60x60 360 degrees of 60x60 Home Mixes Events Composers Collaborations Audio/Video Press FAQs Call_for_Works Crimson Mix This version of 60x60, called 360 degrees of 60x60, is sponsored in part by the International Computer Music Association (ICMA) – www.computermusic.org The works included in the mix were created specifically for the 2010 ICMC RED Edition (International Computer Music Conference) presented by Stony Brook University in New York City and Stony Brook. Six 60x60 mixes featuring 360 pieces from different composers throughout the world will presented during the conference and at remote concerts around the globe. The 6 different mixes are all named a different shade of red to honor the RED edition of ICMC: 60x60 Burgundy mix, Crimson mix, Magenta mix, Sanguine mix, Scarlet mix, and Vermilion mix. Each mix is one hour long and contains different composers totaling to 360 different works each by different composers from many different countries around the world. TITLE Composer 01) Count to 60 Tomer Harari 02) Finnegans Wake vs. the World's Longest Prime Warren Burt 03) If The Water Has Memory Esin Gunduz 04) Sixtysec Francis Dhomont 05) Teethtones Phil Mantione 06) The Sixty Sixties in Twelve Wolf D. Schreiber 07) Quest Milica Paranosic 08) EnvironMentally Sound Pierre Desmarais 09) still Ede Cameron 10) 60 Chris Mann 11) Ripples Mike Crain 12) Steppps Vittorio Vella 13) Minute Watch Mike Leghorn 14) FL.05 Christopher Preissing 15) Moonstrip Tom Williams 16) (i) have a good heart (!) Zachary Todd Barr 17) Things Are Looking Up Richard Arnest 18) Nebulae Laura Kramer 19) gossima 5 Daniel Blinkhorn 20) something happened Anne van Schothorst 21) While Shepard Watched Part II Peter Mottram 22) Wet Whistles Anthony St.Pierre 23) Nowhere in particular Iván Sánchez 24) The Secrets Of The Bowl Clemens von Reusner 25) Static String Jaclyn Heyen 26) DROPLETS Chiharu Mukaiyama 27) une mémoire Ryan Homsey 28) time fractal Heather Stebbins 29) 60x60x60 Howard Kenty 30) Remembering Allen Brian Belet 31) Enki's Table Doug Geers 32) Two Dualities Michael Gogins 33) forOCKER Kraig Grady 34) T James Brody 35) Clickz Petri Kuljuntausta 36) Tundra Jeffrey Rabena 37) Acceptance Bettie Ross 38) Glassminute Lydia Ayers 39) I WANT THE MOLE duck juggler 40) for Walter Moers Edward Ruchalski 41) Missin' Lou Christopher Bailey 42) The Shape of the Shell Cindy Cox 43) Undertow Tova Kardonne 44) Loretto Alfresco (piccolo) Robert Fleisher 45) PassiveActive Gestures Michael Baldwin 46) What Are You Looking At? David Morneau 47) Growing Decay Josh Crowe 48) See Now Sean Archibald 49) Deep Blue Elizabeth Joan Kelly 50) Strange Moon Rodney Waschka II 51) Omaggio a Velazquez Marco Dibeltulu 52) Horn Matthew Ellis 53) Fast Prelude Aaron Krister Johnson 54) BOAWLLLSS Foster Clark 55) InTension Marcel Wierckx 56) A German Piano Chord Passing Your Way David Gordon 57) 17-et Jazz Chris Vaisvil 58) Viziunea Vizuinii Chuckk Hubbard 59) Buddhist Spouting Sadness on the Train Dean Rosenthal 60) Articulation Paul Tucker 01) Count to 60 Tomer Harari "Born in Israel, 1979. currently lives and works in The Nederlands. Composer and performer of live electronic music, plays guitar, harmonium and a singing saw. MA in Sonology from the Royal conservatory, Den Haag, The Nederlands. BA in music and fine art from Haifa university, Israel. Studied composition with Arik Shapira. graduated from 'Thelma-Yalin' high school of the arts, Jazz department. His works can be viewd on: http://www.youtube.com/user/TomerHatanin " "Many of my family & friends are from different places in the world and can speak in different languages. While talking to them on skype, I asked them to count from 1 to 60 in their mother tongue and in other languages if possible. During the piece 40 tracks are played back as a new voices joins the choir every second. I want to thank all those who contributed their voice to this piece (in order of appearance): Adeola, Erez, David.G, Elisenda, Sergio, Inbal, Blandine, David.B, Hilla.S, Visnja, Ophir, Eyal, Mike, Tal, Itai, Iara, Hilla.L, Ilya, Adam. p.s You are welcome to count along in your own language... " 02) Finnegans Wake vs. the World's Longest Prime Warren Burt Warren Burt, composer, performer, writer, video artist, instrument builder, radio broadcaster, etc. Born 1949, educated USA. Moved to Australia 1975. Known for his work in algorithmic, microtonal and live performance computer music. Currently (until October 2010) he is Australian Research Council Post-Doctoral Fellow in Music at the Faculty of Creative Arts, University of Wollongong. Many of his works are available on his website www.warrenburt.com. Two improbably large data sources are used in making this music. The bell-like music in the left channel is produced with the digits of the world's longest prime number - all 12 million of them. The folk-like music in the right channel is made by using the letters of Finnegans Wake, one at a time, as a sequencer for the sampled instruments. The bell-like music is in a microtonal scale of the first 10 prime numbered harmonics; the folk-band is tuned to a 13-note scale which is prime numbers 3, 5, 11, 17, 31 and 41 treated as harmonics and subharmonics. This one minute piece just samples the start of this vast data set. A realization of the complete set at this tempo would be around 5 months long. 03) If The Water Has Memory Esin Gunduz "Esin Gündüz is a composer of contemporary music. She writes for several mediums: chamber ensemble, solo instrument, electronic medium, orchestra or jazz band. Her explorations of gesture, silence, and meaning are of significance. Her pieces were performed in SoundSCAPE in Pavia (Italy) 2009, SCI MU Student Chapter concerts at Marshall University (US) and in French Cultural Center in Istanbul (TR). Her compositions appeared in two CD's by SCI. She's selected to attend David Felder's residency at Atlantic Center for the Arts, in 2010. She performs jazz and improvisational music: recently performed at Montreux jazz Festival (Switzerland) and Jazz a Juan Jazz Festival (France). _BA in jazz performance and composition/ Istanbul Bilgi University; High-Honor Degree, 2005. _MA in composition/ Marshall University, 2009 (graduate teaching assistant of music-theory / ear-training) /with Dr. Mark Zanter. http://www.societyofcomposers.org/user/esingunduz.html areas_of_interest: György Kurtág / music &meaning_Gilles Deleuze / improvisatory music_the conduction technique of L. D. "Butch" Morris. " "The piece takes its support from exact quotations from four folk songs about rivers, from different parts of the world: Macedonia, Turkey, America and China. The piece consists of the melodies of these selected folk songs. For ages, songs for/about/with rivers have been sung; I imagined that “the water” that runs through all rivers and circulates over the planet had memory and remembered all these songs sung for them by the people. Those songs heard in the vocal track, that are “remembered” in parts, all together create a “river of remembered songs”. Composer, voice: ESIN GÜNDÜZ © 2009 daytime inspiration. " 04) Sixtysec Francis Dhomont Francis Dhomont is an Associate Composer of the Canadian Music Centre, and both a founding and honorary member of the Canadian Electroacoustic Community. Since 1978, composer