President – Paul J. Botelho
I would like to be considered for the position of SEAMUS president. I am interested in expanding the reach of SEAMUS and attracting a broader membership. I hope to explore new venues and performance outlets and move toward a more vibrant society that celebrates and champions the diverse ways in which electro-acoustic music is created, conceptualized, and performed.
I want to build upon the work that has been done on expanding the society’s web presence and continue outreach to underrepresented composers, scholars, researchers, performers, and others working within the medium.
I believe in the future of SEAMUS as a community and organization that promotes and supports diverse electro-acoustic musical expression and exploration.
Paul J. Botelho is a composer, performer, developer, and artist whose work includes acoustic and electro-acoustic music, multimedia installation pieces, visual art works, vocal improvisation, and a series of one-act operas. He performs as a vocalist primarily with extended technique and incorporates the voice into much of his music. His work has been performed, presented, and exhibited in concerts, festivals, galleries, and museums across the Americas, Europe, Oceania, and Asia. Botelho received a Ph.D. and M.F.A. in Music Composition from Princeton University, an M.A. in Electro-Acoustic Music from Dartmouth College, and a B.F.A. in Contemporary Music Performance and Composition from the College of Santa Fe. Currently he is Associate Professor of Music at Bucknell University where he teaches music composition.
President – Ted Coffey
SEAMUS currently enjoys profoundly capable leadership, functioning as a crucial nexus in our field, and representing its membership well and gracefully to the world. If elected to this position, I would work principally to contribute to the atmosphere of cooperation and service already established, and proven to produce exceptionally fine conference events, publications, and other communications.
Engaging with the angst of our sociopolitical and ecological moment in general, and as a resident of Charlottesville in particular, I have been thinking a lot lately of what our music can do, asking how it might be a helpful, relevant, motive force. My provisional answer is that it must do many things, often involving making and strengthening relationships with neighboring individuals and communities — while not failing to maintain its core strengths and identities.
SEAMUS composers are in a position to cultivate some of the most rarefied musical objects possible within the structure of our national scene, irrespective of market forces (beyond those of our academic economy). It makes sense that we safeguard subtle, crystalline articulations available to music, for example, for solo performer and computer-mediated live electronics, uniquely informed by immersion in one or another of the world’s music traditions. But just as certainly, spectro-morphological thinking is not the superset of Kendrick Lamar’s DAMN ; or, more broadly, at a moment when almost every music we hear is electro-acoustic in significant ways, we have more to gain than to lose by increasing the circulation of other rigorous, experimental, and artful musical poetics, wherever we might find them.
Along those lines, I support ever deeper and more significant dialogue with other artistic disciplines, with musicological and other critical and comparative studies, and with partners in technology. Beyond the obvious value of invigorated self-reflection, such relationships grant us a bigger tent, having more to talk about with colleagues outside our discipline.
I am devoted to the traditions of electro-acoustic music, to the music itself, and to the living community of practitioners we are. Reviewing the list of SEAMUS Award recipients, it is impossible to miss the astonishing scope and range of their collective work. They express imagination, wit, invention, technical rigor, hipness, play, punk, elegance, satire, generosity, immanent and transcendent species of beauty. I hope that 10 years from now we find ourselves in the midst of musical poetics as diverse, truly experimental, and rich as what we find in that list.
Ted Coffey makes acoustic and electronic chamber music, interactive installations, and songs. His work has been presented in concerts and festivals across North America, Europe and Asia, at such venues as Judson Church, The Knitting Factory, Roulette, Symphony Space, and Lincoln Center (NYC), The Lab, New Langton Arts, Zellerbach Hall, and The Yerba Buena Center for the Arts (SF), Wolf Trap and The Kennedy Center (DC), the Korean National University of the Arts (Seoul), The Carre Theatre (Amsterdam), and ZKM (Karlsruhe, Germany). His writings on aesthetics and politics in the performing arts have been honored with significant awards from the Josephine De Kármán and Andrew C. Mellon Foundations. Coffey studied composition with Jon Appleton, Christian Wolff, Pauline Oliveros, and Paul Lansky, among others, receiving degrees in music from Dartmouth (AB), Mills College (MFA) and Princeton (MFA, PhD). Recordings of his work are available on the Ellipsis Arts, Everglade, Innova, Audition Records, SEAMUS, crackletimesfavor, and EcoSono labels. Coffey is currently a College Fellow and an Associate Professor at the University of Virginia, where he teaches courses in composition, music technologies, music aesthetics, and pop.
