Received a few days ago, from the Irish Sound, Science and Technology Association
==
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
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
I was informed this morning that Blueprints of Eternity has been accepted for inclusion in 2013's International Computer Music Conference!
Acceptance message follows.
—
Dear Kyle Vanderburg,
On behalf of the International Computer Music Conference 2013, I am pleased to inform you that your submission, titled
Blueprints of Eternity
has been accepted.
Please note that if you submission is an installation submission, this acceptance is dependent on the ICMC's ability to facilitate your work. We will be in touch shortly to discuss installation and equipment requirements.
We have included the reviewers' comments at the end of this message. If you log into our openconf site you should also be able to access these. Let me know if you have any questions or concerns.
Please note that you will need to confirm your intention to present or perform by the 31st of May, 2013.
Authors of all works and papers presented at ICMC 2013 require registration as a delegate. If possible please do this by the 30th of June, 2013. This can be done from our Eventbrite page: http://www.eventbrite.com.au/myevent?eid=5863360469
Visit our website for up to date information and news on ICMC 2013. A full program will be released next month.
http://icmc2013.com.au/
Congratulations,
Program Committee, ICMC2013
conference@tura.com.au
***************************************************************
Strictly limited source material can be hazardous because it demands so much of the composer’s manipulation skill just to keep things interesting. In this case, the composer did achieve interesting transformations of the limited source.
But as a whole, structurally, it was not a strong attention-holder. Seemed to need much more dynamic contrast, and more timbral diversity. Spatially flat as well – needs to be opened up – and I’m not convinced that active diffusion will help much, given the relative lack of interplay between L and R.
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Blueprints of eternity. This work is a study in time using a kitchen timer as the sole source sound. There is a good sense of space after the open monophonic passage and some very neat and precise manipulations which sustain the narrative. The work also has a tight form. The sound recording as it stands does not lend itself easily to transformation and as a consequence some of the transformations are a little harsh. This may be partly mastering but partly the unresponsive nature of a timer click.
***************************************************************
Engaging sound material and journey from recognisable sound source to more abstracted detail. There are some attractive spatial trajectories and placements of materials within the overall structure. The closing section is particularly well handled. Because of the soundworld's timbral uniformity (all appearing to originate from one source), more variation in contour, shaping and depth perspective could be welcomed.
Yesterday, I was awarded the Ernest Trumble Award for Outstanding Graduate Musicology Paper ™, and with it, a box of stuff that Dr. Lee found in his office. Here is the content of the box, in all its glory (in Turabian, of course):
Bukofzer, Manfred F. Music in the Baroque Era: from Monteverdi to Bach. New York: Norton, 1947.
David, Hans T. and Arthur Mendel, eds. The Bach Reader, A Life of Johann Sebastian Bach in Letters and Documents. New York: Norton, 1945.
David, Hans Theodore. J.S.Bach’s Musical Offering: History, Interpretation, and Analysis. New York: G. Schirmer, 1945.
Moser, Hans Joachim. Heinrich Schütz: His life and work. Translated by Carl F. Pfatteicher. Saint Louis: Concordia, 1959.
Terry, Charles Sanford. Bach, a Biography. 2nd ed. London: Oxford, 1950.
Unger, Melvin, ed. Bach: Journal of Riemenschneider Bach Institute 31 nos. 1-2, 35 nos. 1, 36 no. 2, 37 nos. 1-2, 38 nos. 1-2, 39 nos. 1-2, 40 nos. 1-2, 41 nos. 1-2, 42 nos. 1-2, 43 no. 1.
Annotated Program to the 68th annual Baldwin-Wallace College Bach Festival.
Annotated Program to the 69th annual Baldwin-Wallace College Bach Festival
1 seed rattle
1 remote to a Tascam CD RW5000
1 notebook
And the paper that caused all of this? Standardized Contrapuntal Technique and Bach's Riddle Canons from The Musical Offering.
As I was updating my events page last week, I noticed that there's a lot going on in the next few months. Here's a hopefully comprehensive list of those performances.
