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The Herb Alpert School of Music at CalArts

Spring 2015 Visiting Artists

Jerry Tachoir: Vibraphone, Marimba, Mallet Synthesizer

Jan. 27, 2015 - 2-4pm, A300, during Percussion Workshop

Jerry Tachoir received a Bachelor's degree from Berklee College of Music in Boston in Applied Music for the Vibraphone and Mallet instruments, and extensive studies in arranging and composition. He graduated Summa Cum Laude 1973 – 1976. His performance experience includes Pittsburgh Symphony Orchestra, American Wind Symphony, Wilkensburg Symphony, International Symphony in Switzerland. Tachoir spent 25 years as the leader of his own jazz quartet performing throughout the U.S., Canada, and Europe at colleges and universities, jazz clubs, and jazz festivals. He performed Gunther Schuller's Concertino for Jazz Quartet and Orchestra with Westmoreland Symphony. Tachoir was the featured artist at an International Music event at Paris Conservatory of Music, and Nashville's most recorded mallet artist, etc. Jerry is a very popular and much in demand Artist/Clinician for the Musser Vibraphone and Marimba co./division of Ludwig Drums since 1972.

Pamela Z

Jan. 27, 2015 - 2-4 pm, B318, during Sounding the Voice Class

Pamela Z is a San Francisco-based composer/performer and media artist who works primarily with voice, live electronic processing, sampled sound, and video. A pioneer of live digital looping techniques, she creates solo works combining experimental extended vocal techniques, operatic bel canto, found objects, text, digital processing, and wireless MIDI controllers that allow her to manipulate sound with physical gestures. In addition to her solo work, she has been commissioned to compose scores for dance, theatre, film, and new music chamber ensembles including Kronos Quartet and the Bang on a Can Allstars. Her large-scale multi-media works have been presented at venues including Theater Artaud and ODC in SanFrancisco, and The Kitchen in New York, and her media works have been presented in exhibitions at the Whitney Museum (NY) , the Diözesanmuseum (Cologne), and the Krannert Art Museum (IL). Her multi-media opera Wunderkabinet – inspired by the Museum of Jurassic Technology (co-composed with Matthew Brubeck) has been presented at The LAB Gallery (San Francisco), REDCAT (Disney Hall, Los Angeles), and Open Ears Festival, Toronto. Pamela Z has toured extensively throughout the US, Europe, and Japan. She has performed in numerous festivals including Bang on a Can at Lincoln Center (New York), Interlink (Japan), Other Minds (San Francisco), La Biennale di Venezia (Italy), and Pina Bausch Tanztheater Festival (Wuppertal, Germany). She is the recipient of numerous awards including a Guggenheim Fellowship, the Creative Capital Fund, the CalArts Alpert Award in the Arts, The MAP Fund, the ASCAP Music Award, an Ars Electronica honorable mention, and the NEA and Japan/US Friendship Commission Fellowship. She holds a music degree from the University of Colorado at Boulder.

Seth Josel

Feb. 2, 2015 - 2–3:50 pm, B318
Feb. 3, 2-3:50pm and 7-9 pm, B318 during Graduate Composers Forum and Guitar Workshop

Seth Josel - originally from New York, now residing in Berlin - has become one of the leading instrumental pioneers of his generation. As a soloist he has concertized in Belgium, Germany, Great Britain, France, Israel, Italy, The Netherlands, Switzerland, the US and Canada. He has performed as a guest with leading orchestras and ensembles of Europe, including the BBC Symphony Orchestra (London), the Rundfunksinfonie Orchester Berlin, the Deutsches Symphonie Orchester Berlin, the South German Radio Choir, the Staatskappelle Berlin and the Schönberg Ensemble of Amsterdam, and has appeared at several major European festivals including the Salzburg Festspiele, Ars Musica, Donaueschingen, The Holland Festival, Munich Biennale and London's South Bank Festival. From 1991 till 2000 he was a permanent member of the musikFabrik. In recent seasons he has been guesting regularly with KNM Berlin, Ensemble SurPlus of Freiburg as well as with the Basel Sinfonietta.

Matana Roberts – Alpert Award Winner

Feb. 9 through Feb. 13

Chicago-born, New York City-based, African-American sound experimentalist Matana Roberts works in many performance/sound mediums including improvisation, dance, poetry, and theater. A dynamic jazz saxophonist, composer, improviser, and mixed media sound conceptualist, she aims to expose the mystical roots and the intuitive spirit raising traditions of American creative expression in her music and art. Her innovative work has forged new conceptual approaches to considering narrativity, history, and political expression within improvisatory structures. The album, COIN COIN Chapter One: Gens de couleur libres was released in May 2011 to widespread critical acclaim. This work-in-progress tells the saga of her extended family’s ascent in North America from Transatlantic servitude through the Jim Crow South to the present. She has recorded as a side person with groups as diverse as Godspeed You! Black Emperor, TV On The Radio, Savath & Savalas, Thee Silver Mt Zion, and performance artists My Barbarian. Roberts, a self-taught mixed media composer, earned two degrees in performance after receiving her main training from free arts programming in the American public school system. She is a past member of the Black Rock Coalition (BRC) and the AACM: The Association for the Advancement of Creative Musicians. She has been a Van Lier Fellow, a Brecht Forum Fellow, Copeland Fellow, A Jazz Makes Fellow, an ICASP fellow, and an Alpert Award In The Arts nominee 5 years running (2008, 2009, 2010, 2011, 2012) She is a 2013 FCA fellow. She has been invited to teach, lecture, run workshops and/or take up artistic residencies in countless places under diverse conditions and communities over the past decade and is a past faculty member of the Banff Creative Music Workshop, School for Improvised Music, and Bard College MFA, where she was co-chair of the Music and Sound Department 2011-12.

Rita Ueda, Composer

Feb. 9, 2015 - 2–3:50 pm, B318, Graduate Composers Forum

Rita Ueda is a Canadian composer, sound designer and music teacher based in Vancouver. Her works have been performed by the Vienna RSO with Peter Eotvos, Vienna Chamber Orchestra, Vancouver Symphony Orchestra, Locrian Chamber Players (New York), the Esoterics (Seattle), the Ostrava Banda Chamber Orchestra, and the SYC Ensemble Singers (Singapore). Rita has been awarded prizes in the 2010 International Mahler Competition, 2013 Boston Choral Ensemble Competition, 2013 Florence International String Quartet Composition Competition, 2013 Val Tidone Composition Competition, and the 2014 Florence International 'Ennio Morricone' Choir Competion. She is also the winner of the 2014 Krzysztof Penderecki International Composers’ Competition, held in Radom, Poland. Rita studied composition and sound design at Simon Fraser University and the California Institute of the Arts. Her teachers include Rudolf Komoros, Rodney Sharman, Wadada Leo Smith, Morton Subotnick, David Rosenboom and Barry Truax. She has also had short-term studies with James Tenney, Earle Brown, and Lou Harrison.

