Nine new artists from six different countries join ABLAZE Records for the second disc in their new series of ELECTRONIC MASTERS discs.
HUBERT HOWE (USA)—has contributed a work based in classical music synthesis and built around the idea of establishing sound from gradually aggregating upper partials until the aggregation becomes so representative that the fundamental tone emerges. This is a clever, inventive and technically astute work from a master of computer music.
Hubert Howe, Jr. Bio & Emergence Program Note
NIKOLET BURZYŃSKA (POLAND)—is a very gifted young composer from Poland whose work for electronics and flute already shows significant accomplishment, polish and mesmerizing aural beauty.
Nikolet Burzyńska, Jr. Bio & Flectro—for flute and live electronics Program Note
JUAN CARLOS VASQUEZ (COLUMBIA)—has written a work that de-constructs Beethoven’s “Waldstein” sonata, using complex digital audio processes to create an entirely different work. This is a sophisticated and intriguing electronic composition of impressive quality.
Juan Carlos Vasquez Bio & Collage 2 Program Note
STEVE McCOURT (IRELAND)—contributes an unusual work drawn primarily from processed sounds of mobile phone interference. These sounds are integrated with other recorded and computer-generated sounds to explore chaotic gestures and turbulent textures.
Steve McCourt Bio & AC-1 Program Note
WILLIAM PRICE (USA)—joins ABLAZE with a work that explores abrupt, visceral changes in gestural noise, dynamics, and stereo spatialization, while also focusing on timbral counterpoint and the superimposition of thick, slow-moving, granulated textures.
William Price Bio & WOOSH Program Note
NICOLA MONOPOLI (ITALY)—contributes a work generated using continuous resampling of the human voice. These recordings have been processed using a C‐Sound Sampler on non-processed files, but also on the outputs of C‐Sound, with an almost recursive process.
Nicola Monopoli Bio & The Rite of Judgment Program Note
MEI-FANG LIN (TAIWAN)—has written a work that was derived through the process of analysis/synthesis of pre-existing sounds as well as through granular synthesis for the electronic sounds with very similar approaches guiding the composition of acoustic music.
Mei-Fang Lin Bio & Flux—for marimba and electronics Program Note
CODY KAUHL (USA)—has written an electroacoustic composition in which recorded samples of mechanical objects are constructed and arranged in a manner that transforms the static sound textures of technology into flourishing gestures more akin to living organisms.
Cody Kauhl Bio & Autonomous Agents Program Note
JOHN NICHOLS III (USA)—work is a stereophonic fixed-media composition. Additive synthesis components were created using Digital Instrument for Sound Synthesis and Composition (DISSCO), and recordings were made in University of Illinois Experimental Music Studios and field recordings were taken in Chicago. The dream-inspired title is a reference to a passage from Eduard von Hartmann.
John Nichols III Bio & Amovi Alaan Program Note
Electronic Masters Vol.2
HUBERT HOWE was educated at Princeton University, where he studied with J. K. Randall, Godfrey Winham and Milton Babbitt, and from which he received the A.B., M.F.A. and Ph.D. degrees. He was one of the first researchers in computer music, and became Professor of Music and Director of the Electronic Music studios at Queens College of the City University of New York. He also taught at the Juilliard School from 1974 to 1994. In 1988-89 he held the Endowed Chair in Music at the University of Alabama in Tuscaloosa. From 1989 to 1998, 2001 to 2002, and fall 2007, he was Director of the Aaron Copland School of Music at Queens College.
He has been a member of the Society of Composers, Inc. Since its founding in 1965 and served on the Executive Committee from 1967 to 1971. He served as President of the U.S. section of the League of Composers/International Society for Contemporary Music from 1970 until 1979, in which capacity he directed the first ISCM World Music Days in 1976 in Boston, the first time that festival was ever held outside of Europe. He has been a member of the American Composers Alliance since 1974 and served as President from 2002 to 2011. He is also a member of the International Computer Music Association, SEAMUS, and the Long Island Composers Alliance. In 2013 he became Executive Director of the New York Composers Circle.
Recordings of his computer music have been released by Capstone Records (Overtone Music, CPS-8678, Filtered Music, CPS-8719, and Temperamental Music and Created Sounds, CPS- 8771) and Ravello Records (Clusters, RR 7817).
