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Nycemf 2021 Program Book NEW YORK CITY ELECTROACOUSTIC MUSIC FESTIVAL __ VIRTUAL ONLINE FESTIVAL __ www.nycemf.org CONTENTS DIRECTOR’S WELCOME 3 STEERING COMMITTEE 3 REVIEWING 6 PAPERS 7 WORKSHOPS 9 CONCERTS 10 INSTALLATIONS 51 BIOGRAPHIES 53 DIRECTOR’S NYCEMF 2021 WELCOME STEERING COMMITTEE Welcome to NYCEMF 2021. After a year of having Ioannis Andriotis, composer and audio engineer. virtually all live music in New York City and elsewhere https://www.andriotismusic.com/ completely shut down due to the coronavirus pandemic, we decided that we still wanted to provide an outlet to all Angelo Bello, composer. https://angelobello.net the composers who have continued to write music during this time. That is why we decided to plan another virtual Nathan Bowen, composer, Professor at Moorpark electroacoustic music festival for this year. Last year, College (http://nb23.com/blog/) after having planned a live festival, we had to cancel it and put on everything virtually; this year, we planned to George Brunner, composer, Director of Music go virtual from the start. We hope to be able to resume Technology, Brooklyn College C.U.N.Y. our live concerts in 2022. Daniel Fine, composer, New York City The limitations of a virtual festival meant that we could plan only to do events that could be done through the Travis Garrison, composer, Music Technology faculty at internet. Only stereo music could be played, and only the University of Central Missouri online installations could work. Paper sessions and (http://www.travisgarrison.com) workshops could be done through applications like zoom. We hope to be able to do all of these things in Doug Geers, composer, Professor of Music at Brooklyn person next year, and to resume concerts in full surround College sound. (http://www.dgeers.com/) This festival is organized in the same way that a live festival would be, with seven days of four concerts per Michael Gogins, composer, Irreducible Productions, day and other events also at scheduled dates and times. New York City We will leave the music online as long as we can, and (http://michaelgogins.tumblr.com) the program book will be downloadable just as it has been in the past. Elizabeth Hoffman, composer, professor at New York University We hope you enjoy NYCEMF 2021! (https://wp.nyu.edu/elizabeth_hoffman/) Hubert Howe, Professor Emeritus of Music at Queens Hubert Howe College Emeritus Professor of Music (https://www.huberthowe.org/) Queens College and the Graduate Center Howard Kenty, composer, Stony Brook University, City University of New York Brooklyn, NY (http://hwarg.com) Judy Klein, composer, New York City Eric Lyon, composer, Professor of Music at Virginia Tech University (http://www.performingarts.vt.edu/faculty-staff/view/eric-ly on) Akio Mokuno, composer and performer, New York City. (www.akiomokuno.com) Michael Musick, composer, Assistant Professor, University of Montana (http://www.umt.edu/mediaarts/fwp_portfolio/michael-mu sick) Dafna Naphtali, composer, performer, educator, New York City (http://dafna.info) Daniel Pate, percussionist (http://www.danielpatepercussion.com/) Tae Hong Park, composer, Music Technologist, New Kerry Hagan York University, New York Fede Camara Halac (http://steinhardt.nyu.edu/faculty/Tae_Hong_Park) Jose Halac Theo Herbst Izzi Ramkissoon, composer and performer, New York Hubert Howe City Wilfried Jentzsch Elsa Justel David Reeder, composer, developer, installation artist, Konstantinos Karathanasis New York City (http://mobilesound.org) Howie Kenty Keith Kirchoff Paul Riker, composer, Lead Audio Development Judy Klein Engineer, Visualization Lab, King Abdullah University of Esther Lamneck Science and Technology Wuan-chin Li Dariusz Mazurowski Meg Schedel, composer, Professor of Music at Stony Akio Mokuno Brook University Jon Nelson (http://www.schedel.net) Joo Won Park Kevin Parks Madeleine Shapiro, cellist, New York City Daniel Pate (https://www.madeleineshapiro.com/) Izzi Ramkissoon David Reeder Joshua Tomlinson, composer Clemens von Reusner (http://www.joshuadtomlinson.com/) Michael Rhoades Robert Rowe Mark Zaki, composer, Professor of Music at Rutgers Jøran Rudi University Margaret Schedel Madeleine Shapiro Jeffrey Stolet Fred Szymanski ______ David Taddie Akira Takaoka Robert Scott Thompson Sever Tipei REVIEWING Joshua Tomlinson Kari Vakeva Beatrix Wagner The New York City Electroacoustic Music Festival Gayle Young gratefully acknowledges the assistance of the following Mark Zaki people, spread across six continents, who helped review the submissions to the festival: ______ Ioannis Andriotis Andrew Babcock NYCEMF logo designed by Matt and Jeremiah Christian Banasik Simpson. Steven Beck Angelo Bello Jason Bolte Lucia Bova Nathan Bowen George Brunner Maja Cerar Patti Cudd James Dashow David Durant Gerald