Mobius Percussion

Feb. 10, 2015 - 2-4 pm, A300, during Percussion Workshop

Mobius Percussion seeks to fuse their interest in fresh sounds with their commitment to high-quality performance and the promotion of new works by emerging composers. The group is composed of David Degge, Mika Godbole, Yumi Tamashiro and Frank Tyl, who formed the ensemble after working together at the first annual So Percussion Summer Institute in Princeton, NJ. Based in New York City, the ensemble made their debut at downtown multimedia art cabaret, (Le) Poisson Rouge, performing alongside other notable artists including So Percussion, Nexus, Meehan/Perkins Duo and Mantra Percussion. Since then they have performed at venues including the Firehouse Space, the Cell, Princeton Sound Kitchen, Good Child Music Studios, and Andrea Clearfield’s Salon to name a few.

In the spring of 2015, Mobius will embark on their first tour, stopping at venues and giving master classes in Tennessee and California.

Eyvind Kang, Composer and Violist/Violinist

Feb. 22 through Feb. 28, 2015

Violist/violinist Eyvind Kang is from Seattle, where he studied music at Cornish College for the Arts in addition to studying violin with Michael White. In 1994, Kang received an Artist Support Program grant (by the Jack Straw Foundation) and used it to record the first seven of his series of musical compositions called "NADEs." 7 NADEs was released on the Tzadik label in 1996, followed two years later by his Theater of Mineral Nades. Using structures similar to those of classical music, and conventions similar to those in jazz, Kang draws from a variety of traditional and popular styles. Besides composing and playing his own material (and occasionally playing the tuba), Kang has played with John Zorn, the Sun City Girls, and Wayne Horvitz's 4 + 1 Ensemble. In 1999, an album with clarinetist Francois Houle and drummer Dylan VanDerSchyff entitled Pieces of Time was released on the Canadian label Spool. He is a member of Bill Frisell's 858 Quartet and has worked with the guitarist extensively on other projects. He began recording his own albums at a frenetic pace on a slew of labels in the 21st century. Among his most important solo recordings are The Story of Iceland (Tzadik, 2000); Virginal Coordinates (Ipecac, 2004), Orchestra Dim Bridges, with Tucker Martine (Conduit, 2004); Socket: Jan.14-15 (Amulet, 2005); Aestuarium (Endless Records, 2005); The Yelm Sessions (Tzadik, 2007), and Athlantis (Ipecac, 2007). Kang also composed music for the stage adaptation of Charles Dickens' Nicholas Nickleby, with a libretto by the Bobs' Amy Engelhardt; it made its premiere in May of 2006. Kang's The Narrow Garden, recorded in Barcelona, featured over 30 musicians; it was released by Ipecac in early 2012. ~ Joslyn Layne and Thom Jurek, Rovi

Jessika Kenney, Composer

Feb. 22 through Feb. 28, 2015

A composer/singer who does not fear untraveled paths, Jessika Kenney is appreciated by multiple audiences for the vastly different musical forms she has integrated into a distinct style. Her reverence for, and interpretations of South East Asian and Persian vocal traditions have formed the basis for her main improvisational work. Simultaneously, an ongoing series of collaborations with her husband, composer/violist Eyvind Kang, have her embracing the avant-garde audience. Add to that her performances of Scelsi, Cage and Feldman, and her involvement with experimental metal groups such as Sunn O))) and ASVA, and one realizes that challenging horizons mark Kenney’s regular pursuits. In 2014, Kenney received the Artist Trust James W Ray Distinguished Artist Award for a Washington State artist whose work demonstrates exceptional originality, and she and Kang were recipients of the 2013 Stranger Genius Award in Music. Presently, Kenney studies radif with Ostad Hossein Omoumi, Persian language and literature at the University of Washington, and avidly reads interpretations of Classical Sufism. In the spring of 2014 her work included collaborations with the Rumi scholar Fatemeh Keshavarz at the Library of Congress, Chinese text translator Red Pine, and poet Anne Carson.

Oren Ambarchi

Feb. 23, 2015 - 2-4 pm, B318, during Graduate Composers’ Forum

Oren Ambarchi is a composer and multi-instrumentalist with longstanding interests in transcending conventional instrumental approaches. His work focuses mainly on the exploration of the guitar, "re-routing the instrument into a zone of alien abstraction where it’s no longer easily identifiable as itself. Instead, it’s a laboratory for extended sonic investigation". (The Wire, UK). Oren Ambarchi's works are hesitant and tense extended songforms located in the cracks between several schools: modern electronics and processing; laminal improvisation and minimalism; hushed, pensive songwriting; the deceptive simplicity and temporal suspensions of composers such as Morton Feldman and Alvin Lucier; and the physicality of rock music, slowed down and stripped back to its bare bones, abstracted and replaced with pure signal.

Adam Rudolph: Composer-Percussionist

Feb. 24, 2015 - 2-4pm, A300, during Percussion Workshop

For the past three decades composer, improviser and percussionist Adam Rudolph has performed extensively in concert throughout North & South America, Europe, Africa, and Asia. Rudolph has been hailed as “a pioneer in world music” by the NY Times and "a master percussionist” by Musician magazine. He has released 25 recordings under his own name, featuring his compositions and percussion work. Rudolph composes for his ensembles Moving Pictures and Organic Orchestra, an 18 to 54 piece group for which he has developed an original music notation and conducting system. He has taught and conducted hundreds of musicians in the Organic Orchestra concept; most recently in Sicily, Naples, Oslo, and Istanbul, NYC and LA. Rudolph recently premiered his opera The Dreamer, based on the text of Friedreich Nietzsche's "The Birth of Tragedy".

