Concert 1 Program
Angus Lee : Apophisian Scriptures. Terzo fragmento: testimonianza di un avvenimento immaginario
[Lapsus memoriae IX]
Subaerial Collective
Leslie Lang : [Transits]
Maggie Snyder, viola
Garrison Gerard : Riant
Mod[ular] Ensemble
Peter Van Zandt Lane : Composite and Parallax
Bent Frequency Duo
Jan Berry Baker, saxophone
Stuart Gerber, percussion
Brian Ellis : Wild Things
Subaerial Collective
João Pedro Oliveira : Rust
Maggie Snyder, viola
George Lewis : [North Star Boogaloo]
Bryan Wysocki, percussion
Mod[ular] Ensemble is:
Heather Gozdan-Bynum, clarinets
Connie Frigo, saxophones
Joshua L. Bynum, trombone
Greg Hankins, piano
Andrew Blair, percussion
Subaerial Collective is:
Peter Van Zandt Lane, bassoon/contrabassoon
Emily Koh, contrabass
Adrian Childs, piano
SPLICE Festival IV is supported by a State-of-the-Art Conference Grant from the Office of the Senior Vice President for Academic Affairs and Provost.
Notes
Angus Lee :
Apophisian Scriptures. Terzo fragmento: testimonianza di un avvenimento immaginario
[Lapsus memoriae IX]
This work combines two primary fields of interest in my recent works: the use of field recording, as well as a new mode of notation that allows for sufficient freedom of interpretation for interpreters between each performance.
This work is a companion piece to my earlier Aeolian Scriptures. Both works are dedicated to my home city of Hong Kong.
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Garrison Gerard :
Riant
Riant is a non-linear composition built around collaborative improvisation. The work incorporates a conductor with a motion control that is used to control the live processing of the ensemble.
Speed, orientation, and trajectory all control different elements of the electronic processing, subverting the usual power balance between the conductor and the resulting sound. This is also balanced in the composition itself with the individual performers being given considerable freedom to shape the realized piece.
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Peter Van Zandt Lane :
Composite and Parallax
Composite and Parallax is a work for saxophone, percussion, and immersive audio composed for Bent Frequency Duo. The electronic elements of the work rely heavily on sampling of SoundField recordings of various percussive sounds recorded in 3-dimensional configurations, and phase in and out of the live instrumentalist's parts both rhythmically and spatially.
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Brian Ellis :
Wild Things
"Wild Things" explores non-traditional musical expressions and forms of interaction thrust upon us by COVID-19 social distancing requirements. The work is in three movements and explores separation, isolation, and attempts made to connect, to varying degrees of success.
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João Pedro Oliveira :
Rust
Rust belongs to a group of four works that are inspired by nature's elements:
Magma for Violin and electronics; Titanium for piano 4 hands, 2 toy pianos and electronics; Burning Silver for flute, guitar and electronics; Rust for viola and electronics. Each of these pieces is related to the characteristics of the element in which it is inspired. In Rust, the idea of a fragile object, which can break at any time, but whose appearance can be confused with the iron, reflects in a piece of music where melodic elements are broken, disperse and are reunited through several gestures and musical phrases. At the same time the hardness of the attacks and the way they are extended by the electronics, try to create the opposition between the weakness of the instrument, and the power of the electronic part.
Bios
Born in then British-Hong Kong,
Angus Lee (b. 1992) is one of the most versatile musicians of his generation. Named Young Music Maker 2012 by the RTHK, Lee has, in his various capacities as flautist, composer and conductor, performed at music festivals internationally, including Beijing Music Festival (CN), ACL Asian Music Festival (JP), Ciclo de Música Contemporánea de Oviedo (ES), CYCLE Music and Art Festival (IS), Festival Musica Strasbourg (FR), Seoul International Computer Music Festival (KR), Shanghai New Music Week (CN), St. Magnus Festival (UK), Ticino Musica Festival (CH), Tongyeong International Music Festival (KR), Vienna International SaxFest (AT), and Lucerne Festival (CH).
