am a softie, watering. 

Today, the laughter that plays around the hillside, 

Is cheerfully accompanying our sullied flesh to sleep. 

But nobody can remember the hurt, 

When that bloody lava was burning through my body. 

My world turns into a seething cauldron, 

Burning vapors flowing through my heart with screams. 

All memories instantly disappeared, leaving only the hot imprints. 

You are the volcano, destroying.” 

Floor Exercise: As a kid, I was very involved with gymnastics. Inherent in any gymnastics event, such as the still rings or floor 

exercise, is a sequence of movements whose bodily tension and release create a kind of kinesthetic rhythm. To this day, 

those movements remain an integral part of how I perceive rhythm, tension, and release in music. This piece was created 

with the idea of a gymnastics routine in mind. The gestures wield momentum in a way that reminds me strongly of a gymnast 

tumbling on the floor. For example, a gymnast begins in the corner of the floor, sprints toward the center, and throws his or 

her momentum into a series of twists and turns that conserve the momentum until, say, a final flip. In this piece, long and 

short sounds are juxtaposed to evoke the mixture of sweeping movements and short bursts. 

Commissioned by soprano Mikaela Sullivan for performance in April 2014, Excursus explores the methods in which modern 

television broadcasting attempts to fulfill different facets of human desire, thus propagating the continued use of the 

medium. The composition consists of three songs, each of which focuses on instinctive desires, quick fixes that palliate, or 

intellectual satisfaction. Current television programming attempts to satisfy these desires and fabricated need with sitcoms, 

pharmaceutical ads, and political slander, respectively. Instead of communicating this message traditionally via voice and 

piano, prerecorded media serves as accompaniment to the soprano. I make the distinction in the title that the work calls 

for “soprano and flexible media”. This word choice stems from the desire for the media to truly act as an accompaniment; 

therefore, I constructed a set of twenty advancing electronic tracks, each of which have head room to quickly crossfade into 

the following clip. While utilizing Max 6 in performance, an “accompanist” advances these tracks upon careful observation 

of the vocalist and knowledge of the score. In order to present an intimate and personable demeanor throughout the composition, 

the sound world of the prerecorded media focuses on an apparent lack of reverb with particularly “warm” sound 

layers created by band passed EQ and apt sound sources. 

Duo Spectralis consists of diverse spectral analysis DSP-based processes, which transform the sound coming from the two 

live instruments in real time. Together with several Phase Vocoders, which transpose the pitches of both instruments, the 

main DSP process herewith is the SPECFILT, a MAX patcher by Dr Ron Parks (Winthrop University, USA), which was 

strongly modified by me for this particular piece. The SPECFILT analyses the incoming spectra from both instruments, 

and is able to make an accumulation of those bandwidths analysed (FFT bins), which then can “evaporate” one by one by 

another algorithm included in the SPECFILT. Other processes involve Ring modulated COMB filters, envelope following/ 

cross synthesis, convolution and different types of delays and reverb (the latter, a special version of the Schroeder type). 

The music of Duo Spectralis is based on two elements: a glissando and a motive, which first appears in the Tárogáto. They 

serve for the entire structure of the piece. 

Giffen Good: I certainly wasn’t expecting David Whitwell to ask for a piece that was “economics-themed.” When he approached 

me with the idea I thought back on my years of study (One of my undergraduate degrees was in economics.) 

and realized how much has changed since then. This was just before the financial crisis of 2008. Our speculative financial 

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Denton, 09/25 – 10/01 

world, dominated by the big hedge funds, has been turned on its heels. I set out to compose a piece that would metaphorically 

acknowledge the trends rapidly shaping our new socioeconomic era. A Giffen Good is one that is consumed more as 

its price rises. This situation occurs rarely, perhaps only theoretically, when (in economics terms) the income effect trumps 

the substitution effect with respect to a change in purchasing power. Violating the traditional law of demand, few of these 

goods have ever been found. The potatoes of the Great Irish Famine remain a classic example. Giffen goods retain an 

inelastic demand even while its price rises along with other, substitute goods, because it is still a cheaper and necessary 

alternative to goods whose prices (or opportunity costs) are rising more rapidly. Since the Great Recession of 2008, some 

have suggested that this footnote in our economics textbooks has become a reality, the liquidity trap causing investors to 

sell off shares of increasingly higher risk stocks in favor of buying low-risk, safer financial assets instead. Some scholars 

are looking at more liquid assets, including oil and money itself, to search for the presence of Giffen goods in recent years. 

Some have even suggested that gold, the ultimately liquid form of wealth, may be showing signs of Giffenness. Pictured is 

a model of the price of gold from 2001 to 2014, where one can observe mostly steady increases, an effect of the woldwide 

recession. If more investors are moving their assets into low risk, highly liquid assets, what will the consequences be years 

from now at various levels of society? In the music, I’ve used this curve to generate durations corresponding to this trend 

in the world gold market, deriving rhythms in the notated trombone part as a kind of talea against a color that generates 

pitch material – in the form of a second order Markov chain that indexes an analysis of samples I prepared with trombonist 

Brennan Johns at Indiana University. A similar Markov chain is implemented in the live performance; it indexes the performer 

note-by-note as the piece progresses and generates score material from it. This kind of Markov process, once used to 

predict the movements between bear, bull, and stagnant markets, echoes the presence of live gold stock data pinged from 

Yahoo Finance during the course of the piece, whose fluxuations are magnified and heard throughout. How important are 

these micro-movements in price? What will be their long term impact? Similar statistical methods have been adopted to 

match audio descriptors such as mel frequency cepstrum coefficients. Audio analysis / resynthesis methods pervade the 

structure of the piece and its texture. 

Ring | Axle | Gear: This video triptych explores 3 shapes: ring, axle (line), and gear, accompanied by sound design encompassing 

a wide range of synthesized and real world sounds, investigating aesthetic implications of the fetishization of icons 

and symbols. 

blue, ballade, blow brought together—after a lengthy disconnection—my two dominant musical realities: electroacoustic studio 

composition, and improvised piano performance. As the title suggests, the piece resonates with three improvisatory 

approaches commonly associated with jazz: blues; the jazz ballad; and free jazz or musique actuelle ‘blowing’. The pianist 

improvises all live elements in real-time, freely drawing from—or ignoring—materials in the fixed electroacoustic component. 

‘blue, ballade, blow’ was premiered in Birmingham, UK in 2005, in BEAST’s JazzElectro, with the composer as pianist. 

stringstrung, for guitar and digital media, was commissioned by and is dedicated to my dear friend, John Doe. The digital 

audio is entirely derived from acoustic guitar samples.The work is loosely inspired by the strings of a guitar and the last 

stanza of “87” by E.E. Cummings: 

what a wonderful thing 

is the end of a string 

(murmurs little you-i 

as the hill becomes nil) 

and will somebody tell 

me why people let go 

- E.E. Cummings 

© Grove Weidenfeld» 

illusionOfSpace attempts to unify sonic material drawn from recordings of the environment and of the spoken voice. They are 

shaped by similar gestural trajectories and spatial profiles. They often adopt characteristics of the other. The work is meant 

to evoke distorted and/or surreal sonic landscapes that mimic (albeit in stereo) the spatial depth and richness of natural 

sound (environment), framed by a more traditional (human) musical discourse in the voice. 

Hypochondriasis is my first experimental work for electronic music. Chin is an ancient Chinese traditional 7-string zither, which 

is also a very personal instrument due to its soft volume and subtle timbral changes. Since it is not able to make sounds 

of great volume, amplification becomes an important element and thus creates a new kind of environment, an augmented 

chin. Such an augmented environment gives me inspiration for the piece. The necessary amplification and the electronic 

sounds both expand and even exaggerate the original instrumental sounds, which reminds me of the syndrome of the hypochondriasis, 

a tendency to fear or imagine that one has the illnesses that one does not actually have. The sufferers of this 

psychological illness normally augment their pain and exaggerate their physical conditions. In the piece, I pretend to be a 

hypochondriasis sufferer who exaggerates and distorts the sense as if viewing things under the microscope or doing some 

ritual. By associating this emotional activity with music, I intend to find an appropriate role that the electronics plays, to build 

an intimate relationship between acoustics, amplification, and electronics, and to create different scenarios and multiple 

layers of musical environments. This piece is dedicated to my mother, who had a hard time taking care of my father, a hypochondriasis 

sufferer. It is also dedicated to some activists in my country. To me, they are the hypochondriasis sufferers who 

have foreseen the crises hidden in the current situation and are fighting hard for the well-being of the country. 

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PROGRAM 

Sonic Constructions (2013/ongoing).................. Curtis Bahn/Thomas Ciufo 

(b. 1960)/(b. 1965) 

Curtis Bahn and Thomas Ciufo, computer extended performers 

Beyond the eternal chaos (2014).........................Takuto Fukuda (b. 1984) 

Jane Rigler, flute • electronics 

Somnum (2014).................................................... Michael Payen (b. 1992) 

Camille Ortiz-Lafont, soprano • Michael Payen, piano 

Matthew Bryant, cymbals • tape 

Sonic Physiography of a Time-Stretched 

Glacier (2014)............................................... Matthew Burtner (b. 1970) 

Brandon Bell, percussion • electronics 

Audley’s Light (2011)................................................ Paul Wilson (b. 1974) 

Elizabeth McNutt, alto flute^ • computer 

Pitch vs. Computer (2014).................................. Cristyn Magnus (b. 1975) 

Jeremy Muller, vibraphone • electronics 

Myrrh (2012).....................................................Timothy Harenda (b. 1987) 

Kelland Thomas, baritone saxophone • live electronics 

Unsettled Questions (shadow and shape) (2015)....Andrew May (b. 1968) 


Wu Xing: Metal (2014).......................................... Jens Hedman/Eva Sidén 

(b. 1962)/(b. 1958) 

Eva Sidén, piano • Jens Hedman, 6-channel electroacoustic music 

ÛNT Faculty 


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Denton, 09/25 – 10/01 

Sonic Constructions is an interactive electronic music performance by composer-improvisers Curtis Bahn and Thomas Ciufo, 

who design, build, and perform on computer extended instruments. This performance project has developed around a 

gestural and sonic language that explores the expressive capabilities of a range of custom build, hybrid acoustic / electronic 

instruments. Utilizing a variety of physical interfaces and signal processing techniques, these constructed / composed 

instruments extend acoustic instruments, sound sources and field recordings through real-time computer processing and 

sonic transformation. Custom instruments developed by Bahn and Ciufo include the eSitar, eDilruba, the eighth nerve hybrid 

electric guitar, as well as a collection of flutes and percussive objects. These instruments utilize advanced physical 

sensing systems, real-time audio analysis, and uniques software processing algorithms developed in the max/MSP programming 

environment. This performance is a manifestation of the unique formal, sonic, gestural, and human relationships 

that emerge from interaction with (and through) these new computer-mediated instruments. Through Deep Listening and 

empathetic sounding, we seek to create and explore real-time Sonic Constructions. These dynamic and evolving sound 

spaces live somewhere between foreground and background, between action and stillness, between concrete, remembered, 

and imagined. More than anything, these sound spaces invite us to listen deeply and to contemplate our relationship 

to sound, place, each other, and the sound world we inhabit / create. 

Beyond the eternal chaos was composed at the University of Music and Performing Arts Graz in Austria in 2014. This piece 

explores possible transformations of musical elements by applying interpolation algorithms. Several transformative behaviors 

are seen at several levels of the piece such as changes of a prominence between the flute and electronics dependent 

on sections, transition between noise and tone in a phrase, morphology from a phrase to another phrase, and so on. The 

composition is divided into three sections. The first section renders a convergent process of three musical elements characterized 

by waving motions between tone and noise, sustained tones with portamento and a melody outlined by tongue rams 

as well as lip slaps, respectively. The second section depicts a scene that electronics dominate prominently the instrument. 

The third section draws a transformative development from a melody to an ascending passage. At the end, the piece finishes 

as if disappearing into chaos by echoes. All sections are successively performed. 

Somnum, uses the echoes from a soft simple melodic soprano line in order to accentuate its peaceful text. The simple serenity 

of the voice is accompanied by an equally simple piano part. The two reply to each other throughput the piece while the 

vocalist’s melodic lines are delayed and ‘engulf’ the listener in sound. The setup of speakers surrounding the listener, the 

contemplative tape sounds and the accompaniment of piano and suspended cymbal attempt to imitate the serene sensation 

of falling asleep. “Sleep, and do not be afraid, even if this sleep is for eternity” 

Sonic Physiography of a Time-Stretched Glacier: Glaciers exude a unique and visceral presence that is disappearing because we 

live in a time of ice melting. Let’s stop the melt. Let’s freeze it in time and wait there, suspended inside the space between 

droplets. Let’s go inside a single droplet of this melting ice and watch the spectral light of the sun through it. Let’s stay here 

on the brink of melt (until the song is over). 

Audley’s Light: The sounds of a church bell from my hometown, wind moving through trees in a the wood beside Audley’s 

Castle, the weather in Northern Ireland and Elizabeth McNutt’s Alto Flute realisations provided most of the source material 

for this composition. A first step was the assembly and disassembly of the instrument, producing thereby intimate and barely 

noticeable sounds. These delicate clicks, dings and rattles began to inspire other sounds that make up the fabric of the 

composition. Sometimes the sound of the environment dominates the composition and at other times the flute acts as a kind 

of acoustic impulse that resonates in the performance space and intertwines with the electroacoustic sounds. The image 

of a low December sun burning beams of light past Audley’s Castle and into the dark forest beyond the castle’s grounds 

comes to mind… 

Pitch vs. Computer is a video game for percussion, written in collaboration with percussionist Jeremy Muller. The performer 

is presented with a score that is algorithmically generated as the piece progresses. He can choose to interpret the score 

in several ways; each way of interpreting the score is a move in the game. His playing is constrained not just by the notes 

written in the score, but by the moves he’d like to make. The score is generated using a genetic algorithm. The player’s 

performance choices influence the score as it develops. In the game, the player is sneaking into a heavily fortified computer 

installation to save the world from a malevolent AI. The piece progresses through four movements, each with a different 

audio-to-control mapping. These correspond to four levels in the game in which the player puzzles out a secret code, sneaks 

through a maze, fights robots, and ultimately tries to beat the Boss. 

The Chinese, masters of herbal medicine, once discovered that the incense from a particular resin, Myrrh, had a strange 

ability to “move blood,” proving to be a powerful tool in healing circulatory-related diseases. Myrrh for saxophone and live 

electronics is a sonic depiction of this powerful medicinal incense. 

Unsettled Questions: One of the delights of computer music is the way it can shed light on the way we hear and make music, 

allowing us to explore fundamental and as yet unsettled questions. This piece explores questions of phrasing, tuning, 

connection between visible and invisible agency, and connection between ancient and modern aesthetics. Written for flutist 

Elizabeth McNutt, the piece aims to give her some delightful invisible companions to make music with, rather than immersing 

her in an electroacoustic environment. 

84

The Five Elements, Wu Xing, is a series of five longer concert pieces for prepared piano, sounding objects and electronics, 

which also will be five sound installations on the same theme by Sidén Hedman duo. Wu Xing, are in old chinese philosophy 

the essential elements from which our reality is built; wood, fire, earth, metal and water. Each piece in the series, evolve 

around one particular element in both the choice of instruments, as well as in expression and composition. We started with 

a piece based on sounds of metal when we were invited to compose the piece for ZKMs unique Klangdom, a concert hall 

with 43 speakers in a sphere surrounding the audience. The strength, the complexity and the dynamics of the sounds of 

metal, both from instruments and electronics, works very well with the big immersive audio experience that can be created 

here. Of the five elements, we associate the sounds of metal as the rawest, noisiest, harshest but yet brittle, pure and clear. 

The piece moves between different energy levels, sometimes energetically messy and intrusive, sometimes soothing clean 

and beautiful. Metal is, in relation to the other elements, unique since it is extracted by humans. It has been central in our 

development towards an increasingly destructive society. Metal has brought weapons and wars, polluting machines and the 

extraction of metal has left immense wounds in the earth’s surface. Yet it is necessary for progress of mankind. 

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Denton, 09/25 – 10/01 




PROGRAM 

frôTH (2014)....................................................Elizabeth Hoffman (b. 1961) 

Jane Rigler, flute • laptop 

La jungla (para piano y 

orquesta de ajubitas) (2014).............................Jorge Variego (b. 1975) 


Firehose (2014).......................................................... Tim Kreger (b. 1967) 

Tim Kreger, electric guitar • desktop computer 

Two Wings (2014)............................................ Michael Rothkopf (b. 1955) 

Elizabeth Pacheco Rose, soprano • Saxton Rose, bassoon • computer 

unfold (2015)...................................................... Rolf Wöhrmann (b. 1968) 

8 sound layers 

v->t->d (2014)...................................................Christopher Jette (b. 1975) 

Kelland Thomas, tenor saxophone • electronics 

Javier Villegas, video 

past every exit... (2014)..................................... Jason Palamara (b. 1977) 

Jason Palamara, violin/laptop • Justin Comer, saxophone/laptop 

Imaginary Universe (2014)............................ Takuro Shibayama (b. 1971) 

8-channel laptop computer 

Telepresent Storm: Rita (2013)..................Thomas Rex Beverly (b. 1988) 

iPad • live electronics • historical weather data 

projected real-time grahical score 

Shared Buffer (2014).....................................Eldad Tsabary, David Ogborn/ 

Ian Jarvis/Alex McLean/Alexandra Cérdenas 

(b. 1969)/(b. 1977)/(b. 1976)/ 

(b. 1975)/(b. 1976) 

networked, collaborative live coding 


86

To overflow in a soft, light mass. frôTH is concerned with dense patterns which achieve some degree of porosity through 

spatial ‘aeration.’ The performer influences the electroacoustic part in real time, performing a guided improvisation. The improvisation 

is also being created in real time by the composer performing and coding on laptop, in broadly delimited domains 

including aspects of spatial diffusion and layering of materials. 

La jungla is an automated algorithmic composition that combines textures of varying density with the manipulation of samples 

in real time. Written in SuperCollider, the piece uses a library of sounds taken from the book ‘Apuntes sobre nuevos recursos 

tímbricos para instrumentos de cuerda frotada’ by Marcelo Ajubita. 

Firehose: Disembodied voices scream babble into the well from solitude. The mass network experience provides non-consensual 

participants in a localised peformance for real people in the physical space. The chatter goes unanswered while we 

reflect on the sonic consequence of their inane quips, declarations and sandwich narratives. The twitter firehose projects 

humanity onto the most banal yet addictive screen. Firehose is a real-time improvisation using the Twitter live stream api. 

Twitter provides access to the live stream head which is known as the firehose. This work uses a filtered form of the firehose 

to generate a musical stream for the guitar to react to. ASCII characters are mapped to pitch sets and presented in three 

forms: 

1/ In parallel, the mapped pitches control sine tone generators playing simultaneously. 

Each tweet generates a new sonority and are played as they come off the head of the stream. 

2/ Sequentially, each tweet encodes a melodic sequence played by three different waveform generators 

played in alternation. 

3/ Temporally, each tweet triggers an event. This timing of the tweets provides the rhythmic impetus. 

The filters used are simple one word filters such as love, happy, lonely, sad etc. Each filter possesses its own rhythm pace 

and harmonic patterning as much of traffic can quite often be the same message permeating(ie retweets replies etc). The 

filters, sound generation and processing, are controller via a guitar mounted controller, the piece is performed by one performer 

controlling the entire system. Spatial location is informed by the geolocation of the tweet if available. The live guitar 

is analysed and returns tweets based on dictionaries built up from the incoming tweet stream, mostly babble in response to 

the text filter. The tweets used are projected so the audiences can make their own connections between the sonic events 

and the content matter of the tweets. Tools used: The Twitter streaming API, Python, Open Frameworks, Supercollider, 

Main Stage” 

Two Wings: Uruguayan poet Delmira Augustini (1886-1914) broke away from the Victorian tradition and wrote on themes of 

sexual love, passion, identity and escape. She was tragically killed at the hands of her jealous ex-husband, who then shot 

himself. Her poetry reminds us of the courage, tenacity and creative power of the human spirit, and especially, of the societal 

hurdles that have faced women who have engaged in their Art. Las Alas brings many of Augustini’s themes together in 

one seminal and imaginative work. In the Prelude, as the music unfolds, the bassoon assumes the role of the wings, then, 

joins with the poet in the Canción. The computer wraps an improvisational sound environment around the bassoon in the 

Prelude. In the Canción, this layer of improvisation continues while the computer makes timbral and timing decisions of 

the score in relationship to the performers interpretive decisions. In between the third and fourth stanzas of the poem, the 

performers and computer improvise a cadenza together on the original text in Spanish. I carried Laura Gabriel’s translation 

of this poem around with me for many years, revisiting it many times, looking to find a way to set it to music. Last fall I heard 

Elizabeth Pacheo Rose sing a recital that included songs by Richard Strauss. Hearing her voice and her interpretation of 

those songs moved me to recall the Augustini poem and compose this work. Two Wings was written for and is dedicated to 

Elizabeth Pacheco Rose and Saxton Rose. 

unfold is based on a polyphony of eight sound layer which have been synthesised in realtime controlled by algorithmic 

parameter based structures. The idea is to create a density of evolving and radically changing sound events challenging 

and tricking our ability to percept and identify sonic objects. Putting our ears into a stream of ever changing acoustic stimuli 

serves not only Lucullan aspects of our perception but makes us reflect on our way of hearing and perception our environment. 

In such way the listener, his/her body, hearing and mind becomes an active part of the work. 

The composition, v$->$t$->$d (pronounced “vee to tee to dee”), is based on an ongoing exchange of musical ideas. The core 

of the v$->$t$->$d project is a saxophone improvisation (Kelland Thomas) that has been translated with custom software 

(Christopher Jette). This material is used to create a new composition that combines the translations of the saxophone recording 

with components of the original material and various off line synthesis processes into a a piece for saxophone and 

electronics. The work is a series of twelve shorter vignettes that explore the different sonic implications of the primary improvisation. 

In conjunction with the sound component, Javier Villegas and Angus Forbes deploy a realtime video processing 

layer. The saxophonist is visually granulated using the amplitude of the live instrument as a control signal. 

Imagine you are careening down a highway. Once you have passed every exit, is there any hope left to get back to where 

you began? past every exit... is played on a Max/MSP patch that I have developed to aid in improvisation with Professor 

Jennifer Kayle’s dance improvisation classes. Jennifer’s knowledge and improvisatory experience has greatly influenced 

the composition of this piece. I would also like to thank my semester long collaborator, Justin Comer, with whom I have 

produced hours of unrecorded music while having immense amounts of fun. The patch itself directs the instrumentalists 

on what to play, and when to play it, and also records the performers and improvises along with them, making loops of the 

recorded material. The piece is globally determined but locally improvised. 

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Denton, 09/25 – 10/01 

Imaginary Universe was composed in view of the status that exists within a certain acoustical phenomenon that acquires 

the form of either ‘musical’ or ‘non-musical’. Creating such a piece might involve composing music using a very weak figure 

and structure that later acquires a more definite form. Such an acoustical phenomenon could be defined as occupying the 

boundary between high complexity and low complexity (high is equal to not-musical and low is equal to musical). The two 

poles of musical and non-musical concern not only the figures of the musical pieces themselves but also the processes 

of human cognition and understanding. Therefore, the composer of this piece disposed of the sound materials utilizing 

the undifferentiated statuses of chance and inevitability. The distinguishing characteristic of this piece is brought by the 

juxtaposition of two processes with an original program by Max/MSP to compose such a statuses. In general acousmatic 

pieces for eight channels multiple speakers, the sound tracks or sound sources are allocated to the specific proper speakers 

in advance for the reappearance of the piece with in an ecological environment. On the other hand, the tow processes of 

this piece are, 1) making eight sound sequences as prototypes, and 2) diffusing the about 0.2 to 2 second of minimum 

sound materials within the each prototype as if the contextual structures of prototypes might be dissipated spatially. The 

later process is performed as real time diffusion. As the result, the sound sequences that out put from each loud speaker are 

generated and ordered by chance through this system, then, each audience might listen to completely different, nevertheless, 

extremely similar sequences simultaneously from eight loud speakers.This piece is based on the sound installation piece for 

24ch multiple loud speaker system which was premiered on “SOUND LIVE TOKYO -New Sound Sanctuary-“, the electronic 

music events at SuperDeluxe (Tokyo) that hosted by Tokyo Metropolitan Government, Tokyo Culture Creation Project Office 

(Tokyo Metropolitan Foundation for History and Culture) and Japan Center, Pacific Basin Arts Communication (PARC), 

endorsed by Embassy of Canada to Japan and supported by Agency for Cultural Affairs, Japan. This work was partly 

supported by JSPS KAKENHI, grant numbers 25350029 and 24603007. 

Time travel back to 2005 during Hurricane Rita’s massive show of beauty and destruction. The weather data in Telepresent 

Storm: Rita is not a metaphor; rather it directly connects the visual and auditory experience with the historical energy of 

Hurricane Rita. The historical weather data of Rita is run through a piece of software to create a real-time graphical score 

which is then interpreted live, using iPads. The performer, using two iPads, interprets the graphical score by freely assigning 

sound, harmony rhythm, melody, and growth to the available weather parameters. 

Shared Buffer is a series of live coding improvisations by an ensemble of globally distributed performers (Berlin, Hamilton, 

Montréal, Toronto and Sheffield), all working on a single piece of shared code. The group uses Tidal, a small live coding 

language that represents polyphonic sequences using terse, highly flexible and polyphonic notation, providing a range of 

higher order transformations. The performers in the group are connected via the extramuros software for Internet-mediated 

sharing and collaboration, which was originally developed for this ongoing project. The performance is part of a series 

of such performances supported by the research project “Live Coding and the Challenges of Digital Society” (McMaster 

University Arts Research Board). Previous iterations of the series have appeared at the TransX transmission art festival 

(Canada), Electronic Music Midwest (USA), the Network Music Festival (UK), and the piksel festival (Norway). With the 

extramuros software, a server is run at some generally reachable location on the Internet. Performers use conventional web 

browsers to interact in real-time with shared text buffers provided by the server. When code evaluation is triggered in the 

browser window, the code in question is delivered to any number of listening clients typically at all independent locations 

where the performance is taking place. Independent software applications render the performance from the code at each 

performance site. 

88



1:00/2:00/3:00 pm, MEIT (M1001) 

PROGRAM 

Deep Pocket Music (2015)..................................James Caldwell (b. 1957) 


Trittico Mediterraneo (2013).............. Konstantinos Karathanasis (b. 1975) 


Accretion Flows (2014)....................................... John Thompson (b. 1974) 

video • 8-channel electroacoustic music 

Reverie of Solitude (2014)................................. Kyle Vanderburg (b. 1986) 


Wind Chimes Clatter through 

the Mist and Fog (2014)....................................... Jon Fielder (b. 1986) 



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Denton, 09/25 – 10/01 

No. 11 (1:24) 

No. 12 (0:42) 

No. 13 (0:50) 

No. 14 (1:48) 

No. 15 (1:34) 

No. 16 (0:42) 

Deep Pocket Music is the third set of small musique concréte pieces. The original set was made with sound sources that 

came out of my pockets. This set uses a pair of finger cymbals, a pencil run over the rungs on the back of a chair, dresser 

handles, the bag from a bunch of apples from the grocery store, and marbles poured into the bottom of a hand drum. The 

processes include Tom Erbe’s “SoundHack” and Michael Norris’s “Soundmagic Spectral” plugins. 

Trittico Medιterraneo is a three-movement piece inspired by summer themes. The opening movement, Pastorale, is based 

on sheep and goat bell samples and related environmental recordings collected at a mountainous Greek village. The work is 

a personal sonic interpretation and response to the Renaissance and Baroque paintings of the same theme. I am fascinated 

by old, spacious cobblestone squares, surrounded by tall buildings with swallows’ nests, outdoor cafes and restaurants, 

ideal places for people to enjoy the sense of community and for children to play. Most of the sounds used in Constitution 

Square at Evening are field recordings from a summer evening at the Constitution Square in Nafplion, Greece. The closing 

movement, Violins of Summer, was inspired by a short poem by Yannis Ritsos (my translation): 

“Cicadas are thousands of little violins with wings 

they make wooden sounds for they miss their bow 

the summer knocks their belly with its finger. 

These knocks are later translated – 

little hammers pounding on a soft void.” 

The piece was made possible with partial support from the Research Council of the University of Oklahoma. 

Accretion Flows presents a tightly couple relationship between the audio and the visual. This coupling is accomplished by 

allowing an underlying system to act as the substrate from which is medium will grow. In Accretion Flows, audio and visual 

particles are created and directed within a gravitational system. The composition is the organized sequencing and layering 

of these patterns and orbits. 

Utilizing recordings from Montana and Central Oklahoma, Reverie of Solitude serves as both an exploration of and an 

invitation to reverie; providing a space wherein the listener is asked to reconsider their idea of what it means to daydream. 

Immediately, the listener is isolated amid an every-day crowd hum—pervasive and vexingly indistinct. Lost among the multitude, 

it is easy to believe that this daydream is not an expression of solitude, but rather a longing for solitude. From this 

foundation, the piece conducts its consideration through alternating themes of action and inaction, order and disorder. The 

buzz of the crowd—unmetered, churning—gives way to the steady pulse of a passing train: the mind swiftly carried away. 

The movement of a mind imagining is suggested by a motif of water in each transition. Having raced away, the focus of the 

piece coils about a scene of Sunday-lawn tranquility with the stagnant and predictable arc of a sprinkler. It dissolves into 

the free rhythm of a rainstorm on a tin roof, evoking a true sense of solitude. The chaotic throb of the rain shower becomes 

the pulse of a frothing river as the mind races on again, an echo of the train beneath. As the piece nears its conclusion, 

the listener is introduced to the most complete soundscape yet: birdsong and footsteps as counterpoint to the steady but 

untamed lapping of water against the hull of a boat. Each vignette is a self-contained narrative offering a unique opportunity 

to consider solitude in a natural context. As each image fades, replaced by another commensurate in theme though separated 

in space, the listener is invited to reflect on the purpose of a daydream: whether to occupy a static moment, to escape 

a blunt reality, or to enrich the experience of a perfect moment. The subtle transitions between the natural recordings are 

woven throughout by digitally manipulated tones, calling the listener’s attention to how they themselves have been lulled 

to daydreaming amid the sonic backdrop. Attention is inevitably returned to the churning crowd, bookending the piece to 

demonstrate the facility of such reveries in establishing a personal solitude for each listener, undiminished by having shared 

the experience with an audience. 

Wind Chimes Clatter through the Mist and Fog plays with the concept of distance and perception of space. It was originally 

realized for an 8-channel acousmonium setup, and was later recomposed for a circular 8-channel ring configuration. 

90



1:00/2:00/3:00 pm, Sky Theater 

PROGRAM 

Flaxa (2011).......................................... Zuriñe F. Gerenabarrena (b. 1965) 


HARMONIA (2010)...................................... Bruno Degazio/Christos Hatzis 

(b. 1958)/(b. 1953) 


The Metaphors Were Unclear (2014).........................Larry Gaab (b. 1950) 



91


Denton, 09/25 – 10/01 

FLAXA is a multi-channel work composed in Studio Alpha in VICC, Visby (Sweden), during my residence in May 2011. In this 

work the voice is the dominant sonorous material. Based on an excerpt from the play “La Vida es sueño “ of Calderon de la 

Barca, from the beginning the voice drives the work in its way between the language and the sonorous landscape, using the 

poetic relations about the different issues of the voice as universes that cover all the process of the work with the intention of 

introducing the listener in a suspended space in the limits of the language and pure sound. Supported by Fundacion SGAE. 

Harmonia is a computer generated audio-visual work which examines the patterns generated by a sequence of slowly shifting 

harmonics. The work is generated entirely by this gradual unfolding of the harmonic series. This generating process is timed 

so that it occurs exactly once through the duration of the piece. Harmonia implies a relativization of the perception of time 

because the unfolding process is equivalent to the microscopic examination of a fraction of a second of audio, stretched 

out by a factor of 90,000 to a length of 29 minutes. This relativization implies Plato’s definition of time as a “moving image 

of Eternity.” The piece also has a synesthetic aspect because the generating process is both heard and seen. The process 

is heard as an orchestra of harmonically-related synthesized tones floating within a four-channel sound environment. It 

is seen as the geometric, scintillating intersections of variously coloured, equal-angled divisions of a circle. In the current 

rendering, the process employs sixty-four harmonics. The unfolding is characterized by a large number of critical moments 

when various families of harmonics align and present themselves simultaneously. The most dramatic of these is the “Big 

Bang” which occurs at the beginning of the work (and is repeated again at the end, in order to “close the circle”). It is the 

unique moment in the process when all sixty-four harmonics are visible (and audible.) Many other smaller alignments occur 

with mathematical regularity; for example, halfway through of the piece all the even-numbered harmonics align and are 

heard as a smaller echo of the “Big Bang”. Likewise, all harmonics divisible by three align 1/3 and 2/3 through the piece, all 

harmonics divisible by four align 1/4 and 3/4 through the piece, and so on for all numerically related families of harmonics. 

Many interesting perceptual effects occur. For example, the falling glissandi that can be heard immediately after the “Big 

Bang” are actually a resultant of the sequential presentation of the high harmonics in decreasing order. Later on, when the 

harmonics are presented in increasing order, the glissandi are heard as rising instead. Visually, a similar visual effect occurs 

in the perception of moving highlights within and along the edge of the main circle. These are produced as the resultant of 

the intersections of the circular harmonic geometries. Another interesting effect is that major alignments are preceded visually 

by a sort of “negative image” of themselves. That is, in the negative space of the image the harmonic alignment is visible 

before it occurs. To my knowledge this has not been commented on in previous studies of such harmonic relationships. 

Harmonia was conceived in 1980 by Christos Hatzis. The current computer realization of this project has been conducted 

principally by composer and audiovisual designer Bruno Degazio with contributions from animator Doug E. Smith. A portion 

of Harmonia was used in a documentary film concerning the Large Hadron Collider, The End of Time, which premiered at 

the 2012 Toronto International Film Festival. 

Persistently overlaid tones, articulations, and inharmonic colors march self-consciously. Awkward, tentative markings reveal 

inner conflicts that avoid definition. Tones sharing proximity resist bonding. The Metaphors Were Unclear unsettles with uncertain 

and precarious objects. Gestural patterns teeter, yet take root. Meanings are supported while they remain at variance. 

92




PROGRAM 

Colored Shadows (2012).......................................... Mikel Kuehn (b. 1967) 

Ammie Brod, viola* • live electroacoustics 

Short of Touch (2012)........................................Andrew Babcock (b. 1977) 


COME MORSO IN CORPO (2012)................... Valerio De Bonis (b. 1981) 

MingHuan Xu, violin* • electronics 

The Anemone Fragments (2012).......................... Kari Besharse (b. 1975) 

Mira Luxion, cello* • electronics 

The Crow’s-Eye View: 

Poem No. 6 (2015).....................................Joong-Hoon Kang (b. 1970) 

MingHuan Xu, violin* • live electronics 

Red Plumes (2011)...................................................John Gibson (b. 1960) 


Decoherence (2014)........................................ Christopher Biggs (b. 1980) 

Samuel Wells, trumpet • electronics 

Musashi (2012)..................................................Richard Johnson (b. 1978) 

Rebecca Ashe, flute • digital media 

Unsound Objects (1995).......................................Jonty Harrison (b. 1952) 

stereo 

*Ensemble Dal Niente 


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Denton, 09/25 – 10/01 

Colored Shadows was composed in the winter of 2012 and was inspired by hearing several live performances given by violist 

John Graham (for whom the piece was written). Captivated by his warm and supple sound and the way that he caressed 

each phrase with his remarkable bow control, I marveled at the way he was able to explore the nuances of his special instrument, 

which he has gotten to know over a lifetime. This made me want to find a way to capture and resonate these traits 

in a work crafted for him. The result, after working closely with Graham, is a piece that explores the idea of “shadowing” the 

sounds that he makes through his viola using live electroacoustics. (The electroacoustic music is created in real-time from 

the sounds of the viola). Cast in nine interlinked sections, four of these are controlled improvisations on each of the open 

strings. The remaining five sections feature the same thematic material, although in contrasting contexts. The premiere of 

this work was given by John Graham at the the 40th International Viola Congress (Eastman School of Music, Rochester, 

New York) on June 2, 2012. 

Short of Touch is from a suite of works that utilizes the input analysis of my voice to control pitch, rhythm, timbral coloration, 

and spatial trajectory of piano samples. I developed this working method as a remedy for my tendency to watch and analyze 

my hands when I play the piano, rather than to simply listen without judgment. Unlike other pieces in the suite, which convey 

the presence of the human voice, Short of Touch suggests a performance realized through manual gestures. 

Decoherence is dedicated to Samuel Wells and was commissioned by a consortium consisting of Samuel Wells, Aaron 

Hodgson, Scott Thornburg, and the UMKC Trumpet Studio. The work abstractly reflects on the phenomena in quantum 

physics and a possible explanation for the phenomena. Decoherence is a phenomena whereby particles that have probable 

locations always take on a specific location when observed by a human. This is represented through the presentations of 

hundreds of possible ways to a play a single pitch on the trumpet followed by the performer’s decision to play the pitch in 

a specific manner. Also, when the performer is making a decision about what to play, they become part of the video. One 

possible explanation for how probable locations collapse into a specific location is that all probable locations come to exist 

in their own parallel universe upon observation. This mirrors a philosophical notion of parallel universes whereby each time 

a person makes a decision the universe fractures into multiple parallel words. As the work progresses the trumpet player 

has less and less freedom as the specific universe they inhabit becomes increasingly defined by the past decisions. 

The Anemone Fragments, for cello and live electronics draws together several aspects of human experience and myth, most 

importantly, the emotions of solitude and passion. The experience of listening to the various qualities of wind also figures 

prominently in this piece, for example, the subtle contrasting sounds of a gentle breeze through aspen leaves, or the wind 

through an oak forest at dawn. 

“Love shook my heart 

Like the wind on the mountain 

rushing over the oak trees.” 

― Sappho” 

The Crow’s-Eye View: Poem No. 6: As a genius poet as well as a novelist and an architect, Yi Sang (August 20, 1910 - April 17, 

1937, birth name Kim Hae-Gyong) is one of the innovative figures representing the early 20th-century Korean literature. 

My piece depicts the poem no. 6 of his well-known series of 15 poems, the Crow’s-Eye View (the title “Crow’s-Eye View” is 

an intentionally misspelled Korean term for the ‘Bird’s-Eye View’ by the poet himself). The vagueness, fear and confusion 

carried by the esoteric gestalt of the poem may not much different from what we are facing in everyday realities. 

Excerpt from the Crow’s-Eye View: Poem No. 6 

Parrots Two parrots 

Two parrots 

Parrots belong to mammals. 

That I kno-ow two parrots is I do not kno-ow two parrots. Of course, I will hope. 

Parrots Two parrots 

There, I saw parrots with anger. I would blush with being shy. 

Of course, I hath been exiled. I hath dropped out without even expulsion. 

My body lost central axis and considerably staggered, hence I hath wept slightly.” 

Come Morso in Corpo is an electroacoustic composition that make use of sounds damn dirty and rough! All rough passages 

performed by an old and cheap violin push hard, so that the electronic sound becomes disruptive and sharp. 

All is played shamelessly abusing a strong dynamic that suddenly releases all its energy just like a “pang” in the bowels of 

the inner body. 

A series of pangs. A series of spasms of pain spread on a quadraphonic sound system. 

Musashi: Miyamoto Musashi, a seventeenth century ronin of legendary renown, is the founder of the Niten-ryu school of 

swordsmanship. He devoted his life to honing his skills in the Way of the sword, winning dozens of duels. So great was 

the perfection of his skill that his late duels were fought only with a boken, or wooden sword, regardless of his opponent’s 

weapon. In 1645, lying ill and near death in a cave where he had taken to a hermit’s existence, he dictated the key concepts 

of his Way to a disciple. This document, Go Rin No Sho (“Book of Five Rings”) is still read today as a guide to strategy in 

any discipline. 

94

Red Plumes: Deep beneath the surface of the Pacific lie hydrothermal vents that spew scalding water, laced with toxic minerals 

and gases, onto the near-freezing ocean floor. In the pitch-black depths, giant tube worms grow to a length of eight feet, 

protected from the harsh conditions by a tough outer shell. Having no mouth and no digestive tract, they host bacteria that 

convert minerals into food. The bacteria in turn receive food from the worm’s blood-filled plumes, which exchange carbon 

dioxide, hydrogen sulfide, and other compounds with the seawater. A worm has no eyes, but somehow it can sense vibrations, 

which cause it to retract the plume into its shell. Imagine that you are hearing these vibrations. 

One of the main criteria in Pierre Schaeffer’s definition of the objet sonore (sound object) was that, through the process of 

écoute réduit (reduced listening), one should hear sound material purely as sound, divorced from any associations with its 

physical origins — in other words, what is significant about a recorded violin sound (for example) is that particular sound, 

its unique identity, and not it’s “violin-ness.” Despite this idea, a rich repertoire of music has been created since the 1950’s 

which plays precisely on the ambiguities evoked when recognition and contextualization of sound material rub shoulders 

with more abstracted (and abstract) musical structures. But as these structures should themselves be organically related to 

the peculiarities of individual sound objects within them, the ambiguity is compounded: interconnections and multiple levels 

of meaning proliferate. The known becomes strange and the unknown familiar in a continuum of reality, unreality and surreality, 

where boundaries shift and continually renewed definitions are the only constant... Unsound Objects was composed 

at the componser’s studio and in the Electroacoustic Music Studios of the University of Birmingham (UK) and was first performed 

at the 1995 International Computer Music Conference (ICMC95) in Banff (Alberta, Canada) on September 7, 1995. 

Unsound Objects was commissioned by the International COmputer Music Association (ICMA). 

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Denton, 09/25 – 10/01 




PROGRAM 

Timbre tunnel (2014)...........................................Johannes Kretz (b. 1968) 

Ensemble Dal Niente 

Katie Schoepflin, clarinet • Johsua Graham, percussion 

Felix Olschofka, violin^ 

MingHuan Xu, violin • Ammie Brod, viola • Mira Luxion, cello 

live electronics 

Passage (2009)......................................Robert Scott Thompson (b. 1959) 

Katie Schoepflin, clarinet* • electroacoustics 

Für Simon Jonassohn-Stein (2012)................... Clarence Barlow (b. 1945) 

Ensemble Dal Niente 

Katie Schoepflin, B-flat clarinet • Johsua Graham, marimba 

Ammie Brod, viola 

Kelland Thomas, baritone saxophone (guest) 

Mariechen Meyeri, double bass^ 

With My Eyes Shut (2010)......................................... Jason Bolte (b. 1976) 

Katie Schoepflin, clarinet* • fixed media 

Immayah (2015)...................................................... Kuei-Fan Lin (b. 1984) 

Carrie Shaw, soprano* • electroacoustics 

Enchantment (2014).........................Jorge Sosa (b. 1976)/Esther Lamneck 

Esther Lamneck, clarinet and táregató • live electronics 

Triptych (2014)........................................................ David Taddie (b. 1950) 

Francesca Arnon, flute • electronics 

Xanadu (2015)......................................................... Haruna Waki (b. 1992) 

Katie Schoepflin, clarinet* • computer 

Music for Vibraphone and Computer (2014)............... Cort Lippe (b. 1953) 

Patti Cudd, vibraphone • computer 


ÛNT 


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Timbre tunnel is about transformations of sounds coming from an ensemble in real time, which can be controlled either by 

a dancer or by an electronics performer. A special software - the morphing tunnel - was created by the composer to find 

correspondences and matching patterns between the overtones of the participating instruments in order to be able to morph 

between the spectra. Furthermore the system allows morphing over time, in this case the interpolation is performed between 

various states of a sound at different points of time. The main idea is to create kind of „worm hole“, a tunnel through timbre 

and time, allowing a blurring of spectral and temporal content, exploring intermediate states and tensions in both dimensions 

of a continuum of timbre and time. 

Passage is the third work for clarinet and electroacoustics composed specifically at the invitation of Gerry Errante. Like the 

other two works, Canto de Las Sombras and The Widening Gyre, the live acoustic clarinet is deeply melded into the textures 

of the electroacoustic component, yet is clearly cast in the role of a solo voice presented with a minimum of signal 

processing in order to preserve the distinctive tone and character of the instrument. The musical concept of Passage developed 

out of my engagement in composing ambient music (where sounds and musical structures exhibit a tenuous and 

fleeting anchoring in a shifting and amorphous tonal harmonic context), combined with my interest in sound processing and 

transformational elaboration in avant-garde electroacoustic music. My goal was to create a work that matched the intentionality 

of the Delicate Balance project – a composition that was on the cusp of avant-garde sensibilities (my over-arching 

approach to music) and more direct musical expressions emphasizing melodic materials within clearly drawn harmonic 

fields. To this end, the clarinet solo part is carefully blended into the texture of the work to emphasize and embellish passing 

harmonic implications throughout the sections of the composition. Various acoustic sounds sources are used in the creation 

of the electroacoustic component – conspicuously absent are any sounds from the clarinet itself. The sources used 

include percussion instruments of various types, ranging from bamboo wind chimes to gongs and tam-tams, vocal sounds, 

environmental and “found” sounds, and sounds of more obvious instrumental origin. The song of the nightingale is featured 

prominently in the composition and especially in the final sections where signal processing lends the song an otherworldly 

metallic sheen. The work also features sounds of purely synthetic origin including simulations of thunder, wind, and rain. 

Passage is dedicated to the memory of my mother, Margaret, a life-long patron of the arts and in later years a keen admirer 

of highly modernist music. 

Für Simon Jonassohn-Stein was generated by my method of chorale synthesis, based on a multidimensional scaling of harmonically 

rationalized scales. Multidimensional scaling (MDS) is, “a means of visualizing the level of similarity of individual 

cases of a dataset.” Writing “proximity” for “similarity”, if we know distances between selected cities, it would be possible to 

construct a map in two or more dimensions with the cities in the right place related to each other, except for the map being 

possibly rotated or laterally reversed. In 2001, regarding the harmonicity of intervals as a measure of the harmonic proximity 

of notes forming scales, I began to construct MDS “maps” of the scales. To evaluate harmonicity, I turned to the old adage 

attributed to Pythagoras, that the smaller the numbers forming interval ratios (e.g. 1:2, 2:3, 3:4, 3:5 etc.), the more harmonic 

these are. But to me, the intervals 6:7 and 7:8 (containing the higher prime 7), unused in pre-20th Century Western Music, 

are less harmonic than 8:9 or 9:10, two well-known whole tones. I directed my attention to the primes contained in the ratio 

numbers and in 1978 developed formulas for Harmonicity, which I have used many times since. In 1978 I also researched 

the field of meter, developing computer-programmable formulas. They allot to each pulse of any meter a unique indispensability 

value ranging from zero to one less than the number of pulses, e.g. for 5/4 on an eighth-note level: [9 0 6 3 4 8 1 7 3 

5]. The bigger the number, the more indispensable the pulse. On intently studying MDS maps I made of a Bach chorale, I 

came up with two simple rules for synthesizing a chorale: 

1. The overall harmonicity of a chord randomly chosen from a multidimensionally scaled map is proportional to the indispensability 

of the pulse it occupies. 

2. Every chord and the one succeeding share a note in common. 

Based on these rules, I composed a piece for a computer-driven pipe organ entitled Für Simon Jonassohn-Stein (the organ 

was housed in Cologne in the church of St. Peter, whose original name was Simon son of Jonas). The pitch material 

comprised 79 just-intoned intervals spread over the full 4½-octave range of the organ, their ratios containing factors up to 

2±6, 3±3, 5±1 and 7±1, and the minimum harmonicity set at 0.07. Even though the organ’s 54 half-steps were tuned to the 

regular 12-tone chromatic scale, the work was composed as though the pitches were just-intoned; this corresponds to the 

general practice of composing 12-tone tempered music with the harmony (not the sound) of just intonation in mind. The 

meter was chosen for the piece was a slow 3x2, the half-note pulse indispensabilities being [5 0 3 1 4 2]. Using the method 

outlined above, I composed four chorales, partly interspersed and partly synchronized with “improvisations” by my harmonicity-metricity-based 

program Autobusk in the same harmonies as the chorales and in various fast meters.” 

With my Eyes Shut is the second piece in a series of works that explore my daughter’s (Lila’s) toys. With my Eyes Shut was 

written for clarinetist Mauricio Salguero. 

The piece IMMAYAH is the third movement of my composition for chamber ensemble and electroacoustic music, which is 

entitled Trinity. The piece Trinity is inspired by the basic triune principles of traditional Christianity: three persons, one body. 

The three movements convey the ideas of the Father who generates, the Son who is begotten, and the Holy Spirit who 

proceeds, respectively. The third movement, originally written for soprano, chamber ensemble and electroacoustics, was 

adapted for soprano solo and electroacoustics. It depicts that the Holy Spirit dwells within believers and guides them on 

their way to eliminate the darkness and sim. Immayah is the Hebrew Sacred name which honored and anointed the Holy 

Spirit. The Holy Spirit is symbolized as the fire and dove. The texts in this piece are extracted from the Bible to illustrate the 

relationships between the Holy Spirit and these two symbols. The piece ends with the idea of the Trinity to conclude whole 

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Denton, 09/25 – 10/01 

three movements. In the electroacoustic part, most sources are from pre-recorded soprano sounds. Several computer 

music techniques are used, including fast Fourier transformations (FFT), phase vocoder, and many digital audio signal 

processing techniques (delay, reverb, filtering, etc) to create the conversation between the live soprano and electronically 

manipulated soprano sounds. 

Enchantment is a collaborative piece performed by Esther Lamneck in the tarogato (Hungarian reed instrument), and composer 

Jorge Sosa in the laptop. The piece uses a MAX patch, which contains a fixed back track and a suite of effects that 

are applied to the Tarogato in real time. The piece is partially improvised, as the Tarogato player bases the improvisation 

on folk Gypsy tunes, and the laptop operator adds effects in real time. There is a real time musical dialogue between the 

performers as they react to each other’s musical materials. 

Triptych, for flute and electro-acoustic accompaniment (2014), was commissioned by flutist Nina Assimakopoulos and is the 

result of an ongoing collaboration. The form is that of a typical triptych with the outer two sections being of equal proportions 

and the larger central one being the main focus. Ms. Assimakopoulos requested inclusion of a number of “Eastern” 

influences including various gongs, bells, and anklets as well as extended flute techniques, esp. those characteristic of a 

shakuhachi. After I had completed most of the piece, Ms. Assimakopoulos wrote a text based in part on her reaction to the 

sounds of the electronics which consist primarily of flute samples of her playing, and samples of three Tibetan prayer bowls, 

two tingsha bells and two sets of Indian anklet bells – all processed in various ways. I subsequently modified the piece to 

more closely reflect the text and to include portions of the text. Finally, Ms. Assimakopoulos will be creating paintings based 

on her synesthetic reactions to a recording of the piece. DT 

TEXT 

I. 

Night aroma 

born from the sea 

lunar water, blue 

sounding of the temple bell 

Flowers flush 

white orchid, jasmine, apricot 

spring lanterns hang 

fragrant and sweet 

A song comes 

carried in the wind 

silver threads on veiled membranes 

summoning 

On the paper netting 

spider eyes like willows, pulseless and thin 

primordial vibrations 

on the soft flowering grass. 

II. 

Midday 

the sound of the tingsha 

clear and bright 

apricot blossoms perfume the earth 

Under canopies of cypress and pine 

rituals of sacred oneness 

terracotta temples, alabaster jars, henna crushed in stone 

steaming flowers rise, green and gold 

Around the alter 

they dance, bells tied to their ankles 

gold hems hitting the dust, flashing bangles, blazing hands and feet 

invoking blessings, offerings made to fire 

In the shadows of burgundy thickets 

smoke from smoldering resins rises 

balsamic, spicy, slightly-lemon 

reverberation of an ancient bell. 

98

III. 

Autumn 

saffron blossoms 

blackened by sea water emptied from the clouds, bitten 

burnt umber, red ochre, sap green 

In the late heat 

insects sing 

high grasses spill their seed, breasts gone dry 

barren murals, postures of stillness 

Salt apples 

purple lanterns, brittle baskets 

look how the rings fall off their fingers 

blackened from the votives placed before them 

Nightfall 

painted red, threaded in gold 

in the thick groves of the orchard, its scent lingers 

decay of an ancient bell. 

© Nina Assimakopoulos 2014» 

Xanadu is an interactive computer music written for solo clarinet and a live computer electronics system. The clarinet part 

of the piece is composed with 12 tone system, and the computer part is programmed in Max. Various real-time signal processing 

techniques such as pitch shift, frequency shift and granular sampling, are employed, in order to expand the timbre 

of clarinet extensively. The piece itself is divided into five sections. The first and second sections are modified and repeated 

at the last two sections in the reverse order. 

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Denton, 09/25 – 10/01 



10:30 pm, Rubber Gloves 

PROGRAM 

Material (2013)..............................................................Joel Hunt (b. 1985) 

Ammie Brod, viola* • electronics 

(The Best Part of) Breaking up (2010)................ Robert Ratcliffe (b. 1981) 

Carrie Shaw, soprano* • electronics • fixed medium 

[un]wired fantasies (2014; rev. 2015)................... Keith Kothman (b. 1963) 

Keith Kothman, MIDI controller, iPAD, laptop computer 

The Soul of Canton (2014).............................................Hua Sun (b. 1987) 

Hua Sun, Microsoft kinect and kyma 

Inaudible Soundscapes (2015)......................... Jonathan Higgins (b. 1994) 


Forclusión XI (2014)..................................... Ezequiel Esquenazi (b. 1976) 


auditomino solo (2015).....................................Ryoho Kobayashi (b. 1979) 

laptop computer 

Potential Artifact (2014)........................................... Clay Chaplin (b. 1971) 

laptop • no-input mixer • old violin 

Aural Cavity (2014)...................................Sang Won Lee/Michael Gurevich 

(b. 1979)/(b. 1978) 

Sang Won Lee, custom-made instrument 



100

Material is a controlled improvisation for viola and electronics. Over the duration of the piece, the violist introduces a series 

of gestures into a four-channel probabilistic computer playback system. The computer operator creates an accompanying 

montage by adjusting the probability, rate, direction, and speed at which sampled viola sounds are played back. 

(The Best Part of) Breaking up is a hybrid work that combines elements of electroacoustic music and electronic dance music 

(EDM). It develops an approach to composing with borrowed source material based on the ‘four evolutionary stages of the 

remix’, as identified by Brewster and Broughton (2000). Here, borrowed vocal material – sourced from the Handel aria No, 

no, I’ll take no less (from the opera Semele (1743)) – is subjected to notation- and sound-based manipulation and transformation, 

with the latter involving both the application of electronic processing and the imitation of characteristic EDM vocal 

techniques by the performer. This includes glitch-based fragmentation of the original material, which is separated into smaller 

components, reconfigured and articulated to create rhythmic gate and stutter effects. The vocal and piano materials were 

performed especially for the project by Karen Radcliffe and Michael Bell. 

(The Best Part of) Breaking up uses the following sounds from freesound: 

Fire Alarm.wav by Benboncan 

(http://www.freesound.org/people/Benboncan/sounds/72757/) 

alarm_clock_ringing_01.wav by joedeshon 

(http://www.freesound.org/people/joedeshon/sounds/78562/) 

[un]wired fantasies developed from an interactive installation that sonified network traffic flowing through a site-specific wireless 

internet hot spot installed at our campus bell tower. The audio material is made using variations on a physical model 

of a metal plate, designed as a virtual extension of the physical bell tower. The material also includes some Internet radio 

samples processed through the plate models, which evoked an image of radio transmissions flowing through the bell tower 

and its virtual extension. For the installation, various gesture types represented types of network activity – users connecting 

and disconnecting to the network, and the amount of network traffic in the short and long term. The improvised performance 

uses those gesture types to create reflections on an open-ended work. 

The Soul of Canton is a 4-channel live performance piece that combines sound samples from a Cantonese Opera, the Chinese 

instruments of Guzheng, Erhu, and Zhongruan with electronic music technology. It is performed by using Microsoft 

Kinect, which is controlled by tracking data from human body movements. The piece is primarily constructed from the Cantonese 

traditional music elements, which are combined with some little sounds, like paper, water, and drums. Those sounds 

are synthesized, feedback-resynthesized, analyzed and modulated by use Kyma sound operate system. 

Inaudible Soundscapes: The human senses only allow us to experience a very narrow section of the world around us, Inaudible 

Soundscapes is an exploration of what we cannot hear. Focusing on the interplay between pitch and noise in the 

turbulent sound world of the inaudible; the piece is composed of recordings of electromagnetic waves outputted by various 

pieces of audio hardware, presenting the medium of delivery as the piece itself. 

Forclusión VII is an integral part of acousmatic a cycle that includes mixed and instrumental works. Some ideas, such as 

random processes, use of prime numbers, working with different degrees of referentiality in the material tend to define mark 

that determines the unit of the present work. 

auditomino solo is a live musical performance piece. A performer of this work plays a Tetris based game with a common 

gamepad. Pre-recorded sound materials and audio effects are randomly assigned to the rows and sounds and effects corresponding 

to the positions of top blocks are playback or applied. The patterns vary according to the form of blocks and they 

are stored, reversed, or shuffled according to the number of disappeared lines. The number of columns increases along 

with the progress of the game, and source sound files are divided into the number of columns, thus the generated music 

can have polyrhythmic structures. 

Potential Artifact is an improvisation that explores the use of an out of commission violin with contact microphones attached in 

various locations as an input source to a sound processing system. The violin is not performed in the traditional sense due 

the fact that it is broken and I am not a violin player. Instead its sonic possibilities are used as the seed for an improvisation 

using a Pure Data patch and a no-input mixer style analog processing system. 

In the process of co-developing the musical instrument and composition, we focused on interacting digitally with acoustic 

phenomena, and discovering ways in which to fashion this suite of techniques into a musical instrument. Aural Cavity is the 

result of this process. It utilizes a custom instrument that generates sound based on audio feedback. The sound generation 

mechanism compels an artist to find the right apparatus—either physical or digital—to shape the sounds in service of musicality; 

as the apparatus develops, the musician must then also discover and unlock its inherent musicality. The instrument 

is made of a plunger head, a portable speaker, plastic tube, clip microphone, a DSP patch running on a laptop, but most 

importantly, it requires an object with a cavity, such as a cup, bottle, or the performer’s mouth. A cavity is used to generate 

sound by closing the audio feedback loop between microphone and a sound channeled through the end of plastic tube. 

We sought to explore how we can create a “NIME” along the lines of old-fashioned ways of making musical instruments: 

discovery, assembly, carving, and sculpture; instead of synthesis, patching, mapping, and design. 

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Denton, 09/25 – 10/01 



1:00/2:00/3:00 pm, MEIT (M1001) 

PROGRAM 

Ring, Resonate, Resound (2014)................................ Leah Reid (b. 1985) 


All That Glitters and Goes Bump 

in the Night (2014)................................................ Linda Antas (b. 1972) 


First I was afraid #8 (2014)................................ Francesco Bossi (b. 1957) 

sound reinforcement system 

Clonal Colonies (2011)............................................... Bret Battey (b. 1967) 


Triptych: Three Studies in Gesture 

and Noise (2014)................................................ William Price (b. 1971) 



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Ring, Resonate, Resound is an acousmatic composition written in homage to John Chowning. The piece tips its hat to Chowning’s 

Stria, Turenas, and the beautiful sonic landscape Chowning explored through his research and discovery of FM 

synthesis. Ring, Resonate, Resound is dedicated to him. The composition explores timbre through dozens of bell sounds, 

which provide the harmonic and timbral material, structure, foreground, and background for the piece. The composition is 

comprised of five sections, each examining a different set of bells and materials that interact with them. The piece begins 

thin and bright, then gradually increases in spectral and textural density until the listener is enveloped by a thick sound mass 

of ringing bells. The bells gently fade into waves of rich harmonic resonances. The piece was composed using a multidimensional 

timbre model Reid developed while at Stanford University. The model is based on perceptual timbre studies and 

has been used by the composer to explore the compositional applications of “timbre spaces” and the relationship between 

reverberant space and timbre, or rather the concept of “timbre in space.” Ring, Resonate, Resound was premiered at Stanford 

University’s Triple CCRMAlite: 40, 50, 80 celebration in October of 2014. 

