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HTTP/2 200 date: Tue, 27 Jan 2026 15:57:28 GMT content-type: text/html content-length: 35964 set-cookie: request_id=97864043-fd11-4bf1-9af0-a9ad0af71830; Max-Age=3600; Path=/; HttpOnly last-modified: Wed, 13 Oct 2021 19:08:34 GMT etag: "65cae-5ce40b04d73ab-gzip" accept-ranges: bytes cache-control: max-age=14400 expires: Tue, 27 Jan 2026 19:57:28 GMT vary: Accept-Encoding content-encoding: gzip age: 1 x-request-id: 97864043-fd11-4bf1-9af0-a9ad0af71830 NATHANIEL BARTLETT // SOUND-SPACE AUDIO LAB

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INTRODUCTION

Work Description

I am a composer, performer, and technologist who creates music with a special focus on the nuances and inner details of sound and its expression in a physically immersive listening space.

When one listens attentively to details, it becomes readily apparent that most complex vibrating bodies do not produce a single note, but rather many perceivable events that unfold over time before the complex vibrating body comes to rest. In my music's sounds, the complex nuances are used as critical artistic components. In my computer-integrated work, the computer is often used to emphasize the constituent parts within a single acoustically produced sound, as well as how the parts evolve, and mold them into new, compelling sound objects.

Our ability to localize sound (determine its spatial position and environment) is a powerful sensory function full of possibilities for artistic exploitation. Our auditory systems enable us to grasp the entire three-dimensional soundscape in which we are immersed at any point in time. This ability to listen simultaneously to sounds in all directions and distances contrasts greatly with our ocular system, which gives us only partial views of our surroundings. Not only can sound exist in space, but spaces themselves can provide us with sonic environments (for example, hear in your mind the vastly different behavior of sound inside of a cathedral versus a carpeted hallway). In my music, I take great care to craft not only kinetic audio spatial-forms, but also the acoustic environments in which they sound.

My main creative avenue is my music for marimba plus three-dimensional, high-definition, computer-generated sound. I designed my electronics system as an extension of my aesthetic sensibilities, and it thus allows for an intensely personal approach to my works. Indeed, my works for this setup are intended for my performance alone, as soloist or ensemble member. My compositions for marimba plus computer are not fixed, but rather constantly evolve as I create new musical material and new computer processes. In live performance, I act as creator and live arbiter of the music, navigating through flexible compositional frameworks which utilize a complex system of interconnecting notation generation, acoustic instrumental performance, and real-time audio manipulation.

As counterpoint to my proprietary electro-integrated works, my compositions for acoustic instruments have scores available for performance by other musicians. Although the music is produced acoustically, it shares the same aesthetic framework as my electronic music. To clearly and accurately represent my musical ideas in written form, I have devised a special notation system. At first glance, the system is distinguished by its use of multiple colors and an attention to visual detail which reflects the artistic sensibilities of the music.

In general, I strive to create musical events, as opposed to "pieces." In live performance, I assemble programs that are without intermission, with either a single, large-scale composition, or a set of works designed to create a unified event. My recordings are structured in the same way, as albums, with either a single, large-scale composition, or a collection of works that together have an artistic impact greater than the sum of the individual components. My music, both live and recorded, is often part of multi-media collaboration projects. Over the past few years, I have worked with dancers, sculptors, and video artists on performance and installation projects.

Although the focus of my activities is on my own compositions, my work as a marimbist and technologist also includes the performance and presentation of works by other composers. On marimba, this repertoire includes compositions, both acoustic and electro-integrated, from recent decades, including a growing number of compositions written specifically for me, as well as some centuries-old compositions. As a technologist, I present a growing repertoire of multi-channel, fixed-media, electronic compositions as part of my Sound-Space Audio Lab Fixed Media Repertoire Project.

I perform on a Malletech Imperial Grand five-octave marimba, and use a custom, silent (true 0dB) computer created by Silent PC.

Biography

Since 2004, I have been traveling all across the US with my continuously evolving marimba+electronics system, performing solo marimba and marimba+electronics repertoire in a wide variety of venues: art museums, concert halls, dance spaces, DIY/underground spaces, and many universities and colleges. Visits to academic institutions often include master classes, lectures, and demos.

My mobile electroacoustic diffusion rig began in 2004 with a stereo loudspeaker setup, moving to four-channel surround in 2005, then on to my first eight-channel (cube) three-dimensional surround setup in 2006, and finally upgrading to my current cube setup in 2011. During the first years of performing in my marimba+electronics format, a handful of composers wrote several new works for me, but since 2011 I have focused almost exclusively on the performance of my own compositions.

Ongoing work with computer monitor-based real-time notation in my marimba+electronics compositions began around 2008. Through real-time computer notation processing, I am able to combine the flexibility and spontaneity of improvisation, with the complex organizational capabilities of a notated score.

In 2007, I founded an ongoing concert series to feature my new work at the Overture Center for the Arts, in Madison, Wisconsin. The Overture Center series has hosted the premieres of many of my works, as well as the works of other composers, and has featured collaborations with other musicians, and collaborations with artists working in other media such as dance, video art, and sculpture. It was on this series (2014) that I launched the SSAL Fixed Media Repertoire Project with a concert featuring the historic multi-channel electronic works Kontakte and Gesang Der Jünglinge, by Karlheinz Stockhausen.

After much experimentation, I completed the initial work (it continues to progress) on my notation system for acoustic works in 2010, and have subsequently created a growing body of work composed in this system. The system uses multiple colors and other graphic devices in order to achieve maximum clarity, and is in general an attempt to visually represent the artistic sensibilities of the music for the performers as intuitively as possible. In order to expand my catalog of acoustic works, and record them in multi-channel, high-definition formats, I launched the The SSAL Guest Artist Recording Project in 2015, with my solo percussion work apical topography.

Recordings in multi-channel (surround), high-definition formats are central to my work, and to facilitate these projects, I designed and built a semi-mobile studio named Sound-Space Audio Lab. SSAL has been set up in several different locations (Madison, WI; Placitas, NM; Middleton, WI), and is currently located in a quiet rural valley near New Glarus, WI.

I hold a Doctor of Musical Arts degree in music composition from the University of Wisconsin–Madison (Stephen Dembski), a Postgraduate Diploma in marimba performance from the Royal Academy of Music (Leigh Howard Stevens), a Bachelor of Music in percussion performance from the Eastman School of Music (John Beck), and studied privately with L.H. Stevens.

From 2011 to 2013 I was a postdoctoral associate at the Wisconsin Institute for Discovery, working on music + technology projects.

Born, 1978, in Madison, Wisconsin (USA).

