Join
the Vox Novus
mailing list
to get up to date annoucements for the 60x60 project.

Berlin based improvising and composing flutist/saxophonist Tilmann Dehnhard has collaborated musically with Sam Rivers, Arve Henriksen, Evan Parker, Alexander von Schlippenbach, Terumasa Hino among others. His CDs include "Breath" with solo flute work (Klangräume Musikproduktion), "Koala Lounge" (Traumton Music), featuring saxophone and ensemble, and "We Live There," with flute, contrabass flute and ensemble.

"Rohrschach" was created with violin scratch noises, a gong and two piano incidents. The gong (a little brass cup) moved towards the microphones while recording, thus creating the spatial and dynamical change of the track. This piece was inspired by the famous Rohrschach Test pictures. It has an axis in the middle. Viewed as a wave in music software, it has a kind of Rohrschach look to it.

Radical, traditional, original, archetypal—neither modernist nor neo-tonal, Cindy Cox derives her “post-tonal” musical language from acoustics, innovations in technology, harmonic resonance, and poetic allusion. She has received awards and commissions from the American Academy of Arts and Letters, the Fromm Foundation, the National Endowment for the Arts, ASCAP, and Meet the Composer. Her music is recorded on the Capstone, CRI, Albany, Cantilena, Arpa Viva, Mark, and Valve-Hearts labels. Cox is a Professor at the University of California at Berkeley.

“The Other Side of the World” is a meditation on loss. The text is by John Campion, from his book Squaring the Circle (used by permission). The poet is the speaker on the tape. The text is as follows: Here/ salmon ran full and red/ and we ate together/ till our bellies sang./ Then the white/ brought his money/ and many other things./ Now/ we live on stamps/ and must increase the dosage/ as their doctors say./ But nothing/ can rid us of the disease/ or call the fish/ to return/ from the Other Side of the World.

Simon Whetham has worked solely with field recordings since December 2005, when on a research trip to Iceland. Sounds from remote and desolate locations were recorded, with the aim of using them as reference material, but they were so evocative they became the focus of the work. The results were released in June 2006 through Filament Recordings. This led the artist to the French Alps, where he gathered the source material for “ascension_suspension,” released by Entr'acte in July 2006. Simon’s work has also featured in exhibitions in Bristol, Southampton, Portsmouth and Iceland, as well as on numerous online exhibitions.

This recording, “mongolia_wateronmetal”, was captured in the town of Dulaankhaan, where the only remaining bow and arrow factory in Mongolia still produces traditionally made weapons. Meltwater ran from the roof, hitting metal-clad windowsills, playing an industrial melody.

Active since 1984 under the If, Bwana name, Al Margolis has been making music that has swung between fairly spontaneous studio constructions and more process-oriented compositions. He ran the cassette label Sound of Pig Music in the 1980s and co-founded and continues to run the experimental music label Pogus. He plays bass guitar in the long-lasting, legendary punk/post-punk band The Styrenes. Recordings of his work have been released on the Tellus, Anckarstrom, Ants, Absurd, GD Stereo, Odradek, Monochrome Vision, and Pogus labels.

"Deck for Chair, Too" could be considered a field recording. But then again, maybe not.

David Cutler is a multi-dimensional composer whose compositions reflect a colossal range of musical styles. His works have been commissioned and performed by ensembles and artists such as the Alabama Symphony Orchestra, Classical Orchestra of Milan, LAVIE Singers, Korean Chamber Ensemble, Pittsburgh New Music Ensemble, and the Airmen of Note Air Force Big Band. His music has often interfaced with dance, film, actors, costumes, stage design and visual artists.

“Delerium” was constructed using Digital Performer, Pro Tools, a Kurzweil 2500, and modified samples of an accordion. This work features electronic microtonal patches I designed.

Born 1978 in Chisinau, Moldova, Marcel Gherman is a musician, radio DJ and journalist. Between 1994-2003 he was the author of programs on electronic music on the National Radiostation of Moldova. He has written numerous articles, mainly on music and culture, in publications Saptamina, Democratia, Sud-Est Cultural and Contrafort. He is currently working for Sud-Est Cultural magazine. As a musician he studied piano in music school and composition with Oleg Palymski. He has releases under the alias Megatone on labels Tibprod, Simlog, Invasion Wreck Chords, Zaftig, Krakilsk. Has a particular interest for Indian spirituality, most notably the Advaita Vedanta doctrine.

“Obsidian” is a black, slightly transparent volcanic rock extensively used in artwork and weaponry by both pre-Columbian American civilizations, such as the Aztecs, and by ancient cultures of the Mediterranean region. This musical composition attempts to express the texture and color of obsidian through sound This splendid sonic image is a metaphor for a certain feeling of bliss and fulfillment, present as an intuition within every person, every moment of one’s life, and that can probably never be lost.

Thierry Gauthier has completed a diploma in computer assisted sound design and a (BMus) in electroacoustic music composition at University of Montreal. He received an honorary mention (2e prize) at the international electroacoustic music competition Musica Nova (Czech Republic, 2006) and was a finalist (3rd prize) at the competition JTTP (Canada, 2007). This eclectic composer distinguishes himself by his experimental techniques and approach to composition. He has received numerous commissions for movies, art-videos, television series, documentaries, multimedia, installations and multidisciplinary performances. He has been performed in more than 250 concerts across the world and his compositions can be found recorded on more than twenty albums.

