Jacob Elkin is a trombonist, composer and arranger based in Brooklyn, New York. His electronic music has been featured in the Lüneburg New Electronic Music Festival '15-'16 and FIGMENT NYC ’17. In September his atmospheric work Dreamscape was broadcast on The Cutty Strange radio segment on WGXC. Recent performances of his work also include Kyiv Contemporary Music Days Electroacoustic Festival in Kyiv, Ukraine and SHE LIVES Chamber Composition Workshop in Budapest, Hungary. As a freelance trombonist, Mr. Elkin is an advocate for new music in both chamber and solo settings. In 2017, he performed microtonal and electronic works for the New York Composers Circle concert and outreach program as well as Make Music New York. He also participated as soloist in the Tennessee Tech Electrobrass Music Festival performing Josh Oxford’s A Small Donation for trombone and looping pedal. Mr. Elkin has premiered works with Mimesis Ensemble, Mise-en Scene, David Taylor and the New York Trombone Consort and many others.

Paola's music has been premiered or performed by Gail Archer, The Het Trio, the Enso String Quartet, Speculuum Musicae, the New York New Music Ensemble, the Bellas Artes Chamber Orchestra, the Florida State University Orchestra, the Shepherd School of Music Orchestra, the OFUNAM Philharmonic Orchestra, the Woodlands Symphony and Mexico’s National Symphony Orchestra, among others.

Ana Paola studied her doctorate with John Rea at the Schulich School of Music, McGill University. Simultaneously, she also experimented with electronic mediums at the McGill Digital Composition Studios (DCS), studying with Philippe Leroux. She was composer in residence for the McGill Contemporary Music Ensemble under the direction of conductor Guillaume Bourgogne.

She received her Master of Music degree with honors from Rice University, studying composition with Dr. Arthur Gottschalk. Ana Paola holds the LTCL Licentiate in music composition, with distinction, from TRINITY COLLEGE LONDON, having studied composition and piano with Vincent Carver.

Ana Paola has been the recipient of several awards and fellowships including the FULBRIGHT Scholarship; the Programa de Becas para Estudios en el Extranjero scholarship (FONCA-CONACYT); the UNESCO-Aschberg Bursaries for Artists Programme; resident composer at the Virginia Center for the Creative Arts, among others.  Her piece NEMESIS, for orchestra, was selected to represent Mexico at the UNESCO 57th International Rostrum of Composers in Lisbon, Portugal (2010).  In 2016, she was part of the MANIFESTE festival at the Institut de Recherche et Coordination Acoustique/Musique (IRCAM), in Paris, France.

Her piece “Fractum” for flute, Bass Clarinet & Piano is published by ALEA PUBLISHING & RECORDING. For more information about her music and and concerts please visit: www.anapaolasa.com

Tom Blatt is a sculptor, bassist, composer, open water swimmer and lives in Brooklyn NY.

Composers

produced in association with the

Asian Women Composers Association (AWCANYC)

Sunday, January 21, 2018 at 2:30 pm

featuring short (1 - 4 minute) compositions

inspired by the 7 banned words

for Flute, Violin, Bass Trombone, Actor & Dancer

Olli Studio Gallery

336 West 37 Street

New York City

$10 suggested donation at door

(or pay what you can)

Compositions by:

Ana Paola Santillán Alcocer

Scīre

for Electronics

On December 2017, The Washington Post reported that Trump’s administration

instructed the U.S. Centers for Disease Control and Prevention (CDC) to avoid certain words in its 2019 budget request. CDC officials then seemingly marked these seven words: diversity, entitlement, evidence-based, fetus, science-based, transgender, and vulnerable.

The report unsurprisingly triggered chaos… 

Scīre, for electronics, originates from the use and development solely of the word

Science-based.

This was taken from footage where a news anchor delivered the news on TV.

The word was extracted from this footage and then used and manipulated to create

the entire piece. No other sound is used but just these 2 words. This way, the banning of

these 2 words became the perfect excuse to be used and hence create the opposite effect.

Scīre is the Latin word meaning To understand or To know.

The root of this word usually appears as Sci- and its most acknowledged representative

is the word Science. Scīre might initially meant "to separate one thing from another,

to distinguish," connected to scindere: to cut, divide. The piece cuts and divides the word Science-based to clearly distinguish each section of the piece.

