THE SOCIETY FOR ELECTRO-ACOUSTIC MUSIC IN THE UNITED STATES
The Newsletter of the Society for Electro-Acoustic Music in the United States, providing news, interviews, and announcements.
Published Three Times a Year Fall 2015 Issue
Departments Interview with From the Editor SEAMUS Online Page 2 Page 16 Jon Appleton 2016 Conference Adver sing info Informa on Friend and former student Paul J. Botelho Page 16 conducted the following interview with Page 2 About the Newsle er electronic music pioneer, SEAMUS cofounder, Le er from President Page 16 and crea ve spirit Jon Appleton. Jon shares Page 5 some frank and insigh ul thoughts on Members’ News crea vity, academia, and SEAMUS itself. Page 12
Page 1 Jon Appleton
"I think that if you are a genuinely crea ve person, as a musician, you will find a way to express yourself...you won’t be happy unless you are doing it."
—Jon Appleton
PAUL J. BOTELHO: As a founder of SEAMUS, a pioneer and early proponent of the electro-acous c idiom, and as someone who some have speculated as being the “inventor of music,” (laughs) where do you see the future of electro-acous c music and music in general going?
JON APPLETON: Well it was only in Yekaterinburg, Russia that I was supposed to be the inventor of...
con nued on page 3
Fall 2015 Issue 1 THE SOCIETY FOR ELECTRO-ACOUSTIC MUSIC IN THE UNITED STATES F ROM THE EDITOR SEAMUS 2016 Hello SEAMUS Members! Georgia Southern University As we say goodbye to 2015 and welcome a new year, I hope you are Conference Website: well and are making/organizing some http://class.georgiasouthern.edu/seamus/ great sound(s). I’m happy to feature an interview with Conference Directors John Thompson, Mar n SEAMUS cofounder and electronic Gendelman, and Michael Olson welcome the music pioneer Jon Appleton, SEAMUS community to Georgia from February conducted by Paul Botelho, as the lead piece in this newsle er. Jon gives some great advice, and provides 11 - 13 for concerts, papers sessions, and some direct and poignant thoughts on pedagogy and composi on, all with installa ons. Submissions are now closed and his typical wit and sense of humor. no fica on and program informa on will be Also, Sco Miller announces Pamela Z as the 2016 SEAMUS Award forthcoming from the conference hosts. For recipient in his le er on p. 5, as well as many other exci ng developments ques ons, contact the hosts at: within SEAMUS. Be sure to check it out! [email protected] Of course there is member news, as usual, and we look forward to SEAMUS 2016 at Georgia Southern University. Concert works will be presented in a number of Best wishes for a happy and safe Holiday season! Hope to see you in 2016! venues, including the Carol A. Carter Recital Hall (8.1 channel in ring configura on), the Sincerely, Center for Arts and Theater Black Box Theater (2.1 channel), the Emma Kelly Theater in downtown Statesboro (8.1 channel in double diamond configura on), the Averi Center Steve Ricks, SEAMUS Newsletter Editor Black Box Theater in downtown Statesboro (7.1 channel), and the Georgia Southern University Planetarium featuring 5.1 sound and 8K projec on providing an exci ng alterna ve venue for fixed media works.
