College of Music Program Book 2011-2012: Ensemble & Other Performances, Volume 3 Page: 61
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PROGRAM NOTES (cont'd)
composer. Ultimately, Cage's work resulted in "indeterminism," a compositional method
in which choice is removed from the creative process of composition. Indeterminism, the
antithesis of serialism, inalterably changed how we listen to music. Music For, a prime
example of indeterminism, was written for Zeitgeist, the Pittsburgh New Music Ensemble,
the New York New Music Ensemble, and the Cincinatti Percussion Group in 1984.
Cort Lippe and Duo for Cajon and Computer
Cort Lippe studied composition and computer music with Larry Austin in the United States,
and followed composition and analysis seminars with Boulez, Donatoni, Huber, Messiaen,
Penderecki, Stockhausen, and Xenakis. From 1980-1983 he studied and did research in The
Netherlands, at the Instituut voor Sonologie with G.M. Koenig and Paul Berg. From 1983-
1994 he lived in France where he worked for three years at lannis Xenakis' Centre d'Etudes
de Mathdmatique etAutomatique Musicales (CEMAMu), and for nine years at the Institut
de Recherche et Coordination Acoustique/Musique (IRCAM), founded by Pierre Boulez.
Since 1994 he has taught at the University at Buffalo, New York where he is an associate
professor of composition and director of the Lejaren Hiller Computer Music Studios. Duo
for Cajon and Computer was commissioned by Patti Cudd for a tour of Korea and Thailand
in May 2011. The electronic part was created at the Hiller Computer Music Studios of the
University at Buffalo, New York, using the software MaxIMSP. Technically, the computer
tracks parameters of the cajon performance using Miller Puckette's bonk- object, which
does an analysis of the incoming cajon signal and gives out information as to when the
cajon is struck, how loud it is struck, the timbre of each strike, and details about relative
loudness across the audible frequency range in 11 independent frequency bands. All this
information, from larger scale rhythmic and phrase tracking, down to micro-level frequency
band information of individual strikes, is used to continuously influence and manipulate the
computer sound output by directly affecting digital synthesis and compositional algorithms
in real-time. Thus, while interacting with the computer system, the performer has a role in
shaping all of the computer output. This piece is dedicated to the computer music pioneer
Max Matthews, who passed away on April 21, 2011.
Andrew Rindfleish and Night Singing
The music of composer Andrew Rindfleisch has been defined by its meticulous craft and
remarkable expressivity, while garnering both popular and critical acclaim throughout
the country and abroad. While producing innovative works for the concert hall, including
over 50 works of solo, chamber, choral, wind, orchestral, electronic, and improvisatory
compositions, Rindfleisch has forged the singular identity of an American musical
activist. He is a conductor, producer, pianist, vocalist, educator, and radio show host. His
commitment to contemporary music culture has brought into performance over 500 works
by living composers over the past 15 years, and he has founded several contemporary
music organizations and ensembles. Currently, he is music director of both the Cleveland
Contemporary Players Artist in Residency Series, and the Utah Arts Festival in Salt Lake
City. Written for Zeitgeist in 2004, Night Singing is a four-movement work inspired by the
poetry of Baudelaire intended to convey nocturnal states of thought and feeling.
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University of North Texas. College of Music. College of Music Program Book 2011-2012: Ensemble & Other Performances, Volume 3, book, 2012; Denton, Texas. (digital.library.unt.edu/ark:/67531/metadc114725/m1/61/: accessed April 29, 2017), University of North Texas Libraries, Digital Library, digital.library.unt.edu; crediting UNT Music Library.