|Home | EMS | CMP | Photos | Admissions | Resources|
IN CELEBRATION OF THE 50TH ANNIVERSARY
UNIVERSITY OF ILLINOIS EXPERIMENTAL MUSIC STUDIOS
collection of selected works by founding faculty composers,
current faculty composers, alumni composers, and current student composers
¤ = former, retired or emeritus faculty ¥ = current faculty £ = alumnus § = current student
Lejaren A. Hiller: Vocalise from Seven Electronic Studies for Two-Channel Tape Recorder (1963) [5:32] University of Illinois ¤
In this study, the source of determinate pitches is twenty-four vowel formant peaks from the two resonant frequency regions associated with each vowel sound of ordinary spoken English. The structure of Study No.1 is organized according to the tripartite sectional form with the three sections labeled Introduction and Statement, Development to Climax, and Vocal Fugue and Coda. -LAH [permission received from Amanda Hiller]
Lejaren A. Hiller (1924-1994) came to music by way of science. He received his Ph.D. in chemistry from Princeton University and was a research chemist for some ten years, first with DuPont and later with the Department of Chemistry at the University of Illinois. While at Princeton, however, he also studied composition with Milton Babbitt and Roger Sessions, and later with Hubert Kessler at the University of Illinois. He, along with Leonard Isaacson, created the first substantial computer produced musical composition. The premiere of the "Illiac Suite" for string quartet on August 9, 1956 at the University of Illinois changed how people thought about music and its relationship to science. He founded the University of Illinois Experimental Music Studio in 1958. He later joined the faculty at the University of Buffalo in 1968.
IBM 7094: early sound synthesis example (1963) [1:41] University of Illinois
By means of a computer music program (MUSICOMP) written by Lejaren Hiller and Robert Baker, Hiller created computer generated-data using the IBM 7094 computer for his compositions Algorithms, as well as Computer Cantata.
Scott A. Wyatt: of gray twilight (2008) [7:18] University of Illinois ¥£
electroacoustic music designed for eight-channel performance
by Scott A. Wyatt
This is another tale of unknowns. The title suggests multiple meanings: the light just after sunset, any growing darkness, or a time of gradual decline. The sonic environments lead from the familiar to the unknown with serious challenges in the abstract, perhaps mirroring similar activity of current life. May wisdom prevail as we face the trials and adversity of today and tomorrow, for it will forever change the mark of existence. of gray twilight is designed primarily for eight-channel performance and was realized within the University of Illinois Experimental Music Studios. -SAW
Scott Wyatt has served as the director of the University of Illinois Experimental Music Studios since 1976, and among numerous other honors that he has received, he was one of the winners of the International Society for Contemporary Music National Composers Competition of 1978, the National Flute Association's 1979 Composition Competition, the 1979 Concorso Internazionale Luigi Russolo Composition Competition in Italy, the 1984 International Confederation of Electro-Acoustic Music GRAND PRIZE at the 12th annual International Electro-Acoustic Music competition in Bourges, France and a finalist in the 1989 International Electro-Acoustic Music Competition in Bourges, France. He was the 1990 recipient of an Arnold Beckman Research Award for the development of digital timescaling applications, and among others, several 1996-2004 grants for the development of a specific compositional and live performance methodology for use with multi-channel sound diffusion and projection. His current research involves the development and application of positional three-dimensional audio imaging for multi-channel audio. He served as president of SEAMUS (the Society for Electro-Acoustic Music in the United States) from 1989 until 1996, and he remains on its Board of Directors. His compositions are recorded on CAPSTONE, CENTAUR, GMEB Cultures Electroniques Series, Library of Congress, MARK, OFFICE, SEAMUS, UBRES and VERIATZA recordings.
Stephen Taylor: Agoraphobia (2008) [6:29]
of Illinois ¥
Jonathan Keeble, flute Ann Yeung, harp
Agoraphobia (“the fear of open spaces”) attempts to evoke feelings of extreme wonder and terror—stepping into an alien, unknown world for the first time. The music is inspired by a passage from Ursula K. Le Guin's 2002 novella, Paradises Lost:
Wind, air moving fast, hard, endlessly blowing, making you cold, so you shivered, shuddered, like having a fever, the wind stopping and starting, restless, stupid, unpredictable, unreasonable, maddening, hateful, a torment...
Wind, air moving softly, moving slender grasses in waves over the hills, carrying odors from a long way off, so you lifted your head and sniffed, breathed it in, the strange, sweet, bitter smell of the world.
The sound of wind in a forest.
Wind that moved colors in the air.
Stephen Andrew Taylor’s music often explores boundaries between art and science. His first orchestra commission, Unapproachable Light—inspired by images from the Hubble Space Telescope and the New Testament—was premiered by the American Composers Orchestra in 1996 in Carnegie Hall. Other works include the chamber quartet Quark Shadows, commissioned by the Chicago Symphony and premiered in 2001; and Seven Memorials, a 32-minute cycle for piano inspired by the work of Maya Lin and premiered by Gloria Cheng in Los Angeles, 2004; it was also featured at Tanglewood in July 2006. Excerpts from his opera-in-progress Paradises Lost, based on the science-fiction novella by Ursula K. Le Guin, were performed by the New York City Opera in 2006 and by American Opera Projects in 2007. 2008 will see premieres in Holland, Serbia, Bali, and the US.
Besides composing for traditional instruments, Taylor also works with live electronics in pieces such as Nebulae for harp, laptop and live video, premiered by Ann Yeung in Dublin, 2005; the video is based on paintings by his wife Hua Nian. He is also active as a conductor with the University of Illinois New Music Ensemble, and as a theorist, writing and lecturing on interactive music, Ligeti, and Bjö
Born in 1965, he studied at Northwestern and Cornell Universities, and the California Institute of the Arts; his teachers include Steven Stucky, Karel Husa, Mel Powell, Bill Karlins and Alan Stout. His music has won awards from Northwestern, Cornell, the Conservatoire Amécain de Fontainebleau, the Debussy Trio, the Howard Foundation, the College Band Directors National Association, the New York State Federation of Music Clubs, the Illinois Arts Council, the American Music Center, the American Academy of Arts and Letters, and ASCAP. Among his commissions are works for Northwestern University, University of Illinois, the Syracuse Society for New Music, Pink Martini and the Oregon Symphony, the Quad City Symphony, the Chicago Symphony MusicNOW series, and the American Composers Orchestra. Taylor is Associate Professor at the University of Illinois, Urbana-Champaign, where he lives with his wife and two children.
Mei-Fang Lin: Figurations (2008) [4:06] University of Illinois ¥£
Figurations - Written for the viola and electronics, the piece uses recorded string sounds as its source of materials for the electronic part. This work was commissioned by the University of Illinois Experimental Music Studios in commemoration of its 50th anniversary celebration. -MFL
Mei-Fang Lin finished her master’s degree at the University of Illinois at Urbana-Champaign and her Ph.D. at the University of California at Berkeley. Supported by the Frank Huntington Beebe Fund and the George Ladd Paris Prize, she studied with composer Philippe Leroux in Paris during 2002-2005, and was selected to pursue the computer music course “Cursus de Composition” at IRCAM during 2003-2004. She is currently a visiting professor in composition at the University of Illinois at Urbana-Champaign.
Ed Martin: Time Passed (2008) [5:35] University of Wisconsin-Oshkosh £
Time Passed was commissioned by the University of Illinois Experimental Music Studios in commemoration of its 50th anniversary celebration. As I began to conceptualize the piece, I decided to revisit each of the compositions I created in the Experimental Music Studios between 2001-2007 and rework select samples from these pieces into the new commissioned work. Throughout the composition process, I found myself reflecting on my time at the University of Illinois and reminiscing about my wonderful colleagues, great music, and good times. This piece is dedicated to my friends from Champaign-Urbana, whose impact is even more apparent now that I’m away. -EM
Ed Martin (b. 1976) is an award-winning composer of instrumental and electro-acoustic music. His music has received first prize in the 2005 Electro-Acoustic Miniatures International Contest, the 2004 Craig and Janet Swan Composer Prize for orchestra music, and the 2004 Tampa Bay Composers’ Forum Prize, and second prize in the 2005 ASCAP/SEAMUS Student Commission Competition. His works have been performed throughout the United States and in Europe and South America at events such as SEAMUS national conferences, SCI conferences, Florida Electro-acoustic Music Festivals, North American Saxophone Alliance conferences, Confluences – Art and Technology at the Edge of the Millennium in Spain, the Soundings Festival in Scotland, Nuclea Musica Nueva de Montevideo in Uruguay, and the International Electroacoustic Music Festival Santiago de Chile. Additionally, he attended the prestigious 2006 Minnesota Orchestra Composers Institute during which his piece Surreal Abundance was presented by the Minnesota Symphony Orchestra, conducted by Osmo Väka.
