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National Student Electronic Music Event

TEMPLE UNIVERSITY! ! Philadelphia, Pennsylvania

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#NSEME2013

FROM THE DIRECTOR
Welcome to the 2013 National Student Electronic Music Event and conTemplum’s New Music Symposium! I am proud to join my colleagues this year in presenting the work of nearly fifty composers and scholars from around the world. The schools represented by these students are some of the most active and prestigious in the field of electronic music. This is the third year that conTemplum will host its New Music Symposium. conTemplum is a new-music student organization at Temple University, comprised of composers, scholars, performers, and concert-goers. Our group represents the school’s student chapter of the Society of Composers, Inc and seeks to promote new music through concerts, seminars, lectures, discussions, and masterclasses. In the past, the New Music Symposium featured paper sessions from student scholars in the Philadelphia region. This year we are excited to be also hosting the second National Student Electronic Music Event as part of our symposium. N_SEME was first held at the Peabody Conservatory in 2011, aiming to bring together the nation’s composers and performers currently studying in the ever-growing field of electronic music. Dr. Ge Wang, our keynote lecturer, is one of the primary creators of ChucK audio programming language and co-founder of Smule. He is an innovative thinker and one of the bright lights in the development of audio technology. I am pleased that he is able to join us for this event. I thank him for sharing his thoughts with us. This event could not have taken place with out the advocacy of Dr. Michael Klein and the support of Dean Robert Stroker. I would like to thank them both for their confidence and their dedication to this conference. I am very appreciative for the guidance of Dr. Maurice Wright throughout the planning of this event. My thanks go to Jennifer Hoffmaster and Jason Horst for their help and patience in getting the logistics together. I am appreciative to Sandy James for her trust, guidance, and assistance in all things technical. Thank you to the president of conTemplum, Ryan Olivier, who has served as sounding board, idea man, promoter, audio engineer, and participant as composer and scholar. Many thanks to all the members of conTemplum who have acted as hosts, guides, and all-around amazing go-to people. Thanks to Evan Combs, who created the first N_SEME, for his guidance in the initial planning stages. Finally, a huge thank you to Andrew Litts, who has gone above and beyond his role once again. In addition to his service as Technical Director, Andrew has helped to manage numerous aspects of this event, stepping in whenever I was overwhelmed. I could not have pulled this off in the midst of finishing my doctoral monograph without his help. Please enjoy the work of these wonderful student composers and scholars. Thank you for joining us for N_SEME 2013! Best regards,

Adam Vidiksis Conference Director

SCHEDULE OF EVENTS Friday, March 22nd
2:00 PM ! 2:45 PM ! 3:15 PM ! ! !
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Welcome reception (Rock Hall Basement) Welcome address (Rock Hall Computer Lab 1) Concert #1 (Rock Hall Auditorium)
John Liberatore – The vines in the carpet Joshua Tomlinson – Audible Desserts Thomas Rex Beverly – Angry Young Man H.E. Cicada Brokaw Dennis – Sit Still

4:00 PM ! ! !
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Paper Session #1 (Rock Hall Computer Lab 1)
Joshua Devine – Interference, Chaos and Recursion: Per Nørgård’s 2nd Symphony Nick Hwang & J. Corey Knoll – GUA: Development of a Digital Instrument

5:10 PM ! ! !
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Concert #2 (Rock Hall Auditorium)
Moon Young Ha – Amorphisms Maxwell Tfirn – No Harm Shall Come to Others Seth Messier – Mother's Embrace Ethan Hayden – bats with baby faces in the violet light

6:00 PM ! 8:00 PM ! ! !
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Dinner break (open) Concert # 3 (Rock Hall Auditorium)
Luca De Siena – Concrezione Kristina Warren – Three Sonnets of Elizabeth Barrett Browning Kris Christenson – Battling Entropy Carter John Rice – Soundscape for Violin Michael Rickelton – 6:46 Nina C. Young – Sun Propeller Ryan Olivier – Colorful Movements Jason Holt Mitchell – Cascarones Amanda Feery – Sídhe Michael Laurello – Tell hope everything you hear (Glitch Study)

Saturday, March 23nd
10:00 AM ! 10:15 AM ! ! !
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Coffee social (Rock Hall Basement) Paper Session #2 (Rock Hall Computer Lab 1)
Joshua Harris – The Body in Helmut Lachenmann's "Filter - Schaukel" from Ein Kinderspiel: A Phenomenological Analysis Ryan Olivier – Imaginary Cognition

11:25 AM !
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Concert # 4 (Rock Hall Auditorium)
Nathan Corder – Seppuku Ethan Frederick Greene – White Noise Andrew Martin Smith – Ambiance BJ Derganc – Staring at the Sea Brian Cook – To Mock !

12:15 PM ! 1:20 PM ! ! !

Lunch break (open) Paper Session #3 (Rock Hall Computer Lab 1)
Richard Charles Lee – Deterritorialization and Cosmic Expression in the Turangalîla Statue Refrain Jessica Rudman – Disruption and Development: Pitch Processes in the Music of Ellen Taaffe Zwilich

2:30 PM ! ! ! ! !
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Concert # 5 (Rock Hall Auditorium)
Yemin Oh – Memoriam Kyle Vanderburg – Blueprints of Eternity Anne Neikirk – Balloonman Michael Sperone – Strong Interactions Federico Bonacossa – e poi, solo sfiorandole…

3:30 PM ! 5:00 PM ! 8:00 PM ! ! !
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Keynote Address (Rock Hall Computer Lab 1) Dinner/Happy hour (Devil’s Alley) Concert #6 (Rock Hall Auditorium)
Nick Hwang & J. Corey Knoll – Fishing for Jömangandr Daniel Strokis – Atelerix albiventris Jessica Rudman – My Father Was a Ventriloquist Ian Michael Clarke – Buzz Click Clean/Mortality Adam Vidiksis – synapse_circuit Laura M. Staffaroni – fractal fireworks Andrew Ludolph Conklin – Just One More Question Jane Cassidy – The Night After I Kicked It Erik DeLuca – The Edge of the Sea

Concert #1
(Rock Hall Auditorium) Friday, March 22, 3:15PM The vines in the carpet ! ! ! ! soprano, piano, and live electronics (9:39) ! ! ! John Liberatore Eastman School of Music

Jamie Jordan, soprano John Liberatore, piano Audible Desserts! ! ! stereo fixed media (3:28)! ! Angry Young Man! ! stereo fixed fedia (4:42)! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Joshua Tomlinson East Carolina University Thomas Rex Beverly Trinity University H.E. Cicada Brokaw Dennis Temple University

Sit Still! ! ! ! stereo video music (3:40)! !

Dan Cole, video

Concert #2
(Rock Hall Auditorium) Friday, March 22, 5:10PM Amorphisms! ! ! ! stereo video music (ca. 6:00)! ! ! ! ! ! ! Moon Young Ha New York University

Dennis Miller, video No Harm Shall Come to Others! ! 5.1 channel fixed media (7:04)! ! ! ! ! ! Maxwell Tfirn University of Virginia Seth Messier University of Georgia Southern

Mother's Embrace! ! ! ! ! ! vocal performance with live electronics (ca. 8:00)!

performed by the composer bats with baby faces in the violet light! stereo fixed media (ca. 7:00)! ! ! ! ! ! Ethan Hayden SUNY Buffalo

Concert #3
(Rock Hall Auditorium) Friday, March 22, 8:00PM Concrezione !! ! video music (4:19)! ! ! ! ! ! ! ! ! ! Luca De Siena Conservatory of Frosinone

Antonello Belgrano, video Three Sonnets of Elizabeth Barrett Browning ! ! amplified soprano with stereo fixed media (10:30)! Esther Oh, soprano Battling Entropy! ! ! ! quadraphonic fixed media (5:36)! ! Soundscape for Violin ! ! ! violin and live electronics (6:40)! ! ! ! ! ! ! ! ! ! Kris Christenson Roosevelt University Carter John Rice Bowling Green State University Kristina Warren University of Virginia

performed by the composer 6:46 ! ! ! ! ! ! quadraphonic fixed media (6:46)! ! ! ! ! ! Michael Rickelton Peabody Conservatory

--Intermission (15 minutes)--

Sun Propeller! ! ! ! violin and electronics (ca. 9:00)! !

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Nina C. Young Columbia University

Emily Westell, violin Colorful Movements! ! 5.1 channel video music (7:12)! ! ! ! ! ! ! ! ! ! Ryan Olivier Temple University Jason Holt Mitchell University of Illinois at UrbanaChampaign

Cascarones! ! ! ! ! ! quintet with stereo fixed media (11:30) ! ! ! ! ! ! ! ! !

Justin Holguin, flute Matt Boyles, clarinet Abigail Lavecchia, piano Noel Torres-Rivera, violin Gozde Tiknaz, cello Sídhe !! ! ! ! stereo fixed media (8:40)! ! ! ! ! ! ! ! ! ! Amanda Feery Princeton University Michael Laurello Tufts University

Tell hope everything you hear (Glitch Study)! guitar with stereo fixed media (4:20)! !

James Fantom, guitar

Concert #4 (Rock Hall Auditorium) Saturday, March 23, 11:25AM Seppuku ! ! ! ! stereo fixed media (8:00)! ! White Noise! ! ! ! 5.1 channel fixed media (6:00)! Ambiance ! ! ! ! stereo fixed media (8:06)! ! Staring at the Sea! ! ! ! 1. “Staring at the Sea”! ! 2. “Lullaby” ! 3. “Torrents of Water” ! 4. “San Francisco: 1906” piano with fixed media (10:00)! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Nathan Anthony Corder University of South Florida Ethan Frederick Greene University of Texas at Austin Andrew Martin Smith Bowling Green State University BJ Derganc Peabody Conservatory

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Abigail LaVecchia, piano To Mock! ! ! ! stereo fixed media (10:40)! ! ! ! ! ! ! ! Brian Cook University of Hartford

Concert #5
(Rock Hall Auditorium) Saturday, March 23, 2:30PM Memoriam! ! ! ! ! ! percussion with live A/V processing (6:00)! ! ! Yemin Oh Louisiana State University

Daniel Heagney, percussion Blueprints of Eternity! ! stereo fixed media (10:00)! ! ! ! ! ! ! ! Kyle Vanderburg University of Oklahoma Anne Neikirk Temple University

Balloonman ! ! ! ! ! ! ! tenor saxophone and stereo fixed media (ca. 6:30)!

