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A.L. Dentel is a composer, performer and improviser currently living in California. She has created choral works, structured improvisations, performance art, guerrilla theatre and conceptual music. Some of these can be found in her book, “365”, which is a collection of pieces written one piece a day for a year. A.L. holds an MFA from Mills College. She currently collaborates with Cheryl Leonard, Karen Stackpole, and Patty Liu, as well as creating recorded pieces utilizing field recordings and other objects.

This piece is about sleep.There is that tenuous point at which one is about to fall into a deep sleep but could easily be woken. Some of the sounds in the piece are rocks being rocked. There is a delicate balance that must be maintained to make these sounds that is similar to that point. The counting is something that I do while putting my son to sleep to make sure he has past this same point and has fallen into a deep sleep before I set him down. It is dedicated to my son, Xavier.

Cheryl E. Leonard is a composer, performer and improviser of music and interdisciplinary works. Her interests include finding and building instruments, collaboration across artistic disciplines, site-specific work and exploring the intricacies of sounds not generally considered musical. Over the past several years she has focused on creating compositions with found natural materials. Cheryl received a BA from Hampshire College and an MA from Mills College. She has been awarded grants from the ASCAP Foundation and Meet the Composer, and artist residencies at the Djerassi Resident Artist Program, Engine 27, and Villa Montalvo. http://www.allwaysnorth.com

Ashi (the Japanese word for foot, pace, or gait) is a work for amplified rocks. All sounds in this piece are generated by wobbling rocks, which are nudged into motion, then allowed to settle naturally back into a state of rest. The “instruments” are granite and volcanic tuff. They range from about the size of a quarter, to a large “sea egg” which weighs around 10 lbs. This piece is designed to be playable live by three performers.

There was an immaculate conception. Nicholas Baldwin was born. He is an avid music listener and has studied music at Otago University for 2 years. He is now part of the sonic arts course at Victoria University. Nicholas is also a musician and has played in many bands thorough out his life.

“potean en metal” portrays he stress the earth expels to give humans the gift of metal ore. Metal is one of the earths treasures and I think this piece portrays that with the harmonics and resonances of those metals.

I was born and raised in Tokyo Japan. Currently I am independently studying Psychology. I also write and compose contempory music. I created " The Digested Illusion" initially by composing all of the individual data sounds entirely by improvisation. Afterwards I input all of the sound data into my digital recording studio to arrange in into something much more appealing and recognizable to the listener. This music is mainly composed from the use of toy like musical instruments, the nocternal cries of insects, an intentionally mistuned violin, and a recorder sound created using my digital recording studio equipment along with a digital sound processor. "A momentary life.......". That is what I want say, in this little peace of my work.

Darren Buhr is a bassist in the Victoria Symphony (Canada) and Doublebass Faculty at the Victoria Conservatory of Music. As well, Mr. Buhr is the bassist in Aventa, a new music ensemble with an upcoming CD of the music of Gilles Tremblay, and a tour to Montreal, Halifax, and New York in February, 2007. Darren Buhr is an active composer with approximately 30 works to his credit. On November 30, 2006, the Regina Symphony (Canada)will premier Six and Two is Eight, Eight and Two is Ten. 49/60 for doublebass is so called because of its length. It is part of a series of short movements for bass called Explorations. I am using these as a vehicle to experiment a little bit with my composing technique. The idea for 49/60 came to me early one morning when my three year old woke everybody up.

My name is Jessica Gardiner and I am from Wellington New Zealand. I'm currently in my second year at Victoria University doing a bachelor of music, majoring in sonic arts. last year I was studying instrumental composition so its exciting to have a whole new world of sounds to play around with this year!

“Eventuality” was created using sounds produced by tapping, scraping and dragging objects over and around a small wooden chest. The sounds were used both in their raw forms and after being manipulated by Protools and Sound Hack. The piece was an exploration into the many sonic possibilities found in just one object.

Brigid is a composer, clarinet soloist, visual artist, and educator. She has composed and performed extensively in solo and chamber recitals, both nationally and internationally in Festivals and concert venues. As a freelance performer/composer Brigid is broadcast on ABC FM. The Performing Arts Board of the Australia Council, Japanese Printing Corporation, ANAT, South Australian Govt., Community Arts Centers and Universities have supported Brigid in her performances, compositions and artwork. She has a Master of Music in Composition from Melbourne University.

The city evolves, moves, floats away, as if 'a memory' in dreams each sound or voice resembling each other with a slight individual characteristic of its own. A visual and sound experiment is to produce abstract and literal imagery and sound focusing on transparent dreams of cities through the use of glass and translucent forms of cities with jagged and soft purring sounds.

Sungji Hong, born in South Korea in 1973, studied composition in Seoul before moving to England where she completed her Master in Music at the Royal Academy of Music in London and a PHD in composition with Nicola LeFanu at the University of York. She has won numerous international prizes. Her creative output includes solo, orchestral, choral, ballet and electro-acoustic music with special interest on timbre and pre-determined pitch structures. Her works are regularly performed at international festivals and on major concert series by leading ensembles and orchestras such as the soloists of the Opera House Covent Garden, the Arditti String Quartet, the Nieuw ensemble of Amsterdam and others.

