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Disc 2

¤ = former, retired or emeritus faculty   ¥ = current faculty    £ = alumnus    § = current student

  1. CSX-1: early sound synthesis example (1964)  [2:04]       University of Illinois

    By means of a computer music program (MUSICOMP) written by Lejaren Hiller and Robert Baker, Herbert Brün created computer-generated data and sound using the CSX-1 computer for his compositions Sonoriferous Loops (1964) and Non Sequitur VI (1966).

  2. Herbert Brün: U-TURN-TO (1980)  [5:59]        University of Illinois ¤

    Sounds for U-TURN-TO were generated by means of SAWDUST, a computer program for sound synthesis, conceived by Hebert Brün, designed and implemented by Gary Grossman, and enhanced by Jody Kravitz and Keith Johnson.   - HB  [permission received from Marianne Brün and Smith Publications / Copyright Smith Publications, 2617 Gwynndale Ave., Baltimore, MD 21207]

    Herbert Brün (1918-2000), composer, conductor, philosopher, teacher and mentor, and who studied with Eli Friedmann, Frank Pelleg, Wolf Rosenberg, and Stefan Wolpe, first turned to electronic sound production for the composition of music during the late 1950’s in Paris, Cologne, and Munich studios, particularly guided by Gottfried Michael Koenig.  After completing a lecture tour through the United States in 1962, he went to the University of Illinois to do research and to teach.  Once retired, he remained teaching at the University as emeritus faculty through the mid 1990's.  (Non Sequitur Press/Smith Publications)

  3. Sever Tipei: LilDaria (2008)  [5:02]                   University of Illinois ¥

    LilDaria, a unique, more compact version of a manifold composition for computer-generated sounds that includes variants of Daria and decaf, was expressly realized for this CD,

    Daria is a musical acronym (Do, lA, Re, mI, fA): five sounds and their chromatic alterations appear like changing facial expressions of an equivocal person.    

    A manifold composition consists of all actual and potential variants of a work generated with software that contains elements of indeterminacy and reads essentially the same data for each variant.  All variants of the manifold share the same basic structure, pitch and rhythmic materials as well as textures but different seeds of the random number generator trigger variations in the output.  These variations may range from a slight re-arrangement of notes in a score or of the computer-generated sounds in time to radical alterations of textures and even of the formal architecture of the work.

    In producing manifold compositions, the integrity of the process requires a comprehensive set of instructions or a “black box” that reads in the data and outputs the finished product without any outside interference in between.  Modifying the results or intervening while the computations are performed would amount to the alteration of the data or of the logic embedded in the software.  In this context, post-production work becomes not only incongruent but, in fact, unnecessary, a feature particularly relevant in the case of a unified and seamless approach to composition and sound design such as that of DISSCO.

    DISSCO was developed by Sever Tipei and Hans G. Kaper with the help of students enrolled in the Advanced Computer Music seminar conducted by Sever Tipei and advised by Hans G. Kaper and is available as open source software from SourceForge.net:  

                     http://dissco.sourceforge.net.   

    Besides LilDaria, and numerous variants of Daria and decaf, DISSCO was used to produce the electro-acoustic sounds for Tipei’s compositions Ianus and Dux Markovians and Trees.  Over one hundred versions of his A.N.L.-folds manifold composition were performed in the US, Romania, Taiwan, Germany, Australia, Spain, Great Britain, and France.     -ST

    Sever Tipei, a composer, theoretician, and pianist, has been developing composition and sound synthesis software since 1973.  He teaches composition, courses in Music Formalization and Computer Music as well as conventional music theory and manages the Computer Music Project of the UIUC Experimental Music Studios.

    URL: http//:ems.music.uiuc.edu/people/tipei/index.html

  4. Elizabeth Hinkle-Turner: EvenMoreduSt (2008)  [6:00]   University of North  Texas £

    This work was commissioned by the University of Illinois Experimental Music Studios in commemoration of its 50th anniversary celebration.

