News, Thoughts, Soapboxes, and/or Essays

Earmarks named finalist in The American Prize

Earmarks has moved from the semifinalist stage of the Chamber Music division of The American Prize to the finalist stage: Read more here:

Earmarks listed as semi-finalist of The American Prize 2020

I found out earlier today (as I was driving from Fallon to Fargo) that Earmarks has just earned me a place as a semi-finalist in the Instrumental Chamber Music division of The American Prize national non-profit competitions in the performing arts.

You can learn more about The American Prize at or follow the news on Facebook: or Twitter:

Upcoming Performances for Spring 2020

Hey look! It’s some upcoming performances!

On February 10, I’ll be giving a Faculty Composition Recital at NDSU. The program includes the full cycle of The Notes Between the Notes and world premieres of Calibrating the Moon and Tape Piece. 7:30 PM in Beckwith Recital Hall.

Cassie’s giving her faculty clarinet recital the next day, same time and place.

I’ll be heading to Nashville for a performance of Creatures from the Black Bassoon and a talk on the creative process. That all takes place at the CMS Southern Conference at Vanderbilt University at the tail end of February (Feb 28-Mar 1).

March 12-14, I’ll be heading to the University of Virginia for the 2020 SEAMUS conference, where we’ll hear the American premiere of The Earth Shall Soon Dissolve Like Snow.

At the same time, Stephen Bomgardner will be premiering my first song cycle collaboration with Walter Jordan, Five Pointless Haiku, with Carlyle Sharpe at the University of Central Arkansas as part of the CMS South Central regional conference.

And then at the beginning of April (3-4) I’ll be in Michigan at Oakland University for yet another CMS conference (Great Lakes), talking about the creative process and running the electronics for Crosswinds.

Cloud Music to be presented at 2019 VU Symposium

I’m pleased to announce that I’ll be presenting Cloud Music: Audience participation in electronic music , at the the 2019 Vu 3 Symposium in Park City, Utah!

Cloud Music is a work for audience participation and cloud computing. Audience members load a website on their mobile device, specify values, and then submit those values to a web server. The web server is periodically polled by a Max patch, which uses the user-specified data to launch Cloud sprites, which then drift across the screen. If a user specifies that a cloud should be a thunder cloud, it reacts with other thunder clouds.

Cloud Music is the first proof of concept in an ongoing project to unify audience participation, cloud computing, and interactive performance.

Tempest in a Teakettle accepted at NYCEMF/ICMC 2019

The New York City Electroacoustic Music Festival (NYCEMF) is always a fun time with great music and incredible people. This year they’re hosting the International Computer Music Conference as well, and I’m pleased to announce that Tempest in a Teakettle, which I presented there in 2017, will be returning to the program for this year as well.

The full list of works is available at Looks like I’m in good company!

Reverie of Solitude selected for Diffrazioni 2019

Dear Kyle Vanderburg,

I am pleased to inform you that your work: REVERIE OF SOLITUDEwas selected for the third edition of Diffrazioni – Firenze Multimedia Festival – March 26-31, 2019 sound, light, art, technology, neuroscience, nanotechnology, robotics.

in the category: ACOUSMATIC


Best regards, 

Alfonso Belfiore

Hello wordpress!

When I started blogging like nine years ago, I started a blog with WordPress. As I built Liszt up and tried to do everything in-house, I moved the entire blog to Liszt. After working to streamline Liszt as much as possible, there’s not much need for a blog function. And also Liszt didn’t have fantastic image capabilities for blog posts, and I really want to start posting pictures of my cat.

So here I am, back on WordPress.


Late last year, I launched OpenKyle, which was an experiment based on Austin Kleon's Show Your Work. It was a lot of fun, and it kept me motivated to push updates every day to YouTube while I worked on a saxophone and tape piece titled Austerity.

And then, I moved to the tape piece The Earth Shall Soon Dissolve Like Snow. And that got harder to update, as I'm on a limited SoundCloud account.

And then 2018 came, and the projects this year have been more collaborative, and it's not just my work that I'd be publishing online. So with that in mind, I'll be merging OpenKyle with the regular blog, and working to update this with more work-related things soon.