Martin, originally from Bethlehem, PA, holds degrees from the University of Illinois at Urbana-Champaign (DMA), University of Texas at Austin (MM), and the University of Florida (BM). He has studied composition and electronic music with Scott Wyatt, Stephen Taylor, Guy Garnett, Dan Welcher, Donald Grantham, Russell Pinkston, Steven Montague, James Paul Sain, and Budd Udell. He is passionate about teaching and is currently Assistant Professor of Music at the University of Wisconsin Oshkosh. He has also taught at the University of Illinois at Urbana-Champaign and Illinois Wesleyan University. For more information please visit www.edmartincomposer.com.
Maggi Payne: Electric Ice (2008) [6:31] Mills College £
I first learned electronic music from James Beauchamp, who taught an incredible acoustics course. Gordon Mumma also taught me so much, including circuit building. EMS had a classical studio with a few Moog modules, so I thought it fitting to use a Moog IIIP (processed using digital filters, granular synthesis, and convolution) to generate the material for this piece. The only other sound is an unprocessed rattling steam radiator. Many thanks to professors James Beauchamp, Gordon Mumma, Ben Johnston, Ed London, Sal Martirano, choreographer Al Huang, and fellow students William Brooks, Ed Kobrin, and Steve Beck (and many others) for providing such an incredibly enriching experimental environment.
Electric Ice was
commissioned by the University of Illinois Experimental Music Studios
in commemoration of its 50th anniversary celebration. -MP
Maggi Payne teaches at Mills College, where she is Co-Director of the Center for Contemporary Music. Her works are available on Starkland, Lovely Music, Music and Arts, Centaur, MMC, CRI, Digital Narcis, Frog Peak, Asphodel, and/OAR, Ubuibi, and Mills College labels. www.maggipayne.com
Steve Everett: Shiver (2008) [6:00] Emory University £
Shiver is a dreamlike meditation on Ophelia, the main character in Natasha Trethewey’s poetry collection, Bellocq’s Ophelia. The poems contain the imagined thoughts and perceptions of one of the young prostitutes photographed by E. J. Bellocq in 1912 who worked in a brothel in the Storyville section of New Orleans. The aural relationships in my composition unfold as a tableau using the consciousness of dreams, memories, and reveries described in French philosopher Gaston Bachelard’s last work, La Poéque de la Rérie (1960).
The text is sung by a female soprano/narrator who encounters multiple reflections of her own image and the environment in which she exists or imagines. The vocalist in this work is Parisian soprano, Katherine Blumenthal. Using IRCAM’s AudioSculpt sound analysis tools, the structure of all synthetic sounds in the work were based on a spectral analysis and resynthesis of Ms. Blumenthal’s voice.
This work was commissioned by the University of Illinois Experimental Music Studios in commemoration of its 50th anniversary celebration. - SE
Steve Everett is Professor of Music and teaches composition, computer music, and directs the Music-Audio Research Center at Emory University in Atlanta, USA. He has also been a visiting professor of composition at Princeton University, the Conservatoire National Supéeur de Musique de Paris, and the Conservatoire de Musique de Genè in Switzerland.
Many of his recent compositions involve performers with computer-controlled electronics and have been performed in seventeen different countries throughout Europe, Asia, and North America, including at the Rénances Arts Festival at IRCAM and INA-GRM at Radio France in Paris, ICMC in Singapore and Sweden, in Bangkok, The Esplanade in Singapore, University of Göorg-Sweden, Korea Computer Music Festival in Seoul, Royal Northern College of Music in England, Amerika Haus in Cologne-Germany, Tokyo Denki University, and Lincoln Center, Carnegie Hall, and Merkin Hall in New York.
