Written for amplified Kingma System bass flute and fixed media electronics, the essence of this composition is the expression of the human psyche constantly pondering over the significance of existence, searching for purpose and meaning in life and the act of living. Serving as the backdrop is the unmistakeable sound of breathing. Yet, while we all acknowledge the function of breathing as being essential to life, rarely do we pause to truly listen to it.

For The Sake of Being

Severe Thunderstorm Warning

Program Notes:

Severe Thunderstorm Warning (2021) was created in response to my observations of the general public’s lack of acknowledgment of the warnings for severe thunderstorm activity issued by the National Weather Service. This piece, composed entirely of audio radio from such warnings broadcasted via a NOAA weather radio, was designed to convey the many hazards and threats contained within these sudden thunderstorm events and enhance awareness of the actions that must be taken in order to minimize the impact to life and property. From my experience, individuals tend to find tornado warnings as far more significant when the threats contained within a severe thunderstorm can be equally as destructive and over a far larger area. To convey the message that tornados can be hidden within a severe thunderstorm without the specific “tornado warning” being issued, one can hear bits of mention of a tornado within the static and vocal cacophony of the final severe thunderstorm alter announcement.
This piece contains severe thunderstorm warning alerts mostly from the Western side of Michigan, thus the locations mentioned in the audio will be most familiar to those living on the lower West side of the state. Only the audio used from NOAA weather radio announcements was used in the creation of this piece.

Performance Notes

Severe Thunderstorm Warning is intended for performance in any venue on loudspeakers. For added impact, play the piece during the spring, summer or whenever your region is most likely to be impacted by severe weather.

Fixed media piece for NOAA Weather Radio recorded sounds with processing

Composed by: Weston M-A Bernath

Severe Thunderstorm Warning (2021)

Dr. Brad Meyer, percussion

"clear and calm pools of tremendous depth" is a phrase I found in the park map of Yellowstone National Park describing the park’s signature hot springs. When visiting the springs, I was struck by the vivid turquoise color of the water and how deep these springs went down; seeing the surface triggered my imagination about what the channel looked deeper into the earth. This piece depicts submerging oneself into the clear blue spring and sinking down into the bottom, hundreds or thousands of feet down. Improvisatory percussion grooves and gestures integrate freely with samples from hot springs, boiling water, mysterious, unidentified deep ocean sounds, and other found sounds from the park.

Video available here: https://www.youtube.com/watch?v=VHQl2Yn_x8Q

clear and calm pools of tremendous depth

Szu-An Chen: Gemini for Piano and Fixed Electronic (2022)
ੈ✩‧₊˚

Program Note:

Sometimes, my thoughts jump around so rapidly that the body (or mouth) can't keep up. However, just when I am struggling to articulate one idea, another new thought unintentionally appears. It is disturbing.

In this piece, I used a piano and fixed electronics to simulate this phenomenon. The piano represents the body, and the fixed electronics represent jumping thoughts. At first, the two played the same material at the same time, but then the electronic sound went off track, becoming more and more staggered and finally gradually losing control...

Gemini for Piano and Fixed Electronic (2022)

I made this binaural piece using 5th Order Ambisonics format. The sound material was mostly borrowed from Ableton’s Operator synthesizer. 

Debris（binaural ver.）

Debris (stereo ver.)

Progetto di musica concreta, giocato (anche) sulla ripetizione ossessiva di camkpioni.
La parte strumentale, loops e droni,  è creata da Reaktor (Korrell ens.) 
Esempio paradossale di incomunicabilità in questa epoca di immediatezza, le voci registrate rappresntano quasi un grido di aiuto, perse nello spazio e nella totale anonimità..

A piece of concrete music, born (also) from the hypnotic persistence of repeating fragments.
Its instrumental  texture—loops and drones—unfolds through Reaktor (Korrell ensemble).
In an age that claims immediacy, it becomes a riddle of absence: voices suspended, neither near nor far, calling into somewhere—perhaps nowhere—until they fade into a quiet without name.

Hey IT's ME EES

The title NEuripides merges “Neuron” and “Euripides,” reflecting both the technical method behind the composition and its aesthetic resonance. The piece is generated using an artificial neural network composed of four neurons - a minimal AI system that produces layered sonic gestures throughout the training process. These gestures, often repetitive and evolving, evoke the presence of an ancient Greek chorus: collective, ritualistic, and emotionally charged.

At the same time, the textures and timbres of NEuripides are deeply rooted in the contemporary world. They echo the spectral fragments that define our current sonic environment - from urban infrastructure to data flows and media noise. In this way, NEuripides becomes a dialogue between ancient voice and artificial system, memory and code, evoking how the echoes of the past can still speak through the networks of today.

NEuripides was first performed as a 4-channel fixed media work in Hannover Musik Hochschule in Kammermusiksaal Uhlemeyerstr as part of the exchange program between MIAM and HMTMH. 28/06/2025, 7:30pm.


NEuripides, for 4-channel fixed media (2025)

In TrajSynth, created for 32-channel diffusion, I explore the use of artificial intelligence as a generative tool - not for producing entire sound materials directly, but for sonifying the dynamic numerical processes that AI methods inherently generate. These constantly evolving numbers, often ignored in mainstream AI-music platforms, carry a latent energy that I find highly effective for sound creation. Rather than relying on ready-made platforms, I focus on tapping into the internal workings of AI – extracting numerical data from within neural networks or training loops - and translating tha...

Special Thanks To Jean Voguet, for giving me the opportunity to work on CRANE lab's 32.2 volumiphonic device in 06/07/2025 and for inviting me to participate in his Curated By series on Sounding Future. And to Fränk Zimmer, for organizing the project and guiding us through the process, offering the opportunity to present our works on the Sounding Future platform for 3D Audio Space.

