Vol2 No.2 INICIO
Vol2 No.2
ISSN 2317-9694

Materiales EXTRA Materials



Julio d’Escriván
(b.1960) Is a composer who uses music technology, both for concert music, and in its applications to film, video and new media. d’Escriván’s recent work includes co-editing and writing the chapter on electronic music and the moving image for the recently published Cambridge Companion to Electronic Music (Cambridge University Press), as well as co-authoring the Chapter on Composing with SuperCollider for The SuperCollider Book to be published at the end of 2008 by MIT Press. His latest piece Ensayo sobre la Torpeza, for laptop with live code tweaking and text, commissioned for the Festival Visiones Sonoras in Morelia, Mexico, was premiered there in November 2007. D’Escriván has been twice winner of the Bourges International Electroacoustic Music Competition, France, in 1987 and 1989. His electroacoustic music has been performed at numerous music festivals in countries such as The Netherlands (Gaudeamus), Spain (Centro Reina Sofía), The Basque Country, France, England, Scotland, Ireland, Argentina, Sweden, Norway, U.S.A. and Venezuela. It has been broadcast by BBC Radio 3, VPRO in The Netherlands, Radio Nacional de España, and RAI (Italy) among others. At present, d’Escriván is Reader in Creative Music Technology at Anglia Ruskin University, Cambridge, United Kingdom.

Simon Emmerson
Since November 2004 Simon Emmerson has been Professor of Music, Technology and Innovation at De Montfort University, Leicester, following twenty eight years as Director of the Electroacoustic Music studios at City University, London. As a composer he works mostly with live electronics; recent commissions include such works for Jane Chapman (harpsichord), the Smith Quartet, Philip Sheppard (electric cello), Philip Mead (piano) with the Royal Northern College of Music Brass Quintet, Katrin Zenz (flute). He has also completed purely electroacoustic commissions from the IMEB (Bourges) and the GRM (Paris). CDs of his works have been issued by Continuum (1993) and Sargasso (2007 and 2008). He contributed to and edited The Language of Electroacoustic Music in 1986 (Macmillan, still in print) and Music, Electronic Media and Culture (Ashgate, 2000). His book Living Electronic Music was published by Ashgate in 2007. He has contributed to such as Computer Music Journal, Contemporary Music Review and Journal of New Music Research. He was founder Secretary of EMAS (The Electroacoustic Music Association of Great Britain) in 1979, and served on the Board of Sonic Arts Network from its inception until 2004. He is a Trustee of its successor organisation ‘Sound and Music’. In 2009-2010 he is DAAD Edgar Varese Visiting Professor at TU, Berlin.

Bob Gluck
is a pianist, composer, educator and historical writer. His work spans and bridges jazz and electroacoustic music. Gluck's essays about the international history of electronic music and the intersection of music and culture have been published in Leonardo Music Journal, Organized Sound, Computer Music Journal, Journal SEAMUS, Leonardo, Living Music Journal, Tav+ and at the EMF Institute. His book in progress, "You'll Know When You Get There: Herbie Hancock and the Mwandishi Band" is under contract with the University of Chicago Press. Gluck's music projects include music for solo piano and electronics and various small jazz ensembles, among them The Bob Gluck Trio (with bassist Michael Bisio and drummer Dean Sharp) and Synapse Brothers (with sound designer Patrick Gleeson and guitarist John Myers). Cadence magazine describes the Bob Gluck Trio's CD 'Sideways' (FMR 2008) as "a potent first document of this expansive trio, with Gluck's open-ended compositions and those of others sparking the creative improvised explorations from all." Bob Gluck studied at the Julliard, Manhattan, and Crane schools of Music, Rensselaer Polytechnic Institute, and The University at Albany, where he is Associate Professor of Music and director of the Electronic Music Studio. His web site is at

Paul Jackson
is an academic, pianist and conductor with a particular interest twentieth-century and contemporary music and performance. He is Head of Music and Performing Arts at Anglia Ruskin University, Cambridge, UK, where he teaches contextual musicology, composition and music technology. His current research is centred around the music of the Australian composer, Percy Grainger, and he is a contributor to the forthcoming New Companion to Percy Grainger, to be published by Boydell and Brewer in 2010.

Juan Sebastián Lach Lau
(Mexico City, 1970), composer and pianist, currently teaches composition at the Conservatorio de las Rosas in Morelia, Mexico, and is completing his PhD dissertation for docArtes, a doctoral degree in artistic research at the Orpheus Institute in Ghent, Belgium and Leiden University in Holland. He also holds a Bachelors and a Masters degree in composition from the Royal Conservatory in The Hague, Holland. His music has been played by Cuarteto Latinoamericano, The Barton Workshop, Champ d’Action, Modelo 62, Soil and The Electronic Hammer, among others. His composition teachers have included Juan Trigos, Víctor Rasgado and Ignacio Baca-Lobera in Mexico, and Gilius van Bergeijk, Clarence Barlow and Louis Andriessen in Holland. Lach has also been involved in jazz (Psicotrópicos) and rock (Santa Sabina) bands in Mexico, and has composed for theatre, film and radio.

