https://www.unsungstoriescmc.com/sponsors daily 0.75 2021-04-02 https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1615925670941-9B0YCW6ZGT5QL0PBB88B/Screen+Shot+2021-03-16+at+4.14.05+PM.png Sponsors - The Department of Music at Columbia University The Department of Music's mission is to support and profess scholarly and scientific inquiry into music, and equally the creative activity of music composition, at the highest levels of rigor and innovation, for both graduate and undergraduate students, specialists and non-specialists in music, and a diverse constituency that spans both across and beyond Columbia University. The Department and its affiliated Centers support many scholarly events and performances for the Columbia and New York communities, whose diverse and rich musical legacies are represented across the full range of our commitments https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1615926101233-NA39U4A50JFV54LMBVJJ/IRWGS%2Blogo.jpg Sponsors - The Institute for Research on Women, Gender, and Sexuality (IRWGS) IRWGS is the locus of interdisciplinary feminist and queer scholarship and teaching at Columbia University. Offering an undergraduate degree program and graduate certification in Women’s, Gender, and Sexuality Studies, the Institute draws its core and affiliated faculty from a diverse array of disciplines across Columbia University and Barnard College. IRWGS's scholarly mission is to promote deep scholarship of the highest intellectual standards, cultivate innovative thinking and approaches to key questions in the field, and foster institutional transformation. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1615925193111-W5GQD1SK26G3FKSG0MPO/Screen+Shot+2021-03-16+at+4.06.16+PM.png Sponsors - The Arts & Sciences (A&S) Equity and Diversity Events "Diversity Matters" Grant The A&S Equity and Diversity events pilot program encourages and supports events and programs that highlight the benefits and value of diversity to academic excellence and that help create and sustain an inclusive community within A&S. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1615925866244-0P606TWQ5BF24A4HXSX0/Screen+Shot+2021-03-16+at+4.17.13+PM.png Sponsors - Computer Music Center at Columbia University (CMC) The Computer Music Center at Columbia University is an innovative and exciting music and arts technology facility with a long history of creative excellence. The primary mission of the CMC is to operate at the intersection of musical expression and technological development, and as a result the Center has become involved in a broad range of interesting projects. The CMC has also produced events aimed at reaching out to a wider community, both locally in New York and globally in a number of different international venues. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1615925286418-ORKW6X5G2NOFX75Y8QNL/Center+for+Science+and+Society.png Sponsors - The Center for Science & Society (CSS) Public Outreach Grant The Center has supported public outreach efforts in science and society across the University. The Center issues award funding for projects that develop public understanding of issues at the intersection of society and science, technology, and/or medicine; teach K-12 students about current issues in science and society; or work with communities to respond to issues that affect or are affected by science. Additionally the Center seeks to cultivate an interdisciplinary core group of students interested in leading projects around themes of science literacy, diversity, and accessibility. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1615926162704-6TS2O6G7HW2TL1U7ECYO/download.png Sponsors - The Sound Art Program at Columbia University The Sound Art program at the Columbia University School of the Arts is the only graduate sound art program in New York City. The rich New York gallery scene, including long-established art institutions such as MoMA, the Guggenheim and others, as well as independent and outdoor public sites are in close proximity to Columbia. Students develop their practice in a multi- perspectival, interactive and supportive environment and learn to conceive and discuss their own work, articulate their artistic ideas and develop a self awareness of how their work is situated within the context of various histories, disciplines and practices. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1615925549356-DTUSXGGTZG99C5X5ONVF/Society%2Bof%2BFellows_Heyman%2BCenter%2Bfor%2Bthe%2BHumanities.jpg Sponsors - Society of Fellows/Heyman Center for the Humanities Built in 1980 to be a home for the nascent Society of Fellows, the Heyman Center provides the physical space for members of the entire Columbia community—in the humanities, social and natural sciences, law, medicine and public health, journalism, business, and the arts—to share thinking, debate ideas, and collectively consider methodological, conceptual, and ethical issues of common interest and concern. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1615925786883-6MPCZ1B4QLER6BMI940B/download.jpg Sponsors - The Fritz Reiner Center for Contemporary Music The Fritz Reiner Center for Contemporary Music, an administrative unit of Columbia University’s Faculty of Arts and Sciences, is based within the Department of Music. The Center supports and encourages ensembles, organizations, and individuals devoted to making contemporary music, including the creation of music and music-related creative forms, concert presentation, scholarship, performer and composer residencies, recordings, conferences, archival and curatorial work, education, and other activities. The notion of contemporary music understood by the Center includes diversities of approach, style, methodology, gender, ethnicity, and cultural provenance. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1616442146810-QO5H4IUV9KFNQ6E8C0W3/faculty+advancement.png Sponsors - The Office of the Vice Provost for Faculty Advancement: Addressing Racism Seed Grant The Office of the Vice Provost for Faculty Advancement has provided seed grant funding for faculty within the Columbia community that engage with issues of structural racism. The goal of this initiative is to provide resources to enable collaborative dialogue, action, and insight for systemic change towards racial equity. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1615926416647-O1FWYDYDX02S7MB9TFEI/download+%281%29.jpeg Sponsors - Barnard Center for Research on Women (BCRW) The Barnard Center for Research on Women (BCRW) brings scholars and activists together through its working groups, public events, publications, and multimedia projects to advance intersectional social justice feminist analyses and to promote social transformation. BCRW is committed to vibrant and engaged research, pedagogy, art, and activism, supporting the work of scholars and activists to create new knowledge and to challenge and refine how we understand the world around us. https://www.unsungstoriescmc.com/podcast daily 0.75 2021-04-13 https://www.unsungstoriescmc.com/speakers daily 0.75 2021-04-06 https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1616271092577-JMZ3COJUSZUE3JCKUDTZ/2017_Laurie-Spiegel+headshot_by_Srini-Venkateswaran.jpg Speakers - Laurie Spiegel (New York, NY) Laurie Spiegel is an American composer. In the 1970s and ‘80s she worked at Bell Laboratories in both music and computer graphics, and is known primarily for her electronic-music compositions and algorithmic composition software. Her 1980s program Music Mouse for Macs, Amigas and Ataris introduced the idea of “intelligent instruments” to the wider world via personal computers. She plays guitar, lute and banjo and composes for traditional media as well as electronics. Her Night Thoughts for full orchestra was premiered on a BBC Prom concert in 2018. Spiegel was part of New York’s downtown new music community. She withdrew from that scene in the early 1980s, believing its focus had shifted too far from artistic process to product. She subsequently centering her efforts on music technology, working with alphSyntauri, the McLeyvier, Eventide and on other computer-based creative tools for music as well as publishing her own software. Spiegel's realization of Johannes Kepler's "Harmonices Mundi" was chosen for the opening track on the "Sounds of Earth" section of the golden record placed onboard the Voyager spacecraft in 1977. Another work, titled "Sediment", was included in the 2012 film The Hunger Games. Spiegel was inducted into the National Women's Hall of Fame in 2018. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1616185527348-51L473HH4AW4495DD9X7/Sky_Headshot_by_Ferrante_Ferranti.jpg Speakers - Sky Macklay (Valparaiso University) Sky Macklay (b. 1988) is a composer, oboist, and installation artist currently based in Chicago. Her music is conceptual yet expressive, exploring extreme contrasts, audible processes, humor, and the physicality of sound. She has been commissioned by Chamber Music America (with Splinter Reeds), the Fromm Foundation at Harvard University (with Ensemble Dal Niente), the Barlow Endowment (with andPlay), and The Jerome Fund for New Music (with ICE saxophonist Ryan Muncy). Sky’s work has also been recognized with awards and fellowships from the American Academy of Arts and Letters, ASCAP, The International Alliance for Women in Music, and Civitella Ranieri. Recent projects include an opera set in a uterus and three interactive installations of harmonica-playing inflatable sculptures. Sky completed her D.M.A. at Columbia University and her music is published by C. F. Peters. She will spend much of 2021 in Paris as a fellow at the Columbia Institute for Ideas and Imagination. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1616184045999-PN39O0ZADGNOPY2ZO1KH/Robert%2BGluck%2Bheadshot.jpg Speakers - Bob Gluck (University at Albany) Bob Gluck is Professor of Music at the University at Albany, where he teaches in the departments of Music and Theatre, Africana Studies, Art, and Judaic Studies. Gluck is a pianist, writer, and composer. After years of conservatory training, his musical life changed dramatically after hearing Jimi Hendrix, Frank Zappa, and Miles Davis' electric bands. Bob's repertoire spans jazz performance integrating electronics and free improvisation, avant-garde concert music, and music for home designed electronic expansions of acoustical instruments. Gluck has written numerous articles documenting the international history and cultural contexts of electroacoustic music and jazz. Brief country-specific histories and composer interviews, arising from his historical study of the Columbia Princeton Electronic Music Studio, have been published in the Canadian Electroacoustic Community (CEC)’s eContact!, on the internet. Gluck has released eleven recordings and his work appears on several compilations. Gluck's musical training is from the Juilliard, Manhattan, and Crane Schools of Music, as well as the State University of New York at Albany (B.A., 1977) and Rensselaer Polytechnic Institute (M.F.A., 2001). Gluck is also a rabbi (Reconstructionist Rabbinical College, rabbinic title and Master's in Hebrew Letters, 1989); he also holds a Master's in Social Work from Yeshiva University's Wurzweiler School of Social Work (1984). He has held various senior leadership positions in the Jewish Reconstructionist movement. Bob is author of You’ll Know When You Get There: Herbie Hancock and the Mwandishi Band (Chicago, 2012), and The Miles Davis Lost Quintet and Other Revolutionary Ensembles (Chicago, 2016; Quodilibet Chorus, revised Italian edition, 2020). https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1616270991502-YS3WGX3ZJ67EQUXRPH41/20200423_171733.jpg Speakers - Danielle Shlomit Sofer (Dublin, Ireland) Danielle Sofer (she/her/they/them) is a co-founder of LGBTQ+ Music Study Group, where she served as Executive Director until 2020. Her scholarship examines various means of electronic mediation, exploring how gender cuts dynamically across current social justice activism, postcolonial resistances, as well as historical and systemic constitutions of race and sexuality—topics featuring extensively in a forthcoming monograph, Making Sex Sound: Vectors of Difference in Electronic Music (MIT Press). Her publications appear in American Music, Organised Sound, Contemporary Music Review, and the Zeitschrift der Gesellschaft für Musiktheorie. Her research has been funded by the Royal Musical Association, the Society for Musicology in Ireland, the Society for Music Theory, the American Musicological Society’s AMS 75 Publication Awards for Young Scholars Endowment, the National Endowment for the Humanities, the Andrew W. Mellon Foundation, Förderprogramm Forschung 2013+, and the Austrian Science Fund (FWF). She has also enjoyed touring as a violist, fiddler, chorister, répétiteur, and sound technician, and earned BA with honors from SUNY New Paltz, an MMus in piano performance from Binghamton University, an MA in music history and theory from Stony Brook University, and a PhD with distinction in music aesthetics and musicology from Kunstuniversität Graz. