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Home , Alvin Lucier, Joel Chadabe, Jon Appleton, Larry Austin, Pauline Oliveros

THE SOCIETY OF ELECTRO-ACOUSTIC MUSIC IN THE UNITED STATES SEAMUS NEWS

A publication of the Society for Electro-Acoustic Music in the United States,

providing news, interviews, and announcements.

A Quarterly Newsletter 2012/13, Issue No. 3- December/January Departments Virtual Panel CD Announcements An email “panel discussion” with five past SEAMUS Award-winners: From the Editor Page 14 Page 2 SEAMUS Online 2013 Conference Page 15 Update Advertising info - - Page 2 Page 15 Members’ News About the Newsletter Page 12 - Page 15

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established by in the early 'sixties at the American Virtual Panel with five Academy in Rome. It was equipped with two stereo tape machines, a past SEAMUS Award waveform generator, a reverb unit, and a mixer. In that period,when Winners Bill Smith and John Eaton were in residence at the Academy, a Questions drafted by Steve Ricks and Anthony Cornicello Synket designed and built Jon Appleton, Larry Austin, Joel Chadabe, Alvin Lucier, and by Paul Ketoff was added. I was given Pauline Oliveros respond to questions about . full access to the studio while in Rome Answers to the various questions are preceded by the on a sabbatical leave from the respondent’s initials. Responses are in italics. University of California that year and completed my first tape and tape-plus- instrument[s] pieces there. I felt no 1. What was it like when you audio instruments from physics were starting out - what laboratories. The only limitations, then limitations to the technology I was technology was available, what and today, was the imagination of the provided, only the challenges It offered were the limitations, etc.? . to compose in this new tape music medium. JA: The technologies available were LA: My first exploration of electronic reel-to-reel tape recorders and various music began in 1964-65 in the studio continued on page 3 2012 Issue 3 1 THE SOCIETY OF ELECTRO-ACOUSTIC MUSIC IN THE UNITED STATES F ROM THE A SSISTANT E DITOR

Hi SEAMUS members!

I appreciate Anthony’s invitation to write my first Editor’s note for this issue of the newsletter. It’s a relatively short issue, but features an insightful “virtual” panel discussion with some of our most distinguished members: Jon Appleton, Larry Austin, Joel Chadabe, Alvin Lucier, and Pauline Oliveros. Their responses to the questions that Anthony and I drafted include thoughts about technology and how it has shaped their own work, teaching composition, and which composers and musicians influenced them most. Look for a follow up to this discussion in a future issue where I plan to solicit responses to this discussion from some of our younger members.

As usual, there is the Member News, which includes announcements of recent performances, recordings, and other member activities. Enjoy!

Conference Update Conference(participants(selected(for(( Steven Ricks SEAMUS(2013(have(been(notified(and(a( conference(schedule(is(now(available(on(the( conference(site(through(the(following(link: http://blog.mcnallysmith.edu/seamus2013/ conferenceEschedule/

(Travel(and(lodging(information(is(now( available(at(the(following(link: http://blog.mcnallysmith.edu/ seamus2013/travelEandElodging/

Registration(for(this(year’s(conference(will(be( available(shortly.((The(conference(will( feature(performances(by((Zeitgeist,(and( Ensemble,61,(as(well(as(the(venerable(Keith( Kirchoff.( The(Conference(Banquet(will(be(held(at(the( Minnesota(Science(Museum.((Weather( permitting,(the(banquet(will(be(held(on(a( balcony(with(a(wonderful(view(of(the( Mississippi(River.

SEAMUS(2013(will(be(held(at(the(McNallyE Smith(College(of(Music(in(Saint(Paul,(MN,( from(April(18E20.(((The(deadline(for(placing( ads(in(the(conference(program(is(March(1,( 2013.((

