composer, percussionist, and improviser
---
please consider supporting my channel by buying me a coffee:
https://ko-fi.com/dtlewismusic
---
Website: https://www.danieltlewis.com
Twitter: https://twitter.com/dtlewismusic
YouTube: https://www.youtube.com/channel/UCSXYIX2HyPA2xyQTkNg5aOg

The Honourable Elizabeth A. Baker is a new renaissance artist whose work is best expressed as a constantly evolving practice that doesn’t fit neatly into definition or expectation boxes. It is an artistic body of work vast in scope and scale outside of the confines of a simple elevator pitch, unrestrained and unencapsulated.
In recent years, Elizabeth’s commitment to pushing herself and the scope of her work has manifested as a deeply in-depth and time intensive process of creating pieces that involve new systems of notation from time-cones to video scores as well as creating new virtual instruments based on original samples from archives and field recordings collected by Elizabeth both nationally and internationally. Building the virtual instruments and backend of these notation systems to create new works for herself and others can take upwards of 30 to 100 hours.
Within her role as sonic practice artist, Elizabeth performs on a system instrument an extensive and evolving setup, lovingly referred to as “The Spaceship” includes a variety of semi-modular analogue synths, interactive MIDI controllers driven by movement and light, theremins, multiple computers and mobile devices, found objects, toy piano, harmonium, handmade hydrophones, as well as a 6’ 2” custom double-sided third-bridge non-resonant amplified zither designed and built by experimental luthier John C. L. Jansen, named “Black Moon Lilith.”
Elizabeth’s practice also extends into the visual aspects both still and moving her works on canvas have been displayed in galleries as well as being enjoyed by collectors across the United States, while her film works have been featured in international festivals such as Women of the Lens (UK) and African Smartphone International Film Festival (Nigeria). Her video series FIELD STUDIES and AGGRESSIVE PILLOW TALK, which explores the nature of humans and their structures as an equal part of the cosmic ecosystem have been awarded grants from the State of Florida and was the subject of her research as a 2021-2022 Harvard Radcliffe Institute Fellow.
Innovation and expression of ideas that cause people to think and listen deeply has placed Elizabeth at the forefront of discussion about humanity, the impact of art, mental health in the artistic community, as well as dismantling hierarchy in artistic presentation and society as a whole unit. Elizabeth’s work has been studied by scholars across the globe, recognised by press, highly sought after by performers, and been a life-changing experience for collectives of people from a wide range of backgrounds.
Whilst Elizabeth assigns no specific human narrative to the majority of her work and notably mentions that all beings experience her work through the lens of their own backgrounds and physiological capacity, she challenges the receiver of her work to consider… “all things exist and have their own essence outside of human definition… what does our interaction with the world around us look like if we remove ourselves from the narrative center?”
Fanfare Magazine and I Care If You Listen (.com) have both proclaimed The Honourable Elizabeth A. Baker as “the Pauline Oliveros of her generation.”

Black Sheep Contemporary Ensemble is an innovative new music group based out of Boston. Focused on collaboration, the ensemble works to redefine the boundaries between different artistic disciplines while engaging all types of audiences. 

Over the past four years, the ensemble has worked with visual artists, dancers and choreographers to create new works. As a result of performing in unique spaces such as art galleries, Black Sheep has brought new music to an atypical audience. Working with choreographer Micheline Wu, the ensemble discovered new possibilities for performing music and movement simultaneously. To further cross disciplines, many pieces composed by members of the group have incorporated works of visual art, such as Caroline Bagenal’s “Book of Hours” and her “Summer Palace”.

By performing pieces by living composers, Black Sheep aims to give repeat performances to already written works, as well as commissioning new ones. The ensemble maintains a Scores Database, accepting new or previously premiered works by composers worldwide. There is no cost to submit works, making it accessible to as many composers as possible with compensation given for selected pieces. With an unusual instrumentation, the group helps to commission pieces for instruments that are normally underrepresented in the Western chamber music world.

Engaging and educating the community about new music is one of Black Sheep’s main aspirations. BSCE has held several Community Outreach events, aimed at teaching children about graphic scores and improvisation. The ensemble’s weekly Black Sheep Live events hosted on Facebook explore and discuss works by different living composers. With no admission charged and a global reach, these events have been viewed by audiences who often find traditional concerts and lectures cost prohibitive or do not live in a metropolitan area.

composer, noise generator 

https://www.kelleysheehan.com/

Mark Frederick Thorvald Gurrola (b. 1993) is a musician from Lubbock, Texas. Drawing inspiration from text and other art mediums, his compositions often reflect or depict nonmusical subjects - such as recipes, puzzles, rituals, poetry, fables, and cats. Mark’s chamber, film, and electronic works have been performed across the United States, Europe, and Asia, and has been played by pianist Eunmi Ko, Yarn/Wire ensemble, and String Noise duo. He has participated in Dot the Line New Music Festival, Keep Composers Weird Residency, Yarn/Wire Institute, Breath Mark Retreat, Fusion Film Scoring Workshop, SCI Region XI Conference, Terroir New Music Series and Space City New Music Festival.

Being a multi-instrumentalist, Mark has performed on piano, trumpet, harp, accordion, and conducting. He has experience in a variety of genres - ranging from vernacular, Celtic, Balkan, and Ceili bands, to chamber ensembles, improvisational ensembles, jazz and Symphonic bands, Orchestras, and musicals. Mark has performed at the Keep Composers Weird 2019 Residency, and 2018 Yarn/Wire Institute.

Mark has a Master’s degree in Music Composition from the University of South Florida and a Bachelors in Music Composition from Texas Tech University. His principal composition teachers are Dr. Mei-Fang Lin, Dr. Baljinder Sekhon, Dr. Peter Fischer, and Mr. Paul Reller. Mark served as the 2017-2018 president and treasurer of the USF New Music Consortium. He is a member of the Society of Composers, Inc.

We are an ensemble dedicated to the performance of new music by living composers. We implement lesser known, sometimes self-made musical instruments and seek to encourage composers to write for such rarities as toy piano, theremin, music boxes and more. Currently, we have an ongoing project called #picturethis where we are asking both musicians and non-musicians alike to submit graphic scores for us to interpret. We hope this will bring forth more active participation and greater interest in new music. For info about this or our future concerts please email us at tatatensemble@gmail.com. Be sure to check us out at on Facebook and Instagram at #tatatensemble and #picturethisproject

Toychestral electronic pop with soulful vocals, handcrafted soundscapes, and enough instruments made with children in mind to rival a playpen.

Noah Jenkins is a composer and violinist/violist from Oregon, now living in Chicago. His music is inspired by tuning, field recordings, synthesizers, acoustic phenomena, and experiences of deep sound in deep time.

In 2022 Wild Up premiered Spirits Hover as part of the LA Phil’s Noon to Midnight festival. In 2023 Jenkins developed and premiered After Life (a 40-minute piece with original text for vocalist and ensemble) in Chicago with Après L’Histoire. In 2024 he released Without Persistent Environments (Sawyer Editions), an album of two electroacoustic trombone pieces recorded by Chicago trombonist and composer Riley Leitch. Peter Margasak (Bandcamp) praised the music’s “sustained lines awash in luxurious overtones” and its “focus on the dynamic interaction of sound drifting into eternity.”

In 2025 John Adams will conduct the LA Phil New Music Group in the premiere of Not a dream sound, but a sound which sleeping we had really heard, a work for string orchestra, keyboards, and antiphonal percussion, and ~Nois saxophone quartet and Varo String Quartet will premiere Poetics of Space Translation Symmetry in Chicago.

tatatensemble is following