“Cycles1” is an expressionist acousmatic piece. The concept and process of this measured music is minimalist and repetitive. The cyclic revolution is conceived with microsounds, which are accumulated, repeated and granulated by the mediation of microloops. A germ of life is growing into a cold mechanic device and the chaos trying to take place in this impassive system…

Andrew Eckel is a musician from upstate New York, currently living in Cambridge, MA. He recently graduated from RPI, where his four years in the percussion ensemble influenced many of his arrangements. He has two solo CDs, *Summer Heat* and *Winter Heat*, and is working on a funky set of songs that will be out in 2008.

Everyone I play this for seems to have read the article mentioned, but no one's sure where.

Gintas K (Gintas Kraptavicius) has been participating in the Lithuanian experimental music scene since 1994. Gintas K was a core member of the first Lithuanian industrial electronic music band ‘Modus.’ From 1997 to 2000 he worked as an editor on the radio station 'Kapsai' for an alternative radio show titled 'The Ways and Mistaken Pathways'. He became known for his sound actions, theatrical performances and conceptual art in the manner of Fluxus. Since 1999 Gintas K has been working as a sound artist exploring minimal digital sounds, sine waves, noise, glitches, microwaves and acoustic vibration, making music for films, sound installations. Gintas K’s sound works were presented in various festivals, exhibitions and released by various record labels.

In “Godot in hurry”, the music you will hear can be described as microsound or noise, but my purpose is not to create within the frames of these styles. My primary interest is studying the physical effects of sound on the human psyche. As a result, I utilize sine waves, digital sounds, expressive synthesized tones, noises and complex rhythmical structures.

Thomas Bey William Bailey is a nomadic, multi-disciplinary artist concerned with the limits of perception, synaesthesia, etc. His work questions the notion of ‘progress at any cost,’ and his sound pieces aim to reintegrate people with the ‘micro’ and ‘macro’ aspects of life, which are often lost among daily social contact.

“Separation Anxiety” is a jolting minute inspired by a quote from Slavoj Zizek regarding anxiety, and by the composer’s personal struggles with the condition noted in the title. Separation Anxiety is a highly compressed/ truncated translation into ‘raw sound’ of continually firing nervous tics and almost palpable premonitions.

Joel-Aimé is a sound artist, master composer, international reporter and extreme DJ whose quest is to dominate the world of the f*cked up music!

“Le ballon” is kind of a parody of 90's dance music. The last 15 seconds are inspired by the orchestration of cotton eye joe, a song signed by Rednex.

Olivier Tache is a PhD student in computer music in Grenoble, France. After seven years in a rock/ electro band, he began composing in Solo, Starting with remixes of French bands “Rhesus” and “Les Frères Nubuck.” “sssffFGGRGR” is his first contemporary music work.

“sssffFGGRGR” (pronounced as a rough and continuous sound) is a somewhat violent digest of life in societies invaded by technologies and information. 60 seconds is enough to go through several steps marked by the increasing feeling that machines surrounding us, video games or plants, are getting out of control.

Jane Wang is a composer/multi-instrumentalist living in the Boston area who was born on August 24th, 1957 in Oxford, England. She started playing double bass and composing in her early thirties after careers in the computer and film industries. She has composed/performed several scores for performance artist Hanne Tierney's Obie award-winning Theater Without Actors, Renita Martin's 5 Bottles in a 6 Pack, and chamber works for the Human Connection, a new music group. Two of her double bass chamber pieces were performed in the U.K, Summer 2007. She studied composition with Ben Schwendener and Joe Maneri.

“Numero Uno” is a commentary on how even though English is NOT the primary spoken language in the world, we Americans in our travels to other countries and general dealings with the global population at large, expect all peoples of the world to speak English. This piece was constructed using electronic manipulations of found audio clips and recorded material of descending numbers in various languages.

Tuan Hung Le is a composer, performer and musicologist. 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.

“Journey to the Light” is a realization of the following poem in sounds: Thunders across the sky:
Acoustic vessels
For
The journey of the Mind
Towards the shinning Light

John Allemeier received his Ph.D. in Composition from the University of Iowa, his Master of Music in Composition from Northwestern University and his Bachelor of Music in Performance from Augustana College. His music is published by Carl Fischer Music Publishers, C. Alan Publications, M. Baker Publications and European American Music. Recordings of his music are available on the Albany, Capstone and Vox Novus labels. He currently teaches composition and music theory at the University of North Carolina at Charlotte.

“Surge” consists of a single gesture that is much like a wave on a beach. The sounds are assembled so that they lead to a climax and then recede. Many of the individual sounds are smaller versions of the larger form. Many of the source sounds come from percussion instruments.

Jeff Morris is an Assistant Lecturer in computer music and coordinator of technology facilities for the Department of Performance Studies at Texas A&M University. He has studied at the Florida State University and the University of North Texas, where he served on the staff of the Center for Experimental Music and Intermedia. Dr. Morris gives improvised performances with interactive electronics in addition to composing for traditional instruments and electronic media. His works have been performed internationally and include multimedia works and collaborations with dance artists.

During a residency at the Atlantic Center for the Arts in summer 2006, poet Kelle Groom offered a line for visiting artists Irina Botea, Lisa Cook, Maya Gurantz, and Olga Humphries as a kernel to spawn new lines. These four read their lines in a CONDUCTION(r) recording session led by Lawrence D. "Butch" Morris and engineered by Jeff Morris (no relation). Jeff then loaded samples from that recording session into his custom built gamepad based sampling instrument and improvised a solo performance, which is heard here.

"Language is the mechanism whereby you understand what I'm thinking better than I do. (Where 'I' is defined by those changes for which I is required)." Poet, writer, performer, improviser, Chris Mann's works for voice are based on complex texts, freely composed to allow a play of wit and humor. He explores the textures and gestures of Australian speech, with its rhythms and qualities of color, pitch, intonation and emphasis.