In Black Arrow, written for bass clarinet and tape, bass clarinet solo part consists of three ideas as follows: the quiet timbral trills, abrupt slap tongues in low register and ghostly fleeting key slap scales. The whole piece develops around or between these three gestures turning on themselves or going through transformations. The latent energy seems to waver in a very low register but gradually the sounds creates a space filled with a strong directional kinetic energy. The succession of rising scales, lofty multiphonics and huge intervallic portamenti intensify the energy and constantly keep up the extreme tension.

Kara Gibbs (b.1981) was born and raised in the Vancouver area. She graduated from UBC with a B. Mus in composition where she studied with both Keith Hamel and Brent Lee. She has received performances and readings from the UBC Contemporary Players, UBC Women’s Choir, Infinitus String Quartet, Elektra Women’s Choir and the Penderecki String Quartet. She has also participated in the Westcoast Composers Symposium and Sonic Boom Festivals. Her love for the music of the Balinese Gamelan resulted in a trip to Indonesia in 2005, where she lived and studied in Ubud with a local music teacher.

“Reverie” (daydream, a state of idle and pleasant contemplation) was written for the 60X60 Competition in April of 2006. It uses 3 Balinese instruments: the gender (a metallophone: metal keys suspended over bamboo resonators), the suling (bamboo flute), and finger cymbals.

Rosalind Carlson is an Australian composer. Her works are inspired by nature so her music is mainly evocative. She composes for a variety of instruments as well as for voices, in the various musical genres. Here she can absorb the spaciousness that the vast Australian landscape has to offer. Many of her woodwind compositions are published in England. In 1998 she won the Gold Coast Composers Award for the Year. Rosalind has written choral reviews for the American Choral Directors Association Magazine, “The Choral Journal”. She writes articles for music magazines as “The Studio” for the Music Teachers; Association of NSW

The Fairy Wrens are small Australian Birds. The males are a vivid blue and the females are light brown in color. They are dainty, delicate, delightful birds. They live on the composer’s property and will fly under her verandahs to collect cobwebs for their nests. They have a charming, soft warble. This inspired the composer to write for flute, her 6 movement “Australian Bird Suite” which opens and closes with the Fairy wrens.

I was born in San Diego, California, 50 years ago. I began composing in high school, and studied electronic music at UC San Diego under Pauline Oliveros, among other teachers. I have released one solo CD, The Brandnewbug Concertos. I currently live in San Mateo, California, where I play flute with Stumbling Grace, a flute and guitar duo.

"Firebrat" is an expression of my interest in compound meters. Each section subdivides the 11-beat meter differently, while maintaining a propulsive, rock-like rhythmic feel throughout. I play flute, electric guitar, and keyboards on this recording.

Australian composer/pianist BETTY BEATH began to study music at the age of three. Later a Queensland University Music Scholarship allowed her to study at Sydney Conservatorium. Her compositions include orchestral and chamber works, art songs, operas and music drama which have been broadcast and performed in Australia and internationally. Following a two-year sojourn in Papua she developed an enduring interest in non-western culture and later was awarded a South-east Asian Fellowship to do research in Bali and Java. She promotes and performs the music of women and contemporary composers and serves as Adviser in Music to the National Council of Women in Queensland.

"Given the Time" was inspired by the following short text by my mentor, eminent Australian musician Dr. Franz Holford. I wrote the song as a fun, encore piece. It amused us both and still brings a smile to my face.
Given the time I shall sell my beads and widow's weeds
To buy a mandolin and conquer him.
Then shall I rest...I will spend my time at the window ledge
Spilling wine rose petals over the edge,
Up the lane of the sun a lover may come...
Given the time.

After completing a degree in political science, she decided to study music full-time to improve her song-writing and learn orchestration. For the last four years at the Sydney Conservatorium of Music, she has been introduced to various contemporary music genres. She has been especially thrilled to explore the endless sonic possibilities and artistic freedom electronic music offers. She is now in her final year of studies as an honour student. She plays violin and bass guitar in various bands, and is an arranger and timpanist at her local church.

Peggy Polias is based in Sydney, Australia . She completed a B.Mus. degree at Sydney University between 1999-2002, majoring in composition. Polias now works as a piano/guitar tutor from her home studio, and also as music score copyist for several Australian composers. In between jobs Polias writes her own music. Her interests and influences include: contemporary rock, early blues and urban music forms, new music, the composer Iannis Xenakis, Central Javanese gamelan, and electronic music. Currently Polias is collaborating on a multimedia work for Triptych, an event featuring combined works by young Sydney composers, visual artists and poets/spoken-word artists.

'Mess' is a short song, one of 33 from a collection entitled Miniatures. A disheveled and disoriented protagonist describes herself, riddling on choices and the torment sometimes of having to choose. These are the lyrics: on my left foot: a sandal/on my right foot: a boot/on her legs wearing stockings/at her waist: a skirt/the boot is old/ and the sandal hurts/stockings: bold/my skirt is loose/and she's a Mess

I am currently completing a Bachelor of Music at the New Zealand School of Music in Sonic Arts and Composition. I play keyboards in a Jazz band "Percolator". I have completed two CD's as a singer/songwriter. I have recorded various Jazz and Acoustic Bands. I have created a Jazz GigaStudio library. I also play MIDI guitar and Keys in a solo act. I am working on a library of composition tools written in Python.

