Mark Applebaum received his Ph.D. from the University of California at San Diego where he studied principally with Brian Ferneyhough. His solo, chamber, choral, orchestral, electro-acoustic, and electronic work has been performed throughout the United States, Europe, and Asia with notable premieres at the Darmstadt summer sessions. He has received commissions from Betty Freeman, the Merce Cunningham Dance Company, the Paul Dresher Ensemble, Zeitgeist, MANUFACTURE, the Jerome Foundation, and the American Composers Forum, among others. He is the recipient of the 1997 Stephen Albert Award, administered by the American Music Center.
Mr. Applebaum is also active as a jazz pianist and builder of sound-sculptures. His music can be heard on the Innova label. Mr. Applebaum has taught at UCSD and served as the Dayton-Hudson Visiting Artist at Carleton College. He is currently Assistant Professor of Composition and Theory at Stanford University.
Robert Beaser is often cited as a leader of the "New Tonalists" and through a wide range of media has firmly established his own voice as a synthesis of Western tradition and American vernacular. Beaser has been commissioned with regularity by many major orchestras and ensembles throughout the world including, most recently, the New York Philharmonic (150th Anniversary), the Chicago Symphony (Centennial Commission), the American Composers Orchestra, the Baltimore Symphony and Minnesota Orchestra. His music has been performed frequently by such renowned artists as Renee Fleming, Paula Robison, Dennis Russell Davies, James Galway, Dawn Upshaw, Eliot Fisk, Lauren Flanigan, Leonard Slatkin and David Zinman.
Beaser has been the recipient of a Grammy Award nomination for "Best Classical Composition" for his widely heard Mountain Songs, the Prix de Rome, Guggenheim and Fulbright Fellowships, and an Academy Award in music from the American Academy of Arts and Letters. His opera The Food of Love, commissioned by New York City Opera, Glimmerglass Opera and WNET with a libretto by the playwright Terrence McNally, was premiered in 1999 as part of the triptych Central Park to international critical acclaim. It was recently broadcast on PBS's Great Performances series throughout the United States and was nominated for an Emmy Award in July 2000. In January 2001, Beaser's The Heavenly Feast received its European Premiere at the Silvestergala Concert in the Brucknerhaus, with the Bruckner Orchestra Linz Austria. Beaser's music has been recorded for ARGO, New World, Musicmasters and EMI-Electrola labels.
Beaser holds a doctorate from the Yale School of Music and is chairman of the composition department at The Juilliard School. He was recently named artistic director of the American Composers Orchestra in New York City.
Edmund J. Campion
Edmund Campion is the Composer-in-Residence at the Center for New Music and Audio Technologies. He was born in Dallas Texas in 1957. He received his Doctorate degree in composition at Columbia University and attended the Paris Conservatory where he worked with composer Gérard Grisey. In 1993 he was selected by the IRCAM reading panel to pursue the "Cursus de compositiom" and was eventually commissioned by IRCAM to produce a large scale work for interactive electronics and midi-grand piano.
Since 1996, Mr. Campion has held a post as Assistant Professor of Composition at the University of Berkeley in California where he also serves as the Composer in Residence at The Center for New Music and AudioTechnologies (CNMAT). Recent projects include a Radio France Commission l'Autre and the full-scale ballet Playback (commissioned by IRCAM and the Socitété des Auteurs et Compositeurs Dramatiques). Mr. Campion's other prizes and honors include: the Rome Prize, the Nadia Boulanger Award, the Paul Fromm Award at Tanglewood, a Charles Ives Award given by the American Academy of Arts and Letters, and a Fulbright scholarship to study in France. Daniel Ciampolini of the Ensemble Intercontemporain will premiere a new work for vibraphone and piano in November of 2000 at the Centre Pompidou in Paris.
Carlos Carrillo has been the recipient of the Aaron Copland Award, the Nitzsche Prize from the University of Pennsylvania, the John Day Jackson Prize from Yale University and the Charles Ives Scholarship from the American Academy of Arts and Letters. He holds a doctorate degree in philosophy from the University of Pennsylvania, as well as a masters degree in composition from Yale University and a bachelors degree in composition from the Eastman School of Music. Mr. Carillo is ACO's Van Lier Fellowship Composer for 2001-02.
Perry Cook has served as technical director for the Center for Computer Research in Music and Acoustics and has worked in the areas of DSP, image compression, music synthesis and speech processing for NeXT, Media Vision and other companies.
He is assistant professor of computer science with a joint appointment in music at Princeton University, where he researches human computer interfaces for the control of sound and music in real time, physical modeling of sound production, auditory display and immersive sound environments.
Cook holds master's and doctorate degrees in electrical engineering from Stanford University, a BSEE from the University of Missouri Engineering School and a bachelor's degree in music from the University of Missouri at Kansas City Conservatory of Music.
Ricardo Dal Farra
Ricardo Dal Farra was born in 1957 and is a native of Buenos Aires, Argentina. He has worked as the Director for musical productions at the ORT Technical School, Coordinator for the National Multimedia Communication program at INETØNational Ministry of Culture and Education of Argentina. Mr. Dal Farra has also severed as Professor in Acoustics and Electronic Music at the National Conservatory of Music, the Municipal Conservatory of Music of Buenos Aires, and Professor in Multimedia and Recording Arts at IMD, where he is also the Director of the Electroacoustic Music Studio.
Mr. Dal Farra is also an active live electronic music performer and multimedia artist. He is the Director of a radio series devoted to electroacoustic/computer music since 1988 at the Municipal Radio of Buenos Aires (Electromúsica) and the National Radio of Argentina (Música y Tecnología). He has been the International Co-Editor of Leonardo Music Journal since 1995, and is a member of the board of Advisory Editors of Journal of New Music Research. He has also been a representative for Argentina at the International Rostrum of Electroacoustic Music (UNESCO).
Mario Davidovsky is most widely recognized for his integration of electronic media with conventional instruments in works such as his series of pieces titled Synchronism (1963-74) for various instruments and tape. He received the Pulitzer Prize in 1971 for Synchronism 6 for piano and tape.
Born in Buenos Aires, Argentina, in 1934, Davidovsky's early composition studies were with Guillermo Graetzer. Graduating from the University of Buenos Aires, Davidovsky came to the United States in 1958 to participate in the Berkshire Music Festival at Tanglewood with a specific interest in electronic music. At Tanglewood he worked with Aaron Copland and, from Milton Babbitt, learned of the forthcoming electronic music studio at Columbia University.
In 1960 Davidovsky took up permanent residence in New York City and studied with Babbitt at the Columbia-Princeton Electronic Music Center in 1960. From 1961 to 1963 he was a Guggenheim Fellow at Columbia University. He became director of the Electronic Music Center at Columbia in 1981, a post he kept until 1995, when he began teaching at Harvard.
Paul Lustig Dunkel
Conductor Paul Lustig Dunkel has served as music director and conductor of the Westchester Philharmonic since its founding in 1983. He and the orchestra were the recipients of the 2000 Leonard Bernstein Award for Educational Programming from the American Society of Composers, Authors and Publishers and the American Symphony Orchestra League for excellence and innovation in music education. "Exploring New Worlds: Music of the Americas" and its ground-breaking program of student commissioning of a new work by a young composer was featured on "NewsHour with Jim Lehrer" on PBS and recognized by the Westchester Arts Council with a 2001 Award.
