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Mary Feinsinger is a composer, arranger, music director, conductor, lyricist, vocal coach and performer. She has won many awards for her compositions, including a 2006 Composition Grant from The Children’s Aid Society Chorus. She is a graduate of Barnard College, and has a Master’s Degree in voice from The Juilliard School. A member of the Extension Division voice faculty at the Mannes College of Music in New York, she was for many years on the piano-accompanying staff at Juilliard. She is currently active as a composer/lyricist in the BMI Lehman Engel Advanced Musical Theatre.

Gordon Green is a composer and painter living in New York City. His work takes advantage of computer technology to create unique musical statements that blend synthetic and acoustic instrumentation. His latest recording, Serpentine Sky, is a collection of improvisations created using computer-controlled grand pianos.

The Four Tiny Pieces No. 1 is an excerpt from the Serpentine Sky album, and is a computer-assisted improvisation for two pianos.

Douglas Cohen is a composer based in New York City.

Hudson's favorite outing was to ride the Staten Island Ferry to and from Lower Manhattan. The composition is a translation of his name into music.

Joan La Barbara, composer, performer, sound artist has created sound scores for film, video and dance. Awards include Guggenheim Fellowship in Music Composition, DAAD Artist-in-Residency in Berlin, NEA grants, and numerous commissions. Recordings include "ShamanSong" (New World) and "Voice is the Original Instrument" (Lovely Music), hailed as one of The Wire's 10 best reissues. "73 Poems", her collaboration with text-artist Kenneth Goldsmith, was included in The Whitney Museum American Century Part II: SoundWorks. Live Music for Dance commissions include: "Dragons on the Wall" (2004), "Landscape over Zero" (2005), "Desert Myths" (2006) and "Fleeting Thoughts" (2006). La Barbara is composing an opera inspired by the life and work of Virginia Woolf.

Violinist Ariana Kim, since making her debut with the St. Paul Chamber Orchestra at the age of 17, has become one of the budding young artists of her generation. She has premiered over a dozen new works, including Andrew Imbrie’s "Concertino," written especially for her in 2005. Ariana now resides in New York where she performs regularly at Issue Project Room, Merkin Hall and Alice Tully Hall. She is currently completing graduate studies at The Juilliard School with Robert Mann.

"Flash!" was composed for violinist Ariana Kim and premiered at her recital in Juilliard's Paul Hall in December 2005, "Flash!" begins with a deer-caught-in-the-headlights gasp and hurtles forward at breakneck speed, fingers flying through flashing runs until the final strum and rapid snap pizz. It is a sonic animation in the spirit of great thriller films. Allan Kozinn's comment for the NY Times (January 21, 2006) said: "Flash!" "had the spirit of an animated monologue."

Sara Ayers creates unflinchingly intimate soundscapes using her voice -- sampled, layered, looped and pitch-shifted -- combined with occasional guitar washes and a warm bedrock of molten noise. Her richly textured sonic atmospheres vary in tone from the surreal whispers of angels to wall-of-sound banshee wails…. a soundtrack for forgotten dreams.

Two tracks of my voice – the main vocal is sliced, diced and channeled through a long impulse response processor; the second voice is pitch shifted down an octave and run through a delay.

Regarding myself: I am primarily concerned not so much with music as the way sound interacts with it's environment on an emotional, visceral level - to some degree what Cage described as the "question of bringing one's intended actions into relation with the ambient, unintended ones." I consider much of my work to be "frames" in which to view the familiar in a new context.

Regarding this work: I don't have much use for K, to tell the truth. One minute was about enough time to communicate any affectionate thoughts I may have had. The "Eventual Elegy" when played at low volume marries wonderfully with baked fall fruits or a well-aged lowland single malt, and is suitable accompaniment to pondering the mysteries of life and losing one's self in nostalgiac thoughts of winters past. It may be played, looped, for up to twenty minutes before it becomes interminable.

Composer Melissa Grey’s works for chamber ensembles and electronic sound have been performed and broadcast in the United States, Canada, and Europe. Grey’s recent project, Earlids, a collaborative, 3D aural response to noise pollution, was included in the Media Space / Public space exhibition at the Lower Manhattan Cultural Council, during which she co-curated and produced the electro-acoustic audio concert Sonic Channels. Her sound installation collaborations with artist/anthropologist Dr. Dan Rose, (The Nature Culture Trilogy: Farewell To Earth, Vertical Terrain, and Lick) have been exhibited in Nexus Gallery (Philadelphia) and Illinois Wesleyan University.

Further Back was composed with the following ensemble instrumentation: Trio: alto sax, violin, cell; Quartet: soprano, flute, harp, violin; Quintet: flute, piano, viola, cello; Media: reel-to-reel tape, 4 track, and digital editing.

Francisco Toro is a Venezuelan born electronic music composer/sound artist. He studied electronic music production in London, England, at Point Blank College of Music Production.He has a Diploma in Sound Engineering from SAE New York, USA and also has a degree in Business from Universidad Metropolitana in Caracas, Venezuela. He worked as a freelance music supervisor and co-producer for the TV channel Vale TV in Caracas, Venezuela, supervising the music selection for a TV program called Dias de Cine. He also composed and produced music for a short documentary that celebrates Don Quixote 300th anniversary, which is due to be released in July 2006 by Vale TV in Caracas.

The composition explores the relationship between memory and sound. The soundscape is used as a vehicle to recreate moments of the past based on the experience of the composer in the South East Coast of England, the town of Seaford and it's surroundings served as the source of inspiration for this balm of sonic nostalgia.

Kenneth Babb is a musician, composer, teacher and audio engineer. He is a staff member and house engineer at Harvestworks Digital Media Art Center in New York City where he works with commercial clients, students and artists-in-residence. He was a founding member and president of the Park Slope Music Forum and technical director for New Angle Intermedia, two highly successful new music presentation organizations.

