Wikipedia

Scott L. Miller

Scott L. Miller (born 1966) is an American composer best known for his electroacoustic chamber music and ecosystemic performance pieces.

Career

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Miller's music is characterized by collaborative approaches to composition and the use of electronics, performer-computer improvisation and re-imagining ancient composing processes through the lens of 21st-century technology. Inspired by the inner workings of sound and the microscopic in the natural and mechanical worlds, he experiments and collaborates with musicians and performers who work in various styles.[1]

His recent work experiments with virtual reality applications in live concerts. This was first realized in his composition Raba, created for the Tallinn, Estonia-based Ensemble U:.[2] It is a collection of audio-visual music drawn from collaborations with six film and video artists.

Miller’s ecosystemic works model the behavior of objects from the natural world in electronic sound, creating interactive sonic ecosystems.[3] Ecosystemic pieces are the result of autonomous sounds competing with each other for sonic space.

Recordings of his music are available on New Focus Recordings, Innova, and other labels, many featuring his long-time collaborators, the new music ensemble Zeitgeist.[4] His music is published by the American Composers Alliance,[5] Tetractys, and Jeanné.

Miller is a Professor of Music at St. Cloud State University, Minnesota, where he teaches composition, electroacoustic music and theory.[6] He is Past-President (2014–18) of the Society for Electro-Acoustic Music in the U.S. (SEAMUS) and presently director of SEAMUS Records. He holds degrees from the University of Minnesota, the University of North Carolina at Chapel Hill and the State University of New York at Oneonta, and studied composition at the Czech-American Summer Music Institute and the Centre de Création Musicale Iannis Xenakis.

Miller has been named a McKnight Composer Fellow three times (2001, 2013[7] and 2018[8]), and was a Fulbright Scholar from 2014 to 2015.[9] His work has been recognized by state, national, and international arts organizations, and has been reviewed and covered by journals including Computer Music Journal (MIT Press),[10] New Music Box, and I Care if You Listen.[11] He has been a featured artist at several festivals, including the Chicago Electro-Acoustic Music Festival (2019),[12] the Lipa Festival (2017),[13] and the Estonian Academy of Music’s Autumn Festival, Sügisfest 2016.[14]

Discography as composer, performer

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  • Raba, featuring Laura Cocks, Dan Lippel, and Ensemble U:. New Focus Recordings FCR198.[15]
  • Travelogue, featuring Three Free Radicals (Scott Miller and Mart Soo). Improtest IMPR11.[16]
  • bc+1[track_number++] = (laptop) scott_miller + bc; featuring Binary Canary (Kyle Hutchins and Ted Moore). Avid Records 20171.[17]
  • Every Problem is a Nail, recorded on The Electro-Acoustic Piano, Vol. 2, featuring Keith Kirchoff. Thinking Outloud.[18]
  • Pure Pleasure, recorded on EOS, featuring Patti Cudd. Innova 967.[19]
  • Avec Scott, recorded on Avec, featuring Émilie Girard-Charest. Kohlenstoff.
  • Diary of a Left-Handed Sleepwalker, featuring Three Free Radicals (Scott Miller and Mart Soo). Panoramic PAN04.
  • Tipping Point, featuring Zeitgeist and Carrie Henneman Shaw. New Focus Recordings FCR161.[20]
  • Contents May Differ, recorded on Music from SEAMUS vol. 24, featuring Pat O’Keefe. EAAM-2014.
  • Contents May Differ, recorded on Contents May Differ, featuring Pat O’Keefe. Innova 888.
  • Devices & Desires, Carla Rees and Scott Miller. rarescale rr004.[21]
  • Tipping Point, recorded on Music from SEAMUS vol. 20, featuring Zeitgeist. EAAM-2011.
  • And Thirty More, recorded on Here and Now, featuring Zeitgeist. Innova 799.
  • Willful Devices, featuring Pat O’Keefe and Scott Miller.
  • Shape Shifting: Shades of Transformation, recorded on Shape Shifting, Innova 638,[22] featuring Zeitgeist and Felip Costaglioli.
  • Elegy, recorded on Trio Montecino, Eroica JDT3196, featuring David Shea, clarinet; Pablo Mahave-Veglia, violoncello; Paulina Zamora, piano.
  • Time is Vicious (if you take it for granted), recorded on WIZARDS!, CRS 9460, by The Double Reed Ensemble of Iowa.[23]

Selected works

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2018

  • Katabasis

Four instruments; duration: 20 minutes. First performance: 2 November 2018, Strains, at Studio Z, St. Paul, MN.

