Composers on YCMF 2009

Alex Dea (Surakarta - USA)

American-born Chinese Alex Dea was trained in Western classical music and received the Ph.D. in Ethnomusicology from Wesleyan University, with a specialty in Javanese gamelan music. He is also an avant-garde composer and studied with La Monte Young, Terry Riley, and Robert Ashley. He has studied the musics of Japan, India, and Africa and was active in the 1970's as composer and performer of experimental music in California and New York, as vocalist in La Monte Young's Theatre of Eternal Music, and as tuning assistant at the World and American premieres of Young's The Well- Tuned Piano. In the 1980's he performed with his Heavenly Chimes Gamelan Ensemble and in the 1990's was the drummer for the Chaksam-Pa Tibetan Opera Company. He is the co-founder of Teater Cahaya, a collective of star performers of Japanese noh, Balinese arja, Javanese bedhoyo, and bharata natyam and Odissi dance. Teater Cahaya's inter-cultural opera premiere of Hermann Hesse's Siddhartha was critically received in Kuala Lumpur in 2003.

Cokro Etude 11
(String Trio)

Alexander John L. Villanueva (Philippines)

Born in Philippines, September 14, 1989. He is currently a 3rd year DCPMA Major in Composition student at the University of the Philippines, Diliman.

A Contrario
(Horn Baritone Piano)

The life of Joseph from the book of Genesis of the Bible is a story that exposes God’s sovereignty wherein He used the horrific circumstances in Joseph’s life as He made Joseph flourish in ancient Egypt. “A Contrario”, or “on the contrary” depicts the anguish and apprehension he might have felt during the most appalling moments of his life, and the negation of which, where God blessed him as he made his name respected throughout Egypt and its surrounding countries—truly, a contradiction. The text is from Genesis 45:1-5—the time when Joseph and his brothers were reconciled, when bitterness became love, and when every suffering turned to joy. And as the music portrays the hatred, the text tells of the forgiveness—a contrario.

Angelia Natatiluva (Jakarta)

Angelia Natatiluva, lahir di Palembang, 9 Desember 1990. Memulai pedidikan musik pertama saat kelas 5 SD di Royal School of Music di bawah bimbingan Ibu Kumala Dewi Tanzil LTCL ATCL. Pada tahun 2008 belajar komposisi di Conservatory of Music UPH, di bawah bimbingan Matius Shan Boone, Antonius S. Priyanto dan Otto Sidharta. Beberapa karya yang sudah dibuat adalah: FiaL (2008), PaperSlides (2009), Sabbe Satta Bhavantu Sukhitatta (2009), dan Tragedi (2009). Karya yang sudah pernah ditampilkan antara lain Fial (Musica Nuova Concert 2008), dan PaperSlides (Musica Nuova Concert 2009).

Paper Slides
(Violin Viola Partitur)

Musik ini dibuat dengan terinspirasikan oleh suara balik partitur saat pemain bermain musik. Pemain musik seringkali memainkan musik lalu membalik partitur, tanpa disadari, bahwa bunyi dari membalik partitur itu dapat menjadi bagian juga dari musiknya. Musik ini mencoba untuk menggunakan bunyi membalik partitur sebagai bagian dari musik.

Chong Kee Yong (Malaysia)

Chong was born in Kluang, Johor, where his parents were farmers. He graduated from the Malaysian Institute of Arts in Kuala Lumpur and completed his Bachelor of Arts at the Xian Conservatory with Prof Rao Yuyan and Prof Zhang Dalong. Professor Rao recommended that Chong pursue his final studies at the Royal Conservatory of Music of Brussels (Flemish & French sections) under the guidance of Prof Jan Van Landeghem and Prof Daniel Capelletti. There he acquired the tools for his compositional style today, which is a delightful balance between the most cutting edge modern techniques and a deep sense of poetic beauty.

In 2001 Chong graduated as Master of Composition with Highest Honours. His post-graduation studies include numerous master classes with composers such as Brian Ferneyhough, Daan Manneke, Zoltan Janey, Peter Eötvös, Salvatore Sciarrino, Henri Pousseur, and Hanspeter Kyburz.

Chong's distinctive style has won him an unending series of awards and commissions. His list of prizes at various competitions is remarkable, for example the Prix Marcel Hastir by Belgium Royal Academy of Sciences, Letters & Fine-arts (1999, 2003), the 4th International Andrzej Panufnik Competition for Young Composers in Poland (2002), the Grand Prix at the 2nd Seoul International Competition for Composers (2003), the Max-Reger-Tage International Composition Competition in Germany (2004), the Malaysian Philharmonic Orchestra International Composers' Award (2004), 2nd Lepo Sumera International young composer prize (2006), Lutoslawski award (2006), BMW award in the International Isang Yun Music Prize in Korea (2007) and Second prize in the Preisträgerkonzert des Internationalen Kompositionswettbewerbes "global music -- contemporary expression" in Germany.

Chong has also worked with distinguished musicians such as Het Collectief Ensemble, Ensemble Prometheus, Ensemble Spectra, Quatour Danel in Belgium; Amsterdam Sinfonietta, Nieuw Ensemble in Holland; Kairos Quartett, Trio Jean Paul, Ensemble Aventure, Ensemble Mosaik, Ensemble Modern, Ensemble Integrale in Germany; Nouvel Ensemble Contemporain, Ensemble fur Neue Musik Zurich in Switzerland ; SORI ensemble in Korea and such orchestras like Malaysian Philharmonic Orchestra, Melbourne Symphony Orchestra & Estonia National Symphony Orchestra.

Most recently, he received a visiting artist fellowship to live in New York for 6 months (May-October 2007) from the Asian Cultural Council (New York).

The Lost Psalm of the Abyss
(Solo Flute)

After the heartbreaking shock by seeing the image of the 9.11 tragedy from the television broadcasting, it was so astonishing and hopeless. I ran out from my apartment and walk alone on the street with heavy sadness breathing. The 4th paragraph of Psalm 23 (A psalm of David) is stirring in my head:

… Even though I walk through the valley of the shadow of death. I will fear no evil, for you are with me; your rod and your staff, they comfort me.

After that I wrote this piece to mourn the victims of the tragedy.

'The Lost Psalm of the Abyss' for flute solo was commissioned by Belgian flutist Mr. Toon FRET and with financial assistance provided by the Vlaamse Gemeenschap (The Flemish Community) for his USA concerts tour in San Francisco on 10th May 2003 at the Palace of the Legion of Honor (The Florence Gould Theater) and 16th May 2003 at Palo Alto Art Center Auditorium.

