First Prize, 2009 Concours Internationale de Bourges

Veiled Resonance for soprano saxophone and live, interactive electroacoustics won First Prize in the 2009 Concours Internationale de Bourges. The BGSU Monitor included a featured news article about the prize.

Larry Austin comments on Lillios's Ambisonic piece, Listening Beyond...

"Listening Beyond... is beautiful! So spacious, such an elegant time continuum.
I truly "...hear infinity..." You're a poet of sound."

Lillios with Austin in Bowling Green, 2007.

Electroacoustic Composition/Sound Art

The majority of my research and composing focuses on music for fixed media, both stereophonic and multi-channel. Removing live performers from the musical paradigm focuses all attention on sound, making it the most important aspect of electroacoustic composition. In my opinion, every sound that exists can be musical and serve as an element in a composition. I collect these “sound objects” via recording, process them using various software tools, and then combine them to create musical structures.

Sound Diffusion

Sound diffusion is the performance practice of electroacoustic music. Electroacoustic music is frequently presented in concert on a sound system with numerous loudspeakers surrounding the audience. When diffusing a piece, I distribute sound to various combinations of loudspeakers, creating a real time surround sound environment. By moving sounds through the listening space I’m able to exaggerate specific moments, outline the formal structure of a piece, and create virtual spaces within the physical confines of a performance hall. I learned the art of sound diffusion from Jonty Harrison via the BEAST system at The University of Birmingham.

Deep Listening®

Critical listening is essential to my compositional approach and performance skills. I employ focused listening in every aspect of composing and develop an intimate connection with my sound materials. To expand and refine my listening awareness, I've acquired Deep Listening Certification under the guidance of Pauline Oliveros, Ione, and Heloise Gold. I'm now able to conduct Deep Listening activities and workshops. Contact me for more information.

Ambisonics

My research into multi-channel audio focuses on eight-channel and Ambisonic compositional techniques. Ambisonics, the three-dimensional representation of sound in space, employs a Soundfield microphone containing a tetrahedron-shaped array of microphone capsules to record source materials. Four channels of recorded audio, representing vectors left-right (X), front-back (Y), up-down (Z), and the point-source distance between the microphone and the sounding object (W), are encoded through an external device and sent to the computer for further processing, mixing, and mastering. My projects Encounter(s) and Listening Beyond... employ first order Ambisonics.