Below are the positions up for election and their relevant candidates for SEAMUS in 2023. To vote, please go to this form.
MEMBER AT LARGE for Outreach
The Member-at-Large for Outreach position is a new one designed to supplement the existing one, which is increasingly focused on management of the yearly Conference adjudication process and Awards. The new MAL position’s duties are expected to encompass more continuous and broader-themed outreach to the membership. How that outreach happens is open for definition, but will include support for local activities, and will require interactions with several other Board positions, including our Editor of Journal SEAMUS, our Diversity and Inclusion Board Appointee, our Director of Communications, and our VP for Projects and Programs. One natural outlet will be assistance with the SEAMUS website expansion, to include greater member functionality.
I view the Member-at-Large outreach position as an opportunity to provide more benefits to existing members of SEAMUS and make the organization more enticing and accessible to new and prospective members. What I bring to the organization is three actionable ideas: 1. Development and distribution of educational resources online via the existing website and social media sites, 2. Collaborative development of tertiary conference events with restricted technical needs allowing more venues to host, 3. Participation in non-SEAMUS conference events as a form of outreach toward prospective members.
I propose that SEAMUS develops a social media presence, the mission of which is to promote the electroacoustic music of its members and provide educational materials to be accessible both on the existing SEAMUS website and on various social media platforms. Members of SEAMUS would be able to submit pieces to be disseminated, as well as educational materials in the form of videos or blog posts. The nature of these educational materials could vary widely, ranging from introductory electronics topics to specialized masterclass style videos concerning the techniques of a particular composer to musings on pedagogy, theory, artistry, philosophy, and more. Centralizing these materials in a searchable and centralized location will drive a lot of prospective members to find out about SEAMUS for the first time, undoubtedly leading to an increase in membership.
SEAMUS events are prohibitively technical and complicated to host. Collaboratively developing tertiary conferences focused on a subset of technical requirements allows for more possible venues. For example, the Holtschneider Performance Center at DePaul University would typically be unable to accommodate the wide array of technical requirements in a SEAMUS event. However, there are three pristine performance spaces which could support excellent stereo electroacoustic setups with minimal effort. Another example may be a conference hosted in collaboration with the Massachusetts Institute of Technology Media Lab focused on works involving virtual and augmented reality.
With my proposed push for agglomeration of educational materials, it would be sensible to advertise to students and educators bi-annually at one or more of the music-education focused events held throughout America, for example the annual Midwest Clinic in Chicago. In person outreach at these events is a consistent way to reach teachers, students, and performers who may not have heard of SEAMUS.
I believe the most effective way to recruit new SEAMUS members and to increase the value of membership for existing members is to provide a place to find educational materials created by the more experienced members of the organization. Students benefit by having access to the materials, while the experts benefit by having their music and other works trafficked much more frequently. Improving accessibility of events by creating tertiary SEAMUS conferences with limited technical requirements allows for more performance opportunities and more chances for members and non-members to attend SEAMUS related events. Participating in a non-SEAMUS conference is a simple but effective way to ensure that teachers and students are made aware of the organization. Thank you for your consideration.
Xavier Davenport (b. 1995) writes music that is meticulously structured, technologically experimental, humorous, theatrical, often improvisatory, and sometimes entertaining. His compositional interests include incorporating mathematics and physics in compositional procedures, animated and interactive digital scoring, ambisonic audio, and applications of quantum computers in composition. He is the recipient of the Sara Krieg Music Scholarship and Huebner Scholarship, and has worked with several ensembles including the Texas A&M University at Kingsville Saxophone Ensemble, the Vista Trio, Rage Thormbones, Ensemble Dal Niente, the New Hong Kong Philharmonia, the Pyrenean String Quartet, and Ensemble 20+. Davenport’s works in progress include an interactive video score for classical guitar and electronics to be performed at the TENOR conference, a collaborative live-coding piece for four players, and a piece for fourth order ambisonic playback.
Davenport holds degrees from Wittenberg University (B. S. Physics, B. A. Music, B. A. Chinese Language & Culture), National Chiao-Tung University (M. S. Electrophysics), and DePaul University (M. M. Composition with distinction). Davenport is currently pursuing a DMA in music composition at the University of Illinois at Urbana-Champaign where he is a graduate assistant working in the Experimental Music Studios under Dr. Eli Fieldsteel.
