Saturday26thNovember2016,7.30pm,RiverstownHall,MaynoothUniversity.

StevenYi - Transit(2016)2:44

“Transit”wasinspiredbylisteningtothemusicofTerryRileytocreateaworkthatinvolvedlongfeedbackdelaylines.IbeganwithamentalimageofperformersinaspaceworkingwithelectronicsandworkedtodevelopavirtualsystemtomimicwhatIhadinmind.Oncethesetupwasdeveloped,Iexperimentedwithimprovisingmaterialliveandnotatingwhatfeltright.Ithencontinuedthiscycleofimprovisationandnotationtoextendanddevelopthework.StevenYiisacomposerandprogrammer.HeistheauthoroftheBlueIntegratedMusicEnvironment,authorofPinkandScoremusiclibraries,andcoredeveloperofCsound.HeholdsaPhDinDigitalArtsandHumanitiesfromtheNationalUniversityofIreland,Maynooth.Inhisfreetime,heenjoyspracticingandstudyingT'aiChi.BillAlves - StringFields(forviolinandcomputer)

6:00violin:Maria-NoelleCreeveyBillAlvesisacomposer,writer,andvideoartistbasedinSouthernCalifornia.Hehaswrittenextensivelyforconventionalacousticinstruments,non-Westerninstruments(especiallyIndonesiangamelan)andelectronicmedia,oftenintegratedwithabstractanimation.CDsofhisaudioworksincludeTheTerrainofPossibilities(EMF)andImbal-Imbalan(SpectralHarmonies),andadvdofhisvideoworks,CelestialDanceispublishedbytheKineticaVideoLibrary.HeistheauthorofthebookMusicofthePeoplesoftheWorld,thethirdeditionofwhichwasreleasedbyCengage/SchirmerinSpring2012.OtherwritingshaveappearedinOrganisedSound,PerspectivesofNewMusic,ComputerMusicJournal,SEAMUSJournal,1/1,andelsewhere.In1993-94hewasaFulbrightSeniorScholarFellowinIndonesia,wherehestudiedthegamelanorchestramusicofJavaandBali.HecurrentlydirectstheHMCAmericanGamelan,anensembleofspeciallytunedJavaneseinstrumentsdedicatedtotheperformanceofnew,non-traditionalmusic.HeisoneoftheorganizersofMicroFest,theannualSouthernCaliforniafestivalofnewmusicinalternatetunings.HeteachesatHarveyMuddCollegeoftheClaremontCollegesinSouthernCalifornia.

LindaAntas - AllThatGlittersandGoesBumpintheNight7:50

Allthatglittersisn’ttreasure—butitglittersnonetheless.Noteverythingthatgoesbumpinthenightdoesusharm,andinfact,manythingsarenearlyequalparts“glitter”and“bump.”Iamconvincedthateverythingnegativecarrieswithitanequalmeasureofgood,ifonlywehavetheskillstobeardifficultthingsinconstructiveways.Theworkisareflectiononappearancevs.reality—onouroftendistortedperceptionsofgoodandbad,successandfailure,directcauseandserendipity—andonallmannerofassumptions.Faultylogic,ignorance,andstrongemotioncaninhibitourunderstandingofthepeople,objects,andsituationsaroundus,causingunduenegativity,unfoundedpositivity,andoverallconfusionaboutthecausesofbothhappinessandsuffering.Onatechnicallevel,theworkexplorestheparallelsbetweenmovingimageandaudioart,includingthecreativeprocessitself.Thelinksbetweenthebasicelementsofthetwomedia(texture,layer,color/timbre,density,andthescalingoftimeandfrequency),andmethodsfortransformingthedigitaldatawereinvestigatedincreatingthiswork.LindaAntasisacomposer,digitalartist,flutist,andeducator.HercompositionshavebeenperformedandbroadcastaroundtheworldandarepublishedontheAblaze,Centaur,MediaCafé,TauKay,andEMSlabels.AntashasreceivedcommissionsfromtheInternationalComputerMusicAssociationandrecognitionfromtheMusicaNovaInternationalElectro-acousticMusicCompetition,theInternationalMusicContestCittádiUdine,andtheFulbrightFoundation.Hercurrentresearchinvolvesaudiovisualcomposition,sonification,real-timesignalprocessing,andphysicalcomputing.ShaneByrne- Proprioception(2016)

