Brian Sears : bare.
bare. is an exploration of restraint, simplicity, and vulnerability, which is presented in various ways. A simple chord progression reoccurs throughout the piece, first as a deconstructed and sparse piano texture, and later as fully stated straight forward chords, and outlined melodies in the trumpet. As the texture and energy of the piece increases, the overarching themes of the piece persist with repeating and hypnotic rhythmic textures, simple tonal melodies, and sustained tones that are transformed and given life by the live electronics, adding interest and complexity to simple beauty. Within the piece, each instrument has a moment to stand on its own, giving each performer a chance to show their own vulnerability through exposed improvisations.

The final moments of the piece brings the instruments together for a pop/dance music inspired celebration of the simple elements presented throughout the earlier sections, showing the versatility and beauty of simple ideas.
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Shahrzad Talebi : Eternal Embrace of the Sea
Eternal Embrace of the Sea is written for the Splice ensemble, inspired by the poem “Quietness” by Rumi. The poem centers around spiritual awakening and rebirth, representing the act of killing one's ego and breaking free from the prison of thought. The music is expressing this idea by creating an eerie, soft yet intense atmosphere that is periodically disrupted by sudden loud attacks. As the piece progresses, these sudden attacks occur more frequently, eventually becoming the defining texture and character of the music.

Inside this new love, die.
Your way begins on the other side.
Become the sky.
Take an axe to the prison wall. Escape.
Walk out like someone suddenly born into color.
Do it now.
You’re covered with a thick cloud.
Slide out the side. Die,
and be quiet. Quietness is the surest sign
that you’ve died.
Your old life was a frantic running
from silence.
The speechless full moon
comes out now.

“Quietness” by Rumi
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Ted Moore : nand
Electrons oscillating high and low, edgy square waves that turn on and off different tones, noise, oscillating with silence, in turn turning off and on themselves. A complex system creating simple sounds (repeating phrases consisting of square waves, filtered noise, and silence), each gesture has microvariations, just enough entropy to keep me listening for the next squealy tone.
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Zouning (Anne) Liao : Rupturing Signals
TThe inspiration for this composition project is to explore the electromagnetic signals that surround us but are not audible in everyday life. Humans emit electromagnetic radiation when making decisions or engaging in activities like driving or choosing what to wear. These brainwave activities alter the electromagnetic field (EMF) signals. I find it fascinating that these physical EMF signals can be transformed and amplified into audio signals, allowing us to hear the sonic differences between devices like laptops and iPhones.

To prepare for this project, I used electromagnetic sensors to detect various gadgets that emit EMF. These sensors convert the magnetic signals into audio signals. I am fascinated by the diverse musical qualities present in these recordings. Some have strong rhythmic grooves, while others have distinct and persistent frequency content. However, these signals are fragile and unstable, depending on the position of the sensors. Even a slight movement of the sensor can significantly weaken the audio signal or completely change the sound. Sometimes, moving the sensors closer to the source can trigger a dangerously loud boom, followed by a signal break.

In Rupturing Signals, the ensemble and electronics collaborate to recreate different rhythmic and frequency patterns of the EMF. This composition aims to highlight the unstable, ever-changing, and instantly breaking characteristics of the recorded audio signals.
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Bella Rose Kelly and Ziaire Trinidad Sherman : Yield
Yield was written about a character's relationship with a singular moment. They relive and rewrite what happened trying to justify their actions. This ultimately leads to them being stuck in a feedback loop, unable to break out. Through microtonal interactions and contrasting electronics, reality begins to tear leaving the character where they started. By the end, there is no time for them to stop or start down a new path; All they can do is yield.
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Bios

SPLICE Ensemble is a trumpet, piano, and percussion trio focused on cultivating a canon of electroacoustic chamber music. Called a “sonic foodfight” by Jazz Weekly, SPLICE Ensemble works with composers and performers on performance practice techniques for collaboration and integrating electronics into a traditional performance space. The resident ensemble of both SPLICE Institute and SPLICE Festival, SPLICE Ensemble has been a featured ensemble at M Woods in Beijing, SEAMUS, the Electroacoustic Barn Dance, SCI National, Electronic Music Midwest, and New Music Detroit’s Strange Beautiful Music 10. They have recorded on both the SEAMUS and Parma Labels.
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Derek Hurst is a composer writing acoustic and electroacoustic concert music. His work exhibits a balance between visceral solemnity and muscular jocularity, mixed with timbral subtlety. Both his acoustic and electronic works have been performed throughout the U.S. and abroad by ensembles such as: Boston Modern Orchestra Project, String Noise, Left Coast Ensemble, Ensemble Pamplemousse, Interensemble, Brave New Works, Ecce Ensemble; and prominent soloists: Ian Pace, Winston Choi, Geoffrey Burleson, Ashleigh Gordon, Sarah Brady et al, with works featured on concert events of: League-ISCM, SEAMUS, ICMC, Boston Cyberarts and the ComputerArts Festival. Mr. Hurst and his creative work have received several awards, honors and distinctions including: Fromm Foundation Commission, Jebediah Foundation Commission, MCC Artist’s Fellowship, the Wayne Peterson Prize, The Copland House Residency et al. As a new music advocate, he also has directed numerous concerts of new music and was Cohost for SEAMUS’ 2019 National Conference, which was held on the Berklee / BoCo campus.

Derek is Professor of Composition at Berklee and teaches courses in composition, electronic music, theory, counterpoint & contemporary music. Mr. Hurst earned his PhD in Composition / Theory from Brandeis University. Major teachers include David Rakowski, Eric Chasalow, Martin Boykan, Yehudi Wyner and John Melby. His dissertation on Schoenberg’s Piano Concerto (op. 42) is published by Verlag, D.M.
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Peter Van Zandt Lane is an American composer of acoustic and electroacoustic music, whose unique musical style draws from his eclectic musical background in genres ranging from classical, Renaissance music, avant-garde electronic music, EDM, folk, and progressive rock. When awarded the Charles Ives Fellowship in composition, the American Academy of Arts and Letters noted “at every turn, his propulsive, incisive work is beautifully and confidently made. . . Lane’s music is as inviting as it is sophisticated.” He is currently Associate Professor of Composition and Director of the Roger and Center for New Music at the University of Georgia.
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Brian Sears’s music is based on his attraction to timbre, space, and texture, and is heavily influenced by the art of electroacoustic performance practice, and its ability to shift our perception of reality through the use of technology. His compositions use memory, constructive reality, and intimate sonic expressions to invoke deep emotional connections. Brian holds a Ph.D in Music Composition and Theory from Brandeis University, where he studied with Eric Chasalow, Yu-Hui Chang, and David Rakowski. Brian is continually inspired and influenced by his interactions and collaborations with performers and sound artists, as well as past teachers and mentors like Elainie Lillios, Mikel Kuehn, Pablo Furman, and Brian Belet.

Brian is currently serving as the Assistant Director of Operations for the Writing and Music Technology Division at Berklee College of Music, where he creates new curricular programs to encourage student creation and collaboration. He is the winner of the 2018 ASCAP/SEAMUS Commission Competition, and his music has been performed nationally at festivals and conferences like ICMC, SEAMUS, NYCEMF, SCI, New Music Gathering, Electronic Music Midwest, N_SEME, SPLICE Festival, and others, as well as by members of the International Contemporary Ensemble, Collage New Music, SPLICE ensemble, the Toledo Symphony Orchestra and the San José Chamber Orchestra. He has also been a participant artist at various residencies including the Manifeste Academy at IRCAM, Atlantic Center of the Arts, the SPLICE Summer Institute, and the Summer Institute for Contemporary Performance Practice at New England Conservatory.
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Shahrzad Talebi is a composer from Tehran, Iran. Her music is inspired by a broad range of human experiences, from personal to political and poems. It is characterized by dense textures and a spontaneous rhythmic style. The microtonal structures, styles of ornamentation, and the timbral scope of Iranian traditional and folk music have been influential to her approach. Her work has been selected for Electronic Music Midwest, the Klingler ElectroAcoustic Residency Competition (Writing a piece for Unheard-of//Ensemble), the Toledo Symphony Orchestra reading session, BGSU MicroOpera, Fifteen Minutes-of-Fame (Drew Hosler), the electroacoustic music competition “Reza Korourian Awards”. Shahrzad earned her bachelor's degree from the Tehran University of Art and her master's degree at Bowling Green State University, where she studied with Dr. Mikel Kuehn, Dr. Elainie Lillios, and Dr. Christopher Dietz. She will be attending the University of North Texas to pursue her PhD in composition this fall.
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Ted Moore (he / him) is a composer, improviser, and intermedia artist whose work fuses sonic, visual, physical, and acoustic elements, often incorporating technology to create immersive, multidimensional experiences.

Ted’s music has been presented by leading cultural institutions such as MassMoCA, South by Southwest, The Walker Art Center, and National Sawdust and presented by ensembles such as Talea Ensemble, International Contemporary Ensemble, the [Switch~ Ensemble], and the JACK Quartet.

Ranging from concert stages to dirty basements, Ted is a frequent improviser on electronics and has appeared with dozens of instrumental collaborators across Europe and North America. Described as “frankly unsafe” by icareifyoulisten.com, performances on his custom, large-scale software instrument for live sound processing and synthesis, enables an improvisational voice rooted in free jazz, noise music, and musique concrète.
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Born in Guangdong, China, Zouning’s music draws inspiration from her fascination with nature and technology, blended with a constant curiosity about the playing capacity of instruments. She endeavors to incorporate unexpected and everyday sounds into her music.

Her music has been performed in the United States, France, China, and England. In 2023, her work was featured in the Musicacoustica Hangzhou Electronic Music Festival, Electronic Music Midwest, CampGround23, Turn Up 2023, SPLICE Festival, and Everyday is Spatial 2023. She was honored to also be featured in New York City Electroacoustic Music Festival (2022), SEAMUS national conference in (2021, 2022), National Student Electronic Music Event (2021), and the Society of Composers Inc. (2021). Zouning was named a finalist in the ASCAP/ SEAMUS Student Composer Commission Competition in 2021.

Zouning is currently pursuing a master’s degree with double majors in electronic music composition and music theory at Indiana University Jacobs School of Music. She also serves as an Associate Instructor of Music Theory and teaches written and aural theory at undergraduate level. She holds a bachelor’s degree from the same institution where she studies with David Dzubay, John Gibson, and Chi Wang among other notable mentors. In summer 2023, Zouning earned a certification from the CIEE Paris Contemporary Music Creation and Critique Program, ManiFeste & I’Académie at IRCAM- Centre Pompidou in Paris, France.
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Bella Rose Kelly is a student at Berklee College of Music where she is majoring in Composition and minoring in Screen Scoring. She has earned the Berklee World Tour scholarship as well as the Taco Bell Live Mas scholarship in composition. Bella has operated most notably in the Neither/Nor ensemble directed by Dr. Richard Carrick as a composer, performer, and orchestra manager. She has premiered two pieces with the group since 2021. Her goal is to make classical music more accessible through writing and imaginative concert experiences. She is inspired by the music of Jessie Montgomery and Claude Debussy.
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Ziaire Trinidad Sherman is a Black American saxophonist, composer, and visual artist based in Cincinnati and Boston. He is known for blending his musical talents with storytelling and admiration for life. Ziaire's captivating saxophone performances, combined with cutting-edge technology and a deep appreciation for the history of sound, create visually stunning experiences. He has showcased his work through audiovisual pieces, touring, and art installations, with exhibitions and performances at MIT, Harvard, Documenta, and Fabrica Research Center. Ziaire Trinidad Sherman remains committed to exploring fresh and innovative ways to express his artistry.
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Nov

4

2:00 PM14:00

SPLICEFest Workshop 2

Saturday, November 4, 2023
2:00 PM 3:00 PM 14:00 15:00
Multi-Purpose Room, Berklee College of Music (map)
Google Calendar ICS

SPLICE Festival V 2023 Workshop 2

Saturday November 4, 2023
2:00pm EDT
Multi-Purpose Room, Berklee College of Music
132 Ipswich St, Boston, MA 02215

Erin Landers, Sophie Delphis, and Brian Ellis

Movement and Music: Working with Choreography and Motion Capture Technology

Brooklyn Motion Capture Dance Ensemble is dedicated to the art of sonification of movement. This workshop will be an exploration of our group's artistic practice, and will share best practices we've learned regarding collaborations among composers, choreographers, and creative coders. In our time together, we will discuss theoretical groundings, play with some AI-powered instruments, and perform a piece together as a group.

NOTE: To the extent that you are comfortable and able, this workshop will ask you to move with us. Comfortable clothing conducive to movement is encouraged but not required.

Bios

Erin Landers, Movement Director of Brooklyn Motion Capture Dance Ensemble, (she/her) is a Brooklyn based choreographer, teacher, and performer. She is a founding member of ECHOensemble, an improvising group of musicians and dancers, a dancer with dNaga Dance Company, an internationally-touring, intergenerational dance company directed by Claudine Naganuma, and was a co-founder of A-Y/dancers, a Hudson-Valley based repertory company. Erin is influenced by her upbringing in a musical household and study of a variety of dance forms including modern, contemporary, ballet, Zimbabwean (Shona), Irish (step), and Balkan folk dance, as well as mime. Erin recently produced her second evening-length performance, entitled of body of body of, a piece of horizontal movement theater. She has presented work at Palace of Fine Arts (San Francisco), the Trust Performing Arts Center (Lancaster, PA), Alchemical Studios (New York City), ChaShaMa (New York City), and the Neuberger Museum of Art (Purchase, NY).

Franco-American mezzo-soprano Sophie Delphis’ operatic roles include: Félicie/Adélaïde (La Belle et la Bête, Glass), Cherubino (Le nozze di Figaro), Giunone (La Calisto), Carmen and Mercédès (Carmen), Flora (La Traviata), Rosina (Il barbiere di Siviglia), Cenerentola and Tisbe (La Cenerentola), Concepción (L’heure espagnole), Hansel, (Hansel and Gretel) and Elle (La voix humaine). An avid recitalist, Sophie regularly produces programs for musical and cultural organizations in the United States and China. Recent and upcoming works include: Ravel's Chansons madécasses and Trois poèmes de Stéphane Mallarmé, Bolcom's Cabaret Songs, Schoenberg's Pierrot Lunaire and Das Buch der Hängenden Gärten and Messiaen's Harawi. Along with classical repertoire, she enjoys collaborating with composers, improvisers and theater artists on new works. She is a soloist on the Grammy Award-nominated Naxos recording of Milhaud’s Oresteia trilogy. She currently resides in New York City, where she is pursuing a doctoral degree in voice performance at the Graduate Center CUNY.

Brian Ellis is a creative coder, composer, and multi-instrumentalist. His artistic practice centers around using code to democratize creative expression. He founded the Brooklyn Motion Capture Dance Ensemble to explore this via the medium of dance, and to expand the possibilities of movement-based musical interfaces. Brian additionally maintains many performance practices. He incorporates classical guitar, mountain dulcimer, live electronics, and no-input-mixing into his solo practice, and is an active ensemble member in Echo Ensemble and SANS; duo.