The elements in this sound texture were created from audio processing of the composer’s own reading of the phrase “Spring Rain.” The Haiku reference is metaphorical; the larger sound form having been created from the processing of smaller phonetic components of the phrase - - particles which are assembled into a balanced larger whole. A simple statement of mood, brief and complete in itself.

"One of new music's truly free spirits," (Village Voice) and a "remarkable experimentalist," (NY Times) Eve Beglarian is a composer, performer, and audio producer whose music has been described as "an eclectic and wide-open series of enticements." (LA Times) Tell the Birds, a new CD of her music, will be released by New World Records in spring of 2006.

“My Heart is Trembling” uses a text by one of the founding brothers of Methodism, Charles Wesley, set to one of the myriad tunes it has been sung to over the years, and counterpoised with an electronicized fragment of a medieval Armenian song about trembling. It's a short exploration of how I might want to use Methodist hymns and songs in the Stephen King opera I'm working on.

Robert Fanelli began studying classical harp at the age of five. At the age of thirteen, switching to jazz and pop, he took up the vibraphone. From age fifteen through college he worked professionally with bands in New York City and nearby New Jersey. After college, he left music to study graduate physics and to teach it at Brooklyn College. Some years later, he returned to music, composing with the harmonic series (just intonation), computers and mathematical algorithms. He has been affiliated with the Brooklyn College Center for Computer Music since 1999.

This piece is named “Introduction” because it was written to suggest a short musical section preceding a longer segment of documentary, poetry, story or other spoken word content. The starting point of the composition was a recorded chorus singing a single Amen. This recording was processed extensively, among other things extending its length and changing its pitches to a just intonation scale, leaving the original Amen unrecognizable.

Bob Gluck is a composer / performer of interactive sound installation and live electronic performance. Much of his recent work utilizes electronically expanded acoustical instruments, including baglama saz, harpsichord, piano, and ram’s horn, featuring electronic sensors and Max / MSP software interfaces. His recordings include Stories Heard and Retold (1998), Electric Songs (2003), and Electric Brew (forthcoming, 2007), and his music has been performed internationally. Gluck is Assistant professor and Director of the Electronic Music Studios at The University of Albany, and he is Associate Director at the Electronic Music Foundation.

Laurie Spiegel, composer, software designer, and banjo player, is known widely for her pioneering works with many early electronic music systems, including the GROOVE system at Bell Telephone Laboratories, and for Music Mouse, a software-based musical instrument. She founded New York University's Computer Music Studio. Her music has been performed and broadcast throughout the world and she has produced and participated in several CDs. She is currently living and working in New York.

"Remembering Home" for electric banjo with digital signal processing was composed after returning to man-made New York City after a recent visit home to the wonderful ravines of northern Illinois, to a glimpse of a completely different life that might have been but was not, and to a family that will never again be what it was.

Jake Merkin was born in London, England on October 24th, 1985. He grew up in New York City, the son of a composer, and discovered composition through songwriting at the age of nine. Jake attended the esteemed Fiorello H. LaGuardia High School of Music & Art and Performing Arts in Manhattan as a percussion major. Here he grew to better understand and love music, and further developed his skill as a composer. Currently he is a sophomore at the University of Michigan School of Music in Ann Arbor.

“Abandoned Toys” is what I imagine happens when toys are left alone to play themselves. The compositional focus is on the aural impressions of antique wind-up toys and the loneliness that is set into motion when these childhood playthings are cocked and forgotten. The ostinato prevalent throughout the piece is akin to the comforting familiarity of childhood. The pulsing percussion and bass are blanket sounds much like a mother’s heartbeat, creating a platform on which toys can wander past the listener’s ear. The piece was conceived and written on May 12th, 2005.

Born 1926, New York City; Married Mary Wellington Wheeler 1956; Daughter Kate Lawrence Heller O’Reilly born 1958; Military Service U.S. Army 1944-46; Major interests: music, law education, health care, rowing, archaeology

This piece for piano use every key on the piano once only, i.e. they are the world’s longest tone rows and are two of a set of four written in the summer and fall of 2004.

Monique Buzzarté is active in new music circles as both a composer and also a performer, commissioning and premiering new works for trombone solo, with electronics, and in chamber ensembles. Her recordings include Zanana's Holding Patterns (Deep Listening 30), John Cage's Five3 with the Arditti Quartet (Mode 75: John CAGE: Vol. 19 - The Number Pieces 2), and Dreaming Wide Awake with the New Circle Five (Deep Listening 20). She designed and developed a slide-mounted interactive live processing system for the trombone. Her advocacy work led to the admission of women as members of the Vienna Philharmonic Orchestra in 1997.

For the past three years every time I heard or read about the 60x60 project I asked myself "why?" This year I simply rephrased my question, and asked myself, "why not?" Why Not? (2006) is an acoustic work for solo trombone, performed live by the composer.

Benjamin Bierman is a composer, trumpet player, pianist, arranger, producer, and bandleader. He has a very wide range of musical experiences and an eclectic aesthetic sensibility to match. As a composer, his works have been performed both nationally and internationally. Ben was recently the Composer-in-Residence for the Goliard Ensemble, and his piece for orchestra (Proximities) was conferred the status of special recognition by the Los Angeles Philharmonic in their recent Synergy Project competition. He resides in Brooklyn with his wife and three sons. He loves being outdoors, and cannot resist a great groove.

Father and Son Boogie is a rhythmic free-for-all featuring the composer, Benjamin Bierman, on mouth percussion, and his son, Manny Bierman, on Udu. Ben also gets to join in the fun by blowing some bluesy trumpet over the whole thing.

