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David Seymour
A short piece of upbeat music for a brass band, it belongs in a carnival, a stadium at a World Cup football match or as the national anthem of a small banana republic.
I am a composer and songwriter originally from Canada and based in London since the early 80s. During this time I have been involved with the vibrant world music and jazz scene in London; as a music agent I provided some of the acts for the first WOMAD festivals.
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Mad Decorator!
Situ is a new work using electric guitar and originally designed synth patches, drums, and sound effects. It reflects the concept of occupying one's mental and physical space in the world.
Mad Decorator! is an electronic musician based in California, USA. Working entirely with original recordings and sound design, Mad Decorator! creates authentic, unique instrumentals that lend themselves to introspection and exploration.
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Rossano Cariello
Staring at a computer screen at night with lots of different things catching your attention might sound like this. (But it might not...)
Based in Edinburgh, Rossano Cariello is a contemporary composer for film and media, shortlisted for the 2022 European Talent Competition Award. Over the last few years, he has taken on multiple small projects, including an award-winning short film, ‘Games Night’ and an international award winning feature film, 'Introducing Jodea'. With these works, he has built a diverse portfolio and expanded his creative output for film through both online streaming and regular screened platforms. He composes with a fusion of classical and modern sensibilities on account of his varied study. Reading music at Edinburgh, Rossano holds both a Masters degree in Composition for Screen, and a Bachelor’s degree in Music with Honours. At University he was afforded the opportunity for further study, briefly interning under film composers Marco Biscarini and Daniele Furlati at the Conservatorio di Musica Francesco-Venezze in Rovigo, Italy. This experience allows him to continue to delve into different styles of music with both early and contemporary practices in mind.
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Ron Coulter
Composed in 2023 for 60x60.
Ron Coulter is a percussionist, composer, and improviser. He has presented at 100+ universities internationally. Interests in noise, performance art, and interdisciplinarity have led to founding and curating numerous experimental sound series, Fluxconcerts, and co-founding numerous experimental intermedia groups. He has composed 430+ works for various media.
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Paul O'Hara
A noir Jazz night road trip, to a 70’s soundtrack in a movie that doesn’t exist. Inspired by the roadmap of the UK, The B Roads is the alias of multi-instrumentalist John Paul Turner, mixing jazz, folk, blues and minimal to create reflections of middle age middle England.
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Bracha Bdil
The work "Inhalation Space" for stereo soundtrack strives to express the ideal of natural life and human purity which is dulled by the force of existential reality in a technological-'spacy' commercial and achievement world.
http://brachabdil.blogspot.com/
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Amanda C Short
Written in partnership with my talented brother, Anthony, this piece was a sort of trial for me to explore the capabilities of electronic sound and test my music production abilities. Whenever I want to compose an electronic piece, I often find myself wanting to be engulfed in a wave-like sound, as if traveling through mystifying worlds. With this piece, I wanted to create a sonic landscape for the listener to be entranced in.
Growing up in Metairie, Louisiana, Amanda Short is a multi-instrumentalist performer,
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Ricardo Ferreira Barros
The magic of Marrakech. A sound journey through the small and dynamic streets of the capital of Morocco. Kadabra mixes elements of contemporary
and experimental electronic music with traditional Moroccan rhythms and melodies"
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Dougie Evans
A frantic charango plays as atmospheric found sounds rise, whoosh and sweep past. Slowly digital synths build a growing undercurrent of tension until the minute is up.
Dougie Evans is a director, composer, and digital artist. Born in 1986, they grew up in South East London and now live in Norwich. They started their career as a sound artist in 2008, later becoming Co-Artistic Director of Lîla Dance (2012-2018), and gradually including photography, film and other digital mediums over the years. Over their career they have created a huge variety of award winning dance and theatre productions, BBC productions, short films, animations, National Trust audio walks, and sound installations.
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Matthew Tirona
GLITCH III is track 13 from Matthew Tirona's debut electronic album, "Fate". It is a reprise of GLITCH I and GLITCH II, previous tracks on "Fate". In the album, GLITCH III provides an industrial climax that transitions into an 11-minute ambient track. On its own, GLITCH III is a 1-minute micro-tour-de-force of sonic artifacts.
Matthew Tirona is a composer and electronic music producer originally from California. His discography features an eclectic mix of electronic, experimental, avant-garde, jazz, classical, ambient, industrial, techno, and lofi genres. He will likely be attending Tufts University and the New England Conservatory of Music as a dual degree student, studying in the School of Arts & Sciences at Tufts and studying Composition at NEC.