2/19/13: Tuesday Noon Concert at OU's Fred Jones Jr. Museum of Art. I realize this was yesterday, but it happened, so I'm putting it here. I presented Drones as part of the Computer Music Studio's presentation in the Tuesday Noon concert series.
3/3/13: David Ikard's Lecture Recital on Água Eletrônica. Although Dave wrote the piece and it's his lecture recital, it involves a second performances of the only known work for water percussion and electronics, which runs on my code. Sunday, March 3, 8pm, Pitman Recital Hall at Catlett Music Center, OU.
3/8/13: Student Research and Performance Day. I'm presenting a poster on the form and sonic generation of my Creatures from the Black Bassoon. Friday, March 8, 12-4pm, National Weather Center, OU.
3/10/13: Family Day at the Fred Jones Jr. Museum of Art. As part of the FJJMA's efforts to buy Ed Ruscha's No Man's Land, the museum has commissioned a new work for piano trio. My Over Every Open Field for piano, flute, and clarinet will be performed at 1:30 and 2:30 pm, in the Sandy Bell Gallery of the Fred Jones Jr. Museum of Art, OU.
It looks like I get the rest of March off. Then it's
4/7/13: DMA Recital. I present a variety of music in my continued attempts to prove that I'm awesome and to convince five people to give me a doctorate. The program will include the following: Drones, Creatures from the Black Bassoon, Blueprints of Eternity, Caffeination, Over Every Open Field, Electronic Variations, and Daydreams of Arcadia. Sunday, April 7, 8pm, Pitman Recital Hall, Catlett Music Center, OU.
4/11/13: Inner sOUndscapes. The Computer Music Studio presents a variety of new music for instrument and electronics, including my Electronic Variations for piano and live interaction. Thursday, April 11, 8pm, Pitman Recital Hall, Catlett Music Center, OU.
4/12/13: SCI Region IV Conference. I will present Creatures from the Black Bassoon at Clarke University in Dubuque, Iowa. Friday, April 12, 2pm, Clarke University.
And then? And then I think I spend the rest of April sitting on the deck looking at trees.
Though I should probably write a post about my recent trip to Slovenia (it's coming, I promise), that post is preempted by the following announcement:
Creatures from the Black Bassoon (for fixed media) has been accepted for performance at the International Electroacoustic Music Festival of the Conservatorio S. Cecilia 2012 (EMUfest). The festival takes place from October 7th to 17th in Rome, Italy.
As much as I'd like to go, it's coming up pretty soon, and I did just get BACK from Europe after all. And I have to go to Ohio, which is not quite as old as Rome.
Creatures from the Black Bassoon, which receives its European premiere Monday in Ljubljana, Slovenia, has been selected for performance at the 2012 Society of Composers Inc. Student National Conference at Capital University in Columbus, Ohio.
I guess this means I'm going to Ohio next month.
More Information: http://www.capital.edu/sci-conference/
Also, Woohoo!
So I woke up to this email yesterday morning:
Dear Kyle Vanderburg,
The Program Committee worked very hard to thoroughly review all the submitted pieces, and we want to apologize for the late announcement.
On behalf of the ICMC 2012 Music Program Committee, we are delighted to inform you that your submission:
Creatures from the Black Bassoon
has been accepted to appear as part of this year Music Program.
IMPORTANT DATES :
-Please make sure to register and finish the payment by June 10th, at:
http://www.icmc2012.si/submitRegister.html
-For the works with multiple authors, at least one author of your work must be registered for the conference by the early registration deadline of June 10th. Please include all the authors bio in case these was not include in the application.
-If your work involve acoustic instrument(s), and you had request local performer(s), you most send all the scores and parts by June 1st, through e-mail. to steven.loy@icmc2012.si
-All the Piece+Paper must be registered for the conference by the early registration deadline of June 10th, for the paper to be included in the proceedings. A paper without early registration will not be published.
Congratulations on your fine work. If you have any additional questions, please let us know.
Looking forward to see you in Ljubljana!