Composition awards have been received from the Rockefeller Foundation, Asian Cultural Council, Chamber Music America, American Composers Forum, and International Trumpet Guild. He is recorded on SCI, Crystal, Mark, Frog Peak and ACA Digital Records. He has been a resident research fellow at the Rockefeller Study Center in Bellagio, Italy, Liguria Foundation in Bogliasco, Italy, and at the Center for Humanistic Inquiry at Emory University. In 1998 he received the Mayor’s Fellowship in the Arts, awarded by the City of Atlanta, the city’s highest recognition of artistic achievement.
In addition to substantial experience conducting opera and orchestral repertoire, he has presented over 200 works of contemporary music as conductor of Thamyris New Music Ensemble in Atlanta since 1992 and has guest conducted the San Francisco Contemporary Music Players and Contemporary Chamber Players of Illinois. He also founded the Emory Javanese Gamelan Ensemble.
His doctoral degree in composition is from the University of Illinois studying with Salvatore Martirano. He also studied composition with Sir Peter Maxwell Davies and Witold Lutosławski at Dartington Hall in England. He served as chair of the Department of Music and interim director of the Center for Humanistic Inquiry at Emory University.
Soprano Katherine Blumenthal currently lives in Paris, France where she moved after completing a Master of Music in Vocal Performance at the New England Conservatory and a Bachelor of Arts Degree in Music and Literature from Emory University. She also holds a Diploma in Composition from the Conservatoire Internationale de Paris. Katherine has been a participant in Opera Works in Los Angeles and the American Institute of Musical Studies in Graz, Austria. Among her performance credits she has sung the role of the Queen of the Night and Giunone in La Calisto with NEC Opera Theatre, and the world premieres of Nuits by Lee Hoiby and Tembang Gede by Steve Everett. She will sing the First Guide in Rumpelstiltskin and the Queen of the Night/First Lady in The Magic Flute. During the 2007-2008 season, she performed the role of Queen of the Night with the San Diego Opera Ensemble.
Linda Antas: Still Standing Still (2008) [5:03] Missouri Western State University £
Still Standing Still is a expansion of sonic and formal ideas begun in an earlier work. I am interested in constructing musical forms that create a sense of place and continuity within the structure as well as a continuous forward motion through time. This is achieved by relying on the listener’s emergent aural experience while allowing minimal time for reflection on individual sonic events. This sculpting of time is inspired by the beautiful and fleeting nature of all our perceptions. In a more concrete way, these structural ideas were inspired by a 2001 viewing of the Crown Jewels at the Tower of London. In order to keep visitors from crowding around the display cases, a moving walkway carries viewers past the collection. The jeweled scepters, crowns, and other ornaments are so stunning that one’s gaze can easily become fixed on an individual object or portion thereof. Unfortunately, such a fixation results in missing what follows! The experience is a wonderful analogy for how and why we should practice living in the moment.
The sound sources for the work are grand piano, bowed gong, psaltery, and dice rattling in a colander. In comparison to most of my electronic works, this one employs minimal processing of its predominant sound source. Unique timbres were coaxed from the piano by playing harmonics, scraping the strings with fingernails, plucking the strings between the duplex bridge and hitchpins, rattling the hammers together, and striking the frame and soundboard of the instrument. The sounds in the piece were created using signal processing techniques including Fourier analysis-resynthesis, a wide variety of filters, and granulation processes. -LA
Linda Antas is a composer and flutist whose works have been presented around the world. She is an Assistant Professor of Music and the Director of Music Technology and Audio Recording at Missouri Western State University, where she teaches coursework for the Graduate program in Integrated Media, composition, theory, and flute. A Fulbright Fellowship recipient, Antas has received commissions from the International Computer Music Association, the Rind fund, and performers including Abbie Conant, Esther Lamneck, and Eric Mandat. She has been recognized by the International Music Contest Cittài Udine, has received residencies from the Atlantic Center for the Arts, Djerassi, and Yaddo, and was a Visiting Artist at the Center for Digital Arts and Experimental Media at the University of Washington, Seattle. She enjoys collaboration and has worked with choreographers, theatre directors, filmmakers, physicists, and other composers and performers. Her works are published on the Centaur, TauKay, and Media Caféabels.
