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Aaron Acosta is a graduate from the College of Santa Fe with a BA in Sound Design in Media in 2002. This is a Self Designed major that consists of studies in Theatre, Film, and Music. Sound helps us interpret the world in a unique way with frequency, amplitude and time: he chooses to explore these realms. He is involved with electro acoustic composition as well as more traditional composition. Aaron Acosta is a member of USITT & CITT.

“pieces” is composed of sound effects, cell phone ringers, excerpts from the news, granular synthesis, and a piano track (performed by myself) combine to create a feeling of information overload.

Texas-based trombonist, composer and improviser Brian Allen is involved with a wide variety of media and genres. Collaborators include Anthony Braxton, Mark Dresser, Ellery Eskelin, Satoko Fujii, and Roswell Rudd. Brian's current projects include the Brian Allen Trio with Tony Malaby and Tom Rainey and Brain Killer, a duo with pianist Jacob Koller. A recent recipient of a Meet the Composer Grant, Brian's compositions have been premiered at several international and national festivals and include works for wind ensemble, chamber, electronica, Mexican Banda and jazz.

Both “ondre” deals with vibrational techniques on the trombone. These are achieved through multiphonics, both vocal and lip, as well as other embouchure and timbral manipulations. Both pieces focus on a different approach of creating sounds that vibrate with additional frequencies or effects. These techniques have been developed from my textural improvisations. The prolongation of these sounds seeks to create a drone like effect without traditional development.

Although Dwight Ashley has been a composer and recording artist for morel than 25 years, he has made none of his work public until 1991, when his first collaboration with Tim Story, A Desperate Serenity, was released on the Multimood label. A second project with Story, entitled Drop, followed in 1997. In June 2004, Dwight made his solo debut with Discrete Carbon, released on the Nepenthe Music label, followed by Four in 2005, and a third Ashley/ Story project, Standing and Falling in 2005.

"The Saw That They Were Naked," an orchestral piece, written for strings, bass trombone and glockenspiel.

Attracted by the esoteric, yet, multi-disciplinary art of computer music, Jeremy Baguyos has been actively involved in various facets of electroacoustic and computer music since 1999. His work has been presented at numerous conferences and festivals including ICMC. His favorite projects include sound installations and interactive computer improvisation. He maintains concurrent appointments as Assistant Professor of Music at Sauk Valley Community College and as Principal Bass of the Des Moines Metro Opera Orchestra. Previous appointments include faculty positions at Indiana-Purdue University and Grambling State University. He holds degrees from Indiana University, Bloomington and the Peabody Institute of Johns Hopkins University.

On the surface, "SeeSawSixty" is a one-minute work depicting the image of a child on a seesaw. The work is really about a failed balancing act, and the aforementioned child has actually been abandoned at playtime.

Marita Bolles is a new music composer who lives in Chicago. Her music tends to evoke non-linear narratives, and deal with distinctions in scale—the very large, or the very small. She is currently working on a series of vignettes for percussion and electronics inspired by Italo Calvino’s Invisible Cities. She is committed to moving forward an inquiry about “new music”: its function(s), its ramifications on modernity and what might its evolution be. She is also a certified life and business coach who works with clients on personal reinvention and goal fulfillment.

“Hallelujah,” for two channel spatialized voice (Tenor: Derek Keller) is a newer work using materials I did not incorporate into a piece for mixed ensemble and 6-speaker sound spatialization, entitled What Exit (2002). I had about two hours of left over sound sources for voice, performed by Derek Keller. I took the opportunity to make a miniature using some of the remaining material in a gesture that is related to--but not specific to--its use in the original work. A sort of variation...

Nils Bultmann is a unique and eclectic violist, improviser, and composer, committed to developing his own voice within the context of a wide variety of musical styles and art forms. His extremely versatile background ranges from undergraduate studies in German literature, violist with the New World Symphony, to recording and touring with jazz Saxophonist Roscoe Mitchell. He has been active in collaborative projects of dance and film, and has been granted residencies at both the Djerassi and Ucross foundations. He resides currently in Madison WI. and will be beginning his doctoral studies and UC Berkeley in the fall of 2006.

"Brazil" is a 38 second viola trio written in 2004 beginning with three pitches on an African wooden percussion instrument, repeated several times, then thickened with a blanket of viola pizzicato activity to create a jungle-like texture. On top of this, several sliding and surging viola arco lines, depicting bird sounds and/or animal calls.

The creation of this extremely short work began with three pitches on an African wooden percussion instrument, repeated several times, then thickened with a blanket of viola pizzicato activity to create a jungle-like texture. On top of this, several sliding and surging viola arco lines, depicting bird sounds and/or animal calls. Nicolas Buron is a first time composer. He is a sophomore at the University of Minnesota, and has a major that reads “undeclared”. Nicolas decided to create his first composition specifically for 60 x 60.

“Oh,” is a composition that combines the organic with the inorganic, acoustic instruments with electronics, and the genres of folk and electronic hip-hop. The song was made with an acoustic guitar, a keyboard, a turntable, effects boxes, and a drum machine. The idea for the song was to juxtapose elements that seem to differ greatly, but in reality are more complimentary than most would think. The song was a reaction to an industry that legally kills 1200 of it’s customers everyday: the tobacco industry.

Christopher Cook's electronic and acoustic works are widely performed in university and festival settings. He received the Doctor of Music degree from Indiana University where he serves as assistant director of the Center for Electronic and Computer Music.

"Gamaka" uses three main samples; a voice, a cello note, and a drum. The samples are woven into a raga-like pattern.

David J. Cubberly (b. 1980) recently completed an MM in music composition at the University of Illinois at Urbana-Champaign. He received his BM in composition in 2003 also at the University of Illinois. In 2001, David attended the University of Melbourne, Australia and worked with Warren Burt. David has presented his music on numerous occasions as composer, performer, and collaborator in America, Australia, and Europe. His primary teachers have included Warren Burt, Sever Tipei, Keeril Makan, and Erik Lund.

"Peter's War" is about my friend Peter. Peter fights battles everyday - diabetes, alcoholism, depression, obesity. He's still alive. I guess we're all alive until we're dead. These are the conversations I have with this person who is constantly at war. But don't worry, I'm quite sure that he will win these battles in the war that is his life.