Raised in the last years of Hong Kong’s colonial period, Lee was exposed to a diverse range of cultural influences at an early age. He recognised that respect for different traditions and openness to dialogue are central to co-existence in a time of diversity. It is in the spirit of diversity that he co-founded the PRISM Chamber Music Festival in 2018 with violinist Sean Lai. The Hong Kong-based Festival is an initiative to bring together and showcase some of the city’s leading young musicians and independent ensembles, from specialising in period instrument performance, vocal music to contemporary music and beyond.
In the little spare time he has, Lee is an avid reader of history and philosophy. He is also rediscovering his interest in mathematics and physics, subjects he fervently regrets not having properly mastered as a middle-school student. His favourite artist is the painter Francis Bacon, and is, in real life, occasionally OCD for workplace orderliness.
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Leslie Lang is a composer of experimental electronic and chamber music. Her primary musical interest is in developing sounds, techniques, and compositions that speak directly to the subconscious, the body and the emotions. Using a sonic palette including immersive fixed media textures, live sound processing and synthesis, and prepared electric guitar, she explores improvisational forms and performance practices to carefully examine the subtle but profound links that sound creates between mind and body.
Originally from Atlanta, Leslie earned her BM in Technology in Music and Related Arts from Oberlin Conservatory, and is currently living and working out of Los Angeles.
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Violist
Maggie Snyder is Professor of Viola at the University of Georgia, Principal Violist of the Chamber Orchestra of New York, with whom she records for Naxos, and is on the Artist-Faculty of the Brevard Music Festival. She has performed solo recitals, chamber music, concertos and as an orchestral musician throughout the United States and abroad in such halls as the Kennedy and Kauffman Centers, all three halls at Carnegie Hall, Merkin Hall, Spivey Hall, and the Seoul Arts Center, and in Greece, Korea, and Russia. She has performed under the batons of Yuri Temirkanov, David Zinman, Robert Spano, Leonard Slatkin, James dePriest, Julius Rudel, James Conlon, Keith Lockhart, and Michael Tilson Thomas, and at such festivals as the Brevard Music Festival, the Sewanee Summer Music Festival, and the Aspen Music Festival where she was a Time Warner Fellow. In 2001, Ms. Snyder was a semi-finalist at the 8th Primrose International Viola Competition, and made her recital debut in Weill Recital Hall at Carnegie Hall with her sister duo, Allemagnetti in 2009. The group was called a "winning pair" with a "highly promising debut" by the New York Concert Review. She has performed chamber music with members of the Cleveland and Tokyo Quartets, Jonathan Carney, the Aspen String Trio, Jon Manassee, Ivo Van der Werff, Itamar Zorman, and Norman Kreiger, among others. Her solo recordings, "Modern American Viola Music" and "Allemagnetti – Music for Viola and Harpsichord" are represented exclusively through Arabesque Recordings and available through iTunes and amazon.com. Her latest solo recording, titled “Viola Alone: Old New and Borrowed,” was released on Arabesque Records in January 2018 and features the premiere of a new piece commissioned by Ms. Snyder by Libby Larsen. She was the 2018 recipient of the University of Georgia’s Creative Research Medal in the Arts and Humanities for her project commissioning and recording new works for viola. Ms. Snyder has given master classes, clinics, and recitals at universities and music schools throughout the country, including The Universities of Michigan, Colorado, Minnesota, Michigan State, Tennessee, Kentucky, South Carolina, Interlochen, Hartt, and Converse College, among others. Ms. Snyder earned graduate degrees from The Peabody Conservatory of Music, where she was the teaching assistant for Victoria Chiang. Her Bachelor's degree is from the University of Memphis, where not only she was born and raised, but where she was a Pressar Scholar.
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Garrison Gerard is a Doctoral student at the University of North Texas; he earned a Master’s from UNT and graduated from Harding University with a Bachelor of Arts in Music. He has earned the educator prize from the Abundant Silence Music Group and won the Hal Leonard/Carol Klose Composition Competition. Natural influences feature heavily in his work; his music explores environmental issues as well as the influences of raw data on the compositional process and often incorporates elements of spectralism and eclecticism. He is also active as a conductor of new music and serves as the conductor of the NOVA New Music Ensemble at UNT. He currently studies under Dr. Joseph Klein.
