Vox Novus in collaboration with UnTwelve created a special microtonal mix of the 60x60 project. In this particular instance, the 60 works will have an "UnTwelve" slant, as the emphasis will be on music which explores tuning or microtones.
The miniatures we will present will all be part of what we call the UnTwelve Mix--short works with a focus of the novel beauty of tuning which escapes the rigid boundaries of 12-tone equal temperament, and the use of microtones. All of these works are compelling and worth hearing, including pulse pounding music, gorgeous harmonies, dark and moody soundscapes, humorous vignettes, and ecstatic dreamworlds.
<
| | Title | Composer |
| 1 ) | Vertical | Elise Cumberland |
| 2 ) | What? | Tommy Scheurich |
| 3 ) | Minute Watch | Mike Leghorn |
| 4 ) | Glorious 60 | Carlo Serafini |
| 5 ) | Lets talk about it | Ioannis Kalantzis |
| 6 ) | HarpScreamShort2 | Agnes Szelag |
| 7 ) | Driving my 1948 Limbo | Dennis Bathory-kitsz |
| 8 ) | Molasses | Kevin Kissinger |
| 9 ) | Rainbowl | Alexander Baker |
| 10 ) | Banjo Engine 1 | Brent Wilcox |
| 11 ) | Old Man Dreams of Old Harp | Zachary Young |
| 12 ) | Just a Minute | Mark Zaki |
| 13 ) | Missin' Lou | Christopher Bailey |
| 14 ) | Hubble View | Scott Peterson |
| 15 ) | Ethonikus | Ethan Schwartz |
| 16 ) | Sesenta cuatro campanas | Andrián Pertout |
| 17 ) | East Dreams West | Ozan Yarman |
| 18 ) | Ma Minute | Mark Eden |
| 19 ) | Seismo_2010_1_5_mix60 | Phil Edelstein |
| 20 ) | Wet Whistles | Anthony St.Pierre |
| 21 ) | Somewhere in particular | Jose Ivan Sanchez |
| 22 ) | Humidity60 | Anthony Hood |
| 23 ) | forOCKER | Kraig Grady |
| 24 ) | Life is analog - play loud! | Penko Stoitschev |
| 25 ) | Turkey Branch | Monroe Golden |
| 26 ) | Walter's Glissandi | Robert Fanelli |
| 27 ) | Adrift | Samuel Pellman |
| 28 ) | The Balcony | Cameron Bobro |
| 29 ) | Heaven Help Us | Bob Siebert |
| 30 ) | Viziunea Vizuinii | Chuckk Hubbard |
| 31 ) | Ursa Minor | Rob Voisey |
| 32 ) | Hexybaby | Joseph Pehrson |
| 33 ) | FinnegansWakeVersusTheWorldsLongestPrime | Warren Burt |
| 34 ) | Slow Dance #3 | Prent Rodgers |
| 35 ) | Transgression of Being | Victor Valentim |
| 36 ) | Silk Fun | Robert Lepre |
| 37 ) | Intro to What's Next | Andy Hasenpflug |
| 38 ) | Wire | Thomas Ciufo |
| 39 ) | Communication Satellites | Les Scott |
| 40 ) | Wizoling | Daniel Sedgwick |
| 41 ) | Cuckoo | Momilani Ramstrum |
| 42 ) | Tree Growth | Mark Ballora |
| 43 ) | Road from Supai | Randall West |
| 44 ) | Dwelling On Autumn | Joel Hickman |
| 45 ) | 17-et Jazz | Chris Vaisvil |
| 46 ) | The Wanderer | Ann Cantelow |
| 47 ) | Parthenope | Patrick Liddell |
| 48 ) | CompuIntroMusic | Christopher Keyes |
| 49 ) | Basking in the copper look | Thomas Dempster |
| 50 ) | Truffles? | Michael Gaiuranos |
| 51 ) | Undertow | Tova Kardonne |
| 52 ) | See Now | Sean Archibald |
| 53 ) | First Snow | Monty Adkins |
| 54 ) | Saturn Talks Hold | Enrico Francioni |
| 55 ) | Dekany: 8 Through 12 | George Secor |
| 56 ) | Fast Prelude | Aaron Krister Johnson |
| 57 ) | The Arrow | Gilberto Rosa |
| 58 ) | Minute Distances | Mike McFerron |
| 59 ) | Enki's Table | Douglas Geers |
| 60 ) | The Calliope Crashed to the Ground | Danny Wier |
|
01) | "Vertical" | Elise Cumberland |
|
Vertical is an exploration of a musical feeling of upward motion as well as
the beating that occurs when two closely related notes are sounded
simultaneously.
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Elise is a music student at Mills College, and is always listening.
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02) | "What?" | Tommy Scheurich
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The text is from Herbert Brun, who was an infamous radical in Urbana,
Illinois during the 1960s. A mixture of microtonal temperaments was used,
including just temperament, 5-tone equal temperament, and
performer-improvised distemperament for dissonance. text: "What does that
which I do do? What does that I do it do? Tonality has contempt for me."
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Tommy Scheurich is an undergraduate for sure, a composer maybe, and a
scientist definitely not.
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03) | "Minute Watch" | Mike Leghorn
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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.
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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.
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04) | "Glorious 60" | Carlo Serafini
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An improvisation using Carlos Gamma tuning system playing a Spectrasonics
Omnisphere guitar sound with an Opal Chameleon isomorphic keyboard.
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Electronic music composer of microtonal/xenharmonic music. For more
informations visit my page http://seraph.it/info.html
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05) | "Lets talk about it" | Ioannis Kalantzis
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Sound organisms meet and claim their existence in a tense musical
conversation.
