Listening Room 1
Fixed Media | Program Overview
Axis of Frost
Liuyang Tan
Veil-Audiovisual performance with real-time motion detection by Media Pipe
Yiting Shao
Ebow Supernova
Cristiano Riccardi
Okinawa Blue Note, Recalled
Yerim Han
Quantum Sphere & Sound Sympathy — Composed for Guzheng and Quantum Computing
Weijia Yang
The Orphic Shimmer onto the 192 Steps
Wanjun Yang
Transcendence: Performance without Presence
Jinwoong Kim
Triangulation
Talia Amar
Whispers That Are Heard
Jingfan Guo
Labyrinthe Souriant (Smiling Labyrinth)
Shih-Lin Hung and Ju An Hsieh
Echoes of the dial
Yunpeng Li
Within the light cone lies fate ordained
Haozhe Tan
Pyrography II
Li Pengyun and Guo Jingfan
Interwoven Realms: The Threefold Domain of Consciousness
Qing Ye and Yuxue Zhou
Tombeau de Barleau
Raphael Radna
About the pieces & artists
Liuyang Tan: Axis of Frost
Axis of Frost is the fourth movement of the electronic music suite Four Seasons Soundscapes. Drawing inspiration from the microscopic dynamics of ice and snow, the composer employs wind chimes, gears, and metallic collisions as primary sound materials. Through the interweaving of pulsating rhythms and howling cadences, the work evokes a frigid soundscape of crystallizing snowflakes, swirling ice particles, and surging glacial undercurrents.
This piece is supported by the Music and Digital Intelligence Key Laboratory of Sichuan Province.
About the artist
Liuyang Tan is a graduate student in the Music Engineering Department of Sichuan Conservatory of Music, where he studies electronic music composition with Professor Lu Minjie.He will begin his PhD studies at UC Santa Barbara in fall 2026. He is a member of EMAC (Electroacoustic Music Association of China). His research focuses on inter-media composition of electroacoustic music. His works have won prizes and been selected for presentation in international musical activities, including MUSICACOUSTICA-HANGZHOU, ICMC (Ireland, China, South Korea, America, Germany), China Computational Art Conference, SOMI Electronic Music Marathon, Earth Day Art Model, the ArteSicenza Festival in Rome, International Electronic Music Competition (IEMC, Shanghai), SEAMUS, New York City Electroacoustic Music Festival, and Macao International Digital Intelligence Music Competition.
Yiting Shao: Veil-Audiovisual performance with real-time motion detection by Media Pipe
This work employs real-time motion capture of the dancer to generate audiovisual elements in parallel. It is inspired by The Painted Veil by W. Somerset Maugham.
I. Time and again, a veil is woven around oneself, until the original self is forgotten.
II. The moment the veil is lifted comes only after a long and painful struggle.
III. Through repeated loss and searching, one is left to wonder—beneath the veil, is this the true self?
About the artist
YiTing Shao, born in Hebei, China, in 2000, Received a Bachelor’s degree in Violin Performance from Communications University of Zhejiang in China, and completed a Master’s degree in Composition at Dankook University in Korea. Currently pursuing a Doctorate in Electro-acoustic and Instrumental Composition at Hanyang University.Work was presented at the 2025 International Computer Music Conference (ICMC) in Boston2025. Performer:XINRAN XU,Liaoyang, Liaoning Province, China Xinran Xu is a dancer and choreographer trained in both street and contemporary dance. She graduated from Beijing Modern Music Academy and Dankook University. She won 1st Place at Hip Hop International (Beijing Regional) and received the Gold Prize in Contemporary Dance at the 6th C-DAK International Dance Competition (2025). She also competed in World of Dance, Disco Connection, and Danceholic.She has worked as a choreographer and performer in multiple showcase performances and appeared in the dance program “Ttechum (떼춤)”.Currently, she is active in Korea as a member of Blue Dance Theater 2, ISSUE Dance Crew, and Sparky. Her work focuses on the fusion of street and contemporary dance.
