She studied music composition at the University of Rhode Island under Geoffrey Gibbs, Joe Parillo and Eliane Aberdam. From 2002-2005 she attended Bard College, where her works were guided by artists from many different disciplines. Due to the unusual structure at Bard, she was able to engage in regular studio visits from several different disciplines including film/video, writing, painting, sculpture and music/sound. It was during this time that she was able to begin seriously study electronics under the tutelage of Bob Beilecki.

While attending Bard College in New York, Goeringer lived part of the year in Seattle, WA where she engaged in the local improvisation and music composition scene. She composed many acoustic and electronic works during her time there, and laid the groundwork for her future collaborative projects with choreographer Jürg Koch.

Goeringer currently resides in Rhode Island, and is an active member in the local arts and music community.

Numerous grants and awards, such as the Award of the German Industrial Association (BDI), composition grant of the city of Berlin, Carl Djerassi Honorary Fellowship, California, IASPIS residency grant, Stockholm.

Since 1974 solo exhibitions in Europe, USA, Australia, Japan and South America. Numerous participations in international festivals and group exhibitions such as: Pro Musica Nova, Bremen 1976/ 1980, Für Augen und Ohren, Berlin 1980, Biennale of Venice, 1980 / 1982, Gaudeamus Music Festival 1984, documenta 8, Kassel 1987, Ars Electronica, Linz 1987, Steirischer Herbst, Graz 1987, Biennale of Sydney 1990, Donaueschinger Musiktage, 1993 /1997, Prison Sentences, Philadelphia 1995, Sonambiente, Berlin 1996, in medias res, Istanbul 1997, festival d’art sonor, Barcelona 1999, Sonic Boom, London 2000, Visual Sound, Pittsburgh 2001, Singuhr-Hörgalerie, Berlin 2002, activating the medium festival, San Franciso 2003, sounding spaces, Tokyo 2003, Musik und Raum, Lucerne Festival 2004, Resonance – The Electromagnetic Bodies Project, ZKM, Karlsruhe 2005, Her Noise, South London Gallery, London 2005, Stockholm New Music 2006..

Her music has been released with various labels such as Cramps Records, Edition RZ, ampersand, semishigure, Die Schachtel, Olof Bright.

Christina Kubisch has been visiting professor in Maastricht, Paris and Berlin. She is a professor for sound art at the Academy of Fine Arts, Saarbrücken, Germany, since 1994 and a member of the Akademie der Künste Berlin since 1997. She lives in Hoppegarten near Berlin.

Feldman was born in New York City. He studied piano with Madame Maurina-Press, a pupil of Ferruccio Busoni, and later composition with Wallingford Riegger and Stefan Wolpe. He did not agree with many of the views of these composition teachers, and he spent much of his time simply arguing with them. Feldman was composing at this time, but in a style very different to that he would later be associated with.

In 1950, Feldman went to hear the New York Philharmonic give a performance of Anton Webern’s Symphony. At the concert, he met John Cage, and the two became good friends. Under Cage’s influence, Feldman began to write pieces which had no relation to compositional systems of the past, such as the constraints of traditional harmony or the serial technique. He experimented with non-standard systems of musical notation, often using grids in his scores, and specifying how many notes should be played at a certain time, but not which ones. Feldman’s experiments with the use of chance in his composition in turn inspired John Cage to write pieces like the Music of Changes, where the notes to be played are determined by consulting the I Ching.

Through Cage, Feldman met many other prominent figures in the New York arts scene, among them Jackson Pollock, Philip Guston and Frank O’Hara. He found inspiration in the paintings of the abstract expressionists, and though the 1970s wrote a number of pieces around twenty-minutes in length, including Rothko Chapel (1971, written for the building of the same name which houses paintings by Mark Rothko) and For Frank O’Hara (1973).

Later, he began to produce his very long works, often in one continuous movement, rarely shorter than half an hour in length and often much longer. These works include Piano and String Quartet (1985, around eighty minutes), For Philip Guston (1984, around four hours) and, most extreme, the String Quartet II (1983), which is over five hours long without a break. It was given its first complete performance at Cooper Union, New York City in 1999 by the FLUX Quartet, who issued a recording in 2003 (at 6 hours and 7 minutes). Typically, these pieces do not change in mood throughout and tend to be made up of mostly very quiet sounds. Feldman said himself that quiet sounds had begun to be the only ones that interested him.

Feldman married the composer Barbara Monk shortly before his death in 1987 at his home in Buffalo, New York.

CTRL+ALT+REPEAT

CTRL+ALT+REPEAT is an experimental music series that focuses on cutting-edge electronic music, improvisation, contemporary classical music, and sound art. The Spring 2011 edition will feature Morton Feldman’s 1951 string quartet Structures and Christina Kubisch’s Vibrations for string quartet and vibrators, performed by the Community MusicWorks Players alongside performances by Ernst Karel, Lyn Goeringer and Mem1. This concert is presented in conjunction with Community MusicWorks and is made possible in part by a grant from the Brown University Creative Arts Council.

MORTON FELDMAN

Morton Feldman (born January 12, 1926, died September 3, 1987) was an American composer. He is best known for his mature instrumental pieces which are frequently written for unusual groups of instruments, feature isolated, carefully chosen, predominantly quiet sounds, and are often very long.

Feldman was born in New York City. He studied piano with Madame Maurina-Press, a pupil of Ferruccio Busoni, and later composition with Wallingford Riegger and Stefan Wolpe. He did not agree with many of the views of these composition teachers, and he spent much of his time simply arguing with them. Feldman was composing at this time, but in a style very different to that he would later be associated with.

In 1950, Feldman went to hear the New York Philharmonic give a performance of Anton Webern’s Symphony. At the concert, he met John Cage, and the two became good friends. Under Cage’s influence, Feldman began to write pieces which had no relation to compositional systems of the past, such as the constraints of traditional harmony or the serial technique. He experimented with non-standard systems of musical notation, often using grids in his scores, and specifying how many notes should be played at a certain time, but not which ones. Feldman’s experiments with the use of chance in his composition in turn inspired John Cage to write pieces like the Music of Changes, where the notes to be played are determined by consulting the I Ching.

Through Cage, Feldman met many other prominent figures in the New York arts scene, among them Jackson Pollock, Philip Guston and Frank O’Hara. He found inspiration in the paintings of the abstract expressionists, and though the 1970s wrote a number of pieces around twenty-minutes in length, including Rothko Chapel (1971, written for the building of the same name which houses paintings by Mark Rothko) and For Frank O’Hara (1973).

