More than 100 performers traveled to Indianapolis for the Festival from throughout North America and Europe. Likewise, there were telematic performances with groups online from University of Calgary, University of Cincinnati, Florida State University and Indiana University Bloomington.
Gina Biver is a composer of acoustic and electroacoustic music for chamber ensemble, choir, multimedia, dance, and film. Upon completing her undergraduate music degree at Berklee College of Music in Boston, Gina Biver began performing as lead guitarist/songwriter in New York City, Boston, and other cities in the Northeast. She recorded her music at Electric Lady Studios and has appeared in Kerrang! Guitar World, Guitar for the Practicing Musician magazines and others. Rock Scene magazine called her “the best female guitarist in rock today.” Since 1991, she has scored music for television and film, where she has won Cine Golden Eagle, Tele, and International Television and Video (ITVA) Awards. Over the years her music for film and television has been broadcast across the US and in thirteen Latin American countries. Abstract
Active as a performer, scholar, and pedagogue, Andrew M. Bliss has extensive experience in a wide variety of musical ensembles and genres, while specializing in contemporary solo and chamber performance. Currently, Bliss is artistic director of the nief-norf project and is also a member of Nothing in Common, a piano/percussion duo with Chicago-based pianist Mabel Kwan. Bliss has also been a featured artist at the SEAMUS National Conference, the Banff Centre for the Arts (Canada), the College Music Society’s International Conference (Croatia), and at several Percussive Arts Society International Conventions. Passionate about furthering the state of percussion repertoire, Bliss has collaborated with a variety of composers including personal commissions from Paul Lansky, John Supko, Kyle Gann, and Christopher Adler, as well as giving world premiere performances of music by John Luther Adams, Christopher Deane, and Glenn Kotche. Abstract
The nief-norf project is a chamber percussion collective that is active in the performance, study, and promotion of contemporary music. The nief-norf project firmly believes in the music of Steve Reich, David Lang, and John Luther Adams as well as Iannis Xenakis and Mario Davidovsky. Using the words of Kyle Gann as a guide, we consider ourselves Totalists. As Gann writes, “we are not hopelessly stuck with a binary choice between cerebral abstraction and cliché-ridden vernacular: we are free to inhabit the vast, rich terrain in-between.” nief-norf, under the artistic direction of Andrew M. Bliss, has found a home exploring this vast repertoire and believes their combined backgrounds in performance, scholarship, and technology allow them to provide unique interpretations in their performances. Utilizing a rotation of performers, this weekend’s appearance includes Andrew Bliss, Kerry O’Brien, Erin Walker, Bill Sallak, and Mike Truesdell. Abstract
N_DREW (aka Andrew Bucksbarg) is a media artist, experimental interaction designer, audio-visual performer, and a professor in the Department of Telecommunications at Indiana University. N_DREW’s efforts and interests reverberate in the space of interactive technology, new media practices, and theory. His work with moving image, beats, ambient or noisy sounds, and pixilated atmospheres explores organic and abstract forms, live A/V processes, and participatory technoculture. As an experimental interaction artist, he concerns himself with technologies and simple social systems that support tactics of ambiguous, autonomous social creativity and exchange. N_DREW’s installations, screenings, or performances appear in museums, galleries, and festivals internationally. Abstract
Collaborating with Bucksbarg will be Robert Lyon, an undergraduate student at Indiana University in Bloomington, Indiana. He is pursing degrees Computer Science and Experimental Music and Sonic Arts. Lyon is a multimedia artist and programmer with specific curiosities in the mathematics of sound and the processing of digital signals. He has designed various interactive sound installations, developed scholarly presentations on topics of traditional computer science methods and has been actively researching technology and its role in electronic and computational art. He particularly interested in computationally reproducing complex systems and designing generative algorithms within sonic material and/or visual data.