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Nov

4

2:00 PM14:00

SPLICEFest Workshop 3

Saturday, November 4, 2023
2:00 PM 3:00 PM 14:00 15:00
Multi-Purpose Room, Berklee College of Music (map)
Google Calendar ICS

SPLICE Festival V 2023 Workshop 3

Saturday November 4, 2023
4:00pm EDT
Multi-Purpose Room, Berklee College of Music
132 Ipswich St, Boston, MA 02215

Heather Stebbins

Getting Started with Eurorack (Without Going Bankrupt)

Introduction to working with modular synthesis using [free] VCV rack. Participants will learn the basics of modular synthesis and signal flow in the digital environment. By the end of the workshop they will generate their own musical content using VCV

Bio

Heather Stebbins is a composer, technologist, synthesist, and educator based in Washington, DC, where she is Assistant Professor of Electronic and Computer Music at George Washington University. She works with sounds created by instruments, found objects, nature, and voltage to generate musical experiences ranging from notated works for chamber ensembles to improvised performances on modular synthesizers. Really wonderful people and ensembles have performed her music in a lot of neat places, and she is grateful for that. Her recent album, At the End of the Sky (Superpang, 2023), is available on Bandcamp and streaming platforms. Other recordings are available on New Focus Recordings, Not Art Records, SEAMUS, and Coviello labels.

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Nov

4

11:00 AM11:00

SPLICEFest Concert 4

Saturday, November 4, 2023
11:00 AM 12:00 PM 11:00 12:00
David Friend Recital Hall, Berklee College of Music (map)
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SPLICE Festival V 2023 Concert 4 Program

Saturday November 4, 2023
11:00am EDT
David Friend Recital Hall, Berklee College of Music
921 Boylston Street Boston, MA 02115

Will Yager : Krats/Strak: Spectral DJ & Double Bass
Will Yager, bass
Jean-François Charles, light show DJ

Marcea McGuire : Body
Marcea McGuire, voice

Nina Shekhar : Honk if You Love Me
Amy Advocat, clarinet

Leah Reid : Jouer
Kyle Hutchins, soprano saxophone

Elliott Lupp : a warp along the length of the face
Will Yager, bass

Wenxin Li : Wu
Wenxin Li, live electronics

Badie Khaleghian : Before I Became Aware Of This Moving Of Life
Wilson Poffenberger, saxophone

Note: Caroline Miller was formerly scheduled to have a piece on this concert, but was unfortunately unable to attend.

Notes

Will Yager : Krats/Strak: Spectral DJ & Double Bass
Spectral DJ is Jean-François Charles's personal electronic music improvisation tool; it is a unique software musical instrument optimized for live performance with a DJ controller. It features a versatile scratch delay and a powerful live graphic sound processing environment. Collaborative creation lies at the core of the Spectral DJ Duo. By design, the Spectral DJ instrument restores the art of listening as the most important of musical skills. When combined with Will Yager’s double bass, the possibilities include not only live synthesis and processing, but also counterpoint between the instruments and combining to form a fused sonic entity.
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Marcea McGuire : Body
Body explores the effects of generational trauma. Black women have been subjected to alarming rates of sexual violence for generations. The cycle of silent suffering has only just begun to change with the #MeToo movement. This piece illustrates the impact of sexual assault on one’s self image and interactions within their community.
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Nina Shekhar : Honk if You Love Me
In any large city, the sound of car horns riddles every street. But whenever I visit a city in India, the level of this traffic-filled soundscape is taken to an extreme, with a constant barrage of wild, animated, and exuberant car horns and songs like “Happy Birthday” which play every time a car is put into reverse. These unique horns almost sound too melodic and friendly to be recognized as traffic noises elsewhere, and hence they are used differently when driving – rather than honking out of anger, they are used to communicate to other drivers and make each car’s presence known, almost as a form of self-expression. In many ways, these drivers are reclaiming technology and using it to communicate – the most human and individual act possible. In essence, this piece Honk If You Love Me is a meta-version of this phenomenon, using electronics to disintegrate these traffic sounds and recontextualize them into something deeply personal and human.
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Leah Reid : Jouer
Jouer is an immersive composition for amplified soprano saxophone and electronics that explores sounds associated with “play”—sports, balls bouncing or being hit, playground and amusement park sounds, sounds of various children’s toys, balloons, video games, swimming pool games, trampolines, casinos, racetrack sounds, and much more. The electronics lead the listener through various soundscapes associated with the theme, while the saxophone part interacts with the evolving timbres and unifies the various sound worlds.

The composition was written as part of Reid’s Guggenheim Fellowship for Kyle Hutchins and the Cube at Virginia Tech.
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Elliott Lupp : a warp along the length of the face
This piece was written for and in collaboration with double bassist and friend Will Yager over a two year period. The work uses a series of cue like notational ‘guides’ (provided in real time via laptop) to instruct the performer through a series of physical, semi-improvisatory performative instructions. These moments rely heavily on the performer’s ability to listen, watch, and move between each moment with well-timed procession and musicality, while also allowing the performer a good amount of agency to explore sonic/performative possibilities from cell to cell. The electronics, both live and fixed, are all synthesized from sounds of wood (a majority of which came from Will’s own double bass). The title comes from the idea that if a plank of wood is said to be 'bowed’, it is said to have a warp along the length of its face.
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Wenxin Li : Wu
Wu is a live electronics piece working with motion detection in Max/MSP. It tracks the performer’s body movements with a camera and translates those movements to control commands for playing and mixing pre-recorded sounds. Wu (舞) in Chinese means dance. Normally dance comes after music. However, in this piece, dance creates the music.
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Badie Khaleghian : Before I Became Aware Of This Moving Of Life
Before I Became Aware Of This Moving Of Life is a work that celebrates the spontaneity and power of improvisation, brought to life by the incredible talent of saxophonist Wilson Poffenberger. This piece was conceived during a close collaboration between Wilson and myself, and it had its world premiere at the Splice Institute 2022 in Kalamazoo, Michigan.

The initial creative spark for the piece came when Wilson mentioned his passion for improvisation during brainstorming sessions with me. This mutual love for organic sonic processes provided the perfect foundation for a work that explores the limits of expression and freedom within a structured environment.

The piece itself is divided into several sections, each offering a unique space for Wilson to showcase his virtuosity and emotional depth. Each section presents a different sonic landscape, built upon a foundation of my guidelines and Wilson's creative input. The result is an ever-evolving dialogue between the saxophonist and the music as they together traverse the ephemeral landscapes that unfold before them.
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Bios

Will Yager is a double bassist committed to experimental music, improvisation, and collaborating with other artists in the creation of new solo and chamber repertoire for the double bass. He is a founding member of both LIGAMENT, a duo with soprano Anika Kildegaard, and the trio Wombat with Justin Comer and Carlos Cotallo Solares. Performance highlights include appearances at the High Zero Festival, Omaha Under the Radar, University of Iowa Center for New Music, Experimental Sound Studios’ Quarantine Concerts, 2021 International Society of Bassists Convention, Nief-Norf Summer Festival, New Music on the Point, Cortona Sessions for New Music, and the Bang on a Can Summer Music Festival. He is based in Baltimore, Maryland.
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Jean-François Charles is a composer, clarinetist, and live electronics designer. After obtaining a MSc in Electrical Engineering at the National Institute for Applied Sciences in Lyon, he studied in Strasbourg with the Italian composer Ivan Fedele. As a clarinetist, he worked with Karlheinz Stockhausen for the world première and recording of Rechter Augenbrauentanz. He earned his Ph.D. in music/composition at Harvard, where he studied with Hans Tutschku, Chaya Czernowin, Julian Anderson, Helmut Lachenmann, Gunther Schuller, and others. His article “A Tutorial on Spectral Sound Processing using Max/MSP and Jitter” published in the Computer Music Journal has helped many electronic musicians integrate spectral sound processing into live performances, compositions, or their own software creations. After serving as deputy director at the Brest Conservatory (Bretagne, France), he joined in 2016 the School of Music at the University of Iowa as assistant professor in composition and digital arts.
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Marcea McGuire is a composer who shares her lived experience through music. Her work — which has been described as “stunning,” “graceful,” “powerful,” and “chilling” — was commissioned by the Church of Jesus Christ of the Latter-day Saints, Lillith Vocal Ensemble and Horizon Ensemble.

McGuire aims to express the unique struggles her community faces; and celebrate her culture and history.

She has a B.F.A. from Ball State University in Music Composition with focus in Sonic Arts Technology. She has a M.M. in Composition from Boston Conservatory at Berklee. McGuire has studied with Keith Kothman, Derek Johnson, Michael Pounds, Mary Kouyoumdjian, and Young Lee.
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Nina Shekhar is a composer and multimedia artist who explores the intersection of identity, vulnerability, love, and laughter to create bold and intensely personal works.

Described as “tart and compelling” (New York Times), “vivid” (Washington Post), and an “orchestral supernova” (LA Times), her music has been commissioned and performed by the New York Philharmonic, LA Philharmonic, Nashville Symphony, Minnesota Orchestra, Seattle Symphony, Louisville Orchestra, Sarasota Orchestra, Oregon Symphony, Albany Symphony, Los Angeles Chamber Orchestra, New World Symphony, Civic Orchestra of Chicago, Eighth Blackbird, International Contemporary Ensemble, JACK Quartet, New York Youth Symphony, Alarm Will Sound, The Crossing, and Chamber Music Society of Lincoln Center. Her work has been featured by Carnegie Hall, Hollywood Bowl, Kennedy Center, Metropolitan Museum of Art, Walt Disney Concert Hall, Library of Congress, and National Gallery of Art.

Current projects include commissions for the New York Philharmonic, Grand Rapids Symphony, and Youth Orchestra Los Angeles (YOLA). Shekhar is the recipient of the 2021 Rudolf Nissim Prize and the 2018 ASCAP Foundation Leonard Bernstein Award, funded by the Bernstein family.

Aside from composing, Shekhar is a versatile performing artist as a flutist, pianist, and saxophonist. She has been featured by the National Flute Association, and she has performed in the Detroit International Jazz Festival.

Shekhar is currently a PhD candidate in Music Composition at Princeton University. She is the 2021-2023 Composer-in-Residence for Young Concert Artists. She is a first-generation Indian American and a native of Detroit, Michigan.
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Sought out for her “dazzling” (Boston Globe) performances with “extreme control and beauty” (The Clarinet Journal), Amy Advocat, clarinetist, is an avid performer of new music having performed with Boston Modern Orchestra Project, Alarm Will Sound, Sound Icon, Guerilla Opera, Firebird Ensemble, Callithumpian Consort, Collage New Music, and Dinosaur Annex. Recent appearances include performances at Beethovenfest Bonn, Vienna Summer Music Festival, Monadnock Music, New Hampshire Music Festival, and the White Mountain Music Festival.

Amy is a founding member of the bass clarinet and marimba duo, Transient Canvas, with whom she has commissioned and premiered hundreds of new works and released three albums to critical acclaim. Transient Canvas regularly tours across the United States and Europe, including featured performances at New Music Gathering (San Francisco/Boston), SoundNOW Festival (Atlanta), Alba Music Festival (Italy), Music on the Edge (Pittsburgh), Outpost Concert Series (Los Angeles), and more. Their debut album, Sift, was released in August 2017 on New Focus Recordings to rave reviews. KLANG New Music called it "one of the more refreshing things I've heard in recent years." Their second album, Wired, was named a top local album of 2018 by The Boston Globe with I Care If You Listen raving “Transient Canvas is a tour de force and this record is a must-add to any new music lover’s library.”

Amy Advocat is a proud endorsing artist with Conn-Selmer and Henri Selmer Paris Clarinets.
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Leah Reid (www.leahreid.com) is a composer, sound artist, researcher, and educator, whose works range from opera, chamber, and vocal music, to acousmatic, electroacoustic works, and interactive sound installations.

Winner of a 2022 Guggenheim Fellowship, Reid has also won the American Prize in Composition, the KLANG! International Electroacoustic Composition Competition, Musicworks’ Electronic Music Contest, Sound of the Year’s Composed with Sound Award, IAWM’s Pauline Oliveros Award, and prizes in the Iannis Xenakis International Electronic Music Competition and International Destellos Competition.

Her compositions have been presented at festivals, conferences, and major venues throughout the world, including Aveiro_Síntese, BEAST FEaST, Espacios Sonoros, EviMus, ICMC, IRCAM’s ManiFeste, MA/IN Festival, NYCEMF, OUA-EMF, Série de Música de Câmara, the Tilde New Music Festival, and WOCMAT, among many others.

Reid received her D.M.A. and M.A. from Stanford University and her B.Mus from McGill University. She is currently an Assistant Professor at the University of Virginia.
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Hailed as “epic” (Jazz Times), "formidable" (The Saxophone Symposium), and "gripping" (Star Tribune), Kyle Hutchins (http://www.jefferykylehutchins.com) is an internationally acclaimed saxophonist. He has performed across five continents, recorded over two dozen albums, premiered hundreds of new works, has authored a book and edited multiple anthologies of music for the saxophone. He holds a Doctor of Musical Arts from the University of Minnesota. Kyle has served on the faculty of Virginia Tech since 2016 where he is Assistant Professor of Practice. He is a Yamaha, Légère Reed, and E. Rousseau Mouthpiece Performing Artist.
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Elliott Lupp is a composer, improvisor, visual artist, educator, and sound designer whose work often invokes images of the distorted, chaotic, visceral, and absurd. This aesthetic approach as it relates to both acoustic and electroacoustic composition has led to a body of work that, at the root of its construction, focuses on the manipulation of noise, extreme gesture, shifting timbre, and performer/computer improvisation/interaction as core elements.

Elliott has received a number of awards and honors for his work, including a 2019 SEAMUS/ASCAP Commission, the 2019 Franklin G. Fisk Composition Award for Chamber Music, and Departmental and All-University awards in Graduate Research and Creative Scholarship. His music has been performed at a variety of electroacoustic festivals/conferences including NUNC!, SPLICE Institute, N_SEME, CHIMEfest, Electronic Music Midwest, MOXsonic, SEAMUS, and Electroacoustic Barn Dance.