Articles and Interviews

01-30-18 WORT 89.9 FM, Madison, WI: Back Porch Serenade audio 12-16-17 Brutalist Websites pdf 10-01-17 Percussive Notes pdf 07-21-17 Pasatiempo / Santa Fe New Mexican pdf 04-18-17 Ascent of Man: Art and More pdf 05-01-16 Percussive Notes pdf 11-01-14 Percussive Notes pdf 10-27-14 The Squid's Ear pdf 07-01-14 Sound Notion TV: Patch In audio 03-26-14 The Key pdf 10-26-12 Downtown Devil pdf 01-01-10 Public Radio Tulsa: Studio Tulsa audio 08-01-09 Percussive Notes pdf 09-17-08 NUVO pdf 04-01-08 Percussive Notes pdf 04-01-08 Wisconsin Public Radio audio

DISCOGRAPHY

Luminous Machine

01 Luminous Machine play Solo Percussion 13:03 02 Solar Sequence play Four Glockenspiels 15:15 03 Apical Topography play Solo Percussion 12:11

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performers [01] Michael Carp [02] Nathaniel Bartlett [03] Michael Carp composer Nathaniel Bartlett Date 2017 Label Sound-Space Audio Lab Code SSAL-A7 Media Audio CD and Data DVD, Download Audio Formats HD 8-channel, HD 4-channel, HD Stereo, CD Stereo

Spectrum

01 Networks play Solo Flute 07:48 02 Cronometro_Palter_Quartet play Percussion Quartet 05:22 03 Impulse Response play Four Percussionists Playing Six Snare Drums Each 10:32 04 Cronometro_Palter_Solo play Solo Percussion 05:18 05 Wave Energy play Violin, Vibraphone, and Percussion 06:37 06 Cronometro_Bugbee_Duo play Percussion Duo 05:12 07 Bright Points play Vibraphone and Percussion 02:52

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performers [01] Elizabeth Marshall [02] Morris Palter [03] Lee Vinson [04] Morris Palter [05] David Felberg (Violin), Will Kramer (Vibraphone), Will Kramer (Percussion) [06] Fred Bugbee [07] Will Kramer (Vibraphone), Will Kramer (Percussion) composer Nathaniel Bartlett Date 2017 Label Sound-Space Audio Lab Code SSAL-A6 Media Audio CD and Data DVD, Download Audio Formats HD 8-channel, HD 4-channel, HD Stereo, CD Stereo

Neoteric Topology

01 Neoteric Topology play Marimba and Mallet/Body-Tracking Computer Interface; Real-Time Three Dimensional, High-Definition, Computer-Generated Sound; and Real-Time Computer Notation Processing 37:38

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performer Nathaniel Bartlett composer Nathaniel Bartlett Date 2015 Label Sound-Space Audio Lab Code SSAL-A5 Media Audio CD and Data DVD, Download Audio Formats HD 8-channel, HD 4-channel, HD Stereo, CD Stereo

timeSpacePlace

01 timeSpacePlace (A-Side) play Marimba and Mallet/Body-Tracking Computer Interface; Real-Time Three Dimensional, High-Definition, Computer-Generated Sound; and Real-Time Computer Notation Processing 22:15 02 timeSpacePlace (B-Side) play Marimba and Mallet/Body-Tracking Computer Interface; Real-Time Three Dimensional, High-Definition, Computer-Generated Sound; and Real-Time Computer Notation Processing 22:15

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performer Nathaniel Bartlett composer Nathaniel Bartlett Date 2013 Label Sound-Space Audio Lab Code SSAL-A4 Media Audio CD and Data DVD, Download Audio Formats HD 8-channel, HD 4-channel, HD Stereo, CD Stereo

(((clang)))

01 (((clang))) play Marimba and Metal Objects; Real-Time Three Dimensional, High-Definition, Computer-Generated Sound; and Real-Time Computer Notation Processing 40:12

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performer Nathaniel Bartlett composer Nathaniel Bartlett Date 2012 Label Sound-Space Audio Lab Code SSAL-A3 Media Audio CD and Data DVD, Download Audio Formats HD 8-channel, HD 4-channel, HD Stereo, CD Stereo

Trichotomic Ecology

01 Trichotomic Ecology play Marimba, Percussion, and Viola; Real-Time Three Dimensional, High-Definition, Computer-Generated Sound; and Real-Time Computer Notation Processing 42:54

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performers Nathaniel Bartlett (Marimba and Computer), Geoff Brady (Percussion), Nils Bultmann (Viola) composer Nathaniel Bartlett Date 2011 Label Sound-Space Audio Lab Code SSAL-A2 Media Audio CD and Data DVD, Download Audio Formats HD 8-channel, HD 4-channel, HD Stereo, CD Stereo

Far Reaches

01 Star_Birth play Solo Percussion 20:00 02 Heap play Percussion and Real-Time Three Dimensional, High-Definition, Computer-Generated Sound 17:30

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performers [01] Justin Alexander [02] Nathaniel Bartlett composer Nathaniel Bartlett Date 2010 Label Sound-Space Audio Lab Code SSAL-A1 Media Audio CD and Data DVD, Download Audio Formats HD 8-channel, HD 4-channel, HD Stereo, CD Stereo

Precipice

01 Opening play Solo Marimba 06:31 02 Precipice play Marimba and Four-Channel, High-Definition, Computer-Generated Sound 17:43 03 Interlude play Marimba and Four-Channel, High-Definition, Computer-Generated Sound 05:43 0408 Silhouettes: 01 02 03 04 play play play play Solo Marimba [01] 01:57 [02] 01:51 [03] 03:44 [04] 02:37 09 Vermont Counterpoint play Marimbas 11:20

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performer Nathaniel Bartlett composers [01] Philip Glass [02] Allan Schindler [03] Greg Wilder [04 05 06 07] Augusta Read Thomas [08] Steve Reich (Marimba Version N. Bartlett) Date 2006 Label Albany Records Code Troy 855 Media Hybrid Multi-Channel Super Audio CD, Download Audio Formats HD 5-channel, HD Stereo, CD Stereo

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THE SSAL DOT MATRIX AUDIO FILE PLAYER

This audio file player allows the quick perusal of all audio files on this website, even very long files. Click the minus icon and the player will hide in the lower left corner, so you can listen while continuing to navigate around the website.

The Dots: To skip, click on a dot. Each dot represents 10 seconds, and as the file plays, each dot loses its opacity.

MARIMBA++

Marimba; Real-Time Three-Dimensional, High-Definition, Computer-Generated Sound; and Real-Time Computer Notation Processing

My performances seamlessly meld my five-octave acoustic marimba with a powerful Linux-based computer, custom computer control interfaces, a variety of hardware audio electronics, and eight loudspeakers (plus subwoofer) arranged in a cube. With the audience positioned in the center of the loudspeaker cube, an elaborate, kinetic, three-dimensional sound environment can be projected into the audience space, totally immersing the listeners in the music. In my immersive sound environments, spatialization (the positioning and movement of sounds in physical space) becomes a central musical parameter, alongside of pitch, rhythm/time, timbre, and so on.

The sound environments of my compositions are comprised of sounds culled from many sources and techniques, including digital audio manipulations of my live marimba, digital audio manipulations of recorded acoustic sounds stored on my computer, and synthetically engineered sounds. The intricate three-dimensional sound environments of my works are further enriched by the use of high-definition audio, which allows for a significant increase in sonic nuances.

In my performance rig, two computer monitors are used in place of a conventional music stand. The music notation, now free from the physical realm of paper and ink, is created and manipulated in real time, just as the computer-generated sounds are created and manipulated in real time.

