40 Years of Looking to the Future Concert Program

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YEARS OFLOOKING TO THE FUTURE A MULTI-MEDIA CONCERT featuring Dance Video Projections Intermedia Improv Realtime Interactive Music Interactive Light Sculpture Speakeroids works by McGregor Boyle Samuel Burt John Berndt Matthew Burtner Matt Diamond Jean Eichelberger Ivey Charles Kim Hyun Kyung Kim Chris Mandra Margaret Schedel Scott Smallwood Geoffrey Wright

Tuesday, November 3, 2009 7:30 PM Peabody Conservatory of Music Miriam A. Friedberg Concert Hall

Presented by

the Peabody Computer Music Consort Geoffrey Wright, Artistic Director McGregor Boyle, Technical Director Celebrating the 40th Anniversary of Electronic and Computer Music at Peabody Conservatory / Johns Hopkins University pcm.peabody.jhu.edu

Peabody Institute of The Johns Hopkins University 1 East Mount Vernon Place, Baltimore, MD 21202 410-234-4800

A Ye a r o f Ce l e b rat ions Celebrating a year of anniversaries:

• 40th anniversary of the Peabody Electronic Music Studio • 25th anniversary of the Peabody Computer Music Studio • 25th anniversary of the Computer Music Consort Performance Ensemble • 20th anniversary of the Combined Laboratory for Acoustic Interdisciplinary Research (CLAIR) • 20th anniversary of the Peabody Computer Music Department and related academic programs (Master of Music degree in computer music, Doctorate of Musical Arts degree in computer music combined with composition or performance department) • 15th anniversary of the Annual Sidney M. Friedberg Lecture Series in Music and Psychology • 14th Annual Competition for the Prix d’Été • 5th Anniversary of the Bachelor of computer music degree program

ALUMNI Vivian Adelberg Rudow BM, 1972 William Moylan BM, 1978 Michael Hedges BM, 1981 Elizabeth Anderson MM, 1987 Atau Tanaka BM, 1989 Richard Dudas BM, 1990 Daniel Barrett MS (JHU), 1990 Chris Mandra MM 1991 Bruce Mahin DMA, 1991 Lynn Kowal MM, 1991 Stephen Cambell Hilmy MM, 1991 Darren Otero MM, 92 Juha Ojala MM, 1992 Daniel P. Zupnick MM, 1994 David Shaw MM, 1994 Nathan Phillips MM, 1994

Richard Roth MM, 1995 Ellen Fishman-Johnson DMA, 1995 Jeffrey C. Beman DMA, 1995 Steve Antosca MM, 1995 Kenneth Kinard MM, 1996 Michael Urich MM, 1997 Forrest Tobey MM, DMA, 1997 Wendy Linkin MM, 1997 C. Matthew Burtner MM, 1997 Seong-Ah Shin MM, 1998 Charles Kim MM, 1998 Jozef Bezak MM, 1998 David B. Wetzel MM, 1999 Scott Smallwood MM, 1999 Wan-Ching Li MM, 1999 Lilit Yoo MM, 2000

Administration Ronald J. Daniels

President, The Johns Hopkins University

Dr. Lloyd B. Miner

Provost and Senior Vice President for Academic Affairs

Jeffrey Sharkey

Director, Peabody Institute

Mellasenah Y. Morris

Dean of the Conservatory

Carolee Stewart

Dean of the Preparatory

Andrea Trisciuzzi

Associate Dean for External Relations

Gayle E. Ackley

Senior Associate Dean for Finance and Administration

Production Staff Teresa P. Shirley-Quirk

Director of Concert Operations

Linda G. Goodwin

Director of Ensemble Operations

Jason Lovelace MM, 2004 Robert Hamilton MM, 2004 Jeremy Baguyos MM, 2005 Andrew Cole MM, 2005 Samuel Burt MM, 2005 Kyungmi Lee, MM 2006 Rose Hammer, MM, 2006 Michael Straus, MM 2007 Richard Horner, MM 2007 Matthew Diamond, BM 2008 Bonnie Lander, GPD 2008 Patrick Donnelly, MM 2008 Scott Sayre, BM 2009 Ya-Chi Hsu, MM 2009 Kyle Bennett, MM 2009

Peabody Computer Music Department Susan Caplan

Concert and Publications Coordinator

Jessica Hanel Satava

Concert Series Coordinator

Paul Faatz

Senior Ensemble Coordinator

Rich Lauver

Ensemble Coordinator

Melina Gajger

Orchestra Coordinator

Douglas Nelson

Geoffrey Wright Director of Computer Music and the Combined Laboratory for Acoustic Interdisciplinary Research (CLAIR) Artistic Director, Computer Music Consort Computer Music Faculty

McGregor Boyle Composition Department Chair Computer Music Faculty Technical Director, Computer Music Consort

Graduate Assistants

Technical Coordinator

Michael Scott-Nelson

Darryl E. Carr

Heather Woodworth

Stage Manager

Dennis Malat

Technical and Stage Consultant

Elizabeth Digney

Box Office Coordinator

Bei Zhang

Student Employees Gabriel Caballero Gene Crocetti

Mary Schwendeman Chief Piano Technician

William Racine

Audiovisual Coordinator

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John Paul Young MM 2001 Angela Revis Taylor MM, 2001 David Sullivan MM, 2001 Margaret Schedel MM, 2001 Joseph Sarlo MM, 2001 Seunghyun Yun MM, 2002 Karl MacMillan MM, 2002 Ye Sung Lee MM, 2002 Taehi Kim MM, 2002 Cheonwook Kim MM, 2002 Michael Droettboom MM, 2002 Asha Srinivasan MM 2003 Ilya Mayzus MM, 2003 Chia-Jui Lee MM, 2003 J. Anthony Allen MM, 2003 Chryssie Nanou GPD, 2004

Graphic design and layout by ycAr t Design Studio

Th e Fi r s t 4 0 Ye a r s

TIMELINE OF IMPORTANT HISTORICAL EVENTS

1967

Using the personal synthesizers of Peabody’s Director Charles Kent, Dr. Jean Eichelberger Ivey began offering summer workshops in electronic music to school music educators. Public electronic music programs took place from the beginning.

1969

The Peabody Electronic Music Studio was officially founded and began year-round operation with regular courses offered to conservatory students. It was the first such studio in Maryland, and the first anywhere to be located in a conservatory. Regular electronic music concerts started.

1977

Peabody’s affiliation with Johns Hopkins made possible exploration of the field of computer music, initially utilizing computers, advanced technology, and expertise through the University.

