- Allison Ogden • OBSess • 8.1 to 8.4 • 13 minutes
- Daniel McKemie • Coda • Stereo file, diffused through 8.4 • 4 minutes 13 seconds
- Dietrich Hitt • Piano • fixed media • Stereo • 8 minutes 14 seconds
- Fabio Fabbri • Ruah • Two-channel work for fixed media. • Stereo • twelve minutes and forty seconds.
- Hsuan Chang Kitano • H & H • 4.1 to 4.4 • 3:47
- Indigo Knecht • shoulder to shoulder • Stereo file, diffused through 8.4 • 10 minutes
- Jason Richmond • I Think I Lost My Marbles • Stereo • 8 minutes
- Jiayue Cecilia Wu • Virtual Mandala
- Jon Forshee • TOCSINS REDUX • for Computer-generated Sound • Stereo file, diffused through 8.4 • Five minutes
- Nate Krebs • From Below • Fixed Media • 5.1 to 5.4 • 5 minutes
- Tate Carson • Veins of the Earth • 8.1 to 8.4 • 15:26
- William Bender • lit up head in a wide room, my eyes are open but in the key of e-flat major • For Fixed Electronics • Stereo • 2:42
- Wyatt Cannon • 7 • 8.1 to 8.4 • 5 minutes
- Xiaogang Xiang (Agan) • Call of Nowhere • Stereo fixed media • Stereo • 8m
- Xuanqi Liu • SĀN • Fixed media • Stereo • 7 minutes
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OBSess
Allison Ogden
The origins and title of this piece were entirely unintentional. While brainstorming ideas for a different composition, I began experimenting with oboe samples, applying various filters to them. I named the patch “OBSess” (Oboe + Session) without much thought. However, I found myself repeatedly returning to this patch, going down the well-trod computer music rabbit hole of “What if I…?”. It wasn’t until I had accumulated several minutes of material that I noticed the double meaning of “OBSess,” and it felt fitting.
The piece is constructed by filtering and deconstructing oboe samples, exploring a cycle of reconstruction and re-deconstruction. My initial curiosity was to see if I could sonically rebuild a “giant oboe” from its fragmented sounds in an immersive 8-channel setup, simply because it seemed like a fun challenge. The process then evolved into further deconstructing the sound, leading to a playful exploration of construction, deconstruction, and reconstruction. Ultimately, this piece is about the joy of creation and experimentation—it was genuinely a lot of fun to make.
OBSess was composed in the spring and summer of 2024.
Dr. Allison Ogden works as an Assistant Professor of Composition and Literature at the University of Louisville. She has a PhD from The University of Chicago, has taught many classes on a wide variety of subjects, enjoys working with her students, has written a number of pieces of music, climbed many mountains and hiked many trails, and brought two human beings into this world.
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Coda
Daniel McKemie
Coda is the first work I wrote taking a new approach of slowing things down in my process while more deeply exploring the aesthetics and creative goals outlined in these notes. Having moved all my equipment back home from my studio, it is an area that forces me to do all performing, recording, sampling, and effects processing on analog hardware. The purpose of this is not around gear fetishization, but instead to really examine the fundamentals of effects processing, synthesis, mixing, editing and listening. It’s also a love letter.
Daniel McKemie is a composer, percussionist, electronic musician, researcher, and arranger based in New York City. His current work includes using techniques rooted in Music Information Retrieval in analyzing the nature of timbre and using such data in creative settings. He also focuses on utilizing the internet and browser technology to realize a more accessible platform for multimedia art. Daniel is currently pursuing his MS in Computer Science and Health Informatics at Brooklyn College, where he works in Professor Johanna Devaney’s Laboaratory for Music and Audio Understanding (LUMAA) as a graduate assistant. His music has been performed in Europe, Asia, South America, and Australia; and his research on computer music and web-based audio/composition techniques has been presented and published internationally in conferences such as the Korean Electro-acoustic Music Society, the Australasian Computer Music Association, the International Symposium on Computer Music Multidisciplinary Research, the Society of Electro-acoustic Music in the United States (SEAMUS), and Percussive Arts Society International Convention (PASIC), among others.