When a tone is generated by carefully introducing each partial higher than the fundamental independently, a fascinating thing happens. First, we hear the individual partials as tones in themselves, but after several of them are sounding, a new tone emerges—the fundamental—and then, instead of hearing independent tones, we hear the collection of them as the timbre of the sound. Emergence is based upon exploiting this property in several different ways.
There are many other properties of tones that can be noticed when each of their constituent harmonic partials is controlled independently. When the overtones are introduced in a specific order, they can impart a coloration to the sound that has some of the qualities of an independent harmony, since the partials are, in fact, individual tones that can be heard separately. When all the partials are sounding, these independent tones merge into the timbre of the sound, but when the timbre constantly changes, these harmonic properties recur.
In this composition, every tone heard is created through a series of independent harmonic partials, which are introduced sequentially in order to accentuate the harmonies that occur in each passage. There are three different ways in which these partials are played, and we can describe these as being produced by three different “instruments” that play the tones: (1) partials are attacked as separate tones, as in the beginning; (2) they are introduced in fading partial sequences, as in the second section, which begins at about 1'12"; and (3) they are played as complex envelopes, in which each partial has a separate amplitude envelope; these are used only on short notes starting in the third section at 2'24".
When harmonic partials are attacked as separate tones, the fundamental pitch does not emerge until several of them are sounding, and the time when the fundamental itself is attacked actually influences when we hear the pitch. For fading partial sequences and complex envelopes, there is no question of the pitch, but the timbre changes are so striking that the harmonic qualities are more evident. Because of the ambiguity of the pitch when partials are attacked separately, the harmonics are often consonant with those of others sounding at the same time, so there is a fascinating interplay between the harmonic partials and the fundamentals.
The composition deals with these aspects of tones in several different ways. The opening is based on the first instrument, attacking partials separately. The second section, from 1'12" to 2"24 seconds, is based entirely on instrument 2, fading partial sequences. The third section, from 2"24" to 3'24", is based entirely on complex envelopes of different durations. The fourth part, from 3'24" to 5'24", returns to individually attacked partials, again with long and short tones contrasted with one another. The first section, from 5'24" to 7'48", uses fading partial sequences, but starting with only very high partials in the upper register, and only introducing the lower partials towards the end. The sixth section, from 7'48" to 9' is a climax, with both fading partial sequences and individually attacked overtones, and the short final section, from 9' to 9'41" is a kind of coda, with vestiges of notes from the previous section played as complex envelopes.
The piece was created in 2012 using only the CSound language.
Expressiveness and dynamism juxtaposed with micropolyphonic oscillating textures, a passion for discovering new combinations of timbres, the need to find kind of contemporary meaning of beauty are the current compositional interests of Nikolet Burzyńska whose music is described as full of energy and fire and who has been appreciated by famous violinist Hilary Hahn in her call for scores. Burzyńska was born on 29th July, 1989 in Katowice, Poland. Despite her young age, she has written over 40 pieces of contemporary music and is a member of board in the Polish Composers Society for Young Composers and member of international collective of composers “L'état Latent” based in France.
During her studies in The Fryderyk Chopin University of Music, Strasbourg Conservatory and additional courses she studied composition with such composers as: Louis Andriessen, Mark André, Martijn Padding, Richard Ayres, Tadeusz Wielecki, Jung Hee Choi, Macin Błażewicz and Stanisław Moryto.
Her music was performed by Orkest de ereprijs and Rob Vermeulen, Voix de Strass and Catherine Bolzinger, Choir and Orchestra of the Silesian Philharmonic and Massimiliano Caldi, New Music Orchestra and Krzysztof and Aleksander Lasoń, to name a few. She took part in music festivals such as “Young composers meeting” in Holland, “La semaine du son” in France, “Druskomanija” in Lithuania, and “Biennale of art for children” in Poland. She got into final round of call for scores of MATA 2013 in New York.