Later, he began to produce his very long works, often in one continuous movement, rarely shorter than half an hour in length and often much longer. These works include Piano and String Quartet (1985, around eighty minutes), For Philip Guston (1984, around four hours) and, most extreme, the String Quartet II (1983), which is over five hours long without a break. It was given its first complete performance at Cooper Union, New York City in 1999 by the FLUX Quartet, who issued a recording in 2003 (at 6 hours and 7 minutes). Typically, these pieces do not change in mood throughout and tend to be made up of mostly very quiet sounds. Feldman said himself that quiet sounds had begun to be the only ones that interested him.

Feldman married the composer Barbara Monk shortly before his death in 1987 at his home in Buffalo, New York.

STRUCTURES FOR STRING QUARTET

The following note was originally published with the LP recording of Feldman’s piece by the Concord String Quartet (The Avant Garde String Quartet in the USA, VoxBox SVBX-5306, 1973) and later re-published in the liner notes when the recording was reissued on CD (American String Quartets 1950 – 1970, VoxBox CDX 5143, 1995).

Although Morton Feldman’s best-known innovation is the devising of graphical scores that permit a range of choices (of, say, pitches to be made by the performer), the present composition is not such a work. It is as fully notated as any classical quartet. In fact, it has been remarked that it could well serve as an example of how the composer himself might realise one of his graphical scores. This is precisely what Feldman actually did. He sketched out a plot of what one might call musical events (versus elapsed performance time), filling in this graph until it satisfied him. It should be understood that this was not a literal plot of, say, frequency versus time but a general guide to laying out event successions. Once this was done, Feldman then transcribed the material into a precisely notated conventional score so that performances of this piece are relatively fixed. This particular compositional technique he has only used twice, once in the present instance and once in composing, also in 1951, a piano piece for Merce Cunningham, who then choreographed it as “Variations” for solo dancer.

Structures for String Quartet turns out to be a short composition in one movement always played as quietly as possible – another Feldman specialty. The “structures” of the piece follow one another in a quite straightforward linear pattern. The opening section is pointillistic and sparse in texture. This is followed by what I will call, for lack of a better word, a series of quasi-ostinato passages. Each one of these is almost but not quite a precisely fixed ostinato of a type almost resembling a tape loop in electronic music. Four of these occur in sequence separated by short rests or simple intervening chords. A second pointillistic passage, reminiscent of the opening, appears next and this is followed by two more quasi-ostinati and a concluding section again reminiscent of the opening. The dialectic of the piece thus is one of emptiness versus density, and of irregularity versus periodicity.
—Lejaren Hiller

CHRISTINA KUBISCH

Christina Kubisch was born in Bremen in 1948. She studied painting, music (flute and composition) and electronics in Hamburg, Graz, Zürich and Milano, where she graduated. Performances, concerts and works with video in the seventies, subsequently sound installations, sound sculptures and work with ultraviolet light. Her compositions are mostly electroacoustic, but she has written for ensembles as well. Since 2003 she works again as a perfomer and collaborates with various musicians and dancers.

Numerous grants and awards, such as the Award of the German Industrial Association (BDI), composition grant of the city of Berlin, Carl Djerassi Honorary Fellowship, California, IASPIS residency grant, Stockholm.

Since 1974 solo exhibitions in Europe, USA, Australia, Japan and South America. Numerous participations in international festivals and group exhibitions such as: Pro Musica Nova, Bremen 1976/ 1980, Für Augen und Ohren, Berlin 1980, Biennale of Venice, 1980 / 1982, Gaudeamus Music Festival 1984, documenta 8, Kassel 1987, Ars Electronica, Linz 1987, Steirischer Herbst, Graz 1987, Biennale of Sydney 1990, Donaueschinger Musiktage, 1993 /1997, Prison Sentences, Philadelphia 1995, Sonambiente, Berlin 1996, in medias res, Istanbul 1997, festival d’art sonor, Barcelona 1999, Sonic Boom, London 2000, Visual Sound, Pittsburgh 2001, Singuhr-Hörgalerie, Berlin 2002, activating the medium festival, San Franciso 2003, sounding spaces, Tokyo 2003, Musik und Raum, Lucerne Festival 2004, Resonance – The Electromagnetic Bodies Project, ZKM, Karlsruhe 2005, Her Noise, South London Gallery, London 2005, Stockholm New Music 2006..

Her music has been released with various labels such as Cramps Records, Edition RZ, ampersand, semishigure, Die Schachtel, Olof Bright.

Christina Kubisch has been visiting professor in Maastricht, Paris and Berlin. She is a professor for sound art at the Academy of Fine Arts, Saarbrücken, Germany, since 1994 and a member of the Akademie der Künste Berlin since 1997. She lives in Hoppegarten near Berlin.

VIBRATIONS FOR STRING QUARTET AND VIBRATORS

Vibrations was written by Christina Kubiisch in 1975, during a time when she was working closely with visual artist Fabrizio Plessi. Together, they composed and performed pieces that focused on bridging traditional instrumentation with the use of objects not typically regarded as musical instruments.

Vibrations is written for string quartet or an ensemble comprised of two or more string players and electric vibrators. The size of a given vibrator is to correspond to the size of instrument on which it is used, and in a way, the vibrator acts as a replacement for the bow. The musicians are instructed to gently place it against the instrument, first starting at the base of the neck and slowly moving to the pegbox and then the strings, exciting overtones and harmonics along the way. The movement continues to the bridge, tailpiece, and finally the end-pin. These quiet resonances are amplified by contact microphones placed on the bodies of the instruments. To our knowledge, this is the U.S. Premiere of Vibrations and its first public performance in over thirty years.

COMMUNITY MUSICWORKS PLAYERS

Community MusicWorks Players is a flexible ensemble which includes members of the Providence String Quartet, participants in Community MusicWorks’ Fellowship Program, and guest artists. The creation of the CMW Players allows Community MusicWorks to present more varied repertoire, include more musicians, and provide additional concerts for audiences in Rhode Island and beyond.

ERNST KAREL

Ernst Karel is a musician, sound recordist, composer, and anthropologist of sound. His two newest CD projects, on the Gruenrekorder and and/OAR record labels, are constructed with unmanipulated location recordings edited as imageless observational cinema. He performs and records improvised experimental electronic and electroacoustic music using modular analog electronics and/or location recordings, including the electroacoustic duo project EKG with Kyle Bruckmann, and the New England Phonographers Union. In addition to his own work, he also does sound editing, mixing, and sound design for nonfiction and experimental film and video. Musicians with whom Karel has performed on trumpet and/or analog electronics include Michael Zerang, Otomo Yoshihide, Weasel Walter, Sabine Vogel, Ken Vandermark, TV Pow, Gino Robair, Vic Rawlings, Key Ransone, Gert-Jan Prins, Polwechsel, Jeff Parker, Toshimaru Nakamura, Helen Mirra, Fred Lonberg-Holm, Annette Krebs, Jason Kahn, Jeph Jerman, Giuseppe Ielasi, Steven Hess, Chris Heenan, Boris Hauf, David Grubbs, Kevin Drumm, Bobby Conn, Audrey Chen, Cheer-Accident, Lucio Capece, Alessandro Bosetti, Blowhole, Olivia Block, Thomas Ankersmit, Jason Ajemian, Josh Abrams, and others.

