<541> Volume 1
Music from Stanford
is a concert series dedicated to performances of challenging music by students
and faculty at Stanford University. Composers in the Stanford community produce
pieces that reflect a broad range of aesthetic issues, including fragmentation
of structure, complex layering of musical time, narrative vs. non-narrative
discourses, and the relationship of image and sound. The <541> CD project
aims at being an ongoing account of this multiplicity of musical concerns, with
each CD being made up largely of performances recorded in <541> concerts.
We would like to
thank many people who have been involved with the realization of these concerts
and of this recording, above all the administration of Stanford University for
its generous financial underwriting of the project. Many individual members of
the Music Department have unstintingly given of their advice and support,
including Mario Champagne, Stephen Hinton, Jonathan Berger, Mark Applebaum,
Christopher Burns and Christopher Jones. These concerts benefited hugely from
the untiring technical and public relations support provided by Mark Dalrymple
and Beth Youngdoff. Our special thanks are also due to Philip Blackburn and
Innova Records for making this series possible.
Professor Brian Ferneyhough
Department of Music
Braun Music Center
Oded Ben-Tal: Saraband
Christopher Burns: Xerox Book
Ching-Wen Chao: Departure Tracings
Franzson: Auto da Fé
Alex Hills: The Principle of Terrestrial Mediocrity
Jones: Suspended Narratives
Nurit Jugend: Bows to Brushes
Damián Keller: Metrophonie
Sven-Ingo Koch: Buchtungen
Seungyon-Seny Lee: Idiosyncrasy
Charles Nichols: Strata 3: Guqin
José Rio-Pareja: Red threads of desire
Matthew Shlomowitz: Deirdre’s Threat
Atau Tanaka: Overbow
Oded Ben-Tal: Saraband (1999)
for flute, clarinet,
violin, cello, piano, percussion, and tape
Like the French
Baroque saraband, this work presents a kind of slow dance in three. Three repeating types of sound events
form a matrix through which the music flows, creating dialogues between and
within the instrumental lines.
Though inspired by the Baroque form—ornamental and highly stylized—there
are no specific baroque allusions or stylistic quotations.
Oded Ben-Tal studied music and physics in Jerusalem, and then
completed a doctorate in composition at Stanford University, where he worked
with Jonathan Harvey, Brian Ferneyhough, and Jonathan Berger. While at Stanford
he also pursued both research and composition at the Center for Computer
Research in Music and Acoustics (CCRMA). He currently lives in London.
Christopher Burns: Xerox Book (2001)
for piano and
Xerox Book, for piano and percussion, is a pendant to my
sextet The Location of Six Geometric Figures. In several movements of the duo, extracts from
the larger work are molded and twisted through a variety of idiosyncratic
transcription techniques. In other movements of Xerox Book, newly composed materials were subjected to
similar processes of compression and distortion. In most of the larger
movements, there were several generations of transformation before the music
reached its final state—just as a sequence of photocopying will gradually
distort an image into something new and unrecognizable.
The duo’s title
derives from Andre Barry Huebler Kosuth LeWitt Morris Weiner, a volume published by Seth Siegelaub in 1968,
informally known as the “Xerox Book.” Each of the artists named in the title of
Siegelaub’s publication contributed twenty-five Xeroxed pages to the project,
all addressing the idea of repetition in some way. Xerox Book is my belated contribution to the project.
chamber and electroacoustic music.
His works explore simultaneity and multiplicity: textures and materials
are layered one on top of another, creating a dense and energetic
polyphony. Christopher's work as a
computer music researcher is a crucial influence: these pieces are written with
pitch and rhythmic structures which are created and transformed using custom
software. Beyond algorithmic composition, his other research interests include
the application and control of feedback in sound synthesis, and the study and preservation
of sketch materials produced by electroacoustic composers.
is Assistant Professor of Composition and Technology at the University of
he served as the Technical Director of the Center for Computer Research in
Music and Acoustics (CCRMA) at Stanford University, after completing a
doctorate in composition there in 2003.
He has studied with Brian Ferneyhough, Jonathan Harvey, Jonathan Berger,
Michael Tenzer, and Jan Radzynski.
is also active as a concert producer.
He co-founded and produced the strictly Ballroom series at Stanford
University, which presented 37 programs of contemporary music from 2000 to
2004. He is currently the
co-director of the San Francisco-based sfSoundSeries, which presents new
chamber music, improvisation, music theater, and electroacoustic music
side-by-side. These concerts are
also an outlet for Christopher's interest in the realization of classic music
with live electronic or mechanical components: recent projects include the
creation and performance of new versions of works by Cage, Ligeti, Lucier, Nancarrow, and Stockhausen.
