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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

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.


…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


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.


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


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.

13.Apr.2016 Guest Talk: Marek Chołoniewski on Sound Space Kinetics

WHEN: Wednesday, Apr. 13th, 3:30PM ////  WHERE: NYU Music Dept. Rm 365 (24/32 Waverly Place, NY 10003) /// This event is free and open to the public.


the audition of human brainwaves is a basic structure of the piece

the brainwaves are also used for physical cymatic phenomena control.

there is no visualization or audition in fact, there are mostly invisible, forgotten worlds so close and so much inside all of us.

don’t think too much, let it go and flow and make them free … of what?

Marek Chołoniewski
(b. 23/10/1953, Kraków), obtained degrees in organ (with L. Werner), music theory and composition (B. Schaeffer) and electronic music (J. Patkowski) at the Krakow Academy of Music. In 1977 he founded the association Music Center, where he works since 1976, and since 2000 he is the head of the Electroacoustic Music Studio of the Academy of Music in Krakow.

marek2He is the founder and co-founder of many groups: Freight Train, Studio MCH, Studio Ch & K, CH & K & K, mc2 duo, Double Mark, Inifinity Quartet, Natural Plastic, Kinetic Trio, dizzy kinetics.

He writes instrumental music, electro, radio, film and TV, is the author of sound installations and video, audiovisual projects, spatial and network. Concerts, teaching courses and lectures in many countries in Europe, Asia, North America. And South.

He is the founder, artistic director, coordinator and partner of many international artistic projects: Series Audio Art (1987), Audio Art Festival (1993), International Workshops for New Music Cracow / Stuttgart (1993), Internationale Akademie für Neue Komposition und Audio Art (1993), Videos Silent with Music Live (1994), GlobalMix (1998), Ship Artists (2000), GPSArtn (2000), Ensemble Spiel (2003), Bridges and European Modern Orchestra (2003/2005), Polish Society for Electroacoustic Music (Polish section of CIME / ICEM, 2005), Integra (2005-2010), Polish Sound Art in China and Chinese Sound Art in Poland ( 2006/2007), PAFME (2006), EuropeannCourse for Musical Composition and Technologies (2006), Days of Polish Culture in Luxembourg (2008), Integra (2006).

He received the Honorary Award of FPC, Minister of Culture and Independent Project Grant CEC ArtsLink in New York. Since 2008, he is the Secretary, and since 2011 the President of the International Confederation of Electroacoustic Music (CIME / ICEM).


29.Mar.2016 Concert: Recent Multichannel Electroacustic Music from Spain

WHEN: Tuesday, Mar. 29th, 1:00PM ////  WHERE: NYU Music Dept. Rm 365 (24/32 Waverly Place, NY 10003) /// This event is free and open to the public.


polonioIn this listening session, Spanish composers and musicologists Ferrer-Molina and Miguel Álvarez-Fernández will present an overview of recent electroacoustic music from their country. These multi-channel pieces, by authors representative of different generations and regions (Eduardo Polonio, born in Madrid in 1941; Josep Manuel Berenguer, born in Barcelona in 1955; Gregorio Jiménez, born in Valencia in 1960; and Miguel Ángel García, born in Vitoria in 1981), provide a broad outlook into contemporary music trends. During the presentation, Álvarez-Fernández and Ferrer-Molina will also discuss the historical and aesthetic context out of which these compositions and musicians have emerged, and will also try to establish connections with other international developments.

All the composers discussed in this session are members of the AMEE (Asociación de Música Electroacústica y Arte Sonoro de España – Spanish Association of Electroacoustic Music and Sound Art from Spain).


Since 2014, Miguel Álvarez-Fernández and Ferrer-Molina serve at the board of directors of the AMEE (Spanish Association for Electroacoustic Music), which —among many other activities— holds the annual festival “Punto de Encuentro” in different cities of Spain and abroad.

Fferrererrer-Molina is a sound artist, musicologist, conductor and critic, with degrees in guitar, piano, choir conducting, music education, musicology and composition at different conservatories of Valencia and Madrid, Spain. He studied electroacoustic composition mostly at LEA (Conservatory of Valencia) and LIEM / CDMC (Reina Sofía, Madrid). He holds a Ph.D. in Fine Arts at the Polytechnic University of Valencia and he is the author of the upcoming book “Heterodoxy of the guitar. Taxonomy of new artistic practices”, by the “Notebooks of Fine Arts/Music Collection”.

Foto Miguel Álvarez-Fernández_NYU2015

Miguel Álvarez-Fernández is a sound artist, musicologist, sound theorist and curator, born in Madrid in 1979. After his studies in Composition at the Conservatory of El Escorial (Madrid), he was appointed composer-in-residence at the historical “Residencia de Estudiantes” between 2002 and 2005. He is finishing his Ph.D. in Musicology (M.A. from the University of Oviedo). Álvarez-Fernández is a teacher of music at the European University of Madrid (UEM) and since 2008 he hosts “Ars Sonora”, a weekly radio broadcast featuring experimental music and sound art aired on Radio Clásica/RNE (Spanish National Radio).

