##many types of guitar sounds and performances##

A guitarist who favors music from the 20th and 21st centuries, but doesn't neglect other repertoire. He graduated from the University of Minho and the Royal Conservatory of Music in Madrid. 
On this platform he posts some of his edited and live performances.

Kari Besharse’s compositional output spans various facets within the field of contemporary music, fully engaging new technological resources as well as traditional instruments and ensembles. Her works, which incorporate sounds from acoustic instruments, found objects, the natural world, and synthesis, are often generated from a group of sonic objects or material archetypes that undergo processes of rupture, degradation, alternation, expansion, and distortion. Recent projects include Rails, a large chamber ensemble work written for Alarm Will Sound and premiered at the Mizzou New Music Summer Festival in July 2010 and Embers, a work for saxophone and piano commissioned by Richard Schwartz, which premiered in March 2011. Her music has been presented around the world by venues and organizations such as The California Ear Unit, Society of Composers, Inc., Texas Computer Musicians Network, The LaTex Festival, The Florida Electroacoustic Music Festival, Electronic Music Midwest, ICMC, SEAMUS, Bourges, Elektrophonie, Third Practice, 60X60, The Electroacoustic Juke Joint Festival, New Music Forum, Pulse Field, and the Art of Sounds Festival at Belgrade, Serbia. Currently a lecturer at Southeastern Louisiana University, Dr. Besharse has also taught music theory, music history, and electronic music courses at Illinois Wesleyan and University of Illinois at Urbana-Champaign. Kari’s education includes undergraduate studies at UMKC (B.M. ‘98), and graduate work at the University of Texas at Austin (M.M. ‘02) and University of Illinois at Urbana-Champaign (D.M.A. ‘09).

This is a bit out of date, for my latest music, please visit my website:
https://treyanash.com

Youtube channel: 
youtube.com/channel/UC__yGR2qt000DYYBcmGOIKg?

composer, saxophonist from Boorloo in Western Australia
experiments and live recordings
jostenmyburgh@protonmail.com

Baton Rouge based composer/guitarist/improviser.

Indigo Knecht is a composer, tubist, and educator fascinated with the challenges people face as they navigate this world. Through a synthesis of contemporary classical music and rock & roll, Indigo explores themes such as environmentalism, mental illness, and self-realization.

Indigo has a BM in Composition from Bowling Green State University and a MM in Composition from University of Michigan. They are currently in their fourth year at University of Miami pursuing a DMA in Composition under the guidance of Dr. Juan Chattah. Their multimedia installation, “The Chanting of Coral Reefs: Bringing Awareness to the Endangerment of Coral Reefs Through the Sonification of Settling Larvae,” received the 2024 Presser Foundation Graduate Award. Indigo currently teaches music theory and composition at Tennessee Technological University while they continue to develop expansive compositions that bring awareness to issues in our world with groundbreaking technology.

I am an Irish composer, sound artist and improviser based in Cork, Ireland. My work employs two primary sources; acoustic instruments and everyday sound-objects/environmental soundscapes. I hear and work with these two sources both separately and collectively, with each musical concept dictating the medium employed.  My creative output is diverse, both in its approach and delivery, seeking to capture and translate the essence of an idea through a variety of forms, media and methods of dissemination. For example, recent compositions have been presented as orchestral works, sound installations, string quartets, wordless opera, collaborations between sound and dance, sound and image, free + guided improvisations, solo instrumental works, duets and musical happenings.

Every day environments and how we hear every day sounds lies at the core of my practice, with a continued interest in blurring the distinction between what we consider ‘music’ and all other sound. I have listened and recorded in some of the worlds most isolated and challenging locations: The Arctic, Amazon, Namib Desert and Outback Australia and have found inspiration in the natural world when allowed to unfold. My compositions utilise our inherent familiarity with such sounds as a means of engaging with musicians and audiences. Many of my works are devised to ensure that an active listening environment is created and shared between all during any performance. Resulting works simultaneously challenge every listeners memory of hearing while presenting new contexts for such sounds. I see my work as a continual learning experiment with each new work simultaneously absorbing something from its predecessor and breaking new ground for what is yet to come.
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Developing in parallel with composition is my practice as an improviser and educator. As an improviser I specialise in using environmental/everyday sounds/place as catalysts for constructing new sound-worlds. Such improvisations - whether solo or ensemble - offer unique interactions related to time, sonic sculpting and gesture. My educational work outside of Tertiary Education focuses on early years and my development of Natural Creators Program, which aims to harness and shape the natural curiosity of our youngest ears.

Brittany J. Green is a North Carolina-based composer, creative, and educator. Her music facilitates intimate musical spaces that ignite visceral responses at the intersection of sound, video, movement, and text. Recent works engage sonification and black feminist theory as tools for sonic world-building, exploring the construction, displacement, and rupture of systems. Her artistic practice includes spoken and electronic performance, interdisciplinary collaboration, experiential projects, and acoustic and electroacoustic chamber and large ensemble works. Her music has been featured at TIME:SPANS, NYC Electronic Music Festival, WoCo Fest, and Experimental Sound Studio. Her collaborators include the International Contemporary Ensemble, JACK Quartet, Transient Canvas, Castle of our Skins, Emory University Symphony Orchestra, and Wachovia Winds. Brittany holds awards from the American Academy of Arts and Letters, ASCAP Foundation, and New Music USA. She is a doctoral candidate at Duke University, pursuing a PhD in music composition as a Dean’s Graduate Fellow.

The Ensemble intercontemporain is a music ensemble of 31 soloists dedicated to the performance and promotion of music from the 20th and 21st centuries.
For almost 40 years, this permanent ensemble of highly professional musicians has been performing a demanding repertoire of orchestral music in all its diverse forms. Under the artistic direction of Matthias Pintscher  they are united by a shared passion for new music. 


Kari Besharse is following