CNMAT Flashback

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Multiplication Virtuelle

Multiplication Virtuelle, composed by Mei-Fang Lin, is a musical work
written for solo percussionist performing on a wide array of pitched
and non-pitched acoustic instruments. Audio signals taken from
microphones placed in close proximity to each instrument are used to
control a real-time computer-based electro-acoustic component. The


En círculo

En círculo (2008) for alto saxophone, clarinet/bass clarinet, horn, trumpet, trombone, double bass, percussion, and piano
duration, 18'
excerpt performed by the San Francisco Contemporary Music Players

Listening to me practice the piano in this piece, my sister said, “I hear all sorts of natural sounds, things blowing, shaking, leaves rustling, waves rolling”.


Darsána I

Darsana I is an interactive work for a pianist playing the Yamaha Disklavier (a piano fitted with MIDI technology in its keys). I connect the Disklavier to a computer and program software to interact with a pianist. The pianist plays material which acts as triggers to the Disklavier, and causes it to respond with material I have worked out.



Hysteria (2000) for trombone and electronics.
music by Cindy Cox.
text by John Campion.
trombone performed by Abbie Conant


Playing a round

Program note:
A few years ago, Jane Chapman and Kate Ryder of the duo keynote+ gave a memorable concert at CNMAT. Their combination of harpsichord and prepared piano created a strikingly unusual sound-world—and I thought, what a strange and interesting combination! Such noisy pitches! I grew excited thinking about all of the new possibilities for a piece.


Singing the lines

Singing the lines (2008)
for soprano, flute/piccolo, B-flat clarinet, double bass, percussion, and piano, 9’
music by Cindy Cox
text by John Campion
I. “Light changes”
II. “Walking, Naming It”

performed by Lucy Shelton, soprano
Berkeley Contemporary Chamber Players
David Milnes, conducting


Study No. 1

Study No. 1 is the first of a series of studies for piano and electronics. The piano’s role is to ‘trigger’ the electronic sounds at particular points in the score, an image of which is saved inside an MAX/MSP processing station. This gives the performer great timing flexibility.



(duet for pianist and piano)
composed by jay cloidt, 2007

commissioned by nancy karp + dancers
programming by barry threw
performed by marja mutru, piano



Electroacoustic sextet
Commissioned by the Paul Dresher Ensemble
Composed 2002 while a graduate student at UC Berkeley, realized at CNMAT
Premiered February 28, 2003 at ODC Theater, San Francisco, CA
viola samples performed by KURT ROHDE
bass clarinet samples performed by PETER JOSHEFF
Recorded on In Sound (Tzadik) by Paul Dresher Ensemble




“Lumen” is an hour-long composition in three movements. Using shadow screens, precise mime-like movement, and a unifying musical language, the movements work together to create a narrative form inspired from both Javanese shadow play and early silent cinema. The three movements can also be performed individually.

I. Lumen Prelude -- in which we are introduced to our



“Intuitivo” is a collage of free improvisations.

I recorded seven players improvising freely and separately. They received no guidelines, and they did not know what the other players would record or had recorded. Then I trimmed and juxtaposed the improvisations to create an imaginary synchronized performance.


Beside Oneself

Beside Oneself for viola and live electronics

Most people think what could I do, I think what shouldn't I do. What I should do perhaps is involved with the fact that I'm Jewish and what is known as Jewish paranoia. I don't feel comfortable enough to feel that everything is on my side and that it's going to work just the way I want it.
--Morton Feldman



Sabinium (2006)
for two-channel electronic sounds, with video animation by Harvey Goldman .