Elliott currently teaches courses in music composition and music technology at Northwestern University.
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Wenxin Li is a native of Chongqing, China, and is currently teaching composition and electronic music at the University of Wisconsin-Milwaukee. Li’s music has been featured in a variety of festivals, including Aspen Music Festival, Composers Conference, SCI National Conference, RED NOTE New Music Festival, FSU New Music Festival, National Student Electronic Music Event, Midwest Graduate Music Consortium, and Midwest Composers Symposium. Her music has also been performed by the JACK Quartet, Ensemble Dal Niente, H2 Quartet and Accroche Note. Li received her bachelor’s degree from Sichuan Conservatory of Music, master’s degree from the University of Wisconsin-Madison, and is pursuing her PhD degree in composition at the University of Iowa under David Gompper.

https://soundcloud.com/wenxin-li
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Badie Khaleghian is a dynamic composer and multimedia artist whose passion for collaborative and innovative storytelling projects ignites imaginations, conversations, and transformative experiences. With a keen interest in exploring the intersection of art, cultures, science, and technology, he creates performances that challenge boundaries and break new ground. His works have been featured at renowned festivals worldwide, including the Atemporanea Festival in Buenos Aires, the Korea Electro-Acoustic Music Society’s Annual Conference in Seoul, and the Society for Electro-Acoustic Music in the United States (SEAMUS). Khaleghian’s compositions have been performed by a range of ensembles, from the Crossing Borders and Hub New Music to the Talea Ensemble, Transient Canvas, and the Atlanta Symphony Orchestra.

Currently pursuing a doctorate in composition at Rice University, Khaleghian is deeply committed to research, teaching, and composing. He draws inspiration from his diverse cultural background and a strong desire to connect people through the power of art. Whether collaborating with other artists or working solo, Khaleghian’s work is characterized by its bold experimentation, technical sophistication, and emotional depth. With his finger on the pulse of the latest artistic trends and technologies, Khaleghian is poised to make an indelible mark on the world of contemporary music and multimedia art.
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Described as an “Admirably skilled player” (The News-Gazette), Boston based saxophonist WILSON POFFENBERGER is quickly establishing himself as a soloist, educator, chamber musician and improviser. Currently, Mr. Poffenberger is pursuing a Doctor of Musical Arts degree in saxophone performance and literature at the University of Illinois Urbana-Champaign where he recently received ABD status.

As a soloist, Mr. Poffenberger has performed with the Boston Modern Orchestra Project, Illinois Modern Ensemble, Illinois Wind Symphony, Dana Symphony Orchestra, Youngstown State University Percussion Ensemble, and Hagerstown Municipal Band. He has presented recitals at the National Student Electronic Music Event, XVIII World Saxophone Congress in Zagreb, Croatia, EMS60 Conference, Splice New Music Festival, International Navy Band Saxophone Symposium, North American Saxophone Alliance Biannual Conference, Duquesne Saxophone Day, the Fondation des Etats-Unis and the Fondation Bierman-Lapotre.

Recent accomplishments include first prize at the 2020 UI Symphony Orchestra Concerto Competition, first prize at the 2020 American Prize Chamber Music Competition, first prize at the 2020 North American Saxophone Alliance Quartet Competition, first prize at the 2019 Mostly Modern Festival Concerto Competition, first prize at the 2019 Krannert Debut Artist Competition, grand prize at the 2017 Enkor International Woodwind and Brass Competition, winner of the 2016-2017 Harriet Hale Woolley award, first prize at the 2014 Dana Young Artist competition, semi-finalist in the 2014 International Saxophone Symposium and Competition, and semi-finalist in the 2018 and 2014 North American Saxophone Alliance Collegiate Solo Competition.
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Nov

3

7:00 PM19:00

SPLICEFest Concert 3

Friday, November 3, 2023
7:00 PM 8:00 PM 19:00 20:00
David Friend Recital Hall, Berklee College of Music (map)
Google Calendar ICS

SPLICE Festival V 2023 Concert 3 Program

Friday November 3, 2023
7:00pm EDT
David Friend Recital Hall, Berklee College of Music
921 Boylston Street Boston, MA 02115

Anonymous (arranged by Rakel Saranga) : Durme Durme
Rakel Saranga, Cristina Aramayo, Michal Nissimoff, and Viktoria Stachova -
voice, electronics, Oud, and frame drum

Dana Jessen and Ted Moore : (un) Wired: Improvisation with DJII
Dana Jessen, bassoon
Ted Moore, electronics

Luciano Berio : Altra Voce
SydeBoob Duo:
Anna Elder, voice
Sara Steranka, flute
Brian Riordan, live electronics

Stacy Busch : She Breathes Fire
newEar Contemporary Chamber Ensemble:
Stacy Busch, voice
Zsolt Eder, violin
Boris Vayner, viola
Sascha Groschang, cello

intermission

Zouning (Anne) Liao : hypothetical particles
Zouning (Anne) Liao, light.void~

Brian Ellis and Erin Landers : We Grow Together
Erin Landers, dancer
Sophie Delphis, dancer
Brian Ellis, dance

Notes

Anonymous (arranged by Rakel Saranga) : Durme Durme
Durme Durme is a traditional Sephardic Jewish lullaby, sung primarily throughout regions in Turkey. The objective of this project was to take monophonic, melody based middle eastern music, and introduce it to the world of granular synthesis and processing; connecting old melodies with an electronic sound, playing with the dynamics of old and new. The idea is to have percussion and singers live, whilst recordings of the voice are being synthesized within Ableton Lives Granular II, creating a mass of auditive textures that will eventually turn into what electronic musicians like to call, “wall of sound”.
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Dana Jessen and Ted Moore : (un) Wired: Improvisation with DJII
Dana Jessen's (un) Wired is a solo electroacoustic and improvisatory work that incorporates sonic environments and live processing through DJII. DJII is a software designed by Ted Moore and Dana Jessen to be used by an improvising performer as live electronics accompaniment and interaction. Their collaborative process began in 2021 with open discussions about what a performance with DJII would sound like to an audience and feel like to a performer, and how one might develop an ongoing performance practice with the software. This performance will showcase the interface in conversation with Jessen's unique improvisatory language.
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Luciano Berio : Altra Voce
In one episode, namely Il Campo (The Field), from my azione musicale Cronaca del Luogo, there is a virtual love duet. Two voices and several instruments 'fall in love' and follow one another in a constantly renewing relationship. As we all know, in true polyphony each voice contributes to the whole yet retains its own identity, if not complete autonomy. In Altra voce I have liberated one voice (mezzo-soprano) and one instrument (alto flute) from the whole and developed their respective autonomies and harmonic premises by, among other means, using live electronics.
- Luciano Berio
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Stacy Busch : She Breathes Fire
The piece explores the fantasy world of Shey- a land and history of my own imagination. The world is currently divided by the ruling Kingdom of Men who have oppressed and silenced women for centuries. Now, the women have gathered their strength with an all powerful weapon and march to defeat the Kingdom of Men. However, they find that power and fear causes corruption even with the best of intentions.

I think of this piece as a prologue that recounts the history of Shey as it introduces us to the world and it's major players. It is an epic that expresses the deepest human struggles while also commenting on the similarities and differences with our world today.

This is the first piece in a large series of works to be written from the world of Shey.
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Zouning (Anne) Liao : hypothetical particles
Hypothetical particles in physicals are particles that have not yet been proven to exist by observation. However, these phenomena are necessary for consistency within a given physical theory. In this piece, I explore the phenomenon through the interaction between light and sound particles. Amplitudes of the lights trigger changes in music, which reveal connections between the natural and synthetic sound worlds.

The light instrument is a handmade digital photo controller consisting of 16 light-dependent resistors. This is a replication of light.void~, designed by recent IU alumnus Felipe Tovar-Henao based on Leafcutter John’s light thing.

This piece is dedicated to Felipe Tovar- Henao, who is a good friend, an important mentor, and a crucial source of inspiration that motivated me to pursue music composition.
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Brian Ellis and Erin Landers: We Grow Together
We Grow Together is a community-based ritual performance. Grounded fully in the idea that every person can be expressive through movement and music, we aim to create a playful space where the audience is invited to collaborate with us in creating our sonic and spatial environment.
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Bios

Rakel Saranga is a Boston based vocalist, arranger, composer. She is born and raised in Istanbul, Turkey. Her music draws inspiration from the multiple countries/regions that she has lived in, such as the Middle East, Eastern Europe, US and Turkey. She maintains a unique sound that’s an amalgamation of multiple musical genres/worlds. She creates a unique playful sound writing haunting melodies using tensions and unexpected chords. Her main goal is to deliver heartfelt music that takes people on a journey.
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Cristina Aramayo is a 22 year old guitarist, producer and sound designer who uses her cross cultural background to fuse as many genres as possible. She was born in the UK and spent her formative years there, developing an early interest in British rock bands who are still an influence on her today. When she was 8, she moved to Mexico City where the rest of her family is from, which is when she began to discover a joy for all types of genres ranging from EDM, to hip hop, to reggaetón, amongst others. She largely attributes her current interest in music to the cultural richness of CDMX. In 2021, she moved to Boston to start her music career in Berklee, and is currently an EPD student with a burning passion for granular synthesis and sound design.
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Hailed as a “bassoon virtuoso” (Chicago Reader), Dana Jessen tirelessly seeks to expand the boundaries of her instrument through original compositions, improvisations, and collaborative work with innovative artists. Over the past decade, she has presented dozens of world premiere performances throughout North America and Europe while maintaining equal footing in the creative music community as an improviser. Her solo performances are almost entirely grounded in electroacoustic composition that highlight her distinct musical language. As a chamber musician, Dana is the co-founder of the contemporary reed quintet Splinter Reeds, and has performed with Alarm Will Sound, Amsterdam’s DOEK Collective, the San Francisco Contemporary Music Players, and the Tri-Centric Ensemble, among many others. A dedicated educator, Dana teaches at the Oberlin Conservatory of Music and has presented masterclasses and workshops to a range of students from across the globe. More at: www.danajessen.com
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Ted Moore (he / him) is a composer, improviser, intermedia artist, and educator. He holds a PhD in Music Composition from the University of Chicago and recently served as a Research Fellow in Creative Coding at the University of Huddersfield (AY 2021-22), investigating the creative affordances of machine learning and data science algorithms as part of the FluCoMa project. His work focuses on fusing the sonic, visual, physical, and acoustic aspects of performance and sound, often through the integration of technology. Ted’s work has been described as “frankly unsafe” (icareifyoulisten.com), an impressive achievement both artistically and technically” (VitaMN), and “epic” (Pioneer Press). Ted’s work has been presented by the International Contemporary Ensemble, Jack Quartet, Talea Ensemble, Spektral Quartet, Yarn/Wire, Splinter Reeds, Quince Vocal Ensemble, HOCKET, Imani Winds, Civic Orchestra of Chicago, Line Upon Line, The Dream Songs Project, AVIDduo, and has been performed around the world including at South by Southwest (Austin, TX), National Sawdust (NYC), The Walker Art Center (Minneapolis), STEIM (Amsterdam), Whatever Works nykymusiikkifestivaali (Finland), Internationales Musikinstitut Darmstadt (Germany), City University (London), Hochschule für Musik (Freiburg), Center for New Music (San Francisco), ESS (Chicago), World Saxophone Congress (Croatia), New York City Electroacoustic Music Festival, CubeFest (Blacksburg, VA), MASS MoCA (Massachusetts), Omaha Under the Radar (Nebraska), Electric Spring (UK), Pittsburgh Festival of New Music, Electroacoustic Barn Dance, Root Signals Electronic Music Festival (Georgia), SEAMUS, Punk Ass Classical (Minneapolis), MOXsonic (MO), New Horizons Music Festival (MO), and the SPLICE Festival (Bowling Green, OH).
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SydeBoob Duo is a female-fronted experimental music collective located in Brooklyn, NY and composed of soprano vocalist Anna Elder and flutist Sarah Steranka. We are dedicated to pushing the boundaries of contemporary performance, amplifying the voices of female artists, and using alternative performance mediums to invite listeners into a more unique and challenging listening space. We are creators, improvisers, and performers of contemporary sounds actively commissioning and performing contemporary classical music for soprano voice, flute(s), and electronics.
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Brian Riordan is a composer, performer, improviser, producer, and sound artist originally from Chicago, IL. He completed his PhD in Music Composition and Theory at University of Pittsburgh, where he teaches a class he designed called “Programming Environments in Music: An Introduction to Max/MSP”. His research interests are in temporal discontinuity, delay-based performance, real-time digital signal processing, and laptop performance aesthetics. As an avid collaborator, he has performed in numerous ensembles ranging from rock, jazz, classical, and experimental throughout North American, Europe, and Asia. His compositions have been performed by The JACK Quartet, The Callithumpian Consort, Wet Ink Ensemble, andPlay, The Meridian Arts Ensemble, Kamraton, Untwelve, The H2 Quartet, Alia Musica, Wolftrap, and his compositions have been featured at STEIM, SEAMUS, SICPP, New Music On The Point, SPLICE, and The Walden Creative Musicians Retreat. As a member of the Pittsburgh ensemble “How Things Are Made,” he produced and performed on over 70 recordings for the group and have commissioned 52 compositions.
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Stacy Busch is a composer/performer who utilizes her voice with electronics to build unique sound worlds. Her work is a meeting point between art pop, avant-classical and singer-songwriter. Stacy's work has been performed nationally and internationally. It has been performed by ensembles including: loadbang, Bent Frequency, Beo String Quartet and newEar Contemporary Chamber Ensemble. Performances at international residencies include Listhus Artist Residency in Iceland and ArtHouse Holland in The Netherlands. Stacy is a 2022 OneBeat Virtual Fellow for Global Music Leaders (a program of Bang on a Can) and she received the 2020 Charlotte Street Foundation Generative Performing Artist Award. Stacy has received grants from ArtsKC, ArtSounds, Charlotte Street Foundation and the UMKC Women's Council. Stacy received her MM in composition from the University of Missouri-Kansas City and her BM in composition from Western Michigan University.
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Hungarian violinist Zsolt Eder has established himself as a versatile and engaging performer and teacher. Zsolt has performed extensively in North and South America, Europe, Asia, and Australia. Highlights include performing in the first Canadian Ring Cycle (Wagner) with the Canadian Opera Company, at the Beijing Modern Music Festival in China, IMS Prussia Cove in England, and at the International Classical and Folk Music Festival in Kyrgyzstan. He has performed as a soloist with the Cleveland Institute of Music Symphony Orchestra, the Topeka Symphony, the City of Asuncion Symphony Orchestra (OSCA) in Paraguay, the Parlando Chamber Orchestra (Hungary), the Via Salzburg Chamber Orchestra (Toronto, Canada) and the Midwest Chamber Ensemble (Kansas City). He has appeared live on Hungarian National Radio and ABC Australia.
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Originally from Novosibirsk, Russia, Boris Vayner has been enjoying a diverse career in music as a violist, educator and conductor. As a member of the Grammy nominated St. Petersburg String Quartet since 2005, he has been intensively touring throughout North America, South America, Europe and Asia. The highlights of his career include performances at Lincoln Center, Library of Congress, Amsterdam Concertgebouw, Manchester Bridgewater Hall, Dublin National Concert Hall, London King’s Place, St. Petersburg Philharmonic Great Hall, and appearances at such festivals as Schleswig-Holstein (Germany), MIMO (Brazil), Buxton (England), Fishguard (Wales), Music Mountain, Newport, Rockport, and Mainly Mozart in San Diego, among others. Boris Vayner has collaborated with such internationally renowned artists as Leon Fleisher, Michael Tree, Peter Donohoe, David Shifrin, Misha Dichter, and Stephanie Chase. He has also been a member of the St. Petersburg Piano Quartet that debuted in New York in May 2014.
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Sascha Groschang, cellist, has performed extensively across the United States and Asia. She has appeared at Lincoln Center and Carnegie Hall numerous times, and gave her solo debut recital at Carnegie Hall’s Weill Recital Hall in 2009. She has been a soloist and lecturer at the Thailand International Composition Festival, performed for the King of Malaysia with the Kuala Lumpur International Festival Orchestra, and traveled all across China on two tours with the Mantovani Pops Orchestra. She has shared the stage with artists such as Yo-Yo Ma, Itzhak Perlman, The Eagles, Vince Gill, the Trans-Siberian Orchestra, Michael Bublé, Peter Gabriel, Josh Groban, Sarah Mclachlan, Idina Menzel, Amy Grant and her recording credits include NBC, Atlantic, and Rhino Records.
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Born in Guangdong, China, Zouning’s music draws inspiration from her fascination with nature and technology, blended with a constant curiosity about the playing capacity of instruments. She endeavors to incorporate unexpected and everyday sounds into her music.