Originally from Bogota, Colombia Lucio Edilberto Cuellar C., began musical studies at the conservatory of the National University of Colombia in his native city. In 1979 he moved to the United States, where he completed a Bachelor degree in piano performance at Kennesaw State University in Marietta, GA and a M.M. in music composition at Georgia State University in Atlanta, GA. Mr. Cuellar holds a DMA in composition from the University of North Texas. Mr. Cuellar works with sound synthesis, multimedia video pieces and music for acoustic instruments. His compositions have been performed in several International festivals of contemporary music in South America, Central America, North America, and Europe.

“Caledoscopio” is a stereo work. It is a miniature study of color. Each sound in the piece is a variation of the previous one or a growth of a previous sound. Color transformations are defining not only the sounds with one another but also color defines the structure of the piece. Caledoscopio was realized in the composer’s studio in Denton Texas. The sound sources of the piece are drops of water from a faucet in a bathroom, water running from the tap of a kitchen sink, water running from a shower alone and sometimes accompanied by the sounds produced by a Djiridu that I was playing. The processes used to transform the original sound sources are Convolution, Granular, FM, AM, ring modulation, subtractive and wave shaping sound synthesis techniques.

Brad Decker (DMA, University of Illinois at Urbana-Champaign) teaches music theory and composition at Millikin University and at the University of Illinois. Dr. Decker’s music has been acknowledged and performed both nationally and worldwide. He was most recently a selected finalist for the 2005 ASCAP/SEAMUS Student Composer Competition, the Bourges 31e Concours International de Musique et d’Art Sonore Electroacoustiques, the IV Edition Pierre Schaeffer International Competition of Computer Music, and the 2004 Concurso Internacional de Música Eletroacústica de São Paulo. His music has also been performed at numerous American festivals. His dissertation on the late works of Franco Donatoni was deposited in January 2006.

"Void" uses sounds from the Yamaha TX-516 tone generator that have been subjected to digital processing. This work is essentially a one-minute gesture, that is comprised of a myriad of tiny motives.

Greg Dixon earned his Bachelor's degree in Music Engineering Technology and Master's degree in Music Composition from Ball State University. He has studied music composition with Keith Kothman, Jody Nagel, Michael Pounds, David Foley, and Cleve Scott. His electro-acoustic music has been performed recently at Threshold Fall 2004 and Spring 2005, Ball State's DISCUS 2005 and Electronic Music Midwest 2005.

"Minutia" consists of many small and unimportant details. However, what initially starts as small and unimportant soon becomes overwhelming. I find this to be analogous to many different kinds of experiences; one seemingly unimportant emotion is followed by many different others until finally a much stronger, more palpable emotional response is invoked.

Mark Eden is an assistant professor of Advertising in the Department of Mass Communications at St. Cloud State University, St. Cloud, MN. Previous sound pieces have been broadcast in London, Baltimore, Miami, and Berkley. His piece, "Cremation Science", is scheduled for release in November as part of "The Art of the Virtual Rythmicon" CD on the Innova Label of the American Composers Forum.

The piece reconfigures a track from the classic 1967 Simon and Garfunkel album, "Bookends". The original, a compilation of old people's voices, suggests the pathos of aging through physical deterioration and nostalgia. The remix not only attempts to re-examine this pathos, but also to question the sentimentality inherent in the original.

The Chicago Sun Times described Timothy Dwight Edwards’ music as having “a sense of purposeful direction that kept us anxious to hear what would happen next.” His music has been performed at numerous festivals and conferences, including Zupfmusik Eurofestival 2006 (Bamberg, Germany), FEMF15 (2006), SEAMUS (2006), Spark Festival (2006), Electronic Music Midwest (2005), BGSU New Music and Art Festival (2004), and a Radgale Residency 2004. He was 2004 Technology Fellow at Columbia College Chicago where he teaches Music Composition, Theory and Ear Training.

“Autocello” is an assemblage of heavily edited cello samples including extended techniques, single notes or multiple notes edited together into gestures and phrases. Often the result would be technically impossible to play with human hands. Looking at the piece on a larger level, the gestures and phrases are layered, processed, and rhythmically organized into a cohesive whole.

Ivan Elezovic has matured as a composer, a theorist and a teacher, and has consistently demonstrated a seemingly endless thirst for information, experience, and opportunity. His compositional approach, honed and refined in North America, has demonstrated both good craftsmanship and an interest in pursuing innovative conceptual goals. Instead of following a single style, Elezovic allows a number of materials and ideas to influence the approach and method for each new work. Currently Mr. Elezovic is an Assistant Professor at Oberlin Conservatory of Music.

Nobody will be able to hear me since I have decided not to using a microphone.
Nobody will be able to ask me a question since I have decided not to using a microphone.
Nobody will be able to blame me for anything since I have decided not to using a microphone.

Ian Dicke (b.1982) grew up in Trenton, New Jersey. He began his musical studies playing electric guitar and listening to rock music. In his late teens, Ian developed an interest in classical music upon hearing a recording of Moonlight Sonata. Ian has received degrees from the San Francisco Conservatory of Music and the University of Michigan. His past teachers include David Conte, Dan Becker, Bright Sheng, and Michael Daugherty.

In the past year I have fallen in love with pop music from Southeast Asia. This adoration began after listening to an anthology of Cambodian pop music from the 1960s through the 1990s (Cambodian Cassette Archives: Khmer Folk & Pop music Vol. 1 CD SF011). The juxtaposition of simple pop tunes mixed with the strange timbres and intonations of the Cambodian culture was so striking to me that I had to write my own. This short homage is in the “Ranaat Eek” tuning system, which is named after the high pitched metallophones of Thailand and Cambodia.

Douglas Geers is a composer who works extensively with technology in composition, performance, and multimedia collaborations. Reviewers have described his music as "fascinating... virtuosic... beautifully eerie" (Montpelier Times-Argus) and have praised its "shimmering electronic textures" (Village Voice.) His music has been programmed widely on international stages, including festivals such as the ISCM World Music Days, the International Computer Music Conference, Bourges Synthese, SEAMUS, and the American Festival of Microtonal Music. He teaches at the University of Minnesota (USA), where he founded and is director of the annual Spark Festival of Electronic Music and Art.

This brief musical moment imagines one materializing in the city of Uruk, a cultural center of ancient Mesopotamia and home to the legendary King Gilgamesh.