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1616185269154-9QKOTXUE4IOJVZBK62O3/Judy_Klein.jpg Speakers - Judy Klein (New York, NY) Judy Klein is an American composer and educator. She holds degrees from the University of California, Berkeley, the Conservatory of Music in Basel, Switzerland, and the Gallatin School at New York University. She studied computer music with Charles Dodge at the Brooklyn College Center for Computer Music (BC-CCM). She taught computer music composition at New York University (SEHNAP) in the 1980’s and founded a computer music studio there. She was the consultant for electroacoustic music preservation at the New York Public Library for the Performing Arts (1990-2006). She has been artist-in-residence at various institutes, including Dartmouth College and the International Institute of Electroacoustic Music (Bourges, France), and guest composer and lecturer at at Brooklyn College (BC-CCM), the Cincinnati College Conservatory and the Columbia University CMC, among others. Klein composes almost exclusively in the C programming language and the Csound computer music language. Her works are primarily acousmatic and increasingly combine her interest in sound with her commitment to animal rights. In an interview with Peter Shea, she talks about this and about her piece “The Wolves of Bays Mountain.” She currently resides in New York City, works in her home studio, and serves on juries and selection committees for electroacoustic music competitions, festivals and conferences. She is a contributing editor for The Open Space Magazine and for Perspectives of New Music. Her music is recorded on ICMA, SEAMUS, Cuneiform and Open Space compact discs. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1616184167629-F7D6I69KK4WKS3CEEWG8/me_2019_2_creditAlfonso%25252BSalgueiro%25252BPhotography.jpg Speakers - Natacha Diels (University of Pennsylvania) Natacha Diels’ work combines choreographed movement, video animation, instrumental practice, and cynical play to create worlds of curiosity and unease. Recent work includes Papillon and the Dancing Cranes, for construction cranes and giant butterfly (Borealis Festival 2018); and forthcoming is a 6-part TV-style miniseries with the JACK quartet (TIME:SPANS and Banff Centre for the Arts) and a collaborative work for shadowed audience with Ensemble Pamplemousse (Darmstadt 2021). Natacha’s compositions have been described as “a fairy tale for a fractured world” (Music We Care About) and “the liveliest music of the evening” (LA Review of Books). Natacha is a founding member of the composer/performer collective Ensemble Pamplemousse, which specializes in unique aspects of new music composition, from complex virtuosic instrumental performance to electronic and robotic performance. Natacha holds degrees in performance, digital media, and composition from New York University and Columbia University. She is currently an Assistant Professor of composition at the University of Pennsylvania. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1616271614319-WR4XHI8CPIZPZRN1GR6Q/Young-headshotA_2020.jpg Speakers - Nina Young (University of Southern California, Thornton School of Music) Composer Nina C. Young writes music characterized by an acute sensitivity to tone color, manifested in aural images of vibrant, arresting immediacy. Her experience in the electronic studio informs her acoustic work, which takes as its given not melody and harmony, but sound itself. Young’s music has garnered international acclaim through performances by the New York Philharmonic, Milwaukee Symphony, Minnesota Orchestra, Orkest de ereprijs, Philadelphia Orchestra, Phoenix Symphony, Nouvel Ensemble Moderne, Argento, Divertimento, Either/Or, JACK Quartet, Metropolis, Scharoun, Sixtrum, wild Up, and Yarn/Wire. Winner of the 2015-16 Rome Prize in Musical Composition, Nina has received awards and fellowships from the Koussevitzky Foundation, the American Academy of Arts and Letters, the Civitella-Ranieri, the Copland Foundation, the Fromm Foundation, the Montalvo Arts Center, and BMI. Recent commissions include "Tread softly" for the NYPhil's Project 19, a violin concerto for Jennifer Koh and the Philadelphia Orchestra, and a multimedia work for the American Brass Quintet and EMPAC’s wavefield synthesis system. Her debut album "Traced Upon Cinders", a collaboration with Ensemble Échappé and Benjamin Grow will be out later this year on Innova. A graduate of McGill and MIT, Nina completed her DMA at Columbia University where she was an active participant at the Columbia Computer Music Center. Young is an Assistant Professor of Composition at USC's Thornton School of Music. She serves as Co-Artistic Director of NY-based new music sinfonietta Ensemble Échappé. Her music is published by Peermusic Classical. www.ninacyoung.com https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1616184884207-A0DOH6TWV7KDXHWX3K15/Miki%2BKaneda%2Bheadshot.jpg Speakers - Miki Kaneda (Boston University) Miki Kaneda researches transcultural movements and the entanglements of race, gender, and empire in experimental, avant-garde and popular music in the 20th and 21st centuries. She has published on topics including the transnational flows of experimental sonic arts, art and the everyday, and video game sound. Her book project, titled Transpacific Experiments: Intermedia Art and Ambivalent Listening in 1960s Japan is under contract with the University of Michigan Press. She is currently Assistant Professor of Music at Boston University. She has also held fellowship positions at the Weatherhead East Asian Institute at Columbia University, Reischauer Institute of Japanese Studies at Harvard University and the Museum of Modern Art, where she was a founding co-editor of the web platform, post.moma.org. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1616184609514-Q7E5KW2WC68FI8BD19T3/USE+THIS+ONE_buchla.jpg Speakers - Yvette Janine Jackson (Harvard University) Yvette Janine Jackson is a composer and sound installation artist focused on bringing attention to historical events and social issues. Her works have been featured at the Fridman Gallery; Fylkingen; Vienna’s MuseumsQuartier Tonspur Passage; International Festival of Computer Art in Maribor; the Cube at Virginia Tech; Tonband Fixed Media Festival at Audiorama; Spreckels Organ in Balboa Park; the San Diego Art Institute; San Francisco International Arts Festival; Stockholm’s Kulturnatten; the Borealis Festival; and in residency at Elektronmusikstudion. Recent commissions include Fear Is Their Alibi for soprano, bassoon, and electronics for the PROTOTYPE Festival; Lot’s Wife, for ensemble and electronics, by Banff Centre for Arts and Creativity; Remembering 1619 for violin and tape; Atlantic Crossing read by the Naples Philharmonic with support from the American Composers Orchestra; and Cannot Be (Unrung) for carillon and electronics co-commissioned by the University of Chicago and University of Michigan for Tiffany Ng. Yvette's chapter "Narrative Soundscape Composition: Approaching Jacqueline George's Same Sun" is in Between the Tracks: Musicians on selected electronic music edited by Miller Puckette and Kerry L. Hagan for MIT Press. Yvette is an assistant professor in Creative Practice and Critical Inquiry in the Department of Music and teaches for the Theater, Dance & Media program at Harvard University. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1616270664711-79F1DBJCRRNAXYQR784S/Pril%2Bportrait%2BIMG_2553%2Bfnl.jpg Speakers - Pril Smiley (CPEMC—1963-95) Pril Smiley (b. 1943, Mohonk Lake, N.Y.) became involved with the Columbia-Princeton Electronic Music Center in 1963, during the pioneering years of the electronic music medium. In addition to composing and teaching at the Center, she served as Associate Director for 25 years, finally retiring in 1995. During her career there, Pril composed electronic music for over forty theatre, film, and dance productions, and served for six years as Electronic Music Consultant for the newly-opened Vivian Beaumont Theatre at Lincoln Center in New York City. She is the recipient of various awards and honors, including a Guggenheim Fellowship, a National Endowment for the Arts grant, a Creative Artists’ Public Service grant, and a New York Foundation for the Arts Fellowship. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1616271187984-2A2IVLJB71MZTKQ5F4IA/IMG_5275.jpg Speakers - Michael Sy Uy (Harvard University) Michael Sy Uy (BA, University of California, Berkeley; MPhil, Oxford University; PhD, Harvard University) is the Allston Burr Resident Dean of Dunster House, Assistant Dean of Harvard College, Lecturer and Associate Director of Undergraduate Studies in the Harvard University Department of Music. His main areas of scholarly research focus on patronage, philanthropy, arts education, cultural policy, expertise, and connoisseurship. His book, Ask the Experts: How Ford, Rockefeller, and the NEA Changed American Music, was published by Oxford University Press in 2020. His other published work appears in American Music, Journal of the Society for American Music, Journal of Musicology, and Music and Arts in Action. He is the recipient of several teaching awards, including the Mindich Program in Engaged Scholarship’s Curricular Innovation Award, the Derek Bok Center Excellence in Teaching Award, and the Distinguished Faculty Award by the Harvard Foundation. He is an avid coxswain, runner, indoor rock climber, and plant caretaker. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1616185663472-2H8YLERES2SWK1SM708Q/02masaoka_koto_laser-b.jpg Speakers - Miya Masaoka (Columbia University) Miya Masaoka works at the intersection of sound and resonance, composition, spatialized perception, and social interaction. Her work encompasses notated compositions, objects infused with sound, instrument building, computing wear-ables, and sonification of the behavior of plants, brain activity, and insect movement. Her work has been exhibited nationally and internationally, including the Venice Biennale, MoMA PS1, Institute of Contemporary Art Philadelphia, and the Museum of Contemporary Art Chicago. Masaoka has taught at New York University, Bard College (since 2003). In 2017, her installation “Vaginated Chairs” was shown as the Kunstmuseum Bonn, and in 2018 she premiered work for the BBC Scottish Symphony Orchestra and Glasgow Chamber Choir. Masaoka has created a new chamber Noh opera, and is a Park Avenue Armory Studio Artist for 2019. She has a Duo CD with Anthony Braxton, a Trio with Zeena Parkins and Myra Melford. In 2018, she was named Director of the Sound Art MFA program at Columbia University in the School of the Arts. