Paula Matthusen
Professor of Music Technology
Director of Music Technology
Paula Matthusen is a composer of both electroacoustic and acoustic music and realizes sound installations. In addition to writing for a variety of different ensembles, she also collaborates with choreographers and theater companies. She has written for diverse instrumentations, such as run-on sentence of the pavement for piano, ping-pong balls, and electronics, which Alex Ross of The New Yorker noted as being "entrancing". Her work often considers discrepancies in musical space—real, imagined, and remembered.
Her music has been performed by Alarm Will Sound, International Contemporary Ensemble (ICE), orchest de ereprijs, Ballett Frankfurt, noranewdanceco, Kathryn Woodard, Diesel Lounge Boys, and Jody Redhage. Her work has been performed at numerous venues and festivals in America and Europe, including Merkin Concert Hall, WAX, Judson Dance, Joyce SoHo, the Construction Company, Das TAT, the Aspen Music Festival, Bang on a Can Summer Institute of Music at MassMoCA, Aural Tick Festival, the Gaudeamus New Music Week, SEAMUS, NWEAMO, and the Florida Electroacoustic Music Festival. She performs frequently with the electroacoustic duo ouisaudei, Groundwave New Music Collective, Object Collection, and recently winter company. Awards include a Fulbright Grant, ASCAP Morton Gould Young Composers' Award, First Prize in the Young Composers' Meeting Composition Competition, the MacCracken and Langley Ryan Fellowship. Matthusen has also held residencies at create@iEar at Rensselaer Polytechnic Institute, STEIM, and the Atlantic Center for the Arts.
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Kristine H. Burns
Professor of Music Technology
Assistant Dean
Dr. Kristine H. Burns is Director of the Electronic Music Studios at the Florida International University School of Music in Miami. She has served on the faculties of Dartmouth College and the Oberlin College Conservatory of Music. As the owner and editor of WOW'EM, Women On the Web-ElectronMedia (http://music.dartmouth.edu/-wowem), Kristine designed and implemented a web site intended for young women with interests in media arts as well as science, math or computers.
Kristine's scores and recordings have been published and distributed by Tuba-Euphonium Press and Frogpeak Music. She is currently serving as Editor-in-Chief for an encyclopedia of 20th century American women musicians, a forthcoming publication by Oryx Press. She is a member of the College Music Society (CMS), the International Alliance of Women in Music (IAWM), International Computer Music Association (ICMA), the Society of Electro-Acoustic Music in the United States (SEAMUS), and the Society of Composers, Inc. (SCI). Additionally, she serves on the Boards of Directors of IAWM and SCI. Her intermedia compositions have been performed throughout the United States, Canada, and Europe, including the International Congress of Women in Music (Vienna), the FUTURA Festival (Drome, France), SEAMUS and SCI National Conferences, the Bowling Green State University Festival of New Music and Art, and the California State University at Los Angeles Computer Music Festival.
Reviews
"Frequently raw, mysterious and dense the work demands a great deal of the audience ... A composition of extreme integrity and vision..." Journal SEAMUS volume X, no. 1 "Bowling Green New Music and Art Festival, Bowling Green State University, October 13-15, 1994
". . . fascinating dissection of language into component sounds, similar to Picasso's fracturing of the human face into planes through cubism. . ." The Toledo Blade
". . . rather than attempt to describe it, I would encourage that you make an attempt to experience it for yourself!" "SEAMUS Visits Birmingham: A Report on the SEAMUS Conference at Birmingham-Southern College" Journal SEAMUS, volume XI, no. 2
"Burns' compositions are eerie and interesting. People who appreciate music, modern dance and the arts will be intrigued..." Mac Home Journal, April 1996
Reviews of WOW'EM
The Third Millennium Education Project
"An empowering introduction for young women to career opportunities in digital media. This insightful, highly-integrated site successfully blends technology and art resources and discussions to challenge female users to use their talents in the third artform - multimedia or intermedia." http://www.millennaire.com
Suite101.com
"...a delightful site ...Meant to encourage young women to avail themselves of all areas of art and technology, I don't think they'd protest if a gentleman or two wandered over to learn a few things." http://www.suitel0l.com
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James Webb
Professor
Department of Physics
Florida International University
Miami, Florida 33199
Office CP 222
Phone (305) 348-3964
FAX: (305) 348-3053
E-mail: webbj@fiu.edu
http://www.fiu.edu/~webbj/Webb.html
Research Interests:
- Quasars and Active Galactic Nuclei
- Multifrequency Variability of Blazars
- Time Series Analysis
Recent Publications:
- The 1997 Outburst of AO 0235+164: Evidence for a Microlensing Event? Webb, J., Howard, E., Benitez, E., Balonek, T., McGrath, E., Shrader, C.,Robson, I., and Jenkins, P. 2000, Astronomical Journal 120, 41-46.