Eckert Ezequiel Eskenazi Javier Garavaglia Travis Garrison Doug Geers John Gibson Michael Gogins Ragnar Grippe Marianne Gythfeldt listening. These we want to call cybernetic listening. The PAPERS artistic practice of human-machine improvisation challenges persisting anthropocentric models of agency and involves “a kind of doubling or mimicry in the machine that works as a powerful disclosing agent for Monday, June 21 assumptions about the human“ (Suchman 2006, 226) and about music, we might add. In practicing cybernetic 11 AM listening, interactive music systems challenge the dichotomy of human/non-human, as composer and scholar George Lewis reminds us of (Lewis 2018, 128). Gil Dori Cybernetic listening is concerned with the systemic Arcos: Generating Real-Time Graphic Notation from qualities of the interactions, understanding interacting Gesture Data machines and humans as “structurally coupled but operationally closed” (Borgo 2016). We can see the One approach to digital real-time scores focuses on interaction of structurally coupled human and machine representation of performance actions. Such notation modes of listening, which form a listening system. Finally should also facilitate sight-reading, and provide the we argue that the focus of cybernetic listening is the performers with easily available information for listening system and that the artistic practices of interpretation on the spot. The paper describes the human-machine improvisation deploy cybernetic modes concepts and compositional process of my recent listening that work as a listening feedback processes. real-time graphic score work Arcos, for cello and augmented violin bow. The work's graphic notation is generated directly from gesture data of various bowing techniques. A Myo armband was used to record cello Tuesday, June 22 bowing data, and the augmented bow's own position tracking module was used to record its motion data. After 11:00 AM processing the data, gestures were visualized on the screen, as a form of real-time graphic notation based on Ian Guthrie imitation. This notational approach—a low-level symbolic Understanding Organized Sound and Abstract representation of gestures—allows for an immediate, Musical Narratives intuitive interpretation on the spot, and provides an instantaneous connection between notation and action. Whether composers today aim to be more traditional or My work also offers a distinct perspective on notation for experimental with the populace, much of avant-garde electronic instruments in the context of real-time electroacoustic music is perceived as offsetting and action-based scores. Finally, the paper discusses the irrelevant. How do composers find ways to convert more premier of Arcos, reflecting on the system design as well people to understand this music? The answer lies in part as on the experience of rehearsing and performing this with a better understanding of aesthetics, and making piece. compromises and generalizations pertaining to the experiences of many demographics. Additionally, how did the composers themselves come to appreciate this music, and why? Unfortunately, misguidance — partially Monday, June 21 from music theorists — may cause the aesthetic confusion. Has music theory in some ways done a 11:30 AM disservice to these more avant-garde approaches, broadening the term “moment form” to encapsulate almost anything with a new form? What do people — Nicola L. Hein composers and audiences alike — actually perceive in Improvising with Listening Machines — Towards a their subconscious? Even before experiments have been Concept of Cybernetic Listening completed, we can confidently theorize answers to these questions, which ought to be addressed regularly and The focus of this paper is on the artistic practice of critically. human-machine improvisation, the collaborative improvisation of human and machine musicians. Can the artistic practice propose modes of listening that are different from and challenge modes of listening propagated by the Euro- American tradition of thought (Suchman 2006, 228) and its art music? We propose that the artistic practice of human-machine improvisation develops and offers modes of listening, which qualitatively differ from anthropocentric models of 7 Tuesday, June 22 Wednesday, June 23 11:30 AM 11:30 AM Candida Borges Filipe Leitão Web Derive 01 - an online Art VR work by the Isaac’s World: An Electronic Work Featuring Audio Transeuntis Mundi Project Samples of a Three-Year Old Child The Transeuntis Mundi (TM) Project explores the Isaac’s World is an electronic piece featuring audio complexity of the millennial human journey and the samples of Isaac, a three-year old, Brazilian and resulting cultural diversity. It investigates how it can be American citizen who speaks both Portuguese
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