6:00ShaneByrneisacomposerofacousticandelectronicmusicandiscurrentlyaPhDresearcheratMaynoothUniversityfocusingoninteractivityandparticipationwithinelectronicmusiccomposition.In2013hecompletedhisBAinMusicTechnologywithfirstclasshonoursandin2014completedanMAincreativemusictechnologiesalsoreceivingfirstclasshonours.Hiscurrentworkisfocusedonphysicalcomputingandthepotentialforhumaninteractiontoaddtoanoverallimmersivemusicalexperienceforboththeperformerandtheaudience.Hisworkhasmorerecentlyledhimtoinvestigatethepotentialforsuchinteractiontofacilitateandencouragelearningamongstthelearningimpairedandtheautisticcommunity.Healsoworksasasounddesigner,foleyartistandmixingengineer.HisfirstloveisperformanceandregularlytakespartinimprovisationnightsandoccasionallyplaysgigswithseveralnoiseandprogressiverockbandsinDublin.

JoachimHeintz - ATT…(2014-16)1:48

EinkleinerGrußfürmeineLehrerinYounghiPagh-PaanzuihremAbschiedvomUnterrichten.EineminimalistischeStudieübereineBewegungdesBeschleunigens/Begehrens/Greifens->Verlangsamens/Zurücktretens/Lassens->Bleibens/Stehens/Fortdauerns,undeine„Begleitung“durchferne,ungreifbare,sichandersbewegendeAkkorde.JoachimHeintzafterstudyingLiteratureandArtHistory,beganhiscompositionstudieswithYounghiPagh-PaanandGuenterSteinkeinBremenin1995attheHochschuleFuerKuenste.DuringthecourseofhisstudiesinBremen,heworkedintensivelyintheelectronicmusicfieldandalsowithmixedmediasuchasvideo.HeistheheadoftheelectronicstudioIncontriattheHMTMinHannover(HanoverUniversityofMusicDramaandMedia),teachesAudio-ProgrammingattheHfKBremenandisamemberoftheTheaterderVersammlunginBremen.Hecomposesbothforinstrumentsandelectronics,forconcerts,soundinstallations,performancesandastheatremusic.HeisanactivememberoftheOpenSourcecommunity,inparticularinthedevelopmentofCsoundandCsoundQt.

INTERVALIainMcCurdy - AcousticCapacitance(2016)

7:00percussion:SaulRaysonAcousticCapacitancepresentsaduetbetweenapercussionistplayingjustasnaredrumandacymbalandalaptopmusicianmakinguseoftransformations-through-convolutionofthetwoliveinstruments.Capacitorsfunctionbysettingtwoparallelconductiveplatesfacingeachother,separatedbysomematerialthatresistsconduction(thedielectric).Positiveandnegativechargescancollectontheopposingplatesbutwhenthischargedifferencecrossesathresholdforthatcapacitor,chargebeginstopassfromthenegativelychargedplatetothepositiveone.Thepiecetakesthismetaphortoinformhowtheacousticandelectronicsoundworldscanconfrontoneanother,andsimultaneouslyinsistupontheirinnatedifferenceswhile'leaking'connectionsandsimilarity.IainMcCurdyisacomposerfromBelfast,currentlylecturinginmusicatMaynoothUniversity.Hisworkhascoveredtheareasofacousmatic,electroacoustic,instrumental,soundinstallationandcross-disciplinaryworksinvolvingallfour.HisworkwithCsoundhasfocusseduponthecreationofdemonstrationsofthesoftware’scapabilities,andmorerecentworkhascapitalisedupontheCsoundfrontend,Cabbage.Hisworkwithsoundinstallationsandalternativecontrollerdesignhasdrawninexplorationofelectronics,sensorsandinstrumentbuilding.