  • Sonic Augmented Reality (SonAR) Study I: St. Cloud State University[24]

Smartphone, SonAR Study I app, headphones; duration: 13 minutes. Created with assistance from the St. Cloud State University Visualization and Simulation Lab. First performance: 5 September 2018, SCSU, St. Cloud, MN.

  • This Strange Fine-Tuning of Our Universe II

Two or more instruments and interactive-electronic (Kyma), two cardioid microphones, and multi-channel diffusion of sound; duration: 14 minutes. Written for Camilla Hoitenga and Taavi Kerikmäe. First performance: 16 February 2018, Studio Z, St. Paul, MN.

2017

  • Raba - VR version for Ensemble U [25]

Alto flute, clarinet, violin, cello, piano, tam-tam, fixed-media electronics and 360º VR film; duration: 11 minutes. Film by Rein Zobel. First performance: 29 December 2017, Ensemble U:, Estonian Academy of Music and Theatre, Tallinn.

  • Hilltop at Montalvo

Fixed-media electronics and video; duration: 9 minutes. Video by Paul Clipson. First performance: 17 May 2017, Spectrum NYC.

  • Admiration

Electric guitar, fixed-media electronics and video; duration: 10 minutes. Video by Rosemary Williams. Reconstruction and revision from The Cosmic Engine (2008). First performance: 17 May 2017, Daniel Lippel, SpectrumNYC.

2016

  • Solstice Orrery

Fixed-media or interactive electronics and video; duration: 10 minutes. Video by Ted Moore. First performance: 7 October 2016, Sügisfest, Estonian Academy of Music and Theatre, Tallinn.

  • Islands

Flute and interactive-electronics (Kyma), two cardioid microphones, and multi-channel diffusion of sound; duration: 10 – 50 minutes. First performance: 7 September 2016, Carla Rees, PACE-1, De Montfort University, Leiceister, UK.

  • Meditation

Guitar and fixed-media electronics; duration: 10 minutes. Commissioned by Dan Lippel. First performance: 15 January 2016, Daniel Lippel, St. Cloud State University, St. Cloud, MN.

2015

  • Balancing Act

Soprano/Tenor saxophone, clarinet/bass clarinet, guitar, real-time electronics, interactive-electronics (Kyma), multiple cardioid microphones, and multi-channel diffusion of sound; duration: 2 hours 45 minutes. Commissioned by Hinge Arts for the Kirkbride. First performance: 7 December 2015, Fifth Column, Zachmann Gallery, Fergus Falls, MN.

  • Accretion

Flute, clarinet/bass clarinet, violin, cello, piano, multi-percussion, and fixed-media electronics; duration: 9 minutes. Commissioned by Ensemble U:. First performance: 3 November 2015, Ensemble U:, St. Cloud State University, St. Cloud, MN.

  • Returning to Unknown Worlds

Saxophone, interactive-electronics, two cardioid microphones, and four-channel diffusion of sound, and video; duration: 10 minutes. Created in collaboration with Michael Monhart and Scott Weissinger. First performance: 11 August 2015, Kyma International Sound Symposium, Bozeman, MT.

  • Rubber Band, Man

Marimba and fixed-media electronics; duration: 7 minutes. Commissioned by Heather Barringer. First performance: 12 June 2015, Heather Barringer, Studio Z, St. Paul, MN.

  • Raba

Alto flute, violin, cello, tam-tam, and fixed-media electronics; duration: 11 minutes. Commissioned by Spitting Image Collective. First performance: 2 May 2015, Strains, Studio Z, St. Paul, MN.

2014

  • Avec Scott (a.k.a. Whispering Beast X Émilie)

Cello, interactive-electronics, two cardioid microphones, and four-channel diffusion of sound; duration: 10’. Created in collaboration with Émilie Girard-Charest. First performance: 14 December 2014, Estonian Academy of Music and Theater, Tallinn, Estonia.

  • A Lovely Gesture

Interactive-electronics and ensemble; duration: 10’. Created in collaboration with Anne La Berge. First performance: 28 September 2014, Lübeck, Germany.

  • Electro-organic Ecosystem for Lübeck

Organ and interactive-electronics; duration: 10’. First performance: 26 September 2014, Alex Annegorn, St. Jakobi Church, Lübeck, Germany.

