dog-ear
section number 01

CONNECT

BANDCAMPEMAILEMAIL LISTFACEBOOKFLICKRGITHUBINSTAGRAMISSUULINKEDINSOUNDCLOUDTWITTERVIMEOYOUTUBE
section number 02

INTRODUCTION

PROSPECTUS (PDF)

WORK DESCRIPTION

I am a composer, performer, and technologist who creates music with a special focus on the nuances and inner details of sound and its expression in a physically immersive listening space.

When one listens attentively to details, it becomes readily apparent that most complex vibrating bodies do not produce a single "note," but rather many perceivable events that unfold over time before the complex vibrating body comes to rest. In my music's sounds -- both those produced acoustically and electronically -- the complex nuances are used as critical artistic components. In my computer-integrated work, the computer is often used to emphasize the constituent parts within a single acoustically produced sound, as well as how the parts evolve, and mold them into new, compelling sound objects.

Our ability to localize sound (determine its spatial position and environment) is a powerful sensory function full of possibilities for artistic exploitation. Our auditory systems enable us to grasp the entire three-dimensional soundscape in which we are immersed at any point in time. This ability to listen simultaneously to sounds in all directions and distances contrasts greatly with our ocular system, which gives us only partial views of our surroundings. Not only can sound exist in space, but spaces themselves can provide us with sonic environments (for example, hear in your mind the vastly different behavior of sound inside of a cathedral versus a carpeted hallway). In my music, I take great care to craft not only kinetic audio spatial-forms, but also the acoustic environments in which they sound.

My main creative avenue is my music for marimba plus three-dimensional, high-definition, computer-generated sound. I designed my electronics system as an extension of my aesthetic sensibilities, and it thus allows for an intensely personal approach to my works. Indeed, my works for this setup are intended for my performance alone, as soloist or ensemble member. My compositions for marimba plus computer are not fixed, but rather constantly evolve as I create new musical material and new computer processes. In live performance, I act as creator and live arbiter of the music, navigating through flexible compositional frameworks which utilize a complex system of interconnecting notation generation, acoustic instrumental performance, and real-time audio manipulation.

As counterpoint to my proprietary electro-integrated works, my compositions for acoustic instruments have scores available for performance by other musicians. Although the music is produced acoustically, it shares the same aesthetic framework as my electronic music. To clearly and accurately represent my musical ideas in written form, I have devised a special notation system. At first glance, the system is distinguished by its use of multiple colors and an attention to visual detail which reflects the artistic sensibilities of the music.

In general, I strive to create musical events, as opposed to "pieces." In live performance, I assemble programs that are without intermission, with either a single, large-scale composition, or a set of works designed to create a unified event. My recordings are structured in the same way, as albums, with either a single, large-scale composition, or a collection of works that together have an artistic impact greater than the sum of the individual components. My music, both live and recorded, is often part of multi-media collaboration projects. Over the past few years, I have worked with dancers, sculptors, and video artists on performance and installation projects.

Although the focus of my activities is on my own compositions, my work as a marimbist and technologist also includes the performance and presentation of works by other composers. On marimba, this repertoire includes compositions, both acoustic and electro-integrated, from recent decades, including a growing number of compositions written specifically for me, as well as some centuries-old compositions. As a technologist, I present a growing repertoire of multi-channel, fixed-media, electronic compositions as part of my Sound-Space Audio Lab Fixed Media Repertoire Project.

I perform on a Malletech Imperial Grand five-octave marimba, and use a custom, silent (true 0dB) computer created by endpcnoise.com.

BIOGRAPHY

I am a composer, performer, and technologist. Since 2004, I have been traveling all across the US with my continuously evolving marimba + electronics system, performing solo marimba and marimba+electronics repertoire in a wide variety of venues: art museums, concert halls, dance spaces, DIY/underground spaces, and many universities and colleges. Visits to academic institutions often include master classes, lectures, and demos.

My mobile electroacoustic diffusion rig began in 2004 with a stereo loudspeaker setup, moving to four-channel surround in 2005, then on to my first eight-channel (cube) three-dimensional surround setup in 2006, and finally upgrading to my current cube setup in 2011. During the first years of performing in my marimba+electronics format, a handful of composers wrote several new works for me, but since 2011 I have focused almost exclusively on the performance of my own compositions.

Ongoing work with computer monitor-based real-time notation in my marimba+electronics compositions began around 2008. Through real-time computer notation processing, I am able to combine the flexibility and spontaneity of improvisation, with the complex organizational capabilities of a notated score.

In 2007, I founded an ongoing concert series to feature my new work at the Overture Center for the Arts, in Madison, Wisconsin. The Overture Center series has hosted the premieres of many of my works, as well as the works of other composers, and has featured collaborations with other musicians, and collaborations with artists working in other media such as dance, video art, and sculpture. It was on this series (2014) that I launched the SSAL Fixed Media Repertoire Project with a concert featuring the historic multi-channel electronic works Kontakte and Gesang Der Jünglinge, by Karlheinz Stockhausen.

After much experimentation, I completed the initial work (it continues to progress) on my notation system for acoustic works in 2010, and have subsequently created a growing body of work composed in this system. The system uses multiple colors and other graphic devices in order to achieve maximum clarity, and is in general an attempt to visually represent the artistic sensibilities of the music for the performers as intuitively as possible. In order to expand my catalog of acoustic works, and record them in multi-channel, high-definition formats, I launched the The SSAL Guest Artist Recording Project in 2015, with my solo percussion work apical topography.

Recordings in multi-channel (surround), high-definition formats are central to my work, and to facilitate these projects, I designed and built a recording/work studio -- Sound-Space Audio Lab -- in Madison, WI, in 2010. I moved SSAL to Placitas, New Mexico in 2014, and back to Madison in 2017 (currently looking for a new space).

I hold a Doctor of Musical Arts degree in music composition from the University of Wisconsin–­Madison (Stephen Dembski), a Postgraduate Diploma in marimba performance from the Royal Academy of Music (Leigh Howard Stevens), a Bachelor of Music in percussion performance from the Eastman School of Music (John Beck), and studied privately with Leigh Howard Stevens.

