Percussionist Luis Tabuenca, currently in residence @ NYU will be performing works by Elizabeth Hoffman, Jaime Oliver La Rosa, You Nakai (NO COLLECTIVE), Globokar, and by Tabuenca himself.
This concert will present a wide range of works that resulted from collaborations with NYU composers during Spring 2014.
WHEN: Wednesday, March 26th, 8:00PM
WHERE: NYU Music Department
24 Waverly Place, Room 220, NY 10003
WHEN: Tuesday, March 25th, 12:30PM (composition seminar)
WHERE: NYU Music Department
24 Waverly Place, Room 220, NY 10003
abstract
In this talk, Zachary will present his recent artistic research in spatial sound. These projects will be discussed:
The act of authoring sound for space is, consciously or not, built upon on a broad series of assumptions and requirements ranging from the purely artistic/conceptual to the technical/practical.
How will audio be “delivered”? Is the delivery method even known at the time of authoring?
How will sounds inhabit and behave within space? Will they conform to real-world expectations in terms of location or behave in ways that stretch or defy the laws of physics?
Is the sound space a virtual extension of the listener’s real-space? Is it a sonic extension of a real or synthetic 3D visual space projected onto a flat surface in either 2D or 3D?
These and many, many more issues inform and constrain our experience in spatial sound design, composition, and performance.
bio
Zachary Seldess (b. 1976), a Chicago native now living in San Diego by way of New York City and Saudi Arabia, is a programmer, media artist, composer, and teacher.
As a composer and programmer, Zachary has collaborated with artists in many mediums including theater, dance, film, and poetry. He has presented interactive installations at Gallery Aferro in Newark New Jersey, ZKM (Zentrum fur Kunst und Medientechnologie) in Karlsruhe Germany, and Siggraph Asia 2009 in Yokohama Japan. His work has been published/presented in Antennae, NIME 2007 and 2011, Chamber Music America National Conference 2009, Siggraph 2011, ICAD 2011, and IS&T/SPIE Electronic Imaging 2014. Together with performer-composer Jane Rigler, Zachary co-designed the Manhattan New Music Project’s Music Cre8tor – an interactive educational sensor/software interface designed specifically for children with disabilities. Other projects include sound design and programming for New York-based dancer Johari Mayfield; and design of real-time multi-channel audio and video performance software for video artist Hisao Ihara. Zachary has also programmed for artists Mari Kimura, Lillian Ball, Rashaad Newsome, Cory Arcangel, Patrick Clancy, Miguel Frasconi, Rebecca Cherry, Mem1, Tobaron Waxman, Shana Moulton, and others.
Zachary currently works as Senior Audio Research Engineer at the Sonic Arts R&D Group, Qualcomm Institute, CalIT2, UC San Diego. Previously, he worked as Audio Systems Coordinator and Developer at the Visualization Lab, King Abdullah University of Science and Technology (KAUST). In New York, Zachary worked at Harvestworks, teaching courses in interactive programming ranging from introductory courses in Max/MSP/Jitter and Processing to special topics such as multi-channel audio/video spatialization and live video tracking. Zachary also worked as an adjunct lecturer at Brooklyn College CUNY, and as a researcher at the CUNY Graduate Center’s New Media Lab, where he designed interactive pedadogical tools and artistic environments in 3D Game Space. In Chicago, Zachary worked as a performer, composer, private teacher and adjunct professor at Wilbur Wright College and Harold Washington College. In 2005, Zachary founded the Intermedia Arts Group, a collective committed to the support and performance of new and interactive media artwork within the CUNY artistic community. He is co-founder and previous co-director of the New York City Electroacoustic Music Festival.
WHEN: Wednesday, March 12th, 5:00PM
WHERE: NYU Music Department
24 Waverly Place, Room 220, NY 10003
abstract
In this talk, I will tackle the issue of physicality in embodied musical performance with digital instruments. I will argue that physicality is emergent. That is, physicality is constituted by a continuous transformation of the body which originates from visceral and unconscious mechanisms entangled with finished embodied actions. Originally developed by the British emergentists in the late nineteenth and early twentieth century, the notion of emergence is used in the frame of technology-mediated music performance to motivate a composition and performance strategy that leverages and challenges the player’s physical skills. Such theoretical approach will be the demonstrated in the practical context of a performance entitled Ominous, for the biophysical musical instrument Xth Sense. This is a free and open, biotechnological instrument that captures the performer’s body bioacoustic sound and use it as both musical material and processing parameter. The Xth Sense, which I created in 2011, has been my favourite musical instrument for the past 3 years, and it is used in diverse contexts by an increasing community of artists, composers and performers.