Cristiano Riccardi: Ebow Supernova
This audiovisual work proposes a phenomenological investigation of interior space through the sensible representation of a cosmic event: the unfolding of a supernova as both metaphor and device for the alteration of corporeal consciousness. This work proposes an experience of corporeal subtraction, the progressive dissolution of the body’s boundaries, the indifferentiation between subject and object. Through sonic rarefaction and luminous beams, the work induces a meditative state that reconfigures the relationship between spectator and cosmic matter. This is not mere contemplation, but rather an interpenetration with the intensities that constitute reality itself. The interior journey becomes indistinguishable from the journey through cosmic spaces: both experience the same phenomenon of rarefaction, illumination, and the attenuation of boundaries. On a phenomenological plane, the supernova represents the unveiling of what is hidden—not as a remote event, but as an intimate revelation of the luminosity that constitutes our own materiality. The listener experiences a form of dilated consciousness, where the awareness of being part of a force greater than oneself becomes the corporeal experience of one’s own dissolution. The musical and visual rarefaction operates an ascesis from the domain of the speakable and the representable, leaving pure intensity and openness toward the unsaid—a liminal space where the microcosm of interiority and the macrocosm of stars interpenetrate without boundaries. The composition is structured around twelve independent chromatic lines derived exclusively from samples of an ebowed guitar, mapped into a custom-built synthesizer that preserves the instrument’s characteristic infinite sustain. Organized into four registral groups (three sopranos, three altos, three tenors, three basses), the voices operate as parallel streams converging and diverging through close semitonal proximity, generating dense harmonic clusters. Staggered entrances and overlapping durations create gradual transformations of harmonic density, privileging timbral evolution over melodic narrative. The visual component translates each musical line into concentric circles responding in real time to amplitude variations, creating a dynamic field of overlapping geometric forms that reflect sound-wave propagation and harmonic density. By foregrounding chromatic density, sustained sonority, and visual abstraction, Ebow Supernova proposes an immersive experience in which individual elements dissolve into a unified perceptual field—interrogating the contemporary paradigm of corporeality and suggesting that the deepest contact with reality might paradoxically consist in the negation of the biological body: a journey toward the luminosity that traverses and transcends it.
About the artist
Cristiano Riccardi is a multi-instrumentalist and sound designer with over 30 years of experience in live and studio practice. His recent work spans recording Fausto Razzi’s Memoria (2020) and Lontano (2021), performing Razzi’s scenic piece Protocolli (2023), arranging Stockhausen’s Tierkreis (2025, awarded for interpretation), and contributing to an intermedial reworking of Stravinsky’s L’Histoire du Soldat. He is currently pursuing a Master’s in Electronic Music at the Conservatorio di Santa Cecilia in Rome, focusing on electroacoustic composition and real-time performance.
Yerim Han: Okinawa Blue Note, Recalled
This audiovisual fixed media work is based on recollected memories following a trip to Okinawa and a subsequent viewing of the film Okinawa Blue Note. Using sound materials extracted from travel videos, the piece explores how memory—already shaped and idealized through recollection—is further manipulated and restructured over time. Conceived as a dive into memory, water functions as a medium that distorts and contains remembrance, while layered and transformed sounds construct an emotional landscape of mediated recall.
About the artist
Yerim Han (b. 1997, South Korea) is a composer currently pursuing a Master’s degree in Composition at Hanyang University. Trained in contemporary acoustic music, she is also actively engaged in MIDI-based composition, electronic music, and commercial music practices. Her work explores diverse musical languages across acoustic and digital media.
Weijia Yang: Quantum Sphere & Sound Sympathy — Composed for Guzheng and Quantum Computing
This work takes classic guzheng music as the creative foundation and relies on an independently developed quantum synthesizer interactive system to construct a cross-temporal dialogue between “classical artistic conception” and “quantum timbre”. Its submitted version is an audio-visual hybrid version developed based on the Touch Designer visual effects port, while the live performance version can be connected to real-time live instrumental performance, realizing a complete closed-loop performance of “gesture — quantum sound — instrument”. The guzheng melody is processed through quantum gate algorithms to be transformed into electronic sounds with the characteristics of quantum superposition state. Meanwhile, it relies on a real-time visualization engine to generate dynamic images of quantum Bloch spheres and particle flows, ultimately constructing an immersive audio-visual integrated experience. Inspired by High Mountains and Flowing Water of the Shandong Guzheng School, this work inherits its skeletal structure and core backbone notes, and innovatively reshapes the musical form through quantum timbre, presenting a transformation path from traditional art to future media art.