Graduated suma cum laude in "classical" composition, SUNY Purchase, under the guidance of Dary John Mizelle and Joel Thome. Charter member, lead trumpet, featured soloist and contributing composer, Antibalas Afrobeat Orchestra, DROID; founder, Fire of Space, Piano Music and Song Trio; trips to 20 countries and 40 U.S. states for dozens of major jazz, rock, world music, and cultural festivals over the last decade. Most recent recordings include Fire of Space's album, HANDBASKET, on 482music and a studio recording of concert works for solo piano, percussion quartet and Seeking Celestial Frequencies, for string quartet.

"Things" 2004 is the fourth movement of "5 Movements for 4 Percussionists", whose movements can be taken individually or as a whole. Constructed by orchestrating a transcription of a clandestine recording of a few friends talking, laughing and screaming.

John de Clef Piñeiro is the Deputy General Counsel for Contracts, Real Estate and Corporate Matters of the New York City Housing Authority by profession and is a composer of concert music by avocation. He is also the Executive Director of the New York Composers Circle; a member of the American Music Center, and an editorial contributor of concert and CD reviews and interviews for The New Music Connoisseur. His works have been performed in concert venues in New York City and elsewhere in the U.S.

Originally conceived as a stand-alone single-movement work for percussion ensemble for the 60X60 Project, Minute Square is now the introductory movement of an expanded non-tonal triptych entitled Trilogy for Percussion and Dancers (2005-2006), which is structured in progressively augmenting durations of one minute, two minutes and three minutes, and intended to be danced successively by one, two and three dancers to the accompaniment of a very varied all-percussion ensemble.

Emiko Hayashi is a composer, arranger and a performer, currently living in New York. Born and raised in Japan, and started classical piano studies at age three but later on moved into jazz. She has an undergraduate degree in Far Eastern Philosophy from Sophia University in Tokyo, and a Masters in Music Performance from Purchase College (SUNY) in New York. She currently performs in New York City
Ray Levitt is from Long Island, NY. He studied music at the University of North Texas and Queens College. Ray's musical efforts extend into educational and performing activities. He is certified to teach by NYS, but also performs in NYC as a jazz musician, Latin percussionist, and a single engagement musician.

This composition is about "a glimpse" of the moment; “Dust up” is a palpable argument .

Born in Detroit, Sean Hickey's music education began with an electric guitar, a Peavey amp, and a stack of Van Halen records, the early ones of course. He studied jazz guitar at Oakland University, later graduating with a degree in composition and theory from Wayne State University. His instructors were James Hartway and James Lentini, and studied further with Leslie Bassett and Justin Dello Joio. He has composed orchestral, choral, chamber and solo works for a variety of individuals. 2005 saw the Billboard-charting release of several of his chamber and orchestral works on Naxos. He is an ASCAP member.

Composed in 2004, Rumble Strip more or less conforms to a work made to order, in this case a work lasting 60 seconds or less. Scored for a rather unorthodox combination of instruments, the piece highlights not the range and agility of each instrument, (which is a byproduct nonetheless), but rather the ability of the Finale Notation Software program to accurately - and somewhat crudely - play back the line given to each instrument. Ranges jump, meters change and the group manages to stay together. Though never quite derailing, Rumble Strip makes for a short and bumpy ride.

David Snow studied music composition at the Eastman School of Music and Yale University, where his principal teachers were Joseph Schwantner, Warren Benson, Samuel Adler, and Jacob Druckman. He is the recipient of awards and grants from BMI, the ASCAP Foundation, and the National Endowment for the Arts. His compositions have been performed in concert by the Ensemble Intercontemporain, the American Brass Quintet, the Harvard Wind Ensemble, and the Yale University Band among others, and recorded on the Albany, Crest, and Clique Track labels. David Snow is a music cataloger and archival processor at the The Juilliard School library.

"Concertino Marcel Duchamp" was composed as an entry in a “One Minute Piano Competition” sponsored by the Paris New Music Review. Though billed as a composition for piano and pre-recorded sound, there is no piano part, just a “score” consisting of unrelated graphic images and text. The work is performable by anyone, with or without the score, with or without a piano, and with or without discernable musical talent.

Trained in composition by Nadia Boulanger in Paris and Luciano Berio at Juilliard, Noah Creshevsky is the former director of the Center for Computer Music and Professor Emeritus at Brooklyn College of the City University of New York.

His musical vocabulary consists largely of familiar bits of words, songs, and instrumental music which are edited but rarely subjected to electronic processing. The result is a music that obscures the boundaries of real and imaginary ensembles though the fusion of opposites: music and noise, comprehensible and incomprehensible vocal sources, human and superhuman vocal and instrumental capacities.

Creshevsky's most recent hyperreal compositions explore the fragmentation and reconstruction of pre-existing music in combination with original synthetic and acoustic materials. Moments suggest musical environments of indeterminate ethnicity--simultaneously Western and non-Western, ancient and modern, familiar and unfamiliar.

Largely based on 73 short samples from pieces by the band Nadsat Fashion, "Y tu mamá también" is dedicated to lead singer and guitarist Jonnie Rasputin.

Robert Dick is best known for being the composer/performer who is the leading light in the world of new music for flutes. He's an old hand at free improvisation and has performed and recorded with many of the best. His compositions have been recognized with a Guggenheim Fellowship, two NEA Composer Fellowships, a Koussevitzky Foundation Commission, two Meet the Composer Commissions and many more grants, fellowships and commissions. In addition to his flute music, Dick likes to write chamber music and has a lifelong interest in low-tech musique concrete.

Clifford J. Simak was an influential master of 1950s and 60s science fiction. His atmospheric, philosophical works include the masterpieces City and Way Station. This little piece, created with tiny sound toys, is meant to conjure the apparitions floating about in the magical dusk at the shore of a pond, on Earth, but in Simak's special land, where memory, sentiment, conjecture, fear and joy all play together where this and other dimensions overlap.