1982

The Peabody Computer Music Studio was founded by Dr. Geoffrey Wright. The Computer Music Consort, a professional digital-arts performance group in residence at the conservatory, was also founded, with Dr. McGregor Boyle as its technical director.

1989

The Peabody Computer Music Department was formed by joining the earlier Electronic and Computer Music Studios. A unique Master of Music degree in computer music was inaugurated, featuring specialized tracks in composition, performance and research/technology.

1991

The first graduate of the Master of Music in computer music composition degree was Lynn Kowal. Her master’s thesis composition, “Dance of the Cranes” was later chosen as the title music for the NBC television series “Homicide: Life on the Street”, which ran from 1993 to 1999.

1993

The Sidney M. Friedberg Lecture Series in Music and Psychology was founded to bring distinguished musicians and psychologists to Peabody Conservatory and Johns Hopkins University. The lecture, an annual event, is part of a program undertaken jointly by the Computer Music Department of the Peabody Conservatory and the Psychology Department of the School of Arts and Sciences. The program focuses on education and research relating to musical composition and performance, psychoacoustics, and music perception and cognition.

1994

Establishment of the Prix d’ Été composition competition by Peabody alumnus Walter Summer. The competition encourages Peabody graduate and undergraduate composition students to create chamber music that explores new instrumental, vocal, computer and multimedia horizons. He has also established an endowment at Peabody to fund the annual Augenmusik Exhibition, a collaborative exhibition among Peabody graduate composers and performers and graduate artists of the Maryland Institute College of Art.

1996

The Peabody/Johns Hopkins Office of Technology Transfer was formed. The term “Peabody Ventures” was coined to represent of Peabody’s intellectual property pertaining to “Music, Science, and Vision.” Peabody Ventures pursues projects which focus on: 1) Multimedia Composition and Performance 2) Electronic and Distance Education, and 3) Digital Audio Processing Systems.

1997

Peabody Digital SoundWorks LLC was formed to market and sell the first commercial product developed from Peabody intellectual property.

1998

Establishment of doctoral level (DMA) study at Peabody in computer music in conjunction with the composition and various performance department.

1999

Celebration of 30 Years of “Looking to the Future”

19992000

Peabody Ventures was commissioned by Times Square 2000 to provide the ceremonial music and performances for the Millennium New Years Celebration in Times Square, New York. Conductor Forrest Tobey performed the Virtual Digital Orchestra and composer Charles B. Kim wrote 5 pieces for the event. Geoffrey Wright was the artistic director and Edmund Pirali (formerly Peabody Computer Music Technology faculty and currently CEO, Intelligent Devices, Inc.) was the technical director.

2001

Concert Exchange with the Oberlin TIMARA (Technology in Music and Related Arts) program. Oberlin students presented a concert at Peabody, and Peabody presented a concert at Oberlin.

2003

“Music by the Numbers” a multimedia concert was presented by the Computer Music Consort at Peabody as part of the International Society for Music Information Retrieval (ISMIR) conference.

2005

Bachelor’s degree in computer music composition and performance is launched.

2006

“Courbet and the Modern Landscape,” a major exhibition at the Walters Art Museum commission 6 Peabody student composers to create original music for the museum. All compositions were done with computers, and the exhibit received rave reviews, including one in The New York Times.

2008

The first graduate in the Bachelor of Music in computer music degree was Matt Diamond. He was also the recipient of a Bachelor of Science degree in neuroscience.

2009

Celebration of 40 Years of “Looking to the Future” 3

D e d i c at i o n to J e a n Ei c h e l b e rg e r I ve y

By Heather Woodworth Jean Eichelberger Ivey has spent her entire life surrounded by music.

One of her biggest achievements was founding Peabody’s Electronic Music Studio in 1969, which has nurtured generations of successful composers and musicians, many of whom are represented on this evening’s concert. The first of its kind in an American conservatory, Dr. Ivey’s studio provided an open and accessible environment for students to develop their interests in electronic music, an emerging musical medium that impacts our everyday lives.

Dr. Ivey was born on July 3, 1923 in Washington D.C. She began playing the piano at age six, soon after which she “first began jotting down little compositions.” Believing composition to be a common activity, she kept her compositional experiments quiet, although she soon began to realize “that everyone didn’t write these little pieces.”

By age twelve, she was already the choir director and organist for a local church. Spending hours learning every aspect of the church’s Hammond organ without any guidance, the instrument sparked an interest in electronic music that has lasted throughout her life.

She sought further musical training as a young adult, but her family could not financially support her during the Great Depression. She was fortunately offered a full-tuition scholarship to Trinity College, where she completed a Bachelor’s degree in music. She later completed Master’s degrees in piano performance and composition, respectively from the Peabody Conservatory of Music and the Eastman School of Music. During this time, she hesitated to choose between performance and composition. After touring as a soloist throughout the United States, Europe, and Mexico, she decided to focus her career on composition. After attending a lecture in 1963 by Milton Babbitt and Vladimir Ussachevsky, she was accepted into a seminar at the electronic music studio at the University of Toronto, where she later completed her doctorate, focusing on electronic music composition.

Dr. Ivey believes that her works present fragments of one long autobiography, encompassing her love of the human voice, interest in astronomy, and her feelings on feminism and the heroic qualities of women. Her frequent use of the voice was influenced by her mother, a professional singer, and two aunts, who supported themselves by teaching voice lessons. Testament of Eve, a monodrama for mezzosoprano, orchestra, and tape, was inspired by her mother’s struggle to gain respect in a male-dominated society. The self-authored text (a feature of many of her works) reveals an especially personal side of the composer. The many hours of her childhood spent observing the nighttime sky with her father sparked a lifelong interest in astronomy, a motif to which she returns throughout her work. Although she was

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drawn to the thriving musical and artistic scene of New York City, the nearby Hayden Planetarium was a major factor in her choice to live there. She travelled the world to witness spectacular events offered by the heavens, including Halley’s Comet in New Zealand and solar eclipses in Hawaii. The equality of men and women is a bold theme in Dr. Ivey’s compositions. (Her father’s role as editor of The Woman Patriot, an anti-feminist newspaper, never hindered her success as a female musician.) Hera, Hung From the Sky exhibits these three recurrent themes in her works and is among her most celebrated works.

Dr. Ivey’s compositions have been performed by many orchestras and ensembles, including the Baltimore Symphony Orchestra, Houston Symphony, U.S. Air Force Symphony, and Washington’s Contemporary Music Forum, and heard in various concert halls around the world, including Carnegie Hall and the National Gallery of Art. As an educator, she has presented workshops and recitals of her own music at collegiate symposiums and festivals. Her music has been recorded on CRI, Folkways, and Grenadilla labels. Dr. Ivey’s music is published

by Boosey and Hawkes, Carl Fischer, and Schirmer.