Vice President of Membership – Ben Fuhrman
I’m extremely honored to be nominated for the Vice President for Membership of SEAMUS. Having been involved in this organization for many years, I have seen the incredible diversity of styles of its members on display at concerts, in recordings, and in the postings on the mailing lists. The wide variety of compositional ideas that SEAMUS offers is its core strength, and has helped to expand both my own knowledge of electro acoustic music, and that of my students. Because of this I would like to give back to the organization.
If elected I believe I have the capability to maintain the membership database and sending out the mailing list. I would also be working to recruit more members through answering questions about membership on the website and social media, and working with the board and the Director of Communications to reach out to more schools and individuals via our online presence and follow up with personal assistance.
Through my membership in SEAMUS, I’ve seen a wide variety of approaches to elecro-acoustic music. This has been incredibly beneficial to me as both a composer and a teacher; learning about new software through discussions at concerts, hearing new works that would excite my students, and making friends with other composers and performers. None of this would be possible without SEAMUS, which is why I’m asking for your vote, so that I can help more people to become members as your Vice President for Membership.
Ben Fuhrman, is a composer, musician, programmer, and coffee aficionado. As a result, he writes music with a focus on technology, including acousmatic, interactive, and improvisatory works. He has had pieces commissioned from a wide variety of performers and organizations and his works have been performed throughout the world. His album Concrete Oasis, an exploration of urban decay and renewal is available on Spotify and iTunes. He was also the recipient of a billboard dedicated to his music from the Arts Council of Greater Lansing – possibly the first composer in the US to receive one. Ben has an active role as a performer and teacher of composition and computer music at Mott Community College, and Oakland University, and is the co-host of the podcast Patch In. He maintains a website at www.benfuhrman.com.
Vice President of Membership – Konstantinos Karathanasis
SEAMUS is the largest and most diverse electroacoustic community in the country. It will be a great privilege and responsibility to serve as the VP for Membership. One of my most meaningful and enlightening moments as a composer happened in 2001 when I participated for the first time in a SEAMUS National Conference at Baton Rouge, LA. I vividly remember exposing myself to diverse aesthetics, styles, and voices of fellow composers and performers I wasn’t aware of. Since then, every National Conference has reaffirmed that original experience of inspiring artistic exchanges and music that meets the highest standards. I look forward to offering back to this great organization by serving the membership to the best of my ability.
Konstantinos Karathanasis as an electroacoustic composer draws inspiration from modern poetry, artistic cinema, abstract painting, mysticism, Greek mythology, and depth psychology. His compositions have been performed at numerous festivals and received awards in international competitions, including Bourges, Musica Nova, SEAMUS/ASCAP, SIME and Música Viva. Recordings of his music are released by SEAMUS, ICMA, Musica Nova, Ionian University, Innova and HELMCA. Konstantinos holds a Ph.D. in Music Composition from the University at Buffalo, and is currently an Associate Professor of Composition and Music Technology at the University of Oklahoma. More at: http://karathanasis.org.
Vice President of Membership – Ralph Lewis
As SEAMUS’s Vice President of Membership, I would like to pursue programming and opportunities to continue making SEAMUS a welcoming, inclusive space that values equity, including gender and racial equity, supports undergraduate student creativity, and creates clearer and self-driven opportunities for electroacoustic performers at their different stages of development. I believe that through encouraging diverse artists that use electroacoustic practices and allowing performers to more flexibly explore and perform classic and new works, this organization can further serve what can be part of its natural constituencies and better embody being an organization that supports electroacoustic music throughout the United States.
While pursuing these goals requires ongoing dialogue within SEAMUS (including with our current Diversity Officer Dr. Elizabeth Hinkle-Turner) and with artists and communities throughout the country, starting points include connecting with existing academic structures and independent artists to find out what has made them disinterested, unable to access SEAMUS for some reason, or feel unheard or unwelcome. In addition to continuing to visibly and audibly affirm we are open to a wide array of aesthetics and viewpoints from people of all kinds, we can curate concerts with guidance and input from underrepresented electroacoustic musicians, and communicate with existing local and regional artists, teachers, and programs that are doing similar work regarding inclusivity.