Her music has been performed in the United States, France, China, and England. In 2023, her work was featured in the Musicacoustica Hangzhou Electronic Music Festival, Electronic Music Midwest, CampGround23, Turn Up 2023, SPLICE Festival, and Everyday is Spatial 2023. She was honored to also be featured in New York City Electroacoustic Music Festival (2022), SEAMUS national conference in (2021, 2022), National Student Electronic Music Event (2021), and the Society of Composers Inc. (2021). Zouning was named a finalist in the ASCAP/ SEAMUS Student Composer Commission Competition in 2021.

Zouning is currently pursuing a master’s degree with double majors in electronic music composition and music theory at Indiana University Jacobs School of Music. She also serves as an Associate Instructor of Music Theory and teaches written and aural theory at undergraduate level. She holds a bachelor’s degree from the same institution where she studies with David Dzubay, John Gibson, and Chi Wang among other notable mentors. In summer 2023, Zouning earned a certification from the CIEE Paris Contemporary Music Creation and Critique Program, ManiFeste & I’Académie at IRCAM- Centre Pompidou in Paris, France.
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Brian Ellis is a creative coder, composer, and multi-instrumentalist. His artistic practice centers around using code to democratize creative expression. He founded the Brooklyn Motion Capture Dance Ensemble to explore this via the medium of dance, and to expand the possibilities of movement-based musical interfaces. Brian additionally maintains many performance practices. He incorporates classical guitar, mountain dulcimer, live electronics, and no-input-mixing into his solo practice, and is an active ensemble member in Echo Ensemble and SANS; duo.
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Erin Landers, Movement Director of Brooklyn Motion Capture Dance Ensemble, (she/her) is a Brooklyn based choreographer, teacher, and performer. She is a founding member of ECHOensemble, an improvising group of musicians and dancers, a dancer with dNaga Dance Company, an internationally-touring, intergenerational dance company directed by Claudine Naganuma, and was a co-founder of A-Y/dancers, a Hudson-Valley based repertory company. Erin is influenced by her upbringing in a musical household and study of a variety of dance forms including modern, contemporary, ballet, Zimbabwean (Shona), Irish (step), and Balkan folk dance, as well as mime. Erin recently produced her second evening-length performance, entitled of body of body of, a piece of horizontal movement theater. She has presented work at Palace of Fine Arts (San Francisco), the Trust Performing Arts Center (Lancaster, PA), Alchemical Studios (New York City), ChaShaMa (New York City), and the Neuberger Museum of Art (Purchase, NY).
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Franco-American mezzo-soprano Sophie Delphis’ operatic roles include: Félicie/Adélaïde (La Belle et la Bête, Glass), Cherubino (Le nozze di Figaro), Giunone (La Calisto), Carmen and Mercédès (Carmen), Flora (La Traviata), Rosina (Il barbiere di Siviglia), Cenerentola and Tisbe (La Cenerentola), Concepción (L’heure espagnole), Hansel, (Hansel and Gretel) and Elle (La voix humaine). An avid recitalist, Sophie regularly produces programs for musical and cultural organizations in the United States and China. Recent and upcoming works include: Ravel's Chansons madécasses and Trois poèmes de Stéphane Mallarmé, Bolcom's Cabaret Songs, Schoenberg's Pierrot Lunaire and Das Buch der Hängenden Gärten and Messiaen's Harawi. Along with classical repertoire, she enjoys collaborating with composers, improvisers and theater artists on new works. She is a soloist on the Grammy Award-nominated Naxos recording of Milhaud’s Oresteia trilogy. She currently resides in New York City, where she is pursuing a doctoral degree in voice performance at the Graduate Center CUNY. back to program

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Nov

3

4:00 PM16:00

SPLICEFest Workshop 1

Friday, November 3, 2023
4:00 PM 5:00 PM 16:00 17:00
Loft, Berklee College of Music (map)
Google Calendar ICS

SPLICE Festival V 2023 Workshop 1

Friday November 3, 2023
4:00pm EDT
Loft, Berklee College of Music
921 Boylston Street, 3rd floor, Boston, MA 02115

Nilou Nourbakhsh

Novel Interfaces of Expression

A one-hour laptop ensemble workshop that can work with 4 participants or more, up to 40. This workshop includes an introduction to building a simple max patch that we will then use to improvise within a structured improvisation. This workshop also includes a rehearsal of two pieces from the laptop ensemble repertoire: Sonorous Noise by Oliver Hickman and Callings by Spencer Topel

Bio

Described as “stark” by WNPR and “darkly lyrical” by the New York Times, a winner of the Second International Hildegard commission award, a 2019 recipient of Opera America’s Discovery Grant, and winner of 2022 Beth Morrison Projects Next Generation competition, Niloufar Nourbakhsh’s music has been performed at numerous festivals and venues including Carnegie Hall, Mostly Mozart at Lincoln Center, and Direct Current Festival at the Kennedy Center. A founding member and co-director of Iranian Female Composers Association, Nourbakhsh is a strong advocate of music education and equal opportunities. She is currently the co-artistic director of Peabody Conservatory Laptop Orchestra and teaches composition at Longy School of Music of Bard college. Niloufar holds a doctoral degree from Stony Brook University and regularly performs with her Ensemble Decipher.

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Nov

3

2:00 PM14:00

SPLICEFest Lectures

Friday, November 3, 2023
2:00 PM 3:00 PM 14:00 15:00
Loft, Berklee College of Music (map)
Google Calendar ICS

SPLICE Festival V 2023 Lectures

Friday November 3, 2023
2:00pm EDT
Loft, Berklee College of Music
921 Boylston Street, 3rd floor, Boston, MA 02115

Jocelyn Ho, Margaret Schedel and Bryan Jacobs
Women's Labor: Rheostat Rotary Rack

A feminist-activist project, Women’s Labor repurposes domestic tools to become new musical instruments using embedded technologies, featured in interactive installations, commissioned compositions, and performances. Rheostat Rotary Rack, the second instrument in Women’s Labor that won the 2021 IAWM Ruth Anderson Prize, is based on a mid-20th century umbrella-style rotary dryer, performed by hanging clothing on its strings, rotating it by hand and by wind using potentiometers and rotary encoder. The design of the gestural-sound mappings using potentiometers, rotary encoder, and a six-sided speaker box augment the affordances of the rotary rack dryer and revalues housework as participatory performance, where the public is invited to hang clothes. The lecture presentation will discuss the intersection between the technical, design, feminist-activist aspects and performance capabilities of the instrument, including a demonstration of the Rack.

Ted Moore and Dana Jessen
DJII: Modular Instrument Design for Expressive Improvisation Accompaniment

The DJII presentation (presented by DJII coder Ted Moore) outlines the process of collaborating with bassoonist Dana Jessen to create DJII, a software designed to be used by an improvising performer as live electronics accompaniment. The collaborative process began with open discussions about what a performance with DJII would sound like to an audience and feel like to a performer, and how one might develop an ongoing performance practice with the software. These goals guided the design which uses modular signal processing, matrix routing, software-wide state-saving, and time-based parameter transitions between states. This presentation will include an explication of the technical design of the software, but will focus on the performance-practiced-based design choices.

Nolan Hildebrand
NIMB+: Acoustic Instruments as Controllers for No-Input Mixing Board

This lecture recital will consist of a presentation on the use of external acoustic instruments as controllers for no-input mixing board (NIMB). No-input mixing is a technique where one routes a mixer's inputs back into its own outputs to create feedback loops. When a signal from an acoustic instrument's microphone is routed into a no-input mixer, the performer’s amplitude and gestures can control the behavior of the feedback loops. Manipulating the dials and faders of the no-input mixer results in an exciting interaction that creates unpredictable and noisy sounds. The author has dubbed this live electroacoustic set up the NIMB+. The sound output from the NIMB+ setup then has the ability to bridge the gap between acoustic and electronic instruments in live performance.

Caroline Miller
Designing ‘songwriting’ as an inclusive, student-led course

A presentation on my approach to creating an inclusive, student-led environment in my songwriting class, extrapolatable to many kinds of creative/projects oriented courses. In designing the course I drew upon queer theory and texts by Bell Hooks, including Teaching to Transgress: Education as the practice of freedom.

Bios

Jocelyn Ho’s artistic practice involves exploring the relationship between sound, bodily gesture, and culture, as well as rethinking the classical music genre through multimedia technologies, inter-disciplinarity, and audience interactivity. She directs inter-disciplinary, collaborative performance projects, including the sold-out music-art-tech concert project Synaesthesia Playground in which she performed works created by fifteen composers, visual artists, technologists, and fashion designers in an interactive, multimedia piano recital. Her latest project Women’s Labor has won the IAWM Ruth Anderson Prize, Hellman Fellowship, Harvestwork residency, and UCLA Hugo Davise Fund for Contemporary Music, and has been featured at Governors Island, New Music Gathering, Design Museum of Chicago, ISEA, NIME, Alliance of Women in Media Arts and Technology Conference, CCRMA at Stanford, and UCLA Art|Sci Gallery. Ho is a Steinway Artist and an Assistant Professor of Performance Studies at UCLA.
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With an interdisciplinary career blending classical training in cello and composition, sound/audio data research, and innovative computational arts education, Margaret Anne Schedel transcends the boundaries of disparate fields to produce integrated work at the nexus of computation and the arts. She has a diverse creative output with works spanning the interactive multimedia opera The King Listens, virtual reality experiences, sound art, video game scores, and compositions for a wide variety of classical instruments or custom controllers with interactive audio and video processing. She is internationally recognized for the creation and performance of ferociously interactive media and won the 2019 Pamela Z Innovation Award. Her solo CD, Signal through the Flames, will be released by Parma Records in2020. She holds a certificate in Deep Listening with Pauline Oliveros and has studied composition with Mara Helmuth, Cort Lippe and McGregor Boyle and Geoffrey Wright and improvisation with George Lewis and Mark Applebaum. Schedel is a joint author of Cambridge University Press's Electronic Music and recently edited an issue of Organised Sound on using electroacoustic terminology to describe pre-electric sound. Her work has been supported by the Presser Foundation, Centro Mexicano para laMúsica y les Artes Sonoras, and Meet the Composer. She has been commissioned by the Princeton Laptop Orchestra, Ictus, reACT, Yarn|Wire and the Unheard-of//Ensemble. Her research focuses on gesture in music, the sustainability of technology in art, and sonification of data; she co-authored a paper published in Frontiers of Neuroscience on using familiar music to sonify the gaits of people with Parkinson's Disease. She serves as a regional editor for Organised Sound and is an editor for the open access journal Cogent Arts and Humanities. From 2009-2014 she helped run Devotion, a gallery in New York City focused on the intersection of art, science, new media, and design. As an Associate Professor of Music at Stony Brook University, she taught SUNY’s first Massive Open Online Course (MOOC) for Coursera, and formerly served as the director of the Consortium for Digital Arts Culture and Technology. Schedel currently serves as the co-director of computer music and leads the Making Sense of Data Workgroup at the Institute of Advanced Computational Science. She also teaches composition for new media at the Peabody Institute of the Johns Hopkins University. In her spare time, she curates exhibitions focusing on the intersection of art, science, new media, and sound while running www.arts.codes, a platform and artist collective celebrating art with computational underpinnings.
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Composer, performer, and sound artist, Bryan Jacobs’ work focuses on interactions between live performers, mechanical instruments, and computers. His pieces are often theatrical in nature, pitting blabber-mouthed fanciful showoffs against timid reluctants. The sounds are playfully organized and many times mimic patterns found in human dialogue. Hand-build electromechanical instruments controlled by microcontrollers bridge acoustic and electroacoutic sound worlds. These instruments live dual lives as time-based concert works and non-time-based gallery works.

His music has been performed by ensembles such as the Cleveland Chamber Symphony, Wet Ink, International Contemporary Ensemble, Talea Ensemble, Ensemble Pamplemousse, and defunensemble. His music has been featured at many music festivals in Europe and the US. He is a 2017 Guggenheim Fellow. He has performed his own compositions for guitar and electronics at the Stone (NYC), Miller Theater (NYC), and the Wulf (LA). In addition to his artistic endeavors, Jacobs is a member of the performer/composer collective, Ensemble Pamplemousse.
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Ted Moore (he / him) is a composer, improviser, and intermedia artist whose work fuses sonic, visual, physical, and acoustic elements, often incorporating technology to create immersive, multidimensional experiences.

Ted’s music has been presented by leading cultural institutions such as MassMoCA, South by Southwest, The Walker Art Center, and National Sawdust and presented by ensembles such as Talea Ensemble, International Contemporary Ensemble, the [Switch~ Ensemble], and the JACK Quartet.

Ranging from concert stages to dirty basements, Ted is a frequent improviser on electronics and has appeared with dozens of instrumental collaborators across Europe and North America. Described as “frankly unsafe” by icareifyoulisten.com, performances on his custom, large-scale software instrument for live sound processing and synthesis, enables an improvisational voice rooted in free jazz, noise music, and musique concrète.
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Hailed as a “bassoon virtuoso” (Chicago Reader), Dana Jessen tirelessly seeks to expand the boundaries of her instrument through original compositions, improvisations, and collaborative work with innovative artists. Over the past decade, she has presented dozens of world premiere performances throughout North America and Europe while maintaining equal footing in the creative music community as an improviser. Her solo performances are almost entirely grounded in electroacoustic composition that highlight her distinct musical language. As a chamber musician, Dana is the co-founder of the contemporary reed quintet Splinter Reeds, and has performed with Alarm Will Sound, Amsterdam’s DOEK Collective, the San Francisco Contemporary Music Players, and the Tri-Centric Ensemble, among many others. A dedicated educator, Dana teaches at the Oberlin Conservatory of Music and has presented masterclasses and workshops to a range of students from across the globe. More at: www.danajessen.com
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Nolan Hildebrand is a composer, improviser, researcher, and noise artist based in Toronto, Canada. Nolan’s musical practices and aesthetics are centered around noise and maximalism, stemming from a background in drumkit, metal music, and noise music. Through noise, Nolan explores conceptual and physical extremities to create intense and engaging music. His compositional output spans classical ensembles, electroacoustic music, and improvised music. Nolan also performs, records, and releases music under his experimental solo noise project, BLACK GALAXIE.