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1615842162291-GZBVKOT3FX7LBTO4KY1G/Kitty%2BBrazelton%2Bheadshot%2Bby%2BLourdes%2BDelgado.jpg Speakers - Kitty Brazelton (Bennington College) For pioneering NYC composer, bandleader, and multi-instrumentalist Kitty Brazelton, music is personal, and the personal is universal. Brazelton has connected language and practice across expectation since the 1970s when she led avant-folk-chamber Musica Orbis, to the ‘80s when she fronted Hide the Babies at CBGB’s, to the present lockdown, during which she has undertaken an ambitious choir recording project—working title ‘COVID CHOIRS’—enlisting dozens of out-of-work musicians to sing messages of hope together remotely from their homes. Recently interviewed in fall 2020 for inclusion in Yale’s Oral History of American Music, Brazelton has won OPERA America’s 2015 & 2016 Grants for Female Composers, the Copland, the Ossietzky, and commissions including two new works for Boston Opera Collaborative’s 2021 online ’Love in the Time Of….’ production as well as “O Joy!” for choir VocalEssence’s NPR quadrennial. New York Times writes: “brilliant”; Los Angeles Times: “boisterous”; Rolling Stone: “impressive nerve”; John Zorn: “visionary”. Prior to COVID, Brazelton produced hybrid string concerts in LA, a cappella prayer cycles in private homes, and band festivals in NYC, Chicago, Philadelphia, and Vermont. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1616184307758-82FASU7DPK8MNMUC8FLE/Mara161031aCCM229ed.jpg Speakers - Mara Helmuth (University of Cincinnati) Mara Helmuth composes music often involving the computer, and creates multimedia and software for composition and improvisation. Her music has been performed internationally at conferences, festivals and arts spaces, and is on recordings from PARMA, INNOVA, Centaur (CDCM), Open Space, Electronic Music Foundation and Everglade. Her software for composition and improvisation involves wireless sensor networks, granular synthesis, Internet2, and the RTcmix music programming language. She created two installations for the Sino-Nordic Arts Space in Beijing. She is Professor of Composition at College-Conservatory of Music, University of Cincinnati and director of its Center for Computer Music. She holds a D.M.A. from Columbia University, and earlier degrees from the University of Illinois, Urbana-Champaign. She served on the board of directors, as vice president for conferences and as president for the International Computer Music Association, and has written about gender and computer music. She also plays tennis and practices T’ai chi ch’uan, and lives with her partner Teri and their dog, Ella Fitzgerald. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1616095450703-J15AXR7ZBSKO8ITDEOK4/IMG-354.jpg Speakers - Teresa Díaz de Cossío (University of California, San Diego/Universidad Autónoma de Baja California) Teresa Díaz de Cossío is a flutist, improviser and teacher. American born of Mexican descent, and raised in Mexico, Teresa has studied at Universidad Autónoma de Baja California, San Diego State University and Purchase College in New York. She is the cofounder of Música para la Paz, a nonprofit that teaches music to kids in orphanages and low-income communities in Ensenada and Tecate. Teresa participated in concerts with Plácido Domingo, the Carnegie Hall-affiliated Decoda ensemble, and Los Tigres del Norte. As a recipient of UNAM’s Resiliencia Sonora: Intérpretes fellowship, next summer Teresa will be recording works of Mexican composers. She cofounded the Kato Trio in 2020, highlighting pieces that merge acoustic instruments and field recordings of urban cities. Teresa is currently investigating the life and work of Mexican female composers from the 20th century, focusing on Alida Vázquez Ayala, and pursuing a DMA in performance at UC San Diego. She maintains other engagements at Universidad Autónoma de Baja California, Ensenada, where she teaches flute, and coordinates the Festival de Música Nueva, Ensenada. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1616185038102-E8370FVYQV6P2H4PL37R/EF9A41DB-4530-4139-9971-8A163FEA3272.jpg Speakers - Roshanak Kheshti (University of California, San Diego) Roshanak Kheshti is Associate Professor of Ethnic Studies and affiliate faculty in the Critical Gender Studies Program at the University of California, San Diego and Associate Editor of the Journal of Popular Music Studies. She is the author of Modernity’s Ear: Listening to Race and Gender in World Music (NYU Press, 2015) and Switched-on Bach (Bloomsbury Academic, 33 1/3, 2019). She is currently completing her third book, tentatively titled “We See with the Skin: Zora Neale Hurston’s Synesthetic Hermeneutics” as well as a performance piece “Veil Manifesto” (with Sara Mameni). Her scholarship has appeared in the Radical History Review, American Quarterly, Current Musicology, Feminist Media Histories, Hypatia, Feminist Studies, GLQ, Theater Survey, and Sounding Out!. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1616186251939-KNON4OUJNRBFV817BTKM/Morrison_headshot.jpg Speakers - Matthew Morrison (New York University, Tisch School of the Arts) Matthew D. Morrison, a native of Charlotte, North Carolina, is an Assistant Professor in the Clive Davis Institute of Recorded Music at New York University’s Tisch School of the Arts and holds a Ph.D. in Musicology from Columbia University. He has worked in collaboration with the opening of The Shed, NYC, with the Glimmerglass Festival Opera, and has held fellowships at Harvard University and the Library of Congress. His published work has appeared in publications such as the Journal of the American Musicological Society, Women and Performance: A Journal of Feminist Theory, the Grove Dictionary of American Music, The Oxford Handbook of Music & Philosophy, art forums/publications, and on Oxford University Press's online music blog. He is currently completing a book entitled Blacksound: Making Race & Popular Music in the U.S., which considers the making of race, intellectual property law, and American popular entertainment out of blackface minstrelsy. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1616185402749-4V0LXA7Z1CYMIWFLKVV2/yuriko%252Bkojima%252Bheadshot.jpg Speakers - Yuriko Hase Kojima (Shobi University) Dr. Yuriko Hase Kojima serves as the Professor of Composition at Shobi University in Japan. She also teaches as a lecturer at Toho Gakuen College School of Music and Senzoku Gakuen College of Music. She is the founder and the artistic director of a non-profit organization, Glovill, which introduces new music to Japan. Graduating as a piano major from Osaka College of Music, Ms. Kojima studied music composition in America for ten years. She got B.M. from Boston Conservatory, M.A. and D.M.A. in compposition from Columbia University, where she was awarded the Andrew Mellon fellowships and Rapaport Composition Prize. Her main teachers include Tristan Murail, Jonathan Kramer, Fred Lerdahl, Brad Garton, David Rakowski, and Isao Matsushita. In 1997, she studied with Betsy Jolas and Philippe Leroux at the American Conservatory in Fontainebleau. Her works have been presented at the international festivals such as the ISCM World Music Days, the ACL Asian Music Week, and the ICMC, performed by prominent ensembles such as Ensemble Modern, the Pearls Before Swine Experience, and the New York New Music Ensemble. Ms. Kojima continues her researches on electroacoustic music presenting papers at the EMS and the ICMPC conferences. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1616186217917-GZBOLEK5ZSKX4MJ4SZDT/FrancesMorgan.jpg Speakers - Frances Morgan (University of Lincoln) Frances Morgan is a Lecturer in Sound and Music Theory at University of Lincoln, UK. With a background in journalism, Frances has worked as a music and film critic for publications including The Wire and Sight & Sound. Recent journal papers have appeared in Organised Sound and Dancecult. Frances has recently completed a PhD at the Royal College of Art, London, in collaboration with the Science Museum, focusing on the construction of electronic music histories. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1615842730153-BKJHJV0RAUEAAOT6PJ03/Brigid%2BCohen%2Bheadshot.jpg Speakers - Brigid Cohen (New York University, FAS) Brigid Cohen is Associate Professor of Music at New York University. She has taught and published on the politics of 20th-century avant-gardes, archive studies, diaspora and cosmopolitanism theory, 20th-century German-Jewish thought, histories of genocide, and intersections of music, literature, and the visual arts. Her book Stefan Wolpe and the Avant-Garde Diaspora (2012) won the Lockwood Award from the American Musicological Society. She also edited and convened the round table “Edward Said and Musicology Today,” published in Journal of the Royal Musical Association in 2016. Her second monograph, Musical Migration and Imperial New York (University of Chicago Press, forthcoming), explores questions of displacement and citizenship through a study of New York concert avant-gardes, jazz, electronic music, and performance art in the 1950s and 1960s. This book trains its focus on the cultural-political dilemmas navigated by uprooted creators in New York as a capital of empire during the Cold War. Her recent work has been supported by the Max Planck Institute for History of Science, the National Endowment for the Humanities, and Wellesley College. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1616184196639-XBQSE0G33ZB63PIF8U42/garton_brad.jpg Speakers - Brad Garton (Columbia University) Brad Garton serves as Director of the Computer Music Center (formerly the Columbia-Princeton Electronic Music Center). He has assisted in the establishment and development of a number of computer music studios throughout the world, and is an active contributor to the greater community of computer musicians/researchers, formerly serving on the Board of Directors of the International Computer Music Association as editor (with Robert Rowe) of the ICMA newsletter and artistic director/co-organizer of several high-profile festivals and conferences of new computer music. His current work includes focused research on the modeling and enhancement of acoustic spaces as well as the modeling of human musical performance on various virtual "instruments". He is also the primary developer (with Dave Topper) or RTcmix, a real-time music synthesis/signal-processing language. The point of all this work is to continue to make fun new pieces of music, which he does every day. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1616594581772-2U43V7I1LZB9BQ60US39/Sndra%2BWoodruff%2BHeadshot.jpg Speakers - Sondra E. Woodruff II (Kelly Strayhorn Theater) Sondra E. Woodruff II has spent a lifetime making music with 20 years in the music business, having worked as a recording artist, songwriter and composer, and guitarist. She graduated with a degree from the School of General Studies at Columbia University in 2019. While at Columbia, she worked with the “For the Daughters of Harlem: Working in Sound” program, which brings local young women of color to campus for workshops on recording and producing their own music—everything from creating song lyrics, to playing the guitar, to working with all of the technology in a studio. She is co-founder of Limelight Studios and Producer of Engagement and Social Impact at the Kelly Strayhorn Theater. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1615842392898-33IGBN7ACYBCA8AA36ZT/HannahBosma.jpg Speakers - Hannah Bosma (University of Amsterdam) Hannah Bosma is a postdoc researcher at the University of Amsterdam (ASCA) for her research project Preservation as performance: Liveness, loss and viability in electroacoustic music (2019-2023, NWO Veni innovation grant). Other projects include MA-courses on Archiving Art (UvA since 2019) and on Gender, Voice and Music technology (Kunstuniversität Graz 2017-2019), the conference "The Art of Voice Synthesis" (UvA 2016) and The Electronic Cry: Voice, gender and electroacoustic music (PhD UvA 201,). Her publications on gender and electroacoustic music appeared in Organised Sound, Contemporary Music Review and The Routledge Companion to Sounding Art, inter alia. For more information, see http://www.uva.nl/en/profile/h.m.bosma https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1616270471313-F7I375VUH6GRX42EGO7F/Alice%2BShields%2Bphoto%2Bby%2BRashida%2BDe%2BVore.jpg Speakers - Alice Shields (CPEMC/CMC 1964-1996) Alice Shields creates cross-cultural electronic and acoustic operas and works for fixed media, voices, instruments, dance, theater, video and film. Her work is heavily influenced by non-Western forms of classical music and theater, such as Japan’s Noh Theater and India’s Bharata Natyam dance-drama. One of electronic music’s pioneers, Shields was Associate Director of the CPEMC from 1964-80, working alongside Milton Babbitt, Vladimir Ussachevky, Otto Luening, Mario Davidovsky and Pril Smiley as a primary instructor at the Center, and composed electronic music at the Center from 1964-96. She also worked as the CMC’s Associate Director for Development from 1994-96. While working with the CMC’s digital technology from 1987-1996, she also held two residencies at the Brooklyn College Center for Computer Music. She continues to create electronic music in her home studio. Shields created some of the first electronic music cues for operas, including the Lake George Opera's Crucible (1966) and the Metropolitan Opera's Mourning Becomes Electra (1967) with Vladimir Ussachevsky. She created electronic cues for Sam Shepard’s radio plays Icarus and 4-H Club (1966) and The Witches’ Scenes for John Houseman's MacBeth (1967), and some of the first electronic film scores--Incredible Voyage (1967) and Line of Apogee (1968) with Ussachevsky, Luening and Smiley. She created some of the first electronic operas: Shaman (1987), Mass for the Dead (1992), Shivatanz (1993), and Apocalypse (1994). Shields' works are informed by her vocal training and onstage experience singing traditional and modern roles with the New York City Opera, Washington National Opera, Metropolitan Opera at the Forum and other companies from 1966-80. Her own electronic and acoustic music has been performed by New York City Opera VOX, Akademie der Künste (Berlin), SAVVY Contemporary (Berlin), Venice Biennale, Arangham Dance Theater (India), and many others. Shields holds three degrees from Columbia, including a DMA in composition, which was itself created for her and Charles Dodge. She has taught psychology of music at NYU and Rutgers, has lectured for the International Society for Research on Emotion, the American Psychological Association, the National Association for the Advancement of Psychoanalysis and Santa Fe Opera, and has served as grant reviewer for the National Science Foundation. www.aliceshields.com www. composers.com/alice-shields https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1615842299116-J1EC5W81J9UZM8LOBW8A/Arielle_Pentes.Courtney_Bryan.jpg Speakers - Courtney Bryan (Tulane University) Courtney Bryan is “a pianist and composer of panoramic interests” (New York Times). Her music is in conversation with various musical genres, including jazz and other types of experimental music, as well as traditional gospel, spirituals, and hymns. Bryan has academic degrees from Oberlin Conservatory (BM), Rutgers University (MM), and Columbia University (DMA) with advisor George Lewis, and completed postdoctoral studies in the Department of African American Studies at Princeton University. Bryan is currently the Albert and Linda Mintz Professor of Music at Newcomb College in the School of Liberal Arts, Tulane University and a Creative Partner with the Louisiana Philharmonic Orchestra. She was the 2018 music recipient of the Herb Alpert Award in the Arts, a 2019 Bard College Freehand Fellow, a 2019-20 recipient of the Samuel Barber Rome Prize in Music Composition, a 2020 United States Artists Fellow, and is currently a recipient of a 2020-21 Civitella Ranieri Fellowship. www.courtneybryan.com https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1616094639977-7FEHXO7W0PZX24TVDY6K/CoxCathy_headshot.jpg Speakers - Cathy Cox (Kunitachi College of Music, Tokyo, Japan) Cathy L. Cox is a music researcher based in Tokyo, Japan. Her current research focuses on the theory and analysis of electroacoustic music. She completed undergraduate studies in music theory at McGill University in Montréal (Canada), earned an MA from Washington University in St Louis and a PhD from Columbia University in New York City (USA), was a DAAD fellow at the Technische Universität Berlin and pursued supplemental studies in computer science (Informatik) at RWTH-Aachen (Germany). A former CMC staff member and executive editor of Current Musicology, her work has been published in Contemporary Music Review and Leonardo Music Journal, among others, and presented at conferences in Australia, Canada, Hong Kong, Japan, South Korea, and the United States. Dr. Cox currently teaches at Kunitachi College of Music (Sonology Department), Hosei University (Department of Global and Interdisciplinary Studies), Tamagawa University (Department of Media Design), and Toho Gakuen School of Music (Music Theory Division), all in Tokyo; Ferris University (College of Music) in Yokohama; and Waseda University (School of Human Sciences) in Tokorozawa. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1616186515483-NV6K04RW1WJEMMAXTXT5/katharina_020.jpg Speakers - Katharina Rosenberger (University of Music Lübeck) Katharina Rosenberger, born in Zurich, is Professor of Composition and has taught composition and sound art at the University of California San Diego for 12 years. From April 2021 she will hold the professorship for composition at the University of Music Lübeck. Her compositions, installations and interdisciplinary stage work have been featured at festivals such as the Warschauer Herbst, Wittener Tage für neue Kammermusik, Heroines of Sound, Berlin, ZeitRäume Basel, Festival Les Musiques, Marseille, among others, as well as in many concert series throughout Europe and the United States. Rosenberger is a recipient of the 2019 Guggenheim Fellowship. In the past, she has been awarded with the Hellman Fellowship, San Francisco, the Sony Scholar Award, and Ernst von Siemens Musikstiftung Commissions. Her installation work VIVA VOCE and Room V won the “Mediaprojects Award” /  Sitemapping of the Swiss Federal Agency (OFC), Berne. Her portrait CD TEXTUREN with the Wet Ink Ensemble, released on HatHut Records, has been awarded the prestigious Copland Recording Grant and was selected for the Preis der Deutschen Schallplattenkritik, Bestenliste 4_2012. Her music can be heard on Hat Hut Records, Unit Records and Akenaton. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1616186692122-0KQTERYKAXO3H6H1L13E/15-ds-featured.jpeg Speakers - Daria Semegen (Stony Brook University) Daria Semegen is a composer of instrumental, vocal and electronic music. As a recognized pioneer and authority on electronic music composition , she has been the subject of many articles and several dissertations including A. E. Hinkle-Turner's doctoral dissertation "Daria Semegen: A Study of the Composer's Life", Work and Music (University of Illinois-Urbana). Semegen's writings on creative process, esthetics and pedagogy have been published in the U.S. and abroad. She studied at the Eastman School of Music, in mixed-media workshops at the Rochester Institute of Technology, at Yale and Columbia Universities and in Warsaw, Poland as a Fulbright fellow. She taught at the Columbia-Princeton Electronic Music Center from 1971-1975 and was a sound engineer at the Collection of World Music (Columbia University) working with field recordings of native musics from many continents. Her awards include six National Endowment for the Arts grants, and the 2009 Susan B. Anthony Lifetime Achievement from the Susan B. Anthony Center for Women’s Leadership. Recordings of her music include Rhapsody (for Yamaha MIDI grand piano), Electronic Composition No. 1; Arc (electronic/dance); Spectra, Music for Violin Solo; Jeux de Quatres. A performance of Daria Semegen’s work “Bargello” for electronic sounds with live instrument(s) features Dylan Ebrahimian with electric violin improvisation and Monica Bello on effects pedal. From 1990-1999 ,Daria Semegen was commissions coordinator for the World Premieres Concert series presented by the Stony Brook Contemporary Chamber Players (CCP) at Stony Brook and in New York City. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1616095100511-A5VUNUGNCARXEIKZN311/Di+Castri+Headshot+2019.jpg Speakers - Zosha Di Castri (Columbia University) Co-organizer, Unsung Stories Zosha Di Castri is a Canadian composer/pianist/sound artist living in New York. Her work, which has been performed internationally, extends beyond purely concert music including projects with electronics, installations, and collaborations with video and dance. She has worked with such ensembles as the BBC Symphony and BBC Singers, San Francisco Symphony, Montreal Symphony Orchestra, the National Arts Centre Orchestra, the L.A. Philharmonic, the Chicago Symphony Orchestra, the New York Philharmonic, ICE, JACK Quartet, Ekmeles, Yarn/Wire, the NEM, and Talea Ensemble among others. Upcoming projects include a Koussevitzky commission from the Library of Congress for percussionist Steve Schick and ICE and a commission for the Grossman Ensemble in Chicago. Zosha is currently the Francis Goelet Assistant Professor of Music at Columbia University and recently finished a year-long fellowship at the Institute for Ideas and Imagination in Paris. Her debut album Tachitipo, released November 2019 to critical acclaim, can be found on New Focus Recordings, and the title track was nominated for The JUNO Awards’ 2021 Classical Composition of the Year. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1616270894345-SCEU3E5V9Z272RHMEWGX/Screen+Shot+2021-03-20+at+4.05.12+PM.png Speakers - Ebonie Smith (Gender Amplified, Inc. & Atlantic Records) Ebonie Smith is an award-winning music producer, audio engineer and singer-songwriter based in New York City. Ebonie is also the founder and president of Gender Amplified, Inc., an organization that celebrates and supports women and girls in music production and audio engineering. Ebonie received her first Grammy Certificate and RIAA-certified platinum plaque for work as an assistant engineer on Hamilton (Original Broadway Cast Recording). She received her second Grammy Certificate for work as an assistant engineer on Sturgill Simpson's award-winning album A Sailor's Guide to Earth. She also engineered on Janelle Monáe’s Grammy-nominated album Dirty Computer and Cardi B’s Grammy-winning album Invasion of Privacy . In 2017, Ebonie was nominated for a Pensado Award for Best Break Thru Mixing Engineer. She currently works as an engineer, producer and studio coordinator for Atlantic Records. She is also an elected governor of the New York Chapter of The Recording Academy and member of the Producers & Engineers Wing. Ebonie holds a master's degree in Music Technology from New York University and a bachelor's degree in Africana Studies from Barnard College, Columbia University. While in college, Ebonie received training at Columbia University's Computer Music Center and studied abroad in Cameroon, where she performed with bands, worked in studios and produced local artists. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1616271292172-3Q1N93YS43331NJKENIG/Tamirisa_Unsung_Photo.jpg Speakers - Asha Tamirisa (Bates College) Asha Tamirisa [she/her/hers] works with sound, video, film, and researches media histories. Along with many colleagues, Asha co-founded OPENSIGNAL, a collective of artists concerned with the state of gender and race in electronic music and art practice. She now works with the organization TECHNE (technesound.org). Asha has taught sound and media production at Brown University, the Rhode Island School of Design, Girls Rock! Rhode Island, and Street Level Youth Media in Chicago. In 2019, she received Ph.D. in Computer Music and Multimedia and an M.A. in Modern Culture and Media from Brown University. Asha lives and works in Portland, ME and is currently an Assistant Professor at Bates College. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1615842337864-3PCFSZSLG7Z8QO9PHFHD/Norma%2BBeecroft Speakers - Norma Beecroft (Toronto, ON, Canada) Norma Beecroft is part of a generation of pioneering professional composers that firmly established Canada's place on the world's musical map. An award-winning composer renowned for her use of electronic sound, Beecroft has been commissioned by many of Canada's leading artists, ensembles and organizations. She has also enjoyed a long career in broadcasting, in television and as a radio producer, commentator and documentarist for the CBC and CJRT-FM radio. Many of Beecroft's compositions combine electronically produced or altered sounds together with live instruments, with the electronic music serving as an extension of vocal and/or instrumental sounds. Due to her intense interest in technology in music, in 1977/78 she interviewed many of the world's leading composers who were the first to use technology in their music. This extensive research resulted in her book Conversations with Post World War II Pioneers of Electronic Music, which documents a new period in musical history through the voices of 26 major figures, most of whom are now deceased. For her service to Canadian music, Norma Beecroft was awarded a Doctor of Letters, honoris causa, from York University in Toronto in 1996. She is an honorary member of the Canadian Electroacoustic Community. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1616184468157-T4C7G511BS88JSV80PK3/Hisama%2BEllie.jpg Speakers - Ellie Hisama (Columbia University) Co-organizer, Unsung Stories Ellie M. Hisama is Professor of Music (Theory and Historical Musicology) and a member of the Executive Committee of the Institute for Research on Women, Gender, and Sexuality at Columbia University, where she has taught since 2006. She is the author of Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon (a Choice Outstanding Academic Title) and co-editor of Ruth Crawford Seeger’s Worlds: Innovation and Tradition in Twentieth-century American Music and Critical Minded: New Approaches to Hip Hop Studies. She has published widely in twentieth- and twenty-first century music and on race, ethnicity, gender, sexuality, society, and power. Hisama is Founding Director of For the Daughters of Harlem: Working in Sound and was named the Kenneth H. Peacock Lecturer at the University of Toronto; the keynote speaker for the Music of the Americas conference, University of Texas, Austin; and the Robert Samels Visiting Scholar at Indiana University. She is an inaugural recipient of the Provost’s Faculty Mentoring Award at Columbia and received a Career Enhancement Fellowship from the Woodrow Wilson National Fellowship Foundation, a Tsunoda Ryusaku Senior Fellowship at Waseda University, and a Faculty Fellowship from the Ethyle R. Wolfe Institute for the Humanities. In July 2021, she will become the fourteenth Dean of the University of Toronto’s Faculty of Music. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1615842495818-NAKYYHEIB8XTOAOENQ19/Kamari%2BCarter_Prentis%2BHall%2Bfall%2B2017_Shea%2BSweeny.jpg Speakers - Kamari Carter (Columbia University & New York, NY) Kamari Carter (b. 1992; lives and works in NYC) is a producer, performer, sound designer, and installation artist primarily working with sound and found objects. Carter’s practice circumvents materiality and familiarity through a variety of recording and amplification techniques to investigate notions such as space, systems of identity, oppression, control, and surveillance. Driven by the probative nature of perception and the concept of conversation and social science, he seeks to expand narrative structures through sonic stillness. Carter’s work has been exhibited at such venues as Automata Arts, MoMA, Fridman Gallery, Lenfest Center for the Arts, and Issue Project Room, to name a few. Carter holds a BFA in Music Technology from California Institute of the Arts and an MFA in Sound Art from Columbia University. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1616186117682-S9X1L158L7OAVX8XUBK3/JoyceM_DSC4431_2017%252Bheadshot.jpg Speakers - Joyce Solomon Moorman (Columbia, SC) Joyce Solomon Moorman was born in the campus hospital of Tuskegee Institute in Tuskegee, Alabama. Her childhood was spent in Columbia, South Carolina, where she attended segregated public elementary and high schools. She earned the B. A. degree from Vassar College, the M. A. T. degree from Rutgers University, the M. F. A. degree from Sarah Lawrence College, and the Ed. D. degree from Columbia University. In 1990 she was a finalist in the first Detroit Symphony African-American Composers’ Competition. Her compositions have been performed by Lilan Parrot, Triad Chorale, Wilson Moorman, the Brooklyn Philharmonic Chamber Ensemble, Louise Toppin, and the Rose City Brass Quintet, among others. Ms. Moorman was a winner of the Vienna Modern Masters 1998 Millennium Commission Competition. She received honorable mention in the International Alliance for Women in Music Competition for the Year 2000 Women of Color Commission. She is included in several books, including Piano Music by Black Women Composers: A Catalogue of Solo and Ensemble Works, and Music by Black Women Composers: A Bibliography of Available Scores. In 1997, she was appointed by the Governor of New York to the Advisory Music Panel for the New York State Council on the Arts, which she served on for three years. Pen and Brush, Inc. of New York City presented her with the June Jordan Award in 2003, for excellence in the field of arts and performance and the perpetuation of African-American culture. Currently, she is retired from Borough of Manhattan Community College where she held the rank of Professor in the Music and Art Department. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1615842598353-6V4HS4F9H77Y8ICU64HS/unnamed.jpg Speakers - Seth Cluett (Columbia University) Seth Cluett is a composer and visual artist who creates work that explores everyday actions at extreme magnification, examines minutae by amplifying impossible tasks, and tries to understand the working of memory in forms that rethink the role of the senses in an increasingly technologized society. Ranging from photography and drawing to installation, concert music, and critical writing, his “subtle…seductive, immersive” (Artforum) sound work has been characterized as “rigorously focused and full of detail” (e/i) and “dramatic, powerful, and at one with nature” (The Wire). The recipient of grants from Foundation for Contemporary Arts Emergency Fund and Meet the Composer, his work has been presented internationally at venues such as The Whitney Museum, MoMA/PS1, Moving Image Art Fair, CONTEXT Art Miami, GRM, and STEIM. His concert work has been commissioned by ensembles ranging from the Hong Kong Sinfonietta and the International Contemporary Ensemble to So Percussion, Catch Guitar Quartet, and Clogs and is documented on Line, Sedimental, Notice, and Winds Measure recordings. Cluett is the Assistant Director of the Computer Music Center and Sound Art Program at Columbia University and is Artist-in-Residence with Experiments in Art and Technology at Nokia Bell Labs where he maintains a studio and is active in research on virtual and augmented reality acoustics and multi-sensory communication. https://www.unsungstoriescmc.com/staff daily 0.75 2021-04-08 https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617553374965-LEST4O3MPP6XXM1IBVJA/jessie+headshot+4.jpg Staff https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1615653293484-XJLYLL1Z9D7DN38I9600/Hisama%2BEllie.jpg Staff https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617391375035-57E864GQL8DQ568OBT97/Cordery.jpeg Staff https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1615655925754-HWRWKBNBTHUPBR1UICIR/stacks_image_179.png Staff https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617631294656-B5Q03LSFUX5UD5MAF54K/2018%25E3%2580%258112%25E6%259C%258824%25E6%2597%25A56796.jpg Staff https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617638480533-ICUT7BOD8UYRHEMGN07V/Anthony+Sertel+Dean+-+Picture.jpg Staff https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1615655334174-X19XA5BLCBRN3XCQPTBY/DM%252BR%252BHeadshot.jpg Staff https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617912833507-VYDQF9ZTPIQ5TECELY77/JohnLevee_Headshot.jpeg Staff https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617554801897-TLIXQ4X8PJBEJF3LBMAY/Fjola_Evans_cred_Landon_Speers.jpg Staff https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1615655953962-B3J5N4L8CD09QEQTZM83/headshot+2019.jpg Staff https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1615656215085-0OXIGUEYACBYNBZAJR0P/shepherd_lauren.jpeg Staff https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1615653474670-CN09GT4NX4JRLD96HI1N/Zosha%2BDi%2BCastri%2B2019.jpeg Staff https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1615655891670-WSZFWDXCM56EQVBGKG5E/messina_paola.jpeg Staff https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617032078959-MU3NWURVK2DRUNSJCBIR/Ana-Guerrero.jpg Staff https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617803366715-9MDJKVAMBH6DK7KKW3MJ/HeadLamp.jpg Staff https://www.unsungstoriescmc.com/symposium daily 0.75 2021-06-24 https://www.unsungstoriescmc.com/concert daily 0.75 2021-04-02 https://www.unsungstoriescmc.com/current-cmc-work daily 0.75 2021-04-28 https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617466143745-0YRXDODP22DZZNRUR735/KB-45.jpg Current CMC Work - Katherine Balch Called “spellbinding” (Seen and Heard International) with “glow and poise and electric tension” (The Daily Telegraph), the music of composer Katherine Balch captures the magic of everyday sounds, inviting audiences into a sonic world characterized by imagination, discovery, and stylistic variety. Often inspired by literature, nature, and science, she has been described as “some kind of musical Thomas Edison – you can just hear her tinkering around in her workshop, putting together new sounds and textural ideas” (San Francisco Chronicle). Katherine’s work has been commissioned and performed by leading ensembles including the Los Angeles Philharmonic, the London Sinfonietta, Ensemble Intercontemporain, and the symphony orchestras of Minnesota, Oregon, Albany, Indianapolis, and Tokyo. She has been featured on IRCAM’s ManiFeste, Huddersfield Contemporary Music Festival, and Festival MANCA in Europe, Suntory Summer Arts and Takefu Music Festival in Japan, and the Aspen, Norfolk, Santa Fe, and Tanglewood music festivals in the United States. Katherine recently completed her tenure as composer-in-residence for the California Symphony, where she was lauded by the Mercury News as a “superbly gifted composer [with] a compositional voice that is truly unique and full of wonder.” She held the 2017-2019 William B. Butz Composition Chair at Young Concert Artists, Inc. Katherine is the recipient of the 2020-2021 Elliot Carter Rome Prize Fellowship. She has also been honored by ASCAP, BMI, the American Academy of Arts and Letters, Chamber Music America, the Barlow Foundation, Civitella Ranieri, and the Dallas Symphony Orchestra. Her music is published exclusively worldwide by Schott Music. Deeply committed to pursuing inclusive, engaging pedagogical practices that empower students through creative music-making, Katherine is currently faculty at Mannes School of Music and a DMA candidate at Columbia University. When not making or listening to music, she can be found hiking, cooking, or napping with her feline sidekick, Zarathustra. Listen to Off Hesperus. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617721786348-VCDZRCWKZLTD77MPG2TE/laurencovey_014.jpeg Current CMC Work - Lauren Covey Lauren Covey (b. 1982 Lynchburg. Virginia) creates thought-provoking work in a wide range of media, including video, sound, installation, photography, and performance. Her work intuitively pulls from the public and private worlds of psychoanalysis, self-help literature, and therapy to produce enigmatic narratives using appropriated found material to create a series of invented as well as self-reflective characters. After completing a B.S. in Fashion Design from Drexel University and working in the fashion industry, Covey studied at the Art Students League before joining the MFA Sound Art Program at Columbia University. Her work has been exhibited at the Governors Island Art Fair, Fridman Gallery, and the Fountain House gallery. Listen to Would You Like A New Set Of Eyes. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617721540038-7VIKTE1AY0WJSU8WVZ5N/aeb.jpg Current CMC Work - Alice Emily Baird Alice Emily Baird is an audio and speech researcher from the UK, with interdisplinary experience across computer science and the arts. Currently, Alice is a research assistant and Ph.D candidate, supervised by Dr. Björn Schuller @EIHW, Augsburg, Germany. Her research is focused on improving individual wellbeing, in the field of intelligent audio analysis and multimodal signal processing. Her core research interests include but are not limited to: computer audition, health informatics, affective computing, computational paralinguistics, speech pathologies, audio synthesis, and the perception of sound. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617467179895-5IQY030MY3HMQSZO1EGE/red-portrait_final.jpg Current CMC Work - Nina Fukuoka Nina Fukuoka’s works have been premiered at numerous festivals and venues in Europe, North America, and Japan. She has collaborated with many new music ensembles from Europe as well as film makers and choreographers. Her works inhabit a number of contemporary and experimental settings such as video scores and performance pieces with multimedia and live electronics, as well as orchestra and ensemble works. With an international upbringing and as a result of being exposed to different cultural perspectives, Nina’s focuses center on intricacies of the modern reality and the Internet. In her works, she explores possibilities of communicating through music and other contemporary media by superimposing latent meanings with distinct images, within the context of tradition and mass culture. Nina is currently pursuing a DMA in Music Composition at Columbia University in New York. Listen to Zansei. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617467732378-FYT8PDG8FWVWRTUQKRIM/Credit%2BJohn%2BAngerson%2B201019_times_hannah_kendall_0084.jpg Current CMC Work - Hannah Kendall Hannah Kendall’s work has been widely celebrated. She has created pieces such as Disillusioned Dreamer (2018), which the San Francisco Chronicle praised for having a ‘rich inner life’, as well as The Knife of Dawn (2016), a chamber opera that received critical acclaim for its involving and claustrophobic representation of the incarceration of Guyanese political activist Martin Carter. Her work has been performed extensively, and across many platforms. She has worked with ensembles including London Symphony Orchestra, BBC Symphony Orchestra, Boston Symphony Orchestra, Seattle Symphony Orchestra, The Hallé, Ensemble Modern, and London Sinfonietta, but you’ll also find her collaborating with choreographers, poets and art galleries; crossing over to different art-forms, and celebrating the impact these unique settings have on sound. She is currently composing an Afrofuturist opera for experimental vocalist and movement artist Elaine Mitchener. Born in London in 1984, Kendall is based in New York City as a Doctoral Fellow in composition at Columbia University. Listen to Tuxedo: Hot Summer No Water. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617803000625-6T1QKI88JTRJ6CUJS6X8/headshot+headlands.jpg Current CMC Work - Lemon Guo Lemon Guo is a vocalist, composer, and interdisciplinary sound artist from a humid coastal city in southeast China. Drawn to the visceral and evocative nature of the voice, she creates voice-based performances and installations that connect people to current environmental and cultural realities. In recent years, she spent time recording whales in Alaska and learning ancient tunes in Kam (侗) villages. Currently based in New York, where she completed an MFA in Sound Art from Columbia University, Lemon has performed and exhibited her works internationally, in places such as Rubin Museum of Art, Ambient Church, Headlands Center for the Arts, EcoSono Festival of Environmental Music and Sound Art (US), BBC Radio 3, BBC Sounds, the Queen’s Hall, Edinburgh, Resonance FM (UK), International Computer Music Conference (Korea), Chronus Arts Center, and Bi-City Biennale of Urbanism/Architecture (China). Lemon is half of Southeast of Rain, an experimental duo founded with San Francisco-based composer and pipa player Sophia Shen. Their recently released debut album “42 Days” was hailed as “a collaborative gem and a highlight among this year’s new releases... inspires a sort of breathless introspection–a meditation on the perception of time and space in sound.” (I Care If You Listen) Listen to 42 Days 四十二天. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617978579117-U26TB1HRQG7LYTJRJ1M7/Attachment.jpeg Current CMC Work - Meesh Fradkin Meesh Fradkin is a researcher and audio-visual artist working across sound studies, disability justice, and technology. Currently, Meesh’s research is on sound studies as an interdisciplinary field productively adjacent to sociology, looking to issues of expertise, communication, and power among its actors while locating the disability justice framework as a way to resolve some of the cross-field dynamics. Other projects that Meesh is working on include accessibility in immersive media and the sonification of the archival data included in “Get Well Soon.” Meesh is an MA candidate in Sociology at Columbia University. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617466400555-EDKOB6FWPUCE4ME7HZNH/NY+1+copy.jpg Current CMC Work - Cândida Borges Cândida Borges (Brazil) is a transmedia artist, musician, educator and researcher based in NYC, where she is a Visiting Scholar at Columbia University (2019-2021). Associate Professor at the Department of Composition of the Federal University of the State of Rio de Janeiro since 2009, currently a Ph.D. Candidate at Plymouth University (UK) in Arts under the supervision of Dr. Eduardo Miranda, she has been creating works on sound art, image, performance and emerging technologies. She holds a Bachelor and Master in Piano Performance from the Federal University of Rio de Janeiro, where she also studied Vocal Performance and Composition, and later on she expanded her artistic and creative interests. She developed an established musician’s career from an early age, as a classically trained pianist, singer-songwriter and composer, having performed in theaters and festivals worldwide. In 2012, she was awarded 1st Prize by the National Foundation of Arts in Brazil and since then she has been developing an international career. Her transmedial and musical works, especially her last composition Transeuntis Mundi - a body of works that includes VR and installations - have received commissions and been presented internationally in festivals and exhibitions, to mention the New York Foundation for the Arts (NY), Art Basel Miami, Museum of the Moving Image (NY), Digital Research in the Humanities and Arts (UK) and the Rochester Institute of Technology (NY). As a Scholar, she has been teaching in universities worldwide and publishing texts in conferences and publications of the field. In NYC since 2013, she has been a resident composer for the IBOC Opera Company and actively performed as an educator and artist. Listen to Transeuntis Mundi. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617465541752-W5ZIDN5WF74QTDJAPJGU/Agosto_shot.JPG Current CMC Work - Camila Agosto An avid collaborator, Camila Agosto seeks to discover intersections of her work with artistic fields through partnerships with other musicians, visual artists, choreographers, and creators. Within her works, Camila often employs extended instrumental techniques and exhibits a particular emphasis on the exploration of different timbral and textural elements. Often seeking to explore the sonic potentialities of acoustic instruments, she highlights and exposes the human element of live performance. Her music has been featured at venues and festivals in the U.S. and abroad. A finalist of the 2019 Los Angeles Philharmonic National Composer Intensive, Camila was commissioned to create Tybontoan, a new work for the International Contemporary Ensemble, which premiered during the Noon to Midnight Festival at Walt Disney Concert Hall. Upcoming projects include The thinness of, a work for solo cello and electronics commissioned by Amanda Gookin for Forward Music Project 3.0, and a new collaborative work for electronics and dancers with choreographer Daniel Padierna. Camila is currently pursuing a DMA in composition at Columbia University. She holds a Master's degree from the Peabody Institute of the Johns Hopkins University and a Bachelors in Music from Montclair State University. Listen to Paracusia III. descry. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617466856659-9MG09R24HRJNFC2XAQJS/Fjola_Evans_cred_Landon_Speers.jpg Current CMC Work - Fjóla Evans Fjóla Evans is a Canadian/Icelandic composer and cellist. Her work explores the visceral physicality of sound while drawing inspiration from patterns of natural phenomena. Commissions and performances have come from musicians such as Bang on a Can All-Stars pianist Vicky Chow, Grammy-winning ensemble eighth blackbird, and the Winnipeg Symphony Orchestra. Her work has been featured on the MATA Festival, Bang on a Can Marathon, Gaudeamus Music Week, Ung Nordisk Musik, and the American Composers Orchestra's SONiC Festival. In September 2019 she began doctoral studies in composition at Columbia University where her research is supported by the Social Sciences and Humanities Research Council of Canada. Fjóla is the 2017 winner of the Robert Fleming Prize from the Canada Council for the Arts. Listen to The Visitor. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617721443642-UCYKX0U6HANXWU7ZJWZM/headshot_Caban.jpg Current CMC Work - Rosana Cabán Rosana Cabán is a Puerto Rican born, Brooklyn based artist. She uses sound, sculpture and performance as mediums to probe problematic binaries such as masculinity and femininity, good and evil, and technology vs human progress. As a producer and recording artist, Cabán has been a part of releases from artists in the Brooklyn DIY scene including Psychic Twin, Primitive Heart, Shrines, GhostPiss, SPRNGVLVT, and Prima. She has most notably performed at the Brooklyn Museum, National Sawdust, the Fillmore, Webster Hall, and over 80 rock venues across the US and Canada through touring with Strfkr, LadyHawke, and the Generationals and opening for Sylvan Esso. She has collaborated with Naama Tsabar to perform at the Kasmin Gallery, the Guggenheim, and the High Line. Cabán was a Marble House Project Artist in Residence in 2018, an Ace Hotel AIR 2017, and a guest collaborator for Lucas Artists Fellow Xandra Ibarra at Montalvo Arts Center in 2020. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617823498521-FTSEZHSYTC7SUJZXBS85/Carla-Cisno-TWS2012.jpg Current CMC Work - Carla Cisno Carla Cisno is an award-winning sound & live media artist working at the intersection of art, music, design, and technology. Ranging from electroacoustic and mixed-media projects to photography and performance art, she develops open, permeable, responsive environments for the stage or in installations. Carla is the founder and principle designer for Bureau Echoic, an immersive design studio producing site-specific, responsive and experiential sound environments at the intersection of art, music, architecture and technology. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617722741307-7MJ22AHSE4GK058DG3GH/Avishag_Cohen_Rodrigues.jpg Current CMC Work - Avishag Cohen Rodrigues Avishag Cohen Rodrigues is a musician and multidisciplinary artist from Tel-Aviv, currently living in New York. She is pursuing her MFA in Sound Art at Columbia University. Her main mediums are sound, sculpture and animation. She creates interdisciplinary sculptures and installations that function both as instruments and amplifiers using ceramics and found objects. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617468803984-EI8EC691UE3JS1B9JXGN/NEL04920.jpg Current CMC Work - Corie Rose Soumah Corie Rose Soumah draws inspiration and creates her music for common places such as bus stops and waiting rooms. Her pieces mainly seek the middle ground between aggressiveness and fragility. Winner of a SOCAN Foundation Award, Corie Rose works have been performed by the guitar quartet Instruments of Happiness, string quartet Flux, choir Les voix parallèles, ensemble Paramirabo, percussion sextet Sixtrum, ensemble Contemporary Insight, New Music Concerts and Orkest de Ereprijs. She also participated to the “24th Young composer meeting” in the Netherlands, “highSCORE festival” and “soundSCAPE festival” both in Italy. Passionate about the encounter between music and other artistic forms, she contributed to several multidisciplinary projects with students from L’École supérieure de Ballet du Québec and students from the Conservatoire d’art dramatique de Montréal as well as the actor Yves Desgagnés. Corie Rose holds a Bachelor’s degree in composition from the Conservatoire de musique de Montréal where she studied with Nicolas Gilbert and Jimmie Leblanc. She is currently pursuing a DMA at Columbia University. Listen to Reflets. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1619617734131-UTGBZAKIOJQW8F770TQG/zf_jhb.jpg Current CMC Work - Julia Hyland Bruno, PhD Julia Hyland Bruno is an ethologist interested in the ontogeny of communication. She received her PhD in Psychology from the City University of New York and is currently a postdoc in Columbia’s Presidential Scholars in Society and Neuroscience program, where she studies birdsong at the intersection of neuroscience, sociology and music. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617468914999-6SV5CBIR1GLUM8TY8DBB/%25E2%2588%259A20140720Caramoor_2400%2Bcopy.jpg Current CMC Work - Suzanne Thorpe Suzanne Thorpe is a composer-performer, researcher and educator. She creates compositions with a variety of media and technology, and performs electroacoustic flute. Her career as a professional recording artist initiated as a founding member of the critically acclaimed band Mercury Rev with whom she produced numerous recordings for major and indie labels. As an electro-acoustic improvisor she’s performed with a wide array of inspiring musicians, and has appeared internationally. Her research attends to her interest in sound and listening contributions to our knowledge of each other and our environments, and takes place in a variety of forms, including performance, installation and text. She has been awarded several residencies and awards for her research, and published and presented her work in various settings, including journals, conferences and lectures, visiting scholar and artistic residencies, museum and gallery exhibitions. Thorpe holds an MFA in Electronic Music & Media from Mills College, a Ph.D. in Integrative Studies from the University of California, San Diego, and is a Deep Listening instructor, having studied in depth with American composer and Deep Listening founder Pauline Oliveros. Thorpe is currently a Mellon Teaching Fellow /Lecturer in Music at Columbia University , and co-founder/co-director of TECHNE, an arts-education nonprofit dedicated to nurturing generous practices in creative technology fields. Listen to Border Fandango. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617722086216-U7K8ZI4FSJ4XPMUYS8PZ/christine2020-75.jpg Current CMC Work - Christine Dysers Dr. Christine Dysers is a Fulbright Visiting Scholar in the Department of Music, Columbia University. Her research is broadly concerned with 20th- and 21st-century music, with particular attention to contemporary composition and the aesthetics of repetition. Her research interests include music and the political, musical borrowing, and the notion of the uncanny. Methodologically, her work occupies the spaces between musicology and philosophy. Christine holds a PhD in Music from City, University of London. She holds a PGCert in Academic Practice and is a Fellow of the Higher Education Academy. Christine has published in several peer-reviewed journals and has presented her work internationally at academic conferences, panel discussions, and invited seminars. Her first monograph, on repetition in the work of Austrian composer Bernhard Lang, is currently under contract with Intellect Books. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617723056436-5FV9LRMNP1W6EA41BAQC/IMG_1965.jpg Current CMC Work - Yixuan Shao Yixuan Shao’s practice is one of listening before it is one of making —— listening, not only as a physiological function but also as a subjective internal experience. She creates installation works using spatialized sound, image, and writing to gauge the physical space while inviting the viewers to take parts with their own subjectivities. Audio as a material, its substance, vibrational property, and auditory procedure, are emblematic information to process other tangible materials. Her sculptures are inner sounds materialized in visual forms. Stretched out and slowed down in time and space, these objects speak their alter-egos in noise and silence —— two contradicting yet connected margins in soundmaking. Yixuan has exhibited at the Wallach Art Gallery, Kavi Gupta Gallery, Block Gallery, Arts Letters & Numbers, Spectrum, Lenfest Center for the Arts, The FRONT Arte Cultura, the Semana Internacional de Improvisación in Ensenada, Mexico, the Athenaeum Art Center, and the Conrad Prebys Music Center. She is collaborating with Michael Joo’s Studio to create a body of sound and video works. She received her Bachelor’s degree in Composition at UC San Diego. She is currently a MFA candidate in Sound Art at Columbia University and the cofounder of Alchemyverse and Cheat of Grass, collaborating across disciplines. Listen to ABSTRACCION. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617467958127-0K8CF9G8FNFJRYXN4RHR/MARY%2BKOUYOUMDJIAN_blue_Cred%2BDesmond%2BWhite.jpg Current CMC Work - Mary Kouyoumdjian MARY KOUYOUMDJIAN is a composer and documentarian with projects ranging from concert works to multimedia collaborations and film scores. As a first generation Armenian-American and having come from a family directly affected by the Lebanese Civil War and Armenian Genocide, she uses a sonic palette that draws on her heritage, interest in music as documentary, and background in experimental composition to progressively blend the old with the new. She has received commissions from the Kronos Quartet, New York Philharmonic, Carnegie Hall, the Metropolitan Museum of Art, Alarm Will Sound, Roomful of Teeth, OPERA America, Beth Morrison Projects, the American Composers Forum, Knoxville Symphony Orchestra, Brooklyn Youth Chorus, Friction Quartet, and Experiments in Opera among others. Kouyoumdjian is pursuing her D.M.A. in Composition at Columbia University, holds an M.A. in Composition from Columbia University, an M.A. in Scoring for Film & Multimedia from New York University, and a B.A. in Music Composition from UC San Diego. Kouyoumdjian is a cofounder of the annual new music conference New Music Gathering, is on composition faculty at Brooklyn College’s Feirstein Graduate School of Cinema and The New School, and is published by Schott’s PSNY. Listen to They Will Take My Island. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617468259346-IXIGL4YHF7ZZMJ3VKEG2/Praetorius_Headshot.jpg Current CMC Work - Emily Praetorius Emily Praetorius is from Ojai, CA. She studied clarinet and composition at University of Redlands and composition at Manhattan School of Music. She is a 5th year DMA at Columbia University, where she has taught Intro to Digital Music at the Computer Music Center and is currently the assistant conductor for the Columbia University Orchestra. Her previous teachers include Anthony Suter, Susan Botti, Georg Friedrich Haas, and George Lewis, with additional guidance from Reiko Füting and Sam Pluta. Emily resides in New York City where she co-owns Kuro Kirin Espresso & Coffee in Inwood, Manhattan. Listen to Something Like Your Lagrangian Point. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617468137242-N3ERLB8P0B7KCUIBL81R/Merivale%2BHeadshot%2B1.jpg Current CMC Work - Finola Merivale Finola Merivale is an Irish composer of acoustic and electro-acoustic music, living in New York. She is a DMA candidate in Composition at Columbia University, where she is studying with George Lewis, Georg Friedrich Haas and Zosha Di Castri. Her music has been performed internationally and featured at festivals such as Huddersfield, the Bang on a Can Summer Music Festival and the Contemporary Music Festival of Buenos Aires. Her works have been played by International Contemporary Ensemble, Talea Ensemble, Crash Ensemble, and musicians of the Chicago and St. Louis Symphony Orchestras, amongst others. She was recently named the winner of the National Concert Hall and Sounding the Feminists’ Music Recording Award – a grant that will fund the release of her debut album. In 2020, she was a winner of the inaugural National Sawdust New Works Commission Competition, and awarded a four-month residency at the Centre Culturel Irlandais in Paris. She has recently been commissioned by Rebekah Heller, the West Cork Chamber Music Festival and Irish National Opera. 