NEWS
Upcoming Appearances/ Performances
Australasian Computer Music Conference (ACMC) 2008, Sydney, Australia. July 10-12. Listening Beyond...will be presented, in the Audio/Video Jukebox.
International Computer Music Conference (ICMC) 2008, Belfast, UK. August 24-29. Listening Beyond...will be presented in concert, along with the premiere of Exit Variations (working title).
Composer in Residence, Northern Illinois University, DeKalb, IL. September 22-26. Solo Concert including the premiere of The Long Way Home on Thursday, September 25, 8:00pm, recital hall. Other events TBA.
Guest Artist, Sweetwater Sound, Fort Wayne, IN. Friday, October 10, 7:00 pm. Solo Concert including a performance of Veiled Resonance featuring saxophonist Steve Duke.
29th Annual New Music and Art Festival, Bowling Green, OH. Thursday, October 23, 8:00 pm, Kobacker Hall. Veiled Resonance, featuring saxophonist Steve Duke.
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.
Recently Completed...
Toronto Island Contrasts electroacoustic music.
Stargazing electroacoustic music.
Veiled Resonance for soprano saxophone and live electroacoustics commissioned by saxophonist Steve Duke.
2BTextures electroacoustic music and video. Animation by Bonnie Mitchell.
Listening Beyond... Ambisonic ea piece commissioned by LSU Center for Computation and Technology.
“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
The Long Way Home for Diane Ragains (soprano) and Gregory Beyer (percussion), featuring haiku by Garry Gay. It will premiere September 25 at Northern Illinois University.
Exit Variations (working title) electroacoustic piece commissioned by the International Computer Music Association.
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.