News Figure 1. Electronic music composer Bebe Barron honored at a Los Angeles Figure 2. Steven Holtzman. gala. From left: Earl Holliman (partially hidden), Bebe Barron, Warren Stevens, and Star Trek’s George Takei. Bebe Barron Honored at Gala Steven R. Holtzman: Worlds, was published by The MIT for Forbidden Planet 1956–1999 Press in 1994. Electronic music composer Bebe Steven R. Holtzman died at his Barron was honored on 16 June Woodside, California home of cancer Bourges Electroacoustic Music 1999 at a screening of the classic at age 43. Born in Great Neck, New Competition 1999 science-fiction film Forbidden York, Mr. Holtzman became an ac- Planet (1956), for which she and her complished musician, studied phi- The Bourges International Institute late husband Louis created the losophy, and received a doctorate in of Electroacoustic Music has an- unique electronic soundtrack. The music and computer science from nounced the winners of the 26th In- recording of this soundtrack on the University of Edinburgh when ternational Electroacoustic Music GNP Crescendo Records is avail- he was 24. While in Edinburgh, he Competition/Bourges 1999. As in able from the Electronic Music directed the first electronic music the previous three years, awards Foundation (on the World Wide festival held in conjunction with the were made both for electroacoustic Web, http://www.emf.org). The gala annual Edinburgh Festival. A fre- music composition and musical event, sponsored by the Los Angeles quent advisor to start-up companies, software. This year’s Golden Pierre Conservancy, United Artists, and Mr. Holtzman founded Perspecta, Award for electroacoustic composi- Metro-Goldwyn-Mayer, was held in Liquid Audio, and Optimal Net- tion was received by Jacky Merit of the most lavish of the Los Angeles works. He was a frequent writer and France for Emphase, with the Silver movie palaces, the Los Angeles contributor for public radio and Pierre Award going to Patrick Kosk Theater, which opened in 1932. A other news media on the subject of of Finland, for Ice Bice. The crowd waited in a long line stretch- digital media. His book and CD- Magisterium Prize for electroacous- ing down Broadway in downtown ROM, Digital Mantras: The Lan- tic composition was awarded to Los Angeles for the sold-out event. guage of Abstract and Virtual Elzbieta Sikora of France, for News 5 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/014892699559959 by guest on 26 September 2021 Aquamarina. There were fewer Compositional residences were SoftwareCompetition/ prize winners in the Quadrivium awarded to Phil Archer (UK), Jean- softftpsite.html). section of the competition than in Christophe Banaszak (France), previous years: in the electroacous- Shintaro Imai (Japan), Ian Stewart tic concert-music category, the (Canada), Dmitry Subochev (Russia), Prix Ars Electronica 1999 Nonthematic Genre prize went to and Michael Thompson (USA). Frédéric Kahn (France) for Les fleurs, In the Musical Software competi- The Prix Ars Electronica competi- ces bouquets d’agonies, and the tion, the Golden Max Grand Prize tion’s music category was renamed Thematic Genre prize went to Frank was awarded to Yann Orlarey of from “Computer Music” to “Digital Corcoran (Ireland) for Sweeney’s Vi- France for MidiShare (Windows/ Musics” for 1999, broadening the sion. Also mentioned as finalists Macintosh/Atari). First prize in the scope of entries this year. The were John Gibson (USA) and Carlos computer-assisted musical composi- competition’s Golden Nica Award Grätzer (Argentina) in the tion category was awarded to Alfio was made to British musician Richard Nonthematic Genre, and Mathew Fazio of Italy for his Windows 95 James (“Aphex Twin”) and video art- Adkins (UK) and Gilles Gobeil program, Prie. Mentions went to ist Chris Cunningham, for their col- (Canada) in the Thematic Genre. Andriy Biletskyy (Ukraine) for Doc- laborative music video, Come to Prize winners in the Studio and tor Webern (Windows 95), Anders Daddy. Awards of Distinction were Score Genre of the Electroacoustic Friberg (Sweden) for Director made to Ikue Mori of Japan for Birth- Concert Music with Instruments Musices (Windows 95), and days, and to the Austrian record la- category were Unsuk Chin (Korea) Guillermo Pozzati (Argentina) for bel, mego, represented by Peter for Xi (for ensemble and electronics) his Windows 95-based Lisp Music Rehberg and Christian Fennesz, who and Kent Olofsson (Sweden) for Il Environment, GEN. In the Synthe- give performances of their music Liuto d’Orfeo (for guitar and tape). sis Software Systems category, Ryan equipped only with laptop computers. Roderik de Man of the Netherlands Francesconi of the USA won First and Cyril Kestellikian of France prize for his Macintosh PowerPC were named as finalists in this cat- software, Spongefork. Olivier Musica Scienza ’99, Rome egory. No prize was awarded in the Delerue and François Pachet of Device and Improvisation genre of France received a mention for their The 10th International Forum of this category, although Charles