LYN GOERINGER

Lyn Goeringer was born and raised in Colorado. She began playing piano when she was 6 years old, and quickly became interested in playing any instrument she could get her hands on. By the time she was 12, she began composing works for piano, and focused on classical music composition until her early twenties when she became immersed in the Providence, Rhode Island noise community.

She studied music composition at the University of Rhode Island under Geoffrey Gibbs, Joe Parillo and Eliane Aberdam. From 2002-2005 she attended Bard College, where her works were guided by artists from many different disciplines. Due to the unusual structure at Bard, she was able to engage in regular studio visits from several different disciplines including film/video, writing, painting, sculpture and music/sound. It was during this time that she was able to begin seriously study electronics under the tutelage of Bob Beilecki.

While attending Bard College in New York, Goeringer lived part of the year in Seattle, WA where she engaged in the local improvisation and music composition scene. She composed many acoustic and electronic works during her time there, and laid the groundwork for her future collaborative projects with choreographer Jürg Koch.

Goeringer currently resides in Rhode Island, and is an active member in the local arts and music community.

MEM1

Mem1 seamlessly blends the sounds of cello and electronics to create a limitless palette of sonic possibilities. In their improvisation-based performances, Mark and Laura Cetilia’s use of custom hardware and software, in conjunction with a uniquely subtle approach to extended cello technique and realtime modular synthesis patching, results in the creation of a single voice rather than a duet between two individuals. Their music moves beyond melody, lyricism and traditional structural confines, revealing an organic evolution of sound that has been called “a perfect blend of harmony and cacophony” (Forced Exposure).

Founded in Los Angeles in 2003, Mem1 has traveled extensively, performing at Issue Project Room, Roulette, REDCAT / Disney Hall, Los Angeles Contemporary Exhibitions, Electronic Church (Berlin), the Laptopia Festival (Tel-Aviv), the San Francisco Electronic Music Festival, and the Borealis Festival (Bergen). They have taken part in residencies at Harvestworks in New York, STEIM and Kunstenaarslogies in the Netherlands and USF Verftet in Bergen, Norway. In 2009, they created a site-specific installation for the Museums of Bat Yam (Israel); their collaborative works with media artists Kadet Kuhne and Liora Belford have been screened and installed at venues including the Sundance Film Festival, Fringe Exhibitions (Los Angeles), and the Hordaland Kunstsenter (Bergen). Throughout their career, they have collaborated with a variety of artists including the Penderecki String Quartet, Steve Roden, Jan Jelinek, Frank Bretschneider, and Stephen Vitiello. Age of Insects, a full-length album with Vitiello, will be released in May 2011 by Dragon’s Eye Recordings. Together, Mem1 curates the experimental music series Ctrl+Alt+Repeat and the record label Estuary Ltd., on which they released their fourth full-length album, Tetra.

CTRL+ALT+REPEAT

CTRL+ALT+REPEAT is an experimental music series that focuses on cutting-edge electronic music, improvisation, contemporary classical music, and sound art. The Summer 2010 edition will feature performances by Svarte Greiner (Oslo, Norway), Yann Novak (Los Angeles), Crystal Hell Pool (Seattle), Mem1 (Los Angeles) and Robin + Cassia Streb (Vancouver / Los Angeles) performing Cat Lamb’s Parallel / Moving for two violas.

SVARTE GREINER

Svarte Greiner is the one man project of Erik K. Skodvin (half of the duo Deaf Center & label manager of the Miasmah label). While the duo creates dusty grey soundscapes in a surrealistic world of sounds not far from that of David Lynch/Angelo Badalamenti, Svarte Greiner is further exploration into a more dark, mysterious & disturbed universe. Drawing inspirations from artists such as Earth, Volcano the bear, David Darling & Deathprod, the output is draped in Lynchian mysticism & horror film cinematics.

Since his release of the debut album “Knive” in 2006, he has released a series of 12"s, cassettes and limited edition releases around. The new full-length called “Kappe” was released last February, with more new material soon to arrive. Erik also had the pleasure of touring with Fever Ray as opening act in 2009 besides playing shows all around Europe.

YANN NOVAK

Yann Novak (b. 1979 Madison, WI) is a sound artist, composer and designer based in Los Angeles. His compositions have been published by Dragon’s Eye Recordings (US), Dulcett Records (US), The Henry Art Gallery (US), Infrequency (CA), Mandorla (MX), smlEditions (US) and White_Line Editions (UK). His work utilizes different forms of digital documentation as a point of departure. Through the digital manipulation of these sound and image files, his works serve as a translation from documents of personal experiences into new compositions fueled by the original experience.

Novak’s installations and performances have been presented internationally at prestigious events and venues including American Academy in Rome (Rome, Italy), Blim (Vancouver, BC), Decibel Festival (WA), Ersta Konsthall (Stokholm, Sweden), Fiske Planetarium (CO), Henry Art Gallery (WA), Hit Art Space (Gothenburg, Sweden), Kasini House (VT), Las Cienegas Project (CA), Lawrimore Project (WA), Los Angeles Contemporary Exhibitions (CA), Mutek Festival (Montreal, QB), San Francisco Museum of Modern Art (CA), Seattle Lesbian and Gay Film Festival (WA), Soundwalk (CA), Suyama Space (WA), TBA Festival (OR) and Western Bridge (WA).

As a result of these endeavors, Novak had been invited to numerous residencies including the Jentel Artist Residency (WY), the Environmental Aesthetics Residency (WA), the Espy Foundation Residency (WA), and the Kasini House Studio A Residency (VT).

In 2005, Novak re-launched his father’s Dragon’s Eye Recordings imprint with a new focus on limited edition releases by emerging and mid-carrier sound artists, composers and producers. Since its re-launch, Dragon’s Eye Recordings has published over 25 releases and has received critical acclaim. In 2009, Infrequency Editions, curated by Jamie Drouin, was integrated into Dragon’s Eye’s operations and distribution.

In recent years Novak has collaborated through select installation, performance and recorded work with Gretchen Bennett, Crispin Spaeth Dance Group, Robert Crouch, Jamie Drouin, Will Long, Marc Manning, Brian Murphy, Alex Schweder and Tiny Vipers.