About the artist
Weijia Yang. Ph.D, Full-time Postdoctor at Shanghai Conservatory of Music. Currently, he holds multiple academic appointments, including Excellent Innovation and Entrepreneurship Tutor for Shandong Province’s “Internet Plus” Program, Member of the Institute of Electrical and Electronics Engineers (IEEE), Member of the Chinese Association for Artificial Intelligence (CAAI), Member of the Electronic Music Society of the Chinese Musicians Association, and Reviewer for 8 A-class core journals indexed by SCI/SSCI (such as PLOS ONE and Frontiers in Psychology). He has published 8 core papers indexed by SCI, SSCI, EI, Scopus, and Peking University Core (PKU Core) of China, as well as numerous non-core journal papers, obtained 3 Software Copyrights, and served as Principal Investigator or Key Participant in 12 research projects at national, provincial, and municipal levels. He has mentored 6 national and provincial A-class innovation and entrepreneurship projects that received funding and awards. Additionally, he has composed over 10 representative electronic music works (e.g., Nine-Colored Deer), which have been released on major music platforms; his works have won multiple awards and been performed in numerous exhibitions at international competitions both
domestically and internationally, such as ICMC (International Computer Music Conference) and WOCMAT (World Conference for Chinese Composers).
Wanjun Yang: The Orphic Shimmer onto the 192 Steps
“The Orphic Shimmer onto the 192 Steps” is an interactive live-coding audio-visual performance that explores the role of art as a “harmonizing force” within the turbulent landscape of contemporary civilization. The work takes its title from the 192 steps of the Odessa Staircase, abstracting this historically and cinematically significant site into a topological space of tension and dispersion. By invoking the myth of Orpheus – the figure who restored order through music – the piece builds a philosophical bridge between classical humanitarian ideals and modern algorithmic logic.
Technical Framework
The work is built on a sophisticated integration of live coding, modular synthesis, and generative visuals:
* Audio Synthesis: Primary sound design is executed in VCV Rack, employing a hybrid of subtractive, wavetable, and granular synthesis. A foundational layer of algorithmically generated Shepard Tones creates an auditory illusion of “infinite ascent,” symbolizing the cyclical pain and progress of history.
* Live Interaction: Sonic Pi serves as the central engine for real-time algorithmic restructuring. The performer uses MIDI controllers to manipulate the density and spatialization of the sound field, facilitating a dialogue between rigorous code and human intuition.
* Visual Generative Design: Developed in Processing, the visual layer utilizes the OSC protocol for sample-level synchronization. Spectral energy and transient parameters from the audio drive fluid, geometric “shimmers” that map onto the metaphorical 192 steps.
About the artist
Wanjun YANG is an engineer, programmer, sound designer, researcher and electronic music musician. Now he is an associate professor of Music Engineering Department, Sichuan Conservatory of Music. In the past 26 years, he lives at Chengdu City, Sichuan Province, Southern of China, and taught at Sichuan Conservatory of Music. His research and creative interests lie in Acoustics and Psychoacoustics, Sound Design, Software Developing, New Media Art, Multimedia Design. Since 2011, he attended the EMS Annual in New York, followed by participation in an electronic music exchange at the University of Oregon in 2012; in 2017, his work was selected for ICSC 2017 in Nagoya and his paper selected for ICMC 2017 in Shanghai; he served as Concert Reviewer for ICMC 2018 in 2018; in 2019, his pieces were selected and performed at ICMC 2019 and NYCEMF 2019 in New York, alongside participation in another electronic music exchange at the University of Oregon and visits to CCRMA at Stanford University and UCLA; in 2020, his works were selected and performed at the NYCEMF 2020 Virtual Online Festival; from 2021 to 2025, his compositions were continuously selected and performed at ICMC, NYCEMF, and ICSC international conferences; additionally, he has been a long-term reviewer for ICMC, IEMC, and NCDA.
Jinwoong Kim: Transcendence: Performance without Presence
Transcendence is an audio-visual performance interface that reimagines the relationship between performer interaction and algorithmic autonomy. The system utilizes a gamified “turret-defense” mechanic as a metaphor for stochastic sound generation. The user places “turrets” on a grid, which autonomously track and engage moving targets based on proximity algorithms. This interaction serves as a direct translation of spatial logic into sound: distance defines intensity, angle determines stereo panning, and target properties dictate pitch and timbre, creating a real-time sonification of digital conflict.
A core innovation of Transcendence lies in its distinct “Performance Mode.” In traditional Human-Computer Interaction (HCI) for music, the mouse cursor serves as a constant visual anchor, reminding the user of the computer’s presence as a tool. In this work, the cursor is deliberately rendered invisible during performance. While the performer retains control over the grid, the visual representation of their “hand” is removed.
