The Music Technology Cookbook: Ready-Made Recipes for the Classroom

364 Pages·2020·32.855 MB·English

by  adam patrick bell

The Music Technology Cookbook: Ready-Made Recipes for the Classroom
adam patrick bell (ed.)
https://doi.org/10.1093/oso/9780197523889.001.0001
Published: 2020 Online ISBN: 9780197523926 Print ISBN: 9780197523889
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Subject: Applied Music ttp
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Library of Congress Cataloging-in-Publication Data
Names: Bell, Adam Patrick, author.
Title: The music technology cookbook : ready-made recipes for the classroom / edited by Adam
Patrick Bell.
Description: New York : Oxford University Press, 2020. | Includes bibliographical references and
index.
Identi�ers: LCCN 2020016050 (print) | LCCN 2020016051 (ebook) |
ISBN 9780197523889 (hardback) | ISBN 9780197523896 (paperback) |
ISBN 9780197523926 (online) | ISBN 9780197523902 (updf) | ISBN 9780197523919 (epub) D
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Subjects: LCSH: Music—Instruction and study—Outlines, syllabi, etc. | a
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Music—Instruction and study—Technological innovations. | fro
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Computer music—Instruction and study—Outlines, syllabi, etc. ttp
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Classi�cation: LCC MT10 .M98 2020 (print) | LCC MT10 (ebook) | DDC 372.87/4—dc23 a
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LC record available at https://lccn.loc.gov/2020016050 ic.o
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LC ebook record available at https://lccn.loc.gov/2020016051 o
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The Music Technology Cookbook: Ready-Made Recipes for the Classroom
adam patrick bell (ed.)
https://doi.org/10.1093/oso/9780197523889.001.0001
Published: 2020 Online ISBN: 9780197523926 Print ISBN: 9780197523889
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Acknowledgments  o
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Subject: Applied Music h
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Joseph Bahhadi’s keen reading of each chapter improved the overall quality of this book immensely. We, the ic
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contributors, are grateful to Joseph for his passion for this project and his attention to detail. u
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I am grateful to Norm Hirschy and Lauralee Yeary at Oxford University Press for supporting the production
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of this book project throughout all of its stages. What started out as a very short email to Norm is now a book o
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that I hope will be of bene�t to the growing legion of tech-wielding music educators. 9
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Financial support from the Social Sciences and Humanities Research Council of Canada (SSHRC) helped me h
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When I was in my early twenties, I wrote a song called “I Have This Dream,” which has the following 8
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refrain: 4
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“Hip hip hooray!” we will say U
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We’ll dance together ’til we’re old and gray e
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’Til we can’t bust a move anymore f S
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p. xii Years later, I am living this dream. Thank you, Anna, Huron, and Maceo. m
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The Music Technology Cookbook: Ready-Made Recipes for the Classroom
adam patrick bell (ed.)
https://doi.org/10.1093/oso/9780197523889.001.0001
Published: 2020 Online ISBN: 9780197523926 Print ISBN: 9780197523889
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Contributors  o
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Daniel Abrahams is assistant professor of music education at the University of Arkansas—Fayetteville. He ic
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holds a PhD in music education from Oakland University in Rochester, Michigan. He has presented research u
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at state, national, and international conferences, as well as contributed several book chapters in edited .co
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publications. Daniel’s research interests include the acquisition of learner agency, and the use of reciprocal /b
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teaching in classroom music and ensembles. His dissertation research examined how pedagogy fosters k
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personal and musical agency among beginning instrumental conductors. 7
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Leila Adu-Gilmore is a composer-performer who has released �ve Leila Adu solo albums, as well as a
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composed for So Percussion, Gamelan Padhang Moncar, Brentano String Quartet, and Forward Music r/3
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Project. She has performed her compositions internationally at Ojai Festival (2016) and as Orchestra 9
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Wellington’s Emerging-Composer-in-Residence (2014). Adu-Gilmore has produced music for dance, 8
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theater, and short �lm, including rotations on the BBC Knowledge. Adu-Gilmore has taught music to 8 b
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incarcerated men at Sing Sing Correctional Facility as a faculty member of Musicambia. She has worked with U
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musicians across multiple genres including Steve Albini, Kwame Write, GAIKA (Warp), Silent Poets, Useful ive
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Chamber, Federico Ughi, Je� Snyder, David Long, Je� Henderson, Lord Echo, Hannah Marshall, and Steve ity
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Beresford. f S
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Emily Achieng’ Akuno is a professor of music at the Technical University of Kenya. She holds a PhD from a
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Kingston University in Surrey, UK, a Master of Music from Northwestern State University of Louisiana, and to
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Bachelor of Education (Arts) from Kenyatta University, Nairobi, Kenya. Her research interests gravitate u
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around cultural relevance in music education and the application of music in education. r o