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joan of FARC
from joan of FARC's eponymous album.
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Gökalp Kanatsız
"This is a one-minute segment from a live recording of a 20-minute electro-acoustic composition titled 'Kül.' The piece was created by blending recorded samples with real-time manipulation through a generative system. The composition explores the contrast between lo-fi and hi-fi sound qualities as a musical concept."
Gökalp Kanatsız is a composer and sound designer based in Istanbul, who mostly works on new media art projects.
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etg
the piece is based on a New Year's piece by the composer for 2023
(which should only be played during 2023 and never after).
that piece is the source for the "musique concrète" aspect of this work.
this piece also utilizes the composer's
first composition performed in NYC after moving there decades ago:
"twelve invited notes"
in which twelve performers were invited to show up at a specific time,
set up, play one note, then tear down and leave (or, at least, leave the stage area).
the timings of their "notes" within that original hour
was used here for the placement
of the "soundings" of their names,
garbled, of course, by "classical tape techniques" via Audacity© processing.
the title comes from pi bu, da’ka{tsu gya-gya} (ぴ'か{ツ ギャ-ギャ}),
a piece which was used in another of these 60x60 Dance extravaganzas decades ago,
and some of the compositional concepts used there appear
(behind the scenes, of course)
here.
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Holland Hopson
We Crossed A Bridge And It Trembled began as a series of improvisations with homemade string instruments including fiddles made from a coffee can and a cigar box. The title comes from the film “Transit” directed by Christian Petzold.
Holland Hopson is a sound and media artist, composer and improviser. A multi-instrumentalist, he usually performs on clawhammer banjo and electronics. Holland often augments his instruments with custom-designed sensor interfaces and performs with his own highly responsive, interactive computer programs. Holland has performed in Australia, Europe and North America along with notable experimental and outsider musicians such as Macarthur Genius Award winners Anthony Braxton and George Lewis, live electronics pioneer David Behrman, sonic meditator Pauline Oliveros, mutant-trumpeter Ben Neill, free-improv innovators LaDonna Smith and Davey Williams, and others.
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Susan Ann Brewster
‘Winding the Bend’ takes inspiration from sounds that can be made by everyday household items, combined with conventional and unconventional instruments. The collection of samples forms the alphabet from which vocabulary and phrases grow. Repeating fragments in different settings are an aspect of a conceivable design for a continuum. They duplicate, multiply, shape shift, are arranged and rearranged without becoming fixed in strict patterns. As with language, changing the context of sound transforms the perception and meaning of it. An intuitive and contradictory composition that experiments with the relationship between repetition and stillness, sound that transforms irregularly and unpredictably is like a riddle. The progression is chaotic, but the impression given, implies consistency, serenity and order
Susan is a composer from United States based in London, UK. Her musical background and studies encompass a wide variety of musical styles, traditions and concepts, influencing the realisation of her electroacoustic compositions. Her sonic pieces are intuitively folk, weathered by complex aesthetic influences. She has composed and performed professionally for dance, theatre and film. Her electroacoustic composition, Golden Waves won an award in the MAARBLE Outreach competition “Sounds of Space” which sought to combine scientific and artistic ways of thinking. The ceremony in Rhodes, Greece presented her composition accompanied by projected images of the earths visible electromagnetic waves. She has been invited a guest composer as part of the London Gamelan Composers Forum, Concert and Discussion of New Music for Gamelan. ‘Ears to Earth’ was composed for Gamelan and electronics and performed live at the School of Oriental and African Studies (SOAS), London, UK.
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Juuso Kontiola
The starting point of Hypera (2023; stereo) was to compose a work for fixed media that is constructed of mainly electronic sounds that resemble and behave like sounds produced by acoustic instruments. A variety of synthesis and sampling techniques was used in composing the work. The aim was to write music that blurs the lines between acoustic and electronic and create a soundscape that feels both organic and estranged. Hypera balances between chaotic, rhythmically active and layered drone-like passages shaping a broken, yet unified musical form.
Juuso Kontiola is a Finnish composer. He majored in composition at Sibelius-Academy in 2007-2015 and got his diploma in 2015. Before his composition studies he majored in jazz piano at Stadia University of Applied Sciences. Jazz and improvised music led him towards contemporary music and was the path for him to become seriously interested in composition. His work consists mainly of chamber music and electroacoustic works and has been influenced and inspired recently by chaos, nonlinearity and the relation and interaction between acoustic and electronic sounds. He has performed acoustic and electroacoustic improvised music and also his own compositions as a pianist.