The art of composer and multimedia sculptor Ivica Ico Bukvic is driven by the notion of ubiquitous interactivity. Bukvic’s passion for computer music, multimedia art, and technology in conjunction with his traditional music composition background has resulted in a growing portfolio of audio-visual acoustic and electronic performances and installations, creative technologies, as well as research publications, grants, and awards. Dr. Bukvic is currently working at Virginia Tech as an assistant professor in music composition & technology and as a faculty (by courtesy) in departments of Computer Science and Art & Art History. He is also the founder and director of the Digital Interactive Sound and Intermedia Studio (DISIS) and the world’s first Linux Laptop Orchestra (L2Ork), assistant co-director of the Collaborative for Creative Technologies in the Arts and Design initiative, and a member of the Center for Human-Computer Interaction. Abstract
Linux Laptop Orchestra (L2Ork), founded by Dr. Ivica Ico Bukvic in May 2009, is part of the latest interdisciplinary initiative by the Virginia Tech Music Department’s Digital Interactive Sound & Intermedia Studio (DISIS). As an emerging contemporary intermedia ensemble, L2Ork thrives upon the quintessential form of collaboration found in the western classical orchestra and its cross-pollination with increasingly accessible human-computer interaction technologies for the purpose of exploring expressive power of gesture, communal interaction, discipline-agnostic environment, and the multidimensionality of arts. Group members include: Christopher Cummins, Jared Denniston, Zachary Gulsby, Miles Mabry, Michael Matthews, Richard Miller, David Mudre, Ian Philips, Steven Querry, Joseph Scheiner, Philip Seward, Elizabeth Ullrich, and Adam Wirdzek. The featured soloist for the performance will be Chelsea Crane, soprano.
Carol Burch-Brown is a painter, photographer, and book artist with solo and group exhibitions in galleries in New York, Chicago, Washington, D.C., Los Angeles, and the southeastern United States. She contributes to the CCTAD initiative as a professor of Studio Arts at Virginia Tech. Since getting her MFA from the University of Chicago in 1977, Carol has executed several projects, one of which is The Shamrock Bar: Photographs and Interviews, a photographic documentary project about an obscure gay bar in West Virginia. The project is housed in the National Archives, Smithsonian Museum of American History. Her photographic book, Trailers, is about mobile homes in Appalachia, co-authored with poet David Rigsbee. She is currently working on “Singing Darwin,” an intermedia installation that centers on evolutionary science and Darwin’s On the Origin of Species. On the web: www.carolburchbrown.com
Christopher Burns is an avid archaeologist of electroacoustic music, creating and performing new digital realizations of classic music by composers such as John Cage, György Ligeti, Alvin Lucier, Conlon Nancarrow, and Karlheinz Stockhausen. A committed educator, he teaches music composition and technology at the University of Wisconsin-Milwaukee. Christopher Burns is a laptop improviser and a composer of instrumental chamber music. His works explore simultaneity and multiplicity: textures and materials are layered one on top of another, creating a dense and energetic polyphony. Both electronic and acoustic music are influenced by Christopher’s work as a computer music researcher. The gritty, rough-hewn sonic materials of his laptop instruments are produced through custom software designs, and the idiosyncratic pitch and rhythmic structures of his chamber music are typically created and transformed through algorithmic procedures. Abstract
CEnsR (Computer Ensemble for Research) is a student ensemble in the Department of Music and Arts Technology at IUPUI. Under the direction of IUPUI lecturer Jordan Munson, this ensemble is focused on the advancement of computer music in both composition and performance practice. In addition, the ensemble acts as a research group wherein external devices communicate with music software environments. This communication allows for expressive human interface and performance of computer-generated music. The group is particularly concerned with the use of the Apple I-Pod Touch/I-Phone, the Nintendo Wii-remote, motion capturing, and the laptop itself for the performance of original compositions. Abstract
Double-Edge Dance was founded by choreographer/ dancer Kora Radella and composer/saxophonist Ross Feller in 1993. They have received grants from the Societe des Auteurs et Compositeurs Dramatiques (Brussels, Belgium), Gesellschaft für Gute and Gemeinützige, Kulturdirektion Kanton Basel-Landschaft (Basel, Switzerland), and the Illinois Arts Council, and have performed their work throughout Europe and the U.S.A. at important venues such as: LIT Loft into Theater (New York City), Cleveland Public Theatre, Playhouse Square Center, Idea Center, Seven Stages Theater (Atlanta), Theatre de Liefde (Amsterdam), Theatre Roxy (Basel), Kulturwerkstatt Kaserne (Basel), and at festivals including: Flannery O’Connor Symposium, North Carolina Computer Music Festival, Ohio Dance Showcase, Ball State New Music Festival, Columbus Dances, 13a Marato de l’Espectacle (Barcelona), and Einstein Meets Magritte (Brussels). Most recently they were one of the featured artists at the 2009 Ingenuity Festival: Cleveland’s Festival of the Arts, Music, and Technology, where they performed “Shimmer,” a multimedia piece with dance, video, and live, interactive movement-to-sound sensors. Photo (right) by Larry Coleman. Abstract
Michael Drews is a composer of contemporary acoustic and electronic music and is Assistant Professor of Music at Indiana University-Indianapolis (IUPUI). His music explores unconventional narrative strategies and the use of interactive music technology to expand traditional ideas of musical performance and creativity. Drews’ compositions have been performed in Europe, South America, and throughout the United States. Broken Symmetry for oboe, piano, and electronic music was commissioned as part of the 2003 ASCAP/SEAMUS Commission Award, and his recent works, Transcendence I and II, were commissioned as part of a music therapy study of guided-breathing practices (2008). Drews holds degrees from the University of Illinois at Urbana-Champaign (D.M.A.), Cleveland State University (M.MUS.), and Kent State University (B.A.).
