Cursus composers

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After a year of training in computer music, the 10 composers of the Cursus 2019-2020 present their short pieces during a concert (to watch online on September 7th and 8th). Find out more about their background.

Sofia Avramidou
Keep digging the hare hole, for cello and electronics

Sofia Avramidou (Greece, b. 1988) is a graduate of the composition department at Aristotle University (Bachelor and Master’s degrees) with honors. She also holds a diploma from the National Academy of Santa Cecilia in Rome, also with honors, where she studied with Ivan Fedele through a merit scholarship from the Alexander Onassis Foundation.

From 2017 to 2019, she studied electroacoustic and instrumental composition at the Conservatoire à rayonnement régional de Boulogne-Billancourt. In addition to her studies, she has participated in numerous master classes in composition and has won prizes in a large number of competitions. In 2018, Sofia was selected to compose a chamber opera for the Venice Biennale. Her compositions have been performed in Europe and the United States.

Oren Boneh

Her Majesty the Fool, for microtonal accordion and electronics

Composer Oren Boneh  (United States, b. 1991) writes music characterized by its energy and dynamism. Its foundation is made up of vastly contrasting characters, ranging from abrasive and mechanical to humorous and supple. The music plays with listener expectations of the characters’ behaviors in order to create unpredictability and friction. Oren has been commissioned and performed internationally by ensembles such as Vertixe Sonora, Alarm Will Sound, Quatuor Tana, Ensemble Meitar, Proton Bern, the Divertimento Ensemble and Ensemble Reconsil. A Germany Fulbright Scholar, Oren has been selected in numerous competitions such as the 2017 Salvatore Martirano Memorial Composition Award Competition for which he received the first prize for his piece, Winter Walks that Gravel my Voice. Oren is a PhD candidate in composition at the University of California, Berkeley where he works with Franck Bedrossian and Edmund Campion.

Kayla Cashetta

Reach, for soprano and electronics

Kayla Cashetta (United States, b. 1991) is an American composer whose work revolves around the marriage of analog, digital, and acoustic instruments and practices. She was recently a winner of National Sawdust's inaugural Hildegard Competition (2018) in Brooklyn, New York, where she performed live analog electronics in her commissioned work, "Anima" with the Refugee Orchestra Project.

Kayla has had her music performed at venues and festivals such as the Center for New Music, the New York Festival of Song, the Loretto Project, and the Fontainebleau Summer Sessions, and has worked with the Quince Ensemble, Eco Ensemble, Splinter Reeds, and Longleash. She also records and performs with her experimental pop trio, Maenu. She is currently pursuing a doctoral degree at UC Berkeley under the guidance of Ken Ueno, Franck Bedrossian, Myra Melford, Edmund Campion, and Cindy Cox.

Fernando Manassero

The Moth, for vinyl turntables and electronics

Fernando Manassero (Argentine, b. 1984) Fernando composes music for prepared instruments, amplified sound objects, and synthesizers. His work is characterized by its iridescent textures, densely populated by communities of small sound organisms. In this music, the listener dives into a dramaturgy of ephemeral gestures of great vitality, organized in translucid layers. He studied composition with Chaya Czernowin and Steven Takasugi through a Fulbright FNA grant. Further studies in composition with Juan Carlos Tolosa and Gerardo Gandini. He has a degree in music composition from National University of Córdoba (Arg.).

He has been commissioned by Colon Theater Experimentation Center, Cervantes Theater, Contemporary Music Festival of Buenos Aires, among others. His music has been programed in festivals in Europe, South America and the US. He lives and works in Buenos Aires as a freelance composer and teacher at Universidad Nacional de Tres de Febrero.

Maxime Mantovani

Existentia, for baritone saxophone, disklavier, real-time video, electro-acoustic apparatus and multitrack medium

Maxime Mantovani (France, b. 1984) is a composer of mixed and electroacoustic music. He holds a Master’s degree in composition from the Conservatoire national supérieur de musique et de danse de Lyon under François Roux, as well as a degree in electronics and computer engineering. These training courses and his experiences are the foundation on which he develops his practice, situated among musical composition, creation, and computer music.

The role of instrumental and electronic interpretation is central to his work. He uses particular instrumental gestures and playing modes, synthetic sounds, as well as unusual sound recordings — close to his materials — to discover what the ear does not hear naturally. Mechanisms of opposition and union between sounds and timbres of different natures are used in order to make the encounter between electronics and acoustics coherent. The distinction between these two universes may then become uncertain.

