Written for clarinet and fixed electronics in 2020.
Performed November 2020 at Stephen F. Austin State University, Nacogdoches, TX. Originally premiered with mixed media visuals.
Performer: Alyssa Jester

Eclipse

Electronics by Nicole Gutman

——————————————————————————————————————————

Website: nicole-gutman.com
Subscribe to Quinn’s Newsletter: http://www.nicole-gutman.com/contact-info/
Purchase Quinn’s Scores Here: http://www.nicole-gutman.com/scoreparts-purchase/

Listen to/Watch Quinn’s work on:
YouTube: https://www.youtube.com/channel/UCiTB8HFgfby9QZR6uqzv5hA?view_as=subscriber
SoundCloud: https://soundcloud.com/nicolegutman

Follow Quinn Gutman on social media:
Facebook (music): https://www.facebook.com/QuinnGutmanOfficialPage/?ref=bookmarks
Facebook (art): https://www.facebook.com/quinngutmanart/
Instagram: https://www.instagram.com/gutmanquinn/
Goodreads: https://www.goodreads.com/user/show/57788980-nicole

And buy some of Quinn’s fiber arts here:
Etsy (hand-made crafts and gifts): https://www.etsy.com/people/r0nekofi?ref=hdr_user_menu

Hunting And Chasing

Electronics by Quinn Gutman

——————————————————————————————————————————

Website: nicole-gutman.com
Subscribe to Quinn’s Newsletter: http://www.nicole-gutman.com/contact-info/
Purchase Quinn’s Scores Here: http://www.nicole-gutman.com/scoreparts-purchase/

Listen to/Watch Quinn’s work on:
YouTube: https://www.youtube.com/channel/UCiTB8HFgfby9QZR6uqzv5hA?view_as=subscriber
SoundCloud: https://soundcloud.com/nicolegutman

Follow Quinn Gutman on social media:
Facebook (music): https://www.facebook.com/QuinnGutmanOfficialPage/?ref=bookmarks
Facebook (art): https://www.facebook.com/quinngutmanart/
Instagram: https://www.instagram.com/gutmanquinn/
Goodreads: https://www.goodreads.com/user/show/57788980-nicole

And buy some of Quinn’s fiber arts here:
Etsy (hand-made crafts and gifts): https://www.etsy.com/people/r0nekofi?ref=hdr_user_menu

Wood And Tin Noise

Broken Superficiality (2024) for Ensemble and Fixed Media

Taking influence/inspiration from the 50-year continuation and negative effects of Neo-Liberalism that was first trialled in Chile in 1973, and then widely adopted by the UK and US under Margaret Thatcher and Ronald Reagan (and the subsequent leaders), with a lot of other countries following suit. Moving increasingly towards a privatised, individualistic, and ultra-consumerist world with a lack of state-funded/public protected services/amenities, I find that gradually as a society we are losing ourselves, becoming broken and detached from community and instead are pursuing more superficial endeavours and objectives. Taking this into account, I have opted to use effects and timbres that were widely used in the 1970s and 80s as the core of the piece, pairing it with live instruments that sound ‘glitzy’ and techniques to that deviate/distort the instruments' pitch and timbre.

Performed by Ensemble Klang 
Performed at Cloud 9 in Tivoli Vredenburg, Utrecht as part of Gaudeamus Festival 2024
Recorded by Gaudeamus Festival
Mixed by Peter Bell

Image - 'Metropolis' by George Grosz (1917)


Broken Superficiality (2024)

for amplified voice and electronics

They were staring at me, like I was naked, like an object on display.
Some people look at me up and down, while some fixated on my breast - starting from three meters away, as they walked past me, and even after they'd gone, their gaze never goes away.
Even when I stared back, they didn't look away.
They just thought it was okay to stare at me.


Premiered and recorded by Yifan Shao

Unvoiced

and electronics-only mix

part 1 of 'In the glass dome the bewitching world' 

for the Sound Gallery at the Bendigo International Festival of Exploratory Music in 2018

serotonin x lizard

Designated Cereal Hour is a musique concrète piece written in the summer of 2017 for an electronic music course taught by Sky Macklay. It was premiered in a 4-channel configuration with individual volume controls for each channel and live mixing; however, it is written in and intended to be listened to in dual channel. I recorded all of the sounds and manipulated them using the software Reaper.
	The title refers to an inside joke among my friends at the Walden School Young Musicians Program, where this piece was written. The camp had for a while hired a chef named John who had a reputation of being somewhat curmudgeonly. On one occasion, a friend of mine entered the dining area to grab a bowl of cereal for an afternoon snack, and John scolded him, saying it was “not the designated cereal hour.” My friends and I have since created several pieces of “cereal art” in reference to this event, including the picture taken above.
	Designated Cereal Hour takes formal and sonic inspiration, as well as samples, from actions such as opening the plastic cereal container, pouring cereal into a bowl, and pouring liquid into the cereal. The piece then partially dissociates these samples from their real-life counterparts by manipulating them in space, time, pitch, and timbre.