Christopher Orlando, tenor saxophone Strong Interactions! ! ! ! ! percussion and computer electronics (4:55)! ! ! Michael Sperone SUNY Purchase

Jay Sager, percussion e poi, solo sfiorandole…! ! ! ! ! classical guitar and live electronics (ca. 6:00)! ! Federico Bonacossa Florida International University

performed by the composer

Concert #6
(Rock Hall Auditorium) Saturday, March 23, 8:00PM Fishing for Jömangandr! ! ! ! tubas and GUA (live electronics) (ca. 10:00)! ! ! Nick Hwang & J. Corey Knoll Louisiana State University

Andy Larson, tuba GUA performed by the composers Atelerix albiventris! ! ! stereo fixed media (3:36)! ! ! ! ! ! ! ! ! ! Daniel Strokis Winthrop University Jessica Rudman CUNY Graduate Center

My Father Was a Ventriloquist! ! ! trumpet with stereo fixed media (6:25)! !

Will Koehler, trumpet Buzz Click Clean/Mortality! ! ! multi-channel fixed media (6:00)! ! ! ! ! ! Ian Michael Clarke Indiana University

--Intermission (15 minutes)--

synapse_circuit! ! ! ! ! percussion and live electronics (ca. 8:00)!

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Adam Vidiksis Temple University

performed by the composer fractal fireworks! ! ! stereo fixed media (1:51)! ! ! ! ! ! ! ! ! ! ! ! Laura M. Staffaroni Bard College Andrew Ludolph Conklin SUNY Stony Brook

Just One More Question! ! ! clarinet with stereo fixed media (6:19)!

Chester Howard, clarinet The Night After I Kicked It! ! video and stereo sound (9:41)! ! ! ! ! ! ! Jane Cassidy Tulane University Erik DeLuca University of Virginia

The Edge of the Sea! ! ! ! ! Sax quartet and quadraphonic fixed media (11:00)!

Nicholas McNamara, alto saxophone Christopher Orlando, tenor saxophone Jordan Graef, tenor saxophone Maria Mirenzi, baritone saxophone

Paper Session #1
(Rock Hall Computer Lab 1) Friday, March 22, 4:00PM Joshua Devine (Temple University) Interference, Chaos and Recursion: Per Nørgård’s 2nd Symphony ! Nick Hwang & J. Corey Knoll (Louisiana State University) GUA: Development of a Digital Instrument

Paper Session #2
(Rock Hall Computer Lab 1) Saturday, March 23, 10:15AM Joshua Harris (University of North Texas) The Body in Helmut Lachenmann's "Filter - Schaukel" from Ein Kinderspiel: A Phenomenological Analysis Ryan Olivier (Temple University) Imaginary Cognition

Paper Session #3
(Rock Hall Computer Lab 1) Saturday, March 23, 1:20PM Richard Charles Lee (Temple University) Deterritorialization and Cosmic Expression in the Turangalîla Statue Refrain Jessica Rudman (CUNY Graduate Center) Disruption and Development: Pitch Processes in the Music of Ellen Taaffe Zwilich

STAFF
Conference Director – Adam Vidiksis Technical Director – Andrew Litts Audio Engineer – Ryan Olivier Assistant Audio Technician – Isabella Ness Registration Hosts – Annie Neikirk and Andie Taylor

KEYNOTE SPEAKER
Dr. Ge Wang (Stanford University) Ge Wang is an Assistant Professor at Stanford University's Center for Computer Research in Music and Acoustics (CCRMA). He received his B.S. in Computer Science in 2000 from Duke University, and his Ph.D. in Computer Science in 2008 from Princeton University (advisor Perry Cook). Ge's research includes programming languages and interactive software systems for computer music, mobile and social music, new performance ensembles (laptop orchestras and mobile phone orchestras) and paradigms (e.g., live coding), interfaces for human-computer interaction, sound synthesis and analysis, musical visualization, and methodologies for education at the intersection of computer science and music. Ge is the author and chief architect of the ChucK audio programming language. He is the founding director of the Stanford Laptop Orchestra (SLOrk) and Stanford Mobile Phone Orchestra (MoPhO), and was a codirector of the Princeton Laptop Orchestra (PLOrk). Ge composes and performs via various electro-acoustic and computer-mediated means, including with PLOrk/SLOrk, with Perry as a live coding duo, and with Rebecca Fiebrink in a duo exploring new performance paradigms, cool audio software, and great food. Concurrently, Ge is the Co-founder and Chief Creative of the mobile music startup Smule, and the designer of Ocarina, Leaf Trombone: World Stage, and Magic Piano for the iPhone, reaching more than 25 million users.

COMPOSERS AND SCHOLARS
Thomas Rex Beverly (Trinity University) Thomas Rex Beverly, born 1988, is native of Bellville, Texas. He is a graduate of Trinity University in San Antonio, Texas where he received a bachelor’s degree in music composition. At Trinity, he studied with Timothy Kramer, David Heuser, Jack W. Stamps, and Brian Nelson. Beverly studied abroad in fall 2008 in Prague, Czech Republic. There he studied composition with the Czech composer Michal Rataj and researched contemporary Czech music. He recently completed a Master of Arts in Teaching for Music Education at Trinity University. Currently, he is teaching music at a KIPP Aspire Academy in San Antonio and taking private composition lessons with Dr. Brian Bondari at Trinity University. Angry Young Man – Stereo fixed media (4:42) This piece was composed shortly after a shocking event in my life. These are the sounds of an Angry Young Man. Federico Bonacossa (Florida International University) Federico Bonacossa is a classical guitarist and composer based in Miami Florida. He studied classical guitar at the Conservatorio Statale G. P. da Palestrina in Italy before moving to the U.S. He holds an MM for the Peabody Conservatory and a DMA from the U of M. Recent experiences include concerts for the Miami World Music Festival, the Miami Dade College On Stage Series, the Society of Composers Inc., the Miami International Guitar Festival, Guitar Sarasota, the Miami Bach Society, the State College of Florida, the Scuola Civica di Musica in Olbia, Italy, the Sephardic Jewish Synagogue in Lima, Peru, a live concert for WLRN, as well as multiple collaborations with Dance Now Miami. He is currently pursuing a Masters Degree in music composition at the Florida International University where he is a teaching assistant. He is adjunct professor at Miami Dade College and Barry University. e poi, solo sfiorandole… – Classical guitar and live electronics (ca. 6:00) This work was inspired by the music of Sofia Gubaudulina. One of Gubaudulina's recurring motives is the interval of a half step, which in this case serves as the germinating idea for the entire work. The live electronics use a combination of prerecorded samples, which are triggered live using a transient detector, ring modulation, delays, pitch shifting, and amplitude modulation. The title refers to the act of touching the strings so softly and slowly that they are barely heard, the gesture becoming "louder" than the actual sound. Jane Cassidy (Tulane University) Born in Ireland in 1984, Jane is a multimedia artist currently based in Louisiana. Primarily trained in music composition and animation, Jane earned a Masters in Music and Media Technologies from Trinity College Dublin in 2008. Jane's main interests lie in visual music, live Vjing, electro-acoustic composition and multi-channel work. Jane composes and animates simultaneously in order to create work that moves in perfect synchrony. Within recent years, a focus on experimental projection techniques has

allowed her visual music to become progressively immersive and expand into 3d space. Ultimately the work that she creates aims to engage with her audience on an experiential level allowing them to engage with visual music in a novel way. Jane is currently studying for a MFA in Digital Arts from Tulane University in New Orleans. (www.janecassidy.net) The Night After I Kicked It – Video and stereo sound (9:41) This piece is a visual music work. The music and animation were composed simultaneously to create a cohesive, tightly synchronised piece. It is an abstract piece there is no narrative, rather both elements of the composition influence each other to create the structure and movement of the work. Within the animation the use of color, image placement on screen and the matching of images to sounds is used to create a type of associative synaesthesia. Kris Christenson (Roosevelt University) Kris Christenson is a student composer and music theorist. His current compositional interest is focused mainly toward the application of scientific and philosophical concepts to music. Christenson received his BA in Music Theory/ Composition from St. Cloud State University, where he studied with Scott Miller, and Kristian Twombly, and he is currently working toward his MM in Composition at Roosevelt University where he studies with Kyong Mee Choi. Battling Entropy – Quadraphonic fixed media (5:36) In thermodynamics, entropy is a general measure of disorder in a system; low entropy being very orderly, and high entropy very disorderly. The second law of thermodynamics states that entropy will never decrease, but rather all systems will continuously evolve toward a state of maximum entropy. Battling Entropy is built around this concept, depicting systems that continuously attempt to build order and raise their energy level, but ultimately fall into a state of disorder and losing their energy entirely. Ian Michael Clarke (Indiana University) Ian Michael Clarke is a sophomore studying music composition at Indiana Universityʼs Jacobs School of Music. There he has studied traditional composition with Don Freund and Sven-David Sandström, as well as electroacoustic composition with John Gibson and Jeffrey Hass. Clarke has been recognized for his compositional efforts as a 2010 California Arts Scholar in Music Composition and in conjunction with his academic achievements as a 2011 recipient of the prestigious Wells Scholarship. Through his affiliation with the Wells Scholars program, he secured a grant in the summer of 2012 which he used to travel to Australia and conduct research on the 20th century composer John Antill, uncovering and retrieving several rare and otherwise undiscovered scores. His electroacoustic music has been performed in the Roy O. Disney concert hall at CalArts and in Indiana Universityʼs Grunwald Art Gallery as part of the New Art/New Music collaborative multimedia project. Buzz Click Clean/Mortality – Multi-channel fixed media (6:00)

