| Season
5
(2011-12)
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Season 4 |
Season 3 |
Season 2 | Season
1
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Joo Won Park: Strange Sounds in a Familiar World
SATURDAY, SEPTEMBER 24, 2011
Doors open at 7:30pm, Concert begins at 8:00pm
Admission: $10, $5 Students
Urban Culture Project’s La Esquina
1000 West 25th Street, KCMO
www.vimeo.com/joowonpark
The Kansas City Electronic Music and Arts Alliance opens its fifth season with visiting performing and composer Joo Won Park’s Strange Sounds in a Familiar World. On
this concert, Joo Won writes, “With the current state of music
technology, a musician can perform electronic music without the use of
synthesizer or traditional instruments. One can design his/her virtual
instrument in the computer and process any sound, live on stage. The
ability to produce and manipulate sounds in real‐time helps electronic
musicians to improvise more freely, develop new performance practice,
and reach wider audiences.” Joo Won will perform live pieces that use
realtime computer processing, designed, programmed, and composed by
himself.
Joo Won Park (b. 1980) is a composer/researcher of music within several
genres. His music and audio applications have been featured in several
conferences such as the Society for Electro‐Acoustic Music in the
United States Conference, Seoul International Computer Music Festival,
and International Computer Music Conference, as well as in print in
Electronic Musician and The Csound Book. He received M.M and Ph.D. in
composition at the University of Florida, where he studied with James
Paul Sain, Paul Richards, and Paul Koonce. He graduated from Berklee
College of Music majoring inMusic Synthesis and Contemporary
Writing/Production under the direction of Richard Boulanger. Dr. Park
was an associate director of Florida Electroacoustic Music Festival,
and currently serves as an assistant professor of music at the
Community College of Philadelphia. His music is available on the ICMC
2004 DVD, Spectrum Press, and Computer Music Journal.
"Both in terms of malipulating sound, and simply using sound, Joo Won
Park is fantastically talented, and it is apparent in every second,
with every subtle change, with every click and swirl of this piece.
With each phase, each time one texture moves into the next, one is
certain that it could have occurred in no other way. Beautiful." ‐
Asymmetry Magazine, April 2010
"Joo Won Park is a rising star among modern composers. He produces
music by recording everyday sounds as well as some more unusual ones
and designing his own instruments from these sounds,
using specialized programs to process the sounds via computer. Some of
the programs are so specialized, in fact, that he codes them himself,
line by line. It is a painstaking process, but one that yields
spectacular results."‐ Pathways Magazine, Oct 2010
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KcEMA @ The Electronic Music Midwest Festival
FRIDAY, SEPTEMBER 30, 2011
Concert begins at 8:00pm
Admission: FREE!
Performing Arts Center
Kansas City Kansas Community College
7250 State Avenue, Kansas City, KS
www.emmfestival.org
The Kansas City Electronic Music & Arts Alliance (KcEMA) is honored and excited to partner with Electronic Music Midwest
to produce a curated concert of electroacoutsic music by Kansas City
metro area composers at the annual Electronic Music Midwest Festival
(September 29 - October 1). The concert will feature works by
Mara Gibson, Simon Fink, James Mobberley, Brad Baumgardner, Richard
Johnson, Eric Honour, Jason Bolte, and Scott Blasco.
Full EMM Concert Schedule:
Electronic Music Midwest Festival
Featuring 2011 EMM Guest Artist: Elizabeth Bunt, saxophone
Kansas City Kansas Community College Performing Arts Center
7250 State Avenue, Kansas City, KS
September 29 - October 1
Admission: Free! and open to the public!
