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Assistant
Professor of Computer Music and Digital Arts |
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His
Work |
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Auxilio & Au Secours was composed in Austin, Texas (1998,
revised in Oberlin, Ohio 2000). This work was created for a video
by Anita Pantin. Both elements, audio and video, were inspired by
text. Anita developed the visual elements from "De Donde Son Los
Cantantes" by Severo Sarduy, Tom developed the musical elements
and incorporated some words from "The Waves" by Virginia Woolf.
Bar
None was composed in Austin, Texas (1998). It is a performance
piece for video by Nate Pagel and audio by Tom Lopez; featuring Todd
Meehan on MalletKat (a MIDI Marimba instrument).
kin-askesis
was composed in Austin, Texas (1997). This work was composed for
MIDI grand piano, Max/MSP software, and video by Nate Pagel.
Curvatures
[selection] was
composed in Oberlin, Ohio (2001). Created for La Femme en Noire
string quartet, the work utilizes the amplified sound of the string
instruments. It had been a very long time since I wrote a musical
work that started with fast material. This piece was a real joy
to compose and I am indebted to the original performers for their
dedication and persistence (Amy Cimini, viola, Gillian Rivers, violin,
Erica Dicker '01, violin, Robin Reynolds '01, violoncello).
Hollow
Ground II [selection
featuring Larisa Montanaro, voice] was composed in Austin, Texas
(1996). Written for soprano voice and prerecorded sound, this work
has been performed with dance choreographed by Yacov Sharir. As
it is the second piece in a trilogy commissioned by Yacov Sharir,
it contains some of the sonic material from its predecessor, Hollow
Ground I for prerecorded sound. Despite the addition of a vocalist,
Hollow Ground II does not have any text; the vocalist never
sings a word–her sounds are syllabic, which, when combined
with her physical gestures during performance, create a strong ritualistic
quality.
They
Hearken to Echoes [selection
featuring Claire Chase, flute and Eric Lamb, flute] was composed
in Austin, Texas (1997, revised in Oberlin, Ohio 2001). The title,
which describes the performers both literally and metaphorically,
is from the writings of architect Louis Sullivan. The overall design
of the piece moves from distance to closeness; with respect to the
physical placement of performers, with respect to melodic, harmonic
and rhythmic material, and especially with respect to echoes. Perhaps
it is a "call-response" work, where the response time gradually
diminishes until the call and the response are simultaneous. Or
perhaps it is a canon modeled on a drawing by M.C. Escher, in which
the second voice slowly gains ground until both voices share a moment
of synchronicity.
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About the Artist |
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Tom Lopez began composing at Oberlin College while taking courses
in electronic music, continuing his studies with Morton Subotnick
at CalArts and completing his doctoral degree at the University
of Texas at Austin. He was awarded a Fulbright Fellowship as a composer-in-residence
at the Centre International de Recherche Musical in Nice, France.
For his work, Vocal Sketch #2, he was awarded a Grant for
Young Composers by ASCAP. His work, Hollow Ground II, was
released on a SEAMUS CD in 1997. The recipient of several ASCAP
Standard Awards, his music has been performed in France, England,
Germany, Netherlands, Portugal, Australia, Argentina, Brazil and
throughout the United States including The Kennedy Center. His compositional
endeavors have been supported by Meet the Composer, the NEA, the
Betty Freeman Foundation, the Knight Foundation, and include artist
residencies at the Atlantic Center for the Arts, Villa Montalvo,
and Djerassi. Tom teaches in the TIMARA
Department (Technology In Music And Related Arts).
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Audio
Student
Faculty