Together with Dennis Russell Davies, Francis Thorne and Nicholas Roussakis, Dunkel founded the American Composers Orchestra in 1978. Until he stepped down in 2000, Dunkel was instrumental in elevating the ensemble to its position as a leader in American music. He served as orchestra manager and principal flutist until he was appointed resident conductor in 1989. His recordings with ACO for CRI and New World Records have received wide critical acclaim, and his recording of The Early Music of Elliott Carter was selected as one of the Top 10 recordings of the year by Time and Newsweek.
He also serves as co-director with pianist Michael Boriskin of Music from Copland House, a chamber music ensemble dedicated to the advocacy of American music based at the long-time home of Aaron Copland.
Ethel is New York's hippest bunch of vibrating strings, taking the new music world by storm. On the stages of worldwide concert halls, rock clubs and stadiums, Ralph Farris, Dorothy Lawson, Todd Reynolds and Mary Rowell have made Ethel a stimulating and inspired voice in the creative music community. Collectively and individually, these artists have been making noise across genres and disciplines for many years, from the Chamber Music Society of Lincoln Center and the Steve Reich Ensemble to the Sheryl Crow and Roger Daltrey bands, from the Rochester and the New York Philharmonics to the Orpheus Chamber Ensemble and Bang On A Can. Most recently, Ethel has been presented at Merkin Hall as part of the "Great Day In New York," as well as on the Bang On A Can Marathon in Hamburg as part of the Schleswig-Holstein Music Festival. Ethel is engaged in ongoing projects with Lisa Bielawa, John King, Phil Kline, Randy Woolf and Evan Ziporyn. Ethel is featured on Joe Jackson's latest release, Night and Day II, as well as on Mutable Music's debut releases, Day of Love and The Visibility of Thought.
David Felder's works have been featured in many of the leading international festivals for new music including Holland, Huddersfield, Darmstadt, Ars Electronica, Brussels, ISCM, North American New Music, Geneva, Ravinia, Aspen, Music Factory, Bourges, Vienna Modern, and many others. His works earn continuing recognition through performance and commissioning programs by such organizations as the New York New Music Ensemble, BBC Orchestra, Arditti Quartet, American Composers Orchestra, Buffalo Philharmonic, American Brass Quintet, Ensemble InterContemporain and many others.
Mr. Felder has received numerous grants and commissions including six awards from the National Endowment for the Arts, two New York State Council Commissions, a New York Foundation for the Arts Fellowship, Guggenheim, Koussevitzky, two Fromm Foundation Fellowships, two awards from the Rockefeller Foundation, Meet the Composer New Residencies (1993-1996), a commission from the Mary Flagler Cary Trust, and many more. Currently, Mr. Felder is Professor of Composition at SUNY Buffalo, where he also holds the Birge-Cary Chair in Composition, and has been Artistic Director of the Festival from 1985 to the present. He has taught previously at the Cleveland Institute of Music, the University of California, San Diego, and California State University, Long Beach, and earned a Ph.D. from the University of California, San Diego, in 1983.
Corey Field is Director of New Media Administration for J.W. Pepper & Son, Inc., an international music distributor and Internet retailer based in Valley Forge, PA. He was formerly Vice President of European American Music Distributors Corporation where his music publishing activities included international acquisition, licensing and royalty accounting for media. He has been involved in reciprocal linking and promotional web site agreements with music entities, including the Harry Fox Agency's "Songfile;" Sony Records (Ken Burns "Jazz"); Warner Bros. Publications; and Cameron Mackintosh Productions, as well as software licensing agreements for digital distribution of printed music. He has served as a frequent panelist and guest speaker for a variety of organizations. Mr. Field has received several Paul Revere Awards for Excellence in Music Publishing given by the Music Publishers' Association of the United States, and currently serves as a member of the MPA Board. He holds a B.A. in Music from the University of California (Santa Barbara), and a D.Phil. from the University of York, England.
Joshua Fineberg began his musical studies at the age of five; they have included, in addition to composition, violin, guitar, piano, harpsichord and conducting. He completed his undergraduate studies at the Peabody Conservatory with Morris Cotel; in 1991, he moved to Paris and studied with Tristan Murail. The following year he was selected by the IRCAM/Ensemble InterContemporain reading panel for the course in composition and musical technologies. In the Fall of 1997, he returned to the US to pursue a doctorate in musical composition at Columbia University. He is currently an Assistant Professor of Music at Harvard University.
In 1992, his work for large orchestra Origin was selected by the international jury of the Gaudeamus Foundation as a finalist for the Gaudeamus Prize and was premiered by the Radio Symfonie Orkest of the N.O.S. during the 1992 Gaudeamus Music Week.
Mr. Fineberg has collaborated with IRCAM as a lecturer for seminars and as compositional coordinator for their 1996 four-week summer course. Besides his compositional and pedagogical activities, he has actively collaborated with computer scientists and music psychologists to help develop tools for computer-assisted composition and in music perception research. Finally, he has been deeply involved in working with performing ensembles as Artistic Director for recordings of many European ensembles and soloists, and during the 1999-2000 Season as a director of Speculum Musicae and the Columbia Sinfonietta. He is also the issue editor for two issues of The Contemporary Music Review on "Spectral Music" (release summer 2001). His works have been performed, commissioned and recorded by leading ensembles and soloists in Europe, Asia and the United States; they are published by Editions Max Eschig.
Jason Freeman is a doctoral candidate in composition at Columbia University. His instrumental music has been performed by Le Nouvel Ensemble Moderne, bass clarinetist Evan Ziporyn, the University of Florida New Music Ensemble, and the Yale Concert Band, and his music has been played at the ACO¹s Whitaker New Music Reading Sessions.
His interactive electronic music, which has recently been presented at the Lincoln Center Festival and at the Flea Theater, focuses on creating environments which turn audience members into performers, transforming their voices into music. Telephone Etude 1: Shakespeare Cuisinart, which is accessed via a toll-free telephone number, was recently featured in The New York Times and on National Public Radio¹s "All Things Considered," and has been experienced by over 21,000 callers. Currently, Freeman is developing educational music software for middle school students as part of the JPMorganChase Kids Digital Movement and Sound Project.
Jeremy Geffen joined the staff of the New York Philharmonic as artistic administrator in September 2000, following three years as associate artistic administrator of the Aspen Music Festival and School. In Aspen, he frequently led audience-development activities: in the summer giving pre-concert lectures prior to Aspen Festival Orchestra concerts and hosting the public discussion series "High Notes" and in the winter hosting the Aspen Music Festival's series of interactive and informal concerts. He also taught courses in Exoticism in 20th Century Music, Music and Dance, and Music and Poetry. In the winter of 2000 Geffen served as a moderator for two seminars entitled "The Marriage of Music and Ideas" at the Aspen Institute. Born in Cape Town, South Africa, Geffen was trained as a violist at the University of Southern California and has studied with such notable pedagogues as Donald McInnes, Karen Tuttle, Robert Vernon, Jerome Lowenthal and members of the Los Angeles Philharmonic.
James Kendrick is a partner in the New York law firm of Brown Raysman Millstein Felder & Steiner LLP who specializes in intellectual property licensing and has more than 20 years of experience in this field. In addition to his law experience, Jim was also the Chief Executive Officer of Boosey & Hawkes, Inc.