I designed my performance rig for maximum mobility without compromising audio quality, and have performed all across the US in a wide variety of venues, such as art galleries and museums, concert halls, dance spaces, DIY/underground spaces, and many universities and colleges. In order to present my music in its original three-dimensional, high-definition form at every performance, I always tour with all my own electronic equipment and marimba.

Recordings of my original compositions and other projects -- all on multi-channel, high-resolution media -- can be found on Albany Records, and on my own label, Sound-Space Audio Lab.

I perform on a Malletech Imperial Grand five-octave marimba, and use a custom, silent (true 0dB) computer created byendpcnoise.com.

Works

2017 Next_Apex_SF 2015 Next Apex 2014 Apex Altissimo • In Balance 2013 timeSpacePlace 2012 Return Transmission • Territories • (((clang))) 2011 Summer Sanctuary • time-Space-Place • Trichotomic Ecology 2010 System Ping • Space Forms 2009 Wear Patterns • Sound/Space System • Blue Shift 2008 Sodium Lights

SOUND-SPACE AUDIO LAB

Studio

The SSAL studio is my personal laboratory (with occasional outside projects) for the creation and recording of works which feature spatialized acoustic and/or electronic sounds. I designed the acoustic treatment system for the main SSAL recording room to be completely modular and mobile, and it has been installed in rooms in Madison, WI 2010–2013, and Placitas, NM 2014–2017. In 2017, I moved back to Madison, WI, and am currently searching for a new space.

Albums are available as physical media and downloads at Bandcamp.

Mobile Multi-Channel electroacoustic Diffusion System

The core of the SSAL mobile multi-channel electroacoustic diffusion system is its array of eight loudspeakers and a subwoofer. I designed and built a set of mounts for the loudspeakers which allow them to be mounted on a variety of stands of different heights and rotated 360° vertically and horizontally. Most often, the loudspeaker array is set up in a "cube" format, with the audience in the center.

The SSAL mobile rig uses the electronics (microphones, microphone preamplifier, A/D/A converters, etc.) from my recording studio. This allows me to bring uncompromisingly nuanced, beautiful sounds to all my live events.

Travelling with such an elaborate electroacoustic rig is a sizeable logistical challenge. In order to accomplish the task, I designed and built a set of road cases which use as little space as possible and minimize set-up / tear-down time.

Recordings

Most of my musical activities as a performer and composer involve the use of highly detailed, immersive sound environments. In order to fully capture my works, SSAL recordings use high-definition, multi-channel audio. SSAL recordings are available as two-disc albums with an audio CD and a data DV). The audio CD, containing format 4, is playable on standard CD players. The data DVD contains audio files in formats 1, 2, and 3: [1] HD eight-channel (cube), 24 bit 88.2kHz [2] HD four-channel (quad), 24 bit 88.2kHz [3] HD stereo, 24 bit 88.2kHz [4] CD stereo, 16 bit 44.1kHz.

True Dynamics

SSAL recordings, as a reflection of my musical aesthetics, are highly dynamic recordings. In other words, there is a huge range between the softest and loudest sounds. No dynamic range compression is used. The PDF notes accompanying the recordings give directions for setting playback levels based on the loudest section in the composition.

Loudspeaker Setup

[Cube]: Eight loudspeakers should be placed at the vertices of a cube with the listener in the center.

[Quad]: Four loudspeakers should be placed at the vertices of a square with the listener in the center. The tweeters should be at about the same height as the listener's ears.

[Stereo]: Two loudspeakers should be placed in front of the listener at +/- 20° to 30°. If the speakers are too close together, the stereo image will smaller than necessary. If the speakers are too far apart, the stereo image will be lost (sounding like two separate audio channels coming from the two different speakers). The tweeters should be at about the same height as the listener's ears.

Physical Media

SSAL physical media albums come in two-tone (black / brown) kraft paper envelopes, with brown kraft disc labels, black printing, and sleeved in resealable clear poly bags.

Concert Presentation

SSAL recordings are not solely intended for home listening, I also conceive of them as fixed-media sound works that can be projected in a concert or installation setting. Multi-channel home-listening setups are still rare, especially eight-channel cube setups, so public presentations of SSAL recordings are the way most people hear these works in their true three-dimensional, high-definition format. If you are interested in acquiring the rights to present a SSAL recording publicly, please email me.

Fixed Media Repertoire Project

In addition to my live performances, I present a growing repertoire of multi-channel, fixed-media, electronic works. Compositions include my original works as well as compositions by other composers.

Works

Word Color Paul Lansky 1992 2ch Vivre Allan Schindler 2008 8ch Sidewinder Morton Subotnick 1971 4ch Gesang der Jünglinge Karlheinz Stockhausen 1955–1956 4ch Kontakte Karlheinz Stockhausen 1958–1960 4ch Sieben Stufen Hans Tutschku 1995 4ch Poème Électronique Edgard Varèse 1958 5ch

Guest Artist Recording Project

For performers of contemporary music, funding for the commissioning and recording of new works is extremely hard to secure. To get around this problem, I started the Sound-Space Audio Lab Guest Artist Recording Project. The SSAL_GARP, an exchange of time and talent, is simple: if you are a professional-caliber performer or ensemble, and can get yourself and your instruments to my studio, I will write a new work for you to record, in high-definition surround, for release on my Sound-Space Audio Lab record label.

Donate

Through my fiscal sponsor, Fractured Atlas, contributions to my projects are tax-deductable. In addition to monetary donations, I can also accept donations of physical property such as audio electronics or other materials directly related to my projects. If you are interested in starting a conversation about supporting my work, please be in touch.

PHOTO/VIDEO

COMPLETE PHOTO/VIDEO ARCHIVES

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ALBUM COVERS RECENT EVENTS SSAL MOBILE MULTI-CHANNEL ELECTROACOUSTIC DIFFUSION SYSTEM SSAL RECORDING STUDIO

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A/V PROJECTS DISCOGRAPHY LIVE SCORES W/ RECORDING

DOWNLOAD HIGH-RESOLUTION IMAGES FOR PRESS (DROPBOX)

ALBUM COVERS PHOTOS OF N. BARTLETT SSAL PHYSICAL MEDIA

EVENTS

2019

11-14-19
Indianapolis, IN

Time 09:00am to 09:50am Event PASIC (Percussive Arts Society International Convention) Venue Wabash Room, Indiana Convention Center

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01 Cronometro (2015) • for Unspecified Time-Based Media (Open Instrumentation) • Percussion: Payton MacDonald • Live • Composer: Nathaniel Bartlett

06-04-19
Madison, WI

Time 07:00am to 08:00am Event Joining host Peter Haney on a special pledge-drive edition of his show "Back Porch Serenade" for a chat and the broadcast of first composition using electronics, Microseism. Venue WORT 89.9FM Madison, WI

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01 Microseism (2000) • for Solo Percussion and Computer-Generated Sounds • CD Stereo • Percussion: Nathaniel Bartlett • Fixed Media • Composer: Nathaniel Bartlett

Photo

2018

09-09-18
Madison, WI

Time 03:30pm to 05:00pm Venue University of Wisconsin–Madison Class Sound Design for the Performing and Visual Arts, with Prof. Joseph Koykkar