Michiko Kawagoe is a Japanese composer who now lives in Tsukuba, Japan. Her works have been performed and broadcast in the United States, Israel, Germany, England and Japan. “Propagation,” made by SYNTAL in 2005, was chosen for the compilation CD of 47 women sound creators worldwide in experimental electric music by The Women Take Back The Noise project in U.S.A. She has joined John Zorn’s COBRA in Tokyo with SYNTAL conducted by Koichi Makigami at La mama, Tokyo in autumn of 2006.

“The scale of a coelacanth” was made by the computer program called SYNTAL06 designed by Wayne Slawson that generates music consisting of speech-like computer-synthesized sounds. The various event types are used with successive overlaps to create sensitive transformations of sounds and sound colors in this piece. “The scale of a coelacanth” expresses her image of a coelacanth reflecting on the continuity of time from ancient history by using synthesized voices which were unheard until quite recently.

Helen Nattrass lives in Canterbury, England. Her compositions cover a broad spectrum of style and complexity. She prefers to write for conventional instruments and voices. Her work ‘ Ne Immortalia Speres’ for string quartet and voice was performed in the 2006 All Ears Festival in London. Two choral works were performed in the 2006 Hampstead and Highgate Festival in London. In 2007 Derek Foster has performed Helen’s ‘Zerga I and II’ for solo piano in London. Work in hand includes an audio-visual project with French photographer Gérard Verret inspired by their recent travels in Niger.

“Two Secrets” uses fragments from Persian poet Rumi and French writer Daniel Pons to evoke the agony of hidden emotions. Desire is obsessive. Joy is effervescent. Voice is Helen Nattrass and piano, Derek Foster. Rumi’s text reads: “Aujourd’hui le vent m’a apporté ton parfum: pour le remercier, j’ai donné mon coeur au vent.” It translates: “Today the wind brought me your scent; for thanks, I gave the wind my heart.” Pons’s text reads: “La joie c’est Dieu en vous/ Qui se lève/ Qui s’ébroue,/ Et qui commence à sourire.” It translates: “Joy is God in you who gets up, shakes himself and starts to laugh.”

Much of Dan Visconti’s musical output has been informed by his background as an active jazz and rock guitarist. Inspired by both the directness of expression and maverick spirit of the American vernacular, his works often explore gritty timbres, complex textures, and propulsive rhythms—elements that tend to collide in unexpected ways with Visconti’s experience as a classically-trained violinist, resulting in a musical stance one national reviewer describes as “both mature and youthful, bristling with exhilarating musical ideas and a powerfully crafted lyricism.” Visconti’s compositions have been honored with awards from BMI, ASCAP, SCI, NACUSA, the American Academy of Arts and Letters as well the Columbia-Bearns Prize.

I intended this short piece to be reminiscent of the kind of jerky, upbeat piano rolls that so often graced the early 20th century "spindle-jukes", compressed into one single manic minute. The resulting short piece captures the quirky, cartoonish energy of the genre in a series of fragmented gestures and scintillating colors, yielding a whirlwind impression of an experience rather than a fully-formed memory.

Tomer Harari was born in Israel 1979. He is currently studying for a Master’s degree in Sonology at Den Haag Royal Conservatory in the Netherlands. He studied Composition with Arik Shapira, has a B.A in music and fine arts from Haifa University.

While recording Noam Inbar (lead singer of the Israeli band "Habiluim") for some other project, he was singing this one minute of wild improvisation. The way that he was singing was so funny and energetic, I immediately knew that I would like to make a single piece from this material.

Sophie Lacaze (France, 1963) studied composition with Franco Donatoni and Ennio Morricone in Italy and attended Pierre Boulez’s courses at the College de France. She is now developing a partnership with numerous ensembles and soloists in France and abroad, and her works are performed in leading festivals throughout France, Australia, Japan, Romania, Poland, Ukraine, Lithuania, Belgium, Luxemburg, Switzerland, Germany, Brazil. Unsubdued but attentive to musical trends and schools, Sophie Lacaze has developed an original aesthetic that takes into account the current research on sound while looking to restore music its primary functions, ie: ritual, incantation, dance, and its links with nature.

“Fenouillet I” is an acousmatic work composed in 2007, based on sounds gathered on excavations in Fenouillet Castle (Pyrenees Orientales, France). The composer recorded these sounds (especially wheelbarrows and trowels), and organized them in rhythms of dances.

The works of Montreal-based composer Eldad Tsabary are often based on intercultural subject matter. They have been presented at Carnegie Hall, ISCM, and CCRMA, among others, recorded by the Bulgarian Philharmonic and published by Editions BIM. Tsabary is the 2006 winner of the Harbourfront Centre New Canadian Sound Work competition, and a selection winner in the 2007 Bourges festival among others. He is a professor at Concordia University’s music department and at Musitechnic in Montreal.

1-2-3-4-5-6-7

David D. McIntire was born in upstate NY and was trained on the clarinet. He became fascinated with electronic music at an early age and later wore out many razor blades in pursuit of that discipline. Also played in a series of eccentric and overly idealistic musical groups, most notably the Colorblind James Experience. He is a D.M.A. candidate in composition at the University of Missouri at Kansas City.

"Was Er Sagte, Was Er Bedeutete” (What He said, What He Meant) was composed in response to certain US government policies which I personally find unacceptable. Though the official whose voice is heard at the beginning and end of the work is no longer in his position, his policies and their aftermath are still in place. The piece addresses the fundamental dishonesty with which these policies are disclosed to the public. I chose to render the title in German for two reasons: the work was first presented to a German audience, and because this official is wanted for war crimes in Germany. This work uses a number of samples from the Freesound Project, whose contributors are: thanvannispen, ashassin, and FreqMan.