Ching-Wen Chao: Departure Tracings (2000)
for flute, clarinet,
violin, cello, piano, and percussion
Departure Tracings is the second in a series of works dedicated to
the memory of my father. Each work in the series utilizes the pitches C and G#
as points of departure and/or arrival (these two pitches are derived from my
father’s initials). Each member of the ensemble traces a different trajectory
in time from and to these focal points. Ritual forms a significant subtext of
the piece, in keeping with the mysterious and spiritual nature of the
composition’s subject matter.
Ching-Wen Chao, born in Taiwan in 1973, is an Assistant
Professor in the music department of the National Taiwan Normal University. She
was previously a lecturer at Stanford University (2002-2003) where she received
her DMA in composition in 2002, studying with Chris Chafe, Brian Ferneyhough,
and Jonathan Harvey. She received her B.A. in composition at the National
Taiwan Normal University in 1995 where she studied with Mao-shuan Chen.
Her recent awards
include the first prize of the 2003 “Fanfare” composition competition held by
the National Symphony Orchestra in Taiwan for its 16th anniversary, a
fellowship from the Chiang-Ching Kuo Founation Fellowship in Humanities for
year 2001-02, the first prize of the Young Composers Competition of the Asian
Composers League, and the first prize of the Music Taipei Composition Competition
in Taipei. In recent years she has collaborated with world-renowned new-music
ensembles including the Arditti String Quartet, California EAR Unit, St.
Lawrence String Quartet, VOXNOVA, EARPLAY, National Symphony Orchestra in
Taiwan, as well as members of Eighth Blackbird, the CalArts ensemble, and the
Ju Percussion Ensemble. Her works have been performed in various music
festivals and electronic music centers in US cities such Los Angeles, Seattle,
Boston, Cincinnati, as well as in major cities of Germany, France, Canada, New
Zealand, Indonesia, Colombia, Korea, Taiwan and China.
Franzson: Auto da Fé
for percussion solo
The title of Auto
da Fé refers not to the acts of
the catholic inquisitions, but to an act committed by Cuban girls left by their
fiancés and lovers. The piece is a
frantic, fiery dance from the initial onset of incoherence and chaos through
the more subtle fluctuations of dying flames.
Franzson was born in Akureyri,
Iceland in 1978. He majored in music and biology at the Akureyri Junior College
in 1999 and received a Diploma in composition and theory from Reykjavik College
of Music in 2001 where his principal teachers were Mist Þorkellsdóttir
and Atli Heimir Sveinsson. He has a Master of Arts degree and is pursuing a
Doctor of Musical Arts degree in composition at Stanford University with Brian
Ferneyhough and Mark Applebaum.
Daví∂’s chamber and
electronic music has been performed, recorded and broadcast in Iceland, Norway,
Finland, the US, Greenland, and the Faeroe Islands by groups such as UUSYNTA,
Caput, Alea II, and the Oslo Sinfonietta.
Alex Hills: The Principle of Terrestrial Mediocrity (2001)
for piano solo
“The history of
astronomy is the history of increasing humiliation. First the geocentric
universe, then the heliocentric universe. then the eccentric universe—the
one we’re living in. Every century we get smaller. Kant figured it all out,
sitting in his armchair. What’s the phrase? The principle of terrestrial
—Martin Amis, The
This piece takes as
its program or narrative the Copernican realization that the Earth revolves
around the Sun rather than vice versa. The extremely inflexible rhythmic,
harmonic and gestural components of the piece attempt to model the solar
system, at first with the Earth—the note D—in the center. As
happened with Ptolemaic cosmology. the amount of complication involved in
trying to sustain this basically false assumption causes the model to collapse
and reveal the true one, centered around A-flat, which represents the Sun. The
components of this system have been present from the start, just as they were
in pre-Copernican astronomy, but it is only by marginalizing the Earth that a
workable paradigm falls into place.
Alex Hills was born in Cambridge, England, in 1974, and
began playing the piano and composing at the age of 6. Following undergraduate
studies at the University of Exeter, he was awarded an entrance scholarship to
the Royal Academy of Music in London, where he completed both a Master’s Degree
and the postgraduate diploma, studying with Michael Finnissy. In 1998, he moved
to California to pursue doctoral studies with Brian Ferneyhough, first at UC
San Diego and now at Stanford. He has also taken part in courses and
masterclasses with, amongst others, Franco Donatoni and Harrison Birtwistle.
