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11-3-2017 Third Practice Electroacoustic Music Festival Department of Music, University of Richmond

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Recommended Citation Department of Music, University of Richmond, "Third Practice Electroacoustic Music Festival" (2017). Music Department Concert Programs. 505. https://scholarship.richmond.edu/all-music-programs/505

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Christopher Chandler Acting Director

WELCOME to the 2017 Third festival presents works by students Practice Electroacoustic Music Festi­ from schools including the University val at the University of Richmond. The of Mary Washington, University of festival continues to present a wide Richmond, University of Virginia, variety of music with technology; this Virginia Commonwealth University, year's festival includes works for tra­ and Virginia Tech. ditional instruments, glass harmon­ Festivals are collaborative affairs ica, chin, pipa, laptop orchestra, fixed that draw on the hard work, assis­ media, live electronics, and motion tance, and commitment of many. sensors. We are delighted to present I would like to thank my students Eighth Blackbird as ensemble-in­ and colleagues in the Department residence and trumpeter Sam Wells of Music for their engagement, dedi­ as our featured guest artist. cation, and support; the staff of the Third Practice is dedicated not Modlin Center for the Arts for their only to the promotion and creation energy, time, and encouragement; of new electroacoustic music but and the Cultural Affairs Committee also to strengthening ties within and the Music Department for finan­ our community. To that end, we take cial support. I am also grateful for great pleasure in presenting a Virginia the support of Ben Broening who exchange concert featuring under­ has, for the last four years, entrusted graduate and graduate student works me with much of the festival he from all around the state. This year's began seventeen years ago. •

Installation ...... 2 Featured Artist ...... 6 Concert Four ...... 28

Schedule Concert One ...... 7 Concert Five ...... 32 Overview ...... 3 Concert Two ...... 14 Concert Six ...... 36 Ensemble-in- Residence ...... 4 Concert Three ...... 22

UNIVERSITY OF RICHMOND 1 RESONANT SPACES: BELL TOWER Tim Feeney

FRIDAY, NOVEMBER 3, 2017 SATURDAY, NOVEMBER 4, 2017 3:30-5:00 pm 4:00-5:30 pm Westhampton Lake Jenkins Greek Theatre

RESONANT SPACES is a series of and interfere with one another. At installation works creating an elec­ a distance, this texture fades into troacoustic sound environment using and blends with that of the natural resonant "speaker-objects" built by soundscape generated by crickets, attaching small speakers to snare birds, and nearby pedestrian and drums. The size, shape, and tuning of auto traffic. At close range, the sound each drum filter these sounds, which of an individual drum saturates its are further affected by the geometry siting location. and construction of the surrounding These sounds arrange themselves space. The resultant sounds of these in the form of a clock, such that dif­ hybrid electronic and acoustic instru­ ferent beacons arrive together at the ments activate the resonant frequen­ quarter and half hour. When all four cies of their locations, delineating the are speaking at the top of the hour, physicality of a surrounding environ­ their combined sound reproduces the ment defined both by its architecture resonant frequencies of the bell in and materiality. the Boatwright Library tower. Bell Tower stages sounds around Participants stopping to listen to a the hiking trails and common space beacon in one location experience the near Westhampton Lake, and when interaction between nearby and far­ sounding together fade into an away reflections, and carve their own irregular droning texture, as dif­ physical and aural path through the ferent overtones collide, reinforce, space over the duration of the event. • !l.iM$1 Artistic Director Production Manager, Technical Assistants Benjamin Broening Modlin Center for the Arts Becky Brown Sean Farrell Reuben Davis Acting Director Mike Dietrick Christopher Chandler Assistant Production James Kim Manager, Modlin Technical Director Roshan Sen Center for the Arts Matthew McCabe Xavier McCormick Robert Richards Associate Graphic Design and Program Design Technical Director Pre-Concert Animations Sarah Barton Nick Mobley John Malinoski

2 THIRD PRACTICE 2017 FESTIVAL SCHEDULE OVERVIEW

FRIDAY, SATURDAY, NOVEMBER 3, 2017 NOVEMBER 4, 2017

11:00 am CONCERT ONE, 11:00 am CONCERT FOUR, CAMP CONCERT HALL CAMP CONCERT HALL Virginia Exchange Music of Austin, Music of Belolipetski, Brown, McCabe, Bouchard, Bukvic, Neikirk, Thompson, Cole, Dragone, Hale, and Stebbins Mullany, and Robertson 3:00pm CONCERT FIVE, 2:00pm CONCERT TWO, PERKINSON PERKINSON RECITAL HALL RECITAL HALL featuring Sam Wells featuring Sam Wells Music of Ashby, Music of Broening, Bratt, Burtner, Carroll, Chan, Snyder, and Olson Chandler, and Ernste 7:30pm CONCERT SIX, 7:30pm CONCERT THREE, CAMP CONCERT HALL CAMP CONCERT HALL featuring Sam Wells Music of Alvarez, and Eighth Blackbird Choi, Cox, Fieldsteel, Music of Chen, Liberatore, Park, Davis, Joachim, Pezzulo, and Shen Joyce, Kouyoumdjian, Negron, Nguyen, Reid, and Shatin

Tickets are not required for Third Practice events.

UNIVERSITY OF RICHMOND 3 Eighth Blackbird Nathalie Joachim, flutes Michael Maccaferri, clarinets Yvonne Lam, violin and viola Nick Photinos, cello Matthew Duvall, percussion Lisa Kaplan, piano

EIGHTH BLACKBIRD is "one of the Eighth Blackbird first gained wide smartest, most dynamic contem­ recognition in 1998 as winners of the porary classical ensembles on the Concert Artists Guild Competition. planet" (Chicago Tribune). Launched Over the course of two decades, by six entrepreneurial Oberlin Con­ the group has commissioned and servatory undergraduates in 1996, premiered hundreds of works by this Chicago-based supergroup has composers such as David Lang, earned its status as "a brand-name ... Steven Mackey, Missy Mazzoli, and defined by adventure, vibrancy and Steve Reich, whose Double Sextet quality.... known for performing from went on to win the 2009 Pulitzer memory, employing choreography Prize. A longterm relationship with and collaborations with theater Chicago's Cedille Records has pro­ artists, lighting designers and even duced eight acclaimed recordings puppetry artists" (Detroit Free Press). and four Grammy Awards for Best

4 THIRD PRACTICE 2017 FESTIVAL Small Ensemble/Chamber Music Ensemble-in-Residence position Performance, most recently in 2016 at the University of Richmond. The for Filament. They were named Music 201516 season featured a pioneering America's 2017 Ensemble of the Year, residency at Chicago's Museum of and in 2016 were the inaugural recip­ Contemporary Art: a Living installa­ ients of Chamber Music America's tion with open rehearsals, perfor­ Visionary Award and the prestigious mances, guest artists, and public MacArthur Award for Creative and talks. In 2017, Eighth Blackbird Effective Institutions. Launched its boldest initiative yet with Eighth Blackbird's 2017-18 season the creation of Blackbird Creative marks debuts in Turin, Milan, Buda­ Laboratory, a tuition-free, two-week pest, with the Philadelphia Orchestra summer workshop and performance and Cincinnati Ballet, tours through festival for performers and compos­ 11 states, and the release of Olag6n, ers in Ojai, CA. a new album featuring music by Dan Eighth Blackbird's members hail Trueman, poetry by Paul Muldoon, from the Great Lakes, Keystone, and sean nos singer larla 6 Lionaird. Golden, Empire and Bay states. The Eighth Blackbird celebrated its 20th name "Eighth Blackbird" derives anniversary in 2016 with tours of from the eighth stanza of Wallace music from Filament and Hand Eye, Stevens's evocative, imagistic poem, as well as keystone performances Thirteen Ways of Looking at a Black­ celebrating Steve Reich's BOth birth­ bird: "I know noble accents I And day, a fresh round of raucous shows Lucid, inescapable rhythms; I But with "Appalachian postpunk solipsist" I know, too, I That the blackbird is (The Wanderer) Will Oldham (Bonnie involved I In what I know." • Prince Billy), and world premieres by Holly Harrison, Pulitzer Prize-winner eighthblackbird. org David Lang, and Ned McGowan. Eighth Blackbird's mission-mov­ Eighth Blackbird is managed by David ing music forward through innova­ Lieberman Artists, Hazard Chase and tive performance, advocating for Paola Castellano. new music by Living composers, and creating a Legacy of guiding an Nathalie Joachim is a Burkart Flutes & emerging generation of musicians­ Piccolos artist, Michael J. Maccaferri extends beyond recording and tour­ is a D'Addario Woodwinds Artist. Mat­ ing to curation and education. The thew Duvall proudly endorses Pearl ensemble served as Music Director Drums and Adams Musical Instru­ of the 2009 Ojai Music Festival, has ments, Vic Firth Sticks and Mallets, held residencies at the Curtis Insti­ Zildjian Cymbals, and Black Swamp tute of Music and at the University Percussion Accessories. Lisa Kaplan of Chicago, and holds an ongoing is a Steinway Artist.

UNIVERSITY OF RICHMOND 5 award, and his work, stringstrung, is the winner of the 2016 Miami Inter­ national Guitar Festival Composi­ tion Competition. He has performed electroacoustic works for trumpet and presented his own music at the Bang on a Can Summer Festival, Chosen Vale International Trumpet Seminar, Electronic Music Midwest, Electroacoustic Barn Dance, NYCEMF, N_SEME, and SEAMUS festivals. Sam and his music have also been fea­ tured by the Kansas City Electronic Music and Arts Alliance (KcEMA) and SAMUEL WELLS is a composer, Fulcrum Point Discoveries. Sam is a performer, and music technologist member of Arcus Collective, Kludge, based in New York City. As an advo­ and SPLICE Ensemble. Sam has cate for new and exciting music, he performed with Contemporaneous, actively commissions and performs Metropolis Ensemble, TILT Brass, the contemporary works. Owensboro Symphony Orchestra, and Sam has performed throughout the Colorado MahlerFest Orchestra. the North America, as well as in Sam has degrees in both per­ China and France. He has also been a formance and composition at the guest artist/composer at universities University of Missouri-Kansas City, throughout North America, including and graduate degrees in Trumpet Western Michigan University, Western Performance and Computer Music University of Ontario, and Northern Composition at Indiana University. Arizona University. He is a recipient He is on faculty at SPLICE Institute of a 2016 Jerome Fund for New Music and Molloy College. •

6 THIRD PRACTICE 2017 FESTIVAL FRIDAY, NOVEMBER 3, 2017 AT 11:00 A.M. CAMP CONCERT HALL, BOOKER HALL OF MUSIC CONCERT ONE Virginia Exchange

Drifts ...... Tiffany Valvo, clarinet Ben Luca Robertson, 6'

Song for Many Paths ...... fixed media Sara Bouchard, 3'

An Ending (Ascent/ ...... L20rk Brian Eno, arr. by lvica leo Bukvic, 4'

Fluorescent Nights ...... L20rk Brandon Hale, 5'

