• Daniel Adams

    Composer

    Daniel Adams (b. 1956, Miami FL) is a Professor of Music at Texas Southern University in Houston.  Adams holds a Doctor of Musical Arts (1985) from the University of Illinois at Urbana-Champaign, a Master of Music from the University of Miami (1981) and a Bachelor of Music from Louisiana State University (1978). He served as the College Music Society Board Member for Composition from 2015 through 2017. Adams is the composer of numerous published musical compositions and the author of many articles and reviews on topics related to 20th-century percussion music, music pedagogy, and the music of Texas.  His book entitled “The Solo Snare Drum” was published in 2000. He also contributed two entries published in 2009 in the Oxford Encyclopedia of African-American History: 1896 to the Present and has authored a revision of the Miami FL entry for the Grove Dictionary of American Music.

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  • Composer, Pianist

    A pianist who “can create whatever type of music he wants at the keyboard” (Chicago Sun-Times) and a composer who writes “with uncommon imagination” (Atlanta Journal-Constitution), James Adler’s extensive list of compositions is headed by Memento mori: An AIDS Requiem. A 75-minute for work for chorus, soloists, and orchestra, Memento mori has been performed worldwide since its 1996 premiere, and recorded by AmorArtis Chorale and Orchestra under the direction of Johannes Somary on Albany Records. Other works by Adler include the often-performed Carols of Splendour, which premiered at Carnegie Hall; It’s Gotta Be America, commissioned for the Centennial Celebration of the Statue of Liberty; and Canticle For Peace, written for the opening of the 43rd session of the United Nations General Assembly.

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  • Rebecka Sofia Ahvenniemi

    Composer

    To listen to Rebecka Sofia Ahvenniemi’s music is to become open to the possibility of hearing surprising things: in her work, and through her compositional methods, the familiar is made strange and the unfamiliar finds space to sound. One encounters quotations from music history (or are they imagined quotations?), as well as fragmented and invented languages. The listener is invited to explore the intimate and hidden, gestural and timbral qualities of sound. Working with scores, electronics, voices, and instruments, Ahvenniemi creates works that range from operatic and theatrical scenes to solo compositions.

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  • Composer

    Born in Trondheim 1952. The Music Conservatory of Bergen (now The Grieg Academy) 1969-1971 (Church musician, composition studies with Ketil Hvoslef). Royal College of Music in Stockholm 1971-1972 (composition studies with Ingvar Lidholm). Full time composer since 1974. Has written commissioned works for the large orchestras of the country, for choirs like Bergen Cathedral Choir and The Norwegian Soloists Choir, for chamber ensembles like the Oslo String Quartet and Grieg Trio, and for soloists like Geir Inge Lotsberg (violin), Arvid Engegård (Hardanger fiddle), Njål Vindenes (guitar), Jan Hovden (piano), Geir Draugsvoll (accordeon), Bjørn Ianke (double bass), Eirik Birkeland (bassoon), Øyvind Bjorå (violin), Willy Postma (harp), Jun Zhi Cui (Chinese harp), Nils Økland (Hardanger fiddle), Ellen Sejersted Bødtker (harps), Kåre Nordstoga (organ) and many others.

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  • Composer

    Douglas Anderson is a composer, conductor, educator, and producer who has been active in the New York area for 45 years.  He studied music and psychology at Columbia University, where his three degrees culminated in a doctorate in music composition in 1980.  His professional career began as a jazz musician at the age of 12, and he performed widely in the Eastern U.S. before moving to New York to attend college.  His work as a conductor has been his performance focus for the last several decades.

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  • Composer

    Thad Anderson (b. 1980) is a faculty member at the University of Central Florida where he has roles in the percussion, composition, and music technology fields. In addition to his teaching duties, he also oversees the Collide Contemporary Music Series and directs the UCF New Music Ensemble. Actively composing in instrumental, electronic, and multimedia genres, Anderson has composed pieces for the Omojo Percussion Duo, George Weremchuk, Grand Valley State University, Nora Lee Garcia, the Heisler/Yeh Duo, the Patterns Quartet, and Korry Friend. He frequently collaborates with immersive visual artist Diana Reichenbach and composed music for the award-winning documentary film Standard Deviation.

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  • Guitarist

    Composer and guitarist William Kentner Anderson began playing chamber music at the Tanglewood Festival at age 19. He later performed with the Metropolitan Opera Chamber Players, Chamber Music Society of Lincoln Center, NY Philharmonic, and many other NYC-based ensembles and organizations. Anderson was recently featured at the Festival Internacional Camarata 21 in Xalapa, Vera Cruz, Mexico, Ebb & Flow Arts in Maui, and Moderne Mandag in Copenhagen and was a member of the Theater Chamber Players, the resident ensemble at the Kennedy Center in Washington DC.

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  • Flutist

    Francesca Arnone is an active flute and piccolo soloist, chamber musician, and clinician.  An avid traveler, she enjoys pursuing this passion through music and has performed in Europe, Asia, and the Americas, in such venues as St. Martin-in-the-Fields, Royal Northern College of Music, Royal Conservatory of Madrid, Benedetto Marcello Conservatory in Venice, Split Academy of Music in Croatia, and the Chicago Public Library.