Bobby Bradford

March 2, 2015 - 2–3:50 pm, A300, during Performer-Composer Forum

One of the best trumpeters to emerge from the avant-garde, Bobby Bradford largely fulfilled the potential of Don Cherry (whose chops declined through the years due to the amount of time allocated to performing on flute and other instruments). Bradford grew up in Dallas, playing trumpet locally with such local players as Cedar Walton and David Newman. In 1953, he moved to Los Angeles where he met and played with Ornette Coleman and Eric Dolphy. Bradford spent time in the military and in school before becoming Don Cherry's replacement with the Ornette Coleman Quartet in 1961-1963, a period when the group unfortunately rarely worked. After moving to Los Angeles, Bradford became a schoolteacher and also began a longtime association with clarinetist John Carter; his mellow trumpet blended in well with Carter's dissonant flights. He recorded with Ornette Coleman in 1971, but otherwise is best known for his playing and recordings with Carter. Since the clarinetist's death, Bradford frequently led a quintet (the Mo'tet) featuring Vinny Golia and occasionally Marty Ehrlich. In the '90s, he also performed with John Stevens' Freebop, the David Murray Octet, and Charlie Haden's Liberation Music Orchestra.

Ezra Buchia

March 2, 2015, 2–4 pm, B305B, during ESP Forum

Ezra Buchla plays music with viola, software and voice. He fronted the avant-pop-core band Mae Shi from 2003-2006, played in the band Gowns from 2005-2010, and now performs solo work that deals in folk tonality, indeterminacy, dense psychedelic song, and electronic formalism. He also collaborates and performs with many other artists, recently including clipping., Chelsea Wolfe, Father Murphy and Claire Cronin. Ezra also develops music software and firmware for companies and artists.

Ben Vida

March 2, 2015, noon – 12:50pm, Wild Beast, during Visiting Artists Colloquium

Ben Vida is a composer, improviser and sound artist who lives in Brooklyn, NY. Ben led the group Town and Country and produced three records of world musique concrete under the name Bird Show. In collaboration with Keith Fullerton Whitman and Greg Davis he explores cross control voltage integrated improvisation and real time automatic group composition. Ben has worked with artists Siebren Versteeg, Marina Rosenfeld, Hisham Bharoocha, Nadia Hironaka and Mathew Suib. He has played in ensembles led by Tony Conrad, Rhys Chattam, and Werner Dafeldecker. As an improviser he has performed with Milo Fine, Fred Lonberg-Holm, Chad Taylor, Kevin Drumm, Yamatsuka Eye and C. Spencer Yeh among many others. He has released over twenty records on such labels as Thrill Jockey, Drag City, PAN, Amish, Bottrop-Boy, Hapna and Kranky.

Lee Weisert

March 2, 2015 - 2–3:50 pm, B318, during Graduate Composers Forum

Lee Weisert is a composer of instrumental and electronic music whose recent compositional interests include physical (re)modeling, recursive structures, extended techniques, and microsound. His recent music has incorporated increasingly disparate elements such as orchestral instruments, found sounds, field recordings, digital synthesis, and analog circuitry, in an attempt to find, "through experimentation, tinkering, and unconventional approaches, a ritualistic and deeply expressive world of sound.”

Oguri

March 6, 2015 - 2–3:50 pm, Roy O. Disney Music Hall, during Bodies and Voice Class

Oguri, a native of Japan, began his career as a dancer with master Tatsumi Hijikata, the creator of the Butoh dance form in post World War II Japan. Oguri joined famed dancer Min Tanaka's company, Mai-Juku in 1985, and for five years lived, worked, and helped establish Tanaka's farm outside of Tokyo. A resident of Southern California since 1990, Oguri formed his Los Angeles-based dance company, Renzoku, in 1993. He is the co-founder and artist-in-residence of La Boca, a studio/theater in the Sunshine Mission/Casa de Rosas (the oldest shelter for homeless women in Los Angeles) and an artist-in-residence at the Venice community theater the Electric Lodge. Oguri teaches and performs worldwide, and has received support from the California Arts Council, the James Irvine Foundation/Dance USA, the New England Foundation for the Arts National Dance Project, the Rockefeller Foundation and the City of Los Angeles Cultural Affairs Department. Oguri received Irvine Fellowship in Dance funds for the research and development of Height of Sky, a site-specific dance project that will take place in the deserts of Joshua Tree, and in Los Angeles. Through Height of Sky, Oguri will investigate the relationship between dancer and environment, and will explore the development of his identity as a Japanese dancer in America.

Mattin

March 9, 2015 - 12:45-2:15 pm, B305B, during ESP Forum

Mattin is a Basque artist working mostly with noise and improvisation. Mattin also has written about improvisation, free software and against the notion of intellectual property. In 2001 Mattin formed Sakada with Eddie Prévost and Rosy Parlane. "Mattin's music has an undeniable roughness, a lack of politeness that sets him apart from other more hi-tech, high-concept laptoppers. He's a contrarian, intent on going against the grain at all times, never doing what's expected of him. His albums can dwell on hellish noise or centre on the flimsiest wisps of sound." - Keith Moliné, The Wire

Peter Blasser

March 9, 2015 - 10 am-12:45 pm and 2:15-5pm, B305B

Peter Blasser, tubist since 4th grade. In high school, he was not allowed to purchase ethnic instruments, so he began making them in the basement out of wood. Later, while in college, he discovered electronic circuits and their possibilities for infinite tunings and infinite timbres. He made a career out of electronic modulations and making these intangibles touchable through nodes, case flexure, and radio fields. His company: ciat-lonbarde.net sells these devices to musicians around the world. He teaches the design of electronic instruments to his interns, as well as in workshops for larger groups. Some paper circuits can be downloaded from his website, printed out, and assembled to yield sound objects. The cybernetic interface uses the subtleties of touch, through discrete components, often "woven" together geometrically to simulate intuitive patterns and chaotic sophistication. His designs are spurred into existence to explore platonic or philosophical concepts which then acquire a narrative as they are refined into essential analog synthesizers.

Steve Lehman, Performer-Composer

March 9 through March 14, 2015

Described as “one of the transforming figures of early 21st century jazz,” by The Guardian (UK) and as a "dazzling saxophonist,” by The New York Times, Steve Lehman (b. New York City, 1978) is a composer, performer, educator, and scholar who works across a broad spectrum of experimental musical idioms. Lehman’s pieces for large orchestra and chamber ensembles have been performed by the International Contemporary Ensemble (ICE), So Percussion, Kammerensemble Neue Musik Berlin, the JACK Quartet, the PRISM Saxophone Quartet, and the Talea Ensemble. His recent recording, Mise en Abîme (Pi 2014) was called the #1 Jazz Album of the year by NPR Music and The Los Angeles Times. And his previous recording, Travail, Transformation & Flow (Pi 2009), was chosen as the #1 Jazz Album of the year by The New York Times. A recipient of the prestigious Doris Duke Artist Award in 2014, Lehman is an alto saxophonist who has performed and recorded nationally and internationally with his own ensembles and with those led by Anthony Braxton, Vijay Iyer, Jason Moran, Meshell Ndegeocello, and High Priest of Anti-Pop Consortium, among others. His recent electro-acoustic music has focused on the development of computer-driven models for improvisation, based in the Max/MSP programming environment. Lehman’s work has been favorably reviewed in Artforum, Downbeat Magazine, The New York Times, Newsweek, and The Wire, and on National Public Radio, the BBC, and SWR.