Ana Paola Santillán Alcocer

Notus

for Solo Flute

In Greek mythology, Notus is the South wind and god of the summer rainstorms.

Are the ever-increasing storms due to the effects of human decsion?

Or are we vulnerble to the gods?

Rodrigo S. Batalha

Vulnerability ex post fetus

for Flute, Violin, and Bass Trombone

The title is inspired by the Latin phrase ex postfacto, that means

‘in the light of subsequent events’. “Vulnerability ex post fetus” claims for

a universal women’s right. I tried to bring to this composition elements

such as decision, safety, legality, and support.

To be or not to be vulnerable because of something done afterward?

tom blatt

Diversity Trio

for Flute, Violin, and Bass Trombone

Diversity: I choose to try and use musical diversity for this 3 minute piece.

I started with a D and E suggested by the spelling of the word

and the piece evolved from there.

John Cage

There will never be silence.

for Narrator

Silence? No chance. Even when you try.

Eddie Emma DeGrand

Untitled

(that's really the title)

for Actor & Singing Bowl

Presented without a single banned word!

Jacob Elkin

Fetus

for Flute, Violin, and Bass Trombone

Fetus was composed using weighted probability algorithms.

As a species, we must continually reassess our relationship with technology.

I, for one, welcome our new robot overlords.

Angelica Faria

Diversity: Diversidade I

for Flute, Violin, and Bass Trombone

Bianca Rezende

Video

How not to use this word?  I do not think it's possible to stop using it.

Diversity is, at least interesting, for the arts,  for health, and many other

aspects of any society. Diversity: Diversidade I - work of video and music is a

cut of a life in Rio de Janeiro, Brazil that demonstrates a plural, diverse existence.

Héctor Oltra García

Frágil

for Flute, Violin, and Bass Trombone

Exposed to... traumas, losses, cases of disaster or catastrophe, damage,

suffering, injury, death, danger, insecurity, defencelessness....

Facing the challenge of life we can all be fragile, we are all VULNERABLE!

To ban words restricts our life, because (in the words of philosopher Ludwig Wittgenstein), "The limits of our language mean the limits of our world."

Jesse Glass

Roach at the Cusp of Hearing

Music by Ann Warren

for Flute, Violin, Bass Trombone, and Actor

Evidence-based: back when I lived in Milwaukee, River-West area,

I lived on the upper floor of a once-genteel house gone to seed.  Of course we had roaches passing through at all hours—dribblings of them—bringing good tidings from the seething mass of them writhing between the walls. Well I caught one under an antique soda glass

and decided to test the myth of the indestructability of the roach. I slipped a card under

the glass and took the experiment to the cellar where I placed it on a high shelf in the dirt floor part of the cellar back behind an old can or two. The roach was so scrappy it was making little sounds against the glass as it tried to crawl up the sides. I took the cellar stairs back up, turned off the light, and forgot about the experiment. About six months later

I realized that I hadn’t checked on my roach. I found it right where I left it, the glass untouched but a little grimey, and I tapped my fingernail against the side expecting to

see the much diminished roach not respond—but it did! It moved!  The long antennae quivered and it moved like a broken-down dune buggy. I noticed the date and

walked back upstairs. Exactly one year to the day that I first put the experiment in the cellar—well, just about—I returned to see the roach under glass. I was certain this

time it would be dead and it looked as dead as a dead roach could be—paper thin—curled up legs, attenae bent all to hell. I ticked against the side of the glass. It didn’t move.

Tried again—and there it was—quivering across the card floor, moving or should I say willing itself to move. I really couldn’t believe it: here was a roach that had gone

one whole year without food, without moisture! I stood for a few seconds in awe of this insect’s triumph—and then I picked up the glass and squashed the roach with it.

Timothy Goplerud

Fetal Attraction

for Flute and Violin

Fetal Attraction, for flute and violin duo, is my first serial piece.