“Boawlllss” was created using steel mixing bowls and glass florist balls.Recorded on a Fostex field recorder edited in Bias Peak, mixed in Protools TDM, and processed with GRM Tools in Adobe Audition.

Cindy Cox (b. 1961) has emerged as one of the most vibrant, intelligent, and fluent composers working in the twenty-first century. As Robert Carl notes in Fanfare, "Cox writes music that demonstrates an extremely refined and imaginative sense of instrumental color and texture...This is well-wrought, imaginative, and not easily classifiable music." She has received awards and commissions from the American Academy of Arts and Letters, the Fromm Foundation, the National Endowment for the Arts, ASCAP, Meet the Composer, and the Gemeinschaft der Kunstlerinnen und Kunstfreunde International Competition for Women Composers. She has been a Fellow at the Tanglewood Music Center, the Aspen Music Festival, the MacDowell Colony, and the Civitella Ranieri and William Walton Foundations in Italy. Recordings may be found on the CRI, Capstone, Valve-Hearts (Germany), and Mark labels. Cox has a doctorate from Indiana University, and studied there with Harvey Sollberger, Donald Erb, Eugene O'Brien, and John Eaton. She is also an accomplished pianist, and studied with the great Mozart and Schubert pianist Lili Kraus. Cindy Cox is presently an Associate Professor at the University of California at Berkeley.

"Nature is" music by Cindy Cox and text by John Campion
Nature is
and our nature is
the opening of a woman leads to Xibalba
the doors of the church must open to her

Katrina Wreede enjoys writing music for chamber ensembles, orchestras, dancers, protests, youth groups, and friends. In between she supports herself by sawing on the viola, including pretending to be a violinist for Prince Charles and serenading an office meeting at a Burger King. And there was that time standing on a frozen roof playing Christmas carols for party guests arriving, too.

Last year I took three little girls from my neighborhood, ages 9, 10 and 12, to hear the 60 x 60 show at Mills College. They had never heard of or been to a college before ("You mean people LIVE at school?!?"). They had never sat in the dark listening to music. And they really got what was happening-- it was inspiring to see how deep these kids could go into the sounds. I asked if they'd like to help make a submission for this year. You'd think I asked if they wanted all new Hello Kitty wardrobes! So we have created a montage of silly pre-teen-ness addressing girls' body image issues and, oh yes, silliness.

Born in Oxford, England, Julia moved to the San Francisco Bay Area in 2000 where she has been teaching voice & composing vocal music for live theatre and solo voices. She draws her inspiration from the emotional heart of a subject and uses extended vocal technique to seek out the edges of discomfort, irreverence and harmony. She found she had to somewhat limit her voice as a singer of folk, rock or even jazz, but in using her voice as a compositional instrument she has finally found the vocal freedom she always craved. A relatively novice composer, this is the second time Julia has entered a competition and the second time she has been placed :) http://www.julianorton.com

The lyric content of this piece is extracted from the poem ‘love letter to the milky way’, by the poet and cosmologist Drew Dellinger. I wanted my voice to reflect the youth & purity I hear in the words and so resisted any attempt to add polish, the very mild reverb chosen was called ‘schoolyard’. I used a midi keyboard to get the upright bass sound. Thanks to Sean Munding for the use of his Pro-Tools studio to re-record this.

Dr. Jason Heald, Chairman of the Fine and Performing Arts Department at Umpqua Community College, is an active composer and educator in the Pacific Northwest. He holds a Ph.D. in composition from University of Oregon, a Master's degree from University of Portland, and a Bachelor's degree from Lewis and Clark College. Heald is a prolific composer, with works published by ChoralWeb, UNC Jazz Press, Plymouth Music, Sound Music, Northwestborough Music, and Call of the Wild Publishing. Dr. Heald was the Grand Prize winner of the 2006 Eventide Arts Songfest and the 2004 Cascadian Choral Composition Competition and has received several ASCAP AWARDS.

"Love's Young Dream" is an a cappella setting of a timeless poem by Thomas Moore. (1779-1852). Inspired by traditional English part songs, the piece paints the excitement and uncertainty of romantic relationships.

Sharon Cheslow is a sound and visual artist, musician, and writer. Her works have been featured in Lincoln Center Out of Doors (New York), Sound Junction 2 (UK), Ladyfest (San Francisco), International Mechanical, Kinetic & Electronic Arts Festival (San Francisco), Deep Listening Space Gallery International Dream Festival (New York), and Il Corral Turn the Screws Festival of Love and Noise (Los Angeles). She has toured the U.S. and Canada, and she won the Frog Peak Experimental Music Award in 2000. Recent audio and video releases are on Kill Rock Stars, 5 Rue Christine, Collective Jyrk and her label Decomposition. "Right Now Be My Molasses" is a piece originally written for a Toyo Records compilation of 20 second compositions. The piece was then pitch shifted to 60 seconds. In doing so, the composition’s original mix of sped up and slowed down samples was highlighted and enhanced.