Scott Gendel is currently living in Madison, Wisconsin, where he works as a vocal coach, a freelance composer/arranger, and a choral conductor. In May 2005, Scott received his DMA in composition from the University of Wisconsin-Madison. He has been commissioned by such artists as the Hobart and William Smith Colleges Chorale, soprano Julia Faulkner, and the West Allis Central High School Band. Recently, Scott was awarded First Prize in the 2006 ASCAP / Lotte Lehmann Foundation Song Cycle Competition, a juried national competition in its inaugural year. Please visit http://www.scottgendel.com for more information and a longer, wittier biography.

“No Home” for solo piano was written in homage to the great Broadway composer Jerome Kern. Specifically, it is a re-imagining of “Can’t Help Lovin’ Dat Man,” one of Kern’s most well-known songs. That catchy tune is here set free to roam between styles, with echoes of the jazz world in which Kern’s songs are most often performed, intermingled with the sounds of Romantic and Modern piano repertoire. When I first set out to combine all those elements, I had in mind a much longer piece, but in the end these musical ideas worked best in a concise, compact musical package.

Michael P. Geraci is currently a senior in Oberlin Conservatory's TIMARA (technology in music and related arts) program. He probably knows more about steel drums than you.

"Abstract to Exact" was created as an experiment in parametric composition, a process in which the different parameters of a piece, chosen by the composer, are separated for individual inspection. "Abstract to Exact" is the last piece in a series of pieces composed in this style in which the first piece had the least, and the last the most controlled parameters.

Michele Gillman is a composer living in the Twin Cities (on the east side of the river). Her music has been performed throughout the US and western Europe: Gustavus Adolphus Orchestra (Minneapolis, St. Peter, and Chicago), Lake Superior Chamber Orchestra (Duluth, MN), Jack the Dog (Chicago), Live Bait Theatre (Chicago), the Vienna Saxophone Quartet (Vienna & Chicago), Athanasios Zervas, et al. (Athens), WNUR (Chicago) and others. She has also been invited to the Florida Electroacoustic Music Festival (Gainesville). She is teaching at St. Olaf College (Northfield, MN) and Gustavus Adolphus College (St. Peter, MN) and has taught at Northwestern University and Columbia College, Chicago. She is currently the composer-in-residence for Gustavus Adolphus College’s Nobel Conference where she will be writing an orchestra, electronics, and theremin piece accompanying the 1910 silent film, Frankenstein, by Thomas Edison.

“Mrs. Giles is going to the beach wearing ice skates” was performed on a whim by Yumiko Oshima-Ryan, NTCM. Oshima-Ryan, originally from Tokyo, Japan, has been performing contemporary Japanese music internationally with performances in Tokyo (Sumida Triphony Hall), Kyoto (Kyoto International Conference Hall), Toronto, San Juan, Boston ( New England Conservatory), San Francisco, including world premieres of new works by Japanese composers. Yumiko’s awards include first prize at the Wurlitzer Collegiate Artist Competition and second prize at the International Beethoven Piano Sonata Competition. After graduating Toho Academy in Tokyo, one of Japan’s most prestigious music schools, she earned a Doctor of Musical Arts degree at the College Conservatory of Music, University of Cincinnati. Yumiko is currently an Associate Professor of Music at Gustavus Adolphus College in St. Peter, Minnesota.
This piece was originally part of a series of 120 one-minute pieces based on dreams that I had dreamt. The dreams were recorded nightly, and upon wakening from slumber I would immediately write a musical piece based on the content of the dream. Originally, this piece was about Dr. Jeff Kowalkowski, a friend and collaborator of mine from Northwestern University, who is a "pro" hockey player and pole vaulter. I then took this piece and incorporated it into a sextet for Mrs. Ruth Giles, who just retired from Gustavus Adolphus College. The sextet was scored for flute, oboe, clarinet, piano, viola, and cello. Its ferocity caused the viola player to experience heart palpitations. The rendition that you are hearing tonight is the original music that was written one morning in the spring of 2003.

MONROE GOLDEN is a freelance composer from rural Alabama. His compositions often explore alternative tuning systems, and have been broadcast on alternative radio and performed in concerts throughout the U.S., Canada, and Europe. Critics have called his music "delightfully disorienting,” and “lovely, sumptuous, yet arcane.” Golden graduated cum laude from the University of Montevallo and earned a doctorate from the University of Illinois. A CD of his works, A STILL SUBTLER SPIRIT, is available from Living Artist Recordings, amazon.com, and cdbaby.com.

“I Go Home” is based on a poem by Penny Arnold, whose narrations (read at several distances, whispered, jabbered, intoned, and sung) provide the sole source material for the work. Composed specifically for 60X60 (with Adobe Audition), each line of the poem corresponds to a phrase with duration determined by the number of syllables.

Arthur Gottschalk attended the University of Michigan, studying with Ross Lee Finney, Leslie Bassett, and William Bolcom. He is Professor and Chair of the Department of Music Theory and Composition at The Shepherd School of Music at Rice University in Houston, Texas. He is a recipient of the Charles Ives Prize of the National Institute of Arts and Letters, among many other awards in music. With over one hundred compositions in his catalog, his music is performed regularly in Europe, South America, China, and Australia. He is an active film and television composer, and lectures on music and technology, music in film, and music business and law. His book, Functional Hearing, is published by Scarecrow Press, a division of Rowman and Littlefield.

"Phase 59" was composed as a companion piece to my earlier work, Phase 58, using a snippet of sound from my analog piece Strange Loops, an out-take from a recording of my flute piece Contrary Variants, and freeware that I found on the web called Audacity. As with all my purely electroacoustic works, I try to evoke a soundscape never before heard by Man, and yet... strangely familiar.

Richard Hall is a Senior Lecturer of Music at Texas State University-San Marcos. His teaching duties include Composition, Electronic Composition, Music Technology, and Humanities. He also assists with the Texas Mysterium for Modern Music Ensemble. He holds degrees from Angelo State University and Texas State University. Richard has received numerous commissions, scored two independent films, and has several pieces published by Dorn Publications and Go Fish Music. He also serves as the Music Graphics Editor for the South Central Music Bulletin. He holds memberships in the National Association of Composers USA and ASCAP.

Gerburt von Julia (Birth of Julia) is an electronic piece that utilizes real-time sound manipulation. The work contains one sound sample of the composer’s daughter Julia on a continuous loop. Effects, e.g. reverb, phasing and granular synthesis, are used to manipulate the sample. At the beginning, this manipulation is used to recreate the sounds that a fetus would hear while still in the womb. These effects are controlled and recorded in real-time up until the final reveal of the true sample at the end of the piece. Many Karlheinz Stockhausen’s tape manipulation works inspired the format, hence the German title.