Daniel also develops new ways of interfacing handmade circuitry, modular synthesizers, and embedded systems to various softwares both new and old. This recent work has allowed for complex, interactive performance environments to emerge, in which software generates compositional processes and actions in the form of analog signals sent to the hardware, and software that can analyze said signals from the hardware to determine musical behaviors.
His teachers have included Morton Subotnick, Roscoe Mitchell, William Winant, and Pauline Oliveros; and has provided music for and worked with a number of different artists and companies in various capacities including: The New York Deaf Theatre, Larry Polansky, Funsch Dance Experience, Ryan Ross Smith, Iceland Symphony Orchestra, The Montreal-Toronto Art Orchestra, Christian Wolff, Bob Ostertag, and Steve Schick.
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Piano
fixed media
Dietrich Hitt
Piano is a piece for two-channel fixed media centered entirely around the piano. Inspired heavily by the late work of Francis Dhomont, Piano focuses on using the flexibility of the stereo space to create dynamic counterpoint, both across the stereo spectrum and the variety of sounds present in the work. While edited to be almost or entirely unrecognizable, all of the sound objects are from a Steinway grand piano, such as string scrapes, knocks on the cover or side, E-bow vibrations, and many others, but are not the piano being played normally. The goal is to create a compelling sound environment with both a dynamic, evolving musical form, and a sophisticated level of compositional counterpoint resembling that of a classical composition, all with the intriguing, if not arbitrary constraint of only using sound-objects that come from the piano.
Dietrich Hitt (b. 2000) is an internationally performed composer, sonic artist, percussionist, mathematician, and teacher currently based in Norman, Oklahoma by way of Lincoln, Nebraska. His music, whether electronic or acoustic, always seeks to inspire the imagination and provoke a deep curiosity and sensitivity to color and harmony, in order to support an enrichment of the world by deeper understanding and appreciation for music and art. His musical knowledge and artistic orientations stem from diverse arrays both of performance experiences and of personal interests. Particularly salient in his music is a penchant for horror. Dietrich has a strong inclination toward the harsh, the graphic, and the horrific, and the barriers between the real and the imagined, reflected in his music both by a characteristic tension and harshness, as well as by a strong appreciation and sensitivity to musical color and timbre.
Dietrich is active as freelance composer and arranger, having completed two film scores, works for string and full orchestra, large jazz ensemble, and interdisciplinary work for chamber ensemble, all on commission. He is a very busy teacher and educator, teaching music theory and composition, as well as mathematics and statistics both privately and institutionally. He is currently a Graduate Teaching Assistant in Music Theory at The University of Oklahoma, where he has served as an instructor of record for composition lessons, Aural Skills, and as the department tutor. Dietrich holds a Bachelor of Arts degree in music composition and mathematics from the University of Nebraska-Lincoln, and currently studies music composition with Konstantinos Karathanasis and Maria Kaoutzani in pursuit of a Master of Music degree.
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Ruah
Two-channel work for fixed media.
Fabio Fabbri
The “breath” in English, or “ruah” in Hebrew, or “qi” in Chinese, or “pneuma” in Greek, is the creative energy that gives life, but it is also music. Contrary to what one might think, it cannot be classified with absolute uniqueness as a nodal sound: although a noise nature may be evident in it, in reality it is a channeled sound. Blowing the trumpet sound, it is sufficient to try to perform a long breath by hinting a scale whistled to realize it. Blowing inside the trumpet without producing the usual lip vibration by hinting at a descending chromatic scale in the seven positions allows us to perceive, inside the blown sounds, the pitches of the true fundamentals of the instrument! In the present acousmatic piece, phonemes of the human voice and trumpet sounds interact (with cross-synthesis techniques and more) in a path marked by multiple subrogation orders aimed at highlighting the multiple affinities between singing and brass playing: in this “betweenness” the human voice is the result of vibration, and the trumpet has its own voice.