Phillip Stearns is a Los Angeles based sound artist and composer currently studying music composition with Micheal Pisaro, Mark Trayle and Sarah Roberts at the California Institute of the Arts. As an MFA candidate in the Experimental Sound Practices program, his work deals primarily with the subversion of commonly used electronic devices and computer software normally associated with the production of music or sound. This subversion has manifest in compositions made with the use of mixer feedback, circuit bent and DIY electronic audio/video devices, hacked or broken software and various other unique processes.

The 'Stability' series is an exploration of dynamic behavior in systems of audio feedback. The goal of these pieces is not to push the system over the crest into complete self oscillation but rather to explore the possibility of subtlety within more stable structures. Stability - III is a quick study of FM transmitter feedback. Here the system is continuously pushed towards instability through subtle gestures.

Celeste Hutchins was born in San Jose, California in 1976. In 1998, she graduated from Mills College in Oakland, California, where she studied electronic music with Maggi Payne. In 2005, she graduated with an MA from Wesleyan University, where she studied with Ron Kuivila and Anthony Braxton. She has played a tape at Woodstockhausen 2000 and 2002, played at the Exploratorium in 2001, played in the BRINK Series in 2005, appeared on a CD put out by Ibol Records and has had German and American radio play. Celeste is currently enrolled at Sonology in The Hague.

"Clocker" is a collection of saw tooth waves, each ticking like a clock. Every new tick is faster than the previous one until they become tones rather than ticking. Each divides the 60 seconds into smaller and smaller divisions, like faster, smaller clocks for faster, smaller people.

David Evan Jones has composed in residence at the Elektronmusikstudion, Stockholm and at L'Institut de Recherche et de Coordination Acoustique/Musique (IRCAM), Paris. His articles have appeared in Perspectives of New Music and Computer Music Journal. His compositions are published by Dorn Publications, American Composers Editions, and on compact disks from Centaur, Wergo, Contemporary Recording Studios, Musical Heritage, and Composers Recordings Inc. He has recently published a CD of "Neo-Balkan Jazz and Concert Music" on Centaur and premiered his second chamber opera The Rehearsal. Jones is Professor of Music at the University of California Santa Cruz and can be reached at DEJ@UCSC.EDU.

“The Norwegian Limit” develops a simple counterpoint (line against line) around a familiar tune. The piece gradually pushes the level of complexity until the multiple lines begin to fuse as a single chaotic texture. Then beyond chaos to midi breakdown. DEJ

Le Tuan Hung (surname: Le ; First name: Tuan Hung) is a composer, performer and musicologist, specialising in Vietnamese music, cross-cultural music and experimental music. He is a multi-instrumentalist with a strong background in Vietnamese traditional music and Western classical music. He has performed widely in Asia, Australia, Europe, America and Oceania. His compositions have been created for a wide range of instruments, ensembles and media. His compositions and performances have been released by Move Records, NMA, ABC Music and Australian Sound Heritage Association. He is also the author of various publications on Vietnamese performing arts and is regarded as an expert in Vietnamese musicology.

"In the Shadows of The Wind" is a musical interpretation of the following poem, using the sounds of a prepared dan tranh [Vietnamese zither], a suling [Balinese flute], an Oceanic panpipes and a Japanese bell.
In the shadows of the wind,
A sunflower
Dancing with the wings
of butterflies

Marc Barreca has been composing and performing electronic music for over twenty-five years. In the late 1970’s and early 1980’s he performed with the Seattle-based electronic music group Young Scientist and released recordings on K. Leimer’s Palace of Lights and Jeff Greinke’s Intrepid labels. He was also a member of K. Leimer’s studio group, Savant. Marc uses digital and analog synthesizers, digital samplers, environmental field recordings and computer processed audio loops to create multi-layered audio compositions. Cinder Cone was recorded in 2006 at Drab Studios, Bainbridge Island, USA on a laptop computer using sampled and synthesized sounds.

Munich-born, L.A.-based composer and producer Kubilay Uner has bounced around the planet and through every musical genre, which explains a thing or two about his individual approach to music. He studied composition at the Academy of Music in Cologne, workshopped with Luigi Nono in Avignon, and eventually earned his Masters degree at CalArts. With eight feature film scores, two TV pilots and a raft of record productions to his credit, as well as a number of concert music works performed, Kubi is as comfortable in the concert hall as he is on the dubbing stage.

"Squint" was written and realized as a submission for the 2006 60x60 project. Most of the tracks are contact mic recordings of a custom-made fretless banjo built from a Danish cookie tin. "Squint" grants you a brief glimpse (a 60 second glimpse, to be exact) into its little universe.

After starting an MMus in June, Sarah Taylor is currently immersed in an exploration of film soundscapes and sound/image manipulation. She is also increasingly inspired by musique concrète, visual collage/montage and her growing collection of vinyl. She lives on a beautiful island in the South Pacific ocean.

when the spring came
the flowers did not open
she asked him why

Margaret Anne Schedel is a composer and cellist specializing in the creation and performance of ferociously interactive media. While working towards a DMA in music composition at the University of Cincinnati College-Conservatory of Music, her thesis, an interactive multimedia opera, A King Listens, premiered at the Cincinnati Contemporary Arts Center and was profiled by apple.com. She is a founding member of the NeXT Ens, an ensemble with the unique mission to perform and support the creation of interactive electroacoustic works, and she is also the musical director for Kinesthetech Sense, a dance company which integrates technology and movement. She is a board member of, Organised Sound, the BEAM Foundation, NWEAMO, the Women’s Audio Mission, and the International Computer Music Association. Usually found in the Bay Area, she runs workshops for Cycling ‘74 and Making Things.

