TECH 203: Advanced Electroacoustic Music

Spring 2025 Class Concert program

each work is for octophonic (8-channel) fixed media

Bram Belonsky-Stern — Prelude for Disklavier

Robin Gillespie — Untitled

Kyra Lopez — Little Sea Turtle

Finn Saffel Sipes — Monolith Arrives (WIP)

Inspired by 2001: A Space Odyssey and the best character in it, the giant monolith. I <3 you monolith.

I also <3 you Ligeti.

Liam Fissell — momentos

Lincoln Domina — cities and

“The group defines the term littérature potentielle as (rough translation): 'the seeking of new structures and patterns which may be used by writers in any way they enjoy'. Queneau described Oulipians as 'rats who construct the labyrinth from which they plan to escape.' “ - Wikipedia

this piece samples a lot of other recordings... you may recognize a few.. teehee...these samples are arranged in a certain special pattern. my puzzle! 🤔 can you find the clue??

Shawn Pichardo — Campfire Song

Meredith Grotevant — Omne Trium Perfectum

Patterns of three exist almost everywhere: in art, nature, and math. Even within the previous sentence of this program note. The title of this piece refers to a Latin precept meaning “everything that comes in threes is perfect.” Every aspect of Omne Trium Perfectum, from the individual sound materials to the piece’s overarching form, is guided by patterns and relationships of three. This piece is meant to present the unique embeddedness of these patterns and the environments in which they occur in our daily lives. From birdsong to ternary musical form, if you look and listen hard enough, threes will likely appear all around you.

Võ Hà Hạnh Nhân — All Realms in One

People often ask how I dared to let go of everything and begin again.
They say I must not know fear.
But that is not true...
Sometimes I can’t tell whether I’m leaving a place behind or running from it.

This piece captures a fleeting moment inside my mind. One where I was there, and not quite there.
It features all my own compositions, interwoven withsamples of humpback whale songs and the voices of the Hmong people.

Lillian Sugrue — H00K

Transvestite hookers, drag queens, and queer ballroom performers talk overtop audio detailing the origin of a long-lasting, straight love story. Arranged using synthesized instruments and sounds, vocal samples from YouTube, and field recordings taken by me.

Tyler Buckser-Schulz — bonfire memory

This piece is a kind of gathering. It draws on fragments of conversation, shared harmonies, and incidental noise—remnants of nights spent in good company, when music moved between people without needing to be named. At its center is not a song, but a space: somewhere between recollection and presence, where past voices rise like embers, then recede.

bonfire memory is also a kind of capsule. It sifts through a particular season of life—its people, its textures, its unspoken rhythms. The sum of these parts isn’t a song but a residue: voices caught mid-thought, melodies half-remembered, the quiet hum of being among others. Somewhere in the weave is a question about how we hold on to time as it passes.

Built from personal field recordings, acoustic textures, and soft synthetic tones, the piece doesn’t tell a story so much as suggest a scene already in motion. Folk melodies—old, invented, forgotten—surface briefly, not as performances, but as traces of something felt.

The piece uses spatialization not for spectacle, but as a way of holding closeness. You might hear the room turn in on itself, like a circle of voices around a fire that’s just beginning to burn down. Or perhaps it’s already burned—this is just the warmth that lingers.