Works will be presented by the following faculty performers, in addi on to other guest/ featured performers:
Dr. Carolyn Bryan and Mr. Eddie Farr, saxophone (solo or duet) Dr. Linda Cioni , clarinet Dr. Ma Fallin, percussion Dr. Jonathan Aceto, violin Dr. Brian Lucke , guitar Georgia Southern Electronic Music Ensemble (laptop ensemble +) Georgia Southern Chorale (Dr. Shannon Jeffreys, conductor)
(con nued on p. 4)
Fall 2015 Issue 2 THE SOCIETY FOR ELECTRO-ACOUSTIC MUSIC IN THE UNITED STATES
I don’t think they called me sound art. Developing concert can’t stand most of the inventor of music, they systems, developing new the music. That’s how we called me the inventor of instruments, developing feel about most music we electronic music. They said ways of organizing and hear. It’s only rarely that that without me Michael crea ng sounds that are something catches our Jackson would not exist—I new and have not been a en on and that’s how it was very fla ered by that, tried before. They usually should be. But, I think there and I didn’t deny it. But, disappear as did the is a tendency for the where do I see electro- Synclavier – at least as a SEAMUS judges to choose acous c music going? Well, I performance instrument. As “safe pieces” and to program s ll go back to what Steve Pierre Boulez said “the them because they happen Reich said many years ago, music world has a graveyard to fit an exis ng paradigm. that electronic music will of musical instruments.” I The conference organizers eventually merge with think that’s true, but people may happen to have a really regular or whatever kinds of have to keep trying. talented violinist on their music. That’s true for most Some mes they do it staff, so they promote kinds of music that use through so ware, pieces for violin and technology, you see it some mes through electronics. How about a especially in commercial hardware. These days really good piece for music. I wish there was people are skilled at both. I Hammond organ? Or, when more acousma c music. I just want to see people you start to go through the find it difficult to listen to experiment with sound and categories of electro- tradi onal musical not rely on fixtures such as acous c music, how about instruments combined with the Davidovsky paradigm or guitar like Les Paul did? It an electro-acous c track, even taking a musical seems to me that there are e.g. the Davidovsky instrument and processing so many avenues of paradigm. He was a pioneer key clicks or a bow on the contemporary expression but so many of those pieces back of the cello. Really, and older instruments, as don’t work although I that’s so unrewarding and well as the crea on of new understand the reasons they unimagina ve. The ones, that people fear seem so popular at excep on is extended vocal trying. It’s not safe. I think SEAMUS. I really like the old techniques that can be composers in the academic European concept of found in cultures worldwide world today are looking for electro-acous c music, or, for centuries. safe and I don’t think that’s as they some mes call it, the way for the art to sound art because it makes PJB: So, it’s not really that prosper. you think in new ways about you’re describing any sound materials. It takes me par cular thing, but you feel PJB: Why do you think that to a quite different sound as though there’s some kind everyone is a racted to universe. of homogeneity in the safe? Does it have to do approach to what is with academia? PJB: Describe what you happening right now in mean by the “old European terms of “serious electro- JA: I think that it does electro-acous c music.” acous c music?” largely. It has to do with academia and it’s not just in JA: I mean musique JA: I do. I bet that electro-acous c music. Take concrète or acousma c everybody at a SEAMUS for example, the number of (con nued on p. 7)
Fall 2015 Issue 3 THE SOCIETY FOR ELECTRO-ACOUSTIC MUSIC IN THE UNITED STATES SEAMUS 2016 - Conference Late night concerts will be held at the Eagle Creek Brewery. These performances are an opportunity for longer form musical works that skirt or break the boundaries of tradi onal concert works and that exceed the dura on limit of the concert hall venues. Late night works will be sets las ng approximately 20 minutes.
Pop-up events will be held at various places (including the Center for Art and Theater gallery spaces). The pop-up category encourages events that may not fit into the usual boxes provided by concert hall or late night venues. They will survive in an environment that does not include the hushed and cap ve audience of the concert hall.
Audio-visual works that integrate visual and audio media, that feature video projected on a flat screen, AND full-dome fixed media works specifically tailored for planetarium presenta on will also be featured. The planetarium at Georgia Southern features 5.1 surround sound and 8K projec on, providing an exci ng venue for fixed media works.
Georgia Southern University Planetarium
In response to frequent requests from our performer membership, SEAMUS 2016 will include performer- curated concerts. These concerts provide an opportunity for an individual performer or group of performers to cra an en re program of works of their choosing. Programs may include current or historical works, and the represented composers are not required to be members of SEAMUS.
