1998 Fall Concert 1998 Fall ConcertFor information, call the Music Department at (415) 723-3811.
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Soundstates for percussion and tape
| Ching-Wen Chao Randal Leistikow, marimba
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| Soundstates presents and explores the 3 states of matter (gas, liquid and solid) and their transformations into one another. This flowing from one sound state to the other forms the basis of the structure of the piece, to reflect a similar process in the spontaneous changes in nature. The piece begins with solid, block-like sounds which gradually disintegrate; it ends with a succession of rising, more atmospheric sounds, with a return to elements of the original material. The coda carries residual traces of preceding elements. The source sounds were mostly drawn from the marimba, played by Randal Leistikow. They were digitally processed in the CLM (Common Lisp Music) environment. Many thanks to Juan Pampin who helped me in employing CLM equipment, and to Randal's performance.
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| Ching-Wen Chao, born in Taiwan in 1973, is currently pursuing a DMA degree in composition at Stanford University, where she studies with Jonathan Harvey. She received her B.A. in composition at the National Taiwan Normal University, and has won several national prizes for piano performance and composition.
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In Principio Erat Verbum (part I) (1998) for computer generated tape
| Marek Zoffaj (1970)
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| In Principio Erat Verbum is an introduction to a work in progress. Its individual parts are based on several statements from the New Testament. The first three sentences from Evangelium by John were used as the initial text and source of inspiration for this introductory movement:
"In the beginning was the Word,
and the Word was with God,
and the Word was God."
The piece is a reflection upon the dialectic relation between concrete (knowledge, experience) and abstract (intuition) meanings of spoken words and their origin, which is also joined with the sacral roots of human beings. The composition evolved from material which was collected last year at CCRMA. The principal rhythmic structures, as well as some of the individual samples, were recorded using the Korg Wavedrum instrument and a grand piano. All this material was later processed through Bill Schottstaedt's CLM, Paul Lansky's RT, and ProTools.
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| Marek Zoffaj, born in Slovakia, is a visiting scholar at CCRMA funded by the Fulbright Foundation. After finishing his master's degree in physics at Comenius University in Bratislava, he received a B.A in music at the Academy of Music and Drama in Bratislava, where he also has been finishing his M.Mus this year. His music was performed in several festivals of electroacoustic music in Europe (Bourges, Verona, and Bratislava).
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Regulate Six (1998) for MIDI violin and computer
| Charles Nichols (1967) Charles Nichols, MIDI violin |
| Regulate Six is a study in granular synthesis. Samples were taken from recordings of male and female voices singing a line from a children's book, and were reassembled to create a new waveform whose spectrum is based on the selected vowel or consonant content of each word. Within the computer-generated sound files, pitches are grouped according to timbral types and sweep across or converge at points on the stereo field. The MIDI violin triggers an array of samples, which are similar in timbre to the background material, performing real-time granulation of the samples through the use of trills and tremolos. The violin's MIDI pitch is often harmonized through computer programming, which is controlled with a foot pedal. The pedal also triggers the start of each sound file.
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| As an undergraduate violin major, Charles Nichols studied composition with Samuel Adler and Warren Benson at Eastman School of Music. After receiving his Bachelor of Music degree, he attended Yale University, where he studied composition with Martin Bresnick, Jacob Druckman, and Lukas Foss and computer music with Jonathan Berger. Interested in composition and performance of interactive computer music, digital synthesis, and instrument design, he is currently pursuing a Ph.D. at Stanford University's Center for Computer Research in Music and Acoustics (CCRMA), where he has studied composition with Jonathan Harvey and Jean-Claude Risset.
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Chuk-won (1998) for electronic sounds and 3 video projectors
| Seungyon-Seny Lee (1969)
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| This piece is based on Samul nori which is a traditional from of Korean percussion music. Samul means ``four things'' in English and nori means ``performing''. The ensemble's members consist of two skins and two metals. The instruments symbolize earth (skins) and the heavens (metal). The instruments are identified with a constantly changing natural world. The metal instruments represent (1) Spring/lightening/thunder and (2) Summer/wind. The skin instruments represent (1) Autumn/rain and (2) Winter/clouds. It is said that if people play on these four instruments together, the resulting vibrations will harmonize earth and heaven into one universe. Sounds for this piece originate from recordings of skin and metal instruments used in the performance of Samul nori. During this performance, three video projectors will display images that metaphorically combine with the music to reflect on the unity of creation. This piece will from the third part of a four-movement composition entitled Chuckwon which roughly translates as ``invocation''. This movement consists of electronic sounds only -- other movements will include a percussion quartet as well.