David Rosenboom: Predictions,
Confirmations & Disconfirmations (1991) [6:28]
J.B. Floyd and David Rosenboom, Yamaha Disklaviers linked via HFG (Hierarchical Form Generator) software California Institute of the Arts £
Since roughly the mid-twentieth century, a musical art form has been emerging in which attention is focused on the interactions among multiple entities in what may be termed a complex adaptive system. This may include composing frameworks for interaction between performers and intelligent musical instruments. In this case, one may view the whole system as two complex networks, one the brain and proprioceptive systems of the performer, another the hardware and software of the musical instrumentation. In both, musical tracings follow adaptive behaviors of the entities interacting with each other.
As we experience the music of complex adaptive systems, we are listening to evolution itself. We hear the formation of ordered relationships and patterns. We follow tendencies of behavior and attractions to particular kinds of stability. We hear the drama of conflict and resolution associated with bifurcations along paths of development. Often, these spin us off into uncharted territory. All of this may infect us with a feeling associated with the driving forces of evolution, particularly since the experience is unfolding spontaneously before our very ears.
This work is an open structure for a performance of indeterminate length based on musical speculation with interactive instruments and artistic surprise. I refer to this as an example of propositional music, reflecting a style of musical thinking in which the act of composing includes proposing complete musical realities or worldviews. What follows describes the interactive system.
Central to my original inspiration for creating the well-known experimental music software tool, HMSL—(Hierarchical Music Specification Language, developed by Phil Burke, Larry Polansky, and I)—, and several of its software and hardware predecessors dating back to the mid-1960's was the potential for the computer to create intelligent, interactive musical environments for the purpose of extending spontaneous music making. In this performance, the musician's instruments are interfaced to and linked through a computer system I programmed to recognize musical features. The software, called HFG (Hierarchical Form Generator), is based on partial models of musical perception—mimicking ways in which the brain extracts and categorizes phrases, textures and rhythmic patterns. The computer parses them into perceptually relevant groupings as they are being played. These structural elements are stored, recalled and transformed in response to features detected in further performance. The transformation processes employed produce contrapuntal variations in musical contours. In this way, the computer responds to aspects of musical style and gives the composer-performers new ways to construct forms that evolve naturally in response to the way each musician plays. With such interactivity, the concept of formal artifact becomes superseded by the structure of continuous imaginative dialog. The interactive system is the composition. -DR
David Rosenboom is a composer, performer, interdisciplinary artist, conductor, author and educator. Since the 1960's, he has explored ideas about spontaneously emerging musical forms, languages for improvisation, new techniques in scoring for ensembles, cross-cultural collaborations, performance art and multi-media, the interactive music of the infosphere, an approach to compositional modeling termed propositional music, extended musical interface with the human nervous system and the evolution of human consciousness. His work is widely published, recorded, distributed and presented around the world and he is known as a pioneer in American experimental music. Since 1990, he has been Dean of The Herb Alpert School of Music at California Institute of the Arts where he holds the Richard Seaver Distinguished Chair in Music. He has also been a conductor with the New Century Players, Co-Director of the Center for Experiments in Art, Information and Technology and board member of the Center for New Performance. He has worked in numerous other innovative institutions, held the Darius Milhaud Chair at Mills College where he was also Director of the Center for Contemporary Music, Head of the Music Department and professor of music in the 1980’s and was a co-founder of the Music Department at York University (Toronto) where he was a professor of music and interdisciplinary studies during the 1970’s. In 1995 he was in residence at the University of Illinois under the George A. Miller Professorship program in part to celebrate the centennial of the U. of I. School of Music. More can be found at: http://music.calarts.edu/~david
J.B. Floyd's musical interests have prompted a diversity of musical activities throughout his career. As pianist/composer/improviser, his music making includes classical piano recitals and solo appearances with orchestra, new music performances as soloist and collaborator, jazz improvisations and presentations in the 1970's of his multi-media electronic ensemble, Electric Stereopticon. He has collaborated on many occasions with David Rosenboom in concerts of original two-piano music throughout North America and Europe. One occasion found them performing simultaneously on Yamaha Disklaviers from "virtual stages" at the Electronic Cafénternational in Santa Monica and the Kitchen Center in New York City linked by advanced telecommunications technology. The recording on this CD further develops such linkage. His compositions, including works for solo piano, piano/Disklavier with computer assisted electronic instruments, chorus, orchestra, and jazz ensembles, have received performances in Europe, Canada, South America and throughout the United States. His music has been widely recorded. Some of his most recent, original pieces along with performances of works by composers like Salvatore Martirano, Robert Ashley and others have been featured on New York’s Interpretations series at Merkin Hall and recorded on the Centaur, New World and Mutable Music labels. He was a long-time professor of music at Northern Illinois University and later moved to the University of Miami where he was Chairman of the Department of Keyboard Performance for many years.
