Received a few days ago, from the Irish Sound, Science and Technology Association
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Dear Kyle,
We are pleased to advise you that your piece, Creatures from the Black Bassoon, has been accepted for the ISSTC 2014.
We received dozens of submissions from all over the globe. This Convocation will be very exciting.
In the next days, formal announcements will be made on the ISSTA website, including a provisional schedule.
For participation, you will be required to register and attend the event. Fees will be payable online. Announcements will be made on the ISSTC 2014 web page, http://issta.ie/index.php/isstc/isstc-2014/. Please keep an eye there for more information.
Please submit a detailed tech requirement to Joe Timoney (jtimoney@cs.nuim.ie)
Thank you for your contribution. We look forward to seeing you in August.
Sincerely,
Ryan Molloy and Victor Lazzarini
Chairs of Music
For those of you that are keeping track and using Liszt/ScoreShare/AudioAtlas, moving between applications is now easier. Once you're logged into one app, your login transfers to other Liszt apps automatically!
As part of the AudioAtlas Project, I've put together a map of my past performances over on the map page. I'll be updating this with future events as I get word of them.
There's also some sample syllabi over on the teaching page, as part of a project to design an electroacoustic music curriculum.
As part of my “putting off studying for my dissertation defense” I decided to redesign KyleVanderburg.com again. I've been updating all of the NoteForge (and NoteForge Apps) sites to Twitter Bootstrap because it works well and is pretty easy to use, but I wasn't terribly happy when I moved the .com over to a new design. I ended up losing the old note cluster, and my name wasn't as large as I'd like it (something something composer ego), but all of that is updated with the recent redesign.
There's a new footer to go along with the new header, some javascript controlling the menus over on the compositions page, a new footer, and the entire thing works pretty well on mobile too.
It's also fun to compare this version to Version 14 and Version 13.
Received this message this afternoon:
RE: Performance/ Composition Submission to 2014 TIES
On behalf of the review and organizational committees of the 2014 Toronto International Electroacoustic Symposium, I am very pleased to invite you to present your work in Toronto this August. The symposium received a large number of submissions this year from a wide international artistic community. This invitation attests that your work was favourably reviewed by a distinguished, international jury. Congratulations!
The symposium will take place in Toronto at the home of New Adventures in Sound Art in the Artscape Wychwood Barns and at the Canadian Music Centre, from Wednesday August 13 to Sunday August 17, 2014. As in preceding years, the symposium coincides with the main concert weekend of the annual Sound Travels Festival of Sound Art. The 2014 edition of Sound Travels will explore emerging trends alongside established traditions in electroacoustic music and will be presented on NAISA’s real-time spatialization system. At the heart of the symposium will be a keynote lecture by Sound Travels featured artist Pauline Oliveros.
Please carefully review the attached information, and note the deadlines. I will be in touch during the coming weeks with more information, including the finalized rehearsal and symposium schedules. Please don’t hesitate to contact me if I can be of any assistance as you prepare to attend the event. I look forward to seeing you in Toronto this August!
Sincerely,
Dr. Emilie LeBel
Chair, Review and Organization Committees
2014 Toronto International Electroacoustic Symposium
While I’m working on the symphony, I’ve also been planning a hemispherical speaker prototype for the Oklahoma Laptop Ensemble. There’s no hemisphere yet (though it’s ordered), but the amplifiers and speakers work as hoped.
(Hint: No).
I'm taking a break from the symphony to let the ideas air out and to let part of my committee look at the progress (and to finish some contract work with the Springfield-Drury Civic Orchestra), but here's what the symphony sounds like today, without percussion, articulation, or dynamics:
