Various Artists | Interactions

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Avant Garde: Electro-Acoustic Classical: Contemporary Moods: Type: Experimental
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by Various Artists

The SEAMUS Interactions series is a juried annual album release of works for instruments and electronics.
Genre: Avant Garde: Electro-Acoustic
Release Date: 

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  Song Share Time Download
1. T-Totum
Panayiotis Kokoras
10:10 album only
2. A Rift in Time (feat. Cabrini Duo)
David Taddie
9:42 album only
3. Manichea (feat. Adam Hirsch)
Mitchell Herrmann
6:22 album only
4. Composition for S#!††¥ Piano with Drum Samples, Concrète Sounds, and Processing (feat. Shiau-Uen Ding)
Christopher Bailey
12:59 album only
5. Refraction
Mark Zaki
7:26 album only
6. Foreign Masonry (feat. Gavin Goodwin)
Jason Charney
8:13 album only
7. Things Hope For, Things Unseen (feat. Shannon Chieh)
Shih-Wei Lo
8:10 album only
Downloads are available as MP3-320 files.


Album Notes
Winston Choi, piano

This piece is inspired by Thich Nhat Hanh’s book, No Death, No Fear. He describes life and death by saying, “When conditions are sufficient we manifest and when conditions are not sufficient we go into hiding.” To Unformed attempts to depict Thich Nhat Hanh’s idea musically by using the same musical material to express Hahn’s idea of “manifestation” and “hiding”.

Kyong Mee Choi, composer, organist, painter, and visual artist, received several prestigious awards and grants including John Simon Guggenheim Memorial Foundation Fellowship, Robert Helps Prize, Aaron Copland Award, Illinois Arts Council Fellowship, First prize of ASCAP/SEAMUS Award, Second prize at VI Concurso Internacional de Música Eletroacústica de São Paulo among others. Her music was published at CIMESP (São Paulo, Brazil), SCI, EMS, ERM media, SEAMUS, and Détonants Voyages (Studio Forum, France). She is the Head of Music Composition and an Associate Professor of Music Composition at Roosevelt University in Chicago where she teaches composition and electro-acoustic music. Samples of her works are available at

Philipp Stäudlin, alto saxophone

I - Bop energy
II - Natural, like breathing
III - Dramatic, cadenza-like

Are You Radioactive, Pal? (2010) takes its title from one of the Dream Songs of John Berryman (a long obsession of mine). As a lapsed alto player, when I moved to Boston in 1990, I started to reconnect with an amazing community of saxophone players, especially the amazing, Philipp Stäudlin who I worked with closely in writing this piece. The tape part includes lots of saxophone motives that I recorded myself on a 1920’s Conn Chu-Berry alto. When I set out to compose this piece, I “stole” a downward sweeping saxophone gesture and a weighty, orchestral brass G minor chord from one of the tape pieces on this disk, Symphony of Popular Misconceptions. The two sounds are used in critical structural ways.

Eric is the Irving G. Fine Professor of Music at Brandeis University, and Director of BEAMS, the Brandeis Electro-Acoustic Music Studio. Among his honors are awards from the Guggenheim Foundation, Koussevitzky Music Foundation, National Endowment for the Arts, Fromm Foundation, and the American Academy of Arts and Letters. In 2011 the Library of Congress established an Eric Chasalow collection.

Craig Hultgren, cello

Deep beneath the surface of the Pacific lie hydrothermal vents that spew scalding water onto the near-freezing ocean floor. In the pitch-black depths, giant tube worms grow to a length of eight feet, their blood-filled plumes allowing them to interact with the harsh environment. A worm has no eyes, but somehow it can sense vibrations, which cause it to retract the plume into its shell. With Red Plumes I aim to evoke these unusual creatures and their remote habitat. Craig Hultgren commissioned Red Plumes and gave its premiere at SEAMUS 2012. I thank Craig for letting me record sounds he produced on the cello for use in the electronic part. Red Plumes is also available on my portrait CD, Traces, released in October 2016 (Innova 896).

John Gibson grew up in Atlanta, where he played guitar in rock and jazz bands before gravitating toward contemporary classical music. After an early focus on instrumental genres, he began to compose electroacoustic music, which he often combines with instrumental soloists or ensembles. His music has been performed worldwide and is available on the Centaur, Everglade, Innova, and SEAMUS labels. He teaches at the Indiana University Jacobs School of Music.

Colleen O'Shea Jones, flute

Let Me See Your Face was written for flutist Colleen O’Shea Jones. It is a work which explores classical forms in an electroacoustic setting. Randomly configured processing, the speaking of text, and the reaction to variable segments of the piece allow the performer to truly interact with the sonic environment created by the electronics.

Carter John Rice, a native of Minot, North Dakota, is a composer of new music currently pursuing a Doctor of Arts (D.A.) in music theory/composition at Ball State University. His music has been featured across the United States and abroad, including performances at SEAMUS, ICMC, The National SCI Conference, The Bowling Green State University New Music Festival, Electronic Music Midwest, The Electroacoustic Barn Dance, and the National Student Electronic Music Event. He was the inaugural recipient of Concordia College’s Composer of Promise Award, for which he received a commission from the Concordia College Orchestra.