Devi Sartika (Medan)

Devi Sartika lahir di Medan pada tahun 1988, pertama kali mengenal musik sejak umur 3 tahun. Pada usia 5 tahun mulai menjalani pendidikan musik di Musik Murni di bawah arahan Miss Nini selaku guru piano. Pada tahun 2001 mulai mengiringi paduan suara di bawah arahan Mr. Huang Min Chuan. Lulus pendidikan formal pada tahun 2006 dari Yayasan Perguruan Sutomo Melanjutkan kuliah di Informatics mengambil Jurusan Bisnis & IT. Pada tahun 2007 bersama dengan grup paduan suara Wijaya sebagai pengiring piano mengikuti 1st Asian Choir Games di Jakarta dan pada tahun 2008 mengikuti Oriental Concentus International Choir Festival di Suzhou. Saat ini menjalani pendidikan musik di Sekolah Era Musika di bawah bimbingan Ms Srillian Putti Leo selaku guru piano dan komposisi di bawah bimbingan Mr. Daud Kosasih dan Mr. Matius Shanboone. Pada tahun 2008, mengikuti lomba cipta lagu, mendapat Golden awards dan The Best Performance Awards, yang diselenggarakan oleh Tri Amal Group. Beberapa lagu yang diciptakan telah dinyanyikan, baik secara solo maupun group.

Dance of Java
(Flute Piano)

Dance of Java mengisahkan tentang sebuah tarian berunsur Java. Dasar dari lagu ini dibuat dengan Java scale yang berisikan nada Do, Mi, Fa, Sol dan Si. Lagu ini dibuat untuk sebuah tarian Jawa, dimana terdapat dua orang penari, di mana masing-masing penari diwakili flute dan piano. Lagu ini diawali dengan alat musik tiup yaitu flute ataupun suling, di mana penari yang diwakili flute keluar dengan lincah dan serta gerakan yang khas ethnic. Setelah itu penari kedua yang diwakili piano memberi salam pembuka dan keduanya sama-sama memberi hormat. Bagian tengah lagu ini menceritakan penari kedua memperlihatkan kebolehannya menari. Ini ditandai dengan munculnya solo piano dengan espresi misteriosonya. Setelah itu, penari pertama yang diwakili flute berbaur dan menyeimbangkan unsur misterius menjadi gemulai. Pada akhir lagu penari sudah mulai mundur ke arah belakang dengan ditandai ritme dan dinamika yang mundur teratur dan pelan-pelan menghilang.

Diecky Kurniawan Indrapraja (Bandung)

Diecky K. Indrapraja was born in 1979 in Malang-East Java, Indonesia. He studied guitar and music theory at Lembaga Music Mayura, a music course in Surabaya. He continued his studies at Sekolah Tinggi Musik Bandung, with Royke B. Koapaha for music composition and Deni Hermawan for ethnomusicology, he also learned traditional Sundanese folk music with Heri Herdini. When he was a student, he was honored to teach Composition and Computer Music as an assistant lecturer. He gained bachelor degree in 2008. He followed many workshops by Dieter Mack, Shin Nakagawa, Jody Diamond, and Roderik de Man. Currently he lives as a free-lance composer in Bandung, Indonesia, works for composition which ideas are based on his love in unify differential world cultures. Beside various works for solo and chamber music, he also collaborates with contemporary dances, performers art, and Sundanese traditional ensemble for new music. Diecky is also co-founder of “G-Spot Tornado Ensemble Modern”, ensemble for new music, and co-founder of “New Music Colony (NMC)”, new music forum in Bandung. He also actives as music illustrator for film and advertisement and as music director for “Dialekkita” the avant-progressive rock band.

Broken Mirror
(Alto Sax Cello)

When the mirror smashed, the chips of glass would be scattered into big chips and small chips. It’s very difficult to reassemble the chips to make them into an intact mirror again, although there’s still a possibility. There is no special theme in this piece, because the theme has broken and smashed in autonomy manner, like a smashed mirror mentioned above. The performers played in individual acts but somehow they are related each other, that make their appreciation transformed into a special musical level, more abstract, more independent. This piece is written in 7 chips, however only the 1st, 2nd, 3rd chips will be played in this concert. The 1st chip is a microtonal movement, the 2nd chip is more into percussive attack, while in the 3rd chip , a single part is under the other’s shadow.

Feliz Anne Macahis (Philippines)

Feliz Anne R. Macahis (b.1987, Taytay Rizal) Philippine-born composer of chamber, orchestral and choral music which were performed in Asia. Ms. Macahis studied at the University of the Philippines from 2004-09, where she studied composition with Jonas Baes in 2004-05 and from 2007-09, composition and orchestration with Josefino Chino Toledo in 2005 and from 2006-08 and musique concrète with Christine Muyco in 2005-06.

Her fascination with heavenly bodies and how they exhibit themselves against darkness shapes the aesthetic of her compositional work. She utilizes Asian as well as Western instruments in her composition.

Her awards include the certificate of academic excellence Katibayan ng Kagalingan from the University of The Philippines (2004-07) and selection as a composer delegate at the International Contemporary Music Festival in Ho Chi Minh City (2007). Her music has been performed in The Philippines, Thailand and Vietnam.

Ms. Macahis is also active in other positions. As a singer, she has been an alto in the AUIT Vocal Chamber Ensemble since 2006 and the Manila Chamber Singers since 2006 and as a founding member of the UP Camerata Voices since 2007.

Glimpses of Darkness
(Voice Piano Cello)

This piece attempts to evoke darkness through the manipulation of registers, tone colors and textures. Notes of each part (voice, piano, cello) were manipulated and set to different registers to illustrate obscurity like in the beginning wherein the high pitch voice was punctuated by a very roaring pedal harmonics of piano.

The development of every part started by a strand, then interconnected and passed the idea to the other part while still evolving, and moved independently as they coalesce into a piece. This was premiered during the 2005 Asian Composers’ League Music Festival in Bangkok, Thailand.

