Iain Mott's interactive installation, The Chair, was one of the pieces selected for the 1996 International Computer Music Conference in Hong Kong in August 1996.
Agostino Di Scipio is presenting several concerts in the fall of 1996 including:
On June 15, 1996, Eric Lyon used his Kyma system for "realtime audio DSP pulverizations" in networked ISDN concert this summer that linked Japan, France (the AyeAye/OFFline film festival), and Australia. Images from the concert.
Lyon also used Kyma in a series of concerts during the Sonnenambient festival at the end of September 1996.
[MUTE]ation, Brian Belet's Kyma/Lemur-generated tape was performed (with choreography) on October 27, 1996 at the Galerie Rahnitzgasse in Dresden.
KymaFest: the Concert, an entire evening of music created using Kyma, took place on the 8th of March 1996 at Kingston University in London in a performance space made available courtesy of the Gateway School of Recording, Music Technology and Business. Produced by Kingston graduate students Jason Edge and Godric Wilkie, the concert featured music for live performers processed through Kyma, tape music generated in Kyma, videos with sound tracks generated in Kyma, music for live instruments plus Kyma-generated sounds and included several UK and one world premiere:
Discourse, for live trombone and Kyma-generated sounds by Brian Belet (USA)
Mitochondria, a Kyma-generated tape piece by Carla Scaletti (USA)
When Timbre Comes Apart, a video with Kyma-generated sound track by Joran Rudi (Norway)
7 Short Variations on the Cold, for Kyma-processed trumpet by Agostino di Scipio (Italy)
Thi(s)/So, a Kyma-generated tape by Dennis Miller (USA)
Cetus, a piece for small ensemble, baritone, and Kyma by Roberto D'Autilia (Italy)
The evening concert capped off a full day of KymaFest activities, including tutorial workshops, overviews of Kyma 4.1 and plenty of food, discussions, and interactions between Kyma users who had come from various locations within the UK, the US, France, and Italy for the event.
On Friday, the 22nd of March 1996, Carla Scaletti presented a lecture/demonstration of her interactive Internet piece Public Organ at the Alte Schmiede in Vienna, Austria. The Alte Schmiede is an old blacksmith's shop that has been converted into performance spaces for artists, musicians, and writers to present lectures and performances of their work.
Jim McManus performed Brian Belet's [BASS]ically Harmless for Kyma and electric bass on Saturday the 20th of April in Birmingham as part of SEAMUS.
Dennis Miller's Granulations is scheduled to appear on the second in a series of computer music concerts at the College of Santa Fe in Santa Fe, New Mexico. For more information on these concerts, contact Steve Miller in care of the Contemporary Music Program.
At the 1995 ICMC in Banff Canada from 3-7 September, there were several pieces that made extensive use of Kyma: Agostino Di Scipio's ironic 7 Piccole Variazioni sul Freddo for trumpet processed live through Kyma, Dennis Miller's Granulations (the tape version), Joran Rudi's music video When Timbre Comes Apart, and Carla Scaletti's installation: Public Organ (an interactive Internet piece commissioned for the conference by the International Computer Music Association)
Brian Belet's composition [MUTE]ation was performed at the Society of Composers, Inc Region V Conference, Ohio University, October 1995.
Dennis Miller performed his piece Granulations for Kyma sounds sampled into a K-2000 sampler on the Saturday evening SCAN '95 concert at Stearn's Auditorium in Philadelphia on November 4, 1995. Miller shared the program with Chuck Van Zyl, Peter Gulch, and Steve Berkowitz "Rogue Master of Ceremonies".
Ivar Frounberg's piece Las armonias de la noche profunda for Zeta violin and live electronics was premiered by violinist Mari Kimura on August 27th 1995 at 2 pm as part of the second Musiana Festival at the Loiusiana art museum just outside of Copenhagen Denmark. Kyma was used to process the live violin, while a Macintosh IIfx running MAX controlled a SampleCell card playing a list of sound files that were preprocessed in Kyma.