CRYSTAL HELL POOL

Seattle’s Crystal Hell Pool (aka Chris Majerus) creates beatless music that eludes the usual trappings of new age mollification and dark ambient’s default horror-flick-score tropes—a very difficult feat to achieve. On his “Incantation to Nothingness” CD, Crystal Hell Pool delves deeply into the sonic abyss, as the title hints, and dredges up murkily luminous tones that intrigue through barely perceptible gradations in emphasis.

MEM1

Mem1 seamlessly blends the sounds of cello and electronics to create a limitless palette of sonic possibilities. In their improvisation-based performances, Mark and Laura Cetilia’s use of custom hardware and software, in conjunction with a uniquely subtle approach to extended cello technique and realtime modular synthesis patching, results in the creation of a single voice rather than a duet between two individuals. Their music moves beyond melody, lyricism and traditional structural confines, revealing an organic evolution of sound that has been called “a perfect blend of harmony and cacophony” (Forced Exposure).

Hailing from Los Angeles, Mem1 has traveled extensively, performing at Roulette (NYC), REDCAT / Disney Hall (LA), the Orange County Museum of Art, Electronic Church (Berlin), the Laptopia Festival (Tel-Aviv), the San Francisco Electronic Music Festival, and the Borealis Festival (Bergen). In 2007, they were awarded an artist residency at Harvestworks in New York for the creation of a new surround sound piece entitled Sonodendron. They have since taken part in residencies at STEIM and Kunstenaarslogies in the Netherlands and USF Verftet in Bergen, Norway. In 2009, they created a site-specific installation for the Museums of Bat Yam (Israel); their work has been screened and installed at venues including the Sundance Film Festival, Fringe Exhibitions (Los Angeles), and the Hordaland Kunstsenter (Bergen). Their third full-length album, “+1,” consisting of collaborations between Mem1 and artists such as Steve Roden, Jan Jelenik, and Frank Bretschneider, was released in Spring 2009 by Interval Recordings.

CAT LAMB PARALLEL / MOVING

Catherine Lamb is a music composer and violist, working from the traditions of American Experimentalism, Just Intonation, and Indian Dhrupad. She is interested in delicate attention to layers of sound and their shadows. She intuitively works through mathematical forms, typically involving the opening from a centered pitch. Her most influential teachers have been James Tenney, Michael Pisaro, and Mani Kaul. She is currently living in Los Angeles, CA where she composes, performs, and teaches music.

ROBIN STREB

Robin Streb is an active performer and teacher from Vancouver, BC, Canada. She holds the position of assistant principal viola with the Vancouver Island Symphony and has performed with the Victoria Symphony, Vancouver Opera Orchestra, and the Kamloops Symphony. She is a member of Melange Chamber Ensemble and the Vancouver Miniaturist Ensemble. Robin has performed in the Los Angeles area with the Okiro Series, Tonoi Ensemble, Ctrl+Alt+Repeat, New West Symphony, and various events at the California Institute of the Arts. Robin earned her BMus. from the University of Victoria (1999) and her MMus. from Rice University (2002). In addition to her performing schedule, she also teaches at the Vancouver Waldorf School and the Vancouver Academy.

CASSIA STREB

Cassia Streb is a Los Angeles-based violist, improviser and composer. She is active in the field of contemporary and experimental music, performs regularly as a soloist and a chamber musician, and collaborates with a variety of artists from many disciplines. She performs with the Vinny Golia Large Ensemble, the California EAR Unit, Wadada Leo Smith’s Silver Orchestra and Guthrie & Streb. Cassia is also sought after as a soloist, particularly for her interpretation of modern scores and microtonal works, and she collaborates with many artists from the fields of electronic music, western classical instruments and composes for theatre, dance and film. She has commissioned and performed a number of works by both established and emerging composers and she has worked closely with a range of artists including Christian Wolff, James Tenney, Michael Pisaro Jurg Frey, John Zorn, Morton Subotnik, Mark Trayle, Radu Malfatti and many others. Cassia holds a Bachelor’s degree from the University of Victoria and a Masters’ degree from the California Institute of the Arts.

Novak’s installations and performances have been presented internationally at prestigious events and venues including American Academy in Rome (Rome, Italy), Blim (Vancouver, BC), Decibel Festival (WA), Ersta Konsthall (Stokholm, Sweden), Fiske Planetarium (CO), Henry Art Gallery (WA), Hit Art Space (Gothenburg, Sweden), Kasini House (VT), Las Cienegas Project (CA), Lawrimore Project (WA), Los Angeles Contemporary Exhibitions (CA), Mutek Festival (Montreal, QB), San Francisco Museum of Modern Art (CA), Seattle Lesbian and Gay Film Festival (WA), Soundwalk (CA), Suyama Space (WA), TBA Festival (OR) and Western Bridge (WA).

As a result of these endeavors, Novak had been invited to numerous residencies including the Jentel Artist Residency (WY), the Environmental Aesthetics Residency (WA), the Espy Foundation Residency (WA), and the Kasini House Studio A Residency (VT).

In 2005, Novak re-launched his father’s Dragon’s Eye Recordings imprint with a new focus on limited edition releases by emerging and mid-carrier sound artists, composers and producers. Since its re-launch, Dragon’s Eye Recordings has published over 25 releases and has received critical acclaim. In 2009, Infrequency Editions, curated by Jamie Drouin, was integrated into Dragon’s Eye’s operations and distribution.

In recent years Novak has collaborated through select installation, performance and recorded work with Gretchen Bennett, Crispin Spaeth Dance Group, Robert Crouch, Jamie Drouin, Will Long, Marc Manning, Brian Murphy, Alex Schweder and Tiny Vipers.

Founded in Los Angeles in 2003, Mem1 has traveled extensively, performing at Issue Project Room, Roulette, REDCAT / Disney Hall, Los Angeles Contemporary Exhibitions, Electronic Church (Berlin), the Laptopia Festival (Tel-Aviv), the San Francisco Electronic Music Festival, and the Borealis Festival (Bergen). They have taken part in residencies at Harvestworks in New York, STEIM and Kunstenaarslogies in the Netherlands and USF Verftet in Bergen, Norway. In 2009, they created a site-specific installation for the Museums of Bat Yam (Israel); their collaborative works with media artists Kadet Kuhne and Liora Belford have been screened and installed at venues including the Sundance Film Festival, Fringe Exhibitions (Los Angeles), and the Hordaland Kunstsenter (Bergen). Throughout their career, they have collaborated with a variety of artists including the Penderecki String Quartet, Steve Roden, Jan Jelinek, Frank Bretschneider, and Stephen Vitiello. Age of Insects, a full-length album with Vitiello, is now available from Dragon’s Eye Recordings. Together, Mem1 curates the experimental music series Ctrl+Alt+Repeat and the record label Estuary Ltd..

