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New York City Electroacoustic Music Festival __ NEW YORK CITY ELECTROACOUSTIC MUSIC FESTIVAL __ JUNE 2-8, 2014 __ www.nycemf.org CONTENTS ACKNOWLEDGEMENTS 4 DIRECTOR’S WELCOME 5 FESTIVAL SCHEDULE 6 COMMITTEE & STAFF 8 PROGRAMS AND NOTES 9 INSTALLATIONS 62 COMPOSERS 63 PERFORMERS 97 WORKSHOP 107 ACKNOWLEDGEMENTS THE CARY NEW MUSIC PERFORMANCE FUND DIRECTOR’S WELCOME Welcome to NYCEMF 2014! On behalf of the Steering Committee, it is my great pleasure to welcome you to the 2014 New York City Electroacoustic Music Festival. We have an exciting program of 31 concerts over seven days at the Abrons Arts Center in new York City. We hope that you will enjoy all of them! We would first like to express our sincere appreciation to the following people and organizations who have contributed to us this year, in particular: - The Cary New Music Performance Trust - The Genelec corporation, for providing us with loudspeakers to enable us to play all concerts in full surround sound - Fractured Atlas/Rocket Hub - The staff of the Abrons Arts Center, who have helped enormously in the presentation of our concerts - East Carolina University, New York University, Queens College C.U.N.Y., Ramapo College of New Jersey, and the State University of New York at Stony Brook, for lending us equipment and facilities - Harvestworks, Inc. For hosting a reception, and for their advice and guidance - The Steering Committee, who spent numerous hours in planning all aspects of the events - All the composers who submitted the music that we will be playing. None of this could have happened without their support Hubert Howe Emeritus Professor of Music Queens College and the Graduate Center City University of New York 5 FESTIVAL SCHEDULE MONDAY TUESDAY WEDNESDAY JUNE 2 JUNE 3 JUNE 4 CONCERT 1 CONCERT 5 CONCERT 9 1:30-2:45 PM 1:30-2:45 PM 1:30-2:45 PM EXPERIMENTAL EXPERIMENTAL EXPERIMENTAL THEATER THEATER THEATER CONCERT 2 CONCERT 6 CONCERT 10 1:30-2:45 PM 1:30-2:45 PM 1:30-2:45 PM UNDERGROUND UNDERGROUND UNDERGROUND THEATER THEATER THEATER CONCERT 3 CONCERT 7 CONCERT 11 3:30-5:30 PM 3:30-5:30 PM 3:30-5:30 PM PLAYHOUSE PLAYHOUSE PLAYHOUSE CONCERT 4 CONCERT 8 CONCERT 12 8-10 PM 8-10 PM 8-10 PM PLAYHOUSE PLAYHOUSE PLAYHOUSE CONCERT 1 CONCERT 5 CONCERT 9 10:30-11:45 PM 10:30-11:45 PM 10:30-11:45 PM EXPERIMENTAL EXPERIMENTAL EXPERIMENTAL THEATER THEATER THEATER CONCERT 2 CONCERT 6 CONCERT 10 10:30-11:45 PM 10:30-11:45 PM 10:30-11:45 PM UNDERGROUND UNDERGROUND UNDERGROUND THEATER THEATER THEATER 6 THURSDAY FRIDAY SATURDAY SUNDAY JUNE 5 JUNE 6 JUNE 7 JUNE 8 CONCERT 13 CONCERT 17 CONCERT 22 CONCERT 27 1:30-2:45 PM 12-1 PM 12-1 PM 12-1 PM EXPERIMENTAL PLAYHOUSE PLAYHOUSE PLAYHOUSE THEATER CONCERT 14 CONCERT 18 CONCERT 23 CONCERT 28 1:30-2:45 PM 1:30-2:45 PM 1:30-2:45 PM 1:30-2:45 PM UNDERGROUND EXPERIMENTAL EXPERIMENTAL EXPERIMENTAL THEATER THEATER THEATER THEATER CONCERT 15 CONCERT 19 CONCERT 24 CONCERT 29 3:30-5:30 PM 1:30-2:45 PM 1:30-2:45 PM 1:30-2:45 PM PLAYHOUSE UNDERGROUND UNDERGROUND UNDERGROUND THEATER THEATER THEATER CONCERT 16 CONCERT 20 CONCERT 25 CONCERT 30 8-10 PM 3:30-5:30 PM 3:30-5:30 PM 3:30-5:30 PM PLAYHOUSE PLAYHOUSE PLAYHOUSE PLAYHOUSE CONCERT 13 CONCERT 21 CONCERT 26 CONCERT 31 10:30-11:45 PM 8-10 PM 8-10 PM 8-10 PM EXPERIMENTAL PLAYHOUSE PLAYHOUSE PLAYHOUSE THEATER CONCERT 14 CONCERT 18 CONCERT 23 CONCERT 28 10:30-11:45 PM 10:30-11:45 PM 10:30-11:45 PM 10:30-11:45 UNDERGROUND EXPERIMENTAL EXPERIMENTAL PM THEATER THEATER THEATER EXPERIMENTAL THEATER CONCERT 19 CONCERT 24 10:30-11:45 PM 10:30-11:45 PM CONCERT 29 UNDERGROUND UNDERGROUND 10:30-11:45 PM THEATER THEATER UNDERGROUND THEATER 7 David Reeder, composer, developer, NYCEMF 2014 installation artist, New York City STEERING COMMITTEE (http://mobilesound.org) Paul Riker, composer, Lead Audio Nathan Bowen, composer, Professor at Development Engineer, Visualization Lab, King Moorpark College Abdullah University of Science and Technology George Brunner, composer, Director, Music Meg Schedel, composer, Professor of Music Technology Program, Brooklyn College at Stony Brook University C.U.N.Y. (http://www.schedel.net) Daniel Fine, composer, New York City Madeleine Shapiro, cellist, New York City (http://www.modernworks.com/) Travis Garrison, composer, staff, East Carolina University Tae Hong Park, composer, Music Technology (http://www.travisgarrison.com) and Composition faculty, New York University Doug Geers, composer, Professor of Music at Roy Vanegas, composer, New York City Brooklyn College (http://roy.vanegas.org) (http://www.dgeers.com/) Zachary Seldess, composer, Senior Michael Gogins, composer, Irreducible Development Engineer at the Sonic Arts R&D Productions, New York City Group, CalIT2, UC San Diego (http://michaelgogins.tumblr.com) Elizabeth Hoffman, composer, Professor of _____ Music