SEAMUS 2016 looks to be another exci ng event! The conference hosts look forward to seeing everyone soon!
For more informa on, visit the conference website: h p://class.georgiasouthern.edu/seamus/
For names and pictures of conference venues, visit: h p://class.georgiasouthern.edu/seamus/venues/
Fall 2015 Issue 4 THE SOCIETY FOR ELECTRO-ACOUSTIC MUSIC IN THE UNITED STATES
LETTER FROM THE PRESIDENT
Dear members of SEAMUS,
Welcome to the 31st year of SEAMUS, which I am pleased to say introduces some new membership features which emphasize ways to share what we do with the world.
A major new ini a ve, undertaken by VP of Programs Keith Kirchoff and Director of Technological Development Adam Vidiksis, is the Electro-Acous c Repertoire Database. This is a publicly accessible database of SEAMUS member works, designed to introduce our music and assist in the presenta on or scholarly use of it to performers, presenters, and the world at large. It will allow you to detail informa on about your work and presen ng it, as well as linking to media. We look forward to this having a big impact on the dissemina on of member work in the coming years and plan for it to help make SEAMUSonline a hub of informa on on electro-acous c music in the U.S. This project was a tremendous undertaking, and Adam and Keith deserve many kudos for making this project become a reality.
Related to this, we have made great advances in the integra on of conference submissions and the preserva on (permanent digital archiving) of works presented at SEAMUS conferences by partnering with New York University's Electro-Acous c Music Mine (EAMM) project to provide mechanisms and technologies for its archival, explora on, and access. This ini a ve is being led by Tae Hong Park, part of his work at NYU to establish a world class digital archive of electro-acous c media and material. We look forward to this becoming the digital repository of SEAMUS material, past and present, in the near future.
SEAMUS 2016 is coming in February, hosted by John Thompson, Mar n Gendelman, and Michael Olson at Georgia Southern University.
It is with great pleasure that I announce this year's SEAMUS Award Winner, who we will honor at the SEAMUS 2016 Banquet. This year, composer/performer Pamela Z will join us to receive the award and present her music on the conference. Pamela Z makes solo works combining a wide range of vocal techniques with electronic processing, samples, gesture ac vated MIDI controllers, and video. More informa on about her can be found at www.pamelaz.com.
Fall 2015 Issue 5 THE SOCIETY FOR ELECTRO-ACOUSTIC MUSIC IN THE UNITED STATES
2016 SEAMUS Award Winner, Pamela Z, performing at Ars Electronica 2008 in Linz, Austria
It is also the me of year when we begin to host Elec ons for SEAMUS Board officers. This year, the posi ons of President, Vice President of Membership, and Member-at-Large are open. Informa on on the posi ons and a call for nomina ons will be coming soon. Please consider running for a posi on or nomina ng someone you believe would be a strong member of the board.
Finally, while we are s ll in the midst of prepara ons for SEAMUS 2016, I ask that members please consider hos ng SEAMUS 2017 (or 18, etc). There are many great rewards to hos ng SEAMUS, and while it is a tremendous amount of work, it is an even greater service to the organiza on and community.
Best wishes for a great start to the membership year. I look forward to seeing you at SEAMUS 2016 in February.
