Serving the San Francisco Bay Area New Music Community

Sun, May 3 2020 2:00 PM

Click for Venue page

Streaming:Click for stream  
Please join us via live streaming this Sunday for a concert with CCRMAlites sharing new works from their homes into yours. We will have live performances, audiovisual pieces, immersive soundscapes, and poetry. There will also be a chat where you can write impressions, ask questions and interact with the artists and other members of our community.


Works and performances by:
Patricia Alessandrini
Mark Applebaum
Michele Cheng
Cathleen Grado
Julie Herndon & John Ivers
Christopher Jette
Douglas McCausland
D’or Seifer & Eoin Callery

Patricia Alessandrini is a composer/sound artist creating multimedia and interactive work which actively engages with the concert music repertoire, and notions of representation, interpretation, perception and memory, often in the context of social and political issues. She was invited as Composer-in-residence of the Soundscape Festival for 2010, as an ICElab composer with the International Contemporary Ensemble in 2012-13, and was in residency with the Ensemble InterContemporain at the Gaîté lyrique in 2015-6. Her works have been performed by ensembles including Accroche Note, Arditti Quartet, Ensemble Aleph, Ensemble Alternance, Ensemble Itinéraire, and Ensemble Recherche, in the Americas, Asia, Australia, and over 15 European countries, in festivals such as Archipel, Darmstadt, Donaueschinger Musiktage, Electric Spring, Heidelberger Frühling, Mostly Mozart, Musica Strasbourg, and Salzburg Biennale. She performs live electronics with artists such as Heather Roche and Seth Woods. She was awarded first prize in the Sond’Arte Composition Competition for Chamber Music with Electronics in 2009, and a Förderpreis from the Internationale Ferienkurse für Neue Musik, Darmstadt in 2012. She studied composition with electronics at the Conservatorio di Bologna and Ircam, holds a diploma in composition from the Conservatoire de Strasbourg, a PhD from Princeton University, and a second PhD from the Sonic Arts Research Centre (SARC). She has taught Computer-assisted composition in the alto perfezionamento programme of the Accademia Musicale Pescarese, was Lecturer in Composition with Technology at the University of Bangor and in Sonic Arts at Goldsmiths, University of London, and is currently Assistant Professor at Stanford/CCRMA.

Mark Applebaum, Ph.D. is the Edith & Leland Smith Professor of Composition at Stanford University. His solo, chamber, choral, orchestral, operatic, and electroacoustic work has been performed throughout North and South America, Europe, Australia, Africa, and Asia, including notable commissions from the Merce Cunningham Dance Company, the Fromm Foundation, the Spoleto Festival, the Kronos Quartet, Chamber Music America, and the Vienna Modern Festival. Many of his pieces are characterized by challenges to the conventional boundaries of musical ontology: works for three conductors and no players, a concerto for florist and orchestra, pieces for instruments made of junk, notational specifications that appear on the faces of custom wristwatches, works for an invented sign language choreographed to sound, amplified Dadaist rituals, a chamber work comprised of obsessive page turns, and a 72-foot long graphic score displayed in a museum and accompanied by no instructions for its interpretation. His TED talk has been seen by more than three million viewers. Applebaum is also an accomplished jazz pianist and builds electroacoustic sound-sculptures out of junk, hardware, and found objects. At Stanford Applebaum is the founding director of [sic]—the Stanford Improvisation Collective. He serves on the board of Other Minds and as a trustee of Carleton College.

Michele Cheng, a 1.5 generation Taiwanese American, is an interdisciplinary artist who uses music, experimental theatre, and other forms of media to be in dialogue with social issues and cultural identities. Taking a journalistic approach through interviews and research, she develops creative projects that reflect on complex issues in hopes of broadening public understanding as well as her own awareness. Her works have been performed around the world at places including Musée des Beaux-Arts de Dijon (Dijon, France), Sonic Arts Research Centre (Belfast, Northern Ireland), Podium Gigant (Apeldoorn, Netherlands), Conservatoire de musique du Québec à Montréal (Montreal, Canada), National Theatre & Concert Hall (Taiepi, Taiwan), as well as Bing Concert Hall (Stanford, CA), Orange County Museum of Arts (Santa Ana, CA), Experimental Media Performance Lab (Irvine, CA), Emerson Paramount Theatre (Boston, MA), among others. She has been featured by Sonorities Festival Belfast (Belfast, UK), New Music Gathering (Portland, OR), White Snake Project (Boston, MA), UCI Illuminations (Irvine, CA), She Scores Festival (Pittsburgh, PA), Vu Symposium (Park City, UT), and eavesdropping symposium (London, England). She is a co-founder of the interdisciplinary feminist improv collective fff. She’s currently based in the San Francisco Bay Area.