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  • Pianist

    Jeri-­Mae G. Astolfi is a Canadian-­born pianist whose playing has been lauded as “brilliant” (New Music Connoisseur), “persuasive” (Sequenza21), and “beautiful” (American Record Guide). Her repertoire, ranging from the Renaissance era through the present, clearly affirms her keen interest in new music, which has led her to commission and premiere many new solo and collaborative works—music that has been featured on live radio broadcasts and released by Albany Records, Innova Recordings, Ravello Records’ Capstone Collection, Ravello Records, as well as various recordings for the Society  of Composers Inc. Performers Recording Series.

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  • Composer

    Elizabeth R. Austin’s music is meticulous and complex, filled with movement, growth, and turning points. Not a bad description for her own life.” This quote, from an article in SCOPE (Winter, 2011) written by Michael K. Slayton, continues to be relevant to this octogenarian, whose focus on writing music has become even more intense!

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  • Composer

    Jonathan Badger is a guitarist, composer, and video artist. He studied composition with Stephen Jaffe, Scott Lindroth, and John Harbison at Duke University; he also studied Guitar Craft, a tradition founded and guided by Robert Fripp of King Crimson. Badger’s work ranges from postrock sludge to neobaroque chamber music, and includes compositions for solo piano, string quartet, and vocal ensembles. In his live solo performances his compositions and improvisations are rendered using a variety of electronic implements while maintaining the character of solo guitar.

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  • Composer

    Sidney started composing when he was 6. He learned species counterpoint when he was 10, and entered Juilliard when he was 15, studying composition with Hall Overton. He also studied with Roger Sessions and Otto Luening at Juilliard, with Darius Milhaud at Aspen, and with Charles Dodge at Columbia University. Over the past 10 years, his hearing has diminished rather severely. But with some creative programming of his hearing aids, he has continued composing, and today is at the top of his creative powers.

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  • Composer

    Throughout his career, composer ROBERT BAKSA has steadfastly re­sisted jumping on the bandwagon of musical fads or academic trends, choos­ing instead to pursue a personal vision of his own by speaking through a musi­cal voice that combines the linear clarity and architectural shape of the classical era with a distinctly American and con­temporary sensibility. 

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  • Composer

    Nearly all of Navid Bargrizan’s compositions explore intonational and tuning concepts, ranging from just intonation and extended equal temperaments (e.g. 24-tone or 36-tone equal temperament) to various microtonal concepts adopted from diverse musical cultures. Since 2014, his experiments with microtonality have resulted in 13 premieres and more than 40 performances of his works in the United States, Canada, Germany, and Austria, including at New York City Electroacoustic Music Festival, Toronto International Electroacoustic Symposium, Eastern Music Festival, Florida Contemporary Festival, and conferences of the Society of Composers, Inc.

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  • Composer

    Edgar Barroso received his Phd in Music Composition from Harvard University, where he was director of the Harvard Group of New Music, and worked with Hans Tutschku, Brian Ferneyhough, Helmut Lachenmann, Michael Gandolfi and Chaya Czernowin. In 2013 he was selected as part of the Inaugural Society of Harvard Horizon Scholars and from 2010 - 2012 was the appointed Director of the Harvard Group for New Music. From 2015 - 2018 he became a member of Mexico's National System of Art Creators.

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  • Composer

    Scott Barton composes, performs, and produces (electro) (acoustic) music. His interests include rhythmic complexity in beat-based contexts, machine rhythms, auditory and temporal perception, musical robotic instrument design, human-robot interaction in composition and performance, and audio production. As a composer, his works explore how we perceptually organize sonic information into rhythms, (dis)continuities and forms.

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  • Composer

    John Beall, a native Texan born in 1942, has been Composer in Residence at West Virginia University since 1978. Through his increasing devotion to hymn and folk sources of West Virginia and the surrounding Appalachian country, he has undergone a sort of musical adoption. He himself is a string player (bass, cello) and pianist, he is also the father of another musician, violist Stephen Beall, and husband of pianist Carol Allen Beall. His love of string playing, and the combinations of strings with the piano resound through many of his greatest works of chamber music.

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  • Composer

    Alan Beeler completed his graduate study in theory and composition at Washington University, where he received an M.A. and Ph. D. He studied composition with Robert Wykes, Robert Baker, and Harold Blumenfeld, theory with Leigh Gerdine, and musicology with Lincoln Bunce Spiess and Paul Amadeus Pisk.

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  • Clarinetist

    A concert clarinetist of international reputation, Burton Beerman has been hailed by audiences as one of the leading clarinetists of contemporary and avant-garde music whose virtuosity and technical control of the instrument establish him as an extraordinary and compelling performer. As a composer he has straddled both the worlds of acoustic and computer music and is particularly known for the graceful integration of interactive video, electric clarinet and dance. Performances have taken place in such international arenas as Paris, London, Brussels, Tokyo, Mexico City, New York City, Los Angeles, Atlanta, Houston and Chicago. Founder of the acclaimed New Music Festival of Bowling Green State University, he is director of the University's Music Technology Studios. 

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  • Composer

    Brian Belet lives in northwestern Oregon (USA) with his partner and wife Marianne Bickett. His music is recorded on audio CDs published by Capstone, Centaur, Frog Peak Music, IMG Media, Innova, New Ariel Recordings, PARMA Recordings (Navona and Ravello imprints), SWR Music/Hänssler Classic, and the University of Illinois labels; with research published in Contemporary Music ReviewOrganised SoundPerspectives of New MusicProceedings of the International Computer Music Conference, and Proceedings of the International Web Audio Conference. Dr. Belet retired from San Jose State University as Emeritus Professor of Music in 2020.

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