From 2011 to 2013 I was a postdoctoral associate at the Wisconsin Institute for Discovery, working on music + technology projects.

Born, 1978, in Madison, Wisconsin (USA).

section number 03

DISCOGRAPHY

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LUMINOUS MACHINE

01 play lu­min­ous ma­chine so­lo per­cus­sion 13:03 02 play so­lar se­quence glock­en­spiel quar­tet 15:15 03 play a­pi­cal to­po­gra­phy so­lo per­cus­sion 12:11

•••••

performers [1] Mich­ael Carp [2] Nath­an­i­el Bart­lett [3] Mich­ael Carp com­po­ser Nath­an­i­el Bart­lett date 2017 label SOUND-SPACE AU­DIO LAB SSAL-A6 me­dia AUD­IO CD AND DA­TA DVD, DOWN­LOAD au­dio for­mats HD 8-CHAN­NEL, HD 4-CHAN­NEL, HD STE­REO, CD STE­REO

SPECTRUM

01 play net­works so­lo flute 07:48 02 play cro­no­me­tro_pal­ter_quar­tet per­cus­sion quar­tet 05:22 03 play im­pulse re­sponse four per­cus­sion­ists play­ing six snare drums each 10:32 04 play cro­no­me­tro_pal­ter_so­lo so­lo per­cus­sion 05:18 05 play wave en­er­gy vi­o­lin, vib­ra­phone, and per­cus­sion 06:37 06 play cro­no­met­ro_bu­gbee_duo per­cus­sion duo 05:12 07 play bright points vib­ra­phone and per­cus­sion 02:52

•••••

performers [1] Eliz­a­beth Mar­shall [2] Mor­ris Pal­ter [3] Lee Vin­son [4] Mor­ris Pal­ter [5] vi­o­lin: Da­vid Fel­berg, vi­bra­phone and per­cus­sion: Will Kra­mer [6] Fred Bug­bee [7] Will Kra­mer composer Na­than­i­el Bart­lett date 2017 label SOUND-SPACE AU­DIO LAB SSAL-A8 me­dia AUD­IO CD AND DA­TA DVD, DOWN­LOAD au­dio for­mats HD 8-CHAN­NEL, HD 4-CHAN­NEL, HD STE­REO, CD STE­REO

AV

01 time­space­place (a-side) au­dio, from SSAL-A4 un­sea­son­able events change hands video 22:15 02 time­space­place (b-side) audio, from SSAL-A4 un­sea­son­able events change hands video 22:15 03 Heap, from SSAL-A2 audio Heap video 17:30 video gallery

•••••

per­for­mer + com­po­ser Nath­an­i­el Bart­lett vid­eo art­ist To­by Kauf­mann-Buh­ler date 2016 label SOUND-SPACE AU­DIO LAB SSAL-AV7 me­dia blu-ray au­dio for­mats HD 8-CHAN­NEL, HD 4-CHAN­NEL, HD STE­REO other COM­PLE­TED: RE­LEASE PEN­DING BLU-RAY AU­THOR­ING

NEOTERIC TOPOLOGY

01 play NEO­TERIC TO­PO­LO­GY ma­rim­ba and mal­let/bo­dy-track­ing com­pu­ter in­ter­face; real-time three-di­men­sio­nal, high-de­fin­i­tion, com­pu­ter-gen­er­a­ted sound; and real-time com­pu­ter no­ta­tion pro­cess­ing 37:38

•••••

per­for­mer + com­po­ser Nath­an­i­el Bart­lett date 2015 label SOUND-SPACE AU­DIO LAB SSAL-A5 me­dia AUD­IO CD AND DA­TA DVD, DOWN­LOAD au­dio for­mats HD 8-CHAN­NEL, HD 4-CHAN­NEL, HD STE­REO, CD STE­REO

TIMESPACEPLACE

01 play TIMESPACEPLACE (a-side) ma­rim­ba and mal­let/bo­dy-track­ing com­pu­ter in­ter­face; real-time three-di­men­sio­nal, high-de­fin­i­tion, com­pu­ter-gen­er­a­ted sound; and real-time com­pu­ter no­ta­tion pro­cess­ing 22:15 02 play TIMESPACEPLACE (b-side) ma­rim­ba and mal­let/bo­dy-track­ing com­pu­ter in­ter­face; real-time three-di­men­sio­nal, high-de­fin­i­tion, com­pu­ter-gen­er­a­ted sound; and real-time com­pu­ter no­ta­tion pro­cess­ing 22:15

•••••

per­for­mer + com­po­ser Nath­an­i­el Bart­lett date 2013 label SOUND-SPACE AU­DIO LAB SSAL-A4 me­dia AUD­IO CD AND DA­TA DVD, DOWN­LOAD au­dio for­mats HD 8-CHAN­NEL, HD 4-CHAN­NEL, HD STE­REO, CD STE­REO

(((CLANG)))

01 play (((CLANG))) ma­rim­ba and me­tal ob­jects; real-time three-di­men­sio­nal, high-de­fin­i­tion, com­pu­ter-gen­er­a­ted sound; and real-time com­pu­ter no­ta­tion pro­cess­ing 40:12

•••••

per­for­mer + com­po­ser Nath­an­i­el Bart­lett date 2011 label SOUND-SPACE AU­DIO LAB SSAL-A3 me­dia AUD­IO CD AND DA­TA DVD, DOWN­LOAD au­dio for­mats HD 8-CHAN­NEL, HD 4-CHAN­NEL, HD STE­REO, CD STE­REO

TRICHOTOMIC ECOLOGY

01 play TRICH­O­TOM­IC E­COL­OGY marimba, percussion, and viola; real-time three-di­men­sio­nal, high-de­fin­i­tion, com­pu­ter-gen­er­a­ted sound; and real-time com­pu­ter no­ta­tion pro­cess­ing 42:54