Jim has represented music publishers, television and film producers, and individual composers and estates in a wide variety of transactions, including copyright acquisitions and sales, financing, and licensing in all media. He is counsel to the Music Publishers Association of the United States and also serves as Secretary and counsel to the Aaron Copland Fund for Music, Inc., the Virgil Thomson Foundation Ltd., the Koussevitzky Music Foundations, and the Charles Ives Society, Inc. He is a board member of the American Music Center, Inc. and the Brooklyn Philharmonic Orchestra; and is an Adjunct Professor of Law at Rutgers Law School. He is a graduate of the Manhattan School of Music, the Juilliard School, and Rutgers Law School.
Richard Kessler is the executive director of the American Music Center, the national service and information center for new American music, created in 1939 by Aaron Copland and Howard Hanson. Prior to becoming director of the AMC, Kessler was vice president of the educational consulting firm Artsvision, where he helped to create and implement many of North America's arts and education programs for school communities, arts organizations and foundations including the New York City Annenberg Challenge for Arts Education, and education programs for the Cleveland Orchestra, Milwaukee Symphony, Baltimore Symphony, St. Paul Chamber Orchestra, The Acting Company, Ballet Chicago and Gibbes Museum of Art.
Before joining Artsvision, Kessler was a Naumburg Award-winning chamber musician, where he commissioned, recorded and premiered works by Arvo Pärt, Anthony Davis, John Harbison, Elliot Goldenthal, Joe Schwantner, Aaron Kernis, Ned Rorem and Richard Danielpour. As a keynote speaker and conference panelist, Kessler has worked with organizations such as the American Symphony Orchestra League, Bank Street College of Education, American Symphony Orchestra League, Cal Performances, Jeunesse Musicale and the New York State Council on the Arts. Kessler is on the board of the National Music Council and the Advisory Board of the American Symphony Orchestra League's Music for a New Millennium project. Kessler was a faculty member of the Manhattan School of Music for five years and holds two degrees from The Juilliard School.
Mari Kimura embraces the world of extended violin technique and interactive computer music by making them her own. Using both acoustic and electronic/MIDI violin, she pushes the boundaries of instruments by playing her own works (such as "U" (The Cormorant) for violin and live electronics) and those composed especially for her.
As a composer, her recent commissions include Violin Concerto for violin and interactive computer system with orchestra (Teatro Juarez in Guanajuato, Mexico, 1999) and Kivika for dance (Joyce SOHO in New York, 2000). Most recently, Ms. Kimura won the ICMC 2001 Commission Award to write a new work for violin, Cuban percussion and electronics, which will be premiered in Havana, Cuba in September, 2001.
Ms. Kimura has studied with such major teachers as Joseph Fuchs, Roman Totenberg, Toshiya Eto, and Armand Weisbord. She also studied composition with Mario Davidovsky at Columbia University, and computer music at Stanford University. Ms. Kimura holds a doctorate in performance from the Juilliard School. She taught as Assistant Professor of violin at New York University, and gave lectures in universities and conservatories throughout the world. Since September 1998, Ms. Kimura has been teaching a graduate class in Computer Music Performance at the Juilliard School.
Joseph H. Kluger
Joseph H. Kluger has served as The Philadelphia Orchestra Association's chief administrative officer since May 1989, when he was appointed executive director and has held the title of president since November 1991. He joined The Philadelphia Orchestra staff in 1985 as general manager, after a seven-year stint with the New York Philharmonic, where he had been on staff in a variety of positions, culminating in the position of orchestra manager. Kluger is an internationally recognized expert in the classical music industry on recordings, broadcasts, the Internet and other electronic media activities and has served for ten years as the chairman of the Orchestra Managers' Media Committee of the American Symphony Orchestra League.
Golan Levin is an artist, composer and designer whose work is focused on the development of artifacts and environments which explore supple new modes of interactive audiovisual expression. Mr. Levin recently completed his Masters' degree in Media Arts and Sciences at the Aesthetics and Computation Group of the MIT Media Laboratory, where he created computational systems for the simultaneous performance of animated imagery and sound. Prior to this, Mr. Levin received a B.S. degree in Art and Design from MIT in 1994, and worked as a research scientist and interaction designer at Interval Research Corporation for four years.
Mr. Levin has exhibited interactive artworks and performances at numerous venues, including the SIGGRAPH 1996 and 2000 Art Shows, the 1997 International Symposium of Electronic Art, the Ars Electronica 1997 and 2000 festivals, the San Jose Technology Museum of Innovation, and the New York Digital Salon 2000. His installation Rouen Revisited is included in the permanent collection of the American Museum of the Moving Image in New York City. Most recently, Mr. Levin's Audiovisual Environment Suite received the prestigious Award of Distinction (2nd prize) in the international Prix Ars Electronica competition. At Ars Electronica 2000, Mr. Levin and his trio performed Scribble, a half-hour audiovisual composition commissioned specifically for the festival.
George Lewis is an improviser-trombonist, composer and computer/installation artist. He studied composition with Muhal Richard Abrams at the AACM School of Music, and trombone with Dean Hey. As a composer, Mr. Lewis has explored electronic and computer music, computer-based multimedia installations, text-sound works, and notated forms. A member of the Association for the Advancement of Creative Musicians (AACM) since 1971, Mr. Lewis's work as a composer, improvisor, performer and interpreter is documented on more than ninety recordings. His works have been presented at the IRCAM Summer Academy (France), De Ijsbreker, the Groningen JazzMarathon and the BIM-Huis (Netherlands), P3 Art and Environment (Tokyo), the Centro Multimedia/ Centro National de las Artes (Mexico City), Rensselaer Polytechnic Institute/iEAR Studios, Metronom (Barcelona), the Los Angeles County Museum of Art, the Warsaw Autumn International Festival of Contemporary Music, the Bang on a Can Marathon at Alice Tully Hall (New York), Akademie Schloss Solitude (Stuttgart), the Beijing International Jazz Festival, the New England Conservatory Improvisation Festival, the Institute of Contemporary Arts (London), the Western Front (Vancouver), the Center for New Music and Audio Technology (Berkeley) and the Velvet Lounge (Chicago).
Mr. Lewis has served as Darius Milhaud Professor in Composition at Mills College, as Lecturer in computer music at Simon Fraser University's Contemporary Arts Summer Institute, and as Visiting Artist/Lecturer at the School of the Art Institute of Chicago. Mr. Lewis has received numerous Fellowships from the National Endowment for the Arts, and was the recipient of the 1999 Cal Arts/Alpert Award in the Arts. Mr. Lewis now serves as Professor of Music in the Critical Studies/Experimental Practices area at the University of California, San Diego.
Steven Mackey was born in Frankfurt, Germany to American parents in 1956. He earned his B.A. from the University of California-Davis, summa cum laude and Phi Beta Kappa, an M.A. at the State University of New York at Stony Brook, and Ph.D from Brandeis University in 1985. Mr. Mackey is currently Professor of Music at Princeton University where he is Co-Director of the Composers Ensemble at Princeton and teaches composition, theory and courses in twentieth-century music. He has been a member of the faculty of Princeton University since 1985, and in 1991 he was awarded their first-ever Distinguished Teaching Award.