Two Kyma works appeared on concerts at the ISEA conference in Montreal at the end of September 1995: Joran Rudi's video When Timbre Comes Apart (also shown at the Oslo Contemporary Music Festival in October 1995) and Agostino Di Scipio's piece for live performers and Kyma processing, Hybris.
Agostino Di Scipio presented an October 1995 concert in the Sibelius Academy Chamber Music Hall. Included on the program were: Plex (for bass and 4-track tape), Sound & Fury I (for Kyma and 8-track tape), and 4 Variations on the Rhythm of the Wind (for doublebass recorder and 8-track tape with Kyma used to generate the tape part). 4 Variations was also performed in Cagliari on November 16, 1995.
From April 26 through June 29, 1995, Maki Fujii's group Soft Ballet toured thirteen cities in Japan to promote their new album FORM. Maki Fujii says he can get "many unusual sounds" with Kyma and adds, "It's a great box!"
Voice Target, Nathaniel Reichman's piece for trumpet and tape was performed at the Pacific Music Festival in Sapporo, Japan in July 1995.
During May 1995, cellist Judith Mitchell toured The Netherlands performing Rodrigo Cichelli-Velloso's cello and tape piece Entangled Latitudes, and Steve Cottrell performed Cichelli-Velloso's piece Multiple Reeds for sax and tape at the University of Hudderfield Electric Spring Festival.
On May 30th, 1995 in Rome, Agostino Di Scipio's INSTANT TRIO for flute, piano, percussion and real-time signal processing was performed as the last concert in the Musica/Scienza series. Di Scipio and M. Lupone did real-time signal processing on the instrumental parts.
Recent performances of Brian Belet's [MUTE]ation, a piece created entirely through spectral and time-based manipulations of the sound of a trombone mute (without the trombone), have taken place in San Jose California, Urbana Illinois, Fremont California, College Park Maryland, Luxembourg City Luxembourg, La Paz Bolivia, Lewiston Maine, Gainesville Florida, and Worcester Massachusetts.
The tape-only version of Otto Laske's Treelink was performed at a concert in Bourges France on June 7, 1994.
On April 29th, 1995 in Teramo (Italy), Agostino Di Scipio's HYBRIS for g-flute, bass clarinet and real-time computer processing was performed by Manuel Zurria (g-flute) and Paolo Ravaglia (bass clarinet).
According to the composer,
Kyma and the Capybara are used primarily for real-time polyphonic time-shifting and spatialization. The time shifting algorithm is based on granular processing (the particular technique and its musical application in HYBRIS will be the object of public presentation in the future).
Kyma was also used in the performance of Das Atmende Klarsein by Luigi Nono, for flute and live electronics. Other works in the concert were Helmut Lachenmann's Dal Niente, for clarinet, and Roberto Doati's Una Storia Chimica, computer generated tape.
The Doll Universe, a collaboration between Dick Robinson, Robert Cheatham, and Chea Prince was performed in Atlanta in a large room in the renovated King Plow factory with video projections, slides, and speakers. Kyma was used to process Chea Prince's voice.
Agostino Di Scipio's HYBRIS, for g-flute, bass clarinet and real-time Kyma processing, was performed on December 13, 1994 at the Auditorium of the Goethe Institut in Rome.
Eilert Tosse's composition Trans- was performed on May 31 and June 1, 1994 by the Riss Danskekompani in Bergen, Norway. The dance piece was commissioned by Riss Dansekompani as part of a project called Hendelser pa Verftet (Happenings at the Verft USF). USF stands for United Sardine Factories, a space that has recently been converted to a venue for artistic events (presumably, as a former factory, it is large enough so that the audience wasn't packed in like...well, like smoked fish). The choreographers and dancers for the piece were Guttorm Andersen, Ane Smoras, and Borghild Vardoy.
