Notes on Contributing Authors:
James CORREA has a Master's degree in composition, a Bachelor's degree in guitar, and is finishing his PhD in composition at University at Buffalo as a Fulbright fellow. His works have been performed in Argentina, the United States, Europe, and in Brazil. His music has been performed by Magnus Andersson, Catarina Domenici, the Orpheus Ensemble, ICE, Barton Workshop, North/South Consonance, Percussion Ensemble PIAP, American Brass Quintet, Orquestra do Theatro Sao Pedro. Correa has recently collaborated with visual artists Marcelo Gobatto and Claudia Paim in multimedia projects in Brazil, Chile, Argentina, and the United States. In 2008/09 he was Adjunct Professor of Computer Music at the State University of New York at Buffalo. Starting in 2009 Correa will be professor of composition and computer music and director of the Computer Music Studio at Federal University of Pelotas, Brazil.
Brazilian pianist Catarina Leite DOMENICI an Associate Professor at the Universidade Federal do Rio Grande do Sul, Porto Alegre, Brazil. She holds a DMA in Piano Performance and Literature from the Eastman School of Music, where she was also awarded the Performer's Certificate. She is currently a Postdoctoral Fellow at the State University of New York at Buffalo researching the collaboration between composer and performer in contemporary music. She has held faculty appointments at the University at Buffalo, the Chautauqua Music Festival, the Eastman Community Music School, Nazareth College, and the Finger Lakes Community College.
Brian FERNEYHOUGH was born in Coventry, England on 16 January 1943. He received formal musical training at the Birmingham School of Music and the Royal Academy of Music, London. In 1968 he was awarded the Mendelssohn Scholarship, which enabled him to continue his studies in Amsterdam with Ton de Leeuw, and the following year obtained a scholarship to study with Klaus Huber at the Basel Musikakademie. Following Ferneyhough's move to mainland Europe, his music began to receive much wider recognition. At the 1968 Gaudeamus Composers' Competition in Holland he was awarded a prize for Sonatas for String Quartet and this success was repeated in 1969 and 1970 with Epicycle and Missa Brevis. Ferneyhough has also been the recipient of a Heinrich Strobel Foundation bursary from South West German Radio (1973), a German Academic Exchange award for 1976-77, and received the Koussevitsky award for Transit, which was judged to be the best contemporary work recorded in 1978. He was made Chevalier de l'Ordre des Arts et des Lettres in 1984 and an Associate of the Royal Academy of Music in 1990. From 1973 to 1986 Ferneyhough taught composition at the Musikhochschule in Freiburg, Germany. Between 1984 and 1987 he regularly gave master classes at the Civica Scuola di Musica, Milan. In 1986-87 he taught at the Royal Conservatoire of The Hague. He was a Professor of Music at the University of California, San Diego from 1987-1999 and is currently the William H. Bonsall Professor in Music at Stanford University. Ferneyhough has given lectures and classes since 1976 at the Ferienkurse für Neue Musik in Darmstadt. Other academic engagements include guest professorships at the Royal Conservatoire, Stockholm, Harvard University, and the University of Chicago, and invitations to lecture at the Conservatoire National Supérieur de Paris and numerous North American universities and colleges. He has also directed courses in composition at the Fondation Royaumont since 1990. His opera Shadowtime was premiered as part of the Munich Biennale 2004, and has been taken to Paris, New York, Bochum, and London 2004-5. In 2006, it was staged in Stockholm, Sweden. In October 2006, his orchestral piece Plötzlichkeit was premiered at the Donaueschingen Festival, Germany. In 2007, Ferneyhough received the Ernst von Siemens Music Prize for lifetime achievement.
Golan GUR is a musicologist whose scholarly work attempts to synthesize systematic and historical approaches to music with current interdisciplinary research paradigms. Born in Israel, he attended Tel Aviv University where he earned his B.A. (2004) and M.A. (2007) degrees in musicology, both summa cum laude. Between 2003 and 2006, he was a teaching and research assistant in the Department of Musicology at the same institution. In the academic year 2007-8, he studied at the Ludwig Maximilian University of Munich, Germany, with a scholarship from the Munich City Council, and served on the editorial board of the Bayerisches Musiker-Lexikon Online. At present, he is a doctoral candidate in music sociology at the Humboldt University of Berlin. His research interests include avant-garde music and philosophy, Jewish ethnomusicology, semiotics, and historical theory and methodology. His article on harmonic theory and cognitive metaphors was published in the March 2008 issue of Music Theory Online.
Born in Frederick, Maryland in 1983, Colin HOLTER is a composer and writer on music. His work focuses on the complex relationship between the commodity-character of music and its experience and practice in contemporary life. As a longtime contributor to NewMusicBox.org, Holter's writings have been widely read throughout the American new music community.