All That Glitters and Goes Bump in the Night: All that glitters isn’t treasure—but it glitters nonetheless; not everything that goes 

bump in the night does us harm; and most things are nearly equal parts “glitter” and “bump”. Negative things often carry an 

equal measure of good, if only we deal with them in constructive ways. Faulty logic, ignorance, and strong emotion can inhibit 

our understanding of the people, objects, and situations around us, causing undue negativity, unfounded positivity, and 

overall confusion about the causes of both happiness and suffering. This work is a reflection on appearance vs. reality—on 

our often distorted perceptions of good and bad, success and failure, direct cause and serendipity—and on all manner of 

assumptions. 

One of the things I could say is that First I was afraid #8 has been made with a “multiple scrubber” (2 sets X 4 files each), 

designed by me, and realized into the Max Msp programming environment. The audio scrubbing is when a user drags a 

cursor across a waveform of a sound to read a section or specific points of it. The reading speed depends on the speed 

with which it moves the cursor. It is possible to read the part of the sound in both forward and backward. The scrubbing is 

managed by moving the OSC multi axis objects (one object for every single sound file) on the screen of the iPad tablet. The 

x axis defines the reading rate. The y axis defines the spatialization, from speaker 1 to 8. In such a way the entire piece has 

effortlessly been recorded on live in one shot, without any multitrack editing. The instrument (the multiple Scrubber) itself is 

the main part of the music, in this case. The composer is the designer of the instrument, the instrument is the music. The recording 

has eight channels, and the spatialization is part of the music as a whole. I always wonder if music has a significance 

and sometimes I think music is only sound. In fact, composers do not compose anymore with notes. Composers compose 

sounds and we hear sounds. Electroacustic has transformed the idea of music itself. Eight is the key number: eight are 

also the sound files that are employed; eight minutes is the length time. The significance of the number eight is linked to the 

symbol of the Infinite, to the victory. It represents fertility and prosperity. The symbol of the chaos comprises eight arrows. 

The chaos theory more than anything else may explain what is happening in our era, which seem to be governed by the 

ubiquity of deterministic laws. Also the title, which has a caotic origin, is pure sound.The idea is affected by the continuous 

reinvention of the language by combining computing expertise with the attempt to organize the randomness. 

Clonal Colonies was commissioned by New York’s Avian Orchestra for their botany-themed concert Vegetative States in 2011. 

The first movement, “Fresh Runners”, is a fast romp of densely interlocked textures, thrilling in the process of transformation 

itself. The second movement, “Soft Strata”, starts with an almost childlike simplicity, from which a series of gentle elaborations 

culminate in a not-so-gentle interjection. It returns to something akin to its original state, but impelled by evolution to 

exhibit greater richness and nuance. A “clonal colony” is a group of genetically identical plants. Child plants are propagated 

by “runners” that emerge from a parent plant. Thus colony members may appear as individual plants above the ground, but 

are interconnected underground. The environment for each plant, which includes neighboring colony members, shapes the 

unique appearance of that plant. This is analogous to the computer algorithms used in the creation of the music. Each musical 

phrase can be thought of as the disposition of a single plant. All instrumental parts share the same underlying “genetic 

code”. But each instrumental behavior influences and is influenced by the others’. This ecosystem, when tended with care 

by the composer-gardener, can give rise to engaging behavioral counterpoint, sometimes of surprising and hard-to-rationalize 

coherence. I trimmed and weeded the resulting acoustic garden while adding computer-rendered sound. The latter provides 

color settings, delineates boundaries, clarifies landmarks — and highlights the fundamental pulse of the landscape. 

The video was created with the author’s Brownian Doughnut Warper plugin for Apple Motion. 

Composed in 2014, Triptych: Three Studies in Gesture and Noise is a two-channel electroacoustic composition that explores and 

develops artifacts found in the space between recorded sounds. It is a three-part assemblage based primarily on noise, 

musical remnants and studio debris, and was composed using Csound, MacPod, and ProTools software. 

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Denton, 09/25 – 10/01 



1:00/2:00/3:00 pm, Sky Theater 

PROGRAM 

Metaphonie V (to G. Scelsi) (2003)............... Francesco Galante (b. 1956) 


The Art of Siphoning Souls (2013)............... Christopher Poovey (b. 1993) 


minim (2014).................................................... Heather Stebbins (b. 1987) 


Frayed Cities (2014)................................................... Phillip Sink (b. 1982) 

video • 5.1 audio 

Oblivion linearity (2014)....................................... Ting-Yun Wang (b. 1984) 


Reflections in a Gasoline Rainbow (2014).... Benjamin Fuhrman (b. 1982) 


Regression (2014)........................................................ Bihe Wen (b. 1991) 



104

Metaphonie V (to G.Scelsi): This acousmatic music piece is devoted to the memory of the italian composer Giacinto Scelsi 

(1905-1988). It is an FM music piece. I have chosen to use a vintage synthesis but to reach beyond its conventional limits 

and routine, and to use its timbral potential regarding to generation of very different adaptive morphologies really effective 

for my music composition into the technological field. I created a special FM synthesis block, and it is very interesting in 

terms of both spectral and morphological results. I have not wanted to recreate the musical world of Giacinto Scelsi but 

rather I am interested to his look over things and to his overcome the dominant thought of his time in Europe. His looking at 

the sound as only “place” to return to music. 

The Art of Siphoning Souls: Dear enthusiastic listeners, You are about to experience an aural representation of the sensation 

known to some as soul siphoning. If you are not familiar with the art of soul siphoning a more common term you may recognize 

is photography. This fixed media work will aurally simulate your soul as it travels within the depths of a Nikon F2 film 

camera. The simulation is in three parts: the capturing of a soul, the imprinting of a soul, and the loss of a soul. All samples 

used to create this simulation where authentically captured from a Nikon F2 camera. 

minim (2014) is an exercise in excavation; I explored sounds I either made or recorded during the span of 2006-2014 and 

gave them a new habitat. 

Photographers love urban decay. We see endless images of ruins from cities like Detroit, Flint, and Gary. Once-charming 

downtown areas in many cities and towns have been boarded up and abandoned. Dying American towns and cities can 

either be the remnants of suburban flight, or the symptoms of a nation in decline. In Frayed Cities, I wanted to explore images 

and sounds from dying cities. Using the idea of city planning and blueprints of buildings as a springboard into the video, I 

developed sketch drawings of people and cities. Through animating these sketches, I attempted to create an abstract narrative 

that explores the fact that there are no plans in place to reverse urban blight or aid the people who may be stuck living 

in these areas. With this in mind, I composed the music with sounds derived from crowds, construction/destruction, closing/ 

opening doors, and other sources. 

Oblivion Linearity is a monologue piece. Whether there are audiences or not, composers can always project all his/her 

expression and emotion into an acousmatic music piece. The original idea is using piano sound samples which running 

through in and out of electronic music. The whole piece are constructed and linked by many minor motives (developed from 

main theme material). In this seems free and open mind progress, there are still retain a systematical integration. 

It’s been a rough year. A number of friends have died, relatives have been given terminal diagnoses, and any number of 

other things have generally made my life hell. As such, I haven’t written nearly as much as I normally do, and when I do 

write, I’ve been throwing it all away. In fact, this is the first piece I’ve actually completed since the Elegy for Violin, Viola, 

and Computer – nearly three months ago. Like I said, it’s been a rough year. In place of writing, I’ve been spending a lot of 

time practicing Bach’s Sonatas and Partitas for Violin Solo, specifically the fugues, in what I suppose is a sort of gorging on 

musical comfort food. In any event, it’s brought the idea of explicit counterpoint back into the forefront of my compositional 

and improvisational practice. Which is why it’s so prominent in this piece. Reflections in a Gasoline Rainbow is a piece about 

loss and grief. It begins with the solitary, synthesized droplets, leading into a reflective passage for bansuri. As the piece 

progresses, other instruments are introduced, forming contrapuntal lines before fading away. The melodic lines gradually 

morph and change, becoming more and more blurred, while also forming contrapuntal parts. After a brief period of respite, 

the droplet sounds return, guiding the piece back to the lonely notes that it started on. The title is, in part, from Robert Pinsky’s 

“Impossible to Tell.” 

The sounds in Regression are entirely derived from the “Udu.” This African clay instrument had its origins as a water and 

food container with ceremonial functions, and so still serves to evoke the primordial texture. In composing this work, I was 

searching for an organic musical language with which I could compose a piece whose structure resembled a living organism 

in all its dynamism. On the smallest scale, the textures of sounds that may at first seem very different often reveal close 

relationships. I have sought to reveal these relationships in my composition through various transformations of these different 

sounds. I have also attempted to embody in this work an improvisational spirit that reflects the rhythmic freedom of the 

original sound material. Finally, the philosophic and poetic motivation for this piece was my desire to have the sounds of the 

“Udu” regress back to their watery origins, not only to evoke the water that the instrument was originally made to carry, but 

also to honor the water and earth that together made its construction possible. 

105


Denton, 09/25 – 10/01 




PROGRAM 

Dirge (2014)..............................Wuan-Chin Li (Sandra Tavali)/Ivan Voinov/ 

Cheng-Yen Yang/Wu-Chuan Wang 

(b. 1968)/(b. 1995)/(b. 1987)/(b. 1985) 

Toshimasa Arai, tenor/baritone/black metal vocal 

Sandra Tavali, prepared piano 

Cheng-Yen Yang, real-time sound processing 

Snowden (Social Network) (2014).........................Samuel Gillies (b. 1987) 


Medusa in Fragments (2011)...................................Steven Ricks (b. 1969) 

Keith Kirchoff, amplified piano • quad sound • video projection 

Ricochet Orbit (2013).............................................................Jason Mitchell 

Katie Schoepflin, B-flat clarinet • stereo fixed media 

Contemplating Larry (2015)..................................... Elainie Lillios (b. 1968) 

I. Articulations 

II. Drones 

III. Portraits 


Alegorías (2014)............................... Sandra Elizabeth González (b. 1971) 

I - II - III 

Chryssie Nanou, piano • electroacoustic sounds 

of the survival of images (2013)........................ Butch Rovan/Ami Shulman 

(b. 1959)/(b. 1975) 

Butch Rovan, custom GLOBE controller, video, sound 

Ami Shulman, movement 

106

Dirge is a prepared piano piece that is processed through electronics and fused with a harsh vocal speaking the poem 

“Dirge” by Shakespeare. “Dirge” is written about death from the perspective of the dying. The meditative, dark sound interlaced 

with complex piano melodies and rhythms creates a perfect, romantic atmosphere around the aspect of death. The 

harsh vocal (black death metal voice) can be interpreted as the cries of a crow, traditionally a messenger of death. 

Dirge 134 

William Shakespeare 

COME away, come away, death, 

And in sad cypres let me be laid; 

Fly away, fly away, breath; 

I am slain by a fair cruel maid. 

My shroud of white, stuck all with yew, 

O prepare it! 

My part of death, no one so true 

Did share it. 

Not a flower, not a flower sweet, 

On my black coffin let there be strown; 

Not a friend, not a friend greet 

My poor corse, where my bones shall be thrown: 

A thousand thousand sighs to save, 

Lay me, O, where 

Sad true lover never find my grave 

To weep there! 

In 2014, I put a call out to a wide variety of friends and colleagues on Facebook with the following instructions: Read from 

your social network profile. Use a clear, steady voice but be as natural with your tone as you like. State your name and the 

text on your information page. Include work, education, where you live, where you’ve lived, birth date, relationship status, 

about you, religious and political views, and favourite quotes. Include the title of the section. If no information is provided 

state ‘not provided’. Snowden (Social Network) takes these recordings as the basis for much of the musical content in the work. 

Individual recordings are torn apart in a number of different ways across the work, shifting between obscuring the content to 

offering a clear-spoken broadcast of their profiles. Fundamentally, Snowden (Social Network) is an experiment in the recontextualisation 

of social media information - what is the effect of taking personal information, willingly provided in one context 

and repurposing it in the medium of performance. Snowden (Social Network) also marks my first adventure into the world 

of wave terrain synthesis, constituting the predominant, non-vocal sound material in the work. Wave terrain synthesis is the 

translation of a multidimentional surface into sound waves, “analogous to the rolling of a ball over a hilly landscape”. The 

idea of traversing and deriving sound from three dimensional data planes is a good auditory reflection of a social network 

and the non-linear, hypertext-infused environment of the internet. Snowden (Social Network) was commissioned by Steve 

Paraskos and premiered at the Pakenham Street Arts Space on the 31st October, 2014. 

Medusa in Fragments is scored for amplified solo piano, surround sound electronic music, and video, and also requires some 

speaking/acting by the pianist during section V. It was commissioned by pianist Keith Kirchoff and supported in part by a 

grant from the Laycock Center for Creative Collaboration at Brigham Young University. After some initial discussion 

with Keith about writing him a new work, we settled on a sort of duo in which a female character/singer would be represented 

on video. Ultimately I chose Medusa as the focus for the video character, and began working with author Stephen Tuttle 

on the libretto. The six original texts he created for this piece attempt to present Medusa in a sympathetic light and reveal 

the individuals that victimized and used her through her own fragmented ramblings and recollections. Texts one, three, and 

five are more prose-like and find Medusa obsessing about the primary individuals whose actions led to her downfall: Athena, 

the Graeae, and ultimately Perseus. Texts two and four are lyrical and reveal Medusa’s inner thoughts about Andromeda, 

the beloved of Perseus, and then Perseus himself. In the sixth and final text, (disembodied) Medusa takes some comfort in 

reflecting on her offspring, Pegasus. Medusa is sung/acted by soprano Jennifer Welch-Babidge, and filmmaker 

Ethan Vincent produced the video. Video/design/text artist Brent Barson created the titles and animated text, which occurs 

throughout the piece and which is then featured in the final section about Pegasus. Special thanks also go to Per Bloland 

for recording some electromagnetic piano material for the electronics part, and to the other members of the camera crew 

and post-production staff. Medusa in Fragments was premiered at the 2011 University of Toronto New Music Festival, and 

has received several subsequent performances at venues including Brigham Young University, the LOGOS Foundation in 

Ghent, Belgium, the Hochschule für Musik und Theater in Leipzig, Germany, and the 13th Biennial Symposium on Arts and 

Technology at Connecticut College. 

Ricochet Orbit: This fast-paced work expands the timbral characteristics of the clarinet and explores the sonic possibilities 

of spatial location in the stereo field. The goal of this composition to create a work with a strong electroacoustic component 

that supports and expands the timbral characteristics of the clarinet without overwhelming the instrument. The work strives 

to be fast-paced and exhilarating so as to bring the audience to the edge of their seat with an exciting instrumental part that 

blends seamlessly with the electroacoustic accompaniment. 

107


Denton, 09/25 – 10/01 

“i. Articulations 

ii. Drones 

iii. Portraits 

Contemplating Larry presents an abstract “portrait” of composer Larry Austin. The piece was created exclusively from samples 

of Larry’s compositions, which span fifty-five years and numerous mediums. None of the samples were reprocessed; they 

are all Larry’s sounds (with three exceptions at the end of movement 3) that have been reconxtextualized and recombined 

to illustrate the composer’s rich and varied sound world. Contemplating Larry was commissioned by Larry Austin and is (of 

course) dedicated to him with admiration and gratitude. 

Alegorías is inspired by three paintings by the artist Adriana Brito. It was composed originally for piano and video and to 

be performed by the renowned pianist Inés Sabatini in the “II Festival Internacional Muchas Músicas”, held in September 

2013 at the Quilmes National University (Buenos Aires – Argentina). The version for piano and electronic sounds in quadraphonic 

was composed especially to be premiered by the mentioned pianist in “Ciclo Pianos Múltiples 2014”, held in the 

Auditorium Nicolas Casullo of the Quilmes National University. To compose the piano part is used the Pitch Class Sets and 

Combinatorial Matrices through external objects PCSlib library for Pure Data (Miller Puckette) created and developed in the 

research project “Musical Applications of Sets and Combinatorial Matrices of Pitch- Classes” by Dr. Pablo Di Liscia and Dr. 

Pablo Cetta at the Quilmes National University. The timbre bank to compose the electroacoustic music was created from 

recordings of extended techniques on the cello, cellist shots taken by Martín Devoto in that University. So by extended piano 

techniques, shots belonging to the world premiere of the work. In the three numbers that make up the work, the electronic 

sounds continue and spatially project the resonances generated by the piano. 

“We shall never reach the past unless we place ourselves within it. Essentially virtual, it cannot be known as something past 

unless we follow and adopt the movement by which it expands into a present image, thus emerging from obscurity into the 

light of day.” 

–Henri Bergson, Matter and Memory 

of the survival of images belongs to a larger ongoing work for music, video, and the moving body, called Studies in Movement. 

It draws inspiration from Henri Bergson, whose meditations on time, matter, and memory offer a philosophical framework for 

the multimedia experience. The piece features the GLOBE, my custom wireless music controller, an instrument I designed 

to capture performance gestures in order to control real-time synthesis and video. The video footage presents the image of 

my longtime collaborator, the South African dancer Ami Shulman. Together, my performance onstage and her performance 

onscreen form a visual counterpoint that draws out, in sensory form, the ideas contained in Bergson’s text.” 

108




PROGRAM 

N’air sur le lit (2013)....................................... Paul J. Botelho/Jon Appleton 

(b. 1974)/(b. 1939) 

Paul Botelho, voice • Jon Appleton, piano • fixed media 

Trick of Goblin (2014)......................................... Ying-Jung Chen (b. 1990) 

Patti Cudd, percussion set • electronics 

Strike I (2014)............................................................Yian Hwang (b. 1990) 

MingHuan Xu, violin* • electronics 

Riotous Thrashing (2013)..................................... Daniel Fawcett (b. 1991) 

Kurt Doty, percussion • West Fox, percussion 

Ethan Sedelmeier, percussion • electronics 

Vanished into the Clouds (2013).............................. Jacob Sudol (b. 1980) 

Ammie Brod, viola* • electronics 

Fractus V: Metal Detector (2013)............................ Eli Fieldsteel (b. 1986) 

Adam Groh, percussion • electronics (Super Collider) 

Trickle (2014)......................................................... Xiaojiao Dong (b. 1989) 

MingHuan Xu, violin* 

electroacoustic music 5.1 multi-channel surround system 

Lob der Ferne (2009).........................................Marta Gentilucci (b. 1973) 

Carrie Shaw, soprano* • Johsua Graham, percussion* • live electronics 

Lokasenna (2014)............................................. Ioannis Andriotis (b. 1983) 

Ricardo Coelho de Souza, frame drum, finger cymbal, chain 

electronics 

11100100 10111010 10001100 (2015)............... Linghsuan Feng (b. 1990) 


Solis-EA (2011).......................................................... Per Bloland (b. 1969) 

Johsua Graham, percussion* • electronics 



109


Denton, 09/25 – 10/01 

110 

N’air sur le lit is the second collaboration between Appleton and Botelho. In this piece Appleton composed the vocal part and 

Botelho the piano part independently. They subsequently collaborated on the electro-acoustic part. The work is dedicated 

to Tatiana Komarova, Director of the Electronic Music Studio at the Ural Conservatory of Music in Ekaterineburg, Russia. 

The Trick of Goblin: The inspiration for Trick of Goblin is from Chinese “War drum” and Japanese “Taiko” that want to exhibit 

original and mysterious. Using various percussion instrument to create rich sounds which can bring different listening experience. 

In the entire, which was designed contrast paragraph to make conversion and buffering. And reserve blank space 

for the performer that can do more dramatic performances and interpretations by itself. 

Strike I is written for violin and computer music. “Strike” means the strike between the violin’s bow and string. I filter violin’s 

sound again and again to make it very powerful which like a strike. The violin and electro-music are chasing each other 

during the whole piece with strikes. 

Riotous Thrashing: I have always been captivated by the instruments of non-western cultures, and I find it interesting to 

integrate these non-western elements into western art music. It is through this integration that I came to create a unique 

synthesis of textures and timbres. This idea, along with my fascination with metal-based instruments, led me to explore the 

sonic and dramatic possibilities of both gongs and waterphones. The overall idea of this piece lies with my personal view of 

how different sonic worlds are often at odds with one another, clashing and fighting for dominance over the other. It is the 

moments in which these two opposing worlds find clarity and balance with one another that allow us as listeners to experience 

a unique world outside our own. 

Vanished into the Clouds ( 雲隠 ) takes its title from a chapter in the ancient Japanese novel The Tale of Genji. This chapter is 

significant because it has no content. There are two theories about this chapter. The first theory is that the chapter is lost. 

The second theory, and the one that I prefer, is that the chapter was left intentionally blank so as to express the narrator’s 

sorrow about the death of Genji which occurs between the end of the preceding chapter and the following chapter. Unlike the 

aforementioned chapter, this work for cello and live electronics is not left blank. This said, many conventions of music such 

as melodic or motivic development, clear phrase structure, and rhythmic motion are regularly obscured and ignored. The 

resulting work instead focuses on exploring the inner sonic regions of the cello’s open and muted C string, sudden ruptures 

in motion, and the gradual degradation of material. The goal of this approach is to create a sort of new musica povera that 

reflects on both a narrators’ or authors’ difficulty of writing as well as the sort of inequalities of wealth that pervade our world. 

The work was written for and premiered by cellist Jason Calloway and is dedicated to him. The viola version was written 

for and is dedicated to Susan Ung. 

Fractus V: Metal Detector, for percussion and SuperCollider, was commissioned by Adam Groh in 2013 and is fifth in an ongoing 

series of interactive duets for solo performer and interactive electronic sound. Both the human performer and the 

computer improvise unique material with each performance, and numerous musical parameters are left to the player’s 

discretion, including instrument/sound choices, and the lengths of musical sections. Like other pieces in this series, the composition 

aims to explore the possibilities of uniquely-generated content, establish a dynamic relationship between human 

and computer sounds, and showcase the musician’s talent. 

Trickle, refers to small water, continuous, gentle. Music is like this, and time also. In this line contains rich nodes, they are 

smart, flashing, colorful. The trickle is imagined the flow of time, slowly walking. As the world became tranquil, we can hear 

the sound of time and inner. 

The voice is the natural connection between sound and the sound of words. For that reason, using a poetic text is an essential 

part of my musical research. Mandelatmen - Respiro di Mandorla is the text born from my collaboration with the 

Italian poet Elisa Biagini. Her work is characterized by a fragmented, but intense and self-contained language: throughout 

her collection of fragment-poems, words build a path, forming a continuous and twisting net. This apparent contradiction 

between the discontinuousness of the fragments and the continuity of the relationships between words has much to do with 

my compositional world. The text of Lob der Ferne has one of these fragments as a structural backbone and as a seed for 

further ramifications. These ramifications are not only an inspiring poetical image but also, principally, a very concrete image 

of a real space and the possible development of the sonic potential. 

Lokasenna (2014) is a piece for percussion and live electronics based on a Norse Myth. According to the legend, Loki’s 

numerous tricks angered the Norse Gods, who punished Loki for his insolence. As a punishment, the Gods decided to tie 

Loki on a rock, where a giant serpent tortured him. The music unfolds in a similar manner as with the narrative of this tale 

with the individual sections representing the different mythological scenes. Lokasenna was commissioned by Gerassimos 

Tsangarakis. 

The title of the this piece Er (means 2 in Chinese) is translated into Binary. In the mystery of numbers, “Two” is the most 

contradictory one in chinese culture , which is representative of dualism. It is a symbol not only of the composite, but also 

of the split, to attract each other and to reject. It could be fuse and opponent. Ancient statue of the God’s protection beast 

are usually one male and one female, to complete each other for the power. Many concepts are derived from the two unified 

contrasting, such as yin and yang. The opposition of Day and night is most common in nature, and the similar concept 

we could find such as sun and rain, high and low, wet and dry, cold and warm, life and death, and so on. In this piece, I try

to present the interaction between cello and electronic music, and to present the deep meaning of number into the music 

construction. The sounds of cello and electronics sometimes merge softly or enter into confrontation. 

The electronics for Solis-EA are organized around a physical model of an 8 stringed instrument capable of producing a 

huge amount of distortion and internal feedback. This instrument responds to the material played by the percussionist, 

attempting to track the pitch of these sometimes “unpitched” instruments as best it can. The piece is loosely inspired by the 

novel Stillaset Brandt, by the Norwegian author Pedr Solis. Having created several other pieces that are tightly connected 

with the principle (unnamed) character in the novel, Solis-EA is more concerned with the author himself, his unusual and 

dichotomous life, and his mysterious disappearance (or tragic end, depending on which biographer you read). This piece is 

dedicated to Ryan Packard. 

111


Denton, 09/25 – 10/01 




PROGRAM 

Latency in the System (2013)................................... Ryan Carter (b. 1980) 

Ryan Carter, live electronics 

Xenoglossia (2013).........................................Christopher Burns (b. 1973) 

Christopher Burns, laptop computer 

Resonance (2010)................................................Kazuaki Shiota (b. 1980) 

Kazuaki Shiota, violin, tap shoes, voice • electronics 

Look the Other Way (2014)................................. Kristina Warren (b. 1989) 

Kristina Warren, voice • live electronics 

CDM (Convulse, Die, Mourn) (2015)......................... Jon Bellona (b. 1981) 

Jon Bellona, Gametrak and Wacom tablet with Kyma 

Spielzeug #1 - poco a poco 

accelerando al sinus - (2013; rev. 2015).......... Jonghyun Kim (b. 1982) 

Jonghyun Kim, Wii remotes • computer 

s/d (2015).................................................................Kerry Hagan (b. 1974) 

Kerry Hagan, laptop computer 

untitled_black_green (2015)......................................Victor Zappi (b. 1984) 

Victor Zappi, D-Box (self-contained hackable digital musical instrument) 

Sitting 328b (2014)....................................................Peter Hulen (b. 1963) 



112

Headless Monkey Attack is an electronic (and sometimes also acoustic) music project founded by composer Ryan Carter. At its 

core, Headless Monkey Attack performs live electronic music that is synthesized in real time from code (RTcmix embedded 

in Max/MSP) that responds to input from a video game controller. This controller (the “GameTrak”) features two retractable 

tethers that can be pulled in any direction. By connecting the controller to my computer (this is Ryan speaking), I can manipulate 

whatever aspects of the sound I’ve coded to be interactive during the performance. The code also incorporates some 

randomized elements, so my performance is partially in response to events that I can’t entirely predict. The music is coded 

to ensure certain features are consistent (the duration of each track is predetermined, as are the duration and order of each 

section within a track), and the randomized features are kept within ranges of possible values that I’ve planned in advance. 

Each performance sounds in some ways the same and in some ways different. Aesthetically, the music draws from different 

genres of electronic dance music (there’s some vaguely dubstep-y and glitch-y stuff) with a global sense of form more 

inspired by the long history of the Western classical tradition than the world of EDM. 

Xenoglossia is a custom software instrument designed to facilitate the live improvisation of complex, densely layered electronic 

music. The performer initiates multiple simultaneous generative processes, each with distinct gestural and textural 

content, then controls their continuation and development. The software provides the ability to alter and reshape the ongoing 

processes along dimensions including pitch, rhythm, timbre, and rate of evolution. The performer can also clone and 

reproduce the behavior of interesting sonorities and textures, and shapes the large-scale form of the performance using 

tools which generate contrast, variation, and synchronization between processes. 

Resonance is an improvisation for live electronics with violin and my interactive sound system. Audio signals of violin is processed 

by 20 super narrow band-pass filters which any audio signal almost converts into sine wave. Those sine waves are 

articulated by auto-panning and tremolo whose rates spontaneously fluctuate during the performance. For this version of 

Resonance, I will chant and play my violin with tap shoes to explore a variety of resonance of those instruments through the 

special band-pass filters. 

Look the Other Way explores the connections between improvised vocality, language, and gesture. My vocalizations in this 

piece juxtapose text and extended technique; meanwhile, the shapes I draw on the Wacom tablet control processing of the 

voice. This allows me to experiment with the nuanced and multi-faceted intersections of communication and sound. 

CDM (Convulse, Die, Mourn) Overwhelmed by pain, shock, or grief, these three actions demonstrate how we may lose control 

of our physical bodies, revealing just how fragile we are. 

The main concept behind Spielzeug #1 - poco a poco accelerando al sinu is changing the repetition speed. I have taken a 

sound file and cut it into sections. The excerpts are repeated at different playback rates. This affects the sound quality and 

pitch. When the repetition rate is extremely fast, the output changes dramatically. When each repetition is under 10 milliseconds 

in length, the original sound is no longer recognizable, and only a sine wave-like timbre remains. This process modifies 

the micro-structure of the sound. 

s/d is a real-time Pd composition that continues previous threads of musical exploration while introducing new sound synthesis 

methods. Since “real-time tape music III,” Kerry has been working with “textural composition,” an aesthetic that relies entirely 

on large, static sound masses consisting of inner details rather than perceptible sound objects. Similarly, spatialization 

techniques suggest high degree of sonic motility with little to no perceptible spatial trajectories or paths of sounds. s/d also 

utilizes an algorithm designed in collaboration with Miller Puckette, first used in “Cubic Zirconia” (2014). An alternative to 

Markov chains, the “z12” algorithm outputs chains of 12 numbers using percentages of previous outputs. Then using various 

logic operations, different sequences of the 12 numbers create a 1 or 0. These 1s and 0s are delivered at the sample rate 

to create complex timbres that subtly shift and evolve over time. These processes are dealt with in depth in Miller’s paper, 

“Maximally uniform sequences from stochastic processes.” (SEAMUS 2015) The innovation in s/d arises from a new synthesis 

method developed by Miller Puckette: coupled oscillators created through non-linear feedback. By sending impulses into 

the oscillators, complex and rich sonorities can emerge. s/d uses 12 crafted timbres from the oscillators, which are triggered 

by the z12 outputs and impulse chains. Since the oscillators output two channels of sound, each timbre has its own spatial 

location. Four voices are point-source spatialized but appear to move as ramping between timbres causes different outputs 

in the two channels of each voice. The piece follows a fixed form, where larger shapes are the unchanging scaffolding. 

However, random and stochastic processes make moment-to-moment decisions, meaning that each performance of the 

piece is unique while retaining a consistent musical identity. 

Untitled_black_green is an electroacoustic piece characterised by strong influences from breakbeat/breakcore and noise 

music. It has been composed for the D-Box, a “hackable” digital musical instrument capitalising on Embedded Linux technologies 

and specifically designed to elicit instrument exploration and appropriation. For the correct execution of the piece, 

the performer heavily modified the original configuration of the instrument and made available novel idiosyncratic playing 

techniques and features not accessible in the original design. The piece opens with the performer building, combining and 

disrupting rhythmic patterns, making use of his customised version of the instrument. As the performance goes on, the electronic 

configuration of the D-Box is further hacked on stage. By means of circuit bending techniques, the sonic signature 

of the instrument slowly drifts into [controlled] noise, drowning samples and patterns that previously dominated the piece. 

In Sitting 328b, inspired by the ambient micro-sound piece “Null Drift” by Kim Cascone from his album CathodeFlower (Ritornell 

1999), one can hear a diffuse background drone embellished by pitched bass, and a continuous, periodic foreground 

stream of dry, sinusoidal grains at eighth-tone intervals, occasionally punctuated by samples of high-frequency metallic 

scraping and indistinct speech. The idea was to create an ambient drone piece that was both repetitively ‘industrial’ and 

meditative at the same time. 

113


Denton, 09/25 – 10/01 



10:00 am, Voertman Hall 

PROGRAM 

Antony: A Reimagining (1977; rev. 2015)...David Wessel/John MacCallum/ 

Matthew Goodheart/Adrian Freed 

(1942-2014)/(b. 1978)/(b. 1967)/(b.) 


Ricecare #1 (2015)............................ Marco Buongiorno Nardelli (b. 1964) 

Ieng Wai Wong, digitally enhanced flute+ • electronic basso continuo 

The Semantics of Redaction (2014)....................Lindsay Vickery (b. 1965) 

Matthew Bryant, percussion • generative score 

crunch! (2015)..................................................... Richard Garrett (b. 1957) 


Culture of Fire (2011)............................Scot Gresham-Lancaster (b. 1954) 

Scot Gresham-Lancaster, 4 balance line outputs 


114

Antony: A Reimagining is a ground-breaking and iconic work by David Wessel, which found its first realization in 1977 at the 

Paris suburb Antony, Hauts-de-Seine, from which the piece took its name. The piece emerged out of his work at IRCAM 

with Giuseppe Di Giugno, who had recently created the 4A machine which was capable of generating 128 oscillators in 

real-time, and each of whose frequency, amplitude, and phase controlled independently. (This machine was the first in the 

series which led to the famous 4X machine.) Working closely with Di Giugno, and heavily influenced by the micopolyphonic 

works of György Ligeti and the French Spectralists, Wessel sought to create a work that was a continuous flow, a single 

timbral evolution without breaks or changes. He developed software which would allow the migration, oscillator by oscillator, 

from one harmonic map to another. Layering the 128 voices over themselves four times, he setup frequency maps in real 

time as an improvisation, staying one step ahead of the map being migrated toward. This technique of timbral migration 

came to have a huge influence on electronic music over the coming decades, and the process was re-designed and refined 

in numerous iterations and realizations in a variety of software environments.There is no score for Antony: at the core of the 

piece is its process, and the famous Wergo recording is simply one possible iteration. This realization is an extension of that 

process, drawing on the tools built and influenced by Wessel in recent years along with John McCallum and Adrian Freed 

at CNMAT in Berkeley. We have created this version as a tribute to this innovative and forward thinking artist, composer, 

scholar, and teacher, whose interests, work, and influence span the breadth of the contemporary music world. 

Ricercare #1 (the second piece in the collection Inventions for data streams) is constructed using the principles of materialssoundmusic, 

a new computer-aided data-driven composition (CADDC) environment based on the sonification and remix 

of scientific data streams (www.materialssoundmusic.com). The CADDC environment utilizes the materials property data 

from the online computational materials science repository AFLOWLIB.org. AFLOWLIB is an extensive (more than 630,000 

entries and growing) repository of materials property data (phase-diagrams, electronic structure and magnetic properties to 

name a few) generated using high-throughput computational frameworks and freely available on the website of the AFLOW 

research consortium. These data are transformed into sound material (frequencies, MIDI numbers, pitch class sets, note 

durations, rhythmic patterns, amplitudes/gain, audio effects, etc.) in an automated fashion and then fed to audio generating 

patches for further musical remix. The structure of Ricercare is a reinterpretation of the original “ricercare” style of the late 

renaissance and early baroque period. Here the word “ricercare“ (Italian for “to research”) takes a double meaning: on one 

hand is the research the performer does to find the optimal connection between the flute and the sonification of the data 

stream in the basso continuo accompaniment; on the other, it refers to the scientific research work that has led to the data on 

which this composition is based. All the parts are directly based on the remix and sonification of the materials property data 

for Silicon, Germanium and Tin (Si1_ICSD_60389, Ge1_ICSD_181071 and Sn1_ICSD_53789 in AFLOWLIB.org), some of 

the group IVa elements of the periodic table. The flute part is built on the materials data mapped to pitch class sets (one of 

the output of the data manipulation algorithm). These pitch class sets are used in the original form found by the mapping procedure 

- no operation (translation, inversion or multiplication) is done on the sets. The rhythmic patterns oscillate between 

quasi-random sequences and continuous virtuosity runs as in a baroque solo section. The basso continuo is split in one harmonic 

and one percussive part. The harmonic part comes from the direct mapping of the materials data into MIDI note-on/ 

note-off events streamed live through the DataPlayer app, a patch written for MAX for Live (see www.materialssoundmusic. 

com for more details on the mapping and sonification procedure). The percussive section doubles the flute part in a rhythmic 

unison triggered by the flute through an audio-to-MIDI pitch recognition Max for Live patch. 

After many years of apparent expanding openness brought about by the Information Revolution, it appears increasing redaction 

is the new direction for global media: be it “the right to be forgotten” by Google or the blank pages of the shooting 

incident report for Ferguson resident Michael Brown. In The Semantics of Redaction the performer loads a recording of a 

topical recent news item into the scoreplayer which renders and redacts it as scrolling percussion notation. Musical “stems” 

and “noteheads” are generated to correspond with accents detected by a realtime analysis of the recorded speech and the 

noteheads are colour-coded to represent five instruments or families. The notation is also sometimes obscured graphical 

symbols and/or by large black “redactangles” and accompanying sonic bleeps. Like its sister work Lyrebird, the instrumentation 

is chosen by the performer as a commentary upon the subject matter of the recording (for example a clown horn might 

be appropriate for some political speeches). The work was written for and is dedicated to Vanessa Tomlinson. 

Old Batman FX, breakfast cereal, an exercise, something you do to numbers, a crisis, something it comes to, the final singularity 

or maybe a new beginning. crunch! is one of a series of works created using software of the composer’s own design 

called Audio Spray Gun, which simultaneously generates and spatialises large groups of static sound events, all derived 

from a single sample. In this work, two variants of program are used: one to produce random “clouds” of points within the 

locus and the other to make more swirling forms. This is the first of these works to explore three-dimensional spatialisation. 

Culture of Fire is a piece to remember legacy hardware. After working with David Tudor and the Music Box 2 Neural Net 

Synthesis designer Mark Holler, this piece evolved from my opportunity to use the unique synthesis technique that Holler 

and Tudor developed using Intel’s ETANN (Electronically Trainable Analog Neural Net) chip . http://camalie.com/MusicBox2/ 

Mbox2.htm. I have created a hardware system that is triggered from 4 GeigerMuller detectors that process radioactive mutation 

and trigger sounds that are based on the samples created with the Neural Net synthesizer. I can not guarantee that the 

performance will include live interactions with the ETANN synthesizer over the internet, as the URL provided indicates, this 

has been done, but it is a rare instrument and requires open TCP/IP paths to be played live. I am providing a performance 

based on samples of the instrument, at a minimum, but I am hoping to play this exotic and historic instrument from Napa, 

CA over the internet, if possible. 

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Denton, 09/25 – 10/01 



1:00/2:00/3:00 pm, MEIT (M1001) 

PROGRAM 

One Day (2014)................................................Simone Sbarzella (b. 1975) 


Studio Study No. 1 (2014).................................. Aaron Anderson (b. 1992) 


Berimbau Acusmático (2014)......................... José Ricardo Neto (b. 1987) 


Configurational Energy 

Landscape No. 9 (2014)................................................. Damian O’Riain 

multi-channel electroacoustic music 

Environmental Rhythm 

Etude No. 1 (2014)........................................... Ethan Greene (b. 1982) 


along the eaves (2015).....................................Benjamin O’Brien (b. 1983) 



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One Day is made by using ambient sounds that could be perceived by anyone, during a normal day. The continuous zoom 

in and out on the details of the sound, creates a counterpoint between reality and the subconscious. 

Studio Study No. 1 places spatialization in the foreground of sonic development. Software was developed to algorithmically 

place sound in a 16 channel, 3-dimmensional audio field. Through this, the texture to gesture paradigm is achieved exclusively 

through the spatial structure of a sound, or series of sounds. Another software tool, an expansion of John Chowning’s 

Quadraphonic Mover, was developed to “move” sounds through the same 3-dimmensional environment. In adherence to 

the subsequent works in this series, all sound sources are created from items found in a recording studio. 

Berimbau Acusmático was composed using recordings I’ve made with mic sm57 and berimbau in a bedroom. Sound processing 

using Reaper and CDP (Composer’s Desktop Project). The idea is to explore a wide variaty of sonic possibilities from 

the same sound source (berimbau) and increase those possibilities through sound processing. This piece was composed 

as part of my final project of the discipline “Electroacoustic Music Composition II”, under the orientation of professor Dr. 

Marcelo Carneiro in the second semester of 2014 at Unirio - Instituto Villa Lobos, Rio de Janeiro. Something really interesting 

happened to me one day as I was working in this piece in the Electroacoustic studio at Unirio. Suddenly, Annette Vande 

Gorne herself entered in the studio with retired professor of Electroacoustic at Unirio, Vania Dantas! I was really lucky that 

day! Two dreams coming true at the same time getting to know them! And to complete my day, Annette told me to play the 

piece I was working with. And the lucky piece was “Berimbau Acusmático”. 

Configurational Energy Landscape No.9 is an abridged version of a work (for 24, 16, or 8 channels) that explores the resonant 

features of a sheoak, stave construction, snare drum. Spectral characteristics specific to the drum shell’s timbre dictate 

the work’s frequential structure; the intention being to bring the wooden shell’s unique sonic footprint to light. As a starting 

point, it was necessary to ensure that the shell would resonate relatively freely. The heads were removed and the drum was 

stripped of tensioning lugs and mounting hardware. It was then allowed to hang unhindered. To identify prominent resonant 

characteristics, a sine-sweep was played through the shell using a transducer. This process was repeated using pink and 

white noise and all of the excitation methods were recorded ambisonically. The resulting audio was then manipulated using 

various procedures. Most of the imposed spatialisation in the work tends to be concerned with reinforcing encapsulation 

rather than trajecting individuated sound materials. Stylistically, though an acousmatic composition, texture and spectral 

space is emphasised over sonic gesture: the piece might instead be viewed as an exploration of timbral “deep listening” 

using minimal means. 

Environmental Rhythm Etude No. 1 (2013) is a study of the patterns, pitches and periods found in the song of the North American 

Tibicen cicada. The piece combines synthesized elements with archival recordings – contributed by the University of 

Connecticut Department of Ecology and Evolutionary Biology – in a fluid mass of blooming textures. Presented in stereo or 

8.1 surround. 

along the eaves is part of a series that focuses on my interest in translational procedures and machine listening. It takes its 

name from the following line in Franz Kafka’s “A Crossbreed [A Sport]” (1931, trans. 1933): “On the moonlight nights its 

favorite promenade is along the eaves.” To compose the work, I developed custom software written in the programming 

languages of C and SuperCollider. I used these programs in different ways to process and sequence my source materials, 

which, in this case, included audio recordings of water, babies, and string instruments. Like other works in the series, I am 

interested in fabricating sonic regions of coincidence, where my coordinated mix of carefully selected sounds suggests 

relationships between the sounds and the illusions they foster. 

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Denton, 09/25 – 10/01 



12:00/1:00/2:00 pm, Sky Theater 

PROGRAM 

The Other Side Of The Coin (2013)......................Dimitris Bakas (b. 1975) 


A Painting in Sound (2015)................................... Michael Spicer (b. 1960) 


A membrane of membranes (2014)............................Ayako Sato (b. 1981) 


Collage 3 (after E. Ysaÿe) (2013)...............Juan Carlos Vasquez (b. 1986) 


Les Axiomes de la Tentation (2015).......Alba Francesca Battista (b. 1987) 


Melodía sin melodía (2014)..............................Benjamin Whiting (b. 1980) 



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The Οther Side of the Coin is an Acousmatic work originally composed as a part of a Site Specific Artwork. Under the latter 

context it constitutes an artistic intervention in a specific space (fort, gun emplacement on the foothills of Mount Olympus) 

redefining its functionality and the purpose for which is created. The work through its creation of a certain atmosphere/ 

experience deals with the concept of Death, not only as a biological fact but, mainly, as a spiritual and psychological one. 

More specifically, if the characteristics of the identity of the fort are the ideas/concepts of defence and protection from a fear 

outside, this artistic intervention aims in creating a fear inside. 

A Painting in Sound: By chance, I was reading a collection of essays by Morton Feldman, at the same time as an article on 

Spectromorphology. This got me thinking about the various ways artists apply paint, and their analogues in sound, which 

formed the basis of this piece. It was created with a combination of modern and vintage analogue modular synthesisers, 

along with some digital signal processing. Each layer is created by an autonomous system that creates a district musical 

gesture that has an identifiable shape and timbre, which corresponds to different types of brush stroke that an artist may 

employ. It begins with the sonic equivalent of dots, moves to various types of lines and textures, and finishes by approaching 

slightly fuzzy line. 

Before composing, I usually draw the plan of the story and the sketch of the structure. However, in A membrane of membranes, 

I began to compose without such preparation on paper. I had imagined that I make plural membranes and construct music 

by them. Each membrane forms each individual while interferes with the other membranes. The first membrane is made 

by announcements of English and Arabic at the airport. The second is the sounds that were picked up in the middle of a 

walk in a certain town. The third is the voices of children and Swedish announcements in the train. These words are foreign 

languages to me, and interesting acoustics for characterizing every membrane. It seems that the layer of hot milk are pulled 

up and put on them. Three membranes are fused into one. 

Collage 3 is part of a series of experiments conducted to prove the digital capabilities of tone expansion in a single acoustic 

instrument. In this particular piece, the composer recorded an original performance of Eugène Ysaÿe’s Sonata No. 3 for solo 

violin, and reinvented the audio files deconstructing the piece as a collage, using different and complex kinds of digital audio 

processes to create a post-modern electroacoustic version of the original sonata. As a result, the usual acoustic violin timber 

is expanded into deep and rich atmospheres filling the entire range of frequencies. The collages series are also a sonic 

application of British painter JMW Turner’ technique to use layers of colours and textures to turn everyday landscapes into 

powerful and expressive oneiric fantasies. No other samples than the mentioned were used in the making of this recording. 

As many of the mentioned processes use random parameters, each time the track is exported creates a different result. The 

composer selected the present recording after listening to nearly one hundred versions of the piece. 

Les Axiomes de la Tentation: Non-dialectical culture that is forming is still in its infancy, but it had a special place to arise, which 

is music. And it is music that tells us this growing thought doesn’t wonder nature or existence, but what does it mean to 

know. The language of music says what we do not know: it discovers the field of experience, uses the freedom of the poets, 

moves in the network of our knowledge, inhabits the dreams. Its dazzling clarity erases the borders of our mind’s provinces, 

and rises again for the first time in other times and other places. There, in listening, we recognize what is born in the heart 

of every man and in his bright imagination. Then, we will be tempted to fix new axioms. 

Melodía sin melodía was born out of an inspiration of mine to blend sounds of found household objects, a staple of electroacoustic 

fixed-media composition, with those of an instrument associated with conventional means of Western music 

production, the transverse flute. Both sonic groupings carry with them certain implications that are challenged in this piece; 

at the start, the found objects and flute behave as they “should,” but their respective roles blur as the piece progresses, 

eventually reaching a kind of cooperative unity by the end. I wish to extend my sincerest gratitude to Melody Chua, whose 

contribution of samples of her brilliant playing formed the backbone of this piece. 

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2015 ICMC Recital 26 



PROGRAM 

from Uganda (2014).............................................. Mara Helmuth (b. 1957) 

laptop computer ensemble 

Curtis Bahn, Ivica Ico Bukvic, Mara Helmuth, 

Paul Poston, Doug Van Nort, Margaret Schedel 

alone+easy (2015).................................................. Rob Hamilton (b. 1973) 

Rob Hamilton, laptop • hemispherical speaker arrays 

Occhio pero all’acqua alta! (2011)...........................David Durant (b. 1957) 

Toshiro Chun, trumpet • Matthew Otte, trumpet • audio file 

Il Prete Rosso (2014)..........................................Charles Nichols (b. 1967) 

Sarah Plum, amplified violin • motion sensor 

interactive computer music 

Katachi I (2011)................................................... Chin Ting Chan (b. 1986) 


Minotaur (2005; rev. 2011)....................................... Ewa Trebacz (b. 1973) 

Heather Suchodolski, horn • surround sound 

Buzz (2014)...................................................... Iacopo Sinigaglia (b. 1990) 


Abeyance (2007).................................................... Steve Wanna (b. 1979) 

West Fox, percussion+ • Jessica Stearns, clarinet+ • computer 

Pulsar [Variant II] (2014)............................................Seth Shafer (b. 1983) 

Toshiro Chun, trumpet • electronics 

Solo Violin and the Acousmatic 

String Orchestra (2015)............................... Rodolfo Vieira/Chris Mercer 

(b. 1981)/(b. 1973) 

Rodolfo Vieira, violin • iPADs • Chris Mercer, live electronics 

frostbYte - chalk outline (2014)..........................Daniel Blinkhorn (b. 1973) 

Chryssie Nanou, prepared piano • Arctic video footage • electronics 


120 

Photography and videography are prohibited.

from Uganda is a laptop ensemble piece for 3 to 6 performers for multichannel audio. The lead performer uses network 

messaging to communicate section and sound choice information throughout the piece. from Uganda is a laptop ensemble 

piece for 3 to 6 performers for multichannel audio. The lead performer uses network messaging to communicate section and 

sound choice information throughout the piece. Sounds may be processed live by RTcmix filters and granular sampling. A 

collage is newly created in each performance, from recordings made while on safaris in Uganda in 2011. The inspiration for 

the piece was my participation in a Teach and Tour Sojourners program resulted in meeting wonderful musicians, dancers 

and professors, giving lectures on computer music composition to primary school through college students, and going on 

safari in many of Uganda’s finest parks. There were no fences. On the last day of the trip in Queen Elizabeth National Park 

the I hung out with a pride of lions for an hour. Usually with a recorder, camcorder and microphone in hand, safaris meant 

being surprisingly close to rhinos, monkeys, gorillas, antelope and so many birds. Sounds include birds near under the Malaba 

River Bridge at the border of Uganda and Kenya, birds from various other locations, frogs, hippopotamus, people and 

travellers in a noisy safari truck. - MH 

alone+easy (2015) is a stuctured improvisation and exploration of feedback textures. Written for SideLObe, the Stanford Laptop 

Orchestra’s premiere performance ensemble, alone+easy was premiered in February 2015 at the Cantor Art Museum. 

Occhio pero all’acqua alta! per duo tromba e file audio combines a modally-chromatic imitative style in the trumpet parts with 

a surreal and dream-like quality in the sound file. The title suggests metaphorically that we must watch for the rising tide or 

the rising water. This metaphor can represent a rising insanity that troubles one’s ordered existence or even a restlessness 

that infiltrates a community. 

Il Prete Rosso, for amplified violin, motion sensor, and interactive computer music, was inspired by the violin concertos of 

Italian Baroque composer and virtuoso violinist Antonio Vivaldi, who was nicknamed The Red Priest, because of his red hair 

and Catholic ordination. In the piece, the amplified violin is recorded live and played back in four parts, spatialized around 

the audience, as an accompaniment with itself. Following the violinist, a computer musician triggers wah, phaser, and delay 

effects, that process the amplified violin. A motion sensor on the wrist of the violinist tracks bow arm performance gesture, 

to interactively control the frequency sweep of the wah effect. 

Katachi is a Japanese term that means form, shape or figure. In the ancient game of Go, the word Katachi is used to describe 

the formation of stones on a Go board (Go is originated from Ancient China, where it is known as Weiqi). The conception of 

stone formation in Go is transformed to apply to the circulation and combination of sounds and timbre in the music. Katachi 

I uses primarily sounds produced by the Go stones, board and bowls. The circulating effect created by the different panning 

techniques is a dominant feature in this piece. The stereophonic image thus produced represents a recurring form or shape 

much similar to an image of a pentagon garden. 

Minotaur for horn and surround sound was created in a way similar to film production. It was created with a series of recording 

sessions with Seattle-based horn player Josiah Boothby. Josiah and I visited several indoor and outdoor spaces 

throughout Washington state, including the eastern slopes of the Cascade Mountains and St. James Cathedral in Seattle. 

Josiah improvised short sequences of horn sounds, and I recorded them in surround with the use of the Soundfield ambisonic 

microphones. We listened to the responses of these spaces and looked for the most acoustically interesting paths. 

Later I processed this original material and combined it into the final sequence of ambisonic soundscapes. This maze of 

pre-recorded soundscapes, together with live horn performance, tells the story of a mythical creature, trapped in the Labyrinth 

of Crete. In mythology, the Minotaur haunts the Labyrinth, stalking all who dare enter. The walls within the Labyrinth 

twist and turn, while the Minotaur remains unseen. The only clues to its location are the sounds of its cry echoing from 

all around. “Minotaur” gives the soloist an opportunity to fully demonstrate their virtuoso skills. It requires both imagination 

and courage to freely approach the pre-composed material, and to create a unique conversation between the pre-recorded 

soundscapes and the performance space. The formative principle of this piece is heterophony combined with “directed” 

(guided) improvisation and the creative use of extended horn techniques. The written score is a selection of meeting points 

between the pre-recorded surround sound material and the live performance. The soloist is encouraged to wander off the 

musical material written in the score. The player should enrich it by freely utilizing right hand coloration, articulation changes, 

microtonal melismas and ornaments, while carefully listening to and interpreting the responses from the performance space. 

The electronic layer was realized in ambisonics by the composer at the Center for Digital Arts and Experimental Media 

(DXARTS), University of Washington, Seattle. The most recent version performed in tonight’s concert was realized with the 

use of the Ambisonic Toolkit (ATK) software package, developed by Joseph Anderson, Juan Pampin and Joshua Parmenter 

(University of Washington, DXARTS). Website: http://ewatrebacz.com/minotaur 

Buzz: The pretext of a duel between a man and a “bionic fly” flows into an electroacoustic fight. 

Abeyance sets up a system in which various elements act on one another in non-linear and often unpredictable ways, giving 

rise to complex patterns not necessarily apparent or inherent in the behaviour of the individual elements. The emergent system 

is not the total sum of its parts. The elements of the system (two performers and computer) are governed by relatively 

simple rules with varying degrees and types of interactivity. No single element ever has total control over the outcome of 

those rules or any means by which they can know exactly how their individual behavior impacts that of the system. Certain 

aspects of the piece are pre-composed but much is left open. The form of Abeyance emerges through performance 

and each iteration will be a unique event that cannot be reproduced. The form and the sonic manifestation of a particular 

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performance are, therefore, ephemeral by nature. This emergence invites the performer and the listener to a process of 

exploration. In the words of John Cage, the work becomes an opportunity for perception. The piece has an added element 

of physical interactivity. The stage is divided into 6 sectors, each with its own sonic character (each contains specific percussion 

instruments and is associated with specific processing). Using rules outlined in the score, the two performers must 

constantly move and have to continually navigate their place on the stage in relation to one another. 

Pulsar [Variant II]: PSR B0531+21 is the technical designation of the centermost neutron star in the supernova colloquially 

referred to as the Crab Nebula. The star magnificently exploded on July 4, 1054 according to a number of ancient witnesses 

including the astronomers of the Song Dynasty, and the Anasazi located in present day Arizona and New Mexico. The 

frequency of the electromagnetic beam emitted by the Crab Pulsar is just over 30 pulses per minute, and it is getting a few 

nanoseconds longer every day. The decelerating and asymmetrical pulse is a rich source for both pitch and rhythmic material. 

This piece for solo trumpet explores two competing models of time: an unrelentingly fixed metrical time, and a type 

of static, or frozen time. Using echo and repetition as a point of departure, time is treated as a malleable material looking 

forward to the past and remembering the future. 

Solo Violin and the Acousmatic String Orchestra: Gesturally varied solo violin material is processed to create a wide array of 

accompanying ensemble and orchestral textures. Signal processing techniques include: Dynamic transposition of spectral 

bands, mass harmonization with variable turbulence, granulation (hundreds of voices) that combines manual control with 

control derived from spectral analysis, and cross-synthesis with pre-recorded string material. Signal processing is controlled 

via multiple iPads and the resulting output is spatialized in eight channels using wave field synthesis. 

frostbYte - chalk outline’ is an ecoacoustic work using the Svalbard coastline (and the idea of an outline in a more generalised 

sense) as a metaphorical reference to the (antiquated) forensic technique of drawing a chalk outline around the deceased. 

The piece is an example of how I often integrate the differing disciplines of sound and image to create a sense of advocacy 

about the importance of places ad spaces mediated via creative technology etc. 

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PROGRAM 

Homage to La Monte Young (2011).......................Nicholas Cline (b. 1985) 

video • 4-channel electroacoustic music 

WaveParticles (2014)..........................................Matthew Bryant (b. 1990) 

Aaron Anderson, laptop * Matthew Bryant, laptop and VJ 

Membranes (2014)........................................... Atsushi Tadokoro (b. 1972) 


Crayonada’s Hat (2014)....................................... Nathan Asman (b. 1985) 

Nathan Asman, eMotion Technologies Twist Sensor Suite 

hat • laptop computer 

untangle my tongue (2011)..................................Robert McClure (b. 1984) 

Anne Shaw, text • 2-channel electroacoustic music 

FRISKOTO (2014)............................................Haruka Hirayama (b. 1981) 

Haruka Hirayama, computer • leap motion • foot pedal 

Studies (2015)................................................ Victor Shepardson (b. 1992) 


endNoln (voiceWork4) (2014)................Andrew Telichan-Phillips (b. 1981) 

Andrew Telichan-Phillips, voice • laptop 

There is pleasure... (2014)..........................................Simon Fay (b. 1984) 

Simon Fay, laptop computer 


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124 

Homage to La Monte Young (2011) explores the interacting sounds of the feedback from scordatura electric guitars and noisy 

amplifiers. The pervasive 60-cycle hum that permeates our daily soundscape provides the initial impetus and harmonic material 

for the work. A precursor to this idea can be found in La Monte Young’s Composition 1960 #7 (B and F# ‘to be held for 

a long time’), about which he says: “Actually, the first sustained single tone at a constant pitch, without a beginning or end, 

that I heard as a child was the sound of telephone poles, the hum of the wires.” A second point of intersection comes from 

Robert Palmers’ essay, “The Church of the Sonic Guitar.” “But an electric guitar, properly tuned to resonate with everything 

from the [concert] hall’s acoustics to the underlying 60-cycle hum of the city’s electrical grid, is forming its massive sound 

textures from harmonic relationships that already exist in nature; compare this to the arbitrary ‘equal temperament’ system 

which causes decidedly unharmonious harmonic interference patterns and dissonances when certain tones are allowed to 

ring together.” 

WaveParticles: One of the biggest questions in quantum physics is “Are they waves or are they particles?”. Quantum physicists 

have concluded that they behave as both. The wave-particle duality theory is present in the form: structured, free with 

random parameters, and free within a structure. The triggered video uses multiple data-bending techniques that follow the 

structure of the piece, as well as the theorem. 

Our body is covered by membranes. It is also an outer covering of the cell. We stand on the ground, but it is just a tens of kilometers 

thickness of surface covered the earth. According to the current theory in physics, our universe is are 2-dimensional 

“Supermembranes” that live in the 11 dimensional. Membranes is laptop audio visual improvisation. In this performance, 

every sound material is converted from images. Through the performance, various images are generated impromptu by 

performer using drawing applications and pickuped from web by chance. Images are converted membranes in the virtual 

3D universe. Each membranes drift and vibrate in the space. Every sound textures are generated from membranes’s image 

attribute. 

Crayonada’s Hat is written for Max/MSP and Ableton Live. The audio samples I utilized were actually the individual tracks 

from a previous composition of mine, called Crayonada (hence the title). However, to add an initial extra bit of aural flavor, I 

applied a series of individual effects (which involved the convolving, filtering, and transforming of each sample) to each track 

to morph them into something that, while still relatively similar to the original composition, were also very different. 

My instrument of choice was the eMotion Technologies’ Twist sensor suite, which I mounted onto my hat. While the Twist offered 

a myriad of different data streams that I could use as CC messages, I was also able to remap and reshape those same 

data streams into triggers, which allowed me to achieve an exponentially more interesting performance and musical result. 

I had several different data streams mapped to effects processing parameters, panning, and volume. I then triggered a specific 

sequence of events that controlled which track(s) were being heard. Whichever track was triggered also switched the 

panning controls to that specific track, to make it more apparent which track I had just turned on. Following the sequenced 

triggering, I then randomly triggered the state of each track to being either on, off, or partly on. 

untangle my tongue is a piece for fixed media in collaboration with poet, Anne Shaw. We sent each other bits of work for the 

other to use as material for their part of the work. After months of communication and trading work back and forth, the full 

piece was realized. Some of the sounds in the piece are cicadas, cars/trains, text being read by Anne Shaw and whispered 

by Hilary Purrington, and various instrumental sounds. The title is taken from Anne’s poem inspired by my sounds, Small 

Bang Theory. It directly references that there is text which is altered, distorted, and overlapped. However, a deeper statement 

is being made about the current pace of our lives. I myself am a culprit of this technology and social media-driven 

lifestyle. Yet, when I went on walks to record sounds for this piece, I was forced to slow down and simply listen. I hope in 

listening, you will have a similar experience. 