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01 Presentation A presentation covering the technical (hardware and software) and artistic facets of my compositions

02-27-18
Madison, WI

Time 07:00am to 08:00am Event Joining host Peter Haney on a special pledge-drive edition of his show "Back Porch Serenade" for a chat and the broadcast of two recordings from my discography Venue WORT 89.9FM Madison, WI

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01 Networks (2010) • for Solo Flute • CD Stereo • Flute: Elizabeth Marshall • Fixed Media • Composer: Nathaniel Bartlett 02 (((clang))) (excerpt) (2012) • for Marimba and Metal Objects; Real-Time Three Dimensional, High-Definition, Computer-Generated Sound; and Real-Time Computer Notation Processing • CD Stereo • Marimba and Computer: Nathaniel Bartlett • Fixed Media • Composer: Nathaniel Bartlett

Photo

02-04-18
Madison, WI

Time 03:00pm Doors 02:30pm Event Sound-Space Audio Lab Overture Center Event Series Event Number 021 Venue The Overture Center for the Arts, Promenade Hall About A concert of immersive fixed media works including Edgard Varèse's seminal composition Poème Électronique, written for Le Corbusiers's Philips Pavilion at the 1958 Brussels World Fair, and recent works by Nathaniel Bartlett, created during time (2014-2017) in the high desert of Northern New Mexico (USA) More Info Free, donations encouraged, reservations encouraged (capacity 100)

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01 Poème Électronique (1958) • for five channel electronic sound (high-definition digital transfer from original analog tape) • Fixed Media • Composer: Edgard Varèse 02 Impulse Response (2016) • for Four Percussionists Playing Six Snare Drums Each • eight channel cube loudspeaker array • Snare Drums: Lee Vinson • Fixed Media • Composer: Nathaniel Bartlett 03 Neoteric Topology (excerpt 1) (2015) • for Marimba and Mallet/Body-Tracking Computer Interface; Real-Time Three Dimensional, High-Definition, Computer-Generated Sound; and Real-Time Computer Notation Processing • eight channel cube loudspeaker array • Marimba and Computer: Nathaniel Bartlett • Fixed Media • Composer: Nathaniel Bartlett 04 Solar Sequence (excerpt) (2017) • for Four Glockenspiels • eight channel cube loudspeaker array • Glockenspiel: Nathaniel Bartlett • Fixed Media • Composer: Nathaniel Bartlett 05 Cronometro_Bugbee_Duo (2015) • for Percussion Duo • eight channel cube loudspeaker array • Percussion: Fred Bugbee • Fixed Media • Composer: Nathaniel Bartlett 06 Apical Topography (2017) • for Solo Percussion • four channel loudspeaker array • Percussion: Michael Carp • Fixed Media • Composer: Nathaniel Bartlett 07 Neoteric Topology (excerpt 2) (2015) • for Marimba and Mallet/Body-Tracking Computer Interface; Real-Time Three Dimensional, High-Definition, Computer-Generated Sound; and Real-Time Computer Notation Processing • eight channel cube loudspeaker array • Marimba and Computer: Nathaniel Bartlett • Fixed Media • Composer: Nathaniel Bartlett

donate reservations

01-30-18
Madison, WI

Time 07:00am to 08:00am Event Joining host Peter Haney on his show Radio "Back Porch Serenade" for an interview and the broadcast of selected recordings of my compositions Venue WORT 89.9FM Madison, WI

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01 Apical Topography (2017) • for Solo Percussion • CD Stereo • Percussion: Michael Carp • Fixed Media • Composer: Nathaniel Bartlett 02 Solar Sequence (2017) • for Four Glockenspiels • CD Stereo • Glockenspiel: Nathaniel Bartlett • Fixed Media • Composer: Nathaniel Bartlett

Photo audio

2017

07-22-17
Santa Fe, NM

Time 02:00pm to 03:30pm Event Tech and the West, a symposium presented by the Santa Fe Opera in conjunction with the 2017 world premiere of The (R)evolution of Steve Jobs and the 2018 production of Doctor Atomic Venue New Mexico History Museum auditorium

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01 Panel Discussion Topic: Creative Expression. Panel: Composer Nathaniel Bartlett, Psychologist Dorella Bond, and Designer Leah Buechley. Moderated by Andrew J. Wulf, Director of the New Mexico History Museum

Photo

07-21-17
Santa Fe, NM

Time 03:10pm to 04:10pm Event Tech and the West, a symposium presented by the Santa Fe Opera in conjunction with the 2017 world premiere of The (R)evolution of Steve Jobs and the 2018 production of Doctor Atomic Title Concert Music and the Personal Computer Revolution Venue New Mexico History Museum auditorium

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01 Gesang der Jünglinge (Excerpt) (1955–1956) • for four-channel electronic sound (high-definition digital transfer from original analog tape) • four channel loudspeaker array • Fixed Media • Composer: Karlheinz Stockhausen 02 Sidewinder, Side Two (excerpt) (1971) • for four channel tape, created on Buchla analog synthesizer • four channel loudspeaker array • Fixed Media • Composer: Morton Subotnick 03 Sieben Stufen (1995) • for four channel computer-generated sound, created on a NeXT computer • four channel loudspeaker array • Fixed Media • Composer: Hans Tutschku 04 Word Color (1992) • for stereo computer-generated sound, created on a NeXT computer • four channel loudspeaker array • Fixed Media • Composer: Paul Lansky 05 NEXT_APEX_SF (2015–2017) • for marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • eight channel cube loudspeaker array • Marimba/Computer: Nathaniel Bartlett • Live • Composer: Nathaniel Bartlett

Photo

06-09-17
Santa Fe, NM

Time Included with other works between 06:00pm and 12:00am Event Currents New Media Festival 2017 Venue The Quasar Pavillion

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01 Multi Media Work • Audio: Cronometro_Bugbee_Duo (2015) • for Percussion Duo • Presented in a CD-quality stereo version (Original: high-definition eight channel cube) • Percussion: Fred Bugbee • Fixed Media • Composer: Nathaniel Bartlett • Video: Cronometro (2018) • for HD Video 1080p • Fixed Media • Video Artist: Toby Kaufmann-Buhler 02 Multi Media Work • Audio: timeSpacePlace (B-Side) (2013) • for Marimba and Mallet/Body-Tracking Computer Interface; Real-Time Three Dimensional, High-Definition, Computer-Generated Sound; and Real-Time Computer Notation Processing • Presented in a CD-quality stereo version (Original: high-definition eight channel cube) • Marimba and Computer: Nathaniel Bartlett • Fixed Media • Composer: Nathaniel Bartlett • Video: Unseasonable Events Change Hands (2011) • for DVD Video • Fixed Media • Video Artist: Toby Kaufmann-Buhler 03 Multi Media Work • Audio: Heap (2010) • for Percussion and Real-Time Three Dimensional, High-Definition, Computer-Generated Sound • Presented in a CD-quality stereo version (Original: high-definition eight channel cube) • Percussion and Computer: Nathaniel Bartlett • Fixed Media • Composer: Nathaniel Bartlett • Video: Heap (2015) • for HD Video 1080p • Fixed Media • Video Artist: Toby Kaufmann-Buhler