Designated Cereal Hour (Summer 2017)

for Baritone Saxophone and Fixed Electronics

Trials

This again was an assignment for university. It is a composition for fixed tape, live electronics and live guitar. The foundation of the tape was composed on ProTools then using Max/MSP I mapped a Korg nano controller that captures recordings from the live instrument and then plays it back transformed. The guitar part also had a written score to go along with the tape. 

Rainforest - Electronics and Live Guitar

Dissolution (for piano and electronics) is composed by Emily Roberts. Performed by Erika Matei. Electronics by Emily Roberts. Cover photo by Jon Roberts.


Dissolution, composed for Erika Matei, is a piece for piano and fixed electronics using audio samples taken in Crystal Cave in Sequoia National Park. The piece was inspired by the formation of a cave, which happens over millions of years through countless events, erosion, and the process of dissolution (where soluble rock dissolves in water and redeposits over time). The process of dissolution creates incredible rock formations within caves, such as stalactites and stalagmites. After visiting Crystal Cave numerous times as a child, and then visiting again as an adult, I realized that my memory of the cave has changed over time, yet it remains amazing every time. Similar to my memory evolving, caves are never done evolving, and it is worth appreciating them for what they are at any point in time.

Dissolution

email: m-nguyen (at) outlook (dot) com

gigs:

1-3.11.24 Zeerust
14.12.24 Shindigellio
24/25 NYE Tanglewood Festival
11.1.25 Collective Delusion park rave
18.1.25 Goody's Hifi Trash Rave
30.3.25 Hear the Machine
4-6.4.25 Developmental 2: Safety Core
11.4.25 Faun
31.5.25 Warm Natural Album Launch

Composer, multi-instrumentalist, singer-songwriter, electronic musician

Critical acclaim for Jimmy Levi:
"He's just a fantastically weird guy!"
"His music looks like it should be stupid, but it isn't."

From listening to 80’s pop music on repeat to singing in children’s choruses, Jimmy Levi has been making music for as long as he can remember. His love of music has led him to St. Olaf College, where he will earn his Composition degree this year. He also performs as a vocalist, violist, and viol-ist.
	Jimmy’s music has been performed by ensembles such as the Mivos Quartet and the Walden School Players. Most recently, his piece, The Alibi, was premiered by Saxophonist Allison Adams. His music explores motion, narrative, and play through the aesthetics of modernist-classical performance practice.

Patrick Ellis (b. 1994, UK) is a composer, performer and curator based in London. His music has been described as being "focused, intense and unrelenting" (Gaudeamus Jury, 2024), with much of his work utilising limited musical materials, small developments and juxtapositions.

He has worked with many acclaimed ensembles including Terra Invisus (UK), Ensemble Klang (NL), collective lovemusic (FR), XTRO Percussion (NL), the Residentie Orkest (NL), Kluster 5 (NL), Orkest de Ereprijs (NL), The Tantrum Saxophone Quartet (NL), The Spaceship Ensemble (NL), Kirkos (IE) and 315 Ensemble (US/UK), and has collaborated with soloists such as Kathryn Williams (flute), Huw Morgan (organ), Alfian Emir Adytia (cello), Dauphine Van der Velphen (saxophone), Chris Cresswell (electric guitar) and Carson Cooman (organ).

Upcoming projects include a new multimedia work exploring burnout within the classical music industry for the ensemble Standard Issue, a new piece for electric guitar and fixed media for Chris Cresswell, as well as a long-form collaboration with the French-Canadian cellists Laurence Gaudreau and Audréanne Filion.

Patrick's music has been presented at numerous festivals and concert series across the European, North American, Asia and Australasia, including, Gaudeamus Festival (NL), Festival Dag in de Branding (NL), November Music (NL), Rainy Days Festival (LU), Mittelfest and Mittelyoung Festival (IT), De Link Tilburg (NL), Lilium SoundArt (IT), Sundays at The Hugh Lane Gallery (IE), AżTak Festival (PL), New Music Now NL's Dag van de Componist (NL), Click Fest (US), Sounding Here (NL), Kirkos Ensemble's Biosphere Festival (IE), Union Musicale (IT), Mainly Slow Organ Music (UK), Kammer Klang (UK), the Frequency Series Chicago (US), Ideas of Noise Festival (UK) and the Harmos Plural Festival (PT).

In 2024, Patrick was nominated for the Gaudeamus Award and in 2022, he was the Artist in Residence for the AMPA Fontys/De Link Residency programme in Tilburg, The Netherlands. He has also been a part of the Psappha Composing For Piano Scheme in 2019-20, the 25th Edition of Orkest de Erepijs’ Young Composers Meeting and Kathryn Williams' innovative Coming Up for Air Project.

His music has been broadcast on Dutch radio stations, including NPO Radio 4, NPO Klassiek, Concertzender,and Stranded FM, as well as on the US station WCNY, and has been featured on releases from Birmingham Record Company and Huddersfield Contemporary Records.

