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“Tape Piece” selected for La Hora Acusmática

I’m spending the week working on some publishing updates, getting some scores up and ready to distribute, and finishing up an orchestra piece, But meanwhile, from the inbox this week:


Dear artist

After an arduous task by our evaluation commission, the works listed below have been selected for our “Fourth Cycle of Virtual Concerts” of “La Hora Acusmática”.

We will shortly send you the schedule of the four concerts planned for 2024.

Congratulations

.Works selected:

“Flutervoice II”     Gustavo Chab
“Hiperaural”     Ricardo De Armas
“Fire and dice 2014”     Eric Delgado
“Spider web”     Benjamin Fuhrman
“Beyond 88”      Mattew Lam
“Noturno”     Eduardo Nespoli
“Bayou”      Michael Rosas Cobian
“Post Anthropocene”     Edmar Soria
“Tape piece”     Kyle Vandenburg
“Glitch Mass”     Davide Vannuccini
“Abedul”    Cami Albarracin
“7 minutes of recistance”     Cristian Biasin
“Filo entre los espacios”     Francis Rodriguez
“Sancocho”     Sergio Flórez Rincón
“Mental upgrade”     Simón Hutchinson
“Antithesis”     Maxwell Miller
“Onirico y perpetuo”     Rafael de Rioja
“Grind”     Droki Ouro
“Parallaxe Parataxe”     Nicola Cappeletti
“Watching time”     Adolfo Núñez
“Granciporro”     Leonardo Vita
“Thales from Dylawerson”     Onur Dülger
Ausdrüecke – Jakob Gruchmann
“Bound”     Lack Ballard
“Cloud chamber Remix” Heinz-Josef Florian
“Theurgy”     Elliot Yair Hernández López
“Mutations”     David Jason Snow
“Digital Hymn”     Masafumi Oda
“Dolente”     Piotr Pawlik
“Dim life”     Seokmin Kang
“Le bruit de suspirs”     Roxanne Turcotte
“YTEcho”     Andreja Andric

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Presenting on the creative process in Washington, DC in November.

From the inbox:


Dear Kyle Vanderburg,

We are happy to inform you that your presentation, “Debugging the Composer: designing a tool for self-reported composition processes” has been accepted to ATMI 2024 in Washington, D.C. November 7-9. Congratulations. 

We ask that you 1) reply to this email confirming your intentions to present at the conference by May 15, and (2) register for the conference by June 20. Participants are also required to be active members of ATMI at least 1 month prior to the National conference. Information about hotels and ATMI member discount will be sent in the next few weeks.

CMS Registration link:https://www.music.org/index.php?option=com_eventbooking&task=register.individual_registration&event_id=138&Itemid=5784  

ATMI Registration link: https://www.atmimusic.com/join/ 

Important Dates

May 15- Declare interest in presenting at conference

June 20th – Presenter Registration Deadline
July 1st – Bios/abstracts/headshots due
August 1st – Schedule Finalized
September 19th – Hotel Reservation Deadline

Please look for further correspondence regarding the date and time of your presentation. Due to shared programming with CMS, requests to present on specific dates may not be granted. 

Congrats again and we look forward to welcoming you to Washington DC in November. Don’t hesitate to reach out if you have any questions at all before the event.

Sincerely,

ATMI 2024 Programming committee

Jason Fick, Chair
Kyle Vanderburg
Teresa Nakra
VJ Manzo
Peter Webster

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The Earth Shall Soon Dissolve Like Snow accepted for 2024 National CMS Conference in Washington DC

Last week, as I was working on preparations for the College Music Society’s regional conference at NDSU, I received notification about an acceptance to their national conference this fall in Washington.


Dear Kyle Vanderburg,

Greetings from The College Music Society. I am pleased to inform you that your proposal for the 2024 CMS National Conference has been accepted! Below you will find a link to an official letter of invitation to participate in the conference, which will take place in Washington, D.C., November 7-9, 2024.

