strictly BALLROOM




A Happening by CCRMA and Friends

Tuesday, March 8, 2005
8:00 pm to 12:00 am, Cantor Arts Center

auditorium performances | deck performances | dome performances
Auditorium Performances
Gautam Rangan, Brandon Jacobs Mills, Jason Gatt

Title: Autocell
Length: 6 minutes

Program Notes:
Directed by: Terrence Deacon, Professor of Biological Anthropology at UC Berkeley

This is an educational short animation about the origins of a simple chemical system that likely preceeded the first cell.

Fernando Lopez-Lezcano

Video: Instant Knoll

Title: iICEsCcRrEeAaMm

1998 [8:06]

iICEsCcRrEeAaMm is a beta, er.. I mean alpha version of a new multichannel tape piece I'm still working on. As in the software world, Marketing informs me that in future versions bugs will be squashed and new features will be added for the benefit of all listeners. "iscream" refers to the origin of most of the concrete sound materials used in the piece. Screams and various other utterances from all of Chris Chafe's kids were digitally recorded in all their chilling and quite upsetting beauty. They were latter digitally fed into the "grani" sample grinder, a granular synthesis instrument developed by the composer. "ICECREAM" refers to the reward the kids (and myself) got after the screaming studio session. The piece was composed in the digital domain using Bill Schottstaedt's Common Lisp Music. Many software instruments and quite a few other samples of real world sounds made their way into the bitstream.

Link: http://ccrma.stanford.edu/~nando/

Kristine Samuelson

Title: El Nino

Length: 8 mins.

A two-screen video installation with sound, accompanied live by music by Chris Chafe.

Johnny Hwin

Title: Bird Death

Length: 2:02

Written in a fit of insanity, this collage of bird calls draws influences from the Night of the Undead film and other zombie horror flicks.

Arie Stavchansky (video)
Per Bloland (music)

Title: Graveshift

choreography by Kristen Glennon, Barbara Javors

raindrop dancers:

Kristen Glennon
Barbara Javors
Scott Marlowe
Brazie Mata
Bevin Mraw

voice performance: Barbara Javors

Through a rain-streaked cafe window, surveillance of a street scene is digitally transformed into a fluid chaos comprised of paranoia, ghostly figures, and alterations of reality. Echoes of a forgotten song float above the milieu, now gaining, now loosing coherence. It is an image plagued by distortion, but this distortion emerges from quietness and recedes once again into the same.

Graveshift was conceived as a cross-discipline collaboration including video, music, and live dance.

Link: http://www.stanford.edu/~bloland/

Kiyoshi Furukawa, Masaki Fujihata, Wolfgang Munch

Title: Small Fish

"Well! I've often seen a cat without a grin, but a grin without a cat! Its the most curious thing I ever saw in all my life." Bewilderment similar to that of Alice in Wonderland will be expressed by anyone attempting to concisely describe the CD-ROM bearing the subtitle "Chamber Music" by Kiyoshi Furukawa and Masaki Fujihata. The normal arrangement foresees musicians, instruments, and a score that records a composer's musical intentions. With a view to making chamber music, four string instrument players might meet up, unpack their instruments, place sheet music on the stands, and proceed to play a string quartet. Whereas Small Fish players slide the silver disk into their computer and immediately discover a topsy-turvy world. The music is not coaxed from the instruments but performed upon a score which was specially designed by Fujihata and varies according to the music produced. And while composer Furukawa has specified merely timbres and their potential combination, the player is expected to compose the music - and the latter turns out differently every time.

- Heike Staff

Links: Furukawa, small fish

Steven Backer

Title: unlabelled

Length: 4 min.

Link: http://ccrma-www.stanford.edu/~sbacker/220b/hw3.htm


Project directed by Chris Chafe and Gregory Niemeyer

CG Images by Gregory Niemeyer and Christine Liu
CGI Character Design by Lorenzo Wang
Story written by Gregory Niemeyer

Organum is a playground for anticipated changes, adaptations and evolutions of the human body. Organum is a collection of ideas and projects by a collection of people sometimes called Network Character.

Links: Organum Site, Gregory Niemeyer, Chris Chafe

Gautam Rangan, Jason Gatt

Title: Wings of Autumn

Music by Raymond Scott

Length: 8 min.

Nate Fitzgerald

Title: Duet for Theremin and Synths

Length: 8 min.

The eerie sound of the theremin is backed by computer synths and percussion. Most of my music is based around improvisation and this piece is no exception. I start with some pre-composed percussion and synth tracks and develop the music from there.

The "guitar" is actually a custom built theremin, the first electronic instrument. Two brass plates control pitch and volume by detecting body capacitance. The raw theremin sound is processed by software (Ableton Live). The keyboard controls software MIDI synths in Live. MIDI percussion can be altered in real-time depending on how the improvisation develops.

Jesse Fox

Title: Improvisation for Dancers and DelMatic

Length: 10 min.

An improvised collaboration for dancers and a MIDI-keyboard-controlled computer instrument called the DelMatic.