03-24-17
Udine, Italy / Global Internet Event

Time 01:30pm Mountain Time (US) Event Series ToBeContinued...2017 Venue Stazione di Topolò, multiple live listening posts across the globe, and live internet stream More Info ToBeContinued...2017 is a concert lasting 24 hours, from 00.00 hours to the midnight of March 24th, GMT+1, during which musicians from many parts of the world will be connected to a website that will broadcast their concerts. During this uninterrupted 24 hour marathon, each musician -- representing a range of new music practices -- will have a 30 minute window for live or prerecorded performance created especially for this event

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01 Campanology Improvisation 1 (2017) • for computer-processed glockenspiel • streamed in lower-resolution stereo • glockenspiel and Computer: Nathaniel Bartlett • Fixed Media • Composer: Nathaniel Bartlett

Photo Audio

2016

11-24-16
Belfast, UK

Event Series Sonorities Festival of Contemporary Music Venue Queen’s University Belfast Sonic Arts Research Centre

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01 Multi Media Work • Audio: Heap (2010) • for Percussion and Real-Time Three Dimensional, High-Definition, Computer-Generated Sound • high-definition four channel version (Original: high-definition eight channel cube) • Percussion and Computer: Nathaniel Bartlett • Fixed Media • Composer: Nathaniel Bartlett • Video: Heap (2015) • for HD Video 1080p • Fixed Media • Video Artist: Toby Kaufmann-Buhler

Program

05-27-16
Santa Fe, NM

Time 05:00pm to 07:00pm Event ICONIC Group Exhibition Venue EVOKE contemporary

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01 Multi Media Work • Audio: timeSpacePlace (B-Side) (2013) • for Marimba and Mallet/Body-Tracking Computer Interface; Real-Time Three Dimensional, High-Definition, Computer-Generated Sound; and Real-Time Computer Notation Processing • eight channel cube loudspeaker array • Marimba and Computer: Nathaniel Bartlett • Fixed Media • Composer: Nathaniel Bartlett • Video: Unseasonable Events Change Hands (2011) • for DVD Video • Fixed Media • Video Artist: Toby Kaufmann-Buhler 02 Multi Media Work • Audio: Heap (2010) • for Percussion and Real-Time Three Dimensional, High-Definition, Computer-Generated Sound • high-definition four channel version (Original: high-definition eight channel cube) • Percussion and Computer: Nathaniel Bartlett • Fixed Media • Composer: Nathaniel Bartlett • Video: Heap (2015) • for HD Video 1080p • Fixed Media • Video Artist: Toby Kaufmann-Buhler

Photo

04-03-16
Carbondale, IL (2)

Time 07:30pm Event Series Outside the Box New Music Series Venue Southern Illinois University Carbondale, Altgeld room 112

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01 Impulse Response (2016) • for Four Percussionists Playing Six Snare Drums Each • eight channel cube loudspeaker array • Snare Drums: Lee Vinson • Fixed Media • Composer: Nathaniel Bartlett 02 Trichotomic Ecology (2011) • for Marimba, Percussion, and Viola; Real-Time Three Dimensional, High-Definition, Computer-Generated Sound; and Real-Time Computer Notation Processing • eight channel cube loudspeaker array • Marimba and Computer: Nathaniel Bartlett, Percussion: Geoff Brady, Viola: Nils Bultmann • Fixed Media • Composer: Nathaniel Bartlett

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04-03-16
Carbondale, IL (1)

Time 04:00pm Event Series Outside the Box New Music Series Venue Southern Illinois University Carbondale, Altgeld room 112

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01 Presentation A presentation covering the technical (hardware and software) and artistic facets of my compositions utilizing three-dimensional, high-definition, computer-generated sound/notation

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2015

11-05-15
Milwaukee, WI

Event Threshold Venue Charles Allis Art Museum

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01 Multi Media Work • Audio: timeSpacePlace (B-Side) (2013) • for Marimba and Mallet/Body-Tracking Computer Interface; Real-Time Three Dimensional, High-Definition, Computer-Generated Sound; and Real-Time Computer Notation Processing • Presented in high-definition four-channel surround (Original: high-definition eight channel cube) • Marimba and Computer: Nathaniel Bartlett • Fixed Media • Composer: Nathaniel Bartlett • Video: Unseasonable Events Change Hands (2011) • for DVD Video • Fixed Media • Video Artist: Toby Kaufmann-Buhler

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11-02-15
Oshkosh, WI (1)

Time 12:40pm Venue University of Wisconsin–Oshkosh, Music Hall

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01 Presentation A Presentation covering the technical (hardware and software) and artistic facets of my compositions for marimba and three-dimensional, high-definition, computer-generated sound/notation

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11-02-15
Oshkosh, WI (2)

Time 07:30pm Venue University of Wisconsin–Oshkosh, Music Hall

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01 Next Apex (2015) • for marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • eight channel cube loudspeaker array • Marimba/Computer: Nathaniel Bartlett • Live • Composer: Nathaniel Bartlett

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10-30-15
Madison, WI

Time 06:30pm Event Series Sound-Space Audio Lab Overture Center Event Event Number 020 Venue The Overture Center for the Arts, Promenade Hall

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01 Sidewinder, Side Two (1971) • for four channel tape, created on Buchla analog synthesizer • four channel loudspeaker array • Fixed Media • Composer: Morton Subotnick 02 Next Apex (2015) • for marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • eight channel cube loudspeaker array • Marimba/Computer: Nathaniel Bartlett • Live • Composer: Nathaniel Bartlett

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10-26-15
St. Cloud, MN (2)

Time 08:00pm Venue St. Cloud State University Performing Arts Center, room 158A

•••••

01 Kontakte (1958–1960) • for four-channel electronic sound (high-definition digital transfer from original analog tape) • four channel loudspeaker array • Fixed Media • Composer: Karlheinz Stockhausen 02 Gesang der Jünglinge (1955–1956) • for four-channel electronic sound (high-definition digital transfer from original analog tape) • four channel loudspeaker array • Fixed Media • Composer: Karlheinz Stockhausen

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10-26-15
St. Cloud, MN (1)

Time 01:00pm Venue St. Cloud State University Performing Arts Center, room 158A

•••••

01 Listening Session A Listening Session featuring works from my Sound-Space Audio Lab discography presented in their original multi-channel, high-definition formats

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10-25-15
St. Cloud, MN (2)

Time 04:00pm Venue St. Cloud State University Performing Arts Center, Ruth Gant Recital Hall

•••••

01 Presentation A presentation covering the technical (hardware and software) and artistic facets of my compositions for marimba and three-dimensional, high-definition, computer-generated sound/notation

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10-25-15
St. Cloud, MN (1)

Time 03:00pm Venue St. Cloud State University Performing Arts Center, Ruth Gant Recital Hall

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Photo

10-24-15
Kirksville, MO (2)

Time 02:15pm Event Series New Horizons Music Festival Venue Truman State University, Ophelia Parrish Hall, room 2340