23.Mar.2016 Kerry Hagan on “Using the z12 for composition and sound synthesis”

WHEN: Wednesday, Mar. 23rd, 6:00PM ////  WHERE: NYU Music Dept. Rm 365 (24/32 Waverly Place, NY 10003) /// This event is free and open to the public.


My compositional practice in computer music explores textural composition using real-time computer methods. Recent work with Miller Puckette led to a new algorithm that has been used for a variety of purposes, including sound synthesis itself. My talk will briefly discuss textural composition, what it means and the aesthetic consequences of working primarily with texture. Then, I will present two pieces that utilize the z12 algorithm designed with Miller Puckette. I will end with demonstrating and explaining z12 in depth.


KerryHaganKerry is a composer and researcher working in both acoustic and computer media. She develops real-time methods for spatialization and stochastic algorithms for musical practice. Her work endeavours to achieve aesthetic and philosophical aims while taking inspiration from mathematical and natural processes. In this way, each work combines art with science and technology from various domains. As a researcher, Kerry’s interests include real-time algorithmic methods for music composition and sound synthesis, spatialization techniques for 3D sounds and electronic/electroacoustic musicology. 

In 2010, Kerry led a group of practitioners to form the Irish Sound, Science and Technology Association, where she served as President until 2015.

Currently, Kerry is a Lecturer at the University of Limerick in the Digital Media and Arts Research Centre (formerly CCMCM). She is the Principal Investigator for the Spatialization and Auditory Display Environment (SpADE).

22.Mar.2016 George Lewis on “Composition as Ethnography”

WHEN: Tuesday, Mar. 22nd, 10:00AM ////  WHERE: NYU Music Dept. Rm 220 (24/32 Waverly Place, NY 10003) /// This event is free and open to the public.


This talk places pressure on the border separating creative work from academic research, through an examination of a number of cases from my own work as a composer and interactive artist. The works I discuss range from computer music performance and interactive installations to opera, and were all developed through a combination of ethnographic method, historical and archival work, and analysis of musical and social practice.


georgelewis6b EmilyPeragine credit V2 cropGeorge Lewis is the Edwin H. Case Professor of American Music at Columbia University. A fellow of the American Academy of Arts and Sciences, Lewis has received a MacArthur Fellowship (2002), a Guggenheim Fellowship (2015), a United States Artists Walker Fellowship (2011), an Alpert Award in the Arts (1999), and fellowships from the National Endowment for the Arts.  Lewis has been a member of the Association for the Advancement of Creative Musicians (AACM) since 1971, and his widely acclaimed book, A Power Stronger Than Itself:  The AACM and American Experimental Music (University of Chicago Press, 2008) received the American Book Award and the American Musicological Society’s Music in American Culture Award.  His creative work as composer, improvisor, and computer/installation artist is documented on more than 140 recordings, and has been presented by the BBC Scottish Symphony Orchestra, London Philharmonia Orchestra, Radio-Sinfonieorchester Stuttgart, International Contemporary Ensemble, Musee des Sciences et des Industries La Villette, Ensemble Dal Niente, Contemporary Art Museum Houston, and the 2010 Vancouver Cultural Olympiad. In 2015, his opera, Afterword, received its UK premiere at the Huddersfield Contemporary Music Festival, and he received the degree of Doctor of Music (DMus, honoris causa) from the University of Edinburgh.




17.Feb.2016 Jennifer Walshe & Marc Couroux present and perform recent work

WHEN: Wednesday, Feb. 17th, 7:00PM ////  WHERE: NYU Music Dept. Rm 220 (24/32 Waverly Place, NY 10003) /// This event is free and open to the public.

couroux_strange homcomingMarc Couroux will be performing/presenting PSYCHO(TIC)ACOUSTICS, a theory-fiction in which aurally infected pathologies are dreamed as alternate modalities for productive intervention into the negative feedback loops characteristic of cybercapitalism.


walshe_1Jennifer Walshe will be discussing her recent compositional work as well as her current involvement with the Aisteach Foundation whose project is to document the activities of the 187 year history of the Irish avant-garde. 





Marc Couroux is an inframedial artist, pianistic heresiarch, schizophonic magician, teacher (York University, Visual Arts) and author of speculative theory-fictions. His xenopraxis burroughs into uncharted perceptual aporias, transliminal zones in which objects become processes, surfaces yield to sediment, andCouroux_2 extended duration pressures conventions beyond intended function. His work has been exhibited and performed internationally (Amsterdam, Berlin, Chicago, Glasgow, London). With Asounder, a sonic tactic collective, he coordinated the (un)sound occupationworkshop (collapsing sound and politics) in Toronto in 2013. He is a founding member of “The Occulture” (with eldritch Priest and David Cecchetto), a Toronto collective investigating the esoteric imbrications of sound, affect and hyperstition through (among other constellating ventures) Tuning Speculation: Experimental Aesthetics and the Sonic Imaginary, an ongoing workshop with yearly iterations, and the Sounding the Counterfactual stream at the 2014 London Conference in Critical Thought (a blog at documents their evolving thought-forms). Recent talks occurred at the Signal Path workshop (New York, Center for Transformative Media, Parsons), Kingston University (London), Goldsmiths, University of London, the Aesthetics After Finitude conference in Sydney, Australia and LOMAA (London Media Arts Association). 

