Friday – March 17, 2023 – Concert 1 – 1pm – Hart Recital Hall

for gametrack and live electronics

Rodrigo F. Cádiz, composer/performer

Sibila is a Latin word that could be translated as whistling. The sound material is based on physical models of whistles and bowls synthesized in the Faust language and sequenced and controlled in real time via MaxMSP.  

The musical performance of this piece is done through a GameTrack device, a popular interface in laptop orchestras.

Rodrigo F. Cádiz is a composer, researcher and engineer. He studied composition and electrical engineering at the Pontificia Universidad Católica de Chile (UC) in Santiago and he obtained his Ph.D. in Music Technology from Northwestern University. His compositions, consisting of approximately 60 works, have been presented at several venues and festivals around the world. His catalogue considers works for solo instruments, chamber music, symphonic and robot orchestras, visual music, computers, and new interfaces for musical expression. He has received several composition prizes and artistic grants both in Chile and the US.  He has authored around 50 scientific publications in peer reviewed journals and international conferences. His areas of expertise include sonification, sound synthesis, audio digital processing, computer music, composition, new interfaces for musical expression and the musical applications of complex systems. He has obtained research funds from Chilean governmental agencies, such Fondecyt and CNCA. He recently received a Google Latin American Research Award (LARA) in the field of auditory graphs. In 2018, Rodrigo was a composer in residence with the Stanford Laptop orchestra (SLOrk) at the Center for Computer-based Research in Music and Acoustics (CCRMA), and a Tinker Visiting Professor at the Center for Latin American Studies, Stanford University. He received the Excellent in Arts Creation Award from UC in 2019.

Improvising Machine #7325 – Inside My Trumpet, Again

Elisabeth Stimpert, clarinets

Jeff Kaiser, composer

This work is a continuation of my improvising machine series for indeterminate human instrumentation and electronics. The series uses software I author in Max and runs in Ableton Live via Max for Live plugins. The electronics include four players/improvisors that listen to (or ignore) the human performer, themselves, and each other. The instruments they are playing are sampled-based instruments constructed out of close mic’d recordings of the inside of my trumpet.

Elisabeth Stimpert is a founding member of the critically-acclaimed new-music ensemble Alarm Will Sound. She performs across the United States and internationally, working regularly with composers and sound artists. Through Alarm Will Sound’s collaborative music initiatives Alarm System and the Matt Marks Impact Fund, Dr. Stimpert has worked with musicians from many different traditions, and her scholarly work focuses on building musical collaborations.

As Associate Professor of Music at the University of Central Missouri (, Dr. Stimpert directs the UCM Clarinet Studio, the New Technologies Ensemble, teaches aural training, and co-directs the annual Missouri Experimental Sonic Arts Festival (

Jeff Kaiser has a wide-ranging background as an interdisciplinary creative practitioner who authors, develops, and uses his own software and hardware in improvisational and compositional environments. He is an Associate Professor of Music Technology and Composition at the University of Central Missouri. For more info:

When Dandelion Whistles
For flute and live electronic music

Shuyu Lin, composer

Katie Worsham, flute

The main inspiration for this piece is from imagining flying dandelion seeds. The sound played by flute represents the dandelion, triggering the electronic music, which suggests the flying dandelion seeds. The electronic music also includes two important elements: the sounds of pages turning and of rain, both representing a context for the dandelion as a rainy day.

Shuyu Lin is a doctoral student and worked as an associate instructor in the composition department at Indiana University, Jacobs school of music for two years.

She earned a B.M. in Composition from the Shanghai Conservatory of Music in 2018, studying with Daqun Jia and Deqing Wen. She later earned an M.M. in Composition from the Indiana University, Jacobs school of music. Her teachers there included David Dzubay, Aaron Travers, and Eugene O’Brien. For electronic music, She studies with Jeffrey Hass, John Gibson and Chi Wang.

Shuyu Lin works both in electronic music and acoustic composition. Her electronic music has been played in the festivals such as NYCEMF, WOCMAT, and MUSICACOUSTICA-BEIJING, ICMC etc; her acoustic music has been featured in venues and festivals, such as in China, the United States, Europe and has been performed by groups, such as Shanghai Kun Opera, Shanghai Philharmonic Orchestra, Ukraine Philharmonic Orchestra, Moscow Contemporary Music Ensemble, and IU New Music Ensemble, etc.

Katie Greenwell Worsham is a flutist based in the Kansas City Area, with roots in Missouri, Utah, and Texas. She is dedicated to creating beautiful music and helping her students find joy in doing so. Katie served as adjunct faculty with the Amarillo College Music Department and guest teacher at West Texas A&M University. She has taught masterclasses at Amarillo College, WTAMU, the UMKC Conservatory, and several grade schools. Katie constantly strives to help her students cultivate a growth mindset to maximize learning, enthusiasm, and resilience. Her private students have won top chairs in regional bands/orchestras, the Amarillo Youth Symphony, and the WTAMU youth Band Camp. She also coached The Wild West Flutes flute choir in 2022, where they won Outstanding Undergraduate Ensemble at the Texas Flute Society Festival.

On stage, Katie has appeared with The Dallas Opera, The Amarillo Virtuosi, Amarillo Opera, and Josh Groban. She has had the privilege of performing under the baton of Emmanuel Villaume, Carolyn Watson, Jorge Parodi, Michael Palmer, Tiffany Chang, and Kevin Noe. In 2022, Katie performed as guest artist at WTAMU, recording the W.F. Bach flute duets with Helen Blackburn. Her competition wins include the 2022 Texas Flute Society Masterclass Competition, Outstanding Graduate/Teacher/Professional Soloist at the 2022 Texas Flute Society Festival, and the 2018 Utah MTNA Young Artist Performance Competition. Katie continues to serve on the sub list of The Dallas Opera.