To foster SEAMUS membership from performers, one idea I recurringly heard in discussions was creating smaller, self-programming opportunities at the national conference and perhaps regional opportunities. These would allow performers who want to participate but do not fit the national conference’s concert curation submission model to lead an application and stage an electroacoustic work they are passionate about. While in some ways this is a subtle difference from what is currently used, performers exercising their electroacoustic aesthetics and championing works is healthy for an organization that already serves composers well.
Similarly, because our community has notable electroacoustic performers already in it, creating split concerts of these performers and emerging ones or master class opportunities could help highlight that not only are the performers welcome, there are things they can access at their current level. Exploring the creation of a performer-focused award similar to the ASCAP/SEAMUS composition award or a related opportunity could also help define our support for performers in our community.
In addition to these membership enlargement goals, I would strive to support current members’ ideas and needs through same sort of transparent, responsive dialogue and continue Dr. Linda Antas’s work connecting SEAMUS resources with university libraries.
Ralph Lewis is a doctoral student in music composition attending University of Illinois at Urbana-Champaign whose works seek meeting points between sonorous music and arresting noise, alternative tunings and timbre, and the roles of performer and audience. His music has recently been selected for 2018’s Electroacoustic Barn Dance and CHIME Festival, has been presented at Soundscapes Symposium 2016, SEAMUS, Boston Microtonal Society, Etchings Festival, Xenharmonic Praxis Summer Camp, New Music on the Point, Fresh Inc Festival, and the Festival for People and Thingamajigs, and broadcast from Radiophrenia Glasgow, WGXC 90.7-FM, WEFT 90.1-FM, and WOBC 91.5-FM.
Recent collaborations include a radio/concert work Fearless Reception with composer/singer Ileana Merary, Rogue Trio, and the Florence Project, Taleas as part of Etchings Festival’s inaugural collaboration program with Colin Gee and ECCE ensemble members, and an upcoming series of concerts with the Moving Architects at Brooklyn’s Triskelion Arts. Lewis was selected to present his paper “Pauline Oliveros: Epitaphs of Technological and Embodied Liberations” at Pacific Northwest and Midwest Graduate Music Conferences.
In Spring 2017, Lewis received University of Illinois’s Graduate Theodore Presser Music Award, a part of which he is using to expand his Urbana-based inclusive music composition program into a statewide outreach program All Score Illinois with Elara String Quartet. It includes two calls for string quartet and electroacoustic works, the second of which is for composers outside of composition programs who are from Illinois. Similarly, he used his time during an artist residency at Wave Farm working on electroacoustic projects that welcomed listeners and composers of all ages with a live program with local children discussing and trying electroacoustic techniques called “Radio Monster Party” and a quirky radio opera called Penelope’s Endless Book of Magic. He also was recently selected for a scholarship to participate in the new partnership between University of Illinois’s College of Fine Arts and College of Business’s iMBA coursework.
Previous to attending University of Illinois where has studied with Erin Gee, Erik Lund, Eli Fieldsteel, and Scott A. Wyatt, Lewis received an M.F.A. in Electronic Music and Recording Media and an M.A. in Music Composition at Mills College, where he studied with John Bischoff, Roscoe Mitchell, and Wendy Reid, a B.M. in Music Composition from Oberlin Conservatory studying with Randolph Coleman, Ross Feller, and Josh Levine, and a B.A. in Classical Civilization from Oberlin College.
Vice President of Membership – Mike Wittgraf
With 30 years of composing experience, 21 years of higher education faculty experience, 10 years in electroacoustic music, and 7 years in university administration behind me, and a whole lot of electroacoustic music ahead of me, it is time to give back to SEAMUS by standing for election to the VP for Membership office. SEAMUS has done much for me, as well as the discipline, and my background appears to be a good fit for this position. I look forward to the possibility of helping this wonderful organization and its growing number of outstanding members, many of whom I can call my friends.