Jeremiah Bornfield began studying music at age 4 with his father in the Sonoran Desert of Arizona. By 11 Jeremiah was touring the nation as a singer in the Tucson Arizona Boys Chorus. After studying strings with the Tucson Symphony's principal violinist, Jeremiah decided his talents would be best suited for hardcore gangster rap. After re-evaluating his position within society's legal structure, Bornfield thought it better to become a classical composer. Since 2005 Jeremiah's compositions have been performed at Lincoln Center, Adirondack Festival of American Music, Samuel Dorsky Museum, and various galleries and venues throughout the Hudson Valley. Jeremiah is currently studying composition at Hunter College's graduate school for music.

Petroglyphs is a piece which I wrote as a score for an animated oil painting which my close (and extremely talented) friend Dennis Ryan produced over the course of painstaking months. The work is completely electronic, using a variety of samples which I have made using a simple sound-blaster audigy card, and Sibelius scoring software. I liken it to the feeling one gets after overdosing on Spinoza's Ethics.

Martin Simon was born in Slovakia in Central Europe. He completed advanced studies in composition performance, interactive arts and economics in native Slovakia and in the United States. He is an instructor of music composition and sound design at Pratt Institute in New York City. He specializes in improvisation, music game performances and multimedia collaborations. The most distinctive are his experimental concepts and prototype works in conversational music, accidental art and anti-contextual poetry.

“Portrait of Pancho” (0:59) – is a sonic self-portrait, a one-minute-long extraction of composer’s own voice. The sound elements are result of alternations between natural and reversed logic of each voice sample. This constant mirroring combined with abrupt tempo changes is responsible for occasional audible effects of extreme voice arpeggiating in the second half of the piece.

Jason Freeman’s works break down barriers between composers, performers, and listeners, using cutting-edge technology and unconventional notation to turn audiences and musicians into compositional collaborators. His music has been performed by the American Composers Orchestra, Speculum Musicae, the So Percussion Group, and the Nieuw Ensemble, and his installations and software art have been exhibited at the Lincoln Center Festival, the Boston CyberArt Festival, and the Transmediale Festival and featured in the New York Times and on National Public Radio. Freeman studied music at Yale University and Columbia University and is currently an assistant professor at Georgia Tech.

"What I Listen To" (2005) is a short experimental sound work that algorithmically stitches together bits and pieces of the music I’ve listened to over the last year. The algorithm considered both my listening habits and the spectral content of the sound files themselves when creating these pieces. The results are a mix of smooth textures, chaotic collages, and embarrassing revelations about my taste in music. These works were created during the development of my software artwork iTunes Signature Maker (http:// www.jasonfreeman.net/itsm/).

Paula Matthusen is a composer, currently living between Berlin and New York. She performs with, the electroacoustic duo ouisaudei, Groundwave New Music Collective, Object Collection, and Gamelan Dharma Swara. Her music has been performed by orchest de ereprijs, Ballett Frankfurt, International Contemporary Ensemble (ICE), Alarm Will Sound, Ensemble Sirius, noranewdanceco, Kathryn Woodard, Diesel Lounge Boys, and Jody Redhage. She is currently pursuing her Ph.D. at NYU-GSAS as a MacCracken Fellow, where she studies with Elizabeth Hoffman and Lou Karchin. She has also studied with Martin Supper, Stephen Dembski, Joel Naumann, Tobias P.M. Schneid, and Tom Zelle.

“anthracite” was composed during a residency at STEIM (Studio for Electro-Instrumental Music) in Amsterdam during January 2006. This short piece is a recorded improvisation, taking the smallest samples of the sounds of objects in the room as well as the room itself, and using them to fuel the trimbrel explorations.

etg was born in Mississippi (as was Babbitt) more than half a century ago (me, not he); moved to NYC; stayed (nearly half of that). downtown improvisor, bunker scene, etc. (same half as stayed less about three years for University [not music]). composer and music director for Susan Hefner and Dancers (a decade's worth). [Name dropping would go here; didn't. Assume the usual characters if you like, probably so a decade ago (note catchy rhyme)].

"Classical studio" techniques (filtering, splicing, distorting) were applied to a digital performance of an excerpt from my Very Short Suite for Marimba and Piano In Unison (with extended instrumentation). Of course, these techniques were applied digitally. The "form" of the piece follows my compositional logic, here implemented via effects instead of pitches and rhythms. The final sound is reminiscent of a vinyl performance being ended rather abruptly and perhaps disgustedly (and was, of course, digitally produced). There is no direct translation from the Japanese for pi bu, da’ka{tsu gya-gya}

Andy Graydon (b. 1971, Maui, Hawaii) is an artist and filmmaker based in New York City. His work focuses on the interaction of sound, image, and environment. With his recent work Andy is interested in creating what he calls "science fiction ecologies" by engaging with the speculative and transformational qualities within an environment. Recent exhibitions and performances include work at LMAKprojects gallery, Art In General, The Dumbo Arts Festival, Millennium Film Workshop, and Tonic. In 2005/06 he was the visiting artist at the Center for Computer Music, Brooklyn College. Recent sound releases are available on 12k/Term, EKO, On;(do) Music, Seasonal, and forthcoming from the Austrian label Non Visual Objects. Collaborations include work with Kenneth Kirschner, Sawako, Amnon Wolman, David Grubbs, Zach Layton, and Richard Garet.

This composition is the opening act of the audio installation Aqua_Regia. Composed of processed field recordings, Aqua_Regia is concerned with the concept of indeterminacy and the role of observer in the full creation of any work. "Aqua Regia" is the 19th century scientific term for the mixture of hydrochloric and nitric acids, sometimes used to dissolve solids away for chemical analysis. When presented as a single stereo mix, the work's title changes to "Aqua_Fortis", the antiquated term for nitric acid alone.

A professional musician for 20+ years, Patrick fondly remembers the infancy of MIDI and DAW's. He has been composing and performing with these technologies ever since and would love to share his activities with you.

