Joseph Bacon is a native of San Francisco, son of the American composer Ernst Bacon. He studied guitar with Segovia, Ida Presti, Alexander Lagoya and Julian Bream. His background also includes degrees from Stanford and Harvard Universities, exhibitions of his own paintings and sculpture, and an extended study of Indian music with Ustad Ali Akbar Khan. He is a self-taught lutenist and an authority on the musical literature for the lute. He has taught on the faculties of the University of Oregon, Mills College in Oakland, California State College at Hayward, and Music and Arts Institute in San Francisco, and has performed in London, New York, Sand Francisco and many other cities in the United States, Canada, and Europe.
As befits one who took her degree in English literature for fear of having too much sheer fun in the study of music, Baczewska's solo compositions derive essentially from an a capella sensibility, the voice as orchestra with consonants, pause and juncture, the click of affricatives as primary, if not sole, percussion. In 1974, she was co-founder of Care of the Cow, a cutting-edge performance group which developed quite a following through the early 1980s. During 1981's Like Feeding Pork to Pigs, Baczewska had a breakthrough: the home of the human voice is the brain. Ultimately, the expanding voice can be made to take any shape, fill any space, or convey any message. Her focus on the voice and solo performance evolves from this experience. She has concertized extensively and has recently worked on several important collaborations: with video artist Irit Batsry on vocals for video soundtracks; with Fritz Lang, to compose and perform the soundtrack for Lang's film Woman in the Moon: and, with dancer/choreographer Dennis O'Connor (with whose company she toured the United States and Europe in 1994.) She continues to explore the voice as instrument, sometimes performing with props like a weaving loom, and sometimes incorporating the multitrack capabilities of the recording studio as an added compositional tool.
Sound artist/performer Ellen Band teaches sound art at the School of the Museum of Fine Arts in Boston. She is artistic director of Audible Visions, a new music/sound art performance venue in the greater Boston area. Her reviews on new music and sound art have been published by Pform and Boston Rock and her interview series with contemporary composers, "The Motivation Interviews," appear in issues 45 and 48 of Musicworks: The Canadian Journal of Sound Exploration. A Former new music educator (for 15 years), she wrote the newsletter set while teaching at the Eliot-Pearson lab school at Tufts University.
New Circle Five
Monique Buzzarté, trombone Rosi Hertlein, violin and voice Susie Ibarra, percussion Pauline Oliveros, accordion Kristin Norderval, soprano Spanning three generations, New Circle Five is an acoustic improvising contemporary music ensemble. Diverse musical backgrounds result in unique twists as the five explore the one-time only sonic environment of collective creative improvisations. The New Circle Five grew from an invitation Susie extended to Pauline to join her for a duo concert; the duo concept quickly grew to a quintet and the resulting New Circle Five gave its premiere performance at the Tonic in New York City on April 3, 1999. Guests of New Circle Five have included Barbara Barg, spoken word, Abbie Conant, trombone, IONE, spoken word, Jackie Pickett, bass, and Leaf Miller, percussion.
Born in Britain in 1939, Martin Bartlett came to Canada in 1952. He studied at the University of British Columbia and at Mills College. Important influences were: the music and writings of John Cage; electronic composers David Tudor, Pauline Oliveros and David Behrman; Indian musicians, the Dagar Brothers and Pandit Pran Nath; K.R.T. Wasitodipuro; and the music of the Javanese gamelan. He was one of the founders of the Western Front, an artist-run gallery, studio and performance space in Vancouver, and taught composition, electroacoustic music and world music at Simon Fraser University. Martin died of AIDS in 1993 in his home in Vancouver.
Excerpt from Original Liner Notes from the 1982 lp – Philip Elwood
In a recording world nearly suffocating with the monotonous sounds of pre-fab electric "rock," 1750 Arch Records has been like a breath of fresh musical air. They have dared to record "live," and issue unedited renditions; they have presented new sounds, fascinating ensembles and esoteric instrumental experiments.
But even in the rarified audio world of 1750 Arch Records the microgroove disc contained herein must be considered as unusual. Unusual, in fact, that the recording session ever took place; unusual in the sounds that emerge, and unusual in the concept and instrumental collaboration that we hear.
Black phoned. He said "Phil, you write the notes for our record". "Yessir," I replied, "…what record?" Black is not only physically impressive (he is, after all, called "Big" Black) he is also very persuasive verbally.