If you have any questions about your proposal’s acceptance or the conference, please contact Charlie Chadwell of the CMS office. 

We look forward to your participation!

Sincerely,

Rachel Roberts

Chair, Program Committee
2024 CMS National Conference

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You Can’t Outrun Your Daydreams now available on MUSLAB-Complex Planet

This was in the works for most of the fall semester, but I can finally announce that my You Can’t Outrun Your Daydreams has been released on Volume 1 of MUSLAB’s Complex Planet album.

From back in September:

Kyle
MUSLAB International Electroacoustic Music Exhibition is pleased to inform you that your work has been selected to participate in the Phonographic co-production – MUSLAB- Cero Records PLANETA COMPLEJO.
This is an opportunity that we offer to people who have passed the curatorship process and who have chosen the option to participate in the selection for co-production CDs.

Your work as a composer offers an interesting perspective to our musical community, since it combines research and artistic creation proposing a personal aesthetic. Therefore, it fits perfectly with the general interests of the exhibition.

The COMPLEX PLANET exhibition includes a selection of different sound, video art and photographic works, where our different cultural identities are analyzed through the relationship between endemic social processes and globalization. The proposal is based on the fact that a fundamental characteristic, which enables evolution in nature, not only in biological contexts but also in social and cultural ones. Thus, both the endemic and global factors are a guarantee of evolution and adaptability that has to do with the importance of diversity.

Receive a cordial congratulations from the MUSLAB team.

Here’s a copy of the cover of the three-volume set:

Complex Planet/Planeta Complejo is available on all streaming platforms, online at http://www.cero-records.com/release/muslab-planeta-complejo-vol-1·2·3/, or if you’d like a physical copy, I have some left.

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Tape Piece selected for Sonorities

Hey! Tape Piece is making the rounds, and will be performed in Belfast next April!

Dear Kyle,

I am pleased to inform you that your submission “Tape Piece” for the Listening Rooms strand of the open call has been selected for the Sonorities Festival Belfast 2024 programme.

Please confirm that you are still happy for your work to be featured in the festival via email to [email removed] by no later than 4pm Thursday 2nd November GMT, 2023. 

Once you confirm your participation, please contact [name removed] to confirm your technical requirements.

Finally, many thanks for your interest in our festival, and for sending us such engaging work.

Regards,

Sonorities Team

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Composition Process paper accepted at the Research on Contemporary Composition conference

Dear Kyle Vanderburg,

Your paper “Inspiration/Perspiration: Creating a Map of the Music Composition Creative Process” has been selected for programming as part of the 7th annual ROCC conference at the University of North Georgia.

All participants must register for the conference.

  • To secure your place in the program, you will need to pay the registration fee before September 17; if you have not paid, we will not plan on your participation. Your purchase of a ticket on Eventbrite is your registration for the event.
  • Due to the quantity/quality of submission – presenters are only allotted one performance or paper, all other submissions were not accepted.

The conference is scheduled for October 27 to October 29, and the program booklet will be sent electronically after the event. Congratulations and we look forward to an engaging conference this year.

Research on Contemporary Composition Conference

This will be fun! I haven’t had a presentation or performance in Georgia yet (but I did drive up from Jacksonville when I was there this spring for CMS).

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Reverie of Solitude and a presentation in Wichita!

I’m pleased to announce that I’ve had two items selected for the College Music Society central conference this coming March! My Reverie of Solitude for stereo fixed media, and a presentation on The Mess of Music Composition (which I first gave at the Aspen Composers Conference a few years ago) will be on the program in Wichita. Notification follows:

Dear Kyle Vanderburg,

The CMS Program Committee would like to thank you for submitting your proposal, “The Mess of Music Composition” in response to the CMS 2023 Central Conference – Call for Oral & Poster Presentations. I am very pleased to let you know that your work has been selected for presentation on the program.

It is our policy that all composers, presenters, co-presenters, panelists, and collaborative pianists must hold current membership in CMS and must register for the event no later than Thursday, February 9, 2023. The registration form is available on the conference websiteAs only the primary submitter receives this message, please share this link with any collaborators involved in your presentation and make sure they are aware of this policy.