As a composer, Mr. Mackey has been honored by numerous awards including a Guggenheim Fellowship, a Lieberson Fellowship and a Charles Ives Scholarship from the American Academy and Institute of Arts and Letters, the Joseph H. Bearns Prize from Columbia University, a Tanglewood Fellowship, an award from Broadcast Music, Inc., and the International Society of Contemporary Music Award. In 1986, he was the Composer-in-Residence at the Aspen Music Festival. His commissions have included works for the Koussevitzky Foundation at the Library of Congress, the Fromm Foundation, the Concord String Quartet, Kronos Quartet, the Pro Arte Chamber Orchestra of Boston, and soprano Dawn Upshaw. His string quartet, Fumeux Fume was the winning piece in the 1987 Kennedy Center Friedheim Awards, and his Indigenous Instruments was selected to represent the United States at the International Composers Rostrum in Paris.
Charles C. Mann's most recent book is @ Large (Simon & Schuster), the true story of a bizarre, calamitous episode in the history of the Internet. A correspondent for The Atlantic Monthly and Science, he has spent the last three years covering the intersection of culture, commerce and technology-focusing especially on music-for many newspapers and magazines here and abroad, including Business 2.0, Forbes, Mother Jones, The New York Times, Paris-Match (France), Quark (Japan), The Sciences, Smithsonian and The Washington Post. A two-time National Magazine Award finalist, he has received writing prizes from the American Bar Association (for his coverage of copyright), the American Institute of Physics, the Alfred P. Sloan Foundation and the Margaret Sanger Foundation. At present, he is writing a history of high modernism; an excerpt, "1491," is forthcoming in The Atlantic Monthly.
Ingram Marshall has lived and worked extensively in the San Francisco Bay Area. Educated at Lake Forest College, Columbia University, where he worked with Vladimir Ussachevsky, and California Institute of the Arts, where he worked with Morton Subotnick, Marshall went on to study gamelan music in Bali and Java in 1971. Over the next several years, Marshall further cultivated his interest in Indonesian music and continued the experimental work in electronic music. Certain characteristics of Marshall's music, such as the slowed-down sense of time and use of melodic repetition, can be traced to his study of Indonesian music. Marshall has performed his own live electronic music in the U.S. and Europe, and has collaborated with various artists and choreographers including photographer Jim Bengston and choreographers Stuart Pimsler and Paula Josa-Jones. Marshall has been the recipient of awards, grants and commissions from the Rockefeller Foundation, the National Endowment for the Arts, the Fromm Foundation, California Arts Council and the Washington State Arts Commission.
Conductor and percussionist Jeffrey Milarsky has premiered and recorded works of many contemporary composers, including Charles Wuorinen, Ralph Shapey, Mario Davidovsky, Wayne Peterson and Jonathan Dawe. He has led such accomplished groups as the American Composers Orchestra, the New York New Music Ensemble, the Chamber Music Society of Lincoln Center, Columbia Sinfonietta, Speculum Musicae, Cygnus Ensemble, the Fromm Players at Harvard University, the Composers' Ensemble at Princeton University and the New York Philharmonic chamber music series.
Milarsky is professor of music at Columbia University, as well as music director and conductor of the University's orchestra. He is director of the Composers' Forum at The Juilliard School, from where he received his bachelor and master of music degrees, and is on the percussion faculty of the School's Pre-College. He regularly conducts The Juilliard Orchestra, with whom he has premiered over 70 works of Juilliard student composers over the past 15 years. Milarsky is also a faculty member at The Bowdoin Summer Music Festival and has recently joined the faculty of the Manhattan School of Music as artistic director and conductor of the percussion ensemble.
Milarsky performs and records regularly with the New York Philharmonic, the Chamber Music Society of Lincoln Center, the American Composers Orchestra, the Stamford Symphony and Concordia. He has recorded for Angel, Teldec, Telarc, New World, CRI, MusicMasters, EMI, Koch and London records.
Paul D. Miller (a.k.a. DJ Spooky)
Paul D. Miller (a.k.a. DJ Spooky) is a conceptual artist, writer and musician working in New York City. Miller is most well known under the moniker of "DJ Spooky that Subliminal Kid," a character from his upcoming novel Flow My Blood the DJ Said, which uses a wide variety of digitally created music as a form of post-modern sculpture. As DJ Spooky, Miller has recorded a huge volume of music and has collaborated a wide variety of pre-eminent musicians such as Iannis Xenakis, Ryuichi Sakamoto, Butch Morris, Kool Keith a.k.a. Doctor Octagon, Killa Priest from Wu-Tang Clan, Yoko Ono and Thurston Moore from Sonic Youth. Miller's written work has appeared in the Village Voice, The Source, Artforum, Raygun, Rap Pages and Paper Magazine. He was the first editor-at-large of the cutting edge Artbyte: The Magazine of Digital Culture. Miller's work as a visual artist has appeared in a wide variety of contexts such as the Whitney Biennial, The Venice Biennial for Architecture, the Ludwig Museum in Cologne and The Andy Warhol Museum in Pittsburgh. More information can be found at www.djspooky.com
Evans Mirageas's varied career has embraced radio production with the nationally renowned WFMT in Chicago, symphony administration as artistic administrator to Seiji Ozawa at the Boston Symphony and artistic leadership as senior vice-president and award-winning record producer at Decca. He recently directed the European launch of the American Internet arts ticketing agency CultureFinder.com. He currently serves as artistic advisor to celebrated conductor Semyon Bychkov, as well as the Brooklyn Philharmonic and the Milwaukee Symphony.
James Mobberley received his masters in composition at the University of North Carolina at Chapel Hill, where he studied with Roger Hannay. He earned his doctorate at the Cleveland Institute of Music, studying with Donald Erb and Eugene O'Brien.
Mr. Mobberley began teaching composition in 1981, with a year at the Cleveland Institute of Music then a year at Webster University in St. Louis. He joined the faculty of the Conservatory of Music at the University of Missouri Kansas City in 1983, and has recently been named Curators' Professor of Music. He also directs the Conservatory's Music Production And Computer Technology (M-Pact) Center. His position as the Kansas City Symphony's first Composer-in-Residence began in 1991.
Mr. Mobberley is currently serving as Composer-in-Residence for New Ear, Kansas City's Contemporary Music Ensemble. His fellowships, grants, and awards, include a Guggenheim Fellowship, the Rome Prize Fellowship, a Composer's Fellowship from the National Endowment for the Arts, the Lee Ettelson Composers Award, as well as awards from a variety of other sources. Mr. Mobberley's music spans many media: from orchestral and chamber music, music for film, video, theater, dance, to music that combines electronic and computer elements with live performance.
Martha Mooke is a pioneer in the field of the electric five-string viola. She has developed a unique musical voice by synthesizing her classical music training with extended techniques, digital effects processing and improvisation, while retaining the depth and soul of the instrument. She has received awards from ASCAP, Meet the Composer and Arts International. Besides her catalog of works for solo and ensemble electric strings, she has composed music for theater and ballet and served as Music Director for national and international events.