Michael Wittgraf is a composer who works in both electronic and acoustic genres. He explores mathematical systems, live manipulation of feedback, interactive improvisation, and time as data. His music has been performed in North America, Europe, Asia, South America, and Australia, and appears on the Eroica, New Ariel Recordings, and SEAMUS labels. Awards, commissions, and recognition from ASCAP, Modern Chamber Players, National Symphony Orchestra, Tempus Fugit, Louisiana State University, University of Minnesota, University of North Dakota, Florida State University, PiKappa Lambda, Zeitgeist, Chiara String Quartet, Bush Foundation, North Dakota Council on the Arts, and more. Mike is a multi-instrumentalist, performing as a bassoonist, in a number of rock-and-roll bands on keyboards, saxophone, and electric bass, and as a solo and collaborative performer on computer. His newest venture is with the live electronics improvisational dance/club music trio Gemstone Debris. He holds the title of Chester Fritz Distinguished Professor at the University of North Dakota. His teaching specialties are music technology, composition, theory, and bassoon.
Member at Large – Jason Bolte
I first joined SEAMUS as a student member while I was pursuing my Master of Music. What attracted me to the organization was the support and encouragement that I received from its members and the opportunities that SEAMUS offered university students. Since I became a member, I believe it was ’99 (Yes, I am dating myself here), the opportunities for students though the organization have only increased. As an educator and candidate for Member At-Large, educational programs and student engagement sponsored by SEAMUS are very important to me. If elected, I plan to continue and develop the programs already in place through the organization that excite and support undergraduate and graduate level students. However, I believe that we as an organization must create new educational opportunities and programs for students before they set foot on a university campus. In my academic post directing an undergraduate music technology program, I have experienced similar issues to engineering and the sciences when it comes to attracting underrepresented groups to our field. By the time students apply for college, we have missed an opportunity to generate excitement about Electroacoustic Music and Music Technology. I am interested in SEAMUS developing and supporting educational programs aimed at K-12 students and their teachers, enabling students to have an experience that just might have an influence on their college education and future career.
Jason Bolte is a composer and educator. He currently resides in Bozeman, Montana with his amazing wife Barbara, their two incredible daughters Lila and Megan, and dog Allie. Jason teaches music technology and composition at Montana State University where he directs the Montana State Transmedia and Electroacoustic Realization (MonSTER) Studios and coordinates the B.A. in Music Technology. Jason earned a B.M. with an emphasis in Music Engineering Technology and a M.M. in Music Composition from Ball State University where he studied with Cleve Scott, Michael Pounds, Jody Nagel, Keith Kothman, Eleanor Trawick, and Ernesto Pellegrini. He holds a D.M.A. in Music Composition from the University of Missouri – Kansas City Conservatory of Music and Dance, where he was a Chancellor’s Doctoral Research Fellow, a Dean’s Doctoral Fellow, and an Ovation Scholar. At UMKC, Jason studied with James Mobberley, Paul Rudy, and Chen Yi. His music has been performed by Ensemble Dal Neinte, A/Tonal Ensemble, Maverick Ensemble, Elektramusic, junctQín, NewKeys, Alcome, and the NYU New Music Ensemble, among others. Jason’s music has received awards and recognition from junctQín, International Competition for Composers “Città di Udine,” ISCM Miami Section/World New Music Days, Concurso Internacional de Miniaturas Electroacusticas, International Electroacoustic Music Contest – CEMVA, Electroacoustic Composition Competition Música Viva, Bourges International Competition of Electroacoustic Music and Sonic Art, ETH Zurich Digital Arts Week Soundscape Competition, Music Teachers National Association/Missouri Music Teachers Association, International Society of Bassists Composition Competition, and ASCAP/SEAMUS Student Commission Competition. His current scholarship focuses on the creation of music at the intersections of art and science. His co-authored authored article “Black (W)hole: An Art/science and Education Collaboration,” was recently published in the Journal Leonardo. Jason’s music is available on the ABLAZE, Thrmnphon, ELECTRO<>ACÚSTICO, SEAMUS, Irritable Hedgehog, Vox Novus, SoundWalk, and Miso Records labels.
Member at Large – Eli Fieldsteel
Having served as SEAMUS Member at Large for the past two years, I have enjoyed the duties of the position, particularly the coordination with adjudicators to help conferences run smoothly, and coordination with student award winners to foster the creation of new electroacoustic works. I am glad to have the opportunity to continue serving the society in this capacity. Thank you for your support!