If a co-presenter or panelist is from a profession other than music (e.g., lawyer, librarian, medical professional), they may be exempted from the membership and registration requirements; however, it is your responsibility to communicate with us right away regarding such participants so that we may verify their exemption. Performers of works by CMS composers are not required to register unless they plan to attend conference sessions in addition to the concert in which they are performing. In this case, they are expected to pay the full registration fee accordingly.

Please look for further correspondence regarding the date and time of your presentation. Please recall that according to the rules of the Call, you have agreed to present on any day of the conference. We regret that we cannot entertain requests for specific dates or times.

I congratulate you on your acceptance and look forward to your participation!

Sincerely,

Hannah Christine Weaver

Chair, Program Committee

2023 CMS Central Conference

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Brain Dump: Summer Schedule, Social Media, Scarcity Mindset

Several things that are bouncing around my head these days:

First off, let’s talk about the summer schedule. Hopefully this will be a productive working summer. But in between that work, some interesting projects:

For ten days in June, I’ll be in NYC to help run the New York City Electroacoustic Music Festival (NYCEMF). I don’t have a piece on the festival this year, I’m just working. That should help me get my mixing, troubleshooting, and gaff-taping fix for the year.

The first week in July, I’ll be teaching Audio Technology at the International Music Camp. Lots of firsts for that one—first time at the International Peace Gardens, first time teaching at IMC, first time using Cubase…

At the beginning of August, I’ll be presenting a paper on composition program curricula at the Aspen Composers Conference. A few days later, I’ll be teaching a seminar on recording technology at NDSU’s Music Education Summer Symposium.

Next: Social media. Ugh. I’ve never really liked it. I feel like I always have to be “On” to use it—as in, everything I post has to be amusing or witty or something more than “I’m eating a sandwich.” I’ve long suspected that it’s the cause of most of our recent societal problems. As I teach freshmen every year, my believe that being constantly catered to by algorithms isn’t healthy. And my recent reading list hasn’t helped things.

Dave Eggers, The Circle

and the sequel that I’ve bought but am too scared to read: The Every

David Heinemeier Hansson’s articles on how it’s hard to escape being ordinary in a connected world and how growing apart and losing touch is human and healthy. That last one really makes you think.

Those led me to this fantastic and fantastically-titled article in the Atlantic: Why the Past 10 Years of American Life Have Been Uniquely Stupid.

Now, I haven’t gotten out the tinfoil hat and I’m not saying that I agree with everything I’ve just listed. But these things have been on my mind for a while.

This is part of a larger thing I’m going through right now, where I’m realizing that I don’t have to be good at everything. I’m not good at contributing to social media (and consuming it isn’t good for me) and that’s okay.

I’m not good at email either, but that’s a project and a story for another day.

This leads me to my third thing—the scarcity mindset. This came up in Beyond Talent earlier in Entrepreneurship this spring, and it struck the students (and me) differently than usual. For much of grad school and my early academic career, I’d say “Yes” to whatever project or job came my way. And this never really stopped—even though I have full-time employment and several side projects, every time I see a job posting I think “OOH! I could do that too!” Not “instead.” “Too.”

Diversification and risk management are good things, but there’s a point of diminishing returns where you’re spread too thin. I just need to calm down and focus on the plates that are already spinning.

OOH! Or I could go back to school to become a CPA!

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Spring 2022 Events

It’s turning out to be a busy semester! I’m teaching a couple of new-to-me classes—Music Research and Bibliography for the grad students and the Symphonic Literature for both grads and undergrads. These are paired with my normal Music Entrepreneurship, the bassoon part of Woodwind Methods II, and a studio of 13 composers.

Let’s talk about performances. I’ve recently updated the calendar, here’s what’s in store!

February 13: Kelly Burns, Cassie Keogh, and Tyler Wottrich premiere my Letters to the Poetry Editor that came about from my work with the NDSU Press.