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Robert Fleisher
While attending NYC’s High School of Music & Art in the late 1960s and very much under the influence of Frank Zappa, whose music and recording techniques both interested me (and with whom I was fortunate to spend time in both NYC and L.A.), I regularly gathered a group of musician friends to improvise, rehearse, and record my own compositional efforts. I don't think I ever owned a Grundig TK341 tape recorder, but an excerpt from the sales pitch I heard one day concerning that particular model is recalled in this fixed media miniature. I do, however, clearly recall the suitcase-model Tandberg stereo tape recorder with which my several well-traveled fixed media compositions from this era--including my contribution to several 60x60 mixes, Loretto Alfresco (piccolo)--were created.
While attending NYC’s H.S. of Music & Art in the late 1960s and under the influence of Frank Zappa, who I had the privilege to know then, I often gathered friends to improvise, rehearse, and record my own compositional efforts. I never owned a Grundig TK341 tape recorder, but highlights of the sales pitch I received one day in 1969 concerning that model is captured in this miniature.
Robert Fleisher’s music has been heard throughout the U.S. and in more than a dozen other countries and is available on ten U.S. and E.U labels. The author of Twenty Israeli Composers (1997), he is also a contributing contributor to Theresa Sauer’s Notations 21 (2008). Fleisher graduated with honors from the University of Colorado and earned his M.M. and D.M.A. degrees at the University of Illinois, studying composition with Ben Johnston, Salvatore Martirano, and Paul Zonn. He is Professor Emeritus at Northern Illinois University.
For more information: www.societyofcomposers.org/members/robertfleisher/
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LanD ExcapE
The piece "Melma" (slime) evokes the state of mind of those who feel themselves sinking into the swamp of corruption, where moral inertia does not grant repentance.
LanD ExcapE is an independent electronic music project born from an idea of Gavino Ganau (Tempio Pausania, 1966), a sardinian visual artist. LanD ExcapE currently features Giovanni Dibeltulu (Sassari, 1967) in the role of co-writer. The intent of the project is to address "socio-ecological" issues, musically narrating the unsustainability... that is, the degraded state of things.
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Adam Davis Hoey
Featuring quartertones and quintuplets to create an alien soundscape, this piece is performed with mandolin, cello, electric guitar, and various percussion and synths.
Amateur composer and musician.
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Joseph Michael Vogel
A digital manipulation of the sound of a campfire with a storm rolling in.
Joseph Vogel is a composer of acoustic and electronic works for all kinds of instruments and ensembles. He has a MA in Music Composition from the U of MN. He is interested in acoustics and in collaborating with other artists of all types. He can also be found teaching and performing around the Twin Cities. He lives in Minneapolis with his two cats, Gwenhwyfar & Morgaine. For more visit : https://josephmvogel.com/
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Maggi Payne
60X60 Aries (2023) was created on her Aries modular synthesizer that she built from a kit around 1976-77. It is a dramatic work exploring space and time and is derived in part from her work 2020 Aries.
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Seth Shafer
please wait my email is in pause (cue hihat) im expecting it back any minute please wait thanks for receiving this message (oh god) in the meantime im putting up this post to say hi and that i miss everyone and that im spending my whole day on the internet (end me)
Seth Shafer is a composer and researcher whose work hybridizes technology, new media, and art/science, with a specific focus on real-time notation, interactive music, and algorithmic art. His artistic practice represents musical exploration at the extreme edge of performance. He develops interactive installations and improvisational performance environments that are audience-involved meta-instruments. His work includes generative pseudo-hologram installations, interactive floor projection systems, and live data sonification exploiting privacy loopholes and feedback networks. He also looks for opportunities to explore ephemerality and multiplicity in live performance. This often involves performance situations that have limited or impossible rehearsal scenarios, purposeful impediments to ensemble coordination, live sight-reading, and unavoidable failure.
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Paul Joannes Adriaenssens
I - O stands for in - out
It was conceived for a call for works during the Covid era 20 - 21. The project later borrowed the name of my contribution for the entire project. (Not important, that.)
I focused on the opposing attitudes of pre and post pandemic.
Before: inside being a place of harmony, rest, relaxation, ...; outside a world of noise, stress, unrest.
During: inside a place of confinement, stress, (for some: domestic violence !)..., outside a place to breathe, relax, for silence (less traffic, less hassle, nature walks).
After: return to a shifted normalcy.