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Meredith Allen is an educator and an international presenter. She currently serves as the sales enablement O
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manager and manages the US team of education specialists for Soundtrap for Education. Prior to her time to
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with Soundtrap, Meredith worked as an Instructional Technology Consultant for an Iowa Area Education r 2
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Agency (Prairie Lakes AEA) after she had taught instrumental music, K–7 technology, and virtual reality at 22
Laurens-Marathon Community School in Iowa for over a decade. Meredith has a Master of Science in
technology for education and training and was granted a Teacher Leadership Initiative Fellowship by the
National Board for Professional Teaching Standards, Center for Teaching Quality, and the National
Education Association. Meredith’s charge is and always will be creating deeper learning through student-
centered, problem-based learning experiences that result in student agency and authentic work.
Malachi Apudo-Achola is a Cambridge commonwealth scholar. He holds a PhD in music education and
technology from Darwin College, University of Cambridge, UK, in collaboration with the Technical
University of Kenya. He also holds a Master of Music Education and Bachelor of Education, both from
Kenyatta University, Kenya. He is currently a full-time lecturer at Maseno University, Kenya. His current
research interest focuses on understanding pedagogic frameworks to transform higher music education
with digital technology-mediated learning environments. He has previously taught music education, music
p. xiv technology, musicology, and African music at Kenyatta University and Kabarak University in Kenya. He
has published academic articles in peer-reviewed journals and presented articles at international
conferences worldwide including the United Kingdom, US, Canada, Finland, Netherlands, South Africa,
Tanzania, and Uganda, and has hosted many workshops in Kenya and the UK.
Brendan Anthony has an established international career as a popular music record producer and is Do
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currently enrolled in a Doctor of Education program at Gri�th University. He is a lecturer in popular music n
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production within the Bachelor of Music at the Queensland Conservatorium, Gri�th University, Australia. d
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Brendan’s research engages with popular music record production, popular music education, and the fro
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relationship between technology and popular music production creative practice. h
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Alison Armstrong is a high school music teacher from Australia and has spent most of her life in ://a
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international schools, both as a student and as a teacher. She is a third-generation music teacher with an ad
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interest in composition, singing, and music technology. She created this project for students at Vientiane
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International School in Laos in order to learn how to use Ableton Live and Push. Alison is currently teaching u
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at NIST International School in Bangkok, Thailand. .co
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Adrian Barnes is an assistant professor of instrumental music education and the coordinator of music o
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education at Rowan University in Glassboro, New Jersey. Dr. Barnes’s research interests include using hip- 9
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hop in the music classroom, music and informal learning, and the recruitment of historically marginalized 4
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populations by collegiate music ensemble directors. a
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Liam Baum is a lifelong music-maker and learner, having started playing his �rst instrument at age four. 3
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He holds a Bachelor of Science in jazz studies from SUNY–New Paltz and a Master of Science in Education 3
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from CUNY–Queens College. He has been a music teacher for 13 years, currently teaching instrumental and 4
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general music at the BELL Academy, a public middle school in Bayside, NY. Liam is constantly exploring y
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how technology can be used for the purposes of creative artistic expression both in his classroom and niv
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personal artistic endeavors. This has led him to collaborate with CS4All in the NYC Department of Education rs
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to build curriculum for creative coding with the p5.js sound library. He is also a teacher ambassador for o
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Makey Makey and has led several workshops around the NYC area on creative coding and physical o
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computing at events including Creative Coding Festival (ccfest.rocks), Hip-Hop Hackathon a
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(hiphophacks.com) and Monthly Music Hackathon (monthlymusichackathon.org/). Liam lives in Queens pto
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with his wife and two daughters. u
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Daniel Beal has been teaching music in Pennsylvania and New Jersey for 13 years. During that time, he has n
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been a high school choral director, community children’s chorus assistant director, and elementary general O
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music teacher. His specialties are choral, vocal, piano, and guitar music, but he also is a drummer when to
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necessary. His speci�c focus the past couple of years has been integrating iPads into music education and r 2
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�guring out all the di�erent ways that iPad apps can enhance the student experience in the music room and 22
help them discover who they are as individual musicians with unlimited creative potential. Currently, he is
the choral director at Unami Middle School in the Central Bucks School District in Doylestown,
Pennsylvania.