Sco L. Miller President, SEAMUS
Fall 2015 Issue 6 THE SOCIETY FOR ELECTRO-ACOUSTIC MUSIC IN THE UNITED STATES ac ve opera houses in the original. For example doing young composers discover world, or let’s say just in the a piece with a deck of cards their talent. If you want to United States. How many or recording spiders in their be a teacher, then new composers are ge ng web or just making up wonderful, go get a degree. their operas produced? Yet, sounds that have never I guess that you have to these are the very avenues been heard before or that learn tradi onal musical that are pushed in academia are rarely heard. I s ll really skills, etc. But, if you just because that is how their admire the principle of want to make music, then I teachers were trained. Cage’s Cartridge Music, to don’t know that academic These young composers make music out of life...I think it squelches instead of being microscopic sounds that crea vity as a rule. adventurous, trying ordinarily we never heard something new, going before seems brilliant to me, PJB: Do you think that somewhere new, instead a wonderful idea. Maybe it students need the imitate what their teachers won’t work, but young tradi onal? Do they need did. They have to write an people, young composers, that background? opera. They have to write an need to be encouraged to orchestral sketch. What’s try new things. That’s what JA: I think they only need wrong with just making up a they should be focusing on the tradi onal if they’re new instrument or playing a in school, not working to get going to write tradi onal new instrument in some a degree to take their music. I mean of course, you way and ge ng good at it? teacher’s place in twenty have to know how a cello As a teacher, you help years. works if you’re going to students get be er at write for cello. something they imagine PJB: One thing though, and I instead of telling them “how think this leads back to the PJB: But in your vision you it should be” or “how you problem of academia, is that describe students that take learned it.” I never made my many music programs on and create new students do what I did. I across the country require instruments. What does an no ced that some of them that you play tradi onal educa on look like for always liked to imitate what instruments. What about someone like that? I did, par cularly those someone, as you stated programma c pieces, but earlier, who makes up a new JA: Well I think that anyone that doesn’t lead them instrument and learns it. who is a sensi ve musician anywhere because I do it That kind of person could is already quite educated in be er than they’ll ever do it. not get a degree in music. her or his head. They know how to think about music. PJB: (laughs) JA: That’s too bad. Your’re They don’t need to be able right, I agree, but on the to know how to verbalize JA: You know they’re just other hand I don’t think what they are doing, that’s a poor imita ons, but there’s any reason to get a big mistake. All these someone that comes to me degree in music except if courses and degrees that with something original you really want to be a require people to write in that, perhaps I can’t teacher. Not to be a teacher the English language what it understand, but I can tell as a sinecure, someone is that they are doing with that it is someone who is suppor ng but without their music. Why? thinking about something having a deep desire to help
Fall 2015 Issue 7 THE SOCIETY FOR ELECTRO-ACOUSTIC MUSIC IN THE UNITED STATES Music is its own language JA: Yes, it’s relevant. It where almost all popular and it works. It doesn’t need thrives in Europe, it thrives music, commercial music, is to be translated into English. in China, at the Bejing electro-acous c in terms of I really believe that strongly. Conservatory. I think that it its composi on. So is the How boring to write a paper is a valid concept, but I don’t term relevant? No one says on Bartok’s fourth string think that many people in “I’m listening to popular quartet. Why not make that academia recognize it as a ar st X’s electro-acous c student sing the lines from form because it’s so distant. music,” they say “I’m just the Bartok string quartet? Real electro-acous c music listening to music.” Right? Even if they don’t read is so distant from tradi onal music, they memorize those music. Real electro-acous c JA: We’re using this term lines by hearing them and music explores new sounds. popular music rather they can sing the first violin Popular music doesn’t loosely. If you look on the part. That seems a music explore new sounds. fringes of popular music, like educa on to me. Brian Eno, then I think that PJB: Well, we’ve go en, at Steve’s statement is correct. PJB: Is the label electro- least through the popular But... acous c s ll relevant? music sphere, to a point