So the piece tends to be a double mirror, juxtaposing these tendencies. But which is which?
All in a two minute composition, here condensened into a single one, hence "n°2".
Paul Adriaenssens was born in 1952 in Antwerp. He had no specific musical training and developed his skills in a self-taught way. He was mainly inclined towards researching and processing concrete sounds and instruments. In 1975 he came into contact with the SEM (Studio for Experimental Music). He regularly co-organized concerts, lectures and workshops aiming to bring the public into contact with the richness of electronic music. He progressively outgrew acoustic instrumental music for hybrid, live electronic and finally computer generated electronic. These last couple of years he rebroadened his scope to a more intuitive style wherein anything can have a place. Nevertheless a strict structure still allures.
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Rodney Waschka II
Everything seems slightly askew because the people are dancing on slippery rocks.
Rodney Waschka II is probably best known for his algorithmic compositions and his unusual operas such as Saint Ambrose and Sappho’s Breath. His music has been called “astonishing” and “strikingly charismatic” by Paris Transatlantic Magazine, “a milestone in the repertoire” by Computer Music Journal, “fluent and entertaining” by Musical Opinion of London, and “oddly moving” by Journal Seamus. More than two-dozen of his compositions and performances appear on record labels based in the USA, Canada, Portugal, Poland, England, and Australia. Waschka studied with Larry Austin, Robert Ashley, Paul Berg, Clarence Barlow, Konrad Boehmer, Thomas Clark, Charles Dodge, and George Lewis. Dr. Waschka is Director and Professor of Arts Studies at North Carolina State University.
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Rafael de Rioja
Rafael de Rioja (Huelva, 1998) graduated in Composition at the "Manuel Castillo" Music
Conservatory of Seville. Young and restless for knowledge, he completes his training
through courses and congresses such as: “Algorithmic Composition: constructive and
declarative model” by Fabio de Sanctis de Benedictis; International Composition Course of
Villafranca del Bierzo; Congress “Current Musical Analysis: Theoretical framework and
interdisciplinarity” (Seville, 2019); LXIII International University Course on Spanish Music
“Music in Compostela”; I International Congress: “Intersection art, society and technology
in musical innovation” (University of Valladolid); Contemporary Music Composition
Course 2021 Musikagileak and SGAE Foundation; etc.
In addition, he has received master classes with Cristóbal Halffter, Javier Torres Maldonado,
David del Puerto, Franck Bedrossian, Raphaël Cendo, and Cosimo Colazzo, among others.
He has worked with performers such as the accordionist Mirko Jevtovic, premiering the
work “Struggimento” (2019); with the saxophonist Alicia Camiña, recording the work
“Murmuraciones de lo Profundo” in her recording project (Revolution); and with groups
such as the Seville Municipal Symphonic Band.
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Charles Bruce Wike
A vehicle for a percussion/saxophone duet using a subdivided 9/8 rhythm, a minor triadic motif, and a unison cadenza-like ending. Instrumentation includes samples of dumbek drum, voice, Irish harp, strings, lapsteel guitar, and jazz tenor saxophone (in memory of Phil Miller).
Back into music in a big way after retiring in 2021. I haven't written this much music since college -- Westminster College, Utah, Bachelor's degree, jazz emphasis; UCLA, Master's degree, Library Science.
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Tuan Hung Le
Sonification of Bamboo is a brief contemplation on the sounds of bamboo from East and Southeast Asian musical instruments. Bamboo instruments featured in this little work include shakers Angklung, xylophones Tingklik and Bamblong, and flute Dongxiao.
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Blair Whittington
In this piece I wanted to create something surreal that sounded human and artificial at the same time. The phrases have breadth but the sounds are more artificial than sampled.
Blair Whittington is a composer and Los Angeles native. Guitar was his first serious instrument but he now spends most of his free time composing instrumental and vocal chamber music. He studied composition with Byong-kon Kim. For the last two decades he has worked as music librarian at the Brand Library & Art Center and also directs the Brand Library chamber music series on behalf of the Brand Associates. His music has been performed by musicians such as pianist Mark Robson,, pianist Yumi Suehiro, the UK Guitar Quartet, the Bateira Trio, Nautilus Brass, Trio Emporte (flute/oboe/piano), Trio Spilliaert (Brussels) and the musicians of the Boston New Music Initiative. He also has composed many miniatures that have been performed across the United States and Europe as part of Fifteen-Minutes-of-Fame, 60x60 and the Vine Orchestra.