adam patrick bell is associate professor of music education in the School of Creative and Performing Arts at
the University of Calgary, Canada. He is the author of Dawn of the DAW: The Studio as Musical Instrument
p. xv (Oxford University Press, 2018) and has written several peer-reviewed articles and chapters on the topics
of music technology in music education and disability in music education. Prior to his career in higher
education, adam worked as an elementary music teacher by day and music producer by night.
Ryan Bledsoe is a music educator who has worked with infants through college students in Florida, Arizona,
and Texas. As a doctoral student in music education at Arizona State University, Ryan researches and writes
about creativity, music technology, and music-making. She is the founder of the Duo Musical Playground,
which o�ers play- and maker-based music programs to children and adults in North Texas.
Benjamin Bolden, music educator and composer, is an associate professor and UNESCO Chair of Arts and
Learning in the faculty of education at Queen’s University, Canada. His research interests include arts D
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education, music education, creativity, arts-based research, teacher education, teacher knowledge, and w
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teachers’ professional learning, and the learning and teaching of composing. As a teacher, Ben has worked a
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with pre-school, elementary, secondary, and university students in Canada, England, and Taiwan. Ben is an d
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associate composer of the Canadian Music Centre and his compositions have been performed by a variety of m
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professional and amateur performing ensembles. ttp
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Melike Ceylan is a sound artist interested in radiophony, medium speci�city, and the experimental uses of c
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recorded voice and language. Originally from Turkey, she worked as an assistant sound engineer in Turkish em
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Radio and Television Corporation (TRT). She has broadcast, exhibited, and performed her creative works in .o
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Istanbul, Calgary, and across Europe. Melike also works as a sound designer and composer for various .c
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media, including radio, theater, and art installations. She is currently a PhD candidate in sonic arts at the m
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University of Calgary, where she conducts artistic research that focuses on contemporary radio art and o
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mediatized voices through a creative portfolio. She holds a Master of Arts degree in sound in new media 9
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from Aalto University and a Bachelor of Arts (Honours) degree in design of audio arts from Yildiz Technical 4
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University. a
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John Churchville is a two-time Grammy-nominated music educator, music education consultant, and 3
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national presenter for the Bureau of Education Research. He holds a Bachelor of Fine Arts in world music 3
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performance from California Institute of the Arts, and a Master of Music in music education from the 4
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University of Michigan. John is also an award-winning musician and founder of the Indian music fusion y
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group Sumkali, who released their fourth album in 2018 and continue to perform and tour throughout the niv
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United States. He is a member of the Michigan Music Education Association’s New Directions in Music rs
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Education Committee. o
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Patrick K. Cooper is a native of Mesa, Arizona, and recipient of the 2015 Outstanding Emerging Research th
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Award. His research interests capture the intersection of creativity, inclusion, and motivation, with p
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publications in Psychology of Music, International Journal of Music Education, Journal of Popular Music n
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Education, Research Perspectives in Music Education, and in various edited volumes. He has served as an article e
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reviewer for two international music education journals and has been a board member for the Arizona n
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Society for General Music. He has taught a variety of music classes at the primary, secondary, and tertiary O
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levels, including K–8 general music, music technology, research methods, critical analysis of hip-hop, to
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music theater, and orchestra. He has taught at the University of South Florida and the Crane School of Music r 2
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at SUNY–Potsdam. As a double bassist, he has performed with the Columbus Symphony, Arizona State 22
University Symphony, Chandler Symphony, and Tempe Symphony orchestras.
p. xvi Ian Cummings is a drummer and music educator at New Roots Charter School in Ithaca, NY. His educational
interests are in culturally relevant and student-centered pedagogy. Ian completed his Bachelor of Music
Education at Ithaca College and is in his �fth year of public school teaching. As a drummer, Ian freelances
with various artists in Ithaca and has been a co-host of a monthly hip-hop cypher and jam session.