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Photo

10-24-15
Kirksville, MO (1)

Time 01:15pm Event Series New Horizons Music Festival Venue Truman State University, Ophelia Parrish Hall, room 2340

•••••

01 Presentation A presentation covering the technical (hardware and software) and artistic facets of my works utilizing multi-channel, high-definition, computer-generated sound/notation

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10-22-15
Manhattan, MO (2)

Time 07:30pm Venue Kansas State University School of Music, Kirmser Hall

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Photo

10-22-15
Manhattan, KS (1)

Time 11:30am Venue Kansas State University School of Music, Kirmser Hall

•••••

01 Presentation A presentation covering the technical (hardware and software) and artistic facets of my works utilizing multi-channel, high-definition, computer-generated sound/notation

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06-06-15
Santa Fe, NM

Time 06:30pm Event Series Sound-Space Audio Lab Albuquerque/Santa Fe Event Series Venue Railyard Performance Center

•••••

01 Kontakte (1958–1960) • for four-channel electronic sound (high-definition digital transfer from original analog tape) • four channel loudspeaker array • Fixed Media • Composer: Karlheinz Stockhausen 02 Apical Topography (2017) • for Solo Percussion • Percussion: Michael Carp • Live • Composer: Nathaniel Bartlett 03 Gesang der Jünglinge (1955–1956) • for four-channel electronic sound (high-definition digital transfer from original analog tape) • four channel loudspeaker array • Fixed Media • Composer: Karlheinz Stockhausen

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06-05-15
Albuquerque, NM

Time 06:30pm Event Series Sound-Space Audio Lab Albuquerque/Santa Fe Event Series Venue First Unitarian, Old Sanctuary

•••••

01 Kontakte (1958–1960) • for four-channel electronic sound (high-definition digital transfer from original analog tape) • four channel loudspeaker array • Fixed Media • Composer: Karlheinz Stockhausen 02 Apical Topography (2017) • for Solo Percussion • Percussion: Michael Carp • Live • Composer: Nathaniel Bartlett 03 Gesang der Jünglinge (1955–1956) • for four-channel electronic sound (high-definition digital transfer from original analog tape) • four channel loudspeaker array • Fixed Media • Composer: Karlheinz Stockhausen

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05-24-15
Santa Fe, NM

Time 11:00am to 05:00pm Event Series Sound-Space Audio Lab Albuquerque/Santa Fe Event Series Venue Santa Fe Railyard Park Community Room More Info This event is an open house. Stop by anytime 11:00am - 05:00pm. Playback of the new work on the hour (45min duration), every hour. Socialize / talk 00:45 - 00:60. Meet me, see/hear my mobile 3D high-def electroacoustic rig, learn about my work, and my other upcoming ABQ/SF events. Free (donations welcome)

•••••

01 Neoteric Topology (2015) • for Marimba and Mallet/Body-Tracking Computer Interface; Real-Time Three Dimensional, High-Definition, Computer-Generated Sound; and Real-Time Computer Notation Processing • eight channel cube loudspeaker array • Marimba and Computer: Nathaniel Bartlett • Fixed Media • Composer: Nathaniel Bartlett

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05-23-15
Albuquerque, NM

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Photo Video

01-20-15
Columbus, OH

Event IMAGEOHIO 15, presented by ROY G BIV Gallery Venue The Shot Tower Gallery

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01 Multi Media Work • Audio: timeSpacePlace (B-Side) (2013) • for Marimba and Mallet/Body-Tracking Computer Interface; Real-Time Three Dimensional, High-Definition, Computer-Generated Sound; and Real-Time Computer Notation Processing • Presented in a CD-quality stereo version (Original: high-definition eight channel cube) • Marimba and Computer: Nathaniel Bartlett • Fixed Media • Composer: Nathaniel Bartlett • Video: Unseasonable Events Change Hands (2011) • for DVD Video • Fixed Media • Video Artist: Toby Kaufmann-Buhler

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2014

10-31-14
Wichita, KS

Time 08:00pm Event KNOB Festival of New Music 2014 Venue Fisch Haus Studios

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01 Apex Altissimo (2014) • for marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • eight channel cube loudspeaker array • Marimba/Computer: Nathaniel Bartlett • Live • Composer: Nathaniel Bartlett 02 Heap (2010) • for Percussion and Real-Time Three Dimensional, High-Definition, Computer-Generated Sound • eight channel cube loudspeaker array • Percussion and Computer: Nathaniel Bartlett • Fixed Media • Composer: Nathaniel Bartlett

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10-29-14
Omaha, NE

Time 06:30pm Venue Bancroft Street Market

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Photo

10-27-14
Stevens Point, WI

Time 07:30pm Venue University of Wisconsin–Stevens Point, Noel Fine Arts Center, Room 240

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Photo

10-26-14
Madison, WI

Time 06:30pm Event Series Sound-Space Audio Lab Overture Center Event Series Event Number 019 Venue The Overture Center for the Arts, Promenade Hall

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Photo

09-28-14
Cleveland, OH (2)

Time 03:00pm Event Ingenuity Cleveland Venue Great Lakes Science Center, Reinberger Auditorium

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Photo

09-28-14
Cleveland, OH (1)

Time 01:00pm Event Ingenuity Cleveland Venue Great Lakes Science Center, Reinberger Auditorium

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Photo

09-23-14
Tulsa, OK

Time 07:30pm Venue Living Arts

•••••

Photo

09-22-14
Conway, AR

Time 07:00pm Venue University of Central Arkansas, Snow Fine Arts Recital Hall

•••••

01 Listening Session A Listening Session featuring excerpts from compositions by Nathaniel Bartlett, Allan Schindler, Karlheinz Stockhausen, Kraftwerk, and others, presented on the Sound-Space Audio Lab multi-channel, high-definition loudspeaker array

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09-21-14
Conway, AR (2)

Time 07:30pm Venue University of Central Arkansas, Snow Fine Arts Recital Hall

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Photo

09-21-14
Conway, AR (1)

Time 07:30pm Venue University of Central Arkansas, Snow Fine Arts Recital Hall

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Photo

05-28-14
Philadelphia, PA

Time 06:30pm Event Series Sound-Space Audio Lab Philadelphia Event Series Event Number 03 Venue Crane Old School White Space

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Photo

04-30-14
Philadelphia, PA

Time 06:30pm Event Series Sound-Space Audio Lab Philadelphia Event Series Event Number 02 Venue Crane Old School White Space

•••••

01 In Balance (2014) • for marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • eight channel cube loudspeaker array • Marimba/Computer: Nathaniel Bartlett • Live • Composer: Nathaniel Bartlett

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03-26-14
Philadelphia, PA

Time 06:30pm Event Series Sound-Space Audio Lab Philadelphia Event Series Event Number 01 Venue Crane Old School White Space

•••••

01 Trichotomic Ecology (2011) • for Marimba, Percussion, and Viola; Real-Time Three Dimensional, High-Definition, Computer-Generated Sound; and Real-Time Computer Notation Processing • eight channel cube loudspeaker array • Marimba and Computer: Nathaniel Bartlett, Percussion: Geoff Brady, Viola: Nils Bultmann • Fixed Media • Composer: Nathaniel Bartlett