John Bischoff ((b. 1949, San Francisco) is an early pioneer of live computer music. He is known for his solo constructions in real-time synthesis as well as his ground-breaking work in computer network bands. Bischoff's music is built from intrinsic features of the electronic medium: high definition noise components, tonal edges, imperfections, transitions, digital shading, and non-linear motion. Through empirical play and investigation he builds pieces that can be described as sonic sculptures, shaped in real-time and present for the duration of a performance. Recently, he has fashioned pieces that combine electronically-triggered bells with synthetic computer sounds. In such works bells are distributed around the performance space in a pattern distinct from the speaker locations. His idea is to disperse the sense of "source" in electronic music—to release the music from being trapped in the speaker enclosure—while highlighting the beauty of speaker-transmitted sound at the same time.
Bischoff studied composition with Robert Moran, James Tenney, and Robert Ashley. He has been
active in the experimental music scene in the San Francisco Bay Area for over 25 year as a composer, performer, teacher, and grassroots activist. His performances around the US include NEW MUSIC AMERICA festivals in 1981 (SF) and 1989 (NYC), Experimental Intermedia (NYC), Roulette Intermedium (NYC), and the Beyond Music Festival (LA). He has performed in Europe at the Festival d'Automne in Paris, Akademie der Künst in Berlin, Fylkingen in Stockholm, and TUBE in Munich. He was a founding member of the League of Automatic Music Composers (1978), considered to be the world's first Computer Network Band, and he co-authored an article on the League's music that appears in "Foundations of Computer Music" (MIT Press 1985). He was also a founding member of the network band The Hub with whom he performed and recorded from 1985 to 1996. In 1999 he received a $25,000 award from the Foundation for Contemporary Performance Arts (NYC) in recognition of his music. Recordings of his work are available on Lovely Music, Frog Peak, and Artifact Recordings. A solo album, APERTURE, was released on 23FIVE INC in 2003. He is currently an Assistant Professor of Music at Mills College, in Oakland, California.
Anne Bourne is a composer, cellist and vocalist. She has performed and recorded internationally with many artists in creative music genres including Jane Siberry, Fred Frith eric chenaux, Copyright, Tom Cora, Sarah MacLachlan, Susie Ibarra, and Joelle Leandre among others. Anne has created scores for film and dance with Peter Mettler, Atom Egoyan, Andrea Nann and Michael Ondaatje. Anne first met Pauline Oliveros when she was invited to perform a distance concert with The Deep Listening Band in New York and groups in Paris and Toronto, in 1994. She then participated in the Rose Mountain Retreats for the years that followed until the milleneum shift. Bourne performed Oliveros' Primordial Lift recorded for TotE with Oliveros, Tony Conrad and David Grubbs. Anne was a participant in the DL Opera at Lincoln Centre with her young daughter Willa. Current recording called dearness, with John Oswald and Fred Frith on Spool. Anne improvises with dwct, Quorum, and Eve Egoyan. Anne "is an earthy, unrestrained musical force, she accompanies her cello with otherwordly vocalizing" - CODA magazine
Jonas Braasch is an acoustician, musicologist, and sound artist who teaches courses in Acoustics, Music, and the Doctoral Seminar at the School of Architecture at Rensselaer Polytechnic Institute. He obtained a master's degree from Dortmund University (Germany, 1998) in Physics and two PhD degrees from Ruhr-University Bochum, Germany (2001, 2004) in Electrical Engineering/Information Science and Musicology. Mr. Braasch is the co-founder and director of the Communication Acoustics and Aural Architecture Research Laboratory (CA3RL) which is part of RPI's Architectural Acoustics Program. His research interests include Binaural Hearing, Multi-channel Audio Technology, Telematic Music Systems, Perceptual Audio/Visual Integration, Intelligent Systems, and Musical Acoustics. Jonas Braasch (co-)authored more than 60 journal and conference papers and 3 monographs. For his work, he has received funding from the NSF, NSERC, DFG (German Science Foundation), and NYSCA.
As a soprano saxophonist and sound artist, he has on-going collaborations with Curtis Bahn, Chris Chafe, Michael Century, Mark Dresser, Pauline Oliveros, Doug van Nort, and Sarah Weaver - among others.