Steve Everett is Professor of Music and teaches composition, computer music, and directs the Music-Audio Research Center at Emory University in Atlanta, USA. In addition he has been a visiting professor of composition at Princeton University. His compositions have been performed in twenty different countries throughout Europe, Asia, and North America, including at IRCAM and INA-GRM Radio France in Paris, Orgelpark in Amsterdam, The Esplanade in Singapore, Korea Computer Music Festival in Seoul, Royal Northern College of Music in England, Amerika Haus in Cologne-Germany, Tokyo Denki University, and Lincoln Center, Carnegie Hall, Merkin Hall, and CUNY-Graduate Center in New York. He has received composition awards from the Rockefeller Foundation, Asian Cultural Council, Chamber Music America, American Composers Forum, and International Trumpet Guild. In 1998 he received the Mayor’s Fellowship in the Arts, awarded by the City of Atlanta, the city’s highest recognition of artistic achievement. Abstract
Ken Fields engaged in interdisciplinary studies across multiple departments (art, music, linguistics and cognitive sciences), receiving a Doctorate in Media Arts from the University of California at Santa Barbara in 2000. Ken then moved to China from 2000 through 2008 to participate in the development of nascent digital arts/music programs at China’s Central Conservatory of Music (Professor in the China Electronic Music Center, CEMC) and Peking University (School of Software, Department of Digital Art and Design). Concurrently, he lectured at China’s Academy of Fine Arts while presenting his work internationally. Ken was a co-organizer of CEMC’s annual Musicacoustica festival in Beijing in 2005-2006, as well as the Planetary Collegium’s Consciousness Reframed Conference 2004: Qi and Complexity. A major accomplishment of this period was to lead a team project to translate the Computer Music Tutorial by Curtis Roads (exp. spring 2010). Currently, Ken is the Canada Research Chair in Telemedia Arts. His area of practice lies more within the domain of telemusic while theoretically focusing on issues related to ontology and the technology of inquiry. Ken is also a regional editor for the Journal of Organised Sound and a member of the Leonardo Editorial Network.
Syneme is a research group/studio/lab based at the Faculty of Fine Arts at the University of Calgary directed by Ken Fields, the Canada Research Chair in Telemedia arts. Syneme’s aim is to explore artistic practices that are enabled and enriched by networked digital technologies (particularily those that allow real-time engagment between participants) and to ask ” how can we use the network itself as an artistic instrument – not merely a distribution channel.” To explore such questions Syneme has focused on the development of Artsmesh, a platform that makes expressive telepresence on high-speed research networks possible. Current University of Calgary students working in the Syneme Lab include Ellen Pearlman, Pari Chehrehsa, and Amira Abd Rabo.