This piece contains fifty eight thousand, nine hundred ninety eight miliseconds of pure evil. Please make sure there are no sharp object around while you listen. Just kidding, but I got your attention! Imagine if you could circuit bend a music box, now (after checking for sharp objects) you may listen.

After completing a BA in music Donald moved to Wellington to focus on Sonic Art composition. Also a jazz pianist, he performs weekly at bars in Wellington. But his main interest lies in the studio, in arranging and applying DSP and other computerized techniques to uncover the potential of sounds. CDs ranging from haunting jazz/impressionist piano to clean electronic to minimalist dance music are available by emailing Donald at mr_peripatus@hotmail.com. Currently working on new alternative-rock pieces for his band "Scacco Matto"

This piece takes it's sound material from a bolt and a pencil tin, the close mic-ing revealed some interesting sounds that worked best unprocessed, but also worked well with a sharpness added from using the program "Peak" to refine them. The play of panning around the musical canvas suggests that the sound is a definable object in front of the listener and thus grabs their visual focus as well as aural. This piece is part of a longer work which delves deeper into the inner qualities of the sounds.

Born in August 1983 in Hong Kong, I started learning ballet at the age of 4 and then piano at 8. Inspired by the rhythm and diversity, especially those from the Asia countries, I have cultivated, since my teenage, an acute interest in popular music singing and music creation. I am currently studying MSc in Music Technology in the University of York, United Kingdom to further develop my music creation and production skills.

Walking is part of our daily life, but, how many of us have ever paid attention to the sound of our own footsteps? This inspires me to create a piece of work that is created solely with footstep sounds. Though only one original sound source has been used, I have created other versions by adding sound effects to it. As I want to be more experimental, I have also processed it with different reverb effects so as to add a mystique feeling to the piece.

My name is Beryl Matete. I'm a 20yr old Kenyan by nationality but a New Zealand resident and a student of Composition and Sonic arts at Victoria University of Wellington. I have been composing elecrtoacoustic music for two years now and my entry into this project

This piece was completed as a sonic art class project. where I used a guitar as a sound object. My sounds were processed using Pro-tools and edited using Peak. My piece brings out the unheard sounds that a guitar can make ant makes music out of these sounds.

I am currently I my second year of studying instrumental composition and sonic arts at Victoria University of Wellington, New Zealand

Helvete was created using a piece of steel drain pipe as the sound source. Through gestures I managed to create a descending melodic figure which I used as the basis of the piece.

I went to Tauranga Boys' College, and music was an escape from whatever else I should have been doing. After a number of failed attempts at getting a 'real' job, I moved to Wellington and started studying music at the New Zealand School of Music. I am currently in my second year of a double major in Composition and Sonic Art, and my twenty-second year of life.

“Keypad” was made using recordings of my cellphone. I find cellphone's to be invasive and annoying, in every lecture theatre there always seems to be someone mashing away on their keypad. In my recordings I tried to capture some of the fervor with which they mash.

Deeann D. Mathews is a composer, arranger and pianist living in San Francisco, California. While her primary compositional activity is in sacred art song, she began her career as an instrumental composer and greatly enjoys writing small “salon pieces” for the enjoyment of herself and friends. Mathews, 25, is also a novelist and short story writer. Her “day job” is copy editing for the Oakland Tribune.

At a basic level, “Broken Waltz” is a short exploration of the effects of polyrhythm and minor keys in succession on a familiar standard of Western classical music, the waltz. But its inspiration comes from Mathews’ own recent perceptions of Western society and culture. There is much beauty, but underneath there is a great deal of conflict, contradiction, and brokenness. Yet life rushes on, in a swift but often tragic harmony. The composer contracts her thoughts to a minute’s span in “Broken Waltz,” scored for celesta.

Jeff Hunkin is currently studying at Victoria University of Wellington, NZ. At 19 years of age, he loves performing and composing all kinds of music, and enjoys studying the Sonic Arts degree at VUW. Growing up in a very musical family, Jeff grabs hold of any opportunity to showcase his talent and flair in the art of music. His main musical focus is singing as a part of an International Champion Barbershop Quartet.

“Hot Chocolate” sonically demonstrates some of the aspects of making a delicious hot drink, with some portions digitally exaggerated, and some left for the ear to figure out what's really happening.

Maggi Payne is Co-director of the Center for Contemporary Music at Mills College, teaching recording engineering, composition, and electronic music. She also freelances as a recording engineer/editor and historical remastering engineer.She received honorable mentions in Bourges (3X) and Prix Ars Electronica Festivals, two Composer's Grants and an Interdisciplinary Arts Grant from the NEA, and video grants from the Mellon Foundation and the Western States Regional Media Arts Fellowships Program. Her works are available on Starkland, Lovely Music, Music and Arts, Centaur, MMC, CRI, Digital Narcis, Frog Peak, Asphodel, and/OAR, and Mills College labels.