    A piece written in commemoration of the fiftieth anniversary of the Experimental Music Studios of the University of Illinois cannot ignore the legacy of the great musicians and teachers who have worked at the facility.  One of these, of course, was Herbert Brün though he was by no means my only mentor and teacher at UIUC, in retrospect I have come to realize that he was -  beyond a doubt  - the most influential.  I guess I can credit Herbert with ‘ruining my career’ as a music professor  - his teaching infused me with an idealism and an impatience that is simply insupportable in today’s academic culture and which caused me to throw up my hands in despair and throw in the towel on teaching well over ten years ago.  I have never looked back in regret; I am much happier tending to my servers and networks in my current occupation – they don’t tell me that I am foolishly chasing rainbows or pursuing music and research ‘that will never go anywhere – you know, like all that multimedia and gender stuff.’

    Now when I do look back it is at the great awakenings  - like the day that Herbert (and Arun Chandra) presented the SAWDUST project to me and some other new students and played the pieces that resulted from this.  I love the SAWDUST pieces – I play that cd at least once a month.  EvenMoreduSt is my own poor commentary and tribute to those works – plucking the characteristics which excite me the most upon listening to them.  Like the originals, my work uses sawtooth waves….but of a different type of saw altogether (thanks Ted, for those recording hours in your woodworking shop!).  Enjoy and remember – the times in EMS if you are an Illinois alum or the times in whatever studio you received your greatest musical education.   Thanks Herbert.  Thanks Scott.  Take care. – E H-T  March 2008

    Elizabeth Hinkle-Turner (b. 1964) received her D.M.A. (1991) in music composition from the University of Illinois at UrbanaChampaign.  She has served as acting director of the electronic and computer music studios at Florida International University in Miami and the Experimental Music Studios at the University of Iowa and has been a faculty member at the University of Illinois, the Oberlin Conservatory and the University of North Texas.  She served on the board of the Society for Electroacoustic Music in the United States for ten years and is on the board of the Canadian Electroacoustic Community.  She is the vice-president of the International Alliance for Women in Music.  Currently she makes her living as Student Computing Services Manager at the University of North Texas.

    Hinkle-Turner is the author of the book series Women Composers and Music Technology: Crossing the Line.  Volume one: United States was released by Ashgate Publishing (UK) in January 2006 and was the recipient of a 2007 Award for Excellence in Historical Recorded Sound Research from the Association for Recorded Sound Collections and a ‘highly recommended’ rating from Choice, a publication of the American Library Association.  She is the creator of the cdrom Full Circle which received an award from the Institut International de Musique Electroacoustique de Bourges.  Other prizes and grants have come from ASCAP, Mu Phi Epsilon, Meet the Composer, and the American Music Center.  She is also the owner of the WAVE_LIST listserv a list devoted to the discussion and study of gender issues in music technology.  

  5. Steven L. Ricks: Young American Inventions Redux (2008)  [6:00]  Brigham  Young University £
    Scott Holden, piano

    Young American Inventions Redux is a slightly revised and edited version of my piece Young American Inventions for piano and electronics.  It attempts to channel the energy of teen angst, youth, rock, etc., and is also influenced by jazz, gospel music, and the music of American composers Henry Cowell and Milton Babbitt. 

    Electronic sounds are embedded within the piano, which I hope gives the effect of the piano being possessed by forces typically unnatural to it.  And I must also acknowledge the influence, at least on the title, of two works: American Invention by Steve Martland, and Young Americans by David Bowie.  This version of the piece was commissioned by the University of Illinois Experimental Music Studios in commemoration of its 50th anniversary celebration.     -SR

    Steven L. Ricks (b. 1969) received his early musical training as a trombonist in Mesa, AZ.  He holds degrees in composition from Brigham Young University (B.M.), the University of Illinois at Urbana-Champaign (M.M.), and the University of Utah (Ph.D.).  He received a Certificate of Advanced Musical Study from King's College London in 2000, supported by a Graduate Research Fellowship from the University of Utah.  His teachers have included Morris Rosenzweig, Sir Harrison Birtwistle, Bill Brooks, and Michael Hicks.