Eli Fieldsteel, Assistant Professor at the University of Illinois and Director of the Experimental Music Studios, is the recipient of the 2014 James E. Croft Grant for Young and Emerging Wind Band Composers, first prize in the 2012 ASCAP/SEAMUS Student Commission Competition, as well as awards and recognition from other organizations, including the Bandmasters’ Academic Society of Japan and the Frank Ticheli Competition. Eli’s music reflects an interest in the intersection between interactive technology and contemporary musical practice, covering topics such as human-computer improvisation, algorithmic composition, and indeterminacy. An active collaborator, he has worked with choreographers, lighting designers, video artists, and architects.
Member at Large – Michael Musick
SEAMUS is an impressive society that supports a vibrant and continually growing community of electro-acoustic musicians and artists throughout the United States. Since joining SEAMUS I have constantly been impressed with the quality of society events; from the annual conference, to the newsletter, Journal SEAMUS, and album releases. I am excited to continue this involvement for decades to come. Furthermore, I now ask to take on more responsibility within the society as a representative of the community on the SEAMUS board. I am running for Member-at-Large in order to support the ongoing efforts, events, and growth of SEAMUS through work on the extra or support tasks/projects that the board requires throughout the year. My goal is to make sure SEAMUS can continue to be a successful group that has ample opportunities for ongoing exchanges of ideas and art, while supporting the field of electroacoustic music. I will be vigilant in my responsibilities as a member of this board and will work with the rest of the board as they need.
Michael Musick is a media artist, creative technologist, composer, performer and improviser. His current practice and research is collected under The Sonic Spaces Project which aims to create, explore, and define sonic space ecosystems; a type of eco-art and interactive music system. This project aims to explore principles of complex systems, natural ecosystems, cybernetics, and emergence, through interactive music systems. Michael has additional research interests in installation art, soundscape, and creative improvisation. As a performer, he uses a computer as his instrument to understand, process, amplify, and play with any sounds occurring within the performance space. Michael is currently at the University of Montana as an Assistant Professor of Media Arts. In addition to continuing his own research, Michael is teaching courses within Digital Arts and Technology. These courses focus on preparing students to contribute to an evolving world using code and modern technology as creative extensions for their own artistic voices and ideas. Prior to Montana, Michael was at New York University, where he earned a PhD in Music Technology. There, he was part of the Computer Music Group within MARL (NYU’s Music and Audio Research Lab) and the Citygram research group. Prior to NYU, he earned an M.A. in Media Arts from the University of Michigan, where he began his work with performance systems while continuing his studies in creative improvisation and multi-media performance. Michael also has a background in tuba performance and recording arts; holding performance degrees from The University of Southern California (M.Mus ’09) and The University of Colorado (B.Mus ’07). Originally from Arvada, Colorado, Michael is a lover of the mountains, snow, and wandering among the aspen or pine trees.
For more information please visit his personal site at michaelmusick.com.
Member at Large – Ryan Olivier
I have been a member of SEAMUS since my graduate studies at Temple University. I have always appreciated SEAMUS’s attention to mentoring and fostering new talent within the community. As a member-at-large, I intend to be a voice for current and future students as well as emerging composers to advocate for their needs within the community and the issues that pertain to them. SEAMUS has also made efforts to expand its artistic and creative focus and I hope to continue to cultivate that growth.