It uses uses a “soggetto cavato” (Italian for “carved subject”) based on the letters

in the word “fetus”. “F” and “E” made for an easy start, but I had to stretch a little

more for the last three letters. “T” sounds like “Ti” (the seventh note of the major scale, like they sing in “Doh, A Deer” from “The Sound of Music”). So that became the note “B”. “U” could stand for “Ut”, which was the note “C” in ye olden days. And “S” sounds like “Es”, which is the way Germans refer to the note E-flat. And so a five-note tone row is born: F-E-B-C-Eb. I hope you enjoy the results.

Stephanie Greig

Cat-Ice

for Flute, Violin, and Bass Trombone

Evidence-based inspired: A frozen surface where water beneath it has receded,

leaving a fragile ice shelf suspended in air, so named because it is (often)

strong enough to bear the weight of a cat.

I imagine the cat walking with tentative steps, testing the ice as it goes.

Jin Hee Han

Beyond the Wall

for Flute, Violin, and Bass Trombone

Beyond the Wall is inspired by a the word diversity and progressive art work in a

huge white room, in Louis Vuitton Foundation Museum in Paris, France.

Even though this black and white art is only consist with writing people's name,

visit date on their height spot in anywhere on the white wall,

I could see how it greatly works as an art piece, and it is fascinating me in several ways.

This inspiration bears the shape of the piece with linear and timbre textures.

Jin Hee Han

Yaygara

for Solo Violin

Yaygara (clamor) for violin solo is based on my experience of the coup

in Turkey, July,15th, 2016. The musical idea is adopted from two different

Turkish tetra chords, scales and rhythms, which are woven as a timbre,

certain gesture, and melody. Also, it contains inspiration from the vulnerable

refugees and the trauma I felt, saw, and heard during that night.

Marie Incontrera

Blues for Christa

for Violin, and Bass Trombone

This piece is an homage to the life and soul of Christa Leigh Steele-Knudslien,

Miss Trans America founder, who was the first transgender person

to be tragically murdered in 2018.

Simon Le Boggit

Sweet Diversity

for Flute and Violin

Sweet Diversity is an algorithmically generated composition in which

a flute and a violin spend half of the time harmonically entangled,

and the rest of the time doing their own things. Despite being generated entirely

from constrained chaos, the resulting music (to my ears) seems to have the feel

of a gently playful musical conversation. It’s a scenario where diversity turns out to be

interesting and nourishing in its own right, rather than being something to fear.

Peri Mauer

Diversimento

for Flute, Violin, and Bass Trombone

Diversimento, for flute, violin, and bass trombone, is an expression of

the spice of life through the generative propellant of diversity.

Johari Mayfield

The  WomanYou Call

for Actor/Dancer and Fixed Media

A mix of burlesque, contemporary dance, text, music and social commentary,

"A woman you call" unpacks the container of “woman” through a satirical lens.

Where does she belong? Is she good or evil? What species of woman is she?

The urge to explain and define a woman, especially a black woman, through science, religion, culture, power dynamics, and sexuality is cracked open in this short hybrid work.

Robert Morton

Repetition Chain

Video

When we cannot speak without being censored, we morph into

the production of an ordinary chain and the heavy metal machinary .

The video is then explored with live manipulation of the light, saturation, and contrast.

Cullyn Murphy

Five steps of ________-_____ medicine.

for Flute, Violin, and Bass Trombone

Along with six other words, “evidence-based” was banned by the Trump administration

for the 2018 CDC report. In the 2017 report, the term “evidence-based” was used 119 times. Five steps of ________-_____ medicine uses a slightly altered Bach reharmonization of Erhalt mein Herz im Glauben rein (If my heart remains pure in faith) and takes it backwards through the Evidence-Based Medicine Model as an example of the censorship and stripping of information we are approaching if bans such as these continue to be implemented.

Josh Oxford

Unborn Entitled Trangendered Fetus

for Flute, Violin, and Bass Trombone

As the subject matter is a bit disturbing on many levels, I wrote in a similar manner.

The piece uses the altered dominant scale as the basis of the pitch material.

It completes the aggregate (a sharp fourth/flat fifth scale degree) on the final note,

similar to how birth is the end of the fetus.

Ben Spatz

Word Events: Unspeakable

for 3 players

“Word Events: Unspeakable” is a miniaturized version of the research method

Dynamic Configurations with Transversal Video (DCTV) that has been rendered

as a score according to the conventions of contemporary musical performance.