Francis Dhomont has divided his time between France and Québec, where he has taught at the Université de Montréal from 1980 to 1996. He studied under Ginette Waldmeier, Charles Koechlin and Nadia Boulanger. In the late 40s,in Paris (France), he intuitively discovered with magnetic wire what Schaeffer would later call "musique concrète" and consequently conducted solitary experiments with the musical possibilities of sound recording. Later, leaving behind instrumental writing, he dedicated himself exclusively to electroacoustic composition. An ardent proponent of acousmatics, his work (since 1963) is comprised exclusively of works for tape bearing witness to his continued interest in morphological interplay and ambiguities between sound and the images it may create. Sixtysec is a short development, in form of crescendo, of sound textures which are familiar to me. 05) Teethtones Phil Mantione Philip Mantione has written music for fixed media, chamber ensembles and orchestra, multimedia installations, and computer-interactive performance. His work has been premiered at The Bing Theatre at the Los Angeles County Museum of Art, Merkin Hall in New York City and the Center for Contemporary Art in Santa Fe. Mantione creates custom software using MAX/Msp for live computer performance and stand-alone applications, which have been included in the European Media Arts Festival and the Thailand New Media Festival. He recently formed The Transducers, five composers that utilize laptops, custom software, and circuit bending to produce unique sonic worlds. To create Teethtones, I wrote a MAX/Msp patch to manipulate two sound sources: a sample of telephone dial tones and a recording of grinding teeth, made by gaffing a homemade piezo mic to my skull. The patch allows for gradually changing playback speeds of multiple samples, dynamic equalization and spatialization. Protools was used for editing and the final mix down. 06) The Sixty Sixties in Twelve Wolf D. Schreiber *1964, based in Gießen/Germany. Piano player & graphic designer. Actual project: San Siro (4-handed piano improvisations and electronic experiments). An electronic composition, melody in twelve-tone-technique. 07) Quest Milica Paranosic Milica Paranosic, lives in New York and is active as a composer, sound designer, conceptual artist, multimedia artist, music educator, and producer. 08) EnvironMentally Sound Pierre Desmarais Pierre Desmarais has received a Masters in Music from l'Université de Montréal. He composes music for short films. He is also an instrumentalist in a variety of popular ensembles. "EnvironMentally Sound" reflects nature's struggle to be heard through the rumblings of the automobile industry. 09) still Ede Cameron Concordia, Montreal Computer Science Student. Writing, playing music for XX years. Short rewrite of a longer piece called Still, an audio still life... coffee maker and a paper towel holder.. not really perceived when taken out of context though even in context not that apparent though maybe more round. 10) 60 Chris Mann 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. 11) Ripples Mike Crain Mike Crain is a composer and percussionist living in Northern California. His works have been played on the across the United States and also in Europe at events such as the Festival of New American Music, the International Live Looping Festival, A Diamond in the Mud Project, Day of Percussion, Ashland and others. " His current composition methods involve the use of improvisation, computer electronics, and the aural beauty of overtones including the movement within a sound. With those techniques, he brushes wide stokes of sound creating lush harmonies to be crafted, manipulated and interpreted by the patient listener. 12) Steppps Vittorio Vella Vittorio Vella, born in Gorizia (Italy) in 1960, music publisher and composer. He began his activity composing for the theatre and deepening the multiple thematic sonorous diffusion of sound applied to the space. He has applied his creative abilities within ambient and electronic music and, devising sounds of extensions and architectonic space and composing various record productions in the field of advanced musical search. Since 1995 he has been responsible for musical editing of TEM – Taukay Music Publishing house. His involvement in New Music, he displayed Artistic Director of "Contemporanea", Music Festival organized in collaboration with the Councilorship of Culture of Udine and chief organizer of the international competition for composer "Città di Udine", one of the most important initiative in Italy. " Working in the musical field both as a composer and sound engineer in recording studios, I have always liked to confront myself with concrete sounds coming from the real world. Often reality, conveniently elaborated, creates more interesting musical architectures than written music. Steppps is a mix of concrete and synthetic sounds looking for contrast and harmony. Steppps is a swamp enlivened by a tonal breath sound. 13) Minute Watch Mike Leghorn I live in Evanston with my beautiful wife, daughter, dog, and cat. I am a self-taught composer. Money I saved from not going to college was spent on my CD collection. That's been my education! I love to listen to music from pre-Renaissance to contemporary. I love music so much, that I need to reflect it, which is why I compose. This one-minute long piece uses a 6-note scale, call the Gyaling scale, commonly used in Tibet. The sounds were electronically generated by the Zebra software synthesizer. 14) FL.05 Christopher Preissing Christopher Preissing’s work fills the space between intended and unintended events; synchronistic detritus and mathematical control. Curiosity in the wellspring of sound inherent in human activity has led to improvisation, field recordings, the human voice and various found materials as compositional sources, exploration of non-hierarchical relationships among collaborators and media, and consideration of individual choice and meaning in art. His recent eight-channel score for The Waking Room was called as “an overwhelming, layered barrage of found and manipulated sounds” (See Chicago Dance) and a “brilliant… sound-crazy score… that might best be described as John Cage on steroids.” (Chicago Tribune) FL.05 combines live (in studio) improvised flute and vocal sounds layered over several tracks of computer manipulated "found" sounds. Composed specifically for 60x60, FL.05 references both the cacophony of urban society and the spirit of the holiday season with a brief, simply presented quotation from a well-known standard holiday tune. 15) Moonstrip Tom Williams Tom Williams composes both electroacoustic and instrumental music. He is Principal Lecturer in Music Composition, and Course Director of the BA in Composition, at Coventry University, England. His music has received numerous international performances and broadcasts; these include BBC, SEAMUS, Sonorities, EMMF, HCMF, Expo, ACMC, Futura, Sonus and several International Computer Music Conferences, and with prizes and mentions by electroacoustic music composer competitions: Alea III, Musica Nova and Bourge IMEB. The recent CD of his work, Taking Shelter, was described as having "detailed acousmatic works in the great UK tradition of restraint and passion" (Kevin Austin). Performers he has worked with include: Nicola Walker Smith, David Arden, Philip Mead, Juliana Janes Yaffe, Rebecca Ashe, Gemini & Lontano. Recently he has given lectures on his music at: Oberlin, Boston University, and Bowling Green. Currently he is working on a live electronics piece for the NYC percussionist, Mike McCurdy. Moonstrip takes loops and gestures from my earlier work Moondrunk Burlesque (written for the EM-NY festival 2008 burlesque night in Brooklyn) and recomposes it into a piece that is stripped down and rhythmic. 