Penka Kouneva

March 12, 2015, 2–3:50pm, B304, during Composition for Film & Video - Open Only to Those Registered in Class

Penka Kouneva is an award-winning composer and ace orchestrator for film, TV, video games and trailers. Composing credits: "Prince of Persia: Forgotten Sands" game and additional score on "Transformers: Revenge of the Fallen" game (alongside Steve Jablonsky); "Midnight Movie," independent features, episodic TV, trailers. Lead Orchestrator: Gears of War 2, 3, Transformers games, Neill Blomkamp’s Elysium, Tim Burton's "9" and on top TV shows (ABC's Revenge, Perception, HBO's True Blood). Penka has orchestrated on Transformers, Pirates of the Caribbean, and Matrix franchises, on Sherlock Holmes, Angels and Demons, on Blizzard games (World of Warcraft, StarCraft II, Diablo III) and on hundreds of films. In 1999 Penka arrived in Hollywood with one computer and one contact. Over the last decade, she worked on films and games grossing $9 billion. As an extraordinary mentor and lead orchestrator Penka has been instrumental in nurturing the careers of many rising talents. A member of BMI since 1993, Penka is a Sundance Composer Fellow & advisor, and winner of Ovation, Remi, HMMA and other awards. Since 2006 she has employed, mentored and created opportunities for a number of young composers in Hollywood. Penka received the first-ever Doctorate degree in Composition from Duke University.

Anthony Starble

March 16, 2015 - 2–3:50 pm, ROD, during MAP Forum

Anthony began studying music at the age of 9 when his mother put him into piano lessons. He became obsessed with the instrument almost instantly, playing hours and hours each day. While in high school, Anthony began to discover that he had a passion for theater arts and singing. He wrote his first song at the age of 15 and later won the Berklee Songwriting competition for high school students at the age of 16. After winning that competition, Anthony realized that songwriting was his true passion and made up his mind that he was going to move to Los Angeles and become a singer/songwriter. Anthony attended CalArts and received a Bachelor’s degree in music, focusing on composition and songwriting. While at CalArts, Anthony started working on his first EP ‘Living In Layers’ which was released shortly after he graduated in 2010. Since then, Anthony has collaborated with artists such as Beck, Ben Lee, Kristen Chenoweth, and James both live and in the studio and regularly sings on pop demos and commercials. Anthony is involved in two side projects, electronic pop duo ‘Starhook’ and hip indie choir ‘The Silver Lake Chorus’. Both are also set to release albums this year. Anthony’s music has been featured on ABC Family’s ‘Pretty Little Liars’ in 2013 and on ABC Family’s ‘The Fosters’ in 2014. Anthony’s music embodies a sense of realism and honesty. He creates an environment for uncomfortable truths to be heard and pulls listeners inward with his emotional vocal style and dense piano harmonies.

Dwight Trible

March 16, 2015 - 2–3:50 pm, A300 - Performer-Composer Forum

Dwight Trible is a singer who combines the best of vocal virtuosity with musicianship and improvisational skills to the delight of audiences and musicians alike. In addition to performing with his own group, the Dwight Trible Ensemble, Dwight is the vocalist with the Pharaoh Sanders Quartet and is also the vocal director for the Horace Tapscott Pan Afrikan Peoples’ Arkestra. Not a newcomer to the music scene, Dwight has worked with such notables as Oscar Brown jr., Charles Lloyd, Billy Childs, Kenny Burrell, Kenny Garrett, Steve Turre, Harold Land, Harry Belafonte, Della Reese and Norman Conners, John Beasley, Patrice Rushen, Babatunde Lea, Ernie Watts, Kahlil El Zabar, as well as contemporary soul artist like LA Reid and DJ Rogers. Dwight’s collaborations with Horace Tapscott, Billy Higgins, Kamau Daaood and others have produced some of the finest musical moments in Los Angeles in recent years. Like his mentors, Dwight is not content to use his music just to entertain people, although he is quite a dynamic performer. He uses his music to bring people together, to bridge the gap between the races, and to heal the human heart. He has received numerous awards for his humanitarian efforts.

Georg Hajdu

March 30, 2015, 2–3:50pm, B318, during Composition Forum

Hajdu grew up in Cologne where he obtained diplomas in molecular biology and musical composition from the University of Cologne and the Cologne Musikhochschule, resp. A stipend by the German Academic Exchange Service enabled him to enter the graduate program in composition at the University of California, Berkeley in 1990, working closely with the Center for New Music and Audio Technologies (CNMAT) and eventually obtaining a Ph.D. in 1994. In 1996, following residencies at IRCAM and the ZKM, Karlsruhe, he co-founded the ensembleWireWorks, a group specializing in the performance of electro-acoustic music. In 1999, he produced his full-length opera Der Sprung – Beschreibung einer Oper for which renowned author and filmmaker Thomas Brasch wrote the libretto. In May 2002, his Internet performance environment Quintet.net was employed in a Munich Biennale opera performance and in the same year Georg Hajdu became professor of multimedia composition at the Hamburg University of Music and Theater, where in 2004 he established Germany’s first master’s program in multimedia composition as well as in 2012 the center for microtonal music and multi-media (ZM4). In 2005, he co-founded the European Bridges Ensemble—an ensemble entirely dedicated to local and wide-area network performance.
In addition to his compositions, which are characterized by a pluralistic attitude and have earned him several international prizes, the IBM-prize of the Ensemble Modern among them, Georg Hajdu published articles on several topics on the borderline of music and science.