Listed in the New Grove Dictionary of Music and Who’s Who in America, she is also the subject of the half-hour documentary by WRC-TV in Washington called “A Woman Is...a Composer.” She has received fellowships and grants from the Guggenheim Foundation, the National Endowment for the Arts, and the Yaddo and MacDowell artist colonies. She is the recipient of numerous ASCAP awards, the Peabody Director’s Recognition Award, and Peabody’s Distinguished Alumni Award.

Ivey views the challenges of of her chosen medium as a stimulus: “Writing for live performers plus tape seems to me the most difficult of all types of composition, [although this] may be one of its principal attractions for the composer.” She believes that electronic music is not a style, but a medium—the use of electronics in music is but “one color in a composer’s palette, which he might or might not choose to use.” As such, Dr. Ivey upheld the same standards for acoustic and electronic music: “The principals whereby we evaluate any musical composition serve no less for electronic music––such as the power to engage attention, to evoke feelings, to call forth anticipation, surprise, and recognition, to delight the mind by coherence of design and the ear by sheer beauty of sound. The most indispensable ‘equipment’ in composing electronic music is still the composer’s imagination, taste, and talent.” Dr. Ivey’s compositional philosophies continue to have currency for composers and musicians.

Unfortunately, Dr. Ivey is unable to attend this evening’s concert but sends her best wishes.

Heather Woodworth is a graduate student majoring in computer music research and musicology. Her recent research focuses on the life and work of Dr. Jean Eichelberger Ivey.

4 0 Ye a r s o f Lo o k i n g to t h e Fu t u re 40 t h A n n i v e r s a r y Co n c e r t P r o g r a m Pre-concert music

(To be presented in the Concert hall for 20 minutes before the concert)

Sketches (1985)

Geoffrey Wright

A Multimedia Installation Piece

Geoffrey Wright, Computer Music, Peabody Institute of the Johns Hopkins University Michael O’Rourke, Computer Graphics, The New York Institute of Technology Computer Graphics Laboratory

P rogram Windcombs/Imaq (2009)

Matthew Burtner

Karin Hendrickson, conductor Victor Caccese, solo percussion James Rogers, baritone Hye Jin Kim, aux percussion Chia-Jui Lee, flute Derrick Lim, aux percussion Rose Hammer Burt, baritone sax Kei Maeda, aux percussion Dian Zhang, violin Georgi Videnov, aux percussion Gabriel Caballero, violoncello Choo Choo Hu, piano Jiaxi Liu, synthesizer

W. Aniseh Khan Burtner, choreographer and dancer Dinah Gray, dancer Meredith Heiderman, dancer Emily Rose Wright, dancer

Skana

Charles Kim Video Muriel Louveau, vocalist, composer

The Beautiful Don’t Lack the Wound

Margaret Schedel David Wetzel, basset horn

( (noise) )

Scott Smallwood Video Text by R.D. Laing Soundscape by Scott Smallwood Video by skfl (aka Jason Steven Murphy) Melissa Madden Gray, voice Timothy O’Dwyer, saxophone

Errata (2008)

Matt Diamond Bonnie Lander, voice

I N T E R M I S S I O N (15 MINUTES)

Please turn off cellular phones, pagers and electronic watches during performances.

Notice: For your own safety LOOK for the nearest EXIT. In case of emergency, WALK, DO NOT RUN, to that EXIT. This notice by order of the Mayor and City Council of Baltimore City. The use of cameras or tape or video recorders at performances is strictly prohibited.

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4 0 Ye a r s o f Lo o k i n g to t h e Fu t u re 40 t h A n n i v e r s a r y Co n c e r t P r o g r a m co n t.

Montage V: How to Play Pinball (1965)

Jean Eichelberger Ivey

Video Wayne Sourbeer, film Jean Eichelberger Ivey, sound track

notmares (2009 World Premiere)

Chris Mandra Bonnie Lander, violin, voice

Dromos (2009)

Hyun Kyung Kim Dancers: Emeri Fetzer and Elyse Morris Choreography by Linda Garofalo, Emeri Fetzer and Elyse Morris

As it Was (2008)

McGregor Boyle

Nine characteristic pieces For violin, piano and computer

Courtney Orlando, violin Michael Sheppard, piano

Post-concert music

(Installation at reception held after the concert in the Bank of America Lounge. The audience is invited to attend.)

Speakeroids 3: the Relabi Wave (2009)

Samuel Burt Empty Vessel: John Berndt and Samuel Burt

Please join us for a reception following the concert in the Bank of America Lounge

Please turn off cellular phones, pagers and electronic watches during performances.

Notice: For your own safety LOOK for the nearest EXIT. In case of emergency, WALK, DO NOT RUN, to that EXIT. This notice by order of the Mayor and City Council of Baltimore City. The use of cameras or tape or video recorders at performances is strictly prohibited.

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Program N o te s Sketches (1985) Each of the video sequences is a sketch of a virtual sculpture.

Each piece was defined within the computer to have a specific threedimensional configuration, a set of surface characteristics, a lighting environment, and a set of interrelated patterns of movements. None of them has, had, or will have any physical existence. Each attempt by means of the various spatial, temporal, and color patterns that are established to reflect something of what the artist perceives to be significant in human life. Some of the characteristics of the computer particularly lend themselves to this effort and help determine the imagery that results.

The music was generated at the Peabody Computer Music Studio of the Johns Hopkins University, using a variety of digital synthesizers and controlling devices. Sounds were given temporal, timbrel, and spatial characteristics similar to various attributes of the video material. The computer attempted, as in all of his computer-generated music, to impart a decidedly “human quality to the music produced.”

Sketches took on a life of its own after its initial performances in Baltimore in 1985. For two years following, the work was installed in the Museum of Modern Art in Finland, and by 1987 had circulated to installation venues in New Delhi, Mumbai, and Pune, India. The work was presented on several SIGGRAPH programs. SIGGRAPH is the Special Interest Group in Graphics of the IEEE, the worlds largest professional association advancing innovation and technological excellence for the benefit of humanity.

Windcombs/Imaq (2009) Windcombs/Imaq (2005) was commissioned by the Quincena Festival and Musikene Centro Superior de Musica del Pais Vasco, San Sebastian, Spain. In this multimedia work for instrumental ensemble, computer sound, dance, interactive media and video, the wind and sea take on dramatic musical roles both in the music and the theatre.

Natural systems of wind and ocean are brought directly into the musical structure as ecoacoustics.