Fall 2015 Issue 8 THE SOCIETY FOR ELECTRO-ACOUSTIC MUSIC IN THE UNITED STATES
Fall 2015 Issue 9 THE SOCIETY FOR ELECTRO-ACOUSTIC MUSIC IN THE UNITED STATES PJB: What about your friend the organiza on should A: (laughs) OK, so this may Miley? broaden the base for it to be a li le too long of an meet its poten al. answer. I was trained rather JA: Well, we do have the poorly in music, it was my same agent, but we don’t PJB: So how do you do that? own fault, but in any case talk to each other (any more) when I started wri ng so- because she really hates my JA: Well that takes one-on- called “serious music” in music. one contact. Everybody graduate school in Oregon knows someone in her or his and Columbia University the PJB & JA (laugh) community that makes serial technique was some kind of electro- considered the future. The PJB: OK, let’s shi gears. As acous c music. I meet pieces I wrote that way, someone who has been people even here on the well, they’re OK, but I don’t ac ve in the electro- island of Kauai who say “oh, like them and I hated wri ng acous c field for many I make electronic music.” them. That didn’t seem to years, a founder of OK, fine, let’s hear it. Mostly me to express my musical SEAMUS, and as someone it’s new age, but some mes soul. Then I stumbled upon who has a ended many it’s drum machines, but electro-acous c music, you SEAMUS conferences, what some mes it’s not. Those know I worked in the does SEAMUS get right and people wouldn’t feel Columbia-Princeton studio what does it get wrong? comfortable in an and worked with organiza on like SEAMUS Ussachevsky who didn’t JA: It allows mostly young because they’re not teach much but was very composers to meet other tradi onally musically encouraging. That’s what young composers. I think educated and they lack the teachers need to be: that that’s a very valuable, vocabulary to discuss their encouraging. I later found that’s really the most work. Yet, they have musical out that he wondered why I valuable part of it: probably ideas that could very well be was such a conserva ve more important than the exchanged. I feel that it composer. concerts or the occasional takes individual members to paper sessions. go out and try to convince PJB & JA (laugh) someone to try it out. What does it get wrong? JA: But, in any case, I found Well, there’s never been an PJB: All right, I have one a niche, whatever it was. It a empt by the organiza on more ques on for you. was programma c electro- to reach out to others that Recently you’ve been acous c music, it told kind aren’t academics. It was composing many purely of a li le story. I used founded on the principle acous c works including voices, found sounds, that it was going to be your Scarla and Couperin electronic sounds and mixed inclusive of people who just Doubles and your soon to it all together. I don’t think made electronic music, be released CD – Jon Meets that many people that I whether they made it at Yoshiko. Maybe tell us a know were doing that at home or whether they had li le bit about where you’re that me, at least from the academic posi ons. I know going now as a composer music that I heard and I that people with academic and what we should be heard quite a bit. So, that’s posi ons o en have the an cipa ng as an audience. what I did and I loved doing funds to travel to the it. I did it for many years. mee ng, but I just think that Then gradually, star ng
