Author Archives: jo57@nyu.edu

3.Mar.2017 – Larry Polansky: `Recent Works: Long form ideas’, Waverly Project Lecture Series

WHEN: Friday, March 3rd, 3PM ////  WHERE: NYU Music Dept. Rm 220 (24/32 Waverly Place, NY 10003) /// This event is free and open to the public.

polansky-250Larry Polansky is a composer, theorist, performer, editor, writer and teacher. He is the Emeritus Strauss Professor of Music at DartmouthCollege, the co-founder and co-director of Frog Peak Music (A Composers’ Collective), and is currently Professor of Music at UC Santa Cruz. He has also taught at Bard College and several other schools.

His five solo CDs are available on New World Records, Artifact, and Cold Blue, and his music is widely anthologized on many other labels. His own works are performed frequently around the world.

From 1980-90 he worked at the Mills Center for Contemporary Music, where he was one of the co-authors (with Phil Burk and David Rosenboom) of the computer music language HMSL, and a contributor to the widely-used program SoundHack (by Tom Erbe).

His articles are published widely in journals such as Perspectives of New Music, the Journal of Music Theory, the Computer Music Journal, the
Musical Quarterly, Leonardo and the Leonardo Music Journal (of which he was the founding editor), as well as many other publications. He is the
editor of around 20 the scores of Johanna Magdalena Beyer, as well as scores by Ruth Crawford Seeger and others.

In 2004, at the request of Crawford Seeger’s estate, he completed and edited her major monograph The Music of American Folk Song (published by the University of Rochester Press). His writings on American music include works on James Tenney, Crawford Seeger, Lou Harrison, Beyer, and many others. He is also the co-author of Music and Computers, a web-text published by Key Publications.

He is the recipient a number of prizes, commissions, and awards, including Guggenheim, Fulbright, and Mellon New Directions Fellowships (the latter for work in American Sign Language performance). He was the inaugural recipient (with David Behrman) of the Henry Cowell Award from the American Music Center.

Larry Polansky – Tritune from Oh Mensch on Vimeo.

As a performer (primarily as guitarist and mandolinist), he has premiered and recorded important contemporary works by Christian Wolff, Barbara Monk Feldman, Michael Parsons, James Tenney, Lou Harrison, Lois V Vierk, Ron Nagorcka, Daniel Goode, David Mahler, and many others. A member of several contemporary music ensembles, he also served as the curator for the Downtown Ensemble (NYC) for a number of years, and as part of Trio (with Kui Dong and Christian Wolff) for over a decade.

In 2010, he wrote the score for Stacey Steers’ Night Hunter, an experimental animation chosen for the Telluride, Sundance, Rotterdam, and other film festivals, and selected for the New York New Films/New Directors festival at Lincoln Center. Currently he is working on new pieces, actively performing on the guitar and mandolin, editing of James Tenney’s collected theoretical writings, and developing a theoretical software-based investigation of a unified theory of form. Recently, he produced a major festival of American Sign Language (ASL) poetry at UC Santa Cruz, and has written a short opera in ASL and a series of articles and festivals about poetry and performance in the that language.

 

22.Nov.2016 – Guillermo Pozzati on Infinite Suite

WHEN: Tuesday, November 22nd, 6PM ////  WHERE: NYU Music Dept. Rm 365 (24/32 Waverly Place, NY 10003) /// This event is free and open to the public.

abstract

Dr. Pozzati will present on a series of works for disklavier called infinite suite, that explore the computers