Fuse is a concept-based artistic collaboration between composer Gina Biver and media artist Edgar Endresss just beginning their third season. Fuse has already performed in such notable venues as the Kennedy Center Millennium Stage for the CrossCurrents New Music Festival, the Gildenhorn Speisman Center for the Arts, Woolly Mammoth, and the Schlesinger Center. Each season a new concept is presented, giving voice to new music composers and creating musical happenings with a visual element that includes live installments, videos, or both. The musicians of Fuse perform modern art music on an eclectic mix of instruments including the flute, clarinet, electric violin, electric guitar, cello, contrabass, piano, electronic playback, and percussion instruments. Linked by the insane possibilities of MaxMSP/Jitter software, sensors on the musicians, and live interactive cameras on stage, artists Endress and Biver create an experience that fuses sound, video, and humans into a liquefied state. Abstract
Micah Fusselman is a dedicated performer of new and old music. In addition to his performances of music by living composers, Micah performs on Baroque cello and viola da gamba with Apollo’s Cabinet and the Catacoustic Consort. Also an emerging scholar, Micah specializes in early French cello music, where his current research is focused on the stylistic developments of early eighteenth-century composer Jean Barrière. Micah is currently completing his doctoral work at the College-Conservatory of Music at the University of Cincinnati, where he is teaching assistant to cello professor Yehuda Hanani.
John Gibson is Assistant Professor of Composition at the Indiana University Jacobs School of Music. His acoustic and electroacoustic music has been presented in the US, Canada, Europe, South America, and Asia. His instrumental compositions have been performed by many groups, including the London Sinfonietta, the Da Capo Chamber Players, the Seattle Symphony, the Music Today Ensemble, Speculum Musicae, and at the Tanglewood, Marlboro, and June in Buffalo festivals. Presentations of his electroacoustic music include concerts at the Seoul International Computer Music Festival, the Bourges Synthèse Festival, the Brazilian Symposium on Computer Music, Keio University in Japan, the Third Practice Festival, the Florida Electroacoustic Music Festival, and many ICMC and SEAMUS conferences. Gibson holds a Ph.D. in music from Princeton University, where he studied with Milton Babbitt, Paul Lansky, and Steven Mackey. He has taught composition and computer music at the University of Virginia, Duke University, and the University of Louisville.
Tim Glenn, Associate Professor of Dance at Florida State University, received his M.F.A. in Dance (Choreography and Technology) from The Ohio State University where, after earning his degree, he worked for the Department of Dance and the Advanced Computing Center for the Arts and Design. He is an alumnus of the University of Wisconsin-Madison (B.S. Dance & B.S.InterArts and Technology) where he taught modern dance and improvisation as an Associate Lecturer. Glenn is a former member of the Nikolais and Murray Louis Dance Company, the Melrose Motion Company, and is the Artistic Director of Performance Tech – Tim Glenn and Company. He works as videographer for the Paul Taylor Dance Company’s Repertory Preservation Project and has served as technology consultant for the Nikolais/Louis Foundation for Dance, Inc. Glenn has been the curator of Dance on Camera, an international festival of dance films at FSU, and from 2001-2005 served as Technology Director for the Maggie Allesee National Center for Choreography at Florida State University. His interests in dance technology include digital media, videodance, telematics, and multimedia theater. In the fall of 2005, Glenn premiered Aqueous Myth: Tales of a Water Planet, a full evening of dance and technology.
Dance Kaleidoscope’s Artistic Director David Hochoy was born in Trinidad, West Indies. After receiving a B. Sc. at McGill University in Montreal where he began studying for a career as a doctor, he continued his graduate work in theatre with an M.A. in directing from Penn State. It was there where at age 20, David took his first dance class and discovered his true love of dance.In New York he studied at the Alvin Ailey and Martha Graham schools and danced with numerous national companies, and in 1980 was invited to join the Martha Graham Dance Company. Made a soloist in 1982 and rehearsal director in 1986, David toured the world with Graham until 1989. He has given master classes in Graham technique throughout the United States and Europe, and in 1990 was invited to Guangzhou, China where, for ten weeks, he taught the experimental troupe of the Guangdong Dance Academy. David has been on the faculty of the Martha Graham School since 1982. In addition he has taught at the American Dance Festival (ADF) held at Duke University, as well as ADF West in Salt Lake City and ADF Seoul in Korea. In 1991 he was invited to teach and choreograph at the Vienna International Dance Festival. He has given workshops in Quebec City, Tokyo, Oslo, Dublin and Rio de Janiero.
