Festival Rehearsal Schedule

Launching into its second decade, the Florida Electroacoustic Music Festival has featured an international variety of contemporary electroacoustic art music. Past composers-in-residence have included internationally renowned composers such as Hubert S. Howe, Jr., Cort Lippe, Gary Nelson, Jon Appleton, Joel Chadabe, Larry Austin, Barry Truax, and Richard Boulanger.

March 21, 2002

Concert I
Electroacoustic Music from FEMS
Sam Hamm, curator

Thursday, March 21, 2002, 9:00 a.m.
University of Florida Center for the Performing Arts Black Box Theater

Study in Granulation No.1	Steve Landis
Chun-Gi-In (Heaven, Earth and Human)	Chan Ji Kim
Devils Harvest	Gabriel Monticello
Evening Illness	Mark Quathamer
Angel On All Fours	Greg Powell
teh	Pat Pagano
Fuzion	Anthony Vaudo
Legion	Samuel J. Hamm, Jr.
Acilie	Erik Still

Listening Session
Works of Paul Lansky


Thursday, March 21, 2002, 11:00 a.m.
University of Florida Center for the Performing Arts Black Box Theater

Idle Chatter Junior, and selected pieces and video from "Alphabet Book"

Concert II
Electroacoustic Music from Future Music Oregon (University of Oregon)
Jeffrey Stolet, curator

Thursday, March 21, 2002, 3:00 p.m.
University of Florida Center for the Performing Arts Black Box Theater

Dialectics (Mondrian)	John Villec/Charles Aitken
Melting Snow	Elyzabeth Meade
Burn & Wound Department	Jeffrey Stolet
Event Horizon	Christopher Trebue Moore
The Garden of Kali	Joseph Waters
Tokyo Lick	Jeffrey Stolet
The Testimony of Light	David Ozab
Wicked Paths, Cruel Deserts (excerpts)	Jeffrey Stolet/Ying Tan

Concert III
Juried Concert A


Thursday, March 21, 2002, 8:00 p.m.
University of Florida Center for the Performing Arts Black Box Theater

Breathing Space	Johanna Storm (Finland)
Trombomination	Christopher Cook (Indiana)
The Called Has Again	David Durant (Alabama)
Rift	Neil Flory (Iowa)
Three Short Pieces	William Price (Louisiana)
The 9th Wave	Robert Scott Thompson (Georgia)
Buk	Gi Nyoung Lee (Indiana)
Velvet Sink	Jeff Herriot (California)
10-43 seconds later...	Ryan Torchia (New York)

Concert IV
Juried Concert B


Friday, March 22, 2002, 9:00 a.m.
University of Florida Center for the Performing Arts Black Box Theater

Martin Put That Gun Away	Alden Jenks (California)
Small Things	Kari Besharse (Wisconsin)
Plum Blossoms	Anthony Paul De Ritis (Massachusetts)
Green Potato I	Hsiao-Lan Wang (Missouri)
15% (a service industry nightmare)	Cristopher Ewing (Wahsington)
Time Into Pieces	Wesley Fuller (Florida)
Whisperpulse	Rick Snow (Alabama)
Slap and Tickle	Holland Hopson (New York)

Concert V
Electroacoustic Music from the Center for Computer Research in Music and Acoustics (Stanford University)
Charles Nichols, curator


Friday, March 22, 2002, 3:00 p.m.
University of Florida Center for the Performing Arts Black Box Theater

St. Thomas Phase	Matthew Burtner
The Captured Shadow, for soprano trombone and computer	Ching-Wen Chao
Geidai	Rodrigo Segnini
Strata 2, for flute and computer	Charles Nichols
Realpolitik - Action to be taken in the event of a fire	Damian Keller
Fabrication, for trumpet and computer	Chris Burns
Idiosyncrasy	Seungyon-Seny Lee

Concert VI
Juried Concert C


Friday, March 22, 2002, 8:00 p.m.
University of Florida Center for the Performing Arts Black Box Theater

Afterimages 5, for guitar quartet and computer	Ronald K. Parks (South Carolina)
Response	Panayiotis Kokoras (United Kingdom)
No One (not even the rain)	Bonnie Miksch (Georgia)
The Wasteland	Thomas Judson (Iowa)
Archetypal Infusion: MemEry2K	Paul Oehlers (Illinois)
Four Tears	Takuji Tokiwa (Japan)
NINTH (music for viola and computer)	Javier Alejandro Garavaglia (Argentina - Germany)

Concert VII
Juried Concert D


Saturday, March 23, 2002, 9:00 a.m.
University of Florida Center for the Performing Arts Black Box Theater