While certainly there is linear development in this piece, its main goal is not tell the listener a story to which he may passively attend, but rather to construct an evolving environment that forces the listener to plunge down into its depths to experience a uniquely personal narrative first hand. Nearly all of the sound material in Buzz Click Clean/Mortality is derived from two short recordings, one of the whirring blades of a pencil sharpener, and another of a buzzy electric shaver. From these sounds comes a world of deep, oppressive, and occasionally disturbing waves of color in which the listener experiences erratic sounds competing to overtake one another, deep liquid voids of respite and rumination, and massive razor-blade tempests that consume everything. This piece is dedicated to a dear friend of mine who I lost in 2010 when a malfunctioning electric shaver sparked, lighting a devastating fire. Andrew Ludolph Conklin (SUNY Stony Brook) Andrew began his lifelong fascination with sounds when, at age six, he received a toy record player and attempted his first forays into sonic manipulation.  Andrew was recently selected to participate in the University of South Dakota’s 60/60 New Music Showcase, and this summer he will be a visiting composer at the New Music on the Point festival in Vermont.  Andrew co-founded the Language, Music, and Emotion Research Group (LaMERG) at SUNY Stony Brook, and recently received a grant to develop an online music theory course for the university.  Andrew also plays guitar with the indie-rock musician Chris Cohen, and he has been a long-time bass player for the bluegrass singer Laurie Lewis.  His most recent album, How Speaker, was released in 2012. Just One More Question – Solo clarinet with stereo fixed media (6:19) Just One More Question, for clarinet and fixed media, is an aural exploration of language and communication in the digital age.  In 2010, I heard a radio interview with the novelist Gary Shteyngart, who eloquently described both his utter fascination with and deep skepticism of technology.  His words resonated so strongly with me that I recruited several friends to read excerpts of the interview into various recording devices.  I then edited and manipulated the recorded voices to construct an accompaniment for music written for solo clarinet.   Just One More Question is alternately a dialogue, a struggle, a dance, and a tug-of-war between the living-and-breathing clarinetist and the artificial-yet-once-human voices.  The piece pits the language of English against the language of music and, in a larger sense, notes/words against timbres/sounds in what is ultimately an attempt to bridge the gap between two distinctive sonic personalities.between two distinctive sonic personalities. Brian Cook (University of Hartford) Brian Cook is currently a fourth year composition student at The Hartt School, where he studies with Robert Carl, David Macbride, Ken Steen, and Robert Black. Some of Brian’s past experiences include receiving a premiere from famed flutist Eugenia Zukerman, creating an interactive installation featured at the 2012 Hartford New Music Festival, and composing a large-scale fixed installation, recently on display at the Connecticut Historical Society Museum. In the fall of 2012, Brian was commissioned to create an interactive multimedia performance for the opening of a new building on the

University of Hartford campus. This performance highlighted his new electronic music interface that turns any surface into a flexible midi percussion instrument. Brian's most recent work was an immersive dance performance, featuring seven dancers and a streamlined system for translating movement into sound. Future highlights include worldwide performances of Brian's piano pieces, a commission from the Hartt Independent Percussion Performance Organization, and performances of Brian’s tape pieces To Mock, and Is it nothing to you, all you who pass by? at the 2013 SEAMUS National Conference. In addition to being a young and upcoming composer, Brian is also a talented computer programer, improviser, and teacher. (bpcook.com) To Mock – Stereo fixed media (10:40) In To Mock, I dabble with the idea of making dynamic organ-like sampler instruments out of a field recording of a mocking bird. In addition, I base the entire piece’s tonal structure off of this same mocking bird call. The influence of computers is often pretty obvious when constructing a piece of electronic music these days. However, I emphasize this even more by making an ode to the beginnings of computer music notation. I use the synthesizer from the first ever graphic music notation program, as a formant filter on one of the organ sounds used. This first graphic music notation program was never actually marketed, but it did spark some great advances in computer music. The name of this computer program: Mocking Bird. Nathan Anthony Corder (University of South Florida) Nathan Anthony Corder is a composer and classical guitarist currently living in Tampa, Fl. Nathan is currently pursuing degrees in electroacoustic composition and philosophy at the University of South Florida. Nathan’s works, ranging from chamber ensembles to interactive computer music, have been performed nationwide. As of late, Nathan’s compositional interest include algorithmic composition, spectralism, and interactive computer music. Seppuku – Stereo fixed media (8:00) Seppuku is a piece that explores extended techniques for the classical guitar; creating sonic events that sound almost electronic. The guitar part, while it is temporally bound to the electronic element, allows for moments of improvisation and interaction with the electronics. Luca De Siena (Conservatory of Frosinone; music) & Antonello Belgrano (video) Luca De Siena is currently in his master degree at the “L.Refice” Conservatoire of Frosinone, Italy. He's mainly interested in the relationship between tradition and innovation and in the functionality of music in modern society rituals. Antonello Belgrano graduated as an audio-video techician at "Scuola di Alto Perfezionamento Musicale" in Saluzzo. He lives and works in Turin as a videomaker. (http:// lucadesiena.wordpress.com/) Concrezione – Video music (4:19) This work uses abstraction as a sum not immediately identifiable shapes that recall a sets of species-specific gender that can not be assigned to classical sensibility, even

though still human in the way of being assembled, composed, processed, and finally, perceived. These audio-visual landscapes are therefore microscopically explored, unravelled, untangled and subsequently re-established. Erik DeLuca (University of Virginia) Erik DeLuca (from Florida) is a PhD student in Music Composition and Computer Technologies at the University of Virginia. For the past few years his work for chamber ensemble, sound installation, and recorded document has emerged from experiential fieldwork as an Artist-In-Residence in the U.S. National Park System. His multi-channel sound composition [in], supported by Miami-Dade Cultural Affairs and released by Everglade Records, was noted as being a "vast symphonic work" by Alvin Lucier. The Edge of the Sea – Saxophone quartet and quadraphonic pre-recorded sound (11:00) The system I developed to compose The Edge of the Sea was inspired by fieldwork in the intertidal zone of Acadia National Park. The form outlines tidal rhythms and the pitch material was drawn from an analysis of foghorns that project sounds around Schoodic Point. The work exists because of the parks Artist-in-Residence program and has been donated to the Park Service. This music was written for my dear friend Michael Straus. All sounds, other than the instrumental sounds found in this music, were recorded in Acadia National Park during July and August 2010. H.E. Cicada Brokaw Dennis (Temple University; music) & Dan Cole (video) H.E. Cicada Brokaw Dennis is a doctoral candidate in Music Composition at Temple University in Philadelphia. Recently performed works include his electro-acoustic work Surrounded at SoundCrawl 2012 in Nashville, TN, a set of modular compositions created for choreographer Beau Hancock’s Poor Lost Sometime Boys, five one hour long sonic environment compositions created for choreographer Merian Soto’s piece SoMoS, and an excerpt of his electro-acoustic composition Meadoweave, within a Philadelphia’s Point of Departure event, Mixed Drinks. The complete Meadoweave composition is currently published by Ear to the Earth as a part of their project 100x John, in celebration of John Cage’s 100th birthday (http://www.eartotheearth.org/ johnx100.html). In addition to electro-acoustic works, Cicada writes for acoustic instruments and voice, creates visual music and animation. He is also interested in creating interactive works. He recently completed his score for a 2 hour long musical drama How We Saved the World. Sit Still – Stereo video music (3:40) This work is a collaboration between composer Cicada Brokaw and artist Dan Cole, while students at Temple University. This piece creates an absurd space that explores an adolescent's perception of time and thus limited threshold for 'unstimulated' inactivity in retrospect. "Unstimulated' because although he is outside, the homogenized suburban landscape pales in comparison to the video-based media he is used to, which the piece also references by being presented as a hyper stimulating video in itself. The music utilizes a number of alternating and superimposed musical elements which represent the various "states" both of the boy's mind and of the visual elements used to

create and organize the video frames. (Recording by: Adam Vidiksis, conductor; Jocelyn Crosby, flute; Joe Dvorak, clarinet; Bert Hill, horn; Victor Pablo García-Gaetán, percussion; Yu-Wen, piano; Liz McPeak, violin; Emily Carroll, cello; David Pasbrig, recording; Cicada Brokaw, audio and mix.) BJ Derganc (Peabody Conservatory) Although his musical journey began as a guitarist, BJ Derganc has since become a classical pianist and composer.  Under the guidance of Charles Abramovic and Jeremy Gill, BJ completed his undergraduate studies in music composition at Temple University in 2011.  He is currently pursuing a master of music degree at the Peabody Institute under the guidance of Michael Hersch and Oscar Bettison.  As a composer, BJ has written in notably varied styles and is most recently interested in electroacoustic collaborations.  BJ’s most current electroacoustic projects aim to both humanize and dehumanize early game music sounds. Staring at the Sea – Piano with fixed media (10:00) “Staring at the Sea” is a suite from a larger work for piano and “8-bit” sound. 1. “Staring at the Sea” 2. “Lullaby” 3. “Torrents of Water” 4. “San Francisco: 1906” Joshua Devine (Temple University) Joshua Devine is a graduate of Cairn University, where he earned a bachelor’s degree in Music Composition. Joshua continues his studies at Temple University toward the completion of a master’s degree in Music Composition. Active as a composer, performer, and teacher since he moved to Philadelphia from Nova Scotia in 2005, Joshua is a member of the Canadian League of Composers and his music has been performed by the Momenta String Quartet, the Cairn Symphonic Orchestra and the Cairn Chorale. He is currently researching music from the Danish tradition and is particularly interested in the work of 21st century composer Per Nørgård. Joshua has studied composition under Cynthia Folio, Kile Smith, Matthew Greenbaum, Daniel Barta, Richard Brodhead and Ron Thomas. Interference, Chaos and Recursion: Per Nørgård’s 2nd Symphony This paper will use Per Nørgård’s second symphony as a starting point for an examination of the infinity series as an expression of musical interference and explore the application of the infinity series in the field of eltroacoustic music. The second symphony is defined by a recursive musical procedure that begins with a seed consisting of the integers 0 and 1 which represent chromatic steps. From this seed, an infinite fractal melody is projected with the function i= 1 note[2*i] = pn[2*i -2] - (pn[i] - pn[i-1]) note[2*i +1] = pn[2*i -1] + (pn[i] - pn[i-1])