Nolan has had opportunities to work with the Winnipeg Symphony Orchestra, ECM+ Ensemble, XelmYa Ensemble, TORQ Percussion, Jonny Axelsson, Nick Photinos and has attended masterclasses with Donnacha Dennehy, Ana Sokolovic, and Luca Cori. He has presented his music and research at the Anestis Logothetis Centenary Symposium (Athens, Greece), the CeReNeM Composers’ Colloquia (Huddersfield, UK), and the Korean Electro Acoustic Music Society’s Annual Conference (Seoul, Korea).

He is currently pursuing a DMA at the University of Toronto.
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Caroline Louise Miller is a US composer based in Portland, Oregon. Their work broadly explores affect, ecology, labor politics, tactility, and digital materiality, often addressing contemporary issues within dreamlike musical spaces that thread field recordings, shimmering textures, and romantic melodic lines through harsh noise and clattering dissonance. She has received grants, fellowships, and commissions through Sonic Matter OpenLAB, Alarm Will Sound, SPLICE Ensemble & Chamber Music America, Guerilla Opera, Transient Canvas, and Ensemble Adapter. In 2018 she won the ISB/David Walter Composition Competition for Hydra Nightingale, created with improvisor and bassist Kyle Motl. Other projects include whistle-session hijacker, a collection of acousmatic/instrumental hip-hop crossover tracks. C.L.M.'s music appears across the U.S. and internationally. Caroline is Assistant Professor of Music in Sonic Arts at Portland State University, and holds a Ph.D in Music from UC San Diego.
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Nov

3

11:00 AM11:00

SPLICEFest Concert 2

Friday, November 3, 2023
11:00 AM 12:00 PM 11:00 12:00
David Friend Recital Hall, Berklee College of Music (map)
Google Calendar ICS

SPLICE Festival V 2023 Concert 2 Program

Friday November 3, 2023
11:00am EDT
David Friend Recital Hall, Berklee College of Music
921 Boylston Street Boston, MA 02115

Mofan (Amber) Dai : immersed imprint
Mofan (Amber) Dai, horn

Heather Stebbins : Form 6
Heather Stebbins, electronics

Michael Flynn : Squint Skyward and Listen—
Justin Paul Ortez, piano
Michael Flynn, electronics

Tao Li : Tres Aurorae
Zhi-Yuan Bruce Luo, clarinet

Eric Chasalow : The Wings That Bear The Night Away
Julia Glenn, violin

Ciyadh Wells : Detras Nuvo Canción
Ciyadh Wells, guitar

Dan VanHassel : Aftershock
Angela Kim, piano

Notes

Mofan (Amber) Dai : immersed imprint
immersed imprint is a piece exploring the fine line between the sounds of horn and voice with elements of improvisation and randomness.
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Heather Stebbins : Form 6
My musical output in the last decade or so consists largely of notated music for instruments and electronics. That process involves a great deal of planning, revisions, and introspection. The music on my recent albums is a complete shift from this process- very little planning went into developing the tracks. Instead, the process was more about following my musical intuition. I began exploring semi and fully modular synthesis in 2021. I approached learning new techniques and gear methodically; about 4 or 5 times a week, after my children went to bed, I would start up my gear and try to make something. I always recorded these sessions, and while most nights the result wasn't anything worth keeping I would occasionally stumble upon a patch that generated musical results that I could work with. As weeks went on the ratio of frustration:usable material shifted and I felt more in control of the gear and how I wanted to use it musically.

Though I'm primarily a composer, my background is as a performer, and working with synthesis in this way has been like finding this liminal space between composition and performance that I really connect with. I also thrive in the immediacy of the sonic experience: unlike with notated music, being able to hear and react to my output in real time helps drive my process forward. I also palpably feel the impermanence of working with synthesis; the patch I generate will likely not be able to be recreated in the exact way, so I have to experience it deeply in the moment. I've always felt like when I compose, I am discovering rather than creating. This sentiment is even stronger when I am working with my synthesizers.
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Michael Flynn : Squint Skyward and Listen—
Squint Skyward and Listen— is a work for solo piano and electronics, written for—and dedicated to—my good friend Justin Ortez. The piece draws its harmonic material from two songs: “Emily” by Joanna Newsom and “A Case of You” by Joni Mitchell. Justin is arguably the biggest fan in the world of both of these artists—I doubt he would dispute this—so it felt fitting to draw from their music when writing a piece for him.

Newsom’s lyrics in “Emily” inspired the structure of the work, with each section of the score being marked with a different lyrical excerpt. Imagery of staring up at the sky—either a bright blue expanse with a blazing sun or a vast night sky full of stars—appears throughout the song, and served as inspiration for the rising musical gestures that occur throughout Squint Skyward. At multiple points in the piece, the performer strums chords on the strings inside the piano, meant to evoke the chords Joni Mitchell strums on a mountain dulcimer at the beginning of “A Case of You.”

Electronically, the sound world of the piece is quite similar to much of my recent electronic work, featuring glittering bells, sparkling synths, and the occasional thumping bass line. By marrying my personal electronic sensibility to piano writing evocative of Justin’s favorite artists, Squint Skyward and Listen— is a musical tribute to one of the most significant friendships of my life.
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Tao Li : Tres Aurorae
This piece draws inspiration from the sculpture Bust by Nevine Mahmoud. The surrounding auroras created by light diffused through the many complex surfaces of Bust immediately drew my attention and lead to the title of this piece Tres Aurorae. The human subject of the work and the abstract light effects create a strong contrast of real and surreal. These abstract auroras, represented by electronic textures “surrounding” the acoustic clarinet, symbolize the feminine power and its inclusivity and strength. In this way, Tres Aurorae adopts this concept of contrast between live acoustic sounds from solo clarinet and processed electronic sounds also derived from clarinet.
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Eric Chasalow : The Wings That Bear The Night Away
The Wings That Bear the Night Away is the latest in my long series of works for instrument and fixed media. Each piece seeks some new way of expanding upon the live instrument(s) to modulate its sound and the sense of space. At times, the media adds metamusical meaning by layering modulated text. This latest piece, for violin and fixed media, uses string quartet recordings, which have been processed using granular synthesis, to explore the boundaries between our perception of rearticulated and jittery string harmonies and those that we perceive as modulated and extended. Our sense of the changing pace of the harmonic rhythm is part of what drives the narrative of the piece.
- Eric Chasalow
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Ciyadh Wells : Detras Nuvo Canción
Drawing on the songs from the Nueva Canción movement from the 1950s and 1960s, Detras Nuvo Canción takes inspiration from the movement’s most famous activists to create a modern protest music using live electronics and video projections.
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Dan VanHassel : Aftershock
Aftershock was commissioned by pianist Angela Kim as part of her multimedia program “Chaos Magick” and was premiered in January 2020. The video was created by Michael Boswell and Peter John Kearney. The music was inspired in part from re-reading Charles Rosen’s "The Classical Style," one of my all-time favorite books about music. This piece is an attempt to imagine a version of sonata form based on timbre rather than pitch. The electronics are a fixed track made up of short samples taken from various recordings ranging from Lachenmann to Rage Against the Machine, along with piano samples that extend the piano with fast rhythmic loops. Ideally the electronics and piano should merge together into one hybrid-organism with the pianist at the center, in control of everything.
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Bios

Mofan (Amber) Dai (b. 2000) is a composer, horn player and recorder enthusiast based in Boston, Massachusetts. They were exposed to a wide variety of musical genres throughout their career, with contemporary wind ensemble music being the most profound influence to their style. After earning their degree in music composition from St. Olaf College, they continued by pursuing masters degree in composition at the Boston Conservatory at Berklee. Throughout the years, Amber worked with teachers such as Dr. Timothy Mahr, Mary Ellen Childs, Dr. Eun Young Lee and Mischa Salkind-Pearl. As a composer performer, Amber’s writing balances practicality while pushing boundaries of conventional techniques throughout the creative process of each piece, and each of these processes influences how they perform as well. They view art holistically and take inspiration from visuals of nature, celestial bodies and landscapes. By painting scenes with music, they discuss difficult topics that resonate with others, but also uplift positive emotions that build bonds and communities.
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Heather Stebbins is a composer, technologist, synthesist, and educator based in Washington, DC, where she is Assistant Professor of Electronic and Computer Music at George Washington University. She works with sounds created by instruments, found objects, nature, and voltage to generate musical experiences ranging from notated works for chamber ensembles to improvised performances on modular synthesizers. Really wonderful people and ensembles have performed her music in a lot of neat places, and she is grateful for that. Her recent album, At the End of the Sky (Superpang, 2023), is available on Bandcamp and streaming platforms. Other recordings are available on New Focus Recordings, Not Art Records, SEAMUS, and Coviello labels.
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Michael Flynn is a composer of acoustic and electronic music whose works present familiar musical ideas in inventive sonic and structural contexts. To this end, his music juxtaposes timbral exploration and metric complexity with pop-music-inflected harmony and beat-driven groove. Drawn towards bright, sparkling timbres, Michael strives to create works that feature vividly colored, dreamlike sound worlds. Michael’s music has been featured at events such as the SPLICE Institute and Festival, the CHIME Festival, SICPP, NSEME, the Northwestern University New Music Conference, Electronic Music Midwest, NYCEMF, and the SEAMUS National Conference. He has written for performers and ensembles including the Chicago Composer's Orchestra, Sonic Hedgehog, the Found Sound New Music Ensemble, the Vital Organ Project, the PRISM Saxophone Quartet, HINGE, and SpacePants, among others. Michael is a recent graduate of the DMA program in composition at the University of Georgia, where he studied under Dr. Peter Van Zandt Lane.
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Justin Paul Ortez is a pianist, composer, and songwriter based in Kalamazoo, Michigan, whose work across disciplines centers emotional intimacy, sonic experimentation, and the integration of poetics and language. Most frequently a performer of contemporary music, he has given dozens of premieres and performances of solo and chamber music in the United States and Canada. He has been praised for thoughtful and detailed performances of avant grade repertoire, his careful handling of dynamic extremes, and his sense of poise and comfort when performing on the inside of the piano. He has conducted the bulk of his studies at Western Michigan University, where he obtained both his bachelor’s and master’s degrees in performance; his piano studies were completed under Lori Sims, alongside composition studies with Dr. Lisa Renée Coons. He has also held fellowships at a number of summer festivals such as SICPP at the New England Conservatory, the Cortona Sessions for New Music, soundSCAPE Composition & Performance Exchange in Italy, SPLICE Institute, and the Toronto Creative Music Labs.
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Award winning composer Tao Li was born and raised in Beijing, China and currently based in Eugene, Oregon working on her second Doctoral degree in Intermedia Music Technology at the University of Oregon. The philosophy, literature, and spirituality of the ancient East play a formative role in the aesthetic of Tao’s work. Her music consists of vivid soundscapes, colorful timbres, and interdisciplinary elements that often lead her audiences on a multi-dimensional journey full of imagination. As an Asian female musician, Tao is devoted to promoting gender equity and cultural diversity through her music as well as through collaboration with other artists. Tao’s music has been performed at concerts and music festivals throughout the world including China, Japan, Korea, Australia, Ireland, Ukraine, Brazil, and the U.S.A. Her primary interests include acoustic and electroacoustic composition, performance practices, and analysis of compositional techniques, aesthetics, and intercultural dialogues. For more information, please go to taolimusic.com.
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Born and raised in Taiwan, 30-year-old clarinetist, Zhi-Yuan is an educator, soloist, and orchestral musician. Mr. Luo is a multiple award-winning clarinetist. He was the winner of the 2014 Tunghai University Concerto Competition, the 2017 Soochow University Concerto Competition, and runner-up of the 6th Magic Clarinet Quartet Competition in Taiwan, where world renowned French Clarinetist Michel Arrignon spotted and hand-picked Zhi-Yuan to play as a soloist at the solo recital. In 2020, he won the 1st prize of the 1st World Clarinet E-Competition in Italy and was awarded the 12th Stars of Tiding in Taiwan. In 2021, Mr. Luo was not only awarded Honorable Mention in the Peter Tannenwald Competition organized by the Philharmonic Society of Arlington, but also won the 4th place in the Thailand International Clarinet Competition and the 3rd place in the 15th LISMA International Music Competition. As a soloist, he has performed with the Tunghai University Wind Ensemble, the Soochow University Symphony Orchestra, and the Conroe Symphony Orchestra. Mr. Luo has performed as a Guest Clarinet with the National Taiwan Orchestra, Kaohsiung Symphony Orchestra, Evergreen Symphony Orchestra, Eugene Symphony Orchestra, Eugene Opera, Eugene Concert Choir, Rogue Valley Symphony and Oregon Mozart Players among others. Mr. Luo is a Nymph Performing Artist exclusively playing Nymph products. For more information about Zhi-Yuan Luo, please visit his Instagram (@bruce_ channel).
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Eric Chasalow is a composer, sound artist, multi-instrumentalist, record producer, teacher, and advisor to non-profits. An album of ten new genre-bending songs, Ghosts of Our Former Selves was released in the fall of 2020. Current projects incorporate oral histories and environmental sound to comment on a number of global themes, including the cultural effects of climate change and species extinction.

He is Irving G. Fine Professor of Music at Brandeis University, and Director of BEAMS, the Brandeis Electro-Acoustic Music Studio. A product of the famed Columbia-Princeton Electronic Music Center, he holds the D.M.A. from Columbia University where his principal teacher was Mario Davidovsky and where he studied flute with Harvey Sollberger. Among his honors are awards from the Guggenheim Foundation, Koussevitzky Music Foundation, National Endowment for the Arts, Fromm Foundation and the American Academy of Arts and Letters. The Eric Chasalow collection is in the Library of Congress.
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Boston native Julia Glenn has been hailed as "remarkable," "gripping," and "a brilliant soloist" by the New York Times and performs internationally on modern and baroque violins. She recently joined the Lydian Quartet after teaching for three years at the Tianjin Juilliard School, where she served as violin faculty and was a member of the Tianjin Juilliard Ensemble.

Ms. Glenn has appeared on stages including Alice Tully Hall, Carnegie Hall’s Weill Hall, Sanders Theatre, Jordan Hall, the Beijing Recital Hall, Beijing's National Centre for the Performing Arts, and Shanghai Concert Hall. She has recently performed with the Shanghai Camerata, New York New Music Ensemble, ACRONYM, Cantata Profana, members of the Juilliard String Quartet, and Soloists of New England. In January of 2016 she gave the world premiere of Milton Babbitt’s violin concerto to critical acclaim; her article on the work was published in 2022 in Contemporary Music Review.
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Dr. Ciyadh Wells is a multi-talented musician who not only considers herself an artist, but also an activist and scholar. With a passion for promoting diversity and inclusivity in the arts, she firmly believes that access to such experiences is crucial for a healthy society.