Thanks to Mira Benjamin for help with this process. The title is a reference to Word Events: Perspectives on Verbal Notation by John Lely and James Saunders (Bloomsbury 2012). DCTV was developed during the project ‘Judaica: An Embodied Laboratory for Songwork’ (UK Arts and Humanities Research Council 2016-2018) at the Centre for Psychophysical Performance Research, University of Huddersfield. The core team was Ben Spatz, Nazlıhan Eda Erçin, and Agnieszka Mendel. For more information on the Judaica project

and related works, please visit www.urbanresearchtheater.com

Anna Terzaroli

Dark Path #2

(for Electronics)

Dark Path #2 is an acousmatic piece of electroacoustic music.

Evidence-Based: The sounds used in the piece, processed, then "composed" together

to create the musical work, were recorded in a soundscape dear to the author, located

in the Italian region of Marche. Dark Path #2 can be defined as a journey

through light, shadow, shape, color, drifts and landings.

Ann Warren

Uncle Seabird Again

for Solo Bass Trombone

Evidence shows that when you build the grandest, the biggest,

the most magnificent things in the world, it doesn't make it right.

Maybe it's just crazy?

Aleksandra Miglowiec - Flute, Piccolo

Rose Xiu Yi Kow - Violin

Jasper Davis - Bass Trombone

Johari Mayfield - Actor/Dancer

Allan Markowitz - Narrator

Bob is a is a videographer and photographer.  A California native, he recently moved to New York after teaching elementary school for 33 years. A true Canon fan, Bob is usually seen carrying a camera  and shoots photos at lightning speed.

Bob coordinates the technical aspects of live performance projections, and works to provide contextual settings for all Concrete Timbre performances.  His photographs have been published in several books, publications, and internet sites.  Bob graduated from the University of California at Santa Barbara, and has an M.A. from University of San Francisco.

Bob plays blues guitar and is a fan of Jimmy Thackery and Richard Thompson.

For more information, see www.RobertMorton.net.

Perfomers

AWCANYC is a composers' cooperative founded by Jin Hee Han.

Composers represent diverse ethnic, religious and socio-economic backgrounds.

It thrives through the active participation of its members working

on individual projects to empower composers to create change

in their communities through music, allowing them to share their stories.

awcanyc.com

AWCANYC

LIFE THROUGH MUSIC

With "a tone to die for" (The Straits Times), violinist Rose Xiu Yi Kow is equally at home as soloist and chamber musician. Her playing has taken her to festivals all across Europe and the US, such as the Immanuel and Helen Olshan Texas Music Festival, Berlin Young Euro-Classics, and Florence International Music Festival. She holds Associate and Licentiate diplomas in violin performance from Trinity College London, and is currently finishing up the last semester of her Bachelor's degree in classical violin at the Manhattan School of Music, under the tutelage of Lucie Robert and Curtis Macomber.

Hailing from Houston, Texas, trombonist Jasper Davis is a freelance performer in New York City with a wide array of genres and styles at his disposal. From late-night salsa with La Pacha Mambo in Brooklyn dives, to symphony orchestras such as the New York International Symphony Orchestra at Carnegie Hall, Jasper is constantly seeking new and exciting opportunities to expand his musical palette. One such opportunity is his position with the Asian Cultural Symphony, a New York orchestra celebrating the performance of traditional Chinese music. As a member of the bass trombone/violin duo and production team Contrafunktus, Jasper has premiered new works by New York's own local composers, and has also worked in conjunction with Dave Taylor to win The Lillian Fuchs Chamber Music Competition. Positions of note include a spot on the San Antonio Symphony and Symphony in C sub lists, the Tanglewood BUTI Symphony Orchestra, the City of Houston's MUSIQA Brass Septet, and the Texas Music Festival Symphony Orchestra. Jasper received his undergraduate degree in Instrumental Performance from the University of Houston, and is currently a second year Master's student in Orchestral Performance at the Manhattan School of Music. His primary teachers are Steve Norrell, Ilan Morgenstern, and Phillip Freeman.