Eva Josephine Egolf is a music educator based in New York City. She has taught instrumental performance
and music technology in K–12 settings, and currently teaches elementary band in New Rochelle, New York.
She completed a PhD in music education at New York University and has served as an adjunct professor at
Brooklyn College and New York University. Her prior research relates to learning among EDM DJs in New
York City.
Martin Emo is an education and music technology training specialist from New Zealand. After graduating
from Victoria University of Wellington with a Bachelor of Music in classical musicology and electro-acoustic
composition, he became a DJ and digital music technology specialist in a large retail chain, responsible for
sales and installation. After completing his high school teaching diploma he taught in New Zealand and
Nicaragua for twelve years. In 2018 he completed a Master of Education degree with distinction. His �nal
project was training high school music teachers in Ableton Live. Martin is a member of the board of music Do
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education New Zealand Aotearoa. He holds a number of mentor and facilitator positions including for the n
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New Zealand Ministry of Education, EDnet, Midnight Music, and through his own website d
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www.martinthomasemo.com. He is currently a doctoral student at Victoria University of Wellington, New fro
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Zealand. h
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Gena R. Greher is professor of music and music education at the University of Massachusetts–Lowell. She’s ://a
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a 2014–2015 Donahue Endowed Professor of the Arts and Education Director of the UMass Lowell String ad
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Project/Youth Orchestra. She developed a math/music module with Jeanne Bamberger for the Herbie
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Hancock Institute of Jazz STEAM Initiative (https://mathsciencemusic.org) and continues to develop u
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curriculum for several other modules and apps on the site. Gena has published on the in�uence of .co
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integrating iPads and other music technology with teens on the autism spectrum as well as the in�uence of /b
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multimedia technology into the general music classroom, and the music teacher education curriculum. k
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Gena is co-author with Jesse Heines of Computational Thinking in Sound: Teaching the Art and Science of Music 7
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and Technology from Oxford University Press. Gena was Co-PI on two National Science Foundation grants in /c
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Computational Thinking through Computing and Music, and Performamatics: Connecting Computer p
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Science to the Performing, Fine, and Design Arts. She has several entries in the Oxford Handbook of r/3
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Technology and Music Education. 8
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Ethan Hein is a doctoral fellow in music education at New York University, and an adjunct professor of 8 b
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music at New York University, the New School, and Montclair State University. As a founding member of the U
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NYU Music Experience Design Lab, Ethan has taken a leadership role in the development of online tools for ive
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music learning and expression, most notably the Groove Pizza. Together with Will Kuhn, he is the coauthor ity
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of Electronic Music School: Empowering Student Creativity, forthcoming from Oxford University Press. He f S
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maintains a widely-followed blog at www.ethanhein.com. u
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James Humberstone is a composer, educator, musicologist, and music technologist. He is a senior lecturer pto
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at the Sydney Conservatorium of Music, the University of Sydney. Check out his most recent creative u
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projects, Odysseus Live  http://www.odysseus.live (a retelling of Homer’s Odyssey in spoken word poetry and r o
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p. xvii hip-hop with orchestra, choir, and cinematography); The Weight of Light  http://weighto�ight.com.au (a 0
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song cycle that explores what happens when war meets family, masculinity meets vulnerability, and death O
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meets life); and Noise Husbandry  http://www.composerhome.com/concert/maritime/ (an electro-acoustic b
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installation piece onboard a submarine and a destroyer in Sydney’s Darling Harbor). r 2
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Misty Jones Simpson is an assistant professor in the Department of Recording Industry at Middle
Tennessee State in Murfreesboro, TN, and received her Bachelor of Music Education degree from Baylor
University. Misty studied music technology innovation at Berklee–Valencia in Spain, where she received the
Outstanding Scholar Award and achieved a Master of Music degree. Specializing in MIDI programming,
Ableton Live, and pop/electronic music, Misty teaches synthesis and music production at MTSU. Misty has
spoken and performed at various festivals and conferences including Ableton’s Loop Summit, the Music and
Entertainment Industry Educator’s Association Summit, MIT’s EMTech España, Madrid Music Days, and
the Association for Popular Music Educators Conference. She presented her thesis work at Sonar Music
Festival in Barcelona, which was mentioned by Billboard Magazine, and won an award in Prism’s
International B-Side Remix competition, mentioned by Sound on Sound magazine.
