New
York City Electro-acoustic Music Festival
Corfu
Concert, Friday 28-6-2013 20.30
Elizabeth
Hoffman Soundendipities
Tae
Hong Park The
Machine Stops
George
Brunner La
Nuit dans le Marais
Izzi
Ramkissoon Kill
Switch
Judy
Klein The
Wolves of Bays Mountain
Hubert
Howe Emergence
curation Izzi Ramkissoon
=============================
NYCEMF
The
New York City Electro-acoustic Music Festival is an annual multiday event
dedicated to showcasing local, national, and international artist in the field
of music and technology. The
festival presents and supports the
development of an electronic music community in NYC by raising awareness of new practices and theories
in various fields determined each
year by the NYCEMF Steering Committee.
The festival is driven by
its members within the NYC community and includes collaborations with external academic organizations to
capture the spectrum of ongoing
research. The festival format provides a platform for professionals
and amateurs to exchange ideas
making valuable connections within the field of music technology and NYC.
Elizabeth Hoffman Soundendipities
Vibrational
motions pervade the texture here and suggest an external world seen too close
up for one to recognize any substances themselves. This piece attempts to
convey a hyper-frenetic immobility. Physical modeling techniques were used to
sculpt small sections of this piece, objects which emerge out of nowhere. As
embedded gestural fragments they are intriguing residue from unknown sources
entangled momentarily in the sonic mesh. Soundendipities was completed in 2011
at the studio of the composer (NYC).
Elizabeth Hoffman lives and works in NYC. She composes for
both acoustic and electroacoustic media. For her work in the latter, she was
awarded a prize and a mention respectively from the Bourges (FR) (1994) and
Prix Ars Electronica (AUS) (1995). She is also a recipient of recognition and
support from the Jerome Foundation, and Collaborative and Humanities
Grant-in-Aid awards from NYU where she currently teaches. Her electroacoustic
music is available on empreintes DIGITALes, NEUMA, Centaur and Everglade
labels. Recent compositional interests include a focus on live electronic
instrument design, timbral and textural complexity, and spatialization as an
expressive signifier. She also writes on analysis and representation in
electroacoustic music, and recent articles on electroacoustic topics have
appeared in Computer Music Journal and Organized Sound journal.
Tae
Hong Park The
Machine Stops
The Machine Stops is an exploration of using
simple DSP techniques in a musical context with an underlying narrative
depicting the lifetime of machines. The foundation of the work is a single
sinusoid.
Tae
Hong Park is a composer,
music technologist, and bassist. His work focuses on composition of
electro-acoustic and acoustic music, machine learning and computer-aided music
analysis, research in multi-dimensional aspects of timbre, and audio digital
signal processing. Dr. Park has presented his music at national and
international conferences and festivals including Bourges, ICMC, MATA, SCIMF,
and SEAMUS. Among the ensembles and performers that have played his work are
the Brentano String Quartet, California E.A.R. Unit, Edward Carroll, Ensemble
Surplus, Zoe Martlew, Nash Ensemble of London, and the Tarab Cello Ensemble.
Professor Park is author of Introduction to Digital Signal Processing: Computer
Musically Speaking (World Scientific, 2010). He is the Chief Editor of Journal
SEAMUS, serves as Editorial Consultant for Computer Music Journal, and is
President of the International Computer Music Association (ICMA). He is
Associate Professor of Music Technology and also Composition and Music Theory
at NYU. He received his Ph.D. from Princeton University
George
Brunner La
Nuit dans Le Marais
La Nuit dans Le Marais is a remix of
Within/Without composed at the studios of the IMEB. Le Marais is a very special place in Bourges, France that
has a unique acoustic quality.
John Cage referred to it as the most perfect acoustic space he
encountered. Le Marais is also a
beautiful place that comes to life in a way that can only occur at night. This work was made possible through a
commission by the IMEB and was composed in the studios of the IMEB (Bourges,
France) January and February of 2003 and remixed in NYC 2012.
George
Brunner - American
composer. Significant residencies
include: IMEB, France (2003, 2009), EMS, Sweden (1996, 1998, 2001), Istanbul
Bilgi University, Turkey (2002, 2004). Significant commissions include
the Royal Irish Academy, Dublin Ireland (2003, 2004), Morris Lang, principal
percussionist, NY Philharmonic (1997, 2007, 2012), Relache Ensemble (2001), and
2 Short Operas produced by Remarkable Theatre Brigade (2009, 2010). He is founder/director of the
International Electro-Acoustic Music Festival at Brooklyn College since1987 and
Director of Music Technology Program; and, Composition Faculty, Conservatory of
Music, Brooklyn College. His music
appears on Chrysopée Electronique 25 (2003), MSR Classics (2009), and MSR
Classics (2010).