Ho Chee-Kong (Singapore)

HO, Chee Kong obtained his Doctor of Musical Arts degree from the College-Conservatory of Music at the University of Cincinnati, USA. His international commissions include works for both Western and Chinese ensembles, which have been performed at International Performing Arts Festival and Asia Choral Days (Japan), Festival Internacional Cervantino (Mexico), ElectroAcoustic Music Festival (Canada), International Arts Festival (New Zealand), International Bela Bartok Choral Competition (Hungary), Singapore Encore (US), Singapore Arts Festival, National Day Celebrations and many others. His works have also been performed in Australia, Canada, Greece, South Korea, Malaysia, Mexico, UK, USA and Vietnam. In addition to traditional mediums, his compositions include works for the electronic-acoustic and computer mediums. He is also involved in research on issues related to music in modern society, music and organization, and music in multi-media productions. HO serves on arts advisory committees with the Ministry of Information, Communications and the Arts, National Arts Council and the Ministry of Education, as music advisor for Huqin Quartet, and was Composer-in-residence with the Philharmonic Chamber Choir, Vice-President and Regional Director for Asia/Oceana on the Board of the International Computer Music Association. He was also the artistic director and co-organizer for the Singapore-Japan Composers Concerts, 2005, 2006 and the organizing chair for the 29th International Computer Music Conference in Singapore, 2003. HO is a member of COMPASS and the founding President of the Composers Society of Singapore. He is currently Associate Professor and Head of Composition at the Yong Siew Toh Conservatory of Music, National University of Singapore.

RiverStone
(Solo Marimba)

Huey Ching Chong (Malaysia)

Huey Ching Chong was born in year 1986 in Malacca, Malaysia. She obtained her Bachelor’s Degree in Performing Arts (Music) in year 2009 from the University of Malaya. As a piano major student, Ching has developed a deep interest in contemporary art music composition and began her composition studies with renowned Malaysian composer, Mr. Yii Kah Hoe in August 2008. Since then, she attended master class conducted by renowned Philippines composer, Dr. Jonas Baes and continues to pursue her goal as a composer. Recently, she had premiered two of her compositions, “Benkyoushimasu”, for flute solo and “Kokoro”, for flute and horn in F in Manila, Philippines.

Kokoro
(Flute Horn)

Kokoro” is a piece composed based on the kanji writing of “kokoro, 心”, which means heart. Besides exploring the written form of the word, the composer also explored the complex emotions of human being through the aesthetic aspect of this work. In addition, this piece is centered on the note “Ab”, which represents “balance” in the composer’s personal opinion.

There is no tempo in this piece, but it is advisable to start the piece in a very slow motion which allows the music to have more space to develop aesthetically throughout the piece. The ratio of duration (indicated by the length of the beam) should be studied carefully before performing this piece. It is always advisable to look into the big picture of this piece first before attempting to perform it. This piece must be viewed as a whole instead of sectional due to the fact that every single sound intended in this piece are closely connected.

Junita Batubara (Medan)

Born in Padang Sidempuan 20 June 1972.

Education: M.Sn. 2005 Music Composition in Institute Seni Indonesia Yogyakarta, S.Sn. 2000 Music Composition in HKBP Nommensen University Medan.

Informal Education: Courses, AILM Samba-Likhaan (Manila, Phillipine)

Experiences: Writing Intern/Composition

2009, “Dream a Dream” DISTEG Malaysia, “Midnight” USM Katasila Malaysia, “Gamelan” USM Pesebayan Malaysia;
2007, Operette “Buteria Dan Ladiffa” Balai Raya Tiara Medan.
2006, “Kampoeng Halaman” Young Composer Medan, “Imagination” Festival Seni Eksperimental Medan;
2005, Opera Monolog “Vio” TBSU Medan, “Morning” New Music Concert Yogyakarta, “Khayalan” New Composition Medan, “Nuansa” Taman Mini Indonesia Jakarta.

Other experiences:

As a participant in Lokal Seminar The New Composition, HKBP Nommensen University, Medan, July 1996;
As a speaker in National Seminar Managemen Musik Gereja, DEPAG, Medan, February 2006;
As a director in National Seminar and Workshop Conducting, HKBP Nommensen University, which held of Pan-Sumatran Musical Activities Institute, Medan, May 2006;
As a director in National Seminar and Workshop Ekspermental Kecerdasan & Psikologi Musik, TBSU, which held of Pan-Sumatran Musical Activities Institute, July 2006;
As a participant in National Seminar, Forum Sastra & Budaya Departement USU, Medan, August 2006;
As a speaker and participant in National Seminar & Lokakarya Pertemuan Komponis Musik Gereja, Yamuger, Cipayung-Bogor, November 2006;
As a director in National Seminar and workshop The New Composition, Taman Budaya Sumatera Utara, which held of Pan-Sumatran Musical Activities Institute, Medan, July 2007;
As a speaker in 2nd International Conference on Science and Humanities USM Penang, Malaysia, June 2008.

Busisaon
(Flute Guitar)

Karya ini memiliki 3 gerakan yaitu moderato, adagio, dan moderato dolce. Idenya dari suara angin dan hujan. Konsep musiknya menggunakan modus-modus yang dikembangkan dari 12 nada. Modus-modus tersebut dibentuk dalam scale yang berbeda yaitu scale 5 nada, scale 6 nada, scale 7 nada, dan scale 8 nada.

Juro Kim Feliz (Philippines)

Juro Kim Feliz is currently finishing his Bachelor in Music degree, majoring in Composition, at the University of the Philippines College of Music. He got his first musical exposure through informal piano lessons taught by his mother at an early age. At the age of 11 he took formal piano training under Ms. Minda Amoranto, then later under Ms. Avelina Manalo. During these years he competed and won 1st place at the Weinstein Piano Competition and landed as finalist at the National Competitions for Young Artists (NAMCYA) Piano Competition Category B (2001).

He took music composition at the UP College of Music after his high school education and had undergone training under composer-ethnomusicologist Jonas Baes, composer Christine Muyco and composer-conductor Josefino “Chino” Toledo.

Highlights of his works include the “Ipagdugtong ang mga Piniraso” [Uniting Fragments] series, in which the second of the series (ikalawa: for violin and orchestra) was premiered by violinist Alfonso “Coke” Bolipata and the Metro Manila Community Orchestra (conducted by Chino Toledo) at the Cultural Center of the Philippines. The premiere was part of the “Music Underkonstruction 3” project of the orchestra and Miriam College during February 2008. He was a participant in the recent Asian-Pacific Contemporary Music Festival 2009 held by the Asian Composers League at Tongyeong and Seoul, South Korea where the Asian Festival Ensemble premiered the third of the series (ikatlo: for 12 musicians). Recent premieres include “Sa Kanyang Pangungulila, for choir and orchestra” by the AUIT Vocal Chamber Ensemble and MMCO last July 2009 as part of the orchestra’s “Music Underkonstruction 4” project.