•••••

per­for­mers ma­rim­ba and com­pu­ter: Nath­an­i­el Bart­lett, per­cus­sion: Geoff Bra­dy, Vi­o­la: Nils Bult­mann com­po­ser Nath­an­i­el Bart­lett date 2011 label SOUND-SPACE AU­DIO LAB SSAL-A3 me­dia AUD­IO CD AND DA­TA DVD, DOWN­LOAD au­dio for­mats HD 8-CHAN­NEL, HD 4-CHAN­NEL, HD STE­REO, CD STE­REO

FAR REACHES

01 play star_birth solo percussion 20:04 02 play Heap per­cus­sion and real-time three-di­men­sion­al, high-def­i­ni­tion, com­pu­ter-ge­ner­a­ted sound 17:30

•••••

per­for­mers [1] Jus­tin Alex­ander [2] Nath­an­i­el Bart­lett com­po­ser Nath­an­i­el Bart­lett date 2010 label SOUND-SPACE AU­DIO LAB SSAL-A2 me­dia AUD­IO CD AND DA­TA DVD, DOWN­LOAD au­dio for­mats HD 8-CHAN­NEL, HD 4-CHAN­NEL, HD STE­REO, CD STE­REO

PRECIPICE

01 play open­ing so­lo ma­ri­­mba 06:31 02 play pre­ci­pice ma­rim­ba and four-chan­nel, high-def­i­ni­tion, com­pu­ter-ge­ner­a­ted sound 17:43 03 play in­ter­lude ma­rim­ba and four-chan­nel, high-def­i­ni­tion, com­pu­ter-ge­ner­a­ted sound 05:40 0407 play play play play sil­hou­ettes so­lo ma­rim­ba 01:57 01:51 03:44 02:37 08 play Ver­mont Coun­ter­point ma­rim­bas 11:20

•••••

per­for­mer Nath­an­i­el Bart­lett com­po­sers [1] Phil­ip Glass [2] All­an Schind­ler [3] Greg Wil­der [4] Au­gus­ta Read Thom­as [5] Steve Reich (mar. version N. Bartlett) date 2006 label Al­ba­ny Re­cords troy-855 me­dia hy­brid mul­ti-chan­nel su­per au­dio CD, down­load au­dio for­mats HD 5-CHAN­NEL, HD STE­REO, CD STE­REO

--:--

THE SSAL DOT MATRIX AUDIO FILE PLAYER

This audio file player allows the quick perusal of all audio files on this website, even very long files. Click the minus icon and the player will hide in the lower left corner, so you can listen while continuing to navigate around the website.

The Dots: To skip, click on a dot. Each dot represents 10 seconds, and as the file plays, each dot loses its opacity.

section number 04

MARIMBA + ELECTRONICS

MARIMBA; REAL-TIME THREE-DIMENSIONAL, HIGH-DEFINITION, COMPUTER-GENERATED SOUND; AND REAL-TIME COMPUTER NOTATION PROCESSING

My performances seamlessly meld my five-octave acoustic marimba with a powerful Linux-based computer, custom computer control interfaces, a variety of hardware audio electronics, and eight loudspeakers (plus subwoofer) arranged in a cube. With the audience positioned in the center of the loudspeaker cube, an elaborate, kinetic, three-dimensional sound environment can be projected into the audience space, totally immersing the listeners in the music. In my immersive sound environments, spatialization (the positioning and movement of sounds in physical space) becomes a central musical parameter, alongside of pitch, rhythm/time, timbre, and so on.

The sound environments of my compositions are comprised of sounds culled from many sources and techniques, including digital audio manipulations of my live marimba, digital audio manipulations of recorded acoustic sounds stored on my computer, and synthetically engineered sounds. The intricate three-dimensional sound environments of my works are further enriched by the use of high-definition audio, which allows for a significant increase in sonic nuances.

In my performance rig, two computer monitors are used in place of a conventional music stand. The music notation, now free from the physical realm of paper and ink, is created and manipulated in real time, just as the computer-generated sounds are created and manipulated in real time.

I designed my performance rig for maximum mobility without compromising audio quality, and have performed all across the US in a wide variety of venues, such as art galleries and museums, concert halls, dance spaces, DIY/underground spaces, and many universities and colleges. In order to present my music in its original three-dimensional, high-definition form at every performance, I always tour with all my own electronic equipment and marimba.

Recordings of my original compositions and other projects -- all on multi-channel, high-resolution media -- can be found on Albany Records, and on my own label, Sound-Space Audio Lab.

I perform on a Malletech Imperial Grand five-octave marimba, and use a custom, silent (true 0dB) computer created by endpcnoise.com.

WORKS

My compositions for marimba + computer are dynamic works which evolve from performance to performance. Each composition has an overarching framework inside which I, as the composer and live performer of the composition, aided by computer-based algorithmic audio and score production, have the flexibility to realize different versions of the work. Recent events have included performances of:

(2017) (2015) (2014) (2014) (2013) (2012) (2012) (2012) (2011) (2011) (2010) (2010) (2009) (2009) (2009) (2008)

section number 05

SOUND-SPACE AUDIO LAB

STUDIO

The SSAL studio is my personal laboratory (with occasional outside projects) for the creation and recording of works which feature spatialized acoustic and/or electronic sounds.

I designed the acoustic treatment system for the main SSAL recording room to be completely modular and mobile, and it has been installed in rooms in Madison, WI 2010–2013, and Placitas, NM 2014–2017. In 2017, I moved back to Madison, WI, and am currently searching for a new space.

MOBILE MULTI-CHANNEL ELECTROACOUSTIC DIFFUSION SYSTEM

The core of the SSAL mobile multi-channel electroacoustic diffusion sytem is its array of eight loudspeakers and a subwoofer. I designed and built a set of mounts for the loudspeakers which allow them to be mounted on a variety of stands of different heights and rotated 360° vertically and horizontally. Most often, the loudspeaker array is set up in a "cube" format, with the audience in the center.