In Windcombs, four dancers perform with an interactive light sculpture that senses the movement of the dancers and uses their movements to control a four-channel computer physical model of the wind. The sculpture, dancers and four-channel computer model together create a complex multimedia ecoacoustic instrument. The music and dance support a story of the four winds, based on traditional Alaskan legend. Imaq means “sea” in the Alutiq language of Southwest Alaska. The male voice sings in the dominant languages of the region: Alutiq, Yupik and Dena’ina. He sings, “spirit of the ocean, in-tide, outtide, water travels farther than human beings”.

Windcombs/Imaq was premiered in the Rafael Moneo-designed Kursaal of San Sebastian, Spain. The piece is part of Burtner’s multimedia opera, Kuik, premiered at the Staunton Festival in 2006. The shorter version of Windcombs/Imaq, performed tonight, was created specifically for the Peabody 40th-anniversary celebration.

Skana Skaņa, from the Latvian word for “sound,” is a collaboration between French vocalist/composer Muriel Louveau and American composer Charles B. Kim.

Melding haunting vocals, ambient electronics and pulsating rhythms, Skaņa seeks to explore the area between day and night, light and shadow, wakefulness and sleep. The music of Skaņa is inspired by ancient cultures and far off lands but also draws upon distinctly modern musical elements in order to create a sound that is both contemporary and classical. In this regard, the past is prologue. The texts of these songs come from liturgical as well as poetic sources. Some are original texts written expressly for this work. All share the similar theme of straddling the space between light and darkness.

Despite the music having grounding in the past, the production of this composition was a very 21st century endeavor. Louveau, based in Paris, and Kim, in Los Angeles, never actually met during the production of this album.

The live performance of Skana features the vocalist Muriel Louveau.

She projects and modulates her singing vocals within a sound environment that goes along with .. wavering , ethereal , watery lighting atmospheres... to draw the audience in to a sort of trance.

The Beautiful Don’t Lack the Wound The Beautiful Don’t Lack the Wound is dedicated to the memory of composer and electronic music pioneer Allen Strange (1943-2008) and was written for Esther Lamneck at the Atlantic Center for the Arts. It can be played on tarogato (a gypsy instrument similar to the clarinet), soprano sax, clarinet, oboe or basset horn. The sound of the acoustic instrument is fed through four microphones to a computer, and transposed to produce 12 possible chords with a slightly different timbre on each note. The progression through this cycle of chords is controlled by the length of rests.

The first part is a lament, with a melody based on a somewhat static chord progression from the Miserere Mass by Gregorio Allegri (15821652). Pope Urban VIII commissioned Allegri to write the work based on Psalm 51. It was later copied from memory by Mozart, and continues to be performed by the Sistine Chapel Choir during Holy Week. I used a central portion of the Mass with the following text: Behold, thou desirest truth in the inward parts: and in the hidden part thou shalt make me to know wisdom.

Purge me with hyssop, and I shall be clean: wash me, and I shall be whiter than snow.

Make me to hear joy and gladness; The second part is a structured improvisation based on the form of Nick Laird’s poem On Beauty, a broken pantoum. The poem is twenty lines in five quatrains; all but two of the lines repeat in interlocking patterns. In each stanza, the meaning of a given line is changed by punctuation and context. The title of the work comes from the third (and eighteenth line) of the poem. This is the section that celebrates Allen’s life through a joyful, oddly beautiful musical embrace that whirls around the room.

( (noise) ) ((noise)) is based upon text by the Scottish psychiatrist and psychoanalyst R.D. Laing (1927-1989), who attempted to break down the barriers between sanity and madness in his highly influential books and articles of the 1960s. In particular, his quasi-poetic

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text Knots presented abstracted relational situations stemming from internal conflicts of the psyche.

The voices of known demons rise from these pages: demons of guilt, demons of self-justification; demons of perverse will, demons of self-destruction. -- Melvin Maddocks, The Christian Science Monitor (book review).

These are the noises of the mind.

Errata (2008) I first discovered the poetry of Charles Simic years ago while taking a summer poetry course at Bennington College. His work was included in an anthology of American poetry, and one piece that struck me in particular was his poem “Errata.” At once obscure and yet painfully direct, this poem is a beautiful meditation on the nature of regret, utilizing a fractured logic that befits the subject. While studying at the Peabody Conservatory, I decided I wanted to try writing a piece for vocals and electronics, and “Errata” immediately came to mind as the text I should set. After a couple failed attempts at approaching the piece (one involving Ableton Live and the other using acoustic piano), I finally completed Errata in the winter of 2008. The electronic accompaniment, composed in Reason 3.0, aims to capture both the playfulness and deep sadness of the poem. Many thanks to Mr. Simic for allowing the use of this inspiring work.

Montage V: How to Play Pinball (1965) Montage V: How to Play Pinball is entirely derived from sounds recorded from pinball machines. Using the facilities of the Electronic Music Studio at Brandeis University, Dr. Ivey modified and reassembled these sounds to form new pitches, rhythms, and timbres. This was done by standard tape manipulation techniques such as change of speed, splicing, and reversal, as well as by the use of filters, reverberation, and ring modulation. Composed in 1965, Pinball has been performed both as an independent concert piece and as the score for an art film by Wayne Sourbeer: Montage V, How to Play Pinball.

For this performance, Ben Urish has generously provided a digital copy of Sourbeer’s film, to which Heather Woodworth has synchronized her own digitization of Dr. Ivey’s original soundtrack.

notmares (2009 World Premiere) Dreams are the gestalt of our past and future experiences.

Using years of found sounds, found algorithms, digital signal processing, interactivity, improvisation and chance, we explore the intersection of anxiety, performance, logic, the surreal, the dreaming, the dreamt and synthesize a kind of “ambient storytelling.” We make the micro macro, the macro micro, the soloist the accompanist and the leader the pack. We look inward outwardly. Sometimes waking, from even the most mundane of dreams, is a relief and a disappointment.

Dromos (2009 World Premiere) Dromos was written originally for dancers of the Goucher Summer Arts Institute in 2009. The composer paid special attention to the rhythmic structure of the music to communicate clearly and forcefully with the dancers. Polyrhythms intertwine to create more complex patterns and overlapped structures, ultimately moving from conflict to resolution.

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As it Was (2008) Much of my music is inspired by places I have been, and many of my pieces are “about” Pawleys Island, South Carolina. As it Was is the latest piece to result from my great love of this quiet spot on the Atlantic Ocean. In this case I have taken inspiration from the nine houses on the Island that predate the Civil War. At that time lower South Carolina’s main economic engine was the rice plantation, and many of the rich rice planters had summer homes on the Island. Each house has a special character, and this, plus stories about the houses and the families that built them have been used as material for each of the nine pieces.