at New York University Travis Houldcroft, composer, Professor at Ramapo College (http://travishouldcroft.com/) FESTIVAL STAFF Hubert Howe, Professor Emeritus of Music at Queens College Hubert Howe, Director and co-founder (http://qcpages.qc.cuny.edu/hhowe) Travis Garrison, Technical Director, Howard Kenty, composer, New York City Playhouse (http://hwarg.com) Travis Houldcroft, Technical Director, Judy Klein, composer, New York City Underground Theater Levy Lorenzo, composer, percussionist, Howie Kenty, Technical Co-Director, electronics engineer, instrument designer Experimental Theater Dafna Naphtali, composer, performer, David Reeder, Technical Co-Director, educator, New York City (http://dafna.info) Experimental Theater Izzi Ramkissoon, composer and performer, Roy Vanegas, Webmaster New York City 8 PROGRAMS & NOTES 9 composition soon unfolded to become somewhat of a Concert 1 battle between a crying voice and the atmospheric forces surrounding that voice. The composition contains a mix June 2, 1:30-2:30 PM and of very processed and manipulated samples as well as some samples that are very close to their original 10:30-11:30 PM acoustic sound. Experimental Theater Sever Tipei, Figer figer(fr.), vb. to clot, coagulate, congeal. Realized with software for computer-assisted (algorithmic) composition and sound design, the work suggests a preoccupation Program with continuity and narrative in music. Four sections, three interludes, and a coda exploit three types of Alejandro Casales materials: points, lines, and chords or sound mass textures. They could either coalesce in a tale or prevail Adsem Varien 8' as an abstract game. Maria Cristina Kasem Jinghong Zhang, Karma This multi-media and 8-channel electronic work has Las Aguas Abismales 14’ been accepted at SEAMUS 2014. The work has 8- channel electronic music and live instrument Thomas Elsen performance and a video in the background. This is the link of the video of the work performed in the Jacobs A Cry Coated in Destruction 3’40” School of Music on Dec. 8 2013. https://www.youtube.com/watch?v=KEcYF_PQo3E “Karma” refers to the monastic activity the Tantric Sever Tipei Buddhists use to deal with different issues – it can be Figer 12' understood as a Tantric Buddhist ceremony of praying for blessing. Therefore this piece can be defined as a ceremony for this whole auditorium and its audience, to Jinghong Zhang ward off bad luck and to bring blessing. The piece is a combination of the video; (displaying the abstract idea of Karma 6’35” “visualisation” or “contemplation” of the Buddhist practice) the people present, and the vajra and vajra bell Ragnar Grippe as original sound sources as stage props present elements of the Tantric Buddhist teachings. Crushing Silence 13’ Ragnar Grippe, Crushing Silence Blending sounds from older times with rapid changes, crushing the established with resulting silence. For a Program Notes moment, then all starts anew. Different virtual rooms are used on the included sound objects, giving the impression of closeness and distance at the same time. Alejandro Casales, Adsem Varien The listening experience is a ”double exposure” of In this work, I aim to analyze and create from different sound. sound situations, trying to integrate in the same research frame, the Adsem Varien is the means of this sound art. Musical interaction in Adsem Varien appears as a sound subject matter when acousmatic listening becomes an everyday experience. It can be integrated as a common belief, and the audiences can do it too. Thomas Elsen, A Cry Coated in Destruction This composition was a project I worked on as a part of a Multitrack Recording course I took at the University of Montana. The process started with field and vocal recordings around my house and around Missoula, MT. I then sampled from those recordings, processed the samples and began work on a composition. The 10 morphing of the visuals. Rather than engaging in blatant Concert 2 “Mickey Mousing,” it was of interest to enable unpredictable changes or shifting relationships in the June 2, 1:30-2:30 PM and audio to trigger flickering visual shifts in attention on the part of the viewer, and vice versa. Background elements 10:30-11:30 PM in the video and audio momentarily become salient Underground Theater features before again receding into the morass. Adam Lenz, I Looked at the Pieces and Still I Wonder Why In looking back at our memories, we are left to Program reassemble the pieces and evaluate the moments. Often times the results leave us uneasy as we consider how the circumstances and outcomes could have been Alexander Sigman different. As we resurrect these moments, however, we often fight to reshape them as a way of coming to terms Future Creatures 9’23” with the power that they hold over us.
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