MassimoFragalà - Voce3316(2016)3:00

Allthesoundsthatformthiscompositionderivefromtheelaborationofvocalsyllable.Startingfromthisverysmallsample(0.31seconds)Itriedtochangetheoriginalcharacteristicsinordertogeneratearangeofsoundsmoreolessdifferentcomparedtotheiroriginalvariety.Thiswaspossibleusingparticulartechniqueofsoundprocessingsuchasspectraltimestretching,morphing,freezingandsustainingasoundonanexplicitlyspecifiedgrain,transposingcopiesofsoundontopofoneanother,etc.MassimoFragalàgraduatedinElectronicMusicandinClassicalGuitar.HismusichasbeenselectedandperformedinmanyfestivalsandconferencesworldwideincludingICMC2003,ICMC2005,FestivalZèppelin05,EARSoundsElectric2005,LAC06,ICMC2006,FestivalMùsicaViva2008(SoundWalk),NWEAMO2008,TaukayFrammentAzioni2008,VoxNovus2008(60x60project),LAC2011,Emufest2011,60x602012PianoForteMix,CsoundConference2013,LAC2015,CsoundConference2015,etc...OneofhiselectroacousticcompositionshasbeenpublishedonCDbyElectronicMusicFoundation(EMF).AlexHofmannandBerntIsakWærstad- COSMOCollective

8:00COSMOCollectiveisanopenmusicalcollaborationformusiciansusingDIYelectronicsandcustomsoftwarewritteninCsound.Thereisnodefinitemusicalstyle,thoughitcouldbecharacterisedaselectroacousticimprovisation.Thefocusisontheexplorationofsoundandtimbre,ratherthantraditionalharmonicsandrhythm,andexploitingthepowersofCsound.ThecoreofthegroupareAlexHofmann(saxophoneandelectronics)andBerntIsakWærstad(guitarandelectronics),butaperformancecanconsistofanynumberofplayers.COSMOCollectivehaveperformedseveralshowsaroundtheworld,includingNewYork,St.Petersburg,Brisbane,Bergen,Boston,Berlin,OsloandTrondheim.AlexHofmann(*1980)studiedsaxophone,improvisationandcomputermusicattheHochschulefürMusikundTheaterHannoverwithMattiasSchubertandJoachimHeinz.HeworkedasasounddesignerandobtainedaPhDinmusicacousticsattheUniversityofMusicandPerformingArtsVienna,whereheiscurrentlyworkingasresearcher(http://iwk.mdw.ac.at/hofmann.htm).BerntIsakWærstadisamusician,composer,sounddesigner,withamasterinmusictechnology.HeiscurrentlyalecturerattheMusicTechnologygroupsatNTNUandNorwegianAcademyofMusic,asounddesignerandmixengineeratPipaLydbyråandworksfreelanceasamusician,producerandsoundengineer.BerntIsakisalsoamemberofseveralmusicalconstellationsasVingelklang,T-EMP,LashingsoftheOldUltraviolentandCOSMOCollectivetomentionafew.