Melodic materials were derived from folk song, spirituals, nineteenthcentury popular songs, Anglican hymns, etc. They are to be played as a group, without a break. The titles are: 1. Major Nesbit The Nesbit house apparently has been on the Island the longest. This introduction evokes the sense of the island when very few were there.

2. J. B. Allston One of the oldest houses is known as the “Pawley House” though the Pawley family never owned it. It is one of the most prominent on the island.

3. LaBruce The LaBruce house is the only one still having slave cabins on the property. This section has the quality of a spiritual.

4. R.F.W. Allston R. F. W. Allston was governor of South Carolina during the Civil War. This movement, which includes improvisation, evokes the spirit and chaos of that time.

5. Liberty Lodge The end of the war was also the end of an era at Pawleys. The slaves were finally free, but it would be decades before the area recovered economically.

6. The Parsonage Built by the local Episcopal church, this house was the summer home of the priests. Services were held on the porches. This house is also reputedly haunted.

7. Summer Academy Also established by the church, this house was home to a children’s summer school. Much improvised, this is the “scherzo” movement.

8. Weston’s Zoyland The largest of the old houses, now known as the “Pelican Inn.”

9. Sandy Cot Returns to the mood of the opening.

Speakeroids 3: the Relabi Wave (2009) John Berndt and Samuel Burt have been collaborating for six years on empirical and mathematical research into the development into new modes of music. The Speakeroids project was initially a sound installation using complex resonant bodies as both speakers and microphones. In the original form, the objects were used for acoustic convolution, playing the resonance of one speakeroid through another in complex feedback loops. More recently, Samuel wrote software to realize John’s concept of Relabi, a new musical process of coordinated structures built on a constantly slipping pulse. Speakeroids 3 will investigate the intersection of the two projects, driving complex unpredictable speakeroid constructions with relabi waves. For more information on either subject see: http://www.johnberndt.org/ speakeroids and http://www.johnberndt.org/relabi.

M eet the Ar t i s t s Geoffrey Wright

Dr. GEOFFREY WRIGHT is a music futurist, a composer, performer, researcher, and entrepreneur.

He founded the Computer Music Department at Peabody Conservatory of the Johns Hopkins University, where he also directs the Computer Music Consort (a professional Digital Arts Performing Ensemble) and The Combined Laboratory for Auditory Interdisciplinary Research (CLAIR).

In 2000, Geoffrey Wright was Artistic Director for the Ceremonial Music for the TimesSquare2000 Millennium Cerebration in New York, which played to a live audience of 2.5 million, and was broadcast to an estimated audience of over 2 billion.

Michael O’Rourke

Michael O'Rourke is an artist, author, educator and Professor at Pratt Institute in New York City.

His digitally generated artwork has been exhibited and screened around the world since 1983.

Venues include the Kennedy Center for the Arts (Washington. D.C), the Musee d'Art Moderne (Paris), the Isetan Museum (Tokyo), Laumont Editions (New York, NY), the Hong Gah Museum (Taipei), Uma Gallery (New York, NY), and many others.

His artwork has encompassed printmaking, murals, sculpture, drawing, and animation, and frequently combines digital and traditional techniques. Since 1999, his work has focused on two areas–digital prints, and large-scale multimedia murals. The murals combine static imagery, real-time interactive video, pre-recorded video, and pre-recorded sound.

He holds an M.F.A. from the University of Pennsylvania, and an Ed.M. degree in Education from Harvard University.

Matthew Burtner

Matthew Burtner (www. burtner.net) creates sound art performance works exploring noisebased musical systems, ecoacoustics, and (dis) embodiment theory.

He composes for a wide range of musicians and ensembles, and for his own groups MICE (Mobile Interactive Computer Ensemble) and Metasax & DRUMthings. First prize winner of the Musica Nova International Elecroacoustic Music Competition, and a 2009 Howard Brown Fellow of Brown University, Matthew Burtner's music has received honors and awards from Bourges, Gaudeamus, Darmstadt, Prix d’Ete, Meet the Composer, ASCAP, Luigi Russolo, American Music Center, and Hultgren Biennial competition.

Burtner spent his early childhood in a small village on the Arctic Ocean of Alaska, and on fishing boats on Alaska's Southwest coast. He studied philosophy, composition, saxophone performance and computer music at Tulane University (BFA Summa Cum Laude), Xenakis’ UPIC Studios in Paris, Peabody Institute (MM) and Stanford University (DMA) where he worked

closely with Max Mathews, Jonathan Harvey and Brian Ferneyhough. He is now Associate Professor with tenure at the University of Virginia, Director of the Interactive Media Research Group (IMRG) and Associate Director of the VCCM Computer Music Center.

Dian Zhang, violin

Karin Hendrickson, conductor

Gabriel Caballero, violoncello

Karin Hendrickson is currently a graduate conducting assistant at the Peabody Conservatory, completing a DMA under the tutelage of Gustav Meier. She holds an undergraduate degree in piano performance from Grove City College, PA, as well as a Master’s degree in conducting from George Mason University, VA. Ms. Hendrickson was also a music fellow at Oxford University, England, where she studied early performance practice and the emergence of instrumental music in Renaissance England.

James Rogers, baritone

Hailed by The Washington Post as a “superb soloist” with a “sensitively turned lyric baritone,” Washington, D.C. based James Rogers has been active in genres ranging from Viennese operetta to classical Lieder to challenging new works of the 21st century. He appeared in Gregg Martin's Life in Death at its January 2008 première and its revival on the Kennedy Center Millennium Stage in September 2008; in addition, he created the role of Apollo in Andrew Earle Simpson's The Furies in February 2006 and appeared as John Sloat in Damon Ferrante's Super Double Lite at its 2004 world première in New York.

He studied at the Peabody Conservatory with Marianna Busching and Wayne Conner. Upcoming engagements include a performance of Ligeti’s Aventures et nouvelles aventures in Philadelphia under the baton of Leon Fleisher in December.

Chia Jui Lee, flute

Chia-Jui Lee, a native of Taiwan, was a first-prize winner of the Taipei Young Artist Competition for two consecutive years, and also the winner of the National Wind Quintet Competition in Taiwan. As a freelancer now, she performed Piazzolla’s Tango Etude for Flute and Piano in this year’s National Flute Association Convention in New York, NY. She holds two master’s degrees in flute performance and computer music from Peabody Conservatory, and a doctoral degree in flute performance from the University of Maryland. Her US teachers include McGregor Boyle, William Montgomery, Laurie Sokoloff, and Mark Sparks.