Nate Wooley

March 30-April 4, 2015
March 30, 2015, 2–3:50pm, A300, Performer-Composer Forum

Nate Wooley began playing trumpet professionally with his father, a big band saxophonist, at the age of 13. Nate moved to New York in 2001, and has since become one of the most in-demand trumpet players in the burgeoning Brooklyn jazz, improv, noise, and new music scenes.  He has performed regularly with such icons as John Zorn, Anthony Braxton, Eliane Radigue, Ken Vandermark, Fred Frith, Evan Parker, and Yoshi Wada, as well as being a collaborator with some of the brightest lights of his generation like Chris Corsano, C. Spencer Yeh, Peter Evans, and Mary Halvorson. A combination of vocalization, extreme extended technique, noise and drone aesthetics, amplification and feedback, and compositional rigor has led one reviewer to call his solo recordings “exquisitely hostile”. Nate is the curator of the Database of Recorded American Music (www.dramonline.org) and the editor-in-chief of their online quarterly journal Sound

Stefan Prins

March 30, 2015 - 2–3:50 pm, B305B, during ESP Forum

After graduating as an engineer at the age of 23, Stefan Prins (Belgium, 1979) started to study fulltime piano and composition at the Royal Flemish Conservatory in Antwerp, Belgium, where he obtained his Masters degree in Composition with Luc Van Hove magna cum laude. Concurrently, he studied Technology in Music at the Royal Conservatory of Brussels with Peter Swinnen and Sonology at the Royal Conservatory of The Hague (2004-2005; The Netherlands). Additionally he studied “Philosophy of Culture” and “Philosophy of Technology” at the University of Antwerp, attended masterclasses with a.o. Chaya Czernowin, Steven Tagasuki, Richard Barrett, Enno Poppe, Georges Aperghis and participated in live-electronics workshops with Gerhard Eckel at the IEM in Graz and with Orm Finnendahl at the Musikhochschule Freiburg. Since September 2011 Stefan divides his time between Europe and the USA (Cambridge, Massachusetts), where he started a PhD in composition at Harvard University under the guidance of Chaya Czernowin.

Drew Neumann

April 2, 2015, 2–3:50 pm, B304, during Composition for Film & Video - Open Only to Those Registered in Class

Drew Neumann (Composer) has written music for 84 episodes of the hit Nickelodeon series "The Wild Thornberrys" and 52 episodes of the series "Aaahh!!! Real Monsters" for the award-winning animation studio Klasky Csupo. He also scored episodes of "The Grim Adventures Of Billy & Mandy" and "Evil Con Carne" for Cartoon Network. Neumann composed the music and designed and recorded the voices and sound effects for episodes of "Aeon Flux" shorts from the cutting-edge animation series "Liquid Television" on MTV and went on to score 10 half-hour episodes of "Aeon Flux" when it was picked up as a series. Neumann's credits also include sound design and composition for numerous bumpers, trailers, icons, closes and promos for feature films and television. His work with Disney Feature Animation is highlighted by sound effects and sound effects design for "Beauty and the Beast," "Rollercoaster Rabbit" and "Off His Rockers." He has composed music for Disney Television Animation, E! Entertainment Television's "Talk Soup," and for leading advertising agencies including Daily and Associates (California Lottery and Honda) and Wieden and Kennedy (Sega).

Van Dyke Parks

April 6, 2015, 12–12:50 pm, Wild Beast, during Visiting Artists Colloquium

In a field where the term "genius" is handed out freely, Van Dyke Parks is the real article. As a session musician, composer, arranger, lyricist, and singer, he's contributed significantly to several decades' worth of inimitable masterpieces credited to other artists, as well as generating two or three masterpieces of his own. Born in Hattiesburg, Mississippi, in 1941, he was a musical prodigy and attended the American Boychoir School in Princeton, New Jersey. He studied the clarinet and also worked as a child actor, on-stage and on television, co-starring with Ezio Pinza in the 1953 comedy series Bonino, and also working in movies, including Grace Kelly's final film, The Swan (1958). Parks got together with Brian Wilson of the Beach Boys in 1966. A prodigiously gifted composer, Wilson was no lyricist, and he needed one who could match the daring new music he was devising in his head -- this resulted in their collaboration on the SMiLE album. In 1967, as work on SMiLE came to a halt, Parks was lured to the newly invigorated Warner Bros. label by producer/A&R chief Lenny Waronker. His new professional berth led to a single, "Donovan's Colours," credited to "George Washington Brown," and its response -- especially a pioneering piece of pop/rock criticism by journalist Richard Goldstein -- helped redefine "rock" as distinct from rock & roll.

Dan Joseph

April 6, 2015, 2–3:50 pm, A300, during Performer-Composer Forum

Dan Joseph is a free-lance composer based in New York City. He began his career as a drummer in the vibrant punk scene of his native Washington, DC. During the late 1980s, he was active in the experimental tape music underground, producing ambient-industrial works for independent labels in the U.S. and abroad. He spent the ‘90s in California where he studied at CalArts and Mills College. His principal teachers include Pauline Oliveros, Alvin Curran and Mel Powell. Equally influential where his studies with Terry Riley during several workshops in California and Colorado. As an artist who embraces the musical multiplicity of our time, Dan works simultaneously in a variety of media and contexts, including instrumental chamber music, free improvisation, and various forms of electronica and sound art. Since the late 1990s, the hammer dulcimer has been the primary vehicle for his music. As a performer he is active with his own chamber ensemble, The Dan Joseph Ensemble, as well as in various improvisational collaborations and as anoccasional soloist. Dan has held residencies at Headlands Center for the Arts, the Lower Manhattan Cultural Council and currently is Artist-In-Residence at Harvestworks Digital Media Arts Center. Also active as curator and presenter, he currently produces the monthly music and sound series Musical Ecologies at The Old Stone House in Park Slope, Brooklyn, and is a co-producer of the Music for Contemplation series in Williamsburg, Brooklyn.

Brian Walsh

April 7, 2015, 4–5:50 pm, B312, during French Spectralism

Brian Walsh is a musician who is interested in sound and communication, regardless of genre. He specializes in performance on the clarinet and bass clarinet. He seeks to redefine the role of these instruments in contemporary classical music, jazz, and world music. Mr. Walsh is a graduate of the California Institute of the Arts.
Mr. Walsh frequently performs with such diverse groups as Wild up Modern Music Collective, gnarwhallaby, The New Century Players, The California E.A.R. Unit and is a member of Creative Underground Los Angeles. He also leads Walsh Set Trio, a jazz ensemble focusing on the performance of his own compositions. Performances have taken Walsh to Japan, Canada, Italy, England, the Netherlands, Iceland, and all over the United States. Earlier this year Mr. Walsh, as a member of the contemporary music ensemble gnarwhallaby, gave the premier of Nicholas Deyoe’s Lullaby 4 at Carnegie Hall. Their Carnegie Hall performance was described as “startlingly versatile” by the New York Times. Mr.Walsh was also recently a guest artist with the Los Angeles Philharmonic’s Green Umbrella new music series at Walt Disney Concert Hall. Walsh has premiered pieces by Luigi Nono, Anne LeBaron, Girard Grisey, James Newton, Andrew Nathaniel McIntosh, Tom Johnson and many others. Past collaborators have included Peter Maxwell Davies, Meredith Monk, Gavin Bryars, Bobby Bradford, Nels Cline, Bright Eyes, San Fermin, James Newton, and Muhal Richard Abrams