Carla Scaletti's piece sunSurgeAutomata was played on a concert organized by Mark Sullivan as part of a Modern Literature Conference entitled "Aesthetics and Ideologies" held at Michigan State University on October 6, 1994.
An October 1994 concert of live computer-human improvisation at Merkin Hall, West 67th Street in New York, featured works by Salvatore Martirano and Avlin Curran. Included on the program were Martirano's Sampler: Everything Goes When the Whistle Blows (for violinist Dorothy Martirano and the yahaSALmaMAC MIDI orchestra), PHLEU (for flutist Patricia Spencer and the yahaSALmaMAC MIDI orchestra), and Four Not Two (an improvisation featuring Sal Martirano on keyboards, Dorothy Martirano on Zeta violin, and the ImprovisationBuilder software written by Martirano and programmer Bill Walker of Apple Computer). Also featured was the world premiere of Meandher, a dark and methodically intense piece performed live by Martirano entirely on his Kyma System using MIDI keyboard and continuous controllers. In the program notes, Martirano describes Meandher as "a variable form piece, which translated means that I can combine composition and performance in un-real time: improvisation." He goes on to describe working with the Kyma System as "similar to working in an analog studio, that is, procedures for patching modules together plus the possibility for incorporating high level code to produce synthetic sound. The best of both worlds."
Otto Laske performed TREELINK live as a guest of Auros at MIT in Cambridge Massachusetts on February 18, 1995. Treelink, based on Laske's poem of the same name, uses Kyma to modify the composer's recorded reading of the poem. It can be performed live or as a tape-only version.
Composer Jeff Stolet's piece' "Simple Requests" for Eight cellos and electronics was performed at the International Cello Ensemble Festival in Beauvais, France in May 1993 and again at the MIDEM Festival in Cannes, France in February, 1994.
Granulations by Dennis Miller was premiered on the Integrated Circus: Sound Performances with Microprocessors at Boston's Mobius January 13-15 1995. All sound materials for the work were generated in Kyma and then transferred to a Kurzweil K-2000 where they were performed live by Rick Scott from Bird Songs of the Mesozoic. The sequence of events was predetermined by the composer, but the performer could extend or shorten events during the performance.
Compositions by Otto Laske and Brian Belet were among those featured in technology and the composer: the continuing tradition of music composed for tape, a conference held in both Luxembourg and College Park Maryland. Besides concerts, the conference featured panel discussions on Compositional Strategies for Tape Music, and a lecture by Otto Laske entitled Composition Theory as a Theory of the Imaginative Self.
Rodrigo Cicchelli-Velloso's 15o Harmonico for piano and tape was premiered in Birmingham, England on 10 February 1995 by pianist, Philip Mead. The concert also included works by Denis Smalley, Horacio Vaggione, Jonathan Harvey, and Messiaen. Other recent performances of Velloso's music include concerts in Vienna Austria (Festival Elektronischer Fruhling); London, UK (XVI City University Festival of Electroacoustic Music); Mons, Belgium (Festival Acousmatique International); Varese, Italy (XV Concorso Internazionale Luigi Russolo); Lugano, Switzerland (radio broadcast), Rio, Brazil (X Bienal de Musica Contemporanea); and Wellington, New Zealand (Sounds Real).
Dick Robinson's work Avalanche was played as part of the Futura concert series in Crest, France. Doll Universe, a tape and video collaboration between Robinson and the Public Domain group was performed in Atlanta on June 26 1994 as part of the Working Papers series and also got a performance at the University of Florida.
An excerpt from Beast Rumours December 94 lists Rodrigo Velloso's Cymbals: Reminiscence on a concert entitled Programme Music - Public Music, Sunday 4 December at 8 pm. Check out the Beast home page for more such rumors.
Several Kyma users had papers or compositions on the 5th Biennial Symposium for Arts and Technology at Connecticut College in New London. Agostino Di Scipio of LMS, Karlheinz Essl of the Bruckner Conservatory, and Daniel Oppenheim of IBM, were among the composers featured at the symposium devoted to exploring the links between the arts, sciences, media and technology.