Hegarty teaches music composition at Principia College. He provided the soundtrack for the CG animation “Aerial” which was recently included in MIT’s Computer Music Journal. This work also won first place in Professional Experimental Animation at the Red Stick Animation Festival at Louisiana State University. His mp3 album, “Leaving Venice” was cited as an “unassuming gem from an American artist with much to say” by AmbientMusicGuide.com He performs frequently at galleries and museums including the Kemper Museum of Contemporary Art and The St Louis Art Museum.

The title refers to the idea of sound moving in fast forward – faster than reality. Through the use of granular processing controlled by a Wacom pen tablet, I experimented with the ability to perform the cymbal sound without reference to the temporal and acoustic properties of the real- world instrument. Several audio files were performed in real time with the tablet connect3ed to Kyma Capabara. The sounds of the Kyma were recorded in DP, edited and Mixed. The acoustic original suspended cymbal was recorded in Pro Tools at Principia College.

Stuart Hinds is active as a composer, performer, and teacher. Many of his recent compositions were written to be performed by Hinds himself as vocalist and on keyboards, featuring his unique style of overtone singing. He recently presented ten concerts and lecture-demos in Germany and Austria, including television and radio broadcasts. Recently, he has been commissioned to compose several new works for chorus with overtone singing, one of which received its premiere performance in Prague in September of 2004. Stuart Hinds’ amazing ability to produce two discreet melodies at the same time makes him unique among overtone singers. Hinds is taking overtone singing to a new expressive level, creating a completely new genre of vocal music. In a quantum leap beyond traditional drone-based overtone singing with an unchanging fundamental pitch, Hinds sings a truly contrapuntal music, vocally producing two musical lines simultaneously – the fundamental line and the overtone line. The fundamental is no longer confined to a fixed pitch. The fundamental line moves with complete freedom while the overtone line conforms to the natural harmonics of the sounding fundamental at any given time. Both parts move with a high level of independence, given the limitations of overtone singing technique. Hinds’ original compositions reflect his classical training, with influences from many musical cultures – a unique style that appeals to a broad range of listeners. One Swedish reviewer wrote that “Hinds is a true master of the technique,” and commented: “I’ve never heard anything like this. . . . This shows a true and uncorrupted artistry. I am glad I came across this CD, which not only gives me musical joy, but also a spiritual uplifting.”

Lynn Job (pronounced with a long “o”) was born in South Dakota, U.S.A. and is published by BUCKTHORN Music Press (ASCAP/MPA). Dr. Job is an active woman composer for all new classical genres, a mystic poet, thespian and author with past military and archaeological service. Current memberships and appointments include The American Music Center, College Music Society, Pi Kappa Lambda, and much more. She operates her main production studio in the North Texas Metroplex.

“Chariot (Q2)” is inspired by the vision of the prophet Elijah and his ascent by flaming chariot from the Jordan River (2Kings: chapter 2). It begins on shore, as if Elijah is already one foot on the chariot when he takes a backward glance. He remembers his birth (women’s chorus), his troubles on earth (thunder), and his sacred yearning for spiritual cleansing (the trumpets quote Job’s “Toumai - Hope of Life”) – Elijah’s mysterious destiny in the heavens is marked by eagles. At the solo trombone (quoting Job’s “Nehemiah’s Dusk”), Elijah is away and loosed from this earth to glory.

Saxophonist, presented many world premieres. Guest artist; Spark Festival and CCRMA (Stanford University). Composer, 2003, only undergraduate recipient of the Midwest Graduate Music Consortium Composition Contest. Selected for MusicX' Festival. Commissions/performances; Jessica Finch, Grand Valley State University, many saxophonists including Jennifer Grantham and James McCain. Encore grant recipient from American Composers Forum: new work for the Intrada Winds. Informal training; Kaija Saariaho, Tristan Murail, many other prominent figures. Bachelors degree, Grand Valley State University. Two masters degrees in two years from the Peabody Conservatory. Faculty throughout Maryland including Morgan State University. Site coordinator, Creative Access.

Mike Khoury was born in Mt. Pleasant, Michigan in 1969. As the son of visual artist Sari Khoury, he was exposed to various forms of visual arts, and creative musical forms. Mike studies violin at the Art Center Music School with composer/violinist David Litven. While continuing to work on compositions and improvisations, Khoury also operates Entropy Stereo Recordings, a free improvisation music label.
Mike has had the good fortune to record and/or perform with John Sinclair, Le Quan Ninh, Jack Wright, David Prentice, Dennis Gonzalez, Faruq Z. Bey, Mike Carey, Piotr Michalowski, Luc Houtkamp, John Voigt, John Butcher, Gunda Gottschalk, Gino Robair, Hans Buteow, Damon Smith, Scott Looney, and Wolfgang Fuchs. Record labels that have released Khoury’s work include Uprising Records, Abzu, Snowdonia, American Tapes, Friends and Relatives, Detroit Improvisation, White Rose, ZH27, Foreign Lands, Editions Brokenresearch, Atlatl, Polish Jazz and Raivo.

"One" - Piece for treated Indian flutes. A composition again employing ranges as opposed to notes. "One" also uses an aleatoric and invokes the overtone series through overlaying tones and cistern-like treatments.

The composer studied composition at the University of North Texas where he received his bachelor's and master's degree studying with Phil Winsor and Larry Austin. After a long hiatus, in 2005 he returned to UNT to continue his studies. He is pursuing his doctoral degree in composition with a specialization in computer music media. He is currently studying composition and computer music with Jon Nelson and Andrew May. Mr.Knudson's works have been performed at festivals, conferences and universities in America and abroad. His interests include experimental music, algorithmic composition, computer music, sound synthesis, interactive computer music, multimedia, visual art and installations.

"Work, fragmented" makes up 911 fragments within 8 fragmented years. "...it's hard work" is rhetoric often used by our sitting president. The origin of the single source for the piece was snatched from the first presidential debate from our last national election. Conceptually, using eight and nine hundred and eleven granulations, a contrapuntal conversation of hypocrisy in the form of oft-repeated nonsense emerges. The intent of the piece is to bring focus to the intersections of deception, hyperbole and constant repetition of lies on the part of the current administration. When one actually listens, both the underlying statement can be heard, as well as the more obvious, and questionable, resulting formulation.