60X3 was composed 5/15/06 in response to Robert Voisey's call for the 2006 60X60 project. The title stems from a coincidence. This is my third entry for the 60X60 project (:60 Faucet for the first project and :60 Fizz for the second project ) and it uses three modified sources: a faulty valve in a sink's faucet, a tiny motor, and a floor furnace.

Born in 1980.Studied composition at Miyagi University of Education (Japan) under Kazuo Kikkawa, and at California State University, Northridge under Daniel Kessner and Liviu Marinescu. Participated in Fringe NYC 2004 as a composer.

Titled "FLOOD OF SOUNDS ", is a track no.1: "A Sound Collage"

Anton Killin is an Australian-born, nineteen year old composition and sonic art student at the New Zealand School of Music in Wellington, New Zealand, studying electro-acoustic music under Michael Norris, Dugal McKinnon, and Lissa Meridan.

This short piece, “one” utilises several spectral processing effects, and only one sample - a toy drum.

Koji Kawai is a sound artist. He participated in collective improvisation group“GAP” and he acts with the unit based on Indian music with Seiji Nagai who was a menber of Taji Mahal Travellers. Now Focusing on sound, he uses various media, such as an image and molding, and is active in the fields of performance, art works and research. His works was selected in Santa Fe International Festival of Electroacoustic Music, Electronic Music Midwest and ISEA(Inter-Society for the Electronic Arts).etc.

“To cosmos” consists of two elements, such as string quartette and ShiShiodoshi (a Japanese traditional sound object of the bamboo using water which exists in a Japanese garden). A String quartette strays the world of chaos by ShiShiodoshi. When sonic energy reaches the climax,including in white noise, the sound of Sisiodosi and the string quartette go through the process of self-organising from chaos to cosmos.

Aaron Drake (b.1976) is a composer based in Los Angeles, California. Mr. Drake began studying piano at age five and has a rounded repertoire that includes both classical and modern music. Drake earned his Bachelor of Music in Composition from San Francisco State University. His studies have also taken him to the Staatliche Hochschule fur Musik in Trossingen, Germany. Aside from his compositional work, Mr. Drake’s experience includes an interest in interdisciplinary projects such as kinetic sculpture, sound installation and video. His projects have included improvisational composition for theater and collaborative art pieces with visual artists. Currently, Drake is working towards a Master’s of Music degree at California Institute of the Arts under the direction of Mark Trayle et al.

After completing a degree in political science, Nicole decided to study music full-time to improve her song-writing and learn orchestration. Since entering the Sydney Conservatorium of Music, she has been especially thrilled to discover the endless sonic possibilities and artistic freedom that electronic music offers. She is now in her final year of studies as an honour student and plans to continue her studies in electronic music at a postgraduate level. Her other musical passion lies in church music; she has written songs for various Christian bands, and arranges for her local church chamber ensemble every week.

Created with samples with spiritual associations, such as birdsong, an excerpt from a hymn, clock ticking and reading of the Bible, Apocalyptic Visions is an attempt to depict the ever-present battle between the good and evil. The inspiration came from Umberto Eco's Name of the Rose, a scene in which a young monk sees a vision of celestial beauty and apocalyptic horror. The piece aims to unveil the layers of each world and present them in a way that reveals the intertwined nature of their co-existence.

Dylan Mattingly was born March 18th, 1991 in Oakland, California. He plays cello, piano, electric bass, electric guitar and ukelele, and is a prolific composer whose works have won composition contests by the University of Cincinnati's College Conservatory of Music and the Asia America Symphony. He also enjoys translating '60s pop songs into Latin.

Imagine yourself being slowly lowered up through chain-saw winds in the fog, on a long dark escalator.

David Hahn is an eclectic composer who creates diverse styles of music ranging from the experimental sounds of electronically-processed guitars to sound collages to instrumental and choral music featuring traditional instruments and voices. He has composed over seventy-five diverse pieces of music, many of which have been commissioned and performed by established professional ensembles and soloists His music has been released on Centaur and Capstone Records, is regularly broadcast, and has been performed throughout the United States and in Canada, Chile, Turkey, Croatia, France, Germany, Cuba and Cyprus. His website is: www.davidhahnonline.com.

AMERIKA IST NUN ERWACHT. Two voices which have made history are here blended together in a chillingly apt juxtaposition. As the bumper sticker reads: "If you are not completely appalled, you are not paying attention."

Originally form North of Auckland, Simon Rycroft learned his trade form an early age assisting renowned producer Tom Bailey. In 1998 he completed a Diploma in Sound Engineering and Music Production at MAINZ. The millennium arrived and with it a change in city. While feasting upon the burgeoning Wellington dub and electronica scene, Simomn met up with Thomas Voyce. They formed the music collective known as Rhombus” which went on to win numerous awards at the national level. Simon composed and recorded his first full feature film soundtrack for “Blessed” in 2002 and has been involved with numerous other projects. He is currently a composition stude3nt at Wellington School of music and producing the third Rhombus album

“Sneak” derives its name from it’s source sound object. The 60 second elect4ro-acoustic piece is entirely constructed form sounds made by rubbing, striking and bowing an old pair of sneakers. I have attempted to create a sense of depth in the piece by using basic pitch manipulation of high resolution sound recordings.