Carla Scaletti received a commission award from the International Computer Music Association for her interactive internet composition Public Organ, premiered at the ICMA conference in Banff in 1995.
Joran Rudi's music video When Timbre Comes Apart won a prize in the Musica Nova festival. A complete list of winners is online.
Agostino Di Scipio's 7 Short Variations on the Cold (the ironic piece for live trumpet processed through Kyma that drew howls of appreciation from the audience at the International Computer Music Conference in Banff earlier this year) won an honorable mention in the Ars Electronica competition in Linz Austria and was recorded for the Ars Electronica CD.
Brian Belet was invited to the the keynote speaker at the Theory and Technology Conference in Kansas City. If you missed the conference you can still read his keynote speech online.
Rodrigo Cicchelli Velloso's piece Latitudes Emaranhadas (Entangled Latitudes) won first prize in the mixed works category in the XVI Luigi Russolo International Competition. A performance of the tape and cello piece with Judith Mitchell performing is available on a CD issued by the Russolo-Pratella Foundation in 1994.
Another Velloso composition, Cymbals: Reminiscence, won the first prize in the under 30 category of the International Rostrum of Electoacoustic Music (IMC/UNESCO) held in Helsinki in August 1994.
Maki Fujii's group Schaft (Imai Hisashi, Maki Fujii and Raymond Watts) have released a new industrial-techno album called Switchblade with a companion remix album called Switch, both under the Victor Entertainment label (J.V.C.). Switchblade is highly varied and imaginative, ranging from the vampiric trance-eroticism of "OLIVE", to a darkly humorous rap mocking the glories of the InfoBahn called "Information". Switch includes remixes by Dillon Gallagher, Logic Freaks, Reload, and Meat Beat Manifesto, and even lets you remix the cover art (by rearranging images printed on mylar).
Composer, pianist, and erstwhile movie star Bruno Liberda has a new CD out under the Signum label (of MusiContact in Heidelberg) entitled 100 Ansichten vom Berge Fuji 1.buch/11 featuring Christina Ascher, mezzosoprano, and Bruno Liberda, live electronics. In English the title would be 100 Views of Mount Fuji, and if a mountain had a voice, it would sound like this music: low, creaking, unfolding at geological time scales, reverberating with the ghostly voices of all the humans who ever lived and died in its shadow. Notated graphically on opaque paper with transparent and translucent overlays, the score allows for several possible interpretations including live performances and studio recordings like the one on this CD.
John Joseph Martirano has put together a public website in honor of his father, composer Salvatore Martirano.
Public Organ, by Carla Scaletti, is featured in the Electronic Music Foundation Forum.
Joran Rudi, composer and Director of the Norwegian network for Technology, Acoustics and Music (NoTAM), has compiled an archive of Norwegian Electroacoustic music that can be browsed at http://www.notam.uio.no/ear/komp.cgi. Also at the NoTAM site is an archive listing all printed music by Norwegian composers, searchable by composer name, work name and category and another database with information on the Norwegian music scene at large.
ELECTRONIC MUSIC FOUNDATION (EMF) is a new venture launched in September 1994 by composer Joel Chadabe, EMF president. Chadabe describes the purpose of the foundation as follows:
We have created Electronic Music Foundation to disseminate important information and materials related to the history of electronic music. Our venture encompasses not only the past, but also work being done today that will be of historical importance in the future.
Electronic Music Foundation's primary activities will be focused in three areas: (1) Sale of compact discs on a worldwide basis; (2) Creation of a photographic archive; and (3) Establishment of an information dissemination center.
