Increment (2010) for clarinet and percussion, commissioned by Caleb Herron, is a work with a simple incrementing structural scheme that focuses on interaction between the two performers. The work was composed with the use of weighted interval sets, markov chains, and the various gesture driven algorithms. The Common Music/GRACE algorithmic composition environment was utilized as well as several primitives programmed Max and Java. 

Increment (clarinet and percussion)

Calliphora is a beautifully misleading word which refers, not to an idyllic fantasy island set on crystal blue waters, but the genus of the common Blowfly. Using the numerology of the Flies life cycle and computer generated sounds which aim to mimic the sonifications of these insectoid organisms, Calliphora is a segmented work of alien sounds in a familiar environment. As if under the microscope, studied from various angles, this work attempts to find beauty and interest in a subject most find abhorrent. Calliphora was written for another striking and misunderstood phenomenon, the bass recorder. Flies are still gross, though.

Calliphora - Bass Recorder and Electronics

Engineered to provide dual meanings, Subconscious Train Matter is a look into the effects of aleatoric call and response, and an intentional effort to create something organized that actually requires a little work to play (hence training and mattering). In addition to simulating a train sound with the neutral third, I also create thick textures with much auditory mass, or matter. The pitch content feels like a common auditory illusion – one is listening to some consistent pitch material, and then there is a slight unexpected bend, due to a cold or other physiological reasons. This is accomplished by changing the relationship of large step size to small step size in the continuum, so that the scale approaches either 10-equal (L=s), or 7-equal with three ‘doubled notes’ (s=0). After the first four minutes explore the effects of similar passages played with gradual shifts, the final improvisatory section uses the changing continuum as a more immediate expressive device. Hopefully this piece scratches the surface of some of the exciting xenharmonic opportunities that are possible through dynamic tonality.

Thanks to the performers!
Stephen Weigel, Electronics 1 (xenharmonic)
Aaron Anderson, Electronics 2 (xenharmonic)
Chad Powers, Electronics 3 (indeterminate pitch)
Dan Smith, Electronics 4 (indeterminate pitch)
Timmy Barnett, Violin
Michael Pounds, Bass

Subconscious Train Matter (7L 3s continuum)

Studio recording mix of VISITATION (2012) featuring Stuart Gerber, percussionist.  This work is the final work in a collection of related works including Vivid Air (2011) for percussion and electroacoustics and the octophonic work, Out of the Vivid Air (2010). 

Now available at Amazon.com and iTunes and at Aucourant Records website!

CD + MP3

VISITATION - percusssion and electroacoustic sound

1st Prize Winner of the 2011 Musicworks Magazine Electronic Music Award. Article here: https://www.musicworks.ca/featured-article/sound-bite/ian-battenfield-headley

Available for streaming and purchase here: 
https://open.spotify.com/album/6BrCNqK5wQ1x0Nlpiikw21

https://ianbheadley.bandcamp.com/album/passages

The work was made available on the CD released with Musicworks Magazine Winter 2012 issue  

Composed in 2009

Passage

Jet (2011) for soprano recorder and electronics.
Duration 8' minutes.

Ensemble Holophony Project
Preview Full Score at http://www.panayiotiskokoras.com/en/works.html
© Panayiotis Kokoras

Jet [rec elec]

"Honorable mention" in the II International Electroacoustic Music Contest of Sao Paulo (CIMESP 1997 Brazil). 
All sounds from the electronic part made from the sound of basson.

3b for basson and tape (1996)

Sk’elep is an alternate name for Coyote in the Secwepemc or Shuswap language group, a tribal language spoken in the Canadian province of British Columbia. In Native American mythology, a coyote is a trickster god and is generally benevolent. The coyote is highly respected for its cleverness and its will to survive.

This work follows a sonic journey through a collection of landscapes. The first is a cityscape to acknowledge the presence of coyote in our modern cities. The work then transforms to a rural environment reflecting the coyote’s original habitat. From there, the piece evolves into a mystical setting reflecting on the spiritual connection that the coyote symbolizes in Native American Culture.

Realized in the University of Illinois Experimental Music Studios.

Skelep

End of Message was realized at the University of Illinois Experimental Music Studio during the 2008-09 school year. The title marks an end of an era, a time the composer does not wish to revisit. To write of it here would be missing the point entirely.

End Of Message

Track for rM reBOOT compilation disc. Recorded in May of 2013 at the Resonance Observatory.  Also featured on the CD Repeated by Dreams on Aucourant Records.

Porcelain Sky

Daniel Swilley (b. 1980) is a German-American composer of acoustic and electroacoustic music. His music and research have been presented at festivals and conferences such as June in Buffalo, SEAMUS, Toronto Electroacoustic Symposium, Understanding Visual Music Symposium, NoiseFloor, New York City Electroacoustic Music Festival, Electronic Music Midwest, Studio 300, Audiograft, Electroacoustic Juke Joint, College Music Society, as well as Society of Composer’s Inc. Swilley holds degrees in composition from University of Illinois Urbana-Champaign (DMA), Georgia State University (MM), and Valdosta State University (BM). His primary composition teachers have included Heinrich Taube, Sever Tipei, Robert Scott Thompson, and Scott Wyatt. Swilley is an Assistant Professor of Music (Composition, Theory, and Technology) at the University of Northern Iowa.