Fall 2015 Issue 10 THE SOCIETY FOR ELECTRO-ACOUSTIC MUSIC IN THE UNITED STATES about twenty years ago, I don’t do that. I just wrote amateur children’s choir found that I was repea ng the kind of music I’ve loved with piano. That gives me a myself, and not only all my life with my own li le lot of pleasure. I’ve done a repea ng myself, but the twist in it. It wasn’t hugely lot for children’s choirs in pieces just weren’t as good. original at all. But it was the past and it’s something I I think that the last really solid and that was good. So think I’m reasonably good at good piece I did like that that’s what I’ve been doing so I’ll do that. I think that was Sheremetyevo Airport ever since. The latest CD what we should value in Rock. You know I think that that’s coming out this people is the con nued young people some mes December is four different crea ve urge. I think there’s have a spark of originality piano pieces over the last nothing as sad as people and I had it at that point and four years that are played by who have given up I did something unusual. a wonderful Japanese composing. Why did they That doesn’t always follow. pianist, Yoshiko Kline. I like give up composing? It doesn’t always sustain, this music. I might get red Because they did not get originality doesn’t always of it, but it’s not why I do it. the approba on that they sustain in a composer. By I do it just for the pleasure wanted? They couldn’t earn chance, I was teaching at of wri ng it. And, of course, any money from it? OK, but, the Theremin Center in I love to hear it performed, I think that if you are a Moscow and I met some but once it’s performed I genuinely crea ve person, wonderful instrumentalists usually forget about it. I’m as a musician, you will find a who said “why don’t you more interested in “what am way to express yourself. In write for us?” So, I didn’t I going to do next.” So, right any case, you won’t be want to write twelve-tone at this moment I’m wri ng a happy unless you are doing music, serial music, for them piece for children’s choir. it. and I didn’t want write Not for professional minimal music because I children’s choir, but an
At Dartmouth in 2007
With the First Synclavier at USC, 1978
Fall 2015 Issue 11 THE SOCIETY FOR ELECTRO-ACOUSTIC MUSIC IN THE UNITED STATES
Member News
Elizabeth Anderson Julius Bucsis’ premiered by the QSO received a commission from composi on Blue (fixed October 11, 2015. l'Ins tut na onal de media) was selected for the l'audivisuel / Groupe de 3 rd Interna onal Csound James Caldwell con nues to recherches musicales (INA / Conference held in St. celebrate ElectroAcous c GRM) in Paris. Her Petersburg, Russia in Music Month in November mul channel acousma c October. The Message (fixed with his 14th annual work l'Heure Bleue: renaître media) and Some Wri ngs ElectroAcous c Music du silence will be premiered of Spring (fixed media) were Macomb concert, November at the MPAA Auditorium selected for CICTeM held in 18, 2015, at Western Illinois Saint-Germain in Paris Buenos Aries, Argen na in University. on January 22, 2016. September. Convec on (viol in) was performed by Daniel Mihai at the Vox Novus The UNC Chapel Hill Wind Jon Appleton presented the Fes val Romania held in Ensemble, conducted by keynote address at a Constanta, Romania in Evan Feldman, will premiere symposium at the Royal October. Quintessence’s Eli Fieldsteel's three- College of Music in Breath among the movement composi on, Stockholm on November Branes (guitar and computer "Singularity" wri en for 5-6 honoring Swedish processing) was released on wind ensemble and live composer Lars-Gunnar the Electro-Music 2015 electronic sound. The Bodin, on the occasion of Sampler CD in September. premiere will take place on his 80th birthday. Bodin is an Monday, November 23, honorary member of 2015, at 7:30pm in SEAMUS, and Appleton James Caldwell (Western Memorial Hall, 140 E. presented an official le er Illinois University) was Cameron Ave, Chapel Hill of congratula ons from commissioned by the NC. Fieldsteel's work was current SEAMUS President Quincy Symphony selected as the sole Sco Miller as part of his Orchestra Associa on recipient of the 2014 James keynote. (Illinois) to write a new ten- E. Cro Grant for Young and minute piece for orchestra Emerging Wind Band with electronic Composers. sound. Lazulian Circuits was