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Sebastián Ernesto PAFUNDO
The work is created mainly from sounds performed with an electric bass in a non-conventional way. Then I added concrete sounds, processed sounds, etc. There are also sounds from the jungle and from languages originating in Africa, referring to the need that the continent has for help of all kinds.
Argentine, Composer, teacher, improviser, sound experimenter and bassist.
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Luis Miguel Delgado Grande
Ophiօcordyceps for flute and viola
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Petra Strahovnik
About Ophicordyceps
This is a very short piece I wrote during the Covid 19 pandemic. Based on this spectacular fungus (the ophiocordyceps) I tried to allegorize in one minute how a parasite transforms the host body into a zombie, controlling and making it act as its demand.
Flute: Narek Avagyan
viola: Mary Dolmazyan
Petra Strahovnik (SI/NL): Petra has been following her path of searching for new sounds and she has never been barred by traditional way of how we think about sound and music. In an Art Residency she created a project 'DisOrders', several art works combining music and performance art to raise question on how we deal with mental health.
Petra collaborated with outstanding musicians such as Rei Nakamura, Saskia Lankhoorn, ensembles like Ensemble Modern, Neue Vocalsolisten, Asko|Schönberg, neuverBand, Slagwerk Den Haag, WESPOKE, Slowind, RTV Slovenia Symphony Orchestra, choirs like APZ Tone Tomšič, Slovenian Philharmonic Choir, conductors as Steven Loy, Rossen Milanov, Bas Wiegers, Gregory Charette, Matina Batič and more. Commissioned by and/or performed on festivals among others as Diamant Fabrik, Experimental studio SWR, Gaudeamus Music week, Dag in de Branding, Ultraschall Berlin, Muziekgebouw, November Muziek, Slovenian Philharmonic, Festival Summer in Stuttgart, musikprotokoll, Music Biennale Zagreb, International Ankara Music Festival, LSO St Luke London, ECCO festival Brussels.
Her creative mind and unique art works brought her several grants and awards. Petra's piece Prana, for symphony orchestra, won the 66th international ROSTRUM of composer prize, organized by the International Music Council, in Argentina in 2019. Her achievements among others brought her Fellowship and Art Residency at Villa Concordia Bamberg, granted by Bavarian State Ministry of Science and the Arts and the BERLIN ART PRIZE for Music 2021, awarded by the Academy of Arts – Akademie der Künste Berlin.
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David Drexler
A moment expands, musical time is slowed and nearly suspended.
David Drexler's music has been performed on five continents by groups such as L’Ensemble Portique, The New York Miniaturist Ensemble, Synchronia, Sound--The Alarm!, The Dutch Tuba Quartet, the May in Miami Festival, and the EmergOrchestra, and has been broadcast on Wisconsin Public Radio and many new-music radio shows around the U.S. He has received grants and commissions from the Oakwood Chamber Players, Music St. Croix, the Wisconsin Alliance for Composers, the Wisconsin Arts Board, and others.
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Susanne Lambert
This track is as the title suggests, its about an opening up or expansion, from something tentative and vulnerable into something more formed and strong. A kind of metamorphosis.
Susanne is a queer independent artist/musician from the UK who is currently located in Berlin. Susanne has been performing with bands and as a solo artist and collaborator since the early 00’s. She is a drummer/percussionist also working with field recordings, found sounds, electronics, synths and words, creating soundscapes and compositions that cross musical genres. She has a strong DIY and DIT (do-it-yourself/do-it-together) ethos and has both participated in, and co-curated many local gigs and community events across different UK cities. Her current main music collaboration is Mush Collective (UK/DE) who tour regularly in the EU, Switzerland and the UK.
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Alberto Carretero
Elegy for the Spanish composer Cristóbal Hallffter (1930-2021)
Alberto Carretero (Seville, 1985) graduated with honours in Composition at the Higher Music Conservatory of Seville, then he got the PhD award with his doctoral thesis titled “The process of Music Composition by means of bio-inspired techniques of Artificial Intelligence”. He also studied Musicology, Computer Science Engineering and Journalism. He won many international prizes and his music was performed at the Carnegie Hall (New York), Centre Pompidou (Paris), Darmstadt Ferienkurse, Wien Modern, Sibelius Academy, Auditorio Nacional de Música, Museo Reina Sofía (Madrid), Auditorium San Fedele (Milan), Fonderie Kugler (Geneve), Espacio Turina, Teatro Maestranza (Sevilla), etc. He worked with the Ensemble Intercontemporain, Musikfabrik, Phace, Klangforum, Ensemble Recherche, Helsinki Chamber Choir, Phace, PluralEnsemble, Cosmos21, Sax-ensemble OCAZ-Enigma, Real Orquesta Sinfónica de Sevilla, SWR Orchester Stuttgart, Neopercusión, Ocnos, Taller Sonoro, Zahir Ensemble, MiseEN etc. In the field of new technologies, he composed mixed and electroacoustic music for “In Sonora” (Madrid), “Phonos” (Barcelona), IRCAM (Paris) and SWR ExperimentalStudio (Freiburg).
