NEWS
Upcoming Performances
Wedge, for alto saxophone and piano will be performed by John Sampen and Marilyn Shrude on their upcoming tour. Dates and locations include:
Apr. 14, 8:00pm, Appalachian State University, Boone, NC.
Apr. 16, 7:30pm, University of Tennessee, Chattanooga, TN.
Apr. 19, 9:30am, North American Saxophone Alliance Biennial Convention, University of South Carolina at Columbia, SC.
2BTextures, a video/ea collaboration with digital artist Bonnie Mitchell, will be screened on this year's Derapage program. April 17, Centre de Design de l'UQAM, Montreal.
Recent Appearances
University of Oregon, Eugene.
Women's Electroacoustic Listening Room Project, Fullerton, CA.
Western Oregon University, Salem.
Portland State University, Portland.
Guest Instructor, TIMARA, Oberlin Conservatory, Oberlin, OH.
SEAMUS National Conference, University of Utah, Salt Lake City.
Composer in Residence, Northern Illinois University, DeKalb, IL. POSTPONED. New date, TBA. My heartfelt sympathies to the NIU community as they cope with the recent shooting tragedy.
Recently Completed...
Veiled Resonance for soprano saxophone and live electronics commissioned by saxophonist Stephen Duke. It premiered at the SEAMUS National Conference, April 3, 2008.
2BTextures electroacoustic music and video premiered at Future Music Oregon, March 1, 2008. Animation by Bonnie Mitchell.
Listening Beyond... Ambisonic ea piece commissioned by LSU Center for Computation and Technology premiered December 3, 2007 at LSU.
“Barry Schrader’s Lost Atlantis and Beyond, A Review.” Computer Music Journal 31, no. 3 (2007): 89-90. Visit Barry Schrader's website, or read Barry's lastest newsletter, which includes comments on my review.
...in Progress
Untitled solo violin piece for composer Dinos Constantinides.
Untitled clarinet and ea piece for performer F. Gerard Errante.
Larry Austin comments on Lillios's new Ambisonic piece, Listening Beyond...
"Listening Beyond... is beautiful! So spacious, such an elegant time continuum.
I truly "...hear infinity..." You're a poet of sound."
Lillios with Austin in Bowling Green, 2007.
Ohio Arts Council Individual Creativity Excellence Award 2006
In 2006 I received an Ohio Arts Council Individual Creativity grant, which continues to support my ongoing creative work in Ambisonics, electroacoustic music, multimedia collaboration, and sound diffusion. Many thanks to the OAC for their support! For more information on the Ohio Arts Council, visit their website
Electroacoustic Composition/Sound Art
The majority of my research and composing focuses on music for fixed media, both stereophonic and multi-channel. Removing live performers from the musical paradigm focuses all attention on sound, making it the most important aspect of electroacoustic composition. In my opinion, every sound that exists can be musical and serve as an element in a composition. I collect these “sound objects” via recording, process them using various software tools, and then combine them to create musical structures.
Sound Diffusion
Sound diffusion is the performance practice of electroacoustic music. Electroacoustic music is frequently presented in concert on a sound system with numerous loudspeakers surrounding the audience. When diffusing a piece, I distribute sound to various combinations of loudspeakers, creating a real time surround sound environment. By moving sounds through the listening space I’m able to exaggerate specific moments, outline the formal structure of a piece, and create virtual spaces within the physical confines of a performance hall. I learned the art of sound diffusion from Jonty Harrison via the BEAST system at The University of Birmingham.
Deep Listening®
Critical listening is essential to my compositional approach and performance skills. I employ focused listening in every aspect of composing and develop an intimate connection with my sound materials. To expand and refine my listening awareness, I've just acquired Deep Listening Certification under the guidance of Pauline Oliveros, Ione, and Heloise Gold. I'm now able to conduct Deep Listening activities and workshops. Contact me for more information.
Ambisonics
My research into multi-channel audio focuses on eight-channel and Ambisonic compositional techniques. Ambisonics, the three-dimensional representation of sound in space, employs a Soundfield microphone containing a tetrahedron-shaped array of microphone capsules to record source materials. Four channels of recorded audio, representing vectors left-right (X), front-back (Y), up-down (Z), and the point-source distance between the microphone and the sounding object (W), are encoded through an external device and sent to the computer for further processing, mixing, and mastering. My recent projects Encounter(s) and Listening Beyond... employ first order Ambisonics.