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¤ = former, retired or emeritus faculty ¥ = current faculty £ = alumnus § = current student
Kenneth Gaburo: Lemon Drops (1964) [2:58] University of Illinois ¤£
Lemon Drops - Made with James Beauchamp's Harmonic Tone Generator, this is a piece in which Gaburo said he was trying to show that tape splicing could be as fluid as improvisation. Listening to the piece today, timbral variation is most prominent, the scalar licks most impressive. Were some of these licks played on a keyboard, and others spliced together? Register changes also seem important – the piece sounds like it's proceeding on several levels at once. And it swings, and grows, its two almost independent channels enjoying antiphonal interplay. Only at one moment, about half-way through, is there a chord using notes on both channels. A rare note of unity in this mordant melodic poly-timbral musical moment. - Warren Burt [permission by Lia Tysdal and Pogus Productions]
Kenneth Gaburo (1926-1993) An inspiration to several generations of composers, he was a composer, conductor, writer, performer, theater director, educator. Born in New Jersey, educated at Eastman and University of Illinois. Taught at Universities of Illinois, California, Iowa. Composed instrumental music, electronics, vocal music, performance
art, poetry, multi-media, theatre. Coined the term “compositional linguistics” in which the musical aspects of language and the linguistic aspects of music produce a work greater than the sum of either.
[See www.pogus.com for more of Kenneth Gaburo's recorded music.]
James Beauchamp: Streams and Impulses (1971) [7:37] University of Illinois ¤£
Streams and Impulses was composed as an image of contrasts. The stream-like sine wave cluster of the first section contrasts with a parallel "bp-baa" rhythmic pattern. This is followed by a randomly ordered series of trumpet tones, contrasting with first section in timbre and activity. The final section is related to the first in terms of its sonorities but contrasts in its use of overlapping segments. -JB
James Beauchamp received degrees of Bachelor of Science and Masters of
Science in Electrical Engineering from the University of Michigan in 1960 and 1961 and a Ph. D. in Electrical Engineering from the University of Illinois at Urbana-Champaign (UIUC) in 1965. Beauchamp developed one of the first voltage-controlled electronic music synthesizers, the Harmonic Tone Generator, as a graduate student in Electrical Engineering at the UIUC during 1962-64, in conjunction with UIUC music professor Lejaren Hiller, then in 1965 he joined the EE faculty at the UIUC. During 1968-69 he took a leave of absence to be a Research Associate at Stanford's Artificial Intelligence Laboratory. In 1969 he returned to UIUC and assumed a joint appointment in Music and Electrical and Computer Engineering. At UIUC he served as director of the School of Music's Experimental Music Studios (1969-72), the PLACOMP Music Synthesizer Project (1973-81), and the Computer Music Project (1984-93).
He is a Fellow of both the Audio Engineering Society of America (AES) and the Acoustical Society of America (ASA) and currently is chair of the ASA's Technical Committee on Musical Acoustics (TCMU). He was a coeditor and an author of Music by Computers (1969) and an advisory editor for Interface (1976-90). He was president (1981-83) and member of the Board of Directors (1980-83, 1986-93) of the International Computer Music Association (ICMA) and co-hosted International Computer Music Conferences (ICMCs) at the UIUC School of Music in 1975 and 1987.
In 1988 he was a Visiting Scholar at the Center for Computer Research in Music and Acoustics (CCRMA) at Stanford. During 1994-95 he was a visiting researcher at the Institut de Recherche et Coordination in Acoustique/Musique (IRCAM) in Paris, France.
During the 70's, 80's, and 90's he produced over 30 concerts of electronic and computer music at the UIUC, and he has published numerous articles in professional journals (click here to see PUBLICATIONS) on computer music synthesis and analysis, musical acoustics, and audio. He is primary author/developer of the sound synthesis software package Music 4C and the sound analysis/synthesis package SNDAN, both for Unix workstations. He is also co-author of Armadillo, a real-time/non-real-time spectral analysis program for the Power Macintosh.
He has taught courses in musical acoustics and computer music for the UIUC School of Music as well as courses in electronic music synthesis and audio for the Dept. of Electrical and Computer Engineering at the UIUC. In 1997 he retired from the UIUC, continuing his affiliation with it as Professor Emeritus. His current research interests are in developing sound analysis algorithms, new sound synthesis models, in the perceptual effects of musical sound parameter modifications, and automatic music transcription and instrument voice separation.