The SSAL mobile rig uses the electronics (microphones, microphone preamplifier, A/D/A converters, etc.) from my recording studio. This allows me to bring uncompromisingly nuanced, beautiful sounds to all my live events.

Travelling with such an elaborate electroacoustic rig is a sizeable logistical challenge. In order to accomplish the task, I designed and built a set of road cases which use as little space as possible and minimize set-up / tear-down time.

RECORDINGS

Most of my musical activities as a performer and composer involve the use of highly detailed, immersive sound environments. In order to fully capture my works, SSAL recordings use high-definition, multi-channel audio.

SSAL recordings are available as two-disc albums (audio CD + data DVD). The audio CD (containing format D) is playable on standard CD players. The data DVD contains audio files in formats A, B, and C.

[A] HD CUBE (8 channels), 24BIT 88.2KHZ
[B] HD QUAD (4 channels), 24BIT 88.2KHZ
[C] HD STEREO, 24BIT 88.2KHZ
[D] CD STEREO, 16BIT 44.1KHZ

Albums are available as physical media and downloads at Bandcamp.

TRUE DYNAMICS

SSAL recordings, as a reflection of my musical aesthetics, are highly dynamic recordings. In other words, there is a huge range between the softest and loudest sounds. No dynamic range compression is used. The PDF notes accompanying the recordings give directions for setting playback levels based on the loudest section in the composition.

LOUDSPEAKER SETUPS

CUBE: For the cube format, eight loudspeakers should be placed at the vertices of a cube with the listener in the center.

QUAD: For the quad format, four loudspeakers should be placed at the vertices of a square with the listener in the center. The tweeters should be at about the same height as the listener's ears.

STEREO: For the stereo format, two loudspeakers should be placed in front of the listener at +/- 20° to 30°. If the speakers are too close together, the stereo image will smaller than necessary. If the speakers are too far apart, the stereo image will be lost (sounding like two separate audio channels coming from the two different speakers). The tweeters should be at about the same height as the listener's ears.

PHYSICAL MEDIA

SSAL physical media albums come in two-tone (black / brown) kraft paper envelopes, with brown kraft disc labels, black printing, and sleeved in resealable clear poly bags.

CONCERT PRESENTATION

SSAL recordings are not solely intended for home listening, I also conceive of them as fixed-media sound works that can be projected in a concert or installation setting. Multi-channel home-listening setups are still rare, especially eight-channel cube setups, so public presentations of SSAL recordings are the way most people hear these works in their true three-dimensional, high-definition format.

If you are interested in acquiring the rights to present a SSAL recording publicly, please email me.

GUEST ARTIST RECORDING PROJECT

For performers of contemporary music, funding for the commissioning and recording of new works is extremely hard to secure. To get around this problem, I started the Sound-Space Audio Lab Guest Artist Recording Project. The SSAL_GARP, an exchange of time and talent, is simple: (1) if you are a professional-caliber performer or ensemble, (2) and can get yourself and your instruments to my studio, (3) I will write a new work for you to record, in high-definition surround, (4) for release on my Sound-Space Audio Lab record label.

DONATE

Through my fiscal sponsor, Fractured Atlas, contributions to my projects are tax-deductable. In addition to monetary donations, I can also accept donations of physical property such as audio electronics or other materials directly related to my projects. If you are interested in starting a conversation about supporting my work, please be in touch.

section number 06

PHOTO/VIDEO

COMPLETE PHOTO/VIDEO ARCHIVES

SELECTED PHOTO GALLERY LINKS

SELECTED VIDEO GALLERY LINKS

DOWNLOAD HIGH-RESOLUTION IMAGES FOR PRESS (DROPBOX)

section number 07

EVENTS

PROSPECTUS (PDF)

2018

02-04-18
Madison, WI


03:00pm Sound-Space Audio Lab Overture Center Event Series • Event 021 The Overture Center for the Arts, Promenade Hall A concert of immersive fixed media works including Edgard Varèse's seminal composition Poème Électronique, written for Le Corbusiers's Philips pavilion at the 1958 Brussels World Fair, and recent works by Nathaniel Bartlett, created during time (2014-2017) in the high desert of Northern New Mexico (USA) free, donations encouraged • capacity: 100 • doors open at 02:30pm

•••••

01 (1958) • five-channel electronic sound • fixed media • composer: Edgard Varèse 02 (2016) • four percussionists playing six snare drums each • eight-channel cube loudspeaker array • fixed media • snare drums: Lee Vinson • composer: Nathaniel Bartlett 03 (2015) • marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • eight-channel cube loudspeaker array • fixed media • composer/performer: Nathaniel Bartlett 04 (2017) • four glockenspiels • eight-channel cube loudspeaker array • fixed media • composer/performer: Nathaniel Bartlett 05 (2015) • percussion duo • eight-channel cube loudspeaker array • fixed media • percussion: Fred Bugbee • composer: Nathaniel Bartlett 06 (2015) • solo percussion • eight-channel cube loudspeaker array • fixed media • percussion: Michael Carp • composer: Nathaniel Bartlett 07

2017

07-22-17
Santa Fe, NM


02:00pm-03:30pm Tech and the West • a symposium presented by the Santa Fe Opera • presented as part of the upcoming 2017 world premiere of The (R)evolution of Steve Jobs and the 2018 production of Doctor Atomic

•••••

01 Topic: Creative Expression • Composer Nathaniel Bartlett, Psychologist Dorella Bond, and Designer Leah Buechley, moderated by Andrew J. Wulf, Director of the New Mexico History Museum

07-21-17
Santa Fe, NM


Tech and the West • a symposium presented by the Santa Fe Opera • presented as part of the upcoming 2017 world premiere of The (R)evolution of Steve Jobs and the 2018 production of Doctor Atomic Concert Music and the Personal Computer Revolution New Mexico History Museum auditorium