Ciyadh strives to leverage the power of music, both classic and contemporary, to ignite transformative change and foster a sense of community. In addition to her many talents, Ciyadh is also an avid language learning enthusiast, always seeking to expand her linguistic horizons.
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The music of composer and multi-instrumentalist Dan VanHassel has been described as “energizing” (Wall Street Journal) and “an imaginative and rewarding soundscape” (SF Classical Voice). His compositions have been presented at top national and international contemporary music festivals, including the MATA Festival, Gaudeamus Music Week, International Computer Music Conference, Bowling Green New Music Festival, Shanghai Conservatory Electronic Music Week, and the Bang on a Can Summer Festival. And by ensembles such as the Talea Ensemble, Dinosaur Annex, Verdant Vibes, and Transient Canvas. His work has received grants from Chamber Music America, the Barlow Endowment, the Boston Foundation, and New Music USA. Dan is the artistic director and electric guitarist of Hinge, and was a founding member of San Francisco’s Wild Rumpus (now Ninth Planet). Dan has degrees from UC Berkeley, New England Conservatory, and Carnegie Mellon University and is currently Assistant Professor of Composition at the Boston Conservatory at Berklee.
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Praised by international press as “a pianist who meets the highest standard of technique,” Angela Kim is a pianist who shows her versatility through colorful imagination, and intense musical expression. As a sought-after pedagogue, Ms. Kim was inducted into the Steinway & Sons Teacher Hall of Fame in Spring 2023. Ms. Kim has performed throughout the United States, South America, Italy, Germany, Austria, and Korea. Earning academic honors, Ms. Kim completed Bachelor, Masters, and Graduate Diploma at the New England Conservatory of Music. She has finished her Doctorate of Piano Performance, and Literature, at the Eastman School of Music. Upon graduation, she held a teaching position at New England Conservatory of Music as a Professor of Theory. Currently Ms. Kim is an Associate Professor of Piano, and Director of Keyboard Area at Southern Illinois University Edwardsville. In 2022-2023, Ms. Kim has served as a Visiting Professor of Piano at the Eastman School of Music.
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Nov

2

7:00 PM19:00

SPLICEFest Concert 1

Thursday, November 2, 2023
7:00 PM 8:00 PM 19:00 20:00
David Friend Recital Hall, Berklee College of Music (map)
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SPLICE Festival V 2023 Concert 1 Program

Thursday November 2, 2023
7:00pm EDT
David Friend Recital Hall, Berklee College of Music
921 Boylston Street Boston, MA 02115

Evan Williams : The Last Trumpet
Sam Wells, trumpet

Diego Peralta-Gonzales : little flower (harawi)
Diego Peralta-Gonzales, live electronics

Molly Monahan : Bloom
Waveform Collective, bass, marimba, crotales, and cymbals

Gabriele Vanoni : Job’s Journey
Sam Wells, trumpet

José Martinez : Do I Regret?
Noa Even, saxophone

NpHz : /Equations of Coltrane
SYO (Scott Oshiro), flute
OCH (Omar Costa Hamido), saxophone

Notes

Evan Williams: The Last Trumpet
Between 2013 and 2018, several witnesses around the world reported hearing the sound of discordant “trumpets” blaring in the sky. There are video recordings of this from rural villages in Europe to major cities in North America. As of this date, there is no widely accepted explanation for the phenomenon.

Many were quick to draw the obvious connection to Christian apocalyptic writings. Several instances of the end of the world heralded by the sound of the trumpet are found in the Bible, other religious texts, and music.

The Last Trumpet for solo trumpet and interactive electronics is inspired by this unexplained phenomenon. It employs musical references to apocalyptic trumpet calls from works such as Verdi’s Requiem, Britten’s War Requiem, and Handel’s Messiah.

The Last Trumpet was commissioned by a consortium of trumpet players led by Adam Gaines, Isaac Mayhew, and Sam Wells.
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Diego Peralta-Gonzales : little flower (harawi)
little flower is about acceptance and melancholy. When there is nothing else to do but to fall into the void. And then you realize you feel in peace, like you have not felt in a long time. The piece starts with tenuos and ambient sounds that evolve throughout the piece into a dense wall of noise. This process is contrasted by other elements such as melodic samples - inspired by the traditional Peruvian folk genre called "Harawi" - and piano chords that guide the piece to its inevitable end.
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Molly Monahan: Bloom
Bloom is meant to capture the mysterious beauty of an algal bloom, swirling colors, and textures that provoke a mixture of awe and disgust. From a distance, they look almost like a nebula, or a palette of watercolor paints spilled together. Up close, however, one notices the clumps of algae, seaweed, sediment, and creatures, alive and dead.

As the blooms flow between dense ecosystems of algae and clear waters, “Bloom” operates on patterns that arise, disappear, and morph unmetered and flowing freely. The clear chords of the marimba and frequent dissonances of the bass mimic the visceral, curious beauty of an algal bloom.
-Molly Monahan, 2022
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Gabriele Vanoni: Job’s Journey
I always found the “Book of Job” one of the most fascinating books of the Bible, because more than others, does resonate with our modern world. The story of a honest man, tested by the Devil through so many dramatic trials, including the loss of all his possessions and the death of his sons, brings forth one of the big questions we all have, whatever is our background: why does evil exist, and why is it so often that the ones to suffer are good people? My piece is a fairly short piece for trumpet and live electronics that explores the journey of a man that, like us, struggle with the challenges life puts ahead of him, and feels the loneliness, the anger, but also the hope and the determination that often come in those trying circumstances. This is the first of a series of multimedia pieces on the Book of Job, aimed at exploring more sides of this fascinating story.
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José Martinez: Do I Regret?
This piece pursues the impossibility of undoing what is already done, of traveling back in time and revisiting that moment that changed the path. The score involves improvisation and written music and achieves this utopia thanks to the help of technology. The performer is asked to create on the spot and these spontaneous creations are recorded, and later used to accompany themselves. Thus, every performance has a renewed sense and reflects the performer’s emotion at that specific moment. At the very end of the piece, the performer revisits these creations and has the power to modify, stretch, and mix their final creation, fulfilling the utopia of changing the past.
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NpHz: /Equations of Coltrane
Program: Fluidity (2023) Composed by SYO (Scott Oshiro) & OCH (Omar Costa Hamido)

/Equations of Coltrane (2023) Composed by SYO (Scott Oshiro) & OCH (Omar Costa Hamido)

Performers: SYO (Scott Oshiro) - Flute & Electronics OCH (Omar Costa Hamido) - Saxophone & Electronics

Quantum Systems Featured: Lineage - Real time quantum improvisation systems, similar to that of George Lewis’ Voyager. This will be performed in a trio setting with Scott Oshiro on Flute and OCH on Saxophone. Quantum Synthesizer - a quantum computing based synthesizer. The QAC Toolkit - live coding quantum circuits with the new package for Max/MSP.
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Bios

Drawing from inspirations as diverse as Medieval chant to contemporary pop, the music of composer and conductor Evan Williams (b. 1988) explores the thin lines between beauty and disquieting, joy and sorrow, and simple and complex, while often tackling important social and political issues. Originally from the Chicagoland area, Williams currently resides in Boston, MA, where he is Assistant Professor of Composition at the Berklee College of Music. Williams’ catalogue contains a broad range of work, from vocal and operatic offerings to instrumental works, along with electronic music. He has been commissioned by ensembles including the Cincinnati and Toledo Symphony Orchestras, with further performances by members of the Detroit, Seattle, and National Symphonies.

Williams holds degrees from the University of Cincinnati’s College-Conservatory of Music, Bowling Green State University, and Lawrence University.
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Diego Peralta-Gonzales (b.2000) is a Peruvian composer and pianist. Born in Lima, he began his piano studies at the age of 12 at the Universidad Católica del Perú. At the age of 18 he began his composition studies at the National Conservatory of Music of Peru, in which he would study with Alvaro Zuniga and Antonio Gervasoni. Since 2021 he is studying composition at The Boston Conservatory at Berklee, receiving classes from Timothy McCormack, Victoria Cheah and Mischa Salkind-Pearl. He has participated in important new music festivals in the United States such as the Divergent Studio at Longy School of Music and the Summer Institute of Contemporary Performance Practice (SICPP). His collaborations include works for Splinter Reeds, pianist Yundi Xu and the Divergent Quartet. In addition, Diego has been part of different organizations that promote new Peruvian contemporary classical music such as “Comunidad Peruana de Musica Nueva” (CPMN).
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Molly Monahan is a San Francisco-based composer. Her acoustic, electronic, and multi-media works have earned her numerous accolades and performances at renowned venues and festivals worldwide. She has been recognized with awards and recognitions such as the Ti;ME competition, NextNotes competition, YoungArts, the Christopher Newport University Young Composer's competition, and the Webster University Young Composer's competition. Molly has also participated in various music festivals and residencies, including the Hot Air Festival in San Francisco and the Estalagem da Ponta do Sol Residency for Contemporary Music and Electronics in Madeira, Portugal. Her work has been featured in collaborations with the ClimateMusic Project and the Latvian National Ballet.
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The Waveform Collective strives to create and expand the library of music for percussion and double bass. This initiative serves to nurture and grow an accessible community centered around interdisciplinary collaborations with artists of diverse backgrounds and identities.

The Waveform Collective is comprised of Maxwell Winningham; double bass, and Quincy Doenges; percussion.
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Gabriele Vanoni is an Italian composer, currently living in the Boston area. Born in Milan, he started his musical studies at the Conservatory of Milan, and continued his education with a Ph.D. in Music Composition at Harvard University, under the guidance of Julian Anderson, Chaya Czernowin and Hans Tutschku, as well as a two-year program at Ircam (Cursus 1-2). His music has been performed in several prestigious venues and festivals, such as Carnegie Hall (Weill Hall), Biennale di Venezia, ManiFeste, Moscow Conservatory, Royaumont Voix Nouvelles, June in Buffalo, IRCAM, BIT Teatergarasjen in Bergen, Festival Meridien in Bucharest and Accademia Chigiana di Siena, among many others. His music was performed by groups and solisists like Ensemble Intercontemporain, San Francisco Contemporary Music Players, Talea Ensemble, Mario Caroli, Diotima Quartet, Les Cris de Paris, Nouvel Ensemble Moderne, and many more. He is currently Assistant Chair of the Composition Department at Berklee College of Music. Recent and upcoming commissions include a multimedia opera, Ellis, written for Guerilla Opera, a new piece for trombonist Barrie Webb and a recording project with flutist Orlando Cela. He lives with his wife and children in Stoneham.
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José Martinez
José’s music incorporates a wide range of influences from Colombian folk tunes to contemporary composition techniques while borrowing from Latin music, heavy metal, and audio sampling techniques. His works range from solo pieces with electronics to orchestral works, passing through chamber ensembles, electroacoustic pieces, and interdisciplinary collaborations. Among others, his music has been performed by groups such as Alarm Will Sound, Wild Up, and Grammy award-winning quartet Third Coast Percussion. An alumnus of percussion and composition at the National University of Colombia, he studied composition at the University of Missouri and UT Austin. José was a visiting professor at East Carolina University and the New College of Florida. Currently, he is an Assistant Professor of Music at Colby College.

His music has also been presented by Spanish ensemble Taller Sonoro, LA-based Piano duo Hockett Duo, the Orchestra of St. Luke’s from New York City, Grupo de Cámara de Bogotá, and Austin-based percussion ensemble Line Upon Line, among others. Other collaborators also include Sarasota Contemporary Dance, Teatro del Valle (Colombia), and visual artist Yulia Lanina. He has participated in institutes and festivals such as the Banff Ensemble Evolution program, DeGaetano, Splice, SEAMUS, Missouri International Composer Festival, Line Upon Line Winter Composer Festival, ClarinetFest, and VIPA.

José is a recipient of the 2008 National Composition Prize for Young Composers, the 2011 “Ciudad de Bogotá” Composition Award, and the 2013 National Cultural Prize. In the US, he received the 2013 Sinquefield Composition Prize and the 2019 Rain Water Grant for Innovation.
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Based in Philadelphia, Noa Even is a versatile saxophonist dedicated to the creation of new music through close collaboration with composers, improvisation, and most recently, composition. Ongoing projects include atomic, a multimedia solo program exploring themes of human connection; an interview series called Talking Free Music; her duos, Ogni Suono and Patchwork; and The Saxophone Repository, a list of resources and music for saxophonists that focuses on living, historically excluded composers, musicians, and authors. Noa recently joined New Thread Quartet in New York City. In 2017, she co-founded Cleveland Uncommon Sound Project (CUSP), a non-profit organization that champions new and experimental music. Noa is Lecturer and Head of Woodwinds at Rowan University in New Jersey, a Conn-Selmer Artist-Clinician, a Vandoren Artist, and Treasurer of the North American Saxophone Alliance. You can follow her on Instagram @noaeven.music. For more information, visit www.noaevenmusic.com.
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Scott Oshiro
Scott is a Bay Area-based flautist and music technology researcher. As an African and Okinawan American, Scott’s creative and academic work incorporates influences from his heritage and combines them with Jazz, Hip Hop, and Electronic music. He is a 5th year Ph.D. Candidate at the Center for Computer Research in Music & Acoustics at Stanford University, where he researches the intersection between quantum computing, music, and culture. Scott is an Asian Improv aRts fellow, developing quantum computer music improvisation systems for an album featuring BIPOC artists from California, showcasing the connection between music and science.

https://linktr.ee/scottoshiro
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Omar Costa Hamido
OCH is a performer, composer, and technologist, working primarily in multimedia and improvisation. His current research is on quantum computing and music composition, telematics, and multimedia. He is passionate about emerging technology, cinema, teaching, and performing new works. He earned his PhD in Integrated Composition, Improvisation and Technology at University of California, Irvine with his research project Adventures in Quantumland (quantumland.art). He also earned his MA in Music Theory and Composition at ESMAE-IPP Portugal with his research on the relations between music and painting. In recent years, his work has been recognized with grants and awards from MSCA, Fulbright, Fundação para a Ciência e a Tecnologia, Medici, Beall Center for Art+Technology, and IBM. Currently, he is a Marie-Curie Fellow at CEIS20, University of Coimbra. https://omarcostahamido.com/
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Sam Wells is a musician and video artist based in Philadelphia.

Sam has performed throughout North America and Europe, as well as in China. He is a recipient of a 2016 Jerome Fund for New Music award, and his work, stringstrung, is the winner of the 2016 Miami International Guitar Festival Composition Competition. He has performed electroacoustic works for trumpet and presented his own music at the Bang on a Can Summer Festival, Chosen Vale International Trumpet Seminar, Electronic Music Midwest, Electroacoustic Barn Dance, NYCEMF, N_SEME, and SEAMUS festivals. Sam and his music have also been featured by the Kansas City Electronic Music and Arts Alliance (KcEMA) and Fulcrum Point Discoveries. He has also been a guest artist/composer at universities throughout North America.