Between ...... L20rk lvica leo Bukvic, 7' Alex Petrovsky, guitar

Enveloped ...... fixed media Galina Belolipetski, 3.5'

Plain ...... video Sam Mullany, 4'

Some Women ...... fixed media Kelly Cole, 6'

Atria and Aortas ...... ensemble and live electronics Drake Dragone, 6' Caroline Flynn and Lily Flores, vocals Danny Arslan, piano L20rk Cole Masaitis, guitar Zack Andraka, Galina Stephen Hennessey, bass guitar Belolipetski, Cam Buss, Luke Payne, cello Francisco A. Coronel, Tyler Ryan Goodrich, trumpet Epting, Harrison Gertler, Levi Manuel, vibraphone Brandon Hale, Kaleb Jubar, Reed Koser, Alex Drake Dragone, violin/percussion Petrovsky, Alec Williams

lvica leo Bukvic, Director

UNIVERSITY OF RICHMOND 7 FRIDAY, NOVEMBER 3, 2017 AT 11:00 A.M. CAMP CONCERT HALL, BOOKER HALL OF MUSIC PROGRAM NOTES

BEN LUCA ROBERTSON, Drifts American migration. I recorded the The unique spectral characteristics song while walking alone at night of the clarinet play a defining role in through various terrain: tall grass, the composition of Drifts. Analysis of mud, gravel road, dead leaves. I then the overtone structure of notes gen­ layered the recordings together so erated in the Chalumeau and "throat" that the many iterations of the song registers arguably exhibit the most begin in unison and gradually drift compelling and indelible traits of the out of sync due to variations in tempo. instrument, as well as subsequent Landscape and movement not only potential for harmonic extension. In supply the inspiration and subject composing for this unique spectra, of the song but the backing rhythm consideration for concurrent over­ as well. With each speaker contain­ tone interactions was essential in ing one walk, the installation in turn establishing a coherent vertical creates its own soundscape. structure for the piece, as well as recreation of resultant microtones GAUNA BELOLIPETSKI, dwelling in the strange and beauti­ Enveloped ful, upper reaches of the harmonic This piece is a result of a week of series. Defining salient interactions recording sounds across the uni­ between concurrent notes, as well versity, that have now been altered as the partials that make up these and manipulated to be placed in the notes, poses an inimitable challenge piece. The idea for this piece came when designing both an interactive from the desire of creating a slightly system and managing resultant tonal uncomportable but strangely wel­ permutations. In this capacity, elec­ coming atmosphere. It is meant to tronics are employed to both reflect keep the audience engaged and on and augment these structures. To their toes for the entire duration for aid in this process, the composer the piece. It is organized into three utilizes spectral roughness modeling sections, the introduction, the middle, as a means to both quantify sensory and the ending. The introduction is dissonance between simultaneously meant to give the audience a short sounding spectra and create a tuning taste of the sounds that are to be structure tailored to the most unique manipulated for the rest of the piece, facets of the instrument. to make them feel more at ease as the repetition continues. The middle SARA BOUCHARD, section is meant to break that contin­ Song for Many Paths uous nature, and make the audience Song for fvfany Paths is an original feel slightly confused and shocked. spiritual invoking the history of The ending is meant to combine the

8 THIRD PRACTICE 2017 FESTIVAL shocking section and the comforting documentation of it's own making, a repetitive section, in order to give the self-portrait of itself. audience a means of solid conclu­ sion, and bring in elements of the KELLY COLE, Some Women first two sections. Some Women samples a personal interview between two women in SAM MULLANY, Plain the form of six fixed media poems. It Plain began as a reinterpretation examines the stigma against discuss­ of various elements of John Ash­ ing female sexuality freely in our soci­ bery's Self Portrait In A Convex Mirror, ety and reveals many unsettling truths a poem where he examines a Renais­ through the musings and thoughts of sance painting of the same name by a young female in her twenties. Parmigianino. I was attempting to represent, through drawn animation, DRAKE DRAGONE, the creation of the self-portrait from Atria and Aortas the artist's perspective. The anima­ If those thoughts have ever haunted tion quickly became a self-referential you, please don't.

PERFORMER BIOGRAPHIES

TIFFANY Festival, Boston University Tanglewood VALVO Institute, the Eastern Music Festival, A vibrant perform­ and the CCM Spoleto festival in Spoleto, er and teacher, Italy. Tiffany has become a sought after Dr. Tiffany Valvo performer of contemporary repertoire, is currently the and she is dedicated to performing Assistant Profes­ and teaching this music. In July 2012 sor of Clarinet at Virginia Common­ she was chosen to participate in the wealth University. Tiffany has been Creative Dialogue workshop at the a lecturer of music at both Nazareth Sante Fe Music Festival, and in March College and Syracuse University, and of the same year she performed small has performed at the Sante Fe Cham­ chamber works by living composers ber Music Festival, the Kennedy Center, at the Kennedy Center in Washington. with the Richmond Symphony, Roch­ Fueled by teaching and learning, ester Philharmonic Orchestra and Tal­ Tiffany has taught applied clarinet, lahassee Symphony Orchestra, has methods courses, chamber music, been on international tours with the aural skills and music theory. Her American Wind Symphony Orchestra, varied teaching experiences have and a participant in the Brevard Music served as a catalyst for examining ~

UNIVERSITY OF RICHMOND 9 FRIDAY, NOVEMBER 3, 2017 AT 11:00 A.M. CAMP CONCERT HALL, BOOKER HALL OF MUSIC

the ways in which we can build con­ collaboration found in the western nections between the applied stu­ classical orchestra through the use of dio and other disciplines in music. innovative human-computer interac­ Tiffany has presented on this topic tion technologies for the purpose of at both the International Clarinet exploring an integrative approach to Association Conference and the design, engineering, arts, and science. Pedagogy of Theory Conference. Tif­ Founded by Dr. lvica leo Bukvic in fany holds a Doctor of Musical Arts May 2009, L20rk is part of the inter­ degree and Master of Music degree disciplinary initiative by the Virginia in Performance and Literature from Tech Digital Interactive Sound & the Eastman School of Music and a lntermedia Studio [DISIS) and the Bachelors Degree in Clarinet Per­ Institute for Creativity, Arts, and formance from Florida State Univer­ Technology [!CAT). As the world's sity, with additional chamber music first Linux-based laptop orchestra studies completed at the Trossingen incorporating extensive study of ges­ Hochschule fur Musik, Germany with ture and Taiji [Tai Chi) choreography Israeli clarinetist Chen Halevi. Her L20rk offers optimal infrastructure other teachers include Kenneth for creative research at minimal cost. Grant, Jon Manasse, Frank Kowal­ By providing a seamless integra­ sky and Deborah Bish. tion of arts and sciences it is in part designed to bridge the gap between STEM and the Arts, with particular focus on K-12 education. Since its inception, L20rk has helped start seven laptop orches­ tras in North and South Americas, many of which rely heavily on its affordable design. L20rk's infra­ structural backbone Pd-L20rk L20RK visual programming environment Named as one of the top six national with its unique K-12 learning mod­ transdisciplinary exemplars (a2ru, ule has been utilized in dozens of 2015), and one of the top eight K-12 Maker workshops, including the research projects at Virginia Tech 2014 Raspberry Pi Orchestra sum­ [OCist, 2014), a contemporary mul­ mer gifted program and is currently timedia ensemble Linux Laptop used around the world by thousands Orchestra or L20rk [pronounced of artists, designers, researchers, as 'lohrk'l, explores unique form of and educators.

10 THIRD PRACTICE 2017 FESTIVAL COMPOSER BIOGRAPHIES

GALIN A SARA BELOLIPETSKI BOUCHARD Composer, violin­ Sara Bouchard ist, and research­ is a multidisci­ er, Galina Beloli­ plinary artist ex­ petski is a stu­ ploring the inter­ dent at Virginia section of sound, Tech, studying computer science and story and environment through per­ music composition. In her work, she formance, audio, installation and incorporates traditional music theory songwriting. Born in Stockton, CA. and interdisciplinary research. Her Bouchard received her BA from Yale recent pieces have been for small University in 2003, and was subse­ chamber ensembles, solo instru­ quently based in New York City until ments, Wiimotes, and computer. this falL She has exhibited and per­ Galina's recent work has been per­ formed across the Northeast and in­ formed at the Cube at the Moss Arts ternationally, including at The Center Center located at Virginia Tech, at for Book Arts and The American Folk the Electroacoustic Barn Dance at Art Museum in New York, as well as the University of Mary Washington, in the Berlin Underground. Bouchard and at various small concert halls at also leads the musical group Salt Pa­ Virginia Tech. She is also continuing rade on voice and mandolin, a project work on an interdisciplinary research which builds upon American roots project where the team is analyzing music traditions. She is currently an large quantities of music scores to MFA student at Virginia Common­ extract pattern recognition informa­ wealth University in the School of tion from classical composers; cur­ Art's Kinetic Imaging department. rently, she is developing a MusicXML www.sarabouchard.com -7 to natural language description of a piece of music.

UNIVERSITY OF RICHMOND 11 FRIDAY, NOVEMBER 3, 2017 AT 11:00 A.M. CAMP CONCERT HALL, BOOKER HALL OF MUSIC

IVICA ICO sity, 2011]. Excellence in Research BUKVIC and Creative Scholarship Award (VT The work of CLAHS, 2011]. XCaliber Award (VT, sound artist and 2010]. Best Animated Short (San researcher lvi­ Francisco, 2009]. and the Creative ca leo Bukvic (b. Achievement Award (VT CAUS, 2009). 1976) is driven by the ubiquitous interactivity. Bukvic's KELLY COLE output encompasses aural, visual, Kelly M. Cole is acoustic, electronic, performances, an undergradu­ installations, technologies, research ate student at the publications, presentations, grants, Schwab School patent disclosures, and awards. His of Music. She is most recent work focuses on audio nearing comple­ spatialization, exploring connections tion of her BA in Voice, and will among the arts and human health, graduate with dual concentrations and recontextualizing STEM K-12 in Audio Technology and Commu­ education through innovative ap­ nications. She studies voice with Dr. proaches to creativity and technology. Michelle DeBruyn and electroacous­ Dr. Bukvic is currently an associ­ tic composition and audio engineer­ ate professor of music technology in ing with Dr. Matthew McCabe. She is Virginia Tech's School of Performing an active member of the CSU Honors Arts where he serves as the founder College and Lambda Sigma Chap­ and director of the Digital Interactive ter of the women's music frater­ Sound and lntermedia Studio (DISIS) nity Sigma Alpha Iota. She holds a and the Linux Laptop Orchestra student scholarship in the St. Luke (L20rk), Institute for Creativity, Arts, United Methodist Chancel Choir. She and Technology's Senior Fellow, and also hosts the weekly radio show a member of the Center for Human­ Don't Call it a Comeback on 88.5 FM Computer Interaction with a courtesy WCUG Cougar Radio and is the cre­ appointment in Computer Science. ator of the You Tube series Tell Me A Recent recognition include L20rk Story, Columbus. being recognized as one of the top six transdisciplinary projects in the DRAKE United States (a2ru, 2015), and as DRAGONE one of the eight top research proj­ Drake Dragone ects at Virginia Tech (DCist, 2014). AL is a composer, Light & Architecture Design Award performer, and (New York, 2013), first place in the multi-instrumen­ First International Laptop Orches­ talist from Rich­ tra Competition (Montana Univer- mond, Virginia. His works have been