This design choice—”Performance without Presence”—dissolves the barrier between the creator and the creation. It shifts the cognitive load from operating a UI to immersing oneself in the audio-visual feedback loop, allowing the performer to become a “ghost in the machine.” The result is a self-generating, yet controllable, polyphonic soundscape where the interface disappears, leaving only the pure translation of logic into art.
About the artist
Jinwoong Kim is a South Korean composer, musician, and media artist. He received his Ph.D. in Intermedia Arts from Tokyo University of the Arts, where he studied under Professor Kiyoshi Furukawa. His creative practice spans a wide range of fields, from contemporary computer music to
interactive media installations, with a focus on integrating compositional methodologies with emerging technologies and cross-disciplinary thought. Drawing upon a diverse background in music, visual art, engineering, and the natural sciences, he has developed custom software systems–including BODIC and KCAC—to explore new forms of audiovisual expression.
He is currently a full-time faculty member in the Digital Media Design major within the Global Elite Division at Yonsei University, where he teaches courses on creative coding, computational design, and media-based artistic practices.
Talia Amar: Triangulation
“Triangulation” uses three different electronic music techniques that serve the same goal: to expand the possibilities of the acoustic piano. Each of these three techniques explore a different aspect of human-computer interaction. The pianist controls the electronics from an iPad, choosing when to switch between the three patches, and the pianist’s relationship with the computer changes in each patch. In the first patch the computer “listens” to the piano and reacts to it by performing the same notes with modifications such as quarter tone modulations, reversing, and stretching. The electronics in the second patch is pre-recorded and multiplies the piano, with the effect that it sounds as if there were many pianos performing the same time. In the third patch the electronics records the piano performance and plays it back with different effects, building up an aleatoric wall of pianos that is not possible to perform acoustically.
About the artist
Dr. Talia Amar is the recipient of many international awards including the Prime Minister prestigious award 2018, The Acum prize for “best piece of the year” 2022, The Acum award 2019, the Rosenblum Prize for Promising Young Artist 2016 by the Tel Aviv Municipality, the Klon Award for young composers granted by the Israeli Composers League. Recently she was the winner of The Next Voice – a call for scores from Israeli composers. Her piece, For Orchestra I was unanimously selected from an incredible 152 submissions and will be performed by the Israel Philharmonic under the baton of Lahav Shani in March 2026 in Tel Aviv, Haifa, and Jerusalem. She was selected by the famous violinist Renaud Capucon to participate in the Festival New Horizons d’Aix en Provence 2022 where her piece, commissioned especially for the festival, will be performed. In 2022 her piece “Labyrinth” was commissioned and performed at Festival Présences by Radio France in Paris. She was selected to represent Israel in different festivals such as ISCM World New Music in Vancouver, ECCO Festival in Brussels, Asian Composers League Festival in Taiwan, ICMC in Seoul, and SMC in Austria.
Since 2017, Talia joined the composition faculty at the Jerusalem Academy of Music and Dance in Israel where she is also the Head of Technology and Innovation. She is also a council member of the Israeli Composers League and the performer of electronics music of Meitar Ensemble.
Jingfan Guo: Whispers That Are Heard
Composed for Arduino and Max/MSP, this work employs a multi-sensor interface as its primary vehicle. It centers on two core sonic materials: whispering voices and African percussion. The former signifies the individual and the secret, while the latter points to the collective and driving force. The work aims to superimpose these elements within a single sound field, erasing the boundary between the individual and the collective. Amidst sonic entanglement and compression, intimate whispers are deprived of their original space of existence, alienated into mere components of the rhythm. This is, at once, an act of listening to secrets and a scrutiny of the clamor.
About the artist
Jingfan Guo, a native of Tai’an, Shandong Province, China, is a member of the Electronic Music Society of the Chinese Musicians Association(EMAC) and a postgraduate student in Computer Composition at Wuhan Conservatory of Music, class of 2024, under the guidance of Professor Li Pengyun. His main research interests include electroacoustic music, sensor interaction, and kyma sound design. His major works include “Mute Water” (Electroacoustic Music), “Liminal Space” (Mixed Music), “Dissoving Voice” (for kyma and Computer),“Whispers That Are Heard”(for Arduino and Sensors).