16) (i) have a good heart (!) Zachary Todd Barr Zachary (b. 1985) is a composer, recording engineer, multimedia artist, and classical/electric guitarist from Indiana. He works with acoustic and electronic sound composition, video, photography, human-computer interactivity and words. He is in his final year at Ball State University, finishing undergraduate degrees in Music Engineering Technology, Classical Guitar Performance, and Applied Physics (with an emphasis in Electronics), and has also spent time in Liverpool, England studying guitar performance, composition, and creative writing. Zachary strives to create works that engage creative thinkers in a refreshing way, allowing answers the chance to sneak up and tug at their sleeves. (i) have a good heart (!) is derived from a single, six-second sound: the string being pulled and released on a toy, which then continually produces the phrase, “I have a good heart,” from its tiny loudspeaker. Noise from the loudspeaker and clicks/clacks from the string's handle knocking against the toy's frame are split and reconstructed in a variable manner alongside components of the spoken phrase. The work's active character typifies the exclamatory nature of the toy's statement and moves like rearranged pulses of a beating heart. 17) Things Are Looking Up Richard Arnest Richard Arnest has been writing music forever (or at least for as long as he can remember), mostly for acoustic instruments and voices but occasionally for other media as well. Born in Virginia, after travelling all over, he lives and composes in Cincinnati where he sings with the May Festival Chorus and the choir of the Christ Church Cathedral. Things Are Looking Up is about ritual and the persistence of tradition serving the evocative qualities of sound. The prescribed (and clearly audible) action set evokes sensual aroma and taste in a manner approaching synaesthesia, and gives to the term ‘French press' an almost erotic quality through kinaesthetic repetition. What a joy to wake up to! 18) Nebulae Laura Kramer Laura M. Kramer (b. 1984) is currently pursuing a Doctorate of Musical Arts in Composition at the University of Southern California, where she studies with Frank Ticheli and James Rötter. She holds a Master of Music in Composition from Indiana University (2008), and a Bachelor of Music in Saxophone Performance and Music Theory/Composition from West Chester University of PA (2006). Laura’s works have been featured at the International Electroacoustic Listening Room Project, Midwest Composers Symposium, Midwest Graduate Music Consortium, North American Saxophone Alliance Conferences, SEAMUS National Conferences, and the Western Illinois University New Music Festival. She has composed incidental music for the IU Theatre Department's production of Oscar Wilde's An Ideal Husband, and was awarded honorable mention in the 2009 Margaret Blackburn Biennial Composition Competition by the Pittsburgh Alumnae Chapter of Sigma Alpha Iota. Laura has served as graduate assistant director of the Indiana University New Music Ensemble, as well as guest production manager for Alarm Will Sound. www.laurakramermusic.com 19) gossima 5 Daniel Blinkhorn "Daniel is an Australian composer and digital media arist. More information about the composer, as well as examples of his work can be found on his website at www.bookofsand.com.au. " "gossima 5 is a miniature from a suite of electroacoustic miniatures created using recordings of a 2.7 gram, 40 mm gas-filled celluloid ping pong ball. More specifically, all the material comes from a single ball as it bounced on a table. The gestures used in the game of gossima become structural metaphors determining the contour, shape and overall form for the piece. In an attempt to illustrate the brittle nature of the sound of a gossima ball, coupled with the brevity of the game itself, the pervasive morphology of sounds is crisp, whilst the duration short. The work is inspired by the initial serve within the game, heard as a precise, short and sharp gesture driven moment. " 20) something happened Anne van Schothorst anne van schothorst (1974) As a classical trained harpist and autodidact composer, from the Netherlands - Den Haag - I am working for an young and creative company harpandsoul.com I started playing the harp in 1983 (concerts, background music, .. ) and I am still playing, but since 2007 (after some live changing moments and lots of soul searching) I decided to become a professional musician; a recording harpist, composer and music producer. I play and create original and instant music and I am involved in art fusion projects: for poetry projects/visuals /film /cartoons/ installations I compose and produce the music. My style can be characterized as classical, minimal, visual and lately even experimental. this 60 sec piece contains harp, voice and soundscapes: stones, pebbles & a falling water drop The music can be discribed as atmosperic mystical music – I have tried to visualize almost a movie like setting .. 21) While Shepard Watched Part II Peter Mottram Peter Mottram writes music in a variety of different styles, under a variety of different aliases. Stylistically, this has included such diverse genres as leftfield electronic, classical, sound collage and traditional guitar based music, as well as a host of other material that lies somewhere between these terms ! So far this has resulted in two well received releases on Occasional Records, with a further two contemporary/experimental classical recordings expected to be released later in 2010. The piece was an experiment in the use of Shepard tones, to create something ‘atmospheric' lying somewhere between music, sound effect and sound collage, but without ever quite being any one of them. The limitation of a 60 second timeframe, resulted in the piece becoming a sixty second crescendo, though with the embellishments and added orchestration coming from the use of electronic effects rather than added instruments. 