The computer instrument used in this piece utilizes nothing but a set of delay lines with variable delay length and feedback coefficients. Audio input is written into delay lines and read back in real time, while the keyboardist manipulates delay parameters in response to the performance material. Audio input is transformed into textural material, whose pitch is determined by input from the keyboard. In essence, this is real-time wavetable synthesis with live input as the wavetable material.

Daniel Squire

Title: Live Video

Grace Leslie

Mark Applebaum

Title: 5:3

Length: 10 min.

Link: www.markapplebaum.com

5:3 was composed for [sic]--the Stanford Improvisation Collective. It involves 8 cracklebox players and 2 amplified dice rollers. The dice rollers throw 4- and 8-sided dice which control the display of 8 colored, laminated cards. The cards--while saying nothing about what music the cracklebox players should play--instruct them on meta-performance matters: when to play, where to face, when to move or be stationary, etc.

Members of [sic]:
Anna Coburn
Carolyn Chen
Erik Ulman
Sam Adams
Max Citron
Michael Feldman
Jesse Fox
Brennan Rego
Gabe Turow
Aaron Cohn

Deck Performances
Nathan Breitling

Rodrigo Segnini & Woon Seung Yeo

Title: Check Mate

Length: indeterminate

Program Notes:
CheckMate (2005) by Rodrigo Segnini & Woon Seoung Yeo
In a chess game, the importance of a piece is circumstantial. While a queen or a tower are ranked higher for its potential in terms of reach, a pawn, more limited in its movements can still be decisive due to its location at a particular time in the game. Thus, it can be said that the player's intention is what singularizes a piece, and given the effect of their interaction in any pre-formulated plans, the state of the game also becomes a factor. This framework results in an equalizer of sorts, where every piece waits for its time and the player's intent to acquire its real personality. CheckMate explores this scenario by producing music related to the intention of the dancers and their movements. The sound's dimensions will vary according to each piece and the state of the game. Images are also projected following the same rules, not necessarily in concordance with the audio. These relationships are controlled live by the composers on stage. As in chess, this approach can prove a deceitful strategy; intent, if well hidden, can be a terrific weapon and then it is too late...check mate. CheckMate is inspired in Reunion, a collaborative performance spearheaded by John Cage in 1968 where he and others, including Marcel Duchamp, played a kind of sonified chess in front of an audience.

1-2 composers with laptop(s) on stage or a vantage position therefrom with audio (multichannel if possible) and video outputs. 2-32 dancers (black & white coloring suggested); their participation should reflect an understanding of the purposes and the inspiration source stated in the program above.

Max Matthews

Title: Runs

Program Notes:
Runs is an improvisation for the radio-baton. the performer controls six factors with the x,y,z positions of two batons which he wields. the name, runs, comes from pitch does not follow but rather chases the x position of the #1 radio-baton. amplitude, tempo, and pitch interval between successive notes follow x & y of the #2 baton and y of the #1 baton. z of the #1 baton turns everything on or off. z of the #2 baton is a sustain pedal

Link: www.csounds.com/mathews

Jon Appleton

Title: Pacific Rimbombo

Link: http://eamusic.dartmouth.edu/~appleton/

Mitchell Lamar Wilcox

Chris Chafe, Roberto Morales, Matt Wright

Title: improvisation

Jonah Bokaer

Title: Cell Phones

Antiphonal Jam

Dome Performances
Jeffrey Trevino (tuba), Miri Hutcherson (cello), Erica Simmons (shawm), Carolyn Chen (shawm)

Title: Outdoor Instruments

Length: 10 minutes

Adrian Coburn, Jennifer Lane

Title: Vocal Improvisation

Length: 10 minutes

Link: Jennifer Lane

Bruno Ruviaro, Juan Pablo Caceres

Title: BJP

Length: 10 minutes

Program Notes:
Two-laptop live improvisation.

Link: Bruno Ruviaro

Jesse Fox, Jen Carlile

Title: SoniMime

Length: 10 minutes

Program Notes:
Dancers make music! SoniMime uses two 3D accelerometers to capture hand movement. Sensor data is processed and sonified. In addition to sonic component, a light tracks the dancer and projects his/her shadow onto dome surface.

Roberto Morales, Matt Wright

Title: Flauta

Robert Lugo, Damonrick Jack

Title: Beat Boxing

Kevin Gabayan

Title: Quintessence

Length: 5 minutes

Program Notes:
The jazz ballad Quintessence is a signature solo performance of alto saxophonist Phil Woods that was first recorded with the Quincy Jones Orchestra in 1961. In this performance, the "Radio Saxophone" will be used to provide a new musical and physical interpretation. The "Radio Saxophone" project attempts to reclaim the expressive (and sometimes unnecessary) movements of a saxophonist for musical control. The capacitive sensing system takes advantage of the conductivity of saxophone brass, using the instrument as a radio transmitter. By analyzing the signals received at nearby antennas, the 3D position of the saxophone is determined and used to control timbre and effects parameters in a computer processing the saxophone samples in real-time.

Matt Wright

Jonah Bokaer

Title: Cell Phones

Phil Lesh

Title: improvisation

Christian Wolff

Title: TBA

Link: http://www.ocnmh.cz/biographies_wolff.htm


home | about | schedule | contact | artists | strictly BALLROOM
CCRMA | Stanford