For a full schedule of events, please visit www.emmfestival.org
Festival Installation: PAC Lobby, Friday and Saturday
Concerts:
1: Thursday, September 29, 7:30pm
2: Friday, September 30, 10am
3: Friday, September 30, 2pm
4: Friday, September 30, 5pm
5: Friday, September 30, 8pm (curated by KcEMA)
6: Saturday, October 1, 10am
7: Saturday, October 1, 2pm
8: Saturday, October 1, 5pm
9: Saturday, October 1, 8pm
Electronic Music Midwest
is dedicated to programming of a wide variety of electroacoustic music
and providing the highest quality performance of electronic media. This
annual festival consists of approximately nine short concerts (about 1
hour in length) over the course of a weekend in Autumn. Our goal is to
bring together vibrant and interesting artists of all forms, give them
a vehicle for their expressions, and a place for them to share ideas
with others.
EMM is the result of a consortium formed in 2002 between Kansas City
Kansas Community College (KCKCC), Lewis University, and the University
of Missouri at Kansas City. Officially formed in 2002, this festival
was founded by Mike McFerron, Connie Mayfield, and Paul Rudy in 2000
when it was presented at KCKCC under the name "Kansas City Electronic
Music Festival." In 2001, the festival continued at Lewis University
under the title, "Electronic Music at Lewis - 2001."
EMM has always featured an 8-speaker surround diffusion system under
the guidance of Ian Corbett. The core of the system are eight Mackie
1521 bi-amped speakers, an EAW/QSC subwoofer system, and a Soundcraft
MH3, 32+4 Channel mixer (named "Emily"). Due to Ian's expertise, many
visiting composers comment that EMM is one of smoothest run festivals
they have ever attended.
Since its beginning, EMM has programmed over 500 new electroacoustic
compositions. Composers have traveled from around the world to
graciously share their music with audiences in the Midwest. However,
EMM is about more than just playing new music. We strive to create an
environment conducive to building community interaction. Most concerts
are approximately one hour long, and composers have plenty of time to
"talk shop" with each other as well as interact socially with students
and audience members.
The Kansas City Electronic Music and Arts Alliance (KcEMA),
founded in 2007, is now in its fifth season. KcEMA endeavors to
encourage and develop understanding and appreciation of electronic
music and to create an expansive sense of community for electronic
musicians and other artists in the Kansas City Area. KcEMA organizes
concerts of electronic music and collaborative projects with generative
and performing artists. KcEMA provides a forum for electronic musicians
and artists in other media to collaborate, exchange ideas, and grow as
an interactive, supportive community.
______________________________
a Cup of Jamoma
Special Guests: Jamoma Development Group
FRIDAY, OCTOBER 21, 2011
Doors open at 7:30pm, Event begins at 8:00pm
Admission: $10 Suggested Donation
Urban Culture Project’s La Esquina
1000 West 25th Street, KCMO
Charlotte
Street Foundation’s Urban Culture Project presents a joint presentation
by the Kansas City Max Users Group and the Kansas City Electronic Music
and Arts Alliance
A Cup of Jamoma: An Improvisational Concert of Music and Video featuring the artists and programmers behind Jamoma.
If you are a Live Music or Live Video Artist who uses or is interested
in using Max/MSP/Jitter, you need to see what Jamoma is capable of.
Jamoma is a series of easy-to-use modules for use in Max/MSP/Jitter.
They were designed around the principle that you want to spend more
time creating you art and less time programming, debugging, and
documenting.
A Cup of Jamoma features Jamoma contributors Nils Peters , Nathan Wolek, Trond
Lossius, and Cycling ‘74 Research Engineer Timothy Place. Come hear,
see, and discuss what Jamoma can do and why it should be part of your
creative process.
contact: secretary@kcema.net
www.kcema.net
www.jamoma.org
www.charlottestreet.org
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Electronic Spaces
featuring Eric Honour (saxophone) and Samuel Wells (trumpet)
SATURDAY, NOVEMBER 12, 2011
Doors open at 7:30pm, Concert begins at 8:00pm
Tickets $10; Students $5
Unity Temple on the Plaza
707 West 47th Street
Kansas City, MO 64112
Saturday, November 12th, the Kansas City Electronic Music and Arts Alliance returns to Unity Temple on the Plaza
to present a concert of electronic music and video. Electronic Spaces
is drawn together from pieces that create sonic environments in which
to immerse the audience in ways only possible in electroacoustic media.