i += 1 Various instruments of the orchestra play selected wavelengths (every n note) of the resulting series to create the spectral-sounding hierarchical second symphony. This paper will argue that the infinity row is especially well suited to electronic mediums and propose three applications of this procedure to the creation of new electroacoustic works. First, the restriction of musical material by the generation of the infinity series through computer programming, second, the restriction of musical material by horizontal representation of the infinity series and, third, the mutation of the infinity row to suggest free material. This paper will also provide an overview of Nørgård’s work since the second symphony in order to show the assimilation of the infinity row into Nørgård’s musical principal of interference that continues to act as the foundation for his music to the present day. Carlos Dominguez (Dartmouth College) Carlos Dominguez is an artist currently working towards a Master of Arts degree in the Digital Musics program at Dartmouth College. In the summer of 2012 he graduated from Florida International University with a Bachelor of Music degree in Music Technology. He has composed for a variety of settings including intermedia installations, free improvisation, and, most recently, live electroacoustic music for silent films. with just a few more seconds – Stereo fixed media (10:00) with just a few more seconds was composed in the summer of 2012. It combines raw samples of a bicycle with digitally generated signals. Inspirations for this piece include transduction and rotation. Amanda Feery (Princeton University) Amanda Feery is a musicmaker from Ireland, working with acoustic and electronic music. She graduated from Trinity College Dublin in 2006, with a B.A in Music. She completed an M.Phil in Music and Media Technologies at Trinity College Dublin in 2009. Her work has been performed across Europe and the U.S.A, by groups such as Ensemble ICC, Crash Ensemble, RIAM Percussion Ensemble, Dublin Guitar Quartet, Quince Contemporary Vocal Ensemble, Orkest de Ereprijs and members of Bang on a Can All- Stars. She was the winner of the West Cork Chamber Music Composer Award (2009) and the recipient of the Music Bursary Awards from the Arts Council of Ireland (2011/2012). She has participated at a number of festivals and residencies including the International Young Composers Meeting (2009), Bang on a Can Summer Music Festival (2010), soundSCAPE Festival (2011) and Ostrava Days (2011). She is currently a doctoral candidate at Princeton University. Sídhe – Stereo fixed media (8:40) My first sonic memory was the sound of the distant traffic at night near my house as a child. Whenever I felt sleepless and uneasy, I would tune into the sound of the traffic. I used to imagine it was the sound of the planets, which made me ponder my tiny place on our planet. Whatever existentialist thoughts the sound evoked (at aged 6!), it still gave me a feeling of safety, tucked up in my bed, with my parents in the next room, that
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I wasn’t alone. With Sídhe, I wanted to recreate that distant sound, that feeling of wonder when you’re young, and that feeling of warmth and safety. Ethan Frederick Greene (University of Texas at Austin) Ethan Frederick Greene composes chamber, electro-acoustic, vocal and orchestral music for stage and screen. His work has been commissioned by the Houston Grand Opera, the East Coast Contemporary Ensemble, Opera Southwest, the Fountain City Ensemble, line upon line percussion, and other ensembles and performers in the U.S. and abroad. He has received awards and performances from SEAMUS, ICMC and SCI. Ethan is an avid collaborator with visual artists, filmmakers and video game developers; recent collaborations include This American Life (Showtime) and Night Sky (Alison O’Daniel), as well as Spider: the Secret of Bryce Manor and Waking Mars (Tiger Style Games). Ethan is a DMA candidate at the University of Texas at Austin, and plays trumpet and melodica in the grump-rock chamber-pop group Linen Closet. For more, please visit ethangreene.org. White Noise – 5.1 channel fixed media (6:00) White Noise (2012) is an experiment in filtered randomness. Noise and impulses are sent through various resonant filters to create an ever changing mobile of polyrhythms in a 5.1-channel surround field. Originally composed for the dance of the same title, choreographed by Caitlin Poulton, White Noise was premiered at the 2012 “Ears, Eyes and Feet” concert at the University of Texas at Austin. Moon Young Ha (New York University; music) & Dennis Miller (video) Moon Young HA is a composer from Seoul, South Korea, currently living and working in New York City. His music has focused on combining traditional instruments with electronics and video to affect relevant and meaningful experiences for diverse audiences. His work has been presented at festivals and concerts in Europe, Asia and the Americas by ensembles such as Alarm Will Sound, Empyrean Ensemble, LOOS Ensemble, Ensemble s21, among others. He is currently pursuing his Ph.D in composition at New York University. More information can be found at his website: http://www.moonyoung.net. Dennis Miller received his Doctorate in Music Composition from Columbia University and is currently on the Music faculty of Northeastern University in Boston where he heads the Music Technology program and serves on the Multimedia Studies Steering Committee.  His mixed media works have been presented at numerous venues throughout the world, most recently the DeCordova Museum, the New York Digital Salon Traveling Exhibit, the 2005 Art in Motion screenings, Images du Nouveau Monde, CynetArts, Sonic Circuits, the Cuban International Festival of Music, and the 2004 New England Film and Video Festival. His work was also presented at the gala opening of the new Disney Hall in Los Angeles (2003) and at the SIGGRAPH 2001 in the Emerging Technologies gallery. Recent exhibits of his 3D still images include the Boston Computer Museum and the Biannual Conference on Art and Technology, as well as publication in Sonic Graphics: Seeing Sound (Rizzoli Books) and Art of the Digital Age

(Thames and Hudson). Miller's music and artworks are available at www.dennismiller.neu.edu. Amorphisms – Stereo video music (ca. 6:00) Amorphisms is a continuously evolving sequence of images that are unified by means of a recurring color palette. The musical score imposes an emotive quality onto the images and guides the overall dramatic curve of the piece. Joshua Harris (University of North Texas) Joshua Harris is currently a Ph. D. candidate at the University of North Texas where he teaches composition. He holds degrees from Appalachian State University, where he studied composition with Scott Meister, and Brigham Young University, where he studied with Steve Ricks and David Sargent. At UNT he has studied with David Bithell, Andrew May, and Joseph Klein. His music is grounded in a fascination with visual art, textures, sound spectra, extreme temporal manipulations, and mysticism; he has also been heavily influenced by studio techniques of electroacoustic composers. He has been commissioned by the Barlow Endowment for Music Composition, the Nova Ensemble at UNT, and many amazing performers. His music has been performed throughout the United States as well as South Korea. The Body in Helmut Lachenmann's "Filter - Schaukel" from Ein Kinderspiel: A Phenomenological Analysis "Filter – Schaukel" is unusual in the solo piano repertoire; the piano suddenly seems completely unfamiliar or hidden here despite having dominated Western music for 250 years. Blaring, regular cluster chords persist throughout, but are followed, with equal regularity, by resonant harmonies arising out of the clusters. With "Filter – Schaukel" the piano is laid bare in the abstract: hammered attacks and vibrating resonances, somehow detached from one another. One way of thinking about this composition is in phenomenological terms, including Maurice Merleau-Ponty's theory of the body. Lachenmann situates these two fundamental piano sounds (the percussive and the resonant) in a context that draws attention to the phenomenological body—that is, the interface between reality and perception, the limiting factor of all our experience. Merleau-Ponty gives the example of a given area of skin being stimulated. At first, the perception is clearly localized, then it "widens" or becomes unfocused, then finally, after a time, "nothing more is felt." Indeed, this process is born out for the listener of "Filter – Schaukel." The percussive cluster chords at first overwhelm the senses. With time, however, the perception of them diminishes to make room for the more subtle resonances. By applying phenomenological thinking on the body, the perception of memory, horizons/periphery, and background/foreground, we approach a new understanding of Lachenmann's music. His own phrase "musique concrète instrumentale," which he used to describe his music, gains considerable meaning in light of the strong phenomenological aesthetic position of Pierre Schaeffer, for example. For Lachenmann,

the body—as demonstrated in "Filter – Schaukel"—is a metaphor for the acousmatic curtain sought by many electronic composers. Ethan Hayden (SUNY Buffalo) Ethan Hayden was born in Poughkeepsie, NY, but raised primarily in the North Texas area. In 2008, he graduated from the University of North Texas magna cum laude with B.M.s in Composition and Theory, and recently received his M.A. in composition from the University at Buffalo. His principal composition teachers include David Bithell, Andrew May, Joseph Klein, Jeffrey Stadelman and Cort Lippe. Still at UB, Ethan is currently a Ph.D. Candidate, in the process of completing his dissertation. Also active as an experimental vocalist, Ethan regularly performs with Babel Vocal Ensemble and with Wooden Cities, a Buffalo-based new music/improvisation ensemble. His book on Sigur Rós' ( ) for the 33 1⁄3 series will be published by Continuum in early 2014. bats with baby faces in the violet light – Stereo fixed media (ca. 7:00) bats with baby faces in the violet light was created using the sounds of various objects the composer found around his home. the sounds are arranged into various gestural contexts, often with very little signal processing. the primary aesthetic aim of the piece is to exploit the unplanned and frequently unpredictable pitched sounds which often burst forth from, or which are components of, noisier, percussive gestures. Nick Hwang & J. Corey Knoll (Louisiana State University) Nick Hwang (www.NickHwang.com) is a composer whose research interests include live electronic/acoustic instrument performances, laptop ensembles, interactive musical systems, and collaborative interactive art. His on-going research projects include musical control involving touch surfaces, networked musical communication, laptop orchestra development, and programming for sound diffusion in loudspeaker orchestras. Recent performances and installations include Festival of Contemporary Music in Baton Rouge; the International Computer Music Conference (ICMC); the International Society of Improvised Music Conference (ISIM); the Society of ElectroAcoustic Music in the United States (SEAMUS); New Instruments of Musical Expression (NIME); and ISEA. Nick holds a Masters degree in Music Composition from Louisiana State University and a B.A. in Theory and Composition from the University of Florida. Nick is currently a Ph.D. student at Louisiana State University where he is studying music composition and experimental music and digital media with Stephen David Beck and Jesse Allison. J. Corey Knoll (www.jcoreyknoll.com ) is currently working toward a PhD in Music Composition at Louisiana State University where he is studying with Stephen David Beck and Jesse Allison. He also earned degrees from Bowling Green State University and Marshall University. Knoll has had works performed at various festivals including Electric LaTex; International Review of Composers in Belgrade, Serbia; Society for Electro- acoustic Music in the United States (SEAMUS); the International Computer Music Conference (ICMC); the International Tuba Euphonium Conference (ITEC); and the European Composer’s forum in Ljubljana, Slovenia. Currently Knoll’s musical interests lie in the live performance of electroacoustic music and its nomenclature. He is

a member of multiple electroacoustic ensembles, including the Laptop Orchestra of Louisiana (LOLs), the Three Computeers (3cs), and the Cool Van. Fishing for Jömangandr – for Two Tubas and Two GUA performers (live electronics) (ca. 10:00) Fishing for Jörmungandr, for two tubas and two GUA performers, is a musical representation of the struggle between Jörmungandr, a titanic serpent whose body wraps completely around the world and its arch-nemesis Thor, the god of Thunder. The two met for the first time as Thor was fishing deep in the ocean, accidentally snagging the creature. While that battle would end in a draw, the two became destined to meet at Ragnarok, where Thor would ultimately prove victorious, but at the cost of his own life. GUA is a digital instrument created by Hwang and Knoll while at LSU. It consists of various real-time processing modules as well as digital samplers. Fishing for Jörmungandr was commissioned by tubist Andy Larson for performance at the International Tuba Euphonium Conference (ITEC) 2012 in Linz, Austria. GUA: Development of a Digital Instrument Patch-based digital processes are often created and designed for a specific piece, installment, or performance. These processes have limited use and lifespan. GUA was conceived as a process in a musical piece. Constant iterative development of not only process, but also interface design and controller hardware, has evolved GUA into a versatile musical instrument capable of numerous performance settings, most noticeably improvisation. This development has also coincided with a reevaluation of aesthetic goals. This paper outlines the development of GUA from its conception, as musical work written in ChucK, to its current state as a complete instrument, using Max/ MS and iPad. Software, hardware, and aesthetic considerations are discussed, as well as noted setbacks. Michael Laurello (Tufts University) Michael Laurello is a Boston-based composer of visceral and rhythmically vital music. His compositional and research interests include the confluence of musical genres, temporal dissonance, self-similarity, minimalism, and improvisation. He has written for groups and soloists such as Sound Icon, guitarist Flavio Virzì, soprano Sarah Pelletier, the Boston Microtonal Society’s NotaRiotous ensemble, clarinetist and theorist Ray Jackendoff, and pianist/composer John McDonald, among others. Recently, Michael has been recognized with awards from the St. Botolph Foundation, the highSCORE Contemporary Music Festival, and the Granoff Music Fund (Tufts University). He is currently pursuing a master’s degree in music composition at Tufts University. Tell hope everything you hear (Glitch Study) – live performer with stereo fixed media (4:20) The idea of this piece is that it becomes more glitched as time goes on. Sonic artifacts from the guitar parts recapitulate and foreshadow musical events, as well as interrupt and distort them. Richard Charles Lee (Temple University)

