Author Archives: jo57@nyu.edu

21.Oct.2017 – “ab uno pluribus” (Phase II) October 2017 Session

WHEN: Saturday, October 21st, 8:00PM ////  WHERE: NYU Music Dept. Rm 220 (24/32 Waverly Place, NY 10003 / Enter through 31 Washington Place on weekends) /// $10 at the door; open to the public.

abstract

Phase II of this monthly, now four year old experimental, audio-visual event series begins this Saturday with electro-acoustic compositions and live-improvised music by:

AKIO MOKUNO [laptop + MIDI controllers]
HANNAH SELIN [viola, voice + MAX/MSP processing]
RUSS ALDERSON [analog synths + nature samples]
WvS [digital synths + bass guitar MIDI controller]

with live visuals by PASAKORN NONTANANANDH (aka AKALIKO).

In its monthly sessions Ab Uno Pluribus presents new exploratory experiences in the audio-visual realm. The versatile energies of select live musicians and video artists are synthesized into explosive though unrehearsed solo and group performances. You will never hear or see the same thing twice.

Doors 7:30pm, show 8:00pm, $10, BRING YOUR OWN YOGA MAT!

Curated by Wolfgang von Stuermer (aka WvS) / Produced by Sofy Yuditskaya, Miah Artola & WvS
https://www.facebook.com/events/120772795258525
https://abunopluribus.com

Oct21-2017-4Performers-Layout-v1_420blend_eventDate-2_1200x504

bios

RUSS ALDERSON is an experimental musician and bass player from Brooklyn, NY. Russ entered into the Brooklyn noise scene in 2010 with his solo project, Xanthocephalus and in 2016 established Halcyon Motor Skills. Alderson enjoys the blend of sounds from the natural and urban worlds with electronic noise, beats and sequences. Russ has performed his improvised compositions live at multiple venues including Ambient Chaos @ Spectrum, Broad Channel, Prospect Range, Trans Pecos, Silent Barn and The Stone while also appearing in venues in upstate New York and Massachusetts.

Alderson’s music has been released on several independent music labels which include Baked Tapes, Tranquility Tapes, Skell, Ghetto Naturalist Series, Kendra Steiner Editions and Gilded Throne.

Prior to entering into experimental music and continuing today, Russ has played the bass guitar for a variety of musical acts from post punk to pop to cabaret to singer/songwriter accompaniment. Russ’ bass playing maintains a thoughtful, melodic quality showing a deep appreciation for harmony and composition.
http://www.aldertone.com/music

AKIO MOKUNO is an electroacoustic music composer, audio engineer, singer-songwriter, noise bassist and multimedia performer. After exploring psychedelic/new wave bands in Nagoya, Akio moved to New York, in 1994, and joined the post-no wave/noise band Electoputas, as a bass and voice performer. Inspired by musique concrète (concrete music) and electronic music, in the late 1990s, Akio started improvising a sampler (Yamaha SU10 + Akai S2000) using an optical MIDI controller. He has performed with a number of renowned free jazz/experimental musicians and visual artists, including Damo Suzuki, Sabir Marteen, Tatsuya Yoshida (Ruins), Frank Marino, 99 Hooker (Rev.99), Ron Anderson, Chris Forsyth, Kenta Nagai, Hitomi Honda, Maria Chavez, Angie Eng, Noriko Nakano and Benton-C Bainbridge.

Akio earned a BFA (Sonic Arts) from the City College of New York, an MFA (Performance and Interactive Media Arts) and a MM (Music Composition) from Brooklyn College, CUNY. He studied under Paul Kozel, John Jannone, David Grubbs, Douglas Geers, Vito Acconci, and Morton Subotnick. He was the commissioned artist for the 13th Biennial Arts and Technology Symposium at Connecticut College (2012). His composition, Mullaly Park 9/10, was selected for the New York City Electroacoustic Music Festival (2014) and received the Max Mathews Award for Excellence in Sonic Arts from the Conservatory of Music in Brooklyn College as well.
http://www.akiomokuno.com

PASAKORN NONTANANANDH aka AKALIKO ia an Experimental Visual Artist, motion graphic designer and Visual Jockey (VJ) based in New York. He works both in digital media and handcraft techniques. He produces his own unique style of artwork, by adapting his profession commercial computer skills with the analogue experimental processes and seeks new possibilities and combined them together, which can be developed and transformed into many medias e.g. moving image, installation, photography and live visual performance. His early art co-exhibition, which he developed his hand drawing artwork into moving-image sequence and projected them on the sculpture of another artist, or, the previous experimental short film project he animated his drawing on the computer and project them on himself and recorded these processes onto the camera.
http://www.akaliko8.com

Composer, violist and vocalist HANNAH SELIN juxtaposes acoustic instruments with electronic sounds, field recordings and recorded interviews to imagine new and unlikely sound-spaces. Her work ranges from solo instrumental and chamber music with and without electronics, to songs, music for dance, orchestral music and sound installations. She performs frequently throughout New York City with ensembles including Ensemble Mise-En, the AEON Ensemble and the Delphi Chamber Orchestra as well as her own group, GADADU, at venues including Carnegie Hall, Roulette and Le Poisson Rouge.