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Kalantzis studied composition and computer music at the Conservatoire
National Superieur de Musique of Lyon with Philippe Manoury, Marco Stroppa
and Dennis Lorrain. His pieces has been performed worldwide in many other
international events in France, England, Germany, Italy, Switzerland,
Belgium, Poland, Ukraine, S. Korea, Chile, Australia, Canada and USA. His
work has been released on CDs in Brazil by UNESP/FASM and Canada by PeP/CEC.
His music explores the realisation of sound organisms, which lead across
their movements and their unusual logic to a particular type of energy.
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06) | "Kutiah Ice" | Agnes Szelag
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"Kutiah Ice" is a piece about pressure and it's beautiful effects. Kutiah
is a glacier in Pakistan that grew faster than any other in the world. This
piece is rich in overtones and layers of electronics screaming as if they
have barely enough space to coexist together. In the end the pressure of
the ice is so great the glacier must expand and push out all possible air
bubbles. A brilliant hue of blue is created.
|
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Agnes Szelag is a composer, performer, and video/audio installation artist.
Her solo EP No Summer or Winter on Aphonia was hailed as "a distinctive
voice in the electro-acoustic field" by Textura, and "gorgeous" by XLR8R.
Her most recent release as myrmyr with Marielle Jakobsons The Amber Sea on
Digitalis (2009) as was named by Boomkat as "one of the most unique and
absorbing albums we've heard this year," and made their top 100 for 2009.
Her duo with The Norman Conquest, Dokuro, is described by The Wire as
"discreetly sculptured." Her work has been featured in the San Francisco
Electronic Music Festival, The Streaming Festival, Cologne Online Film
Festival, Electronic Music Midwest Festival, the Illuminated Corridor
Festival, 60 x 60, Soundwave Festival, Voices on the Edge, and at the Stone
in NY. Agnes received her MFA in Electronic Music and Recording Media from
Mills College, and her B.S. in Radio/TV/Film from Northwestern University.
|
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07) | "Driving my 1948 Limbo" | Dennis Báthory-Kitsz
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Driving My 1948 Limbo is a 48-tone etude that can also be performed live by
five keyboardists.
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As part of the post-Fluxus generation of independent artists, Dennis
Báthory-Kitsz (born March 14, 1949) composes and advocates for the
presentation of nonpop. He has created nearly 1,000 works. Since 2005 he
has co-hosted the award-winning "Kalvos & Damian" radio show, and he created
the We Are All Mozart 'productivity' project, composing 100 works on
commission in 2007. His music includes uniquely designed electronic and
acoustic instruments; computer software/hardware; synthesizers, e-boxes,
electronic costumes, and the Rhythmatron; and extended voice performances.
He co-founded the Vermont Composers Consortium and the NonPop International
Network.
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08) | "Molasses" | Kevin Kissinger
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Molasses is a one-minute work for theremin and multi-track recording
equipment. When the theremin was first invented, Leon Theremin (the
inventor) envisioned entire theremin orchestras. The theremin, though, does
not lend itself to large ensembles however multi-track recording allows one
to realize a large theremin ensemble.
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Kevin's goal is to create works for the theremin that utilize multi-track
and live-looping technology. Thus, Molasses is Kevin's latest effort to
create challenging theremin music. Kevin Kissinger is an electronic
musician and classically-trained organist from Kansas City, Mo. His
interest in electronic music started in the 1960s when he worked with
electronic project kits, a Hammond Organ, and whatever tape recorders he
could get his hands on. In the 1970s, Kevin built a large modular
synthesizer. Kevin built his first theremin in 2005 and acquired a Moog
Theremin shortly thereafter. Since that time, Kevin has created many
compositions for the theremin and performs throughout the USA. Kevin earned
a BMus degree in Organ Performance from the University of Missouri at Kansas
City Conservatory of Music.
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09) | "Rainbowl" | Alexander Baker
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Rain. Leaky guttering. Chinese porcelain bowl.
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I create sound pieces from field recordings as 'idle quietist', and from
anything else that comes to hand and ear as 'soluble fisherman'. Some of
this work can be found at: http://idlequietist.wordpress.com and
http://solublefisherman.wordpress.com
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10) | "Banjo Engine 1" | Brent Wilcox
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Life in Alaska for the past several years has filled my ears with bluegrass.
I'm not really fond of bluegrass. Part one of my revenge on bluegrass music.
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Since 1978, I've been manipulating and deconstructing sounds - first with
tape loops and abused instruments, now something similar in digital form.
Released Leisure w/Dignity EP in 1981, The Pops Science Story cassette in
1987, Executive Lullabies LP in 1989. Recent work and more info can be
found at myspace.com/cryptomusicology and soundcloud.com/brent-wilcox.
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11) | "Old Man Dreams of Old Harp" | Zachary Young
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This brief sound world is primarily generated from contrapuntally overlapped
improvisations on an old, out-of-tune harp. I was compelled to fuse these
expressive gestures with some short, time-stretched recordings of the human
voice for an added layer of depth and motion.
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Zachary Young is a senior at the University of North Texas completing his
Bachelors of Music in Music Composition. As a composer, he has had the good
fortune of working with many world-renowned composers including David
Bithell, Harvey Sollberger, Cindy McTee, Andrew May, Micheal Colgrass, Libby
Larson, and Joseph Klein. Lately, he has been focusing on composing pieces
which subtly integrate a dialogue between the textures of the electronic and
the acoustic using a variety of approaches. In addition, he enjoys
composing music for more traditional chamber ensembles and soundtracks for
film and video games.
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12) | "Just a Minute" | Mark Zaki
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Meaning is gleaned through thought, through the expressions of the world.
Stop. Think. Express.