bio

Guillermo Pozzati (Buenos Aires 1958) is a composer, researcher and teacher. For almost a decade (1989-1998) he taught at the University of Buenos Aires (UBA). Currently he is Professor of  Composition at the Universidad Nacional de las Artes (UNA). As an Associate Researcher at the Laboratorio de Investigación y Producción Musical (LIPM) Pozzati created a software, called “GEN: A Lisp Music Environment “, for musical pozzaticomposition. The work was awarded in the 4th International Musical Software Competition, organized by the “Institut International de Musique de Bourges” (1999). This award earned him an article about the work in the “Computer Music Journal” (MIT Press). Other distinctions are the first prize obtained at the 13th Annual Gold Coast Composers Competition in Queensland, Australia, organized by the Music Teachers Association of Queensland (2001). He also won the Municipal Prize for Composition of the biennium 1996/97, category Chamber Music, granted by the Secretary of Culture of the Municipality of Buenos Aires. He received a scholarship from the Rockefeller Foundation in 1992 as a resident composer at Stanford University’s Center for Computer Research in Music and Acoustics (CCRMA) and the Center for Research in Computing and the Arts at the University of California, San Diego (USA), California, USA. Pozzati was one of the composers selected by the Arditti quartet of Great Britain for the workshop that the group performed in Buenos Aires in 2000. He twice won scholarships from the National Fund for the Arts in 1992 and 2000 in Musical Creation and Research, respectively. We also mentioned that he was awarded a Diploma of Honor by the Municipality of Gral Madariaga in the 30th anniversary of the creation of the Municipal Choir (1968-1998), of which Pozzati was Conductor between 1984 and 1986 and with the Medal of the Argentine Council of Music (CAMU-Unesco). His work on algorithmic composition was presented at the ICMC 2009, in Montreal, Canada. In the same year he was Finalist in the Musica Nova Competition, in the Czech Republic. In 2010 one of his pieces was selected for the International Mix of the 60×60 competition.

 

22.Nov.2016 – Lecture by Oscar Pablo Di Liscia

WHEN: Tuesday, November 22nd, 10:30AM ////  WHERE: NYU Music Dept. Rm 220 (24/32 Waverly Place, NY 10003) /// This event is free and open to the public.

abstract

Dr. Di Liscia will present and discuss compositional and technical features of two of his recent works:

Vocalisense, for Surround Electronics (2015)

El aire y la reja (2014), for Bass Clarinet and Surround Electronics.

bio

Composer and Researcher born in 1955 at Santa Rosa (La Pampa, Argentina). Doctor in Humanities and Arts at Universidad Nacional de Rosario. Was dilisciaDirector of the Program in Electronic Composition of Universidad Nacional de Quilmes (Argentina). At present is Professor of Universidad Nacional de Quilmes, (Buenos Aires, Argentina) and of Universidad Nacional del Arte(Buenos Aires, Argentina). His compositions were awarded by national and international societies and performed at Cuba, USA, France, Spain, Chile, Holland, etc. He has published papers on aesthetics and techniques of new music and technologies, as well as developed software for Digital Signal Processing, Musical Analysis and Composition. His main areas of research are: Digital Signal Processing (especially Sound Spatialisation and Spectral Analysis of Digital Sound), Electronic Composition and Computer Music. He is at present Director of the Research Program “Temporal Systems and Spatial Synthesis in Sonic Art”

A few links:

“Música y Ciencia” Editorial Collection WEB Page

Pablo Di Liscia’s Pd Page

21.Nov.2016 – Lecture by Onyx Ashanti on SonoCybernetics

WHEN: Monday, November 21st, 11:00AM ////  WHERE: NYU Music Dept. Rm 220 (24/32 Waverly Place, NY 10003) /// This event is free and open to the public.

Onyx Ashanti’s lecture is partially supported by New Blankets.

onyx-1abstract

Sonocybernetics is an evolving form of neuromodulation transduced using complex sound patterns/music created by a body worn, 3d printed prosthetic system called Sonocyb1. the purpose of this system is to evolve it, while also integrating with it, thereby evolving oneself using the most potent neuromodulatory modality known-sound. specifically, binaural sound, which, as mentioned, is self iterated. the music is personal and evolves as the patternist creating it evolves, while the programming and design are also evolveable using puredata, arduino and open source reprap 3d printers. sonocybernetics is a personal guided mutation engine, that uses sound/music as the transduction layer.

onyx3bio

Oynx Ashanti is an artist, musician, designer, & thinker working within the realm of performance, digital fabrication, open source philosophy, & music theory. With background experience as a street musician, Ashanti designs and develops his own software, electronics, 3d printed hardware to create an entirely custom & open source wearable cybernetic performance system. He calls his original blend of jazz, electronics, & cybernetics “BeatJazz” and has lectured and performed in Europe, the US, and Asia on both the TED & TEDx stages as well as at Moogfest, Berkely’s CNMAT (Center for New Music & Technology), and for MAKE Magazine. In 2013, Ashanti ran a successful crowdfunding campaign to fund and supply his unique musical controllers as freely downloadable & 3d printable designs. Currently, he is exploring new realms in music theory as applied to systems design, mysticism, & open source which he entitles “sonocybernetics” with “music as a language.”

