Clarence Barlow has been appointed to the Corwin Chair of Composition, in succession to the two previous holders, Peter Racine Fricker and William Kraft.
Chair Lee Rothfarb comments, "From its inception, the Corwin Chair has been an important post for promoting the creation and performance of contemporary music, for making regional, national, and international connections with other composition programs, for bringing noted composers to UCSB as guests to broaden students' horizons, and for attracting students to UCSB. Clarence Barlow's career achievements fulfill the Corwin's vision of fostering a link between continuing excellence in traditional approaches to composition while also recognizing the emerging role of music in the media arts and technology."
Barlow's past and current teaching posts include twelve years as Professor of Composition and Computer Music at the renowned biennial International Music Institute at Darmstadt (1982-1994); over twenty years as Lecturer in Computer Music at the Cologne Musikhochschule (1994 to the present); four years as Artistic Director at the Institute of Sonology at The Hague's Royal Conservatory (1990-1994); and over ten years as Professor of Composition and Sonology at the Royal Conservatory (1994 to the present). Other posts include Visiting Professor of Composition and Acoustic Art at the Folkwang University in Essen, Germany (1990-1991), and most recently, Visiting Professor of Composition at the Conservatory of Music and Dramatic Arts in Portugal (2005-2006).
Barlow, who studied composition under Bernd Alois Zimmerman (1968-1970) and Karlheinz Stockhausen (1971-1973), is a universally acknowledged pioneer and celebrated composer in the field of electroacoustic and computer music. He made groundbreaking advancements in interdisciplinary composition that unite mathematics, computer science, visual arts, and literature. While he has been a driving force in interdisciplinary and technological advances, his music is nevertheless firmly grounded in tradition and thus incorporates much inherited from the past. His works, primarily for traditional instruments, feature a vocabulary that ranges from pretonal, nontonal, or microtonal idioms, and may incorporate elements derived from non-western cultures.
Between 1961 and 2004, Barlow has produced 60 works of various types: 3 orchestral (2 piano concertos, and a work for large orchestra); 16 chamber works for various groups of traditional instruments, including 2 string quartets; 2 choral pieces; 3 vocal works with instrumental accompaniment; 17 piano pieces; 2 organ works; and 15 electroacoustic works, a few of which fall into the category of radio plays and music theater. Between 1976 and 2005, 27 concerts in Germany and elsewhere have been devoted entirely to Barlow's music. Several works have been recorded.
In addition to his renown as a composer, Barlow has also attained high distinction as an interdisciplinary researcher, author, and software developer. His numerous publications include an extensive study on tonality, Bus Journey to Parametron. Additional publications are the software that Barlow has written as aids for composing and notating music. These include Autobusk, a modal and metric pitch and rhythm generator, the notation program, ?SC. He is currently collaborating with a German mathematician on algorithms for solving problems in music theory.
Devin Burke is an MA/PhD student in composition at the University of California-Santa Barbara and holds degrees in composition and anthropology from Lawrence University. He has studied composition with Clarence Barlow, Joel Feigin, and Kurt Rohde at UCSB; Phillippe Bodin at Lawrence University; and Jan Vicâr at Palácky University in Olomouc, Czech Republic. Ensembles who have performed his music include the SyZyGy, Fear No Music, the Jupiter Saxophone Quartet, and the SCMCS Chamber Players. In 2006, he was awarded the Corwin First Prize for Unfolding, a work for full orchestra.
Burke’s music often accentuates collaboration and the correspondences between visual and aural perception. His piece Movements, which brings together a saxophone quartet and Sign Language performer, was written in collaboration with members of the Deaf community. He has also written for dancers and film, and much of his music includes choreographic elements. The piece Free Variations, written for the 2007 Primavera Festival, highlights expressive timbral contrasts and explores the continuum between individual and collective creativity.
Burke is also a cellist,
and one of his proudest achievements as a performer is being a founding
member of the improvisation ensemble EPIC. Through this ensemble, he has
been able to collaborate closely with musicians, dancers, and visual artists.