Best wishes,
Mauricio Valdés, Steven Loy, Gregor Pompe ICMC 2012 Music Chairs
———————– REVIEW 1 ———————
PAPER: 68
TITLE: Creatures from the Black Bassoon
AUTHORS: Kyle Vanderburg
OVERALL RATING: 2 (accept)
REVIEWER'S CONFIDENCE: 4 (expert)
Artistic Merit: 5 (high)
Technical Quality: 5 (high)
Feasibility of Performance: 5 (high)
There is a great balance between instrumental sounds, processed sounds and natural-like sounds, all within a frame of great structural coherence. Very nice work, I strongly recommend this piece.
———————– REVIEW 2 ———————
PAPER: 68
TITLE: Creatures from the Black Bassoon
AUTHORS: Kyle Vanderburg
OVERALL RATING: 2 (accept)
REVIEWER'S CONFIDENCE: 3 (high)
Artistic Merit: 3 (medium)
Technical Quality: 3 (medium)
Feasibility of Performance: 5 (high)
The most obvious aspect of this piece is that the material's source is very localized: bassoon's sounds, processed and unprocessed. The space between very naturalist sounds and electronic transformations is very large and involves an interesting risk: presenting easily recognizable sounds that will share a context with dramatically transformed sounds.
In this piece, the most naturalist sounds are often presented relatively detached, from an spatial point of view: they are in many occasions almost not reverberated, keeping, naturally, a high presence and thus proximity feeling for the listener. Sometimes (I think for example on 07'15″) sounds (coming certainly from sounds made by the read alone) presents spatial trajectories accompanied by a very remarkable reverberation, too obvious in my opinion.
Those are examples showing that the problem of integrating natural sounds (that naturally carry their space's information, specially with sounds produced by a “double read” as the bassoon, should it be a similar issue with an oboe I can add) with dramatically transformed sounds is a complex question. The piece do not reach a global, coherent and homogeneous solution, and has some problems of balance concerning the global formal profile, but has the undeniable merit to show the problem, to approach it carrying by the way interesting materials.
———————– REVIEW 3 ———————
PAPER: 68
TITLE: Creatures from the Black Bassoon
AUTHORS: Kyle Vanderburg
OVERALL RATING: 3 (strong accept)
REVIEWER'S CONFIDENCE: 4 (expert)
Artistic Merit: 4 (medium high)
Technical Quality: 4 (medium high)
Feasibility of Performance: 4 (medium high)
The composer shows as that he knows different techniques and resources of acousmatic composition. The artistic result is very interesting and suggestive.
————————- METAREVIEW ————————
PAPER: 68
TITLE: Creatures from the Black Bassoon
Please read the reviewers notes.
So apparently I'm going to Slovenia in September. Surprise!
I'm pleased (ecstatic, really) to announce that Foi dans l'aleatoire has won first place in the 2012 Beethoven Club Student Composition Contest sponsored by Luna Nova Music. I'll be in Memphis June 20-23 for the Belvedere Chamber Music Festival, where Luna Nova flutist John McMurtery and pianist Andrew Drannon will be performing the work, and presumably many others that I didn't write.
Wheee!
The past week or so has been busy, but as far as music goes, I have two new pieces! Which further proves that I’m somehow managing to get things done. So let’s talk about these new pieces.
Nocturne for Prepared Piano (and unprepared pianist) is a nine-minute work for prepared piano (duh) and theatrical pianist, and it takes Chopin’s E-minor nocturne as its source material. The work explores two primary themes including the obvious textural/timbrel changes to the piano and the emotional impact of things simply not going your way.
Skepticism for solo clarinet was written for Arianna Tieghi for the 2012 International Arts Educators Forum in Perugia, Italy. Because Ms. Tieghi is looking for a piece from all 50 states, I figured I would write a piece highlighting the stereotypical Missourian response: Skepticism. The work begins in skeptical 12-tone and moves to a convincing, whimsical, tonal melody.
Nocturne is scheduled to be premiered in mid-April, 2012, while Skepticism should be premiered in July. I’ll be forgoing the usual posting of musical examples until after the premieres. Meanwhile, I’m off to work on a piece for cello and electronics!