Erik Lund: planes, terrains & auto-mobiles (1993) [8:31] University of Illinois ¥£
James Bovinette, trumpet Erik Lund, trombone Drew Krause, piano Michael Cameron, double bass David Collier, percussion
fixed to…fumbled with…freed from…for a world where order is a friend to freedom.
planes, terrains & auto-mobiles was composed for the University of Illinois Contemporary Chamber Players for the occasion of the Asian Contemporary Music Festival '93, Seoul and Taejon, South Korea. -EL
Erik Lund has received support for his work from the Musik Biennale-Berlin Festival, Meet the Composer, ASCAP, the Illinois Arts Council, and the Research Board of the University of Illinois. He has written commissioned works for the Arditti Quartet (UK), Orchestra Giovanile Italiana (Italy), Crash Ensemble (Ireland), Wolpe Trio (Germany), and the C2 Duo (USA), as well as by numerous soloists. Lund’s works are recorded on the Opus One, Cybele, Einstein, and Centaur record labels.
Larry Polansky: Four Voice Canon #23a (freeHorn canon) for Charles Dodge (2008) [6:02] Dartmouth College £
Four Voice Canon #23a is a seven-voice mensuration canon (12:11:…6). Each voice, also tuned to those ratios, is a modulation between three harmonic series, related as 1:3:5 to their own fundamentals. freeHorn is the name of a Java-based real-time computer performance application I wrote (with the assistance of Phil Burk) to generalize the harmonic and formal processes of an earlier piece, Psaltery (1978), written in the Illinois studios while I was a student there. This work was commissioned by the University of Illinois Experimental Music Studios in commemoration of its 50th anniversary celebration. -LP
Larry Polansky (b. 1954) is a composer, performer, writer and teacher. He lives in New Hampshire, is co-director of Frog Peak Music, and teaches at Dartmouth College.
Kyong Mee Choi and Timothy Johnson: Tensile Strength (2008) [6:01] Roosevelt University and Lewis University £
Tensile Strength explores the intersection of the harsh and the harmonious. The title refers to the amount of stress required to stretch a string to the point where it breaks. The piece is unique in that it is the result of a collaboration of two composers, each handling different aspects of the process. The primary sound material consists of violin samples processed in Bill Schottstaedt’s CLM synthesis language, in conjunction with Heinrich Taube’s Common Music composition environment. Tensile Strength was commissioned by Scott Wyatt in commemoration of the 50th anniversary of the Experimental Music Studios at the University of Illinois at Urbana-Champaign. –KMC, TJ
Kyong Mee Choi , composer, organist, painter, and visual artist, is an Assistant Professor of music composition at Chicago College of Performing Arts at Roosevelt University where she teaches composition and electro-acoustic music. She received a B.S. in chemistry and science education at Ewha Women’s University, and studied Korean literature in a master’s program at Seoul National University in South Korea. She received a M.M. in music composition at Georgia State University and a D.M.A. at the University of Illinois at Urbana-Champaign.
She mainly writes chamber, electro-acoustic, interactive, and multi-media music. Her major awards include the prestigious John Simon Guggenheim Memorial Foundation Fellowship and Robert Help Prize, The First prize of ASCAP/SEAMUS, The First place at the Birmingham Arts Music Alliance Concerct Exchange program, The Second prize at VI Concurso Internacional de Mú Eletroacúa de São Paulo, Mention for Musique et d’Art Sonore Electroacoustiques de Bourges, Honorary Prize at the the International Electroacoustic Music Competition: Musica Nova, Society of Electroacoustic Music of Czech Republic, Finalist for CEMJKO Music and Art Week in Brazil, Finalist at Concurso Internacional de Mú Eletroacúa in São Paulo, Brazil, Honorable Mention at Luigi Russolo International Competition in Italy among others.
She has had many works recognized in numerous places: Luigi Russolo International Electroacoustic Competition, Australasian Computer Music Conference, MUSICA CONTEMPORANEA in Ecuador, Third Practice, International Computer Music Conference, Electroacoustic Musical Festival in Santiago de Chile, Spectrum Press and the Los Angeles Sonic Odyssey, Merging Voices, Music Beyond Performance, Electronic Music Midwest, International Society for Contemporary Music, Society of Electro-Acoustic Music in the United States, Society of Composers, Inc., College Music Society, MUSICA NOVA among others.
Her research paper, "Spatial Relationship in Electro-Acoustic Music and Painting" is selected and published in the proceedings of the Electroacoustic Music Studies Network at INA-GRM and University Paris-Sorbonne in France, and of the Hawaii International Conference on Arts and Humanities, Honolulu, Hawaii.
Her interview with Theresa Sauer, Musicologist, American Musicological Society is now at Notations 21-An anthology of innovative musical notation. Her music can be found at CIMESP, SEAMUS, SCI, EMS, Dénants Voyages (Studio Forum, France).
