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Concert 2

  • Bryan Recital Hall (map)

Concert 2 Program

Evan Williams : if/else
Kenneth Cox, flute

J. Andrew Smith : Disturbed Earth
Brendin Jacklin, piano

Amy Brandon : Scavenger
Amy Brandon, guitar

Ioannis Andriotis : Vocem
Alyssa Andriotis, alto flute

Steven Kemper : Teka-Mori
Aurie Hsu, dancer

Robert McClure : struggling in excess
Michele Fiala, oboe

Notes

Evan Williams : if/else
In various programming languages, conditional statements allow a program to make choices based on given data through simple Boolean logic. The most common of these is probably the if/then/else statement. An example of this logic is “If x is true, then do y. If else, do z. While my own programming skills are limited, during my brief study of languages like C, C++, and Objective C, these conditional statements fascinated me on a philosophical and poetic level. Very complex code relies on these very simple pieces of logic. They also give the illusion that the computer or program has agency to make a “choice.” if/else is inspired by these programming statements. Each movement is inspired by programming logic, and uses the statement to influence the musical material, the live processing, or both. For example, in the opening movement “if/else,” if the flutist plays the pitch E5 or higher, the electronics will react with a randomized effect, if the pitch is lower than E5, nothing will be triggered. In “switch,” the flutist and electronics trade between playing melodic and accompanying material, using high sustained pitches from the flute as a catalyst to switch roles. The movement “while” is concerned with immediate response. The electronics process every sound from the flute in real time. The fourth movement “break” sets up intense layers of dissonant sounds until reaching a breaking point, and then restarting. The final movement, “else/if” serves as a short, quasi-palindromic coda to the work. if/else was written for flutist Lindsey Goodman.
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J.Andrew Smith : Disturbed Earth Disturbed Earth was born from my love of the poetry of Margaret Atwood and is directly inspired by her poem of the same name. Atwood’s writing always strikes me as poignant, multifaceted, visceral, and intimate. These qualities drew me to her “Disturbed Earth” as it dwells on the human tendency to reject that which “thwarts” our wishes and desires (represented here as weeds and thistles in a garden.) Near the end, the speaker undergoes a kind of “transmutation,” becoming the very thistles and weeds that they once sought to snuff out and urging the reader to seek the speaker out in "disturbed earth."
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Amy Brandon : Scavenger
This 2015 cycle of compositions for guitar and fixed media is entitled Scavenger and was released as an album in 2016. Intended to evoke a feeling of alienation or distance from a point of origin, the cycle's acousmatic component is made from digitally manipulated recordings of the composer's previous performances. Mimicking bird calls and shrieks, the distorted sounds occasionally overpower and subsume the traced guitar lines.
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Robert McClure : struggling in excess
struggling in excess explores the vast amounts of waste humans produce on a daily basis. This general observation was magnified during my time living/working in China. Excessive packaging accompanied nearly all products in a vain attempt to elicit a feeling of luxury in the consumer. This plastic packaging served as the primary sound producing material. Additional sounds were recorded from balloons as they interact with and echo multiphonic sounds produced in the oboe.
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Bios

