NEW YORK CITYELECTROACOUSTICMUSIC FESTIVAL__

VIRTUAL ONLINEFESTIVAL

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www.nycemf.org

CONTENTS

DIRECTOR’S WELCOME 3

STEERING COMMITTEE 3

REVIEWING 4

PROGRAMS AND NOTES 10

COMPOSERS & AUTHORS 40

PERFORMERS 67

VIDEO ARTISTS 70

DIRECTOR’S WELCOMEWelcome to NYCEMF 2020.Just as we were organizingour concerts, which were supposed to take placebetween June 14 and 21, the United States was hit bythe world-wide pandemic of the coronavirus. The entirecountry went into lockdown, and New York City was theepicenter of the outbreak. People were forbidden toleave their homes except to get medicine or food (andrestaurants were closed, so you could only get take-out). Over 40 million people in the USA lost their jobs, and theeconomy went into a meltdown.

All this has had a major impact on music productionsand organizations. The largest musical organizations inNew York, like the Metropolitan Opera and PhilharmonicOrchestra, cancelled their seasons and will not open until2021. All local concert activity ceased, and the onlyperformances that began to take place were virtualproductions over the internet. A few musical productionshave taken place with very small audiences in largespaces in order to allow for social distancing, but mostevents were simply cancelled.

Thus, we were forced to cancel the in-person concertsfor NYCEMF 2020, but we were able to organize thisvirtual presentation. All composers who had worksaccepted were invited to submit something, and we willalso allow them to have the same pieces played live nextyear if they wish. As you can see, we have anextraordinary group of pieces presented in this way.

We will miss some of the unique features that we havealways had in previous festivals, particularly theopportunity to hear works in surround sound and withsome of the special ambisonic qualities that some worksuse, as well as the opportunity to have soundinstallations and live performances. But we will return tothese as soon as we are able to resume our normalactivities.

The festival is organized into concerts just like theywould have been if we had presented them in person. Iencourage you to listen to everything on the festival, andyou can do so as long as we are able to leave the festivalon line. Enjoy!

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

NYCEMF 2020STEERING COMMITTEE

Ioannis Andriotis, composer, lecturer of musiccomposition and music technology at the University ofOklahoma. https://www.andriotismusic.com/

Angelo Bello, composer. https://angelobello.net

Nathan Bowen, composer, Professor at MoorparkCollege (http://nb23.com/blog/)

George Brunner, composer, Director of MusicTechnology, Brooklyn College C.U.N.Y.

Daniel Fine, composer, New York City

Travis Garrison, composer, Music Technology faculty atthe University of Central Missouri (http://www.travisgarrison.com)

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

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

Elizabeth Hoffman, composer, professor at New YorkUniversity(https://wp.nyu.edu/elizabeth_hoffman/)

Hubert Howe, Professor Emeritus of Music at QueensCollege (https://www.huberthowe.org/)

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

Judy Klein, composer, New York City

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

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

Michael Musick, composer, Assistant Professor,University of Montana (http://www.umt.edu/mediaarts/fwp_portfolio/michael-musick)

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

Daniel Pate, percussionist(http://www.danielpatepercussion.com/)

Tae Hong Park, composer, Music Technologist, NewYork University, New York(http://steinhardt.nyu.edu/faculty/Tae_Hong_Park)

Izzi Ramkissoon, composer and performer, New YorkCity

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

Paul Riker, composer, Lead Audio DevelopmentEngineer, Visualization Lab, King Abdullah University ofScience and Technology

Meg Schedel, composer, Professor of Music at StonyBrook University(http://www.schedel.net)

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

Joshua Tomlinson, composer(http://www.joshuadtomlinson.com/)

Mark Zaki, composer, Professor of Music at RutgersUniversity

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REVIEWING

The New York City Electroacoustic Music Festivalgratefully acknowledges the assistance of the followingpeople, who helped review the submissions to thefestival:

Marc AingerIoannis AndriotisAndrew BabcockSteven BeckAngelo BelloJason BolteLucia BovaNathan BowenMaja CerarSe-Liang ChuangEleonora ClapsPatti CuddJames Dashow

David DurantGerald EckertEnzo FilippettiJavier GaravagliaTravis GarrisonDoug GeersMichael GoginsSusie Luna GreenJoel GresselRagnar GrippeMarianne GythfeldtKerry HaganFede Camara HalacJose HalacJocelyn HoElizabeth HoffmanEric HonourHubert HoweKonstantinos KarathanasisHowie KentyKeith KirchoffJudy KleinEsther LamneckWuan-chin LiDariusz MazurowskiMikako MozunoJon NelsonBenjamin O’BrienJoo Won ParkSylvia PengillyIzzi RamkissoonClemons von ReusnerRobert RoweJoran RudiMargaret SchedelMadeleine ShapiroJeffrey StoletFred SzymanskiDavid TaddieArturo TalliniAkira TakaokaRobert Scott ThompsonSever TipeiJoshua TomlinsonYu-Chung TsengKari VakevaBeatrix WagnerRodney WaschkaSamuel WellsMark Zaki

______NYCEMF logo designed by Matt and JeremiahSimpson.

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CONCERT PROGRAMSAND NOTES

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Concert 1

Program

Gerald EckertDiaphne 10'55"

Ali BalighiKhaneh Haftom 5'55"

Andrew DavisPoetry of the Earth 10'

Charles RainvilleNuée Décors 11'02"

Connor J. SimpsonPanic 4'46"

Daniel EichenbaumRecord 10'30"

Jerod SomerfeldtThey Weep Here 6'42"

Jay AfrisandoUnklang-Angklung 11'36"

Mirko D'Agostino4 Palmi 8'13"

James MoorerThe Man in the Mangroves Counts to Sleep 13'17"

Program Notes

Gerald Eckert, DiaphaneDiaphane (Diaphanous) for 2-track tape was composedin 1995 at the ICEM at the FolkwangHochschule. Thetitle (cf. diaphan - diaphanous) is to be understood as aconcept. A stratum which is in itself complex and hasbeen composed using various means is overlayered byseveral different strata or expressed as an association: asurface changes its form due to the simultaneousappearance of different-coloured lights refracted by aprism. The result is the overlapping of two different kindsof structures comparable to the interference of twopieces of film laid over each other. This happens in“Diaphane” at carefully chosen points which, temporally,are uniquely related. This work was composed usingvarious kinds of technology. The “concrete” soundmaterial was won from the sounds of percussion, speechand machines and was digitally revised using variousprogrammes. The sound structure was created with thesynthesiser programme Csound. Each individual process

in the piece is different from the next in that, in somecases their sound results only appear in fragmentaryform. The first rest structure can be taken as an example(2:00 to 2:30). This part, which was actually generatedwithout a rest, was more or less cut out. i.e. only afragment of the original structure remains. In othercases, only the initial moments of the processes form thesound strata. For example, in the final quarter of thepiece is dominated by an echoing sound structure, whichis repeated four times with periods of varying lengths.Further structural changes are a result of differingtranspositions, which sound at the same time as the“looped” originals, resulting in varying running times.

Ali Balighi, Khaneh Haftomhis piece is a free perception from a well-known woodcutwhich was made by a famous German artist KatheKollwitz. this piece, a woman sings a lullaby to her child,and at the same time she speaks of her own pain andsuffering. This piece was selected by 4th Electroacousticmusic composition competition Reza Korourian Awards2019.

Andrew Davis, Poetry of the EarthFor Poetry of the Earth, I wanted to create an immersiveenvironmental experience. Nearly all of the electronicsounds are derived from recordings of woods or forestsor from an acoustic piano. Very little of the piece iscreated synthetically. However, many of these naturaland acoustic sounds have been manipulated to create aquasi-dreamlike feel. Poetry of the Earth was written formy good friend and saxophonist Andrew Harrison.

Charles Rainville, Nuée Décors Nuée Décors is a composition that oTers awareness ofour environment and the bodies that compose it as oneof the keys to understanding it, creating awareness andtaking action within it. With an eclectic trait, this pieceborrows recorded organic sounds, instrumental soundsas well as sound synthesis. These allow theexperimentation of the possible links between thesounds of concrete nature and synthetic sounds which inmy opinion refer to the human environment of our time.

Connor J. Simpson, PanicPanic was recorded and produced within the recordingstudio of Penn State University. The sounds of manyalarm and alert sounds such as an IPhone's defaultringtone and text tone were recorded and edited. Forsome people these raw sounds can cause anxiety ordistress, however this piece seeks to conquer this stressby slowing down and manipulating these sounds tocreate an intense yet intimate soundscape."

Daniel Eichenbaum, RecordIn 1977, the Voyager I and II spacecraft were launchedon a mission to explore the outer planets of our solarsystem. The launch trajectory was such that after theirmission, the two spacecraft would end up in interstellarspace. Knowing these craft could potentially be found by

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an alien intelligence, Carl Sagan led a team of scientists,artists, and engineers to assemble a gold-plated recordcontaining greetings, music, and sounds from the planetEarth that was then affixed to each of the Voyagers. In my piece, I use quotes from Carl Sagan about theproject along with his general ethos of hope and wonderfor the project. Along with Sagan’s quotes I use primenumbers, thought by astronomers to be the means ofalien civilizations establishing contact with each other,and a chunk of a speech of greetings from PresidentJimmy Carter that is stored digitally on the Voyagers butseparate from the record. It also seemed appropriate tome that this endeavor cast its gaze towards the heavensand matched the spirit of Josquin des Prez’s Ave Maria,a prayer to the Virgin Mary. Just as Josquin’s VirginMary’s ascent to the heavens was humanity’s“glorification,” so too, for Sagan, was the Voyager’sascent into space. The word “Mother” (“Mater” in Latin)takes on a double-meaning here. Not only does it referto the Virgin Mary but also to the term for a metal recordmaster from which other records are created. In theVoyager spacecraft, the metal “mother” was sent forissues of durability and these mothers (record and VirginMary) both serve to remember humanity into the distantfuture. All electronic sounds are based upon samplesfrom the Voyager golden records.

Texts: 010 011 101 111 The first fourprime numbers expressed in binary form: 2, 3, 5, 7. Wecast this message into the cosmos… This is a presentfrom a small and distant world (Jimmy Carter, digitallystored speech onboard Voyager).We all have a thirst for wonder (Carl Sagan, Contact).This record represents our hope and our determination,and our good will in a vast and awesome universe(Jimmy Carter, digitally stored speech onboard Voyager).Each Voyager is itself a message… these robots speakeloquently for us (Carl Sagan, Pale Blue Dot). “a goldenphonograph… It seemed ideal to send a mother to thestars (Carl Sagan, Pale Blue Dot). cuius fuit assumption[whose assumption has been] nostra glorificatio [ourglorification] O Mater Dei, memento mei. Amen [OMother of God, remember me. Amen] (Josquin des Prez,Ave Maria).

Jerod Somerfeldt, They Weep HereAs a new father of a young son, the tragic stories of thechildren caught in the midst of the fighting in Aleppohaunt me. There truly is unimaginable suffering in thisworld. Read by Francesca Hilditch, this piece utilizestexts from Virgil’s Aeneid, found within and around BookI near line 462. The various translations used for thispiece are as follows: “What land is left, what tract on earth that is not full ofour agony? Here mortal estate touches the soul to tears.""There are tears to flow and human hearts to feel forhuman woe.”"The world is a world of tears and the burdens ofmortality touch the heart.”"What spot on earth, what region of the earth is not full ofthe story of our sorrow? They weep here for how the

world goes and our life that passes touches their hearts."

Jay Afrisando, Unklang-AngklungUngklang-Angklung is a circular 8-channel compositionbased on samples recording of 3-octavepseudo-chromatic angklung, instruments made ofvarying numbers of bamboo tubes originating from WestJava, Indonesia. While angklung constitutes individualacoustic instruments normally played by several people,in this context all angklung samples are electronicallymanipulated to explore its acousmatic potential anddigitally spatialized to further explore its fundamentalnature of being physically spatial instruments.

Mirko D’Agostino, 4 Palmi4 Palmi is part of a cycle of five pieces composed as acase study for a research that investigates the use oftraditional elements in electronic music composition andsonic arts, with a specific focus on the theme ofpreservation. All the pieces engage with a specificrepertoire, that is the traditional music of Campania, aregion of southern Italy. 4 Palmi, in particular, centresaround zampogna (the traditional Italian bagpipe) asmain element. The title refers to the characteristic modelof zampogna utilised in the piece, the 'quattro palmi' fromCilento, a sub-region of Campania. All the samplesemployed in the piece – including the ciaramellarecordings – were played by the traditional musicianGianluca Zammarelli. 4 Palmi recreates an imaginarysound world where the traditional zampogna issurrounded by its contemporary electronics evolutions.The main goal of the piece - as well as the wholeresearch - is to create a link between tradition andinnovation through respectful engagement modalitieswith the culturally connoted material, and to develop aform of expression that could safeguard at-risk musicalheritages and at the same time re-propose them throughcontemporary artistic practices and technologies. Theresearch outcomes have been partially released in thearticle Reclaiming and Preserving Traditional Music:Aesthetics, Ethics and Technology, published in 2020 onOrganised Sound 25(1).

James Moorer, The Man in the Mangroves Counts toSleepThe poem The Man in the Mangroves Counts to Sleepby Donna Decker is from her collection Under theInfluence of Paradise: Voices of Key West. The musicalsetting by James Moorer continues his earlier work onspeech synthesis for musical composition. Every soundin the piece was made from three readings of the poemby musician Frank Lindamood and one reading of thefirst 300 prime numbers by William Heebink. THX, theTHX logo, and the THX Deep Note audio mark areregistered trademarks of THX Ltd. Audio enhancementtechnology provided by Good Sound Inc.

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Concert 2

Program

Konstantinos KaranathasisMercurial Acheron 9'

Yuanyuan (Kay) HeLove YOU...niverse 5'28"

Nicola Fumo FrattegianiBodies VS 5'44"

Fabio MonniDel Buio e di altri luoghi; mr potter 1am 11'54"

Eleonora Claps, soprano

Raphael RN NeronAptosi 8'43"

Jonah L. ElrodAmbalangoda 5'35"

Robert McClureuntangle my tongue 10'13"

Jeremy MullerSIFTT (Scale Invariant Feature Twitter Transform) 6'

Joshua Tomlinson and Darren KendallMonkey Wrench 11'46"

Jean PichardoAun es tiempo de las Mariposas 7'08"

Juan EscuderoLandschaft-V 6'04"

Program Notes

Konstantinos Karanathasis, Mercurial AcheronAcheron of (planet) Mercury, Acheron of (god) Mercury,or even Hermetic Acheron. It was realized into twodiscrete phases. The soundtrack preexisted as a fixedmedia acousmatic composition by K. Karathanasis withthe title “Study on a Monochord” (referring toPythagoras?) The visual part was created by SimonaSarchi later with the intention to present a series of stillimages in conversation with the sound based on themetallic elements of coolness, shininess, density andfluidity (the latter as an exceptional characteristic ofquicksilver). Acheron is approached more as atherapeutic, cathartic topos than a punitive one.

Yuanyuan (Kay) He, Love YOU...niverseThe piece, Love YOU ... niverse written for UT AustinCAET Launch attempts to describe a hidden love storyfrom one of my dreams. "I see my entire body as abrilliant and luminous object, which is radiating with loveand gratitude. The energy of this love is filling all cells ofmy physical body, and lighting up every corner of mymind. I feel the undeniably strong connection towards toyou, and then, this shinning connection destroyed myworld. My world collapses with yours. Born into the novain the Love You ... niverse. " In the piece, atmosphereambient music combines with astronomic video to revealthe love universe, which is sentimental, unreal, and full ofadventures, creativities and conflicts.

Nicola Fumo Frattegiani, Bodies VSTwo human bodies. Two anonymous and unique entities. This is a short narration of the struggle and conflict first,and of the discover of knowledge and reconciliation then.A paradigmatic axis of every human relation told throughthe exteriority of the animal behaviour. This is a story ofstrangeness bearer of violence and thosemisunderstanding which creates obstacles and makespeople blind. This piece draws on the exploration, thecircumspection and the diffidence which guide the pathto knowledge up to both the reconciliation and theosmotic fusion, as well as the feeling of getting lost intoanother entity and lastly to the sublimation of the humanrelation taken to the extreme. Finally, this is a tale aboutthe reacquisition of the individuality, the re-appropriationof one's own integrity ready for a new journey where theatavistic process repeats itself tending to infinity. A talebuilt by corporeal shapes, by the organic movement ofmuscles and skin, and by the altered and nobilitatedconcreteness of the flesh.

Fabio Monni, Del Buio e di altri luoghi; mr potter 1amDel Buio e di altri luoghi: A nocturnal visitor finds herselfinto a dark and unknown house. This is different formother houses, its walls and furniture react to soundstimuli and answer back. The visitor tries to interact withthe resonating space while finding her way through thehouse. The risk is to turn into the resonating space itself.Del buio is divided in two parts. In the second one thesinger wears a mouthspeaker and becomes part of theelectronic. The mouth is used as a sounding box forexternal sounds, it filters the soundscape of the room.mr potter 1am: The walls, the objects, the surfacessurrounding us interact with our actions. The spacevibrates and synchronizes with our gestures. It has aninstant memory. With a little bit of imagination this isexpanded and modified. The space becomes alive andits memory filters some of the information received. Theimagined space and the real one coexist at mr potter'scoffee time.

Raphael RN Neron, AptosiAptosi is an audiovisual piece that explores movementthrough its environmental manifestations. Water, sky,trees, wind, are continuous testimonies of the passage of

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time and its kinetic manifestations, which occurs on ascale that is often imperceptible to us. To capture thisessence, I used a variety of techniques includingtime-lapse, aquatic shooting and 360 video capture. Theimages were shot in northern Quebec during thesummer of 2018 and edited the following winter.

Jonah L. Elrod, AmbalangodaAmbalangoda was created for the Cities and MemoryGlobal Collaborative Sound Project. The sourcerecording was gathered by Stephane Marin of EspacesSonores. The source recording features sounds from abusy roadway in Ambalangoda, Sri Lanka. These sourcesounds are reimagined into a kind of daydream, one thatquickly focuses on particular sounds, changes theperception of the passage of time, and remixesforeground and background materials at the slightestwhim.

Robert McClure, untangle my tongueuntangle my tongue (2011) is a piece for fixed media incollaboration with poet, Alix Anne Shaw. We sent eachother small samples of new work for use as material toinspire new words or music. After months of trading workback and forth, the piece was realized. Some sounds inthe piece are cicadas, cars/trains, text being read by Alixand whispered by Hilary Purrington, and variousinstrumental sounds. The title is taken from Alix's poeminspired by my sounds, Small Bang Theory. It directlyreferences that there is text that is altered, distorted, andoverlapped. However, a deeper statement is beingmade about the current pace of our lives. I am a culpritof this technology and social media-driven lifestyle. Yet,when I went on walks to record sounds for this piece, Iwas forced to slow down, listen, and be present andengaged in the sounds around me. In 2019, the piecewas reimagined with a new video component by mediaartist Mark Hirsch.

Jeremy Muller, SIFTT (Scale Invariant Feature TwitterTransform)#Siftt is a multimedia piece that uses a streaming Twitterfeed to sonify and visualize audience tweets in real time.The data produces an animated graphic score, which theperformer(s) interpret. The performance influences theaudience and they respond, thus creating a feedbackloop of communication. #Siftt uses two main inputsources: the tweets from the audience listening to theperformance (marked with the #siftt hashtag), and thetop trending topic in the North American Twittersphere atthe time the piece is launched. These two inputs aresonified (converted into electronic musicaccompaniment) and visualized (converted into graphicnotation that is interpreted by the performer).

Joshua Tomlinson & Darren Kendall, MonkeyWrenchThe MonkeyWrench Sessions focus on an abstractconversation between visible and audible gestures thatare both constructive and destructive. Before each

session materials are resourced to explore, buteverything in the room is fair game for incorporation. Theonly required prerequisite is to pay attention to other’scontributions and the ability to immediately respond in away that perpetuates the “discussion,” which requiressome humility, but that’s another story. It's a crashcourse in risk and discovery. Though the sessions maylast for hours, the most fruitful moments are fleetinginstances that often times are quickly erased in the nextmoment. These are some of the most liberating creativeactivities in my artistic career. Judgment is prohibited inthe moment — action and reaction are the permissible,while reflection is reserved for the end of the session andsubsequent days.

Jean Pichardo, Aun es tiempo de las Mariposas In the Time of the Butterflies, is a historical novel by JuliaAlvarez that bears witness to the four brave Mirabalsisters as they seek to overthrow the corrupt Trujillogovernment in the Dominican Republic. These womenbecame icons of freedom and women’s rights when themurders of the three, inspired many in the DominicanRepublic to denounce the regime publicly, marking thebeginning of the end for Trujillo’s reign. In 1999, theUnited Nations General Assembly designated the date ofthe Mirabal sisters’ deaths, November 25, as theInternational Day for the Elimination of Violence againstWomen. However, it is currently estimated that 35% ofwomen worldwide have experienced physical and / orsexual violence by their partner or other person'sviolence at some point in their lives. It is estimated that200 million girls and women have suffered at some pointfemale genital mutilation in 30 countries, according to thenew estimates published on the International Day of ZeroTolerance to Female Genital Mutilation of the UnitedNations in 2016. On a recent interview on the currentissue of gender violence and its possible solutions, JuliaÁlvarez simply replied: "It's still time for butterflies". Juan Escudero, ST14 (l’ombre que tu devins)This work is built from singular algebraic hypersurfacesand Calabi-Yau varieties. The complex Calabi-Yauthreefolds, conjecturally existing in microscopic worlds,inhabit spaces in three complex dimensions (six realdimensions) and the geometric objects used are theshadows or projections in 2D. Pre-recorded instrumentalsounds performed by the author with an improvisatorycharacter are transformed by using techniques ofsubtractive synthesis, cross synthesis source-filter andfilters by images. The geometric shapes influence on thegeneration of the sound material coexisting in a kind ofinduced entanglement.

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Concert 3

Program

Lidia ZielinskaAphasia 13'03"

Enzo Filippetti, saxophone

Agustin Jorge SpinettoA short period of time and sound 7'10"

Thomas L. WilsonTensão-Tension 7'29"

Aleyna BrownSiren 5'10"

Courtney Sullivan, English horn

Jeon WoojinCloudy 31'

Benjamin DamannLentic Relict 6'30"

Michael R. HoodBeauty Fades 7'28"

Eric LyonCoronation 6'43"

Jason Crafton, Trumpet

Program Notes

Lidia Zielinska, AphasiaAphasia is a communication disorder due to braindamage. The sick person who has not had any problemswith language functions, manifested difficulty in speakingor understanding speech, also has problems with writingand reading. Aphasia does not impair the person'sintelligence. The patient knows what he wants to say, butcannot find the words he needs. The inability tocommunicate with the surroundings, loss of ability totranslate thoughts into words, it is an extremely traumaticexperience. This leads to the isolation of a sick personfrom coming in and the whole society. It happens thateven those closest neglect to establish a deeper contact,pushing a sick person to the margins of the family group,depreciating and ignoring his/her needs andopportunities, and even attributing the symptoms ofaphasia low intelligence, mental illness, or bad will of asick person.

Agustin Jorge Spinetto, A short period of time andsoundA short period of time and sound is a music compositionwritten during the composer's abroad studies at TokyoUniversity of the Arts. The use of loops is the maincomposition method of this work. The composer createsthem in multiple ways using tools such as musicprogramming, samplers or analogue sequencers,bringing a variety of results, in most cases, impossible tobe replicated and making every live performance of thispiece unique in sound and time. For this composition,Audiostellar is being used as the main instrument.Audiostellar is a new audio software application that usesArtificial Intelligence to organize pre-selected audiosamples by its sound characteristics and show them in aparticular 2D space that will be projected in a mainscreen. In addition, the interaction with softwares suchus MAX and Ableton multiplies the possibilities ofAudiostellar, resulting in a powerful tool perfect for thecomposer characteristics.

Thomas L. Wilson, Tensão–TensionAt a summer festival, the composer met someone whowould become a close friend. This friend from Brazilintroduced him to a Berimbau, a traditional instrumentwith one string used in percussive ways. But hisintroduction was through a distortion of the Berimbau;literally. He showed a video of the Berimbau used in thecontext of metal music; distorted and pitched to simulatemultiple attacks of the bass and kick drum. Tensão–Tension uses a single-note sample of the Berimbau, butin another new unique context. Using multiple processes,this single attack develops in real time during theperformance. Tension arises as the sample drifts furtherfrom its origins. The piece works through this tensionbefore ending in a calm release.

Aleyna Brown, SirenThe siren song is an alluring melody heard only bysailors just before their death. Within a soundscape ofcavernously echoing water drops and an underwaterdescent into her seductive trap, "Siren" is a feministcommentary on this mythical siren song, and the dualityof femininity embodied by the siren herself. The Englishhornist represents our siren, not as told by themale-narrated stories through which the myth is known,but by the siren herself, our female protagonist, asdepicted musically by her multifaceted femininity.Capturing beyond the beautiful and seductive, thisnarrative pays respect to the darkness and powerpossessed by the siren. This recontextualization of thesiren song asserts the strength of femininity in herdarkness just as in her beauty. Her song captivates theaudience as it transforms into a beautiful, cascadingmelody—luring the listener inward. When the sailor is inher grasp, the siren transforms back again into thefemme fatale she is, dragging her catch into the depthsof the cave. One final breath is inhaled, the English hornsounds one last beckoning call, and the piece returns tothe dark soundscape from which it began—dark, but just

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as beautiful.

Jeon Woojin, Cloudy Cloudy is soundtrack from a Virtual Story. This Album isElectronic Emotional Music.01 CLOUDY02 Breathe in Fog03 Unknown FootStep04 Gaslighting05 Flashback06 White Birch(Missing Shadow)07 Realize08 Outro

Benjamin Damann is a composer, percussionist, musictechnologist, and educator currently residing in northeastOhio. Among others, he has been commissioned by theSynthbeats Laptop Ensemble, the Skylark Quartet, andthe EIU Percussion Ensemble. His works -- inspired bychoice, probability, indeterminacy, improvisation, and thetimbral manipulation of acoustic instruments throughphysical preparation and electroacoustic augmentation --have been performed and recorded throughout theUnited States. He is devoted to realizing electronic,experimental, and graphical works for solo snare drumand multi-percussion as well as programming softwareinterfaces to aid in the performance of such works. Hisbackground in percussion has also led him to teachingopportunities from fifth-grade beginning band touniversity marching bands. Benjamin holds a BM inpercussion performance with a concentration in musiccomposition from Eastern Illinois University and iscurrently pursuing an MM in Music Composition atBowling Green State University where he studies with Dr.Elainie Lillios and Dr. Mikel Kuehn.

Michael Hood, who uses the pseudonym "Astra UrsaLux" for his experimental music, is a New York basedmusician and composer. He attended Berklee in Bostonand then got his Masters in Music at WCSU. It was at thelatter that he really discovered an interest in avant-gardeand experimental musical forms. He has recorded sixalbums of electroacoustic music as "Astra Ursa Lux", exploring sounds and forms from the subtle to theextreme. (Shameless plug...my music is available oniTunes, various streaming services, etc.).

Eric Lyon, CoronationCoronation is an interactive piece for trumpet andcomputer that coordinates rhythmic and signalprocessing elements in tight synchrony. The automationof sampling, processing, and reintegration of live trumpetplaying to the texture allows for complex but preciselycontrolled interactions and rich electronic textures thatwill subtly differ between performances. The DSP itself isbased on algorithmic schemes and Max/MSP externalsdesigned by the composer. Coronation was composedfor Jason Crafton, to whom it is dedicated.

Concert 4

Program

Christian BanasikLudwig's Walk Over Bowery 10'23"

Malte LeanderEternally Divided 5'28"

BusevinFor Rachel Corrie 12'20"

Andie VerbusGlaciated 4'17"

Kimia Koochakzadeh-YazdiEnigma 11'

Dante TanziPrediction 3'26"

Devin Baronescreaming_in_terroir 9'17"

Angelo BelloTriptych 13'20"

Gintas KTwo 5'11"

Epa FassianosWorld of Colours 7'54"

Sujin KimCircular-point, line and plane 11'40"

Program Notes

Christian Banasik, Ludwig’s Walk Over BoweryThis piece is based on a few bars of the Sonata for Violinand Piano No. 7 (2nd movement), the first bars of thePiano Sonata No. 1 Op. 2 and a letter from Beethoven toan unknown person, which is spoken by the performersin two languages (German / English). The sound isembedded in an 8-channel electronically modified andexpanded surround sound, which encircles the audience.The choice of material is based on very personal, almostbiographical decisions. It is Beethoven's works that havekept me particularly busy and accompanied methroughout my studies. The text of the letter "to anunknown addressee" provides a theatrical-performativelevel of the piece. The title “Ludwig's Walk Over Bowery”

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is also a homage to the film “Ludwig van” (1970, 200thbirthday) by Mauricio Kagel - whose protagonist wandersthrough the city of Bonn and takes a look at the streets inthe 1960s. I refer here again to a well-known, historicaland rapidly changing New York area in the middle ofManhattan.

Malte Leander, Eternally DividedEternally divided challenges and explores the question ofthe split persona, defined by knowledge and limitations inskills of languages within an individual. What differencesin our perceived character are apparent to oursurroundings, when we speak something else than ourmother tongue? Culture, history, as well as individualstrengths and restrictions of language all play a role inthe way that we express ourselves. Through an evolving,yet slowly progressing timeline, similar topics arepresented through the voice of the composer in threedifferent languages, neatly structured with support frompleasing tonal soundscapes.

Busevin, For Rachel CorrieAs a mixed work (acoustic and electronic instruments),which combines two heterogeneous sound sources, Themain issue is the interaction of these two media. Thework thinks the different possible ways in which bothsources can relate, making the work a metaphoricalparaphrase of the historical evolution of the relationshipbetween those different media, taking into account theinfluence that each one had on the other. Howcomposers and performers faced electronic musicallowed new ways of using traditional acousticinstruments, expanding the number of interpretivetechniques. This work is to perform the opposite step; ittakes, from the field of expanded techniques, ideas toexpand the language of electronic media. The electronicpart has been generated by morphing with resynthesistechniques using Phase Vocoding with Csound. Theenvelopes, used to generate harmonic interferences withPhase Vocoding, are used as a control signal to shapethe evolution of the tuba extended techniques.

Andie Verbus, GlaciatedGlaciated was written early on in the semester of mysenior recital. I created a performance patch in Max/MSPthat primarily used chaotically modulated delay lines andexcessive feedback (tapered with a limiter). This patchgenerated a wide assortment of sounds, from shorttransients to long evolving drones, all with a similarshared quality. After recording an hour-long improvisedsession with the patch in the composition program'sproject studio, I assembled a few different momentsgenerated during the session into Glaciated.

Kimia Koochakzadeh-Yazdi, EnigmaAnticipation and expectations are always a huge activepart of the human psyche. As composers, we have theability to manipulate these two parameters and makeone question what they have or should be expecting fromwhat they are hearing. Enigma creates room for new

assumptions in one's mind. Enigma was commissionedby Western Front organization in 2018 and waspremiered in February 2019.

Dante Tanzi, PredictionPrediction’ is based on the elaboration of musical ideasafter listening to hours of soundscape music, butextremely brief samples were extracted from variouspieces by Bernard Fort and Alexandre Yterce.“Prediction” moves from a beginning based onpercussive clusters followed by a dynamic, reverberatingcontinuum. The piece develops through light rhythmicalpatterns, the tenuous sound of birds and goes towards adecrescendo interrupted by another cluster. Theconclusion mixes striated electronic sounds, the soundof birds and reiterative patterns. A prediction is anannouncement that something is going to happen. Notnecessarily unpleasant of course. But this piece refers toa fatal disruption of natural environment.

Devin Barone, Screaming_in_terroirscreaming_in_terroir+ from [unity] Terroir: ‘thecharacteristic taste and flavor imparted to a wine by theenvironment in which it is produced.’screaming_in_terroir+ is a combination of the final twotracks from my glitchy experimental concept album[unity] , which embodies the character of an AI namedXorn as it experiences a nervous breakdown, not onlytelling the narrative of its story but also acting as its‘voice’ through gestural MIDI-created glitch sounds. Thistrack is very much an existential scream of terror forXorn, it serves as the climax and resolution of an arc ofchaos and confusion, utilizing all of the sonic elementsfrom throughout the album, and therefore Xorn’s voice todo so.

Angelo Bello, TriptychTriptych is an execution of the GENDYN algorithm, andconsidered an example of rigorous algorithmiccomputation, wherein the piece is created in whole cloth,in one go of the algorithm and self-contained, followingthe assignment of all initial conditions prior to execution. This work takes advantage of large-scale dynamicstochastic granular synthesis and noise-like timbres, incombination with the tempered pitch processes. Triptychis in three sections as follow:

1. Distant Tempest, Passing (4:02)2. Rain and Disturbance (4:35)3. The Rapids, then Sun Through the Trees (4:52)

The pieces that make up this collection were composedwith the GENDYN algorithm - GENerative DYNamics.This non-standard digital sound synthesis technique,invented by Iannis Xenakis, relies on the application ofrandom walks guided by probability distribution functionsfor the direct generation of digital audio sample data,which in turn defines the character of complex timbresand musical form. These works were generated with are-implementation of Xenakis' algorithm, a program

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called the New GENDYN Program (developed bymusicologist and computer scientist Peter Hoffmann),with additional components developed by the composerof this work.

Gintas K, TwoPlayed live using computer, midi controller assigned toVSTplugins. Recorded real time, Without any overdub.

Epa Fassianos, World of Colours (2019)An electroacoustic piece which is based on baghlamas’original recordings. Baghlamas is a traditional Greekinstrument which has its roots to an Ancient Greekinstrument called pandoura. In my work I made anattempt to explore the characteristics of the instrumentand its relation to history and Hellenic Culture viaacousmatic music. The work has references to melodiclines widely used by baghlamas’ performers but is mainlyan attempt to recreate a new sonic world. I also aimed touse the instrument in innovative ways, from the recordingprocess (use of sounds emerging from the chording ofthe instrument) to the development process (applicationof a wide range of transformations which would lead thesound in new boundaries). The addition of backgroundcinematic-style sounds emerging from the baghlamasthrough various transformations, creates a constantdialogue with the foreground sounds. The various soniccolours observed as the piece evolves justify its title.

Sujin Kim, Circular-point, line and planeCircular-point, line and plane is started with afundamental question, which is about how to makesounds. Going back to basics, I did quite a fewexperiments with only sine waves using MaxMsp andSupercollider. In this work, many of sounds are based onadditive synthesis, which is created by mathematicalalgorithms. Visually, I also tried to express somefundamental concepts of point, line and plane in designfield like sine waves in music. I used only black and whitein the video to show the beauty in simplicity.

Concert 5

Program

Mark PhillipsT. Rex 15'11"

Tony Baker, trombone

Hana DoLe soir d'Ianna (Ianna's evening) ... 6'20"

Iván Adriano Zetina Rios, guitarKiwon Jeon, video

Yemin OhTime Discontinuum No. 2 6'50"

Mark PeteringShortcut to the Moon 4'13"

Andrew Schlosssonicpair #2 12'26"

Andrew Schloss, percussion

James O'CallaghanXeno 8'10"

Sarah Albu, voice

Brian EllisDivining Alabama 4'10"

Anthony MarascoThe Spinning Earth Shall Spread Before You 7'53"

Leo ChangVOCALNORI 12'11"

Jiayue Cecilia Wu For Tashi 7'30"

Video by Rebecca Ruige XuLucina Yue, Kong Hou

Mei-ling LeeGiant Dipper 9'23"

Program Notes

Mark Phillips, T. RexT. Rex [rex is Latin for "king" — but does the ambiguousinitial "T" stand for "tyrannosaurus" or "trombone?"] is infour connected movements contrasting in dynamics,rhythms, and tempo: soft and slow, with much rubato;loud and rhythmic, in a moderate tempo; soft and slow,with much rubato; loud and rhythmic, in a fast tempo. My

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goal for this composition was to create a fixed mediaaccompaniment with all the source material coming fromtrombonists around the country. I first recruited JohnMarcellus and gave me names of other trombonists tocontact. I eventually received an astonishing variety oftrombone sounds from Andrew Glendening, KevinJames, Roger Oyster, and Tom Plsek. Absolutely allsounds heard in the fixed media accompaniment comefrom these recordings -- or from noises I made with myown bass trombone. I feel it's important to assurelisteners that no trombones were injured or damaged inmaking of T. Rex.

Hana Do, Le soir d'Ianna (Ianna's evening) ...« Inanna » for multimedia, music and video, was createdby inspiration on the goddesses of Heaven and of Worldin Sumerian, Inanna, who is a powerful affirmation oflove, war, fertility. She reigned over several areas ofculture. These included the rain, the war, the morningand evening stars. « Inanna » is consist of two parts: thefirst part, « Le matin d’Inanna (Inanna’s monrning) » forelectronic sound and video, the second part, « Le soird’Inanna (Inanna’s evening)» for acoustic guitar,electronic sound and video. « Le matin d’Inanna » ispresented, a plenitude of Inanna’s joy of creation. « Lesoir d’Inanna (Inanna’s evening) » can be interpreted bythe sense of confusion, from the metaphorical point ofview. In this part for « Le soir d’Inanna », we may havesome feeling of confusion, ecstasy, or joy as Inannadoes her capricious game dancing on the earth. Loopedcircular circle movement resembling the Mandara sign,and the bright color variety symbolizes the powerfulessence of Inanna. The composition of the movementsound by the complex texture and the counterpointbetween the acoustic guitar and the electronic soundcould tell us the musical adventure to the heart ofInanna.

Yemin Oh, Time Discontinuum No. 2Music is the art of sound in time. However, because wecannot go against the flow of time, composers onlyarrange and organize sound objects on the timeline. Inthis piece, the composer wants to create a virtualtime-space which is controlled over the performer'smovement. At the beginning of the piece, the computerrecords the movement and sound of performance withcamera and microphone, and the performer controls andre-arranges the recorded video and sound with positionof body movement in real-time. This piece is the secondcomposition of series.