FRISKOTO is a coined word, and it consists of frisk and Koto. Koto is a Japanese stringed musical instrument and I wanted 

to create a bouncing and springy spatial expression employing such sound materials with a consideration of routing of each 

sound modules. All sound sources that are used in this piece are only three with the duration of about 40-seconds each, 

and they are composed in advance for 4ch before being imported into Max/MSP. Another source is a long Koto tone which 

is used for circling between four speakers in composition. It was mainly thought about how to transform the limited source 

materials and how to recycle them. I also introduced a sensor into own composition for the first time, and wrote a score 

based on ‘motions’ . It was very interesting to think about how to control timbres by gesture and notate them. As a result, I 

feel I made one sound tool/system/ instrument and its instruction manual rather than a musical composition. I would like to 

give special thanks to Ms. Sumie Kent (Koto player) for collaborating on recording. 

Studies: This piece is a juxtaposition of studies exploring pulse, timbre and phase rhythms. It is about sonic spaces and the 

instants dividing them. 

endNoIn (voiceWork4): Using the Max environment and a selection of outboard synthesizers, the work emerges from a system 

that isolates the sounds of the human voice within an enclosed space, recording and deconstructing the speech into fragments, 

and then playing these fragments back in a random order and at varying speeds over a set of speakers. The more 

playback speech the system detects, the more individual syllables and phonemes it catalogues and plays back, thereby 

creating feedback loops that grow continuously over a period of time. During this process, the speech fragments are sent 

through various levels of spectral and granular re-synthesis, creating a diverse – and constantly (de)-evolving – spectral 

output, while envelope followers read detect time and amplitude information of the vocal fragments, which is then used to

control parameters of external synthesis engines. The overall result is a mix of complex textural sonorities composed of 

voices and electronic sounds that grow and develop over time. Thus, using the continuous loop cycles, the system adjusts 

its internal states to the sensed information coming from interactions with its own sonic output as well as with one or more 

human actors and the interface. This work explores the concept of voice as a complex, multi-dimensional form of embodied 

interaction with the environment. While conventional, linguistic, constraints on voice are socially useful, they can also severely 

inhibit one’s ability to adequately express deeper physical and emotional phenomena – an expressiveness that, for 

instance, an infant achieves through its incoherent babbling and crying. Thus, the goal of this work is to investigate ways in 

which the sonic contours and dimensions of voice have the power to reveal and communicate various states of mind and 

body that might go unnoticed in most everyday linguistic exchanges. The work intends to question – what are the expressive 

powers of the “inarticulate” voice? 

“There is pleasure in recognizing old things from a new viewpoint” - Richard Feynman 

There is pleasure... is a structured improvisation, combining elements of modern Electronic Dance Music and Computer Music, 

with the improvisatory approach of Jazz. The piece attempts to explore the materials and sounds used from multiple 

viewpoints, in addition to exploring ‘modern’ approaches to a number of ‘old’ techniques. The goal being to create a variety 

of moods, ambiances, and textures, using a minimal amount of basic materials - or to view a limited amount of musical materials 

from new viewpoints. The piece uses the composer’s AAIM (Algorithmically Assisted Improvised Music) performance 

system to enable the performer to manipulate and vary the pre-composed musical materials during performance. All of the 

sounds used during the piece are created with Frequency Modulation(FM) synthesis, and the piece also relies on a constant 

underlying pulse to arrange these sounds in time, two approaches which are often viewed as dated within the genre of Computer 

Music. However, the underlying pulse is obscured through the use of overlapping tuplets, resulting in a wide variety of 

multi-layered rhythmic textures and a sense of rhythmic freedom. These variations in the basic rhythmic patterns, together 

with slight variations in the setting of the FM synthesizers, and the use of signal processing and diffusion technique, allow 

the performer to also explore the sounds from multiple perspectives. Finally, the musical materials used during the piece are 

also viewed from multiple perspectives - with only 3 rhythmic patterns used throughout, but which each being used to trigger 

different sounds, and manipulated and varied in different ways, at different times during the piece.” 

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1:00/2:00 pm, MEIT (M1001) 

PROGRAM 

Sonances of the Bizarre (2014)...................... Ali Nader Esfahani (b. 1981) 


Launch Sequence (2015)...........................................Carter Rice (b. 1989) 


Hyvät matkustajat (2014)..................................... James Andean (b. 1972) 


Topos Concrete (2014)............................. Clemens von Reusner (b. 1957) 


Rhythms of the Universe (2013)...............................Mark Ballora (b. 1962) 



126

Sonances of the Bizarre’ is an acousmatic rendition of a large-scale interactive electroacoustic piece inspired by traditional 

Iranian professions. To gather the raw sonic material of this piece, I traveled to Iran to collect field recordings of the genuine 

soundscapes and sound-objects of old Iranian professions that are unfortunately on the edge of extinction. In the abstract 

soundscape of this short composition you will hear sound-objects found in carpet weaving workshops, or the squeaky 

sounds of reed pens on glossy papers used in Persian calligraphy. You will also hear the resonant sound of plucking a 

stringed bow-shaped tool in cotton fluffing, teacups and saucers buzzing and sliding in a teahouse, as well as the polyrhythmic 

metallic soundscape of a coppersmithing bazaar. 

Launch Sequence isn’t really about anything. Unlike most of my pieces, there is no narrative or extra-musical association. I 

wanted to create a piece guided purely by sound and gesture. The title refers to the lose formal structure of the piece, in that 

there are five large arrival points of one kind, then four of another, then three, etc. 

Hyvät matkustajat’ (2014) (Finnish for ‘Dear Travellers”, but also for ‘The Good Travellers’) began life as a ‘sonic postcard from 

Finland’, using soundscape field recordings from around the country. This turned out to be only the first stop on its journey, 

however. The original material was later further developed as material for sonic exploration and spectral transformations, 

with the external spaces of the original version taking a sharp turn inwards, to chart internal spectral landscapes, together 

with the soundmarks and soundscapes of its first incarnation. Everything in ‘Hyvät matkustajat’ is made from the original 

field recordings which first gave birth to the piece. 

The territory (gr. topos) is a rough and harsh landscape with mountains, valleys, canyons and plains, sand and stones, 

though it appears evenly and smooth. The color is grey. The size is about 30 square-meters. It is the floor of a garage 

and it is made of concrete (engl.) Beton (german). Concrete is a building material, a kind of unshaped dry powder made 

of sand, granulated stones and cement, dusty and chaotic. Mixed with water it becomes flexible and fluid and goes into a 

metamorphosis to become dry again, static and resistable and of any wanted shape. Aspects of working with native granularity, 

fluidness as well as stiffness and different kind of acoustic spaces were leading ideas of the composition.To produce 

the sound of congealed concrete, different objects were moved on the floor (glass, metal, paper, plastics, stone, wood) 

like a macro-scan-pickup of a turntable. Contact microphones were mounted to the objects in order to record the resonant 

movements of the objects on the floor. “Topos Concrete” is based upon the resulting sounds which exhibit rich spectra and 

numerous individual sound gestures and textures. “Topos Concrete” is about the sounding and musical quality of concrete 

as a substance and the concepts behind it as it becomes an acoustic building material within the composition by the means 

of electroacoustic music. The duration of the composition as well as other internal parameters concerning structure and 

form has been deduced from the ratio of the sides of the room: 1:1.33031. The csound 3rd-order-ambisonic opcodes by Jan 

Jacob Hofmann were used for multichannel spatialization. 

The film Rhythms of the Universe is a multi-sensory exploration of the universe, a poetic and scientific celebration of humankind’s 

yearning to understand the cosmos, of the vibrations that underlie everything we know. It was conceived by Mickey 

Hart, ethnomusicologist and former percussionist for the Grateful Dead, and George Smoot of Lawrence Berkeley Labs, 

who co-awarded the 2006 Nobel Prize in Physics. The two were allied by their mutual passion for music, physics, and 

universal resonances. It features narration from the two of them, along with music by Mickey Hart and some of his musical 

associates, and visualizations and sonifications created by scientists and musicians and at Lawrence Berkeley Labs, Meyer 

Labs, and Penn State. ICMA member Mark Ballora, who is making this submission, created the sonifications and was part 

of the team that developed the script. 

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1:00/2:00 pm, Sky Theater 

PROGRAM 

Machine Stops (2013)........................... Tae Hong Park (b. 1972)/Tony Lee 


Henry’s Cowbell (2013)....................................... Gonzalo Varela (b. 1990) 


statics: congruent (2006)......................................... Stephen Lilly (b. 1976) 


Kiwooje (2014)..................................................... Daehoon Jang (b. 1980) 


Two Songs after Dylan Thomas (2014)....................... Tyler Kline (b. 1991) 


Invisible Voices (2013)........................................Eleazar Garzón (b. 1948) 


Butoh Music (2014)......................................Hyeonhee Park/Jaeseong You 



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The Machine Stops was composed using various DSP filtering techniques mainly realized in Csound where sine waves were 

chosen as the fundamental sound source. The sounds, timbres and structure of the piece depict the “mortality of machines 

in a micro and macro level struggling to cling onto life until the very last minute”, somewhat analogous to human beings. This 

version has been reworked in collaboration with video artist Tony Lim in 2015. The audiovisual work has specifically been 

composed for domed theatre projection environments. 

Henry’s Cowbell is a 2013 electroacoustic piece that makes use of the theories of composer Henry Cowell (later used extensively 

by other composers such as Conlon Nancarrow) regarding the possibility of recreating the relationships between 

partials in a harmonic series by the means of polyrhythms. However, the narrative in the piece is not only based on that, 

since to put that theory in a context that is interesting by itself it also makes use of several other procedures, some still 

related to tempo and rhythm, while others focused on timbre and melody. Most of the sounds heard in the composition are 

made with “found objects” (like a clock, a pair of scissors, cutlery and coins), and also some musical instruments are used 

(cowbell and piano). 

statics is a non-standard sound synthesis program that uses functional iteration to both generate sound events and organize 

them temporally. Since statics was designed by a composer with musical goals in mind, the program is itself is a collection 

of compositional decisions. Furthermore, the unique timbres and structures created by statics are a direct result of these decisions. 

statics creates sonic events by working abstractly with the digital sample (the basic unit of computer sound)—generating 

and organizing individual samples algorithmically through the iteration of a nonlinear map, i.e. functional iteration. All 

sonic events (which range from pitched material to percussive impulses), perceived gestures, and even the very structure of 

the piece emerge from the concatenation of samples as determined by functional iteration. Composition is thus redefined as 

software design and the selection musically viable renderings from the program’s output. The title “congruent” refers to the 

fact that this particular piece was constructed from multiple layers unified by a single constant value – this is the only value in 

the non-linear map that does not change from iteration to iteration. Therefore, all the layers have the same attractor, which 

in this case means the sounds congregate around fifteen values. The layers are differentiated by individualized sets of initial 

seed values, which translate into parameter settings such as the duration and overall level. This means that although two 

different layers may articulate the same set of points, they will do so with different sounds. 

Kiwooje means “ritual for rain” in Korean. In this piece, the shamanic ceremony for rain depicts its liturgical spirit. Ancient 

Kiwooje does not exist any more as its original shape: incantational, distracted, and nervous. It surely would be more brutal 

than we could ever imagine. 

Composed in 2014 for fixed quadraphonic playback, Two Songs after Dylan Thomas is a two-movement text setting of Thomas’ 

poem Being But Men. The entire work uses a recitation of the poem as its only sound source, manipulated in various 

ways with Logic Pro X, Soundhack, and SPEAR. The two movements dichotomize one another, the first presenting the full 

poem (nearly) in tact in front of a backdrop of whispers, and the second outright destroying the spoken voice. Two Songs 

represents an ongoing interest in the body of my work of drawing guidance and influence from a variety of literary sources. 

Invisible voices is an acousmatic piece composed in 2013. It´s an abstract soundscape where, in due course, we can recognize 

some sound of piano and harpsichord played in an unconventional way. “Invisible voices” is, the composer thinks, 

music to enjoy without any guidelines. The listener when listens this music could create its own poetic feelings. 

Butoh Music: Butoh is a form of modern Japanese dance theatre, often executed with slow hyper-controlled motion. Butoh 

music, composed by Hyeonhee Park and Jaeseong You, is both musical interpretation of Butoh as well as a dance piece 

to actually accompany Butoh dance. Beats and pulses come and go, interlocking with one another to form combinations of 

overlaying textures. As initially well-controlled pulses subtly disintegrate, the resulting disjunctions between the layers create 

spasmodic stops and glitches, which, in turn, create musical momenta and sound materials for a new set of pulses in the 

subsequent passage. 

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PROGRAM 

Au-delà du réel (beyond the Reality) (2014)........Annette Vande Gorne (b. 

1946) 


Night Study 1 (2013)............................................. Felipe Otondo (b. 1972) 


Phoenix (2008)...................................................Benjamin Sabey (b. 1975) 

Felix Olschofka, violin^ • interactive electronics 

Capturas del Unico Camino (2014).................... Damián Anache (b. 1981) 

I. First Landscape 

electroacoustic piano, guitar, and percussion 

played, pitched, spatialized and processed by computer algorithm 

PAREIDOLIA - or of the 

dreamt gardens (2014)............................... João Castro Pinto (b. 1977) 

I. Intro (falling asleep) 

II. Alektorophobia (despair) 

III. Extgerior-Hortus (action-will) 

IV. Interior-Hortus (tension) 

V. Trans-Hortus (distension-release) 


Dark Path #2 (2014).............................................................. Anna Terzaroli 


Janus forward & back (2015).................................... David Stout (b. 1955) 

David Stout, live audio-visual laptop performance 


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Au-delà du réel (beyond the Reality): To Arsène Souffriau and Bernard Parmegiani, 

in memoriam of two pioneers of electroacoustic music gesture and composition 

Matter of a sounding body has its own life, its temporality aroused, maintained by the gesture of the musician. Studio listening 

focuses on the gesture and respects, amplifies the energy offered by the characters sound body beyond its material. 

The progression is organized here by the succession and transitions from one energy / movement to another, regardless 

of the material: Percussion - resonance (spectral color), accumulation of particles, swing, rotation, friction , percussion and 

resonance). A second shorter section draws on writing techniques on tape performed at the Groupe de Recherches Musicales, 

among other Parmegiani Bernard in his” De Natura Sonorum” whose first movement is a model: here the delta, the 

substitution attack, the true and false resonance, the vibrato speeds. Sonorous bodies are exclusively selected from the 

huge collection that Arsene Souffriau had gathered since 1959. He had built, organized by matter, register and frequencies. I 

adapted my listening to his own, used some of his register of frequencies and families of materials: metal, wood, glass, wind, 

skin... and I accentuated or modified the spectral colors of resonances. Then polyphonic writing of spatial movements adds 

complexity, quickens the intrinsic energies of sounding bodies and especially highlights the human presence, the generator 

gesture of the musician. Thanks to Sylvie and Marie-Jeanne Bouteiller Wyckmans: they were the musicians who gave 

much of their time to explore this collection. Realised in the « metamorphoses of Orfeo » studio, Musiques & Recherches, 

Belgium. 

Our bike is the colour of the night. 

Our bike is a black donkey dawning 

Through lands of Curiosity. 

(Roberto Bolaño) 

The idea behind Night Study 1 stems from a poem by Roberto Bolaño describing a night motorcycle journey across the 

Mexican desert. The piece explores the nocturnal sonic landscape of urban and rural locations and is structured as a sonic 

journey exploring real and abstract soundscapes linked to various stages of an endless imaginary trip. The work was 

composed mostly using environmental recordings captured in various urban and rural locations and synthesized timbral 

and rhythmic material generated using gamelan sounds. This work was composed at the Visby Centre for Composers in 

Sweden, premiered at the University of Kent in England and received the 2013 Musica Nova Composition award in Prague.” 

Phoenix: Morton Feldman has said, “The problem of music, of course, is that it is, by its very nature, a public art. That is, it 

must be played before we can hear it. One beats the drum, then hears the sound… One can’t just imagine sound as an 

abstraction, as not being related to someone pounding the piano or beating a drum. To play is the thing. This is the reality 

of music.” While one certainly can imagine sound as an abstraction, I have desired to write music with electronics in which 

the illusion of causality that he refers to exists; an electronic music that is “performed”. Using a patch designed in Max/MSP, 

Phoenix places the performer in complete and observable control of live signal processing, primarily through an object that 

I developed called the “attack accumulator”. In a process analogous to the playing of a traditional physical instrument, the 

more energy the performer feeds into the patch, the more it responds with commensurate energy. There is no third party 

sitting motionlessly behind a laptop and anything that the computer can do may be accessed by the performer at any time 

through normal playing of the instrument. Hereby I attempt to engage the listener through a sense of palpable physical 

causality, the perception of which becomes enhanced as the performer gives free rein to their rigorously honed performance 

intuition. 

First Landscape is one of the four movements of Capturas del Único Camino. This piece involves generative art ideas for offering 

an attractive object of passive contemplation. The whole piece (means the four movements) were conceived to be 

exposed in several ways, such fixed duration pieces at acousmatic concerts; or as a uninterrupted playback audiovisual installation. 

The piece is developed with a Pure Data algorithm (created exclusively for this pieces by the composer). The code 

works as an electronic performer of a random events score. The spanish word “capturas” (captures) in the title is related to 

generative ideas behind the composition, the ones which leads to a open work that offers the possibility of making several 

recordings of each movement, “capturing” different instances of the same algorithm. Then the composer chooses one of this 

recordings in a similar way photographers choose a section of a huge landscape. This piece is coded with ambisonic technic 

(B-Format ) so it can be decoded for different multi channel speaker arrays for each unique public instance. An exclusive 

capture of the generative code will be sumitted in Hi-Res binaural mix for ICMC 2015. “First Landscape” is created with 

acoustic instruments samples recorded and performed by the composer. Then this samples are handled by the PureData 

code acording to the score of the piece. This algorithm changes the pitch and speed of the samples, processes them with 

simulated reverberation and localized them in a 3D virtual space (Ambisonics, B-Format). For more info visit 

http://conceptocero.com/capturasdelunicocamino 

PAREIDOLIA - or of the dreamt gardens: Dedicated to Bernard Parmegiani 

1 – Intro (falling asleep) 00:00 to 02:47 

2 – Alektorophobia (despair) 02:48 to 04:53 

3 – Exterior-Hortus (action-will) 04:54 to 07:12 

4 – Interior-Hortus (tension) 07:13 to 09:33 

5 – Trans-Hortus (distension-release) 09:34 to 14:06 

Pareidolia (from the Greek, [παρά] – that which is alongside, or instead of; and Eidolon [εἴδωλον] - figure, image) denotes 

the psychological phenomenon of involuntary nature in which the subject assigns meaning to random sound and/or visual 

stimuli, which do not hold, in themselves, any significance (e.g.: interpreting figures in the clouds or other objects [man- 

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made or natural origin]; to see anthropomorphic forms where there are none). The experience of Pareidolia happens during 

wakefulness but it is in the sleep state and, in particular, during the act of dreaming, which reveals its most problematic 

dimensions. During the dream, the “misleading” character of the pareidolia may have unusual meanings, allowing polysemous 

interpretations, often experienced more emotionally than mentally, more trans-rationally than rationally. Hence, 

significant cleavages burst between the represented sound images and its potential or virtual meanings. At stake here is the 

mystery of the border between the real and the imaginal planes, between meanings that can participate and / or pervade 

both levels, implying contradictions of ontological nature. The conceptual purpose of this piece is to musically narrate a series 

of recurring dreams that illustrate the search for meaning, portrayed through an erratic wandering through an enigmatic 

garden (Hortus), a place with no defined borders, an utopian garden where the physical laws of the world which we inhabit 

do not verify, resulting thus more of in a psychic-sonic garden (full of potential pareidolias) than an actual garden. Used 

sounds include field recordings from the soundscape’s biophony, geophony & anthrophony (eg.: wind, water, earth, leaves, 

twigs and other natural origin debris, a lawn mower, the sweeping of the garden, the clucking of chickens and, finally, dozens 

of Christmas music boxes exposed a Christmas fair in Vienna, Austria). The piece is divided into 5 parts, corresponding 

to contrasting approaches of the contained pareidolias within the recurring dreams (see titles above for more information). 

Between appearance and apprehension, aesthetic experience and its significant implications are situated these sonic Pareidolias. 

This piece was composed within the context of MISO MUSIC’s LEC – Lab for Electroacoustic Creation artist in 

residence program (October 2013 to January 2014). 

Dark Path #2 is a piece of electroacoustic music, usable in stereo and acousmatic. The acousmatic music, whose characteristic 

is to not reveal the source of the sound-generating, unlike, for example, acoustic music, with the presence of the 

musicians on stage, favors a greater concentration on the sound itself, the users being immersed in this, without any “visual 

distraction.” So, it’s possible appreciate characteristics and peculiarities, mostly unheard, of the sound. The sounds used in 

the piece, processed, then “composed” together to create the musical work, were recorded in a soundscape dear to author, 

located in the Italian region of Marche. “Dark Path #2” can be defined as a journey through light, shadow, shape, color, drifts 

and landings. 

The Janus Switch (2015) is a digital performance work merging live cinema and electronic music in a poetic exploration of generative 

audio-visual feedback structures. The system software, created by Cory Metcalf in collaboration with David Stout, allows 

for realtime mixing of mathematic data to create an evolving array of hybrid visual forms and aesthetic behaviors. While 

the technical methods can be interesting in and of themselves, the work is driven by the visceral experience produced by 

the fleeting imagery that emerges in the process of navigating the system. The work is paradoxically, highly composed and 

thoroughly improvisational. The image vocabulary, like music, reveals its source as a kind of fluid state of transitory becoming. 

What emerges for the viewer is a dynamic subjectivity, as the audience must actively complete the circuit to co-create 

the meaning or apparent “thingness” of what the mind and body is confronting. In this process of “Janus Switching” many 

things, places and ideas come and go, including allusions to landscape, cellular life, plant forms, mechanistic structures, 

gateways, glyphs and vessels, just to name a few. All of the resulting sound/music comes from the direct sonification of the 

image processes. The sonification methods allow for working in both tonal/atonal and/or timbre oriented modes including a 

wide array of subtractive noise-based soundscapes. 

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PROGRAM 

The Rush of the Brook Stills 

the Mind (2013).................................................. Elainie Lillios (b. 1968) 

Scott Deal, multi-percussion • live electronics 

Dedication song to 

OMODARUNOKAMI ver3 (2013)................. Kazuya Ishigami (b. 1972) 


Not Too Bad (2015)......................................Jaeseong You/Hyeonhee Park 

(b. 1987)/(b. 1989) 

electroacoustic music (percussion, electric guitar)--fixed media version 

Change Course (2012)...................................... Kurt Stallmann/Steve Duke 

(b. 1964)/(b. 1954) 

Steve Duke, tenor saxophone • electronics 

T-Totum (2009).............................................. Panayiotis Kokoras (b. 1974) 

Patti Cudd, snare drum • electronics 

Bellows (2014).............................................................Chris Peck (b. 1980) 

Chris Peck, flute • electronics 

the throne for sheep (2015)........................... Masataka Ishikawa (b. 1989) 

Kurt Doty, percussion • West Fox, percussion • electronics 

ReduxTwo (2008)......................................................Larry Austin (b. 1930) 

Steven Harlos, piano^ • 8-channel electroacoustic music 

ÛNT Faculty 


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Denton, 09/25 – 10/01 

The Rush of the Brook Stills the Mind for multi-percussion and live, interactive electroacoustics takes its inspiration from a poem 

with the same title by Wally Swist. The percussionist’s virtuosic foray through Swist’s evocative work pairs acoustic and 

electroacoustic forces into a single entity. The Rush of the Brook Stills the Mind was commissioned by percussionist Scott 

Deal and is dedicated to him. 

The trail flashes 

with sluices of snow melt. 

Silver-green undersides 

of hemlock lift in the wind. 

A warbler’s electric call 

climbs all the way 

up the mountain slope. 

That hidden waterfall 

we promised to see 

this spring unrolls bolt after bolt 

of runoff that splashes 

veils of watery lace 

over stones. The canopy 

creaks with pine siskins. 

Mist rises above snow. 

The aloneness almost too much 

for one man. The surge 

of the brook crashes 

around boulders; a sink hole 

swirls and dips. Ripples 

cascade in a basin 

under deadfall to plunge 

into a froth of torrent. 

A nuthatch debugs 

a fallen branch that rocks 

in the current; and a mayfly 

is blown above the spray. 

--Wally Swist from Huang Po and the Dimensions of Love, published by Southern Illinois University Press (2012). Reproduced 

with permission of the author. All rights reserved. 

Omodarunokami is Japanese god that gives the joy of life that live in the earth. We live in the world it confuses now. The attack 

under the justice. Intimidation in the virtual reality. Provocation to provocation. Faultfinding to a mistake. Virtual war, virtual 

marriage and virtual peace. Anyway the cruel world.... but Let’s think about the joy of live to earth.If you think, the real world 

is not so bad. 

Not Too Bad: The sounds of the processed ocean drum, kkengwari, synthesizer, and electronic guitar are preserved to deliver 

the distinct sonic character of each instrument. The dry counterpoint between impulses and noises sometimes supports and 

other times contradicts the rich real instrument sounds. Through the collision amongst such clearly delineated sounds, the 

music culminates itself towards an unreachable climax only to disintegrate itself during the driving process. 

Change Course is, first and foremost, a work of musical theatre. The piece is designed for a live audience that witnesses a 

central ‘character’ undergoing a transformative experience in four stages. There is no written score, only a structured improvisation 

arrived at through a series of communications between Steve Duke and Kurt Stallmann over a period of several 

months in 2011-2012. With each new performance, the structure of the piece is revised to incorporate new insights into the 

character development, and to accommodate the demands of individual performance spaces. In this sense, each performance 

of “Change Course” is unique. The musical elements that are developed include idiomatic fragments that define the 

style of historical jazz saxophone icons like Ben Webster and Dexter Gordon. These fragments are isolated, taken apart, 

and put back together in unusual sequential orderings to create a language that is neither jazz, nor free from the influence 

of jazz. 

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Stage I: Destruction 

Stage II: Remembrance 

Stage III: Imaginary Kingdoms 

Stage IV: Coming to Terms 

T-totum is a study on rotation. The recordings of the electronic part comes from objects rotating on top and around the 

snare drum like various types of spinning tops, a cappuccino plate, glass-balls, motor shaker and other. The percussionist 

interacts with electronic part using various drivers to excite the snaredrum such as spinning tops, a cappuccino plate, glassballs, 

motor shaker and other. The piece requires from the musician to develop virtuosity on sound rather than on complex 

rhythms. The title comes from a type of top, usually having four lettered sides, that is used to play various games of chance. 

T-totum emphasizes on the conception of the ‘association of ideas’ in a way that abstract sounds recall known every day 

listening sounds like airplane, helicopter, steps, wind, seashore etc. These two words build a story within story creating 

association of ideas and as result degrees of ambiguity. 

Bellows is a structured improvisation for composer-performer on flute and live processing, an exploration of the expressive 

potential of the breath and of technological extensions, interruptions, displacements, and replacements for the musician’s 

breath. The audio system is conceptualized as a kind of second set of lungs for the performer. 

the throne for sheep was composed for two percussion players and computer electronics system. The piece is divided into four 

sections and the explosive sound passages lead to the following sections. Drone sound, which is the main sound material 

for the piece, was generated using granular sampling technique. For the construction of the electronic sound part, ‘decorrelation’: 

the idea which is proposed by Horacio Vaggione, was considered. A multiplicity of sound layers based on different 

time scales, is merged into a certain kind of virtual soundscape. 

ReduxTwo (2007) re-visits and transforms my own piano music from the ‘nineties via both the computer music convolution 

process and the exemplary playing/recording of sequences from these pieces by pianist Joseph Kubera, for whom the 

piece is composed. ReduxTwo is the seventh in a current series of pieces for virtuoso performers and octophonic computer 

music, which I have composed since 2001. But ReduxTwo will be different from the previous pieces, in that it “plays” on my 

own previously composed music, rather than varying other “previous” composers’ musics, including Purcell, Moussorgsky, 

Mozart, and Debussy, to be specific. The soloist’s sounds are amplified, processed, and diffused in the listening space, 

combined with the synchronized playback of convolved, octophonic computer music heard in montage: the listener is surrounded 

and immersed in the live and recorded sounds. 

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INSTALLATIONS 


9am–10:40am 





Israel Neuman 






Jorge Variego 







Richard Dudas 


Jøran Rudi 



– break – 


136

41st International Computer 

Music Conference 

Friday, September 25, 2015-Thursday, October 1, 2015 

PROGRAM 

MU 2009 

Harmonically Ecosystemic 

Machine: Sonic Space No. 7 (2015)........................... Jonathan Forsyth/ 

Michael Musick/Rachel Bittner 

(b. 1983)/(b. 1984)/(b. 1989) 

MU 2012 

Granular Wall (2015/ongoing)............................ Jonathon Kirk/Lee Weisert 

(b. 1975)/(b. 1978) 


Hawala (2014)................................................ Margaret Schedel (b. 1973) 

MPAC Lobby 

Cloud (2014)............................................................. Ivica Bukvic/Aki Ishida 

(b. 1976)/(b. 1970) 

Interactive Soundscape 

Environment (InSeE) (2015)......................... Evan Kent/Tae Hong Park/ 

Michael Musick/Andrew Telichan-Phillips 

(b. 1994)/(b. 1972)/(b. 1984)/(b. 1981) 

UNT on the Square 

Backroads (2015)..............................................Chaz Underriner (b. 1987) 

Boundary Synthesizer II (2014)...............Katsufumi Matsui/Tatsuya Ogusu/ 

Seico Okamoto/Selichiro Matsumura/ 

Chuichi Arakawa 

(b. 1985)/(b. 1988)/(b. 1986)/ 

(b. 1970)/(b. 1951) 

Pointillistic Illusion (2014)............................Ji Won Yoon/Woon Seung Yeo 

(b. 1973)/(b. 1973) 

Rainy Scenery (2015)..................................Woon Seung Yeo/Ji Won Yoon 

Star Dust (2015).....................................................Nicole Carroll (b. 1980) 


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138 

Backroads is a piece for video and surround-sound audio that explores the sensations of highway hypnosis: delirium, displacement, 

movement intermingled with repetition and the self-reflections created by being inside your own head for extended 

periods of time. This is accomplished by combining long duration, abstracted video shots of driving the back roads 

of rural Texas with audio field recordings and very slowly evolving organ drones. Backroads explores the dream-like sensation 

of so-called “highway hypnosis” through surrealistic juxtapositions of multiple sonic and visual environments. Each 

kind of driving footage is accompanied by sound that alters the viewer’s perception of that time/space so as to intentionally 

disconnect the conscious mind from the reality of the driving sensation. Sonic spaces meld together within the flickering of 

headlights and lull the viewer into an altered state. 

Granular Wall is a sound installation created by Jonathon Kirk and Lee Weisert. The piece incorporates concepts and strategies 

from fluid dynamics, simultaneous image and sound, and sculpture to create an arresting and direct engagement with 

the beauty of kinetic energy and sonic motion. A 4’ by 4’ tank is filled with water and several thousand neutrally-buoyant, fluorescent, 

“microspheres,” which hover like stars in the water. Fluid motion is driven by mounted propulsion jets, synchronized 

to create spiraling eddies and colliding cross-currents, as well as dramatic shifts from meditative stillness to instantaneous 

bursts of activity. A spatialized musical soundscape is generated in real-time through the mapping of motion tracking data 

captured from cameras. As in the artists’ previous projects, the technological aspects of the piece—though essential to the 

work and hopefully interesting in their own right—serve a secondary role: as facilitators of a very primitive and basic human 

experience. Granular Wall seeks to expose, both visually and sonically, the beautiful and often terrifying flux that we inhabit. 

Boundary Synthesizer II is an interactive audio-visual installation work that makes sound waves by analysis of the visual 

“boundary” of sceneries. Those sceneries come from various videos or real time video input. The computer vision system 

detects the boundary lines of sceneries, such as cityscapes, sea waves and fireworks, automatically. This boundary line is 

extracted from the outline in each video frame and is directly transformed into the sound wave line. Users can manipulate 

parameters by turning knobs and pushing switches of the interface as with typical musical synthesizers. Thus, this installation 

is an audio-visual synthesizer in which the oscillator’s waveform is structured by the visual boundary. Users can 

enjoy playing with Boundary Synthesizer by changing video inputs, controlling the frequency and modulating both video 

and sound. Monotonous sounds are made from monotonous scenery; complex sounds are made from scenery with active 

movements, for example sea waves and fireworks. Users can experience the intuitive connection of scenery and sound. 

Rainy Scenery (composed by Ji Won Yoon, visualized by Woon Seung Yeo) is a visual music piece to present the feeling of a 

scenery outside the window on a rainy day. Music of the piece is mostly generated by granulation of actual water dropping 

sound samples using Common Lisp Music (CLM), and then visualized based on short-time Fourier transform (STFT) results 

of the input sound using Processing. With black and gray “brush strokes” on an empty white background, the piece is 

intended to show the soft and natural imagery of ink wash painting (i.e., traditional East Asian brush paintings); we believe 

this visual impression causes certain level of emotional tension against the artificial feeling of the sonic gesture of music, 

making the audiovisual integration of the piece more intriguing and engaging. Woon Seung Yeo, visual artist; Ji Won Yoon, 

composer 

Pointillistic Illusion (composed by Ji Won Yoon, visualized by Woon Seung Yeo) features a vibrant polyrhythmic musical piece 

with sounds of percussive instruments, the piano, and synthesizer as well. Numerous notes are delayed and replicated 

continuously like echoes, and suddenly disappear to create a large-scale musical structure resulting from the incessant fluctuation 

of energy throughout the duration of the whole piece. This “mechanical” texture of music is visualized by repetitive 

appearances and motions of small rectangles at different places; while their horizontal positions are determined by frequency, 

virtually random vertical locations make it as energetic as the original music. Colors are also selected to represent its 

liveliness. Woon Seung Yeo, visual artist; Ji Won Yoon, composer 

Cloud: From October 2 to 4, 2014, a constellation of fifty cloudlets that make up the Cloud filled the central space of Welburn 

Square in Ballston, Virginia. Two affiliated faculty members of Ivica Ico Bukvic, led the development and fabrication of the 

Cloud with a team of designers and engineers in Blacksburg. The cloudlets emit light and sound in response to light and 

sound generated by other cloudlets, people, and the environment. Each cloudlet’s aluminum honeycomb and acrylic vessel 

contains a Raspberry Pi microcomputer, light sensors, microphone, multi-color LEDs, and a small speaker that driven by Pd- 

L2ork free open source software. Workshop participants from Arlington businesses, organizations, and schools customized 

the behaviors of each cloudlet. Cloud grew cumulatively as more people partook in its making and activation. Five 75-minute 

community- and team-building workshops were offered on October 2. Fifty teams, each consisting of two to six members 

customized the behaviors of cloudlets and placed them in Welburn Square under the artists’ aesthetic and technical guidance. 

There were four different heights of cloudlets, each with its own color and sound properties (user-selectable collection 

of sounds of water, crickets, birds, and chimes). As people walked in and out of the circles, the sounds were heard spatially 

from multiple heights and directions, generating a contemplative environment. The ensuing Cloud consisting of 50 cloudlets 

serves as a reflection of the community to which it belongs. Each cloudlet manifests unique behavior and feeds off of each 

other’s sound and light as customized by the community participants. The project was originally funded by Ballston Business 

Improvement District. Generous discounts and in-kind donations provided by Hilton Arlington, Residence Inn Arlington 

Ballston, Modern Devices, Plascore Inc, and Holen Aluminum Products. 

Interactive Soundscape Environment (InSeE): The proposed 2015 ICMC installation is a collaborative project in exploration of 

sound objects, spatioacoustic sonic idiosyncrasies, and narrative sound art. The postulation of the work is the existence of

locative sonic characteristics, and that such sonic characteristics will provide an environment for a unique form of critical, 

and sensory engagement with surrounding landscapes and ecosystems. Our work will thus be driven by locative soundscape 

audio signals, audio descriptors, and data-driven sound synthesis strategies streamed from the areas within Denton 

close to UNT (e.g. Lewisville Lake and Clear Creek Preservation) and around/on the UNT campus. The technical and 

conceptual development of this work will aim at folding in interactivity and real-time technologies within a soundscape framework 

and metaphor for the exploration of (1) idiosyncrasies of soundscapes and the concept of geophonicity; (2) sonification 

strategies; (3) musical exploration of soundscapes: raw, unaltered states, modulated states, and entirely synthesized states; 

(4) real-time interaction; and (5) exploitation of the Citygram system. The overall result is intended to be a technically innovative, 

data rich and environmentally useful creation. 

The Harmonically Ecosystemic Machine – Sonic Space No. 7; is an interactive music performance system building on the combined 

work of the three contributing artists/researchers. This piece invites participants to contribute musically by playing the 

instruments placed throughout the active space. In doing so, they join the system as collaborators and interrelated musical 

agents. In essence this creates a chamber work, in both senses of the word: the piece becomes an improvisational chamber 

work between the system and participants, and a work that activates the entire physical chamber it is installed within. 

Hawala is the Arabic word for transform, but it is usually used to describe the indirect transfer of money. In its most basic 

form, money is transferred via a network of brokers, or hawaladars. Essentially, an agent instructs a remote associate to 

pay the final recipient; it is money by indirect route, or “money transfer without money movement.” Around 5000 B.C. metal 

objects began to be used as the first type of money, all the sounds heard were created using a variety of metal instruments. 

The practice of Hawala decorporializes money, while the metallic sounds in the installation serve to recorporialize currency. 

Because of the specialized speaker drivers, the sound needs an agent—in this case the architecture of the space—in order 

for the sonic transfer to take place. The consonants in Hawala can also be thought to represent height, width, and length– 

measures of dimensions in the English language. 

Star Dust is a multi-channel installation that is ever-changing and self-perpetuating—a piece without a beginning or end. The 

foundation of “Star Dust” is a synthesis and data mapping engine built on Python and Max/MSP/Jitter. Orbital body data is 

downloaded daily via NASA’s telnet service to the Horizons Ephemeris System, which is open and freely available to the 

public. Most data calculations are made relative to the installation’s longitude and latitude coordinate position, creating a 

location-specific piece. Data sets for each represented orbital body are mapped to corresponding audio and video synthesis 

modules, creating a sonic and visual representation of the planetary body, which rotate through the sound field and across 

the projection surface. Each body interacts with nearby bodies, creating a dynamic environment. The data changes on a 

daily basis, and cycles through 30 days of data within an overlapping 20-30 minute window. Each module cycles through its 

data set at a unique rate, reflecting the varying periods of the bodies. Camera tracking and capacitive-touch sensors embedded 

in pillows capture the listener’s movement and position, triggering audio events in the high-frequency range and shifts 

in the video projection’s perspective. The tracked movements, in combination with the data, drive LED patterns on scrims, 

which correspond to the major orbital bodies. Conceptually, my goal is to build an environment that invites mediation and 

reflection, where the listener is able to feel and hear the bodies moving around them in space. It is my hope that the piece 

offers the listener an insight into the data that they would not otherwise experience. The mappings have been designed to 

give the piece an organic feel, with pulsations and woven rhythms that the listener can physically experience. 

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COMPOSER AND PERFORMER BIOGRAPHIES 


9am–10:40am 





Israel Neuman 






Jorge Variego 







Richard Dudas 


Jøran Rudi 



– break – 


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Dr. Jesse Allison is a professor at LSU in Experiment Music & Digital Media. As part of the AVATAR initiative, he is actively 

developing ways that technology can expand what is possible in the arts. As an artist, Allison has disseminated works 

around the globe through live performance art, interactive installations, and virtual and hybrid world interventions. Recent 

performances/exhibits include Siggraph, Techfest Bombay, International Computer Music Conference, the IUPUI Intermedia 

Festival, Boston Cyberarts Festival, and SEAMUS. Allison received his doctor of musical arts in composition from the 

University of Missouri-Kansas City. For more information visit: http://allisonic.com 

Damian Anache (1981, Quilmes, Buenos Aires, ARG) Composer, PhD Student and grant holder (UNQ, CONICET). Some 

of his works has been played in concerts and events at: Conservatorio Santa Cecilia (Rome, ITA); Espacio Sonoro UAM-X - 

Universidad Autónoma Metropolitana (DF, MEX); CMMAS - Centro Mexicano para la Música y las Artes Sonoras (Morelia, 

MEX); Museo de Arte Moderno de Ecuador (Quito, ECU); Universidad Nacional de Córdoba (Córdoba, ARG); Centro Cultural 

Roberto Fontanarrosa (Rosario, ARG); Centro Cultural de España en Buenos Aires y Centro Cultural Recoleta (BsAs, 

ARG). First solo album “Capturas del único camino” published on 2014 by Concepto Cero and Inkilino Records. 

James Andean is a musician and sound artist. He is active as both a composer and a performer in a range of fields, including 

electroacoustic composition and performance, improvisation, sound installation, and sound recording. He is a founding 

member of improvisation and new music quartet Rank Ensemble, and one half of audiovisual performance art duo Plucié/ 

DesAndes. He has performed throughout Europe and North America, and his works have been presented around the world. 

He is a lecturer at the Centre for Music & Technology of the Sibelius Academy/University of the Arts Helsinki. 

Aaron Anderson completed his bachelor degrees at Ball State University in Music Technology and Music Composition 

under the tutelage of Keith Kothman, Michael Olson, and Michael Pounds. Aaron has had works presented at SEAMUS 

(2013), Electronic Music Midwest (2013), The Electroacoustic Barn Dance (2013, 2014), Threshold (2012, 2014), N_SEME 

(2014) and Root Signals (2014). In the fall of 2014, he began his MM in Music Technology at Georgia Southern University 

under the direction of John Thompson. 

Daichi Ando: Ph.D in Science, Born in 1978 in Japan. He studied composition and computer music under Takayuki Rai 

and Cort Rippe at the Sonology Department, Kunitachi College of Music, Japan. Then he studied computer music with 

Palle Dahlstedt and Mats Nordahl at the Art & Technology, International Master Program from IT-University of Göteborg, 

Chalmers University of Technology, Göteborg, Sweden. In addition, he received a Ph.D. in science from Graduate School 

of Frontier Sciences, The University of Tokyo, Japan for studies in the application of numerical optimization methods to art 

creation. Currentrly, he teaches and conduct researches as Assistant Professor in Division of Industrial Art, Tokyo Metropolitan 

University. 

Ioannis Andriotis (b. 1983, Greece) is currently pursuing his DMA in Music Composition at the University of Oklahoma - 

USA. Andriotis focuses on sociological aspects of music emphasizing social memory and its reflections on contemporary 

human relationship and interaction. He has composed works for acoustic and acousmatic media, live electronics, theatre, 

short films, international biennales, and installations. His work has been presented in Europe, Canada, the United States, 

and the Middle East. 

Linda Antas is a composer, arts technologist, flutist, and educator. Her works have appeared on festivals including the International 

Computer Music Conference (ICMC), the Society for Electroacoustic Music in the United States (SEAMUS), the 

Città di Udine International Composition Competition (Taukay Edizioni Musicali), the Sound and Music Computing Conference, 

and the Fifth International Congress on Synesthesia: Science and Art. She has been recognized by the Musica Nova 

International Competition of Electroacoustic Music, the Fulbright Foundation, the Bourges Electroacoustic Composition 

Competition, and has received commissions from the International Computer Music Association and various internationally-renowned 

performers. She regularly collaborates with visual and sound artists and scientists for creative and educational 

projects. Her current research involves visual music, real-time signal processing, and physical computing. Antas teaches 

music technology, interdisciplinary multimedia courses, and composition at Montana State University and is currently Vice 

President for Membership of SEAMUS. Her acoustic and electroacoustic works are published on the Ablaze, TauKay, Centaur, 

EMS, and Media Café labels. In addition to (and sometimes in combination with) musical activities, she spends time in 

the wilderness and practices Buddhism. 

Jon Appleton was born in Hollywood, California in 1939. He composes instrumental, choral, and electroacoustic music. 

Appleton edited The Development and Practice of Electronic Music in 1973. He also was a founding member of the Confédération 

Internationale de Musique Électroacoustique (CIME) and the Society for Electro-Acoustic Music in the United 

States (SEAMUS). One of the developers of the first digital performance instruments, the Synclavier, he splits his time 

between Vermont and the South Pacific. http://appletonjon.com 

Toshimasa Arai, Graduated from Senzoku College of Music, Majoring in vocal music and opera in 1999, Toshimasa Arai is 

a professional Baritone based in Tokyo and Taipei.He studied with Franco Pagliazzi in Florence in 2000, after returning to 

Japan, the operas he participated including, “The Magic Flute” as “Papageno” , “Marriage of Figaro” as “Figaro”, “Die Fledermaus” 

as “Frank”, “Gianni Schicchi ” as “Betto”, “Don Giovanni” as “Leporello” , “Il Tabarro.” , “Hansel and Gretel” as “Peter”, 

“Tosca “, “Serbia barber” , “La Boheme” etc. Toshimasa Arai is also well known in performing Japanese folk songs. Recently 

he started to join many contemporary music concerts and musicals. which lead his performance into a wider range of art. 

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142 

Cuichi Arakawa is a Professor of Mechanical Engineering at the University of Tokyo. 

Award-winning composer Josh Armenta writes music of and about our time. He finds inspiration in themes such as worker’s 

rights, urban tragedy, loss of life and the juxtaposition of the sacred and profane. Josh’s music has been performed across 

the United States and Europe. In 2012, his two act opera, The City of God, which chronicles the life and death of David 

Koresh, was premiered at the Capital Fringe Festival in Washington, DC. The libretto was noted by DC Theatre Scene 

as having “powerful stuff driven by a building drum beat that is unmistakably warlike,” while “the music...generated real 

emotion”. Josh earned his Bachelor of Music degree in composition from the Catholic University of America in Washington, 

DC, where he studied conducting with Murry Sidlin, David Searle and Leo Nestor, and composition with Steven Strunk and 

Stephen Gorbos. He is currently pursuing graduate studies at the Peabody Conservatory in Baltimore, Maryland, where he 

works under the guidance of distinguished composers Michael Hersch and Geoffrey Wright. 

Francesca Arnone is an active flute and piccolo soloist, chamber musician, and clinician. She’s performed in Europe, Asia, 

and the Americas, in such venues as St. Martin-in-the-Fields, Royal Northern College of Music, Royal Conservatory of Madrid, 

Split Academy of Music (Croatia), and the Chicago Public Library. Currently flute professor at Baylor, she’s a member 

of the Baylor Faculty Players, Baylor Wind Quintet, and the Waco Symphony. A veteran of regional and opera orchestras in 

the US and Mexico, she’s also been a concerto soloist on flute, alto flute, and piccolo, playing solo repertoire ranging from 

Bach to Chen Yi. 

Austin based freelance musician, Dr. Rebecca Ashe, has appeared across the country as a performer, lecturer, and masterclass 

clinician. A new music performer and collaborator, she has partnered with several composers and has performed over 

fifty world premiers, as well as at several festivals, including Electronic Music Midwest (Resident Artist for 2010 Festival), 

Society of Composers, Inc., Kansas City Electronic Music and Arts Alliance (KcEMA), the New York City-based Composers 

Voice Series, SPARK, SEAMUS, and the Electroacoustic Juke Joint. She has performed recitals throughout the United 

States, Canada, England, and Latvia. She can be heard on Plastic Time, an album of music by composer Jorge Sosa, and 

Quirk, where she is the featured flutist. Along with her active performing career, she keeps an active studio of flute students 

ranging from elementary school age through adult. She has been adjunct professor of flute and music theory at Park University, 

in Missouri, adjunct professor of flute at the University of Mary Hardin-Baylor, Southwestern University in Georgetown, 

Texas, and at the University of Missouri-Kansas City. Dr. Ashe earned her Bachelor degree in Applied Music (flute) 

at the Eastman School of Music, where her principal teacher was Bonita Boyd. She earned both Master of Musical Arts 

and Doctor of Musical Arts degrees from the University of Missouri -Kansas City, studying with Dr. Mary Posses. In 1998, 

she was the only American and one of four flutists worldwide to be chosen for Trevor Wye’s prestigious one-year course in 

Kent, England. Dr. Ashe recently published a children’s book, called Cat+Gitl. Currently, she is working on a Youtube video 

project. Please visit at http://catgirl.me. 

Nathan Asman is a musician, composer, and music technologist. His musical and artistic endeavors reside mainly within 

the electronic/digital realm, where he specializes in data-driven instruments and sound generation. Focusing on the intersection 

of popular and academic music, he strives to unite the two musical styles utilizing the endless musical and artistic 

opportunities afforded him by the world of music technology and computer-based music. Nathan hopes to create new and 

unheard sounds from the ground up by employing innovative and alternative instruments in composition and performance. 

His goal is to apply his knowledge and skills to further the field of music technology and produce music that can be appreciated 

by both the academic and casual listeners. Nathan received his M.Mus in Intermedia Music Technology from the University 

of Oregon, and his B.A. in music (with an emphasis in music history) from Denison University. He is now pursuing his 

D.M.A. in Data-Driven Instruments at the University of Oregon under the direction of Dr. Jeffrey Stolet and Dr. Chet Udell.” 

Larry Austin (b. 1930, Oklahoma), composer, was educated in Texas and California, studying with Canadian composer 

Violet Archer, French composer Darius Milhaud, and American composer Andrew Imbrie. He also enjoyed extended associations 

in the ‘sixties with composers John Cage, Karlheinz Stockhausen, and David Tudor. Austin’s orchestral works have 

been performed and recorded by the New York Philharmonic, Boston Symphony, the National Symphony orchestras, as 

well as many other orchestras in North America and Europe. Since 1964, he has composed more than seventy works incorporating 

electroacoustic and computer music media: combinations of tape, instruments, voices, orchestra, live-electronics 

and real-time computer processing, as well as solo audio and video tape compositions. Austin has received numerous commissions, 

grants, and awards, his works widely performed and recorded, including the 1994 premiere recording of Austin’s 

complete realization (1974-93) of Charles Ives’s transcendental Universe Symphony (1911-51), its European premiere at 

the 1995 Warsaw Autumn Festival by the National Philharmonic of Warsaw and its German premiere at the 1998 Music in 

the 20th Century festival by the Saarland Rundfunk Sinfonieorchester. In 1996, Austin was awarded the prestigious Magistere 

(Magisterium) prize/title in the 23rd International Electroacoustic Music Competition, Bourges, France, for his work 

BluesAx (1995-96), for saxophonist and tape/electronics, and for his work and influential leadership in electroacoustic music 

genres through the past thirty years. Austin was the first US composer to receive the Magistere. In 1998, Austin was awarded 

a month-long composer residency at the Rockefeller Foundation Bellagio Center in Italy. From 1958 to 1972 Austin was 

a member of the music faculty of the University of California, Davis, active there as a conductor, performer, and composer. 

There, in 1966 he co-founded, edited, and published the new music journal, SOURCE: Music of the Avant Garde. Subsequently, 

he served on the faculties ofthe University of South Florida, 1972-78, and the University of North Texas,1978-96, 

founding and directing extensivfe computer music studios at both universities. In 1986 he co-founded and continues as 

president of CDCM: Consortium to Distribute Computer Music, producer of the CDCM Computer Music Series on Centaur

Records, with twenty-five compact disc volumes released since 1988. On the Board of Directors of the International Computer 

Music Association, Austin served as its president, 1990-94. Retiring from his 38-year academic career in 1996, Austin 

resides with his wife Edna at their home in Denton, Texas. Working in and out of his Denton studio, gaLarry, Austin continues 

his active composing career with commissions, tours, performances, recordings, and lecturing, anticipating future extended 

composer residencies in New York, Tokyo, and Europe. 

Andrew Babcock is a PhD student in music composition at the University of Florida. Previously, he earned his MA in music 

composition at the University at Buffalo and his BA in music from Hamilton College in Clinton, NY. Andrew’s main interest 

lies in the transmission and perception of voice in the electroacoustic medium. He was awarded first prize in the 2011 

Sound in Space competition co-sponsored by Harvard University, Northeastern University, and the Goethe-Institut and received 

a special mention in the Metamorphoses 2012 competition in Belgium. His works have been featured internationally 

at festivals such as Sonorities, ICMC, TES, NYCEMF, and SEAMUS. 

Curtis Bahn is an improvising composer involved in relationships of body, gesture, technology and sound. He holds a PhD 

in music composition from Princeton University, and studies Hindustani classical music as a formal disciple of acclaimed 

sitarist, Ustad Shahid Parvez Khan. He has taught at Columbia University, Brown, NYU, Princeton and CUNY. His music has 

been presented internationally at venues including Lincoln Center, Sadler’s Wells - London, Palais Garnier – Paris, Grand 

Theatre de la Ville – Luxembourg, as well as numerous festivals, small clubs and academic conferences. He has worked 

with the Trisha Brown and Merce Cunningham Dance Companies. Curtis recently was named the “Ralph Samuelson fellow” 

through the Asian Cultural Council, receiving a grant to study and collaborate with artists in India. Curtis is Assoc. Prof. and 

Graduate Program Director for the Arts at Rensselaer Polytechnic Institute in Troy New York. 

Born in Katerini in 1975, Dimitris Bakas studied composition with Theodore Antoniou. In 2004 he moved to London for 

further studies in composition at Goldsmiths, University of London, where he was awarded an MMus and recently completed 

succesfully his PhD, under the supervision of Roger Redgate. His music has been performed in the UK, Greece and USA 

and has successfully participated in competitions worldwide. Since 2009 he is a shortlist composer at Sound and Music. 

For the academic year 2010 - 2011 Bakas was a visiting scholar at Columbia University in New York (accepted by Tristan 

Murail) where he completed a Post Doctoral Research. 

Flutist Brittney Balkcom is an emerging artist known for her “wonderful control,” “terrific energy,” “beautiful, spinning 

sound” and “sensitive musicianship” with “marvelous potential.” She is currently a doctoral candidate and Point Foundation 

Scholar at the University of North Texas. Brittney is the First Prize Winner of the 2013 Myrna. W. Brown Artist Competition, 

and subsequently appeared as a featured guest artist at the 2014 Texas Flute Festival, where she presented a solo recital 

and premiered Samuel Beebe’s “Suite Urbano” for flute and piano. She has won top prizes and awards from flute organizations 

in Atlanta, Oklahoma, Kentucky, and Texas; and in October 2013, Brittney made her Carnegie Hall debut at Weill 

Recital Hall as a first prize winner of the Alexander & Buono International Flute Competition. Brittney has performed and 

recorded with several orchestras and ensembles such as the Boston Chamber Orchestra, Brookline Symphony, Longitude 

New Music Ensemble, New England Repertory Orchestra (NERO), Video Game Orchestra, and the Encounters Ensemble 

for a Summer 2014 special engagement at the Peabody Essex Museum with composer-in-residence Matthew Aucoin and 

rising Metropolitan Opera star Anthony Roth Costanzo. She can be heard as the solo flutist on the original soundtrack to 

Final Fantasy XII: Lightning Returns, which was developed and produced by Square Enix and released in February 2014. 

She also worked as a Teaching Artist in 2013 for the Boston Landmarks Orchestra’s inaugural “Notes in the Neighborhood” 

program, which brings music performance and education to children in Boston’s underserved communities; and is currently 

on the board of the National Flute Association’s Cultural Outreach Committee. Brittney has studied at the University of North 

Texas, the Longy School of Music, and the University of Southern California. Her teachers are Terri Sundberg, Elizabeth 

McNutt, Jim Walker, and Robert Willoughby. She is a represented as a Miyazawa Emerging Artist. 

Mark Ballora is associate professor of music technology at Penn State University, where he teaches courses in audio/ 

music production, musical acoustics, history of electroacoustic music, and software programming for musicians. He studied 

theatre arts at UCLA, and composition and music technology at NYU and McGill University. He is author of the textbook 

Essentials of Music Technology (Prentice Hall, 2003), has written columns for Electronic Musician magazine, and has published 

articles describing sonification, which is the representation of scientific data sets through auditory/musical displays. 

His sonifications of astronomical and physiological datasets have been used by percussionist/ethnomusicologist Mickey 

Hart as part of performances of the Mickey Hart Band, and on their albums Mysterium Tremendum and Superorganism, 

as well as the film Rhythms of the Universe, which Hart conceived with cosmologist George Smoot. His website is www. 

markballora.com 

Clarence Barlow was born in 1945 into the English-speaking minority of Calcutta, where he went to school and college, 

studied piano and music theory, started composing in 1957 and obtained a science degree in 1965. After activities as 

pianist, conductor and music theory teacher he moved in 1968 to Cologne, where he studied composition and electronic 

music until 1973, also studying sonology in Utrecht from 1971-1972. His use of a computer as a compositional aid dates 

from 1971. From 1982-1994 he was in charge of computer music at the biannual Darmstadt New Music Summer Courses 

and from 1984-2005 lecturer on computer music at Cologne Music University. From 1990-94 he was artistic director of the 

Institute of Sonology at the Royal Conservatory The Hague, where from 1994-2006 he was professor of composition and 

sonology. Since 1994 he has been a member of the International Academy of Electroacoustic Music in Bourges. In 2006 

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144 

he was appointed Corwin professor and head of composition at the Music Department, University of California in Santa 

Barbara, where he now lives. 

Scott Barton is an Assistant Professor of Music at Worcester Polytechnic Institute who composes, performs, and produces 

(electro)(acoustic) music. His interests include rhythm, auditory and temporal perception, musical robotics, and audio 

production. As a researcher, programmer, and author, he has collaborated with the Kubovy Perception Lab at U.Va. on 

psychological experiments involving rhythm perception. He founded and directs the Music, Perception and Robotics lab at 

WPI, which develops robotic musical instruments and software that enables human-robot musical interaction. He co-founded 

EMMI, a collective that designs, builds and performs with robotic musical instruments. He studied music and philosophy 

at Colgate University, received his Master of Music in Composition from the Brooklyn College Conservatory of Music, and 

completed his Ph.D. in the composition and computer technologies program at the University of Virginia. His music has 

been performed throughout the world including at SMC; ICMC; CMMR; NIME; and the Leeds IFIMPaC. scottbarton.info 

Bret Battey (b. 1967) creates electronic, acoustic, and multimedia concert works and installations. He has been a Fulbright 

Fellow to India and a MacDowell Colony Fellow, and he has received recognitions and prizes from Austria’s Prix Ars 

Electronica, France’s Bourges Concours International de Musique Electroacoustique, Spain’s Punto y Raya Festival and 

MuVi4, Abstracta Cinema of Rome, Amsterdam Film eXperience and the Texas Fresh Minds Festival for his sound and 

image compositions. He pursues research in areas related to algorithmic music, haptics, image and sound relationship, and 

synthesis techniques, with papers published in Computer Music Journal and Organised Sound. He completed his masters 

and doctoral studies in Music Composition at the University of Washington and his Bachelors of Music in Electronic and 

Computer Music at Oberlin Conservatory. His primary composition and technology teachers have been Conrad Cummings, 

Richard Karpen, and Gary Nelson. He also served as a Research Associate for the University of Washington’s Center for 

Digital Arts and Experimental Media. He is a Senior Lecturer with the Music, Technology, and Innovation Research Centre 

at De Montfort University, Leicester, UK. 

Alba Francesca Battista (1987) graduated in Musica Elettronica, Piano and Physics. Her compositions and papers are 

selected for many international contests (ICMC 2014 International Computer Music Conference, Athens, Greece; EMS14 

Electroacoustic Music Beyond Concert Performance, Berlin, Germany; KEAMSAC 2014 Korean Electro-Acoustic Music Society’s 

Annual Conference, Seoul, Korea; ICMC 2013 International Computer Music Conference, Perth, Australia; Vernice 

Contemporanea – 55ma Biennale d’Arte, Venice, Italy; …). Her electroacoustic work Nueva Luz won the third prize of the 

International Competition of Festival Internacional de Arte Sonoro Monterrey SONOM 2014 (Mexico). She is the author of 

“Elementi di Acustica Fisica e sistemi di diffusione sonora” (2012) and “Elettrotecnica ed Elettronica. I nuovi strumenti che 

hanno rivoluzionato l’estetica della musica” (2014). She works as Electroacoustic Professor for the Bachelor and Master’s 

Degree in Electroacoustic Composition at “D. Cimarosa” Conservatory of Avellino, Italy. 