•••••

01 (1955-1956) • four-channel tape • high-definition digital transfer from original analog tape • fixed media • composer: Karlheinz Stockhausen 02 (1971) • four-channel tape, created on Buchla analog synthesizer • fixed media • high-definition digital transfer from original analog tape • composer: Morton Subotnick 03 (1995) • four-channel computer-generated sound, created on NeXT computer • fixed media • composer: Hans Tutschku 04 (1992) • stereo computer-generated sound, created on NeXT computer • fixed media • composer: Paul Lansky 05 (2015/2017) • marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • live • eight-channel cube loudspeaker array • composer/performer: Nathaniel Bartlett

06-09-17 → 06-10-17
Santa Fe, NM


Included with other works between 06:00pm and 12:00am Currents New Media Festival 2017 The Quasar Pavillion

•••••

01 audio/video composition • AUDIO: (2017) • percussion duo • a interpretation of cronometro, for unspecified time-based media • presented in CD-quality stereo, original: high-definition eight-channel cube surround • fixed media • composer: Nathaniel Bartlett • percussion: Fred Bugbee • VIDEO: (2017) • an interpretation by Toby Kaufmann-Buhler of the composition cronometrovideo link 02 audio/video composition • AUDIO: (2013) • marimba and mallet-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • presented in CD-quality stereo, original: high-definition eight-channel cube surround • fixed media • composer/performer: Nathaniel Bartlett • VIDEO: (2013) • by Toby Kaufmann-Buhlervideo link #1 video link #2 03 audio/video composition • AUDIO: (2010) • solo metallic percussion and real-time three-dimensional, high-definition, computer-generated sound • presented in CD-quality stereo, original: high-definition eight-channel cube surround • fixed media • composer/performer: Nathaniel Bartlett • VIDEO: (2015) • by Toby Kaufmann-Buhlervideo link #1 video link #2

03-24-17
Udine, Italy / Global Internet Event


01:30pm, Mountain Time (US) ToBeContinued...2017 Stazione di Topolò and multiple live listening posts across the globe • live internet stream ToBeContinued is an concert lasting 24 hours, from 00.00 hours to the midnight of March 24th, GMT+1, during which musicians from many parts of the world will be connected to a website that will broadcast their concerts. During this uninterrupted 24 hour marathon, each musician -- representing a range of "new music" practices -- will have a 30 minute window for live or prerecorded performance created especially for this event

•••••

01 computer-processed glockenspiel • streamed in lower-resolution stereo • performer: Nathaniel Bartlett

2016

11-24-16 → 11-24-16
Belfast, UK


Sonorities Festival of Contemporary Music Queen’s University Belfast Sonic Arts Research Centre

•••••

01 audio/video installation • AUDIO: (2010) • solo metallic percussion and real-time three-dimensional, high-definition, computer-generated sound • presented at this installation in high-definition four-channel surround • fixed media • composer/performer: Nathaniel Bartlett • VIDEO: (2015) • by Toby Kaufmann-Buhlervideo link #1 video link #2

05-27-16
Santa Fe, NM


05:00pm - 07:00pm ICONIC Group Exhibition EVOKE contemporary

•••••

01 audio/video installation • AUDIO: (2013) marimba and mallet-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • presented at this installation in its original high-definition eight-channel cube surround version • fixed media • composer/performer: Nathaniel Bartlett • VIDEO: (2013) • by Toby Kaufmann-Buhlervideo link #1 video link #2 02 audio/video installation • AUDIO: (2010) • solo metallic percussion and real-time three-dimensional, high-definition, computer-generated sound • presented at this installation in its original high-definition eight-channel cube surround version • fixed media • composer/performer: Nathaniel Bartlett • VIDEO: (2015) • by Toby Kaufmann-Buhlervideo link #1 video link #2

04-03-16 (2)
Carbondale, IL


07:30pm Outside the Box New Music Series Southern Illinois University Carbondale • Altgeld room 112

•••••

01 (2016) • acousmatic premiere • four percussionists playing six snare drums each • eight-channel cube loudspeaker array • fixed media • snare drums: Lee Vinson • composer: Nathaniel Bartlett 02 (2011) • marimba, percussion, and viola; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • eight-channel cube loudspeaker array • fixed media • composer: Nathaniel Bartlett • marimba and computer control: Nathaniel Bartlett, percussion: Geoff Brady, viola: Nils Bultmann

2015

11-05-15
Milwaukee, WI


Threshold Charles Allis Art Museum

•••••

01 audio/video installation • AUDIO: (2013) • for marimba and and mallet-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • presented at this installation in high-definition four-channel surround • fixed media • composer/performer: Nathaniel Bartlett • VIDEO: (2011) • by Toby Kaufmann-Buhlervideo link #1 video link #2

11-02-15 (2)
Oshkosh, WI


07:30pm University of Wisconsin–Oshkosh, Music Hall

•••••

01 (2015) • marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • live • eight-channel cube loudspeaker array • composer/performer: Nathaniel Bartlett

11-02-15 (1)
Oshkosh, WI


12:40pm University of Wisconsin–Oshkosh

•••••

01 A lecture covering the technical (hardware and software) and artistic facets of my compositions for marimba and three-dimensional, high-definition, computer-generated sound/notation

10-30-15
Madison, WI


06:30pm Sound-Space Audio Lab Overture Center Event Series • Event 020 The Overture Center for the Arts • Promenade Hall

•••••

01 (1971) • four-channel tape, created on Buchla analog synthesizer • high-definition digital transfer from original analog tape • fixed media • composer: Morton Subotnick 02 (2015) • marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • live • eight-channel cube loudspeaker array • composer/performer: Nathaniel Bartlett

10-26-15 (1)
St. Cloud, MN


01:00pm St. Cloud State University, Performing Arts Center, room 158A

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01 featuring works from my Sound-Space Audio Lab discography presented in their original multi-channel, high-definition formats

10-25-15 (2)
St. Cloud, MN


04:00pm St. Cloud State University, Ruth Gant Recital Hall

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01 The technical (hardware and software) and artistic facets of my compositions for marimba and three-dimensional, high-definition, computer-generated sound/notation

