Saturday – March 7, 2020 – Concert 5 – 4pm – Hart Recital Hall

Concert 5 – 4pm – Hart Recital Hall

  • Kyle Wood – LMNL GLVTCH, for Ableton Push 2
  • Christina F. Butera – Oda a La Vanguardia, for soprano and electronics
  • Casey Farina and Jeremy Muller – #Sifft, Scale Invariant Feature Twitter Transform for percussion and real-time data visualization based on live tweets
  • Fabio Fabbri – Monodialogos
  • Steve Ashby – chatBack, for feedback system
  • Christopher Poovey – Hypoxia, for Flute and Live Electronics
  • David D McIntire – The Continuing Path, for Baritone saxophone & electronics





Kyle Wood, Composer


Kyle Wood, Ableton Push 2 w/ Ableton


LMNL GLVTCH is a piece written for Ableton Live, Push 2, and human performer. Instead of a traditional score, the performer uses scenes inside of Ableton, rearranging the scenes and sounds as they see fit. The scenes consist of different dummy clips, effects, sequencers and synthesizers. The piece is exploration of sound, starting off with a peaceful ambience, slowly becomes more inconsistent, then returns to its initial state.


Kyle Wood is currently a student at UCM, in the final semester of his studies as a Music Technology major. Coming from the small town of Winfield, MO, Kyle quickly found enjoyment in the world of experimental music, and has composed several pieces, performed at the university. 



Oda a La Vanguardia


Christina Butera


Jessica Salley, soprano


This piece for soprano and live electronics is part of a larger work entitled Suite for the Passersby, a collection of pieces for solo instruments and computer composed for the Donald J Hall Sculpture Park at The Nelson Atkins Museum of Art in Kansas City, MO. Oda a La Vanguardia, with text by Anthony McCann, is part of a two-song set that is inspired by the playful spirit of the famous Shuttlecocks sculptures by Claes Oldenburg and Coosje van Bruggen, which can be found scattered across both the north and south lawns of the sculpture park. Additionally, the architecture of the Nelson Atkins Museum plays a role in this piece, particularly the luminescent Bloch Building and the play of light, both natural and artificial. Oda a La Vanguardia highlights the recreational aspect of the iconic Shuttlecocks and the boisterous character of Kansas City on a lovely Saturday afternoon.


Christina Butera is a composer, educator, and audio engineer interested in both acoustic and electroacoustic music. As a Kansas City composer, she served as the Vice President and Artistic Committee Chair of the non-profit arts organization KcEMA (Kansas City Electronic Music and Arts Alliance) and currently sits on the Advisory Board from her new home in Atlanta, GA. Her compositions draw from a diverse range of styles and are particularly focused on structures based on timbral and textural transformations. Her music has been performed at venues across the country, such as SEAMUS, Electronic Music Midwest, Electroacoustic Barn Dance, MOXsonic, The Contagious Sounds Series, and GAMMA-UT, as well as international venues in Canada, Germany, France and Australia. In June 2019, she premiered her suite for live instruments and interactive electronics written for the Nelson Atkins Museum of Art’s Donald J. Hall Sculpture Park and launched her location-sensitive installation via smartphone app. In her interactive installation work, Christina’s goal is to create a compelling audiovisual experience by offering her community a new music experience that is accessible and exciting.

Christina earned her BM in Music Composition at Bucknell University, her MM in Music Composition at Bowling Green State University, and her DMA in Music Composition at The University of Missouri Kansas City. She has studied under composers such as Bill Duckworth, Marilyn Shrude, Mikel Kuehn, Chen Yi, Zhou Long, Jim Mobberley, and Paul Rudy. She is currently teaching composition and music technology at Spelman College in Atlanta, GA.



Monodialogos, for trumpet and electronics.


Fabio Fabbri, Composer.


Fabio Fabbri, Trumpet.


For trumpet and electronics (Trumpet and fixed media).

The piece consists of two parts: a monologue that sees the sound of the single trumpet as the protagonist, and that evolves into a real dialogue with oneself and one’s own self represented by electronics. The Simplicity of a monologue lies in the interlocutor: himself. At the same time, the Complexity coexists in talking to oneself.