MassimoAvantaggiato - AtlasofUncertainty(2016)5:10

“AtlasofUncertainty”isanelectronicmusicpieceinwhichamicrocosmofsounds,exploredthroughsomecsoundinterfaces,becomesthehyleticuniverseofthepiece.Heterogeneoussoundmaterialsareexploredthroughvarioustechniques(granular,subtractive):kitchennoises,treatedbellstexture,electronicgeneratedwhipssoundsandGranularaccumulation,Noisywhooshes,Chimes,Tibetanbowlsjusttonameafew.Thesoundsareherecombinedinwell-identifiableelectronicgestures.MassimoAvantaggiatostudiescompositionatConservatorioGiuseppeVerdiinMilan.Sincehismid-teenshehasconcentratedonexpandinghismusicallandscapeusingelectronics,unusualrecordingtechniquesandcomputer-basedtechnology,allofwhichhelphimtodevelophisideaofsoundandcomposition.HetookadegreeinElectroacousticCompositionwithHonourat“GiuseppeVerdi”ConservatoireinMilanandadegreeasaSoundEngineer(RegioneLombardia).HehaswrittenmusicforshortfilmsandinstallationsandalsomusicforTVadverts;hehasrecordedseveralCDsforvariousItalianandforeignlabels.RecentlyhisinteresthasmovedtowardsMultimodalInteractioninVirtualEnvironments(selectedforastage@AalborgUniversity,Denmark,2011)andtowardsadaptivesounddesignandmusic(MusicandScreenMediaConference2014,Liverpool;ATMM2014,Ankara,Turkey).Hehasrecentlyparticipatedin:EMUFEST2016(Rome),DiffrazioniFestival2016(Florence,italy);ISSTA2016(Belfast);Cycleduson(FundacionDestellos,Argentina,2016),NAISA2016(Toronto,Canada);SMC2016(hamburg,Germany);NYCEMF2016(NewYork,USA),Soundthought2016(Glasgow),CsoundConference2015,SaintPetersburg,Russia;LINUXAudioConference2015,Mainz,Germany;GiordanoNationalCompositionContest2014(finalist),ConservatoriodiFoggia,Italy;CIM14ConferenceonInterdisciplinaryMusicology,Berlin,Germany;CIM2014,ConservatorioS.Cecilia,Rome(Italy);ATMM2014,Ankara,Turkey;InternationalComputerMusicConference2014,Athens,Greece;ICMPC-APSCOM2014,Seoul,SouthKorea;SlingshotFestival2014(Athens,SouthGeorgia,USA);EMS2014(UniversitätderKünste,Berlin);MusicandScreenMediaConference2014(LiverpoolUniversity);MusicasaProcess(ChristChurchUniversity,Canterbury,England);FAS2013(SanJoséCostaRica);Contemplum2013(Philadelphia,USA);PremioNazionaledelleArti/compositioncontest2013,Avellino,Italy;EMUFestival2010and2013(Rome,Italy);Distanze2012(Catania,Italy);Segnali2012(Perugia,Italy);CSoundMusicConference2011(Hannover,Germany);IFIMPAC2011(Leeds,England).

RichardBoulanger - CloningaDinosaur(2016)7:30

WorldpremiereControlledandModulatedlivebyanassortmentofTheremin,Joystick,BrainWave,andPressuresensors,this8-channelEuroRackModularSynthesizerperformancewillfeature:threeQu-BitNebulaemodules(eachrunningandrenderinginreal-time,newvoltage-controlledversionsofBoulanger’sclassicTrappedinConvertinstrumentsandasuiteofnewcustom“Qu-Bit_Csound”orchestras);twoThonkMusicThingModular-RadioMusicmodules(eachplayinganumberofpre-renderedcustomCsoundorchestrasas.AIFaudiofiles);andthreeAudioDamageODIOmodules(allowingforthemodularsystem’saudiotobesentto,andreturnedfromthreeiPadsrunningBoulangerLabsCsoundforiOSapps-csJam,csGrain,csSpectral,andcsMorFFTthataredoingCsound-basedaudioprocessing).Backinthesummerof1979,whenIcomposedTrappedinConvert(attheEMSStudioatMITinBarryVercoe’smusic11language,andthenreviseditattheMITMediaLabin1986toserveasabeta-testsuiteforVercoe’sCsoundlanguage),ImodeledallmysoundsonthoseIwouldcreatewithmyARP2600analogsynthesizer.Now,some37yearslater,andtocelebratethe30thanniversaryofCsound,Ihavecomefullcircle-makingCsoundsonmymodularsynthesizer-thankstothetheQu-BitNebulae,(aEuroRacksynthesizermodulebuiltaroundaRaspberryPirunningCsound).Iamincrediblyexcitedbythefactthatthisold“Dinosaur”isnolonger“Trapped”andIlookforwardtotakinghimoutforarun!Forme,musicisamediumthroughwhichtheinnerspiritualessenceofallthingsisrevealedandshared.Compositionally,Iaminterestedinextendingthevoiceofthetraditionalperformerthroughtechnologicalmeanstoproduceamusicthatconnectswiththepast,livesinthepresentandspeakstothefuture.Educationally,Iaminterestedinhelpingstudentsseetechnologyasthemostpowerfulinstrumentfortheexploration,discovery,andrealizationoftheiressentialmusicalnature—theirinnervoice.HlöðverSigurðsson- LiveCodingImprovisation

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