Mark Petering, Shortcut to the MoonShortcut to the Moon utilizes Max/MSP programming tocreate a sound collage utilizing changing sine tones,recordings of the composer with his 3-year-old son, andEmily Dickinson's poetry about neighborhood crime readby the composer:PART ONELIFEXV

I know some lonely houses off the roadA robber 'd like the look of,—Wooden barred,And windows hanging low,Inviting toA portico,Where two could creep:One hand the tools,The other peepTo make sure all 's asleep.Old-fashioned eyes,Not easy to surprise!How orderly the kitchen 'd look by night,With just a clock,—But they could gag the tick,And mice won't bark;And so the walls don't tell,None will.A pair of spectacles ajar just stir—An almanac's aware.Was it the mat winked,Or a nervous star?The moon slides down the stairTo see who 's there.There 's plunder,—where?Tankard, or spoon,Earring, or stone,A watch, some ancient broochTo match the grandmamma,Staid sleeping there.Day rattles, too,Stealth 's slow;The sun has got as farAs the third sycamore.Screams chanticleer,"Who 's there?"And echoes, trains away,Sneer—"Where?"While the old couple, just astir,Think that the sunrise left the door ajar!

Andrew Schloss, Sonicpair #2: duo for SDRdrum andMechDrumSonicpair #n is a series of duos involving roboticpercussion. sonicpair #1 is for viola andradiodrum-controlled robotic percussion. This new piece,Sonicpair #2 is unique in that the robotic player is a"mirror" of the human percussionist. Using a new 3Dcapacitive sensor called the SDRdrum, the full range ofthe percussionist's gestures are exactly mimicked by theMechDrum robotic percussion, including gestures abovethe surface. This mirroring creates a unique visual andauditory experience that is different from all otherpercussive interfaces because the robotic percussion isnot “waiting” for a noteon to be detected; rather it iscontinuously following all the gestures of thepercussionist.

James O'Callaghan, XenoXeno is a work for voice and electronics composed in

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close collaboration with performer Sarah Albu. The voiceof the performer is constantly in flux, transformingthrough imitations of different animal vocalisations andlive electronic manipulations. The form of the piece isrelated to one of Zeno's paradoxes, where that which isin locomotion must arrive at the half-way stage before itarrives at the goal. These successively shorter half-waypoints are presented in reverse, where the musicalenergy of the piece unfolds through bursts of noiseseparated in successively greater distances. These kindsof 'big bangs' which unfold all the materials of the pieceinto a warping menagerie of being-transformation.

Brian Ellis, Divining AlabamaThe war on abortion that Alabama brought to theforefront of the national discourse in May 2019 was notonly a war on human dignity, but continues to be adangerous and misguided attempt to limit women'ssafety under the guise of protecting human life. If we turnto the history books, we find an example of what mayhappen when a liberal society suddenly enacts a totalban on abortion, for in 1966, the leaders of Romania didexactly that. What became immediately apparent wasthat those seeking abortions were forced to turn todrastic measures, with disastrous consequences. Whilethe Romanian law was intended to spur populationgrowth, in practice it caused the maternal mortality rateto skyrocket. This piece tracks the maternal mortalityrate of women in Romania from 1950 to 2015,highlighting the ban on abortion from 1967 to 1989. Theviolin part is directly derived from this data: as the linerises, it reflects an increase in deaths, and as it falls, areturn to civility. The electronics draw from severalexpressive sources, including interviews with peopleclose to the subject as well as recordings of fetal heartbeats, kitchen implements, and other electronicallygenerated or manipulated sounds. It is my hope that thiswork is discomforting and unsettling, provides contextand understanding, and will better allow us to divine thefuture of Alabama.

Anthony Marasco, The Spinning Earth Shall SpreadBefore YouInspired by the work of composer/hardware hacker NickCollins, this piece explores the process of composingmusic through real-time performance of music playbackdevices. Both CD players have been modified, allowingfor networked control of their play/pause, seek, and stopcontrols. Additional modifications made to the anti-skipmemory and data-muting chips of each player result inthe creation of rhythmic loops when each CD player ispaused, and heavily distorted, delayed audio fragmentswhen connecting pins on the anti-skip memory chip.Each CD player is connected through Bendit_I/O, a newhardware/software system that allows for networkedperformance with circuit-bent devices and web-enabledinterfaces. Through this system, the performer and theCD players can share data between each other, allowingfor machine-to-machine and human-to-machineinteraction. The CD players can also modify and triggeraudio playback through audience mobile devices that are

logged onto the network. Each CD contains materialwritten by the composer as well as process and modifiedpre-existing musical material. More information onBendit_I/O can be found at www.benditio.com.

Leo Chang, VOCALNORIVOCALNORI is my attempt at learning about Korean andChinese gongs in an improper way: through singing.With VOCALNORI, I am seeking a way of connectingwith cultural artefacts without touching them; exploringmy desire to understand an Asianness and Koreannessthat complicates “tradition.” This video recording forNYCEMF is an improvised performance withVOCALNORI.

Jiayue Cecilia Wu, For Tashi This multimedia piece of voice, soundscape, electronics,and Konghou is dedicated to all the mothers who losttheir child prematurely. It was written in loving memory ofTashi, the composer's own miscarried baby, who wasgone too soon. The Tibetan soundscape was recorded inthe summer of 2019, during a spiritual field trip after thetragic event happened. It is the glue of sounds of theelectronic and acoustic instruments. All the electricsounds were designed and realized using variousEurorack modular synthesis systems, including MakeNoise, Pittsburgh, and Mutable Instruments. The ancientChinese Konghou instrument brings back the beautifulmemories of carrying Tashi for just a few months.Making this piece is a self-healing process. Thecomposer is motivated to share this deeply personal andemotional experience through music and art in the hopeto raise public awareness of the impact of miscarriage ona woman's mental and physical health, which is oftenunspoken, misunderstood, and otherwise overlooked inour society. Furthermore, the composer wishes to bringattention to the importance of women's prenatal andmental care, as well as the support and assistanceneeded by survivors of baby loss and their families.

Mei-ling Lee, Giant DipperGiant Dipper is an interactive electronic musiccomposition. It attempts to arouse the experience ofroller coaster rides, the blistering up and down, left andright motion of the ride compels one’s thoughts to beonly in that moment. The sound material of Giant Dippercomes from two main sources. One is a home recordingof an eight years old girl singing/talking in a bathroom.Another one is field recordings from Santa CruzBoardwalk park. Those field recordings share onecommend theme: the roller coaster ride.

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Concert 6

Program

Clemens von ReusnerKRIT 10'

Brian BridgesTracing Beijing 8'28"

Ragnar GrippeBroken Mind of Souls 13'

Jason FickI'm the Expert 3'10"

Kyle VanderburgTape Piece 10'

Joel GresselUnder the Radar 8'33"

Jean-Basile SosaMythologies 12'06"

Kel SmithAttaché 11'

Joshua Hey, fissu/|rupT/t|eaR 7'30"

Kari VakevaVoid ii 9'58"

Program Notes

Clemens von Reusner, KRITIn the language of Sanskrit, KRIT means cutting,splitting, twisting, spinning, but also playing andaccomplishing. KRIT is based upon a chaotic sound,which is cut in many variations and rebuilt. In the courseof the composition, chaotic and uniform, as well aspunctual and continuous manifestations of this sound aredeveloped and are audible in different degrees of densityand spatialization. Spatialization: Ambisonic.

Brian Bridges, Tracing BeijingMy first attempts to trace Beijing came duringdisorientating hour-long taxi journeys pastidentical-looking blocks looming out of the smog. Beijingin winter is a dark pencil sketch of indistinct outlines,evocative in its impressionistic abstraction. But as springcame and my ears opened, a new kind of tracing

ensued. Now it was the mystery of where meaning wascentered; in the polyphonic society of narrow hutonglaneways, in the constant construction remodelling thecity, in the globalised American and British accents ofautomated subway announcements, in the park whereelderly traditional musicians who lived through theCultural Revolution play not far from former Red Guardsnostalgic for the music of their youth. Meanings found inthe collision of all-night bars, white picket–fence barriersand slick, surveilled social networks with livelyconversations still taking place. And all the while, thespring and the smog duel for supremacy, and the city stillsprawls and shifts in and out of focus… This piece isbased on field recordings from a 3-month stay in Beijingduring spring 2015. Tracing Beijing was premiered atSounding Out the Space, Dublin, Nov 4th, 2017.

Ragnar Grippe, Broken Mind of Souls Broken Mind of Souls is a forty minute piece in threeparts. The idea behind this composition is blend what weknow with what we think we know. Broken Mind of Soulsis available on Apple and Spotify among others.

Jason Fick, I'm the ExpertIn 2014, the city of Denton, Texas, successfully bannedfracking. Hydraulic fracturing has become a lucrativeventure, and a number of sites are rapidly increasingworldwide. However, research shows that the effects offracking can lead to earthquakes, numeroushealth-related issues, and extreme noise pollution forthose that live in close proximity. The Denton frackingban, as one of the first in the United States, wasconsidered landmark, and the story receivedinternational publicity. Shortly after, the city outraged overthe Texas railroad commission’s overturning of the ban.This composition shares some of the stories of Denton’sresidents and the effects of fracking on their lives.

Kyle Vanderburg, Tape PieceTape Piece is part of a series of single-sound-sourcedaydream pieces, where a solitary object or family ofobjects is repurposed to create an otherworldlysoundscape. This work uses tape--masking, scotch,aluminum, packing, and duct--sometimes recognizable,and sometimes heavily processed. The familiar isjuxtaposed with the fresh, and what starts out withunrolling and tearing quickly unravels as soundsevocative of gunfire, of bombs and explosions, and ofGeiger counters suggesting the downfall of civilization.New creatures emerge throughout, each trying to findtheir place in a world that has come unglued.

Joel Gressel, Under the RadarUnder the Radar utilizes two contrasting themes: a longthree-phrase melody, and a widely-spaced arpeggiationof three chords. The piece originally began with thearpeggiated section that now starts after 30 seconds.The two themes alternate and evolve, ending with a verydifferent version of the three-part melody. This endingwas copied to begin the piece, which now can beunderstood as a progression to the ending/beginning.

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The rhythms of all the melodic lines in the piece areshaped (by force of habit) by ratios that expand orreduce successive measures as well as the beats withinthese measures. The normal 12-tone square of 48 rowforms has also been distorted by interpreting thenumbers not as members of the chromatic scale, but asindices to three ascending diminished-seventh cycles.Transposed rows have segments in common, but no twoare the same. It is quite easy to ask the computer tooverlap these melodic lines with different instrumentalcolors. Link to score:http://ravellorecords.com/catalog/rr8032/under-the-radar---genetic-drift---joel-gressel.html

Jean-Basile Sosa, MythologiesWhile being a new electroacoustic piece composed fordance, Mythologies can also be presented as astandalone electroacoustic work. Like many of my recentelectronic works, it calls into question the relationshipbetween academic concert music and its other. Eventhough the piece is not a program music, it can evokethe tale of a mythical epic. As human poetic spaceImaginary is certainly peculiar to each, but in mine, yetwith an abstract sound material, Mythologies tells someepisodes of the myth of Orpheus.

Kel Smith, AttachéAttaché is a graphical notation experiment between SussMüsik and visual artist B.G. Madden. Madden's workexplores systems in nature to reveal hidden relationshipsas a visual language. Suss Müsik translated Mr.Madden's renderings in graphite, pigment and plasterusing a computer algorithm to create fields of static.These fields served as musical maps for how sonicfragments were phased or looped. Select moments werethen extracted and reassembled electro-acoustically aspolyrhythms, using the original source material as amusical "score."

Joshua Hey, fissu/|rupT/t|eaR This work is built from singular algebraic hypersurfacesand Calabi-Yau varieties. The complex Calabi-Yauthreefolds, conjecturally existing in microscopic worlds,inhabit spaces in three complex dimensions (six realdimensions) and the geometric objects used are theshadows or projections in 2D. Pre-recorded instrumentalsounds performed by the author with an improvisatorycharacter are transformed by using techniques ofsubtractive synthesis, cross synthesis source-filter andfilters by images. The geometric shapes influence on thegeneration of the sound material coexisting in a kind ofinduced entanglement.

Kari Vakeva, Void iiVoid ii begins after a short warm-up passage withvarious metallic sounds that have a controlled simulatedacoustic feedback. These noisy eruptions recurperiodically, meanwhile softer percussive metallic toneswith an elastic pulse emerge among other pitchedvoices. The pitched material slowly evolves in amicrotonal way, and the sounds grow from a "seed"

interval within a dynamic process. The work Void ii(2019) is written with C++ and a synthesis software builtby the author. The technical realization uses granularand physically-inspired synthesis, among other methods.

Concert 7

Program

Stephen PopeSecrets, Dreams, Faith and Wonder: A Mass for the New Millenium 78'

Program Notes

Stephen Pope, Secrets, Dreams and FaithSecrets, Dreams, Faith and Wonder: A Mass for the NewMillennium is a feature-length abstract music/video ritualof thanksgiving in five parts: (1) a lament of surrender(Jerusalem's Secrets), (2) the reading of the lesson (LeurSonge de la Paix), (3) the celebration of the ritual (EvigtDröm), (4) the recitation of the creed (Credo), and (5) ahymn of benediction (Ora penso invece che il mondo...).When looked at this way, it follows the structure of ritualsof gratitude celebrated throughout the ages and acrosscultures and religions (and especially the Catholic Mass).The five pieces of music incorporate voices in Latin,English and Arabic (texts from the Bible, by M. L. Kingand M. K. Gandhi) as well as bird and whale songs. Eachof the videos was made to fit the music of the respectivemovement. Each of the five parts has its own tonal andtimbral language, and yet they fuse into a whole whenviewed as a single large-scale work. The two inner parts(Leur Songe de la Paix and Credo) have text subtitlesincorporated into the videos (texts by Martin Luther King,Jr. and Mohandas K. Gandhi, respectively), while theother parts each has a related text of some sort.

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Concert 8

Program

James DashowSoundings in Pure Duration No. 5 11'30"

Lucia Bova, Harp

Karin Charlotte WetzelAmorphose 2 for Guitar and Live-Electronics 7'16"

Panagiotis Megarchiotis, GuitarKarin Wetzel, Live-Electronics

Anuj BhutaniTo the Lighthouse 11'27"

Benjamin KrumwiedeClarinet Clippings 6'52"

Zachery Pavlicek, clarinet

Alejandro EsucerSPECTRUM ARTICULAEor the First Human Sounds 13'03"

Keisuke TsuchiyaGifts from Microplastics 5'33"

Christoph Punzmann..for violoncello & tape recorder 9'17"

Arnold Noid' Haberl, VioloncelloChristoph Punzmann, Taperecorder

Dana RothInterception 5'01"

Domenico De SimoneKYKNOS 9'

Hubert HoweInharmonic Fantasy No. 11 10'21"

Enzo Filippetti, alto saxophone

Program Notes

James Dashow, Soundings in Pure Duration N. 5As the title suggests, this is the 5th in the series of"Soundings" compositions, the composer's second forayinto octophonic electronics. The work explores timbraland rhythmic interactions between the harp and theelectronic sounds as further elaborations of theresources of the Dyad System, now with more intricatespatialization developments following the composer'sconcept of "movement IN space, movement OF space". The harpist, Lucia Bova, for whom this piece wascomposed asked that she, too, be spatialized, something

the composer is actively considering for a latersomewhat more theatrical edition of this piece.Karin Charlotte Wetzel, Amorphose 2 for Guitar andLive-Electronics The natural harmonics of the retuned guitar strings formthe melodical basic structure of the guitar-part and aresupplemented by a second harmonical line. Therelationship between the melodical voice as the mainvoice and the harmonical part as a secondary line is alsoreflected and developed further in the relationshipbetween the guitar and the Live-Electronic part. The title„Amorphose" describes the formal aspect of the piece.The aggregate state of an amorphous structure is beingsituated between solid and liquid. This idea of an amorphstructure is transfered at different musical layers: It isreflected through the pitch system, being divided into„crystallized" central notes and „fluid" harmonicalstructures. It is also present in the relationship betweenthe precisely defined pitches of the Guitar Part and theLive Electronic Part, which transposes and multiplies theGuitar part permenanently on a microtonal level,randomly and therefore leading always to a slightlydifferent result.

Anuj Bhutani, To The Lighthouse“She felt... how life, from being made up of little separateincidents which one lived one by one, became curled andwhole like a wave which bore one up with it and threwone down with it, there, with a dash on the beach.”¯ Virginia Woolf, To the Lighthouse

Benjamin Krumwiede, Clarinet ClippingsThe meaning of the title is twofold. One interpretation ofthe title stems from the metallic clipping sounds thattranspire throughout the composition. The secondinterpretation comes from segmented musical ideasfound particularly at the beginning and end of thecomposition. These small snippets grow organically intolarger musical ideas creating an audio representation ofa collage that uses small snippets to create a largerimage as a whole. Clarinet Clippings is written for andperformed by clarinetist Zachery Pavlicek.

Alejandro Esucer, SPECTRUM ARTICULAE (2018) The first human sounds. SPECTRUM ARTICULAE is animaginary description on the origin of language and theappearance of the representation of the first phonemesto establish communication among humans. Thebeginnings indicated guttural sounds that representedbasic situations of survival such as danger, defense,food, shelter. Later on, very primitive dialects arose,some of which did not require writing because they werelearned exclusively by oral tradition. And it is not until theneed to record matters that were not possible toremember that the emergence of different languagesbecame necessary. I learned basic principles ofSumerian, the first language that used clay tablets torepresent sounds, which in turn recorded events such asinheritances, debts, accounting and numbers difficult toremember, so they could not be transmitted through oraltradition. In addition to Sumerian, the piece includes

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almost indecipherable fragments in Hebrew, Tibetan,Sanskrit and Náhuatl. I proposed that no words beunderstood clearly in order to avoid referentiality andcreate a generic and objective depiction about the originof speech without necessarily deciphering what is said. Itis a piece that represents the relationship between theorigin of communication through the emission of gutturalsounds, the human voice and finally a human singingvoice, capable of communicating what no language canachieve, however complex and complete. I composed anarchaic melody that I worked with soprano CeciliaEguiarte, a kind of imaginary archeology of soundsfrequently accompanied by voices that she herselfmakes, including the voices of more than a hundredpeople accompanied by bells, gongs, tom toms, piano(which I played myself) and electronics. SpecturmArticulae was commissiond by Sistema Nacional deCreadores de Arte (SNCA) of Mexico and it is publishedby Urtext Digital Classics in an album called"Volúmenes".

Keisuke Tsuchiya, Gifts from microplasticsA large amount of plastics are generated from humanactivity. They are carried to the sea, waved, and piled uppermanently as microplastics. Microplastics are tinyplastic pieces that exist in human life especially into theocean. It is the environmental issue that causes plasticpollution. Plastic pollution disrupts ecosystem in the sea.Fish, shellfish and seabird mis-swallow microplastics inthe seawater, and are led to death because ofindigestion and gastric ulcer. Plastics are able to makeour life comfortable. However, they are also weapons tokill a variety of lives in the sea. Finally, microplastics cancome into our stomach with the way they hide in fish andshellfish that we eat. This work is the performance withmicroplastics. It expresses the connection betweenmicroplastics and human with the algorhythmic method.Microplastics on the disk start vibrating with the speakerwhen contrabass is played. They start moving with thevibrations like possession of lives, make click-clacksounds, finally falls down from the disk and areaccumulated on the floor where the players are. The diskis divided into twelve and assined a twelve-tone scale.The rule makes piano played depending on the positionof falling microplastics on the floor. The sounds of pianomake microplastics more vibrated. That also makes thesounds of piano and microplastics recursively likescream because of much more microplastics falling.Plastics are able to make our life convinient. On theother hand, they are also threat to a variety of lives andthen come back to our life as an unexpected gift.

Dana Roth,InterceptionInterception is a contemplation on the almost-tragediessurrounding us every moment – an idea which is a fruitboth of a troubled mind and growing exposure to all theways things can go wrong. Thinking of all the possiblehorrors avoided by a fast-enough turn of the steeringwheel or an interception of a rocket, might make one feelanxious about the fragility of our existence, sorry forthose who could not avoid a catastrophe, but also find

comfort in what we love and wish to protect.

Domenico De Simone, KYKNOSKYKNOS, the swan, "the singing one", singing not onlylife but also death… death as a change, a passage, ametamorphosis. KYKNOS is also "the white one", "thebright one"... KYKNOS: light after death, beyond life.

Hubert Howe, Inharmonic Fantasy No. 11While the background structure of the composition is12-tone equal tempered, the spectra prolonging each ofthe notes is inharmonic, such that each partial above thefundamental is 15/24 of the frequency of a harmonicspectrum. This represents a frequency-shifted spectrumof about a minor sixth up. Each partial furthermore hasits own amplitude envelope, so that there is a continuousshifting of the amplitudes emphasizing a differentcomponent over each portion of the duration, thusproducing a continuously shifting timbre. The overallform of the piece is somewhat palindromic, representinga crescendo to a climax in the middle of the piecefollowed by a diminuendo to the ending, with a few softerinterludes interspersed in the overall hairpin shape. Inthe middle of the piece, the partials change from thecontinuously shifting timbres to being attacked separatelyin a similarly shifting pattern. When the saxophone playslong notes, which is for most of the piece, the notesshould be heard as the “fundamental” of the inharmonicspectrum. In the middle sections, the saxophone playssome of the spectral components, but only those whichare close to tempered pitches, as the saxophoneobviously cannot play inharmonic spectra. Thecomposition was composed in 2019, and the electronicfixed media part was generated by the Csound program.

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Concert 9

Program

Lars BröndumThe Pantheon of Darkened Stars/Sharp are the BlackAngels' Wings 8'

Mikel KuehnDancing in the Ether 7'42"

Neil M O ConnorErstwhile 9'28"

Hanae Azumaon a rainy day 7'59"

Jonathan WilsonWolf by the Ear 5'51"

Trond LossiusEdgelands 24'37"

Leah ReidSk(etch) 5'

Francesco GalanteItinéraire ( to E.Varése) 12'14"

Michael GoginsPoustina Variation 6 9'34"

Program Notes

Lars Bröndum, The Pantheon of DarkenedStars/Sharp are the Black Angels WingsThe Pantheon of Darkened Stars/Sharp are the BlackAngels Wings is taken from the suite Chimera Cadence.The music was released on CD 2018 (Antennae Media). The Chimera Cadence suite is based on a Gothicconcept that originates from comments I often get when Iplay live, “You should write music for horror movies!” Amused by the idea I composed this suite of music thatis inspired by the moods of Gothic horror fiction, art andarchitecture. Imagery of crumbling medieval castlesornamented with bizarre chimeras and around themes ofthe supernatural, horror, decadence and madness. ThePantheons of Darkened Stars/Sharp are Black Angels’Wings was composed around a strain from Clark AshtonSmith’s Song of the The Necromancer and is partlybased on imagery from a poem by Anna Akhmatovadescribing a different kind of horror.

Mikel Kuehn, Dancing in the EtherDancing in the Ether (2020) is a fixed media Ambisonicwork composed of synthesized sounds that explore threedimensional sonic space. While the narrative for thepiece is abstract, the synthetic sounds are designed toplay on references to "real world" sounds, perhapsconjuring occasional déjà vu moments for the listener.The ideal listening experience for this piece is aperiphonic sound system (a three dimensionalconfiguration of speakers such as "dome" or 8-channel"cube"). The version provided here is a stereo mixdownof the three dimensional soundfield; while it isn't an idealrepresentation, it preserves all of the musical material,mapping it down to a two dimensional listening space.Technical Note: This piece is encoded in AmbisonicsB-format and is most ideally decoded onto a periphonicsystem of at least 8 channels (an upper and lowerquadraphonic array). It can also be decoded for othersetups including 8 channel ring, quad, and stereo. Itworks very well in an 8-channel ring (i.e., pantophonicsystem) if a periphonic system is not available.

Neil M O Connor, Erstwhile Working with electronics, one can distinguish twoparadigms, concerning the desired degree of 'Textuality':"weak" interactivity (pre-determined, linear) or "strong"interactivity (a highly autonomous system, almost withartificially intelligent qualities). Many works fall on acontinuum (transformative, generative or sequenced)between these two extremes, presentation a combinationof fusion, conflict, continuity and contrast betweenvarious sound fields. The sounds themselves may bequite different from more "traditional" music and areusually articulated by processing, and compositionalprocesses, such as acceleration/deceleration,increasing/decreasing and increasing/decreasing thedensity of the generated textures. Erstwhile wascomposed using SPEAR - an application for audioanalysis, editing and synthesis. The analysis procedureattempts to represent a sound with many individualsinusoidal tracks (partials), each corresponding to asingle sinusoidal wave with time varying frequency andamplitude. A signal that closely resembles the originalinput sound, (a re-synthesis) can be generated bycomputing and adding all of the individual time varyingsinusoidal waves together. Several acoustical and foundsounds were combined to create the sound-world withinthis piece, which relies on varying degrees ofincreasing/decreasing the density of texture. Throughthis process, it was possible to configure, mutate andtranspose sounds to any degree imaginable. The resultis the creation of 'sub structures' of sound spectra, onethat are unique to the piece itself.

Hanae Azuma, on a rainy dayWalking in the fog on a rainy day is for Sho (a traditionalJapanese wind instrument) and electronics. I use someinstruments sound including Sho and voices as materialsfor the fixed electronics part. This piece was inspired bythe visual image of the green forest with a dim light on arainy day. All Sho sound in this work was played by

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Jumpei Ohtsuka, a Sho player from Japan.

Jonathan Wilson, Wolf by the Ear“Wolf by the Ear" is a phrase used by Thomas Jeffersonseveral times throughout his life, as an expression of thefear of danger that threatens someone on every hand. Itis also derived from the phrase "wolf by the ears", whichhas been attributed to the Roman Emperor Tiberius bythe historian Suetonius.

Trond Lossius, EdgelandsEdgelands makes use of Weld recordings from thesuburbs of Bergen, Stockholm, Stoke on Trent, CapeTown and Windhoek. Suburbs oTers vital urbanresidential areas and infrastructures for transport andindustry. Still, they come across as bland, banal, andanonymous, haphazardly developed and aestheticallyneglected. The suburbian Weld recordings negate thedualism of nature and culture. Instead, insects, birds,wind and water cohabitate the sonic environmentalongside footsteps, voices, dogs, traUc, trains, metros,ventilation fans, aeroplanes and helicopters. The suburbsoundscape is truly Anthropocene and testiWes to currentpolitical, societal, economic and environmentalconditions. At times Weld recordings are presented as is,and at times they are layered and abstracted. Edgelandsinvites multiple simultaneous listening modes andencourages an awareness that can acknowledge,appreciate and care for these sonic environments.

Leah Reid, Sk(etch)Sk(etch) is an acousmatic work that explores sounds,gestures, textures, and timbres associated with thecreative process of sketching, drawing, writing, andcomposing.

Francesco Galante, Itinéraire (to E.Varése)Itineraires (pour Edgar Varèse) was created in 2013 onthe occasion of the 130th anniversary of the birth ofEdgar Varese. It is an electronic track based on FMsynthesis. Using a my own program, I generated a mapof 180 microevents with different morphologies that areprobabilistically distributed in a relative space of time.The map was then used both in its global structure andby extracting blocks from it. The results weresubsequently carried over time and subjected toprocedures such as compression, expansion ofdurations. The heights / frequencies of the microeventswere determined by stochastic procedures. The generalform of this music is divided into seven main sections,the durations of which have been proportioned throughthe golden section. Each section is characterized bydifferent sound "temperatures". All morphologies areobtained using a group of 4 + 4 FM blocks. The goal wasto investigate the semantic ambiguity produced by FM,when this sound synthesysis is used with effectivegestural models, and it is able to produce perceptuallevel phenomena that move between the sensation ofreality and its opposite.

Michael Gogins, Poustina Variation 6This piece for fixed medium is one in a series ofvariations on a piece, ___Poustinia___, that I originallycomposed for the 2015 International Csound Conferencein St. Petersburg, Russia. Poustinia is a Russian wordthat means desert, or hermitage. This piece, like all inthis series, is composed using a parametric Lindenmayersystem that draws a musical score in a chord space,using, among other things, operations derived from theGeneralized Contextual Group of Fiore and Satyendra.All of the sounds are directly synthesized and modulatedusing Csound. The piece is, as it were, algorithmicallythrough composed: the generative program runs, and thepiece is complete. There is no editing the piece exceptby tinkering with the program. The source code for thispiece is publicly available from my personal GitHubrepository michael.gogins.studio, under the CreativeCommons Attribution- NonCommercial-NoDerivatives4.0 International license (CC BY-NC-ND 4.0).

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Concert 10

Program

Riccardo SantoboniAqua 7'

Doug C. BielmeierOrphans in the Heartland 6'47"

Iván Ferrer-OrozocoFourth Garden: Exodus - for piano 9'28"

E Wha HongThe Blue Line 7'05"

Fabio FabbriRuah 12'40"

Maurizio AzzanEach mirror infects itself 5'10"

Francisco UbertoA pink elephant in a room 7'49"

Harrison AdamsWhere to Draw the Line 7'

Christopher CookSpectrum: I : Violet II : Blue III : GreenIV : Yellow V : Orange VI : Red 7'09"

Cort LippeMusic for Alto Saxophone and Computer 15'52"

Yevgeny Dokshansky, alto saxophone

Program Notes

Riccardo Santoboni, AquaAqua is the basilar element for what we call life: itspresence runs constantly in our temporal walk throughspace. Even if its qualities change from hard ice (soundmasses) to quite or vortex liquid aspects (line contours orcollapsed musical layers) to gas (only the reverberationshadow of water phenomena) the water essence is thecycling recurrences of two elements: hydrogen andoxygen in atomic ratio of two to one. So, the musicalform is in three parts, representing both the waterqualities and its atomic structure. The cyclingrecurrences of water are also represented by rhythmical"mechanical" sound masses and heart beats. ThePeculiar acoustic characteristic of water gurgle (modelingby cycling envelope recurrences) is also used to

"wetting" some sound events directly or not linked towater. Furthermore, it was also considered the soundquality of human voice listened through a wall of water asit happens in the depth of sea.

Doug C. Bielmeier, Orphans in the HeartlandOrphans in the Heartland explores the combination of afixed macro-musical structure with that of performerdetermined micro-musical structure. The piece evolvesover 6 minutes by the performers, who determine therepetition and ordering of small musical phrases writtenfor each instrument. The fixed computer part serves asan anchor for timing and dynamic/rhythmic growth. Theaim is to allow the performers to become co-authors ofthe work: making each performance unique, yet having asimilar over-arching shape.

Iván Ferrer-Orozoco, Fourth Garden: Exodus -forpiano- (2018)This work has been made mainly with no processedrecordings of piano sounds. From considering the pianonot as an instrument with a huge historical background inone and very defined direction, this work is the result of athorough research about the multiple sound possibilitiesof an object. Although the research has been exhaustive,the resulting work do not pretend to be a summary orcatalogue of sounds, but rather to question the conceptof piano itself. The result, as in a carefully disposedgarden, is a kind of method about the construction ofsensations. On the one hand, those related with thedesign of a bounded space which becomes a place. Awork carried out on the transformations of the fourdimentions through the manipulation of time, rhythms,textures and the acoustic space. On the other hand, theinterpretation of that place: the act of listening that tellsus more about ourselves that about the place itself. Aheterotopia which contains potentially and concentratedall the places, including the piano of Beethoven andLiszt, but also the object devoid of any historical function.

E Wha Hong, The Blue Line Fragments of sound change various ways and thosevarious sounds spread out by shimmering, scatteringand gathering. Sounds depend on each other butsometimes they exist only by themselves. In thisprocess, these small particles agglomerate together toform larger clusters.

Fabio Fabbri, RuahThe "breath" in English, or "ruah" in Hebrew, or "qi" inChinese, or "pneuma" in Greek, is the energy that giveslife, the creative energy, but it is also music. Contrary towhat one might think, it is not classifiable with absoluteuniqueness as a nodal sound: although in fact, a noisenature may be evident, it is actually in effect a splinedsound. Blowing the trumpet sound, it is sufficient to try toperform a long breath by hinting a scale whistled torealize it. Blowing the trumpet face of this sound objectonto the trumpet of a trumpet becomes even moreevident: we can indeed perceive the heights proper tothe true fundamentals of the instrument! In the present

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acousmatic piece phonemes of the human voice andtrumpet sounds interact (with techniques of crossedsynthesis and not only) in a path marked by multipleorders of subrogation aimed at highlighting the multipleaffinities between singing and brass playing: the humanvoice is the result of vibration, and the trumpet has itsvoice.

Maurizio Azzan, Each mirror infects itselfFractals seem to have the unique capacity tocontemporarily lure and unsettle us, with their relentlessproliferating at every scale of magnitude, each unitexactly alike the other. It might be the vertigo that theidea of double has always conveyed, yet the coldprecision of the unceasingly reiterated replica have asomehow monstrous, inhuman dimension that only theXXth century, through its technology and its history, wascapable of understanding. An object amidst two mirrors,as if lost between two opposite voids that endlesslyrefract it, has the same disquieting hypnotic quality asfractals. The refraction game in fact makes us looseperception little by little of what is on this or that side ofthe mirror, of what is real and what is not, until we areutterly incapable of distinguishing individuality among themultitude of replica. This work arises from the soundproduced by this wholesome. It is a work whose formwas thought of as a journey of contamination, erosion,implosion and lastly as a run to find once more thecentre between two imaginary mirrors.

Francisco Uberto, A pink elephant in a room for bassclarinet & electronics In 1814, Ivan Andreevich Krylov (1769–1844), poet andfabulist, wrote a fable entitled "The Inquisitive Man"which tells of a man who goes to a museum and noticesall sorts of tiny things, but fails to notice an elephant. Thephrase became proverbial. Fyodor Dostoevsky in hisnovel 'Demons' wrote, 'Belinsky was just like Krylov'sInquisitive Man, who didn't notice the elephant in themuseum....' The Oxford English Dictionary gives the Wrstrecorded use of the phrase, as a simile, in The New YorkTimes on June 20, 1959: "Financing schools hasbecome a problem about equal to having an elephant inthe living room. It's so big you just can't ignore it."[5] Thisidiomatic expression may have been in general usemuch earlier than 1959. For example, the phraseappears 44 years earlier in the pages of a British journal,Journal of Education, in 1915. The sentence waspresented as a trivial illustration of a question Britishschoolboys would be able to answer, e.g., "Is there anelephant in the class-room? » For me, the creativeprocess is really "mysterious", sometimes "cryptic", and Ispent an incredible amount of time pointing little tinnyproblems. It is only at the moment when I face the"elephant" when I have the impression of being in theright direction. A pink elephant in a room (2018), for bassclarinet and electronics is part of a long term creativeprocess involving visuals, literature, but also music.

Harrison Adams, Where To Draw The LineThe line between performer and instrument // The line

between music and noise // The line betweendeterministic signals flowing and chaotic feedbackerupting //// When does systematic violence overwhelmthe collective consciousness and when does resistanceerupt? // Where does our humanity begin and wheredoes systematic control end? // Acts of resistance anddisruption force system logics to bend: what is thebreaking point?

Christopher Cook, Spectrum: I : Violet II : Blue III :Green IV : Yellow V : Orange VI : Red pectrum is a collection of short movements, eachinspired by a color of the visible spectrum. Somemovements have precise coordination between theelectronics and live musicians. In other movements, theelectronics provide an atmosphere. Purely synthesizedsounds join manipulated recordings of music boxes,bells, and other instrumental and vocal sources in thesoundscape. Spectrum was written for The ProgressionEnsemble (USA).

Cort Lippe, Music for Alto Saxophone and Computer Performed by the amazing Yevgeny Dokshansky, Musicfor Alto Saxophone and Computer (1997) wascommissioned by the American saxophonist StephenDuke, and premiered by him at the 25th Annual FestivalSynthese in Bourges, France in June of 1997. Theelectronic part was created at the Hiller Computer MusicStudios of the University at Buffalo, New York, using theIRCAM Signal Processing Workstation (a real-timedigital signal processor) and the program Max that wasdeveloped by Miller Puckette and whose technicalsupport made this piece possible. The piece makes useof regular/irregular rhythmic and pitch relationships.Metaphorically, I have tried to exploit our rathercomplicated and intertwined conceptions of humans andmachines. We spend a great deal of time trying todiscipline ourselves to perform like machines: our idealof technical perfection is something akin to our idea of aperfectly working machine. Yet, we also have anotherentirely negative viewpoint towards anything human thatis too machine-like. Furthermore, we seem to have acomplicated love/hate relationship with machines ingeneral, which is exacerbated by the acceleratingreplacement of humans by machines in more and moretasks. I am not interested in using the computer toreplace musicians, or acoustic instruments. Thecomputer seems best suited to creating new, yetunheard sounds and musical relationships through theexploitation of synthesis and compositional algorithms inreal-time. Finally, it seems that in the future, as ourmachines continue to become more complicated andsophisticated, we will only become more confused abouttheir roles in our lives unless we make an effort to keepour human relationships as non-mechanistic as possible.Technically the computer tracks parameters of thesaxophone, such as pitch, amplitude, spectrum, density,rests, articulation, tempi, etc., and uses this informationto trigger specific electronic events, and to continuouslycontrol all the computer sound output by directlycontrolling the digital synthesis algorithms. Thus, the

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performer is expected to interact with the computer,triggering and continuously shaping all of the computeroutput. Some of the sounds in the electronic part comedirectly from the composed saxophone part, so that,certain aspects of the musical and sound material of theinstrumental and electronic parts are one and the same.Sound material other than the saxophone is alsomanipulated via time-stretching and granular sampling.FFT-based cross synthesis and analysis/resynthesisusing an oscillator bank, as well as other more standardsignal processing such as harmonizing, frequencyshifting, phasing, spatialization, etc. are all employed.The instrument/machine relationship moves constantlyon a continuum between the poles of an extended soloand a duo. Musically, the computer part is, at times, notseparate from the saxophone part, but serves rather toamplify the saxophone in many dimensions anddirections; while at the other extreme of the continuum,the computer part has its own independent voice.

