Ninth Annual
Florida Electroacoustic Music Festival
Composer-in-Residence, Barry Truax
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April 6, 2000
| Animal Farm | Thomas Judson |
| Surgery | Greg Powell |
| A Window Onto Something Else, Part 3 | Experimental Audio Initiative |
| 860 | Steven Jon Landis |
| What It Is to Be Alone | Christopher Nitti |
| Black | Gabriel Monticello |
| Humanature | John McElroy |
Listening Session
Soundscape
Compositions
Barry Truax, curator
| Basilica | Barry Truax (Canada) |
| Pendlerdrøm | Barry Truax (Canada) |
| Hildi's Talking Rain | Hildegard Westerkamp (Canada) |
Concert II
Latin American Electroacoustic
Music
Martin Fumarola, curator
pre/post-concert sound scape On The Liquid Edge by Ricardo Dal Farra
| Construçoes I a X | Jose Augusto Mannis (Brazil) |
| Cientos de Voces | Raul Minsburg (Argentina) |
| El Peregrinar de la Araña | Martìn Fumarola (Argentina) |
| Arena | Francesca Ancarola (Chile) |
| Le cri Ètouffè | Daniel Zimbaldo (Argentina/Spain) |
| Hombres tristes y
sin titulo rodeados por pajaros en noche amarilla, violeta y naranja |
Jorge Antunes (Brazil) |
| Metamorfosis II | Lucio Cuellar (Colombia/USA) |
| Bereshit 1.3 | Pablo Sotuyo (Uruguay) |
| Cycles | Rodrigo Sigal (Mexico/England) |
| Sin los Cuatro | Rajmil Fischmann (Peru/England) |
| SL-9 | Manuel Rocha Iturbide (Mexico/France) |
This concert features different types of electroacoustic and computer music by Latin American composers. This year there are more pieces by composers living in Europe as well as by young emerging composers. More emphasis is given to Brazil as well: Jorge Antunes is the pioneer of electroacoustic music in Brazil and Jose Augusto Mannis is the Director of the CDMC-Brazil (an important documentation center for contemporary Latin American music). Francesca Ancarola, from Chile, is one of the outstanding young women composers in South America. Ricardo Dal Farra, an internationally renowned Latin American composer, offers us something refreshing and interesting: an electroacoustic soundscape that will be performed before and after this concert. -Martin Fumarola
| Degrees of Separation "Grandchild of Tree" | Paul Rudy (Missouri) |
| Lot #2000 | Ed Martin (Texas) |
| Canciones para las estrellas | Riccardo Bianchini (Italy) |
| Tesserae, for digital media | Elizabeth Hoffman (New York) |
| Path of Iron | Alicyn Warren (Virginia) |
| ANAKOLUT | Palle Dahlstedt (Sweden) |
| Arturo, electroacoustic music | Elainie Lillios (Texas) |
| Sometimes When I¹m Awake | Keith Kothman (Florida) |
| Color Code | Javier Garavaglia (Germany/Argentina) |
Concert IV
University of Missouri, Kansas
City
James Mobberley and Paul Rudy, curators
| Sparks | Mikito Oki |
| Cymbolic | Robert Cooper |
| Conversation | Ian Corbett |
| Stationary Front | Mike McFerron |
| gitchee gumee | Daniel Nass |
| Take a Walk with Me | Hsiao-Lan Wang |
| Sarah Was Ninety Years Old | Seongah Shin |
| Dandelions | Timothy Place |
Concert V
| Fit, for trombone and computer | Samuel J. Hamm, Jr. (New York) |
| Night Ascends from the Ear like a Butterfly | Hideko Kawamoto (Texas) |
| Ascension | Mei-Fang Lin (Illinois) |
| Schlammverfestigung. Mit Ausclick auf den grossen Kitsch | Volkmar Klien (England/Austria) |
| Variations/Doubles, for alto sax and tape | Benjamin Broening (Virginia) |
| Miniatures | Michael Allen Thompson (Texas) |
| oN a LaRk | Ron Herrema (Michigan) |
| The Goblin Market | Kristen P. Kuster (Michigan) |
| Allow my heart to ache | Bonnie Miksch (Georgia) |
| Icarus Wept for trumpet and tape | James Mobberley (Missouri) |
Concert VI
Electroacoustic Music from
DeGeM
Javier Garavaglia, curator
| "Variazioni", Movement 3 from Electric Symphony | Friedhelm Hartmann (Germany-Israel) |
| Sturmmusik | Ruefer Ruediger |
| Saxl | Sven Ingo Koch |
| Raeume | Robin Minard |
| "Xoxa Bonjour
Presence" and "Xaxime Lao-tse" from Xix Mikado, 7 Klangtableaux |
Johannes S. Sistermans |
| Der Feigenbaum | Heinz-Josef Florian |
| Scherzo for Windows 2.0 | Frank Niehusmann |
| N.A.M.A. "booty" don`t walk | H. Ed Roland |
| human-space-factory | Hans Tutschku |
| Keep on the move | Guenter Heinz |
| Trevoce | Andre Ruschkowski |
The above concert is a cooperative venture between the electronic music studio of the University of Florida (FEMS - USA) and the DeGeM (Deutsche Gesellschaft für Elektonische Musik). The idea of James Paul Sain (University of Florida) and Javier Alejandro Garavaglia (ICEM, GNMR, DeGeM), this concert will feature works composed in Germany. We believe that this kind of cooperation is not only a vehicle to present new music but also will encourage people of different countries and cultures to get to know each other much better.