EPIC has performed both at UCSB, including a two-hour installation performance
at the 2006 Primavera Festival, and in the community, including giving
assemblies at elementary schools in the Santa Barbara/Goleta area, an
opportunity provided by the Community Arts and Music Association (CAMA).
Daniel Burkhardt was born in 1977 in Bochum, Germany. He studied Philosophy and German Language and Literature in Berlin, as well as Media Art at the Academy of Media Arts in Cologne.
Since 1998 he has developed and realized numerous experimental videos, visual performances and video installations. He has participated in a wide range of international exhibitions, screenings, video programs and on air video art broadcasts. He was nominated for the award of the KunstFilmBiennale (art-house film biannual), Cologne, Germany in 2005 and received the 11th special video art award of the Sculpture Museum in Marl, Germany in 2006.
Lucho "Pelucho" Enriquez was born in Ecuador in 1978. He is a guitar player, instrumental & electronic composer, programmer, amateur astrologist and lawyer. He has studied composition with Jose Angel Perez, and algorithmic composition with Clarence Barlow. He studied sonology at the Royal Conservatory of The Hague, and is currently studying digital arts at the University Pompeu Fabra in Barcelona. He has played and participated in many experimental music festivals around Ecuador, Cuba, Portugal, Holland and England. At the moment is trying to understand the source & meaning of life and is using C++ and Unix for this purpose.
Alan Fabian, born 1973 in Cologne/Germany, studied composition and computer music together with Paul Berg, Clarence Barlow, Hans Ulrich Humpert, Dietmar Wiesner and Heinz Winbeck. He is mainly working in the field of algorithmic composition and real-time sound synthesis together with music instruments. He is member of the board of GIMIK - association for computer music in Cologne. At the moment he is working on his PhD thesis in musicology and media science.
Mendel Hardeman was born in 1977 in the Netherlands, and grew up in the South of Brazil. He returned to Holland in 1995 in order to study Theology, but ended up graduating in Composition at the Royal Conservatory Den Haag in 2003, having as side subjects Philosophy and Biopsychology at Leiden University. In the fall of 2004 he went to Czech Republic where he spent 6 months working as director’s assistant of the surrealist animator Jan Svankmajer in his newest film Sílení (Lunacy).
Much of his work is autobiographical, transforming processes and conflicts in his inner life into confronting works, making use of different disciplines in and outside Art. His work encompasses music-theater performances, music videos, live video performances, stop-motion animation, puppet plays with live music, and poetry, and has been performed in different places in the Netherlands, as well as in Poland, Germany, Greece, Austria, Iceland, Russia and Australia. In recent years his focus has moved more and more to video and film making. In May 2006 he finished his own first feature-length movie EXODUS, a dream of imprisonment and liberation. He is currently working on a screenplay for a new project under the working title "VIA CRUCIS – the father and the son".
Besides art he makes
a living as a translator and interpreter Portuguese/Dutch and Spanish/Dutch,
mostly for refugees, working in the treatment of asylum requests and in
psychiatric assistance for war traumas.
Joel Feigin (b. 1951) is a composer whose music has been heard across the U.S. and abroad, from France and Germany to Taiwan and Korea. His works have been widely praised for their "very strong impact, as logical in musical design as they are charged with emotion and drama." (Opera Magazine)
Feigin's many honors include a Senior Fulbright Fellowship at the Moscow State Conservatory in Russia (1998-1999) and a Guggenheim Fellowship to write his first opera, Mysteries of Eleusis, commissioned for Theatre Cornell and produced there in 1986. The complete opera was presented again in 1999 at the Moscow Conservatory, which requested a chamber version that it produced in 2000 as part of the Russian-American Festival of Operatic Art. Feigin's new opera, Twelfth Night, based on the play by William Shakespeare, was chosen by New York City Opera for its VOX 2003 series of readings: Showcasing American Composers. A chamber orchestra version of Twelfth Night, commissioned by Long Leaf Opera in North Carolina, was premiered by them in October 2005.
