Annette Richards is Professor of Music and University Organist at Cornell, and the Executive Director of the Westfield Center for Historical Keyboard Studies. She is a performer and scholar with a specialty in eighteenth-century music and aesthetics, and interdisciplinary research into music, literature, and visual culture. She is founding editor of Keyboard Perspectives, a yearbook dedicated to historical performance and keyboard culture, but her scholarly work extends far beyond the organ and its music.
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.
Andrea Lindmayr-Brandl studied musicology and philosophy as well as mathematics and music at the Paris-Lodron University Salzburg and at the Mozarteum, Salzburg. After postgraduate studies at the Schola Cantorum Basiliensis (Switzerland) she graduated in 1988 with a dissertation on Ockeghem at the Paris-Lodron University Salzburg. She finished her Habilitation (professorial dissertation) on Franz Schubert in 2001 and was appointed as Associate Professor the same year.