Fall 2015 Issue 12 THE SOCIETY FOR ELECTRO-ACOUSTIC MUSIC IN THE UNITED STATES Eli Fieldsteel received his Fixed media (on the Seamus Electroacous ca. Held once doctorate from The label vol. 19 is being a month at Honey, in NE University of Texas at Aus n performed in October at Minneapolis, the series in 2015 and is currently an Visiones Sonorus fes val in features a different guest Assistant Professor of Music Mexico by Onix Ensemble. soloist who performs Theory/Composi on at Ball His new work for Bassoon electroacous c impro sets State University, where he and Fixed with Sco and teaches acous cs, Media,Swagger was Ted. Accre on, a work composi on, and computer performed in Miami, Tokyo, commissioned by Tallinn- music. and at the Studio 300 based Ensemble U:, conference. His premiers in November at St. composi on for cello and Cloud State University and In June, Ethan Hayden interac ve at the Third Prac ce presented his suite of pieces electronics Jason’s Fes val. The work is based for voice, electronics, and ArcoKnots was one of five on spectral analyses of projec ons, "…ce dangereux winners of the FETA frozen water falls and ice supplément…" at the Cellotronics compe on flows in Grand Marais and biannual E-Poetry fes val and won the audience the Grand Portage Trail in and conference in Buenos favorite award in Miami. Minnesota. Aires, Argen na (see photos here & here). In July, he toured the Midwest with Sco Miller spent a month Robert Spalding Newcomb the Null Point ensemble, in residence at the Montalvo presented a solo concert of and performed his own Arts Center this September. sitar, guitar, and laptop work alongside works by While there, he music on November 11th Dmitri Kourliandski, Colin experimented with and Kerrytown Concert House Tucker, and Zane Merri in began developing an in Ann Arbor, MI. The eight Rust Belt ci es. In ecosystemic work for Kyma, concert was also a CD August, his arrangement of asymmetrical mul -channel release party for his new Charles Ives' "General audio, and theatrical recording, “Confluence of William Booth Enters into ligh ng, to be installed in Elders - New Sitar Music Heaven" was performed by and around the glass for the 21st Century.” the Buffalo-based new sculpture studio on the music ensemble Wooden Montalvo grounds. While Ci es. Hayden also there, he also gave a Charles Nichols will present performed "…ce dangereux presenta on of his his composi on Il Prete supplément…" at ICMC experiments at the Rosso, for amplified violin, 2015 in Denton, TX. Montalvo Open Access mo on sensor, and program, and performed computer, with violinist with Pat O'Keefe (as Willful Sarah Plum, September 30 Charles Mason’s Flu er Devices) on the at the Interna onal Arrhythmia was one of ten sfSoundSalonSeries at the Computer Music finalists in the Fresh Voices Center for New Music. Conference in Denton, TX, video compe on this year. October sees the November 5 at the College His composi on Fast con nua on of Sco 's new Music Society Na onal Break! for Flute, Clarinet, series with electroacous c Conference in Indianapolis, Violin, Cello, Piano and composer/performer Ted IN, and November 14 at the Moore, called Ars Society of Composers, Inc.
Fall 2015 Issue 13 THE SOCIETY FOR ELECTRO-ACOUSTIC MUSIC IN THE UNITED STATES Na onal Conference in In August 2015, Benjamin of Dina Wind, a Philadelphia Gainesville, FL, and his O’Brien completed his PhD ar st and philanthropist. structured in Music Composi on at the Ryan is currently working on improvisa on Community University of Florida where a new intermedia work as Trust, for laptop ensemble, he studied under Dr. Paul the 2015 Fall Composer in with the Virginia Tech Linux Koonce. His work along the Residence for BEEP (Boyer Laptop Orchestra and eaves was recently Electronic Ensemble director Ivica Ico Bukvic, performed at ICMC 2015 in Project). October 3 at the Denton, Texas and EMUFest Electroacous c Barn Dance 2015 in Roma, Italy. in Fredericksburg, VA Benjamin was named an Adam Vidiksis recently and December 7 at the Interna onal Audio Ar st completed a piece for sho DISIS Concert in Blacksburg, Finalist by the Radical dB and live processing, S llness VA. He'll present his Fes val in Zaragoza, Spain, Refracted, for renowned composi on Playground, for where he recently performer Naomi Sato. This computer music and video premiered a new work for work was premiered at the of anima on, a collabora on electric guitar and University of Louisville, and with media ar sts Amber interac ve electronics. His performed subsequently at Bushnell and Charles chapter in The Oxford the University of Pi sburgh. Raffety, October 17 at the