Born on October 22, 1962 in Mannheim. Starting in 1984 studies of Musicology, Philosophy and Sociology at the Universities of Heidelberg, Freiburg and Frankfurt-am-Main. Study of composition with Brian Ferneyhough
starting in 1985. Performances at international festivals in Europe and the USA, portrait concerts in Mannheim, Hamburg, Freiburg, Darmstadt (Ferienkurse 1992), Stuttgart (1993 and 1996), Bludenz, Munich, Baden-Baden, Rome, Salzburg, Heilbronn, Freiburg, Berlin. In 1987 studies at the Staatliche Hochschule für Musik Freiburg: study of composition with Klaus Huber and Emmanuel Nunes, study of music theory with Peter Foertig, study of piano with James Avery. 1988-94 Faculty member of the Darmstädter Ferienkurse. 1989 Master of Arts degree, faculty advisor in Philosophy Juergen Habermas, faculty advisor in Sociology Ludwig von Friedburg. 1990 Gaudeamus Prize for Interpénétrations. 1990-95 Faculty lecturer at the University of Freiburg, 1991 Composer-in-residence at the Hamburg Staatsoper, Stipendium from the Heinrich-Strobel-Stiftung of the SWF. 1992 graduation in composition and music theory. 1992-1996 substitute for professorial position at the Staatliche Hochschule fuer Musik Freiburg. 1993 PhD. degree from the University of Frankfurt am Main, 1st prize from the Stuttgarter Foerderwettbewerb for Medusa. 1994 Baldreit-Stipendium from the city of Baden-Baden, first book publication. 1995 Founding of the Gesellschaft für Musik & Aesthetik, since 1997 editor of Musik & Aesthetik. 1995/96 Stipendium/Residence at the Akademie Schloss Solitude, Stuttgart.. 1997/98 Stipendium from the state of Niedersachsen, 1998 Siemens-Foerderpreis
Stipendium from the Heinrich-Strobel-Stiftung of the SWF, 1998/99 Stipendium/Residence at the Villa Massimo, Rome, 1998-2000 Artistic/Musicological Advisor at the Staatsoper Stuttgart. 1999 Marriage with Dr. phil. Dipl. Theol. Francesca Albertini. 2000 music-theatrical work Angelus Novus (Munich Biennale), 2001 beginning of cooperation with the Experimentalstudio der Heinrich- Strobel-Stiftung des SWR. 2002 Founding of the book series New Music and Aesthetics in the 21st Century, Stipendium from the Paul-Sacher-Stiftung. 2002-2003 substitute for professorial position at the Staatliche Hochschule für Musik Freiburg, 2003 Stipendium from the Heinrich-Strobel-Stiftung des SWF, 2003-2005 substitute for professorial position at the Hochschule für Hochschule für Musik und Theater "Felix Mendelssohn Bartholdy" Leipzig. 2004-2006 Artistic/musicalogical advisor of the ISCM-Festival 2006. 2005 Stipendium from the Centro Tedesco di Studi Veneziani, 2005-2009 member of the jury of the Stuttgarter Kompositionspreis. Since 2005 editor of sinefonia. tenured professor for composition at the Hochschule für Musik und Theater "Felix Mendelssohn Bartholdy" Leipzig. 2006 book Kritische Theorie der Musik.
Larson POWELL is Assistant Professor of German at the University of Missouri-Kansas City. Professor Powell specializes in 20th century literature and film (especially DEFA and film music). His first book on modern German poetry (The Technological Unconscious) will be published by Camden House in 2008; a second book on post-1945 media art (electronic music, radio plays, film soundtracks) is in preparation. He has published and lectured in German, French and English, on German film and literature as well as on musicology, psychoanalysis, systems theory and philosophical aesthetics. Among his recent publications are “Allegories of Management. Norbert Schulze’s Soundtrack for Das Mädchen Rosemarie,” in Framing the Fifties: Cinema in a Divided Germany. ed. Sabine Hake and John Davidson (Berghahn 2007), 180-193, and “The War with Other Media: Ingeborg Bachmann’s Der gute Gott von Manhattan.”
Felipe RIBEIRO is a Brazilian composer born in the city of Curitiba. He is a Ph.D. Fellow at SUNY Buffalo (USA) studying under the supervision of Mr. Cort Lippe and Dr. Jeff Stadelman. From 2006-2008 Ribeiro studied composition under the supervision of Dániel Péter Biró and Gordon Mumma at the University of Victoria, Canada, and obtained a M.Mus. degree in Composition, receiving the Robert W. Ford Graduate Scholarship for excellence and dedication. He obtained a B.Mus. degree from the Universidade Federal do Paraná, Brazil and from the Escola de Música & Belas Artes do Paraná, Brazil, studying composition with Dr. Rodolfo Coelho de Souza and Dr. Maurício Dottori and guitar with Dr. Orlando Fraga. Ribeiro’s music has been played in several festivals in South America, North America and Europe. His music was recently presented at the 2008 Darmstadt Summer Courses. He is currently researching computer assisted composition and its application in both acoustic and electroacoustic contexts.