For "Dice," each note's pitch and duration were determined by a roll of the dice... Chance must be systematically explored.

Saxophonist, electronic musician and composer Briggan Krauss began playing the alto saxophone and studying music at age twelve and eventually attended Cornish College of the Arts in Seattle, Washington where he received a Bachelor of Fine Arts degree in music performance in 1992. In 1994 Briggan moved to Brooklyn, New York where he still lives today. Briggan has performed and recorded with musicians such as John Zorn, Wayne Horvitz, Bill Frisell, Eyvind Kang, Robin Holcomb, Anthony Coleman, Steven Bernstein's "Sex Mob", Madeski Martin and Wood, Skuli Sverrisson, Jim Black, Hal Willner, Joey Baron, the New York Composer’s Orchestra and many others. Briggan has made three records as a leader on Knitting Factory Records and has appeared on over thirty other records as a sideman.

Douglas DaSilva is a composer, guitarist and educator in New York City. He composes in a multitude of styles including Jazz, Brazilian and pop. His most recent efforts have focused on chamber music including a sonata for Harp, Oboe, Viola and Guitar.
Kathleen Nester plays flute and piccolo for the New Jersey Symphony Orchestra. Kathleen has also performed with the New York Philharmonic, the Orchestra of St. Luke’s, and the New York City Opera. She has been a concerto soloist with Solisti New York, the Stamford Symphony and Bargemusic and toured Japan as soloist with the New York Symphonic Ensemble.

“SARABANDE #2” For Flute & Guitar is a modern meets baroque fusion that takes an unusually long journey in such a short time.

John Link is a composer and founding member of Friends & Enemies of New Music. He lives in New York City and is Professor of Music at William Paterson University, where he directs the Center for Electroacoustic Music.

Clarinet Fantasy is composed entirely of samples of Marianne Gythfeldt's clarinet playing which were mixed and layered using a computer. Except for the manipulation of volume level and pan position, the clarinet samples are unprocessed.

David Gamper moves freely among the worlds of composition, improvisation, and electronic instrument design and construction. These passions merge in his performer controlled sound processing environments for improvising acoustic musicians. Recordings include many with Deep Listening Band. "At the Ijsbreker" CD has been described as “the pinnacle of the Oliveros-Gamper collaboration, music that through its depth, reveals ever more profound expression.” His solo piece Conch was in the Whitney Museum of American Art’s 2001 BitStreams. His current primary focus is SeeHearNow, a collaboration with photographer Gisela Gamper, which performs immersing music and video live improvisations in site specific installations. "Conch Call Evolution is a recording of a live performance in its entirety using my customary performer controlled sound processing environment. A blast from my conch shell is fed around a matrix of delays, which are modulating in just tuned fifths while I control several feedback loops." The original

5 channel surround spatialization has been mixed to stereo.

Currently Jennifer is collaborating with librettist Estela Eaton on a new buffa about transvestism in opera and in our time. The work is inspired in part from her experience with the American Opera Projects-sponsored 'Composer & the Voice' workshops in 2004. Her chamber opera Dream President was presented in New York City Opera’s VOX 2004 and again at the National Opera/Opera Index/Manhattan School of Music’s Opera Theater presentations in 2005. Jennifer is also finishing a doctorate degree in composition at the CUNY Graduate Center where she has studied with David Del Tredici and Tania León. Her dissertation is on the works of Charles Mingus that explore his debt to New Orleans jazz. She earned a masters degree in composition at Smith College and has also studied piano and performed in the U.S. and abroad. She occasionally sings jazz at NYC venues. Her bestiary “A Little Beastliness for Guitar” can be heard on Oren Fader’s cd First Flight.

“Calling G.B” is written for the 60x60 project and my first electronic venture, was inspired by George Brunner’s work Within/Without, so I called his name.

Composer of instrumental and electronic music, installations, and soundscapes, Lockwood collaborates with choreographers, sound poets, and other artists. She explores the physical, natural and human world, using the sounds of glass, earthquakes, rivers, exotic instruments. Lockwood recently retired from a faculty position at Vassar College. She actively composes and performs worldwide. "One of the biggest discoveries to influence my later work happened when I simply set up a microphone at the window and recorded the sound environment ... I started to listen to the sounds around me like one great composition." This excerpt is from her new sound installation, 'A Sound Map of the Danube'. - Annea Lockwood

Brunner is a composer and performer, researcher/writer, recording engineer/producer and teacher. Brunner has served as composer-in-residence three times at EMS (Electroacoustic Music Studios) in Stockholm, Sweden and in 2001 at Kungliga Musikhögskolan I Stockholm, Sweden. He is at present writing a book on Text Sound Composition and is considered an authority on the subject. Brunner was Co-Director of the first Electroacoustic Music Festival in Istanbul, Turkey sponsored by Bilgi University. Brunner currently serves as the Director of Music Technology for the Conservatory of Music at Brooklyn College, and is the founder of the Brooklyn College Electroacoustic Music Ensemble, which under his direction produces an annual CD. He is the founder and coordinator of the biannual International Electroacoustic Music Festival at Brooklyn College, New York City.

Franz Hackl learned trumpet playing and the profession of brass instrument making from his father. He is an alumnus of the Conservatory of the City of Vienna, and received a Masters degree from The Manhattan School of Music. After frequent collaborations with leading international jazz artists, he focused more on composition and leading his own projects. Franz’s stylistic versatility grew to include works for full orchestra, diverse chamber groups, choral works and multi-media events. Among them original music for: “Year of the Mountains” launch event UN New York, U-Held I & II (renderings of Richard Strauss’s Heldenleben). Numerous commissions from festivals.

“Viot” is about the fight of man against the machine and man against man with machines. “Viot” is an artificial word creation born out of violence and riot.