Houston-based percussionist Brandon Bell is active as a performer and educator. He is currently pursuing a doctor of musical 

arts degree at the Shepherd School of Music, Rice University, where he is the Malcolm W. Perkins Teaching Fellow, 

and is curator of the New Art/New Music series at the Rice Gallery. A fierce advocate of the music of our time, Bell used the 

2014 Presser Graduate Music Award to fund Plugged In, a commissioning project that resulted in five new works for solo 

percussion and interactive technologies. He has also performed new and experimental works at numerous conventions 

and festivals, including PASIC, Electric LaTex, Houston Fringe Festival, Root Signals, and Null Point. A native of Buffalo, 

New York, Bell received a Master of Music degree from Rice University, and a Bachelor of Music degree from the Peabody 

Institute of The Johns Hopkins University. He spends his summers in Aspen, Colorado, where he is the percussion manager 

of the Aspen Music Festival and School. 

Eston D. Bell (Tenor Trombone) received his Bachelors of Music at Washburn University in Topeka, KS under Karen Zawacki-Ballard. 

Eston’s devotion to music has propelled him to pursue his MM in trombone performance at the University of 

North Texas. Currently in his third year, he is under the tutelage of Tony Baker. Performing in large and small ensembles at 

UNT, such as the UNT Wind Symphony, Trombone Consortium, Avenue C Quartet, UNT Symphony Concert Orchestra and 

NOVA. While in Texas he has performed with the San Angelo Symphony Orchestra and the LSWO Youth Orchestra. Along 

with being an active trombonist, Eston also teaches privately in the Lewisville Independent School District. When not doing 

all things trombone, spending time with his wife, two year old son and Darcy his dog, is his favorite past time. 

Jon Bellona is an intermedia artist/composer who specializes in digital technologies. Jon’s music and intermedia work have 

been shown internationally including KISS (Kyma International Sound Symposium); SEAMUS (Society for Electro-Acoustic 

Music in the United States); IMAC (Interactive Media Arts Conference); SLEO (Symposium on Laptop Ensembles and Orchestras); 

with special performances at the Casa da Musica (Porto, Portugal) and CCRMA (Palo Alto, CA). Jon received his 

M.Mus. in Intermedia Music Technology from the University of Oregon, audio engineering degree from the Conservatory for 

Recording Arts & Sciences, and B.A. from Hamilton College. Jon is currently pursuing his Ph.D. in Composition and Computer 

Technologies (CCT) at the University of Virginia and is part of the art collective, Harmonic Laboratory. 

After completing a BA in History (1988) at the University of Calgary, a Diploma in Composition (1996) at Grant MacEwan 

College (Edmonton) and a MMus in Composition (2000) at the University of Calgary, David Berezan moved to the UK and 

completed a PhD in Electroacoustic Composition (2003) at the University of Birmingham (UK). In 2012 he was appointed 

Professor in Electroacoustic Music Composition at The University of Manchester (UK), where he has acted, since 2003, as

Director of the Electroacoustic Music Studios and MANTIS (Manchester Theatre in Sound). Since 2000 he has primarily 

composed acousmatic music, though he has also composed and performed solo and ensemble live-electronics works. He 

is a practitioner and proponent of sound diffusion performance and the interpretation of fixed-media work. David Berezan 

has been awarded in the Music Viva (Portugal, 2012), Bourges (France, 2002), Luigi Russolo (Italy, 2002), Radio Magyar 

(Hungary, 2001), São Paulo (Brazil, 2003, ’05), L’espace du son (Belgium, 2002) and JTTP (Canada, 2000) competitions. In 

addition to frequent concert performances of his work, his music has been broadcasted on the CBC (Canadian Broadcasting 

Corporation) as well as the BBC (British Broadcasting Corporation). He has worked in residence in the studios of the University 

of Calgary (Canada, 2011), Université de Montréal (Québec, 2011), CMMAS (Mexico, 2011), EMS (Sweden, 2011, ’12), 

VICC (Sweden, 2011, ’12), The Banff Centre of the Arts (Canada, 2000, ’07), ZKM’s Institut für Musik und Akustik (Germany, 

2007), Ina-GRM (France, 2007), IMEB (France, 2007), ESB (Switzerland, 2005), and Tamagawa University (Japan, 2007). 

Continuously exploring the myriad ways that music intersects with science, nature, and the human world, Kari Besharse’s 

compositional output spans various facets within the field of contemporary music, fully engaging new technological resources 

as well as traditional instruments and ensembles. Her works, which incorporate sounds from acoustic instruments, found 

objects, the natural world, and sound synthesis, are often generated from a group of sonic objects or material archetypes 

that are subjected to processes inspired by nature, physics and computer music. Kari was awarded the Bourges Residence 

Prize for her electroacoustic work Small Things and has received additional honors from the Tuscaloosa New Music Collective, 

Look and Listen Festival, the ASCAP Young Composers Competition, and the INMC Competition. Her music has been 

presented by organizations and ensembles such as Alarm Will Sound, cellist Craig Hultgren, The Empyrean Ensemble, 

The California Ear Unit, The East Coast Contemporary Ensemble, Society of Composers, Inc., ICMC, SEAMUS, Bourges, 

Elektrophonie, Third Practice, 60X60, The Electroacoustic Juke Joint Festival, New Music Forum, Pulse Field, trombonist 

Benjamin Lanz and violist Michael Hall. Currently a lecturer at Southeastern Louisiana University, Dr. Besharse has also 

taught at Illinois Wesleyan and University of Illinois at Urbana-Champaign. Kari’s education includes undergraduate studies 

at UMKC (B.M.), and graduate work at the University of Texas at Austin (M.M.) and University of Illinois at Urbana-Champaign 

(D.M.A.). 

American composer Thomas Rex Beverly is a graduate of Trinity University in San Antonio, Texas where he received a 

bachelor’s degree in music composition. At Trinity, he studied with Timothy Kramer, David Heuser, Jack W. Stamps, and 

Brian Nelson. Beverly studied abroad in fall 2008 in Prague, Czech Republic. There he studied composition with the Czech 

composer Michal Rataj and researched contemporary Czech music. He completed a Master of Arts in Teaching for Music 

Education at Trinity University and then taught as the Band and Choral Director at KIPP Aspire Academy in San Antonio. He 

has had pieces performed at the 2013 Electroacoustic Barn Dance Festival, the 2013 New Voices Festival at the Catholic 

University of America, the 2013 CFAMC National Conference, N_SEME 2013 at Temple University, the 2014 Biennial Symposium 

for Arts and Technology at Connecticut College, N_SEME 2014 at Georgia Southern University, the 2014 Bowling 

Green State University Graduate Student Conference, the 2014 SCI Iowa New Music Symposium, the 2014 TransX Transmissions 

Art Symposium in Toronto, Canada, the 2014 Sweet Thunder Electroacoustic Festival, NYCEMF 2014, Circuit 

Bridges, IngenuityFest 2014, the Firenze Multimedia Festival, the 2014 International Computer Music Conference, the 2014 

ATMI National Conference, and the 2014 CMS National Conference. He piece Ringing Rocks is a winner of the Cypress 

Symphonic Band Call for Score for new wind ensemble music, he was one of eight composers selected to attend the 2014 

So Percussion Summer Institute, and his piece Ocotillo was selected as a winner of the Juventas New Music 2015/16 Call 

for Scores. He is currently attending graduate school at Bowling Green State University in their Master of Music Composition 

degree program. He is studying with Elainie Lillios and Christopher Dietz and is a Music Technology Teaching Assistant. 

Christopher Biggs is a composer and multimedia artist residing in Kalamazoo, Mich., where he is Assistant Professor 

of Music Composition at Western Michigan University. Biggs’ recent projects focus on integrating live instrumental performance 

with interactive audiovisual media. In addition to collaborating with artists in other disciplines on projects, he treats 

all of his works as collaborations between himself and the initial performing artist by working with the performers during the 

creative process and considering their specific skills and preferences. Biggs’ music has been presented across the United 

States and Europe, as well as in Latin America and Asia. His music is regularly performed on conferences and festivals, 

including the SEAMUS Conference, Visiones Sonoras, Electronic Music Midwest, and Society for Composers Inc. His music 

is available on Ravello Records, Irritable Hedgehog, and Peanut Shell Productions. Biggs received the 2008 Missouri Music 

Teacher’s Association composer of the year award, the 2009 SEMAUS/ASCAP first place award, the 2011 MACRO International 

Composition Award, the 2012 Issa Music and Dance Faculty Award, and a 2013 Kalamazoo Artistic Development 

Initiative Grant. He was a Preparing Future Faculty Fellow at the University of Missouri-Kansas City from 2007 to 2010. 

Biggs teaches acoustic and electronic music composition, electronic music, digital media, and music theory. He received 

degrees from American University (B.A. in print journalism), The University of Arizona (M.M. in music composition), and the 

University of Missouri-Kansas City (D.M.A. in music composition). He studied music composition with Zhou Long, Chen Yi, 

James Mobberley, Joao Pedro Oliveira, Daniel Asia, and Paul Rudy. 

Rachel Bittner is part of MARL’s Music Informatics group and works under Dr. Juan P. Bello. Her background in both Music 

and Mathematics. She got her Bachelor’s at the University of California, Irvine in Music Performance and Mathematics, and 

her Master’s in Mathematics from New York University’s Courant Institute. Her research interests involve using machine 

learning techniques for music informatics problems, including melody extraction, pitch tracking, and source separation. She 

is a flute player, and has studied with Robert Dick, Patti Cloud, and Barbara Breeden. 

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Daniel Blinkhorn is an Australian composer, sound and new media artist currently residing in Sydney. His creative works 

have received various international and national composition citations, with recent activities including Winner of a ‘Giga- 

Hertz-Preis für elektronische Musik | Giga-Hertz-Award’ – Germany, Winner of the ‘International Computer Music Association’ 

– ‘Asia Oceania Award’ – 2013, Winner of the ‘9th International Composition Competition – Città di Udine’, Italy and 

Winner of the ‘12th as well as the 9th (2011 - 2009) International Electroacoustic Composition Competitions, ‘Música Viva’, 

Portugal. He has worked in a variety of creative, academic, research and teaching contexts, and is currently lecturing into 

the composition and music technology department at the Conservatorium of Music, University of Sydney. He is also an 

ardent location field recordist, where he has embarked upon a growing number of recording expeditions throughout Alaska, 

Amazon, West Indies, Northern Europe, Middle East, Australia and the high Arctic/ North Pole region of Svalbard. He is 

self-taught in electroacoustic’s, however has formally studied composition and the creative arts at a number of Australian 

universities including the College of Fine Arts - UNSW and the Faculty of Creative Arts, UOW where his doctoral degree 

in creative arts was recommended for special commendation. Other degrees include a BMus (hons), MMus, and a MA(r). 

More information about Daniel, as well as samples of his work can be found www.danielblinkhorn.com 

Per Bloland is a composer of acoustic and electroacoustic music praised by the New York Times for his “ear-opening 

electronic innovations.” His compositions range from intimate solo pieces to works for large orchestra, and incorporate 

video, dance, and custom built electronics. He has received awards and recognition from organizations including IRCAM, 

SEAMUS/ASCAP, Digital Art Awards of Tokyo, ISCM, the Martirano Competition, and SCI/ASCAP. He has received commissions 

from the Guerilla Opera Company, Wild Rumpus, the East Coast Contemporary Ensemble (ECCE), Ensemble Pi, 

the Callithumpian Consort, Stanford’s CCRMA, SEAMUS/ASCAP, the Kenners, Michael Straus and Patti Cudd. His music 

can be heard on the TauKay (Italy), Capstone, Spektral, and SEAMUS labels, and through the MIT Press. A portrait CD of 

his work, performed by the East Coast Contemporary Ensemble, was recently released by Tzadik. Bloland is the co-creator 

of the Electromagnetically-Prepared Piano, about which he has given numerous lecture/demonstrations and published a 

paper. He is an Assistant Professor of Composition and Technology at Miami University, Ohio, and recently completed a 

five-month Musical Research Residency at IRCAM in Paris. He received his D.M.A. in composition from Stanford University 

and his M.M. from the University of Texas at Austin. Scores may be purchased at www.babelscores.com/perbloland. For 

more information visit: www.perbloland.com 

Jason Bolte is a composer of acoustic and electroacoustic music. He currently resides in Bozeman, Montana with his wonderful 

wife Barbara and their two daughters, Lila and Megan. Jason teaches music technology and composition at Montana 

State University where he directs the MONtana State Transmedia and Electroacoustic Realization (MonSTER) Studios. Jason 

is a member of the organizational board of the Electronic Music Midwest Festival, and a founding board member of the 

Kansas City Electronic Music and Arts Alliance. Jason earned a B.M. with an emphasis in Music Engineering Technology 

and a M.M. in Music Composition from Ball State University. He holds a D.M.A. in Music Composition from the University of 

Missouri - Kansas City Conservatory of Music and Dance, where he was a Chancellor’s Doctoral Research Fellow, a School 

of Graduate Studies Dean’s Doctoral Fellow, and an Ovation Scholar. Before joining the faculty at MSU, Jason taught at 

the University of Central Missouri and the Kansas City Kansas Community College. Jason’s music has received awards and 

recognition from the International Competition for Composers “Città di Udine,” ISCM Miami Section/World New Music Days, 

VII Concurso Internacional de Miniaturas Electroacusticas, International Electroacoustic Music Contest – CEMVA, Electroacoustic 

Composition Competition Música Viva, Bourges International Competition of Electroacoustic Music and Sonic Art, 

ASCAP/SEAMUS Student Commission Competition, ETH Zurich Digital Arts Week Soundscape Competition, Music Teachers 

National Association/Missouri Music Teachers Association (Missouri Composer of the Year), and International Society of 

Bassists Composition Competition. Jason’s music is available on the Ablaze records, ELECTROACÚSTICO, SEAMUS, 

Irritable Hedgehog, Vox Novus, SoundWalk, and Miso Records labels. 

Musician and composer, Francesco Bossi completed his musical studies in Genoa, Bologna (where he graduated with 

highest honors in Arts, Music and Show), and Milan (where he graduated with highest honors in Electronic Music). His works 

have been performed by orchestras and ensembles of international renown. He has been frequently invited to participate as 

a composer at Festivals, Workshops, film music performed live on stage. In 2012 he won the competition of Sound Design 

The sounds of music, as part of the Villa Arconati Music Festival in Milan. His installation “Sankta Mona Liza” has been 

chosen for the exhibition Sankta Sango - Palace of Arts, Naples, 26/10/13 - 11/12/13. Recently, he took part as author at 

various Festivals Workshops and Concerts in Florence, Padua, Venice (Italy) and New York City. He also specialized in 

the use of the Arp Odyssey synthesizer, which owns an exemplar of 1977. He has managed for years the Palazzina Liberty 

concert venue in Milan. 

Paul J. Botelho is a composer, performer, developer, and artist whose work includes acoustic and electro-acoustic music, 

multimedia installation pieces, visual art works, vocal improvisation, and a series of one-act operas. He performs as a vocalist 

primarily with extended technique and incorporates the voice into much of his music. His work has been performed, 

presented, and exhibited in concerts, festivals, galleries, and museums across the Americas, Europe, and Asia. Botelho 

received a Ph.D. and M.F.A. in Music Composition from Princeton University, an M.A. in Electro-Acoustic Music from Dartmouth 

College, and a B.F.A. in Contemporary Music Performance and Composition from the College of Santa Fe. Currently 

he is Assistant Professor of Music at Bucknell University where he teaches music composition. http://pauljbotelho.com 

Courtney Brown is an interactive sound artist, Argentine tango dancer, and computer music researcher. She is a doctoral 

candidate in Digital Media and Performance at Arizona State University, and a graduate of Dartmouth’s Electroacoustic

Master’s Program. A former Fulbright Fellow, she developed interactive Argentine tango dance during her residency in 

Buenos Aires, Argentina. This on-going project gives dancers agency over music, their movements driving real-time musical 

composition within an Argentine tango social dance context. Through the physical act of creating sound, her works are 

a catalyst for investigating and altering embodied experience. Her continuing project, ‘Rawr! A Study in Sonic Skulls’, the 

recipient of a 2015 Prix Ars Electronica Honorable Mention, allows both gallery visitors and musical performers to give voice 

to an extinct lambeosaurine hadrosaur. Users know the dinosaur through the controlled exhalation of their breath, how the 

compression of the lungs leads to a roar or a whisper. Her work, ‘Every Night I Lose Control’, a solo cabaret act of interactive 

works designed for inevitable performer failure and loss of musical agency, explores fractured states of embodiment, bodily 

limitations, and the aesthetics of losing control. Mirroring the intimate relationship between musician and instrument, her use 

of musical interface demands vulnerability of the part of the participant or performer. 

Matt Bryant is a composer, multi-instrumentalist, and multimedia artist. He received his B.A. in Music Technology at the 

University of Alabama at Birmingham (UAB). There, he held leadership positions in multiple ensembles and graduated with 

multiple honors including Most Outstanding Student in the Department of Music. Bryant is currently working on his M.M. 

in Music Technology at Georgia Southern University under Dr. John Thompson and Derek Larson. He currently enjoys the 

aesthetic of glitch art and databends images and videos as well as circuit bending toys. You can find him playing ambient 

ukulele at open mics on different nights. 

The art of multisensory researcher and artist Ivica Ico Bukvic (b. 1976) is driven by ubiquitous interactivity. Bukvic’s output 

encompasses aural, visual, acoustic, electronic, performances, installations, technologies, research publications, presentations, 

grants, and awards. His most recent work focuses on communal interaction, immersive data sonification and spatialization, 

and recontextualizing STEM K-12 education through innovative approaches to creativity and technology. Dr. Bukvic 

is currently an associate professor in computer music, the founder and director of the Digital Interactive Sound and Intermedia 

Studio (DISIS) and the Linux Laptop Orchestra (L2Ork), Institute for Creativity, Arts, and Technology’s (ICAT) Senior 

Fellow, and a member of the Center for Human-Computer Interaction with a courtesy appointment in Computer Science. 

Marco Buongiorno Nardelli is a University Distinguished Research Professor in the Department of Physics and the Department 

of Chemistry, a composer, flutist and a member of iARTA, the Initiative for Advanced Research in Technology and 

the Arts at the University of North Texas. He is a Fellow of the American Physical Society and of the Institute of Physics, a 

founding member of the AFLOW Consortium and a Parma Recordings artist. 

Christopher Burns is a composer and improviser, whose work emphasizes trajectory, layering and intercutting a variety of 

audible processes to create intricate forms. The experience of density is crucial to his music: his compositions often incorporate 

materials which pass by too quickly to be grasped in their entirety, and present complex braids of simultaneous lines 

and textures. Christopher’s work as a music technology researcher shapes his work in both instrumental chamber music 

and electroacoustic sound. He writes improvisation software incorporating a variety of unusual user interfaces for musical 

performance, and exploring the application and control of feedback for complex and unpredictable sonic behavior. In the 

instrumental domain, he uses algorithmic procedures to create distinctive pitch and rhythmic structures and elaborate them 

through time. Christopher is also an avid archaeologist of electroacoustic music, creating and performing new digital realizations 

of music by Cage, Ligeti, Lucier, Stockhausen and others. His recording of Luigi Nono’s La Lontananza Nostalgica 

Utopica Futura with violinist Miranda Cuckson was named a “Best Classical Recording of 2012” by The New York Times. 

A committed educator, Christopher teaches music composition and technology at the University of Wisconsin-Milwaukee. 

Previously, he served as the Technical Director of the Center for Computer Research in Music and Acoustics (CCRMA) at 

Stanford University, after completing a doctorate in composition there in 2003. He has studied composition with Brian Ferneyhough, 

Jonathan Harvey, Jonathan Berger, Michael Tenzer, and Jan Radzynski. Christopher is also active as a concert 

producer. He co-founded and produced the strictly Ballroom contemporary music series at Stanford University from 2000 to 

2004, and has contributed to the sfSoundGroup ensemble in the San Francisco Bay Area since 2003. Since 2006, he has 

served as the artistic director of the Unruly Music festival in Milwaukee. 

Matthew Burtner (http://www.matthewburtner.com) is a composer and sound artist specializing in concert music, ecoacoustics 

and interactive media. Born and raised in Alaska, he is First Prize Winner of the Musica Nova International Electroacoustic 

Music Competition, a 2011 IDEA Award Winner and a 2013 NEA Art Works Grant winner. His recently published 

climate change opera “Auksalaq” received a 2014 Special Judges’ Citation from The American Prize for “Extraordinary Use 

of Technology to Expand the Boundaries of Performance”. He has been Invited Researcher at IRCAM, Provost Fellow at 

UWM’s Center for 21st Century Studies, and a Howard Brown Foundation Fellow of Brown University. As Professor in the 

University of Virginia’s McIntire Department of Music he teaches courses in composition, computer music, interactive media, 

ecoacoustics and MICE (mobile interactive computer ensemble). In 2009 he founded the environmental arts non-profit 

organization, EcoSono (http://www.ecosono.org). 

James Caldwell is Professor of Music Composition and Theory at Western Illinois University. A native of Michigan, he 

earned a BM from Michigan State University, and a MM and DMus from Northwestern University. In 2005 he was named 

Outstanding Teacher in the College of Fine Arts and Communication and received the first Provost’s Award for Excellence in 

Teaching. In 2015 he received the College Award for Excellence in Creative Activity. He was named the 2009 Distinguished 

Faculty Lecturer. For thirty years he has been co-director of the Western Illinois University New Music Festival, which has 

hosted more than 200 composers for performances of their music. For fourteen years he has been curator of an annual 

concert of electroacoustic music, ElectroAcoustic Music Macomb. In 2004 he began studying studio art as a way to stretch 

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creatively and to reacquaint himself with the experience of being a student, and earned a BA in Art from WIU in 2014. 

Michael Capone has performed with orchestras and small ensembles in the Finger Lakes and Southern Tier regions of New 

York and also in the greater Dallas-Fort Worth metroplex area in Texas. A graduate of Ithaca College, Mr. Capone received 

his Bachelor of Music in Viola Performance and Music Education in 2011, studying with Debra Moree. Upon graduation, 

he won positions with the Orchestra of the Southern Finger Lakes and the Binghamton Philharmonic, performing also with 

Symphoria, Ash Lawn Opera, and the Northeast Pennsylvania Philharmonic. An advocate of new music, Mr. Capone has 

also performed with a number of new music ensembles, including the Ithaca College Contemporary Ensemble, Ensemble X 

at Cornell University, and NOVA, at the University of North Texas. He has recently commissioned and premiered new works 

for viola by Marco Schirripa and Michael Sterling Smith, and is committed to expanding the repertoire for the viola. He is 

currently located in Denton, TX, where he is studying with Susan Dubois in pursuit of his MM degree in Viola Performance 

at the University of North Texas. 

Alexandra Cárdenas is a composer, programmer and improviser of music, working with open source software like Super 

Collider and Tidal. Currently she lives in Berlin, Germany and is doing her masters in Sound Studies at the Berlin University 

of the Arts. www.tiemposdelruido.net 

Nicole Carroll is a composer, performer, sound designer, and builder based in Providence, RI. Her work spans installation, 

improvisation, and fixed media performance. She is active as a sound designer and composer in theater, performs 

electronic music under the alias “n0izmkr”, and builds custom synthesizers and performance sensor systems. She is also a 

bassoonist, currently developing a sensor system for augmented bassoon. Other research interests include soft circuits and 

wearable sensors, and AV synthesis on mobile devices and embedded systems. Through her work, she seeks to reconcile 

the natural world with technology. Themes found in her work derive from reflections on nature, supernatural phenomenon, 

literature, and the human psyche. Nicole holds an M.M. and B.M. in Composition from Bowling Green State University 

and Arkansas State University, respectively. She is currently pursuing a Ph.D. in Computer Music and Multimedia at the 

Multimedia & Electronic Music Experiments (MEME) program at Brown University. Her instructors include Butch Rovan, 

Todd Winkler, John Ferguson, Elainie Lillios, Mikel Kuehn, Burton Beerman, Tim Crist, Jared Spears, and Dan Ross. www. 

nicolecarrollmusic.com 

Praised by the New York Times as “imaginative...like, say, a Martian dance party,” Ryan Carter’s music has been commissioned 

by Carnegie Hall, the National Flute Association, the MATA Festival, the Metropolis Ensemble, Present Music, The 

Milwaukee Children’s Choir, and the Calder Quartet, with support from the National Endowment for the Arts, the Jerome 

Foundation, the American Composers Forum, and Meet the Composer. Ryan has collaborated with the Cleveland Chamber 

Symphony, the International Contemporary Ensemble, the Nieuw Ensemble, the JACK Quartet, the Mivos Quartet, Quartetto 

Maurice, the Princeton Laptop Orchestra, Transit, NOW Ensemble, and many others. Awards include the Lee Ettelson 

Award, the Aaron Copland Award, the Left Coast Composition Contest, the National Association of Composers/USA 

Composer’s Competition, and the Publikumspreis at the Heidelberg Spring Festival. Ryan was also a finalist for the 2005 

Gaudeamus Prize and was chosen as one of NPR and Q2’s favorite “100 Composers Under 40.” In addition to composing 

acoustic music, Ryan is an avid computer musician and programmer. His iMonkeypants app (available for download on 

the App Store) is an album of algorithmically generated, listener-interactive electronica. Ryan holds degrees from Oberlin 

Conservatory (BMus), Stony Brook University (MA), and New York University (PhD). 

Maja Cerar is a violinist, musicologist, and multimedia creator residing in New York City, whose repertoire ranges from the 

Baroque to the present. Her solo performances include the Davos “Young Artists in Concert” Festival, Gidon Kremer’s Lockenhaus 

Festival, ISCM World Music Days (soloist in European premiere of John Zorn’s concerto Contes de Fées), and an 

“American Mavericks” recital in Miller Theatre, New York City. Multimedia performances include dance (Merce Cunningham 

Studio, Joyce SoHo, etc.), theater (Theater an der Sihl, Rigiblick, etc.), and laptop orchestra (Princeton, New York, etc.). 

Her multimedia works in collaboration with artist Liubo Borissov have been featured at the 250th anniversary of Columbia 

University, the ICMC in Barcelona, and the opening of SIGGRAPH 2007. She earned her M.A., M.Phil, and Ph.D. in Historical 

Musicology at Columbia University, where she currently teaches as an Adjunct Assistant Professor. www.majacerar.com. 

The music of Chin Ting (Patrick) Chan (b. 1986) has gained recognitions from the Interdisciplinary Festival for Music and 

Sound Art, the Soli fan tutti Composition Prize, the American Prize, the Charlotte Street Foundation, MACCM, newEar, 

APNM, ArtsKC, ASCAP, the Cortona Sessions for New Music, Foundation for Modern Music, the New-Music Consortium, 

MMTA/MTNA, the Portland Chamber Music Festival, the RED NOTE New Music Festival, the Virginia Center for the Creative 

Arts, as well as performances throughout the North and South Americas, Europe and Asia. He holds a D.M.A. degree 

from the University of Missouri–Kansas City where he has also taught as an adjunct instructor. He has been featured in 

many conferences and festivals, and has worked closely with the technical team at IRCAM. He currently serves as vice 

president of KcEMA and a 2014-15 resident with the Charlotte Street Foundation. 

Clay Chaplin is a composer, programmer and audio engineer from Los Angeles who explores experimental music through 

audio-visual improvisation, sound synthesis coding, field recording and custom built electronics. Clay’s works have been 

performed at the Studio for Electro-Instrumental Music (STEIM), the Deutsche Gesellschaft fur Elektroakustiche Musik (DE- 

GEM), the New Interfaces for Musical Expression (NIME) conferences, the EarZoom Sonic Arts Festival (IRZU), the San 

Francisco Electronic Music Festival and many similar festivals and venues. Clay is currently the Director of Electronic and

Computer Music at CalArts where he teaches music composition in the Experimental Sound Practices program. 

Lily Chen, born in Taiwan, is a composer exploring poetic and timbral potentials of both western and non-western instruments. 

In her recent works, she creates counterpoint of timbre by synthesizing sound gestures with subtlety, which also 

shapes imaginative and poetic atmosphere in her music. She is currently a PhD candidate in music composition at the 

University of California, Berkeley, where she is studying with Ken Ueno, Franck Bedrossian, Edmund Campion, and Cindy 

Cox. She got her bachelor’s and master’s degrees at Taipei National University of the Arts in Taiwan, under the instruction 

of Chung-Kun Hung. Since 2005, Lily has received several prizes, including 1st Prize of Asian Composers League Young 

Composers Awards (2012), 1st Prize of Nicola de Lorenzo Prize in Music Composition (UC Berkeley, 2014), and some other 

prizes in Taiwan. Her works were also performed at several festivals in USA and Asia, including Midwest Graduate Music 

Consortium (Chicago, 2014), Van Appledorn Festival of New Music at Texas Tech University (Texas, 2014), the 30th and 

29th Asian Composers League Conference and Festival (Israel, 2012 & Taiwan, 2011) and Nong Project at Korea National 

University of the Art (Korea, 2007). For more information, please visit http://chenlily.wordpress.com 

Ying-Jung Chen born in 1990, and come from Taiwan. Now is National Chiao Tung University graduate student. Studying 

with Yu-Chung Tseng. Her works have been selected from Asian Composers League Conference and Festival (2011 Taiwan 

/ 2012 Israel), Shanghai Electronic Music Festival (China, 2011), International Computer Music Conference (2012 Slovenia 

/ 2013 Australia / 2014 Greece), New York City Electroacoustic Music Festival (2013 / 2014). And received 1st Prize from 

6th Digital Art Festival Taipei (Taiwan, 2011), 1st Prize for Cross-strait Modern Electronic Technology Music Festival Competition 

(China, 2012), 3rd Prize form WOCMAT 2012 International Workshop on Computer Music and Audio Technology 

(Taiwan, 2012), 2nd Prize from WOCMAT 2013 (Taiwan, 2013), 2nd Prize from 2014 Beijing International Electroacoustic 

Music Festival “Electronic Music Competition : Category A and B” (China, 2014). 

Kyong Mee Choi, composer, organist, painter, and visual artist, received several prestigious awards and grants including 

John Simon Guggenheim Memorial Foundation Fellowship, Robert Helps Prize, Aaron Copland Award, Illinois Arts Council 

Fellowship, First prize of ASCAP/SEAMUS Award, Second prize at VI Concurso Internacional de Música Eletroacústica 

de São Paulo, Honorary Mentions from Musique et d’Art Sonore Electroacoustiques de Bourges, Musica Nova, Society 

of Electroacoustic Music of Czech Republic, Luigi Russolo International Competition, and Destellos Competition. She was 

a Finalist of the Contest for the International Contemporary Music Contest “Citta’ di Udine and Concurso Internacional de 

Composicai eletroacoustica in Brazil among others. Her music was published at CIMESP (São Paulo, Brazil), SCI, EMS, 

ERM media, SEAMUS, and Détonants Voyages (Studio Forum, France). Ravello records published her multimedia opera, 

THE ETERNAL TAO, which was supported by the John Simon Guggenheim Memorial Foundation Fellowship and Roosevelt 

University. Aucourant Records published her CD, SORI, featuring her eight compositions for solo instrument and 

electronics. The project was supported by the IAS Artist Project Grant from the Illinois Arts Council. She is an Associate 

Professor of Music Composition at Roosevelt University in Chicago where she teaches composition and electro-acoustic 

music. Samples of her works are available at http://www.kyongmeechoi.com. 

Toshiro Chun (Trumpet) is an active freelance musician and educator in the Dallas Fort Worth metropolitan area. He is 

comfortable playing in classical, contemporary, baroque and commercial music groups and has performed with some of the 

worlds finest performers such as Bernadette Peters, Wayne Bergeron, and the Metropolitan Opera Horn Section He keeps 

a busy schedule both as a performer and teacher in the Dallas metroplex. Mr. Chun studied at the University of Northern 

Colorado where he played lead trumpet with the Downbeat Magazine Award Winning UNC Jazz Lab Band One and Columbus 

State University where he won the Schwob School of Music concerto competition and received his undergraduate 

degree in Music Performance. He is currently completing a Master of Music Performance at the University of North Texas 

where he studied with Keith Johnson, John Holt and Adam Gordon. His previous teachers include Dr. Robert Murray and 

Kye Palmer with isolated lessons with some of the worlds finest trumpet players such as Wayne Bergeron, Thomas Hooten 

of the Los Angeles Philharmonic and Fred Sautter. Originally focused in commercial music he has branched off to perform 

in all disciplines of music but is especially interested in contemporary music with a focus on performing some of the most 

challenging pieces in the trumpet repertoire but focuses on unaccompanied works and performing with electronics. Toshi 

has also served as a chamber music coach and assistant band director at Arrowbear Music Camp in Arrowbear Lake, CA. 

He has performed at the WASBE, IAJE, International Trumpet Guild Conferences and was a semi-finalist for the Undergraduate 

Division of the National Trumpet Competition. While not teaching or performing he enjoys hiking, rock climbing, training 

German Shepherd Dog Gustav Mauler, working on his car and fiddling with video games and technology. 

Thomas Ciufo is a sound artist, composer, improviser, and researcher working at the intersections of electroacoustic performance, 

interactive instrument design, sonic art and emerging digital technologies. He holds a Ph.D. in Computer Music 

and New Media from Brown University. International festival presentations or performances include Visiones Sonoras in 

Mexico City, the Enaction in Arts Conference in France, the New Interfaces for Musical Expression conference (Vancouver, 

Genoa, Montreal and Ann Arbor) as well as numerous conference presentations for the International Computer Music Society 

and International Society for Improvised Music. 

Nicholas Cline writes acoustic and electroacoustic music. His compositions have been performed in the US and Europe. 

He was featured on the 2012 SEAMUS electroacoustic miniatures recording series: Re-Caged. He holds degrees from 

Columbia College Chicago and Indiana University. He is currently studying and teaching aural skills at Northwestern University. 

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Percussion performer: Federico Demmer Colmenares undertook his percussion studies at the Orquesta Sinfónica Juvenil 

de Colombia and the Ecole Nationale de Musique de Blancmesnil in France, finally obtaining his Master’s degree in Percussion 

performance at the Brooklyn College-CUNY, New York, USA, under the main supervision of Morris Lang, thanks to 

a Fulbright academic award. In the meantime, he undertook studies in electroacoustic music with Philipe Leroux in Paris as 

well as with George Brunner in New York. In these two cities he performed as timpani and percussion player at the UNES- 

CO’s philharmonic orchestra, ensemble ABEGG, Brooklyn Heights Orchestra, Y Symphony and Cosmopolitan Orchestra. 

He has performed as main percussionist at the Banda Sinfónica de Bogotá, the Orquesta Sinfónica de Colombia as well 

as in the Orquesta Filarmónica de Bogotá. He is part of the professorial staff at the Universidad Nacional de Colombia’s 

Conservatorio de Música since 1992, where he founded and currently conducts the Grupo de Percusión CONTEMPO, the 

live electronics ensemble PERKLAPS and the rock group ARS METRICA. He has participated in seven discographic productions 

as percussion performer, conductor and/or composer. In 2000 he was recipient of the Robert Starer award for his 

performance in contemporary music repertoire. His translation into Spanish of Jean Geoffroy’s book La clase de percusión 

was published by the Universidad Nacional de Colombia. He conducts UN’s radio program Presencia Centenaria. In constant 

search for different ways of expression within the contemporary musical scene, he is responsible for the percussion 

and live electronics research/creation protect titled Sistema de Procesamiento de Sonidos de Percusión en Tiempo Real, 

where not only his own compositional works, but also other Colombian’s as well as other nationalities’ pieces are constantly 

programmed in concerts. 

Justin Comer (b. 1990) completed his MA in composition at the University of Iowa in 2014, where he studied with David 

Gompper. Before that, he graduated from Coe College with a BM in composition and saxophone performance. In addition 

to his work in composition, he also performs frequently with ensembles like the Comprovisers and LOUi on saxophone and 

laptop. For more info, please visit justinkcomer.com. 

Dr. Patti Cudd is active as a percussion soloist, chamber musician and educator. She teaches percussion and new music 

studies at the University of Wisconsin-River Falls and the College of St. Benedict/ St. Johns University. Dr. Cudd is also 

a member of the new music ensemble Zeitgeist. Other diverse performing opportunities have included Sirius, red fish 

blue fish, CRASH, the Minnesota Contemporary Ensemble, SONOR and such dance companies as the Minnesota Dance 

Theatre and the Borrowed Bones Dance Theater. She received a Doctor of Musical Arts Degree in Contemporary Musical 

Studies at the University of California studying with Steven Schick, Master of Music Degree at the State University of 

New York at Buffalo where she worked with Jan Williams, undergraduate studies at the University of Wisconsin-River Falls 

and studied in the soloist class with a Fulbright Scholarship at the Royal Danish Conservatory of Music in Copenhagen, 

Denmark. As an active performer of the music of the 20th and 21st centuries, she has given concerts and master classes 

throughout the United States, Korea, Thailand, China, Mexico and Europe and have participated in such festivals as the 

Bang on a Can Festival at Lincoln Center, ICMC (Athens, Greece), Frau Musica Nova (Cologne, Germany), Mexico City’s 

Ciclo de Percusiones Series, Interactive Arts Performance Series in NYC, NYCEMF, PASIC, SARC (Dublin Ireland), GRIM 

(Marseille, France), The North American New Music Festival (Buffalo, NY), June in Buffalo, Society of Composers, Inc 

National Conference (Miami, Fl), Noise in the Library Festival (San Diego, CA), SEAMUS, The Mirror of the New (Hawaii), 

Los Angeles Philharmonic’s Green Umbrella Series, Beyond the Pink Festival (LA), New Progressions Series (Baltimore, 

MD), Sonic Diasporas, New Music Festival (San Diego,CA), Spark Festival of Electronic Music (Minneapolis), Form and the 

Feminine Voice Festival (LA), Copenhagen Composers’ Biennale (Denmark), Nove Hudby Plus Festival in Brno, Czech 

Republic, Samcheok Music Festival, (Samcheok, Korea), Sokcho Arts Festival (Sokcho, Korea), New Music for Technology 

(Hanyang University (Seoul, Korea) and the Festival Cultural Zacatecas. Patti has worked closely with some of the most 

innovative composers of our time such as Brian Ferneyhough, Morton Feldman, Roger Reynolds, Martin Bresnick, Pauline 

Oliveros, Jay Aaron Kernis, John Luther Adams, John Zorn, Michael Colgrass, Cort Lippe, Harvey Sollberger, Julia Wolfe, 

Christian Wolff, Vinko Globokar and Frederic Rzewski. As a percussion soloist and chamber musician she has premiered 

over 200 new works and has had the opportunity to be involved in a number of recordings found under such labels as Hat 

Hut, Bridge, New World, CRI, Innova, Emf Media and Mode. Patti is a Yamaha Performing Artist, an endorser of Sabian 

Cymbals and a member of the Vic Firth and Black Swamp Education Teams. 

Ensemble Dal Niente is a 22-member Chicago-based contemporary music collective that presents and performs new music 

in ways that redefine the listening experience and advance the art form. The programming, brought to life by a flexible 

repertoire-based instrumentation, seeks to challenge convention and create engaging, inspiring, and immersive experiences 

that connect audiences with the music of today. Described as “super-musicians” and noted for “bracing sonic adventures 

by some of the best new-music virtuosos around” (Chicago Tribune), Ensemble Dal Niente became the first-ever ensemble 

recipient of the coveted Kranichstein Music Prize – the top award for music interpretation – at the 2012 International Summer 

Courses for New Music in Darmstadt, Germany. The ensemble has commissioned or premiered hundreds of works 

and has collaborated with visual artists and playwrights to create rich new experiences for audiences and people of diverse 

creative disciplines. Equally at home working with major international figures as with younger composers, recent collaborators 

include Brian Ferneyhough, Chaya Czernowin, George Lewis, Marino Formenti, Kaija Saariaho, Marcos Balter, Greg 

Saunier, Deerhoof, Hans Thomalla, Lee Hyla, Johannes Kreidler, Mark Andre, Evan Johnson, Aaron Einbond, Katherine 

Young, and Jay Alan Yim. The ensemble’s name, Dal Niente (“from nothing” in Italian), is a tribute to Helmut Lachenmann’s 

work for clarinet Dalniente (Interieur III), the courageously revolutionary style of which serves as an inspiration for its musicians. 

The ensemble’s name also references its humble beginnings — founded in 2004 by a group of music students at 

various Chicago schools, the ensemble has risen from obscurity to a position as one of North America’s most prominent 

new music groups. http://dalniente.com

Valerio De Bonis (1981) is graduated in “Electronic Music”, in “Percussion instruments” at the Conservatory of Potenza, 

and is postgraduate in “Music and New Technologies” at the “L. Refice” Conservatory of Frosinone under the supervision 

of Professor A. Cipriani, with final valuation 110/110 cum Laude. He has received an Honorable Mention at the Gaudeamus 

Prize (AMSTERDAM 2008), at the IV edition of DIGIFESTIVAL (FLORENCE 2008), at the 36th Concours Internationaux de 

d’Art Sonore Electroacoustiques de Bourges (FRANCE 2009), the first prize at the DIGIFESTIVAL (FLORENCE 2009), the 

Silver Prize at the Hollywood Screenplay Contest (Los Angeles 2013), the Grand Prize at the Hollywood Screenplay Contest 

2014 and an Honorable Mention at the Prix Destellos (Argentina 2014). His works have been selected by the Moving Image 

Filmfestival (TORONTO 2008), NYCEMF (NY 2009), ECU (FRANCE 2009), IFF (IRELAND 2010), Newfilmmakers Spring 

fest 2010 (NY 2010), Swansea Bay filmfestival (UK 2011), Heart of England IFF (UK 2011), Waterpieces Contemporary 

Art & Videoart Festival (LATVIA 2001), Shams-The Sunflower (LEBANON 2011), ExTeresa Arte Actual and Universidad 

Autónoma Xochimilco (MEXICO 2011), IYFF (UK 2011), IFF (SOUTH AFRICA 2011), IFFA (AUSTRALIA 2011), Dare Media 

SFF (IRELAND 2011), CeC (INDIA 2012), Currents Santa Fe festival (New Mexico 2013), Segnali (Perugia 2013), CCA 

(Tbilisi 2013), ICMC (Australia 2013), Video Art Festival MIDEN (Greece 2013), Synchresis III (Spain 2013), Fresh Minds 

Festival (Texas 2014), 2015 ISCM (Miami 2015), NYCEMF (New York 2015), CologneOFF (Koln 2015), VENICE ART 

WEEK (Venice 2015), ICMC 2015 (Texas), NAISA (Toronto 2015) and SICMF (Seoul 2015). He has obtained an artistic 

residence at ZKM (Zentrum fur Kunst und Medientechnologie) in Karlsruhe (Germany) His composition “Al peccatore” was 

selected within the call for the 5th CEMAT CD release “Punti di Ascolto” 2012. He was Contract Professor for the “Audio 

Recording” course in the Conservatory of Potenza (ITALY) and now he is collaborating with the Institute of Acoustic of the 

CNR (National Research Council of Rome) as expert. 

Performer, composer and media artist Scott Deal engages new works of computer interactivity, networked systems, electronics 

and percussion. His recordings have been described as “soaring, shimmering explorations of resplendent mood 

and incredible scale”….”sublimely performed”, and his recent recording of Pulitzer Prize/Grammy Award-winning composer 

John Luther Adams’ Four Thousand Holes, for piano, percussion, and electronics was listed in New Yorker Magazine’s 2011 

Top Ten Classical Picks. He has performed at venues worldwide, including Musicacoustica Beijing, Almeida Opera London, 

Arena Stage Washington, Vancouver New Music Festival, Supercomputing Global, Zerospace, SIGGRAPH, Chicago Calling, 

IEEE CloudCom, Ingenuity Festival, ICMC, NIME, PASIC and with groups that include ART GRID, Another Language, 

Digital Worlds Institute, Callithumpian Consort, Percussion Group Cincinnati, and the Helsinki Computer Orchestra. He is 

the percussionist for the computer-acoustic trio Big Robot, who have performed to audiences worldwide. In 2011, Deal 

and composer Matthew Burtner won the coveted Internet2 IDEA Award for their co-creation of Auksalaq, a telematic opera 

called “an important realization of meaningful opera for today’s world”. Deal’s work has received funding from organizations 

that include Meet the Composer, Lilly Foundation New Frontiers, Indiana Arts Council, Clowes Foundation, IUPUI Arts and 

Humanities Institute, and the University of Alaska. He resides in Indianapolis, Indiana where he is a Professor of Music and 

Director of the Donald Louis Tavel Arts and Technology Research Center at Indiana University Purdue University Indianapolis 

(IUPUI). 

Bruno Degazio is a film sound designer, composer, researcher and educator based in Toronto, Canada. His many concert 

works for traditional and electronic media have been performed throughout North America, Europe and Asia. His film work 

includes the special-effects sound design for the Oscar-nominated documentary film, The Fires of Kuwait and music for the 

all-digital, six-channel sound tracks of the IMAX films Titanica, Flight of the Aquanaut and CyberWorld 3D as well as many 

other IMAX films, feature films, and television dramas. As a researcher in the field of automated music composition using 

fractals and genetic algorithms he has presented papers and musical works at leading international conferences, including 

festivals in Toronto, Montreal, New York City, London, The Hague, Berlin, Tokyo and Hong Kong. Bruno Degazio is the designer 

of MIDIForth and The Transformation Engine, software systems with application to automated composition and data 

sonification. He is currently investigating the potential of the algorithmic combination of OpenGL graphics with automated 

music composition. He is currently Professor of Digital Tools in the BA Animation program of Sheridan College, Ontario, 

Canada. 

American virtuoso violinist Mia Detwiler has performed in numerous venues throughout the U.S. and abroad including 

recent performances in Carnegie Hall and the National Museum in Bogotá, Colombia. While comfortable and well-versed 

in traditional violin repertoire, Detwiler is an enthusiastic advocate for contemporary music. She consistently wows audiences 

with performances of demanding new works, which offer truly exciting challenges in both interpretation and technique. 

Deeply passionate about working directly with living composers, she is hopeful for a paradigm shift that would bring the 

music of the 21st century to the forefront of classical-concert music. Her most recent performances have included works 

by Schnittke, Webern, Lutoslawski, Murail, Pärt, and Xenakis, as well as Olivier Messiaen’s Quatour pour la fin du temps. 

Detwiler regularly performs chamber music in various ensembles including the University of North Texas’ NOVA Ensemble, 

Dallas’ ensemble75, and the Arizona Contemporary Music Ensemble. She has also served as concertmaster of the Unity 

Orchestra, the University of North Texas Symphony Orchestra, and the Arizona State University Orchestra. Detwiler graduated 

summa cum laude from Florida State University where she earned a Bachelor of Music under the tutelage of Corinne 

Stillwell. She went on to attend Arizona State University with a full tuition scholarship where she received her Master of 

Music with Katie McLin. She is currently pursuing a Doctorate of Musical Arts with a related field in contemporary music 

performance as a student of Felix Olschofka at the University of North Texas. Throughout her studies, she has performed in 

masterclasses for Irvine Arditti, Marco Fusi, Madeline Shapiro, Elizabeth McNutt, Curtis Macomber, Joseph Lin, and Frank 

Almond, among others. Detwiler maintains private studios as a Teaching Fellow at the University of North Texas, as Adjunct 

Professor of Strings at Tarleton State University, and as faculty at the Coppell Conservatory. 

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Brett William Dietz is Associate Professor of Percussion at the Louisiana State University School of Music. He is the music 

director of Hamiruge (the LSU Percussion Group). He earned the Bachelor of Music in Percussion and the Master of Music 

in Composition/Theory from the Mary Pappert School of Music at Duquesne University. In 2004, Dietz earned his Doctorate 

of Music from Northwestern University. He has studied percussion with Jack DiIanni, Andrew Reamer, Stanley Leonard, 

and Michael Burritt while his principal composition teachers include Joseph W. Jenkins, David Stock, and Jay Alan Yim. 

Dietz is in demand as a clinician and soloist throughout the United States and abroad. Recent performances have taken 

him Paris, France (perKumania International Percussion Festival), Bongkok, Thailand (College Music Society International 

Conference), and Genral Roca, Argentina (Patagonia International Percussion Festival), and appearances at Carnegie Hall 

(New York City). He has performed at several Percussive Arts Society International Conventions and is a founding member 

of the Tempus Fugit Percussion Ensemble. TFPE has performed throughout the United States and Europe and has released 

two compact discs (Tempus Fugit and Push Button, Turn Crank) that have received great critical acclaim. Dietz has 

released numerous compact disks with Cat Crisis Records including Seven Ghosts: The Percussion Music of Brett William 

Dietz, In Motion: The Percussion Music of David Stock, and Nocturne. An avid composer, Dietz’s music has been performed 

throughout the United States, Europe, East Asia and Australia by numerous ensembles including the Detroit Symphony 

Orchestra, Portland Symphony Orchestra, Winston Salem Orchestra, Dallas Wind Symphony, Eastman Wind Ensemble, 

National Wind Ensemble, New Music Raleigh, Pittsburgh New Music Ensemble, River City Brass Band, Northwestern 

University Wind Symphony, Louisiana State University Wind Ensemble, Duquesne University Symphonic Wind Ensemble, 

the University of Scranton Wind Symphony, the Northwestern University Percussion Ensemble, Ju Percussion Ensemble, 

Malmo Percussion Group, and the University of Kentucky Percussion Ensemble. His compositions have been featured at 

the 1998 College Band Directors National Association Eastern Division Conference, and the 2001, 2002, 2004, 2005, 2007 

Percussive Arts Society International Convention. Dietz’s composition, Pandora’s Box received its New York Premiere at 

Carnegie Hall by the National Wind Ensemble conducted by H. Robert Reynolds. His opera Headcase was premiered in 

Pittsburgh, Pennsylvania. Called “haunting and powerful – a remarkably sophisticated score that blends words, music and 

visual displays to touch the heart and mind” by the Pittsburgh Tribune Review, the opera relives the story of the stroke Dietz 

suffered in 2002. He was a recipient of the 2005 Merrill Jones Young Composers Band Composition Contest, the 2002 H. 

Robert Reynolds Composition Contest, 3rd Place Winner of the 2002 Percussive Arts Society Composition Contest, and 

the 2001 Pittsburgh Foundation Award for Outstanding Achievement in the Arts. His composition five-0 for brass quintet 

received an award from WFMT (Chicago Classical Radio) and was premiered live on the air as part of the station’s 50th anniversary 

(2001). He has also received numerous teaching awards at Louisiana State University including the 2010 School 

of Music Teaching Excellence Award and the 2011 LSU Alumni Association Faculty Excellence Award. In addition to his work 

at Louisiana State University, he has also served on the music faculties of Duquesne University, Westminster College (New 

Wilmington, PA), and the Merit School of Music in Chicago. Dietz endorses Pearl/Adams Percussion, Vic Firth Sticks, and 

Zildjian Cymbals. When not composing, performing, or teaching, he spends all of his free time with his wife Jennifer, his son 

Owen, and working on his golf game! 

Emily DiFranco began dancing at the age of three in Rowlett, TX. In 2011 she became a member of the Collin Dance Ensemble 

at Collin College where she started performing modern and contemporary dance. Emily transferred to the University 

of Texas at Austin in Fall of 2014 and after getting her B.F.A. in Dance she hopes to travel, join a company and teach children 

the art of dance. 

Greg Dixon works as Assistant Professor of Music and Sound Design at DigiPen Institute of Technology in Redmond, WA, 

where he teaches courses in sound design and music composition. His compositional research focuses upon interactive 

music systems for video games, acoustic instruments, sensor technologies, and human interface devices. He has worked 

for more than a dozen years as a professional sound engineer, which has greatly influenced his strategies for composing 

electronic music in the studio. Greg’s electroacoustic compositions often make use of his own personal field recordings 

exploring a wide variety of source material, acoustic spaces, social and cultural artifacts, and transduction methodologies. 

He holds a Ph.D. in composition with a specialization in computer music from the University of North Texas, where he 

worked as a composition teaching fellow, recording engineer, and technical assistant for CEMI. His composition instructors 

include Jon Christopher Nelson, Cindy McTee, Andrew May, David Bithell, Michael Pounds, Jody Nagel, Keith Kothman, 

and Cleve Scott. His music has been released on labels including Kohlenstoff Records, SEAMUS, Irritable Hedgehog, New 

Adventures in Sound Art, Vox Novus, Pawlacz Perski, winds measure, Flannelgraph Records, and on his own label, noxious 

fumes. http://gregdixonmusic.com 

Xiao-Jiao Dong, born in 1989. She entered the Beijing Vocational Institute of Local Opera and Art and studied composition 

with Hui XU. In 2005, she entered the composition department of shanghai Conservatory of music and studied composition 

with Prof. Jian-Qiang XU and Prof. Huang LV. She had won the People’s Scholarship three times during her studying. In 

2008,she has won the distinction award of the chamber music composition held by the Shanghai conservatory of music for 

the work “Water knows the answer”. In 2009, her work “Mosaic”gained the first prize in the group A of the MUSICACOU- 

SICE-Beijing Electronic music competition. In 2010, she got the admission to Electro-acoustic Music Center of shanghai 

Conservatory of Music for master degree with outstanding academy results under the guidance of the Prof. Cheng-Bi AN in 

conventional composition and electronic composition . In 2014, she began her doctoral studying majoring in Electric music 

composition with Prof. Cheng-Bi An. 

Kurt Doty is a senior music education student with a concentration in percussion. He has played in numerous UNT ensembles 

including the Symphony Orchestra, Concert Band, Green Brigade, Steel Drum Band, Gamelan Ensemble, Afro-Cuban

Ensemble, Percussion Players, and Percussion Group. He enjoys playing and listening to new music from a variety of composers 

and sources. He hopes to continue to perform and play new works as he pursues his dream of teaching percussion. 

Paul Duffy (b. 1989) is a graduate student of composition at the University of Iowa. He has studied privately with Lawrence 

Fritts, Craig Weston, and David Gompper, and has attended master classes with Louis Karchin, Josh Levine, Augusta Read 

Thomas, and Michael Fiday. His recent works include “Wood Metal Hair” for double bass and fixed media, a duet for prepared 

piano & MIDI keyboard, and a choir piece selected for performance at the 2014 Midwest Composers Symposium in 

Cincinnati. He is currently interested in composing for solo instruments with fixed media. 

Rooted in jazz and classical traditions, Steve Duke has established himself as a leading artist in contemporary music and 

multi-genre performance. He is the only American to have commissioned and premiered two works that received awards 

at the prestigious Institut international de musique électroacoustique de Bourges. Steve’s numerous solo recordings include 

albums Monk by 2 (Sony/Columbia) and Saint Ambrose (Capstone). Other solo recordings can be heard on CDCM, 

Centaur, Equilibrium, EMF, GMEB/UNESCO/CIME, and EAM. Steve Duke innovated multi-genre pedagogy on the saxophone. 

His article “An Integrated Approach to Playing Saxophone” was the first to explain the technical differences between 

classical and jazz styles. He developed the first curriculum in music to teach the Feldenkrais® Method as away to reduce 

performance stress. Steve Duke performs and teaches saxophone and the Feldenkrais Method in the Chicago area. He is 

a Distinguished Research Professor Emeritus from Northern Illinois University and is a Yamaha performing artist. 

David Z. Durant (b. 1957, Birmingham, Alabama, U.S.A.) is a Professor of Music at the University of South Alabama where 

he is the Director of the Music Theory and Technology Program. Durant received his BM and MM from the University of Florida 

and his DMA from the University of Alabama. His composition teachers have included Andrew Imbrie, Edward Troupin, 

John D. White, Fred Goossen, Harry Phillips, Marvin Johnson, and James Paul Sain. Durant has composed over 140 works 

for a variety of soloists, ensembles, and digital media. Recently he has had performances in Italy, Spain, Puerto Rico, and 

Northern Ireland and in 16 states of the U.S.A. Durant is also active as a pianist and has premiered and performed several 

of his own works for the piano. Performances of many of Durant’s recent works can be found at https://www.youtube.com/ 

user/dzdurant. 

Dr. David Earll is a Willson Tuba Artist and teaches Tuba, Euphonium, and Trombone at the University of Wisconsin-Platteville. 

Before his appointment at UW-Platteville, Dr. Earll taught at Mesa Community College as an Adjunct Professor of 

Tuba/Euphonium and worked as the Tuba/Euphonium Graduate Teaching Assistant at Arizona State University. David 

currently plays with the vibrant UW-Platteville faculty chamber group Ensemble Nouveau and has also performed with the 

Dubuque Symphony Orchestra, the Tempe Symphonic Winds, the University of South Dakota Faculty Brass Quintet, Salt 

River Brass Band, the Ocotillo Brass Quintet, and the Boston-based Nautilus Brass Quintet. David completed his Doctorate 

of Musical Arts in Tuba Performance at Arizona State University under the tutelage of Dr. Deanna Swoboda. Dr. Earll also 

holds a Master of Music in Tuba Performance from Arizona State University, where he served as a Teaching Assistant for 

Professor Sam Pilafian, and a Bachelor of Music in Music Performance at the University of South Dakota. David has often 

served as a guest artist, performer, clinician, and lecturer in both the United States and abroad, including: The University 

of Iowa Octubafest (2014), 2013 Tuba Recital/Clinic at the Hong Kong Academy for Performing Arts, The University of the 

Cumberlands Low Brass Days (2011), UC Tuba Day (2010), The International Tuba/Euphonium Conference (2012,2010), 

and Tubonium (2009). Dr. Earll most recently performed a solo tuba recital tour in The Netherlands, Germany, Austria, and 

Switzerland featuring works by Arizona composers during November of 2014 which was made possible with the generous 

support of the Northern Trust/Piper Enrichment Award. David Earll performs exclusively on the Willson 3200 F Tuba and the 

Willson 3050 CC Tuba. 

Miguel Espinel (b. 1986) is a Venezuelan composer based in the United States (not to be confused with 20th Century 

composer with the same name and nationality). Espinel obtained his BA in Music and German from Texas A&M University, 

where he received composition lessons from Peter Lieuwen and worked on different composition projects with Jeff Morris, 

Marty Regan and David Wilborn. He is currently working on a MA in Music (Composition) at the University of North Texas 

where he’s had composition lessons with Panayiotis Kokoras and Andrew May. Miguel has performance experience on 

electric guitar (main instrument), bass guitar and drums; performing with various groups especializing in heavy metal, progressive 

rock, ambient, experimental music, noise and avant-garde rock. During his undergraduate studies, he participated 

in the Texas A&M Small Ensembles with the popular music and Afro-Cuban ensembles, in addition to joining the TAMU Piano 

Studio for his last semester (beginner level). He has recently become part of the Nova and Balinese Gamelan ensembles 

at the University of North Texas in the fall of 2015 

Ryan Espinosa is a freelance performer-composer and teacher based in Los Angeles. A California native, he earned his 

Bachelors in Fine Arts from California Institute of the Arts in 2014 where he studied clarinet with William Powell and composition 

with Dr. Milen Kirov. As a clarinetist and educator he is committed to performing works that expand the definition of 

new music/electro-acoustic/experimental music as well as to further research of pedagogical methods of extended clarinet 

technique. As a composer, he focuses on creating fresh musical material that is both poetic and visceral in nature while 

incorporating non-western musical practices. He is currently pursuing an MM degree in Clarinet performance from the University 

of North Texas. 

Ezequiel Esquenazi was born in Buenos Aires. He graduated as Composer in the Alberto Ginastera Academy, in Morón 

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(Buenos Aires, Argentina). He wrote music for orchestra, ensemble, soloist instruments , electroacustic and mixed works. 

His music has been played in Argentina, Switzerland, Belgium, France, Chile, México and Spain. He also performs musical 

improvisation. In 2010 he was granted a scholarship at the Investigation and Musical production Laboratory (LIPM, Buenos 

Aires, Argentina). In 2011 Destellos foundation (Argentina), Motus foundation (France) and Phonos foundation awarded him 

the Second prize for his work “Caída, memoria y restitución” (Fall, memory and restitution). At present , hi is coordinating 

the production of the contemporary music Festival Nuevas músicas por la Memoria (New Music for memory), in Buenos 

Aires, Argentina. 