Trumpet Master 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 taken part in the Concert Season of Milano Musica 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 the Electroacoustic Music Master 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, 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 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 2020, New York Electroacoustic Music Festival 2020, Turin SMC 2020, Nottingham Lakeside Arts Acousmatic Journeys 2020, Chile ICMC 2021, La Crosse New Music Festival 2021. He regularly holds masterclasses, seminars and summer courses in Santa Margherita Ligure, Madrid, Australia.
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H & H
Hsuan Chang Kitano
H & H, short for ‘Hsuan & Harpsichord,’ captures the connection between the harpsichordist and the instrument. The piece draws from the daily rituals of caring for the harpsichord—cleaning, tuning, and repairing—celebrating these simple yet meaningful acts. As these sounds blend with the flow of everyday life, from early morning to late-night practice and performance, the music transitions into fantasy-like passages, illustrating the mental and emotional journey within the harpsichordist’s mind. H & H offers a glimpse into the quiet yet profound moments that shape the harpsichord’s voice, revealing its resonant narrative.
Hsuan Chang Kitano is a producer, curator, and versatile keyboardist, performing on harpsichord, fortepiano, and piano. Her journey combines diverse cultural perspectives with contemporary interpretations, honoring the improvisational traditions of seventeenth- to nineteenth-century Europe and Asia. Currently, she enjoys expressing her voice through computer music, embracing both the highs and lows of her experiences.
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shoulder to shoulder
Indigo Knecht
shoulder to shoulder (2024) is a work for fixed media based on a poem by the same title from my dear friend and writer, martina litty.
I want to thank my fantastic friends and colleagues for lending me their voices for this piece:
David Vess
Chawin Temsittichok
Brian Awad
Rodrigo Castro
Brendan Weinbaum
Colin Martin
David Caldarella
Dr. Hindman
so yeah. here’s the wall where you’re about to hear this piece
Indigo Knecht is a composer, tubist, and educator fascinated with the challenges people face as they navigate this world. Through a synthesis of contemporary classical music and rock & roll, Indigo explores themes such as environmentalism, mental illness, and self-realization.
Indigo has a BM in Composition from Bowling Green State University and a MM in Composition from University of Michigan. They are currently in their third year at University of Miami pursuing a DMA in Composition under the guidance of Dr. Dorothy Hindman. Their multimedia installation, “The Chanting of Coral Reefs: Bringing Awareness to the Endangerment of Coral Reefs Through the Sonification of Settling Larvae,” received the 2024 Presser Foundation Graduate Award, with the premiere set for April 2025. After graduating in May 2025, Indigo intends on teaching music theory and composition at the university level while continuing to develop expansive compositions that bring awareness to issues in our world with groundbreaking technology.
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I Think I Lost My Marbles
Jason Richmond
I Think I Lost my Marbles is a work that explores the process and manipulation of marble sounds, taken both from recorded audio and digital synthesizers. I love the sound of glass hitting, rolling, and bouncing against any surface (without the glass breaking). Along with taking these sounds and processing them through various effect chains, in composing this piece I sort of started losing my marbles so to speak, seeing how weird and unfamiliar I can take a sound from its original source.
Jason Richmond received his Doctorate in Music Composition at the University of Cincinnati College-Conservatory of Music (CCM). His works, both acoustic and electronic, have been performed throughout the United States and Europe, including performances of his computer music at the Ball State New Music Festival, Electronic Music Midwest Festival, the Electro-acoustic Barn Dance Music Festival, a performance at Kainan University in Taiwan, a performance at the Manchester Music Festival, and a performance of his award-winning work PLuCK at the ICMC in Daegu, South Korea. He recently completed the NES Artist Residency in Iceland, focusing on commissioned works. Dr. Richmond received his Bachelor of Music at Northern Kentucky University, his Masters degree in Music Composition at the University of Louisville, and was under the direction of Dr. Joel Hoffman, Dr. Michael Fiday, and Dr. Mara Helmuth at CCM for his D.M.A. He is the recipient of CCM’s Composer Competition Award and was commissioned by the CCM Philharmonia to write a new work during their 2013/2014 season. His orchestral piece, Ctrl + Alt + Del, was recorded by the Brno Philharmonia in the Czech Republic and is featured on ABLAZE Records Orchestral Masters Vol. 4 disc and was a Semi-Finalist in the 2020 American Prize Orchestra Division competition. Dr. Richmond teaches Music Theory, Music Technology, and Music Composition at Northern Kentucky University and Music Composition at Xavier University.