The(official(website(is(here: http://blog.mcnallysmith.edu/seamus2013/

2012 Issue 3 2 THE SOCIETY OF ELECTRO-ACOUSTIC MUSIC IN THE UNITED STATES JC: I started in 1965 with Bob Moog, just AL: I suppose you would have to say that waves and the acoustic instruments. I at the beginning of analog . the use of computers is a fairly new thing don’t create the waves but ask Bob We didn't notice any limitations. We did although I am not aware of any radically Bielecki to do that for me. I don't have the notice an enormous promise of expressive new forms or structural developments in knowhow or equipment to do it myself. I freedom. It was a great time. this field that is on a par with, for simply send Bob the pitches and timings. example, Cage’s use of chance, Bob He sends me the results on CD's. AL: Tape recorders, various processing Ashley's discovery that speech is music, devices—white noise generators, ring phase as a building block, and certain PO: I use my own custom software modulators (we made our own), reverb, composer’s (including myself) interface developed in MAXMSP in what tape, splicing blocks, razor blades. I explorations into room acoustics. Pauline I call Expanded Instrument System (EIS) wasn’t aware of limitations: just the Oliveros’s continuing work in sending with my in hybrid opposite. We talked a lot about unlimited sounds and sights across long distances electroacoustic improvisation. possibilities. via the Internet is particularly promising. My working practice changes with the tasks at hand. PO: When I was starting out as a PO: What is relatively new includes composer in 1951 what technology was machine listening, learning and I am not exactly writing as most of my available to me was my musical improvising. work is improvised. I have not found a instruments: accordion, and notation program that works for me. . 3. What do you use these days - has your working method been changed by technology? Do you think you're writing differently as a result of newer technology?

JA: I’m always using new technology and composing the same kind of music: my style.

LA: For my compositions I use my MacBook Pro. Of course one adapts to changing/improving technological Jon Appleton developments. I would say that newer technology sharpens my composing techniques. I use synthesis software such 2. Is there anything truly “new” as Logic Pro, csound, and SoundHack, Larry Austin happening in electronic music right continuing my work composing for now? If so, what is it? If not, what instrumentalists and vocalists plus was the last, consequential “new” and video with fixed 4. Is there any type of technology development/idea/innovation? media. (hardware/software) that you'd like to see in the near future - one that you JA: New technologically? Lots. New JC: I work with Kyma. Yes, it has think would impact the way you and stylistically? Not much. turned the compositional process into others work? a process of discovery and learning. LA: Laptop computer groups seem Very interactive. Fast. JA: I would like to see direct transfer and ubiquitous. transformation of sonic material using AL: Mostly I am writing works for only my brain. JC: Yes, a better understanding of sound conventional instruments in response to and a new sense of interaction. requests from players and ensembles. LA: There are always new technologies Often I include pure wave sweeps to being developed, mostly improving user create vivid audible beating between the

2012 Issue 3 3 THE SOCIETY OF ELECTRO-ACOUSTIC MUSIC IN THE UNITED STATES interaction, always impacting the way I PO: The presence of human performers is beginning of my own work with and others work. essential for some audiences and not for electronic music, I called for theatrical/ others. visual contexts in my work. I have JC: Smaller and lighter. Tape pieces are just as valid as any form collaborated with film makers such as of presentation depending on audience Stan Vanderbeek, David Freund, and AL: I am simply waiting to see what interest and circumstances. David Stout and have experimented with comes up. film and video imagery to a great extent. It comes quite naturally. PO: I would like a flexible intelligent notation program where I could do JC: Images can provide a substitute for anything that I could do with pencil and performers. But otherwise it depends paper. largely on the room setting.

5. How essential is human AL: I sometimes feel distracted by performance in the presentation of collaborations between the visual and the electronic music? Are “tape” pieces audible unless they are integral to each valid in a concert context, especially other. In my sound installations the given the current interest and activity visual aspect comes directly from the in live-electronics, improvisation, not needs of the set up. I would never add a to mention the traditional practice of visual component to enrich the concert performances by humans? experience. Joel Chadabe JA: Throughout European and American PO: Combining sight and sound or audio music there have always existed notated and video is an art. Those who practice and improvisational traditions. Given the 6. It seems more and more common this combination can be more or less current cultural emphasis on visual for composers of electronic music to successful. If successful then it is a good material, simply listening to music has incorporate video/images in their thing! become less important. work, at times through their own creation, and at other times through A couple of pieces come to mind from San LA: It goes without saying that humans collaboration. Is this a good thing for Francisco Tape Music Center days where are involved in every phase of the creation the medium? Are there current (or sound and image combinations were and subsequent performance of electronic not so current) pairings of music/ happening and inspired the Rock 'n Roll music. In my own case, since I have sound with video/images that you generation: 's Desert specialized in electronic music plus find particularly successful or Ambulance with visuals by Anthony performers pieces, that I rely on such unsuccessful? Martin and 's human participation. And all of these Mandolin also with visuals by Anthony pieces are intended for concert JA: Composers usually are second-rate Martin. performance. video artists. Video artists are usually naïve musicians. What seesm to count is 7. It’s almost impossible to imagine JC: It depends entirely on the particular how much money these collaborations a music student arriving at a piece. Performance is good for a earn. Often they provide an opportunity university without at least some proscenium hall. for those who have little to say in either experience with computers, digital medium. media, electronic equipment, etc. AL: We always stressed live performance, With what sort of pedagogical even with tape. See Cages’ Rozart Mix. LA: You could say that the visual/sonic opportunities and/or advantages But tape music concerts are ok too. media have been around much longer does this present educators? Does the Something mysterious about sounds than electronic music/video media…via assumed “knowledge” students have flowing from speakers on the stage. No the advent of the "talkies". So it's quite about various electronic media grimacing conductors either. logical that such would be incorporated present any challenges in teaching today in video pieces. From the composition?