TrajSynth, for 32-channel fixed media (stereo version) (2025)

String Quartet with live electronics and fixed media. Performed in Warsaw on Jan. 19th 2025.

silence unleashed

Martin Evans is a UK-based pianist and composer. Having started his musical career as a session musician (pianist and arranger), Martin’s focus is now on composing in a variety of genres and include choral, instrumental, chamber, and orchestral pieces, some incorporating fixed media electronics.

Notable composition achievements include his setting of 'Sir Christemas' for SATB voices and piano which made it to the final selection of the BBC Radio 3 Carol Competition 2017. This led to a recording of the piece performed by the BBC Singers, broadcast on Radio 3: https://www.bbc.co.uk/sounds/play/p05qrtyc

More recently, he was a finalist in the Charles Wood Composition Competition (2024), shortlisted in the Sir David Wilcocks Carol Competition (2023) and twice recognised in the Japan International Choral Composition Competition (2022 and 2024).

He is a fervent advocate for live music and performance art.

polish composer born in 1994 in Ełk. He has learned to play violin and piano since his early childhood. In 2013-2018 he studied Film Studies and Media Culture at the Adam Mickiewicz University in Poznań, Poland. In 2022 he has completed Postgraduate Studies of Composition in the class of Rafał Janiak at the Fryderyk Chopin University of Music in Warsaw. His musical interests cover mainly symphonic music. Currently, he has been working on his debut album consisting of chamber pieces.

Music Theorist - Composer - Arranger - Audiophile - Teacher - Multidisciplinary Enthusiast

Ben Morris is a composer whose music tells unconventional stories and crosses genre boundaries. He is Assistant Professor of Composition at Stephen F. Austin State University.

How can form  evolve under a nowadays psychological framework? Is it more difficult to compose long or short pieces and is there any morality in it that serves as a proof of the composer’s skills? My musical interests are focused on a personal composition method that started from my late integrated masters years in Thessaloniki and which eventually was the subject of my PhD research in York. It used to serve as a preliminary stage for an instrumental composition; however, since 2017 the “Selective Subtraction of tone and rhythmic material” composition technique serves as a tool to create but mostly to sculpt the tone and rhythmic material of the instruments that will interweave with the electronics. As its name signifies it is based on a subtractionprocess that gives a certain amount of material. This material forms the basis for an evolutionary process where finally, all these elements are combined in order to give the final piece. Under the scope of electronics it incorporates computational methods like Csound software, Ableton Live and MaxMasp (Sound Synthesis private patch library) in the direction of finding new ways of pattern development and thus evolution of the form.

For examples of the Selective Subtraction of tone and rhythmic material” composition technique enter here: https://www.dropbox.com/sh/alutmo3h0ue30ec/AAC-LmZExoUMBr6lVgabz1YOa?dl=0

Sound Synthesis private maxmsp library: https://1drv.ms/u/s!AvxYMmv9_S-sgfRtKB-Vq4t2l1PE_g?e=o8BN6A 

PhD thesis: http://etheses.whiterose.ac.uk/20111/
Website: https://manolisekmektsoglousite.wordpress.com/
email: ekmektsoglou8@gmail.com 

BIOGRAPHICAL SKETCH

Manolis Ekmektsoglou studied composition in the Aristotle University of Thessaloniki, Greece with Dimitri Papageorgiou and in the University of York (PhD) with Thomas Simaku. He also spend a year in Hannover studying acoustic and electronic music (Hochschule für Musik, Theater und Medien Hannover), with Professors Ming Tsao, Gordon Williamson and Joachim Heintz. He is currently Assistant Professor of Acoustic and Acousmatic composition in the Technical University of Istanbul, Department of Sonic Arts, Center for advanced study in Music (M.I.A.M.).

Manolis participated in the “Labor Beethoven 2017-2020” project, funded and organized by the Berlin Academy of the Arts. The project comprised participants from Basel, Tel-Aviv and Thessaloniki. This intensive 4-year period included commissions and performances from various ensembles in Germany and Switzerland and culminated in a final performance that took place in Berlin in 12-13/04/2020. For more info enter here: https://www.labor-beethoven-2020.de/de, and for the final output: In Love…, for voice, ensemble and mixed media https://www.youtube.com/watch?v=ORJfUvJ0iUo, Circus Story: Taming the animals, for alto saxophone, percussion and fixed media https://www.youtube.com/watch?v=EhBiIEBGrY4

His pieces have been performed in Greece (DissonArt ensemble, New Hellenic Quartet, Off Borders Festival for electronic music in Thessaloniki, Music in Motion festival for dance and music, Athens), Germany (Neues Vocalsolisten Stuttgart, Earth, Sky, Space festival, Hitzacker Musiktage 2018), Italy (Soundiff project), Hong Kong (AMGA ensemble), Spain (ensemble Regards Mixtur festival 2016), Austria (NAMES ensemble, Synaesthesis ensemble, Crossroads festival), Iran (International Electronic Music Festival, Reza Korourian Awards 2017), and the UK (Kinetic nights festival, Manchester, Andersson – Gallois – De Saram trio, Diotima Quartet, Psappha ensemble). Upcoming activities comprise performance of the existing work Ripping…having…standing…oben!!, for ensemble in Versipel New Music festival, Louisiana (postponed for 2021 due to pandemics) and a premiere of a work specifically written for MISE-EN festival, New York (postponed for 2021 due to pandemics). 

For a detailed CV follow this link: https://www.dropbox.com/s/hprdtba1p9plqhj/CV.pdf?dl=0

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https://linktr.ee/Yuting_Wu

New tracks tagged #fixed media