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Abrons Arts Center July 16-22, 2018 NEW YORK CITY ELECTROACOUSTIC MUSIC FESTIVAL __ JULY 16-22, 2018 ABRONS ARTS CENTER __ www.nycemf.org CONTENTS ACKNOWLEDGEMENTS 4 DIRECTOR’S WELCOME 5 LOCATION 5 FESTIVAL SCHEDULE 6 STEERING COMMITTEE 8 STAFF & REVIEWING 9 PROGRAMS AND NOTES 10 INSTALLATIONS 60 PRESENTATION 61 COMPOSERS 62 PERFORMERS 96 ACKNOWLEDGEMENTS THE ALICE M. DITSON FUND NEWMUSIC USA DIRECTOR’S LOCATION WELCOME ABRONS ARTS CENTER 466 Grand Street Welcome to NYCEMF 2018. Between Pitt Street and Willett Street. Nearest subway stop: Delancey Street. On behalf of the Steering Committee, it is my great pleasure to welcome you to the 2018 New York City Electroacoustic Music Festival. We have an exciting program of 21 concerts taking place at the Abrons Arts Center in New York City. We hope that you will enjoy all of them. We would first like to express our sincere appreciation to the following people and organizations who have contributed to us this year, in particular: - The Abrons Arts Center - The Genelec corporation, for providing us with loudspeakers to enable us to play all concerts in full surround sound - The Alice M. Ditson Fund of Columbia University. - The Amphion Foundation - Yamaha, who provided a “Yamaha Disklavier™ DCFX concert grand piano - New Music USA - Fractured Atlas/Rocket Hub - New York University, Queens College and Brooklyn College, C.U.N.Y., and the State University of New York at Stony Brook, for lending us equipment and facilities - Institut Ramon Llull, Sirga Festival, and Placa[base for their support of our concert of music of Catalonia. - The Steering Committee, who spent numerous hours in planning all aspects of the events - All the composers who submitted the music that we will be playing. None of this could have happened without their support. Hubert Howe Emeritus Professor of Music Queens College and the Graduate Center City University of New York 5 FESTIVAL SCHEDULE MONDAY TUESDAY WEDNESDAY THURSDAY JULY 16 JULY 17 JULY 18 JULY 19 PRESENTATION 12:00 - 12:45 PM UNDERGROUND THEATER CONCERT 1 CONCERT 4 CONCERT 7 CONCERT 10 1-3 PM 1-3 PM 1-3 PM 1-3 PM EXPERIMENTAL UNDERGROUND EXPERIMENTAL PLAYHOUSE THEATER THEATER THEATER CONCERT 2 CONCERT 5 CONCERT 8 CONCERT 11 4-6 PM 4-6 PM 4-6 PM 4-6 PM PLAYHOUSE PLAYHOUSE PLAYHOUSE UNDERGROUND THEATER CONCERT 3 CONCERT 6 CONCERT 9 CONCERT 12 8-10:30 PM 8-10:30 PM 8-10:30 PM 8-10:30 PM PLAYHOUSE PLAYHOUSE PLAYHOUSE PLAYHOUSE 6 FRIDAY SATURDAY SUNDAY JULY 20 JULY 21 JULY 22 SYNALPHEUS PINKFLOYDI LIVE FEED 12:00 - 8:00 PM 12:00 - 8:00 PM UNDERGROUND UNDERGROUND THEATER THEATER CONCERT 13 CONCERT 16 CONCERT 19 1-3 PM 1-3 PM 1-3 PM EXPERIMENTAL PLAYHOUSE EXPERIMENTAL THEATER THEATER CONCERT 14 CONCERT 17 CONCERT 20 4-6 PM 4-6 PM 4-6 PM PLAYHOUSE EXPERIMENTAL PLAYHOUSE THEATER CONCERT 15 CONCERT 18 CONCERT 21 8-10:30 PM 8-10:30 PM 8-10:00 PM PLAYHOUSE PLAYHOUSE PLAYHOUSE 7 Akio Mokuno, composer and performer, New NYCEMF 2018 York City. (www.akiomokuno.com) STEERING COMMITTEE Dafna Naphtali, composer, performer, educator, New York City (http://dafna.info) Angelo Bello, composer, New York City https://angelobello.wixsite.com/angelobello Daniel Pate, percussionist (http://www.danielpatepercussion.com/) Nathan Bowen, composer, Professor at Moorpark College (http://nb23.com/blog/) Tae Hong Park, composer, Music Technologist, New York University, New York George Brunner, composer, Director of Music (http://steinhardt.nyu.edu/faculty/Tae_Hong_P Technology, Brooklyn College C.U.N.Y. ark) Daniel Fine, composer, New York City Izzi Ramkissoon, composer and performer, New York City Travis Garrison, composer, Music Technology faculty at the University of Central Missouri David Reeder, composer, developer, (http://www.travisgarrison.com) installation artist, New York City (http://mobilesound.org) Doug Geers, composer, Professor of Music at Brooklyn College Paul Riker, composer, Lead Audio (http://www.dgeers.com/) Development Engineer, Visualization Lab, King Abdullah University of Science and Technology Michael Gogins, composer, Irreducible Productions, New York City Meg Schedel, composer, Professor of Music (http://michaelgogins.tumblr.com) at Stony Brook University (http://www.schedel.net) Elizabeth Hoffman, composer, professor at New York University Madeleine Shapiro, cellist, New York City (https://wp.nyu.edu/elizabeth_hoffman/) (http://www.modernworks.com/) Hubert Howe, Professor Emeritus of Music at Joshua Tomlinson, composer Queens College (http://www.joshuadtomlinson.com/) (http://qcpages.qc.cuny.edu/hhowe) Mark Zaki, composer, Professor of Music at Howard Kenty, composer, Stony Brook Rutgers University University, Brooklyn, NY (http://hwarg.com) _____ Judy Klein, composer, New York City Eric Lyon, composer, Professor of Music at Virginia Tech University (http://www.performingarts.vt.edu/faculty-staff/v iew/eric-lyon) 8 FESTIVAL STAFF REVIEWING Hubert Howe, Director and co-founder The New York City