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Composition

Seán Ó Dálaigh

Seán Ó Dálaigh is a composer and sound artist from Kerry, Ireland. His music is primarily concerned with space, silence, and the physicality of sound production. His practice includes writing for ensembles and musicians; electronic music; composing for, collaborating with, and performing in contemporary theatre and dance works; and sonic installations incorporating sculptural elements. He is represented by the Contemporary Music Centre, Ireland (CMC). He is currently a DMA student in composition at Stanford University and CCRMA.

Clara Allison

Clara Allison is a sound artist interested in intimacy and distance. She uses sound, light, and vibration to build immersive spaces / moments that emphasize connection. In her perpetually morphing practice, she returns continually to themes of ecology, queerness, and the space-body relationship, realizing interactive installations and spatialized compositions.

Engin Daglik

Engin Daglik is a composer, sound artist and performer who essentially explores the potential of space by combining different fields of art in his works. He is mostly interested in producing works that aim to re-create and re-shape the perception of space in order to make viewers and listeners re-imagine the site transformed by the work. He enjoys designing and producing works for concert, gallery and public spaces by implying different immersive audio techniques, using concrete materials to create explicit structures.

Douglas McCausland

Douglas McCausland is a composer / performer who is fascinated with new sonic territories and processes for creating music, and whose work engages with the extremes of sound and the digital medium. In particular, his current compositions / research explore the intersections of real-time performance of electronic music using handmade interfaces, higher-order ambisonics, interactive systems and performer agency, musical applications of machine learning, experimental sound design, and DIY electronics / hardware-hacking.

Julie Zhu

Julie Zhu is a composer and carillonneur. She employs a variety of media, from mural painting and sculpture to performance and video, and collaborates with artists from different fields to create experimental chamber experiences. She has activated living rooms, concert halls, art galleries, bell towers, caves, copses, and once made a tiny house for just one harpsichordist’s body and the keyboard. Her scores range from hair cast in clear resin to temporary tattoos to traditional orchestration. Zhu’s music has been performed by Marco Fusi, Longleash, PROMPTUS, TAK ensemble, among others.

Utku Asuroglu

Utku Asuroglu’s works have been performed at such acclaimed festivals as Darmstädter Ferienkurse, Donaueschinger Musiktage Next Generation, Schleswig Holstein, Manifeste Ircam, Gaudeamus Muziekweek, MATA Festival, Royaumont, ISCM World Music Days, International Tongyeong Music Festival, Essen Europen Capital Culture and the Red Ear festival. Ensembles who have performed his works include the Intercontemporain, Talea, LINEA, Asko|Schönberg, Interface, Insomnia, IEMA, Slagwerk Den Haag, Divertimento, Faust Quartett, Signum Quartett,

Davor Branimir Vincze

Davor Branimir Vincze is a versatile, intenationally active composer, winner of several awards and stipends in composition. His music posesses the fascinating mixture of natural and social phenomena, mathematical curves, algorithms and electronics. Error and misinterpretation as a source of original material is one of his current musical preoccupations.

Julie Herndon

Julie Herndon is a composer and pianist working with internal/external space through improvisation, text, graphics, and electronics. Her work explores embodiment in relation to music-making, performance, and tools like musical instruments and personal technology. For more information, please visit www.julieherndonmusic.com

Chris Lortie

Chris Lortie (b.1993) is a composer and computer musician. His compositions regularly involve the use of live electronics as a means of augmenting and disrupting both sonic and visual cues; as such, Chris’s music often explores the subjects of fakery, deception, and hyperrealism in the electroacoustic domain. His pieces are informed by his interests in spatial audio, performance art, theatre, intermedia, gestural interactivity, and improvisation.

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