Ms. Mooke's diverse schedule includes touring, clinics and lecture demonstrations on electric strings and the use of electronics, extended techniques and improvisation. Enharmonic Vision, her solo debut CD, continues to receive wide critical acclaim. Along with electric ebow guitarist Randolph Hudson, III, the duo Bowing will release its long awaited CD later this year. Ms. Mooke performs with many of New York's leading ensembles, touring and recording in the states and abroad. She recently performed with David Bowie, Moby, Philip Glass and Tony Visconti at the sold out benefit for Tibet House at Carnegie Hall. She played in the U.S. premiere of Paul McCartney's Standing Stone at Carnegie Hall and on Philip Glass's film scores of Kundun and Koyaanisqatsi. She has a platinum record for her work on 10,000 Maniacs Unplugged. Other artists she has performed and recorded with are Enya, Lauryn Hill, Al DiMeola, John Cale, Anthony Braxton, the Orchestra of St. Luke's, Soldier String Quartet, Musicians Accord, Turtle Island String Quartet and Steve Reich. She has performed on Regis Live!, the David Letterman, Late Night with Conan O'Brien and Rosie O'Donnell shows. Ms. Mooke created and is the Producer of ASCAP's new music showcase THRU THE WALLS featuring composer/performers whose work defies categorization.
Tristan Murail has been teaching composition at Columbia University since 1997. He was previously professor of computer music at the Paris Conservatoire and professor of composition at IRCAM (Institut de Récherche et de Coordination Acoustique/Musique) in Paris, where he was also consultant to the computer-assisted composition research team and worked on the development of the Patchwork program. Murail studied composition with Olivier Messiaen at the Paris Conservatoire and computer music at IRCAM. He won the Prix de Rome from the Paris Conservatoire in 1971, has been the recipient of several awards from the Académie Française and from SACEM, and was awarded the Grand Prix du Disque (1990) and the Grand Prix du Président de la République, Académie Charles Cros (1992).
John Oswald's recent activities include: a sonic motorcade in Brasilia, and a dance composition for 22 choreographers (including Bill T.Jones, Margie Gillis, & Holly Small). His commissions include those from the Lyon Opera Ballet, Dutch National Radio, Change of Heart, SMCQ and Radio Canada. His other works are in the active repertoire of the Kronos Quartet (they have performed his Spectre for over 300 times worldwide, & another commission, Mach almost as often), the Culberg Ballet Sweden, the Monaco Ballet, the Deutsche Opera Ballet Berlin, the Modern Quartet, the Penderecki Quartet, and others. His recorded works have been used in productions for radio, stage, concert, television, film, Hollywood movies, computer media and video.
Last year, Mr. Oswald composed a score for the National Ballet of Canada for orchestra, robot piano and the disembodied singing voice of Glenn Gould. For the past year, he has been creating a database of photo portraits for a series of Moving Stills. In 1990, Mr. Oswald's most notorious recording, plunderphonic, was destroyed by prudes in the Recording Industry representing Michael Jackson. Mr. swald is Director of Research at MysteryLaboratory in Canada, and Musical Director of the North American Experience.
Frank J. Oteri
Frank J. Oteri is a New York City-based composer and the editor of NewMusicBox, the American Music Center's ASCAP-Deems Taylor Award-winning web magazine (www.newmusicbox.org). An outspoken new music crusader whose comments have appeared in the New York Times, Washington Post and the Wall Street Journal, Oteri has given conference presentations for Chamber Music America, the American Music Personnel in Public Radio, the Music Critics Association of North America, the International Association of Music Information Centres and the Menil Collection. His articles have appeared in BBC Music Magazine, Stagebill, Gramophone's ICRC and the Revised New Grove Dictionary of Music and Musicians. Oteri's musical compositions include chamber and vocal works, and the "performance oratorio" Machunas, based on the life of Fluxus founder George Maciunas.
Joseph Paradiso is a Principal Research Scientist at the MIT Media Lab, where he directs the Responsive Environments Group, which develops sensing modalities and enabling technologies that create new forms of interactive experience and expression. His work addresses many application areas, ranging from interactive music systems to smart highways and wearable computers. He is an authority on electronic music interfaces, having developed many unique controllers that range from instruments for highly-skilled performers through musical installations open to the general public. His work has been exhibited and presented at many different international venues. He has designed several musical interfaces for many collaborations with Tod Machover, including the hyperviolin tracker, the sensor chair, and the Brain Opera. He is the winner of a 2000 Discover Magazine Award for Technical Innovation for his Expressive Footwear System, a multisensor interface for electronic dance.
Mr. Paradiso has been designing electronic music synthesizers and composing electronic music since 1975, and has been producing electronic and avant-guarde music programs for non-commercial radio since 1974. He has designed one of the world's largest modular synthesizers for his own use, and has developed MIDI systems for internationally-known musicians such as Pat Metheney and Lyle Mays.
Miller Puckette obtained a B.S. in Mathematics from MIT (1980) and Ph. D. in Mathematics from Harvard (1986). Mr. Puckette was a member of the MIT Media Lab from its inception until 1987, and then a researcher at IRCAM (l'Institut de Recherche et de Coordination Musique/Acoustique, founded by composer and conductor Pierre Boulez). There he wrote the Max program for MacIntosh computers, which was first distributed commercially by Opcode Systems in 1990 and is now available from Cycling74.com. In 1989, Mr. Puckette joined IRCAM's "musical workstation" team and put together an enhanced version of Max, called Max/FTS, for the ISPW system, which was commercialized by Ariel, Inc. This system became a widely used platform in computer music research and production facilities. The IRCAM real-time development team has since re-implemented and extended this software under the name JMAX, which is distributed free with source code. Mr. Puckette joined UCSD's music department in 1994, and is the Associate Director of the Center for Research in Computing and the Arts (CRCA).
Roger Reynolds was educated in music and science at the University of Michigan. His compositions incorporate elements of theater, digital signal processing, dance, video, and real-time computer spatialization, in a signature multidimensionality of engagement. The central thread woven through Mr. Reynolds' uniquely varied career entwines language with the spatial aspects of music. This center first emerged in his notorious music-theater work, The Emperor of Ice Cream (1961-62; 8 singers, 3 instrumentalists; text: Wallace Stevens), and is carried forward in the VOICESPACE series (quadraphonic tape compositions on texts by Coleridge, Beckett, Borges and others), Odyssey (an unstaged opera for 2 singers, 2 recitants, large ensemble, multichannel computer sound; bilingual text: Beckett), and JUSTICE (1999; soprano, actress, percussionist, computer sound and real-time spatialization, with staging; text: Aeschylus).
In addition to his composing, Mr. Reynolds' writing, lecturing, organization of musical events and teaching have prompted numerous residencies at international festivals. He was a co-director of the New York Philharmonic's Horizons '84, has been a frequent participant in the Warsaw Autumn festivals, and was commissioned by Toru Takemitsu to create a program for the Suntory Hall International Series. Mr. Reynolds' regular masterclass activity in American universities also extends outward: to the Sibelius Academy in Helsinki, Ircam in Paris, to Latin America and Asia, to Thessaloniki. His extensive orchestral catalog includes commissions from the Philadelphia, Los Angeles and BBC Orchestras.
In 1988, perplexed by a John Ashbery poem, Reynolds responded with Whispers Out of Time, a string orchestra work which earned him the prestigious Pulitzer Prize. Critic Kyle Gann has noted that he was the first experimentalist to be so honored since Charles Ives. Reynolds' writing, beginning with the influential book, Mind Models (1975), has appeared widely in Asian, American and European journals, while his music, recorded on Auvidis / Montaigne, Mode, New World, and Neuma, among others, is published exclusively by C. F. Peters Corporation, New York.