She received such prizes as: Honorable mention in “In 27 pieces: the Hilary Hahn Encores” online contest in 2012, the 3rd prize in the National Composition Competition for the 90th anniversary of the III Silesian Revolt for the piece “Silesian Pyromagma” for choir and orchestra, the 1st prize in 1st International Composition Competition “Patri Patriae” in 2009 in Katowice for the piece “Flamma” for choir and orchestra. The finalist title in the 51st Competition for Composers of Tadeusz Baird in 2009, Distinction in "Creative Valley — what young art is looking for" on TVP2 in 2008.
Flectro is a piece for flute and live electronics. The title of the composition is a hybrid of the words flute and electronics, which stresses the equal importance of both sound sources in the piece. The aim of the composition was to achieve a unity of electronic and acoustic sounds and create a sound space in which it is unclear which sound is an electronic one and which is a flute sound. One of the rules present during creating the piece was a musical interaction of the flute and electronics. An interaction that seems to be an interplay of living organisms. In this interplay, the flute influences the sounds of the electronics. In turn, the electronics influence changes of musical events and the corresponding expressiveness of the flute. The shape of the piece is very natural. The first calm movement being transformed very slowly and gradually into the middle of the piece which is very expressive and the most powerful. This part goes directly to the climax of the composition. Every change of the flute's narration is prepared by a change in the electronics. After a big suggestive climax, the atmosphere starts to transform: like a strong purifying exhale. During this dying out the calm from the beginning of the piece gradually reemerges. However it is clear that this is not the same serenity as the opening of the work. Something has happened and it is changed. The first performance was in the "S1" of the Fryderyk Chopin University of Music in Warsaw during an electronic music concert. It was premiered by the remarkable flutist Magdalena Łapińska. The electronics were played by the composer.
Juan Carlos Vasquez
Juan Carlos Vasquez is a London-based composer and sound artist from Colombia. His interests involve experimental sound design, interactive installations and fusion of technology with different disciplines.
Vasquez studied composition at the Pontifical Xavierian University. Some of his past teachers include Diego Vega, Juan Antonio Cuellar and Carolina Noguera. Later, he participated in masterclasses with Reiko Füting, Leonardo Balada, Rodolfo Mederos, Carmen Helena Téllez and Jesús Rueda.
Since 2004 he has been active as a freelance composer, working for media, film, and sound design projects. He has toured extensively as a composer and performer in the United Kingdom, Italy, Colombia, Ecuador, Peru, Bolivia, Argentina and Chile, including an acclaimed interactive installation for the Milan Furniture Fair in (Italy)—the largest fair of its kind in the world—reviewed as "one of the most eye-catching sights of the fair" by The Architects' Journal (UK), while working as a sound director for a research project at the Pilot University of Colombia. He has collaborated with artists to present new works in different contexts, such as his participation in Olympic artist Clare Newton's interdisciplinary work Emperors for Tea (The Savoy Hotel, London).
Some of his work as a sound artist also includes: Musique concrète from a digital world (2009), an audio-visual piece that transfers the concept of Musique concrèteto a digital environment; the interactive installation Máquina M. (2010), for the bicentenary of independence in Latin America, using pure data, arduino, reactive lighting circuits to sound waves and a metal structure; VRN 001 (2011), a parametric sculpture that combines art, biology, architecture and technology; and El Orbe Intemporal (2012), a performance/installation using custom software to capture movements of a professional dancer in order to create video and sound in real time.
Influenced by Luigi Russolo's theories regarding a restriction in the variety and quality of tones for contemporary acoustic instruments (even considering extended techniques) and the subsequent attempts to evolve into a wider and innovative sound using digital means in the twentieth and twenty-first centuries, Vasquez has developed many techniques targeting a natural expansion of the capabilities of acoustic instruments without the intrusion of computer-generated tones. He has done this through the use of oscillators by digitally treating many audio processes to unleash hidden tones, colors and timbers with renewed complexity and variety compared to the original sound. With this, Vasquez basically proposes to replace "noise" for "digital treatment" as the answer for Russolo's former theory for evolution in composition, making it possible to apply this hypothesis to previously recorded works of existing composers, regardless of their style or the period of artistic creation.
