Electroacoustic

Metagestos

Rewind (for violin, cello, piano, and percussion)

8-channel surround piece (stereo reduction)

Cisterna II was composed from recordings I made in the small town of Guanacaste, located high in the mountains of southern Honduras. When I visited in 2013, I was amazed by a giant cistern that sits on the mountain just outside of the village. Despite this, the residents of Guanacaste had infrequent access to clean water because the pipes had deteriorated and the town is very remote and difficult to access. Fortunately, a volunteer project rebuilt the pipe system and reconnected the community to the cistern in the years following my visit.

Many of the sounds in this piece – including interviews with residents about their relationship to water, local livestock, and the constant bachata music on the local radio – are convolved with the sound of the cistern's interior, its resonance captured by dropping a microphone in the open pipe that was eventually reconnected to the village.

A live performance version of this piece was premiered in Paris in 2014 as part of the IRCAM Manifeste festival, and recomposed for premiere at the DIFFUSION festival in Baltimore in 2021.

Cisterna II

NOTE: For best experience, listen with headphones!

Hope Cowan, harp

“dans les dents de la guivre” is the opening movement of Valentina V., an extended monodrama for harp, multichannel electroacoustic sound, video, and lighting. In this work, the harpist adopts the persona of a historical figure: 14th-century noblewoman Valentina Visconti, whose life ended in tragedy and exile. Cast in five movements, Valentina V. presents an imagined scene near the end of Valentina’s life in which she is confined to her chamber with only her precious harp to confide in. Musical materials are in part derived from Jacob de Senleches’s song “La harpe de melodie,” which he likely composed as a gift for Valentina to sing and play herself. The music of “La harpe” is at times referenced directly; at other times, it emerges in a fragmented or distorted form, representing Valentina’s reminiscences as they are filtered through her fractured psyche.

Drawn from Victor Hugo’s poem “Canaris,” the opening movement’s title “dans les dents de la guivre” (“in the teeth of the viper”) refers to the Visconti family’s coat of arms: a serpentine creature devouring an infant. This horrifying image symbolized the Visconti’s despotic stranglehold over the city of Milan and was depicted in every building, manuscript, and work of art they commissioned. “dans les dents de la guivre” intersperses fragments of “La harpe de melodie” with sounds imitative of the mythical serpent, engendering a feeling of trepidation, anxiety, and suffocation.

"dans les dents de la guivre" was awarded First Prize in the Salvatore Martirano Memorial Composition Award (2022), First Prize in the ASCAP/SEAMUS Student Commissioning Program (2023), and an Honorable Mention in the Giga-Hertz Production Prize from Zentrum für Kunst und Medien, Karlsruhe.

For more information:
www.timothyroymusic.com/valentina-v.html

dans les dents de la guivre (BINAURAL) — 2021

Textures Arc The Points is dedicated to my late teacher Mark Chambers, who was a great composer that often introspect about music. Thank you for introducing me to the world of “Spectra and Pixies” and the world of electronics

Textures Arc The Points was commissioned by the Debris Project; utilizing sound solely from their database.

Engulfed by the many points, as these materials conglomerate within the plane 
Matter as figurative and external

Conglomerates veil the arcs

Meandering through the flow, at times with extreme exaggeration Flow that is never the same
As flow is made up of impermanent elements

Cyclic material that occurs “once”; an ephemeral quality 
Often unfair

Endure with an inner rhythm of
Textures of a phantom-like movement
Veiled by the engulfment of the points

We endure through perception of, not form, but rather

Yielding the flow
And respond to the “through” material

Textures Arc The Points

Please note: This recording is in a binaural stereo format, which simulates surround sound. For the best experience, please listen using headphones.

"Brompton & Braeswood" is an acousmatic piece inspired by my personal experience living through Hurricane Harvey. The title derives from the intersection where my wife and I were living at the time, along Brays Bayou in Houston. Central to my piece is a library of field recordings I captured at that intersection and along the bayou in the days immediately prior to Harvey making landfall. In composing "Brompton & Braeswood," I sought to present a series of vignettes of contrasting mood and representation. The piece’s opening presents the imagery and emotion of a violent storm. The storm is initially heard directly, then — after a door slams shut — from the perspective of someone taking shelter. The piece’s second vignette depicts the gentle but unrelenting, oppressive rainfall that accompanied the hurricane, and there is a marked shift in the music which draws the listener inward toward a place of introspection. At the time Harvey struck Houston, I had just arrived home from the hospital to recover from a major surgery, following a long period of illness. "Brompton & Braeswood" draws on my contemporaneous thoughts and feelings: those of intense worry and gloom, but also of optimism that my health would improve.