Johari Mayfield is an accomplished dancer, choreographer, movement specialist, and ACE certified personal trainer living in New York City. She began her dance training at the age of ten, eventually studying under the tutelage of acclaimed ballet dancer Sylvester Campbell, and upon graduation received a full scholarship to the prestigious Ailey School.  As a choreographer, her work has been presented at several different venues including HERE Arts Center, The Gatehouse at Aaron Davis Hall, 45 Bleecker Theater, and Dance Theatre Workshop (now New York Live Arts).  In addition to dance and choreography, Johari has authored two comic books: Wildcard, written with visual artist Teylor Smirl, and Wildlife. Wildcard was publicly presented in January 2011 as part of the Schomberg Center for Research in Black Culture’s conference “The State of African American and African Diaspora Studies:  Methodology, Pedagogy, and Research.” She has also conducted research on the therapeutic potential of creative movement training in treating victims of sex trafficking.  Most recently, she self published Ayana and Jamal Dance Presents, a coloring book that addresses the need for children to remember the importance of movement and healthy food choices. Johari’s community outreach initiatives have included children’s workshops dedicated to promoting healthy eating and exercise and work with Girls Education and Mentoring Service (GEMS), an organization committed to empowering survivors of sexual exploitation and Reveal NYC, a nonprofit organization that encourages female survivors of domestic violence in self-care and life-management by providing tools to accomplish health and independence.

A Connecticut denizen, Aleksandra has performed in Poland, Turkey, Germany, Croatia, and (of course) the United States. Currently she holds a flute/piccolo position in the Connecticut Valley Symphony Orchestra, is a member of the Connecticut Flute Orchestra, and plays with a variety of chamber groups. She has performed with the Manchester Symphony Orchestra, Farmington Symphony Orchestra, and Wallingford Symphony Orchestra. Outside of the classical music realm, she had also been a member of the Birch Creek folk band. Aleksandra holds a Master's degree in Flute Performance and Pedagogy from the Grażyna and Kiejstut Bacewicz Academy of Music in Łódź, Poland where she studied under Prof. Antoni Wierzbiński. 

Dr. Héctor Oltra García (Alboraya, Valencia - SPAIN). Composer, conductor, and musical researcher. He holds a High Degree in Music in the specialties of Composition and Orchestra Conducting (Conservatorio Superior de Música of Valencia, Spain), a Master's Degree in Contemporary Music, and a Doctorate "Cum Laude" in Music (Universitat Politècnica de València, Spain).

As composer he has received numerous commissions and his works have been premiered and featured in diverse international contemporary music festivals, in Spain, USA, Romania, Italy, Greece, Poland and Serbia. He has received composition prizes and recognitions such as "Oïda II - ENSEMS", "Huihuihui Música I - SGAE/Art's XXI", "Paco Llácer XI - FECOCOVA" (Valencia, Spain), "Risuonanze 2015 - TKE" (Udine, Italy), "FMOF Calls - Vox Novus" (NY, USA), "25th International Review" (Belgrade, Serbia), "Interensemble 2017" (Padua, Italy), "Phasma Music Recording" (Warsaw, Poland),.... His music is principally inspired by art, science, literature, philosophy or committed to today's society, featuring a personal, abstract and non-traditional language, giving a primary sonorous role to texture, timbre, colour, gesture, and its suggestive capacity.

As conductor he has directed the Symphony Orchestra and Ensemble of Soloists of the Mediterranean, the Symphony Orchestra of High Conservatory of Music of Valencia, the Symphonic Band and Chorus "Horta Nord District" of FSMCV, among others. Founder, artistic director and titular conductor of Ensemble Síntesis.

As researcher, Dr. Oltra focuses his studies, publications and conferences on contemporary music, with special attention to Valencian (Spain) music. www.hectoroltra.com

Angelica Faria graduated in Composition, Musical Education and Conducting from Federal University in Rio de Janeiro (UFRJ). She holds a Master’s Degree in Science of Arts. Faria worked as a music professor in several schools in Rio de Janeiro (RJ), including UFRJ. She is the Artistic Director of the Intercultural Art and Healing Project, USA.

She presented her works in festivals, including Contemporary Brazilian Music Biennials, International Meeting of Women Composers, Latin-American Composers’ Encounter, Fou de Bassoon, Brasilianische Botscoft and Add-a-Movie Film Festival.