Izzi
Ramkissoon Kill
Switch
Kill Switch is an audio-visual composition
that draws upon the idea of situations that turn out of control, blurring the
lines between control and havoc into a progression towards the inevitable
explosion unless avoided. The
composition was created by processing live flute, cello and percussion samples
then arranging them into various patterns that develop in a specific start and
stop sequence. In other forms the
composition can be performed with or without the live processing of
instruments. Kill Switch was
commissioned by flutist Sarah Carrier.
Izzi Ramkissoon is an award-winning electro acoustic
multimedia composer, performer, and sound artist. He has written works for a
variety of media including theater, dance, installations, alternative
controllers, and interactive multimedia. His compositions deal extensively with
the use of technology in composition and have been featured at major festivals
including SEAMUS, NYCEMF, SPARK, LUMEN, Look and Listen Festival, Black Maria
Film + Video Festival, World Maker Faire, MATA, Make Music New York, NIME as
well as numerous other venues, universities and festivals, both nationally and
internationally including Italy, Mexico, Greece, and Norway.
Judy Klein The
Wolves of Bays Mountain
Bays Mountain Park is a nature preserve in the mountains of
Eastern Tennessee. During the
1990s, I made several trips to the park to record the wolves who were living
there. In the piece, the wolves
are heard much as I heard them myself, sometimes only footsteps away, and also
transformed, such as occurs in the realm of imagination, memory and dream. For the composition I used the Csound
computer music language. All of
the sounds come from the recordings, in unaltered or slightly modified form and
as source material in musical settings and transitions. The piece opens with sounds derived from the recording
of a winter chorus howl. Over
time, the voices of the wolves become distinct. Two wolves bring the howling to an end with a sequence of
short, antiphonal calls. In
the middle sections, the recordings are virtually unedited. It’s nearly spring. The wolves are heard in their
environment, first in the early morning and then in the still of the late
night. The howling in the final
section is again from winter, the mating season. It ends with the duet of Kashtin, the alpha female of the
pack, and her majestic mate, Navarro, who died the following year and in whose
memory the piece was written.
Judy
Klein received degrees in
music both in the United States and in Switzerland. She studied computer music with Charles Dodge and was an
affiliate of the Brooklyn College Center for Computer Music (BC-CCM) while it
was under his direction. She
taught computer music composition at New York University and continues to
lecture at colleges and universities in the United States and Europe. For many years, she was the consultant
for electroacoustic music at the New York Public Library for the Performing
Arts at Lincoln Center. Her music
has received honors and performances worldwide and can be heard on the ICMA,
SEAMUS, Open Space and Cuneiform labels.
She currently resides in New York City and is a guest composer at the
Columbia University Computer Music Center.
Hubert
Howe Emergence
Emergence is based upon the fascinating thing that happens when
a group of independent tones are played together and tuned so that they are in
a harmonic relationship. Another note, the fundamental, appears, and now
we hear only that second note, while all the others are heard as the timbre of
the sound. All notes in this work are created with up to 32 independently
generated harmonic partials, and they are presented in three ways: as
separately attacked tones, as continuously fading sequences, and as a complex
envelope, in which each note has a separate amplitude envelope. All notes
are played with a series of overtones that begins from the sixteenth partial,
states the “harmony” of the context in which the note occurs, and then
introduces the other partials. The harmony is clearly discernible at the
beginning of the sound, but it later merges into the timbre. The work concentrates
on the interplay between the overtones and the fundamentals they are a part of.
Hubert
Howe was educated at
Princeton University, where he studied with J. K. Randall, Godfrey Winham and
Milton Babbitt, and from which he received the A.B., M.F.A. and Ph.D. degrees.
He was one of the first researchers in computer music, and Professor of
Music at Queens College of the City University of New York. He also
taught at the Juilliard School for 20 years. From 1989 to 1998, 2001 to
2002, and Fall 2007, he was Director of the Aaron Copland School of Music at
Queens College. Recordings of his computer music have been released by
Capstone Records (Overtone Music, CPS-8678, Filtered Music, CPS-8719, and
Temperamental Music and Created Sounds, CPS-8771) and Ravello Records
(Clusters, RR 7817).