Deterritorialization and Cosmic Expression in the Turangalîla Statue Refrain This paper argues that Messiaen's Turangalîla symphony transforms its “statue theme” to represent a paradigmatic shift in post-war culture. To make this argument, I will undertake a hermeneutic reading of the symphony. First, I show the transformations of the statue theme using set theory. I then shift the hermeneutic implications by using concepts from Deleuze/Guattari, and Lacan. I discuss the Deleuzian refrain, assemblage, and territorialization/deterritorialization from their book A Thousand Plateaus. Turning to Lacan, I discuss his notion of the symptom and the mirror stage. With these critical theories, I consider the statue theme as a transformative symptom acting as a refrain, moving from a territorialized assemblage toward deterritorialization. The result is a hermeneutic analysis of the statue theme, showing how it becomes a cosmic expression. John Liberatore (Eastman School of Music) The vines in the carpet – for soprano, piano, and electronics (9:39) Text for The vines in the carpet is excerpted from Edward Gorey’s miniature novel The Unstrung Harp. Gorey’s work chronicles the tribulations of Mr. Earbrass, a well-known novelist, through the perils of his own creative writing process. The reader follows the hopelessly eclectic Mr. Earbrass as he struggles with self-doubt and grapples creative inspiration, up through the completion of the novel, the loathsome proceeding of editing, his dealings with publishers and distant relatives, and the general horror of literary life. Events in Gorey’s work do not “happen” in a traditional sense. Rather, each page is a window into Mr. Earbrass’ turbid creative saga. These loosely connected vignettes often show the characters at the cusp of action; a character is about to speak, Mr. Earbrass is about to find something, the jelly in his sandwich is about to run all over his fingers. Supplemented with delightfully crude and yet amazingly detailed illustrations, Gorey’s prose is at once succinct, direct, and beautifully poetic. Martin Marier (Université de Montréal) Martin Marier was born in 1975 in a small, brown and horizontal town. Even though he left that place a long time ago, he is still inspired by shabby taverns, huge and empty parking lots, and the beauty salon “Chez Électro-Lise”. He composes and performs electroacoustic music using the sponge, a musical interface he designed. He is currently pursuing a doctorate in composition under the supervision of Jean Piché at the Université de Montréal. L’éloge du mou – Live electronics using a musical interface (11:00) L’éloge du mou is a solo work for the sponge, a musical interface designed and built by the composer/performer. It is a meditative piece in which the expressive potential of soft objects is explored. Special thanks to Krista Martynes who played the bass clarinet samples used in the piece. Seth Messier (University of Georgia Southern)

Seth Messier is currently a graduate student studying Music Technology at the University of Georgia Southern. He specializes in using Max/MSP with the use of extended vocal techniques as well as other art forms. Other aspects that he explores are the of emotions in music, and how they can affect his audience and pique their curiosity into his world. !He creates an atmosphere in his music by choosing topics and techniques that evoke selected emotions. This atmosphere, which some may find controversial, is used to help the audience enter a world inside the composer's head; to experience a world of art and sound. (musicofhand.com) Mother's Embrace – Performance with live electronics (ca. 8:00) Mother’s Embrace focuses on the sounds of nature mainly that of the time of Spring. In this piece I am using extended vocal techniques combined with Max/MSP to create sounds of nature coming back to life after Winter. Jason Holt Mitchell (University of Illinois at Urbana-Champaign) Jason H. Mitchell is a classically trained guitarist and a composer of instrumental and electro-acoustic music. Currently based in North Texas, he grew up on the lower Rio Grande, where the rich cultural heritage of the Texas-Mexico border region influences much of his music. Jason is currently a doctoral candidate in music composition at the University of Illinois at Urbana-Champaign and holds a master’s degree in composition and theory from Texas Tech University. Jason has participated in composition master classes with Mario Garuti, Joel Hoffman, Amy Beth Kirsten, Dennis H. Miller, Christopher Theofanidis, Dmitri Tymoczko, Julia Wolfe, and Chen Yi and in workshops with Eric Mandat, the Jack Quartet, the Maurice Quartet, and Eighth Blackbird. For more information, please visit jholtmusic.com Cascarones – Pierrot ensemble with stereo fixed media (11:30) I composed Cascarones while studying the score of Ave Maris Stella (1975) by Peter Maxwell Davies. In this piece, I use the popular Mexican folk tune De Colores as inspiration for my pitch material. While fragments of the melody do appear scattered though out the composition, it is not my intention for the listener to recognize or identify such moments. For this work, I also chose to use the 9x9 magic square of the moon, which, like a Cascarón (an eggshell filled with brightly colored confetti), serves as my framework or “shell” for the colorful folkloric pitch materials used within. Anne Neikirk (Temple University) Anne Neikirk’s compositional interests include vocal, sacred, and folk music and their intersection with the natural world. She has received commissions from various solo and chamber performers as well as the Women’s Sacred Music Project in Philadelphia. Her works have been performed at the 2012 North American Saxophone Alliance Conference, the 2011 Region VI SCI Conference, the 2010 and 2011 Brevard Music Center Summer Festival and the 2012 European American Musical Alliance Summer Program. Anne is a recipient of the 2012 Presser Award and the EAMA Michael Iovenko Composition Fellowship. She is a DMA Candidate in composition at Temple University, where she teaches courses in music theory, music appreciation and orchestration. She holds a Master of Music degree in composition from Bowling Green State University and

a Bachelor of Arts degree in music from Hamilton College. Anne is a co-founder of conTemplum, Temple University’s student chapter of the Society of Composers, Inc. Balloonman – tenor saxophone and stereo fixed media (ca. 6:30) Balloonman was commissioned by and is dedicated to saxophonist Andrew Allen. The work is based on the poem In Just- by E. E. Cummings. The saxophone melody is derived from a recording of Cummings reading the poem. Cummings reads with a lyrical, lilting quality. I transcribed his voice as closely as possible into a pitched melody. The entire transcription is stated in the beginning by the saxophone alone. The electronic part consists of manipulations of the recording as well as motivic development of the transcription. The recording of E. E. Cummings reading the poem is gradually presented in various relationships with the saxophone, and in the end the poem is finally heard in its original form with the saxophone in imitation. "in Just-" from COMPLETE POEMS: 1904-1962, by E. E. Cummings, Edited by George J. Firmage, is used with permission of Liveright Publishing Corporation. Copyright 1923, 1951, 1991 by the Trustees for the E. E. Cummings Trust. Copyright (c) 1976 by George James Firmage. Yemin Oh (Louisiana State University) Yemin Oh is a composer who is always looking for fascinating and captivating music. Currently he is pursuing a PhD in Experimental Music & Digital Media at Louisiana State University. Previously, he graduated Kyunghee University and University of Hartford for a B.M. and G.P.D. in music composition, and Georgia Southern University for an M.M. in music technology. His works have been selected and invited to be presented at several music concerts and conferences including Ulsan Electronic Music Competition, Kyunghee Music Scholarship Competition, Society of Electro-Acoustic Music in United States (SEAMUS), Electronic Music Midwest festival (EMM), and New Interfaces for Musical Expression (NIME). Memoriam – Percussionist with live electronics (audio and video) (6:00) In several recent researches, the scholars investigated and discussed the importance of the expressive gesture in music performance. These expressive gestures affect the music perception of the audience. Sometimes, it can be more informative than sound in the perceiver’s understanding of performer’s expressive intentions. In this piece, visual component will magnitude the performer’s gestures using webcams, and project those gestures to the screen. As a result, audience can understand and enjoy not only musical elements but also the intention of the expressive gestures. Ryan Olivier (Temple University) Ryan Olivier (b. 1985) grew up in the southern United States. Born in New Orleans and moving shortly thereafter, he eventually returned to his birthplace to pursue compositional studies at Loyola University’s College of Music with James Walsh. Upon graduation he journeyed north to study at Temple University where he is currently a doctoral student studying with Maurice Wright. Ryan has also studied with Samuel Adler in Berlin and with Kevin Puts and Robert Aldridge at the Brevard Music Center. His concert works have been performed by the Momenta Quartet, the Cygnus Ensemble,

and the New Orleans New Music Ensemble. As a member of Melos Music, both ensemble39 and members of Nonsemble 6 have performed his work on the annual new music concert and both works are featured on the Melos Music CD series. In addition to his concert works, his various interests have led him to work with a wide array of media including electronics, video, and dance. His work has been featured at Miami’s 12 Nights Festival, Cybersounds, POD's Mixed Drinks, Pennsylvania State University’s Crosscurrents Festival, Society of Composers, Inc. (SCI) National and Regional Conferences, the New York City Electro-acoustic Music Festival (NYCEMF), Electronic Music Midwest (EMM), the Society for Electro-Acoustic Music in the United States (SEAMUS) National Conference, the International Workshop on Computer Music and Audio Technology (WOCMAT) in Taiwan, and the International Computer Music Conference (ICMC) in the United Kingdom. While Ryan enjoys composing for both traditional concert ensembles and fixed media, he is currently working to incorporate real-time interaction between live performers and visualized electronic music to create interactive multimedia works. (www.ryanolivier.com) Colorful Movements – 5.1 channel video music (7:12)