Aside from field recordings, other sound materials include noisy tones synthesized in Max/MSP, pitched wood, and piano and guitar samples. Sound was spatialized using higher-order ambisonic encoding.

"Brompton & Braeswood" was commissioned by New Music on the Bayou.

Brompton & Braeswood (2023) — BINAURAL

The musical inspiration for this piece comes from my fascination with the murals of the Mogao Caves in Dunhuang, China. The artwork famously depicts musicians performing while dancing and flying though the air. One image – that of a woman playing pipa behind her back – is so iconic that many Chinese dancers train in order to recreate her graceful pose. Behind the Back alludes to the ceremonial atmosphere of the Mogao murals while imagining the sort of music provided by the acrobatic women depicted within – a music which incorporates passages suggestive of dance and aerial maneuvers. Also present are oblique references to Jimi Hendrix, a consummate virtuoso who was known to play guitar with the instrument slung behind his back. At all times, the virtuosity and lyricism of the pipa is the focal point.

Recording: Ying-Chun Chen, pipa

Behind the Back was commissioned by The Little Giant Chinese Chamber Orchestra and premiered by Su Yun-Han on June 26, 2016, at the National Theater of Taiwan in Taipei.

Behind the Back (2016)

Episode 56 of ADJ•ective New Music's podcast, Lexical Tones. Robert McClure interviews Indian-American composer Asha Srinivasan.
http://www.twocomposers.org/asha/about.php

Visit www.adjectivenewmusic.com for more information about ADJ•ective New Music, the ADJ•ective Composers' Collective, and Lexical Tones.

56 - Asha Srinivasan

An exceptional studio recording, by STELLAR violinist Yu-Fang Chen, of a piece written in Rome in 1989, as the Berlin wall was falling and Eastern Europe was experiencing a newfound freedom.  The opening and closing sections reflect the folk sound of these countries, while the scherzo-like middle section reflects the energy and optimism of a new era.

Soggiorno (for Violin And Fixed Media)

“Wunderkind” is a well-known German term historically applied to a person who possesses an extraordinary talent or brilliance (particularly musical) at an early age.  The creative impetus for this work was the desire to explore the intellectual workings of a developing child prodigy, the electronic component used to expand the palette of such a restricted instrument while representing the mind’s ear of the child.  All of the sounds in the fixed media were created by recording and processing my own toy piano.  I did in fact sit on the six-inch-high bench while doing so.

"Wunderkind" was awarded First Prize in the 2013 Prix Destellos, mixed media category (Mar del Plata, Argentina)
http://fundestellos.org/pageone.htm

Wunderkind for toy piano and computer (2011-2012)

and the surrounding area combines recordings of idyllic scenes of suburban life with analog synthesis. Recorded and combined using ambisonics, the two worlds interrupt, augment, and ultimately melt into one another. Thus, the ‘surrounding area’ is both a literal description of the source material as well as a metaphor for how the two sound worlds are combined.

and the surrounding area (stereo version)

Excellent recording by Griffin Campbell, saxophone (Baton Rouge, LA). Originally written for saxophonist John Sampen, with an equally fine  recording on AMP records, released in in 2015.

Once Again To The Light - Griffin Campbell, Saxophone

For four-hands, one piano.  Commissioned by Benjamin Krause for the Four Hands Project.  Benjamin Krause and Linda Angkasa, piano.  

in medias res

TIMOTHY ROY (b. 1987, Nederland, Texas) composes music steeped in imagery and allusion, which seeks to elicit a sense of time, place, and feeling. With an output that encompasses works for acoustic instruments, electronic sound, and the intersection of these two realms, Roy endeavors to explore a broad range of mediums and contexts in which his work might be experienced.
 