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Norberto Oldrini
Three harps sing the sharp shape of the shark's sharp teeth showing a short shaking shadow.
Norberto Oldrini (Milan, 1968), is based in Torrita di Siena (Tuscany, Italy).
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Colin Gateley
A reworking of a piece originally, hastily written for a piece called "cones" on the Ditchburn album, Backwoods.
Sound Designer/composer. Half of Scottish duo, Ditchburn. Also half of duo, Gateley & Taffe.
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Paul Rooney
This sound piece aims to shed light on the historically neglected space of the domestic kitchen – it’s numbingly repetitive, thankless (mostly female) labour, it’s subversive creative resistances. But rather than illustrate these ideas through expansive explanation, the piece focusses on a repeated sung and spoken phrase (“a million darkened kitchens”, from a 1911 poem inspired by women suffragists and strikers). This allows the amplified grain and texture of the embodied female vocal sounds to come to the fore; the sung syllables, intakes of breath, scrap of speech (all chopped and sliced in an echo of the repetitive tasks of kitchen work), creating a space within which a listener can contemplate for themselves the unimaginably numerous histories and experiences that are implied.
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Fergus Hall
A short piece made using the old piano in my parents house in Greenock, Scotland. The back door was opened while I was recording. You can hear some sounds from the garden.
Fergus Hall is a composer and musician from the west of Scotland.
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Soressa May Gardner
This piece began with a few fragments of overlapping melody that repeated in a hypnotic yet off kilter way. Working in Ableton Live, I used the melody as a jumping off point to explore a number of newly acquired Kontakt plugins, various piano-like instruments, the generative Playbox, and others. I soon found myself in the realm of mystery soundtracks and dug into that, distilling the essence of the explorations into this 60 second composition.
Soressa Gardner is vocalist, laptop composer/improvisor, and sometimes songwriter. Her keen sense of mood, colour, humour and gravitas are expressed in sound-worlds carefully crafted from a variety of audio processing techniques. Soressa’s recent live performances include Galliano Island’s Active Passive Festival (2022), Victoria’s Neuztec Festival (2021) Wonderment Festival (2020), Vancouver New Music Festival: Resonances (2019, The Annex) and CoexistDance: Western Edition #2 (2019, ScotiaDance Centre). Her electronic compositions have garnered international recognition and airplay.
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Tamsin Jones
I have always been fascinated and soothed by the ocean world, by its vastness, sounds and colours, and its amazing variety of life. Underwater Musick evokes the dynamic pull of the tides and currents with its wide-ranging theme, which is based on the proportions 3:5:8, and developed through an array of symmetrical processes, including neo-Riemannian transformations, invertible counterpoint and inversion. Creative Commons sound clips have been used to help create a marine atmosphere, including dolphin chatter and whale song. The resulting music echoes the processes of 18th-century "musick" as found in the Bach Inventions, yet in an elusive and unmistakably 21st-century way.
Tamsin Jones studied music at Newcastle University in the 1990s and returned there as a lecturer in music theory nearly 30 years later. She has gained worldwide recognition for her choral compositions, but her oeuvre also includes organ and piano works, a symphony, and ensemble music. Her style is inspired by the distant past, but informed by an interest in geometry and mathematical patterns.
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Daniela Marie Gassi
Flashes was written on an electric 5-string violin/viola and processed using Logic. It explores a dialogue between traditional, untraditional, and electronic sounds on the violin/viola with different timbres flashing in and out to create a busy and stimulating sensory atmosphere. The overall composition itself is short, like a flash of light. I wrote it with the intention of being entered into the 60x60 festival, and also with the idea that it could one day be used with dancers and lighting design if ever performed live.
Originally from Toronto, Canada, Daniela is currently pursuing a Master of Music in Viola Performance at the Royal Conservatoire of Scotland. She also composes and has recently started writing for electronics under the guidance of Alistair MacDonald. Before going back to study her Master's she was a high school music teacher for many years.