An international media artist and composer, Sabrina Peña Young has premiered her works at the Australasian Computer Music Conference (Australia), the Cinema for Peace (Turkey), Electrolune (France), Voices on the Edge (China, Europe, USA), Art Basil Miami, the International Computer Music Conference, SEAMUS, the IAWM International Congress, the Pulsefield International Exhibition of Sound Art, Primera en La Habana X (Cuba), and numerous festivals throughout the United States. Her filmscore credits include "The War" (finalist in Miramax's Greenlight Competition) and "Voices of the Churen," screened at the NY Independent Film Festival. Sabrina Peña Young is the Program Coordinator for the nationally recognized ArtREACH program, reaching homeless children with the arts.

“Cybernation” was conceived and composed for the 60x60 project. Contrary to popular belief you are a brainwashed idiot.

Serban Nichifor, born in Bucharest, received his Ph.D. at National University of Music, Bucharest. He have received many international composition prizes – at Amsterdam (The Gaudeamus First Prize), Toledo, Tours, Trento, Birmingham-Alabama,, Koln, Karlsruhe, Newtown-Wales, Bydgoszcz, etc. He is the cellist of the Duo Intermedia and co-director of the Nuova Musica Consonate - Living Music Foundation Inc. Festival. He is presently a professor at the National University of Music, Bucharest.

"Animal Farm" is inspired by the work of George Orwell, but also by the Romanian reality. This is a little satirical allegory against the so stupid and criminal (neo-) communist society.

Tim Reed was born in May of 1976 weighing 11 pounds and 9 ounces. During the following fifteen years, his weight steadily increased, reaching approximately 170 pounds in 1991. Tim's height also increased during this time, reaching 6 feet and 4 inches in 1991. Between 1991 and 2007 his height remained steady at 6 feet and 4 inches while his weight fluctuated between 165 and 210 pounds. Tim is currently 6 feet and 4 inches in height and weighs 169 pounds (September 2007).

“He Changed Into His Brown Trousers” is an electroacoustic work for fixed media featuring sounds which emanated from Russell Brown in the Spring of 2007.

Jesse Clark is a San Francisco-based artist. Jesse Solomon Clark is a musician, producer and multi-media artist currently based in San Francisco, California. Jesse composes music for films, installations, commercials and sometimes performs live as Agents Del Futuro.

“Go F*ck Yourself, Mr. Cheney,” is based around a recording of an unhappy New Orleans resident hurling an expletive at Vice-President Dick Cheney.

Joelle Khoury is the Founder of IN-VERSION, the Joelle Khoury Quintet, a Jazz ensemble dedicated to the performance of original material. She is a professor at the Lebanese National Higher Conservatory of Music (LNCM), teaching piano and introduction to the music of the 20th century. She is also the coordinator of contemporary music courses and activities at the Lebanese National Conservatory. She studied Musicology & Economics at George Mason University in Virginia, and received hes Masters in Philosophy from St. Joseph University in Beirut. Her thesis was entitled "Being and Music." She holds a diploma in piano from the Lebanese National Conservatory

I had done a recording of one of Lebanon's most famous "serious" Arabic singers, in the purpose of using parts of it to create a "voice and electronics" introduction to my opera monologue in Arabic. This opera is now written, and is the first of its kind, including modal, atonal, polyrhythmic polyphony, on a text in Arabic written by a contemporary Lebanese poet. We are still seeking to produce our opera, but I thought I would use chunks of the voice, and manipulate them on Pro Tools for the 60x60 project. The time signature, portrayed by the "ss" sound is in 13/8, an oriental rhythm

Robert Dick is best known for being the composer/performer who is the leading light in the world of new music for flutes. He's an old hand at free improvisation and has performed and recorded with many of the best. His compositions have been recognized with a Guggenheim Fellowship, two NEA Composer Fellowships, a Koussevitzky Foundation Commission, two Meet the Composer Commissions and many more grants, fellowships and commissions. In addition to his flute music, Dick likes to write chamber music and has a lifelong interest in low-tech musique concrete.

“Ewe” is an improvisation on the bass flute. Four microphones were placed alongside the flute, each panned so that I could move the sound around the sound plane vividly. I let my love of the vocal fry technique, with its super richness in overtones, fly. What Ewe hear is what Ewe get.

Born 1983 in Moscow, Russia, Alex Nadjarov began to study and compose music at age 7. Later he also studied jazz piano, alto-saxophone and electronic music. In 1997 he entered Moscow Ippolitov-Ivanov College in tje music theory and composition department, and studied in R.Zatikyan and A.Flyarkovskiy classes. After graduating college in 2001 he entered Moscow State Consevatory, composition department, U.Vorontsov class. He participated in master-classes with T.Murail, G.Rebel, I.Geslin, Ph.Hurel, M.Padding, and graduated in 2006. He received a laureate for the D.Shostakowitch composers competition in 2006 (Moscow-St.Petersburg) and another laureate for the Moscow Conservatory improvised music competitions (2004 and 2006).

“Contrajazss” is an experimental piece for me; a sort of a strange emotion. I wanted to mix an archetype of "jazz sound" with methods of working with material derived from electronic music.

Iris Garrelfs is a composer/performer intrigued by change, fascinated with voices and definitely enamored by technology. She often uses her voice as raw material, which she transmutes into machine noises, choral works or pulverizes “into granules of electroacoustic babble and glitch, generating animated dialogues between innate human expressiveness and the overt artifice of digital processing” as the Wire Magazine put it.

Iris Garrelf’s “60x60 edit” was made from voice sounds recorded at hotel room practice sessions during her Mexico trip in 2006. She is currently working on a longer piece derived from that material, which she thinks is very much fun.