Handbook of Music and His piece Tachycardia, Taukay Edizioni Musicali Virtuality, which offers a commissioned by He Sun for Contemporanea Fes val in cri cal ethnography of bass trombone and live Udine, Italy, and laptop orchestras and processing, was performed composi ons This Edge, for ensembles that specialize in at Peking University, in computer music and video, a virtual music performance, Beijing, China. Vidiksis collabora on with video will be available in early performed his piece, Things ar st Joan Grossman, 2016. He recently moved to that Live in the Whirligig, at and Sound of Rivers: Stone Marseille, France and is the PARMA Music Fes val Drum, for sonified data, assis ng local researchers in in Portsmouth, NH, the computer music, and video vidéomusique and sound Toronto Interna onal of anima on and dance, a spa aliza on with gestural Electroacous c Symposium, collabora on with controllers. and the Root Signals choreographer Nicole Fes val in Jacksonville, FL. Bradley Browning, animator He completed an and video ar st Amber Ryan Olivier premiered his electroacous c score for the Marjorie Bushnell, poet and latest intermedia Renegade Company’s 1- narrator Mark Gibbons, and work, Three Ar s c hour, two-mile theatrical dancer Allison Herther, Glimpses, with the Relâche produc on, Damn Dirty based on research by Ensemble on October 18th Apes, presented as part of limnologist Mark Lorang, at the Fleisher Art Memorial the Philadelphia Fringe October 17 on the in Philadelphia. The Relâche Fes val in FDR park. Founda on for Emerging Ensemble, a mixed octet Vidiksis presented his Technologies and Arts 12 based in Philadelphia which work, synapse_circuit, at the Nights Concert Series in specializes in new music, Interna onal Computer Miami, FL. commissioned Ryan to write Music Conference in a new work for their first Denton, TX. He performed a concert honoring the legacy Faculty and Guest Recital
Fall 2015 Issue 14 THE SOCIETY FOR ELECTRO-ACOUSTIC MUSIC IN THE UNITED STATES for percussion and live processing pieces at the Oberlin Conservatory this October with Joo Won Park. Vidiksis performed Whirligig at the Electroacous c Barn Dance in Fredericksburg, VA, where he also performed a set on percussion and electronics with Eric Honour, saxophone, and Joo Won Park, electronics. Vidiksis has lectured on his music and research in live processing at the Universi es of Louisville, Pi sburgh, and Oberlin Conservatory. Vidiksis presented a concert of music for violin and electronics as general manager of the Associa on for the [photo by Beau Finley] Promo on of New Music Adam Vidiksis performs with Eric Honour and Joo Won Park at the in NYC. He con nues to Electroacous c Barn Dance in Fredericksburg, Virginia. serve on the faculty of Temple University in Philadelphia, PA.
Fall 2015 Issue 15 THE SOCIETY FOR ELECTRO-ACOUSTIC MUSIC IN THE UNITED STATES SEAMUS ONLINE www.seamusonline.org SEAMUS BOARD OF DIRECTORS
PRESIDENT Sco Miller [email protected]
VICE PRESIDENT OF PROGRAMS Keith Kirchoff keithkirchoff@gmail.com
VICE PRESIDENT FOR MEMBERSHIP Linda Antas [email protected]
MEMBER AT LARGE Per Bloland [email protected]
TREASURER Ryan Carter [email protected]
SECRETARY Kyong Mee Choi [email protected]
DIRECTOR OF CONFERENCES Keith Kothman [email protected]
DIRECTOR OF COMMUNICATIONS Steven Kemper [email protected]
DIRECTOR OF TECHNOLOGICAL DEVELOPMENT Adam Vidiksis [email protected]
EDITOR-IN-CHIEF, JOURNAL SEAMUS Tae Hong Park [email protected]
DIRECTOR, CD SERIES Sco Wya s-wya @uiuc.edu
EDITOR, SEAMUS NEWSLETTER Steven Ricks [email protected]
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A Note from CHRISTOPHER COOK, SEAMUS Adver sing Coordinator: “SEAMUS now includes paid adver sements in the Newsle er and the Journal. Please consider adver sing your departments/programs, fes vals, and publica ons. For rates and other informa on, contact Christopher Cook at: [email protected]”
About the SEAMUS Newsle er
The newsle er is a volunteer effort made freely available as a public service to the electronic/computer music community from the SEAMUS website at: www.seamusonline.org. Please direct any comments to: STEVE RICKS: [email protected] All ideas regarding content are welcome. Please let us know if you’d like to par cipate in its produc on.
Fall 2015 Issue 16