The deepening and intesification of his musical writing methods is strongly inspired by technology and computer music. He designs electroacoustic instruments — hardware and software — and questions the Anthropocene as well as the sustainability of technological tools.

Paul Ramage
Fragments d’une Fin, for piano CP-80 and electronics

Paul Ramage (France, b. 1986) is a violinist, improviser, and composer. He began his musical studies at the CRR de Cergy-Pontoise and, after obtaining his diploma of Musical Studies in violin, he entered Denis Dufour and Jonathan Prager’s composition classes at the CRR de Paris from where he graduated in 2013. He then obtained a Master's degree in electroacoustic composition at the INA-GRM. Composer of about forty works—acoustic, mixed, and instrumental—he has performed and has been played in various countries (France, Spain, Italy, Portugal, Romania, United Kingdom, Japan, United States, China...). He is the winner of the Metamorphosis Prize (music and research), the second place winner of the Russolo Prize, and holds the a French state diploma as a music teacher. He teaches sound creation at the conservatories in Châtenay-Malabry and Bagneux. Today, he is a member of Alcôme (Compagnie de création et de diffusion de musique contemporaine) and strives to bring all aspects of creation to life.

Justina Repečkaitė

Transduced, for 3 snare drums, 1 small cymbal, 1 standing bell, 3 transducers and electronics

Justina Repečkaitė (Lithuania, b.1989) is based in Paris. Justina studied both in Lithuania and France where she discovered her passion for the late medieval culture that influences her music. Justina was an artist in residence at the Singer-Polignac Foundation, composer in residence with the ensemble Le Balcon and held a scholarship at the  International Centre of Nadia and Lili Boulanger. Since 2015 she has been a member of the Lithuanian Composers' Union which awarded her the Debut of the Year prize. Her music represents Lithuania in World Music Days and International Rostrum of Composers. This year Justina is writing compositions commissioned by Radio France and Fondation Royaumont.

Ko Sahara

Paraphrase on “Twinkle, Twinkle, Little Star”, for microtonal accordion and electronics

Ko Sahara (Japan, b. 1989) studied composition at the Tokyo University of Music in the classes of Shin-Ichiro Ikebe, Keiko Harada, and Toshio Hosokawa. He continued his training at Tokyo University of the Arts (Geidai) where he obtained a Master's degree in composition in the class of Ichiro Nodaïra. In 2014, he was admitted to the Paris Conservatory (Cnsmdp) in the composition class of Frédéric Durieux and in the new technologies class taught by Luis Naón, Yann Geslin, Yan Maresz, and Oriol Saladrigues.

In his latest scores, Ko Sahara has developed a language in which his personal invention is stimulated by forms and genres from both Japanese and Western traditional music. His scores have been played in concerts throughout Europe and Asia.

Claudia Jane Scroccaro

I sing the body electric, for double bass and electronics

Claudia Jane Scroccaro (Italy, b. 1984) obtained her master’s degree in composition at the HMDK Stuttgart, studying composition and electronic music with Marco Stroppa, while attending masterclasses held by Philippe Leroux, Franck Bedrossian and Nicolas Tzortzis. Her music has been performed in Germany, France, United Kingdom, Italy, Lithuania, and United States. She has been composer in residence for the Music Innovation and Science Centre in Vilnius (2016) and for the Thüringer Symphoniker Saalfeld-Rudolstadt (2018).

The sonic aspect holds a dominant role in her work and it reflects deep interests for electronic music and for music of aural tradition. Her creative approach explores a musical dramaturgy shifting between a humanly perceivable listening experience and microphonic projections of the dynamic properties of sound on multi-dimensional spaces.

Antonio Tules

Vallée, for piano and electronics

Antonio Tules (France, b. 1990) studied composition with Thierry Blondeau at the Conservatoire à rayonnement départemental d'Aulnay-sous-Bois, and in Strasbourg with Philippe Manoury, then Daniel D'Adamo and Tom Mays at the Académie supérieure de musique in Strasbourg, where he is currently completing his Master's degree. Winner of the Académie Musica - Philippe Manoury in 2017, his music has been performed by ensembles such as Cairn, Court-circuit, Hanatsu-Miroir, Intercolor, and the Tana Quartet.

A pianist by training and also an electric guitarist, his practice of rock and metal clearly influences his writing, both formally and rhythmically, leading him to reflect on the concepts of connotation, ambiguity and decontextualisation of "found objects", or harmonic object, by focusing on the integration of consonance within atonal music.

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