22) Wet Whistles Anthony St.Pierre Anthony St. Pierre, M. Mus. (b. Schenectady NY 1956) has taken part in two previous 60x60 mixes. He has won an American Recorder Society (Chicago) composition award, as well as a citation from Choirs Ontario for a choral composition. He holds a B. Mus. from Ohio State University and an M. Mus from Washington University in historical performance practices. Further info at http://pages.ca.inter.net/~abelc/biography.html Three drunks are whistling in chorus; hence "wet" whistles. Soon, they are chased away. Then, they collapse in a stupor. (3 slide whistles) 23) Nowhere in particular Iván Sánchez Iván Sanchez. – mexican musician and composer, has been prepared himself inside and outside his country and developed in different sorts of musical styles: from rock and classical, to academic electroacoustic and experimental music. Has worked with multinational and independent record companies, and Educational Institutions as well, as musician, producer and composer, having created works for concert, theater, dance, video art, film and sound art. Has collaborated with artists and producers like Jorge Reyes, Michael Sembello, Alberto Castro Leñero, Laura Aris, among others. At the moment he directs the Laboratorio de Arte Sonoro del CANTE at Centro de Arte y Nuevas Tecnologías de San Luis Potosí, works as freelance guitar player and producer at his own studio. Contact: sanchezrk@yahoo.com "Somewhere in particular Iván Sánchez - Composer Karen Smith – voice This piece belongs to a group of miniatures composed for voice by Iván Sanchez, based in Zen poems translated to different languages. These compositions are made so that they can be interpreted live (a capella or with live electronics), or be presented like electroacoustic compositions, being the case of this participation in 60 x60. The extension and form of each text directs the creative and structural work, whereas the words seduce to explore the sonorous possibilities and to apply them in possible interpretations of the idea. This piece was composed in 2001 at CANTE in San Luis Potosí, México and is interpreted by the mexican-american singer Karen Smith. 24) The Secrets Of The Bowl Clemens von Reusner Composer & soundartist Clemens von Reusner was born in Germany in 1957. After studying musicology and music-education, drums with Abbey Rader and Peter Giger he has worked as a composer and a musician in different ensembles as well as a lecturer, music teacher and an author. Since the end of the 70s he has been engaged in electronic music, compositions in different genres, radio plays and soundscape compositions. Member of the German Society For Electoacoustic Music (DEGEM). http://www.cvr-net.de Spherical objects discovering a plane curved space without any purpose. 25) Static String Jaclyn Heyen "Jaclyn Heyen is currently a graduate student in Music Technology at Florida International University. Her research has focused on the use of music technology within a therapeutic environment. This interest informs much of her creative work, which often utilizes unique ways of working with music technology that involve motion tracking and/or unique interfaces such as an audio controller built out of the body of a scooter. She also has a deep interest in the soundscape and soundwall and how one listens and defines themselves through noise. Her pieces have been performed at many festivals, conferences and concerts including Subtropics 20 and FTM10. Her articles have been published in the International Computer Music Conference (ICMC) Proceedings and Making Waves Journal. This piece uses a feedback type patch I created in Max/MSP. The original sound is plucking a couple strings on a cello and with the patch those couple of strings became Static String a one-minute electro-acoustic work. 26) DROPLETS Chiharu Mukaiyama Chiharu Mukaiyama / chiharu mk Composer, Pianist, Artist. First approaches to electroacoustic music at the GRM since 2001, and to playing Acousmonuim at the FUTURA in 2002. Works were released in the International Festival of Bourges, CCMC, National Museum of Emerging Science and Innovation, and SnowScape Moere4 (Moerenuma Park is Isamu Noguchi's Landscape) . Released her albums "piano prizm" and "waterproof" as chiharu mk. These albums received No.1 recommended disc at the Tower Record Shibuya and Shinjuku in Tokyo. And it broadcasted by Mr. Ryuichi Sakamoto in RADIO SAKAMOTO , Radio3 batitti (Itary), and so on. These albums were used by fashion brand "sunaokuwahara" 2010 Spring/Summer Collection movie. Composed the soundtracks of movie “White Noise"(2010). It is the movie of the unit of modern art "Nina Fischer & Maroan el Sani" (Germany). She is a lecturer of computer music at Sapporo Otani University of music and Hokusho University. http://www.studio-cplus.net/ " "DROPLETS(2009)/ chiharu mukaiyama Innumerable drops of water extends and these will become a wave before long. The sounds of water were recorded with the hydrophone. And the crystal singing bowls were played. Its key of 10inch is A. A is purple and it is effective in the crown cakra. Its key of 14inch is B. B is Indigo and it is effective in the brow cakra. The sound of the crystal singing bowl is transmitted by the aerial vibration. However, the sound in water is not so. The sounds of the different vibration mixed. And, they resonated each other. " 27) une mémoire Ryan Homsey Ryan's wide range of compositional styles has led him to compose for theater (New York City's Astoria Performing Arts Center, Metropolitan Playhouse, Deconstructive Theatre Project, Emerging Artists Theatre), dance (Minnesota's American National Ballet and The Minnesota Ballet), and choral music for the concert hall (Young New Yorkers' Chorus, American Radio Choir; NYC). He has studied with Justin Dello Joio, Alice Parker and Allyson Bellink. He was honored by the State University of New York with the 2007 Patricia Kerr Ross Award for the Arts. Ryan currently lives in New York City and teaches on the faculty at SUNY Purchase College's Conservatory of Music. (B.M. Purchase College 2007; M.M. NYU expected 2010). ryanhomsey.com The unconventional guitar tuning and prominent use of open strings and harmonics all contribute to the dreamlike state of une mémoire. The snap pizzicato effect is a translation of the Bartók pizzicato, which is more familiar to the orchestral strings. This effect suggests the sting of pain that can accompany transitory memories. 28) time fractal Heather Stebbins Heather Stebbins is a graduate of the University of Richmond where she studied composition under Benjamin Broening. She is also interested in philosophy and cello performance and has studied cello with Pei Lu of the Baltimore Symphony Orchestra and Nick Photinos of eighth blackbird.  She was a recipient of the IAWM Search for New Music 2007 Ellen Taaffe Zwilich Prize. She was also the winner of the 2008 University of Louisville Search for New Electroacoustic Music Competition. Her music has been performed at festivals across the country. She is currently the Music Technology Lab Specialist at the University of Richmond.  " I have always been interested in how particular soundworlds can induce different visceral and emotional responses. 'time fractal' attempts to create a soundworld that prompts as many different responses as possible within 60 seconds. The piece explores how the layering of different textures and timbres can bring about these responses. 29) 60x60x60 Howard Kenty Howard Kenty's compositions have been presented at national and international festivals, most notably receiving an Honorary Mention in the Digital Musics category of the 2008 Prix Ars Electronica. He lives in New York City, where he composes, orchestrates, engineers, edits, programs, performs, transcribes, and more, and rocks out in the bands The Benzene Ring and Grandpo. Check out www.hwarg.com/howardkenty for more fun stuff. 