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Mark Zaki’s work ranges from traditional acoustic music to computer music,
visual music and music for film. His electroacoustic music has been
presented on many of the world’s significant electronic music festivals.
Notable film projects include scores for the dramatic feature The Eyes of
van Gogh, and the Peabody award nominated documentary The Political Dr.
Seuss for PBS. Zaki currently teaches at Rutgers University where he is
director of the Rutgers Electro-Acoustic Lab (REAL). Mark includes among
his teachers Paul Lansky, Steven Mackey, and Charles Wuorinen and has a
Ph.D. degree in composition from Princeton University.
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13) | "Missin' Lou" | Christopher Bailey
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Written in memoriam Lou Harrison, 1917-2003. A simple tune highlighting some
discoveries from the book "Divisions of the Tetrachord" by John
Chalmers, a book inspired (partly) by Lou Harrison.
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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/
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14) | "Hubble View" | Scott Peterson
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When we look at the stars, we look through time. (Mbira through
moogerfooger cp251, low pass filter, ring modulator, korg kaoss pad)
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Scott Peterson is a composer, throat-singer, multi-instrumentalist, and
sound-artist. After completing a Bachelor's Degree in Jazz Studies (double
bass) at the University of Calgary, Scott Peterson went on to study
privately with John Patitucci in New York (2001) and attended the Banff
Centre for Performing Arts (2004). In 2006, Scott created Divine Light- a
sound installation and celebration of cosmic harmony (with financial
assistance from the Toronto Arts Council). In 2008, Scott travelled to Tuva
(Siberia, Russia) to study throat-singing with Tuvan masters.
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15) | "Ethonikus" | Ethan Schwartz
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Performed on a guitar retrofitted for 31-tone equal temperament, in addition
to drums. The intent was to present an unfamiliar tuning in a familiar
format and instrumentation. It takes advantage of 1/5th tone shifts;
modulation in the A section, and chordal resolution in the B section.
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Ethan Schwartz is a student at the University of California Santa Barbara,
pursuing a degree in Environmental Studies. He is currently studying
javanese/balinese gamelan and arabic music, in addition to exploring 31ET
and other tuning systems on his own. Drummer Brandon Woodward is graduating
from high school this year and has been accepted into USC.
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16) | "Sesenta cuatro campanas" | Andrián Pertout
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"Sesenta cuatro campanas" or "Sixty-four Bells" represents an attempt to
explore the harmonic series as a structural framework for composition with a
direct relationship to the rhythmic and harmonic implications of the
numerical aspects of the series. All the necessary pitch material for the
work has been produced via the detuning of one single Schoenhut model 6625,
25-key toy piano C4 (middle C) sample. The sample tuned firstly to standard
A=440Hz twelve-tone equal temperament, to be then readjusted, enabling the
capture of the frequency ratios of the first thirty-two partials of the
harmonic and subharmonic series.
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Andrian Pertout was born in Santiago, Chile, and in 2007 completed a Doctor
of Philosophy (PhD) degree in composition at the University of Melbourne.
Composition awards include the International Music Prize for Excellence in
Composition (Greece), Dorian Le Gallienne Composition Prize, Betty Amsden
Award, Louisville Orchestra Prize (USA), Oare String Orchestra Judges and
Audience Prize (UK), Michelle Morrow Memorial Award, and the Zavod
Jazz/Classical Fusion Award. His music has been performed in over
twenty-five countries by orchestras that include the Melbourne and Tasmanian
Symphony Orchestras, The Louisville Orchestra (USA), The Foundation
Orchestra (USA), Orquestra Petrobras Sinfonica (Brazil), La Chapelle
Musicale de Tournai (Belgium), and the Oare String Orchestra (UK).
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17) | "East Dreams West" | Ozan Yarman
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A noble quasi-Waltz for string chamber orchestra reminscent of the Romantic
Age and realized in a 12 tone subset out of 17 equal divisions of the
octave. Aside from the bursting melancholy of Bb minor in this tuning, the
piece reflects a strong contrast through Arabicized "Hazzam" & "Rast" maqam
flavours in 5/8 and 9/8 rhythms. Composed using Sibelius+Scordatura by H-Pi
instruments and processed with Logic Pro.
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Ozan was born in Istanbul in 1978. He begun his piano education in Kadiköy
Municipality Conservatory. In 1992, gained entrance to Moscow Gnessin
Conservatory. In 1997, graduated from Brussels Royal Conservatory with the
degree of "First Prize". In 1998, attended the Postgraduate Composition
Principal Art Department of Istanbul University Conservatory. In 2001,
graduated with his master's thesis titled "Turkish Music and Polyphony". In
2002, was accepted to the doctorate programme of the Musicology Principal
Science Division of Istanbul Technical University Turkish Music
Conservatory. In 2008, successfully defended his thesis titled "79-tone
Tuning & Theory For Turkish Maqam Music As A Solution To The Non-Conformance
Between Current Model And Practice" and achieved his doctorate degree with
the unanimous decision of the jury.
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18) | "Ma Minute" | Mark Eden
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Ma Minute is, actually, a 47 second composition compiled from material found
in nine separate tracks on Yo Yo Ma's Solo album.
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After spending nearly 50 years as a visual artist, Eden has dedicated the
last seven to text-based and musical sound composition. His work has been
played/broadcast from London to San Francisco. His Cremation Science was
included on the Innova CD, The Art of the Virtual Rythmicon. Eden teaches
Advertising at St. Cloud State University, St. Cloud, MN.
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19) | "Seismo_2010_1_5_mix60" | Phil Edelstein
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US Geological Survey network of real-time seismographs are leveraged as
input into sound rendering pd patch. Multiple channels of amplitude time
series are mapped to audio frequency and applied to an array of synthetic
resonant objects.