Publications include the quad-authored (Occulture) Ludic Dreaming: How to Listen Away from Contemporary Technoculture (Bloomsbury), a Preemptive Glossary for a Techno-Sonic Control Society in the Volumes catalogue (Blackwood Gallery), a speculative tract on AUDiNT for the CTM Festival (Berlin), a review of occult auditory documentation in the inceptive issue of Sound Studies (Bloomsbury) and chapters in The Idea of the Avant-Garde (Manchester University Press) and Aesthetics After Finitude ( His hyperstitional doppelgänger was famously conjured in Priest’s Boring Formless Nonsense (Bloomsbury, 2013). He tweets as @xenopraxis.

Jennifer Walshe is a composer, performer, improviser, and sound artist. Her compositions have been performed, exhibited, and broadcast across the planet by a multitude of ensembles, galleries, and broadcasters, some of which would be: Alter Ego, ensemble recherché  the National Symphony Orchestra of Ireland, Orchestra Sinfonica del Teatro La Fenice, Nadar Ensemble, Solistenensemble Kaleidoskop, Ensemble Resonanz, Apartment House, ensemble Intégrales, and many others.

Jennifer WALSHE

Jennifer WALSHE

In addition to her activities as a composer, Jennifer frequently performs as a vocalist, specializing in extended techniques. She performs frequently with musicians and ensembles in Europe and the United States, and regularly with her duos Ma La Pert (w/Tony Conrad) and Ghikas & Walshe (w/Panos Ghikas). 

Since 2007 Walshe has been developing a project in which she assumes the persona of twelve members of the fictional Irish art collective Grúpat. Under the sign of these alter-egos she has created compositions, installations, graphic scores, films, photography, sculptures and fashion. 

Walshe’s most recent project, Historical Documents of the Irish Avant-Garde, involves a team of collaborators who have created compositions, recordings, scores, articles and other ephemera to document the fictional history of the musical avant-garde in Ireland.

13.Nov.2015 Roberto Morales on algorithmic, real time, and free time composition

WHEN: Friday, Nov. 13th, 10:30AM ////  WHERE: NYU Music Dept. Rm 220 (24/32 Waverly Place, NY 10003) /// This event is free and open to the public.


Algorithmic composition means imagining a 12202584_905973172819134_752126630_nprocess or a structure and then applying a mapping process to transform that structure, which resides in the conceptual domain, into sound, which may reveal the original conception. Gestural mapping occurs when a sonic result is achieved by an act of interpretation, whether it be reading a score and/or improvising. In this seminar I will show my work and programing environments for real time and free time composition.


Born in Mexico City, Roberto Morales-Manzanares started his musical training in national folkloric music and learned how to play harps and different kinds of guitars and flutes from several regions of the country. As a composer, he has written music for theater, dance, movies, TV and radio. As an interpreter Morales-Manzanares has participated on his own and with other composers in forums of jazz, popular and new music, including tours to Europe United States and Latin-America. His main interests are algorithmic composition and real time gesture interaction.Currently he teaches Digital Art at the University of Guanajauto and is member of the “Sistema Nacional de Creadores” in Mexico.

10.Nov.2015 – Seth Parker Woods: Grey Neon Life

WHEN: Tuesday, Nov. 10th 8pm ////  WHERE: NYU Music Dept. Rm 220 (24/32 Waverly Place, NY 10003) /// This event is free and open to the Public.


Grey Neon Life is the latest evening length solo project of cellist, Seth Parker Woods, which features new trailblazing works that give a new face and ethos to a cellist in 2015. The project is Inspired by urban graffiti art, the french noise scene, John Zorn, as well as glitch and parasitic aesthetics. Woods commissioned five new works for solo cello and interactive electronics which question the relationship between human and non-human bodies in movement and the spectatorship this engages through complex mappings, machine modelling, and extended instrumental techniques. ThiSeth-cello-LR-300x300s project features works by English and North American composers Monty Adkins, Michael Clarke, Edward Hamel, George E. Lewis, Eric Lyon and Pierre Alexandre Tremblay.

Seth will also give a talk at 10:30 am in room 220 in the context of the composition seminar…


Winterseth1 Tendrils for cello and electronics (2014/15)- Monty Adkins

Rhizome for cello and electronics (2015)- Eric Lyon

Grey Neon Life for solo cello (2012)- Edward Hamel

Enmeshed 3 for cello and electronics (2013)- Michael Clarke

Not Alone for cello and electonics (2014/15)- George E. Lewis

asinglewordisnotenough III for cello and electronics (2015)- Pierre Alexandre Tremblay

Seth Parker Woods- Cello

Pierre Alexandre Tremblay- Sound Engineer