Cage is perhaps best known for his 1952 composition 4′33″, the three movements of which are performed without a single note being played. The content of the composition is meant to be perceived as the sounds of the environment that the listeners hear while it is performed, rather than merely as four minutes and thirty three seconds of silence, and the piece became one of the most controversial compositions of the twentieth century. Another famous creation of Cage’s is the prepared piano (a piano with its sound altered by placing various objects in the strings), for which he wrote numerous dance-related works and a few concert pieces, the best known of which is Sonatas and Interludes (1946–48).

His teachers included Henry Cowell (1933) and Arnold Schoenberg (1933–35), both known for their radical innovations in music, but Cage’s major influences lay in various Eastern cultures. Through his studies of Indian philosophy and Zen Buddhism in the late 1940s, Cage came to the idea of chance-controlled music, which he started composing in 1951. The I Ching, an ancient Chinese classic text on changing events, became Cage’s standard composition tool for the rest of his life. In a 1957 lecture, Experimental Music, he described music as “a purposeless play” which is “an affirmation of life – not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we’re living”.

Kevin is a recent winner of the Rhizome 2009 commission competition with visual artist Maria del Carmen Montoya for their installation, I Sky You. Kevin often performs his own work in both instrumental improvisation and interactive chamber music and has performed in Europe, Japan, and throughout North America while his chamber music has also been performed by such ensembles as Dinosaur Annex. Kevin is also a founding member of Gray Code an improvisation ensemble that combines electronic instrument design and machine improvisation with experimental jazz practice in collaboration with percussionist Frederick Kennedy and clarinetist and composer Butch Rovan.

Kevin’s music and ideas have been presented at the International Computer Music Conference 2009, Electronic Music Studies (EMS) International conference in Paris, France and Beijing, China, and the Visiones Sonoras festival in Morelia, Mexico, among many. He was an Invited Researcher at the Sorbonne, in Paris France for the Spring of 2009. Kevin holds a Master of Music degree in jazz studies and composition from the University of North Texas, where he played guitar in the grammy nominated One O’Clock Lab Band, and a Master of Arts Degree from Brown University. He is currently a PhD Candidate in electronic music and multimedia composition at Brown University.

Landon Rose has been a working musician for a long time. He has played in professional bands – bluegrass, country, folk, R&B, GB, and originals. In his thirties he went back to school, earning an MA in Music from Wesleyan University. From 1994-2002 he was a member of Mobius Artists Group. In the 1990’s he developed a residency program – "Radio Show" – for 4th and 5th graders, using sound effect machines he built himself. Funded partly through the Massachusetts Arts Council, he worked in several Boston public elementary schools. For the past nine years he has worked as a music/video teacher in a small suburban private school. In his spare time he writes, and builds unique instruments. HinjNoiz is the name of the band, even if it is only himself. He recently recorded an album of sounding bow music, titled, simply, "HinjNoiz".

Tenney was born in Silver City, New Mexico, and grew up in Arizona and Colorado. He attended the University of Denver, the Juilliard School of Music, Bennington College (B.A., 1958) and the University of Illinois (M.A., 1961). He studied piano with Eduard Steuermann and composition with Chou Wen-chung, Lionel Nowak, Paul Boepple, Henry Brant, Carl Ruggles, Kenneth Gaburo, Lejaren Hiller, John Cage, Harry Partch, and Edgard Varse. He also studied information theory under Lejaren Hiller, and composed stochastic early computer music before turning almost completely to writing for instruments with the occasional tape delay, often using just intonation and alternative tunings. Tenney’s notable students include John Luther Adams, Larry Polansky, and Peter Garland. He performed with John Cage, as well as with the ensembles of Harry Partch, Steve Reich, and Philip Glass.

Tenney’s work deals simply and artfully with perception (For Ann (rising), see Shepard tone), just intonation (Clang, see gestalt), stochastic elements (Music for Player Piano), information theory (Ergodos, see Ergodic theory), and with what he calls ’swell’ (Koan: Having Never Written A Note For Percussion for John Bergamo), which is basically arch form. His pieces are most often tributes and subtitled as such. As his friend Philip Corner says, For Ann (rising), “must be optimistic! (Imagine the depressing effectiveness of it — he could never be so cruel — downward)…”

Tenney wrote the seminal Meta (+) Hodos (one of, if not the, earliest applications of gestalt theory and cognitive science to music), the later Hierarchical temporal gestalt perception in music: a metric space model with Larry Polansky, and other works. An entire issue of the academic journal Perspectives of New Music was devoted to Tenney’s music.

Tenney also wrote the in-depth liner notes to Wergo’s edition of Conlon Nancarrow’s Studies for Player Piano. (Nancarrow, as a favor, punched the roll for Tenney’s Spectral Canon for Conlon Nancarrow). Tenney also starred nude in a 1965 silent film of collaged and painted sequences of lovemaking between him and his then partner, Carolee Schneemann called Fuses.

He taught at the Polytechnic Institute of Brooklyn, the California Institute of the Arts, the University of California, and York University in Toronto.

He died on 24 August 2006 of lung cancer in Valencia, California.

In 2002, in collaboration with Greenpeace, he travelled to the Brazilian Amazon to collect high definition sound portraits from the primary tropical rainforest. From 30 hours of extraordinary sound recordings, he composed the electroacoustic opera "Fragments of a Sonic World in Extinction" which toured theatres and contemporary music venues in Europe from 2003. He has recorded in Africa, South America, Canada and Europe, using the recordings as material for 3D sound documentaries, and multichannel installations.

His music has been performed in the Kryptonale (Berlin), Teatro Groggia (Venice), Nuova Consonanza and Tevereterno (Rome), La Via Lattea (Lugano), Community Art Council (Vancouver), Nuit Blanche (Paris), Ear to the Earth (New York) and many other international venues for as much as 180 concerts and installations, and broadcast throughout the world by many radio stations. In 2005, his eco-acoustic research project in the Foreste Casentinesi National Park became part of the Italian proposition to UNESCO for environmental projects. From 2005, he works as musical director for the project Tevereterno, a large scale multimedia spectacle on the Tiber River in Rome.

His honours include the "Erato Farnesina" Fellowship from the Italian Ministry of Foreign Affaire for the World Soundscape Project – Vancouver, the "Fulbright" research fellowship to work at the CNMAT-University of California, and prizes from the "Russolo-Pratella" competition (Italy), "Locarno Film Festival" (Switzerland), and "Multiple Sound Festival" (Holland).

He is currently Professor of Electronic Music at the Conservatory of Music of Foggia, and Acting Chair at the University of Macerata and the Conservatory of Pesaro – Italy. His music is been broadcasted throughout the world by many international TV and radio stations. He is based in Italy and travels widely pursuing his research and concert activities.