Shih-Lin Hung and Ju An Hsieh: Labyrinthe Souriant (Smiling Labyrinth)
“Labyrinthe Souriant” (Smiling Labyrinth) is an interdisciplinary electroacoustic work exploring the fluid boundary between visual art and sonic translation. The piece is based on a hand-drawn graphic score created by a visual artist, who utilizes traditional staff paper as a canvas for organic, labyrinthine line-work and anthropomorphic silhouettes. The composition utilizes a performance-led approach to sound design. Using the graphic score as a primary visual stimulus, the composer engaged in a one-take improvisation session via MIDI controllers mapped to a customized Ableton Live environment. This method ensures that the temporal flow of the music maintains a direct, visceral connection to the visual trajectories of the score. The vocal samples were processed through real-time DSP chains, where the nuances of the performance (velocity, pressure, and timing) were
translated into dynamic spectral shifts and spatial movement, reflecting the ‘Smiling Labyrinth’s’ intricate and unpredictable nature.
About the artists
Shih-Lin Hung holds a B.A. from the National University of Tainan and an M.A. from National Yang Ming Chiao Tung University. Initially trained in Western classical composition, his recent work explores electroacoustic aesthetics within the lineage of French musique concrète. His creative practice focuses on uncovering alternative sonic possibilities in daily sounds that are often ignored or taken for granted.
Ju-An Hsieh graduated from the Gerrit Rietveld Academie in Amsterdam, the Netherlands, and works primarily with images. In 2024, their exhibition The Theatre explored the impact of colonial regimes on Taiwan’s ecology and the power relations between humans and nature. As their practice evolves, embodied memories, sensory experiences, and dreams connected to nature have gradually become central themes in their work.
Yunpeng Li: Echoes of the dial
This work uses the “outdated” communication technology signal—the telephone dial tone—as its core material. Through sampling and sound processing of the DTMF during telephone dialing, it explores the dialectical relationship between auditory memory and the disappearance of matter within the context of technological accelerationism. In today’s world where information transmission approaches zero latency, how can those echoes that once carried the desire for communication construct a new aesthetic dimension amidst the abandoned ruins?
About the artist
Yunpeng Li, Ph.D. Associate Professor, Master’s Supervisor & Director, Art & Science Teaching and Research Section, Wuhan Conservatory of Music Main research and teaching focus: Electronic music composition. His works have been selected for the International Computer Music Conference (ICMC) multiple times.
Haozhe Tan: Within the light cone lies fate ordained
Light, the creator of time and space, records the fate of this world in countless moments it passes through. Arrogance destroys a world, fades it, and makes it slowlydisappear. To God, destroying you is merely humming a song and watching a star go out like a candle. If beyond the cone of light lies a void that even existence cannotreach, then within the cone of light lies destiny itself.
About the artist
Haozhe Tan, born in November 2003, is a sound artist, visual artist, and member of the Chinese Musicians Association. His works often use vocals and abstract visualelements to express his reflections on life and his contemplation of the soul. His works have been selected for numerous prestigious music festivals and competitionsworldwide, including the 2025 ICMC Boston, 2025 MA/IN fest (Italy), 2024 ICMC Seoul, 2024/2025 NYCEMF (USA), 2024 Hangzhou International Electronic Music Festival (China), First Prize at the 2024 Sibelius International Composition Competition (Finland), 2024 Shanghai International Digital Art Exhibition (China), 2023/2022 NCDA (China), and Second Prize at the 2022 China Computer Music Competition (China). In July 2025, he was selected for the Synthetis 2025 Composition Masterclass, where he studied composition and electronic music under Stefan Prins, Oscar Bianchi, Dai Fujikura, and Pawel Hendrich, and performed his work at Radziejowice.
Li Pengyun and Guo Jingfan: Pyrography II
Pyrography, known as ‘fire needle embroidery’ in ancient times and also referred to as ‘fire brush painting’ or ‘burn painting,’ is an extremely precious and rare form of art in ancient China. It involves using a heated branding iron to create burn marks on objects to form the artwork. Pyrography not only employs techniques found in traditional Chinese painting, such as outlining, shading, dotting, coloring, smudging, and white sketching, but it also achieves rich layers and tonal variations through burning, resulting in a strong sense of three-dimensionality resembling sepia sketches and lithographs. As a result, pyrography not only maintains the national style of traditional painting but also achieves the meticulous realism seen in Western art, giving it a unique artistic charm and providing viewers with a rustic and elegant, yet endlessly nostalgic artistic experience.
The composition samples the special playing techniques of Chinese plucked instruments such as the guzheng and pipa, transforming them into different forms of sound through techniques such as transposition and time stretching. By contrasting different stages, it portrays the process of pyrography while showcasing the unique allure of Chinese traditional culture.”