    Mr. Ricks' prizes and honors include First Prize in the 1999 SCI/ASCAP Student Composition Competition, four Barlow Endowment Commissions, and a Utah Arts Council grant.  He has been a fellow at June in Buffalo and the Composers Conference at Wellesley College, and his works have been performed by many leading contemporary music ensembles and performers including the the New York New Music Ensemble, Earplay, the California EAR Unit, the Talujon Percussion Quartet, flutist Rachel Rudich, pianist Ian Pace, and violinist Curtis Macomber.  He is currently on the Board of Advisors of the Barlow Endowment, and an Associate Professor of Music Theory and Composition at BYU where he directs the Electronic Music Studio.

    Scott Holden enjoys an active career as soloist, chamber musician and teacher.  A long time resident of New York City, he and his family relocated to Utah in 2002 to accept a piano professorship at BYU.  In addition to his teaching at BYU, he is also a member of the internationally renowned American Piano Quartet.  He released his first CD in 1996 which included works by Bach-Busoni, Schumann, Berg and Martinu. A second CD is currently being recorded on Tantara records, which will include several world premiere recordings.

  6. Daniel Swilley: Absolute Zero (2008)  [5:00]                  University of Illinois §

    Absolute Zero is concerned with the "life" of the constituent particles of matter as they reach the invisible bonds of absolute zero.  Absolute Zero (noun) – the lowest temperature that is theoretically possible, at which the particle constituents of matter do not move or have minimal motion.   -DS

    Daniel Swilley (b. 1980) is a composer of acoustic and electroacoustic music.  He holds a BM from Valdosta State University, a MM from Georgia State University, and is currently pursuing a DMA in Music Composition at the University of Illinois Urbana-Champaign where he is the Operations Assistant for the Experimental Music Studios.  Swilley's composition teachers have included Tayloe Harding, Robert Scott Thompson, Heinrich Taube, and Scott Wyatt.  Swilley's honors include the performance of his Facture No. 2 for Solo Percussion at the June in Buffalo Festival in 2006 by Ensemble SurPlus.  Swilley is a member of BMI, SEAMUS, and Society of Composers Inc.

  7. Mara Helmuth: Where is My Voice? (2008)  [5:55]    University of Cincinnati £
    Steve Sunderland, poet/speaker

    Where is My Voice? is a work for fixed format stereo audio or speaker and stereo audio by Mara Helmuth, based on  the poem “Vet’s Sangha: 2005” by Steve Sunderland.  The electronic part was created from percussion, clarinet and double bass samples processed in RTcmix and StochGran software.  Sunderland writes, “The Veteran’s Sangha grew out of Buddhist priest Thich Nhat Hanh's attempt to bring Vietnamese Vets, protestors and Vietnamese refugees together for healing.  His premise, as a Vietnamese refugee who was expelled by both North and South Vietnam in the 1960s, was and is that we are all connected, all wounded, and all deeply involved in our mutual healing.  My poem came as a part of a public declaration by the members of the group that have turned to writing as one way of both self healing and healing the community.  The group has been going for many years and vets from the Gulf War and Iraq have joined us in seeking to heal.  I am honored to be in the group and to have this poem in this collection.” This work was commissioned by the University of Illinois Experimental Music Studios in commemoration of its 50th anniversary celebration.   -MH

    Vet's Sangha: 2005

    1. Where is my voice?

    Where is my voice for peace?

    I, too am lost in the bloom of anger.

    I do not want to speak about the pretty

            pictures of Viet-Nam and They's return.

    Will someone go back to Baghdad in 20 years?

    Will there be an Iraq so full of

            graveyards that the "prettiness" is obscured?

    2. Where is my voice of compassion?

    I,too, am so glad to listen to the vet's stories--

            their victories with PTSD on lips that quiver.

    Yet, my heart stays too cold, too closed,

            too violent. I want to stay in the

            mob, throwing rocks of protest.

    3. Where is my voice of forgiveness?

    I, too, did not go when my number was called.

    Someone went for me--increasing their fear

            as I reduced mine?