HyeKyung Lee graduated from The University of Texas at Austin (DMA in Composition / Performance in Piano). Her music can be found on New Ariel Recordings, Capstone Recordings, Mark Custom Recordings, Aurec Recordings, Robin Cox Ensemble Vol.7, and SEAMUS CD Series Vol.8. She recorded the CD, “Blue–New Music for Saxophone and Piano” with saxophonist Todd Yukumoto (released on Equilibrium) while she was teaching at the University of Hawaii in 2001. Currently she is an Assistant Professor at Denison University, Granville, Ohio.

“Click-chat” is one of the short piece-series that used only the generated sounds (sine waves, white noise, etc. in this case “click-track”).

Patrick Liddell is currently a composition student of Jay Alan Yim at Northwestern University. His musical interests span far outside the classical music spectrum to include popular music, world musics, electronic music, as well as improvisation and concept works. When times allows, he also enjoys painting, cooking, prose, graphic design, running, philosophy, and any good board game. His favorite beer is arguably Cooper’s of Australia (Goose Island of Chicago a close second), and considers Chicago deep-dish pizza to be proof of God’s love.

I decided to take the idea of 60 x 60 one step further with my entry … by Sixty. While the complete project is sixty one-minute pieces, this minute is divided into sixty one-second ‘pieces’. An interesting effect occurs when hearing the piece multiple times; our ears can only process a sound after hearing it, so some moments are completely ignored in order to make sense of other moments. Hearing the piece again, the ignored moments are then perceived and the meaning of the piece can shift dramatically. Ontology is the branch of philosophy dealing with the nature of existence.

Composer Stan Link is married to musicologist Melanie Lowe. Somehow managing to put those tribal differences aside, they have produced one offspring, a now two year old daughter named Wednesday, who is joyfully indifferent noth to her father’s music and her mother’s-ology. Nevertheless, her parents indulge her inexplicapable lack of concern for qanythign but music’s most immediate pleasures and continue to support her by teaching at Vanderbilt University. Stan’s music tends to keep to itself, but after yearx of hand feeding and cold compresses, some of his pieces were recently released from voluntary captivity by Albany Records.

“Land of Heart’s Desire, Where beauty has no ebb. Decay no flood, But Joy is wisdom, time an endless song.” William Butler Yeats

LoneMonad (aka Don Malone)
Has applied his electromusing art
In Carnegie Hall
The streets of Chicago
And many other venues.
Send him a ticket – He will come.

“ZUP” is a live performance using “aMente,” software written by Don Malone in Max/MSP.

Charles Norman Mason won the 2005 Samuel Barber Rome Prize Fellowship in composition. Mason’s other awards include International Society for Bassists Composition Competition, Premi Internacional de Composició Musical Ciutat de Tarragona Orchestra Music prize, National Endowment of the Arts Artist Fellowship, Dale Warland Singers Commission Prize, BMI Young Composers Award, and Bourges Electro-Acoustic Composition Competition. His music has been performed throughout the world including the Aspen Summer Music Festival, Foro Internacional de Música Nueva, and new music festivals in Prague, Bucharest, Bulgaria, and Sao Paulo. Mason is executive director of Living Music Foundation and professor of music at Birmingham-Southern College.

The Starling Clock Wound was composed while I was a fellow at the American Academy in Rome. It uses only two sounds: a single chirp from a starling and the sound of a flock of starlings.

Deborah Monroe is a composer and church musician living in the Dallas area. She began her studies under Howard Whitaker at Wheaton College’s Conservatory of Music and later received her MM in Composition from the University of North Texas where she studied with Cindy McTee, as well as Butch Rovan and Jon Nelson in the Center for Experimental Music and Intermedia. She has received recognition and had works performed throughout the United States and in Europe by various organizations including the International Alliance for Women in Music, the North American Saxophone Alliance and the International Computer Music Association.

Nicolás Useche was my friend at the University of North Texas where we were in several classes together. He was 30 years old when he was tragically killed in an auto accident. One of the projects that Nicolás and I had worked on together was for each member of the class to use a common sound source to develop their own piece of music. So, it is natural for me to use these sounds to remember Nicolás.

David Morneau does not compose his music with a ‘poetic power’ that emphatically discharges from his work enchanting you in a hallucinogenic state of borderline exaltation. He does not intensely attempt to infuse symbolism into his work and shows no melodic motivation whatsoever. This is not David. So you ask, ‘Well, then what does this so-called proclaimed musical talent propose to do?’

David is a composer of an entirely undecided genre. Some of his many eclectic works include Collage no.1 (Hungarian) for the OSU Symphony Orchestra, Lifedance (Fragments of Figments) for dancer Amiti Perry, The Sincerest Form of Flattery for marimbist Brenton Dunnington, Triage: Part 1 for dancer Ashley A. Friend, and Cut & Paste, Part 1, a series of music videos from appropriated media. His latest projects involve a vintage Nintendo Game Boy and the spirit of Terry Riley. These nuggets of 8-bit excitement will premiere in September at the 2006 Ohio State/Port Clinton Performing Arts Festival and then in November as part of Abandoned Revolution— Boris Willis' ambitious new dance work.

Do not think of him as yet another one of those ‘unique composers’ but rather a provider of exclusive unprecedented experiments. He carries his charm and alarm, the glamour to make standards stammer, the appeal of the unreal.

sym5.1 S^, SOT 4 art? JAM 2 spare? AIH I have a GR8 thing 4 U. Abbr. classics. BITD these took hours. No more. Much better, IMO. Enjoy. NRN. ::poof:: [confused? http://www.netlingo.com/emailsh.cfm]

Jeff Myers (b.1977) is an emerging composer who writes concert music, electronic and sound installations. He has been awarded and commissioned from organizations such as the Fromm Foundation, the American Academy of Arts and Letters, BMI, ASCAP, the Yvar Mikashoff Trust for New Music, First Music, Tanglewood Music Center and the Atlantic Center for the Arts. Jeff has studied with some of the finest composers, including William Bolcom, Martin Bresnick, Michael Daugherty, Betsy Jolas, and Bright Sheng. He is currently a DMA candidate at the University of Michigan and holds degrees from the Eastman School of Music and San José State University.