60 x 60's guiding themes of concision (expressing a complete musical idea within a very short span of time) and disparity (the effect of playing all of the selected compositions back to back) inspired me to go one step further and create a work consisting of sixty individual one-second pieces. As a single second allows only the barest seed of an idea to be presented before moving to the next, this proved quite a challenging and interesting endeavor. Quickly juxtaposing different styles, timbres, acoustic spaces, instrumentation, and dynamics, the result is frenetic, sometimes surprising and even disorienting, and hopefully highly engaging. 30) Remembering Allen Brian Belet Brian Belet lives in Campbell, California (USA), with his partner and wife Marianne Bickett and son Jacques Bickett-Belet. Here he composes, hikes, and tends to his fruit trees and roses. In 2009 he co-founded the touring ensemble ‘SoundProof' with Stephen Ruppenthal and Patricia Strange. To finance this real world he works as Professor of Music at San Jose State University. His music is recorded on the Centaur, Capstone, IMG Media, Frog Peak Music, and the University of Illinois CD labels; with research published in Contemporary Music Review, Organised Sound, Perspectives of New Music, and Proceedings of the International Computer Music Conference. (www.music.sjsu.edu/music/faculty-and-staff/dr-brian-belet) When Allen Strange died on 20 February 2008, I was called upon to write two brief obituary statements: one to distribute to the greater EA community through the ICMA, SEAMUS, and SCI news lists; and also a brief testament for my local newspaper. For this miniature, I read an excerpt from my newspaper statement, and processed it live using a Kyma TimeLine running seven simultaneous algorithms. This was a one-take, all or nothing, performance – I think that Allen would have liked that for several reasons. The number 7 relates to Allen's final composition NGate, and so I enjoyed sending him this musical tribute and farewell. This composition is included on the ‘Pacific Rim 2008' mix produced by the 60x60 Project. 31) Enki's Table Doug Geers Douglas Geers' recent compositions include Inanna, a 90-minute “concert play, ” (Zürich, 2009); Calling, an opera (NYC, 2008); Sweep, a work written for the Princeton Laptop Orchestra, PLOrk (Chicago etc., 2008-2010); and Laugh Perfumes, a violin concerto (Ljubljana, 2006.) Recent awards include a 2009 Bush Foundation Fellowship Finalist award, a 2008 Argosy Foundation commission, a 2007-2008 McKnight Composer Fellowship, and a 2007 Jerome Foundation Composers Commissioning Project prize. Currently Geers works as an Associate Professor of Music at the City University of New York (CUNY), teaching at both the CUNY Graduate Center and at Brooklyn College, where he is Director of the Brooklyn College Center for Computer Music (www.bc-ccm.org). Geers completed degrees at the Xavier University, the University of Cincinnati, and Columbia University (DMA 2002). At Columbia, Geers studied composition and computer music with Fred Lerdahl, Brad Garton, Tristan Murail, and Jonathan D. Kramer. For more information: www.dgeers.com. Enki is an ancient Sumerian god of wisdom, creation, crafts, and mischief. In the stories of Inanna, his table is the site of bragging and drinking of heavenly liquids. This music was made with samples from a grandfather clock. 32) Two Dualities Michael Gogins I am an independent composer, computer music researcher, and music programmer. I live with my wife Heidi on the Upper West Side in Manhattan. I am currently working with methods of generating scores based on mathematical music theory. I also have made many contributions to Csound including the Csound API, the CsoundAC algorithmic composition module, CsoundVST, the mixer opcodes, the linear algebra opcodes, the signal flow graph opcodes, and the Jack opcodes. This piece was generated using CsoundAC with a Lindenmayer system moving a score writing turtle through a 4 dimensional chord space by means of neo-Riemannian transformations in the Generalized Contextual Group of Fiore and Satyendra. The score was realized using Csound with the Pianoteq physically modeled piano plugin, tweaked by me to model a carbon fiber piano of distended size. 33) forOCKER Kraig Grady Kraig Grady, an Anaphorian now living in Australia, composes almost exclusively for acoustic instruments of his own making or modification tuned to just intonation. Often his work is combined with his Shadow Theatre productions. His work has been presented at Ballhaus Naunyn Berlin (Germany), the Chateau de la Napoule (France), the Norton Simon Museum of Art, the UCLA Armand Hammer Museum, the Pacific Asia Museum, the Los Angeles Philharmonic's American Music Weekend and New Music America 1985. He was chosen by Buzz Magazine as one of the "100 coolest people in Los Angeles". A microtonal work written using samples of my acoustic instruments. Tuning is Meta-Slendro. Dedicated to the composer David Ocker who composes short funny , yet surprising imaginative short pieces 34) T James Brody James Brody (1941-2010) studied composition at Indiana University with Iannis Xenakis and Franz Kamin. Brody was a guest composer at the Electronic and Computer Music Studio of The Peabody Institute and is an active member and past president of the Baltimore Composers Forum. ZAZON was played at the ICMC, Belfast in the fall of 2008 and at SEAMUS 2009. From 2005-2007, Brody was a member of the adjunct faculty of York College of Pennsylvania and, currently residing in northern New Mexico near Santa Fe, is on the music program planning committee at the Santa Fe Complex. T is part of series of experimental works produced by the algorithmic generating software Artwonk and/or Nodal and the sampler Kontakt. Sounds are collected and subjected to edits and alterations to produce the klangideale for each work. The temporal structure is produced by performing the generating software in real time or by generating and assembling sectional material. 35) Clickz Petri Kuljuntausta Petri Kuljuntausta is a composer, musician, sound artist and author of three books about electronic music and sound art. Kuljuntausta is famous for music composed of sounds both natural and extraordinary. In close collaboration with natural scientists, he has composed underwater installations from underwater materials and made music out of whale calls, bird songs, and the sounds of the northern lights. In many ways Kuljuntausta's art is based on good knowledge of tradition. Environmental sounds, live-electronics, improvisation and collaborations with media artists has influenced him as a composer. The Clickz is composed for an old vinyl record-player and KaossPad soloist. The record player used in the recording is from the 1950s and purchased few years ago from a local radio store. The old vinyl record is modified so that it's opening moment, silence, just before the music starts, is "locked-grooved". The music on the LP record was composed by Bela Bartok, but the listener can't hear the actual music. Over the looped record plays the KaossPad soloist and the live-electronic musician control live the feedback sounds generated in the mixer. 