Collage 2 is part of a series of experiments conducted to demonstrate Vasquez’s ideas starting with a single acoustic instrument. In Collage 1, the composer recorded himself performing a solo guitar arrangement of The Bogatyr Gates (in the Capital in Kiev). In the second piece, the composer performed Beethoven's Piano Sonata No. 21 (also known as the Waldstein), and later reinvented the result by deconstructing the pieces and treating these deconstructions with different and complex kinds of digital audio processes to create a entirely different work. Through these new creations Vasquez expanded the usual guitar and piano timbres into deep and rich atmospheres covering the entire range of frequencies. No samples other than the original recorded music for the original instrument were used in the making of any of the Collages.
As many of the digital techniques used aleatory parameters, each time the track was exported a different result was created. These results reflect Russolo's view of the “aleatory symphony” that is created every day from the noises of the routine, always molded by the influence of the machine in an industrialized (and nowadays digital) civilization. The present recordings were selected by the composer himself after listening to nearly one hundred versions of the piece.
Steve McCourt is a composer from Dublin, Ireland whose work includes stereo and multi-channel fixed-format works, music for film, music for dance theatre, live electronics and research. His work to date has focused extensively on gesture, texture, timbre, pitch and rhythm in electroacoustic music. He has explored these values through sounds from a wide range of sources such as the technological environment, the natural environment, objects and materials, speech and language and musical instruments. His work is often influenced by extra-musical concepts and visual imagery.
He studied composition with Dr. Kerry Hagan and Jürgen Simpson at the University of Limerick, where he completed a PhD in Electroacoustic Composition in 2011. During his research he developed a visually informed approach to sound composition and analysis, which is outlined in his doctoral thesis Sonic Images and Multimedia Aesthetics in Electroacoustic Music. He presented elements of his research at the EMS Electroacoustic Music Conference in Shanghai (2010) and the Pierre Schaeffer MediArt Conference in Rijecka (2011). He also holds a First Class Honours Masters Degree in Music Technology from the University of Limerick. His Masters thesis Ideomas researched the use of speech and language in music.
His music has featured at international music festivals in South Korea, Portugal, the U.S., the U.K. and Ireland and has been broadcast in France, Ireland, the U.K., Germany, Austria and Albania. He has worked with John Scott (choreographer), Charles Atlas (video artist), Mary Wycherley (dance/film artist) and Holly Kennedy (filmmaker). His music has been commissioned by the Irish Modern Dance Theatre, the Royal Hibernian Academy of Art and RTE Lyric FM. He was commissioned by the classical composer Ian Wilson to create electroacoustic soundtracks for live performances and recordings of Una Santa Oscura (2010) and Still Life in Green and Red (2011). He is a founding member of the Irish Sound, Science and Technology Association (ISSTA).
Ac-1 is composed primarily from processed sounds of mobile phone interference. These sounds are integrated with other recorded and computer-generated sounds to explore chaotic gestures and turbulent textures. The work suggests a surreal environment and was influenced by natural concepts as well as its technologically derived source material. While extra-musical influences were relevant to the compositional process, the piece can also be considered from purely musical and acousmatic perspectives.
Ac-1 was composed at the University of Limerick during my PhD. The work was inspired by Chaos, James Gleick’s book on chaos theory, which influenced the structure through concepts such as self-similarity, turbulence and attractors. This book also inspired me to look for chaotic and turbulent characteristics within sounds. I initially found these characteristics within mobile phone interference, which was generated through an electric guitar pickup. I processed these recordings in various ways to reveal inner sonic details or create gestures. The processed sounds were then considered as models from which all other sounds were sourced and created. This cohesive integration of sounds from diverse sources was influenced by Pierre Schaeffer’s idea of a pseudo-instrument, where sounds are identified as having similar characteristics through which a genre of sound material is established.
My reading of Chaos inspired a connection with the sound material that related to my experience of the natural world and the influence of sonic images in my work. Although nearly all of the sounds are derived from technological sources, many of them bring to mind environmental events through their chaotic and turbulent characteristics. Some have a quality I describe as biomorphic, as they are suggestive of living organisms. For example, life forms are occasionally suggested through textures and gestures that have fluid and organic qualities. Also, some gestures follow sonic trajectories that can evoke visual motion in the animal world such as an erratic flying trajectory or a scurrying motion. Surface textures within a landscape were also evoked by sonic texture and spectral changes. The piece was thus influenced by imagery of environmental events, life forms and landscapes.