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MARCO MOLTENI
The piece ACHILLES' LAST DREAM OF GLORY (ePWsM 12) was composed in 2020 and is part of a series of five pieces dedicated to the figure of the ancient Greek hero Achilles. The piece in question, the third in the series, represents the chapter in which Achilles again dreams of his future glorification after the battle he will be engaged in the next day.
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Julia Constance Wiger-Nordås
"For solo guitar. Written in May, 2021. Recording by Sondre Høymer."
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Charles Klippel Neimog
Ideias Roubadas (something like Stolen Ideas) uses the Meta-Instrument idea. In other words, I create one "instrument" using multiple instruments. It is based on the idea of transforming the acoustic guitar (in my conception!) of the Brazilian composer Arthur Kampela.
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Arthur Gottschalk
The text is by my friend and collaborator, Malcolm Brodwick, a brilliant biophysicist. Dr. Brodwick was also a film-maker, composer, poet, trombonist, cellist, and amateur pianist, whose knowledge of and appreciation for modern classical music, and Asian arts, greatly surpassed that of most professionals. He passed away, far too soon, and is sorely missed, yet all of us whose lives he touched are grateful for every moment we had with him.
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Augusto Meijer
Reducir is an acousmatic short piece that is based on the manipulation of sound recordings derived from a custom built pipe instrument. This electro-acoustic instrument uniquely creates "blown" sound pattern in a very consistent rhythmic movement. this sound character is the key element of the piece.
Augusto Meijer is an Electroacoustic music composer from the Netherlands.
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Christopher Cook
Motorized is inspired by the complex sounds generated by the internal combustion engine. The piece uses various sound sources including the human voice and saxophone which are crafted to simulate explosions, electrical sounds, and mechanical motion of gears and flywheels.
Christopher Cook received the Doctor of Music degree from Indiana University where he served as assistant director of the Center for Electronic and Computer Music. He is a recipient of a Fromm Music Foundation commission from Harvard University and has received awards from the National Endowment for the Arts, the American Society of Composers, Authors and Publishers, the Music Teachers National Association, and the National Assembly of Local Arts Agencies. He is Associate Professor of Music at Chowan University.
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Glenn Simonelli
Multi-tracked vocals (1:00)
Dr. Glenn Simonelli started composing music at the age of 6. He has been involved in music ever since, playing in and composing for numerous musical bands throughout life, including rock, wind, country, soul and funk ensembles. A multi-instrumentalist, at one time or another Glenn has performed on piano, keyboards, guitar, bass, saxophone, recorder and French horn.
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Ken Moore
Created by Ken Moore of the Krellaxiom organisation. This piece draws together a variety of influences ranging from Australian Pub Rock to early 1980s synthtech. Enjoy!
English born Ken Moore emigrated to Australia in 1967 and was an avid listener to that country's music scene, influenced by the distorted guitars and driving beats of Australian Pub Rock. Moore was also very interested in computers, playing as a child with punched cards his father brought home from early mainframe systems. Finding no kindred spirits to perform computer generated music in his own town in the early 1980's, Moore instead chose a career in the IT industry. Retiring from that career in 2019. Moore found many kindred spirits eager to participate a sci-fi based original music collaboration, and thus Krellaxiom was born. See www.krellaxiom.org for more information.
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Joshua david Malavé
This is a track from an album I am releasing soon called harmonies, though this one is mostly melody. The track titles on that album are Intention, Meridian, Bahavrihi, Radiant, Opulence, Keep, and Euphoria, the titles spell "I"M BROKE" which is a comical jest at my reason for writing electronic music, which is because I can't afford to pay musicians anymore and truthfully I'm about to fall off the map as someone who could at one time participate in the music world. This piece was handwritten at the piano first just like everything I write and then programmed as midi into reaper where it was then sent to several analog and digital synthesizers that make up the orchestration of the piece. On that list are the korg wavestate the waldorf Blofeld, the arturia minibrute 2, the behringer pro-1, and the behringer K-2.
I write new music for classical musicians that is not avante-garde. I believe music must evolve with every generation and not repeat itself but it must do so without sacrificing the traditions from which it came. The music I write exists to create a vivid and intensely personal experience.
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Preston Scott Peak
'Surpass Your Limits!' is a chiptune quintet of five synthesized instruments - one percussive noise generator, one triangle-wave with programmed vibrato if sustained, and three thin pulse/square waves. Composing in a synthesizer and building a soundscape using the simplest of instruments is the most raw form of music composition in my opinion. On their own, the instruments are dry and jaring on the ear, but when used in conjunction with other instruments, wonderful and expressive music can be made. I hoped to build an epic and inspiring theme living up to the title of the track.
