#nycemf

[asiajaco]

◆NYCEMF 2024◆

Ayako’s piece “Seeds in Ishinomaki” will be performed at the New York City Electroacoustic Music Festival (NYCEMF - June 16-22, 2024). It is programmed for “Concert 5” on June 17 at Frank Shiner Theater. 2024年6月16日-22日にニューヨーク（アメリカ）で開催される NYCEMF 2024にて、電子音響音楽作品《Seeds in Ishinomaki》が上演されます。17日15:30〜コンサート5、会場はFrank Shiner Theater。

・NYCEMF 2024

[michaelgogins]

NYCEMF!

Today is the first of the seven days of the New York City Electroacoustic Music Festival, from June 19 through June 25. Registration, tickets, and the complete program can be found at https://nycemf.org/. I have a piece of computer music, "snow-voice", algorithmically composed and synthesized, in Concert 15 at 8:00 PM June 21, in the Loreto Theater of the Sheen Center for Thought and Culture, at 18 Bleecker Street, New York City. If you like electronic music, computer music, soundscapes, or any of the sometimes illustrious composers and performers to be heard, come!

[ffddcchh]

Just got this beautiful edition of #OpenSpaceMagazine! My response to Elsa Justel's piece at #NYCEMF 2017 is finally out! Thanks to Judy Klein, Russell Craig Richardson, and the superb editors of OS, and of course, Elsa, for her amazing #Marelle! (at Hudson Heights, Manhattan)

[epafassianos]

Thanks ICMC♥ / NYCEMF♥ 2019! (MT 2853: JFK - MAN)

[k-araki]

NYCEMF2017にて作品が上演されます。

NYCEMF（New York City Electroacoustic Music Festival, ニューヨーク市電子音響音楽祭）2017にて私の新作が上演される予定���す。

My piece will be performed in NYCEMF2017 at New York, USA.

上演は7月14日に開催されるConcert23にて予定されています。会場はNYのNational Sawdust, Theaterです。

当日、渡米するかはまだ決めておりません。燃油サーチャージが復活して航空券が軒並み値上がりしていて辛いです。

コンサートのプログラムはこちら。

[patrickhartono]

@Regrann from @studi0rama - Patrick Hartono is another artist who will perform at Mindzapp 5 on February 7, 2017 at Mondo by the Rooftop, 4th Floor Rossi Musik Fatmawati, Jakarta. . This Makassar-born electroacoustic composer and intermedia artist has an interest in using technology and scientific approach as creativity tools. He is also interested in 3D sound spatialisation, analog/digital synthesis, psychoacoustic, and visual music. Most of his works use such diverse sounds which include Indonesian traditional music instrument, computer generated sound/images, field recordings, underwater photography; transformed, rearranged, modulated by mathematical rules, real time interaction, and controlled random operations. . Patrick has performed in various festivals, conferences, and venues such as YCMF (Yogyakarta, Indonesia), WOCMAT (Taiwan), Sound Bridge Festival (Kuala Lumpur, Malaysia), ZKM (Karlsruhe, Germany), IRCAM (Paris France), NYCEMF (New York, USA), ACL (Yokohama, Japan), Sonorities Festival (Belfast, Northern Ireland), etc. Recently, he opened Senyawa's first ever concert in Indonesia. . #studiorama #mindzapp #mindzapp5 #mondobytherooftop #patrickhartono - #regrann (at Jakarta, Indonesia)

[ammonswinbank]

Summer in Review

Hello everyone!  It is late summer, things are really getting hot and humid (in New York City at least), and it’s time to catch up on what has been happening during the sunny months.  On June 13th I had the wonderful experience of performing at the New York City Electroacoustic Music Festival, directed by Hubert Howe.  Thank you for thinking of me Hubert!  I played Anamnese for flute and…

[asiajaco]