 

16.Nov.2016 Workshop by Ivica Ico Bukvic: Rapid Prototyping in Music, Maker, and Robotics Scenarios using Raspberry Pi and Pd-L2Ork K12 Module

WHEN: Wednesday, November 16th, 11:00AM ////  WHERE: NYU Music Dept. Rm 220 (24/32 Waverly Place, NY 10003) /// This event is free and open to the public.

abstract

The workshop will focus on the rapid prototyping using beginner friendly K12 library uniquely designed for Pd-L2Ork and opportunities for seamless transition from K12 into regular Pd-L2Ork environment. In addition, the workshop will focus on the Pd-L2Ork’s unique affordances, and its utilization in rapidly developing Raspberry Pi-enabled musical instruments and robotics scenarios. Participants will be encouraged to obtain Raspberry Pi kits on their own or purchase one at the workshop.

About Pd-L2Ork
Introduced in 2010, Pd-L2Ork is a custom fork of Pure-Data with over 1,700 patches and improvements. It maintains backwards compatibility, while also offering an array of new features, including acclerated SVG-enabled canvas, infinite undo, system-wide abstraction-aware presets, advanced patching, usability improvements, and a collection of new objects. Pd-L2Ork also offers the most advanced library for Wiimote connectivity. Pd-L2Ork has been utilized in dozens of Maker-like workshops for various age-groups. For additional info visit pd.l2ork.org.

A detailed optional list of Raspberry Pi accessories and optional kit pricing will be provided for attendees.

bio

ico_caus_cropped_square_largeIvica Ico Bukvic is an associate professor of music technology in Virginia Tech’s School of Performing Arts (SOPA) where he serves as the founder and director of the Digital Interactive Sound and Intermedia Studio (DISIS) and the Linux Laptop Orchestra (L2Ork), Institute for Creativity, Arts, and Technology’s (ICAT) Senior Fellow, and a member of the Center for Human-Computer Interaction (CHCI) with a courtesy appointment in Computer Science. He is also the author and co-maintainer of Pd-L2Ork, a monolithic Pure-Data variant introduced in 2010. ico.bukvic.net

 

16-20.Nov.2016 5th International Pure Data Convention

WHEN: November 16-20th ////  WHERE: NYU/ Stevens/ Shapeshifter/ Harvestworks /// This event is free and open to the public.

usb-pdconThe 5th International Convention Pure Data Convention both celebrates 20 years of Pd and seeks to explore the new ways in which the community of users are interfacing with each other and with Pd.

This is an exciting time for the Pd Community as we attempt to redefine the way in which we contribute to and extend Pd. The final program for the Pure Data Convention is here and includes 7 concerts, 9 workshops, 8 installations, a poster session and 5 paper sessions in what promises to be an unforgettable convention.

Please subscribe to the workshops, check out the papers, and come out to the concerts. The convention will take place at NYU and Stevens, and it is made possible by the generous support of the Washington Square Contemporary Music Society and New Blankets, as well as form Harvestworks and the Waverly Project.

 

 

13.Oct.2016 Colloquium Series: Carla Scaletti on “Data Sonification ≠ Music”

WHEN: Thursday, October 13th, 5:30PM ////  WHERE: NYU Music Dept. Rm 320 (24/32 Waverly Place, NY 10003) /// This event is free and open to the public.

Version 2abstract

Scientific data sonification is a mapping of data from an experiment or a model to one or more parameters of a sound synthesis algorithm for the purpose of interpreting, understanding, or communicating the results of the experiment or the model. Composer Carla Scaletti relates how her experiences working with scientists on mapping data to sound has unexpectedly changed the way she thinks about music.

bio

Carla Scaletti is an experimental composer and entrepreneur, designer of the Kyma sound design language and co-founder of Symbolic Sound Corporation. Her compositions, in the tradition of hard science fiction, carlabegin with a “what-if” hypothesis and elaborate the entailments of that imaginary initial hypothesis. Educated at the University of Illinois (DMA, MCS), she studied composition with Salvatore Martirano, John Melby, Herbert Brün and Scott Wyatt and computer science with Ralph Johnson, one of the Design Patterns “Gang of Four.” Last year she was an invited lecturer at GVA Sessions — a workshop involving choreographers, filmmakers, and particle physicists from CERN — and presented a keynote address at the International Computer Music Conference (ICMC 2015). She has been a guest lecturer at Centre de Crèation Musical Iannis Xenakis (CCMIX) in Paris, and co-organizes the annual Kyma International Sound Symposium (KISS), this year on the theme “Emergence”, at De Montfort University in Leicester UK.