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I was fortunate enough to have found a childhood delight in electricity as
it could produce sound and light. This over time led to recurring episodes
in the creation and rendering of sound objects. Much of that has been under
cover of Composers-Inside-Electronics and the wonderful arc/k of
installations and performance of David Tudor's Rainforest IV.
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20) | "Wet Whistles" | Anthony St.Pierre
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Three drunks are whistling in chorus; hence "wet" whistles. Soon, they are
chased away. Then, they collapse in a stupor. (3 slide whistles)
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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/~abele/biography.html
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21) | "Somewhere in particular" | Jose Ivan Sanchez
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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.
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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.
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22) | "Humidity60" | Anthony Hood
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Composed during a hot and humid Australian summer, Humidity60 uses samples
taken from bamboo windchimes and instruments of a Balinese gamelan belonging
to the Sydney Conservatorium of Music. A small motific idea is introduced
at the start as pitch material. Beating effects are created between the
pitch-shifted gongs, and an aim was to feature the particular rhythm of the
windchimes. Software tools used in making Humidity60 include SPEAR,
Audiomulch and the GRM suite of plugins.
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Anthony Hood is an electroacoustic composer and a lecturer in Music
Technology at the Sydney Conservatorium of Music, University of Sydney. His
interests also include using technology to enhance music teaching and
learning. He has a doctorate from the University of York, U.K., and for
many years he has played an active role in the electroacoustic community in
Australia.
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23) | "forOCKER" | Kraig Grady
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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
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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".
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24) | "Life is analog - play loud!" | Penko Stoitschev
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The sound material stems from a live-recorded session with an analogue
semimodular synth [Cwejman-S1mk2] patched to two additional synth-modules
[Bananalogue/Serge-VCS + Cwejman-Res4]. There are no other sound-effects,
reverb or post-productions. The composition is based on a
communication-idea between channel one and two - so it is 2-track not
stereo. My aim was to use common [contemporary] structures, gestures and
sounds we know from computer music or new music, to provoke in a humorous
way and to reflect on the aesthetics of computer music or computer generated
sound. A related aim was to show how "haptic" analogue sounds can be and
how present they can feel in the specific room where they are projected;
this I why I did not use artificial reverb.
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Born 1963 in Bulgaria, grown up in Germany. Started music 1978 as hardrock-
singer. Studied jazzpiano + bigband-arrangement with Goetz Tangerding at
Jazzschool Munich. Build own mechanical instruments with free harmonic
possibilities. Since 1984 exploring electronic music, specialized in
improvi- sation-models & [interactive] sound-installations. 1994 first
interactive sound- installation together with Gerhard Behles [now CEO
Ableton] realized with FM-synth controlled by manual gestures of visitors
[MAX]. Studied Media- Art with Valie Export at University of Art Berlin.
Worked at Electronic Studio with Folkmar Hein at Technical University
Berlin. Last years creating sound- & room-installations in protected
monuments or in public spaces.
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25) | "Turkey Branch" | Monroe Golden
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Turkey Branch is a one-minute composition for fixed media. The sound
sources are turkey calls and cello open strings played snap pizzicato and
jeté. Cello sounds are tuned to an overtone-based collection representing
partials 6-27, whereas selected turkey calls -- putt, cutt, cackle, kee-kee,
purr, rattle, gobble, and hush -- are modified temporally, if at all.
Turkey calls were provided by Glenn Howard, and cello samples by Craig
Hultgren.
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Monroe Golden is a composer from rural Alabama whose works often explore
microtonal systems. Critics have described his compositions as delightfully
disorienting, lovely, sumptuous, yet arcane," and irresistible music, full
of wit and beauty." He graduated from the University of Montevallo and
earned a doctorate in Music Composition from the University of Illinois.
There are two complete CDs of his music, A Still Subtler Spirit (Living
Artist Recordings, 2003) and Alabama Places (innova Recordings, 2007).
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26) | "Walter's Glissandi" | Robert Fanelli
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This piece was made from about 16 seconds of data on waves produced in
interacting plasmas. The first 4 seconds were selected. The frequencies
were inverted, making initially subsonic sounds audible and producing
the glissando effect. The audio was expanded to 60 seconds, filtered
with a scale inspired by La Monte Young, separated into tracks and
resynthesized with processed instrumental samples. The original data
came from experiments conducted at the Basic Plasma Science Facility of
UCLA and were kindly supplied by its director, Prof. Walter Gekelman.
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Robert Fanelli began studying classical harp at the age of five. At the
age of thirteen, switching to jazz and pop, he took up the vibraphone.
From age fifteen through college he worked professionally with bands in
the New York and New Jersey area. After college, he left music to study
graduate physics and to teach it at Brooklyn College. Some years later,
he returned to music, composing with the harmonic series (just
intonation), computers, mathematical algorithms and various natural and
artificial sounds. He has been affiliated with the Brooklyn College
Center for Computer Music since 1999.
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27) | "Adrift" | Samuel Pellman
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This work was inspired by a Hubble telescope image of the nebula NGC 6357.
An algorithm for generating cellular automata has shaped the voicing of the
repeated chords in the piece and has determined the selection of pitches in
the clouds of sound that drift above this stream. The pitches are tuned in
a 5-limit just intonation and are sounded by physical modeling instruments
developed for the Kyma system by Harm Visser.