Ominous | Incarnated sound sculpture (Xth Sense) from Marco Donnarumma on Vimeo.
http://marcodonnarumma.com
http://res.marcodonnarumma.com/projects/xth-sense/
bio
Performer, body tinkerer, biotech creator and writer Marco Donnarumma explores the dimensions of the body in relation to real, virtual and cultural space. Using natural and technological media, his works disrupt the flesh to uncover unknown traits of human nature. He is known for his wide range of body-based creations, that include intense physical performance, sound, light and video, Butoh, dance and media theatre. He makes open biotechnologies and bodily interactive systems. Currently, as a PhD student at Goldsmiths London with Atau Tanaka and Matthew Fuller, he investigates how body theory can provide perspectives on the design of combined biosensing and machine learning technologies for music and the performing arts. He is a Harvestworks Creativity + Technology = Enterprise Fellow (New York, US) with support by the Rockefeller Foundation.
Marco has performed and spoken in over 50 countries including US, South America, Europe, India, China, South Korea and Australia. His works have been selected at leading art events (ISEA, Venice Biennale, WRO Biennale), specialized festivals and venues (Transmediale, FILE, Panorama, NYEAF, Sound Art China, CYNETART, Piksel; STEIM, EMPAC, Stanford CCRMA) and major academic conferences (CHI, NIME, ICMC, Pd Con, Linux Audio). He is the editor of Biotechnological Performance Practice (eContact! 14.2), a comprehensive publication on biotech in the performing arts. His writings have appeared in the Leonardo Electronic Almanac (MIT Press), in the book “New Art/Science Affinities” (CMU, Studio for Creative Enquiry), and several times in specialised conference proceedings.
He’s the recipient of several awards, most notably, the 1st prize in the Margaret Guthman Musical Instrument Competition (Georgia Tech, US) for the biophysical instrument Xth Sense, and the 2nd prize in the Transitio New Media Art Contest (MX) for the private installation Nigredo, created with Marije Baalman. He has been artist in residence at STEIM (NL), Inspace (UK), and National School of Theatre and Contemporary Dance (DK). Hiswork has been funded by the European Commission, British Council, Creative Scotland, New Media Scotland, and the Danish Arts Council. His projects have been reviewed on BBC, Forbes, Reuters, Wired, RTVE, El Pais, ResonanceFM, Weave, Create Digital Music, We Make Money Not Art and Digicult.
WHEN: Tuesday, March 4th, 6:30PM
WHERE: NYU Music Department
24 Waverly Place, Room 220, NY 10003
Dr. Cudd and composer Cort Lippe (telematically) will share their joint experience of collaboration for the commission, composition and premiere of a piece for percussion and live electronics, through the particular point of view of a performer and a composer. Topics include communication, planning of resources, method of composition, notation, and rehearsal strategies when the composer and performer live in separate places.
Bio:
Patti Cudd is a percussion soloist, chamber musician & educator teaching at the University of Wisconsin-River Falls and College of St. Benedict/ St. Johns and is a member of the new music ensemble Zeitgeist. She has given concerts and master classes throughout the United States, Korea, Thailand, China, Mexico and Europe and has participated in the Bang on a Can Festival, Frau Musica Nova Cologne, Mexico City Ciclo de Percusiones, SEAMUS, Hawaii Mirror of the New, LA Phi Green Umbrella, Copenhagen Composers’ Biennale, Nove Hudby Plus Festival Brno, Czech Republic, Samcheok Korea Music Fest, Sokcho Korea Arts Fest, Hanyang New Music for Technology, Festival Cultural Zacatecas. She has worked with many innovative composers such as Ferneyhough, Feldman, R. Reynolds, P. Oliveros, John Luther Adams, J. Zorn, Colgrass, C. Wolff, Globokar, Rzewski and has premiered over 200 new works. Patti has recorded under Hat Hut, Bridge, New World, CRI, Innova, Emf Media & Mode labels and is a Yamaha Performing Artist, endorser of Sabian Cymbals and member of the Vic Firth Ed Team.
http://www.patticudd.com/
Spanish percussionist Luis Tabuenca is in residence in the Music Department this spring semester working on pieces by Yu Nakai, Elizabeth Hoffman, and Jaime Oliver. He is a fantastic musician and will be a wonderful resource for the department. Please feel free to contact him. More information below:
ARRITMIA Composed and performed by Luis Tabuenca from LUIS TABUENCA on Vimeo.