Matt Barbier

April 7, 2015, 4–5:50 pm, B312, during French Spectralism

Matt Barbier (CIM-BM/CalArts- MFA) is an LA based trombonist and composer focused primarily on experimental intonation, noise, and the physical processes of his instrument. His playing has been described by the LA Times as being "of intense, brilliant, virtuosic growling that gave the striking impression that Barbier was dismantling the instrument while playing it." Working collaboratively with composers such as Wolfgang von Schweinitz,Nicholas Deyoe, and Marc Sabat, he eagerly engages both in expanding the playing methods of his instrument and exploring the emerging fields of just intonation for brass instruments. His work with Wolfgang von Schweinitz has been highlighted by widely performingJUZ, Wolfgang's expansive work for solo trombone and playback. A work that had previously been abandoned due to the extreme multi-phonic demands, but revived in a collaborative effort between Matt and Wolfgang. Matt is a founding member of gnarwhallaby, a Los Angeles based mixed quartet formed to revive the repertoire of Poland's Warsztat Muzyczny and Germany's Quartet Avance. Matt also performs as a member of the critically acclaimed new music collective wildUp! and the Industry LA opera company. He has completed residencies at Dartington International Summer School, Hamburg's KlangWerkTage, Berlin's 7Hours and for the Atrux Collective. Matt presented guest lectures at CalArts, University of British Columbia, and Simon Fraser University.

Robert Henke

April 13, 2015, 12–12:50 pm, B318, during Visiting Artists Colloquium

Coming from a strong engineering background, Henke is fascinated by the beauty of technical objects, and developing his own instruments and algorithms is an integral part of his creative process. His material is computer generated sound and images, field recordings, photography and light; transformed, re-arranged and modulated by mathematical rules, real time interaction and controlled random operations. Robert Henke's work has a particular focus on the exploration of spaces, both virtual and physical. Many of his works use multiple channels of audio or are specifically conceived for unique locations and their individual spatial properties. The results include music on the edge of contemporary club culture, surround sound concerts, compositions in the tradition of academic computer music, photography, audiovisual installations, site-specific sound art and publicly available software. His long term musical project Monolake, founded in 1995, became one of the key icons of a new electronic club music culture emerging in Berlin after the fall of the German wall. Robert Henke is also one of the main creators of the music software 'Ableton Live', which since its invention in 1999 became the standard tool for electronic music production and completely redefined the performance practice of electronic music. He writes and lectures about sound and the creative use of computers, and held teaching positions at the Berlin University of the Arts, the Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University, and the Studio National des Arts Contemporains - Le Fresnoy in Lille, France. His installations, performances and concerts have been presented at Tate Modern London, the Centre Pompidou Paris, Le Lieu Unique Nantes, PS-1 New York, MUDAM Luxembourg, MAK Vienna, the Art Gallery of New South Wales in Australia, KW Institute for Contemporary Art, Berlin and on countless festivals.

John Debney

April 16, 2015, 2–3:50pm, B304, during Composition for Film & Video - Open Only to Those Registered in Class

Debney has proven his versatility with films ranging from blockbuster comedies such as Elf, Liar Liar and Bruce Almighty, to action adventures like Iron Man 2 and Spy Kids (1 & 2) to dark thrillers including I Know What You Did Last Summer and Sin City. John Debney recently scored Draft Day, Stoneheart Asylum and HISTORY’s Emmy nominated Hatfields & McCoys as well as the HISTORY’s most recent mini-series Houdini. He also scored last year’s A&E mini-series Bonnie & Clyde. Debney’s upcoming projects include the reimagining of The Jungle Book and The SpongeBob Movie: Sponge Out of Water, both in theaters 2015. In the tradition of classical composers, John Debney enjoys conducting his own work. “A big part of the joy in what I do is that I consider it an honor to stand in front of live musicians and have the opportunity to hear my music played by these talented people.” In addition to conducting some of the world’s greatest orchestras performing his original works, Debney also conducted the Royal Scottish National Orchestra on a series of classic film scores for Varése Sarabande Records. He has been celebrated for incorporating a myriad of musical styles and techniques into his work, from contemporary beats to ancient instrumentation. Debney is the youngest recipient of ASCAP’s prestigious Henry Mancini Lifetime Achievement Award. As director Robert Rodriguez perfectly described it, “It’s not the years, it’s the mileage.”

Charles Curtis

April 17, 2015, 10–11:50 am, Wild Beast, during Experimental Music Workshop II

Called by ArtForum "one of the great cellists" as well as "spellbinding and minimal," Charles Curtis has woven a unique career through the worlds of classical performance and musical experimentation. A student of Harvey Shapiro and Leonard Rose at Juilliard and the recipient of the Piatigorsky Prize, upon graduation Curtis was appointed to the faculty of Princeton University. Subsequently he was Principal Cellist of the NDR Symphony Orchestra in Hamburg, where he appeared as soloist with conductors such as Herbert Blomstedt, AndrZ Previn, GYnter Wand, John Eliot Gardiner and Christoph Eschenbach. For more than twenty years Curtis has been closely associated with the legendary avant garde composer La Monte Young. As soloist and as director of Young's Theatre of Eternal Music String Ensemble, Curtis has participated in more performances and premieres of Young's music than any other musician. He is one of the few instrumentalists to have perfected Young's highly complex just intonation tunings, and is one of only a handful of musicians to have appeared in duo formations with Young. The La Monte Young and Marian Zazeela four-hour-long solo composition, "Just Charles and Cello in the Romantic Chord," for solo cello, pre-recorded cello drones and light projection, the only solo composition composed by Young for a performer other than himself, received performances in Berlin, Paris, Lyon, Dijon, Bologna, in the New York Dream House, and in the monastery village of Polling in Bavaria. Curtis has studied the Kirana style of Indian classical music both with La Monte Young and in master classes with the late North Indian master vocalist Pandit Pran Nath since 1989, and has been a regular member of the Just Alap Raga Ensemble, led by La Monte Young and Marian Zazeela, since 2003. In the last few years Curtis has developed a unique repertoire of major works created expressly for the distinctive qualities of his cello-playing. Curtis is at home in Ocean Beach, California, where he is Professor of Contemporary Music Performance at the University of California, San Diego.