  • Every Problem is a Nail

Piano and fixed-media electronics; duration: 10 minutes. Commissioned by Keith Kirchoff. First performance: 7 June 2014, Keith Kirchoff, New York City Electronic Music Festival.

2013

  • This Strange Fine-Tuning of Our Universe

¼-tone flute and interactive-electronics; duration: 10 – 15 minutes. Written for Anne La Berge. First performance: 13 September 2013, Anne La Berge, Espace Senghor, Brussels.

  • Consortia

Interactive-electronics and ensemble; duration: 12 minutes. First performance: 17–19 May 2013, Zeitgeist, St. Paul, MN.

  • Contents May Differ

Bass clarinet and electronics; duration: 9 minutes. Commissioned by Pat O’Keefe. First performance: 15 March 2013, Pat O’Keefe, St. Paul, MN.

  • No. 6

Structured improvisation for interactive-electronics and ensemble; duration: 10 minutes. First performance: 2 October 2013, Fifth Column, St. Cloud, MN.

  • ORCH a

Structured improvisation for interactive-electronics and ensemble; duration: 18 minutes. First performance: 2 October 2013, Fifth Column, St. Cloud, MN.

  • Two Steps Forward

Structured improvisation for interactive-electronics and ensemble; duration: 8 minutes. First performance: 2 October 2013, Fifth Column, St. Cloud, MN.

  • The Frost Performs its Secret Ministry (revised 2016)

Flute, guitar, and electronics; duration: 6.5 minutes. Commissioned by Jesse Langen and Linda Chatterton. First performance: 6 February 2013, St. Cloud State University.

2012

  • Proof of Concept

Trumpet, violin, viola, interactive-electronics; duration: 1 minute. First performance: 1–11 October 2012, SoundProof Fall 2012 concert tour, Bowling Green State University; College-Conservatory of Music, University of Cincinnati; Ohio University; Electronic Music Midwest 2012.

  • Détente

EMMI robots (AMI, CARI, TAPI), interactive-electronics, two cardioid microphones; duration: 10 – 30 minutes. First performance: 14 July 2012, Sound and Music Computing Conference, Copenhagen, Denmark.

2011

  • Anterior/Interior

¼-tone alto flute and interactive-electronics; 8’. First performance: 23 November 2011 by Carla Rees, on rarescale concert (re)introduction, Shoreditch Church, London, UK. Published by Tetractys.

  • Forth and Back

Soprano, bass clarinet, marimba, vibes, multi-percussion and piano, setting of Felip Costaglioli’s poem; duration: 20 minutes. First performance: 6–8 October 2011, on Zeitgeist’s concert series Fall Music Harvest, Studio Z, St. Paul, MN.

  • Orrery for Casa da Música

Interactive-electronics, two cardioid microphones, and four-channel diffusion of sound; duration: 10 – 15 minutes. First performance: 18 September 2011, Kyma International Sound Symposium 2011, Porto, Portugal.

2010

  • Whispering Beast

Interactive-electronics, two cardioid microphones, and four-channel diffusion of sound; duration: 6.5 minutes. First performance: 24 September 2010, Kyma International Sound Symposium 2010, Vienna, Austria.

  • Tipping Point

Bass clarinet, marimba, multi-percussion, piano and interactive-electronics; duration: 11.5 minutes. First performance: 1 – 3 April 2010 on Zeitgeist’s concert series Wired, Studio Z, St. Paul, MN. Official premier: 10 April 2010, SEAMUS 2010 National Conference, Saint Cloud, MN, by Zeitgeist. 2009

  • Chimeric Night

Clarinet and interactive-electronics; duration: 5.5 minutes. First performance: 20 October 2009, Hewitt Pantaleoni Concert Series, Oneonta, NY, Calvin Falwell, cl.

  • haiku, interrupted

Clarinet and interactive-electronics; duration: 7.5 minutes. Created in collaboration with Pat O’Keefe. First performance: 17 February 2009 at Spark Festival of Electronic Music and Art, University of Minnesota Arts Quarter, Pat O’Keefe, cl.

  • Lovely Little Monster

Flute, clarinet, percussion and interactive or fixed-media electronics (CD); duration: 7 minutes. First performance: 20 February 2009 at Spark Festival of Electronic Music and Art, University of Minnesota Arts Quarter, Jenny Hanson, fl, Pat O’Keefe, cl., Patti Cudd, perc. Solo cl. version first performed 17 April 2009 at SEAMUS 2009 National Conference, Fort Wayne, IN, Marianne Gythfeldt, cl.