Rose Hammer Burt, baritone sax

Rose pursued a degree in classical saxophone performance at the Peabody Conservatory in Baltimore.

She became increasingly involved with the Jazz and Computer Music departments, and upon completion of her undergraduate degree, Rose enrolled in the Master’s program in computer music. Encouraged by several faculty members and fellow students to explore improvisation further, she became involved with experimental music at the Red Room, and was invited to join the Red Room collective and High Zero Foundation in the spring of 2005. As a member of the collective she helps book and run an experimental concert series at the Red Room in Baltimore and the annual High Zero Festival of experimental improvised music. She performs in Death in the Maze, the Baltimore Afrobeat Society, Second Nature, Multiphonic Choir and the After Now series. She teaches Digital Audio at the Baltimore School for the Arts and is the Audio Specialist at the Johns Hopkins Digital Media Center. (site: pcm.peabody. jhu.edu/~rose)

Dian studies at the Peabody Conservatory with Victor Danchenko. Dian is in his second year at Peabody as he pursues his Bachelor of Music degree.

Gabriel is in his fourth year at the Peabody Conservatory where he studies computer music composition with McGregor Boyle and ‘cello with Troy Stuart. Previous teachers include Dr. Geoffrey Wright in computer music and Natalia Melikhova on ‘cello.

Victor Caccese, solo percussion

Percussionist Victor Caccese was born in Bryn Mawr, Pennsylvania in 1989 and at age nine began studying piano. In 2005 he began percussion lessons with Walter Rohrich at the Wilmington Music School. Mr. Caccese is currently a student of Robert Van Sice, Tom Freer, and David Skidmore at the Peabody Conservatory.

Hye Jin Kim, aux percussion

Hye Jin Kim holds degrees in percussion and music education from Han yang University in Korea. She is currently studying with Mr. Robert Van Sice in the Graduate Performance program at the Peabody Conservatory, where she recently earned her Master of Music degree.

Derrick Lim, aux percussion

Derrick performs a wide array of music from classical to contemporary, orchestral and chamber works. He performs with various bodies in the Peabody Conservatory including the Peabody Symphony Orchestra (PSO), Peabody Concert Orchestra (PCO), Peabody Wind Ensemble (PWE) and Peabody Percussion Group (PPG).

Georgi Videnov, aux percussion

Georgi Videnov, from Sofia, Bulgaria, began playing percussion instruments at the age of six. He has graduated from the National Musical School in Sofia, and is currently a sophomore student in the Bachelor of Music degree program studying with Robert van Sice. He is part of the orchestras at the Peabody Conservatory and Peabody Camerata. Recently, Mr. Videnov played a concert at the Kennedy Center, Washington, D.C., part of the Peabody Conservatory Project, performing Takemitsu’s Rain Tree.

Kei Maeda, aux percussion

Kei Maeda was born in Japan in 1989. He began playing percussion at the age of seven and began playing marimba when he was fifteen years old with Takako Nakama. Kei Maeda is currently a student in the Bachelor of Music program at the Peabody Conservatory where he studies with Robert van Sice.

Choo Choo Hu, piano

At age seventeen, Choo Choo enrolled at the Peabody Conservatory on a Rosa Silverman Memorial Scholarship studying with Brian Ganz.

She is currently finishing her senior year at Peabody studying with renowned musician Leon Fleisher.

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M eet the Ar tists Jiaxi Liu, synthesizer

Ms. Liu holds dual Bachelor’s degrees in piano performance and linguistics from Northwestern University. Her interdisciplinary honors thesis investigated the perception of meaningful structure in language and music. This work was presented at several national and international conferences. As a Jack Kent Cooke Graduate Scholar, she is currently pursuing a Master of Music degree at the Peabody Conservatory under the tutelage of Marian Hahn.

W. Aniseh Khan-Burtner

W. Aniseh Khan Burtner has studied dance for twenty years, with an area of specialty in world dances, though her experience is broad. She’s been offering classes and workshops to dance students for more than nine years. In California, she danced with Ka Ua Tuahine Polynesian Dance Company, an award winning ensemble based out of Berkeley California, and competed twice in the world famous San Jose Tahiti Fete. She was one of seven student dancers invited to travel to Papeete, Tahiti in the summer of 2002 to study and perform with one of Tahiti's preeminent dance ensembles, Ori Here Maohi Dance Company. In the spring of 2005, she spent seven months studying and performing with Fetia Tahiti in Paris, France. The group gave performances in Paris and Cannes. In 2003, she danced the lead part of the Shaman in Matthew Burtner's large-scale multimedia work, Winter Raven.

She choreographed and performed for Matthew Burtner's equally stunning, Kuik in 2005 at the Kursaal in San Sebastian Spain and again in 2006 at the Blackfriar theater in Staunton, VA. More recently, she traveled with Semester at Sea for the spring 2009 semester as a dance professor, teaching indigenous dance styles to students in sixteen countries around the world.

Charles Kim

Charles Byungkyu Kim is a composer living in Los Angeles. Born in Houston, he began taking piano lessons at the age of five and composing at age twelve. He moved to Baltimore in 1990 to attend the Johns Hopkins University. In 2002 Charles moved to Los Angeles to further pursue his music career. He has worked on various films including Solaris (2002), Wonderland (2003) and Wicker Park (2004) as a music programmer and additional music composer as well as working on his own solo projects. Charles scored the short film, Together, directed by Sunghee Hong.

He has also composed music for the feature films, First Snow, directed by Mark Fergus and Hers, directed

by Jeong Jung Kim. Charles released his first CD, Polis, in 2006.

Charles received his Bachelor’s and Master’s degrees in composition from the Peabody Conservatory where he studied with Dr. Jean Eichelberger Ivey and Dr. Geoffrey Wright. He also has a degree in computer science from the G.W.C. Whiting School of Engineering of the Johns Hopkins University where he graduated with honors.

Muriel Louveau

After various experiences in the literary world, Louveau focused on song and music producing– what she calls “contemporary medieval music”–contemporary

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melodies inspired by ancient music as well as extra European sound: “My songs drive us into a cosmopolitan space and time somewhere at the crossroad of the other languages.”

Since 1995 Muriel has performed regularly over the Atlantic, especially in New York City, at Irving Plaza, and Brooklyn Academy of Music with the show “The World Mysteries,” created for the prestigious Next Wave Festival.

Margaret Schedel

Margaret Anne Schedel is a composer and ‘cellist specializing in the creation and performance of ferociously interactive media.