Ragnar Grippe

April 20, 2015, 2–3:50 pm, B318, during Graduate Composers Forum

Ragnar Grippe is a classical trained musician and Swedish pionnier in electronic music. He studied electronic music at McGill university in the 70's. Published in 1977, his electro-popular "Sand" (written for electric organs, tapes and e-guitar) can be described as a synthesis between Conrad Schnitzler (minimal hypno electronics), Roedelius (impressionistic electronics) and pure avant garde (60's french formalists and researchers of the "groupe de recherches musicales" / GRM). During the 80's composed some pieces for the radio and the TV, mixing electro acoustic collages to opera and classical music.

Ilan Volkov

April 20, 2015, 12–12:50 pm, B318, during Visiting Artists Colloquium

A frequent guest with leading orchestras worldwide, conductor Ilan Volkov works regularly with a wide range of ensembles, including the Israel Philharmonic, the National Symphony Orchestra Washington, the Orchestre de Paris, the BBC Symphony Orchestra, the City of Birmingham Symphony, the SWR Sinfonieorchester Freiburg and Ensemble Modern. Highlights of his recent and forthcoming schedule include performances with the WDR Symphony Orchestra Cologne, The Frankfurt Radio Symphony and the Oslo Philharmonic. Born in Israel in September 1976, Mr. Volkov began his conducting career at the age of nineteen. Following studies at London’s Royal College of Music, he secured positions as Principal Conductor of the London Philharmonic Youth Orchestra and Assistant Conductor of the Boston Symphony. In 2003 he was appointed Principal Conductor of the BBC Scottish Symphony Orchestra and subsequently became its Principal Guest Conductor in 2009. Mr. Volkov took up his new appointment as Music Director and Principal Conductor of the Iceland Symphony Orchestra at the beginning of the 2011/12 season. Mr. Volkov’s arrival in Iceland coincided with the opening of Harpa, Reykjavík’s visually striking new concert hall. In March 2012 he curated and directed a three-day festival of contemporary music, “Tectonics,” exploring works by Icelandic composers. Equally active in the opera house as in the concert hall, Mr. Volkov has conducted Tchaikovsky's Eugene Onegin for San Francisco Opera, Britten's A Midsummer Night's Dream at the Glyndebourne Festival, Peter Grimes for Washington National Opera and, most recently, Kurt Weill's Rise and Fall of the City of Mahagonny for Toulouse Opera and Bartók’s Duke Bluebeard’s Castle with the Israeli Opera.

Jeff Rona

April 23, 2015, 2 – 3:50 pm, B304, during Composition for Film and Video - This is a closed class

Jeff Rona is a contemporary film composer and recording artist. Early on he composed for dance, theater, experimental media, galleries and contemporary concert venues around the world using both traditional musicians and cutting-edge technologies. He became an in-demand studio musician, arranger, sound designer, synthesist and music programmer in Los Angeles & New York, most notably with Philip Glass on several film and live projects and with film composer Hans Zimmer. He worked as a musical collaborator on numerous films & records before landing his first solo composing project, scoring the groundbreaking television series Homicide:Life On The Street for director Barry Levinson. Since then he has scored dozens of other films and television projects with directors such as Ridley Scott, Steven Spielberg, Wong Kar-wai, Robert Altman, Steven Soderbergh, Mark Pellington, Stephen Hopkins, Jonathan Demme, Frank Darabont and many others.

Tim Barnes

April 27, 2015, 12:00 – 12:50 pm, B318, during Visiting Artists Colloquium

Since 2001, Tim Barnes has been a globally recognized percussionist, composer, sound designer, and audio archivist. He has performed at the Guggenheim, Whitney, and Pompidou museums, as well as in galleries and performance halls in Tokyo, Berlin, Rome, Belgium, Stockholm, Mexico City, and Melbourne. He has been recruited to perform with some of experimental music’s most accomplished players - John Zorn, Kim Gordon, Ikue Mori, Jim O’Rourke, Lee Ranaldo, and Jeph Jerman. American corporations such as Starbucks, Nike, Cadillac, and Merrill Lynch have hired Tim to create sound collages for their television advertisements. He has also worked closely with Fluxus artists La Monte Young and Henry Flynt with archival restoration of recorded works, and in 2005, Tim performed and recorded Alison Knowles’ composition “Onion Skin Song”. Currently, he is working with Vito Acconci and the publisher Primary Information on presenting Mr. Acconci’s complete recorded works. Tim lives in Louisville, Kentucky, where he is the Artistic Director of the performing and visual art space Dreamland.

Jeph Jerman

Monday, April 27, 2015, 12:00 – 12:50 pm, B318, during Visiting Artists Colloquium

Jeph Jerman grew up in a military family so he moved around a lot, a different place every two years until his father retired in Colorado. He started playing music in a number of bar bands while also experimenting with other forms, playing around with tape recorders and trying to find people to improvise with. Eventually he ended up in Seattle forming the first animist orchestra in 1999 and eventually moving to Arizona making recordings of the desert and its interaction with man made structures. He continues to investigate the dessert, building crude sound making devices and playing and recording whenever the opportunity arises. In 2014 Jeph received an Artist Grant from the Foundation for Contemporary Art. Jeph Jerman could be described as an electro-acoustic artist, an experimental musician, or an avant-garde performer but what he is, in actuality, is a guide. He guides us to listen to the animated voice of nature, and his works provide us with pathways to experience daily life in new ways.

Michael Manring

Tuesday, April 28, 2015, 7:00 – 8:50pm, B318, during Guitar Workshop

Hailed by many as the world’s leading solo bassist, Michael Manring has been pushing back the boundaries of what’s possible on the bass guitar for over three decades. While his technical skill and innovations always make an impression, it is his ability to communicate on a profound emotional level that most touches listeners. Building on the conceptions of his teacher, the late bass legend Jaco Pastorius, Michael has developed a new approach to the instrument that includes unorthodox tunings, techniques and methodologies. He has honed his skills on hundreds of recordings as a session musician and thousands of concerts throughout the world in venues including Carnegie Hall in NY, Yamaha Hall in Tokyo and Davies Symphony Hall in San Francisco. As editor Tom Darter wrote in Keyboard magazine after seeing one of Michael's solo concerts, "Forget his astounding technique and musicality; forget his absolute command of his instruments; forget how seamlessly the musical ideas and the performance of them were wedded together...The enlightenment came most from feeling (seeing, hearing) the joy Michael felt to be playing...his brand of transcendental chops and musical understanding...was all in the service of the final outcome, the joy of making music."