She has also been active as a painter and visual artist. Her multi-media exhibition with her painting and music was reviewed by Jenny Southlynn, saying, “The show is polished and elegant. The paintings mineral hues shimmer one beneath the other, as mesmerizing as a reflecting pool. The accompanying musical compositions play in perfect harmony with the works, completing the immersive meditative effect.”
Timothy Ernest Johnson is a composer, performer, theorist, programmer and educator. His most recently completed projects include a book about 13-limit Extended Just Intonation and a software package for the analysis and realization of music in alternate tunings. His compositional output runs the gamut from music for traditional instruments to the most recent developments in electronic and computer music. His algorithmically composed Electric Meditation was most recently performed at the 2005 International Lisp Conference held at Stanford University. This piece is written entirely in Lisp using Heinrich Taube's Common Music algorithmic enviroment and Bill Schottstaedt's Common Lisp Music signal processing environment. Electric Meditation has also been featured on the most recent CD of Experimental Music Studios composers from the University of Illinois. A previous recording from EMS composers featured an electronic work of Tim's entitled Begin the Beguine. His orchestra piece Antyphony: Paul Morphy vs. Duke of Brunswick and Count Isouard won the 2004 University of Illinois Orchestra Prize. The piece is based on a famous 19th Century chess game. The chamber work In the Beginning for clarinet, viola and piano was performed at the 2002 Midwest Composer's Symposium at Indiana University. Tim produced a concert of his own music after winning the 21st Century Piano Commission Award which included a new piano piece entitled Sonata Urbana, premiered by Brad Friedman, as well as another solo piano work Owen's Leaf, a song cycle for voice, violin and guitar on poems by Charles Simic and a 'micro opera' for actor, guitar and live electronics. As a guitarist Tim has premiered many new works. His most recent recital was broadcast live on Illinois Public Radio station WILL and it included the broadcast premiere of his solo guitar piece Tango Terceira. This piece had its origins in Tim's two-year stay in the Azore Islands where he taught classical guitar at a conservatory.
Anthony G. Barata: Triptych X (1999, revised 2008) [6:45] California Polytechnic State University £
Triptych X was inspired by the writings of Juan de Yepes, the great Spanish poet and mystic, who lived an austere life, replete with struggle. Still, he found inner beauty in his surroundings. An analogy for his perspective develops in Triptych X through the transformation of seemingly harsh sounds, including train horns and squealing brakes. Barata carefully dissected, selected, and processed elements in each sound to bring out its inner beauty. -AB
Antonio G. Barata is Professor of Music and the Director of the Sound Design Program at California Polytechnic State University, an active composer in both electroacoustic music and traditional genres, the artistic director of the transmedia concert series, RSVP Productions, and an active independent producer and acoustic consultant
Mary Ellen Childs: Welding (2007) [4:09]
Ethel string quartet: Cornelius Dufallo, Mary Rowell, Ralph Farris, Dorothy Lawson, Sound montage by Neverwas
Welding, written for Ethel, is from the evening-length Dream House, for string quartet with accompanying multi-image video surrounding the musicians. Dream House serves as a commentary on cycles of time, the rhythm of work, and the intertwined nature of destruction and creation. -MEC
Dream House is available from Innova Recordings: www.innova.mu
Mary Ellen Childs creates both rhythmic, exuberant instrumental works and bold, kinetic compositions that integrate music, dance and theater in fresh and unexpected ways. She has created numerous "visual percussion" pieces for her ensemble CRASH. Childs also composes purely musical concert works and has received commissions from the Kronos Quartet, the St. Paul Chamber Orchestra, the Dale Warland Singers, The Kitchen, and the Walker Art Center. She is the recipient of Bush, McKnight and MSAB Fellowships.
Michael Pounds: Recollection (2008) [6:05] Ball State University £
Recollection began its life as a collection of field recordings the composer gathered in Japan. The first project that made use of these recordings was a composition entitled Collection, a piece that combined and shaped excerpts from the recordings with minimal processing. In creating Recollection, the composer wanted to revisit the same source material, but this time with much more processing and abstraction. The title makes obvious reference to the sounds used in the earlier piece, but also to the idea that memory generally involves some transformation, some filtering through our personalities, desires, and views of the world, and through interaction with our other experiences. This work was commissioned by the University of Illinois Experimental Music Studios in commemoration of its 50th anniversary celebration. -MP
After a relatively short career as a mechanical engineer, Michael Pounds turned his energies toward composition, studying at Bowling Green State University, Ball State University, the University of Birmingham in England, and the University of Illinois, where he completed his doctorate. He studied electroacoustic composition with Jonty Harrison, Scott Wyatt, Guy Garnett, Cleve Scott, Jody Nagel, and Burton Beerman. His awards include the 1998 ASCAP/SEAMUS Student Commission Award, a Residence Prize at the 25th Bourges International Electroacoustic Music Competition, and a Rotary Foundation Ambassadorial Scholarship for studies in England. His work has been performed and exhibited throughout the United States and Europe, and in Canada, Mexico, Korea, Australia and New Zealand. He was a co-host of the 2005 national conference of the Society for Electro-Acoustic Music in the U.S. (SEAMUS). Michael is currently the Assistant Director of the Music Technology program at Ball State University, where he teaches courses in composition, acoustics, music perception, recording and computer music
Jason Mitchell: Gravitational Altitude Correction (2008) [5:00] University of Illinois §
In composing Gravitational Altitude Correction aka G.A.C., I wanted to explore the granular synthesis tools within GraceCl. I created a program that would process source files so that the resulting sound file would contain multiple and differing layers of granular synthesis, amplitudes, and spatial locations. I then assembled these sound files within the ProTools environment and subjected them to further concrete techniques. In addition to synthesis, the work contains many unaltered source files that I used to reinforce certain gestures.