Colorful Movements features four short experimental pieces exploring the relationships among sound, space, time, and light. The first movement, Metronomic Hommage, applies the timing relationship of beats per minute found on the metronome to the intervallic ratios used in the harmonic series. In this piece I created 40 colorful metronomes, each set to one of the original metronome markings, and started them all at the same time. As the frequencies of beats per minute align, the partials combine to create new timbres. The piece ends when all of the metronomes sync back up after one minute. The second movement, Additives, is an experiment in timbral transformation. Throughout the piece, different partials of the same harmonic series are introduced as simple sine waves. At the beginning of the piece, the partials are spaced far enough apart as not to overlap. As the piece progresses, the partials enter more frequently and are no longer perceived as separate pitches but are fused together to form new timbres. A circular shape based on the combination of overlapping partials visually represents each timbre. The third movement, Partial Imitation, is a quasi-fugue whose imitation is based on partial numbers rather than scale degrees. The voices enter spatially from the left, right, front, or back and move across the room to the opposite plane. As the voices move, their timbres slowly change which is illustrated by a change in color. In the last movement, Polypartials, embedded, translucent spheres visually represent each pitch. The appearance of each sphere within each phrase, as well as its associative pitch and color, relates directly to its designated partial number in the harmonic series. Starting with the fundamental, each partial is introduced one

after the other until all sixteen partials have sounded, at which point the spheres fade into the distance.
Imaginary Cognition This paper explores the heightened experience of metaphorical exchange in multimedia concert works, with particular attention to the effect of increased perception through the use of visual representation. The starting point for this research is the expansion of visual enhancement in electro-acoustic compositions in recent years due to the widespread availability of projection in concert halls and the expectation of a fully engrossing artistic experience created through the assimilation of multimedia within 21st-century Western culture. With the use of visual representation comes the potential to map musical themes or motives onto visual signs, creating another level of musical cognition through sight. The subsequent transformations of the visual signifiers offer a direct visual complement to the transformational processes of aural themes in ‘absolute’ electro-acoustic compositions. This paper examines current research surrounding metaphorical thematic recognition in contemporary concert music by Lawrence Kramer (1990), Janna Saslaw (1994), Lawrence Zbikowski (1998), Candace Brower (2008), and Nicholas Cook (1998) with special attention to electro-acoustic and post-tonal works whose transformational processes might be unfamiliar, and which in turn create fertile ground for the negotiation of meaning. As Cook argues in Analyzing Musical Multimedia (1998), the interaction of media and the differences created between the various signs within the music and visual art create a heightened concert experience that is familiar to and in many ways expected by 21st-century listeners through television commercials, film, and most recently Youtube. Recent composers, such as Dennis Miller, Maurice Wright, and Ryan Olivier, have created visual complements to their acousmatic works as a means to enhance the concert experience, giving movement and source to the unseen presence in their electro-acoustic works. In turn, these multimedia works create a concert experience that is more familiar to the 21st-century audience and engages the listener on familiar territory. Through analyzing these pieces in light of cognitive research by Duetsch (1999), Wright (1989), Saslaw (1993), Brower (2008), and Zbikowski (1998), semiotic research by Kramer (1990), and multimedia research by Cook (1998), I will demonstrate how these new works of visual music fulfill the expectations of listeners in the 21st century. Carter John Rice (Bowling Green State University) Carter Rice is an emerging composer of new music in both the acoustic and electroacoustic realms. His music is eclectic and draws from a wide array of sources. Carter hopes to create a wider audience for new music by balancing accessibility of form with new and engaging colorations of sound. Currently, Carter is studying electroacoustic composition with Elainie Lillios at Bowling Green State University. Soundscape for Violin – Violinist and live electronics (6:40)

Soundscape for Violin explores three distinct, textural soundworlds that each deal with the production and distribution of musical energy. The performer begins the piece with an explosion of energy to set events in motion, but quickly reverts to a limited dynamic and registral content that slowly grows over the course of the work. The piece was originally written for violinist Jane Capistran. Michael Rickelton (Peabody Conservatory) An award-winning composer, Michael Rickelton writes for a variety of ensembles. His choral, solo, chamber and orchestra works have been performed throughout the United States and abroad. Recently, his works have been played by the Nashville, Baltimore and Peabody Symphony Orchestras, the Baltimore Choral Arts Society and the Pacific Chorale’s John Alexander Singers. A native of Charlotte, NC, Michael earned the Bachelor of Music degree in music education from Lipscomb University in Nashville, TN, where he studied composition with Dr. Jerome Reed. He is currently a DMA candidate at the Peabody Conservatory, where he is a student of Michael Hersch. In addition to his work as a composer, Michael remains active as a teacher and singer. He currently resides in Baltimore, MD with his wife Emily and son Clayton. For more information, please visit www.michaelrickelton.com. 6:46 – Quadraphonic fixed media (6:46) 6:46 makes specific reference to John Cage’s 4:33. Cage’s work invites the audience to experience all the various sounds present around the listener’s environment during moments of silence. This altered experience of silence brought Cage to redefine silence (at least for Cage’s own philosophy) as the “absence of intended sounds, or the turning off of our awareness.” For many performers, composers and audience members, these non-intended environmental sounds can be unwanted noise, negatively influencing one’s experience of intended, or crafted sound. The goal of 6:46 is to organize and manipulate these environmental sounds through computer processing, turning them from unwanted noise into intended, organized sound. The material used to create 6:46 is taken from recordings of my own music. These recordings are filled with clicks, bangs, crowd noise and a variety of unwanted, distracting sounds. It is not my intent to exploit these sounds but to transform them into something greater than their initial existence. Included among these unintentional sounds are excerpts from the recorded works. Jessica Rudman (CUNY Graduate Center) NYC-based composer Jessica Rudman’s music has been performed across the United States and in France, Italy, Spain, and Turkey. Honors include winning the CMS National Conference Student Composition Award (2012), NewMusic@ECU’s Orchestral Composition Competition (2012), IAWM’s Libby Larsen Prize (2011), and the Con/un/ drum Percussion Competition (2009). She has participated in festivals such as the Omaha Symphony New Music Symposium, the Bloch Festival, the Electroacoustic Barn Dance, the European American Musical Alliance, Nevada Encounters of New Music, and the Bard Conductor’s Institute. Ms. Rudman has taught at The Hartt School, Central Connecticut State University, and Baruch College. She holds degrees from the University of Virginia and The Hartt School. She is currently pursuing a Ph.D. at the

CUNY Graduate Center as an Enhanced Chancellor’s Fellow and a student of Tania León. More information about Ms. Rudman and her music can be found at her website, http://www.jessicarudman.com. My Father Was a Ventriloquist – Trumpet with stereo fixed media (6:25) My Father Was a Ventriloquist was written in 2011 for Dr. Daniel D'Addio. The work uses an original text by the composer, incorporated into an electronics track based on manipulations (sometimes extreme and sometimes barely perceptible) of recordings of the composer reading the text and of Dr. D'Addio performing sketches of the live part. Disruption and Development: Pitch Processes in the Music of Ellen Taaffe Zwilich Writings on Ellen Taaffe Zwilich’s music focus on three main elements: organic melodic development, continuous variation, and orchestration. Though the first two of these issues are of prime importance, the last has been discussed most frequently in the existing literature. None of the published writings offer any clear insight into how Zwilich creates the unified, yet unpredictable structures that characterize her style: her idiosyncratic construction of strongly directional, yet varied lines is rarely explored and remains little understood. The present study will examine the ways Zwilich employs two characteristic groups of transformations to create, disrupt, and ultimately resolve pitch processes: retrograde inversional chains or RICHes, and the neo-Riemannian L, P, R, and S. Those operations are often constructed as chains, which Zwilich then interrupts, diverts, or dissolves to build forward motion and increase continuity. Drawing on examples from across Zwilich’s career, this paper will show that her distinctive melodies often appear to strive toward a goal, encounter obstacles and detours, and eventually reach a satisfying conclusion. The transformational approach taken here will not only offer a technical account of the pitch organization of Zwilich’s distinctive melodies, but also provide a basis for such dramatic interpretation.  Andrew Martin Smith (Bowling Green State University) Andrew Martin Smith (b. 1984, Sharon, CT) is a doctoral student in Contemporary Music at Bowling Green State University, where he studies composition with Mikel Kuehn. He has received degrees in music composition from the State University of New York at Fredonia (B.M. 2007) and Bowling Green State University (M.M. 2009). His primary instructors have included Elainie Lillios, Burton Beerman, Andrea Reinkemeyer, Donald Bohlen, and Karl Boelter. Andrew's compositions have been performed at several contemporary music festivals and conferences, including Electronic Music Midwest (2011), the International Computer Music Conference (2011), the MidAmerican Center for Contemporary Music's 31st Annual New Music Festival (2010), and the Region 8 Conference of the North American Saxophone Alliance (2011). He has been a participant in reading sessions with acclaimed new music ensembles, such as the Miklos Quartet, Dark in the Song // Contemporary Bassoon Collective, and Alarm Will Sound. Ambiance – Stereo fixed media (8:06)

Ambiance is an exploration of the synergy between mathematical concepts and musical gestures. The Fibonacci sequence governs the overall form of this piece, providing a structural skeleton for colorful phrases and textures. A variety of sound sources, both natural and artificial, are employed to articulate contrasting characteristics within each section of the work, while intuitive changes in density, timbre, register, and intensity propel the music toward its eventual conclusion. Michael Sperone (SUNY Purchase) Michael Sperone's musical endeavors are ambitious and wide ranging. After his recent album release of Tintinnabulation, he is now composing a piece for the AM/PM Saxophone Quartet and is curating a new music workshop series in Jersey City with his group On The Cusp New Music. Like many composers his age, he identifies with a wide spectrum of music from post-war serialists to mid-90's indie-rock bands – and is trying to incorporate all these influences in a meaningful way. Michael studied classical percussion with Ray DesRoches, Peter Jarvis, and Tom Kolor. His composition studies have been with John Link, Jeffrey Kresky, and currently with Du Yun at SUNY Purchase, where he is a masters student. He recently was in residence at BetterFarm's betterArt to compose new works for glockenspiel and computer. His works have been premiered by the NJPE, Joe Bergen, and Justin Wolf. Michael's music is published by Calabrese Brothers Music, LLC. Strong Interactions – Solo percussion and computer electronics (4:55) Strong Interactions, also known as Strong Forces, holds the universe together. It is these interactions that hold together atoms and subatomic particles. If broken, they release the immense, unwieldy power of a nuclear explosion. This piece displays strong interactions that hold it's own universe together. The bond between between rhythm and melody, acoustic and electronic, human and machine. Laura M. Staffaroni (Longy School of Music of Bard College) Laura Staffaroni has composed acoustic and electronic music ranging from works for solo carillon to a 13-movement song cycle for two sopranos, twelve instruments, and fixed media. Ms. Staffaroni is currently a Masters of Music candidate in Composition at the Longy School of Music of Bard College in Cambridge, MA. She graduated with a Bachelor of Arts in Music and Psychology from Wellesley College, where she also received the Billings Prize in Music and Honors in Music for her work on her senior thesis. Ms. Staffaroni has studied composition with Richard Carrick, Martin Brody, Jenny O. Johnson, Pedro da Silva, and Jeremy Van Buskirk. She has also co-authored a scientific paper on the differences in the ways adolescent musicians and non-musicians experience sound. Upcoming commissions include incidental music for a new translation and production of Euripides’ Orestes. fractal fireworks – Stereo fixed media (1:51) I composed this piece in response to a piece of artwork that at first glance appears to be an image of fireworks in the night sky; in actuality, it is a graphic representation of a fractal equation. I was inspired by the idea central to fractal theory that a simple idea can produce complex results and tends to replicate itself over different scales. I linked