Concert 11

Program

Rob Hamilton Elegy (Ready, Set, Rapture) 9'10"

Carlos Cotallo Solaresgenerations 1.1 7'22"

Casare SaldiccoAutumn of the Nations 3'

Kayoko NakamuraAlso Data Spruch:Brooklyn_Bridge_Automated_Pedestrian_Counts_Demonstration_Project 5'04"

Keisuke Yagisawathis is like... 7'30"

Seth A. RozanoffMixed Repetitions 9'42"

Nathan BowenInnsbruck 8'43"

Jinhao HanIllusory Wings 6'40"

Courtney BrownMachine Tango 4'55"

David BerezanRun 10'39"

Jonathan Beard Quest 8'02"

Timothy MoyersRecycled Linoleum 7'12"

Mara HelmuthOpening Spaces 8'19"

Program Notes

Rob Hamilton, Elegy (Ready, Set, Rapture)Elegy (Ready, Set, Rapture) is the second workcomposed for Coretet, a virtual reality musical instrumentmodeled after traditional bowed stringed instrumentsincluding the violin, viola, cello and doublebass.Premiered on October 3, 2019 at the Transitions Festivalat Stanford University’s Center for Computer Research in

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Music and Acoustics (CCRMA), Elegy (Ready, Set,Rapture) is a solo multi-channel performance thatcombines a pre-composed musical chord structuredisplayed on the neck of the instrument in real-time withimprovisation. Two views of the virtual environment areprojected to the audience: a cinematic camera view ofthe networked performance space as well as theperformer’s own viewpoint. Coretet is built using theUnreal Engine and is performed using the Oculus Rifthead-mounted display and Oculus Touch controllers. Allaudio in Coretet is procedurally generated, using thephysical model of a bowed string from the SynthesisToolkit (STK), running within Pure Data.

Carlos Cotallo Solares, generations 1.1generations 1.1 is part of the generations series, acollection of works in which new pieces are made bycombining and/or reinterpreting older ones. My main goalwith this series was to explore the process of writingworks derived from others, reusing my own music toproduce new compositions. Moreover, by collaboratingwith other artists, the same material can be reinterpretedthrough different disciplines and perspectives. The name“generations” connects the creative process thathappens throughout the series to the idea of humanspassing on both genetic and cultural material to theirdescendants.

Casare Saldicco, Autumn of the NationsNovember, 9 1989: thousands of East Germans take tothe streets forcing the gates in front of the powerlessguards at the checkpoints; on the other side of the wall,the West Germans welcome their brothers with openarms. The images of the fall of the Berlin Wall, as well asa few months before those of the unknown insurgent withplastic bags that challenges a column of tanks inTiananmen Square, have indelibly sculpted our era. Untilthen the world was divided between Reagan's Americaand Gorbachev's communist bloc. In the rhetoric ofHollywood films, the first one were the good guys, all theothers the bad guys. Soon, the Iron Curtain and theSoviet Union would have disintegrated and the worldwould have greeted the end of the Cold War. In thethirtieth anniversary of those events, a period known asthe "Autumn of Nations", a work of contemporaryanimation, which each frame is an accomplished drawingthat lives within a creative magma: a painting in motionthat acts as a medium for a visionary and rarefiednarration. A short film to celebrate, as well as a pretextfor a bitter reflection: after thirty years, geographicalmaps and mental borders have been redesigned in favorof a globalization that doesn’t take count of the historyand continues to raise walls in the name of divisions andpolitical aspirations.

Kayoko Nakamura, Also Data Spruch:Brooklyn_Bridge_Automated_Counts_Demonstration_ProjectData is “Facts and statistics collected together forreference or analysis” according to Oxford dictionaries.Data gives us information or knowledge through

qualitative or quantitative variables. Data tells a story.Under a concept, variables of data shape a phenomenain a certain moment and it is transformed to information.Then, data talks to us numerous stories. In this projectAlso Data Spruch, Kayoko Nakamura explores to depictdata as image and sound. Usually, data is shown asspreadsheet, graphs or charts such as pie charts, linegraph, histogram, pictograms, dot plot, bubble chart andscatter plot. She translates the spreadsheet "BrooklynBridge Automated Pedestrian Counts DemonstrationProject" from NYC Open Data website into abstractimages with an open source software and createdanimation. She also sonified the data into music. Thequantitative variables are interpreted into sound and shecomposed music using the same data as a soundsource. Invisible images in the data appear to visible,abstract animation and unheard sound of data becomesmusic.

Keisuke Yagisawa, This is like…This is an audio visual work inspired by the quotingtechnique found in the film director Jean-Luc Godard(1930-) 's "Histoire(s) du cinéma(1998)". In this film,Godard quotes and montage a vast number of filmworks, or photographs, paintings, and music, in this filmhistory. In this work, which consists of three displays onthe stage and a central projection, fragments of imagescut from various ready-made works (movies, video clips,photos, etc.) are used as quoted materials. . Thesequotations are fragmented by a unique playbackalgorithm, separated from the context of each work, andreconstructed as the viewing material of this work.

Seth A. Rozanoff, Mixed RepetitionsWe could view this merger of sound and image in MixedRepetitions (2018-), as a collision between the twoelements. Often times, it is the soundscape which canseem unpredictable with relation to the generativeimages. Here, the viewer may notice an interplaybetween sound and image, where both elements seemto have been superimposed on one another. Also, thisrelation alludes to a process of either element ‘taking thelead’, almost competing with each other. Overall, a richrange of sound material was used; processed and liveinstrumental fragments, voice, and other synthesisedsound. The image-processes alternate between twomodes of behaviour as the work moves through eachsection. https://sethroz.wordpress.com/

Nathan Bowen, InnsbruckThis piece is a one-take performance using keyboardand Ableton Push, with visual elements added after theperformance. Live performance mistakes are not editedout, but are part of an attempt to enjoy asynchronicityand missed timing chances amidst heavily automatedrhythms.

Jinhao Han, Illusory wingsThis piece is inspired by some triggers which will hint atsome emotions, and we try to use these sounds toarouse the unique psychology of every listener. We used

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a lots of skills to hide emotions in different paragraphs,like adding a greater second continuous sound to theperformance can increases the tension of the music,usedifferent techniques to repeat the same rhythm andstrengthen the comparison with the previous paragraph...we use these methods to play good sounds input tocomputer and use computer to create a variety ofinteresting atmosphere.It can enhance the viewer'sunderstanding of music.

Courtney Brown, Machine TangoIn Argentine tango, dancers typically respond to fixedmusical recordings with improvised movements, eachmovement emerging in a wordless dialog between leaderand follower. In the interactive work Machine Tango, thisrelation between dancers and music is inverted, enablingtango dancers to drive musical outcomes. Motionsensors are attached to dancer limbs, and their data issent wirelessly to a computer, where algorithms turn themovement into sound. In doing so, the computer insertsitself in this on-going nonverbal conversation. Instead oftraditional tango instruments such as the bandoneón,dancers generate and transform the sounds oftypewriters and found sounds. System musical responseto movement shifts during the dance, becoming morecomplex. The two dancers must navigate the resultingunstable musical structures as one body, respondingwith stylized tango movements.

David Berezan, RunRun is an audio-visual composition comprising the firstoutput of the SoundRunner research project, aninterdisciplinary collaboration bringing electroacousticmusic composition together with sport and exercisescience. The work was premiered at the EASTN-DCconference on 10 November 2019 in Stockholm,Sweden. The source material for Run consisted ofrecordings of running sounds, including footfalls, breath,and the vocal and body noise of a runner (thecomposer), alongside running environments, as well asassociated video recordings. Training runs on theTransPennine trail in Manchester, UK as well as FishCreek Provincial Park in Calgary, Canada were used forsource-material collection. Recordings were capturedfrom both the runner’s own and observer perspectives.The methodology included the use of miniaturemicrophones mounted to running shoes forclose-microphone recordings of foot impacts as well asfor the internal sound and movement of the running shoeitself, thus allowing the work to capture the inherentrhythm and motion of the running experience.

Jonathan Beard, Quest Quest is the opening piece from Jonathan Beard'selectroacoustic Ritual Suite. As part of an exploration ofagnostic devotional repetition, Quest presents a sonictableau of ambiguous stillness combined withapprehension of explorative tensions to come. The piecefalls roughly into four sections of equal length butincreasing timbral depth, each journeying organically intothe next.

Timothy Moyers, Recycled LinoleumThis piece is an audiovisual reinterpretation of my olderaudio piece Linoleum. The sound material for the piecewas generated by sonifying a PDF document of an oldPro-Tools manual. The synthetic nature of the audio isreflected in the visual component.

Mara Helmuth, Opening SpacesOpening Spaces evolved from my contribution to acollaborative virtual reality installation project. I usedPython scripts to make Menger Sponge models inBlender, which were then brought into Unity 3D for thevirtual world with RTcmix sound algorithms. I wassurprised that virtually experiencing these structures hada nurturing and relaxing effect on me. For this piecevideo segments were created in Unity and edited inFinal Cut Pro.

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Concert 12

Program

Jon NelsonWhen Left to His Own Devices 8'40"

Maria MykolenkoWind and Shadows 7'

Liona KuoHorology 7'

Matteo GiulianiSynthesizing Hildegard 10'34"

Kris PeysenMoog Dreams 6'45"

Mauro Agagliatedies mei transierunt...Libera Me 7'03"

Wayne DeFehrOn Impulse Manipura Chakra 18'32"

Ryne Siesky...grind... 8'13"

John RitzChance Designs n.4 8'

Rosa Maria NollyPolar 7'09"

Sean PeuquetOn the transparency of seeing through 5'17"

Pablo BasPiedras 4'12"

Program Notes

Jon Nelson, When Left to his Own DevicesI have often thought of myself as a collector, or perhapsmore accurately a hoarder, of sounds. These soundscome from a number of sources including householditems, children’s toys, musical instruments, andenvironmental recordings. The act of manipulating thesesounds and placing them in a musical context is aprocess that relies both on compositional strategies andsoftware tools that I have developed. This workrepresents one possible result when left to my owndevices.

Maria Mykolenko, Wind and ShadowsThis fixed media sound scape is about contrasts asportrayed in sound. The contrasts between natural andhuman sounds, the contrasts in the sounds of fairy talesbeing recited in two different languages, the sounds ofsinging versus the sounds of instruments. These serveto illustrate in sound a motion between past and present,the real and the imaginary. The piece explores theconnection between memory and the present.

Liona Kuo, HorologyThis piece comes from the sound source of Piano, whichis also constructed by many subtle parts. The title"Horology" means "Art of designing and constructingclocks." By using the internal sound of the piano as thesound material. Like the components in the watch parts,the original sound is re-edited, designed and transmitted.The pitch change and particle synthesis techniquesprocess the sound into small pieces for manipulation,and the process of design creation and the final productbecome the “Horology”.

Matteo Giuliani, Synthesizing HildegardBorn in London, the well-know neurobiologist OliverSacks (1933-2015) mainly works in New York, where hemoves as a young man. His love for music (Sacks wasan amateur piano player) brings him to develop interestabout its effects on brain. A whole chapter of his book"Musicophilia" is dedicated to Hildegard Of Bingen(1098-1179) a German composer, writer and mysticwoman whose visionary experiences are explained bySacks like multi-sensory allucinations and synesthesias,as the result of the heavy migraines from which sheprobably suffered. In Synesthesing Hildegard: an auralvision, excerpts and elaborations of various Kyriescomposed by Hildegard together with (and opposed to) asingle Kyrie chosen from the Roman Graduale (sung bythe performer and developed through real time filters)build the composing material of the piece. This way,different musical sources (Hildegard, the RomanGraduale) and different media (recorded sounds, liveones, real-time elaborations, ...) explore - through theunifying frame of the human voice - the meta-idea ofKyrie: an invocation, at first personal and collected, thatbecomes - just like in a vision - anguished anddesperate. And all almost within a single breath.

Kris Peysen, Moog DreamsThis piece was created using sounds captured from aMoog synthesizer. Originally started as an assignmentfor Electronic Music class, it gradually morphed into anattempt by myself to apply the same dedication, attentionto detail, and—above all—sense of emotional trajectoryto a fixed media piece that I had heretofore reserved foracoustic music. The result is what I consider to be myfirst true “piece” in fixed media. Particular areas I paidspecial attention to in this piece were the frequencyspectrum (i.e. EQ’ing), panning, dynamic range, andrhythmic density. If machines dreamed, perhaps it wouldsound something like this.

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Mauro Agagliate, dies mei transierunt…Libera MeBased on "Dies mei transierunt", a Mozarabic chants ofthe 7th-8th century A.D. The interest and the passion forthe pre-gregorian chant, above all regarding itsre-reading in a contemporary repertoire, born from arecent collaboration with the University of Bristol (UK),particularly with the Old Hispanic Office, promoter of acomposition competition that led to a commission of anew work for the Kokoro Ensemble, presented inpremieÌre in February 2017, at the Victoria Rooms ofBristol.

Wayne DeFehr, On Impulse Manipura ChakraFrom the sun, with a radius of 696,000 km, to anewborn’s heart, which is the size of a walnut, everythingis alive with sound and is said to originate with sonicvibrations. As Joachim-Ernst Berendt writes soeloquently in The World is Sound: Nada Brahma. Musicand the Landscape of Consciousness: “Many of theworld’s cultures have passed down sagas and myths,legends and tales in which the world has its origin insound” (174). This piece for the NYCEMF 2020 VirtualFestival explores these worlds, with audio data used withpermission from the University of Alberta PhysicsDepartment’s CARISMA (Canadian Array for RealtimeInvestigations of Magnetic Activity) as well as from the Uof A Hospital’s Division of Pediatric Surgery. My hope isthat this sonic journey also brings peace, calm, and . . .quiet to the heart of the listener.

Ryne Siesky, …grind…Each year, approximately five-hundred billion plasticcups are used, of which roughly six billion cups end up inlandfills every year. ...grind... is an 8.1 channel fixedmedia piece in which a one-second sound file, of aplastic Keurig coffee pod hitting the floor, is morphed intomore destructive sound forces, symbolic of the faultybusiness and political ideologies that ultimatelycontribute to a lack of environmental sustainability.

John Ritz, Chance Designs n.4Chance: a possibility of something happening. Design:purpose, planning, or intention that exists or is thought toexist behind an action, fact, or material object. The Trioof Chance Designs explores notions of chaos theorywithin the context of sound. A networked system ofmusicians, instruments, microphones, loudspeakers, anddigital signal processing algorithms is established - thereis a possibility of something happening. From the veryfirst sound produced (system input), a process ofinteraction between the musicians and computerproceeds purely in the sound domain. Musical form(design) is then considered an emergent property of thisdynamical system of sonic interactions.

Rosa Maria Nolly, PolarPolar is a meditation about time and unity. One situationis progressively intervened by its setup device, and in thepotentiality of that interference resides the actualgrammatical evolution of the piece. The title derives fromthe concept of polarization, in a physical as well as in

political sense given that the entire piece is constructedfrom a progressive process that involves the dualism(division) of a single core. The material of the soundmostly consists of processed audio from two harmonicsounds of a baritone saxophone.

Sean Peuquet, On the transparency of seeingthroughR. Murray Schafer pointed out in 1977 that oursoundscape is increasingly lo-fi, often the sound of trafficor, especially at the Atlantic Center for the Arts wherethis piece was composed, planes. While quiet is harderto come by, there are wonderful new sounds too, like thespray-paint can clicking of a hard-disk failure or poweringon a belt sander. And yet, we increasingly fetishize areturn to not just natural soundscapes, but the natural.Once we frame nature as being different (as a thing toreturn to), reality becomes an appearance of itself—obfuscating the naturalism of architecture,pharmaceutics, and software engineering under a guiseof transparency. Are we ourselves not the nature towhich we desire to return? In the "broken" appearance ofthis composition's soundscape, perhaps we can hearourselves in relation to the natural world as, echoingWilliam Carlos Williams, "touched but not held, moreoften broken by the contact."

Pablo Bas, PiedrasPiedras is an electroacoustic musical piece created for achoreographic work that tells the story of the city ofTandil, Argentina, from its remote origins. The city islocated on a geological formation that is one of the oldestin the world. The music narrates the first moments whenthe place experienced the transitions from "not being" to"being". Tectonic movements and other natural agentsare both symbolically and materially present through thesounds of rocks, stones, pebbles, earth and othergeophonic elements.

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Concert 13

Program

Ken SteenICE IS WATER IS ICE IS 23'17"

Gene Gort, videoMegumi Masaki, piano

Kevin M. KayeSnare 5'38"

Luca ForcucciAlerta! 10'30"

Kim HedåsDense 12'

Chris ArrellThree's a Crowd 8'28"

Ellie Parker, saxophone

Dai YongbingZui Huayin 3'11"

Ursula Kwong-BrownI Should Have Taken the Train 14'53"

Raphael RadnaFive Songs 9'26"

Michelle Lee, fluteRaphael Radna, electronics

Yong Hyun ChoGrowling for snare drum and live electronics 7'36"

Program Notes

Ken Steen, ICE IS WATER IS ICE ISICE IS WATER IS ICE IS stems from an idea concerningchanging states of being, in this case of water. Thelinguistic play of “states” also refers to actual changingterritories or locations of migration. It is intended to serveas a call to individual action, essential pieces in thepuzzle of slowing, stabilizing, or even reversing, thenegative effects of climate change. I. eleven words useof 11 words in Icelandic, Swedish and Finnish as vaguelydistant sonic recollections or imaginings of water in theforms of snow and ice. II. tippua droppa dreypitranslates as drip drip drip, in Finnish, Swedish andIcelandic respectively. A metaphor for the slow butsteady migration of Nordic peoples to Manitoba,intertwined with evocations of melting glaciers, snow

pack and ice Welds. This movement uses the amplitudeof the live piano to advance the video of a downpour,frame-by-frame, as though the piano is generating therain. III. iceblink a white light seen near the horizon,especially on the underside of low clouds, resulting froma reXection of light off an ice Weld immediately beyond: aphysical manifestation of the perception of lighttransformed, as well as a metaphor for hope throughmigration.

Kevin Michael Kay, eSnareThe goal of this piece was to capture the acousticresonance of a snare drum within a fixed media trackand then to engulf the sounds of a live snare drum withinthis acoustic resonance. I wanted the timbral changes ofthe piece to guide the listener through a journey, mainlystructured by the type of mallet/stick and the use of thesnares. All sounds heard in this piece are from a snaredrum, occasionally supplemented with a single crotalefor some extra flavor.

Luca Forcucci, Alerta!Alerta ! is a poem of the Brazilian author Oswald deAndrade about resistance and love. The composition is aprocess based work: The poem told by the composerJorge Antunes was recorded in Recife (Br). Graphicscores were then given to the ct Noémie Braun, and thepercussionist Lucas Gonseth in La Chaux-de-Fonds(CH). The resulting material was recorded andrecombined, brought forward in Switzerland, in Portugal,now interrupted by the pandemic until its unknown finalform.

Kim Hedås, DenseThe music of Dense is based on ideas of spatiality inrelation to time. Spatial and temporal changes in themusic's movements provide a continuously changingpolyphony. Imaginary sites, rooms, positions anddirections are the basis of the music. Perforations, holesand voids from the sound material are superimposed,while structures with varying degrees of density arecreated. The music alternates between becoming dense,packed or airy. In Dense, the imaginary room is dark andlacks the bottom, the room slowly draws the musicdown and sinks deeper towards the darkness.

Dai Yongbing, Zui Huayin - for clarinet andelectroacoustic musicZui Huayin is a work that creates a clarinet andelectronic music with a mentality of depression. Thepoet said “the mist is thick and the clouds are sadforever. The festival is again Chongyang, the jade pillowscreen cabinet, cool in the middle of the night. AfterDongli turned the wine into dusk, there were subtlefragrance sleeves. Modao does not dispel the soul, thecurtain rolls the westerly wind, and the person is thinnerthan Huanghua.” It uses D and A tones and overtone todevelop and change the theme. Meantime rafraction ofmy depression.

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Ursala Kwong-Brown, I Should Have Taken the TrainI should have taken the train tells a true story of sexualassault. The text is by Hannah Howard with voicerecordings by Molly Carden. In the wake of therevelations of the “Me, too” movement, at a time when itseems like we should all feel free to confront ouraggressors, I wanted to tell a story which was not soclear, not so simple. A story that is not about theblack-and-white of a perfect victim and villain, but insteadexplores the nuance of real life. A story in which therapist is never confronted, and instead the victim suffersfrom years of painful self-recrimination. It is a commonstory: given the grim statistics about sexual assault, it issafe to say that we all know someone to whomsomething like this has happened. Most “Me, too”incidents will never be reported and most aggressors willnever be identified. Only in sharing our stories can webegin to feel less alone. My hope is that hearingHannah’s story will help people to understand andempathize with the hidden trauma that surrounds us.

Raphael Radna, Five SongsWith my interactive electroacoustic music, I seek toshape the expanded sonic possibilities of digital soundsynthesis and signal processing with the organicexpressivity of human performance, and I am particularlyinterested in using data derived during performance tomold independent musical voices. In Five Songs,analyses of the flute performance drive theelectroacoustic music, modifying the various parametersthat affect its realization in a way that is closely related tothe flutist's sound and gesture. Each part extends themusical capabilities of the other; at times, they fuse intoa compound voice that is simultaneously narrative andabstract, and at others they oppose one another in starkrelief. Inspired by the poetry of Stephen Crane, the fiveshort sections of the work manifest contrasting moods,interaction strategies, and approaches to material.

Yong Hyun Cho, Growling for snare drum and liveelectronicsGrowling attempts to capture the sound of hundreds ofdropping ping pong balls. Ping pong balls that dropfeebly due to force of gravity represent a person who islost with despair. The shouting – the way in which oneattempts to find one’s self – is easily disregarded,however, one ultimately navigates one’s own path byshouting continuously. Keyword of this work, such as“Shouting” and “Growling” is expressed as series ofexperimental sounds, amplified through a snare drum.Part of a tape and the image of circle repeatedly drawnby a performer symbolize the repeatability of life. MaxMSP was used in creating part of the audio.

Concert 14

Program

Fred SzymanskiPoint Sink 7'45"

Abby ArestyInkling 8'48"

AM DeVitoVacillations INside 3'03"

Andrew McManusimpulse response 8'20"

Justin Massey, saxophone

Bennett Hogg and Merrie SnellReflected Absence 8'54"

Beth WiemannLake Chatter 6'13"

Beth Wiemann, Bass Clarinet

Cecilia SuhrCovid-19: Cognitive Dissonance 3'53"

Enrico DorigattiXeno 3'41"

Serge BulatInkblot 10'13"

Erich J. BarganierThe Taxidermy of Negative Space 9'12"

Chace T. WilliamsHydrangea 6'58"

Austin Windau, video

Libby FabricatoreElectrotropism 7'07"

Giuseppe DesiatoTopos 3'45"

Sylvia PengillyFractured Realities 6'16"

Program Notes

Fred Szymanski, Point Sink (2019)Point Sink explores the interplay of sound and image in aconstellation of fragmentary parts. Extending andcompressing the flow field around a cone vertex creates

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a non-linear radial flow in which the surface is alternatelyabsorbed and annihilated. This visual element, coupledwith sound encompassing a multiplicity of time scales,produces a network of interactions at the micro-level ofsonic design. I would like to thank Marcin Pietruszewskifor sharing his New Pulsar Generator (nuPg), anextension of the Pulsar Generator software created byCurtis Roads and Alberto de Campo. Note: This videocontains flickering frames that may affect viewers whoare susceptible to photosensitive epilepsy, or otherphoto-sensitivities.

Abby Aresty, Inkling (2019)In Inkling, I explore the raw materiality of found objectsthrough the real-time creation of a graphic musical score. Objects are affixed to contact microphones, dipped inpaint, and then moved across the surface of a blankpiece of paper to create the score. This process is ameditation on the objects’ different sizes, shapes, andtextures; the resulting score is an artifact of the gesturalexploration of the physicality of these materials overtime. Inkling is a score that almost anyone can play. Itcreates a hybrid, multimodal experience—a counterpointof sight, sound, and touch—that repurposes the idea ofgraphic notation to invite playful, musical interactions thatare available to lay people and to amateur andprofessional musicians alike.

AM Devito, Vacillations InsideVacillations Inside is an intentional copacetic dialoguebetween the aural and visual in the creation andpresentation of an electroacoustic composition. Thecareful consideration of the relationship between thelistener/observer and the composer drives the entireprocess, from the initial extraction of raw material fromthe Deeper A-100 Analog Modular System, to the sounddesign and finally the audiovisual composition as awhole. Does having a visual assist in reaching a broaderaudience for an EA composition? Does it help the lessexperienced listener feel they can appreciate thiscerebral art? May it make it more approachable andaccessible? Do the abstract visuals assist in expressingabstract sounds? Does having a visual connection tounfamiliar sounds create a more solid relationship withthe piece for the listener? Vacillations hopes to take theelectroacoustic composition into the playful domain whilestill expressing and challenging an important, humanconundrum. Change.

Andrew McManus, Impulse ResponseImpulse Response is part of Neurosonics, a long-termcreative project that grew out of my collaboration with aneuroscientist. The neuroscientist's lab putshippocampal rat neurons on multi-electrode arrays,stimulates them and studies their behavior, with the goalof better understanding epilepsy in humans. I took aninterest in this research because I have epilepsy myself,and I've created several electroacoustic works so far thatdraw on data from these experiments. In neuroscience,an impulse response is the reaction of a neurologicalsystem to a brief stimulus. Studying impulse responses

can provide insight into the neurological structures thatcontribute to epilepsy. This piece uses neuroscientificdata to craft three- dimensional sounds that modelimpulse responses. The saxophone serves as both atrigger for these sounds, and as a lyrical and virtuosic foilto the chaos they create.

Bennett Hogg and Merrie Snell, Reflected AbsenceReflected Absence responds to sculptures by Chineseartist Qi Yafeng. These large polished steel sculptureswere exhibited in the UK during 2018 but returned toChina in early 2019. The aim of Reflected Absence wasto create a work in the absence of these dramaticpieces, after they had been removed from the originalsite. Inside the sculptures the sounds of the outsideworld resonated in unexpected ways, and the windblowing over one of them made it behave like anenormous flute, generating low hollow drones; birdsongwas also transformed, as was the sound of pine conesrolling over the metal surfaces. The idea emerged tomake a piece from the sounds of the place as they wereheard from inside the sculptures. This is complementedby video footage of views of the landscape reflected inthe polished surfaces, bringing the visual and acousticproperties of the sculptures into dialogue. The pieceincludes the Northumbrian folksong, "Bonny at Morn",also recorded from inside the sculptures. Digitaltransformation of the sounds builds up a sense of placeexperienced in the presence of the sculptures, eventhough they are themselves now absent.

Beth Wiemann, Lake ChatterLake Chatter is a solo clarinet piece that is focused onsome simple extended techniques for the instrument.These multiphonic-style tremolos are performed over avideo that uses footage of skipping stones and "chatter"stones to form a sometimes comic accompaniment tothe solo lines.

Cecilia Suhr, Covid-19: Cognitive Dissonance This audio-visual work explores how covid 19 hasallowed an individual to experience “cognitivedissonance” during the lockdown period. As themainstream media narratives conflict with the alternativeand independent media narratives, a woman willfullyundergoes painful and inner quests for truth andrevelations. The sonic expression and visualrepresentation simultaneously capture the dissonance,angst and confusion which later turns into a pivotaltransformative and awakening moment.

Enrico Dorigatti, XenoXeno is a multimedial, audiovisual work based on a b/wvideo elaboration by Luca Truffarelli. It is built on thestrong, dense and continuous interlacement betweenaudio and video, that is enhanced through the wholeduration and leads one to wonder which of the twocomponents -sound or images- is cause or consequenceof the other. “Xeno”, a greek word indicating somethingextraneous, describes perfectly this work. IIts maincharacteristic, in fact, is the fast and continuous mutation

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of the images, which, while remaining firm on somecommon points for the whole duration, change rapidlyand seamlessly, in unpredictable shapes and coloursthat, not finding any reply in a known and agreedmeaning, force mind to a compulsive decoding work,which results however vain because of the suddenchanges. On the other side, sound, imposing itself as afaithful transducer of the cryptic message explicitated byimages, even though it recalls to schemes and soundsvaguely more recognisable and interpretable, is anyway,now more and now less, strongly entwined to its visualcounterpart, clearly manifesting its own intention not toact like a mediator and translator in the process ofassimilation and comprehension of the meaning.

Serge Bulat, InkblotInkblot is a multimedia experience designed to triggerthe listener's imagination and to demonstrate our uniqueability to process data and create a "personal reality"construct. Much like in the psychological evaluation, theaudiovisual inkblots are expected to produce anassociation or feeling, which the audience interpretsuniquely. The project takes the standard test one stepfurther by including an additional sense: hearing; andaims to reveal more information about ourselves.

Erich J. Barganier, The Taxidermy of Negative SpaceThe Taxidermy of Negative Space was inspired by theliminal spaces between positive and negative childhoodmemories. Growing up, I wasn't allowed to watchtelevision unless it was educational. The televisionchannel TLC used to air programs about surgicalprocesses and featured a heavy amount of fairlydisturbing surgery footage in each show. For somereason, my mother thought this was appropriatetelevision content for a child and allowed these shows.When I watched them, I was happy that I could watchtelevision, but disturbed by the content. Thinking back onthis memory, I realized I have a wide range of similarstrange memories that aren't quite happy or sad, but theydefinitely seem like they were key in my psychologicaldevelopment. This work explores this particularexperience and exists in the grey zone betweenemotional states. The piece was created using a varietyof sound and textures designed and produced inSupercollider. The video was collaged together fromfound footage and then databent in the programAvidemux 2.5 to form the final video content.

Chace T. Williams, HydrangeaHydrangea is a multi-media playback piece composed in2020. Wild hydrangea's come in a wide range of colorsand shapes. The audio utilizes morphing droneschanging in pitch, timbre, and color to represent theflower's natural variety. Similarly, the video uses a varietyof high contrast colors and light movement to emphasizethis variety. The images shift in a consistent stream likethe genes of the flowers. The project was a collaborationbetween composer Chace Williams and videographerAustin Windau.

Libby Fabricatore, ElecrtrotropismElectrotropism is an ambient, visual music process piecethat begins with a bell ostinato, to which granularelements, percussion elements and drones aresubsequently added, eventually devolving into entropybefore resolving back to the bell ostinato. Both bells anddrones have various effects applied in order to obtain adescending, shepard tone-like effect in different places,while percussive granulations and random bursts ofwhite noise erode the structure to complete noise, beforereturning to its initial state. The visuals follow the musicclosely in terms of synchronization and density. A visuallanguage is established and erodes along with the music;foreshadowing chaos, descending into random visualnoise, then re-emerging to its original structure.

Giuseppe Desiato, Topos“Someday, men will visit ideas instead of

places.” ¯ Toba Beta.The audiovisual work Topos (from Greek ôüðïò, literally‘place’) arises from the interpretation, the analysis, andthe manipulation of topological and abstract surfaces.Earth data, combined with generative processes, areused to give birth to new imaginative places. Whatdefines a place? Is it an object able to identify it? Can alight determine a place? Till what point of subtraction orabstraction we are still able to perceive the idea of aplace? Through the use of 3d-generated visuals, I amexploring the possibilities of a non-existent place, thesensations produced by its presentation, and thespontaneous mental associations that it creates.

Sylvia Pengilly, Fractured RealitiesContemporary theoretical physics suggests that theremay be many other universes co-existing with ours, amultiverse, in which some of its inhabitants may besimilar to our own, while others may be unimaginablydifferent, each possessing its own unique reality. In thisvisual/music piece, each reality is represented by a shortvideo clip accompanied by its own music. These realitiessoon begin to fracture, to break down into fragments thatrecombine with each other and, after the manner ofrecombinant DNA, form new realities, some of whichappear to be totally unrelated to the original material fromwhich they were generated.

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Concert 15

Program

Marc Aingerfor Carolyn 7'09"

peformance by Sonic Arts Ensemble

Vladimir VlaevPervade the Space 12'34"

Mattia BenedettiInner Life of an Unseen Clock 10'33"

Neal FarwellGarvity's Horizon 8'41"

Trio SonoreKarin de Fleyt, Flute

Alfia Nakipbekova, CelloJakob Fichert, Piano

Burton BeermanRecollection of Gifts 8'57"

Juan Carlos VasquezA landscape of Events 4'42"

Matthew Bardin4Vois 8'23"

Kelley SheehanA Series of Colors: Blue Noise 7'33"

Joshua Perry, percussion

Samuel BeebePretty Saro Orbital 8'46"

Samuel Beebe, guitar Joseph Bohigian, piano

Robert Cosgrove, marimba Eric Lemmon, synth Chelsea Loew, guitar

Taylor Long, vibraphone Niloufar Nourbakhsh, piano

Eric Lemmontoy_5 6'00"

Samuel Beebe,Joseph Bohigian,Robert Cosgrove,Eric Lemmon,

Chelsea Loew,Taylor Long,Niloufar Nourbakhsh, laptops

Program Notes

Mark Ainger, ...for Carolyn...for Carolyn is a piece about listening. It is a scoredpiece that includes improvisation. By listening, we areable to understand and extend each other's gesturesthrough sound and space. In this case, all of the sound isinitiated by the flute and cello. The instruments arepaired with iPads that record the instrumentalperformances into buffers in the moment, then transformtheir sound. The instruments listen to the transformationsof their sound and play with the transformations. There isa central mixer who mediates the whole and may addother transformations. The piece becomes a five wayconversation with flute, cello, and their varioustransformations. Brief technical notes: The central patchis located on the laptop (created with Max/MSP/Jitter),and is controlled by the person acting as mixer and alsoremotely by iPads using Mira. The Reactable in thisvideo is not being used in this piece (it is used in anotherwork from which this concert video is taken) except as away of displaying the visual icon for the work.

Vladimir Vlaev, Pervade the SpacePervade the Space is a multichannel instrumental & liveelectronics performance which creates an originalrelationship between the input of a physical gesture of amusician, the derived artistic sound output and its spatialdistribution. It is also an exploration of the capabilities ofa digital processing engine developed to transformacoustic sound in real time. This live electronicsperformance is a solo set in which the performerinteracts with the computer in a balanced relationship inorder to create a memorable spatial sonic experience forthe listener. It explores unconventional instrumentalapproaches as well as compositional strategies appliedin real-time improvisatory domain. Furthermore, theperformance delves into the magnetic properties of thehexaphonic pickup used as a sound source and as aninput for a physically - digital multichannel feedback line.The sound transformations occupy the broad spectrumof musical expression between immersive slowlyunfolding and evolving textures and emerging sharplyarticulated grainy sonic entities. HexApp is an instrumentwhich could be described as a hybrid ….., acoustic -digital hybrid, naturally - artificial, traditionally - innovative hybrid of 6 independently depending on each other,unpredictably predictable constituents of a dynamically -motionless soundscape.

Mattia Benedetti, Nel Buio"I heard the tick of Saint-Loup’s watch, which could notbe far away. This tick changed its place every moment’for I could not see the watch; it seemed to come frombehind, from in front of me, from my right, from my left,sometimes to die away as though at a great distance.Suddenly I caught sight of the watch on the table. Then Iheard the tick in a fixed place from which it did not moveagain.” Marcel Proust (trans: C K Scott Moncrieff) TheGuermantes Way.

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Neal Farwell, Gravity’s HorizonCosmology: the event horizon of a black hole is aboundary from which no light, no matter, can escape,and no information can flow. Metaphor: the creasebetween death and transcendence. Orbiting the Earth:the 'thin blue line' of the atmosphere divides the planetfrom open space. Yet it takes great energy to escapefrom the long gravity of the planetary mass. On theEarth: we walk and talk and Nature flies. Gravity'sHorizon was commissioned by Trio Sonore and theBrigstow Institute of the University of Bristol. It was adelight to work with the Trio; and Brigstow provided acreative stimulus in their multi-disciplinary researchtheme of 'Living Well'. I chose to explore questions ofliving well at the edge of life. Gravity's Horizon isconceived as chamber music for the acousticinstruments and computer. The computer acts as afourth instrument, created in custom software for thispiece, whose unique sonic contribution meshes with thatof the flute, cello and piano. (The flutist also plays a largedrum.) As with the instrumental parts, the computerrealises its own fully scored material, performed on thisoccasion by the composer. The video is of the concertpremiere, presented in a shortened version at the publiclaunch of the Brigstow Institute, 13 October 2016. Thefull-length version of the work (17 minutes) waspremiered on 7 February 2020, and was to have featuredlive at NYCEMF 2020.

Burton Beerman, Recollection of GiftsRecollections of Gifts is a fixed- media composition thatdraws some of its source material from liveperformances of Gifts, an original composition for violinpiano and dance ensemble. Recollections of Gifts existsas an acoustic memory of Gifts and it quicklyinterweaves to another dream-like world of suggestivememories of the violin and piano then reverts to itsoriginal source material. Much of it is digitally modifiedbut some is presented as unprocessed fragments,keeping true to its organic form. The open musicalstructure of Gifts was influenced by the music of JohnCage, whose open-form and improvisation were guidedby arbitrary aides such as I-Ching. In the case of Gifts,the choices are given by the composer. Rather thanavoiding compositional decisions, a range of choices isgiven to infuse the performance with a sense of aninnate organic spontaneity. Recollections of Gifts is notbound by order or content but has only one arrangementsince it is fixed-media and is intended to be available toaudiences as listening material and as an audio sourcefor dance.

Juan Carlos Vasquez, A Landscape of EventsA Landscape of Events is a piece heavily influenced byPaul Virilio's homonymous book. Is a sonic reflection onhow the perception of time is distorted by the pacing oflife portrayed in contemporary media, always in constantacceleration. The piece, like the book, presents anamalgam of seemingly disjointed content, or "sets ofcontradictions in an accelerated and miniaturized world"(Moran, 2004)

Matthew Bardin, 4VoisThis work explores various timbres and sounds achievedby the vocalist, as well a different alterations createdthrough live electronic processing. While the electronicscoordinator is following a set score, the vocalist ismaking their own decisions in regards to the sequence ofthe phrases because ultimately this is a piece 4Vois.