Thank you for taking my candidacy for SEAMUS’ Member at Large board position into consideration. For the past two years, I have served as a SEAMUS conference adjudicator and have observed first-hand the wonderful music and research being conducted by our members. Through my experience as a member and adjudicator, and from watching SEAMUS pursue its organizational mission, I believe that as a second Member at Large I can well complement the current board’s elected officers. As Member at Large, my primary aims would be to further the board’s engagement with our membership and with the broader electroacoustic community, as well as supporting other officers and staff on the board. This would especially entail working closely with the new VP for Programs and Projects in developing opportunities for our membership base. For example, one goal will be to evaluate how the current awards we have (such as the CREATE grants and the SEAMUS awards) are adjudicated, so that the process is streamlined and standardized, they reflect equitable best practices, and the results highlight and expand the diversity of our community.
Alongside evaluating and supporting the current programming processes at SEAMUS, I will seek out and help develop new opportunities that serve the interests of our membership. Some examples I propose include: partnering with standing ensembles to put together commissions and performances of member works outside of the annual conference, developing funding sources for travel scholarships to the annual conference, a prize for best article, and programs that support specific subgroups within the membership (beyond the Allen Strange and ASCAP awards), like creators and researchers of color or composers over the age of 50. As the second Member at Large, I would welcome input from our community on these subjects and feedback on other matters of concern more generally.
Composer Eric Lemmon’s artistic practice and academic research is preoccupied with the politics that are woven into our musical technologies and institutions. His music has been reviewed by the New York Times, featured on WQXR’s Q2, and performed in venues ranging from underground bars (le) Poisson Rouge and SubCulture to the DiMenna Center for Classical Music and FIGMENT arts festival on Governors Island. Eric’s work has been recognized locally and internationally with grants and residencies, including the MetLife’s Creative Connections Grant, UMEZ and LMCC Arts Engagement Grants, multiple Puffin Foundation Grants, a Tofte Lake Center Emerging Artist Residency, a Can Serrat International Artist Residency, a Westben Performer-Composer Residency, and ConEd’s Exploring the Metropolis Residency. Further, he has been awarded a Mancini Fellowship, a long-term fellowship from the German Academic Exchange Service (DAAD), Stony Brook University’s Presidential Dissertation Completion Fellowship, and a Fulbright Award for his artistic research and profile as a performer. His works have been recognized in the field of music technology, with performances at the Australasian Computer Music Conference, the Web Audio Conference, the Xenakis Networked Performance Marathon, the Performing Media Festival, the New York City Electroacoustic Music Festival, the International Society for Music Information Retrieval, the NowNet Arts Conference, the International Workshop on Computer Music and Audio Technology, and more. His research has been published in Organised Sound and the Journal of Network Music and Arts, as well as in the proceedings of the International Computer Music Conference, the Interactive Sonification Workshop, and the Web Audio Conference. He is a member of the experimental and technology-focused music collective Ensemble Decipher and received his Ph.D. in Music Composition from Stony Brook University.
I am running for this newly created position of Member-At-Large for Outreach for three reasons. The first reason is to continue to build on SEAMUS’s ongoing efforts to connect with and empower musicians making electro-acoustic music. In these recent years there have been thoughtful, meaningful acts of inclusion and change that deserve to be highlighted and continued.
The second reason is that with the creation of this new position, we have an opportunity to adjust our perspective in terms of how we interact with and collaborate with electronic musicians outside of SEAMUS. I deeply believe it is not the best course for this position and SEAMUS as a whole to make the Member-At-Large for Outreach a missionary-like outreach approach that assumes we (SEAMUS) have all the requisite knowledge and power and they (anybody else) don’t know anything.
Instead, I think this position will be better and more meaningful if it pursues a model of community engagement that values the musicality, the traditions, and practices of the local, national, and international artists and community members we aim to work with. Rather than assume, we can learn, listen, share, and build ideas with partners and individual artists outside of SEAMUS. With this approach, we can invest our time and spirit to create mutually beneficial situations that live up to the goals we have for a more equitable, inclusive musical experience for many different creative people.
