1.  I Don’t Like Americans- Michelle Kinney


Features vocalist Shi-Zheng Chen, and was co-produced by Alex Noyes as part

of an Artists Residency awarded to Michelle Kinney (cellist/composer), at

Harvestworks Studio Pass in NYC.


2.  The Moon Camera - Peter Blasser



"The moon camera" is part of a series of pieces, "the sound of doves in a

cave", released by Shinkoyo, that document a process of listening to

electronics (analog or digital) balanced on the edge of chaos; a sort of

automatic inspiration.  In "the moon camera", I used Supercollider to

create an ever-changing texture, tied to the meter of a simple poem.  As a

result, the form of the piece is generative and through-composed; the vocal

textures all imitate the digital gestures and glitches of the source





Peter Blasser is a synthesynthesist, a builder and player of analog brains that

synthesize sound.  He has made modular synthesizers in rolls of canvas,

breath sensitive surfaces in driftwood, and rhythm machines inside coats.

He has released several solo records, and one as a band, "The Gongs", who

play Peter B original instruments, and who toured with Momus in the summer

of 2002.  He attended Oberlin College and Conservatory, majoring in

Electronic Music and Chinese. (contact: www.blasser.com)



3.  Signale- Malte Steiner



This piece is created in 2002 made of the sounds of digital artifacts

only. The different layers of frequencies and its manipulation give

it a rich texture, disturbed by rhythmical clicks.



Malte Steiner runs the project 'Elektronengehirn' since 1996,

dedicated to electroacoustic music only done with software like

csound, Max/MSP and custom applications. Besides the releases on

compact disk the pieces of Elektronengehirn are performed live.

Steiner has gained experience of nearly 20 years of electronic sound

research since he started 1983 with first recordings. Today he runs

several different music projects and a label, programs software and

doing interactive sound and video installations. The experience is

spread by giving lectures and workshops at universities and

international conferences.




4.  Frag’s Pferd- Rodelius



 Hans Joachim is one of the pioneers at the field of the exploitation of electrically generated tones, sounds and noises and belongs to the founders of contemporary popular electronic music. His discografie listes about 80 releases and there are more than 10 productions ready to be released in the next future.



5.  Crab- Sawako Kato



Almost paradoxical in nature, Sawako's music encompasses both deep

contemplation and an arbitrary randomness of having totally no intentions.

"Crab" is one of such kind of tracks with field recording and electronic

sounds, which makes a world like child's daydream or

surrealism in every day life.





  Sawako Kato is a Japanese sound artist

currently living in Tokyo. She graduated SFC, Keio Univ. in which she

studied DSP with her teacher, Christopher Penrose, did live performances in

Japan, USA, Paris and London, and was on same stage with Christopher Charles,

Oval, Yoshihiro Hanno, Astro Twin(Uta Kawasaki+ Ami Yoshida) and so on. In

April 2002, she has been given critical acclaim in the Italian magazine

BlowUp though at that time she had no official release.

    She makes a soundscape graced with beautiful silences, the

poetics of petite sounds, mixer feedback, computer processing,

field recording, and the various sounds of her immediate


    As future plans, she will release some CD(r)s from various

labels, make works as visiting artist at Alfred Univ.(NY, USA)

in 2003.Feb, do Japan tour in 2002.Dec. and so on.


6. Petsound


1.      03  (1”00”)

2.     area (0’30”)

3.     atm  (0’30”)

4.     beep   (0’07)

5.     convini  (0’15”)

6.     electroperator  (0’08”)

7.     geisha  (0’15”)

8.     jr  (0’15”)

9.     oasis  (0’15”)

10.  shibuya  (0’08”)

11.  sono mono  (0’07”)

12.  subway (1’00”)


