| Droki Ouro (b. 1996) is a Tennessee-based composer, researcher, and educator. Described as “patiently evocative” (George Lewis) and “unsettling, [yet] interesting” (Cycling ’74), Ouro’s music longs for the experiential allure of balance and introspection. Much of their music blends pictorial properties with organizing principles of philosophical and sociological intent. Their recent works engage disability masking and temporality as an apparatus for acoustic and electronic media.

Droki’s research interests are primarily driven by composer advocacy and DEIA. Their presentation entitled Recent Trends in Composition Calls and Competitions addresses the inequities of the call for scores, competition, and residency ecosystem through a statistical analysis of over five-hundred surveyed composition opportunities. Droki has presented Recent Trends at numerous conferences including the Northwestern University New Music Conference (NUNC!), PASIC, and New Music Gathering. They have also presented several forums on the topic at Duke University, Montana State University, and the University of Miami. They are currently developing literature with the American Composers Forum that expands on Recent Trends by distilling several short- and long-term solutions. Droki currently serves as the Director of Equity, Inclusion, and Diversity for the Millennium Composers Initiative, a non-profit dedicated to supporting developing composers through commissioning and performance opportunities. 
Droki’s music has been featured at festivals worldwide including the Aspen Music Festival, NYCEMF, and Cube Fest. Their music has been performed by Hypercube, Duo Sequenza, and ensemble vim, among others. They have held residencies with Arts Letters & Numbers and the Virginia Center for the Creative Arts. Their music is featured on several record labels including Navona Records, Petrichor Records, and RMN Music. Droki’s music has been selected for over one-hundred calls for scores and competitions, including prizes from the Ensemble Ibis, MAP, and Robert Avalon competitions and a grant from the Andrew W. Mellon Foundation. Current and upcoming projects include collaborations with the Brightfire Collective, JoULE, Ithaca College Orchestra, and jackrabbit, a digital opera fusing the model collapse of AI and corporate math with screamo and breakcore. 

Originally from the Washington D.C. area, Droki holds a BM in Music from Virginia Commonwealth University, an MM in Composition from Ohio University, and a DMA from the University of Miami’s Frost School of Music. Droki currently serves as an Assistant Professor of Music Technology where they teach courses in computer music programming, sound design, synthesis, instrument modeling, studio recording, digital art, and composition. Droki has studied composition with Lansing McLoskey, Dorothy Hindman, Juraj Kojs, Tania Leon, George Lewis, Robert McClure, and Maria Schneider.