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Brian Ellis is a composer, coder, and multi-instrumentalist. His musical drive lies in using code to realize his larger compositional vision: that technology should be used toward divesting musical agency from the composer to the environment, the performer, and ultimately, the listener. He believes strongly in the value of collaboration, having premiered pieces with numerous chamber groups, video projection artists, technologists, photographers, and dancers. Brian currently studies composition with David Coll, and has recently completed his undergraduate studies in Music and Computer Science Honors at the University of Texas at Austin where he worked with Nina Young, Celil Refik Kaya, Howard Ochman, and Russell Pinkston, among others.
Brian greatly values collaboration with performers who breath life into his work. He has worked with Apply Triangle, the Subaerial Collective, and members of the zFestival and SōSI. He additionally has had works selected for presentation in numerous events, including ICMC, SEAMUS, NYCEMF, ROCC, the Ears Eyes and Feet Collaborative Concert, the Good House Collective's "Time Warp", along with many house concerts. He has produced works in collaboration with dancers, including the Agenda(s) project and with Unset 2.0, an improvisation and audience co-collaborative dance company. As a performer, Brian is committed to diversifying the repertoire of the Classical Guitar, and performs with Saxophonist Jonathan Hostottle in SANS; duo.
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Composer
João Pedro Oliveira holds the Corwin Endowed Chair in Composition for the University of California at Santa Barbara. He studied organ performance, composition and architecture in Lisbon. He completed a PhD in Music at the University of New York at Stony Brook. His music includes opera, orchestral compositions, chamber music, electroacoustic music and experimental video. He has received over 50 international prizes and awards for his works, including three Prizes at Bourges Electroacoustic Music Competition, the prestigious Magisterium Prize and Giga-Hertz Special Award, 1st Prize in Metamorphoses competition, 1st Prize in Yamaha-Visiones Sonoras Competition, 1st Prize in Musica Nova competition. He taught at Aveiro University (Portugal) and Federal University of Minas Gerais (Brazil). His publications include several articles in journals and a book on 20th century music theory.
www.jpoliveira.com
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Peter Van Zandt Lane is Associate Professor of Composition and Director of the Dancz Center for New Music at the University of Georgia Hodgson School of Music. He holds a BM in music theory and composition from the University of Miami Frost School of Music and MA and PhD degrees from Brandeis University. His composition studies include work with Melinda Wagner, Eric Chasalow, David Rakowski, and Lansing McLoskey. Prior to arriving in Athens, Dr. Lane taught at the University of Florida, Brandeis, Wellesley College, Massachusetts Institute of Technology, and Harvard.
A recipient of the 2018 Charles Ives Fellowship from the American Academy of Arts and Letters, Dr. Lane has received commissions from the Atlanta Chamber Players, Barlow Endowment, the Composers Conference, American Chamber Winds, Sydney Conservatorium Wind Symphony, Emory University Wind Ensemble, Transient Canvas, Dinosaur Annex Music Ensemble, and the SUNY Purchase Percussion Ensemble among others. His full length ballet composed in collaboration with Juventas New Music Ensemble (Boston) and The People Movers contemporary dance company (Brooklyn), HackPolitik, explores the unique topic of cyber-dissidence through live music, dance, and electronics. Bringing contemporary music and dance into the cross-section of art, technology, and politics, HackPolitik was the subject of features on BBC radio, Forbes, CNet, and Boston Magazine, praised by critics as "angular, jarring, and sophisticated . . . very compelling . . . Ballet needs live music, and this one offered it at the highest level." (Boston Musical Intelligencer). The NYC run of the ballet was a New York Times Critic's Pick, hailed as "refreshingly relevant." (New York Times).
Composing primarily for chamber ensembles, wind ensembles, and orchestras, Dr. Lane often integrates electronics into works alongside traditional instruments. He has been composer-in-residence at Copland House, Yaddo, MacDowell Colony, the Atlantic Center for the Arts, the Virginia Center for the Creative Arts, and Composers Now at the Pocantico Center. His music has been performed by the Cleveland Orchestra, International Contemporary Ensemble, Lydian String Quartet, Ensemble Signal, Triton Brass, East Coast Composers Ensemble, Xanthos Ensemble, quux collective, Freon Ensemble, the New York Virtuoso Singers, and a number of college and university ensembles.