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Samuel Pellman studied at Miami University and Cornell. His works can be
heard on the Musical Heritage Society, Move Records, and innova labels, and
much of his music is published by the Continental Music Press and Wesleyan
Music Press. Recently his music has been presented at the International
Symposium of the World Forum for Acoustic Ecology in Melbourne and the
Musicacoustica Festival in Beijing. Pellman is the author of An
Introduction to the Creation of Electroacoustic Music, a widely-adopted
textbook. At Hamilton College he is co-director of the Studio for
Transmedia Arts. Further information can be found at:
http://www.musicfromspace.com
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28) | "The Balcony" | Cameron Bobro
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The Balcony is tuned to 17 unequal tones to the octave, the same tuning to
which I have tuned my baglama cura (saz). The piece means something very
concrete, but I haven't figured out just what.
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Cameron Bobro is a singer and microtonal musician and has performed
microtonal music live in 10 different countries from Portugal to China.
Principally he works with the art center KIBLA in Maribor, Slovenia (where
he lives).
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29) | "Heaven Help Us" | Bob Siebert
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"Heaven Help Us" is from a group of short pieces, which are Toy Piano
improvisations over a canvas or wash of electric sound. As they traveled
through cyberspace becoming mp3 files, they were named "Heaven Help Us"!
How this happened I don’t know. The music defined itself, and I accepted
and kept its definition!
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Bob received his Bachelor and Masters of Music Degrees from Manhattan School
of Music, and has been a performer/composer/teacher in the New York area for
the past thirty five years. His music runs the gambit from pop influenced
electronic realism through reinvented jazz standards to experimental
electronic pieces. His newest works: “Rrrring Tones!” (for Circuit Bent SK1
keyboard) & “pieces of the trans- world suite” (assorted African Thumb
Pianos) are influenced by the prepared piano pieces of John Cage and the
birds in his neighborhood.
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30) | "Viziunea Vizuinii" | Chuckk Hubbard
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Inspired by Marin Sorescu. A rooster who was a political prisoner, followed
by a bunch of animals in a paddy-wagon
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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.
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31) | "Ursa Minor" | Rob Voisey
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Ursa Minor is a constellation in the northern sky and is Latin for 'little
bear'. It was one of the 48 constellations listed by the 2nd century
astronomer Ptolemy, and remains one of the 88 modern constellations. Ursa
Minor is a guide to the location of the north celestial pole.
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Rob Voisey is a composer based in New York City; his work has been performed
at Carnegie Hall, World Financial Center Winter Garden and toured with the
60x60 project. He has received critical acclaim for his work with the 60x60
project from the around the world.
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32) | "Hexybaby" | Joseph Pehrson
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"Hexybaby" is a work in an alternate tuning, using mathematical models,
hexanys, to generate basic sonorities.
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Joseph Pehrson, composer-pianist, has written works for a wide variety of
media and they have been performed at numerous venues including Merkin Hall,
Weill Recital Hall, Symphony Space in New York and throughout the U.S.,
Eastern Europe and Russia. Since 1983, Pehrson has been a founding director
of the Composers Concordance in New York. He studied at the Eastman School
of Music and the University of Michigan (Doctor of Musical Arts 1981).
Pehrson visited St. Petersburg and Moscow, Russia, in March 2008 for a
series of concerts.
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33) | "FinnegansWakeVersusTheWorldsLongestPrime" | Warren Burt
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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 nstruments. 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.
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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.
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34) | "Slow Dance #3" | Prent Rodgers
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This is a piece in 72 equal divisions of the octave. Scored for vibes, harp,
finger piano, and sine waves. The chord progression is from sub-minor to
minor to major to supermajor and back again.
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Prent Rodgers is a composer working with microtonal materials. He studied at
Bennington College with Gunnar Schonbeck, Joel Chadebe, and Henry Brant, and
a U.C.S.D with Pauline Oliveros and Bertram Turetzky. His current work
explores the 72 equal divisions of the octave.
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35) | "Transgression of Being" | Victor Valentim
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Transgression of Being is a simple noise construction that pitch transforms
whit vynil sounds.
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Percussionist and Composer (Brasília - Brazil), researcher in art and
technology, and semiotics areas in which studies media and interactive
processes to computational contemporary music, with that, its production is
related to different segments, ranging from electro-acoustic music, the
contemporary instrumental music, the multimedia installation, the
perforamance, the soundtracks for contemporary dance and movies.
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36) | "Silk Fun" | Robert Lepre
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"Silk Fun" is an example of "world beat" percussion.
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Robert Lepre is a composer living in NYC graduated Manhattan School of
Music, percussionist, soundscape artist for dance theatre, performance art,
and a performer.
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37) | "4006" | Andy Hasenpflug
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"4006" is a 1-minute microtonal piece derived from synthesizers, finger
cymbals, and garbage cans. The harmonic material is organized in 7 equal
pitches per octave with larger structures being transposed either up or down
3.5 semitones.
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Andrew Hasenpflug is currently the music director for the dance department
of Slippery Rock University in Pennsylvania. He has been composing and
performing professionally for 24 years.
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38) | "Wire" | Thomas Ciufo
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What you hear is what you get.
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Thomas Ciufo is a composer, sound artist, and researcher working primarily
in the areas of electroacoustic improvisational performance and sonic art.
He has been active for many years in the areas of composition, performance,
installation, audio and video work, as well as music / technology education.
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39) | "Communication Satellites" | Les Scott
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Communication Satellites employs 24-tone equal temperament. Quarter-tone
harmonies are heard on almost every non-percussive sound and some percussive
sounds. In the background washes, this quarter-tone difference is separated
widely across the stereo field and a marginal delay produces subtle
interference patterns in the sounds. The spaciousness of the piece is
intended to provide an opportunity to better hear the tuning effect.
Communication satellites employs shortwave radio signal modulations
(detuned) and an iPhone as sound sources and looks for common ground between
the two different generations of communication devices in response to the
natural microtonality of modulating shortwave signals.
