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Here 6'42" Sounds Are Derived from Recordings of Woods Or Forests Or from an Acoustic Piano

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Here 6'42 NEW YORK CITY ELECTROACOUSTIC MUSIC FESTIVAL __ VIRTUAL ONLINE FESTIVAL __ www.nycemf.org CONTENTS DIRECTOR’S WELCOME 3 STEERING COMMITTEE 3 REVIEWING 4 PROGRAMS AND NOTES 10 COMPOSERS & AUTHORS 40 PERFORMERS 67 VIDEO ARTISTS 70 DIRECTOR’S NYCEMF 2020 WELCOME STEERING COMMITTEE Welcome to NYCEMF 2020.Just as we were organizing Ioannis Andriotis, composer, lecturer of music our concerts, which were supposed to take place composition and music technology at the University of between June 14 and 21, the United States was hit by Oklahoma. https://www.andriotismusic.com/ the world-wide pandemic of the coronavirus. The entire country went into lockdown, and New York City was the Angelo Bello, composer. https://angelobello.net epicenter of the outbreak. People were forbidden to leave their homes except to get medicine or food (and Nathan Bowen, composer, Professor at Moorpark restaurants were closed, so you could only get take-out). College (http://nb23.com/blog/) Over 40 million people in the USA lost their jobs, and the economy went into a meltdown. George Brunner, composer, Director of Music Technology, Brooklyn College C.U.N.Y. All this has had a major impact on music productions and organizations. The largest musical organizations in Daniel Fine, composer, New York City New York, like the Metropolitan Opera and Philharmonic Orchestra, cancelled their seasons and will not open until Travis Garrison, composer, Music Technology faculty at 2021. All local concert activity ceased, and the only the University of Central Missouri performances that began to take place were virtual (http://www.travisgarrison.com) productions over the internet. A few musical productions have taken place with very small audiences in large Doug Geers, composer, Professor of Music at Brooklyn spaces in order to allow for social distancing, but most College events were simply cancelled. (http://www.dgeers.com/) Thus, we were forced to cancel the in-person concerts for NYCEMF 2020, but we were able to organize this Michael Gogins, composer, Irreducible Productions, virtual presentation. All composers who had works New York City accepted were invited to submit something, and we will (http://michaelgogins.tumblr.com) also allow them to have the same pieces played live next year if they wish. As you can see, we have an Elizabeth Hoffman, composer, professor at New York extraordinary group of pieces presented in this way. University (https://wp.nyu.edu/elizabeth_hoffman/) We will miss some of the unique features that we have always had in previous festivals, particularly the Hubert Howe, Professor Emeritus of Music at Queens opportunity to hear works in surround sound and with College some of the special ambisonic qualities that some works (https://www.huberthowe.org/) use, as well as the opportunity to have sound installations and live performances. But we will return to Howard Kenty, composer, Stony Brook University, these as soon as we are able to resume our normal Brooklyn, NY (http://hwarg.com) activities. Judy Klein, composer, New York City The festival is organized into concerts just like they would have been if we had presented them in person. I Eric Lyon, composer, Professor of Music at Virginia encourage you to listen to everything on the festival, and Tech University you can do so as long as we are able to leave the festival (http://www.performingarts.vt.edu/faculty-staff/view/eric-ly on line. Enjoy! on) Akio Mokuno, composer and performer, New York City. Hubert Howe (www.akiomokuno.com) Emeritus Professor of Music Queens College and the Graduate Center Michael Musick, composer, Assistant Professor, University of Montana City University of New York (http://www.umt.edu/mediaarts/fwp_portfolio/michael-mu sick) 5 Dafna Naphtali, composer, performer, educator, New David Durant York City (http://dafna.info) Gerald Eckert Enzo Filippetti Daniel Pate, percussionist Javier Garavaglia (http://www.danielpatepercussion.com/) Travis Garrison Doug Geers Tae Hong Park, composer, Music Technologist, New Michael Gogins York University, New York Susie Luna Green (http://steinhardt.nyu.edu/faculty/Tae_Hong_Park) Joel Gressel Ragnar Grippe Izzi Ramkissoon, composer and performer, New York Marianne Gythfeldt City Kerry Hagan Fede Camara Halac David Reeder, composer, developer, installation artist, Jose Halac New York City (http://mobilesound.org) Jocelyn Ho Elizabeth Hoffman Paul Riker, composer, Lead Audio Development Eric Honour Engineer, Visualization Lab, King Abdullah University of Hubert Howe Science and Technology Konstantinos Karathanasis Howie Kenty Meg Schedel, composer, Professor of Music at Stony Keith Kirchoff Brook University Judy Klein (http://www.schedel.net) Esther Lamneck Wuan-chin Li Madeleine Shapiro, cellist, New York City Dariusz Mazurowski (http://www.modernworks.com/) Mikako Mozuno Jon Nelson Joshua Tomlinson, composer Benjamin O’Brien (http://www.joshuadtomlinson.com/) Joo Won Park Sylvia Pengilly Mark Zaki, composer, Professor of Music at Rutgers Izzi Ramkissoon University Clemons von