March 5-6: We’ll present Letters to the Poetry Editor at the College Music Society Central Conference in Omaha. I’ll also be presenting a paper on composer workflow.

The next weekend, March 11-12, I’ll be in Oklahoma for the College Music Society South Central Conference, where Tempest in a Teakettle will be performed.

March 24-26, I’ll be in St. Petersburg, Florida for the Contemporary Art Music Project’s CAMPGround22, where Tape Piece will be performed.

April 21-23, we’re hosting a new music festival at NDSU, including a couple of concerts as part of our Unity concert series, and then a student and faculty (that’s me!) composers’ recital on the 23rd.

May 1, the NDSU Faculty Woodwind Quintet will play Course of Empire as part of the Fargo Moorhead Symphony Orchestra chamber series.

May 8, the Fargo Moorhead Area Youth Symphonies will premiere my One Sows for the Benefit of Another Age.

Oh, also at some point this semester, the New Rockford-Sheyenne High School Band will be premiering the new Steam Powered Rocket in New Rockford. I’ll update the website and the blog when I get that date.

Hope to see you at one (or several!) of these!

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2021 in review

Things I learned and/or did this year:

  1. I never really understood when classmates (or students) said they were “done” with school. I get it now. Learning is fun, but I have work to do.
  2. It’s hard to balance being a human, a student, a professor, a composer, and a programmer. I have to start curating this down.
  3. I started and finished the Publishing certificate at NDSU. I learned a lot about literary publishing (and saw some book projects to fruition), and it was SO MUCH FUN. I did the program to learn more about music publishing because I thought some things would transfer over, and they do.
  4. I also learned that there’s not much structured learning with music publishing—it’s very much apprenticeship and make-it-up-as-you-go. And if that’s the case, what’s stopping me from making up more stuff?
  5. I started making up publishing stuff for my students.
  6. Are we going to start a music publishing certificate in ND? No. Are we going to nudge composers to work with the NDSU Press to get some experience in publishing? Very yes.
  7. I proposed and implemented a new BM Composition program (the first in the Dakotas), which was either the product of or the cause of taking a full-time position at NDSU.
  8. Hey, conferences are a thing again! I presented a piece at the College Music Society national conference in Rochester, NY, and at the first Jacksonville Electronic Music Festival in Florida. I also did my annual appearance at the Aspen Composers Conference.
  9. My parents decided to move to North Dakota—this one is still in progress.
  10. I started using Johnny Decimal as an organizational system, and I think it’s working.
  11. I paid off my student loans.
  12. I stopped buying stuff from Amazon. This was easier than I thought it would be. I have lots to say about this later.
  13. I moved my cloud computing to Microsoft Azure.
  14. I got new headshots made (stay tuned!) and had my sheet music covers redesigned.
  15. We adopted another cat, Lorraine.
  16. I only wrote three pieces, which is embarrassing. But I like them all, so that’s good.
  17. I took on a piece for adaptable instrumentation (flex band) and electronics, which has been a whole new experience.
  18. We installed new livestreaming equipment at NDSU.
  19. I learned how to use printing equipment from the 1880s.
  20. I learned that I like to use printing equipment from the 1880s.
  21. I found out how much money it costs to buy printing equipment from the 1880s.
  22. I found out how much money it costs to find out you’re probably lactose intolerant. But as a bonus I found out I don’t have gluten sensitivity. Either way, I still can’t have pizza.
  23. I learned that you can do whatever you want to do with commas, as long as you’re consistent. I also learned that I still don’t know how to properly use semicolons.
  24. I learned that the drive from Red Lodge, MT to Aspen, CO is something like 14 hours of mostly 2-lane roads and gravel. Only like 100 miles of that are interstate.
  25. I had two VCSU students apply and get in to grad schools in Composition.
  26. Trying to remember everything from the year in the week after Christmas is hard, and next year I’ll be making an ongoing list.
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Kyle Vanderburg