Day 196 of A Year of Deep Listening



Can Bilir completed his DMA (2019) and MFA (2017) degrees at Cornell University. He was awarded with Fulbright Scholarship for his graduate studies in the US. He received commissions for interdisciplinary art and music projects from major venues and initiatives including the Metropolitan Museum of Art in New York City for Grammy winning clarinetist Kinan Azmeh with Aizuri Quartet (2018), Cornell Council for the Arts Biennial in Brescia, Italy; and Ithaca, New York (2016-2017). He was selected as a MusMa–European Broadcasting Project composer (2014-2016).

Day 195 of A Year of Deep Listening


MEMENTO MORI, by Timothy Feeney

Tim Feeney performs, composes, improvises, and builds sensory environments in forests and grain silos, concerned with unstable sound and duration. He appears in bookstores and basements with Sarah Hennies and Greg Stuart as Meridian; in galleries and libraries with Vic Rawlings and Annie Lewandowski; in tunnels and train stops with Cody Putman and Cassia Streb as Tasting Menu; in colleges and museums with Holland Hopson and Jane Cassidy; and in the occasional festival or concert hall with Anthony Braxton and Ingrid Laubrock.

He is a faculty member at the California Institute of the Arts.

Day 193 of A Year of Deep Listening


SPACE IS THE PLACE, by Brian Shankar Adler

Brian Shankar Adler is a multidisciplinary drummer, percussionist and composer. He has been described as: “a polyrhythmic force…” by Brad Cohan, JazzTimes. Adler has worked with Sheila Jordan, Guillermo Klein, La Bomba De Tiempo, Frank London, Kamala Sankaram, Elizabeth Swados among others and has been featured in Modern Drummer Magazine, DownBeat, and NPR. His recent project, Fourth Dimension won best music video at Transcinema International Film Festival in Peru and at the 2020 Independent Music Awards. Adler has toured four continents and has been recorded on more than 35 albums.

Day 192 of A Year of Deep Listening


1 to ∞, by joshua carro

a postcard work written for James Tenney

joshua michael carro (b. 1982 – ) is a versatile multimedia artist, percussionist, sound designer, producer, teacher, and composer. carro’s current work strives to develop new methods of graphic modular composition for instruments of any kind with the extension of electroacoustic and visual elements.



Day 191 of A Year of Deep Listening



Treya Nash has studied in England, Germany, Italy, eSwatini, China, and the United States. She graduated with a BA in composition from the University of Florida with Paul Koonce, and an MM in composition from the University of North Carolina at Greensboro with Mark Engebretson and Alejandro Rutty. She worked as Program Director for the 2021 Charlotte New Music Festival. Treya’s work has been performed in the UK, the US, Germany, and Brazil. She is currently studying composition and electronic music at Louisiana State University, with Mara Gibson, Jesse Allison, and Steven David Beck.



Day 190 of A Year of Deep Listening


THE TONE, by Kip Wilson

Kip Wilson started the New London Drone Orchestra in 2017. This radically inclusive, protean collective manifests sustained, layered, gradually evolving, timeless sound. We bring together experienced players with people new to music. We use graphic and text scores as well as stochastic sound sources to guide group improvisation. Find our latest experiments at and our three albums—Live at the Crab Shack (Furnace Records 2022, recorded live in 2018), Pass It On (self-released 2021), and Isolation/Collaboration (Enter the Circle 2020)—on Bandcamp.



Day 189 of A Year of Deep Listening


PLAN FOR OBSOLESCENCE, by Ensemble Decipher

Ensemble Decipher is a modular, experimental music group that performs with vintage, contemporary, and emerging technologies. Founded in 2017 by Niloufar Nourbakhsh, Ensemble Decipher strives to redefine performer virtuosity by drawing on the technological advancements of our time in order to highlight new voices and ways of listening. Current members include Joseph Bohigian, Robert Cosgrove, Eric Lemmon, Chelsea Loew, Taylor Long, and Niloufar Nourbakhsh..



Day 188 of A Year of Deep Listening



We often mistake microphones for ears when we expect a microphone to hear what we’re hearing when in fact, it does not. Listening to a recording, we think “this isn’t at all what I was hearing!” forgetting that our ears are connected to our brains which filter our sound environment. This piece is inspired by a meditation teacher I worked with who would categorise things as pleasant, unpleasant or neutral. This idea of gathering a list and then classifying the items made me think of how microphones gather the raw materials and then we humans assign qualities to the sounds. .

Cassia Streb is a sound artist who lives and works in Los Angeles, California. She writes music for specific situations and for special places. Her work is often composed for friends and colleagues in order to highlight aspects of their musicality that she admires. Cassia plays viola, small percussion instruments and found objects in her work with improvisation and interpretation of notated scores. Some of her recent projects include Sound House, an interactive sound and puppet piece and Music for Your Inbox, a digital concert platform that presents experimental visual and sound artists.



Day 187 of A Year of Deep Listening


CICATRICES, by Rémy Bélanger de Beauport

I wrote this piece in 2017, when the only scar I could think of on my body was from an old piecing that didn’t heal well. Now a couple of years later the piece acquires new meaning—a new sound—as my skin heals the many scars left by an unexpected sword attack. This is a revised version.

Free-improv cellist and composer Rémy Bélanger de Beauport is currently based in Québec City, Canada where he directs the local improvisers’ orchestra EMIQ. He plays solo, duo, trio up to large ensemble and is a frequent collaborator of dance, poetry and visual arts. He graduated in composition, music theory and mathematics and plays Canada, Germany, Mexico and France. His approach is based on the body, intuition and interaction, sound textures and an intense focus on unfolding structures.