"Dean Rosenthal is an American composer of contemporary and experimental music, field recordings, digital pastiche, sound collage, and installations; performer, writer on music, and theorist; his instrumental music has been described as "thorny" and "modernist" (The New Yorker) and "original" (The New York Times). His works are performed, broadcast, choreographed, and installed internationally, primarily in North America and Europe at venues such as Ohrenhoch der Geräuschladen, Center for Collaborative Arts and Media at Yale, Spectrum, The Wulf, Electronic Music Foundation, Incubator Arts Project, Symphony Space, at many universities and art schools, and outdoors, in situ, over 40 times, for Stones/Water/Time/Breath. His writings have been published in The Open Space Magazine, The Ear Reader, Musicworks, and other prominent contemporary publications. More recently he worked closely with Guggenheim Fellow David Parker's dance company The Bang Group, utilizing contemporary dance to express his instrumental music; this music was heard in dozens of performances from the Brooklyn Museum to hallowed dance center Jacob's Pillow to the Claquettes Club in Liege, Belgium. A recent commission from the Oral History of American Music collection at Yale was first heard in January 2020. Since 2012, he has made his home on Martha's Vineyard, where he composed his ongoing international performance piece Stones/Water/Time/Breath which in 2016 was given a 10 city, 3 country performance as part of the international Make Music Day festival, inaugurating an annual event now in its 5th year. Stones/Water/Time/Breath piece was released by Edition Wandelweiser, documenting five live performances from Newfoundland to Brooklyn to New York to Wilbraham, Massachusetts, the composer's hometown."

"Gelsey Bell is a singer, songwriter, and scholar - a composer-performer, teacher, and sound artist. She has been described by the New York Times as "one of New York's most adventurous musicians" and the "future of experimental vocalism." She performs regularly as a vocalist and multi-instrumentalist, culling from a wide range of techniques and styles to create her own performance works, to literally voice those of contemporary composers, and to explore improvisation.

Her works often center the voice and range from song cycles and sound walks to collaboratively created operas and structures for improvisation. Her experimental opera mɔɹnɪŋ [morning//mounring] was commissioned by the HERE Arts Center as part of their residency program and premiered in 2023 in the Prototype festival to an extended run of sold-out shows. Her sound walk Cairns (2020), created with composer Joseph White, was listed on the New York Times' Best Theater of 2020 list. After many years as a singer-songwriter, during which she released two studio albums, Under A Piano (2005) and In Place of Arms (2010), Gelsey began to bring her songwriting into the experimental world through song cycles and collaborative works. These include SubtracTTTTTTTTT (2020) and A Series of Landscapes (2020), created with thingNY for online; Skylighght (2019), created with composer and saxophonist Erin Rogers; shuffleyamamba (2019) and shuffleyamamba: Yamamba as a Bear (2021), created with choreographer Yasuko Yokoshi; Prisoner's Song (2015), created with visual artist Erik Ruin; This Takes Place Close By (2015), a collaboratively composed opera by thingNY; Airs and Interruptions (2015), originally composed for CNDC-Angers/Robert Swinston's performance of Merce Cunningham's choreography, with music by John King - this became the album Ciphony (2017); WIFE (2015), which was commissioned by Avant Media; the song cycle Our Defensive Measurements (2013) for five performers, which was commissioned by Roulette and the Jerome Foundation; SCALING (2011) for piano and two vocalists; and Bathroom Songs (2010), which has been performed in bathrooms all over the world. Her smaller pieces include "Murmuration" (2020), commissioned by the String Orchestra of Brooklyn; "Aviatrix" (2019), commissioned by Megan Ihnen and Alan Theisen; the This is Not a Land of Kings suite (2018), which was also released as an EP; Spent Horizon (2015), first performed with vocalist Odeya Nini; "Weight" (2014), which was commissioned by Ne(x)tworks; and Locker Room Duet, commissioned by the LUMEN festival and created with fiddler Cleek Schrey. She also developed and composed music for Wealth from the Salt Seas with choreographer Anna Sperber and composed music for choreographer Kimberly Bartosik's You are my heat and glare. She received a 2017 sound/music grant from the Foundation for Contemporary Arts, and both a residency (2015-2016) and a commission (2013) from Roulette and the Jerome Foundation. She has been a resident artist at Mount Tremper Arts, the Kinosaki International Arts Center, and the Exploring the Metropolis Ridgewood Bushwick Composer-in-Residence. Her work has been performed throughout North America, Europe, and Japan.