2012 Issue 3 4 THE SOCIETY OF ELECTRO-ACOUSTIC MUSIC IN THE UNITED STATES (re. “Does the assumed ‘knowledge’ 10. I’d like to pose Larry’s question to JA: Most music students arrive at a students have about various all of you—“Other than the present university with the desire to become electronic media present any composers on this panel name four of famous performers. Few arrive with the challenges in teaching composition?) your favorite composers who have desire to be composers. There is value in influenced your own work." looking closely at all kinds of music. PO: Not necessarily. It certainly depends What will be useful to a young composer on the approach that the educator has to JA: There are so many composers is impossible to predict. My experience is teaching composition. who influenced my instrumental and that students will learn the technology vocal music that it would be impossible to they need with ease if they are interested 8. Follow up to the last question: name just four. I cannot name any in that genre. what is the best way to approach composers who influenced my electro- teaching “Electronic Music acoustic music. Those whose work I LA: It's both a blessing and a curse: a Composition” to young composers? admire have taken quite a different blessing because these students have direction from my own, e.g. John overcome any fears about the challenges JA: I’m old fashioned. I ask them to Chowning, Frank Zappa, Jean-Claude of technologies and a curse because they compose short pieces in a variety of styles Risset, Lars-Gunnar Bodin, Beatrice usually have not explored the really and approaches, e.g. musique concrete, Ferreyra and . They are/were important implications of depending too Max-MSP, conceptual works, etc. also close personal friends. We rarely heavily on same. spoke about each other's work. There LA: Provide the student composers with exists/existed an unspoken yet JC: No, it's better. Students start at a models of excellence in the genres of palpable mutual respect for our better place. electronic music through the decades. originality, imagination, craftsmanship Teach critical analysis of such models. and seriousness of purpose. AL: The students are much more prepared to listen and understand what is JC: Make them familiar with new models JC: It's hard to answer Larry's question going on. for music. Critique their works. re particular composers. Everything I've heard has influenced me. No particular PO: Pedagogical opportunities and AL: Play them pieces that you love and style. I've known so many people that advantages certainly can be enhanced by get them to participate in performing and were wonderful and interesting the presence of skills that don't need to be making their own pieces. musicians, and I've learned from all of taught. Facilitating creative uses of these them. skills is the challenge for educators. PO: Provide young composers with access to well equipped studios and PO: Edith Gutierrez (my mother); Yoko facilitate a community of interest in Ono. creating music with electronic means.

9. Is there another question you wish would have been asked that you would like to pose and then answer?

JA: What do your students think?

LA: My question would be: "Other than the present composers on this panel name four of your favorite composers who have influenced your own work." My answer would be , , , and Morton Alvin Lucier Subotnick. Pauline Oliveros