Her works have been performed throughout the United States and abroad. While working towards a DMA in music composition at the University of Cincinnati College Conservatory of Music, her interactive multimedia opera, A King Listens, premiered at the Cincinnati Contemporary Arts Center and was profiled by apple.com. She is working towards a certificate in Deep Listening with Pauline Oliveros and has studied composition with Mara Helmuth, Cort Lippe and McGregor Boyle. She serves as the musical director for Kinesthetech Sense and sits on the boards of 60x60 Dance, the BEAM Foundation, the Electronic Music Foundation Institute, the International Computer Music Association, the New West Electronic Art and Music Organization, and Organised Sound. She contributed a chapter to the Cambridge Companion to Electronic Music and her article on generative multimedia was recently published in Contemporary Music Review. Her work has been supported by the Presser Foundation, Centro Mexicano para la Música y les Artes Sonoras, and Meet the Composer. In 2009 she won the first Ruth Anderson Prize for her interactive installation Twenty Love Songs and A Song of Despair. As an Assistant Professor of Music at Stony Brook University, she serves as Co-Director of Computer Music and is a core faculty member of cDACT, the consortium for digital art, culture and technology.

David Brooke Wetzel

Clarinetist David Brooke Wetzel is a specialist in new music and interactive electronics. He has collaborated often with composers and multimedia artists, and his recent performances include many world premieres in addition to works from the traditional clarinet repertoire.

Recent solo appearances include the Endless Mountains Music Festival, the Spark Festival of Electronic Music and Art, and the Sonic Fusion Festival of International Contemporary Music in Edinburgh.

His research interests are primarily in the field of interactive computer music systems, with a special focus on maintaining electroacoustic repertoire in the face of rapid technological change. His writing on this subject has appeared in Organised Sound and in recent presentations to SEAMUS and ICMC. Dr. Wetzel is currently an assistant professor of clarinet and coordinator of the music business and technology program at Mansfield University of Pennsylvania. He has previously taught at the Peabody Preparatory, the Baltimore High School for the Arts, ITT Technical Institute, and Central Arizona College.

Dr. Wetzel received a B.Mus. in clarinet performance from Lawrence University, the M.M. in computer music performance and concert production from the Peabody Conservatory and the DMA in clarinet performance at the University of Arizona. His clarinet teachers include Jerry Kirkbride, Loren Kitt, Edward Palanker, Thea King and Dan C. Sparks. His computer music teachers include

McGregor Boyle, Ichiro Fujinaga and Geoffrey Wright.

Scott Smallwood

Scott Smallwood was born in Dallas, Texas, and raised in the mountains of Colorado. A sound artist, composer, and sound performer, Smallwood attempts to create works that are inspired by discovered textures and forms, through a practice of listening, field recording, and sonic improvisation. He performs as onehalf of the laptop/electronic duo Evidence (with Stephan Moore) and has performed with Seth Cluett, Curtis Bahn, Mark Dresser, Cor Fuhler, John Butcher, Pauline Oliveros, and many others. He has written works for the Catch Electric Guitar quartet, Ensemble SurPlus, the Boston Sound Collective, the Brentano String Quartet, and many others.

Smallwood currently lives in Edmonton, Alberta, where he teaches composition, improvisation, and electroacoustic music at the University of Alberta.

Matt Diamond

New Jersey native Matt Diamond discovered the joy of composing at an early age, when he realized he would rather noodle on the piano instead of practicing Bach. He soon graduated to noodling on a synthesizer instead of doing his high school homework, and later began messing around on his laptop instead of studying for his college exams. He received a BM in computer music composition from the Peabody Conservatory, along with a BA in neuroscience from Johns Hopkins University, which seemed like a good idea until that whole “mind control” thing fell through. Matt has composed original music for two independent films (Snake Hill, The BlueBelles), and is currently working on the score for a third (The Vanishing City). In the spring of 2006, he worked with a team of Peabody composers to create ambient music for an installation at the Walters Art Museum in Baltimore. For reasons that are still beyond his comprehension, Matt has received several awards for his music, including a Garden State Film Festival award for his work on Snake Hill, and First Prize in the 2008 Peabody Prix d'Été competition for Piano-Shaped Object, a composition for piano and electronics. His voice/ electronics work Errata was performed at the 2008 Spark Festival of Electronic Music and Arts in Minneapolis.

Matt is currently pursuing a Masters in Information Systems at NJIT, where he daydreams about the Technological Singularity and robots and such.

Bonnie Lander

Bonnie Lander is a coloratura soprano based out of Philadelphia, PA. Classically trained, Bonnie has made a name for herself as a performer of contemporary music ranging from avant-garde works, premiers, collaborations, electroacoustic music, and experimental improvisation. In the past year alone, Bonnie has performed in numerous spaces ranging from elite concert halls, clubs, basements, cafes, and street corners. She has premiered over fifteen works for voice, including solo voice, chamber works, and electronic works– always keeping herself open to new collaborations and possibilities.

M eet the Ar tists Bonnie holds a BM in voice performance from the University of Miami Frost School of Music in the studio of Esther-Jane Hardenbergh; MM in voice performance at the Peabody Institute in the studio of Phyllis Bryn-Julson; two GPDs in voice and computer music studying with Dr. McGregor Boyle. She is the only person to have twice received the Phyllis BrynJulson Award for the Commitment to and Performance of 20th/21st Century Music.

Jean Eichelberger Ivey

Jean Eichelberger Ivey founded the Peabody Electronic Music Studio in 1969.

Dr. Ivey has a large catalog of works in virtually every medium and is frequently represented on the programs of major orchestras and ensembles. The Baltimore Symphony Orchestra has premiered two of her works which combine tape with orchestra.

Listed in such reference works as the New Grove Dictionary of Music and Who’s Who in America, she is also the subject of a half-hour documentary film prepared by WRC-TV in Washington: “A Woman is... a Composer.”

She has expressed her compositional ideals as follows: “I consider all the musical resources of the past and present as being at the composer’s disposal, but always in the service of the effective communication of humanistic ideals and intuitive emotion.”

Chris Mandra

Chris Mandra is a composer and performer who's work has been performed in Europe, Asia, Canada and the United States.

He holds a Bachelor of Music degree in composition from the University of the Arts in Philadelphia, PA; a certificate of study from the Liszt Ferenc Zeneakademia in Budapest; two Master's degrees– one in music composition and one in computer music, both from the Peabody Institute of the Johns Hopkins University where he also completed all of the coursework for a Doctor of Musical Arts degree before abandoning that program. In 2004 he was awarded a fellowship to STEIM in the Netherlands to work on his wearable performance interface “the manDrum.” He currently lives in Baltimore, gets to help create cool audio processing software that he likes to use for the company Intelligent Devices, and plays guitar for and performs extensively with the celebrated original psychedelic dance band TELESMA.