"Buzzclip" is a snapshot of a short moment in the sound installation Buzz, an ever changing sound installation which uses found appliances and sound sources. The buzzing of electric motors supplies the sound and the visual component consists of the appliances on a faux stage before an "audience" which is variable due to the gallery format. Any portion of the sonic experience represents the music as a whole--a proper rendition of Buzz could be a minute long or four hours. The static sound of a 60Hz motor can create rich, slowly changing sonic material depending on the type of appliance(s) used. In this case a dehumidifier makes a pleasant buzzing noise. Buzzclip is a secondary source in that it represents a purely sonic medium; divorced from the visual component, it is more abstract, but nevertheless completely representative of the sounds which I was looking for.

I am a self-taught musician. I got my first guitar when I was about 14 and spent years learning to play it. About two years ago I was prompted by a close friend to venture into home studio recording. Since that time I have composed over 500 pieces of varying genres. I am a musical contributor and forum moderator at naughtyaudio.com, and I'm a proud member in standing with Vox Novus.

I've always had an interest in synthesizer music, and until recently, pursuing such an interest was pretty cost prohibitive. But with the advent of new computer technologies such as Home Studio recording software, virtual synthesizers and affordable keyboards with multiple synthetic voices, I am at last able to pursue a life-long passion to produce my own synthesized music. This is but one short example

Primarily I sing, but I began playing piano when I was 4 years old. My grandmother taught me to read music rather than allowing me to "play at it", I come from music. My grandfather was a member of the John Phillip Sousa's original band. My father played with Tommy Dorsey. I have always heard music in my head, but am a novice composer and I am new at sending my music out to play in traffic.

The melody for this tune flooded my head for a couple of days before I sat down and played it on my piano. Coincidentally, it is about one minute in length and my husband encouraged me to share it with the 60x60 project.

Sean O’Neill is an experimental composer working with textural elements of field recordings, environmental/urban impressions and found sounds. He is interested in acoustic spaces and natural ambience, looking to incorporate electronics and interactive mixed-media. His recordings have been used for performance, installation, and radio, including presentations at 404 Festival, Spark, and the Ice Hotel. O'Neill is an avid sound recordist, and has collected recordings throughout Southeast Asia, Europe and the US.

The idea for this piece was to deteriorate the sonic qualities (harmonic/spatial/dynamic) of the recording through repetitive layering and processing. My intention was to create a singular form that presented the various degrees of manipulation in a shifting, nonlinear structure. The original sound sources used in the piece were chosen for their textual characteristics. I used recordings of a number of different antique bells and resonating metals, a toy phone, and the plucked/scrapped strings of an upright piano.

Lewis Nielson (b. 1950) studied music at the Royal Academy of Music in London, England, Clark University in Massachusetts and the University of Iowa, receiving a Ph.D. in Music Theory and Composition in 1977. His music appears through American Composers Edition and CDs of his music are available from Albany, MMC, Centaur, and Innova Recordings. In 2000, he joined the composition faculty of the Oberlin Conservatory of Music where he is currently Professor of Composition, chair of the Composition Department, and Director of the Contemporary Music Division.

Super Vibes (2006) is an etude derived from processes used in my earlier solo works for piano. The range is a super range, the tempo, super tempo, and the mixture of colliding rhythmic/metric groups ramps up the level of complexity, making Super Vibes right on a little past the edge of perceptible pitch structure. Even the shortness doesn’t rationalize the matrix driven pitch motion as the chords of the ending seem sudden rather than the natural, progressively extracted kernels of meaning implied by the blurred motion of the opening. It’s not about anything except the pure joy of running too fast and surviving.

"Thomas Park, often known as mystified the band, has been involved with music his whole life, and has composed electronic music for 8 years. Thomas is often recognized for his experimental composing techniques, and he continues to search for new and better ways to create the sounds he loves."

Colin P. Pool, a native of Mobile, AL, began studying music at the Alabama School of Mathematics and Science with Christopher Uhl. He recenly graduated with degrees in music and history from the University of South Alabama, where he studied composition with David Z. Durant. He is currently enrolled in Middle Tennessee State University's Master of Fine Arts in Recording Arts and Technology program.

"...after a slight pause" is the first in a planned series of three bagatelles for audio CD. It was intended to exhibit representative elements of the composer's style while working within a strict timeframe.

Active as a composer, improviser and violinist, Carmel Raz attended the Hochschule für Musik in Berlin, Germany, studying violin with Axel Wilczok, and composition with Jörg Mainka. She has performed in the Berliner Symphoniker, the Lucerne Festival Academy Orchestra and the Gustav Mahler Jugendorchester, appearing at the Edinburgh Festival, the Lucerne Festival, the Budapest Spring Festival, and on CD and DVD recordings with Pierre Boulez, Ingo Metzmacher and Claudio Abbado. The recipient of a Hanns Eisler Prize for Best Performance of Contemporary Music (Berlin, Germany), she has also received awards from the Mellon Foundation, Musica Donum Dei, the America-Israel Cultural Foundation and the Tel-Aviv Academy of Music. Carmel especially enjoys playing contemporary music, ranging in style from classical avant-garde to jazz. Highlights include performing in the world premiere of Helmut Lachenmann’s “Grido Double” in Switzerland, appearances with Klezmer trumpeter Paul Brody at bars and clubs in Berlin, and taking part in the Silk Road Carnegie Hall Training Workshop in New York. As a composer, Carmel’s music has been heard in London, Berlin, Tel-Aviv, Saarbrucken, New York, Chicago and Cincinnati, performed by artists and ensembles such as Cliff Colnot, Adrian Pavlov, the Pacifica Quartet, members of Eighth Blackbird, the NY Miniaturist Ensemble and the Music06 quartet. She is a founding member of the Fire Wire Ensemble, a Chicago-based group championing accessible acoustic and electro-acoustic music.

Steven L. Ricks (b. 1969) is an Assistant Professor of Music Composition at Brigham Young University where he directs the Electronic Music Studio. He has received commissions from the Barlow Endowment and Utah Arts Council, and his works have been featured at several recent national and international festivals, including ICMC 2006 and SEAMUS 2005. His music has been performed by some of today’s leading presenters of new music, including the New York New Music Ensemble, the California EAR Unit, Earplay, Talujon, and many others.

Strange Enthusiasm continues an ongoing fascination I have with musical lists. While not directly related, this notion was suggested to me by the writing of Kurt Vonnegut—in particular, his technique of including “summaries” of short stories in his novels. These multiple snippets seem to have a cumulative effect and create a much larger picture than is created by the actual space taken up on the page.

