Tony Mastroberti: Not So Distant
Not So Distant is the result of my first experimentation with modular synthesizers. The soundscape of Not So Distant is composed of pre-designed sounds that will be live-generated using analog synthesis, sounds that were generated using analog synthesis and sampled using a sampler module, and improvisational elements that will be unique to this performance of Not So Distant.Nate Sassoon: Spectre
Xinyuan Deng: Where Paths Meet?
Where Paths Meet? invites listeners on a captivating sonic journey, celebrating the spirit of exploration and discovery. Drawing inspiration from the fluid transitions of video games and the boundless curiosity they evoke, the piece unfolds as an open-world soundscape, where each step opens new, unexpected realms.The journey begins with familiar, organic textures: the crunch of footsteps, the gentle murmur of a creek, and the distant roar of a waterfall. These sounds, recorded from everyday moments — climbing towers, hiking trails, and pausing near waterfalls — ground the listener in a tangible, recognizable reality. As the piece progresses, however, these boundaries dissolve. Much like transitioning between levels in a game, the soundscape morphs, blending natural and surreal elements to create dreamlike, otherworldly realms.
Guided by evolving rhythms and layered textures, the piece flows between the real and the fantastical. Each scene hints at the thrill of discovery, reflecting the wonder and curiosity that drive us to venture into the unknown, inviting listeners to explore, imagine, and embrace the surprises along the way.
Rui Zhu: Panic Attack
Deep within the human soul, anxiety looms like the curse of Macondo in One Hundred Years of Solitude, refusing to dissipate. When a panic attack strikes, it feels like a tempest ravaging the mind — rapid breaths, a pounding heart, as if trapped in an endless nightmare. In this dreamscape, space distorts and blurs, time stretches unnaturally, and reality intertwines with illusion, leaving no escape.Yet, just as the Buendía family in One Hundred Years of Solitude strives to break free from the cycles of fate, humans, too, can find clarity amidst the storm. By confronting inner fears and learning to coexist with pain, we grow stronger through the fractures. Each step out of the abyss of anxiety is a triumph over existence itself, and every return from the dreamworld to reality reaffirms our being. In the end, suffering becomes the soil from which we grow, and our imperfect selves emerge resilient and whole
Thejas Mirle: Biophilia
biophilia (n) — a human tendency to interact or be closely associated with other forms of life in nature : a desire or tendency to commune with nature
Emma Cardon-Wake: boom
boom explores a single sonic event — an earthquake crack — on multiple levels. Rather than following a chronological narrative structure, the piece jumps between different perspectives, beginning with a bird’s-eye view of the earthquake and later zooming in on the chaotic forces acting on a smaller scale. In this way, the earthquake can be seen as a microcosm of itself, where the shifting of boulders on the large scale mirrors the shifting of dust particles on the small scale. In boom, all the sounds produced by the electronics are drawn from either the sound of a falling rock or the sound of the trombone itselfDmitri Volkov: Untitled 23
Untitled 23 is a sound to explore. How to explore it is up to you (and everyone else).
Erin C. Blake: Embers
Embers was inspired by the image of a group of people—whether travelers, campers, or just friends—gathered around a fire. In the face of a vast and uncertain world, they find connection and hope in each other. Embers reflects on the strength and solidarity that emerge from community and how, despite the shadows lurking in the woods beyond, each of us has the power to bring light.Daroo Lee: I Lack
I Lack captures the raw and restless emotions of emptiness and yearning. It conveys an unbearable sense of loneliness and the relentless craving for something undefined. The piece portrays the futile struggle to fill the void within, likened to meaningless and repetitive acts that lead to no resolution.As the music unfolds, it reflects a desperate desire for answers, a longing for something to come and provide fulfillment. The work culminates in a fervent plea—a prayer born from the realization of one’s own limitations. I Lack invites listeners to confront the vulnerability of seeking meaning and fulfillment amidst profound emptiness.
Luca Robadey: Bear
I have always been fascinated by the growl in bass music, especially in dubstep and electro. Though synthesized, it often feels organic and alive, like a distant creature roaring. In Bear, I explore this concept by creating a “dubstep creature” — a sound that responds in real time based on the performer’s movements. The program I designed tracks the performer’s motions and adjusts the bass sound’s parameters to mimic the ways a large creature might growl or express itself. This creates an instrument that is tactile, responsive, and organic, allowing the performer to communicate through sound and movement. With Bear, my goal was to create a seamless connection between motion and sound — an instrument that feels alive and expressive, bridging the gap between the digital and the organicWyatt Cannon: Something about Birds?
This piece is constructed in three sections and explores multiplying a single source to create densely layered textures. The first section focuses on noise with various degrees and perceptibility of pitch. The second focuses on granular sounds — through both electronic and physical means, and the final section focuses on pitched material.