My Awarded Projects
Adam VidiksisPhiladelphia, PA
Adam Vidiksis is a composer, conductor, percussionist, and technologist based in Philadelphia whose interests span from historically informed performance to the cutting edge of digital audio processing. Equally comfortable with both electronic and acoustic composition, his music has been heard in concert halls and venues around the world. Critics have called his music “mesmerizing”, “dramatic”, “striking” (Philadelphia Weekly), “notable”, “catchy” (WQHS), “interesting”, and “special” (Percussive Notes), and have noted that Vidiksis provides “an electronically produced frame giving each sound such a deep-colored radiance you could miss the piece’s shape for being caught up in each moment” (David Patrick Stearns of the Philadelphia Inquirer). Vidiksis has become known for exploring new timbral soundscapes in his electronic and acoustic works, often using the computer not only as a means of enhancing and manipulating the sounds he produces, but as a digital performer on equal footing with its human counterparts. His unique approach to composition has been praised for its “outstanding control” (Philadelphia Weekly) and for being “restrained” and “magical” (Local Arts Live).
Born and raised on Staten Island, the least populated borough of New York City, Vidiksis’s musical studies began on the piano at age four. As a child, he could frequently be found hitting nearly everything around him in order to experience the sound it would make: Vidiksis soon discovered his love of creating new musical possibilities and his passion for all things percussion. As a young man, Vidiksis developed a deep interest in science and technology, an enthusiasm that has profoundly influenced his work as a musician. He is very active as a performer, teacher, conductor, and composer, and is an enthusiastic advocate for new music. His music often explores sound, science, and the intersection of humankind with the machines we build.
Vidiksis’s compositions have been heard throughout North America, Europe, and Asia. His work has been performed by the orchestra of the Oleg Danovski National Theater of Opera and Ballet in Constanta, Romania, the Omaha Symphony, the Momenta Quartet, the Zephyrus Duo, and the percussion ensembles of New York University and the University of Alabama. He has been commissioned by many organizations and performers, including International Composers and Interactive Artists, Philadelphia’s Network for New Music, Keith Kirchoff of the ElectroAcoustic Piano project, and the Institute for Computer Music and Sound Technology in Zürich. His compositions have been heard at the national conferences of the Society for Electro-Acoustic Music in the United States and the College Music Society, the National Student Electronic Music Event, the Society of Composers, Incorporated regional conferences, the Huntsville New Music Festival, Soundcrawl Festival, the Electroacoustic Barn Dance, Navy-Marine Corps Memorial Stadium, Raven Stadium, the Guthman Musical Instrument Competition at Georgia Tech, the New Jersey Shakespeare Festival, the Toronto Electroacoustic Symposium, Athens Slingshot, the New York City Electroacoustic Music Festival, the International Csound Conference, and the Licino Refice Conservatorio di Musica in Frosinone, Italy. Vidiksis’s music has won numerous awards, including recognition as a regional winner of the 2012 SCI/ASCAP Student Commission Competition. His works are available through HoneyRock Publishing and PARMA Recordings.
A devoted advocate of new music, Vidiksis has served for six years as the conductor of the Temple Composers Orchestra. His deep interest in bringing new works to life has led him to conduct numerous premieres, working with international groups such as Ensemble NJ_P and the Black Sea Symphony. For seven years, Vidiksis directed the wind ensemble at Drew University in Madison, NJ, premiering a number of new pieces with that ensemble. He has also held the position of assistant conductor of the Delaware County Symphony in Aston, PA.
Vidiksis’s research in music technology focuses on techniques for realtime audio processing, designing gestural controllers for live digital performance, and machine improvisation. He has presented his research at a number of institutions, including the Center for Computer Research in Music and Acoustics at Stanford University, the Georgia Institute of Technology, and the McNally Smith College of Music. His gestural controller, the Tapbox DSP, was a semifinalist in the 2012 Guthman Musical Instrument Competition. Recently, Vidiksis completed his doctoral monograph focusing on techniques for live audio processing, and demonstrated these processes in a symphonic work for full orchestra. As a technologist, Vidiksis has worked with a number of artists and ensembles, including Gene Coleman, Ge Wang, Eric Chasalow, Benjamin Broening, Toshimaru Nakamura, Network for New Music, Donald Nally, and the Crossing.
Vidiksis holds degrees from Drew University, New York University, and Temple University, culminating in a doctoral degree in music composition. His teachers have included Norman Lowrey, Dinu Ghezzo, Marc Antonio-Consoli, Justin Dello Joio, Cynthia Folio, Maurice Wright, and Joo Won Park. Vidiksis currently lives in Wilmington, Delaware and serves on the faculty of Temple University as Assistant Professor of composition, where he teaches classes in music theory, orchestration, composition, and music technology. He is currently conductor of the Temple Composers Orchestra, faculty advisor to conTemplum (Boyer College’s new-music student organization and student chapter of the Society of Composers, Inc.), director of the Boyer Electroacoustic Ensemble Project (BEEP), and co-curator of the electroacoustic concert series Cybersounds.
fidget presents Adam Vidiksis
Performance set at fidget in Philadelphia, summer 2015
Excerpts of Vidiksis performing his works for percussion and electronics
Shadow Ko-Lho Remix
Performed by Chris Schelb, Joel Weszka, and Adam Vidiksis
Flute, Clarinet, and Live electronic performer (laptop)
This work is a response to and remix of Scelsi’s Ko-Lho (1966) for flute and clarinet. The structure of the piece is derived from three moments of the original, which are expanded as if one is zooming in on these tiny gestures.