This quasi-visual approach to sound also influenced the placement of sounds in time. Temporal distances between sonic events create a cinematic form of tension and release. A sense of time slowing down is suggested and during one section the forward momentum of the work is suspended.
The pivotal moment of the piece is a dense chaotic section, which can evoke chaotic events involving nature or technology. The movement towards chaos also brought to mind the gradual increase of noise in the environment caused by technological advancement, particularly considering the source material with which I was working. I was influenced by this idea following readings on the concept of entropy, which is suggested through sounds losing their individual identities within a sound mass. Other perspectives on the work came to mind relating to the integration of technologically derived materials and natural concepts. Ultimately, composing this piece has enhanced my appreciation for the music afforded by both.
William Price’s music has been performed in Europe, South America, Asia, and throughout the United States. His works have been featured prominently at such events as the World Saxophone Congress, the International Clarinet Association Conference, the International Trumpet Guild Conference, the Música Viva Festival in Lisbon, the New York City Electroacoustic Music Festival, the Society of Electroacoustic Music in the United States (SEAMUS) National Conference, the Florida State University Festival of New Music, the Bowling Green State University New Music Festival, and the Florida Electroacoustic Music Festival.
Price’s music has received awards and commissions from numerous organizations, including ASCAP, the Percussive Arts Society, NACUSA, the Southeastern Composers League, and the Alabama State Council on the Arts, and in 2009 he was named the Music Teachers National Association Shepherd Distinguished Composer of the Year. His works are published by Triplo Press, Honeyrock Publishing, Cimarron Music Press, Northeastern Music Publications, Conners Publications, and Imagine Music Publishing.
As a theorist, Dr. Price has presented guest lectures and papers at several international and national conferences, including the Beyond the Centres Conference in Thessaloniki, Greece; the College Music Society International Conference in Seoul; and the Society of American Music and International Association for the Study of Popular Music National Conference. His research interests include Postmodern American music, temporal and textual dissonance, and the music of Frank Zappa, Tom Waits, and John Zorn.
Price received a BMEd degree from the University of North Alabama and his Masters and Doctoral degrees in Composition from Louisiana State University, where he studied composition with Dinos Constantinides and electroacoustic composition with Stephen David Beck. Dr. Price currently teaches courses in music theory and composition at the University of Alabama at Birmingham.
During the past ten years, my research has focused on the use of temporal disruption and its effect on the progress of the musical narrative. In many of my works, including Hook, Line, and Sinker, Hardboiled, and I Forget What Eight Was For, I have attempted to explore and develop three basic concepts typically associated with discursive semantics: the brief, yet violent ”interjection,” the extended “interruption,” and the longer musical “digression.” It has been my aim to create an energetic and engaging piece that focuses on the juxtaposition of dissimilar tempi, texture, and timbre, yet somehow maintains a sense of continuity and direction.
Inspired formally by the elliptical orbits associated with long-period comets, WOOSH (2012) is divided into two parts: Part One explores abrupt, visceral changes in gestural noise, dynamics, and stereo spatialization, while Part Two focuses on timbral counterpoint and the superimposition of thick, slow-moving, granulated textures. Both parts use a single six-note musical phrase as their source material.
Originally performed on a toy saxophone by the composer and recorded using ProTools, the six-note phrase was retuned, and then granulated and re-recorded using MacPod granular synthesis software. By varying the size of the grains, the shape of the grain envelope, and the rate and direction at which the soundfile is read in real time, the resulting textures were layered in such a way so that each sustained note would sound as if it emitted its own interior, yet erratic rhythmic dialogue. Analogous to the use of a notated grand pause, the ten seconds of silence that separates Parts One and Two is used to provide formal momentum through timbral contrast and dramatic expectation.
WOOSH was composed and assembled in the composer’s home studio in Birmingham, Alabama and premiered at the New York City Electroacoustic Music Festival on April 6, 2013.
Born in 1991 in Barletta, Italy. Nicola Monopoli started to play piano and compose while still very young. In 2011 he graduated summa cum laude from 'N. Piccinni' Conservatory with a Bachelor's degree in Music and New Technologies. His music has been performed in Italy, France, Germany, England, Greece, Russia, Spain, Norway, Netherlands, USA, Canada, China, Taiwan and South Korea. His compositions have been selected and performed in many festivals such as De Montfort University SSSP, SICMF, Stanford LAC, ACL Festival, Emufest, Fullerton New Music Festival, FIMU, Shanghai Conservatory EMW, etc.