Andrew May, electric violin

Ada is a guided improvisation for violin and computer based on the opening phrase of Bach's first solo violin sonata. The florid ornamentation of Bach's composition evokes traditions and practices of other times and places and conjures up an ensemble that is violin-derived but far from the Baroque. The computer tracks, recalls, and matches material across time to create a responsive but unpredictable accompaniment, combining phase vocoding resynthesis of the live performance with assemblages of sampled violin and mandolin timbres.

Andrew May is best known for innovative and subtle chamber music, some of which involves computer-based agents interacting with human performers. May has performed internationally as a violinist and conductor, specializing in adventurous new music and avant-garde improvisation. He teaches composition at the University of North Texas, where he directed the Center for Experimental Music and Intermedia from 2005-2016. Born and raised in Chicago, May studied composition with Roger Reynolds, Mel Powell, and Jonathan Berger. His music can be heard on CDCM, SEAMUS, and EMF Media recordings, and his solo CD Imaginary Friends on Ravello Records.

Justin Massey, soprano saxophone

The soprano saxophonist becomes a percussionist in Scrap Metals, exploiting the many metallic timbres of the instrument – as a rich and noisy gong, sharp and jangling like a cascade of coins, rumbling with the flex of a large sheet, or ringing pure as a bowed bell. The computer convolves the live instrument’s signal with recorded samples of metal to create a hybrid timbre with the saxophone’s extended techniques. Scrap Metals was written for and is dedicated to Justin Massey, who is featured on this recording.

Jason Charney’s work as a composer addresses the connections among scientific phenomena, sensory perception, and performative gesture. He writes music for instruments and electronic media, often combining them. He is also an active electroacoustic performer, both as a soloist and with instrumentalists. As a sound artist, Jason creates “non-linear” sound installations that use technology to modulate sonic and embodied experience of a gallery or repurposed functional space. He holds degrees in music theory and composition from the University of Kansas and Bowling Green State University and currently resides in Baltimore, Maryland.


Live in the Moment; Live in the Breath, was written for Sam Wells, and premiered at the 2015 SPLICE festival in Kalamazoo, MI. This piece focuses on the connection between our breath and the greater natural world around us, and begs the listener to always live life to the fullest and make the most out of the opportunities that surround us.

Composer Brian Sears’s music is based on his attraction to timbre, space, and texture, and is heavily influenced by the concept of augmenting reality through the use of electronics. His compositions use these forces as a foundation for creating immersive sonic environments that communicate intimate and emotional connections. Brian holds a Master’s degree from Bowling Green State University, and a Bachelor’s degree from San Jose State University, and is currently pursuing his PhD in Composition & Theory at Brandeis University where he studies with Eric Chasalow and David Rakowski. Brian is continually inspired and influenced by his interactions and collaborations with performers and sound artists, as well as past teachers and mentors like Elainie Lillios, Mikel Kuehn, Pablo Furman, and Brian Belet. These interactions have had a huge impact on his work, leading Brian to be a vocal proponent for the importance of community and collaboration in the new music world.

Fernando Laub, piano and violin

Piano and Junction Duo is a piece for violin, prepared piano and tape in which I personally played both instruments, recording as many takes as possible in order to construct a solid structure that evolves going through its different states.

Composer and visual artist mainly orientated to avant-garde, experimental and electroacoustic music. His work has received prices and mentions at many contests, it is also programmed at numerous festivals and concerts around the globe. In addition to his activity as a musician he produces and exhibits visual and installation works among the international contemporary art circuit. As a performer his most recent activities includes a Europe tour and his participation in the NYC Electroacoustic Music Festival. With the aim of compiling sonic substance and creating new devices from old industrial scrap, he spent several years living into an abandoned factory reconditioned as a sound laboratory. Combining that stuff with the research of new synthesis methods, his music not only describes pictures, it will transport you to a sort of surreal and Sci-Fi scenarios,images that are quite difficult to define. (Argentina, Austria). More info at

Steve Parker, trombone

Fractus IV: Bonesaw, for trombone and live quadraphonic sound, was commissioned by ASCAP/SEAMUS in early 2012 and is one in an ongoing series of interactive works for solo instrument and computer. Controlled randomness pervades the piece; numerous parameters are subject to chance procedures throughout, but by design, the piece retains its overall shape from performance to performance. The pieces in this series aim to provide practical solutions to issues of human-computer synchronization, establish a flexible dialogue between acoustic and electronic sounds, and most importantly, showcase the musician’s talent.

Dr. Eli Fieldsteel is Assistant Professor of Composition-Theory and director of the Experimental Music Studios at the University of Illinois. Fieldsteel is the recipient of the 2014 James E. Croft Grant for Young and Emerging Wind Band Composers, first prize in the 2012 ASCAP/SEAMUS Student Commission Competition, as well as awards and recognition from other organizations, including the Bandmasters’ Academic Society of Japan and the Frank Ticheli Competition. His music has been performed nationally and internationally by ensembles such as the Dallas Wind Symphony, the North Texas Symphony Orchestra, the Kawagoe Sohwa Wind Ensemble of Tokyo, and the University of North Carolina Chapel Hill Wind Ensemble.

Mastered by Lanier Sammons --



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