36) Tundra Jeffrey Rabena Jeff Rabena grew up on Hornby Island, British Columbia, and studied at Concordia University in Montreal, Quebec. An attempt to capture the frolicking gaiety of playing in whirling snowflakes and crackling ice. 37) Acceptance Bettie Ross From Southern California, Bettie Ross is an award-winning composer & keyboardist. In 2009, she won Best Solo Piano Album and Best Solo Piano Song at the Just Plain Folks Awards, world's largest independent music contest. Bettie recently composed & performed the music (mostly electronic) for 2010 indie film, "Nina & the Mystery of the Secret Room.” For concert stage, her arrangement of “Amazing Grace” for bagpipe band & symphony orchestra has been performed at the Disney Concert Hall in Los Angeles. As a pipe organist, Bettie has earned two Gold Records for her work on albums by Faith Hill and Meatloaf. "Acceptance" - Calm resignation in the face of the inevitable. 38) Glassminute Lydia Ayers Lydia Ayers is a Hong Kong-based composer who plays Native American flutes and flutes from a variety of other cultural traditions. She has worked with extended vocal and woodwind techniques, including quarter tones, multiphonics and other unusual flute timbres. She is creating native American, Australian, Chinese and Indonesian computer music designs. She has extensively researched and composed with microtonal tuning systems, especially unlimited just intonation. She also uses a 75-tone Indian/Partch scale on the “Woodstock Gamelan,” a tubular percussion instrument built to her specifications by Woodstock Percussion. She has modeled the Woodstock Gamelan and other gamelan instruments using Csound, and authored Cooking with Csound: Woodwind and Brass Recipes, a CD-ROM package which gives synthesis designs for wind instruments. She has played gamelan at the Chinese University of Hong Kong and Hong Kong University. Her Virtual Gamelan CD has been released on Albany Records. "Glassminute" uses linear predictive coding analysis of a rubbed crystal glass sound. Transposition into a very low register transforms the glass timbre into a male vocal sound, while sped-up high transpositions of the glass sound scurry around. 39) I WANT THE MOLE duck juggler An installation/sound artist and experimental musician living in Melbourne. He has released several sound works on analogue and digital formats ranging from recordings of short circuited games and crashing computers, to the use of multiple analogue synthesizers and traditional instruments. His recent arrangements are (loosely) based on reversing the score of popular classics, such as God of Thunder (KISS), Freedom of Choice (DEVO), and Highway to Hell (AC/DC). His most recent recorded work ‘kunst e chaos', an interpretation of Stockhausen's Samstag aus Licht, utilized 30 analogue synthesizers and provided the sound for ‘The Killer Is You' installation VCA Gallery Melbourne which opened on October 18 2007, 47 days before the unexpected death of Stockhausen (a coincidence). www.duckjuggler.com " "This project was realised using analogue guitar synthesizers and Reason software and was recorded in ProTools. ‘I Want the Mole' evokes a dream sequence of dancing animals tiptoeing through innocent gardens of unmet desire only to morph into the jungle drums of an elephant stampede before reaching the inevitable conclusion: WAKING. " 40) for Walter Moers Edward Ruchalski Edward Ruchalski has been commissioned by the Bang on a Can All-Stars, Helen Boatwright, the Lavender Trio and Syracuse's Society for New Music; and has had performances by the Buffalo Guitar Quartet, Robert Black and the Detroit Chamber Winds & Strings. His compositions have been performed at Lincoln Center, Mass MOCA, Miller Theatre, the Everson Museum and at the Festival of Miami. Ruchalski has also been the recipient of two Artist Grants from Syracuse's Cultural Resources Council for his compositions using motorized string and percussion sculptures of his own design. To date, he has eight studio recordings available on Pseudoarcana, Afe, Humbug, Taalem & Foxy Digitalis. His latest release, WaterTrain, is available on Humbug. Ruchalski received his B.F.A. in Music Composition at SUNY Fredonia and his Masters in Music at the University of Miami, Florida. He lives in Syracuse, New York, where he teaches guitar privately and at Le Moyne College. This studio work, for altered music boxes and a field recording of sparrows, is dedicated to the writer, Walter Moers. 41) Missin' Lou Christopher Bailey Christopher Bailey's sub-par new-agey improvisations began at age 12 or so, much to his parents' horror. His first composition teacher tried to teach him Baroque counterpoint, but promptly gave up. Many years later, to make a long story short, he now thinks he knows what he is doing. For rousing recordings, aesthetic and technical essays, pompous pontifications, seedy CVs, inspirational interactivity, and other fun stuff, please see http://music.columbia.edu/~chris/ A simple tune highlighting some discoveries from the book "Divisions of the Tetrachord" by John Chalmers; a book inspired (partly) by Lou Harrison. 42) The Shape of the Shell Cindy Cox 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. Naturally unfolding through linked strands of association, timbral fluctuation, and cyclic temporal processes, her compositions synthesize old and new musical designs. 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. She has been recorded on Albany, Capstone, Arpa Viva, CRI (New World), Mark, and Valve-Heartz of Cologne. Recent performances have occured at Carnegie and Merkin Halls in New York, The National Gallery and the Kennedy Center in Washington, the American Academy in Rome, the Kosmos Frauenraum in Vienna, and the Münster Gesellschaft für Neue Musik. Her scores are published through World a Tuning Fork Press. Cox is a Professor at the University of California at Berkeley. "Cindy Cox, program note, "The Shape of the Shell" text by John Campion, music by Cindy Cox bass clarinet/voice by Laura Carmichael My daughter brought a shell and bade me put my ear to it: —That's the sound of the ocean, I said. —Is the ocean inside of it, she asked? —The shape of the shell causes the sound, I said. —Then the ocean is the shaper of things, said Sophia. You throw a stick out into the water and it comes back looking like a fish. " 43) Undertow Tova Kardonne Tova composes Balkan/Jazz fusion music for her 8-piece band, The Thing Is (www.myspace.com/thethingismusic), sings Bossa Nova and French cabaret, plays viola, composes for modern dance and theatre, and creates a cappella performance art. She studied Vocal Jazz and Arrangement/Composition at Humber College in Toronto, Canada, with John Macleod, Don Palmer, and Shannon Gunn, among others, and holds a degree in Philosophy, French Linguistics, and Mathematics from the University of Toronto. "She loves the sea, and she fears it. These are sounds from floating on the surface of something too powerful." 