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Stephan Moore

Chicago, IL   

Stephan Moore is a composer, improviser, audio artist, sound designer, teacher, and curator based in Chicago. His creative work manifests as sound installations, improvised music performances, generative and multi-channel electronic works, recordings, code, and sound designs for unusual circumstances. Evidence, his long-standing project with Scott Smallwood, has performed widely and released several recordings over the past 18 years. He has worked with choreographer Yanira Castro continuously over the past 12 years, and has created scores and interactive systems for her company a canary torsi since its inception.

From late 2004 to mid-2010, he performed over 250 concerts with the Merce Cunningham Dance Company, serving as the company’s touring sound engineer and music coordinator as well as a member of its in-house band, working alongside avant-garde legends Christian Wolff, Annea Lockwood, David Behrman, Takehisa Kosugi, William Winant, Joan La Barbara, Philip Corner, Alvin Curran, John King, Gavin Bryars, John Paul Jones, and many others. As a freelance sound designer and programmer he has worked with numerous high-profile clients such as Animal Collective, Anthony McCall, and Samson Young. He has been the Curator of Sound Art at the Caramoor Center for Music and the Arts since 2013. His company, Isobel Audio, produces unique point-source Hemisphere speakers. He is a past president of the American Society for Acoustic Ecology, and a founding member of Issue Project Room’s Artistic Advisory Board.

Moore received an Electronic Arts MFA from Rensselaer Polytechnic Institute in 2003, where he studied with Pauline Oliveros and Curtis Bahn, and a PhD in Computer Music and Multimedia Composition from Brown University in 2015. He is currently a senior lecturer on Sound Arts and Industries in the Department of Radio, Television, and Film at Northwestern University.

Destroying Angel Version 8a

This score was created using a software algorithm that listened to the environment surrounding the computer where the software was running, collected sonic fragments from the environment, and then, on cue, composed a structured accompaniment to a choreographed dance sequence. This was created as an early experiment in how a generative system might be incorporated into the dance Last Audience.

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Faulton

A composition to be performed by a solo musician with laptop, objects, and a multi-channel sound system (ideally 8 speakers or more). The behavior of the piece is determined partly by the performer’s decisions, and partly by a software “weather system” that is built into the composition’s algorithm.

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Clementine

A composition by Evidence (myself and Scott Smallwood), made by processing and editing several improvised manipulations of field recordings and other sound materials using custom performance software. This track comes from a collection called “Visuals”, which are meant to be dense, cinematic experiences of layered soundscapes, sound objects, and textural colors.
Cue points: for a sustained experience, listen from 8:00 to 12:00. Or, just “drop the needle” all over the track.
Sounds best LOUD.

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