timbres with certain pitch classes or registers, and had those in turn correspond with the different colors present in the original image. I also based my decisions about the magnitude of dynamic levels and panning effects on where each “explosion” occurred spatially in the original image. Finally, I took a simple melodic idea and distributed it among the different voices, distorting it temporally so that it varied from a few milliseconds to ten seconds long, creating a new melodic contour through the resultant overlaps. Daniel Strokis (Winthrop University) Daniel Strokis is currently completing his Bachelor of Music Performance in Composition at Winthrop University in Rock Hill, SC. He is studying composition under Dr. Ronald K. Parks & Dr. L. Mark Lewis, & classical guitar performance under Dr. L.H. Dickert. He has won several regional & international composition competitions, including the TVMF Young Composer’s Forum Composition Contest. He has attended masterclasses by Kati Agocs, Alan Mearns, et al. Atelerix albiventris – Stereo fixed media (3:36) This work explores the concept of taking non-traditional material and applying it to a traditional form. This work is in binary form. The A section uses sounds layered in different ways, but not changing the actual sounds. The B section uses one sound that is digitally manipulated. Maxwell Tfirn (University of Virginia) Maxwell Tfirn is a first year PhD at the University of Virginia in Compostion and Computer Technology. Max has recieved his M.A. in Composition from Wesleyan University, a Bachelors of Music in Music Education at University of Florida and received a Performance Certificate in Percussion. He has had work selected for the SEAMUS, FEAST Festival, Technosonics XIII, South Central Graduate Music Consortium (SCGMC), 12 Nights series as well as the Subtropics Music festival. His thesis illustrated mapping concepts of L-systems, to generate complex forms of music and patterns that he then uses to structure his compositions or create sound material. He is currently working with Matthew Burtner and has worked with Anthony Braxton, Dr. Paula Matthusen, Ronald Kuivila and Dr James Sain. No Harm Shall Come to Others – 5.1 channel fixed media (7:04) No Harm Shall Come to Others is a fixed media piece that derives all of the sound from noise. In this composition frequencies outside the range of the human ear are used to control and effect different parameters of the sound and create different panning effects. No Harm Shall Come to Others was written to reflect how humans are fragile creatures. An aggressive and slow evolving environment tries to sonify all of the bad things that we expose ourselves to every day. Joshua Tomlinson (East Carolina University) Joshua Tomlinson is working on his Master’s degree in Music Theory and Composition at East Carolina University in Greenville, North Carolina. In addition to his studies at ECU, Joshua teaches beginner theory courses, assists with the university’s recording

studio, and works in the music library. After graduating in spring of 2014, he plans to pursue a doctorate in Composition with an emphasis in electronic music. When he’s not composing, Joshua loves to surf, dive and travel with his wife. Audible Desserts – Stereo fixed media (3:28) I enjoy listening to people speak. I like to hear the way they enunciate or don’t, the way some words melt right into the next, and the way the voice emotively crescendos and decrescendos. But some of my favorite sounds are those that people make between their words. A single minute of spoken dialogue can contain countless pops, smacks, and whistles. I titled this piece Audible Desserts for two reasons. First, the pleasure I receive from such sounds is the same feeling I get when a waiter unveils a delicious dessert at my table. Second, these sounds make up the minority of a person’s speech, and are not as important as what they are actually saying (depending on who you are talking to, of course). If the content of a speaker’s words is like an entrée, then I believe these delightful sounds could be considered the dessert. Bon appetit! Kyle Vanderburg (University of Oklahoma) Kyle Vanderburg (b. 1986) is a composer of eclectically polystylistic music fueled by rhythmic drive and melodic infatuation. His works have been performed by Brave New Works, Access Contemporary Music, Luna Nova, and the New IMPROV! Century Ensemble (N!CE). Kyle holds affiliations with ASCAP, the American Composers Forum, the Society of Composers Incorporated, the Oklahoma Composers Association, the National Association of Composers/USA, the Society for Electro-Acoustic Music in the United States, and the International Computer Music Association. Kyle holds degrees from Drury University (AB), where he studied composition with Carlyle Sharpe and conducting with Christopher Koch, and the University of Oklahoma (M.Mus.), where he studied with composers Marvin Lamb, Konstantinos Karathanasis, Roland Barrett, and Marc Jensen. He has also participated in composition masterclasses with David Maslanka, Chris Brubeck, Eric V. Hachikian, Joël-François Durand, and Benjamin Broening. He is currently a DMA candidate in composition at the University of Oklahoma. Blueprints of Eternity – Stereo fixed media (10:00) Blueprints of Eternity is a ten-minute fixed media work that uses the simple yet reliable kitchen timer as its sole sound source. As the work progresses, time is deconstructed, leading to the discovery of a reality occurring at the microtemporal level. After exploring this sound world, the listener hears the rebooting of time itself, before being snapped back to the present. Adam Vidiksis (Temple University) Adam Vidiksis is a composer, conductor, and percussionist whose interests span from historically informed performance to the cutting edge of music technology. Exceptional ensembles have performed his work, including the “Black Sea Symphony” in Constanta, Romania, the Omaha Symphony, the Momenta Quartet, and the Zephyrus Duo. His commissions include Network for New Music and ICIA. His compositions have been heard at the SEAMUS and CMS National Conferences, NSEME, the Huntsville New

Music Festival, the Guthman Musical Instrument Competition at Georgia Tech, the New Jersey Shakespeare Festival, the Toronto Electroacoustic Symposium, and the Licino Refice Conservatorio di Musica in Frosinone, Italy. He was a regional winner of the 2012 SCI/ASCAP Student Commission Competition. His works are available through HoneyRock Publishing. Adam holds a MM degree from NYU and is a DMA candidate at Temple University, where he teaches classes in music theory and computer music. For more, please visit www.vidiksis.com. synapse_circuit – Solo percussion and live electronics (ca. 8:00) What is the voice inside the machine? While computers perform tasks that extend the abilities of our own minds, they increasingly act as independent entities. Synapse_circuit serves not as a direct analogy between these two ideas, but rather as a symbol of human-machine interaction. The computer augments the percussionist’s performance, and improvises sounds based on his or her playing using algorithmic processes in Pure Data. The percussion performance consists of glasses, bottles, and a bowl, which the performer hits, scrapes, blows and sings into. All sounds produced by the computer are derived from the real time performance. Both human and machine performers work from a score, but listen and respond to the performance of the other. Synapses and circuits – human and computer – together find the music inside the machine. This work honors the complexity both of the human mind and its digital counterpart, taking us from wonder, to discovery, to celebration. Kristina Warren (University of Virginia) Composer Kristina Warren holds a B.A. in Music Composition from Duke University and is currently pursuing a PhD in Composition and Computer Technologies at the University of Virginia. Recent works include Three Sonnets of Elizabeth Barrett Browning (high voice, electronics), Musical Interpretations of Comedic Meta Events (improvised voice, electronics), and Pogpo (electric guitar quartet). Warren has developed her research interests – including the voice, electronic music, looping, noise, and extramusical disciplines such as linguistics and women’s studies – through composition of a wide variety of solo, chamber, and large ensembles pieces. She has been fortunate to study composition with Judith Shatin, Anthony Kelley, Scott Lindroth, and John Supko. Three Sonnets of Elizabeth Barrett Browning – Soprano (amplified) with stereo fixed media (10:30) "Three Sonnets of Elizabeth Barrett Browning" sets the poems "The Soul's Expression," "Irreparableness," and "Hiram Powers' Greek Slave" for soprano and electronics. In this set, I try to capture the powerful sense of emotional displacement I detect in Barrett Browning's texts by juxtaposing traditional and extended vocal techniques with gritty, rhythmic electronic sounds. Nina C. Young (Columbia University) A graduate of McGill University and MIT, New York-based composer Nina C. Young composes instrumental and electronic music, with a particular interest in mixing these two worlds of contemporary music. She is currently pursuing her doctorate in

composition at Columbia University, under the supervision of Fred Lerdahl, George Lewis, and Brad Garton, where she also teaches electro- acoustic composition at the Computer Music Center. She previously worked and held research positions at CIRMMT (Centre for Interdisciplinary Research in Music Media and Technology), the MITMediaLab,and the McGill Digital Composition Studios. With a unique voice that draws from spectralism, romanticism, and Russian folklore, Nina's pieces incorporate her research into blending amplification and live electronics into instrumental ensembles, always with a view toward creating a natural and cohesive sound world. Nina's music has been performed internationally by ensembles such as the Orkest de Erepriks, Nouvel Ensemble Moderne, the JACK Quartet, and Yarn/Wire and has received awards from BMI, IAWM, and SEAMUS. Sun Propeller – Violin and electronics (ca. 9:00) The title, Sun Propeller, refers to the propeller-like rays of light that occur when sunbeams pierce through openings in the clouds. Scientifically, these columns of light that radiate from a single point in the sky are known as crepuscular rays. The actual phrase “sun propeller” is a literal translation of the Tuvan word for these sunbeams: Huun-Huur-Tu (also the name of a famous Tuvan folk singing group). The idea for this work came while I was researching the music of Tuva. Their music, particularly the practice of throat singing, is a vocal imitation of natural surroundings (the sounds of babbling brooks, wind resonating against mountains, etc.) and is used to pay respects to the spirits of nature. This type of Tuvan music is built up upon a low drone-tone with overtones floating above. The music values timbre and vertical intervals over traditional melodic and harmonic principles. While Sun Propeller does not attempt to imitate Tuvan music in anyway, it borrows the concept of the static drone and timbre preference in the language used to write the violin and electronics.