The music of Evan Williams has been performed across the country and internationally by members of the Detroit Symphony Orchestra, the International Contemporary Ensemble, Quince Contemporary Vocal Ensemble, Splinter Reeds, Fifth House Ensemble, and at festivals such as SEAMUS, N_SEME, the Electroacoustic Barn Dance, and the New York City Electronic Music Festival. In addition, he has been commissioned by notable performers and ensembles including the Cincinnati Symphony Orchestra, Urban Playground Chamber Orchestra, and many more. His honors include recognition from the National Federation of Music Clubs, ASCAP, and Fellowships from the Virginia Center for the Creative Arts. Williams holds degrees from the University of Cincinnati’s College-Conservatory of Music, Bowling Green State University, and Lawrence University. In the Fall, Williams begins an appointment as Assistant Professor of Music Composition/Technology and Director of Instrumental Activities at Rhodes College. He has also taught at Lawrence University, Bennington College, and the Walden School.
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Described as "...fierce...powerful..." by The Seattle Times, and "...incredibly personal..." by The Cincinnati Enquirer, Kenneth J. Cox is taking the music scene by storm. Armed with a large spectrum of musical styles, he has performed in over twenty internationally acclaimed venues throughout the United States, Canada, France, Germany, the United Kingdom, Italy, the Netherlands, China and Japan. Highly devoted to new music, Kenneth has commissioned and premiered over forty new works for solo flute and chamber ensembles over the last six years. Kenneth is currently pursuing a Doctor of Musical Arts degree in Contemporary Music Performance with a specialization in Flute at Bowling Green State University and serves as the Teaching Assistant to Dr. Conor Nelson. He is also a graduate of the prestigious University of Cincinnati College-Conservatory of Music and the University of South Carolina.
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J. Andrew Smith is a composer, educator, and electronic musician from Atlanta, GA. A graduate of Bowling Green State University, he studied composition with Dr. Elainie Lillios, Dr. Mikel Kuehn, and Dr. Christopher Dietz. Many of his works explore the integration of improvisation and greater performer agency within a structured framework, amplified by live and interactive electronics. Among these pieces is A Poem is Not a Memoir, which was developed in collaboration with pianist and percussionist Lisa Kaplan and Matthew Duvall of Eighth Blackbird as well as Pulitzer-Prize winning poet Peter Balakian. His works have been performed at the SPLICE Institute, Third Practice Electroacoustic Music Festival, New Music on the Point, and the Southeastern Composers' Symposium. He has presented in masterclasses with Paula Matthusen, Augusta Reed Thomas, Lewis Spratlan, Paul Coleman, Charles Halka, and Matthew Welch. He is currently an adjunct professor at BGSU, where he teaches Music Technology.
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Canadian pianist Brendan Jacklin, currently based out of Ann Arbor MI, is an active performer, teacher, and new music advocate. A special interest of his involves performing interdisciplinary works that include electronics, video, poetry, and dance. He has performed solo and chamber recitals throughout North America and Europe. As an avid performer of contemporary music, Brendan has premiered dozens of new works, including solo and chamber music. He has worked with many composers, including David Lang, Missy Mazzoli, Libby Larsen, John Orfe, Jorge Cordoba, and Nicole Lizée. Brendan completed his doctoral studies at the University of Cincinnati's College-Conservatory of Music with Prof. Awadagin Pratt and Dr. Michelle Conda, with cognates in both pedagogy and multimedia music. He completed his Masters of Music in Piano Performance at Bowling Green State University with Dr. Thomas Rosenkranz and visiting professor Robert Shannon, and completed his Bachelors of Music with Prof. Megumi Masaki.
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Holding degrees in jazz guitar performance and composition, guitarist Amy Brandon is currently completing an interdisciplinary PhD in music cognition at Dalhousie University in Halifax, Nova Scotia. She has performed in Canada, the USA, Brazil, Australia, New Zealand, and the UK and festivals including ISIM, BeAST FeAST and NYCEMF. She has received commissions to write for Canadian and international ensembles including SNIM (Austria), Caution Tape Sound Collective (CAN), Black Sheep Contemporary Ensemble (USA) and Vox London Collective (UK). Awards include the National Sawdust Hildegard Initiative (Honourable Mention), nominations for Music Nova Scotia and ECMA awards for her jazz-electroacoustic album 'Scavenger' and the Roberta Stephen Award from the Association of Canadian Women Composers. In addition to performance and composition, she writes and presents academic work concerning music cognition, virtual reality, improvisation and the guitar. She has presented her work at Berklee College of Music and conferences in Australia, USA, Switzerland, Hungary and the UK.
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Ioannis Andriotis (b. 1983, Greece) focuses on sociological aspects of music emphasizing social memory and its reflections on contemporary human relationship. Andriotis holds a DMA in Music Composition from the University of Oklahoma, USA. He has composed works for acoustic and acousmatic media, live electronics, independent films, theatre, and international biennales and installations. During the Fall 2016 he served as an instructor of music technology/composition courses at Oklahoma State University and Rose State College. He assisted as an interim instructor of music technology at the University of Oklahoma (2013-2016).
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Alyssa Andriotis is an Oklahoma based flutist and teacher. She is an adjunct instructor at Oklahoma City Community College and serves as the Flute Fair Coordinator for the Oklahoma Flute Society. Ms. Andriotis has presented lectures, workshops, and masterclasses around the country. Committed to promoting new music, Ms. Andriotis is a performing member of the Flute New Music Consortium. She was the winner of the 2018 Flute New Music Consortium Flute Artist Competition. Her areas of interest include works for flute and electronics as well as new chamber music. Ms. Andriotis holds a Master of Music from Florida State University and a Bachelor of Music from Ball State University. Her previous teachers include Eva Amsler, Valerie Watts, and Mihoko Watanabe. andriotisflute.com
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Robert McClure’s music attempts to discover beauty in unconventional places using non-traditional means. Visual art, poetry, the natural world, neurological and mathematical concepts are elements that influence McClure’s works. His work has been featured at festivals including NYCEMF, the Sonorities Festival of Contemporary Music, the Toronto International Electroacoustic Symposium, SEAMUS, ISCM, and ICMC. His works may be found through ADJ•ective New Music LLC, Bachovich Music Publications, Imagine Music Publications, Innovative Percussion, Media Press, Inc., Resolute Music Publications, and Tapspace Publications as well as on the ABLAZE and Albany Record labels. Robert received his doctorate from the Shepherd School of Music at Rice University where his primary mentors were Shih-Hui Chen, Arthur Gottschalk, and Kurt Stallmann. Robert has previously held positions at the Shanghai Conservatory of Music and Soochow University in Suzhou, China. He currently serves as an Assistant Professor of Composition/Theory at Ohio University.
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Michele Fiala is the Associate Professor of Oboe at Ohio University and has performed throughout the United States, Italy, England, Germany, France, Japan and Canada. Her two CDs of contemporary oboe music - The Light Wraps You and Overheard - are on the MSR Classics label. Michele also appears on recordings on Naxos, Centaur and Equilibrium Records. Michele has performed on the Church of St. Martin in the Fields Concert Series (London), Festival Autour du Hautbois (Paris), Festival Fiati Novara (Italy), and the Banff Summer Music Festival (Banff, Alberta, Canada). Dr. Fiala's book, A Performer's Guide to Nineteenth-Century Italian Oboe Music is published by Trevco Music Publishing. She has written articles for The Double Reed and I Fiati and has edited music for Spartan Press (UK). She holds both a Doctor of Musical Arts degree and a Master of Music degree from Arizona State University, where she studied with Martin Schuring.
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Earlier Event: November 8
Concert 1
Later Event: November 9
Talks 1