A native of New Jersey, John C. Ross received training in composition at Florida State University and the University of Iowa; his principal teachers were John Boda and D. Martin Jenni. Thanks to a Fulbright grant, he has also studied with Philippe Manoury in Lyon, France. His music has been performed at the Society of Composers, Inc. National Forums, several university music schools, and in France. His awards include the first Abraham Frost Prize from the Univeristy of Miami, several ASCAP awards (including a young composer grant), a summer residency at Yaddo, and the 2002 Rudolf Nissim Award. After a Line By Theodore Roethke, a work for soprano and orchestra, was one of three works chosen for the Sixth International Composer Readings by the Riverside Orchestra of New York City and was performed at the Mid-American Center for Contemporary Music at Bowling Green State University. Of Ross’s piece Passages, Daniel Ginsberg of the Washington Post has said, “a beguiling exploration of color and melody . . . soaring figures nestled in a dreamlike haze of sound.” His music is published by Cimarron Music and by himself. Encore, a work for cello and piano, is recorded on Innova and After a Line will be released in 2005 on Albany Records. Currently, Ross teaches aural skills, theory and composition at Pittsburg State University in Pittsburg, Kansas.

Written at the request of Dr. Todd Hastings and the trumpet students of his studio, Fanfare was composed for the Commencement ceremonies of the College of Arts and Sciences at Pittsburg State University, in Pittsburg, Kansas, on 17 May 2002.

Professor Rush works with students from music, dance, art, and engineering. He is also the director of the Digital Music Ensemble, and the Music Director of the Dance Department. Recently, he became the Music Director at Canterbury House, Ann Arbor, where his “Jazz Masses” have achieved national acclaim as an experimental liturgical form. Mr. Rush has been widely commissioned, premiered and performed with recent performances in Berlin and Dresden, Tokyo, Belgium, Austria, the Netherlands and Hungary. His concert music has been published by Dorn, CRC and C. Alan Publications. Gregory Syrjala is a software delevopment engineer with a degree in Electrical Engineering from University of Michigan, and graduate work in control theory and digital signal processing at the Rochester Institute of Technology. He authors software for industrial control systems, as well as programming music and working with computerized sound synthesis. In addition, he is the director of M2 Studio, a multi-media synthesis laboratory

“Randalog” was conceived by the composer as a way of organizing events-without regard for specific results concerning the shape or form of the piece. Decesions about random parameters, tempo, and specific sample content wre the primary function of the composer, determining variable frequency shifting, (specific) random panning, and algorithmic silence or repetition. Sounds for the piece (40) were created on a Micromoog Synthesizer as as a home-made analog synthesizer that had 2 CO’s, 3LFO’s, 2ASDR’s. 8 step sequence, SVF, and Noise generators. The engineer developed a custom algorithmic sequencing program written uib Delphi utilizing DirectX, which accessed samples on a 400 Mz Pentium II. The piece should be listened to in an ideal stereo environment just beyond the threshold of pain.

Bill Ryan is a tireless advocate of contemporary music. Active as a composer, conductor, concert producer, and educator, he has been involved in the creation and performance of hundreds of recent works. His compositions have been performed and broadcast throughout the world, including at the International Symposium on Electronic Art, the Open-Air Electroacoustic Concerts in Brasilia, Brazil, the International Trumpet Guild, SEAMUS and Society of Composers national conferences, the Florida Electro-acoustic Festival, the College Music Society northeast chapter meeting, the C. Buell Lipa Festival of Contemporary Music, the La Crosse New Music Festival, the Brooklyn College Art Gallery, and at the Merce Cunningham dance studio. His music has been heard on dozens of radio stations, most notably WNYC, the nation's most listened to public radio station.

Bill has received several awards for his compositions including an ASCAP Foundation to Young Composers Award, eleven ASCAP Standard Panel Awards, a Meet the Composer Education Program Grant, second prize in the Tampa Bay Composers' Forum chamber music competition, and finalist in the First International Electroacoustic Music Competition of Sao Paulo, Brazil.

Bill is currently head of the composition program at Grand Valley State University where he also founded and directs the New Music Ensemble. He has also taught at the University of Illinois, the Aaron Copland School of Music at Queens College, the State University of New York at Suffolk, and served as composer-in-residence for the Lawrence Central School District in New York.

”Bombastic” was completed in May 2006. I first composed and recorded several patterns performed on a pair of brake drums, woodblock, snare and bass drum. Then the audio was edited and processed extensively with Apple's Logic Pro. My intention was to create an aggressive, somewhat violent work that built in intensity to the end.

David Sartor has received awards from the American Bandmasters Association, New Music for Young Ensembles, Meet The Composer, and ASCAP, among others. His orchestral, chamber and choral compositions are performed nationally and internationally and have been featured at the Tanglewood and Aspen Festivals, the International Double Bass Festival, the Percussive Arts Society International Convention, the International Music Festival in San Jose Costa Rica, The World's Largest Organ Concert, and Carnegie Hall, with broadcast performances on National Public Radio. His works are recorded on the ERM Media label, and are published by E.C. Schirmer, Shawnee Press, TRN Music, and Metamorphic Music.

Brian Schorn is an electronic musician using live performance and computer recording techniques accompanied with poetry, video, installation art and performance art to create unique interdisciplinary works. His education includes an MFA in Electronic Music and Recording Media from Mills College where he studied composition with Fred Frith, Alvin Curran and Pauline Oliveros. His music has been performed in France, Austria and throughout the United States. His recorded works have been included on international complation CDs including The Last Signal and Open Source/Open Ear. He has performed with legendary composers and artists such as Cecil Taylor, Maryanne Amacher and Steina Vasulka.

"Under a Submersive Sun" uses processed electronic and natural sounds to create an underwater narrative from a unique perspective. Imagine a sunny afternoon at a private lake. Now, imagine yourself under the water, lying on your back, expelling all of your air and slowly sinking to the bottom. As you are sinking, you look up into the brilliant sun as the light refracts through the water. You simultaneously experience feelings of peacefulness and terror. You hear your entrance and your exit.

Born in Iran, Mozhgan Shahidi resides in Knoxville, Tennessee. She has degrees in Piano, Composition, and Computer Science. She has composed a Concerto for Alto Saxophone, String Trio, and solo compositions for various instruments. She studied with John Anthony Lennon, Allen Johnson, and Kenneth Jacobs at the University of Tennessee.