Rodney Oakes is a composer and trombonist living in Los Angeles. He currently teaches as a professor emeritus at Los Angeles Harbor College. Oakes? music is available on a number of CDs, and he performs concerts for music for the MIDI trombone in the US and Europe. He also performs wit a number of jazz ensembles.

“Iberian Aria” was created with the software program, Metasynth. The work was made essentially from digital pictures taken during January, 2005, of Spain, Portugal, and the Rock of Gibraltar. Metasynth allows for the control of sound with digital images.

Polly Moller enjoys a multifaceted career as a performance artist, composer, improviser, chamber musician, and avant-garde flute player. Her original compositions have earned an international performance history. Her new works, The Flip Quartet for four improvisers and Genesis for twelve performers and a conductor will be premiered in autumn 2006. Her flute quartet, Remove Before Flight, will be published in April 2007 by ALRY Publications. Her fourth album of original work, Not Made of Stone, will be released in 2007.

"Kissing a Woman" features the voice of photographer Shiloh Burton (incorporated by permission), emphatically spurning the composer's hypothetical bi-curious advances as part of their duo project in the San Francisco Fling exhibit.

jacky schreiber, caracas, venezuela 1961 studied guitar and electroacoustic music composition, his music has been awarded 3 times with the national composition prize, he has written music for theater plays for tv and films

'i still don't get it' is a short piece is about a riddle, this one in particular very hard to solve...

Stephen C. Ruppenthal is a electro-acoustic and text-sound composer, and trumpet player. His writings on contemporary composers appear in the New Grove Dictionary of American Composers. Most of his compositions have been inspired by ritual ceremonies of traditional non-Western societies and employ speech, synthesizers, and improvisation in slowly evolving, rhapsodic formats with gestures stimulated by graphic notations of the composer’s own design. Mr. Ruppenthal studied composition and electronic music with Allen Strange and musicology with Lou Harrison at San Jose State University; MA in musicology, 1975. His thesis, "A History of the Development and Techniques of Sound Poetry in the Twentieth Century in Western Culture," constituted the first comprehensive documentation of the genre in English.

"VoceCembalo" is a text-sound work that takes as its conceptual point of reference, "one of the innumerable versions of the 'Wake' stumbled upon in Borges' infinite concentric cosmic library." Sonic materials for VoceCembalo consists of fragments of text from Joyce's "Finnegans Wake" (read by Linda Leudke) and recorded/processed earth-chimes. VoceCembalo is a movement of a longer sound-scape of the same name.

Frank Lee Sprague is an American composer with over 1000 works to his credit. Originally from Wichita Falls, Texas, Frank ha spent his life studying, writing, and performing music. He now lives in North Hollywood, California where he as been recording his music and advancing his career

John Villec is an instructor of music and recording technology at Sacramento City College and San Joaquin Delta College. He received his Master of Music and Bachelor of Music degrees from California State University, Sacramento and has completed post graduate study at the University of Oregon. He has studied composition with Jeffrey Stolet, Robert Kyr, David Crumb, Stephen Blumberg, and Leo Eylar. He is a frequent collaborator with visual artists Charles Aitken and Brian Clark. His media compositions have been performed at music, film, and multimedia festivals worldwide.

My name is Shane Watters and I was born in Wellington on the first of november 1980. I have been studying for a music degree majoring in sonic arts at victoria university of wellington since 2004. This year my piece "Atmosphire" has been named as a finalist in the victoria university of wellington composers competition. The final is being held on friday the 15th of september.

My piece "twisted water" is an exploration of a short, single sound sample. The sample itself is a recording of a bottle (that has been cut in half) being pulled out of water. The piece explores both the intrinsic and extrinsic qualitys that can be created with the sound as well exploring the potential that these sounds possess.

Robert W. Parker is a prizewinning, critically acclaimed composer and performer with over twenty-five years' experience in musical theater and thirty years' experience as a liturgical musician. Called "a delight" by the press from Connecticut to California, he has performed for Presidential inaugurations, appeared on stages throughout Europe, the Caribbean, and Japan, and has been seen (and heard) on both national and international television. The Golden Door is the sound of ethereal light streaming in through a golden door; the transforming light of the truth that lies within and around us all.

Searching for a correlation between sciences and musical creation, Ivan Zavada studied electroacoustic composition at the University of Montreal, Canada. He has lectured in computer music and electroacoustic theory. As a composer, he created several soundtracks for documentary film, as well as short and feature films. As a violinist and composer he also participated in several concerts and recordings with various music ensembles. Ivan Zavada is currently based in Sydney, Australia and mainly devotes his time to teaching and composition.

The isolation of a neutral sonorous particle provokes an elastic chain reaction which evokes organized chaos. Systematic use of an audio looping software which I developed during this odyssey, influenced by our present socio-cultural and economical context where repetitiveness is privileged in its totality. A loop is a sort of neutral sonic kernel, maybe even a non-determined discord. But despite its neutrality, the loop attracts humans more and more. This musical whirlwind siphons my mind!