Nightingale-study I [for wood traverse flute, natural soundscapes and real time spectrogram analysis] is a research on a bird’s song whose melodic virtues are described from the ancient times. Analyzing many hours of field recordings, carried out by the author during night time of May in the Urbino countryside, we came to notice how the nightingale, unlike most of the other birds, doesn’t articulate his singing through standard patterns codified in a simple language, but through evolving improvisations, with a stunning variety and richness to which it’s possible to attribute musical qualities.

On the compositional side, the pure unelaborated recordings of three different nightingales evolve through a progressive stretching that brings the singing on a more recognizable articulation of time and frequency. In this sense the "melodic" structure becomes visible, while on the other side the sound of the flute, sampled and speeded up, tends to another order of time and frequency. All the sound material, except the drones, the initial traffic and the flute, are made from the nightingales’ stretching.

The live improvisation on the medieval traverse flute, searches progressively an interaction into a non-human sound aesthetic, playing a role of melodic junction between the background-static drones and the foreground-dynamic nightingale’s modules.

This work came out as a concerned reflection about the relationship between nature and the human being: during the recordings of the nightingale in a quiet countryside night, the microphones picked up a series of imperceptible very low frequencies which in studio became surprisingly clear. Cut off in a first moment as an undesiderate noise, they became instead the emotional knot of the entire composition; only later they were discovered as being several military airplains convoys flying high, probably directed to Kosovo; it was May 25th 1998…

Roden has been exhibiting his visual and sound works since the mid 1980’s, and has had numerous solo and group exhibitions internationally, including museums, galleries and arts spaces in USA, Italy, France, Japan, Bulgaria, Slovenia, England, etc.

Roden’s working process uses various forms of specific notation (words, musical scores, maps, etc.) and translates them through self invented systems into scores; which then influence the process of painting, drawing, sculpture, and sound composition. These scores, rigid in terms of their parameters and rules, are also full of holes for intuitive decisions and left turns. the inspirational source material then becomes a kind of formal skeleton that the abstract finished works are built upon.

Roden has performed his soundworks at various arts spaces and festivals worldwide including the Serpentine Gallery London, the San Francisco Museum of Modern Art; MIT Boston, the Walker Art Center, Minneapolis; the DCA Dundee Scotland; the Musee de Beaux Artes Nantes; as well as performance tours of Brazil and Japan. He has also released over 20 cds of audio works on labels worldwide.

Roden received an MFA from Art Center College of Design in Pasadena, CA in 1989, and a BFA from Otis Parsons in Los Angeles in 1986.

Grants include: Nimoy Artist In Residency grant, COLA grant from the city of Los Angeles, California Arts Council Grant, Subito grant from the American Composer’s Forum, City of Pasadena Artist’s Grant, and the Durfee Foundation.

Upcoming projects include: a site specific sound installation for the Museum of Open Air Architecture in Ivrea Italy; a new audio work commissioned for the James Turrel Skyspace at the Henry Museum in Seattle; a commissioned work for the 100th anniversary of Edvard Grieg’s death in Oslo Norway; a sound/sculptural installation for the Mercosur Biennial, and a solo exhibition of paintings and sculpture at Susanne Vielmetter Berlin Projects, Berlin Germany.

In 2002, Cormier was a featured composer at Okiro’s New and Improvised Music series in Hollywood, CA. In May 2003, harpist Susan Allen premiered his Piling Sand – Piling Stone, a 90-minute work for solo harp and 6-minute delay loop, at the Roy O. Disney Hall. André co-founded the artist collective OXO in Brooklyn, NY in 2003 and founded Ensemble Ordinature in Vancouver in 2004 and has since served as its artistic director. His work has been presented by performers and ensembles in Canada and the US including Motion Ensemble, New Brunswick; Lost Dog New Musik Ensemble, New York; OXO Ensemble, Brooklyn; New Century Players, Valencia; cellist Jessica Catron and harpist Susan Allen, among others. Recently, one movement (60 minutes) of his 12 hour ‘Horaires: volume 1′ was premiered at Kenyon College in Ohio by members of the OXO ensemble, followed by a broadcast of the performance on Wandelweiser Web Radio. In April, André worked with Quatuor Bozzini on string quartets ‘Tammy Powder’ and ‘Forme uniche de continutia nello spazio’ after being selected to attend the Composer’s Kitchen in Montréal.

He is currently working on several commissions including an opera with librettist Louise Brissette, chamber music for ensembles in Canada, Germany and the US, as well as an upcoming release by Ensemble Ordinature. His compositions treat time as rubber bands. He lives in Vancouver.

Brown doubles as Professor Cantaloupe while DJing on KXLU on Wednesday nights for a children’s show, The Kids Are Alright, and Glossolalia, a sound-art show. He runs the Melon Expander record label, supporting humble hermits working in the field of head music. He has performed and/or recorded analog electronic and/or electro-acoustic music with: Joseph Hammer, Rick Potts, Joe Potts, Damian Bisciglia, Trevor Wishart, Tom Recchion, Petra Haden, Leticia Castaneda, Jeremy Drake, John Weise, Ezra Buchla, Lionel Marchetti, Jerome Noetinger, Space Machine, Points of Friction, and Thomas Dimuzio among others.

Brown often takes cues of focused listening from the developmentally disabled children he has assisted daily since ‘95 at a special education school in Glendale. In some of the children, the reduced capability to interact with others allows them to flourish internally through self-stimulation of the senses in a solipsistic manner. In 2000, the project Aralina Ping began, giving select higher-functioning students the opportunity to express themselves through playing electro-acoustic music with him outside of the school. Brown organized the Cotton Candy Octopusland Festival in 2004, which was a rare showcase for the encouragement of the creative arts in children and adults with developmental disabilities.

Mitchell Brown seed pod shells, breath, percussion
Michael Intriere cello
Heather Lockie violin
David Rothbaum seed pod shells
David Kendall seed pod shells
Jean Paul Garnier seed pod shells

Fjellestad has an extensive discography both as a solo artist and in collaboration with many legendary players in the international experimental music scene. An "innovative musician" (All About Jazz) and "mad scientist of sound" (SLAMM), his music has been described as "unbridled sonic freedom… raw, almost shamanic energy that embodies the true essence of unrestricted music" (XLR8R) and a "spicy concoction… refusing to behave itself, it screams, throws things and makes a mess" (The Wire).