His music has been performed in many places such as Sviatoslav Richter Memorial Apartment in Moscow, D. Mendeleev University of Chemical Technology of Russia, S. Antonio Church and Curci Theatre in Barletta, A. Goldenweiser Memorial Apartment in Moscow, Piccinni Conservatory Auditorium, Santa Cecilia Conservatory Auditorium, Kammermusiksaal in Hannover, etc. He won the third prize in Musicworks Magazine Competition 2011.
The Rite of Judgment
Inspired by psychoanalytical theories, the main theme of The Rite of Judgment is the inner reaction to a given or received judgment. The work is characterized by many textures and complex rhythms. The vocals are many times hidden but sometimes come to dominate the musical fabric of the piece. The vocals represent the inner voice, a dark voice inside the ego, the voice of judgment. This inner voice could judge or react to a judgment. The Rite of Judgment represents this inner struggle, or the externalization of an impulse response. What happens to someone who is judged or who is judging? This work tries to give a deep reply which is not possible to describe using words.
The Rite of Judgment is generated using the elaboration of the voice and continuous resampling technique. Attention to the sonic details and the presence of a deeper musical structure is intended to help the listener to understand the meaning of the work.
The title The Rite of Judgment references Stravinsky's 'The Rite of Spring'. The Duration of the work, 4'33'', is strictly related to John Cage's work: his 'External Silence' is opposed to the 'Inner Noise' of the unconscious, never silent.
Mei-Fang Lin was born in Taiwan. After finishing her B.A. in composition at the National Taiwan Normal University, she left for the United States to pursue her graduate studies in composition. She received her master’s degree from the University of Illinois at Urbana-Champaign and her Ph.D. from the University of California at Berkeley. With the support of a Frank Huntington Beebe Fund for Musicians and a George Ladd Paris Prize, Lin lived in France from 2002-2005, where she studied composition with Philippe Leroux, orchestration with Marc-André Dalbavie, and was selected by the IRCAM reading panel to participate in the one-year intensive computer music course “Cursus de Composition” at IRCAM in Paris. Upon graduating from UC Berkeley, Lin returned to the University of Illinois and taught as a Visiting Assistant Professor of Composition from 2007-2009. She was appointed Assistant Professor of Composition at the Texas Tech University in 2009.
Awards for her music have come from the Musica Domani International Competition (2012), American Composers Forum/LA Annual Composer’s Competition (2009), Fifth House Ensemble Competition (2009), Seoul International Competition for Composers in Korea (2007), Bourges Competition in France (2006, 2001), Look & Listen Festival Prize (2002), Pierre Schaeffer Competition in Italy (2002), SCI/ASCAP Student Commission Competition (2001), Luigi Russolo Competition in Italy (2001), Prix SCRIME in France (2000), National Association of Composers, USA Competition (2000), Music Taipei Composition Competition in Taiwan (1998, 1997). Her music has received performances and broadcasts internationally in around thirty countries by groups such as the Nieuw Ensemble (Amsterdam), Kammerensemble Neue Musik (Berlin), Ensemble Cairn (Paris), Ensemble Orchestral Contemporain (Lyon), Armonia Opus Trio (Buenos Aires), Melos-Etos (Bratislava), Ensemble Concorde (Dublin), Contemporary Chamber Orchestra Taipei (Taiwan), Parnassus Ensemble (New York), North/South Consonance (New York), Yarn/Wire (New York), Alea III (Boston), San Francisco Contemporary Music Players (San Francisco), etc.
In composing Flux, the composer continues her ongoing interest in pursuing musical continuity via a constant flow of energy throughout the different sections of the piece. A big part of the electronic material was derived through the process of analysis/synthesis of pre-existing sounds as well as through granular synthesis. The acoustic writing itself incorporates a lot of the same concepts and techniques as used in the electronic part. Flux received its world premiere in Tempe, Arizona by Taiwanese percussionist Yi-Chia Chen, who commissioned the piece for her percussion recital. Ms. Chen has subsequently recorded the piece as well.
