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
Congratulations!
Best regards,
Alfonso Belfiore
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.
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 seamusonline.org (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 seamusonline.org 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
SEAMUS 2018
School of Music and Dance
1225 University of Oregon, Eugene OR 97403-1225
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
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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, www.nycemf.org, 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 submissions@nycemf.org 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!
I posted this on Facebook a few days ago, but I finally got the Acceptance notification for NYCEMF this year!
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Congratulations! I am writing to inform you that your submission below has been accepted for performance at the 2016 New York City Electroacoustic Music Festival. The information we have for your piece is as follows:
ID-344 Remnants of Creation duration 10:00 2-channel fixed media
The festival will take place June 13-19, 2016 at the Abrons Arts Center in New York City. Concert schedules will worked out soon. The program will be posted to our web site, www.nycemf.org, when it is ready.
Please reply to this message indicating
(1) whether you will be able to 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 submissions@nycemf.org using a file-transfer service no later than May 1, and please leave at least three weeks before the files expire.
We would like all participants to attend the festival, and the $160 registration fee includes admission to all events. Even if you cannot attend the festival, you will still be required to pay the registration fee. We will add a registration page to our web site to allow you to pay this amount by PayPal.
NYCEMF will provide a sound system, microphones, cables, and a computer for fixed media playback. All other equipment required for live pieces (computer, audio interface, specialized MIDI/USB peripherals, etc.) will need to be provided by the composer. Speakers locations in our playback spaces will be fixed and cannot be moved between concerts to accommodate alternative schemes.
We have arranged for a limited number of housing spaces during the festival at New York University dormitories. The cost for these spaces
will be significantly less than hotels in the city, and they will only be available for specific dates. Details will be posted on our web site, and reservations must be made for each individual day that you will stay there.
We look forward to seeing you in June!
I let this one get away from me, with the end of the semester and all. My recent fixed media piece Reverie of Solitude has been selected for performance at this year's International Computer Music Conference (ICMC). I'll post more details when the conference schedule is posted.
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On behalf of the International Computer Music Conference 2015, I am pleased to inform you that your submission, entitled Reverie of Solitude has been accepted. Congratulations! We had a high number of superb works among the 650 submissions and we are pleased that your work is among those accepted for concert programming.
Hey everyone!
There's a couple of performances coming up that involve both the Oklahoma Laptop Ensemble and my own recent clarinet and live electronics work Crosswinds. The first is OLE/N!CE's spring recital, on April 6 at 8 p.m. in Pitman Recital Hall at the University of Oklahoma. We've been working on climate data sonification this semester for a later performance at the 2015 National Weather Center Biennale. That's produced a series of climate etudes, where this thing will be unveiled.
Also, Cassie Keogh will be reprising Crosswinds The next is the spring Inner sOUndscapes concert, OU's electronic music series, on April 17 at 8 p.m. in Pitman again. Cassie Keogh will be presenting Crosswinds once again, with a variety of tape pieces curated by Dr. Konstantinos Karathansis. Also, this date's still tentative, but it looks like OLE will be presenting these works on April 20 at noon at the National Weather Center. I'll add a permalink when that date is finalized. Whee, electronic music!
Thanks to some recent updates, I'm able to offer some new buying options that weren't available before!
The acousmatic works Blueprints of Eternity, Creatures from the Black Bassoon, Off the Hook, and Reverie of Solitude have always been available through Bandcamp, but are now available directly from their composition pages. And now, the laptop ensemble work Your Call Could Not Be Completed As Dialed is also available.
There are several works for large ensemble that I'm updating, including the Symphony, Pipe Dreams, Some Assembly Required, and Palilalia, and I hope to have new digital buying options available for those items soon.
There are also new digital buying options for almost every piece available in my catalog. Most of the newer chamber works are still available through J.W. Pepper and SheetMusicPlus, but nearly all of my works are now available for immediate download through Gumroad.
I'm pleased to announce that my new tape piece, Reverie of Solitude, has been accepted for the 2015 NYCEMF! Details below.
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Congratulations!
I am writing to inform you that your submission below has been accepted for performance at the 2015 New York City Electroacoustic Music Festival. The information we have for your piece is as follows:
ID-266 Reverie of Solitude duration 10:00 2-channel fixed media
The festival will take place June 22-28, 2015 at the Abrons Arts Center in New York City. Concert schedules are being worked out now. The program will be posted to our web site, www.nycemf.org, as soon as it is ready.
NYCEMF will provide a sound system, microphones, cables, and a computer for fixed media playback. All other equipment required for live pieces (computer, audio interface, specialized MIDI/USB peripherals, etc.) will need to be provided by the composer. Speakers locations in our playback spaces will be fixed and cannot be moved between concerts to accommodate alternative schemes.
We look forward to seeing you in June!