Dafna Naphtali is a sound-artist/ improviser/composer from an eclectic musical background. As a singer/guitarist/electronic-musician she performs and composes using her Max/MSP programming for sound processing of voice and other instruments, and also interprets the work of Cage, Stockhausen and contemporary composers.
Dafna has collaborated / performed with many experimental musicians and video artists over the past 20 years, such as Ras Moshe, Kathleen Supové, Lukas Ligeti, David First, Joshua Fried, and Hans Tammen as well as video artists (Benton-C Bainbridge, Angie Eng, Lenore Malen and others) and with choreographer Daria Fain. She’s co-led the digital chamber punk ensemble, What is it Like to be a Bat? with Kitty Brazelton since 1997 (more music in the works!) and was a founder of Magic Names vocal ensemble (performing Stockhausen’s Stimmung).
She’s received commissions and awards from NY Foundation for the Arts (2001, 2013), NY State Council on the Arts, Meet the Composer, Experimental TV Center, Brecht Forum, and residencies at STEIM (Holland), Music OMI and iEAR at Rensselaer Polytechnical Institute. She’s twice received commissions from American Composers Forum (1999 work for pianist Kathleen Supové plus Disklavier, and in 2010 for Magic Names vocal ensemble),. Dafna is a 2011 recipient of Franklin Furnace Fund award to develop work with Eric Singer’s LEMUR music robots.
She’s performed and traveled widely and under usual circumstances for her music (to festivals and venues around the world), (including to India for collaboration with Hindustani singer, Vidya Shah (courtesy of American Music Center). Dafna teaches and gives workshops at universities in the US and Europe, and holds a Masters in Music Technology from New York University, where she is part-time faculty .
She has been teaching, programming and consulting about computer music since1995 at Harvestworks (New York) and as a freelancer, and has done sound design and/or programming work for the projects of many artists at the forefront of digital and interactive music.
Dafna can be heard on Mechanique(s) (Acheulian Handaxe), on What is it Like to be a Bat? (Tzadik/Oracles) (4 Stars, All Music Guide) with Brazelton and Danny Tunick, Her CD Chatter Blip with Chuck Bettis is on Acheulian Handaxe.
Articles by Dafna Naphtali:
Interaural time difference, interaural level difference, and head shadow are useful not only for an audio engineer, but are also important for us when considering the effects and uses of...
The use of delays in music is ubiquitous. We use delays to locate a sound’s origin, create a sense of size/space, to mark musical time, create rhythm, and delineate form.
Over the past 5-7 years there has been an enormous surge in interest among musicians, outside of computer music academia, in discovering how to enhance their work with electronics and,...