"The development of electronic musical instruments through the twentieth century is a fascinating and wonderful history that should be documented for now and for the future," Chadabe said. "Yet the most important work of the pioneering composers, engineers, and entrepreneurs-including recordings, photographs, and other important documents-is often difficult to find." Through its Emusic project, the Foundation will make available compact discs of electronic music, including discs published by small companies and independent composers. Recordings will be sold worldwide via computer networks and direct mail.
EMF has begun the process of creating an archive of photographs dealing with the history of electronic music. Documents from the archive will be made available to scholars and the general public in various formats, including photographic prints, photo-CDs, and books.
The Foundation's information and dissemination center will publish a newsletter highlighting the availability of historically important materials. The publication will inform subscribers as to the location and availability of composers' archives, and will contain information on museums and collections of historical electronic instruments, and other historical materials and electronic music projects around the world.
Through its information center, EMF also plans to sell books and other items, organize conferences and concerts, produce historically important compact discs and other materials, and provide archival services. Archival services may include the posthumous cataloging, evaluation, placement, storage, and or dissemination of a composer's works. (EMF is currently engaged in archiving the works of composer Ann McMillan.)
Electronic Music Foundation invites all individuals, organizations, and companies with an interest in electronic music to subscribe to its services. For further information on subscriptions, send email to EMF or contact them by telephone or mail:
Composers Erv Wilson, Stephen Taylor and Gary David are teaming up with instrument designer Harvey Starr of Starr Labs to create the UATH-72, a generalized keyboard for microtonal music. The keyboard will have over 512 keys, arranged in completely-remappable honey-comb like patterns. After extensive research, the development team chose Kyma as their preferred synthesis engine based upon its fine degree of frequency control. Frequency changes in Kyma can be as small as 0.0026 Hz.
Jonathan Mackenzie was interviewed for BBC Radio 4's science program Big Bang about his research in how chaos theory and fractal geometry may be applied to modelling sound on the computer. The interview included examples of several techniques including: the use of iterative mapping to create complex self-similar waveforms, using Kyma to derive self-similar sounds from digital recordings of a piano and a guitar, and automatically extending short samples of broad band signals (currently being marketed as one of the PlugIns in Synchro Art's ToolBelt). Read more about this research at Jonathan Mackenzie's website.
Brian Belet's [MUTE]ation for electric bass and Kyma/Lemur-generated tape was heard on National Radio of Argentina as part of Ricardo Dal Farra's Musica y Tecnologia radio series.
On October 20, 1995, Kurt Hebel, Carla Scaletti, and Brian MacQueen were guests on WILL AM-580's Afternoon Magazine radio call-in show hosted by Celeste Quinn devoted to the topic of sound effects in radio theater.
Brian Belet's Discourse for bass trombone and live Kyma processing was broadcast over the National Radio of Argentina by Ricardo Dal Farra on his Musica y Tecnologia radio series on 17 June 1995.
Rodrigo Cichelli-Velloso's tape piece Cymbals: Reminiscence was broadcast on BBC Radio 3 in May 1995.
Brian Belet's [MUTE] ation a computer-generated tape concrete piece based entirely on the sounds made by a trombone mute (just the mute by itself) and manipulated in Kyma and Lemur, was aired on KPFK FM 90.7 Los Angeles as part of Rodney Oakes' Music of the Americas program for the annual SCREAM Festival on 14 November 1994.
Joran Rudi's video When Timbre Comes Apartwas premiered at the animation festival Animated Days in Oslo and shown at the Contemporary Music Festival Ilios in Harstad Norway.
December 6, 1996 is the Oslo premiere of a dance performance based on Ibsen's Lady from the Sea with computer music by Joran Rudi. Ten performances are scheduled.
Dennis Miller made extensive use of Kyma for the electronic component of Earth Studies, a three-act chamber opera with dance that premiered January 1996 in Palm Beach at the Duncan Theatre, Palm Beach Community College (who commissioned Martin Brody to compose the opera). Electronic cues were stored on CD-R and triggered live throughout the three acts. James Magdalena, Janice Felty, and Bill Hite were the soloists, and The Core Ensemble played the tunes. Dance by Demetrius Kline. A touring company will be taking the show to various US cities throughout 1996. Watch for dates and places.