Concert VII
invisiblEARts Presents - A
Concert of Recent Acousmatic Music from Scotland and Elsewhere
Robert Dow, curator
| Incidence and Elasticity | Jonny Marks (New Zealand) |
| ABZ/A | Pete Stollery (Scotland) |
| Litany (premiere) | Robert Dow (Scotland) |
| Interval | |
| Hidden Courts | Paul Fretwell (England) |
| TBA (premiere) | Alistair MacDonald (Scotland) |
| Nocturne | Simon Atkinson (Scotland) |
Concert VIII
| Afterimages No. 2, for cello and computer | Ron Parks (New York) |
| Stumble In | Neil Flory (Texas) |
| Alchemy: Visions | Daniel W. Hosken (California) |
| Junket | Craig Walsh (North Carolina) |
| Sound Mirrors for piano and tape | Larry Barnes (Kentucky) |
| The Home Planet | Samuel Pellman (New York) |
| como un coro de clarinetes celestiales | Orlando Jacinto Garcia (Florida) |
Concert IX
| Two Cabarets, "The Vamp" for tape and theatrist | Allen Strange (California) |
| Halito, for flute and electroacoustic sounds | Daniel Schachter (Argentina) |
| L'OBVIE / L'OBTUS, for clarinet, gestural controller and interactive electronics | Joseph Butch Rovan (Florida) |
| Streams, for octophonic tape | Jonty Harrison (England) |
| Lix | James Paul Sain (Florida) |
| Sarah-nade (After Brahms) | Steven David Beck (Louisiana) |
| Music for Piano and Computer | Cort Lippe (New York) |
| Sequence of Earlier Heaven | Barry Truax (Canada) |
Convocation Lecture/Recital
| Inner Complexity and Outer Reality: granular synthesis and soundscape composition |
| Two frontiers of electroacoustic music composition today are the micro-level control of sound design, and the integration of environmental sound into the compositional process. Granular approaches to processing sampled sound have been pioneered by Barry Truax who will demonstrate how this technique brings out the inner complexity of these sounds, and how his compositional approach integrates environmental sound experience and its imagery into his music. |
Paper/Report Session
| Notation of Electroacoustic Music with Performer | Margaret Anne Schedel (New York) |
| Abstract: Performers are eager to play interactive music, but the performance of much interactive music is difficult, if not impossible, without the presence of the composer. While some composers consider this advantageous, others struggle to find ways to make their attendance unnecessary. One solution to this problem is improved notation. Precise notation not only encourages performers to play pieces without composers present, it also promotes faster learning, and helps players diagnose performance problems. Thorough notation can also enable performers to give a more intelligent performance. The notation of interactive music will be discussed from the perspectives of composer and performer based on the results of a questionnaire. While there will always be limitations imposed by visually notating aural events, this paper will propose several solutions to the unique problems faced by composers of interactive music. | |
| WCShell: a Windows front-end to Csound | Riccardo Bianchini (Italy) |
| Abstract: WCShell and related software is a Windows 9x/NT/2000 to Csound. It includes orchestra and score editors, a multimedia control, dialog boxes for analysis programs, a spreadsheet-like score processor and much more. WCShell is shareware software. | |
| Real-time Analysis/Resynthesis Techniques Using Max/Msp | Cort Lippe and Ron Parks (New York) |
| Abstract: This paper examines recent real-time analysis/resynthesis techniques utilizing Max/Msp. The fiddle~ object is utilized for spectral analysis and pitch tracking and the information derived from the analysis is utilized in one of three resynthesis methods: additive, subtractive and spectral filtering. These techniques are explained in detail, with emphasis on the advantages and limitations of each approach. Techniques for meaningful manipulation of the analysis data prior to resynthesis are also discussed. | |
For more information on the electroacoustic music program at the University of Florida point your browser to the Florida Electroacoustic Music Studio home page.
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