Gelsey is a core member of new music ensemble thingNY and performance collective Varispeed. With thingNY, she has collaboratively written and arranged music for multiple projects including SubtracTTTTTTTTT, A Series of Landscapes, This Takes Place Close By, IN HOUSE, TIME: A Complete Explanation in Three Parts, and the many SPAM extravaganzas. She has also performed in Rick Burkhardt's Passover, Vinko Globokar's Un Jour Comme Une Autre, and Paul Pinto's minis and Erin Roger's Trajectories and Chronolinea (released on the album minis/Trajectories in 2016). As a founding member of Varispeed, Gelsey collaboratively arranged and performed in their critically acclaimed adaptation of Robert Ashley's Perfect Lives and John Cage's Empty Words. She has also taken the lead in arranging their three-person rendition of Robert Ashley's "Love is a Good Example" and Kenneth Gaburo's Maledetto. Gelsey is also a member of the improvisation trio the Chutneys with Chris Cochrane (guitar) and Fast Forward (percussion). They released their debut album Home in 2019.

Gelsey has also had the honor to have worked with a wide range of performance creators as a vocalist and multi-instrumentalist, including composer Dave Malloy, originating the role Princess Mary in Natasha, Pierre, and the Great Comet of 1812 (from Ars Nova to Broadway), and as Pearl and a co-arranger in Ghost Quartet; composer Robert Ashley, in his final opera, CRASH, in a part that was written for her, and the revivals of Improvement and That Morning Thing; visual artist Matthew Barney and composer Jonathan Bepler, as part of the Wake Ensemble in The River of Fundament; composer Kate Soper, in her opera Here Be Sirens; composer John King, alongside Joan La Barbara in his Micro-Operas, as well as Impropera; choreographer Yasuko Yokoshi, for BELL; composers Rick Burkhardt and Brendan Connelly and the Theatre of a Two-Headed Calf, for their opera You, My Mother; in various projects with composer and fiddler Cleek Schrey, as well as composer and glass player Miguel Frasconi; composer Anthony Gatto and sculpture Chris Larsen in their opera Wise Blood; Avant Media, for various performances of the music of John Cage; and Panoply Performance Lab, for the recording of their opera Institute_Institut.

In January of 2015, Gelsey received her PhD in Performance Studies from New York University. Her dissertation, Voice-Acts: Performance and Relationality in the Vocal Activities of the American Experimental Music Tradition, traces the stories of five experimental composers writing music for their own performing voices during the 1970s. She was awarded the Monroe Lippman Memorial Prize for her dissertation and the 2012 NYU Stefanos Tsigrimanis Artistic Scholar Award. She has published articles in Tempo, Performance Research, TDR/The Drama Review, The Journal of Interdisciplinary Voice Studies, and Movement Research Performance Journal. She is a Contributing Editor for TDR/The Drama Review and an Associate Editor for The Journal of Interdisciplinary Voice Studies. She is part-time faculty in the College of Performing Arts at the New School, where she is particularly involved in their MM for Performer-Composers program.

"Originally from Long Island, trombonist William Lang is an active performer, improviser, and teacher based in New York City. He can be found playing in all settings and style, from the avant-garde and classical to Broadway and indie chamber pop. He has given his signature unaccompanied recitals throughout the United States, played concertos in both America and Europe, and has also recorded with such artists as Philip Glass, David Bryne, St. Vincent, and Jonsi (of Sigur Ros.) Intensely passionate for chamber music, he regularly performs alongside his groundbreaking ensembles loadbang (an original and unique group of musicians interested in cutting edge music) and the Guidonian Hand (a trombone quartet dedicated to breaking boundaries within the brass community.) The New York Times has called his playing "fiercely, virtuosic" and the Boston Globe has hailed him for his "superb performance" in past solo works."

"Exploring spaces between jazz and experimental music, trumpeter and composer Stephanie Richards has become a unique voice in the NYC experimental scene, collaborating with improvisational pioneers Henry Threadgill, Butch Morris, John Zorn and Anthony Braxton along with performance artists Mike Kelly, Laurie Anderson and Yoko Ono. Celebrated as an adventurous performer, Stephanies theatrical tendencies often include multi-disciplinary collaborations of sight, sound and movement. An avid collaborator and supporter of new music, Stephanie has premiered new works throughout North America and Europe, while having her own compositions premiered at venues such as Carnegie Hall, the Blue-note and Lincoln Center. Stephanie is a founding member of the Asphalt Orchestra, created the collective Bang On a Can, where she has worked with David Byrne, St. Vincent, Susan Marshall and has also performed alongside Kronos Quartet, The Pixies, Kanye West, A-Trak and Common. Stephanie holds degrees from the Eastman School of Music, McGill University and the California Institute of the Arts and has held residency at Stanford University. A recent addition to the faculty at the University of California, San Diego (UCSD), Stephanie also encourages the performance and commissioning of jazz and new music as Vice-President of the Festival of New Trumpet (FONT). Richards is currently working towards the release of a Tricentric Foundation grant for commissioned scents and sounds."

