SUBWOOFER (1996)
by Michael Schelle

Hiroko Senoo, flute
Nagoya, Japan
Summer 2013

SUBWOOFER begins w/ the player crouched very low on stage - gradually rising and wandering off into the audience, playing the little ascending minor 3rd figure, with occasional loud outbursts right into the faces of audience members !!  By c. 01:10 the player is back on stage.  Various vocalizations, body percussion, hits, physical gestures (leg kicks, arm waving, etc.) throughout the score are clearly indicated.

Visit: www.schellemusic.com


SUBWOOFER (1996) for solo flute

Michael Schelle
PLAY US CHASTITY ON YOUR VIOLIN (1984)
- for solo violin and chamber orchestra
MOVEMENT 3:  Rhumbaba

Pittsburgh New Music Ensemble
Sherry Kloss, violin
David Stock, conductor

Pittsburgh, PA  1985

visit:  www.schellemusic.com

PLAY US CHASTITY ON YOUR VIOLIN (1984), Mvmt. 3 "Rhumbaba"

thread - for string quartet, mvt. I

for soprano, string quartet, electronics, and light sequence

words and music by Alishan Gezgin

live outdoor premiere in James Turrell's Twilight Epiphany Skyspace at Rice University on April 7, 2015 

performed by the wonderful Alexandra Smither, Giancarlo Latta, Jacqueline Kitzmiller, Teddy Schenkman, and Erik Wheeler

 ◄ ►◄ ◄ ►◄ ◄ ►◄ 

The dimming world drifts again
beneath the black rotunda of a thousand eyes.

They saw us at our source, before we learned 
our own names, before our glowing torrent 
surged across the globe and swept away the stars.

Fragile silver arcs drown every night
in the flooded basin of our recent light.

 ►◄ ◄ ►◄ ◄ ►◄ ◄ ►◄ ◄ 

Nous - I. "the dimming world"

for soprano, string quartet, electronics, and light sequence

words and music by Alishan Gezgin

premiered live at the Twilight Epiphany Skyspace at Rice University on April 7, 2015 

performed by the wonderful Alexandra Smither, Giancarlo Latta, Jacqueline Kitzmiller, Teddy Schenkman, and Erik Wheeler

◄ ►◄ ◄ ►◄ ◄ ►◄

Gentle, friend, and pry away the casing of your mind—
          it's brittle, and of little use to you.

Catch that curious creature of the inner eye
           in its quiet puppetry.

◄ ►◄ ◄ ►◄ ◄ ►

Nous - II. Crossing

OUIA (20') 

Jun Cho, piano (scordatura)
Ling Ling Huang, violin (scordatura)
Max Geissler, cello (scordatura)

Otonal/Utonal tuning


OUIA - trio for pno/vln/vlc (extended just intonation tuning)

Read by the Cadillac Moon Ensemble at Rice University, Jan. 22nd, 2015. 

Roberta Michel - flute
Karen Kim - violin
Aminda Asher - cello 
Sean Statser - percussion

Pastistio

Performers:
Yu Shih-Mei (dizi) and Shen Shen-Ling (sheng)of the Little Giant Chinese Chamber Orchestra

the edge of still (靜止的邊緣) focuses on sounds that can be produced with minimal effort or action. Many sounds began as those we would ignore or not hear at all in our daily lives. These sounds combine with the dizi and sheng to produce complexes, which punctuate a tense sonic landscape. 

静止的边缘（the edge of still) 这部作品聚焦于用最少的精力与活动所创作的声音。其中，许多声音都是从我们在日常生活中忽略，甚至听不到的声音开始。这些声音结合了中国笛子与笙，让‭ ‬“静止的边缘”‭ 带‭_‬了听者一个强调具有紧张氛围的音景。

Little Giant Chinese Chamber Orchestra

the edge of still (2016) for dizi, sheng, and computer

performed by Soma quartet
July 6th 2016
Auditorium Cittá di Maccagno, Italy

This piece is my musical response to Korean novel “장외인간” (jang-oe-in-gan) that read recently. The story of the novel starts with a world where nobody remembers a moon existed except the main character, Hunsoo Lee. Moon disappears in dawn and Hunsoo tries to find the cause for the absence of a moon and his lover, Soyo who vanished with a moon. Hunsoo encounters
the world called Mo-woel-dong that exists between Human and gods worlds. And the people in Mo-woel-dong know about that a moon once existed. From this point on, the story unfolds itself in very abstract way constantly conveying Taoist and aesthetics aspects throughout the novel.
The author intentionally makes links or transitions between scenes ambiguous and illogical, creating otherworldly feeling. This strange mood lasts long even after a few hours I put down the book as if I just woke up from dream that I cannot remember. It even affected the way I think about musical parameters and eventually influenced during my process of composition.
There are total seven main sound carpets and transitions are branching out of those phrases. Each sound carpets form bigger sound streams and triggers something to happen. The new triggered sound stream tries to make sense of the previous stream and at the same time provides a seed for a destruction. I could say the music behaves similar to a process of dream where the creator and observer coexists and constantly deconstruct images.

A dawn with vanished moon (2016) for string quartet

Songs Are Against War for Voice and Piano, 2014

Ayşe Göknur Şanal, voice
Erberk Eryılmaz, piano

Sound Engineers: Kristian Tchetchko and Riccardo Schulz

Recorded at the Vlahakis Recording Studio at the Carnegie Mellon University, School of Music on May 11, 2015

Songs Are Against War for Voice and Piano (EXCERPT)

Shane Monds is a composer who works in many mediums and frequently collaborates with film-makers, artists, performers and scientists. Each project is a new place for sonic exploration. He has composed music for traditional mediums such as choir and orchestra, film, micro-tonal piano, art installations, Cajun fiddle, traditional Chinese instruments and much more. His music has been heard at a variety of venues ranging from St. Peter's Basilica in the Vatican to the documentary film channel to the City Hall in Nafplio, Greece.

Mr. Monds is completing a DMA Rice University. He serves as Young Artist Composer-in-Residence for Da Camera:Houston for the 2015-2017 season. In May of 2016 he was appointed as piano technician at the Moores School of Music at the University of Houston. He has studied composition under Kurt Stallmann, Anthony Brandt, Karim Al-Zand, Michael Schelle, Dinos Constantinides and Keith Gates. He studies sitar under Srinivas Koumonduri. When not involved in music he can most likely be found cooking in the kitchen or studying the ancient game of go.