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| Seny Lee was born in Seoul, Korea where she studied composition at Chugye College from 1988 to 1992. She holds a master's degree in composition from Boston University where she studied with Lukas Foss and Richard Cornell. Also, she has studied with Barry Vercoe at the MIT Media Lab. As a DMA student in the Department of Music at Stanford University, Seny is studying with Jonathan Harvey, David Soley.
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Incantation S4 (1997) for digitally processed saxophone
| C. Matthew Burtner (1970) C. Matthew Burtner, saxophone
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| Incantation S4 (1997) explores the integration of the saxophone and electronics as equal elements within a single, non-narrative sound-space. Techniques of digital audio synthesis influence the approach to the saxophone while the electronic part is inspired by a natural and organic conception of sound. This piece is one of a series entitled Incantation I have written; others include compositions for cello and tape, tape solo, bass and tape, and saxophone quartet and tape. Most of the sound synthesis was accomplished using the PODX system for quasi-synchronous granular synthesis during a residency at Simon Fraser University in Vancouver. The piece was also composed during a residency at the Phonos Foundation in Barcelona. It is dedicated to my friend, the composer Barry Truax, whose work involving the World Soundscape Project and exploration of sonic microstructures using granular synthesis has influenced my music.
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| C. Matthew Burtner (1970) is a first year doctoral student in composition at Stanford. A native of Alaska, he studied philosophy at St. Johns College, composition at Tulane University (BFA 93), computer music composition in Paris at Xenakis' CeMAMu/UPIC studios, and computer music at the Peabody Institute of the Johns Hopkins University (MM 97). His pieces, commissioned by performers such as Phyllis Bryn-Julson, the Spectri Sonori Ensemble, Norway's MiN Ensemble, the Peabody Trio, and the Quiescence Dance Ensemble, have been performed throughout the United States and Europe as well as in Japan, Canada and Brazil. As a saxophonist, Burtner is interested in experimental electroacoustic music and enjoys performing works which explore the unique acoustical properties of the saxophone.
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Dawn of the Sabre-toothed MalletKAT (1998)
I Primordial Soup for electronic and acoustic percussion
| Jonathan Norton (1966) Mark Goldstein, percussion
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| Dawn of the Sabre-toothed MalletKAT attempts to shows us a glimpse into the history of the little known, reclusive, but highly intelligent Sabre-toothed MalletKAT. In the first peek we see that although the MalletKAT evolved differently from us we all started out from the same basic material. In the second glimpse we are privy to a rarely witnessed scene: the MalletKATs search for sustenance. It is a well established fact that the Sabre-toothed MalletKAT loves to eat, and the final glimpse gives us insight into its mealtime rituals and celebration of food. This piece was written for vibraphone and MalletKAT MIDI controller connected to a Yamaha TG77. Additional MAX software written by Mark Goldstein processes the MIDI data stream from the MalletKAT. The software performs dynamic voice switching in response to monophonic or polyphonic playing. The software also controls a variety of sustain and articulation effects. Dawn of the Sabre-toothed MalletKAT was first premiered at the Latin-American Percussion Encounter - Sao Paulo, Brazil 9/17/98.
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| Jonathan Norton is currently studying at the Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University, working towards a Ph.D. in computer-based music theory. During his time at Stanford he studied with John Chowning, Julius Smith, Max Mathews, Chris Chafe, and Jonathan Harvey.
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| Mark Goldstein is a free-lance percussionist and music technology consultant. He holds a percussion degree from the Peabody Conservatory of Music and computer science degrees from The Johns Hopkins University and Stanford University, where he has been affiliated with CCRMA since 1983. Mark performs in a wide variety of idioms in both the analog and digital domains. He works with composers, instrument builders, and researchers exploring the relationship between sound, movement ,and gesture, creating software, hardware, and repertoire for live electronic performance.
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STILL for tuba and electronics
| Jonathan Harvey (1939) Tom Heasley, tuba |
| STILL was written recently for a Dutch tuba player. It uses a sequence of reverberated chords over which the performer is free to improvise.
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| ©1998 CCRMA, Stanford University. All Rights Reserved. Created and mantained by Fernando Lopez-Lezcano, nando@ccrma.stanford.edu
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