Hyun Kyung Kim

Hyun Kyung Kim holds Bachelor’s and Master’s degrees in music composition from the Peabody Conservatory of the Johns Hopkins University, and a Doctorate in composition from the University of Maryland at College Park. She also studied music technology at New York University.

Her compositions have been prize winners in the 2005 Sejong Music Performance Competition and the 2003 SCI/ASCAP Composition Competition. At Peabody she won the 2001 Otto Ortman Award and the 2000 Prix d’Été competition.

Dr. Kim is on the Computer Music Faculty at Goucher College and the Goucher Summer Arts Institute.

Linda Garofalo

Linda Garofalo is a full-time instructor at Goucher

College teaching both ballet and modern technique and directing the Dance Department’s outreach program, The Moving Classroom Project as well as the Goucher Summer Arts Institute. She is a dancer, choreographer, and dance educator who began her training with Janice Wilk-McCarthy in Connecticut. She holds a B.F.A. in Dance Performance from Towson University and has trained professionally at the Martha Graham School of Contemporary Dance, Harkness Center for Dance, and the Hartford Ballet where she completed her teaching certification in 1986.

Emeri Liza Fetzer

Emeri Liza Fetzer began her study of modern dance and creative composition from age eight to eighteen at the University of Utah Children’s Dance Theater in Salt Lake City. After graduation in 2006, Emeri crossed the country to study dance choreography and English literature at Goucher College where she is now in her senior year. She has choreographed two original works and performed in pieces by Sean Curran, Heidi Henderson and Goucher faculty. In 2008, Ms. Fetzer continued her artistic training abroad in Rio de Janiero, Brazil and Arezzo, Italy studying dance technique, Italian tarantella, and choreography at Accademia dell’Arte.

Elyse Morris

Elyse Morris is from Brooklyn. Her love for dance exploded at Philippa Schuyler Middle School, where she studied jazz and Horton modern. Ms. Morris is a graduate of Fiorello H. LaGuardia High School of Music, Art, and Performing Arts and received scholarships to study at Ballet Hispanico, The Alvin Ailey School, Jacob’s Pillow, and Alonzo King’s LINES Pre-Professional summer program. She is in her senior year as a Fine and Performing Arts Scholarship student at Goucher College.

McGregor Boyle

Dr. McGregor Boyle is active as a composer, performer, and music educator with a primary interest in digital media and computer applications to music composition and performance.

With a Master's degree in guitar performance and a Doctorate in composition, Dr. Boyle is uniquely qualified to explore the applications of emerging digital technologies to the difficult problems posed by serious music composition, and its presentation to the audience in performance.

Dr. Boyle is on the Computer Music Faculty at the Peabody Conservatory of the Johns Hopkins University, where he teaches computer applications to music and chairs the Composition Department. He was awarded the Johns Hopkins Alumni Association Excellence in Teaching Award in May 2008.

Courtney Orlando

Heralded by The New York Times as a violinist of “tireless energy and bright tone,” Courtney Orlando specializes in the performance of contemporary and crossover music. She is a founding member of the acclaimed new music ensemble, Alarm Will Sound, which has premiered works by and collaborated with some of the foremost composers of our time, including John Adams, Steve Reich, Meredith Monk, Michael Gordon, and David Lang. Performances with AWS include those at Carnegie Hall, the Lincoln Center Festival, Amsterdam’s Holland Festival, and a recent tour of Moscow and St. Petersburg. She is also a member of the new music ensemble, Signal. Courtney is currently on the faculty of the Peabody Conservatory,

where she teaches Ear Training and Sight Singing.

Prior to her appointment at Peabody, she received her doctorate from and taught at the Eastman School of Music.

Michael Sheppard

Already a rising star of his generation of artists, Michael Sheppard is a pianist of dazzling virtuosity and penetrating musicianship.

Trained at the Peabody Conservatory of the Johns Hopkins University in Baltimore, he studied with the great Leon Fleisher and Ann Schein. As one of two 2003 Classical Fellows of the American Pianists Association he toured Southern Asia and the Middle East in collaboration with the Cultural Programs Division of the United States Department of State. Throughout the tour he played concerti with national orchestras, was guest soloist with resident chamber music groups, played public solo recitals as well as private recitals for the diplomatic community, gave master classes at higher institutes of music and conducted informal presentations in secondary schools and universities. Upon his return he made his Kennedy Center debut. Since then he has made his debuts with orchestras in the Midwest, Southeast, Southwest and Pacific Northwest in addition to solo recitals, radio-broadcasts, and master classes throughout the nation and Europe, including several Weill (Carnegie) Hall recitals.

Deeply committed to new music, he has worked closely with composers Nicholas Maw, Michael Hersch, Robert Sirota and John Corigliano.

Sheppard is a composer in his own right and often programs his original compositions.

Samuel Burt

Samuel Burt is one of the essential volunteer organizers of the High Zero Festival and the High Zero Foundation's Red Room Series. He taught electronic music and music theory at the Baltimore School for the Arts. He founded the After Now series to promote the synthesis of Baltimore's experimental and chamber music cultures, regularly premiering new music by local composers. In 2004, he and John Berndt built the Speakeroids installation connecting eight resonant bodies that acted as both microphone and speaker, creating acoustic convolution. He performed Lucier's Music for Solo Performer with Mobtown Modern and will perform John Zorn's Cobra on their winter concert. He is a member of experimental improvisation exploration vessels Second Nature and Death in the Maze. To hear recordings of compositions and follow a calendar of upcoming events, visit samuelburt.com.

John Berndt

Best known to the public as a prolific musician, composer and improviser and as a key organizer in the scene around the international High Zero festival, Berndt’s work from the very beginning also involved the creation of coherent novelties in a broader range of media, including personal behavior, film, visual art, text, installation and a variety of non-musical performance genres. Driven by his unique philosophy and collaborations, his panoramic sensibility is characterized by a dizzying non-reductionism and careful phenomenological research in the context of philosophical radicalism.

He often attempts to go beyond the limits of rationalism without defaulting to “the humanities” side of the civilization's world-outlook. http://www.johnberndt.org/whois.html

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YEARS OFLOOKING TO THE FUTURE A MULTI-MEDIA CONCERT

Peabody Institute of The Johns Hopkins University 1 East Mount Vernon Place, Baltimore, MD 21202 410-234-4800