His music has been widely played in England, at events including the Cheltenham
Festival and the South Bank Center’s State of the Nation day, as well as in the
Netherlands (at the 1999 Gaudeamus week), France, Australia, and the USA. He is
also a very active pianist, giving many first performances as well as playing a
wide range of twentieth century music and more conventional repertoire.
Jones: Suspended Narratives (2001)
guitar, violin, viola, and cello
This music is
concerned with two narrative strands: one that unfolds along an evolutionary
path, and a second that unfolds as a series of fragments. Both strands are
concerned with the search for a common point of origin; the search eventually
dissolves, yielding to an unexpected “other.” The title of the piece refers to
Italo Calvino’s If on a winter’s night a traveller.... in which several first chapters of imaginary
novels are suspended within a continuous narrative.
Christopher Jones, composer, pianist and co-producer of the San
is dedicated to the creation and performance of unusual contemporary music. He
has given many premieres, and enjoys working closely with composers in the
realization of challenging new pieces.
His compositions have been performed in numerous places in North America
and Europe, including performances of his quintet, Suspended Narratives, at the 2002 Darmstadt Ferienkurse in Germany,
and the 2001 Ictus International Composition Seminar in Brussels.
is a lecturer in composition and music theory and the Contemporary Music
Production Manager at Stanford University, where he completed his doctorate in
composition in 2004. He has studied composition with Brian Ferneyhough,
Jonathan Harvey, and Allan Gordon Bell, and piano with Evelyne Brancart and
Nurit Jugend: Bows to Brushes (2001)
for fourteen strings
This piece is an
attempt to capture the essence of a visual scene—the autumn. Of
particular interest are elements such as the wind, the chill in the air, the
structure of the trees, and the colors of the leaves. I have chosen to
represent an impression of autumn in a pointillist style—the mottled
color of the leaves translating easily into strokes of a brush.
In the visual arts,
the pointillist technique constructs a coherent image from a collection of pure
dots of color. Each of the dots is devoid of an internal structure or
substantial meaning by itself. It is only through the juxtaposition of these
elements that local collections of points acquire a more subtle hue, a complex
structure, and a meaningful image.
The form of the piece
explores a musical analogy to this technique. I wish to capture not only the
final product—the painting—but the process of rendering it in a
pointillist style. In other words, I attempt to reveal, in time, the evolution
of this visual self-assembly as directed by the artist, and so observe points
becoming lines; lines becoming forms; forms becoming images.
In the dramatization
of the visual creative process I have cast the players in particular roles. The vocalist is treated equally with the strings and
represents the artist himself. The artist executes her intentions using
tools, the brushes, represented by the celli. The melodic lines played by the
celli represent the process of the dots becoming lines and foreshadow the
complete image. The remaining string sections represent the evolution of dots
into form, eventually revealing the painting.
The duality of the
subject (autumn) and the technique (pointillism) as described in the piece
generates ambiguity in its interpretation. One listener might hear the brush on
the canvas, while another might hear the leaves on the trees. Neither
interpretation dominates, but rather shifts for each listener individually.
Nurit Jugend began her musical education at the Jerusalem Rubin Academy, where
she studied with Dr. Ari Ben-Shabetai, earning a BA in Music Theory and
Composition. She then worked at the Hochschule der Kunste in Berlin with Walter
Zimmermann, and Frederic Rzewski, and is currently completing a DMA at Stanford
University with Jonathan Berger, Jonathan Harvey, and Brian Ferneyhough.
To date, Jugend has
authored over a dozen published works, which have been performed in France,
Israel, USA, Italy, Luxembourg, Germany, Yugoslavia, Iceland, and Austria. These
performances include participation in the Luxembourg ISCM World Music Festival
2000, the Belgrade Festival for Contemporary Music, the Tel-Aviv 2000 Biennale
festival for Contemporary music, and many radio broadcasts. Her works have been
played by the Amber Trio, the St. Lawrence String Quartet, the Sirius Group,
the Stanford String Chamber Group, the 21st Century Contemporary Players of
Israel, the Haifa Symphony Orchestra, the Israel Philharmonic Orchestra under
Maestro Zubin Mehta, the e-mex trio from Germany, the Calarts Contemporary
Ensemble as well as a collaborative work—Spiraling Ahead—with Dancer and Choreographer Amy
Helmstetter at the Summerfest/Dance 2003 Festival in San Francisco.