Feigin's chamber and orchestral music has been performed and commissioned by such groups as Parnassus, Currents Ensemble, Voices of Change, the Santa Barbara Youth Symphony, and by pianist Leonard Stein for Piano-Spheres. Speculum Musicae and the Auros Group for New Music have both presented Veranderungen for violin and piano as the winner of their 1998 composition competitions. Among other highlights of Feigin's career, a 2-CD set on North/South Recordings followed a full evening of his chamber and vocal works performed by Musicians Accord at Merkin Concert Hall in New York City. Concerts devoted solely to Feigin's music have also been given in Armenia and Russia.
Two of Feigin's orchestral works have been premiered in Russia: Festive Overture by the Nijnij Novgorod Symphony Orchestra under Vladimir Ziva, and Mosaic in Two Panels for String Orchestra by the Chamber Orchestra Kremlin under Mikhail Rachlevsky. In America, the Santa Barbara Symphony has performed Elegy for Orchestra, in Memoriam Otto Luening , under Gise`le Ben-Dor, and the American premiere of Festive Overture, under Edwin Outwater.
Joel Feigin studied composition with Nadia Boulanger at Fontainebleau and with Roger Sessions at The Juilliard School, where he received his DMA degree. The recipient of a post-graduate Mellon Fellowship at Cornell University, he also holds an undergraduate degree from Columbia University. Early in his career, as an Aaron Copland-ASCAP fellow at the Tanglewood Music Center, Feigin received the Dimitri Mitropoulos Prize in Composition. Over the years he has been granted residencies at the MacDowell Colony, Yaddo and the Millay Colony.
An accomplished pianist and accompanist, Feigin was also a student of Rosina Lhevine, worked with Nico Castel at the Metropolitan Opera and Antonia Lavanne at the Mannes College of Music, and is often called upon to participate in performances of his own works. Among them have been Veranderungen with Juilliard Quartet violinist Ronald Copes in Santa Barbara, CA and Echoes From the Holocaust with members of the Czech Philharmonic in Prague.
A student of Zen Buddhism, Feigin is Professor of composition at the University of California, Santa Barbara.
Christopher Fox (b. York, UK, 10.03.1955) is a composer, teacher and writer on new music. Between 1984 and 1994 he was a member of the composition staff of the Darmstadt New Music Summer School. During 1987 he lived in West Berlin as a guest of the DAAD Berlin Artists Programme. He joined the University of Huddersfield in 1994, having previously taught on performing arts, art and design and electronic media degree programmes in the University of Bradford and its associate colleges. He joined Brunel University as a research professor in music in April 2006.
Fox’s work has been performed and broadcast world-wide and has featured in many of the leading new music festivals, from the Amsterdam PROMS to the BBC Promenade Concerts and from St Petersburg to Sidney. He has worked with many of the world’s leading new music ensembles and soloists. In recent years he has established particularly close relationships with the experimental music ensemble Apartment House in the UK and with the Ives Ensemble in the Netherlands, for whom he wrote the evening-long ensemble installation, Everything You Need To Know (2000-1). The Ives Ensemble gave the UK premiere of Everything You Need To Know as part of the 50th birthday celebration of Fox’s music at the 2005 Huddersfield Contemporary Music Festival. Fox’s music is widely available on CD, with four portrait CDs on the Metier label, a portrait CD on the NMC label, and other recordings on Artifact, BVHaast, FMR, Metier and NMC.
Fox has been hailed by The Wire as "a tantalising figure in British Music" and the Sunday Times has described his music as "impressive, thoughtful, entertaining and extremely varied". Fox's work regularly extends beyond the conventional boundaries of the concert hall and includes the radio piece Three Constructions after Kurt Schwitters, commissioned by the BBC in 1993 and nominated for the Prix Italia, gallery works in collaboration with video artists and printmakers, a 'musical box' made with the poet Ian Duhig, a 'pocket opera' for Ensemble Bash and a number of extended ensemble works which defy categorisation. Forthcoming projects include a multimedia work for the Ives Ensemble, a new work for Apartment House to play at the 2007 Wien Modern festival and a new work for Anton Lukoszevieze and EXAUDI for the 2007 Huddersfield Contemporary Music Festival.