In 1998, Mode Records released WATERSHED, the first DVD in Dolby Digital 5.1 to feature music composed expressly for a multichannel medium. In the same year, The Library of Congress established the Roger Reynolds Special Collection. Writing in The New Yorker, Andrew Porter called him "at once an explorer and a visionary composer, whose works can lead listeners to follow him into new regions of emotion and meaning."
Pete Rice is a musician and software designer, specializing in interactive musical experiences for the Internet, game industry and live performance. Rice grew up in California where he tested video games professionally as a teenager. He studied at MIT where he worked in Todd Machover's hyperinstruments group at the Media Lab and where he earned both bachelor's and master's degrees. Rice was a significant collaborator on several of Machover's projects including the Brain Opera, for which he was chief designer of interactive performance software. At the Media Lab, Rice also developed "Stretchables," which allow the manipulation of dynamic graphical animations to control and shape live music, controllable by DJ-type performers, by audience movements or by commands in a dance club environment.
From 1999-2001, Rice was a developer of Internet music applications for Shockwave and has recently started his own company in San Francisco to design a wide range of interactive music games and experiences for the web, as well as for public venues such as theme parks.
Neil Rolnick's career as a composer and performer since the late 1970s has spanned many areas of musical endeavor, often including unexpected and unusual combinations of materials and media. He has performed his music around the world, exploring forms as diverse as digital sampling, interactive multimedia, and traditional musical theater. His music appears on 10 CDs, and his work has received support from the National Endowment for the Arts, the Rockefeller Foundation, the Asian Cultural Council and the Fulbright Foundation, among others. Throughout the 1980s and '90s he has also been responsible for the development of the first integrated electronic arts graduate and undergraduate programs in the US, at Rensselaer Polytechnic Institute's iEAR Studios, in Troy, NY. Rolnick's innovation as an educator has been to bring together the commonality of artistic creation across many disciplines - which relates directly to his varied creative work with filmmakers, writers, and video and media artists.
Gil Rose is the founder and music director of the Boston Modern Orchestra Project. Active as a guest conductor, Rose has led orchestras throughout Europe and the United States, including recent appearances with orchestras in the Czech Republic. He has been selected as a participant in many international competitions including the Concours International de Jeunes Chefs d'Orchestre in Besancon, France; the Grzegorz Fitelberg International Competition for Conductors in Katowice, Poland; and the Lovro Matacic International Conducting Competition in Zagreb, Croatia.
Rose received his undergraduate training at the Cincinnati College Conservatory of Music. Rose holds a master's degree and artist diploma from Carnegie Mellon University, where his teachers were Samuel Jones and Juan Pablo Izquierdo. While at Carnegie Mellon he served as assistant to Maestro Izquierdo at the Institute for Orchestral Studies in Memory of Hermann Scherchen. Rose has continued his studies in seminars and master classes with Pierre Boulez, Otto Werner Mueller, Seiji Ozawa and Max Rudolph.
Jesse Rosen is vice president and chief program officer of the American Symphony Orchestra League. Previously he served as general manager of the Seattle Symphony, where he was responsible for orchestra operations, electronic media, touring and special projects. Prior to his position at the Seattle Symphony, Rosen served as executive vice president and managing director of the American Composers Orchestra in New York City. He also served as orchestra manager of the New York Philharmonic and as vice president of programs for Affiliate Artists, Inc., where he developed and launched the Seaver Conducting Award and managed the Exxon/Arts Endowment Conductors Program. Rosen received his bachelor's degree from the Manhattan School of Music and pursued graduate studies at The Juilliard School.
Mathew Rosenblum was born in New York City in 1954. He earned advanced degrees in music composition at the New England Conservatory of Music and Princeton University. His works have been performed throughout the United States and Europe including the 1990 ISCM World Music Days in Oslo Norway, De Ijsbreker in Amsterdam, the Tonhalle in Düsseldorf, the Bing Theater in LA., and at the Sonic Boom Festival in New York City by ensembles including the California Ear Unit, Newband, Earplay, the Dinosaur Annex Ensemble, the New York New Music Ensemble, the Rascher Saxophone Quartet, the Chicago Contemporary Players, the Pittsburgh New Music Ensemble, Sequitur, and others. Recent commissions and performances include a Concerto for Saxophone Quartet and Chamber Orchestra commissioned by the Rascher Saxophone Quartet and premiered in Düsseldorf Germany in March 2000, a work celebrating the new millennium for chamber ensemble and pre-recorded text commissioned by the Gould Center for Humanistic Studies, premiered in Claremont California in April, and a multi-media chamber opera incorporating surround-sound audio and interactive video currently being written for Mary Nessinger and the New York ensemble Sequitur. Rosenblum's music is a synthesis of diverse musical elements derived from classical, jazz, rock, and world music traditions. Most notably, his current music uses two tuning systems, the normal twelve note equal tempered system, and a twenty one note-to-the-octave "just" system designed to be used in conjunction with the twelve note equal tempered system. His music moves freely through passages and movements which use combinations of altered or tempered tunings, and explores ways in which seemingly separate musical voices and traditions may be woven together into a newly expressive whole. He is currently an Associate Professor of composition at the University of Pittsburgh.
Robert Rowe's music is performed throughout North America, Europe and Japan. In 1991 he became the first composer to complete the doctorate degree in music and cognition at the MIT Media Laboratory.
From 1978 to 1987 he lived and worked in Europe, associated with the Institute of Sonology in Utrecht, the Royal Conservatory in the Hague, the ASKO Ensemble of Amsterdam and with IRCAM in Paris, where he was head of control level software development for the 4X machine. His piece Hall of Mirrors for Dutch bass clarinetist Harry Sparnaay and the 4X was premiered at IRCAM in 1986. In 1990 his composition Flood Gate won first prize in the "Live Electroacoustic" category of the Bourges International Electroacoustic Music Competition.
Rowe's music can be heard on compact discs from Harmonia Mundi and the International Computer Music Association. His book/CD-ROM projects Interactive Music Systems (1993) and Machine Musicianship (2001) are available from the MIT Press.
Rowe also holds a master's degree in composition (Iowa) and a bachelor's degree in music history and theory (Wisconsin). He is currently associate professor and associate director of the music technology program at New York University.
Greg Sandow is a composer, critic and consultant. He wrote a column on new music for the Village Voice in the 1980s and later was chief pop music critic for the Los Angeles Herald-Examiner and music editor at Entertainment Weekly. Currently he writes about classical music for the Wall Street Journal and other publications and teaches graduate courses on music criticism and on the future of classical music at The Juilliard School. His compositions include four operas, all successfully produced in the '70s and '80s. Now, after a long hiatus, he's working on a fifth.
John Schaefer is the executive producer of music programming at WNYC radio. He has hosted and produced the radio series "New Sounds" since 1982. This program has been heard via National Public Radio in the U.S. and Puerto Rico, and on public radio in Australia and Taiwan. In 1991, Schaefer created WNYC's "Around New York," a daily program of live chamber music, classic jazz and occasional musical oddities heard each weekday afternoon.
