Carla Scaletti is an experimental composer and entrepreneur, designer of the Kyma sound design language and co-founder of Symbolic Sound Corporation. Each of her compositions originates from a “what-if” hypothesis and involves live Kyma electronics interacting with acoustic sources and environments. Educated at the University of Illinois (DMA, MCS), she studied composition with Salvatore Martirano, John Melby, Herbert Brün and Scott Wyatt and computer science with Ralph Johnson, one of the Design Patterns “Gang of Four.” She has been guest lecturer at Centre de Crèation Musical Iannis Xenakis (CCMIX) in Paris, and co-organizes the annual Kyma International Sound Symposium, this year based on the theme: Picturing Sound.
In addition to her work in software development and music composition, she has a special interest in scientific data sonification, and some of her work with physicist Lily Asquith on data from the Large Hadron Collider at CERN influenced the musical score she created for choreographer Gilles Jobin’s piece QUANTUM.
Jonty Harrison (born 1952) studied with Bernard Rands, Elisabeth Lutyens and David Blake at the University of York, graduating with a DPhil in Composition in 1980. Between 1976 and 1980 he lived in London, where he worked with Harrison Birtwistle and Dominic Muldowney at the National Theatre, producing the electroacoustic components for many productions, including Tamburlaine the Great, Julius Caesar, Brand and Amadeus, and at City University. In 1980 he joined the Music Department of the University of Birmingham, where he is now Professor of Composition and Electroacoustic Music, and Director of BEAST (Birmingham ElectroAcoustic Sound Theatre); between 1980 and 2013 he was also Director of the Electroacoustic Music Studios. At Birmingham he has taught a number of postgraduate composers from the UK and overseas; many are now themselves leading figures in the composition and teaching of electroacoustic music in many parts of the world. For ten years he was Artistic Director of the department’s annual Barber Festival of Contemporary Music and he has made numerous conducting appearances with the Birmingham Contemporary Music Group (including in Stockhausen’s Momente in Birmingham, Huddersfield and London), the University New Music Ensemble and the University Orchestra. He was a Board member of Sonic Arts Network (SAN) for many years (and Chair in 1993-96). He has also been on the Council and Executive Committee of the Society for the Promotion of New Music and was a member of the Music Advisory Panel of The Arts Council of Great Britain.
As a composer he has received several Prizes and Mentions in the Bourges International Electroacoustic Music Awards (including a Euphonie d’or for Klang in 1992 cited as “one of the most significant works” in the Bourges competition’s history), two Distinctions and two Mentions in the Prix Ars Electronica (Linz, Austria), First Prize in the Musica Nova competition (Prague), the Destellos Competition (Argentina), a Lloyds Bank National Composers’ Award, a PRS Prize for Electroacoustic Composition, an Arts Council Composition Bursary and research grants from the Leverhulme Trust and from the Arts and Humanities Research Board/Council.
Commissions have come from many leading performers and studios — including two each from the Groupe de recherches musicales (Ina-GRM, Paris) and the Institut international de musique électroacoustique de Bourges (IMEB — formerly the Groupe de musique expérimentale de Bourges) — such as the International Computer Music Association (ICMA), MAFILM/Magyar Rádió (Budapest), Electroacoustic Wales/Bangor University, IRCAM/Ensemble Intercontemporain (Paris), KLANG Acousmonium (Montpellier), BBC, Birmingham City Council, Birmingham Contemporary Music Group, Fine Arts Brass Ensemble, Nash Ensemble, Singcircle, Thürmchen Ensemble (Cologne), Compagnie Pierre Deloche Danse (Lyon), Darragh Morgan, John Harle, Beverly Davison, Harry Sparnaay, and Jos Zwaanenburg. Despite renouncing instrumental composition in 1992, he wrote Abstracts (1998) for large orchestra and 8-track tape, Force Fields (2006) for 8 instrumentalists, and fixed sounds for the Thürmchen Ensemble and Some of its Parts for violin and fixed sounds for Darragh Morgan (piano and percussion versions to follow, together with duo and trio options).
He has undertaken a number of composition residencies, including in Basel (Switzerland), Ohain (Belgium) and Bangor (Wales, UK), and has been guest composer at numerous international festivals. In 2010 he was Guest Professor of Computer Music at the Technische Universität, Berlin. In 2014 he will be a Master Artist-in-Residence at the Atlantic Center for the Arts in Florida and in 2015 will the KEAR composer in residence at Bowling Green State University, Ohio. During 2014-15 he will hold a Leverhulme Emeritus Fellowship. His music is performed and broadcast worldwide. His music appears on three solo albums on empreintes DIGITALes, as well on compilations on SAN/NMC, Cultures électroniques/Mnémosyne Musique Média, CDCM/Centaur, Asphodel, Clarinet Classics, FMR, Edition RZ and EMF.