Daniel Goode, composer and clarinetist, was born in New York. His solo, ensemble and intermedia works have been performed worldwide. He is co-founder/director of the DownTown Ensemble, formed in 1983. He has been a performer and composer with Gamelan Son of Lion since 1976. His innovative music for solo clarinet includes Circular Thoughts (Theodore presser Co.) and Clarinet Song on the XI label. His theater-music work Eight Thrushes, Accordion and Bagpipe, was performed at the Pfeifen im Wald festival in Berlin and elsewhere in Eastern Europe. He is a 2004 New York Foundation for the Arts fellow. A complete catalogue of his works can be found at Frog Peak Music. “Using circular breathing, I express on the clarinet the most basic chord progression in music. This composition was part of the original set of pieces titled Clarinet Songs, recorded on X I records in 1993 but dates back to 1979. V-I was not included in the recording so this is the first published recording.

The “V” can last an indeterminate time, but the “I” would always be a mere eighth note in length.” - Daniel Goode

Frank J. Oteri, a New York-based composer and music journalist, is the Composer Advocate at the American Music Center and the founding editor of its web magazine NewMusicBox (www.newmusicbox.org). Oteri is also a frequent pre-concert moderator and master of ceremonies for new music events around New York and hosts his own series, 21st Century Schizoid Music, at the Cornelia Street Café. Oteri's own musical compositions range from full-evening stage works to chamber and solo compositions. His performance oratorio MACHUNAS, created in collaboration with Lucio Pozzi and inspired by the life of Lithuanian-American Fluxus-founder George Maciunas, was staged in Vilnius, Lithuania in August 2005. His most recent composition, Imagined Overtures for rock band in 36-tone equal temperament, has been performed at major alternative rock clubs in the NYC-area including Tonic, the Cutting Room and Galapagos.

Beyond Sevenfold is an acoustic experiment which explores the thresholds of both MIDI detune commands and human aural perception. It is inspired by paper folding. For some reason, it is impossible to fold a sheet of paper (of any material) more than seven times. It's just too thick to fold. Try it. So, I wondered, might there something analogous in sound to this paper folding phenomenon? Can a sound be folded? And what happens after it is folded seven times over? Can sound become too thick to be perceived? Is that why white noise, a simultaneous sounding of all frequencies, seems unpitched? Beyond Sevenfold begins with a major third, one of the most consonant of musical intervals, and then subdivides it into whole tones, semitones, quartertones, eighth-tones, 16th tones, 32nd tones and finally to 383 simutaneous pitches tuned a 64th of tone apart. These intervals are merely 3125/100,000ths of a semitone apart from each other.

I am still young and plan on receiving a masters in music when the time is right – hopefully within a decade! i support myself delivering food on a bicycle, but am studying to be a piano technician. recently engaged to the brilliant Jill Frere, a dancer, I gradually pursue spiritual and musical enlightenment. Received a B.A. in Philosophy in 1995 from Colby College. My piano solo Ivory Billed Woodpecker was performed last spring at an NYCC concert.

This was my first electronic piece, edited to fit into 60 seconds. composed on a program called Matrix.

Travis Johns (b. 1983) is a New Yorker transplanted to the San Francisco Bay area. Current labels and associations may include: composer, performer, artist, collaborator, musician, student, cheesecake baker, printmaker, bassist and member of the human race.

Contrary to popular belief, "If we try to be rational about the situation, we’ll most likely make everything more confusing and hurt ourselves even more?" is not about a girl, love, a relationship, a camping trip or a yet-to-be-released feature film. However, for the sake of mystery and intrigue, the composer has decided not to reveal what it is about either.

Daniel Iglesia makes music and video with computers and humans. He has had performances/installations at Eyebeam Gallery, Merce Cunningham Dance Studio, Ontological-Hysteric Theatre, CCMIX (Paris), and upcoming events at ICMC (New Orleans), and The Stone. He is a teaching fellow at Columbia's Computer Music Center.

“Membrane” uses a variety of techniques to abstract the familiar sounds of water. A variety of spectral manipulations create unfamiliar sounds “between” familiar sounds, while the use of waveshaping amplifies the digital nature of the medium, forcing the sounds to occupy a place between natural and artificial.

Born in Austin, TX, Christopher North is a multi-instrumental composer and singer-songwriter based in New York City. His music has been heard in Europe and the US including collaborations with choreographers , film makers , theater companies and concerts including a recital at the 92nd Street Y. In 2002, he produced and released two albums: one is classical and the other is an eclectic rock album on which he played all the instruments. Recent collaborations include sound / music for “The Forever Waltz” by Glyn Maxwell and Writer/Director Matthew Miele’s “Everything’s Jake” with whom he currently working on a feature, a documentary and a musical.

“wading in the waters of Lethe,” intoxicated by the soothing waves, you are entranced by the underwater sounds, until you realized they are the echoes of your screams from millennia ago.

Plays guitar and other strings, harmonica, writes songs based on lines of improvisation or as response to life.

“Pipe2” is a composition done in a computer composing program and then taken from that form and layered, mixed, with effects and further compositional timing added.

Mary Jane Leach is a composer/performer from Vermont who has lived in New York since the mid-1970's. Her work reveals a fascination with the physicality of sound, its acoustic properties and how they interact with space. In many of her works Leach creates an other-worldly sound environment using difference, combination, and interference tones; these are tones not actually sounded by the performers, but acoustic phenomena arising from Leach's deft manipulation of intonation and timbral qualities. Critics have commented on her ability to "offer a spiritual recharge without the banalities of the new mysticism" (Detroit Free Press), evoking "a visionary quest for inner peace" (Vice Versa Magazine), and "an iridescent lingering sense of suspended time." (Musicworks Magazine)

“Dido Remembered” was made for the 60x60 project from a live recording. The voices are all on tape, and the synthesizer is a structured improvisation.