Joshua Perry, A Series of Colors: Blue NoiseWhen you take a significant gap out of white noise, youproduce a short term auditory illusion similar to tinnitus,called a Zwicker tone. While its general register can becontoured, the pitch heard, or not heard, by theexperiencer cannot be predicted by the creator of thetone. This piece works with this phenomenon to blur theline between my experience and that of the audience.Furthermore, the experience of one audience member tothe next. Using the zwicker tone as the raw material,along with accompanying video and notated snare drum,A Series of Colors investigate this auditory illusionthrough the listener's perception.

Samuel Beebe, Pretty Saro OrbitalPretty Saro is a tune I Wrst heard from a Jean Ritchierecording with Doc Watson. I was immediately struck bythe simplicity and power of both the performance and thetune and lyrics. Later on I heard Peggy Seeger do it onone of her albums, and it sort of lodged the song in mymind ever since – I’ve always wanted to make someinterpretation of it. So, with Pretty Saro Orbital, havetapped Brian Eno’s procedure of rotating tape loops fromhis album “Music for Airports” as a method to cope withthe lack of precise synchronization of parts due to thelimitations of remote performance via video conferencingand unstable home internet connections. The material,sourced from the traditional song, is presented with anopen scoring, and is played to a shared (albeit erratic)metronome, which remains silent to the audience. I ampleased by the way this project has allowed me toexplore and remodel these two sources and make themmy own.

Eric Lemmon, toy_5toy_5 dedicated to playfulness, the figure of the cyborg,academic fantasies of metaphors mobilized, cats, andparticipation.

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Concert 16

Program

Dariusz MazurowskiMadmen in the Snow 10'28"

Ulf Holbrook Tessellation Rift 6'58"

Wanjun YangDTMF 6'55"

Julius T. BucsisThe Message 2'38"

Robin Meeker-Cummingsgyrate 8'57"

Ni ZhengAlyssal 8'

Léa BoudreauQuatre machines pour sauver le monde 12'19"

Roy Guzmanx = sin(xß) 9'54"

Simon HutchinsonSUMAHO SAKEBI (“smartphone screams”) 6'15"

Candida BorgesMutations 3'36"

Stevie SutantoClipping Dream 5'29"

Robert Scott ThompsonOf Loriot and Memory 14'

Program Notes

Dariusz Mazurowski, Madmen in the SnowMadmen in the Snow is the second part of a large-scaleelectroacoustic composition The Destroyer of Dreams,which may be performed as a separate piece also. It is avery personal work, dealing with thoughts of happiness.Madmen in the Snow contains a large collection ofvarious sounds – pure electronic, synthesized, concreteand many others. In this particular case, the whole sonicspectrum have been processed with both analog anddigital tools to gain rather complex, hybrid textures.Composed and recorded at the De eM Studio, betweenApril 2015 and June 2017. Main audio sources for this

composition include complex analog, digital and hybridsynthesizer patches, various textures created with theuse of phase vocoder technology, analysis andresynthesis of various sources. For the multichannel mixvarious advanced software processors were used toobtain a faithful spatial diffusion of the sounds. Premiereperformance: April 15, 2018, Vox Electronica 2018festival, Gunpowder Tower in Lviv (Ukraine).

Ulf Holbrook, Tessellation RiftIs there an inside and an outside of a sound?Tessallation rift is a 3D, higher order ambisonicsacousmatic composition which explores theinternal/external problematic of sounds. Ordinarily,sounds arrive at our ears from a source located outsideof ourselves, from our surrounding environment. Is therea way in which we can not just listen to the sound but inthe sound? This piece explores the rich multiplicity ofsounds and spaces.

Wanjun Yang, DTMFEvery people may encounter some emergency situation,and need the help of police. They need to dial thenumbers on the phone. The sounds of 911 may be thehope of the people in need. In this piece, I generated thedialing sounds of 911 in Csound, in order to simulate theanalogue phone call, I used the DTMF way to generatethe sounds. I believe the sounds of 911 is so importantand unforgettable to every people in danger, and thesounds of 911 will not always be the same in the wholeprocedure of the emergency, the feeling will be changedin different periods. In this piece, I used doppler, reverse,pvsBlur, pitchShift and some other Cabbage plugins tosketch a scene of a building on fire, and some people indanger were rescued and came back to life. The form ofthis piece is A+B, part A is building on fire, part B is therescues. I programmed a simple patch in Csound togenerate the DTMF sounds of analogue telephone, andexport the sounds of code "9" and "1" as wave files, assource materials of this piece. I choose some FXs inCabbage, then exported as VST plugins. I copied theCabbage VST plugins dll files which works correctly intoVST plugin folder, and indexed them in DAW. I importedthe material files into DAW, then I processed the soundswith Cabbage VST plugins to modify them, used differentCabbage FXs in FX chain to get new sounds. Aftergetting all the sounds, arranged them in timeline, andinserted Cabbage FXs to the tracks, and used theenvelope to modify the parameters of FXs of the track. Inthe console of DAW, I used automation of pan, fader andother parameters to mix all the track, then usedcompressor in Main out and mastered the piece.

Julian T. Bucsis, The MessageThe Message was inspired by the idea of humanityreceiving a communication from an extraterrestrialcivilization. The piece is constructed of frequenciescorresponding to several mathematical constant

Robin Meeker-Cummings, Gyrate"The long tradition of metamorphic fables often plays on

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the classical separation of body and soul, matter andform—an understanding of form and structure fromwhich the concept of system is absent. As a narrativedevice, metamorphosis can either favor a mutualinterplay of medium and form, or subordinate theaccident of the body to the essence of the soul." - BruceClarke

Ni Zheng, AbyssalAbyssal is the first section of a large-scale work that I amcurrently developing and is composed for surroundsound system. I had been experimenting with the ARP2600 modular synthesizer, which became my mainsound source in this piece, and deconstructing andprocessing the plethora of sounds I created with theARP. Massive and complex sound conglomerationsconstruct this work, and the sound of the ARP issuperimposed and compressed into a whole with manyother different heterogeneous sounds.

Lèa Boudreau, Quatre machines pour sauver lemonde« In January 2019, young students fromJean-Baptiste-Meilleur elementary school in Montréaltook part in a little brainstorm : to imagine fantasticmachines under the theme « Quatre machines poursauver le monde » (“Four machines to save the world”).No limit, no other instruction, all ideas were welcomed.Based on their suggestions, I composed this piece,expressing with sound and music the devices thoughtout by the youngsters but also their surroundingenvironment. The work is divided into four parts whichrespect the original titles given by the schoolchildren:

1- Une machine volante qui fonctionne à lapollution et qui la transforme en air pur (A flying machinethat functions with pollution and turns it into fresh air)

2- Une machine-robot en forme d'animal poursauver les animaux qui n'ont pas de maison et qui sontdans la rue (An animal-shaped robot-machine to savehomeless animals that live on the street)

3- Une machine pour envoyer toute la neige quitombe ici au pôle Nord pour ne plus que ça fonde (Amachine to send all the snow falling here to the NorthPole so it doesn't melt anymore)

4- Une machine-bateau-sous-marin pournettoyer les océans (A machine-boat-submarine to cleanthe oceans)

In collaboration with 1st year elementary school studentsfrom Jean-Baptiste-Meilleur and their substitute teacherSamuel Cadieux. »

Roy Guzman, x = sin(xß)This piece is the result of an investigation of customtrigonometric based chaotic functions. The form is basedon a complex of mathematical transformations labeled ßthat alters the x variable inside the sine function. Theresult of that transformation and the sine is fed back intothe sine function and this procedure repeats. The resultof how complex and large the result of the transformationof x with ß inside the sine function is the greater the

entropy of the function. This data was used for thepositioning of sounds in time creating a very interestingvariety of gestures and formal events. The sounds usedwere sounds created previously as well as recordedpreviously to being used. The intention was to havesounds that could create balance in regards to the timberand create an overall thematic continuum or logicthroughout the piece.

Simon Hutchinson, SUMAHO SAKEBI (“smartphonescreams”)SUMAHO SAKEBI (“smartphone screams”) is a collageof recordings of sonification of the electromagnetic fieldsgenerated by our smartphones. These fields are invisible(and inaudible), but are ubiquitous in our modernenvironment, and in this piece we can hear the chatteringof a device that is perhaps sitting in your pocket rightnow.

Candida Borges, MutationsMutations are artistic organisms, of unlimited duration,that generates a new work every newbounce/performance. Composition is done by real-timeinteractive computer systems with (or not) live interactionof the composer with field recordings from theDNArchive Project, in audio and image. A selection ofworld walkscapes in transcultural cities getsblended/mutated by a special digital compositionalprocess, that transmutates the sound and image into atransgenic work. Acting as a DNA enzyme, thecompositional process acts combining randomness withsound/video processing to digest 360 and ambisonicrecordings of transcultural places. This is an analogy tothe genetic process of mutation, that produces diversityin biological organisms. This work produces diversity inartistic landscapes, in real-time for each performanceand specific for a site-installation system.

Stevie Sutanto, Clipping DreamClipping Dream is a distorted sonic journey thatemphasizes details in small-chunk iterations. Despitebeing destroyed, its debris still lights a hope. Digitalclipping is extensively used throughout the work as themain method of timbre alteration. The structure is builtintuitively by letting the distorted substances affect themind while working on this piece. The result is thenspread into space, introducing a new dimension of thesonic journey by letting it control its movement by itself.

Robert Scott Thompson, Of Loriot and Memory(2019)Pure, liquid, whistling tones of the oriole are juxtaposedwith the transformed strains of a dying dialect. Our worldis transformed, climate changes, memories fade. In2019, the Audubon Society declared that two-thirds ofNorth American birds are at risk of extinction due toclimate change – among them the oriole. The flute-likevoice of the oriole may one day be missing from theterrestrial soundscape and perhaps silenced foreveramong so many others. And what of us? Will welanguish in solastalgia, or will we too disappear? This

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work is inspired by the short poem Le Loriot of RenéChar from 1939:Le loriot entra dans la capitale de l'aube. L'épée de son chant ferma le lit triste.Tout à jamais prit fin.

The Oriole entered the capital of dawn. The sword of his song closed the sad bed. All forever ended.

The meaning of the Char’s poem is highly symbolic;resonances may also be observed now. Field recordingsof the oriole, together with transformed recordings ofspoken text in the disappearing Ullans dialect, arecounterposed in a sonic tableau of pure synthetic soundscreated with additive synthesis, and spectral synthesis ofvarious sound sources, ranging from musical sources, tomechanical sounds and field recordings. Thesematerials are set into a stereo presentation usingambisonic techniques.

Concert 17

Program

Timothy PolashekMeteors 8'19"

Matthew Polashek, soprano saxophone

Steven LewisThink of One 4'57"

Tom WilliamsWeighted Down by Light 14'48"

Simone CardiniE toccare spazi iridescenti 12'32"

Miles J. FridayGesture Sketches 5'16"

Richard Valitutto, piano

Joakim Sandgrenendroits susceptibles 16'25"

Jason MitchellCascarones 12'25"

Baljinder Sekhoninto emptiness 8'53"

Silas L. Palermo FilhoTrompe l'oreille 4'51"

Magdalena CerezoStudy for piano, audio and video 5'40"

Magdalena Cerezo, piano

Program Notes

Timothy Polashek, MeteorsMeteors is a collaborative work by Matthew and TimothyPolashek. Tim composed, performed, and recordedmusic on his two Moog Mother-32 analog synthesizersusing computer music algorithms that he created for thisproject. It was designed to be an accompaniment for asaxophone part composed and/or improvised by Matt.Matt composed and rehearsed improvisational strategiesfor performances, which also include some real-timesignal processing of the soprano saxophone. Steven Lewis, Think of OneThink of One, is an experimentation into extending thefacets of an interdisciplinary skillset to includeapplications of live performance, sound processing, and

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interactive programing. Composing and arranging musicin this manner enables progressive experimentationbased upon the layering of iterative expansions whichwere derived from previous compositional outputs. Thissystem guarantees that even while it may sound entirelyunrelated, the final output of the entire process is highlydependent upon the performative execution of thesource material. As it pertains to this example, Think ofOne is highly predicated on the original drummingperformance, the execution and effectiveness of which isaugmented by an acute understanding of the historicaland cultural familiarity regarding the chronologicalevolution of the drums’ role in jazz: a transformationfrom a supportive, time-keeping device in the 1940’s, toa featured vehicle for jazz soloing and interactivity by the1960’s and beyond. This piece is a adaptation ofThelonious Monk’s Think of One to the drum set,followed by a solo over the form of the piece, which wassimultaneously processed through the utilization ofalgorithmically controlled delays, filtering, time stretching,and pitch shifting. The sum of this iterative process canbe conceptualized as a form of algorithmic composition,where the programming assumes a vital role intransforming the original source material into varioussound objects, which can then be re-organized using ahybrid experimental approach best described as anamalgam of Plunderphonics, Musique Concrete, andExperimental Jazz.

Tom Williams, Weighed Down by Light (2018)When the bass clarinettist Sarah Watts asked me tocompose a work for her newly acquired contrabass I wasimmediately struck by its extraordinary range of timbreand colour, as well as its musical versatility, dynamicrange and sheer physical size. It is truly a musical beast– and The Beast is exactly the sobriquet that SarahWatts gave her instrument. When composing for thecontrabass, I was looking to bring to the fore theseattributes: to compose a work of virtuosity and musicaldesign that had the essence of a modern day, singlemovement, concerto. The orchestra is replaced by theelectroacoustic, fixed media score which the liveinstrument is in dialogue with. To ensure a blending anda strong sense of sonic identity the fixed media iscomposed using solely samples from the contrabass; theprinciple processing tool in realising the digital materialwas Kyma sound design workstation. The work’s titleand inspiration comes from an Alice Oswald poem, "ColdStreak", from her collection Falling Awake. The poemresonates with powerful images and ideas that arewoven into the texture of the work: 'dazzlingstubbornness of the sun keeping to its clock’ in a ‘coldsunlit light’ and where the ‘weightedness of hope’ and the‘lightness of patience’ are found.

Simone Cardini, E toccare spazi iridescentiI want to explore that boundary line that binds to areciprocal convertibility, irrational and rational, knowingand recognizing, dedication and distracting,transcendence and redescence. A line that is notnecessarily limit, threshold, but can be and create depth;I want to cross that thickness, that distance and that

interiority necessary to penetrate the wild territories ofreaction, disorder, drive.

Miles J. Friday, Gesture SketchesGesture Sketches, as the title implies, was written in aneffort to capture the visceral, percussive elements of thepiano. Furthermore, the piano, treated as a percussiveinstrument, is augmented through the use of digitalsignal processing in Max/MSP and SuperCollider. Pianolines bounce, collide, burble, and blur mixing reality withfantasy, acoustic imagery with digital reality, and angularchoreography with reverberant stasis. Improvisation,exactitude, and gesture are at the core of thiscomposition.

Joakim Sandgren, endroits susceptiblesI wrote endroits susceptibles for Gageego! during a quitelong period with several periods of pause andcomposition. The piece is part of a cycle for three piecesfor six musicians and computer where this is the firstpiece. This cycle is in turn part of a cycle of fifteen piecesstarted 2008 where I mix my instrumental aesthetics withits electro acoustical equivalent. The techniques usedare closely related to granular synthesis developed in thedigital domain and my non defined pitch aesthetics in theinstrumental music. The mix of these two worlds, digitaland acoustic, have proven itself rich and is where I try toopen up new fertile sound fields.

Jason Mitchell, Cascarones for Pierrot Ensemble andFixed Media I composed Cascarones while studying the score of AveMaris Stella (1975) by Peter Maxwell Davies. As Iexamined the work, which was composed using aplainchant melody and the 9x9 magic square of themoon, I began to develop my own theories of how thechant and square could be used to generate musicalmaterials such as form, pitch, rhythm, and harmonies.While some of my theories and experimental pathsthrough the square were quite similar to particularmoments in the Davies score, it was the remaining,unused ideas that really intrigued me and thus inspiredme to compose a work with the leftover materials. In thispiece, I use the popular Mexican folk tune De Colores asinspiration for my pitch material. While fragments of themelody do appear scattered though out the composition,it is not my intention for the listener to recognize oridentify such moments. For this work, I also chose to usethe 9x9 magic square of the moon, which, like aCascarón (an eggshell filled with brightly coloredconfetti), serves as my framework or "shell" for thecolorful folkloric pitch materials used within. Fixed mediacomponent realized in the University of IllinoisExperimental Music Studios. Cascarones was premieredSeptember 28, 2011 in the Tryon Festival Theater of theKrannert Center for the Performing Arts by the Universityof Illinois New Music Ensemble.

Baljinder Sekhon, Into emptiness Into emptiness is scored for saxophone, flute, sopranovoice, and real-time triggered electronics. The work is a

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setting of an untitled text by the 13th-century Persianpoet Rumi that explores the nuances, granularcomponents, and anatomy of the sounds of the threeacoustic elements performed on stage. A wide collectionof sounds sampled directly from the performerspremiering the work are used to create the electroniccomponent of the wok. The samples are often hearddeconstructed, creating an array of percussive soundsand the live performers employ extended techniques tocreate a union between the electronic and acousticsound worlds of this work. Several computer programswere used to create the samples, and the samples aretriggered in real-time through the course of performance.

Silas Palermo Filho, Trompe l'oireilleThe composition was generated from the researchclasses in Free-Improvisation. This is a very gesturalpiece, exploring a base note with effects in "chorus" andits harmonics with movements of expansion of the soundfield and its spatialization. The difference is that the piecewas not previously written or formulated, but rather, itsdiscursive structure that was thought in real time.Executed directly on the piano strings, it was thenprocessed. The idea is not to deny the source, as inSchaffer's thought, but to transform the source, as in amistake of the ear, dissociating the common way thesource is used and executed, but maintaining a structuraldiscourse.

Magdalena Cerezo, Study for piano, audio and videoComposer, concept and media artist Johannes Kreidler(1980) is one of the leading figures and co-founders ofthe new musical conceptual art emerged in the past twodecades.The main concept of his work is the so called“music with music”: he creates something new out ofinstrumental sounds, samples from the worldwidenetwork's sound archives and fragments from alreadyexisting music, which content shall become moreimportant than the new work itself. The Study for piano,audio and video playback is a good example of semanticrelations between media layers and live stage action. Onthe one hand, the pianist mimics elements from theaudio playback which speed, range and sound would beunrealizable on a real instrument; on the other hand, thevideo appears as a new transmedial approach whichfollows the principles of simultaneity and multiplication tocreate a visual amplification of the audio playback, thesame way that the traditional relationship performer – livesound usually works.

Composers and Authors

Harrison Adams is a composer, producer, and creativedeveloper. His work investigates the role of composerand performer in an increasingly automated productionenvironment, and takes inspiration from science andnatural processes interpreted through a lens of humanemotionality and subjectivity. His original music hasbeen heard at the Interactive Arts Performance Series,New York Modular Society, Soundwalk (Long Beach),the Hideout Block Party, Lollapalooza, and NYC’sAnti-Folk Festival, as well as in over a dozen theatricalproductions across the country. In 2012 and 2013 hewas twice nominated as a sound designer for the EquityJeff Awards in Chicago. As a producer, he writesoriginal songs, creates cutting edge tracks, collaborateswith rising vocalists, rappers, and instrumentalists, andperforms a beat-oriented live set.

Jay Afrisando is a music composer and sonic artist. Heuses sound and other media to share awareness ofhuman-nature-technology relationships and our diversehearing profiles. He employs artistic approachesincluding contemporary music, sound installation, mixedmedia, participatory work, improvisation, and everythingin-between. His works have been presented atMOXsonic 2020, Sonic Salon Winter 2020, In Situ:Festival for Electronic Music and Sound Art 2019, AuralDiversity Conference 2019, October Meeting 2019, SeoulInternational Computer Music Festival 2019,ICMC-NYCEMF 2019, Linux Audio Conference 2019,and Disability Awareness Week 2019. He has beenawarded the ABT Award 2020 by the Art Music Today,Black Pencil Ensemble, and Trace21; the Ambassador’sAward for Excellence 2019 by the Ambassador of theRepublic of Indonesia for the United States; the 2016Minnesota Emerging Composer Award by the AmericanComposers Forum; the 2016 Innovative Art Grant byKelola Foundation; and the 2nd Prize composition winnerof Prix Annelie de Man 2015.https://www.jayafrisando.com/

Mauro Agagliate was born in London in 1968, and helives in Turin (Italy). He graduated in 2009 with honors inComposition at the Conservatory 'Giuseppe Verdi' inTurin, under teachings of Guido Guida and GiorgioColombo Taccani, and he completed his studies at the'Accademia Perosi' in Biella, following courses ofcomposition held by Azio Corghi. He took, in 1993, themusical direction of Fisarmonis Orchestra, an orchestraof twenty young players, holding the role for 12 years,performing almost 300 concerts in Northern Italy, Franceand Switzerland. He serves as composer andharmonizer of 1911 Lokomotif Orchestra, a Turinensemble of 20 musicians. For the same orchestra, heplays the role of stable accordionist and pianist. Hecurrently teaches musical theory and piano at two musicAcademies in Turin. The Italian Cultural Institute in

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London has recently presented an exhibition dedicated tothesoundtracks, written with his brother Roberto, of silentfilms from the early XX century and restored by theNational Museum of Cinema in Turin.info@mauroagagliate.it www.mauroagagliate.com

Mirko Ettore D'Agostino is an Italian scholar,composer, sound artist, music producer, drummer andsound engineer. He holds a Bachelor's degree inElectronic Music Composition and a Master's degree inDigital Audio-Visual Composition from the Conservatory"Licinio Refice" in Frosinone, and a PhD in Sonic Artsfrom the Centre for Advanced Studies in Music (MIAM)of the Istanbul Technical University. As sound artist andcomposer, his artistic output includes acousmatic andexperimental electronic music, EDM, movie soundtracks,multimedia works and sound design for theatre and TV.His works have been selected and performed in nationaland international festivals and conferences including theToronto International Electroacoustic Symposium, ForumWallis Ars Electronica, MAtera Intermedia and MuestraInternacional de Música Electroacústica y VideoMapping. As producer and mastering engineer, he hasworked on numerous and various projects forinternational artists and for renowned companies in themusic industry such as Sony. He is currently ProgrammeLeader of the BA in Popular Music at the Institute of theArts Barcelona. He is a co-author of Volume I and II ofLaboratorio di Tecnologie Musicali, a series of booksspecifically designed for music technology courses inconservatories, universities and music schools.

Chris Arrell takes inspiration from acoustics, coding,synthesis, found sounds, and process. A recipient of theEttelson Composer Award, Arrell holds additional prizesfrom Ossia Music, the League of Composers/ISCM, theSalvatore Martirano Competition, the MacDowell andACA colonies, and the Fulbright-Hays Foundation. Hisinvitations include a portrait concert at the Alte Schmiede(Vienna, Austria), selection as the Featured GuestComposer for the Ball State University Festival of NewMusic, and appointment as Composer-in-Residence atthe University of Nevada Las Vegas. His commissionsinclude those from the Alte Schmiede (Austria), BostonMusica Viva, MATA, Spivey Hall, Cornell, and the FrommFoundation. Arrell is an associate professor at theCollege of the Holy Cross. www.chrisarrell.com.

Dr. Abby Aresty is a sound artist, composer, andeducator. Aresty’s site-specific installations have beenfeatured in local and national news outlets; Paths II: TheMusic of Trees, a temporary installation in Seattle’sWashington Park Arboretum, was featured in aninterview with Melissa Block on NPR’s All ThingsConsidered and was hailed as “otherworldly” and“sometimes eerie, sometimes transportingly lovely,” bythe Seattle Times. Aresty has presented her research inthe United States, Canada, Australia, and Hong Kong, inconferences including ICMC, Balance/Unbalance, ISEA,

and Sonic Environments. She has held fellowships at theStudio for Creative Inquiry at Carnegie Mellon University,Grinnell College, and the Acoustic Ecology Lab atArizona State University’s Herberger Institute of Designand the Arts. She recently taught a workshop inmultimodal storytelling for 40 college and universitystudents from around the world as part of aHumanitarian Entrepreneurship summer institute atLingnan University in Hong Kong. Aresty is TechnicalDirector and Lecturer for the Technology in Music andRelated Arts (TIMARA) Department at OberlinConservatory. She teaches the Electronic Music coursefor Oberlin's Community Music School, and she is theBonner Center for Service Learning's 2019-2020 FacultyFellow. In 2019, in collaboration with Oberlin Center forthe Arts and Oberlin Conservatory, Aresty founded theGirls Electronic Arts Retreat (GEAR), a 5-Day STEAMsummer camp for 3-5th grade girls hosted in theTIMARA studios.

Hanae Azuma is a composer from Tokyo, Japan,completed both her BM and MM at Tokyo University ofthe Arts, Department of Musical Creativity and theEnvironment. During her studies in Japan, she mainlyconcentrated on the relationship between music andother visual/performing arts such as dance and films andhas been collaborating with contemporary dancers onvarious projects as a composer. She also completed herMM of music technology at New York University in 2014.Her works have been presented at music festivals andconcerts in the United States, Japan, Korea, and Taiwan.She is currently an academic fellow at Acoustic Lab,Tokyo University of the Arts.

Maurizio Azzan is an Italian composer and sound artist.He studied composition at Conservatories of Milan (withA. Solbiati) and Paris (with F. Durieux and Y. Maresz), atIRCAM and with Salvatore Sciarrino. He has received abachelor and a master in Philology and AncientLiterature from the University of Turin. His interest invisual and performing arts, as well as in ancient andcontemporary literature, has deeply influenced hisconcept of music as a dynamic space-time network, inwhich instability is the pivoting existential condition. Hismusic has been performed in festivals and venues suchas MATA Festival New York, Biennale Musica diVenezia, Huddersfield Contemporary Music Festival,Wien Moderne, MITO SettembreMusica, MozarteumSalzburg, Milano Musica, ManiFeste, IRCAM ConcertSeason, Budapest Music Center, Romaeuropa Festival,Teatro La Fenice Concert Season, Dampfzentrale Bern,Impuls Graz, Darmstädter Ferienkurse, Time of MusicViitasaari, Gare du Nord Basel, Biennial Festival of theEuropean Recorder Players Society, Open RecorderDays Amsterdam.Ensembles and soloists who have performed his worksinclude Ensemble Intercontemporain, Divertimento,Nieuw Ensemble, Mdi, Orchestra del Teatro La Fenice,Schallfeld Ensemble, Proton Bern, Fractales, AirborneExtended, Anna D'Errico, Antonio Politano, Ruben MattiaSantorsa, Susanne Fröhlich, Cameron Crozman,

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Emanuela Battigelli, among others. Winner of the ItalianNational Prize of Arts, Maurizio Azzan has been artist inresidence at the Cité Internationale des Arts de Paris andcomposer in residence in the framework of theresidence-program offered by the Austrian FederalChancellery in cooperation with KulturKontakt Austria.His works are published by Edizioni Suvini Zerboni, Milan

Ali Balighi is an experimental composer. His works aremostly composed based on traditional and folk music ofIran. His main tendency is on micro-tonality and newperspective of instruments. His works have beenperformed at contemporary music festivals in Iran,Portugal, Finland, Belgium, Canada, Germany, Poland,Latvia and The USA.

Matthew Bardin, originally a native of Central Florida, iscurrently based in Baton Rouge, and has written musicfor large ensembles, chamber groups, voice, soloinstruments, and electronics. He holds a Master of Musicfrom the Boston Conservatory at Berklee, and a Bachelor of Music from Stetson University. Matthew iscurrently working towards a Ph.D in Experimental Music& Digital Media from Louisiana State University. He iscurrently affiliated with the American Society ofComposer, Authors, and Publishers. As a student,Matthew has placed in Stetson University's annualcomposition contest with his works No More, and 2:1.His works are often performed by several studentsoloists and groups throughout the course of theacademic year. He also has presented his music at theannual Electric LaTex festival, presented a digitalworkshop at NIME2020, had several works performedremotely during the summer of 2020, and served as anauditor at the Manifeste18 festival in Paris, France.Matthew has studied with Drs. Sydney Hodkinson, EunYoung Lee, Ms. Tina Tallon, and most recently, Drs.Jesse Allison and Mara Gibson. Recently, Matthew hascompleted the installation work Err. 522: ConnectionTimed Out as well as Aurora for wind ensemble.Matthew is currently teaching the courses 'Programmingfor Digital Media' and 'Digital Storytelling' to local dualenrollment students through LSU.

Devin Barone [DVB] (b. 1996) is a composer,percussionist, and glitchy boi from Bay Shore, NY. Hecreates music in a variety of settings, with roots inclassical and contemporary music, the various genres ofthe modern drummer and soundtracks. Recently, Devincompleted two large scale electronic works of glitchyexperimental video game-inspired music based inconcepts and gesture following different AI as theyencounter issues in their thought-processes. As well asconcert works both w/ and w/out electronics exploringtexture, rhythm and narrative. DVB’s solo timpani work isrecognized in the NYSSMA Manual ed. 32, and fullorchestra piece was performed at the 2013 TVMF YoungComposers Forum. His electronic works have beenpresented at NYC-EMF, Electroacoustic Barn Dance,Frontwave, and OUA-EMF in Japan. In 2019 Barone

earned his MFA in Music Composition at the VermontCollege of Fine Arts and has studied with John Mallia,Don DiNicola, Carla Kihlstedt, Mike Early, Paul Coleman,Jamie Leigh Sampson, Rob Deemer, and Ed Schaefer.www.Dvbarone.weebly.com

Pablo Bas (1966) is a musician, composer, sound artist,sound designer, producer and university theacher andresearcher. He is author of music and soundtracks forfilms, theater, dance, perfomances, web projects, etc. Ascomposer he creates electroacoustic works, mixedmusic, sonomontages and sound installations. He workswith free improvisation, extended techniques, real timeprocessing, field recordings and sound landscapesamong other resources and techniques.(https://pablobas.com.ar -https://pablobas.com.ar/musica.html )

Jonathan Beard creates music for media and theconcert stage. As a composer, recent diverse projectsinclude his electroacoustic opera Cesare, Child of Night,film scores such as What Still Remains andHeavenquest; and De tu puño y letra, an electronicvideo-sound collaboration with iconic artist SuzanneLacy. For the stage, Jonathan co-composed the oratorioThe Passion Of Anne Frank for the Los Angeles MasterChorale as part of their Voices Within residency, and hisoriginal theatre-score for Driving Miss Daisy received anNAACP Theatre Award nomination. One of the mostsought-after orchestrators in Los Angeles, Jonathanvalues collaboration with other composers very deeply.He has worked closely with Junkie XL (Alita: BattleAngel; Deadpool) and Bear McCreary (Godzilla: King ofthe Monsters; 10 Cloverfield Lane) on numerous film,television, and video game projects, as well as withMichael Abels (Us), Kris Bowers (Green Book), andAdam Taylor (The Handmaid’s Tale), among others. Heis the co-founder of Tutti Music Partners, whose boutiquemusic team specializes in providing the highest-qualitysupport to other composers throughout the industry.Beyond working in orchestral settings, Jonathan’spassion for musical color extends into synthesis andsound design, with many hybrid- and fully-electronicprojects to his name, including Cesare, Child Of Night; AKiller of Men; and his electroacoustic commission for thePacific Symphony Chaos in the Garden: a Rewrite ofSpring. Jonathan holds music composition degrees fromStanford and UCLA, and is committed to musiceducation: in 2011 he joined the faculty at UCLA, wherehe teaches electronic music composition and musictechnology in the Herb Alpert School of Music. He is alsoa longtime supporter of Education Through Music - LosAngeles, currently serving on their Associates Board. Hisscore albums for What Still Remains and Frank vs. Godare available from Lakeshore Records.

Samuel Beebe is a composer, sound designer, andperformer whose work explores the dramatic possibilitiesof music. His work has been performed by Juventas NewMusic Ensemble, Yarn/Wire, Stony Brook Opera

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Workshop, Chelsea Symphony, Castle of Our Skins,Boston Choral Ensemble, Sound Icon, WordSong, andCalliope's Call. Beebe was a resident at the 2019Collaborative Composition Initiative with Unheard-ofEnsemble and the 2019 Source Song Festival with LibbyLarsen. His song cycles Rocking Chair Child (2017) andThe Woods (2018) were finalists for the American Prize.He has collaborated with stage director Mallory Catlett(Current Location, 2018), filmmaker Kelly Creedon (InThis World, 2015), and the Boston-based movementtheater company Imaginary Beasts. His music for theplay Bully Dance earned him the 2014 ArtsImpulseaward for best music/sound design. As a performer,Beebe accompanied mezzo-soprano Natasha Nelson atthe 2020 Sparks & Wiry Cries SongSlam in New YorkCity. Additionally, Beebe is a member of the electronicmusic collective SynthBeats. He holds a M.M. inComposition from Boston University, a B.S. in MusicTechnology from Northeastern University, and iscurrently a Ph.D. candidate in Composition at StonyBrook University, where he studies with Sheila Silver andMatthew Barnson.

Distinguished Artist Professor, Burton Beerman’s musicspans many media, including, solo, chamber, orchestralmusic, interactive real-time electronics, interactive videoart, theatre, dance, and musical scores for documentaryfilms. Beerman’s works have been recognized by overthirty professional journals and publications and havebeen the subject of international, national and publictelevision and radio broadcasts such as LIVE! with Regis& Kelly Television Show (ABC), The Eastern EuropeanTalk Show “RTL-Klub Reggeli”, HEAR Radio,(Hungarian-Austrian Radio), and the week-long PepsiSziget International Festival (broadcast at Margit Islandin Budapest, Hungary, which annually attracts over500,000 people).

Angelo Bello is a creator of sound art, hörspiel works,and algorithmic music realized through computationalmeans. He has a multidisciplinary background inengineering, music and digital signal processing, with afocus on generative and algorithmic composition. Hehas studied and continues to explore the compositionsystems of Iannis Xenakis, namely the UPIC system andthe GENDYN algorithm, while also concentrating onnon-linear timbre and sound synthesis techniques.

Mattia Benedetti is a composer and improviser. Hestudies History Anthropology Religions in Rome andElectronic Music and New Technologies in Perugia. Heattended workshops and master classes with NicolasBernier, James Dashow, Marco Momi, BrigittaMuntendorf, Mdi Ensemble and others. As a performerand improviser, he took part in conductions withFrancesco Giomi (LFO#9) and Simone Pappalardo(Fields), performing on electric guitar and laptop. Hisworks have been presented in Perugia (Segnali 2018),New York (ICMC-NYCEF 2019), Buenos Aires(Atemporaìnea 2019), Salta (Espacios Sonoros 2019).

He was selected to take part in Premio San Fedele 2019(Milano) and Premio Nazionale delle Arti 2019 (L'Aquila). He's trying to create music that resembles an openworld, without a centre but full of internal connectionsand ambiguous self resemblances. He's trying to createmusic that resembles an island, isolated from everything,an extreme habitat where only endemic organisms lives.

After completing a BA in History (1988) at the Universityof Calgary, a Diploma in Composition (1996) at GrantMacEwan College (Edmonton) and an MMus inComposition (2000) at the University of Calgary, DavidBerezan moved to the UK and completed a PhD inElectroacoustic Composition (2003) at the University ofBirmingham (UK). In 2012 he was appointed Professor inElectroacoustic Music Composition at The University ofManchester (UK), where he has acted, since 2003, asDirector of the Electroacoustic Music Studios andMANTIS (Manchester Theatre in Sound). His work ispublished by empreintes DIGITALes (Montreal).

Anuj Bhutani is quickly emerging as a versatilecomposer for the concert stage, dance, and film. In 2020alone, he won 1st prize in Cerddorion Vocal Ensemble’sEmerging Composer Competition, and was selected forNick Photinos’ 1:2:1 string intensive with Du Yun,Jennifer Koh, and Todd Reynolds, the SCI NationalConference, New York City Electroacoustic MusicFestival, and the Norfolk Chamber Music Festival’s NewMusic Workshop at the Yale School of Music. In 2019,after being selected as a winner of the Happy ComposerCommissioning Project, he was commissioned byInversion Ensemble and his choral work “your littlevoice”, the 2nd in a 3-part cycle of works that use poemsby e.e. cummings to create an intertextual narrative, waspremiered on February 29, 2020. As a choral singerhimself, he performed under the baton of Eric Whitacreat DCINY’s “The Music of Eric Whitacre” at CarnegieHall in 2018. Anuj is also currently scoring his firstindependent feature film “Addict Named Hal”, directed byLane Michael Stanley. He is pursuing bachelor’s degreesin both composition and music theory at the University ofNorth Texas. He received an Undergraduate Researchfellowship (2019-2020) to study and write about themusical process/glitch in the music of David Lang underthe guidance of Dr. David-Bard Schwarz. He also servesas the Undergraduate Vice President of UNTComposer’s Forum. His primary composition teachershave included Andrew May, Sungji Hong, Drew Schnurr,and UNT Composer-in-Residence Bruce Broughton. Healso holds a BA in Psychology from UT Austin, where hegraduated with High Honors and a Presidentialscholarship in 2015.

Doug Bielmeier creates commercial drone/experimentalelectronic music featuring lap steel with live processing.Bielmeier’s music is “drone work meant to shake you outof your shell (Midwest Record)” and “hypnotically staticyet ever moving within itself (Classical-Modern MusicReview).” Albums include Beast of Bodmin Moor (Noisy

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Buffalo, 2019), Costa Mesa Rocking Chair (Ravello,2018), and Betty and the Sensory World (Ravello, 2017),performed internationally at Circuit Bender’s Ball(Nashville), Brooklyn Arts Gym (Brooklyn), and MuseGallery (London) and broadcasted on WMBR(Cambridge), KALX (Berkley), WUTL (New Orleans)heard by 10K listeners (Drone Zone,www.Somafm.com).