Metal prog

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Douglas Boyce writes chamber music that draws on Medieval and Renaissance traditions and modernist aesthetics, building rich rhythmic structures that shift between order, fragmentation, elegance, and ferocity.  His approach is deeply historical and broadly philosophical.  Many of his works have an direct historical touchstone, such as his  Etude on 'Pymalion qui moult subtilz estoit' (A Book of Etudes, Quire 4, No. 1) which features quotations of and elaborations on music from 15th century Cyprus, or La Deploration for clarinet, violin, and cello, which couples Josquin's lament on the death of Ockeghem with works of his own teacher Robert Suderburg, synthesizing jazz and Renaissance approaches. Other works draw on sources from antiquity, such as the string quartet Alcyone, a partially spoken setting of a tale of Ovid's Metamorphoses, or Tethys, a violin concerto which links the sea-goddess to geological time and tectonic change.
Literature and philosophy are also significant points of articulation: The Winter Journey, a current project commissioned from the ensemble Yarn|wire, is based on a short story by George Perec; the story itself  takes the form of a 19th century fairytale of memory and loss, and so the new composition will involve transformation of the French and German art-song tradition of the 19th and early 20th century. A song cycle focused on settings of American poets (Jorie Graham, BJ Ward, Wallace Stevens) entwines with the poems fragments from philosophers (James, Aristotle, Husserl, Bergson). The piano trio 'Fortuitous Variations' draws upon the language of William James and C.S. Peirce in inspiration, organization, character markings, and movement titles. This approach and the works themselves connect to many aspects of the scholarship in the humanities, including history, anthropology, literary studies, and philosophy. 
His works have been praised many times in the press.  Regarding his Quintet “l’homme armé”, Allan Kozinn wrote “he couches [the medieval melody] in such thoroughly modern scoring that the ear is lured to other things, including the juxtaposition of eerie string writing with playful material for the clarinet and piano, or the lively interplay among all five instruments.” (The New York Times March 12, 2005.) Regarding A Book of Songs (2006), the Stephen Brookes wrote “[they] can only be described as drop-dead beautiful. Easily the most captivating works on the program, these songs of love and death are extraordinarily well written and insightful.” (The Washington Post May 23, 2006)  Regarding La Déploration, Corinna da Fonseca-Wollheim wrote that "...the violinist, cellist... and clarinetist... spread out throughout the crypt. Against vaporous harmonics and ghostly fragments of Renaissance music played by the strings, [a] warm, clear clarinet announced itself as very much alive as it sashayed in and out of blues territory and laughed in the face of their mournful keening." (The New York Times May 17, 2015.)
He has been awarded the League of Composers ISCM Composers Award (2005), the Salvatore Martirano Prize (2006), and the Robert Avalon Prize (2010), and a Fromm Commission (2012). He is a MacDowell Fellow in Winter 2017, and an Avaloch Music Farm Fellow in Fall 2017. His music has been performed by  counter)induction, Aeolus Quartet, Inscape Chamber Orchestra, Redlight Music, Dan Lippel, Robert Baker, Trio Cavatina, Edge Ensemble/Contemporary Music Forum (DC), pianists Ieva Jokubaviciute (Shenandoah University), Alice Belem (State University of Minas Gerais), and Ning Yu; cellists Elise Pittenger (Federal University of Minas Gerais) and Schuyler Slack (Richmond Symphony) and Lori Barnett (George Washington University); and clarinetists David Jones (Washington National Opera), Benjamin Fingland (Dorian Winds).
He is a founding member, curator, and composer-in-residence of counter)induction, a composer/performer collective active in the New York region (www.counterinduction.com).

Dimitra Sideridou is a film score composer, concert pianist and architect. Born in Athens, Greece, she has pursued advanced studies in concert piano performance under the tutelage of Charides Ioannis, and has been awarded “Artist Diploma” and Special Award as a distinguished Soloist (2015). Her multifaceted artistic profile ranges from multi-genre piano performance, film scoring, orchestration and arranging. She holds a Diploma in Music Composition (2018) and degrees in Arranging & Concert Band Conducting. 

As a professional pianist, she has a strong background and vigorous training in classical, and romantic repertoire having given numerous recitals and participated in a plethora of productions and live concerts. Her strong musicianship skills and experience with various musical genres, makes her capable of adjusting in different performance contexts with professionalism, confidence and vivid adaptability. She is an experienced early-age music pedagogue focusing on various aspects of music training, with a great emphasis on technique and stylistic musicianship.

Mrs. Sideridou has also participated in many International Festivals, Seminars and Workshops as a film score composer, with acclaimed professionals such as Alexandre Desplat, Conrad Pope, Nan Schwartz, Michael Davidoff and others. She is particularly interested in exploring the boundaries of subtle expressivity in historical documentaries. Her film score “The Great Fire of Salonica: Birth of a City” (2019) has garnered great attention as the music of the homonymous historical Documentary which was awarded 1st Prize at the 13th Istanbul International Architecture and Urban Films (2019), Audience Award in the 4th Documentary Festival of Peloponnesus (Greece), and Honorable Mention in the 12th Documentary Festival of Chalkida (Greece). In 2018, her piece “Bardar” for large orchestra was premiered by the Municipal Symphony Orchestra of Thessaloniki.