7.  My Grandfather's Kalimba- Christopher Coleman



When my grandfather died, I realized that while I knew many things about him,

I hadn't really known him.  He was a quiet man in a loud household, always

present but never a presence.  He was a collector of many things; sword-canes,

movie props, all kinds of odds and ends.  When he discovered that I was

interested in collecting coins, he would give me some medal that he had picked

up.  This was his display of love for me--not hugs and kisses, but a medal

pressed in my hand during my visits--and in the ignorance and arrogance of

youth, I sometimes refused them, because medals are not coins.  I did not

attend his funeral, having moved away for graduate school.  His collections

passed into the hands of his other children and grandchildren while I read

Forte and Schenker, believing my priorities in the proper place.  My brother,

also a musician, inherited my grandfather's African thumb piano.  Years later,

upon seeing my own collection of musical instruments, he offered the kalimba

to me.  This delicate and subtle instrument is what remains of my grandfather

for me, a gift of love handed from grandfather to grandson and brother to






Christopher Coleman (b. 1958, Atlanta, GA) is currently Composition

Coordinator of Hong Kong Baptist University.  He was awarded first prize in

the composition contests of the Percussive Arts Society and the American

Society of University Composers.  He has received commissions from groups such

as the Hong Kong Composers' Guild, the DuPage Symphony Orchestra, the Chicago

Area Chapter of the American String Teachers Association, and the University

of Georgia Trombone Choir and New Music Ensembles.  He received his Ph.D. in

music composition where he studied with Ralph Shapey and Shulamit Ran. While

at the University of Pennsylvania, where he earned the M.A. in composition, he

studied with George Crumb, George Rochberg, and Richard Wernick, among others.

His music is published by Theodore Presser, Ensemble Publications, C. Alan

Publications and Crown Music Press.  He is also an active trombonist and

conductor, specializing in contemporary repertory.



8.Three Short Pieces for Tape #3 - William Price




Spline was created using the audio processing programs C-sound and ProTools, and are unified by their use of text manipulation and its change of syntax and focus within each individual movement.

            Spline, is based on the concept of interruption and constant change of media focus.  The work uses several layers of background and foreground activity that create a dialogue throughout the piece.  Various sources of sound media were used including samples taken from folk music, popular music, and art music sources.

[email protected]




William Price received his bachelors of music education from the University of

North Alabama and his masters of music from Louisiana State University.  His is

currently pursuing his DMA at LSU where he studies composition with Dinos

Constantinides and Stephen David Beck.  Price‚s music has been performed at

various international and regional events including the 2002 SEAMUS Conference,

the 11th Annual Florida Electro-Acoustic Music Festival, the 2000 World

Saxophone Congress, and several Society of Composers, Inc. regional

conferences.  He has received awards and commissions from numerous

organizations including ASCAP, the Louisiana Music Teachers Association, and

first prize in the 1998 Philips Slates Composition Contest.  His music has been

performed and premiered by Gail Levinsky, John Perrine, the Red Stick Saxophone

Quartet, and has been broadcast on public radio stations throughout the

country.  Price is currently the president of the Mid-South Chapter of the

National Association of Composers, USA (NACUSA).




9.  Tenebrae 1- Gary Verkade



This work was commissioned by the Piteå, Sweden Church Opera.

When I was first asked to compose it, I spent much time

considering how to go about making music that was to be

performed together with the LEÇONS DE TÉNÈBRES by Couperin,

music so far removed from us in time.


I realized that there were two kinds of voice involved. First

there is the human voice, expressing the text of lamentation,

taken from the Biblical book of Jeremiah and traditionally

performed during the dark days of Holy Week before Easter.

Second there is the aesthetic voice, the music, the tones

expressing their relationships. This combination of text and

music is itself a voice, a statement: the voice of Couperin

expressing his understanding of text and music as they relate to

the Tenebrae theme. This double meaning of voice--both the

physical manifestation and the concept of voice as expressive

statement in any medium--intrigued me, and I began to think

about creating a work that consisted only of voice.