David Falterman began studying the piano at the age of four with his mother. At the age of 11 he began private lessons with 

Barbie Butler, a professor at Kingwood College, where he also began studies in music theory. In 2011 he began studying 

piano performance and music theory at the University of North Texas under Gustavo Romero. During his time at UNT, David 

has been an active member of Nova, the contemporary music ensemble, for two and a half years, and has played for dozens 

of composition projects and concerts. His current interests are modern chamber music and unusual cadential structures in 

the music of Franz Liszt. 

Daniel Fawcett is a composer who is seeking to explore both new and interesting sound worlds. Combined with an interest 

in the musical traditions of non-western cultures he does not seek to create a fusion of styles, but instead prefers to let 

the clash between sonic worlds take center stage. This approach has led to a highly improvisation based way of writing 

that seeks to give an interesting experience to both audiences and performers alike. His teachers have included Joe Mc- 

Nally in San Diego, as well Stacy Garrop and Kyong Mee Choi at Roosevelt University in Chicago. Looking to incorporate 

several different types of media and performance styles in performances has led to his collaborations with painters, poets 

and filmmakers. Drawing upon a diverse musical background has also led to the incorporation of several different musical 

styles in his music from the modern to the primitive. These collaborations and interactions have allowed for a unique insight 

and understanding of many other forms of art. He is currently pursuing a M.M. at New York University’s Steinhardt School 

studying with Joan La Barbara. 

Simon Fay is a composer and performer of acoustic and electronic music in a wide variety of styles ranging from rock and 

jazz, to electroacoustic and classical. He earned his Bachelor of Arts in Music in jazz guitar and electroacoustic composition 

from the Waterford Institute of Technology, his Master’s in Sonic Arts from the Sonic Arts Research Centre. He is currently 

working towards his PhD in Computational Media Design at the University of Calgary, where his research is focused on the 

creation of the AAIM (Algorithmically Assisted Improvised Music) performance system - a portfolio of inter-connectable software 

devices designed to algorithmically vary given musical materials in real time for the purposes of improvisatory music. 

Nick Fells is a composer based in Glasgow, Scotland. His activity mainly involves developing and refining ways of improvising 

with the computer based manipulation of recorded sound, working with other performers to hone source materials 

and approaches. His main concern is nurturing a poetic sensitivity or delicacy in technologically mediated sound work, to 

create a variety of soundworlds and listening experiences. He is also concerned with composition as a social process but 

one rooted in and informed by ongoing critical reappraisal of the aesthetics and processes of experimentation. He currently 

runs the Sonic Arts Masters and PhD programmes at the University of Glasgow, where he was Head of Music from 2009 to 

2013. Recent pieces have included Ps[c]yched for string quartet, electronics and bicycles for the Glasgow Commonwealth 

Games cultural festival, Sublimation for Scottish Opera’s Five:15 series with writer Zoë Strachan, and Rifts, a wavefield 

synthesis surround sound work originally written for Sony’s Creative Lab in Tokyo and that was remixed for the Game of Life 

system in Den Haag and that made it to the Sónar Festival in Barcelona in 2012. He is a founding member of the Glasgow 

Improvisers Orchestra and co-directed the web archive/label project Never Come Ashore. 

Jinshuo Feng is a composer and a Ph.D. candidate in computer music composition at the Central Conservatory of Music 

in Beijing, China. Currently he is a Visiting Scholar at the University of Oregon in the U.S.A. His current research and 

composition interests include interactive music, sound synthesis and design of data-driven instruments. He has twice won 

the first prize at the Electronic Music Composition Competition of MUSICACOUSTICA-BEIJING in China. In 2011 to 2013, 

he worked as the research assistant in the China Ministry of Culture project entitled the Interactive Music Light Sensitive 

Instrument exhibited during Beijing Design Week. Jinshuo also specializes in film music. His movie music works include 

Carpooling Shock, The Eighth House, and The Blue Knight. He worked as an arranger of TV show music over a dozen 

times including such shows as All Quiet in Peking, The Distance to Love, and the Heaven The Last Shaman of East Ewenkj. 

Ling-Hsuan Feng is born in 1990,and she is a music student at NCTU in Taiwan,R.O.C.. Her major is Computer music, and 

right now she is studying with Yu-Chung Tseng. She have composed several chamber instrumental music and computer 

acousmatic music from past years. Her music works have been selected from Shanghai Electronic Music week “Sounds 

From New Generation Concert” (China, 2011), 2012 International Computer Music Conference (Slovenia, 2012), 2014 

New York City Electroacoustic Music Festival, 2014 International Computer Music Conference (Athens, 2014). She got the 

2rd Prize from WOCMAT International Workshop on Computer Music and Audio Technology “Young Composers Awards” 

(Taiwan, 2010), and last year won the “Acousmatic Composition Award“ from the Concours de Composition Acousmatique 

Petites Formes 2014 France-Taiwan. 

Jason Fick is a composer, audio engineer, and educator. His music and intermedia works have been performed at international, 

national, and local events, including the International Horn Symposium, the Society for Electronic Music in the United

States (SEAMUS), the College Music Society, and the American Colleges Dance Festival. As an engineer, he has recorded 

classical, jazz, and popular music in live and studio contexts, audio for film, and dialogue for various commercial projects. 

Jason holds a Ph.D. in music composition with a specialization in computer music from the University of North Texas. He 

is currently an assistant professor in Media Arts at the Art Institute of Dallas where he teaches courses in music and audio 

production. His current research is in computer music, interactive systems, and the pedagogy of music technology. 

Kimary Fick is a Baroque flutist and musicologist who specializes in the research and performance practices of eighteenth-century 

music. She has performed with the American Bach Soloist Academy in San Francisco, Dallas Bach Society, 

Denton Bach Society, and Texas Camerata. In addition, Kimary competed as a semi-finalist in the 2012 National Flute 

Association Baroque Flute Artist Competition and has performed in masterclasses with renowned flutists such as Sandra 

Miller, Rachel Brown, Jed Wentz, and Janet See. Kimary is currently a PhD Candidate in Musicology at the University of 

North Texas. Her dissertation examines the aesthetic principals of the North German Enlightenment and their application to 

the music of C.P.E. Bach and his contemporaries. 

Jon Fielder is a composer of electroacoustic and acoustic music, all of which shows a strong interest in timbre and texture. 

Jon’s music is often inspired by his love of natural landscapes, literature, various topics of science and mathematics, and 

from experimentations with manipulating the human voice - both spoken and sung. Jon is currently pursuing a DMA in composition 

at the University of Texas at Austin under the study of Russell Pinkston and Bruce Pennycook. He received his MM 

in composition at Bowling Green State University and a BM in music from Ohio University. Previous composition teachers 

include Elainie Lillios, Mikel Kuehn, Mark Phillips and Franklin Cox. 

Eli Fieldsteel received his doctorate in Composition from The University of Texas at Austin in 2015. Fieldsteel is the recipient 

of the 2014 James E. Croft Grant for Young and Emerging Wind Band Composers, first prize in the 2012 ASCAP/ 

SEAMUS Student Commission Competition, as well as awards and recognition from other organizations, including the 

Bandmasters’ Academic Society of Japan and the Frank Ticheli Competition. His works have been performed by the Dallas 

Wind Symphony, the UNT Symphony Orchestra, the Kawagoe Sohwa Wind Ensemble, and the principle flautist of the Aarhus 

Symphony Orchestra, Lena Kildahl. Fieldsteel’s music and research reflects an ongoing interest in the intersection between 

music technology and contemporary instrumental practice, covering topics such as human-computer improvisation, 

interactivity, and algorithmic music. An active collaborator, he has worked with dancers, choreographers, lighting designers, 

architects, and video artists, among others. 

Jonathan Forsyth is a Ph.D. student in Music Technology at New York University’s Music and Audio Research Laboratory. 

He is a musician, composer, and music technologist, and has extensive experience in the software industry. He received a 

B.A. in Physics from Cornell University, an M.E. in Computer Science from Princeton University, and an M.M. in Music Technology 

from New York University. His research interests include Interactive Music Systems, Music Informatics, Machine 

Learning, Artificial Intelligence, and Music Signal Processing. 

West Fox is a music theory and composition undergraduate student with a concentration in percussion at the University of 

North Texas. His private instructors for percussion at UNT have included Christopher Deane, Mike Drake, and Mark Ford. 

West is a member of the UNT Percussion Players Ensemble and has performed in the UNT Brazilian ensemble, Advanced 

Afro-Cuban Ensemble and Gamelan Ensemble. In addition to percussion, West studies piano and organ. Outside of the 

university West works as an arranger and technician for high school marching bands throughout the state of Texas. 

Adrian Freed is Research Director of UC Berkeley’s Center for New Music and Audio Technologies (CNMAT). He has pioneered 

many new applications of mathematics, electronics and computer science to audio, music and media production 

tools including the earliest Graphical User Interfaces for digital sound editing, mixing and processing. His recent work is 

centered around whole body interaction, gesture signal processing, and terrascale integration of data from wearable and 

built environment sensor/actuator systems employing electrotextiles and other emerging materials. 

Dr Paul Fretwell is a Senior Lecturer in the School of Music and Fine Art at the University of Kent, UK. He is a composer 

of both instrumental and electronic music, and has produced music for a solo performers, ensembles and full orchestra, as 

well as electro-acoustic compositions, live laptop performances, sound installations and interactive works. His first major 

acousmatic work, Asklepion (1999), was awarded an honourable mention in the final of the III Concurso Internacional de 

Música Eletroacústica, São Paul, Brazil, a work which went on to receive other international performances and broadcasts. 

Subsequently, he has received many commissions and performances of his work nationally and internationally. His collaborative 

work with Dr Ambrose Field (York University) has been heard at the ICMC2006 (New Orleans) and ICMC2007 (Copenhagen), 

as well as around the UK. This project culminated in Northern Loop (2013), which has recently been released 

on the Sargasso label. 

Born in Lansing, Benjamin Fuhrman is a graduate of the doctoral program in music composition at Michigan State University, 

where his principle instructors were Dr. Ricardo Lorenz and Dr. Mark Sullivan. He also holds a master’s degree in 

music composition from Michigan State University, and a bachelor’s degree in violin performance from Hope College, where 

his principle instructor was Mihai Craioveanu. He has had works commissioned from performers and organizations such 

as Grant Gould, Jack Kinsey, Mark Flegg, Shawn Teichmer, Ty Forquer, Jeff Loeffert, Barton Rotberg, Ryan Janus, Sam 

Gould, Nathan Bogert, Will Cicola, the H2 Quartet, University Reformed Church, Blacksoil Church, and the Magnolia West 

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High School Wind Symphony. His works have been performed at the IMMARTS TechArts Festival 2007, Electro-Acoustic 

Juke Joint 2008 and 2009, the Digital Arts Week 2008 Diamond in the Mud Exhibition, the ARC Gallery, the 2009 World 

Saxophone Congress, the 12 Nights Electronic Music and Art Festival, University of Central Missouri New Music Festival 

2010: Dualities, the Electro-Acoustic Barn Dance, SCENE&Heard Concerts, the STREET Festival, the 2013 SCI National 

Conference, the 2013 SEAMUS National Conference, the 2013 Studio 300 Festival, Colorado State University, Bowling 

Green State University, Oklahoma State University, and elsewhere in the US, Brazil, Switzerland, and Asia. He has also 

served as the composer in residence for ART342 in Fort Collins, Colorado. Having recently completed a multimedia commission 

for Corrina VanHamlin, he rounds out what little time is left by playing with the bands Wisaal and Slivovitz, and 

serving as instructor of mandolin and computer music at the MSU Community Music School. For more information check 

out www.benfuhrman.com 

Takuto Fukuda (b.1984/Japan) is a composer and a sound artist woking in the field of electroacoustic and mixed music. 

He received his BA(Sonology/2008) from Kunitachi College of Music in Japan and his MA(Sonology/ 2011) from The Royal 

Conservatory in The Hague in The Netherlands. He has studied under Takayuki Rai, Shintaro Imai, Cort Lippe, Johan 

van Kreij, Naoko Hishinuma and Masakazu Natsuda. He has been currently studying at IEM - Institute of Electronic Music 

and Acoustics at Kunstuniversität Graz with Marko Ciciliani. His pieces have been awarded the FUTURA prize at “CCMC 

2011”(Japan), a third prize at “International Taiwan Electroacoustic Music award”(Taiwan), an honorary mention at “the International 

Electroacoustic music composition competition Musica Nova 2010”(Czech), selected at numerous music festivals 

in Europe, Asia, North and South America such as “NYCEMF 2014”(USA), “ICMC 2012”(Slovenia), “EMUFest 2011”(Italia), 

“Concert Banc d’essai”(France), “SICMF 2011”(Korea), “Sonic Rain Concert Series”(USA) and “Ai-maako 2007”(Chile) and 

performed at prestigious institutes such as ZKM(Germany), ina-GRM(France), IEM(Austria) and Institute of Sonology(The 

Netherlands). He has made presentations about his compositions at Hochschule für Musik FRANZ LISZT Weimar(Germany), 

Moscow Tchaikovsky Conservatory(Moscow) and Kharkiv State Kotlyarevsky University of Arts(Ukraine). He has 

composed for contemporary dance projects and has operated his music at several dance festivals such as “NRW INTER- 

NATIONAL DANCE FESTIVAL 2008 with Pina Bausch”(Germany), “Summer of Tokyo”(Japan) and “Art Festival by Japan 

Cultural Affairs”(Japan). He has performed “Distance between headphones and ears” for 24.4ch multichannel surround 

system in collaboration with a Japanese choreographer, Zan Yamashita at Tokyo Cultural Center(Japan). He received a 

grant from Nomura foundation(Japan). http://takutofukuda.webs.com/ 

Larry Matthew Gaab is a native of the United States. He composes in his music studio in Chico, California, U.S.A.. His 

body of works are for tape alone and for mixed acoustic and electronic instruments. The pieces utilize improvisation, composition, 

and computer generation. His works have been selected for music festivals and concerts in the United States, 

the Americas and in Europe. 

Francesco Galant is an italian electroacoustic composer (Rome,1956). He studied in Italy (G.Nottoli) and in France 

(P.Boeswillwald, G.Baggiani,D.Keane). During the eighty decade he was artistic director of “Musica Verticale” Association 

in Rome and co-founder of SIM-Society of Computer Music (1982-1990). He was a researcher and designer of VLSI digital 

technologies for musical research (ICMC 1984 and 1986). He published some books devoted to the history of electronic 

music “Musica Espansa” (co-author N. Sani ) and “Metafonie” (co-author L. Pestalozza). In 1997 he was “composer in 

residence” at IIME Bourges (France). From 1998 to 2000 at Theater “Alla Scala” in Milan, he cured a biennal cycle of electroacoustic 

music “Metafonie” and the international scientific conference “Music and Technology, Tomorrow”(1999). He has 

lectured extensively on the Italian electronic music and the relationship music and technology (Netherlands, Spain, France, 

Cuba, Italy). His music works are worldwide performed (Europe,USA,South America, Canada, Asia, Australia) , including 

also some of the last ICMC editions. His discography is on CD from the labels like Fonit Cetra, Ricordi edts, Eshock edts 

Moscow, Twilight-EMI Italy, LIMEN contemporary and CEMAT. He is professor of electronic music at the Conservatory of 

Music of Cosenza city. 

Dr. Javier Alejandro Garavaglia is Composer and performer (viola/electronics) born in Buenos Aires, Argentina; he shares 

also the Italian and German citizenships. He lives between London (UK) and Köln (Germany). Associate Professor at the 

Sir John Cass Faculty of Art, Architecture & Design, London Metropolitan University (UK). Several publications about different 

topics of his research in journals, books and online (Spanish, German and English). His compositions are performed 

in several places of Europe, the Americas and Asia and include works for solo instruments, chamber music, audio-visual, 

ensembles and big orchestra with or without the inclusion of electronic media. Some of his electroacoustic works can be 

found on commercially available CD releases In Germany, the USA, Argentina and Denmark. 

Born in Nottingham in 1980 Andrew Garbett is a graduate of the Royal Northern College of Music, where he studied 

composition with Adam Gorb, Paul Patterson and Anthony Gilbert. Under the supervision of Douglas Jarman and Ronald 

Woodley he specialized academically in the study of 20th Century and Contemporary Music, as well as studying conducting 

with Clark Rundell. During this time he also had lessons with Sir Peter Maxwell Davies and James MacMillan. He graduated 

with a BMus (honours) Degree and then a Masters Degree (both in Composition) and is currently engaged in research 

at NOVARS, The University of Manchester for a PhD in Electroacoustic Composition, under the supervision of Professor 

David Berezan and Dr Ricardo Climent. The focus of his current research revolves around interaction of instrumental and 

electronic music, spectral and spatial composition. 

Jorge Gregorio García Moncada (b. 1975, Bogotá, Colombia). B.A in Music Composition, Universidad de los Andes, Bo-

gotá, Colombia, 2000, studied with Mr. Luis Pulido Hurtado. M.M. in Music Theory and Composition, TCU School of Music, 

Fort Worth, Texas, 2003 studying with Dr. Gerald Gabel. In 2013 he was awarded the title of PhD by the Department of Music 

of the University of Birmingham in the UK, where he undertook his research project in electroacoustic and mixed media 

music composition, having as supervisors Dr. Scott Wilson and Professor Jonty Harrison. Jorge García is a faculty member 

of the Music Department at Los Andes University in Bogotá, Colombia, focused in the fields of composition and theory. 

Richard Garrett (1957) is a composer who specialises in the use of fuzzy logic for generating, processing and spatialising 

of sound. His past works include Weathersongs, a real time installation that generates music from the weather, and nwdlbots 

(pronounced “noodle-bots”), a suite of generative composition modules for Ableton Live. His music has been presented 

in numerous locations worldwide including Austria (Ars Electronica), Canada (TIES), Germany, Italy, Greece (ICMC), Britain 

and the USA. Along with a background in Rock and Jazz music, Richard has studied Algorithmic Composition with David 

Cope and Peter Elsea in Santa Cruz, California and Electroacoustic Composition (for his MA) with Patricia Alessandrini and 

Andrew Lewis. He is currently an AHRC PhD scholar, working with Andrew Lewis at Bangor University, Wales. 

Eleazar Garzon was Born in the province of Córdoba. He graduated of Superior teacher in Harmony and counterpoint in 

the School of Arts of the National University of Córdoba (UNC). He Studied stochastic composition and new compositional 

algorithms with Professor Cesar Franchisena. At the present time, he’s Titular Professor of Composition, as well as Counterpoint 

in the Faculty of Arts at National University of Cordoba, ARGENTINA. He is mainly, an electro acoustic composer, 

his music was performed in Argentina, Chile, Mexico, United States of America, Canada, United Kingdom, Spain, France, 

Switzerland, Germany, Sweden, Italy and Singapore. 

Doug Geers began composing music with computers shortly after his Father brought home an Atari 800 in 1983. Since 

then, he has used technology in nearly all of his works, whether in the compositional process, as part of their sonic realization, 

or both. He has created concert music, installations, and several large multimedia theater works. Reviewers have 

described Geers’ music as “glitchy... keening... scrabbling... contemplative” (New York Times), “kaleidoscopic” (Washington 

Post), “fascinating...virtuosic...beautifully eerie” (Montpelier Times-Argus), “Powerful” (Neue Zuericher Zietung), “arresting... 

extraordinarily gratifying” (TheaterScene.net), “rhythmically complex, ominous” (CVNC), and have praised its “virtuosic 

exuberance” (Computer Music Journal) and “shimmering electronic textures” (Village Voice.). Geers’ works include Inanna, 

a 90-minute multimedia theater piece (2009, Zürich); an opera, Calling (2008, New York); Sweep, written for the Princeton 

University Laptop Orchestra (2008, Chicago); a violin concerto, Laugh Perfumes, commissioned by Festival Unicum for the 

RTV Orchestra of Slovenia (2006, Ljubljana); Gilgamesh, a 70-minute multimedia theatrical concerto; and numerous works 

of acoustic and electroacoustic concert music. Geers completed his doctorate at Columbia University, where he studied with 

Brad Garton, Tristan Murail, Fred Lerdahl, , and Jonathan D. Kramer. He is an Associate Professor of Music Composition 

at Brooklyn College, a campus of the City University of New York (CUNY). He is Director of the Center for Computer Music 

at Brooklyn College, and serves on the Ph.D. composition faculty of the CUNY Graduate Center. For more information, 

please see www.dgeers.com. 

Marta Gentilucci studied Vocal Arts as soprano at Conservatory of Perugia (IT), there she obtained with honor also her 

Master Degree in English and German Literature. She studied composition at the Conservatory of Florence, then she 

moved to Germany, where she obtained her Master Degree in composition and in composition/computer music at the University 

of Music Stuttgart under the guidance of Marco Stroppa. She has been selected for the two years program in computer 

music at Ircam in Paris (Cursus1 and Cursus2). She was in residence at the Exeprimentalstudio des SWR Freiburg 

and at the electronic studio of the Akademie der Kuste in Berlin (DE). Her electronic music has been selected for ICMC 

2011 (UK); SICMF 2012 (Korea); nycemf 2013, (NY City), ICMC 2013 (AU) and for the ICMC 2014 (GR), where she awarded 

the ICMA Best Student Music. Recently, she received the Mivos/Kanter Prize Honorable Mention for the string quartet 

Proof Resilience. Her music has been performed in Italy, France and Germany, Korea, Japan, USA, UK by ensembles as 

Wind-Soloist of the Orchestra Nazionale RAI, Ensemble Surplus, Ensemble Ascolta, soloists of Neue Vocalsolisten, cros. 

art ensemble, soloists of Ensemble Intercontemporain, Jack Quartet, Chiara Quartet, Ensemble L’Arsenale, Hand Werk, 

Nikel Ensemble, Elision Ensemble. 

Zuriñe F. Gerenabarrena, (Vitoria-Gasteiz, Spain 1965) studied composition with C. Bernaola(Spain) and Franco Donatoni 

(Scuola Cívica, Milan). Composition seminars: International ferienkurse Für Neue Musik (Darmstadt), IRCAM,LIEM-CD- 

MC,iMAL (Brussels). Orchestrator of several films, works in sonorous diffusion Gerenabarrena has written pieces for orchestra 

and chamber ensembles, theatre, dance, animation, acousmatics, sound installations and multidisciplinary shows... 

International forums: Spain (Guggenheim Museum Inaugural Session Bilbao, Cycle of Concerts of contemporary Music. 

FBBVA, Auditorio Nacional, M.N.C.A.R.S. Auditorio 400, Alicante Festival of Contemporary Music, Quincena Musical, SINK- 

RO, Festival Bernaola, Musikaste, In-Sonora), France (Festival Synthése.Bourges) Paris (Université VIII)), Milan Universitá, 

Venezia Teatro Groggia, Munich-Kleiner Konzertsaal,“E`Werk”(Friburgo), Festival Sonoimágenes, Festival Visiones 

Sonoras. Festival Chihuahua, Electrovisiones, Fonoteca Nacional, México D.F, Finland (Sibelius Inst.) London(I. Cervantes), 

Roma EMU Festival, Elektrophonie(Nuit-Bleue), Wealr 09 Fullerton, Festival Musica Viva (Lisbon), Borealis Festival 

(Norway), Musiques & Recherches, (Brussels), Exhibiton “Down the Dori”. Open Studio (TWS,Tokyo, Japan), BKA Theather. 

Berlin, EAM Festen Frost…and released on several Cds. Commissions from: Basque Government, INAEM,CDMC, 

Quincena Musical, Basque Countrry Symphony Orchestra, BBVA Foundation, Author Foundation among others. Artist in 

residence in “LEC”( Lisbon), USF. Bergen (Norway) VICC Visby (Sweden), Tokyo Wonder Site (Tokyo, Japan). Professor of 

Counterpoint and Harmony at the Higher Conservatory of Music of the Basque Country MUSIKENE (Donostia-San Sebas- 

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tian. Spain). Supported by Fundacion SGAE. 

John Gibson’s acoustic and electroacoustic music has been presented in the US, Canada, Europe, South America and 

Asia. His instrumental compositions have been performed by many groups, including the London Sinfonietta, the Da Capo 

Chamber Players, the Seattle Symphony, the Music Today Ensemble, Speculum Musicae, Ekko!, and at the Tanglewood, 

Marlboro, and June in Buffalo festivals. Presentations of his electroacoustic music include concerts at the Seoul International 

Computer Music Festival, the Bourges Synthèse Festival, the Brazilian Symposium on Computer Music, the International 

Biennial for Electroacoustic Music of Sao Paulo, Keio University in Japan, the Third Practice Festival, the Florida Electroacoustic 

Music Festival, and several ICMC and SEAMUS conferences. Among his grants and awards are a Guggenheim 

Fellowship, a Charles Ives Scholarship from the American Academy and Institute of Arts and Letters, two ASCAP Foundation 

Grants, and the Paul Jacobs Memorial Fund Commission from the Tanglewood Music Center. Recordings of his music 

appear on the Centaur, Everglade, and SEAMUS labels. Gibson holds a Ph.D. in music from Princeton University, where he 

studied with Milton Babbitt, Paul Lansky, Steven Mackey, and others. He writes sound processing and synthesis software, 

and has taught composition and computer music at the University of Virginia, Duke University, and the University of Louisville. 

He is now Associate Professor of Composition at the Indiana University Jacobs School of Music. For more information, 

please visit john-gibson.com. 

Sam Gillies is a composer and sound artist with an interest in the function of noise as both a musical and communicative 

code in music and art. His work treads the line between the musically beautiful and ugly, embracing live performance, 

multimedia and installation art forms to create alternating sound worlds of extreme fragility and overwhelming density. Sam 

began his undergraduate studies at UWA in 2005, completing a Bachelor of Arts with a focus on literature, theatre and film 

making, before formally beginning his study of music at WAAPA in 2008, under the tutelage of Dr Lindsay Vickery and Dr 

Cat Hope. In 2012 he competed an Honours degree in Composition at WAAPA, achieving first class honours. He is currently 

studying a Masters in Composition at Goldsmiths, University of London. Sam performs live as an electronic artist, 

having performed extensively at both a national (Perth, Brisbane, Melbourne, Sydney) and an international (Japan - Osaka, 

Kyoto, Tokyo) level. Recordings of Sam’s music have been broadcast nationally on ABC Classic FM, Perth’s RTRFM 92.1, 

Brisbane’s AZZZ, and Sydney’s FBi radio. His music has been programmed as part of the Deep Wireless Festival of Radio 

Art, Toronto, the Totally Huge New Music Festival and the International Computer Music Conference. Aside from solo performance, 

Sam also performs in a number of collaborative projects, including the piano/laptop duo ‘Cycle~ 440’ who have 

released six albums thus far and received the 2013 West Australian Music Award for Experimental Song of the Year. Sam 

is also active as a music journalist and academic, having presented papers at several music conferences and writing for 

various music journals including Limelight Magazine, Realtime Magazine and Cyclic Defrost. From 2011-2014 Sam curated 

the monthly new music series Noizemaschin!! and co-hosted the Difficult Listening program on Perth’s RTRFM 92.1. 

Louis Goldford (b. 1983) is a composer of acoustic and electroacoustic music, and is the saxophonist and leader of the 

Taipei-based Flâneur Daguerre postmodern jazz ensemble. His music has been heard in Taiwan, Poland, Italy and the United 

States. In 2014 Louis premiered new works at the Composit New Music Festival (Italy), following performances at the 

New York City Electroacoustic Music Festival, the Summer Institute of Contemporary Performance Practice at New England 

Conservatory, and the Society for Electroacoustic Music in the United States National Festival. In 2013 Louis completed the 

Computer Music Workshop (Atelier d’informatique musicale) while at IRCAM and was a finalist in the 2013 ASCAP Morton 

Gould Young Composer Awards. Hailing from St. Louis, Louis is currently pursuing graduate degrees in music composition 

at Indiana University, studying composition with Aaron Travers, Sven-David Sandström and Claude Baker, and electronics 

with John Gibson and Jeffrey Hass. 

Sandra Elizabeth González, an Argentine composer, graduated from the Conservatory of Music “Manuel de Falla” with a 

specialization in Symphonic and Chamber Music, and Senior Lecturer in Music with a specialization in composition. Degree 

in Electroacoustic Composition by the National University of Quilmes in Argentina, where she obtained a Training Fellowship 

in Teaching and Research. Participates in the research project “Spatial synthesis of sound in electroacoustic music” 

(Director: Dr. Pablo Di Liscia and Co-Director: Lic. Mariano Cura). Among her teachers, recognized composers stand out 

such as Carmelo Saitta, Dr. Pablo Di Liscia and Dr. Pablo Cetta. She attended a PhD Seminar with the prestigious composer 

Dr. Rodrigo Sigal. She has composed works for solo instruments, ensembles, orchestra, chamber choir, electroacoustic 

and mixed media works. Her works are released by renowned musicians and presented in prestigious venues in Argentina, 

Brazil and Macedonia (Skopje) in major concert series. Her work “Asimetrías” for violin and piano (2006) was played by 

Elias Gurevich and Haydée Schvartz in the “Compositores Argentinos II” concert, held in the framework of the Call for Classical 

National Radio and “Manos a las Obras” in 2012. Her string quartet in “Modos en decantación” (2002) was selected 

to participate in the workshop for composers conducted in 2013 by the Arditti Quartet at the National University of Quilmes. 

Her electroacoustic work “Espacios evocados” (2010 -2014), version for electronic sounds in quadraphonic, was selected 

to participate in “Música de Agora na Bahía (MAB)”. The work was presented at the “4ª Projeçao Sonora” at the ICBA Theatre 

- Corredor da Vitória, Salvador de Bahia (Brazil), in 2014. In April 2015, the electroacoustic work “Espacios evocados” 

(2010) was issued in No. 81 programme of Undae! Radio (Madrid - Spain), pertaining to the call for works Undae! 2014. 

A native San Franciscan, Matthew Goodheart has gained an international reputation as a composer, improviser, and 

sound artist. Following an early career as a free-jazz pianist, he has created a wide spectrum of often unusual sounds that 

explore the relationships among performer, instrument, and listener. His work ranges from large-scale microtonal compositions 

to open improvisations and immersive sound installations – all unified by the analytic techniques and performative 

methodologies he has developed to bring forth the unique and subtle acoustic properties of individual musical instruments.

Goodheart’s approach results in a “generative foundation” for exploring issues of perception, technology, cultural ritual, and 

the psycho-physical impact of acoustic phenomena. 

Brett Gordon is a Doctoral candidate entering the final year of his PhD at the University of Hull under supervision from Dr. 

Rob Mackay and Dr. Mark Slater. He is a composer and performer of electroacoustic and acousmatic music that sometimes 

incorporate visual elements. The use of interactive controllers plays a significant role in both his compositions and performances. 

His research into the composer, performer and sound material relationship in electroacoustic music is ongoing. He 

has performed and presented papers at numerous conferences and seminars including ICMC2013 in Perth, Australia, The 

RMA Conferences 2014 & 2015, IFIMPaC 2014 and iscMME2015 among others. 

Richard Graham is a guitarist and computer musician based in the United States. He has performed across the U.S., Asia, 

U.K., and Europe, including festivals and conferences such as Celtronic and the International Symposium on Electronic 

Art. Graham’s academic research is centered around computer-assisted music composition and instrumental performance. 

He developed the first iteration of his live performance system for multichannel guitar as an artist-in-residence at STEIM in 

2010. He received his Ph.D. in Music Technology from the Ulster University in 2012 and he is now an Assistant Professor 

of Music and Technology at Stevens Institute of Technology in New Jersey. His most recent paper on performance systems 

design was presented at NIME 2015 and pieces from his most recent album, Nascent, will feature at SEAMUS and NY- 

CEMF in 2015. 

Ethan Frederick Greene creates music and sound art for concert hall, gallery, stage and screen. His work spans a wide 

range of styles and genres, including instrumental, vocal and electroacoustic chamber music; opera and orchestral works; 

sound design and audio installations; and hip-hop and electronica. He currently serves as Assistant Professor of Digital Arts 

at Stetson University. For more, please visit ethangreene.org. 

Scot Gresham-Lancaster is a composer, performer, instrument builder and educator. He is an associate professor of 

sound design at ATEC UT Dallas. The focus of his research is in the sonification of data sets in tight relationships with visualizations, 

(multimodal representations). As a member of the HUB, he is an early pioneer of “computer network music” and 

has developed many “cellphone operas”. He has created a series of “co-located” international Internet performances and 

worked developing audio for several games and interactive products. He is an expert in educational technology. 

Adam Groh, a native of St. Louis, Missouri, is a percussionist with a diverse performing and teaching background. He 

is an ardent supporter of new solo and chamber music for percussion, and has commissioned and premiered works by 

composers such as Ian Dicke, Ethan Frederick Greene, Steven Snowden, Eli Fieldsteel, Christopher Cerrone, Brian Nozny, 

Chris Ozley, Martin Bresnick, John Serry, and Halim El-Dabh. He has recently been invited to perform at the Bang on a 

Can Summer Festival at MASS MoCA, the Banff Centre for the Arts in Banff, Canada, Fast Forward Austin, the Percussive 

Arts Society International Convention, SEAMUS, and Electronic Music Midwest. As an active chamber musician, Adam has 

performed alongside So Percussion, members of the Bang on a Can All-Stars, and with the Austin Chamber Music Center. 

He was also a featured performer with the Denkyem Percussion Group in the “Promising Artists of the 21st Century” festival 

hosted by the North American Cultural Center, Costa Rica. Adam has performed with the Des Moines, Round Rock, Victoria, 

Tallahassee, Chautauqua, and Northwest Florida Symphony Orchestras. In the fall of 2009 Adam performed in the Ringling 

International Arts Festival under the baton of Maestro Robert Spano. Also a passionate educator, Adam has presented 

clinics at events such as The Midwest Clinic, the Texas and Iowa Music Educators Association Conventions, and multiple 

PAS-sponsored Days of Percussion. Adam has had articles published in both Percussive Notes, the official research journal 

of the Percussive Arts Society, and Rhythm! Scene and he is the author of the popular percussion blog “The State of Our 

Art.” He also serves as a Contributing Editor to DrumChattr, an online resource for percussionists, where he contributes 

a weekly column. Adam is currently Assistant Professor of Percussion at Graceland University in Lamoni, Iowa, where he 

oversees all aspects of the percussion program, serves as Music Department Coordinator, and holds the Dwight and Ruth 

Vredenburg Endowed Chair in Music. Adam received his Doctor of Musical Arts Degree in Percussion Performance at The 

University of Texas at Austin, and also holds a Master’s Degree in Percussion Performance from The Florida State University 

and a Bachelor’s Degree in Music from Truman State University. His primary teachers include: Dr. Thomas Burritt, Dr. 

John W. Parks IV, Dr. Michael Bump, and Will James of the St. Louis Symphony Orchestra. Adam is a proud endorser of 

Pearl Drums/Adams Musical Instruments, Innovative Percussion sticks and mallets, and Beetle Percussion. 

Michael Gurevich is Assistant Professor of Performing Arts Technology at the University of Michigan’s School of Music, 

Theatre & Dance, where he teaches courses in media art, computer-based composition and physical computing, and directs 

the Electronic Chamber Music performance ensemble. Framed through the interdisciplinary lens of Interaction Design, his 

research, composition, and design work explores new aesthetic and interactional possibilities that can emerge in performance 

with real-time computer systems. He is an active author, editor and peer reviewer in the NIME, computer music, and 

HCI communities, and currently serves as Vice President of Membership of the ICMA. 

As a specialist in contemporary performance practice and techniques, flutist Shanna Gutierrez is dedicated to promoting 

and advancing contemporary music in cultural life today through innovative performances and educational projects. She 

appears throughout the United States and abroad as a soloist, clinician, and in various chamber collaborations, including 

Collect/Project and Sonic Hedgehog. She has performed as a guest with the Collegium Novum Zürich, ensemble interface, 

ensemble TZARA, and Fonema Consort, in addition to concerts and residencies in Germany, Portugal, Switzerland, The 

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Netherlands, South Korea, Mexico, Colombia, and United Kingdom. She has received numerous awards and accolades 

for her performances including, prizes at the Stockhausen Courses, the Darmstadt Summer Courses for New Music, and 

a NewMusicUSA project grant. She was a founding member of Chicago-based Ensemble Dal Niente, recipient of the 2012 

Kranichstein Prize for Interpretation. She performs on a Burkart flute and piccolo and Kingma bass and alto flutes. www. 

shannagutierrez.com 

Kerry Hagan is a composer and researcher working in both acoustic and computer media. She develops real-time methods 

for spatialization and stochastic algorithms for musical practice. Her work endeavours to achieve aesthetic and philosophical 

aims while taking inspiration from mathematical and natural processes. In this way, each work combines art with science 

and technology from various domains. 

Her works have been performed in San Diego, Belfast, Dublin, Paris, Berlin, Tokyo, Sydney and Perth. Recent works include 

a real-time stochastically generated work for computer alone, a bass solo, and a work for clarinet and computer. Current 

music projects include a piece for saxophone and computer, and computer music from large, complex data sets. As a researcher, 

Kerry’s interests include real-time algorithmic methods for music composition and sound synthesis, spatialization 

techniques for 3D sounds and electronic/electroacoustic musicology. Her research has been presented at ICMC, SMC, 

EMS and other conferences in Montreal, Berlin, Belfast, Crete, New Jersey and Perth. In 2010, Kerry led a group of practitioners 

to form the Irish Sound, Science and Technology Association, where she is currently President. Currently, Kerry is a 

Lecturer at the University of Limerick in the Digital Media and Arts Research Centre. She is the Principal Investigator for the 

Spatialization and Auditory Display Environment (SpADE). 

Composer Bruce Hamilton is published by Non Sequitur Music and can be heard on the Albany, Amaranth, and/OAR, black 

circle, blank space, Capstone, Ilse, Inner Cinema, Linear Obsessional, Memex, Phill, SEAMUS, Spectropol, split-notes, 

Three Legs Duck and Mark labels. He has received honors, awards and commissions from ALEA III, AMC, ASCAP, PAS, 

Barlow, Carbondale Community Arts, Indiana University, Jerome Foundation, National Society of Arts and Letters, Pittsburgh 

NME, Whatcom Symphony, Russolo-Pratella Foundation, and SEAMUS. A graduate of Indiana University, Hamilton 

teaches at Western Washington University, co-organizes the Bellingham Electronic Arts Festival, and runs the Spectropol 

label. 

Composer and researcher Rob Hamilton spends his time obsessing about the intersections between music, interactive 

media, virtual reality and games. As a creative systems designer and software developer he has explored massively-multiplayer 

mobile music systems at Smule, received his Ph.D, in Computer-based Music Theory and Acoustics from Stanford 

University’s Center for Computer Research in Music and Acoustics (CCRMA) and currently serves on the faculty at Rensselaer 

Polytechnic Institute (RPI) in the Arts Department as an Assistant Professor of Music and Media. 

Timothy Harenda (b. 1987) is a pianist and composer of both acoustic and electro-acoustic music. He was born in Western 

New York and resided in rural Pennsylvania until 2005. He received his B.M. in Composition from Cedarville University, having 

studied composition with Steven Winteregg and Roger O’Neel, and piano with John Mortensen. He received his M.M. 

in composition at Bowling Green State University, studying with Burton Beerman, Andrea Reinkemeyer, Marilyn Shrude, 

and Christopher Dietz. Mr. Harenda is currently pursuing a PhD at the University of North Texas, studying with Panayiotis 

Kokoras and Andrew May. Prior to that, he held a position as an adjunct instructor at Bowling Green State University. His 

compositions have premiered at festivals such as SEAMUS, ICMC, SIRGA Festival, Audio Art Festival, EMM, the World 

Saxophone Congress, and others. His work has been featured in concerts by groups such as VERGE ensemble and the 

Tuscaloosa New Music Collective. In 2012, he was awarded grand prize by the Tuscaloosa New Music Collective in their 

composition competition. He and his wife, Emily, reside in Lewisville, TX. 

Steven Harlos enjoys a richly varied musical life. His teachers have included Martha Massena, Walter Robert, Peter Katin, 

and Jean Barr on piano, and John Davison, Bernhard Heiden, and Morten Lauridsen in composition. He has performed in 

Carnegie Hall, at Lincoln Center, and the Kennedy Center for the Performing Arts. He frequently performs as soloist with 

the Dallas Symphony Orchestra. In 2010, he premiered Dysfunctional—a concerto for piano and orchestra written for him 

by Stephen Anderson. As a collaborative pianist, he has shared the stage with various musical luminaries, such as Timofei 

Dokschutzer, Harvey Phillips, Gervase de Peyer, Erick Friedman, Marvin Gaye, Dianne Warwick, Chaka Khan, Sylvia Mc- 

Nair, Buddy DeFranco, and Byron Stripling. He worked closely with jazz pianist Dick Hyman on several projects, including 

Hyman’s ballet The Bum’s Rush for Twyla Tharp at the Kennedy Center, and Piano Man with the Cleveland Ballet. His compositions 

include two published sonatas, Sonata Rubata for flute and piano, and Benniana, a jazz sonata for clarinet and 

piano. He currently serves as chair of the Division of Keyboard Studies at the University of North Texas, and as keyboardist 

for the Dallas Symphony Orchestra. 

Jonty Harrison (born 1952) studied with Bernard Rands, Elisabeth Lutyens and David Blake at the University of York, 

graduating with a DPhil in Composition in 1980. Between 1976 and 1980 he lived in London, where he worked with Harrison 

Birtwistle and Dominic Muldowney at the National Theatre, producing the electroacoustic components for many productions, 

including Tamburlaine the Great, Julius Caesar, Brand and Amadeus, and at City University. In 1980 he joined the 

Music Department of the University of Birmingham, where he is now Professor of Composition and Electroacoustic Music, 

and Director of BEAST (Birmingham ElectroAcoustic Sound Theatre); between 1980 and 2013 he was also Director of the 

Electroacoustic Music Studios. At Birmingham he has taught a number of postgraduate composers from the UK and overseas; 

many are now themselves leading figures in the composition and teaching of electroacoustic music in many parts of

the world. For ten years he was Artistic Director of the department’s annual Barber Festival of Contemporary Music and he 

has made numerous conducting appearances with the Birmingham Contemporary Music Group (including in Stockhausen’s 

Momente in Birmingham, Huddersfield and London), the University New Music Ensemble and the University Orchestra. He 

was a Board member of Sonic Arts Network (SAN) for many years (and Chair in 1993-96). He has also been on the Council 

and Executive Committee of the Society for the Promotion of New Music and was a member of the Music Advisory Panel of 

The Arts Council of Great Britain. As a composer he has received several Prizes and Mentions in the Bourges International 

Electroacoustic Music Awards (including a Euphonie d’or for Klang in 1992 cited as “one of the most significant works” in the 

Bourges competition’s history), two Distinctions and two Mentions in the Prix Ars Electronica (Linz, Austria), First Prize in 

the Musica Nova competition (Prague), the Destellos Competition (Argentina), a Lloyds Bank National Composers’ Award, a 

PRS Prize for Electroacoustic Composition, an Arts Council Composition Bursary and research grants from the Leverhulme 

Trust and from the Arts and Humanities Research Board/Council. Commissions have come from many leading performers 

and studios — including two each from the Groupe de recherches musicales (Ina-GRM, Paris) and the Institut international 

de musique électroacoustique de Bourges (IMEB — formerly the Groupe de musique expérimentale de Bourges) — such as 

the International Computer Music Association (ICMA), MAFILM/Magyar Rádió (Budapest), Electroacoustic Wales/Bangor 

University, IRCAM/Ensemble intercontemporain (Paris), KLANG Acousmonium (Montpellier), BBC, Birmingham City Council, 

Birmingham Contemporary Music Group, Fine Arts Brass Ensemble, Nash Ensemble, Singcircle, Thürmchen Ensemble 

(Cologne), Compagnie Pierre Deloche Danse (Lyon), Darragh Morgan, John Harle, Beverly Davison, Harry Sparnaay, and 

Jos Zwaanenburg. Despite renouncing instrumental composition in 1992, he wrote Abstracts (1998) for large orchestra and 

8-track tape, Force Fields (2006) for 8 instrumentalists, and fixed sounds for the Thürmchen Ensemble and Some of its 

Parts for violin and fixed sounds for Darragh Morgan (piano and percussion versions to follow, together with duo and trio 

options). He has undertaken a number of composition residencies, including in Basel (Switzerland), Ohain (Belgium) and 

Bangor (Wales, UK), and has been guest composer at numerous international festivals. In 2010 he was Guest Professor 

of Computer Music at the Technische Universität, Berlin. In 2014 he will be a Master Artist-in-Residence at the Atlantic 

Center for the Arts in Florida and in 2015 will the KEAR composer in residence at Bowling Green State University, Ohio. 

During 2014-15 he will hold a Leverhulme Emeritus Fellowship. His music is performed and broadcast worldwide. His music 

appears on three solo albums on empreintes DIGITALes, as well on compilations on SAN/NMC, Cultures électroniques/ 

Mnémosyne Musique Média, CDCM/Centaur, Asphodel, Clarinet Classics, FMR, Edition RZ and EMF. 

Jeffrey Hass composes music for electronics combined with large and small acoustic ensembles, video and dance. His 

current work involves combining contemporary dance with 3D video and projection mapping. His music, dance and video 

works have been premiered at International Computer Music Conferences, SEAMUS, Australasian Computer Music Conference, 

Pixilerations, Spark Festival, American College Dance Festival, the World Dance Alliance and many more. He has 

also delivered papers at the New Interfaces in Musical Expression Conference, Toronto Electroacoustic Conference and 

several dance festivals. Awards include ASCAP/Rudolph Nissim Award, National Band Association Competition, Walter 

Beeler Memorial Award, Lee Ettelson Composer’s Award, United States Army Band’s Composition Award, Heckscher Orchestral 

Award, Bogliasco Foundation Fellowship and the Utah Arts Festival Orchestral Commissioning Award. Recordings 

of his works have been released by the Indiana University Press, SEAMUS, Arizona University Recordings, Albany Records 

and RIAX Records. His works are published by Magnetic Resonance Music, Ludwig Music Company and MMB Music 

Publishers.” 

Akiko Hatakeyama is a composer, singer, and audio-visual artist who also builds instruments/controllers. She is interested 

in crossing boundaries between traditionally written music, improvisation, electronics, computer based live interactivity, and 

visual components. Storytelling, memories, and nature often play an important role in Akiko’s work, and she most often finds 

beauty in simplicity. Akiko obtained her B.A. in music from Mills College and M.A. in Experimental Music/Composition from 

Wesleyan University. Akiko is currently engaged in PhD study in the MEME program at Brown University. Her instructors 

include Alvin Lucier, Anthony Braxton, Ronald Kuivila, Maggi Payne, Chris Brown,Todd Winkler and Butch Rovan. 

Christos Hatzis: Born in Greece, educated in the United States, a Canadian citizen since 1985 and a Professor at the 

Faculty of Music, University of Toronto since 1995, Christos Hatzis is one of Canada’s most important composers. Christos’ 

eclectic and powerful music is captivating audiences internationally and has been awarded several coveted Canadian and 

international awards, like the Jean A. Chalmers National Music Award, the Jules Legér Prize, the Prix Italia and the Prix 

Bohemia, in addition to two Juno Awards. Recently he has been receiving commissions from some of Canada’s and the 

world’s best-known soloists and ensembles, such as violinist Hilary Hahn, percussionist Evelyn Glennie, the Afiara Quartet, 

the Montreal Symphony Orchestra, Symphony Nova Scotia, the Winnipeg Symphony Orchestra and the Royal Winnipeg 

Ballet. His major 2014 project is a full length ballet score for the Royal Winnipeg Ballet on the subject of the residential 

schools, a commission by the Truth and Reconciliation Commission. A growing number of new recordings of Hatzis’s music 

are fast spreading awareness and appreciation of the composer’s work well beyond his home base. Recent releases 

include a Deutsche Grammophon recording by violinist Hilary Hahn, an all-Hatzis Naxos CD of his two flute concerti with 

flutist Patrick Gallois and the Thessaloniki State Symphony Orchestra and three Hatzis works on two new Centrediscs CDs 

by percussionist Beverley Johnston and soprano Suzie LeBlanc. Hatzis is the 2014 recipient of the HHF Life Achievement 

Award (The previous recipient was Mike Lazarides, founder and CEO of Blackberry.) 

Ethan Hayden is a composer, performer, and author based in Buffalo, NY. He has written music for various performing forces, 

ranging from solo instruments to large ensembles, often involving electronics. Recent works reflect an ongoing interest 

in language, phonetics, and sound poetry, as well as large-scale explorations of timbre, resonance, and sonic spectra. His 

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music has been performed at conferences and festivals around the world, most recently at INTIME (Coventry, UK), Toronto 

Electroacoustic Symposium (Toronto, ON), and E-Poetry (Buenos Aires). In 2008, Ethan graduated from the University of 

North Texas magna cum laude with B.M.s in Composition and Theory. While at UNT, he was active as a composer and 

performer, studying composition with Joseph Klein, Andrew May, and David Bithell. He recently received his M.A. in composition 

from the University at Buffalo, where he studied with Jeffrey Stadelman. Still at UB, Ethan is a Ph.D. Candidate (ABD), 

studying with Cort Lippe. In 2015, Ethan joined the Digital Music Production faculty at Buffalo State College. Ethan is the 

Associate Director of Wooden Cities, a Buffalo-based ensemble seeking to help increase the performance and awareness 

of contemporary music in Western New York. With Wooden Cities, he has co-produced over thirty concerts of new and experimental 

music across the Midwest, frequently premiering new works by emerging composers. As a vocalist, he regularly 

performs contemporary music, sound poetry, and improvisational works. Recent performances have included pieces by 

Georges Aperghis, Charles Ives, Dmitri Kourliandski, Kurt Schwitters, and John Zorn, as well as collaborations with Steve 

McCaffery and Null Point. Ethan is also active as a writer and researcher on music. He is the author of Sigur Rós’s ( ), published 

as part of Bloomsbury’s 33⅓ series in August 2014. 

Yuanyuan (Kay) HE began learning piano at age 5. At age 15, she began studying composition at the affiliated middle 

school of Shenyang Conservatory of China. As a double major undergraduate, she studied composition and electronic 

music at the Central Conservatory of Music in Beijing. Kay went on to complete her Master’s degree in composition at the 

University of Missouri-Kansas City in 2013. She is currently pursuing her doctoral degree in composition (DMA) at the University 

of Texas at Austin, studying under Dr. Dan Welcher, Dr. Russell Pinkston, Dr. Donald Grantham, and Dr. Yevgeniy 

Sharlat. Her piece Passeig de Grácia for orchestra was selected for the 2015 ACO Underwood New Music Readings in 

New York City. On the Threshold of a Drizzly Reality was selected for 2014 performances at ICMC in Athens, Greece; her 

piano trio Shadow of Dewdrops was selected as a finalists for TICF2015 composition competition in Bangkok, Thailand and 

Gamma UT music festival in 2014; the orchestra piece Legends of Old Peking won the Seattle Symphony’s Celebrate Asia 

Composition, and many other pieces have won awards or competitions in other parts of the world. 

Jens Hedman is a long time established name in Swedish electro-acoustic music. His music has been performed at festivals, 

concerts and on radio all over the world and has received several important prizes in international music competitions. 

Hedman composes both instrumental and electro-acoustic music as well as sound art. He often combines his music with 

other artistic expressions, collaborating with writers, visual artists, choreographers and architects. To Hedman the spatial 

content of music is very important and many of his works explore space and movement utilizing multi-channel techniques. 

He has also participated in several collaborate compositions together with other composers. He has been teaching at 

Elektronmusikstudion (EMS) in Stockholm for more than 20 years as well as at IDKA, Kapellsbergs music school and workshops 

in many countries. He was president of the Society for Electro Acoustic Music in Sweden (www.seams.se) 2001-08. 

Hedman studied EAM-composition at the Royal College of Music in Stockholm and sound art at Stockholm Academy of 

Dramatic Arts. 

Mara Helmuth composes music often involving the computer, and creates multimedia and software for composition and 

improvisation. Her recordings include “Lifting the Mask” on Sounding Out! (Everglade), Sound Collaborations, (CDCM v.36, 

Centaur CRC 2903), Implements of Actuation (Electronic Music Foundation EMF 023), and works included on Open Space 

CD 16 and the 50th Anniversary University of Illinois Experimental Music Studios commemorative collection. Her music 

has been performed internationally at conferences, festivals and arts spaces. She is Professor of Composition at the College-Conservatory 

of Music, University of Cincinnati and Director of the CCM Center for Computer Music. She previously 

taught at Texas A&M University (1993-1995) and New York University. She holds a D.M.A. from Columbia University, and 

earlier degrees (M.M., B.A.) from the University of Illinois, Urbana-Champaign. Her software for composition and improvisation 

has involved granular synthesis, user interfaces, Internet2, and contributions to the RTcmix music programming 

language. 

Jonathan Higgins is a composer from England who is currently based in Sheffield where he is completing an MA in Sonic 

Arts, supported by the Julian Payne Scholarship. For the past year he has been working for Furnace Park in Sheffield as 

part of their ‘Sheaf Prospects’ soundscaping and composition project. His music is often densely gestural and noise based 

with influences from beat and glitch based music. He has presented works both in the UK and internationally, most recently 

at the ICMC (Athens 2014, Texas 2015), Metanast (Manchester), Sound Junction (Sheffield) and Noise Floor (Staffordshire). 

His electroacoustic remix of Gary Carpenter’s piece “Neiderau” played by the Tempest Flute Trio was shortlisted for 

the Nonclassical 10 Remix Contest. Fragments, a piece based on Humpty Dumpty received a runners up prize in the USSS 

Nursery Rhymes competition. 

Haruka Hirayama completed her undergraduate degree in 2004 and her MMus in 2006 at the Sonology Department of 

Kunitachi College of Music, studying composition and computer music. She was awarded the Residence Prize at the 32nd 

International Competition of Electroacoustic Music and Sonic Art (Bourges, France) in 2005 and the Pauline Oliverous Prize 

at the International Alliance for Women in Music (IAWM) competition (USA) in 2012. Her activities as a composer are diverse 

including composer-in-residence at the Institute for Electroacoustic Music in Sweden (EMS), a commission from Chaotic. 

moebius (Plattform für neue und experimentelle Musik in Basel), and many works have been selected and performed at 

various international conferences and festivals. 

Elizabeth Hoffman’s electroacoustic music explores microtemporal and microtonal nuances, textures, shapes, and timbral

densities. Hoffman has collaborated with multiple NYC musicians, and other artists, including flutist Margaret Lancaster, 

dancer Elena Demyanenko, tarogato player Esther Lamneck, Marianne Gythfeldt, Uilliean pipes player Ivan Goff, and the 

FLUX Quartet on mixed music projects. Articles appear in Computer Music Journal and Organized Sound and concern spatialization 

as a performed quality, and aspects of symbolic form and subjectivity in electroacoustic music. Prizes include recognition 

from the Bourges and Prix Ars Electronica competitions, and an ICMA commission. Hoffman teaches at NYU, FAS. 

Peter Hulen is Associate Professor of Music and Chair of the Music Department at Wabash College, near Indianapolis USA, 

where he teaches music theory, composition, electronic music, and humanities courses. For fun, he plays in a pretty good 

Renaissance recorder consort, sings in a very good choir, landscape gardens, cooks unhealthy food, and tries to maintain 

some kind of contemplative practice. 

Joel Hunt is a PhD candidate at the University of California at Santa Barbara and Lecturer in Music and Digital Media, Arts 

and Technology at Pennsylvania State University at Erie where he teaches courses on electroacoustic music, digital audio, 

music theory, and film music. He holds degrees in Saxophone and Composition from SUNY Fredonia and UC Santa Barbara. 

He is an active composer and performer, specializing in algorithmic computer music and interactive electroacoustic 

music. 

Yian Hwang was born in Taiwan. I made up my mind to be a composer when I went to college. I graduated from Music Department 

of NSYSU in 2014, major in Music Production, then went to Music Institute of NCTU and starting learning computer 

music. Now I’m studying computer music in Peabody Institute of JHU. 

Aki Ishida holds a MS in Advanced Architectural Design from Columbia University and a Bachelor of Architecture with distinction 

from University of Minnesota. She brings her experience in designing and managing projects with multidisciplinary 

teams from working with some of the world-renowned architects. At Rafael Vinoly Architects, she was a core member on the 

new stadium at Princeton University. For over four years, she was an associate at James Carpenter Design Associates, a 

studio focused on artistic and technical use of glass. She was also a design consultant at I.M. Pei Architect for the Museum 

of Islamic Art in Doha, Qatar. Aki currently is an Assistant Professor at Virginia Tech. She has taught as an adjust faculty 

at Rhode Island School of Design, The Pratt Institute, and Parsons School of Design and as a visiting foreign professor at 

Konkuk University in Seoul, Korea. Through these schools, she has run collaborative design projects in partnership with 

corporations and non-profit organizations. These partners include Memorial Sloan-Kettering Cancer Center, 93 Nevins 

Street, Starwood Hotels, Sanctuary for Families, and The 4th Bin project. Her research has been supported by the Graduate 

Kinne Traveling Fellowship from Columbia University, Stewardson Keefe LeBrun Travel Grant from the American Institute 

of Architects New York Chapter, The Japan Foundation Arts and Culuture grant, The Japan Foundation Center for Global 

Partnership Education Grant twice, Baer Art Center in Iceland, and a fellowship from The MacDowell Colony. She is an 

NCARB (National Council of Architectural Registration Board)-certified registered architect in the states of New York and 

New Jersey and a LEED (Leadership in Energy & Environmental Design) Accredited Professional. 

Kazuya Ishigami, is composer, sounds performer and sounds enginee born in 1972, in Osaka/JAPAN. He received Osaka 

University Of Arts in 1994, B.A. Music Engineering. He received B.A. degree from Osaka University Of Arts and M.A. in 

Master of Urban Informatics from Osaka City University. He learned electro-acoustic composition at INA-GRM in 1997. His 

pieces were performed at DR (DeutschlandRadio/ Germnay) ,WDR (westdeutscher rundfunk/ Germany), CCMC (Japan), 

JSEM (Japan), FUTURA (France), MUSLAB (Mexico), SR (Radio Saarbruecken/ Germany), HR (Hessischer Rundfunk/ 

Germany), ISCM (Stuttgart/ Germany), Spark (USA), NICOGRAPH (Japan), SILENCE (Italy) and so on. He has an independent 

label “NEUS-318”. He is currently lecturer at Osaka University of Arts, Kyoto Seika University and Doshisha 

Women’s College. 

Masataka Ishikawa was born in Japan in 1989. He completed the master course with Premiere Prix in composition at 

Kunitachi College of Music in 2015. He studied composition and computer music with Shintaro Imai, Takayuki Rai, and Cort 

Lippe. 

Daehoon Jang is currently a doctoral student at the UIUC in music composition. He got his bachelor’s degree in composition 

from Kookmin University in Korea in 2005 and lived in France for a few years while studied with Michel Merlet and Allan 

Gaussin in Paris. He obtained the superior diplome from Ecole Normale de Musique de Paris in 2008 and is now a student 

of Reynold Tharp, Sever Tipei, and Scott Waytt. He has won a Prize, ‘37th Seoul Music Competition (Chamber Division), 

and got Grand Prize, ‘The 37th Nanpa Nationwide Music Competition (Composition Division) in Korea. He was selected as 

a Young Talented Composer, ‘The 37th Pan Music Festival in Korea, and ‘Korean music expo 2010’. He advanced to Final 

Round, ‘The 2nd Boulogne International Competition,’ France. His EA music was performed at SEAMUS 2015. 

Ian Jarvis (aka frAncIs) is a sound artist, producer, and researcher from Toronto. His work is motivated by the implications 

of digital technology on creative and scholarly practices with the particular focus on live coding and the digital humanities. 

Christopher Jette is a curator of lovely sounds; a composer, performer, educator and concert organizer based in Alaska. 

His compositions, both electronic and acoustic investigate the intersection of humanity and modern technology through an 

exploration of techniques and tools that emphasize facets of this paradigmatic space. Christopher has created a large range 

of acoustic and electronic compositions and frequently collaborates with artists of various disciplines. He has created works 

that involve dance, theater, websites, electronics, food, toys, instrument design and good ol’ fashioned wooden instruments. 