Thor Magnusson
is a musician/writer/programmer working in the fields of music and generative art. His PhD from the University of Sussex focused on computer music interfaces from the perspective of semiotics, phenomenology and cognitive science. He is a Senior Lecturer in the School of Art and Media at the University of Brighton and teaches courses on computer music, algorithmic and interactive systems in the Creative Systems MSc course at the University of Sussex and the Sonic Arts course of Middlesex University. Thor is mainly interested in improvisation, live performances, installations and audio software production. He is a co-founder and member of the ixi audio collective. With ixi he has written various musical software and given workshops and talks in key institutions across Europe on the design and creation of digital musical instruments and sound installations. For further info on ixi, please visit: Thor has presented and performed in various festivals and conferences, such as Sonar festival, Ertz festival, Transmediale, ICMC (International Computer Music Conference), NIME Conference (New Interfaces for Musical Expression), Impact Festival, Soundwaves festival, Cybersonic festival, Ultrasound festival, Pixelache, and various others.

Alberto Novello
a.k.a. JesterN is a scientist, composer, sound and video artist born in Udine (Italy) in 1977. In his youth, he studied piano and double bass at the Conservatory of Udine, and played electric bass with several Italian bands. In 2002, he graduated in Physics at the University of Trieste (Italy), he then joined his passion for music experimentation and science completing in 2004 the master “Art, Science and Technologies” at the Institut National Polytechnique of Grenoble (France), under the guidance of J.C. Cadoz and J.C. Risset. He was teacher of electronic music composition at the Conservatory Ghedini of Cuneo form 2004 to 2006. From 2004 to 2009 he worked at the Philips Research, Eindhoven, the Netherlands in the field of Music Perception and Music Information Retrieval with several publications in international conferences and journals. In 2009 he received a PhD degree at the Technische Universiteit Eindhoven (The Netherlands). Since 2004 he produced several electronic audio visual pieces, performed mainly in France, Netherlands, and Italy. His pieces can be found on his website:

Miguel Noya
Luego de concluir sus estudios de Música Electrónica en Boston en el Berklee College of Music y Música con Computadores (Computer Music) en Cambridge en el Massachussets Institute of Technology MIT, Miguel Noya regresa a Venezuela donde desarrolla  una carrera activa en el mundo de la composición y la pedagogía musical. En años recientes, Noya decidió volver a la academia, obteniendo un grado de Magister en la Universidad Simón Bolívar en composición musical y desempeñándose en la docencia de pregrado en esa misma institución. Con más de 25 años en el campo, Noya ha colaborado con los mas destacados coreógrafos, directores de cine, productores de documentales, directores de teatro y artistas visuales de Venezuela. Sus obras han participado por Venezuela en la Bienal de Venecia y de dos Expos Mundiales, Lisboa (98) y Aichi (05). Sus presentaciones solistas o como parte de colaboraciones con otros músicos, bailarines y artistas plásticos lo han llevado a presentarse en Estados Unidos, México, Colombia, Chile, Alemania, Holanda, Italia y España. Ha obtenido los Premios Municipales como mejor banda de música por 3 Noches y Zoológico de Venturini y Mejor música de video experimental Festival de Cine de Mérida con Topos de Nela Ochoa.

Natasha Roberts
(b. 1987) is an electronic music composer and sound designer. She completed an MA in Music Technology and Innovation at De Montfort University, Leicester, under the study of Dr John Young. While still an undergraduate at Anglia Ruskin University where she completed her BA (Hons) in Creative Music Technology and studied with Julio d'Escriván, she received an honorary mention for her acousmatic composition Wild Landscape at the 2007 Bourges Electroacoustic Music Competition. As a DJ, Natasha has performed mostly as a Techno DJ including sets at Atomic Jam (Birmingham) where she warmed up for Derrick May, House Of God (Birmingham), Subsonica (Bristol), Insurrection (Birmingham), and Deuce Soundsystem (Worcestershire).

Joe Snape
Trained as a classical percussionist, Joe Snape grew up rummaging in record shops, writing music, self-releasing handmade CD-Rs, and peeling PVA glue from his fingers. A novel look at the expressive potential of light in the context of musical performance, his Lärmlicht #1, for percussionist, 4-channel tape and 8 lightbulbs, is the first in an ongoing series of works. #2, for mangled harpsichord and neon striplamps, is baking in the oven ( At Cambridge University, together with composer and sound recordist Jonathan Green, Joe runs c:hear, a physical, fortnightly listening session and online resource for a growing community of enthusiasts of electronic music. c:hear also organizes concerts and workshops, most recently with Nico Muhly and Valgeir Sigurdsson of the Icelandic Bedroom Community label. More recently – in a spinoff from his established Exchange project – and in association with Pindrop Music, Joe commissioned three acoustic pieces and a corresponding triplet of electronic remakes from six young composers of modern music. Five of the six new works were first performed at Gabriel Prokofiev’s London Nonclassical clubnight, in early April of this year.

Jan Trützschler
is a composer and media artist with an affinity for software design. His work often focuses on one material or subject, which he sets in different contexts and perspectives. He has been working, for instance, on a series about the apparatus and on one, which explores various sonic aspects of paper. His compositions, performances and installations have been performed and shown internationally and on various festivals. In 2008 he founded TeaTracks, a company for mobile applications, which released Gliss, a tilt controlled and performance oriented sequencer for the iPhone in 2009. Since 2002 he has been an active SuperCollider (SC) developer, which resulted in many contributions to the software and the organisation of the second international SuperCollider Symposium in The Hague in 2007. He is giving SC workshops around the globe and contributed to the forthcoming SC book. Currently he is completing a PhD in Composition at the University of Birmingham. His activities have been supported by the Gaudeamus Foundation, the Prins Bernhard Cultuurfonds and the Arts & Humanities Research Council.