12 THIRD PRACTICE 2017 FESTIVAL described as "fascinating textural sions of Ponderosa pine trees, basalt creations, which invoke introspective outcroppings, vacant lots, and rel­ feelings and senses of ethereal won­ ics of boomtown decay continue to der." Drake, who has studied with haunt his work. Ben holds a MAin Mark Snyder, is currently studying Music Composition from Eastern at the University of Mary Washing­ Washington University and a BA from ton with Michael Bratt where he will the Evergreen State College. In the graduate with a BA in Music in the Summer of 2015, he was appointed Spring of 2019. to a guest research position at the Tampere Unit for Computer-Human SAM MULLANY Interactions [TAUCHI) in Finland and Sam Mullany is a recently collaborated with the Uni­ multi-media art­ versity of Idaho Water Resources ist and musician Department to sonify migratory interested in ex­ patterns of Chinook salmon. As an perimental and educator, Ben has taught courses non-narrative in composition, music technology, film-making, sound's role in physi­ and instrument design. His music cal environments, and recombina­ has been performed both region­ tion as a process of creating music ally and abroad, including the New or art. From Rappahanock County, York Reembodied Sound Symposium, VA, Sam is currently living in Rich­ Olympia Experimental Music Festival, mond, and enrolled in VCU's Kinetic Pritchard Gallery, Seattle Magma Imaging department. Fest, and Sound & Music Comput­ ing Conference in Maynooth, Ireland. BEN LUCA Ben is currently pursuing a PhD in ROBERTSON Composition & Computer Technolo­ Ben Luca Rob­ gies at the University of Virginia. • ertson is a com­ poser, experi­ mental luthier, and co-founder of Aphonia Recordings. His work addresses an interest in autonomous processes, landscape, and biological systems-often by supplanting nar­ rative structure with an emphasis on the re-embodiment of sound, spec­ tra, and microtonality. Growing up in the dry, expansive landscapes of the inland Pacific Northwest, impres-

UNIVERSITY OF RICHMOND 13 FRIDAY, NOVEMBER 3, 2017 AT 2:00P.M. PERKINSON RECITAL HALL, NORTH COURT

CONCERT TWO featuring Sam Wells and Andrea Cheeseman

Of the Moon, Under the Moon ...... Sam Wells, trumpet Nicole Carroll, 12'

tempora mutantur ...... Andrea Cheeseman, clarinet Chin Ting Chan, 8.5'

from these old roots ...... fixed media Christopher Chandler, 12'

The Awful Grace ...... Wendy Richman, viola Ill. Only when it is dark enough Tim Feeney, percussion can you see the stars Kevin Ernste, 1o·

Arioso/Doubles ...... Andrea Cheeseman, clarinet Benjamin Broening, 7'

PROGRAM NOTES

NICOLE CARROLL, tinuous underlying drone, representing Of the Moon, Under the Moon the moon's omnipresence. Additional Of the Moon, Under the Moon was layers are environmental soundscapes inspired by divination folklore and and videos representing each element: hermetic occult philosophies. Pitch earth, air, fire, and water, which are and amplitude content for the acoustic temporally mapped to correspond­ trumpet part, as well as live process­ ing moon phases, as detailed in W.B. ing and audio synthesis parameters, Yeats's "A Vision." Parameters change are derived by mapping lunar data as the mapping system moves through from NASA's Horizons Ephemeris Sys­ each of the 28 days of the lunar cycle. tem. The trumpet is accompanied by This piece was written for Sam Wells, sonified lunar data that provides a con- for premiere at SPLICE in 2016.

14 THIRD PRACTICE 2017 FESTIVAL CHIN TING CHAN, various implements [e.g., fingertips, tempora mutantur fingernails, wooden mallets, hair "Tempora mutantur" is a Latin phrase brushes, etc.) and physical gestures meaning "the times are changed." or techniques [e.g., striking, quick It is usually stated in a hexametric scrapes, circular motions, granu­ form, followed by another phrase lar tremoli, etc.l. I organized these ''nos et mutamur in illis," meaning improvisatory materials not only "we too are changed in them." This through standard sequencing meth­ piece is one in a series of electro­ ods but also through some custom acoustic pieces relating to the motion software developed in SuperCollider of time and its effects on sounds. that enables algorithmic generation Aside from working primarily with and patterning. time-based DSP effects, the idea of the motion of time is also promi­ KEVIN ERNSTE, The Awful Grace nent in how the composer systemati­ The Awful Grace is an [as yet unfin­ cally structured the composition in ished) half-evening-length work, an its harmonic content as well as its allegory and contemporary interro­ overall pace. gation of American racial unity/divi­ This piece is commissioned by sion, rooted in the historical moment and written for clarinetist Pei-Lun of a speech given by Robert Ken­ Tsai. The fixed sample playbacks nedy on April 4th 1968, informing used are pre-recorded clarinet his Indianapolis audience of Martin sounds and synthesized materials. Luther King's assassination earlier Live processing techniques such as that day. In his address, Kennedy feedback delay, chorusing, flanging, quotes Aeschylus's Oresteia [458 BC), harmonizer and granular synthesis a work on the nature of justice, con­ are also employed throughout most trasting the Furies' vicious cycles of of the sections. retaliation and revenge with Orestes' desire for objectivity and fairness. CHRISTOPHER CHANDLER, The quote, which would later appear from these old roots as Kennedy's own epitaph, calmed from these old roots exists in two ver­ the angry and confused mixed-race sions, one for two saxophones and crowd ... unlike elsewhere in the coun­ electronics and the other for fixed try where violent riots were a more media presented here at Third Prac­ common response. tice. In both versions, the electron­ This performance presents ics feature a variety of closely mic'd the piece's last section, Part Ill, percussion instruments, in particular exploring the horror and ensuing the bass drum. My focus while creat­ calm of that historical moment. ing the source material for the piece The duo instrumentation echoes was to activate the bass drum with the Aeschylean dramaturgy of ~

UNIVERSITY OF RICHMOND 15 FRIDAY, NOVEMBER 3, 2017 AT 2:00P.M. PERKINSON RECITAL HALL, NORTH COURT

protagonist and antagonist with 'off­ tive-like passages, short melodic stage chorus' --here represented by phrases and longer, more strongly the unmanned piano. The electron­ characterized lines. ics echo the original text, derived Arioso/Doubles is the third work from the piano-resonated vowels of in a series of pieces for solo instru­ . Kennedy's voice gradually infused ment and computer. Doubles is a with King's. term used in 17th and early 18th century French music for a tech­ BENJAMIN BROENING, nique of variation in which more Arioso/Doubles or less elaborate ornamentation is Arioso/Doubles was commissioned added to the original melody, while for Arthur Campbell by the Band and the supporting harmonies remain Orchestral Division of the Yamaha constant. The Doubles series takes Corporation of America. Its title this idea as its starting point and reflects the piece's indebtedness applies the variation technique to to vocal music, and to 17th century the timbre of the soloist as well opera in particular. The piece is as the pitched material. The com­ not meant to evoke the harmonic puter also responds to the clarinet's or stylistic language of early-to­ music; sometimes confirming [dou­ mid 17th Italian opera. Rather, the bling] and summarizing, sometimes title refers to changing nature of extending, altering or recontextu­ the melodic line that moves flu­ alizing the clarinet's melodic and idly among declamatory or recita- harmonic material.

PERFORMER BIOGRAPHIES

ANDREA electroacoustic music, she has CHEESEMAN received invitations to perform at Dr. Andrea Chee­ diverse festivals such as the Electro­ seman is Profes­ acoustic Barn Dance, SEAMUS, Third sor of Clarinet at Practice, National Flute Association Appalachian State Conventions and the Oklahoma Clari­ University. Aver­ net Symposium. satile performer, Cheeseman appears Prior to her appointment at ASU, regularly as a soloist and collabora­ Cheeseman was on the faculties of tive musician locally and nationally. Delta State University, Alma College As an advocate of new music and and Hillsdale College. Cheeseman a specialist in the performance of earned the Doctorate of Musical Arts

16 THIRD PRACTICE 2017 FESTIVAL and Master of Music degrees in clari­ Talitres labels. net performance from Michigan State He was a founding member of the University and the Bachelor of Music quartet So Percussion, a member degrees in clarinet performance and of Boston's Callithumpian Consort, music education from Ithaca College. and performed with Rinde Eckert When not teaching or perform­ in his Pulitzer-nominated Orpheus ing, Cheeseman spends her time X, directed by Robert Woodruff and gardening, swimming and practicing staged at the American Repertory ashtanga yoga. Theater, the off-Broadway Duke The­ atre on 42nd Street, and the 2008 TIM FEENEY Hong Kong International Festival. Composer/per­ Most recently, he has performed former Tim Fee­ in quartet and large ensembles with ney frequently composer and saxophonist Anthony collaborates with Braxton, with whom he recorded expe rime nta l for the Tri-Centric Foundation for musicians and release in 2017. improvisers including the trio Merid­ Tim is currently Assistant Profes­ ian, with percussionists Sarah Hen­ sor of Percussion at the University nies and Greg Stuart; pianist Annie of Alabama. timfeeney.com Lewandowski; cellist and electronic musician Vic Rawlings; vocalist Ken WENDY Ueno, saxophonist Andrew Raffo RICHMAN Dewar; banjo and electronic musi­ Violist Wendy Rich­ cian Holland Hopson, and many others. man is a founding Within this community, Tim has member of the presented work at experimental New York-based spaces throughout the United States, International Con­ such as the Red Room in Baltimore, temporary Ensemble [ICE]. With ICE Boston's Institute of Contemporary and as soloist and chamber musi­ Art, the Knitting Factory New York, cian, she has performed at the Lin­ and The Stone, as well as the Center coln Center Festival, Metropolitan for New Music and Audio Technol­ Museum of Art, Miller Theater, Mostly ogy at UC-Berkeley, the Stanford Art Mozart Festival, Park Avenue Armory, Museum, Mills College, Princeton Phillips Collection, and international University, and Dartmouth College. festivals in Berlin, Darmstadt, Hel­ He has recorded for the experimen­ sinki, Hong Kong, Morelia, and Vi­ tal Caduc, Accidie, Full Spectrum, enna. In recent seasons, Wendy has Sedimental, homophoni, Audiobot, been a guest with the viola sections Soul on Rice, lildiscs, and Brassland/ of the Atlanta Symphony Orchestra, -')

