Archive

MeltME-Degruttola.mp4
Edge Festival, June 5, 2004, UC Berkeley, Cal Performances
Danielle DeGruttola, Improvising Cellist

MeltME-Degruttola.mp4
Edge Festival, June 5, 2004, UC Berkeley, Cal Performances
Danielle DeGruttola, Improvising Cellist

MeltME-Degruttola.mp4
Edge Festival, June 5, 2004, UC Berkeley, Cal Performances
Danielle DeGruttola, Improvising Cellist

Video Figure from CHI 2001 Paper. Author(s): Danae Stanton, Victor Bayon, Helen Neale, Ahmed Ghali, Steve Benford, Sue Cobb, Rob Ingram, Claire O'Malley, John Wilson & Tony Pridmore

June 30, 1999

Georg Graewe (piano) and David Wessel (electronics) in concert.

June 9, 2001

John Abercrombie- guitar, George Marsh-drums, Rich Fudoli-saxophone, and Mel Graves-bass

A Different Kind of Measure, for two marimbas and four computer aided percussionists by Edmund Campion. This excerpt features the Drumming Ensemble of Porto Portugal.

Video excerpt from Etude 7

One of three video excerpts from ‘Persistent Vision’ of Edmund Campion, Carol Murota, Ali Momeni

One of three video excerpts from ‘Persistent Vision’ of Edmund Campion, Carol Murota, Ali Momeni

One of three video excerpts from 'Persistent Vision' of Edmund Campion, Carol Murota, Ali Momeni

One of three video excerpts from 'Persistent Vision' of Edmund Campion, Carol Murota, Ali Momeni

Excerpt of Patrice Balter performing Edmund Campion's ME in Nice, 2002.

One of three video excerpts from ‘Persistent Vision’ of Edmund Campion, Carol Murota, Ali Momeni

Edmund Campion discusses his composition for vibraphone and tape, "Losing Touch" for a French television program. In this excerpt, he outlines the compositional and electronic techniques that went into its creation. The collaborative process between composer and performer is touched upon here as well.

Edmund Campion discusses his composition for vibraphone and tape, "Losing Touch" for a French television program. In this excerpt, he outlines the compositional and electronic techniques that went into its creation. The collaborative process between composer and performer is touched upon here as well.

Here the drum fills are sprinkled with figures from the bass and bass clarinet. Could these passages have been composed with notation and then rehearsed? Yes, but I think the phrasing would not have been as spontaneous.