Preston Peak is a composer and pianist with influences ranging from classical pianists to modern video game composers, and he has found a love for learning and experimenting with combining different styles of writing and arranging.
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Ian Clester
The saxophone dissolves into fuel for a custom-built engine, the sounds of one machine animating the logic of another. The engine fires up and takes off, reducing, resampling, and reassembling the sounds into something new, forming a clockwork composite of beats, bytes, brass, and breath: a sax machine.
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Patric Party Simmerud
Aitys is the name for the primarily folk oriented, oral tradition of improvised singing and oratory between two parties referred to in Kazakh as akyns but found throughout Central Asia. The term most commonly references to a public song competition between aqyns, in this case between a flutist and a dove. If Putin and Zelensky would battle with poetry instead of warfare we would save a lot of lives and money.
A composer/sound artist from Stockholm. That's Stockholm Sweden, not Switzerland.
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Juan Maria Solare
Step by Step by Juan María Solare is an electronic miniature ballet that lasts barely 1 minute. The underlying constructive structure is a composition technique originated in the Middle Ages and the Renaissance called Isorhythm. Throughout this piece, there is ONE single repeating rhythmic pattern (a pattern inspired by Argentine tango music, by the way). However, each component of this pattern is performed using a different percussive sound.
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Aaron Krister Johnson
John Chalmers wrote the massive and influential "Divisions of the Tetrachord", wherein the possibilities of tuning various scales based on ancient Greek and Arabic mathematical principles are laid out, and expanded upon. The resources here for a composer interested in tuning theory are vast. I felt that John's work was worthy of a nod here in this study, where I use virtual physically-modeled strings to suggest an electronic zither of sorts. You could think of the style here as "Ancient Greek electronic".
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ANDRIAMORASATA Nantenaina Joseph
Music inspired by Tsapiky rythm
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John Lank Moriarty
Chimpanzee Balloon is written in Bug temperament with an octave period. With this arrangement, melodically consistent scales that are (loosely) analogous to our pentatonic, diatonic, and chromatic scales occur at 5, 9, and 14 notes. With a generator of 261 cents, the tuning is extremely close to 23-ed2, or 23 equal divisions of the octave.
John Moriarty is a composer and vocalist who is particularly passionate about isomorphic keyboards and microtonal tuning. He invites you to visit his YouTube channel for explorations of those topics.
For More information:
https://www.youtube.com/c/JLMoriart
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Phil Taylor
Sax and more through the electronic mangler...
A composer in many genres, Phil Taylor's electronic ambient works are released on major streaming sites, his compositions have been performed by The West Point Band, Swiss Contemporary Music Festival, Annelle Gregory, Kathryn Tickell and The Side, Maksim Velichkin, Nautilus Brass Quintet, Courtney Sherman, CoMA Leeds, Windy Valley Ringers, LivingVoid Project, H2 Saxophone Quartet, Artdesamis Piano Trio, Walking Wiltshire White Horses Project, Livas Clarinet Quartet, and Dr Liana Valente. Larger scale compositions have been workshopped by the Maggini Quartet, Emily Howard, Sally Beamish and Michael Finnissy. Phil is winner of the 2015 YLSS New Music Competition. Phil plays clarinet, saxophones, violin, viola, cello, double bass and piano and has played with the Northern Wagner Orchestra, CoMA Leeds, Leeds Haydn Players, the Halifax Symphony Orchestra and chamber groups in the Leeds UK area.
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ja!coxk!
60 2nds 2 Nihal is a micro trip ode to the cosmic home world.
"There's more creativity and craftsmanship than some entire libraries I've listened to. When music creates an emotional, visual journey inside the listener, it has acheived its optimum purpose. Bravo!"
- Gary Gray, emmy-award winning singwriter, composer, producer, author, educator, working with Quicy Jones.
Essex, UK-based Jai has starred as a fruity cast of producer handles over the years, writing and producing original work, and for other practitioners - including live shows and book publishing, with tunes aired over BBC Radio along the way.
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Anthony Esland
Shakedown is a fast and frenetic electronic dance track that uses plenty of low-end bass, and a dash of top-end sparkle.
Anthony Esland is an award-winning composer from the UK. He studied musicology and composition at Cambridge University, conducting at the Guildhall School of Music, and has an MA in composing for film and TV from the National Film and Television School.