Nightlife 3 – Saturday, 8:30 (approximately, following 7pm concert)
(20 minute sets, except where noted)
- Gregory Taylor – istana musim panas (the summer palace), for electronics
- Peter Hulen – Wobbly, for iPad and electronics (approximately 10 minutes)
- Wombat – Justin K. Comer, Carlos Cotallo Solares, Will Yager – generations 3.1, for saxophone, electric guitar, double bass, and audiovisual playback
- Chin Ting Chan and the EA Ensemble – misc. pieces for accordion + EA, lapsteel guitar + EA, synthesizers
Gregory Taylor, MSP
Timothy Place, Trombone, MSP
Dawn points, and another day / Prepares for heat and silence. Out at sea the dawn wind
Wrinkles and slides. We are here / Or there, or elsewhere. In our beginning.
Gregory Taylor and Timothy Place are composers, experimentalists, and performers. They labor on behalf of Cycling ’74 as content creators, as well.
Peter Hulen, composer/performer
Born of the endeavor to develop wireless controllers for a laptop ensemble, this multilayered piece for laptop soloist uses an OSC-Touch interface developed for the iPad. Data are transmitted to control live synthesis parameters, sample playback, and panning by the axial motion of the iPad, and the touching of its screen interface to wirelessly control a Max patch on the laptop. The patch controls the parameters of various subtractive synthesis processes, audio signals, and the playback of a samples.
Peter Hulen is a composer whose works are heard at conferences and festivals across the USA and abroad. He is Professor of Music Emeritus at Wabash College in Indiana where he taught theory, composition, and electronic music. He now lives in St. Louis. He received a B.M. from the University of Tulsa, an M.M. from Southwestern Theological Seminary in Fort Worth, Texas, and a Ph.D. from Michigan State University. He writes, composes, sings in a choir, gardens, cooks, and tries to maintain some kind of contemplative practice.
Carlos Cotallo Solares, Composition.
Timothy David Orme, Video.
Justin K Comer, Saxophone.
Carlos Cotallo Solares, Guitar and Electronics.
Will Yager, Double Bass.
generations 3.1 is a composition for improvisers, chamber orchestra, two-channel audio playback, and video. It is part of the generations series, a collection of works in which newer pieces are made by combining and/or reinterpreting older ones. The name “generations” connects the creative process that happens throughout the series to the idea of humans passing on both genetic and cultural material to their descendants. In generations 3.1, the name specifically references the different ways in which music was generated for the piece: editing electronic sounds, by means of traditional notation, and through improvisation.
Carlos Cotallo Solares is a Spanish composer and performer currently living in Philadelphia. His work deals with subjects like quotation, the relationship between music and language, meter and tempo polyphony, and improvisation. His pieces often focus on a single concept or technique that is interpreted in multiple ways.
Timothy David Orme is a writer, filmmaker, and animator. His short films have been shown at film festivals and art venues all over the world.
Improvisers Justin K. Comer (saxophones), Carlos Cotallo Solares (guitar/electronics), and Will Yager (double bass) formed Wombat in October 2017. Together they explore new sonic textures and instrumental techniques in concert halls, coffee shops, and backyards. Though the performances are never planned beforehand, the trio’s music is influenced by their collective experience with contemporary art music, noise, jazz, metal, and drone. Recent appearances include MOXsonic (Warrensburg, MO), the Maximum Ames festival (Ames, IA), Composers’ Workshops at the University of Iowa, and the Feed Me Weird Things and iHearIC concert series.
Ball State University Electroacoustic Ensemble
fuse II by Chin Ting Chan; Going With It by Michael Pounds; Alphabets by Arthur Newport
Cyrus Wallis, amplified flute; Arthur Newports, fretless bass/live electronics; Michael Pounds, lapsteel guitar/live electronics; Chin Ting Chan, accordion/live electronics
Written for the Ball State University Electroacoustic Ensemble, fuse II is second in a series of controlled aleatory compositions that explore the idea of fusing different timbral materials into one entity. The performers are given non-pitched, notational but sometimes graphical rhythmic guidance in a timed improvisation. They are also given the freedom to choose the high, low, and non-pitched instruments, while amplification or live electronics can be added as an augmentation as well. Each performing quintet will eventually find their own way to “fuse” the materials.
“Going with it” implies some sort of acceptance of or cooperation with forces outside of yourself. This can be good for various reasons, for example, bringing about new opportunities or creative paths, and it can be good for one’s psychological well-being. But there are still choices to make, and there are many forces in the world pushing in many directions. Perhaps going with it might involve looking inward and following your own true path.
Michael Pounds began his career as a mechanical engineer, but returned to the academic world to study music composition with a focus on computer music and music technology. He studied at Bowling Green State University, Ball State University, the University of Birmingham in England, and the University of Illinois. He specializes in computer music composition/performance and collaborative intermedia projects. His awards include the ASCAP/SEAMUS Student Commission Award, a Residence Prize at the Bourges International Electroacoustic Music Competition, a Rotary Foundation Ambassadorial Scholarship for studies in England, and residencies at the MacDowell Colony and I-Park. His work was awarded the 2014-2015 #wildsound Music Contest First Prize at the University of Notre Dame and third place in the Musicworks 2016 Electronic Music Composition contest. His music has been performed throughout the United States and abroad, with recent performances at the national conference of the Society for Electro-Acoustic Music in the United States (SEAMUS), the ElectroAcoustic Barn Dance Festival, and the MOXsonic festival. He was a co-host of the 2005 SEAMUS national conference, as well as the 2014 SCI national conference. Michael teaches composition, acoustics, music perception, recording and computer music at Ball State University, and co-directs the Music Media Production program.
Hong Kong-American composer Chin Ting CHAN has been a fellow and guest composer at festivals such as IRCAM’s ManiFeste (Paris, 2013/2018), the ISCM World Music Days Festival (Tongyeong, 2016; Tallinn, 2019), and UNESCO International Rostrum of Composers (Tallinn, 2015). He has worked with ensembles such as Ensemble intercontemporain, ensemble mise-en, Ensemble Signal, eighth blackbird, Hong Kong New Music Ensemble, and Mivos Quartet, with performances in more than twenty countries. His works are published with ABLAZE Records, Darling’s Acoustical Delight, New Focus Recordings, PARMA Recordings, RMN Classical, SCI Journal of Music Scores, and Unfolding Music Publishing (ASCAP). He is currently an Assistant Professor of Music Composition at Ball State University. He holds a D.M.A. degree from the University of Missouri–Kansas City, as well as degrees from Bowling Green State University and San José State University. www.chintingchan.com