Miller Puckette

Thursday, April 30, 2015, 7:00 – 7:50pm, B214A, Music Tech Forum

Puckette obtained a B.S. in Mathematics from MIT (1980) and Ph. D. in Mathematics from Harvard (1986). Puckette was a member of MIT's Media Lab from its inception until 1987, and then a researcher at IRCAM (l'Institut de Recherche et de Coordination Musique/Acoustique, founded by composer and conductor Pierre Boulez). There he wrote the Max program for MacIntosh computers, which was first distributed commercially by Opcode Systems in 1990. In 1989 Puckette joined IRCAM's "musical workstation" team and put together an enhanced version of Max, called Max/FTS, for the ISPW system, which was commercialized by Ariel, Inc. This system became a widely used platform in computer music research and production facilities. The IRCAM real-time development team has since re-implemented and extended this software under the name jMax, which is distributed free with source code. Puckette joined the Music department of the University of California, San Diego in 1994, and is now Associate Director of the Center for Research in Computing and the Arts (CRCA). He is currently working on a new real-time software system for live musical and multimedia performances called Pure Data ("Pd"), in collaboration with many other artists/researchers/programmers worldwide. Pd is free and runs on Linux, IRIX, and Windows systems. Since 1997 Puckette has also been part of the Global Visual Music project with Mark Danks, Rand Steiger, and Vibeke Sorensen, which has been generously supported by a grant from the Intel Research Council.

Laura Steenberge

April 27, 2015 - 2-3:50pm, B305B, during ESP Forum

Laura Steenberge has lived in the Bay Area since 2011. As a performer, she singsand plays viola da gamba, contrabass, piano and guitar, in traditional anduntraditional song styles. As a composer, she primarily writes vocal music andavidly researches connections between music and language, including studies of harmony and vocal acoustics, text painting in liturgical chant, mythologicaldepictions of music, and the transmission of folk songs and lyrics. Current creativeprojects: folk songs on the viola da gamba; metonymic musical vignettes of mythsand paper making. Laura’s educational background is currently a Doctoral candidate at Stanford University 2011-present with an expected graduation date of June 2016;MFA Composer/Performer, CalArts; BA Music, BA Linguistics, University ofSouthern California.

Graham Lambkin

May 1, 2015, 10 am –12 pm in The Wild Beast

Graham Lambkin first came to public attention in the 1990s as a member of the band the Shadow Ring. He is also an accomplished visual artist, lending his art to countless record sleeves and maintaining a steady home practice of drawing, painting, and collage. Since 2009, the London-based Penultimate Press has published four books by Lambkin, including the recent Came to Call Mine, a gorgeous book of poems and drawings described by the artist as “a children’s book for adults.” The book’s release coincided with an exhibit of the same name held at Audio Visual Arts in Manhattan, as well as with Lambkin’s first-ever solo musical performances. Twenty years since the release of his first record, we see a host of fresh firsts for the artist. One gets the sense that Graham Lambkin sees the world through a very peculiar lens. His observations on the mundane are often startling, though rarely far-fetched. William Burroughs said of Denton Welch that Welch “makes the reader aware of the magic that is right under his eyes,” and the same could be said of Lambkin. He looks at an everyday object and sees an ocean of possibility.

Janet Feder

Monday, May 4, 2015, 2:00pm – 3:50 pm, A300, during Performer-Composer Forum

Janet Feder is a Denver, Colorado based composer and guitarist. She is a classically trained guitar player best known for her work in the prepared guitar genre. Solo projects include Songs with Words (2012), Ironic Universe, a CD & DVD featuring Fred Frith (AdHoc Records/USA 2006), and Speak Puppet (Recommended Records/UK 2001), as well as many compilations for Zerx Records (Albuquerque, NM; 1999-07). She also appears on 156 Strings produced by Henry Kaiser for Cuneiform Records (USA, 2002) and I Never Meta Guitar produced by Elliott Sharp for Clean Feed Records (Portugal, 2010), both featuring guitar players from around the globe. Feder was one of several contributors to Paul Riola's Bottesini Project, where her work was featured alongside Nels Cline, Keenan Wayne, CacheFlowe, Glenn Taylor, and Mark Harris on the 2009 album Naima's Grass Pajamas. The album began as "collective improvisations recorded live in the studio" which "were then later reconstructed." The most recent album by Feder, Songs With Words, was recorded live at Immersive Studios in Boulder, Colorado in 5.1 Surround Sound "using fifteen microphones" and is currently available on both vinyl and SACD. A reviewer noted that Songs With Words "explores the outer reaches of sonic possibility yet never loses the thread of melody and beauty. Feder's solo work was featured in a June 2012 Tiny Desk Concert on NPR. Feder is also currently half of Denver-based duo Cowhause with Colin Bricker.

Udo Moll

May 4, 2015, 2–3:50pm, B318, during Graduate Composers Forum

Udo Moll's initial musical socialization process took place in the brass orchestra of the city of Uhingen. He studied empirical cultural sciences, musicology, romanistic and new German literature at the Eberhard-Karls-Universität Tübingen. Furthermore, he studied the jazz trumpet with Manfred Schoof and composition with Johannes Fritsch at the Music Academy Cologne. Udo Moll works as a freelance composer, trumpeter and in the field of electronic music.

Thomas Newman

May 7, 2015, 2–3:50 pm, B304, during Composition for Film & Video - Open Only to Those Registered in Class

Thomas Newman has composed soundtracks for more than 50 films, for which he has received a total of 10 Academy Award nominations. In the first few years following his graduation, Newman played in several bands, including rock group The Innocents and improvisational group Tokyo 77. Newman’s breakthrough score was Desperately Seeking Susan, starring Madonna. Most of Newman’s early scores were composed for synthesisers, but he gradually began to combine electronic and acoustic instruments. As well as film music, Newman has composed music for television, including the series Boston Public and Six Feet Under. He has also fulfilled diverse commissions, including writing a work for the Los Angeles Philharmonic and the Kronos Quartet. His first score since The Good German was for the 2008 animated film WALL-E, collaborating for the second time with director Andrew Stanton (with the first collaboration being Finding Nemo). The film won the Academy Award for Best Animated Feature (as had "Nemo"). Newman received two Oscar nominations: one for Best Original Score, and another for Best Original Song for "Down to Earth", which he co-wrote with Peter Gabriel. Newman scored numerous others such as Towelhead and Sam Mendes' Revolutionary Road, The Help, The Debt, The Iron Lady, and The Adjustment Bureau, and The Best Exotic Marigold Hotel. He also scored the 23rd James Bond movie Skyfall, directed by his longtime collaborator Sam Mendes, which celebrates the film franchise's 50th anniversary. His work on this film earned him his eleventh Oscar nomination and a second BAFTA win. During 2013, he scored Steven Soderbergh's Side Effects and Saving Mr. Banks.

Last edited by cziemba on Jan 11, 2017
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