2008

Nebe Na Zemi (Heaven on Earth) Soprano, interactive-electronics performance environment for Kyma, two cardioid microphones, and four-channel diffusion of sound; duration: 32 minutes. Created for visual artist Vladimír Havlík's multi-channel video installation in the Corpus Christi chapel, Olomouc, CZ. Setting of text from Karl Marx's Das Kapital. First performance: 5 November 2008, Marketa Večeřova, sop.

  • And 30 More

Bass clarinet, piano, two percussionists and fixed-media electronics (CD); duration: 2.5 minutes. Commissioned by Zeitgeist. First performance: 20–22 June 2008 by Zeitgeist, Studio Z, St. Paul, MN.

  • Pure Pleasure

Two Snare Drums and fixed-media electronics (CD); duration: 5 minutes. Commissioned by Patti Cudd. First performance: 7 March 2008 by Patti Cudd, Studio Z, St. Paul, MN.

  • The Cosmic Engine

Soprano, clarinet/bass clarinet, acoustic/electric guitar, cello, four channel interactive and fixed-media electronics, three channels of video projection; duration: 65 minutes. Created in collaboration with Rosemary Williams (video artist) and Pat O'Keefe (woodwinds). Commissioned by The Southern Theater. First performance: 30–31 May 2008 by Scott Miller, Rosemary Williams, Pat O'Keefe, Norah Long, Jeff Lambert, and Jacqueline Ultan, Electric Eyes New Music and Media Festival, The Southern Theater, Minneapolis, MN.

2006

  • Three Gestures

Clarinet, cello, and piano; duration: 10 minutes. Commissioned by Trio Montecino. First performance: 8 October 2006 by Trio Montecino, Gant Recital Hall, St. Cloud, MN.

  • Some Fabric and a Few Pieces of Bone

Interactive work for Kyma, two cardioid microphones, and four-channel diffusion of sound; duration: 6.5 minutes. First performance: September 2006, Livewire Electronic Music Concert, University of Minnesota, Minneapolis, MN.

  • Chimera No. 2

Violin and fixed-media electronics (CD); duration: 19 minutes. Commissioned by Mlade Podium Festival for premier by violinist Iva Kramperová. First performance: 12 September 2006 by Iva Kramperová, Mlade Podium Festival, Pardubice, CZ.

  • Fun House

Bass Clarinet and Interactive Electronics, 2 cardioid microphones, and 4 channel diffusion of sound; duration: 12 – 20 minutes. Commissioned by and created in collaboration with Pat O'Keefe. First performance: February 2006, by Pat O'Keefe, Spark Festival of Electronic Music and Art, Ted Mann Hall, University of Minnesota, Minneapolis, MN.

2005

  • Engines of...

String Orchestra and fixed-media; duration: 7 minutes. Commissioned by Maple Grove Senior High School Orchestra with support of the Maple Grove Music Boosters. First performance: 30 January 2006, by the Maple Grove Senior High School Orchestra, Matt Caron, conductor, Maple Grove, MN.

2004

  • Shape Shifting: Shades of Transformation

Commissioned by Zeitgeist. Includes the works: Apnèe, Mirror Inside, St. Victoire, Desire Also Has Its Own Geography, Dressing Up, Jardins Mécaniques, Digging Space, Les Cançóns de la Sang, New Snow. Spoken-word, Interactive-Electronics, Alto Sax/Bass Clarinet, Piano, Percussion (2); includes settings of Philippe Costaglioli's "Apnèe," "St. Victoire," and "Dressing Up;" duration: 65 – 70 minutes. Created in collaboration with Zeitgeist and Philippe Costaglioli. Underwritten by the American Composers Forum with funds provided by the Jerome Foundation. Made possible with support from the Zeitgeist Commissioning Collective. First performance: 4–12 June 2004 by Philippe Costaglioli, Scott Miller, and Zeitgeist at Studio Z, St. Paul, MN.

2001

  • Ecce Dominus Veniet

Women's Choir (SA) and Percussion; duration: 6 minutes. Composed with support from the Minnesota State Arts Board Artist Assistance Fellowship, Fiscal Year 2001 and supported in part by the American Composers Forum through the 2001 McKnight Composer Fellowship Program. First performance: 5 December 2001 by the SCSU Women's Choir and the SCSU Percussion Collective, Ritsche Auditorium, St. Cloud, MN.