“I’m a Japanese food shop owner. (TO-FU) This is composed mainly by musical instruments like toy used by electrical equipment.” - Hajime Yabe

John Biggs was born in Los Angeles in 1932. His father was organist Richard Keys Biggs, and his mother was singer Lucienne Gourdon. He was number 8 in a family of 11 children.. During his youth he received training in acting, singing, piano, bassoon, and violin, and was a member of his father’s church choir. As a performer, he founded the John Biggs Consort, which specialized in vocal chamber music from the Middle Ages to the 20th Century. As a composer, his output is varied, and includes chamber music, vocal music, choral music, orchestral music, and music for the stage.

"As director of the John Biggs Consort, which specialized in music of the Medieval and Renaissance periods, I often included krumhorns in our instrumentation. They are a double reed instrument where the reeds are sheltered within a cap, much like the chanter of a bag pipe. The wood body travels down, then bends back up in a crook (krumm), and looks like an upside down walking cane. Their tone might be likened to a raucous modern day oboe. They were popular from c.1400-1600 in Europe. The piece is for soprano, alto, tenor, & bass instruments plus voices, all performed by yours truly. "

Yarnell’s music encompasses a broad spectrum of style and medium, ranging from orchestral works, solo and chamber music for both modern and early instruments, computer music, electronic soundscapes, multi-disciplinary works and improvisatory space music with a metal tinge. In addition to her work as a composer, Ms. Yarnell is an accomplished visual artist, photographer, and writer. Educated at the San Francisco Conservatory of Music and Yale, she has received fellowships to Aspen, Tanglewood, and a Fulbright to Iceland. Most notable awards include the Rome Prize, Guggenheim and an NEA grant for composition and painting.

METRO TRIBE is a brief urban study, layering multiple rhythms and glittering textures into a kaleidoscopic milieu.

Carlos Rafael Rivera is a Cuban-Guatemalan composer born in Washington, DC and raised in Guatemala, Costa Rica, Panama, and Miami. His compositions are tonally centered and rhythmically charged, reflecting the diversity of his upbringing, as well as his love for the folk music of other cultures, engaging both musician and audience at a visceral and emotional level.His works have been performed by The world’s most prominent ensembles, including the American Composer’s Orchestra, Chanticleer, and the LA Guitar Quartet; recorded by Warner Classics, Sony Classical, and Naxos, and awarded by the American Composer’s Orchestra, the Guitar Foundation of America, BMI, and twice by ASCAP.

“Visceralissimo” is an incessant type of visceral reaction to meter changes.

Lembit Beecher is a composer, conductor and pianist currently working on his D.M.A at the University of Michigan. His teachers have included Evan Chambers, Bright Sheng, Karim Al-Zand, Pierre Jalbert, Kurt Stallmann and Bernard Rands. Continually trying to expand his musical and artistic vocabulary Lembit has studied jazz piano, modern dance, ethnomusicology and participated in workshops and master classes with Stephen Schwartz (song writing), Bobby Mcferrin (vocal improvisation and dance) and Paul Berliner (Shona mbira music from Zimbabwe). He is particularly interested in the way people tell stories, through songs, sounds, gestures and words.

So, I asked a few people to give me a thirty second summary of their lives. In their descriptions they included many of the same types of details, used similar expressions and sometimes breathed in similar ways. They were, however, quite free in their interpretation of "thirty seconds."

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.

26-year-old composer and improvisor Alex Eddington just completed a Master’s degree in composition at the University of Alberta, where he studied with Howard Bashaw, Andriy Talpash and Paul Steenhuisen. His stay in the theatre-rich city of Edmonton has led him to collaboration with local actors and dancers in both casual improvisation experiments and full theatrical productions. Also an amateur actor and playwright, Eddington seeks to bring theatre to his music and music to his theatre until these definitions are irrelevant. Mr. Eddington has received a SSHRC grant and a SOCAN award in recognition of his synaesthetic efforts.

Exactly a minute long, “Countdown” expresses tensions between varied experiences of the passage of time. It is also an exercise in electroacoustic simplicity. I recorded the voices of actors counting down or up for exactly a minute at different rates, then layered the recordings, balanced, panned, and cut the voices in and out to create shape. The actors chose their own voice-characters for each count, giving me another parameter to account for in shaping the piece, and giving the piece a certain emotional chaos that makes the countdown into something more than stacks of numbers in polyrhythmic relationships.

Published by Activist Music, Alex Shapiro’s works are heard weekly in concerts and broadcasts across the U.S. and abroad, and are found on many artists’ recordings. Educated at The Juilliard School and Manhattan School of Music as a student of Ursula Mamlok and John Corigliano, Alex (b. NYC, 1962) has received awards from American Music Center, ASCAP, California Arts Council and The MacDowell Colony. Her life and music were the subject of the one-hour radio show American MusicMakers, airing in February 2006 on public radio stations across the U.S. Alex procrastinates on her next piece by updating her website.

Consider this a Public Service Announcement for all of us who, like the proverbial frog in a pot of water that’s slowly coming to a boil, could benefit from a wake-up call before it’s too late. Play this loud. And pay attention.