Fabio Fabbri gained second level academic qualification cum laude with highest marks and mention of honor at Conservatorio “G.Puccini” in La Spezia, Italy with Paola Lenzi and Luca Primo Marzana and achieving, firstly in private tuition with Giuseppe Riotti and secondly with Piero Andreoli and Elia Savino at Conservatorio “N. Paganini “ in Genoa, Ercole Ceretta at the Scuola Internazionale di Alto Perfezionamento in Saluzzo as well as with Fred Mills at the Hodgson School in Athens (Atlanta) his personal formation.
He has won several international contests for music interpretation: First Prize and Special Prize “Best performer in Twentieth-Century Music” at the Second International Contest for Young Talents “ Città di Rivarolo Canavese”, First Prize at the Second International contest “Johannes Brahms”, First Prize at the Sixth International Contest “Città di Casarza Ligure”, Second Prize (First Prize not assigned) at the Second International Contest “ Alice Bel Colle”, Special Prize “Giovani Musici del Tigullio 2005”, Special Prize “Sanremo in Campus 2006”, finalist at the Premio Nazionale Delle Arti 2006; qualified at the APM in Saluzzo in collaboration with the OSN of the RAI of Torino; qualification for the Uto Ughi Orchestra for Rome.
He has collaborated with outstanding artists and soloists as Paolo Villaggio, Daniele Luttazzi, José Saramago, Carlo Chiarappa, Rocco Parisi, Candida Felici, Natalia Lomeiko, Franco Maggio Ormezowsky, Mariusz Patyra, Ruggiero Ricci, Marlon Titre, Cesare Marchini, Gianni Coscia, Gianluigi Trovesi, and has performed solo at the Carlo Felice Theatre in Genova, with compositions by Tiomkin and Rota. He has recorded for Max Manfredi, Stradivarius, Audioglobe and Sheva Collections with compositions by Javier Torres and Fabio Gremo . He has performed professionally, also as a soloist, with: Orchestra Internazionale d’Italia, Orchestra Sinfonica del Piemonte, Orchestra da Camera del “Vivaldi” di Alessandria, Choir and Orchestra del Piemonte Orientale, Orchestra Giovanile Spazio Musica, Cycnus Opera Festival, Teatro dell’ Archivolto, Teatro Scalzo, Inconsueto Popolare, under outstanding conductors, among which Peter Maag, Karl Martin, Piero Bellugi, Marco Guidarini, Lorraine Vaillancourt, Paolo Ferrara, Aldo Faldi. He has taken part in the Concert Season of Milano Musica 2006 with the world-renowned Dynamis Ensemble, and in collaboration with Teatro alla Scala of Milano. He realized an installation with the audiovisual project “Inscape” for the Florence “Festival della creatività 2008”. He has broadened his competences in Music Therapy with Dr. Annamaria Gheltrito, in Jazz Music with M° Luigi Bonafede as well as in Electronic Music, achieving with the highest marks the cum laude Diploma Ordinamentale at the Conservatorio “A. Vivaldi” di Alessandria under the guidance of Annamaria Federici, Giuliano Palmieri, Pasquale Spiniello, Javier Torres. He continues his studies in composition with Fabrizio Fanticini and performs duo concerts with Wiktor Brzuchacz, Monica Pons y Barreras and Guido Ferrari. He works also with la Casa del Suono of Parma and Ischia Musica in the analytic field of electroacoustic music, as well as at the Autonomous University of Madrid. His works have been executed at the Festivals Intorno al ‘900, Nuovi orizzonti sonori, New York Electroacoustic Music Festival 2018, Barcelona Zeppelin 2018, Leicester Convergence 2019, Barcelona Flexus Project 2019, NACUSA Mid-South composers concert at the University of North Georgia, Monterrey Ecos urbanos Festival de arte sonoro y transmedia 2019, University of Tennessee Contemporary Music Festival/SCI Region IV, Missouri Experimental Sonic Arts 2020.
He has recently recorded the soundtracks of the film “Tutti i rumori del mare” and of the Sit-com “Impazienti” broadcast on the Italian second TV channel Raidue. He is currently the responsible for the Liceo Musicale Statale Sandro Pertini di Genova, and is also coordinating the Commission for the teaching Coordination of the Liguria Network of Schools and AFAM in charge of the music formation “Liguria – Musica in rete”. He is a member of the Academic Committee of the Stresa International Competition, and has won the Teaching Prize at the IV Competition of musical interpretation ‘Clara Wieck Schumann’. He was selected as a soloist at the Abrons Art Center in New York and the Convergence 2019 Festival of Music in Leicester and was the winner (with highest marks) in both the Competitions for qualifications and exams D.D.G. 85/2018 for Trumpet teaching Italian Junior and High School. He regularly holds masterclasses, seminars and summer courses in Santa Margherita Ligure (Musicamica Association), Madrid (Autonomous University), Australia (Rosebank College in Sidney and Alexandra Hills High School in Wellington Point).