Randy Stack and Peter Kreutlein used Kyma to produce the music for a dance piece entitled Aunt Helen's Bath premiered October 25th 1994 at Espace Tangente in Montreal. The piece is based on a story of an 80-year-old woman who was trapped in a bathtub for four days until a neighbor heard her; during the course of her entrapment, varies energies (played by other dancers), depict her mental state over the course of the four days. Sounds for the opening bathing segment were recorded into Kyma using a hydrophone and the disk recordings were processed and edited entirely in Kyma.
In September 1994, Bruno Liberda wrote and produced tape music for the Berliner Ensemble production of Edward Bond's play Olly's Prison under the direction of Peter Palitzsch, one of the last pupils of Bertolt Brecht.
Perspectives of New Music V33 (1-2) includes an essay by Agostino Di Scipio entitled "On different approaches to computer music as different models of compositional design".
From the "Review of the 1995 International Computer Music Conference" written by Brad Garton for Array:
Carla Scaletti's ICMC commission piece Public Organ was one of the snazziest computer music "pieces" I've encountered. Part of the problem of our medium is the ephemeral nature of the music we do, especially nonstandard performances like Scaletti's. I really hope that some mechanism for preserving, replaying, or re-performing this work can be found--it struck me as an activity that almost exists outside of time, to be encountered in many different arenas.
Otto Laske has assembled a collection entitled Readings in Cognitive Musicology, from the Work of O. Laske which he plans to publish in book form in the near future. The book is an anthology of seminal papers written between 1970 and 1995 and is now available from the author at cost (ca $30). Contact him via email at laske@cs.bu.edu.
Nick Peck's CD Islands in the Stream was reviewed by Mary Cosola in the Pro/File section of the November 1995 issue of Electronic Musician. The first cut on this album was was produced using Kyma version 2.05..
FORM-BOOK, a book of photographs by Itaru Hirama is scheduled to be released on June 21, 1995, at the same time as FORMs, a remix of Soft Ballet's new album FORM and CD single (also named FORM). To get all these forms of FORM straight (and to preview some of the photos that will appear in the book), visit Maki Fujii's home page.
The Village Voice "Voice Choices: the Short List: an opinionated survey of the week's events October 19-25 1994" gave the following enthusiastic recommendation of the Alvin Curran/Salvatore Martirano concert at the Merkin:
Alvin Curran/Salvatore Martirano: What an inspired coupling of old-time, jazz-flavored, computer-driven avant-gardists! Curran draws diverse sonic universes into his stream of consciousness with a stride pianist's smooth facility. Martirano, proceeding in the opposite direction, uses computerized metaphors to spin instrumental licks out into ever more distant galaxies. Neither has gotten enough attention for being among the best of a dying breed. (Gann).
A Festschrift on Otto Laske's musicological, poetic, and compositional work, to be edited by Jerry Tabor, University of Maryland at College Park, MD, is in preparation and is scheduled to appear in 1997; it is based on contributions of musicians who have been influenced by Otto's work. A German dissertation on Otto's work in cognitive musicology is also in preparation.
Episode keyboardist and Kyma user Nick Peck appears barefoot with his keyboards in the February 1995 issue of Keyboard magazine.
Joel Chadabe, composer and founder of Intelligent Music, is travelling all over the world interviewing the movers and shakers of electro-acoustic music for his new book on the history of electro-acoustic music to be published and distributed by Prentice Hall.