- Quasars: Relativistic Astrophysics Meets Observations. J. R. Webb, The Richard Elston Memorial Conference on General Relativity and Gravitation, at ERAU, April 4-6, 2002.
Courses Taught in Music Technology:
- "Physics of Music" (Graduate and Undergraduate Class)
Professional Memberships:
- SARA Board of Directors
- Full Member of the American Astronomical Society
- Planetary Society member PS
- Southern Cross Astronomical Societymember
- member of the Committee for the Scientific Investigation of the Paranormal (CSICOP)
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Orlando Garcia
Director of Composition
Cuban/American composer, conductor, music educator, and new music advocate Orlando Jacinto Garcia is on the composition faculty at Florida International University (FIU) in Miami where he was recently named the director of graduate music programs. He was the founding director of the composition program initiating the FIU Electronic Music Studio and the FIU New Music Ensemble. Garcia was born in Havana, Cuba in 1954, emigrated to the US in 1961 and has resided in Miami since 1977. His composition teachers have included Morton Feldman, David Del Tredici, Dennis Kam, John Corigliano, Donald Erb, and Earle Brown. He received his DMA in composition from the University of Miami in Florida in 1984. His training also included participation in a variety workshops and seminars including the Atlantic Center for the Arts, June in Buffalo, the Miami Opera's composer/librettist seminar, the Gregg Smith Singers summer choral/composer workshop, the Ives Center for American Music, and several others.
Garcia's music has been performed throughout the Americas and Europe by a variety of distinguished ensembles and soloists including the New World Symphony, the Buffalo Philharmonic, the Alabama Symphony, the Orquesta Sinfonica Nacional de El Salvador, the Orquesta Sinfonica de Valencia (Spain), Orquesta Sinfonica Carlos Chavez (Mexico), Orquesta Sinfonica Municipal de Caracas, Orquesta Filarmonica Nacional de Venezuela, Orquesta Sinfonica de Venezuela, the Orquesta Sinfonica Nacional de la Republica Dominicana, Continuum, Bang on a Can All Stars, the Miami String Quartet, North/South Consonance Ensemble, Synchronia, Sul Legno, Ensemble Ciudad de Segovia, Camerata Kronos (Spain), Nova Musica (Venezuela), Duo Casasempere (Spain), Sociedad Camaristica (Mexico), the Gregg Smith Singers, sopranos Joan LaBarbara, Martha Herr (Brazil), Cheryl Marshall, bassists, Bertram Turetzky, Robert Black and Luis Gomez-Imbert (Venezuela), percussionists, Jan Williams and Deborah Schwartz, guitarists, Flores Chaviano (Cuba/Spain), Carlos Molina (Cuba/US), Eladio Scharron (Puerto Rico), and Ruben Riera (Venezuela), oboists, Joseph Celli, Leon Biriotti (Uruguay), flutist, Robert Dick, Eberhard Blum (Germany), pianists, Anthony de Mare, Max Lifchitz, Paul Hoffman, Yvar Mikhashoff, Juan Francisco Sans (Venezuela) Eva Alcazar (Spain), Jean Pierre Dupuy (Spain) among others.
Recent performances of his works include premieres of orchestral, solo, electronic, and chamber works at international music festivals in Spain, Italy, Venezuela, Brazil, Puerto Rico, Mexico, Canada, France, Argentina, the Bang on a Can Festival in New York, SCI national conferences, New Music America and North American Music Festivals, Lincoln Center, Merkin Hall, ISCM Korea, Alicante, as well as a variety of performances at other venues in the US, Latin America, and Europe. Other recent works of note include a piece for 2 double basses and orchestra ( voces celestiales ) written for Bertram Turetzky and Luis Gomez Imbert premiered at the 1993 Festival Latinoamericano de Musica held in Caracas, and a piece for chorus and orchestra (Auschwitz) for the Miami Master Chorale and the New World Symphony premiered in May 1994. Works recently completed with the support of a Cintas foundation fellowship include a piece for Arthur Weisberg's Ensemble 21 with guest soprano Cheryl Marshall, a chamber piece for the New York Camerata, and a work for Bert and Nancy Turetzky (flute and double bass duo).