Cândida Borges is a Brazilian contemporary musicianand transmedia artist – pianist, singer, songwriter,composer, performer, educator and Scholar. Currentlyshe is a PhD Candidate in Arts at Plymouth University(UK, 2018), visiting scholar at Columbia University (NewYork, US) and Universidad de Antioquia (Medellin,Colombia). Her works have been awarded and exhibitedworldwide, such as the National Foundation of Arts inBrazil and New York Foundation for the Arts. Hercompositions range from interdisciplinary pieces in videoand performance to multiple albums, soundtracks,concerts and shows. Classically trained, she has beenmaking music for films, ballet, theater, collaborationswith producers worldwide, and especially for her owncareer as a singer songwriter. As an educator andScholar, Cândida has been an Associate Professor ofMusic for the Federal University of the State of Rio deJaneiro (UNIRIO) since 2009, and an invited Professorfor international institutes, workshops, festivals anduniversities. She holds a Bachelor’s degree (2000) and aMasters degree (2005) in Piano Performance from Riode Janeiro Federal University (UFRJ) and Specializationin Electronic Music Production by SAE Institute NYC(2013). New York City based for a multiculturalenvironment exploration in her PhD project, she hasbeen exploring in arts the subjects of immigration,borders and new technology art. Her works can beknown at www.candidaborges.com andwww.candidamusic.com.

Léa Boudreau is a composer and musician based inMontréal. She has nourished a passionate relationshipwith sound since her teenage years, a time when shewould spend days on end as a hermit, listening andcreating... oh, how little things have changed! Nowadays,she continues to create in the realms of performanceand composition, driven by a desire to explore the infinitesonic possibilities of everyday objects and to express themultitude of musical ideas keeping her awake at night.She has received several awards in recent years: the 3rdprize in JTTP 2019 from the Canadian ElectroacousticCommunity (CEC), the 3rd place in SIME competition(Lille University), the Marcelle Prize (Faculté de Musiquede l'Université de Montréal) in 2019 and the 3rd Hugh LeCaine Prize (SOCAN Foundation Awards for YoungComposers) in 2017. Her works have been performed inconcert in Brooklyn (NY), Buenos Aires, Denton (TX),Lille, Londres, Marseille, Montréal, San Francisco (CA)and Urbana-Champaign (IL).

Nathan Bowen is a composer, instrument designer, andeducator based in southern California. He received hisdoctorate in music composition at the CUNY GraduateCenter, studying with Douglas Geers, Amnon Wolman,and Tania León. Nathan has served as an originalmember of the NYCEMF steering committee. He runsthe Moorpark College Music Technology program(California), which emphasizes creating live performancepractices with a variety of electronic music formats andmodes of expression. His personal professionalinterests are in custom hardware-plus-softwareconfigurations with mobile phones, electronic musicperformance practice(s), audience interaction andparticipation, and establishing strong sight-to-soundcorrelations in electronic music performance.https://www.nbowenmusic.com/

Brian Bridges is a composer, sound artist andacademic, based between Dublin, Ireland, and Derry,Northern Ireland, where he teaches at Ulster University.His work spans the fields of microtonal, electroacousticand soundscape music and he has presented work atfestivals in Europe, the Americas and China. Brian is afounder-member of the Dublin-based Spatial MusicCollective and is a former President of ISSTA, the IrishSound, Science and Technology Association.www.brianbridges.net

Aleyna Brown is a contemporary American composer,multi-instrumentalist, and audio engineer based inDenton, TX. In her role as an artist and entrepreneur inthe music industry, Aleyna is an advocate of inclusiveconcert programming and the exploration of feminism inmusic and art. As a composer, Aleyna has scored shortfilms and composed concert works for chamberensembles, solo instruments, fixed media, and liveelectronics, with premieres across the United States.Much of her music serves a commentary on themes offeminism. Interlacing her activism with her art is Aleyna'sway of celebrating and recontextualizing ideas of beautyand femininity. As a flutist, Aleyna has performed as aconcerto soloist, pit orchestra reed doubler, andorchestral flutist in the U.S. and Italy. She specializes incontemporary music and particularly enjoys performingwith live electronics. She currently performs with theNOVA new music ensemble at the University of NorthTexas. As an audio engineer, Aleyna produced,recorded, mixed, and mastered her own debut album"EXHALE," released internationally in May 2019. Shecurrently serves as a recording engineer for the UNTCollege of Music lab studio. Aleyna earned her threebachelors degrees from Florida State University—B.M. inComposition, B.M. in Flute Performance, and B.A. inCommercial Music, with a minor in Business. Shecurrently attends the University of North Texas in pursuitof her dual masters in Flute Performance andComposition, with specialization in Computer Music anda minor in Contemporary Music. Aleyna serves as theTeaching Assistant for the Music Business &Entrepreneurship program. www.aleynabrown.com

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Courtney Brown is a sound artist, researcher, computerengineer, and tango dancer. She creates new musicalinterfaces in which the act of creating sound istransformative in some way. People become dinosaursby blowing into a hadrosaur skull, creating their own roar.Social dancers become musical ensembles. Her workhas been featured and performed in North America,Europe, and Asia including Ars Electronica (Austria),National Public Radio (NPR), Diapason Gallery(Brooklyn), International Computer Music Conference(Korea), ACM Movement and Computing Conference(Italy), Society for Electro-Acoustic Music in the UnitedStates (SEAMUS) Conference (Salt Lake City), NewInterfaces for Musical Expression/BEAM Festival(London), Frequency Festival (Chicago), the TelfairMuseum (Savannah) and Modified Arts Gallery(Phoenix). Her interactive sound installation and musicalinstrument, Rawr! A Study in Sonic Skulls received anHonorary Mention from the 2015 Prix Ars Electronica.She also received a Fulbright Fellowship to BuenosAires, Argentina, where she began work on her ongoingproject, Interactive Tango Milonga, creating interactiveArgentine tango dance. She is currently an AssistantProfessor at the Center of Creative Computation,Southern Methodist University. She received her D.M.Ain Digital Media and Performance from Arizona StateUniversity and her M.A. in Electroacoustic Music fromDartmouth College.

Lars Bröndum, PhD, is a composer and musician. Hismusic has been performed around the world, forexample in Sweden, Japan, Scotland, Russia, Lithuania,Latvia, England, USA, Spain, Germany and Mexico. Hismusic often is structured around cyclical processes,irregular ostinato, fragmented gestures and microtonalclusters. Bröndum writes electroacoustic music andmusic for ensemble, and orchestra. He also performslive using an analog modular system, a Theremin, effectpedals and sometimes a laptop with Max/MSP. Hismusic often explores the interaction between acousticinstruments and electronic instruments The compositionsfrequently explores the border land between writtenmusic and improvisation. Bröndum has receivedcomposer grants from Konstnärsnämnden, STIM andawards from FST. Bröndum’s recent CD Phaethon - forlive electronic instrument(s) and fixed media wasawarded best experimental album at the Manifest Gala2020 by SOM (Swedish Independent Music Producers)and the album Fallout received best experimental albumby SOM 2016. He also has released the CDs “Chain ofEvents” on Elektron Records, “Fallout”, “The Text andSound Project” and “Chimera Cadence” on AntennaeMedia label. Bröndum has a PhD in composition andtheory from the University of Pittsburgh (1991) and aMasters degree in composition and theory (1989) and aBachelors of Music degree in Guitar Performance(1987). Bröndum is currently a Professor in Music atSkövde University in Sweden. www.antennaemedia.se

Julius Bucsis is an award-winning composer, guitarist,

and music technologist. Since beginning serious effortswith composition in 2011, his works have been includedin over 150 events (most of which were juried)worldwide. He has performed original compositionsfeaturing electric guitar and computer generated soundsnationally and internationally. His compositions havebeen included on CDs released by Ablaze, PARMA,RMN Classical, and Soundiff. His artistic interestsinclude using computer technology in music compositionand performance, developing musical forms thatincorporate improvisation, and composing music fortraditional orchestral instruments. He is currentlypursuing a DA in music at Ball State University.

Serge Bulat is a Moldovan-American multi-disciplinaryartist, who has been involved in both European andAmerican art scenes, exploring in various mediums: frommusic and visuals to radio and theater productions.Artist's most notable works to date are "Queuelbum", theconcept project that won an IMA award for BestElectronic Album Of The Year, and the audio/visualinstallations "Third World Walker", presented at music &art festivals in more than 10 countries. The artist's workswere included in conferences and symposiums such asConvergence, UK (International Conference of Music,Technology & Ideas); JAE, Argentina (organized by theArgentine Ministry of Science, Technology andProductive Innovation); Audio Mostly, UK (A ConferenceOn Interaction With Sound, Nottingham University); andVU 3, USA (Symposium for Experimental, Electronic,and Improvised Music). Artist's work is described as "thenew sound in the realm of electronic music" (Facts &Arts, France), "truly innovative" (Amazing Radio, UK) and"an ambitious project that can trigger intellectual thought"(The Deli Magazine, USA). Serge Bulat's newest projectsare - the multimedia piece "Inkblot" designed as apsychological test; the experimental video game"Wurroom", built to experience music in an interactiveway; and music works "Yehy Vaya" and "Kalah Folklore"based on indigenous art of Russia and Argentina.

Busevin studied composition with José Luis de Delás atthe School of Music of the University of Alcalá deHenares and received musical training withLachenmann, Spahlinger, Muraill, Sciarrino,Ferneyhough, Kagel, Haas, Dodge, Hubert, etc.... Hestudied Computer Music with Emiliano del Cerro. Forseveral years he taught the subject Fundamentals ofElectroacoustic and Computer Music in the SuperiorConservatory of Balearic Islands. He has publishedseveral papers and writings. His works have beenperformed at festivals such as The SlEMF 2019 in Seoul, the ACMC 2019 conference in Melbourne, SID 2015Conference, Venice Vending Machine III, New York CityElectroacoustic Music Festival (2016 – 2017), SMASHFestival, Encontres Festival, ACA, the Fundaçió Pilar iJoan Miró and, Nomad Roots.

Born in Rome, Simone Caridini studied composition(Telli) and piano (Torchiani); then he perfected his

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studies with Solbiati (Tours, Milan) and Fedele(Accademia Nazionale S. Cecilia). In internationalmasterclasses and academies he developed hisaesthetic approach thanks to the tutelage of, amongstothers, Haas, Gervasoni, Hosokawa, Filidei, Billone,Gander, Minakakis, Cendo, Murail, Bedrossian. Hiscompositions, selected and awarded in manyinternational competitions, have been played in Europe,Russia, China and USA, in eminent expositions andfestivals by ensembles and orchestras such asKlangforum Wien, Neue Vocalsolisten, PrometeoEnsemble, IEMA, Divertimento Ensemble, MusiquesNouvelles, ATMusica, Avanti Chamber Orchestra,PMCE, Orchestra Giovanile di Roma and Orchestra ofthe Deutsche Radio Philharmonie, by soloists such asFlorentin Ginot, Samuele Telari, Gianni Trovalusci, MariaGrazia Bellocchio and conducted by Angius, Volkov,Corlay, Nawri, Dronov, Dessy, Corrado, Goldstein,Battista, Horváth, Baba, Gorli. Through stipendium andresidences, his work is supported (among others) byinstitutions such as Fondation Royaumont, SocietàAquilana dei Concerti (B. Barattelli), SIAE, etc. His musichas been broadcasted by SR 2 KulturRadio (DE), RadioRai1 (IT), Radio Rai3 (IT), Radio Rock 106.6 (IT), andsome of the arrangements he made has beenbroadcasted on Rai2 TV (IT). His works are published byEd. Suvini Zerboni, the work Threshold is published byUniversal Edition (2017); his music is on Cd produced bythe labels EMA Vinci Records and Tactus Records. Hecollaborated as korrepetitor and choir conductor to theresearch study Exploration of the effectiveness andtransferability of an English model of health promotionbased on participation in singing groups [...], developedby Elisabetta Corvo through Stephen Clift, director of the"Sidney De Haan Research Centre for Arts and Health" -Canterbury Christ Church University - United Kingdom.His paper Music and Architecture – Aesthetic andsociological implications has been published in the bookMusica & Architettura, Nuova Cultura Ed. (2012).

Magdalena Cerezo is a pianist and performerspecialised in contemporary music. She currentlyfinishes a Concert Soloist Degree in the class of NicolasHodges in Stuttgart and works as anaccompanist/teacher for contemporary voice training andcontemporary lied at the University of Music in Karlsruhe.She has collaborated with composers such as BernhardLang, Wolfgang Rihm, Beat Furrer, Heinz Holliger,Helmut Lachenmann, Rebecca Saunders, Rolf Riehm,Johannes Kreidler or Brian Ferneyhough, is a honorificmember of Junge Deutsche Philharmonie and hastoured with Ulysses Ensemble among others. Magdalenahas been recipient of several awards and has performedin venues such as Auditorio Nacional de Madrid, KölnerPhilharmonie, Berliner Philharmonie, StaatsoperStuttgart, Galvin Hall and Centre Pompidou Paris andfestivals such as Darmstädter Ferienkurse für NeueMusik, Time of Music, Impuls, IRCAM ManiFeste,Donaueschinger Musiktage, NUNC!3, Der Sommer inStuttgart or Mixtur Barcelona. Her upcoming projectsinclude a CD recording for the label Capriccio featuring

works by Rebecca Saunders, Wolfgang Rihm and VitoŽuraj, a solo recital at RESIS Festival (A Coruña, Spain)and a concert within the cycle Südseite Nachts - Musikder Jahrhunderte (Theaterhaus Stuttgart).

Leo Chang is a composer, improviser, and performercurrently living in New York. Born in Seoul, Leo lived asan expat in Singapore, Taipei, and ultimately, Shanghaiduring his formative years. The tensions betweenassimilation, rootlessness, and constructing decolonialidentity inform his artistic practice and research. Leo’swork currently emphasizes graphic and text-basedscores, free and structured improvisation,electroacoustic composition and instrument-building,ritualized group performances, and cross-mediainstallations. Leo leads Consensus, an experimentalensemble that presents groupwork and rehearsalpractices as performance by co-creating music inreal-time. Leo frequently performs as/with VOCALNORI:amplifying vocal sounds through Korean and Chinesegongs via electronic instruments.

Yong Hyun Cho was born in South Korea, 1994. Sheplayed cello since she was 6 years old, and begancomposing at the age of 14 when she entered SunhwaArts High School as a top student of her class. Shegraduated from Ewha Womans University in 2019 with abachelor's degree in music composition, minoring inmedia interaction design. Currently, Yong Hyun is astudent at Institute of Advanced Media Arts andSciences (IAMAS) in Gifu Prefecture of Japan, and shewill be pursuing a master’s degree in media arts.

Christopher Cook received the Doctor of Music degreefrom Indiana University where he served as assistantdirector of the Center for Electronic and ComputerMusic. He is a recent recipient of a Fromm MusicFoundation commission from Harvard University and hasreceived awards from the National Endowment for theArts, the American Society of Composers, Authors andPublishers, the Music Teachers National Association,and the National Assembly of Local Arts Agencies. Hehas served as Composer-in-Residence at JamesMadison University, Amherst College, the University ofEvansville, the Monroe County Community SchoolsCorporation (Indiana), and for the city of Somerset,Pennsylvania. His compositions are widely performed inuniversity and festival settings including: June in Buffalo,Music of Our Time, the Indiana State UniversityContemporary Music Festival, The Society of ComposersInc., the Annual American Music Week (Sofia, Bulgaria),and the Utrecht Music Festival (The Netherlands). HisElectro-acoustic works have been presented atnumerous conferences and festivals including: theInternational Computer Music Conference, the Societyfor Electro-acoustic Music in the United States, the NewYork City Electroacoustic Music Festival, the FloridaElectro-acoustic Music Festival, Electronic MusicMidwest, and the InterMedia Manifold TechArt exhibit.He is Assistant Professor of Music at Chowan University.

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Yongbing Dai, Chinese Master Student Graduated fromWuhan Conservatory of Music, majoring in computermusic composition, and Ph.D. in Electronic MusicComposition of Shanghai Conservatory of Music, studiedunder Professor Chen Qiangbin. Member of ChinaElectronic Music Association, member of HunanProvincial Music Association, national intermediaterecording engineer. Among them, The Youth ofDreamseeking, an song ,won the Top Ten Original SongAward of the Youth of the 2014 Nanjing Youth SummerOlympics; The Love of the Liyuan, an work, won the thirdprize of the Beijing International Electronic Music FestivalGroup A. Fire Waterfall fire fall, The soundtrack, won thenomination for the 2014 Yamaha & Nuendo SoundtrackCompetition. Fuxi , an electronic music work, wasselected into the WOCAMT2016 International ComputerMusic and Audio Technology and IRCAM WorkshopJoint Seminar. Dot-Sky, an audio-visual work, wasselected for the 2018 ICMC Korea Daegu performance.

Benjamin Damann is a composer, percussionist, musictechnologist, and educator currently residing in northeastOhio. Among others, he has been commissioned by theSynthbeats Laptop Ensemble, the Skylark Quartet, andthe EIU Percussion Ensemble. His works -- inspired bychoice, probability, indeterminacy, improvisation, and thetimbral manipulation of acoustic instruments throughphysical preparation and electroacoustic augmentation --have been performed and recorded throughout theUnited States. He is devoted to realizing electronic,experimental, and graphical works for solo snare drumand multi-percussion as well as programming softwareinterfaces to aid in the performance of such works. Hisbackground in percussion has also led him to teachingopportunities from fifth-grade beginning band touniversity marching bands. Benjamin holds a BM inpercussion performance with a concentration in musiccomposition from Eastern Illinois University and iscurrently pursuing an MM in Music Composition atBowling Green State University where he studies with Dr.Elainie Lillios and Dr. Mikel Kuehn.

James Dashow was awarded the prestigious PrixMagistere at the 30th Festival International de Musiqueet d'Art Sonore Electroacoustiques in Bourges in 2000. In 2011, Dashow was presented with the distinguishedcareer award "Il CEMAT per la Musica" from theFederazione CEMAT (Roma) for his outstandingcontributions to electronic music. A pioneer in the field ofcomputer music, Dashow was one of the founders of theCentro di Sonologia Computazionale at the University ofPadova, where he composed the first works of computermusic in Italy; he has taught at MIT, Princeton University,the Centro para la Difusion di Musica Contemporanea inMadrid, the Musica Viva Festival in Lisbon, and theConservatorio di Musica Benedetto Marcello in Venezia.He was composer in residence at the 12th FloridaElectroacoustic Music Festival, and he continues tolecture and conduct master-classes extensively in theU.S. and Europe. He is the author of the MUSIC30

language for digital sound synthesis, and the DyadSystem, a compositional method and technique fordeveloping pitch structures and integrating them inelectronic sounds. Dashow makes his home in theSabine Hills north of Rome.

Donna Decker is a retired professor of English/CreativeWriting from the University of Wisconsin - Stevens Point.A Poet and performance artist, she has written, directed,produced, and performed in collaborative chreopoemssince the early 1980's. "The Man in the MangrovesCounts to Sleep" appears in her poetry collection, "Underthe Influence of Paradise: Voices of Key West",published by Head and a Half Press. A series ofdramatic monologues told in Key West characters'voices, she wrote these poems in the summer of 1996while living in Key West.

Andrew Davis is a composer and electric guitarist fromBoston, MA who has written for a variety of media bothacoustic and electroacoustic. Davis' early experiences inmusic were in local concert bands where he playedtrombone and in rock bands where he played electricguitar. Fused with a strong background in popularmusic, his music seeks to explore a variety of differentgenres and musical aesthetics. His works have beenperformed by groups such as the JACK Quartet, PRISMQuartet, Alarm Will Sound, Daedalus Quartet, theArgento Ensemble, loadbang, the Boston New MusicInitiative, the Luna Nova Ensemble, the University ofTexas Wind Ensemble, the Yale Concert Band, theFlorida State Wind Ensemble, and the University ofTexas New Music Ensemble. He has received honorsfrom ASCAP, BMI, The Lyra Society, and ISCM-Texasamong others. Additionally, his music has been heard ata variety of festivals including the TUTTI Festival, REDNOTE Music Festival, Mizzou New Music InternationalComposers Festival, New Music on the Point, andSEAMUS. He has held residencies at Atlantic Center forthe Arts and ACRE. He earned a B.A. in music fromYale University, an M.M. in composition from theUniversity of Texas at Austin in 2012, a PhD incomposition from the University of Pennsylvania in 2017,and M.S. in computer science from Stanford University in2018. He currently teaches at Wellesley College.

Giuseppe Desiato is an Italian composer andmultimedia artist currently living in Boston,Massachusetts. His approach to music and videocomposition has always been made as continuousresearch on the malleability of synthesized or foundobjects. Every material is meticulously chosen anddeeply crafted to create multi-layered structures that justgive an idea of clarity and strength. Many of his worksare influenced by shapes, landscapes, architecture, andphotography. His most recent works are focused on therelationship between computer graphics (2d and 3d) andelectroacoustic music. He is now pursuing a Ph.D. inComposition And Music Theory at Brandeis University(Waltham/Boston).

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Hana Do studied the composition at the EWHA woman’sUniversity in South Korea. She continued her study inParis in France by graduating the diploma for thecomposition and the orchestration at the conservatory ofBouligne-Billancourt then obtained the licence and themaster of the Music-Musicology at the UniversityParis-Sorbonne. She is currently PhD student with thesubject of the immersion sound at the UniversityParis-Sorbonne since 2017. Her music has beenperformed in many of the international festivals andconcert such as the concert, La musique de la penséeand, Être compositrice at UNESCO, Voyage entrel’occident et l’extrême oriente, Polymorphoses in France,the ICMC 2018 in Korea, Vox Feminae in Israel, SoundThought in Scotland, VIPA festival in Spain. She was oneof the winners in the flame of the ‘Tactus as acomposer-in-residence during the 6th InternationalForum for Young Composer in Belgium. As amusicologist, she participates in several internationalseminars and presents also her paper concerns on thespatialization and the immersion sound at Ircam inFrance and at EMSAN/JSSA in Japan. She is one of thescholarship holder of « Kim Hee-Kyung Scholarship forEuropean Humanities » since 2019 in Korea.

Enrico Dorigatti was born in Trento. After thehigh-school diploma as IT specialized technician, he hasenrolled at the local conservatory in the electronic musicclass, where he started working and experimentingmixing together audio, video and coding. His bachelorthesis, a library for the realtime audio synthesis in Unity,was presented as paper at the 2019 SMC in Malaga.Other works were exposed in relevant contexts such asCIM and Biennale d'Arte di Salerno. He attended severalmasterclasses held by, among others, J. O'Callaghan, B.Truax, A. Vidolin, D. Teruggi, A. Camurri. He is currentlyenrolled at the second year of the two-years masterdegree in electronic music composition at theconservatory of Trento.

Gerald Eckert was born in 1960 in Nuremberg. Hestudied Mathematics at the University of Erlangen,violoncello and conducting at the conservatory ofNürnberg, composition with Nicolaus A. Huber andelectroacoustic composition with Dirk Reith at theFolkwang-Hochschule Essen. Further he attendedcomposition courses with Brian Ferneyhough undJonathan Harvey. 1996/97 he worked as visiting scholarat the CCRMA of the Stanford University/ USA. 1998 hewas guest professor at Darmstadt and at Akiyoshidai/Japan, 2000/ 01 lecturer at the TU Darmstadt. GeraldEckert realized different intermedia works, i.a. for dance,video installation or projects with interactive light control.He received various prizes and awards, i.a. theGulbenkian- Prize/ Portugal '93, the Kranichstein-Prize'96, a 1st prize of Bourges 2003, the 1st prize of Stuttgart2005 or Yekaterinburg 2015 and received scholarshipsi.a. for Royaumont 1995, Venice 2006, Villa Aurora / LosAngeles USA 2010. From 2012 to 2014 Gerald Eckertwas professor for composition at the Chung-Ang

University Seoul/ Anseong Korea. Gerald Eckert havehad performance on festivals like Ars Musica Brussels,Eclat Festival Stuttgart, Transit Festival Leuven,Ultraschall Berlin, Musica Strasbourg, Futura Festival,Núcleo Música Nueva de Montevideo, GaudeamusInternational Music week, Discoveries Aberdeen, daysfor contemporaray music Zurich, Musica Scienza Rom,SICMF Festival/ Seoul, "Bernaola" Festival/Spain,Stanford, etc. Gerald Eckert works with orchestras,ensembles and musicians including theNDR-Philharmonie, Klangforum Wien, EnsembleModern, Ensemble Aventure, Ensemble Recherche,Ensemble SurPlus, Formalist Quartet/ Los Angeles,Divertimento Ensemble (Italy), etc. 2013 a monographwith the title: "An den Rändern des Maßes - derKomponist Gerald Eckert" was released by the publisherWolke. CD’s has been released at different major label,i.a: Cybele 1996, ambitus 2003, col legno 2004, EdtionZeitklang 2006, NEOS, 2008, mode records 2016 and2020. http://www.geraldeckert.com

Composer Daniel Eichenbaum’s (b. 1977) music hasbeen performed and published throughout the UnitedStates, Europe, and Asia. Recent works include Pacific(for the PEN Trio, published by TrevCo Music) and Ifyour boy leads (for mezzo soprano Jenifer Weber),based upon poems by Fairmont State Professor ofEnglish Elizabeth Savage. His Sinfonietta, for windensemble augmented with string quartet, and hisTrumpet Concertino were semi-finalists for the AmericanPrize in wind ensemble composition. Other recent worksinclude Gagarin, for clarinet and fixed media and Record,based upon the Voyager Golden Record, for SATB choirand fixed media. He currently serves as AssociateProfessor of Music at Fairmont State University inFairmont, West Virginia, where he also runs the WestFork New Music Festival. His music is published bySouthern Music, Reynard Music, and Warwick Brass, aswell as recorded on the Capstone Records label.www.danieleichenbaum.com.

Brian Ellis is a Bay-Area composer, coder, andmulti-instrumentalist. His musical drive lies in using codeto realize his larger compositional vision: that technologyshould be used toward divesting musical agency fromthe composer to the environment, the performer, andultimately, the listener. He believes strongly in the valueof collaboration, having premiered pieces with videoprojection artists, technologists, photographers, anddancers on numerous occasions. Brian currently studiescomposition with David Coll, and has recently completedhis undergraduate double major in Music and ComputerScience Honors at the University of Texas at Austinwhere he studied with Nina Young, Celil Refik Kaya,Howard Ochman, and Russell Pinkston, among others.Brian has had works selected for presentation innumerous events, including ICMC, SEAMUS, NYCEMF,ROCC, the Ears Eyes and Feet Collaborative Concert,and the Good House Collective's "Time Warp", alongwith many house concerts. He has produced works incollaboration with dancers, including the Agenda(s)

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project and with Unset 2.0, an improvisation andaudience co-collaborative dance company. As aperformer, Brian is committed to diversifying therepertoire of the Classical Guitar, and performs withSaxophonist Jonathan Hostottle in SANS; duo.

Jonah Elrod is a composer who researches cycles andsignals from the Earth and incorporates them into hismusic. His works are inspired by and engage with issuessurrounding our environment and human perception ofthe natural world. His music has been performed atmany new music festivals including the Society ofComposers, Inc. National Conference, the John DonaldRobb Composers Symposium, the New Music on theBayou Festival, the Wisconsin Alliance for ComposersFestival, the Hot Air Music Festival, the TUTTI Festival,the New Music Gathering, and the New Gallery Series inCambridge, MA. He recently worked as a visitingassistant professor of music at Luther College, and iscurrently a board member of the Iowa ComposersForum. He earned his Ph.D. in music composition fromthe University of Iowa where he also served as anassociate director of the electronic music studios.

After his musical formation at several centers andconservatories, Juan Escudero he studied compositionwith Francisco Guerrero Marín in Madrid. Techniques ofalgebra, geometry and astronomy, that he has developedin the field of scientific research, have been some of themain guides of formalization procedures. Harmonizationsof aperiodic ordered temporal sequences, which are onthe basis of the formal and rhythmic structures play amajor role in several of his instrumental and computergenerated works. More recent formal approaches arerelated with the analysis of the cohomology of aperiodictiling spaces and the construction of singularhypersurfaces in algebraic geometry. Selections andperformances include Concorso Internazionale diComposizione Musicale Elettronica Pierre Schaeffer,Festival Internacional de Música Contemporánea deAlicante, International Society of Contemporary MusicISCM World Music Days-Music Biennale Zagreb,International Symposium on Electronic Art ISEA, etc.

Libby Fab is a drummer, electroacoustic composer andvideo artist based in NYC. She completed an M.Phil inMusic and Media Technologies at Trinity College Dublinin 2004. In 2005, Libby became a founding member ofnoise-punk duo, The Paranoid Critical Revolution, inwhich she played drums until 2011. From 2006-2008 shewas the technical director and rehearsal drummer forGlenn Branca’s Symphony 13: Hallucination City. In 2008Libby played drums for the Glenn Branca Ensemble,performing The Ascension: The Sequel in the US andEurope through 2013. She returned to the Ensemble in2019, performing Branca’s Third Ascension at MIT andin New York. Her electroacoustic compositions havebeen presented at the Mise En Bushwick Open Studiosand the International Computer Music Conference / NYCElectroacoustic Music Festival (2019). Her experimental

video works have been included in festivals in Ireland,Cuba and the US.

Fabio Fabbri received "Second level academicqualification cum laude with highest marks and mentionof honor at Conservatorio “G.Puccini” in La Spezia, Italyas well as at the Hodgson School in Athens (Atlanta) hispersonal formation. He has taken part in the ConcertSeason of Milano Musica 2006 with the world-renownedDynamis Ensemble, and in collaboration with Teatro allaScala of Milano. His works have been executed at theFestivals Intorno al ‘900, Nuovi orizzonti sonori, NewYork Electroacoustic Music Festival 2018, BarcelonaZeppelin 2018, Leicester Convergence 2019, BarcelonaFlexus Project 2019, NACUSA Mid-South composersconcert at the University of North Georgia, MonterreyEcos urbanos Festival de arte sonoro y transmedia2019, University of Tennessee Contemporary MusicFestival/SCI Region IV, Missouri Experimental Sonic Arts2020. He regularly holds masterclasses, seminars andsummer courses in Santa Margherita Ligure(Musicamica Association), Madrid (AutonomousUniversity), Australia (Rosebank College in Sidney andAlexandra Hills High School in Wellington Point)”.

Neal Farwell composes music for instruments andvoices, for the "acousmatic" fixed medium, and for themeeting points of human players and live electronics. Heis Professor of Composition at the University of Bristol,UK, where he has served also as Head of the School ofArts. Neal regularly conducts the University SymphonyOrchestra, and curates the electroacoustic concertseries Sonic Voyages with the Bristol UniversityLoudspeaker Orchestra. http://www.nealfarwell.com/

Epameinondas P. Fassianos (Epa Fassianos) is aGreek Composer of Electroacoustic and Ambient Music.He was born in Athens in 1982. He has attended boththe University of York (MA in Music Technology) underthe supervision of Professor Andy Hunt and theUniversity of Sussex (MA in Composition for Media andFilm and MPhil in Musical Composition) under thesupervision of Professor Ed Hughes. His BA in Greecewas in Informatics and Computer Technology. He hasalso obtained his Piano Diploma in 2003 with ProfessorDimitris Toufexis. In parallel, he has obtained theDiplomas in Harmony, Counterpoint and Fuguerespectively. He holds a PhD Degree in AcousmaticMusic Composition. He obtained his PhD from theUniversity of Manchester (NOVARS Research Centre),under the supervision of Professor David Berezan. Hisarea of interest was: Creating works of AcousmaticMusic based on aspects of Greek Culture (Religion,Traditional Greek Instruments, Mythology).

Iván Ferrer-Orozco is a composer, electronic mediaperformer and sideman. His music has been performedat concert series and festivals in Europe, America andAsia. He has been artist in residence in institutions ofSpain, France, USA, Mexico, Argentina, South Korea,

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Germany, Canada and Cyprus. He also works aselectronic media performer as soloist and sideman,collaborating with other soloists and ensembles fromSpain and abroad. In 2019 he was awarded with thefellowship Sistema Nacional de Creadores de Arte,national program of the Mexican government awarded tooutstanding artists of all disciplines. https://noesbarco.wixsite.com/ivanferrer

Jason Fick is a composer, collaborator, audio engineer,researcher, and educator actively working in the field ofmusic technology. His recent electroacoustic andinteractive computer music has been performed atacademic and public concerts, festivals, andconferences throughout the United States, Europe, andAsia, including ICMC, SEAMUS, WOCMAT,Electroacoustic Barndance, and International Tribunal onFracking and Human Rights (Corvallis, OR, 2018). Hisresearch on music technology pedagogy, sonification,and concert reviews have been published by the AudioEngineering Society (AES), International Community onAuditory Display (ICAD), International Journal onInteractive Design and Manufacturing (IJIDM), and Array,the journal of the International Computer MusicAssociation. He holds a Ph.D. in Music Composition andis currently Assistant Professor and Coordinator of MusicTechnology and Production at Oregon State University.Prior to arriving in Corvallis in 2016, he taught at CollinCollege and the Art Institute of Dallas. Jason currentlyserves as the President of the College MusicSociety–Pacific Northwest Chapter. For moreinformation, visit www.jasonfick.com.

Luca Forcucci investigates sonic perception in relationto space, memory, subjectivity and consciousness. Forcucci’s work won numerous prizes in well regardedcontexts like Swiss Digital Art award for a research in theBrazilian Amazon Rainforest, Djerassi Foundation andLeonardo/ISATS art and science residency in SanFrancisco, nomination in the arts at the WorldTechnology Summit in New York, and finalist of LuigiRussolo Prize 2019. He is regularly invited as guestlecturer in universities like SIVA Shanghai, Ecole OffShore Shanghai, EPFL Lausanne, ZHdK Zürich, USPSão Paulo, UFBA Salvador de Bahia, UFRJ Rio deJaneiro, UdK Berlin, TU Berlin or University of CaliforniaRiverside. Forcucci achieved a PhD in Music,Technology and Innovation at De Montfort University anda MA in Sonic Arts from Queens University of Belfast. Hestudied electroacoustic music with the Swiss composerRainer Boesch in Geneva.The works are released onSubrosa, Cronica electronica, Glistening Examples andon his own bandcamp. www.lucaforcucci.com

Born in Perugia, Nicola Fumo Frattegiani graduatedwith highest honours from D.A.M.S. (Academy of Arts,Music and Show) at the University of Bologna, with athesis on Luigi Nono’s work “Intolleranza 1960”. Later hehas advanced post-graduate degree on “The musicalcultures of 1900’s” at the University of Rome “Tor

Vergata”, a bachelor’s degree cum laude on “ElectronicMusic and New Technologies” at the Conservatory ofMusic of Perugia and a Master’s degree cum laude andspecial mention for artistic merit on “Electronic Music” atthe Conservatory of Music of Frosinone. His works havebeen presented at various national and internationalfestivals including ICMC (South Korea), NYCEMF, NewMusic Miami Festival ISCM, Electroacoustic Barn Dance,WSU ElectroAcousticMiniFest (USA), SMC (Cyprus),Atemporánea Festival, Foundation Destellos (Argentine),Festival Futura, Finale Prix Russolo (France), SynchresisFestival (Spain), Evimus (Germany), MUSLAB (Brazil),Echofluxx (Czech Republic), Audio Mostly, BFE/RMA,Convergence, Noisefloor Festival, SOUND/IMAGE(United Kingdom), WOCMAT (Taiwan), MateraIntermedia, XXII CIM, Venice Biennale of Architecture,9th International FKL symposium on soundscape,Premio Nazionale delle Arti (Italy). Author and performerhis research deals with electroacoustic music, sound forimages, video, art exhibition and in particularelectroacoustic compositions for contemporary theatricalperformance.

Born in Seattle, WA., Miles Jefferson Friday is currentlypursuing a DMA in music composition at CornellUniversity and holds a MA in composition from theEastman School of Music as well as a BM from theIndiana University, Jacobs School of Music. Miles haswon numerous awards and honors including the ASCAPMorton Gould Young Composer Award, Otto R. StahlMemorial Award, the Wayne Brewster Barlow Prize, theKuttner String Quartet Composition Competition, and theRobert Avalon Young Composer Competition. Miles hasalso spent additional time at festivals such as IRCAM’sManifeste Academie, the Grafenegg (Ink Still Wet)Festival, June in Buffalo, the Splice Institute, theThailand New Music and Arts Symposium, the SinusTonFestival, and the Red Note Music Festival. Miles hasworked with and had his music played by prominentensembles such as Ensemble Intercontemporain,International Contemporary Ensemble (ICE), Dal Niente,TAK ensemble, the Fifth House Ensemble, theTonkunstler Orchestra, the Whatcom SymphonyOrchestra, and many others. Miles’ musical interestscurrently involve integrations of technology,(de)construction, improvisation, and installation withtimbral morphology and notational exactitude.

Francesco Galante is an Italian composer (Rome,1956). He studied electronic music in Italy and France.He was artistic director of "Musica Verticale" Association(Rome, 1980-1982) and co-founder of S.I.M. computermusic company (Rome, 1982-1990). He is composer, researcher (VLSI circuits designer for audio and musicapplication, ICMC1986) and essayist ( his main booksare devoted to history of electronic music, like as"Musica Espansa" (co-author Nicola Sani) and"Metafonie" (co-author Luigi Pestalozza)). In 1997 hewas "resident composer" at IIME Bourges (France).From 1998 to 2000 he curated at Teatro "Alla Scala" inMilan the "Metafonie" project, a biennial electroacoustic

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music festival, and also curated the internationalscientific symposium "Music and Technology, Tomorrow"(Teatro Alla Scala, december 1999). His music worksare performed all over the world (Italy, France, Germany,the Netherlands, Spain, Switzerland, Croatia, Greece,Poland, Russia, Hungary, Romania, Denmark, USA,Canada, Brazil, Argentina, Cuba, Korea, Australia). Hehas held several conferences on the topic music/technology: in Italy, Spain, Cuba, France, theNetherlands, Russia. His music is published on Cd by Fonit Cetra, Ricordi edts, Eshock edts Moscow,Twilight-EMI Italy, LIMEN and CEMAT. He is rofessor ofelectroacoustic music composition at the Conservatory ofMusic of Cosenza City (Italy).