10-25-15 (1)
St. Cloud, MN


03:00pm St. Cloud State University, Ruth Gant Recital Hall

•••••

01 (2015) • premiere • marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • live • eight-channel cube loudspeaker array • composer/performer: Nathaniel Bartlett

10-24-15 (2)
Kirksville, MO


02:15pm New Horizons Music Festival Truman State University, Ophelia Parrish Hall, room 2340

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01 (2015) • marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • live • eight-channel cube loudspeaker array • composer/performer: Nathaniel Bartlett

10-24-15 (1)
Kirksville, MO


01:15pm New Horizons Music Festival Truman State University, Ophelia Parrish Hall, room 2340

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01 The technical (hardware and software) and artistic facets of my works utilizing multi-channel, high-definition, computer-generated sound/notation

10-22-15 (2)
Manhattan, KS


07:30pm Kansas State University School of Music, Kirmser Hall

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01 (2015) • premiere • marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • live • eight-channel cube loudspeaker array • composer/performer: Nathaniel Bartlett

10-22-15 (1)
Manhattan, KS


11:30am Kansas State University School of Music

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01 The technical (hardware and software) and artistic facets of my compositions for marimba and three-dimensional, high-definition, computer-generated sound/notation

06-06-15
Santa Fe, NM


06:30pm Sound-Space Audio Lab Albuquerque/Santa Fe Event Series Railyard Performance Center

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01 (1958-1960) • four-channel electronic sound • fixed media • composer: Karlheinz Stockhausen 02 (2015) • solo percussion • live • percussion: Michael Carp • composer: Nathaniel Bartlett 03 (1955-1956) • four-channel electronic sound • fixed media • composer: Karlheinz Stockhausen

06-05-15
Albuquerque, NM


06:30pm Sound-Space Audio Lab Albuquerque/Santa Fe Event Series First Unitarian, Old Sanctuary

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01 (1958-1960) • four-channel electronic sound • fixed media • composer: Karlheinz Stockhausen 02 (2015) • premiere • solo percussion • live • percussion: Michael Carp • composer: Nathaniel Bartlett 03 (1955-1956) • four-channel electronic sound • fixed media • composer: Karlheinz Stockhausen

05-24-15
Santa Fe, NM


Open House, 11:00am to 05:00pm Sound-Space Audio Lab Albuquerque/Santa Fe Event Series Santa Fe Railyard Park Community RoomMAP THIS EVENT IS AN OPEN HOUSE. Stop by anytime 11:00am - 05:00pm. Playback of the new work on the hour (45min duration), every hour. Socialize / talk 00:45 - 00:60. Meet me, see/hear my mobile 3D high-def electroacoustic rig, learn about my work, and my other upcoming ABQ/SF events • FREE (donations welcome)

•••••

01 (2015) • marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • eight-channel cube loudspeaker array • fixed media • composer/performer: Nathaniel Bartlett

05-23-15
Albuquerque, NM


Open House, 11:00am to 05:00pm Sound-Space Audio Lab Albuquerque/Santa Fe Event Series SCA Contemporary Art THIS EVENT IS AN OPEN HOUSE. Stop by anytime 11:00am - 05:00pm. Playback of the new work on the hour (45min duration), every hour. Socialize / talk 00:45 - 00:60. Meet me, see/hear my mobile 3D high-def electroacoustic rig, learn about my work, and my other upcoming ABQ/SF events • FREE (donations welcome)

•••••

01 (2015) • premiere • marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • eight-channel cube loudspeaker array • fixed media • composer/performer: Nathaniel Bartlett

01-20-15 → 02-20-15
Columbus, OH


IMAGEOHIO 15 • presented by ROY G BIV Gallery The Shot Tower Gallery

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01 audio/video installation • AUDIO: (2013) • marimba and and mallet-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • presented at this installation in stereo, original: high-definition eight-channel cube surround • fixed media • composer/performer: Nathaniel Bartlett • VIDEO: (2011) • by Toby Kaufmann-Buhlervideo link #1 video link #2

2014

10-31-14
Wichita, KS


08:00pm KNOB Festival of New Music 2014 Fisch Haus Studios

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01 (2014) • marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • eight-channel cube loudspeaker array • live • composer/performer: Nathaniel Bartlett 02 (2010) • for percussion; real-time three-dimensional, high-definition, computer-generated sound • eight-channel cube loudspeaker array • fixed media • composer/performer: Nathaniel Bartlett

10-29-14
Omaha, NE


06:30pm Bancroft Street Market

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01 (2014) • marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • eight-channel cube loudspeaker array • live • composer/performer: Nathaniel Bartlett

10-27-14
Stevens Point, WI


07:30pm Noel Fine Arts Center, Room 240, University of Wisconsin–Stevens Point

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01 (1958-1960) • for four-channel electronic sound • fixed media • composer: Karlheinz Stockhausen 02 (1955-1956) • for four-channel electronic sound • fixed media • composer: Karlheinz Stockhausen

10-26-14
Madison, WI


06:30pm Sound-Space Audio Lab Overture Center Event Series • Event 019 The Overture Center for the Arts, Promenade Hall

•••••

01 (2014) • marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • eight-channel cube loudspeaker array • live • composer/performer: Nathaniel Bartlett

09-28-14 (2)
Cleveland, OH


03:00pm Ingenuity Cleveland Great Lakes Science Center, Reinberger Auditorium

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01 (2014) • marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • eight-channel cube loudspeaker array • live • composer/performer: Nathaniel Bartlett

09-28-14 (1)
Cleveland, OH


01:00pm Ingenuity Cleveland Great Lakes Science Center, Reinberger Auditorium

•••••

01 (2014) • marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • eight-channel cube loudspeaker array • live • composer/performer: Nathaniel Bartlett

09-23-14
Tulsa, OK


07:30pm Living Arts

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01 (2014) • marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • eight-channel cube loudspeaker array • live • composer/performer: Nathaniel Bartlett