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Les Scott's debut album 'Altered Carbon' was released in November 2008 under
the name Neu Gestalt and was shortly followed by an appearance on the album
'To Infinity' by Alex Tronic, released in February 2009. He is presently
working on his second album 'Weightless Hours' whilst carrying out remix and
collaborative work for a number of artists.
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40) | "Wizoling" | Daniel Sedgwick
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"It sounds like a game that don't work. It sounds like a bird. A bird was
wizoling. There are fireworks. Like a baby crying. Someone is plaing a
gitar. Someone is plaing a drum. A rock bird that is in a band." -Aida
Donjuan, 3rd Grade, Oak Forest Public School, Houston. This piece combines
recorded improvisations of two enthusiastic and extroverted improvisers: a
particularly extraordinary Northern Mockingbird, and a percussion
synthesizer/sequencer I created with Max/MSP, which "improvises" through the
use of weighted random number generators. The "drums" are tuned to a
variety of microtonal and macrotonal non-octave based equal temperaments.
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Composer/pianist/puppeteer Dan Sedgwick lives in Somerville, MA. His
current/recent composition projects include an upcoming work for bass and
harpsichord, commissioned by Max Zeugner; Theme and Variations for String
Quartet, commissioned by the Apple Hill String Quartet; and Pet Rounds, a
joint composition/performance/recording project with Marjorie Gere and Jacob
Barton. Other recent/ongoing musical activities include co-producing, with
Jacob Barton, The Seventeen- Piano Project in Houston, TX; singing and
puppeteering with music/puppetry collective An Exciting Event in
Charlestown, MA; touring internationally as keyboardist/vocoderist with
space-disco artist Kelley Polar; and performing piano chamber music at the
Apple Hill Summer Workshop in Nelson, NH. Dan graduated with his doctorate
in composition from Rice University and A.B. degree with concentration in
music from Harvard. He has studied with Kurt Stallmann, Anthony Brandt,
Karim Al-Zand, Shih-Hui Chen, Bernard Rands, Mario Davidovsky, and Elliott
Gyger. Dan currently works as a teaching assistant at the Harvard Music
Department.
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41) | "Cuckoo" | Momilani Ramstrum
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In Cuckoo all sounds were created through vocal improvisation with real time
looping. There are 13 tracks of sounds. One group of 8 tracks and another
of 4 tracks loop from 1 to 5 seconds. On top of the looping tracks the
composer adds another track of direct unprocessed sound. The looping was
controlled by the use of a MIDI glove in real time.
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42) | "Tree Growth" | Mark Ballora
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Tree Growth is a time-lapse audio portrait of a tree's maturation over two
millenia. It's cantus firmus iis a sonification of a dataset consisting of
annual ring thicknesses of an American Bristlecone Pine, spanning the years
1 to 1992 AD. Each year's ring thickness is mapped to pitch; we hear 33
years of growth every second. The sonification layered with wood-like
sounds to create a variety of ambient washes.
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Mark Ballora is associate professor of music technology at Penn State
University, where he teaches courses in audio/music production, musical
acoustics, history of electroacoustic music, and software programming for
musicians. He studied theatre arts at UCLA, and composition and music
technology at NYU and McGill University. He is author of the textbook
Essentials of Music Technology (Prentice Hall, 2003), has written columns
for Electronic Musician magazine, and has published articles describing
sonification, which is the representation of scientific data sets through
auditory displays (as opposed to visual displays). He has composed a number
of works for the Errol Grimes Dance Company, and has written compositions
that have been performed internationally at electronic and computer music
conferences. His Web site is
http://www.music.psu.edu/Faculty%20Pages/Ballora/.
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43) | "Road from Supai" | Randall West
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Supai is a community within the Grand Canyon, and is the capital of the
Havasupai Indian Reservation. This piece is based on my experience visiting
the Canyon, where one finds that the road from Supai is a grueling but
beautiful uphill hike out. The material for the piece is generated
algorithmically. It uses phrases of just-intuned intervals ending on a
pitch a ratio of 81/80 higher. A phrase plays, and then 1 or 2 follow,
starting on the pitch where the last left off. The center pitch creeps
upward, while the phrases multiply and fall farther out of tune.
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Randall West's inspiration spans from 20th century modernism to the baroque,
Indian classical, Japanese folk, electronic, avant-garde, and popular music.
Randall received his Masters in composition at the Chicago College of the
Performing Arts, where his instructors included Daron Hagen, Stacy Garrop,
and Kyong Mee Choi. He has been awarded fellowships by the Seasons Music
Festival and the Virginia Center for the Creative Arts, and was the
recipient of the 2008/2009 CCPA Wind Ensemble Competition for Wayna Picchu.
His works have been read or performed by Palomar, the Yakima Symphony, the
University of Illinois New Music Ensemble, and Chicago Opera Vanguard, among
others. Recent projects include collaborations with award-winning poets
Jill McDonough and Matthew Hittinger and vocal ensembles VOX 3 and SONG.
Randall also works as a website programmer, and is a pianist and Taiko
performer. Website: www.randallwest.com.
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44) | "Dwelling On Autumn" | Joel Hickman
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Dwelling On Autumn is scored and recorded for 4 autoharps in J.I. tuning , 2
violas in J.I. tuning, a recorder in 12tet, a wood block and a spoken voice
reading an original poem for this work.
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Joel David Hickman was born in Valparaiso, Indiana and currently lives in
Hebron, Indiana. Graduated from Lowell High School and has a Bachelor's
Degree in music from Chicago Musical College of Roosevelt University. Joel
also has a recording engineering certificate from the Recording Workshop.