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Virtual Mandala
Jiayue Cecilia Wu
The word “Mandala” comes from Sanskrit, meaning “circle.” It represents wholeness, and can be seen as a model for the organizational structure of life itself. In Tibet, as part of a spiritual practice, monks create mandalas with colored sand. The creation of a sand mandala may require days or weeks to complete. When finished, the monks gather in a colorful ceremony, chanting in deep tones (Tibetan throat singing) as they sweep their Mandala sand spirally back into nature. This symbolizes the impermanence of life and the world. Mandala, a multimedia audio-visual piece that explores the use of body movement and virtual imaging to enrich musical expression. This project combines an interactive 3D bimanual interface with a computer imaging application designed to graphically render and physically simulate the interactive construction and deconstruction of the ancient Tibetan Buddhist sand arts, called Mandala. Mandala, an agent of ancient arts and philosophy, uses technology to lure the next generation into traditional cultural practices, disrupting the boundaries between ancient arts and leading-edge interactive imaging technologies.
Dr. Jiayue Cecilia Wu (AKA 武小慈), a scholar, composer, and audio engineer, specializes in harnessing music technology for healing. With a B.Sc. in Design and Engineering, she spent a decade as a music producer and consultant with EMI Records, Universal Music Group, and Shazam. Her academic journey led her to earn a Master’s of Art in Music, Science, and Technology from Stanford University and Ph.D. in Media Arts and Technology from the University of California Santa Barbara. Her music has been performed in Asia, the United States, Canada, Australia, South Africa, Brazil, and Europe. Her intellectual contributions include 30 peer-reviewed journal articles, three book chapters, two book publications, and 100+ multimedia compositions, exhibitions, and installations showcased globally. Currently, Dr. Wu is an Assistant Professor and Graduate Program Director at the University of Colorado’s College of Arts and Media. She actively participates in her academic community, serving as a peer reviewer for high-impact research journals, chairing the Diversity and Inclusion Committee at the Audio Engineering Society (AES), and holding board leadership roles in the International Computer Music Association (ICMA) and AES. Dr. Wu’s expertise extends worldwide, with guest lectures and workshops in Embodied Sonic Meditation at prominent R1 research institutions and international events.
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TOCSINS REDUX
for Computer-generated Sound
Jon Forshee
TOCSINS REDUX is an original acousmatic work in two channels. Sourcing years of personal soundfile library development, this work takes flight from the sonic image of sirens, both actual and metaphorical, sampled and synthesized. Seeking to combine disparate sound sources as the texture of this work, TOCSINS REDUX is an exploration of similar sound spectra and the ways in which such spectra can intersect, combine and subtract from one another to create novel, dynamic soundscapes.
Jon Forshee is a composer of colorful, rhythmically energetic Electroacoustic Music which combines live performance with electronics, often engaging new media resources. Many of his works are multi-disciplinary, and draw upon a plurality of musical, technological, and theoretic influences to create music interlaced with many themes and connections. Musical cultures from around the world, particularly from West Africa and China, also deeply inform Jon’s creative practice, both philosophically and on a performance level. Through research into these practices, Jon continues to create a vibrant, multi-faceted body of work which is presented on the stage throughout the United States and abroad. Jon also writes articles on many musical and aesthetic topics which have been published in various music journals, and he is dedicated to collaboration and teaching as two crucial dimensions of his work now and going forward. Dr. Forshee currently serves as Teaching Professor of Music Technology at the University of Colorado, Colorado Springs, where he teaches Composition, Computer Music, Audio Engineering and Music Theory, and where he also coaches the UCCS Brass Ensemble and acts as Conductor and Director of the UCCS Orchestra. At UCCS Jon also co-founded ELECTROWAVE, the Rocky Mountain Electroacoustic Music Festival, now in its second year, as a collaboration between UCCS and the broader Electroacoustic Music communities of Colorado. In Spring 2025, Jon’s opera BLOOD|HUNGER\CHILD will be presented by a collaboration between the Denver-based Nebula Ensemble and UCCS.