After receiving the 2015 Miriam Gideon Award for excellence in the study of musical composition, Hannah was selected as Composer-In-Residence with the Brooklyn College Orchestra in the spring of 2016. She was a finalist in the 2016 Verdant Vibes Call for Scores, and has been commissioned by saxophonist Carlos Gontijo and violists Karen Ritscher and Kallie Ciechomski. With GADADU, Hannah has participated in residencies at Avaloch Farm Music Institute and at the Aaron Copland School of Music at Queens College. Hannah has studied composition with Wang Jie, Per Bloland and Missy Mazzoli, viola with Karen Ritscher, Robert Vernon and C.J. Chang, and voice with Fay Victor. She was selected as a 2018 resident at the Djerassi Resident Artists Program.
https://hannahselin.net/

The audio work of New York City based sound organizer WvS is comprised of highly abstract and dense sound-layers, noise-oriented organic sonic textures and ambient soundscapes.

WvS studied computer music, classical composition and music theory in Europe with Wolfgang Rihm, Mathias Spahlinger and in the US with John Cage. He attended the ‘Darmstadt Ferienkurse fuer Neue Musik’ and many European Computer Music conferences, lectured at IDEA, was Artist in Residence at Harvestworks/PASS (NYC), exhibited in Spain at the Barcelona Museum of Modern Art, performed in New York City with sound-installations, solo and in collaboration with Dok Gregory, Peter Principle, Jeremy Slater as “Plan 23”, as well as with Richard Garet, Kyung-Mi Lee, Sarah Bernstein, Eric Barry Drasin, Lady Firefly and others at Spectrum, Roulette, Sonic Front, Figment Festival, Governors Island Art Fair, Diapason, SHARE, BPM, Grace Exhibition Space, GrayZone Kingston, Goodbye Blue Monday, Flux Factory, Warper Party, the Knitting Factory, MonkeyTown ({R}AKE + FLOW), Generator Sound Gallery amongst other places, and managed Knitting Factory Records for many years.

Having previously composed music for orchestras, chamber ensembles & solo instruments and conceptualized + realized computer controlled interactive performances, WvS currently focuses on performances and sound-installations of entirely computer-generated sound structures without the use of electro-acoustic samples or ‘field recordings’.

https://soundcloud.com/sounds-of-wvs
https://twitter.com/WvS_SoundArtist
https://plan23.net

10.Oct.2017 – Justin Peake on Figure toolkit

WHEN: Tuesday, October 10th 11:30AM ////  WHERE: NYU Music Dept. Rm 365 (24/32 Waverly Place, NY 10003) /// This event is free and open to the public.

abstract

photo by Kevin Bay

photo by Kevin Bay

Peake will present on FIGURE, a toolkit for musicians and artists to compose dynamic musical works. It replaces paper sheet music with networked tablet screens,allowing a new richness in the display and execution of musical notation. Using a combination of live web elements and dynamic graphics, new possibilities arise in terms of how music is represented and cued.

bio

Justin Peake is a multidisciplinary artist who works near the intersection of digital media, music composition, and interactive performance. His current work involves developing tools for variably structured improvisation in performance and education. In 2016 he was awarded a research fellowship at NYU’s Interactive Telecommunications Program (ITP) where he explored political aesthetics, democratic performance, ecological media, and new music composition. Beside performing solo and with ensembles, his larger works drive toward equitable, collaborative, and trustworthy models of shared leadership through community driven composition and performance.

3.Oct.2017 – Elliot Sharp on current Compositional Strategies

WHEN: Tuesday, October 3rd, 10AM ////  WHERE: NYU Music Dept. Rm 220 (24/32 Waverly Place, NY 10003) /// This event is free and open to the public.

abstract

Elliot Sharp will present descriptions of strategies that, though diverse, are all linked at the core in a vision just defined as the translation of the creative impulse to its appropriate manifesharpstation. The spectrum of these various outputs includes contemporary opera, compositions as self-organizing systems using algorithmic approaches and based on natural forms and processes; new methods for graphic notation; expanded use of traditional notation for orchestral and chamber works; continuation of the development of personal vocabulary and syntax in improvisational performance; and finally, studies and applications of concepts in socio-acoustics.

bio

Sharp is an American multi-instrumentalist, composer, and performer.

A central figure in the avant-garde and experimental music scene in New York City for over 30 years, Elliott Sharp has released over eighty-five recordings ranging from orchestral music to blues, jazz, noise, no wave rock, and techno music. He leads the projects Carbon and Orchestra Carbon, Tectonics, and Terraplane and has pioneered ways of applying fractal geometry, chaos theory, and genetic metaphors to musical composition and interaction.

His collaborators have included Radio-Sinfonie Frankfurt; pop singer Debbie Harry; Ensemble Modern; Qawwali singer Nusrat Fateh Ali Khan; Kronos String Quartet; Ensemble Resonanz; cello innovator Frances Marie Uitti; blues legends Hubert Sumlin and Pops Staples; pipa virtuoso Min-Xiao Feng; jazz greats Jack deJohnette, Oliver Lake, and Sonny Sharrock; multimedia artists Christian Marclay and Pierre Huyghe; and Bachir Attar, leader of the Master Musicians Of Jajouka.

Sharp is a 2014 Guggenheim Fellow, and a 2014 Fellow at Parson’s Center for Transformative Media. He received the 2015 Berlin Prize in Musical Composition from the American Academy in Berlin. He has composed scores for feature films and documentaries; created sound-design for interstitials on The Sundance Channel, MTV and Bravo networks; and has presented numerous sound installations in art galleries and museums. He is the subject of a new documentary “Doing The Don’t” by filmmaker Bert Shapiro.

More, including discography, at wikipedia.

Listen to a recent interview on NPR’s “All Things Considered”.

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 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.