44) Loretto Alfresco (piccolo) Robert Fleisher Robert Fleisher attended the High School of Music and Art in NYC, graduated with honors from the University of Colorado, and earned the M.M. and D.M.A. in composition at the University of Illinois, studying with Salvatore Martirano, Ben Johnston, and Paul Zonn. He is professor and coordinator of music theory and composition at Northern Illinois University. The recipient of artist fellowships at Yaddo, Millay Colony, Virginia Center, Hambidge Center, Montalvo Center and Mishkenot Sha'ananim, he has also received support from the National Endowment for the Humanities, National Foundation for Jewish Culture, Illinois Arts Council, and Ruttenberg Arts Foundation. The author of Twenty Israeli Composers (1997), he is also a contributing composer and essayist in Theresa Sauer's Notations 21 (2009), an anthology of new music scores. His music appears on Centaur and Capstone labels and has been heard in Canada, France, Germany, Spain, the United Kingdom, and throughout the United States. Loretto Alfresco is a musique concrète composition created with a Tandberg stereo tape recorder in 1970 (when I was 17), unearthed in response to the recent wave of interest in miniatures. Sound sources include assorted pots, pans, pipes, and other objects played by my childhood friend, Thomas Loretto—under a tree on a small Wisconsin farm owned at the time by my sister. Created specifically for 60x60, Loretto Alfresco (piccolo) compresses the original work (lasting 69 seconds) to just under a minute. 45) PassiveActive Gestures Michael Baldwin Michael Baldwin (b. 1989 in Dayton, OH) is currently an undergraduate student in Music Composition at Bowling Green State University. There, he participates in the Wind Symphony, New Music Ensemble, and Trombone Choir. Michael is an active composer who is especially interested in color and the exploration of timbre through the use of the electroacoustic medium, and instrumental extended techniques. He enjoys collaborating with performers and has written numerous works for solo instruments, fixed media, and chamber ensembles. "Passive: tending not to take an active or dominant part. Active: quick in physical movement." 46) What Are You Looking At? David Morneau 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. Learn more @ http://5of4.com "/_||_\ | /\ | \_--_/" 47) Growing Decay Josh Crowe Josh Crowe is currently a Composition Major at Birmingham-Southern in Birmingham, Alabama. His credentials include commissions from the "Las Americas String Quartet" and "Southern Harmony" (a male vocal quartet). He has enjoyed several chances to write for choreographers, including a piece for piano and string orchestra commissioned by young dancer and choreographer Elizabeth Grunigen. The college concert choir premiered one of his new choral anthems this Spring. Josh is currently working on the score for a short film by Knife and Knose Productions, and a couple other private commissions. "Growing Decay" was created entirely of notes recorded from a grand piano. 48) See Now Sean Archibald Sean Archibald is a drum 'n' bass, glitch and electronic music composer producer from the UK. He uses microtones because he believe they offer more flexibility and possibility. He is a student and has released two EPs and two albums of his own work for free online, for anybody to enjoy. He compose under the pseudonym Sevish. (He doesn't use his real name in composition). I was looking at equal divisions of various just intervals, trying to find a scale which closely matches some useful intervals like minor third, major third, neutral third, fifth and octave, etc... so I stumbled across 18 divisions of the 11/7 which seems to match them quite well. What's left after that? Just to compose with it! See Now is the result. The middle piano section uses Wendy Carlos' "Alpha" scale. There's a lot of glitchiness and also vocal samples. 49) Deep Blue Elizabeth Joan Kelly Elizabeth Joan Kelly is from Slidell , LA and currently resides in Tallahassee, FL. She holds degrees in music composition from Loyola University New Orleans ( B.M.) and the Cleveland Institute of Music (M.M.). Elizabeth has pursued additional studies at the Freie Universitat in Berlin, the Bowdoin International Music Festival, the Norfolk New Music Workshop, ACO/Vocal Essence Essentially Choral Reading Program and the Jacksonville Symphony's Fresh Ink Orchestra Readings. She has received prizes and awards from the National Federation of Music Clubs, the Ohio Federation of Music Clubs, Loyola University, the Cleveland Institute of Music, and Singing City. "Deep Blue" is about my fear of and attraction to the ocean. 50) Strange Moon Rodney Waschka II Rodney Waschka II, composer, is best known for his algorithmic compositions and his operas on the lives of Ambrose Bierce and Sappho. His music, published by Borik Press and American Composers Editions, has been performed throughout North America and Europe, in Asia, South America, and Africa. Eighteen of Waschka's pieces are available on recordings from labels in the USA, Portugal, and Canada. His most recent compact disc, on the Capstone label, features the Nevsky String Quartet playing his music for strings. Waschka is a professor at North Carolina State University. (www.waschka.info) Strange Moon was composed in honor of composer Allen Strange shortly after his sudden death in February of 2008. The names of a few of his pieces, many of which were related in some way to the moon, are laid on a bed of ingredients taken from his Mexican-food cookbook. 51) Omaggio a Velazquez Marco Dibeltulu Marco Dibeltulu studied Composition and he graduated in Choral Music and Choir Direction at the Conservatory of Cagliari. In the same Conservatory he also graduated in Electronic Music with Francesco Giomi and Elio Martusciello. His compositions have been selected in the following competitions: 24th International Electronic Music Competition “Luigi Russolo” – Varese; CALL 2006 – Federazione CEMAT, Rome; 6th International Computer Music Competition “Pierre Schaeffer” 2007 – Pescara (1st Prize); FrammentAzioni – TEM, Udine. He performed at Festivals and contemporary art exhibitions: Synthèse – Bourges; Biennale di Venezia on-line; Moscow Biennale of Contemporary Art; Rifiuti preziosi – Palazzo Strozzi, Florence; ArteScienza 2006 – CRM, Rome; Contemporary Art Fair – Shanghai; Primavera en La Habana 2008; Zeppelin 2008 – Barcelona; Concerts de Bruits Pierre Schaeffer 1948-2008 – Tempo Reale, Florence; ICEM Concert for IDKA – Gävle (Sweden); Audio Art Circus 2008 – Osaka; Futuroma – Scuderie del Quirinale, Rome; EMUmeeting 2009 – Conservatory of Music “Santa Cecilia”, Rome; Quadrilateral Biennale Media Art – Rijeka (Croatia). The composition is inspired by the “impressionist” pictorial genius of Velazquez who represents things as they appear, move and live in a well-lit environment, reducing them to “spots of colour” which, in the electroacoustic composition, are represented by instrumental quotations whose function is to describe in music his art permeate with realism, equilibrium, inner depth, free from the most dramatic and flamboyant aspects of the Baroque. 52) Horn Matthew Ellis Matthew is currently working with algorithmic composition methods and materials and is engaged in developing software and hardware for composition and performance. Resampled from recordings of a B-flat clarinet, 'Horn' is an electro acoustic work exploring granulation. Like the retort of a great horn here resonation and reflection of the granulated clarinet describes play within the expanse of a virtual space. 'Horn' is indebted to the music of Iannis Xenakis and Barry Truax, in particular the works 'ConcretPH' and 'The Wings of Nike', respectively. Partially processed with open source software. 