Miller Puckette is the well-known creator of the Max and Pure Data real-time computer music software environments, which are ubiquitously taught and used in electronic music and multimedia practice worldwide. Originally a mathematician, he won the national Putnam mathematics competition in the United States in 1979, and received a PhD from Harvard University in 1986. He was a researcher at the MIT Media lab from its inception until 1986, then at IRCAM (Paris, France), and is now professor of music at the University of California. He has been awarded two honorary doctorates and the SEAMUS prize.
– Tae Hong Park
- Saturday, September 26 – Miller Puckette
Recent and upcoming features in Pure Data
Pure Data “vanilla” version 0.46 is out and 0.47 is under development. This workshop will show some recent and upcoming features: a “text” object that can be used in place of “coll” (but much more flexibly) and/or which can be used to design a wide variety of sequencers; binary netsend and netreceive and OSC support; an “array” object that makes it easy to do common operations like summing, getting maxima/minima, and generating random numbers from probability distributions; enhancements to reduce audio latency; and better support for making plug-ins from Pd patches using libpd.
- Sunday, September 27 – Jonty Harrison
Sound Diffusion Illustrated Demonstration
In this workshop, Jonty Harrison discusses sound diffusion techniques, illustrated by excerpts from his own compositions. He will outline diffusion strategies, offer hints and tips, and field questions from participants.
- Monday, September 28 – Carla Scaletti
What’s New in Kyma 7
An introduction to the Kyma 7 language for sound designers, researchers, composers, and live performers. Topics to include sound objects, algorithmic parameter controls and mapping, source material editors (Wave, TAU, and Spectra), automatic patch-generation in the Gallery, and live interactive performance environments created using the Timeline or the Multigrid. Whether you are new to Kyma or already familiar with Kyma X, the workshop is designed to introduce you to some of the new sound design and live performance tools available in Kyma 7.
Featured Ensembles and Performers
Ensemble Dal Niente
Ensemble Dal Niente is a 22-member Chicago-based contemporary music collective that presents and performs new music in ways that redefine the listening experience and advance the art form. The programming, brought to life by a flexible repertoire-based instrumentation, seeks to challenge convention and create engaging, inspiring, and immersive experiences that connect audiences with the music of today.
Described as “super-musicians” and noted for “bracing sonic adventures by some of the best new-music virtuosos around” (Chicago Tribune), Ensemble Dal Niente became the first-ever ensemble recipient of the coveted Kranichstein Music Prize – the top award for music interpretation – at the 2012 International Summer Courses for New Music in Darmstadt, Germany.
The ensemble has commissioned or premiered hundreds of works and has collaborated with visual artists and playwrights to create rich new experiences for audiences and people of diverse creative disciplines. Equally at home working with major international figures as with younger composers, recent collaborators include Brian Ferneyhough, Chaya Czernowin, George Lewis, Marino Formenti, Kaija Saariaho, Marcos Balter, Greg Saunier, Deerhoof, Hans Thomalla, Lee Hyla, Johannes Kreidler, Mark Andre, Evan Johnson, Aaron Einbond, Katherine Young, and Jay Alan Yim.
The ensemble’s name, Dal Niente (“from nothing” in Italian), is a tribute to Helmut Lachenmann’s work for clarinet Dalniente (Interieur III), the courageously revolutionary style of which serves as an inspiration for its musicians. The ensemble’s name also references its humble beginnings — founded in 2004 by a group of music students at various Chicago schools, the ensemble has risen from obscurity to a position as one of North America’s most prominent new music groups. http://dalniente.com/>
More info: http://dalniente.com
Nova is the new music ensemble of the UNT College of Music, directed by Dr. Elizabeth McNutt. Nova’s mission is to provide students and audiences with an engaging diversity of musical, aesthetic, and cultural experiences. Repertoire includes classics of the modern era alongside music by younger and less familiar composers. Nova provides students with the opportunity to perform fresh and exciting contemporary works. Collaborations with faculty and guest composers give students insight into the process of creating new music.
Recent performances have included music of Chaya Czernowin, Elliott Carter, David Lang, Frederic Rzewski, Steven Stucky, Giacinto Scelsi, Nick Didkovsky, Libby Larsen, Judith Shatin, James Tenney, Isang Yun, Christian Wolff, John Cage, Stefan Wolpe, and Charles Ives. Nova has recently collaborated with guest composers Augusta Read Thomas, Mario Davidovsky, and Dexter Morrill, as well as UNT faculty and student composers.
