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Thursday, April 21 • 1:00pm - 3:30pm
Northeastern ElectroAcoustic

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Free Concert !

Maxwell Dulaney: Breathed, for flute and electronics. Breathed is based on the elemental timbres inherent in the relationship between the breath and the flute. All of the source material for the electronic part is derived from the analysis and electronic manipulation of flute samples. 

Jeremy Spindler: Glassworks and Silverscapes, for stereo playback.  The first movement to the piece, originally a one-movement work entitled Silverscapes, utilizes the sound of silverware being dropped into a large steel bowl.  About two years later I composed Glassworks, which, like Silverscapes, was originally conceived as a one-movement work. I had especially liked the metallic sounds and rich overtones I had produced in Silverscapes so I used similar sources for Glassworks—a plate, bowl, and drinking glasses. Instead of dropping these objects into a steel bowl they were scraped and struck, mostly with silverware. The resulting sounds were similar to those in Silverscapes, but have their own distinct quality. After completing Glassworks I realized the two pieces worked quite well together as a two-movement work and Glassworks and Silverscapes came together as one.

Justin Casinghino: Tangled, for piano and live electronics. Tangled is a duet for solo pianist and live signal processing. The piece is a musical reflection upon the general intertwined relationships of humans, nature and music, and in particular how these elements interact during the summers at the Tanglewood Music Festival.

Keith Kirchoff: Overdrive, for toy piano, live electronics and fixed mediaComposed in 2010, OverDrive is a composition for toy piano and live electronics that challenges the notion of what a toy piano can or cannot do.

Mike Frengel: Hotbird, for electric guitar and electronics. One of the primary concerns in Hotbird is for the treatment of electronics as an extension of the live instrument. As with most of my mixed works, the electronics consist of a combination of pre-produced sounds and live processing.

Christopher Bailey: Harvest Kitchen IIA, for 8-channel playbackThe title refers to the Harvestworks media center in New York City; I am grateful for a residency there that enabled the realization of this composition. It also refers obliquely to a messy ex-housemate of mine, in whose house many of the sounds in this work were recorded.

Sarah Fylak: Aye, Wonder, for violin, voice and electronics. The text of Aye, Wonder is comprised of excerpts from the poem Alice in Wonder by Luisa Inés Garcia.

Mammox: Facture/Phantanimals, mixed ensemble. Facture/Phantanimals is a medley of mixed works for triggered electronics, live instruments and voice, which explores additive rhythmic processes and atypical song form in the context of experimental hip hop.

Thursday April 21, 2011 1:00pm - 3:30pm
Northeastern University - Fenway Center 77 Saint Stephen St., Boston, MA 02115

Attendees (1)