Windows 95-based program, Music Contemporary Music, Science, and Bestor of the USA and Jean-Louis Space, as did Nicolas Lacoumette of Culture, entitled “Word versus Dhermy of France received mention France for X-Incarn (PC), and Chris Sound—Communication, Technol- as finalists. Within the Electroa- Rolfe and Damian Keller of Canada ogy, and Expression in Contemporary coustic Show-Music category, the for MacPOD (Macintosh PowerPC). Music,” was held in Rome, Italy, 1–9 Music for Dance genre prize was Netochka Nezvanova of New June 1999. The associated confer- awarded to Teruyoshi Kamiya of Ja- Zealand won First prize in the Mul- ence, Theatrics of Sound, brought to- pan for Dance of Stone. Edmond timedia Applications category for gether national radio stations, Mooney and Wayne Siegel, both of her Macintosh-based software, musicologists, and electroacoustic the USA, were named as finalists in nubula m81. First prize in the composers. The forum’s opening cer- this genre. Ted Apel, also of the Other Musical Activities (educa- emony on 1 June was dedicated to USA, was finalist in the Sound and tion, publishing, and games) cat- Edgard Varèse, and featured a recon- Music Installation or Environment egory was awarded to Didier struction of Poème Electronique with genre. No prizes were awarded Guillion of France for Melody As- images, light, colour, sound, and within the Electroacoustic Music sistant (PC and Macintosh). Ryan original components used in Le for Multimedia category, although Francesconi received a mention in Corbusier’s Philips Pavilion during Gérard Torres (France) and Alicyn this category for his Macintosh pro- the Brussels Universal Exhibition. As Warren (USA) were named as final- gram, Noise Organ. Full details of in 1958, Poème Electronique was pre- ists in the Music and Video genre, all of these software packages can ceded by the prelude Concrète PH, while Elizabeth Hinkle-Turner of be found in the Bourges software written for the occasion by Iannis the USA was finalist in the Music archive (on the World Wide Web at Xenakis, codesigning engineer of the for CD-ROM or Internet genre. http://www.gmeb.fr/ Pavilion. 6 Computer Music Journal Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/014892699559959 by guest on 26 September 2021 Open Electronic Festival, Technologies); Mills College Center performed by Matt Rogalsky in for Contemporary Music; and the Cambridge with other players in Groningen music department at University of Paris, San Francisco, New York, and California, San Diego; and was sup- two sites in Australia. Finding Time The Open Electronic Festival took ported by a grant from the Clarence is on the World Wide Web at http:// place 4–6 June 1999 in the City of E. Heller Charitable Foundation. www.turbulence.org/Works/ftime. Groningen, The Netherlands. Orga- nized by the Cyberslag Foundation, in association with the Groningen Immersion Festival, Melbourne Conservatory and the new-media de- Dodg’em Installation partment of the Groningen Academy Immersion was a series of three con- Martine Corompt and Philip of Art, Media-GN, the festival pre- cert presentations featuring 17 spe- Samartzis presented Dodg’em at sented an overview of developments cially commissioned surround-sound Gallery 101 in Melbourne, Austra- in the realms of electronic music and compositions by Australian and in- lia, 24 June–1 July 1999. Dodg’em new-media art. A series of perfor- ternational composers exploring a di- consisted of two adult-size pedal mances, exhibitions, and workshops verse range of methodologies in the cars in an invisible sonic landscape. were given at locations throughout exploration of sound in space. Philip Participants were invited to drive Groningen. Composers represented Samartzis, experimental sound artist themselves around an “empty” gal- at the festival’s concerts included Ri- and lecturer in sound at RMIT Uni- lery space, triggering a spatial chard Barrett, Olivier Hijmans, versity, Melbourne, served as curator soundscape of an unseen terrain as Laurens Kagenaar, Paul Obermeyer, for the three concerts to emphasize they went. As drivers negotiated the Wouter Snoei, Jorrit Tamminga, and the diversity of work being con- sonically suggested obstacles, they Kees Tazelaar. Installations were ducted in the field. The compositions could map out a mental construc- contributed by Judith de Boer, Runa were presented within a multichan- tion of the spatial landscape and Islam, Martin Riebeek, Peter Stel, nel cinema environment at the were able to anticipate, through and Martijn Veldhoen. The weekend Cinemedia at the Treasury Theatre, memory, the various peculiar char- also featured concerts of improvisa- Melbourne, 11–13 June 1999. Speak- acteristics of this invisible realm. tions, screenings of music videos, ers at the festival were Philip Brophy For more information, visit and displays of interactive computer (RMJT University), Bernard Experimenta’s World Wide Web site software. Parmegiani (GRM, France), and at http://www.experimenta.org. Cécile Le Prado (IRCAM, France).