This event is part of the NYU Music Department’s Colloquium Series.

Waverly Project, 2016-17 Season

waverly-logoWaverly Project has announced its concert and lecture series for the 2016/17 Season:

September 29, 2016: Tak Ensemble
Works by Ioannis Angelakis, Fede Camara Halac, Michael Rose, Joel Rust and Viola Yip

October 25, 2016: scapegoat
Works by Santiago Díez Fischer, Mauricio Pauly, Fede Camara Halac

January 26, 2017: Dal Niente
Works by Carola Bauckholt, Augusta Read Thomas, Takuma Tanikawa, Joël-François Durand, Alex Temple, Alican Çamci,
Franco Donatoni, Vasiliki Krimitza

February 16th, 2017: Ine Vanoeveren
Works by Brian Ferneyhough, Cesare Saldicco, James Bean, Fernanda Navarro, Bernardo Barros

March 4th, 2017: Almost Credible Music
Works by Vitalija Glovackyte, Joe Snape

March 28th, 2017: Thomas Rosenkranz
Works by J.S. Bach, Gyorgy Ligeti, Peter Ablinger, Anton Webern, Stefan Prins, Michael Rose

April 24th, 2017: Marco Fusi
Works by Pierluigi Billone, Viola Yip, Joel Rust

More information on waverlyproject.org

9.May.2016 Guest Talk: Chaya Czernowin @ NYU – Music – FAS

WHEN: Monday, May 9th, 2:00PM ////  WHERE: NYU Music Dept. Rm 220 (24/32 Waverly Place, NY 10003) /// This event is free and open to the public.

Composer Chaya Czernowin will present on her recent work.

bio:

…heartbreakingly vulnerable. Its sounds—often rasping, grating bundles of energy—project across impossibly large spaces, like concrete cantilevers, precisely tensioned just short of breaking point. Listening is like discovering butterflies trapped under stones.     TIM RUTHERFORD-JOHNSON/THE RAMBLER

chaya1

photo by Astrid Ackermann

Chaya Czernowin (Dec 7th 1957)  is a composer of  operas orchestral and chamber works which have been played worldwide. She was composer in residence in Salzburg festival, and Lucerne Festival,  She is Walter Bigelow Rosen Professor of Music at Harvard University and was a Professor for Composition at the University for Music and Performing Arts Vienna Austria (2005-9) and the university of California San Diego (1997-05).

Czernowin works imaginatively and analytically with metaphors as a means of reaching a sound world which is unfamiliar and is never taken for granted.  Things can appear and disappear at any time- it is an existential state where safety is not easily earned, She works towards creating a vital, visceral direct and real sonic experience which goes  beyond  style conventions or rationality,  attempting to give a voice to what is internally hidden from one’s view. Main pieces: the opera Pnima, the large scale orchestral piece Maim, and HIDDEN for quartet and electronics.

Czernowin’s work received  numerous awards such as Composer Prize of  the Ernst-von-Siemens Foundation, Guggenheim fellowship, and  Kranichsteiner Musikpreis at Darmstadt Ferienkurse, PNIMA was awarded the Bayerischer Theaterpreis and was chosen as the best new opera in 2000 in the Opernwelt critics survey.  Her work is published by Schott.

25.Apr.2016 Guest Talk: Nic Collins @ NYU – Music – FAS

WHEN: Monday, Apr. 25th, 6:00PM ////  WHERE: NYU Music Dept. Rm 220 (24/32 Waverly Place, NY 10003) /// This event is free and open to the public.

NC_SFEMF_cropabstract

Nic Collins will present some of his extensive work including some live demonstrations and brief performances.

bio

New York born and raised, Nicolas Collins spent most of the 1990s in Europe, where he was Visiting Artistic Director of Stichting STEIM (Amsterdam), and a DAAD composer-in-residence in Berlin. An early adopter of microcomputers for live performance, Collins also makes use of homemade electronic circuitry and conventional acoustic instruments. He is editor-in-chief of the Leonardo Music Journal, and aroyaltouchSONAR Professor in the Department of Sound at the School of the Art Institute of Chicago. His book, Handmade Electronic Music – The Art of Hardware Hacking (Routledge), has influenced emerging electronic music worldwide. Collins’ indecisive career trajectory is reflected in his having played at both CBGB and the Concertgebouw.

www.nicolascollins.com