Composer-conductor based in the lower Hudson Valley region of New York whose music has been played by several major orchestras and chamber groups in America. Scott has also held directorships with numerous orchestras, chorales and concert bands in the greater New York metropolitan area.

Martin Loridan is a composer and Professor at the Royal Conservatoire of Brussels.

His works are regularly performed in Europe and beyond by internationally renowned performers such as Claude Delangle, Rohan de Saram, the Arditti Quartet, the ensembles Klangforum Wien, Fractales, Mise-en. His work has been awarded prestigious international prizes, such as the Reinl Foundation Prize (Vienna), the André Jolivet Prize (Paris), the Vareler Prize (Berlin).

He graduated from the Paris Conservatoire National Supérieur de Musique (CNSM) where he obtained four prizes in harmony, counterpoint, fugue and forms, and 20th/21st-century composition. He is currently completing a PhD at the University of Leeds, UK, thanks to prestigious academic grants and awards such as the Stanley Burton Research Scholarship and the Leeds Doctoral Scholarship. He is also the recipient of the Art Research Fund (Fonds de la recherche en Arts FRArt) by the National Fund for Scientific Research, Belgium (FNRS).

His doctoral research is an investigation into air and breath (‘souffle’) as a composition material. His research has led him to the study of traditional music (Villa Salammbô residence with the support of the French Institute in Tunis) and the development of new instrumental hybridizations: extended pedal system renewing the possibilities of the piano; works for the Naylute, a new hybrid instrument between the Arabic Nay and the Western flute; application of electric guitar pedalboards systems to other instruments such as the accordion. In these different contexts, he could develop the main axes of his research: the 'tactility' of breath (souffle) and its double human and instrumental resonance; the porosity of air (as a sound material) and its development within orchestral forces and electronic expansions in amplified works.

His scores are published by BabelScores.

Musician, radiomaker, sound artist, cultural producer. Has a degree in music, MA in Communication Sciences and a Ph.D. in Arts at the University of São Paulo (USP). Created and coordinated the radio program New Music: radio for thinking ears (1991-2005) and the Nucleus of Contemporary Music_NMC (1993-2008) at the State University of Londrina (UEL) where she was a professor at Music and Drama department (1981-2011). Published her creative work and research and attended various events in Brazil and abroad in the fields of experimental voice, soundscapes, radio art, listening and sound ecology. Accomplished projects commissioned to be created for the WDR in Cologne, DeutschlandRadio in Berlin, Radio Educación in Mexico, Radio Cultura FM in São Paulo and others. Published the book-CD 'Demetrio Stratos: in search of voice-music' in Italy (1999), Brazil (2003) and Mexico (2006).

Martin Fletcher is a harmonica player. 

The 'harmonicagod' brand name is intended to be somewhat ironic, I'm not that arrogant! It was partly inspired by the woeful public understanding (among musicians just as much as audience) of how the instrument should be played, and the enormous possibilities it offers for lead playing in the style of sax/guitar/horn parts/etc., never mind the unique sound and feel it has in expressing emotion in a way that is almost vocal. Many famous musicians play it so badly...if they played their guitars/keyboards etc. like that they'd be laughed off stage.....so why is it OK to do that with the harmonica? Rant over.

I've played diatonic harmonicas (mund-harmonica for the clearest European understanding) since I was about 16....and that was in 1970. In the early 1980's I got heavily involved in the Tyneside Blues scene, which dates back to the late 50's and has produced The Animals with Eric Burdon, Sting (with a fair bit of jazz, too), and many other great musicians. I've been lucky enough to know and play with some of them (but not Sting! ;-) )
Eventually I joined the Blues Burglars and have worked with the guys for the last 20+ years in all kinds of formats. In 1999 I formed MFUS, a hiphop-blues fusion band which combined an MC and DJ with a 5-piece blues band. The results were great fun and experience, and rekindled my interest in many forms of music which I'd put on hold because of my blues obsession.
In 2004/2005 I began to produce and engineer in my own mini-studio. I try to make all kinds of music and be involved in all kinds of music. I have always loved free jazz, Alice Coltrane, Terry Riley, Miles Davis 70's period, John McLaughlin, ambient electronics etc. My son and daughter kept me in touch with the Manchester baggy scene, Primal Scream and on into dance culture and hiphop. I worship Blackalicious, and lately, Burial. Most indie music leaves me cold....but electronic, ambient, chillout, glitch, dubstep, dub etc.are all things I've loved and tried to create, or at least honour, at different times.
Being a harmonica player, I have never made much money from music, but I've been to great places and met great people.

I play Hohner Marine Band harmonicas - old school. I use a custom-made Heumann mic - a Spherex with old-school Green Bullet innards - (which I fell in love with on sight, but which Charlie Musselwhite had first refusal on - fortunately, he chose others) for amplified playing. My amp is a Gibson single valve, no tone control, 5-15 watt piece of gorgeousness....but I have a '59 reissue Fender Bassman for larger gigs and I run them together.
If you like any of what I do - thanks very much. By all means drop me a line to discuss stuff. I love comments and feedback - it's all about learning. Always happy to do parts/collaborations for other Soundclouders.

Finally, I have to mention how much I appreciate my musical compadres - PJ White / Bill Sharp / Bruce Campbell / Pete Redhead / Garry Browning / Ed Bowman / Graeme Hare / Jason Toner / Fareez / Helena Wood / Jim Murray and many more. A harmonica player usually needs a musical backdrop to work with, and they've provided it many times over. Thank you, gentlemen and lady.

I currently play with the inestimable Chris James in a duo/trio/quartet format, more that ably assisted by Finn McArdle on percussion (Martin Stephenson, Johnny Dickinson and many more) and Paul White (Blues Burglars, MFUS etc.)

All the best - Martin

contemporary music ensemble based in London

Estudiante de música en la Brass Academy Alicante en la especialidad de Interpretación del Eufonio.
Inicié mis estudios junto a mi maestro y mentor Heber Córdova Gonzales con quién siempre estaré agradecido por enseñarme este hermoso arte e inculcarme los valores necesarios que requiere,  con el mismo cariño y admiración agradezco a mi profesor Nestor Tuñoque(Q.E.P.D), más adelante conocí a mi primer profesor de Eufonio, mi profesor Williams Trocones, siempre agradecido por su solidaridad, voluntad y vocación para enseñarme y transmitirme sus conocimientos.
Estudié en la escuela de música Tempo, bajo la docencia de los grandes maestros Rafel Reyes, Darwin Brito, entre otros.
Participé en distinos festivales y concursos de música dentro de Lima como en provincias.
Actualmente me encuentro en España, estudiando en la BRASS ACADEMY ALICANTE, con el maestro Patricio Cosentino.

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