These works have
earned Jugend several awards, including a special mention by the jury at the
Arturo Toscanini Foundation Competition for the symphony Parody, first prize for composition at the Klön
Competition for Composers, first prize at the Liebersohn Composition
Competition for Orchestral Works for the piece The Voice Of Silence, the Acum prize for the piece Bows To Brushes, and the 2003-04 Giles Whiting Dissertation
Fellowship at Stanford University for her work Self-portrait.
Damián Keller: Metrophonie (2000)
for four-channel tape
Sources: San Francisco
transformation techniques: ecological models, real-time granulation, resonant
short “stories,” the characters are the people of San Francisco streets.
Metrophonie, as its title suggests, is loosely inspired by
Stockhausen’s Mikrophonie I.
The similarities are: the title, the four-channel format, the transformation of
recorded sounds, and the subdivision into sections. In other words, all that
Metrophonie takes place in San Francisco’s metro (aka BART).
The piece is made up of several short stories: a woman pays a fare, a drunkard
sings, a big man hugs his buddy, and a “mama works at Brian’s tonight.” As in
San Francisco’s street life, money plays an important role in this piece. More
pervasive than money, however, is the lack of money. In this sense, it is an
Some streets in San
Francisco are not clean. The people in these streets are also not very clean.
The sounds emitted by these people are rich. Whether they are clean or dirty
does not matter because they are rich. But cleanliness and wealth have no place
in Metrophonie. What really
matters is whether there is a blackout or not.
Damián Keller writes: Over the last few years I have been
working on an ecological approach to composition that led to a few compact
discs and publications. They are available at www.earsay.com, Leonardo Music
Journal and Organised Sound.
The new millennium
finds me struggling with a broader and more challenging conception of
composition: work that brings social and geographical context to life. Source
materials are transformed in space and sound to follow perceptual constraints,
providing the listener with a specific referential environment. The meaning of the
piece is defined by the listener’s everyday experience of sound, by the
interaction of spatial and temporal elements, and by the contextual references
in the work.
Sven-Ingo Koch: Buchtungen (2000)
for chamber orchestra
In my piece Buchtungen, the music is subjected to frequent, sometimes
harsh cuts, and to continuous variation. Through the juxtaposition and linking
of incompatible states and materials, I seek to create and transcend musical
spaces, with the goal of presenting disparate materials in a common light.
Elements initially alien to one other gradually become more familiar.
Sven-Ingo Koch was born near Köln, Germany, in 1974. He has studied in Essen (Germany), San
Diego, and Stanford; his most influential teachers were Nicolaus A. Huber, Roger
Reynolds, and Brian Ferneyhough.
After a four years in California, he has returned to Germany, where he
works as a freelance composer. He
still loves the beaches of California (and, sometimes, the Beastie Boys).
Sven-Ingo Koch has
received among other awards the Folkwang Prize 1999, the Bach Prize Hannover
2000, the Cynet Art honorary mention 2001, the German Industry Federation’s
Young Composers Prize 2001, and most importantly the Stuttgart Award 2003. He also obtained scholarships
from the German Government (DAAD) (1999-2000), Stanford University (2000-2003),
the Academy of Arts Berlin (in 2000 and 2002), GRAME, Lyon 2003, and the
Koch’s music has been
performed widely at numerous festivals and venues, and is frequently broadcast
by German radio stations. In
September 2003, his music was broadcast in an all-Sven-Ingo-Koch-feature on
Deutschland Radio Berlin. He has collaborated with the Ensemble Modern, the
Kammerensemble Neue Musik Berlin, musikFabrik NRW, the Schlagquartett Köln,
Thürmchen, e-mex, Trio Surplus and the Neue Vocalsolisten. His music has been
relearsed on compact disk on the cybele, ars, and edition zeitklang labels.
More information at: www.sven-ingo-koch.de.
Seungyon-Seny Lee: Idiosyncrasy (2001)
tape, and video
How much blue can be
made from dark-grass-green with yellow, and how much can that blue be made
yellowish-green using the same yellow?
What makes it possible to think certain ways, and not to think other
This piece attempts to
portray the mirror images of Self and Other, expressing these psychoanalytic
concepts through three fundamental emotions of human being: anger, lament, and
joy. The composition draws on
three poems in different languages, each expressing the essential meanings of
their words, and liberating their phonetic sounds from the lexical hindrances
of time and place.
Many thanks to Cyrille
Brissot, who collaborated on the video images, to Takayuki Nakano for providing
his poem, and
also to Armelle Orieux who contributed her voice
throughout the piece.
