The track is the audio score that was made in collaboration with Brenda L. Burmeister for her video work titled, Clinging and Grasping. 

Visual Silence (from Clinging & Grasping) - (2012)

Daniel Zajicek is a composer and video artist. Most interested in beauty and the bizarre, his musical output consists of solo, chamber, choral, electronic, video, installation, operatic, orchestral, and theater music. Performances of his music have taken place throughout the United States, the Czech Republic, and the Far East-most notably at the International Computer Music Conference, the SEAMUS national conference, Diverse Works Flikerlounge, Society of Composers Inc., Imagine II, Florida Electro-acoustic Music Festival, Most Significant Bytes, Lewis University Bytes concert series, the NewTown Pasadena/SCREAM Sounding Images program, MusicAcoustic 2005: Mix (Beijing), the University of Missouri-Kansas City’s Musica Nova, and the Mckinney Repertory Theater. He has been the recipient of the Bertha Mallard Scolarship for Music Composition, the Richard and Candice Faulk Composition Scholarship, the Merrill Ellis Memorial Composition Scholarship, and as a pianist, Daniel was given a scholarship from the National Federation of Music Clubs. Additional honors for his music have come from the Missouri State Music Teachers National Association, the National Guild of Piano Teachers, and ASCAP.
 
Video works by Daniel have been shown at Newtown’s Pop-Up films, Diverse Works Flickerlounge, 4D DREAM-a-thon, Sounding Images, and Most Significant Bytes, among others. His video Self Portrait is released on the first installment of Buffet DVD (buffetdvd.com).
 
Daniel holds degrees from the University of Missouri-Kansas City (BM Composition & BM Piano Performance), the University of North Texas (MM Composition), and Rice University (DMA Composition). He has taught music technology and music theory at Rice University, The Art Institute of Houston, and Collin County Community College. While at the University of North Texas, he served as audio/visual specialist for the College of Music and helped oversee the construction and operation of the College of Music Computer Lab Recording Studio.

I'm Kenneth Stewart. Please call me Ken. Thanks for reading. I'd say I'm a bit of a ‘renaissance man’. If I'm playing, it usually has strings. If I'm in the role of curator or composer, a background in performance becomes useful in other ways.

In a previous utterance, music assisted by physical interfaces and sound processing played heavily on my work, however once I finished school my desire to stay behind the desk dwindled. I took to acoustic genres. I'd say for a couple of years I became fascinated with the subtle differences between Jazz and Bluegrass, yet the vast differences in the harmony, sets and motifs specifically in Old-Time and New Acoustic show that what you hear is not always what you expect.

Using the instruments I play I seek to explore the roots of the music that happens around me here in Durham, NC.

The scholarly study of composition prepared me by to use the tools of a composer to develop musical ideas far beyond my own. I took to standards as experimental tools for learning how to create works with rich, melodious textures and romantic harmony.

I'd like to think that the time away from school helped me enhance my original obsession with weaving into my work an underpinning of the ambient electronic music and that of the avant-garde. Or my insistence a perversion for unusual sounds and peculiar timbres somehow coalescing into something familiar and hopeful.

While I do musical research that engages concepts of instrument modification and design and his non-compositional creative work of signal processing (linear and digital) and the hacking and modifications of electronic and acoustic musical instruments and their electronic effects, sometimes what's necessary is putting that all away and singing a simple song.

As a quasi-alumnus member of the Slippage Lab formerly at Duke University now at Northwestern, under the directorship of professor Thomas DeFrantz. Most of my time with Slippage was when I was a graduate student at Duke..
Some other things of note: I was one of Gordon Epperson's final cello students. Nancy Green, and protege, Nelvimar Neves and two summer festivals of lessons and masterclasses as a teenager with Brinton Averil Smith and countless lessons via conversation with colleagues. 

My composition mentors, whom shaped my vision for music creation: Daniel Asia, Pierre Jalbert, Durham’s Scott Lindroth and as well as a summer in Berlin with Samuel Adler; ditto on the colleagues.

Ph.D. from Duke University, and additional degrees from Rice University, The University of Arizona and Pima College in Tucson, AZ.
KennethDStewart.com

Visual Silence (from Clinging & Grasping) - (2012)

Kenneth D. Stewart