53) Fast Prelude Aaron Krister Johnson "Aaron Krister Johnson is a Chicago-based multi-keyboardist, teacher and composer. His work has received glowing words from Keyboard Magazine, Chicago Sun-Times, Chicago Tribune, Windy City Times, Chicagocritic.com, and Tokafi.com. Passionate about the past and future possibilities of pitch, he founded UnTwelve, a concert series and website which explores music beyond the standard 12-note system. His compositions are heard internationally, including the 2009 60x60 International Mix. He is the pianist, organist and choir director at Temple Sholom of Chicago, a post held since 1998. Active in Chicago theatre, his score for Ibsen's Peer Gynt received a 2005 Jeff nomination. Other theatrical scores include Modigliani, Petrified Forest, Clash by Night, Madwoman of Chaillot, Natural Affection, Twelfth Night and Julius Ceasar. He is also responsible for all the fabulous content at akjmusic.com. He is a graduate of both SUNY Purchase and Northwestern University in piano performance. Finally, he is the proud husband to Lorna and father to his precocious 3.8 year-old daughter Annika." "Fast Prelude" is a neo-baroque composition in two voices, a sort of "Bach invention through shattered glass". It is tuned to 19-equal pitches per octave, that has a restless quality and tends to modulate keys in a devil-may-care manner. The synthesizer sound was realized in Csound on the author's Linux system. 54) BOAWLLLSS Foster Clark "Foster Clark gained his Bachelors Degree in composition at the New Zealand School of Music in 2007. He is currently the keyboard player for Percolator a five piece jazz band. Side projects include song writing and teaching bass guitar. He has tutored Max/MSP and Jitter at Victoria University and maintains a strong interest in machine improvisation and composition and plans on completing his Masters in this field." "This piece was created in the Douglas Lilburn Electro Acoustic studio at Victoria University Wellington when Foster was a composition student at the New Zealand School of Music. The source material is various balls made from glass rubber and steel bouncing singly and massed in or around a set of steel mixing bowls which are struck or spun and a steel bathtub, hence the title "Boawlllss". Individual samples were then laid out in Giga Sampler by velocity and pitch and triggered by keyboard in real time. Additional processing was applied concurrently with a performance. This is a small section of a performance chosen for its phrasing." 55) InTension Marcel Wierckx "Marcel Wierckx (Canada/Netherlands, b. 1970) studied instrumental and electronic music composition in Canada before moving to the Netherlands in 1999. There he continued his studies in electronic music composition at the Utrecht School of Music and Technology, where he graduated with honours in 2001. Since then he has been active as a sound and video artist as well as composing instrumental and electronic music for concert, film, theater and dance. Marcel is a founding member of MorphoDidius, a performance group which specializes in multimedia productions where technology plays a vital role. He created the music and video images for their dance productions Voyeur, Voyou, Voyant and Entropy, and the co-production Mensa Secunda with Jorge Isaac which was awarded the Jur Naessens Prize in 2005. His audiovisual composition Black Noise White Silence was selected by the jury of the International Society for Contemporary Music for performance at the World Music Days in 2008, and has been released on the 12K/Line041 label's Optofonica DVD." The title of this piece is a play on words in three different senses: in the simplest sense it refers to the state of being tense, something which is clearly reflected in the tumultuous nature of the composition. Secondly, the title is similar to the philosophical term intension, which refers to the set of all possible things that a word could possibly describe; in this sense I raise the question of whether or not digital music could be considered intensional, since it is composed of bits of data which can be interpreted in infinite ways. In the third sense, the title refers to the more common definition of intension: a strenuous exertion of the mind or will, which, as any composer knows, is an essential part of music-making. 56) A German Piano Chord Passing Your Way David Gordon Born in 1977. A musician and a teacher, living in Tel Aviv. B.A. in music and teaching (University of Haifa - Israel). M.A. in composition and musical technologies (Bar-Ilan university - Israel). Just a German piano chord that's passing your way - right abouuuuut …now. 57) 17-et Jazz Chris Vaisvil is a composer active in microtonal and contemporary classical music circles who also composes the occasional odd pop song. He holds degrees in music from South Suburban College and chemistry from Governor's State University. His music is a mixture of live performance and scored computer realizations using guitars, midi guitar, bass, and keyboards. 17-ET Jazz is a composition in 17 notes per octave tuning. The drums were scored and the other parts performed on a Korg MS2000 synthesizer used as a midi controller. 58) Viziunea Vizuinii Chuckk Hubbard Chuckk is an American banjo player and microtonal composer from Pennsylvania currently living in Romania. He has been using Csound for about 5 years, and more recently Rationale, a program he wrote in Python for composing in extended just intonation. Inspired by Marin Sorescu. A rooster who was a political prisoner, followed by a bunch of animals in a paddy-wagon 59) Buddhist Spouting Sadness on the Train Dean Rosenthal I was born in 1974 and studied composition with Tom Johnson, Morton Subotnick, Wadada Leo Smith, and many other prominent musicians in the American tradition primarily while at CalArts. My works reflect concerns of integrity, pattern, structure, and simplicity, but I prefer to imbue my music ultimately with musical reason. In addition to composing and engraving, I currently edit The Open Space Web Magazine. I live in Northampton, Massachusetts with my wife, Karin. The music of Buddhist Spouting Sadness on the Train profiles the American baritone Thomas Buckner. Recordings of his singing contrast with instrumental interludes and spoken word fragments creating a mosaic of musical images. 60) Articulation Paul Tucker I have been writing music pretty much when I started learning the Piano, when I was 7. I did my usual Grades inc theory, then my Piano performance Diploma at the Welsh College Conservatoire, training to be more of a classical pianist. Then in 2001 I graduated at the London college of music with a Masters Degree in composition for Film and T.V. Since then I’ve been supporting myself by teaching Piano and the occasional gigs and concerts around the country, and of course the odd composition work and competitions where I won the ABAC FRANZ LISZT international competition for composers in Grottemarre, Italy, where they are wanting me back. This piece is one of 10 piano preludes vol 1, that I want to experiment with. It is originally 45 seconds long. I wanted to stretch it out to just under a min, by slowing down the beginning and speeding up the end, creating much more tension. Adding to it were other piano sound effects that were made by methods of “Prepared Piano” techniques, acting as percussion.