Tempest in a Teakettle selected for SEAMUS

University of Oregon 
School of Music

December 4, 2017

Kyle Vanderburg
=email omitted=

Submission number: omitted

Thank you for your submission to the SEAMUS 2018 National Conference at the University of Oregon.  Congratulations, Tempest in a Teakettle has been accepted for presentation at the conference.  Installations will be presented during the course of the conference and we will be in touch about the details.  Be advised that this acceptance does require that you bring the necessary performers and pre-sound reinforcement equipment.  If you requested that we provide performers or equipment, we will follow-up after we receive confirmation of your plans to attend the conference.

We will hold your position to present your work at the conference if, by Thursday, December 21, 2017, we receive confirmation from you regarding your plans to attend the conference.  This must be done by email to =email omitted=
Please include your submission number =omitted= in all communications.

Note 1: The programs have been developed using the timing for your work that you provided to the database and which was checked against your submitted materials.  Please appreciate that the allocation of time for rehearsal, sound checks, setups, and performance is of critical importance to the flow of the entire conference.  Revisions cannot be made to works resulting in an increased performance time.

Note 2: The deadline for receipt of all performance materials, and performer biographies is January 21, 2018.  If you are providing performers, you must provide their biographical information, even if you are certain they are performing for another composer.

Note 3: Attendance at the conference is required for your work to be presented.  Please register early using the online registration found at (notification will be sent when registration opens).  Conference registration fees are $160 for regular members, $80 for student members, and $180 for all non-members.  A late registration fee of $50 applies for registrations after February 28, 2018.  If circumstances require a late registration, please notify us that you still plan to attend.  Online late registration will be available until and at conference.  On-site registration will also accept cash or check at the late registration rate.

Note 4: The deadline for registering and paying for the Friday Banquet is February 28, 2018.  You will be able to register for and make meal selections as part of the registration site.  We anticipate the cost of the banquet will be $60. More information will be forthcoming.

Note 5: Works scheduled for Thursday performance may have a tech time scheduled for Wednesday evening.

We want to thank our pool of adjudicators who worked diligently and quickly to provide their evaluations of over 400 submissions:  Alyssa Aska, Elizabeth Baker, Mark Ballora, Matt Barber, Brian Belet, Christopher Biggs, Courtney Brown, Lou Bunk, Gil Dori, Frank Ekeberg, Jason Fick, Lyn Goeringer, Akiko Hatakeyama, Aurie Hsu, Simon Hutchinson, Nick Hwang, Grace Leslie, Paola Lopreiato, Barry Moon, Benjamin O'Brien, Ryan Olivier, Olga Oseth, Melissa Pausina, Sean Peuquet, Baljinder Sekhon, Jacob Sudol, Ben Sutherland, Dan VanHassel, Jorge Variego, Kirsten Volness, Chi Wang, Kristina Warren, Emilie Weibel, and Mark Zaki.

Finally, we would like to add to the recognition of your work by the conference selection committee our personal congratulations.  We look forward to seeing you at the conference.
Most Cordially,

Jeffrey Stolet and Akiko Hatakeyama, co-hosts

School of Music and Dance
1225 University of Oregon, Eugene OR 97403-1225

Tempest in a Teakettle selected for 2017 NYCEMF

I'm pleased to announce that Creativity November's piece, Tempest in a Teakettle, has been accepted for this year's NYC Electronic Music Festival (NYCEMF)! Details below


Congratulations!  I am writing to let you know that your submission below has been accepted for performance at the 2017 New York City Electroacoustic Music Festival.  The information we have for your piece is as follows:

ID-314   Tempest in a Teakettle  duration 8:00     4-channel fixed media

The festival will take place June 19-25, 2017 at the Abrons Arts Center in New York City and July 14-16, 2017 at National Sawdust in Brooklyn. 

Concert schedules are now being worked out.  The program will be posted to our web site,, when it is ready.

Please reply to this message indicating

(1) whether you will accept our invitation,

(2) whether you are planning to attend the festival, and

(3) any limitations on the date when your piece could be scheduled.

Also, if you plan to attend, please let us know whether you would be interested in diffusing your piece in the 16-channel sound localization room.

Planning for the festival has been determined by the durations of pieces submitted, so please verify the duration indicated above.  The duration of the piece will be shown in the printed program.  If we do not have the final version of the media file(s) for your piece, please send them to using a file-transfer service no later than May 1, and please leave at least three weeks before the files expire.

We look forward to seeing you next summer!