09-22-14
Conway, AR


07:00pm University of Central Arkansas, Snow Fine Arts Recital Hall

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01 Featuring excerpts from compositions by Nathaniel Bartlett, Allan Schindler, Karlheinz Stockhausen, Kraftwerk, and others, presented on the Sound-Space Audio Lab multi-channel, high-definition loudspeaker array

09-22-14 (2)
Conway, AR


07:30pm University of Central Arkansas, Snow Fine Arts Recital Hall

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01 (2014) • marimba and mallet/body-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • eight-channel cube loudspeaker array • live • composer/performer: Nathaniel Bartlett

09-22-14 (1)
Conway, AR


05:00pm University of Central Arkansas, Snow Fine Arts Recital Hall

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01 Covering the technical (hardware and software) and artistic facets of my compositions for marimba and three-dimensional, high-definition, computer-generated sound/notation

04-30-14
Philadelphia, PA


06:30pm Sound-Space Audio Lab Philadelphia Event Series • Event 02 Crane Old School White Space

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01 (2014) • marimba and and mallet-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • eight-channel cube loudspeaker array • live • composer/performer: Nathaniel Bartlett

03-26-14
Philadelphia, PA


06:30pm Sound-Space Audio Lab Philadelphia Event Series • Event 01 Crane Old School White Space

•••••

01 (2011) • marimba, percussion, and viola; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • eight-channel cube loudspeaker array • fixed media • composer: Nathaniel Bartlett • marimba and computer control: Nathaniel Bartlett, percussion: Geoff Brady, viola: Nils Bultmann

01-12-14
Springfield, IL


03:00pm The Pharmacy

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01 (2011) • marimba, percussion, and viola; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • eight-channel cube loudspeaker array • fixed media • composer: Nathaniel Bartlett • marimba and computer control: Nathaniel Bartlett, percussion: Geoff Brady, viola: Nils Bultmann

01-10-14
Tulsa, OK


07:30pm Living Arts

•••••

01 (1958-1960) • four-channel electronic sound • fixed media • composer: Karlheinz Stockhausen 02 (2013) • marimba and and mallet-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • eight-channel cube loudspeaker array • fixed media • Composer: Nathaniel Bartlett

01-04-14
Madison, WI


06:30pm Sound-Space Audio Lab Overture Center Event Series • Event 018 The Overture Center for the Arts, Promenade Hall

•••••

01 (2008) • three-dimensional, high-definition, computer-generated sound • 8-channel cube loudspeaker array • fixed media • composer: Allan Schindler 02 (2014) • premiere • marimba and and mallet-tracking computer interface; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • eight-channel cube loudspeaker array • live • composer/performer: Nathaniel Bartlett

01-03-14
St. Louis, MO


08:00pm Lemp Neighborhood Arts Center

•••••

01 (2011) • marimba, percussion, and viola; real-time three-dimensional, high-definition, computer-generated sound; and real-time computer notation processing • eight-channel cube loudspeaker array • fixed media • composer: Nathaniel Bartlett • marimba and computer control: Nathaniel Bartlett, percussion: Geoff Brady, viola: Nils Bultmann

