“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)

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.

New York City-based, JUNO-nominated composer Haralabos [Harry] Stafylakis (b. 1982) hails from Montreal, Canada. "Dreamy yet rhythmic" (NY Times), with a “terrible luminosity” and “ferociously expressive” (Times Colonist), his concert music is “an amalgamation of the classical music tradition and the soul and grime of heavy metal” (I Care If You Listen). With an intimate background in progressive metal and traditional Greek music, Stafylakis has developed a unique conception of musical temporality and rhythm, infusing his compositions with a propulsive vitality that “favors doomsday chords and jackhammer rhythms” (The New Yorker).

Since 2016, Stafylakis is the Winnipeg Symphony Orchestra's Composer-In-Residence and Co-Curator of the WSO's Winnipeg New Music Festival. His works have been performed by orchestras including the Toronto, Vancouver, Winnipeg, Edmonton, Ottawa, Regina, Québec, Victoria, PEI, Spokane, Stamford, Longueuil, FSU, and Greek Youth Symphony Orchestras, Norwegian Radio Orchestra, American Composers Orchestra, Orchestre Classique de Montréal, and Israel Chamber Orchestra. 

He has collaborated with artists and ensembles including Animals As Leaders, Dame Evelyn Glennie, Roomful of Teeth, JACK Quartet, Bent Knee, Decoda Ensemble, ShoutHouse, Raphael Weinroth-Browne, Contemporaneous, Vicky Chow, Hard Rubber Orchestra, Alexandre Da Costa, and Philippe Sly, among others. 

His works have been featured at venues and festivals around the world, including Carnegie Hall and the NY Philharmonic Biennial. In 2018–19 he collaborated with progressive metal pioneers Animals As Leaders on the symphonic adaptation of their music for metal band & orchestra, and in 2020–21 collaborated with Courtney Swain and members of Bent Knee and ShoutHouse on the prog metal & chamber music fusion dontwaitforme. Hard Rubber Orchestra’s 2022 album Iguana earned Stafylakis a JUNO nomination for his metal–big band fusion composition Source Code, featuring the composer on guitars.

Recent recordings featuring his music include albums by the Norwegian Radio Orchestra & Miguel Harth-Bedoya (Naxos), Jenny Lin (Sono Luminus), the Cicchillitti-Cowan Duo (Analekta), Patrick Kearney (Contrastes), and the Hard Rubber Orchestra (Redshift).

His music has been recognized with the Charles Ives Fellowship from the American Academy of Arts and Letters, ASCAP’s Leonard Bernstein Award, SOCAN’s Classical Composer of the Year Award, four SOCAN Foundation Awards for Young Composers, and grants from the Canada Council for the Arts, New York State Council on the Arts, Lower Manhattan Cultural Council, FACTOR, SSHRC, and New Music USA. He serves on the board of directors of GroundSwell (Winnipeg), is an Associate Composer of the Canadian Music Centre, and a founding member of the NYC composer collective ICEBERG New Music.

Stafylakis holds degrees from McGill University and The Graduate Center, City University of New York. He lectures at the City College of New York (CUNY) and Purchase College Conservatory of Music (SUNY), and is a guest lecturer at Nazareth College in Rochester, NY. His research examines the conception of rhythm and meter in progressive metal.

www.hstafylakis.com


current as of Apr. 9, 2023

Brief Biography: 
Composer Charles McGraw has accomplished many things in life, some of which even involve music.

Roeland luyten (Leuven, Belgium, 1977). By watching science-fiction and horror movies as a young boy he comes for the first time in contact with electroacoustic sounds. At the age of 8 he starts to study flute at the music academy in Louvain. During high school, he learns to play the electric guitar as an autodidact and starts to experiment with effects pedals. During his study of classical flute at the Royal Conservatory of Antwerp, he finds his real passion in the studio for composition of electroacoustic music with Joris de Laet. Since then Roeland composes regularly new pieces and works as a composer and sound engineer along with various theatre and dance productions in Belgium and abroad. His music is played and has recieved prizes throughout the whole world.


Wunderkind for toy piano and computer (2011-2012)

Timothy Roy