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
- 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
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.
#Siftt (Scale Invariant Feature Twitter Transform)
Jeremy Muller, sounds
Casey Farina, animations
Jeremy Muller, percussion
This piece uses audience participation; please join in by using Twitter with the hashtags #siftt and #moxsonic.
#Siftt is a multimedia piece that uses a streaming Twitter feed to sonify and visualize audience tweets in real time. The data produces an animated graphic score, which the performer(s) interpret. The performance influences the audience and they respond, thus creating a feedback loop of communication. #Siftt uses two main input sources: the tweets from the audience listening to the performance (marked with the #siftt hashtag), and the top trending topic in the North American Twittersphere at the time the piece is launched. These two inputs are sonified (converted into electronic music accompaniment) and visualized (converted into graphic notation that is interpreted by the performer).
The innovative Jeremy Muller is active as a percussionist, composer, and educator. He has performed as a featured soloist at many venues throughout the United States, Canada, and Australia including Transplanted Roots (Australia), International Computer Music Conference (ICMC), The Banff Centre for the Arts (Canada), Abiquiú Chamber Music Festival, ZeroSpace (University of Virginia), Northern Illinois University, Balance-Unbalance International Conference, International Symposium on Latin American Music, the Musical Instrument Museum (the MIM), Society of Composers (SCI), and Percussive Arts Society International Convention (PASIC). He has given the world premieres of works by Matthew Burtner, Alexandre Lunsqui, Cristyn Magnus, and an evening-length vibraphone work by Stuart Saunders Smith. Jeremy regularly performs with Crossing 32nd Street, hailed as Phoenix’s best new music ensemble. His debut solo percussion album will be released by Albany Records. As a composer, Jeremy explores ways to integrate science and media into his works. His work focuses mostly on live processing with Pure Data or collective, omnidirectional pieces using web audio on mobile devices. His music has been performed by Projeto Arcomusical, Sam Houston State University, UNC Pembroke, GCC Percussion Ensemble, Arizona Contemporary Music Ensemble, and many other universities across the United States. Some of his research & publications can be found through Bachovich Music Publications, Engine Room Publishing, and Percussive Notes.
Casey Farina is a Phoenix-based artist who creates audio/visual artwork from iterative-electronic processes. This work often combines Farina’s expertise in animation, sound design, visual effects, digital fabrication, and improvisation. Farina’s animated-graphic scores have been described as “imaginative,” and are frequently presented domestically and internationally. Farina is a winner of the 2017 Contemporary Forum Grant. Farina was commissioned by the City of Phoenix to create an interactive audio/visual installation for the 2017 Intersection event at Art Detour, one of Phoenix’s premiere art events. Farina was selected for the second round of the 2013 and 2017 Creative Capital Grant in addition to receiving to receiving public art commissions from Tempe, Glendale, and Scottsdale, AZ. Farina was awarded a residency at the Atlantic Center for the Arts in 2011. Farina is an active artistic collaborator and his work with choreographer Mary Fitzgerald has been presented at the International Computer Music Conference, the Breaking Ground Dance festival, the sub(Urban) Projections festival, and the Frame + Film dance film festival. Casey is a residential faculty member in the Digital Media Arts program at Glendale Community College.
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.
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.