Elainie Lillios, composer
"Evolutions-Transitions: from acousmatics to acoustics and the spaces between
As our compositional careers progress, it’s good to sometimes reflect on process and productivity, and think about how we arrived at the present moment as a creative individual, composer, and musician. This presentation reflects on my compositional process and and describes how I began composing acoustic music, abandoned it for electroacoustics, and now have come to a “middle ground” where I compose both acoustic and electroacoustic music.
Acclaimed as one of the “contemporary masters of the medium” by MIT Press’s Computer Music Journal, electroacoustic composer Elainie Lillios creates works that reflect her fascination with listening, sound, space, time, immersion and anecdote. Her compositions include stereo, multi channel, and Ambisonic fixed media works, instrument(s) with live interactive electronics, collaborative experimental audio/visual animations, and installations.
Her work has been widely recognized through awards, which have included a 2013–14 Fulbright Award, First Prizes in the Concours Internationale de Bourges, Areon Flutes International Composition Competition, Electroacoustic Piano International Competition, and Medea Electronique “Saxotronics” Competition, and Second Prize in the Destellos International Electroacoustic Competition. She has also received awards from the Concurso Internacional de Música Electroacústica de São Paulo, Concorso Internazionale Russolo, Pierre Schaeffer Competition, and La Muse en Circuit. She has received grants/commissions from INA/GRM, Rèseaux, International Computer Music Association, La Muse en Circuit, NAISA, ASCAP/SEAMUS, LSU’s Center for Computation and Technology, Sonic Arts Research Centre, Ohio Arts Council, and National Foundation for the Advancement of the Arts. She has been a special guest at the Groupe de Recherche Musicales, Rien à Voir, festival l’espace du son, June in Buffalo, and at other locations in the United States and abroad.
Made possible by support from the
William E. Valente Endowment in Music.