Patrick is also the artistic director of Open Union, an electric guitar and modular synth duo with composer-performer colleague Peter Bell. Described by the treasured composer Howard Skempton as being 'sometimes subtle and unstable; sometimes rich and dense', the duo aims to build up strong collaborative relationships to create new works. Their current collaborators are Christine Cornwell, Wilson Leywantono, May Chi, Paolo Griffin and Seán Clancy. The duo have performed across the UK at events such as Ealing Extranormal, AMOK, Don't Mind Control, Birmingham Modular Organisation and CODA Festival. In 2025, they co-hosted a portrait concert with saxophonist David Zucchi featuring music by Paolo Griffin at the Hundred Years Gallery; earlier in the year, they supported Passepartout Duo at Centrala Space, Birmingham as part of their UK Tour, and in 2023, undertook a mini tour of The Netherlands as part of the Sounding Here concert series, where they performed at Splendor in Amsterdam and Batavierhuis in Rotterdam.

Alongside composing and performing, Patrick works as the creative director of PRXLUDES, an online contemporary music magazine, platform, and resource dedicated to the promotion of the work of emerging and early-career composers. Together, with the artistic director Zygmund de Somogyi and a team of contributors, they have written about over 125 composers, ensembles and music organisations from the UK and abroad. In 2025, they began hosting events, presenting Alex Groves' DANCE SUITE (performed by Zubin Kanga) as part of PRS Foundation New Music Biennial 2025. Recently, PRXLUDES have been awarded a multi-year partnership with The Hinrichsen Foundation in order to help platform emerging and early-career composers through a series of concerts, conversations, and commissions throughout the UK from 2025 to 2028.

He holds a Masters degree in composition from the Koninklijk Conservatorium Den Haag (Royal Conservatoire of The Hague) and a Bachelor's degree from the Royal Birmingham Conservatoire. His principal tutors have included Martijn Padding, Guus Janssen, Andrew Hamilton, Seán Clancy, Ed Bennett, Howard Skempton and Michael Wolters.

Composer and pianist Art Vavich (he/they) got his start in music at age nine, when his first music teacher told the class about a free notation program and he was the only one who cared enough to try it out. His compositional work focuses on enriching people's lives through art, whether that be through a fun toe-tapping tune or am introspective work. Vavich’s current repertoire largely consists of traditional chamber music but they have also created works with handbells, actors, and electronics. In the future, Vavich would love to create more music that blurs the lines between classical and popular, in addition to creating explicitly queer works.

In 2022 Alice Codieck of the First United Methodist Church (FUMC) in Nacogdoches, TX commissioned Vavich to write a solo handbell and piano arrangement of a traditional hymn. The resulting work “The King Shall Come” was performed twice that same year: It was premiered at FUMC by Codieck and pianist Andrew Par and then performed at Vavich’s senior recital, this time by Codieck and Vavich. That same year Vavich also collaborated with actor Maggie Jordan to write Beyond the Grave, a work for actor and piano that tells a story through four poems by Thomas Hardy. It was premiered shortly after its creation at the show Stories of Fantasy and Tragedy in Nacogdoches by Jordan and Vavich, then subsequently performed by the pair at Vavich's senior recital.

As a pianist, Vavich has experience in solo performance, jazz band, and collaborative piano. He has helped to premiere many newly composed chamber and choral works, including larger chamber works such as one written for Pierrot ensemble. Vavich was also the pianist for the Alvin Community College Jazz Band for two and a half years and their band played in both the 2017 and 2018 Gulf Coast Intercollegiate Consortium (GCIC) jazz festivals. In his role as a collaborative pianist, Vavich has played for the funeral services of Catholic and Baptist churches and accompanied solo vocalists in both classical and jazz works.

Vavich got their BA in Composition at Stephen F Austin State University studying with composers Dr Stephen Lias and Robert J Coe. Previously, they studied composition independently with Dr Chad Robinson for two years, founder of the non-profit Texas New Music Ensemble (TNME), which Vavich also worked for during their studies. Vavich also got his AA in Piano Performance at Alvin Community College studying with composer and jazz pianist Dr Stephen Termini and pianist Carol Holst.

Quinn Gutman is known for using music and interdisciplinary collaboration to collectively send a message to an audience. Almost all their music tells a story or conveys a physical or emotional setting through onomatopoeia and theatrical direction executed by the musicians.

Quinn has worked with leading ensembles including the Mivos Quartet, Loadbang Ensemble, EnsembleNewSRQ, the JACK Quartet, SŌ Percussion, and Yarn/Wire. They are currently working on a commission for Cathartic Conundrum setting T. S. Elliot’s The Love Song of Alfred J. Prufrock to music and spoken word. 

As a soprano and has performed in some of their own compositions, including their A Cappella Arias and Humanity: The Experience and Development Thereof. They have also performed in Amid the Noise by Jason Treuning, Arboritum by Robert Morris and the premiere of String Quartet by Daniel Gostelow.

Quinn holds a Bachelor of Music in Composition from the Oberlin Conservatory of Music, where they studied with Lewis Nielson and Josh Levine. Other teachers include; composition/electronic music — Aaron Helgeson, Tom Lopez, Joo Wan Park, Sam Pluta, Sky Macklay, and Craig Levesque; voice — Perri Montane, Nicole Levesque, Tracy Chebra and Danielle Sinclair; art/video — Donald Harvey, Sam Pluta, and Susan Bleignier.

Popular tracks tagged #fixed electronics