Ryan Olivier (b. 1985), who grew up in the southern United States, is a composer and multimedia artist. His various interests have led him to work with a wide array of media including electronics, video, and dance. These works have been featured at Society of Composers, Inc. (SCI) National and Regional Conferences, the New York City Electroacoustic Music Festival (NYCEMF), the International Workshop on Computer Music and Audio Technology (WOCMAT) in Taiwan, the International Computer Music Conference (ICMC) in the United Kingdom, and the Punto y Raya Festival in Reykjavik, Iceland. Ryan continues to compose for both traditional concert ensembles and fixed media, but his current focus is the real-time incorporation of visualized electronic music with live performers. Often performing with his duet partner, Andrew Litts, as the Philadelphia Electro-Acoustic Duet (PhEAD), Ryan has presented these works in Virginia, Pennsylvania, New York, and Indiana. Deb Miller of DCMetroTheaterArts described their evening-length show Imaginary Music as, “a highly intelligent synthesis of the arts with science and technology,…an equally lofty aesthetic of transcendent beauty;…at once cerebral and emotive, intellectual and hypnotic.” Ryan is a Visiting Assistant Professor of Music at Indiana University South Bend, where he teaches courses in music technology, new media composition, music theory, and directs the electronic ensemble, the Audio-Visual Collective. Previously Ryan taught at Temple University and St. Joseph’s University in Philadelphia. Ryan holds a bachelors degree in music composition from Loyola University New Orleans as well as a doctorate from Temple University. www.ryanolivier.com
Member at Large – Carter John Rice
I am interested in running for the position of Member-at-Large on the SEAMUS Board of Directors. I have proven confident and effective in a wide array of leadership roles in the past, and I believe I would bring a useful set of skills to the organization. I have served on the executive board for the Society of Composers Inc. for the last 5 years, and believe my experiences with that organization will prove useful in ensuring a dynamic and relevant future for SEAMUS. I am actively involved with SEAMUS, and I have attended every conference for the past 7 years. I am also actively engaged with other organizations, festivals, and institutions dedicated towards electroacoustic music in the United States, and consider myself quite aware of the challenges and issues that composers of electroacoustic music might face in the coming years. I am passionate about advocating for electroacoustic music, both in and outside of academia, and would work to engage the community with the fantastic artistic output of our membership.
Carter John Rice, a native of Minot, North Dakota, is a composer, audio engineer, and music educator currently based in Kalamazoo, MI. Rice was drawn to music through a desire to instill knowledge in others. He is passionate about music education, and enjoys teaching music at all levels. As a composer, Rice draws inspiration from a wide array of sources including acoustic phenomena, cognitive science, and classical mechanics. His music has been featured at venues such as the national SEAMUS conference, the national conference for the Society of Composers Inc. (SCI), the International Computer Music Conference, Electronic Music Midwest, and the Electroacoustic Barn Dance. Rice currently serves as the editor of the SCI newsletter, and previously served as the national student representative. During his time in that position, he revived and hosted the National Student Conference at Ball State University. Rice has also organized and served as the technical director for a variety of other conferences, including the Ball State University Festival of New Music, the Threshold Festival, and the SCI National Conference. Rice holds a Bachelor’s degree in music theory and composition from Concordia College, a Master’s degree in music composition from Bowling Green State University, and a Doctor of Arts in music composition from Ball State University. He has studied with Elainie Lillios, Christopher Dietz, Michael Pounds, Jody Nagel, Keith Kothman, Daniel Breedon, Eli Fieldsteel, and Steven Makela. Rice currently works as a visiting adjunct professor of music at Western Michigan University.
Member at Large – Andrew Sigler
My name is Andrew Sigler and I would like to nominate myself for the SEAMUS member at large position. I teach music composition at the University of Tennessee, and have developed courses in virtual audio modelling, film scoring, and audio recording. I have also overseen the development of our electronic music studio and lab. I currently serve on the board of NACUSA and hosted its national conference along with an SCI regional in May 2016 with my colleague Jorge Variego at the University of Tennessee. I have also hosted an annual contemporary music festival with colleagues here at UT. I believe this experience would be valuable to SEAMUS and I would be honored to serve.
Andrew Sigler’s music has been commissioned, performed, and awarded by the Wellesley Composers Conference, Composer’s Inc. Suzanne and Lee Ettelson award, Earplay Donald Aird Composers Competition, Robert Avalon International Competition for Composers, SCI National Festival, NACUSA National Festival, Oregon Bach Festival, Seasons Festival, International Brass Symposium, TUTTI Festival, University of Texas New Music Ensemble, University of Tennessee Faculty Brass Quintet, Electroacoustic Barn Dance, Hear No Evil, Compositum Musicae Novae, New Music Conflagration, Simple Measures, Bold City Contemporary Ensemble, and Fast>>Forward>>Austin, and his writing has been featured in Opera News and NewMusicBox. His music is published by Editions Musica-Ferrum and he serves as a board member of NACUSA. Andrew is Assistant Professor of Composition at the University of Tennessee where he directs the composition program and teaches audio recording, film scoring, theory, and orchestration Do you want to know more? Go to andrewsigler.com.