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His compositional output is rooted in techniques and sounds of the later portion of the 20th century. Having trained as a 

violinist, the compositions are strongly coupled to the performer that they are written for, highlighting their unique musical 

perspective. His works for instrumentalist(s) and electronics exploit the unique abilities of the technology and the human(s) 

involved. 

Richard Johnsonis a multimedia artist and composer whose interest in music was piqued during a childhood heavily 

impacted by film. Equal parts Kurosawa and Spielberg combined to create his ongoing interest in culture and history, the 

music of Takemitsu and Williams, and an obsession with mystery, adventure, and storytelling. This blend of interests is most 

clearly present in his set of pieces for soloists, electronics, and video entitled Quaerere Sententias. Richard currently resides 

in Kalamazoo, Michigan, where he serves as Assistant Professor of Multimedia Arts Technology at Western Michigan 

University. 

Elsa Justel French-Argentine composer. Dr in Esthetics, Science and Technologies of Art from the University of Paris. 

Working nowadays as independent composer, she has received commissions from the French state and different studios 

of Europe. She has been awarded in several international competitions of electroacoustic music, such as Prix Ton Bruynel 

(Netherlands), Bourges (France), Ars Electronica (Austria), between others. Her works has been published by Empreintes 

Digitales of Canada and some compilations in France, EU, Spain. She has been teaching at the University of Marne La 

Vallée (France), Pompeu Fabra (Spain) and giving seminars in several conservatories in Europe, EU, Argentine and Mexico. 

As researcher, she has published articles related to electroacoustic music and visual music in some revues and books. 

In 2007 she creates the Foundation Destellos in order to develop and promote the electroacoustic music, having as main 

objet the realization of the International Competition of Electroacoustic Composition. 

Joong-Hoon Kang studied composition at Yonsei University, Korea, and the University of Cincinnati College-Conservatory 

of Music, U.S., where he received his M.A. and D.M.A. degrees in composition. For many years, he has focused on multi-dimensional 

aspects of sound morphology and computer-aided compositions using various algorithms, often incorporating 

the elements of traditional music found in the diverse cultures. He is currently a Lecturer at Yonsei University teaching computer 

music, composition lessons and music theories. 

Konstantinos Karathanasis is an electroacoustic composer who draws inspiration from modern poetry, artistic cinema, 

abstract painting, mysticism, Greek mythology, and the writings of Carl Jung and Joseph Campbell. His compositions have 

been performed at numerous festivals and received awards in international competitions, including Bourges, Musica Nova, 

and SEAMUS/ASCAP. Recordings of his music are released by SEAMUS, ICMA, and Musica Nova. Konstantinos holds a 

Ph.D. in Music Composition from the University at Buffalo, and is currently an Associate Professor of Composition & Music 

Technology at the University of Oklahoma. More info at: http://129.15.77.24/oukon/ 

Cody Kauhl is a composer and multimedia artist that investigates the hidden musical potential of urban noise pollution while 

utilizing new methods of human and computer interaction. His work has been performed at international and national festivals 

and conferences including the International Computer Music Conference and Society of Electro-Acoustic Music in the 

United States. Cody graduated in 2011 with a B.M. in Music Theory/Composition at Southern Illinois University Edwardsville 

and recently completed his M.M. thesis in Music Composition at the University of Missouri – Kansas City. Cody regularly 

collaborates with visual and performing artists, choreographers, and filmmakers and has had his work played at the Florida 

State University Festival of New Music, Center of Cypriot Composers, MUSLAB, Sacramento State Festival of New 

American Music, Metanast, Hot Air Music Festival, New Horizons Music Festival, Gallery MC, Nelson-Atkins Museum of 

Art, Kansas City Art Institute, Electronic Music Midwest, Bang! Festival, Noisefloor, Electroacoustic Barn Dance, Animation 

Block Party, Great Plains Regional Tuba and Euphonium Conference, Kansas City Electronic Music and Arts Alliance, and 

Kansas City Fringe Festival. As a composer, Cody has worked with a variety of ensembles including the PRISM Quartet, 

the Boston New Music Initiative, the Black House Collective, UMKC Musica Nova, SIUE Wind Ensemble, Concert Band, 

and Percussion Ensemble, and the University of Nebraska - Lincoln Donald A. Lentz Concert Band. He has studied under 

Kimberly Archer, Rome Prize winners James Mobberley and Paul Rudy, and Charles Ives Living Award winner Chen Yi. 

Cody acted as composer-in-residence at the Kimmel Harding Nelson Center for the Arts in February 2014 and at the Brush 

Creek Foundation for the Arts in February 2015. His work can be found on Ablaze Records. 

Evan Phoenix Kent (b. 1994) is a composer, hornist, and sound artist from Little Rock, Arkansas. He works in the realms of 

concert music composition, inter-media arts, digital electronics, and classical and contemporary performance. He is heavily 

influenced by early music, industrial music, early religion, and the music of human speech. He is fascinated by soundscapes 

and acoustic ecology, having made field recordings across the United States. He is also currently researching and composing 

as part NYU’s CityGram team, headed by Tae Hong Park. 

Jonghyun Kim is composer and software developer. He studied composition, piano, and computer programming at Kyung 

Hee University in Seoul, Hochschule für Musik in Freiburg, HfM in Stuttgart(guest), and took part in several seminars including 

IRCAM Paris and the Darmstadt summer course. He is director of ‘Open Source Art Forum’, founder of ‘Pure Data 

Korea’ and ‘Raspberry Pi Korea’, developer of ‘Good Metronome Pro’ for iOS, a member of Seoul-based performance 

group ‘Linux Computer Ensemble’. His pieces have been performed in ZKM Karlsruhe, HfM Freiburg, and SICMF(Seoul 

International Computer Music Festival) 2014 in Seoul, Linux Audio Conference 2015 in Mainz. Currently, he is teaching 

computer music and composition at the Kyung Hee University in Seoul, and sound art at Kaywon University of Art & Design 

in Gyeonggi-do.

Pianist and composer Keith Kirchoff has performed throughout all of North America and much of Europe. A strong advocate 

for modern music, Kirchoff has premiered over 100 new works and commissioned over two dozen compositions. As 

part of his commitment to fostering new audiences for contemporary music, Kirchoff has appeared at colleges and universities 

across the United States as a lecture-recitalist. He has played with orchestras throughout the U.S., performing a wide 

range of concerto, including the Boston premiere of Charles Ives’s Emerson Concerto and the world premier of Matthew 

McConnell’s Concerto for Toy Piano. Kirchoff has won awards from the Steinway Society, MetLife Meet the Composer, the 

Foundation for Contemporary Arts, and was named the 2011 Distinguished Scholar by the SMSA. Specializing on works 

which combine interactive electro-acoustics with solo piano, Kirchoff’s Electro-Acoustic Piano Tour has been presented in 

six countries, and the first album in the Electro-Acoustic Piano series was released in 2011 on Thinking outLOUD Records. 

He has also recorded on the New World, Zerx, Bridge, and SEAMUS labels. 

Jonathon Kirk (1975) is a composer, sound artist, researcher and teacher based in Chicago. His musical and multimedia 

work has recently been presented at the Tate Modern in London, the London and Melbourne International Animation Festivals, 

Spark Festival, Festival Internazionale di Musica Elettroacustica del Conservatorio S. Cecilia in Rome, the Los Angeles 

Short film festival, the Courtisane Festival in Brussels, the Boston Cyberarts Festival, Listening in the Sound Kitchen 

at Princeton University, Visual Music Marathon, the European Capital of Culture in Brugge, Soundtrack_Cologne festival, 

Zentrum für Kunst und Medientechnoligie (ZKM) in Karlsruhe, Germany, Festival Musica Viva in Portugal, the Itaú Cultural 

in Sao Paulo, Centro Cultural de España in San Jose, Costa Rica. He has been a composer-in-residence at the Petrified 

Forest National Park in Arizona (2009) and was funded by the Vlaams Gemeenschapp for a 2000-2001 residency at the 

Logos Foundation for Experimental Music in Belgium. His music is published on Innova Records, Albany Records, Ears 

& Eyes Records and Medusa Critical Publications. Jonathon completed music studies at Northwestern University, Brown 

University and the Eastman School of Music. He currently is an assistant professor of music at North Central College in 

Naperville, Illinois. He lives with his wife, Joann and son, Elaeth near Chicago. 

Judy Klein received degrees in music both in the United States and in Switzerland. She studied computer music with 

Charles Dodge and was a long-term affiliate of the Brooklyn College Center for Computer Music (BC-CCM), while it was 

under his direction. She taught computer music composition at New York University, and for many years, she was the consultant 

for electro-acoustic music at the New York Public Library for the Performing Arts. Her music has received honors 

and performances worldwide and can be heard on the ICMA, SEAMUS, Open Space and Cuneiform labels. She currently 

resides in New York, is a guest composer at the Columbia University Computer Music Center and serves as a contributing 

editor for The Open Space Magazine and for Perspectives of New Music. 

Sami Klemola (1973) composer and sound artist from Finland. Studied in Sibelius-Academy Helsinki and Amsterdam conservatory. 

Participated in masterclasses with, among others, Helmut Lachenmann, Magnus Lindberg, Esa-Pekka Salonen 

and at the IRCAM in Paris. Klemolas compositions include orchestral, chamber and electroacoustic music, with addition of 

several sound installations. Klemola teaches composition and programming in Sibelius-Academy and is artistic director of 

defunensemble and Tampere Biennale festival. 

Tyler Kline is an active composer and performer whose works have been performed in Brazil, Romania, and across the 

United States. His compositional interests encompass a wide variety of styles and mediums, from acoustic chamber and 

large ensemble works to electronic works. He recently received a Master of Music in Composition at the University of South 

Florida, where his teachers included Dr. Baljinder Sekhon and Paul Reller. 

Rebekah Ko is currently completing her Bachelor’s of Music in Percussion Performance at the University of North Texas. 

She has participated and performed with several of the university’s ensembles, including the UNT Wind Symphony, UNT 

Percussion Ensemble, and 2 o’clock Steel Band. Rebekah has also competed in several marimba competitions such as 

Drum Fest in Poland and placed 2nd in the Great Plains Marimba Competition in 2015. Musical interests include contemporary 

music and exploring new techniques for percussion. 

Ryoho Kobayashi, audio software designer and sound artist, was born and raised in Tokyo. He received the Ph.D. degree 

in Media and Governance from Keio University, and has worked as lecturer at Keio University, Hosei University, Tamagawa 

University, and Chiba University of Commerce. His softwares are for sound synthesis and editing utilizing digital audio signal 

processing techniques. These novel softwares ware presented at international conferences on computer music, and he has 

used them for his own musical performances. As a member of post rock and electronica band “number0”, he had released 

CDs from Rallye Label, Japan. 

Panayiotis Kokoras studied composition with Yannis Ioannides, Henri Kergomard, and classical guitar with Evangelos 

Asimakopoulos in Athens, Greece. In 1999 he moved to England for postgraduate study at the University of York where he 

completed his MA and PhD in composition with Tony Myatt. His works have been commissioned by institutes and festivals 

such as the Fromm Music Foundation (Harvard), IRCAM (France), MATA (New York), Gaudeamus (Netherlands), ZKM 

(Germany), IMEB (France), Siemens Musikstiftung (Germany) and have been performed in over 500 concerts around the 

world. His compositions have received 60 distinctions and prizes in international competitions, and have been selected by 

juries in more than 200 international calls for scores. He is founding member of the Hellenic Electroacoustic Music Composers 

Association (HELMCA) and from 2004 to 2012 he was board member and president. He is currently secretary at the 

International Confederation of Electroacoustic Music CIME. Kokoras’ sound compositions develop functional classification 

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and matching sound systems written on what he calls Holophonic Musical Texture. As an educator, Kokoras has taught at 

the Technological and Educational Institute of Crete, and, the Aristotle University of Thessaloniki (Greece). He is an Associate 

Professor in composition at the University of North Texas. 

Montana-based composer and sound artist Keith Kothman was awarded an Honorable Mention for Interludes at the 31st 

annual Bourges Electroacoustic Music competition, and recordings of his music are available on the Capstone, Cambria 

and New Albany labels. He is the Director of the School of Music at Montana State University and a Professor of Music 

Technology. Recent work has focused on live-performance electronic music involving laptop, iPad, various MIDI controllers, 

and LittleBits synthesis modules. More information is at keithkothman.com. 

Tim Kreger was born in Sydney, Australia in 1967. He studied composition with Larry Sitsky and David Worrall at the Canberra 

School of Music, Australian National University and received a Bachelor of Music (composition) degree in 1990. In 

1997 he received a Masters of Music degree from the same institution. From 1991-2001 he was Lecturer in Computer Music 

at The Australian Centre for the Arts & Technology. He has been involved in numerous collaborations, most recently with 

Simulus (with Steve Adam & Ross Bencina) and Metraform. Tim currently develops interactive applications for Museums, 

Galleries and Research Institutions (www.audioreactive.com) and has worked with Jeffrey Shaw, Dennis del Favero, Gina 

Czarnecki, Forma Arts, Melbourne Museum and the University of New South Wales. 

Johannes Kretz: Born 1968 in Vienna, studies (composition, pedagogy) at the music academy Vienna with F.BURT and 

M.JARRELL and mathematics at the University Vienna • 1992/93: studies at IRCAM, Paris with Marco Stroppa and Brian 

Ferneyhough • co-founder of NewTonEnsemble Vienna, of the international composers group PRISMA, of ikultur.com and 

of aNOther festival Vienna • teacher for music theory and composition at the conservatory of Vienna • since 1997: teacher 

for for computer music at the university for music and performing arts Vienna, since 2001 also music theory, since 2004 

also composition, since 2009: habilitation in composition, associate professor • Since 2008: Head of ZiMT (“center for innovative 

music technology”) of the university for music and performing arts Vienna, since 2013 dean/head of department 

of the Institute for composition and electro-acoustics • Founding member of NewTonEnsmble Vienna, of the European 

Bridges Ensemble, the international composers group PRISMA, of the performance duo TOUCHING, and of ikultur.com. 

Co-curator of aNOther festival Vienna together with Wei-Ya Lin und Mahdieh Bayat. Performances in Austria, Germany, 

Poland, France, Czechia, Turkey, Latvia, Lithuania, Argentinia, Mexico, Canada, USA, Japan, South Korea, Taiwan, China 

• regular broadcasts in Austrian and German radio • commissions of work & performaces at/with Festival Ars Electronica, 

Konzerthaus Wien, Klangforum Wien, Ensemble On Line, Vienna Flautists, quartett22, Internationale Lemgoer Orgeltage, 

Haller Bachtage, Triton Trombone Quartett, Wiener Kammerchor • numerous grants and prizes. 

The music of American composer Mikel Kuehn (b. 1967) has been described as having “sensuous phrases... producing an 

effect of high abstraction turning into decadence,” by New York Times critic Paul Griffiths. A 2014 Guggenheim Fellow, he 

has received awards, grants, and residencies from ASCAP (Student Composer Awards), BMI (Student Composer Award), 

the Banff Centre, the Barlow Endowment, the Chicago Symphony Orchestra (First Hearing Prizes), Composers, Inc. (Lee 

Ettelson Award), the Copland House (Copland Award), Eastman (Howard Hanson and McCurdy Prizes), the League of 

Composers/ISCM, the MacDowell Colony, the Salvatore Martirano Memorial Composition Competition (honorable mention), 

the Ohio Arts Council (Individual Excellence Awards), the Luigi Russolo Competition (finalist), and Yaddo. His works 

have been commissioned by the Anubis Saxophone Quartet, the Civic Orchestra of Chicago, Ensemble 21, Ensemble 

Dal Niente, Flexible Music, violist John Graham, clarinetist Marianne Gythfeldt, cellist Craig Hultgren, guitarist Dan Lippel, 

Perspectives of New Music, pianist Marilyn Nonken, Selmer Paris, and the Spektral Quartet, among others. In March of 

2013, six of his works were featured at the Vienna Saxfest held at Konservatorium Wien Privatuniversität. Professor of 

Composition at Bowling Green State University, Kuehn was director of the MidAmerican Center for Contemporary Music 

(MACCM), the annual New Music Festival and the Music at the Forefront concert series from 2007 through 2010. He holds 

degrees from the Eastman School of Music and the University of North Texas. Kuehn is currently working on a solo CD for 

the New Focus label; other recordings of his works are available on ACA Digital, Centaur, Erol, ICMA, MSR Classics, and 

Perspectives of New Music/Open Space. www.mikelkuehn.com 

The New York Times calls Esther Lamneck “an astonishing virtuoso”. Winner of the prestigious Pro Musicis Award, she 

has appeared as a soloist with major orchestras, with conductors such as Pierre Boulez, and with renowned chamber music 

artists and music improvisors throughout the world. A versatile performer and an advocate of contemporary music, she 

is known for her work with electronic media including interactive arts, movement, dance and improvisation. Ms. Lamneck 

makes frequent solo appearances at music festivals worldwide and maintains an active solo career performing and presenting 

Master Classes in Universities and Conservatories throughout the United States and Europe. An artist who is sought 

after by the leading composers of our times, her collaborations have led to hundreds of new compositions in many genres 

including solo works for the clarinet and the tárogató. Esther Lamneck is known for her performances on the Hungarian 

Tárogató, a single reed woodwind instrument with a hauntingly beautiful sound. The instrument’s aural tradition has led 

her to perform it almost exclusively in new music improvisation settings. She is recognized for her collaborative work with 

composers on both the clarinet and the tárogató in creating electronic music environments for improvisation. Dr. Lamneck 

received her B.M., M.M. and Doctoral degrees from the Juilliard School of Music where she was a clarinet student of Stanley 

Drucker, other teachers have included Robert Listokin, and briefly Rudolf Jettel. She currently serves as Program Director of 

Woodwind Studies and the Clarinet Studio at New York University. She is artistic director of the NYU New Music and Dance 

Ensemble, an improvising flexible group which works in electronic settings using both fixed media and real time sound and

video processing. Ms. Lamneck has worked together with choreographer Douglas Dunn for many years creating multimedia 

productions for Festivals in the US and Italy. Ms. Lamneck is involved in many projects, several concerned with creating 

compositions for the flute and clarinet in diverse settings. Her latest CD with NYU faculty Trio, Phenomenon of Threes on IN- 

NOVA, makes a significant contribution to the repertoire and presents five new and recent works for flute. clarinet and piano. 

The Tornado Project has commissioned works for flute and clarinet for Esther Lamneck and Elizabeth McNutt in interactive 

real time computer music settings and their new CD was released by Parma records. Ms. Lamneck is involved in current 

collaborations with numerous composers creating new works for the clarinet and tárogató in electronic music settings. An 

internationally renowned recording artist she has recorded for Amirani Records, Capstone, Centaur, CRI, EMF, INNOVA, 

Music and Arts, Opus One, SEAMUS, Romeo/Qualiton, New World Records, and Parma. 

Cassie Lear is currently pursuing a Master of Music in flute performance at the University of North Texas, studying flute with 

Terri Sundberg and Elizabeth McNutt. Cassie is active in the new music community at UNT and has performed with Nova 

and at the 2014 Electric LaTex Computer Music festival. Cassie has held instructor positions at the Happy Minds School of 

Music in Bellevue, Washington and maintained a private studio in Seattle, Washington. While living in the Pacific Northwest, 

Cassie performed with the flute duo Novantika, premiered over 80 pieces with the Oregon-based woodwind quintet Five, 

played for the Seattle Flute Society’s Henry Brant centennial concert, played principal parts with the University of Oregon 

Symphony, the Oregon Wind Ensemble, and the Oregon Coast Chamber Orchestra, as well as playing for the Eugene Contemporary 

Chamber ensemble and recording on the soundtrack of two short films, three local plays, and one feature-length 

horror film. She has participated in the Oregon Bach Festival Composer’s Symposium and the nief norf Summer Festival, 

where she recorded new music by composers from across the country. Cassie received a Bachelor of Music from the University 

of Oregon in 2012. In April 2013, Cassie won third place in the Seattle Flute Society Young Artists Competition. She 

was also a 2012 finalist in the University of Oregon Concerto/Aria Competition and played in the quintet that was awarded 

first place in the Collegiate Division of the 2010 Areon Flutes International Chamber Music Competition in Mountain View, 

California. 

Hoyong Lee is a composer and sound artist who works with combinations of electroacoustic sounds with dance & visual. 

His art works were selected for performances at ICMC (Ljubljana 2012, Perth 2013, Athens 2014), NYCEMF 2015, Sweet 

Thunder Music Festival 2014 (Sanfrancisco), ISSTC 2014 (Ireland), with attending the conference as a Scholarship member. 

His acousmatic projects selected by Vox Novus 60x60 Voice Mix (2012), PianoForte Mix (2013), Louisiana Dance 

Mix (2015) were played as a World Premiere at the International Sound Art Festival in Berlin, Texas State University and 

Chicago Fine Arts Center. 

His experimental practice explores ways of deepening the electric musical relationship with contemporary dance and storytelling 

based on voice and media. He studied electroacoustic composition at Graduate School of Hanyang University. 

Currently he has been proceeding with adult contemporary group a.k.a ‘Matryoshka’ with pop instrumental as well as experimental 

sound art, as a leader. 

Pianist HyunJae, Lee, a virtuoso professional soloist and chamber musician, was born in Seoul, South Korea, where she 

began studying the piano with great passion at the age of five. She received her musical education at Yewon School of 

Fine Arts and Seoul Arts High School, which are the most prestigious school for talented young musicians in Korea and she 

continued her studies at Ga Chon University with scholarship from Ca Chon University given to the top students of the music 

department. After she received a bachelor’s degree, she came to the United States and furthered her studies at University 

of North Texas. In Korea, HyunJae, Lee has won numerous awards and prizes in major competitions. For example, Ms. Lee 

won the Young Artists Concert Series Competition, which led to a solo recital at Young San Art Hall sponsored by the Youngsan 

Cultural Foundation. And as a winner of the Seoul Orchestra Competition, she performed the Beethoven Piano Concerto 

No.3 with the Seoul Orchestra. An active chamber musician, she enjoys collaborating with artists form many parts of 

the world in various settings. She is currently pursuing her Master’s degree with Mr. Banowetz at University of North Texas. 

Sang Won Lee is a PhD Candidate in Computer Science at the University of Michigan. His works lie at the intersection 

of music and computer science, focusing on collaborative music making, live coding, and interactive music. He seeks to 

create environments that help people feel connected to music and he creates new ways to interact with other people and 

machines. Lee received his Master’s Degree in Music Technology from Georgia Tech and has performed in many computer 

music concerts including NIME, ACM Creativity and Cognition, and Guthman Musical Instrument Competition. 

Wuan-chin Li (Sandra Tavali), of the Siraya people, is a former keyboardist of the classical ensemble “Indulge” and the 

well-know metal band “Chthonic”. Her musical works crossover between classical and fine art, film and documentaries. She 

is the composer for the TV documentary “Unknown Taiwan” produced by the Discovery Channel. Also, she was the artistic 

director of the musical “Dark Baroque”. Ms. Li earned the Master of Music degree in Computer Music from the Peabody 

Conservatory of the Johns Hopkins University in Baltimore, Maryland, U.S.A., where she studied Computer Music with Dr. 

Geoffrey Wright. 

Elainie Lillios’s music reflects her fascination with listening, sound, space, time, immersion and anecdote. Her compositions 

include stereo, multi-channel, and Ambisonic fixed media works, instrument(s) with live interactive electronics, collaborative 

experimental audio/visual animations, and installations. Recent awards include a 2013-14 Fulbright Scholar appointment in 

Thessaloniki, Greece, First Prize in the 2009 Concours Internationale de Bourges, Areon Flutes International Composition 

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Competition, Electroacoustic Piano International Competition, and Medea Electronique “Saxotronics” Competition and Second 

Prize in the 2014 Destellos International Electroacoustic Competition. Her music has also been recognized/awarded by 

the Concurso Internacional de Música Electroacústica de São Paulo, Concorso Internazionale Russolo, Pierre Schaeffer 

Competition, and La Muse en Circuit. She has received grants/commissions from INA/GRM, Rèseaux, International Computer 

Music Association, La Muse en Circuit, NAISA, ASCAP/SEAMUS, LSU’s Center for Computation and Technology, 

Sonic Arts Research Centre, Ohio Arts Council, and National Foundation for the Advancement of the Arts. She has been 

a special guest at the Groupe de Recherche Musicales, Rien à Voir, festival l’espace du son, June in Buffalo, and at other 

locations in the US and abroad. Elainie holds a DMA in Computer Music Media where she studied with Larry Austin, Jon 

Christopher Nelson, and Joe Klein. She also received an MPhil from The University of Birmingham UK, where she studied 

with Jonty Harrison. Elainie’s acousmatic music is available on Entre Espaces, produced by Empreintes DIGITALes. Other 

pieces appear on Centaur, MSR Classics, StudioPANaroma, La Muse en Circuit, New Adventures in Sound Art, SEAMUS, 

Irritable Hedgehog and Leonardo Music Journal. elillios.com 

Stephen Lilly is a DC-based composer, performer, audio engineer, and sound artist. Originally from the Pacific Northwest, 

Stephen ventured east to study composition at the University of Maryland and stayed in the area to teach digital audio at the 

Art Institute of Washington. In addition to his graduate degrees from UMD, he also has composition and bass performance 

degrees from the University of Idaho and spent a year at the Institute of Sonology in The Hague. Theatricality, language, 

and abstraction are themes that continually resurface in his creative work, the majority of which is scored for chamber 

ensembles, incorporating signal processing and computer generated sounds. Stephen has written works for CoMA (Contemporary 

Music for All) Britsol, the DMC (Devil May Care) Duo, pianist Hayk Arsenyan, saxophonist Steven Leffue, and 

soprano Stacey Mastrian and has worked closely with a collective of composer-performers he helped found, the Bay Players 

Experimental Music Collective. His writings on contemporary experimental music have been published in Organised 

Sound, Performance Research, Perspectives of New Music, and Computer Music Journal. Recordings he has engineered 

have been released on Navona and Albany Records. For more information please visit stephenlilly.net 

Tony Lim creates tweaked out interactive modules intended to be used for the people, by the people. Byung Han(Tony) Lim 

is a multimedia artist and creative technologist living in Brooklyn, NY. A recent graduate from NYU Tisch’s ITP program, Tony 

spends his time both working on independent creative projects as well as interactive designs/programmings for companies 

like Blue man group, MKG and Starz. 

A native of Taiwan, Kuei-Fan Lin received her Master of Musical Arts in Composition and Theory from National Taipei University 

of Education (2008), where she studied with Yu-Chung Tseng. She has recently completed her doctoral degree in 

composition at the University of Arizona in August, 2014, under the tutelage of Craig Walsh. She has received numerous 

prizes, among them: Second Prize for the 8th MUSICACOUSTICA (2011), Third Prize for the 6th Taiwan Computer Music 

Competition (2010), Third Prize and Mention Award for the 4th MUSICACOUSTICA (2007), and Mention Award for National 

On-line Arts Creativity Composition (2007). Her pieces have also been selected from the Society for Electro-Acoustic Music 

in the United States (SEAMUS) National Conference (2015, 2014, 2012), the International Computer Music Conference 

(ICMC) (2014, 2013, 2012, 2011), New York City Electroacoustic Music Festival (2014, 2013), , the 6th International Competition 

of Electroacoustic Composition and Visual-musicthe of Foundation Destellos (2013), Electronic Music Midwest 

(EMM) (2012), and the 3rd Shanghai Conservatory of Music International Electronic Music Week (2011). Her pieces were 

the finalists of the 8th &10th International Composition Competition “Città di Udine”, and have been selected to be included 

in the CD of the competition dedicated to electro-acoustic compositions (8th &10th Editions). 

Cort Lippe studied composition and computer music with Larry Austin; followed composition seminars with various composers 

including Boulez, Donatoni, K. Huber, Messiaen, Penderecki, Stockhausen, and Xenakis; spent three years at the 

Institute of Sonology working with G.M. Koenig and Paul Berg, three years at Xenakis’ studio CEMAMu; and nine years at 

working at IRCAM. His compositions have received numerous international prizes, been performed at major festivals worldwide, 

and are recorded on more than 30 CDs. His research includes more than 35 peer-reviewed publications on interactive 

music, granular sampling, score following, spectral processing, FFT-based spatial distribution/delay, acoustic instrument 

parameter mapping, and instrument design. He has been a visiting professor at universities/conservatories in Japan, Denmark, 

Austria, Greece, The Netherlands, the U.K., etc. Since 1994 he has taught in the Department of Music of the University 

at Buffalo, where he is an associate professor of composition and director of the Lejaren Hiller Computer Music Studios. 

An active composer and percussionist, Patrick Long is a graduate of Syracuse University (B.M Composition/Percussion) 

and the Eastman School of Music (M.M. and D.M.A in composition). He has completed over 80 premiered works for a wide 

variety of performing forces, including soloists, chamber ensembles, orchestras, choirs, bands and for fixed media. He is 

most widely recognized for his percussion music and for his works that combine live performers with interactive electronics 

and video. He has taught on the faculties of Eastman and Syracuse, and is currently an associate professor at Susquehanna 

University in Pennsylvania, where he teaches composition, theory and music technology. 

Stephen Lucas is a composer, intermedia artist, and current University of North Texas doctoral candidate at the Center 

for Experimental Music and Intermedia (CEMI). He is best known for combining starkly cartoonish and abstract elements 

in computer generated audio/video works; he also writes works involving live instrumentalists and interactive electronics. 

His compositions have been performed throughout the United States but he strives to embrace online audiences. His other 

major interests include horticulture, cybernetics, and metaphysics.

Joseph Lyszczarz is a composer, conductor, and flutist currently pursuing a PhD at the University of North Texas, where he 

serves as a composition teaching fellow and assistant to the Nova Ensemble. His music is written for a variety of electronic 

and acoustic media and has been heard both nationally and internationally. Performances include the premiere of Tracing 

Shadows by the UNT Chamber Orchestra in Denton TX in 2013, as well as a performance at the VIII International Saxophone 

Festival in Szczecin, Poland. Most recently, he was selected as the UNT Nova Ensemble Commission Competition 

winner, and the resultant work monoliths was premiered on April 7th, 2015 in Denton. Lyszczarz was also one recipient of 

the 2012 BMI Student Composer Awards, as well as the 2012 Bowling Green State University Studio Arts Award. Lyszczarz 

is also active as a conductor of new music, recently directing the premiere performances of Jonathan Covach’s Enzymeme 

and Ryan Fellhauer’s pas de loup. Lyszczarz holds a Master’s degree in composition from Bowling Green State University 

and a Bachelor’s degree from the State University of New York at Potsdam, where he has studied with Mikel Kuehn, Elainie 

Lillios, Christopher Dietz, Gregory Wanamaker, Paul Steinberg, and Paul Siskind. At UNT, he has studied with Andrew May, 

Kirsten Broberg and Panayiotis Kokoras. 

John MacCallum is a composer based, since 2004, in Oakland, CA. From 2008–2011 he held a position as Musical Applications 

Programmer at the Center for New Music and Audio Technologies (CNMAT). While there, he designed a number of 

software tools including one useful for composing and performing music with multiple, independent, smoothly-varying tempos, 

which resulted in his composition Aberration (2010) for percussion trio, the recording of which was supported by a grant 

from the American Composer’s Forum, and The Delicate Texture of Time (2012-13) for eight players commissioned by the 

Eco Ensemble with a grant from the Mellon Foundation. In addition to his interest in polytemporal music, MacCallum’s compositional 

work is heavily reliant on technology both as a compositional tool and as an integral aspect of the performance of 

a piece. His works often employ carefully constrained algorithms that are allowed to evolve differently and yet predictably 

each time they are performed. John holds degrees from the University of California, Berkeley (Ph.D. in Music Composition), 

McGill University (M.M. in Composition), and the University of the Pacific (B.M. in Composi- tion/Theory). 

Cristyn Magnus received her PhD in Music from University of California, San Diego in 2010, where she studied music 

technology with Miller Puckette and composition with Philippe Manoury and Rand Steiger. She has a Bachelors in Cognitive 

Science and her musical interests lie at the intersection of the two fields. She likes playing with algorithms and interactivity. 

Her work explores the way groups of performers, audience members, and computational agents interact to make music. 

She’s written pieces for performers whose interactions are defined by rules with no computational mediation, pieces where 

sounds map onto video game controls so that the act of playing games will produce musical output, pieces for recorded 

sounds that exist as artificial life forms interacting in artificial worlds, and so on. She has used Pure Data and Max/MSP to 

develop interactive software that has been used in performances, installations, and recordings by Kueiju Lin, Greg Stuart, 

Derek Keller, Sean Griffin, and Morton Subotnick. She contributed as a Max/MSP/Jitter programmer to SVEN: Surveillance 

Video Entertainment Network aka “AI to the People” by Amy Alexander, Wojciech Kosma, Vincent Rabaud. She was commissioned 

by Adriene Jenik to produce a sound installation as part of her SPECFLIC Distributed Social Cinema project. Her 

work has been performed and installed in the United States and Europe. 

Ryan Maguire believes that through music we live more fully, feel more deeply, think more clearly, and connect more truly. 

His work persistently attempts to find hidden resonances in acoustic, poetic, and technological space. *At best* he hopes 

his music might catalyze transcendent, humane experiences sometime and somewhere. Currently a Ph.D. student in Composition 

and Computer Technologies at the University of Virginia, Ryan grew up in Wisconsin where he earned his B.A. in 

Physics and Music. In the intervening years, he taught math and studied late into the night while completing postgraduate 

degrees at the New England Conservatory and Dartmouth College in Composition and Digital Musics, respectively. In his 

free time you can usually find him near vegan food or enjoying the great outdoors. 

Katsufumi Matsui is a doctoral student in the Graduate school of Interdisciplinary Information Studies at the University of 

Tokyo, Japan. His research interests include audiovisual installation and interactive art. He has received various awards, 

such as Asia Digital Art Award, 20th Campus Genius Award and the Digital Signage Award in Japan. His work has been 

presented at ICMC-SMC 2014. 

Seiichiro Matsumura is a composer, sound designer and interactive designer. He is Associate Professor of School of Design, 

Tokyo University of Technology. His interactive sound installation pieces were awarded several prizes such as Japan 

Media Arts Festival, Asia Digital Art Award and have been exhibited regularly in public museums in Japan. 

Andrew May is best known for innovative and subtle chamber music, some of which involves computer-based agents interacting 

with human performers. May has performed internationally as a violinist and conductor, specializing in adventurous 

new music and avant-garde improvisation. He has taught composition and directed the Center for Experimental Music and 

Intermedia at the University of North Texas since 2005. Born and raised in Chicago, May studied with Roger Reynolds and 

Miller Puckette (UCSD), Mel Powell (CalArts), and Jonathan Berger (Yale). His music can be heard on CDCM, SEAMUS, 

and EMF Media recordings; his solo CD Imaginary Friends and the newly released Tornado Project CD are on Ravello 

Records. 

Alex McLean is Research Fellow and Deputy Director of ICSRiM in the School of Music, University of Leeds, and cofounder 

of Algorave, TOPLAP, the AHRC Live Coding Research Network, and ChordPunch recordings. 

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Robert McClure’s music attempts to discover beauty in unconventional places using non-traditional means. Visual art, 

poetry, the natural world, and the concept of memory are all elements that influence McClure’s works. His work has been 

featured at festivals and conferences including Electronic Music Midwest, the New York City Electronic Music Festival, New 

Music Edmonton, the Charlotte New Music Festival, the Mid-American Center for Contemporary Music New Music Festival, 

Espacio Sonoro, the Sonorities Festival of Contemporary Music, the Toronto International Electroacoustic Symposium, the 

North American Saxophone Alliance National Conference, and the Society for Electro-Acoustic Music in the United States. 

McClure’s music has been commissioned by individuals, ensembles, and organizations including MACCM, IronWorks Percussion 

Duo, Trio Sonora, Liminal Space Contemporary Music Ensemble, the BGSU Student Percussion Association, and 

the Toledo Symphony Orchestra. His piece Integrated Elements No. 3 “Divide by Five” for African xylophone and fixed 

media was named the Winner of the 2013 Frame Dance Composition Competition. His dissertation work for large orchestra 

titled, Warning Colors, received the Paul and Christiane Cooper Prize in Composition (2014) from Rice University. And 

most recently, his piece, Desert Miniatures: Insects for three bassoons was named a Winner of the 2015 Bassoon Chamber 

Music Composition Competition. McClure’s music is published by Bachovich Music Publications, Innovative Percussion, 

Media Press, Inc., Resolute Music Publications, and Tapspace Publications. He has earned degrees from Bowling Green 

State University (B.M.), The University of Arizona (M.M.), and Rice University (D.M.A.) during which his primary mentors 

have been Daniel Asia, Shih-Hui Chen, Arthur Gottschalk, Richard Lavenda, and Kurt Stallmann. He holds the position of 

Assistant Professor of Composition at the School of Music at Soochow University in Suzhou, China. McClure’s attendance 

at this festival was made possible through the Soochow University Professional Development Fund. 

Peter McCulloch is a Brooklyn-based composer. His work frequently features human-computer interactivity. An avid programmer, 

Peter is active in the research and development of software tools for creating music. Peter received his PhD in 

composition from New York University as a Founders Fellow, and completed his masters in composition at the University 

of North Texas. He currently teaches at New York University and Vassar College. His works have been featured throughout 

the United States and Europe. 

Passionately devoted to the music of the present, Elizabeth McNutt is internationally recognized for her performances of 

innovative contemporary and electroacoustic music. She has premiered over 200 works and performed in Europe, Asia, and 

throughout the U.S. Her playing has been described as “commanding” (LA Times), “fearless and astounding” (Flute Talk), 

“high-octane” (Musicworks), and “spell-binding” (Computer Music Journal). Her solo CD pipe wrench: flute + computer is on 

the EMF Media label; her other recordings are on the CRI, Centaur, SEAMUS, Ravello, and Navona labels. She frequently 

performs regularly with The Tornado Project (with Esther Lamneck, clarinetist) and the Calliope Duo (with Shannon Wettstein, 

pianist). She also directs the Sounds Modern series in Fort Worth and Marfa, TX. Dr. McNutt is committed to scholarly 

research, with articles published in Organised Sound, Flutist Quarterly, and Music Theory Online; she regularly writes about 

new music on her blog newmusicpioneer.com. She has received grants and fellowships from Arts International, National 

Foundation for the Advancement of the Arts, Open Meadows, Rocky Mountain Women’s Institute, and American Composers 

Forum, among others. McNutt holds a DMA in contemporary music performance from the UC San Diego, where her 

mentors were Harvey Sollberger and Miller Puckette. On the faculty of the University of North Texas, she teaches flute and 

contemporary music classes, directs the new music ensemble Nova, and coordinates the contemporary music performance 

related field. For more information, visit elizabethmcnutt.com. 

Chris Mercer received a B.M. in Composition at the North Carolina School of the Arts in 1995 and a Ph.D. in Composition 

at the University of California, San Diego in 2003. His principal teachers were Chaya Czernowin and Chinary Ung, instrumental 

music, and Peter Otto and Roger Reynolds, electronic music. He has held artist residencies at Experimentalstudio 

SWR, Künstlerhaus Schloss Wiepersdorf, and Sound Traffic Control in San Francisco; his music has been performed by 

Ensemble Ascolta, Ensemble SurPlus, SONOR Ensemble, and Schlagquartett Köln and featured at SEAMUS, ICMC, and 

NYCEMF. His recent electroacoustic music and research have focused on animal communication, especially nonhuman 

primate vocalization, including research residencies at the Duke University Lemur Center, the Wisconsin National Primate 

Research Center, and the Brookfield Zoo. His instrumental music involves modified conventional instruments, found objects, 

and instruments of the composer’s own design, in combination with amplification, live electronics, and spatialization. 

He has taught electronic music at UC San Diego, UC Irvine, and CalArts; he currently teaches music technology in the 

composition program at Northwestern University. 

South African bassist Mariechen Meyer was born in Bloemfontein, South Africa in 1989. She started her double bass studies 

with Peter Guy in Bloemfontein, and graduated Cum Laude from the University of Stellenbosch in 2011 on the string 

scholarship under the Dutch pedagogue and performer, Roxane Steffen. From a young age she was appointed principal 

bassist of several orchestras such as the National Youth Symphony Orchestra of South Africa, the World Youth Symphony 

Orchestra in USA, and the University of North Texas Symphony Orchestra. Mariechen has been invited to numerous international 

chamber festivals, among which are the International Chamber Festival in Stellenbosch (South Africa), MUSICA 

MUNDI International Chamber Music Course and Festival for Young Musicians in Belgium, the Stift Festival in The Netherlands, 

and the Interlochen Summer Camp in Michigan, USA, where she worked with Leon Bosch, Lawrence Hurst, Jack 

Budrow and Zoran Markovic. As a soloist Mariechen has performed with the Johannesburg Symphony Orchestra (2004) 

and the Cape Town Philharmonic Orchestra (2008). Currently, Mariechen pursuing her Doctoral Degree at the University 

of North Texas in Denton, where she also completed her Master’s Degree, studying with the world-renown double bass 

pedagogue and soloist Jeff Bradetich. In 2013 she was a winner of the University of North Texas Concerto Competition, 

second prize winner of the Mid-Texas Symphony Solo Competition and a semi-finalist in the prestigious solo competition if 

the International Society of Bassists.

Anna Mikhailova: “After graduation Rotterdam conservatory as a theater director (2013), Den Haag conservatory (2011) 

with the focus on discovering the possibility of electronic music and programming sound and Moscow conservatory (2007) 

as a composer, organ player and koto player, working with jazz, pop, rock musician, collecting the folk songs in the folk 

expedition in Russia and in Ukraine and writing music for movies and theater, moving from on place to another, I discovered 

that the ruts started to call me and my childhood dreams of what is music about, raised up and I just had follow them 

and start to approach the music from the beginning again. I am in music from 6 years old and I love it, I love to speak this 

language and to discover the possibility of it. After working on few operas, which gave me amazing experience of the team 

work and in collaboration; playing in a different bands which approach was to deliver and experience music from different 

area, as techno, pop, rock and industrial I found out, that for me is more and more important to learn not only how to express 

myself through it, but to find a new way to show the audience they personal reasons to be, that while listening language of 

music they will understand and love every moment of their life more.” 

Jason H. Mitchell is a classically trained guitarist and a composer of instrumental and electro-acoustic music. Currently 

based in upstate New York, he grew up in the lower Rio Grande Valley of south Texas, where the rich cultural heritage of 

the Texas-Mexico border region influences much of his music. His music has been performed throughout North America, 

Europe, and the Philippines. The work “Fractured Focus,” a video and sound collaboration with artists Josephine Turalba 

and Joaquin Tangalin is on permanent display at the Yuchengco Museum in Manila, Philippines. His composition “Derelict 

Station: Channel 1” can be found on the Sound Flux release from the EMPiRES label. “Sk’elep” can be found on Electronica 

from the HighSCORE label and Measures of Change from UIUC-EMS. His composition, Gravitational Altitude Correction, 

for two-channel fixed media may be found on the 50th Anniversary of the University of Illinois Experimental Music Studios 

CD. Jason earned a DMA from the University of Illinois and has worked as the studio technician for the University of Texas 

Film Scoring Studio under the direction of Bruce Pennycook as well as the studio director for the University of Illinois Unit 1 

Electronic Music Studio. For more information, please visit jholtmusic.com 

Takashi Miyamoto was born in Japan in 1992. He graduated in computer music with the Arima Award from Kunitachi College 

of Music, and is currently studying composition and computer music with Takayuki Rai, Kiyoshi Furukawa and Shintaro 

Imai in the master course of Sonology Department, Kunitachi College of Music. 

Adrian Moore is a composer of electroacoustic music. He directs the University of Sheffield Sound Studios (USSS) Adrian 

Moore’s research interests are focused towards the development of the acousmatic tradition in electroacoustic music. A 

significant proportion of his music is available on 3 discs, ‘Traces’, ‘Rêve de l’aube’ and ‘Contrechamps’ on the Empreintes 

DIGITALes label 

Dr. Ilana Morgan holds a BFA in Dance from Ohio University and her MA and PhD in Dance from Texas Woman’s University 

(TWU). She is an Assistant Professor at TWU where she teaches and oversees students who are working towards certification 

to teach dance in public schools. In addition to her teaching, Ilana is an emerging scholar who investigates ways in 

which the use of social media is related to kinesthetic experiences of dancers and undergraduate students. This theoretical 

work looks closely at how definitions of movement and the body, in an ever-increasing hybrid technological and face-to-face 

world, are changing in relationship to new internet experiences. Ilana’s research pulls from overlapping theoretical areas 

such as feminist theories, posthumanism, dance studies, popular culture, and education. Additionally, her choreographic 

works erupt into film, installations, and traditional stage performance, and are fueled by her investigations that combine 

the technological with dance through collaborative partnerships with media artists. Her choreography frequently explores 

computer performance presence, Xbox controllers, and photographic renderings with movement in an effort to blend the 

boundaries between human, computer, and image. 

Jeremy Muller is an innovative percussionist dedicated to exploring the confluence of technology and modern performance. 

He has presented performances, papers, and masterclasses at many venues throughout North America including Banff, Alberta, 

ZeroSpace at the University of Virginia, Northern Illinois University, First Fridays in Phoenix, International Symposium 

on Latin American Music, the Musical Instrument Museum, and PASIC in Louisville, Columbus, Austin, and Indianapolis. 

He has given premieres of works by Mark Applebaum, Matthew Burtner, Alexandre Lunsqui, Lewis Nielson, and Andreas 

Stauder. He has performed with Percussion Group Cincinnati and regularly performs with Crossing 32nd Street, hailed as 

Phoenix’s best new music ensemble. As a composer, Jeremy has developed inventive notation systems and written many 

works using interactive technology with live performance. His music has been performed by the NIU “Bau House,” Glendale 

CC Percussion Ensemble, UNC Pembroke, Arizona Contemporary Music Ensemble, and others. His publications can be 

found through Bachovich Music Publications, Engine Room Publishing, and Percussive Notes. Currently, Jeremy is on faculty 

at Scottsdale Community College where he teaches percussion, composition, and electronic music & computer music 

courses. He previously held fellowships at Arizona State University and the Cincinnati College-Conservatory of Music. He 

received a Doctor of Musical Arts from Arizona State University, a Master of Music from the Cincinnati College-Conservatory 

of Music, and a Bachelor of Music degree from Appalachian State University. 

Michael Musick is a media artist, technologist, composer, performer and improviser. His current work focuses on the creation 

of and research into interactive performance systems and their connections to ecosystems and soundscapes. The 

Sonic Spaces Project, which is a series of dynamic interactive sonic ecosystem compositions, is the most recent example of 

this work. Michael is a Music Technology Ph.D Candidate Ph.D. NYU and is part of the Computer Music Group in the Music 

and Audio Research Lab (MARL). Prior to NYU, he earned an M.A. in Media Arts from the University of Michigan, where 

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he began his work with performance systems. In addition, he studied creative improvisation and multi-media performance. 

Michael has a strong background in tuba performance and recording arts. He holds performance degrees from The University 

of Southern California (M.Mus ’09) and The University of Colorado (B.Mus ’07). Originally from Arvada, Colorado, 

Michael is a lover of the mountains, snow, and wandering among the aspen or pine trees. For more information please visit 

his personal site at michaelmusick.com 

Iranian composer, sonic artist, and music teacher, Ali Nader Esfahani, did undergraduate work in physics at Sharif University 

of Technology and completed a graduate program in composition at University of Art, Tehran. In 2008 he moved to 

Canada to continue his studies in composition as a Killam Scholar at the University of Calgary, where he graduated with his 

doctorate in 2014. His doctoral research and creative work focuses on the development of advanced techniques in composition 

and sound design applied to traditional Iranian musical material, soundscapes and sound objects. He has written 

music for soloists, chamber ensembles, orchestras, and the electroacoustic medium. 

Pianist Chryssie Nanou is active as a performer, lecturer, and teacher of piano performance, music technology and contemporary 

performance practice. Born in Greece, Chryssie’s personal and professional aesthetics were formed in Paris 

and further Top shaped in the United States with her studies at the Ecole Normale de Musique de Paris / Alfred Cortot and 

The Peabody Institute of The Johns Hopkins University, and her work at the Stanford University’s CCRMA. As a solo artist, 

chamber musician and lecturer, Chryssie has given performances and lectures around the globe giving special emphasis to 

the performance practices Necessary to perform today’s acoustic and electro-acoustic contemporary music. 

Steven Naylor composes electroacoustic and instrumental concert music, performs (piano, electronics, seljefløyte) in ensembles 

concerned with both through-composition and improvisation, and creates scores and sound designs for theatre, 

film, television and radio. His concert works have been performed and broadcast internationally; his theatre scores have 

played to live audiences of over five million, in 15 countries. Steven co-founded Nova Scotia’s Upstream Ensemble and The 

Oscillations Festival of Electroacoustic Music, and is a former President of the Canadian Electroacoustic Community. He is 

presently artistic director of subText Music & Media Arts, an independent artist, and Adjunct Professor in the School of Music 

at Acadia University. His first solo DVD-A of electroacoustic works, Lieux imaginaires, was released in 2012 on empreintes 

DIGITALes, and nominated for a 2013 East Coast Music Award. Steven completed the PhD in Musical Composition at the 

University of Birmingham, UK, supervised by Jonty Harrison. He presently lives in Halifax, Nova Scotia, Canada. Further 

information: http://sonicart.ca 

Ai Negishi was born in Japan in 1993. She is currently studying composition and computer music with Takayuki Rai, Kiyoshi 

Furukawa and Shintaro Imai at Sonology Department, Kunitachi College of Music in Tokyo. In 2015, one of her works was 

selected at New York City Electroacoustic Music Festival. 

Jon Christopher Nelson (b. 1960) is currently a Professor at the University of North Texas where he serves as an associate 

of CEMI (Center for Experimental Music and Intermedia) and also the Associate Dean of Operations. Nelson’s electroacoustic 

music compositions have been performed widely throughout the United States, Europe, Asia, and Latin America. He has 

been honored with numerous awards including fellowships from the Guggenheim Foundation, the National Endowment for 

the Arts, and the Fulbright Commission. He is the recipient of Luigi Russolo and Bourges Prizes (including the Euphonies 

d’Or prize) and recently was recognized as the recipient of the International Computer Music Association’s 2012 Americas 

Regional Award. In addition to his electro-acoustic works, Nelson has composed a variety of acoustic compositions that 

have been performed by ensembles such as the New World Symphony, the Memphis Symphony, the Brazos Valley Symphony 

Orchestra, ALEA III, and others. He has composed in residence at Sweden’s national Electronic Music Studios, the 

Visby International Composers Center and at IMEB in Bourges, France. His works can be heard on the Bourges, Russolo 

Pratella, Innova, CDCM, NEUMA, ICMC, and SEAMUS labels. 

José Ricardo Neto is a 2nd year of undergraduation student from UNIRIO - Instituto Villa Lobos, Rio de Janeiro, Brazil. 

Last year (2014), he studied “Music Tecnology” with Bryan Holmes, “Experimental Music” with Paulo Dantas, and “Electroacoustic 

Music Composition” with Marcelo Carneiro. José Ricardo has been selected to participate at the Visiones Sonoras 

Festival 2014 and there, attended the workshop on “Neurosciencie” with Professor Iran Roman from Stanford University in 

Morelia, Mexico. Three of his pieces were played at UNIRIO this last year. In the first semester “Projeto Eletroacústica I” and 

“Banho de Chuva” were presented at Unirio Musical and MAPA respectively at the Villa Lobos Theater. And in the second 

semester “Conexão Brasil-México-América Latina was played at MAPA at the Unirio Garden. The composition “Berimbau 

Acusmático” was selected to participate at the MANTIS Festival 2015 in Manchester, England. He also composes music 

for theater. Last year, José Ricardo worked in two theater pieces (Catastrophe - Samuel Beckett and Rhinoceros - Eugène 

Ionesco) along with Director Luiza Rangel at UFRJ (Universidade Federal do Rio de Janeiro) and SESC-Campos. 

Kourtney Newton is currently pursuing a Doctorate of Musical Arts degree in cello performance from the University of North 

Texas where she studies with Nikola Ruzevic. As an experienced orchestral player Kourtney has enjoyed performing with 

symphony orchestras in Colorado, Louisiana, Oklahoma, Texas, Vermont, Virginia and Wyoming. With symphony orchestras 

she has performed at Carnegie Hall in New York, as well as other notable concert halls in Salzburg, Vienna and London. 

Kourtney’s string quartet KAZM has performed in and around Colorado as well as a 2012 tour in Bangkok, Thailand. 

Kourtney is particularly passionate about new music and was a founding member of the “By the Numbers” Sound Painting 

Improvisation ensemble, based in Greeley, Colorado. She was a guest artist in the Aquila Contemporary Music Recital

Series in 2012 and 2013, and the Sounds Modern Series at the Modern Art Museum of Fort Worth in December 2014 and 

May 2015. She is also active in UNT’s new music ensemble NOVA and enjoys working with student and faculty composers. 

Composer, violinist, and computer music researcher, Charles Nichols explores the expressive potential of instrumental 

ensembles, computer music systems, and combinations of the two, for the concert stage, and collaborations with dance and 

video. He teaches Composition and Computer Music at Virginia Tech, and has earned degrees from Eastman, Yale, and 

Stanford. His work has received support from the NEA, NSF, New Music USA, and the Prop Foundation, and recognition 

from the National Academy of Music, La Fundación Destellos, Bourges, ASCAP, and the Montana Arts Council. He was a 

visiting scholar, at the Sonic Arts Research Centre at Queen’s University Belfast, N. Ireland, a visiting composer, with the 

Namaste Ensemble in Città di Castello and Rome, Italy, and a resident, at the Ucross and Brush Creek Foundations, in 

Wyoming. His recent premieres include Nicolo, Jimi, and John, a concerto, for amplified viola, interactive computer music, 

and orchestra, three movements, inspired by the virtuosity of Paganini, Hendrix, and Coltrane, and Sound of Rivers: Stone 

Drum, a multimedia collaboration, with sonified data, electric violin, and computer music, accompanying narrated poetry, 

dance, animation, and processed video, based on scientific research into how stoneflies navigate throughout their lifecycles, 

by the sound of rivers. 

John Nichols III is a composer of intriguing music that is created with a wide diversity of sonic phenomena melded into 

an expressive form. Nichols has received international recognition for his electroacoustic works and has had compositions 

performed at events such as Gaudeamus Muziekweek, ICMC, SEAMUS, EMM, N_SEME, Electro-Acoustic Barn Dance – 

and others. His compositions are honored with recognitions from the Luigi Russolo International Sound Art Competition, the 

International Composition Competition “Città di Udine,” ASCAP/SEAMUS, WOCMAT, the Stichting Conlon, Prix Destellos, 

Métamorphoses, and the Morton Gould ASCAP Young Composer’s Competition. Nichols recently served as an Associate 

Artist at the Atlantic Center for the Arts with Master Artist Jonty Harrison. He studies advanced studio techniques with Professor 

Scott A. Wyatt and composition with Professor Sever Tipei at the University of Illinois, Urbana-Champaign, where he 

won the Fourteenth Annual 21st Century Piano Commission Competition. 

Nova is the new music ensemble of the University of North Texas. Repertoire includes classics of the modern era alongside 

music by younger and less familiar composers, giving students the opportunity to perform fresh and exciting contemporary 

works. Nova’s mission is to provide students and audiences with an engaging diversity of musical, aesthetic, and cultural 

experiences. Encounters with faculty and guest composers give students insight into the process of creating new music. Recent 

performances have included music of Elliott Carter, David Lang, Frederic Rzewski, Steven Stucky, Giacinto Scelsi, Nick 

Didkovsky, Libby Larsen, Judith Shatin, James Tenney, Isang Yun, Christian Wolff, John Cage, Stefan Wolpe, and Charles 

Ives, as well as UNT faculty and student composers. Nova has recently collaborated with guest composers Augusta Read 

Thomas and Mario Davidovsky. The ensemble’s instrumentation varies each semester. Projects each term include both 

large ensemble and chamber works. Faculty and guest performers occasionally join the ensembles, enhancing students’ 

understanding of contemporary performance issues. 

Benjamin O’Brien composes, researches, and performs acoustic and electro-acoustic music that focuses on issues of 

translation and machine listening. He received his Ph.D in Music at the University of Florida. He holds a MA in Music Composition 

from Mills College and a BA in Mathematics from the University of Virginia. Benjamin has studied computer music, 

improvisation, and theory with David Bernstein, Ted Coffey, Fred Frith, Paul Koonce, Roscoe Mitchell, and Paul Richards. 

His compositions have been performed at international conferences and festivals including the International Computer 

Music Conference (ICMC), Electroacoustic Music Studies (EMS) Conference, Toronto International Electroacoustic Symposium 

(TIES), and SuperCollider Symposium. He received the Elizabeth Mills Crothers Award for Outstanding Musical 

Composition (Mills College) and is an International Electroacoustic Music Young Composers Awards Finalist (Workshop 

on Computer Music and Audio Technology). His work is published by Oxford University Press, Society of Electro-Acoustic 

Music in the United States (SEAMUS), Canadian Electroacoustic Community (CEC), and Taukay Edizioni Musicali (TEM). 

He lives in Marseille, France. 

Damian O’Riain completed PhD studies in electroacoustic composition at the Sonic Arts Research Centre (Queen’s University 

Belfast), prior to this he obtained an MPhil in music and media technologies at Trinity College Dublin. Currently, Damian’s 

creative activities relate primarily to acousmatic arts, digital music, and post-digital aesthetics. He’s also interested in 

the analysis of electroacoustic works, and questions relating to the problem of genre categorisation in contemporary digital 

music. Other areas of interest include new media, digital-cultures, net-critique, and technologically driven creative practices 

that embrace interdisciplinary collaboration. 

David Ogborn (a.k.a. d 0kt0r0) is a hacker, sound artist and improviser. At McMaster University in Hamilton, Canada he 

directs the Iive coding Cybernetic Orchestra (http://soundcloud.com/cyberneticOrchestra), and teaches audio, code and 

game design courses. 

Tatsuya Ogusu is a doctoral student in Global Information and Telecommunication Institute at Waseda University. His research 

interest is a method of composing contemporary music based on abstract paintings. 

Yemin Oh is a composer who is always looking for fascinating and captivating music. His main interests lie in several area 

including acoustic composition, visual music, electro-acoustic composition and interactive multi-media work. His pieces of 

these days incorporate his aesthetic aim into blending visual elements of performer’s musical expression, and live electron- 

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ics using audio-based information. He have Ph.D in Experimental Music & Digital Media at Louisiana State University, and 

currently he is lecturer of Kyung Hee University in Seoul. His works have been selected and invited to present at several 

music concerts and conferences, including EMM, SEAMUS, NIME, NYCEMF, and ICMC. 

Seico Okamoto is a graduate student in Space Direction Studio at Tokyo University of the Arts. 

German-born violinist Felix Olschofka has toured as soloist, concertmaster and chamber musician throughout Europe, 

Asia, North America, and South America. He holds the first prize in the German Music Competition in 1992 and the second 

prize in the International Chamber Music Competition “Charles Hennen” in 1993. A proponent of contemporary music, he 

frequently presents the premieres of new works for violin and is founding member of SWARMIUS. He holds Bachelor and 

Master degrees from the Music Conservatory “Hanns Eisler” in Berlin, Germany, a Performance Certificate from Indiana 

University, Bloomington, and a Doctorate from the University of California San Diego. His professional background also 

includes Concertmaster with the Terre Haute Symphony, guest concertmaster with the Dallas Chamber Symphony, and 

Associate Concertmaster with the Brandenburg Philharmonic Potsdam, Germany. Since 2011, he leads the Ensemble du 

Monde in New York City as their Concertmaster. Dr. Olschofka has served as faculty at Indiana University, Bloomington, 

San Diego State University, the Bay View Music Festival, the Summit Music Festival, and is currently Associate Professor 

of Violin at the University of North Texas in Denton, Texas, and Director of the UNT Summer String Institute. For more information 

please visit www.felixolschofka.com. 