Ernst Bacon was one of that pioneering generation of composers, along with Thomson, Copland, Harris, and others, who found a voice for American music.

Born in Chicago on May 26, 1898, he received 3 Guggenheim Fellowships and a Pulitzer Award for his "Symphony #1." His body of work includes symphonies, orchestral suites, piano concertos, chamber and choral music, a folk opera, and more than 250 songs, as well as several books about music.

Bacon's music reflects the dual heritage of his Austrian mother and American father. Olin Downs wrote in "The New York Times," "The composer has the rare ability to write simply and melodiously, while at the same time imbuing his music with subtleties of harmony which make it up to date and unusually intriguing." Besides being a wonderful word-painter, he captured the moods of nature in all genres and, like Bartok, often used our native folk songs as thematic material in his instrumental compositions

Gifted as a pianist and conductor, as well as writer and painter, Bacon's teaching and directing posts included the San Francisco Conservatory of Music, Converse College in Spartanburg, SC, and Syracuse University. Having founded the Carmel Bach Festival and directed the WPA Federal Music Project in San Francisco in the '30s, he returned to the Bay Area for the last 25 years of his life, continuing to walk in the hills and compose to the very end of his 91 years.

Jonathan Pieslak, Ph.D., graduated from the University of Michigan in 2003. His music has been performed and broadcast throughout the United States and internationally, entailing recent collaborations with the Plainfield Symphony Orchestra, Radio Resita (Resita, Romania), Kiev Philharmonic, and receiving acclaim in concert venues as “a powerful and intense statement” [The Michigan Daily] and “especially inspired” [The Eugene Register-Guard]. He has been recognized with awards and commissions from the American Academy of Arts and Letters, Jerome Foundation, American Composers Forum, American Music Center, MacDowell Colony, among others. Born in 1974, Jonathan currently teaches music at The City College of New York, CUNY.

“A Momentary Hallucination” is a short piano piece that depicts a hallucination of changing colors. The rhythms of the piano remain constant and unchanging, which creates a static rhythmic backdrop against which the pitches unfold an array of colors. The work quickly ascends through the range of the piano and offers the impression of a brief hallucination.

Composer/guitarist/rapper Gene Pritsker has written over three hundred compositions, including chamber operas, orchestral and chamber works, songs for hip-hop and rock ensembles, etc. All his compositions employ an eclectic spectrum of styles and are influenced by his studies of various musical cultures. He is the founder and leader of Sound Liberation; an eclectic band playing the New York club circuit and currently recording a new CD. Other organizations he is associated with include: Composers Concordance (advisory board since 96, Associate Director since 04), Absolute Ensemble (co-founder/composer-in-residence 93-96). Some of Gene Pritsker's music is published by: Falls House Press, Gold Branch Music & Calabrese Brothers Music All the sounds you hear in my electronic piece ,Inside come from inside my out of tune upright piano. I recorded sounds like string glissandos, muting of lower strings, plucking individual strings, etc. I then put all these sounds into my computer and organized them into a cohesive piece of music. I use inside the piano sounds when I write acoustic music, but here I got to really control these effects and create a piece using them only.

All the sounds you hear in my electronic piece ,”Inside”¹ come from inside my out of tune upright piano. I recorded sounds like string glissandos, muting of lower strings, plucking individual strings, etc. I then put all these sounds into my computer and organized them into a cohesive piece of music. I use Œinside the piano sounds¹ when I write acoustic music, but here I got to really control these effects and create a piece using them only.

Timothy Polashek composes the world of nonsensical speech sounds into music, as well as pitch and timbre manipulations of other sounds in his electro-acoustic works. He applies computers and music technologies to create compositions for a variety of media, including vocal, instrumental, and interactive performance works. Tim is a professor and directs the Electronic Music Center at Lehman College in New York City. He earned his doctorate in composition from Columbia University. Recordings of his compositions can be heard on Wood and Wire (2006), from Albany Records, and on the Electric Music Collective’s albums Incandescence (2003) and Defiant (2004).

"Minute" Percussion explores two meanings of “minute”- the noun form (wait a minute) and the adjective (the minute speck of dust). The length is exactly one minute long. Tiny specks of sound are assembled to make the music. To compose this piece, I first recorded my voice saying “minute percussion” with the adjective pronunciation of “minute”. I wrote a computer program to chop this recorded phrase into tiny, minute, specks of sound. Then, according to data I entered into a spreadsheet, the specks were rearranged in time, transposed in pitch, and layered to make the final form of this work.

Hans Tammen's influences go back to György Ligeti's micropolyphonic works with its contsant flux of sounds, the phase techniques of Steve Reich's early Minimalism, the electronic sounds of Stockhausen's "Gesang der Jünglinge", the magic of Miles Davis in his Bitches Brew period, and generally experimental guitarists since Sonny Sharrock and Pete Cosey. He currently works on a concept for a 13-piece orchestra following Earle Brown's Available Forms concept, and will soon release his compositions for "Choking Disklavier". As for his works for "Endangered Guitar" AllMusicGuide recommended him:

"...clearly one of the best experimental guitarists to come forward during the 1990s." (François Couture) - www.tammen.org The Disklavier, a remotely controllable piano, often brings new Conlon Nancarrows to the light of day, because technology tends to be used in obvious and easy ways. Instead the "Choking Disklavier" is an exploration of the sonic capabilities of the machine itself. Notes sent to the keys in high speed, but with the lowest possible velocity, make the hammers seldom strike the strings. Various microphones positioned at the keys & mechanics bring out all that low rumble & other noises, that transform the Disklavier into a rhythmic powerhouse.