Sam is a member of SPLICE Ensemble. Sam has performed with Contemporaneous, Metropolis Ensemble, TILT Brass, the Lucerne Festival Academy Orchestra, and the Colorado MahlerFest Orchestra. Sam has recorded on the SEAMUS and Ravello Recordings labels.

Sam holds degrees in both performance and composition at the University of Missouri-Kansas City, graduate degrees in Trumpet Performance and Computer Music Composition at Indiana University, and a doctoral degree at the California Institute of the Arts. He is an Assistant Professor of Music Technology at Temple University.
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Nov

2

1:00 PM13:00

SPLICEFest Presentation

Thursday, November 2, 2023
1:00 PM 2:00 PM 13:00 14:00
Room 1A, Berklee College of Music (map)
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SPLICE Festival V 2023 Presentation

Institute

Panel Discussion Day 4: Improvisation with Electronics

Thursday, June 29, 2023
5:00 PM 6:00 PM 17:00 18:00
Dalton Center, Western Michigan University (map)
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Thursday June 29, 2023
5:00pm EDT
Multimedia Room, Western Michigan University
Livestream simulcast on SPLICE YouTube (unique link)

Panel Discussion : Improvisation with Electronics

Panelists:

Roderick Coover
Aurie Hsu
Erin Rogers
Dennis Sullivan

Moderator:

Adam Vidiksis

Bios:

Roderick Coover is film director/media artist and the creator of experimental and emergent cinematic arts work exhibited in art venues and public spaces such as the Venice Biennale Hyper-Pavilions, The Nobel Peace Prize Forum, Bibliothèque Nationale de France, Documenta MadridHe lives in Pennsylvania, USA, and Drôme, France.
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Aurie Hsu is a composer, pianist, and dancer. She composes acoustic, electroacoustic, and interactive music, performs her own prepared/extended piano music, and collaborates often with musicians, choreographers, and musical robots. She received her Ph.D. in Composition and Computer Technologies from the University of Virginia and holds degrees in piano performance from Oberlin Conservatory (BM) and Mills College (MFA). She also holds a degree in Electronic Music and Recording Media from Mills College (MFA).

Aurie’s works have been performed by the Da Capo Chamber Players, Relâche, NOW ensemble, and the Talujon Percussion Quartet among others. Her works have been presented around the U.S. at ICMC, SEAMUS, SIGCHI, Pixelerations, Third Practice Festival, Acoustica 21, and abroad at the Logos Tetrahedron Concert Hall (Belgium) and the Cite International des Arts (France). In 2010, Aurie won the International Computer Music Association (ICMA) Student Award for Best Submission for Shadows no. 5, part of a series of pieces for modern-tribal belly dancer, electroacoustic music, and RAKS (Remote electroAcoustic Kinesthetic Sensing) system. The RAKS system is a wireless sensor interface designed specifically for belly dance in collaboration with composer Steven Kemper.

As a pianist, Aurie has premiered many pieces including works by Peter Swendsen, Maggi Payne, and Ted Coffey. Sarah Cahill of the San Francisco Classical Voice has described Aurie’s playing as “incendiary” and having “dazzled the audience.” Aurie is a former member of Fire in the Belly Dance Co. (2005-2012), the only professional contemporary belly dance company in central Virginia and completed Rachel Brice's 8 Elements(TM) Phase 1: Initiation with Recognition in 2015. Aurie has taught at the University of San Diego and the Mason Gross School of the Arts at Rutgers University. Aurie is currently Assistant Professor of Computer Music and Digital Arts at the Oberlin Conservatory.
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Erin Rogers is a Canadian-American saxophonist and composer. She is Co-Artistic director of NYC-based ensembles thingNY, Popebama, New Thread Quartet, Hypercube and a core member of LA-based WildUp. Her music has been performed worldwide at the Prototype, Ecstatic, and MATA Festivals, Celebrity Series (Boston), Edmonton Symphony Orchestra, Hamburg Elbphilharmonie, Centro Nacional de las Artes (Mexico City), and NYmusikk Bergen (Norway). Rogers is faculty member of the Manhattan School of Music Contemporary Performance Program, a Chamber Music Society of Lincoln Center Teaching Artist, and a D’Addario Woodwinds and Conn-Selmer endorsing artist. Described as "a richly expressive display of stentorian brilliance" (The Wire) she has recorded two solo albums for Relative Pitch Records and can be heard on New Focus, New World, INNOVA, GoldBolus, Infrequent Seams, and Edition Wandelweiser. erinmrogers.com
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Born in Akron, Ohio, Dennis K. Sullivan II is a percussionist, composer, improviser and electronicist based in Queens, NY. Dennis explores cross-genre coalescence between acoustic, electronic and timbral sound alchemy. As a percussionist, Dennis is a founding member of the performance duo, Radical 2 with percussionist/engineer, Levy Lorenzo and Popebama, a high octane experimental percussion/saxophone duo with composer/saxophonist Erin Rogers. In addition, Dennis is the percussionist and co-director of the Wavefield Ensemble and has shared the stage with The International Contemporary Ensemble, Ensemble ECCE, Ensemble Court Circuit, Either/Or, Ensemble Pamplemousse, The Argento New Music Project and others.
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Adam Vidiksis is a drummer and composer based in Philadelphia who explores social structures, science, and the intersection of humankind with the machines we build. His music examines technological systems as artifacts of human culture, acutely revealed in the slippery area where these spaces meet and overlap—a place of friction, growth, and decay. Critics have called his music “mesmerizing”, “dramatic”, “striking” (Philadelphia Weekly), “notable”, “catchy” (WQHS), “magical” (Local Arts Live), and “special” (Percussive Notes), and have noted that Vidiksis provides “an electronically produced frame giving each sound such a deep-colored radiance you could miss the piece's shape for being caught up in each moment” (Philadelphia Inquirer). His work is frequently commissioned and performed throughout North America, Europe, and Asia in recitals, festivals, and major academic conferences. Vidiksis’s music has won numerous awards and grants, including recognition from the Society of Composers, Inc., the American Composers Forum, New Music USA, NEA, Chamber Music America, and ASCAP. His works are available through HoneyRock Publishing, EMPiRE, New Focus, PARMA Ravello, Fuzzy Panda, Scarp, and SEAMUS Records. Vidiksis recently served as composer in residence for the Chamber Orchestra of Philadelphia and was selected by the Japan-US Friendship Commission to serve as a Nichi Bei Collaborator Artist during the 2020 Olympics in Japan. Vidiksis is Assistant Professor of music technology at Temple University, President and founding member of SPLICE Music. He performs in SPLICE Ensemble and the Miller-Vidiksis-Wells trio, conducts Ensemble N_JP, and directs the Temple Composers Orchestra and BEEP.
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Jun

28

7:30 PM19:30

Institute

Concert 3: Popebama

Wednesday, June 28, 2023
7:30 PM 8:30 PM 19:30 20:30
Dalton Center, Western Michigan University (map)
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SPLICE Institute 2023 Concert 3 Program

featuring

Popebama

Erin Rogers, saxophone
Dennis Sullivan, percussion

Wednesday June 29, 2022
7:30pm EDT
Dalton Recital Hall, Western Michigan University
Livestream simulcast on SPLICE YouTube (unique link)

download program pdf (does not include notes/bios)

Dennis Sullivan : Prelude to Substructure (2021)

Kittie Cooper : Edgewise (2020)

Erin Rogers : Basket Case (2021)

Varun Kishore : this used to be something else (II) (2023)

Ess Whiteley : inter[ ARE] (2023 - world premier)

Popebama : Remote Cipher (2023 - world premier)

Notes

Dennis Sullivan : Prelude to Substructure
Prelude to Substructure is an intentional organization of unintentional and unavoidable sonic events. The amplification of the tenor saxophone and percussion highlights more of the instrument "doing its job" as opposed to the aural product of the action (though this is also unavoidable). A series of over-driven, self oscillating distortion pedals provide a layer of multiphonic noise to act as an adhesive between sometimes disparate sound worlds. Maintenance Hum is equal parts product and byproduct of instrumental sound. back to program

Kittie Cooper : Edgewise
Electronic Voice Phenomena (EVPs) are recorded sounds that are interpreted as the voices of ghosts, spirits, and other paranormal entities. EVPs can be recorded unintentionally or can be intentionally requested and recorded, usually via human-conducted conversation in supernaturally active spaces. During this process, people speak to and record the space, and then listen to and edit recordings later, interpreting any replies. EVPs provide the text and much of the sonic material for edgewise.

edgewise engages with the relationship between humans and space in the documentation of EVPs, as well as the power dynamics at play when humans seek to project meaning onto sound and space. This piece creates an environment in which humans, recordings, and spaces struggle to be heard amidst conflicting modes of communication and interpretation.
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Erin Rogers : Basket Case
During a Popebama road trip, it became apparent through the constant dashboard drumming, that Dennis Sullivan knew the drum fills to nearly every 90's hit that landed on the randomized playlist. The fills in Green Day's Basket Case (Dookie, 1994) are rhythmically simple yet, when played at top speed, present a perfectly crisp noise. The song deserves a 30-year anniversary tribute. Paired with 0-Coast semi-mod desktop synth, freeze and ring modulation pedals, a peaked-out vocal mic, and a catalog of soprano multiphonics, Basket Case encounters its next-generation self.
—Erin Rogers
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Varun Kishore : this used to be something else (II)
Phonetic text scores originally created for exploratory drone improvisation using electric guitar, ebow, and synthesizers are reimagined for saxophone and percussion. Performers interpret short fragments of text as sound, ranging from recognizable vowels to abstract groups of letters, creating textures that offer a different perspective on the idea of the drone.
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Ess Whiteley : inter[ ARE]
This piece is a sonic and visual meditation on synthetic-organic hybridities, inter-material entanglements, cross-species kinship. The term “more-than-human worlds” (David Abrams, 1996) has been used to call attention through the senses to what exists beyond what is conventionally considered in Western paradigms to be human. In such a way, this piece orients us towards environmental sonic and visual fields melded with technological ones, bringing into being a speculative “more-than-human" audiovisual world made up of cross-species cyborg-organism assemblages and inter-material becomings.
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Popebama : Remote Cipher
Remote Cipher is an exploration of spontaneous sound, light and resonance. It is in a constant state of becoming and actualization.
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Bios

Popebama is a New York-based experimental duo that focuses on exciting performances of unconventional works. Described as “Noisily Virtuosic” (clevelandclassical.com), Erin Rogers (saxophone) and Dennis Sullivan (percussion) are composer-performers who apply text, electronics, and high-energy instrumental writing to freshly-squeezed sounds. Specializing in works conceived by Rogers and Sullivan, Popebama has championed composers such as Merche Blasco, Paul Pinto, Jenna Lyle, Rick Burkhardt, Seong Ae Kim, Kittie Cooper, Ryan Carraher, Varun Kishore, Chin-Ting Chan, Chelsea Loew, Daniel Silliman, S Whiteley, and Alex Christie. The duo has collaborated with yarn/wire (NYC), Tøyen Fil Og Klafferi (Oslo), Brandon Lopez (Brooklyn), Anne La Berge (Amsterdam), Merche Blasco (NYC), Jessica Pavone (Queens), Ogni Suono (Cleveland), Rage Thormbones (LA), and DECODER (Hamburg). Popebama has been featured at the Elbphilarmonie (Hamburg), NYmusikk Bergen (Norway), The Shed (NYC), Edmonton Fringe Festival (Canada), Splendor (Amsterdam), Diabolical Records (Salt Lake City), VU Symposium (Park City), Bodies-As-Technology (Brooklyn), ReSound Festival (Cleveland), The Stone (NYC), SPLICE Festival (Kalamazoo), New School of Music (Boston), Studio Loos (Den Haag), Chance & Circumstance Festival (Long Island City), and The Walden School (New Hampshire), with lauded performances at the 2017 New Music Gathering, and NASA 2018 Biennial (Cincinnati).
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Kittie Cooper is a sound and intermedia artist, performer, and educator based in Vancouver, BC. She makes work that explores the spectrum between silliness and seriousness, and in particular where those two things overlap with spookiness. Much of Kittie’s work looks at the messy insides of people, places, and things. Their work has been called ""highly original and wonderfully fun"". They are interested in text and graphic scores, improvisation, and DIY electronic instruments. They have performed and presented at a variety of festivals across the United States and Canada, and perform regularly as a guitarist, electronic musician, and improviser.

Kittie’s music has been commissioned and performed by International Contemporary Ensemble (ICE), Ensemble Dal Niente, Splinter Reeds, Popebama, and Warp Trio. She serves as Director of Composers Forums and Faculty for The Walden School Young Musicians Program. They hold a BM from Northwestern University in music education and guitar performance, and an MEd in teaching students with visual impairments from George Mason University. They are currently working toward an MFA in interdisciplinary arts at Simon Fraser University. They also like ghost stories, chili, and cats.

You can find more information and documentation of Kittie’s work at kittiecooper.com.
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Varun Kishore is a guitarist and composer from Kolkata, India. His work explores interdisciplinary approaches to music technology, literature, and the audiovisual, with a focus on designing frameworks for composition and improvisation to investigate what he sees as the ‘apocalyptic’ nature of creative practice. Varun's recent work has been performed by the Tokyo Gen’on Project and Popebama, and presented at SEAMUS, the New York City Electroacoustic Music Festival, and the South Bend Museum of Art. His current areas of interest include drone and experimental electronic music, metal studies, digital instrument and interface design, alternative notation, and video. Varun is a graduate of the University of West London (BMus Popular Music Performance, 2012) and Goldsmiths, University of London (MMus Creative Practice, 2019). He is currently a PhD student in the Composition & Computer Technologies program at the University of Virginia. www.varunkishore.net
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Erin Rogers is a Canadian-American saxophonist and composer. She is Co-Artistic director of NYC-based ensembles thingNY, Popebama, New Thread Quartet, Hypercube and a core member of LA-based WildUp. Her music has been performed worldwide at the Prototype, Ecstatic, and MATA Festivals, Celebrity Series (Boston), Edmonton Symphony Orchestra, Hamburg Elbphilharmonie, Centro Nacional de las Artes (Mexico City), and NYmusikk Bergen (Norway). Rogers is faculty member of the Manhattan School of Music Contemporary Performance Program, a Chamber Music Society of Lincoln Center Teaching Artist, and a D’Addario Woodwinds and Conn-Selmer endorsing artist. Described as "a richly expressive display of stentorian brilliance" (The Wire) she has recorded two solo albums for Relative Pitch Records and can be heard on New Focus, New World, INNOVA, GoldBolus, Infrequent Seams, and Edition Wandelweiser. erinmrogers.com
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Born in Akron, Ohio, Dennis K. Sullivan II is a percussionist, composer, improviser and electronicist based in Queens, NY. Dennis explores cross-genre coalescence between acoustic, electronic and timbral sound alchemy. As a percussionist, Dennis is a founding member of the performance duo, Radical 2 with percussionist/engineer, Levy Lorenzo and Popebama, a high octane experimental percussion/saxophone duo with composer/saxophonist Erin Rogers. In addition, Dennis is the percussionist and co-director of the Wavefield Ensemble and has shared the stage with The International Contemporary Ensemble, Ensemble ECCE, Ensemble Court Circuit, Either/Or, Ensemble Pamplemousse, The Argento New Music Project and others.
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Ess (‘S’) Whiteley (they/them) is a San Diego-based multimedia composer and improvisor working primarily with electronics and intermedia. They are interested in cyborg consciousness, embodiment, formations of the self, and Deep Listening in the context of virtually entangled, post-internet life.