Festivals and conferences that have programmed Dr. Lane's compositions include the Sound and Music Computing Conference (Copenhagen), Festival of Contemporary Music in San Francisco, June in Buffalo, the Wellesley Composers Conference and Chamber Music Center, Festival Miami, SEAMUS, New Gallery Concert Series, Third Practice, Forecast Music, the Leonard Bernstein Festival of the Arts, Boston Cyber-Arts, and 12-Nights Music and Art (Miami). An avid advocate for new music, Dr. Lane has performed as a bassoonist in a number of contemporary music ensembles, participating in the commissioning and premiering of several new chamber and electroacoustic works. Recordings of his music are available on Parma/Navona Records, New Dynamic Records, and Innova Records.
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Percussionist
Stuart Gerber and saxophonist
Jan Berry Baker are
The Bent Frequency Duo Project. Stuart and Jan have commissioned over 20 new works for their duo and have given countless performances of this new repertoire across the US, Mexico, and Europe since 2014.
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George E. Lewis is the Edwin H. Case Professor of American Music at Columbia University, where he serves as Area Chair in Composition and Faculty in Historical Musicology. A Fellow of the American Academy of Arts and Sciences, the American Academy of Arts and Letters, and a Corresponding Fellow of the British Academy, Lewis’s other honors include a MacArthur Fellowship (2002) and a Guggenheim Fellowship (2015), a Doris Duke Artist Award (2019), a United States Artists Walker Fellowship (2011), an Alpert Award in the Arts (1999), and fellowships from the National Endowment for the Arts.
Lewis studied composition with Muhal Richard Abrams at the AACM School of Music, and trombone with Dean Hey. A member of the Association for the Advancement of Creative Musicians (AACM) since 1971, Lewis's work in electronic and computer music, computer-based multimedia installations, and notated and improvisative forms is documented on more than 150 recordings. His work has been presented by the BBC Scottish Symphony Orchestra, London Philharmonia Orchestra, Radio-Sinfonieorchester Stuttgart, Mivos Quartet, Boston Modern Orchestra Project, London Sinfonietta, Spektral Quartet, Talea Ensemble, Dinosaur Annex, Ensemble Dal Niente, Ensemble Pamplemousse, Wet Ink, Ensemble Erik Satie, Eco Ensemble, and others, with commissions from American Composers Orchestra, International Contemporary Ensemble, Harvestworks, Ensemble Either/Or, Orkestra Futura, Turning Point Ensemble, Studio Dan, San Francisco Contemporary Music Players, 2010 Vancouver Cultural Olympiad, IRCAM, Glasgow Improvisers Orchestra, and others. Lewis’s music is published by Edition Peters.
Lewis has served as Fromm Visiting Professor of Music, Harvard University; Ernest Bloch Visiting Professor of Music, University of California, Berkeley; Paul Fromm Composer in Residence, American Academy in Rome; Resident Scholar, Center for Disciplinary Innovation, University of Chicago; and CAC Fitt Artist in Residence, Brown University. Lewis received the 2012 SEAMUS Award from the Society for Electro-Acoustic Music in the United States, and his 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; Lewis was elected to Honorary Membership in the Society in 2016. Lewis is the co-editor of the two-volume Oxford Handbook of Critical Improvisation Studies (2016), and his opera Afterword (2015), commissioned by the Gray Center for Arts and Inquiry at the University of Chicago, has been performed in the United States, United Kingdom, and the Czech Republic.
In 2015, Lewis received the degree of Doctor of Music (DMus, honoris causa)from the University of Edinburgh. In 2017, Lewis received the degree of Doctor of Humane Letters (PhD, honoris causa) from New College of Florida. In 2017 Lewis received the degree of Doctor of Music from Harvard University.