Three Meditations	Thomas Cuifo (Rhode Island)
Day Trip	John Gibson (Indiana)
And the Evening...The First Day	Joseph Sarlo (Florida)
The Day	Minsoo Cho (Illinois)
IPO	Ioannis Kalantzis (Greece)
Rain Between the Showers	Rachel Holstead (Ireland)
Allegoriae Sonantes	Konstantinos Karathanasis (New York)

Concert VIII
Electroacoustic Music from Europe
Javier Garavaglia, curator


Saturday, March 23, 2002, 3:00 p.m.
University of Florida Center for the Performing Arts Black Box Theater

Sottovoce	Riccardo Bianchini (Italy)
Comunicaçoes	Miguel Azguime (Portugal)
The Secret Life of a Violin	Vladimir Djambasov (Bulgaria)
Postcards From The Summer	Robert Mackay (UK - Wales)
Jurel	Adolfo Núñez (Spain)
Eikasia	Hans Tutschku (Germany)
Altered Images	Pete Stollery (UK- Scotland)

Concert IX
Juried Concert E


Saturday, March 23, 2002, 8:00 p.m.
University of Florida Center for the Performing Arts Black Box Theater

Behind the Green Door 2002	Richard Boulanger (Massachuchets)
Williams [re]Mix[ed]	Larry Austin (Texas)
Network Slammer	Zack Browning (Illinois)
Vim	Elizabeth Hoffman (New York)
Events, for cello and tape	Mark Engebretson (Florida)
Coriolis Effect	James Paul Sain (Florida)
Long Gong	Hubert Howe (New York)
Palimpsest	David Kim-Boyle (New York)
Labyrinth	Paul Lansky (New Jersey)

Additional Events

Software Presentation


Thursday, March 21, 2002, 12:30 p.m.
University of Florida Center for the Performing Arts Black Box Theater

Introducing CsoundMax: An Intuitive Graphical Interactive Real-time Sound Design and Performance Environment for Csound

Richard Boulanger and Joo Won Park (Massachuchets)

Abstract: In November of 2001, San Francisco-based composer, performer and programmer Matt Ingalls, with the support of David Zicarelli and Cycling '74, released the csound~ external for Max/MSP. In that instant, the world of computer music got both smaller and larger. Through csound~, two major and fundamental computer music paradigms - the block-diagram compiler, and the unit-generator-based virtual synthesizer, now co-exist within the same frame (a max patch). There they draw on the strengths of one, while sharing the features of the other. (And this is not just true for the Macintosh as the csound~ object has recently been ported to PD and works there in Windows and Linux). At last, all the I/O amenities of Max/MSP, all the algorithmic note-generating and event processing features of Max/MSP, all the Multi-media support of Max/MSP can be directly patched into Csound's thousands of both historic and totally unique software synthesis instruments and networks. For someone teaching, performing, composing, researching with both of these tools, this breakthrough was a dream come true. For my students at Berklee, who have developed a love and appreciation for both programs, and have been torn between where to invest their research energies, that they now work together, expanding and enhancing each other, is a major inspiration to them as well. In fact, I advised and directed one of these students, in a project to develop a front-end for some of the chapters of The Csound Book which has turned into a more general and powerful stand-alone application that we are now calling CsoundMax. In this presentation, that student, Joo Won Park, and I will: show you the program and its many features; show how to modify and expand the program allowing you to use your own Csound instruments with this interface; show how to interface the program with alternate controllers such as the Mathews Radio Baton; and show how to use the program with ASIO to do real-time multi-channel Csound.

Convocation Lecture/Recital


Presentation by Composer-In-Residence, Paul Lansky
Friday, March 22, 2002, 12:50 p.m.
University of Florida Music Department, Room 120

Listening as Performance

Paper/Report Session


Saturday, March 23, 2002, 12:30 p.m.
University of Florida Center for the Performing Arts Black Box Theater

