Past SPLICE Institutes

Institute 2017

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The third annual SPLICE Institute was held in June 2016 at Western Michigan University. Featuring guest faculty members Mari Kimura and Paula Matthusen, the theme of the 2017 Institute workshops was Coding Extensions, which included a beginner and advanced SuperCollider workshop, in addition to workshops related to working with JavaScript in Max, Max for Live, and signal processing in Gen. There were introductory workshops that explored extensions of digital audio workstations and an introduction to Max.

Faculty

  • Paula Matthusen, guest composer
  • Mari Kimura, guest performer

  • Christopher Biggs, composition
  • Per Bloland, composition
  • Richard Johnson, composition
  • Keith Kirchoff, performance
  • Elainie Lillios, composition
  • Adam Vidiksis, compostion & performance
  • Samuel Wells, performance

Concerts

SPLICE Institute 2017 featured 9 concerts of music for instruments and electronics with 29 world premieres. Programs are available at the links below.

June 12, 2017
Mari Kimura, violin
June 13, 2017
Sam Wells, trumpet w/ the Western Brass
June 14, 2017
Paula Matthusen, electronics and Mari Kimura, violin
June 15, 2017
Keith Kirchoff, piano & harpshicord and Adam Vidksis, percussion
June 16, 2017
SPLICE Ensemble w/ Mari Kimura and Paula Matthusen
Jun 17, 2017
Participant Concert I
Participant Concert II
Participant Concert III
Participant Concert IV

Workshops:

 

Institute 2016

The second annual SPLICE Institute was held in June 2016 at Western Michigan University. Featuring guest faculty member Joo Won Park, SPLICE2016 was focused on the theme of Best Practices in Electroacoustic music performance and composition.

Faculty

  • Joo Won Park, guest composer
  • Élise Roy, guest performer

  • Christopher Biggs, composition
  • Per Bloland, composition
  • Richard Johnson, composition
  • Keith Kirchoff, performance
  • Elainie Lillios, composition
  • Adam Vidiksis, compostion & performance
  • Samuel Wells, performance

Concerts

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

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

Workshops:

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

Institute 2015

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SPLICE Institute 2015

The first SPLICE Insitute was held in July 2015 at Western Michigan University. Twenty-two participants and auditors joined the faculty (listed below) to discuss, create, and perform Electroacoustic music.

Faculty

  • Elainie Lillios, guest composer

  • Christopher Biggs, composition
  • Per Bloland, composition
  • Richard Johnson, composition
  • Keith Kirchoff, performance
  • Elainie Lillios, composition
  • Adam Vidiksis, compostion & performance
  • Samuel Wells, performance
  • David Wetzel, performance

Concerts

SPLICE Institute 2015 included 8 concerts, which featured a total of 15 world premieres. Of those fifteen, twelve were composed by participants, three by faculty. Faculty performed ten of the premieres, and participants performed five. Programs are availbe at the links below.

July 6, 2015
Faculty Concert I - Keith Kirchoff, piano
July 7, 2015
Faculty Concert II - David Wetzel, clarinets
July 8, 2015
Faculty Concert III - Samuel Wells, trumpet
July 9, 2015
Faculty Concert IV - Adam Vidiksis, percussion
July 10, 2015
Chamber Music Concert - Faculty Ensembles
July 11, 2015
Participant Concert I
Participant Concert II
Participant Concert III

2015 Workshops

Performer Workshops

  • Workshop I: Introduction to Electronics
    This workshop introduces the participant to the basics of performing with electronics. Included is an introduction to common hardware, microphone and speaker placement, and the basics of signal flow. By the workshop's end, the participant will know how to setup for performances and rehearsals.

  • Workshop II: Introduction to DAWs
    This workshop explores performing fixed media pieces, and teaches how to work with a DAW (Digital Audio Workstation) for performance and rehearsal. At the end of the workshop, the participant will be able to navigate four commonly used DAW's (Ardour, Audacity, Logic X, and ProTools), and will know how to apply this knowledge to the use of other DAW's.

  • Workshop III: Introduction to Max
    This workshop introduces the participant to Max: a graphic programming language that is the most common platform for music with live electronics. We will learn basic Max code, learn how to read a Max patch, and learn how to work within that environment. Participants will be able to troubleshoot common problems with Max, build rehearsals patches, and setup interactive works for performance and rehearsal.

  • Workshop IV: Troubleshooting Part I: Home
    This workshop explores how to rehearse and troubleshoot music at home and is the culmination of knowledge gained in the first three workshops. Looking at music for both fixed media and live electronics, the participant will be asked to address problems with faulty patches and find ways to effectively rehearse in a home or studio setting.

  • Workshop V: Troubleshooting Part II: Performance
    This workshop involves troubleshooting during a performance. Various in-hall challenges will be presented, and the participants will be asked to setup for a recital, and then fix problems. By the end of this workshop, participants will have all of the necessary tools to successfully setup, learn, rehearse, and perform Electroacoustic music.

  • Workshop VI: EARepertoire
    This workshop introduces the participants to a brief survey of electroacoustic music that combines instruments and electronics. We will study and listen to major works that integrate a live instrument with electronics and explore the evolutionary history of this medium.

  • Workshop VII: Interactive Event Manager
    While earlier workshops presented the basic concepts required to be self-sufficient in the performance of electroacoustic music, this workshop will demonstrate more advanced ways to apply these principles in performance and rehearsal. Participants will learn about coordinating individual works or entire concerts within a standard system developed by David Wetzel.

FOR COMPOSERS: Electronic Music Aesthetics and Repertoire This workshop will increase participants' familiarity with the vast repertoire of electroacoustic compositions, emphasizing discussion of relevant aesthetic issues. Time will be spent on critical listening sessions in which selected pieces are played in their entirety (time permitting) and discussed in terms of compositional effectiveness, historical place in the canon, and aesthetic decisions, conscious or unconscious, made by the composers.

Effects Processing For students with previous experience in a Digital Audio Workstation, this workshop facilitates a detailed understanding of filters, dynamics processing, delay-based effects, modulation, distortion, reverb, and FFT. Composers completing this workshop will have the ability to intentionally employ effects for creative purposes.

Introduction to Max For students with little to no previous experience working in Max or Pure Data, this workshop teaches composers to complete simple, useful tasks in Max and Jitter, such as writing algorithms for processing MIDI information, basic synthesis, and triggering sound files. Student completing this workshop will have the ability to complete simple tasks in Max/MSP, to understand the basic workings of the applications, and think creatively about the possibilities provided by the software.

Intermediate and Advanced Max For students with previous experience working with Max or Pure Data, this workshop teaches composers the basics of creative interactive works with Max. Composers completing this workshop will be able to create basic interactions between external data sources (sound sources, midi controllers, etc…) and internal data sources (synthesizers, sound files, etc…), and think creatively about generating interactive works.

Live Sound and Event Production A limited number of composers will receive a reduced participation fee and do live sound reinforcement for the end of the week participation concerts. Composers will learn the basics of live sound reinforcement and event production, including microphones, digital and analog mixers, surround sound speaker arrays, and stage management.