Faria received awards from National Conquest of Composition and Villa Lobos Conquest of Composition. Also received Merit Diploma of Afro Brazilian Personality, RJ. Participated at Artward Bound Residency of  THE FIELD.

Discography:

CD “MORADOS DOS VENTOS” 

CD Series of Contemporary Brazilian Music Biennials released by Brazilian Foundation of Art included one CD for Angelica Faria.

Timothy Goplerud is a composer who enjoys mixing classical and popular musical elements. In a previous life, he was an orchestral and jazz bassist, but he’s focused on writing music these days. For samples of his work and more biographical details, visit www.goplerud.com.

Jesse Glass lives with his wife and family in Japan.  He holds advanced degrees from The Johns Hopkins University and The University of Wisconsin.

Glass has spent most of his life pursuing experimental forms of poetry, playwriting, prose, and art.  He is the author of The Passion of Phineas Gage and Silected Poems, 2006; Lost Poet: Four Plays, 2010; Gaha Noas Zorge, 2011; Two; Selections from The Life and Death of Peter Stubbe; Black Out In My Left Eye (Poetry and Prose-Poems); and Charm for Survivors: Selected Painted Books and Sequences.

He was included in George Quasha’s video project “Poetry Is” and is featured reading his own work on the Penn-Sound website.

Marie Incontrera is a composer, conductor, pianist, and bandleader whose multi-genre work spans opera, big band, heavy metal, post-modern orchestra, and chamber music. As a composer, Marie's work has been hailed as "deftly woven jazz and gospel elements" and "beguiling" (NY Times). Marie has been a recipient of the ASCAP Foundation’s Fred Ho Foundation Award, the Miriam Gideon Composition Award, a winner of the Remarkable Theater Brigade Art Song Competition, the 2011 Vocalessence/American Composers Forum “Essentially Choral” readings, and was a finalist in the Iron Composer 2010 competition. She has been awarded grants from Meet the Composer Metlife Creative Connections , Foundation for the Contemporary Arts, Puffin, Eric Stokes Fund, and New York Women Composers. Commissions have come from the Budapest Symphony Orchestra MAV, Young New Yorkers Chorus, ANALOGarts, Brooklyn Art Song Society, ANIKAI Dance Theater, MOIRAE Ensemble, Beth Morrison Productions, and Atlanta Opera. Her work has been performed in Carnegie Hall, Symphony Space, Brooklyn Academy of Music, the Meridian Arts Festival in Bucharest, Roulette, Galapagos Art Space, WOW Cafe Theatre, highSCORE Festival, and other respected venues across the United States and internationally. Her first string quartet, Limbic Breath, has been released on PARMA Records; her free-jazz blues work, SCAT, for Underground Brass' Xenophobia project is available for digital purchase. As a pianist, Marie is active in the transcultural and transoceanic duo, Aliens & Dragons, with Italian baritone saxophonist, Marco Colonna, and the cross-genre piano duo SHERO MACHINE. Marie is the conductor and bandleader of the Eco-Music Big Band, a multigenerational and unique cross-genre big band.

Johari Mayfield is an accomplished dancer, choreographer, movement specialist, and ACE certified personal trainer living in New York City. She began her dance training at the age of ten, eventually studying under the tutelage of acclaimed ballet dancer Sylvester Campbell, and upon graduation received a full scholarship to the prestigious Ailey School.  As a choreographer, her work has been presented at several different venues including HERE Arts Center, The Gatehouse at Aaron Davis Hall, 45 Bleecker Theater, and Dance Theatre Workshop (now New York Live Arts).  In addition to dance and choreography, Johari has authored two comic books: Wildcard, written with visual artist Teylor Smirl, and Wildlife. Wildcard was publicly presented in January 2011 as part of the Schomberg Center for Research in Black Culture’s conference “The State of African American and African Diaspora Studies:  Methodology, Pedagogy, and Research.” She has also conducted research on the therapeutic potential of creative movement training in treating victims of sex trafficking.  Most recently, she self published Ayana and Jamal Dance Presents, a coloring book that addresses the need for children to remember the importance of movement and healthy food choices. Johari’s community outreach initiatives have included children’s workshops dedicated to promoting healthy eating and exercise and work with Girls Education and Mentoring Service (GEMS), an organization committed to empowering survivors of sexual exploitation and Reveal NYC, a nonprofit organization that encourages female survivors of domestic violence in self-care and life-management by providing tools to accomplish health and independence.