Electroacoustic Music Festival gratefully acknowledges the Travis Garrison, Chief Audio Engineer and assistance of the following people, who helped Technical Director, Playhouse review the submissions to the festival: Ioannis Andriotis, Assistant Technical Christopher Bailey Director Angelo Bello Nathan Bowen Angelo Bello, Assistant Technical Director Maja Cerar Patti Cudd Howie Kenty, Assistant Technical Director James Dashow Javier Garavaglia Joshua Tomlinson, Assistant Technical Travis Garrison Director Doug Geers Michael Gogins Mengjie Qi, Assistant Marianne Gythfeldt Jocelyn Ho Elizabeth Hoffman _____ Hubert Howe Howie Kenty NYCEMF logo designed by Matt and Jeremiah Keith Kirchoff Simpson. Benjamin O’Brien Izzi Ramkissoon Margaret Schedel Madeleine Shapiro Joshua Tomlinson Gianni Trovalusci Mark Zaki 9 PROGRAMS & NOTES 10 Concert 1 Program Notes Monday, July 16 Clara Maida, Ipso Lotto 1:00-3:00 PM Ipso Lotto is part of Lostery, a sound and visual installation. Condensing the words "lost" and "Lottery", Experimental Theater the title expresses pessimism and the idea of failure. It accounts for the socio-economic crisis and the increasing inequality between people. It questions 2 Program parameters which have a significant impact on our lives: the cogwheels of the societal machine in which we are Clara Maida immersed and which mostly conditions our destinies; the Ipso Lotto 8'05" notion of chance which plays a part in the path that we will or will not be able to follow, divides individuals on the Marco Molteni side of lucky or unlucky according to the system of their Broken Aelia Minimix 2 6'30" country - more or less favoured, equalitarian, free, at peace or at war, etc. From the Latin locution "ipso facto", Massimo Avantaggiato I coined the title of Ipso Lotto ("by the very lot", by what Three Miniatures 5' one can get or not). The piece uses sounds recorded in game rooms or casinos/ The jolts, the rolls, the rebounds Alexander Sigman and ricochets, recur in a circular space which recalls the furo_remix 6'06" structure of the roulette in a casino. Marie-Hélène Bernard Marco Molteni, Broken Aelia Minimix 2 BOA Sr 13'40" Broken Aelia Minimix 2 is the electronic version of the solo cello piece Broken Aelia (one of the three pieces Patricia Martinez inserted in Three Pills - 2009). I imagined that the cello part (a very simple melody, based on a few notes) was Del cuadro a la postergación gradually stifled by electronic intervention ... (Espejos de tiempo I) 5'56" Massimo Avantaggiato, Three Miniatures Dario Casillo I. Minus one Ordinary Trip Report 7'30" II. Sonom III. Ordi ventilo INTERMISSION In these pieces I only used sounds derived from wind, industrial or domestic fans/ventilators and water droplets. Juan C. Vasquez In this acousmatic miniatures the intervention of man on A Chinese Triptych 6' nature is represented by computational strong modeling of original sounds, while wild nature is represented by Paolo Pastorino natural sounds. First Performance: Csound conference Velocita limite 3'30" 2017, Montevideo, Uruguay. Edward Wright Alexander Sigman, furo_remix Space to Think 11' furo_remix (2017), scored for voice, guitar, and live electronics (projected via small tactile transducers into Man Jie the guitar), uses as its source material the score and Another Door III 4'59" various recordings of John Dowland’s 1600 lute song “Flow, My Tears,” as well as computer voice renditions of Christopher Coleman the song’s text, “translated” into Japanese via Google "…the liquid mountains of the sky…" 8'42" Translate (hence the Japanese title, a Katakana rendering of the word “flow”). In the electronics, the Te Hau computer voices, as well as zither, koto, waterphone, Huan 1'27" and fire organ samples, are mapped to the recordings of the Dowland via concatenative synthesis techniques. Erik Nystrom furo_remix derives its sound elements from the Spheroid 12' electronics of the voice and guitar duo. The remix may be presented as fixed media work, or may serve as the all works on this concert are fixed media basis of a stereo or multichannel improvisation. 11 Marie-Hélène Bernard, BOA Sr Juan C. Vasquez. A Chinese Triptych This piece is inspired by a news report listened in 2010, A Chinese Triptych was composed with recordings from consisting of the announcement of an old woman’s an extensive sound documentary made by the artist in death. I was immediately attracted by the mysterious the Chinese cities of Hangzhou, Suzhou, Shanghai, voice of this woman, called Boa Sr, living in the Wuxi, Harbin, and Beijing during 2017. The piece Andaman Archipelago (located in the Bay of Bengal), overlaps sonic events from the rural, the industrial and who was the last native speaker of language Bo. At the the digital China in a single flowing musical discourse, end of her life, she did not have more people to attempting to represent the full range of highly exchange with and spoke to the birds, in the hope to be contrasting ways of living in China.