"Sara Schoenbeck is a bassoonist who dedicates herself to expanding the sound and role of the bassoon in the worlds of classical, contemporary notated and improvised music. The Wire magazine places her in the "tiny club of bassoon pioneers" at work in contemporary music today and the New York Times has called her "riveting, mixing textural experiments with a big, confident sound."

Originally from California, Sara spent her time on the west coast freelancing in various orchestral bassoon sections such as Santa Barbara Symphony, California Symphony, Redlands, Mancini Orchestra, the Dakah Hip Hop Orchestra and touring as a member of creative music ensembles Gravitas Quartet with Wayne Horvitz, Ron Miles and Peggy Lee, Anthony Braxton's 12+1(tet) and Vinny Golia's Large Ensemble. Sara also recorded for various sound and film projects including the Matrix 2 and 3 and Spanglish.

Sara now calls Brooklyn home and performs regularly with Petr Kotek's SEM ensemble, the composers group WetInk, Wordless Music Orchestra, LPR, Anthony Braxton's Tri-Centric Orchestra, Gravitas, Harris Eisenstadt's Golden State Quartet,the Lyrica Chamber Orchestra as well as performing with many other creative and inspiring musicians in the New York scene.

She has performed at major venues and festivals throughout North America and Europe, including Carnegie Hall, Lincoln Center Out of Doors, the Kitchen, Iridium, Disney Hall, SXSW, New Orleans Jazz Festival, Berlin Jazz Festival, Free Music Festival in Antwerp Belgium, Biennale Musica in Venice Italy, Montreal Jazz Festival, Ottawa Jazz Festival, the Vancouver International Jazz Festival and the San Francisco Jazz Festival to name a few. Sara received her BFA from the San Francisco Conservatory of Music and MFA from the California Institute of the Arts."

Lucie Vítková: "I am a composer, improviser and performer (accordion, hichiriki, harmonica, voice and tap dance) from the Czech Republic, living in New York, 2017 Herb Alpert Awards in Arts nominee in the category of Music.

In Spring 2016, I was awarded as an emerging artist of Thomas M. Messer Bohemian Creative Hub at the Czech Center New York. I have also been commissioned by Roulette Emerging Artist Commission Program with support of the Jerome Foundation in New York in 2017 and have become the 2018 Roulette Resident.

My compositions focus on sonification (compositions based on abstract models derived from physical objects), while in my improvisation practice I explore characteristics of discrete spaces through the interaction between sound and movement. In the recent work, I am interested in the musical legacy of Morse Code and the social-political aspects of music and art in relation to everyday life.

I graduated in accordion performance at Brno Conservatory in 2010 and composition at Janáček Academy of Music and Performing Arts in Brno (CZ) in 2020. During my Master Degree, I studied at the Royal Conservatory in The Hague (NL) and at California Institute of the Arts in Valencia (USA). I have studied with Martin Smolka, Jaroslav Šťastný, Martijn Padding, Gillius van Bergijk and Michael Pisaro.

As a student of JAMU Brno, I have realized my Ph.D. research at Universität der Künste in Berlin (partly on DAAD scholarship) under the supervision of Marc Sabat (2014-2015). Since 2016, I have been based in the City of New York, where I have done my research as a Visiting Scholar at Columbia University with Prof. George Lewis (2016-2018), and at the New York University (2018-2019).

I have obtained my Ph.D. degree in March 2020. In my dissertation, I have analyzed music of Christian Wolff, researching on his compositional techniques which he has been using to change relationships between players and to reform established hierarchies in music. I have put together two ensembles - NYC Constellation Ensemble (focused on musical behavior) and OPERA ensemble (for singing instrumentalists).

During the Mentor/Protégé Residency in Tokyo (JP), I studied hichiriki with Hitomi Nakamura and have been a member of the Columbia University Gagaku Ensemble and CU Raaga ensemble.

As an accordion player, I have collaborated with New York based TAK Ensemble, Kamraton, S.E.M. ensemble, String Noise, Du.0 , Argento Ensemble, Ghost Ensemble and Wet Ink."