Born in Paris in 1971, Grégory Chatonsky currently resides in Montreal and Paris. He holds a master's from the Sorbonne and an advanced degree from the École nationale supérieure des beaux-arts in Paris. He has worked on numerous solo and group projects in France, Canada, the United States, Italy, Australia, Germany, Finland and Spain. His works have been acquired by the Maison Européenne de la Photographie (Paris) and several private collectors. In 1994, Chatonsky founded a pioneering net.art collective, incident.net, and has produced numerous prestigious works, such as the websites of the Pompidou Centre and Villa Médicis, the graphic signature for the Musée contemporain du Val-de-Marne, and interactive fiction for Arte. He has taught at the Fresnoy (national modern art studio, France) and at UQAM's school of visual and media art. Chatonsky's body of work, including interactive installations, networked and urban devices, photographs and sculptures, speaks to the changes that define our time and attempts to create new forms of fiction.

The hard disks sometimes are erased, from the data disappear, the days often of the months of work. A fragment of memory delegated to the machine is destroyed. And this disappearance reveals a strange intimacy with the machine. We believe that the technique will come to reabsorb one day next these failures. In the involuntary lapse of memory of this surface of inscription we feel our finitude. Sound track generated starting from sounds of a defective hard disk. A sensor is placed on the hard disk. It records the sound like the vibrations, the first will be modified in real time by the seconds thanks to a small program in Pure Dated.

Composer/guitarist/rapper Gene Pritsker has written over three hundred compositions, including chamber operas, orchestral and chamber works, electro-acoustic music, songs for hip-hop and rock ensembles, etc. All his compositions employ an eclectic spectrum of styles and are influenced by his studies of various musical cultures. He is the founder and leader of Sound Liberation; an eclectic band playing the New York club circuit. Other organizations he is associated with include: Composers’ Concordance, Absolute Ensemble, The International Street Cannibals and The New Music Connoisseur magazine. His music is published by: Falls House Press, Gold Branch Music & Calabrese Brothers Music.

I recorded myself playing a wooden flute that reminded me of a rather primitive sound. I then proceeded to surround the flute riff with various world percussion and rhythmical loops. It’s as if you were passing a ritualistic ancient observance, but it was only in your hearing range for a second. You go on your way and the tribal celebration continues.

Panayiotis Kokoras (Greece, 1974) completed his PhD at the University of York in England. He is currently teaching Electroacoustic Composition at the Aristotle University of Thessaloniki and he is President of the (HELMCA) Hellenic Electroacoustic Music Composers’ Association. His array of achievements includes more than 27 distinctions and prizes at international competitions. Furthermore, his works are regularly performed at international festivals and concert series throughout Europe, Asia and America.

“Lullaby I” was composed during spring 2007 and is orchestrated for electronics with flute, piano and classical guitar. It is intended to be listened to by pregnant women and the fetus. The sound sources of the piece include recordings from a Music box playing Brahms’ Lullaby (Wiegenlied: Guten Abend, gute Nacht, Op. 49, No. 4) and other mechanical sounds of the music box as well as sounds produced by the human body like breath, speech, heart beat and other.

Cynthia Zaven is a pianist, composer and installation artist based in Beirut. Her works include compositions for collaborative productions with visual artists and stage directors, ranging from studio recording, computer processing to sound engineering for live acts (theater - dance). Her research emphasizes the acoustic / electronic combination within the sound and its relationship to the image. Zaven has written soundtracks for internationally touring documentaries, experimental and feature films since 1993. Her sound and video installations have been exhibited in Europe, Hong Kong and India. She is currently a part-time piano instructor at the Higher National Conservatory of Music in Beirut.

This tune on the piano had been haunting me for a very long time. One day I decided I had to write it down; but no matter how hard I tried, I couldn't get rid of the crackly sounds. It must have been too old and got really rusty in the back of my mind. This is the version I came up with, as polished and clean as possible...

Andrea Vigani is an Italian composer of mostly chamber, vocal and electroacoustic works that have been performed across Europe and United States. His music was played by important orchestras, soloists and conductors such as Peter Eotvos, Jonathan Nott, Claire Booth, Mario Brunello, Dutch Radio Chamber Orchestra, Ensemble Intercontemporain, Patti Monson, Ensemble Aventure, Ensemble Aleph, Orchestra dell’Arena di Verona… He has received numerous international awards and commissions. Andrea was invited to various international Festivals such as Ars Musica ‘90, Gaudeamus Music Week, Festival Agora, Fromm players at Harvard University, Maison de la Danse, Chaos Dance, Dance au fil d’avril, etc. and by various Ensembles for collaborations.

“Post scripta” is a post scriptum of a non-existent, unsent, unwritten, never-received letters, to or from unknown people. It is a comment on an unreal tale that may be written in the future or may have been written and forgotten in the past; from only a fragment one can reconstruct a moment of real life.

Ken Steen's music sits squarely on the frontier between the acoustic and electronic domains of musical expression: combining traditional orchestra, chamber ensemble or soloist with electronic instruments, processed sound and noise, mixed media or web based components. Recent premiere performances and sound installations in such diverse locations as Xi'an, China, Fortaleza-Ceará, Brazil, Spring in Havana Festival, Merkin Concert Hall, NYC, New Delhi, Goa and Jaipur, India, Fylkingen, Stockholm, Sweden and the Australian Centre for Contemporary Art in Melbourne, Australia, confirm that his work is fast attaining international recognition. Steen is Associate Professor of Composition and Theory at the Hartt School.

“forty-nine” was composed from material originally collected during my ACF Continental Harmony Reliquary of Labor project. Nearly all of the sound sources were harvested during the construction and renovation process of the New Britain Museum of American Art, and processed using MetaSynth Pro4 with further treatments and final composition in Logic Pro7.