UNIVERSITY OF RICHMOND 17 FRIDAY, NOVEMBER 3, 2017 AT 2:00P.M. PERKINSON RECITAL HALL, NORTH COURT

Minnesota Orchestra, Orpheus Cham­ Kashkashian, Peter Slowik, Jeffrey ber Orchestra, St. Louis Symphony, Irvine, and Sara Harmelink, and voice and St. Paul Chamber Orchestra. with Marlene Ralis Rosen, Judith Appointed to the faculty of New Kellock, and Mary Galbraith. York University [NYU Steinhardt) in Through her vox/viola proj­ 2017, Wendy has also held teaching ect, loosely inspired by Giacinta positions at the University of Ten­ Scelsi's Manto Ill, Wendy has col­ nessee, University of Alabama, and laborated with numerous compos­ Cornell University, as well as Walden ers on pieces in which she sings School Summer Young Musicians and plays simultaneously. In early Program, Sewanee Summer Music 2018, she will release these works Festival, and Music in the Mountains on ICE's TUNDRA imprint on New Conservatory. She graduated from Focus Recordings. Oberlin Conservatory [BM), New England Conservatory [MM), and SAM WELLS Eastman School of Music [DMAl. She See page 6. studied viola with Carol Rod land, Kim

COMPOSER BIOGRAPHIES

BENJAMIN tra, Chorus, Richmond Symphony BROENING Orchestra, Zeitgeist, Network for New Benjamin Broe­ Music, Arctic Philharmonic Sinfo­ ning's music re­ nietta [Bodo, Norway). Ensemble U; flects both his [Tallinn, Estonia) and others. He has interest in the also worked closely with numerous expressive power leading figures in the contemporary of sound and a sense of line derived music world, including Tim McAllister, from his background as a singer. His Camilla Hoitenga, Richard Hawkins, orchestral, choral, chamber and Tim Munro, Arthur Campbell, Nicho­ electroacoustic music has been per­ las Photinos, Curtis Macomber, Lina formed in over twenty countries and Bahn, and Daniel Koppelman. across the United States by many en­ Broening is recipient of Guggen­ sembles, including Gram my winners heim, Howard and Fulbright Fellow­ eighth blackbird, Da Capo Chamber ships, and has also received recogni­ Players, Choral Arts Society of Phila­ tion and awards from the American delphia, Charlotte Symphony Orches- Composers Forum, Virginia Commis-

18 THIRD PRACTICE 2017 FESTIVAL sian for the Arts, ACS/ Andrew Mellon NICOLE Foundation, the Jerome Foundation, CARROLL and the Presser Music Foundation, Nicole Carroll is among others. a composer, per­ Trembling Air, a 2012 Bridge Re­ former, sound de­ cords release of his chamber music signer, and builder recorded by eighth blackbird, has working with au­ been praised as "'haunting·· and "'en­ dio, video, and tangible objects. Her chanting" [Cleveland Plain Dealer]. work spans installation, improvisation, "magical" [Fanfare). "other-worldly" and fixed media performance, across [Gramophone), and "coruscatingly noise, soundscape, and acousmat­ gorgeous" [CO Hotlist). ic genres. She is active as a sound Critics have described Recom­ designer and composer in theatre, binant Nocturnes, his 2011 disc of performs electronic music under the music for piano recorded by Duo alias "'nOizmkr," and builds custom Runedako, as "a breathtaking suite synthesisers, controllers, and perfor­ for pianos" [World Music Report) mance sensor systems. Her research "deep, troubling" [Franr;:ois Couture) focuses on generative systems that and "'lovely, delicate, calming" [Los merge analog and digital technolo­ Angeles' KFJC] and "a gorgeous disc gies to create musical performance of music" [New Music Box]. systems from non-musical sourc­ Writing about the recent recording es. Additional interests include soft of his Clarinet Concerto, Sequenza27 circuits and wearable sensors, aug­ praised its "many thrilling passages" mented acoustic instruments, and and said "'it is, as is most of his music, AV synthesis on mobile devices and from a formal vantage point exquisitely embedded systems. well sculpted." Other recordings have Themes found in Nicole's work been released by Ensemble U: in Es­ derive from reflections on nature, tonia, and on the Centaur, Everglade, occult philosophies, literature, and Equilibrium, MIT Press, Oberlin Music, the human psyche. She employs Open G and SEAMUS record labels. divination systems and chance pro­ Broening is founder and artistic cedures to create conceptual and director of Third Practice where he mapping frameworks in her music. is Professor of Music and Associate Nicole's works have been per­ Dean of Arts & Sciences. He holds de­ formed internationally in USA. grees from the University of Michigan, Mexico, Wales, Germany, Greece, S. Cambridge University, Yale University, Korea, Australia, and China, includ­ and Wesleyan University. ing at SEAMUS, ICMC, and NIME -7

UNIVERSITY OF RICHMOND 19 FRIDAY, NOVEMBER 3, 2017 AT 2:00P.M. PERKINSON RECITAL HALL, NORTH COURT

conferences. Nicole holds an MM and China, MMTA/MTNA, newEar, the BM in Composition from Bowling New-Music Consortium, the Soli fan Green State University and Arkansas tutti Composition Prize, the Virginia State University, respectively. She is Center for the Creative Arts and oth­ pursuing a PhD in Computer Music ers. His works are published with the and Multimedia at Brown University in ABLAZE Records, Darling's Acous­ Providence, Rl, USA. She is currently tical Delight, Music from SEAMUS, based in Brisbane, Australia, where Navona Records/PARMA Recordings, she is an Adjunct Research Fellow at RMN Classical, the SCI Journal of QCGU. nicolecarrollmusic.com Music Scores and Unfolding Music Publishing [ASCAP). He is currently CHIN TING Assistant Professor of Music Com­ CHAN position at Ball State University. He Hong Kong com­ holds a DMA from the University of poser Chin Ting Missouri-Kansas City as well as [Patrick] Chan degrees from Bowling Green State has been a fel­ University and San Jose State Uni­ low and guest versity. chintingchan.com composer at festivals such as the International Computer Music Con­ CHRISTOPHER ference, IRCAM's ManiFeste and the CHANDLER Wellesley Composers Conference, Christopher with performances in more than Chandler is a twenty countries. He has twice rep­ composer of resented Hong Kong abroad in the acoustic and International Rostrum of Compos­ electroacous­ ers and the ISCM World Music Days tic music and the co-founder and Festival. Awards and commissions executive director of the Switch­ include those from the American Ensemble. He currently serves as Prize, ASCAP, Association for the a Visiting Assistant Professor at the Promotion of New Music, the Char­ University of Richmond where he lotte Street Foundation, Foundation teaches courses in composition and for Modern Music, the Hong Kong music technology and directs the Composers' Guild, the MidAmerican Third Practice Electroacoustic Music Center for Contemporary Music, the Festival. Christopher draws inspira­ Interdisciplinary Festival for Music tion from poetry, nature, the acoustic and Sound Art- Shut Up and Listen!, properties of instruments, and his the Lin Yao Ji Music Foundation of experiences working closely with

20 THIRD PRACTICE 2017 FESTIVAL sound in computer music studios. KEVIN His music has been performed ERNSTE across the United States, Canada, Kevin Ernste and Europe by ensembles includ­ is a composer, ing eighth blackbird, Ensemble performer, and Modelo62, Ensemble Interface, teacher of com­ the Cleveland Chamber Symphony, position and elec­ and Le Nouvel Ensemble Moderne. tronic music at Cornell University Recent performances include ICMC where he is Director of the Cornell 2016, June in Buffalo, Domaine Electroacoustic Music Center. He was Forget, the Florida State University previously an Acting Director and lec­ New Music Festival, the New York turer at the Eastman School of Music's City Electroacoustic Music Festi­ Eastman Computer Music Center. val, and SEAMUS Conferences. In His recent music includes addition to composition and music Interregnum for mixed ensemble, technology, Christopher's research water bowls, and bells composed interests include the music of Dan­ for the Centenary of the US National ish composer Hans Abrahamsen. Park Service and Music in the His dissertation explores Abraha­ American Wild, Palimpsest for the msen's approach to recomposition JACK Quartet-the result of a Fromm and recontextualization in Walden Foundation Commission, present­ [1978) and Wald [2009). ed recently at the Sweet Thunder Christopher has been honored Festival in San Francisco and the with awards including a BMI Stu­ International Computer Music dent Composer Award, an ASCAP/ Conference in Athens Greece, Nisi SEAMUS Student Commission, two [nee-see] [Greek for "Island") for first prizes from the Austin Peay hornist Adam Unsworth released State University Young Composer's on Equilibrium Records "Snapshots" Award, winner of the American [CD111). Adwords/Edward, dedicat­ Modern Ensemble's Annual Com­ ed to NSA whistleblower Edward position Competition, and the Nadia Snowden and composed for Google Boulanger Composition Prize from Glass, Numina for Brooklyn-based the American Conservatory in Fon­ Janus Trio [flute, viola, harp), and tainebleau, France. Christopher Roses Don't Need Perfume for guitar­ holds degrees in composition from ist Kenneth Meyer [solo guitar and the University of Richmond, Bowl­ electronic sounds, 2009) recently ing Green State University, and the released on his lnnova Records CD, Eastman School of Music. Draw the Strings Tight. •

UNIVERSITY OF RICHMOND 21 FRIDAY, NOVEMBER 3, 2017 AT 7:30PM CAMP CONCERT HALL, BOOKER HALL OF MUSIC

CONCERT THREE

Brain Candy ...... Eli Fieldsteel, sensor Eli Fieldsteel, 6.5' gloves and live electronics

The Unveiling ...... Sophia Shen, I. Metallum pipa and live electronics II. Crystallum Sophia Shen, 1o·

Ghost City ...... video lzzy Pezzulo, 3'

Train(wreck) of Thought ...... fixed media Anthony Alvarez, 3'

Colors often break themselves ...... John Liberatore, John Liberatore, 9' glass harmonica

rare yet soft ...... fixed media Kyong Mee Choi, 7'

Touch ...... Joo Won Park, found Joo Won Park, 1o· objects, synthesizer; and computer

Lift START ...... Robin Cox, violin Robin Cox, 7.5'

22 THIRD PRACTICE 2017 FESTIVAL PROGRAM NOTES

Ell FIELDSTEEL, Brain Candy IZZY PEZZULO, Ghost City In October 2015 I began learning how Ghost City is a soundscape and exper­ to use the Arduino platform, an open­ imental video created using sound source hardware/software micro­ recordings from a 2,220 acre tract controller kit. I purchased several of land in Henrico County, Virginia light- and motion-sensitive resistors, called Elko Tract. During WWII, it was and fashioned a pair of homemade used as a ··decoy city" to evade Japa­ sensor gloves using my old bicycle nese and German bombers targeting gloves. I spent considerable time Richmond. The structure of this tract experimenting with different physi­ of land closely resembles Richmond cal gestures, and after narrowing City, with false roads and landing in on a set of reliably reproducible strip identical to the nearby airport. hand movements, composed a set of The visual component to this sound­ sounds to accompany these gestures. scape uses found footage as well as The overall goal was to use physical contemporary documentation of the gesture to create expressive music. landscape. The making of the video Brain Candy is the result. was a process of collecting material from the past and present, peeling SOPHIA SHEN, The Unveiling back layers of history in the ruins. In this interactive improvisation, the In doing so, we can make parallels dialog between the instrument and the when our own environments take computer is established upon amplifi­ on an aura of crisis and destruction. cation and processing of the neglected sounds of the instrument in Super­ ANTHONY ALVAREZ, Collider. A pear-shaped, four-string Train{wreck) of Thought plucked instrument that can be dated Train/wreck} of Thought is a continu­ back to the late Han Dynasty around ation of a project started in MUS 213 2nd century CE, pipa is one of the most and takes inspiration from Mark popular Chinese instruments and has Applebaum·s Pre-Composition. The been played for almost two thousand piece is a playful representation of a years in China. The decaying notes student's inner thoughts as he fails and enlarging spaces will connect the to concentrate during class. There music between the acoustic and syn­ are many layers used to depict the thetic worlds. The performer plays an scattered and fickle thoughts of the essential role in realizing the dialog student's inner voice. The density of between computer and instrument by these inner voices rises and falls as listening and responding intensely to they instigate, quell, and attempt to the sound in the moment. concentrate throughout the piece. -+