Michael James Olson is a composer, producer, and musician from Minnesota. Michael’s concert music has been performed 

throughout the world, including the International Computer Music Conference (New York), Beijing Science Museum 

(China), SEAMUS National Conference (Miami), Indian Institiute of Technology TechFest (Mumbai), Noisefloor Festival 

(UK), International Saxophone Symposium (Virginia), Audiograft Festival (UK), Electroacoustic Juke Joint (Mississippi), 

Electronic Music Midwest (Illinois), Electroacoustic Barn Dance (Virginia), Drift Station Gallery (Nebraska), and the Cal 

State Sacramento Festival of New Music (California), among others. Michael has received numerous awards including 

ASCAPLus Awards (2007-2015), Finalist for the ASCAP/SEAMUS Commission, and First Prize at the Georgia Southern 

Research Awards. Michael’s music, performance, and production can also be heard on more than 20 albums spanning the 

genres of folk to pop, on numerous record labels. His music has been featured in films and television, including programs 

on MTV, VH1, E!, Spike, ABC, NBC, PBS, and CBS. He holds a Bachelor of Music from Minnesota State University, a Master 

of Music from Georgia Southern University, and a Doctorate from Ball State University where his composition teachers 

include John Thompson, Michael Pounds, and Keith Kothman. Michael currently serves as Assistant Professor of Music 

Composition and Technology at Minnesota State University, Mankato. 

A native of Vega Baja, P.R., soprano Camille Ortiz-Lafont is equally at ease on the opera and concert stage. Ms. Ortiz-Lafont 

completed her Master’s degree at Manhattan School of Music. She has appeared as Antonia in Hoffmann at UNT Opera, 

Lucia (Rape of Lucretia) at MSM, Blondchen (Die Entführung) for the Martina Arroyo Role Learning Class, Oscar (Ballo) for 

Prelude to Performance, Fire/Nightingale (L’enfant) for Coópera: Project Opera of Manhattan, Susan Hoerschner (Clarence 

and Anita) for the Center of Contemporary Opera, Adina, Norina, and Musetta for Centro Studi Lirica in Italy, as Frasquita 

with Dell’Arte Opera. Ms. Ortiz-Lafont has been a participant of Festival of Interpretation of Spanish Song in Granada, 

Spain, where she studied with acclaimed mezzo-soprano Teresa Berganza, and completed Italian studies at the Scuola di 

Leonardo da Vinci in Rome. She acquired her Bachelor’s degree (summa cum laude) from Oral Roberts University where 

she double-majored in voice and violin, and is a graduate of the pre-college division of the Puerto Rico Conservatory. Ms. 

Ortiz-Lafont has appeared in venues such as the Sala Manuel de Falla in Granada, Spain, the Carlos Chávez Hall of the 

Universidad Nacional Autónoma de Mexico, D.F., the Zoellner Arts Center in Bethlehem, PA, and in New York City in venues 

such as Avery Fischer Hall at the Lincoln Center, the Heckscher Theater at El Museo del Barrio, Steinway Hall, The Kaye 

Playhouse, the America’s Society, the Museum of the City of New York (for Música de Cámara), among others, as well as on 

national television broadcast network Telemundo. She has graced audiences singing the National Anthem at the Barclays 

Center on HBO live and at the Brooklyn Courthouse for Congresswoman Nydia Velazquez’s re-swearing ceremony. She is 

the winner of the Gerda Lissner Foundation 2008 Encouragement Award and a finalist in both the Liederkranz 2009 competition, 

lieder division, and the Sergei and Olga Koussevitzky 2010 Young Artists Competition. She also served in 2010-2011 

as Artistic Director of Opera Hispánica, the first New York opera company given to Spanish and Latin-American repertoire, 

for which she appeared as Matilde in their original production of “Soneto de Amor y Muerte”, which she co-created and 

co-directed. Being also an accomplished violinist, she went on a tour to Accra, Ghana in West Africa for a 2012 Christmas 

concert for the Golden Earth Foundation. For six years she was organist/cantor and music director at St. Thomas Aquinas 

Church in the Bronx, NY and has appeared numerous times with the Zipoli Ensemble, a sacred music ensemble given to the 

performing of baroque music from Latin-America. She has recently appeared as featured artist of the “Buena Gente” section 

of El Diario NY. Recent engagements include her Carnegie Hall debut as the soprano soloist for Dan Forrest’s Requiem 

for the Living; the soprano solo in John Rutter’s Mass of the Children under Rutter’s baton, and Gilda (cover) in Rigoletto 

for the Greek Opera Studio with the Festival of the Aegean in Syros, Greece; and Musetta in La bohème as well as art song 

concerts for the Berlin Opera Studio with the Festival junger Künstler Bayreuth, Germany. She is currently pursuing a DMA 

at University of North-Texas. 

Felipe Otondo studied acoustics in Chile where he started composing and performing music for experimental theatre developing 

several performance projects with actors and musicians. In 1999 he moved to Denmark to do post-graduate studies 

in sound perception at Aalborg University focusing on spatial sound and timbre perception. He studied composition at the

Carl Nielsen Academy with the Anders Brødsgaard where he composed and premiered various compositions and took part 

in several interdisciplinary projects with visual artist. In 2005 he pursued his composition studies at the University of York 

in England with Ambrose Field and Roger Marsh focusing in electroacoustic composition and music theatre. His music has 

been widely played in festivals across Europe, North and South America, as well as in Australia. He composed the music 

for the BAFTA-award winning radio drama The glassman in collaboration with Neil Sorrell and has received awards and 

prizes in composition competitions in Austria, Bulgaria, Brazil, Czech Republic, France, Italy and Russia. Felipe is currently 

a lecturer at the Institute of Acoustics at Universidad Austral in Chile and his music is released by the British label Sargasso. 

Marcin Pączkowski is a composer, conductor, and digital artis, working with both traditional and electronic media. He 

received his Masters’ degrees from the Academy of Music in Kraków, Poland, where he studied with Wojciech Widłak 

(composition) and Rafał Delekta (conducting), and from University of Washington in Seattle, Washington, where he studied 

composition and computer music with Juan Pampin and Richard Karpen. Currently he is a doctoral candidate in the Center 

for Digital Arts And Experimental Media (DXARTS), where he studies with Juan Pampin. His current research is focused on 

exploring ways of engaging computer media in improvisation, as well as motion tracking and machine learning techniques 

used for creating and controlling musical structures. As the conductor and performer he is involved in performances of new 

music. His compositions were performed on many composers workshops and concerts in Poland and United States. In 2010 

he was awarded 2nd prize in the 18th edition of Adam Didur all-Polish Composers’ Competition. He was a recipient of grants 

from Lesser Poland Scholarship Foundation Sapere Auso and Polish Institute of Music and Dance. 

Jason Palamara is an electroacoustic composer from New Jersey living in the Midwest. He is an active performer and 

improviser on the violin, guitar and laptop and was a founding member of the Laptop Orchestra at the University of Iowa 

(LOUi). For the past three years, Jason has worked as the in-house composer for the University Of Iowa Department Of 

Dance and has composed music for many dance department projects, specializing in new music technologies, collaboration 

and improvisation. His recent works have seen performances by the JACK Quartet, the Enid Trio, and several performances 

by the Baker-Tarpaga Dance Project in Burkina Faso, Africa. In May his music will be featured in a show being presented 

by choreographers Charlotte Adams and Jennifer Kayle at Highways Performance Space in Santa Monica, California. His 

piece Ragnarök, Baby, was recently released on Jeffrey Agrell’s CD Soundings: Improvisations and Compositions for Horn 

and Electronica. In the Fall, he will begin teaching composition at Grinnell College in Grinnell, Iowa. In his spare time, he 

teaches songwriting and musicianship to the inmates at Oakdale Community Prison. You can find links to his music, events 

and more info at www.jasonpalamara.com. 

Michaela Palmer is a Sonic Artist and Senior Lecturer at the University of the West of England, UK. Her research interests 

lie in the field of physical (sensor-based) computing, environmental data sonification, as well as electroacoustic music 

composition. Originally from a background in multimedia installation art, Michaela has produced many performances and 

participative sonic artworks exploring the experience of listening to the human body, where biofeedback data (blood flow, 

stress levels) was used to generate layers of sounds in real-time. In 2010 this was brought together in her PhD ‘Listening 

to the Mind at Play - sonified biofeedback as generative art practice and theory’. Since then, Michaela has moved from 

body-internal processes to listening to larger bodies such as landscapes. With her students, she has compiled http://www. 

sonicsevern.co.uk, an online showcase of soundscapes, sonifications and compositions exploring the experience of listening 

to tidal phenomena in the Severn Estuary, UK. This local landscape has the 2nd highest tidal difference in the world 

and is of great ecological importance. To raise awareness for this, Michaela built and exhibited (in 2013) a continuous realtime 

sonification artefact that made tidal data streams of a number of estuary locations visible and audible. To widen her 

sound compositional approach, Michaela has over the past 2 years been studying electroacoustic music composition with 

Dr Javier Garavaglia and Carnatic music with Durga Ramakrishnan, as the Indian raga system allows a performer to work 

with certain material for a long period of time whilst expressing variations. Michaela’s sonic work has been exhibited widely 

in the UK as well as at international events such as the Florida Electro-acoustic Music Festival (US, 2008), ISEA (Turkey, 

2011), or the Emotional Geographies conference (Netherlands, 2013). She has written for a number for journals in the field 

of performance research as well as geography. 

Hyeonhee Park is a composer and percussionist who has studied traditional Korean percussion at Korea National University 

of Arts, in Seoul, and electroacoustic music composition and sound programming at Tokyo University of the Arts. Her 

pieces have been selected for performance at international conferences and festivals, SEAMUS 2015 (US), ICMC 2014 

(Greece), Composit New Music Festival 2014 (Italy), CCMC 2015/2014(Japan). 

Joo Won Park (b.1980) wants to make everyday sound beautiful and strange so that everyday becomes beautiful and 

strange. He performs live with toys, consumer electronics, kitchenware, vegetables, and other non-musical objects by 

digitally processing their sounds. He also makes pieces with field recordings, sine waves, and any other sources that he 

can record or synthesize. Joo Won draws inspirations from Florida swamps, Philadelphia skyscrapers, his two sons, and 

other soundscapes surrounding him. He has studied at Berklee College of Music and the University of Florida, and currently 

serves as a Visiting Assistant Professor of Computer Music at the Oberlin Conservatory. Joo Won’s music and writings are 

available on ICMC DVD, Spectrum Press, MIT Press, and PARMA Recording. 

Tae Hong Park holds B.Eng., M.A., M.F.A. and Ph.D. degrees from Korea University, Dartmouth College, and Princeton 

University. He has worked in the area of digital communication systems at the LG Central Research Laboratory in Seoul, 

Korea (1994~1998). His works have been played by groups and performers such as the Brentano, California E.A.R. Unit, 

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Zoe Martlew, Nash Ensemble of London, New Jersey Symphony Orchestra, Onix Ensemble, Ensemble Surplus, and the 

Tarab Cello Ensemble. He organized the 2006 ICMC conference, is President of ICMA, and is Associate Professor at New 

York University. He is author of “Introduction to DSP: Computer Musically Speaking” (2010). 

Clelia Patrono is a musician and composer who began her musical journey as a guitarist and songwriter at the Academy 

of Music “Saint Louis” College in Rome. Her passion for electronic music and music to accompany image drove her to carry 

out a year of study in the class of “Media Art” at the Academy of “Hochule Fur Grafik ind Buchunst” in Leipzig, Germany in 

2013. She is currently finishing a three-year degree in Electronic Music at the Conservatory “Linicio Refice” of Frosinone, 

Italy, in particular cultivating a passion for audiovisual works and synchronisation of music to image. In addition, she continues 

her work as a live musician, with concerts around the world including WOMADelaide (Australia) 2013, WOMAD NEW 

ZEALAND 2013, and WOMAD Cáceres (Spain) 2013. She is composer and guitarist and director of the first album of her 

band, Atome Primitif, entitled “Three Years Three Days.” She works as a sound designer and composer for documentaries 

at RAI (Italian television). 

Michael Payen is an International composer from Derby, England, whose main compositional style involves voice and 

spatialised choir. Michael has had a close involvement with choral music, singing and composing since before completing 

his Bachelors Degree in Music at Keele University in England. Since then, he has also gained his Masters of Music in Music 

Technology at Georgia Southern University studying under Dr. John Thompson. He used his time there to compose multiple 

choral pieces that were performed by the internationally acclaimed Georgia Southern Chorale. Travelling throughout 

Europe, Japan and the US with various choirs has helped influence compositions such as ‘Psalm 23’, for choir and solo 

voice with electronics, as well as his newest ‘Requiem’, which uses Music Technology to virtualise antiphony and his piece 

‘Somnum’, which uses female vocals to engulf the listener. 

Chris Peck is a composer, computer musician, and improviser who often collaborates with contemporary dance and theater 

artists, including Beth Gill, John Jasperse, RoseAnne Spradlin, and David Dorfman. “MASS,” his collaboration with choreographer 

Milka Djordjevich for singing dancers and electronic sound, premiered at The Kitchen (NYC) last May. Peck performs 

as an improviser with Jon Moniaci and Stephen Rush under the name “Crystal Mooncone.” The trio is currently completing 

its fifth album using material recorded in performances at the CCRMA (Stanford) and the Klowden Mann Gallery (LA) last 

year. Peck is also working on a new music theater piece with Brussels-based choreographer Eleanor Bauer and the Belgian 

new music ensemble Ictus, set to premiere in Spring 2016. He recently completed a Ph.D. in Composition and Computer 

Technologies at the University of Virginia. 

Andrew Telichan Phillips is a Steinhardt Fellow and doctoral student in Music Technology at New York University’s Steinhardt 

School of Music and Performing Arts Practice. His research interests include mediated musical performance interaction, 

embodied music cognition theory, phenomenological approaches to music theory, epistemological foundations of 

perception, and explorations into how music generates meaning. Phillips is also a composer of electronic musical works, 

creator of interactive sound installations for exploring expressive dimensions of voice, and a member of NYU’s CityGram 

project, concerned with capturing, analyzing and understanding of urban soundscapes. After graduating in 2004 from Sarah 

Lawrence College in New York, NY, Phillips worked for several years as a sound design engineer for theater and dance 

productions in New York City while also independently composing and producing his own electronic compositions and continuing 

to develop his performance skills as an operatic singer and jazz bassist. In 2010, Phillips was accepted into Transart 

Institute’s a low-residency MFA in Creative Practice program based in Berlin, DE, accredited by the University of Plymouth, 

UK, and from which he graduated in 2012. There his research focused on psychoacoustics and the psycho-aesthetics of 

music, embodied music cognition theory, and the complex, multi-dimensional concept of voice. The culmination of this research 

was the creation of a series of interactive sound installations designed for exploring expressive dimensions of voice, 

while analyzing and enhancing singer-audience interaction techniques. This work was recently exhibited at the Atelierhof, 

Kreuzberg gallery in Berlin in 2012 and the Universidad del Sagrado Corazon, in San Juan, Puerto Rico in 2013. 

Mark Pilkington is a composer and performer of electroacoustic music. His practice encapsulates both sound and image 

as a means to extend spatial imaginings between real and virtual space. The coupling of images and sounds within audiovisual 

media is applied to the composition of acousmatic music, site-specific installation and screen-based works. Forging 

the immaterial and creative labor through a network of interwoven and augmented territories, his work increasingly queries 

the way operations carry great critical and creative potential. Seeking new modes of critical engagement that incorporate 

multiple narratives through media informs the direction of his pedagogy. His theoretical research focuses on the relationship 

between artistic genres and their respective aesthetic theories with reference to sound studies, electroacoustic music, 

sound design, philosophy, and film. His audio-visual works have been performed, exhibited and screened at conferences 

and festivals in the UK and Europe. Collaborative interdisciplinary work is carried out with other artist/s using acousmatic 

music and visuals. His work has been performed and screened at ICMC, ARS Electronica, MANTIS festival and the Open 

Circuit Festival. www.markpilkington.org.uk Teaching and Education: Senior Associate Lecturer in Music at Lancaster University. 

P/T Lecturer in Electroacoustic Composition at the University of Manchester. PhD ‘Portfolio of Original Compositions’ 

in Electroacoustic Composition, University of Manchester UK 2013. MA in Electroacoustic Composition, University of 

Huddersfield, UK 2004. Director of Thought Universe Music. 

Laura Pillman is a DMA student at University of North Texas. She has participated as co-principal of the Symphony Orchestra, 

performed in NOVA, the UNT new music ensemble, and was featured in the LaTEX electronic music festival last fall.

Laura performed with the Odysseus Chamber Orchestra last April, and was recently a prizewinner at Coeur d’Alene young 

Artist and Oklahoma Flute Society competitions. Laura spent her summer at the Pierre Monteux Festival in Hancock, Maine. 

Russell Pinkston (b. 1949) currently resides in Austin, Texas, where he is Professor of Music Composition and Director 

of Electronic Music Studios at The University of Texas at Austin. He holds degrees from Dartmouth College (BA 1975) and 

Columbia University (MA 1979, DMA 1984). He is active both as a composer and as a prominent pedagogue and researcher 

in the field of computer music. His compositions span a wide range of different media, including symphonic, choral, and 

chamber works, electronic music for modern dance, and interactive performance pieces. He has received a number of significant 

honors, including a Guggenheim Fellowship, the Charles Ives Fellowship from the American Academy and Institute 

of Arts and Letters, and a senior Fulbright Fellowship to Brazil. He is a founding member and former President of the Society 

for Electro-Acoustic Music in the U. S., and has served as a Regional Representative for the Americas for the International 

Computer Music Association. His music is recorded on Boston Skyline, Centaur, Folkways, Koch International, New Dynamic, 

and Summit Brass Records, and published by Rein Free Press (ASCAP). 

João Castro Pinto is a composer and researcher that began his experimental musical activity in the 90’s. His work is focused 

in between the fields of sound art, electroacoustic / acousmatic music and soundscape composition. He graduated 

in Philosophy, by the Faculty of Social and Human Sciences of the University of Lisbon, and is currently finishing his PhD 

degree in Science and Technology of the Arts (Computer Music) at the Catholic University of Portugal CITAR - Research 

Centre for Science and Technology of the Arts, with a dissertation on the Soundscape Composition thematic. He was the 

artistic director of Hertzoscópio - Experimental and Transdisciplinary Arts Festival (2003 and 2004 editions, and also of the 

Hertz_extend # 1 event in 2005). Received several awards, scholarships and distinctions. He has done composition masterclasses 

with renowned composers as François Bayle, Francis Dhomont, John Chowning, Barry Truax, Trevor Wishart, 

Simon Emmerson, Morton Subotnick. Gave more than 100 concerts throughout Europe, USA and Asia, in cities as NYC, 

Iowa, Seoul, Leeds, Birmingham, Berlin, Cologne, Vienna, Graz, Bolognano, Athens, Uden and played in festivals and 

venues such as Seoul International Computer Music Festival, Música Viva Festival, Experimental Intermedia Foundation 

[NYC], Pnem Sound Art Festival [Netherlands], ORF [Austrian Radio Broadcast], University of Iowa Museum of Art, Sammlung 

Essl Museum [Austria]. Released several recordings [solo pieces, collaborations and compilations] by: OtO (Japan), 

Triple Bath (Greece), Sirr-ecords (PT), Creative Sources Recordings (PT), Grain Of Sound (PT), etc. more info @ http:// 

www.agnosia.me 

Sarah Plum began her performing career by winning the first prize at the International Stulberg Competition in 1984. 

Since then she has been sought after by orchestras and fellow musicians in the US and Europe as a soloist, recitalist and 

chamber musician for concerts of both traditional and contemporary repertoire and has performed at festivals and venues 

such as Ars Musica Brussels, Cite de Musique, The Barbican, The Luzern Festival and Ankunft Neue Musik Berlin. Most 

recently, she has played chamber music concerts at the Festival de Musique “Zodiac” in the south of France as well as 

presented solo concerts of new music in Berlin, New York City and at Bard College. As a new music specialist, Plum has 

had the good fortune to take part in historic performances and premieres with noted composers and ensembles. Her long 

term collaborations with composers have led to CDs such as her 2011 solo release Absconditus. This CD has been called 

“flinty and stark yet atmospheric” by music web, “ a gem” by the American Record Guide and Gramophone Magazine said 

that “Sarah Plum plays with a wealth of colour and a surprising range of sounds”. Since this release Plum has been invited 

to perform an evolving solo program of 21st century works, many of which were written for her, at new music festivals and 

series worldwide. These programs have been praised as “consistently stunning with works that demanded conventional 

virtuosity but also great skill in unconventional techniques” (third coast journal) and “extraordinary, meaningful and magnificent 

music” (Berlin Tageszeitung). Plum is a graduate of the Juilliard School where she received a BM and MM and SUNY 

Stony Brook where she received a DMA. Her major teachers were Joyce Robbins, Szymon Goldberg, Dorothy Delay, David 

Cerone and Lyman Bodman. 

Michael Polo (b. 1985) is currently working on a Ph.D. in Music Composition at the University of Florida. He received his 

Master of Music degree in Composition from George Mason University in 2011 after completing a Bachelor of Music in 

Composition from Rowan University in May 2009. Recently, Michael completed a Master of Science in Management from 

the University of Florida. Michael began his formal composition training in 2002 at the Settlement School of Music in Philadelphia, 

PA. Michael has studied composition with; Roberto Pace, Harold Oliver, Dennis DiBlasio, Mark Camphouse, Jesse 

Guessford, James Paul Sain, Paul Richards and Paul Koonce. Michael has written over fifty compositions for a variety of 

media and is published with Piano Productions Press. Michael has also worked for Piano Productions Press as an editor/ 

copyist/arranger for nearly ten years. He has had international performances of music from leading performers such as; Jaroslaw 

Nadrzycki, Alexander Timofeev, Alexei Ulitin, and Alexey Ivanchenko. Michael’s research is on physiological effects 

of listening to music. Beginning Fall 2014, Michael will begin an empirical study on the physiological effects of listening to 

contemporary music related to chill response. 

Christopher Poovey aspires to immerse his audience in a world of his own creation by combining elements of traditional 

and electronic composition. Christopher has been recognized by The Dallas Symphony Orchestra, Voices of Change New 

Music Ensemble, National Music Teachers Association, the National Student Electronic Music Event, and Texas Music 

Teachers Association for his work. He is currently pursuing a bachelors of music composition at Indiana University Jacobs 

School of Music and has studied with distinguished composers such as Sven-David Sandström, Claude Baker, and Jeffery 

Hass. 

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Paul Poston began studying music at the age of nine, primarily focusing on piano performance. He first pursued music 

composition in 2008 during his second year of undergraduate studies at the University of Texas in Arlington. Currently, Paul 

is pursuing a DMA at the University of Cincinnati-College conservatory of music. He studies composition with Michael Fiday 

and Mara Helmuth. His work has been performed throughout the United States and Europe. Recently, his focus is on the 

Applause Music Festival, a series of concerts based in Fort Worth, Texas featuring the works of contemporary composers. 

Michael Pounds began his career as a mechanical engineer, with a BS from Ohio University. After employment at the NASA 

Lewis Research Center, he returned to the academic world to study music composition with a focus on computer music 

and music technology. After undergraduate music studies at Bowling Green State University he earned graduate degrees in 

music composition from Ball State University, the University of Birmingham in England, and the University of Illinois, where 

he completed his doctorate. His creative work includes compositions for fixed audio media, live interactive computer music, 

and collaborative intermedia projects. His awards include the ASCAP/SEAMUS Student Commission Award, a Residence 

Prize at the Bourges International Electroacoustic Music Competition, a Rotary Foundation Ambassadorial Scholarship for 

studies in England, and residencies at the MacDowell Colony and I-Park. His work has been presented throughout North 

America and Mexico, Europe, Asia, Australia and New Zealand. He was a co-host of the 2005 National Conference of the 

Society for Electro-Acoustic Music in the U.S. He also co-hosted the 2014 National Conference of the Society of Composers, 

Inc. Michael is the Assistant Director of the Music Media Production program at Ball State University, where he teaches 

composition, acoustics, music perception, recording and computer music. 

William Price’s music has been performed in South America, Asia, and throughout the United States and Europe. His works 

have been featured prominently at such events as the World Saxophone Congress, the International Trumpet Guild Conference, 

the Música Viva Festival in Portugal, the Musinfo Art and Sciences Days in France, and the Nanyang Academy of Fine 

Arts Chamber Music Festival in Singapore. Dr. Price serves as Associate Professor of Music at the University of Alabama 

at Birmingham, where he teaches courses in music theory and composition. 

Gudrun Raschen has extensive international solo, orchestral and chamber music experience on both cello and double 

bass. She has given solo concerts throughout Africa, Europe and the United States. While completing her formal studies, 

she was invited to perform at the International Chamber Music Festival in Stellenbosch, South Africa; at the Pan American 

Music Festival in Edinburgh, Texas; at the World Bass Festival in Wroclaw, Poland, and for four years at the Mittenwald 

International Masterclasses in Mittenwald, Germany. Since completing her studies she has been invited to perform and help 

establish a formalized double bass program in Costa Rica. In 2011, Ms. Raschen taught group and masterclasses and performed 

at the Oficina de Musica in Curitiba, Brazil. In 2010, she founded the Cello and Bass Conservatory of Dallas where 

she gives students formal training and a platform to develop their performance skills. She is a member of the all-female 

Elara Ensemble that recently completed a tour throughout Finland including a performance for the former President and 

members of the Sibelius family. In addition to performing in solo and chamber music concerts, she is involved in early music 

ensembles on Baroque Cello, Violone and Double Bass with the Orchestra of New Spain, Texas Camerata and performances 

at the Boston Early Music Festival with Collegium Musicum. She is an active freelance musician and has performed with 

orchestras including: Cape Town Philharmonic, Natal Philharmonic and in the US with the Fort Worth Symphony, Dallas and 

Texas Chamber Orchestras, Richardson Symphony, East Texas Symphony, Wichita Falls Symphony and The Orchestra of 

New Spain. Ms. Raschen completed her doctoral studies in Double Bass at the University of North Texas with Jeff Bradetich. 

She teaches Cello, Double Bass, Chamber Music, and String Methods at Texas Woman’s University, and maintains an active 

private studio, and gives masterclasses and clinics throughout Texas. 

Robert Ratcliffe is an internationally recognised composer, sonic artist, EDM musicologist and performer. He completed 

a PhD in composition and musicology funded by the Arts and Humanities Research Council at Keele University, UK. He 

has developed a hybrid musical language and compositional technique through the cross-fertilisation of art music and electronic 

dance music (EDM). His hybrid compositions have been performed and broadcast in approximately thirty countries 

worldwide, including presentations at international events such as ACMC, ICMC, L’espace du Son, NIME and Sonorities. 

In addition, he has collaborated with some of the leading performers in the fields of contemporary and experimental music, 

and recordings of his work are available from CMMAS, Furthernoise, SONUS, and Vox Novus. His writing is published in 

Dancecult, eContact!, eOREMA, the proceedings of the International Computer Music Conference, and Sonic Ideas. 

Leah Reid (b. 1985, New Hampshire) writes vibrant compositions that examine the innermost nature of sounds. Her work is 

noted for its exploration of time, timbre, and texture. Reid holds a D.M.A. and M.A. in composition from Stanford University 

and a B.Mus from McGill University. She has won numerous awards, including the International Alliance for Women in Music’s 

Pauline Oliveros Prize for her piece Pressure, and the Film Score Award in Frame Dance Productions’ Music Composition 

Competition. Reid’s works have been performed in the United States, Canada, and Europe, with notable performances 

by the Jack Quartet, Sound Gear, Talea, Yarn/Wire, and McGill’s Contemporary Music Ensemble. Reid’s principal teachers 

include Mark Applebaum, Jonathan Berger, Brian Ferneyhough, and Sean Ferguson. Additional information may be found 

at www.leahreidmusic.com. 

Carter John Rice, a native of Minot, North Dakota, is a composer of new music currently pursuing a doctorate in music 

theory and composition at Ball State University in Muncie, Indiana. His music has been featured across the United States 

and abroad, including performances at the annual conference for the society of electroacoustic music in the United States 

(SEAMUS), The National SCI Conference, The Bowling Green State University New Music Festival, Electronic Music Mid-

west, The Electroacoustic Barndance, The Soundscape Festival, and the National Student Electronic Music Event. He 

was the inaugural recipient of Concordia College’s Composer of Promise Award, for which he received a commission from 

the Concordia College Orchestra. Rice’s music is largely concerned with the notion of creating cohesive and contrasting 

soundworlds that slowly generate and expel sonic energy over time. Rice received his Master’s degree from Bowling Green 

State University where he studied with Elainie Lillios and Christopher Dietz. He currently studies with Mike Pounds and Keith 

Kothman at Ball State University. Carter also serves as the national student representative for The Society of Composers 

Inc. 

Canadian saxophonist Alexander Richards (b. 1988), is an active pedagogue and performing artist, having appeared in 

concert across both Canada, and the United States in a variety of solo and chamber music settings, presenting guest artist 

recitals and masterclasses at several institutions, including Texas Tech, and Baylor Universities. Alexander has been a 

featured soloist with both the University of Victoria Wind Symphony (2011) and the University of Minnesota Wind Ensemble 

(2013), in addition to several orchestras at the University of North Texas, most notably in a 2015 premiere of a double 

concerto for flute and saxophone by UNT composer Sam Melnick. Alexander has been selected as a finalist in competitions 

across Canada and the United States, in both solo and chamber music capacities. A recipient of the prestigious Berneking 

Memorial Fellowship, and the Patsy C. and Fred W. Patterson College of Music Fellowship, Alexander has had the opportunity 

to study with many luminaries, including, most notably, Dr. Eugene Rousseau, Dr. Eric Nestler and Wendell Clanton. 

Alexander holds a Bachelor of Music from the University of Victoria, a Master of Music from the University of Minnesota, and 

is currently in pursuit of his Doctor of Musical Arts at the University of North Texas, where he is a saxophone teaching fellow. 

Composer Steven Ricks (b. 1969) received his early musical training as a trombonist in Mesa, AZ, USA. He holds degrees 

in music composition from Brigham Young University (BM), the University of Illinois at Urbana-Champaign (MM), and the 

University of Utah (PhD), and also received a Certificate in Advanced Musical Studies (CAMS) from King’s College London 

in 2000. His music is performed in the United States and abroad by some of today’s leading contemporary artists, including 

the New York New Music Ensemble, Ensemble Links (Paris, FR), Earplay (SF, USA), Talujon Percussion Ensemble (NY), 

Pittsburgh New Music Ensemble (USA), soprano Jennifer Welch-Babidge (UT, USA), and Hexnut (Amsterdam, NE). A 

“spotlight” radio interview and article on his music, “Latter-Day Synchronisms,” was published/produced by Frank Oteri in 

2009 on NewMusicBox.com and Counterstream Radio. His May 2008 Bridge Records portrait release Mild Violence has 

received numerous favorable reviews, including a five-star review in BBC Music Magazine. His commissions and awards 

include a 2010 Fromm Music Foundation Commission, six Barlow Endowment commissions, and First Prize in the SCI/AS- 

CAP Student Composition Competition. A new portrait CD of recent chamber and electronic works is scheduled for release 

by New Focus Recordings in April 2015. Ricks is currently an Associate Professor in the BYU School of Music, co-director 

of the BYU Electronic Music Studio, and editor of the SEAMUS Newsletter. For more information and recent works, visit: 

stevericks.com and/or soundcloud.com/stevericks. 

Jane Rigler (www.janerigler.com), flutist, composer, and improviser focuses on stretching the boundaries of musical performance 

and multi-disciplinary interactive ensemble works that center on community building and combining innovative 

techniques with ancient storytelling. An Assistant Professor at UCCS, her 2015 highlights have so far been the release of 

her first CD “Rarefactions” (Neuma Records), teaching Computer Music and traveling to Spain and Greece. 

Charlie Roberts is an Assistant Professor of Interactive Games and Media at the Rochester Institute of Technology, where 

his research explores human-centered computing in creative coding practice. He is the primary author of Gibber, a creative 

coding environment for the browser, and has performed throughout the US, Europe and Asia improvising audiovisual art 

through live coding. 

Lyric soprano Elizabeth Pacheco Rose possesses an alluring stage presence with dramatic flexibility; whether singing 

Mimi, Pamina or Mélisande, she captures the essence of each role. Her repertoire encompasses a wide range of works from 

Baroque to Contemporary music. Among some of Elizabeth’s operatic performances are as Blanche in Dialogues des Carmélites, 

Roselinde in Die Fledermaus, Mimì in La Bohème, Pamina in Die Zauberflöte, Mélisande in Pelléas et Mélisande 

and Abigail in The Crucible. Her many concert appearances have included works such as Handel’s Messiah, Faurè’s Requiem, 

Mozart’s Missa Brevis, K.192 & Vesperae Solemnes de Confessore, K339 and Beethoven’s Ninth Symphony. Most 

notably was her recent performance of Samuel Barber’s Knoxville: Summer of 1915 with the Orquesta Sinfónica de Puerto 

Rico and conductor, Guillermo Figueroa. Recent engagements include Donna Anna in Piedmont Opera’s Don Giovanni and 

performances of Villa-lobos’ Bachianas Brasileiras No. 5 with the Winston-Salem Symphony. She has appeared as Micäela 

in Carmen; the lead role of Eleonora in Salieri’s opera, Prima la musica e poi le parole; Pablo Luna’s Zarzuela El asombro de 

Damasco; and performances of Villa-Lobos’ Bachianas Brasileiras with the Pablo Casals Festival. She is an active solo and 

chamber music recitalist with recitals in Colorado, Puerto Rico, Mexico and North Carolina this season. A Northern Virginia 

native, she studied at the Cincinnati College-Conservatory of Music for her doctoral work. Previous to this she lived in Italy, 

where she studied and performed in Europe. She was awarded a Master’s Degree in Music from the University of Illinois, 

Urbana and a Bachelor’s Degree in Music from the University of Colorado, Boulder. 

Saxton Rose is Associate Professor of Bassoon and director of the contemporary music ensemble at the University of 

North Carolina School of the Arts. He is also the Principal Bassoonist of the Winston-Salem Symphony and a member of the 

acclaimed New York-based wind quintet, Zéphyros Winds. Throughout his career, Mr. Rose has championed new music, 

working to expand the repertoire of the bassoon, and to redefine its role in contemporary music by collaborating with estab- 

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lished and emerging composers. He recently recorded and premiered an hour-long work for bassoon ensemble by Bang on 

a Can composer Michael Gordon. The piece was commissioned in part by Rose’s contemporary bassoon group Dark in the 

Song and was released on Cantaloupe Records with performances scheduled this season throughout the US and Canada. 

Other recent commissions include works by David Smooke, John Orfe, Felipe Perez Santiago, John Fitz Rogers, Amy Beth 

Kirsten, Moon Young Ha, Alfonso Fuentes, Alex Weiser, Christopher Dietz and Kirk O’Riordan. Mr. Rose was the principal 

bassoonist of the Puerto Rico Symphony Orchestra from 2003-2008. His training includes courses in Germany, Austria, and 

Italy with some of Europe’s most distinguished bassoonists including Gustavo Nuñez and Sergio Azzolini. He graduated 

with highest honors from the class of Stefano Canuti at the Conservatorio “Agostino Steffani” in Castelfranco-Veneto, Italy 

and is a former student of William Winstead at Cincinnati College-Conservatory of Music. 

Michael S. Rothkopf is a composer of over 45 works of chamber, electronic, orchestral and vocal music. His compositions 

have been noted for their “remarkable sensuousness” and their evocative ability to create a “sense of time and occasion.” 

His recent works have focused on creating new performance environments that intensify interpretive and improvisational 

music making. These interactive compositions involve digital technology and artificial intelligence as part of their design. 

Published by American Composers Editions, his music has been performed by notable musicians and ensembles such as 

Ulrich Eichenauer, Tara Helen O’Connor, William Anderson, Jean Kopperud, Debra Reuter-Pivetta, Theresa Radomski, 

Brooks Whitehouse, the Cygnus Ensemble and the National Orchestra Association. He has been awarded fellowships from 

Yaddo, Carnegie Hall, the National Orchestra Association and Columbia University. He currently lives in Winston-Salem 

with his wife, daughter and cat. An Associate Professor of Music at the University of North Carolina School of the Arts, Dr. 

Rothkopf teaches composition, music technology, graduate history, theory, and career strategies courses. 

Butch Rovan is a media artist and performer on the faculty of the Department of Music at Brown University, where he 

serves as Chair and directs the MEME (Multimedia & Electronic Music Experiments) program in Computer Music. 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 worked at Opcode Systems before leaving for Paris, serving as Product Manager for 

MAX, OMS and MIDI hardware. Rovan has received prizes from the Bourges International Electroacoustic Music Competition, 

first prize in the Berlin Transmediale International Media Arts Festival, and his work has been performed throughout 

Europe and the U.S. His interactive installation “Let us imagine a straight line” was featured in the 14th WRO International 

Media Art Biennale, Poland, and most recently his work “of the survival of images,” for custom GLOBE controller, video 

and sound, was included on the Computer Music Journal DVD Sound and Video Anthology. Rovan’s research includes 

new sensor hardware design and wireless microcontroller systems. His research into gestural control and interactivity has 

been featured in IRCAM’s journal Resonance, Electronic Musician, the Computer Music Journal, the Japanese magazine 

SoundArts, the CDROM Trends in Gestural Control of Music (IRCAM 2000), and in the book “Mapping Landscapes for Performance 

as Research: Scholarly Acts and Creative Cartographies” (Palgrave Macmillan, 2009). 

Timothy Roy (b. 1987) composes music steeped in imagery and allusion, which often seeks to conjure a sense of time, 

place, and feeling. His work has been presented nationally and internationally, with performances at the Music Biennale 

Zagreb, Bowling Green New Music Festival, Toronto Electroacoustic Symposium, Denison University’s “Tutti” New Music 

Festival, Studio 300 Digital Art & Music Festival, Center of Cypriot Composers, Society for Electro-Acoustic Music in the 

United States (SEAMUS) National Conference, Sweet Thunder Music Festival, radioCona (Slovenia), Heidelberg University’s 

New Music Festival, Electronic Music Midwest, Helianthus Ensemble concert series (University of Kansas), Opensound 

(Boston), the Electronic Music Studios concert series at the University of Iowa, Stacey Barelos’ Missouri Piano Project, 

and the International Electroacoustic Music Festival of Chile, “Ai-maako.” He has won First Prizes in the Sigma Alpha Iota 

Inter-American Music Awards, the International Competition of Electroacoustic Composition “Prix Destellos,” and the Ninth 

International Musicacoustica-Beijing Composition Competition, and has been named a Finalist in the First International 

Jean Sibelius Composition Competition and the Ninth Edition of the International Composition Competition “Città di Udine.” 

Timothy holds a bachelor’s degree in composition from Southern Methodist University, where he was both a Charles S. 

Sharp Endowed President’s Scholar and Theodore Presser Scholar, and a master’s degree in composition at the University 

of Missouri-Kansas City. He is currently pursuing a DMA in composition at Rice University’s Shepherd School of Music 

where he serves as the teaching fellow for the Rice Electroacoustic Music Labs (REMLabs). Timothy’s primary teachers 

have been James Mobberley, Chen Yi, Paul Rudy, Kevin Hanlon, and Martin Sweidel. 

Benjamin Sabey is a composer of chamber, live computer interactive and orchestral music. His music has been performed 

by many of the leading ensembles in new music, including the Arditti String Quartet, Neue Vocalsolisten Stuttgart, the La 

Jolla Symphony directed by Bang on a Can All-Star Steven Schick, Le Nouvel Ensemble Moderne, the New York New Music 

Ensemble, the Antares Ensemble and members of the Orpheus Chamber Orchestra, the New Millennium Ensemble, Red 

Fish Blue Fish and the Talujon Percussion Quartet. Recent awards include a Barlow Endowment Commission to write a new 

piece for the Neue Vocalsolisten Stuttgart and the Royaumont Prize of Domaine Forget, which consisted of an expenses 

paid residency at the Royaumont Abbey north of Paris. Benjamin Sabey has taught composition and theory at the University 

of San Diego, San Diego Mesa College and most recently as full-time professor at San Francisco State University. Benjamin 

Sabey holds a PhD from the University of California, San Diego where he studied primarily with Roger Reynolds. He has 

also studied composition with Brian Ferneyhough (at Royaumont) Chaya Czernowin, Philippe Manoury and Michael Hicks, 

as well as computer music with Miller Puckette and psycho-acoustics with Richard Moore. He has been a fellow of numerous 

conferences including Aspen, Wellesley, Domaine Forget and June in Buffalo.

Diana Salazar’s practice-led research examines spatial composition and interpretation in electronic music and associated 

issues of performance practice and cross-disciplinary discourse. Her compositions include fixed media acousmatic work, 

work for instruments and electronics, cross-disciplinary collaborations, and improvised electronic laptop performance. Diana 

studied flute performance and composition at the Royal Conservatoire of Scotland before completing an AHRC-funded PhD 

in composition at the University of Manchester. She is currently a lecturer in music at City University London. Her works 

have been performed and broadcast throughout the UK and internationally. Many of them have been recognised in international 

competitions including CIMESP (International Electroacoustic Contest of São Paulo, Public Prize 2005, Honourable 

Mention 2007), the Bourges Competition of Electroacoustic Music (Residence Prize 2006), SCRIME (Prix SCRIME 2007), 

the ‘Space of Sound’ (L’Espace du Son) Diffusion Competition (2nd prize, 2008), Prix Destellos (1st prize, 2009), Música 

Viva (Prizewinner, 2009), Musica Nova (Honorary Mention, 2011), the Qobuz/Abeille Musique Prize 2013 and most recently 

the Nonclassical Remix Competition 2014. She has been a composer-in-residence at CEMI (Center for Experimental Music 

and Intermedia) at the University of North Texas, Atlantic Center for the Arts in Florida, the Institute for Electroacoustic Music 

in Sweden, Orford Center for the Arts, Montreal and the Destellos Foundation in Argentina. 

Ayako Sato is a doctoral student at Tokyo University of the Arts. She composes and researches electroacoustic music. 

Her works have been selected for performances at international conferences and festivals including FUTURA, WOCMAT, 

NYCEMF, SMC, ICMC, ISSTC, ISMIR, and so on. She was awarded the third prize of International Electroacoustic Music 

Young Composers Awards at WOCMAT 2012 (Taiwan), the honorary mention at WOCMAT 2013 (Taiwan), the honorary 

mention of CCMC 2012 (Japan), the honorary mention of Destellos Competition 2013 (Argentina), the third prize of Prix 

PRESQUE RIEN 2013 (France), and Acanthus Prize at Tokyo University of the Arts (Japan). 

Composer and Sound Design, Simone Sbarzella graduated academic’s degree in Jazz and Electronic Music. He is working 

as a sound designer for several projects of music and intermedia art and is currently studying Digital Audiovisual Composition 

with Alessandro Cipriani, Antonino Chiaramonte, Valerio Murat and Maurizio Argentieri at “Conservatorio L. Refice” in 

Frosinone. 

Margaret Anne Schedel is a composer and cellist specializing in the creation and performance of ferociously interactive 

media whose works have been performed throughout the United States and abroad. While working towards a DMA in music 

composition at the University of Cincinnati College Conservatory of Music, her interactive multimedia opera, A King Listens, 

premiered at the Cincinnati Contemporary Arts Center and was profiled by apple.com. She holds a certificate in Deep Listening 

with Pauline Oliveros and has studied composition with Mara Helmuth, Cort Lippe and McGregor Boyle. She is a joint 

author of Electronic Music and recently edited an issue of Organised Sound on sonification. Her work has been supported 

by the Presser Foundation, Centro Mexicano para la Música y les Artes Sonoras, and Meet the Composer. In 2010 she 

co-chaired the International Computer Music Conference, and in 2011 she co-chaired the Electro-Acoustic Music Studies 

Network Conference. Her research focuses on gesture in music, the sustainability of technology in art, and sonification of 

data. As an Associate Professor of Music at Stony Brook University, she serves as Co-Director of Computer Music and is a 

core faculty member of cDACT, the consortium for digital art, culture and technology. 

Robert Seaback (b. 1985) is a composer and guitarist working primarily in the electroacoustic genre. He has composed 

works that pair acoustic instruments with precomposed electronic sound, purely electronic works for fixed media, and sound 

installations. His output is characterized by stylistic elements drawn from musique concréte, spectralism, and glitch. He 

holds a B.S. in Music Technology from Northeastern University, an M.A. in Composition from Mills College, and is currently 

a Ph.D. Fellow at the University of Florida. Seaback’s electroacoustic work has been presented both nationally and internationally 

at festivals such as SEAMUS, NYCEMF, Electronic Music Midwest, the Arts and Technology Symposium at Connecticut 

College, ICMC, the ISCM World New Music Days, and the EMUfest of the Conservatory of Santa Cecilia, Rome. 

In 2011, he was awarded First Prize in the ASCAP/SEAMUS Student Commission Competition. 

American Composer Brian Sears’s music is based on his attraction to timbre, space, color and shape. His compositions 

use these forces to weave complex sonic tapestries that communicate intimate emotional connections. Brian is currently 

pursuing his Masters degree at Bowling Green State University where he studies with Dr. Elainie Lillios. He is from San 

José, California and holds a Bachelors degree in Music Composition from San José State University, where he studied with 

Dr. Pablo Furman and Dr. Brian Belet. His music has been performed Nationally at festivals and conferences like SEAMUS, 

NYCEMF, CEMICircles, N_SEME, SICPP at The New England Conservatory and Splice Summer Institute as well as by the 

Toledo Symphony Orchestra and the San José Chamber Orchestra. 

Seth Shafer is a composer and researcher from Southern California with interests in pseudo-autonomous performance environments, 

interactive sound installations, data mining and sonification, and deep space exploration. His piece for trumpet 

and computer titled Pulsar [Variant II] was a finalist for The Engine Room’s International Sound Art Exhibition 2015 (London, 

UK). His music was recently performed at the 2014 International Computer Music Conference (Athens, GR), and in the 

Festival dei Due Mondi 2013 (Spoleto, IT) in collaboration with South Korean director Brian Byungkoo Ahn. His sound installations 

have been shown at the Perot Museum of Nature and Science (Dallas), the Long Beach Museum of Art’s Pacific 

Standard Time Exhibit, and the Long Beach Soundwalk. Seth has taught courses in music technology, audio production, 

and film scoring at Cypress College (CA), and he holds a BM and MM from California State University, Long Beach. He is 

currently a Ph.D. candidate in composition at the University of North Texas where he teaches electroacoustic music and 

works for the Center for Experimental Music and Intermedia. Seth also performed on the 2014 Grammy winning album 

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Vampires of the Modern City by Vampire Weekend. 

Victor Shepardson is a producer, improvisor, metacomposer (or something). He uses computation as an instrument in 

the search for Music Which Does Not Yet Exist But Feels Like It Should. He received a B.A. in Computer Science from the 

University of Virginia, and is now an M.A. candidate in Digital Musics at Dartmouth College. 

Takuro Shibayama (1971- ) was born in Tokyo. He received his M.A. degree from the Tokyo College of Music in 1997 and 

Ph.D. from Tokyo University of the Arts in 2010. He was deeply fascinated by S. Reich in the late 1980s and M. Feldman in 

the early 1990s. Through these experiences he has been particular about his monotonous and texture-like style that refuses 

the development of time progression. 

In recent years, he has been trying to understand his own creations through the transversal contexts of linguistics, epistemology, 

and cognitive science. He is exploring the possibility of expressions through research about the generation of 

worth and meaning of music. Furthermore, he is collaboratively researching with engineers, psychologists, and cognitive 

scientists about various problems of system emergence that relate to the theme: “how human expectations composed of 

reasoning and emotion generate the future.” He is a finalist of Music Competition of Japan in 1993, Akiyoshidai International 

Composition Prize in 1994, Bourges (IMEB) in 2007. And his piece is programed to Multiphonie (INA-GRM) in 2013, and 

selected ICMC music program in 2012 and 2014. His activities are not only in the musical fields but also the collaborations 

with artists, dancers, architects and local societies in Saitama Prefecture in Japan as a member of committee of Saitama 

Muse Forum (SMF) . Since 2008, he directed the live concerts of electro-acoustic music, and hosted the symposiums and 

the workshops to compose the electro-acoustic music with people of non-professional and many generations. Now he has 

courses of compute music and music theory as an associate professor of Department of Information System Design at 

Tokyo Denki University and as a part time lecturer in International Christian University, Joshibi University of Art and Design. 

Kazuaki Shiota (born in Osaka, Japan) studied algorithmic composition under Phil Winsor from the University of North Texas 

and computer music composition under Mara Helmuth from the University of Cincinnati College-Conservatory of Music 

(CCM), where he received his Doctor of Musical Arts in composition. His musical interest is centered in collaborations with 

dancers and choreographers. He co-directs the Interactive Sonic Dance Research Project (ISDRP) with Karen Wissel to 

develop a new performing style for dancers and musicians. 

Performer, educator, artistic advisor and rehearsal director, Ami Shulman trained in the performing arts in South Africa. She 

danced with Compagnie Marie Chouinard and Compagnie Flak for several years and has collaborated with videographer 

Butch Rovan, most prominently on the interactive installation piece, Let us Imagine a Straight Line. Ami has assisted in setting 

new and existing choreographic works on the Ballet BC and the GoteborgsOperans Danskompani and was an assistant 

choreographer for the Cirque Du Soleil ‘s production of One. Based in Montreal, Ami teaches contemporary technique and 

has taught at the Juilliard School; the Rotterdam Danse Academy; the National Theatre School of Canada; Jacob’s Pillow; 

the Cirque Du Soleil; the Alvin Ailey School; L’Ecole de Danse Contemporaine de Montreal; Ballet Divertimento and the 

Springboard Project, among others. Ami is the artistic director on tour for Compagnie Marie Chouinard and she is the artistic 

advisor to Jose Navas. She has been a movement consultant for various theatre productions including the Grand Theatre 

Junction’s Lucy Lost Her Heart, Repercussion Theater’s Macbeth and Yael Farber’s The Crucible and Kadmos. Ami is a 

Feldenkrais practitioner and she continues to tour extensively in the various aspects of her expertise in movement and art. 

Eva Sidén, Sweden, is a composer and a concert pianist with an international career. She is a highly valued composer 

and an interpretator of both her own music, classical and contemporary piano music. Mainly she works with her own compositions 

for instruments, ensembles and chamber music, aswell as combination instruments with electronics and pieces 

for electroaccoustic music/EAM. She also creates conceptual concert- and sound installations to museums, artgallerys and 

performs at concert houses, festivals and culture houses. Eva Sidén frequently collaborates with other artists and artforms; 

visual art, dance, theater, text and room/architecture and has made several commissioned pieces and concerts for piano, 

other instruments, ensembles and electronics aswell as with scenography and performance. Eva Sidén has been teaching 

piano, composition and sound art at several universities and musicshools, as Stockholm University of the Arts,. She studied 

piano and composition at Music-conservatorys in Prag, Brno, Paris and Stockholm and contemporary music, electroaccustic 

music at IRCAM, Paris, furthermore arttheory/aestetic philosophy, art and musicology at Stockholm University More info 

www.evasiden.se 

The Sidén Hedman duo was founded in 2010. They are one of the most interesting ensembles, in the artistic field of 

creating and performing new music, in Sweden. Their conceptual base are works for piano and electronics as well as concert- 

and sound-installations in cooperation with visual expressions, text, dance and theater/performance. Their concerts 

are mainly built up in a surround space with piano, electronics, mechanics and scenography. Later years they have made 

several collaborations with art museums, concert halls and music festivals around the world. 

Born in 1990, Iacopo Sinigaglia is a Composer, Producer and Sound Engineer. Graduated with a degree in Sound Engineering 

and Music Technology at Saint Louis College of Music and in Electronic Music at the Conservatory of Frosinone. 

Interested in sounds and in the relation between different kind of arts, he applies electroacoustic elaborations and technology 

in both experimental and non-experimental fields. One of his acousmatic composition has already been selected at the 

ICMC 2014. For more informations and music please visit: www.iacoposinigaglia.tumblr.com 

Phillip Sink was born in 1982 in High Point, North Carolina. In 2004, he received bachelor’s degrees in music composition/

theory and music education from Appalachian State University. From 2005-2009, Phillip taught middle school orchestra and 

band in Charlotte, NC. In 2012, he earned master’s degrees in music composition and music theory pedagogy from Michigan 

State University where he served as a graduate assistant in music theory. Phillip’s music has been performed in the 

U.S. and Europe and at many conferences and festivals including: 2015 Aspen Music Festival; 2015 Art and Science Days, 

Bourges, France; 2015 SEAMUS conference; 2015 N_SEME; 2014 Electroacoustic Barn Dance; 2013 Kansas Music Educators 

Association conference; 2012 World Saxophone Congress; and 2012 NASA (North American Saxophone Alliance) 

national conference. Other honors include winning the 2015 Dean’s Prize for chamber music at Indiana University, 2015 

Innovox Ensemble’s Green Call for Scores, 2013 Kuttner String Quartet Composition Competition, 2013 NOTUS Prize, 

and the 2011 MSU composition competition in the categories of orchestra and chamber ensemble. Most recently, Phillip 

attended the 2015 Aspen Music Festival as a composer fellow. Phillip is currently a doctoral fellow at the Jacobs School of 

Music where he is pursuing a doctoral degree (DM) in music composition with minors in electronic music and music theory. 

At Indiana University, he served as an associate instructor of composition where he taught courses such as Free Counterpoint, 

Notation, and Composition for Non-Majors. He studies electronic music with Jeffrey Hass and John Gibson. He 

studied acoustic composition with Claude Baker, David Dzubay, Aaron Travers, Sven-David Sandström, Ricardo Lorenz, 

Jere Hutcheson, and Scott Meister. 

Jerod Sommerfeldt’s music focuses on the creation of algorithmic and stochastic processes, utilizing the results for both 

fixed and real-time composition and improvisation. His sound world explores digital audio artifacts and the destruction of 

technology, resulting in work that seeks to question the dichotomy between the intended and unintentional. An active performer 

as both soloist and collaborator in interactive digital music and live video, he currently serves as Assistant Professor 

of Electronic Music Composition and Theory at the State University of New York at Potsdam Crane School of Music, and as 

director of the SUNY-Potsdam Electronic Music Studios (PoEMS). 

Jorge Sosa is a Mexican born composer currently residing in New York. Jorge’s first full-length opera, “La Reina,” commissioned 

by the American Lyric Theater has been recently selected for the Fort Worth Opera 2015 “Frontiers Festival. “La 

Reina” was performed in a concert version during ALT’s Insight Festival in 2013. In 2014 Jorge’s works “Enchantment” and 

“Stray Birds” for chamber ensemble and live electronics were premiered at the Difrazzione festival in Florence. In 2014 

Jorge’s operatic setting of Man Ray’s film “L’Etoile de Mer” was premiered in Kansas City by the Black House Collective, 

receiving critical acclaim. In 2013 Jorge was the Composer in Residence with the NYU New Music Ensemble collaborating 

in improvisatory, multimedia works, with live electronics. Jorge’s Psalm of David was premiered in 2013 by acclaimed 

clarinetist David Krakauer and pianist Kathy Tagg at The Stone in New York City. In 2012 Jorge was commissioned to write 

his “Song of the Last Crossing”, which was included in the “Opera America Songbook”. His “Trés Sonetos de Quevedo” for 

soprano and guitar quartet were recently released by the Cuarteto de Guitarras de la Ciudad de México in their CD “A 5”. 

Jorge’s Refraction I was included in the CD “Quirk” by clarinetist Mauricio Salguero. Jorge’s CD’s “Plastic Time” and “Enceladus” 

are available on all the major music download sites and through the website www.jorgesosa.com. Jorge is currently 

Assistant Professor of music at Molloy College in Long Island. 

Ricardo Coelho de Souza was born in Belém, Brazil and moved to the United States in 1993. He pursued his musical 

studies at the Carlos Gomes Conservatory, the University of Missouri-Columbia, and the University of Oklahoma. Currently, 

he is a visiting instructor in percussion and world music at the University of Oklahoma and is actively engaged in performing, 

composing, arranging, and conducting. He is a founding member of Duo Avanzando with clarinetist David Carter, with 

whom he recorded “Projecting Back,” a CD of new music written for the duet. Ricardo has had the pleasure of working with a 

variety of musicians such as the legendary guitarist Sebastião Tapajós, Broadway musician and gyil player Valerie Naranjo, 

Indian mridangam artist Poovalur Sriji, Brazilian pianist João Marcos Mascarenhas, American songwriter Beau Mansfield, 

Australian didgeridoo master Ash Dargan, and Colombian singer-pianist José Luis Tono. Ricardo has been featured recently 

at the 2014 Tulsa Camerata Concert Series, the 2013 Toronto Electro-Acoustic Symposium, the 2012 International Music 

Festival of Pará, the 2011 Society of Composers National Conference, and The 2010 NYC Electro-acoustic Music Festival. 

He has premiered more than 50 works for percussion and has worked closely with several composers including American 

composers Bernadette Speach, George Crumb, Christian Asplund, Kenneth Fuchs, and Cort Lippe, Puerto Rican composer 

William Ortiz, Greek composer Kostas Karathanasis, and Chilean composer Miguel Chuaqui. His own music is published by 

C. Alan Publications and the OU Percussion Press. VDM Verlag has also published his document, “The Percussion Music 

of William Ortiz.” 

Michael Spicer has a B.A. (Hons) majoring in music, and a M.Sc in Computer Science, and is constantly looking for ways 

to combine these two areas. He has been performing professionally as a keyboard/synthesizer/flute player since the late 

1970’s. He was a member of the popular Australian folk/rock group “Redgum” in the 1980’s. In 1995 he co-developed two 

music edutainment games “Agates, the rock group” and “Agates Virtual Music Machine”. He is currently teaching at Singapore 

Polytechnic, working on a PhD in composition at Monash University Conservatorium, and performing in Singapore with 

the improvisation group “Sonic Escapade”.” 

Kurt Stallman is a composer whose approach to sound is inclusive and integrative. His compositions include works for 

acoustic instruments, electroacoustic combinations, environmental sounds, and synthetic sounds. He also enjoys improvisation 

and frequently collaborates with artists from other disciplines. Stallmann’s work has been recognized by the American 

Academy of Arts and Letters (Goddard Lieberson Fellowship), the Guggenheim Memorial Foundation (Artist Fellowship), 

and by the Fulbright Scholar Program (Fulbright Senior Scholar). In recent years his work has focused on breaking bound- 

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aries between environmental sound and music, and finding ways to include personal life experiences in his compositions. 

Representative works in this genre include: Taipei Sounds, Taipei Stories (2013), a bilingual performance/sound installation 

at the Taiwan Music Institute in Taipei, Taiwan; Time Present (2013), a collaborative film with Alfred Guzzetti that couples 

parallel constructions in sound from Taipei and imagery from the United States (European premiere at the London Film 

Festival); Ceremonial Music for Water and Land Ritual (2012), a soundtrack for an animated short featured at an eight day 

ceremony at Dharma Drum Mountain in Taiwan; Ten Directions (2012), an electronic work commissioned by Rice University 

for the dedication ceremony of Twilight Epiphany, a Skyspace designed by artist James Turrell; and Moon Crossings 

(2011), a work for fifteen performers, video, and surround sound commissioned by the Fromm Music Foundation at Harvard 

University. 

Jessica Stearns is a PhD student in musicology at the University of North Texas. From Tallahassee, FL, she received her 

bachelor’s degree in music education from Stetson University and her master’s degree in saxophone performance from 

Stephen F. Austin State University. Jessica’s saxophone instructors include Nathan Nabb, James Bishop, and Richard 

Scruggs. Her dissertation research explores Christian Wolff’s notation and its context in the milieu of the New York School. 

Jessica has presented her research at musicology and ethnomusicology conferences around the United States. Her other 

interests include music of the twentieth century to the present, American music, the New York School, graphic scores, performance 

spaces, and sound studies. She remains active as a saxophonist, performing in saxophone quartet and in UNT’s 

Nova ensemble. 

Heather Stebbins is a composer of acoustic and electroacoustic works with a background as a cellist. Her music has been 

performed across North America and Europe. She is currently a Center for New Music Fellow at Boston University, where 

she works with Joshua Fineberg. Previously, she studied with Benjamin Broening at the University of Richmond. During 

the 2014-2015 academic year, she completed a Fulbright Fellowship in Tallinn, Estonia, where she worked with composer 

Helena Tulve. 