My compositional intention for G.A.C. was to impart a sense of movement similar to freefall. I tried to capture the constant tension and uncertainty that would be created by this motion. In this composition, I made use of semi-static sounds and constant spatial movement to recreate both height and speed of a theoretical freefall. -JM
Jason Mitchell , a native of McAllen, Texas, is a composer currently pursuing a D.M.A. in music composition at the University of Illinois at Urbana-Champaign. He earned a M.M. in both Music Composition and Guitar Performance from Texas Tech University, Lubbock, Texas. He also holds a B.A. in Guitar Performance from the University of Texas - Pan American.
Mr. Mitchell has written has written numerous works for solo instruments as well as for chamber ensembles. His recent works include Calle de Guerrero Viejo for percussion, violin, cello, and flute and Gravitational Altitude Correction for tape. Mr. Mitchell's String Quartet #1 and Apparitions for flute, violin, cello, and piano are published by Imagine Music Publishing of Medina, New York. In addition, he is a contributing editor for the multi-volume La Guitarra! guitar instruction series, which is currently being used throughout the state of Texas.
Mr. Mitchell is currently studying composition with Scott Wyatt, Heinrich Taube, and Stephen Taylor. He has also studied with Bruce Pennycook, Mary Jeanne van Appledorn, Steven Paxton, Carl Seale, and Teresa LeVelle.
Carla Scaletti: excerpt from Cyclonic (2008) [8:15] Symbolic Sound Corporation £
Taking its name from the rotational motion associated with powerful meteorological events, Cyclonic was inspired by the awesome power of the weather in east central Illinois and plays at the edges between events as recorded, events as experienced, events as remembered, and events as imagined.
Pitches were derived from the frequencies in the National Weather Service alert signal, and the concept of a Cycle is abstracted in various ways ranging from an endlessly accelerating pan to endless (cyclic) increases in the pitches of synthetically generated sirens and filterbanks processing synthetic wind.
Apart from rain, thunder, and wind sounds recorded in downtown Champaign, the entire piece was synthesized in Kyma.
NB: This is a binaural mix of a multichannel version available from the composer. -CS
Composer Carla Scaletti (http://www.carlascaletti.com) is president of Symbolic Sound Corporation and designer of the Kyma language (http://www.symbolicsound.com). She has fond memories of working with Scott Wyatt and Nelson Mandrell to build Studio D (at that time, centered around the Synclavier).
Brian Evans: Limosa (2004) [2:16] University of Alabama at Tuscaloosa £
I map numbers to the senses-turning numbers into a tangible experience? When mapping numbers into sensory experience aesthetic decisions are made. What palette of colors to use? What set of pitches? How long? How big? The artist, the composer chooses. In a digital world the mapping itself is a choice. Beyond arithmetic there are no rules. I make simple rules. You have to start somewhere. One loop (now it's a narrative). Two minutes (don't blink). The sound should be seen or the image audible. Other than that, make music. It's jazz in 4D. Hear the colors. Listen with your eyes. -BE
Brian Evans is a digital artist and composer. For over twenty years he has been experimenting with the integration of image and sound. His artwork and visual music compositions are exhibited and screened internationally. Recent exhibitions and performances include the Siggraph Animation Festival in Los Angeles, the Visual Music Marathon in Boston, MA, the Not Still Art Festival in New York and the International Computer Music Conference in Copenhagen, Denmark. Evans holds a DMA from the University of Illinois where he studied composition with Sever Tipei and Paul Martin Zonn. He received and MFA from CalArts studying with Earle Brown, Mel Powell and Morton Subotnick. He is currently an Associate Professor of Art at the University of Alabama in Tuscaloosa.
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