Samuel Tymorek, originally from Evanston, Illinois, became interested in music at an early age, studying the viola and piano. He began to experiment with composition almost as soon as he started playing music. He is currently pursuing a Masters Degree in music composition at SUNY Buffalo, where he studies composition and computer music with Cort Lippe. He received a Bachelor of Science in Music at the University of Oregon, where he studied electronic music composition with Jeffrey Stolet and acoustic composition with Robert Kyr, David Crumb, and Terry McQuilken.

“Spring Ahead” is a work based on Henry Cowell’s Rhythmicon. As in that invention, pitches are mapped to rhythms based on their relationship to a base pitch and tempo. In this realization, the base pitch/tempo is present throughout in one static “voice”; while another “voice” starts below, then rises above the static voice, its rhythms changing accordingly. The piece marks the passage of time in a precise manner, as the static voice moves at exactly one beat per second. However, this passage through time is obscured by the moving voice as it overtakes the base voice.

Jeffrey Harrington was born and raised in the deep south and has studied with many famous composers who taught him virtually nothing. As a non-affiliated musician, his work is performed infrequently and predominantly in Europe and Australia. A noted microtonalist and electronic experimentalist, he was also one of the first musicians to adopt the Internet for music distribution and promoting, starting in 1987 with RelayNet emails and BBS downloading.

“Kali Yuga” is a piece for electronic microtonal keyboard which utilizes the 19 equal-tempered scale. It is named after one of the four stages of development that the world goes through as part of the cycle of Yugas, as described in Hindu scriptures. Throughout the Kali Yuga, Hindus believe that human civilization degenerates spiritually. The piece is an attempt in 60 seconds to sonically depict this 'end time' or violent transitional phase of human development.

David Wolfson has composed children’s musicals, art songs, soundscapes for Macy’s display windows, music for modern dance, choral music and a bassoon quartet. His theatrical song cycle Dreamhouse, based on the poetry of Barbara DeCesare, was showcased last summer as part of the Midtown International Theatre Festival. He is the Music Director, Associate Artistic Director and resident composer for Experience Vocal Dance Company, a group dedicated to breaking down the barriers between bel canto singing and movement.

“Following Wind” is an attempt to meet the challenge of composing a melodic statement that is introduced, develops and satisfyingly concludes in under a minute. It was composed at the piano, and produced on a Roland synth module and a Macintosh computer, using Finale, the Garritan Personal Orchestra, Garage Band and Audacity.

Roger Fife is a musician, composer and music producer living in New York City. He is originally from the UK, where he was signed to Universal Records and Island Music Publishing with his band Ruby Blue.

Roger has written the music for various tv programs, exhibited sound pieces in several New York galleries and collaborated with Guy Smit on the Nausea II film shown at the Museum of Modern Art last year.

Charles Waters is currently working on a monograph entitled "The Auster Chord" detailing his investigations involving neo-renaissance harmony and contemporary literature. Waters recently completed his thousand-page tone-atlas "PARTICLE PSALTER." As saxophonist and founding member of free jazz vangardist Gold Sparkle Band, Waters is also currently playing and producing Focus Group as well as guest soloist with Stars like Fleas, Akron/Family, and Oneida. He lives with his wife Katie Pawluk and son Felix in Williamsburg, Brooklyn.

These works are drawn from my primitive investigations of AM radio samples, memory reconfigurations and long-term spontaneous improvisation. In terms of concentrated collective unconsciousness the perimeters are infinite. OM, blessed be all sounds, make a joyful NOISE unto the Lord.

Individual entries on Richard Kostelanetz’s work in several fields appear in various editions of A Readers Guide to Twentieth-Century Writers, Merriam-Webster Encyclopedia of Literature, Contemporary Poets, Contemporary Novelists, Postmodern Fiction, Webster's Dictionary of American Writers, The HarperCollins Reader’s Encyclopedia of American Literature, Baker's Biographical Dictionary of Musicians, Directory of American Scholars, Who's Who in America, Who's Who in the World, Who's Who in American Art, NNDB.com, and the Encyclopedia Britannica, among other distinguished directories. Otherwise, he survives in New York, where he was born, unemployed and thus overworked.

Steve Silverstein divides his time between playing music, recording it, and writing about it. His band Christmas Decorations has worked with the prestigious labels 12k and kranky. Community Library will release their new album, Communal Rust, in early 2007. Steve records rock bands like Spectacular Bird and Fulton Lights and writes about recording for the magazine Tape Op. His previous collaboration with Richard Kostelanetz, Aaron Copland: A Reader (Routledge, 2003), collects the composer's writings.

In his current incarnation Eugene Kim works as a researcher investigating the wonders of sleep apnea for the Pulmonary Imaging Center at the University of Pennsylvania, where he also studies. He busies himself playing bassoon with ensembles baroque and otherwise. Past lives include working as a software engineer at Buzzmetrics, studying Art and Technology at the IT University in Göteborg, Sweden, and studying Computer Science at Columbia University. He excitedly awaits his next rebirth. Brian House is a new media artist creating work with large gestures and small collisions. He has a degree in Art & Technology from Chalmers University in Göteborg Sweden, and has created sound, light, and musical installations in Amsterdam, Stockholm, Berlin, LA, and New York.

This piece is a dialog between two computer musicians consisting solely of such aural detritus. Originally conceived of as a five-minute piece of five-second movements, this 1-minute version has been reconfigured for 60x60.

Kevin McCoy is the most indecisive individual you can meet. He needs rock, paper, scissors to influence him all the time.

Written at the conclusion of the Spring 2006 semester, _RPS_ is structured around conflict and resolution.

Composer and impresario, Robert Voisey is the Founder of Vox Novus, Vice President of programs at the Living Music Foundation, Director of the 60x60 project, and Director of the Composer’s Voice Concert Series. His mission is the promotion and dissemination of contemporary new music.

Source material for "We are all 60x60" was taken from an interview with Dennis Bathory-Kitsz about his project, "We Are All Mozart" for the Arts and Answers radio show on WKCR FM New York.