Mara Helmuth composes music often involving the computer and creates multimedia and software for composition and improvisation. Her recordings include Sounding Out! (Everglade, forthcoming 2010), Sound Collaborations, (CDCM v.36, Centaur CRC 2903), Implements of Actuation (Electronic Music Foundation EMF 023), and Open Space CD 16. She is on the faculty of the College-Conservatory of Music, University of Cincinnati and is director of its Center for Computer Music’s. She holds a D.M.A. from Columbia University and earlier degrees from the University of Illinois, Urbana-Champaign and is a past president of the International Computer Music Association. Her software for composition and improvisation has involved granular synthesis, user interfaces, Internet2, and contributions to the RTcmix music programming language. Mara’s writings have appeared in the monographs Audible Traces and Analytical Methods of Electroacoustic Music, and in the Journal of New Music Research and Perspectives of New Music. Recent installations Hidden Mountain (2007) and Staircase of Light (2003) were created for the Sino-Nordic Arts Space in Beijing. She also plays the qin, a Chinese zither and performs interactive works on computer. Abstract
The IUPUI Telematic Ensemble is a multidisciplinary group that explores the horizons of artistic computer interactivity, often across networks. Utilizing both high-bandwidth Internet2 and public networks, the group has performed with artists that include Matthew Burtner, Pauline Oliveros and Tintanabulate; and with performers from University of Alaska, Norwegian Academy of Music, Butler University, University of Cincinnati, Another Language Performing Arts Company, Syneme Lab at the University of Calgary, Shanghai Conservatory, and the University of Cardiff. Directed by Scott Deak, the ensemble is currently comprised of MSMT majors Adam Batrich, Kevin Celebi, Josh Demaree, Phillip Mauskapf, Meire Palmer, Lily Popova, and Ashley Rogers; together with BSMT majors Kara Commons, Jessica Gelinas, Melissa Mohler, Brenden Riha, and Ben Rogge.
Ann Kilkelly is a professor of theater arts and women’s studies at Virginia Tech. She is recognized nationally as a scholar and performer of jazz-tap dancing and history, performance studies and interactive performance techniques. She has received Smithsonian Senior Fellowships and a National Endowment for the Humanities Collaborative Research Grant, and performs and gives master classes in jazz tap around the country. At Virginia Tech she served as the director of Women’s Studies for six years, she teaches and directs multimedia performance concerts, and she recently created the Diversity Training Laboratory to help students and faculty use performance techniques to examine diversity issues. Kilkelly also served as a site visitor for Roadside Theater for “Performing Communities.”
Keith Kothman is a composer and sound artist living in Muncie, Indiana. Kothman was awarded an Honorable Mention for Interludes at the 31st annual Bourges Electroacoustic Music competition and has received a grant from the Indiana Arts Commission for a new laptop work based on the writing of Interlochen author Michael Delp. Recordings of his music are available on the Capstone, Cambria, and New Albany labels. He is an associate professor of music composition and technology at Ball State University, with degrees from the University of California, San Diego, and the University of Texas, and a Fulbright grant for graduate study in Sweden. keithkothman.com. Abstract
Chicago-based pianist Mabel Kwan is devoted to promoting new music written by composers of her generation, and takes a special interest in music’s intersection with visual art, technology and contemporary society. She is a pianist for Ensemble Dal Niente, and will perform with the group this July as an invited participant in ENSEMBLE 2010 at the International Summer Courses for New Music in Darmstadt. She and percussionist Andrew Bliss form the duo Nothing in Common, whose performance of “This Window Makes Me Feel” by John Supko was featured at the 2009 SEAMUS National Conference. Mabel was invited to perform a solo recital at the 2008 Sonic Fusion Festival in Edinburgh, Scotland and collaborated on a world premiere performance with Liminal Group for Chicago’s Looptopia 2007. A native of Austin, Texas (b. 1981) Mabel received her performance degrees from Rice University and Northern Illinois University.