UNIVERSITY OF RICHMOND 23 FRIDAY, NOVEMBER 3, 2017 AT 7:30PM CAMP CONCERT HALL, BOOKER HALL OF MUSIC

JOHN LIBERATORE, the composer's beloved father, Soon Colors often break themselves Bong Choi. Colors often break themselves is an homage to the poetry of Bar- JOO WON PARK, Touch bara Guest [1920-2006]. As I often Touch is a piece for found objects, com- attempt with my music, her poetry puter, and a synthesizer. The sound of relies on plain, vernacular language various ways of touching is amplified that manages, despite its transpar- and enhanced with a custom music ency, to express both ambiguity and program. The title of the piece comes immediacy. She achieves this par- from a piece by Morton Subotnick, tially through a rich and surprising who is a big influence on my music. color palette. The title comes from her poem "Noisetone." The last two ROBIN COX, START lines read: START relies upon the performer's use of bone conduction click track "The spirit is lifted among primary monitoring to execute tightly inte­ colors. Nine rows of color. grated relationships with electronic playback, START comes close, but The future writ in white spaces." never quite settles into stable rhyth­ mic patterns between live acoustic KYONG MEE CHOI, rare yet soft and electronic elements. It places rare yet soft explores the subtlety upon the amplified violinist any tem­ of quoted thematic material from poral grounding or structural founda­ Mahler's Symphony No.5 Adagietto. tion sensed in relation to very quick, The piece has three sections when fleeting, and highly syncopated rhyth­ each quote is introduced in a differ­ mic gestures of the electronic parts. ent context. At the end, the piece Click track monitoring also allows shows how subtle influence of this for the live musician to anticipate quotation can affect the overall shape and musically lead the electronics of the piece. This piece is dedicated in performance.

PERFORMER BIOGRAPHIES

ELl FIELDSTEEL JOHN LIBERATORE ROBIN COX See page 26. See page 26. See page 25.

SOPHIASHEN JOOWON PARK See page 27. See page 27.

24 THIRD PRACTICE 2017 FESTIVAL COMPOSER BIOGRAPHIES

ANTHONY and electro-acoustic music. Sam­ ALVAREZ ples of her works are available at Anthony Alvarez kyongmeechoi.com. is a senior at the University of Rich­ ROBIN COX mond majoring in Robin Cox is a psychology and composer, vio­ minoring in music. Originally from linist, and col­ Greenville, South Carolina, he enjoys laborator known blasting his amp to eleven, scream­ for performance ing his head off, and playing music of his own works as loud as possible. While his plans and that of other contemporary art­ after graduation are still up in the air, ists. With the Robin Cox Ensemble, Anthony hopes to continue doing that he led over 170 performances, pro­ no matter what path he takes. duced three critically acclaimed CD recordings, and premiered works by KYONG over eighty composers. He also led a MEE CHOI mixed-media performance series as Kyong Mee Choi, Executive Director of Iridian Arts, Inc. composer, organ­ His latest large scale ventures ist, painter, and are the community participation visual artist, re­ event HOURGLASS and the immer­ ceived several sive performance environment BIG prestigious awards and grants includ­ TENT. Cox has received numerous ing John Simon Guggenheim Memorial awards, including multiple Lester Foundation Fellowship, Robert Helps Horton Awards for Outstanding Prize, Aaron Copland Award, Illinois Achievement in Music for Dance and Arts Council Fellowship, First prize of an ASCAP Deems Taylor Award for ASCAP/SEAMUS Award, Second prize the founding of Iridian Radio. at VI Concurso lnternacional de Musica He holds degrees from the Univer­ Eletroacustica de Sao Paulo among sity of Texas at Austin, University of others. Her music was published at Michigan, and the University of Miami, CIMESP (Sao Paulo, Brazill, SCI, EMS, and after many years on faculty at ERM media, SEAMUS, and Detonants California State University Long Beach, Voyages (Studio Forum, France). She Bob Cole Conservatory, and California is the Head of Music Composition and Institute of the Arts, Dr. Cox joined the an Associate Professor of Music Com­ Music and Arts Technology faculty at position at Roosevelt University in Chi­ Indiana University Purdue University cago where she teaches composition Indianapolis (IUPUI) in fall of 2013. -7

UNIVERSITY OF RICHMOND 25 FRIDAY, NOVEMBER 3, 2017 AT 7:30PM CAMP CONCERT HALL, BOOKER HALL OF MUSIC

Ell FIELDSTEEL JOHN Dr. Eli Fieldsteel, LIBERATORE serving as Direc­ John Liberatore tor of the Uni­ is a composer, versity of Illinois pianist, and one Experimental Mu­ of the world's few sic Studios since performers of the 2016, is a composer specializing in glass harmonica. Described by crit­ music technology with a diverse histo­ ics as "enchanting" and "truly magi­ ry of cross-disciplinary collaboration. cal" [Boston and New York Classical He is the recipient of the 2014 James Review, respectively), his works seek E. Croft Grant for Young and Emerging ambiguity through transparency, and Wind Band Composers, first prize in complexity within simple textures. the 2012 ASCAP/SEAMUS Student He has received fellowships and Commission Competition, as well as other recognitions from Tangle­ awards and recognition from other wood, the MacDowell Colony, the organizations, including the Band­ Brush Creek Arts Foundation, the masters' Academic Society of Japan !-Park Enclave, the Millay Colony, the and the Frank Ticheli Competition. Presser Foundation, the American Fieldsteel's music and research Opera Initiative, ASCAP, and other engages with the intersection organizations. Recordings of his between music technology and per­ works are available on lnnova, Rav­ formance, focusing on topics such ello, and Centaur Records, with his as human-computer improvisation, debut portrait album scheduled for interactivity, and sensor-driven release with Albany Records in the music. Utilizing new technologies summer of 2018. In 2015, he was and real-time environments, his appointed as an assistant professor works are highly gestural, expressive, at Notre Dame after earning his PhD and richly detailed. As an active col­ from Eastman the previous year. He laborator, he has worked closely with is currently writing pieces for Daniel dancers, choreographers, lighting Druckman and Jamie Jordan, a solo designers, architects, and video art­ flute piece for Molly Barth, and a ists, resulting in a variety of unique work for Roomful of Teeth featuring and site-specific installations and the glass harmonica. performances. He is fluent in several contemporary music programming languages, and maintains an active teaching presence online through a well-trafficked series of SuperCol­ lider tutorials.

26 THIRD PRACTICE 2017 FESTIVAL ------....1

JOOWON PARK for the Third Practice Electroacoustic Joo Won Park Festival for all4 years of her under­ [joowonpark.net) graduate degree. She is currently wants to make working on a senior thesis exhibi­ everyday sound tion that focuses on sites in Rich­ beautiful and mond, using sound and video as a strange so that medium to explore histories that everyday becomes beautiful and have been erased or obscured. She strange. He performs live with toys, hopes to pursue her work after col­ consumer electronics, kitchenware, lege in sound and video, as well as vegetables, and other non-musical her more "analogue" visual practice objects by digitally processing their in printmaking. sounds. He also makes pieces with field recordings, sine waves, and any SOPHIA SHEN other sources that he can record or Born in Zhang­ synthesize. Joo Won draws inspira­ zhou, a small tions from Florida swamps, Philadel­ city in southeast phia skyscrapers, his two sons, and China, Sophia other soundscapes surrounding him. Shen is a com­ He has studied at Berklee College of poser, sound Music and the University of Florida, artist, pipa performer/ improviser and currently teaches Music Technol­ and pianist who believes in the sub­ ogy at the Wayne State University. Joo jective, evocative, conceptual and Wan's music and writings are available ineffable nature of music and sound. on ICMC DVD, Spectrum Press, MIT She makes intangible connections Press, PARMA, Visceral Media, MCSD, with performers and listeners by SEAMUS, and No Remixes labels. creating music that evokes memory and imagination. She is interested in IZZY PEZZULO bridging the divide between cultures lzzy Pezzulo is by using instruments to dissemble a current senior and synthesize new sounds. at the Univer­ Sophia is currently based in the sity of Richmond San Francisco Bay Area. She holds studying visual an MFA in Electronic Music and and media arts Recording Media from Mills College practice. Her work typically explores where she also studied composition landscapes and our relationships to and improvisation. She received a BA them through history and the sen­ degree in Music with High Distinction sory aspects of sound and video. She and a BA degree in German from the has served as a technical assistant University of Virginia. 11

UNIVERSITY OF RICHMOND 27 SATURDAY, NOVEMBER 4, 2017 AT 11 :OOAM CAMP CONCERT HALL, BOOKER HALL OF MUSIC CONCERT FOUR

I want_ please ...... Becky Brown, harp Becky Brown, 6' Explanation of the Plain ...... fixed media Travis Austin, 1o· Electro tactile Maps ...... video John Thompson, 6' Silence is ...... fixed media Matthew McCabe, 7' what i am not ...... video Heather Stebbins, 1o· Video by Rozzdower Zimmerman, VJ Catmac, and Kathrin Spickermann locoMotives ...... Becky Brown, harp Anne Neikirk, 8'

PROGRAM NOTES

BECKY BROWN, /want_ please TRAVIS AUSTIN, You have to pull them out of their Explanation of the Plain bodiless dream. You have to make Explanation of the Plain was composed them talk to you; they have to prac­ alongside a number of visual works tice speech, but they're nonverbal, so in-the-making. Generally, I've been you have to make a mouth for them working away from screens, but I've out of paper, or a laptop, or their had the material surface and illusory hands. Any tongue you can find, any space of the screen very much in mind. teeth you can afford, you try, you try, Over the last year my work has been you try, because when they age out concerned with the flux of moving­ of high school, you can't help them images, materiality, illusory-space anymore. If you can't instill the habit and reality. While recording sounds by age 22, there's a possibility that for Explanation of the Plain, I encoun­ no one will ever ask or push them tered a crackling hum resultant of a to use language again. faulty instrument cable. The sound This piece is dedicated to the staff presented itself as decidedly concrete, and students at Heather Empfield singular, flat and surface-like. Upon Day School and Transition Center, a digitally processing and manipulating school for children with severe and of the noise, the shallow depth that profound autism. emerged posed quite a contradiction