My third reason is that on the day-to-day level, achieving these goals requires being pro-active and patient as community networks are nurtured. It will involve exploring what material, technical, organizational, and aesthetic aspects we can provide to help a collaboration flourish. It also means making space and opportunities for SEAMUS members to learn from non-SEAMUS musicians, whether in concerts, workshops, or guest talks. I understand that this will be a long journey of many, sometimes imperfect, steps. Even so, two years beginning a renewed effort at community building can put SEAMUS on a stronger footing. In 2025, I aim to share two years of institutional knowledge with my successor in this position, so that SEAMUS can continue growing toward being a better, more equitable and timely community partner for creative people throughout the United States and beyond.
Ralph Lewis received his DMA in Music Composition from the University of Illinois at Urbana-Champaign in 2021. His dissertation “Aaron Cassidy’s Second String Quartet: Resilient Structures, Indeterminate Localities, and Performance Practice” received Phi Kappa Phi’s Graduate Research Grant and has since been presented in peer-reviewed paper talks at several conferences. He contributes concert and album reviews to Computer Music Journal and recently presented about Johnny Reinhard’s creative practices at Orpheus Institute’s Performer-Composer in the Second Half of the 20th Century Conference. Lewis founded and runs All Score Urbana, a free-to-the-public community engagement composition workshop. Lewis has served as a member of SEAMUS’s Diversity and Inclusion Committee since 2018. Thanks to receiving the 2022 SEAMUS CREATE Grant, All Score Urbana will be able to include a dozen of Travis Thatcher’s photon tricorders in programs for the general public and in partnership with Tamra Gingold and Urbana High School Orchestras. All Score’s community engagement efforts have received additional funding from the College Music Society’s CMS Fund and the Urbana Arts and Culture Grants.
In the new Member-At-Large for Outreach position I will help engage the SEAMUS membership with one another by working on creating both synchronous and asynchronous opportunities for electronic musicians to share their work with one another. I will help build relationships synchronously in-person by facilitating smaller scale regional events and concerts both at institutions and within local communities that will supplement the annual national conference. I am hoping that smaller scale events will decrease the burden of travel costs and reduce other barriers of entry members may have in sharing their work with the SEAMUS community. In addition to organizing these events, I would also like to work on improving the works database as a means of asynchronous community. With so much general content available online, I believe improving specialized database’s like the SEAMUS works so that it is more easily searchable and an overall better resource for both people interested in learning about SEAMUS composers and those looking to study specific kinds of works. I think that community is one of the most valuable things SEAMUS has to offer for its members and I would be honored to help create events and resources to further connect SEAMUS’s membership.
Christopher Poovey is a composer, media artist, and creative coder who creates music and software which produce rich and colorful sound and encourages interactive structures. Christopher’s compositions have been performed by Ensemble Dal Niente, Ensemble Mise-en, University of North Texas’s Nova Ensemble, Indiana University’s New Music Ensemble, and Indiana University’s Brass Choir. Chris was a finalist for the 2021 International Confederation of Electroacoustic Grand Prix and has received a special mention from the 2021 Ars Electronica Forum Wallis. His work has also been selected for performance at conferences such as the International Computer Music Conference, Seoul International Computer Music Festival, International Confederation of Electroacoustic Music General Assembly, New York Electronic Music Festival, Society for Electroacoustic Music in the United States National Conference, Inner SoundScapes, National Student Electronic Music Event, Electronic Music Midwest, and MoxSonic.
Chris currently teaches at Oberlin Conservatory in TIMARA. He holds a PhD and MA in composition from the University of North Texas and a BM in composition from Indiana University. To supplement his formal studies, Christopher has taken courses at the Institut de Recherche et Coordination Acoustique/Musique, at Princeton University for the Só Percussion Summer Institute, and has attended a residency at the Atlantic Center for the Arts. In addition to his work in composition, Christopher develops software for electronics music production and performance primarily in Max and CSound including the Grainflow package for Max, a plethora of Max for Live devices, and VST instrument build using the Cabbage framework. These tools and his compositions may be found at christopherpoovey.com.
The Secretary is responsible for creating minutes from Board meetings, distributing and archiving those minutes, and archiving general Board actions and voted decisions that occur via Internet conversation. Other responsibilities include organizing and facilitating Board elections via correspondence with the SEAMUS membership. The Secretary will be one of three signatories on the SEAMUS bank account.
It has been an honor to serve as your Secretary the last two years. In addition to performing the listed duties of the position, I am able to weigh in on the direction of the organization. I’m encouraged to see what a capable and energized Board we have. Everyone is thinking about how we can move forward in an environment that presents both challenges and opportunities.