Elainie Lillios’ music reflects her fascination with listening, sound, space, time, immersion and anecdote. Influential mentors include Jonty Harrison, Pauline Oliveros, Larry Austin and Jon Christopher Nelson. Her composition, Veiled Resonance, won First Prize in the 2009 Concours Internationale de Bourges, with other awards from the Concurso Internacional de Música Electroacústica de São Paulo, Concorso Internazionale Russolo, Pierre Schaeffer Competition, and La Muse en Circuit Radiophonic Competition. Elainie’s music is available on the Empreintes DIGITALES, StudioPANaroma, La Muse en Circuit, New Adventures in Sound Art and SEAMUS labels. Abstract
For years Phillip (Hunter) McCurry has been an instrumental performer and composer from an early age. He is currently finishing undergraduate degrees in both Technology in Music and Related Arts (TIMARA) at Oberlin Conservatory and Computer Science at Oberlin College. As a composer, he has collaborated across disciplines, working with dance, film, live video, and theater. His current focus is on musical works that highlight ways in which technology can become an extension of the human performer. In 2009, Hunter performed at the Spark Festival of Electronic Music in Minneapolis, MN, and at the SEAMUS National Conference in Fort Wayne, IN. He will be attending graduate school for Music Technology next fall. Abstract
Bradley Edward Meyer is a percussion artist and composer with an extensive and diverse teaching background. Meyer often tours to universities and high schools throughout the Southern and Midwestern states presenting recitals and workshops on topics such as electro-acoustic percussion, contemporary marimba, marching percussion, and world music. Currently, he is pursuing his Doctorate of Music in Percussion Performance under James Campbell at the University of Kentucky, where he also graduated Summa Cum Laude with a Bachelor’s Degree in Music Performance in 2006. Brad received his Master of Music Performance Degree under the direction of Dr. Scott Herring at the University of South Carolina where debuted his first percussion ensemble composition,Your Three Favorite Colors. His extensive training in world music, particularly on the Caribbean steel pan, Korean P’ungmul, mbira (Zimbabwe finger piano), Joropo maracas, and both Javanese and Balinese gamelan has provided a global perspective for his performances and research areas. Brad is a proud endorsee of Vic Firth Stick and Mallets and Evans Drumheads. Abstract
Born in Canada, Morris Palter’s wide-range of musical interests have found him performing throughout North America, Asia, and Europe at some of the most prestigious festivals and concert venues. Morris has commissioned and/or premiered over 100 new works and is a frequent guest at universities and conservatories worldwide including performances in Los Angeles, New York, Paris, Australia, Spain, Seoul, and Toronto. Over the past ten years, Morris has worked closely with noted composer/technology artist, Matthew Burtner, premiering the majority of his percussion-based works including two operas and numerous individual pieces. Morris is the Artistic Director of Ensemble 64.8, and co-Artistic Director of the yearly soundON Modern Music Festival in San Diego. Morris is currently an Assistant Professor of Music at the University of Alaska Fairbanks.
Ensemble 64.8 is directed by Morris Palter and is the resident percussion group at the University of Alaska Fairbanks. The group performs chamber music with an emphasis on works by noted American and European composers. Some of the composers represented in the current ensemble repertory include Steve Reich, John Cage, Iannis Xenakis, Toru Takemitsu, Louis Andreissen, Giacinto Scelsi, Carlos Chavez, John Luther Adams, and Henry Cowell. The group has performed with noted composers/performers Bob Becker (NEXUS, Steve Reich Ensemble), Matthew Burtner and Christopher Adler.
Lily Popova was born in Varna, Bulgaria, where she began studying the piano at the age of five. Since her arrival in the United States she has been active in many competitions and performances. Lily Popova was the winner of the Bronislaw Kaper Piano Competition, sponsored by the , The Music Center Spotlight Award for Classical Music, the Pasadena Fine Arts Club scholarship, and the Joanna Hodges International Competition in Palm Springs. She has performed many solo and chamber music recitalsall over the United States, in her native Bulgaria and in Italy. She has been the soloist for such noted ensembles as the Los Angeles Philharmonic conducted by , with the Mexico City Youth Orchestra under Jorge Mester in Mexico City and with the International Chamber Ensemble of Rome, Italy. Lily Popova performs and tours regularly; most recently she performed in Rome, Italy with “St. Ivo” and in New York City, where she performed at the Embassy of Argentina.
Cynthia Pratt, Professor of Dance at Butler University, has been a faculty member since 1994. She received her B.A. degree in Ballet from Virginia Intermont College and her M.F.A. degree from Temple University. She has a wide range of performing experiences both in the United States and Europe in ballet, modern, and jazz companies including work with Lynn Simonson in New York. In addition, she has worked on television and in musical reviews with Jon de Mal Productions in Amsterdam, Holland and with numerous independent choreographers. Ms. Pratt has taught and choreographed extensively at such institutions as the North Carolina School of the Arts, New York University, Steps, Philadanco, the National Balletacademie Theatre School in Amsterdam, the Goteborg Balletakademien in Goteborg, Sweden, and Dance Space Center in New York. She has worked as an auditioner for the Jacob’s Pillow Summer Dance Festival Jazz Project and has been the artistic director for several choreographic showcases established to exhibit the work of new choreographers at Evolving Arts in New York. Since relocating to Indianapolis, Ms. Pratt has choreographed many works for Dance Kaleidoscope as well as serving as a company teacher.