    I want to say to my twin--"thank you,"

    And, "I am sorry"--and to the dark brother who went for me

    And never returned,

    I want to say, rather, to scream,

    "IT SHOULD NOT HAVE BEEN!"

    4.  Where  is my voice of hope?

    Sometime in the 1940's and 1950's I was "drafted"

    Into the peace army.

    I bow to my parents,  brother and sister for

    Their complicity. I bow to Jackie Robinson

    For his inspiring example. And to all of my

    Teachers.

    Yet, my voice of hope is weak. I am late

    To the chorus of daily singing, only

    Now awakening to the perpetual need of

    loving care. I am recognizing my voice

    For me.

    5. Where is my voice?

    It is here, in this veteran's sangha, reflecting the deep thunder

    Of memories one half recovered; it is here

    In the body's roots, and you and I can

    Hear the sweet bell of love.

    Mara Helmuth’s is a composer of music which often involves the computer in performance and composition.  Her works have been performed in the United States and internationally.  Sound Collaborations, v.36 of the Consortium to Distribute Computer Music Series on Centaur Records includes mostly interactive compositions.  Collaborations with percussionist-composer Allen Otte are heard on the Electronic Music Foundation compact disk Implements of Actuation, and tape work on Open Space CD 16.  She is on the faculty of the College-Conservatory for Music, University of Cincinnati and director of the Center for Computer Music.  She holds a Doctor of Musical Arts from Columbia University, and previous degrees were from the University of Illinois at Urbana-Champaign.  Her electroacoustic music includes Mellipse (1989,1995), Abandoned Lake in Maine (1997) and bugs and ice: A Question of Focus (2002) based on natural sounds.  Her writings have appeared in the monographs Audible Traces and Analytical Methods of Electroacoustic Music, and in the Journal of New Music Research and Perspectives of New Music.  Her software for composition and improvisation has involved granular synthesis, the RTcmix music programming language, user interfaces and Internet2.  Recent work includes the Hidden Mountain (2007) and Staircase of Light (2003) interactive installations at the Sino-Nordic Performance Arts Space in Beijing, an Internet 2 application for improvisation -- Soundmesh, and updates to StochGran, an RTcmix-based granular synthesis application. She was Vice President for Conferences, Newsletter Editor and member of the Board of Directors of the International Computer Music Association between 1997 and 2006, and is currently the ICMA president.  Her longtime interest in Asian culture has emerged in playing the qin, a Chinese zither.

    Steve Sunderland is full professor in Educational Foundations and Peace Studies.  Formerly Dean of the UC College of Community Services and a Professor of Social Work for the past 21 years at UC, he is Director and Founder of The Peace Village, a Cincinnati based peace network founded after the riots and expanded after 9/11 to work on peace and healing.  For more information on the Peace Village programs, please write: sundersc@email.uc.edu.

  8. Marcus Engelmann: Final Winter (1984)  [6:54]        Allan Hancock College £

    The piece Final Winter was the result of a commission from the Experimental Music Studio of the University of Illinois at Urbana-Champaign in the mid 1980's.  One of the requirements of the commission was that the work should involve the techniques that were employed in the musique concrete style originating in France in the late 1940's.  The realization of this work involved using some of the oldest equipment in the studio such as the variable speed tape recorder.  When equipment problems arose with the aging equipment, it sometimes involved waiting several weeks as parts had to be ordered from across the country.

    The title of the piece came from discussions concerning the possible "nuclear winter" that might result from a global nuclear confrontation.  Dr. Engelmann attempted to capture this sense of conflict and possible resolution by setting pitch-based timbres in contrast to noise-based timbres.  The entire work was based on manipulations of a single original recording of a resonating wine glass.  The basic sounds were produced using a frequency counter, the variable speed tape recorder and the multi-track tape recorder. To produce the pitched sounds the frequency counter was used to produce pitches that fit into the harmonic series.  The noise-based sounds were inharmonic and organized into pitch clusters.  The multiple tracks of sustained sounds were mixed and then shaped with a low pass filter and envelope generator to produce individual notes.  Then, the variable speed tape recorder was again used to produce notes of the required pitches.  Each note was then edited from the original master and spliced together according to the score.  The opening section required several hundred splices.