2021–2022 projects include her first multimedia piece entitled Trash Vortex for the Real Loud Ensemble, and a community opera in virtual reality. Listen to Do You Hear Me Now? https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617823400375-EKFC3EZGO5L9SPOONYTL/Anna%2BBarth.jpg Current CMC Work - Anna Barth Anna Barth is an Earth Scientist at Lamont-Doherty Earth Observatory of Columbia University. She was drawn to the CMC by Ben Holtzman’s class on data sonification four years ago and finds great satisfaction in the collaborations that have emerged since. She uses the combined force of sounds and visuals to help perceive patterns and relationships in complex, often noisy, data. Anna helps to run the Seismic Soundlab and Volcano Listening Project, which provide science- and sound-based educational material. Currently based in New York, she will be moving to Berkeley in Fall 2021 to begin a Miller Fellowship, where she hopes to incorporate elements of machine learning into her data sonification work. When her fingers are not injured from rock climbing adventures, Anna loves to play the cello. Read Anna’s work here. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617721915668-4WU5428YIH5F4UZNFMD9/Anthony%2BSertel%2BDean%2B-%2BPicture.jpg Current CMC Work - Anthony Sertel Dean Anthony Sertel Dean (they/he) is an artist using sound and media to elicit, enhance, and explore stories of self. This is achieved through an embrace of openness and experimentation, thriving when intimate connections are made internally and collectively - communicating through technology and culture. These works can exist as publicly as radio broadcasts and as privately as personal messages sent through a telephone, but they are all intended to bring listeners together. Anthony’s sound work has been heard at The Kennedy Center, Busan International Film Festival, WNYC, The New Victory Theater, The Kitchen, but mostly with The New York Neo-Futurists. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617469152052-4E44JKKXERG9XFJAEXIU/ZSMITH-2018-04-04-0944%2BHiRes_pp.jpg Current CMC Work - Anna-Louise Walton Anna-Louise Walton is an American composer of chamber and electronic music. Her works have been performed by ensembles such as TAK Ensemble, Talea Ensemble, Trio Catch, Fonema Consort, Quatuor Diotima, Mivos Quartet, Surplus Ensemble, Ecce Ensemble, [Switch~ Ensemble], and Versipel Collective. Her music has also been featured at MATA Festival, IRCAM’s ManiFeste, Darmstadt International Summer Course, Heidelberger Frühling Festival, Schloss Summer Academy, impuls Festival, VIPA Festival, Electric LaTex Festival, New Music on the Bayou, and highSCORE Festival. In 2019, she was awarded a BMI Student Composer Award. Current projects include a new piece for Ekmeles and a commission from [Switch~ Ensemble] with a grant awarded from New Music USA. Though Walton did not start composing formally until her junior year at Scripps College, where she received a B.A. in music studying under Tom Flaherty, she grew up playing the piano and singing from a young age. She then went on to study composition at Kunstuniversität Graz with Beat Furrer. Walton received an M.A. in music composition from Tulane University in 2018, where she studied with Maxwell Dulaney and Rick Snow. She then went on to study Sonology at The Royal Conservatory in The Hague. She is currently pursuing a DMA in composition at Columbia University. Listen to my mouth is the transmitter. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617912327940-ZC49GE5H0U1A1X1PUD3A/AshleyGrier_Photo.jpg Current CMC Work - Ashley Grier Ashley Grier is a performer, sound artist, and composer working primarily in live performance and video. She utilizes her background as a classically trained singer and performer to create mythologies and build worlds with and around the human voice and body. Her work often traverses opera and art song forms, drawing upon their histories to investigate the limitations of language - spoken, written, and gestural - and its function in meaning-making. Grier holds a BM from Oberlin Conservatory in Vocal Performance and an MFA in Sound Art from Columbia University. Her work has been performed and exhibited in places such as The Drawing Center, Fridman Gallery, and Issue Project Room. Listen to Talent Show and I Think We’re Compatible. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617468610966-DK61NHI2GELX8IRTVIL6/DM%2BR%2BHeadshot.jpg Current CMC Work - Diana Marcela Rodriguez DM R was born and raised in Bogotá, and she is currently based in NYC. She is a composer of electroacoustic music, a concert series curator in Columbia Composers, C3, and CanvaSound, and a 90s anime aficionado. Having its footholds in pop culture, Colombian folk, and Rock en Español, her work has been presented by artists like ICE, Yarn Wire, ECCE Ensemble, Ludovico Ensemble, Boston Musica Viva, Berrow Duo, Eric Drescher, and Josh Modney at the BANFF Centre for the Arts and Creativity, the DiMenna Center for Classical Music, the Boston Conservatory, University of North Colorado, the Coral Gables Museum, and the New England Conservatory. Currently pursuing a DMA at Columbia University, DM R holds a master’s degree from the Boston Conservatory and a bachelor’s degree from the New World School of the Arts at the University of Florida. Her ongoing projects include collaborations with TAK ensemble, Fonema Consort, and Yarn/Wire. Listen to Studies for Violin and Cello (Remix) and Variation X. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617467329063-2MDG19WV8LRNW3UTZBCR/laure_3.jpg Current CMC Work - Laure M. Hiendl Laure M. Hiendl (*1986, pronouns: xier/they) is a composer and performer based in Berlin. Their work is situated between concert music, performance, music theater, installation and other interdisciplinary realms, employing instruments mainly in interaction with electronic means, and exploring the performativity of the space-time-body relationship in music as a live act — as a shared space in time between bodies for an event that is inherently theatrical and political. Hiendl earned their DMA at Columbia University New York and is currently Assistant Professor at the University Mozarteum Salzburg. Listen to White Radiance TM. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617466625947-8IP0PY05NEXFJM3YEF6N/Dobkin_headshot.jpg Current CMC Work - Dani Dobkin Dani Dobkin is a resonant body and artist working with sound as a sculptural medium. Their work investigates elements of noise, signal flow, forced resonance, drone texture and the liminal spaces between. As a sound artist, Dobkin works with both large and small scale ideas of sound through physical materials with a focus on intentionality and occupation of space. As a composer, Dobkin has recently been exploring the vast sonic landscape of ceramic and clay material. Their work has been shown both locally and internationally. Dobkin lives and works in New York where they hold an MFA in Sound Art from Columbia University, teaches sound and synthesis at Bard College, and is currently a DMA candidate in Music Composition at Columbia University. Listen to (…of the earth). https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1617469325689-AP3RS8H0NDG8FA7N068F/9095DH000001-R3-075-36.jpg Current CMC Work - Bethany Younge Bethany Younge’s acoustic and electronic music explores the manifold kinesthetic properties of musical performance. For her, the act of music-making cannot be divorced from the physical presence of the human instigator. Her works often incorporate instrumental deconstruction, exaggerated movement, motion tracking, sounding costumes, and/or other aesthetic devices to sonically heighten corporeal expressivity. Younge is currently pursuing her DMA in Music Composition at Columbia University in New York. Her works have been featured in the 2016 and 2018 International Summer Course for New Music Darmstadt, MATA Festival, Resonant Bodies Festival, Gaudeamus Muziekweek, The 16th International Young Composers Meeting, and many other festivals. She has worked with many ensembles including JACK Quartet, Distractfold, ASKO|Schönberg Ensemble, TAK Ensemble, Dal Niente, TILT Brass, Sputter Box, KLANG, Ereprijs Orkestra, Fonema Consort, AndPlay, Chartreuse, Gyre Ensemble, Ekmeles Vocal Ensemble, Inversion Ensemble, Mocrep, and others throughout Europe and the USA. In 2016, she was awarded the Stipend Prize at the International Summer Course for New Music Darmstadt. She was also awarded a commission prize by National Sawdust, in New York City and the 10th Mivos/Kanter prize. Listen to at midnight i walked into the middle of the desert. https://www.unsungstoriescmc.com/contact daily 0.75 2024-09-12 https://www.unsungstoriescmc.com/home daily 1.0 2024-09-12 https://www.unsungstoriescmc.com/resources daily 0.75 2021-12-09 https://www.unsungstoriescmc.com/listen daily 0.75 2021-04-02 https://www.unsungstoriescmc.com/news daily 0.75 2024-11-11 https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/eb88eb81-1d0d-4ebd-88e5-caa28e23104a/USE+THIS+ONE_buchla.jpg News - YVETTE JANINE JACKSON: GIGA-HERTZ PRODUCTION AWARD November 2021 Yvette Janine Jackson has been awarded the 2021 Giga-Hertz Production Award for her radio opera, Destination Freedom (2017), in which she reworks sound and history to create a haunting narrative about the deportation of African slaves to America. Each award recipient receives €5,000 for their work, and this year’s award ceremony takes place on November 27 and 28, 2021, at the ZKM Center for Art and Media in Karlsruhe, Germany. Congratulations, Yvette! https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/904f1ffc-380c-4cf3-b20b-fb72c3b2bb19/KTPpromo5.jpg News - KITCHEN TABLE PRAXIS: RECIPES FOR BELONGING IN ELECTRONIC MUSIC April 8, 2022, 12:30-6:00pm EST Naomi Waltham-Smith will deliver a keynote entitled "Strange Sound: Capital, Race, and the Field Recorder in Urban Marginalization,” followed by contributors from the field of electronic music and science education studies, including King Britt (UCSD), Cristobal Martinez (Postcommodity/SFAI), LaFrae Sci (Willie Mae Future Sounds), Bonnie Jones (Brown University), Hannah Kye (Rowan University), Lauren Hayes (Arizona State University), Abby Aresty (Oberlin), and Columbia University's Brad Garton, Seth Cluett, Diana M. Rodriguez and Suzanne Thorpe. This event is hosted by the Society of Fellows and Heyman Center for the Humanities, and co-sponsored by the Computer Music Center at Columbia University (CMC) in addition to The Department of Music at Columbia University and Committee on Equity and Diversity of the Columbia University School of Arts and Sciences. More information and registration are available here. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1627923761067-0J5J8N26QHEBYTVIDV33/IMG_5310-2.jpeg News - THE DREAM FEED PODCAST: MUSICIANS ON MOTHERHOOD \Hosted and created by Zosha Di Castri, this podcast series features conversations between musicians on their experiences navigating the seemingly incompatible worlds of professional music and motherhood, sharing in both the personal challenges and profoundly inspiring moments that come with being simultaneously mothers and musicians. In "B-Side" episodes, the performers share a jointly created duo and discuss what it was like to collaborate at a distance. Listen to the episodes and discover more here. This project was made possible by a generous grant from the Canada Council for the Arts. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/41f046f6-03a7-4179-af9b-a4318ab1c9d1/norma1.jpg News - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/6043b4b39016994088a1e1dc/1619637812740-45ZXJ63YZKVUW55PLPIG/intro_to_modular_white_high_res.png News - WOMEN IN SOUND: INTRO TO MODULAR SYNTHESIS With Dani Dobkin Thursday, April 29, 2021 - 5:00pm EDT This special two-day workshop on the foundations of modular synthesis will be led by composer and sound artist Dani Dobkin. Dobkin will cover everything you need to know to get started using free VCV Rack software. No hardware required! (for women-identifying, trans, and non-binary artists) All levels welcome, no musical experience necessary. More info here and tickets here. In partnership with the Computer Music Center at Columbia University.