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From Below
Fixed Media
Nate Krebs
From Below is a fixed media piece utilizing processed sounds from my electric and hollow-bodied guitars. Leading up to the creation of this piece, I had been lamenting my lack of instrumental and improvisational skills as a vocalist. Being only proficient with keyboards – and even less so with guitars – I felt somewhat limited when I had the idea to start making pieces that I could perform myself. However, I figured I could still realize some great sounds with my technical limitation by utilizing tools found in electronic media. The result is this piece.
The composition includes a series of timbral and spatial improvisations to create more ethereal textures while a low drone keeps us grounded throughout. This separation between “below” and “above” is further outlined through melodies that move between and outside of the electronic processes. The listener is immersed in a short, multi-channel sound bath, and are encouraged to allow the sounds to wash over them; never looking for its components and always accepting the whole sound result.
Nate Krebs’ (b. 1995) music is generated from multiple areas of interest including the acoustic and electronic formats. These interests often extend into multimedia formats, where he collaborates with other artists and filmmakers on diverse projects. As a composer, he has been recognized for several composition awards, including from NAfME, NFMC, and several Ohio regional competitions. Meanwhile, his works have been presented at national festivals, including SEAMUS, SCI, and Electronic Music Midwest. He earned his Bachelor of Vocal Music Education from the University of Toledo while studying composition with Dr. Lee Heritage. He completed his Master of Music in Composition studying with Dr. Robert McClure, as well as his Master of Arts Administration with Dr. Christi Camper-Moore from Ohio University. He is currently working towards his Ph.D. in Music Composition at the University of Minnesota with Dr. Sivan Cohen Elias.
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Veins of the Earth
Tate Carson
Veins of the Earth is part of the Resonant Landscapes project, which includes field recordings from South Dakota’s state parks, captured using a Core Sound OctoMic ambisonic microphone. These recordings were used in a locative media sound art installation and featured in a concert where students and faculty composed works based on the collected sounds. Veins of the Earth was composed for that concert. The title represents the connection between natural elements and the life they sustain. It was inspired by a sign in Sica Hollow State Park that described a stream flowing into the Mississippi River and eventually the Gulf of Mexico—evoking thoughts about how rivers connect places, like a circulatory system.
The piece unfolds, focusing on geophonic sounds such as wind and water, as well as the biophonic sounds of birds. It aims to convey the field recording experience, offering a space open to individual interpretation and removed from the distractions of life. While the title carries symbolic meaning, understanding it is not essential for enjoying the work. The soundscape invites listeners to create their own associations and experiences within the piece.
Tate Carson is a sound artist, researcher, and Assistant Professor of Digital Sound Design at Dakota State University. His creative practice explores participatory mobile music, web audio, and locative media, emphasizing how technology can shape immersive and ecologically conscious experiences. Carson leads the Digital Sound Design specialization at DSU, where his teaching intersects with his artistic work to prioritize hands-on learning and interdisciplinary projects.
Carson’s recent project, Resonant Landscapes, combines ambisonic field recordings with GPS technology to overlay soundscapes from South Dakota’s state parks onto Dakota State University’s campus. Supported by a Faculty Research Initiative Grant, the project was recently showcased at Audio Mostly 2024 in Milan, Italy. His work is regularly featured in major festivals and conferences such as the Network Music Festival, the Web Audio Conference, the New Interfaces for Musical Expression Conference, and the International Computer Music Conference.
Carson’s compositions and installations often center on creating immersive auditory experiences and exploring ecological themes. His project, Sounds Aware, uses machine learning and environmental sound recordings to heighten listeners’ awareness of natural soundscapes in urban spaces. Similarly, in Mesh Garden, Carson enables audience members to collaboratively shape the soundscape through their smartphones, creating participatory musical performances in everyday environments. His installation immaterial.cloud explores peer-to-peer technologies to foster shared, interactive experiences, critiquing cloud computing and digital isolation in favor of communal audio-visual works.