*Japanese text in
Anger: “Noroi ga koishii” (Spellbound), Takayuki Nakano
*Korean text in
Lament: “Na-n∂n N∂ Da” (I am you) 130-1, Ji Woo Hwang
*French text in Joie:
“Ouē-dire” from MatiŹre ą rire, Raymond Devos
Lee was born in
Seoul, Korea. She has studied
composition with Sungho Hwang and KangYul Ih at Chugye University of Arts, with
Richard Cornell at Boston University, where she completed a M.M. degree, and
with Jonathan Harvey, Brian Ferneyhough, and Chris Chafe at Stanford
University, where she received a DMA.
composes instrumental and electro-acoustic music, and has produced music for
animation, film, dance, video and installation projects. Recent works include a
piece for voice with interactive electronics, and collaborative pieces for
sound spatialization and video installation.
composer, many of her works have been performed in major festivals, including
the Internationale Musikinstitut Darmstadt, the Agora Festival in Paris, the Seoul International Computer
Music Festival, the International Computer Music Conference in Sweden,
Primavera en la Havana in Cuba, the Florida Electroacoustic Music Festival,
XIII CIM l’Aquila, Acanthes Festival, WestWave Dance Festival in S.F, and Art Action-Rencontres Internationales
Paris/Berlin. She has received
grants and awards from the Korean Culture & Arts Foundation, the
Asia/Pacific Scholars Program, and an honorary mention in the Luigi Russolo
International Computer Music Competition.
She was a one of
selected 10 composers
for one-year course in
composition and computer music at IRCAM in 2000-2001, and was a resident artist
at the Cite Internationale des Arts program in Paris, the Art OMI International
Music Residency Program in NY, the Djerassi Resident Artists Program in
Woodside, CA., and CAMAC International resident
program for multidisciplinary artists in France. Currently, Seny is a researcher in Virtual Reality and
Human-Computer Interaction Group at Korea Advanced Institute of Science and
Charles Nichols: Strata 3: Guqin (2003)
electric violin, interactive computer processing, and quadraphonic
Guqin, the first of four movements of Strata 3, was inspired by a recording of the ancient
Chinese zither of the same name, and by a description of its traditional
performance practice. Of particular interest is the tradition of highly
stylized and meticulously notated music for this silk-stringed instrument,
which contains passages of music performed with strictly specified physical
gestures that may not sound. The first section of this movement is an
exploration of this idea, translated to an electric violin played without bow,
and with both hands on the fingerboard. The idea is then carried through the
rest of the movement with glissando, vibrato, and tremolo effects played with
Guqin is also a study in real-time convolution. The
interactive computer programming processes the signal from the electric violin,
convolving it with soundfiles of increasingly noisy glissandi, some played with
vibrato and tremolo. The programming additionally processes the signal with reverb,
normalization, and quadraphonic spatialization.
Charles Nichols earned a Bachelor of Music degree in Violin
Performance from the Eastman School of Music, a Master of Music degree in
Composition from the Yale University School of Music, and a Ph.D. degree in
Computer Music Theory and Acoustics from the Center for Computer Research in
Music and Acoustics (CCRMA) at Stanford University.
While at Yale, Nichols
served as a Research Associate at the Center for Studies in Music Technology
(CSMT) and as a Research Assistant to Bruno Repp at Haskins Laboratories. While
at Stanford, he served as the Interim Technical Director, and later as the
Associate Technical Director, of CCRMA. He has taught at Yale and Stanford, and
is currently an Assistant Professor of Composition and Music Technology at the
Department of Music at the University of Montana.
including acoustic and electroacoustic pieces for large ensembles, chamber
groups, and soloists, have been performed in the United States, Europe, and
Asia. His research, including the analysis and resynthesis of sound, and
musical controller hardware and software engineering, has appeared in
conference proceedings, and academic and popular journals. Nichols performs
interactive computer music on electric and MIDI violin, as well as contemporary
music for soprano and violin with his wife, Beryl Lee Heuermann, in their duo, Painted
Rio-Pareja: Red threads of
for solo piano
Red threads of desire
sounds, for the composer, as notes of infinite duration, like shapes
disappearing inside time or colors diluting in water. Above all, this piece
realizes desire through sound—desire and attraction felt by beings that
share life. Red threads of desire is
dedicated to Amedeo Modigliani and his portraits, the outlines of which
inspired this composition.