Jonathan Kladder is assistant professor of music education at Ithaca College. His degrees are from the
University of South Florida (PhD), Boston University (MMEd), and Hope College (BMEd). Prior to his
employment at Ithaca College, he taught undergraduate music education courses at the University of South
Florida, which included Introduction to Music Education, Progressive Music Education Methods, Creative
Performance Chamber Ensemble, Popular Music Ensemble, and Digital Music Production. Jonathan
currently teaches instrumental undergraduate music education students at Ithaca College and continues to
pursue an active research agenda. He is an active presenter at local, state, national, and international music Do
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conferences. Jonathan is interested in the intersections of music and technology, creativity, and pedagogical n
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models that support learner-centered approaches across contemporary music-making spaces. His articles d
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have been published in the Journal of Music, Education, and Technology, Arts Education Policy Review, The fro
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Creativity Research Journal, The Journal of Popular Music Education, Contemporary Research in Music Learning h
Across the Lifespan, and 21st Century Music Education: Informal Learning and Non-Formal Teaching Approaches ttps
in School and Community Contexts. His recent co-edited book, The Learner-Centered Music Classroom: Models ://a
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and Possibilities, explores avenues for increasing student involvement and engagement across the K–12 de
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music teaching landscape. ic
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Angela Lau is passionate about being at the crossroads of technology, education, and multidisciplinary .co
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learning. She believes in learning through doing and is committed to designing experiences that encourage /b
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play, collaboration, and creativity. She has experience in classroom music teaching, curriculum design, and k
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children’s musical direction, and has previously conduct research and user tests with music education 7
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technologies at the NYU MusEDLab. Currently based in South Korea, Angela is working to create spaces and /c
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opportunities for learning and play in Asia. p
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V.J. Manzo (PhD Temple University, MM New York University) is associate professor of music technology 9
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and cognition at Worcester Polytechnic Institute (WPI). He is a composer and guitarist with research 8
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interests in theory and composition, arti�cial intelligence, interactive music systems, and music cognition. 8 b
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V. J. is author of several books published by Oxford University Press including Max/MSP/Jitter for Music (2011) U
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p. xviii and Foundations of Music Technology (2016), and co-author of Interactive Composition (2015) and ive
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Environmental Sound Artists (2016). He has created numerous software projects including the Modal Object ity
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Library, a collection of programming objects to control harmony in algorithmic and electro-acoustic f S
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compositions, and EAMIR, an open-source project and nonpro�t charity organization that supports u
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composition, performance, education, and research through accessible technology-based musical m
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instruments. V. J. is 100% vegetarian. For more information, visit his website at www.vjmanzo.com. to
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Mark Marrington trained in composition and musicology at the University of Leeds (MMus, PhD) and is r o
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currently a senior lecturer in music production at York St John University. He has previously held teaching 0
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positions at Leeds College of Music and the University of Leeds (School of Electronic and Electrical O
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Engineering). Mark has published chapters with Cambridge University Press, Bloomsbury Academic, b
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Routledge, and Future Technology Press and has contributed articles to British Music, Soundboard, Musical r 2
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Times and The Journal on the Art of Record Production. Since 2010 his research has been focused on a range of 2
music production topics with a particular emphasis on the role of digital technologies in music creation and
production. Other interests include songwriting, music technology pedagogy, contemporary classical
guitar, and British classical music in the twentieth century. He is a co-editor of Producing Music (2019),
published as part of the Routledge Perspectives on Music Production series, and is currently completing a
monograph on the role of recordings in shaping the identity of the classical guitar in the twentieth century.