Eric Honour opens and closes the concert with pieces for saxophone and electronics. Ed Martin’s Apparitions explores the interaction between the live performer and ghostly semblances of himself in the digital realm. Per Bloland’s FeXIV (Iron Fourteen), accompanied by Scott Draves’s luminous
video work, turns to the sun for its inspiration. Drawing on melodic
material by 12th century composer and abbess Hildegard von Bingen—whose
visions frequently contained allusion to the sun—FeXIV is, according to
the composer, “about noise, distortion, and chaotic feedback, as
contrasted with placid harmonic motion.”
In addition to Honour’s work on saxophone, Samuel Wells
also performs two pieces for trumpet and electronics. Wells’s own
(dys)function will have its premiere performance on Electronic Spaces.
Derived entirely from trumpet samples, the piece humorously considers
the conflict between the potential of functionality and quality of
dysfunctionality. Wells is proud to say that he was inspired by
Garrison Keillor’s comment, “Ahh, the trumpet. Now there’s an
instrument on which one can truly embarrass himself.” Wells also
performs Richard Johnson’s
Introit, a piece exploring the sacred space of the cathedral and the
Renaissance tradition of using popular tunes in mass settings. Introit
includes video by the composer.
Dennis H. Miller’s piece for
video and electronics, Echoing Spaces, explores a number of virtual
environments in which the primary elements recur (echo) both in
immediate succession and at different times throughout the piece,
always in varied form. The visual imagery employs a number of
similarly shaped elements that appear in overlapping, morphing
configurations, and the restricted color palette helps maintain a focus
on the primary objects. Andrew Babcock’s Anagoge was created using
only two monaural sound sources: a piece of magazine paper being
crinkled, and a beard trimmer being turned on and off. The composer’s
goal from this was to extract every element of these simple samples and
create a meaningful acoustic space from them. The title, Anagoge,
refers to the hermeneutic pursuit of interpreting a text to look beyond
its literal, allegorical, and moral meanings in search of a
transcendental reading suggestive of the spiritual or mystical.
Completing Electronic Spaces are pieces by Philip Reader and UK composer Manuella Blackburn.
Blackburn’s Vista Points employs electric guitar samples, frequently
left raw and unmanipulated, to create a sonic space of turbulence and
conflict, and Reader’s Hemispheric uses 5.1 channel audio to create an
acoustic space in which the audience is immersed.
Eric Honour has developed an
international reputation as an artist devoted to exploring and
furthering the intersections of music and technology. His work as a
saxophonist and composer has been featured in numerous international
conferences and festivals like ICMC, Spark, FEMF, BEAF, EMM, and
others. A member of the Athens Saxophone Quartet, he performs regularly
in Europe and the United States, and has presented lectures and
masterclasses at many leading institutions, including the Conservatorio
di Perugia, Hogeschool Gent Conservatorium, Northwestern University,
and the University of Oklahoma.
Honour’s new solo recording, Phantasm, will be released by Ravello
Records on July 26, 2011. The album features eleven extraordinary works
for saxophone and computer by such world-renowned composers as
Karlheinz Essl, Luigi Ceccarelli, Lou Bunk, and others.
Samuel Wells is a composer and
performer based in Kansas City, MO. A musician with wide and varied
interests, he is always seeking new and exciting opportunities for
expression. Hailing from Des Moines, Iowa, Sam has performed throughout
the United States, as well as in Canada and France. He has performed
electroacoustic works for trumpet and electronics as part of the Chosen
Vale Trumpet Seminar as well as the Electronic Music Midwest festival.
Sam is currently pursuing degrees in both performance and composition
at the University of Missouri-Kansas City, where he studies composition
with James Mobberley, Paul Rudy, Chen Yi and Zhou Long, and trumpet
with Keith Benjamin.
