MusInfo’s Art & Science Days will include a new work of mine, commissioned as a result of wining Second Prize in the Concours de Bourges. They also asked me to give the featured lecture on relationships between art amd science. I’m looking forward to visiting MusInfo and meeting violinist Emma Lloyd (Scotland/Paris), who will premiere my new work, in Bourges, France!
I just received word that my work was one of 18 pieces (out of 200+ submissions from 35 countries) for the CEMI Circles festival tutus October at my alma mater, the Center for Experimental Music and Intermedia at the University of North Texas. I know the venue well for helping upgrade and run it as a doctoral fellow: it’s going to rock the Merrill Ellis Intermedia Theater with its 28.3 channel speaker system and three screens!
I’m very honored to have received First Prize in Portugal’s Viseu Rural competition for sound art exploring the expressive potential of their soundscape archives!
For more information about the competition: http://binauralmedia.org/news/en/arquivo/9504
For more information about my prize-winning entry: Click here
In fall 2010, German Cellist Ulrich Maiß collaborated with TAMU students to create a full concert of new works using technology and improvisation as part of his ZenMan touring program. (Click here to see that performance.)
In spring 2016, Maiß returned to TAMU on his ZenMan X tour. Inspired by the recent release of performance materials by cellist and performance artist Charlotte Moorman, and reflecting on the fact that her work can now be experienced only through its documentation, often scant and poor in quality, Maiß and TAMU’s students created works of “performance for video”—live performances that consider all aspects of the live moment, created with more than just pitches and rhythms, works that were necessarily written for cello (or cellist) in some way, and whose significant features can still be experienced through its video documentation.
The entire performance is below in program order. Click each composer’s name to read artistic statements and portfolios of research, development, and creative work leading up to the creation of this performance. Continue reading
An immersive audiovisual composed improvisational environment. The performance is structured to juxtapose horizontal and vertical gestures (e.g., for percussion, rubbing versus striking). All digital sound is sampled from the acoustic instrument live during the performance. All video is a live processed feed of the performer’s arms at work, exploded into full textures that immerse the audience in the sensation of the actions that are causing the sounds they hear.
Rehearsal with Sergio Castrillón, cello (https://sergiocastrillon.com/) at Korjaamo, Sound and Music Computing Conference, Helsinki, Finland
Texas A&M University hosted the World War I conference, “1914 and the Making of the 20th Century” and as a part of it, the Theatre Arts program produced Journey’s End by R. C. Sheriff, directed by Anne Quackenbush. I directed some exciting developments in sound design for the show, which you can read about here: link.
A composition for TAMU student dancers, choreographed by Carisa Armstrong.
6/28–6/29/2012 at the Salvage Vanguard Theater, Austin , TX (ticketed)
Choreographers Christine Bergeron and Carisa Armstrong worked with me to create a set of four brief pieces, each one minute long, on the central theme “Deck:” Deck of Cards, Decked Out, Hit the Deck, and Wooden Deck. Continue reading
This work explores the technology of the horn. Since it is a mature acoustic instrument, we tend to overlook the artificial structures it imposes on the way we think about making music with it. Also, musical conventions lead horn players to struggle against the natural tendencies of the instrument, e.g., to force notes to be what we consider to be “in tune.” In its earlier forms, the horn had no valves Continue reading