◆NYCEMF 2023◆

Ayako’s piece “Black Glittering Entities in Shibuya - fixed ver.” will be performed at the New York City Electroacoustic Music Festival (NYCEMF - June 19-25, 2023). It is programmed for "Concert 8" on June 21 at Frank Shiner Theater. 2023年6月19日-25日にニューヨーク（アメリカ）で開催される NYCEMF 2023にて、電子音響音楽作品《Black Glittering Entities in Shibuya - fixed ver.》が上演されます。21日15:30〜コンサート8、会場はFrank Shiner Theater。

・NYCEMF 2023

[michaelgogins]

Reflections on ICMC/NYCEMF 2019

Looking back at the combined International Computer Music Conference/New York City Electroacoustic Music Festival held July 16th through the 23rd on and near the campus of New York University, I here offer my reflections as one of the organizers, as a composer with a piece in the conference, and as an audience member for many of the concerts. 

I was also a referee for music, but that does not enter into my remarks.

First, I will briefly mention pieces I liked well enough that I would probably go out of my way to hear them again. Please note, I did not attend all the concerts, I do not mention pieces for which I was a referee but that I did not hear in concert, and I have my own biases and predilections in the field of electroacoustic music. I am mainly but by no means only interested in algorithmic composition and in through-composed music for fixed media, what we used to call "tape music." 

Where possible, I provide hyperlinks to online renderings of the pieces.

Concert 3, Monday June 16, 16:30, Hebrew Union College sanctuary

Ewan Stefani, black drums rolled, fixed media. Complex and accomplished collage of sampled/processed sounds.

Concert 7, Tuesday June 18, 16:30, Hebrew Union College sanctuary

Angelo Bello, Ricercar, fixed media. Builds on years of experiment based on the algorithmic synthesis/composition methods of Iannis Xenakis. I have heard a number of Bello's pieces and this one was by far my favorite, especially as there was a change of texture towards the end of the piece where melodic whistles and glissandos introduced a different mood.

Concert 12, Wednesday June 19, 20:00, Loreto Theater

Naotoshi Osaka, Kakekagami, with Kourtney Newton on cello. A lot of interesting goodies in the sounds.

Natasha Barrett, Dusk's Gait, fixed media. My interest in this spatialized, hyper-realistic pseudo-collage of "natural" sounds never flagged.

Concert 16, Thursday June 20, 20:00, Loreto Theater

Mara Helmuth, Sound Dunes, with Esther Lamneck on tarogato. Harpies skirling wild and free.

Orlando Garcia, separacion, with Enzo Filippetti on soprano saxophone. Very nice drone that kept me listening through over 12 minutes.

Manuela R. Blackburn, Snap Happy, fixed media. Glitchy, bass ostinato, musical.

Zurine F. Gerenabarrena, Barne, with Patti Cudd on percussion. Frankly this was mostly just Cudd playing with the electronics providing some sonic decorations and fillips. But what playing! Virtuosity on Cudd's level is totally engaging.

Concert 22, Saturday June 22, 20:00, Grand Hall of the Kimmel Center.

Russell Pinkston, Zylamander, with Mark Zyla on French horn. Jazz harmony, rhythmic, an engaging mix of electronic and acoustic sounds and processes.

Concert 24, Sunday June 23, 16:30, Grand Hall, Kimmel Center

Dafna Naphtali and Jen Baker, Clip Mouth Unit, with Jen Baker on trombone and Hans Tammen on blippo box, processed vocals by Dafna Napthali. Slushy sludge, slipping and sliding with lots of processing, musical. Note: the hyperlink is to a different performance from this group.

Concert 25, Sunday June 23, 20:00, Loreto Theater

Mario Davidovsky, Synchronisms No. 11, with Ross Wrightman on double bass. Just good.

Kang Shinae, Aruna, fixed media. The sounds were a bit muddied, perhaps from over-processing, but very musical and with spiritual content.

Timothy Sapp, There Is a Piece Missing, interactive electronics. Wonderful and inventive. The multiple controllers actually contributed to and drove the music.

Rainer Burck, Lamento industriale, fixed media. Really enormous sounds, like a foundry in Heaven (or Hell), musically coherent.

