Mary BELLAMY studied composition with Anthony Powers at Cardiff University and Simon Bainbridge at the Guildhall School of Music and Drama, gaining her Ph.D. from Sheffield University in 2003 under the guidance of George Nicholson. Her pieces have been performed at festivals in the UK and abroad, including Europaischer Musikmonat (Basle, Switzerland) ppIANISSIMO (Sofia, Bulgaria) and the Huddersfield Contemporary Music Festival, as well as the Cutting Edge and Out Hear concert series’, and have been broadcast on BBC Radio 3. Performances have been given by leading contemporary music ensembles such as the London Sinfonietta, the Birmingham Contemporary Music Group, the Composers Ensemble, the SEM Ensemble, Ensemble Expose and Suono Mobile, as well as by renowned soloists Stephen Gutman, Richard Craig, Severine Ballon and Genevieve Lacey. Recent projects include three major new commissions for a portrait concert at HCMF 2011. In 2004 she won an Arts Council of England International Fellowship Award to attend the Cittadellarte Artist Residency in Italy where she collaborated with visual artists from around the world. Since then she has maintained an interest in visual arts and has collaborated on a number of audio-visual installations, which have been exhibited in New York, Venice and the UK. Mary is currently head of composition at the University of Huddersfield.
Aaron CASSIDY joined the staff of the University of Huddersfield in 2007 and currently serves as Reader in Composition, Coordinator of the MA by Research, and part of the Directorate of the Centre for Research in New Music (CeReNeM). His work as a composer has been programmed by leading contemporary music specialists including ELISION, Ensemble SurPlus, musikFabrik, EXAUDI, Ictus Ensemble, ensemble recherche, 175 East, Talea Ensemble, the Kairos, Diotima, and JACK string quartets, and soloists including Garth Knox, Ian Pace, Mieko Kanno, and Christopher Redgate, at festivals including Donaueschingen, Ultraschall, Warsaw Autumn, Huddersfield, Darmstadt, Gaudeamus (Jurors Prize nominee, 2002 and 2004), Bludenz, June In Buffalo, and the ISCM World Music Days. In July 2008, ELISION presented a portrait concert of his work for broadcast on ABC Classic FM, and in 2009-10 the ensemble completed an extensive recording project of his work in conjunction with Radio Bremen. He has received grants and commissions from Südwestrundfunk, allerArt Bludenz, the Yvar Mikhashoff Trust, Haupstadtkulturfonds Berlin, New York Foundation for the Arts, ASCAP, the American Music Center, Arts and Humanities Research Council, British Council, and PRSF 20×12/London Cultural Olympiad 2012. Recordings of his work are available on NEOS, NMC, HCR, and New Focus Records. He previously served as Lecturer of Composition at Northwestern University in Evanston, Illinois, and as Visiting Assistant Professor of Music at Buffalo State College.
Franklin COX received B.M. degrees in cello and composition from Indiana University, as well as composition degrees from Columbia University (M.A.), and the University of California, San Diego (PhD). He studied cello with Gary Hoffman, Janos Starker, and Peter Wiley, and composition with Fred Lerdahl, Brian Ferneyhough, and Harvey Sollberger. Dr. Cox has received numerous fellowships, prizes, and commissions from leading institutions and festivals of new music, including the highest awards from the Darmstadt Festival for both composition and cello performance. Since 1993, he has presented a solo recital entitled "The New Cello," focusing on original works for the cello, more than a hundred times throughout Europe and North America. In January 2006 he formed the duo C-squared with flautist Lisa Cella. Together they have commissioned numerous new works from composers and have performed throughout the United States and in Mexico. In 2002 he began teaching on the faculty of the University of Maryland, Baltimore County, and in 2007 he joined the faculty of Wright State University. He is founding co-editor of the international book series, New Music and Aesthetics in the 21st Century, and is also founding co-editor of Search, a peer-reviewed on-line/print journal focused on new music and culture.In 2008 he founded the annual American Innovators series with a colloquium and concert in honor of Elliott Carter's 100th birthday. His works are published by Rugginenti Editions and Sylvia Smith Publications, and they can be heard on Rusty Classica, Neuma Records, Solitude Edition, and Centaur Records.
Kris FALK is currently in his final semester as Assistant Visiting Professor at National Taiwan Normal University in the Graduate Institute of Ethnomusicology, a position he has held for the past four years. He teaches orchestration, a course in popular music (almost exclusively on The Beatles), graduate level music analysis, and film music studies. He holds a DMA in Music Composition from Stanford University, as well as MM, BMA, and BA degrees from the University of Washington. His primary music composition teachers have been Jonathan Harvey, William O. Smith, Richard Karpen, and William Bergsma, while his music theory training was primarily with John Rahn. Additional studies include film music practice in the UCLA Extension program under Gerald Fried, and two Stockhausen Summer Courses in Kurten, Germany lead by Karlheinz Stockhausen.
Colin HOLTER is a musician and writer on music based in Moorhead, Minnesota. He holds degrees in music from the University of Maryland, Baltimore County, the University of Illinois at Urbana-Champaign, Brunel University, and the University of Minnesota, Twin Cities.
Cordula PAETZOLD was born in 1969 in Germany. Studies in music, mathematics, philosophy, musicology, and management in Stuttgart, Freiburg, and Oldenburg. PhD dissertation on the composition technique of Brian Ferneyhough within the cycle “Carceri d’Invenzione” (printed by Wolke Verlag, 2010). Since 2001 Lecturer for music theory and ear training at the State University for Music and Performing Arts in Stuttgart; conference “Microtonality: Praxis and Utopia” in June 2011.
Larson POWELL is Associate Professor of German at the University of Missouri. He has written two monographs, The Technological Unconscious (2008) and The Differentiation of Modernism: German Media Arts, 1945-1980 (forthcoming Dec. 2013), co-edited a two-volume special issue of Musik-Konzepte on Stefan Wolpe (2010/2011) and one of Cultural Politics on Friedrich Kittler (2012). He is currently co-editing a book on German television with Robert Shandley and a volume on music in East Germany with Kyle Frackman. Recent publications include two entries in the Adorno-Handbuch (2011).
Adam ROBERTS is a composer of works for instruments and voices, with and without electronics. Roberts was educated at the Eastman School of Music (B.M.) and Harvard University (Ph.D.), and is currently based in Istanbul, where he serves on the faculty of the Center for Advanced Studies in Music at Istanbul Technical University. Honors for Roberts’ work include the Leonard Bernstein Fellowship from the Tanglewood Music Center, the Blodgett Composition Prize, and the Benjamin H. Danks Award from the American Academy of Arts and Letters. Roberts’ work has been performed in the U.S. and Europe by ensembles and individuals such as the Nouvel Ensemble Moderne, the Arditti Quartet, the JACK Quartet, Ensemble FA, Alarm Will Sound, Garth Knox, and Fellows of the Tanglewood Music Center. 2013 saw the premiere of Giver of Light, a chamber opera in two acts that is a modern adaptation of the life story of the Sufi poet Rumi, set in the American Midwest.