Besides composing, he appears on stage as a pianist and koto performer (with years of study under koto master Nishijima Wakaba and koto teacher Raissa Odi-Pineda). He has already performed and participated as a koto performer at several concerts, functions and other events, most of these with further instruction and collaboration with koto performer Hiroko Nagai.

Banyu-ay
(Violin Piano Trombone)

A work in 3 connected parts, this composition takes the models of the butterfly and frog life cycle as bases for structures, thus, the idea of “metamorphosis” (“banyuhay” in the Tagalog language; the title “Banyu-ay” as derivation from the word). Certain musical elements are treated as variables with pre-given values and are fixed into 3 stages of rotation, contributing then to the notion of “transformation” in the music. This work was composed in 2004.

Ka Wai So (Hong Kong)

Hong Kong young composer Ka-wai SO made his first premiere in his secondary school, where he orchestrated his school anthem from piano version. In 2004, SO entered Hong Kong Baptist University, he started learning composition with Dr. Christopher Keyes, Dr. Christopher Coleman and electronic composition with Prof. John Chen Kwok Ping. During his studies, he composed different kinds of music, including his piece for clarinet and live electronics, Waterscape (2008). Additionally, his first symphony, Firmament-Eternity-Fantasy, was premiered by Hong Kong Parsons Wind Orchestra in 2008.

SO is currently an MPhil candidate in Hong Kong Baptist University, majoring music composition under the supervision of Dr. Christopher Keyes and Dr. Christopher Coleman, investigating music visualization and sonification through music composition.

Volans
(Solo Oboe)

Volans (or Piscs Volans) is a constellation in the southern sky, representing a “flying fish”. It appeared in 1597 (or 1598) by Plancius and firstly described by Johann Bayer. As this constellation is quite near the Argo, therefore the Volans was described as “a skipjack” was soaring near the huge Argonauts.

Composed in 2009, Volans inspired from this interesting myth. The music depicts different actions of the skipjack – swimming at night, having rest under the water, chasing the Argonatus and jumping out from the water.

Duration: 7 minutes

Karen Keyhani (Iran)

Born in Tehran Iran, 1979.

Education:

M.A. in Composition, Art University Tehran (2009),
B.A. in Traditional Music of Iran, Art & Architecture University Tehran (2005).

Academic instruction background:

Instructing at Music University of Applied Science and Technology Tehran, (since 2007);
Participation (as a performer) in the 13th Fagjr Music Festival Tehran (1998);
Participation (as a composer) in the 21st Fagjr Music Festival Tehran (2005);
Foundation of the “Mehrayin Music Ensemble,” Iranian traditional music ensemble (1999).

Works that have been performed or recorded in Iran and elsewhere: Orchestral, chamber, choral, vocal, piano, new age, and traditional music of Iran.

Alone
(Flute Trio)

The first edition written between September and October 2008 for three Flutes and two Percussion sets (one Iranian Percussion set and one Symphonic Percussion set) in three movements. The first performance took place in Tehran Art University on November 2008. The second was written on July 2009 for Yogyakarta Contemporary Music Festival 2009 for a Flute Trio (based on the first movement of the first edition).

In his description of “Alone” the composer notes:
“Loneliness has always been my biggest need and it has always been cause of my suffering. I escape into loneliness when I am surrounded by people. In the moments of loneliness I try to escape from it.

Margut Bickel (contemporary German poet) says: “don’t escape into loneliness and don’t escape from loneliness.” I ask so what must I do?

Nights I sit and play with these Twelve mysterious Tones and make puzzles with them, and then I listen deeply to each of these puzzles. “Alone” is the name of one of these puzzles. It may be the sound of my loneliness.

Kensuke Fujii (Japan)

Born in Tokyo, 1979. Graduated with a degree in composition from Tokyo College of Music. He studied composition under Suano Isaji, and studied Javanese gamelan under Mariko Sato. His compositional works are spreading in various fields, contemporary chamber musics, live performances with laptop, collaboration with video installation, and music for dance or performing art. And he has been continuing composition for Japanese performing art company Pappa-Tarahumara's several stages from 2006. In June 2009, Pappa-Tarahumara's "Garibaba's Strange World -- Dunia Fantasmo Mozo Mozo" that he took in as composer staged at Yogyakarta and Jakarta in June 2009.

Varfix
(Electroacoustic)

It is a big matter in my music to use the computer to perform music like traditional musical instruments of the orchestra. Because I think that the computer still have been incomplete as musical instruments for me. The matter for me isn't that a computer can't emulate the sounds of piano or violin, but it can't realize the musical time senses like every instruments can do. And, this is a reason for me to continue a live performance with incomplete instrument, a "Laptop".

"Varfix"(=variations fixed) is a recording of variations of the noises played in variable form, on the computer program written with Max/MSP. To achieve the complexity and unpredictability that I need, this program does very simple processing. In fact, it only changes with the looping point, the pitch, and the amplify of the looped sound. The important thing is to be able to mute it or sound it immediately when I want.

What I request from this program is a vague boundary of between the control and non-control, and a flappy system that continuously enables mutual feedback of the sound and the playing. it's just the relations between the musician and instruments. I want to play with my laptop like the violinist plays Kreisler.

Krisna Setiawan (Surabaya)

Krisna adalah pemain piano jazz dan klasik dari Surabaya. Pernah tampil di Jakarta atas undangan Goethe Haus dan membawakan repertoire solo dan duo piano klasik. Duo ini juga pernah tampil di Galeri ‘O’ House di Jakarta. Krisna juga aktif tampil di berbagai konser piano Jazz. Salah satunya adalah duet piano jazz bersama pianis legendaris Bubi Chen di Semarang tahun 2008. Bersama Slamet A. Sjukur, Krisna juga sebagai penggagas acara ‘Pertemuan Musik Surabaya’ yang telah berjalan sejak tahun 2006.

Sebagai komponis, karya-karya kontemporernya untuk berbagai instrumen telah diarsipkan di perpustakaan National Taiwan Normal University, Taipei National University of Art, Fu Jen Catholic University dan Institut Seni Indonesia Yogyakarta. Sedangkan karya ‘new age’ untuk solo piano telah dibukukan dan diterbitkan oleh Chuan Yin Publishing, Taiwan. Rekaman CD-nya juga telah banyak diperdengarkan di radio Taiwan dan hotel-hotel di Cina, Hong Kong, Macau, Brunei dan Indonesia. Karya-karya kontemporernya terdaftar di Asosiasi Komponis Austria oleh Bamacher Publishing.

Sesekali ia juga mengisi kolom di harian Surabaya Post tentang perkembangan musik di Indonesia.