Ewan Stefani (b. 1971) is a founder member of the Interdisciplinary Centre for Scientific Research in Music at the University 

of Leeds in the UK. As an associate professor, he teaches electronic and computer music composition. His acousmatic 

works have been performed at ICMC computer music conferences, BBC Radio 3, Sonic Arts Network Expo events, the 

ICA in London and at other UK and international venues. His current research activities include acousmatic sound theatre 

pieces; free improvised works, music for synthesizer ensemble, and audiovisual compositions. 

Eli Stine is a composer, programmer, and media designer. Stine is currently pursuing a Ph.D. in Composition and Computer 

Technologies as a Jefferson Fellow at the University of Virginia. Stine is a graduate of Oberlin College and Conservatory 

with degrees in Technology In Music And Related Arts and a minor in composition from the conservatory, and Computer Science 

from the college. Stine’s work ranges from acoustic to electronic composition, and frequently incorporates multimedia 

technologies and collaboration, seeking to explore the intersections between performed and computer-generated art. Stine 

is the winner of the 2011 undergraduate award from the Society for Electro-Acoustic Music in the United States (SEAMUS), 

and has had works included in the International Computer Music Conference, SEAMUS conference, Conference on New 

Interfaces for Musical Expression, Third Practice and Threshold festivals, and the International Sound Art Festival Berlin. 

Most recently Eli’s piece Forget was performed by the award-winning Akropolis Reed Quintet as part of his being young 

composer-in-residence of the Detroit Chamber Winds and Strings. As a programmer, Stine has participated in the ACM 

International Collegiate Programming Contest and worked as DSP engineer and programmer on projects ranging from educational 

software to mobile fitness apps. Stine’s sound design has been heard by over a million people in The Amerikans 

web series and his video art has been programmed in concerts in the U.S. and internationally. 

Jeffrey Stolet is a professor of music and director of the Intermedia Music Technology at the University of Oregon. Stolet’s 

work has been presented around the world and is available on the Newport Classic, IMG Media, Cambria, SEAMUS and 

ICMA labels. Presentations of Stolet’s work include major electroacoustic and new media festivals, such as the International 

Computer Music Conference, the Society for Electro-Acoustic Music in the United States Conference, the MusicAcoustica 

Festival in Beijing, the New York City Electroacoustic Music Festival, the Kyma International Sound Symposium, the Third 

Practice Festival, the Annual Electroacoustic Music Festival in Santiago de Chile, the Florida Electroacoustic Music Festival, 

SIGGRAPH, the transmediale International Media Art Festival, Boston Cyber Arts Festival, Cycle de concerts de Musique 

par ordinateur, the International Conference for New Interfaces for Musical Expression, the International Workshop on 

Computer Music and Audio Technology in Taiwan, and the International Electroacoustic Music Festival “Primavera en La 

Habana,” in Cuba. In addition, his work has been presented in such diverse venues as the Museum of Modern Art in New 

York, the Pompidou Center in Paris, the International Academy of Media Arts and Sciences in Gifu, Japan, and CCRMA at 

Stanford University. 

Jeffrey Stolet’s recent work has centered on performance environments where he uses a variety of wands, sensing devices, 

game controllers and other magical things to control the sonic and videographic domains. In addition, Stolet has 

collaborated with The New Media Center to create Electronic Music Interactive, which has received rave reviews in the 

press (Electronic Musician, Keyboard Magazine, The Chronicle of Higher Education, and Rolling Stone Magazine). Recently 

Stolet completed the first book about the sound-specification programming language Kyma, entitled Kyma and the 

SumOfSines Disco Club that is available in English and in Chinese as Kyma Xitong Shiyong Jiqiao by Southwest Normal 

University Press.”

David Stout is a visual artist, composer and performer exploring cross-media synthesis and interdisciplinary approaches to 

hybrid genres bridging the arts. He holds an inter-arts MFA from the California Institute of the Arts where he studied with Ed 

Emshwiller, Jim Pomeroy, and Bill Viola. He is the recipient of national and international awards and recognitions for works 

that include live cinema performance, interactive video installation, electro-acoustic music composition and immersive performance 

events that integrate emerging technologies and multi-screen projection as an extension of performer, audience 

and architecture. Since 2002 he has worked closely with creative partner, Cory Metcalf to examine the aesthetic possibilities 

for evolutionary generative systems, artificial life networks and simulation environments. The pair, who began their seminal 

collaboration in Santa Fe, New Mexico, are renown as founding members of the critically acclaimed visual music ensemble, 

NoiseFold. NoiseFold presented their world premiere live cinema performance at the Festival Internationale d’Art Video in 

Casablanca, Morocco in spring 2006. Their performances, which have included the UNESCO Creative Cities Summit, the 

New York Electronic Arts Festival, Interactive Futures in Victoria, BC, “Chinati Weekend” in Marfa, Texas and REDCAT in 

Los Angeles, have garnered enthusiastic reviews and a growing international audience. NoiseFold have recently expanded 

their approach to include virtuoso acoustic instrumentalists and visionary computer programmers from the USA, Netherlands 

and Germany. Stout previously founded the MOV-iN Gallery and the Installation, Performance & Interactivity project 

(IPI) at the College of Santa Fe in New Mexico. He is currently founder and director of the Hybrid Arts Laboratory at the 

University of North Texas, where he coordinates the Initiative for Advance Research in Technology and the Arts (iARTA) and 

holds joint positions in Music Composition and Studio Art New Media. 

Heather B. Suchodolski is a doctoral candidate at the University of North Texas, studying with Dr. William Scharnberg. In 

addition to her studies in UNT’s DMA program, where she is a Teaching Fellow providing Applied Horn lessons to undergraduate 

students, Heather enjoys teaching and maintains a studio of young musicians in the Dallas - Fort Worth metro 

area, and she also serves as Adjunct Faculty at Collin College. For the 2011-2012 academic year, Heather fulfilled an 

appointment to faculty at the University of Nevada Reno, where she spent her time teaching Applied Horn as well as Music 

Appreciation. While at North Texas, Heather has the honor of twice being named winner of Concerto Competitions at the 

University of North Texas, which has allowed her to perform Robert Schumann’s Konzertstucke, Op. 86 with the UNT Symphony 

Orchestra, and Richard Strauss’s Horn Concerto No 1, Op. 11 with the North Texas Symphonic Band. Internationally, 

Heather has toured into Mexico with the Arizona Symphony Orchestra, as well as throughout Brazil with the internationally 

recognized Impact Brass Quintet (formerly Center Brass Quintet). Additionally, Heather’s passion for chamber music was 

recognized with her being named the 2011 and 2013 George and Sandy Papich Scholarship for Chamber Music recipients; 

she is the first person to receive this honor twice! Heather graduated Magna cum Laude from the University of Arizona, 

where she studied with Dr. Keith Johnson and Mr. Daniel Katzen, and earned a Master of Music from the University of North 

Texas. Her primary teachers include the previously listed professors, as well as Dr. Douglas Campbell, the subject of her 

doctoral dissertation. Heather plans to complete her Doctor of Musical Arts degree in May 2014. 

Jacob David Sudol writes intimate compositions that explore enigmatic phenomena and the inner nature of how we perceive 

sound. He currently is an Assistant Professor of Music Technology and Composition and the Coordinator of Music 

Technology area at Florida International University in Miami, Florida. He was awarded a Fulbright Scholar grant for Taiwan 

for the Academic 2015-16 Year to teach composition and music technology at National Chiao Tung University. He earned 

a Ph.D. in composition at the University of California at San Diego where his mentor was composer Chinary Ung. Dr. Sudol 

has been commissioned and/or performed by many prestigious ensembles and performers such as the Nouvel Ensemble 

Moderne, Chai Found New Music Workshop, Little Giant Chinese Orchestra, the McGill Contemporary Music Ensemble in 

collaboration with the McGill Digital Composition Studio, FIU Laptop and Electronic Arts (FLEA) Ensemble. These works 

have received numerous domestic and international performances at distinguished venues such as the Music at the Anthology 

Festival, SEAMUS Conference, Domaine Forget Festival of New Music, Burapha University in Thailand, Taiwan 

National Recital Hall, the International Computer Music Conference, and ISCM New Music Miami Festival. In 2012, he 

founded a cello/electro-acoustic duo with FIU colleague and cellist Jason Calloway and, since 2010, he has been in a piano/ 

electro-acoustic duo with his wife Chen-Hui Jen. He has also collaborated on interdisciplinary projects with visual artist 

Jacek Kolasinski and architect Eric Goldemberg. As a recording engineer and producer Sudol has worked on compact discs 

that have been or will be released by Mode, Bridge, and Albany Records. Jacob David Sudol takes an interest in religious 

phenomenology, literature, (psycho)acoustics, visual art, cinema, and world folk music. As a composer he always attempts 

to bring insights from these other fields into his work.” 

Coloratura soprano Mikaela Sullivan recently completed her Master of Music at West Virginia University’s College of Creative 

Arts, where she studied under Dr. Hope Koehler. Hailing from Normal, Illinois, she received her Bachelor of Music from 

Southern Illinois University of Edwardsville, where she was a student of Dr. Marc Schapman. Past roles include the Queen 

of the Night in The Magic Flute, Belinda in Dido and Aeneas, Munkustrap in CATS!, Diana in Lend Me a Tenor, Sadie in 

Slow Dusk, and Belle in Beauty and the Beast. Mikaela premiered Cody Kauhl’s Excursus – Three Art Songs for Soprano 

and Flexible Media in 2014. 

A Chinese electronic musician. Hua Sun received Master of Music at University of Oregon in United States and Bachelor 

of Arts at Xing Hai Conservatory of Music in China. His professional field involves Music Composition, Music Arrangement, 

Sound Recording, Sound Design, and Intermedia Music Technology in Records, Television, Film and Game industry. Hua’s 

music contains bold exploration and innovation that relate to his comprehensive music accomplishments. His music presentation 

includes Kyma International Sound Symposium, Muiscacoustica Festival in Beijing, Electronic Music Midwest in 

United States, and Digital Audio China in Shanghai. His commercial music pieces and clips have been broadcasted in Jia 

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Jia Cartoon Channel (Guangdong Radio & Television Station), PlayHut Games, Canton Records Co., Ltd, and Yangshi 

Culture Media Broadcasting. Recently, Hua focus on interactive music composition that transforms and performs electronic 

music through multimedia technology and devices, such as Network Music Performance in communications technology, 

Wacom Tablet in digital art and Microsoft Kinect in commercial game controller. 

Greg Surges is a composer and computer music researcher. He is currently a Ph.D. candidate in computer music at UC 

San Diego, after earning an MM in Music Composition and a BFA in Music Composition and Technology at the University of 

Wisconsin — Milwaukee. Greg’s research and music have been presented at the 2013 Stockholm Musical Acoustics Conference/Sound 

and Music Computing (SMAC/SMC) in Stockholm, Sweden; the 2008 International Computer Music Conference 

(ICMC) in Belfast, Ireland; the 2013 Musical Metacreation (MuME) Workshop in Boston, MA; and the 2012 International 

Conference on New Interfaces for Musical Expression (NIME) in Ann Arbor, MI. His research interests are centered 

around the creation of generative music systems, and the development of novel digital signal processing techniques for 

their realization. His current research is focused on using techniques from machine learning, computational aesthetics, and 

novel DSP techniques to develop a self-reflective generative music system. Greg’s creative musical work has been released 

on the Stasisfield, Wandering Ear, and Digitalbiotope labels. He often functions as composer/performer of live electronic 

music, and has been a member of the Milwaukee Laptop Orchestra (MiLO), an anarchic electro-acoustic collective; Lazers!, 

a trio focused on loosely-structured compositions for live electronics; and The Console Project, a free-improvisational trio. 

Greg is also occasionally active as a performer of classic electro-acoustic works by other composers, most notably the live 

electronic music of Luigi Nono. In 2013, Greg was awarded a grant from the Getty Research Institute to study their archive 

of David Tudor’s papers and recordings. He is currently a research assistant and audio software developer for the Calit2 

composer-in-residence program. Previously, he worked as a research assistant at the Center for Research in Entertainment 

and Learning (CREL) at the Qualcomm Institute at UC San Diego. 

Fred Szymanski is a New York-based sound and image artist. In his work, he investigates relations between nonlinear forces 

and applies the results to sound diffusion and multi-screen installations and performances. His work has been performed 

at many festivals, including the Mutek Festival’s RML CineChamber 2012 (Montreal), Club Transmediale 2011 (Berlin), 

the NYCEMF 2014, Music Under the Influence of Computers (USCD, San Diego), ICMC 2014 (Athens), and SonicLIGHT 

(Amsterdam). Szymanski has participated in shows, including Abstraction Now (Vienna), the European Media Art Festival 

(Osnabruck), and the 9th Biennale of the Moving Image (Geneva). His work was shown at the Diapason Gallery for Sound 

(NY), the Eyebeam Center (NY), and the Whitney Museum of Art (Bit Streams). “Sinking Air” received the first prize in the 

electroacoustic music category at the 2014 Monaco International Electroacoustic Composition Competition (CICEM). www. 

fredszymanski.com 

David Taddie received the BA and MM in composition from Cleveland State University where he studied with Bain Murray 

and Edwin London, and the Ph.D from Harvard University where he studied with Donald Martino, Bernard Rands, and Mario 

Davidovsky. He has written music for band, orchestra, choir, solo voice, and a wide variety of chamber ensembles as well 

as electroacoustic music. His music has been widely performed in the United States, Europe, Asia, and Australia by numerous 

soloists and ensembles including the Cleveland Orchestra, Cleveland Chamber Symphony; the University of Iowa, 

University of Miami, Kent State University, and West Virginia University Symphony Orchestras; Alea III, the New Millennium 

Ensemble, the California Ear Unit, the Core Ensemble, the Cabrini Quartet, the Mendelssohn String Quartet, the Portland 

Chamber Players, the Gregg Smith Singers, and many others. He has received several prestigious awards including ones 

from the American Academy and Institute of Arts and Letters, the Koussevitzky Foundation, the Fromm Foundation, and 

the Music Teachers National Association. He is Professor of Music at West Virginia University and director of the Electronic 

Music Studio. 

Atsushi Tadokoro, Born in Chiba, Japan in 1972, is part-time lecturer at Tama Art University and Tokyo University of the 

Arts. September 2013 to current, Ph.D. program in Media and Governance, Keio University. 

Andrew Telichan is a Steinhardt Fellow, doctoral student in Music Technology at New York University’s Steinhardt School 

of Music and Performing Arts Practice, and member of NYU’s CityGram project, led by Dr. Tae Hong Park. Phillips has 

worked independently and professionally as a bassist, electronic music producer, sound designer for theater and dance, 

and opera singer. He has collaborated with a number of improvisational and songwriting ensembles, and is a composer 

of electronic musical works and creator of interactive sound installations. In addition to these activities, his personal and 

academic research in recent years has covered areas such as embodied music cognition, the epistemological foundations 

of perception, phenomenological approaches to music theory and explorations into how music generates meaning. He 

currently lives in Brooklyn, NY. 

Anna Terzaroli studied Philosophy at the University of Rome “Sapienza”, deepening disciplines as Aesthetics of music, 

History of music and Ethnomusicology and she is graduated with honors in Electronic Music at the Conservatory of Music 

Santa Cecilia in Rome. Currently she is attending a Master’s degree in Electronic Music at the same conservatory and 

simultaneously studied Compositional analysis and Compositional techniques with Maestro F. Telli. Professional Sound 

Engineer, as a composer she is dedicated to Electronic music and Contemporary music. Her works, compositional and 

scientific research, were selected, published and presented in concerts and festivals. Since 2009 she collaborates on 

EMUfest-Electroacoustic Music Festival of Conservatory Santa Cecilia. 

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Dominic Thibault is an electronic musician. As a solo artist, he composes post-acousmatic music. Live, he mostly improvise 

with his own software instruments. He is involved in a noise duo called Tout Croche, runs a small label named The 

Silent Howl and enjoy playing music with his friends. He is a studio geek, a modular synth player, a music coder and an 

improviser interested in the performative possibilities of technology in the studio and live. 

Kelland Thomas is a musician, artist, researcher, and educator. He currently serves as Associate Director of the University 

of Arizona School of Information, where he also directs the Creative Computing Lab and teaches courses in Computing and 

the Arts and Creative Coding. An active contemporary artist, Kelland has premiered over 40 new solo and chamber works 

for saxophone. Since his debut with the Houston Symphony in 1993, he has performed throughout the U.S. and in Mexico, 

Europe, and Asia. As a jazz and commercial saxophonist he has performed with such artists as Rufus Reid, Jimmy Cobb, 

Jimmy Heath, the Manhattan Transfer, David “Fathead” Newman, Diane Schuur, and alt-rock band Spoon. He regularly performs 

and records with his own ensembles as well as the fusion group Sylvan Street. Kelland has recorded for the Summit 

Jazz, AUR, New Vintage, Mode, and Albany labels. Kelland’s research interests include artificial intelligence, virtual reality, 

computational creativity, and music information systems. His research is currently funded by DARPA (Communicating with 

Computers, BAA 15-18) and the UA Confluencenter for Creative Inquiry. His recent research has received press in the 

Atlantic Monthly Online and Business Insider (Online). He holds five degrees, including a Bachelor of Science in Computer 

Science from the University of Arizona, a Master of Music in Music Theory from the University of Michigan, and the degree 

Doctor of Musical Arts from the University of Michigan. His saxophone instructors have included James Forger, Joseph 

Lulloff, Donald Sinta, and Donald Walden. 

John Thompson teaches, composes and conducts research in the area of computer music and music technology. He 

directs the Music Technology program at Georgia Southern University where he is Associate Professor of Music. He has a 

continuing interest in interdisciplinary studies, and seeks to highlight and follow new paths in music. John is an advocate for 

music that explores otherness, contemplation and alternate paths toward beauty. 

Michael Thompson is an electroacoustic composer. His works have been performed at ICMC, at the International Computer 

Music Festival, KEAMS 2000, Rein à voir and also in Taiwan, Canada, France, Germany, Italy, United Kingdom, Northern 

Ireland and the US. In addition to winning a residence prize in the 1999 International Electroacoustic Music Competition 

(Bourges, France) for his composition MachineWerks, Michael’s works can be heard on the CDCM label. 

Robert Scott Thompson is a composer of instrumental and electroacoustic music and is Professor of Music Composition 

at Georgia State University in Atlanta. He is the recipient of several prizes and distinctions for his music including the First 

Prize in the 2003 Musica Nova Competition, the First Prize in the 2001 Pierre Schaeffer Competition and awards in the 

Concorso Internazionale “Luigi Russolo”, Irino Prize Foundation Competition for Chamber Music, and Concours International 

de Musique Electroacoustique de Bourges - including the Commande Commission 2007. His work has been presented 

in festivals such as the Koriyama Biennale, International Bartok Festival, Sound, Présences, Synthèse, Sonorities, ICMC, 

SEAMUS and the Cabrillo Music Festival, and broadcast on Radio France, BBC, NHK, ABC, WDR, and NPR among others. 

His music is published on numerous solo recordings and compilations by EMF Media, Neuma, Drimala, Capstone, Hypnos, 

Oasis/Mirage, Groove, Lens, Space for Music, Zero Music, Twelfth Root, Relaxed Machinery, Anodize and Aucourant record 

labels, among others, and in print by American Composers Edition (ACA). 

Dan Tramte, PhD. (b. 1985) is an (electro)acoustic composer/artist, a teaching assistant at Harvard University, a new media/music 

theorist, and the youtube ‘Score Follower.’ He is proficient in frequencies of .5Hz-20kHz (specializing in the upper 

and lower extremes), and also often works in frequencies of 430-790THz. Listeners have described his music in terms such 

as “noisy, intense” (CMJ 34-4), “youthful, energetic” (CMJ 35-3) “glitchy, fragmented, lots of silence” (ICMC 2011 review 

by John ffitch), “medium rare filet mignon” (Elainie Lillios) “I don’t feel safe in this room anymore” (Joseph Lyszczarz), and 

“This makes my face feel funny” (Monica Hershberger). His music has been presented on five continents; highlights include 

performances and research lectures at at IMD, IRCAM, Composit, festival-futura, ISSTC, #foetexmachina, NYCEMF (x3), 

ACDFA (x2), CIME/ICEM (x2), SMC, EMM, ACMC, ICMC (x2), and SEAMUS (x2). 

Ewa Trebacz (pronounced “Eva Trembatch”) is a Polish-American composer and media artist living in Seattle. Her works 

range from purely instrumental solo, chamber, and symphonic compositions, to compositions with computer-realized sound, 

sound tracks for animated films, to immersive audiovisual compositions. Ewa comes from Kraków, Poland, where she 

earned her Master’s degrees from the Academy of Music (Composition), and the Academy of Economics (Computer Science). 

In 2010 she graduated with a Ph.D. from the University of Washington Center for Digital Arts and Experimental Media 

(DXARTS), where she currently works as Research Scientist. Her works have been presented, performed or broadcast in 

over 30 countries on four continents. She has been a recipient of stipends and grants from the Mid Atlantic Arts Foundation 

/ USArtists International, the City of Kraków, and the Polish Ministry of Culture and Art, as well as commissions from the 

Klangspuren Festival in Austria and the International Contemporary Music Festival “Warsaw Autumn”. In 2009, her work 

“things lost things invisible” for ambisonic space and orchestra, was recognized by the 56th UNESCO International Rostrum 

of Composers in Paris, associated with the International Music Council and representing 27 radio stations from around the 

world. Her current research is oriented towards experimental media, focusing on spatial aspects of the experience of a work 

of art, with a special focus on the two immersive techniques: ambisonics and stereoscopy. Her recent projects are based on 

the idea of the separation and manipulation of spatial cues, both visual and sonic, in order to design a game of illusions, to 

create a continuum between the synthetic and live sources, and to challenge the borders of perceptual limitations. 

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Eldad Tsabary is a professor of electroacoustics at Concordia University, founder of the Concordia Laptop Orchestra 

(CLOrk), and current president of Canadian Electroacoustic Community—Canada’s national electroacoustic organization. 

Yu-Chung Tseng, DMA (UNT,1998), associate professor of electronic music composition at National Chiao Tung University 

in Taiwan, R.O.C. His music has been recognized with selection/awards from Bourges Competition(Selected work), Pierre 

Schaeffer Competition(3rd Prize,1st Prize), Città di Udine Competition(Mention), Musica Nova Competition (1st Prize), 

Metamorphoses Competition .Mr. Tseng’s works have also received many performances at festivals and conferences including 

ICMC, Musicacoustica(Beijing), SICMF(seoul), EMW(Shanghai), Schumann Festival(Dusseldorf), ACL(Japan, Israel, 

Singapore), Metamorphosis(Brussels), New Music Festival(Berlin). His music can be heard on CDCM Vol.28(U.S.A.), 

Discontact iii(Canada), Pescara 2004,Contemporanea 2006(Taukay, It.), Metamorphoses labels 2006/ 2008/2010(Belgium),SEAMUS 

CD(USA), KECD2 (Demark), Musica Nova (Czech), and ICMC2011 DVD. 

Chaz Underriner (b. 1987 in Midland, TX) is a composer and intermedia artist based in Denton, Texas, USA. Chaz’s work 

revolves around the notions of landscape and portraiture in the context of experimental music. Chaz has composed works 

for solo instruments, chamber ensembles, chamber and symphony orchestras, jazz combos, and choir and has collaborated 

with numerous choreographers, experimental filmmakers and animators. Chaz’s work has been programmed at the 2015 

impuls academy (Graz, AU), the 2012 Internationale Ferienkurse für Neue Musik, Darmstadt (DE), the Global Composition 

Conference (Dieburg, DE), Ostrava New Music Days (CZ), Champ d’Action’s Laboratorium (Antwerp, BE), the Charlotte 

New Music Festival (USA), the Louisville New Music Festival (USA), Dogstar Orchestra (Los Angeles) the Texas Dance 

Improvisation Festival (Texas) and the American College Dance Festival Association Regional Conference (Texas). 

Doug Van Nort is an experimental musician and sound artist/researcher whose work is dedicated to the creation of immersive 

and visceral sonic experiences, and to fostering personal and collective creative expression through composition, installation, 

deep listening workshops, free improvisation and generally electro-acoustic means of production. His instruments 

are self-made and idiosyncratic systems that explore a sculptural approach to working with sound, and improvisation in 

partnership with machine processes. His source materials include any and all sounds discovered through attentive listening 

to the world. Van Nort regularly presents his work in N. America and abroad, in recent years at venues such as the Stone 

(NYC), Experimental Intermedia (NYC),, Casa da Musica (Porto), the New Museum (NYC), Skolska28 (Prague), Liebig12 

(Berlin), Quiet Cue (Berlin), Issue Project Room (NYC), Xfest (Holyoke), the Guelph Jazz Festival, the Miller Theatre (NYC), 

EMPAC (Troy), Cafe OTO (London), the Red Room (Baltimore) and Eyebeam (NYC). He often performs solo as well as with 

a wide array of artists across musical styles and artistic media, in recent years including Pauline Oliveros, Jonas Braasch, 

Chris Chafe, Francisco López, Judy Dunaway, The Composers Inside Electronics, Stuart Dempster, Alessandra Eramo, 

Eric Leonardson, Paul Hession, David Arner, Anne Bourne, Katherine Liberovskaya and many others. Recordings of Van 

Nort’s music can be found on Deep Listening, Pogus, Zeromoon, MIT Press and Attenuation Circuit among other experimental 

music labels. His writing has appeared recently in Organised Sound, the Computer Music Journal, the Leonardo 

Music Journal, Kybernetes and the Journal of the Acoustical Society of America. Van Nort is currently Assistant Professor 

of Digital Performance at York University, associated with the departments of Digital Media and Theatre & Performance 

Studies. He also works as an Assistant Editor for the Computer Music Journal. 

Annette Vande Gorne pursued classical music studies at the Royal Conservatory of Mons, Brussels and with Jean Absil 

(Fuga, instrumental composition). Musicology at the university of Brussels. Electroacoustical composition with G. Reibel 

and P. Schaeffer at the Paris National superior Conservatory Organises as Artistic Director the International Acousmatic 

Festival of Brussels “L’Espace du Son”(1984, annually since 1994) and since 2000, the Electroacoustical Festival “2 visages 

de la musique électroacoustique” and the internationals competitions “Espace du Son” (spatialization) and “Metamorphoses” 

(Acousmatic composition). She creates and leads the non-profit association “Musiques & Recherches” and the “Métamorphoses 

d’Orphée” studio (1982). Publish the revue “Lien” and the ElectrO-CD repertory. (www.musiques-recherches. 

be). She won the SABAM “Music’s Year” price in 1985 and “Fuga price” in 1995. She teaches electroacoustic composition 

at the Liège (1986), Brussels (1987) and today Mons (1993) Conservatories where she create a complete electroacoustic 

section in 2002. She also gives many concerts in many countries of Europe, Canada, South America, about the acousmatic 

repertory and his own works on his acousmonium (70 loudspeakers). 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. The relationship between Text and Music is an other domein of research. She finished in 2012 

“yawar fiesta”, the first acousmatic Opera with the Belgian poet Werner Lambersy, which renews electroacoustic music’s 

ties with the past. Her discography includes 

• TAO, DIFFUSION i MéDIA, collection empreintes DIGITALes, Montréal,1993 

• le Ginkgo, Architecture, Nuit, Noces Noires, DIFFUSION i MéDIA, collection empreintes DIGITALes, Montréal, 1998 

• VOX ALIA , Amoroso, Présence II, PeP Montréal 2000 

• Ce qu’a vu le vent d’Est, 4°concorso internazionale di composizione elettronica « pierre schaeffer », accademia musicale 

pescarese, 2004 -cdm 04/05 

• Exils, DVD-Audio empreintes DIGITALes, imed 0890, Montréal, 2008 

http://www.electrocd.com/en/bio/vandegorne_an/ 

http://electrodoc.musiques-recherches.be/fr/s/ie6 

Kyle Vanderburg (b. 1986) composes eclectically polystylistic music fueled by rhythmic drive and melodic infatuation. His 

acoustic works have found performances by ensembles such as Brave New Works, Access Contemporary Music, and Luna

Nova, and his electronic works have appeared at national and international conferences including ICMC, EMUfest, SCI, 

CICTeM, NSEME, and TIES. A native of Missouri, Kyle holds degrees from Drury University (AB), where he studied composition 

with Carlyle Sharpe, and the University of Oklahoma (MM, DMA), where he studied with composers Marvin Lamb, 

Konstantinos Karathanasis, Roland Barrett, and Marc Jensen. He has also participated in composition masterclasses with 

David Maslanka, Chris Brubeck, Eric V. Hachikian, Joël-François Durand, Benjamin Broening, and Daniel Roumain. In 

addition to composing, Kyle is an active computer programmer, writing code for interactive performances, utilities related 

to composer workflow automation, and unusual controllers. In his spare time, he enjoys designing websites and building 

mission style furniture. Kyle’s music is available through his publishing imprint, NoteForge. For more information, visit 

KyleVanderburg.com. 

Gonzalo Varela is a composer, sound designer, guitarist and bass guitarist born in 1990 in Montevideo, Uruguay. Since 

2011 he has been studying composition and guitar at the Escuela Universitaria de Musica (University School of Music), in 

Montevideo, where my professors have been (among many others) Osvaldo BudÛn, Leonardo Secco, Luis Jure and Gonzalo 

PÈrez in composition, and Ramiro Agriel in guitar. He has also taken courses on composition with Cori˙n Aharoni·n, on 

Flamenco guitar with Gonzalo Franco, and on Tango at the Escuela de Tango ìDestaoriyaî (îDestaoriyaî School of Tango), 

as well as attended several workshops led by many other national and international professors. Compositions of his have 

been performed in concerts, festivals and workshops in Argentina, England, Mexico, Portugal, Scotland, United States, 

Uruguay and Wales, and he has written music for films, theatre plays and videogames. I have received awards and special 

mentions in composition, arrangement, recording and live show contests. As a performer he has taken part in several 

ensembles and choirs, recorded in released albums and a video DVD, and given over 200 concerts in Brazil and Uruguay. 

Jorge Variego was born in Rosario, Argentina. He has a doctorate degree in music composition from the University of Florida, 

a masters of music degree in composition and clarinet performance form Carnegie Mellon University, where he attended 

as a Fulbright scholar, and a JD equivalent from the National University of Rosario. He is currently lecturer in Music Theory 

and Composition at the University of Tennessee, Knoxville. Previously, he pursued research at the Institute of Sonology, and 

served as music faculty at Valley City State University and at the University of Florida. 

Actively involved with technology in sound and music, Jorge has created and performed a great deal of works for clarinet 

and electronics in the US, Europe and South America. He participated in many international music festivals such as MATA, 

SEAMUS, EMS, Sonoimagenes, and can be heard on many CDs, including his most recent solo CD’s Necessity (Albany-2010) 

and Regress (CMMAS-2013), and in a recent album by SCI Pendulum (PARMA Records 2014). In June 2013, he 

was resident artist at the Visby Centre for Composers, in Sweden, where he composed a new work commissioned by the 

Berner Musikkollegium.” 

Juan Vasquez has participated as a sonic artist, composer and/or performer in events within the United States, the United 

Kingdom, Italy, The Netherlands, Ireland, Germany, France, Finland, Austria, Greece, Brazil, Colombia, Ecuador, Peru, 

Bolivia, Argentina and Chile, including an acclaimed interactive installation for the Milan Furniture Fair in (Italy) – the largest 

fair of its kind in the world – reviewed as “one of the most eye-catching sights of the fair” by The Architects’ Journal, while 

working as a sound director for a research project at the Pilot University of Colombia. In 2013 composed the music for the interdisciplinary 

work Emperors for Tea by Olympic artist Clare Newton and the Chelsea and Westminster Hospital in England 

in partnership with the Royal College of Music selected him as one of the winners for the “Rhapsody Composition Project”, 

to write under commission the sonic counterpart for the monumental sculpture “The Acrobat”, by Allen Jones (sculptor) RA. 

The Grammy-winning American composer Eric Whitacre was linked to this project as ambassador. In 2014, the The Sibelius 

Birth Town Foundation, Sibhack and the Ateneum Museum (Finnish National Gallery) commissioned Vasquez to compose 

an electroacoustic rendition to Jean Sibelius’ Romance Op. 24 No.9, as part of the official 150th anniversary of the Finnish 

composer’s birth. The “Sibelius Collage” was premiered on October 2014 at the museum’s Auditorium. His music has been 

featured on hour-long specials by leading radio art / electroacoustic music radio stations, such as Resonance FM (Clearspot 

– UK), BCB 106.6fm (The Sound Art Show – UK), Basic.FM and Radio Círculo (UNDAE – Spain).” 

Dr. Lindsay Vickery is active as a composer and performer across Europe, the USA and Asia. His music includes works for 

acoustic and electronic instruments in interactive-electronic, improvised or fully notated settings, ranging from solo pieces 

to opera and has been commissioned by numerous groups for concert, dance and theatre. He is also a highly regarded 

performer on reed instruments and electronics, regularly touring as a soloist and with ensembles in many parts of the world. 

His research interests include music notation, non-linear formal structures, interactive music, new media and music analysis. 

Vickery is coordinator of Composition and Music Technology at the Western Australian Academy of Performing Arts in 

Perth Australia. 

Adam Vidiksis is a composer, conductor, percussionist, and technologist based in Philadelphia whose interests span from 

historically informed performance to the cutting edge of digital audio processing. Drawing from both acoustic and electronic 

sounds, his music has been heard in concert halls and venues around the world. Critics have called his music “mesmerizing”, 

“dramatic”, “striking” (Philadelphia Weekly), “notable”, “catchy” (WQHS), “interesting”, and “special” (Percussive 

Notes), and have noted that Vidiksis provides “an electronically produced frame giving each sound such a deep-colored 

radiance you could miss the piece’s shape for being caught up in each moment” (David Patrick Stearns of the Philadelphia 

Inquirer). Vidiksis has become known for exploring new timbral soundscapes in his electronic and acoustic works, often 

using the computer not only as a means of enhancing and manipulating the sounds he produces, but as a digital performer 

on equal footing with its human counterparts. His unique approach to composition has been praised for its “outstanding 

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control” (Philadelphia Weekly) and for being “restrained” and “magical” (Local Arts Live). His music has been played by the 

“Black Sea Symphony” in Constanta, Romania, Omaha Symphony, Momenta Quartet, and Zephyrus Duo. His commissions 

include Network for New Music, ICIA, the Luna and Renegade Theater Companies, the Institute for Computer Music and 

Sound Technology, and the ElectroAcoustic Piano project. Vidiksis’s music has won numerous awards, including recognition 

from SCI and ASCAP. His works are available through HoneyRock Publishing and PARMA Recordings. Vidiksis holds 

degrees from Drew University, New York University, and Temple University, culminating in a doctoral degree in music 

composition. Vidiksis currently serves on the composition faculty of Temple University, where he teaches classes in music 

theory, composition, and music technology. He is conductor of the Temple Composers Orchestra and director of the Boyer 

Electroacoustic Ensemble Project (BEEP). 

Rodolfo Vieira was named one of the 100 Young Creative Talents of the European Union in 2009. He was also a prizewinner 

at national and international competitions, including the RDP2 Prémio Jovens Músicos, Julio Cardona International 

Competition, the Philharmonic Society of Arlington Competition, the Meadowmount School of Music Chamber Music Competition, 

and the “Búzio” Revelation Prize from Portugal. Mr. Vieira appeared as a soloist with the ERA Symphony Orchestra 

in Chicago, the Metropolitan Academic Orchestra of Lisbon, and the Espinho Symphony Orchestra. He also appeared in 

solo and chamber music recitals in North and Central America and Europe. As concertmaster, Rodolfo performed with the 

Conservatory Project Orchestra at the Kennedy Center in Washington, D.C; the Latin Chamber Orchestra; and the Tutti 

Chamber Orchestra. Mr. Vieira served as assistant concertmaster of the Civic Orchestra of Chicago under the direction 

of Pierre Boulez, Bernard Haitink, and Alan Gilbert. Rodolfo appeared at the Ravinia Festival, Lucerne Festival Academy, 

Oviedo Festival, Gijon Festival, Algarve Festival, and the MusicAtlântico Festival. His performances have been broadcast 

on WFMT, Chicago’s classical radio station, as well as Portuguese national radio. Rodolfo is a founding member of the 

Botelho Vieira Piano Quartet, along with his sisters Diana, Ana and Marta. Rodolfo served as a member of the jury at the 

Sejong Violin Competition in 2012. Mr. Vieira brought IRCAM’s technology to Northwestern University to perform Pierre 

Boulez’s Anthèmes II for solo violin and Live electronics in 2011. Mr. Vieira is currently Artist Faculty at the Elite Music Institute 

of Chicago at Ravinia. 

Javier Villegas is a Colombian-born multimedia artist and creative coder. Originally trained as an engineer, Javier received 

his BS in Electrical Engineering from the Javeriana University, and a M.Sc in Electrical and Computer Engineering from 

Los Andes University both of them in Bogota, Colombia. Looking for a more creative playground, Javier decided to pursue 

doctoral studies in Media Arts and Technology. After finishing his Ph.D at the University of California Santa Barbara Javier 

worked as a postdoctoral researcher and lecturer at the University of Arizona while maintaining his creative practice. Javier 

has presented some of his pieces in international events like the Japan Media Arts Festival, the Swan Lake: Moving Image 

& Music Awards, The Prospectives International Festival of Digital Art, the Currents International New Media Festival, and 

the Digital Latin America festival. 

Ivan Voinov is a first generation Russian living in America, where he has grown up, maintaining strong cultural ties back 

to his ethnic Russian roots, which can easily be heard in his music. During the later years if his high school career, he became 

successful as an ensemble composer, having several of his pieces performed across his home state, Vermont, and 

appeared on the radio for interviews on two occasions. Ivan is now studying computer music and recording rats major at 

Peabody conservatory, studying under Dr. Geoffrey Wright, where he is exploring the rich depths of sounds and capabilities 

and control pertaining to the field of electronic music. 

Clemens von Reusner (b. 1957) is a composer of electroacoustic music based in Germany. After studying musicology 

and music-education, drums with Abbey Rader and Peter Giger he has worked as a composer and a musician in different 

ensembles as well as a lecturer, music teacher and an author. Since the end of the 1970s he has been engaged in electronic 

music, compositions in different genres, radio plays and soundscape compositions. At the end of the 1980s development 

of the music software KANDINSKY MUSIC PAINTER. 2006-2009 member of the board of the EUROPEAN FORUM 

KLANGLANDSCHAFT (FKL). 2010-2013 member of the board of the German Society For Electroacoustic Music (DEGEM). 

International broadcasts and performances of his compositions, i.a.: Musica Nova 2009, Prague; Seoul International Computer 

Music Festival 2010/2014, Seoul; International Csound Conference 2011, Hannover; International Computer Music 

Conference 2011, Lubljana, Noise Floor Festival 2010/2011, Stafford (UK); ISCM World New Music Days 2011, Zagreb; 

Opus Medium Project 2011, Tokyo; Aaron Copland School of Music 2011, New York; EMUFest 2012/2013, Rome; Electro 

Arts Festival 2013, Cluji Romania; Network Music Festival 2013, Birmingham; ZKM Karlsruhe, 2014; New York City Electroacoustic 

Music Festival 2014. 

Haruna Waki was born in 1992 in Japan. She is studying composition and computer music with Takayuki Rai, Kiyoshi Furukawa, 

and Shintaro Imai at the Sonology Department, Kunitachi College of Music. 

Andrew Walters has received degrees from Millikin University, Northern Illinois University, and a Doctor of Musical Arts 

degree in composition from the University of Illinois. As composer of both digital and acoustic music, his compositions have 

been performed at various conferences throughout the United States and Canada including SEAMUS, SCI, ICMC, Spark, 

Imagine II, Electronic Music Midwest, Electroacoustic Juke Joint. Walters is currently Associate Professor of Music Theory 

and Music Technology at Mansfield University in Mansfield, Pennsylvania. 

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Chi Wang is a composer and performer from China. Chi enjoys making music and intermedia art that involve Computer 

Human Interaction (CHI). Her current research and composition interests include data driven instruments and sound design. 

Chi’s compositions have been performed internationally, including Future Music Oregon Concerts (2009, 2010, 2011, 2014), 

Music Today Festival (2011), Musicacoustica in Beijing (2011, 2012, 2013, 2014), Kyma International Sound Symposium 

(2012, 2013, 2014), WOCMAT in Taiwan (2013), CIME (2014) and SEAMUS (2015). Chi is also an active translator for 

electronic music related books. She is the primary translator of Electronic Music Interactive (simplified Chinese) and Kyma 

and the SumOfSines Disco Club, published as Kyma Xitong Shiyong Jiqiao by Southwest China Normal University Press. 

Chi received her M.Mus. in Intermedia Music Technology from the University of Oregon and previously graduated with a 

BE in Electronic Engineering focusing on architecture acoustic and psychoacoustics from Ocean University of China. Chi is 

currently a D.M.A. candidate at the University of Oregon. 

Ting-yun Wang is presently studying in the Institute of Music, National Chiao-Tung University. Majored in Electro-acoustic 

music under the instruction of Pro. Yu-Chung Tseng . Ting-Yun’s works have also received performances at festivals and 

conferences including International Computer Music Conference(Slovenia 2012, Greece 2014), New York City Electroacoustic 

Music Festival 2014. She has been recognized with awards WOCMAT 2012 International Electroacoustic Music 

Young Composers Awards - Honorary Mention, 2013 WOCMAT International Phil Winsor Electroacoustic Music Young 

Composers Awards - Finalist. 

Wu-Chuan Wang comes from Taipei, Taiwan. He graduated from the Graduate Institute of Interactive Media Design, National 

Taipei University of Technology in 2013. He integrates fine craftsmanship into interactive media design with care, 

hoping to tell touching stories in brand new forms. 

Wang Xihao was admitted to the Central Conservatory of Music in 2008. A student of Professor Zhang Xiaofu, Wang Xihao 

is currently a recommended postgraduate student, majoring in electroacoustic music composition, Xihao is an active young 

composer who has composed/arranged many major film/video projects during his time as an undergraduate student. Song 

records such as Man Ling Hun, You Ni Zhen Hao and television programs and film sound tracks entitled Qing Cheng Jue 

Lian, Zhan Huo Xi Bei Lang, Huo Xian San Xiong Di and Tui Na. Selected awards: the first prize and second prize in the 

Eighth MUSICACOUSTICA-BEIJING Electronic Music Composition Competition in both group B and C; The second prize 

in the Second “eARTS” digital audio Competition; The first prize of the First KongAudio / midifan Folk Music Composition 

Competition. The prize of excellence in the First MUSICACOUSTICA-BEIJING Music Recording Competition in group B. 

Steve Wanna (b. 1976) is a Lebanese-American composer and artist currently living and working in Washington, DC. His 

music integrates traditional and non-traditional instruments, often with fixed and/or interactive electronics. Rather than a 

mandate for reproducing specific results, Wanna’s scores seek true collaboration with the performer; ideally, each performance 

becomes an extension of the compositional process. Language and graphics displace standard notation, asking performers 

to reframe their approach to their instruments, sound, and music in general. Wanna’s works have been performed 

by ensembles like Janus Percussion (St. Paul, MN), Juventas (Boston MA), the UNCG Contemporary Chamber Players 

(Greensboro, NC), at numerous festivals and conferences (ICMC, NYCEMF, SEAMUS, SCI, CMS) and at universities and 

art galleries nationwide. In 2007, his work Abeyance, for two performers and 6-channel interactive electronics won the 1st 

Annual Ossia International Composition Prize and was premiered by members of the group in 2008. For more information, 

please visit www.stevewanna.com” 

Kristina Warren (kmwarren.org) is an electroacoustic composer and vocalist based in Virginia. Interests include creating 

and playing graphic and text scores, digitally processing her voice, and noise and repetition. Her music has been played 

across the US and Europe; at festivals such as EABD, FEASt, ICMC, N_SEME, and NYCEMF; and by ensembles such as 

Dither, Ekmeles, loadbang, the Meehan/Perkins Duo, and So Percussion. In 2014 she was named a Finalist in the American 

Composers Forum National Composition Contest. Warren is pursuing a Ph.D. in Composition and Computer Technologies 

from the University of Virginia, and holds a B.A. in Music Composition from Duke University. 

Benjamin Wedeking is a multi-instrumentalist, arranger, and educator. Originally from Des Moines, Ben began studying 

music at the age of 5, and recently completed masters degrees in Violin and Guitar at the Jacobs School of Music at Indiana 

University. While there, Ben served as an Associate Instructor of guitar and studied with Simin Ganatra, Petar Jankovic, 

and Ernesto Bitetti. Ben has performed at Electronic Music Midwest, the Electroacoustic Barn Dance, the 2015 SEAMUS 

National Conference, and the 2015 New York City Electroacoustic Music Festival. More information is available at www. 

benwedeking.com 

Lee Weisert is a composer of instrumental and electronic music and an assistant professor in the Music Department 

at the University of North Carolina at Chapel Hill. He has degrees in music composition from the University of Colorado 

(BM, 2000), CalArts (MM, 2004), and Northwestern University (DM, 2010), where his primary composition instructors were 

James Tenney, Michael Pisaro, Jay Alan Yim, and Chris Mercer. Some of Weisert’s current compositional interests include 

physical modeling, recursive structures, and micro-montage. His recent music has incorporated increasingly disparate elements 

such as orchestral instruments, found sounds, field recordings, digital synthesis, and analog circuitry, in an attempt 

to find, “through experimentation, tinkering, and unconventional approaches, a ritualistic and deeply expressive world of 

sound” (Dan Lippel, New Focus Recordings). Along with composer Jonathon Kirk, he is a member of the Portable Acoustic 

Modification Laboratory (PAML), a collaborative sound installation team. His music is published by New Focus Recordings. 

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“Wild Arc,” his first CD of original compositions, was released in 2014, and has been praised by critics as “dazzling” and 

“mind-melting.” 

Samuel Wells is a composer, performer, and arranger based in Bloomington, Indiana. As an advocate for new and exciting 

music, he actively commissions and performs contemporary works for trumpet. 

Sam has performed throughout the United States, as well as in Canada and France. He has also been a guest artist/composer 

at universities throughout North America, including Western Michigan University, Western University of Ontario, and 

Montana State University. He has performed electroacoustic works for trumpet and presented his own music at the Chosen 

Vale International Trumpet Seminar, as well as the Electronic Music Midwest, Electroacoustic Barn Dance, N_SEME, and 

SEAMUS festivals. Sam and his music have also been featured by the Kansas City Electronic Music and Arts Alliance (KcE- 

MA) and Fulcrum Point Discoveries. Sam’s collaboration with Max Wellman, You Must Believe in Spring, is an album of new 

arrangements of classic songs from the American songbook. His work (dys)functions is published by qPress. 

Sam has degrees in both performance and composition at the University of Missouri-Kansas City, where he studied composition 

with James Mobberley, Paul Rudy, Chen Yi and Zhou Long, and trumpet with Keith Benjamin. He is currently studying 

with Sven-David Sandström, Jeffrey Hass, and John Rommel while pursuing graduate degrees in Trumpet Performance 

and Computer Music Composition at Indiana University, where he served as the Assistant Director of the IU New Music 

Ensemble. Sam is an Adjunct Lecturer of Music at Indiana University East.” 

Bihe Wen was born in China in 1991. Since 2010, he has studied at the Central Conservatory of Music, majoring in electroacoustic 

music at Center for Electronic Music of China. He studies electroacoustic music with Xiaofu Zhang and Peng 

Guan. He was awarded the first prize in 2011Musicacoustica-Beijing competition. In 2012, his work “Vague Image” has been 

selected as the imposed work to be performed and analyzed by the participants to the Concours de Spatialisation 2012 in 

Brussels. To be released on CD by Musiques & Recherches. He got the Jury Special mention for innovation in the use of the 

sound material in XXVIII Luigi Russolo Contest in 2014. He was awarded the First Prize in the Monaco International Electroacoustic 

Composition Competition CICEM 2014. His works include instrumental and electroacoustic music. His music has 

been performed at concerts and festivals in China (MUSICACOUSTICA-BEIJING), Italy (Turin Confucius Institute; SOUN- 

Diff), Brussels , France, Vienna (ElectroAcousticProject), Stockholm (2013 SMAC & SMC) and New York (2014 NYCEMF). 

David Wessel studied mathematics and experimental psychology at the University of Illinois and received a doctorate in 

mathematical psychology from Stanford in 1972. His work on the perception and compositional control of timbre in the early 

70’s at Michigan State University led to a musical research position at IRCAM in Paris in 1976. In 1979 he began reshaping 

the Pedagogy Department to link the scientific and musical sectors of IRCAM. In 1985 he established a new IRCAM department 

devoted to the development of interactive musical software for personal computers. In 1988 he began his current 

position as Professor of Music at the University of California, Berkeley where he is Director of CNMAT. He is particularly 

interested in live-performance computer music where improvisation plays an essential role. He has collaborated in performance 

with a variety of improvising composers including Roscoe Mitchell, Steve Coleman, Ushio Torikai, Thomas Buckner, 

Vinko Globokar, Jin Hi Kim, Shafqat Ali Khan, and Laetitia Sonami has performed throughout the US and Europe. 

Benjamin D. Whiting received his BM in Music Composition and his MM in Music Theory and Composition from Florida 

State University, and is now pursuing his DMA at the University of Illinois at Urbana-Champaign. He is an active composer 

of both acoustic and electroacoustic music, and has had his works performed in the United States and abroad. Recently, his 

piece for chamber orchestra, Tempus Imperfectum, was awarded Third Prize in the 2014 Busan Maru International Music 

Festival Composition Competition, and his tuba quartet, TIFT((( ))), was a finalist in the 2014 Van Galen Composition Prize. 

His works have been performed in festivals such as TUTTI, N_SEME, SEAMUS, the New York City Electroacoustic Music 

Festival, the College Music Society’s regional and national conferences, and concerts put on by the organizations Soundiff 

and Pas-e. Whiting has studied with Scott Wyatt, Sever Tipei, Erik Lund, Erin Gee, and Ladislav Kubik. Recordings of his 

work can be found on the ABLAZE Records and the University of Illinois Experimental Music Studios labels. 

David Whitwell is a trombonist and producer from New York City. He is the principal trombonist of Ensemble Moto Perpetuo 

and the Britten-Pears Contemporary Ensemble. He is also the founder and leader of the New York Trombone Consort, the 

Underground Brass, and Trio TBD. As a soloist, he has given recitals throughout Europe and the United States. He is a 

fierce advocate for new music, having premiered 50+ new pieces for trombone, and his innovations in extended trombone 

technique have broadened the palate of sounds available to composers writing for the trombone. He has performed at 

numerous venues such as Carnegie Hall, Bargemusic and the New Museum, and he has made numerous festival appearances 

including the Aldeburgh Festival (UK), International Audio Art Music Festival (Germany), International Electroacoustic 

Music Festival (NYC), the San Francisco Festival of Contemporary Music, and the Ojai Music Festival. His production work 

has taken him to Holland, Austria and across the United States with shows such as Sounds after the OilWar, Brahms and 

the Beat Poets, and Fear is a Liar, all of which incorporate multimedia elements in conjunction with art music to create a 

transformative narrative. David holds a Masters Degree in Trombone Performance from the Manhattan School of Music, 

and two bachelors degrees in Trombone Performance and Music Education from the City University of New York Brooklyn 

College. David Whitwell was named a Britten-Pears Young Artist for 2013-2014. 

Paul Wilson is a composer and Senior Lecturer at the Sonic Arts Research Centre in Belfast. His compositions involve the 

use of instruments and electronic resources and range from collaborative installations to instrumental music. Most of his 

fixed media music deals with Northern Irish soundscapes and very often aspects of these soundscapes find their way into

his music for instruments and computers. From the late 1990s, Wilson has been interested in combining acoustic instruments 

with technology in some way and his earliest works relied on algorithmic procedures to generate musical materials. 

Since embracing computer-instrument interactivity, he has moved to using intuitive procedures that rely on observations and 

analysis of sound materials. One of his earliest works to engage in this approach, Spiritus, for Soprano and Live Electronics, 

was awarded 3rd prize at the 2002 Luigi Russolo Competition in Italy and later was performed at the 2003 International 

Computer Music Conference in Singapore. His interest and passion for the instrument-computer paradigm led him to work 

with Ricardo Climent, Esther Lamneck and Elizabeth McNutt to form the Tornado Project, a new ensemble dedicated to 

performing and commissioning new music for flute, clarinet and computer. More recently, he has developed pieces that 

embrace computer performance as a key part of the musical discourse. Works that address this include Trapped in Ice for 

Violin and Computer for Darragh Morgan and Audley’s Light for Alto Flute and Computer for Elizabeth McNutt. His latest 

works, It Had to be You and Dark Mission continue this exploration of the relationships between performed acoustic and 

electroacsoutic sounds. He is currently working on a new commission for Piccolo and Computer for Elizabeth McNutt and 

a new piece for Bass Trombone and Computer.” 

Rolf Wöhrmann originates from Hamburg, Germany where he studied composition and music theory with Ulrich Leyendecker 

as well as musicology with Jens-Peter Reiche with some focus on ethnomusicology. Starting with upcoming 

digital audio capabilities of the NeXT computers he developed interactive realtime audio systems which has been used in 

performances with traditional instruments like piano or percussion.He was visiting scholar in CCRMA, has worked in the 

research & development department of IRCAM and worked at Steinberg on Nuendo. Currently he runs his own company 

working on software and hardware sound products for own brands and in collaboration with companies like Waldorf and Arturia. 

His recent development of the Nave synthesiser with Waldorf’s advanced wavetable synthesis was heavily used in the 

composition ‘unfold’ combined with parameter-based algorithmic structures. In addition to off-line composition he performs 

live with portable analogue modular synthesizer and iPads. 

Ieng Wai Wong is currently a DMA candidate at the University of North Texas. He has been a teaching fellow at UNT for 

two academic years. As a soloist, he has performed concertos with Music Academy International Festival orchestra, Macau 

Orchestra and Macau Youth Symphony Orchestra. As a orchestral musician, Wong have also performed with University 

of North Texas Symphony Orchestra, University of Kansas Symphony Orchestra, Pacific Region International Summer 

Music Academy Orchestra, Music Academy International festival Orchestra, Macao Orchestra, China National Symphony 

Orchestra, Central Ballet Symphony Orchestra and Hang Zhou Philharmonic. Wong has performed in masterclasses of 

renown flutist such as Peter Lukas Graf, Paula Robison, Robert Aitken, Paul Edmunds Davis, Jeffery Khaner, etc. Wong 

holds degrees from Central Conservatory of Music in China and the University of Kansas. His primary teachers include Terri 

Sundberg, David Fedele, Guoliang Han and Elizabeth McNutt. 

Rachel Woolf, currently pursuing her DMA at UNT under Terri Sundberg, won the National Flute Association Masterclass 

Performer’s Competition, 2nd Place at the San Diego Flute Guild Young Artist Competition, and Honorable mention at the 

Coeur d’Alene Young Artist Competition. Additionally, her chamber ensemble, The Fawn Trio, was among six groups recognized 

at the Fischoff National Camber Music Competition and the Plowman Chamber Music Competition. Rachel spent 

two summers performing at the Brevard Music Center and has performed under the baton of such luminaries as Keith Lockhart, 

Leonard Slatkin, Peter Oundjin, Michael Tilson Thomas, Jeff Tyzik, Marin Alsop, Mattias Barnert, and JoAnn Falletta. 

An avid champion of contemporary music, Rachel is a founding member of Zero Blue in Ann Arbor and Synchromy in Los 

Angeles. She can be heard premiering works by William Bolcom and Jennifer Higdon on the widely released “Classical 

Collaborations” with the University of Michigan Symphony Band on Equilibrium Records. She can also be heard playing 

principal and bass flute on the GIA Windworks label, “Canvases” and “Offerings” with the UNT Wind Symphony. Rachel has 

performed with multi-platinum, operatic-pop superstars Il Divo. While performing with GLEE star Darren Criss’ band, Rachel 

appeared at famed Los Angeles rock venues The Roxy and The Mint. Notably, Rachel was selected to perform traditional 

Hindustani North Indian flute during the Dalai Llama’s visit to Ann Arbor, Michigan. She received her Bachelor of Music at the 

University of Michigan studying with Amy Porter (where she was the recipient of the Presser Award for excellence in music 

and academics), and obtained her Master of Music at Bowling Green State University where she was the Flute Teaching 

Assistant under Dr. Conor Nelson. Rachel maintains a busy freelance schedule in the Dallas-Fort Worth area and teaches 

a full studio and weekly masterclasses in Dallas. 

Shu-Cheng Allen Wu is a DMA student of music composition and Fulbright scholar at University of Illinois in Urbana Champaign. 

Allen’s research and interests included in his doctorate studies are electronic music, electro-acoustic music, algorithmic 

music composition, music programming, music information retrieval, and live coding music. During this period of study, 

Allen also works as a teacher for Unit One Program in UIUC teaching electroacoustic music technique and composing. He 

also worked as teaching assistant responsible for freshman and sophomore music theory and aural skills. Allen has been 

a full time assistant professor in Asia-Pacific Institute of Creativity, lecturer of computer music and multimedia at Tamkang 

University and lecturer at Chaoyang University of Technology. He has taught classes which include music composition and 

production for non-music majors, multimedia art, art history, creativity and aesthetics. As a musician, Allen has had extensive 

experience as a conductor with choirs, theater, chamber music ensemble, wind orchestra, ancient instrument orchestra 

and live electronic music as well as experience in composing and producing music for animations, short films and games.” 

Cevo Yang comes from Taiwan. He graduated from the Department of Fashion Design, Shih Chien University. As a music/ 

sound/fashion artist and performer, he has been focusing on discovering the new sound and materials for his compositions, 

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in his work “Machine Product” (2013, for Real-time sound processing and Swelling machine), he redefined the sound of 

Swelling machine to represent the depression of textile industry in Taiwan. 

Woon Seung Yeo is a bassist, media artist, and computer music researcher. He is Assistant Professor at Ewha Womans 

University, Seoul, Korea, and leads the Audio and Interactive Media(AIM) Lab. Mr. Yeo has received B.S. and M.S. degrees 

in Electrical Engineering from Seoul National University, M.S. in Media Arts and Technology from University of California 

at Santa Barbara, and M.A. and Ph.D. in Music from Stanford University. His research interests include audiovisual art, 

cross-modal display, musical interfaces, mobile media, and audio DSP. Results of his research are commonly shared by 

exhibitions and performances in the public interest. 

Rachel Yoder is a versatile clarinetist and bass clarinetist based in the Seattle area. She currently performs with the 

Madera Wind Quintet, the Seattle Modern Orchestra and the Odd Partials clarinet/electronics duo, and has also performed 

with Sounds Modern (Modern Art Museum of Fort Worth), the Dallas Festival of Modern Music, and at conferences of the 

International Clarinet Association and Society for Electroacoustic Music in the United States (SEAMUS). Rachel works as 

assistant editor of The Clarinet, quarterly journal of the International Clarinet Association, and adjunct professor of music at 

the DigiPen Institute of Technology in Redmond, WA. 

Ji Won Yoon is active as a composer of both acoustic and electroacoustic music. She is interested in artistic applications 

and realizations of various computer music technologies, emphasizing multi-modality with sound at the center. She earned 

her B.A. and M.A. degree in Music (Composition) from Yonsei University, completed doctoral course in Computer Music 

Composition at Dongguk University, and studied as a visiting researcher at the Center for Computer Research in Music 

and Acoustics (CCRMA), Stanford University. Currently she is Assistant Professor at the Department of Music Production, 

College of Music & Performing Arts, Keimyung University. 

Jaeseong You is a composer/researcher at Music & Audio Research Lab, Steinhardt, New York University, where You is 

currently serving as Editorial Manager at Journal SEAMUS and working under Dr. Tae Hong Park on Electro Acoustic Music 

Mine, Citygram, Urban Soundscape Event Classification, and Sound Beacon. 

Victor Zappi is a Marie Curie Fellow in the Media and Graphics Interdisciplinary Centre at UBC and the ADVR Department 

at IIT. As an electronic engineer and a New Media artist he is focusing on Music Technology research, designing and 

developing new musical instruments and exploring the usage of novel Virtual and Augmented Reality technologies in live 

performances. 

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