Cody Kauhl is an American acoustic/electronic/visual composer currently completing an M.M. in Music Composition at the University of Missouri, Kansas City (UMKC). With music selected for national and regional conferences, including the Society of Electro-Acoustic Music in the United States [SEAMUS] and Electronic Music Midwest [EMM], Cody graduated in 2011 with a B.M. in Music Theory/Composition at Southern Illinois University Edwardsville (SIUE).
Cody has won a number of composition contests at SIUE and UMKC and has received commissions from university and public school wind ensemble conductors. He also regularly collaborates with choreographers and has had his compositions performed on multiple occasions at the Nelson-Atkins Museum of Art. Cody has studied under Kimberly Archer, Rome Prize winners James Mobberley and Paul Rudy, and Charles Ives Living Award winner Chen Yi. As an instrumentalist, Cody performs on saxophone in the Charlotte Street funded ensemble Black House Collective and Kansas City’s R.I.P. Ensemble.
Cody’s acoustic compositions are often sparse and delicate, demonstrating more loosely connected note patterns with more attention dedicated to weaving parts together as an ensemble. In stark contrast, his electronic works are usually strident and coarse. He is particularly attracted to found sound that in normal contexts is considered unremarkable, most often what would be considered some form of noise pollution. Both acoustic and electronic media share an inherent gestural and texture nature as primary musical attributes. More information about Cody can be found on his website, codykauhl.com.
"Nature untouched by modern society possesses a sincerity not rivaled in areas of human influence. However, mechanized objects that lay motionless for ages begin to return to the soil from whence they came. By breaking, cracking, or rusting, these machines now sound and behave quite differently than when first constructed. Although many of these agents need to be activated via switch, button, or plug, the resulting sounds are now autonomous, both in form and function."
Autonomous Agents is an electroacoustic composition in which recorded samples of mechanical objects are constructed and arranged in a manner that transforms the static sound textures of technology into flourishing gestures more akin to living organisms. The machines in this composition vary in size from locomotive wheels to computer hard drives, from open reel tape recorders to car motors. These spinning motions inherit in the construction of these machines produce a natural relationship between the seemingly contrasting sounds and timbres.
John Nichols III
John Nichols III's electroacoustic compositions have been selected for performance at numerous national and international events such as the Music Since 1900 Conference, New York City Electroacoustic Music Festival, Slingshot 2013, Society for Electroacoustic Music in the United States, Toronto Electroacoustic Symposium, International Computer Music Conference, and the International Workshop on Computer Music and Audio Technology, where he was a winner of the WOCMAT 2012 International Electroacoustic Music Young Composers Award. He was a finalist in the 2011 Morton Gould ASCAP Young Composer Competition and received a Special Mention and was selected for inclusion on the CD for the 2012 Métamorphoses Acousmatic Composition Competition. His composition Headbanger was selected for inclusion in the SEAMUS 2012 Electro-miniatures Re-Caged CD. Mr. Nichols is currently pursuing his DMA degree at the University of Illinois, Urbana Champaign, where he recently won the Fourteenth Annual 21st Century Piano Commission Competition.
Composed in 2012, Amovi Alaan is a stereophonic composition that utilizes additive synthesis components created with Digital Instrument for Sound Synthesis and Composition (DISSCO), recordings made in the University of Illinois Experimental Music Studios, and field recordings from Chicago.
The dream-inspired title is a reference to the following passage from Hartmann:
"Apart from the conscious activity of certain individuals, phenomena are determined by the purposeful action of the spiritual principle, which is independent of any particular consciousness and which, in its inner power, infinitely surpasses any particular consciousness, and is therefore called the unconscious (das Unbewusste) or the superconscious (das Ueberbewusste)."
(Philosophie des Unbewussten, Fifth Edition, by Eduard von Hartmann, quoted in Vladimir Solovyov's "The Crisis of Western Philosophy" Chapter V, 1874)
My compositional intent is to make something musical, expressive, creative, and intriguing, while avoiding overt narrative connections. I wish to stimulate the listener's imagination with diverse shapes, sensations, and surprises, as they voyage through this composition.
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