Thomas Rosenkranz was named a 2003 Classical Fellowship Award recipient from the American Pianists Association. His recital activities have taken him throughout the world with recent performances at the Shanghai Contemporary Festival, International House of Tokyo, L’Acropolium in Tunisia, Poly Theatre of Beijing, and the Kennedy Center. He has appeared as soloist with the Indianapolis Symphony, the National Orchestra of Beirut, the Northwest Chamber Orchestra as well as being the featured soloist for the Oberlin Orchestra’s Tour of China. As an Artistic Ambassador sponsored by the U.S. Department of State, Rosenkranz has traveled to North Africa and the Middle East numerous times promoting goodwill through his performances and through his interaction with local musicians. He is a member of the piano faculty at the College of Musical Arts at Bowling Green State University in Ohio and at the soundSCAPE Festival in Italy.
Ella Rosewood is an emerging performer, choreographer, educator, and senior dual degree student at the University of Wisconsin—Madison earning a dual degree in Dance (BS) and Elementary Education (Early-Middle Childhood License). This past summer, Rosewood studied dance and presented her choreography at the Taipei National University of the Arts in Taiwan. She also studied at the Dance Education Laboratory at the 92nd St. Y in NYC on scholarship and traveled to different states to work with choreographers on her senior honors project, examining solo dance choreography and performance. Rosewood has interned with the Merce Cunningham Dance Company, New York Yoga, and Madison Ballet and currently interns at Ballet University in Verona, WI. Rosewood also teaches dance locally in Madison and Stoughton, WI. She is the recipient of awards including the Li Chiao-Ping Scholarship and Phi Eta Professional Fraternity for the Creative Arts.
Minnesota native Alison Scherzer is currently pursuing an Artist Diploma at the University of Cincinnati College-Conservatory of Music, where she had previously received a Master of Music. Past performances at CCM include Zerbinetta in Ariadne auf Naxos and the soprano soloist in Poulenc’s Gloria. Elsewhere she has performed Mabel in Pirates of Penzance and the soprano solos in Orff’s Carmina Burana, Mozart’s Exsultate Jubilate, and as Lieschen in Bach’s Coffee Cantata. She has participated in the Opera Theater and Music Festival of Lucca, Grandin Vocal Chamber Music Festival, and the Wesley Balk/Music-Theater Institute. In May, Ms. Scherzer will be performing the role of Curley’s Wife in Carlisle Floyd’s Of Mice and Men.
Peter V. Swendsen is Assistant Professor of Computer Music and Digital Arts at the Oberlin Conservatory of Music. He studied at Oberlin, Mills College, and the University of Virginia and was recently in residence at the NoTAM studios in Oslo as a Fulbright Fellow. His creative work, which is based in electroacoustic music and often involves live instrumental performance, dance, and digital media, has been presented throughout the United States, much of Europe, and also in South America and Asia in recent years. Peter’s research focuses on soundscape composition, interdisciplinary performance practice, and interactive technologies. His most recent writing examines the relationship between electroacoustic music and contemporary dance, and recent performances include events in New York City, San Diego, Montreal, London, Amsterdam, and Paris. Abstract
Amy Yeung is currently associate professor of music at the University of Tennessee at Martin, where she teaches applied voice, diction, form and analysis, and directs lyric opera theatre. A native of Hong Kong, Yeung has performed extensively in recitals and concerts throughout the Asian countries, including Taiwan, Malaysia, Korea, and Hong Kong, as well as in the United States, Germany, Bulgaria, and Croatia. She is also active on the oratorio concert stage and the opera stage. Her performances have been broadcasted in the “Young Music Makers,” and “1815 Caprice” under the auspices of Radio Television Hong Kong. Yeung was recently awarded 2008 Individual Artist Fellowship by the Tennessee Arts Commission. Her solo debut CD with pianist, Jung-Won Shin was released in March 2010. Yeung holds a Doctor of Musical Arts in voice performance and a Master of Music in music theory from Michigan State University.