Percussionist, improviser, composer Luis Tabuenca was born in Zaragoza, Spain. For the past years he has focused on contemporary and experimental percussion music both as a performer and a composer. Tabuenca is also an active artist in the international improvising music scene. He studied in Europe and USA with Steven Schick, Miquel Bernat, and George Elie Octors. He has taken classes with soloists of music ensembles such as the Ensemble Intercontemporain and the Ensemble Recherche. He is a former member of the Red Fish Blue Fish Ensemble (USA), the Jeunesses Musicales International Orchestra, and the Ensemble Reserche Academy (Germany), among others. He has toured in Europe, Asia, and America, performing in festivals like the Münstersommer Summer Festival (Freiburg, Germany), the Monday Evening Concerts (Los Angeles, USA), the Newbury Spring Festival (Newbury, England), International Performance Festival (Bogotá, Colombia), the LUX Festival (Sevilla, Spain) and the International Contemporary Music Festival (Alicante, Spain).
As an improviser Luis has played with Dafna Naphtali, Seijiro Murayama, Naomi Sato, Wade Matthews, Alessandra Rombolá, Julio Camarena, Artur Vidal, Ken Slaven, Alfredo Costa Monteiro, Ruth Barberán, Lali Barriere, Juan Matos Capote, Miguel Angel Garcia, and Hector Rey.
Luis Tabuenca’s compositions explore the borderlines between improvised and composed music. He has created music for solo percussion, contemporary dance, and documentaries. He has collaborated with choreographers and visual artists.
Luis has recorded for Aural Terrains, Mode Records, RTVE, RAI and Verso. He has been honored in percussion competitions and he has received awards by the Government of Aragon, the Ministry of Culture of Spain, and the Fulbright Commission. Luis Tabuenca is founder and Artistic Director of the experimental music festival FAT (Festival de Audio Tangente). He is head of the Percussion Department at the Burgos Music Conservatory, Spain.
More info: www.luistabuenca.com
abstract
Ross Karre will draw on his advanced degrees in music (DMA) and film (MFA) as well as numerous years of arts documentation experience to create a two-part lecture and tutorial on the theory and techniques of documentation in the arts. The sessions will include hands-on video demonstrations that span the entire workflow; from the lens to the web. Ross will speak specifically on practical subjects such as optimizing music documentation on a budget and the broader concepts of re-framing a work of music for the cinematic medium. Ross will discuss how music documentation is not only a process of audio-visual capture but of transcription from one medium to another. Session one will cover camera operation and capture methods. Session two will focus on editing and distribution.
bio
Ross Karre (b. 1983 in Battle Creek, MI) is a percussionist and temporal artist based in New York City. His primary focus is the combination of media selected from classical percussion, electronics, theater, moving image, visual art, and lighting design. After completing his Doctorate in Music at UCSD with Steven Schick, Ross formalized his intermedia studies with a Master of Fine Arts from UCSD. He has worked closely with composers from around the world such as Pierre Boulez, Helmut Lachenmann, and Harrison Birtwistle in N. America, S. America, Europe, Asia, and Australia. Ross is a percussionist for the International Contemporary Ensemble (ICE) and performs regularly with red fish blue fish, Third Coast Percussion (Chicago), the National Gallery of Art New Music Ensemble (DC), and many others. His projection design and video art has been presented in numerous prestigious venues around the world including the BBC Scotland (Glasgow Concert Halls), the Park Avenue Armory (NYC), Miller Theater (NYC), the National Gallery of Art (Washington, DC), and the BIMhuis (Holland). Ross is the founder and owner of a growing arts documentation business called rKAD specializing in video and audio recordings of performing arts.
WHEN: Tuesday, February 18th, 12:30PM
WHERE: NYU Music Department
24 Waverly Place, Room 220, NY 10003
Abstract
Roger Reynolds presents, with Jaime Oliver: An illustrated (and collaborative) exploration of three works: SEASONS (premiered at the National Gallery of Art), MARKed MUSIC (with the matchless improviser Mark Dresser), and george WASHINGTON (premiered at the Kennedy Center by the NSO under Christophe Eschenbach)
Bio
Reynolds is a Pulitzer-winning American composer known for his capacity to integrate diverse ideas and resources, for the seamless blending of traditional musical sounds and those newly enabled by technology. His work responds to text of poetic (Beckett, Ashbery) or mythological (Aeschylus, Euripides) origins. His profile includes “wizardry in sending music flying through space: whether vocal, instrumental, or computerized”. This signature feature first appeared in the notationally innovative theater piece, The Emperor of Ice Cream (1961-62). At the University of California, San Diego, Reynolds’s leadership helped establish an internationally recognized center for composition and computer music. He was awarded the Pulitzer Prize for a string orchestra composition, Whispers Out of Time. Reynolds is author of three books and numerous journal articles. His work has been featured at international festivals in Europe, Asia, Australia, and Latin American. This work embodies an American artistic idealism reflecting the influence of Varèse and Cage. Reynolds lives with his partner of 50 years, Karen, in Del Mar, California, overlooking the Pacific. Performances by the Philadelphia, BBC, San Francisco, Los Angeles, and Tokyo Philharmonic, preceded his most recent large scale National Symphony Orchestra work honoring our nation’s first president: george WASHINGTON. It knits together Reynolds’s career-long interest in orchestral music, text, extended musical forms, intermedia, and computer spatialization of sound. Reynolds’ music is published exclusively by C.F. Peters, and the Library of Congress established a Special Collection of his work in 1998.