Engagement with other disciplines of study is the lifeblood of Roy's creative practice. Recent projects have involved cooperation with practitioners in fields as varied as medieval and religious studies, ecology, dance, and film. His current slate of projects includes an ambisonic fixed media work, commissioned by ASCAP/SEAMUS and an orchestral work for the Shepherd Symphony Orchestra at Rice University.  
 
Roy’s music has been heard in concerts across the United States and twenty countries abroad, with performances by Ensemble Signal, Illinois Modern Ensemble, the Little Giant Chinese Chamber Orchestra, the Saint Louis Chamber Chorus, Loop38, violinist Sayako Kusaka, and pianists Keith Kirchoff, Adam Marks, Stacey Barelos, and Xenia Pestova. His music has been presented at such venues and events as the National Theater of Taipei, Music Biennale Zagreb, ZKM Karlsruhe, Ars Electronica, Birmingham ElectroAcoustic Sound Theatre (BEAST), Sonosfera Theatre (Pesaro, Italy), the DiMenna Center (NYC), San Francisco Tape Music Festival, Seoul International Computer Music Festival, Florida State University Festival of New Music, Bowling Green New Music Festival, June in Buffalo, Toronto Electroacoustic Symposium, Sonorities Festival Belfast, International Computer Music Festival (ICMC), Center of Cypriot Composers, Society for Electro-Acoustic Music in the United States (SEAMUS) National Conference, Electronic Music Midwest, and the International Electroacoustic Music Festival of Chile, “Ai-maako.”
 
In 2024, Roy received an Honorable Mention in the McKnight Composer Fellowship awards from American Composers Forum. He has also received awards and recognition from the Salvatore Martirano Memorial Composition Award (First Prize, 2022), ASCAP/SEAMUS Student Commission Award (First Prize, 2023; Finalist, 2018), Robert Avalon International Competition for Composers (First Prize in Professional Division, 2023), Giga-Hertz Production Prize (Honorable Mention, 2022), Prix CIME from the International Confederation of Electroacoustic Music (Distinction, 2023), Musicworks Electronic Music Composition Contest (Second Prize, 2023), New Music on the Bayou (2021 Black Bayou Composition Award), Sigma Alpha Iota Inter-American Music Awards (Winner, 2015), the International Competition of Electroacoustic Composition “Prix Destellos” (First Prize, 2013; Honorary Mention, 2019), Musicacoustica-Beijing Composition Competition (First Prize, student mixed media category, 2012), the First International Jean Sibelius Composition Competition (Finalist, 2015), the International Composition Competition “Città di Udine” (Finalist, 2012), and the I-Park Foundation (Resident Artist, 2018).
 
His work "Behind the Back" for pipa and electronics appears on Crossings: Contemporary Music for Chinese Instruments, The Little Giant Chinese Chamber Orchestra’s debut album with Albany Records. His "Salve Regina" for chorus is published by Edition Peters.

He frequently collaborates with musicians to present works for instruments and electronics. In July 2021, he worked closely with Steven Takasugi to produce two portrait concerts of his works for amplified instruments and electronics during the Twin Cities New Music Festival. Other notable collaborations include performance of electronics for Kate Soper's Voices from the Killing Jar and for the North American premiere of Unsuk Chin's "Double Bind?" for violin and 8-channel audio, using proprietary motion-tracking sensors and software from Ircam.

He was a visiting faculty member at Western Michigan University during the 2018–2019 academic year, where he taught private composition lessons, undergraduate theory, and graduate seminars in musical form and the aesthetics of electroacoustic music. He previously taught at MidAmerica Nazarene University in Olathe, Kansas.
 
Roy and his wife currently reside in Saint Paul, Minnesota, where he is choirmaster and organist at the Church of Saint Peter Roman Catholic Community. He is completing a doctorate at Rice University’s Shepherd School of Music; there, he taught electronic music, theory, and composition, and served for three years as the Teaching Fellow for the Rice Electroacoustic Music Labs (REMLABS). His teachers have been Kurt Stallmann, Pierre Jalbert, Karim Al-Zand, James Mobberley, Chen Yi, Paul Rudy, Kevin Hanlon, Simon Sargon, and Martin Sweidel.

Brompton & Braeswood (2023) — BINAURAL

Timothy Roy

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