Richard Marsella is a PhD candidate from the University of Toronto and executive director of the Regent
Park School of Music. He also writes music under the artist name Friendly Rich, where original recordings,
books, videos, and other fun projects can be found at www.friendlyrich.com.
Lloyd McArton is a musician, educator, and researcher from Toronto, Canada. He splits his time creating
and performing as a multi-instrumentalist in the indie band Lost Cousins, guiding younger students along
various musical avenues, and researching independent music scenes toward his PhD in music education at
the University of Toronto.
Richard McCready teaches music technology and guitar classes at River Hill High School in Clarksville,
Maryland. He is strongly committed to teaching the students who love making music but for whom the
traditional band/orchestra/chorus model is not attractive. Richard McCready was awarded the TI:ME D
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(Technology In Music Education) Teacher of the Year Award in 2013, and the Outstanding Music Educator w
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Award for Maryland in 2014. a
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Matt McLean is an adjunct professor at NYU’s Steinhardt School and a full-time music faculty member at fro
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Choate Rosemary Hall in Wallingford, CT. He is also the founding director of Young Composers & h
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Improvisors Workshop, a nonpro�t organization dedicated to helping teachers bring music composition to s://a
their students. Matt has authored two course curricula used in schools nationwide that allow for students to c
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learn how music works through composing original music, and have it performed by live chamber em
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ensembles. With over 20 years of full-time teaching experience, he has led jazz ensembles, wind ensembles, .o
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concert bands, and digital music classes in public and private schools throughout New York City. His .c
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progressive philosophy toward music education was shaped at Columbia University’s Teachers College, m
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where he earned a Master of Music Education degree in 1998. He holds a BA in music composition from o
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p. xix Connecticut College where he studied with Noel Zahler, and a Master of Music in saxophone performance 9
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from the Conservatory of Music at Brooklyn College. Matt actively performs with his jazz quartet in and 4
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around New York City. a
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Zack Moir is a lecturer in popular music and the director of the Applied Music Research Centre at Edinburgh 3
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Napier University, Scotland. He holds a BA in Popular Music Performance, and an MMus, PhD, and 3
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Postgraduate Certi�cate in Academic Practice from the University of Edinburgh. He is also a Senior Fellow of 4
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the Higher Education Academy. Zack’s research interests are in popular music in higher education, popular y
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music composition pedagogy, music education and social justice, and the teaching and learning of niv
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improvisation. He has published on the topics of popular music pedagogy, music in higher education, rs
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popular music-making and leisure, popular music songwriting/composition, and real-time interactive o
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networked performance. Zack is also an active composer and musician performing as a soloist and in bands o
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internationally. Recent composition works include pieces for saxophone and tape, solo cello, music for his a
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band “Build a Fort,” and a reactive generative sound art installation for the Edinburgh International Science pto
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Festival. u
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Emmett James O’Leary is an assistant professor of music education at the Crane School of Music, SUNY– n
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Potsdam where he teaches courses in teacher education, general music, music technology, and instrumental O
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music education. He can be reached at [email protected]. to
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Jared O’Leary is a multiplicity whose research interests include music engagement and learning through 0
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video games and interactive audio; a�nity, hybrid, and participatory music engagement and learning; and
the intersections between music engagement, learning, and computer science. Visit JaredOLeary.com to stay
up to date with his latest research.
Mark E. Perry serves as the director of the Music Industry Program at Oklahoma State University. His
interests include music production, forensic musicology, and electronic dance music. Under the moniker
thund3rbunny, he deejays and produces electronic dance music. He owns and operates the record label
Bunnyhous3 Records.