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01-12-14
Springfield, IL

Time 03:00pm Venue The Pharmacy

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Photo

01-11-14
St. louis, MO

Time 08:00pm Venue Lemp Neighborhood Arts Center

•••••

Photo

01-10-14
Tulsa, OK

Time 07:30pm Venue Living Arts

•••••

01 Kontakte (1958–1960) • for four-channel electronic sound (high-definition digital transfer from original analog tape) • four channel loudspeaker array • Fixed Media • Composer: Karlheinz Stockhausen 02 timeSpacePlace (A-Side) (2013) • for Marimba and Mallet/Body-Tracking Computer Interface; Real-Time Three Dimensional, High-Definition, Computer-Generated Sound; and Real-Time Computer Notation Processing • eight channel cube loudspeaker array • Marimba and Computer: Nathaniel Bartlett • Fixed Media • Composer: Nathaniel Bartlett

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01-04-14
Madison, WI

Time 06:30pm Event Series Sound-Space Audio Lab Overture Center Event Event Number 018 Venue The Overture Center for the Arts, Promenade Hall

•••••

01 Vivre (2008) • for three-dimensional, high-definition, computer-generated sound • eight channel loudspeaker array • Fixed Media • Composer: Allan Schindler 02 In Balance (premiere) (2014) • for marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • eight channel cube loudspeaker array • Marimba/Computer: Nathaniel Bartlett • Live • Composer: Nathaniel Bartlett