28 THIRD PRACTICE 2017 FESTIVAL to the material flatness of the screen for video and electronics was made with which I was interfacing. This jux­ in collaboration with HighPass Radio, taposition of flatness and depth set the a collective that pairs experimental course of the composition which grew musicians with visual artists. Another to introduce characters that dance version for trombone and electronics upon precarious surfaces, and rough exists for my friend and immensely terrains of laminae that twist, crumble, talented trombonist, Will Lang. evaporate and return. ANNE NEIKIRK, locoMotives JOHN THOMPSON, Witnessing a powerful, fast-moving Electrotactile Maps object fly past elicits both excitement Electrotactile devices allow the brain and fear. There is a certain thrill to to map tactile voltage pulses, applied seeing a train whiz by at close range, through the tongue or other skin sur­ but not without some implication of face, to the brain. This information is danger. I reflect this emotional content then parsed as sensory information, in locoMotives with dissonant sounds allowing one to gain a sense where in the electronics and harsh extended one is lost, or perhaps create new techniques in the harp that elicit the senses where there were none. The same excitement and fear. There are piece Electrotactile Maps looks to this also moments of peaceful repose specific kind of sensory substitution throughout the work, highlighting the as inspiration. It imagines an elec­ beauty of the harp and embodying the trical field, encoded for an array of comfort of riding in a train while watch­ surface electrodes. The audiovisual ing the landscape pass by through aggregate is introduced as such a the window. The visual component, grid, which gradually becomes in­ a series of shadow projections onto terpreted as coherent objects. a wall, places the viewer both inside and outside the train and reflects these HEATHER STEBBINS, what i am not various emotional responses. Most of When I create pieces with electronics the melodic material in the piece is de­ I almost always use sounds I record rived from the pitches inherent in the from instruments or found natural train whistle and the crossing gates. objects. For what i am not, I chose The Doppler effect became the connec­ to use source material that I would tive element in the piece. Other sounds not normally gravitate towards- re­ in the raw audio include the ticking cordings of electromagnetic fields noises of the lowering crossing gates surrounding both contemporary and at a nearby road and the whoosh of more dated technology. Though I ini­ the wind as the train passed by. These tially felt outside my comfort zone, I sounds are all imitated in some way feel as though I was able to make the by the harp and augmented by the source material my own. This version electronics. All aboard! -7

UNIVERSITY OF RICHMOND 29 SATURDAY, NOVEMBER 4, 2017 AT 11:00AM CAMP CONCERT HALL, BOOKER HALL OF MUSIC COMPOSER BIOGRAPHIES

TRAVIS AUSTIN Regional, Third Practice Electroacous­ Born in Austin, tic Festival, Ball State New Music Fes­ TX, Travis Austin tival, and in Beijing, China. Hold Still, holds an MFA in her work for live art and electronics, Performance and will be released on the SEAMUS label Interactive Media in August 2017. She is a 2015 Music Arts from Brook­ and Computer Science graduate of lyn College. His work addresses the University of Mary Washington, material and place in-flux, working studying electroacoustic composi­ with various media including sound, tion with Dr. Mark Snyder, and harp painting, video and sculpture. He has performance with Dr. Grace Bauson. studied under David Grubbs, Ste­ phen Vitiello, and Vito Acconci. He MATTHEW is an associate of the Order of the MCCABE Third Bird, a recent contributor to Matthew McCabe the publication The Value of Academic is Assistant Pro­ Discourse: Starting Conversations that fessor of Audio Matter (Rowman & Littlefield Pub­ Technology at lishing Group) and a recent presenter Columbus State at The Learner"s International Con­ University"s Schwab School of Music ference in Vancouver, Canada. Travis and holds degrees from the University currently lives in Richmond, VA. of Richmond, Bowling Green State University, and the University of Flor­ BECKY BROWN ida. In addition to his compositional Becky Brown is a activities, he runs the school's record­ composer, harp­ ing studio, audio technology minor, ist, artist, and and teaches technology and popular web designer, music courses. Recent activities have interested in pro­ included performing with blues musi­ ducing intensely cian Neal Lucas and backing band The personal works across the multimedia Freezer Burn, and traditional Irish spectrum. Currently, she is pursu­ music group Wolf & Clover. ing a doctorate in composition at the University of Virginia, is the Technical ANNE NEIKIRK Director of the Electroacoustic Barn Composer Anne Dance, and recently worked as a Music Neikirk is drawn Technology Specialist at the University to creative pro­ of Richmond. Her music has been cesses that involve performed at SEAMUS, SCI National/ interdisciplinary

30 THIRD PRACTICE 2017 FESTIVAL work. She has collaborated with a poet, as a cellist. She received her DMA a biologist, a painter, and numerous from Boston University in 2016, where performing artists who have commis­ she was a Center for New Music Fel­ sioned her. Her background in vocal Low and taught courses in electronic music instilled a particular interest in music and musicianship. Heather"s the relationship between music and principal teachers include Benjamin the written word. She has received a Broening, Joshua Fineberg, and Hel­ Presser Music Award, an American ena Tulve, whom she studied with dur­ Composers Forum Subito Grant, and ing a Fulbright Fellowship in Tallinn, was included in the SCI CD Series. Estonia, from 2014-2015. Heather Neikirk has presented her work at resides in Boston, Massachusetts, conferences including the Society of where she splits her time between Composers Conferences, the College composing and teaching mathemat­ Music Society Conferences, the North ics at a college prep high school. In American Saxophone Alliance Bien­ addition to composing and teaching, nial Conference, and the American Heather enjoys exploring new places Harp Society National Conference, and spaces with her partner Mike, among others. Dr. Neikirk received their son Elliott, and their four-legged her DMA in Composition from Temple companion, Rowan. University, preceded by her MM from Bowling Green State University and JOHN a BA in Music from Hamilton College. THOMPSON Upon completing her education, she John Thompson worked as an adjunct faculty mem­ is a composer ber at Temple University and at the of electroacous­ University of Delaware. In 2016 she tic music and began as an Assistant Professor of electroacoustic Composition/Theory at Norfolk State audio-visual music. His recent audio­ University in Virginia. She currently visual works feature a tight coupling serves as the Submissions Coordina­ of sonic and visual components. He tor for the Executive Committee of the co-founded and co-directs the annual Society of Composers, Inc. Root Signals Festival of Electronic Music and Media Art. HEATHER John is Head of the Music Tech­ STEBBINS nology program at Georgia Southern Heather Stebbins University, where he is Professor of is an internation­ Music. He teaches courses ranging ally performed from audio programming to inter­ composer of active media. He is currently an At­ acoustic and elec­ Large Director for the International troacoustic works with a background Computer Music Association. 11

UNIVERSITY OF RICHMOND 31 SATURDAY, NOVEMBER 4, 2017 AT 3:00PM PERKINSON RECITAL HALL, NORTH COURT

CONCERT FIVE featuring Sam Wells

can't ...... Sam Wells, trumpet Mark Snyder, 5"

glass and trolley II ...... fixed media Steve Ashby, s·

Song for Low Tree ...... Matthew Duvall, Matthew Burtner, 13' percussion

Visions ...... fixed media Michael Bratt, 5.5'

All Along the North Shore ...... Michael James Olson, Michael James Olson, 9' guitar and video

PROGRAM NOTES STEVE ASHBY, Richmond-Ashland Trolley once glass and trolley II ran, and sound elements of glass Investigating the history of the Depot instruments created and performed building at Virginia Commonwealth by Bohyun Yoon. University began an exploration towards creating sound works that MATTHEW BURTNER, embody its history as the main depot Song for Low Tree juncture for commuter traffic from Song for Low Tree: a melody from 1901-1938, and more recently as human exhalation, transposed sev­ the Richmond Glass Co. The pieces eral octaves lower into the range of composed through this ongoing ven­ a bass tree, the rate of a drum, a ture encompass sound elements of log, pieces of wood; in counterpoint field recordings captured along the with patterns from a tree exhalation, Ashland Trolley Trail, a half mile transposed several factors up into stretch of land through which the the rate of a human song.

32 THIRD PRACTICE 2017 FESTIVAL MICHAEL BRATT, Visions MICHAEL JAMES OLSON, The melodic material for this track All Along the North Shore was derived from a single, mono­ The north shore of Lake Superior in phonic oscillating pulse wave. This Minnesota has always been a magi­ single wave gives the impression cal place for me. Summertime tem­ of many different waves moving peratures routinely hover around 65 simultaneously by means of tempo degrees, and the water is icy cold, and panning. The rest of the musical never warming to the temperature material is variations of this material of the surrounding 10,000 lakes. processed multiple ways but never This work reflects the contemplative reoccurring the same way twice. nature of being on the North Shore in the summer: a beautifully static landscape made alive in the subtle variations of lake.

PERFORMER BIOGRAPHIES

MATTHEW DUVALL SAM WELLS See page 4. See page 6.

MICHAEL JAMES OLSON See page 35.

COMPOSER BIOGRAPHIES

STEVE ASHBY recordings, manipulated sound ma­ Steve Ashby is terial, and composed elements. With a Richmond, VA an interest towards sound ecolo­ based musi­ gy, Ashby looks for rhythms, melo­ cian, composer, dies, and textures found in his sur­ and sound artist. roundings to inform the direction Building on his of his work. He studied at Virginia background as a classical guitar­ Commonwealth University, where he ist, Ashby builds his work around currently serves as part of the guitar concrete sources found in the nat­ faculty. Recent activities include par­ ural, and digital world, discovering ticipation in the Spatial Music Work­ the places where they intersect, and shop/Cube Fest at Virginia Tech, and amplifying those attributes. Ash­ an upcoming residency in South Af­ by's work is a combination of field rica, curated by Francisco Lopez. ~

UNIVERSITY OF RICHMOND 33 SATURDAY, NOVEMBER 4, 2017 AT 3:00PM PERKINSON RECITAL HALL, NORTH COURT

MICHAEL MATTHEW BRATT BURTNER The music of Mi­ Matthew Burtner chael Bratt has [matthewburtner. been described as com) is an Alas­ "traveling through kan-born compos­ a circuit board at er and sound artist the speed of light," "well-crafted ... exploring embodiment, ecoacoustics colorfully orchestrated and totally and human-environment-computer engaging," [Cleveland Classical) and interaction through music. An IDEA "bursting with inventive, energetic spirit" Award winner and first prize winner [The Plain Dealer]. Composer, Conduc­ of the Musica Nova Electroacoustic tor, Digital Artist- Michael Bratt has Music composition, Burtner works received numerous honors including closely with politicians, scientists, official selection at the Foro lnter­ artists and musicians, creating music nacional De Musica Nueva Manuel in support of free imagination and Enriquez, Composer/Fellow for the sustainability. In 2014 he was invited Canton Symphony Orchestra, regional to Brazil to work with former Vice finalist for the SCI Student Composer President Al Gore on Climate Real­ Commission, Verdehr Trio Composi­ ity, and in 2015 he was invited by the tion Contest, the Minnesota Orchestra US State Department to create the Institute, and the Bain Murray Com­ music for President Barack Obama 's position Award among others. He has visit to Alaska. He has also recently been commissioned by many organi­ been featured on the Smithsonian zations including The Cleveland Mu­ Magazine's Future is Here festival, seum of Natural History, The Cleveland the Smithsonian Natural History Mu­ Clinic, The Cleveland Public Theatre, seum's Arctic Spring Festival, and The Cleveland Shakespeare Festival, the Polar Rhythms Festival in New and others. York. His electronic and chamber Dr. Bratt has taught at Ursinus music is played widely in festivals College, the Cleveland Institute of and concerts around the world and Music, Oberlin College Conserva­ is available on several critically ac­ tory of Music [TIMARA Department, claimed albums. Burtner is Profes­ Technology Music and Related Arts), sor of Composition and Computer the Northeast Ohio branch of Indiana Technologies [CCT) and Chair of the Wesleyan University, and is currently Mcintire Department of Music at the Visiting Assistant Professor of Music University of Virginia. He also directs at the University of Mary Washington the environmental music organiza­ where he teaches Music Composition tion, EcoSono [ecosono.orgl. and Electronic Music.