Professor Lewis came to Columbia in 2004, having previously taught at the University of California, San Diego, Mills College, the School of the Art Institute of Chicago, the Koninklijke Conservatorium Den Haag, and Simon Fraser University's Contemporary Arts Summer Institut
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Bryan Michael Wysocki (b. 1995) is an Atlanta-based composer and percussionist. As a composer, I like to make music that involves non-traditional elements, such as spoken word storytelling, small light shows, and guided meditations. I’ve been very fortunate to work with groups like the FLUX Quartet, Terminus Ensemble, Pique Collective, and soloists like Michael Fahrner, Anthony DeMartinis, and Clare Longendyke.
As a percussionist, my passion is playing music written by composers from historically marginalized backgrounds. A lot of this viewpoint has been influenced by working with composers like Christian Wolff, Caroline Shaw, George Lewis, and Sarah Hennies on their music. I’m also one-half of the newly formed saxophone and percussion duo, Duoctane. Curtis and I formed this group at GSU to commission and perform works from composers in our generation.
Previous festival experience as a percussionist includes Music on the Point ’17, Yarn/Wire Summer Institute ’17, Nancy Zeltsman Marimba Festival ’17, as well as the soundSCAPE New Music Exchange ’19, and would have attended New Music on the Point in ’20, but it was cancelled due to COVID19.
Bryan is a DMA student in Music Composition at The University of Georgia with an assistantship from Ideas for Creative Exploration. Previous degrees include MMus degrees in Composition and Percussion from Georgia State University, and a BS in Composition from Hofstra University.
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Heather Gozdan-Bynum is a freelance clarinetist and teacher in the Athens, Ga. area. She is an active teacher and performer, balancing roles as soloist, chamber musician and private instructor. A graduate of the University of Iowa, the University of North Texas and Bowling Green State University, she also performs with the University of Georgia Mod[ular] Ensemble and is a founding member of Trio do Risata who recently performed at the 2020 TMEA Convention in San Antonio.
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Connie Frigo is Associate Professor of Saxophone at the University of Georgia. In addition to her international performing and teaching credentials, she is a sought-after presenter on professional development, creativity and women in music. She is a steadfast organizer of interdisciplinary events that focus on the creative process, human connection and engaging new audiences. Connie is the inaugural Chair of the NASA's Committee on the Status of Women. She served six years with the premiere U.S. Navy Band, Washington, D.C.; seven years as the baritone saxophonist with the New Century Saxophone Quartet; and taught at the Universities of Tennessee and Maryland, and Ithaca College. She is a Fulbright Scholar and Artist/Clinician with Henri Selmer Paris and D’Addario. Recently, Connie traveled to Italy, Russia, Brazil, Panama and Croatia to perform and teach, and has taught at American Saxophone Academy (Eastman), the Great Plains Saxophone Workshop, and the Dakota Chamber Music Festival.
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Since 2010, Dr. Joshua Bynum has served as Professor of Trombone at the University of Georgia and trombonist with the Georgia Brass Quintet, and the MOD[ular] Contemporary Chamber Ensemble. He is a founding member of Resonant Projection, a professional trombone quartet committed to expanding the repertoire and advocating for chamber music as an essential ingredient in school curriculum. In the summers, Josh serves as trombone artist/faculty for the
Sewanee Summer Music Festival. He has also been on summer faculty for the Festival of Vale Veneto, in the Rio Grande de Sul region of Brazil. He is the 2020 recipient of the Creative Research Medal in Humanities & Arts.
Josh performs regularly as first-call substitute with the Atlanta Symphony Orchestra, including the entire 2015-16 season. He has recorded two releases with the ASO (Christopher Theofanidis: Creation/Creator and Jonathan Leshnoff: Zohar). He is a member of the IRIS Orchestra, and also regularly performs with numerous orchestras across the region, including the Charleston Symphony Orchestra, Columbus Symphony Orchestra, Symphony Orchestra of Augusta, and the Savannah Philharmonic.
Josh has given clinics and performances at the American Trombone Workshop, International Trombone Festival, Georgia Music Educators Association Conference, JanFest & MidFest Band Festivals, as well as for various workshops and universities across the country. He was a participant at the 2007 Alessi Seminar, and has been an invited performer for the Washington Trombone Ensemble, ITF Cramer Professor’s Choir, as well as the Professor’s Choir for the Southeast Trombone Symposium. He was a featured solo artist for the 2017 International Trombone Festival – at the University of Iowa.