Dr. Jeremy Haladyna, Director of UC Santa Barbara's Ensemble for Contemporary Music, holds prizes and academic qualifications from three countries. Jeremy, a laureate of the Lili Boulanger Prize and diplômé of the history-rich Schola Cantorum on Paris' Left Bank, also holds an advanced degree from the University of Surrey (U.K.). He has taught undergraduate composition at UCSB since 1991, and was named to its permanent faculty in March 2000. His own past teachers include William Kraft, Karl Korte, Eugene Kurtz, Jacques Charpentier, and Joseph Schwantner.
In addition to his performing activity he teaches orchestration and is on the faculty of the College of Creative Studies, UCSB. As pianist, composer, conductor and organist, he has long been committed to the espousal of new music. His own music has been heard at Carnegie (Weill) Hall; King's College, London; St. John's Smith Square, London; South Bank Centre, London; the Monday Evening Concerts, Los Angeles; St. Paul's Cathedral, London; All Saints Church, London; BMIC, London; and the National Museum of Art, Mexico City. In December 1999 he premiered his The Vision Serpent at the Chopin Academy, Warsaw during a guest residency, also lecturing on his "Mayan Cycle," now some 20 years in evolution. In October 2000 he was invited to present excerpts from the cycle as the subject of a colloquium at Kings College, London. En la Estera del Chilam Balam and Aluxes! from said cycle have been released on Neuma records. In music of William Kraft, he is recorded as pianist on CRI and Albany.
His Mayan Cycle now stretches to twenty-four pieces, including Zaquico'xol, El Llanto de Izamal, The Maya Curse Pedro de Alvarado, Pok-ta-Pok, The Oracle of 13 Sky, Copal, and the Jaguar Poems. The Jaguar Poems contain rare settings of Yucatec, the authentic (and ancient) language of the Lowland Maya.
Leslie A. Hogan studied composition at the University of Kansas, the University of Michigan, the Sandpoint Festival, the Atlantic Center for the Arts, and the Bloch Composers' Symposium. She worked principally with Leslie Bassett and William Albright. Her music increasingly reflects a longtime fascination with other art forms and with the potential of music to reflect or respond to visual stimuli from the natural world, resulting in works such as Flight (1997), String Quartet #3: Dolphin (1996), Sonata for alto saxophone and piano: 'Thoughts that fit like air' (2000), and Praise (1992), an orchestral work based on some poetry of Robert Hass. Recent works include Sonata for violoncello and piano (2002), written for Virginia Kron, Questions of Travel (2003), a setting of the Elizabeth Bishop poem for mezzo-soprano and large chamber ensemble, and Splinter of Hope (2004) and Matisse (2005) for solo cello.
In 1999, she co-founded
Current Sounds, a new music consortium based in Santa Barbara,
California, and also serves on the board of the Chamber Music Society
of Santa Barbara, an organization which promotes the performance and appreciation
of chamber music repertory through sponsoring workshops, concerts, and
outreach activities. She has received awards from the American Academy
of Arts and Letters (Charles Ives Fellowship, 2002; Charles Ives Scholarship,
1993), the American Music Center, ASCAP, and the Chicago Civic Orchestra,
among others. Dr. Hogan has taught composition in the University of California-Santa
Barbara's College of Creative Studies since 1995.
Tessa Knapp was born in 1981. She lives and works in Cologne. From 2001 to 2007 she studied at the Academy of Media Arts Cologne with Matthias Müller, Marcel Odenbach and Siegfried Zielinski. She works in the fields of experimental film, video, video installation and visual performance. Her works have been screened at numerous national and international exhibitions and festivals.
Siegfried Koepf, born in 1958 in Stuttgart, Germany, studied piano, composition and electronic composition at the Cologne Conservatory. In 1992, he began developing computer-aided and combinatorial composition methods. In addition to musical compositions, his work includes videos, music machines, computer software, print editions and various productions with international artists and groups. He has received numerous awards, prizes and commissions as a composer and video artist, and has been teaching composition and music theory at the Cologne Conservatory since 2000.
Stefanie L. Ku is
a San Francisco-based intermedia artist dedicated to the sculpting, faceting,
and polishing of sound and image.
Stefanie is currently
concentrating on transmuting her visions from the dimensionless realm
of pure thought into a more accessible language, one that could actually
be realized and communicated.
