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              <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/789"&gt;Roboterjazz&lt;/a&gt;</text>
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              <text>Composer Karl F. Gerber began playing the electric bass autodidactically. In 1975, he attended musicology lectures with Riethmüller in Freiburg as a guest student.&#13;
After turning to jazz, he studied double bass with Adelhard Roidinger in Munich. He has a M Sc. in physics from the LMU Munich.&#13;
As a composer he is self-taught, but attended courses with H. W. Erdmann, Cort Lippe, Robert&#13;
Rowe, Carola Bauckholt, Götz Tangerding, Alex Grünwald, Joe Haider and Joe Viera.&#13;
He has performed live algorithmic performances, including a co-improvisation with the University of Michigan Dancers at the 1998 ICMC in Ann Arbor, Michigan. This featured live formula editing, an anticipation of live coding.&#13;
"Beautiful Numbers" was awarded the electronic "Music for Dance" award at Bourges.&#13;
Since "Loops" for solo piano, he has also created works in traditional notation without electronics such as "VC3e" for harpsichord four hands. &#13;
After an invitation to the 2017 Kontakte Festival at the AdK Berlin, his "computer music without loudspeakers" has also attracted international interest. For example, in the Boston Berklee and South Korea, Seoul 2019.&#13;
His installation "Violinautomat" was selected by the ISCM for the World Music Days in Tallinn, Estonia. The critic of Dagens Nyheter wrote "fascinating both technically and sonically". He received the "Award of Distinction" at Matera Intermedia 2020 in Italy and the Best Music Award of the CMMR, Tokyo.&#13;
His current projects are an automaton for alto recorder, a bowed psaltery with 16 bows, an extended snare drum and a hammer zither.</text>
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              <text>&lt;a href="http://www.karlfgerber.de"&gt;Karl Gerber's website&lt;/a&gt;&lt;br /&gt;&lt;a href="http://www.roboterjazz.de"&gt;Roboterjazz&lt;/a&gt;</text>
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              <text>&lt;a href="http://compel-dev.vtlibraries.net/items/show/152"&gt;&lt;em&gt;The Adventures of Norby&lt;/em&gt; (2007)&lt;/a&gt;&lt;br /&gt;&lt;a href="https://compel-dev.vtlibraries.net/items/show/154"&gt;&lt;em&gt;OverDrive&lt;/em&gt; (2010)&lt;/a&gt;&lt;br /&gt;&lt;a href="https://compel-dev.vtlibraries.net/items/show/155"&gt;&lt;em&gt;White Canvas&lt;/em&gt; (2012)&lt;/a&gt;&lt;br /&gt;&lt;a href="https://compel-dev.vtlibraries.net/items/show/158"&gt;&lt;em&gt;crook'd&lt;/em&gt; (2013)&lt;/a&gt;&lt;br /&gt;&lt;a href="https://compel-dev.vtlibraries.net/items/show/157"&gt;&lt;em&gt;oNe&lt;/em&gt; (2013)&lt;/a&gt;&lt;br /&gt;&lt;a href="https://compel-dev.vtlibraries.net/items/show/159"&gt;&lt;em&gt;Seeing the Past Through the Prism of Tomorrow&lt;/em&gt; (2014)&lt;/a&gt;&lt;br /&gt;&lt;a href="https://compel-dev.vtlibraries.net/items/show/160"&gt;Irrational Rationalities (2015)&lt;/a&gt;</text>
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              <text>&lt;a href="https://compel-dev.vtlibraries.net/items/show/814"&gt;&lt;em&gt;Bambuchla Shadows &lt;/em&gt;(2022)&lt;/a&gt;</text>
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                <text>Composer Kerrith Livengood’s music has been described as "an escapade of wild effusions" (Bloomington Herald-Times) and "sketchy-seeming" (New York Times). Her music has been performed at KISS 2018, ACO’s SONiC Festival, June in Buffalo, Bargemusic, CCM’s MusicX festivals, the North American Saxophone Alliance annual conference, the Atlantic Music Festival, the Contemporary Undercurrent of Song series, the Cortona Sessions, the Charlotte New Music Festival, and Alia Musica Pittsburgh’s Conductors Festival. She has composed works for the JACK Quartet, Third Angle Ensemble, Duo Cortona, Altered Sound Duo, mezzo-soprano Jennifer Beattie and pianist Adam Marks, soprano Amy Petrongelli, Harry Partch's Adapted Guitar I performed by Charles Corey, and the h2 Quartet. Kerrith’s music features unexpected musical forms, complex grooves, lyricism, improvisation, noise, and humor. Kerrith is a flutist and experimental improviser who has played bird songs while sitting in a tree, worn a towel as concert attire, and performed in concert with Anthony Braxton and Renee Baker. She is a native of Springfield, Missouri; graduated from the University of Pittsburgh, where she studied with Eric Moe, Mathew Rosenblum, Amy Williams and Marcos Balter; and currently teaches at the University of Illinois (Urbana-Champaign). Kerrith is also Assistant Director of the New Music On The Point Festival, an annual summer festival for young composers and performers. Since the pandemic began, Kerrith has spent much of her time learning to create music in SuperCollider and collaborating with her friends and colleagues remotely. She looks forward to fire pit hangouts and the return of karaoke someday soon.</text>
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              <text>Kory Reeder’s music is often introspective and atmospheric, investigating ideas of objectivity, place, immediacy, situation, and interaction. Kory’s music has been performed in concerts and festivals across North and South America, Asia, Australia, and Europe and recognized by The Kennedy Center American College Theater Festival, ASCAP, ACSM 116 (Tokyo), and Festival Stradella (Italy), among others. He has been artist-in-residence at Arts, Letter, and Numbers, The Kimmel, Harding, Nelson Center for the Arts and has been Artist in Residence in the Everglades. Kory has frequently collaborated with opera, theater, and dance programs, and his music has been released on Edition Wandelweiser Records and has been heard on the BBC. Kory is currently pursuing a PhD. in music composition at the University of North Texas, and holds a BM from the University of Nebraska at Kearney, and a MM Bowling Green State University. For more, please visit www.koryreeder.com</text>
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