The Lake
(Clarinet Trombone Doublebass)

Lan-Chee Lam (Hong Kong)

Born in Hong Kong and graduated from the Chinese University of Hong Kong with first honor, studied composition with Prof. Chan Wing Wah. Her music often combines Chinese tradition and contemporary technique, exploring new dimensions of sound world. Lam’s music has been performed in Hong Kong, China, Canada, United States, the Netherlands, Luxembourg, Italy, Korea and Spain. She is now pursuing her doctoral degree in composition at the University of Toronto, under the supervision of Prof. Ka Nin Chan and Gary Kulesha.

She has received numerous awards, including Academic Creativity Award, Doming Lam Composition Prizes, Luxembourg International Composition Prize, Con Vivo Composer Prize, New Generation Composition Prize, as well as the winner of Choral and Wind Ensemble Composition Competitions held at the Faculty of Music, University of Toronto.

Miss Lam has received commissions from the Hong Kong Composers’ Guild, Madawaska String Quartet, Arraymusic and Chroma Duo. She was invited to present works at the 6th Annual Concert New Music Festival, the 3rd Cortona Contemporary Music Festival, Beijing International Congress on Women in Music, Asian Contemporary Music Festival, Luxembourg International Composers’ Workshop and Musicarama Contemporary Music Festival.

Drizzle
(Guitar Piano)

'Drizzle' means 'rain in very small light drops.' The piece is a developing variation and concentrates on the raindrop sound effect and interactions between the two instruments. The music also features special technique like guitar snap pizzicato, knocking the soundboard and left hand tremolos.

The music is based on a pentatonic scale, starts with the simple delicate guitar harmonics and bell-like sound produced by plucking the strings inside the piano. The folk-like melody is constructed in double fugue between the piano and guitar, with occasionally cross-hand piano chords introduced. The music becomes more and more intense after the guitar tremolo passage and leads to the improvisatory section with free guitar glissando, pitch bending and virtuosic piano arpeggios which brings the music to the climax. The piece ends with the opening materials and finally dissolves with a series of guitar harmonics chords.

M. Chozin Mukti (Yogyakarta)

Lahir di Malang 10 November 1982. Mulai mengenal musik sejak 1996. Tahun 2003 belajar musik di Akademi Musik Indonesia mayor gitar klasik. Tahun 2004 tercatat sebagai mahasiswa ISI Yogyakarta dengan minat utama musikologi. Tahun 2005 mulai belajar komposisi musik di bawah bimbingan Alm. FX Sutopo, Hadi Susanto, dan Haris Natanael. Tahun 2008 mulai mendalami komposisi musik di bawah bimbingan Memet Chairul Slamet dan Royke B. Koapaha sampai sekarang.

Pernah menampilkan karya-karya:

"Tha Vague" untuk trio Voice, Clarinet, Rebab pada acara Yogyakarta Contemporary Musik Festival 2008.
"Lorong Hitam," "The Vague" dan "Little Fish" bersama Antonio Rafael dalam acara The Journey di Auditorium Musik ISI Yogyakarta tahun 2009.
"Cogito Ergo Sum" dalam bentuk Chamber dalam acara 6,5 Composer Colective Day.
"Fullmoon" dalam 3 bagian (Suggest Ritual, Hope.. , Short Memory) bersama komponis Christanto dan Agus Bing dalam acara Jogjakarta Music Creative di Concert Hall ISI Yogyakarta.

Paranosik No. 2
(Saxophone Slompret Cello)

Paranosik berarti gangguan jiwa (sehingga timbul keagungan diri) dan yang dimaksud dalam karya ini adalah pengembangan eksplorasi bunyi yang dihasilkan pada instrumen yg diolah dengan menambahkan beberapa instalasi pada setiap instrumen sehingga menghasilkan suara yang berbeda dari karakter bunyi instrumen aslinya. Hal ini di lakukan untuk mencari timbre yang berbeda seperti yang dimaksud (parnosik). Karya ini dibuat dari kombinasi dua scale yang berbeda yaitu Hirajoshi Pentatonic Scale (R 10 mode) dan Hungarian Minor Scale (1st mode) yang dibangun menjadi satu scale dua oktaf yang kemudian diolah dengan menggunakan teknik serial.

Marie-Luise Calvero (Philippines)

Marie-Luise "Mayie" Calvero is a Composition major at the University of the Philippines (UP) College of Music. She has been into music since the age of 3 wherein she first learned to read notes and play the piano. She has also competed as a vocal soloist in the National Music Competition for Young Artists (NAMCYA) in 2005.

Marie-Luise has studied composition under composer-ethnomusicologist Jonas Baes and composer-conductor Josefino "Chino" Toledo. She is currently the chairman of The UP Composers of New Music [CONEMUS] - a college-based organization for student composers, a member of the Auit Chamber Vocal Ensemble and the UP Camerata Voices.

Her works include Apodos [2006] for solo flute; In Extremis [2007] for tenor, violin, cello and piano, premiered during the CONEMUS by CONEMUS 2007 Concert at the National Arts Center, Los Banos, Laguna; Am~Aris (Ibalik ang Oras) [2008] for 8 voices; and Imreas (The Unrest) [2007] for violin, cello, vibraphone and piano, premiered during the Against Infinity - CONEMUS Recital, January 2008 at the Abelardo Mini Hall, UP Diliman, Quezon City. Imreas also served as the sound score for a short film by Kwyn Kenaz Aquino entitled Sa Pagitan ng Kulay at Dilim, an official entry to the 2007 Ateneo Video Open.

Her most recent composition for choir and orchestra, Elysia (Elysium) [2009], was premiered during the Music Underkonstruction 4: Hearing the Future Symphonic concert at the Tanghalang Nicanor Abelardo, Cultural Center of the Philippines by the Auit Vocal Chamber Ensemble and the Metro Manila Community Orchestra under the baton of Josefino “Chino” Toledo.

Apodos
(Solo Flute)

Written in year 2006, this piece plays around with the idea of an entity being disturbed by other entities in such a way that the former is transformed because of the latter.

Michael Dominic Santos Bulaong (Philippines)

Skilled at learning new concepts quickly, working well under pressure, and communicating ideas clearly and effectively. Extensive computer and technical background, including knowledge of multiple sound processing hardware and notation software. Enthusiastic in intercultural musical experiences.

