Brian Belet lives in Campbell, California, with his partner and wife Marianne Bickett (www.mariannarts.biz).
He performs with the ensemble SoundProof using Kyma, viola, and bass. His music is recorded on the Centaur, Capstone, Frog Peak Music, IMG Media, Innova, SWR Music/Hänssler Classic, and the University of Illinois CD labels; with research published in Contemporary Music Review, Organised Sound, Perspectives of New Music, and Proceedings of the International Computer Music Conference. To finance this real world Belet works as Professor of Music at San Jose State University.
COMPOSITIONS & RESEARCH
Recent Compositions and primary performances
All compositions licensed through Broadcast Music, Inc. [BMI]
Three by Five, for brass quintet (2016). Composition in three movements. Total duration: 14 minutes.
Textures, soundscape for film by Madison McClintock (2015.) Trumpet, violin, viola, and Kyma processing. Premiered by SoundProof at KISS 2015, August 2015. (See "Current News" panel. -->)
Language is (slithering) in no particular order, co-composed with Stephen Ruppenthal), two voices and Kyma (2014).
Performance installation within 'Digital Poetry Exhibition' (part of 'Studio 300 Exhibition'), BYTE Gallery, Transylvania University, Lexington, KY. Exhibition active: 2015-16.
Summer Phantoms: Nocturne, piano and fixed electronics, 2011
Performed at ICMC 2014, Athens, Greece (Sept. 2014).
Sea Lion Mix
Computer processed sea lion & human sounds, 2009
Performed at New Horizons Music Festival, Truman State University, MO (Oct. 2014).
System of Shadows
Trumpet & Flugelhorn and Kyma processing, 2007
Performed at SCI Region VIII Conference, Tacoma, WA (March 2014).
More details and updates: www.BeletMusic.com
1) Real-time computer systems for composition and performance.
“System of Shadows, an interactive performance environment for trumpet/flugelhorn and Kyma.” (co-authored with Stephen Ruppenthal)
Proceedings of the 2010 International Computer Music Conference, pp. 34-40. International Computer Music Association, 2010.
“Live performance interaction for humans and machines in the early twenty-first century: one composer’s aesthetics for composition and performance practice.”
Organised Sound, Vol. 8, No. 3, December 2003. Cambridge University Press. pp. 305-312.
“Compositional and programming issues within Lyra, a fully interactive performance environment for violin and Kyma system.”
Proceedings of the 2003 International Computer Music Conference. International Computer Music Association, 2003. pp. 91-94.
“Using Kyma as a live interactive performance environment”
Bay Area Computer Music Technology Group at the Center for New Music and Audio Technologies [CNMAT], UC Berkeley, CA, November 2007.
2) Contemporary theories of formal design and microtonal pitch space.
Published article: “Theoretical and formal continuity in James Tenney’s music”
Contemporary Music Review, Vol. 27, No. 1, Routledge, February 2008, pp. 23-45.
3) Emerging technology and its impact on society. Lecture-demonstration presented at Re-Imagine Media Conference, Modesto, CA, March 2008. “Emerging Media Implications in Music: Cool Tech. vs. Artistic Relevance”
I have been invited to participate in this year's Kyma International Sound Symposium [KISS 2016], hosted by De Montfort University in Leicester, UK in September. I will 1) present a lecture/demo using electric bass as a generic controller for live sound processing, 2) perform in an Emergent Ensemble using my elec. bass, and 3) premiere a collaborative work with Virginie Viel.
Composition Ion Trails (Cloud Chamber Storms), percussion and Kyma, will be performed at the New York City Electroacoustic Music Festival, June 2016.
Composition Cross-Town Traffic 2.0, co-composed with William Walker, was performed at the Web Audio Conference [WAC 2016], Atlanta, GA, April 2016.
Walker and Belet also presented their collaborative research paper "Musique Concrète Choir: An Interactive Performance Environment for Any Number of People" during WAC 2016. The paper is published in the conference proceedings.
* * ** *** ***** ********