    Final Winter was selected for the compact disc collection from the various electro-acoustic music works of Dr. Engelmann because it seemed to be most in the spirit of the Experimental Music Studio of the University of Illinois where it was produced.    -ME

    Marcus Engelmann is a composer and music educator who currently resides in Santa Maria, California.  His music composition preparation includes studies with Larry Barnes and Brian Bevelander at Heidelberg College, Donald Erb at the Cleveland Institute of Music and Ben Johnston, Morgan Powell and Salvatore Martirano at the University of Illinois at Urbana-Champaign.  He studied electronic music with Scott Wyatt, John Melby and David Peele.

    Dr. Engelmann's instrumental compositions range from works for orchestra, concert band and a variety of chamber ensembles to electro-acoustic and vocal music.  Recent compositions include Four Songs on Poems of Rilke for tenor and piano, commissioned by Peter Benecke and Resonations for flute and piano that was commissioned by Holly Hofmann and Kay Etheridge of the University of San Diego.

    The composer is currently a faculty member at Allan Hancock College in Santa Maria, California where he is the director of the sound recording and electronic music programs as well as the instructor for the music theory sequence of courses.  In addition, he is currently serving as the chair of the Fine Arts department of the college.

  9. Ju Ri Seo: iff (2008)  [5:59]         University of Illinois §
    Ju Ri Seo, piano

    iff was commissioned by the University of Illinois Experimental Music Studios in commemoration of its 50th anniversary celebration.  I used the electroacoustic accompaniment to expand the possibilities that are inherent in live piano rather than treating it as an independent voice.  The dominance between two parts, however, constantly shifts while the harmonic and timbral dichotomy between them provides an additional dimension to the ensemble.  My aim was to create a piece that speaks its own language and challenges the listeners in an intellectual and emotional way.   -JRS

    Uniting passionate emotion with mathematical phenomena, composer Ju Ri Seo explores the spirit of music through the outlook of listener associations, memory, reflections, and culture.  The function of memory in particular, determines perceptions of structural proportion, relative speed, and variations of energy.  Formally a neoclassical composer, her newfound interest in mathematics and exposure to contemporary music has redefined her stylistic tastes, introducing in her music a fresh and boundless idiom.

    Her electro-acoustic work The World of Polynomials was presented in the Midwest Composer’s Symposium in 2007, and Movement for Orchestra at the Krannert Center for Performing Arts in 2006.  She is currently under commission by the UIUC Experimental Studio for its 50th anniversary CD collection.  Recently, her jazz composition Plan B minor has become popular repertoire for trumpet recitals, which includes an upcoming performance in Poland.  She has studied composition with Keeril Makan, Zack Browning, Steve Taylor, Reynold Tharp, Erik Lund, electronic music with Scott Wyatt, and algorithmic composition with Heinrich Taube.

    Seo grew up in Seoul, Korea.  She received her professional musical training at Yonsei University in Korea where she received a BM in composition with high honor.  Motivated by her experience as an exchange student in the UC-San Diego, she moved to the United States for graduate studies.  Having received her MM, she is pursuing the DMA in composition and the MS in applied mathematics at the University of Illinois, Urbana-Champaign.  Her current interest includes mathematical application to music composition, jazz, and spectral music.

  10. Andrew Walters: Still Life and Landscape (2002)  [8:00]  Mansfield University  £

    Still Life and Landscape consists of a two-part theme.  One part explores sounds from a close object, a newspaper, while the other part presents far away, landscape sounds (crickets, thunderstorms, trains, traffic, etc.).  The material of each part and the distance and space it implies, creates its own type of phrasing and sound structure.  In the following set of nine variations, the material of both parts is expanded and slowly treated like the other, until, the landscape sounds are treated as close objects and the newspaper sounds are presented as a distant landscape.   -AW