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    May - June 1991 Volume 18 Number 3 qudinv, It. wiliteilli, 4440ita. Site tile 1991 conk. Buffet Clarinets - The Tools of Expression he tools of expression allow the artist to communicate the essence of the creative spirit. As an artist, you require the proper tools to fully express your creative spirit. The artists of Buffet Crampon have understood this since 1825 — which is why to this day their clarinets, hand crafted in the finest French tradition, continue to breathe life into the musical soul. Buffet Elite A and Bb clarinets are created to elevate the art of expression to new splendor. Their unique thin wall construc- tion and state of the art design permit a resonance and response that open new frontiers of creativity for the accomplished soloist. The perfect marriage of French tradition and 20th century technology, the Buffet Elites will enhance your creative spirit in ways you never thought possible. Boosey & Hawkes/Buffet Crampon Inc. 1925 Enterprise Court, Libertyville, Illinois 60048 708. 816. 2500 the claainet Volume 18, Number 3 May - June 1991 Features INDEX OF ADVERTISERS Albert Alphin 22 THE ELECTRONIC TUNER by Robert Listokin 18 Bay-Gale Woodwind Products 4 HOW TO CHOOSE AN ARTIST CLARINET Boosey and Hawkes/Buffet inside front cover by Jack Snavely 22 Clarinet and Saxophone Society of Great Britain 42 THE CLARINET SECTION OF THE UNITED STATES Clark Woodwinds 51 AIR FORCE ACADEMY BAND 24 Rich Corpolongo 33 THE LYONS C CLAR1NET—A REVIEW by Colin Lawson Crystal Records 23 26 Cygnet 34 FESTIVAL DIRECTOR'S MESSAGE by Charles Aurand 28 Dantalian, Inc 5 DEG Products, Inc.
  • The Employment of Historically-Informed Performance

    The Employment of Historically-Informed Performance

    THE EMPLOYMENT OF HISTORICALLY-INFORMED PERFORMANCE PRACTICES IN PRESENT-DAY TUBA PERFORMANCES OF TWO ITALIAN BAROQUE VIOLONCELLO TRANSCRIPTIONS Bradley Gene Coker, B.S., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2008 APPROVED: Donald C. Little, Major Professor Eugene Migliaro Corporon, Minor Professor Brian L. Bowman, Committee Member Lenora McCroskey, Committee Member Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Coker, Bradley Gene, The employment of historically-informed performance practices in present-day tuba performances of two Italian baroque violoncello transcriptions. Doctor of Musical Arts (Performance), May 2008, 83 pp., 40 musical examples, references, 41 titles. As several Italian baroque violoncello transcriptions have entered the standard performance repertory for both high school and collegiate tubists, and as numerous texts, articles, and baroque performance instruction courses have illuminated a new realm of performance possibilities, no published document has provided specific, thorough, and sample approaches to performance on the tuba of a given piece (or pieces) through a detailed application of materials found in any singular source or combination of sources. Many of the existing articles and texts that approach the subject focus largely on ornamentation, while limiting the discussion and application of the following topics: tempo, spirit, affect, notation, rhythm, dynamics, and articulation. This document examines such topics and provides detailed explanations and suggestions of historically-informed characteristics applicable to two movements each from the R. Winston Morris transcription of Antonio Vivaldi’s Sonata No. 3 in A Minor and the Donald C. Little/Richard B. Nelson transcription of Benedetto Marcello’s Sonata No.