“The Teasing Bee!” is a playful fast composition for piano. The composition is an attempt to capture a happy, buzzing and teasing bee’s seemingly erratic jagged and smooth moves. One hand is always playing on the black keys while the other is on the white keys. The recording is done with Finale Software.

Rachel Slusarczyk received her BFA in 2003 from the School of the Art Institute of Chicago with a focus in Sound Art and Art & Technology. Upcoming projects include work in the exhibition, "Digitally Propelled Ideas" at California State Polytechnic University, and the release of a collection of collaborative songs with Chicago composer, William Harper.

"My Bird" is from a collection entitled "Home Sickness" exploring ideas of over-nesting and agoraphobia.

Alex Temple was born in Northampton, MA in 1983, and started composing on a family trip to Italy when he was 11. He got his BA from Yale University in 2005, and is currently pursuing a master’s degree at the University of Michigan; his teachers have included John Heiss, Matthew Suttor, Kathryn Alexander, John Halle, Michael Colgrass, Tania León, Betsy Jolas, Robert X. Rodriguez and Samuel Adler. He has also released two albums of electronic music on his now-closed microlabel, Electric Walrus Records, and played keyboards in an experimental bossa nova band called Plecostomus.

I wrote “That Moon!” in 2002 for an electronic music class. The assignment was to create a one-minute piece using ProTools, based entirely on sounds found on the Web. Most of it is based on one sample; I was interested in seeing what would happen if I raised its pitch while simultaneously slowing it down. Normally, changing the pitch of a sound changes its speed proportionally, and we've all got that in our ears. Somehow, the reversal of that relationship seems really disturbing to me. A slightly longer version of the piece appeared on my album “Agape Ludens” in 2003.

Balie Todd graduated from MTSU with a recording degree in 2004. Afterward he sold shoes, got fired from a country club, and worked with a company that did sound and music for television and radio. He spends as much time as he can with his computer, which still refuses to cooperate with him. He loves unmarketable music and looks for chances to put it to film, tv, and video games.

The "song" started out as ambience to try to impress someone making a short film. (lifeanddeathfilm.com) Samples of low moans and growls I ran through a spectral EQ, trying to make it sound as though a door was opening into something, The jabber that comes in with the drums is a two minute long chorus sample with sixteenth notes cut out of different parts and it and played one after the other.

Joseph M. Vogel is a composer and performer living in Minneapolis. He is currently a graduate student at the University of Minnesota and performs in the band, The Playoff Beards.

"Clarinet Window" is an electronic improvisation created by MAX/MSP and NI's Spektral Delay. The source material was originally recorded for a different composition and this particular improvisation was created specifically for the 60x60 project.

Composer and impresario, Robert Voisey is the Founder of Vox Novus, Vice President of programs at the Living Music Foundation, Director of the 60x60 project, and Director of the Composer’s Voice Concert Series. His mission is the promotion and dissemination of contemporary new music.

Source material for "We are all 60x60" was taken from an interview with Dennis Bathory-Kitsz about his project, "We Are All Mozart" for the Arts and Answers radio show on WKCR FM New York.

Andrew Walters was born in Topeka, Kansas, but spent most of beginning years in Farmington, Missouri. Walters received his Bachelor of Music from Millikin University, his Master of Music degree in Composition from Northern Illinois University and his Doctor of Musical Arts degree in Composition from the University of Illinois. Walters’ music has been performed at various conferences throughout the United States and is featured on the “Music from SEAMUS” compact disks vol. 9 and 16.

"A Moment of Reflection 2" consists entirely of the voices of elementary school children getting ready for recess. It’s a reflection on being young, not being young anymore, and the obvious passage of time. In addition to the voices of elementary school children, the piece also uses synthesized sounds and a recording of a clock. Special thanks to the kids of Grapevine Heritage Elementary School in Grapevine, Texas.

Justin Writer is currently working on a DMA degree in composition from the University of Oklahoma. Prior to beginning studies at OU, Writer was the Director of Instrumental Music Studies at Coffeyville Community College where he taught theory and composition as well as directing the wind and jazz ensembles. Writer has a Master of Music degree in Theory/Composition from Wichita State University and a Bachelor degree in Music Education from Pittsburg State University (Kansas). His composition teachers include Marvin Lamb, Walter Mays, Robert Deemer, Katherine Ann Murdock, Evan Hause, and Stephen Andrew Taylor.

"Guidelines" is centered around two main elements. The first is the thread heard at the beginning that progresses unimpeded throughout the work. This material is made up of the first seven paragraphs of the submission guidelines to the 60x60 project. The material, once recorded in real time, was then sped up to fit the sixty second requirement. The second element of the work is the manipulation of the phrase “Odds are the instrument is at fault.” This material is distorted by various means until near the end of the work where it is heard in its entire unaltered state for the first time.

Cherilyn Young is a seventh-generation Texas resident. She received a BA in linguistics and an MA and PhD in speech pathology from the University of Texas at Austin. She has studied composition, arranging, and guitar with Rick Crittenden in Houston. Dr. Young currently serves on the boards of Classical Music Consortium of Austin, Austin Classical Guitar Society, and Austin Children’s Choir. She also sings soprano with Austin Civic Chorus, studies voice privately, and volunteers with other local chamber music groups. Dr. Young is currently a maternal and child health researcher at the Texas Department of State Health Services.

As a teenager in Houston, I experimented with data sonification by recording my body temperature in two-tenths-degree intervals each morning for almost a year. I then converted the data to a pentatonic scale, each temperature degree corresponding with an octave and one note with each day. Recently, I used the body temperature data from 11/3/87 to 2/27/88 for “Houston Winter”, a piece for wind quintet. The complete data set comprises the clarinet line, while the oboe and flute also contribute to a three-part canon, all spaced four measures apart. The horn plays a pedal point, and the bassoon plays an obbligato.

~chromatik_d_zabu, or CDZabu for the dactylographically disinclined, is a growing collective of musicians form across North America that compose collectively using the Internet. Its mission is to write music that is cathartic, engaging, and free form commercial aspirations.

CDZabu’s very nature is based on the exploration of genres and how they can mutate in the presence of various influences. Every month, the members collectively produce a new batch of pieces using a specific theme (pop music, classical instruments or Christmas carols, for example). Each artist adds a track of his own and so on. Egos are set aside as the piece passes hands, careening wildly into uncharted musical territory. The collective is continually accepting new members.