Schaefer has written extensively about music, including the book New Sounds: A Listener's Guide to New Music (Harper & Row, NY 1987; Virgin Books, London, 1990); The Cambridge Companion to Singing: World Music (Cambridge University Press, U.K., 1999); and a biography of composer La Monte Young (in Sound and Light, Bucknell University Press, 1996). He was contributing editor for Spin and Ear magazines. His liner notes appear on more than 50 recordings, ranging from the 1996 NAIRD winner The Music of Armenia to The Bach Variations; from Terry Riley's In C to Bobby McFerrin's Paper Music.
Steven Schick has championed contemporary percussion music as a performer and teacher for the past 20 years. Schick has commissioned and premiered more than 100 new works for percussion and has performed these pieces on major concert series such as Lincoln Center's Great Performers and the Los Angeles Philharmonic's Green Umbrella concerts, as well as in international festivals including Warsaw Autumn, the BBC Proms, the Jerusalem Festival, the Holland Festival, the Stockholm International Percussion Event and the Budapest Spring Festival. He has recorded many of those works for Sony Classical, Wergo, Point, CRI and will release a new solo CD with Neuma Records.
Schick is the percussionist of the Bang On A Can All-Stars. Other important ongoing collaborations include work with pianist James Avery, the percussion group "red fish blue fish" and the Maya Beiser/Steven Schick Project.
From 1984 to 1992, Schick taught at the Darmstadt Ferienkurse für Neue Musik in Darmstadt, Germany, co-directing the course's seminal percussion program with James Wood. He has been regular guest lecturer at the Rotterdam Conservatory and the Royal College of Music in London. Schick is professor of music at the University of California, San Diego and lecturer in percussion at the Manhattan School of Music.
Schick studied at the University of Iowa and received the Soloist's Diploma from the Staatliche Hochschule für Musik in Freiburg, Germany.
Jonathan Sheffer is a conductor and composer who has moved freely in creating and interpreting music over a wide spectrum. In the 2001 season, Sheffer was a featured guest conductor at the American Ballet Theatre at the Metropolitan Opera, the Norwalk Symphony and the Bronx Arts Ensemble. In 2000, Sheffer conducted the Sapporo Symphony at the Pacific Music Festival in Japan; the New World Symphony in Miami, Florida; and the United World Philharmonic Youth Orchestra in Bonn, Germany, which was broadcast live on German National Television. Future engagements include conducting performances of John Philip Sousa's The Glass Blowers at the New York City Opera in 2002.
In 1995 Sheffer founded the Eos Orchestra. Through innovative programming, the rediscovery of important neglected works and composers, and collaborations with other artistic disciplines to produce new and exciting performances, Eos seeks to be a driving force in the revitalization of the live music experience. Past Eos seasons have featured two critically acclaimed concerts of Six Ten-Minute Operas, a world premiere performance of a suite of music from the film The Red Violin, a concert of music from the 1939 World's Fair, and a festival of music by author and composer Paul Bowles.
David Soley was born in Ancon, Panama, in 1962 and moved to the U.S. in 1979. His early musical studies were with Edwin Cobham and Dale Brooks. After three years in the U.S. Army (3d Armored Division Band, Frankfurt, Germany), he began his formal music studies at California State University, Northridge (B.M. 1987), and completed them at Stanford University (D.M.A. 1993). He has studied with Lukas Foss and Oliver Knussen at Tanglewood and with Franco Donatoni at the Accademia Musicale Chigiana. He has received commissions from the New York Youth Symphony, the Los Angeles Philharmonic Orchestra, Meet The Composer, the Koussevitsky Music Foundation, The Stony Brook Contemporary Chamber Players, Earplay, IRCAM/Ensemble InterContemporain, the Chicago Symphony Orchestra and the Fromm Music Foundation. The Los Angeles Philharmonic Orchestra, the American Composers Orchestra, the Detroit Symphony Orchestra and the Cleveland Orchestra have also performed his music.
He has been the recipient of various fellowships and prizes, including a Guggenheim Fellowship, an ASCAP Foundation Grant, two BMI awards, the Bearns Prize of Columbia University and a residency at the Djerassi Resident Artists Program.
For over 30 years, Speculum Musicae has been internationally recognized for its immaculately prepared and passionately rendered performances of the music of our time. Since its formation in 1971, Speculum Musicae has maintained its position as one of the nation's preeminent contemporary chamber ensembles. In addition to its annual concert series in New York, the ensemble had performed at the Kennedy Center for the Performing Arts, The Library of Congress, the New Music Los Angeles series and the New York Philharmonic's New Horizons series. Speculum Musicae has also performed abroad including a 1988 performance at the Bath Festival, which was broadcast on BBC television. Speculum Musicae served as the featured ensemble at Poland's Warsaw Autumn Festival in 1986. Speculum Musicae has recorded for CRI, Nonesuch, New World, Columbia and Bridge Records.
Speculum Musicae is comprised of 12 of New York's most gifted musicians that work together in a co-operative organizational structure. Over the years, these artists have developed an unequaled rapport and ensemble sound. Their artistry is combined with a deep and lasting commitment to new music, which has made them an important part in the development of the contemporary repertoire. In turn, the members of Speculum Musicae and their audience has benefited from extensive collaboration and interaction with the composers whose works they present.
George Steel is executive director of Columbia University's Miller Theatre, where he has garnered universal praise as a champion of new and old music. Prior to his arrival at Miller Theatre, Steel was managing producer at New York's 92nd Street Y. Among Steel's recent presentations are Luciano Berio's complete Sequenzas, the U.S. premiere of Xenaki's' Kraanerg with DJ Spooky, an all-Penderecki concert, and the recently launched "New Works" series. Steel studied conducting with Leonard Bernstein at Tanglewood. He is also active as a singer and composer and is the conductor and artistic director of the VOX Vocal Ensemble.
Composer/conductor Rand Steiger was born in New York City in 1957. His compositions have been performed at international festivals and by many ensembles including the St. Paul Chamber Orchestra, American Composers Orchestra, Speculum Musicae, San Francisco Contemporary Music Players, and the New York New Music Ensemble. He has received a Rome Prize, a National Endowment for the Arts Composers Fellowship, and commissions from the Fromm Foundation, Ircam, the Los Angeles Chamber Orchestra, the San Diego Symphony, the National Flute Association, Meet the Composer (for Steven Schick and Maya Beiser) and the Los Angeles Philharmonic, where he served as Composer Fellow from 1987 through 1989. His compositions and performances are recorded on the Centaur, CRI, Crystal, Einstein, Koch, Mode, New Albion, New World and Nonesuch labels.
Continuing his long-standing interest in computer music, he is currently working on a new piece commissioned by Ircam for large chamber ensemble with real-time audio signal processing, and computer controlled light. He recently collaborated with Miller Puckette and Vibeke Sorensen on the creation of a system for networked, real-time computer graphics and music, supported by a three year grant from the Intel Research Council.
In 1981, Mr. Steiger co-founded the California EAR Unit, serving as artistic director through 1985 and since as principal guest conductor. Steiger has also conducted the Arditti Quartet, Aspen Chamber Ensemble, CalArts Twentieth-Century Players, Los Angeles Philharmonic New Music Group, New York New Music Ensemble, Sonor, and Ensemble Sospeso. Mr. Steiger was a member of the Faculty of California Institute of the Arts from 1982 through 1987, and is currently a Professor in the Music Department at the University of California, San Diego, where he served as department chair from 1992 through 1996.