Reusner Robert Rowe Joran Rudi Margaret Schedel ______ Madeleine Shapiro Jeffrey Stolet Fred Szymanski David Taddie REVIEWING Arturo Tallini Akira Takaoka Robert Scott Thompson The New York City Electroacoustic Music Festival Sever Tipei gratefully acknowledges the assistance of the following Joshua Tomlinson people, who helped review the submissions to the Yu-Chung Tseng festival: Kari Vakeva Beatrix Wagner Marc Ainger Rodney Waschka Ioannis Andriotis Samuel Wells Andrew Babcock Mark Zaki Steven Beck Angelo Bello ______ Jason Bolte Lucia Bova Nathan Bowen NYCEMF logo designed by Matt and Jeremiah Maja Cerar Simpson. Se-Liang Chuang Eleonora Claps Patti Cudd James Dashow 6 CONCERT PROGRAMS AND NOTES 7 in the piece is different from the next in that, in some Concert 1 cases their sound results only appear in fragmentary form. The first rest structure can be taken as an example (2:00 to 2:30). This part, which was actually generated Program without a rest, was more or less cut out. i.e. only a fragment of the original structure remains. In other Gerald Eckert cases, only the initial moments of the processes form the Diaphne 10'55" sound strata. For example, in the final quarter of the piece is dominated by an echoing sound structure, which Ali Balighi is repeated four times with periods of varying lengths. Khaneh Haftom 5'55" Further structural changes are a result of differing transpositions, which sound at the same time as the Andrew Davis “looped” originals, resulting in varying running times. Poetry of the Earth 10' Ali Balighi, Khaneh Haftom Charles Rainville his piece is a free perception from a well-known woodcut Nuée Décors 11'02" which was made by a famous German artist Kathe Kollwitz. this piece, a woman sings a lullaby to her child, and at the same time she speaks of her own pain and Connor J. Simpson suffering. This piece was selected by 4th Electroacoustic Panic 4'46" music composition competition Reza Korourian Awards 2019. Daniel Eichenbaum Record 10'30" Andrew Davis, Poetry of the Earth For Poetry of the Earth, I wanted to create an immersive Jerod Somerfeldt environmental experience. Nearly all of the electronic They Weep Here 6'42" sounds are derived from recordings of woods or forests or from an acoustic piano. Very little of the piece is Jay Afrisando created synthetically. However, many of these natural Unklang-Angklung 11'36" and acoustic sounds have been manipulated to create a quasi-dreamlike feel. Poetry of the Earth was written for Mirko D'Agostino my good friend and saxophonist Andrew Harrison. 4 Palmi 8'13" Charles Rainville, Nuée Décors James Moorer Nuée Décors is a composition that oTers awareness of The Man in the Mangroves Counts to Sleep 13'17" our environment and the bodies that compose it as one of the keys to understanding it, creating awareness and taking action within it. With an eclectic trait, this piece borrows recorded organic sounds, instrumental sounds Program Notes as well as sound synthesis. These allow the experimentation of the possible links between the Gerald Eckert, Diaphane sounds of concrete nature and synthetic sounds which in Diaphane (Diaphanous) for 2-track tape was composed my opinion refer to the human environment of our time. in 1995 at the ICEM at the FolkwangHochschule. The title (cf. diaphan - diaphanous) is to be understood as a Connor J. Simpson, Panic concept. A stratum which is in itself complex and has Panic was recorded and produced within the recording been composed using various means is overlayered by studio of Penn State University. The sounds of many several different strata or expressed as an association: a alarm and alert sounds such as an IPhone's default surface changes its form due to the simultaneous ringtone and text tone were recorded and edited. For appearance of different-coloured lights refracted by a some people these raw sounds can cause anxiety or prism. The result is the overlapping of two different kinds distress, however this piece seeks to conquer this stress of structures comparable to the interference of two by slowing down and manipulating these sounds to pieces of film laid over each other. This happens in create an intense yet intimate soundscape." “Diaphane” at carefully chosen points which, temporally, are uniquely related. This work was composed using Daniel Eichenbaum, Record various kinds of technology. The “concrete” sound In 1977, the Voyager I and II spacecraft were launched material was won from the sounds of percussion, speech on a mission to explore the outer planets of our solar and machines and was digitally revised using various system. The launch trajectory was such that after their programmes. The sound structure was created with the mission, the two spacecraft would end up in interstellar synthesiser programme Csound. Each individual process space. Knowing these craft could potentially be found by 8 an alien intelligence, Carl Sagan led a team of scientists, world goes and our life that passes touches their hearts." artists, and engineers to assemble a gold-plated record containing greetings, music, and sounds from the planet Jay Afrisando, Unklang-Angklung Earth that was then affixed to each of the Voyagers.
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