SPLICE Institute 2016

The second annual SPLICE Institute was held in June 2016 at Western Michigan University.

Featuring guest faculty member Joo Won Park, SPLICE2016 was focused on the theme of Best Practices in Electroacoustic music performance and composition.

Faculty

  • Joo Won Park, guest composer
  • Élise Roy, guest performer
  • Christopher Biggs, composition
  • Per Bloland, composition
  • Richard Johnson, composition
  • Keith Kirchoff, performance
  • Elainie Lillios, composition
  • Adam Vidiksis, compostion & performance
  • Samuel Wells, performance

Concerts

SPLICE Institute 2016 featured 8 concerts of music for instruments and electronics with 28 world premieres. Programs are available at the links below.

June 27, 2016
Élise Roy, guest performer, flute
June 28, 2016
Keith Kirchoff, piano & Sam Wells, trumpet
June 29, 2016
Joo Won Park, guest composer
June 30, 2016
Adam Vidksis, percussion w/ Lin Foulk, natural horn
July 1, 2016
SPLICE Ensemble
July 2, 2016
Participant Concert I
Participant Concert II
Participant Concert III

Workshops:

  • Joo Won Park offered a SuperCollider workshop.
  • Joo Won Park offered a workshop on performance with electronics and improvisation.
  • Elainie Lillios led discussions on aesthetics each day.
  • Per Bloland led an advanced Max workshop that involves a daily discussion of the programming architecture of a work and how it relates to the aesthetic of the piece. Attendees at this workshop will have access to evaluate and consider the programming prior to these discussions.
  • There was an introductory Max workshop for beginners as well as intermediate, topic-based workshops for non-beginners who are not prepared for the advanced Max workshop.
  • Composition faculty ran workshops geared towards helping composers optimize the performance practice of works for different media configurations: What are the best practices for making a click track, including side-chain compression, rhythm considerations, and sound choices? How do you best prepare a max patch for a performer to rehearse, including a flexible cue system with key commands and instructions? How do you manage triggering fixed media files? What options exist for triggering cues in performance, including pedals and more advanced gestural controls?
  • Performance faculty led performance workshops geared towards working with electronics without the aid of a composer or sound engineer: How does one setup the hall for performance? How does one optimize a Max patch for performance? How does one communicate with the available sound engineer to express needs and requirements? What if there isn’t a sound engineer available? What is the best and most essential equipment needed to get started?