Laurie Spiegel, composer, software designer, and banjo player, is known widely for her pioneering works with many early electronic music systems, including the GROOVE system at Bell Telephone Laboratories, and for Music Mouse, a software-based musical instrument. She founded New York University's Computer Music Studio. Her music has been performed and broadcast throughout the world and she has produced and participated in several CDs. She is currently living and working in New York.

"A signature piece" the entry form suggests. What could be more signatory for me than the externalization of those amorphous interior spaces of feeling and thought where the features of the landscape that distinguish it from ordinary are so subtle that you're not even quite sure they're there and the most other-dimensional are so delicate that the nature of the playback system can randomly obscure or reveal them? This is the kind of music that when I first began composing I'd flip through my LP records seeking. It wasn't there and I realized I'd need to create for myself.

Rodney Waschka II is best known for his algorithmic compositions and intermedia pieces such as his trilogy of operas on the lives of Ambrose Bierce, Sappho, and Hiroshige II. His works have been performed throughout the world and recorded on the Capstone, IRIDA, AUR, PeP, Ama Romanta, Plancton, and Centaur labels His music is published by Borik Press (Raleigh) and American Composers Editions (New York City). His most recent compact disc contains his music for strings and has recently been released on the Capstone label. He teaches at North Carolina State University.

“Reminded of Dickens” was composed in 2007 specifically for the 60x60 Project. At the time I composed the work, I had been reading Orwell on Dickens and thinking about various aspects of Dickens' work and life. Somehow the composition of this piece seemed linked to those thoughts.

Stephen B. Rothman was born on 29 June 1960 in Rotterdam. He completed studies in piano, singing and conducting at the Conservatorium of Music in Rotterdam from 1978-1983 and composition (and arranging) from 1996-2002 (Codarts). He composes for string quartets and choirs, and works with and writes for different ensembles. Currently he is composing the music for a musical version of ‘The Midsummernight’s Dream’ in a new Dutch translation that will premiere in June 2008.

“Follow the Triangle” is a piece for eight trombones, drums, double bass and piano. It is based on a simple theme and works towards three suspended chords ending with a question.

Micky Landau was born in Israel, and has studied piano since age seven. He has specialized as an accompanist for singers in the Vienna Conservatory in Austria. He worked for 11 years as the vocal coach in said Conservatory. For the past six years, he has been living in Reñaca, Chile, teaching at the Universidad Católica de Valparaíso. He has begun composing, and moved on to more complex compositions over the years. His composition instructors in Chile include Eduardo Cáceres, Cristián Lopez and Dr. Boris Alvarado.

Born in Israel, Landau has played the piano since childhood. He studied music in Vienna, Austria, and currently lives at the coast of Chile. This variety of continents and cultures has exposed him to many different musicians and styles of music. Although his formal musical education has been strictly classical, the music he likes to listen to could rather be classified as popular. He plays percussion and love rhythm, which is reflected in this short composition, “Quilombo,” in which he combines synth sounds with live percussion instruments, which he recorded in his home studio. Have fun!

John Maters born Nijmegen, Netherlands in 1956. He attended the Academy of Arts in Hertogenbosch. His group presentations include: (2008) DigitalArtFestival Valencia (E). Vegetable Man curator Dario Antonetti (I), (2007) New Media Fest 2007 Cologne (D), 3rd DigitalArtFestival Rosario (Argentina), Gallery Aferro Newark (U.S.A.), Zona9 Video Festival Araucania (Chili), Pendu Gallery New York (U.S.A.), OpenSource Champaign (U.S.A.) and Blutenweiss Berlin (D).

In ‘DoubleFutureContainerLoveMusic’ John Maters continues exploring the possibilities of recycling and re-transformation, rethinking a work by considering it in relationship to different circumstances and situations, which allows other paths to be followed and new works to develop. Since 1999, John Maters, who studied at the academy of art but as composer is an autodidact, has made over 60 electronic works, which are used and involved in multi-disciplinary projects. ‘DoubleFutureContainerLoveMusic’ likes to infiltrate ordinary conditions between mixed emotions such as homesickness and consolation, which can become disturbed by undetermined sounds for example taped on building-ground, where past is still around and future starts.

Christian McLeer is artistic director and founder of Remarkable Theater Brigade (RTB), a company that creates and produces new musical works. His musical success began as a youth, winning piano competitions and commissions while still in high school. He received his first commission at the age of 14 for the American Cancer Society for which he wrote and performed HOPE, later included on the CD Encores 2 by the renowned pianist Anna Marie Bottazzi. He attended Julliard Pre-College and worked his way through Manhattan School of Music where he acquired his Bachelor’s degree, composing and performing professionally for classical, jazz and rock ensembles.

David Morneau is a composer of an entirely undecided genre, a provider of exclusive unprecedented experiments. In his work he endeavors to explore ideas about our culture, issues concerning creativity, and even the very nature of music itself.

"Here, I'll Play It Again" grew out of sketches for another project. I liked the idea of having a voice gradually emerge from noise—chaos into order, randomness into meaning, confusion into clarity.

Risto Holopainen was born in 1970 in Sweden. He studied composition at the Norwegian State Academy of Music with Lasse Thoresen and others, followed by studies in musicology. Currently he pursues studies in synthesis, digital sound processing and aesthetics of electroacoustic music. His compositions include both electroacoustic and instrumental music for concert, dance and radioplays, but he has also made computer animations and video. Soon his music may appear on Mere Records.