34 THIRD PRACTICE 2017 FESTIVAL MICHAEL MARK SNYDER JAMES OLSON Mark Snyder is a Michael James composer, per­ Olson is a Min­ former, producer, nesota-based songwriter, video composer, per­ artist, and teacher former, producer, living in Jack­ and media artist. Michael's concert sonville, Florida. Mark's multimedia music has been performed through­ compositions have been described out the world, including the Beijing as "expansive, expressive, extremely Science Museum, SEAMUS, ICMC, human, ... Snyder"s compositions EMM, EABD, Noisefloor Festival, attract performers who resist to works International Saxophone Sympo­ with electronics as well as audiences sium, and Audiograft Festival, among who don't think they want to hear others. Michael is the co-Director of computer processing." Dr. Snyder is the Root Signals Electronic Music Visiting Assistant Professor of Music Festival, a semi-annual festival Business at Jacksonville University of electronic music and media art teaching courses in music business, which is held at campuses across audio production, and music tech­ the country. Michael"s music and nology. He earned his DMA from the production has been featured on University of Memphis and an MM more than 30 albums and in films from Ohio University. He is a member and television, including programs of the American Society of Compos­ on MTV, VH1, El, Spike, ABC, NBC, ers, Authors and Publishers [ASCAP). PBS, and CBS. He holds a MM from the Audio Engineering Society [AES). Georgia Southern University, and a The National Academy of Recording doctorate from Ball State University. Arts and Sciences [NARAS) Society Michael currently serves as Assistant of Composers Incorporated [SCI) and Professor of Music Composition and Society of Electroacoustic Musicians Music Technology at Minnesota State in the US [SEAMUS). 11 University, Mankato.

UNIVERSITY OF RICHMOND 35 SATURDAY, NOVEMBER 4, 2017 AT 7:30PM CAMP CONCERT HALL, BOOKER HALL OF MUSIC

CONCERT SIX featuring Sam Wells and Eighth Blackbird

Hypochondriasis ...... Lily Chen, chin Lily Chen, 11'

Ring, Resonate, Resound ...... fixed media Leah Reid, 7.5"

For the Fallen ...... Sam Wells, trumpet Judith Shatin, 7"

Self-Defining ...... fixed media Tracy Nguyen, 3"

Sit and Dance ...... Eighth Blackbird Molly Joyce, 6.5'

singer...... Eighth Blackbird D. Edward Davis, 6'

Fight or. .. from Land Bridge ...... Eighth Blackbird Nathalie Joachim, 5'

Dust ...... Eighth Blackbird Angelica Negron, 5'

2 Suitcases ...... Eighth Blackbird Mary Kouyoumdjian, 8'

Eighth Blackbird Nathalie Joachim, flutes Nick Photinos, cello Michael Maccaferri, clarinets Matthew Duvall, percussion Yvonne Lam, violin and viola Lisa Kaplan, piano

36 THIRD PRACTICE 2017 FESTIVAL PROGRAM NOTES

LILY CHEN, Hypochondriasis LEAH REID, Hypochondriasis is for chin (ancient Ring, Resonate, Resound Chinese 7-string zither) and Live Ring, Resonate, Resound is an acous­ electronics. Due to the soft volume matic composition written in homage and subtle timbral changes of the to John Chowning. The piece tips instrument, amplification becomes its hat to Chowning·s Stria, Ture­ necessary and thus creates a new nas, and the beautiful sonic Land­ kind of environment, an augmented scape Chowning explored through chin. Such an augmented environ­ his research and discovery of FM ment expands and even exaggerates synthesis. Ring, Resonate, Resound the original instrumental sounds, is dedicated to him. which reminds me of the hypochon­ The composition explores timbre driasis, a psychological tendency through dozens of bell sounds, which to worry about having a serious ill­ provide the harmonic and timbral ness. In the piece, I pretend to be material, structure, foreground, and a hypochondriasis sufferer who background for the piece. The com­ exaggerates and even distorts the position is comprised of five sec­ sense. By associating this emotional tions, each examining a different set activity with music, I intend to find an of bells and materials that interact appropriate role that the electronics with them. The piece begins thin and plays, to build an intimate relation­ bright, then gradually increases in ship between acoustics, amplifica­ spectral and textural density until tion, and electronics, and to create the Listener is enveloped by a thick different scenarios and multiple Lay­ sound mass of ringing bells. The ers of musical environments. I want bells gently fade into waves of rich to express my special thanks to Prof. harmonic resonances. Edmund Campion and Jeff Lubow The piece was composed using a at CNMAT, who help me complete multidimensional timbre model Reid the project. This piece is dedicated developed while at Stanford Univer­ to my mother, who had a hard time sity. The model is based on percep­ taking care of my father, a hypochon­ tual timbre studies and has been driasis sufferer. It is also dedicated used by the composer to explore to some activists, who are Like the the compositional applications of hypochondriasis sufferers having "timbre spaces" and the relationship foreseen the hidden crises and been between reverberant space and tim­ fighting hard for the well-being of bre, or rather the concept of "timbre my country Taiwan. in space." -7

UNIVERSITY OF RICHMOND 37 SATURDAY, NOVEMBER 4, 2017 AT 7:30PM CAMP CONCERT HALL, BOOKER HALL OF MUSIC

JUDITH SHATIN, For the Fallen Assistant, as well as a sound snip­ For the Fallen, for amplified trumpet pet of Dr. Stephen Hawking warning and electronics, was commissioned about the potential of AI. The piece is by Italian trumpeter Ivana Ascari, divided into multiple sections: defin­ who performed it at the Mondi Sonori, ing artificial intelligence, AI insist­ XV Edizione in Trento, Italy and sub­ ing on their benign intentions, and sequently recorded it on his CD, A a futuristic ending wherein AI start Hundred Years (1914-2014), on the expressing more ambitious desires. occasion of the Centennial of WWI. In our current state of technology, I For the Fallen was inspired by, and the had difficulty in manipulating the AI electronics created from, a recording responses to appear malicious since of the Campana dei Caduti bell in they are generally programmed to Rovereto, Italy. Originally cast from say nice things. At least for now. cannons melted after World War I, this bell is one of the largest ring­ MOLLY JOYCE, Sit and Dance ing bells in the world. Built between Sit and Dance, originally written for 1918 and 1925 to commemorate the baroque cello and pre-recorded elec­ fallen in all wars, it is rung 100 times tronics, was written for cellist Paul every day at sunset. While political Dwyer. In 2012 he started a great situations change in their particu­ project of commissioning composers lars, the topic remains all too timely. to write new pieces for the baroque The original recordings were kindly cello, and I thought it would be an provided by sound engineer Marco interesting and fun challenge to write Olivotto. Since composing the origi­ new music for a very old instrument. nal in 2012, I have made versions One of Paul's preferences was for soprano sax, clarinet, flute and to have a ground bass line from the cello, and all but the last have been 17th century era somehow included recorded. For more information visit in each piece. When I first started www.judithshatin.com writing the piece, I was immediately very anxious about how to include the TRACY NGUYEN, Self-Defining ground bass line that I had chosen, Self-Defining is about artificial intel­ and in general how to write for the ligence trying to define itself and baroque cello and make it effective. I addressing the concern that AI would decided to have the piece turn into a present a threat to humanity in the piece for live baroque cello and mul­ future. I recorded different responses tiple pre-recorded cello tracks that of Cortana, Siri, Alexa, and Google are processed electronically. This

38 THIRD PRACTICE 2017 FESTIVAL way, I was able to base the music from a Lifetime of embracing both completely off of the ground bass her Haitian and American heritage, but at the same time take it in unex­ and the often delicate balance of such pected directions. a duality. Joachim created an elec­ troacoustic score that captures an D. EDWARD DAVIS, singer intrinsic human quality paired with Polyrhythmic gestures in the vio­ unapologetically synthetic sound. Lin and piano expand slowly down The cyclical and recurrent nature the harmonic series, while an of the electronics reflect ingrained Ivory-billed Woodpecker gradually processes that carry through gen­ emerges from the forest. The only erations, both human and animal, extant sound recording of this spe­ despite their evolution. The score is a cies was made in April 1935 in the testament to standing softly yet with Singer Tract in Louisiana. conviction in all that you are through the varying stages of Life. NATHALIE JOACHIM, Fight or. .. Land Bridge is an evening-Length ANGELICA NEGRON, Dust collaboration between composer Oust is inspired by the piece Dev­ Nathalie Joachim and choreogra­ astation No More composed by my pher Helen Simoneau, that inves­ 11-year-old composition student Mon­ tigates heritage, assimilation and driana Villegas. This is the moment identity to reveal how the willing right after the disaster. There's a deep erasure of the self may serve as a sense of sorrow and desolation but means of renewal and redirection. also an inexplicable tranquility and a As a Quebecoise Living and working slight sense of hope. It's clearly the in the United States, the daughter of end of something but also the pos­ an Anglophone mother and Franco­ sibility of starting something new. phone father, Simoneau draws upon the duality of Living between two Lan­ MARY KOUYOUMDJIAN, guages to explore both immigrating 2 Suitcases and migrating forms. What is the Dedicated to my parents, with words impact of arriving and of depart­ spoken in Arabic, Armenian, and Eng­ ing? Land Bridge considers the pat­ Lish 2 Suitcases is in dedication to my terns and tendencies implicit in both parents' immigration story, as they human and animal behavior. Joachim settled in San Francisco from the shares with Simoneau the experience Lebanese Civil War with only their of navigating acclimation, drawing 1-year-old son and two suitcases. -7

UNIVERSITY OF RICHMOND 39 SATURDAY, NOVEMBER 4, 2017 AT 7:30PM CAMP CONCERT HALL, BOOKER HALL OF MUSIC

PERFORMER BIOGRAPHIES

EIGHTH BLACKBIRD SAM WELLS See page 4. See page 6.

LILY CHEN See below.