    Andrew Walters was born in Topeka, Kansas but spent most of beginning years in Farmington, Missouri.  Dr. Walters received his Bachelor of Music from Millikin University where he studied composition with Robert Chamberlain.  He received his Master of Music degree in Composition from Northern Illinois University where he studied composition with Jan Bach, Robert Fleisher and electronic music with James Phelps.  Later he received his Doctor of Musical Arts degree in composition from the University of Illinois where he worked in the EMS studios under the guidance of Scott Wyatt and James Beauchamp.  His primary teachers at the University of Illinois include William Brooks, Zack Browning, Erik Lund, and Paul Zonn.  His piece IN-EX is featured on the  Music from SEAMUS, Volume Nine compact disk and his piece Pushing Buttons is featured on Music from SEAMUS, Volume Sixteen.  Walters’s music has been performed at various conferences including Spark, Electronic Music Midwest, SEAMUS, ICMC, and the Electronic Juke Joint.  He is presently Assistant Professor in Music Theory and Technology at Mansfield University in Mansfield, PA.

  11. Paul Oehlers: Phreximus (2008)  [4:05]          American University £

    Phreximus was commissioned by Scott A. Wyatt in celebration of the fiftieth anniversary of the Experimental Music Studios.   -PO

    Paul A. Oehlers is most recognized for his "extraordinarily evocative" film scores. (Variety)  Films incorporating his music have screened at the Berlin International Film Festival, the Philadelphia Festival of World Cinema, the Indiefest Film Festival of Chicago, and the Hamptons International Film Festival, where the film Paul scored, Most High , captured the Golden Starfish, the largest independent film award in the United States.  The film has gone on to win the Grand Jury Prize at the Atlanta International Film Festival and the Prism Award for Outstanding DVD of the Year.

    His compositions have been performed in the United States and abroad including performances at the Society for Electro-acoustic Music in the United States national conferences, the International Computer Music Conferences, the Gamper New Music Festival, the Seoul International Electro-acoustic Music Festival, the Institut füe Musik und Musikerziehung in Darmstadt, Germany, and the VII Annual Brazilian Electronic Music Festival, as well as a 1987 command performance for former United States President Ronald Reagan.

    Paul was named the Margaret Lee Crofts Fellow by the MacDowell Colony for the year 2006.  He is currently Assistant Professor and director of the Audio Technology program at American University in Washington, DC.

  12. Glenn Hackbarth: Low End (omaggio:CM) (2008)  [6:11]  Arizona State University £
    Sam Pilafian, tuba

    Low End (omaggio: CM) pays modest homage to the music of jazz giant, Charles Mingus.  While the tuba part frequently refers in general to the jazz idiom - a realm where I spent many of my early years in music -  the work specifically visits Boris Lozlov's unaccompanied bass solo in the 1999 recording of the Mingus classic: Haitian Fight Song.  Low End was written for Sam Pilafian, a friend, colleague, and multi-faceted musician whose work as a performing and recording artist encompasses both jazz and classical music.  -GH

    Glenn Hackbarth lives in the desert southwest where he directs the Computer Music Studios and ACME (Arizona Contemporary Music Ensemble) at Arizona State University.  The recipient of awards from the Arizona Commission on the Arts, ASCAP, and the National Endowment for the Arts, he has written works in both the acoustic and electronic mediums and received numerous performances in the United States, Canada, and Europe.  His music has been performed by the Eastman, Cincinnati, Northwestern, and New England Conservatory wind ensembles, Basso Bongo, Sychronia and The Voices of Change; is published by Carl Fischer and Dorn Publications; and has been recorded on the Access, Advance, Crystal, EAM, Whole>Sum, and Orion Labels.

    Sam Pilafian is perhaps best known as a founding member of the internationally renowned Empire Brass Quintet.  He has also recorded and performed with the Boston Symphony Orchestra, the New York Philharmonic Orchestra, the Orchestra of St. Luke's, the Metropolitan Opera Orchestra, the Duke Ellington Orchestra, Lionel Hampton, and Pink Floyd.  As a solo jazz artist, Sam has recorded fifteen CDs.  Solo recital and concerto performances during recent seasons have taken him to Canada, Spain, Sweden, Switzerland, Japan, Italy, Austria, Germany and England.  He is currently on the faculty at Arizona State University.


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