Josh’s solo appearances with the various UGA Bands includes state premiere performances for John Mackey's Harvest: Trombone Concerto (2010), as well as Dana Wilson's Trombone Concerto (2017), both with the UGA Wind Ensemble. He has also appeared as featured soloist with the UGA Wind Symphony - performing Anthony Barfield's Red Sky. Other recent solo highlights include George Walker’s Trombone Concerto with the UGA Symphony Orchestra and Launy Grøndahl’s Concerto for Trombone at the Sewanee Summer Music Festival.
His solo CD Catalyst features previously unrecorded works for trombone, and is available through Potenza Music, iTunes, and Amazon. The MOD[ular] Ensemble is featured on the commercial release New Cartography, with a performance of /ping/ by Peter Van Zandt Lane. Josh is a graduate of Temple University, the University of Iowa, and Jacksonville State University. He currently serves as the Journal Advertising Manager for the International Trombone Association, and is the editor for the ITA Journal Pedagogy Corner column. Josh is an Artist & Clinician for the Edwards Instrument Company.
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Pianist
Greg Hankins is a collaborator at the University of Georgia where he is on staff for the UGA Opera Theatre. His recital partners have included members of the New York Philharmonic, Philadelphia Orchestra, The Canadian Brass, Metropolitan Opera, Metropolitan Opera Orchestra, San Francisco Symphony, Cleveland Symphony, Boston Symphony, Sao Paulo Symphony, St. Louis Symphony, Atlanta Symphony, Pittsburgh Symphony, Sydney Symphony, as well as solo artists and faculty of universities and conservatories around the world. He has accompanied the masterclasses of artists including Emmanuel Pahud and Renée Fleming. Greg leads the Whitehall Jazz Collective, an 8-piece ensemble specializing in contemporary jazz. Since 2012, he has served on the faculty of the New York State Summer School for the Arts School of Choral and Vocal Studies.
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Andrew Blair is a conductor, percussionist, and composer from Charlotte, NC. Andrew graduated with honors as a NC Teaching Fellow, Sudler Trophy winner, and Instrumental Performer of the Year from Western Carolina University in 2010 with a BSEd in music education.
As a passionate educator, Andrew taught on the middle, high school, and collegiate levels for 8 years in the greater Charlotte, NC area, with his ensembles earning consistent superior ratings in grades 1-6 in concert, marching, and solo/small ensemble performance assessments across the Southeast. Andrew has also been fortunate to put that passion to work as a dual-masters student in conducting and percussion at the University of Georgia. Andrew was named a 2016 recipient of the ASBDA Encore Award for Young Band Directors, and was recognized by multiple Citations of Excellence in music education from Cabarrus County Schools. He has also presented clinics at multiple state and district in-service conferences, and maintains an active schedule of adjudication, clinics, masterclasses, and symposiums. Andrew has proudly served as an Innovative Percussion educational artist and clinician since 2010.
As a conductor and percussionist, Andrew has joyfully led a diverse musical life, having been blessed with opportunities to perform in a wide variety of musical settings ranging from band and orchestra to jazz, chamber, theatre, worship, and electroacoustic music. Andrew has most recently held positions as a section percussionist in the Union Symphony Orchestra (NC), as well as principal percussionist of the Carolinas Wind Orchestra (SC). While in Athens, Andrew has had incredible experiences leading and performing with the Hodgson Wind Ensemble, Wind Symphony, Symphonic Band, Percussion Ensemble, Rote Hund Muzik, and multiple jazz and chamber settings in the area.
As a composer, arranger, and sound designer, Andrew’s music has been performed across the United States. Andrew has been fortunate to recently design for SC and TX State marching finalists, NCAA Division I and II athletic bands, and has published concert works with C. Alan Publications.
Andrew holds professional memberships in NAfME, CBDNA, PAS, and ASCAP, and was awarded honorary membership in Kappa Kappa Psi by UGA's Kappa Mu chapter in 2019.