Ming-ching Chiu: Hanging On A Fallen Leaf (2008) [5:00] University of Illinois §
The journey of a leaf from treetop to the ground takes no more than a few seconds. It is nothing more than a natural phenomenon to us. However, what if there is a small insect, such as an ant, right on the leaf which is about to fall? Maybe the length of a few seconds for human makes an ant feel like several minutes since it has a much smaller nerve system. This piece depicts an insect's trip from the top to the ground by grasping a falling leaf which is rolling, dancing, floating, and diving in the air. –MC
Ming-ching Chiu is a graduate student in composition at UIUC. He earned his bachelor's degree in percussion performance from Catholic Fu-jen University, where he was active in wind bands and orchestras. He began his formal study of composition as a senior in 2003. Following graduation he taught in Taipei at primary and high schools. He has also served as composer and program coordinator of the Taipei Yueh-fu Drum and Bugle Corps and as composer and music arranger for the Symphony Orchestra of the Taiwan Defense Ministry before attending UIUC.
Mason: SONORA (2008) [8:12]
Birmingham-Southern College £
Kathleen Gallagher, flute Paul Bowman, guitar
Sonora for flute, guitar and fixed media was commissioned by the University of Illinois Experimental Music Studios in commemoration of its 50th anniversary celebration and was written for flutist Harvey Sollberger and guitarist Paul Bowman to premiere at the Music at the Forefront concert series at Bowling Green State University’s MidAmerican Center for Contemporary Music (MACCM) in January, 2008. Sonora is the state located in the Northwestern section of Mexico. -CM
Charles Norman Mason has been recognized repeatedly for his originality and attention to color. Steve Smith of The New York Times writes “’Additions’ by Charles Mason, offered a nearly seamless integration of electronic and acoustic sounds…” Peter Burwasser of Fanfare writes that Mason’s music speaks in a “boldly, original voice”. High Performance Review states that the music is “full of invention… funky and colorful… consistently ingenious.” Katherine Porlington writes in Upstate Music (NY) “...Mason's Senderos Que se Bifurcan... is, without doubt, one of the finest new clarinet chamber works of the past twenty years.” Nancy Raabe writes in The Birmingham News “Mason's brilliant "From Shook Foil" occupies a class of its own... it is charged with creativity.”
Mason has received many awards for his compositions including the 2008 American Composers Orchestra “Playing it Unsafe” commission prize, the Rome Prize (Samuel Barber Rome Prize Fellowship) the International Society of Bassists, Premi Internacional de Composiciósical Ciutat de Tarragona Orchestra Music prize, a National Endowment of the Arts Individual Artist Award, First Prize in the Atlanta Clarinet Association Composition Competition, Dale Warland Singers Commission Prize, honorable mention in the International Bourges Electro-Acoustic Composition Competition.
His music has been performed throughout the world. Recent performances include the FORO INTERNACIONAL DE MUSICA NUEVA in Mexico City, the Quirinale in Rome, the Aspen Summer Music Festival, Nuova Musica Consonante in Romania, Spoleto Festival (SC), the Florida State New Music Festival, and Merkin Hall (Washington Square Contemporary Music Ensemble). He was composer-in-residence with the Golliard Ensemble in 2004. Twice this year his music was broadcast on “Performance Today” on NPR.
He has received commissions from the American Composers Orchestra, Evelyn Glennie, Madeleine Shapiro, DUO 46, the Miami String Quartet, the Gregg Smith Singers, the Dale Warland Singers, the Corona Guitar Kvartet (Denmark), Fairbanks Symphony Orchestra, the Lithium Quartet, West Wind (France), ONIX (Mexico), Luna Nova, Craig Hultgren, the Music Teachers National Association, Steinway Artist William DeVan, Robert Black, Karen Bentley Pollick, and the New York Golliard Ensemble to name a few.