2004–2013

Madison, WI • University of Wisconsin–Madison Asbury Park, NJ • LHS Marimba Seminar Ocean Grove, NJ • LHS Marimba Seminar Stevens Point, WI • University of Wisconsin–Stevens Point Stevens Point, WI • University of Wisconsin–Stevens Point Madison, WI • Overture Center for the Arts Madison, WI • James Watrous Gallery Madison, WI • Town Center at the Wisconsin Institutes for Discovery Madison, WI • Town Center at the Wisconsin Institutes for Discovery Tulsa, OK • Living Arts Austin, TX • Percussive Arts Society International Convention Flagstaff, AZ • Northern Arizona University Tucson, AZ • University of Arizona Phoenix, AZ • The Icehouse Madison, WI • Town Center at the Wisconsin Institutes for Discovery Madison, WI • Overture Center for the Arts Madison, WI • Overture Center for the Arts Manhattan, KS • Kansas State University Madison, WI • Overture Center for the Arts Ithaca, NY • Ithaca College Madison, WI • Overture Center for the Arts Wayne, NJ • William Patterson University West Chester, PA • West Chester University New York, NY • Danspace Project New York, NY • Danspace Project New York, NY • Danspace Project Asbury Park, NJ • LHS Marimba Seminar Ocean Grove, NJ • LHS Marimba Seminar Madison, WI • Overture Center for the Arts Pittsburgh, PA • Robert Morris University Madison, WI • University of Wisconsin–Madison Madison, WI • University of Wisconsin–Madison New York, NY • Judson Memorial Church New York, NY • Judson Memorial Church Columbus, OH • The Fuse Factory Madison, WI • Overture Center for the Arts Atlanta, GA • Georgia Institute of Technology Orlando, FL • University of Central Florida Tallahassee, FL • Florida State University Atlanta, GA • Eyedrum Athens, GA • Athens Institute for Contemporary Art Lexington, KY • University of Kentucky Lexington, KY • University of Kentucky Madison, WI • Overture Center for the Arts Madison, WI • Higher Fire Gallery Annex Greenville, NC • East Carolina University Greenville, NC • East Carolina University Kirksville, MO • Truman State University Kirksville, MO • Truman State University Santa Fe, NM • The Santa Fe Complex Flagstaff, AZ • Northern Arizona University Albuquerque, NM • University of New Mexico Las Cruces, NM • New Mexico State University Arlington, TX • University of Texas at Arlington Conway, AR • University of Central Arkansas Tulsa, OK • Living Arts Madison, WI • Overture Center for the Arts Indianapolis, IN • Percussive Arts Society International Convention Rochester, NY • Eastman School of Music Rochester, NY • Eastman School of Music Madison, WI • Overture Center for the Arts Atlanta, GA • Eyedrum Somerville, MA • Third Life Studio Pittsburgh, PA • The Brew House Santa Ana, CA • Orange County Center for Contemporary Art Tucson, AZ • Solar Culture Albuquerque, NM • University of New Mexico Houston, TX • Super Happy Fun Land Madison, WI • Overture Center for the Arts Syracuse, NY • Onondaga Community College Whitewater, WI • University of Wisconsin–Whitewater Minneapolis, MN • Center for Independent Artists Madison, WI • Capitol Lakes Grand Hall Madison, WI • Overture Center for the Arts East Lansing, MI • SCENE Metrospace Austin, TX • Mexican American Cultural Center (New Music Coop) Austin, TX • Mexican American Cultural Center (New Music Coop) St. Louis, MO • Lemp Neighborhood Arts Center Madison, WI • Overture Center for the Arts Lansing, MI • Lansing Community College Indianapolis, IN • Indianapolis Art Center Spring Green, WI • Taliesin Pittsburgh, PA • Mattress Factory Madison, WI • Overture Center for the Arts Dallas, TX • Gallery 1308 Houston, TX • Nutsuoh St. Louis, MO • Lemp Neighborhood Arts Center Madison, WI • Overture Center for the Arts Madison, WI • University of Wisconsin–Madison Philadelphia, PA • Mascher Space Cooperative New Bedford, MA • Gallery X Somerville, MA • Third Life Studio Philadelphia, PA • Philadelphia Ethical Society Manhattan, KS • Kansas State University Austin, TX • Austin Museum of Digital Art Berkeley, CA • Center for New Music and Technology Los Angeles, CA • Dangerous Curve Scottsdale, AZ • Taliesin West Houston, TX • Super Happy Fun Land Oklahoma City, OK • Individual Artists of Oklahoma Gallery Madison, WI • Overture Center for the Arts East Lansing, MI • SCENE Metrospace Ann Arbor, MI • Canterbury House Durham, NH • University of New Hampshire Marshfield, WI • Chestnut Avenue Center for the Arts Sturgeon Bay, WI • Fairfield Center for Contemporary Art Spring Green, WI • Taliesin Madison, WI • Capitol Lakes Grand Hall Minneapolis, MN • Studio Z Milwaukee, WI • Hotcakes Providence, RI • AS220 Portland, ME • One Longfellow Square Cambridge, MA • The Lily Pad East Lansing, MI • SCENE Metrospace Philadelphia, PA • Mascher Space Cooperative Philadelphia, PA • Mascher Space Cooperative Media, PA • Maitri Yoga Studio Philadelphia, PA • Mascher Space Cooperative Denver, CO • Creative Music Works Ft. Collins, CO • Colorado State University Ft. Collins, CO • Colorado State University El Paso, TX • University of Texas at El Paso Las Cruces, NM • New Mexico State University Philadelphia, PA • Mascher Space Cooperative Rochester, NY • Eastman School of Music Rochester, NY • Eastman School of Music Oklahoma City, OK • Oklahoma City University Oklahoma City, OK • Individual Artists of Oklahoma Gallery Fayetteville, AR • University of Arkansas Conway, AR • University of Central Arkansas Glassboro, NJ • Rowan University Philadelphia, PA • Mascher Space Cooperative Chicago, IL • Heaven Gallery East Lansing, MI • SCENE Metrospace Madison, WI • Madison Center for Creative and Cultural Arts Milwaukee, WI • Hotcakes Madison, WI • Madison Center for Creative and Cultural Arts Philadelphia, PA • Mascher Space Cooperative Philadelphia, PA • The Rotunda (Bowerbird) Atlanta, GA • Eyedrum Harrisonburg, VA • James Madison University Syracuse, NY • Onondaga Community College Ithaca, NY • Cornell University Columbus, OH • MILO ELEKTRIC Cleveland, OH • Passport Project Milwaukee, WI • Hotcakes Sturgeon Bay, WI • Fairfield Center for Contemporary Art Madison, WI • First Unitarian Society of Madison Minneapolis, MN • Studio Z Rochester, NY • A/V Gloucester, MA • Fishtown Artspace Cambridge, MA • Zeitgeist Gallery New York, NY • The Tank Philadelphia, PA • Andrea Clearfield Salon Philadelphia, PA • The Arts League Richmond, VA • Artspace Baltimore, MD • The Red Room Philadelphia, PA • Philadelphia Ethical Society Oklahoma City, OK • Oklahoma City University Fayetteville, AR • University of Arkansas Conway, AR • University of Central Arkansas Conway, AR • University of Central Arkansas Kenosha, WI • Carthage College Madison, WI • Mills Hall East Lansing, MI • Michigan State University Glassboro, NJ • Rowan University Baltimore, MD • University of Notre Dame of Maryland Rochester, NY • Christ Church Eau Claire, WI (2) • University of Wisconsin–Eau Claire Eau Claire, WI (1) • University of Wisconsin–Eau Claire Tallahassee, FL • Florida State University Tallahassee, FL (2) • Florida State University Tallahassee, FL (1) • Florida State University Wayne, NJ • William Patterson University Cambridge, MA • Edward M. Pickman Concert Hall West Chester, PA • West Chester University Ft. Collins, CO (2) • Colorado State University Ft. Collins, CO (1) • Colorado State University Cambridge, MA • Edward M. Pickman Concert Hall Madison, WI • University of Wisconsin–Madison Madison, WI • Mills Hall Madison, WI • Chazen Museum of Art Elberon, NJ • LHS Marimba Seminar Madison, WI • Mills Hall Oshkosh, WI • University of Wisconsin–Oshkosh Tallahassee, FL (2) • Florida State University Tallahassee, FL (1) • Florida State University Rochester, NY • Eastman School of Music Conway, AR (1) • University of Central Arkansas Conway, AR (2) • University of Central Arkansas

section number 08

SCORES

OVERVIEW

In addition to my works which employ electronically generated sound and real-time scores, I also write purely acoustic works -- with a special emphasis on percussion instruments -- using paper-and-ink scores. To clearly and accurately represent my musical ideas in written form, I have devised a special notation system. The system uses multiple colors and other graphic devices in order to achieve maximum clarity, and is in general an attempt to visually represent the artistic sensibilities of the music for the performers as intuitively as possible. A guide to the notation system in included at the beginning of each score.

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