Garbage Collection consists of 20 short pieces assembled in the period 1998-2007, one hour of sonic litter in total. Taken from this, “Haben Sie Zeit mit mir zu sprechen” is a collage of electronic sounds and some trivial phrases in German. Do you have time for a one minute conversation?

Henri Algadafe and Philippe Vernier's first interest in music started with the guitar (rock and gypsy guitar). They studied at the national regional conservatory of Rueil (France) and obtained prizes in harmony, orchestration and composition, then they studied "tape" music with Philippe LEROUX and passed a D.E.M. in electro-acoustic composition in 2003. Henri Algadafe now composes instrumentals pieces (« LBRTHS » for solo bass clarinet), mixed music (« AiRRR » for string orchestra and electronics) or pure electroacoustic. Philippe VERNIER has written ensemble music, songs, film and stage music, and electro-acoustic pieces as "Limbe Tropical" ("Prix de la Création Musicale" at the Paris-Tout-Court International Film Festival, 2002). He is completing an annotated translation of an orchestration treatise.

"La vie aménagée-le quart d'heure" is built on sounds of our everyday life, and especially those heard within living environment improvements and land or city developments. Sounds of indefinite pitch such as squeaking wheels, stone shoveling, compressors provide rhythmical elements.

Graduate in astrophysics, self taught bassist, Graziano Lella studied sax at the SMPT in Rome. He works in an electronic improvised music trio Taxonomy. Starting in 2006, he entered an audiovisual collective together with video artisits Studio Brutus and Citrullo International. Their work H2O has been selectioned and presented in the following festivals: Torino Film Festival, Roma Film Festival, Live!iXem, Netmage, Optronica, Sonar Film Festival, Cyborg Film Festival, and Annecy Animation Film Festival.

If what exists, what is given is a becoming, then what is captured, cut out, organized, connected and modeled with detail. A detail is defined by an accumulation point inside the flow, the creation concentrate, the matter and the energy around it. The music is delineated: lines and colors starting from the smallest dimension, the point. Now the music can be an attempt to fill the existence with immanence and to express its strength and depth. Instead the sound is in relationship with the becoming a man, a continuous of self-consistent intensity, where forms are changing and dissolving in the flow of becoming, as if they were pure micro-metamorphous.

Meng-Chia Lin was born 1978 in Changhua, Taiwan. She plays piano and Chinese bambus flute. In 2001 she studied in Freiburg, Germany with Mathias Spahlinger and Mesias Maiguaschca, after receiving her bachelor degree in “Taipei National University of the Arts”. Now she is a postgraduate student at “Hochschule fuer Musik und Theater Hannover” (University of Musik and Theater Hannover) and studies with Johannes Schoellhorn and Joachim Heintz.

I was fascinated by the voice in my new macbook which reads text. So I wrote a little poem for it to read and played with the words on some tricky points to make it sound funny. I took some fragments and mixed it with very soft but remarkable sounds, which I am so fond of, and that’s how “what newspapers whispered to me this morning” was made.

Born 1976, UK, John Pitts is the winner of London’s Philharmonia Orchestra Martin Musical Scholarship Fund Composition Prize 2003. He is a composer of chamber music and music for Christian worship, with two hymns on Naxos CDs performed by Tonus Peregrinus. Conductor and arranger of Gilbert & Sullivan operettas, John has also written music for four plays and two short operatic works. He was twice shortlisted by London’s Society for the Promotion of New Music. A founding member of Severnside Composers Alliance, he has had four piano pieces released on the Dunelm label. Sept 2006 Choir & Organ magazine commissioned "I will raise him up" in their new music series.

“60second Fantasy VII” is a fast, electronic version of a piano piece of the same name, with various gradually changing high speed patterns above a quieter, slower version of some of the same material. Designed to be both pleasantly invigorating and relaxing.

Tim Mukherjee is part Indian (Mukherjee) and part Greek (Tim, short for Timoleon). Born in Alaska, Tim grew up in Southern California and now lives in New York City. His musical background is part academic (college, grad school, teaching) and grass roots (rock and jazz). His compositions span the acoustic and electric and he’s been involved in the music software industry. He now divides his time between music and other artistic and monetary pursuits.

“Ion Gravity Lifter” is an electronic through-composed piece, thirty-eight seconds in length. The sounds are all synthetic. The piece balances pedal points (drones) and indistinct melodies, each providing support for the other. The title refers to a device that levitates objects by creating an ionic wind beneath the device by high voltage. The means are invisible though momentary electric arcs sometimes appear.

Drake Mabry, composer, painter and poet, has made his home in France since 1988. His principal composition teachers were Will Ogdon, Krysztof Penderecki and John Cage. He has played oboe professionally with symphony orchestras in the United States and England, played tenor saxophone in jazz big bands, composed over 100 works for soloists, ensembles, and orchestras, and taught in Universities in the United States and France. He is a published poet and his poetry and paintings have been used by theatre groups and composers as resources for improvisation and composition in their concerts. "in contemporary music, version Drake Mabry, inspiration is everywhere"-French television, M6 Découverte.

While "decoughing" the tape of the premiere of my cello solo, Silent Durations XXI, I discovered that the coughs from the public created another piece parallel to mine. When I finished "decoughing" the cello solo I decided to "decello" the coughing piece. I call this “Public Concert.”

Anne van Schotholst wrote her first composition when she was 15 years old. She is a self-taught composer, who combines Harp Music with audio-visual aids (DVD/ Video installations). Special locations, beautiful choreography, striking images, moving poetry and impassioned musicians are integrated in Anne’s work. Her compositions can be characterized as mystical and meditative. By a simple note score Anne tries to create depth and dynamics in her work. Some of her pieces can be heard on the Dutch classical radio station.