Mason was a composer in residence at the International Centre for Composers in Visby, Sweden, a resident composer at the Hambidge Center, the University of Alaska in Fairbanks, the ppianissimo New Music Festival in Bulgaria, and was sponsored by the Seaside Institute as a "Escape To Create" composer-in-residence at Seaside, Florida.
His music is available on ten different compact disc recordings on Innova Recordings, Quindecim Recordings, Capstone Recordings, and Living Artist Recordings labels. His music is published by Living Artist Publishing.
Dr. Mason is professor of composition and Chair of Music and composer-in-residence at Birmingham-Southern College. He is executive director of Living Music Foundation, Inc. His website is http://faculty.bsc.edu/cmason/http://panther.bsc.edu/~cmason
Kathleen Gallagher is one of Australia's most renowned players of the contemporary flute. Her repertoire spans the gamut of the traditional through to the evocative and demanding world of the 21st Century. Ever the eclectic performer, she regularly abandons her flute for vocal works by Cage, Berberian and Berio and embraces performance theatre through the likes of Globokar and Griffin.
She has performed as a soloist and chamber musician in Germany, Poland, Holland, USA, United Kingdom and across Australia, with festival appearances including the Australian Womens Music Festival, the Australian Flute Conventions, the Totally Huge New Music Festival in Perth, the Sydney Spring International Festival of New Music, Warsaw Autumn Festival and the NFA Convention. She is a longstanding member of the Sydney new music group Ensemble Offspring and has appeared with Libra Ensemble (London), Halcyon (Sydney), PlasticAtlas (Sydney), austraLYSIS (Sydney), NOISE (San Diego), inHALE (Baltimore), BYE BYE BUTTERFLY (San Diego), Sonor (San Diego), WATT (Sydney) and The Australian Chamber Orchestra (Sydney).
Gallagher has worked with many respected composers, including Chris Dench (giving the first performance of his complete oeuvre for flute in celebration of his 50th birthday), Matthew Shlomowitz, Damien Ricketson, Rosalind Page, Michael Finnissy (first performance of his complete oeuvre for flute in celebration of his 60th birthday), Andrew Ford, Robert Dick, Dominik Karski and many others.
Classical guitarist Paul Bowman, is one of today's passionate avatar's of new music for the guitar. Over 50 works have been written for him by such composers as John Eaton, Ursula Mamlok, Charles Norman Mason, Craig First, Alain-Michel Riou, Dorothy Hindman, Easley Blackwood, Joshua Cody, Yehuda Yannay etc. Mr. Bowman won 1st Prize at the VIth International Competition for Classical Guitar in San Juan, Puerto Rico, and was Finalist at the Guitar Foundation of America Competition in Milwaukee. Solo appearances in New York, Chicago, Boston, Birmingham, San Diego, Champaign-Urbana, Milwaukee, Berlin, Darmstadt, Dresden, Cologne, Giessen, Marburg, Paris, Orlés, Rome, Geneva, Cyprus, Tokyo, Singapore. Ensemble appearances with New Yorker groups include The Group for Contemporary Music; New Music Consort; Ensemble Sospeso in venues such as Carnegie Recital Hall, Alice Tully Hall, Alliance Françs. Other new music groups include: CUBE; Chicago 21st Century Ensemble; Red Fish Blue Fish; notabu Düorf; Mosaik Berlin. Festivals for new music: Podewil Berlin; "Tage füe Musik" Darmstadt; "Musik Ohne Grenzen" Düorf and Spring Festival at U.C.S.D. Has worked with composers Elliott Carter, George Crumb, Jason Eckert, Pierre Boulez, Matthias Spahlinger, Charles Wuorinen. Worked with conductors Stefan Asbury, Heinz Holliger, Harvey Sollberger, Steven Schick, Jeffrey Milarsky. Currently, he has joined forces with flutist and new music guru Harvey Sollberger in ensemble “3 for 2”, as well as collaborations with virtuoso violinist/violist Karen Bentely Pollick. He has B.M and M.M. degrees in Classical Guitar Performance from Manhattan School of Music in New York and is currently a D.M.A. Scholar in Contemporary Performance at University of California San Diego. Recorded for SEAMUS, Albany, Vienna Modern Masters, Capstone, Hungaroton and Mode Records.
Home | EMS | CMP | Photos | Admissions | Resources