Education:

2007 - present Diploma in Creative and Performing Musical Arts in Composition University of the Philippines, Diliman, Quezon City, Philippines, Concentration in Piano, Minor in Voice, Percussion, Recorder, Koto;
2003-2006 Bachelor of Science in Physics (undergraduate) University of the Philippines, Diliman, Quezon City, Philippines.

Compositions:

Pagbabago for solo clarinet in Bb
Ihip for solo soprano, piano, and cello
Sa Buwan for solo soprano, flute, violin, piano, and cello
Langit at Lupa for string quartet
Sa Aking Pag-iisa for string quartet
Magalak Tayo
Bright Child: Yaman ng Pamilya, Yaman ng Bansa
Bright Child: Karapatan Isigaw Sa Mundo
Aleluya
Do Not Forget

Arrangements:

Various choral and instrumental arrangements for different projects such as commercial albums, private/public celebrations, and exclusive recordings.
Musical Direction:
Handled instrumental and vocal ensembles for production numbers, concerts, and the like.

Memberships & Affiliations:

Member, Composers of New Music – University of the Philippines;
Musical Director/Arranger/Pianist, Musica Chiesa of the Philippine Jesuit Music Ministry;
Asst. Musical Director/Asst. Pianist, Ryan Cayabyab Singers;
Alumnus Bass Soloist, University of the Philippines Concert Chorus.

Pagbabago
(Solo Clarinet)

Pagbabago means change. This composition is about the transformation of a spark of light, its journey as it passes through life and death; its radiance exposed to the infinite possibilities of change. It utilizes the duration of breath (without circular breathing) and the techniques of the clarinetist therefore making them the main factors that will dictate the duration and the outcome of its interpretation.

Motohide Taguchi (Japan)

Motohide Taguchi, born in Osaka, Japan, 1971. He studied composition with Prof. Michiharu Matsunaga, Prof. Masataka Matsuo, and Prof. Kazuko Hayakawa, ethnomusicology with Dr. Usaburo Mabuchi. In 1999, he was nominated for the 16th Japan Society for Contemporary Music Composers’ Award. In 2002, he was selected as a participant of 8th International Young Composers’ Meeting (Apeldoorn, The Netherlands). In same year, he was also selected as a grantee of Nippon Foundation API Fellowships program and did research about contemporary music in the Philipines and Indonesia.

The Garden with Ritualistic Sound
(Duo Trombone)

This piece was premiered in Tokyo, Japan, on March 6 in this year ("Contemporary Virtuoso!" concert organized by Japan Society for Contemporary Music). In each section of the piece, there are some limited fragments related with Buddhist chant and Buddhist ceremony. Players should realize them freely within given instructions, decide reaction to another player’s realization and throw them back to another player. By this circular process between two players, the sound field filled with individual voices is realized. The piece is the frame to realize it. And players are required to express their virtuosity as freely listening, playing and reaction. And ritualistic aspect made by movement while playing and character of material is also characteristic of this piece.

Neo Nai Wen (Malaysia)

Born in Malaysia 15 October 1984

Graduate Diploma of Music in Composition at Segi College Malaysia in April 2008

Achievements:

2007 Composition Recital, “The Man”;
2008 Finalist for the HSBC young composers workshop 2008;
2009 “From the Rainforest” for alto flute, trumpet and cello has selected for performance in the programme “Noisy Night” in Edinburgh, UK by The Red Note Ensemble;
2009 “From the Rainforest” for alto flute, trumpet and cello has selected for performance in the programme “What Happened” in Glasgow, UK by The Red Note Ensemble.

Works:

Swinging in the Air (piano solo),
Those were the Days (violin and piano),
Yu Mei Ren (soprano and piano),
The great dictator (orchestra),
Farewell (violin solo),
Nostalgia(oboe solo),
Pray (flute oboe and piano),
From the Rainforest (alto flute, trumpet and cello),
Heartfelt Tears (oboe and cello),
Soundscape below the Wind (soprano and violin).

From the Rainforest
(Alto Flute Trumpet Cello)

In this music, I intend to explore or add in the element of Malaysia, element of the three main races. They are Malay element, Indian and finally chinese. I choose the scale or mode from the three races to complete the music and with the mixture of the mode or scale, I try to create a happening atmosphere and bring out the color or soundscape of Malaysia.

Duration: Approximately 4 minutes

Otto Sidharta (Jakarta)

Born in Bandung, Indonesia, 1955. Lives and works in Jakarta, Indonesia. He finished his post-graduate study in composition and electronic music composition at Sweelinck Conservatorium (Amsterdam, the Netherlands) under the guidance of Professor Ton de Leeuw (1926-1996).

Sidharta's interest in using environmental sounds to express his musical ideas developed when he was a student at the Jakarta Institute of Arts (Institut Kesenian Jakarta). He performed his first electronic music piece, Kemelut, based on water sounds in the First Indonesian Young Composer Festival (Pekan Komponis Indonesia) in 1979. In 1982 he collected some nature and animal sounds on Nias Island, in the Borneo (Kalimantan) jungle, and other remote places in Indonesia. These sounds were used as material for some of his works such as "Ngendau", "Hutan Plastik", and "East Wind".

For supplement/upstream, Sidharta had created "Wind of Trade", a soundscape based on the sounds and voices associated with Dutch and Indonesian culture, such as sounds from nature, markets, street vendors, trains, ships and children playing.

Besides being a composer, Sidharta is Chairman of both the Music Committee of Jakarta Art Council (Komite Musik Dewan Kesenian Jakarta) and Indonesian Composer's Association (Asosiasi Komponis Indonesia). He teaches at Jakarta Institute of Arts (Institut Kesenian Jakarta) and in Cantus (Music Education and Information Center, Jakarta). Furthermore, he is the Music Director for the National Symphony Orchestra (Orkes Simfoni Nasional).

At present he teaches at Jakarta Institute of Arts (Institut Kesenian Jakarta) and Universitas Pelita Harapan (UPH) for composition and other related subject.

Spectrum
(Electroacoustic)

Panayiotis Kokoras (Greece)

Panayiotis Kokoras (Greece, 1974) studied composition with I.Ioannidi, K. Varotsi, A. Kergomard and classical guitar with E. Asimakopoulo in Athens, Greece. In 1999 he moved to England, for postgraduate studies where he completed his MA and PhD in composition with T. Myatt at the University of York with funds from Arts and Humanities Research Board (AHRB) and Aleksandra Trianti Music Scholarships (Society Friends of Music) among others.