Matteo Giuliani studied CS engineering at Unibo, choralconducting and music composition, graduating withhonors and praise first with Alessandro Solbiati at the G.Verdi Conservatory (Milan) and finally graduating withhonors with Ivan Fedele at Accademia Nazionale SantaCecilia (Rome). His compositions have been performedat festivals such as Rondò, Milano Musica, GAMO(Florence), Festival Pontino, L’Altro Comunale (Bologna),The Pharos Trust (Cyprus) by Ensemble Alternance(Paris), Ensemble Transmission (Montreal), MariaGrazia Bellocchio, Laura Catrani, Francesco Gesualdi,Dario Savron, Alfonso Alberti, Sara Minelli, Il Canto DiOrfeo, Gianluca Capuano and are published by AERCO,EMA Vinci Ed. (Firenze); EMA Record published a CDfeaturing one of his works. He won/was a runner up in(mainly international) composition competitions including:I/IV AFAM Divertimento Ensemble (Milan), The ChoralProject (S. Jose, USA), Continuum Musicum, Castiglioni(Milan), IV GAM (Milan), Le note ritrovate (jury presidentFrederic Durieux), Sermoneta, Festival Pontino,Certaldo, Pharos Competition (Cyprus), E. CarellaCompetition, G. Alberghini Prize, Left Coast Ensemble(S. Francisco, USA), S. Fedele Young Artist Prize(Milan). As a conductor he published two CDs and tookpart in hundreds of concerts in Italy, EU, US. He iscurrently developing a new score oriented computeraided composition system.

Michael Gogins was born in 1950 in Salt Lake City,Utah, and lived there till 1973, a wonderful place to growup with many trips to mountains, desert, and unlockeduniversity labs. His father was an inventor, his motherwas a fine artist and commercial artist. He has pursuedpoetry, photography, music performance, and musiccomposition. He has lived in Salt Lake City, Los Angeles,New York, Seattle, and now New York again. He has aB.A. in comparative religion from the University ofWashington, 1984. At the same time as he was studyingcomparative religion, he was taking seminars incomputer music with John Rahn. Computer musicgradually became my major interest. It also enabled himto make a living as a software engineer. In the late1980s, he benefited greatly from Brad Garton'sopenness to non-student participation in the woof usergroup and concerts at the Columbia-Princeton ElectronicMusic Center, now the Columbia Computer Music

Center. Currently, he contributes code to Csound,maintain the vst4cs opcodes for hosting VST plugins inCsound, maintain the Csound for Android app, andmaintain the csound-extended package incorporatingvarious facilities for algorithmic composition inJavaScript, C++, and Common Lisp. He writes articlesand papers and give talks on computer music, and hecreates computer music. He has a special interest inalgorithmic composition. He is currently working to bringnew developments in mathematical music theory intoalgorithmic composition software. He is married to HeidiRogers, who before she retired ran Framk MusicCompany, a classical sheet music store in New York.They live on a farm in the Catskills, and on the UpperWest Side of Manhattan.

Joel Gressel (b. Cleveland, 1943) received a B.A. fromBrandeis University and a Ph.D. in music compositionfrom Princeton University. He studied composition withMartin Boykan and Milton Babbitt, and computer musicwith Godfrey Winham and J.K. Randall. His computermusic has been recorded on the Ravello, Odyssey, CRI,APNM, and American Composers Edition labels. Hecurrently lives in New York and works as a computerprogrammer, maintaining and extending software thatmodels tax-exempt housing-bond cash flows.

Ragnar Grippe studied at Groupe de RecherchesMusicales and with Luc Ferrari in Paris. His workincludes movie scores, modern dance and a bigproduction of electronic music. Available on DAISRecords BIS and on Apple Music, Spotify.

Roy F. Guzmán is a composer of computer music andinstrumental music, improviser and poet born in SanJuan, Puerto Rico on June 28 1987. He attended theConservatory of Music of Puerto Rico. He further hisstudies in Berklee College of Music and later on went tostudy in The Netherland computer-music andcomposition in The Institute of Sonology in The Hague.He has been active since 2005 till this day playing liveelectronics, guitar in different ensembles and presentingmusical works with performers in the US, Puerto Rico,Mexico and Europe. Previews and current ongoingresearches has and are chaos theory for structuralsound and musical material for computer music andinstrumental music, the subject of abstractingsoundscores to instrumental interpretations as ametaphor for the perception of the whole reality, chaosetymologically speaking, interpreted and filtered throughour limited senses into an abstraction of the real reality,and the subject of resilience and limitations in musicthrough generative algorithmic instrumental music withsmall amount of rules or algorithms generating greatamount of musical material an gestures.

Composer and researcher Rob Hamilton explores theconverging spaces between sound, music andinteraction. His creative practice includes mixed andvirtual-reality performance works built within fully

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rendered networked game environments, proceduralmusic engines and mobile musical ecosystems. Hisresearch focuses on the cognitive implications of sonifiedmusical gesture and motion and the role of perceivedspace in the creation and enjoyment of sound and music.Dr. Hamilton received his Ph.D. from StanfordUniversity’s Center for Computer Research in Music andAcoustics (CCRMA) and currently serves as AssistantProfessor of Music and Media in the Department of Artsat Rensselaer Polytechnic Institute in Troy, NY.

Jinhao Han, a junior undergraduate in SichuanConservatory of Music, China. Participated inICMC2019/NYCEMF2019.

Louise Harris is an electronic and audiovisualcomposer, and a Senior Lecturer in Sonic andAudiovisual Practices at The University of Glasgow. Shespecialises in the creation and exploration of audiovisualrelationships utilising electronic music, recorded soundand computer-generated visual environments. Louise’swork encompasses fixed media, live performance andlarge-scale installation pieces, with a recent researchstrand specifically addressing Expanded AudiovisualFormats (EAF). Her work has been performed andexhibited nationally and internationally, and recentcommissions include 30-minute radio art works forStazione di Topolo and RadioArts. Louise was awardedthe World Prize at the Electroacoustic CompetitionMusica Viva (2011) and in 2016, her piece pletten wasawarded first prize at the 2016 Fresh Minds Festival. In2017, her solo exhibition, Auroculis, opened the AlchemyFilm and Arts Hub in Hawick, UK and in 2018 she wascommissioned by Cryptic and The Lighthouse to createVisaurihelix, a site-specific, interactive audiovisualinstallation for the Mackintosh Tower as part of theMackintosh 150 celebrations.

My name is He Jing. Iwas born in Hubei, China.(1989-).I graduated from Showa University of music Japan studied with Associate professor Masatsune Yoshio.Now I am teaching composing at Wuhan Conservatoryof music. My main research directions is algorithmiccomposition,acoustic synthesizing and electroacousticmusic.

Dr. Yuanyuan (Kay) He is a composer and video artistwith roots in China. Her works often explore andintertwine various forms of media to create uniqueaudiovisual experiences that engage the audience. Manyof her works involve collaborations with choreographers,dancers, video artists, audio technicians, and stagelighting and design artists. As a multimedia composer,she is very active in the music community. Kay serves asthe Creative Director for Electronic Music Midwest(EMM), which is an annual music festival dedicated toprogramming a wide variety of electroacoustic music andproviding high quality electronic media performances.She is also the founder and Director of the Turn UpMultimedia Festival, which works to promote

Interdisciplinary Collaboration, Culture-Connecting, andEquality. During her career, Kay has won many awardsand been selected for many performances in the U.S.and abroad. She is currently Assistant Professor at theUniversity of Arizona, where she teaches composition,electro-acoustic music, and orchestration.

Kim Hedås is a composer, PhD, also senior lecturer andresearcher at the Royal College of Music inStockholm (Kungliga Musikhögskolan, Stockholm). Hermusic has been performed by, among others, theSwedish Radio Symphony Orchestra, the GothenburgSymphony Orchestra, the Symphony Orchestra ofNorrlandsOperan, Gageego!, pëarls before swineexperience, Kroumata, VOX, DalaSinfoniettan, and theGothenburg Opera. She also works with electro-acousticmusic and collaborates with other artists in theater,art and architecture. In recent years, her music has beenperformed at, among others, Göteborgs Konserthus,Moderna museet, Kulturhuset, Färgfabriken, theArchitecture Biennale in Venice, Kivik Art Centre, TeaterGaleasen and the Royal Dramatic Theatre in Stockholm.In 2013, Kim Hedås completed her PhD at theFaculty of Fine Arts, University of Gothenburg with thedissertation Linjer. Musikens rörelser – kompositioni förändring (Lines: Music moving – compositionchanging). www.kimhedas.se

Mara Helmuth composes music often involving thecomputer, and creates multimedia and software forcomposition and improvisation. Her recordings includeButterfly Within on Lindsey Goodman’s ETEREO onPARMA, from O on Open Space CD 33 Benjamin Boretz9x9, Irrestible Flux on Esther Lamneck’s TarogatoConstructions (INNOVA), Lifting the Mask on SoundingOut! (Everglade), Sound Collaborations, (CDCM v.36,Centaur CRC 2903) with various collaborativecompositions, Implements of Actuation (Electronic MusicFoundation EMF 023),and works on Open Space CD 16and the 50thAnniversary University of IllinoisExperimental Music Studios commemorative collection. Scores are published in Open Space Magazine Issues19-20 (“from O”), and Notations 21 (“String Paths”),edited by Theresa Sauer. Her music has been performedinternationally at conferences, festivals and arts spaces.Her research includes software for composition andimprovisation has involved granular synthesis, includingthe StochGran software, wireless sensor networks, userinterfaces, performance over Internet2, and contributionsto the RTcmix music programming language. She hascreated compositional collaborations with EstherLamneck, Rebecca Danard and Allen Otte and others.She is Professor of Composition at theCollege-Conservatory of Music, University of Cincinnatiand Director of the CCM Center for Computer Music.She previously taught at Texas A&M University(1993-1995) and New York University. She holds aD.M.A. (1994) from Columbia University, and earlierdegrees (M.M., B.A.) from the University of Illinois,Urbana-Champaign. She served on the board of

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directors for the International Computer MusicAssociation in several positions including board memberfor the Americas, Vice President for Conferences,newsletter editor and President. She also plays tennisand practices tai chi ch’uan.

Bennett Hogg teaches composition and music history atNewcastle University, UK. He is a composer ofelectroacoustic and instrumental music, works withenvironmental sound art, free improvisation and alsoBritish folk music. His music has been presented andbroadcast in the UK, Sweden, Germany, and Austria. Hehas also published academic articles on music andsound in contemporary culture, and has edited twospecial issues of The Contemporary Music Review. He isthe founder and director of "Landscape Quartet", aninternational environmental sound art project, and iscurrently working on new pieces for NewcastleInternational Poetry Festival, Swedish guitarist StefanÖstersjö, and the Icelandic ensemble Nordic Affect.

Ulf A. S. Holbrook is an artist working with sound in avariety of media, including composition, improvisation,installations, text and academic research; with aninterest in representations of space and place throughsound, through the use of spatial audio systems, fieldrecording and custom software. He is currently a PhDcandidate at the RITMO Center for InterdisciplinaryStudy of Rhythm, Time and Motion and his project is anexploration of sound objects and spatial sound, and thetranspositional relationship to landscape. His work isperformed, exhibited and published internationally.

E Hwa Hong (b. 1995, South Korea) is a composer andsound artist. Her work is mainly focused on combininginstrument and computer music. In addition to that, sheworked on visual works and dance music. She likes toshow her thoughts rather than expressing a specifictheme in her works. This is the process of ordering andorganizing the flow of consciousness in her mind. Sheprefers to connect and recreate sounds in the orderwhich she sets. She is active in various concerts. Shegraduated from sunhwa arts high school and received abachelor 's degree from Chugye University For the Artsin Seoul.She wil enter CNSMDL,France (Conservatoirenational supérieur de musique et de danse de Lyon) inSeptember 2020 as a composition contemporaine(composition mixte) major.

Michael Hood, who uses the pseudonym "Astra UrsaLux" for his experimental music, is a New York basedmusician and composer. He attended Berklee in Bostonand then got his Masters in Music at WCSU. It was at thelatter that he really discovered an interest in avant-gardeand experimental musical forms. He has recorded sixalbums of electroacoustic music as "Astra Ursa Lux", exploring sounds and forms from the subtle to theextreme. (Shameless plug...my music is available oniTunes, various streaming services, etc.).

Hubert Howe was educated at Princeton University,where he studied with J. K. Randall, Godfrey Winhamand Milton Babbitt, and from which he received the A.B.,M.F.A. and Ph.D. degrees. He was one of the firstresearchers in computer music, and became Professorof Music and Director of the Electronic Music studios atQueens College of the City University of New York. Healso taught at the Juilliard School from 1974 to 1994. In1988-89 he held the Endowed Chair in Music at theUniversity of Alabama in Tuscaloosa. From 1989 to1998, 2001 to 2002, and Fall 2007, he was Director ofthe Aaron Copland School of Music at Queens College. He is a member of the Society of Composers, Inc., theAmerican Composers Alliance, the InternationalComputer Music Association, SEAMUS, the Long IslandComposers Alliance, and the New York ComposersCircle. In 2009, he founded the New York CityElectroacoustic Music Festival, and he continues asDirector. Recordings of his computer music have beenreleased by Capstone Records (Overtone Music, CPS-8678, Filtered Music, CPS-8719, and TemperamentalMusic and Created Sounds, CPS- 8771), RavelloRecords (Clusters, RR 7817), and Centaur Records(Harmonic and Inharmonic Fantasies, CRC 3579).www.huberthowe.org

Simon Hutchinson is a composer and designer ofcompact interactive experiences. A voracious scholar ofall aspects of music, his work synthesizes disparateideas–European concert traditions and creativeelectronics; acoustic musical instruments and digitalvideo games; East Asian folk and American jazz, rockand funk–and these combinations yield novel musicalexperiences, engaging with the relationships betweentechnology and society. Hutchinson holds a PhD inComposition with supporting coursework in IntermediaMusic Technology from the University of Oregon, and heis currently Assistant Professor of Music at the Universityof New Haven.

Konstantinos Karathanasis as an electroacousticcomposer draws inspiration from modern poetry, artisticcinema, abstract painting, mysticism, Greek mythology,and the writings of Carl Jung and Joseph Campbell. Hiscompositions have been performed at numerousfestivals and received awards in internationalcompetitions, including Bourges, Musica Nova,SEAMUS/ASCAP, SIME and Música Viva. Recordings ofhis music are released by SEAMUS, ICMA, MusicaNova, Innova and HELMCA. Konstantinos holds a Ph.D.in Music Composition from the University at Buffalo. AStavros Niarchos Foundation Fellow for Spring 2020, heis a Professor of Composition & Music Technology at theUniversity of Oklahoma. More info at:http://karathanasis.org

Gintas K (born Gintas Kraptavicius, 1969) is a soundartist born in Lithuania in 1969. Gintas K exploring experimental, electroacoustic,electronic,computer music, granular synthesis, live

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electronic music aesthetics. Since 2011 member ofLithuanian Composers Union. Artist in residency at DAR 2016, DAR 2011, MoKS 2016. He has presentedhis works, performed at various international festivals,symposiums as Transmediale.05, Transmediale.07,ISEA2015, ISSTA2016, IRCAM forum workshop 2017,xCoAx 2018, ICMC2018, ICMC-NYCEMF 2019.. Winnerof the II International Sound-Art Contest Broadcasting Art2010, Spain. Winner of The University of South FloridaNew-Music Consortium 2019 International Call forScores in electronic composition category.

Kevin Michael Kay (b. 1995) is inspired by the ways inwhich our universe manifests sound, and through his art,he explores how sound behaves physically in our world.His work is often processual, focusing on how materialevolves through time. He aims to immerse listeners incontained soundworlds using harmonic languages thatare organized not necessarily by pitch, but more-so byfrequency, utilizing the mathematical properties of sound.Due to his fascination with sound's physical andpsychoacoustic qualities, Kevin hopes that audiences areable to perceive the physicality of sound itself, translatedthrough artistic means. Festivals that have performedKevin's music include: IRCAM's ManiFeste Academy(with soloists from Ensemble Intercontemporain), LesEcoles d'Art Américaines de Fontainebleau, New Musicon the Point, the Yarn/Wire Institute, the NYCElectroacoustic Music Festival, the Electroacoustic BarnDance, the National Student Electronic Music Event, theValencia International Performance Academy andFestival, and the Charlotte New Music Festival.Furthermore, Kevin has been named the winner of theCortona Prize 2020. Kevin's music has been performedby PinkNoise Ensemble, Ghost Ensemble, The City ofTomorrow, MotoContrario Ensemble, Spektral Quartet,Imani Winds, and the Brouwer Trio, among others. Kevinis currently a PhD student at Stony Brook Universitywhere he studies with Margaret Schedel. He holds anM.A. from the University of Chicago where he studiedwith Sam Pluta, and a B.S. in physics and music fromWilliam and Mary where his primary mentor was SophiaSerghi. www.kevinmichaelkay.com

Sujin Kim majored in English literature at college,currently studies computer music composing at KoreaNational University of Arts, and would like to develop aninterest in algorithm composing using data not relevantto music itself and convergence art between computermusic and other media.

Kimia Koochakzadeh-Yazdi (b. 1997 Tehran, Iran) is aVancouver-based composer and performer. Sheexplores the unfamiliar familiar while constantly beingdriven by the mechanism of the human psyche andexploring ways to manipulate it. Koochakzadeh-Yazdiwrites for hybrid instrumental and electronic ensemblesand performs live electronic sets. Her work has beenfeatured in festivals such as New Music on the Point(Vermont, USA), wasteLAnd Summer Academy 2019

(Los Angeles, USA), EQ: Evolution of the String Quartet(Banff, Canada), Modulus Festival (Vancouver, Canada)and SALT New Music Festival (Victoria, Canada). Shehas been presented by art organizations includingWestern Front, Music on Main, Media Arts Committeeand Vancouver New Music. She was recently Music onMain's Emerge on Main's 2020 artist. Working withinstrumental and electroacoustic media, she has alsocollaborated on projects written for dance performance,film, and theatre. Koochakzadeh-Yazdi is currentlypursuing her undergraduate degree in composition atSimon Fraser University's interdisciplinary School for theContemporary Arts with Sabrina Schroeder, OwenUnderhill and Mauricio Pauly.

Benjamin Krumwiede is a pianist, composer, andeducator of music residing in Moore, Oklahoma. At 15,he was accepted to study piano and composition withThe University of Tulsa professor Dr. William RogerPrice, who is now the head of the piano department. In2010, he won first place in the national compositioncompetition for MTNA. Krumwiede was named theParriott Scholar of 2011-2015 at the University of Tulsaand graduated magna cum laude in May of 2015 with aBachelor of Music degree in Piano Performance. In2015, he won the first annual Trio Tulsa compositioncompetition. His work Variations on Isolated Sounds wasselected to be performed in the ICMC/NYCEMF 2019conference and festival. Krumwiede recently completeda Master of Music degree in composition at TheUniversity of Oklahoma and currently teaches classpiano and serves as accompanist at Western HeightsHigh School.

The music of American composer Mikel Kuehn hasbeen described as having “sensuous phrases...producing an effect of high abstraction turning intodecadence,” by New York Times critic Paul Griffiths. A2014 Guggenheim Fellow, he has received awards,grants, and residencies from ASCAP, BMI, the BanffCentre, the Barlow Endowment, the Chicago SymphonyOrchestra, Composers, Inc., the Copland House,Eastman, the Fromm Foundation at Harvard, the Leagueof Composers/ISCM, the MacDowell Colony, the OhioArts Council, and Yaddo. His works have beencommissioned by the Anubis Saxophone Quartet, theCivic Orchestra of Chicago, Ensemble 21, Ensemble DalNiente, Flexible Music, the International ContemporaryEnsemble, violist John Graham, clarinetist MarianneGythfeldt, cellist Craig Hultgren, guitarist Dan Lippel,Perspectives of New Music, pianist Marilyn Nonken,Selmer Paris, and the Spektral Quartet, among others.Kuehn is Professor of Creative Arts Excellence atBowling Green State University and holds degrees fromthe Eastman School of Music and the University of NorthTexas. In November of 2016, New Focus Recordingsreleased Objet/Shadow, a portrait CD of Kuehn's music.He is the author of the computer music application nGen.

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Malte Leander is a Swedish composer with Frenchroots, currently residing and studying electroacoustics inMontreal, Canada. With a predilection for childish andtoy-inspired sounds and instruments, he acts asproducer and vocalist under his alias "Cikada" -preferences that musically seeps through to his works asan electroacoustic composer.

Taiwanese-born composer Dr. Mei-Ling Lee’s workintegrates contemporary western music with traditionalTaiwanese/Asian culture. Her work regularly drawsinspirations from western and Chinese poetry. Shereceived her Ph.D. degree in Composition, studied underDr. Robert Kyr, and Dr. David Crumb. She is currentlypursuing her second Doctor of Musical Arts degree inMusic performance, emphasis in Performance ofData-driven Instruments, studying under Dr. JeffreyStolet. Her work has been performed in variousconferences internationally and throughout the UnitedStates, including ICMC (International Computer MusicConference), ISEA (International Symposium onElectronic Art), SEAMUS (Society for Electro-AcousticMusic in the United States), and KISS (KYMAInternational Sound Symposium).

Technologist and Composer Eric Lemmon’s music hasbeen described as using “a broad range of extendedtechniques and complex rhythms to create [a] beautifullyethereal nebulousness of sound”. His works haveappeared in venues ranging from underground bars (le)Poisson Rouge and SubCulture to the DiMenna Centerfor Classical Music and FIGMENT arts festival onGovernor’s Island. They have been reviewed by the NewYork Times and featured on WQXR’s Q2. He has beenawarded MetLife’s Creative Connections Grant, a UMEZand LMCC Arts Engagement Grant, multiple PuffinFoundation Grants, a Tofte Lake Center Emerging ArtistResidency, a Can Serrat International Artist Residency, aMancini Fellowship, a Deutscher AkademischerAustauschdienst, a Fulbright Award and ConEd’sExploring the Metropolis Residency. Eric has writtenworks for Yarn|Wire Cadillac Moon Ensemble,Jacqueline LeClaire, and The Chelsea Symphony. He isa member of the time-based new media ensembleSynthBeats and was formerly the Artistic PersonnelManager for activist orchestra The Dream Unfinishedbefore stepping down to conduct research for his Ph.D.dissertation at the Zürcher Hochschule der Künste. Ericis currently a Ph.D. candidate in Music Composition atStony Brook University.

Steven Lewis’s current interdisciplinary skillset derivesfrom a pursuit of expanding upon his musical interestsand abilities in order to generate a more immersive,multi-modal experience for the audience. While at NYU’sGraduate Music Technology Program, Steven studiedthe technical integration of procedural audio modelingwith three-dimensional sound, as well as conceptualizingimmersive environments as a new medium for interactivecomputer music. He has since moved to Los Angeles to

pursue a PhD in the Integrated Composition,Improvisation and Technology Program at the Universityof California, Irvine. In addition to his research work,Steven maintains his own recording and performingschedule in the Los Angeles area, focusing on theblending of jazz, electro-acoustic, and algorithmicallygenerative music. In addition to the virtual NYCEMF of2020, his work has been presented at GameSoundCon2019, and the virtual SEAMUS Conference of 2020. Heis also a graduate alumni of the Frost School of Music atthe University of Miami, where he studied Jazz Historyand Performance. His research, music, and multimediawork can be found at www.smlewisportfolio.com.

Cort Lippe studied composition and computer musicwith Larry Austin; followed composition seminars withvarious composers including Boulez, Donatoni, K. Huber,Messiaen, Penderecki, Stockhausen, and Xenakis; spentthree years at the Institute of Sonology, working withG.M. Koenig and Paul Berg, three years at Xenakis’studio CEMAMu, while following Xenakis' courses onacoustics and formalized music at the University of Paris;and nine years at IRCAM, where he gave courses onnew technology in composition, developed real-timecomputer music applications, and was part of the originaldevelopment team for the software Max. From1994-2019 he taught composition in the Department ofMusic, University at Buffalo, New York and directed theLejaren Hiller Computer Music Studios. His researchincludes more than 35 peer-reviewed publications oninteractive music, granular sampling, score following,spectral processing, FFT-based spatial distribution/delay,acoustic instrument parameter mapping, and instrumentdesign. His compositions have received numerousinternational prizes, been performed at major festivalsworldwide, and are recorded on more than 30 CDs, havereceived numerous international prizes, and have beencomposed for many internationally acclaimed new musicsoloists and ensembles. He has been a regular visitingprofessor at universities/conservatories in Japan,Denmark, Austria, Greece, Mexico and the USA. In 2009he was a recipient of a Fulbright Award, and spent sixmonths at the National and Kapodistrian University ofAthens, Greece. Presently, he is Director of GraduateStudies and Associate Professor in the Department ofMedia Study, University at Buffalo. www.cortlippe.com

Trond Lossius (b. 1966) is a sound and installationartist based in Bergen, Norway. His projects investigatesound, place and space, using sound spatialisation andmultichannel audio as an invisible and temporalsculptural medium in works engaging with the site. He isalso an avid Weld recorder, mostly preoccupied with thesoundscapes of the suburb, recorded using ambisonicsurround microphones. He Wnds that such recordingscapture a sense of place rather than sound. He hascollaborated with other artists on a large number ofcross-disciplinary projects, in particular, soundinstallations and works for the stage. As part of LMW, incollaboration with Jon Arne Mogstad and Jeremy Welsh,he has done a series of installations combining paintings,

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video, prints, and sound. He has contributed to severalproductions with the contemporary performance groupVerdensteatret, winner of New York Dance andPerformance Awards a.k.a. The Bessies 2005-2006 inthe Installation & New Media category. Trond Lossius graduated with a master degree ingeophysics from the University of Bergen, went on tostudy music and composition at The Grieg Academy,and was a PhD-level research fellow in the arts atBergen National Academy of the Arts. He has previouslybeen Head of Research at Oslo National Academy of theArts, professor at the Grieg Academy and professor atBergen National Academy of the Arts. He is one of thedevelopers of the software framework Jamoma, and hehas ported Ambisonic Toolkit to a set of plugins for theReaper DAW. He supervises PhD candidates at severalinstitutions in Norway and Sweden.

Eric Lyon is a composer and computer musicresearcher. Lyon’s publicly available software includesFFTease and LyonPotpourri, collections of audio objectswritten for Max/MSP and Pd. He is the author of“Designing Audio Objects for Max/MSP and Pd” (A-REditions, 2012), which explicates the process ofdesigning and implementing audio DSP externals. In2016, Lyon was guest editor of the Computer MusicJournal, editing two issues (CMJ 40:4 and 41:1)dedicated to the subject of high-density loudspeakerarrays (HDLAs). Lyon also curated the 2016 ComputerMusic Journal Sound Anthology, which was the firstbinaural anthology published by the CMJ. Lyon’s creativework has been recognized with a ZKM Giga-Hertz prize,MUSLAB award, the League ISCM World Music Dayscompetition, and a Guggenheim Fellowship. Lyon iscurrently on the faculty of Virginia Tech, where he is aFellow of the Institute for Creativity, Arts, andTechnology, and teaches in the School of PerformingArts.

Anthony T. Marasco is a composer and sound artistwho takes influence from the aesthetics of today'sDigimodernist culture, exploring the relationshipsbetween the eccentric and the every-day, the strict andthe indeterminate, and the retro and the contemporary.These explorations result in a wide variety of workswritten for electro-acoustic ensembles, interactivecomputer performance systems, and multimediainstallations. An internationally recognized composer, hehas received commissions from performers andinstitutions such as WIRED Magazine, Phyllis Chen, theAmerican Composers Forum Philadelphia, QuinceContemporary Vocal Ensemble, Toy Piano Composers,the Rhymes With Opera New Chamber MusicWorkshop, Data Garden, andPLAY Duo, and thesoundSCAPE International Composition Exchange.Marasco was the grand-prize winner of the UnCaged ToyPiano Festival's 2013 Call for Scores, a resident artist atSignal Culture Experimental Media Labs, and a grantwinner for the American Composers Forum's "If YouCould Hear These Walls" project. His works andresearch have been featured at festivals across the

globe, such as NIME, the Web Audio Conference, theToronto International Electroacoustic Symposium,SEAMUS, Electroacoustic Barn Dance, New York CityElectroacoustic Music Festival, ICMC, MontrealContemporary Music Lab, and Omaha Under the Radar.Marasco is currently a Ph.D. candidate in ExperimentalMusic & Digital Media at Louisiana State Universitywhere his research centers on the creation of newsoftware and interfaces for digital art performance andinstallation. He previously served on the faculties of theUniversity of Scranton and the Pennsylvania StateUniversity.

Dariusz Mazurowski is a Polish electroacoustic musiccomposer born and currently residing in Gdansk. Hisworks combine analog instruments with digitaltechnology, computers and sampling. His compositionalapproach is dynamic in that it involves live electronicsand sound diffusion across multi-speaker systems.Mazurowski’s music has been broadcast by radiostations all over the world, and he has performed atfestivals in Europe, North America, South America andAsia. Recent performances include : Audio Art (Krakow),MUSICACOUSTICA (Beijing), Echofluxx (Prague),LEMESG (Saint Petersburg), ICMC / SMC (Athens),Cross-Art (Saint Petersburg), CIME (Lisbon), MUSLAB(Buenos Aires), NYCEMF (New York), Visiones Sonoras(Morelia), MUSLAB (Mexico), TIES (Toronto), CIME(Moscow), the Brussels Electronic Marathon,Screen&Sound (Krakow), Festival de Arte Nuevo(Chihuahua) and others. His compositions has beenreleased on numerous discs, including Non AcousticSymphony by American label Neuma.

Andrew McManus' orchestral work Strobe, premieredby the New York Philharmonic, was called "riveting" and"breathless... surging...hazy...sometimes all at once" bythe New York Times. In 2014 he began Neurosonics, along–term collaboration with University of Chicagoneuroscientist, that creates electronic soundscapesusing data from experiments used in the study ofepilepsy. New Music USA funded the project's secondwork, pathways, bursting [neurosonics 2] for stringquartet and electronics, which places the SpektralQuartet amidst a sea of occasionally violent artificialsounds. Embers, fused to ash, for Alarm Will Sound,amalgamates Wagner's "Magic Fire Music" with otherfire–based imagery and timbres. His opera Killing theGoat, based on the novel La Fiesta del Chivo ("TheFeast of the Goat") by Mario Vargas Llosa, describes itsDominican setting through references to the danceidioms of bachata and merengue as it follows a womanconfronting her traumatic memories of the Trujilloregime. He is a 2018 recipient of an Aaron CoplandHouse Residency Award, as well as a residency with theBrush Creek Foundation for the Arts. Other ensemblesand festivals that have featured his work include eighthblackbird, the Pacifica Quartet, Fort Worth Opera, theAspen Music Festival, SPLICE Institute, New York YouthSymphony, Wellesley Composers Conference, and theMinnesota Orchestra. He is based in Chicago.

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Robin Meeker-Cummings is a composer, sound artist,and improviser who is studying Composition at NewEngland Conservatory. They spent years active in thePhiladelphia experimental and new music scenesorganizing concerts and performing improvisedelectronics. At school, they have been writing electronic,electroacoustic, and acoustic classical music many ofthese works have been performed at New EnglandConservatory. In the Summer of 2018, they attended at9-day long Program in the country side near Barcelonafocused on sound art with found sounds. Robin hasrecently been performing improvised electroacousticmusic. using found objects, bells, and parts of windinstruments they create thick textures and pointillisticgestures with the use of live processing. Robinsdevelopment in electroacoustic composition has beenencouraged by attending the Splice festival. they tookclasses about composing for electroacousticinstrumentation and had one of their pieces premiered atthis festival. Robin has been working with multichannelspatialization and had a piece for 4.1 speaker orientationpremiered at the ICMC in NYC in the summer of 2019.

Jason H. Mitchell is a classically trained guitarist and acomposer of instrumental and electro-acoustic music.Though he has lived throughout the United States, hegrew up in the Rio Grande Valley of South Texas, wherethe rich cultural heritage of the Texas-Mexico borderregion influences much of his music. His music has beenperformed throughout North America, Africa, Asia, andEurope. His music has been performed at numerousfestivals and conferences, including the 2016CairoTronica , 2015 Venice Biennial, ICMC, SEAMUS,SCI, NYCEMF, Studio 300, NSEME, NMEA, EMM, andEnsemble Mise-En's summer festival and concert series.Jason is currently a Lecturer of Music Composition andTechnology at the University of Texas - Rio GrandeValley. He recently finished creating a new degree trackin music technology to be offered beginning in Fall 2020.To learn more about Jason's music, visitwww.jholtmusic.com.

Fabio Monni is a musician based in Malmö, Sweden.For several years he has been interested in how soundand space can relate with each other. How could thecharacteristics of a certain venue influence thecomposer's work and be implemented in the compositionis a question that he has tried to answer through severalworks. In his recent artistic residencies, the soundscapeof the cities of Copenhagen and Florence are morphedinto compositions; the sound material, structure, poetryand impressions are derived from the recorded tracks.These residences are part of an ongoing project namedMorphing the soundscape which aims to create acreative sound map of different cities in Europe.www.fabiomonni.com

James Moorer is a pioneer in the technology ofcomputer music and digital audio, and a co-founder ofCCRMA. A graduate of Stanford's Computer Science

Department in 1975, he worked at IRCAM in Paris,Lucasfilm in California, and retiring from Adobe Systemsin 2016. His previous works include "Perfect Days","Lions are Growing", and the THX Logo Theme"Deepnote".

Fabio Monni: For several years I have been interestedin how sound and space can relate with each other. Howcould the characteristics of a certain venue influence thecomposer's work and be implemented in the compositionis a question that I tried to answer through several piecesas well as sound installations. I am particularly interestedin venues which are not normally devoted to musicperformances such as museums, streets, city squaresand public buildings whom architectures and acousticscharacteristics could be musically exploited. My workaround space led my interest towards the open space ofthe city and the tradition of sound-walk. In my recentresidences (InterArtsCenter at Lund University-Swedenand Tempo Reale, Florence-Italy) the soundscape of thecities of Copenhagen and Florence are morphed intocompositions; the sound material, structure, poetry andimpressions are derived from the recorded tracks. Theseresidences are part of an ongoing project namedMorphing the soundscape which aims to create acreative sound map of different cities in Europe. For themuseum of modern art MAN in Nuoro, Italy, a sitespecific performance was created. Thirty-threeperformers were spread into the spaces of the museumwhich counted four floors and fifteen exhibition rooms.The work premiered the 2nd March 2019. I completedmy music education in both Italy where I graduated inPiano, Organ and Composition at the "G.P. daPalestrina" Conservatory in Cagliari, and Sweden where Icompleted the master II in composition at the LundUniversity (Sweden) with Luca Francesconi.

Dr. Timothy Moyers is a composer and audio-visualartist originally from Chicago. He is an AssistantProfessor of Music Theory and Composition at theUniversity of Kentucky where oversees theElectroacoustic Music Studios. Prior to joining theUniversity of Kentucky, Timothy was an AssistantProfessor in the Department of Human Centered Designat IIIT-D (Indraprastha Institute of InformationTechnology), Delhi, India where he was the Founder &Director of ILIAD, Interdisciplinary Lab for InteractiveAudiovisual Development, and GDD Lab, Game Designand Development Lab. He completed his PhD inElectroacoustic Composition from the University ofBirmingham (England), an MM in New Media Technologyfrom Northern Illinois University (USA), a BA in JazzPerformance and a BA in Philosophy from North CentralCollege (USA).

The innovative Jeremy Muller is active as apercussionist, composer, and educator. He hasperformed as a featured soloist at many venuesthroughout the United States, Canada, and Australiaincluding Transplanted Roots (Australia), International

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Computer Music Conference (ICMC), The Banff Centrefor the Arts (Canada), Abiquiú Chamber Music Festival,ZeroSpace (University of Virginia), Northern IllinoisUniversity, Balance-Unbalance International Conference,International Symposium on Latin American Music, theMusical Instrument Museum (the MIM), Society ofComposers (SCI), and Percussive Arts SocietyInternational Convention (PASIC). He has given theworld premieres of works by Matthew Burtner, AlexandreLunsqui, Cristyn Magnus, and an evening-lengthvibraphone work by Stuart Saunders Smith. Jeremyregularly performs with Crossing 32nd Street, hailed asPhoenix's best new music ensemble. His debut solopercussion album will be released by Albany Records.As a composer, Jeremy explores ways to integratescience and media into his works. His work focusesmostly on live processing with Pure Data or collective,omnidirectional pieces using web audio on mobiledevices. His music has been performed by ProjetoArcomusical, Sam Houston State University, UNCPembroke, GCC Percussion Ensemble, ArizonaContemporary Music Ensemble, and many otheruniversities across the United States. Some of hisresearch & publications can be found through BachovichMusic Publications, Engine Room Publishing, andPercussive Notes. Jeremy previously held fellowships atArizona State University and the CincinnatiCollege-Conservatory of Music. He received a Doctor ofMusical Arts from Arizona State University, a Master ofMusic from the Cincinnati College-Conservatory ofMusic, and a Bachelor of Music degree fromAppalachian State University. http://jeremymuller.com/

Kayoko Nakamura is a multimedia artist, filmmaker,photographer and musician. She holds an MFA inIntegrated Media Arts and MA in music, withconcentration in piano and music composition, fromHunter College of the City University of New York. Shehas used digital technology to create her projects,combining moving images and sound. Her worksoriginate in music or sound with moving images such asdocumentary film, experimental art video and soundcreation. As a filmmaker, she has won several awardssuch as Telly Award and CINE Golden Eagle Award. Herfilms were screened at numerous film festivals in theworld.

Composer and digital artist, Raphaël Néron completed amaster’s degree in electroacoustic composition atUniversité de Montréal. His works often take hybridforms where electroacoustic music, literature, video,sound art and installation intertwine. The notion ofspaces, sound and visual, real or suggested, intimate orshared, is generally at the heart of the aestheticlanguage of his creations. Interested by the notions ofdigital storytelling and new narratives, his projectsquestion the new modalities of meaning-making in thedigital age, including the artistic codes and conventionsspecific to media and disciplines. This led him to workwith various techniques of sound spatialization, videoproduction as well as virtual reality. Over the years,

Raphaël has been a member of the Sound ImmersionResearch Group, director of the DAÏMÔN Media ArtCenter, and he his currently a research coordinator atUniversity of Montréal. He is also an active member ofthe Audiotopie sound cooperative and the Chantiersartist collective. His works have been presented andawarded at multiple international events.