It seems ever more difficult for academic institutions to commit to hosting a conference that is as venue intensive as SEAMUS. Travel expenses are way up for attendees, and some have understandable concerns about the environmental cost of shuttling around the country, as valuable as the in-person experiences are. Perhaps it is time to consider ways to supplement a smaller-scale national conference with regional in-person mini-conferences and online events under the SEAMUS umbrella that would be more manageable for potential hosts.
The Board has been trying to encourage aesthetic diversity and open SEAMUS to more people who are not following a conventional academic career path. We feel this is a great way to enrich everyone’s musical experiences. But SEAMUS has always served as a useful outlet for those in academia — a way to exchange ideas and hear music that has no broad constituency in American life. And, let’s face it, SEAMUS functions as a way to garner credits toward promotion or credentials for getting a job. How do we continue to serve this purpose while also welcoming others into our musical world? It may mean that we need more opportunities to highlight the work of members beyond the traditional three-day national conference.
I have noticed that, slowly but surely, the SEAMUS membership has grown more diverse. But there is still so much work to be done. How can we encourage and welcome people who are not the white men who have made up the vast majority of participants in our community? As one of those myself, I feel it’s my job mostly to shut up and listen. But I can say that I don’t think we can be a healthy community without drawing on the talents of people representing a wide spectrum of identities and experiences. To everyone who is concerned about this aspect of SEAMUS, please know that I am receptive to any efforts that may continue to diversify our membership.
John Gibson composes electronic music, which he often combines with instrumental soloists or ensembles. He also creates fixed-media audio or audiovisual works that focus on environmental soundscape. His portrait CD, Traces, is available on the Innova label, along with other recordings on the Centaur, Everglade, Innova, and SEAMUS labels. Audiences across the world have heard his music, in venues including the D-22 punk rock club in Beijing, the Palazzo Pisani in Venice, and the U.S. Botanic Garden in Washington, D.C. Presentations of his electroacoustic music include concerts at the Seoul International Computer Music Festival, the Bourges Synthèse Festival in France, the Brazilian Symposium on Computer Music, the Australasian Computer Music Conference, and many ICMC and SEAMUS conferences. Significant awards include a Guggenheim Fellowship, a Charles Ives Scholarship from the American Academy and Institute of Arts and Letters, the Paul Jacobs Memorial Fund Commission from the Tanglewood Music Center, and a residency in the south of France from the Camargo Foundation. He was a Mentoring Artist at the Atlantic Center for the Arts in May 2017. John is associate professor of music and director of the Center for Electronic and Computer Music (cecm.indiana.edu) at the Indiana University Jacobs School of Music.
The Treasurer is responsible for all fiscal transactions related to SEAMUS. This includes filing taxes, overseeing the credit card payments for monthly automatic fees, maintaining bank relations, depositing and collecting membership dues (in conjunction with the Director of Technical Development), distributing payments in a timely way for SEAMUS-related expenses and member reimbursements, and producing an annual report every spring on the financial status of the society, to be distributed to the Board. The Treasurer will be one of three signatories on the SEAMUS account, with the President and the Secretary being the other two.
The Treasurer may complete these duties her/himself or may submit an annual proposal to the Board, presented before September 1, for an accountant to assist. This proposal will itemize the costs of these services. If the Board does not approve the use of an accountant the Treasurer will perform these duties her/himself. The Treasurer will also commit to overseeing a smooth transition to the successive Treasurer via requisite bank interactions.
I would like to join the SEAMUS board as Treasurer to support SEAMUS and its community in fulfilling their ambitious plans (current and future!) to radically shape the field of electro-acoustic music in the US. My background in bookkeeping and operations management for arts nonprofits allows me to effectively aid SEAMUS in its financial and developmental goals while my experience as a composer lends its own perspective in crafting impactful and successful initiatives in dialogue with members and alongside other board members.