2012 Issue 3 5 THE SOCIETY OF ELECTRO-ACOUSTIC MUSIC IN THE UNITED STATES interplanetary(ones(carried(by(solar( Member News winds.(The(Dungey(model(offered( an(intriguing(starting(point(for(the( sonorization(of(these(nonEsounding( In(October(2012,(Elizabeth* phenomena(in(the(acousmatic( Anderson(premiered(her( realm. octophonic(acousmatic(work,Solar, Winds(at(the,Visiones,Sonoras, Festival((Morelia,(Mexico)(http:// visionessonoras.org/index.php? Solar,Winds(will(receive(its( ver=2012&lan=es&secc=home.((The( European(premiere(in(Brussels,( idea(for,Solar,Winds(sprang(from(a( Belgium(on(February(27,(2013(at(8( desire(to(honor(the(astronomers(of( pm(at(the(Espace(Senghor(concert( the(ancient(Mayan(culture(near(the( hall.((The(concert,(which(is( end(of(2012,(the(conclusion(of(a( organized(by(Musiques(&( Mesoamerican(Long(Count(calendar.(( Recherches,(will(also(feature(other( The(work(is(inspired(by(Dungey's( international(acousmatic(works.(( open(magnetospheric(model( Elizabeth(Anderson(will(give(a(preE according(to(which(Earth's(magnetic( concert(talk(about,Solar,Winds(at( field(lines(are(connected(to( 7:15(pm.

2012 Issue 3 6 THE SOCIETY OF ELECTRO-ACOUSTIC MUSIC IN THE UNITED STATES Jon*Appleton(is(teaching( the(12(Nights(ElectroEAcoustic( instrument(would(be.(Presented(in(a( composition(and(counterpoint(at( Series,(Miami,(FL,(November(16( notably(aesthetic(body,(Card,I( the(University(of(Hawaii((Manoa)( 2012. provides(a(tactile(control(over( during(their(Spring,(2013(semester.( •(Slight,Uncertainty,is,Very, sound(through(metal(plates(carved( SEAMUS(visitors(are(welcome:( Attractive,for(flute(and(electronics( into(the(body(of(the(instrument,( [email protected] was(performed(at(the(inner( which(are(connected(to(the(circuit( sOUndscapes(concert(series(in( inside,(allowing(the(performer(to( Norman,(Oklahoma(on(November( control(the(sound(through(physical( Julius*Bucsis(received(the(Excellent( 12,(2012. contact.(In(addition,(Card,I(also( Achievement(Prize(from(the( •(Ceaseless,Cease,for(clarinet(and( embodies(a(number(of(photocells( Musicacoustica(Beijing(2012( electronics(was(performed(at(the( that(respond(to(the(environmental( Composition(Competition(for(I,Am, ElectroEAcoustic(Barn(Dance( light,(allowing(the(performer(to( Who,Am,I,(fixed(media).(In,the, Festival(on(November(8E10,(2012. alter(the(sound(through(hand( Interest,of,Time((fixed(media)(was( •(Inner,Space(for(cello(and( gestures,(and(magnetic(switches( accepted(into(the(Tutti(New(Music( electronics(had(been(selected(for( that(enable(the(circuit(to(be(rapidly( Festival(2013(and(the(SEAMUS(2013( the(IAWM(Annual(Concert(2012,( controlled(with(magnets(hovered( conference.(A,Glimpse,beyond,the, and(was(performed(by(Ensemble(Pi( over(the(body(of(the(instrument.( Event,Horizon(was(presented(at( at(the(University(of(Maryland,( Card,I(will(be(competing(at(the( KCSoundwalk(2012(in(October.(He( Baltimore(County((UMBC)(as(part(of( Georgia(Tech's(2013(Margaret( performed(a(set(of(original( the(Livewire(Festival(of( Guthman(Musical(Instrument( compositions(for(electric(guitar(and( Contemporary(Music(on(October(28,( Competition(to(take(place(in(April( computer(at(the(National( 2012.( 11E12,(in(Atlanta.(In(addition,(Card,I( Electronics(Museum(in(November.( •(Sublimation(for(marimba(and( will(be(presented(in(the(SEAMUS( Convection((violin)(was(performed( electronics(was(performed(at(the( 2013(conference(through(informal( at(a(concert(in(New(York(City(in( Electronic(Music(Midwest(on( improvisations(in(various(locations( December(as(part(of(the(My,Dad’s, October(12,(2012 over(the(coffee,(lunch,(or(dinner( Violin(film(project. •(Ceaseless,Cease,for(clarinet(and( breaks. electronics(was(performed(at(the( Lipa(Festival(in(Iowa,(on(October(9,( Kyong*Mee*Choi’s*recent(activities( 2012. include: •(Tensile,Strength,(coEcommissioned( work(for(electronics,(was( •,THE,ETERNAL,TAO,,a(multimedia( performed(at(the(2012(Soundcrawl( ,(will(be(published(by(PARMA( Festival(in(Brick(Factory,(Nashville,( recordings((Ravello(Records)(on( TN(on(October(6E10,(2012( January(29,(2013.( •(It,only,needs,to,be,seen(for(guitar( •,Inner,Voice(for(cello(and( and(electronics(was(performed((at( electronics(will(be(published(at(the( Miami(Dade(College,(Miami,(FL,(on( 2012(SEAMUS(CD(22(collection. October(4,(2012.( •,In,Void(for(four(hands(and(two( (won(the(Tempus(Continuum( Ensemble's(Competition(2012. Card*I •(Spatial,Relationship,in,ElectroL Taylan*Cihan,*circuit*design Acoustic,Music,and,Painting(will(be( Andrew*Lucia,*body*design published(in(Korean(at(the(Korean( ElectroEAcoustic(Music(Society( Card,I(is(an(analog(synthesizer( Computer(Music(Journal(Emile(in( conceived(with(the(objective(of(an( December(2012.( electronic(instrument(that(is(as( •(It,only,needs,to,be,seen(for(guitar( responsive(to(an(improviser's( For(more(information:(http:// and(electronics(was(performed(at( momentary(decisions(as(an(acoustic( taylancihan.com/card_I.html

