This composition evokes the endless motion and intricate details of ocean waves. Each wave is unique, yet part of an unceasing pattern that invites deep contemplation. Their relentless similarity, paired with infinite variation, mirrors the experience of immersion in sound.

Continuing an ongoing sound sculpture project, this piece explores the resonant frequencies of custom-cut metal shapes, treating them as found objects for sonic inspiration. The resonant frequencies of each sculpture are like a sonic fingerprint.  Each sculpture will have its own unique collection.  These collections reveal uncommon microtonal scales and chords, forming the foundation of the composition. Using MIDI controllers, two keyboard players trigger custom synthesizers tuned to the most prominent resonances of the sculptures. The result is a fluid interplay between acoustic and electronic textures, shaping a meditative and detailed auditory landscape.

BIO:

Rick Snow is a composer of acoustic and electronic music and a creator of multi-modal installation work, custom instruments, and sound sculptures. His work frequently embraces generative music composition techniques applied to the use of microtonality and sound synthesis to create sonic experiences that evoke gestural, liminal, and environmental interpretations. He oversees the Music Science and Technology area of the music department at Tulane University where he teaches courses in Music Digital Signal Processing, Music Performance Systems, and Composition for Electronic Media at the undergraduate and graduate level.  

Bio:

Erin Demastes is an experimental composer, performer, and sound artist. She uses everyday objects and hacked electronics for her installations and performances and subverts their use and perception with play and experimentation. In addition to her interest in physical materials, Erin works with instruction and interaction design in her scores, performances, and installations by balancing structured composition and predetermined actions with improvisation and exploration.

Notes:

Three Etudes for Harpsichord, Objects, and Electronics is a duet between performer and programmed electronics and explores the resonance of the harpsichord and found objects.

Gibdoé

In the video game series, Legend of Zelda, there is a zombie-like creature called a “Gibdo” that stalks the protagonist in the series’ deepest, darkest dungeons. This piece takes inspiration not from the monster itself, but from the mouthfeel of pronouncing the word “Gibdo,” and attempts to translate that into musical material and timbres: short attacks and short decays in the electronics; muted pizzicato and col legno battuto in the strings; and the inherent pluckiness of the harpsichord.  The emotional energy is derived from complicated feelings of frustration and resentment of the Fall/Winter season of 2024.

Kevin Mah (b. 1992) is a composer and violinist from New Orleans.  He earned his BM in Music Composition from Loyola University New Orleans and his MA in Music Composition from Tulane University. His compositions have been described as maximalist and eclectic, as he derives aesthetic philosophies from his younger post-hardcore emo days. In his acoustic music, he focuses on textural soundscapes using a post-tonal backdrop with filmic undertones.  Meanwhile, his electronica explores sound design and synthesis using a pseudo-pop backdrop, citing a mix of genres as influences, such as Cyberpunk, Post-humanism, Hyperpop, and Emo. Occasionally, he loves using voice synthesizers, such as Hatsune Miku, to write lyrical material touching on personal feelings of nostalgia and longing. His eclectic-ness has garnered words from peers and colleagues, such as, “That was really weird, man,” and “Kevin, are you ok?” Using his experience as an award-winning indie filmmaker, Kevin has also cultivated his own visual aesthetic, allowing opportunities to collaborate with artists to complement his music with visual works, in addition to finding passionate interest in TouchDesigner and Pure Data to create audio-reactive and movement-reactive graphics.

He has studied composition with Maxwell Dulaney, William Horne, Richard Snow, and James Walsh. In his spare time, Kevin enjoys reading science fiction and fantasy; photographing flowers, environments, and landscapes; video games such as story-heavy RPGs, Rogue-likes, and Deck Builders; and Dungeons & Dragons.

This piece embraces the harpsichordist’s historical role as the director of small ensembles.
The harpsichordist should vary rhythm and tempo freely, exploring expressive possibilities.
The flute and clarinet players should follow the harpsichordist’s direction and mind the many unison rhythms

Continuously exploring the myriad ways that music intersects with science, nature, and the human world, Kari Besharse’s compositional output spans various facets within the field of contemporary music, fully engaging new technological resources as well as traditional instruments and ensembles. Her works, which incorporate sounds from acoustic instruments, found objects, the natural world, and sound synthesis, are often generated from a group of sonic objects or material archetypes that are subjected to processes inspired by nature, physics and computer music. Kari was awarded the Bourges Residence Prize for her electroacoustic work Small Things and has received additional honors from the Tuscaloosa New Music Collective, Look and Listen Festival, the ASCAP Young Composers Competition, and the INMC Competition.

Recent projects include everyone…everything for toy piano trio, and Verklingend, a work for haegeum and chamber ensemble for ensemble mise-en. Her music has been presented by Loadbang, Accordant Commons, Alarm Will Sound, cellist Craig Hultgren, The Empyrean Ensemble, The California Ear Unit, The East Coast Contemporary Ensemble, Society of Composers, Inc., ICMC, SEAMUS, Bourges, Pulse Field, trombonist Benjamin Lanz and violist Michael Hall. Currently an instructor at University of New Orleans, Dr. Besharse has also taught at Southeastern Louisiana University, Illinois Wesleyan and University of Illinois at Urbana-Champaign. Kari’s education includes undergraduate studies at UMKC (B.M.), and graduate work at the University of Texas at Austin (M.M.) and University of Illinois at Urbana-Champaign (D.M.A.). Kari is director of Versipel New Music in New Orleans, Louisiana.