COMPOSER BIOGRAPHIES

' LILY CHEN in Buffalo, SEAMUS National Con­ Lily Chen, born in ference, Mise-en Music Festival, In­ Taiwan, is a com­ ternational Computer Music Confer­ poser exploring ence, New York City Electroacoustic timbral materials Music Festival, Midwest Graduate with subtle theat­ Music Consortium, and Asian Com­ rical potentials in posers League Conference and Festi­ both acoustic and electronic music, val. She has also worked with several which shape evocative atmospheres ensembles and orchestras, such as that point towards poetic commen­ St. Louis Symphony Orchestra, En­ tary on her observations on literary, semble Signal, Mivos Quartet, Eco emotional, or social aspects of the Ensemble, Splinter Reeds, Ensemble contemporary condition. She is cur­ Mise-en, Ensemble Pamplemousse, rently a PhD candidate in music com­ Ensemble Exceptet, Ensemble Cairn, position at the University of Califor­ National Taiwan Symphony Orchestra, nia, Berkeley, where she is studying Taipei Symphony Orchestra, and Lit­ with Ken Ueno, Franck Bedrossian, tle Giant Chinese Chamber Orches­ Edmund Campion, and Cindy Cox. tra. Recently she had a 10-month Lily"s music has been performed at composition residency in Paris as the several international festivals in Tai­ recipient of the George Ladd Prix de wan, Korea, Israel, and throughout Paris in 2015-16. For more informa­ the United States, including June tion, please visit chenlily.com

40 THIRD PRACTICE 2017 FESTIVAL D. EDWARD NATHALIE DAVIS JOACHIM D. Edward Davis Nathalie Joachim is a composer is "'an edgy multi­ whose work en­ genre perfor­ gages with the mance artist who sounds of the en­ has long been vironment, exploring processes, pat­ pushing boundaries with her flute,"' terns, and systems inspired by nature. (The Washington Post). She regular­ His pieces have recently been present­ ly combines her exceptional perfor­ ed at the Experimental Listening and mance skill as a flutist with her cre­ Music Sessions in Boston (2017]. Slow ative talents as a composer, producer SO in San Diego (2017]. the Bang on a and singer, navigating genres rang­ Can Summer Festival in North Adams, ing from classical and jazz to in die­ MA (2016]. Interlude AVL in Asheville, rock and electronic. Ms. Joachim NC (2016]. the New Music Gathering is flutist of the four-time Grammy in Baltimore (2016]. Something Said winning contemporary chamber en­ Only Once in Flagstaff, AZ (2015]. the semble, Eighth Blackbird, and co­ Brooklyn Acoustic Ecology Festival founder of the critically acclaimed (20 15). and the Under the Radar Fes­ urban art pop duo, Flutronix. As a tival in Omaha (2014). His work has composer, Joachim writes in a sig­ been performed by the New Mexico nature electroacoustic style. Upcom­ Contemporary Ensemble, the Witches ing premieres include Fanm d'Ayiti, an Duo, Occasional Symphony, Polyor­ evening-length work for flute, voice, chard, Musica Nova, the Callithumpian string quartet and electronics, com­ Consort, Soundry Ensemble, yMusic, missioned by and developed in resi­ Da Capo Chamber Players, and many dency through St. Paul Chamber Or­ others. Davis holds degrees in compo­ chestra's Liquid Music series (20181. sition from Duke University, Brooklyn Other recent projects include Land College, and Northwestern University. Bridge, an evening-length score for His former teachers include Antoine Helen Simoneau Danse (20161 fund­ Beuger, Scott Lindroth, John Supko, ed by New Music USA; Ulysses in 3, Amnon Wolman, David Grubbs, Amy a collaboration with renowned jazz Williams, and Michael Pisaro. Da­ drummer Ulysses Owens, Jr. as part vis currently lives in New Haven, CT, of Park Avenue Armory's Under Con­ where he teaches at the University of struction residency program (20151, New Haven. and Dam fvtwen Yo, a piece for solo -7

UNIVERSITY OF RICHMOND 41 SATURDAY, NOVEMBER 4, 2017 AT 7:30PM CAMP CONCERT HALL, BOOKER HALL OF MUSIC

cello and processed field recordings seen commissions from perform­ written for Amanda Gookin of PUB­ ers such as Avi Avital, Vicky Chow, LIQuartet (2017). Ms. Joachim is a Mike Truesdell, Present Music, and graduate of The Juilliard School, and the Grand Valley State New Music completed her graduate degree stud­ Ensemble, among others. Addition­ ies at The New School. ally, Molly has received grants from New Music USA, the Jerome Fund/ MOLLY JOYCE American Composers Forum, and Active as a com­ has held residencies at ArtCenter/ poser and per­ South Florida and Willapa Bay AiR. former, Molly Joyce's music has MARY been described KOUYOUMDJIAN as "impassioned" Mary Kouyoum­ (The Washington Post), written to "su­ djian (b. 1983) perb effect" (The Wire), and "vibrant, is a composer inventive music that communicates with projects straight from the heart" (Prufrock's ranging from Dilemma). Her works have been com­ concert works to multimedia col­ missioned and performed by severaL Laborations and film scores. As a distinguished ensembles including first generation Armenian-Ameri­ the New World Symphony, New York can and having come from a family Youth Symphony, Pittsburgh Sym­ directly affected by the Lebanese phony Orchestra, Milwaukee Sym­ Civil War and Armenian Genocide, phony Orchestra, and the New Juil­ she uses a sonic palette that draws Liard, Decoda, and Contemporaneous on her heritage, interest in music ensembles. Her debut EP, Lean Back as documentary, and background and Release, was released in January in experimental composition to pro­ 2017 on New Amsterdam Records to gressively blend the old with the new. much acclaim. Featuring violinists She has received commissions from Monica Germino and Adrianna Mateo, the Kronos Quartet, Carnegie Hall, the EP was praised as "energetic, Alarm Will Sound, the American heady and blisteringly emotive" by Composers Forum/JFund, Inter­ Paste Magazine and "arresting" by national Contemporary Ensemble Textura. Additionally, Molly's piece [ICE], Brooklyn Youth Chorus, RED­ Rave was included on pianist Vicky SHIFT, the Los Angeles New Music Chow's recent album on New Amster­ Ensemble, the Nouveau Classical dam, and the work was subsequently Project, Music of Remembrance, featured on Pitchfork and WNYC's Friction Quartet, Experiments in New Sounds. Past seasons have Opera, and Ensemble Oktoplus. Her

42 THIRD PRACTICE 2017 FESTIVAL documentary work was recently pre­ Angelica is currently a doctoral candi­ sented by the 2016 NY Philharmonic date at The Graduate Center [CUNY). Biennial and her residencies include where she studies composition with those with Alarm Will Sound, Rou­ Tania Leon. lette/The Jerome Fund, Montalvo Arts, and Exploring the Metropo­ TRACY lis. Kouyoumdjian is pursuing her NGUYEN D.M.A. in Composition at Columbia Tracy Nguyen University, holds an MAin Scoring for is a sophomore Film & Multimedia from New York at University of University and a BA in Music Com­ Richmond dou­ position from UC San Diego. She is ble majoring in co-founder of New Music Gathering computer science and mathemat­ and teaches at Columbia University. ics. Born and raised in Vietnam, she ma rykouyou md j ian .com moved to Nebraska for high school at the age of 15 and has been studying ANGELICA in the United States ever since. After NEGRON graduation, Tracy intends to either Puerto Rican­ pursue a master's degree in com­ born composer puter science or enter the industry and multi-instru­ as a software engineer. mentalist Angeli­ ca Negron writes LEAH REID music for accordions, robotic instru­ Leah Reid is ments, toys and electronics as well a composer of as chamber ensembles and orches­ acoustic and elec­ tras. Her music has been described troacoustic music. as ··wistfully idiosyncratic and con­ In recent reviews, templative·· [WQXR/02) and "mesmer­ Reid's works have izing and affecting" [Feast of fvlusic) been described as "immersive, while The New York Times noted her "haunting," and "shimmering." She "capacity to surprise" and her "quirky has won numerous awards, including approach to scoring". Her music has the International Alliance for Women been performed at the Bang on a Can in Music's Pauline Oliveros Prize for Marathon, the Ecstatic Music Festival her piece Pressure and the Film Score and the 2016 New York Philharmonic Award for her piece Ring, Resonate, Biennial and she has collaborated Resound in Frame Dance Produc­ with artists like So Percussion, load­ tions' Music Composition Competition. bang, American Composers Orches­ Her works are frequently performed tra and Face the Music, among others. throughout Europe and North -7

UNIVERSITY OF RICHMOND 43 SATURDAY, NOVEMBER 4, 2017 AT 7:30PM CAMP CONCERT HALL, BOOKER HALL OF MUSIC

America, with notable premieres by JUDITH Accordant Commons, the JACK Quar­ SHATIN tet, McGill's Contemporary Music En­ Judith Shatin semble, Sound Gear, Talea, and Yarn/ (judithshatin. Wire. Her compositions have been com) is based at presented at festivals and conferences the University of throughout the world, including BEAST Virginia, where FEaST (England], EviMus (Germany], she is William R. Kenan Professor Forgotten Spaces: EuroMicrofest (Ger­ and founder of the Virginia Center many], the International Computer for Computer Music. She has been Music Conference (USA], IRCAM's honored with four National Endow­ ManiFeste (France], the San Fran­ ment for the Arts Fellowships, as well cisco Tape Music Festival (USA], the as awards from the American Mu­ Sound and Music Computing Confer­ sic Center, Meet the Composer, the ence (Germany], the Tilde New Music New Jersey State Arts Council and Festival (Australia], and the Toronto the Virginia Commission for the Arts. International Electroacoustic Sym­ Commissions include those from the posium (Canada) among many others. Barlow Endowment, Carnegie Hall, Reid's primary research interests Fromm Foundation and the Library involve the perception, modeling, and of Congress as well as ensembles compositional applications of timbre. such as the National, Illinois, and In her works, timbre acts as a catalyst Richmond Symphonies, Cassatt and for exploring new soundscapes, time, Kronos Quartets, the Dutch Hexagon space, perception, and color. Reid Ensemble, and Ensemble Berlin Pi­ received her DMA and MAin music anoPercussion. Sounds of the natural composition from Stanford University and built environments play an im­ and her B. Mus from McGill Univer­ portant role in her music, as in Sing­ sity. Reid's principal teachers include ing the Blue Ridge, scored for mezzo, Mark Applebaum, Jonathan Berger, baritone, orchestra and electronics Brian Ferneyhough, and Sean Fer­ created from the calls of wild ani­ guson. Reid is currently an Assistant mals. For COAL, a folk oratorio sup­ Professor at the University of Virginia. ported by the Lila Wallace-Readers Additional information may be found Digest Arts Partners Program, she at leahreidmusic.com. processed sounds collected in a coal mine, combining them with Appala­ chian band, chorus and synthesizer. Recent projects include Black fvloon, for orchestra and electronics, com­ missioned by Carnegie Hall for the American Composers Orchestra. •

44 THIRD PRACTICE 2017 FESTIVAL

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