2012 Issue 3 7 THE SOCIETY OF ELECTRO-ACOUSTIC MUSIC IN THE UNITED STATES Charles*Norman*Mason’s( David*Mendoza's(Séance(for(violin( advantage(of(this(unique(situation( electroacoustic(work,(Metaman(for( and(electronics(was(selected(for( and(recorded(my(original(works.((It( video((Sheri(Wills),(violin,(and( performance(at(both(the(2012(SCI( is(rare(to(have(fine(musicians( digital(audio(has(been(performed(by( Student(National(Conference(and( regularly(rehearse(and(perform(my( several(different(violinists(including for(the(2013(SCI( pieces.( Karen(Bentley(Pollick(at(the( National(Conference(at(Ohio( ( Firehouse(Space(in(Brooklyn(and(in( State(University.((Séance(premiered( OGOGO(bones(consisted(of(George( Seattle(at(Chapel(of(Good(Shepherd( at(the(Emerging(Composers(Concert( McMullen,(Lane(More,(and(myself.(( Center(and(Kris(Miller(at(the( this(past(October(during(Festival( George(is(an(accomplished(studio( Electroacoustic(Barn(Dance(at Miami.((Mendoza's(electroEacoustic( recording(artist(and(jazz( the(University(of(Mary(Washington( chamber(piece(Inner,Cycles,coE trombonist.((His(performance( in(Virginia.(This(year(Dr.(Mason(was( written(with,Rodrigo(Bussad,(and( experience(and(recording( named(chair(of(the(theory(and( Liza(Seigido,(will(have(its(second( experience(are(truly(impressive.(( composition(department(at(the( performance(this(Spring(at(the( Lane(is(a(fine(trombonist(and( Frost(School(of(Music(of(the( Subtropics(Experimental(Music( excellent(musician,(now(residing(in( University(of(Miami.(Also,(Mason( Festival.((((((( Australia.((It(was(a(pleasure(to( developed(a(new(Master(of(Music( rehearse(and(perform(with(this( degree(at(the(Frost(School(of(Music( group.((Both(were(accomplished( called(MM(in(Digital(Arts(and(Sound( musicians(with(performance(skills( Design(that(began(accepting(student( that(included(interpreting(early( applications(in(the(fall(of(2012. music,(jazz(improvisation,(and(an( understanding(of(new(music(and( new(music(improvisation( techniques. ( Bonescape(was(released(on(August( 2012(on(the(NineWinds(label.((It(is( available(on(Amazon(and(CD(Baby.”

The(following(is(from(Rodney* Oakes:

“Composed(for(electronics(and(a( (trio,,Bonsecape(consists( of(original(compositions(for(OGOGO( Bones.(From(2007(to(2011,(OGOGO( Bones(presented(a(series(of( concerts(that(consisted(of(Medieval( and(Baroque(music,(plus(my( original(works.((For(the(second(half( of(the(program,(the(group(would( add(a(rhythm(section(and(perform( jazz(standards.((All(of(this(required( regular(rehearsals.((In(January(of( 2011,(one(of(the(trombonists,(Lane( More,(moved(back(to(his(homeland,( Australia.((Before(Lane(left,(I(took(