Joel studied classical guitar with Paul Henry and composition with Bob
Lombardo. He has recorded and performed with many ensembles in different
styles in the Chicago land area including Dalet-Yod, Nylonsteel, The
Wandering Jews, and Hickman/Pancini. Also recorded with Harry Unsworth,
James Cooper, Graham Smith and many others. Joel has recorded, performed
and composed many solo works for guitar, piano, string ensembles, chamber
ensembles and full orchestra. Joel teaches guitar and piano at Chantal's
Music Institute For Children and has many music students in Northwest
Indiana.
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45) | "17-et Jazz" | Chris Vaisvil
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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.
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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.
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46) | "The Wanderer" | Ann Cantelow
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A wanderer with an open mind explores a vast new countryside with a sense of
wonder. All parts were done by theremin, placed into a computer and chopped
and mixed for effect.
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Ann Cantelow is a thereminist and composer in Boulder, Colorado. She studied
composition at the University of California at Davis, and was influenced
there by John Cage, Larry Austin, and Richard Swift. A guest lecture by
Martha Graham was also influential to her work.
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47) | "Parthenope" | Patrick Liddell
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Parthenope is one of the sirens of Greek myth. This piece is a collaboration
with Chicago violinist Elisabeth Johnson.
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Patrick Liddell is a composer and video artist living in Chicago. He
regularly collaborates with Function Ensemble (London), Maurice
(Chicago), Vox Novus (NYC), and many other ensembles. His solo work is a
postmodern blend of all styles, genres, and contexts.
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48) | "CompuIntroMusic" Christopher Keyes
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47 sources in 60 seconds; hold on!--CompuIntroMusic (A Short Ride on the
NeXT Machine) is a gamelan-type signature piece, that does all the things I
really like...in 60 seconds. It has repeated, syncopated cross-rhythms
(similar to a Steve Reich piece), processed sampled sounds (similar to a
Paul Lansky piece), and algorithms, using permutations of a diatonic
hexachord. In all, nearly four dozen sampled sounds are processed, ranging
from saw blades to actual Sundanese gamelan instruments, and mixed together
in over 10000 "notes". It was realised, as the name implies, on an old NeXT
computer, way back when...
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Acclaimed by Fanfare Magazine as "Masterful…a modernized Rachmaninoff"
Christopher J. Keyes (b. 1963) began his career as a pianist, winning many
competitions and later making his double-debut in Carnegie Hall as both
soloist and guest composer with the New York Youth Symphony. He continued
his musical training at the Eastman School of Music, completing his
doctorate in 1992. Since the late 1990s his work has focused on
electro-acoustic music, multi-channel audio, and more recently computer
graphics as mediums to expand the possibilities of acoustic instruments in
concert. His compositions have been performed and broadcast in over 30
countries worldwide. He is currently an Associate Professor at Hong Kong
Baptist University where he directs the Laboratory for Music Exploration and
Research (LaMER). Solo CD's and a mutli-channel DVD of his music can be
heard on the Centaur (CRC 2377) Capstone (CPS-8739) and Ravello (RR7803)
labels.
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49) | "Basking in the copper look" | Thomas Dempster
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"The Copper Look," according to Daniil Kharms, is the look on our faces when
"a delicate porcelain cup is falling from a cupboard and flying downwards"
and we already know it will break into pieces as we stare helpless. The
copper look is also an invention for when one mourns the loss of a dear
friend: in this case, a 16-year-old pocketwatch.
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Thomas Dempster is the recipient of numerous honors for his work, and his
music has been performed and broadcast throughout the world and has been
featured on many national conferences. He has taught at the University of
Texas, the University of North Carolina at Greensboro, and the Governor's
School of North Carolina.
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50) | "Truffles?" | Michael Gaiuranos/Andrew Heathwaite
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"Truffles?" is, as far as we know, the first recording of a piece written in
the microtonal tuning system built by repeatedly stacking the square root of
13:10 (an interval of approximately 227.1 cents). This particular tuning
has no octave, but nicely approximates several higher-numbered just
intonation intervals. The lyrics use clusters of 10 and 13 syllables to
explore learning, learning to learn, and unlearning through the image of a
truffle-sniffing pig and a talking oak.
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Andrew Heathwaite and Michael Gaiuranos grew up elsewhere and moved to
Urbana, IL in 2008 to participate in the School for Designing a Society.
Michael divides his time between composing music and writing plays and
has a Masters Degree from Antioch College. Andrew is interested in
generating alternatives in good company and considers himself
polydescriptionist.
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51) | "Undertow" | Tova Kardonne
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I love the sea, and I fear it. These are the sounds of floating on the
surface of something too powerful.
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Tova Kardonne's formative choral experiences and her Conservatory training
in viola and piano fed into a passion for classical, African, Eastern
European and Klezmer music. She earned her Vocal Jazz Diploma from Humber
College, where she received instruction of Shannon Gunn, Pat LaBarbera, John
Macleod and Don Palmer among others. She composes/choreographs a cappella
performance art, sings her Balkan-Jazz fusion compositions with 8-piece band
The Thing Is, and performs with the Composers Collective Big Band. Tova
holds an Hon. B.A. from the University of Toronto with majors in French
Linguistics and Philosophy and a minor in Mathematics.
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52) | "See Now" | Sean Archibald
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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.
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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).
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53) | "First Snow" | Monty Adkins
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First snow is a submission for the 60x60project made from the sound of an
old music box. it was composed in my studio on 17th December 2009 just as
the first flakes of snow began to fall outside my window.