Joe Michael Pignato holds the position of professor in the music department at SUNY–Oneonta, where he
teaches music industry courses and beat production, and directs ensembles that perform experimental
music and improvised rock. He leads Bright Dog Red, an improvising collective that fuses free
improvisation, electronica, jazz, hip-hop, psychedelia, and noise music. The group has released two albums
on Ropeadope, the in�uential Philadelphia imprint. As a scholar, Pignato has published on composition,
improvisation, music teaching and learning, music technology, and drumming. He is a principal
investigator for and co-author of The Music Learning Pro�les Project: Let’s Take This Outside published by
Routledge in 2017 and co-editor of the forthcoming Cambridge Companion to the Drum Kit on Cambridge
University Press.
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Amandine Pras is an assistant professor of digital audio arts at the University of Lethbridge in Alberta, and n
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an Associate Researcher of Centre Georg Simmel at the School for Advanced Studies in the Social Sciences d
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(EHESS) in Paris. Her research explores the impact of globalized digital audio technology on worldwide fro
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music practices from esthetic, cultural, and political perspectives. She is conducting �eldwork studies in h
West African recording studios as part of the partnership titled AFRINUM—Digital Cultures in West Africa: ttps
Music, Youth, and Mediations led by ethnomusicologist Emmanuelle Olivier. The past year, she presented ://a
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p. xx her video documentary A Home Away From Home (2018) around the world, based on a cross-cultural de
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study that she carried out with four world-class improvisers in West Bengal, India, at the end of her ic
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postdoctoral residency at the New School for Social Research in New York. Amandine completed her PhD p
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thesis at McGill about best practices for studio recording in the digital era. A graduate from the advanced m
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music production program (FSMS) of the Paris Conservatoire, she produced albums and curated live events o
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with artists as diverse as Michael Attias, Jim Black, Quatuor Bozzini, Luciane Cardassi, Daniel Carter, /3
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Sougata Roy Chowdhury, Nels Cline, Benoit Delbecq, Subhajyoti Guha, Mary Halvorson, Tony Malaby, the 6
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Metropolis Ensemble, Andy Milne, William Parker, Satoshi Takeishi, and Terri Witek. h
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Laurie Radford is a Canadian composer, sound artist, music technologist, educator, and researcher who r/3
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creates music for diverse combinations of instruments and voices, electroacoustic media, and performers in 8
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interaction with computer-controlled signal processing of sound and image. His music fuses timbral and 4
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spatial characteristics of instruments and voices with mediated sound and image in a sonic art that is b
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rhythmically visceral, formally exploratory, and sonically engaging. His music has been performed and n
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broadcast throughout North and South America, Europe and Asia. He has received commissions and ers
performances from ensembles including the Aventa Ensemble, Ensemble Transmission, Esprit Orchestra, ity o
New Music Concerts, Le Nouvel Ensemble Modern, L’Ensemble contemporain de Montréal, Meitar f S
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Ensemble, Paramirabo, Pro Coro Canada, Thin Edge New Music Collective, Trio Fibonacci, the Penderecki, th
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Bozzini, and Molinari String Quartets, and the Winnipeg, Calgary, Edmonton, and Montréal Symphony p
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Orchestras. He has contributed articles and reviews on electroacoustic, interactive, and audiovisual n u
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composition to journals such as Computer Music Journal, Circuit, and eContact! Radford’s music is available on e
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empreintes DIGITALes, McGill Records, PeP Recordings, Clef Records, Eclectra Records, Centrediscs, and n 0
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Fidelio Audiophile Recordings. He has taught composition, electroacoustic music, and music technology at O
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McGill University, Concordia University, Bishop’s University, University of Alberta, City University (London, to
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UK), and is presently professor of composition and sonic art at the University of Calgary. r 2
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Clint Randles is associate professor of music education at the University of South Florida School of Music
where he teaches courses including Progressive Methods and Creative Performance Chamber Ensemble for
undergraduate students and Philosophy and Creative Thinking in Music for graduate students. Dr. Randles
performs regularly as a gigging musician in the Tampa Bay region on guitar, mandolin, accordion, and
Maschine.
Jesse Rathgeber is Assistant Professor of Music Education at Augustana College, Rock Island, Illinois where
he teaches classes on general music and assessment in music education as well as supervises student
teaching and the local chapter of NAfME-collegiate. Prior to this, he was Assistant Professor of Music,