An avid researcher into performance preparation and pedagogy, Katie’s writing was featured in the Texas Flute Society newsletter and won first prize at the 2020 Da Capo Alliance Essay Competition. She is credited as an editor/contributor in “Proper Care and Feeding of Your Beginner Flute Class: Setting Up for Success Down the Road” by Helen Blackburn and Megan Seymore, a document prepared for their 2021 Texas Bandmasters Association masterclass, which is featured online by TBA. Her graduate research explores the impact of mindset on performance preparation and was conducted with the approval of the WTAMU Institutional Review Board, with Dr. Kimberly Hieb serving as faculty advisor.

Katie is very grateful to all of her teachers and is currently a DMA student at the University of Missouri Kansas City Conservatory, studying with Ebonee Thomas. She received her Master’s in Music at West Texas A&M University, studying with Helen Blackburn, and her Bachelor’s in Music at Brigham Young University, studying with Dr. April Clayton.


Cody Jones, composer/performer

I will be performing live using Ableton Live, a drum set, and Sound Percussion drum sensors

There are drum sensors attached to 3 of my drum heads, which trigger midi inputs through Ableton. I use this method to trigger samples while still being able to play. I also have midi inputs mapped on an Octopad, which will be placed right next to the drumkit for the performance.

Cody Jones is a Music Technology student from the Springfield area. He is in his junior year at University of Central Missouri. He specialize in electronic and experimental electronic music production and composition. His primary instrument is the drum set.

Vocal Percussion Sample Manipulation
Live beatbox and South Asian sample-based electronic music

Shamik, live beatbox and sampling

Shamik is a beatboxer, producer, and sound artist based in Chicago. He has performed in 15 countries, and runs the ambient / experimental label Sensing Waves.

Strike Your Forge and Grin

Colin Stetson, composer

Kevin Arbogast, performer

Saxophonist Kevin Arbogast joined the faculty of the University of Central Missouri in the fall of 2018. Based in Kansas City, Mr. Arbogast freelances and teaches single reed instruments while pursuing his Doctor of Musical Arts at the University of Missouri-Kansas City. Prior to moving to the Kansas City area, he served in the United States Army for seven years as a member of the 399th Army Band in Missouri and of the US Army Europe Band and Chorus in Germany. Prior to joining the Army in 2011, he was the saxophone fellow for the Aspen Music Festival and School for three seasons and performed with regional orchestras across the Midwest. A native of Kentucky, he completed his undergraduate studies at the University of Louisville and master’s degree at Indiana University. Mr. Arbogast is an avid saxophone historian and collector, performing and lecturing on historical saxophones of many eras. His most unique honor was a performance in collaboration with the US Library of Congress in which he was featured performing on Gerry Mulligan’s baritone saxophone.

You are the product

Nick Hwang, composer/performer

You are the product is an audience mobile phone participation piece where performance instructions are presented throughout the performance on the phone. Audience members can make individual decisions, play digital instruments on their phone (their sonic contribution is from their phone), their performance gestures drive projected visuals.

Nick Hwang is a composer and sonic artist whose work explores connections in art, technology and interaction. He is currently an Associate Professor at the University of Wisconsin at Whitewater in the Media Arts and Game Development program. His research projects include novel musical controllers, and networked musical communication.

to facilitate friction 

Nathaniel Haering, composer

Izi Ocean, violin

While working on a recent piece for chamber ensemble and electronics, I was immersed in its erratic, panicked atmosphere. I became obsessed with the idea of frantic, futile solos lashing out violently from silence with such constant intensity and fervor that they resulted in a kind of horrified stasis, a unit of grotesque and vicious sustain, striving endlessly but going nowhere, grasping desperately at nothing in the pursuit of a distant unseen hope. to facilitate friction elicits this sense of urgent driving desperation even more potently as it is condensed, focused, and amplified by being embodied by a single performer. Acting as the sole conduit for the rapid, jarring yet intricately intertwined shifts in materials, sonic worlds, and dire emotional stakes of the piece the soloist wields, reinforces, and rallies against the electronics as an extension of themselves.

amplitude tracking/envelope-following and an array of additional live processes elaborate, expand on, and meld with the live performers interpretation/expression

Nathaniel Haering is deeply interested in the use of live electronics to expand the artistic capabilities of traditional instruments and augment their timbral horizons while enriching their expressive and improvisational possibilities. This perspective is also highly influential and represented in the gestural power and extended sound worlds of his purely acoustic work. He has collaborated with and had works performed by Grammy® Award-winning Vietnamese performer and composer Vân Ánh Võ, Trio Accanto, Ensemble Mise-En, Mivos Quartet, Wild Up, and members of WasteLAnd, Ensemble Ipse, Ensemble Dal Niente, and the LA Phil. Winner of the 2019 ASCAP/SEAMUS Student Award, the 2019 PRIX CIME Residency Prize, and the Mixed Media Award of Distinction from MA/IN festival in Matera, Italy, Nathaniel’s work can be found on flux, vol. 33 as well as multiple volumes of Music from SEAMUS. His pieces have recently been featured at the International Computer Music Conference in Shanghai, Seoul, and NYC; the Toronto International Electroacoustic Symposium in Toronto; Noisefloor Festival at Staffordshire University, UK; VIPA in Valencia, Spain; WOCMAT in HsinChu City, Taiwan; SONIC MATTER in Zürich, Switzerland; and at numerous other international venues. Nathaniel is currently pursuing a Ph.D. in Music Composition at the University of California San Diego.

izi ocean is a violinist, improviser, and composer based in Chicago. izi is a strong proponent of new music and the collaboration between composers & performers.

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