Rodrigo S. Batalha

Rodrigo Batalha is a composer and music educator who teaches at Federal University of Rio de Janeiro (UFRJ), Brazil. His professional experiences include teaching, arranging and composing pieces of popular and classical music. Among his prizes are a recognition in Art Education, Culture and Citizenship from the Organization of Ibero-American States (OEI) and the Brazilian Government, because of his Bottle Orchestra project; and the Fulbright/CAPES fellowship Doctoral Dissertation Research Award, to become a visiting researcher at Princeton University. In 2017, he earned a PhD in Composition from UNIRIO –  Universidade do Rio de Janeiro.

Josh Oxford is a composer, arranger, and performer of myriad styles of music. Using his collection of vintage synthesizers, Josh is the leader of “The OXtet,” a jazz fusion ensemble for which Oxford composes all the music.  He has performed throughout the country, especially in his native central New York, on piano, percussion, and Moog synthesizer.  After suffering a debilitating car crash in 2010, Josh has devoted his energy to composing.  His music can be heard on Aaron Tindall’s award-winning recording This Is My House and on The OXtet’s debut CD. He was awarded The ASCAP Foundation Louis Armstrong Scholarship while studying at Queens College.

Ben Spatz is author of What a Body Can Do: Technique as Knowledge, Practice as Research (Routledge 2015); Arts & Humanities Research Council Leadership Fellow (2016-2018); and Senior Lecturer in Drama, Theatre and Performance at the University of Huddersfield. They convene the Embodied Research Working Group within the International Federation for Theatre Research and edit the new videographic Journal of Embodied Research from Open Library of Humanities. For more information and multimedia documents, visit www.urbanresearchtheater.com

We are not invisible. We are not powerless.

We make a difference.

Cullyn Murphy

Cullyn D. Murphy is a composer, conductor, vocalist, and educator from Champaign, Illinois. Murphy received his B.M.E. in Music Education-Choral and his B.M. in Theory/ Composition from Illinois State University where he was awarded the 2014 Joshua Award Scholarship for excellence in music composition. He also won first place in the 2015 Illinois State University Wind Ensemble Composition Contest.

Currently he is pursuing his M.M. at the University of Louisville where he has received the Bomhard Fellowship. Murphy has been invited to lecture at Illinois State University and Parkland Community College, and has had pieces commissioned and played by Illinois State University's Symphonic Wind Ensemble, numerous high schools in Illinois, Concrete Timbre series, and many other performers and ensembles. His private studies include Roy Magnuson, Carl Schimmel, Martha C. Horst, Krzysztof Wolek, and Steve Rouse.

Eddie works in social services and is based in Brooklyn. They are passionate about the intersections of theater, writing, and community building. Their past artistic work includes experimental dance, poetry, burlesque, and many combinations thereof. 

Simon Le Boggit is a multimedia artist living and working in Lincolnshire, UK. He is currently using randomly generated music and sonic art to investigate how humans tend to distil “meaning” from non-sentient chaos and repetition. Any emergent melody, harmony and syncopation in his algorithmically generated compositions are a product of chance and the human brain’s compulsion to identify patterns – the result sometimes creating a sense of “apparent intentionality” and waves of emotion.

Simon’s compositions have been performed live, and as surround-sound recordings, at art festivals in various parts of the world including London, Edinburgh, Athens, Barcelona, Stockholm, Seoul, Vancouver and New York.

Website: quantumsouporchestra.weebly.com

Anna Terzaroli holds a Bachelor's degree in Electronic Music from the Santa Cecilia Conservatory in Rome, where she is currently completing a Master's degree in Electronic Music. As a composer she is dedicated to contemporary acoustic and electroacoustic music.

Her musical works are selected and presented in many concerts and festivals in Italy and abroad (CIM - Rome, ICSC - St. Petersburg, SMC - Maynooth, di_stanze - Padua, ICMC - Denton, NYCEMF - New York and others). Since 2009 she collaborates at the EMUfest (Electroacoustic Music Festival of Santa Cecilia Conservatory).

She is a member of the AIMI (Italian Computer Music Association ) board.