Heather Mease is a composer, electronic musician, and multimedia artist from Philadelphia. Heather currently holds a teaching fellowship at Technische Universität Dortmund for the 2022/2023 academic year and is a PhD Candidate at the University of Virginia. Heather has over five years of experience in operations for various arts nonprofits focusing on community arts (The Bridge PAI, Charlottesville), new music (Bowerbird, Philadelphia), and early music (Tempesta di Mare Baroque Orchestra, Philadelphia). www.hmmease.com
VP for PROGRAMS and PROJECTS
The VP for Programs and Projects oversees the creation, implementation, and integration of short-term and long-term initiatives for members. These initiatives strengthen the culture of SEAMUS and may include, but are not limited to, concerts and broadcasts, compilation projects, and resource channels pertaining to the field of electroacoustic music. The programs are ongoing and the projects are singular instances of some opportunity or event. The CREATE grants are an example of a new SEAMUS program.
My name is Kerrith Livengood and I’m a SEAMUS member, currently based in Illinois. I’m interested in running for SEAMUS Vice President for Programs and Projects. I think I’d be an excellent choice for this position. I’m currently interested in live processing in SuperCollider. My background as a composer is wide-ranging, but largely in chamber music and experimental improvisation, and only in recent years have I made electroacoustic composition my main focus. This gives me a distinct perspective on the intersection of these musical communities, which would guide my thinking about new directions and initiatives SEAMUS could take. I’ve been the Assistant Director for the New Music On The Point festival for several years, which has given me valuable experience in planning concerts, promotional activities, and support events, as well as helping to develop long-term vision for the festival, supported by grants and private sponsorship. My particular program interests would include making SEAMUS and its opportunities more accessible to young composers new to music technology; initiating programs where SEAMUS would promote music technology education in universities and secondary schools; bringing SEAMUS into the eye of a wider public through “off-campus” musical events and concerts; and boosting the interconnectivity of SEAMUS members with innovative new gatherings (real and virtual) and new approaches to communication and news-sharing.
Kerrith Livengood’s works have been performed at SEAMUS 2022, KISS 2018, ACO’s SONiC Festival, June in Buffalo, Bargemusic, CCM’s MusicX festivals, the North American Saxophone Alliance annual conference, the Atlantic Music Festival, the Contemporary Undercurrent of Song series, the Cortona Sessions, and Alia Musica Pittsburgh’s Conductors Festival. She has composed works for the JACK Quartet, Third Angle Ensemble, Duo Cortona, Altered Sound Duo, mezzo-soprano Jennifer Beattie and pianist Adam Marks, soprano Amy Petrongelli, and the h2 Quartet. Her music features complex grooves, lyricism, noise, and humor. She is also a flutist, drummer, and improviser, who has performed many collaborative and experimental works created by herself and others. She received her Ph. D. from the University of Pittsburgh, and currently teaches music theory at the University of Illinois (Urbana-Champaign). Kerrith is also Assistant Director of the New Music On The Point Festival, a summer festival for young composers and performers.
I am a composer of acoustic, electronic, and electroacoustic music. My work crosses a number of disciplines and incorporates music perception and cognition, electronics, literature, linguistics, and the visual arts. I am an active member of the electroacoustic community—both within the USA and internationally, have experiences serving on boards, with conference/festival/concert organization, adjudication, and am passionate about creating opportunities that support women and underrepresented groups. I cohosted SEAMUS with Ted Coffey in 2020, currently serve as a board member and vice president for the International Alliance for Women in Music (IAWM), and am an Artistic Associate with the Boston New Music Initiative (BNMI). I have many ideas for initiatives and projects for SEAMUS members and would love to serve the electroacoustic music community by joining SEAMUS’ board.
Leah Reid is a composer, sound artist, researcher, and educator, whose works range from opera, chamber, and vocal music, to acousmatic, electroacoustic works, and interactive sound installations. Her primary research interests involve the perception, modeling, and compositional applications of timbre. In her works, timbre acts as a catalyst for exploring new soundscapes, time, space, perception, and color. In recent reviews, Reid’s works have been described as “immersive”, “haunting”, and “shimmering”.
Winner of a 2022 Guggenheim Fellowship, Reid has also won the American Prize in Composition, first prizes in the 8th KLANG! International Electroacoustic Composition Competition, the Tesselat Electronic Music Competition, and the Franz Schubert Conservatory International Composer Competition, Sound of the Year’s Composed with Sound Award, the Film Score Award in Frame Dance Productions’ Music Composition Competition, the International Alliance for Women in Music’s Pauline Oliveros Award, and second prizes in the Iannis Xenakis International Electronic Music Competition and the 13th International Destellos Competition. She has received fellowships from the Guerilla Opera Company, Transient Canvas, the Hambidge Center, MacDowell, the Virginia Center for the Creative Arts (VCCA), the Ucross Foundation, and Yaddo.