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Emily Koh is Assistant Professor of Composition at the Hugh Hodgson School of Music, University of Georgia. Dr. Koh holds a Ph.D. in Music Composition and Theory from Brandeis University, MM degrees in Music Composition and Music Theory Pedagogy from the Peabody Institute, Johns Hopkins University, and a BMus(hons) in Composition from the Yong Siew Toh Conservatory of Music, National University of Singapore. Prior to moving to Athens, Dr. Koh taught at Harvard, MIT, Brandeis, Longy School of Music (Bard College) and Walnut Hill School for the Arts.
Dr. Koh is a Singaporean composer whose music reimagines everyday experiences by sonically expounding tiny oft-forgotten details. In addition to writing acoustic and electronic concert music, she enjoys collaborating with other creatives in projects where sound plays an important role. Described as ‘the future of composing’ (The Straits Times, Singapore), she is the recipient of awards such as the Copland House Residency Award, National Arts Council Young Artist Award, Yoshiro Irino Memorial Prize, ASCAP Morton Gould Young Composer Award, Prix D’Ete, and PARMA competitions; commissions from the Opera America, Barlow Endowment for Music Composition, Composers Conference at Wellesley College, Singapore Symphony Orchestra, Left Coast Chamber Ensemble, Dinosaur Annex Music Ensemble; and grants from New Music USA, Women’s Philharmonic Advocacy and Paul Abisheganaden Grant for Artistic Excellence. She has been a fellow at the American Composers' Orchestra Earshot Program, MacDowell Colony and Avaloch Farm Music Institute.
Dr. Koh's works have been described as “beautifully eerie” (New York Times), and “subtley spicy” (Baltimore Sun), and have been performed at various venues around the world in Singapore, Malaysia, Thailand, Vietnam, Hong Kong, Macau, Taiwan, Japan, South Korea, the Netherlands, Italy, France, Switzerland, Finland, Israel, the United Kingdom, Canada and the United States by acclaimed ensembles and performers such as Talea Ensemble (USA), Ensemble Dal Niente (USA), New York New Music Ensemble (USA), Signal Ensemble (USA), Boston New Music Initiative (USA), New Thread Quartet (USA), Acoustic Uproar (USA), LUNAR Ensemble (USA), East Coast Contemporary Ensemble (USA/Europe), Avanti! (Finland), Israel Contemporary Players (Israel), Sentieri Selvaggi (Italy), the Next Mushroom Promotion (Japan), Chroma Ensemble (UK), The Philharmonic Orchestra (Singapore), Dingyi Music Company (Singapore) and Chamber Sounds (Singapore) among others. Her works can be heard on the Ravello, New Focus and XAS record labels, and is published by Babel Scores (Europe) and Poco Piu Publishing (USA).
Dr. Koh is also an active double bassist and arts administrator. She is a core member, composer fellowship mentor and double bassist of ensemble vim (Atlanta GA) and is a member of the artistic advisory boards of Dinosaur Annex Music Ensemble and the Indictus Project. She is a member of ASCAP.
Dr.
Adrian P. Childs joined the UGA School of Music faculty in 2001. He holds bachelor's degrees in both mathematics and music from the Massachusetts Institute of Technology, and master's and doctoral degrees in music (composition and theory) from the University of Chicago. His composition studies include work with Peter Child, John Eaton, John Harbison, Andrew Imbrie, Marta Ptaszynska, Shulamit Ran, and George Tsontakis. Prior to his arrival in Athens, Dr. Childs taught on the faculties of the University of Chicago, the University of Wisconsin, and the University of Illinois.
Dr. Childs was a finalist in the 1999 Rome Prize competition. Among his other awards and honors in composition are an ASCAP Foundation Morton Gould Award and a Jacob K. Javits Fellowship from the U.S. Department of Education. His music has been performed extensively in North America and Europe and can be heard on the ACA Digital label.
Dr. Childs' theory work includes research in the area of transformational theory and interests in issues of post-tonal music and referential collections. His scholarship appears in the Journal of Music Theory and Music Theory Online. He is a founding member of the editorial board of the Journal of Mathematics and Music.
Dr. Childs is also active as a pianist and conductor, specializing in contemporary music.