Alexander SIGMAN (1980) is currently in the dissertation phase of the doctoral program in Music Composition at Stanford University, having studied primarily with Brian Ferneyhough. He has pursued further post-graduate study with Chaya Czernowin at the University for Music and Performing Arts, Vienna (2007), and attended the one-year intensive course of the Institute of Sonology at the Royal Conservatory in The Hague (Netherlands) during 2007-2008. In 2008 he was awarded a fellowship for a 9-month residency at the Akademie Schloss Solitude (Stuttgart, Germany). Prior to studying at Stanford, Sigman obtained a BM in Music Composition and a BA in Cognitive Sciences from Rice University. He has received performances at such international music programs and festivals as Centre Acanthes, June in Buffalo, the Darmstädter-Ferienkurse, the Abbaye de Royaumont, the Wellesley Composers Conference, the Society of Composers (SCI) National Conference, the Klangraum-Festival (Stuttgart), and Musica Nova Helsinki. His music has been performed throughout Europe and the US by such ensembles as the Arditti Quartet, les Percussions de Strasbourg, Ensemble SurPlus, Ensemble Inauthentica, and Ensemble Ascolta, as well as soloists such as Magnus Andersson, Jean Kopperud, Eliot Gattegno, and Françoise Rivalland. Sigman’s electroacoustic, video, and multi-media compositions have been featured on programs at the Institute of Sonology (The Hague), DNK-Amsterdam, ICMC, the Sonorities Festival (Belfast), the In-Sonora Muestra (Madrid), and SoundLAB VI (Köln), among others. Since his undergraduate studies, Sigman has received several commissions, awards and grants, including the American Composers’ Forum Encore grant, the Bearns Prize, a Fulbright scholarship to the Netherlands, a Julius F. Jezek commission prize nomination, as well as awards from ASCAP. In June 2007, he was composer-in-residence at the Musiques Démesurées festival in Clermont-Ferrand, France. Sigman has also authored several articles and papers on various subjects, including a book chapter on music and aesthetics (to be published in an anthology edited by Steven Takasugi) and a study of early Schönberg lieder, with research conducted at the Schönberg-Center in Vienna. He has presented lectures at numerous conferences and institutions, including Harvard University, the Stuttgart Staatsgalerie, and Aristotle University (Thessaloniki, Greece). Since 2007, Sigman has been Co-Editor of Search: Journal for New Music and Culture and Managing Director of the 12-member Dutch ensemble Modelo62. Supplemental activities include performing (as a pianist and conductor) and engaging in music cognition research.
Steven SCHICK was born in Iowa and raised in a farming family. For the past thirty years he has championed contemporary percussion music as a performer and teacher. He studied at the University of Iowa and received the Soloists Diploma from the Staatliche Hochschule für Musik in Freiburg, Germany. Steven Schick has commissioned and premiered more than one hundred new works for percussion and has performed these pieces on major concert series such as Lincoln Center's Great Performers and the Los Angeles Philharmonic's Green Umbrella concerts as well as in international festivals including Warsaw Autumn, the BBC Proms, the Jerusalem Festival, the Holland Festival, the Stockholm International Percussion Event, and the Budapest Spring Festival, among many others. He has recorded many of these works for SONY Classical, Wergo, Point, CRI, Neuma, and Cantaloupe Records. He has been regular guest lecturer at the Rotterdam Conservatory and the Royal College of Music in London. Schick is Professor of Music at the University of California, San Diego and a Consulting Artist in Percussion at the Manhattan School of Music. Schick was the percussionist of the Bang on a Can All-Stars of New York City from 1992-2002. From 2000 to 2004, he served as Artistic Director of the Centre International de Percussion de Genève in Geneva, Switzerland, and is the founder and Artistic Director of the percussion group red fish blue fish. In 2007 Steven Schick assumed the post of Music Director and conductor of the La Jolla Symphony and Chorus. In 2006 Schick released three important publications. His book on solo percussion music, The Percussionist’s Art: Same Bed, Different Dreams, was published in May by the University of Rochester Press; his recording of The Mathematics of Resonant Bodies by John Luther Adams was released at the same time by Cantaloupe Music; and a DVD in collaboration with the percussion group red fish blue fish of the complete percussion music of Iannis Xenakis was published by Mode Records.
Peter VEALE was born in New Zealand and brought up in Australia. Performance with the Radio Orchestra in Adelaide, study with Heinz Holliger in Freiburg, study of conducting with Francis Travis. Ensemble member with recherche (1986-94), Ensemble SurPlus, and musikFabrik, Veale is active as soloist, chamber musician, lecturer, author (The Techniques of Oboe Playing, written together with Claus-Steffen Mahnkopf), and as editor of the series Contemporary Music for Oboe. More than 50 works have been composed for Peter Veale to date.