His works have been commissioned by institutes and festivals such as FROMM (Harvard University) IRCAM, MATA (Music At The Anthology), Spring Festival (The University of York), Gaudeamus (Netherlands), and regularly performed in international festivals and concert series throughout Europe, Asia and America. His compositions have received 29 distinctions and prizes in international competitions among others Bourges 2008 and 2004 France, Gianni Bergamo 2007 Switzerland, Pierre Schaeffer 2005 Italy, Musica Viva 2005 and 2002 Portugal, Look and Listen Prize 2004 New York, Gaudeamus 2004 and 2003 The Netherlands, Insulae Electronicae 2003 Italy, Jurgenson Competition 2003 Russia, Seoul international competition 2003 Korea, Takemitsu Composition Award 2002 Japan, Noroit Prize 2002 France, CIMESP 2002 Brazil, Musica Nova 2001 Czech Republic, Métamorphoses 2000 Belgium. Moreover, they have been selected by juries at more than 100 international call for scores opportunities and performed in over 70 cities around the world.

He is founding member and Vice President of the Hellenic Electroacoustic Music Composers Association (HELMCA). He taught at the Technological and Educational Institute of Crete, Department of Music Technology and Acoustics. Since October 2005 he has been lecturing at the Aristotle University of Thessaloniki, Department of Music Studies, Greece. His music is published in 23 CD compilations by by Spectrum Press, NOR, Miso Musica, SAN/CEC, Independent Opposition Records, ICMC2004 and distributed in limited editions by LOSS, Host Artists Group, Musica Nova, Computer Music Journal (MIT Press) and others.

Response for tape
(part of the Grand Piano Trilogy)
for tape alone

Response for tape was composed during the summer of 2001 while I was composer in residence at the studio 'Metamorphose d'Orphee Musiques et Recherches in Ohain, Brussels. It follows Breakwater as the second piece of a project in process called Grand Piano Trilogy. I decided to take a unified sound source, the sound of the piano, in order to go deeper into the sound and the structure of it, to investigate its own gravities and tensions.

The piece is characterized by a wide variety of both artificial and natural responses, triggered by energetic impulses and resonators. The response vibration may be a simple harmonic motion based on a minor second, or a more complex action created by distorted sounds or inharmonic textures. The piece unfolds as the initial idea is gradually developed and transformed. Sections which involve pitch implementation are followed by inharmonic section and so on. Each phrase is built up by many short sound samples in a kind of micro montage/mixage, revealing interesting timbral interactions between them.

This piece was awarded First Prize at the electroacoustic composition competition Musica Viva 2002 in Lisbon, Portugal; Second Prize at the biennial acousmatic composition competition Noroit Petitot Prize 2002 in Arras, France and Honourable Mention at the international electroacoustic music contest of São Paulo CIMESP 2001 in Sao Paul, Brazil. Moreover was finalist at Musica Nova 2001 International Electroacoustic Music Composition Competition in Prague/Czech Republic; 24th Luigi Russolo International Electroacoustic Music Composition Competition 2002 in Varese, Italy; V Pierre Schaeffer 2005 International Computer Music Competition in Pescarese, Italy.

duration 9' 06 minutes

Pradit Saengkrai (Thailand)

Pradit Saengkrai was born on January 3, 1978. He studied Thai classical music at the age of 4. He graduated from the department of Music Education, Chulalongkorn University in 2001. In 2006, He began learning music programming language like Max/MSP and Csound. Being a Thai classical musician, it influnces most of my works which are based on mathematic procedure. In the same year, he won the 3rd prize in a contemporary music composition contest organized by the University of Southern California, and was invited to work for the university as a composer for several events such as the music for the documentary in the commemoration for the victims of the September 11th tragedy, organized by the council of the State of California, in the United States of America. As a Thai musician, he studied with Mr. Chatree Ob-nuan, Mr. Suchao Rimpanich, Mr. Seri Rimpanich, Mr. Sangobsuk Thammawiharn and Mr. Boonyoung Kedkong. Now he is a lecturer for the Music for Film and Multimedia Department, the Conservatory of Music, Rangsit Uniersity.

Thai Classical Music Modal Study
(Electroacoustic)

Thai Classical Music Modal Study is the piece I composed on the idea of the research I did about difference between the way Thai classical music theorists describe the scale of Thai music in the way of 7 equal pitches scale. By that assumtion, I try to prove if the theory is true by mathematic procedure. The process is to compare Thai music "Tang Nai" scale which I sample them from acoustic Kong Wong Yai (Thai gong circle) and transpose it a little to make it match perfectly to C diatonic scale and synthetic 7 equal pitches scale which I synthesize and calculate the pitch by the equal-temper equation and reserve the frequency ratio to the tonic degree, then let the sound of both mode happens at the same time. By that Idea, I wrote the code on Csound to make the synthetic scale be able to "listen" to the frequency of the sampled sound and play it. The result is that the synthetic sound tries to imitate Thai scale but Thai instrument sounds "escape" the equality and cause the fluctuation in the spectra of the sound.

Renardi Effendi (Jakarta)

Renardi lahir di Jakarta, 31 Januari 1990. Memulai pendidikan musik sejak usia 4 tahun di Yamaha Musik Indonesia di bawah bimbingan Ibu Rinawati. Kemudian sejak usia 7 tahun mengambil kursus piano privat juga di Yamaha Musik Indonesia di bawah bimbingan Susan Rahardja, Susiwati, dan Yenny Djafar. Mendalami musik jazz saat usia 16 tahun di Aminoto Kosin Music School, di bawah bimbingan Aminoto Kosin. Mulai tahun 2008 masuk di Conservatory of Music Universitas Pelita Harapan peminatan komposisi di bawah bimbingan Matius Shan Boone dan Otto Sidharta serta mengambil instrumen sekunder piano di bawah bimbingan Alfred Rony Situmorang.

Black and White
(Solo Piano)

Karya untuk piano solo ini memperlihatkan dualisme antara tuts hitam dan putih serta pertentangan antara dua modus berbeda.

Slamet Abdul Sjukur (Jakarta)

Slamet Abdul Sjukur was born in 1935 in the East Javan industrial town of Surabaya. He studied at the first Indonesian institute for Western music, Sekolah Musik Indonesia (SMIND), in Yogyakarta from 1952-56. Upon returning to Surabaya he co-founded a circle of music-lovers with a group of friends, further establishing the Alliance Française in 1960. Two years later a grant enabled him to move to Paris, to study at the Conservatoire National Supérieur de Musique and the Ecole Normale de Musique. Until 1967 he was taught composition by Henri Dutilleux , with whom he also studied both music theory and the piano. For several years he remained in Paris, working as a freelance composer and pianist for various dance and ballet schools. On returning to Indonesia in 1976, he taught music theory and composition at the IKJ (Institute Kesenian Jakarta), which he later directed from 1981-83. From 1977-81 he was the chief adviser for music on Jakarta’s cultural advisory board. Whilst his academic teaching career ended in 1987 many of his students of composition remained loyal to him and continued with private lessons. Since 1987 he has been a freelance composer, teacher and essayist, and, in 2000, he returned to academia, assuming the teaching of composition at the arts academy, STSI, in Surakarta.