Fjellestad has performed and/or recorded with Muhal Richard Abrams, George Lewis, Peter Kowald, Lé Quan Ninh, Lisle Ellis, Haco, Miya Masaoka, Money Mark, Donkey, Takayuki Kato, Saga Yuki, Kojima Takashi, Arai Minako, Trummerflora Collective, Thomas Dimuzio, Tetsu Saitoh, David Slusser, Baiyon, Kazuhisa Uchihashi, Jakob Riis, P.O. Jørgens, Carl Bergstrøm-Nielsen, Rob Rowland, Mike Keneally, Nortec Collective, among many others. His music is available on Hollywood Records, Accretions Records, Circumvention Music, Brain Escape Sandwich, Barely Auditable Records, Pan Handler, and Vinyl Communications.
Fjellestad (or his alter-ego, "33") has performed in such far-flung venues as The Roxy (Prague), Shinjuku Pit Inn (Tokyo), Festival Beyond Innocence (Osaka), Big Apple (Kobe), ABC No Rio (New York City), Bimbo’s 365 Club (San Francisco), Velvet Jones (Santa Barbara), Don Loope (Tijuana), Spring Reverb Festival (San Diego/Tijuana), SIGGRAPH (Los Angeles), Den Anden Opera (Copenhagen), Yokohama Jazz Promenade, Big Sur Experimental Music Festival, San Diego Repertory Theatre, and the Northwest Electroacoustic Music Festival (Portland).

His film and video work has shown at the London Institute of Contemporary Arts, Queen Elizabeth Hall, Tokyo’s Shibuya Station, Museum of Contemporary Art San Diego, Point Loma Wastewater Plant, Cleveland Museum of Art, Chicago’s Gene Siskel Film Center, Oklahoma City Museum of Art, Miami Art Central, Salina Art Center, IAF Videoart Festival Tijuana, and the São Paulo International Short Film Festival.

Fjellestad’s MOOG (2004), a feature length documentary on synthesizer pioneer Robert Moog, was released theatrically across the U.S., Canada, Europe, Australia and Japan. Stephen Holden of the New York Times dubs MOOG a "compelling documentary portrait" of a "provocative, thoughtful and deeply sympathetic figure" and the London Daily Telegraph calls it "brilliantly inspiring on many levels."

MOOG was an Official Selection at numerous international film festivals including the Rotterdam International Film Festival (Netherlands 2005), Madrid International Film Festival (Spain 2005), Adelaide International Film Festival (Australia 2005), Naples Sintesi Festival (Italy 2005), Belo Horizonte INDIE Film Festival (Brazil 2005), Karlovy Vary International Film Festival (Czech Republic 2004), Sheffield International Film Festival (UK 2004), Dublin Electronic Arts Festival (Ireland 2004), Asheville Film Festival (North Carolina 2004), Bergen Ekko Festival (Norway 2004), and Barcelona In-Edit Film Festival (Spain 2004) where the film took home top honors at the Documentary Awards Ceremony. MOOG is distributed by Plexifilm.

Recent collaborations/groups/bands include: A duo with Joseph Hammer on tape loops; a duo with Bryan Eubanks on open circuits; a duo with Jessica Catron on cello; Mizzly, a duo with Mitchell Brown on analog synthesizer and various electronics; Cube of Force, a duo with Kyle Bruckmann on oboe and french horn; Gort, a duo with Jeremy Drake on guitars; DDD, a trio with David Kendall on computer and Doug Russell on electric guitar; The Kentucky Knobs, a trio with David Kendall on computer and Jonathan Zorn on modular synthesizer and The Davids; this group consists of performers named David which changes for each performance and has included David Kendall & other people named David.

Born in Montebello, Ca, in 1952. While still in his teens, he realized he had an overwhelming urge to be a composer. After studies with Nickolas Slonimsky, Dean Drumond, Dorrance Stalvey (all briefly) and Byong-Kon Kim (longer) he produced his earliest compositions. Since meeting Erv Wilson in 1975, he has composed and performed in alternative tunings of Wilson’s. In the 80’s Kraig Grady (along with Keith Barefoot) became one of the first to revive the combination of live music with silent film. He was responsible for the films as well as the music. In 1990 with the opera “War and Pieces” film retreated to a background for live performers. Soon afterwards was his first exposure to the music of Anaphoria Island where he took up residence, on and off, for a period of three years. On his return he found himself being asked to act as a liaison between Anaphoria and North America. In this role he has produced numerous solo and ensemble works and seven shadow plays; Ten Black Eye I-II, Black Eye Meru, Her Stirring Stone, Their Ventures Beyond The Horizons, The Stolen Stars, Frenzy At The Royal Threshold, and The Quiet Erow.

He has been the subject of interviews and articles in Strumenti Musicali and Virtual (Italy), Keyboard and The Leonardo Music Journal (USA), and “Escape Velocity: Cyberculture at the End of the Century” (Grove/Atlantic). He has recorded for the Artifact, Atavistic, CRI, Inial, Elektra/Nonesuch, and Tzadik labels. He teaches in the Experimental Sound Practices program at the California Institute of the Arts School of Music.

Jen has a BFA in Music Technology from CalArts and ian MFA in Electronic Music from Mills College. Jen is currently exploring various means of releasing her recorded works of natural sounds and plans to continue to build an archive of Phonographies and contact recordings.

The act of walking consistently appears throughout Bach’s work and processes, particularly in his ongoing long-poem, Atlas Peripatetic. Inspired by a six-month cataloging of sounds heard on his morning walk, Bach samples the nearly 1,300 sound descriptions as inspiration for a series of textual improvisations, found poetry, remixes of FAQs and “how-to” guides, and other poetic meditations on the intricate associations and connections triggered by the original sounds. Excerpts have appeared in online and print journals such as The Argotist Online, Aught, DIAGRAM, Free Verse, hutt, jubilat, mprsnd, Pearl, Shampoo, Snorkel, Softblow, and The Tiny. Hundreds of his previous poems appeared in small presses during the 1990s, and he received three Pushcart Prize nominations for his poetry in print.

Also active as a curator, Bach oversees the MPRNTBL netlabel, showcasing field recordings, lowercase, analog noise, and collaborative soundscapes from Intense Situations of Peril, Double Blind, Mem1, Aaron Ximm, and more. Bach curated a six-night music festival, Slow Sound, in September 2009; so.cal.sonic, a six-day festival of experimental and improvised music, in April 2005; and a monthly house concert series, Quiet, that featured some of the leading figures in quiet (lowercase) music.

Bach currently lives and works in Long Beach, California.

Past exhibitions and performances include venues such as the Museum of Art Lucerne, LA Contemporary Museum of Art, Musees de Strasbourg, San Francisco Arts Commission Gallery, The Weisman Art Museum in Mpls, Highways Gallery- LA, New York Underground Film Festival, Rhode Island School of Design and the Knitting Factory- LA.