Garcia was the founding president of the South Florida Composers Alliance (SFCA), an organization dedicated to the presentation of New Music in the South Florida area, and the presenters of the annual Subtropics Music Festival. In the spring of 1993 Garcia initiated the annual FIU May in Miami Music Festival. The festival, recently renamed New Music Miami, provides oportunities for young composers. Featured master artists have included Morton Subotnick, Earle Brown, Jonathan Kramer, Joan LaBarbara, Donald Martino, Pauline Oliveros, Bernard Rands, Tania Leon, George Crumb, Olly Wilson, Tomas Marco, Lukas Foss, and Fredrick Kaufman. Another festival, the FIU Music of the Americas Festival was also founded by Garcia. Guests have included Venezuelan guitarist Ruben Riera, cellist Jeffrey Krieger, the Trio Neos from Mexico, and Argentinean guitarist Fernando Maglia.
In 1991-92 Garcia was composer in residence at the new Center for Music and Acoustic Research and Documentation (CEDIAM) of the Universidad Central de Venezuela in Caracas as the result of a Fulbright award. During his 10 months in Caracas as artist/lecturer, he completed 9 works, presented seminars and lectures on various new music related topics, and assisted with the set up of the center. Garcia was recently awarded a second Fulbright, this time a Senior Lectureship, to support his residency at the Universidad de Salamanca in Spain during the fall of 1996. His residency included the completion of two new works, the presentation of a class on the analysis of 20th century music, the presentation of a variety of lectures, and attendance at premieres of his works in Italy, and throughout Spain. As a result of his time in Europe, he will be returning to France, Germany, Holland, Italy, and Spain over the next two years to present lectures, conduct and attend premieres of new works. These include pieces for saxophonist Daniel Keintzy (France), Bass Instincts duo and Duo Contemporain (Holland), cellist Michael Bach (Germany), Ensemble Ciudad de Segovia, Camarata Kronos, Entrequatre, Orquesta Sinfonica de Malaga (Spain), and several others.
The recipient of a variety of grants and awards, his music is recorded on O.O. Discs, Opus One, Alabany Records, CRS, CRI, and North/South Records. A highly acclaimed CD of his works featuring performers Joan LaBarbara, Jan Williams, Joseph Celli, and the Gregg Smith Singers was one of O.O. Discs' initial releases.
Garcia's music is mostly understated, delicate, sparse, and often includes a chromatic harmonic palette that unfolds slowly. His aesthetic concerns are based upon the exploration of subtle musical nuances including the point where we perceive that silence begins and sound ends. The counterpoint between register, timbre, density, and pacing often forms the basis for his music.
Threnody for the Americas "(Garcia's) static, yet feverishly pulsating elegy, interpreted softly and impressively by Joan LaBarbara, to verses by the composer, may have very well been influenced in their essence by Morton Feldman. What relayed a minimalistic character at the onset, soon grew to a fretful threat containing a serious social-political message beyond its musical terse and sincerity" Hans-Theodor Wohlfahrt, Frankfurter Allgemeine Zeitung 6/90
"(LaBarbara's) superbly executed gentle cantillations with minimum pitch changes, gossamer instrumental textures and leisurely pace were so at odds with the angry text that a kind of reverse irony developed carrying unexpected power." Herman Trotter, Buffalo News 4/90
La Belleza del Silencio (CD on O.O. Discs) "The label's most impressive new release is Orlando Jacinto Garcia's, La Belleza del Silencio ...On the eve is a stunning piece performed by the Gregg Smith Singers..... The NY Review of Records Oct/Nov 1992
"Intriguing new composer....Garcia's post-Feldman aesthetic is lovely...." Kyle Gann, Village Voice 12/13/91
entre el anocheser y la oscuridad "a provocative work with echoes of Webern and a bold use of silences." Jose Guerrero Mart’n, La Vanguardia , Madrid, Spain, 9/30/92
Auschwitz (nunca se olvidaran)..... "The haunting nature of Garcia's musical style proved consistently effective." Tim Smith, The Sun Sentinel , Ft. Lauderdale, 5/9/94
canciones en la distancia "dense but intriguing with lots of intricate details..." Tim Smith, The Sun Sentinel , Ft. Lauderdale, 5/8/95 |