The atmosphere is important in my compositions: street life: sounds of the street. I integrated/ added a little piece of my harpsounds as streetmusic.

Thomas Gerwin is a classically educated composer and performer. He came into the field of electroacustic music very early; later he intensively worked on soundscape composition. Today he composes radio art and concert performances – with and without traditional music instruments and creates sound and video installations for public spaces and festivals. He is founding director of „inter art project“ and President of „Berlin Society for New Music“. With his ensemble „Klanglabor“ and in his concert series „Klangwelten“ he performs them on a loudspeaker orchestra in the dark. His works are released worldwide and he has won some international prizes and stipends.

“Allegro ma non troppo” is musique concrète for alto-sax, accordion and harp. This piece is part of the new work group "weit und breit" which is made purely from the "left-overs" of instrumental music for radio plays. Also I experimented with extreme mic positions and unusual instrumental techniques to produce sounds. All sounds are post-produced and processed in my computer studio – but in a very guarded way, just to explore some relationships of inner and outer musical space of the sounds. Many thanks to the instrumentalists: Katharina Hanstedt (harp), Jens Bogedein (accordion) and Conrado del Rosario (alto-sax).

Trained in composition by Nadia Boulanger in Paris and Luciano Berio at Juilliard, Noah Creshevsky is the former director of the Center for Computer Music and Professor Emeritus at Brooklyn College of the City University of New York.

Hyperrealism is an electroacoustic language constructed from sounds found in our shared environment (“realism”), handled in ways that are somehow exaggerated or excessive (“hyper”). Hyperrealist music exists in two basic categories--the first using the sounds of traditional instruments pushed beyond the capacities of human performers; the second using boundlessly expansive sound palettes. Piranha is an example of the first.

Alphonse Izzo is a composer and performer based in New Haven, CT. He is interested in the idea of using musical ephemera as the basis for larger and (hopefully) more significant pieces. This preoccupation stems from an interest in Surrealism and that movement’s methods of creation. Alphonse Izzo’s music has been premiered in the USA and abroad and has been produced on CD by Trace Label based in Paris, France.

I find the Harpsichord to be a fascinating instrument. I think this stems from the fact that despite certain attempts in the 20th century at liberation, the harpsichord has a sound that can’t seem to escape its ties to the past. With this in mind, I thought it would be entertaining to imagine what a Harpsichord might sound like if it were attempting to break out of its own sonic cage. The result is “Ground”, my humble contribution to the 60x60 Project (2007).

French-Spanish composer Blas Payri has studied electro-acoustic composition in Lyon, Montréal and Paris. He is interested in the poetry of sound and in the application sound perception notions in music. As a composer, he is prone to shrinking his works until satisfaction is reached. His electro-acoustic works have been played in international festivals and radio broadcasts and have been awarded mentions. He obtained a PhD in computer science applied to sound perception at Université Paris-Orsay, France, and is currently member of the Audiovisual Communication Department of the Universidad Politécnica de Valencia, Spain.

“Fluffy study with bel canto” is a study uses unique samples of bel canto singing, that are transformed to create different rhythmic and timbre variations needed to build the work sound material: glitches and short loops.

Adam Caird graduated from Manchester University in 1999 with 1st class honors, and from the Royal Northern College of Music with a GRNCM in 2000 and an MPhil in Performance in 2002. His music ranges from orchestral to instrumental and vocal works and his pieces have been performed at many venues across the UK, including the Bridgewater Hall, St. Martin-in-the-Fields Church, St. David’s Hall, Cardiff and the Purcell Room, as part of the Park Lane Group New Year Series. He has also written and performed original scores for silent films at the Cornerhouse Cinema, Manchester, including Earth for solo piano.

“Going to the Match” was inspired by the scene around the stadium before a football match, and in particular, the sound made by the turnstiles themselves, which forms the basis of the musical material, along with the crowd. The piece is concerned primarily with representing the different flows of people, which sometimes run against one another and at other times come together in parallel currents.

Monique Buzzarté is a trombonist/composer. Recent recordings include a duo album with Ellen Fullman and her Long String Instrument (forthcoming on Deep Listening), Zanana's Holding Patterns (Deep Listening 30), John Cage's Five3 with the Arditti Quartet (Mode 75: John CAGE: Vol. 19 - The Number Pieces 2), and Dreaming Wide Awake with the New Circle Five (Deep Listening 20). Honored by Meet the Composer as a "Soloist Champion" for her long history of commissioning and premiering new repertoire, she also coordinated advocacy work leading to the admission of women as members of the Vienna Philharmonic Orchestra in 1997.

"On the outside, looking in" is scored for trombone and live processing and performed live by the composer.

Benjamin Boone’s life -- thus far -- in 85 words: Born in Statesville, NC in 1963; related to Daniel Boone; father was a traveling glue salesman and mother a homemaker; youngest of five sons; moved all over since; recorded rhinoceros vocalizations in Zimbabwe; was a Music Manager in New York; played sax all over the U.S.A. and Europe; compositions performed all over the world and on numerous CD’s; loves to ski, play saxophone, compose, read, teach and play with his wife and kids; teaches theory and composition at California State University, Fresno; loves "30 Rock.”

One of my favorite radio shows on National Public Radio is “The Thomas Jefferson Hour,” wherein a moderator interviews “Thomas Jefferson” – played by humanities scholar and author Clay Jenkinson (www.jeffersonhour.org). This show has given me a greater appreciation for the wisdom of our so-called “Founding Fathers.” These men were steeped in the critical thinking, history, and the humanities, and as such, they understood more fully than most contemporary politicians what the TRUE threats to our democracy are. I invite you to listen to THEIR OWN WORDS and come to your own conclusions about what TRUE PATRIOTISM is…