Red threads of
desire was premiered on February
1, 2004 by the French pianist Georges Pludermacher in Tours (France). It was
awarded with the 2004 ”Concours
José Rio-Pareja was born in Barcelona in 1973. Beginning his
piano studies at a very young age, José obtained a diploma in piano and the
degrees of “Professor Superior” of Orchestral Conducting, Choral Conducting,
and Composition in the Conservatori Superior Municipal de Música de
Barcelona with professors Albert
Argudo, Carles Comalada, and Xavier Boliart. At the completion of his studies
at this conservatory, he was awarded Highest Honors in Composition. Currently,
he is pursuing a DMA in composition at Stanford University studying with Brian
He has received
numerous awards such as the First Prize from the 15th Young Composer
Competition, 1995 Frederic
Mompou International Award, the XIV
International Festival of Youth Orchestras 2000 Award, the First Prize in the Composition
Competition of the SGAE (General Association of Authors and Editors from Spain)
2000, the First Prize in the XXI International Composition Competition Cristobal
Halffter 2001, the Merit Diploma
2002 of the Accademia Chigiana in Siena (Italy), and the 2004 Concours Henry
His music has
been played by the Ensemble Intercontemporain and by prestigious Spanish
musical groups including, among others, the Grupo Enigma, the Chamber Orchestra
of the Auditorium of Zaragoza, the Plural Ensemble, 2111 Gėtic Brass, and Grupo
He has also
received several grants such as the scholarships of the Courses Manuel de
Falla, the IAE grant, the
Accademia Chigiana, Centre Acanthes, Stanford University and la Caixa fellowship—the most prestigious grant for
international graduate studies in Spain.
Selected by the
National Spanish Radio, his work Zarzas (for viola and ensemble) participated in the International Rostrum
of Composers organized by UNESCO 2001 in Paris.
Matthew Shlomowitz: Deirdre’s Threat (2000)
for violin and piano
refers to Deirdre of the Sorrows, an ancient Irish tale from the
Cycle. A moment in
the tale (the issuing of a threat) provides the
departure point and emotional context for the piece.
Shlomowitz (b. 1975)
was raised in Adelaide, Australia. He studied
Sydney Conservatorium with Bozidar Kos, privately with Michael
and at Stanford University where Brian Ferneyhough supervised his
He lives in London where he composes, is an adjunct lecturer for the
of Independent Education, teaches music to local children and
information at www.shlom.com.
Atau Tanaka: Overbow (1993)
for BioMuse-driven live
Overbow (1993) is a concert piece for BioMuse,
synthesizers, and live image processing. It was one of my early experiments
combining gesture, sound, and image, which continue today with the trio
Sensors_Sonics_Sights. The BioMuse captures muscle tension of the performer as
MIDI signals. Arm gestures are mapped to frequency-modulation and wave-vector
synthesis to produce sound, and displacement maps are transformed into graphics
images. The work does not attempt to attain synesthesia through common
audiovisual information, but rather uses a single source of articulation to
unify aural and visual media. I sought out treatments that highlighted the
organic and visceral nature of my gestural performance language. The work has
been performed in festivals in the U.S. and Europe. Many thanks to Eric Wenger
for alpha-versions of his software, and Kerstin Weiberg and Enno Hyttrek for
Atau Tanaka entered Stanford in the Ph.D. program in
Computer Music Theory and finished with a D.M.A. in Composition. In his time,
computer music evolved from programming the Samson Box to real-time on the NeXT
machine to live Powerbook performance. At CCRMA he met Hugh Lusted and Ben
Knapp, inventors of the BioMuse, and adopted it as his main instrument. He went
to IRCAM on the Prix de Paris, and stayed abroad in Tokyo and Paris. His work
has been presented music festivals like Sonar,
Musique Action and 38eme Rugissants, and media arts festivals DEAF, and Ars
Electronica. He founded Sensorband with Zbigniew Karkowski and Edwin van der
Heide, mythic for their physical performances and monumental instruments. In
1997 he moved to Japan for a project at NTT/ICC and came in contact with the
noise music scene, playing with Merzbow, Otomo, KK Null and others. Back in
France since 2001, he has realized large scale installations and network pieces
including a commission from the German radio SWR. Atau has received awards and
support from the GMD, the Fraunhofer Society, and the Daniel Langlois
Foundation. He is currently based in Paris and conducts research at Sony
Computer Science Laboratories on future music systems. He has released
recordings on the labels Bip-hop, Caipirinha, Touch/Ash, Sonoris, Sirr-ecords.