Rosa Nolly is a saxophonist, composer and sounddesigner from Argentina. She studied electroacousticmusic at the National University of Quilmes (UNQ),where she was later summoned to works as a professor.She has received national and international scholarshipsand music awards. Some of these include artisticresidences in Spain, Mexico and Argentina. She hasproduced acousmatic and live electroacoustic concertworks, sound design for multi-media installations, andinteractive music in collaborative projects. She regularlycollaborates with musicians and visual artists, dancers,filmmakers and scientists. She is a member of theAcoustics and Sound Perception Lab (LAPSo), housedwithin the UNQ, where she works as an artist andresearcher. Her works reflect on the hybridization ofbodies and materialities, the organic and the political. Asa composer-performer, she has participated in numerousconcerts in chamber ensembles, orchestras,non-traditional hybrid ensembles, and solo sets. She hasparticipated in a broad range of aesthetics that vary frompost-minimalism and other modern genres tocontemporary jazz and experimental indie music.

James O'Callaghan (b. 1988) is a composer and soundartist based in Montréal praised for his "mastery ofmaterials and musical form" (Electromania, RadioFrance). His music intersects acoustic andelectroacoustic media, employing field recordings,amplified found objects, computer-assisted transcriptionof environmental sounds, and unique performanceconditions. His work, spanning chamber, orchestral, liveelectronic and acousmatic idioms, audio installations,and site-specific performances, has been variouslycommissioned by the Groupe de Recherches Musicales(INA-GRM), the National Youth Orchestra of Canada,Ensemble Paramirabo, Quasar quatuor de saxophones,l'Ensemble contemporain de Montréal, and StandingWave, among others. In 2016, an album of hisacousmatic music was released by empreintesDIGITALes. His music has been the recipient of overthirty prizes and nominations, including the ISCM YoungComposer Award (2017), the Salvatore Martirano Award(2016), the Robert Fleming Prize (2015), the Jan V.Matejcek Award in New Classical Music (2018), the Jeude Temps / Times Play Awards and the SOCANFoundation John Weinzweig Grand Prize (2014).Significant nominations include those for the GaudeamusAward (2016), Prix Métamorphoses (2018), and a JUNOAward for classical composition of the year (2014).

Composer and Performer Neil O’Connor has beeninvolved in experimental, electronic and electro-acoustic

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music for the past 20 years and has toured extensively inIreland, Europe, Australia, Asia and the US. His workwas been shown/performed at Resonances Festival @IRCAM Paris, Kunsthalle, Berlin, MassachusettsMuseum of Modern Art, Institute of Contemporary Art,London and has held residencies at the MassachusettsMuseum of Modern Art, USA and EMS – SwedishInstitute of Electro-Acoustic Music, Stockholm, Sweden.As a Composer, Neil has written for solo, duo, stringquartet, large ensemble and orchestra along with mixedmedia projects and has recently worked with the Bang ona Can Ensemble and David Crowell (Phillip GlassEnsemble)

Yemin Oh is a composer who is always seeking newmethodology to synthesize his aesthetic vision and newtechnology. His interests lie in several areas includingacoustic music, network music, audiovisual, multichannelspatialization and interactive work. Recently his researchis concentrated on blending the visualization ofexpressive gesture of performer and live instrumentsound with electronics. He received Ph.D. inExperimental Music & Digital Media at Louisiana StateUniversity. He graduated from Kyung-Hee University andUniversity of Hartford in music composition, and GeorgiaSouthern University in music technology. His music andpapers have been selected to present at several nationaland international peer-reviewed festivals andconferences, including EMM, SICMF, NYCEMF,SEAMUS, ICMC, NIME and etc. Currently he is teachingin Seoul area, and working at Korea Electro-AcousticMusic Society as Secretary-General and Chang-AkHoe(Contemporary Music Society in Seoul) asInternational Exchange Director.

Silas Palermo was born in 1970 in the Santos city,Brazil. He is a Brazilian music with huge musicalexperience in several sectors of music. He has somedegrees: Beethoven Music Conservatory in Music(1988); Popular Brazilian Music & Jazz Piano ULM(1991); Bachelor of Music at Lusíadas University (Unilus1993); Contemporary Music with Dr. Gilberto Mendes(1993-1994); Composition with Dr. EdmundoVillani-Côrtes at Tom Jobim University (2007);Free-Improvisation at USP (2010); Bachelor of Arts(2011); Aesthetic Philosophy degree (UnespPost-Graduation 2013); Bachelor of Theology from JMCPresbyterian Seminary (2013); Master in Education, Artsand Cultural History - Mackenzie. Silas Palermo iscurrently studying PhD in Music at USP (São PauloUniversity). Silas Palermo has experience both inclassical and popular music, Jazz and also withSynthesizers. Obtained honorable mention as finalist ofthe Piano Competition in Araçatuba/Brazil (1987); Firstprize at the Sesc / Maringá Brazilian Song Festival:Instrumental Music (1990). Worked as Music Producerand Arranger of MK Publicitá- Recording: Rio de Janeiro/ RJ (1997-2000); Silas Palermo has numerous musicalcompositions in various styles: Orchestral compositionsfor synthesizer and orchestra performed at theInternational New Music Festival (Contemporary music)

and at the Arts Biennial (2001-2002); piano compositionsperformed by Francoise Choveaux (France / EuroConservatory 2001) and Dr. Antônio Eduardo /UNESP;Trio for Clarinet, Cello and Piano performed andrecorded by the São Paulo Contemporary ComposerFestival 2019, and others. Silas Palermo recorded at theSony Music Brazil as Pianist in production directed byHelio Delmiro, a great Brazilian jazz guitarist. He was avisiting professor at the ACOM – Atlanta Conservatory ofMusic (2008) and full professor at Canzion AtlantaInstitute/USA (2008-2009). He is currently Professor ofthe Technical School of Music of Cubatão/SP/Brazil(Piano, Harmony and Analysis); Professor at the CatholicUniversity of Santos (Harmony, Composition and Musicand Technology).

Sylvia Pengilly has always been fascinated by thecorrelation between what the ear hears and what the eyesees. Because of this, many of her works integrate bothmusical and visual elements. Mathematics and physics,including Chaos Theory, Quantum Mechanics, andSuperstrings, are of particular interest and frequentlyprovide the basis for her works. These have beenpresented both nationally and worldwide at manyfestivals, including many SEAMUS NationalConferences, several New York City ElectroacousticMusic Festivals, ICMC, the “Not Still Art” Festival, the“Visual Music Marathon” and "MUSLAB." Her work hasalso been screened at the Downtown Film Festival, LosAngeles and she was recently awarded first prize in the"Fresh Minds" festival. She was formerly professor oftheory and composition in the College of Music at LoyolaUniversity, New Orleans, where she also founded anddirected the electronic music composition studio.

As composer of both acoustic and electroacoustic music,Mark Petering's music celebrates the natural world aswell as the intersection of Eastern and Western culturesas reflected in his multicultural family. Mark has receivednumerous awards from organizations such as ASCAP,SCI, and the National Guild of Community Schools of theArts. He is the winner of the Swan Composer Prize forwind ensemble and winner of the Music Festival of theHamptons Composition Competition for orchestra andtape. The premiere of his Hamptons’ work Train &Tower after Sibelius for Orchestra, Tape and Live Trainwas covered by the BBC, NPR, and The New YorkTimes. The work was named a Top 10 All-Time musicalcomposition in the October 2008 edition of GramophoneMagazine for orchestral works evoking railways (withPetering at #8 and Berlioz at #9). Additionally, hisConcerto for Clarinet and Strings ("Three Psalms") wasawarded an honorable mention in the American PrizeCompetition. An early advocate and participant in the 60x 60 series, Mark’s electroacoustic music has beenperformed in the United States, Europe and Russia andis available on the Capstone and Zebrina Records labels. www.markpetering.org

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Sean Peuquet is a composer, sound artist, scholar,audio programmer, and educator based in Colorado. Hepresents his work regularly at national and internationalvenues for contemporary art and music such as theInternational Computer Music Conference (Daegu,Shanghai, Utrecht, Ljubljana, Belfast), ElectroacousticMusic Studies Conference (Mexico City), Sound andMusic Computing Conference (Cyprus), TorontoElectroacoustic Music Symposium, KoreanElectro-Acoustic Music Society (Seoul), Sines andSquares (Manchester, UK), Society for Electro-AcousticMusic in the United States, Society of Composers, Inc.,New York City Electronic Music Festival, ElectronicMusic Midwest, and more. He currently serves as Chairof Music Production at Rocky Mountain College of Artand Design. From 2014 to 2020, he worked as ProgramsDirector and Lead Music Instructor for Madelife inBoulder, CO. He is also co-founder of two ColoradoFront-Range companies: RackFX, an online platform forautomated analog signal processing, and CauseART,which curates and commissions work from living artistsfor exhibition in enterprise businesses, including GoogleBoulder. In February and early March of 2018, Sean wasin residence at the Atlantic Center for the Arts in NewSmyrna, FL working on multichannel sound spatializationand composition, under Robert Normandeau. From 2012to 2014, he served as Visiting Professor of Digital Arts atStetson University while completing his PhD in MusicComposition at the University of Florida ('13). Hereceived his MA in Electro-Acoustic Music fromDartmouth College ('07) and holds a BA in Music,Psychology, and Astronomy (minor) from the Universityof Virginia ('05). Across his education, he had theprivilege of studying computer music and compositionwith Paul Koonce, Larry Polansky, Jon Appleton,Matthew Burtner, Paul Richards, Judith Shatin, CharlesDodge, James Paul Sain, Ge Wang, Newton Armstrong,and Marina Rosenfeld. His current research interestsinclude immersive musical systems, self-reflexivelistening practices, and identifying new paths for art as asocio-cultural determinant. His music is available throughAblaze Records and SEAMUS.

Mark Phillips (Ohio University Distinguished ProfessorEmeritus) won the 1988 Barlow International Competitionfor Orchestral Music, leading to collaborations withconductor Leonard Slatkin. His Violin Power appears onthe SEAMUS 2015 conference CD. The WorldSaxophone Congress commissioned and premiered hisWhat If for 101 saxophones. His music has beenperformed at Carnegie Hall, Kennedy Center for thePerforming Arts, Wigmore Hall, the Festival Internacionalde Música de Bogotá, the Blossom Music Festival, andnumerous other festivals and conferences around theworld. Commissioned for a Memphis premiere, hisDreams Interrupted has received performances acrossthe country. He has received orchestra performances bygroups such as the St. Louis Symphony Orchestra, theCleveland Orchestra, the NHK Radio SymphonyOrchestra, and the Chautauqua Symphony Orchestra —and has been recorded by Richard Stoltzman and the

Warsaw Philharmonic Orchestra, the Lark Quartet, andseveral solo artists. https://www.coolvillemusic.com

Stephen Travis Pope (1955) grew up just outside NewYork City, and studied at Cornell University, The ViennaMusic Academy and the Mozarteum in Salzburg, Austria,where he also taught for 5 years. He has realized hismusical works in the North America (Toronto, Stanford,Berkeley, Santa Barbara, Havana) and Europe (Paris,Amsterdam, Stockholm, Salzburg, Vienna, Berlin). Hismusic is available from Centaur Records, Perspectivesof New Music, Touch Music, SBC Records and AbsintheRecords. In 2007, The Electronic Music Foundation inNew York released a triple-disc retrospective of hisworks called Ritual and Memory; his latest release is themulti-award-winning feature-length visual/music filmSecrets, Dreams, Faith and Wonder (with videos by RLane Clark, Lance Putnam and others). Stephen alsohas over 100 technical publications on music theory andcomposition, computer music, software engineering andartificial intelligence. He has lived in Santa Barbara,California since 1995.

Christoph Punzmann is a composer, performer andmulti-instrumentalist. After graduating with a focus onmusicology and art history in Germany, he moved toVienna to study computer music and composition at theUniversity for Music and Performing Arts Vienna (mdw).The musician with Peruvian roots works with electronicsas well as instrumental music. His compositions rangefrom stereo fixed media pieces to live performancesusing multichannel array speaker systems, as well asmusic composed for classical instruments. Oftenmaterial derives from environmental fieldrecordings,sounds originating from the human body, oranalogue/digitally synthesized sounds. What is heard isoccasionally connected to movement, as it is in dance ormoving image. His oeuvre is located withincontemporary, experimental, electro-acoustic andcomputer music. Apart from Europe, compositions wereplayed on festivals in South America (Buenos Aires),Russia (St. Petersburgh), and Scandinavia (Uppsala,Stockholm). In Punzmann’s current artistic research heis exploring new ways of processing the human voiceand the Guzheng (chinese zither), using theprogramming languages of Pure Data and Max/MSP tocreate uncommon, innovative sound situations.

Raphael Radna is a composer whose works embraceunconventional compositional strategies and newtechnologies. Specializing in interactive electroacousticmusic and computer-assisted composition, he viewscomputation as the preeminent means of discoveringand effectuating innovative directions in musiccomposition and performance. Raphael's music hasbeen performed in concerts, festivals, and conferencesacross the United States and in Japan, including theInternational Computer Music Conference, the New YorkCity Electroacoustic Music Festival, the CaliforniaElectronic Music Exchange Concerts, and the Osaka

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University of Arts Electroacoustic Music Festival. He alsohas extensive performance experience on guitar, bassguitar, keyboard, and electronics; his performancecredits include appearances at The Hollywood Bowl,REDCAT, CounterPulse, The Center for New Music inSan Francisco, and the Time-Based Art festival inPortland, OR. Additionally, he has completed many toursof North America, the UK, Europe, and Japan with theindependent bands Kristin Kontrol, Light Asylum, IceChoir, and The Depreciation Guild. Raphael holds anMFA in Electronic Music and Recording Media from MillsCollege, and is currently pursuing a PhD in MusicComposition at UC Santa Barbara. He has studied withJoão Pedro Oliveira, Clarence Barlow, Curtis Roads,Andrew Tholl, W.A. Mathieu, John Bischoff, Chris Brown,and Peter McCulloch.

Charles Rainville approached sound arts and digitalarts in a self-taught way during his college studies wherehe finds a great interest in particular for experimentalelectronic music. He actively participates in the emergingmusic scene in Montréal, especially by sharing his artisticvision during DJ sets and live sets during events andhappening. After a formation as a sound engineer atMusitechnic, he began studying electroacoustic musicand digital art at the University of Montreal, where hewas strongly interested in electroacoustic music, videomusic, musical programming and digital audioinstallations. In 2019 - 2020, he also frequented theSuperior School of Arts in Mons, ARTS2. During hisuniversity career, Charles had the opportunity to be partof many festivals around Canada (Ultrasons), Colombia(Imagen) and Belgium (Les Garages Numérique). As acollaborator, he has reached the worlds of digital arts,installation, video, and multimedia. In 2019, he was partof the production team of Les Garages Numérique adigital art festival.

Dr. Leah Reid is a composer of acoustic andelectroacoustic music. Her primary research interestsinvolve the perception, modeling, and compositionalapplications of timbre. In her works, timbre acts as acatalyst for exploring new soundscapes, time, space,perception, and color. In recent reviews, Reid's workshave been described as "immersive," "haunting," and"shimmering." She has won numerous awards, includingthe International Alliance for Women in Music's PaulineOliveros Prize for her piece Pressure, the Film ScoreAward for her piece Ring, Resonate, Resound in FrameDance Productions' Music Composition Competition, andresidencies at the MacDowell Colony, the UcrossFoundation, and the Virginia Center for the Creative Arts.Her works are frequently performed throughout Europeand North America, with notable premieres by AccordantCommons, Ensemble Móbile, the Jack Quartet, McGill'sContemporary Music Ensemble, Neave Trio, SoundGear, Talea, and Yarn/Wire. Her compositions havebeen presented at festivals, conferences, and in majorvenues throughout the world, including Aveiro_Síntese(Portugal), BEAST FEaST (England), EviMus(Germany), Forgotten Spaces: EuroMicrofest (Germany),

the International Computer Music Conference (USA),IRCAM's ManiFeste (France), LA Philharmonic's Noon toMidnight (USA), the San Francisco Tape Music Festival(USA), Série de Música de Câmara (Brazil), the Soundand Music Computing Conference (Germany), the TildeNew Music Festival (Australia), the Toronto InternationalElectroacoustic Symposium (Canada), and theWorkshop on Computer Music and Audio Technology(Taiwan), among many others. Reid received her D.M.A.and M.A. in music composition from Stanford Universityand her B.Mus from McGill University. Reid's principalteachers include Mark Applebaum, Jonathan Berger,Brian Ferneyhough, and Sean Ferguson. She has taughtat University of Virginia (Charlottesville, VA), StanfordUniversity (Stanford, CA), University of the Pacific(Stockton, CA), and at Cogswell Polytechnical College(San Jose, CA). Additional information may be found atwww.leahreidmusic.com.

Clemens von Reusner (b. 1957) is a composer andsound artist based in Germany, whose work is focusedon electroacoustic music. He studied musicology andmusic-education - drums with Abbey Rader and PeterGiger. At the end of the 1980s development of the musicsoftware KANDINSKY MUSIC PAINTER. He has beencommissioned to compose works for radio and hiscompositions have received numerous internationalbroadcasts and performances in Americas, Asia,Europe. Invitations to ISCM World New Music Days2011, 2017, 2019. Clemens von Reusner is a member ofthe German Composers’ Society and of the GermanSociety For Electroacoustic Music. info@cvr-net.de

Dr. John Ritz is Assistant Professor of Composition &Creative Studies and Director of the Music & New Mediaprogram at the University of Louisville School of Music.His recent concert music focuses on chamber music forinstruments and interactive computer systems. He hasreceived recognitions for his work from theASCAP/Morton Gould Composer Awards, the BourgesInternational Electroacoustic Music Competition, the 21stCentury Piano Commission Competition, the ForumBiennial Musiques en Scène, and the Society forElectro-Acoustic Music in the United States. Ritz's musichas been performed throughout the United States, aswell as in France, Italy, Germany, Russia, Canada, andChile, and has been performed at various conferencesand festivals of new music. Ritz received his BA from theUniversity of Iowa, where he studied composition withLawrence Fritts and cello with Charles Wendt, and hisMM and DMA from the University of Illinois atUrbana-Champaign, where he studied composition withErik Lund, Stephen Andrew Taylor, Vinko Globokar,Agostino Di Scipio, and Scott A. Wyatt.

Dana Roth is a bassist, composer, music producer,engineer and sound designer. Attending Berklee Collegeof Music at present as a full tuition scholarship recipient,she majors in Music Production & Engineering andElectronic Production & Sound Design. Last December,

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she presented her multichannel work 'Panic Attack at theMirror Maze' at the CT::SWaM series in FriedmanGallery, New York. She is an active bass player andcomposer, performing and recording both with variousmusicians and with her own group.

Seth Rozanoff (US/NL) – sound artist/electronicmusician – future projects; a series of short piecesrelying on video, live electronic sound, and performer fortheir construction – with pianist Yumi Suehiro; more shortaudiovisual pieces (Repetitions and Geometries); aperformance system, configuring the use of myorganelle, and Max/Jitter patches, for futurecollaborations with percussionist Jim Pugliese. Morerecently, selections from Repetitions will be featured withother audiovisual works at IN-Sonora in Madrid, as wellas new audiovisual and fixed works, In-side-Alt (2019)and Surfaces (2019), at MUSLAB in Mexico City thisyear. Exsact-0 (2018-19) for tenor sax and electronicshas had performances in Canada by Tommy Davis.Work such as Qu-Extensions (2017), has been heard inthe Yongin Poeun Art Gallery Outdoor Exhibition inS.Korea, Radiophrenia Broadcasts at the Centre forContemporary Art in Glasgow, NYCEMF, the Autumne-sound festival 2018 in Osaka, and New Adventures inSound Art’s Listening Room in Ontario. Other worksperformed include: INTER’s Experimental Sound Worksfor Loudspeakers (Glasgow), Sound Lab (Glasgow),Sverige Radio, Roulette, SARC (Belfast), the Stone andFylkingen. He has given presentations with his liveelectronic setup in the UK, Ireland, and Holland. Sethhas received a PhD (University of Glasgow), a FulbrightScholarship to The Netherlands, as well as other artistresidencies in Brazil, Sweden, and the US.

Cesare Saldicco is a composer, multimedia artist andfilmmaker based in Milan. Research interests include theuse of emergent dynamical and fractal systems ingenerative works and nonstandard synthesis, glitch/noiseaesthetics and new forms of interaction andself-organized presentation. He has had commissions,awards and grants from the most significant internationalinstitutions such as Accademia Nazionale of SantaCecilia in Rome, Acanthes, Centro Tempo Reale, CECh– Comunidad Electroacùstica de Chile, BourgesInternational Festival of Electroacoustic Music and SonicArt, CEMAT Federation, Musica Viva Portugal,EXPO2015, EmuFest, MUSLab, Mixtur Festival, AVAF -Athens Video Art Festival, Destellos prize and LaBiennale di Venezia. His music is edited and publishedby ArsPublica, Philology, Da Vinci Publishing andSconfinarte and has been widely performed in Italy,Austria, Australia, Argentina, Belgium, Brazil, Bulgaria,Canada, Chile, Croatia, Denmark, England, Finland,France, Germany, Greece, India, Japan, Malta, Mexico,Portugal, Russia, Spain, Sweden, Switzerland, U.S.A.and broadcasted by Italian National RadioRAI. He is aprofessor in Performance and Interpretation ofElectroacoustic Music at the Conservatorio Statale diMusica “Tito Schipa” of Lecce.

The music of Stockholm-born composer, JoakimSandgren, has been described as "an exploration ofnuances of air noises." His music has been performedinternationally since early stages of his career, fromRomania to Cuba to Paris to Florida. After completingpercussion studies at Ingesund’s College of Music andthe Royal College of Music in Stockholm, he continuedhis education in composition, leading him to study atIRCAM. Currently based out of Paris still, Sandgrenfocuses on computer-assisted composition techniques.Since 2008 Sandgren is working on his suite of fifteenpieces for different formations and electronics: method ofspeeds and directions.

Andrew Schloss is known primarily as a performer,improviser and virtuoso on the radiodrum, an instrumentbased on Max Mathews’ radio baton, but optimized forpercussive gesture-sensing. Using this instrument, hehas tried to push the envelope of electroacoustic musiccombined with Cuban jazz. Schloss was a FulbrightScholar at IRCAM per invitation of David Wessel in 1987,which is when he began working on the radiodrumcombined with the very first version of Max/MSP(originally called “Patcher”). He has received grants fromthe National Endowment for the Arts, the BC AdvancedSystems Institute (ASI), La fondation Daniel Langlois,The Canada Council for the Arts, NSERC (NaturalSciences and Engineering Research Council), SSHRC(Social Science and Humanities Research Council), NewMusic USA, along with commissions from the BritishColumbia Arts Council, Jack Straw Foundation, amongothers.Schloss studied at Bennington College, the University ofWashington, and Stanford University, where he receivedhis Ph.D. in 1985 working at CCRMA. He has taught atBrown University, the University of California at SanDiego, The Banff Centre for the Arts, and currently at theUniversity of Victoria. Along with colleagues GeorgeTzanetakis and Peter Driessen at the University ofVictoria, he created a new combined program in Musicand Computer Science, which has opened up newavenues of study for many students in the age of digitalmedia and the internet.

"Clearly knowing the power of sonority" (PhiladelphiaInquirer), the music of Baljinder Sekhon has beenpresented in over 500 concerts in twenty countries. Fromworks for large ensemble to solo works to electronicmusic, Sekhon's demonstrate a wide range of genresand styles. Numerous commercial recordings ofSekhon's music have been released, including those onAlbany Records, Parma, AMP, Klarthe, BCM&D, andEquilibrium Records. A portrait CD of Sekhon's musicwas released on Innova Records in April 2018. His worksare regularly performed around the world, withperformances in venues such as the Kennedy Center,Seoul Arts Center, Carnegie Hall, and the NationalRecital Hall of Taiwan. Sheet music of Sekhon's works isavailable internationally from Keyboard PercussionPublications, Glass Tree Press, Steve Weiss Music, Le

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Vent Music (Taiwan), AvA Musical Editions (Europe),and Southern Percussion (UK). Sekhon serves asAssistant Professor of Composition at Penn StateUniversity. He holds the PhD, MA from the EastmanSchool of Music and a BM from the University of SouthCarolina.

Kelley Sheehan is a composer and computer musicianmoving between acoustic, electro-acoustic, andperformance art works. In any medium, her work centerson noise, performance, and interaction. Her work hasbeen described as "Full of discovery, collaboration, andunpredictability" (Gaudeamus Foundation) with "WoozyElectronics" (LA Weekly). Recently named winner of theGaudeamus Award 2019, she has also recently beennominated for the ASCAP/Seamus Award 2020, as wellas awarded fellowships at the 2019 National ComposersIntensive with LA Philharmonic and the InternationalContemporary Ensemble, the 2019 wasteLAnd SummerAcademy, MISE-EN Place Bushwick Residency,Composition Fellow at Nief- Norf, EQ: Evolution of theString Quartet at the Banff center, among others.Upcoming projects include works for Nadar Ensemble,International Contemporary Ensemble, EnsembleMosiak, and Wet Ink. Currently based in Boston, MA(USA) with her wife and 2 dogs. Pronouns: She/Her.

Ryne Siesky's work as a composer explores theintersections of art and music, bringing focus to theidiosyncrasies of music creation and sonic processes.Environmentalism, aestheticism, psychology, modernJazz, and social justice are at the forefront of hiscompositional influences. His work has been performedby Hypercube, Invicta Sax Quartet, Braeburn BrassQuintet, Robert Black, Laura Lentz, Lindsay Garritson,Jacob Mason, and Laura Silva, among others. His musichas been featured at several festivals and conventionsincluding the Society of Composers, InternationalTrumpet Guild, Diffrazioni – Firenze Multimedia Festival,Festival DME, Atemporanea Festival, Global ArtsFestival, West Fork New Music Festival, Charlotte NewMusic Festival, Ecos Urbanos, Earth Day Art Model –Telematic Festival, FETA, Cube Fest, N_SEME, andSEAMUS. Recently, his work for 8.1 channel fixed mediaentitled "...grind..." was selected for programming on the2020 SEAMUS National Conference, International NewMusic Festival at USF, Cube Fest, and NYCEMF. Thepiece was also selected for the New Music by LivingComposers Series with Petrichor Records. Additionally,his work for Large Ensemble and Fixed Media entitled"Inheritor" was named the winner of the Ensemble IbisComposition Competition (Miami, FL). Ryne earned hisBachelor of Arts in Music from Virginia CommonwealthUniversity (VCU) and his Master of Music in MusicComposition from Ohio University, studying under RobertMcClure. Siesky is currently working towards his Doctorof Musical Arts in Composition as a Teaching Assistantat the University of Miami, Frost School of Music. Hisprimary teachers are Lansing McLoskey and Juraj Kojs.Ryne is currently a member of the Society ofComposers, Inc (SCI) National Student Council, Director

of the Phenomenology Collaboration project, and theArtistic Director for the Azimuth Virtual Orchestra.https://www.rynejsmusic.com/.

Connor Simpson is an undergraduate student of musiccomposition at Penn State University where he studieswith Dr. Baljinder Sekhon. Simpson's work panic wasselected through juried review for the New York CityElectroacoustic Music Festival. Connor has beenawarded the John Philip Sousa award, and theBradford/Sullivan County Music Educators AssociationLifelong Musician award. Connor has written in a varietyof genres and styles. His works include Panic for fixedmedia, Broken Tongue for solo piano, and InsufficientTitle a duo for flute and marimba. He will receivepremieres of his solo multi-percussion workMisunderstandings, his art song Mad Song, and hiswoodwind quintet i shall imagine life in Penn State'sEsber Hall this coming fall.

Kel Smith (Suss Müsik) creates post-classical ambientminimalism for crepuscular airports. Real instrumentsare used whenever possible, although most of theinstrumentation is replicated electro-acoustically usinghaptic (gestural) controls. The project is headquarteredin North America by a single composer, with variouscollaborators located throughout the world. Suss Müsikwas formed sometime between 2010 and 2014 andbegan releasing material in the summer of 2015. Moreinformation at www.sussmusik.com.

Carlos Cotallo Solares is a Spanish composer andguitarist based in Philadelphia. He studied composition atthe University of Iowa, UDK Berlin, and the Hochschulefür Musik Freiburg. His music has been performed infestivals and conferences across the US and Europe.Carlos also produces and performs experimental rockmusic under the name Black Stork and is a member ofthe free-improvisation trio Wombat. Timothy David Ormeis a writer, filmmaker, and animator. His short films havebeen shown at film festivals and art venues all over theworld, including European Media Arts Fest, JihalvaInternational Documentary Film Festival, Ann Arbor FilmFestival, Philadelphia Film and Animation Festival,Raindance, and others.

Jerod Sommerfeldt writes music for computers,electronics, and people. Living in Upstate New York, heteaches music composition at SUNY Potsdam’s CraneSchool of Music.

Jean-Basile Sosa has dedicated himself toelectroacoustic creation in all its singular and proteanexpressions. His work includes acousmatic, mixed andelectronic music, sound installation and video art, filmand electroacoustic music as well as music for liveperformances. Over the past few years, dance andmusic relationship has become a key element of hisaesthetic reflexion, with numerous pieces beingcomposed for new choreographies. Closely interested by

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visual music as well, he wondered more generally aboutrelationship between sound and visual in the artistic field.With a degree in Musicology, Jean-Basile Sosa also hasa Master in electroacoustic composition from theCNSMD Lyon.

Agustín Spinetto is an Argentinian musician, bachelorin Electronic Arts in his home country and currently doinghis Master's Degree on Music and Sound Creation at theTokyo University of the arts. Since his time asundergraduate he has been working with electronic andacoustic music instruments and using new technologiesfor music experimentation purposes. His studies leadhim to work with music improvisation with synthesizersand music programming languages, but also workingwith more popular music productions such us rap, hiphop, jazz and noise rock. Nowadays he is studying inTokyo at Professor Suguru Goto department and hisresearch theme is about new hardware interfaces forcontrolling software instruments. His performances covera wide variety of styles, from Electroacoustic Music andLive Electronics concerts to Art Installations incollaboration with visual and plastic artists. He has doneseveral live presentations at Galleries, Universities andvenues in Argentina, New York and Tokyo. Nowadays,as a composer, he is experimenting with Audiostellar, anew cutting-edge music software based on audio-sample2D space organization along with Max MSPprogramming and analogue synthesizers.

Ken Steen's music and sound art are recognizedinternationally for their authentic vitality, remarkablerange, and distinctive personal vision. In the last 5 yearsalone Steen's work in various forms has enjoyed morethan 80 performances on 5 continents: from Mumbai toTripoli, Buenos Aires, Stockholm and New York City.Selected recent electroacoustic performances include:Network for New Music, in afterness… for elec. guitar,bass clar., cello and electronics, premiered at iceboxproject space in Philadelphia (2020); Modern MusiciAquincum, (Eye Mask), CAFe Budapest Festival,Hungary, Academia d’Ungheria, Rome, and Auditoriumdel Parco, L’Aquila, Italy; pianist Lawrence Axelrod,(Driving Me Crazy), Aukland, Wellington, andChristchurch, New Zealand (2019); Duo Agosto,(Suspensions), International Double Reed SocietyConference, Grenada, Spain; Gilda Lyons, (air is the firstof mothers), Phoenix Concerts NYC (2018); BushwickOpen Studios Festival @ MiseEn_Place, Brooklyn, NYC,(cloud machine) - concert-length/sound & video, andTonband 2017 Fixed Media Festival (Assumption 17.4)at Audiorama, Stockholm, Sweden (2017). Ken Steen isProfessor of Composition and Music Theory, and directorof Studio D (the electronic music/sound/noise studio) atthe University of Hartford’s Hartt School.www.kensteen.com || https://vimeo.com/kensteen ||https://soundcloud.com/ken-steen

Cecilia Suhr (www.ceciliasuhr.com) is an award-winninginterdisciplinary artist and researcher, multi-

instrumentalist (violin/cello/voice/piano), multimediacomposer, author, and improviser, who is working at theintersection between art, music, sound design, anddigital technology. Her work has been exhibited andperformed in various galleries, festivals, biennials,conferences and museums nationally and internationallyin venues such as Palace of Congresses and ExhibitionsNice Acropolis, (Nice, France), Altice Forum Braga(Braga, Portugal), Djanogly Recital Hall, University ofNotthingham, (Notthingham UK), CICA Museum,(Gimpo, Korea), IANG Gallery, NamSeoul University,Seoul, Korea, Pylaia- Hortiati Municipal Conservatory,Thessaloniki, Greece, Center for Collaborative Arts andMedia at Yale University, Pensacola Museum of Art,West Florida, Outside the Box 4, A Biennial of OutdoorSite-Specific Arts and Performance at Whitespace, WestPalm Beach, Kimmel Gallery at New York University,(NY, NY), Venice Art House, (Venice Italy), NIW Gallery,(Tokyo, Japan), House Museum of Marina Tsvetaeva,Moscow Russia, Hill Center Galleries, Washington, D.C.,Scholes Street Studio, (Brooklyn, NY), etc. As aresearcher, she is an author of Social Media and Music:The Digital Field of Cultural Production (2012, PeterLang Press) and Evaluation and Credentialing in DigitalMusic Communities (MIT Press, 2014). She also servedas an editor and contributing author to Online Evaluationof Creative Arts (Routledge Press, 2014). Her articleshave appeared in journals such as Critical Arts, NewMedia and Society, International Journal of theHumanities, International Journal of Media and CulturalPolitics, Rhizomes: Cultural Studies in EmergingKnowledge, etc. She is currently an Associate Professorof Humanities and Creative Arts as well as an AffiliateProfessor of Art at Miami University, Ohio.

Stevie J. Sutanto (b. 1992) is an Indonesiancomposer/sound artist, currently based in Jakarta. Hispractice and research revolve around artificialintelligence and sound processing. In addition to that, hisother interests include critical use of laptop andaugmented instruments in composition and performance.Some of his works have been performed by Duo Amrein,Ensemble Modern, Grupo 20/21, Quatuor Tana, NAMESEnsemble, and Quatuor Bozzini at festivals and at eventsaround the world including Manila Composers Lab(MCL), Yogyakarta Contemporary Music Festival(YCMF), Ruang Suara - Frankfurt Lab, Asian ComposersLeague, Holland Festival, Ars Electronica Festival,Shanghai New Music Week, Crossroads'17, WeSAAudiovisual Festival (WeSA), International ComputerMusic Conference (ICMC), Linux Audio Conference(LAC), and New York City Electroacoustic Music Festival(NYCEMF).

Fred Szymanski is a composer and sound-and-imageartist. His electroacoustic work has been performed atmany festivals, including 2019 Convergence Festival(UK), 2018 Città di Udine (Italy), 2018 InternationalFestival of Experimental Music (Bratislava), Musica Nova2017 (Prague), 2016 Matera Intermedia Festival (Italy),and the 2015 Monaco International Electroacoustic

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Festival. His image and sound work has been featured atSonicLIGHT (Amsterdam), the European Media ArtFestival (Osnabruck), Mutek RML’s Cinechamber(Montreal), and the Diapason Gallery for Sound (NewYork). His music has been recognized with severalawards: First Prize Musica Nova (2017), Premier PrixMonaco Electroacoustique (2015), Special Mention Cittàdi Udine, Italy (2018), and an Honorary Mentions atDestellos X (2017) and Matera Intermedia Festival(2016). Szymanski’s sound work has been released bySub Rosa, Asphodel Ltd., JDK Productions, Soleilmoon,and Staalplaat (Amsterdam).

Robert Scott Thompson is a composer of instrumentaland electroacoustic music and is Professor of MusicComposition at Georgia State University in Atlanta. He isthe recipient of several prizes and distinctions for hismusic including the First Prize in the 2003 Musica NovaCompetition, the First Prize in the 2001 Pierre SchaefferCompetition, and awards in the Concorso Internazionale"Luigi Russolo", Irino Prize Foundation Competition forChamber Music, and Concours International de MusiqueElectroacoustique de Bourges - including the CommandeCommission 2007. His work has been presented infestivals such as the Koriyama Bienalle, HelsinkiBienalle, Sound, Présences, Synthèse, Sonorities,ICMC, SEAMUS and the Cabrillo Music Festival, andbroadcast on Radio France, BBC, NHK, ABC, WDR, andNPR. His music is published on numerous solorecordings and compilations by EMF Media, Neuma,Drimala, Capstone, Hypnos, Oasis/Mirage, Groove,Lens, Space for Music, Zero Music, Twelfth Root,Relaxed Machinery and Aucourant record labels, amongothers. Thompson's work in the area of computer musicis oriented toward high modernism in the tradition of thefounders and pioneers of the field such as PierreSchaeffer, Stockhausen, and Xenakis. His music is alsoinformed by the naturalistic soundscape and importantlynotions of contemporary expressions in chamber andorchestral music. Thompson's aesthetics attempts toblend and meld the real and imaginary into a musicalcontext that invites deep listening and engagement in thelistener. The music – the tonality, sonority,transformation of materials – is the primary focus ratherthan the outworking of a specific technique ortechnology. In recent years Thompson has become anadherent of the techniques of ambisonic spatializationand increasingly creates work that is based in thisapproach to both multi-channel and stereophonicpresentation.

Carlos I. Toro-Tobón, a composer and electronicsimproviser born and raised in Colombia. He is currently afaculty member at the Department of Music of theUniversity of Antioquia, Colombia, where he teachessince 2005. In 2015 he earned a Fulbright grant topursue graduate studies in the United States. Carlosholds Ph.D. and Masters degrees in composition fromthe University of Iowa and University EAFIT respectively.His music has been performed in Belgium, Chile,Colombia and the USA. Carlos has studied composition

with Andrés Posada, Marco Alunno, Nomi Epstein, JoshLevine, and David Gompper; and electronic music withLawrence Fritts and Jean-Francois Charles.