They have toured Europe, the UK, and North America with various bands, had their music featured on publications like Pitchfork and The Wire and released labels like Not Not Fun, 99Chants, Topshelf Records, and Touchtheplants. Their work has been performed at the MATA Festival (NYC), Dublin Music Current Festival (Dublin, Ireland), MA/IN Matera Intermedia Festival (Matera, Italy) [Honorary Mention Award], SEAMUS National Conference (NYC), WOCMAT 關於 (Hschinchu, Taiwan), Mise-en Festival (Brooklyn, NY), Echofluxx (Prague, CZ), Int-Act Festival (Bangkok, Thailand), Festival di Nuova Consonanza (Rome, Italy), N_SEME (Denton, TX), University of Pittsburgh Music & Erotics Conference (Pittsburgh, PA) and others.

S has held residencies at the I-Park Inc. Foundation Artist Residency, Dublin Sound Lab, and the Labo de Musique Contemporaine de Montréal. Their work, creative practice, and Deep Listening practice is heavily informed by the 2 years they spent studying Buddhism and practicing meditation intensively in residential monastic retreat at several different Zen Buddhist Monasteries in Oregon, the Bay Area, and New Mexico.

They received their BM in Composition from McGill University and are currently a PhD student in Composition at the University of California San Diego. Their mentors have included Melissa Hui, Philippe Leroux, Marcos Balter, Rand Steiger and Michelle Lou.
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Jun

28

5:00 PM17:00

Institute

Presentation Day 3: Dana Jessen

Wednesday, June 28, 2023
5:00 PM 6:00 PM 17:00 18:00
Dalton Center, Western Michigan University (map)
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Public presentation by SPLICE faculty Elainie Lillios

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Jun

27

7:30 PM19:30

Concert 2: SPLICE Ensemble

Tuesday, June 27, 2023
7:30 PM 8:30 PM 19:30 20:30
Dalton Center, Western Michigan University (map)
Google Calendar ICS

SPLICE Institute 2023 Concert 2 Program

featuring

SPLICE Ensemble

Tuesday June 27, 2023
7:30pm EDT
Dalton Recital Hall, Western Michigan University
Livestream simulcast on SPLICE YouTube (unique link)

download program pdf (does not include notes/bios)

This concert of free music is the culmination of a week-long collaboration designed to open new pathways of interaction among ourselves and electronic sound. Structured around a series of unique prompts we developed, this process is situated within our long standing improvisation practice and continuing drive to sustain our aesthetic evolution, and also the rich tradition of creative musicians from whom we draw inspiration, notably Anthony Braxton, George Lewis, Pauline Oliveros, and Wadada Leo Smith. The electronic sound generation is composed of a collection of custom signal processing modules that are driven by audio-reactive modulation, stochastic algorithms, and physical control interfaces.

–SPLICE Ensemble

Bios

SPLICE Ensemble is a trumpet, piano, and percussion trio focused on cultivating a canon of electroacoustic chamber music. Called a “sonic foodfight” by Jazz Weekly, SPLICE Ensemble works with composers and performers on performance practice techniques for collaboration and integrating electronics into a traditional performance space. The resident ensemble of both SPLICE Institute and SPLICE Festival, SPLICE Ensemble has been a featured ensemble at M Woods in Beijing, SEAMUS, the Electroacoustic Barn Dance, SCI National, Electronic Music Midwest, and New Music Detroit’s Strange Beautiful Music 10. They have recorded on both the SEAMUS and Parma Labels.
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Jun

27

5:00 PM17:00

Institute

Presentation Day 2: Popebama

Tuesday, June 27, 2023
5:00 PM 6:00 PM 17:00 18:00
Dalton Center, Western Michigan University (map)
Google Calendar ICS

Public presentation by SPLICE guests Popebama

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Jun

26

7:30 PM19:30

Concert 1: THE FLOODS Live Performance

Monday, June 26, 2023
7:30 PM 8:30 PM 19:30 20:30
Dalton Center, Western Michigan University (map)
Google Calendar ICS

SPLICE Institute 2023 Concert 1 Program

featuring

Adam Vidiksis: THE FLOODS Live Performance

Monday June 26, 2023
7:30pm EDT
Dalton Recital Hall, Western Michigan University
Livestream simulcast on SPLICE YouTube (unique link)

download program pdf (does not include notes/bios)

Adam Vidiksis : THE FLOODS Live Performance (2022)

SPLICE Ensemble, with:
Dana Jessen, bassoon
Popebama

Roderick Coover
Nick Montfort

Notes

Adam Vidiksis : THE FLOODS Live Performance
THE FLOODS is part of a series of works by the artists entitled IT WILL HAPPEN HERE IN... The work was filmed on waterways and shores at flood-levels predicted in sea-level rise. Part of the code’s operation is based on signals gathered using hydrophones that move with the tides and currents connecting the human experience in the museum to non-human, natural forces beyond. Coded in C++, Max, and JavaScript, the algorithms continually transform image, sound and text to show worlds that are rich with possibilities (both good and bad). The experience unfolds in ever-changing movements to suggest choices, narratives and meanings, before breaking apart and starting again; like the tides the future is always in flux.

The generative and combinatory code produces an audible and almost-legible spectacle following Coover's journeys documenting shorelines around the world. His work looks at underlying structures of industrialization and the Anthropocene that drive the current, catastrophic prospects of global warming. The work includes videos recorded above and below the water on the U.S. Atlantic Coast, the North Sea and the English Channel. The images are organized along themes concerning human and non-human land transformations, movements, infrastructures, floods and beacons. The images of these industrial, urban and natural shores are refigured through layering, collage and code-based operations. The structural arcs in the code carry viewers across experiences of observation, transformation, longing, loss and possibility.

Over the richly layered, documentary images filmed along natural and industrialized shores is an ever-changing progression text that is based on field observations and other research into pollutants in future flood zones and potential extinctions. Code generates possibilities for description and evokes the flow of water and systems. Perception, sentience, and a movement across modes of interpretation is driven by algorithmic interventions. Seemingly familiar places become transfigured through sudden waves and a layering of fragments to suggest those rising waters don’t only change places, they also impact memories, desires, dreams and language. Algorithms combine the images to suggest unfolding events before breaking apart; like the tides the future is always in flux. The generative system reframes questions of sea-level rise, migration, and extinction, in which familiar places — and the memories and dreams that attend them — are transformed by rising waters, and it provokes the public to put into words the unspeakable threats posed to existence, time and belonging.

The music and sound design by Vidiksis accentuate the collision of natural and industrial rhythms and the power of irrational forces, evoking imagined futures through dream-like sequences and by moving between surface and submerged realities and sentience. Field recordings of natural waterways are combined and transformed by data taken from hydrophone data taken in urban and industrialized waterways. Recordings of water—flowing, streaming, lapping, crashing, and gushing—combine with synthesized electronic sounds that work to expand our perception of time, revealing the epic scale and scope of climate catastrophe. These sounds and musical gestures emerge, combine, and collide in atmospheric textures, spontaneous vocal chorales, and distorted melodic lines that highlight the urgency and emotional impact of rising sea levels depicted in the images. The remarkable spectacle reveals forces of flow, floods and chemical contamination. By compressing and distorting the scales of time that normally confound human imagination and undermine human action, the work opens possibilities for recognition, utterance, connection and action.

The generative text and multilingual voices combine to face the challenge of putting words to crises, constructing meaning through machine intervention from language derived from field observation, archives and scientific data. Natural sounds from field recordings are also transformed through machine interaction, and these collide with ambient soundscapes produced through generative systems. The disruptions of language, spatial disorientation and fragmented media propel users to refigure history and give utterance to current crises. Through movements, beacons, sounds and language, the work offers hope, possibility, and transformation in the face of catastrophe.

The live experience offers a stunning mix of improvisation, code-driven sound and composition. The music unfolds in generative ambient electronic soundscapes, algorithmic vocal chorales, and combinatorial electronic orchestration to create an ever-changing underscore to Coover’s images. The music and sound design accentuate the collision of natural and industrial rhythms and the power of irrational forces, evoking imagined futures through dream-like sequences and by moving between surface and submerged realities and sentience.

In the live version the experience expands upon the installation experience, with musicians responding to the every changing, algorithmic images, sounds and text. Local musicians work with Vidiksis to create an experience that responds live to the oceanic shifts in tone and movement.

CREDITS It will happen here is a collaborative project in which ideas are created through dialog and exchange. Primary roles are:

Roderick Coover: Research, Conceptual Design, Visual Design and Creation, Cinematography, Photography
Adam Vidiksis: Sound Design and Creation, Computer Programming Design and Creation
Nick Montfort: Computational Poetry Writing And Design

Additional programming by Sam Wells and Jonah Pfluger.

FUNDING

Works in the Altering Shores series and related research have been supported with commissions from ISEA International, The Penn Program In Environmental Humanities and The Science History Museum, awards from Temple University.
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Bios

Adam Vidiksis is a drummer and composer based in Philadelphia who explores social structures, science, and the intersection of humankind with the machines we build. His music and artwork examine technological systems as artifacts of human culture, acutely revealed in the slippery area where these spaces meet and overlap—a place of friction, growth, and decay. His compositions and recordings are available through HoneyRock Publishing, EMPiRE Recordings, Fuzzy Panda Recording Company, Mulatta Records, New Focus Records, PARMA Recordings, Navona Records, and Scarp Records. Vidiksis is Assistant Professor of music technology at Temple University, and president of SPLICE Music. He performs in SPLICE Ensemble, aeroidio, Miller/Vidiksis/Wells, Transonic Orchestra, Ensemble N_JP, and directs the Boyer College Electroacoustic Ensemble Project (BEEP). [www.vidiksis.com]
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SPLICE Ensemble is a trumpet, piano, and percussion trio focused on cultivating a canon of electroacoustic chamber music. Called a “sonic foodfight” by Jazz Weekly, SPLICE Ensemble works with composers and performers on performance practice techniques for collaboration and integrating electronics into a traditional performance space. The resident ensemble of both SPLICE Institute and SPLICE Festival, SPLICE Ensemble has been a featured ensemble at M Woods in Beijing, SEAMUS, the Electroacoustic Barn Dance, SCI National, Electronic Music Midwest, and New Music Detroit’s Strange Beautiful Music 10. They have recorded on both the SEAMUS and Parma Labels.
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Hailed as a “bassoon virtuoso” (Chicago Reader), Dana Jessen tirelessly seeks to expand the boundaries of her instrument through original compositions, improvisations, and collaborative work with innovative artists. Over the past decade, she has presented dozens of world premiere performances throughout North America and Europe while maintaining equal footing in the creative music community as an improviser. Her solo performances are almost entirely grounded in electroacoustic composition that highlight her distinct musical language. As a chamber musician, Dana is the co-founder of the contemporary reed quintet Splinter Reeds, and has performed with Alarm Will Sound, Amsterdam’s DOEK Collective, the San Francisco Contemporary Music Players, and the Tri-Centric Ensemble, among many others. A dedicated educator, Dana teaches at the Oberlin Conservatory of Music and has presented masterclasses and workshops to a range of students from across the globe. More at: www.danajessen.com.
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Popebama is a New York-based experimental duo that focuses on exciting performances of unconventional works. Described as “Noisily Virtuosic” (clevelandclassical.com), Erin Rogers (saxophone) and Dennis Sullivan (percussion) are composer-performers who apply text, electronics, and high-energy instrumental writing to freshly-squeezed sounds.

Specializing in works conceived by Rogers and Sullivan, Popebama has championed composers such as Paul Pinto, Matthew Shlomowitz, Jenna Lyle, Rick Burkhardt, Kittie Cooper, Daniel Silliman, and Alex Christie. The duo has collaborated with yarn/wire (NYC), Tøyen Fil Og Klafferi (Oslo), Brandon Lopez (Brooklyn), Anne La Berge (Amsterdam), Merche Blasco (NYC), Jessica Pavone (Queens), Ogni Suono (Cleveland), Rage Thormbones (LA), and DECODER (Hamburg). Popebama has been featured at the Elbphilarmonie (Hamburg), NYmusikk Bergen (Norway), The Shed (NYC), Edmonton Fringe Festival (Canada), Splendor (Amsterdam), Diabolical Records (Salt Lake City), VU Symposium (Park City), Bodies-As-Technology (Brooklyn), ReSound Festival (Cleveland), The Stone (NYC), SPLICE Festival (Kalamazoo), New School of Music (Boston), Studio Loos (Den Haag), Chance & Circumstance Festival (Long Island City), and The Walden School (New Hampshire), with lauded performances at the 2017 New Music Gathering, and NASA 2018 Biennial (Cincinnati).

Educational engagements include student workshops, masterclasses, and performances at Hochschule fur Musik (Freiburg), UMass Amherst, University of Minnesota (Duluth), the Collaborative Composition Initiative, CCI (Stony Brook University), St. Cloud State, and The Walden School Young Musicians Program (New Hampshire). Popebama was the featured artist at the 2019 Ball State Festival of New Music which included five evening-length performances by the duo, including an international Call-for-Scores. Popebama returned to Hamburg in March 2020, for the premiere of Fight Songs a collaboratively-composed, evening-length work as part of the Elbphilharmonie’s ‘Unterdeck’ Series, featuring Decoder Ensemble.
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Roderick Coover is film director/media artist and the creator of experimental and emergent cinematic arts work exhibited in art venues and public spaces such as the Venice Biennale Hyper-Pavilions, The Nobel Peace Prize Forum, Bibliothèque Nationale de France, Documenta MadridHe lives in Pennsylvania, USA, and Drôme, France.
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Nick Montfort is the author of numerous computer-generated books of poetry including, among others #!, Autopia, The Truelist, and Hard West Turn and of the collaborative projects The Deletionist, Sea and Spar Between, and Renderings. Other books include Twisty Little Passages: An Approach to Interactive Fiction (MIT Press) and The New Media Reader (MIT Press).
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Jun

26

5:00 PM17:00

Institute

Installation Day 1: THE FLOODS

Monday, June 26, 2023
5:00 PM 6:00 PM 17:00 18:00
Dalton Center, Western Michigan University (map)
Google Calendar ICS

Public presentation by SPLICE guests Popebama

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