Reid has worked with and received commissions from ensembles such as Accordant Commons, Blow Up Percussion, Concavo & Convesso, Ensemble Móbile, Guerilla Opera, the Jack Quartet, McGill’s Contemporary Music Ensemble, Neave Trio, Sound Gear, Talea, and Yarn/Wire. Her compositions have been presented at festivals, conferences, and in major venues throughout the world, including Aveiro_Síntese (Portugal), BEAST FEaST (England), Espacios Sonoros(Argentina), EviMus (Germany), Forgotten Spaces: EuroMicrofest (Germany), the International Computer Music Conference (USA & Chile), IRCAM’s ManiFeste (France), LA Philharmonic’s Noon to Midnight (USA), the Matera Intermedia Festival (Italy), the New York City Electronic Music Festival (USA), the OUA Electroacoustic Music Festival (Japan), the San Francisco Tape Music Festival (USA), Série de Música de Câmara (Brazil), the Society of Composers National Conference (USA), Soochow New Voice Concert Series (China), the Sound and Music Computing Conference (Germany), the Tilde New Music Festival (Australia), the Toronto International Electroacoustic Symposium (Canada), and the Workshop on Computer Music and Audio Technology (Taiwan), among many others.
Reid received her D.M.A. and M.A. in music composition from Stanford University and her B.Mus from McGill University. She is currently an Assistant Professor at the University of Virginia, vice president of the International Alliance for Women in Music (IAWM), and an Artistic Associate with the Boston New Music Initiative (BNMI). Additional information is available at www.leahreid.com.
J. Andrew Smith
As the VP for Programs and Projects, I would seek to emphasize the communal aspect of SEAMUS as a passionate advocate for our members. Not only would I seek to enable and promote SEAMUS concerts, I would also seek to connect SEAMUS musicians with artists to promote interdisciplinary multimedia collaborations, inspired by my success in doing so at UNT through initiatives like Lumia Musica, Sonic Murals, and iARTA events in the Merrill Ellis Intermedia Theatre. I am also passionate about greater outreach and creating opportunities for the creation, performance, and dissemination of electronic music in a wide variety of styles to promote a greater diversity of composers and a diversity of works as a part of the larger SEAMUS community.
A composer, electronic musician, and vocalist from Atlanta, GA, J. Andrew Smith (b. 1992) is zealous about the intersections between acousmatic sound, live performers, and improvisation. His works often delve into personal narratives and how they can inform and enrich abstract mediums. Musical characteristics such as timbre, gesture, space, and form are often dictated by a delicate interlacing of autobiography with poetry and fiction in J. Andrew’s music. He embraces the convergence of complex structures with elements of improvisation to give performers agency without losing coherence or cogency in his music. As a vocalist, he maintains a passion for visceral, guttural, strange, and electrifying sounds.
J. Andrew’s works have been performed at numerous SEAMUS conferences, the SPLICE Institute and Festival, Third Practice Electroacoustic Music Festival, New Music on the Point, Electric LaTex, PASIC, and the Southeastern Composers’ Symposium. He has participated in readings with Michael Lewanski, the Spektral Quartet, the Semiosis Quartet, and the Toledo Symphony Orchestra. In 2022, he was selected as one of the four finalists in the ASCAP/SEAMUS Student Commission Competition for his piece Arbitrary/Peremptory for voice and interactive electronics.
Currently a PhD candidate studying at the University of North Texas, J. Andrew’s teachers have included Joseph Klein, Panayiotis Kokoras, Andrew May, John Nelson, Elainie Lillios, Mikel Kuehn, Christopher Dietz, Fred Cohen, and Matthew McCabe. Additionally, he has worked with artists and performers such as Diana Rojas, Sean Lopez, Lisa Kaplan, Matthew Duvall, Conner Simmons, and Caleb Burkhardt.
J. Andrew is also an active member of his musical community. As the president of UNT Composers Forum, he champions student compositions and works to provide his peers with opportunities for performance, collaboration, and the presentation of works across a variety of genres and mediums. These include facilitating collaborations with local artists, performances in off campus venues, and connecting young composers with performers passionate about new music.