It has been a continuing topic of discussion among the organizers of the NYCEMF how best to present this music. Currently the festival is funded almost exclusively from registration fees. In order to generate enough revenue to pay for theaters etc., a large number of composers must be registered. This has several effects: the audience consists mostly of the composers and some of the performers (and associated friends and family), many pieces are scheduled, and the overall quality of the pieces is, I think, somewhat watered down compared to a festival where a smaller number of pieces would be selected with an eye towards attracting a wider audience.

If the concerts consisted exclusively of pieces on the level of those above, there should be no trouble attracting a wider audience, not to mention more critics and music journalists. But then the difficulty of finding, renting, and running theaters becomes greater.

If someone out there wants to generously assist the future of music in New York City, please grant sufficient funds to the New York City Electroacoustic Music Society to rent, on an annual basis, a suitable venue for the festival. I will spell it out. The venue should have two or more theaters, each seating at least 200, both suitable for the diffusion of electroacoustic music which means a dry sound without a lot of echo and preferably a square shape, acoustically isolated from street noise. The festival has been borrowing really good speakers from Genelec, as normally music theaters do not have speakers adequate for the demands of electroacoustic music, but an exception would be delightful. And there should be a room or so for installations and just generally hanging out and talking. Ideally, this venue will be located where the life in the city is, which means lower Manhattan, Williamsburg, East New York, or such.

[davidibbett]

Branches performed at NYCEMF

I was thrilled to join Transient Canvas as they performed Branches at the New York City Electronic Music Festival this year! Fantastic venue - the Abrons Playhouse - with superb 8-channel donated by Genelec.

[epafassianos]

ICMC / NYCEMF 2019 PERFORMANCE - NEW YORK

[elistine]

New York City Electroacoustic Music Festival

This week I’m staying in New York City for the New York City Electroacoustic Music Festival (NYCEMF). My piece Ring | Axle | Gear was broken into three parts (as I suggested) and programmed on 3 concerts (Tuesday afternoon, Friday afternoon, and Sunday evening). The quality of pieces in yesterday’s concerts was quite good, so hope that that trend continues. Also hoping to catch concerts and events outside of the NYCEMF while I’m here.

[soundreviewsbyana]

Concert Review #1

New York Electroacoustic Music Festival (http://www.nycemf.org), Friday, April 5th.

Concert Sixteen:

Of which your soul was constituted - Se-Lien Chuang (https://soundcloud.com/chuang/sets/of-which-your-soul-was)

Live sound processing used with Cello to create a piece that gives the instrument a new life or sound.  

Bay - David Z. Durant

An avant-garde electronic sound montage using the 360 degree speaker set up to convey movement with panning.

Williams Mix - Tom Erbe (John Cage)

Over 300 pre-recorded sounds organized using Cage's score to Williams Mix. Most of the sounds came from field recordings created recently, transforming Cage's piece. 

Pleine lune - Stephanie Moore

5-string double bass with electronics, using some live sound processing as well as a juxtaposition of electronic music. The bass is played in non-traditional ways, to create specific sounds for the piece.  

10 Roentgens - Thomas Dempster (http://vimeo.com/22909521)

A multimedia video and sound montage piece using short clips of war, bombs, news casters, political symbols, and people in gas masks. The music that accompanies the images is made up of processing certain phrases with a disturbing collection of electronic sounds.  

Volmet North - Ben Ramsay (https://soundcloud.com/benramsay/volmet-north)

An electronic piece of processed conversations in a slowly moving ambient setting. 

[asiajaco]

◆ICMC-NYCEMF 2019◆

Ayako’s piece “Kishimu, Irodoru” has been selected for the International Computer Music Conference - New York City Electroacoustic Music Festival (ICMC-NYCEMF) in NY, US on June 16-23, 2019. 2019年6月16日-23日にニューヨーク（アメリカ）で開催される ICMC-NYCEMF にて、電子音響音楽作品《軋む、彩る》が上演されます。

・ICMC-NYCEMF 2019

[michaelgogins]

New York City Festival of Electroacoustic Music

I have two pieces upcoming in this festival, Parachronic (algorithmically composed fixed medium) at 8 PM Tuesday July 17, and Swum (interactive visual music) at 4 PM Thursday July 19.