TENEBRAE I (as well as TENEBRAE II) consist almost entirely of

my own voice. Since using the voice in making an

electro-acoustic work entails recording with a microphone, I

decided also to use various microphone sounds, some of which

arose naturally while recording, and some of which were recorded

in separate takes. I chose to make the words used in the

composition ambiguous, mixing them in such a way that only very

occasionally does one understand a whole phrase of text. In

addition, two different languages and fragments of a third are

used. The words used become unimportant in the understanding of

the expressive intent of the music. Here, words do not carry

meaning, it is the meaningless words that become expression

as music. Tenebrae means darkness. Words which are more or less

unintelligible, no longer carriers of specific meaning, is

language in semantic darkness, yet never expressionless.




Gary Verkade lives in Sweden and is a consummate master.


10.-12.  Dhoormages- Jon Christopher Nelson's



I.          Variation on a Door, Not a Sigh

II.        I Am Sitting In A . . .

III.       Waterrun


This work consists of a series of short electro-clips that pay homage to three seminal electroacoustic works. The source sample for all three of these electro-clips is a recording of a rather noisy door. Specifically, composers were invited to prepare short compositions that made exclusive use of a recording of a restroom door in Berlin. Each of these three homages pays tribute to a composer and the techniques they used.





Jon Christopher Nelson's (b. 1960) electro-acoustic music has been performed widely throughout the United States, Europe, and Latin America and has been honored with numerous awards including fellowships from the Guggenheim Foundation, the National Endowment for the Arts, and the Fulbright Commission.  His electroacoustic music has been awarded both a Luigi Russolo and Bourges Prize and he was recently awarded a Bourges Commission. In addition to his electro-acoustic works, Nelson has composed a variety of acoustic compositions that have been performed by ensembles such as the New World Symphony, the Memphis Symphony, ALEA III, and others.  He has composed in residence at Sweden's national Electronic Music Studios during the 1989-90 academic year as well as the fall of 1994.  Nelson received his Ph.D. from Brandeis University and has studied digital audio processing and computer music composition with Barry Vercoe at the MIT Media Lab.  He also has worked as a technical consultant at MIT's Media Lab for visiting composers Mario Davidovsky, Jean-Claude Risset, and Morton Subotnick.  His works can be heard on the Bourges, Russolo Pratella, CDCM, NEUMA, ICMC, and SEAMUS labels.  Nelson is currently a Professor at the University of North Texas where he assists in directing the Center for Experimental Music and Intermedia (CEMI) and serves as the Associate Dean of Operations. 


13.  Q++ - Rod Stasick



Q++ is a work for environmental, ultrasonic, and

electromagnetic sound. Composed for 16 independent

channels, the work is also presentable in variable

settings with 2 channels as the minimum requirement.




Rod Stasick is a composer in the broad sense of the term.

He is interested in the creation of event-systems for

various situations. Template scores are often created

using a combination of graphic signs and symbols that

usually suggests a syncretism of styles and methods of

performance. Using these methods, he produces works in

diverse disciplines (audio, video, text, mail art,

conceptualism, etc.) utilizing assorted influences

(Eastern Philosophy, Fluxus, The Internationale

Situationniste, Semiotics, Discrete Event-Systems, random

numbers to revamp Zen planning and various forms of

Information Theory). Worked with John Cage, Nam June Paik,

Jerry Hunt, et al. With having recently (2001, 2002) spent

time with Karlheinz Stockhausen studying his work in

Germany, Rod Stasick has acquired a renewed interest in

the aspects of compositional integration.


14.  816- Barry Schrader’s




just east of Zzyzx on Interstate 15

1:10 A.M.

an apprehension of something sensed, not expected

an impression of something experienced, not remembered

created with a Yamaha TX816




Barry Schrader’s compositions for studio media, dance, film, video, multimedia, live/electro-acoustic combinations, and real-time computer performance have been presented throughout the world.  Schrader is the founder and the first president of the Society for Electro-Acoustic Music in the United States (SEAMUS).  He has written for several publications, including several editions of the "Grove Dictionary of Music," and is the author of "Introduction to Electro-Acoustic Music."  He is currently on the Composition Faculty of the California Institute of the Arts, and has also taught at the University of California at Santa Barbara and California State University at Los Angeles.  His music is recorded on the Opus One, Laurel, CIRM, SEAMUS, Centaur, and Innova labels.