Composer Salvatore Martirano was interviewed by Charles Mason and Dorothy Hindman in Living Music V11 N4 1994. In it, he talks about his orchestra piece commemorating the 500th Anniversary of Columbus' discovery of America which Martirano calls Isabela "because she's the one who paid for the trip," as well as a work-in-progress for baritone and orchestra with real-time Kyma processing based on the last 13 lines of Dante's Paradiso in which Dante concludes that it must be "love that moves the planets and the other stars." The interview also explores Martirano's work with computer-human improvisation through the programs Sound and Logic (SAL) and Sound and Logic 80 that he wrote with programmers David Tcheng and Bill Walker respectively.
Five Voices, a collaboration between composer Dick Robinson and poet Eric Phelps in honor of John Cage was performed at a poetry conference in Turner Falls Massachusetts on June 25. Robinson and Phelps were also involved in a performance of Cage's Theatre Piece #1 at the Philadelphia Art Museum in July 1995.
Bruno Liberda composed the music for a 30 minute video called AROMAROMA by Jochem Traar for an exhibition in southern Austria. To film the video, Traar wore a camera on his chest and rode a Vespa around Rome. Seven actors representing the seven muses of our time (e.g., television, and others) were choreographed to cross the street in front of him at various points during his trip.
Bruno Liberda's Pictophonics, an interactive composition for 4 channel tape and audience members with wooden sticks and newspapers, was performed in October 1994 at La Boetie, a gallery in uptown Manhattan. The occasion was an opening of an exhibition at the gallery by painter Larry Homolka.
Carla Scaletti presented several lectures, demonstrations, and workshops in Europe during the March, 1996. Both Scaletti and Kurt Hebel also took the opportunity to meet and work with Kyma users and potential Kyma users in each of the cities:
University of Kingston
London, UK
The Body in the Sound
Listener-centered sound design
Kyma: A Language for Creating and Manipulating Sound
Overview of the language and its applications
NoTAM
Oslo, Norway
Sounds, Symbols, and Cyborgs
Observations on music, computers, DNA, and the hyper-mind
The Body in the Sound
Kyma: an overview
Composition tools in Kyma
Carla Compositions
A look at some of the ideas and techniques behind C's own music
Bruckner Conservatory / SAMT
Linz/Hagenberg, Austria
The Body in the Sound
Kyma: an overview
Public Organ
Under the table and across the web
Sounds, Symbols, and Cyborgs
Musikhochschule Wien
Vienna, Austria
Kyma: A Language for Creating and Manipulating Sound
Alte Schmiede
Vienna, Austria
Sounds, Symbols, Cyborgs, and Public Organ
Observations on music, computers, DNA, and Public Organ
Agostino Di Scipio presented a lecture at the University of Padova on the 28th of June at 4 pm entitled Microcomposizione in Ambiente Interattivo. The first part of the lecture covered the characteristic techniques and operation of the Kyma System, and the second part was an illustration of some aspects of Di Scipio's work with the system--specifically the role of interactive processes by which the temporal microstructure of sound can be controlled thanks to the flexibility of the system. Click here to read the full abstract.
Nathaniel Reichman spent the summer of 1995 working at UPIC in France.
Agostino Di Scipio is visiting composer at the Sibelius Academy Computer Music Studio (SACMUS) in Helsinki for the autumn of 1995.
Composers David Worrall and Tim Kreger of the Australian Centre for the Arts and Technology were on the organizing committee for Synaesthetica '94, a symposium on computer animation and computer music that took place 103 July 1994 at the Australian National University in Canberra Australia. The symposium was designed to bring together researchers, developers, and practitioners involved in the theory practice and analysis of computer-based animation and music composition as well as realtime performance systems.
Kyma was used in several of the compositions featured in a concert series entitled Computer Music at Clark: Three Concerts of Studio Music in Worcester, Massachusetts organized by composer Brian Belet: Nanocomposition I (1993) by University of Illinois music graduate student Camille Goudeseune, About a Painter (1993) by Kelly Fitz, a University of Illinois engineering graduate student, As Long As We Are Here {GUTs 1b} and [MUTE]ation by Brian Belet, Treelink by Otto Laske, and Dennis Miller's Thi(s) / -So?