Williams [re]Mix[er]: An Octophonic, I Ching, Composing Program	Larry Austin (Texas)
Abstract: Demonstrated here is the composer/presenter's project to design the protocols and to implement, with the co-presenter/programmer, an interactive, octophonic, I Ching composing program, the "Williams [re]Mix[er]" (WRM). It's functionality in modeled on the compositional processes used by American composer John Cage (1912-92) to create his "Williams Mix" (1951-53) (WM), the first octophonic, surround-sound, tape composition. These processes were extrapolated and applied from years-long analyses by the composer/presenter of Cage¹s 192-page score, his sketches, and the eight monaural, analog tapes for WM. Presignifying the development of algorithmic composition, granular synthesis, and sound diffusion, WM was the third of five pieces completed in the Project for Music for Magnetic Tape (1951-54), established in New York City by Cage. What tool Cage and his collaborators nine months of recordings, coin-tosses, score notation, and thousands of small pieces of tape measured, cut, and spliced together to complete the first realization of the WM score and tapes is accomplished‹after collecting the requisite library of recorded soundfiles‹in only a few minutes of computation time. Indeed, the default settings used in designing the WRM are Cage¹s own, derived from the analyses. With the program¹s graphic user interface, the default values for the parameters may be changed be the user to experiment and substitute alternative, weighted distribution values to achieve a variety of individualized composition results.
From Smoke into Sound: An Overview of the Electro-Acoustic Music of Kaija Saariaho	Frederick Key Smith (Florida)
Abstract: The Finnish composer Kaija Saariaho (b. 1952) is one of the top figures in Nordic music today. Governed largely by a fundamental interest in musical color, timbre, texture, and harmony, rather than melody, Saariaho has created a large oeuvre that includes compositions in virtually every genre. In recent years, she has garnered world-wide respect with such purely acoustic works as Du crystal from her orchestral diptych Du cristal ...à la fumée (From Crystal into Smoke; 1989-90), the violin concerto Graal théâtre (1994), the song-cycle Château de l'âme (Castle of the Soul; 1995), and her recent opera L'amour de loin (Love from Afar; 2000). Nevertheless, she is perhaps just as widely known and revered in her native Finland, as well as Europe and North America, for her impressive output of fine electroacoustic compositions. Saariaho's work as an electroacoustic composer is quite varied and unique. Though she has certainly worked extensively in Finnish studios, primarily the Experimental Studio of the Finnish Broadcasting Company (YLE), the bulk of her compositional work has occurred at the Institute de Recherche et de Coordination Acoustic/Musique (IRCAM) in Paris, France. In fact, following several early tape works, including Study II for Life (1981), Vers le blanc (Towards White; 1982), and Jardin Secret I (Secret Garden I; 1985), she began to take a greater interest in using the computers and software packages available at IRCAM for the composition of acoustic music. The first major result of this interest was her fine electroacoustic score Verblendungen (Dazzlings; 1984) in which both the live acoustic part and an accompanying pre-recorded tape were derived from a cello sforzando and pizzacato. In several of her later major electroacoustic works, Saariaho incorporated the use of live electronics to provide amplification and manipulation of real-time acoustic parts. Included in this category of composition are such important works as Lichtbogen (Arcs of Light; 1986), Io (1987), and Jardin Secret III or Nymphea (1987). It was during the early 1990¹s, however, that the composer produced some of her finest compositions in the electroacoustic realm. In such works as the second part of her orchestral diptych Du cristal ...à la fumée (From Crystal into Smoke; 1989-90), the seven-scene ballet Maa (Country; 1993), and the concerto Amers (Sea-Marks; 1992), Saariaho calls upon her full gamut of devices as a composer of electroacoustic music. During the same period, she produced several excellent works for both solo instruments and voice that also employ electronic elements, including Pres (1992), NoaNoa (Fragrant; 1992), and Lonh (From afar; 1996). In conclusion, the aforementioned scores of Kaija Saariaho prove her to be an adept composer of electroacoustic art music and an important addition to the historical pantheon of modern art music composers. Nevertheless, Saariaho does not view herself in such terms: "I have never sought to place my music within the history of music. I have had no complex in relation to musicians that preceded me, nor have I had to fight against any generation or to impose myself against a current, even if in a certain way I did it in my music."1 1Saariaho as quoted in "Clouds." Prisma: The Musical World of Kaija Saariaho. CD-ROM. (Helsinki: Finnish Music Information Centre, 1999).

Official Hotel Reservations:

University of Florida Hotel and Conference Center
1714 S.W. 34th St.
Gainesville, FL 32607
(352) 371-3600 voice
(352) 371-0306 fax

NOTE: mention that you're with the Florida Electroacoustic Music Festival for the festival rate King $89/Double-Double $89 (plus 9% local and state tax).

Cut off date for reservation: February 25, 2002


(after this date, reservation and special rate will not be honored)

For more information the University of Florida Hotel and Conference Center point your browser to thier home page at:


http://www.ufhotel.com/

Festival Reservation Forms:
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For more information on the electroacoustic music program at the University of Florida point your browser to the
Florida Electroacoustic Music Studio home page.

For more information on the Florida Electroacoustic Music Festival call for participation please point your browser to the
FEMF11 Call home page.