WHEN: Wednesday, December 4th, 6:30PM
WHERE: NYU Music Department
24 Waverly Place, Room 220, NY 10003
Here are the patches from the talk.
Abstract
Certain standard audio features can be understood intuitively, but the meanings of others are less obvious. William Brent will discuss some practical and theoretical aspects of audio feature extraction in connection with his timbreID library for Pure Data. Special attention will be given to the meaning of more abstract feature information, such as cepstrum and Mel-frequency Cepstral Coefficients (MFCCs). Recent projects making use of such features will be reviewed as well, including a realization of John Cage’s Variations II that requires ordering of hundreds of audio files by timbre, and software for Bryan Christian’s Ignota, designed to compare the timbres of percussion instruments and sung IPA phonemes for the purpose of generating instrument-dependent language.
Bio
William Brent is a computer musician and Assistant Professor of Audio Technology at American University in Washington DC. His creative work is spread across the areas of experimental music performance, sound installation, and instrument design, and involves various combinations of human- robotic- and computer-realized sound. In collaboration with internationally recognized composers and performers, he develops and operates real-time audiovisual manipulation software for inter-media performance works. In this capacity, he has presented work at venues such as SESC (São Paulo), Glasgow Concert Halls (Scotland), Miller Theatre (New York), and the National Gallery of Art (Washington, DC). As a programmer, he develops open source software libraries for the Pure Data (Pd) programming environment. His current lines of research include new methods for physical control of synthesized audio, signal analysis techniques for quantifying timbre, and various aspects of human timbre perception.
Brent holds a Ph.D in Music from the University of California, San Diego, where he studied in the computer music area with Miller Puckette, F.R. Moore, and Shlomo Dubnov. Centered on various understandings of timbre, his dissertation research examined signal processing techniques for automatic classification of percussion instruments, and the relationship between objective measurements and human judgments of percussive sounds.
Software and further information can be accessed at www.williambrent.com.
Three weeks of radical new projects by emerging composers, commissioned, produced and performed by ICE, presented by Roulette, Brooklyn’s home for new music. All three concerts are FREE:
December 3: Maria Stankova and Sasha Siem
December 10: Martin Hiendl and Monica Duncan
December 17: Daniel Dehaan and Felipe Lara
WHEN: Wednesday, December 3rd, 10:30AM
WHERE: NYU Music Department
24 Waverly Place, Room 220, NY 10003
Abstract
In her music Anna Thorvaldsdottir frequently works with large sonic structures that tend to reveal the presence of a vast variety of sustained sound materials. Her approach to music composition can be said to reflect her sense of imaginative listening to landscapes and nature and the music tends to portray a flowing world of sounds with an enigmatic lyrical atmosphere.
In the presentation Anna will be talking about her music, inspirations, aesthetics, and compositional approach with regards to some recent projects.
Bio
Anna Thorvaldsdottir’s music is frequently performed in Europe and in the US, and has been featured at several major music festivals such as ISCM World Music Days, Nordic Music Days, Ultima Festival and Beijing Modern Music Festival. Her works have been nominated and awarded on many occasions, e.g. at the Icelandic Music Awards and the International Music Prize for Excellence in Composition. Anna is the recipient of the prestige Nordic Council Music Prize 2012 for her orchestral work Dreaming.
Some of the orchestras and ensembles that Anna has worked with include e.g. the Iceland Symphony Orchestra, BIT20, CAPUT Ensemble, Musiques Nouvelles, Either/Or Ensemble and the International Contemporary Ensemble.
Anna holds a PhD degree from the University of California in San Diego where she primarily worked with Rand Steiger and Lei Liang, as well as with Chinary Ung, Philippe Manoury, Roger Reynolds, and percussionist Steven Schick.
Anna’s debut portrait album – Rhízoma – was released in October 2011 through Innova Recordings. The album features three larger pieces for orchestra and chamber orchestra, and five shorter movements from a solo percussed piano work. In addition to being selected Classical/Contemporary Album of the Year at the Icelandic Music Awards 2012, Rhízoma also appeared on a number of “Best of 2011” lists, e.g. at TimeOut New York and TimeOut Chicago. For more info: www.annathorvalds.com