The Source - where the sound returns
(Clarinet Violin Piano)

Soe Tjen Marching (Surabaya)

Soe Tjen Marching is an academic, composer and creative writer. She studied composition with Slamet Abdul Sjukur and John Cousins at Canterbury University in New Zealand. In 1998, she won national competition for Indonesian Composers held by the German Embassy and AKI. Her work has been released on the CD Asia Piano Avantgarde - Indonesia. As an academic, she completed her PhD at Monash University in Australia. Her book, The Discrepancy between the Public and the Private Selves of Indonesian Women was published by The Edwin Mellen Press (2007). While writing in her second language, she managed to win several creative writing competitions in Australia.

Nun
(Violin Viola Cello)

Tristan Coleman (Australia)

Tristan Coleman is a composer and sound artist from Melbourne Australia with an interest in the interface of science and art. His work largely centres on the transformative quality that electronics can provide to acoustic instruments – and vice versa. He has worked in developing software using the audio-specific graphical programming language Max/MSP to explore new pathways in signal processing and sound synthesis. At the same time he is interested in contemporary composition for acoustic instrumental ensembles.

Recent works include a multi-channel sound and sculpture installation with visual artist Hanna Tai at Bus Gallery in Melbourne, a performance of a string quartet Milanesia in the Music in the Round at Monash University in September, and a soundscape featured in Hidden Republic – a large-scale event featuring pre-eminent Australian Indigenous and non-Indigenous artists at the Melbourne International Arts Festival 2008.

He has recently arrived in Indonesia where he is spending the rest of 2009 studying composition and karawitan at ISI Yogyakarta, while completing the final semester of his Honours degree in composition at Monash University, Melbourne.

Labuanbajo
(String Trio)

Tzu-En Ngiao (Malaysia)

Tzu-En NGIAO started taking up the piano and discovered his life-long passion for music at a young age. In high school the notion of becoming a composer began to form in his mind, with the belief that composing is the most complete embodiment of one’s passion and understanding of music. After finishing his Masters studies in Electronic Engineering at the University of Hull on a scholarship, he worked for 5 years in the semiconductor design industry, during which period he never abandoned his search to realize his dreams. He holds a certificate in music education, diplomas in piano performance and teaches piano and music theory part time in his hometown Penang, Malaysia. At present, he is pursuing his graduate studies in music composition under the tutelage of Johan Othman at Universiti Sains Malaysia, Penang. As a result of his background in science and engineering, he has currently developed a composition technique whereby musical materials are constructed and organized in a highly mathematically precise manner but which serves the ultimate quest for poetic vision and expression in sound. Recent works include Inconsequentials for piano; The Quiet Affinities of Undissolved Lights for flute and piano; A Precipitation of Sparrows for solo flute; Hermitage for Tangential Iridescences for 3 percussionists; Askein Fetal-Warmth Blue for string quartet; I Adore a Socially Awkward Child for electronics; and verses of passion my teeth-tone son for 14 musicians, written for the Malaysian Philharmonic Orchestra chamber players in participation of Phase I of the MPO Forumplus 2009 for Malaysian composers. He is currently busy writing an orchestral piece for Phase II of the MPO Forumplus which will be performed in February 2010.

I Adore a Socially Awkward Child
(Electroacoustic)

Yii Kah Hoe (Malaysia)

Yii Kah Hoe obtained a Diploma in Fine Arts, in 1991, he went to China to further his study major in musicology under Professor Yi-Feng Luo in 1994. Yii obtained a Bachelor Degree of Music from Xian Conservatory of Music in 1997. He also majors in Chinese flute (dizi) performance under the tutelage of Yong-Zhi Sun (China). Yii is an active composer. He studied composing under Professor Zhou-Xi Qian, Professor Yu-Yan Rao and his other mentors are Gerard Brophy and Fraser Traniner. Yii is the winner of Malaysian Philharmonic Orchestra Forum for Malaysian Composers 2 in 30th March 2007. Yii was also awarded 3rd prize of International Composition for Chinese Orchestra organized by Singapore Chinese Orchestra in 24th November 2006. His music has been performed in U.S.A, Germany, Bangkok, Hanoi, Malaysia, Korea, Taiwan, Hong Kong and Singapore. Yii is currently a senior lecturer of SEGi College, music department.

Inner Voices II
(Solo Flute)

I have a lot of inner voices; they are all relating to my mind or spirit and influenced by many people. Some of them, I try to ignore and some of them are lost and tried to recall back. The musical materials used in my piece are intended to express or to reproduce the impression of my inner voices with an imaginary sense of the specific characteristic sounds. I take its title and idea from my Inner Voices for 7 players but, none of their motive and element are similar. I will keep researching on my Inner Voices, which means various versions of my pieces will have the title of "Inner Voices". Perhaps one day, later, I will find completely my own inner voice(s) not inner voices.

Yuri Nishida (Yogyakarta)

Lahir di Osaka Jepang, lulusan Jurusan Etnomusikologi di Osaka University pada tahun 2001 dan bergabung dengan kelompok gamelan "Margasari" Jepang tahun 2003. Tahun 2006 hingga sekarang mengikuti program Darmasiswa RI dan aktif di Jurusan Karawitan di ISI Yogyakarta.

Porong-porong
(Duo Gender)

Karya ini menggunakan dua gender yang slendro dan pelog nem. Dua gender dipakai pada saat sama dari awal sampai akhir dan memainkan motif yang hampir sama. Dua gender masing-masing menikmati lagu sendiri tetapi saling mendengar dan kerja bersama juga. Konsep ini diambil dari filsafat karawitan Jawa. Harmoni di dalam karya ini sedikit beda dari gending-gending klasik. Banyak disonan terjadi karena dibunyikan nada slendro dan pelog pada saat yang sama. Dua gender tidak bisa jadi satu sampai akhir walaupun mereka selalu ada bersama. Judul karya ini tidak ada arti seperti kadang-kadang nama gending klasik juga tidak punya arti yang tentu.

YCMF 2009 Composers