The ensemble’s instrumentation varies by semester. Projects each term include solo, chamber, and large ensemble works. Faculty and guest performers often join the ensemble, further enhancing students’ understanding of contemporary performance issues.
More Info: https://composition.music.unt.edu/nova
Elizabeth McNutt, flute
Passionately devoted to the music of the present, Elizabeth McNutt is internationally recognized for her performances of innovative contemporary and electroacoustic music. She has premiered over 200 works and performed in Europe, Asia, and throughout the U.S. Her playing has been described as “commanding” (LA Times), “fearless and astounding” (Flute Talk), “high-octane” (Musicworks), and “spell-binding” (Computer Music Journal). Her solo CD pipe wrench: flute + computer is on the EMF Media label; her other recordings are on the CRI, Centaur, SEAMUS, Ravello, and Navona labels. She frequently performs regularly with The Tornado Project (with Esther Lamneck, clarinetist) and the Calliope Duo (with Shannon Wettstein, pianist). She also directs the Sounds Modern series in Fort Worth and Marfa, TX. Dr. McNutt is committed to scholarly research, with articles published in Organised Sound, Flutist Quarterly, and Music Theory Online; she regularly writes about new music on her blog newmusicpioneer.com. She has received grants and fellowships from Arts International, National Foundation for the Advancement of the Arts, Open Meadows, Rocky Mountain Women’s Institute, and American Composers Forum, among others. McNutt holds a DMA in contemporary music performance from the UC San Diego, where her mentors were Harvey Sollberger and Miller Puckette. On the faculty of the University of North Texas, she teaches flute and contemporary music classes, directs the new music ensemble Nova, and coordinates the contemporary music performance related field.
For more information, visit http://www.elizabethmcnutt.com
Keith Kirchoff, Piano
Pianist and composer Keith Kirchoff has performed throughout all of North America and much of Europe. A strong advocate for modern music, Kirchoff has premiered over 100 new works and commissioned over two dozen compositions. As part of his commitment to fostering new audiences for contemporary music, Kirchoff has appeared at colleges and universities across the United States as a lecture-recitalist. He has played with orchestras throughout the U.S., performing a wide range of concerto, including the Boston premiere of Charles Ives’s Emerson Concerto and the world premier of Matthew McConnell’s Concerto for Toy Piano. Kirchoff has won awards from the Steinway Society, MetLife Meet the Composer, the Foundation for Contemporary Arts, and was named the 2011 Distinguished Scholar by the SMSA. Specializing on works which combine interactive electro-acoustics with solo piano, Kirchoff’s Electro-Acoustic Piano Tour has been presented in six countries, and the first album in the Electro-Acoustic Piano series was released in 2011 on Thinking outLOUD Records. He has also recorded on the New World, Zerx, Bridge, and SEAMUS labels.
For more information, visit http://www.keithkirchoff.com/
Jane Rigler, flute
Jane Rigler, flutist, composer and improviser focuses on stretching the boundaries of musical performance and multi-disciplinary interactive ensemble works that center on community building and combining innovative techniques with ancient storytelling. An Assistant Professor at UCCS, her 2015 highlights have so far been the release of her first CD “Rarefactions” (Neuma Records), teaching Computer Music and traveling to Spain and Greece.
For more information, visit http://www.janerigler.com
Conference Banquet & Award Ceremony
Wednesday, 30 September 2015
Come join us for the ICMC 2015 Banquet and Awards Ceremony. The Grand Buffalo Ballroom offers an expansive cathedral ceiling peak of 39′ in height. The room is further accented with Double French Doors and our floors are seamless mirror-polished finish in Sands of Monument Valley tone. Wrap around porch with beautiful views of the Countryside and wonderful Garden Gazebo area.
The signature Buffet Menu
Chips and Queso
Salad Buffalo’s Field of Greens:
Spring mix salad with two dressings Ranch and Italian.
Main Course Texas BBQ*:
Smoked sausage and smoked chicken
All Entrees include relish try, bread tray and your choice of two sides:
– Twice baked potato casserole
– Green beans with almonds
Assorted fruit cobblers
Iced Tea, Water, Coffee Station and Sodas.
Full cash bar for alcoholic beverages (The bartenders will request a valid form of picture ID – Passport/ Driving Licence/ id cards, from all guests frequenting the bar)
*Vegetarians will get their meals directly from the Chef.
The Texas Experience
– Strolling Singing Cowboy (one singer)
– Comedy Gunfight Show (3 actors)
– Line Dancers: Instructor and Assistant
ICMC 2015 will provide transportation in vans or buses.
Buffalo Valley Event Center
2946 Ganzer Rd. W
Denton, Texas 76207