Carson holds a PhD in Experimental Music and Digital Media from Louisiana State University, an MFA in Electronic Music and Recording Media from Mills College, an MM in Jazz Studies from the University of New Orleans, and a BM in Music Industry Studies from Loyola University New Orleans.
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lit up head in a wide room, my eyes are open but in the key of e-flat major
For Fixed Electronics
William Bender
Take a drive down a populated road at night. Look at the lit Shell Gas Station logo in the sky as you pass it. Drive for longer than you think you can. Succumb to hypnosis, and love the people sitting in the other machines that choose to torture themselves the same way you do.
William Bender (b. 2003) is an experimental electronic and acoustic composer from Bastrop, Texas. Currently pursuing a Bachelor of Music at the University of North Texas in Denton, William draws inspiration from a diverse range of artists, including Jackson C. Frank, Steve Roden, and Toru Takemitsu. When he’s not composing, you can often find him performing with a Grateful Dead cover band or experimenting solo with a no-input mixer and pedals.
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7
Wyatt Cannon
This piece consists entirely of a gradually evolving Shepard glissando with reverb. It was created with Kyma. “7” is a reference to Alan Shepard, the first American in space and one of the original seven astronauts selected for NASA’s Mercury program.
Wyatt Cannon is a current M. M. in Computer Music student at Indiana University’s Jacobs School of Music. His music often explores the subtle manipulation of sound to create long-form narratives. Often these processes are inspired by extra-musical elements such as evolution or astronomy. He recently hosted a concert, “Oracle of the Moon,” which featured a variety of acoustic and electro-acoustic compositions by emerging composers. Other recent projects include a commission for Earplay for viola and clarinet entitled “Parietal Eye,” and a commission for University of the Pacific’s Wind Ensemble entitled “True Anomaly.”
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Call of Nowhere
Stereo fixed media
Xiaogang Xiang (Agan)
Call of Nowhere is a stereo fixed media piece that aims to explore the timbral variety of
Mongolian chant. Mongolian chant, known as “overtone singing,” is a special singing style that usually creates many upper harmonics over a low-frequency hum sound.
The piece begins with a harmonized Mongolian chant sample that immediately takes us from cities to Mongolian grasslands. Soon after, with the use of electronic music techniques imposed upon other chant samples, the piece gradually becomes mysterious, dreamy, and colorful, as if there are numerous callings from “nowhere” — an imaginary place, where no one stepped on.
My name is Xiaogang Xiang. I’m an electronic/computer music composer, producer, and sound designer. The work that I’m submitting is a fixed-media piece. I’m also a first-year DMA student at UIUC, majoring in composition with a specialization in electronic/computer music.
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SĀN
Fixed media
Xuanqi Liu
Illusion, chaos, disorder, myth, domination, balance…… This is a search and reproduction of the inner world.Xuanqi Liu is a performer, musician, and multi-media artist. She has a well-versed style of music composition, including fusion, Jazz, contemporary classical, electroacoustics, and experimental. Initially inspired by minimalism, everyday sounds, and images, she devoted her creativity to the diverse art scene, including live performance, contemporary dance, inter-media, and drawing. Her work engages with multimedia practices, incorporating nature themes, cultural experiences and folkloric histories through music, drawing, video, and sound to allow audiences the chance to explore their own curiosities of the world. Xuanqi’s works have been performed at the Yarn/Wire International Institute Festival, SICPP and Valencia International Performing Art summer festival. She has collaborated with a variety of outstanding musicians including Georgia Privitera, Anna D’Errico, Madeline Hildebrand, Thomas Gauthier. Xuanqi’s works were also presented in The International Computer Music Conference (ICMC) 2023, the Web Audio Conference (WAC) 2024 and the Sound and Music Computing (SMC) 2024.
Xuanqi is currently pursuing a PhD in Integrated Composition, Improvisation, and Technology at University of California, Irvine. She holds a M.M. in computer music at the Peabody Institute of Johns Hopkins University, where she studied with Lyn Goeringer and Sam Pluta.