The Kansas City Electronic Music and Arts Alliance (KcEMA) was
founded in 2007 to encourage and develop understanding and appreciation
of electronic music and to create an expansive sense of community for
electronic musicians and other artists in the Kansas City Area. KcEMA
organizes concerts of electronic music and collaborative projects with
generative and performing artists. KcEMA provides a forum for
electronic musicians and artists in other media to collaborate,
exchange ideas, and grow as an interactive, supportive community.
for more information please visit
www.kcema.net
______________________________
Special Guest: Cheryl Melfi, Clarinet
SATURDAY, JANUARY 14, 2011
Doors open at 7:30pm, Concert begins at 8:00pm
Admission: $10, $5 Students
Urban Culture Project’s La Esquina
1000 West 25th Street, KCMO
Dr. Cheryl Melfi has served as principal clarinetist has served as
principal clarinetist in the Thailand Philharmonic Orchestra, the
Catalina Chamber Orchestra, and the Michigan Pops Orchestra. She is a
past member of the Crosswinds Ensemble, the Arizona-based wind quintet
Fünf, and the contemporary music quartet THUD. She has also performed
with contemporary music groups including the Contemporary Directions
Ensemble, the Prime Directive, and the Nova Chamber Players, and has
collaborated with several composers on new works for the clarinet.
Recently she has premiered new works by Christopher Levin, Ryan
Jesperson, Peiying Yuan, and Daniel Eichenbaum, and new collaborations
are now underway. She is a frequent collaborator with the Kansas City
Electronic Music and Arts Alliance. In 2009 and 2010 she served as a
clinician at the University of Missouri-Kansas City Summer Composition
Workshop. Dr. Melfi has appeared as a guest artist and clinician at the
University of Central Oklahoma and the Music Arts Institute, and her
performance at the 2008 International Clarinet Association’s
ClarinetFest was called “excellent” and “exotic.”
From 2005–2007 Dr. Melfi was Instructor of Clarinet at Mahidol
University in Thailand. While living in Southeast Asia she served as
faculty artist for the Southeast Asian Youth Orchestra and Wind
Ensemble (SAYOWE), and presented recitals, clinics and workshops at the
Asian Symphonic Band Competition (ASBC), the Singapore Bandmasters’
Workshop, the Gitameit Music Center in Yangon, and other events
throughout the region. In 2007 she performed in Yangon with U Maung
Maung, the principal clarinetist of the Myanmar Radio and Television
Orchestra, in the first-ever collaboration between American and Burmese
clarinetists. Dr. Melfi holds the Doctor of Musical Arts degree from
the University of Arizona, the Master of Music degree from the
University of Michigan, and the Bachelor of Music degree from
Baldwin-Wallace College Conservatory of Music. Her clarinet teachers
include Jerry Kirkbride, E. Fred Ormand, and David Bell.
Currently Dr. Melfi is Assistant Director and Instructor of Clarinet at
the Community Music and Dance Academy. In that capacity she has
expanded the Academy’s clarinet studio, founded a faculty recital
series, and collaborated with outstanding artists and educators on the
creation of new and innovative arts programs.a
______________________________
Alternating Current (International Call for Scores)
FRIDAY, MARCH 9, 2012
Doors open at 7:30pm, Concert begins at 8:00pm
Admission: $10, $5 Students
Urban Culture Project’s La Esquina or City Square TBA
1000 West 25th Street, KCMO
______________________________
Season Finale
SATURDAY, April 21, 2012
Doors open at 7:30pm, Concert begins at 8:00pm
Admission: $10, $5 Students
Unity Temple on the Plaza
707 W. 47th St., KCMO
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“One
could say it [a KcEMA concert featuring Joao Pedro Oliveira] was
a healing of the wound between ‘fixed media’ and ‘live’ electroacoustic
performance. The unity of the aesthetic effect of the musicians who
performed live and the composers who engineered their fixed-media
playback was among the best I’ve ever heard.”
- Chamber Music
Today
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