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54) | "Saturn Talks Hold" | Enrico Francioni
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The short work does part of a most spacious collection of pieces finisheds
and autonomous of the duration of 60 seconds each, titled Malström. In each
piece is put in obviousness a salient feature than almost has codified in
the course of the last sixty years of electro-acoustic life. Every
composition will go seen like a sum of micro-gestures (gestures), that goes
to give life to a most spacious weaving (texture) with obvious features of
space-temporal continuum. For the technical accomplishment I employed a
commercial software, beyond to other programs for audio editing, on
Apple-PowerBookG4 – OSX 10.4.11
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Enrico Francioni has achieved degree in double-bass and in electro-acoustic
music at the Conservatorio Rossini of Pesaro. He interpreted in World
Premiere the Suite I for solo double-bass by F.Grillo. The its you works of
electro-acustic music they were performed and spread by: Oeuvre-Ouverte
(Bourges), Cinque giornate per la Nuova Musica (Milano), Il Suono aperto
(Pesaro), Festival Villa e Castella (Pesaro), FrammentAzioni (Udine), XVII
C.I.M. (Venezia), EMUfest 2009 (Roma), VoxNovus 60x60 InternationalMix
2009. He is author of instrumental chamber music, musical theater,
electro-acoustic music, educational music and essays. As composer and
soloist he was rewarded in national and international competitions. He has
recorded for Dynamic, Agorà, Orfeo, RSI, RAI, ROF and other. He was
double-bass teacher at Conservatorio Rossini of Pesaro and he's involved in
several educational music activities.
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55) | "Dekany: 8 Through 12" | George Secor
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_Dekany: 8 Through 12_ is one of many possible microtonal realizations
derived from a scale-creation algorithm of Erv Wilson, utilized in a
computer program written by Dave Keenan and Andy Fillebrown. The factors
that generate this particular 10-tone just intonation scale, an 8·9·10·11·12
dekany combination product set, were chosen by George Secor in order to
achieve a polyphonic texture in which the individual voices combine to
produce melodic lines characterized by a descending-stepwise pattern and
"otherworldly" harmonies resulting from the presence of the 11 factor.
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George Secor has pursued independent study of microtonal and alternative
tunings since 1963. His major accomplishments include: collaboration (with
Erv Wilson and Richard Harasek) in the design and implementation of the
generalized keyboard on the Motorola Scalatron (1975); discovery of the
Miracle temperament and Miracle "decimal" keyboard geometry (1974); designs
for other microtonal keyboards; creation of many tuning systems, including
circulating temperaments of 12, 17, 19, and 34 tones per octave; sketches
for microtonal valved brass instruments (1976, 2003); and creation (in
collaboration with Dave Keenan) of the Sagittal microtonal notation system
for both temperaments and high-prime-limit just intonation (2001-2006).
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56) | "Fast Prelude" | Aaron Krister Johnson
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'Fast Prelude' is a neo-baroque composition in 19-tone equal temperament.
One can think of it as a "Bach invention seen through shattered glass". It
modulates quite rapidly in a devil-may-care manner, and the synthesizer
sound was realized using Csound on the author's Linux system.
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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 4 year-old daughter Annika.
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57) | "The Arrow" | Gilberto Rosa
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A kind of programmatic composition. From timbres transformations, the work
describes one imaginary trajectory of the arrow from the bow until the goal.
That's the attempt to create gestures from original static material. The
use of teleologic sense in the electroacoustic universe.
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Gilberto Assis Rosa is a Musician and works professionaly as a Music
Producer, Music Teacher, besides Composer and Arranger. He has finished his
Master Degree at the Pontifícia Universidade Católica (PUC) in São Paulo
since 2000 based in a research about the Composer Edgard Varèse that has
culminated in the thesis titled: "Edgard Varèse: the search for a sound
liberation". Selected composer for de Frammentazione Project in Italy in
2008. Selected composer with the work "O mesmo instante em diferentes
lugares" in the VI Festival de música eletroacústica de Santiago do Chile -
Ai-maako 2006.
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58) | "Minute Distances" | Mike McFerron
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Minute Distances was composed in 2005 for the Vox Novus 60X60 project and is
59.721 seconds long. The structure of this work is based upon an iso-rhythm
that reduces bit by bit during each repeat. The work was realized entirely
using Csound, and it uses only samples of a marimba as its sound source.
The marimba samples are at time slightly modified; however, throughout the
work, the essense of the marimba remains. Minute Distances is
representative of my interest in textural shape, spatialization, balancing
macro and micro composition processes, and mono-thematicism.
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Mike McFerron is professor of music and composer-in-residence at Lewis
University and he is founder and co-director of Electronic Music Midwest
(http://www.emmfestival.org). A past fellow the MacDowell Colony, June in
Buffalo, and the Chamber Music Conference of the East/Composers' Forum,
honors include, among others, first prize in the Louisville Orchestra
Composition Competition (2002), first prize in the CANTUS
commissioning/residency program (2002), recipient of the 2005 CCF Abelson
Vocal Music Commission, and the Chicago Symphony Orchestra's "First Hearing"
Program (2001). McFerron's music can be heard on numerous commercial CDs as
well as on his website at http://www.bigcomposer.com.
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59) | "Enki's Table" | Douglas Geers
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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.
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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.) 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). More at www.dgeers.com.
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60) | "The Calliope Crashed to the Ground" | Danny Wier
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A one-minute work in 72-tone equal temperament. The organ and brass are
tuned in a stretched-octave "pelog" tuning: {0 9 18 32 41 50 59 73} 72-edo
commas. I sequenced it with Noteworthy Composer and converted it to audio
with Timidity++ (in Linux) using S. Christian Collins' "GeneralUser" GS
soundfont.
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Wier is progressive rock/metal bass player, vocalist and keyboardist who's
decided to write a "soundtrack" for a sci-fi/fantasy/horror movie or video
game that doesn't exist yet...
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