JoAnn Kuchera-Morin is Professor of Music Composition, Director of the Center for Research in Electronic Art Technology, and Chair for the Media Arts and Technology Program at the University of California, Santa Barbara.
Dr. Kuchera-Morin is also a Co-founder for the UCSB-MAT-CNSI Collaboratorium, which partners California digital media industries with University of California faculty and student researchers in fields furthering digital media core technology development.
She received her Ph.D. in Music Composition from the Eastman School of Music in 1984, specializing in large multi-media works combining acoustic instruments and the computer. Her compositions and performances require sound spatialization in large acoustic environments, concert halls and specially designed areas for spatial performance applications. Her recent commissions include Paleo, for double bass and computer-generated tape, spatialized for a maximum 32-speaker performance, Concerto for Clarinet and Clarinets, a composition for solo acoustic clarinet and a synthetic orchestra of 20 clarinet-like instruments, Dreampaths, a cantata for soprano Elizabeth Mannion, computer-generated tape and five singers.
Important performances and awards geared specifically to large acoustic spaces include 1995 Bourges Grand Prix of Electro-Acoustic Music for Concerto for Clarinet and Clarinets, performances at International Computer Music Conferences throughout the 1980s and 90s, with performances throughout the United States, Europe and South America. Some examples include Lincoln Center - New York, Center George Pompidu -Paris France and Ambassador Auditorium- Los Angeles.
A professor of music composition and digital signal processing aspects of computer music, she has been teaching and directing graduate student research in these areas since her appointment at UCSB in 1984. Since her arrival at UCSB in 1984, Dr. Kuchera-Morin has designed, built and developed the Center for Research in Electronic Art Technology, a multimedia art facility for research, creative projects and teaching in the areas of multimedia art, digital signal processing applications and sound spatialization.
Paul R. Moore began
his work for dance at the University of California Santa Barbara where
he studied Music Composition with Marc Ainger, Carolyn Bremer, Jeremy
Haladyna, Larry Karush and Margaret Mayer. After graduating from the College
of Creative Studies at UCSB in 1993, Paul remained in Santa Barbara for
two years as Senior Musician of the UCSB Dance Department. During this
period, Paul focused on composing musical works for small ensembles, soloists
and orchestra, as well as collaborating with faculty choreographer, Christopher
Pilafian. He has collaborated with choreographers Mark Dendy, Katie Duck,
Mark Haim, Rob Kitsos, Peter Kyle, Maria Simpson and his wife, Alice de
Muizon, and has performed with the Chamber Dance Company for five seasons.
He was commissioned to compose a new orchestral work for the Degenerate
Art Orchestra, which premiered in March 2005. Paul was selected to be
a part of the 2003 season at On The Boards and won the Washington Composers
Forum orchestra competition. His work has been performed by the Seattle
Creative Orchestra and published by Mimicry Records.
Neuenhofer was born in 1965 in Borken, Germany. He lives and works as
a video artist in Cologne, Germany. Neuenhofer studied at the Academy
of Fine Arts in Dusseldorf, Department of Münster, Germany, and as
a master class student with Nam June Paik at the Academy of Fine Arts
in Dusseldorf. Later he studied as a postgraduate student at the Academy
of Media Arts Cologne, where he made his Diploma.
Christoph Seibert was born in 1979 in Heidelberg. Since 2001, he has studied Audio and Video Engineering at the Institute for Music and Media of the University of Music, Duesseldorf. In 2004 he was a scholarship holder of the International Ensemble Modern Academy. He realized works by Karlheinz Stockhausen, Magnus Lindberg, Kaija Saariaho, Alan Fabian and worked as sound director for Ensemble Modern, Frankfurt, in collaboration with the IRCAM, Paris, the Duesseldorfer Symphoniker and at ZKM, Karlsruhe. In 2006 he created a sound installation for Werner Schroeter’s music theater “Die Schoenheit der Schatten” at Kunsthalle Duesseldorf. In addition to sound directing and computer music, especially with video works, he is engaged in combining different media. He has been a GIMIK-member since 2004.