2012 Issue 3 8 THE SOCIETY OF ELECTRO-ACOUSTIC MUSIC IN THE UNITED STATES As(featured(composer(at(the(Sound( over(the(period(of(a(year,(has( This(semester’s(prototype( and(Computing(Conference(2012(in( recently(been(released(on(DVD.( instruments(included: Copenhagen(this(past(summer,( Winner(of(the(Best(Experimental( Judith*Shatin’s(compositions(Grito, Film(Award(from(the(Macon(Film( Drum(actuators: del,Corazon((improvising(ensemble( Festival,(it(continues(to(be(shown(at( Chess(board and(electronics);(Cherry,Blossom, a(variety(of(venues,(most(recently(at( Electronic(Music(stands and,a,Wrapped,Thing;,After,Hokusai( Christopher(Newport(University.(An( Ultrasound(machine(repurposed (clarinet(and(electronics);(and(Sic, excerpt(can(be(experienced(on(her( Fretless(bass(modification Transit,(for(percussion(and(CADI( website((www.judithshatin.com).( Water(Piano (Configurable(Automatic(Drumming( HiEfive(carpet Instrument)(were(all(performed(at( Diner(Table Den(Frie(Center(of(Contemporary( Art.(CADI(is(the(creation(of(Scott( The(University*of*Massachusetts* This(semester(we(also( Barton,(Steve(Kemper(and(Troy( Lowell’s*Contemporary* experimented(with(broadcasting( Rogers,(through(the(company(EMMI( Electronic*Ensemble(explores(the( the(concert(live(via(UStream(which( they(started(as(graduate(students(at( electronic(production(and( led(to UVA.( manipulation(of(music(in(a(live( over(60(unique(views. ( ensemble(setting.(Students( Among(Shatin’s(recent( incorporate(synthesis,(signal( For(questions(or(submissions,(you( electroacoustic(compositions(is(For, processing,(sampling,(etc.(into(a( may(email(@ the,Fallen,(commissioned(by(Italian( musical(framework.(Besides( [email protected] trumpeter(Ivano(Iscari.(Scored(for( performing(from(the(constantly trumpet(and(electronics(made(from( expanding(repertoire(of(electronic( processed(recordings(of(the(Maria( music,(students(are(encouraged(to( Dolens(bell(in(Rovereto,(Italy,(it(was( create(original(compositions(and( recently(performed(at(Mondi,Sonori( arrangements(for(the(ensemble.(A( in(Trento,(Italy,(and(Mr.(Iscari(will( public(performance(is(given(at(the( record(it(this(coming(spring.(( end(of(each(semester. Originally(fashioned(from(canons( melted(after(World(War(I,(the(Maria( This(past(semester’s(concert( Dolens(is(one(of(the(largest(ringing( featured(new(prototyped( bells(in(the(world.(A(new(version,( instrumentation(with(the(help(of( for(alto(sax(and(electronics(has(been( Makey(Makey(units.((http:// commissioned(by(the(young( www.makeymakey.com)(Makey( saxophonist(Jason(Laczkoski,(who( Makey(is(a(kickstarted(prototyping( will(premiere(it(January(at(the( interface(that(allows(students(to( International(Saxophone(Congress.( mock(up(new(instrumental( Meanwhile,(her(Penelope’s,Song,(for( interfaces(and(automatically(maps( soprano(sax(and(electronics(has( them(to(the(“asdfgh”(keys(of(a( been(on(tour(by(Italian(saxophonist( normal(typing(keyboard.(The( Enzo(Filippetti,(who(performed(it(at( middle(row(of(a(keyboard(typically( the(Suono,Immagine(Festival(in( is(the(“musical(typing”(portion(of( Milan,(at(the(Latvian(Academy(of( many(Digital(Audio(Workstations(or( Music(in(Riga,(at(the(Santa(Cecilia( music(composition(programs.(With( Conservatory(in(Rome,(and(in( the(use(of(Makey(Makey’s(the( numerous(other(locations.(Finally,( students(were(able(to(moc(up(new( Rotunda,,a,Living,Portrait,(her( instrumentation(and(apply(sounds( collaboration(with(filmmaker( in(real(time(with(relative(ease. Robert(Arnold(created(from(images( and(sounds(of(the(Rotunda(collected(

2012 Issue 3 9 THE SOCIETY OF ELECTRO-ACOUSTIC MUSIC IN THE UNITED STATES John*Villec(presented(a(concert(of( Multimedia(works(by(SEAMUS( members(as(part(of(the(2012(CSU,( Sacramento(Festival(of(New( American(Music.((Works(presented( were(composed(by(Steven( Snethkamp,(David(R.(Witzling,(Mike( Crain,(Brian(Evans,(Bret(Battey,( Jerod(Sommerfeldt,(John(VIllec,( Jeffrey(Hass,(and(Dennis(H.(Miller.