  • Landscape

Created with support from St. Cloud State University Scholarly and Creative Activity Reassign Time. Wind Ensemble and Fixed-media; duration: 8 minutes. First performance: 22 April 2001 by the SCSU Wind Ensemble at St. Mary's Cathedral, St. Cloud, MN.

2000

  • Chimera

Viola and Fixed-media; duration: 7 minutes. First performance: 27 March 2000 by Coca Bochonko, Ruth Gant Recital Hall, St. Cloud, MN. 1998

  • Autumn Etude (a.k.a. In Memorium Lloyd Ultan)

Fixed-media; duration: 8 minutes. First performance: 12 November 1998 at Sonic Circuits VI, St. Cloud, MN.

  • Dies Sanctificatus

Mixed Choir and fixed-media; duration: 7 minutes. First performance: 17 April 1998 by the SCSU Concert Choir, Jeffrey Douma, cdtr., Ritsche Auditorium, St. Cloud, MN.

1992

  • Time is Vicious (if you take it for granted)

Commissioned by The Double Reed Ensemble of Iowa (a.k.a. Wizards). Two oboes, english horn & bassoon; duration: 5 minutes. Published by Jeanné, Inc. Recorded on the Wizards' CRS Master Recordings CD (CRS 9460). First performance: 1993 by The Double Reed Ensemble of Iowa, University of Iowa, Iowa City, IA.

References

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  1. ^ "Interview with Scott L. Miller - by Steven Ricks | SEAMUS". seamusonline.org.
  2. ^ "Blogging from Estonia: Creative Energy and New Perspectives". NewMusicBox. January 26, 2015.
  3. ^ "Scott Miller Makes Electronic Music | Maple Grove". Community Life Magazine.
  4. ^ "Scott Miller: Tipping Point - Scott Miller, Zeitgeist | Songs, Reviews, Credits". AllMusic.
  5. ^ "American Composers Alliance". September 8, 2019 – via Wikipedia.
  6. ^ "Scott Miller - Faculty in the Department of Music | St. Cloud State University".
  7. ^ "Meet the Fellows".
  8. ^ "2018 McKnight Composer Fellows and McKnight Visiting Composers Announced". American Composers Forum. May 31, 2018.
  9. ^ "Fulbright Scholar Scott Miller Brings Ensemble U to St. Cloud State University's Creative Art Series". KVSC 88.1 FM.
  10. ^ Boyd, Michael (December 4, 2010). "Society for Electro-Acoustic Music in the United States 2010 National Conference (review)". Computer Music Journal. 34 (4): 74–75. doi:10.1162/COMJ_r_00027. S2CID 28774778 – via Project MUSE.
  11. ^ Holter, Colin (August 9, 2017). "Binary Canary and Guest Improvisers on bc+1". I CARE IF YOU LISTEN.
  12. ^ "2019 Electro-Acoustic Music Festival an Interesting Take on Music". April 25, 2019.
  13. ^ "Lipa Festival pushes the limit of music". Iowa State Daily.
  14. ^ "Estonian ensemble to debut SCSU professor's work". St. Cloud Times.
  15. ^ "Raba - Scott L. Miller | Catalogue". New Focus Recordings.
  16. ^ "Travelogue, by Three Free Radicals". Three Free Radicals.
  17. ^ "Bc+1[Track_number++] = (Laptop) Scott_miller + Bc; [feat. Scott Miller] de Binary Canary en Amazon Music - Amazon.es". www.amazon.es.
  18. ^ Your name here. "Every Problem Is a Nail (2014) by Keith Kirchoff on Amazon Music". Retrieved 2019-10-23.
  19. ^ "Pure Pleasure, for 2 snare drums &… | Recording Details and Tracks". AllMusic.
  20. ^ "Scott L. Miller: Tipping Point | Catalogue". New Focus Recordings.
  21. ^ "Best Albums of 2012 (Part 1)". December 30, 2012.
  22. ^ "Shape Shifting | Innova Recordings". www.innova.mu.
  23. ^ "Wizards – Contemporary Record Society". www.crsnews.org.
  24. ^ Your name here. "Sonar Study I by Scott L. Miller on Amazon Music". Retrieved 2019-10-23.
  25. ^ "Raba (360; Studio Recording)" – via www.youtube.com.
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