Cathleen Grado is an interdisciplinary artist whose work focuses on experience and memory through the sound
of places over time.

Herndon/Ivers duo is Oakland-based composer/performers Julie Herndon (keys) and John Ivers (clarinets). Current interests include audiovisual interactions, dynamic musical structures, and psychic improvisation. ///

Christopher Jette is a curator of lovely sounds, creating work as a composer and new media artist. His creative work explores the artistic possibilities at the intersection of human performers/creators and technological tools. Having trained as a violinist, his compositions are strongly coupled to the performer that they are written for, highlighting their unique performance perspective. Jette’s research details his technical and aesthetic investigations and explores technology as a physical manifestation of formalized human constructs. A highly collaborative artist, he has created works that involve video, dance, theater, websites, electronics, food, toys, typewriters, cell phones, printing, instrument design and good ol’ fashioned wood and steel instruments. In addition to creating concert music, Jette explores Creative Placemaking through site-specific and interactive work as a core-four member of the Anchorage based Light Brigade. Jette is an active member of the research and composition community both locally and internationally having presented works in Mexico, China, Finland, England, Italy, New Zealand, Australia, France, Poland, Greece, Romania and throughout the United States. He is frequently commissioned and his work is recognized with various awards, fellowships and residencies. Jette received a PHD in composition from the UC Santa Barbara, a MM in composition from the New England Conservatory and a BA in violin performance from the University of Wisconsin, Oshkosh. He was the 2015-16 Interdisciplinary Performance Grant Wood Fellow and Visiting Assistant Professor in Music at the University of Iowa, Iowa City. He served as the Technical Director of the Max Lab and was a Lecturer at Stanford University.

Douglas McCausland is a composer / performer currently based out of the Bay Area in California, USA while pursuing a DMA in Composition at Stanford University. Fascinated with new sonic territories and processes for creating music, his work engages with the extremes of sound, design, and the digital medium. As an artist, he has focused in recent years almost exclusively on the creation of experimental electronic music and digital art. His works have been performed internationally at festivals and symposiums such as: SEAMUS, SF Tape Music Festival, MISE-EN, NYCEMF, Klingt Gut!, Sounds Like THIS!, Sonicscape, Sonorities, and many more. Notable recent events also include a performance and installation series at the Talbot Rice Gallery and the Fruitmarket Gallery in Edinburgh, UK, and being named as runner-up in the International Confederation of Electroacoustic Music’s 2019 Prix CIME.

D'or Seifer is a poet, originally from Tel-Aviv, most of her poetry is in English. She often writes in response to pieces she encounters from various other art forms. D'or is a regular contributor to Filí an Tí Bháin, On The Nail and Not the Time to be Silent poetry gatherings. Recently, she published a piece in Pendemic and won third place in the Samuel Eels Literary and Educational Foundation graduate literary competition. She was invited as a guest reader to Not the Time to be Silent for Poetry Day, Ireland.

Eoin Callery is an Irish artist and researcher. He holds a BMus from University College Cork (2008), MA from Wesleyan University (2010), and completed his DMA at Stanford University (2016). From 2017-2019 he was a lecturer at CCRMA at Stanford University. He is currently a lecturer and the course director for the Composition and Creative Music Practice MA in The Irish World Academy of Music and Dance at the University of Limerick. His art and research focus on electro-acoustic systems relating to chamber music, performance space augmentation, and sound installation. This often involves exploring acoustic phenomena – especially feedback derived from both real and virtual systems – in live situations, and embedding sounds or gestures into layers of automated live electronic processes. Information about his work and recent performances can be found at

Cost: FREE
✚gCal  ✚iCal