Adam*Vidiksis(recently(performed( his(Mitochondrial,Dreams,for( percussion(and(electronics(at(the( Electroacoustic(Barn(Dance,( Soundcrawl,(and(a(number(of(other( places(around(the(country(this(fall.( This(work,(along(with(his(recently( completed,(synapse_circuit,(also(for( percussion(and(computer,(will(be( featured(in(a(showcase(of(Adam’s( music(this(January(in(( presented(by(Local(Arts(Live.( Adam’s(Abandonment,Issues(was( recently(set(to(choreography(and( performed(as(part(of(Point(of( Departure(dance(company’s(Mixed( Drinks(performance.

2012 Issue 3 10 THE SOCIETY OF ELECTRO-ACOUSTIC MUSIC IN THE UNITED STATES CD Releases

Imaginary,Friends,(music(for( instruments(and(computer(by( Andrew(May((University(of(North( Texas),(features(performances(by( Shannon(Wettstein,(piano;(F.(Gerard( Errante,(Rachel(Yoder,(Deanna( Brizgys,(clarinets;(Elizabeth(McNutt,( flute;(Brett(Reed,(percussion,( Jennifer(Cobb,(voice(samples;(Erika( Eckert(and(Megan(Tipton,(violas;( Judith(Glyde(and(Marcelo(Sanches,( cellos;(Andrew(May,(electric(violin;( and(a(wide(variety(of(interactive( computer(music(partners(and( computerEgenerated(sounds.( Ravello(Records(RR(7861;(link(to( more(information(at(http:// cemi.music.unt.edu/may(E(or(listen( to(samples(at(http:// www.youtube.com/watch? v=9fyUqzHOKz8

The(acclaimed(CDCM(Computer( Music(series(recently(released( Volume(39:(Music,from,the, University,of,North,Texas,Center,for, Experimental,Music,and,Intermedia.( Includes(works(by(Larry(Austin,( David(Bithell,(Joseph(Klein,(Thomas( Clark,(Jon(Christopher(Nelson,( David(Stout,(and(Andrew(May.( Performers(include(Patricia(Strange,( violin;(Jeffrey(Snider,(Heidi(Dietrich( Klein,(Patrick(Gnage,(Jonathan( Greer,(voices;(F.(Gerard(Errante(and( Esther(Lamneck,(clarinet;(Elizabeth( McNutt,(flute;(Peter(Kusek,(steel( guitar;(David(Bithell,(trumpet.( Centaur(Records(CRC3219;(for(more( information(or(to(purchase,(http:// music.unt.edu/CDCM/catalog.htm

2012 Issue 3 11 THE SOCIETY OF ELECTRO-ACOUSTIC MUSIC IN THE UNITED STATES SEAMUS ONLINE www.seamusonline.org SEAMUS BOARD OF DIRECTORS

PRESIDENT "" " " " Mark Zaki"" [email protected] VICE PRESIDENT OF PROGRAMS"" Scott Miller "" " [email protected] 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 ""Chris Hopkins"" " " [email protected] DIRECTOR OF COMMUNICATIONS"" Anthony Cornicello [email protected] ASST. EDITOR, SEAMUS NEWSLETTER" Steven Ricks"" " [email protected] EDITOR-IN-CHIEF, JOURNAL SEAMUS" Tae Hong Park"" " " [email protected]

DIRECTOR, CD SERIES """Scott Wyatt "" " " [email protected] SEAMUS WEBMASTER"" " " Evan Merz"" " [email protected] DATABASE MANAGER"""Sam Heuck "" " " [email protected] EMAIL LIST COORDINATOR"" " John Lato"" " " [email protected]

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About the SEAMUS Newsletter

The newsletter 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: ANTHONY CORNICELLO: [email protected] or [email protected] All ideas regarding content are welcome. Please let us know if you’d like to participate in its production.

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