Steve Ashby


Steve Ashby, electronics


Since the advent of amplified music performance, artists have been exploring ways to creatively compose with the artifact of feedback through the creation of feedback loop systems. From the acoustic engineering stand point, feedback is a negative reinforcement of the overlap between signal when a microphone and loudspeaker are placed in too close a proximity to each other. In the hands of a creative, it is an error to exploited for artistic purposes. With a new approach to listening and controlling the system sent into feedback, chatBack is interpreting the boundaries of stability and instability within such a system.  


Steve Ashby is a Richmond, VA based musician, composer, and sound artist. Ashby builds textures around sound found in the natural and digital world to discover places of intersection which engage in the art of listening. Ashby’s work is a combination of field recordings, manipulated sound, and composed elements. With a growing interest towards sound ecology, Ashby looks for rhythms, melodies, and textures found in his surroundings to inform the direction of his work. 





Christoper Poovey


Aleyna Brown, Flute


Hypoxia originally came about as a flute study I created as an attempt to use timbral descriptors to drive processing in an interesting and intuitive fashion for a performer. Too often my music with live electronics is guilty of using a high number of either pre-baked tracks or carefully manipulated automation which feign true interaction and often, as an unintended result, make performing electronic music very difficult for a performer. Because of this trend, I often found my piece having an obscene rate of cues driving the live processing in my patches. Using timbral descriptors gets rid of a number of these issues as the descriptors can be used to create classifiers for different types of sound.  These sounds can then either trigger events and manipulate effects. Originally the flute study was intended to be a compositional etude, but I enjoyed the sonic world it created, so I re-wrote the score and revised the electronic to create Hypoxia.
Note: despite the performance centric model of the electronics, the title Hypoxia refers to the sensation the flute player may or may not be experiencing while performing this piece.


Christopher Poovey (b. 1993) is a composer and creative coder based in Dallas Texas who creates music and software which produce rich and colorful sound and encourages interactive structures.  Christopher’s music has been played by members of Ensemble Mise-en, the University of North Texas Nova Ensemble, Indiana University’s New Music Ensemble, and Indiana University Brass Choir. Christopher’s pieces have been presented at conferences such as the Society for Electro-Acoustic Music in the United States, the International Computer Music Association, the New York City Electronic Music Festival, the Soul International Computer Music Festival, Inner SoundScapes, and the National Student Electronic Music Event.  In addition to his reconditions, Christopher he has taken courses at the Institut de Recherche et Coordination Acoustique/Musique, at Princeton University in the Só Percussion Summer Institute, and has attended a residency at the Atlantic Center for the Arts. Christopher currently holds a master’s degree in music composition from University of North Texas as has a bachelor of music in composition at Indiana University. He is currently perusing a PhD in music composition from University of North Texas with a focus in computer music. 

Aleyna Brown is a contemporary American flutist, composer, and audio engineer based in Denton, TX.  In her role as an artist and entrepreneur in the music industry, Aleyna is an advocate of inclusive concert programming and the exploration of feminism in music and art.
As a flutist, Aleyna has performed as a concerto soloist, pit orchestra reed doubler, and orchestral flutist in the U.S. and Italy. She specializes in flute & electronics repertoire and contemporary chamber music. She currently performs with the NOVA new music ensemble at the University of North Texas. 
As a composer, Aleyna has scored short films and composed concert works for chamber ensembles, solo instruments, fixed media, and live electronics, with premieres across the United States. Much of her music serves a commentary on themes of beauty and femininity.
As an audio engineer, Aleyna produced, recorded, mixed, and mastered her own debut album “EXHALE,” released internationally last May. She currently serves as a recording engineer for the UNT College of Music lab studio.
Aleyna earned her three bachelors degrees from Florida State University—B.M. in Composition, B.M. in Flute Performance, and B.A. in Commercial Music, with a minor in Business.
She currently attends the University of North Texas in pursuit of her dual masters in Flute Performance and Composition, with the related fields of Music Entrepreneurship and Contemporary Music.



The Continuing Path


David D. McIntire, composer


David D. McIntire, baritone saxophone


The Continuing Path is based on an improvisation that I did while playing at Buffalo’s Silo City, during a 2017 tour of the Northeast with my trio, the Ensemble of Irreproducible Outcomes. We were all deeply affected by playing in this haunting space, and on this tour we spent several days recording and performing there. The present piece does not attempt to duplicate the reverberance of the silo as much as create an expanded realm in which the performer can explore a sort of parallel sonic space. 


David D. McIntire is a sound artist and producer based in Kansas City. He holds music degrees from Nazareth College of Rochester, Ithaca College, and University of Missouri-Kansas City. In 2010 he launched Irritable Hedgehog, a label devoted to minimal and electroacoustic music and in 2012 formed the Ensemble of Irreproducible Outcomes, a trio of composer-performers devoted to creating indeterminate works. He currently teaches at Missouri Western State University. 

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