The video segment employs abstract graphics of sparks flying during pyrography, complemented by abstract Chinese pyrography elements as the background, to depict the process and details of pyrography.
About the artists
Li Pengyun, Professor at the Composition Department of Wuhan Conservatory of Music, Supervisor for Master’s Degree Candidates, and Vice Dean of the Popular Music College. Member of the Electronic Music Society of the Chinese Musicians Association( EMAC. Main workes include “lotus in wire”, “Breathe like lily” (composed for bass bamboo flute and max/MSP), “Sprouting “(composed for two pickups and realtime effects), “Under the cover “(composed for one percussionist and max/MSP), “Shennongjia in ink paintings” (composed for bass bamboo flute and live electronic music). His major theoretical works include “From studio to stage — form of performance of electronic music and its features” and so on.
Guo Jingfan
Qing Ye and Yuxue Zhou: Interwoven Realms: The Threefold Domain of Consciousness
“Overlap: The Three Realms of Consciousness” is a multimedia musical work that explores the deep structures of the human psyche. The sonic dimension includes ASMR trigger sounds—such as wood, metal, and human oral noises—woven into an arch-shaped structure (ABCB’A’) that connects Freud’s three dimensions of the preconscious, the unconscious, and consciousness. Through TouchDesigner, sound and visuals jointly construct a psychological landscape, revealing the interlacing and transformation of multidimensional consciousness within dreams. The audience is drawn into a psychological space that transcends reality, experiencing the flow and reflection of consciousness through the fusion of sound and form.
About the artists
Qing Ye is a composer and doctoral student in Music Technology at Nanjing University of the Arts, supervised by Professor Xuan Wang. She is a member of the Electronic Music Society of the Chinese Musicians’ Association and holds a Level-3 composer certification. Her works have been presented at international composition competitions including the Hangzhou International Electronic Music Festival and the Sibelius and Vivaldi International Music Competitions. Her practice focuses on computer-assisted composition and audiovisual creation.
Yuxue Zhou is a Ph.D. in Musicology at the Communication University of China under the supervision of Professor Xuan Wang. Her creative work focuses on electronic and multimedia music. She has received awards at major composition competitions including MUSICACOUSTICA-BEIJING, the Hangzhou International Electronic Music Festival, and the Vivaldi International Composition Competition. Her works have been presented in national arts projects and international multimedia music events.
Raphael Radna: Tombeau de Barleau
Clarence composed many pieces for friends and collaborators, each incorporating some personal attribute of the dedicatee (a name rendered in katakana, an age encoded in Roman numerals, etc.) and topped off with a punning title. In my attempt to return the gesture, the classic video game Pong controls a real-time, generative music process rendered on a MIDI-equipped piano. The music, unique in each performance, is derived from the gameplay and a portrait of Clarence that gradually emerges as the performance unfolds. This playful homage aims to honor Clarence’s legacy through quantification of harmony and meter, sonification of image and ludic process, and absurdist humor. I hope it will bring a smile to those who knew Clarence and a glimmer of his spirit to those who did not.
About the artist
Raphael Radna is a composer and computer-music researcher working in acousmatic music, mixed music, computer-assisted composition, spatial audio, and creative music software development. He presents music and research worldwide in prominent venues such as the ICMC, DAFx, the SEAMUS National Conference, the San Francisco Tape Music Festival, the New York City Electroacoustic Music Festival, and the Visiones Sonoras Festival of Music and New Technologies. He has collaborated with acclaimed artists including brightwork Newmusic, the Callithumpian Consort, the Onix Ensemble, HOCKET, Antonina Styczeń, and Shanna Pranaitis. His music technology work includes the Space Control spatialization application, Xenos synthesizer plugin, and various projects for prominent developers Arturia and Cycling ’74. He is a Max Certified Trainer. Radna holds degrees from Vassar College, Mills College, and the University of California, Santa Barbara, where he attained the PhD in Composition. He had the privilege of studying with João Pedro Oliveira, Curtis Roads, and Clarence Barlow. “In music, a tombeau is “a small piece written to the memory of a great personage” (Britannica). Tombeau de Barleau commemorates Clarence Barlow (1945–2023), the Corwin Chair of Composition when I arrived at UCSB. Although he retired at the end of my first year, I was fortunate to receive a crash course in Clarence’s highly idiosyncratic and rigorous methods of algorithmic composition. A one-of-a-kind thinker, Clarence could turn anything into music—text, speech, photos, videos, even other music—with a singular incisiveness and virtuosity.