Keisuke Tsuchiya, born in Japan, 1996, is a composerand a sound artist. He studies composition under NorioNakagawa, writes Post-classical that combines elementsof classic and those of computer music and tries to findideals into the collision between organic sound andinorganic sound. Currently attending Keio University,studying Art and Technology, media art, he as a soundartist brings Fine art to sound art. He is interested insurrealism and animism and exproler intersectionbetween heterogeneous elements, unconsciousnessand mystery of lives.

Francisco Uberto (b. 1988): I am fully attached to anartistic practice where art and life are indivisible, and inpermanent interpenetration. A dream of fusion I pursuewith determination, and communicative energy. My mainaim is to embody a transmutation from composer to adigital musician, and I am convince this dialectic path willbe fortiWed by working in close collaboration with players.I studied composition at Conservatoire Supérieur deMusique et Danse de Paris under the guidance ofStefano Gervasoni, Yan Maresz, and Luis Naón. I takepart of Cursus program for computer music at Ircam withThierry de Mey as associated composer. I have beenawarded several times by prestigious fondations inArgentina, and Europe since 2011. I have beencomposer in residence at Casa de Velázquez (AMFboursier, 2014) in Spain, at Miso Music (as fellow ofIbermusicas, 2015), and at Cité International des Arts(2017-2019) in Paris. My music have been featuredaround the world including performances in majorfestivals (ManiFeste, Mixtur, RainyDays, CrossRoads,among others), and halls (Phillharmonie de Paris, LeCentQuatre, Fabra i coats) by internationally renownedensembles (Ensemble InterContemporain, QuatuorTana, Schallfeld ensemble, United instruments of Lucilin,Barcelona Modern Project, Red Note ensemble,Sound’art-electric ensemble, Symphonic Orchestra ofUniversidad Nacional de Córdoba, Orchestre desLauréats du Conservatoire de Paris, DAI ensemble,among others), soloists (Richard Haynes, Rémy Reber,Antonin Le Faure), and conductors (Julien Leroy,Pieter-Jelle de Boer, Guillaume Bourgogne).

Kari Vakeva (b 1957) is a Finnish composer and soundartist whose oeuvre includes orchestral works such asSymphony (1976-1979) which was partly recorded byFinnish RSO/Jorma Panula in 1982 and Elegia(1989-1990) performed by RSO Frankfurt/ DiegoMasson in 2005, and electroacoustic works like Ray 6(2002), Halo (2005-2007), p(X) (2011), Sundog i(2012-2015), Sundog ii (2012-2015), I saw Eternity(2016), I kiss the Sky (2017-2018), and If Bees are few(2018). Electroacoustic works have been performed inICMC, EMM and NYCEMF. An installation was exhibitedin Blacksburg, VA. Early works are acoustic. From 2001

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onward the electroacoustic works use computer tosynthesize the sound: Csound, and from 2003 withMAL-d, an evolving synthesis software. He is aself-educated composer.

Composer Kyle Vanderburg (b. 1986) grew up insoutheast Missouri where the Ozark foothills meet theMississippi River valley. Raised on southern gospel andAmerican hymnody, his music tries to walk the linebetween eliciting nostalgia and devising innovative sonicworlds. His electronic works often play with familiarsounds in new contexts, his acoustic works featurecatchy melodies and too many time signatures. He holdsdegrees from Drury University (BA) and the University ofOklahoma (MM, DMA), and has studied undercomposers Carlyle Sharpe, Marvin Lamb, KonstantinosKarathanasis, and Roland Barrett. He has participated incomposition masterclasses with David Maslanka, ChrisBrubeck, Benjamin Broening, and others. When notcomposing, Kyle runs the musical workshop NoteForgewhere he creates and maintains Liszt, a web-basedconservatory management application. https://kylevanderburg.com/

Juan Carlos Vasquez is an award-winning composer,sound artist, and researcher. His electroacoustic musicworks are performed constantly around the world and todate have premiered in 28 countries across theAmericas, Europe, Asia and Australia. Vasquez hasreceived grants and commissions from numerousinstitutions, including the ZKM, the InternationalComputer Music Association, the Nokia ResearchCenter, the Ministry of Culture of Colombia, the ArtsPromotion Centre in Finland, the Finnish NationalGallery, and the Royal College of Music in London, UK.Vasquez received his education at the Sibelius Academy(FI), Aalto University (FI), and the University of Virginia(US). His music is distributed by Naxos, MIT Press (US),Important Records (US) and Phasma Music (Poland).

Andie Verbus is a composer and audio engineer fromMaryland. They graduated with a B.M. in MusicComposition from Towson University in 2018, where theystudied with William Kleinsasser, Thomas Ciufo and WillRedman. They currently work as an audio engineer atTowson's Department of Music, recording music forstudents and professors, and supervising concerts. Inaddition to post-tonal chamber music and electroacousticworks, they explore popular electronic music idioms.

Vladimir Vlaev is a composer, performer, sounddesigner, and educator based in The Hague (TheNetherlands). The interest in a variety of musicallanguages, forms and abilities of expression provokeshim to use different types of media to implement hisideas. This is evident in his work which vary from soloinstrumental compositions, through widely distributedchamber music forms to large-scale orchestralcompositions with use of electronics, film music as wellas electroacoustic music for fixed media and live

electronics performances. His work has been presentedat variety of festivals and venues such as: Sound andRelation Festival, The Universe of Computer MusicFestival (Sofia, BG), Azimuth Spatial Audio, GrondwaterFestival, WFS Festival, Sounds of Silence Festival,ReWire Festival (The Hague, NL), WORM (Rotterdam,NL), Connector/STEIM, SOTU (Sound of theUnderground) Festival (Amsterdam, NL), klingt gut! Symposium of Sound (Hamburg, DE), March Music DaysFestival (Ruse, BG) and others. Vlaev gained hisComposition Masters in Bulgaria and Poland. His interestin electronic music led him later to the Institute ofSonology, Royal Conservatory, The Hague (NL). ThereVlaev accomplished a master project focused on thedesign of a digital system for processing of acousticsound in real-time and developed a hybridacoustic-digital instrument with which he performsregularly. More info at: www.vladimirvlaev.com.

A native of Berlin, Germany, Karin Wetzel studiedcomposition and music theory in Leipzig, Zurich, Helsinkiand Paris. Currently she is Doctoral candidate at theUniversity of Music and Performing Arts Graz. Herartistic-scientific research project “Concepts ofform-polyphony in the music of the 20th/21st century” isfunded by the Swiss National Science Foundation. Hercompositional output encompasses works for soloinstrument, ensemble, orchestra, electroacoustic works,and installations. Her compositions have been performedby such musicians and ensembles as Ensemble Modern,Johannes Kalitzke, Ensemble Proton Bern, EnsembleSoloVoices, Antonio Politano, Steffen Schleiermacher,Ensemble Avantgarde, Leipziger Schlagzeugensemble,Prime Recorder Ensemble, Cascatelle SaxophoneQuartet, Daniel Lippel (Guitar), Eva Beneke (Guitar) andthe Leise Dröhnung Duo. Her works have been featuredat such festivals as the Archipel Festival Geneva,Primavera en la Habana, ICMC Athens, cresc…Biennale für moderne Musik Frankfurt Rhein-Main,MATA Festival, Festival Ensems Valencia and Tage fürneue Musik Weimar. Karin Wetzel received scholarshipsfrom the Studienstiftung des Deutschen Volkes, DAADand the Swiss Government Excellence Scholarship. In2011 she was Artist in Residence at the Villa Aurora inLos Angeles.

Beth Wiemann was raised in Burlington, VT, studiedcomposition and clarinet at Oberlin College and receivedher PhD in composition from Princeton University. Herworks have been performed nationally and internationallyby the ensembles Continuum, Transient Canvas,Earplay, ALEA III, and others. Her compositions havewon awards from the Orvis Foundation, Copland House,the Colorado New Music Festival, New York TrebleSingers, and regional arts councils. She teaches clarinet,composition and theory at the University of Maine. A CDof Wiemann's music, Why Performers Wear Black, wasreleased on Albany Records in 2004, and works of hersalso appear on the Raviello, Capstone, innova andAmericus record labels. Her music is available fromAmerican Composers Alliance in New York.

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Chace Williams (b. 1996) is an active composer andaudio engineer currently residing in Bowling Green, Ohio.His music has been performed throughout the UnitedStates, as well as internationally, in China, Malaysia,Romania, and Singapore. His's primary focus iselectroacoustic music, combining and processing thesounds of live instruments with their digitally manipulatedcounterparts. Chace has written for ensembles such asthe National Repertory Orchestra, McCormickPercussion Group, String Noise, and the Mosaic Trio.Recently, Chace was the recording and production fellowfor the National Repertory Orchestra where he wascommissioned to write a fanfare as part of the Bravo!Vail Music Festival. His works have been featured onother festivals such as Ball State Festival of New Music,Electroacoustic Barn Dance, NSEME, NYCEMF, andSEAMUS. Chace's works have been published onmultiple labels including Zinnia for tuba and liveelectronics on the SEAMUS 2017-18 Interactions CD.Chace is currently pursuing a Master of Music degree incomposition at Bowling Green State University under thetutelage of Elainie Lillios and Mikel Kuehn. He holds aBachelor of Music from the University of South Floridawhere he studied with Baljinder Sekhon.

Tom Williams studied music at Huddersfield and KeeleUniversities and he completed a doctorate incomposition at Boston University. Since the 1980s hehas been composing for both acoustic andelectroacoustic media. Recordings of his music areavailable on the Kitchenware, TEM and Albany Recordlabels. His music has been widely performed atinternational festivals and conferences, and theseinclude various International Computer MusicConferences, the Australasian Computer MusicAssociation, SEAMUS conferences, NYCEMF festivalsin New York, and Sonorities at Queens University,Belfast. Further recent performances include SABRE,Zurich; CMMR, Sao Paulo; Music+Sound, Hull; andEMAS2019 at Greenwich University. He has receivedawards from ALEA III Boston, the Italian music medal‘Città di Udine’, Honourable Mention; IMEB, France, and a British Composer Awards nomination. Recent workincludes for the New York cellist, Madeleine Shapiro; thesoprano Juliana Janes Yaffé; the contrabass clarinetistSarah Watts; French percussion Thierry Miroglio, and asoundscape for the Dance Umbrella. Tom Williams isAssociate Professor in Composition at CoventryUniversity. www.tw-hear.com

Jonathan Wilson’s works have been performed at theAnn Arbor Film Festival, European Media Art Festival,the Experimental Superstars Film Festival, the BigMuddy Film Festival, ICMC, SEAMUS, NYCEMF,NSEME, the Iowa Music Teachers Association StateConference, and the Midwest Composers Symposium.He is the winner of the 2014 Iowa Music TeachersAssociation Composition Competition. Jonathan hasstudied composition with Lawrence Fritts, Josh Levine,David Gompper, James Romig, James Caldwell, Paul

Paccione, and John Cooper. In addition, studies inconducting have been taken under Richard Hughey andMike Fansler. Jonathan is a member of Society ofComposers, Inc., SEAMUS, ICMA, Iowa ComposersForum, and American Composers Forum.

Thomas L. Wilson's fascination with sound began whenhis family purchased an old Atari console for $10 at agarage sale just one street behind his home inBirmingham, Alabama. As a child, he sat for hoursplaying the outdated technology and hearing rudimentaryelectronic boops and beeps, sometimes as music,emerge from the tube television. His musical discoverybegan when his family received a hand-me-down uprightpiano. While sitting at the well untuned piano,emblazoned by engravings of initials and games oftic-tac-toe from the prior owners, he taught himself toread familiar music, specifically music from video games.Thomas then began creating and sharing arrangementsof video game music online before turning hisarrangements towards compositions. After joining theschool band and having a fortunate encounter with musictheory, he began his journey towards becoming a videogame and stage composer. Thomas received his M.M.and B.M. in Music Composition from The University ofAlabama and currently works towards a Ph.D. in MusicComposition at LSU with a minor in Experimental Musicand Digital Media. Prominent mentors throughout hisstudies include Mara Gibson, C.P. First, PeterWestergaard, and Yotam Haber. He enjoys collaboratinginternationally with performers, including conference andfestival performance at the Atlantic Music Festival,highSCORE Festival, Society of Composers Inc. NationalConference, New York City Electronic Music Festival,Electronic Music Midwest, National Student ElectronicMusic Event, and ArtPlay Festival. His thesis TheReflections of My Introverted Sneakers can be found onthe album Early Musings: New Music for Violinperformed by Davis Brooks and released throughNavona Records. As an avid pedagogue, Thomas enjoysspreading knowledge in as many ways possible. Histeaching style creates a welcoming environment from adiverse economic and social backgrounds. Whenmentoring in composition, he prefers to lead studentstowards self-discovery and self-sufficiency in theircreative outputs. He tutored his peers in music theory inhis undergraduate work before teaching aural skills as agraduate assistant during work towards his master'sdegree. He currently teaches a self-designedcomposition lab designed for early majors and minors atLSU. Since he places high value towards thecommunities he resides, Thomas is always eager forperformances outside of the concert hall. Thomas'smusic can be heard at arboretums, libraries, museums,and any other receptive venue. Outside of work, you canfind Thomas on the weekends playing video games andboard games with his wife, friends, and four pets.

Jiayue Cecilia Wu is a composer, scholar, andmultimedia artist. Cecilia earned her Bachelor of Sciencedegree in Design and Engineering in 2000. In 2013,

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Cecilia obtained her Master of Arts degree from StanfordUniversity. In 2018, Cecilia obtained her Ph.D. in MediaArts and Technology from UC Santa Barbara. As amusician, she received an award from the CaliforniaState Assembly. As a multimedia artist, she received the"Young Alumni Artist Grant Award" from StanfordUniversity. As a scholar, she has received researchgrants and fellowships from the Audio EngineeringSociety, University of California, and the U.S. NationalAcademy of Sciences. Currently, Cecilia is an assistantprofessor at the University of Colorado's College of Artsand Media.

Wanjun Yang is an engineer, programmer, sounddesigner, composer. Now he is an associate professor ofElectronic Music Department, Sichuan Conservatory ofMusic. His research areas are Acoustics andPsychoacoustics, Sound Design, Software Developing,New Media Art. His work was published in ICSC 2017and ICMC 2017 in Shanghai. Meanwhile, he was invitedto EMS 2011 Annual in New York and EMS 2017 inNagoya, Japan. In 2018, he was invited as the concertreviewer of ICMC 2018 in Daegu, Korea. His piece wasselected and performed in ICMC 2019 and NYCEMF2019 in New York, USA.

Yuqian Yang is a composer, pianist, and video artist.Her work, which range from solo pieces to large-scaleworks for orchestra, earned her third prize in the NewGeneration Contest in (2010, 2011). Her works havebeen performed internationally at festivals and concertsuch as: Beijing Music Festival, Splice, EMM, TURN UP,the Composition Concert in the University of Arizona.She received commission for large ensemble by theUniversity of Arizona 2017. She Invited for membershipon project 21 2012-14. Third Prize in New GenerationCompetition 2010. Third Prize in New GenerationCompetition 2008. Important previous performancesinclude the orchestra peace White Sands and WhiteSnow (2019), commissioned piece Tornado (2017), (2015), (2015), the Symphony No. 1 (2014), the Pekingopera “Farewell My Concubine” (2013). Yuqian receivedher D.M.A. at the University of Arizona in Composition.She previously received a M.M. from the Wanda L. BassSchool of Music at Oklahoma City University, where shewas a member of Project 21 and a B.A. from the ChinaConservatory of Music. Her teachers have included JiaGuoping, Quan Jihao Edward Knight, Daniel Asia, CraigWalsh, Kay He and Lendell Black.

Lidia Zieliñska studied composition with AndrzejKoszewski at the State High School of Music in Poznan(Poland). She has worked at the electronic music studiosin Cracow, Stuttgart, Swedish Radio Malmoe,Experimental Studio of Polish Radio in Warsaw,IPEM/BRT in Ghent, EMS in Stockholm, ZKM inKarlsruhe and Experimentalstudio des SWR Freiburg.Lidia Zieliñska currently holds the post of professor ofcomposition and head of the SMEAMuz Studio ofElectroacoustic Music at Poznan’s Music Academy; she

also was a professor in sonology at the Academy of FineArts in Poznan (1989-92 and 2001-10). She hasconducted summer courses, workshops and seminars,published and lectured extensively on contemporaryPolish music, the history of experimental music, soundecology and traditional Japanese music, on the invitationof universities in Europe, Americas, Asia, Australia andNew Zealand. Lidia Zieliñska is the Vice-President of thePolish Association for Electroacoustic Music, formerVice-President of the Board of the Polish Composers’Union, member of the programme committee of theWarsaw Autumn Festival (1989–92 and 1996–2005), ofthe ISCM World Music Days in Warsaw, of the MusicaElectronica Nova in Wroclaw.http://lidiazielinska.wordpress.comhttps://soundcloud.com/lidia_zielinska

Ni Zheng is a chinese sound artist, electroacousticmusic composer, and performer. Her work spans fixedmedia, mixed media, and sound installation. Shegraduated from New England Conservatory where sheearned her BA in composition, and is currently a PhDcandidate in composition at University of California SanDiego.

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PerformersConsidered one of the finest trombonists of hisgeneration, Tony Baker is currently a faculty member atthe University of North Texas College of Music. Currentlya member of the Dallas Opera Orchestra, he hasperformed with ensembles such as the ProMusicaChamber Orchestra, the Minnesota Opera Orchestra,the New Hampshire Music Festival Orchestra, and theDallas, Richardson, Columbus, Akron, Arkansas, andDuluth-Superior symphony orchestras. In addition toperformances around the country, Mr. Baker hasestablished an international reputation with numeroussolo performances in the UK, Iceland, France, Brazil. Hewas also one of eight invited participants at the 1994Christian Lindberg Solo Workshop. He performedLuciano Berio's Sequenza V at the 1996 Music ofLuciano Berio Symposium at the University of NorthTexas. As a jazz musician, he has performed withgroups such as the Woody Herman Band and JimmyDorsey Orchestra. He has also performed on stage withsuch artists as Wynton Marsalis, Steve Turre, TerryGibbs, John Fedchock, Chris Vadala, and JiggsWhigham. https://music.unt.edu/faculty-and-staff/tony-baker

Lucia Bova, harpist: After completing her musicalstudies in Italy at a young age, Lucia Bova studied fortwo years in Nice, France, at the Conservatoire whereshe was presented with a diploma in harp performance,gaining the 1990 "Premier Prix à l'Unanimité". At thesame time, she was first harpist with the Orchestra "A.Scarlatti" of National Broadcasting Radio (Rai) in Naplesfrom 1989 to 1992, and from 1994 to 1996 she was firstharpist with the Orchestra Sinfonica dell'Emilia Romagna"Arturo Toscanini" in Parma, also appearing in Parma assoloist with the Teatro Regio. In 1995 she published forItalian revue Sonus the article (in collaboration withGraziano Tisato at the University of Padova) "La Faccianascosta dell'arpa: Un percorso nello spazio timbricodelle nuove tecniche esecutive". Since then she hasworked with a variety of ensembles in the performance ofcontemporary music, including: Ars-Ludi, Ensemble AlterEgo, the soloists of the Accademia Filarmonica of Rome,Polimnia Ensemble, Ensemble Musica d'Oggi,RomaSinfonietta and Ensemble Dissonanzen. She hasappeared as soloist in a number of concerts, specializingin the performance of new music in Italy: La FeniceTheatre in Venice, Romaeuropa Festival e Festival ofNuova Consonanza in Rome, X Colloquio Internazionalesulla Musica e l'Informatica of Milan, Incontri in Terra diSiena, Rassegna di Nuova Musica of Macerata, Festivalof New Music with ancient instruments in Urbino, Festivalof Nations in Città di Castello. She has also appeared assoloist in recitals in France (Paris, Nice and Figanièresen Provence), Germany (Norimberg, Hannover,Sindelfingen, Iserlhon and Ludwigsburg), Canada(Montreal), United States (Chicago, Boston, Seattle,Detroit, New York, San Diego), at the Warsaw Autumn

Festival (Poland), at CDMC Concerts in Madrid andrecently at the Rio World Harp Festival (Rio de Janeiro). She has made recordings on the Mode Records (NewYork), EDI-Pan, Capstone, Neuma, Valdom and LabelBleu labels, including pieces for solo harp and harp withother instruments. She has also recorded solos harpwritten especially for her by Ennio Morricone. With thePolimnia Ensemble she recorded a CD dedicated to 19thcentury Russian music which was included in the journal"Musicalia". On December 2002 the BongiovanniEditions (Bologna, Italy) published her CD entirelydedicated to 18th century music for harp includingunknown or rare works originally written for thatinstrument. Recently Suvini Zerboni Edition publishedher book on modern Harp "L'arpa moderna" with awonderfull preface preface by Luis de Pablo.

Brent Brimhall is a dancer who began his movementtraining as a martial artist, studying under Peter Crocolland Philip Selmon. He continued his education bystudying ballet, contact improvisation, and post-moderncontemporary dance at Arizona State University. As atango dancer, he has studied with Daniela Borgialli,Nicholas Tapia & Steph Berg, and George & JairelbhiFurlong, and he has participated in workshops with manytango maestros including Mariano “Chico” Frumboli &Juana Sepulveda and Cristina Sosa & Daniel Nacucchio.

Dr. Greg Byrne is Distinguished Professor of Music andDirector of Percussion Studies at the University ofLouisville. Dr. Byrne is an Educational Artist for REMO,Inc. and VIC FIRTH, Inc. He has performed in Japan onseveral occasions, where he was a member of theHidano/Byrne Duo, endorsed by VIC FIRTH, Inc. topresent children's concerts. The most notable was at theelementary school in Miyako which was devastated bythe 2011 Tsunami. He serves as an advocate formusicians with disabilities through his educational DVD,Opportunity to Succeed. Through this role, he haspresented at the International Conference for the Artsand Humanities in Hawaii, the College Band DirectorsNational Association Southern Conference in Mississippi,the Midwest Band and Orchestra Conference in Chicago,and he presented the Keynote Address at the NebraskaMusic Educators Association Conference.

Jason Crafton is associate professor of trumpet atVirginia Tech. He has performed as soloist and chambermusician in China, Greece, and across the UnitedStates. He is a member of the Charlottesville OperaOrchestra and has performed with the Dallas Opera, theDes Moines Metropolitan Opera, and the Dallas WindSymphony. Crafton is a founding member of theelectro-acoustic chamber music group Fifth Bridge.Recent and future engagements include a collaborationwith Dr. Henry Winter from the Harvard/SmithsonianCenter for Astrophysics and composer John Hollenbeck,as well as premieres of new works by David Sampsonand Christopher Stark. Jason holds degrees from DrakeUniversity and the University of Northern Colorado in

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addition to doctorate from the University of North Texas.His teachers include Robert Murray, Keith Johnson, andAndrew Classen.

Dr. Gabe Evens is the Assistant Professor of JazzPiano, Composition and Arranging at the University ofLouisville, Jamey Aebersold Jazz Studies Program. Hehas performed throughout the United States and inMalaysia, Singapore, Spain, and France and has playedwith the Malaysian Philharmonic Orchestra, the MiamiCity Ballet Orchestra, the University of North TexasSymphony and Concert Orchestras, the UNT OneO'Clock Lab Band, and the University of Miami ConcertJazz Band. As an arranger and composer, Evens hasreleased seven CDs of original music, writtencommissions for Sheena Easton and Kate McGarry withthe Cape Symphony Orchestra, and for Nneena Freelonwith the John Brown Big Band. Evens is a certifiedteacher of the Alexander Technique, holds an MA in JazzPiano Performance from the University of Miami, and aDMA in Performance, major in Jazz studies (compositionemphasis) from the University of North Texas.

Enzo Filippetti is a professor of Saxophone at theConservatory of Music “S. Cecilia” in Rome. For morethan thirty five years he has been playing in concerts allover the world. He has performed at Biennale di Venezia,Mozarteum of Salisburgo, Rome, Milan, Paris, London,Birmingham, Berlin, Köln, Wien, Madrid, Bruxelles, NewYork, Montreal, Buenos Aires, Caracas, Riga, Lyon,Principaute-Monaco-Monte-Carlo, Yeosu (Korea),Kawasaki, Adis Abeba, Chisnau, Taormina, Ravello. Heis very active in the field of Contemporary music of whichhe is a valued performer and many of the most importantcomposers such as E. Morricone, G. Nottoli, J. Dashow,M. Lupone, L. Zielinska, D. De Simone, H. Howe whowrote for him about one hundred fifty works. As a soloistand with the Quartetto di Sassofoni Accademia he hasrecorded for the Nuova Era, Dynamic, Rai Trade,Sconfinarte and Cesmel. He has published studies forRiverberi Sonori and he directs a collection forSconfinarte editions.

Rachel Gibson is a percussionist and musictechnologist from Tower City, Pennsylvania. She iscurrently attending the University of Virginia to pursue aPh.D. in Music Composition and ComputerTechnologies. Rachel studied percussion with MichaelRosen and Bob Nowak and computer music with AurieHsu and Abby Aresty. She completed additionalcomputer music studies with Edgar Berdahl and StephenBeck. Rachel has performed in the Oberlin PercussionGroup, Oberlin Orchestra, Oberlin Contemporary MusicEnsemble, and the Oberlin Improvisation and New-MusicCollective (OINC). She was the recipient of the AvedisZildjian Conservatory Percussion Award, the OberlinCollege Research Fellowship, the Presser Award, aNational Science Foundation REU Fellowship, theSEAMUS Allen Strange Award, and the Phi KappaLambda Prize. Rachel has presented her work at the

NIME and TEI conferences. She earned her Bachelor ofMusic degree at Oberlin Conservatory of Music inPercussion Performance and Technology in Music andRelated Arts (TIMARA).

Megumi Masaki is active as a pianist, multimedia artist,educator, conductor and curator. Her innovation andbreadth of artistic activity, dynamic temperament and“riveting and mindexpanding” (Fréttablaðið)performances have earned her international accoladesas a leading interpreter of new music and multimediaworks. She specializes in exploring how sound, image,text and movement can be integrated and interactive inmultimedia works. Megumi frequently collaborates withcomposers, visual artists, writers and choreographers oninterdisciplinary projects involving new technologies toexpand and recontextualize how concert works for thepiano are created, performed and received. Over 40piano, multimedia and chamber works have beencomposed especially for Megumi, and she haspremiered over 90 works worldwide. Megumi is featuredat major international venues including IRCAM, ICMC,ISCM World NMD, among many others. Megumi isProfessor of Piano, and director of the New MusicEnsemble and New Music Festival at Brandon UniversityCanada. http://www.megumimasaki.com

Born in Okayama, Japan, Hazuki Ota began her Pianoat the age of two. Concertist Pianist Course at the MusicHigh school attached to Sanyo Women's High School.The numerous prizes she has received until today: theGold medal at the Chopin Competition for youth. At theage of 17, she held a music workshop in Myanmar forelementary school students in Myanmar. At the age of19, he held a music workshop at an elementary school inthe Democratic Republic of the Congo, and presentedhis achievements to children at Complex Congo-Japon(CCJ) at the National Teacher's University (ISP) in thecapital. During high school, she encountered theundersea garbage problem of the Seto Inland Sea andconducted collection and awareness activities. Receivedthe Minister of the Environment Award. She currently hasbeen creating the work about Microplastics.

A keen advocate of new music and creativecollaboration, British saxophonist Ellie Parker hasperformed throughout Europe and the USA as achamber musician and soloist. Her primary teachershave been Dr. Masahito Sugihara and Naomi Sullivan,and she is currently pursuing her DMA at the Universityof Houston with Dan Gelok. Ms. Parker also serves asAdjunct Professor of Saxophone at Sam Houston StateUniversity. She was a Young Artist Fellow atDACAMERA of Houston between 2018-2020 and wasthe recipient of the inaugural Laura Buss SayavedraAward for Citizen Artistry in the city of Houston, whichrecognised her proactive social engagement through thecombination of artistry, education, communityengagement. In the summer of 2020, Ms. Parker’s workwas heard at the Cincinnati Fringe Festival and the NYC

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Electroacoustic Music Festival.

Acclaimed by the New York Times as a "creativepercussionist," Josh Perry is a passionate advocate forcontemporary music and interdisciplinary performancemediums. Perry is a member of Iktus Percussion,Ensemble Mise-en, Hotel Elefant, and has recentlyperformed with the Metropolis Ensemble, Argento NewMusic Project, Lost Dog Ensemble, and MantraPercussion. In 2019, Perry has been a featured soloist atthe Kroumata Percussion Center in Stockholm, Sweden,the Transplanted Roots Symposium in Guanajuato,Mexico, and at the Tokyo Opera City Recital Hall inTokyo, Japan. Festival appearances include the FestivalInternacional de Inverno do Jordao in Brazil, June inBuffalo festival, MATA festival, New Voices-New Musicat Carnegie Hall, and the Bang on a Can Marathon. Aproponent for composer-performer collaboration, heconsistently works with living composers and haspremiered well over 100 works for percussion and mixedensemble. Past collaborations include working withcomposers John Luther Adams, Stefano Gervasoni,David Lang, Annie Gosfield, Paula Matthusen, andDaniel Wohl. Perry has performed and given workshopsat the Eastman School of Music, Princeton University,University of California-Davis, Michigan State University,University of Buffalo, Oberlin College, New College, andmore. Perry received his Bachelor's from the Universityof Massachusetts-Amherst and recently received hisDoctorate from Stony Brook University.

Matthew Polashek is a saxophonist living in Lexington,Kentucky and recently won the 2020 Lexington MusicAward for Best Wind/Brass Performer. His current workfocuses on the development of a fusion of modern jazzand contemporary art music composition techniques. Hehas been awarded the Master's of Fine Arts in MusicComposition from The Vermont College of Fine Arts, aMaster's of Arts in Teaching Music from the CityUniversity of New York, and a Bachelor of Arts in JazzStudies from the University of Wisconsin at Green Bay,where he studied saxophone with John Salerno. He hasextensive experience performing professionally on thesaxophone, flute, and clarinet in a multitude of genres.He performs with his group, Sh3k, and has performedand recorded with internationally renowned artistsincluding David Liebman and Bryan Lynch. A giftedperformer, composer, arranger, and audio engineer, hehas lectured on the collegiate level on the topic ofcontemporary music performance practices and hasperformed contemporary music throughout the country.He is also owner and president of Angry BabyProductions, a broadcasting and media productioncompany.

Iván Adriano Zetina Rios (Mexico City, 1985) is acomposer, guitarist and musicologist.He started his art studies at age of nine at Centre ofFines Arts of Merida in the south of Mexico. He finishedhis professional studies at National University of Mexico

(UNAM) and a master's degree in Musicology atSorbonne University of Paris. In 2006, he obtained ascholarship from National Found of Culture and Arts(FONCA) to make a specialization residence at ChigianaAcademy in Siena, Italy. He also received a solidbackground in interpretation of contemporary andclassical repertoire at several residences in Serbia,Netherlands, Cuba, France and Germany. As composer,he started in experimental and interdisciplinary projectsin theater and cinema with artists from France andMexico (2013-2017). He has taken part of compositionlessons with mexican composers as German Romero,Samuel Cedillo and most particularly the Creation Lab ofJulio Estrada at UNAM. Ivan Adriano also participated inmaster classes with Helmut Lachenmann and PhilippeLeroux. He obtained two first prizes in compositioncontests in Mexico and France (Ecoute 2017). Hecreated his first pieces with professional ensembles as"Ensemble Écoute" (France), "Liminar Ensemble"(Mexico), "Psappha Ensemble" (UK) and "L'ItineraireEnsemble" (France). As academic, Ivan Adriano wasassistant professor of electronic music composition atParis 8 Saint-Denis University and Sorbonne University(2019-2020). He has presented his researches indifferent institutes: Complutense of Madrid University,Nova Lisboa University and Tübingen University. Hewrote articles for IRCAM, Paris Philharmonic and GuitarClassique Revue. Nowadays, he is doing a PhD inmusicology at Sorbonne University and the second yearof composition at CRR Boulogne-BilancourtConservatory with Jean-Luc Hervé and Yan Maresz. In2020, he was accepted to participate at Guitar andE-Guitar Studio of Darmstadt Summer Courses 2021.

With a focus on contemporary keyboard performance,including organ and harpsichord, Grammy®-nominatedpianist Richard Valitutto is a soloist, chamber musician,vocal accompanist, and composing/improvising creativewith an active performance schedule that spans bothcoasts of the U.S., across the country, and abroad.Described as “a keyboard superstar” (The New Yorker),and as a “vivid soloist,” “vigorously virtuosic,” “quietlydazzling,” and “all around go-to new music specialist” (LATimes), he is a member of the Grammy®-nominatedWild Up Modern Music Collective and the "startlinglyversatile" (NY Times) quartet, gnarwhallaby. He hascollaborated and performed with the Los AngelesPhilharmonic, Martha Graham Dance Company, andPBS Great Performances, among many others. Richardis currently in residence at Cornell University’s KeyboardStudies DMA program. He holds degrees in pianoperformance from the California Institute of the Arts(MFA) and the University of Cincinnati'sCollege-Conservatory of Music (BM, summa cum laude).

Kong Hou performer Lucina Yue was born in Xinjiang, isresiding in New York City. She is the Executive Directorof the Konghou Society at the Chinese MusiciansAssociation and the Executive Director of the KonghouProfessional Committee at China Nationalities OrchestraSociety. She won the Award of Excellence and the first

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place for Konghou in the Folk Music Television Contestheld by Chinese Central Television (CCTV); received theGold Award from Hua'yin Cup Chinese InstrumentCompetition; and also awarded the Gold Award at theAsia Arts Festival. Her debut of modern ChineseKonghou with a symphony in the Lincoln Center hassuccessfully opened a new chapter of this ChineseTraditional Musical Instrument.

Video Artists

Gene Gort is a visual artist, video producer, mediaprogrammer and educator who lives in Torrington,Connecticut, USA. His artwork and videotapes havebeen shown internationally including; Dark Music DaysFestival at Harpa, Reykjavik, Iceland; DeCordovaMuseum and Sculpture Park, Lincoln, MA; Pacific FilmArchive/Berkeley Art Museum, Berkeley, CA;TheVideoArtFoundation, Barcelona, Spain; CyberartsFestival, Boston, MA; University of Rochester; Hallwalls,Buffalo, NY; Mills Gallery, Boston Center for the Arts;Vtape Salon and the Art Gallery of York University/PrefixCentre for Contemporary Art, Toronto; Black Maria Filmand Video Festival, touring; Athens Film and VideoFestival, Athens, Ohio. He currently holds the position ofProfessor of Integrated Media Arts at Hartford ArtSchool, University of Hartford, a program he designedand directs, and is a core faculty member of theinterdisciplinary MFA program, Nomad/9.www.genegort.com

After the study of the cinema in South Korea, KiwonJeon has moved to Paris for his diploma of the editingand Special Effects at the École supérieur d’étudescinématographique and the cinema at the UniversityParis 8. He has participated in many of the film works,the advertising and the video works as the director, theeditor. His film also has been presented in the videocontest organized by the Mayor of Paris and in the Nikonfestival in France. He received the 4th prize in the videocontest organized by « Réseau Sortir du nucléaire » with« DEFENSE ». He works also as visual artist. Hismultimedia have been presented in the severalinternational festivals and concert such as Muxic, À labaguette in France, Être compositrice in the UNESCO inFrance, ICMC 2018 in Korea, Vox Feminae in Israel,Sound Thought in Scotland. He crosses the borderbetween the cinema and the multimedia and builds hisworld through narrative sublime and visualexperimentation.

Simona Sachi is an Italian photographer and designer.She studied graphic design, illustration and photographyin “Instituto Europeo di Design” in Milano. She worked asan independent photojournalist for many newspapersand journals, specializing in Middle Eastern countriessuch as Yemen, Syria, Jordan, Egypt, Algeria amongothers. Since her move to Greece, she has worked as agraphic designer and lately as video artist.

Merrie Snell is a writer and video artist whose storieshave been published in New England Review, Agni,Cimarron Review and whose academic monographLipsynching was recently published by BloomsburyAcademic. Her multiscreen video work YouGhost wasfeatured at the international music venue The Sage,Gateshead, and her shorter films have been shown inthe UK and Europe. Her film Devil's Water will soon be

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released as part of a monograph on artistic research inmusic by Stefan Östersjö through The Orpheus Institute,Ghent and Chorus Lines as part of a multimedia bookpublished by Bath Spa University, UK.

Austin Windeau (born 1996) is a filmmaker andscreenwriter from Northern Ohio who strives to betterunderstand emotion and human interpretation throughfilm and video. He graduated from Bowling Green StateUniversity with a Bachelor's in Film Production in 2019and has since worked on short films and anin-development feature film. This piece is Austin'ssecond time working with mixed media in music, with thegoal being to blend abstract visuals with the interpretivenature of music. He hopes to continue collaborating withcomposers and artists to further blend the artisticmediums, with the effort being to understand thecommon ways humans interpret the world andcommunicate with one another. Austin currently isfocused on screenwriting and hopes to write and directfeature films in the future.

Rebecca Ruige Xu's artwork and research interestsinclude experimental animation, visual music, artistic

data visualization, interactive installations, digitalperformance, and virtual reality. Her recent work hasappeared at Ars Electronica Animation Festival;SIGGRAPH Art Gallery; Aesthetica Short Film Festival,United Kingdom; Museum of Contemporary Art, Italy;Los Angeles Center for Digital Art; Magmart InternationalVideoart Festival, Italy; FILE – Electronic LanguageInternational Festival, Brazil; Techfest -Technical ArtsExhibition, India; Colloquium culture and digitization,Switzerland; CYNETart, Germany; International DigitalArt Exhibition, China; Huddersfield Festival, UK; andBoston Cyberarts Festival. She has also been a researchfellow at Transactional Records Access Clearinghouse,Syracuse University, since 2011.

Keisuke Ygisawa (1982-) is an audiovisual artist. Hestudied electronic music, video and visual art in RoyalAcademy of Art in the Hague(Netherlands) , TokyoUniversity of the Arts(Japan) and doctoral course inKunitachi College of Music in Japan. Now he is workingat Tamagawa University and Shibi College of Music forelectric music and video art.

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