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01-03-14
St. louis, MO

Time 08:00pm Venue Lemp Neighborhood Arts Center

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Photo

2004–2013

08-10-13 Madison, WI • University of Wisconsin–Madison 06-20-13 Asbury Park, NJ • LHS Marimba Seminar 06-19-13 Ocean Grove, NJ • LHS Marimba Seminar 03-17-13 Stevens Point, WI • University of Wisconsin–Stevens Point 03-16-13 Stevens Point, WI • University of Wisconsin–Stevens Point 02-23-13 Madison, WI • Overture Center for the Arts 01-11-13 🠚 02-24-13 Madison, WI • James Watrous Gallery 11-16-12 Madison, WI • Town Center at the Wisconsin Institutes for Discovery 11-16-12 🠚 03-01-13 Madison, WI • Town Center at the Wisconsin Institutes for Discovery 11-06-12 Tulsa, OK • Living Arts 11-03-12 Austin, TX • Percussive Arts Society International Convention 10-28-12 Flagstaff, AZ • Northern Arizona University 10-26-12 Tucson, AZ • University of Arizona 10-25-12 Phoenix, AZ • The Icehouse 10-02-12 Madison, WI • Town Center at the Wisconsin Institutes for Discovery 09-29-12 Madison, WI • Overture Center for the Arts 08-30-12 Madison, WI • Overture Center for the Arts 04-09-12 Manhattan, KS • Kansas State University 04-01-12 Madison, WI • Overture Center for the Arts 03-10-12 Ithaca, NY • Ithaca College 11-01-11 New York, NY • Danspace Project 10-31-11 New York, NY • Danspace Project 10-29-11 New York, NY • Danspace Project 10-14-11 Madison, WI • Overture Center for the Arts 10-03-11 Wayne, NJ • William Patterson University 10-02-11 West Chester, PA • William Patterson University 06-18-11 Asbury Park, NJ • LHS Marimba Seminar 06-17-11 Ocean Grove, NJ • LHS Marimba Seminar 05-08-11 Madison, WI • Overture Center for the Arts 04-07-11 Pittsburgh, PA • Robert Morris University 03-05-11 Madison, WI • University of Wisconsin–Madison 03-05-11 Madison, WI • University of Wisconsin–Madison 12-15-10 New York, NY • Judson Memorial Church 12-14-10 New York, NY • Judson Memorial Church 12-10-10 Columbus, OH • The Fuse Factory 11-06-10 Madison, WI • Overture Center for the Arts 09-20-10 Atlanta, GA • Georgia Institute of Technology 09-17-10 Orlando, FL • University of Central Florida 09-14-10 Tallahassee, FL • Florida State University 09-13-10 Atlanta, GA • Eyedrum 09-12-10 Athens, GA • Athens Institute for Contemporary Art 09-09-10 Lexington, KY • University of Kentucky 05-28-10 Madison, WI • Overture Center for the Arts 05-07-10 Madison, WI • Higher Fire Gallery Annex 02-27-10 Greenville, NC • East Carolina University 02-26-10 Greenville, NC • East Carolina University 02-07-10 Kirksville, MO • Truman State University 02-06-10 Kirksville, MO • Truman State University 01-30-10 Santa Fe, NM • The Santa Fe Complex 01-29-10 Flagstaff, AZ • Northern Arizona University 01-26-10 Albuquerque, NM • University of New Mexico 01-25-10 Las Cruces, NM • New Mexico State University 01-20-10 Arlington, TX • University of Texas at Arlington 01-19-10 Conway, AR • University of Central Arkansas 01-17-10 Tulsa, OK • Living Arts 12-11-09 Madison, WI • Overture Center for the Arts 11-14-09 Indianapolis, IN • Percussive Arts Society International Convention 10-02-09 Rochester, NY • Eastman School of Music 10-01-09 Rochester, NY • Eastman School of Music 09-05-09 Madison, WI • Overture Center for the Arts 07-15-09 Atlanta, GA • Eyedrum 07-10-09 Somerville, MA • Third Life Studio 07-08-09 Pittsburgh, PA • The Brew House 06-13-09 Santa Ana, CA • Orange County Center for Contemporary Art 06-09-09 Tucson, AZ • Solar Culture 06-07-09 Albuquerque, NM • University of New Mexico 06-04-09 Houston, TX • Super Happy Fun Land 05-29-09 Madison, WI • Overture Center for the Arts 04-19-09 Syracuse, NY • Onondaga Community College 04-19-09 Whitewater, WI • University of Wisconsin–Whitewater 03-01-09 Minneapolis, MN • Center for Independent Artists 12-20-08 Madison, WI • Capitol Lakes Grand Hall 12-17-08 Philadelphia, PA • Mascher Space Cooperative 12-04-08 Madison, WI • Overture Center for the Arts 11-20-08 East Lansing, MI • SCENE Metrospace 11-15-08 Austin, TX • Mexican American Cultural Center (New Music Coop) 11-14-08 Austin, TX • Mexican American Cultural Center (New Music Coop) 11-12-08 St. Louis, MO • Lemp Neighborhood Arts Center 10-11-08 Madison, WI • Overture Center for the Arts 09-21-08 Lansing, MI • Lansing Community College 09-19-08 Indianapolis, IN • Indianapolis Art Center 09-07-08 Spring Green, WI • Taliesin Hillside Theater 08-21-08 Pittsburgh, PA • Mattress Factory 06-18-08 Madison, WI • Overture Center for the Arts 05-24-08 Dallas, TX • Gallery 1308 05-21-08 Houston, TX • Nutsuoh 05-21-08 St. Louis, MO • Lemp Neighborhood Arts Center 04-27-08 Madison, WI • Overture Center for the Arts 04-26-08 Madison, WI • University of Wisconsin–Madison 03-28-08 Philadelphia, PA • Philadelphia Ethical Society 03-21-08 Philadelphia, PA • Mascher Space Cooperative 03-20-08 New Bedford, MA • Gallery X 03-19-08 Somerville, MA • Third Life Studio 01-20-08 Manhattan, KS • Kansas State University 01-18-08 Austin, TX • Austin Museum of Digital Art 01-14-08 Berkeley, CA • Center for New Music and Technology 06-16-07 East Lansing, MI • SCENE Metrospace 01-13-08 Los Angeles, CA • Dangerous Curve 01-11-08 Scottsdale, AZ • Taliesin West 01-07-08 Houston, TX • Super Happy Fun Land 01-05-08 Oklahoma City, OK • Individual Artists of Oklahoma Gallery 12-15-07 Madison, WI • Overture Center for the Arts 11-17-07 East Lansing, MI • SCENE Metrospace 11-16-07 Ann Arbor, MI • Canterbury House 11-11-07 Durham, NH • University of New Hampshire 11-03-07 Marshfield, WI • Chestnut Avenue Center for the Arts 10-20-07 Sturgeon Bay, WI • Fairfield Center for Contemporary Art 09-22-07 Spring Green, WI • Taliesin Hillside Theater 09-21-07 Madison, WI • Capitol Lakes Grand Hall 09-15-07 St. Paul, MN • Studio Z 09-08-07 Milwaukee, WI • Hotcakes 06-23-07 Providence, RI • AS220 06-21-07 Portland, ME • One Longfellow Square 06-20-07 Cambridge, MA • The Lily Pad 06-08-07 Philadelphia, PA • Mascher Space Cooperative 06-07-07 Philadelphia, PA • Mascher Space Cooperative 05-12-07 Media, PA • Maitri Yoga Studio 04-27-07 Philadelphia, PA • Mascher Space Cooperative 04-18-07 Denver, CO • Creative Music Works 04-17-07 Ft. Collins, CO • Colorado State University 04-16-07 Ft. Collins, CO • Colorado State University 04-13-07 El Paso, TX • University of Texas at El Paso 04-11-07 Las Cruces, NM • New Mexico State University 03-30-07 Philadelphia, PA • Mascher Space Cooperative 03-23-07 Rochester, NY • Eastman School of Music 03-22-07 Rochester, NY • Eastman School of Music 03-10-07 Oklahoma City, OK • Oklahoma City University 03-09-07 Oklahoma City, OK • Individual Artists of Oklahoma Gallery 03-07-07 Fayetteville, AR • University of Arkansas 03-06-07 Conway, AR • University of Central Arkansas 03-02-07 Glassboro, NJ • Rowan University 02-17-07 Philadelphia, PA • Mascher Space Cooperative 01-26-07 Chicago, IL • Heaven Gallery 01-25-07 East Lansing, MI • SCENE Metrospace 12-29-06 Madison, WI • Madison Center for Creative and Cultural Arts 12-23-06 Milwaukee, WI • Hotcakes 12-22-06 Madison, WI • Madison Center for Creative and Cultural Arts 12-08-06 Philadelphia, PA • Bowerbird 10-26-06 Atlanta, GA • Eyedrum 10-24-06 Harrisonburg, VA • James Madison University 09-18-06 Syracuse, NY • Onondaga Community College 09-17-06 Ithaca, NY • Cornell University 09-15-06 Columbus, OH • Milo Elektric 09-12-06 Cleveland, OH • Passport Project 09-11-06 Milwaukee, WI • Hotcakes 09-08-06 Sturgeon Bay, WI • Fairfield Center for Contemporary Art 09-01-06 Madison, WI • First Unitarian Society of Madison 08-29-06 St. Paul, MN • Studio Z 08-25-06 Rochester, NY • A|V 08-23-06 Gloucester, MA • Fishtown Artspace 08-22-06 Cambridge, MA • Zeitgeist Gallery 08-16-06 New York, NY • The Tank 05-28-06 Philadelphia, PA • Andrea Clearfield Salon 05-13-06 Philadelphia, PA • University City Arts League 04-15-06 Richmond, VA • Artspace Gallery 04-01-06 Baltimore, MD • The Red Room 03-31-06 Philadelphia, PA • Philadelphia Ethical Society 03-07-06 Oklahoma City, OK • Oklahoma City University 03-05-06 Fayetteville, AR • University of Arkansas 03-04-06 Conway, AR • University of Central Arkansas 03-03-06 Conway, AR • University of Central Arkansas 01-29-06 Kenosha, WI • UCarthage College 01-27-06 Madison, WI • Mills Hall 01-22-06 East Lansing, MI • Michigan State University 12-04-05 Cambridge, MA • Edward M. Pickman Concert Hall 11-28-05 Glassboro, NJ • Rowan University 11-19-05 Baltimore, MD • University of Notre Dame of Maryland 05-12-05 Rochester, NY • Christ Church 04-08-05 Eau Clire, WI • (1) University of Wisconsin–Eau Claire 04-08-05 Eau Clire, WI • (2) University of Wisconsin–Eau Claire 03-22-05 Tallahassee, FL • Florida State University 03-21-05 Tallahassee, FL • (2) Florida State University 03-21-05 Tallahassee, FL • (1) Florida State University 03-07-05 Wayne, NJ • William Patterson University 03-04-05 Cambridge, MA • Edward M. Pickman Concert Hall 02-25-05 West Chester, PA • William Patterson University 01-17-05 Ft. Collins, CO • (2) Colorado State University 01-17-05 Ft. Collins, CO • (1) Colorado State University 12-01-04 Madison, WI • University of Wisconsin–Madison 11-30-04 Madison, WI • Mills Hall 10-01-04 Madison, WI • Chazen Museum of Art 06-16-04 Elberon, NJ • LHS Marimba Seminar 04-18-04 Madison, WI • Mills Hall 04-17-04 Oshkosh, WI • University of Wisconsin–Oshkosh 04-03-04 Tallahassee, FL • (2) Florida State University 04-03-04 Tallahassee, FL • (1) Florida State University 03-30-04 Rochester, NY • Eastman School of Music 01-27-04 Conway, AR • (2) University of Central Arkansas 01-27-04 Conway, AR • (1) University of Central Arkansas

SCORES

Overview

In addition to my works which employ electronically generated sound and real-time scores, I also write purely acoustic works -- with a special emphasis on percussion instruments -- using paper-and-ink scores. To clearly and accurately represent my musical ideas in written form, I have devised a special notation system. The system uses multiple colors and other graphic devices in order to achieve maximum clarity, and is in general an attempt to visually represent the artistic sensibilities of the music for the performers as intuitively as possible. A guide to the notation system in included at the beginning of each score.

Complete scores may be downloaded (for free) below. If you would like to order a hardcopy printed on high-quality, large-format paper, please send me an email.

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Apical Topography (2017)
Solo Percussion

Composed For Michael Carp Duration 12:00 Links Score/Recording Video Score (PDF)