Morton Subotnick is one of the United States' premier composers of electronic music and an innovator in works involving instruments and other media, including interactive computer music systems. Most of his music calls for a computer part or live electronic processing; his oeuvre utilizes many of the important technological breakthroughs in the history of the genre.
The work which brought Subotnick celebrity was Silver Apples of the Moon. Written in 1967 using the Buchla modular synthesizer (an electronic instrument built by Donald Buchla utilizing suggestions from Subotnick and Ramon Sender), this work contains synthesized tone colors striking for its day and a control over pitch that many other contemporary electronic composers had relinquished. Commissioned by Nonesuch Records and written in two parts to correspond to the two sides of an LP, Silver Apples marked the first time an original large-scale composition had been created specifically for the disc medium. The record was an American bestseller in the classical music category, an extremely unusual occurrence for any contemporary concert music at the time. The next eight years saw the production of several more important compositions for LP, realized on the Buchla synthesizer: The Wild Bull (1967), Sidewinder (1970) and Four Butterflies (1971).
In the late 1970s, Subotnick developed the "ghost" box, an electronic device consisting of a pitch and envelope follower for a live signal, an amplifier, a frequency shifter and a ring modulator, which allowed sophisticated control over real-time electronic processing of a live performance. Two Life Histories (1977) was the first piece involving an electronic "ghost" score; the bulk of Subotnick's output for the next six years was devoted to compositions involving performers and ghost scores. Some of the more notable works in the series include Liquid Strata (piano)(1977), Parallel Lines (piccolo accompanied by nine players)(1978) and The Wild Beasts (trombone and piano)(1978).
Subotnick reached the apex of live electronic processing in his work Ascent Into Air (1981), written for the powerful 4C computer at IRCAM. In this work, live performers control the computer music-the reverse situation of the "ghost" score compositions. Subotnick's recent works utilize computerized sound generation, specially designed software Interactor and "intelligent" computer controls which allow the performers to interact with the computer technology.
In addition to music in the electronic medium, Subotnick has written for symphony orchestra, chamber ensembles, theater and multimedia productions. His most recent works include Jacob's Room (1993), a multimedia opera directed by Herbert Blau with video imagery by Steina and Woody Vasulke and featuring Joan La Barbara; Return (1986), commissioned to celebrate the return of Halley's Comet; and The Double Life of Amphibians (1984), a collaboration with director Lee Breuer and visual artist Irving Petlin, utilizing live interaction between singers, instrumentalists and computer.
Currently, Subotnick co-directs both the composition program and the Center for Experiments in Art, Information and Technology (CEAIT) at the California Institute of the Arts. He tours extensively throughout the U.S. and Europe as a lecturer and composer/performer.
Robert Sutherland is music librarian at the Metropolitan Opera and a board member of the Major Orchestra Librarians Association.
Dan Trueman is active as a composing performer on both the 6-string electric violin and the Norwegian Hardanger fiddle. His duo Trollstilt (with guitarist Monica Mugan) recently completed its first CD of original tunes, inspired by his activities as a traditional Hardanger fiddler. His compositions have been performed by the Brentano, Cassatt and Amernet string quartets, the Paul Dresher Ensemble, and others. As an improviser, he has performed throughout the Northeast and in Europe with Interface, an electronic improvisation duo (with Curtis Bahn). He has been active as an experimental instrument designer, and has built (with Perry Cook) sensor bows, spherical speakers, and, most recently, the Bowed-Sensor-Speaker-Array (BoSSA).
Mr. Trueman has a degree in physics from Carleton College (where he studied composition with Phillip Rhodes), an M.M. in composition from the College-Conservatory of Music in Cincinnati (where he studied with Allen Sapp and Brad Garton), and has recently completed a Ph.D. in composition at Princeton University where he worked with Paul Lansky, Steve Mackey, Paul Koonce, and Louis Andriessen. He currently works at the Columbia University Computer Music Center.
Martin Verdrager has served as artistic administrator to the Aspen Music Festival, Festival Casals, and the National Symphony Orchestra in Washington, D.C.; and most recently he as artistic advisor to the New York Chamber Symphony. Mr. Verdrager has developed and contributed to many programs including the National Symphony's intra-seasonal festivals featuring Latin Music, Percussion, Jazz, and Beethoven; lecture series, chamber music presentations, and the Aspen's Festival's contemporary music programs. He teaches music history at The Juilliard School, where he has served on the faculty beginning in 1968. In New York, he performed as a contrabassonist with numerous metropolitan area orchestras and ensembles, including several seasons with the New Jersey Symphony where he was the personnel manager. Mr. Verdrager is a graduate of New York High School of Music and Art and The Juilliard School.
David Wessel is the Director at the Center for New Music and Audio Technologies, UC Berkeley. His interests include interactive composition and performance, analysis and synthesis of sound, music perception and cognition. He studied mathematics and experimental psychology at the University of Illinois, and received a doctorate in mathematical psychology from Stanford in 1972.
Mr. Wessel's work on the perception and compositional control of timbre in the early 70's at Michigan State University led to a musical research position at IRCAM in Paris in 1976. In 1979 he began reshaping the Pedagogy Department to link the scientific and musical sectors of IRCAM. In 1985 he established a new IRCAM department devoted to the development of interactive musical software for personal computers. In 1988 he began his current position as Professor of Music at the University of California, Berkeley where he is Director of CNMAT. He is particularly interested in live-performance computer music where improvisation plays an essential role.
Carol Wincenc is one of today's international stars of the flute and has appeared as a soloist with major orchestras around the world. Deeply committed to expanding the flute repertoire, Wincenc has premiered works written for her by many of today's most prominent composers. Her premieres include a flute concerto written for her by 1993 Pulitzer Prize-winner Christopher Rouse premiered with the Detroit Symphony in 1994 and recorded on Telarc with the Houston Symphony conducted by Christoph Eschenbach. She gave the world premiere of Gorecki's Concerto-Cantata at Amsterdam's Concertgebouw in 1992 and has also commissioned and premiered concerti by Peter Schickele, Joan Tower, Paul Schoenfield and Tobias Picker, who composed a double concerto for her and soprano Barbara Hendricks entitled The Rain in the Trees, which was inspired by the rainforest poems of W.S. Merwin.
Mark Wingate composes and teaches electroacoustic music in Austin, Texas. His music has been performed at numerous festivals in North America and Europe and has garnered awards such as the Stockholm Electronic Arts Award (Sweden, 1992) and the Prix de la musique électroacoustique Caractère (Bourges, France, 1996). Mr. Wingate has received fellowships from the Fulbright Commission (USA), the University of Texas, and the NEA (National Endowment for the Arts, USA).
Randall Woolf studied composition privately with David Del Tredici and Joseph Maneri at Harvard. His works have been performed at Bang on a Can, Tanglewood, the D'Avant-Garde festival, and elsewhere. In 1990, he was commissioned by Tanglewood for an orchestral work, White Heat, for the 1990 Festival of Contemporary Music, where it was premiered, conducted by Oliver Knussen. His works have been performed by Kathleen Supove, twisted tutu, the Kronos Quartet, Robert Black, Netherlands Wind Ensemble, Marimolin, and others. Mr. Woolf's recent commissions include works for the Edmonton Chamber Symphony, Basso Bongo, David Leisner, and American Baroque. He has received grants and awards from the National Institute/Academy of Arts and Letters, Jerome Foundation, US West, and The National Orchestral Association.
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