The past three years she is closely affiliated with music organizations and orchestras as a professional arranger and orchestrator. Her work has been featured in numerous large-scale pedagogical productions and international music festivals. Last but not least, she has a strong pedagogical presence as a conductor, directing student orchestras, student groups, while she is a strong advocate of collective learning opting for a diversified and dynamic tutelage. She is a Part-time Lecturer, in the Music Department at the Hong Kong Baptist University. Her teaching interests focus on Composition for Screen, Orchestration and Arranging, and in-studio Recording and Mixing.

Yeung-ping Chen is a Hong Kong-born composer who has received musical education from St. Bonaventure College and High School, Hong Kong Baptist University, the Hong Kong Academy for Performing Arts, and the University of California, San Diego (UC San Diego). His studies have been guided by notable mentors such as Alfonso Wong, Christopher Coleman, Law Wing-fai, Clarence Mak, Katharina Rosenberger, Roger Reynolds, Philippe Manoury, Rand Steiger, and Lei Liang. 

The recipient of the Asian Cultural Council’s Altius Fellowship, the Hong Kong Jockey Club Music and Dance Fund, and CASH’s Music Scholarship, Chen was named a finalist for the Rivers Awards Competition in Shanghai and has received commissions from Steven Schick and La Jolla Symphony & Chorus, Bard Conservatory of Music, Macau Band Directors Association, the Hong Kong Wind Philharmonic, Musicus Society, L'Ensemble Télémaque, and many others. 

Chen was also a composer-fellow for the Ensemble 2010 Project at Internationales Musikinstitut Darmstadt (IMD), the International Ensemble Modern Academy in 2011, June in Buffalo 2012, Manhattan Hong Kong Music Festival 2012, the Northwestern University New Music Conference (NUNC! 2014), the NEC’s Summer Institute for Contemporary Performance Practice (SCIPP 2014), the Asian Composers League (ACL Taipei) in 2018, the China-ASEAN Music Festival (Nanning) in 2019, Shanghai Contemporary Music Festival (originally Shanghai New Music Week) in 2008, 2019, and 2024, Beijing Modern Music Festival in 2025, and worked with Marino Formenti, Christopher Rountree, Steve Schick, Jeffrey Milarsky, Johnny M. Poon, Jin Yukuang, Raoul Lay, Dedric Wong, Matt Kline, Scott Paulson, Viola Yip, Sara Perez, Rachel Beetz, Ine Vanoeveren, Paul Hembree, Kyle Johnson, Michael Matsuno, Alice Teyssier, Jessica Azordi, UMS n’ JIP, James Cuddefold, Jan Söderblom, Yuki Numata, Wong Tak Chiu, Ruan Mingyuan, Hong Kong New Music Ensemble, Red Fish Blus Fish, Ding Yi Music Company, Collegium Musicum Hong Kong, the City Chamber Orchestra of Hong Kong, Ensemble Modern (IEMA), Hong Kong Sinfonietta, JACK Quartet, Ulysses Quartet, Cong Quartet, Mivos Quartet, Novus-Classica Camerata, the Radnofsky Saxophone Quartet, Ensemble Dal Niente, Groove Wind Quintet, Rhythmaker, L'Ensemble Télémaque, and Tactus Ensemble. 

Chen is currently Associate Professor at the School of Music at the South China Normal University (SCNU) where he curated various academic exchange and research projects, including a cross-cultural and cross-disciplinary exchange project called “Ink Art and New Music” supported by ACC, HKU MUSE, M+, and Bard’s US-China Music Institute. Chen also served Macao Polytechnic University (MPU) as Programme Coordinator and Guest Associate Professor at the Faculty of Arts and Design in the summer of 2023. Chen is currently the Director of Council of the Hong Kong Composers' Guild (HKCG). 

Chen respectively launched a research project, "Guangdong-Hong Kong-Macao Composers and Compositional Research Network" in 2022 and a multi-dimensional platform, “South China Contemporary Creative” and its music institute (SCCCMI) in 2025. These two initiatives aim to curate professional connections among composers and researchers in Guangdong, Hong Kong, and Macao, as well as to explore, investigate, cultivate, and promote the original sounds of the region. 

Chen’s compositions are published and distributed by Universal Edition AG.

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