PERFORMERS
James Fantom, guitar James Fantom has been studying classical guitar performance at Temple for three years. Prior to his acceptance at temple, he spent 4 years studying various styles of guitar playing, including contemporary, jazz, fusion, and rock. He has a variety of performing experiences, which include masterclasses with lutenist Hopkinson Smith, and guitarist Jason Vieaux. He performed in the Guitar Foundation of America's regional showcase as a duet with Philip Cipolone in February 2012. He also filled the guitar chair in Temple's production of Spring Awakening by Steven Sater in the Fall of 2012. James teaches guitar during breaks when he is back in Washington, DC, where his family currently resides. James was born in Gaberone, Botswana and spent the first half of his life traveling between Europe and Africa, thus he is very influenced by global playing styles. In particular, he is interested in the rhythm­dominant guitar playing style of which makes him especially intrigued in the piece he is playing for this program. Daniel Heagney, percussion Daniel Heagney is a Washington D.C. native. He completed his undergraduate work at George Mason University, where he received a Bachelor of Music in Percussion Performance. He recently graduated with a Masters of Music degree from Louisiana State University, and is currently continuing his studies at LSU in pursuit of a Doctorate of Musical Arts with a minor in Experimental Music and Digital Media. He has studied percussion with Brett Dietz, Steven Schick, Jim Atwood, Troy Davis, John Kilkenny, and Ken Harbison. Recently, he gave the world premieres of Brett William Dietz's flute/ marimba duo Seven Refrains, and Peter Klatzow's new Six Etudes for solo marimba. The latter of which can be heard on Daniel’s first solo percussion CD, Collision. In the past year he also performed and produced recordings of the percussion works of David Stock, Stanley Leonard and Brett William Dietz. Justin T. Holguin, flute Justin is a final semester candidate for the Master of Music degree at Temple University, where he studies with Mr. David Cramer. He participates in the University’s Symphony Orchestra, Sinfonia, and Wind Symphony, where he serves as section leader. Justin has also performed with Temple’s New School Woodwind Quintet and conTemplum, an orchestra which premiers new works by college composition students. In September of 2011, he performed with Boyz II Men as principal flute of The Broad Street Orchestra for their 40th anniversary tour. Justin was also principal flute on Temple University Symphony Orchestra’s recording of Bill Cunliffe’s “Overture, Waltz, and Rondo” which has been nominated for a 2013 Grammy for Best Instrumental Composition. Justin completed his Bachelor of Music degree at Moravian College, cum laude, and studied there with Robin Kani. While at Moravian he participated in numerous ensembles and won the College’s annual concerto competition in 2009 and performed as soloist with the school’s orchestra. Justin has participated in master classes with Carol Wincenc, Jeffrey Khaner, Gary Schocker, Uwe Grodd, German conductor and flutist, and classical guitarist Jason Vieaux. Justin also teaches at Temple University’s Community Music

Scholars Program and has a studio of nine students ranging in age from eleven-toseventeen. Chester Howard, clarinet Chester Howard is currently pursuing his Master’s degree in clarinet and bass clarinet performance at SUNY/Stony Brook. An avid chamber musician, he delights in performing music of the past as well as the present, relishing any opportunity to participate in creating the musical voice of his generation. Previously a member of Musica Nova, a contemporary music ensemble at the Eastman School of Music under the direction of Brad Lubman, he is now a member of the Contemporary Chamber Players at SUNY/Stony Brook under the direction of Eduardo Leandro and Gilbert Kalish. Selected highlights of this season include performing in the Emerson String Quartet’s Chamber Music Festival as a two-time winner of their Ackermann Chamber Music Competition and multiple appearances at Symphony Space in New York City. He received his Bachelor’s degree in 2010 from the Eastman School of Music, and has studied with Alan Kay, Jon Manasse, Nathan Williams, and Deb Chodacki. Will Koehler, trumpet Will is a native Pittsburg, Kansas. After receiving bachelor degrees in music performance and music education from Pittsburg State University in 2011, Will moved to Denver Colorado to pursue his masters in music performance at the University of Denver. While in Denver, Will was a member of the Colorado Wind Ensemble, performed in local churches and performed with the Denver Brass. In 2012 Will moved to Philadelphia, where he is currently continuing his masters in music performance at Temple University. In 2009 Will was a member of the Drum Corps International Champions, the Blue Devils from Concord, California. As a freelance musician, Will has performed in various cities in Kansas, Missouri, Oklahoma, Colorado and Pennsylvania, and has played shows such as Into the Woods, Evita, Cinderella and Chicago. In addition to performing, he also taught privately in Pittsburg, Kansas, established a private studio in Denver, Colorado and is currently a teacher for the Temple University Music Prep Program. His teachers have included Todd Hasting, Alan Hood and currently include Rodney Mack and Jeff Curnow. Throughout his studies Will has received additional instruction with David Hickman, John Marchiando, Alan Dean, Mark Inouye, Justin Bartels, Bob Early and Michael Sachs. Andy Larson, tuba Andy Larson will finally graduate with his DMA in May 2013. He holds performance degrees from Louisiana State University (2005) and the University of WisconsinMilwaukee (2007). As a teacher, Andy’s students have won prestigious competitions, entered the military band system, won performing positions, and even begun successful business careers. As a performer, Andy is comfortable in a variety of settings. His DMA chamber recital was a complete performance of Birth of the Cool by Miles Davis. His most recent solo recital (March 4, 2013) incorporated more traditional works for tuba and piano and unaccompanied solo tuba as well as works by Christian Wolff and, a piece for tuba and live effects by Andy himself and his colleague William Walker Conlin.

Andy lives in Baton Rouge, LA with his girlfriend Rachel, dog Sonya, and way too many bicycles. Abigail LaVecchia, piano Abigail LaVecchia earned a bachelor's degree in piano performance from Temple University's Boyer College of Music in 2012. As a piano student of Charles Abramovic and a harpsichord student of Joyce Lindorff, she performs solo repertoire frequently both in the school and the community. She is very active as a collaborative pianist, and has played in the Temple University Symphony Orchestra, Wind Symphony, Wind Ensemble, and Contemporary Ensemble, a variety of chamber groups, and as accompanist for student recitals while at Temple. Since graduation, she has continued to perform new music and student compositions at Temple University as well as in concerts around the community, in both solo and chamber music settings. She also frequently performs as an accompanist in the greater Philadelphia area and as an opera musical director and pianist. Recently she has appeared with such groups as the Pennsylvania Girlchoir, the Eastern Wind Symphony, Center City Opera Theater, and Amici Opera Company. Christopher Orlando, tenor saxophone Chris is a Senior in the Boyer College of Music and Dance studying music education with a concentration on saxophone. He has studied with Marshall Taylor while at Temple. He has performed with the Wind Ensemble, Wind Symphony, Philadelphia Youth Orchestra and the Glassworks Ensemble, which performed Philip Glass’ Glassworks last semester. He is a member of the National Association for Music Education, Pennsylvania Music Educator’s Association, National Band Association, and Phi Mu Alpha Sinfonia. Jay Sager, percussion Jay Sager - BM in Music Education, The Crane School of Music at SUNY Potsdam. Born and raised in Bennington, Vermont. Member of The 2007 Sound of America European Concert Tour, performing in France, Germany, Luxembourg, Italy, Austria, and Switzerland. He has performed with The Berkshire Symphony and has been featured with them as a timpanist. Jay has recently appeared as a soloist at the Park McCullough Music Series. He is currently doing graduate work at SUNY Purchase. Emily Westell, violin Emily Westell made her debut as soloist with the Calgary Philharmonic at age 15, and since then has performed as soloist with the Tanglewood, Banff Festival, and University of Calgary Orchestras. An advocate for new music, Emily has performed with the Harvard Group for New Music, Yale’s Norfolk Contemporary Ensemble, Boston’s Callithumpian Consort, and at the 2009 International Computer Music Conference. She gave the world premiere of Shane Fage’s Violin Concerto, and has had the privilege to work with composers Elliott Carter, Osvaldo Golijov, and Steve Reich on performances of their works. A recent graduate of the Manhattan School of Music’s prestigious Zukerman Performance Program, Emily holds a Doctor of Music degree from McGill University, where she was also Instructor of violin and chamber music. Emily performs

on the 1717 Windsor-Weinstein Stradivari, on loan from the Canada Council for the Arts Musical Instrument Bank. (www.emilywestell.wix.com/violinist)

PARTICIPANT CONTACTS:
Tom Beverly trbeverly@gmail.com Trinity University Florida International University Tulane University Roosevelt University Indiana University SUNY Stony Brook University of Hartford University of South Florida Conservatory of Frosinone University of Virginia Temple University Peabody Conservatory Temple University

Federico Bonacossa federicobonacossa@yahoo.com Jane Cassidy janecass@gmail.com Kris Christenson kcmusic90@gmail.com Ian Michael Clarke imclarke@umail.iu.edu

Andrew Ludolph Conklin andrew.conklin@stonybrook.edu Brian Cook bcookcomposer@gmail.com Nathan Corder nathan6@mail.usf.edu Luca De Siena lucadesiena@libero.it Erik DeLuca erikdeluca@gmail.com

H.E. Cicada Brokaw Dennis cicada@cicadamessenger.com BJ Derganc wderganc@gmail.com Joshua Devine jd8386@gmail.com

Amanda Feery feery@princeton.edu

Princeton University University of Texas at Austin New York University University of North Texas SUNY Buffalo Louisiana State University Louisiana State University Louisiana State University Tufts University Temple University Eastman School of Music University of Georgia Southern University of Illinois at Urbana-Champaign Temple University

Ethan Frederick Greene ethangreene@gmail.com Moon Young Ha hamoonyoung@gmail.com Joshua Harris harris.jk@gmail.com Ethan Hayden info@ethanhayden.com Nick Hwang nhwang1@tigers.lsu.edu J.Corey Knoll jknoll3@tigers.lsu.edu

Andy Larson thetubamonster@gmail.com Michael Laurello michaellaurello@gmail.com Richard Charles Lee tud51693@temple.edu John Liberatore jsliberatore@gmail.com

Seth Messier music_of_hand@yahoo.com Jason Holt Mitchell jason.holt.mitchell@gmail.com Anne Neikirk anne.neikirk@temple.edu

Yemin Oh oh.yemin@gmail.com Ryan Olivier ryankolivier@gmail.com Carter John Rice ricecj@bgsu.edu

Louisiana State University Temple University Bowling Green State University Peabody Conservatory CUNY Graduate Center Bowling Green State University SUNY Purchase Bard College Winthrop University University of Virginia East Carolina University University of Oklahoma Temple University University of Virginia Columbia University

Michael Rickelton michael.rickelton@gmail.com Jessica Rudman jessica_rudman@yahoo.com

Andrew Martin Smith andrew.martin.smith@gmail.com Michael Sperone mike@mikesperone.com

Laura M. Staffaroni laura.staffaroni@gmail.com Daniel Strokis dstrokis@gmail.com

Maxwell Tfirn maxwell.tfirn@gmail.com

Joshua Tomlinson tomlinsonj11@students.ecu.edu Kyle Vanderburg kyle@noteforge.com Adam Vidiksis adam@vidiksis.com Kristina Warren kmw4px@virginia.edu

Nina C. Young ninacyoung.composer@gmail.com