SUMMER 2010
Svarte Greiner + Yann Novak + Crystal Hell Pool + Mem1 + Cat Lamb’s Parallel / Moving performed by Robin + Cassia Streb

WINTER 2008
Hinjnoiz + Ken Ueno’s Age of Aircraft performed by Laura Thomas-Merino + Mem1 + Kevin Patton’s That Every Mouth May Be Stopped performed by the Community MusicWorks Players

SUMMER 2007
Steve Roden + Jeremy Drake + David Monacchi + Marc Thomas + Substrate + James Tenney’s Koan performed by Robin Streb

WINTER 2007
Area C + Mem1 + Forrest Larson + Rob Bethel + John Cage’s String Quartet in Four Parts performed by the Community MusicWorks Players

SUMMER 2006
Damion Romero + Clay Chaplin + Hans Fjellestad + Mem1 + Mitchell Brown + the Seed Pod Pals + André Cormier’s Scrubbing for large ensemble

WINTER 2006
Mark Trayle + Kraig Grady + Mem1 + David Rothbaum

FALL 2005
Frances-Marie Uitti + David Wessel + Jen Boyd + Mem1

SUMMER 2005
Kadet Kuhne + Glenn Bach + RS-232 + Mem1 + Terry Riley’s In C for chamber ensemble + robotics c/o Redux

SPRING 2004
Steve Reich’s Different Trains + selections from Philip Glass’ Fifth Quartet + John Oswald’s Mach for string quartet and Metallica samples performed by the Penderecki String Quartet + Mem1 + Polyrhythmic

REVIEWS: "PICK OF THE WEEK" ON LAWEEKLY.COM + "REPEAT THAT, PLEASE" ON TOKAFI.COM + "CLASSICTRONICA" ON TOKAFI.COM

MAILING ADDRESS

Ctrl+Alt+Repeat
P.O. Box 2456
Providence, RI 02906

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SITE DESIGN / DEVELOPMENT

Mark Cetilia | mark.cetilia.org

CTRL+ALT+REPEAT

CTRL+ALT+REPEAT is an experimental music series that focuses on cutting edge electronic music, improvisation, contemporary classical music, and sound art. This concert is a collaboration with Community MusicWorks, an after-school music education and mentoring program that builds meaningful long-term relationships between musicians and 100 children in the West End and South Side neighborhoods of Providence. The evening will feature performances by string players from Community MusicWorks and local experimental electronic musicians. On the program is Ken Ueno’s Age of Aircraft and the world premiere of That Every Mouth May Be Stopped by Kevin Patton. Also on the program are performances by HinjNoiz (rumble organ and sounding bow) and Mem1 (cello and electronics).

KEN UENO AGE OF AIRCRAFT

Winner of the 2006-2007 Rome Prize, Ken Ueno, is an internationally performed composer who actively involves himself in a wide range of activities in order to evangelize for modern music (including producing and hosting a television show about new music). Informed by his experience as an electric guitarist and overtone singer, his music fuses the culture of Japanese underground electronic music with an awareness of European modernism. In an effort to feature inherent qualities of sound such as beatings, overtones, and artifacts of production noise, Ken’s music is often amplified and uses electronics. The dramatic discourse of his music is based on the juxtaposition of extremes: visceral energy versus contemplative repose, hyperactivity versus stillness. Ken holds degrees from Berklee College of Music, Boston University, the Yale School of Music, and a Ph.D. from Harvard University. He is a co-founder/co-director of the Minimum Security Composers Collective and is the vocalist in the experimental improvisation group Onda and the noise/avant-rock group Blood Money. Currently, he is an Assistant Professor and the Director of the Electronic Music Studios at the University of Massachusetts Dartmouth. Previously, he was an Assistant Professor at the Berklee College of Music.

KEVIN PATTON THAT EVERY MOUTH MAY BE STOPPED

Kevin Patton is a composer, guitarist, and experimental sound performer interested in exploring the increasingly nebulous borderlands between humans and machines in performance. The integration of interactive electronic music and machine improvisation into traditional performance contexts is at the center of his practice. The Wire magazine described Kevin as genre bending: "Guitar based free playing morphs into feedback avalanches, or vice versa, and labels like jazz, noise, or rock become meaningless." (The WIRE, 11/4/05) Kevin’s music and ideas have been presented at the Electronic Music Studies (EMS) International conference in Beijing, China, and the Visiones Sonoras festival in Morelia, Mexico, among many. His work in the development of a notation system for interactive chamber music will be published this fall by the British journal Organised Sound. Kevin holds a Master of Music degree in jazz studies and composition from the University of North Texas and a Master of Arts Degree from Brown University. He is currently pursuing a PhD in electronic music and multimedia composition at Brown University.

COMMUNITY MUSICWORKS PLAYERS

Community MusicWorks Players is a flexible ensemble which includes members of the Providence String Quartet, participants in our Fellowship Program, and guest artists. The creation of the CMW Players allows Community MusicWorks to present more varied repertoire, include more musicians, and provide additional concerts for audiences in Rhode Island and beyond. They will be performing Kevin Patton’s That Every Mouth May Be Stopped, and Laura Thomas-Merino, a member of the CMW Players, will also be performing Ken Ueno’s Age of Aircraft.

HINJNOIZ

HinjNoiz rumble organ + sounding bow
"I invented a musical bow made from rebar and piano wire in 1990 while in graduate school. I call my instrument a sounding bow. I invented the rumble organ in 1997 for a school residency to demonstrate sound propagation to eighth graders. I have used it most recently in an installation at the g-a-s-p gallery in Brookline MA. As with any new work, the intention here is create a whole greater than the sum of its parts."

Landon Rose has been a working musician for a long time. He has played in professional bands – bluegrass, country, folk, R&B, GB, and originals. In his thirties he went back to school, earning an MA in Music from Wesleyan University. From 1994-2002 he was a member of Mobius Artists Group. In the 1990’s he developed a residency program – "Radio Show" – for 4th and 5th graders, using sound effect machines he built himself. Funded partly through the Massachusetts Arts Council, he worked in several Boston public elementary schools. For the past nine years he has worked as a music/video teacher in a small suburban private school. In his spare time he writes, and builds unique instruments. HinjNoiz is the name of the band, even if it is only himself. He recently recorded an album of sounding bow music, titled, simply, "HinjNoiz".

MEM1

Mem1 is an electroacoustic duo that seamlessly blends the sounds of cello (Laura Thomas-Merino) and electronics (M. Cera) to create a subtle evolution of textures that moves beyond melody, lyricism, and traditional structural confines, resulting in an organically revealed narrative. Mem1 has collaborated with the Penderecki String Quartet and performed at REDCAT (Disney Hall), the Orange County Museum of Art, and numerous venues throughout Southern California and the East Coast. Mem1 has been awarded a 2007 artist residency at Harvestworks in New York for the creation of a new surround sound piece; they have just returned from Tel-Aviv, where they collaborated with media art duo Duprass on video for this work. Their second full-length album, Alexipharmaca, is published by Interval Recordings.